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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 Orchestra’s music education programs for children, making possible the rewards and beneďŹ ts of music in their lives. Drive








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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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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: 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


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.


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

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Annual Support


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.


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

Leagcy Givimg

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



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


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

Legacy Giving

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

The Cleveland Orchestra


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

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

Legacy Giving

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

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


Please fasten your seat belts; we’re about to take off. CLE offers nonstop service to a medley of more than 35 markets including Boston, Phoenix, and Miami. Now that’s music to our ears.

Everything takes off at


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

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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, 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.


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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The difference is lifesaving. Thanks to the generosity of more than 70,000 friends and benefactors, we are truly making a difference in our community by providing the highest level of care for patients in need. With your continued support, we will keep moving forward as a national leader in medical advancement and extraordinary care. Please join us as we continue to advance our timeless mission – To Heal. To Teach. To Discover. Every gift has the power to impact lives and provide hope to families in our community. Learn how your support can make a difference at

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DIRECTOR Kelvin Smith Family Chair


Blossom-Lee Chair


Clara G. and George P. Bickford Chair



Gretchen D. and Ward Smith Chair

Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan


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

Emilio Llinas 2 James and Donna Reid Chair

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

Sonja Braaten Molloy Carolyn Gadiel Warner 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

Orchestra Roster

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

David Alan Harrell 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

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


“A revelatory performance… impassioned singing and playing bringing bringing Bach’s score to life” – OPERA NEWS

BAROQUE ORCHESTRA jeannette sorrell

J.S. Bach

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


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


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.

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

Concert Previews


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Cleveland Public Theatre’s STEP Education Program Photo by Steve Wagner

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W E L S E R - M Ö ST M U S I C


Severance Hall

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


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


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-


About the Music

The Cleveland Orchestra

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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.


About the Music

The Cleveland Orchestra


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June 23-25, 2016

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2016 JAZZFEST LINEUP Tommy LiPuma’s Big Birthday Dominick Farinacci Bash with Diana Krall, Al Jarreau, Big Sam’s Funky Nation Leon Russell and Dr. John Cubanismo! David Sanborn/Maceo Parker Contemporary Jazz Extravaganza Chick Corea with Lalah Hathaway, BWB and Terence Blanchard’s E-Collective Brian Culbertson Melissa Aldana / Rosa Passos


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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

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

The Cleveland Orchestra


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

Christian Lane

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

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

Guest Conductor

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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The Cleveland Orchestra

April 15-17, 2016 Masterful tradition with a contemporary perspective–join us for Baldwin Wallace’s celebrated 84th annual Bach Festival featuring the St. Matthew Passion (BWV 244) under the direction of Dirk Garner. VË ÍjÍË †‰ÁËrËÁ‰a?ß^ˬÁ‰Ë¤y^ËÈˬ±”± J. S. Bach: Fürchte dich nicht, BWV 228 David Lang: the little match girl passion Dirk Garner, conductor

VË Á±Ë.j?™Ë Ö~~?™^ˬ‰?™ Ë .?ÍÖÁa?ß^ˬÁ‰Ë¤É^ËÏˬ±”± A two-time winner of the International Bach Keyboard Competition featuring the works of J. S. Bach and Beethoven’s Hammerklavier Sonata

VË .Í±Ë ?Í͆jÝË+?Äĉ™^Ë 87ËÔ|| Ë .?ÍÖÁa?ß^ˬÁ‰Ë¤É^ËÈˬ±”± Dr. Dirk Garner, Bach Festival Artistic Director Dashon Burton, Christus Rufus Müller, Evangelist Teresa Wakim, soprano

Luthien Brackett, mezzo-soprano Matthew Anderson, tenor Jason Steigerwalt, baritone

Concerts are ticketed. Other exciting programs are free and open to the public including master classes, a neuroscience lecture, and a lively discussion focused on Anti-Semitism and the St. Matthew Passion.

View complete schedule and purchase tickets at or call 4440-826-8070.

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. Oâ&#x20AC;&#x2122;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



LOU I S L A N E December 25, 1923 to February 15, 2016

The Cleveland Orchestra notes the death of former resident conductor Louis Lane at the age of 92 — and extends condolences to his family and many friends. His long association with The Cleveland Orchestra started in 1947, when he was appointed apprentice conductor to George Szell, who promoted him to assistant conductor in 1956 and associate conductor in 1960. He served as resident conductor from 1970 to 1974. During his tenure spanning nearly three decades, Mr. Lane conducted hundreds of Cleveland Orchestra concerts at Severance Hall and Blossom Music Center, and on tour — including substituting to great acclaim for an ailing Szell at a February 1970 concert at New York’s Carnegie Hall. A talented musician, he also performed in the Orchestra, serving as principal piano and keyboard instruments player from 1948 to 1961. Among Mr. Lane’s many noteworthy contributions to the Orchestra were programs of exceptional breadth and impeccable taste, including seventy-five Cleveland premieres, of which over fifty were by 20th-century composers. A longtime advocate for music education, he led Cleveland Orchestra education concerts for tens of thousands of school children and served as co-director (196873) of the Blossom Festival School, now Kent/Blossom Music Festival. He served as music director of Cleveland Orchestra summer pops concerts presented at Public Auditorium (1952-68), and was music director of Lake Erie Opera Theatre (1964-70), which presented a series of opera productions at Severance Hall. Later on, he taught at Oberlin Conservatory and at the Cleveland Institute of Music. Mr. Lane also served on the conducting staffs of the Akron, Canton, Dallas, and Atlanta symphony orchestras, and guest conducted many of the major orchestras in North and South America, Europe, and South Africa. He was awarded the Mahler Medal of the Bruckner Society of America in 1971 for his exemplary performances of Bruckner and Mahler, and in 1972 received Columbia University’s Alice M. Ditson Prize for his championship of contemporary music. In 2008, Louis Lane was the recipient of The Cleveland Orchestra’s Distinguished Service Award, the institution’s highest honor, for his steady influence, dedication, and sound judgement, and for his role in upholding and advancing the Orchestra’s artistic standards across many years. We are grateful to have known him, and to have experienced him as an artist and as a fellow human being.


In Remembrance

The Cleveland Orchestra

orchestra news 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 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. And on Friday evening, March 4, the Women’s CommitW ttee holds a special benefit evening of music and conversation with Cleveland Orchestra members Michael Sachs (principal trumpet) and Massimo La Rosa (principal trombone). Mas The evening features a cocktail hour and silent sile auction at 6 p.m., performances and conversation with Sachs and La Rosa (moderated by Ilya Gidalevich) at Ro 7:15, and dinner at 8:15. The evening 7:1 takes place at Executive 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 216-789-1788. 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


.W.E.L.C.O.M.E. New cellist joins Orchestra The Cleveland Orchestra welcomes cellist Dane Johansen, who begins playing as a member of the Orchestra for the subscription concerts on March 3-6. Johansen was cellist with the Escher String Quartet for five years, during which he and his colleagues were BBC Radio 3 New Generation Artists, and also recipients of an Avery Fisher Career Grant and the Martin Segal Award from Lincoln Center. He has performed as a soloist and chamber musician around the world. He made his Lincoln Center debut in a performance of Elliott Carter’s Cello Concerto under the direction of James Levine in celebration of the composer’s centennial. He made his Carnegie Hall debut as first winner of the Juilliard Leo Ruiz Memorial Award. For many years, Dane has dedicated much energy and time exploring Johann Sebastian Bach’s Six Suites for Solo Cello. He performed them at New York’s Alice Tully Hall in 2010 and also throughout his 580-mile pilgrimage on the “Walk to Fistera” along the Camino de Santiago in Northern Spain in 2014 — the story of his adventure on the Camino with Bach is being made into a documentary film and accompanying recording, scheduled for release in 2016. A native of Fairbanks, Alaska, Johansen studied at the Cleveland Institute of Music, Conservatoire National Supérieur de Paris, and at the Juilliard School, where he earned his artist diploma. He studied privately with Bernard Greenhouse.

Comings and goings As a courtesy to the performers onstage and the entire audience, latearriving patrons cannot be seated until the first break in the musical program.

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 45 musicians collectively completed a total of 1596 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 Stephen 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 2 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 Ronald Phillips 2 2001 — 38 years Phillip Austin 2011 — 30 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 February 2016



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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.

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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 Hans Clebsch Patrick Connolly Ralph Curry Marc Damoulakis 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 Massimo La Rosa Jung-Min Amy Lee Yun-Ting Lee Takako Masame Eli Matthews Jesse McCormick

Cleveland Orchestra News

Michael Miller 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 Michael Sachs 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


y’s This season’s Cleveland Cello Society’s cello ensemble extravaganza “I Cellisti” takes place on Sunday evening, February ary 28, and will be a celebration to honor cellist Stephen Geber, who served as The Cleveland Orchestra’s principal cello from 1973 to 2003 and is now serving as president emeritus of the Cleveland Cello 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, and a local cello group called Pizzicato 4. 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 additional information, please visit A social evening of viola chamber music titled “Viola & Friends” features Cleveland Orchestra violist Lisa Boyko, Cavani Quartet violist Kirsten Docter, and other area violists on Friday evening, March 11. Orchestra colleagues include violist Isabel Trautwein, Yun Ting Lee, and Tanya Ell for this house concert to benefit the Ohio Viola Society. Details and tickets available at Cleveland Orchestra musicians Katherine Bormann (violin) and Lisa Boyko (viola) perform with the Cleveland Chamber Collective on Sunday evening, March 13, at Church of the Redeemer in Cleveland Heights. Works by Lou Harrison and several Cleveland composers are featured. The concert begins at 7 p.m.

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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, has been in Asia 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.

Severance Hall 2015-16

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

B LOSSOM 2O16 Blossom seasaon announced Dates and programming for the 2016 Blossom were announced on February 7. Look for details in the newspaper, online, and . . . in your mailbox.

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W E L S E R - M Ö ST M U S I C


Severance Hall

Thursday evening, March 3, 2016, at 7:30 p.m. Saturday evening, March 5, 2016, at 8:00 p.m. Sunday afternoon, March 6, 2016, at 3:00 p.m.

Alan Gilbert, conductor ROBERT SCHUMANN (1810-1856) V

ANTONÍN DVOR ÁK (1841-1904)

2015-16 SE A SON

Overture to Byron’s Manfred, Opus 115 Piano Concerto in G minor, Opus 33 1. Allegro agitato 2. Andante sostenuto 3. Finale: Allegro con fuoco STEPHEN HOUGH, piano


Symphony No. 4, Opus 29 (“The Inextinguishable”) 1. 2. 3. 4.

Allegro — Poco allegretto — Poco adagio quasi andante — Allegro

Saturday’s concert is sponsored by Forest City, a Cleveland Orchestra Partner in Excellence. Stephen Hough’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Payne Fund. The concert will end on Thursday evening at about 9:20 p.m., on Saturday at approximately 9:50 p.m., and on Sunday afternoon at about 4:50 p.m. LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday, April 17, at 4:00 p.m.

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Concert Program — Week 13



Poem, Piano& Symphony F O R T H I S W E E K E N D O F C O N C E R T S , guest conductor Alan

Gilbert leads a trio of diverse works, from a dark Romantic overture to a rarely-heard piano concerto, and ending with a robust and combative symphony premiered just a century ago this year. The concert starts with an overture by Robert Schumann from 1850. Here is portrayed the Romantic churning and yearning of Lord Byron’s hero Manfred, a wild-eyed man of adventure, daring, and emotional depth. From a quietly introspective beginning, the overture courses with life, edging from classical form toward Romantic outburst. Dvořák’s only Piano Concerto, from 1876, comes next, with the heartfelt advocacy of guest artist Stephen Hough. Too rarely learned by pianists or heard by audiences, this work achieves new shine with Hough’s superb artistry and care. The concerto is filled with many of Dvořák’s usual musical craft, rhythmically and melodically pleasing, and deftly proportioned. To close this program, Alan Gilbert has chosen a distinctive symphony from Denmark’s most-revered symphonic composer. Carl Nielsen raised himself up from humble origins to tower over his country’s musical life in the early 20th century. His Fourth Symphony premiered in the midst of World War I in February 1916. Nicknamed “The Inextinguishable,” this music bristles with contradiction and confluence. For the composer, it embodied the idea that life is irrepressible, not unlike a musical sense of Darwin’s will to survive inherent in every living cell. Here, thinly orchestrated moments with just a few instruments are interspersed with full-throated orchestral ideas. The final movement brings a sense of armageddon-battle between two timpanists, wrestling for the life of the music itself. Thrilling, clear . . . outcome certain but unknown.

—Eric Sellen

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Introducing the Concert


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Overture to Byron’s Manfred composed 1848-49

At a Glance



SCHUMANN born June 8, 1810 Zwickau, Saxony died July 29, 1856 Endenich, near Bonn

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Schumann wrote incidental music to Byron’s dramatic poem Manfred in 1848-49. The resulting music, consisting of an overture and 15 musical numbers, some sung by solo voices/ chorus and others to accompany Byron’s spoken lines (translated into German) was first performed on June 13, 1852, in Weimar, under Franz Liszt’s direction. The overture had been premiered three months earlier, on March 14, 1852, in a performance by the Leipzig Gewandhaus Orchestra conducted by the

composer. This overture runs about 10 minutes in performance. Schumann scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, and strings. The Cleveland Orchestra performed Schumann’s Manfred Overture for the first time in January 1938, under the direction of Rudolph Ringwall. The most recent performances were led by Philippe Jordan in February 2007.

About the Music M A N F R E D is a quintessentially Romantic hero dreamed up by

that most Romantic of all poets, George Gordon Lord Byron, who was born in 1788 and famously died while assisting with the fight for Greek independence. Byron’s short dramatic poem Manfred from 1816-17 conceals almost as much about its elusive hero as it reveals. Manfred’s solitary journeys, which take him to the snow-capped peaks of the Swiss Alps and to the underworld, are more symbolic than real. The major tragedy of his life, his love affair with his sister Astarte, who dies under mysterious circumstances, is only hinted at and never recounted in full. (Byron biographers regularly point to a parallel between Manfred’s love for Astarte and Byron’s own love affair with his half-sister, Augusta Leigh.) What is certain is that Manfred’s quest for truth in the supernatural realm — his desire to forget and to die — were traits dear to the Romantic soul. Manfred also has a great deal in common with two other Romantic heroes: Faust and Don Juan. His opening monologue about the futility of knowledge is very close to Faust’s opening lines in Goethe’s dramatic poem, and Manfred conjuring up the spirits is easily reminiscent of Faust summoning Mephistopheles. Byron had portions of Faust Part I translated from German to English for his own reading. By the time Goethe, 39 years Byron’s senior, completed Part II of his monumental drama, About the Music



Lord Byron, in a painting by Richard Westall, circa 1832. BELOW

“Manfred and the Alpine Witch,” painting by John Martin, 1837.

the younger poet had been dead for eight years. And, indeed, Faust Part II contains a scene that was directly inspired by Byron’s death. As for Don Juan — about whom Byron wrote a celebrated epic poem — it is easy to recognize the parallel when Manfred’s life is claimed by a spirit from the Other World at the end of the drama. Few European intellectuals in the 19th century could fail to be fascinated by Byron’s flamboyance, manifest in both his adventurous life and his poetry. The composer Robert Schumann had been attracted to Byron since his early youth — he set several of the Englishman’s poems to music, and later confessed that “I have never before devoted myself to a composition with such love and such exertion of my powers as to Manfred.” Schumann’s Manfred Overture does not fall short of the passion inherent in its literary model. It is written in the unusual key of E-flat minor, whose six flats suggest darkness and tragic emotions to many musicians. After three dramatic chords played in fast tempo, there is a harmonically daring slow introduction whose tempo gradually increases and finally reaches a leidenschaftlich [“passionate”] speed. The first theme has been said to represent Manfred himself, the lyrical second theme the sister-lover Astarte. The tension never abates, and the listener is kept on edge through to the end, when the second theme gradually disintegrates and the slow tempo of the introduction briefly returns. The last section is marked mit Ausdruck [“with expression”], and the music ends in a whisper with two pianissimo E-flat minor chords. —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

Piano Concerto in G minor, Opus 33 composed 1876

At a Glance Dvořák composed his Piano Concerto in 1876. The work was premiered in Prague on March 28, 1878, with pianist Karel Slavkovsky as soloist under the direction of Adolf Èech. This concerto runs approximately 35 minutes in performance. Dvořák scored it for an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani,



DVOŏÉK born September 8, 1841 Nelahozeves, Bohemia died May 1, 1904 Prague

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and strings, plus solo piano. The Cleveland Orchestra first performed Dvořák’s Piano Concerto in April 1954, with soloist Rudolf Firkusny under George Szell’s direction. It has been played a few times since then, most recently in May 2004, when pianist Pierre-Laurent Aimard was the soloist and Franz Welser-Möst conducted.

About the Music D V O ŏ Á K C O M P O S E D his only piano concerto in the summer

of 1876, when he was enjoying a period of intense productivity and increasing acclaim from the citizens of Prague. In the previous year, he had composed his Fifth Symphony and his music was beginning to emerge in a new confident style and personality. This included the ongoing infusion of Czech folk music into his musical language, and also an expanding harmonic vocabulary. Dvořák’s own instrument was the viola, which he played for a living for many years in the orchestra of Prague’s main theater. He was also an organist for a few years at Prague’s St. Adalbert’s church. In addition, he had a useful fluency on the piano and performed his own piano trios and piano quartet on occasion; he was often the accompanist for singers and for his own children. While he was no stage showman, he certainly knew enough about the piano to compose a concerto. And when he came to write one he had in mind a Czech virtuoso, Karel ze Slavkovskych, whose playing greatly impressed him and who gave the first performance. It has been suggested that Dvořák should have worked more closely with Slavkovskych while writing this work — some have called the piano part awkward and ineffective. But this is not the impression that the listener receives. And awkward may, in fact, be in the eye or ear of the beholder, for, almost by definition, virtuoso music is awkward for the rest of us, whether by Beethoven, Tchaikovsky or Rachmaninoff. Even Brahms can twist the fingers into knots. It is true that Dvořák’s concerto is heard much less frequently About the Music


than other great piano concertos of the period (Schumann, Liszt, Brahms, Tchaikovsky), but that is more probably due to the uncertain character of the first movement and a lack of advocacy from leading pianists than to the nature of the piano writing itself. There is, in fact, little in this score that can frighten the modern piano virtuoso. Moreover, as this week’s soloist, Stephen Hough, has stated, “The Dvořák is really really hard to play . . . but it doesn’t sound like it — not a performer’s This week’s soloist, Stephen choice combination.” In his regular blog online, Hough goes on to say “Some works sound like Hough, has stated, “The great works, even in less good or uncommitted Dvorák is really really hard performances . . . but not the Dvořák piano conto play . . . but it doesn’t certo. It needs the help of an affectionate heart sound like it — not a perdirecting the pianist’s fingers and the conductor’s baton.” former’s choice combinaAt all events, the second and third movetion.” In his regular blog ments are vintage Dvořák, full of that charm online, Hough goes on to and lively spirit that all his best music displays. say “Some works sound like If the first movement needs any apology, it is for an occasional tendency to ramble withgreat works, even in less out a clear sense of direction, and because good or uncommitted perthe orchestra at times seems not to need the formances . . . but not the elaborate decoration of the piano part. Many Dvorák piano concerto. It listeners, however, may feel just the opposite — that the orchestra is the intruder, not needs the help of an affecthe piano. So that if there is disagreement tionate heart directing the on the strengths and stress, lengths and links pianist’s fingers and the in the opening music, it is clearly resolved by conductor’s baton.” the much happier balance in the serene slow movement, which maintains a delicate touch almost throughout, and by the brilliant finale, which sets a playful tone with its ratatat rhythms and allows a romantic melody to provide the necessary contrast. The concerto was successful in Dvořák’s lifetime and was once a particular favorite in England (albeit in a somewhat edited version that tried to gloss over rather than triumph with some awkward keyboarding). In reality, there is little reason that it should not return to popularity again in our own time. v

—Hugh Macdonald © 2016


About the Music

The Cleveland Orchestra

Symphony No. 4 (“The Inextinguishable”) composed 1914-15

At a Glance


Nielsen composed his Fourth Symphony between 1914 and 1916, giving it the title Det Uudslukkelige (“The Inextinguishable”). The first performance was given on February 1, 1916, with the Orchestra of the Copenhagen Music Society in Odd Fellows Hall in Copenhagen, with the composer conducting. This symphony runs about 35 minutes in performance. Nielsen scored it for 3 flutes (third doubling piccolo), 3

oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, two sets of timpani (placed on either side of the orchestra), and strings. The Cleveland Orchestra first performed Nielsen’s Fourth Symphony at Severance Hall concerts in November 1972, conducted by Louis Lane. It has been programmed a few times since then, most recently with Thomas Dausgaard leading performances in April 2011 here at Severance Hall.


NIELSEN born June 9, 1865 Sortelung, Denmark died October 3, 1931 Copenhagen

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About the Music I N N I N E T E E N T H - C E N T U R Y S C A N D I N A V I A , German mu-

sic was considered the highest art. Scandinavian composers normally studied in Germany as soon as they could acquire the necessary fundamentals in their home countries — and the funds to go abroad. Conservatories established in Stockholm and Copenhagen were often staffed by German musicians and the better students generally “progressed” to Berlin, Leipzig, or Vienna for further study. The exchange of skills and experience north to south, and vice versa, was profitable for all. But by the time that Carl Nielsen came of age it was widely felt that northern composers should preserve their independence from the great German tradition, and that without pursuing a narrow nationalist path on the basis of folk melodies (which some felt the Russians and Czechs were taking to excess) Scandinavian composers should express a distinctive character of music all their own. While his friend and contemporary Sibelius took a course of strict study in Berlin, Nielsen, having grounded his studies at the Copenhagen Conservatory, preferred to travel from one city to the next — in Germany, France, and Italy —sampling and savoring the music he encountered along the way. He returned to Denmark as Sibelius did to Finland, both determined to put their countries on the musical map by the sheer force of their creative personalities, not by waving a flag. Nielsen was a man of simple origins, brought up in povAbout the Music


erty far from any city, and largely self-taught in music. Throughout his life he reached out for new ideas, new experience, and a greater understanding of the world of feeling and expression. He was highly active in all musical spheres, as composer, violinist, conductor, and teacher, and he traveled widely. He rose steadily to a supreme position in Danish musical life. At the time of the composition of the Fourth Symphony in 1914-15, Nielsen was conductor of Copenhagen’s long-established concert society, the Musikföreningen, at the head of whose orchestra he presented his new work in February 1916. Throughout the First World War (1914-1918), Nielsen avoided sensationalism Denmark sustained a precarious neutrality, and sentimentality in his music, despite the economic difficulties felt by combatants and neutrals alike, and Nielsen’s efforts and strove to write music that precontributed greatly to the growing sense of cultural identity that Denmark built up in those sented its own arguments years. and reached its own solutions. Nielsen is everywhere regarded as the greatest of Danish composers, yet for many A Nielsen symphony is a years only a few of his works were regularly heard outside of Denmark, and his star shone self-contained experience that only fitfully in the bright constellation that indemands of the listener little more cludes his fellow-Scandinavians Grieg, Sibelius, and Stenhammar, not to mention the plethora than willing concentration and a of creative talent that challenged the ears of sympathetic, discerning ear. Europe and America in the first years of the last century: Mahler, Debussy, Strauss, Scriabin, Schoenberg, Elgar, Roussel, Szymanowski, to mention only a few. SYMPHONY AS MODEL

Many of these composers regarded the symphony as their prime creative outlet, as did Nielsen, and the inheritance from Beethoven was still the driving impulse behind their conception of form and expression. Despite the allure of novelty to which all the arts succumbed in those years, Nielsen remained true to his original ideals, which he found in the music of Haydn and Mozart, and in the language of traditional tonality. He never wrote for the huge orchestras so fashionable around 1910. As in Sibelius, there is a certain austerity in Nielsen’s orchestral palette (in the Fourth Symphony, there is no bass clarinet, no english horn, no harp, and no percussion apart from the timpani). Nielsen avoided sensationalism and sentimentality, and strove


About the Music

The Cleveland Orchestra

INSPIRED BY TOMORROW Forest City is proud to support the The Cleveland Orchestra in their efforts to make a positive impact in our community.

to write music that presented its own arguments and reached its own solutions. A Nielsen symphony is a self-contained experience that demands of the listener little more than willing concentration and a sympathetic, discerning ear. The character of his music is embodied in the titles he gave, like the Swede Franz Berwald decades earlier, to three of his symphonies. No. 3 is “expansive,” No. 4 is “inextinguishable,” and No. 6 (at least in its title) is ”simple.” Contradictory though the ideas may seem, Nielsen felt strongly that music should be wide-ranging, exploratory, searching and self-confident, but always simple. THE FOURTH SYMPHONY

In 1914, he wrote to his wife: “I have an idea for a new work which has no program, but which will express what we understand by zest for life or the expression of life; that is, everything that moves, that desires life, which can be called neither good nor bad, neither high nor low, neither large nor small, but only that which is life or that which desires life. No particular idea of anything grandiose or anything refined and delicate or hot or cold but only life and movement, but different, very different, but coherent, and as if always flowing in Severance Hall 2015-16

About the Music


one great movement in a single stream.” Inarticulate and convoluted though these words may seem, the music took gradual shape as the Fourth Symphony. Clinging to his faith that music, like the human spirit, is inextinguishable, Nielsen gave that title to his new work. It was not an expression of doubt or of horror, but inevitable endurance and flowering growth. Although some see in this symphony a reflection of the ruin of the World War, it is a peaceable, thoughtful work whose only violent outbreak occurs in the last movement, giving way to a serene and positive ending. The four movements run continuously “in a single stream,” even though their separate identities are clear. The first movement (like the last) ends in the Clinging to his faith that music, key of E major, but it begins in F major, which like the human spirit, cannot be indicates the sort of exploratory journey that Nielsen liked to pursue — going somewhere, extinguished, Nielsen gave a in his life and in his music. A strong opening for full orchestra bursts forth, then gives way title to his new work. It was not an to a quieter section, in which the chief incident expression of doubt or of horror, is the emergence of a calm tune for a pair of clarinets (the descending contour of this melody but for inevitable endurance and is shared by many of the symphony’s themes). This theme, more noisily scored, closes the exflowering growth. Although some position, and the development section of the see in this symphony a reflection movement then goes off into a bleak space where the violas occasionally interrupt. Arguof the ruin of World War I, it is a ment takes the form of constant counterpoint peaceable, thoughtful work. between upper and lower voices, and most of the generative themes seem to descend. The movement’s recapitulation is abbreviated, leading to a grand Brucknerian close. The second movement is an intermezzo of delicate character, rarely rising in volume above pianissimo. It is scored for woodwinds alone, the strings contributing only some slight interventions, in plucked pizzicato. Here one may detect a folksy flavor in the music, recalling Nielsen’s lifelong interest in popular melodies and the music of rural Denmark. The third movement, an Adagio, breaks in with an intense theme of a very different character played by all the violins, and descending inexorably through two octaves. It is treated rather like a fugue since the lower strings answer with the same forceful line. But this gives way to a hymnlike melody played


About the Music

The Cleveland Orchestra

I want to suggest in a single word what only music itself has the power to express fully: the elementary will to life. . . . Music is Life, and, like it, inextinguishable. â&#x20AC;&#x201D;Carl Nielsen

by solo strings, and treated, often in the fashion of a chorale, by the brass. Two very different ideas run against it — one is a tiny clip in the winds, the other a heavy entry circling round a single note. Towards the end, the strings try to recapitulate or restate their opening descent, but it fades into woodland birdcalls and is interrupted by cascading strings and the unmistakable start of the finale fourth movement. The course of this last movement is brought up sharply by the intervention of two timpanists locked in what seems like mortal combat. This highly disquieting interruption creates havoc in the orchestra, which responds with dignity, with argument, with distracted counterpoint, and finally with the clarinets’ theme from the first movement in full orchestral garb. This is the resolution the music was seeking and the timpani share in the splendid closing peroration.

—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.

Carl Nielsen, circa 1908.


About the Music

The Cleveland Orchestra

The Academy of St. Martin in the Fields with Joshua Bell

7:30 pm I

pre-concert lecture at 6:30

Friday, March 11 EJ Thomas Hall at The University of Akron TICKETS: $25 I







Students Free


Severance Hall 2015-16


Stephen Hough British pianist Stephen Hough is among today’s most accomplished and acclaimed pianists — and has extended his reputation beyond the keyboard as a writer and composer. He regularly is commended for mastery of his instrument along with his individual and inquisitive mind. He made his Cleveland Orchestra debut in July 1988 and most recently performed with the Orchestra in July 2014. Stephen Hough appears at the world’s major concert halls and festivals, and with the foremost European and American orchestras. Recent orchestral and recital performances have taken him to Berlin, Boston, Chicago, Hong Kong, London, New York, Paris, San Francisco, Shanghai, and Sydney. Stephen Hough’s discography numbers more than fifty albums. Honors for these have included the Deutsche Schallplattenpreis, Diapason d’Or, Diapason d’Or de l’Année 2011, Monde de la musique, several Grammy nominations, and eight Gramophone Magazine Awards, including the 2008 Gold Disc Award. Mr. Hough is also the featured artist in an iPad app about the Liszt Piano Sonata, which includes a fully-filmed performance and was released by the cutting-edge, award-


winning company Touch Press. Stephen Hough has produced scholarly album notes as well as written pieces for music publications and for Britain’s major newspapers, and writes a cultural blog for the Telegraph Media Group. His book, The Bible as Prayer, was published in 2007. As a composer, Mr. Hough has written chamber, choral, symphonic, instrumental, and solo piano works. These include Missa Mirabilis, premiered in 2012. The Westminster Abbey Choir gave the first performance of his Mass of Innocence and Experience for the 250th anniversary of William Blake’s birth. Britain’s National Gallery commissioned his string sextet, Requiem Aeternum: after Victoria. A resident of London, Mr. Hough is a visiting professor at the Royal Academy of Music, a faculty member at the Juilliard School, and holder of the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester. Born in Cheshire, England, Stephen Hough won the 1983 Walter W. Naumburg Foundation International Piano Competition. His other honors include a 2001 MacArthur Foundation Fellowship, Northwestern University’s 2008 Jean Gimbel Lane Prize in Piano, and the 2010 Royal Philharmonic Society Instrumentalist Award. The Economist named him one of 20 Living Polymaths in 2009, and in 2014 he was made a Commander of the Order of the British Empire. For more information, please visit

Guest Artist

The Cleveland Orchestra

Alan Gilbert When New York Philharmonic music director Alan Gilbert began his tenure in 2009, he became the first native New Yorker to hold the post. He simultaneously maintains a major international presence, making regular guest appearances with major orchestras on both sides of the Atlantic. He first led performances of The Cleveland Orchestra while a conducting assistant here in the 1990s, and most recently returned as a guest conductor in March 2013. With the New York Philharmonic, Gilbert has widened the artistic reach of the 174-year-old institution. He initiated annual residencies for composers and leading performing artists, and has led a series of staged productions of operas and ballet scores. Mr. Gilbert has also encouraged the development of two series devoted to contemporary music — Contact!, introduced in 2009 to explore the world of new music, and the NY Phil Biennial, an exploration of today’s music by a wide range of contemporary and modern composers. His tenure with the Philharmonic ends with the 201617 season. Born to two New York Philharmonic violinists, Alan Gilbert learned violin, viola, and piano as a youth. He studied music at Harvard University and conducting at the Curtis Institute of Music and the Juilliard Severance Hall 2015-16

Guest Conductor

School. In 1994, he won both the Georg Solti Prize and first prize in the International Competition for Music Performance in Geneva. After serving as both conducting assistant and assistant conductor of The Cleveland Orchestra from 1994 to 1997, Mr. Gilbert received the Seaver/National Endowment for the Arts Conductors Award in 1997. Now conductor laureate of the Royal Stockholm Philharmonic Orchestra, Mr. Gilbert was the ensemble’s music director 2000-08. Since 2004, he has been principal guest conductor of Hamburg’s NDR Orchestra. Alan Gilbert made his Metropolitan Opera debut in 2008 leading John Adams’s Doctor Atomic, the DVD of which received a Grammy Award. He also has conducted the Los Angeles Opera, Royal Swedish Opera, Vienna State Opera, and the Zurich Opera. As a teacher, Mr. Gilbert is director of conducting and orchestral studies at the Juilliard School, where he holds the William Schuman Chair in musical studies. Mr. Gilbert was nominated for an Emmy Award for outstanding music direction of the New York Philharmonic’s acclaimed production of Sweeney Todd, broadcast on PBS’s Live from Lincoln Center in 2015. He also gave the 2015 lecture for London’s Royal Philharmonic Society, speaking on “Orchestras in the 21st Century — a New Paradigm.” Alan Gilbert and his wife, cellist Kajsa William-Olsson, are the parents of three children. For more information, visit


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

Cumulative Giving

Annual Support


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



BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual of Ohio Parker Hannifin Foundation The Plain Dealer PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company UBS The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of January 2016.

gifts of $2,500 or more during the past year, as of January 20, 2016


Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company PARTNERS IN EXCELLENCE $200,000 TO $299,999

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

American Greetings Corporation Forest City The Lincoln Electric Foundation Medical Mutual of Ohio Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP White & Case (Miami) $50,000 TO $99,999

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

Severance Hall 2015-16

Corporate Annual Support

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


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The Cleveland Orchestra


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

Cumulative Giving

Annual Support



$20,000 TO $49,999

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture The Andrew W. Mellon Foundation

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


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

gifts of $2,500 or more during the past year, as of January 20, 2016

$500,000 TO $999,999

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

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


$100,000 TO $249,999

$2,500 TO $19,999

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

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


$50,000 TO $99,999

The 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

listings continue

The Cleveland Orchestra

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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)

    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)

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* Anita and William Heller Thomas and Mary Holmes Elisabeth Hugh Ms. Carole Hughes Ms. Charlotte L. Hughes 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 Ms. Maria Cashy Dr. William and Dottie Clark


Individual Annual Support

The Cleveland Orchestra

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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 | Severance Hall 2015-16 |




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 Drs. Charles Kent Smith and Patricia Moore 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. James B. Aronoff Joseph Babin Mr. Mark O. Bagnall (Miami) Ms. Delphine Barrett Mr. and Mrs. Belkin

Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns John and Laura Bertsch


Ms. 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 Mr. and Mrs.* Norman Adler Mr. and Mrs. Monte Ahuja


Individual Annual Support

listings continue

The Cleveland Orchestra

2015-16 SE ASON

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Concert Program: January 7, 8, 9 ALL-BEETHOVEN — page 31

Concert Program: January 14, 15


2026 Murray Hill Road, Suite 103, Cleveland, Ohio 44106 216.721.1800 email: web:

Serving Clevelanders since the 1930s. 216-621-7227 |


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 Oâ&#x20AC;&#x2122;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 Ms. Kathryn Seider

Individual Annual Support

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 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 Orchestraâ&#x20AC;&#x2122;s Annual Report, which can be viewed online at CLEVELANDORCHESTRA .COM

The Cleveland Orchestra

Immigration Services for Corporations & Individuals

Տwˆ˜} Ài>“ÃœvˆÛˆ˜}ˆ˜̅i1˜ˆÌi`-Ì>Ìià H-1B Green Card Permanent Residency EB-5 Immigrant Investor DACA Deportation Asylum BIA Appeals Federal Litigation EB-21 NIW Citizenship & Naturalization EB-2 Extraordinary Ability Work Authorization ♦ ♦ 216-566-9908


Severance Hall 2015-16 1.855.GO.STORM


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



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

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.




'YRĹ?iN V6HYHQWK6\PSKRQ\ )HEUXDU\â&#x20AC;&#x201D; Thursday at 7:30 p.m. )HEUXDU\â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s )HEUXDU\â&#x20AC;&#x201D; Saturday at 8:00 p.m.

0DUFKâ&#x20AC;&#x201D; Friday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Herbert Blomstedt, conductor

BERWALD Symphony No. 3 (â&#x20AC;&#x153;Sinfonie singulièreâ&#x20AC;?) DVOĹ?Ă&#x2030;K Symphony No. 7

STRAVINSKY PĂŠtrouchka BRAHMS Song of Destiny [Schicksalslied] COPLAND Canticle of Freedom


*RWWD'DQFH )HEUXDU\â&#x20AC;&#x201D; Friday at 7:30 p.m.



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


THE CLEVELAND ORCHESTRA Brett Mitchell, conductor with special guests Cleveland Ballet and CsĂĄrdĂĄs Dance Company

0DULD-RmR3LUHV%HHWKRYHQ 0DUFKâ&#x20AC;&#x201D; Thursday at 7:30 p.m.

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

Maria JoĂŁo Pires, piano Julien Brocal, piano Maria JoĂŁo Pires appears for a one-night-only presentation at Severance Hall, playing in 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 perform Sonatas Nos. 13, 14, 31, and 32.


6WHSKHQ+RXJK3OD\V'YRĹ?iN 0DUFKâ&#x20AC;&#x201D; Thursday at 7:30 p.m. 0DUFKâ&#x20AC;&#x201D; Saturday at 8:00 p.m. 0DUFKâ&#x20AC;&#x201D; Sunday at 3:00 p.m. <18s


THE CLEVELAND ORCHESTRA Alan Gilbert, conductor Stephen Hough, piano

THE CLEVELAND ORCHESTRA Franz Welser-MÜst, conductor Truls Mørk, cello

0DUFKâ&#x20AC;&#x201D; Thursday at 7:30 p.m. 0DUFKâ&#x20AC;&#x201D; Saturday at 8:00 p.m.

.857Ă&#x2030;*Petite musique solennelle â&#x20AC;&#x201D; Homage to Pierre Boulez at 90 SCHUMANN Cello Concerto BRUCKNER Symphony No. 6

SCHUMANN Overture to Manfred DVOĹ?Ă&#x2030;K Piano Concerto NIELSEN Symphony No. 4 (â&#x20AC;&#x153;The Inextinguishableâ&#x20AC;?)

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

0DUFKâ&#x20AC;&#x201D; Thursday at 7:30 p.m. $SULOâ&#x20AC;&#x201D; Friday at 11:00 a.m. <18s $SULOâ&#x20AC;&#x201D; Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor Leila Josefowicz, violin

CHEUNG Lyra * ADĂ&#x2C6;S Violin Concerto: Concentric Paths WAGNER Excerpts from GĂśtterdämmerung * not part of Friday Morning Concert

Sponsor: BakerHostetler


Concert Calendar

The Cleveland Orchestra


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 costume design by Mark Zappone 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 desire and deception, secrets 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.


7KH7HUULÀF7UXPSHW April 8 — Friday at 10:00 a.m. <18s April 9 — Saturday at 10:00 & 11:00 a.m. <18s with Jack Sutte, trumpet

For ages 3 to 6. Host Maryann Nagel gets attendees singing, clapping, and moving to the music in this series introducing instruments of the orchestra. With solo selections, kid-friendly tunes, and sing-along participation. Sponsor: PNC Bank

Mozart (and Haydn) April 14 — Thursday at 7:30 p.m. April 15 — Friday at 7:00 p.m. <18s April 16 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Jane Glover, conductor Joshua Smith, ÁXWH Yolanda Kondonassis, harp

HAYDN Symphony No. 6 (“Le Matin”)* MOZART Concerto for Flute and Harp MOZART Symphony No. 39 * not part of Fridays@7 concert.

Sponsors: Squire Patton Boggs (US) LLP KeyBank


BRIDE OF FRANKENSTEIN Tuesday April 26 at 7:30 p.m. THE CLEVELAND ORCHESTRA Brett Mitchell, conductor

She’s alive — and so is the music!!! The 1935 classic horror film with legendary film composer Franz Waxman’s evocative score played live by The Cleveland Orchestra. Frankenstein (Colin Olive) and Dr. Pretorius go back into their laboratory, exhume more bodies, and convert a female corpse (Elsa Lanchester) into a bride for the Monster (Boris Karloff). Sponsored by PNC Bank


216-231-1111 800-686-1141 Severance Hall 2015-16

Concert Calendar




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 choreography and stage direction by Yuri Possokhov set, lighting, projection design by Alexander V. Nichols costume design by Mark Zappone 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 desire and deception and revelation, secrets and murder, life and death! 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 18, 19, 20/March 3, 5, 6 Concerts  
The Cleveland Orchestra February 18, 19, 20/March 3, 5, 6 Concerts  

February 18, 19, 20 Herbert Blomstedt Conducts Dvorak March 3, 5, 6 Stephen Hough Plays Dvorak