The Cleveland Orchestra January 7-9/14-15 Concerts

2015-16 SE ASON

WINTER SEASON

SEVERANCE HALL

Concert Program: January 7, 8, 9 ALL-BEETHOVEN — page 31 Concert Program: January 14, 15 SHOSTAKOVICH FOURTH SYMPHONY — page 63 INTRODUCING ANDRÉ GREMILLET— page 7 FROM THE PRESIDENT— page 10

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TA B L E

OF

CONTENTS

THIS WEEK CLEVELAND

WEEKS

ORCHESTRA

8 AN D 9

Upfront

PAGE

THE

Introducing André Gremillet . . . . . . . . . . . . . . . . . . . . 7 From the President . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . .

The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . .

Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . .

About Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . .

WEEK

2015-16 SE ASON

13 18 26 94

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COVER PHOTOGRAPHY BY ROGER MASTROIANNI

Copyright © 2016 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

Program book advertising is sold through Live Publishing Company at 216-721-1800

ALL BEETHOVEN Program: January 7, 8, 9 . . . . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 BEETHOVEN

String Quartet No. 15 . . . . . . . . . . . . . . . . . . . . . . . 35 Piano Concerto No. 3 . . . . . . . . . . . . . . . . . . . . . . . . 39 Choral Fantasy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 23 Guest Soloist: Yefim Bronfman . . . . . . . . . . . . . . . . . 41 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . . . 49 NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . . . . 50 WEEK

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SHOSTAKOVICH FOURTH SYMPHONY Program: January 14, 15 . . . . . . . . . . . . . . . . . . . . 63 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 65

NATIONAL ENDOWMENT FOR THE ARTS

The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.

The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio.

The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

ABRAHAMSEN

let me tell you . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

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

SHOSTAKOVICH

Symphony No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

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

Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 23 Guest Soloist: Barbara Hannigan . . . . . . . . . . . . . . . 70

Support

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.

Sound for the Centennial . . . . . . . . . . . . . . . . . . . 56-57 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . 59-61 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81-92

Concerts & Calendars Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

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Table of Contents

The Cleveland Orchestra

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Q&A

Introducing André Gremillet

With the new year, The Cleveland Orchestra welcomes new executive director André Gremillet, who most recently headed the Melbourne Symphony in Australia. Prior to that, he had led the New Jersey Symphony Orchestra and the Casavant Frères organ company in Québec, Canada. He is a conservatory-trained pianist, holding a master's degree from Mannes College of Music and an MBA from McGill University.

What are your first impressions of Cleveland and Northeast Ohio?

Very positive! Everyone is making me feel really welcome and I am eager to learn more about the city and all of Northeast Ohio. As the one who is new here, I believe it is up to me to reach out, listen and learn, so that I truly understand what is important to this community and what makes it such a unique place. I think it is an intriguing city and region, very refined culturally, and clearly ambitious for the future and new opportunities. It feels like it is an exciting time to be here.

What are you going to miss most about Melbourne?

I think I will miss the food scene the most, especially the Asian offerings. And I will miss the outdoor olympic-size swimming pool that I would swim in all year round — because you can do that in Melbourne, swim outdoors, even in the middle of winter. Having said that, I did miss cross-country skiing while in Melbourne, which I now plan on resuming.

How did you meet your wife?

My wife is Ginette. She has a French first name, but she is very much an American. In fact, both our fathers were immigrants from France to North America.

Severance Hall 2015-16

We met in New Jersey, when I was the head of the New Jersey Symphony, and we have a son Olivier who was born in Australia, and who just turned three in December. Ginette was seven months pregnant when we moved to Australia, which tells you a little something about the great partner she is. She is looking forward to moving here in a few weeks, and to getting involved in her new community. She has also been very impressed by how welcoming Clevelanders have been with her during her two visits here. Professionally, Ginette has worked as an event producer, for both for-profit and non-profit organizations.

Have you chosen where you’re going to live in Northeast Ohio?

Not yet. There are a lot of great neighborhoods to choose from. We are, perhaps, leaning towards the Heights.

Somewhere close to Severance Hall, because I intend to spend a lot of time at Severance Hall, and it would be nice not to spend very much time commuting.

You’ve worked in commercial business, in the non-profit world, and you’re a musician. How do all those fit together?

I can’t imagine for myself doing this job without either the artistic or the business training. Understanding the

Meet the Executive Director

7

delicate balance between the artistic goals and the business imperatives is crucial and is one of the aspects that makes this job both exciting and challenging.

I didn’t go to business school to work in the for-profit world. My goal was always to run a great orchestra, or music festival. But the business discipline that I acquired running a for-profit company I find invaluable. When you are managing a shareholder's or owner's money, you learn quickly about the impact of your decisions on the bottomline, and about the importance of being fiscally responsible in order to achieve your goals. And I think that has served me really well, now that I have to make these decisions for a much greater purpose and goal, acting as steward of an invaluable asset for the overall community.

When and why did you first fall in love with classical music?

I remember as a child hearing a recording of Beethoven’s Third Piano Concerto with Wilhelm Kempff, and I believe with the conductor Ferdinand Leitner, an old Deutsche Grammophon recording with the Berlin Philharmonic. And during the slow movement of that C-minor concerto, I remember thinking “this is it, this is what I love.”

What was your first memory or awareness of The Cleveland Orchestra?

As a really young kid, I remember hearing Cleveland's weekly broadcasts, carried by the CBC. I have a more recent memory, when I studied in New York with pianist Grant Johannesen after he had been president of the Cleveland Institute of Music. I remember him lending me a private recording of a rehearsal with Robert Casadesus and George Szell, of a Mozart piano concerto. And it gave such a vivid sense of

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what this orchestra was capable of, and of its incredible work ethic. Having said that, I believe this orchestra has only gotten better since that time, and the artistic partnership between the Orchestra and Franz WelserMöst is unique in the world.

Please talk about your time with the New Jersey Symphony Orchestra . . .

New Jersey was my first orchestra, so it was a big learning experience for me. It is a good example of where my for-profit and business training was crucial. When I came onboard, the New Jersey Symphony was in a very difficult position financially. What made it possible for the orchestra to be in much better shape when I left five years later? First, we were all united, working as a board, staff, and musicians on solving the issues together. That unity of purpose really made the difference. Second, we were always focused on the mission of the orchestra, and made decisions accordingly.

And the third thing, New Jersey is where I discovered that this — running an orchestra — was right for me. And I loved every part of it, whether on the artistic side, or the fundraising side, or working with the community. You often may want to do something, and you think you are going to like it, obviously that’s why I got into this business, but until you’ve actually done it, you don’t know.

And about running an organ company . . .

The pipe organ world is a very small world, but a very dynamic one. First off, I had the pleasure of discovering the organ music repertoire itself — which I did not really know. On the administrative side, this was my first company. I trained with the outgoing president one-on-one for two years, basically in the same way that the artisans were trained in the shop, in the apprenticeship system that goes back all the

Meet the Executive Director

The Cleveland Orchestra

André and Ginette

ous and supportive communities anywhere, across the entire world. The people here built this great orchestra and have kept it going because it matters. Great music and quality community programming and music education, all these matter to this community. The Cleveland Orchestra is one of the best orchestras anywhere. With that greatness, the next steps forward are to ensure the Orchestra’s sustainability and stability and financial strength, which involves turning vision and dreams into reality, both artistically and in terms of the funding required. way to medieval times. This is how organ builders have been trained throughout history. There was an incredible sense of history at the company, not unlike what I know is the case with The Cleveland Orchestra.

It is always interesting to be part of a company with a very proud past, and to discover how to use that past not to hold you back, but to help you look forward. Times change, and change must be embraced, but there are also lessons to learn from the past.

What we need are the best ideas — new ideas, or old ideas whose time has come.

Favorite composer? Or piece?

My answer really changes from month to month, often based on what I am listening to professionally. Most recently, it has been Mahler Three — following the incredible performance I heard in Vienna in November with Franz and The Cleveland Orchestra. As someone who plays the piano, other favorites include Albéniz’s Iberia and works by Chopin and Debussy.

As someone new to town, talk about what you see as The Cleveland Orchestra’s greatest opportunities and challenges?

I think there is no doubt that Cleveland's biggest strength is the people of this community. This is one of the most generSeverance Hall 2015-16

How will you know you’re doing the right things for The Cleveland Orchestra?

That the Orchestra continues to grow artistically. That we talk about the things that really matter. That what we do as an orchestra matters to the community. That we continue having an impact on people — on more people, and on young people.

Hobbies? Interests outside of music?

I love history, reading in general, good food, and I love travelling. Also, exercising is important to me. I am a runner, and I like to swim.

Favorite foods?

French food, which is no surprise given my heritage — as well as Asian food, Thai in particular. I also have a sweet tooth, having grown up with good pastries. My father is a pastry chef.

What books are on your nightstand?

I’m just finishing Margaret MacMillan’s The War that Ended Peace: The Road to 1914, about the run-up to the First World War. Favorite television/streaming indulgence?

House of Cards — talk about indulgence! And Homeland.

Meet the Executive Director

9

From the President This message is adapted from President Dennis W. LaBarre’s printed and spoken remarks in December 2015 at The Cleveland Orchestra’s Annual Meeting. The Orchestra's 2014-15 Annual Report can be read online at clevelandorchestra.com by clicking on “Publications” in the “News & Updates” section.

B Y M A N Y M E A S U R E S , the past year was marked by great achievement and continu-

ing evolution for The Cleveland Orchestra, artistically and financially. These included: again achieving a balanced budget, for the 2014-15 fiscal year, with the tremendous support of the Northeast Ohio community. record ticket revenue, earned not from higher prices but through sales of more tickets to more concertgoers. record donated revenue, given by thousands of generous supporters committed to our success. Annual Fund support in particular reached a record $11.1 million, an increase of $1 million in just two years. the passage, in November 2015, of Cuyahoga County Issue 8 — ensuring public funding for cultural organizations for another ten years — again demonstrating this region’s strong support for the arts. a new three-year agreement with the musicians of the Orchestra, ensuring stability and continuity at the heart of everything we do.

With the expanding generosity and enthusiastic support of the people of Northeast Ohio, The Cleveland Orchestra is touching more lives than ever before.

Strengthening Northeast Ohio through Excellence Onstage and in the Community Under the leadership of Franz Welser-Möst, our musicians continue to reach new heights of musical excellence. And their collective artistry receives praise locally, nationally, and around the world. In everything we do, the Orchestra continues to harness the power of music to expand audiences and connect with the community we all call home.

Each year, the Orchestra reaches tens of thousands of community residents through music education programs and community presentations and partnerships.

Each year, new community engagement initiatives, such as our “At Home” neighborhood residency program, join together with long-held traditions of free public concerts for the community.

Each year, more than 60,000 students participate in the Orchestra’s music education programs — in schools and at Severance Hall.

Each year, over 40,000 concertgoers age 25 and under attend Cleveland Orchestra concerts — double the number of young people attending just four years ago.

Sound for Centennial Campaign Addresses Future Challenges and Opportunities However, recent strong successes are tempered by ongoing longterm financial challenges. We are addressing many of these challenges through the Sound for the Centennial Campaign, to build from our current stability to a new level of strength and resilience for the institution’s finances.

CONTINUES

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From the President

The Cleveland Orchestra

CO N T I N U E D F R O M P R E V I O US PAG E

The ultimate success of the Centennial Campaign rests on four components: 1.) an increased Endowment, 2.) growing Annual Fund support, 3.) a pipeline of Legacy Giving commitments, and 4.) the evolution of Special Fundraising (from a necessity, to fill the budget gap as the Endowment grows, to become sustainable giving in support of key artistic and community initiatives).

As we prepare to announce the Centennial Campaign’s final phases, our most critical goal is substantial ongoing growth of the Orchestra’s Endowment. Today, the Endowment stands at $182 million — up from a low of $97 million following the financial crisis in 2008. Further expanding the Endowment will ease pressure on specific fundraising each year while providing new opportunities for the institution’s continued growth and service for our community.

All of the components of the Campaign are underway and seeing steady progress. Yet achieving the Campaign’s goals will require the committed participation of the entire Northeast Ohio community. Hundreds of dedicated leaders throughout Cleveland have already made a Centennial Campaign gift or multi-year pledge. A listing of these generous contributors can be found on pages 56-57 of this program book We will soon be asking everyone who loves this Orchestra to consider adding your name to the Orchestra’s honor rolls. Every gift, of any size, matters. From a one-time Annual Fund donation to a longer-term Endowment or Legacy gift. The support of the Northeast Ohio community is what fuels The Cleveland Orchestra’s greatness, in music and in harnessing the power of music for the place we all call home.

Achieving Financial Strength and Resilience Together This plan for long-term financial strength and resilience is necessary in order to sustain our musical excellence and service to the community for the long haul.

But the road ahead is not easy or assured. Although we have achieved a balanced budget in recent years, we must be mindful that financial strength is something planned for and built, and there is more work to be done. We must not only say and firmly believe that we are all working toward a set of shared goals. We must demonstrate by the way we approach our challenges that we are all in this together.

Everyone — board, musicians, and staff management — must continue working together to sustain this Orchestra’s musical excellence and make our artform ever more relevant to our community and to more diverse and younger audiences.

We envision a brilliant future of music for our community. Together, with continued steady progress and with the support of people from across this region, we will continue to achieve great things for the Northeast Ohio community.

Launching the Orchestra’s Second Century To set the Orchestra on a foundation of strength for its second century requires great effort from all who love this institution. With musical excellence as our guidepost, and the Northeast Ohio community as our source of inspiration and support, let us muster our collective energy for the road ahead. To continue building new audiences for the future. To continue commanding strong attendance for our concerts at home and abroad. To carry the Sound for the Centennial Campaign to fruition. To cross the border from stable to secure — and never look back.

—DENNIS W. LaBARRE

Severance Hall 2015-16

From the President

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BAROQUE ORCHESTRA jeannette sorrell

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photo: pho o: Hi Hilar laryy Scot Scottt

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T H E M U S I C AL ARTS ASSOCIATION

as of January 2016

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival OFFICERS AND EXECUTIVE COMMITTEE 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

RESIDENT TRUS TEES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi 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 Betsy Juliano Jean C. Kalberer Nancy F. Keithley

Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer TE Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Milton S. Maltz Nancy W. McCann Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. Oatey TE Katherine T. O’Neill The Honorable John D. Ong Rich Paul 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 Meredith Smith Weil 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)

Richard C. Gridley (SC) Loren W. Hershey (DC)

Herbert Kloiber (Germany)

TRUS TEES EX-OFFICIO 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 TEE S FO R L IFE Robert W. Gillespie Gay Cull Addicott Dorothy Humel Hovorka Oliver F. Emerson* Robert P. Madison Allen H. Ford PA S T PRESIDENT S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

TE Trustee Emeritus

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. * deceased 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

André Gremillet, Executive Director

Musical Arts Association

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The Cleveland Orchestra

OBERLIN COLLEGE & CONSERVATORY

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AS IT NEARS THE CENTENNIAL OF

its founding in 2018, The Cleveland Orchestra is undergoing a new transformation and renaissance. Under the leadership of Franz Welser-Möst, entering his fourteenth year as the ensemble’s music director with the 2015-16 season, The Cleveland Orchestra is acknowledged among the world’s handful of best orchestras. With Welser-Möst, the ensemble’s musicians, board of directors, staff, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence, to renew its focus on fully serving the communities where it performs through concerts, engagement, and music education, to develop the youngest audience of any orchestra, to build on its tradition of community support and financial strength, and to move forward into the Orchestra’s next century with an unshakeable commitment to innovation and a fearless pursuit of success.

The Cleveland Orchestra divides its time each year across concert seasons at home in Cleveland’s Severance Hall and each summer at Blossom Music Center.

Additional portions of the year are devoted to touring and to a series of innovative and intensive performance residencies.

These include an annual set of concerts and education programs and partnerships in Florida, a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s Lincoln Center Festival, and at Indiana University.

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Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestra-conductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and radio and internet broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences experience music as a living language that grows and evolves with each new generation. Recent performances with Baroque specialists, recording projects of varying repertoire and in different locations, fruitful re-examinations and juxtapositions of the standard repertoire, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world.

Serving the Community. Programs for students and community engagement activities have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities, and have more recently been extended to its touring and residencies. All are being created to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique “At Home” neighborhood residency program, designed to

About the Orchestra

The Cleveland Orchestra

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

PHOTO BY ROGER MASTROIANNI

bring the Orchestra and citizens together in new ways. Additionally, a new Make Music! initiative is being developed, championed by Franz Welser-Möst in advocacy for the benefits of direct participation in making music for people of all ages.

Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest — with 20% of attendees now comprised of concertgoers age 25 and under.

Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences — including popular Friday night concerts (mixing onstage symphonic works with post-concert entertainment), film scores performed live by the Orchestra, collaboraSeverance Hall 2015-16

An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s concerts. Hundreds of thousands have learned to love music through its education programs and celebrated important events with its music.

While strong ticket sales cover just under half of each season’s costs, it is the generos-

About the Orchestra

19

ity of thousands each year that drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community.

Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the Orchestra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 193343; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002.

The opening in 1931 of Severance Hall as the Orchestra’s permanent home, with later acoustic refinements and remodeling

of the hall under Szell’s guidance, brought a special pride to the ensemble and its hometown, as well as providing an enviable and intimate acoustic environment in which to develop and refine the Orchestra’s artistry.

Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States.

Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world.

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

20

About the Orchestra

The Cleveland Orchestra

1918

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

14th

1l1l 11l1 1l1I

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

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

40,000

each year

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

52%

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

4million

Likes on Facebook (as of January 4, 2016)

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

110,473

1931

150

concerts each year.

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

The Cleveland Orchestra performs over

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

FLĂ‚NEUR FOREVER

18 East Orange Street Chagrin Falls, Ohio (440) 247-2828

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

marks Franz Welser-Möst’s fourteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. In July 2015, the New York Times declared The Cleveland Orchestra to be the “best in America“ — for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. Widely-hailed for its artistic excellence, under Welser-Möst’s direction the Orchestra is broadening and enhancing its community programming at home in Northeast Ohio, is presented in a series of ongoing residencies in the United States and Europe, and has re-established itself as an important operatic ensemble.

With a commitment to music education and the Northeast Ohio community, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools with performances in collaboration with the Cleveland Metropolitan School District. He has championed new programs, such as a community-focused Make Music! initiative and a series of “At Home” neighborhood residencies designed to bring the Orchestra and citizens together in new ways.

Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established a recurring biennial residency in Vienna at the famed Musikverein concert hall and appears regularly at Switzerland’s Lucerne Festival. Together, they have also appeared in residence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival. In the United States, an annual multi-week Cleveland Orchestra residency in Florida was inaugurated in 2007 and an ongoing relationship with New York’s Lincoln Center Festival began in 2011.

To the start of this season, The Cleveland Orchestra has performed seventeen world and eighteen United States premieres under Franz Welser-Möst’s direction.

In partnership with the Lucerne Festival, he and the Orchestra have premiered works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, Toshio Hosokawa, and Matthias Pintscher. In addition, the Daniel R. Lewis Young Composer Fellow program has brought new voices to the repertoire, including Pintscher, MarcAndré Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, Sean Shepherd, Ryan Wigglesworth, and Anthony Cheung.

Franz Welser-Möst has led annual opera performances throughout his tenure in Cleveland. Following six seasons of opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the Mozart-Da Ponte operas. He led concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall in 2012 and in May 2014 led an innovative P H OTO BY J E N N I F E R TAY LO R

THE 2015 -16 SEASON

Severance Hall 2015-16

Music Director

23

made-for-Cleveland production of Leoš Janáček’s The Cunning Little Vixen at Severance Hall. He conducted performances of Richard Strauss’s Daphne in May 2015 and will present a Bartók doublebill in April 2016 featuring the collaboration of Chicago’s Joffrey Ballet.

As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014 and Beethoven’s Fidelio in 2015) and a tour of Scandinavia, as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide.

Mr. Welser-Möst also maintains relationships with a number of other European orchestras, and the 2015-16 season includes return engagements to Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. In December, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm and conducted the Filarmonica of La Scala Milan in a televised Christmas concert. This season, he also makes his long-anticipated debut with Amsterdam’s Royal Concertgebouw Orchestra for two weeks of concerts, leads the Vienna Philharmonic in two weeks of subscription concerts, and will conduct a new production of Strauss’s Die Liebe der Danae at the 2016 Salzburg Festival.

From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. WelserMöst led the Zurich Opera across a decade-long tenure, leading more than forty new productions and culminating in three seasons as general music director (2005-08).

Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. The Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik 2015 for “best opera recording.“ With The Cleveland Orchestra, he has created DVD recordings of live performances of five of Bruckner’s symphonies, and is in the midst of a new project recording major works

by Brahms.

For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.

24

Music Director

The Cleveland Orchestra

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T H E

C L E V E L A N D

FRANZ WELSER-MÖST MUSIC

DIRECTOR Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Takako Masame Paul and Lucille Jones Chair

Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez Elizabeth and Leslie Kondorossy Chair

Chul-In Park Harriet T. and David L. Simon Chair

Miho Hashizume Theodore Rautenberg Chair

Jeanne Preucil Rose Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan

26

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

Orchestra Roster

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

E-FLAT CLARINET Daniel McKelway

BASS TROMBONE Thomas Klaber

BASS CLARINET Linnea Nereim BASSOONS John Clouser * Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2015-16

Margaret Allen Ireland Chair

Donald Miller Tom Freer Thomas Sherwood KEYBOARD INSTRUMENTS Joela Jones * Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sunshine Chair Robert Marcellus Chair George Szell Memorial Chair

Richard Stout

Linnea Nereim

Stanley L. and Eloise M. Morgan Chair

PERCUSSION Marc Damoulakis*

EUPHONIUM AND BASS TRUMPET Richard Stout

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

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

TIMPANI Paul Yancich * Otto G. and Corinne T. Voss Chair

Tom Freer 2 Mr. and Mrs. Richard K. Smucker Chair

Orchestra Roster

PRINCIPAL GUEST CONDUCTOR, CLEVELAND ORCHESTRA MIAMI

Brett Mitchell ASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

27

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The Cleveland Orchestra

LEARNING MORE ABOUT THE MUSIC

Concert Previews

The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins.

For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at clevelandorchestra.com, usually by the Monday directly preceding the concert.)

The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the stories behind the composers’ lives.

Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.

Severance Hall 2015-16

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

Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka.

January 7, 9 “Beethoven and the Expansion of Classical Form” (Musical works by Beethoven) with guest speaker David J. Rothenberg, associate professor of musicology, Case Western Reserve University

January 8 FRIDAY MORNING CONCERT “Thanksgiving and Triumph” (Musical works by Beethoven) with Rose Breckenridge

January 14, 15 “Shakespeare and Shostakovich” (Musical works by Shostakovich & Abrahamsen) with guest speaker Meaghan Heinrich, director of conservatory connections, Wisconsin Conservatory of Music

February 4, 6 “French Images and Connections” (Musical works by Ravel, Debussy, & Dalbavie)

Concert Previews

with guest speaker Eric Charnofsky, professor of musicology, Case Western Reserve University

29

We are proud to be a Partner in Excellence with The Cleveland Orchestra Enjoy the performance.

EXPERIENCE FOR TOMORROW

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Severance Hall

Thursday evening, January 7, 2016, at 7:30 p.m.

Friday morning, January 8, 2016, at 11:00 a.m. * Saturday evening, January 9, 2016, at 8:00 p.m.

Franz Welser-Möst, conductor

2015-16 SE A SON

LUDWIG VAN BEETHOVEN (1770-1827)

String Quartet No. 15 in A minor, Opus 132 performed by string orchestra 1.

2.

3.

4.

5.

Assai sostenuto — Allegro Allegro ma non tanto — Trio Holy Song of Thanksgiving: Molto Adagio — Andante Alla marcia, assai vivace — Finale: Allegro appassionato — Presto

INTER MISSION *

Piano Concerto No. 3 in C minor, Opus 37 1. Allegro con brio 2. Largo 3. Rondo: Allegro YEFIM BRONFMAN, piano

Fantasia in C minor (“Choral Fantasy”), Opus 80 for piano, chorus, and orchestra 1. Adagio 2. Finale: Allegro — Allegretto ma non troppo, quasi andante con moto — Presto YEFIM BRONFMAN, piano CLEVELAND ORCHESTRA CHORUS (Robert Porco, director)

These concerts are sponsored by BakerHostetler, a Cleveland Orchestra Partner in Excellence.

The concert will end on Thursday at about 9:30 p.m. and at approximately 10:00 p.m. on Saturday evening.

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

* The Friday morning concert is performed without intermission and features

the string quartet and piano concerto. The concert will end at about 12:25 p.m.

Severance Hall 2015-16

Concert Program — Week 8

31

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

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

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32

The Cleveland Orchestra

INTRODUCING THE CONCERTS

Strings, Strength & Fantasy T H I S W E E K E N D ’ S C O N C E R T S present several different musical styles by one of classical music’s greatest and most beloved composers, Ludwig van Beethoven. To open the program, Franz Welser-Möst has chosen one of Beethoven’s late string quartets, from 1825, expanded here for full string orchestra. “In the late quartets,” Franz says, “Beethoven pushes beyond what four players can achieve — creating something ethereal, yet filled with wisdom, a musical experience somewhere between chamber music and symphony.” The intensity of this music anchors the first half of the program, juxtaposed with the more obvious passions and fireworks after intermission.

In the center of the program is the Third Piano Concerto from 1803, an energetic work of strength and imagination, which Beethoven wrote for himself as a soloist. Favorite Cleveland guest artist Yefim Bronfman takes on the solo role this week.

At the end of the concert, Bronfman returns to the stage for Beethoven’s Choral Fantasy. Created as the endcap for a special concert of Beethoven’s own music in 1808, this hybrid work with chorus and piano soloist sounds at times like a beta-test for the more famous Ninth Symphony’s grand choral finale. It is filled with joy and music performed, in part, just for the thrill of it. Enjoy!

—Eric Sellen

The Thursday performance is dedicated to Mrs. Norma Lerner and to Mr. and Mrs. Alexander M. Cutler in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

The Saturday performance is dedicated to Mr. and Mrs. Albert B. Ratner and to Dr. and Mrs. Hiroyuki Fujita in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM).

The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday, February 21, at 4:00 p.m.

Severance Hall 2015-16

Introducing the Concerts

33

Ludwig van Beethoven, 1815, painted by W. J. Mähler

Music is a higher revelation than all wisdom and philosophy. It is the wine of new creation and I am Bacchus who presses out this glorious wine for all and makes them drunk with the spirits. —Ludwig van Beethoven

String Quartet No. 15 in A minor, Opus 132

(performed by string orchestra) composed 1825

At a Glance

by

Ludwig van

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

Severance Hall 2015-16

Beethoven wrote this quartet in A minor in 1825. He suffered an unknown digestive malady when writing the second movement and, once feeling better, inscribed the third movement as a “Song of Thanksgiving of a Convalescent to the Deity” [Heiliger Dankgesang eines Genesenen an die Gottheit]. The first performances were given in September 1825, first presented to a small group of friends on September 9 followed by the first official public performance on September 11 — at the tavern “Zum

wilden Mann” in Vienna, with Ignaz Schuppanzigh and Karl Holz (violins), Franz Weiss (viola), and Joseph Lincke (cello).

This work runs just over 40 minutes in performance. Beethoven scored it for a traditional string quartet of two violins, one viola, and one cello. For this week’s performances by the strings of The Cleveland Orchestra, Franz Welser-Möst has included string basses, doubling the cello line an octave lower in many sections of the music.

About the Music D E S P I T E T H E S E Q U E N C E of Beethoven’s opus numbers, the

Quartet in A minor, Opus 132, was written after Opus 127 (in Eflat major) and before Opus 130 (in B-flat major). It is thus the second of what have become known as the five “late” quartets.

It occupied Beethoven in the first half of 1825 in a period that taxes our understanding for the extraordinary contrast between the disorder of his daily physical existence, on the one hand, and the spiritual height to which his mind was aspiring, on the other. Simultaneously, his possessive, obsessive treatment of his nephew Carl was also draining the composer’s emotional resources in a curiously destructive way. These melancholy conflicts of the man only deepen our perplexity when confronted with music of such broad humanity.

If the previous quartet, in E-flat major, can be felt as venturing in the direction of a new style, the A-minor quartet represents arrival. This music is unmistakably distinct from all Beethoven had done before, frequent though echoes of earlier mannerisms may be. The new linear sparsity is particularly evident and the spacious handling of individual voices is now a definitive feature of his style. There are five movements in striking symmetry — with the famous “Heiliger Dankgesang” (“Holy Song of Thanks”) of the middle movement flanked by brisker pieces, themselves About the Music

35

encased in full-scale opening and closing movements.

At the beginning of the opening movement, we hear for the first time (in chronological order of the late quartets’ composition) the four-note figure that is to be the basis not only of this first movement (in both slow and fast sections) but also of the Grosse Fuge (the original finale of the B-flat quartet, Opus 130) and of the opening and closing movements of the C-sharp minor quartet, Opus 131, also. (All these works perceptibly share the angular tensions of these four chromatic notes, which define the harmonic minor scale and yield an infinity of contrapuntal workings.) Even here, in the second bar, the overlapping process begins, with each This string quartet occupied instrumental section entering in close sucBeethoven in 1825 during a cession. The movement’s Allegro section, period that taxes our unheralded by a sudden scurry in the first vioderstanding for the extralins, keeps the four-note figure in constant view, even when independent melodies ordinary contrast between and rhythms call our main attention. the disorder of his daily The second movement is a distant physical existence, on the descendant, in style, of a traditional Minuet, one hand, and the spirituwith courteous dialogue between the sections. The rising three notes of the first meaal height to which his mind sure pervade everything. The movement’s was aspiring, on the other.

Trio section exploits a drone effect and a background of staccato repeated chords.

While at work on the second movement, Beethoven’s always precarious health was causing him extreme discomfort, the causes of which were not clear to anyone at the time. The doctor’s prescription — “no wine, no coffee, no spices of any kind” — seems to have worked, for Beethoven was soon back at work composing the extremely slow central movement, whose heading is “Holy Song of Thanksgiving by a Convalescent to the Divinity, in the Lydian Mode.”

The broad pulse and archaic modal sound create a glimpse of an infinitely remote world, as if Beethoven felt that his illness had brought him to the brink of death. A second section says “feeling new strength,” literally conveyed in the music’s increased vigor. Beethoven allots time only for two variations of the slower music and one variation of the faster section, in alternation, leading to a more and more ecstatic close.

The little march that follows as a fourth movement is no more than an introduction to the finale, even though a dramatic

36

About the Music

The Cleveland Orchestra

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introductory recitative interposes as well. The recitative is as close to speech as instrumental music can get. And the question, if question it is, is answered in the impassioned fifth movement, whose theme was originally sketched as an instrumental finale for the Ninth Symphony (before Beethoven had other ideas for that). The major key is reached for the closing pages.

The English musician Sir George Smart, being in Vienna in the summer of 1825, was able to attend the first performance of this quartet. Schuppanzigh and his friends, in fact, played it twice, the first time through being perhaps more of a rehearsal since Beethoven “directed the performers, and took off his coat, the room being warm and crowded. A staccato passage not being expressed to the satisfaction of his eye, for alas, he could not hear, he seized Holz’s violin and played the passage a quarter of a tone too flat.” There is little fear of such tonal mismatch in a modern performance — especially in an arrangement for string orchestra that adds the double basses’ deeper voice and brings out the symphonic underpinning of Beethoven’s vision.

—Hugh Macdonald © 2016 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.

Severance Hall 2015-16

About the Music

37

Piano Concerto No. 3 in C minor, Opus 37 composed 1800-1803

At a Glance

born December 16, 1770 Bonn

It was long thought that Beethoven had written this concerto in 1799 or 1800, with sketches dating to as early as 1797. More recent research suggests that, although some phrases may have been sketched earlier, he began writing the concerto in earnest in 1802 and completed it early in 1803.

It was first performed on April 5, 1803, at the Theater-an-der-Wien in Vienna, with the composer as soloist. The concerto was published the following year with a dedication to Prince Louis Ferdinand of Prussia.

This concerto runs about 30 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets,

died March 26, 1827 Vienna

About the Music

by

Ludwig van

BEETHOVEN

timpani, and strings.

The Cleveland Orchestra first presented Beethoven’s Third Piano Concerto in January 1923 at subscription concerts led by Nikolai Sokoloff, with Mischa Levitzki as soloist. The most recent performances were given at Severance Hall in December 2013 with Jonathan Biss as soloist and Leon Fleisher conducting.

The Cleveland Orchestra has recorded all five of Beethoven’s Piano Concertos three times: between 1959 and 1961 with George Szell and Leon Fleisher, in 1968 with Szell and Emil Gilels, and between 1986 and 1987 with Vladimir Ashkenazy as both conductor and pianist.

B E E T H O V E N ’ S E A R LY F A M E rested more on his piano play-

ing than on his compositions. Having arrived in Vienna in 1792, he caught the attention of the public — and more importantly of the nobility — by displaying his formidable powers in private salons and later in public halls.

By composing piano concertos for himself to play, he achieved the double objective of attracting attention as player and as composer. The first three piano concertos all belong to this phase of his life, before deafness began to threaten his career as a performer and his ability to communicate with his fellow-beings.

The Third Piano Concerto was begun at about the same time as the Second Symphony and the six string quartets of Opus 18, and although it reveals some of Beethoven’s latent force, it is essentially part of his brilliant first phase as a composer, when melodiousness and high craftsmanship were his chief claims to pre-eminence. The key of C minor nevertheless foreshadows the stormy world of the Fifth Symphony, the Thirty-Two Variations for piano, and a number of other pieces. The concerto was first performed in 1803 in a concert that included the First and Severance Hall 2015-16

About the Music

39

Second Symphonies and the first performance of the oratorio The Mount of Olives.

The opening theme of the first movement is formulaic and baldly stated (by the strings and then select winds and brass, without accompaniment); most striking is the drum-tap figure that pervades the movement and eventually reaches the drums themselves, as Beethoven surely destined it. The second subject, in contrast, is one of Beethoven’s warmest melodies, especially radiant later in the movement when it returns in C major. A surprise occurs at the end when, after the cadenza, the soloist does not sit back contented, as had always been the normal practice, but By composing piano dialogues with the drums and accompanies concertos for himself to the full orchestra in its closing gestures. play, Beethoven achieved After the dark C minor of the first movement, the remote chord of E major the double objective of that opens the middle slow movement attracting attention as was intended by Beethoven to transport his player and as composer. listeners to another world, and in a few bars The first three concertos of concentrated melody he does so. Once the orchestra has replied in its own way to all belong to this phase of the piano’s opening theme, the piano part his life, before deafness is allowed to blossom gloriously in runs, threatened his career as a arpeggios, and cascades that never disturb the stately pace of the movement. performer and his ability The main theme returns and the elaboto communicate with his rations continue until a cadenza and a pair fellow-beings. of horns allow the movement to settle into a calm close. This is disturbed by a shocking return to C minor for the third-movement finale, a lively rondo with recurring variations. Each return of the theme is effected by a surging scale that accentuates the melody’s awkward intervals and compulsive rhythm. The clarinet’s contrasting theme is a suave reminder that Beethoven had not left the divine melodiousness of his youth behind. The final section abandons both the 2/4 rhythm and the minor key, and gives us a conventional happy close in 6/8, as if that had the objective of this dark-hued work all along.

—Hugh Macdonald © 2016

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About the Music

The Cleveland Orchestra

Yefim Bronfman Russian-American pianist Yefim Bronfman is regarded as one of today’s most talented piano virtuosos, equally praised for his commanding technique and lyrical gifts.

He made his Cleveland Orchestra debut in April 1986, and his most recent appearances here were in February 2015.

Yefim Bronfman was born in 1958 in Tashkent. After moving to Israel with his family in 1973, he worked with Arie Vardi at Tel Aviv University.

Following his family’s relocation to the United States in 1976, he studied at the Curtis Institute, Juilliard School, and Marlboro. His teachers included Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin. Mr. Bronfman made his international debut in 1975 with the Montreal Symphony, and his New York Philharmonic debut in 1978.

In 1991, he returned to Russia for the first time since emigrating, to perform recitals with Isaac Stern. Mr. Bronfman’s honors include the Avery Fisher Prize in 1991 and an honorary doctorate from the Manhattan School of Music in 2015.

As a guest artist, Yefim Bronfman performs with the world’s most esteemed ensembles, from North America’s major orchestras to those of Amsterdam, Berlin, Dresden, Israel, London, Paris, Vienna, and Zurich, among others. He is a frequent

Severance Hall 2015-16

Guest Artist

guest at international festivals, and has served as artist-in-residence with Carnegie Hall, the Los Angeles Philharmonic, and the New York Philharmonic, and as artiste étoile in Switzerland. This season, he holds that position with the Dresden Staatskapelle.

A devoted chamber musician, Mr. Bronfman has collaborated with the Cleveland, Emerson, Guarneri, and Juilliard quartets, as well as the Chamber Music Society of Lincoln Center. He also has performed with Emanuel Ax, Joshua Bell, Lynn Harrell, Magdalena Kožená, YoYo Ma, Shlomo Mintz, Jean-Pierre Rampal, Pinchas Zukerman, and many others, and presents solo recitals throughout Asia, Europe, and North America.

Mr. Bronfman’s recordings are highly praised — his album of Bartók’s three piano concertos won a 1997 Grammy Award, and his album featuring Esa-Pekka Salonen’s piano concerto and his recording of Magnus Lindberg’s second piano concerto have both received Grammy nominations. His discography also includes the complete Prokofiev piano sonatas and concertos, Beethoven’s five piano concertos and triple concerto, Tchaikovsky’s Piano Concerto No. 1, and sonatas by Bartók, Brahms, and Mozart recorded with Isaac Stern. He is featured on The Cleveland Orchestra's most recent DVD release, available worldwide this month, performing both Brahms piano concertos with Franz Welser-Möst and The Cleveland Orchestra at Severance Hall.

For more information, please visit www.yefimbronfman.com.

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

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

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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 www.csuohio.edu/concertseries/kc

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Choral Fantasy, Opus 80

(for piano, chorus, and orchestra) composed 1808

At a Glance

by

Ludwig van

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

Beethoven wrote his Choral Fantasy in the autumn of 1808, specifically as the ending piece for the concert of his own works he was presenting on December 22 at Vienna’s Theateran-der-Wien. He asked the poet Christoph Kuffner to write some verse text on the idea of how humanity can overcome the adversities of life through the beauty of art; the text was to follow a specific meter for a tune that Beethoven was borrowing from an unpublished song he had written in 1794. The Choral Fantasy was published in 1811 with a dedication to King Maximilian Joseph of Bavaria.

This work runs about 20 minutes in performance. Beethoven scored it

for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus chorus (with soloists) and solo piano. At the 1808 premiere, Beethoven played the solo piano part and led the performance from the keyboard.

The Cleveland Orchestra first performed Beethoven’s Choral Fantasy in March 1958 under Robert Shaw’s direction, with Rudolf Serkin as the soloist. The most recent performances were during the 2002 Blossom Music Festival, led by Leonard Slatkin and with Joela Jones as the piano soloist, and during the first Summers@Severance season in 2014, with Jahja Ling conducting and Orion Weiss as the pianist.

About the Music A S T R O N G C O M P E T I T O R for most famous concert in history must surely be the one Beethoven gave in Vienna’s Theater-ander-Wien at 6:30 p.m. on Thursday, December 22, 1808. It lasted four hours in the cold, unheated concert hall. Perhaps not the longest concert ever, it certainly introduced for the first time the greatest number of what would be considered classical masterpieces. The Fourth Piano Concerto, the Fifth Symphony, and the Sixth Symphony all received their first performances, plus he included some movements from his earlier Mass in C major and the impressive concert aria “Ah! Perfido.”

Difficulties with Viennese officials were the prime reason why these great works had not been heard before. But once he had a concert venue scheduled, Beethoven planned to present a feast for his public. At a late stage, he decided that he needed a rousing end to the concert in which all the performers could take part — the orchestra, the chorus, and piano (with Beethoven himself as soloist).

Thus, on top of having to have all the parts and scores copied for all the pieces he’d already planned, then assemble the orches-

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About the Music

43

tra and rehearse three difficult new orchestral works, learn the solo part of the concerto, and deal with all the administrative side (tickets, publicity, payments), all the while with his hearing diminishing, surely it was madness to suppose that Beethoven also had time to compose a full new work, and prepare and rehearse it, too. But then Beethoven had already struck many of the Viennese as being odd, and he really no longer felt the need to comply with the norms of civic life.

For his new closer, having decided to write variations on a simple tune from a song he had composed a decade earlier, Beethoven asked the poet Christoph Kuffner to fabricate some new text verses on the positive theme of the beauties of art and life to fit the meter of this tune. Kuffner rapidly obliged, and Beethoven dashed off his variations, much of which had no doubt been cirAt the premiere, because cling in his mind for weeks, if not years. the piece went repeatedBeethoven’s pupil, Carl Czerny, reported ly wrong, Beethoven had that the Choral Fantasy was finished so close to the concert date that it could scarcely the whole thing played be properly prepared or rehearsed. At the again. There were breakevent, because the piece went repeatedly downs when the composer wrong, Beethoven had the whole work would yell “Start this secplayed again.

There were breakdowns of the kind tion again!” And he several where Beethoven would have had to yell times stepped away from “Start this section again!” Someone reportthe piano and walked up to ed that Beethoven several times stepped away from the piano and walked up to the offending player to exthe offending player to explain what went plain what had gone wrong. wrong. Such behavior would alarm us today, but in Beethoven’s time his were not the only concerts where insufficient rehearsal and the acceptance of lower standards from an orchestra made up of a combination of professionals and amateurs quite often caused breakdowns, and laughter or shouts from players or audience.

The public were in any case so in awe of Beethoven’s majestic piano playing and his evident genius as a composer that they would accept the eccentricities and mishaps. (The orchestra was split into the camps of those who acknowledged Beethoven’s greatness and those who found his behavior humiliating and inexcusable.)

I N T H E S O - C A L L E D “ C L A S S I C A L” P E R I O D — of Mozart and Haydn, and

Beethoven’s early years — when art of all sorts was supposed to be governed by rules of proportion and design, and where perfection and order were achieved by following those rules, the format of a Fantasy or Fantasia provided a welcome

44

About the Music

The Cleveland Orchestra

safety-valve for writers and composers who needed every now and then to ignore the rules and write whatever came into their heads. Such pieces were supposed to sound like improvisations, but a great many were in fact “composed” and published. Even Mozart, whose genius lay in letting his spirit work freely within the bounds of contemporary form and accepted musical language, wrote Fantasias when his ideas couldn’t be boxed in clearly; Schubert similarly wrote some magnificent Fantasias.

Beethoven wrote two fantasies in his life, neither of them classed with his greatest works. In fact, the solo piano Phantasie Opus 77 is one of his most eccentric and least often played pieces.

The Choral Fantasy, too, is also often left in the shadows and infrequently performed — not only because it requires orchestra, chorus, and soloist, but also for its bewildering combination of piano virtuosity and somewhat ordinary choral writing, all explained only partially by its function as the close of a colossal concert of miscellaneous works. In the score, the word “Finale” is attached to everything that follows the pianist’s opening cadenza (improvised by Beethoven in 1808 and written down later).

Beethoven’s improvisation is grand, but its weight and brilliance also highlight the simplicity of the tune in C major that is to be the subject of variations. From what we know of the great finale of his Third Symphony, and also his Diabelli Variations from later years, it is clear that Beethoven liked to build mighty structures on simple materials, as if to demonstrate his masterly craft and artistry. This melody moves stepwise and in precisely balanced phrases with only a pause near the end to break the flow.

The variations start at once, with some flute frolics, then the oboes, then the lower woodwinds, then the strings. Finally, the full orchestra gets the tune.

The variations are interwoven with fantasizing of various kinds, which act as linking material, between the very fast variation in C minor, for example, and the beautiful slow one in A major.

But however carefully Beethoven thought he had prepared for the chorus’s entry, it is still a glimpse of a strange distant world when we hear voices singing, as if from afar, the words “Schmeichelnd hold,” literally “Flatteringly meek.” The chorus immediately assert their claim to some variations of their own, and the rest of the work is the climactic expression of delight in the joys of art and life in a series of impressive endings. More than once we are reminded of Beethoven’s Ninth Symphony and the much more famous “Ode to Joy” (still a dozen years in the future), especially when the solid persistence of the key of C major is twice broken by the huge assertion of E-flat major on the words “und Kraft” [“and strength”] near the end, as an expression of humanity’s indomitable strength.

—Hugh Macdonald © 2016

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About the Music

45

Baldwin Wallace University Conservatory of Music presents extraordinary guest artists in two spectacular spring festivals.

CONTEMPORARY MUSIC FESTIVAL

April 15-17

2

St. Matthew Passion, BWV 244 APOLLO’S FIRE April 10, 2016

DAVID LANG

March 15-19, 2016 the little match girl passion

GRAMMY

Award-Winning Ensembles

MUSIC FESTIVALS PULITZER

Prize-Winning Composers

CLEVELAND CHAMBER SYMPHONY March 15, 2016

ROOMFUL OF TEETH April 3, 2016

CAROLINE SHAW Partita for 8 Voices April 3, 2016

Join us as we mix and match the works of Bach and two Pulitzer Prize-winning composers, David Lang and Caroline Shaw, with two Grammy-winning guest ensembles, Roomful of Teeth and the Cleveland Chamber Symphony.

For more information: www.bw.edu/springmusic Tickets on sale February 1: www.bw.edu/tickets

Baldwin Wallace University prohibits discrimination on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

Choral Fantasy, Opus 80 music by Ludwig van Beethoven (1770-1827) text by Christoph Kuffner (1780-1846)

Schmeichelnd hold und lieblich klingen unseres Lebens Harmonien, und dem Schönheitssinn entschwingen Blumen sich, die ewig blühn.

Fried und Freude gleiten freundlich wie der Wellen Wechselspiel.

Was sich drängte rauh und feindlich, ordnet sich zu Hochgefühl.

Gracefully charming and sweet is the sound of our life’s harmonies, from a feeling for beauty there spring up flowers that bloom forever.

Peace and joy go hand in hand, like the changing play of the waves.

Everything harsh and hostile turns into supreme delight.

Wenn der Töne Zauber walten und des Wortes Weihe spricht, muss sich Herrliches gestalten, Nacht und Stürme werden Licht. Äuss’re Ruhe, inn’re Wonne herrschen für den Glücklichen.

Doch der Künste Frühlingssonne lässt aus beiden Licht entstehn.

When the magic of music prevails and sanctifies the word, the fine and noble takes shape, and night and tempest turn to light.

Outer peace and inner delight are bestowed on the fortunate.

From the spring-like brightness of art light shines out.

Grosses, das ins Herz gedrungen, Blüht dann neu und schön empor, Hat ein Geist sich aufgeschwungen, Hallt ihm stets ein Geisterchor.

Nehmt denn hin, ihr schönen Seelen, Froh die Gaben schöner Kunst.

Wenn sich Lieb und Kraft vermählen, Lohnt dem Menschen Göttergunst.

Greatness, once it has won the heart, blooms anew in full glory.

When the spirit takes wing, a chorus of spirits responds.

Take then with joy, all beautiful souls, the gift of art and music.

When love and strength are united, God’s grace descends to humanity.

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Sung Text

47

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

Robert Porco became director of choruses for The Cleveland Orchestra in 1998. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco conducts the Orchestra’s annual series of Christmas concerts at Severance Hall and regularly conducts subscription concert programs both at Severance Hall and Blossom. He has also served as director of choruses for the Cincinnati May Festival since 1989.

In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of significant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana University 1980-98, and in recent years has taught doctoral-level conducting at the school.

As teacher and mentor, Mr. Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, he has taught at Harvard University, Westminster Choir College, and the University of Miami Frost School of Music.

Lisa Wong

Assistant Director of Choruses

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

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Cleveland Orchestra Chorus

The Cleveland Orchestra

Cleveland Orchestra Chorus Robert Porco, Director

Lisa Wong, Assistant Director Joela Jones, Principal Accompanist The Cleveland Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute over 15,000 volunteer hours to the Orchestra’s music-making each year.

BEETHOVEN’S CHORAL FANTASY SOPRANOS

ALTOS

TENORS

BASSES

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

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

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

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

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Jill Harbaugh, Manager of Choruses Chamber Chorus for Choral Fantasy

* Shari Bierman Singer Fellow

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Cleveland Orchestra Chorus

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orchestra news

THE CLEVELAND ORCHESTRA

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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Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

M.U.S.I.C.I.A.N S.A.L.U.T.E

New DVD Brahms cycle released and available at Severance Hall Following their critically-acclaimed releases of Anton Bruckner symphonies with Clasart, Franz Welser-Möst and The Cleveland Orchestra have released an all-Brahms DVD box set. 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 is now in general release worldwide. 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 was specially available for purchase at the Cleveland Orchestra Store in December, prior to the general U.S. release.

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

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

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

Cleveland Orchestra News

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

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Musicians Emeritus of

T H E

C L E V E L A N D

R

E

T

I

R

E

D

M

O R C H E S T R A

U

S

I

C

I

A

N

S

Listed here are the living members of The Cleveland Orchestra who served more than twenty years. Appointed by and playing under four music directors, these 44 musicians collectively completed a total of 1560 years of service — representing the Orchestra’s ongoing service to music and to the greater Northeast Ohio community.

Listed by instrument section and within each by retirement year, followed by years of service.

FIRST VIOLIN Keiko Furiyoshi 2005 — 34 years Alvaro de Granda 2 2006 — 40 years Erich Eichhorn 2008 — 41 years Boris Chusid 2008 — 34 years Gary Tishkoff 2009 — 43 years Lev Polyakin 2 2012 — 31 years SECOND VIOLIN Richard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 years VIOLA Lucien Joel 2000 — 31 years Yarden Faden 2006 — 40 years CELLO Martin Simon 1995 — 48 years Diane Mather 2 2001 — 38 years Stephen Geber * 2003 — 30 years Harvey Wolfe 2004 — 37 years Catharina Meints 2006 — 35 years Thomas Mansbacher 2014 — 37 years BASS Lawrence Angell * 1995 — 40 years Harry Barnoff 1997 — 45 years Thomas Sepulveda 2001 — 30 years Martin Flowerman 2011 — 44 years HARP Lisa Wellbaum * 2007 — 33 years FLUTE/PICCOLO William Hebert 1988 — 41 years John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years

OBOE Robert Zupnik 1977 — 31 years Elizabeth Camus 2011 — 32 years CLARINET Theodore Johnson 1995 — 36 years Thomas Peterson 2 1995 — 32 years Franklin Cohen ** 2015 — 39 years BASSOON Phillip Austin 2011 — 30 years Ronald Phillips 2 2001 — 38 years HORN Myron Bloom * 1977 — 23 years Richard Solis * 2012 — 41 years TRUMPET/CORNET Bernard Adelstein * 1988 — 28 years Charles Couch 2 2002 — 30 years James Darling 2 2005 — 32 years TROMBONE Edwin Anderson 1985 — 21 years Allen Kofsky 2000 — 39 years James De Sano 2003 — 33 years PERCUSSION Joseph Adato 2006 — 44 years Richard Weiner * 2011 — 48 years LIBRARIAN Ronald Whitaker * 2008 — 33 years

** Principal Emeritus * Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

listing as of October 2015

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Appreciation

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

HAIL AND FAREWELL

Violinist Stephen Warner retires from The Cleveland Orchestra at the end of January, after serving nearly thirty-seven years as a member of the ensemble. Please join in extending heartfelt thanks and congratulations to Steve.

Stephen Warner Violin The Cleveland Orchestra

Stephen Warner, a violinist with The Cleveland Orchestra since 1979, was born in Philadelphia and started his violin studies at the Philadelphia Settlement School at age six. Raised in a music-loving family, Steve progressed quickly and earned scholarships to Brevard Music Center in North Carolina, Meadowmount School for Strings (where he studied with Ivan Galamian and David Cerone), University of Georgia (where he studied with famed Baroque specialist Eduard Melkus), Cleveland Institute of Music (studying with David Cerone and Bernhard Goldschmidt), and finally at the Curtis Institute of Music in Philadelphia where he continued (studying with Ivan Galamian, David Cerone, and Jascha Brodsky) through his bachelor of music in performance. Steve also spent two summers with the Kent/Blossom professional training program before joining The Cleveland Orchestra. He plays a violin made in Venice in the late 18th century by Ferdinand Gagliano.

Steve has been married for 35 years to Cleveland Orchestra violinist and pianist Carolyn Gadiel Warner, and they have performed chamber music in duo (as The Cleveland Duo) and trio (as The Cleveland Duo & James

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Umble, noted classical saxophonist) throughout North America and abroad (including many tours to Canada, two tours to Australia, a chamber music festival in Tuscany, and a tour of Mexico). Steve has premiered at least 20 works by living composers with these two ensembles, as well as with Wind Ensemble. The Duo was profiled in Strad Magazine and were also the featured cover story as The Cleveland Duo & James Umble in the Saxophone Journal.

Several of their CDs are currently featured at the Cleveland Orchestra Store.

Equally interested in engineering and science, Steve chose to play the violin for his life’s work and merely tinker with car and boat repair and house projects instead of leading the life of an engineer or researcher and only playing chamber music on the weekends.

Steve and Carolyn have been boaters for three decades, enjoying Lake Erie with friends and family. They are proud parents of Ari, a 27-year old artist and illustrator. And are currently also parents of two bunnies, Alfie and Simon. Steve is an avid baseball fan and scuba diver and is planning many long-term projects in his retirement. Upon leaving the Orchestra, he will be recognized as a member of the ensemble’s Musicians Emeritus roster.

Cleveland Orchestra News

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orchestra news

HE CLEVELAND ORCHESTRA

Martin Luther King Jr. celebrated in music on January 16 and in afternoon open house on Monday, January 18 On Saturday, January 16, The Cleveland Orchestra performs its 36th annual concert celebrating the spirit of Dr. King’s life, leadership, and service in music, song, and community recognition. Robert Porco conducts the performance, which features selections by the Martin Luther King Jr. Celebration Chorus, a group of volunteer singers from across Northeast Ohio assembled and prepared each year by William Henry Caldwell. Also featured on the concert is violinist Hannah White, a winner of the 2015 Sphinx Competition for aspiring Black and Latino string players. Ms. White will perform Saint-Saëns’s Introduction and Rondo capriccio for violin and orchestra.

Free tickets for this event became available on January 4 and were all distributed

through the Severance Hall Ticket Office and the Orchestra’s website before noon that day.

Those without tickets can experience the concert’s music and celebration by live radio broadcast over radio stations WCLV (104.9 FM) and WCPN (90.3 FM).

Two days later, on Monday, January 18, Severance Hall holds its fifteenth annual Martin Luther King Jr. Day Community Open House from 12 noon to 5 p.m. This day of free activities and performances celebrates the legacy of Dr. King and features performances by a variety of Northeast Ohio community performing arts groups, including the Cleveland Orchestra Youth Orchestra and Youth Chorus. For more complete details, visit clevelandorchestra.com.

Serving preschool through grade 8

www.birchwoodschool.org

216.251.2321 Call to schedule your visit today!

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Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

HE CLEVELAND ORCHESTRA

New album features Cleveland Orchestra brass playing Gabrieli

Cleveland Orchestra joins in national food drive this month

A new album released in October features the National Brass Ensemble paying homage to an earlier Grammy Award-winning album, The Antiphonal Music of Gabrieli. The new album, titled simply Gabrieli, showcases principal brass and percussion musicians from ten of the nation’s top orchestras across the country — including several players from The Cleveland Orchestra — performing works

by Giovanni Gabrieli. It features new arrangements of Gabrieli’s landmark collection, Sacrae Symphoniae from 1597 created by Tim Higgins. The new album also features the world premiere of John Williams’s “Music for Brass,” a tribute to the great tradition of versatility and artistic prominence of American brass playing.

In 1968, Antiphonal Music of Gabrieli set the bar for American brass-playing excellence and featured that generation’s premier brass musicians from the orchestras of Chicago, Philadelphia, and Cleveland. “Every player of our generation and since has a story about the first time we listened to it, and how we were awestruck by what we heard,” says Michael Sachs, principal trumpet for The Cleveland Orchestra, who was a driving force in creating the new recording.

The National Brass Ensemble was born more than four decades ago and features brass and percussion players from seven major orchestras across the country, with the members of the National Brass Ensemble holding principal positions in the Boston Symphony, Chicago Symphony, Cleveland Orchestra, Detroit Symphony, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, and the San Francisco Symphony, Opera and Ballet orchestras.

The album is available through the Cleveland Orchestra Store at Severance Hall.

For an eighth year, The Cleveland Orchestra is holding a food drive at the start of the calendar year, with goods donated locally. The event is part of Orchestras Feeding America, a national food drive held by America’s symphony orchestras. First started in 2009, this project has involved over 250 orchestras from across the nation, who have together collected over 500,000 pounds of food for their communities. The project is the single largest orchestra project organized at a national level, uniting musicians, audiences, staff, and volunteers to help alleviate hunger.

This year’s drive in Cleveland is being undertaken surrounding the Orchestra’s concerts on and around the Martin Luther King weekend, with collection of non-perishable food items at concerts and performances January 14-18 at Severance Hall. Unexpired food donations are being collected Thursday through Saturday evenings, and at Monday afternoon’s Martin Luther King Jr. Community Open House.

Food collected this year by The Cleveland Orchestra will be donated to WSEM Food Center at Community Corner in Gordon Square, part of Hunger Network of Cleveland.

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2016

Cleveland Orchestra offers gift ideas all year 'round . . .

Music and gift-giving are a perfect match.

The Cleveland Orchestra Store offers a host of musical treats every day of the year, including the Orchestra’s latest DVDs and CDs, as well as releases by Orchestra musicians. Musical gifts for children of all ages, and Cleveland Orchestra logo apparel are also on sale at the Store.

In addition, Cleveland Orchestra Gift Certificates and Blossom Lawn Ticket Books for the Orchestra’s 2016 Blossom Music Festival are available at the Severance Hall Ticket Office by calling 216-231-1111 or 800-686-1141, or at clevelandorchestra.com.

Cleveland Orchestra News

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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 the Orchestra’s Philanthropy & Advancement Office at 216-231-7558.

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

GIFTS OF $1 MILLION TO $5 MILLION

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

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

Sound for the Centennial Campaign

The Cleveland Orchestra

GIFTS OF $500,000 TO $1 MILLION

Gay Cull Addicott Darby and Jack Ashelman 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 Foundation 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.

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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

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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.”

THE

CLEVELAND ORCHESTRA

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.

clevelandorchestra.com/cga

Legacy Giving THE CLEVELAND ORCHESTRA

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*

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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

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Legacy Giving THE CLEVELAND ORCHESTRA

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

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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

Legacy Giving 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*

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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.

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All Rise.

The global law ďŹ rm Jones Day is proud to lead a standing ovation for The Cleveland Orchestra, one of the most acclaimed performing ensembles in the world. In concerts at home, in residencies from Miami to Vienna, and on tour around the world, The Cleveland Orchestra sets standards of artistic excellence, creative programming, and active community engagement.

2400 Lawyers. 42 Locations. 5 Continents. www.jonesday.com

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The Cleveland Orchestra

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

W E L S E R - M Ö ST M U S I C

D I R E C T O R

Severance Hall

Thursday evening, January 14, 2016, at 7:30 p.m.

Friday evening, January 15, 2016, at 8:00 p.m.

Franz Welser-Möst, conductor HANS ABRAHAMSEN (b. 1952)

2015-16 SE A SON

let me tell you

(for soprano and orchestra) united states premiere performances Part I 1. Let me tell you how it was 2. O but memory is not one but many 3. There was a time, I remember Part II 4. Let me tell you how it is 5. Now I do not mind Part III 6. I know you are there 7. I will go out now BARBARA HANNIGAN, soprano

INTER MISSION DMITRI SHOSTAKOVICH (1906-1975)

Symphony No. 4 in C minor, Opus 43 1. Allegretto poco moderato

2. Moderato con moto 3. Largo — Allegro

These concerts are sponsored by Jones Day, a Cleveland Orchestra Partner in Excellence.

The concert will end on Thursday at about 9:25 p.m. and at approximately 9:55 p.m. on Friday.

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 and Sunday afternoons.

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Concert Program — Week 9

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INTRODUCING THE CONCERTS

Words,Music& Telling T H I S W E E K E N D ’ S C O N C E R T S feature two important works written

seventy years apart. In both, there is a story behind another story — of a fictional character’s thoughts, and of a composer’s need to change or hide his true voice . . . for a time.

The first is an acclaimed new work by the Danish composer Hans Abrahamsen, who received the 2016 Grawemeyer Award for Music Composition for this piece. let me tell you is receiving its first United States performances in Cleveland this week and, on Sunday, receives its first New York hearing with The Cleveland Orchestra’s first Carnegie Hall concert of the season. The concerts — and let me tell you — also introduce the remarkable Canadian soprano Barbara Hannigan, who gave the work’s first performance and to whom it is dedicated. The text, created by British writer Paul Griffiths, is a set of lyric contemplations using only the words — rearranged and remixed into new or extended thoughts — that the character Ophelia speaks in Shakespeare’s Hamlet.

This is coupled with Shostakovich’s enormous Fourth Symphony, much less well-known than the favorite Fifth Symphony that followed it, yet still a gripping and rewarding challenge for both orchestra and audience. Written in the mid-1930s just as Shostakovich’s music was publicly abused by SoviA romanticized rendering et government officials, the work was withdrawn and thought of Ophelia, a Danish noblewoman in Shakespeare’s lost after World War II. Orchestral parts turned up and providHamlet. Oil painting by ed for a late world premiere of this hour-long musical canvas John William Waterhouse in Moscow in 1961. This score, infused with ideas somewhere from 1894. between Mahlerian excess and Shostakovich’s own later acerbic stylings, gives us an intriguing look into this composer’s developing art as a maturing composer. (This is the ninth of Shostakovich’s fifteen symphonies that Welser-Möst has explored with The Cleveland Orchestra.)

—Eric Sellen

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Introducing the Concerts

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1916–2016

Presenting Centennial sponsor:

ClevelandArt.org/Centennial

let me tell you (monodrama for soprano and orchestra) composed 2012-13

At a Glance

by

Hans

ABRAHAMSEN born December 23, 1952 Copenhagen, Denmark lives in Copenhagen

Abrahamsen wrote this “monodrama for soprano and orchestra” in 2012-13 on a commission from the Berlin Philharmonic for the soprano Barbara Hannigan in conjunction with funding from the Danish Arts Foundation.

The cycle of seven songs uses as text poems created by Paul Griffiths, based on his novel let me tell you, a work built on the words that the character Ophelia speaks in Shakespeare’s play Hamlet.

The first performance took place on December 20, 2013, with Barbara Hannigan and the Berlin Philharmonic Orchestra conducted by Andris Nelsons.

This work runs about 30 minutes in performance. Abrahamsen scored it for 3 flutes (including alto flute and 2 piccolos), oboe, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (xylophone, marimba, glockenspiel vibraphone, tubular bells, bass drum, tam-tam, whip, wood block, 2 reibestock), harp, celesta, and strings, plus solo soprano.

The Cleveland Orchestra is presenting the United States premiere performances this week in Cleveland, and the New York premiere on Sunday at New York’s Carnegie Hall.

About the Music L E T M E T E L L Y O U was commissioned by the Berlin Philhar-

monic Orchestra in conjunction with the Danish Arts Foundation in 2012. The composer, Hans Abrahamsen, a leading figure in Danish music, has been composing since he was sixteen, and his first commission from the Berlin Philharmonic dates from 1971. let me tell you is a song cycle devised by the composer in collaboration with this weekend’s soloist, Canadian soprano Barbara Hannigan, and the British writer Paul Griffiths.

Griffiths is perhaps best known to American audiences as music critic of the New Yorker magazine (1992-96) and for the New York Times (1997-2005). He has written books on Bartók, Boulez, Cage, and Ligeti, and many studies of 20th-century music. He has also written opera librettos (for Tan Dun and Elliott Carter) and several novels.

Griffiths’s novel let me tell you, published in 2008, is an imaginary narrative as told by Ophelia using only the 481 words she is allotted in Hamlet. These are thus Shakespeare’s words, but in a different order, filling out her feelings for her father and brother as well as, of course, for Hamlet.

The song cycle, however, by selecting extracts from the novel, is not explicitly concerned with Ophelia, since the words Severance Hall 2015-16

About the Music

67

The composer Hans Abrahamsen is a leading figure in Danish music who has been composing for more than four decades.

With let me tell you, he has won the Royal Philharmonic Society’s 2015 Award for a large-scale work and the 2016 Grawemeyer Award for Music Composition.

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make seven short poems about such things as memory, time, light, music, glass, and snow, each reflected in its own setting.

Abrahamsen uses a large orchestra, but the ensemble rarely plays together and more often accompanies the singer with carefully chosen groups of instruments. In the voice part, he avoids spreading individual syllables melodiously over two or more pitches, but prefers instead a rhythmic repetition of the pitch note the syllable is given (not unlike what is known as a Monteverdi trillo from the 17th century). The syllables are often spaced well apart. While the pulse (and therefore the conductor’s beat) is steady, the rhythmic intricacies of both orchestra and voice rarely mesh with the pulse.

This is not entirely true of the first song, since the celesta sets up a steady repetition of the note F, taken over by harp and marimba, while the orchestra, rarely rising above pianissimo, supports the voice.

The second song is busier and also predominantly soft, until at the words ”with some things we know” it breaks out with sudden emphasis, and then draws back towards its almost inaudible ending.

A sigh from pairs of woodwinds in turn introduces the third song, a meditation on time and music.

In Part II, songs 4 and 5 run together, the first recalling the throbbing pulse of the first song and circling around the note G flat. Suddenly, the speed picks up for song 5 (“Now I do not mind”) with rocket-like figures from all the instruments and the voice. This leads to a noisy climax from which the song descends in a halo of bell-like sounds, each phrase falling away “like glass in which there are showers of light.”

Part III consists of two songs, beginning with the very short song 6, in which the soloist remains on the same note while the orchestra recalls the textures of the first song.

Song 7 follows immediately with an intricate web of double-bass harmonics with “out-of-tune” horns and trombones, always very soft. “Snow,” on high C, introduces the central image of the piece, mysteriously evoked with long descending figures that fall like snow slowly drifting to the ground. At the end, all that is left is the gentle rubbing of paper against the surface of a drum “like walking in the snow,” in the composer’s words.

So Ophelia drowns not in Shakespeare’s “weeping brook,” but in the snow that has inspired Abrahamsen so often. Winter Night for orchestra (1978), Two Snow Dances for recorders (1985), About the Music

The Cleveland Orchestra

Schnee for two pianos and percussion (2008), and Snow Pictures for piano quartet (2013) stand out from his long list of compositions as pointers to an absorbing feature of his music.

Abrahamsen is now engaged in creating his first opera, to be based on Hans Christian Andersen’s The Snow Queen. The word “snow” in Griffiths’s poems is supplied by Ophelia’s two lines from her final scene: “White his shroud as the mountain snow” and “His beard was as white as snow.”

With let me tell you, Abrahamsen has won the Royal Philharmonic Society’s 2015 Award for a large-scale composition and the 2016 Grawemeyer Award for Music Composition.

—Hugh Macdonald © 2016 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.

In a crea ve life of almost half a century, Hans Abrahamsen has more than once had the courage to stop, and the equal courage to start again — freshly, out of a clear reconsidera on of where he was before. His allegiances are shown by the roll of composers whose works he has, as a master orchestrator, reconceived: Bach and Lige , Nielsen and Schumann, Schoenberg and Debussy. But he has long discovered his own terrain — quite o en a snowscape, as in his early masterpiece Winternacht or the work in which he found his fully mature style, Schnee (2006-08), o en acknowledged one of the rare classics of the 21st century. His output also includes four string quartets, a collec on of ten piano studies (some of which he has recomposed in other forms), and concertos for piano, for piano and violin, and for piano le hand. He is currently at work on his first opera, a er Hans Chris an Andersen’s The Snow Queen.

—Paul Griffiths

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About the Music

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Barbara Hannigan Canadian soprano Barbara Hannigan is a frequent guest with the Berlin Philharmonic and has appeared with many of the world’s other leading orchestras. She is making her Cleveland Orchestra debut with performances this week in Cleveland and New York City.

Much sought after in contemporary music, Ms. Hannigan has devoted an extraordinary amount of her life to singing the music of our time, and has given over 80 world premières.

She has worked extensively with composers including György Ligeti, Pierre Boulez, Henri Dutilleux, Gerald Barry, George Benjamin, Pascal Dusapin, Salvatore Sciarrino, and Hans Abrahamsen. Her recording of Abrahamsen’s let me tell you is scheduled for release by the Winter & Winter label in 2016.

Ms. Hannigan made her own conducting début in 2011 at the Théâtre du Châtelet in Paris with Stravinsky’s Renard, and has since conducted orchestras including the Prague Philharmonic, Accademia Nazionale di Santa Cecilia, Gothenburg Symphony, WDR Orchester Cologne, Helsinki Philharmonic, Toronto Symphony, and the Mahler Chamber Orchestra. Her conducting debut at the Concertgebouw in Amsterdam was awarded

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the Ovatie prize as best classical music concert of 2014.

As a singing actor, her operatic repertoire includes her highly praised work as Berg’s Lulu at La Monnaie in Brussels, La Voix humaine at Paris Opera, Marie in Zimmermann’s Die Soldaten at the Munich Staatsoper, Donna Anna in Don Giovanni, also at La Monnaie, and Agnes in Benjamin’s Written on Skin at London’s Royal Opera House, Paris’s Opéra Comique, and Lincoln Center (among other major locations).

She will make her role début as Mélisande in Debussy’s Pelléas et Mélisande in summer 2016 in a new production at Aix-enProvence directed by Katie Mitchell and conducted by Esa-Pekka Salonen.

For her performances in 2012 and 2013, she was named Singer of the Year by Opernwelt magazine, and “Musical Person of the Year” by the Syndicate of the French Press. Her 2013 Deutsche Grammophon recording of Dutilleux’s Correspondances won the Gramophone Award, an Edison, and France’s Victoires de la Musique. She was awarded Germany’s Faust Theatre Prize 2015 for her portrayal of Marie in Die Soldaten.

Barbara Hannigan earned bachelor and master of music degrees at the University of Toronto. Her life as an artist is the subject of two recent documentary portrait films (by Swiss TV/Accentus and NTR Nederland), as well as the subject of Mathieu Amalric’s short film C’est presque au bout du monde.

For further information, visit www. barbarahannigan.com.

Guest Artist

The Cleveland Orchestra

let me tell you music by Hans Abrahamsen (b.1952) text by Paul Griffiths (b. 1947) based on Ophelia’s words in Shakespeare’s “Hamlet” Part I

1

Let me tell you how it was.

I know I can do this.

I have the powers: I take them here.

I have the right.

My words may be poor but they will have to do.

There was a time when I could not do this: I remember that time.

2

O but memory is not one but many — a long music we have made and will make again, over and over, with some things we know and some we do not, some that are true and some we have made up, some that have stayed from long before, and some that have come this morning, some that will go tomorrow and some that have long been there but that we will never find, for to memory there is no end.

3

There was a time, I remember, when we had no music, a time when there was no time for music, and what is music if not time — time of now and then tumbled into one another, time turned and loosed, time bended, time blown up here and there time sweet and harsh time still and long?

P L E A S E T U R N P A G E Q U I E T LY

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Sung Text

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Part II

4

Let me tell you how it is, for you are the one who made me more than I was, you are the one who loosed out this music.

Your face is my music lesson and I sing.

5

Now I do not mind if it is day, if it is night.

If it is night, an owl will call out.

If it is morning, a robin will tune his bells.

Night, day: there is no difference for me.

What will make the difference is if you are with me.

For you are my sun.

You have sun-blasted me, and turned me to light.

You have made me like glass — like glass in an ecstasy from your light, like glass in which light rained and rained and rained and goes on, like glass in which there are showers of light, light that cannot end.

A famous painting of Ophelia, after she drowned. Oil painting

by John Evertt Millais from 1852 (Tate Gallery).

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Sung Text

The Cleveland Orchestra

Part III

6 7

I know you are there.

I know I will find you.

Let me tell you how it will be.

I will go out now.

I will let go the door and not look to see my hand as I take it away.

Snow falls.

So: I will go on in the snow.

I will have my hope with me.

I look up, as if I could see the snow as it falls, as if I could keep my eye on a little of it and see it come down all the way to the ground.

I cannot.

The snow flowers are all like each other and I cannot keep my eyes on one.

I will give up this and go on.

I will go on.

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Sung Text

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Symphony No. 4 in C minor, Opus 43 composed 1934-36, but first performed 1961

At a Glance

by

Dmitri

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

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Shostakovich began his Fourth Symphony in late 1934 and completed it in May 1936. Shostakovich withdrew the work before the planned first performance, and the work was not heard in public until 25 years later, on December 3, 1961, in Moscow, at a concert of the Moscow Philharmonic Orchestra conducted by Kirill Kondrashin. The United States premiere was given in February 1963 by Eugene Ormandy and the Philadelphia Orchestra.

This symphony runs an hour in performance. Shostakovich scored it for 4 flutes, 2 piccolos, 4 oboes (fourth doubling english horn), 4 clarinets,

piccolo clarinet in E flat, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 4 trumpets, 3 trombones, 2 tubas, timpani (2 sets of 3 drums), percussion (xylophone, glockenspiel, triangle, castanets, gong, cymbals, snare drum, wood drum, bass drum), celesta, 2 harps, and strings.

The Cleveland Orchestra has performed Shostakovich’s Fourth Symphony on only three previous occasions: for weekends of concerts in October 1974 under Gennady Rozhdestvensky, in March 1990 led by Vladimir Ashkenazy, and March 2005 with Vladimir Fedoseyev.

About the Music I T I S S O M E T I M E S S A I D of the enormous symphonies of

Mahler and Shostakovich that they are “whole worlds,” an expression that fits none of them more nearly than Shostakovich’s Fourth. True, it has no chorus or singers embracing the universe, but with the help of a gigantic orchestra busily occupied for a full hour the composer can allow his imagination range from tiny morsels of sound to the uninhibited bellowing of winds, brass, and percussion in excited clamor. It is a vast canvas, to be sure, a broad landscape, or whatever image of immensity you may choose. Yet the composer would say he had not even begun to exhaust the storehouse of ideas that his imagination could draw upon. There were plenty of worlds left to explore.

The evidence for this is the eleven symphonies Shostakovich had yet to write, and, indeed the whole of his varied output in every genre. It can also be said that the Fourth Symphony is anything but economical. In some works, Shostakovich seems to be striving for brevity and concentration — in the First Cello Concerto, for example, or in the First Symphony, written as a student. But in the Fourth he makes no effort to abbreviate or curtail his ideas; he “allows” an episode to meander on with no sense that symphonic traditions require it to move on, and then the action can change abruptly without warning.

About the Music

75

All of this makes the music easy to listen to but hard to follow, for although there is a structure in place, it is not immediately clear why one episode follows another; almost nothing can be predicted, at least not on a first hearing.

What is the listener to do?

The soundest answer is: Trust the composer and let him lead you by the hand.

A more real answer is: Listen to the work many times so that its framework becomes clear, or at least clearer.

For the first-time listener the answer must be: Bear in mind that the first and third movements last close to half an hour each, and the middle movement just ten minutes. Keep your concentration on “high” and watch out for ideas and episodes that have been heard before. Notice when the instruments are clustered, as for example low strings or upper woodwinds, or interestingly coupled, such as percussion with strings, or bassoon with piccolo.

Chart the tidal swing from intimate to climactic and back. Bank your observations in your mind so that as this great work comes to an end you can survey what you have heard and sense its balance and its sense of direction, or its lack of these, if that is how it strikes you.

Listening to music, as Wagner once observed, is hard work.

C R E AT I N G T H E F O U R T H SY M PH O N Y

After the brilliant First Symphony of 1925, Shostakovich’s next two symphonies both had banal choral finales singing the praise of the Leninist Revolution, which makes them rare visitors to our concert halls. There was much more freedom in Soviet music in the 1920s than later, so that his opera Lady Macbeth of Mtsensk, composed in 1930-32, combines a verismo drama with avant-garde musical effects and a thoughtful manner that is more evident in the Fourth Symphony of 1934-36.

By this time, the squeeze of Stalinist oppression had begun to be felt, and it came out into the open in Pravda in January 1936 with a withering attack on Lady Macbeth of Mtsensk. The Fourth Symphony was half-written at the time, and although Shostakovich was jolted by criticism clearly coming from the top level of government, he finished the symphony in the next four months nonetheless.

It went into rehearsal with the Leningrad Philharmonic, but before a performance could take place the orchestra’s management was induced by the compliant Composers’ Union to tell

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About the Music

The Cleveland Orchestra

Shostakovich to withdraw it, which he did. Political prudence was a virtue Shostakovich often needed to draw upon in the following years under an unforgiving regime.

Having set the symphony aside, he composed the Fifth Symphony, whose first performance in November 1937 was a triumphant success. After the death of Stalin in 1953, Shostakovich was able to produce a number of works that had been kept under wraps for some years, including the Tenth Symphony and the First Violin Concerto, but the Fourth Symphony remained unheard — because its manuscript had been lost during the war. In 1956, Shostakovich recalled that it was “a very imperfect, long-winded work that suffers from ‘grandiosomania’.”

Later one of the composer’s friends found the orchestral parts in Leningrad and was able to reconstruct the score.

In 1961, the director of the Moscow Philharmonic Orchestra, having heard about it, approached the conductor Kirill Kondrashin, who later recounted: “I went to see Shostakovich, who did not know about our plan. He said ‘As the full score was lost, I’ve forgotten much of it. I need to look at it again to see whether the Symphony is worth performing, and whether it requires any changes.’ The next day he rang me. ‘Kirill Petrovich, I’d be very happy for you to perform the Symphony. No changes need be made. The piece is very dear to me as it is’.”

A dozen years later, not long before his death, Shostakovich told the opposite story: “I found it too long. There were too many imperfect, ostentatious elements in it, the shape was wrong, the construction shallow, it seemed to me. I came back to it several times; I revised it over a number of years, and even now I don’t think I’ve got it quite right.”

THE MUSIC

Here are some salient points to listen for from among the symphony’s many salient points.

In the first movement, amid a bewildering profusion of interestingly conceived musical ideas:

The Fourth Symphony went into rehearsal with the Leningrad Philharmonic in 1936, but before a performance could take place the orchestra’s management was induced to tell Shostakovich to withdraw it, which he did.

Political prudence was a virtue Shostakovich often needed to draw upon in the following years under an unforgiving regime.

1.) the abrupt transition from the heavy hammering at the opening to the chamber-like discussion in the same pulse that follows; 2.) the sustained climax to which this leads; 3.) a plaintive melody for a solo bassoon, almost unaccompanied, later heard on the bass clarinet, and then on the first horn; Severance Hall 2015-16

About the Music

77

4.) a high trumpet signaling another great climax, with the bassoon’s melody now on two tubas; 5.) a little scherzo led by piccolo and high clarinet; 6.) a manic fugue at top speed started in the first violins (a passage which lifted the present writer, at a very young age, out of his seat at the first Western performance in 1962); 7.) some fiercely threatening brass chords; 8.) lovely solos for english horn and violin, followed by a bizarre recapitulation of the opening.

In the second movement: 1.) the simplicity of the main theme and its many occurrences; 2.) two notes, originally a cuckoo-call, but now heavy, on the timpani; 3.) a remarkable solo for two piccolos; 4.) a ghostly ticking and clicking from the percussion; Shostakovich would take up this effect in Symphony No. 15.

In the finale: 1.) the funeral march at the opening, rather like an echo of Mahler’s First Symphony; 2.) the triumphant chord of C major to which the march leads; 3.) the sudden arrival of the movement’s Allegro section, with its theme based on two heavy notes, developed at length; 4.) an episode of comic relief led by bass clarinet and piccolo. The two-note motive returns; 5.) a waltz episode; 6.) the main climax, over the relentless thunder of two timpani; 7.) the close, as cold and endless as a long Russian winter.

If the musical themes of this symphony seem elusive, especially in the first movement, Shostakovich is more consistent with rhythm, which he sustains at a steady pulse for many pages without ever yielding to the espressivo freedom that Mahler might have indulged.

In other ways, especially in the lucidity of his orchestration and the abundance of counterpoint, Shostakovich comes close to Mahler, perhaps more obviously here in the Fourth Symphony than in any of his later works. It is hard to imagine that the Soviet authorities could have tolerated this music if they had heard it in 1936. Shostakovich’s difficult path through life might then have been even more difficult than it was.

—Hugh Macdonald © 2016

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About the Music

The Cleveland Orchestra

Dmitri Shostakovich, circa 1952.

There can be no music without ideology.

The old composers, whether they knew it or not, were upholding a political theory. Most of them, of course, were bolstering the rule of the upper classes. Only Beethoven was a forerunner of the revolutionary movement. If you read his letters, you will see how often he wrote to his friends that he wished to give new ideas to the public and rouse it to revolt against its masters. —Dmitri Shostakovich

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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

JOHN L. SEVERANCE SOCIETY

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

$5 MILLION AND MORE

KeyBank PNC Bank $1 MILLION TO $5 MILLION

gifts of $2,500 or more during the past year, as of October 30, 2015

PARTNERS IN EXCELLENCE $300,000 AND MORE

BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual of Ohio Parker Hannifin Foundation 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 October 2015.

$50,000 TO $99,999

PARTNERS IN EXCELLENCE $200,000 TO $299,999

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

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

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

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Corporate Annual Support

$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. American Greetings Corporation Bank of America BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co LLC 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 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

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

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

$1 MILLION AND MORE

$10 MILLION AND MORE

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

gifts of $2,500 or more during the past year, as of October 30, 2015

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

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

Knight Foundation (Miami) Kulas Foundation John P. Murphy Foundation The Eric & Jane Nord Family Fund

$5 MILLION TO $10 MILLION

$100,000 TO $249,999

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

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

$1 MILLION TO $5 MILLION

$50,000 TO $99,999

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

Listing as of October 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

83

THE CLEVELAN D ORCHESTRA

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

Lifetime Giving

Giving Societies

JOHN L. SEVERANCE SOCIETY

gifts during the past year, as of October 30, 2015

$10 MILLION AND MORE

In celebration of the critical role individuals play in supporting The Cleveland Orchestra each year, donors of $2,500 and more are recognized as members of special Leadership Giving Societies.

These societies are named to honor important and inspirational leaders in the Orchestra’s history.

The Adella Prentiss Hughes Society honors the Orchestra’s founder and first manager, who from 1918 envisioned an ensemble dedicated to community service, music education, and performing excellence.

The George Szell Society is named after the Orchestra’s fourth music director, who served for twenty-four seasons (1946-70) while refining the ensemble’s international reputation for clarity of sound and unsurpassed musical excellence.

The Elisabeth DeWitt Severance Society honors not only the woman in whose memory Severance Hall was built, but her selfless sharing, including her insistence on nurturing an orchestra not just for the wealthy but for everyone.

The Dudley S. Blossom Society honors one of the Orchestra’s early and most generous benefactors, whose dedication and charm rallied thousands to support and nurture a hometown orchestra toward greatness.

The Frank H. Ginn Society honors the man whose judicious management of Severance Hall’s finances and construction created a beautiful and welcoming home for Cleveland’s Orchestra.

The 1929 Society honors the vibrant community spirit that propelled 3,000 volunteers and donors to raise over $2 million in a nine-day campaign in April 1929 to meet and match John and Elisabeth Severance’s challenge gift toward the building of the Orchestra’s new concert hall.

Jan and Daniel Lewis (Miami, Cleveland) Mrs. Alfred M. Rankin, Sr. $5 MILLION TO $10 MILLION

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Mrs. Norma Lerner and The Lerner Foundation Mr. and Mrs. Albert B. Ratner $1 MILLION TO $5 MILLION

Irma and Norman Braman (Miami) Mr. Francis J. Callahan* Mrs. M. Roger Clapp Mr. George Gund III * Francie and David Horvitz (Miami) Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III * The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Peter B. Lewis* and Janet Rosel Lewis (Miami) Sue Miller (Miami) Sally S.* and John C. Morley The Family of D. Z. Norton The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson The Ralph and Luci Schey Foundation Mr.* and Mrs. Ward Smith Mr. and Mrs. Richard K. Smucker Anonymous (2) The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which stands today as an emblem of unrivalled quality and community pride.

Lifetime giving listing as of October 2015.

84

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 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

gifts of $25,000 and more

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

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

85

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

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

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 Jonathan and Tina Kislak (Miami)

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

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)

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

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 Julie Fisher Cummings (Miami) Do Unto Others Trust (Miami) Dr. and Mrs. Robert Ehrlich (Europe) 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.

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 listings continue

86

Individual Annual Support

The Cleveland Orchestra

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87

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) Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (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 Dr. and Mrs. James L. Sechler 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)

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) 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 Ms. Carole Hughes Ms. Charlotte L. Hughes Mr. David and Mrs. Dianne Hunt

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

Dr. and Mrs. D. P. Agamanolis Susan S. Angell Agnes Armstrong Mrs. Elizabeth H. Augustus Mr. and Mrs. Robert H. Baker Jennifer Barlament and Ken Potsic 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 Diane Lynn Collier and Robert J. Gura Marjorie Dickard Comella

88

Individual Annual Support

listings continue

The Cleveland Orchestra

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89

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

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 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)

Hazel Helgesen* and Gary D. Helgesen 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. Max F. Zupon

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

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

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

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

90

Individual Annual Support

The Cleveland Orchestra

Your Role . . . in The Cleveland Orchestra’s Future Genera ons of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its educa on programs, celebrated important events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends.

Ticket sales cover less than half the cost of presen ng The Cleveland Orchestra’s season each year. To sustain its ac vi es here in Northeast Ohio, the Orchestra has undertaken the most ambi ous fundraising campaign in our history: the Sound for the Centennial Campaign. By making a dona on, you can make a crucial difference in helping to ensure that future genera ons will con nue to enjoy the Orchestra’s performances, educa on programs, and community ac vi es and partnerships. To make a gi to The Cleveland Orchestra, please visit us online, or call 216-231-7562.

clevelandorchestra.com

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

Bill* and Zeda Blau Doug and Barbara Bletcher Dr. Charles Tannenbaum & Ms. Sharon Bodine Mr. and Mrs. Richard H. Bole Mrs. Loretta Borstein Ms. Andrea L. Boyd Lisa and Ron Boyko Mr. and Mrs. David Briggs Dr. Thomas Brugger and Dr. Sandra Russ Laurie Burman Mrs. Millie L. Carlson Irad and Rebecca Carmi Leigh Carter Mr. and Mrs. James B. Chaney Dr.* and Mrs. Ronald Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm Mrs. Robert A. Clark Dr. John and Mrs. Mary Clough Kenneth S. and Deborah G. Cohen Mr. Mark Corrado Dr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller Dr. Eleanor Davidson Mr. and Mrs. Edward B. Davis Jeffrey and Eileen Davis Mrs. Lois Joan Davis Michael and Amy Diamant 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

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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. and Mrs. 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

Individual Annual Support

Ms. Barbara Snyder 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 Anonymous (5)

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

* deceased

THE

CLEVELAND ORCHESTRA

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

The Cleveland Orchestra

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Nicola, Gudbranson & Cooper, LLC ATTORNEYS AT LAW

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Located one block north of Historic Shaker Square, Larchmere Boulevard is Clevelandâ&#x20AC;&#x2122;s premier arts and antiques district, featuring over 40 eclectic and independent shops & services. www.Larchmere.com Severance Hall 2015-16

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11001 Euclid Avenue Cleveland, Ohio 44106

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

CLEVELANDORCHESTRA.COM

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

HAILED AS ONE OF

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Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism.

An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and special events each year.

Severance Hall

The Cleveland Orchestra

Severance Hall 2015-16

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Dreams can come true

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 cacgrants.org/impact to learn more.

11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

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

Intermission & Pre-Concert: Concession service of beverages and light refreshments is available before most concerts and at intermissions at a variety of lobby locations.

Post-Concert Dining: Severance Restaurant is open after most evening concerts with à la carte dining, desserts, full bar service, and coffee. For Friday Morning Concerts, a post-concert luncheon service is offered.

CLEVELAND ORCHESTRA STORE A variety of items relating to The Cleveland Orchestra — including logo apparel, DVD and compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermissions.

The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Call 216-231-7478 for more information, or visit the Store online at clevelandorchestra.com.

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

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

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

Severance Hall 2015-16

Guest Information

tra, is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and social events. Catering provided by Marigold Catering. Premium dates are available. Call the Facility Sales Office at 216-2317420 or email to hallrental@clevelandorchestra.com

BE FO R E T H E CO NC E R T GARAGE PARKING AND PATRON ACCESS Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $15 per concert. This pre-paid parking ensures you a parking space, but availability of prepaid parking passes is limited. To order pre-paid parking, call the Ticket Office at 216-231-1111.

Parking can be purchased (cash only) for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. However, the garage often fills up and only ticket holders with prepaid parking passes are ensured a parking space.

Parking is also available in several lots within 1-2 blocks of Severance Hall. Visit the Orchestra’s website for more information and details.

FRIDAY MATINEE PARKING Due to limited parking availability for Friday Matinee performances, patrons are strongly encouraged to take advantage of these convenient off-site parking and round-trip bus options: Shuttle bus service from Cleveland Heights is available from the parking lot at Cedar Hill Baptist Church (12601 Cedar Road). The roundtrip service rate is $5 per person.

Suburban round-trip bus transportation is availble from four locations: Beachwood Place, Crocker Park, Brecksville, and Akron’s Summit Mall.

The round-trip service rate is $15 per person per concert, and is provided with support from the Women’s Committee of The Cleveland Orchestra.

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

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

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

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

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

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

As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can make arrangement by calling the House Manager in advance at 216-231-7425.

Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performances. If you need assistance, please

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contact the House Manager at 216-231-7425 in advance if possible.

Service animals are welcome at Severance Hall.

Please notify the Ticket Office as you buy tickets.

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

SECURITY For security reasons, backpacks, musical instrument cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search.

Severance Hall is a firearms-free facility. No person may possess a firearm on the premises.

CHILDREN AND FAMILIES Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including: Musical Rainbows (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).

Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit clevelandorchestra.com/ under18.

T IC K E T SE RV IC ES TICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same week’s program.

Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There will be no service charge for the five-day advance ticket exchanges.

If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit clevelandorchestra.com for details and blackout dates.

UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleveland Orchestra performances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least two hours before the concert, the value of each ticket can be a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

Guest Information

The Cleveland Orchestra

A Place to Be Remembered . . .

The Cleveland Orchestra is entering the public phase of a major fundraising effort, the Sound for the Centennial Campaign. The campaign is focused on adding more value to our community by securing financial strength for the Orchestra’s second century. The campaign is building the Orchestra’s endowment through cash gi s and legacy commitments, while also securing broad-based and increasing annual support from across Northeast Ohio.

Campaign supporters are eligible for special and unique recogni on.

From concert dedica ons and program book recogni on to limited-term or permanent naming opportuni es of musician chairs. Plus unique op ons to name spaces and seats in Severance Hall or Blossom Music Center. All available only by suppor ng The Cleveland Orchestra.

THE

CLEVELAND ORCHESTRA

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

clevelandorchestra.com/100campaign

THE CLEVELAN C O N C E R T

C A L E N D A R

WINTER SEASON Bronfman Plays Beethoven January 7 — Thursday at 7:30 p.m.

January 8 — Friday at 11:00 a.m. <18s January 9 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Yefim Bronfman, piano Cleveland Orchestra Chorus *

BEETHOVEN String Quartet No. 15 BEETHOVEN Piano Concerto No. 3 BEETHOVEN Choral Fantasy * * not part of Friday Morning Concert

Sponsor: BakerHostetler

Shostakovich’s Fourth Symphony January 14 — Thursday at 7:30 p.m.

January 15 — Friday at 8:00 p.m. <18s THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Barbara Hannigan, soprano

ABRAHAMSEN let me tell you UNITED STATES PREMIERE

SHOSTAKOVICH Symphony No. 4 Sponsor: Jones Day

Martin Luther King Jr. Celebration Concert January 16 — Saturday at 7:00 p.m THE CLEVELAND ORCHESTRA Robert Porco, conductor Hannah White, violin Martin Luther King Jr. Celebration Chorus William Henry Caldwell, director and conductor The Cleveland Orchestra’s 36th annual concert celebrating the spirit of Dr. King’s life, leadership, and vision.

Presented in collaboration with the City of Cleveland.

TICKETS: This concert is soldout.

Admission is free, but tickets are required.

Listen to the concert live on Cleveland radio stations WCLV (104.9 FM) or WCPN (90.3 FM).

Sponsor: KeyBank

Martin Luther King Jr. Day Severance Hall Open House January 18 — Monday from noon to 5 p.m.

Severance Hall joins in the city-wide celebration of Martin Luther King’s life and achievements with a free public open house featuring musical performances by groups from across Northeast Ohio. Details at clevelandorchestra.com.

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Ravel and Debussy February 4 — Thursday at 7:30 p.m.

February 5 — Friday at 7:00 p.m. <18s February 6 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Vladimir Jurowski, conductor Jean-Efflam Bavouzet, piano

DALBAVIE La Source d’un Regard* RAVEL Piano Concerto in G major DEBUSSY Images * not part of Fridays@7 concert

Sponsors: Hyster-Yale Materials Handling, Inc. Sponsors: KeyBank (Fridays@7)

Mitsuko Uchida’s Mozart February 11 — Thursday at 7:30 p.m.

February 12 — Friday at 8:00 p.m. <18s February 13 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Mitsuko Uchida, piano and conductor William Preucil, concertmaster and leader

MOZART Piano Concerto No. 17 MOZART Symphony No. 34 MOZART Piano Concerto No. 25 Sponsor: Quality Electrodynamics (QED)

FAMILY CONCERT

Gotta Dance!

February 26 — Friday at 7:30 p.m.

<18s

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor with special guests Cleveland Ballet and Csárdás Dance Company Put on your dancing shoes, grab your partner, and join The Cleveland Orchestra for a concert of history’s most toe-tapping music. With selections including a habanera dance from Bizet’s Carmen, a wild square dance from Copland’s Rodeo, and rousing Slavonic Dances by Dvořák.

You won’t be able to stop your feet from tapping.

Free pre-concert activities begin one hour before start time.

Supported by The Giant Eagle Foundation

Under 18s Free FOR FAMILIES

<18s

Concerts with this symbol are eligible for "Under 18s Free" ticketing. The Cleveland Orchestra is committed to developing the youngest audience of any orchestra.

Our "Under 18s Free" program offers free tickets for young people attending with families (one per full-price paid adult for concerts marked with the symbol above).

Concert Calendar

The Cleveland Orchestra

D ORCHESTRA 2015-16 SE A SON

Dvořák's Seventh Symphony

I N

T H E

S P O T L I G H T

February 18 — Thursday at 7:30 p.m.

February 19 — Friday at 8:00 p.m. <18s February 20 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Herbert Blomstedt, conductor

BERWALD Symphony No. 3 ("Sinfonie singulière") DVOŘÁK Symphony No. 7

Nielsen's Inextinguishable March 3 — Thursday at 7:30 p.m.

March 5 — Saturday at 8:00 p.m.

March 6 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Alan Gilbert, piano and conductor Stephen Hough, piano

SCHUMANN Overture to Manfred DVOŘÁK Piano Concerto NIELSEN Symphony No. 4 ("The Inextinguishable")

Cleveland Orchestra Youth Orchestra and Youth Chorus March 4 — Friday at 8:00 p.m.

MARTIN LUTHER KING JR. CELEBRATION CONCERT Saturday January 16 at 7:00 p.m.

<18s

CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor CLEVELAND ORCHESTRA YOUTH CHORUS Lisa Wong, director

STRAVINSKY Pétrouchka BRAHMS Song of Destiny [Schicksalslied] COPLAND Canticle of Freedom A free Prelude Concert begins at 7:00 p.m. featuring members of the Youth Orchestra performing chamber music.

THE CLEVELAND ORCHESTRA Robert Porco, conductor Hannah White, violin Martin Luther King Jr. Celebration Chorus William Henry Caldwell, director/conductor

The Cleveland Orchestra’s 36th annual concert celebrating the spirit of Dr. King’s life, leadership, and service. Presented in collaboration with the City of Cleveland.

TICKETS: SOLDOUT

Maria João Pires: Beethoven

Admission is free, but tickets are required.

March 10 — Thursday at 7:30 p.m.

Listen to the concert broadcast live on WCLV (104.9 FM) and WCPN (90.3 FM) radio.

Maria João Pires, piano Julien Brocal, piano Maria João Pires appears for a one-night-only presentation at Severance Hall, playing a program of four Beethoven piano sonatas. Acclaimed for her artistic style and intensity, she appears with young pianist Julien Brocal — to present Sonatas Nos. 13, 14, 31, and 32.

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

Severance Hall 2015-16

Concert Calendar

Concert Sponsor: KeyBank

CLEVELAND ORCHESTRA TICKETS PHONE

216-231-1111 800-686-1141

clevelandorchestra.com 101

THE CLEVELAND ORCHESTRA U P C O M I N G

2015-16 SE A SON

C O N C E R T S

AT SEVERANCE HALL . . .

MITSUKO UCHIDA’S MOZART

FAMILY CONCERT

GOTTA DANCE!

Friday February 26 at 7:30 p.m.

Thursday February 11 at 7:30 p.m.

Friday February 12 at 8:00 p.m. <18s Saturday February 13 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor Cleveland Ballet and Csárdás Dance Company

THE CLEVELAND ORCHESTRA Mitsuko Uchida, conductor William Preucil, concertmaster and leader

Mitsuko Uchida’s interpretations of Mozart are renowed for their intelligence, elegance, and purity. She continues her acclaimed collaboration with The Cleveland Orchestra, performing — and conducting from the keyboard — some of Mozart’s most extraordinary piano concertos.

Sponsored by Quality Electrodynamics (QED)

“The give-and-take response between Uchida and the Cleveland strings and winds attractively beguiles. Superb!”

—Audiophile Audition

Put on your dancing shoes, grab your partner, and join The Cleveland Orchestra and a team of local dancers for a concert of history’s most toe-tapping Classical music.

With musical selections including a waltz from Tchaikovsky’s Sleeping Beauty, a habanera from Bizet’s Carmen, a wild square dance from Copland’s Rodeo, and rousing Slavonic Dances by Dvořák, you won’t be able to stop your feet from tapping!

An hour of free pre-concert activities begins at 6:30 p.m.

Supported by The Giant Eagle Foundation

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

TICKETS

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216-231-1111

clevelandorchestra.com

Upcoming Concerts

The Cleveland Orchestra