2015-16 SE ASON
Concert Program: February 18, 19, 20 HERBERT BLOMSTEDT CONDUCTS DVOŘÁK Concert Program: March 3, 5, 6 STEPHEN HOUGH PLAYS DVOŘÁK — page 57 INTRODUCING ANDRÉ GREMILLET— page 7
— page 31
Maybe all jobs should have bring your child to work day. Proud supporters of The Cleveland Orchestraâ€™s music education programs for children, making possible the rewards and beneďŹ ts of music in their lives. Drive
TA B L E
THIS WEEK CLEVELAND
12 AN D 13
2015-16 SE ASON
COVER PHOTOGRAPHY BY ROGER MASTROIANNI
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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . WEEK
17 21 26 89
BLOMSTEDT CONDUCTS DVOŘÁK Program: February 18, 19, 20 . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33
Eric Sellen, Program Book Editor E-MAIL: firstname.lastname@example.org 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
Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 DVOŘÁK
Symphony No. 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Guest Conductor: Herbert Blomstedt . . . . . . . . . . . 45 NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . . . . 50 WEEK
STEPHEN HOUGH PLAYS DVOŘÁK Program: March 3, 5, 6 . . . . . . . . . . . . . . . . . . . . . . 57 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 59 SCHUMANN
Overture to Byron’s Manfred . . . . . . . . . . . . . . . . 61 DVOŘÁK
NATIONAL ENDOWMENT FOR THE ARTS
The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture. The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio. The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.
Piano Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 NIELSEN
This program is printed on paper that includes 50% recycled content.
Symphony No. 4 (“Inextinguishable”) . . . . . . . 65 Guest Soloist: Stephen Hough . . . . . . . . . . . . . . . . . 72 Guest Conductor: Alan Gilbert . . . . . . . . . . . . . . . . . 73
50% All unused books are recycled as part of the Orchestra’s regular business recycling program.
Support Extraordinary Support . . . . . . . . . . . . . . . . . . . . . . . . 11 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Sound for the Centennial . . . . . . . . . . . . . . . . . . 48-49 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75-86
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.
Concerts & Calendars Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 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.
EXPERIENCE FOR TOMORROW
An Exotic & Alluring Encounter cbgarden.org/orchidmania
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
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Remember how it felt . . . ? . . . to hear The Cleveland Orchestra for the first time? Yoash and Sharon Wiener believe there is nothing better than listening to beautiful music played by a world-class orchestra in an internationallyrenowned concert hall just a short drive from your home. And they’ve been enjoying The Cleveland Orchestra for nearly half a century. In addition to being long-time season subscribers to The Cleveland Orchestra at both Severance Hall and each summer’s Blossom Music Festival, Yoash and Sharon are supporting the Orchestra’s future through the gift annuity program. In exchange for their gift, Yoash and Sharon receive income for life and a charitable tax deduction. “Our very first date was 46 years ago at a Cleveland Orchestra performance in Severance Hall. The date was great and so was the music, and The Cleveland Orchestra has been a central part of our lives together,” says Yoash. “Participating in the gift annuity program is our way of thanking the Orchestra for all it has meant to us.”
To find out how you can create a gift annuity and join Yoash and Sharon in supporting The Cleveland Orchestra’s future, call our office of Legacy Giving at 216-231-8006.
Legacy Giving THE CLEVELAND ORCHESTRA
H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of members is current as of October 2015. For more information, please call the Orchestra’s Legacy Giving Office at 216-231-8006. Lois A. Aaron Leonard Abrams Shuree Abrams* Gay Cull Addicott Stanley* and Hope Adelstein Sylvia K. Adler* Gerald O. Allen* Norman and Marjorie* Allison George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Ruth Balombin* Mrs. Louis W. Barany* D. Robert and Kathleen L. Barber* Jack L. Barnhart Margaret B. and Henry T.* Barratt Norma E. Battes* Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Bertram H. Behrens* Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Marie-Hélène Bernard Ila M. Berry Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Dr. and Mrs. Harold B. Bilsky* Robert E. and Jean Bingham* Mr. William P. Blair III Madeline & Dennis Block Trust Fund Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome* Borstein Mr. and Mrs.* Otis H. Bowden II Ruth Turvy Bowman* Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Richard F. Brezic* Robert W. Briggs Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Ronald and Isabelle Brown* Mr. and Mrs. Clark E. Bruner* Mr. and Mrs.* Harvey Buchanan Rita W. Buchanan*
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Joan and Gene* Buehler Gretchen L. Burmeister Stanley and Honnie Busch* Milan and Jeanne* Busta Mrs. Noah L. Butkin* Mr. and Mrs. William C. Butler Minna S. Buxbaum* Gregory and Karen Cada Roberta R. Calderwood* Jean S. Calhoun* Harry and Marjorie M. Carlson Janice L. Carlson Dr.* and Mrs. Roland D. Carlson Mr. and Mrs. George P. Carmer* Barbara A. Chambers, D. Ed. Arthur L. Charni* Ellen Wade Chinn* NancyBell Coe Kenneth S. and Deborah G. Cohen Ralph M. and Mardy R.* Cohen Victor J. and Ellen E. Cohn Robert and Jean* Conrad Mr. and Mrs. Gerald A. Conway James P. and Catherine E. Conway* Rudolph R. Cook* The Honorable Colleen Conway Cooney and Mr. John Cooney John D. and Mary D.* Corry Dr. and Mrs. Frederick S. Cross* Martha Wood Cubberley Dr. William S. Cumming* In Memory of Walter C. and Marion J. Curtis William and Anna Jean Cushwa Alexander M. and Sarah S. Cutler Howard Cutson Mr.* and Mrs. Don C. Dangler Mr. and Mrs. Howard J. Danzinger Barbara Ann Davis Carol J. Davis Charles and Mary Ann Davis William E. and Gloria P. Dean, Jr. Mary Kay DeGrandis and Edward J. Donnelly Neeltje-Anne DeKoster Carolyn L. Dessin William R. Dew* Mrs. Armand J. DiLellio James A. Dingus, Jr. Dr. and Mrs. Richard C. Distad Maureen A. Doerner and Geoffrey T. White Henry and Mary Doll Gerald and Ruth Dombcik Barbara Sterk Domski
Mr.* and Mrs. Roland W. Donnem Nancy E. and Richard M. Dotson Mrs. John Drollinger Drs. Paul M.* and Renate H. Duchesneau George* and Becky Dunn Warren and Zoann Dusenbury* Mr. and Mrs. Robert Duvin Paul and Peggy Edenburn Robert and Anne Eiben* Mr. and Mrs. Alfred M. Eich, Jr. Mr. and Mrs. Ramon Elias* Roger B. Ellsworth Oliver and Mary Emerson Lois Marsh Epp Patricia Esposito Margaret S. Estill* Dr. Wilma McVey Evans* C. Gordon and Kathleen A.* Ewers Patricia J. Factor Susan L. Faulder* Dr. and Mrs. Frederick Fennell* Mrs. Mildred Fiening Gloria and Irving B. Fine Jules and Lena Flock* Joan Alice Ford Dr. and Mrs. William E. Forsythe* Mr.* and Mrs. Ralph E. Fountain Gil and Elle Frey Arthur and Deanna Friedman Mr.* and Mrs. Edward H. Frost Dawn Full Henry S. Fusner* Dr. Stephen and Nancy Gage Charles and Marguerite C. Galanie* Barbara and Peter Galvin Mr. and Mrs. Steven B. Garfunkel Donald* and Lois Gaynor Barbara P. Geismer* Albert I. and Norma C. Geller Carl E. Gennett* Dr. Saul Genuth John H.* and Ellen P. Gerber Frank and Louise Gerlak Dr. James E. Gibbs In Memory of Roger N. Gifford Dr. Anita P. Gilger* S. Bradley Gillaugh Mr.* and Mrs. Robert M. Ginn Fred and Holly Glock Ronald* and Carol Godes William H. Goff Mr. and Mrs. Henry J. Goodman John and Ann Gosky Mrs. Joseph B. Govan* LISTING CONTINUES
Legacy Giving THE CLEVELAND ORCHESTRA
H E R I TAGE S O C I ET Y Harry and Joyce Graham Elaine Harris Green Tom and Gretchen Green Anna Zak Greenfield Richard and Ann Gridley Nancy Hancock Griffith David E.* and Jane J. Griffiths David G. Griffiths* Ms. Hetty Griffiths* Margaret R. Griffiths* Bev and Bob Grimm Judd and Zetta Gross* Candy and Brent Grover Mrs. Jerome E. Grover* Thomas J.* and Judith Fay Gruber Mr. and Mrs. David H. Gunning Mr. and Mrs. William E. Gunton Joseph E. Guttman* Mrs. John A Hadden Jr. Richard* and Mary Louise Hahn James J. Hamilton Kathleen E. Hancock Douglas Peace Handyside* Holsey Gates Handyside Norman C. and Donna L. Harbert Mary Jane Hartwell William L.* and Lucille L. Hassler Peter and Gloria Hastings* Mrs. Henry Hatch (Robin Hitchcock) Virginia and George Havens Gary D. Helgesen Clyde J. Henry, Jr. Ms. M. Diane Henry Wayne and Prudence Heritage Rice Hershey* T. K. and Faye A. Heston Gretchen L. Hickok Mr. and Mrs.* Daniel R. High Edwin R. and Mary C. Hill* Ruth Hirshman-von Baeyer* Mr. and Mrs. D. Craig Hitchcock* Bruce F. Hodgson Goldie Grace Hoffman* Mary V. Hoffman Feite F. Hofman MD* Mrs. Barthold M. Holdstein Leonard* and Lee Ann Holstein David and Nancy Hooker Gertrude S. Hornung* Patience Cameron Hoskins Elizabeth Hosmer Dorothy Humel Hovorka Dr. Christine A. Hudak, Mr. Marc F. Cymes Dr. Randal N. Huff Mrs. Marguerite B. Humphrey Adria D. Humphreys* Ann E. Humphreys and Jayne E. Sisson Karen S. Hunt Mr. and Mrs. G. Richard Hunter Ruth F. Ihde Mr. and Mrs. Jonathan E. Ingersoll Pamela and Scott Isquick Mr. and Mrs.* Clifford J. Isroff Mr. and Mrs. Donald M. Jack, Jr. Carol S. Jacobs Milton* and Jodith Janes
Alyce M. Jarr* Jerry and Martha Jarrett* Merritt Johnquest Allan V. Johnson E. Anne Johnson Nancy Kurfess Johnson, M.D. Paul and Lucille Jones* Mrs. R. Stanley Jones* William R. Joseph* David and Gloria Kahan Julian and Etole Kahan Bernie and Nancy Karr Drs. Julian* and Aileen Kassen Milton and Donna* Katz Patricia and Walter Kelley* Bruce and Eleanor Kendrick Malcolm E. Kenney Mr. and Mrs. Douglas A. Kern Nancy H. Kiefer* Charles M. and Janet G. Kimball* James and Gay* Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Julian H. and Emily W. Klein* Thea Klestadt* Fred* and Judith Klotzman Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn* Elizabeth Davis Kondorossy* Mr. Clayton Koppes Mr.* and Mrs. James G. Kotapish, Sr. LaVeda Kovar* Margery A. Kowalski Bruce G. Kriete* Mr. and Mrs. Gregory G. Kruszka Thomas* and Barbara Kuby Eleanor and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Dr. Joan P. Lambros* Mrs. Carolyn Lampl Marjorie M. Lamport Louis Lane Kenneth M. Lapine and Rose E. Mills Charles K. László and Maureen O’Neill-László Anthony T. and Patricia Lauria Charles and Josephine Robson Leamy Fund Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Judy D. Levendula Gerda Levine Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs.* Thomas A. Liederbach Rollin and Leda Linderman Ruth S. Link Dr. and Mrs. William K. Littman Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Ann B. and Robert R. Lucas* Linda and Saul Ludwig
Kate Lunsford Mr. and Mrs. Thomas E. Lynch* Patricia MacDonald Alex and Carol Machaskee Jerry Maddox Mrs. H. Stephen Madsen Alice D. Malone Mr. and Mrs. Donald Malpass, Jr. Lucille Harris Mann* Mr. and Mrs. Richard A. Manuel* Clement P. Marion Mr. Wilbur J. Markstrom* Dr. and Mrs. Sanford E. Marovitz David C.* and Elizabeth F. Marsh Duane and Joan Marsh* Florence Marsh, Ph.D.* Mr. and Mrs. Anthony M. Martincic Kathryn A. Mates Dr. Lee Maxwell and Michael M. Prunty Alexander and Marianna* McAfee Nancy B. McCormack Mr. William C. McCoy Marguerite H. McGrath* Dorothy R. McLean Jim and Alice Mecredy* James and Virginia Meil Mr. and Mrs.* Robert F. Meyerson Brenda Clark Mikota Christine Gitlin Miles Chuck and Chris Miller Edith and Ted* Miller Leo Minter, Jr. Mr. and Mrs. William A. Mitchell Robert L. Moncrief Ms. Beth E. Mooney Beryl and Irv Moore Ann Jones Morgan Mr. and Mrs. Stanley L. Morgan* George and Carole Morris Mr. and Mrs. Thomas W. Morris Mr. and Mrs.* Donald W. Morrison Joan R. Mortimer, PhD Florence B. Moss Susan B. Murphy Dr. and Mrs. Clyde L. Nash, Jr Deborah L. Neale Mrs. Ruth Neides* David and Judith Newell Dr.* and Mrs. S. Thomas Niccolls Steve Norris and Emily Gonzales Russell H. Nyland* Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong Aurel Fowler-Ostendorf* Mr. J. William and Dr. Suzanne Palmer R. Neil Fisher and Ronald J. Parks Nancy* and W. Stuver Parry Mrs. John G. Pegg* Dr.* and Mrs. Donald Pensiero Mary Charlotte Peters Mr. and Mrs. Peter Pfouts* Janet K. Phillips* Florence KZ Pollack Julia and Larry Pollock Victor and Louise Preslan Mrs. Robert E. Price*
The Cleveland Orchestra
Legacy Giving THE CLEVELAND ORCHESTRA
H E R I TAGE S O C I ET Y Lois S. and Stanley M. Proctor* Mr. David C. Prugh* Leonard and Heddy Rabe M. Neal Rains Mr. George B. Ramsayer Joe L. and Alice Randles* Mrs. Alfred M. Rankin, Sr. Mrs. Theodore H. Rautenberg* James and Donna Reid Mrs. Hyatt Reitman* Mrs. Louise Nash Robbins* Dr. Larry J.B.* and Barbara S. Robinson Margaret B. Robinson Dwight W. Robinson Janice and Roger Robinson Amy and Ken Rogat Margaret B. Babyak* and Phillip J. Roscoe Audra and George Rose Dr. Eugene and Mrs. Jacqueline* Ross Helen Weil Ross* Robert and Margo Roth Marjorie A. Rott Howard and Laurel Rowen Professor Alan Miles Ruben and Judge Betty Willis Ruben Florence Brewster Rutter Mr. James L. Ryhal, Jr. Renee Sabreen Marjorie Bell Sachs Dr. Vernon E. Sackman and Ms. Marguerite Patton Sue Sahli Mr. and Mrs. James A. Saks Mr. and Mrs. Sam J. SanFilipo* Larry J. Santon Stanford and Jean B. Sarlson Sanford Saul Family James Dalton Saunders Patricia J. Sawvel Ray and Kit Sawyer Richard Saxton* Alice R. Sayre In Memory of Hyman and Becky Schandler Robert Scherrer Sandra J. Schlub Ms. Marian Schluembach Robert and Betty Schmiermund Mr.* and Mrs. Richard M. Schneider Lynn A. Schreiber* Jeanette L. Schroeder Frank Schultz Carol* and Albert Schupp Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Oliver E. and Meredith M. Seikel Russell Seitz* Reverend Sandra Selby Eric Sellen Thomas and Ann Sepúlveda Elsa Shackleton* B. Kathleen Shamp Jill Semko Shane David Shank Dr. and Mrs. Daniel J. Shapiro*
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Helen and Fred D. Shapiro Norine W. Sharp Norma Gudin Shaw Elizabeth Carroll Shearer* Dr. and Mrs. William C. Sheldon John F. Shelley and Patricia Burgess* Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin Reverend and Mrs. Malcolm K. Shields Rosalyn and George Sievila Mr.* and Mrs. David L. Simon Dr.* and Mrs. John A. Sims Naomi G. and Edwin Z. Singer Lauretta Sinkosky H. Scott Sippel and Clark T. Kurtz Ellen J. Skinner Ralph* and Phyllis Skufca Janet Hickok Slade Alden D. and Ellen D. Smith* Drs. Charles Kent Smith and Patricia Moore Smith Mr.* and Mrs. Ward Smith M. Isabel Smith* Sandra and Richey Smith Nathan Snader* Sterling A. and Verdabelle Spaulding* Barbara J. Stanford and Vincent T. Lombardo George R. and Mary B. Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Willard D. Steck* Saundra K. Stemen Merle Stern Dr. Myron Bud and Helene* Stern Mr. and Mrs. John M. Stickney Nora and Harrison Stine* Mr. and Mrs. Stanley M. Stone Mr.* and Mrs. James P. Storer Ralph E. and Barbara N. String The Irving Sunshine Family Vernette M. Super* Mr. and Mrs. Herbert J. Swanson* In Memory of Marjory Swartzbaugh Dr. Elizabeth Swenson Lewis Swingley* Lorraine S. Szabo Norman V. Tagliaferri Susan and Andrew Talton* Frank E. Taplin, Jr.* Charles H. Teare* and Clifford K. Kern* Mr. Ronald E. Teare Nancy and Lee Tenenbaum Pauline Thesmacher* Dr. and Mrs. Friedrich Thiel Mrs. William D. Tibbetts* Mr. and Mrs. William M. Toneff Marlene and Joe Toot Alleyne C. Toppin Janice and Leonard Tower Dorothy Ann Turick Mr. and Mrs. Robert A. Urban* Robert and Marti Vagi Robert A. Valente J. Paxton Van Sweringen
Mary Louise and Don VanDyke Elliot Veinerman* Nicholas J. Velloney* Steven Vivarronda Hon. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L. Wasserbauer Charles D. Waters* Reverend Thomas L. Weber Etta Ruth Weigl* Lucile Weingartner Eunice Podis Weiskopf* Max W. Wendel William Wendling and Lynne Woodman Marilyn J. White Robert and Marjorie Widmer* Yoash and Sharon Wiener Alan H. and Marilyn M. Wilde Elizabeth L. Wilkinson* Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Miriam L. and Tyrus W.* Wilson Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Mary Yee Emma Jane Yoho, M.D. Libby M. Yunger Dr. Norman Zaworski* William L. and Joan H. Ziegler* Carmela Catalano Zoltoski* Roy J. Zook* Anonymous (106)
The lotus blossom is the symbol of the Heritage Society. It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall.
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T H E M U S I C AL ARTS ASSOCIATION
as of January 2016
operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival 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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The Cleveland Orchestra
Jewish Federation OF CLEVELAND
Caring for those in need never goes out of style. Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values have always inspired us to act. Those same values teach us to care for the next generation. By making a legacy gift, you leave your children and grandchildren a precious inheritance and a lasting testimony to your values. Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a conﬁdential conversation at 216-593-2805 or firstname.lastname@example.org.
L’dor V’dor. From Generation to Generation. Create Your Jewish Legacy www.jewishcleveland.org
HERMĂˆS BY NATURE
18 East Orange Street - Chagrin Falls, Ohio
AS IT NEARS THE CENTENNIAL OF
its founding in 2018, The Cleveland Orchestra is undergoing a new transformation and renaissance. Under the leadership of Franz Welser-Möst, with the 2015-16 season marking his fourteenth year as the ensemble’s music director, 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.
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.
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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
THE CLEVEL AND ORCHESTRA
BY THE NUMBERS
tions with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding.
PHOTO BY ROGER MASTROIANNI
bring the Orchestra and citizens together in new ways. Additionally, a new Make Music! initiative is being developed, championed by Franz Welser-Möst in advocacy for the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest — with 20% of attendees now comprised of concertgoers age 25 and under. Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences — including popular Friday night concerts (mixing onstage symphonic works with post-concert entertainment), film scores performed live by the Orchestra, collaboraSeverance Hall 2015-16
An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s concerts. Hundreds of thousands have learned to love music through its education programs and celebrated important events with its music. While strong ticket sales cover just under half of each season’s costs, it is the generos-
About the Orchestra
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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T H E
C L E V E L A N D
FRANZ WELSER-MÖST MUSIC
DIRECTOR Kelvin Smith Family Chair
FIRST VIOLINS William Preucil CONCERTMASTER
Yoko Moore ASSISTANT CONCERTMASTER
Clara G. and George P. Bickford Chair
Peter Otto FIRST ASSOCIATE CONCERTMASTER
Jung-Min Amy Lee ASSOCIATE CONCERTMASTER
Gretchen D. and Ward Smith Chair
Takako Masame Paul and Lucille Jones Chair
Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair
Kim Gomez Elizabeth and Leslie Kondorossy Chair
Chul-In Park Harriet T. and David L. Simon Chair
Miho Hashizume Theodore Rautenberg Chair
Jeanne Preucil Rose Dr. Larry J.B. and Barbara S. Robinson Chair
Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair
Yu Yuan Patty and John Collinson Chair
Isabel Trautwein Trevor and Jennie Jones Chair
Mark Dumm Gladys B. Goetz Chair
Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan
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 Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook Yun-Ting Lee VIOLAS Robert Vernon * Chaillé H. and Richard B. Tullis Chair
Lynne Ramsey 1 Charles M. and Janet G. Kimball Chair
Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair
Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Zakany Patrick Connolly
CELLOS Mark Kosower* Louis D. Beaumont Chair
Richard Weiss 1 The GAR Foundation Chair
Charles Bernard 2 Helen Weil Ross Chair
Bryan Dumm Muriel and Noah Butkin Chair
Tanya Ell Thomas J. and Judith Fay Gruber Chair
Ralph Curry Brian Thornton William P. Blair III Chair
David Alan Harrell Martha Baldwin Dane Johansen (starting February 29)
Paul Kushious 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
CORNETS Michael Sachs *
ENGLISH HORN Robert Walters
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 §
Shachar Israel 2
E-FLAT CLARINET Daniel McKelway
BASS TROMBONE Thomas Klaber
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
CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE
Giancarlo Guerrero PRINCIPAL GUEST CONDUCTOR, CLEVELAND ORCHESTRA MIAMI
Brett Mitchell ASSOCIATE CONDUCTOR
TIMPANI Paul Yancich * Otto G. and Corinne T. Voss Chair
Tom Freer 2 Mr. and Mrs. Richard K. Smucker Chair
Elizabeth Ring and William Gwinn Mather Chair
Robert Porco DIRECTOR OF CHORUSES
Frances P. and Chester C. Bolton Chair
“A revelatory performance… impassioned singing and playing bringing bringing Bach’s score to life” – OPERA NEWS
BAROQUE ORCHESTRA jeannette sorrell
ST. JOHN PASSION Passio secundum Johannem A Dramatic Presentation Bursting out of the gates from the agitated opening chorus – Jeannette Sorrell, Apollo’s Fire, a world-class array of soloists, and the renowned Apollo’s Singers present Bach’s most dramatic and theatrical oratorio. The Mocking of Christ, Gerrit van Honthorst (1590-1656) / Oil on canvas Gift of The Ahmanson Foundation / Los Angeles County Museum of Art (LACMA)
Nicholas Phan Evangelist
Jesse Blumberg Jesus
Jeffrey Strauss Pilate
Amanda Forsythe soprano
Terry Wey countertenor
Christian Immler baritone
Jeannette Sorrell conductor
MARCH 3-6 in CLEVELAND, SHAKER HEIGHTS, ROCKY RIVER & BATH
T i c k e t s a t 8 0 0 . 3 1 4 . 2 5 3 5 | w w w. a p o l l o s f i r e . o r g
LEARNING MORE ABOUT THE MUSIC
The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins. For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at clevelandorchestra.com, usually by the Monday directly preceding the concert.) The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the stories behind the composers’ lives. Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.
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 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) with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups
March 31, April 2 “Meet the Composer” (Musical works by Cheung, Adès, and Wagner) with composer Anthony Cheung in conversation with Rabbi Roger Klein of The Temple – Tiffereth Israel
April 1 (Friday Morning) “Of Gods and Heavenly Spheres” (Musical works by Adès and Wagner) with Rose Breckenridge
Severance Hall 2015-16
Dreams can come true
Cleveland Public Theatreâ€™s STEP Education Program Photo by Steve Wagner
... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.
Your Investment: Strengthening Community Visit cacgrants.org/impact to learn more.
T H E C L E V E L A N D O R C H E S T R A F R A N Z
W E L S E R - M Ö ST M U S I C
D I R E C T O R
Thursday evening, February 18, 2016, at 7:30 p.m. Friday evening, February 19, 2016, at 8:00 p.m. Saturday evening, February 20, 2016, at 8:00 p.m.
Herbert Blomstedt, conductor FRANZ BERWALD (1796-1868)
2015-16 SE A SON
Symphony No. 3 in C major (“Sinfonie singulière”) 1. Allegro fuocoso
2. Adagio 3. Finale: Presto
INTER MISSION V
ANTONÍN DVOR ÁK (1841-1904)
Symphony No. 7 in D minor, Opus 70 1. Allegro maestoso
2. Poco adagio 3. Scherzo: Vivace — Poco meno mosso 4. Finale: Allegro
Thursday’s concert is sponsored by Hahn Loeser & Parks LLP. The concert will end on Thursday evening at about 9:00 p.m. and on Friday and Saturday at approximately 9:30 p.m. CLEVELAND ORCHESTRA RADIO BROADCASTS
Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM), on Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.
Severance Hall 2015-16
Concert Program — Week 12
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The Cleveland Orchestra
INTRODUCING THE CONCERTS
Symphonic Expressions W I T H T H I S W E E K ’ S C O N C E R T S we welcome back guest conductor Herbert Blomstedt for an all-orchestral program comprised of two symphonic gems from the 19th century. Neither work is as well-known as it should be — and Blomstedt is a strong advocate for rekindling passion for these pieces, one by a lesser-known Swedish composer, one by a famous Czech. The evening begins with the Third Symphony from 1845 by Franz Berwald, a Swede born within a year of Franz Schubert. Berwald, however, lived considerably longer than Schubert — and also tried many things in life beyond music. In fact, music was nearly akin to a hobby for him, while his eclectic business career included managing a saw-mill, overseeing a glass factory, and working in orthopedics for children with spinal defects. Much of his music was unknown until after his death — and the beauty and interesting clarity of his work has only come into focus in the past half-century or so, in part through the ability of recordings to carry his voice throughout the world. His Third Symphony is a strong statement in a singular voice, well worth the hearing. Antonín Dvořák’s Seventh Symphony is a much-acclaimed masterpiece too often overshadowed by its more popular (at least in America) “New World” sibling. It is an emotional work, filled with craft and artistry, and beguiling rhythms and melodic lines. In the midst of winter, let us take warmth from these symphonic works, led by a master conductor and played by our very own world-famous orchestra. —Eric Sellen
Severance Hall 2015-16
Introducing the Concert
Symphony No. 3 (“Sinfonie singulière”) composed 1845
At a Glance
Berwald composed this Symphony in C major in 1845, but it went unperformed at that time. The composer designated it with the title “sinfonie singulière,” meaning “unique symphony.” The manuscript was purchased by the Stockholm Academy of Music in the 1870s, in the decade after Berwald’s death. It was first performed on January 10, 1910, by the Stockholm Konsertföreningen, conducted by Tor Aulin.
This symphony runs 30 minutes in performance. Berwald scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. The Cleveland Orchestra has performed this work on only one previous occasion, when Louis Lane led three performances on a concert weekend in April 1972 at Severance Hall.
BERWALD born July 23, 1796 Stockholm, Sweden died April 3, 1868 Stockholm
Severance Hall 2015-16
About the Music M O S T O F T H E S C A N D I N A V I A N N A T I O N S have a major
representative in the world of classical music — Grieg in Norway, Nielsen in Denmark, Sibelius in Finland. Such outstanding examples, however, have sometimes had the effect of obscuring other good composers from those same countries. In Sweden, meanwhile, no single name has been elevated to representing the country around the globe, even though the country is particularly rich in music from the early part of the 20th century. In the 19th century, the name of one Swedish composer does stand out, that of Franz Berwald. But his distinction was not recognized in his lifetime and it has taken the passing of many decades before his music was regularly treated with the respect it clearly deserves. For many years now, Berwald’s four symphonies have made regular, if infrequent, appearances at concerts. Yet his immense output — in operas, choral music, and chamber music — is still far from familiar, even in Sweden. This spotty record may in part be attributed to the uncertain direction of the composer’s career during his own lifetime, which prevented him from being taken seriously as a composer by his contemporaries. They were mostly of the opinion that anyone living for so many years abroad and employed in commercial business as much as in music was not to be regarded as a leading musician of his time and of his country. Berwald came from a family of musicians, originally immiAbout the Music
grants from Germany, and to start with he worked as a violinist in Stockholm, composing freely at the same time. In 1829, in his early thirties, he moved to Berlin where, after a few years as a musician, he opened an orthopaedic institute where he specialized in treating spinal deformities in children. In 1841, he moved his practice to Vienna, where he also gave a concert of his own music. From 1842 to 1846, Berwald was living back in Sweden, composing some of his most important works, including the “Sinfonie singulière.” Then he went abroad again, this time to Paris and Vienna. In 1849, he returned, taking up a position as manager of a glassworks in Ångermand, in Berwald’s immense musinorthern Sweden. He subsequently managed a saw-mill and, in 1860, he turned to the manucal output is still far from facture of bricks. well-known, even in SweHe was evidently more successful as a den. This may in part be businessman than as a musician, for he was attributed to the uncertain turned down from a number of musical positions he applied for. Not until one year before direction of the composhis death did he win an official position as er’s career, which left few teacher of composition at the Royal Academy of his contemporaries takof Music in Stockholm. ing him seriously as a muFrom the evidence available, we have to conclude that Berwald possessed an abrasive sician. He was at various character. He was constantly cold-shouldered times an orthopaedic conby the musical fraternity, and even the normally sultant, a brickmaker, and generous Mendelssohn did not care for him. manager of a glass factory. To support his teaching, Berwald wrote some instructions for young composers, which emphasized the need to be original and not to fall into the common rut of contemporary style. This was a maxim he followed himself, for his music is unusual but not truly eccentric, full of character but hard to pin down. On first hearing, it is often mistaken for a lesser-known work by Mendelssohn or Berlioz or Beethoven — but the style, in actuality, shares some aspects of, but it not very close to, any of those. Berwald liked to modulate (change keys) in surprising directions, much like Berlioz; he used predominantly short, pithy musical ideas, like Beethoven; and in his orchestral works he has a natural feeling for instruments, writing melodies that very much suit a symphonic style, but might not have made much sense in an opera. His most important orchestral works are a series of sym-
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phonic poems (anticipating the symphonic poems of Franz Liszt by ten years) and four symphonies, all four of which have descriptive adjectival titles: No. 1: No. 2: No. 3: No. 4:
Sinfonie sérieuse, in G minor, 1842 Sinfonie capricieuse, in D major, 1842 Sinfonie singulière, in C major, 1845 Sinfonie naïve, in E-flat major, 1845
The nicknames are not really very helpful, since the later symphonies are clearly more serious than the first, and all of them are unique or “singulière.” Furthermore, there is very little naïveté about the Fourth. And Berwald himself seems to have been in general uncertainty about what titles to give each. Yet for convenience of identification the names were published and have stuck. Composed in two highly productive bursts, the symphonies fall into pairs, the Third and Fourth being a good deal more accomplished than the first two. Only the First was ever performed in the composer’s lifetime — it appeared in a concert he gave in Stockholm in 1843, baffling the critics who at least noticed that the conductor (Berwald’s ill-disposed cousin) had taken little trouble to rehearse it properly. The other three were not performed or published until after Severance Hall 2015-16
About the Music
the composer’s death. THE MUSIC
All four symphonies are composed for the standard orchestra of the time without any unusual or new instruments, and he uses the trombones boldly, like Schubert. They all fall into the standard four movements, with the exception of the “Singulière,” whose second movement combines features of both a slow movement and a scherzo (a procedure occasionally used by Mozart and Beethoven and on several occasions by Brahms). Also, unusually for a work designated to be in a major key, the finale is in the minor mode (Mendelssohn’s “Italian” Symphony is a well-known other example of doing this). The most striking features of the first movement are the profusion of short musical motifs, each sharply characterized, and the skill with which Berwald builds a complete movement from them. There are occasional attempts to generate longer melodies, but the little motifs always intervene. Berwald is most at home in his development sections, where the interplay of different materials is what is supposed to happen — and, in fact, he begins “developing” his ideas from the very beginning, so that the movement continues to grow in complexity and meaning throughout, until there is a clear simplified reprise of the opening bars at the close. The Adagio second movement gives the violins a wide-ranging theme to begin, then later another, equally expressive, that circles close to itself as contrast. The Scherzo section suddenly intrudes as rapid dialogue between strings and winds, exhibiting Berwald’s orchestral skill at its best. The Adagio returns to close the Scherzo with reminiscences of both its main themes. Berwald was probably right not to confront the people of Stockholm with this symphony if only because the finale is belligerent and unsettled to the point where genteel audiences from the 19th century might have been alarmed. The minor key adds to the feeling of disturbance. A comfortable melody eventually arrives, but it is soon broken up, as if it were by Beethoven. The winds introduce a Bruckner-like hymn; then the timpani violently intrude. A tranquil passage recalls the second melody of the Adagio; and eventually the major key arrives with a triumphant declaration of the hymn.
—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.
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Symphony No. 7 in D minor, Opus 70 composed 1884-85
At a Glance
DVOŘÁK born September 8, 1841 Nelahozeves, Bohemia died May 1, 1904 Prague
Severance Hall 2015-16
Dvořák composed this symphony between December 13, 1884, and March 17, 1885, on a commission from the Philharmonic Society of London (later the Royal Philharmonic Society). It was first performed on April 22, 1885, at St. James Hall in London at one of the Society’s concerts, with Dvořák conducting. This symphony was originally known as “Symphony No. 2,” designated with that number as the second of Dvořák’s symphonies to be published. The symphonies were renumbered in chronological order in the 1950s as part of the publica-
tion of the critical edition of the composer’s works. This symphony runs about 40 minutes in performance. Dvořák scored it for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. The Cleveland Orchestra first performed this symphony in October 1940 under the direction of Artur Rodzinski. The Orchestra’s most recent performances were in April 2011 at Severance Hall, conducted by Jiří Bělohlávek.
About the Music W H E N D V O Ř Á K embarked on his Seventh Symphony, in 1884,
only three of the previous six symphonies had been performed and only one had been published. Yet, even if his early works were to remain in obscurity for many years yet, he had reached a point of celebrity where each new piece was performed and published at once — not just in his home city of Prague, but also in Germany and England. Dvořák’s career breakthrough occurred in 1877, when Johannes Brahms and Eduard Hanslick (Vienna’s leading music critic) told Dvořák that his talent deserved to be spread abroad, not just in the Czech lands. Hanslick, who himself came from Prague, regarded Bohemia as a backwater, while Germany (and Vienna) was the true platform for modern music. Brahms introduced Dvořák to his Berlin publisher, Simrock, who accepted this new composer’s works — but in print translated the Czech firstname Antonín to a plainer Germanic Anton. For Dvořák, the celebrity of success in Germany was a powerful stimulus, and his style became accordingly more personal and original. From Germany, his fame spread to England, and eventually to the New World (while other Czech composers, notably Smetana, remained little known outside their own borders). At the same time, Dvořák felt ever more strongly that he About the Music
belonged to his homeland, producing a tension that distressed him for years, most notably during his time in New York (189295), when the nostalgia in his music is most marked. Urged to write operas in German, he insisted on setting Czech librettos. His Slavonic Dances, imbued with the essence of musical Czechness, flowed from his pen and found their way onto every German and English piano. The Sixth Symphony, of 1880, in D major, revealed the benefits of Dvořák’s new cosmopolitan status, for the influence of Brahms’s Second Symphony, also in D major, is clear in a work otherwise full of Czech character and an independent approach to structure. When this work was performed Dvorák’s visit to London in in London in 1884, the Philharmonic Society were so impressed that they asked Dvořák for 1885 was an enormous suca new symphony. He responded at once by cess, leading to more comcreating the Seventh. He chose a key, D minor, missions — although the fraught with potential danger (or at least nerves) press considered the new because of the iconic shadow of Beethoven’s Ninth Symphony, written in that key. symphony inferior to the Dvořák disregarded the imagined threat previous one. Posterity has of “writing too like Beethoven,” however, and taken the opposite view, looked instead to Brahms’s Third Symphony in with many awarding the F, which he knew from a meeting in October 1883 when Brahms played him the first and Seventh top prize among last movements on the piano, and from an orhis nine symphonies, a view chestral performance in Berlin in January 1884, with which Dvorák himself which impressed him greatly. seems to have agreed. In February 1885, Dvořák wrote to his publisher: “I have been engaged on the new symphony for a long, long time; after all it must be something really worthwhile, for I don’t want Brahms to say to me ‘I imagine your symphony to be quite different from your last one’ and be proved wrong.” Dvořák’s visit to London in 1885 was an enormous success, leading to more commissions — although the press considered the new symphony inferior to the previous one. Posterity has taken the opposite view, with many awarding the Seventh top prize among his nine symphonies, a view with which Dvořák himself seems to have agreed when he accepted a much lower fee from his publisher for the “New World” Symphony (No. 9) than for the Seventh. v
About the Music
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The “New World” may be the more popular, but the Seventh has an unequaled potency and drive. All four movements are permeated with Dvořák’s personality, rich in melody, bold in harmony, and satisfying both in parts and as a whole. The first movement’s opening theme, whispered by violas and cellos, is decidedly melancholy, with its emphasis on the flatness of the minor key. It was supposedly suggested to the composer when he witnessed the arrival of a trainload of Hungarian nationalists visiting Prague for a National Theater Festival. Later themes are much more likely to induce a smile, for example a beautiful entry for a solo horn near the beginning, and the main second subject presented by flute and clarinet, perhaps a lilting version of a theme from Brahms’s Second Piano Concerto. The movement eventually reaches a tremendous climax, but the ending is subdued and desolate. A hymn-like melody for winds opens the slow second movement, a declaration of innocence that is quickly elaborated into something more searching, even sinister, as low trombones support some mysterious chords. This is a clear nod towards a similar passage in Brahms’s Third. The opening melody reappears at the end, but its simple tone is the very opposite of the intensity that drives the rest of the movement. Relaxation after intensity is the goal of the Scherzo third movement, alive with an irresistible Czech lilt and the subtle crossrhythms of the Slavonic Dances. The key of D minor is hammered home, while the movement’s Trio section offers a change of key and a soft, delicate texture throughout. Eventually the dance returns, and its final notes seem to proclaim the first notes of the finale fourth movement: these are rising octave A’s landing on a tense G-sharp, a gesture that colors the whole movement despite the profusion of other themes and ideas. One of the greatest is a tune for the cellos, perhaps another homage to Brahms, this time a lovely cello melody in the finale of his Second Symphony. Dvořák’s finale is long and complex, and although its ending chords are unequivocally major, the minor key dominates much of the action, leaving the listener drained as if some mighty force has passed through. The great British critic Donald Tovey had no hesitation in setting this symphony, along with Schubert’s “Great” C-major Symphony and the four symphonies of Brahms as “among the greatest and purest examples in this art-form since Beethoven.”
—Hugh Macdonald © 2016
Severance Hall 2015-16
About the Music
The Cleveland Chapter of the American Guild of Organists announces two great concerts on the King of Instruments 3 3 RD S E A S O N
Our journey continues... Please join us for our last three concerts of the 2015–16 season.
Stephen Cleobury, CBE
Director of Music, King’s College, Cambridge
performing at St. Paul’s Episcopal Church 2747 Fairmount Blvd., Cleveland Hts. Friday, February 26 at 7:30 p.m. 216-932-5815
Grand Prize winner, Canadian International Organ Competition
performing at Plymouth Church, UCC 2860 Coventry Rd, Shaker Heights Tuesday, April 12 at 7:30 p.m. 216-921-3510
February 21, 2016 SECOND TO NONE FACTORY SECONDS BRASS TRIO Jack Sutte, Richard Stout, Jesse McCormick
Visit our website to learn of other organ performances in Cleveland agocleveland.org
March 13, 2016 FEATURED YOUNG ARTIST Jinjoo Cho ~ violin
April 10, 2016 ONE PIANO, FOUR HANDS WESTHUIZEN DUO Sophié & Pierre van der Westhuizen
Concerts begin at 5:00 pm at Christ Church Episcopal, 21 Aurora Street in Hudson. Ticket price of $18 includes post concert reception. Students admitted free. Tickets may be purchased at the door on concert night. VISIT MFTWR.ORG FOR MORE INFORMATION.
north W point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling
440.720.1102 440.720.1105 440.720.1104
The Cleveland Orchestra
Herbert Blomstedt Swedish-American conductor Herbert Blomstedt has been leading orchestras for more than half a century. His artistry and leadership is especially associated with the San Francisco Symphony, Leipzig Gewandhaus Orchestra, and Dresden Staatskapelle. Mr. Blomstedt first conducted The Cleveland Orchestra in April 2006, and has returned regularly since that time. His most recent concerts with the Orchestra were in April 2014. Born in Springfield, Massachusetts, to Swedish parents, Herbert Blomstedt began his musical education at the Royal Academy of Music in Stockholm and at the University of Uppsala. He later studied conducting at the Juilliard School, contemporary music in Darmstadt, and renaissance and baroque music at the Schola Cantorum Basiliensis. He also worked with Igor Markevich in Salzburg and Leonard Bernstein at Tanglewood. In 1954, Mr. Blomstedt made his conducting debut with the Stockholm Philharmonic Orchestra. He subsequently served as music director of the Danish Radio Symphony Orchestra, Oslo Philharmonic, Staatskapelle Dresden, and the Swedish Radio Symphony Orchestra. Today he holds the title of conductor laureate with the San Francisco Symphony, where he served as music director from 1985 to 1995. He was subsequently music director of Hamburg’s NDR Symphony Orchestra, and, in 1998, became music director of Leipzig’s Gewandhaus Orchestra, serving through the 2004-2005 season. In recent years, Herbert Blomstedt has been named honorary conductor of
Severance Hall 2015-16
the Bamberg Symphony Orchestra, Leipzig Gewandhaus Orchestra, NHK Symphony, and the Danish and Swedish radio symphony orchestras. In addition to these, he has guest conducted many of the world’s great orchestras, including Amsterdam’s Royal Concertgebouw Orchestra, Berlin Philharmonic, London Philharmonic, and the Vienna Philharmonic, as well as those of Boston, Chicago, Los Angeles, Montreal, New York, and Philadelphia. Herbert Blomstedt’s extensive discography includes over 130 works with the Dresden Staatskapelle, and the complete works of Carl Nielsen with the Danish Radio Symphony. His recordings with the San Francisco Symphony are available on Decca/London; many received major awards. His collaborations with other ensembles, including the Leipzig Gewandhaus Orchestra, can be heard on Decca, Deutsche Grammophon, and RCA Red Seal. Mr. Blomstedt is currently in the midst of recording the complete Bruckner symphonies with the Gewandhaus Orchestra for the German label Querstand. Among Mr. Blomstedt’s honors are several doctorate degrees and membership in the Royal Swedish Music Academy. In 2003, he received the German Federal Cross of Merit.
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