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Concert Program: November 19, 20, 21 SCHUBERT’S GREAT C-MAJOR SYMPHONY + SMETANA + SORTOMME — page 29 Concert Program: November 27, 28, 29 BERLIOZ SYMPHONIE FANTASTIQUE + DEBUSSY + RANDS — page 69 VIOLINS OF HOPE CLEVELAND Uniting the Northeast Ohio Community through Music and Remembrance — page 9

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From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Violins of Hope Cleveland . . . . . . . . . . . . . . . . . . . . . . 9

About the Orchestra The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 20 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 WEEK

2015-16 SE ASON


SCHUBERT’S GREAT C-MAJOR + SMETANA + SORTOMME Program: November 19, 20, 21 . . . . . . . . . . . . . . 29 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 31


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


Overture to The Bartered Bride . . . . . . . . . . . . . . . 35 NATIONAL ENDOWMENT FOR THE ARTS


Concerto for Two Violas . . . . . . . . . . . . . . . . . . . . . 37 SCHUBERT

Symphony D.944 (“The Great”) . . . . . . . . . . . . . . 49 Conductor: Christoph von Dohnányi . . . . . . . . . . . 32 Soloists: Robert Vernon, Lynne Ramsey . . . . . . . . . 44 WEEK


BERLIOZ SYMPHONIE FANTASTIQUE + DEBUSSY + RANDS Program: November 27, 28, 29 . . . . . . . . . . . . . . 69 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 71 DEBUSSY

Prelude to the Afternoon of a Faun . . . . . . . . . . 75

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.


Concerto for English Horn . . . . . . . . . . . . . . . . . . . 77

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


Symphonie fantastique . . . . . . . . . . . . . . . . . . . . . 83

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

Conductor: Lionel Bringuier . . . . . . . . . . . . . . . . . . . 73 Soloist: Robert Walters . . . . . . . . . . . . . . . . . . . . . . . . 80

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

Upcoming Concerts


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.

60 65 89 91 92

. . . . . . . . . . . . . . . . . . 108

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 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 press commentary from the Orchestra’s 2015 European Tour and Vienna Residency, October 15-31, includes: “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) (Additional excerpts from reviews can be read on page 54 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. As many of you know, at the end of December I will begin my long-planned retirement from The Cleveland Orchestra. Through all of my years here, I have been humbled by the outstanding support of this community, and equally, by the phenomenal dedication that is always displayed by musicians and staff of The Cleveland Orchestra. For this support and dedication, I am sincerely grateful. For me, serving this institution has been, and remains, an experience of extraordinary excitement, meaningful challenge, and the greatest and most satisfying time of my life. As I approach the end of my tenure, I want to express my sincere thanks to you, our generous supporters, for all that you have done, and all that you will do in the future, to ensure that Cleveland can continue to be home to the world’s greatest orchestra. Cleveland will remain Barbara’s and my beloved home as we look ahead to joining you as passionate subscribers and dedicated supporters of The Cleveland Orchestra.

Gary Hanson Severance Hall 2015-16


Jewish Federation OF CLEVELAND

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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.


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

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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



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 a special appreciation of Weinstein’s mis-


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,

sion. 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


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

The Cleveland Orchestra


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


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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


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.


Violin-maker Amnon Weinstein and Cleveland Orchestra Chairman Richard J. Bogomolny, whose dovetailed interests and commitment helped create “Violins of Hope Cleveland” through community collaboration and partnering.

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.


Remembrance & Learning

The Cleveland Orchestra



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.

ABOVE: Franz Welser-Möst led The Cleveland Orchestra in the opening concert of the newly renovated Maltz Performing Arts Center in September. The new center was created by Case Western Reserve University from the historic Temple–Tifereth synagogue through a lead gift from Milton and Tamar Maltz joined by dozens of other generous supporters. It will serve as a world-class performing arts center and as an ongoing venue for the Cleveland Jewish community’s High Holy Days.

Photography by Roger Mastroianni

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Community Partnership


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


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 Orchestra

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

HO NO R A RY TR U S TE E S FO R L I FE Robert W. Gillespie Gay Cull Addicott Dorothy Humel Hovorka Oliver F. Emerson Robert P. Madison Allen H. Ford PA S T PR E S I D E NT S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

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

Robert F. Meyerson James S. Reid, Jr.

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

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Severance Hall 2015-16

Gary Hanson, Executive Director

Musical Arts Association


BAROQUE ORCHESTRA jeannette sorrell

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

photo: pho o: Hi Hilar laryy Scot Scottt

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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.


1l1l 11l1 1l1I

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

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


each year

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


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


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






DIRECTOR Kelvin Smith Family Chair


Blossom-Lee Chair


Clara G. and George P. Bickford Chair



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 Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2 James P. and Dolores D. Storer Chair

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



Elizabeth Ring and William Gwinn Mather Chair


Frances P. and Chester C. Bolton Chair



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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. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.

Severance Hall 2015-16

Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a variety of interviews and through talks by local and national experts. Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka. 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 Sortomme 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”

Concert Previews

with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups


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

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Severance Hall

Thursday evening, November 19, 2015, at 7:30 p.m. Friday evening, November 20, 2015, at 8:00 p.m. Saturday evening, November 21, 2015, at 8:00 p.m.

Christoph von Dohnányi, conductor V

BEDR ICH SMETANA (1824-1884)


2015-16 SE A SON

Overture to The Bartered Bride Concerto for Two Violas on Themes from Smetana’s “From My Life” String Quartet world premiere performances Commissioned by The Cleveland Orchestra

(in two movements) ROBERT VERNON, viola LYNNE RAMSEY, viola


Symphony in C major (“The Great”), D.944 1. Andante — Allegro ma non troppo 2. Andante con moto 3. Scherzo: Allegro vivace — Trio 4. Finale: Allegro vivace

These concerts are supported through the generosity of Squire Patton Boggs (US) LLP Cleveland’s Own Series sponsorship. The November 19th performance is dedicated to Mr. William P. Blair III and to William J. and Katherine T. O’Neill in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. The concert will end on Thursday at about 9:20 p.m. and at approximately 9:50 p.m. on Friday and Saturday. LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Saturday, March 12, 2016, at 8:00 p.m.

Severance Hall 2015-16

Concert Program — Week 5



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Overture, Premiere & Grand Finale


T H I S W E E K ’ S concerts offer three contrasting works. From a boister-

ous overture to a grand symphony, with the world premiere of a brand-new concerto in between. We also have the opportunity to once again welcome Christoph von Dohnányi, The Cleveland Orchestra’s former music director and now its Music Director Laureate, back to the Severance Hall podium. The first half of the concert is “about” the Czech composer Bedřich Smetana (1824-1884). The funfilled overture to one of his first operatic hits, The Bartered Bride, begins the evening. Next comes a new concerto filled with connections not just to Smetana — for it is based on themes from his First String Quartet — but also to The Cleveland Orchestra. And, indeed, it is all about interconnected relationships. Smetana wrote his “From My Life” Quartet after deafness completely changed his life as a working musician. In its four movements, he worked to encapsulate the main areas of his life. George Szell, later to become music director of The Cleveland Orchestra, transcribed Smetana’s quartet in 1939-40 for full orchestra, performed it here at Severance Hall throughout the 1940s, and then recorded it with The Cleveland Orchestra in 1949 while Joseph Gingold was serving as concertmaster. Gingold, in turn, two decades later taught both composer Richard Sortomme and Robert Vernon, one of this weekend’s soloists, the intricacies and traditions of that same quartet. Now, for Mr. Vernon’s last appearance as soloist before officially retiring next year from the Orchestra (but, as he says, not from his life as a performer and teacher), Mr. Sortomme has handcrafted a concerto based on themes from Smetana’s quartet. Bob Vernon’s stand partner, Lynne Ramsey, joins in for this concerto for two violas. To end the concert, Mr. Dohnányi has chosen Franz Schubert’s last grand symphony, nicknamed “The Great.” This expansive work was discovered many years after the young composer’s death, but has become everything that Schubert wanted it to be — heroic and heartfelt, magnificently proportioned, beguilingly and classically inspired. —Eric Sellen

Severance Hall 2015-16

Introducing the Concerts


Christoph von Dohnányi Music Director Laureate The Cleveland Orchestra

Christoph von Dohnányi is recognized as one of the world’s pre-eminent orchestral and opera conductors. He is renowned the world over for his legendary twentyyear tenure at the helm of The Cleveland Orchestra and now holds the title of Music Director Laureate. Other appointments have included opera directorships in Frankfurt and Hamburg, and principal orchestral conducting posts in England, Germany, and Paris. He enjoys a longstanding partnership with the Philharmonia Orchestra in London, where he served as principal conductor and artistic adviser for ten years and is now Honorary Conductor for Life. He led that ensemble on tour across Europe and the United States, and in a series of acclaimed opera presentations in Paris. Since the end of his tenure in Cleveland, Christoph von Dohnányi has appeared as a frequent guest conductor with the Boston Symphony Orchestra, New York Philharmonic, Philadelphia Orchestra, Pittsburgh Symphony, Chicago Symphony and Los Angeles Philharmonic, as well as regular routine engagements in Cleveland. He began the 2015-16 season touring with the Philharmonia Orchestra in Europe and then conducted the gala concert in London celebrating that orchestra’s 70th anni-


versary. Mr. Dohnányi also conducts the Orchestre de Paris this season, and leads subscription weeks with The Cleveland Orchestra and with the orchestras of New York, Chicago, Boston, and Sydney. On May 8, 2016, he leads a special concert marking the end of World War II in Europe, conducting the Vienna Symphony Orchestra in works by Schoenberg and Beethoven. Recent seasons have included concerts with the Israel Philharmonic, Leipzig Gewandhaus Orchestra, La Scala in Milan, and the Orchestre de Paris, as well as special projects with the Boston Symphony and New York Philharmonic. He closed the 2014-15 season with an all-Mozart program with the Boston Symphony Orchestra at Tanglewood. Mr. Dohnányi has been a frequent guest conductor in concert with the Vienna Philharmonic and at the Vienna State Opera. Herbert von Karajan and his successor, Gerard Mortier, invited him regularly to participate in the Salzburg Festival. There he led the Vienna Philharmonic in productions of Strauss’s Der Rosenkavalier and Salome, Bartók’s Bluebeard’s Castle, Mozart’s Così fan tutte and The Magic Flute, and in the world premieres of Henze’s The Bassarids and Cerha’s Baal. Mr. Dohnányi has led productions at the world’s great opera houses, including London’s Royal Opera House, La Scala, and the Vienna State Opera, and in Berlin and Paris. He also regularly appeared with the Zurich Opera and with the Théâtre du Châtelet in Paris, and has appeared with Lyric Opera of Chicago, San Francisco Opera, and New York’s Metropolitan Opera. During his tenure as music director

Conductor Laureate

The Cleveland Orchestra

in Cleveland (1984-2002), Christoph von Dohnányi led The Cleveland Orchestra in more than a thousand concerts, including regular concert tours of the United States, Europe (including performances at the Salzburg Festival and Edinburgh Festival) and in Asia (including the first concert appearance by The Cleveland Orchestra in mainland China). Other achievements during Mr. Dohnányi’s tenure include the renovation, expansion, and reopening in 2000 of Severance Hall (featuring the newly restored Norton Memorial Organ) and the founding of the Cleveland Orchestra Youth Orchestra and Youth Chorus. Christoph von Dohnányi has made many critically acclaimed recordings for London/Decca with The Cleveland Orchestra and the Vienna Philharmonic. With Cleveland, Mr. Dohnányi recorded the complete symphonies of Beethoven, Brahms, and Schumann; selected symphonies by Bruckner, Dvořák, Mahler, Mozart, Schubert, and Tchaikovsky; works by Adams, Bartók, Berlioz, Birtwistle, Busoni, Ives, Ravel, Richard Strauss, Varèse, and Webern; and Wagner’s operas Das Rheingold and Die Walküre. In December 2001, The Cleveland Orchestra released the Christoph von Dohnányi Compact Disc Edition, a 10-CD retrospective featuring live performances with The Cleveland Orchestra from 1984 through 2001. With the Vienna Philharmonic, Mr. Dohnányi has recorded works by Dvořák, Glass, Mendelssohn, Schnittke, and Tchaikovsky, and a number of operas including Beethoven’s Fidelio, Berg’s Wozzeck and Lulu, Schoenberg’s Erwartung, Strauss’s Salome, and Wagner’s The Flying Dutchman. Born in Berlin, Christoph von Dohnányi was a law student at the University of MuSeverance Hall 2015-16

nich, but soon chose to pursue his music studies full time. After winning the Richard Strauss Prize of Munich for conducting, he spent a period of time studying with his grandfather, Ernst von Dohnányi, at Florida State University. He started his career as assistant to Georg Solti in Frankfurt and after four years became the youngest General Music Director in Germany, in Lübeck beginning in 1957. Mr. Dohnányi’s many accolades include honorary doctorates of music from the Eastman School of Music, Oberlin Conservatory of Music, Cleveland Institute of Music, Kent State University, Case Western Reserve University, and London’s Royal Academy of Music, as well as an honorary doctorate in humane letters from the Hebrew Union College/ Jewish Institute of Religion and the AntiDefamation League’s Torch of Freedom Award. He is the recipient of the Bartók medal in Hungary and a member of the Order of Arts and Letters of France. He received the Verdienstkreuz of the Republic of Austria and the Bundesverdienstkreuz of the German Republic.

Conductor Laureate


Overture to The Bartered Bride from the opera composed 1863-66

At a Glance



SMETANA born March 2, 1824 Litomyšl, Bohemia died May 12, 1884 Prague

Severance Hall 2015-16

Smetana wrote his opera Prodaná nevěstra [“The Bartered Bride”] to a German libretto by Karel Sabina (for which the composer helped to fashion a Czech version) between 1863 and 1866. The first performance took place in Prague on May 30, 1866, with the composer conducting. Smetana made some revisions and additions to the score over the next three years. This overture runs just over 5 minutes in performance. Smetana scored the opera for 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns,

2 trumpets, 3 trombones, timpani, percussion (triangle, cymbals, bass drum, tenor drum), and strings. The Cleveland Orchestra first played this overture in January 1922 under the direction of founding music director Nikolai Sokoloff. It was a frequent part of the Orchestra’s repertoire for the next twenty years, and then appeared much less often on concerts here. The last performances at Severance Hall were in 1993 under Christoph von Dohnányi, and at Blossom in 2014 with Jahja Ling.

About the Music B E D Ř I C H S M E T A N A is today honored as the founding father

of Czech music. His determined efforts on behalf of a national sound and repertory, however, were only partially understood and accepted in his own lifetime. The musical creativity he deployed was as often dismissed as celebrated. His good intentions were frequently misjudged by others or only incompletely accomplished by his own understanding of music’s rights and wrongs. Yet his fame endures — just as the country he so ardently believed in has at last become post-modern reality. Like his contemporaries Verdi and Wagner, Smetana devoted a majority of his creative energies to writing opera. Like them, too, he was pioneering the art form both as music and as an expression of his country’s nationhood. Like many a creative genius who by necessity were required to find their voice by trial and error in full view (hearing) of the public, Smetana was accused of writing music that sounded like almost every other northern European 19th-century composer you can name, from Wagner to Berlioz, from Weber to Schumann to Liszt, Rossini and Donizetti. And some of his music is remarkably reminiscent of those, and others — even though it finally has been recognized to sound like himself. Smetana was, at least at first, a pragmatic nationalist, probably more interested in good music and good theatrics than in

About the Music


Smetana’s first great success came with his second opera, The Bartered Bride, a comedy that opportunely premiered in 1866 near the crest of a wave of nationalistic fervor across Bohemia.

politics itself. He is today revered as a rallying symbol of Czech nationalism. But his style came slowly, bit by occasionally painful bit. And at times quite unsuccessfully. Luckily for him, he forged together a characteristic Czech sound at precisely the time that the country itself was forming politically. Bohemia, after centuries of German subjugation, was caught up in the patriotic fever that swept much of Europe in the 19th century. Over the centuries, the region had been “adopted” and traded among the grand Germanic nationstates of central Europe. And although the two cultures had intertwined themselves quite thoroughly in most aspects of day-to-day life, many of the region’s citizens nevertheless identified strongly with a Czech “homeland.” After a number of years, abroad in Sweden and then advocating a new tradition of Czech music from the outside as newspaper critic and conductor-performer, Smetana was at last made chief administrator of the city’s Provincial Theater (Prozatímní in Czech, literally meaning “Provisional,” and representing an expedient test case by the Germanic government to allow and promote, in a limited way, Czech opera performance). It was, at least to begin with, a second-class operation compared to the German productions (and orchestra) across town, but it was exactly the platform Smetana needed. Throughout his years as principal conductor of the Provincial Czech Theater (1866-74), Smetana’s efforts to foster a uniquely Czech musical language were largely devoted to the creation and production of operas — his own as well as some attempts by others or suitable repertory favorites outfitted with new Czech translation. At the time, there were very few precedents for what Czech symphonic or “classical” music should be. Smetana’s first great success came with his second opera, The Bartered Bride, a comedy that opportunely premiered in 1866 near the crest of a wave of nationalistic fervor across Bohemia. The overture is a mood-setting piece of great excitement and fun. Like many notable overtures of an earlier era, it contains only a few whiffs of melodic ideas that actually appear in the opera, although some of its impulse comes from the closing section of Act Two. —Eric Sellen © 2015 Eric Sellen first joined the staff of The Cleveland Orchestra as program book editor in 1990.


About the Music

The Cleveland Orchestra

Concerto for Two Violas on Themes from Smetana’s “From My Life” Quartet composed 2014-15

At a Glance



SORTOMME born June 6, 1948 Los Angeles lives in Mt. Vernon, New York

Sortomme created this concerto for two violas as a commission from The Cleveland Orchestra to honor Robert Vernon’s upcoming retirement as the ensemble’s principal viola. He composed the work starting in 2014, and completed it in the summer of 2015. This work runs about 25 minutes in performance. Sortomme scored it for an orchestra of 2 flutes (second doubling piccolo), piccolo (doubling alto flute), 2 oboes, english horn, 3 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets,

3 trombones, tuba, timpani, percussion (cymbals, triangle, timbales, tambourine, castanets, woodblock, claves, snare drum, piccolo snare drum, bass drum, field drum, bongos, xylophone, vibraphone, marimba, crotales, glockenspiel), harp, piano, accordion, and strings, plus the two viola soloists. The Cleveland Orchestra is presenting the world premiere performances of this concerto with this weekend’s concerts at Severance Hall, November 19-21, 2015.

About the Music To Robert Vernon: This has been an incredibly gratifying composing process for me. By writing this concerto based on Smetana’s “From My Life,” I have relived part of my youth, revisited my early performing history, and recalled unforgettable musical and personal experiences. Bob, when you and Lynne give birth to this work November 19-21, 2015, know that it is offered up only with great respect, dedication, and love — to you and our very long relationship, as you are about to close out your illustrious career as principal viola of The Cleveland Orchestra.

The composer has written the following commentary relating the background, origins, and creation of this new work: A LT H O U G H I D I D N ’ T K N O W I T at the time, the seeds for this

double viola concerto were sown back in the late 1960s. Based on themes from Smetana’s String Quartet No. 1, those seeds connect, in no small way, to The Cleveland Orchestra. Back then, Bob Vernon and I, still in our teens, were studying violin at Juilliard with the renowned pedagogue Ivan Galamian. During the summers, we attended the Meadowmount School of Severance Hall 2015-16

About the Music


Joseph Gingold, former concertmaster of The Cleveland Orchestra, coaching at Meadowmount School in the late 1960s. In the circle, from left: Gingold, Dong Suk Kang, Daniel Phillips, Myung Wha Chung, and Robert Vernon (back to the camera). Painted portraits on the wall are of cellist Leonard Rose and Joseph Gingold.


Music, Mr. Galamian’s intense eight-week summer school for violinists and cellists nestled in the beautiful Adirondack Mountains. Leonard Rose taught cello at Meadowmount and Mr. Galamian had invited Joseph Gingold, one of Cleveland’s revered and beloved concertmasters, to teach string quartets to all of us. Because there were very few violists at Meadowmount, some of us had to learn to play the viola for the quartets. After the assignments had been made, Mr. Gingold would take all of us who pulled viola duty and go through his “shorthand” method of learning how to read the alto clef. (It was not actually a method to read the notes, but instead a trick to get us through — and, in fact, most of us didn’t quite know what notes we were actually playing for a couple of years!) In those days, there were just over a hundred of us at Meadowmount, coming from not only America but almost every country in Europe and Asia. Each summer in mid-August, there would be a scholarship concert to raise money and Mr. Galamian would assign the best of the best to participate, including Itzhak Perlman, Pinchas Zukerman, Jamie Buswell, Young Uck Kim, and other wonderful fiddlers whose names may be less familiar today, but whose artistry was just as genuine and real. The first half would be concertos, or unaccompanied Bach, or some short pieces. And then after intermission, there would be a quartet, quintet, sextet, or piano quintet. One summer when I was 16 or 17, Mr. Gingold decided that Smetana’s String Quartet No. 1, well-known by the nickname “From My Life,” would be the post-intermission offering. This quartet has one of the most virtuosic viola parts in the entire string quartet repertoire. The opening is legendary and instantly recognizable, the type of part to which only a Giant could do fitting justice. The viola part was assigned to none other than Pinky Zukerman. We all had heard him play viola before, wonderfully, but this performance was shocking. Here, clearly, was a Giant in our midst. Almost from the first notes of the opening About the Music

The Cleveland Orchestra

solo, accompanied by murmuring eighth notes in the two violins and cello, it was quite clear that a Star Was Born that night. The audience erupted into a mad frenzy of clapping, screaming bravos, everyone on their feet. But for me, there were two stars. Pinky and . . . this Smetana String Quartet, “From My Life.” It wasn’t until a number of years later that I got to perform this quartet myself, on a concert at Meadowmount, playing second violin, with the brilliant violinist Bob Vernon assuming the viola duties. (Yes, Bob, like many other violists, started off studying the violin.) We had a wonderful time rehearsing under Mr. Gingold’s watchful eyes and ears, and an even better time performing it. Many of Mr. Gingold’s suggestions came from his own firsthand experience as a member of the remarkable Primrose Quartet, a group unusually, but fittingly named for its violist. Mr. Gingold was a beautiful violinist and musician, great concertmaster, and a wonderfully nurturing man. During the summer that he announced his retirement from The Cleveland Orchestra, I remember asking him one day what he would miss most. He sort of smiled and then answered quickly: “Playing the Eroica Symphony!” It was impossible for me to imagine then, that my musical journey would intersect with The Cleveland Orchestra in the way it has, so many decades later. MUSICAL LIVING

Our own lives moved onward. I was still in the upper school at Juilliard in the very early 1970s, but Bob had taken his first job as violist in the New College string quartet in Sarasota, Florida. Friends of mine suggested that “From My Life” be included at a Friday night concert at Alice Tully Hall, because hardly anyone at Juilliard knew the piece. Emboldened by the idea, I called Bob and asked him if he would come up from Florida to play it. He said he would if I could somehow pull it off. I had studied chamber music with Felix Galimir for a number of years and was close enough to him to ask if he could “make it happen.” He said he could, and that spring Bob came up, we rehearsed like mad for three days in my West End Avenue bedroom, and closed that Friday night concert with “From My Life.” Life continued forward. My wife, Carol Webb — a wonderful violinist who is a member of the New York Philharmonic Severance Hall 2015-16

About the Music

Joseph Gingold was a beautiful violinist and musician, great concertmaster, and a wonderfully nurturing man. When he announced his retirement from The Cleveland Orchestra, I remember asking him what he would miss most. He smiled and then answered quickly: “Playing the Eroica Symphony!”





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.

— and I together created a chamber music series in 1979, called For The Love Of Music. In 1980, our second season, we moved to Merkin Concert Hall near Lincoln Center for what was to be the first of nine seasons there. I invited Bob Vernon to be an Artist Member. And I then asked him if, for the very first concert at Merkin, he wanted to play “From My Life” to close the program. He enthusiastically said “yes,” and all of our paths crossed yet again with this magnificent quartet. (Some things had changed from the earlier New York performance. Bob stayed with us in a beautiful guest room in our first home in New Jersey, not buddied up with me in my student apartment on West End Avenue, and rehearsals were more comfortable and organized.) BECOMING A COMPOSER

Then life really moved us all forward! Over the next 15 years, my career was extremely busy with chamber music performances and free-lancing in New York. While I had composed a few pieces in high school, somewhere in the early 1990s the desire to write music surfaced again. My first concert piece from this came in 1997: Culmination for viola, orchestra, and synthesizers. As the years tumbled by, a number of my string-playing colleagues began asking me to write them chamber works and, over the ensuing years, I became busier and busier . . . as a composer. A New York Philharmonic commission came in 2004, then my first Cleveland Orchestra commission in 2005. A new destiny was clearly presenting itself. I had been toying with the concept of composing a work based on themes from “From My Life” since late in 2005, when my first commission with The Cleveland Orchestra was begun. That commission was for just one viola (it started out as a concerto but ended up as a one-movement Rhapsody). During the early stages, Bob Vernon and I talked at length about what that piece could be — and I even wrote some sketches based on two themes from the quartet. Eventually, however, I abandoned any concepts coming out of those sketches and created the Rhapsody that was premiered in Cleveland in April 2007.

Richard Sortomme and his wife, Carol Webb, from their time studying at Meadowmount.


A year and a half ago, when Bob called and told me I was about to receive my second commission from The Cleveland Orchestra, my joy-filled mind secretly began to entertain “From My Life” again. Bob and I again started talking about concepts and direction, but I Severance Hall 2015-16

About the Music


Was this not the time, more than 40 years after we had heard Smetana’s quartet first performed, to tell a new story “from our lives,” created from out of our years of knowing one another and working together? And to use the themes of Smetana’s wonderful quartet as the basis for a new work of celebration.


kept the notion of returning to “From My Life” to myself. Over the next two months, however, I couldn’t shake this fascination, maybe even an obsession, for wanting to compose on themes from “From My Life.” Then a bright light went off and I understood — Bob and I, and Carol, had performed this piece so many times, as youths and young adults, it meant so much to us. It was so much a part of our musical and personal history. And few violists on the planet could play it as wonderfully as Bob. I also knew that 2015-16 would be Bob Vernon’s last season with The Cleveland Orchestra. He would be officially retiring. Was this not the time to come around full circle, more than 40 years after we had heard it and first performed it, to tell a new story “from our lives,” created from out of our years of knowing one another and working together? And to use the themes of Smetana’s wonderful quartet — which tells the story of that composer’s life — as the basis of a new work of celebration, this new concerto for two violas that I was about to create for Bob and his stand partner, Lynne Ramsey? That was all I needed. I summoned up the courage, called Bob, and advanced my concept. He was polite and interested, but not totally “sold” on the idea. Not for any particularly negative reason, however. I just think it caught him off guard and he needed to process the concept I was proposing. It was maybe three weeks later before he embraced the idea. And then he was onboard, fully engaged. C R E AT I N G T H I S M U S I C

I had never before written a work based on another composer’s themes, so the process literally presented itself to me as I began and progressed. I love this string quartet, know it intimately, and decided that I should start by going through each movement and basically writing down all the thematic material and numbering each of them. That turned out to be a bigger job than I thought it would be because of the great wealth of melodic and rhythmic material in the quartet. It immediately became apparent to me that I would never be able to include all the material in the quartet and that I would have to include themes based on two criteria: 1.) themes that I thought were greatly important, and 2.) themes that I greatly loved. “From My Life” begins with the most iconic and virtuosic viola solo in all of the string quartet repertoire, instantly recAbout the Music

The Cleveland Orchestra

“From My Life” and The Cleveland Orchestra Bedřich Smetana composed his String Quartet No. 1 in 1876, just a couple years after he had lost all his hearing. His sudden deafness had made continuing work conducting at the Czech National Theater impossible. Hoping that his hearing might somehow return, and keeping in mind Beethoven’s continuing to compose despite hearing loss, Smetana forged onward as a composer. He imbued his quartet with the title “From My Life,” and in its four movements tried to summarize his life’s arc — from musical ideals, happy memories of youth, and romantic love, to

his strong belief in a national style of art and music for his Czech homeland. In addition to this week’s new concerto, there is yet another connection between the quartet and Cleveland. George Szell, prior to becoming music director of The Cleveland Orchestra, transcribed Smetana’s quartet for orchestra, and included it in his version on a number of concerts here in Cleveland (and on tour) — including his very first set of concerts at Severance Hall in 1944, as well as recording it in April 1949 . . . with Joseph Gingold as concertmaster.

ognizable. Obviously it had to be included. I made a decision to move along with themes from the quartet in chronological order, and instead of four movements, my work would be in two — my first movement would incorporate material from movements 1 & 2 of the quartet, and my second movement would incorporate material from movements 3 & 4. In addition, I decided to liberally “sprinkle” quotes from the iconic opening viola solo, in various forms, throughout my entire piece. Whereas the opening viola solo in the quartet is fast, brash, and impassioned, I chose to open with a very soft and reflective treatment of the melody. In fact, I intentionally withheld the playing by our soloists of the opening solo material in all its glory, fortissimo and Allegro Appassionato, until more than halfway through my second movement. The overall job that was presenting itself to me turned out to be more difficult than anticipated — how to do justice to Smetana with nods to his melodies and rhythms, while still doing justice to myself, to compose a work true to my musical style, heart, and intents. At certain points I thought I might be too close to the actual music of Smetana, while at other times I thought I might have drifted too far away, maybe composing too abstruse a treatment. How well I have achieved that balance can now be judged in performance at Severance Hall, with Bob and Lynne and their wonderful colleagues of The Cleveland Orchestra, led by maestro Christoph von Dohnányi. —Richard Sortomme

A walk-thru of the concerto’s movements can be found on pages 46-47.

October 2015

Severance Hall 2015-16

About the Music


Robert Vernon Principal Viola Chaillé H. and Richard B. Tullis Endowed Chair The Cleveland Orchestra


Robert Vernon has served as principal viola of The Cleveland Orchestra since 1976 and is the longest-tenured string principal in the Orchestra’s history. He has performed more than 4,500 concerts with the orchestra and has recorded more than 300 works — virtually the entire standard repertoire — with five different record labels, and has made more than 110 concert tours with The Cleveland Orchestra. As a soloist, Mr. Vernon has collaborated with many of the great conductors of our time, including Valery Gergiev, Pierre Boulez, Georg Solti, Simon Rattle, Lorin Maazel, Franz Welser-Möst, and Christoph von Dohnányi, among others. He has appeared as soloist in seventeen different works in over 120 concerts at home in Severance Hall, including three works commissioned for him by The Cleveland Orchestra. Mr. Vernon has appeared as soloist with The Cleveland Orchestra at Carnegie Hall multiple times, and has also had solo appearances at Lincoln Center for the Performing Arts, the John F. Kennedy Center for the Performing Arts, and Boston’s Symphony Hall. In addition, he has appeared as soloist with The Cleveland Orchestra on one European and two United States


tours. Solo recordings include Berlioz’s Harold in Italy, Mozart’s Sinfonia Concertante, Strauss’s Don Quixote, and Schoenfield’s Viola Concerto, as well as many chamber music recordings. In addition to his solo appearances with The Cleveland Orchestra, Mr. Vernon has appeared as soloist with various orchestras across the United States and has performed and taught at leading North American music festivals, including Marlboro, Aspen, Sarasota, Yellow Barn, La Jolla, Blossom, Ravinia, Tanglewood, Nevada, Strings, and Heifetz International, among others. He was invited by Georg Solti to lead the viola section for the Solti Project at Carnegie Hall and travelled to Switzerland with Solti for the World Orchestra for Peace on the 50th anniversary of the United Nations. A teacher as well as a performer, Mr. Vernon is a member of the faculty and co-chair of the viola department at the Cleveland Institute of Music. For the past seven years, he has also served as a member of the viola faculty at New York’s Juilliard School, from which he graduated with honors, having attended Juilliard with a full scholarship from the Martha Dwight Douglas Foundation. Mr. Vernon’s students hold positions as chamber musicians and teachers, and have won positions in more than 50 major orchestras in North America and Asia — including eight positions in the viola section of The Cleveland Orchestra. Mr. Vernon has given masterclasses throughout the United States, Canada, Europe, South America, and Asia, and is featured on an album study tool for violists in the Orchestra Pro Series on Summit Records. He has About the Soloists

The Cleveland Orchestra

also written a book on orchestral excerpts titled The Essential Orchestral Excerpts for Viola: Keys to a Successful Audition. The American Viola Society recently presented Robert Vernon with the Maurice W. Riley award for “Distinguished Contributions for the Viola through performance and teaching.� Robert Vernon and his wife, Valerie, have been married for 34 years and have three grown children.

Lynne Ramsey First Assistant Principal Viola Charles M. and Janet G. Kimball Endowed Chair The Cleveland Orchestra


Lynne Ramsey has performed as a soloist with The Cleveland Orchestra, Cleveland Chamber Symphony, Saint Paul Chamber Orchestra, and the North Carolina Symphony. She has been a member of The Cleveland Orchestra since January 1989. Ms. Ramsey currently teaches at the Cleveland Institute of Music and taught at Oberlin Conservatory from 1985 to 1997. She also serves as a viola coach for the Cleveland Orchestra Youth Orchestra. Before coming to Cleveland, she served as principal viola of the Saint Paul Chamber Orchestra and the Rochester Philharmonic. Active as a chamber musician, Ms. Ramsey is a member of the Amici Quartet. Severance Hall 2015-16

About the Soloists


Concerto for Two Violas on Themes from Smetana’s “From My Life” Quartet The composer has written the following walk-thru description of creating the concerto’s two movements based on the four movements of Smetana’s original quartet:

The quartet starts with a fortissimo secco (“short”) chord followed with eighth notes murmuring in an accompaniment for the imminently entering raucous viola solo. I start with a dramatic fortissimo chord in the brass with piano and double bass, but it is long, not secco, and makes a diminuendo. Then the quartet’s fast eighth notes are represented by slow quarter note murmurings, with hugely different harmonies, that create the “bed” upon which the two soloists enter in a staggered format. They quote the notes of the quartet melody but in a much slower and gentler fashion, summoning up melancholy rather than fury. The second theme of the first movement offered me a wonderful opportunity: quote it in a recognizable way, with different harmonic directions and a memorable orchestration. This is where I introduce the vibraphone with its haunting vibrato, along with muted strings and a few winds, creating a very gentle propulsion and caressing mood underneath the two soloists. The second movement of Smetana’s quartet, which is a fun-loving and romping polka, is introduced in episodic utterances by horn, trombone, and xylophone. The two solo violas quote this polka, accompanied by pizzicato and snap-pizzicato strings, occasional arco (bowed) cellos and violas, secco winds, castanets, and tambourine. The trio section of Smetana’s polka, as explained by Mr. Gingold to us while at Meadowmount so many decades before, portrays drunken soldiers wandering the streets late at night while on a leave. I had a lot of fun composing this section. There are no direct quotes from the quartet. Instead I use very obvious, slow portamenti (“sliding”) in all three trombones and in the solo violas, accompanied by rhythmically halting percussion portraying street bands and high, sliding violin harmonics to complete the late-night mood. The movement’s coda section romps, in fact runs wildly to its conclusion to end my first movement. The third movement of Smetana’s quartet begins with a beautiful and famous unaccompanied cello solo. My most exact quotes come from this movement. It contains some of the most gorgeous melodies in the entire quartet and I felt that I had to include them. This, however, led to a serious dilemma for me — at one point while quoting one of the themes, I felt I was too close to the original; not in terms of harmony or orchestra-


Movement by Movement

The Cleveland Orchestra

tion, but in the manner in which I was employing the Smetana melody. I was so concerned that I called a close friend, Robert Levin, the brilliant pianist, theoretician, and Mozart scholar. Bob helped me through my hesitation by telling me, simply, to be myself. “I know your music well and if you compose this section honestly, being true to yourself and from your heart, this will all be just fine. The truly great composers borrowed from each other all the time.” I continued on my journey, my own way. The fourth movement of the original quartet is a bubbling and dancing Vivace, and I introduced all of its melodies and rhythms right at the onset, liberally jumping from claves, woodblock, and marimba to various wind instruments. My work here employs recurring quotes of the quartet’s first movement opening viola solo more than in any other part of the piece, sitting alongside all of the various, quoted fourthmovement themes. It is quite free-form writing. The solo violas quote the Vivace opening three times, twice in C major and finally in E major, the original key of Smetana’s fourth movement. In this Vivace, I wanted to capture as much Eastern European flavor as I could, of a real folk character, so I included an accordion in my orchestration. Alongside it are portamento and pizzicato cellos, as well as pizzicato and staccato violins, tambourine, and bongos. This brings me to something I said much earlier: that I saved, withheld, the solo violas from playing the very opening of the quartet, the incredibly virtuosic and recognizable theme, until halfway through my second movement. When it finally does make its appearance, it follows a rather gentle reworking of this movement’s second theme with both soloists, accompanied only by harp arpeggios and vibraphone. It winds down, and winds down, and then WHAM! A shock, a jolt, that very first chord from the quartet with a slight rhythmic variation that interrupts the calm and serene mood we are in. The orchestration and harmonies are only nods to the original quartet’s, actually being very different, but the melody, here played in octaves between the two soloists, is unmistakable. FINALLY! The two soloists get to play this theme in all its glory, wailing away with all the emotion, passion, and abandon they can muster. At one point, I even marked the section “Allegro Vivo Tempestoso.” This new concerto then continues with that opening theme being tossed between the soloists and very large tutti (“all together”) exclamations of it, each utterance becoming shorter and more intense, until there is a coda that runs, precipitously, to the end. —Richard Sortomme October 2015

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Movement by Movement


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Symphony in C major (No. 9)* (“The Great”), D.944 composed 1825-26

At a Glance



SCHUBERT born January 31, 1797 Himmelpfortgrund, near Vienna died November 19, 1828 Vienna

Schubert wrote this C-major symphony* in 1825-26. There may have been a partial read-through at a rehearsal of the Austrian Philharmonic Society during Schubert’s lifetime, but no public performances were given. The score was rediscovered a decade after Schubert’s death, and the first performance (with cuts) was presented on March 21, 1839, in Leipzig, with Felix Mendelssohn conducting the Gewandhaus Orchestra. This symphony runs about 50 minutes in performance. Schubert scored

it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. The Cleveland Orchestra first performed Schubert’s “Great C-major” Symphony in January 1921, with Nikolai Sokoloff conducting. It has been performed on a regular basis since that time, with performances led by all of the Orchestra’s music directors. The most recent performances were led by Marek Janowski during the 2011-12 season and by David Afkham during the 2013 Blossom Music Festival.

About the Music F R A N Z S C H U B E R T began working on his first symphony in

1811, at the age of 14. That fragment (in D major, cataloged long after his death as D.2B) is only thirty measures long. Between 1813 and 1818, Schubert completed six symphonies in an idiom rather close to Haydn’s and Mozart’s style. Yet he grew increasingly dissatisfied with this scale and musical vocabulary, and began to think about the symphony on a grander scale, one that would reflect his response to Beethoven as well as manifest his own musical personality. But, apparently, Schubert did not find it easy to realize his more advanced ideas right away. He began a symphony in D major in 1818, another one (also in D major) in 1820, and a third one (in E major) in 1821. All three were left in various stages of incompleteness. The famous B-minor symphony of 1822, nicknamed the “Unfinished” long after his death, is therefore not the only unfinished symphony from this period of Schubert’s life. In 1824, he composed his Grand Duo for piano duet, D.812, which also may have been planned as a symphony or is a pia-

* The numbering of Schubert’s symphonies after No. 6 has caused some confusion in recent

decades, with updated versions of the official Deutsch catalog changing earlier numbering, then wavering and backtracking. For this reason, many orchestras now refer to the “Unfinished” and the “Great C-major” symphonies by their nicknames and Deutsch numbers alone. A majority of currently available recordings, however, designate the “Unfinished” as No. 8 and “The Great” as No. 9.

Severance Hall 2015-16

About the Music


After writing six youthful symphonies in the style of Mozart and Haydn, Schubert became dissatisfied with this ideal from an earlier era, and began to think about the symphony on a grander scale, one that would reflect his response to Beethoven as well as manifest his own musical personality.


no reduction of one. (Joseph Joachim orchestrated this work in 1855, and it has occasionally been performed by orchestras since that time.) All these attempts at writing a grand symphony finally bore fruit in an expansive symphony in C major. This work came to be nicknamed “The Great” to help distinguish it from Schubert’s earlier, shorter C-major work, Symphony No. 6, sometimes known as “The Little.” Great, in this case, is an appellation of majesty and grandeur, rather than the more typical modern English meaning related to quality. For many years, it was thought that the “Great C-major” dated from the final year of Schubert’s life. At the same time, scholars knew that Schubert had completed a symphony in 1825 during his stay in the towns of Gmunden and Gastein, but they assumed that this symphony was lost. In the late 1970s, musicologist Robert Winter proved that there was no missing work: the C-major symphony long known as “The Great” actually is the symphony written at Gmunden and Gastein in 1825. This re-dating is important because it shows that Schubert reached his highest maturity as a symphonic composer earlier than previously believed. In October 1826, Schubert presented the score of his new symphony to the Austrian Philharmonic Society, but the musicians objected to the unusual length of the symphony and its technical difficulty. The work was not performed during Schubert’s lifetime. Ten years after the composer’s death, Robert Schumann visited Vienna and met Schubert’s brother Ferdinand, who showed him the large number of unpublished works Schubert had left behind. Schumann returned to Leipzig with a copy of the symphony made by Ferdinand and, within a year, Felix Mendelssohn conducted a performance of it with the Gewandhaus Orchestra. Schumann wrote a glowing review — the review is a literary masterpiece in its own right — that immediately established the work’s status as a great classic. (During the last months of his life, Schubert had plans for another symphony, of which only sketches survive. From these sketches, several scholars, including Peter Gülke and Brian Newbould, have prepared varying performing editions of a “Symphony No. 10,” and Luciano Berio used the same material to create his orchestral work Rendering.)

About the Music

The Cleveland Orchestra


The first movement opens with an Andante introduction that is more substantial than most slow introductions. Its theme, first announced by two unaccompanied horns, undergoes considerable transformations before the gradual transition into the Allegro ma non troppo main section. We hear a lively first theme in C major in the strings (punctuated by the woodwinds), followed by a lyrical second melody played by oboes and bassoons, not in G major as the rules would have it but in the more poignant key of E minor. Then, just as G major has been reached and, according to classical formal expectations, it would be time for the exposition to end, the music takes a sudden detour into the unbelievably distant A-flat minor and the trombones play a new theme that is one of the movement’s high points. (It is also one of the earliest solo passages for trombones in a symphony.) The development section is relatively short, and the recapitulation mirrors the exposition rather closely. The extended coda ends with the return of the theme from the Andante, as a triumphant hymn played by the entire orchestra. The second movement, in A minor and with a tempo marking of Andante con moto, opens with one of Schubert’s great “wandering” melodies, played by the solo oboe. After it has been repeated several times, a second, more soothing melody emerges in the key of F major, as if a second character had entered the stage. The monolog of this second character starts pianissimo, grows louder and louder to a powerful fortissimo, and then becomes soft again. The opening melody then returns with the tiny addition of a soft fanfare rhythm played in turn by the first trumpet and the first horn. This detail is so small that it may almost be overlooked at first. Yet, as so often in Schubert, small details can have mighty consequences. Out of this little fanfare motif grows one of the most searing climaxes in the entire symphonic literature, culminating in a dissonant chord played with maximum intensity by the entire orchestra and followed by sudden silence. It is some time before the music “recovers” from this shock; the plucked string pizzicatos and the beautifully entwined melodic lines of the cellos and the first oboe “clear the air,” leading back to the second, and eventually to the first, theme of the movement. The third-movement Scherzo of this symphony is expanded into a short sonata form, with a distinct second theme, developSeverance Hall 2015-16

About the Music

This work came to be nicknamed “The Great” to help distinguish it from Schubert’s earlier, shorter C-major work (No. 6), sometimes known as “The Little.” Great, in this case, is an appellation of majesty and grandeur, rather than the more typical modern English meaning related to quality.


ment, and recapitulation. Its tone is close to many of Schubert’s German Dances, but the extremely refined orchestration and the innovative sequence of modulations make it especially unique. The movement’s Trio section is a splendid Viennese waltz in A major, whose sophistication is hidden behind the façade of an engaging melody. As always, the Trio is followed by a full repeat of the Scherzo. The fourth-movement Finale is a touchstone of the string players’ stamina and rhythmic precision. It is a virtual perpetuum mobile that lasts more than 10 minutes in a single celebration of joy and happiness. The lively triplet notes of the first theme recede into the accompaniment as the second theme begins, and they remain present throughout except when they are replaced by an equally taxing dotted-note figure. The movement’s development section introduces a new theme in the clarinets that bears a striking resemblance to Beethoven’s Ninth (premiered in Vienna the year before Schubert wrote this symphony). The new theme gives rise to a stirring development in which the trombones again play a leading role. The recapitulation starts in the “wrong” key (Eflat major instead of C). The work’s home tonality of C major is reached only after a number of new tonal adventures, and is called into question a few more times, particularly in the movement’s Coda, which begins in a quite mysterious way before it reaches the concluding fanfares.

—Peter Laki © 2015 Copyright © Musical Arts Association

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

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About the Music

The Cleveland Orchestra

Schubert, painted in 1825 by Wilhelm August Rieder

The greatest misfortune of the wise man and the greatest unhappiness of the fool are based upon convention. 窶認ranz Schubert

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)


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New DVD Brahms cycle set to be released in United States in December Following their critically-acclaimed releases of Anton Bruckner symphonies with Clasart, Franz Welser-Möst and The Cleveland Orchestra are releasing an all-Brahms DVD box set this fall. The set features all four symphonies, Piano Concertos Nos. 1 and 2 with Yefim Bronfman and the Violin Concerto with Julia Fischer, and selected other orchestral works. The set was released in Europe in October and will be released in the United States in early December. All performances were recorded live — at Severance Hall, during a BBC Proms concert at Royal Albert Hall in London, and in Vienna’s Musikverein. The set will be available in the Cleveland Orchestra Store in December.

Cleveland Orchestra offers holiday gift ideas, including gift certificates and more . . . Music and the holidays are a perfect match. The Cleveland Orchestra Store offers a host of gift ideas for the holiday season, including recordings and Cleveland Orchestra logo apparel. In addition, Cleveland Orchestra Gift Certificates and Blossom Lawn Ticket Books for the Orchestra’s 2016 Blossom Music Festival are available through the Severance Hall Ticket Office by calling 216-231-1111 or 800-686-1141, or online at

Severance Hall 2015-16

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

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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


Ready to hit the high notes. Did you know CLE offers nonstop service to a medley of more than 35 markets including Boston, Cancun, Miami, Los Angeles, Phoenix, Toronto? Now that’s music to our ears.

Everything takes off at

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

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

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Cleveland Orchestra News


Musicians Emeritus of




















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

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

Severance Hall 2015-16

Cleveland Orchestra News


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 November 5, 2015. GIFTS OF $5 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture Mr. and Mrs. Alexander M. Cutler 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 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 (3)

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 Mr. and Mrs. David J. Carpenter 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.

Severance Hall 2015-16

Bernie and Nancy Karr 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

Sound for the Centennial Campaign

Raymond T. and Katherine S. Sawyer Mrs. David Seidenfeld 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 (4)

* deceased


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.

Remember how it felt . . . ? . . . to hear The Cleveland Orchestra for the first time? Yoash and Sharon Wiener believe there is nothing better than listening to beautiful music played by a world-class orchestra in an internationallyrenowned concert hall just a short drive from your home. And they’ve been enjoying The Cleveland Orchestra for nearly half a century. In addition to being long-time season subscribers to The Cleveland Orchestra at both Severance Hall and each summer’s Blossom Music Festival, Yoash and Sharon are supporting the Orchestra’s future through the gift annuity program. In exchange for their gift, Yoash and Sharon receive income for life and a charitable tax deduction. “Our very first date was 46 years ago at a Cleveland Orchestra performance in Severance Hall. The date was great and so was the music, and The Cleveland Orchestra has been a central part of our lives together,” says Yoash. “Participating in the gift annuity program is our way of thanking the Orchestra for all it has meant to us.”



To find out how you can create a gift annuity and join Yoash and Sharon in supporting The Cleveland Orchestra’s future, call Bridget Mundy, Director of Legacy Giving, at 216-231-8006.


H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of members is current as of October 2015. For more information, please call Bridget Mundy, Director of Legacy Giving, at 216-231-8006. Lois A. Aaron Leonard Abrams Shuree Abrams* Gay Cull Addicott Stanley* and Hope Adelstein Sylvia K. Adler* Gerald O. Allen* Norman and Marjorie* Allison George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Ruth Balombin* Mrs. Louis W. Barany* D. Robert and Kathleen L. Barber* Jack L. Barnhart Margaret B. and Henry T.* Barratt Norma E. Battes* Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Bertram H. Behrens* Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Marie-HÊlène Bernard Ila M. Berry Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Dr. and Mrs. Harold B. Bilsky* Robert E. and Jean Bingham* Mr. William P. Blair III Madeline & Dennis Block Trust Fund Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome* Borstein Mr. and Mrs.* Otis H. Bowden II Ruth Turvy Bowman* Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Richard F. Brezic* Robert W. Briggs Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Ronald and Isabelle Brown* Mr. and Mrs. Clark E. Bruner* Mr. and Mrs.* Harvey Buchanan Rita W. Buchanan*

Severance Hall 2015-16

Joan and Gene* Buehler Gretchen L. Burmeister Stanley and Honnie Busch* Milan and Jeanne* Busta Mrs. Noah L. Butkin* Mr. and Mrs. William C. Butler Minna S. Buxbaum* Gregory and Karen Cada Roberta R. Calderwood* Jean S. Calhoun* Harry and Marjorie M. Carlson Janice L. Carlson Dr.* and Mrs. Roland D. Carlson Mr. and Mrs. George P. Carmer* Barbara A. Chambers, D. Ed. Arthur L. Charni* Ellen Wade Chinn* NancyBell Coe Kenneth S. and Deborah G. Cohen Ralph M. and Mardy R.* Cohen Victor J. and Ellen E. Cohn Robert and Jean* Conrad Mr. and Mrs. Gerald A. Conway James P. and Catherine E. Conway* Rudolph R. Cook* The Honorable Colleen Conway Cooney and Mr. John Cooney John D. and Mary D.* Corry Dr. and Mrs. Frederick S. Cross* Martha Wood Cubberley Dr. William S. Cumming* In Memory of Walter C. and Marion J. Curtis William and Anna Jean Cushwa Alexander M. and Sarah S. Cutler Howard Cutson Mr.* and Mrs. Don C. Dangler Mr. and Mrs. Howard J. Danzinger Barbara Ann Davis Carol J. Davis Charles and Mary Ann Davis William E. and Gloria P. Dean, Jr. Mary Kay DeGrandis and Edward J. Donnelly Neeltje-Anne DeKoster Carolyn L. Dessin William R. Dew* Mrs. Armand J. DiLellio James A. Dingus, Jr. Dr. and Mrs. Richard C. Distad Maureen A. Doerner and Geoffrey T. White Henry and Mary Doll Gerald and Ruth Dombcik Barbara Sterk Domski

Leagcy Givimg

Mr.* and Mrs. Roland W. Donnem Nancy E. and Richard M. Dotson Mrs. John Drollinger Drs. Paul M.* and Renate H. Duchesneau George* and Becky Dunn Warren and Zoann Dusenbury* Mr. and Mrs. Robert Duvin Paul and Peggy Edenburn Robert and Anne Eiben* Mr. and Mrs. Alfred M. Eich, Jr. Mr. and Mrs. Ramon Elias* Roger B. Ellsworth Oliver and Mary Emerson Lois Marsh Epp Patricia Esposito Margaret S. Estill* Dr. Wilma McVey Evans* C. Gordon and Kathleen A.* Ewers Patricia J. Factor Susan L. Faulder* Dr. and Mrs. Frederick Fennell* Mrs. Mildred Fiening Gloria and Irving B. Fine Jules and Lena Flock* Joan Alice Ford Dr. and Mrs. William E. Forsythe* Mr.* and Mrs. Ralph E. Fountain Gil and Elle Frey Arthur and Deanna Friedman Mr.* and Mrs. Edward H. Frost Dawn Full Henry S. Fusner* Dr. Stephen and Nancy Gage Charles and Marguerite C. Galanie* Barbara and Peter Galvin Mr. and Mrs. Steven B. Garfunkel Donald* and Lois Gaynor Barbara P. Geismer* Albert I. and Norma C. Geller Carl E. Gennett* Dr. Saul Genuth John H.* and Ellen P. Gerber Frank and Louise Gerlak Dr. James E. Gibbs In Memory of Roger N. Gifford Dr. Anita P. Gilger* S. Bradley Gillaugh Mr.* and Mrs. Robert M. Ginn Fred and Holly Glock Ronald* and Carol Godes William H. Goff Mr. and Mrs. Henry J. Goodman John and Ann Gosky Mrs. Joseph B. Govan* LISTING CONTINUES



H E R I TAGE S O C I ET Y Harry and Joyce Graham Elaine Harris Green Tom and Gretchen Green Anna Zak Greenfield Richard and Ann Gridley Nancy Hancock Griffith David E.* and Jane J. Griffiths David G. Griffiths* Ms. Hetty Griffiths* Margaret R. Griffiths* Bev and Bob Grimm Judd and Zetta Gross* Candy and Brent Grover Mrs. Jerome E. Grover* Thomas J.* and Judith Fay Gruber Mr. and Mrs. David H. Gunning Mr. and Mrs. William E. Gunton Joseph E. Guttman* Mrs. John A Hadden Jr. Richard* and Mary Louise Hahn James J. Hamilton Kathleen E. Hancock Douglas Peace Handyside* Holsey Gates Handyside Norman C. and Donna L. Harbert Mary Jane Hartwell William L.* and Lucille L. Hassler Peter and Gloria Hastings* Mrs. Henry Hatch (Robin Hitchcock) Virginia and George Havens Gary D. Helgesen Clyde J. Henry, Jr. Ms. M. Diane Henry Wayne and Prudence Heritage Rice Hershey* T. K. and Faye A. Heston Gretchen L. Hickok Mr. and Mrs.* Daniel R. High Edwin R. and Mary C. Hill* Ruth Hirshman-von Baeyer* Mr. and Mrs. D. Craig Hitchcock* Bruce F. Hodgson Goldie Grace Hoffman* Mary V. Hoffman Feite F. Hofman MD* Mrs. Barthold M. Holdstein Leonard* and Lee Ann Holstein David and Nancy Hooker Gertrude S. Hornung* Patience Cameron Hoskins Elizabeth Hosmer Dorothy Humel Hovorka Dr. Christine A. Hudak, Mr. Marc F. Cymes Dr. Randal N. Huff Mrs. Marguerite B. Humphrey Adria D. Humphreys* Ann E. Humphreys and Jayne E. Sisson Karen S. Hunt Mr. and Mrs. G. Richard Hunter Ruth F. Ihde Mr. and Mrs. Jonathan E. Ingersoll Pamela and Scott Isquick Mr. and Mrs.* Clifford J. Isroff Mr. and Mrs. Donald M. Jack, Jr. Carol S. Jacobs Milton* and Jodith Janes


Alyce M. Jarr* Jerry and Martha Jarrett* Merritt Johnquest Allan V. Johnson E. Anne Johnson Nancy Kurfess Johnson, M.D. Paul and Lucille Jones* Mrs. R. Stanley Jones* William R. Joseph* David and Gloria Kahan Julian and Etole Kahan Bernie and Nancy Karr Drs. Julian* and Aileen Kassen Milton and Donna* Katz Patricia and Walter Kelley* Bruce and Eleanor Kendrick Malcolm E. Kenney Mr. and Mrs. Douglas A. Kern Nancy H. Kiefer* Charles M. and Janet G. Kimball* James and Gay* Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Julian H. and Emily W. Klein* Thea Klestadt* Fred* and Judith Klotzman Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn* Elizabeth Davis Kondorossy* Mr. Clayton Koppes Mr.* and Mrs. James G. Kotapish, Sr. LaVeda Kovar* Margery A. Kowalski Bruce G. Kriete* Mr. and Mrs. Gregory G. Kruszka Thomas* and Barbara Kuby Eleanor and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Dr. Joan P. Lambros* Mrs. Carolyn Lampl Marjorie M. Lamport Louis Lane Kenneth M. Lapine and Rose E. Mills Charles K. László and Maureen O’Neill-László Anthony T. and Patricia Lauria Charles and Josephine Robson Leamy Fund Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Judy D. Levendula Gerda Levine Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs.* Thomas A. Liederbach Rollin and Leda Linderman Ruth S. Link Dr. and Mrs. William K. Littman Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Ann B. and Robert R. Lucas* Linda and Saul Ludwig

Legacy Giving

Kate Lunsford Mr. and Mrs. Thomas E. Lynch* Patricia MacDonald Alex and Carol Machaskee Jerry Maddox Mrs. H. Stephen Madsen Alice D. Malone Mr. and Mrs. Donald Malpass, Jr. Lucille Harris Mann* Mr. and Mrs. Richard A. Manuel* Clement P. Marion Mr. Wilbur J. Markstrom* Dr. and Mrs. Sanford E. Marovitz David C.* and Elizabeth F. Marsh Duane and Joan Marsh* Florence Marsh, Ph.D.* Mr. and Mrs. Anthony M. Martincic Kathryn A. Mates Dr. Lee Maxwell and Michael M. Prunty Alexander and Marianna* McAfee Nancy B. McCormack Mr. William C. McCoy Marguerite H. McGrath* Dorothy R. McLean Jim and Alice Mecredy* James and Virginia Meil Mr. and Mrs.* Robert F. Meyerson Brenda Clark Mikota Christine Gitlin Miles Chuck and Chris Miller Edith and Ted* Miller Leo Minter, Jr. Mr. and Mrs. William A. Mitchell Robert L. Moncrief Ms. Beth E. Mooney Beryl and Irv Moore Ann Jones Morgan Mr. and Mrs. Stanley L. Morgan* George and Carole Morris Mr. and Mrs. Thomas W. Morris Mr. and Mrs.* Donald W. Morrison Joan R. Mortimer, PhD Florence B. Moss Susan B. Murphy Dr. and Mrs. Clyde L. Nash, Jr Deborah L. Neale Mrs. Ruth Neides* David and Judith Newell Dr.* and Mrs. S. Thomas Niccolls Steve Norris and Emily Gonzales Russell H. Nyland* Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong Aurel Fowler-Ostendorf* Mr. J. William and Dr. Suzanne Palmer R. Neil Fisher and Ronald J. Parks Nancy* and W. Stuver Parry Mrs. John G. Pegg* Dr.* and Mrs. Donald Pensiero Mary Charlotte Peters Mr. and Mrs. Peter Pfouts* Janet K. Phillips* Florence KZ Pollack Julia and Larry Pollock Victor and Louise Preslan Mrs. Robert E. Price*

The Cleveland Orchestra


H E R I TAGE S O C I ET Y Lois S. and Stanley M. Proctor* Mr. David C. Prugh* Leonard and Heddy Rabe M. Neal Rains Mr. George B. Ramsayer Joe L. and Alice Randles* Mrs. Alfred M. Rankin, Sr. Mrs. Theodore H. Rautenberg* James and Donna Reid Mrs. Hyatt Reitman* Mrs. Louise Nash Robbins* Dr. Larry J.B.* and Barbara S. Robinson Margaret B. Robinson Dwight W. Robinson Janice and Roger Robinson Amy and Ken Rogat Margaret B. Babyak* and Phillip J. Roscoe Audra and George Rose Dr. Eugene and Mrs. Jacqueline* Ross Helen Weil Ross* Robert and Margo Roth Marjorie A. Rott Howard and Laurel Rowen Professor Alan Miles Ruben and Judge Betty Willis Ruben Florence Brewster Rutter Mr. James L. Ryhal, Jr. Renee Sabreen Marjorie Bell Sachs Dr. Vernon E. Sackman and Ms. Marguerite Patton Sue Sahli Mr. and Mrs. James A. Saks Mr. and Mrs. Sam J. SanFilipo* Larry J. Santon Stanford and Jean B. Sarlson Sanford Saul Family James Dalton Saunders Patricia J. Sawvel Ray and Kit Sawyer Richard Saxton* Alice R. Sayre In Memory of Hyman and Becky Schandler Robert Scherrer Sandra J. Schlub Ms. Marian Schluembach Robert and Betty Schmiermund Mr.* and Mrs. Richard M. Schneider Lynn A. Schreiber* Jeanette L. Schroeder Frank Schultz Carol* and Albert Schupp Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Oliver E. and Meredith M. Seikel Russell Seitz* Reverend Sandra Selby Eric Sellen Thomas and Ann Sepúlveda Elsa Shackleton* B. Kathleen Shamp Jill Semko Shane David Shank Dr. and Mrs. Daniel J. Shapiro*

Severance Hall 2015-16

Helen and Fred D. Shapiro Norine W. Sharp Norma Gudin Shaw Elizabeth Carroll Shearer* Dr. and Mrs. William C. Sheldon John F. Shelley and Patricia Burgess* Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin Reverend and Mrs. Malcolm K. Shields Rosalyn and George Sievila Mr.* and Mrs. David L. Simon Dr.* and Mrs. John A. Sims Naomi G. and Edwin Z. Singer Lauretta Sinkosky H. Scott Sippel and Clark T. Kurtz Ellen J. Skinner Ralph* and Phyllis Skufca Janet Hickok Slade Alden D. and Ellen D. Smith* Drs. Charles Kent Smith and Patricia Moore Smith Mr.* and Mrs. Ward Smith M. Isabel Smith* Sandra and Richey Smith Nathan Snader* Sterling A. and Verdabelle Spaulding* Barbara J. Stanford and Vincent T. Lombardo George R. and Mary B. Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Willard D. Steck* Saundra K. Stemen Merle Stern Dr. Myron Bud and Helene* Stern Mr. and Mrs. John M. Stickney Nora and Harrison Stine* Mr. and Mrs. Stanley M. Stone Mr.* and Mrs. James P. Storer Ralph E. and Barbara N. String The Irving Sunshine Family Vernette M. Super* Mr. and Mrs. Herbert J. Swanson* In Memory of Marjory Swartzbaugh Dr. Elizabeth Swenson Lewis Swingley* Lorraine S. Szabo Norman V. Tagliaferri Susan and Andrew Talton* Frank E. Taplin, Jr.* Charles H. Teare* and Clifford K. Kern* Mr. Ronald E. Teare Nancy and Lee Tenenbaum Pauline Thesmacher* Dr. and Mrs. Friedrich Thiel Mrs. William D. Tibbetts* Mr. and Mrs. William M. Toneff Marlene and Joe Toot Alleyne C. Toppin Janice and Leonard Tower Dorothy Ann Turick Mr. and Mrs. Robert A. Urban* Robert and Marti Vagi Robert A. Valente J. Paxton Van Sweringen

Legacy Giving

Mary Louise and Don VanDyke Elliot Veinerman* Nicholas J. Velloney* Steven Vivarronda Hon. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L. Wasserbauer Charles D. Waters* Reverend Thomas L. Weber Etta Ruth Weigl* Lucile Weingartner Eunice Podis Weiskopf* Max W. Wendel William Wendling and Lynne Woodman Marilyn J. White Robert and Marjorie Widmer* Yoash and Sharon Wiener Alan H. and Marilyn M. Wilde Elizabeth L. Wilkinson* Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Miriam L. and Tyrus W.* Wilson Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Mary Yee Emma Jane Yoho, M.D. Libby M. Yunger Dr. Norman Zaworski* William L. and Joan H. Ziegler* Carmela Catalano Zoltoski* Roy J. Zook* Anonymous (106)

The lotus blossom is the symbol of the Heritage Society. It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall.


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

Local Connections. Global Influence. 44 Offices in 21 Countries


W E L S E R - M Ö ST M U S I C


Severance Hall

Friday evening, November 27, 2015, at 8:00 p.m. Saturday evening, November 28, 2015, at 8:00 p.m. Sunday afternoon, November 29, 2015, at 3:00 p.m.

Lionel Bringuier, conductor CLAUDE DEBUSSY (1862-1918)


2015-16 SE A SON

Prelude to the Afternoon of a Faun Concerto for English Horn world premiere performances Commissioned by the Oberlin Conservatory of Music

1. Fantasia 2. Aubade 3. Hommage à C-AD ROBERT WALTERS, english horn


Symphonie fantastique, Opus 14 Episode in the Life of an Artist 1. 2. 3. 4. 5.

Reveries: Largo — Passions: Allegro agitato e appassionato assai A Ball: Waltz: Allegro non troppo In the Country: Adagio March to the Scaffold: Allegretto non troppo Dream of a Witches’ Sabbath: Larghetto — Allegro

These concerts are sponsored by Squire Patton Boggs (US) LLP, a Cleveland Orchestra Partner in Excellence. Robert Walters’s solo appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Virginia M. and Newman T. Halvorson. The concert will end on Friday and Saturday at about 9:50 p.m. and at approximately 4:50 p.m. on Sunday afternoon. CLEVELAND ORCHESTRA RADIO BROADCASTS

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

Severance Hall 2015-16

Concert Program — Week 6


OBERLIN CONSERVATORY OF MUSIC Congratulations to Robert Walters for his world-premiere performance of Bernard Rands’ English Horn Concerto, commissioned by the Oberlin Conservatory in honor of its 150th anniversary.

Thank you for joining in today’s celebration, and we hope you will join us at other Oberlin signature events throughout our anniversary year. Learn more at Robert Walters, Professor of Oboe & English Horn, Oberlin Conservatory of Music


Oberlin’s rich history with The Cleveland Orchestra dates back to the orchestra’s founding in 1918 and includes unforgettable performances on campus every year since— more than 200 and counting.



Prelude& Premiere, Dreams& Demons

T H I S W E E K E N D ’ S C O N C E R T S feature three works from across two centuries of thought-provoking musical innovation. The program opens with Claude Debussy’s first great masterpiece, Prelude to the Afternoon of a Faun. At its premiere in 1894, the languorous and doleful lines of its melodies and harmonies announced that Debussy wanted to take music in new directions — an impression still discernible to our modern ears, even in today’s world of complex musical varieties, crosscurrents, and everyday soundtracks. Next comes a world premiere, whose composer, Bernard Rands, very much admits Debussy’s influence Léon Bakst’s drawing of the on his own view of music — and a third movement that faun, for a famous 1912 ballet is even labelled in “homage to Debussy.” Written exversion of Debussy’s work. pressly for The Cleveland Orchestra’s solo english horn player, Robert Walters, as a commission from the Oberlin Conservatory of Music, to celebrate the Conservatory’s 150th anniversary and to highlight Mr. Walters’s service as both a member of the Orchestra and of Oberlin’s esteemed faculty. To close the evening, guest conductor Lionel Bringuier returns to French innovation, in the form of Hector Berlioz’s wild-eyed Symphonie fantastique. This work from 1830 broke with many traditions, depicting the love-sick composer’s delusions and drug-induced nightmares over romantic fixation gone . . . too far. That Berlioz eventually married the woman of his dreams — and that their marriage turned out to be a reality-television disaster ending in divorce — does nothing to dispel the energy and imagination inherent in this great fantasy of a symphony. Dancing and a witches’ sabbath, and death on the scaffold unfold before us through Berlioz’s genius for drama, orchestration, musical color, and emotional impact. —Eric Sellen

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Introducing the Concerts




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Lionel Bringuier 2015-16 marks French conductor Lionel Bringuier’s second season as music director of Zurich’s Tonhalle Orchestra. He made his Cleveland Orchestra debut in July 2009 and most recently appeared here in April 2015. Mr. Bringuier has led many of the world’s esteemed orchestras, including the orchestras of Atlanta, Los Angeles, New York, and San Francisco, as well as Amsterdam’s Royal Concertgebouw Orchestra, Bavarian Radio Symphony Orchestra, BBC Symphony Orchestra, City of Birmingham Symphony Orchestra, Dresden State Orchestra, Helsinki Philharmonic, Israel Philharmonic, Leipzig Gewandhaus Orchestra, Munich Philharmonic, National Orchestra of Spain, Orchestre Philharmonique de Radio France, Rotterdam Philharmonic Orchestra, and the Swedish Radio Symphony Orchestra. In recent seasons, Lionel Bringuier has conducted Bizet’s Carmen in Spain and at the Royal Swedish Opera, and Massenet’s Werther at Milan’s Teatro alla Scala. As an advocate of contemporary music, he has premiered works by Pedro Amaral, Louis Andriessen, John Corigliano, MarcAndré Dalbavie, Magnus Lindberg, Kaija Saariaho, Esa-Pekka Salonen, Rebecca Saunders, and Steven Stucky, among others. Mr. Bringuier’s growing discography includes works by Chopin, Vincent d’Indy, Roussel, and Saint-Saëns for Decca Classics and Erato. He records with the Tonhalle Orchestra for Deutsche Grammophon; together they are in the midst of a Ravel cycle for future release.

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Guest Conductor

Born in Nice in 1986, Lionel Bringuier began his musical studies at the Academy of Nice at age five. At thirteen, he was admitted to the Paris Conservatoire to study cello with Philippe Muller and conducting with Zsolt Nagy; in 2004, he graduated with honors diplomas in both. Mr. Bringuier has also participated in masterclasses with Peter Eötvös and Janos Fürst. Lionel Bringuier’s honors include first prizes in the 2005 Besançon Young Conductors Competition, Monaco’s Médaille d’or à l’unanimité avec les felicitations du jury à l’Académie Prince Rainier III, and a Janáček Orchestra competition. He has also received the médaille d’or from the Lord Mayor of Nice and prizes from the Cziffra Foundation and Swiss Foundation Langart. Mr. Bringuier served as conductor of L’Orchestre de Bretagne begining in 2005, and, from 2009 to 2012, served as music director of the Orquesta Sinfónica de Castilla y León in Valladolid, Spain. He was also a member of the conducting staff of the Los Angeles Philharmonic Orchestra for six years. For more information, please visit


Prelude to the Afternoon of a Faun [Prélude à l’Après-midi d’un Faune] composed 1892-94

At a Glance



DEBUSSY born August 22, 1862 St. Germain-en-Laye, France died March 25, 1918 Paris

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Debussy began writing his Prélude à l’après-midi d’un faune (“Prelude to the Afternoon of a Faun”) in 1892 and completed it in the summer of 1894. His original plan to compose a Prélude, Interlude, and Paraphrase finale — in which Mallarmé’s original verses, according to the poet’s wishes, would be recited by an actor — was abandoned, and a projected performance in Brussels (planned by Eugène Ysaÿe to introduce the young Debussy’s music) did not come about. The first performance took place in Paris on December 22, 1894, conducted by Gustave Doret.

This work runs about 10 minutes in performance. Debussy scored it for 3 flutes (the first including extensive solo passages), 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 harps, antique cymbals, and strings. The Cleveland Orchestra first performed Prelude to the Afternoon of a Faun in October 1919, under the direction of Nikolai Sokoloff. It has been frequently programmed ever since, most recently during the 2010-11 season in performances led by Franz Welser-Möst in Cleveland, Miami, at New York’s Carnegie Hall, and in Japan and Korea.

About the Music T H I S W A S D E B U S S Y ’ S first masterpiece and in many ways

can be seen as the first masterpiece of 20th-century music — even though it predated the new century by six years. It is hard to comprehend how a mere ten minutes of music for small orchestra can serve as a foundation stone for so much that came after. But whenever we hear this music, its magic is immediately apparent, as it was indeed to its first audience in 1894. It is even harder to realize that these few pages, with their mysteriously improvisatory air, took Debussy two years of patient toil to put together. He was still relatively unknown in Paris and had not written anything close to the visionary step into the unknown that the Prelude represents. In a sense, Debussy was simply writing a symphonic poem on a literary text, as Strauss, for example, had treated Lenau’s Don Juan a few years before. But Mallarmé’s L’Après-midi d’un faune was no conventional narrative poem, and it left no scope for the direct matching of music and words. Debussy’s intention was not to parallel the poem’s text, but to decorate it. In the note given out at the first performance, he explained: “The music of the Prelude is a very free illustration of Stéphane Mallarmé’s fine poem. It is not meant to be a synthesis About the Music


of it but rather a series of settings across which pass the desires and dreams of the faun in the heat of the afternoon.” Many symphonic poems had merely evoked a tableau or a mood, but Debussy not only avoided any precision of character and action, he allowed his music to develop in an altogether free way. From the very first bar, the music starts and evolves without clear-cut notions of thematic balance or tonal precision. The famous flute solo with which the music begins sounds like an improvisation, not a theme, and its musical key is far from clear. Each time this melody comes back, its shape and its harmonic background are different, like a continuous variation. Once the flute solo has run its course, the clarinet, over a sharp horn chord, moves into a different atmosphere, laden with the whole-tone scales that Debussy had already marked as his own. When the oboe takes melodic charge, the warmth of the music grows from within. The middle section, over throbbing string chords, betrays the faun’s unmistakable passion, and the flute returns transfigured for the faun’s languid intoxication in the forest heat, interrupted by impulsive little movements and sudden charges of feeling. The closing pages have an epic dimension, as if a curtain is being closed on a whole world of poetic mystery. The orchestration throughout is of extraordinary delicacy, with the multiple division of the strings (Debussy’s preferred string sound) with solo violin and solo cello for added sweetness, and two harps. No heavy brass is needed, no timpani. The only percussion is the pair of miniature cymbals whose spare notes are like sparkles of light in the forest.

—Hugh Macdonald © 2015

Although not written as a ballet, Debussy’s Prelude to the Afternoon of a Faun was famously staged in 1912 by the Ballets Russes in Paris. Shown are two views of dancer and choreographer Vaslav Nijinsky as the faun. Scenery and costumes by Léon Bakst.


About the Music

The Cleveland Orchestra

Concerto for English Horn composed 2014-15

At a Glance


Rands composed this concerto in 2014-15, creating it especially for soloist Robert Walters and The Cleveland Orchestra on a commission from the Oberlin Conservatory of Music, as part of the Conservatory’s commemorations of the 150th anniversary of its founding. The concerto is receiving its world premiere performances with this weekend’s concerts at Severance Hall. This work runs about 25 minutes in performance. Rands scored it for an orchestra of 3 flutes (third doubling alto flute), 2 oboes, 3 clari-

born March 2, 1934 Sheffield, England

About the Music



lives in Chicago, Illinois

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nets (third doubling bass clarinet), 2 bassoons, 4 horns, 3 trumpets, 2 trombones, bass trombone, tuba, harp, percussion (triangle, cymbals, tambourine, temple block, bongos, tam-tam, tom-toms, tubular bells, marimba, glockenspiel, vibraphone), timpani, and strings, plus the solo english horn. The Cleveland Orchestra has previously performed Rands’s Canzoni in 1996, conducted by Christoph von Dohnányi, and Tambourin Suite No. 2 in 1999 under Jahja Ling.

R O B E R T W A LT E R S F I R S T B E C A M E aware of Bernard Rands

as a composer while studying at the Curtis Institute of Music in Philadelphia, just when Rands was serving a seven-year stint as composer-in-residence with the Philadelphia Orchestra. At the time, Walters even played some of Rands’s orchestral works as a substitute player with Philadelphia. “I remember hearing and liking his music back then,” recalls Walters. “It is imaginative and expressive, with fantastic orchestration. From the way he was writing, with the whole orchestra in his mind, he seemed exactly like what a master composer should be.” Twenty-and-some years later, Walters performed a chamber work by Rands at Oberlin, which Rands heard. And then Walters recorded another work (Pilgrim Soul, for english horn and two violins) written by Rands’s wife, composer Augusta Read Thomas. “It was sometime after that recording that Rands suggested he’d like to write a concerto for me,” Walters relates. “It seemed an interesting idea — I was excited that he wanted to write something for me.” Meanwhile, other factors were at work, in what Walters calls a “tale of two deans.” The first was David Stull, dean of the Oberlin Conservatory, 2004-2013. “He was intrigued with how best to feature having a faculty member who was also a member of The Cleveland Orchestra,” says Walters. “He’d heard me play other concertos with the Orchestra, and we talked about the idea of commissioning a new work to be premiered by the Orchestra.” About the Music


But Stull left Oberlin to become dean of the San Francisco Conservatory. The next dean of the story is Andrea Kalyn, who’d been associate dean under Stull and was thus well aware of the idea to create a new work for Walters. “It was her idea to take that commissioning concept and make it part of the 150th anniversary celebration for the Oberlin Conservatory,” Walters notes. “I am greatly honored to be part of such a project, with the Orchestra and for the Conservatory.” O N C E T H E C O M M I S S I O N W A S S E T , Rands and Walters met

RELATIVES: Oboe (left) and english horn (right), cousins within the oboe family.

and talked in great detail about their hopes and expectations from one another. “Bernard wanted to discuss my strengths as a player,” says Walters. “He is a very inquisitive composer. I like the higher register, so he wanted to write for that. I also hoped that he would treat the english horn the way it is so often used in an orchestra, which is as a melodic instrument.” “We discussed Robert’s particular attitude toward the english horn,” says Rands. “And his own idiosyncratic fingering for it, and his timbral and virtuosic preferences. Throughout my career, I have always valued this kind of collaboration with an instrumentalist, of talking and coming to understand one another, and to create a work together.” “The concerto he has written feels very natural, like it was written for me,” says Walters. “But there are also places where it stretches beyond the norm for english horn. It’s not the mournful and sad sounds that you might traditionally expect. In the first movement especially, there is more flash and energy.” “The idea that the english horn must be ponderous is a myth,” says Rands. “In the hands of a great player like Robert Walters, it can be just as agile as an oboe, and with even greater range. Robert plays the high end so effortlessly, and with such . . . panache.” “Bernard thinks orchestrally,” adds Walters. “And it is interesting what he does with the instruments around the soloist, what he writes for my colleagues in The Cleveland Orchestra to play. Ideas come back, but are treated differently. Bernard uses percussion fascinatingly, and the harp. It’s going to be a fascinating piece to hear in performance.” O F H I S O W N M U S I C , Bernard Rands prefers not to talk too directly

about it ahead of time. “I don’t believe in saying too much, or directing the listener through a new piece,” says Rands. “I prefer that the listener take, as John Lennon said, a ‘magical mystery tour’ on that first hearing.” “I can say that the context for this new concerto, surrounded by Debussy and Berlioz in these Cleveland Orchestra concerts, is nearly


About the Music

The Cleveland Orchestra

A N OTE A B O U T T H E E N G LI S H H O R N Most of the world (outside the United States) knows this instrument as the cor anglais, which translates from French as “English horn.” The French version, however, most likely followed earlier scores that named it in Italian, corno inglese. This may have been a faulty translation or transliteration of the German engel-

lisches horn, meaning “angelic horn.” Or it may come from anglé, meaning “angled,” referring to the instrument’s reed sitting at an angle compared to the regular oboe. At the very least, the instrument’s origins have little if anything to do with England. And, like a number of other nouns that have derived

from geographical names (china, danish, hamburger, french toast) or technology (internet, website), there is ongoing disagreement over whether the word English should be capitalized in english horn, or not. Cleveland Orchestra program books have chosen to lowercase the term english horn since 1990.

perfect for my music,” adds Rands. “I grew up with modernism, but I have always believed that new music, if it is to last, must be heard in the context of mainstream repertoire.” “It is a concerto in three movements,” Rands continues, “with the title of the third movement — Hommage à C-AD — referring to Claude-Achille Debussy. The fact that it is in three movements might suggest a customary form, but none of the three movements follow traditional formal constructs. Over a period of sixty years, I have evolved for myself an aesthetic based on the legacy that Debussy bequeathed to us. For me, he is the father of modernism — although that statement is not to minimize the contributions of Schoenberg and the entire Second Viennese School.” Talking about his approach to music and this new piece, Rands continues: “I feel I have come to terms with Debussy’s harmonic logic, his often non-linear unfolding of musical ideas, his unique use of the orchestra, and his formal integrity, which is not accomplished by Beethovenian logic, but through subtle relationships between the modules of his music. Things may not follow a predictable outcome, but they nonetheless feel pre-ordained. And everything adds up, sometimes unexpectedly, to a very convincing totality. If you agree with Debussy’s approach, and in many ways as a composer I do, then you must invent a new form for each piece or every movement.” “Yes, the third movement is an homage to Debussy, though I never quote him. I don’t believe in quoting other music. But I think those familiar with Debussy’s Jeux, his ‘Games,’ will hear the allusions, which are oblique, and as much textual or of-an-essence rather than quoting or mirroring.” “Robert Walters has such great ability and technique and intelligence, I am truly looking forward to hearing this work myself, live and in person — and with the virtuosic Cleveland Orchestra.” —Eric Sellen Severance Hall 2015-16

About the Music


Robert Walters


Solo English Horn Samuel C. and Bernette K. Jaffe Endowed Chair The Cleveland Orchestra

Robert Walters joined The Cleveland Orchestra as solo english horn in 2004. He made his concerto debut with the Orchestra in 2006 performing Ned Rorem’s English Horn Concerto, and has subsequently played Peteris Vasks’s English Horn Concerto and, on the oboe d’amore, Bach’s Concerto in A major, BWV1055. This week’s premiere of Bernard Rands’s Concerto for English Horn was commissioned for Mr. Walters as part of the Oberlin College Conservatory of Music’s 150th anniversary celebrations. Mr. Walters has also appeared as guest soloist with the Chicago Symphony Orchestra, Cincinnati Symphony Orchestra, Orpheus Chamber Orchestra, Beijing Radio Symphony, China Film Philharmonic, Qingdao Symphony Orchestra, New York Chamber Soloists, Philadelphia Chamber Orchestra, Phoenix Symphony, Redlands Symphony, and most recently at Festival Mozaic in San Luis Obispo, California. Prior to coming to Cleveland, Mr. Walters was the solo english horn player of the Metropolitan Opera Orchestra (200004) and with the Cincinnati Symphony Orchestra (1997-2000). As an oboist, he performed and recorded frequently with the Philadelphia Orchestra and was active as a freelance musician in New York. He


was also a frequent performer with James Levine and the Met Chamber Ensemble at Carnegie Hall. Robert Walters spent five summers with the Marlboro Music Festival and has toured as a member of Musicians from Marlboro. He has also appeared at the festivals of Banff, Bard, St. Bart’s, Caramoor, Grand Teton, Spoleto, and the Music Academy of the West. His annual series of masterclasses at Hidden Valley Music Seminar in Carmel, California, attracts top players from across the country. He has served as an artist faculty member of the Aspen Music Festival and School and, for the past eleven years, at the Colorado College Summer Music Festival. He is a frequent coach with the New World Symphony and at Rice University’s Shepherd School of Music. A fourth-generation college music professor, Robert Walters has taught at the Oberlin Conservatory of Music since 2006, and was appointed professor of oboe and english horn in 2010. His students have secured solo positions in leading orchestras across the United States. A native of Los Angeles and raised in Lincoln, Nebraska, Robert Walters is a graduate of the Curtis Institute of Music and Columbia University, where he holds an MFA degree in poetry. He studied with Richard Woodhams (principal oboe, Philadelphia Orchestra) and the late John Mack (principal oboe 1965-2001, Cleveland Orchestra). Outside of music, Mr. Walters enjoys his Oberlin book group, running, yoga, and reading and writing poetry. He resides in both Oberlin and Shaker Heights with his wife, jewelry designer and arts administrator Grace Chin, and their two daughters, Saya and Kira. Soloist

The Cleveland Orchestra

About the Composer B E RNARD R AN D S

Through a catalog of more than a hundred published works and many recordings, Bernard Rands is established as a major figure in contemporary music. His work Canti del Sole, premiered by Paul Sperry, Zubin Mehta, and the New York Philharmonic, won the 1984 Pulitzer Prize in music. His large orchestral suite Le Tambourin won the 1986 Kennedy Center Friedheim Award. His work Canti d’Amor, recorded by Chanticleer, won a Grammy Award in 2000. Born in Sheffield, England, in 1934, his 80th birthday was marked internationally by upward of one hundred concert performances, and radio and television broadcasts of his music. Rands emigrated to the United States in 1975, becoming an American citizen in 1983. He was inducted into the American Academy of Arts and Letters in 2004 and into the Illinois Lincoln Academy in 2014. His works have been widely programmed, by conductors including Daniel Barenboim, Pierre Boulez, Luciano Berio, Andrew Davis, Christoph Eschenbach, Lorin Maazel, Neville Marriner, Zubin Mehta, Seiji Ozawa, Helmuth Rilling, Esa Pekka Salonen, Wolfgang Sawallisch, Gunther Schuller, Gerard Schwarz, Leonard Slatkin, Robert Spano, Christoph von Dohnányi, and David Zinman, among many others. Rands served as composer-in-residence with the Philadelphia Orchestra for seven years, 1989-95, serving under Riccardo Muti. Recent commissions have come from the Suntory Concert Hall in Tokyo, the New York Philharmonic, Carnegie Hall, Boston Symphony Orchestra, Cincinnati Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, BBC Symphony Orchestra, Washington D.C.’s National Symphony Orchestra, Internationale Bach Akademie, Eastman Wind Ensemble, Chicago Symphony Orchestra, and the Oberlin Conservatory of Music. Many chamber works have resulted from commissions from major ensembles and festivals from around the world. His chamber opera, Belladonna, was commissioned by the Aspen Music Festival and School for its 50th anniversary in 1999. His full-scale opera, Vincent, with libretto by J.D. McClatchy, was commissioned by Indiana University Opera School and produced there in 2011 to critical acclaim. Rands’s recent large-scale work, Concerto for Piano and Orchestra, was commissioned by the Boston Symphony Orchestra to celebrate the composer’s 80th birthday and received its premiere performances in Boston in April 2014 with Jonathan Biss soloist, conducted by Robert Spano. The European preSeverance Hall 2015-16

About the Composer: Bernard Rands


miere performances were in May 2014, with the Leipzig Gewandhaus Orchestra, again featuring Biss and conducted by Andrew Davis, followed by a performance at the BBC Proms in London with the BBC Scottish Orchestra conducted by Markus Stenz. In June 2014, the BBC’s three-day Focus Festival was entirely dedicated to Rands’s music, with many orchestral and chamber concerts presented live and broadcast throughout the European Union. Since his Concerto for Piano, Rands has composed Folk Songs, which was commissioned by the Tanglewood Festival, where it received its premiere in July 2014, and the new Concerto for English Horn commissioned by the Oberlin Conservatory of Music, being given its world premiere with this week’s Cleveland Orchestra concerts. In 2013, Bridge Records released an album of fifty years of Rands’s piano music titled Bernard Rands — Piano Music 1960-2010, performed by Ursula Oppens and Robert Levin. A dedicated and passionate teacher, Rands has served as guest composer at many international festivals and as composer-in-residence at the Aspen and Tanglewood festivals. Rands is the Walter Bigelow Rosen Professor Emeritus at Harvard. He has received honorary degrees from several American and European universities. Rands lives in Chicago with his wife, composer Augusta Read Thomas.



About the Composer: Bernard Rands 1.855.GO.STORM

The Cleveland Orchestra

Symphonie fantastique, Opus 14 Episode in the Life of an Artist composed 1830

At a Glance



BERLIOZ born December 11, 1803 La Côte-Saint-André, Isère, France died March 8, 1869 Paris

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Berlioz composed his Symphonie fantastique during the spring of 1830. The work’s premiere was given at the Paris Conservatoire on December 5, 1830, conducted by François-Antoine Habeneck. This symphony runs about 50 minutes in performance. Berlioz scored it for 2 flutes (second doubling piccolo), 2 oboes (second doubling english horn), 2 clarinets, 4 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, 2 ophicleides (an older brass instrument now replaced by tuba), timpani, percussion (cymbals, bass drum, snare drum, and bells), 2 harps, and strings. The Cleveland Orchestra first

performed Berlioz’s Symphonie fantastique in April 1924, under the direction of Nikolai Sokoloff. It has been programmed frequently on the Orchestra’s concerts since that time, and was most recently heard during the 2012-13 season, when Franz Welser-Möst led performances in Cleveland, Indiana, and Florida. The Cleveland Orchestra has recorded the Symphonie fantastique five times: in 1941 with Artur Rodzinski, in 1977 and 1982 with Lorin Maazel, in 1989 with Christoph von Dohnányi, and in 1996 with Pierre Boulez (winning a 1998 Grammy Award for best orchestral performance).

About the Music W H E N A N E W Y O R K N E W S P A P E R in 1868 described the

Symphonie fantastique as “a nightmare set to music,” it was meant to be an insult. Yet this was exactly what Berlioz intended — not that the critic should have a miserable evening, but that he should grasp, even dimly, the nightmarish agonies of the composer’s own experience. Of Berlioz’s real suffering there can be no doubt. One has only to read the letters of 1829 (when Berlioz was twenty-five years old) to glimpse the torment of a composer whose mind was bursting with musical ideas and whose heart was bleeding. The object of his passion was an Anglo-Irish actress, Harriet Smithson, whom Berlioz had seen on the stage two years before in the roles of Juliet and Ophelia. Since then, he had seen her only at a distance, while of his very existence she was still quite unaware. How was this unreal passion to be expressed? His first thought, naturally enough, was a dramatic Shakespearean work, perhaps a Romeo and Juliet, for which he composed, it seems, a few movements. He then set several of Thomas Moore’s Irish Melodies to music, which at least evoked the land About the Music


BERLIOZ’S BELOVED A portrait of the Anglo- Irish actress Harriet Smithson, and a portrayal of her onstage as Ophelia in Shakespeare’s Hamlet. Berlioz became infatuated with Smithson when he saw her perform in Paris. They eventually married, but were never very happy together.


of her birth. Once he had encountered Beethoven’s symphonies, especially the Eroica (which impressed him just as strongly as Shakespeare), he liked the idea of writing a Beethovenian symphony — except that the customary triumphant ending had no counterpart in his own world. The dilemma was resolved early in 1830 when he was informed, evidently by a new aspirant to the role of lover, that Harriet was a typical actress, free and easy with her favors and in no way worthy of the exalted passion that consumed him day and night. Now, he suddenly realized, he could represent this dramatic episode in his life as a symphony, with a demonic, orgiastic finale in which both he and she are condemned to hell. The symphony was speedily written down in little more than three months and performed for the first time later that year. It became a main item in Berlioz’s many concerts in the 1830s, for each of which he issued a printed program explaining the symphony’s narrative. Although the symphony is explicitly about an “artist” and his “beloved,” it is partially about Romeo and Juliet, and even more obviously about himself and Harriet, as everyone probably knew. Even after Berlioz had, by a strange irony, met and married Harriet Smithson three years later, the symphony’s dramatic program remained. There can be few parallels to this extraordinary tale of love blooming in real life after it had been violently repudiated and exorcized in a work of art. All five movements contain a single recurrent musical theme, the idée fixe (“obsession”), which represents the artist’s love, and is transformed according to the context in which the artist finds his beloved. After a slow introduction (“Reveries”), which depicts “the sickness of the soul, the flux of passion, the unaccountable joys and sorrows he experienced before he saw his beloved,” the idée fixe is heard as the main theme of the opening movement’s main Allegro section (“Passions”), with violins and flute lightly accompanied by sputtering lower strings. The About the Music

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surge of passion is aptly described in the volcanic first movement, although the movement ends in an unexpected picture of religious consolation. In the second movement (“A Ball”), the artist glimpses the beloved in a crowd of whirling dancers. In the third movement (“Scene in the Country”), two shepherds call to each other on their pipes, with the music depicting the stillness of a summer evening in the country, the artist’s passionate melancholy, the wind caressing the trees, and the agitation caused by the beloved’s appearance. At the end, the lone shepherd’s pipe is answered only by the All five movements contain rumble of distant thunder. a single recurrent musical In his despair, the artist has poisoned theme, the idée fixe (“obseshis beloved and is condemned to death. sion”), which represents the The fourth movement is the “March to the Scaffold,” as he is led to the guillotine artist’s love, and is transbefore the raucous jeers of the crowd. In formed musically according his last moments, he sees the beloved’s to the context in which the image (the idée fixe in the clarinet’s most artist finds his beloved. piercing range) before the blade falls. Finally, in the fifth movement (“Dream of a Witches’ Sabbath”), the artist finds himself a spectator at a sinister gathering of spectres and weird, mocking monsters of every kind. The idée fixe appears, horribly distorted, bells toll, the religious Dies irae motif is coarsely intoned by tubas (originally written for ophicleide, a lower-pitched keyed bugle created in 1817) and bassoons, and the witches’ rounddance gathers momentum. Eventually the dance and the Dies irae join together and the symphony ends in a riot of brilliant orchestral sound. The Symphonie fantastique has remained to this day a classic document of the Romantic imagination and a great virtuoso piece for orchestra. Berlioz’s grasp of the orchestra’s potential charge was uncanny at so early an age. His writing for brass and percussion is particularly novel, and in the second movement he later added a part for solo cornet to evoke the ballroom music of his day. That movement also introduced harps into the symphony orchestra for the first time, while the finale calls for bells and the squeaky high-pitched E-flat clarinet. The ophicleide (usually replaced in modern performances by tuba) was then the normal bass brass instrument in France, relished by Berlioz for its coarse tone in such demonic contexts as this. Severance Hall 2015-16

About the Music


It is curious to reflect that much of the symphony’s musical material was drawn from earlier compositions. The main melody of the third movement, for example, was recently discovered to have been the main theme of a movement in Berlioz’s early Messe solennelle, and the March to the Scaffold was rescued from an unperformed opera, Les Francs-juges. In addition, it is probable that the ballroom music was originally meant for his aborted Roméo et Juliette. If so, its new function in the symphony is strikingly apt since Romeo’s first glimpse of Juliet at the Capulets’ ball is exactly how Berlioz imagined the artist seeing his unhappy, doomed “beloved” — and not unlike his own experience on first seeing Harriet perform on stage. When Berlioz finally composed a symphony on Romeo and Juliet nearly ten years later, his ballroom music was already taken, so he had to write a new, and even more spectacular ball. The Symphonie fantastique remains the most potent example in music of the Romantic spirit in full flood, melding music, literature, poetry, imagination, and personal experience into a sensational drama — a drama of the senses and of uninhibited emotion, bursting with life.

—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.

Hector Berlioz, in a drawing from 1831 (above), lived in an era when satirical caricatures were in style, and he was often lampooned in the press. Showing a cannon in the orchestra, for instance, poked fun at his use of large (and loud) orchestration with unusual instruments


About the Music

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Berlioz, painted by Gustave Courbet in 1850.

Love cannot express the idea of music, while music may give an idea of love. —Hector Berlioz

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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)


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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 Friends of The Cleveland Orchestra

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

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The Cleveland Orchestra

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Severance Hall 2015-16


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

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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 Sandy Wile and Susan Namen 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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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



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.

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Never miss a note.

2015-16 SE ASON

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Cleveland Public Theatreâ&#x20AC;&#x2122;s STEP Education Program Photo by Steve Wagner

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

Your Investment: Strengthening Community Visit to learn more.

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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



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

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



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 8:00 p.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 109


2015-16 SE A SON





Wednesday December 16 at 7:30 p.m. THE CLEVELAND ORCHESTRA Brett Mitchell, conductor Cleveland Orchestra Youth Chorus

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

BRONFMAN PLAYS BEETHOVEN Thursday January 7 at 7:30 p.m. Friday January 8 at 11:00 a.m. <18s Saturday January 9 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor <HÀP%URQIPDQ, piano Cleveland Orchestra Chorus *

A Cleveland favorite, Yefim Bronfman’s commanding technique and exceptional lyrical gifts have won consistent critical acclaim from audiences worldwide. This all-Beethoven concert features Bronfman playing the dashing Third Piano Concerto and joining in for the Choral Fantasy. Beethoven’s String Quartet No. 15 is presented, played by the exquisite strings of The Cleveland Orchestra. Sponsored by BakerHostetler * Not appearing on Friday morning matinee concert.

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 19-21, 27-29 Concerts  

Nov. 19-21 Schubert's Great C-Major Symphony Nov. 27-29 Berlioz Symphonie Fantastique