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2015-16 SE ASON



Concert Program: February 4, 5, 6 RAVEL AND DEBUSSY — page 26 including Fridays@7: French Impressions (February 5) Concert Program: February 11, 12, 13 MITSUKO UCHIDA’S MOZART — page 57 INTRODUCING ANDRÉ GREMILLET— page 7

Maybe all jobs should have bring your child to work day. Proud supporters of The Cleveland Orchestra’s music education programs for children, making possible the rewards and beneďŹ ts of music in their lives. Drive








10 AN D 11




2015-16 SE ASON


Introducing André Gremillet . . . . . . . . . . . . . . . . . . . . 7 Copyright © 2016 by The Cleveland Orchestra and the Musical Arts Association

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . About Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . WEEK

13 17 22 88 89


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

RAVEL AND DEBUSSY Program: January 4, 5, 6 . . . . . . . . . . . . . . . . . . 26-27 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 29 DALBAVIE

La Source d’un Regard . . . . . . . . . . . . . . . . . . . . . . 31 RAVEL

Piano Concerto in G major . . . . . . . . . . . . . . . . . . 35 DEBUSSY

Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Conductor: Vladimir Jurowski . . . . . . . . . . . . . . . . . . 46 Guest Soloist: Jean-Efflam Bavouzet . . . . . . . . . . . 47 NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . . . . 50 WEEK


MITSUKO UCHIDA’S MOZART Program: February 11, 12, 13 . . . . . . . . . . . . . . . 57 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 59


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.


Piano Concerto No. 17 . . . . . . . . . . . . . . . . . . . . . . 63 Symphony No. 34 . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Piano Concerto No. 25 . . . . . . . . . . . . . . . . . . . . . . 69

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

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

Guest Artist: Mitsuko Uchida . . . . . . . . . . . . . . . . . . . 61


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.

Extraordinary Support . . . . . . . . . . . . . . . . . . . . . . . . 11 Sound for the Centennial . . . . . . . . . . . . . . . . . . 48-49 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73-84

Concerts & Calendars Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92


Table of Contents

The Cleveland Orchestra

–/ har•mo•ny noun / här'm -ne e

an orderly or pleasing combination of elements in a whole When highly skilled, intensely dedicated professionals work in harmony, the results are nothing less than spectacular. BakerHostetler is honored to support The Cleveland Orchestra’s commitment to world-class performances.


An Exotic & Alluring Encounter


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


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


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


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.



Extraordinary Operating Support giving of $100,000 or more during the 2014-15 season

The generous individuals, corporations, foundations, and government agencies listed here made extraordinary cash contributions of $100,000 or more to The Cleveland Orchestra’s annual fund, benefit events, or special annual donations during the 2014-15 season. The Cleveland Orchestra gratefully recognizes the crucial role these funders play in supporting the Orchestra’s ongoing ability to share the world’s finest classical music with the greater Northeast Ohio community. For information about making your own gift to The Cleveland Orchestra, please call 216-231-7558. BakerHostetler The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture George* and Becky Dunn Eaton FirstEnergy Foundation Forest City Enterprises, Inc. GAR Foundation The George Gund Foundation 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 and The Lerner Foundation

Mrs. Emma S. Lincoln Milton and Tamar Maltz Elizabeth F. McBride Medical Mutual of Ohio The Andrew W. Mellon Foundation John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund Nordson Corporation Foundation Ohio Arts Council PNC Bank Mr. and Mrs. Albert B. Ratner James and Donna Reid The Kelvin and Eleanor Smith Foundation Mr. and Mrs. Richard K. Smucker The J. M. Smucker Company Squire Patton Boggs (US) LLP Thompson Hine LLP Ms. Ginger Warner

Extraordinary Thanks to each of these supporters

Severance Hall 2015-16


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

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

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

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

R E S I D E NT TR U S TE ES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler 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)

T R U S TE E S E X- O F F IC I O Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Dr. Patricia Moore Smith, President, Women’s Committee of The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra

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

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

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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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. Severance Hall 2015-16

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



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


1l1l 11l1 1l1I

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

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


each year

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


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


Likes on Facebook (as of February 1, 2016)

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




concerts each year.

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

The Cleveland Orchestra performs over



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


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

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

About the Orchestra


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

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

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


About the Orchestra

The Cleveland Orchestra

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Kelvin Smith Family Chair


Blossom-Lee Chair


Clara G. and George P. Bickford Chair



Gretchen D. and Ward Smith Chair

Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair Theodore

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan


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

Emilio Llinas 2 James and Donna Reid Chair

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

Sonja Braaten Molloy Carolyn Gadiel Warner Ioana Missits Stephen Warner Ioana Missits Jeffrey Zehngut Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Scott Weber Beth Woodside Kathleen Collins Emma Shook Beth Woodside Elayna Duitman Emma Shook Elayna Duitman Yun-Ting Lee Yun-Ting Lee VIOLAS Robert VIOLAS Vernon * Chaillé H. and * Robert Vernon Richard B. and Tullis Chair Chaillé H. RichardRamsey B. Tullis 1Chair Lynne CharlesRamsey M. and 1 Lynne Janet G. M. Kimball Charles and Chair 2 Janet G. Kimball Chair Stanley Konopka

Mark Jackobs Stanley Konopka 2 Jean Wall Bennett Chair Mark Jackobs Arthur Klima Jean Wall Bennett Chair Richard Waugh Arthur Klima Richard Waugh Lisa Boyko Lisa Boyko Lembi Veskimets Lembi Veskimets Eliesha Nelson Joanna Eliesha Patterson Nelson Zakany Patrick Joanna Connolly Patterson Zakany Patrick Connolly

Orchestra Roster

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair The

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas Th omas 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

PERCUSSION Marc Damoulakis* 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 Alexander and Marianna C. McAfee Chair

* Principal §

Linnea Nereim

Shachar Israel 2





Stanley L. and Eloise M. Morgan Chair

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

Gareth Thomas Barrick Stees 2 *

Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2015-16

EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair


Associate Principal First Assistant Principal Assistant Principal on sabbatical leave




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

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

Orchestra Roster

Elizabeth Ring and William Gwinn Mather Chair


Frances P. and Chester C. Bolton Chair


More time with family. Our doctor recommended calling Hospice of the Western Reserve after mom’s illness caused frequent trips to the hospital. Now with 24/7 support, we have more family time. If you or a loved one has a serious illness, ask for us by name. Call 800.707.8922 to learn more.


800.707.8922 | |


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

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

Sunday, October 18, 2015

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

Sunday, January 10, 2016

Chopin & Grieg — A Musical Friendship.

Sunday, April 10, 2016

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

Sunday, May 1, 2016

Musical Pictures — Visually inspired, gloriously colorful works.

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


The Cleveland Orchestra


Concert Previews

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

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. February 4, 6 “Images from France” (Musical works by Ravel, Debussy, & Dalbavie) with guest speaker Eric Charnofsky, instructor, department of music Case Western Reserve University

February 11, 12, 13 “Magnificent Mozart” with guest speaker Donna Lee, professor of piano, Kent State University

February 18, 19, 20 “Let’s Talk About Music” (Musical works by Berwald and Dvořák) a discussion between Brett Mitchell, associate conductor and Mark WIlliams, director of artistic planning

March 3, 5, 6 “Duels, Deceptions, and Dvořák’s Neglected Piano Concerto” (Musical works by Schumann, Dvořák, Nielsen) with guest speaker Timothy Cutler, professor of music theory, Cleveland Institute of Music

March 24, 26 “Revisions and Second Thoughts” (Musical works by Kurtág, Schumann, Bruckner)

Concert Previews

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



W E L S E R - M Ö ST M U S I C


Severance Hall

Thursday evening, February 4, 2016, at 7:30 p.m. Saturday evening, February 6, 2016, at 8:00 p.m.

Vladimir Jurowski, conductor MARC -ANDRÉ DALBAVIE

(b. 1961)

MAURICE RAVEL (1875-1937)

La Source d’un Regard Piano Concerto in G major 1. Allegramente 2. Adagio assai 3. Presto JEAN-EFFLAM BAVOUZET, piano


Images for orchestra III. Gigues III. Rondes de printemps [Round Dances of Spring] III. Ibéria 1. In the Streets and Byways 2. The Fragrances of the Night — 3. The Morning of a Festival Day

These concerts are sponsored by Hyster-Yale Materials Handling, Inc., a Cleveland Orchestra Partner in Excellence. Jean-Efflam Bavouzet’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Julia Severance Millikin Fund. The concert will end on Thursday evening at about 9:10 p.m., and on Saturday at approximately 9:40 p.m.


Concert Program — Week 10

The Cleveland Orchestra

Severance Hall

KeyBank Fridays@7 Concert Friday evening, February 5, 2016, at 7:00 p.m.

Vladimir Jurowski, conductor MAURICE RAVEL (1875-1937)

2015-16 SE A SON

Piano Concerto in G major 1. Allegramente 2. Adagio assai 3. Presto JEAN-EFFLAM BAVOUZET, piano

CLAUDE DEBUSSY (1862-1918)

Images for orchestra III. Gigues III. Rondes de printemps [Round Dances of Spring] III. Ibéria 1. In the Streets and Byways 2. The Fragrances of the Night — 3. The Morning of a Festival Day


FRIDAYS@ The Fridays@7 concert series is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence. The Friday evening concert is performed without intermission and will end at about 8:05 p.m.


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

Severance Hall 2015-16

Concert Program — Week 10F




Great music, great drinks.


And great company.

A fresh approach to Friday nights! A ID R F February 5 — French Impressions The Cleveland Orchestra’s popular Fridays@7 concert series features a unique twist on a musical night out. The Plain Dealer calls it “the place to be on Friday night.” It’s an exciting and relaxed way to enjoy a night filled with incredible music and more. It’s an hour-long concert with The Cleveland Orchestra, coupled with a casual @fterParty featuring more music, and great opportunities for socializing and being with great friends and new acquaintances. 6 p.m. Pre-Concert St@rters . . . Arrive early for a pre-concert happy hour with French-themed drinks and appetizers. 7 p.m. KeyBank Fridays@7: The Cleveland Orchestra . . . This week, enjoy works by two masters of French Impressionist music: Maurice Ravel and Claude Debussy 8 p.m. @fter-Party in the Grand Foyer and more . . . Severance Hall stays open for the evening, with DJ Brad Petty ( spinning soft French pop and house music. Mix and mingle, in the Bogomolny-Kozerefski Grand Foyer, or in the more intimate Smith Lobby — and enjoy a showcase of local artwork presented in partnership with 78th Street Studios. Or . . . head to Severance Restaurant for post-concert dessert and drinks, with live music by Luca Mundaca (


FRIDAYS@ KeyBank Fridays@7: Next Concerts April 15 — All-Mozart Jane Glover (conductor), Joshua Smith (flute), Yolanda Kondonassis (harp)

May 6 — Stravinsky’s Firebird Andrés Orozco-Estrada (conductor), Kirill Gerstein (piano)


Fridays@7: February 5

The Cleveland Orchestra



French Inspirations

Claude Monet’s “Rue Montorgueil with Flags” from 1886 — an early work of painterly Impressionism and of resurgent French patriotism.

T H I S W E E K E N D ’ S C O N C E R T S present styles of French-themed symphonic “new music” from across the past century. On Thursday and Saturday, the evening begins with a work from 2007 by Marc-André Dalbavie. La Source d’un Regard is an intriguing work by this composer, who served as a Lewis Young Composer Fellow here with The Cleveland Orchestra a decade ago. This piece shows off the continuing interest of French composers in orchestral colors — bringing forward not just the idea of musical notes as a composition, but as something that only comes alive in performance, sounding out and building itself in the moment of its making . . . each time. The concerts on all three evenings feature two big works by two major French composers from a century ago: Maurice Ravel and Claude Debussy. In his Piano Concerto in G major from 1931, Ravel infused an old format with new colorings and syncopation, including the “new” music of jazz. The slow middle movement harkens back to an earlier age, sounding as though Mozart himself had wandered into a 20th-century Paris cafe on a dark night, and played away with good wine and plenty of introspective emotion . . . a modern Mozart filled with French panache. Pianist Jean-Efflam Bavouzet takes up the solo role in this modern masterpiece. To close the program, guest conductor Vladimir Jurowski has chosen Deubssy’s great orchestral showpiece Images, from the first decade of the 20th century. In truth, this is made up of three different works brought together almost as an afterthought. Each puts forth extraordinary audible impressions, clearly painting in a musical language that hints at some things, and fully states others — capturing the vibrancy of Debussy’s sonic visions . . . in sights and sound, and even in taste and fragrance. Vive la France!

—Eric Sellen

Severance Hall 2015-16

Introducing the Concert


Ralph Waldo Emerson

Thanks to the richness of Cleveland’s cultural heritage and the excellence of The Cleveland Orchestra, literally millions of men, women, and children have experienced p such a dawn . . . and it is unforgettable. g Hyster-Yale Materials Handling, Inc.

NACCO Industries, Inc.

We are: Hyster, Yale, and Utilev lift trucks; and Nuvera fuel cells and hydrogen generators

We are: The North American Coal Corporation; Hamilton Beach Brands small electric appliances; and The Kitchen Collection retail stores


La Source d’un Regard (for orchestra) composed 2006-07

At a Glance



Dalbavie wrote La Source d’un Regard in 2006-07 on a joint commission from Amsterdam’s Royal Concertgebouw Orchestra and the Philadelphia Orchestra to mark the centennial of Olivier Messiaen (19081992). It was first performed during the 2007-08 season, in Amsterdam in November 2007, conducted by George Benjamin, and in Philadelphia in May 2008 conducted by Christoph Eschenbach. This work runs just over 15

minutes in performance. Dalbavie scored it for 4 flutes, 2 oboes, english horn, 4 clarinets, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, gong, suspended cymbal, tam-tam, tubular bells, vibraphone, xylophone), harp, and strings. The Cleveland Orchestra is performing this work for the first time with this week’s concerts.

DALBAVIE born February 10, 1961 Neuilly-Sur-Seine, France lives in Paris

Severance Hall 2015-16

About the Music S E V E R A N C E H A L L A U D I E N C E S have familiarity with Marc-

André Dalbavie’s music from his time as composer-in-residence with The Cleveland Orchestra, serving as the first Daniel R. Lewis Young Composer Fellow for two seasons, 1998-2000. Several works were heard at that time, including the world premiere of Concertate il suono, commissioned by the Orchestra as culmination of his Lewis fellowship. This was followed with Rock under the water and Tactus in 2003, and the United States premiere of his Piano Concerto in 2006, as well as encore performances of Concertate il suono (in 2004 and again in 2010). La Source d’un Regard is a work from 2007, commissioned jointly by Amsterdam’s Royal Concertgebouw Orchestra and the Philadelphia Orchestra to mark the centenary of the birth of composer Olivier Messiaen in 2008. Conceptually, it fits perfectly as part of this week’s Cleveland Orchestra concerts — on the surface with its Frenchness, through the music itself in its sounding out of newer threads of French musical expression, and in the way it links together the entire evening via connections with Pierre Boulez, who was among Dalbavie’s teachers and who was acclaimed for his performances of Ravel and Debussy (and Dalbavie) with Cleveland. For Dalbavie’s music, live performance matters. Part of his awakening as a composer involved studying within the French musique spectrale, which came to the fore in the 1970s and made About the Music


the “spectrum” of sound as important as — sometimes more important than — the traditional elements of rhythm (including duration) and pitch. Where you sit in relation to the musicians, where each musician (or subgroup) sits in relation to one another, and the acoustics of the performance space all become important factors in Dalbavie’s pieces. His work is about space and color — the same note sounds very different when played by differing instruments, and the same note from the same instrument sounds different at varying distances or combined with other instruments. Reverberation, reflection, overtones, and echo are among his strongest tools. Meaning that orchestration is Dalbavie’s primary palette, even beDalbavie’s music is about fore melody and structure. Dalbavie first studied in Italy, but then space and color — the went to Paris to be a researcher at IRCAM, the same note sounds very difrevolutionary new-music Institute for Research ferently when played by and Coordination of Acoustics and Music differing instruments, and founded by Pierre Boulez and opened in 1977. There Dalbavie learned intensely about both the same note from the electronic music and traditional instruments; same instrument sounds he also studied conducting with Boulez. And different at varying disat least some of Dalbavie’s impetus as a comtances or combined with poser can be heard as attempting to recreate or imitate or transform or mirror aspects of maother instruments. Meannipulations available through electronics, but in ing that orchestration is his live, unplugged performance. What happens primary palette, even beto a note after it first sounds is as important fore melody and structure. and interesting to him as the initial note itself. In all this, Dalbavie follows naturally in the footsteps of Debussy, whose daring leadership into musical impressionism influenced so many later composers, and also of Olivier Messiaen, whose introduction of non-Western musical sounds (the Indonesian gamelan, the literal or imitated songs of birds, the angst-filled whooshes from early electronic instruments) and general sense of style and sound also find echoes in Dalbavie’s work. The title La Source d’un Regard is itself a phrase of varying resonances, which can be translated in several different directions — or, as Dalbavie might wish, can be heard in several different ways, depending on your mindset. In English, it might be rendered as straightforwardly as “The Source of a Glance” or “The Start of a Look” or “The Way to Begin Looking,” or farther


About the Music

The Cleveland Orchestra

off to something not unlike “What are you looking at?” — or, perhaps, listening to, or thinking about — or metaphorically “Where do these sounds come from?” And in this there is a direct connection with Messiaen, for Dalbavie’s piece was built, at least initially, on several chords from Messiaen’s Vingt Regards sur L’Enfant-Jésus [“Twenty Views (or contemplations) on the Infant Jesus”]. There is inherent in all of this, the fact that for each musician, as they play, there is a source, a slice of time, a moment, when each sound is first created. And, in our experiencing, the piece is not just a blending together, in sequence and in reflecting echoes of sounds, but also a series of moments captured in sequence by our brains as we listen. We are contemplating the sounds as we experience them together as they change and evolve. La Source d’un Regard runs about 15 minutes in performance. For some, it may come across as a bit unfocussed, as a sonicscape of interesting but mixed musical sounds — good moments that don’t quite connect. Dalbavie may not be your “cup of tea.” For many others, with open ears and a willingness to take in both its subtlety and quick-fire moments, and the way this piece builds from within and across the stage, mixing sounds together in progression, building vertically in depth and longitudinally across time — and almost viscerally in vibration — it can become an extraordinarily absorbing and riveting journey, both caressing the mind and agitating it, turn by turn and simultaneously. This mix of spices and ingredients, this “musical tea” will quench your thirst, as you let it pour over you. The music of La Source d’un Regard has clear lines of melody and motion, and exquisite stylings of chords and orchestral coloring. The opening motif returns several times, bringing a sense of continuity between flatter sections of elongated soundings. Brass calls and jagged chords add moments reminiscent of Stravinsky’s ballet scores, as well as combinations of chording quite like Messiaen’s musical language. It is not imitative, however, but cumulative in how it progresses. The piece’s energy for “sailing” forward is replenished with reiterative gathering up of sounds (like different breaths of wind rising), which then gently relax before taking us forward again. Leading, appropriately, to a climax and then to a dying away toward silence.

—Eric Sellen © 2016


Severance Hall 2015-16

About the Music 1.855.GO.STORM


Piano Concerto in G major composed 1929-31, incorporating some ideas from as early as 1911

At a Glance and with pianist Jesús María Sanromá) and the Philadelphia Orchestra (with conductor Leopold Stokowski and pianist Sylvan Levin). This concerto runs about 20 minutes in performance. Ravel scored it for flute, piccolo, oboe, english horn, E-flat (high) and B-flat (regular) clarinet, 2 bassoons, 2 horns, trumpet, trombone, timpani, percussion (bass drum, snare drum, cymbals, triangle, whip, tamtam, woodblock), harp, and strings.


Ravel composed both of his piano concertos in 1929-31. The G-major Concerto’s first performance was on January 14, 1932, at a Ravel Festival concert at the Salle Pleyel in Paris, with the composer conducting the Lamoureux Orchestra; the soloist was Marguerite Long, to whom the concerto was dedicated. The concerto’s first performances in North America were given concurrently on April 22, 1932, by the Boston Symphony Orchestra (conducted by Serge Koussevitzky

born March 7, 1875

About the Music

Ciboure, Basses-Pyrénées

I T W A S R A V E L’ S original plan to write a concerto for his own use. In his public appearances as a concert pianist, he had preferred mostly to play easier pieces like the Sonatine he’d written in 1903-05 and was all too conscious that his technique was not up to the more demanding works he’d created, such as Gaspard de la nuit from 1908. But, as he began creating the new work for piano and orchestra, rather than write a piece within his own capacity, he decided to write a concerto of proper difficulty — and simply acquire the technique to play it himself. Thus his composition hours, already long and arduous compared with his earlier facility (by the end of the 1920s he was aware of the failing brain activity that cruelly silenced his last years), were interspersed with hours devoted to practicing the études of Czerny and Chopin in an unavailing attempt, at the age of 55, to perfect his digital skills (a.k.a. piano keyboard fingering, not the computer variety we think of as “digital skills” today). It was only once the work was finished, late in 1931, with a première not many weeks away, that Ravel abandoned his aspirations and turned to Marguerite Long to give the first performance instead. This she did on January 14, 1932, in the Salle Pleyel, Paris, with Ravel conducting. Gustave Samazeuilh recounted that in 1911 he and Ravel spent a holiday in the Basque region of Spain (where both of them had been born) and that Ravel sketched a “Basque Con-



died December 28, 1937 Paris

Severance Hall 2015-16

About the Music


certo” for piano and orchestra. Without the right idea for a central linking movement, Ravel abandoned the work, only to bring parts of it back to life twenty years later within the G-major Concerto. This at least suggests a Basque origin for some of the themes, although it is easier, without any general familiarity with Basque music, to recognize that the livelier themes emerge from Ravel’s preoccupation with the brilliant percussive qualities of the piano itself, and that the languorous melodies betray his gift for giving a peculiarly sophisticated edge to the “new” language of jazz. It is striking that the sound of this concerto differs markedly from that of its sibling, the concerto for left hand, composed at the same time, not just in having ten fingers at work instead of five. Here Ravel concentrated the fingers’ activity in the upper reaches of the keyboard and also utilized a small orchestra, more an ensemble of soloists than a grand tutti full orchestra. Ravel asserted that he composed the G-major Concerto in the spirit of Mozart and Saint-Saëns, two composers of impeccably classical pedigree. The three movements are accordingly laid out on the classical plan, with two quick movements embracing a slow middle one. The first movement in its turn offers both quick and slow sections, the latter being the occasion for some virtuoso melodic flights for solo instruments, notably the bassoon in the first half, the harp and the horn in the second, while the piano is often required to be sweet in one hand and pungent in the other at the same time. (Gershwin’s flattened scale, generally in the minor, is much in evidence.) Ravel spoke of writing the slow middle movement “one bar at a time” (which is nothing if not cryptic, and certainly not very enlightening), and also referred to Mozart’s Clarinet Quintet as a basis (which is scarcely more helpful, except that of course the idea of melody-with-accompaniment is prominent in both works). The style is pure, both in the simplicity of the piano style and the absence of chromatics, but it also has a constant suggestion of wrong notes in the manner of Erik Satie, the wrongness in Ravel’s case being supremely calculated and . . . exactly right. Simplicity gives way to complexity and the melody returns on the english horn as the piano’s exquisite tracery continues to the end. The last movement is an unstoppable cascade, with the orchestra again tested to the limit, not just the soloist. The movement is neatly framed, with its opening clustered discords returning as a signing-off at the end. —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.


About the Music

The Cleveland Orchestra

The only love affair I have ever had was with music. —Maurice Ravel

Guest Artist


Presenting Centennial sponsor:

Images (for orchestra) composed 1905-12

At a Glance



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

The composition of the three Images for orchestra occupied Debussy from 1905 to 1912. Ibéria and Rondes de printemps [“Spring Rounds”] were each begun around 1905 (originally planned as works for two pianos); Ibéria was completed late in 1908 and Rondes in the following year. Ibéria was premiered on February 20, 1910, with Gabriel Pierné conducting, and Rondes a few days later, on March 2, under the direction of the composer. Gigues, begun in 1909, was finished (with some assistance in the orchestration by André Caplet) in 1912. It was first performed on January 26, 1913, under Caplet’s baton. The first American performances of Rondes and Ibéria were given by Gustav Mahler and the New York Philharmonic Society on November 15, 1910, and January 3, 1911, respectively. Gigues was first heard in the United States at a concert of the Chicago Symphony Orchestra, conducted by Frederick Stock, on November 13, 1914. Together, the three Images run about 35 minutes in performance. Debussy’s scorings are as follows: Gigues: 2 piccolos, 2 flutes, 2 oboes, oboe d’amore, english horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets,

3 trombones, tuba, timpani, percussion (cymbals, side drum, xylophone), celesta, 2 harps, and strings. Rondes de printemps: 3 flutes (third doubling piccolo), 2 oboes, english horn, 3 clarinets, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, timpani, percussion (triangle, tambourine, cymbals), celesta, 2 harps, and strings. Ibéria: piccolo, 3 flutes (third doubling second piccolo), 2 oboes, english horn, 3 clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (tambourine, side drum, castanets, xylophone, 3 bells), celesta, 2 harps, and strings. The three parts of Images have been played separately and as a group by The Cleveland Orchestra. Ibéria, by far the most popular of the three pieces, has been a staple of The Cleveland Orchestra’s repertoire since Nikolai Sokoloff first conducted it in January 1921. Rondes de printemps was not played by The Cleveland Orchestra until 1937, and Gigues was first played by the Orchestra in 1951. The most recent presentation of the three Images as a group was in November 2003, conducted by Vladimir Ashkenazy.

About the Music T H E A S S O C I A T I O N O F M U S I C and images is one of the

most fundamental characteristics of Claude Debussy’s music. In addition to the many specific images on which he based compositions — from the ocean in La Mer to all kinds of landscapes and portraits in the two books of piano preludes — the word Images as a title appeared in an early set of piano pieces (1894) and in two better-known sets for piano (1905-08), even before the set of orchestral Images (completed in 1912) being Severance Hall 2015-16

About the Music


presented at this weekend’s concerts. It is significant that each of these sets (including La Mer) features three movements — and the orchestral image Ibéria itself has a three-part structure. Three was a natural and important number for the composer in structuring material. It was natural for Debussy to think in musical “images.” He was a great lover of art and counted many painters among his friends. But the artistic inspiration never meant a mere musical representation of a subject treated in a painting. For Debussy, the relationship was less direct — these are “images,” seen or dreamed by the mind’s eye, and then realized It was natural for Debussy in sound rather than in color. In the case of the orchestral Images, the to think in musical “imagvisions are primarily about motion, and comes.” He was a great lover bine the senses of sight, hearing, and even smell of art and counted many (as in the middle section of Ibéria). As Charles painters among his friends. Baudelaire, one of Debussy’s favorite poets, put it: “Les parfums, les couleurs et les sons se But the artistic inspiration répondent . . .” [“The fragrances, the colors, and never meant a mere muthe sounds answer one another . . .”]

sical representation of a subject treated in a painting. The relationship was less direct — more like a picture realized in sound rather than in color.


Debussy originally planned to call this piece Gigues tristes [“Sad gigues”], according to a letter to his publisher Durand written in 1905. No doubt, the idea of turning a cheerful dance-tune into a melancholy melody was already present in his mind years before the composition was actually written. The melody itself is derived from an English country dance or jig, related to but different from the Baroque gigue. Debussy had visited England on many occasions, and it may be that he came across this melody on one of his trips, or he may have borrowed it from the song “Dansons la gigue” [“Let’s dance the jig”] by his contemporary Charles Bordes (1863-1909). After a brief introduction that sets the tone with a typically Debussyan combintion of harp, celesta, and woodwinds, the jig melody is played by the unaccompanied oboe d’amore (a double-reed instrument whose range of pitch lies between those of the oboe and the english horn). The other woodwinds and the horns play a faster rhythmic variant of this tune while the oboe d’amore keeps repeating its own, more soulful version


About the Music

The Cleveland Orchestra

of it. The music gets more and more agitated as the rhythmic pattern of the faster-moving material is developed in a powerful orchestral crescendo that suddenly breaks off. The sad jig tune returns; the tempo gradually slows down, the music gets ever softer, and finally fades into silence. André Caplet, who collaborated with Debussy on the score of Gigues, wrote about the work in 1923: “Gigues” . . . Sad Gigues . . . tragic Gigues . . . The portrait of a soul . . . a soul in pain, uttering its slow, lingering lamentation on the reed of an oboe d’amore. A wounded soul, so reticent that it dreads and shuns all lyrical effusion, and quickly hides its sobs behind the mask and the angular gestures of a grotesque marionette. Again, it suddenly wraps itself in a mantle of the most phlegmatic indifference. The ever-changing moods, the rapidity with which they merge, clash, and separate to unite once more, make the interpretation of the work very difficult. . . . Underneath the convulsive shudderings, the sudden efforts at restraint, the pitiful grimaces, which serve as a kind of disguise, we recognize the very soul of our dear, great Claude Debussy. We find there the spirit of sadness, infinite sadness, lying stretched as in the bed of a river whose flow, constantly augmented from new sources, increases inevitably, mercilessly. RONDES DE PRINTEMPS [ROUND DANCE S OF SPRING]

This is one of the rare instances Debussy quoted an actual French folksong in one of his works. He seems to have had a special fondness for “Nous n’irons plus au bois” [“We won’t go to the woods any more”], a melody to which he had also alluded in his piano piece “Jardins sous la pluie” [“Gardens in the Rain”], from the cycle Estampes. In Rondes de printemps, this melodic fragment is transformed in various ways, some derived from the Baroque contrapuntal techniques known as stretto and augmentation. Although the work is based on the French folksong, Debussy also quotes — in words — from an Italian traditional song, “La Maggiolata,” or “Welcoming the month of May,” on the first page of the score. The lines, which appear in French translation, read: “Vive le Mai, bienvenu soit le Mai avec son gonfalon sauvage” [“Long live May, May be welcome with its wild banner”]. This is also the only movement of Images to bear a dedication, to Debussy’s second wife, Emma.

Severance Hall 2015-16

About the Music

The Cleveland Orchestra and Pierre Boulez have recorded Debussy’s Images twice: in 1967 and in 1991, with both recordings winning Grammy Awards.


Marina Piccinini flute

Andreas Haefliger piano Husband-and-wife duo promises an enchanting evening

Tuesday I 7:30 pm I

pre-concert lecture at 6:30

February 9 EJ Thomas Hall at The University of Akron TICKETS: $25 I







Students Free


Zsolt Bognár Sunday, Feb. 7, 2016 | 2 p.m.

FREE | 216-987-2060 42


Cleveland Museum of Art Gartner Auditorium

The Cleveland Orchestra

The French folksong is preceded by an introduction that evokes the spring by airy woodwind passages accompanied by harp glissandos. This melody itself is presented in an asymmetrical meter of five beats (written as 15/8 as each beat is subdivided in three). The general atmosphere is one of warmth and serenity, though at the 1910 premiere, according to Debussy biographer Léon Vallas, “the very high pitch of the violins, the sudden gusts of thirds in the wind instruments, the rough sonorities of certain passages, suggested to some people icy blasts rather than the gentle breezes of spring.” After undergoing various rhythmic transformations, the folksong is played in long and strongly accented notes by the clarinets and the It is interesting to english horn, only to crumble away to tiny motifs, note that Debussy spent suddenly cut short by a powerful harp-celesta glisalmost no time in Spain. sando that brings the piece to a close.

He did, however, know several Spanish musicians, such as Manuel de Falla, who had warm words of praise for Debussy’s Ibéria, which he claimed had “a considerable and decisive influence on young Spanish composers.”


French musicians had often been inspired by the rhythms of Spanish music, since even before the time of Bizet’s opera Carmen in 1875. Two composers from the generation preceding Debussy in particular owed their fame to their “Spanish” compositions — Édouard Lalo’s Symphonie espagnole (1875) and Emmanuel Chabrier’s España (1883) must have been well-known to the young Debussy, who himself wrote the piano piece La soirée dans Grenade [“Evening in Grenada”] in 1903. It is interesting to note that, aside from one short trip across the border, Debussy never visited Spain. He did, however, know the music of some of his Spanish colleagues, such as Manuel de Falla and Isaac Albéniz. (The latter used the title “Iberia” in a magnificent suite for piano published in four volumes between 1906 and 1908.) Falla had warm words of praise for Debussy’s Ibéria, which he claimed had “a considerable and decisive influence on young Spanish composers.” The first section of Ibéria, entitled “Par les rues et par les chemins” [“In the Streets and Byways”] immediately creates a Spanish atmosphere with the sound of the castanets. A whole town is out in the streets on a warm summer evening. People are walking, talking, singing, and dancing. The clarinets play a dance tune marked by the composer as “elegant and rhythmic” and harmonized with parallel chords (one of Debussy’s recurSeverance Hall 2015-16

About the Music


rent techniques). Later, an equally cheerful second theme is heard on the horns and clarinets, soon combined with a third melody which, in contrast, is more lyrical and expressive in character. The first theme with the castanet accompanment finally returns (now played by the oboes instead of the clarinets). At last, the noisy parade is over; the people go home and the section quiets down to end pianissimo. The second section is called “Les parfums de la nuit” [“The Fragrances of the Night”]. Falla perceived here “the intoxicating spell of Andalusian nights,” and he must have known since he was born in that province of Spain. There are several factors that contribute to the magic of this movement, including a virtuosic orchestration that makes a sophisticated use of divided strings. (At one point, the first violins are split into seven different groups, all playing with special techniques such as glissandos and harmonics.) The celesta part is every bit as “celestial” as the instrument’s name. The chords are again “parallel,” with every part moving by the same interval regardless of keys; as a result, we get the so-called “whole-tone scale” (C, D, E, F-sharp, G-sharp, A-sharp) in which each of the six steps is a whole-step higher than the preceding one (with no half-steps to give a more “normal” tone row). This scale is incompatible with the traditional major-minor system because its degrees are equidistant, they are all equally important, and any note may serve as a temporary or permanent resting-point. This is why the music seems to be hovering in the air, never touching the ground or reaching a clear closure. The third section of Ibéria, “Le matin d’un jour de fête” [“The Morning of a Festival Day”] follows upon the night without interruption. As the day begins to break, we hear the distant sound of a drum with some soft plucked string pizzicatos. The night music returns for a moment in the form of a three-measure flute solo. The violins and violas imitate the sound of guitars; Debussy instructs half the players to hold their instruments like guitars. The clarinets play their solo “very cheerfully, exaggerating the accents.” The violin solo, full of double stops, must be “free and whimsical” [libre et fantasque]; the oboe and english horn parts are marked “merry and whimsical” [gai et fantasque]. According to the composer’s correspondence with his publisher, Debussy had some difficulty choosing from three different ways of ending the piece. “Shall I toss up between them,” he wrote, “or try to find a fourth solution?” He finally opted for a big crescendo, “brisk and vigorous” [vif et nerveux]; the last word belongs to the trombones, which cap the piece with a stupendous three-part sliding glissando. —Peter Laki © 2016 Copyright © Musical Arts Association

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


About the Music

The Cleveland Orchestra

Some people wish above all to conform to the rules. I wish only to render what I can hear. There is no theory, you have only to listen. Pleasure is the law. . . . Works of art make rules; rules do not make works of art. —Claude Debussy

Vladimir Jurowski Russian conductor Vladimir Jurowski holds prestigious leadership positions as principal conductor of the London Philharmonic Orchestra, principal artist with the Orchestra of the Age of Enlightenment, and artistic director of the Russian State Academic Symphony Orchestra. He was named chief conductor and artistic director of the Berlin Radio Symphony Orchestra this past autumn and will take up the position with the 2017-18 season. He will also serve as artistic director of the 2017 Enescu International Festival in Bucharest. He made his Cleveland Orchestra debut in February 2011. His most recent appearances here were in May 2014. Born in Moscow, Vladimir Jurowski began his musical studies at Moscow University’s Music College. After he relocated with his family to Germany, he attended the music high schools of Dresden and Berlin, studying conducting with Rolf Reuter and vocal coaching with Semion Skigin. Mr. Jurowski made his international debut at the Wexford Festival in 1995 conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at London’s Royal Opera House leading Verdi’s Nabucco. He subsequently served as first kapellmeister of the Komische Oper Berlin (1997-2000), principal guest conductor of the Teatro Comunale di Bologna (2000-03),


principal guest conductor of the Russian National Orchestra (2005-09), and music director of Glyndebourne Festival Opera (2001-13). He has led operas at the Edinburgh Festival, Maggio Musicale, Metropolitan Opera, Paris Opéra Bastille, Semperoper Dresden, Teatro La Fenice, and the Théâtre Royal de la Monnaie. Vladimir Jurowski has appeared with many of the top orchestras across Europe and North America. Regular engagements include concerts with the Berlin Philharmonic, Boston Symphony Orchestra, Chamber Orchestra of Europe, Dresden Staatskapelle, Leipzig Gewandhaus Orchestra, New York Philharmonic, Philadelphia Orchestra, Royal Concertgebouw Orchestra, Tonhalle Orchestra, and the Vienna Philharmonic. Mr. Jurowski’s recent operatic appearances include Berg’s Wozzeck and Wagner’s Parsifal with Welsh National Opera, Schoenberg’s Moses and Aron at Komische Oper Berlin, Strauss’s Die Frau ohne Schatten at the Metropolitan Opera, and Glinka’s Ruslan and Ludmila at the Bolshoi Theatre. Upcoming engagements include debuts at the Bavarian State Opera and the Salzburg Festival, along with a return to Glyndebourne to lead the world premiere of Brett Dean’s Hamlet. Mr. Jurowski’s discography includes albums on BMG, ECM, and Naxos-Marco Polo, as well as the London Philharmonic Orchestra’s and Glyndebourne Opera’s private labels. He also records for PentaTone with the Russian National Orchestra, and his artistry can be witnessed on DVDs released by Glyndebourne, the London Philharmonic Orchestra, and the Metropolitan Opera, as well as by Medici Arts.

Guest Conductor

The Cleveland Orchestra

Jean-Efflam Bavouzet French pianist Jean-Efflam Bavouzet enjoys a prolific recording and international concert career, performing repertoire ranging from Beethoven, Haydn, Bartók, and Prokofiev, to contemporary composers including Bruno Mantovani and Jörg Widmann. He made his Cleveland Orchestra debut in March 2010. After studying with Pierre Sancan at the Paris Conservatoire, Mr. Bavouzet was invited by Georg Solti to make his debut with the Orchestre de Paris in 1995. He also developed a close relationship with Pierre Boulez, with whom he first performed in 1998. Highlights of Mr. Bavouzet’s 2015-16 season include debuts with Zurich Opera Orchestra under Gianandrea Noseda’s direction, appearances with the Swedish Chamber Orchestra and Orquestra Simfònica de Barcelona, and concerts with the Gothenburg Symphony, where he performs both of Ravel’s piano concertos in one program. He also returns to Orchestre National de Belgique, Manchester Camerata, Haydn Orchestra of Bolzano, and Orchestra della Svizzera Italiana in Lugano. In North America this season, in addition to this weekend’s performances in Cleveland, he plays with the San Francisco

Severance Hall 2015-16

Guest Soloist

Symphony and Seattle Symphony. In recital, Mr. Bavouzet regularly performs at such venues as the Louvre in Paris and London’s Wigmore Hall. In addition to his return to London’s International Piano Series, his current schedule includes recitals in Santa Barbara and Denver, as well as in Singapore. Mr. Bavouzet’s transcription for two pianos of Debussy’s Jeux has been published by Durand with a foreword by Boulez. Mr. Bavouzet served as professor of piano at the Hochschule für Musik in Detmold, Germany, and is currently the artistic director of the Lofoten Piano Festival in Norway. His concert cycle of Beethoven’s complete sonatas in Beijing’s Forbidden City Concert Hall garnered the Classical Elites instrumental recital of the year award for Beijing. An exclusive Chandos artist, JeanEfflam Bavouzet has won multiple honors for his recordings of Debussy’s complete works for solo piano, culminating with the 2009 BBC Music Magazine award. In 2008, this project also received the Choc de l’année from Le Monde de la Musique magazine and Diapason d’Or. His recent release of Prokofiev’s complete piano concertos with the BBC Philharmonic won the concerto category of the 2014 Gramophone Awards. Mr. Bavouzet’s Haydn recordings for Harmonic Records are among Le Monde de la Musique’s “150 best ever piano recordings.” His ongoing projects include Beethoven and Haydn piano sonata cycles. For additional information, visit


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 January 20, 2016. GIFTS OF $5 MILLION AND MORE

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

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


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


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

Sound for the Centennial Campaign

The Cleveland Orchestra


Gay Cull Addicott American Greetings Corporation 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 (4)

GIFTS OF $250,000 TO $500,000

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Blossom Friends of The Cleveland Orchestra 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 Roseanne and Gary Oatey 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 Mr. and Mrs. George N. Aronoff Jack L. Barnhart Fred G. and Mary W. Behm Madeline & Dennis Block Trust Fund Ben and Ingrid Bowman Dr. Christopher P. Brandt and Dr. Beth Sersig Buyers Products Company Mr. and Mrs. David J. Carpenter Mary Kay DeGrandis and Edward J. Donnelly Judith and George W. Diehl George* and Becky Dunn Ernst & Young LLP Mr. Allen H. Ford Frantz Ward LLP Dr. Saul Genuth The Giant Eagle Foundation JoAnn and Robert Glick Hahn Loeser & Parks LLP Iris and Tom Harvie Jeff and Julia Healy The Hershey Foundation Mr. Daniel R. High Mr. and Mrs. Donald M. Jack, Jr.

Severance Hall 2015-16

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

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

* deceased

Sound for the Centennial Campaign


orchestra news



PI E R R E BO U L E Z March 26, 1925 to January 5, 2016

The Cleveland Orchestra mourns the loss of our dear friend, Pierre Boulez. As a conductor, teacher, composer, and friend, his relationship with this Orchestra was unique and extraordinary. Over a period of nearly fifty years — longer than any other conductor has actively worked with this ensemble — he established a rapport and maintained a collaborative understanding of special significance. He led The Cleveland Orchestra in over 220 performances at home and on tour. In half a century of service to Cleveland, he created a peerless legacy of great music, new music, and unrivaled music-making. As Franz Welser-Möst says, “Pierre Boulez left his fingerprint” on this Orchestra, in the way Cleveland’s musicians collectively approach their work on stage. Pierre Boulez first led The Cleveland Orchestra in 1965 at the invitation of music director George Szell, making his American professional conducting debut at Severance Hall. He was appointed the Orchestra’s first principal guest conductor in 1969, and served as musical advisor during the two seasons following Szell’s death. He returned regularly to lead performances with the Orchestra, and in five decades of concerts here presented works spanning six centuries — by composers as varied as Gabrieli, Rameau, J. S. Bach, and Schubert to Mahler, Debussy, Ravel, Janáček, Dalbavie, and Kyburz. Pierre Boulez’s recordings with The Cleveland Orchestra present a brilliant and clearly focused vision of his role as a conductor and won five Grammy Awards (with works by Berlioz, Debussy, and Stravinsky). In 2014, Pierre Boulez was the recipient of The Cleveland Orchestra’s Distinguished Service Award, the institution’s highest honor, for his service, collaborative music-making, and eternal friendship.


In Remembrance

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Meet-the-Artist series continues with luncheon on Feb 19 and special dinner fundraiser on March 4 The Women’s Committee’s annual series of Meet the Artist luncheons for the 2015-16 season continues with a program this month featuring guest conductor Herbert Blomstedt on Friday, February 19 at Shaker Heights Country Club. Blomstedt will be interviewed by The Cleveland Orchestra’s artistic administrator, Ilya Gidalevich. The luncheon begins at noon, and then the program with Blomstedt at 1 p.m. The cost is $40 for Women’s Committee members, $50 for non-members. A special $100 ticket includes a patron reception with Blomstedt at 11:30 a.m. Reservations are required; please contact Pat Sommer 440-338-3369, or send email to And on Friday evening, March 4, eve Comthe Women’s Wo mittee holds a special benefit evening of music and conversation with Cleveland Orchestra members Michael Sachs (principal trumpet) aand Massimo La Rosa (principal trombone). The evening features a cocktrom tail hour and silent auction at 6 p.m., performances and conversation with per Sachs and La Rosa (moderated by Ilya Sac Gidalevich) at 7:15, and dinner at 8:15. Gid The evening takes place at Executive Th Caterers at Landerhaven in Mayfield Heights. Tickets are $150, $250, or $500, with proceeds benefiting The Cleveland Orchestra. For more information, call Patricia Moore Smith at 216789-1788. Reservations can be made thru the Severance Hall Ticket Office. The Women’s Committee of The Cleveland Orchestra was founded in 1921 to support the Orchestra’s education mission. Now open to men as well as women, the Women’s Committee continues its support of the Orchestra through volunteer service and fundraising. Severance Hall 2015-16

WVIZ/PBS ideastream documentary “Violins of Hope: Strings of the Holocaust” premieres on February 8 A new WVIZ/PBS ideastream production titled Violins of Hope: Strings of the Holocaust will premiere on Tuesday evening, February 8 at 9 p.m. on WVIZ. The documentary chronicles Violins of Hope Cleveland, an unprecedented community project that included performances by The Cleveland Orchestra, a major exhibition at the Maltz Museum of Jewish Heritage, education events throughout Northeast Ohio, and more. The documentary features Israeli violinmaker Amnon Weinstein and his efforts across several decades to restore violins recovered from the Holocaust — and bringing the instruments back to life as musical voices from the past. The story includes Weinstein’s journey from Tel Aviv to Cleveland, accompanied by several of the Violins of Hope instruments, which members of The Cleveland Orchestra played at the Violins of Hope Cleveland opening concert this past September. Some of the restored Violins of Hope were originally played by Jewish prisoners in concentration camps; others belonged to the Klezmer musical culture, which was all but destroyed by the Nazis. The inspiration for this one-hour documentary came from the amazing stories of these violins and Weinstein’s mission to collect and restore the instruments. The program is narrated by Adrien Brody. On WVIZ/PBS ideastream — Premiere: Monday, February 8, at 9 p.m. Encore airings: Friday, February 12, at 10 p.m. Sunday, February 14, at 3 a.m. Sunday, February 14, at 3 p.m. Wednesday, February 17, at 5 a.m.

Cleveland Orchestra News


Musicians Emeritus of




















Listed here are the living members of The Cleveland Orchestra who served more than twenty years. Appointed by and playing under four music directors, these 44 musicians collectively completed a total of 1560 years of service — representing the Orchestra’s ongoing service to music and to the greater Northeast Ohio community. Listed by instrument section and within each by retirement year, followed by years of service. FIRST VIOLIN Keiko Furiyoshi 2005 — 34 years Alvaro de Granda 2 2006 — 40 years Erich Eichhorn 2008 — 41 years Boris Chusid 2008 — 34 years Gary Tishkoff 2009 — 43 years Lev Polyakin 2 2012 — 31 years SECOND VIOLIN Richard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 years Stphen Warner 2016 — 37 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 January 2016



The Cleveland Orchestra

orchestra news



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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A.R.O.U.N.D T.O.W.N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include:

Cleveland Orchestra choruses benefit concert to be held on Saturday, March 19 A special benefit concert in appreciation and support of the Cleveland Orchestra choruses is being presented at Severance Hall on Saturday evening, March 19. All proceeds will go toward the Chorus Fund, which helps support educational and touring activities of the Cleveland Orchestra Chorus, Cleveland Orchestra Children’s Chorus, and Cleveland Orchestra Youth Chorus. All three ensembles will perform with their directors, with musical selections ranging across a wide spectrum of works and styles. The evening concludes with the Cleveland Orchestra Chorus and Youth Chorus Chamber Ensemble joining together under the direction of Robert Porco (Cleveland Orchestra director of choruses) to perform Maurice Duruflé’s Requiem with organist Todd Wilson performing on Severance Hall’s acclaimed Norton Memorial Organ. Tickets — ranging from $15 to $100 reserved seats — are available thru the Severance Hall Ticket Office, or by calling 216-231-1111, or online at

This season’s Cleveland Cello Society’s cello ensemble extravaganza “I Cellisti” takes place on Sunday evening, February 28, and will be a celebration on to honor cellist Stephen Geber, who served as The Cleveland Orchestra’s estra’s principal cello from 1973 to 2003 003 and is now serving as president nt emeritus of the Cleveland Cello o Society. The evening’s performers include Cleveland Orchestra cellists Mark Kosower and Richard Weiss, each performing with a group of their students, along with cellists from the Cleveland Orchestra Youth Orchestra, a local cello group called Pizzicato 4, and guest soprano Natasha Ospina spina and Cleveland Orchestra associate conductor Brett Mitchell. Midway through the evening, Kosower and Weiss will hold an onstage conversation with Stephen Geber, who will share anecdotes from his years with The Cleveland Orchestra. The evening concludes with a cello choir performance of Randall Thompson’s Alleluia featuring all 32 of the participating cellists. Proceeds from ticket sales go to the Cleveland Cello Society Scholarship Fund. Tickets are $20 (suggested donation) and $50 for a limited number of reserved frontrow seats. For reservations, call 216-921-3480. For additional information, please visit

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New album features Cleveland Orchestra brass playing Gabrieli

Retired principal clarinetist Franklin Cohen performs in Indonesia 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.

Franklin Cohen, principal clarinet emeritus, is in Asia this month performing Mozart’s Clarinet Concerto under the direction of Jahja Ling in Jakarta, Indonesia, at the Aula Simfonia Jakarta on February 13. He is also giving masterclasses and working with local musicians. Enroute to Indonesia, he is presenting a series of masterclasses and recitals in the San Francisco Bay area.

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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

Blossom Music Festival 2016 Dates and programming for the 2016 Blossom season are being announced on Sunday, February 7. Look for details in the newspaper, online, and . . . in your mailbox.

Cleveland Orchestra News



The Cleveland Orchestra


W E L S E R - M Ö ST M U S I C


Severance Hall

Thursday evening, February 11, 2016, at 7:30 p.m. Friday evening, February 12, 2016, at 8:00 p.m. Saturday evening, February 13, 2016, at 8:00 p.m.

Mitsuko Uchida, piano and conductor

2015-16 SE A SON


Piano Concerto No. 17 in G major, K453 1. Allegro 2. Andante 3. Allegretto — Finale: Presto

Symphony No. 34 in C major, K338 1. Allegro vivace 2. Andante di molto 3. Allegro vivace led by concertmaster WILLIAM PREUCIL


Piano Concerto No. 25 in C major, K503 1. Allegro maestoso 2. Andante 3. [Allegretto]

P L E A S E N O T E that these performances are being recorded for future release. Please remember to disarm electronic alarms on watches and to turn off your cell phones prior to the start of the concert.

These concerts are sponsored by Quality Electrodynamics (QED). Mitsuko Uchida’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Gerhard Foundation, Inc. William Preucil’s appearance this week with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Dr. and Mrs. Sam I. Sato. The concert will end on Thursday evening at about 9:15 p.m., and on Friday and Saturday at approximately 9:45 p.m.

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Concert Program — Week 11


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Magnificent Masterful Mozart

B E T W E E N T H E B E G I N N I N G O F 17 8 4 and the end of 1786, with-

in a span of three years, Mozart composed a dozen piano concertos. There could be no clearer indication of his high standing as a concert soloist in those years, nor of his intensely rich creativity in a form that was somewhat narrowly circumscribed in terms of length and design but which he crafted with an endless variety of detail. He was happy to keep writing new works in the same genre, usually for himself to play, and his invention showed no sign whatever of going stale. One concerto from the beginning of this period and one concerto from the end make ideal choices for Mitsuko Uchida’s performances this week (in Cleveland and on Sunday afternoon at Carnegie Hall in New York) with The Cleveland Orchestra, with whom she has a long-standing and close relationship. She was artist-in-residence here from 2002 to 2007 and has regularly appeared as soloist with the Orchestra before and after that time. She is now engaged in a project recording many of the Mozart piano concertos with The Cleveland Orchestra, leading from the keyboard. Four albums have been released to date, and this week’s concerts are being recorded in preparation for future release. Between the concertos, Mozart’s Symphony No. 34 from 1780 is presented, with William Preucil acting as leader from his position as concertmaster. —Hugh Macdonald

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Introducing the Concert


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The Cleveland Orchestra

Mitsuko Uchida Mitsuko Uchida is a performer who brings deep insight into the music she plays through her own search for truth and beauty. She is particularly noted for her interpretations of Mozart, Beethoven, and Schubert, both in the concert hall and on recordings, but has also illuminated the music of Berg, Schoenberg, Webern, and Boulez for a new generation of listeners. Ms. Uchida made her Cleveland Orchestra debut in February 1990, and since that time has performed with the Orchestra at Severance Hall, at Blossom, and on tour in Europe and Japan. She made her Cleveland Orchestra conducting debut in 1998, and subsequently led performances from the keyboard of all of Mozart’s solo piano concertos as artist-in-residence across five seasons (2002-07). She is currently in the midst of an ongoing recording project with the Orchestra and Decca, revisiting select Mozart concertos. Mitsuko Uchida performs throughout the world with many different partners. In addition to concerts with The Cleveland Orchestra, recent and future engagements include appearances at the Edinburgh International Festival, at the BBC Proms with the London Philharmonic Orchestra, a recital tour of Japan, and performances across Europe with soprano Magdalena

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Guest Artist

Kožená and with the Ebène Quartet. 2016 began with a series of concerts led from the keyboard with the Mahler Chamber Orchestra. Mitsuko Uchida records exclusively for Decca. In April 2008, BBC Music Magazine presented its Instrumentalist of the Year and Disc of the Year awards to Ms. Uchida. Her recording of Schoenberg’s Piano Concerto with Pierre Boulez and The Cleveland Orchestra won four awards, including one from Gramophone for best concerto recording. Four of her most recent recordings were recorded live at Severance Hall with The Cleveland Orchestra and feature eight of Mozart’s piano concertos. The album featuring concertos Nos. 23 and 24 received a Grammy Award for “best instrumental soloist with an orchestra.” Ms. Uchida’s discography ranges widely, from Mozart to Debussy, and Beethoven to Berg. Albums include the complete Mozart piano sonatas and piano concertos (with the English Chamber Orchestra), the complete Schubert piano sonatas, Debussy’s Études, the five Beethoven piano concertos with the Royal Concertgebouw Orchestra, an album of Mozart violin sonatas with Mark Steinberg, the song cycle Die schöne Müllerin with Ian Bostridge for EMI, the final five Beethoven piano sonatas, and a recording of Berg’s Chamber Concerto with the Ensemble Intercontemporain. Mitsuko Uchida has demonstrated a long-standing commitment to aiding the development of young musicians and is a trustee of the Borletti-Buitoni Trust. She is also co-director, with Richard Goode, of the Marlboro Music Festival in Vermont. In June 2009, she was made a Dame Commander of the Order of the British Empire.


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Piano Concerto No. 17 in G major, K453 composed 1784

At a Glance


Wolfgang Amadè

Mozart composed this piano concerto in G major (later cataloged as K453 and designated as No. 17) in the spring of 1784, completing it on April 12. It was performed on June 13 of that year, by Mozart’s pupil Babette Ployer; it may have been played earlier that year, at a concert in late April, with Mozart as soloist and conductor. This concerto runs about 30 minutes in performance. Mozart scored it

for flute, 2 oboes, 2 bassoons, 2 horns, strings, and solo piano. Mitsuko Uchida is performing Mozart’s own cadenzas in this concerto. The Cleveland Orchestra first performed this concerto in April 1948, with George Szell conducting and Rudolf Serkin as soloist. The most recent performances were with Mitsuko Uchida in April 2013.


About the Music

born January 27, 1756 Salzburg

I N T H E M I D - 17 8 0 S , most Viennese thought of Mozart as a star

died December 5, 1791 Vienna

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pianist rather than as a composer, for writing and playing piano concertos was then his main occupation. We have to imagine his ever boyish personality delighting in the public attention he received when conducting and playing his concertos, admired by audience and orchestra, and clearly mining depths of feeling in the music that belied the superficial features of his behavior. Of course, he was always ahead of his audience, wishing they understood the music more profoundly, thinking about his next work, and longing for official recognition that might ease the uncertainties of the musician’s life. A few of his concertos were written for others, in each case young women. This concerto, later cataloged as No. 17, and an earlier one, No. 14 in E-flat major, were written for Barbara Ployer, the daughter of a Salzburg official working in Vienna who paid Mozart “handsomely” for the commission. She performed this concerto in Döbling, just outside of Vienna where her father resided, on June 13th. In the same concert, she partnered Mozart in a performance of his Sonata for two pianos. He proudly took the famous composer Paisiello with him so that Paisiello could hear both Mozart’s music and the playing of his pupil. The concerto displays a delightful open-air breeziness, clearly expressed in the opening theme of the work’s first movement and in the elegant passagework that the piano eagerly offers as soon as it enters. Notice the bold absence of accompaniment in the first bar: the melody has started in the violins, but the About the Music


other instruments are obliged to hold back. However simple a theme may be at its first appearance, it will always lead to a parade of glittering fingerwork as it approaches a big cadence with its obligatory trill, as it has to do at least twice in an opening movement of this kind. When Mozart played his concertos himself, he usually did not bother, or did not have time, or consciously chose not to write out cadenzas. In fact, he preferred to improvise them in performance. When others played the solo part, however, he would often write out cadenzas for them In the mid-1780s, most (which is how we know what sort of length and content he expected in a cadenza). For this Viennese thought of Moconcerto, we have a cadenza in his own hand zart as a star pianist rathfor the first movement. A second cadenza for er than as a composer, for this movement and two alternative cadenzas for the slow movement have come down to writing and playing piaus, but without any certain authentication. no concertos was then his Perhaps Barbara Ployer contributed a pair of main occupation. We have cadenzas herself. to imagine his ever boyThe elegant second movement puts the wind instruments on display, as if ish personality delighting in rivalry with the piano, and the finale third in the public attention he movement opens as a series of variations on a received when conducting nicely-balanced, playful theme. The first three and playing his concertos, variations get more elaborate one by one; the fourth is tortuous and chromatic, in the minor admired by audience and mode, with, in compensation, a jubilant variaorchestra, and clearly tion to follow, which seems to call out for the mining the depths of trumpets and drums that this concerto does feeling in the music. not employ. Rather than pursue his variations to the end, Mozart closes with something akin to a presto-like scene from a comic opera, as if in anticipation of The Marriage of Figaro, although he allows the theme of the variations to make a teasing reappearance at the end.

—Hugh Macdonald Š 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.


About the Music

The Cleveland Orchestra

Symphony No. 34 in C major, K338 composed 1780

At a Glance Mozart completed this Symphony in C major on August 29, 1780, in Salzburg, where it was probably performed during the first days of September. This symphony runs about 20 minutes in performance. Mozart scored it for 2 oboes, 2 bassoons,


Wolfgang Amadè

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

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2 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first performed Mozart’s Symphony No. 34 in December 1950, under the direction of William Steinberg. The most recent performances were in April 2015, led by concertmaster William Preucil.

About the Music T H I S I S T H E L A S T S Y M P H O N Y Mozart composed in Salzburg — before escaping from the Archbishop Colloredo’s oppressive service and moving to Vienna. It is dated 29 August 1780 and was perhaps performed in Salzburg that autumn. It may be this symphony that he played at a Widows’ Benefit concert in Vienna the following April, an occasion of particular interest because it reveals Mozart’s delight in large orchestral numbers: “The symphony was magnifique,” he wrote to his father, “and had a great success. Forty violins played, the winds were doubled, there were ten violas, ten double basses, eight cellos, and six bassoons.” Any performance of a Mozart symphony with such enormous forces today would bring a rasp of disapproval from critics and purists, but the composer was, it seems, quite happy to experiment with larger or smaller forces, depending on what was available. Mozart played this symphony again in a concert he gave in Vienna’s Palais Augarten on May 26, 1782, but this time he would have had an orchestra of smaller size because the event was organized by an amateur named Martin. An Archduke, a Baron, and three Countesses were in the audience. Mozart’s preoccupation at that time was the first performance of his opera The Abduction from the Seraglio, so that the attendance of several aristocratic admirers would have been, as always, a great encouragement toward future successes. There are only three movements to the symphony, although a Minuet in C major (later cataloged as K409) is thought by some to have been intended for the performances of the symphony in Vienna. There are no parts for flutes or clarinets, although About the Music


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trumpets and drums are required and, in the outer movements, given some prominence. The first movement takes a little while to break out of rather normal conventions of symphonic style, and it is not until the second subject is reached, with a striking chromatic descent from the bassoon, that Mozart’s more intimate manner is heard. There is no repeat of the exposition, and the development is concerned with new matter over a pizzicato bass. To compensate for the plainness (for Mozart) of this first movement, the two other movements are of much higher quality. The slow middle movement is an idyllic piece for strings alone in five parts, the violas being divided as in a string quintet (bassoon parts were later added, though they contribute very little of their own). This is intimate music that must have sounded uncommonly rough in 1781 if indeed all sixty-eight strings were utilized for this movement. The finale third movement is full of the spirit of comedy and features the two oboes in some intriguing passages in thirds. The pulse is unstoppable and the wealth of Mozart’s invention unlimited.

—Hugh Macdonald © 2016


About the Music

The Cleveland Orchestra

William Preucil Concertmaster Blossom-Lee Endowed Chair The Cleveland Orchestra

holding the same position with the orchestras of Utah and Nashville. Mr. Preucil regularly performs chamber music, as a guest soloist with other orchestras, and at summer music festivals. His North American festival performances have included Santa Fe, Sarasota, Seattle, and Sitka, with international appearances in France, Germany, and Switzerland. Each summer, he serves as concertmaster and violin soloist with the Mainly Mozart Festival Orchestra in San Diego. Mr. Preucil also continues to perform as a member of the Lanier Trio. Actively involved as an educator, Mr. Preucil serves as Distinguished Professor of Violin at the Cleveland Institute of Music and at Furman University.

William Preucil became the twelfth concertmaster of The Cleveland Orchestra in April 1995 and has appeared over 100 times as soloist with the Orchestra in concerto performances. Prior to joining The Cleveland Orchestra, Mr. Preucil served for seven seasons as first violinist of the Grammy-winning Cleveland Quartet. During that time, Telarc International recorded the Cleveland Quartet performing the complete cycle of Beethoven’s 17 string quartets, as well as a variety of chamber works by Haydn, Mozart, Schubert, and Brahms. He previously served as concertmaster of the Atlanta Symphony Orchestra (1982-89), after also

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Piano Concerto No. 25 in C major, K503 composed 1786

At a Glance


Mozart completed this C-major concerto in Vienna on December 4, 1786, in time for the winter concert season, during which it was most likely first performed, with the composer as soloist. An exact date has not been established. This concerto runs about 30 minutes in performance. Mozart scored it for flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus the solo piano. Mitsuko Uchida is performing her own cadenzas in this concerto. The Cleveland Orchestra first

born January 27, 1756 Salzburg

About the Music


Wolfgang Amadè

died December 5, 1791 Vienna

Severance Hall 2015-16

performed Mozart’s Piano Concerto No. 25 in February 1951, when Rudolf Serkin played the piano under George Szell’s direction. (Szell played a role in re-establishing this concerto into the general repertoire, from which it had lapsed in the 19th century. In 1934, Szell led what appears to have been the first performance of this concerto in Vienna since the composer’s death, with soloist Artur Schnabel.) The Cleveland Orchestra’s most recent performances were in April 2013 with Mitsuko Uchida leading from the keyboard.

T H I S I S T H E F I N A L C O N C E R T O of the series Mozart wrote

between 1784 and 1786. Numbered No. 25 after Mozart’s death, it is in the key of C major. It was completed on December 4, 1786. Only two days later, he completed a new symphony in D major. We do not know whether Mozart had a particular occasion in mind for the performance of these works, but that same week the Vienna correspondent of a Hamburg newspaper reported that “the famous composer Herr Mozart” was preparing to travel in the coming New Year to London. “He will go by way of Paris.” Such a trip (which never took place) would certainly require new works in his luggage, to be doled out with unknown melodies and new surprises. In fact, he went neither to London nor to Paris (his aging father Leopold refused to help babysit while he was away), but instead he traveled to present his opera The Marriage of Figaro to the citizens of Prague, who so loved the opera that they immediately commissioned another masterpiece, which turned out to be Don Giovanni. While Mozart was in Prague, the new symphony was played on January 19, 1787, and so it has come to be known as the “Prague” Symphony. When — or even if — the new piano concerto was played is not known. The two works, concerto and symphony, had probably taken About the Music


shape on Mozart’s desk side by side. From his exhaustive study of Mozart’s manuscripts, the British scholar Alan Tyson was able to show that the first six leaves (out of 55) of the manuscript of the concerto were set down in the winter of 1784-85, nearly two years before the date of completion. So, having buried his third child on November 17, 1786, and having completed a piano trio one day later, Mozart must have worked at incredible speed to complete the piano concerto as well as a brand new symphony within a couple of weeks.

Having buried his third child on November 17, 1786, and having completed a piano trio one day later, Mozart must have worked at incredible speed to complete the piano concerto as well as a brand new symphony within the next couple of weeks.


Firm, heroic C-major chords proclaim a majestic tone for the first movement, not unlike that of the symphony heard earlier on this concert. Mozart’s previous piano concerto had been in C minor, with a somber and earnest tone that needed to be dispelled from his mind in brighter major-key colors. So here the sun seems to shine and the invention reposes on solid chords and scales, with not too much of that expressive chromaticism that Mozart could always turn to when he wished to plumb the depths of feeling. The second principal tune, as simple as a nursery song, switches playfully from minor to major. By convention, the soloist would next review the orchestra’s themes, but Mozart here replaces the nursery tune with two new themes of much greater sophistication. For that transgression, the development section — usually a potpourri of tunes heard earlier — is confined entirely to the nursery theme, heard in every possible key and every possible combination and leading to the kind of marvelous flowing woodwind entries that Mozart particularly favored in his piano concertos. The movement’s recapitulation section dutifully presents all the themes, with no favorites. Mozart, expecting to play the solo part himself, wrote down no cadenza. (Ms. Uchida is performing her own for performances this week with The Cleveland Orchestra.) The Andante middle movement’s melody is elegantly shared by violins, flute, and the other winds. The piano enters with the same melody, and a mood of unhurried serenity takes over. Some wide leaps in the right hand are the only possible disturbances of this quiet mood, never straying far from the


About the Music

The Cleveland Orchestra

main key and the main melody. The finale third movement is a rondo — with a main section repeated between variations — of the playful type that Mozart favored in these concertos. The soloist repeatedly introduces sprightly new ideas; the orchestra regularly brings back the rondo theme. In one episode the piano leads off, then hands the tune to the oboe, then to the flute, then to oboe and bassoon, and the woodwinds draw each other in as if to a gathering of like-minded friends. It is no wonder that wind players have such a fondness for Mozart’s piano concertos. The solo part is full of virtuoso figuration, and it keeps pressing up against the high F that was the top note on the piano of Mozart’s day — yet there is never any sense that Mozart was fighting against the resources he had available to him; instead, he matches means to ends in a balance that few composers have ever equaled.

—Hugh Macdonald © 2016

What’s his name?! Mozart was baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart. His first two baptismal names, Johannes Chrysostomus, represent his saints’ names, following the custom of the Roman Catholic Church at the time. In practice, his family called him Wolfgang. Theophilus comes from Greek and can be rendered as “lover of God” or “loved by God.” Amadeus is a Latin version of this same name. Mozart most often signed his name as “Wolfgang Amadè Mozart,” saving Amadeus only as an occasional joke. At the time of his death, scholars in all fields of learning were quite enamored of Latin naming and conventions (this is the period of the classification and cataloging of life on earth into kingdom, phylum, class, order, family, genus, species, etc.), and successfully “changed” his name to Amadeus. Only in recent years have we started remembering the Amadè middle name he preferred.

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About the Music


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


$50,000 TO $99,999

The Abington 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 Cowles Charitable Trust (Miami) The Harry K. Fox and Emma R. Fox Charitable Foundation Funding Arts Network (Miami) The Hankins Foundation The William Randolph Hearst 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)

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 January 2016.

Severance Hall 2015-16

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

Foundation and Government Annual Support



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

Lifetime Giving

Giving Societies


gifts during the past year, as of January 20, 2016


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.

Daniel R. Lewis (Miami, Cleveland) Jan R. 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 January 2016.


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) Mr. and Mrs. James A. Haslam III The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis (Miami) Jan R. Lewis (Miami) Peter B. Lewis* and Janet Rosel Lewis (Miami) Sue Miller (Miami) James and Donna Reid

Leadership Council 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:

George* and Becky Dunn Dr. and Mrs. Hiroyuki Fujita 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)

Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler Hector D. Fortun (Miami) 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 Roseanne and Gary Oatey (Cleveland, Miami) The Claudia and Steven Perles Family Foundation (Miami) Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner Barbara S. Robinson (Cleveland, Miami) Sally and Larry Sears Hewitt and Paula Shaw Barbara and David Wolfort (Cleveland, Miami) Women’s Committee of The Cleveland Orchestra Anonymous (2)

George Szell Society

Elisabeth DeWitt Severance Society

INDIVIDUAL GIFTS OF $100,000 TO $199,999

gifts of $25,000 and more

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

INDIVIDUAL GIFTS OF $30,000 TO $49,999

Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. Patrick Park (Miami) Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Franz Welser-Möst

Daniel and Trish Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Mr. and Mrs. David J. Carpenter Robert and Jean* Conrad Mr. and Mrs. Geoffrey Gund Mrs. John A. Hadden, Jr. 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 Rachel R. Schneider listings continue

INDIVIDUAL GIFTS OF $50,000 TO $74,999

Sheldon and Florence Anderson (Miami) Blossom Friends of The Cleveland Orchestra

Severance Hall 2015-16

Individual Annual Support


THE CLEVELAN D ORCHESTRA listings continued

Allan V. Johnson Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Mr. and Mrs. Moshe Meidar (Miami) The Miller Family Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Kim Sherwin Mr. and Mrs. Donald Stelling (Europe) Rick, Margarita, and Steven Tonkinson (Miami) Gary L. Wasserman and Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe)

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

Marsha and Brian Bilzin (Miami) In dedication to Donald Carlin (Miami) Martha and Bruce Clinton (Miami) Mr.* and Mrs. Gerald A. Conway Judith and George W. Diehl JoAnn and Robert Glick Mr. Loren W. Hershey 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 Anonymous

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. Yuval Brisker Mr. and Mrs. Matthew V. Crawford Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami) Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Mary and Jon Heider (Cleveland, 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

Frank H. Ginn Society

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

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.


Art of Beauty Company, Inc. Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Jill and Paul Clark Mr. and Mrs. William E. Conway Mrs. Barbara Cook Peter D. and Julie F. Cummings (Miami) Do Unto Others Trust (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Mr. Allen H. Ford Ms. Dawn M. Full Richard and Ann Gridley Gary Hanson and Barbara Klante Sondra and Steve Hardis Jack Harley and Judy Ernest David and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami) 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 Mrs. David Seidenfeld Mr. and Mrs. Oliver E. Seikel Joe and Marlene Toot Mr. and Mrs. Daniel P. Walsh Tom and Shirley Waltermire Mr. and Mrs. Jeffrey J. Weaver Mr. and Mrs. Jeffrey M. Weiss

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) Margaret and Eric* Wayne Sandy and Ted Wiese

Individual Annual Support

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

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

Sheree and Monte Friedkin (Miami) Mr. and Mrs. Richard T. Garrett Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie Mr. David J. Golden Kathleen E. Hancock Mary Jane Hartwell Mr. and Mrs. James A. Haslam II Joan and Leonard Horvitz Ruth and Pedro Jimenez (Miami) Cherie and Michael Joblove (Miami) Alan Kluger and Amy Dean (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Stewart and Donna Kohl Eeva and Harri Kulovaara (Miami) Shirley and William Lehman (Miami) Dr. David and Janice Leshner Elsie and Byron Lutman 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 Mrs. Milly Nyman (Miami)

Mr. and Mrs. William M. Osborne, Jr. Douglas and Noreen Powers Andres Rivero (Miami) Audra and George Rose Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Dr. Isobel Rutherford Drs. Michael and Judith Samuels (Miami) Raymond T. and Katherine S. Sawyer Carol* and Albert Schupp Mr. and Mrs. Joseph H. Serota (Miami) Seven Five Fund Dr. Marvin* and Mimi Sobel 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 Mr. Joseph F. Tetlak Dr. Russell A. Trusso Mr. and Mrs. Fred A. Watkins Florence and Robert Werner (Miami) Anonymous (4)

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 Bob and Linnet Fritz 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 James and Gay* Kitson Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Georgia and Carlos Noble (Miami) Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Nan and Bob Pfeifer Rosskamm Family Trust

Mrs. Florence Brewster Rutter Patricia J. Sawvel Dr. and Mrs. James L. Sechler Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer Foundation 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)

Ms. Maria Cashy Dr. William and Dottie Clark Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura Marjorie Dickard Comella Corinne L. Dodero Foundation for the Arts and Sciences Mr. Kamal-Neil Dass and Ms. Teresa Larsen Mr. and Mrs. Ralph Daugstrup Mr. and Mrs. Thomas S. Davis Pete and Margaret Dobbins Mr. and Mrs. 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 Dr. and Mrs. Adi Gazdar Brenda and David Goldberg Mr. Albert C. Goldsmith 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 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* listings continue


Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App 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 Dr. Thomas Brugger and Dr. Sandra Russ Frank and Leslie Buck Mr. and Mrs. William C. Butler Augustine* and Grace Caliguire


Individual Annual Support

The Cleveland Orchestra


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Anita and William Heller Thomas and Mary Holmes Elisabeth Hugh Ms. Carole Hughes Ms. Charlotte L. Hughes Mr. David and Mrs. Dianne Hunt Mr. and Mrs. Christopher Hyland Donna L. and Robert H. Jackson David and Gloria Kahan 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 Mr. and Mrs. Michael T. Kestner Dr. and Mrs. William S. Kiser Mr. and Mrs.* S. Lee Kohrman Mr. Clayton R. Koppes Mr. James Krohngold Mr. and Mrs. Peter A. Kuhn Dr. and Mrs. Stephen A. Kushnick Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb Mrs. Sandra S. Laurenson 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

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 Dr. and Mrs. Eberhard Meinecke Ms. Betteann Meyerson Mr. and Mrs. William A. Mitchell Curt and Sara Moll Dr. R. Morgan and Dr. S. Weirich (Miami) Richard and Kathleen Nord Mr. Thury O’Connor Mr. Henry Ott-Hansen Jay Pelham (Miami) 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 Mr.* and Mrs. Thomas A. Quintrell 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) Robert and Margo Roth Mr. and Mrs. Robert C. Ruhl

David M. and Betty Schneider Linda B. Schneider Lee and Jane Seidman Mr. Eric Sellen and Mr. Ron Seidman Ms. Marlene Sharak Mrs. Frances G. Shoolroy* Naomi G. and Edwin Z. Singer Family Fund Bruce Smith David Kane Smith 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. Charles and Lucy Weller Mr. and Mrs. Ronald E. Weinberg Tom and Betsy Wheeler Nancy V. and Robert L. Wilcox Sandy Wile and Susan Namen Bob and Kat Wollyung Katie and Donald Woodcock Tony and Diane Wynshaw-Boris Anonymous (2)

Mr. Robert D. Hart Mary S. Hastings In Memory of Hazel Helgesen Mr. and Mrs. Jerry Herschman Dr. Fred A. Heupler Mr. Robert T. Hexter David Hollander (Miami) Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. Inkley Mr. and Mrs. Richard A. Janus Barbara and Michael J. Kaplan Dr. and Mrs. Richard S. Kaufman Mrs. Natalie D. Kittredge Dr. Gilles* and Mrs. Malvina Klopman Ronald and Barbara Leirvik Dr. Edith Lerner Ms. Grace Lim Mary Lohman Mrs. Idarose S. Luntz 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 Alfonso Rey and Sheryl Latchu (Miami) Dr. Robert W. Reynolds Carol Rolf and Steven Adler 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. Kathy* and Sidney Taurel (Miami) Mr. Karl and Mrs. Carol Theil Erik Trimble Drs. Anna* and Gilbert True Richard Wiedemer, Jr. Mrs. Henietta Zabner (Miami) Marcia and Fred* Zakrajsek Max and Beverly Zupon

Mr. and Mrs.* Norman Adler Mr. and Mrs. Monte Ahuja Mr. and Mrs. James B. Aronoff

Joseph Babin Mr. Mark O. Bagnall (Miami) Ms. Delphine Barrett


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. Robert R. Broadbent 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 Drs. Mark Cohen and Miriam Vishny Mr. Owen Colligan Mr. and Mrs. David G. de Roulet Mrs. April C. Deming Peter and Kathryn Eloff Mr. William and Dr. Elizabeth Fesler Richard J. Frey 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 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


Individual Annual Support

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Mr. and Mrs. Belkin Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns John and Laura Bertsch Jaime A. Bianchi and Paige A. Harper (Miami) Ms. Deborah A. Blades Bill* and Zeda Blau Doug and Barbara Bletcher Dr. Charles Tannenbaum and 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 Laurie Burman Rev. Joan Campbell Mrs. Millie L. Carlson 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. and Mrs. Mark Corrado Dr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller Dr. Eleanor Davidson Mr. and Mrs. Edward B. Davis Jeffrey and Eileen Davis Mrs. Lois Joan Davis Dr. and Mrs. Richard C. Distad William Dorsky and Cornelia Hodgson Mr. George and Mrs. Beth Downes Mr. and Mrs. Robert Dreshfield Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki Esther L. and Alfred M. Eich, Jr. Erich Eichhorn and Ursel Dougherty Drs. Heidi Elliot and Yuri Novitsky Harry and Ann Farmer Mr. Paul C. Forsgren Michael Frank & Patricia A. Snyder Mr. William Gaskill and Ms. Kathleen Burke Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Dr. and Mrs. Victor M. Goldberg 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. and Mrs. Robert D. Hertzberg (Miami) Dr. and Mrs. Robert L. Hinnes Mr. Larry Holstein Bob* and Edith Hudson (Miami) Dr. Randal N. Huff and Ms. Paulette Beech Ms. Luan K. Hutchinson Ruth F. Ihde Mrs. Carol Lee and Mr. James Iott Mr. Norman E. Jackson (Miami) Ms. LaVerne Jacobson Robert and Linda Jenkins Dr. Michael and Mrs. Deborah Joyce Mr. Peter and Mrs. Mary Joyce


Mr. Stephen Judson Rev. William C. Keene Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary and Robert Kendis and Susan and James Kendis Bruce and Eleanor Kendrick Mr. James Kish Fred* and Judith Klotzman Jacqueline and Irwin* Kott (Miami) Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Vicki Kennedy Mr. Donald N. Krosin Dr. Michael E. Lamm Mr. and Mrs. John J. Lane, Jr. Michael Lederman Judy and Donald Lefton (Miami) Mr. Gary Leidich Michael and Lois A. Lemr Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Ms. Mary Beth Loud 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 Mr. Michael and Mrs. Lynn Miller 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. Robert D. Paddock George Parras Mr. Thomas and Mrs. Tommie Patton Dr. and Mrs. Gosta Pettersson Henry Peyrebrune and Tracy Rowell Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Mrs. Elinor G. Polster Mr. Robert and Mrs. Susan Price Kathleen Pudelski Ms. C. A. Reagan 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* Michael and Chandra Rudd (Miami) 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 Ms. Adrian L. Scott Mr. and Mrs. Alexander C. Scovil Dr. John Sedor and Ms. Geralyn Presti

Individual Annual Support

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 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 Drs. Charles Kent Smith and Patricia Moore Smith Roy Smith Sandra and Richey Smith Ms. Barbara Snyder Lucy and Dan Sondles 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 Elizabeth B. Wright Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (6)

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

* deceased



The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Leadership Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA .COM

The Cleveland Orchestra

Fine Dining in Little Italy – mere minutes from Severance Hall. Join us for dinner before or after the orchestra. ~ 216.721.0300 2198 Murray Hill Rd. • Cleveland, OH 44106 •

Open for lunch Tuesday ~ Friday

In the heart of Little Italy!

Ristorante & Wine Bar – in Little Italy 216-231-5977 2181 Murray Hill Road | Live music Wednesday, Friday & Sunday! Join us for dinner before or after the orchestra.


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Severance Hall 2015-16

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


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 to learn more.

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



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

11001 Euclid Avenue Cleveland, Ohio 44106



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


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

Severance Hall

The Cleveland Orchestra

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

CLEVELAND ORCHESTRA STORE A variety of items relating to The Cleveland Orchestra — including logo apparel, DVD and compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermissions. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Call 216-231-7478 for more information, or visit the Store online at

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

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

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

Severance Hall 2015-16

Guest Information

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

BE FO R E T H E CO NC E R T GARAGE PARKING AND PATRON ACCESS Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $15 per concert. This pre-paid parking ensures you a parking space, but availability of prepaid parking passes is limited. To order pre-paid parking, call the Ticket Office at 216-231-1111. Parking can be purchased (cash only) for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. However, the garage often fills up and only ticket holders with prepaid parking passes are ensured a parking space. Parking is also available in several lots within 1-2 blocks of Severance Hall. Visit the Orchestra’s website for more information and details.

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

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


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

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

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

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

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can make arrangement by calling the House Manager in advance at 216-231-7425. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performances. If you need assistance, please


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

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

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

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

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

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

Guest Information

The Cleveland Orchestra



WINTER SEASON Ravel and Debussy


February 4 â&#x20AC;&#x201D; Thursday at 7:30 p.m. February 5 â&#x20AC;&#x201D; Friday at 7:00 p.m. <18s February 6 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

February 18 â&#x20AC;&#x201D; Thursday at 7:30 p.m. February 19 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s February 20 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Vladimir Jurowski, conductor -HDQ(IĂ DP%DYRX]HW, piano


%(5:$/'Symphony No. 3 (â&#x20AC;&#x153;Sinfonie singulièreâ&#x20AC;?) DVOĹ?Ă&#x2030;K Symphony No. 7

'$/%$9,(La Source dâ&#x20AC;&#x2122;un Regard* RAVEL Piano Concerto in G major '(%866< Images * not part of Fridays@7 concert


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

March 3 â&#x20AC;&#x201D; Thursday at 7:30 p.m. March 5 â&#x20AC;&#x201D; Saturday at 8:00 p.m. March 6 â&#x20AC;&#x201D; Sunday at 3:00 p.m. <18s

Mitsuko Uchidaâ&#x20AC;&#x2122;s Mozart


February 11 â&#x20AC;&#x201D; Thursday at 7:30 p.m. February 12 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s February 13 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

6&+80$11Overture to Manfred DVOĹ?Ă&#x2030;K Piano Concerto 1,(/6(1 Symphony No. 4 (â&#x20AC;&#x153;The Inextinguishableâ&#x20AC;?)

THE CLEVELAND ORCHESTRA 0LWVXNR8FKLGD, piano and conductor :LOOLDP3UHXFLO, concertmaster and leader

MOZART Piano Concerto No. 17 MOZART Symphony No. 34 MOZART Piano Concerto No. 25

Cleveland Orchestra Youth Orchestra and Youth Chorus

Sponsor: Quality Electrodynamics (QED)


March 4 â&#x20AC;&#x201D; Friday at 8:00 p.m.

Gotta Dance!

February 26 â&#x20AC;&#x201D; Friday at 7:30 p.m.


THE CLEVELAND ORCHESTRA %UHWW0LWFKHOO, conductor with special guests &OHYHODQG%DOOHW and &ViUGiV'DQFH&RPSDQ\ Put on your dancing shoes, grab your partner, and join The Cleveland Orchestra for a concert of historyâ&#x20AC;&#x2122;s most toetapping music. With selections including a habanera dance from Bizetâ&#x20AC;&#x2122;s Carmen, a wild square dance from Coplandâ&#x20AC;&#x2122;s RodeoDQGURXVLQJ6ODYRQLF'DQFHVE\'YRĹ?iN<RXZRQ¡W be able to stop your feet from tapping. Free pre-concert activities begin one hour before start time. Supported by The Giant Eagle Foundation


CLEVELAND ORCHESTRA <287+25&+(675$ %UHWW0LWFKHOO, conductor CLEVELAND ORCHESTRA <287+&+2586 /LVD:RQJ, director

675$9,16.<PĂŠtrouchka %5$+06Song of Destiny [Schicksalslied] COPLAND Canticle of Freedom A free Prelude Concert begins at 7:00 p.m. featuring members of the two Youth ensembles performing chamber music.

0DULD-RmR3LUHV%HHWKRYHQ March 10 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Maria JoĂŁo Pires, piano -XOLHQ%URFDO, piano

Under 18s Free FOR FAMILIES


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


Maria JoĂŁo 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 â&#x20AC;&#x201D; 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


The Cleveland Orchestra


Welser-Möst Conducts Bruckner




March 24 — Thursday at 7:30 p.m. March 26 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Truls Mørk, piano

KURTÁG Petite musique solennelle — Homage to Pierre Boulez at 90 SCHUMANN Cello Concerto BRUCKNER Symphony No. 6

Wagner’s Götterdämmerung March 31 — Thursday at 7:30 p.m. April 1 — Friday at 11:00 a.m. <18s April 2 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Leila Josefowicz, violin


CHEUNG Lyra * ADÉS Violin Concerto: Concentric Paths WAGNER Orchestral Excerpts from Götterdämmerung — Dawn and Siegfried’s Rhine Journey, Siegfried’s Death and Funeral Music, Immolation Scene * not part of Friday Morning Concert

Sponsor: BakerHostetler

BARTÓK ON STAGE: The Miraculous Mandarin and Bluebeard’s Castle April 7 — Thursday at 7:30 p.m. April 8 — Friday at 8:00 p.m. <18s April 9 — Saturday at 8:00 p.m. April 10 — Sunday at 3:00 p.m. <18s THE JOFFREY BALLET Ashley Wheater, artistic director and featuring choreography and stage direction by Yuri Possokhov set, lighting, projection design by Alexander V. Nichols Mikhail Petrenko, bass Katarina Dalayman, soprano and members of the Cleveland Orchestra Chorus THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst The opera event of the season, with two of Bartók’s masterful stage works as a doublebill — exploring love and lust, deception and revelation, death and murder! A world premiere collaboration with Chicago’s renowned Joffrey Ballet. Supported with funding from The Andrew W. Mellon Foundation and the National Endowment for the Arts.

Severance Hall 2015-16

Concert Calendar


Friday February 26 at 7:30 p.m. THE CLEVELAND ORCHESTRA Brett Mitchell, conductor Cleveland Ballet and Csárdás Dance Company

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


216-231-1111 800-686-1141 93



2015-16 SE A SON



BARTÓK ON STAGE The Miraculous Mandarin and Bluebeard’s Castle

Thursday March 24 at 7:30 p.m. Saturday March 26 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Truls Mørk, cello

Franz Welser-Möst continues his examination of Bruckner’s symphonies with The Cleveland Orchestra, presenting the mighty music and soul-stirring movements of the Sixth Symphony. The program also features Robert Schumann’s rarely-heard melodic Cello Concerto with soloist Truls Mørk, and begins with a recent work written by Hungarian composer György Kurtág as an homage for the 90th birthday of Pierre Boulez, The Cleveland Orchestra’s first principal guest conductor who died earlier this year just shy of the age of 91.

Thursday April 7 at 7:30 p.m. Friday April 8 at 8:00 p.m. <18s Saturday April 9 at 8:00 p.m. Sunday April 10 at 3:00 p.m. <18s

THE JOFFREY BALLET Ashley Wheater, artistic director and featuring choreography and stage direction by Yuri Possokhov set, lighting, projection by Alexander V. Nichols THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst

The opera event of the season! With two of Bartók’s masterful stage works presented as a doublebill — exploring love and lust, deception and revelation, death and murder! A world premiere new production in collaboration with Chicago’s renowned Joffrey Ballet. Supported with funding from The Andrew W. Mellon Foundation and a grant from the National Endowment for the Arts.

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




Upcoming Concerts

The Cleveland Orchestra

The Cleveland Orchestra February 4-6/11-13 Concerts  

Feb. 4-6 Ravel and Debussy Feb. 11-13 Mitsuko Uchida's Mozart

The Cleveland Orchestra February 4-6/11-13 Concerts  

Feb. 4-6 Ravel and Debussy Feb. 11-13 Mitsuko Uchida's Mozart