The Cleveland Orchestra March 24, 26/March 31-April 2 Concerts

2015-16 SE ASON

SPRING SEASON

SEVERANCE HALL

Concert Program: March 24 and 26 WELSER-MÖST CONDUCTS BRUCKNER’S SIXTH

— page 29

Concert Program: March 31, April 1 and 2 WAGNER’S GÖTTERDÄMMERUNG — page 69 PERSPECTIVES from the Executive Director

— page 7

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TA B L E

OF

CONTENTS

THIS WEEK CLEVELAND

WEEKS

ORCHESTRA

14 AN D 15

Upfront

PAGE

THE

2015-16 SE ASON

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Copyright © 2016 by The Cleveland Orchestra and the Musical Arts Association

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

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

Music Director: Franz Welser-Möst . . . . . . . . . . . .

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

WEEK

11 13 19 22

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WELSER-MÖST CONDUCTS BRUCKNER Program: March 24, 26 . . . . . . . . . . . . . . . . . . . . . . . 29 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 31

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

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

KURTÁG

Petite musique solennelle . . . . . . . . . . . . . . . . . . . 33 SCHUMANN

Cello Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 BRUCKNER

Symphony No. 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Guest Soloist: Truls Mørk . . . . . . . . . . . . . . . . . . . . . . . 47 NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . . . . 58 WEEK

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WAGNER’S GÖTTERDÄMMERUNG Program: March 31, April 1, 2 . . . . . . . . . . . . . . . . 69 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 71 CHEUNG

NATIONAL ENDOWMENT FOR THE ARTS

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

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

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

Lyra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 ADÈS

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

Violin Concerto: Concentric Paths . . . . . . . . . . . 77 WAGNER

Excerpts from Götterdämmerung . . . . . . . . . . . . 83 Guest Soloist: Leila Josefowicz . . . . . . . . . . . . . . . . . 81

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

Support

These books are printed with EcoSmart certified inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

Mellon Challenge Grant . . . . . . . . . . . . . . . . . . . . . . 8-9 Sound for the Centennial . . . . . . . . . . . . . . . . . . 56-57 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . 91-102

Concerts & Calendars Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

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Table of Contents

The Cleveland Orchestra

- -/ vir•tu•o•so / v rCH 'woso performing with exceptional ability, technique, or artistry e

e

The pinnacle of performance, reached through skill, dedication, and inspiration.

BakerHostetler is proud to sponsor /he Cleveland Orchestra.

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Perspectivesfrom the Executive Director March-April 2016 I have watched and enjoyed The Cleveland Orchestra from the outside for many years. I’ve listened to radio broadcasts since I was very young.

I’ve experienced live performances since I was a student in New York City. Since joining the Orchestra as executive director in January, I have had an amazing vantage point from which to ask questions and witness the vast breadth of what is offered each season.

The Cleveland Orchestra did not become great overnight. It started strong, and kept getting better because this community wanted more. As a result, Cleveland has rightly claimed, for many decades now, a premium spot among the uppermost echelons of the world’s best orchestras. Cleveland’s orchestra has long been synonymous with precision, revered as a well-oiled musical machine. That clarity of sound remains — but today, this Orchestra is also known for the warmth of its sound and an emotional depth and complexity that pairs exactitude with understanding to produce truly great musical experiences.

Coming from the outside, what I see as most noteworthy today is the incredible partnership that the Orchestra’s musicians now have with Franz Welser-Möst. Fourteen years into this pairing, The Cleveland Orchestra is playing better than at any time in history. Together, Franz and the Orchestra have forged an artistic partnership that brings unique power to the music. Franz chooses repertoire not simply because he wants to perform a certain piece, or because he thinks you will enjoy hearing a particular work, or because he knows The Cleveland Orchestra will play it superbly. All that is very true, but the choices are also made to challenge the musicians onstage — conductor and players alike — to grow ever better together. This Orchestra is not satisfied simply to maintain the highest levels of artistic success. Instead, under Franz Welser-Möst’s leadership it has evolved toward ever greater accomplishment, with flexible and daring artistry.

I feel incredibly fortunate to have joined this Orchestra at this time. To be involved, in some small way, in shepherding this great orchestra forward into the future. All of us here in Northeast Ohio have the great pleasure of experiencing more of this Orchestra than anyone else in the world. It is a privilege and a joy — and a responsibility. This spring, we have incredible opportunities to hear world premieres and U.S. premieres . . . opera, ballet, theater, and film . . . standard repertoire and pieces lesser known. And such variety in programming is not unusual for this orchestra. Such diversity is what we all have come to expect, and relish.

Thank you so much for recognizing the treasure you possess. Thank you for cherishing and nurturing your Orchestra with your applause and your generosity. By attending concerts, you have a direct role in the musical action and interaction. By supporting the Orchestra through donations, thousands of you are playing a crucial role in making this orchestra The Cleveland Orchestra. And those who have stepped up to support special programming, including April’s Bartók doublebill of opera and ballet, are critical to allowing Franz and his remarkable orchestra to do what they do best. Excellence — the kind that defines and is defined by The Cleveland Orchestra — is possible only because of you.

André Gremillet Severance Hall 2015-16

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THE

CLEVELAND ORCHESTRA

Ensuring world-class opera and ballet for Northeast Ohio and the future . . .

Passion and drama, beauty and spectacle define these artforms. And when opera and ballet are performed

by The Cleveland Orchestra . . . every performance is elevated to the very highest level.

Under the leadership of Franz Welser-Möst, the Orchestra is committed to making opera and ballet a part of every season’s programming. And thus helping to secure a rich, vital future for Northeast Ohio’s cultural community.

Time is running out to double your support!

Ensuring the Orchestra continues presenting the best opera and ballet the world has to offer — right here at home — requires additional philanthropic support each season.

Through June 2016, $1.25 million of the Foundation’s grant is matching, on a one-to-one basis, gifts from donors designated to support ambitious opera and ballet programming.

And now, every dollar you contribute counts twice . . .

Support the future of opera and ballet with The Cleveland Orchestra today!

Contact Em Ezell in our Philanthropy & Advancement Office by calling 216-231-7523, or make a donation online by visiting clevelandorchestra.com/donate and choosing to give to opera and ballet.

The Andrew W. Mellon Foundation has awarded The Cleveland Orchestra $2.5 million to support opera and ballet.

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With Extra Special Thanks . . .

The Cleveland Orchestra applauds the generous donors listed here, who are making ƉŽƐƐŝďůĞ ƉƌĞƐĞŶƚĂƟŽŶƐ ŽĨ ĂƌƟƐƟĐĂůůLJ

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The Andrew W. Mellon Foundation George* and Becky Dunn Mrs. Emma S. Lincoln Blossom Friends of The Cleveland Orchestra Jeanette Grasselli Brown and Glenn R. Brown Judith and George W. Diehl T. K. and Faye A. Heston Margaret Fulton-Mueller Donald and Alice Noble Foundation, Inc. Rachel R. Schneider Anonymous Jim and Karen Dakin Mr. and Mrs. Dennis W. LaBarre James and Virginia Meil Ms. Beth E. Mooney Dr. James and Lynne Rambasek

Mr. Larry J. Santon Dr. Gerard and Phyllis Estelle Seltzer Foundation Drs. Daniel and Ximena Sessler Women’s Committee of The Cleveland Orchestra Anonymous

Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Drs. Nathan A. and Sosamma J. Berger Mr. William P. Blair III Mrs. Barbara Ann Davis Mr. and Mrs. Ralph Daugstrup Dr. M. Meredith Dobyns Jack Harley and Judy Ernest Angela and Jeffrey Gotthardt Iris and Tom Harvie Dr. Fred A. Heupler Elisabeth Hugh Robert and Linda Jenkins Mr. and Mrs. Richard W. Klym Tim and Linda Koelz Mr. Clayton R. Koppes Pannonius Foundation Anthony T. and Patricia A. Lauria Mr. and Mrs.* Thomas A. Liederbach

Ms. Grace Lim Elizabeth F. McBride Ms. Nancy W. McCann Mr. and Mrs. Stanley A. Meisel Deborah L. Neale Dr. and Mrs. Paul T. Omelsky Mr. J. William and Dr. Suzanne Palmer Ms. MacGregor W. Peck Patricia J. Sawvel Harry and Ilene Shapiro Ms. Frances L. Sharp Mr. Marc Stadiem Mr. and Mrs. William W. Taft Ms. Ginger Warner Mrs. Darlene K. Woodruff Anonymous

Severance Hall 2015-16

Listing as of March 2016.

Add your name to this list of opera and ballet supporters today, and double your gift through the Mellon Foundation grant . . . through June 2016.

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T H E M U S I C AL ARTS ASSOCIATION

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

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

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

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

R E S I D E NT TR U S TE ES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Betsy Juliano Jean C. Kalberer Nancy F. Keithley

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

Audrey Gilbert Ratner Charles A. Ratner Zoya Reyzis Barbara S. Robinson Paul Rose Steven M. Ross Raymond T. Sawyer Luci Schey Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Joseph F. Toot, Jr. Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

N O N- R E S I D E NT TR US T E E S Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

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

Herbert Kloiber (Germany)

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

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

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

TE Trustee Emeritus

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

Robert F. Meyerson James S. Reid, Jr. * deceased Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Severance Hall 2015-16

André Gremillet, Executive Director

Musical Arts Association

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AS IT NEARS THE CENTENNIAL OF

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

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

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

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

Severance Hall 2015-16

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

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

About the Orchestra

13

1918

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

14th

1l1l 11l1 1l1I

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

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

40,000

each year

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

52%

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

4million

Likes on Facebook (as of March 20, 2016)

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

116,801

1931

150

concerts each year.

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

The Cleveland Orchestra performs over

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

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

PHOTO BY ROGER MASTROIANNI

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

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

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

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

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

About the Orchestra

15

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.

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About the Orchestra

The Cleveland Orchestra

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

P H OTO BY J E N N I F E R TAY LO R

Franz Welser-Möst is among today’s most distinguished conductors. The 2015-16 season marks his fourteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. In 2015, the New York Times declared Cleveland to be the “best American orchestra“ due to its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. The Cleveland Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its recent success in semistaged and staged opera productions. In addition to an unprecedented annual residency in Miami, Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals, including the Salzburg Festival and the Lucerne Festival. The Cleveland Orchestra has been hugely successful in building up a new and, notably, a young audience through its groundbreaking programs involving students and by working closely with universities.

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

He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. This season, he leads the Vienna Philharmonic in two weeks of subscription concerts, and will conduct a new production of Strauss’s Die Liebe der Danae with them at the 2016 Salzburg Festival.

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

From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Severance Hall 2015-16

Music Director

19

Zurich Opera across a decade-long tenure, conducting more than forty new productions and culminating in three seasons as general music director (2005-08).

Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. The Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik 2015 for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a recently-released multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists.

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

AT LEFT

Franz Welser-Möst was invited to lead the prestigious Nobel Prize Concert with the Stockholm Philharmonic in December 2015. Other recent accolades include being singled out in a year-end review of notable performers and performances in 2015 by Deutschland Radio.

“Right now The Cleveland Orchestra may be, as some have argued, the finest in America. . . . The ovations for Mr. Welser-Möst and this remarkable orchestra were ecstatic.”

—New York Times “Franz Welser-Möst has managed something radical with The Cleveland Orchestra — making them play as one seamless unit. . . . The music flickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.”

—London Times “There were times when the sheer splendor of the orchestra’s playing made you sit upright in awestruck appreciation. . . . The music was a miracle of expressive grandeur, which Welser-Möst paced with weight and fluidity.”

—San Francisco Chronicle

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Music Director

The Cleveland Orchestra

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T H E

C L E V E L A N D

FRANZ WELSER-MÖST MUSIC

DIRECTOR Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Yoko Moore ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter Otto FIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan

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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 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

1

E-FLAT CLARINET Daniel McKelway

BASS TROMBONE Thomas Klaber

*

Stanley L. and Eloise M. Morgan Chair

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

Gareth Thomas Barrick Stees 2 *

Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2015-16

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

2

Associate Principal First Assistant Principal Assistant Principal on sabbatical leave

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Giancarlo Guerrero PRINCIPAL GUEST CONDUCTOR, CLEVELAND ORCHESTRA MIAMI

Brett Mitchell ASSOCIATE CONDUCTOR

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

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

Orchestra Roster

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

23

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

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

clevelandorchestra.com

THE

CLEVELAND ORCHESTRA

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

The generous individuals, corporations, foundations, and government agencies listed here made extraordinary cash contributions of $100,000 or more to The Cleveland Orchestra’s annual fund, benefit events, or special annual donations during the 2014-15 season. The Cleveland Orchestra gratefully recognizes the crucial role these funders play in supporting the Orchestra’s ongoing ability to share the world’s finest classical music with the greater Northeast Ohio community. For information about making your own gift to The Cleveland Orchestra, please call 216-231-7558.

BakerHostetler The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture George* and Becky Dunn Eaton FirstEnergy Foundation Forest City Enterprises, Inc. GAR Foundation The George Gund Foundation Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley KeyBank Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Mrs. Norma Lerner and The Lerner Foundation

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

Extraordinary Thanks to each of these supporters

Severance Hall 2015-16

Annual Support

25

COME HEAR THE NEXT GENERATION OF CLASSICAL MUSICIANS The Cleveland Institute of Music is dedicated to the education of the complete musician of the 21st century. Fill your spring with concerts and performances from our exceptional conservatory student musicians.

For a complete schedule of events, visit cim.edu/events

cim.edu %DFKHORU RI 0XVLF _ 0DVWHU RI 0XVLF _ 'RFWRU RI 0XVLFDO $UWV _ $UWLVW &HUWL¼FDWH _ 3URIHVVLRQDO 6WXGLHV _ $UWLVW 'LSORPD

Serving older adults and their caregivers through service, research and advocacy. To find out how we can help you, call 216.791.8000.

independence ENHANCING SENIOR

IN THE

COMMUNITY

Supporting the health, independence and dignity of older adults.

www.benrose.org

Reserve your space in the B Blossom Music Festival programs.

Serving preschool through grade 8

www.birchwoodschool.org

216.251.2321 Call to schedule your visit today!

26

B Be a part of one of Northeast Ohio’s classic summer traditions.

Call 216-721-1800 or email info@livepub.com o The Cleveland Orchestra

LEARNING MORE ABOUT THE MUSIC

Concert Previews

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

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

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

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

Severance Hall 2015-16

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

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

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

April 7, 8, 9, 10 “Dark Opera, Murderous Ballet” (Musical works by Bartók) with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

April 14, 16 “From Dawn to Dusk” (Musical works by Mozart and Haydn)

Concert Previews

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

27

Dreams can come true

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

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

Your Investment: Strengthening Community Visit cacgrants.org/impact to learn more.

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

W E L S E R - M Ö ST M U S I C

D I R E C T O R

Severance Hall

Thursday evening, March 24, 2016, at 7:30 p.m.

Saturday evening, March 26, 2016, at 8:00 p.m.

Franz Welser-Möst, conductor GYÖRGY KURTÁG

(b. 1926)

2015-16 SE A SON

Petite musique solennelle Homage to Pierre Boulez at 90 UNITED STATES PREMIERE PERFORMANCES

ROBERT SCHUMANN (1810-1856)

Cello Concerto in A minor, Opus 129 1. Nicht zu schnell [Not too fast] — 2. Langsam [Slow] — 3. Sehr lebhaft [Very lively] TRULS MØRK, cello

INTER MISSION ANTON BRUCKNER (1824-1896)

Symphony No. 6 in A major 1. Maestoso 2. Adagio: Sehr feierlich [Very solemn] 3. Scherzo: Ruhig bewegt (etwas gemessen) — Trio: Langsam [Quietly moving (somewhat measured)] [Slow] 4. Finale: Bewegt, doch nicht zu schnell [With motion, but not too fast]

Truls Mørk's appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Hershey Foundation.

The Thursday performance is dedicated to The Honorable and Mrs. John Doyle Ong in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

The concert will end on Thursday evening at about 9:20 p.m. and on Saturday night at approximately 9:50 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 14

29

Jewish Federation OF CLEVELAND

Caring for those in need never goes out of style. Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values have always inspired us to act.

Those same values teach us to care for the next generation.

By making a legacy gift, you leave your children and grandchildren a precious inheritance and a lasting testimony to your values.

Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a confidential conversation at 216-593-2805 or cwolf@jcfcleve.org.

L’dor V’dor. From Generation to Generation.

Create Your Jewish Legacy www.jewishcleveland.org

INTRODUCING THE CONCERTS

W I T H T H I S W E E K ’ S C O N C E R T S , Franz Welser-Möst offers a wideranging trio of works written over the course of more than a century and a half, from the Central European tradition of classical music — including one written in tribute to a grand master of contemporary music, who died in January just five months after the work’s premiere.

The evening begins with the United States premiere of a work penned by the Hungarian composer György Kurtág. The subtitle for Petite musique solennelle (“A short piece of solemn music”) is in “homage to Pierre Boulez at age 90.” It was premiered this past August during a daylong salute to Boulez at Switzerland’s famed Lucerne Festival, where Boulez helped found and teach an academy for modern music. Kurtág and Boulez had worked together and become friends over the years — and the homage is both heartfelt and musically sparse, as befitting Boulez’s own style of music and affection for precision. Boulez’s long and lasting relationship with The Cleveland Orchestra was feted and commemorated in the last years of his life; this unique musical homage, written while he still breathed, reminds us of his special insight into music’s power to speak in so many different directions — emotionally, spiritually, and as pure and mathematical logic. This Saturday, March 26, would have marked Boulez’s 91st birthday.

Schumann’s Cello Concerto takes center stage next, performed by guest cellist Truls Mørk. Written in a renewed burst of creativity in 1850, work presents a lyrical flow of musical ideas, penned by a master this w artist of 19th-century Romanticism. art Following intermission, Franz leads Bruckner’s Sixth Symphony, returning to one of the touchstones of his own musical world. His video and televised recordings of five of Bruckner’s symphonies with The Cleveland Orchestra, made between 2007 and 2012, have been widely acclaimed. Built on small kkernels of music, each symphony is filled with a unique sense of proportion and large-scale architecture, and derived from within pro devout sense of musical vision and religious faith. the composer’s co The and harmonious ebb and flow of this music is mesmerizing h wondrous d and satisfying in its completeness.

—Eric Sellen

Severance Hall 2015-16

BOULEZ

Franz Welser-Möst was awarded the Bruckner Society of America’s Medal of Honor in 2011.

Expressions of Life & Faith

Introducing the Concert

31

Petite musique solennelle Homage to Pierre Boulez at 90 composed 2015

At a Glance

by

Kurtág composed this “homage to Pierre Boulez at age 90” in 2015, titling it Petite musique solennelle [“A Small Piece of Solemn Music”].

It was first performed on August 23, 2015, in Lucerne, Switzerland, with the Lucerne Festival Academy Orchestra conducted by Matthias Pintscher.

This piece runs just over 5 minutes in performance. Kurtág scored it for 2 flutes, piccolo, alto flute,

bass flute, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 2 trombones, tuba, timpani, percussion (cimbalom, vibraphone, crotales, campana, cymbals, tamtam, bass drum), and strings.

The Cleveland Orchestra is performing the United States premiere of this work at this weekend’s concerts.

György

KURTÁG born February 19, 1926 Lugoj, Romania resides near Bordeaux, France

Severance Hall 2015-16

About the Music T H E R E C A N B E F E W truer signs of how times change (or how

time changes) than the career of Pierre Boulez. From energetic young composer to revered and beloved musical statesman, from blaring daylight sun to the intense glow of sunset, from revolution to evolution, from accommodation to commendation.

It is impossible today to hear the name Pierre Boulez without considering all that he has accomplished and in differing roles — as conductor and educator, as theoretician and instigator, as educator and founder, as experimenter and strict stylist, as synthesizer (in all the word’s meanings).

In recent decades, as he led Mahler cycles and exemplary performances across the symphonic repertoire, it was even occasionally easy to forget that he was once an “angry young man” with compositional ambition (and accomplishment), intensive pent-up energy, and a mind capable of feats of labyrinthine diligence — that what he wrote was partly built on how it was written or performed. And that he was, inside, a musician and man of incredible range, diverse interests, and great humanity.

His death this past January, two months before he would have turned 91, signalled, in many ways, the end of the 20th century in classical music — in which Boulez had forged a career expanding the reach and definition of music within that century and into the next. There are other long-lived composers and musicians still alive, but none touched as many aspects About the Music

33

of modern music-making, or as strongly, as did Boulez.

His death was not unexpected, for his health had been in decline in recent years. Still, the passing of such an artist stands as a moment for reflection and taking stock. Not wholly in sadness, for we all must die (and he lived a long life), but for remembering and celebrating all that Pierre Boulez did — for new music and in looking at (and listening to) older music anew.

This was especially true here in Cleveland Orchestra musicians Cleveland, for his enduring legacy as talk about Pierre Boulez . . . a teaching conductor and as friendcolleague changed how Cleveland “Music is sort of an organic being in itself. musicians approached music-makOnce we stop playing, it ceases to live and ing. He added to and enhanced this it becomes just an artifact. And I think this Orchestra’s already famous clarity of is one of the things we learned from Pierre sound. Across nearly half a century of Boulez, that our work, that music . . . visiting, conducting, recording, and is ongoing.”

—Jonathan Sherwin encouraging these musicians to do more and to be better, he also dared “I’d never before met any conductor who and challenged audiences here at was so careful, and precise. His musicianship Severance Hall to listen more intently combined with his beautiful, clear, honest, to every score. And he rewarded us pristine beat. It was so easy to make music with keen insight and a new appreciatogether and really well, with him. He was tion for music we thought we knew, probably the greatest inƪuence on my musiand scores we’d never heard before.

cal life, of anyone.”

—Joela Jones

G Y Ö R G Y K U R T Á G ’s Petite musique

solennelle (“A short piece of solemn music”) was written just last year and premiered on August 23, 2015, at a day-long celebration of Boulez as part of last summer’s Lucerne Festival, where Boulez had helped found the Lucerne Festival Academy, through which Boulez helped encourage countless new composers and young musicians.

This was, in fact, the second time Kurtág had written a piece in homage to Boulez. In his eight volumes of short pieces, or “Games” for piano (two-hand and four-hand), written over the course of several decades, he had titled one, from the late 1990s, “Hommage à Pierre Boulez.” That short work was as much a tribute to Anton Webern’s sparse style, of which Boulez was a great advocate, as to Boulez himself. Indeed, any and every homage to Boulez — musical, spoken,

Excerpted from interviews created as part of a special Celebration Concert at Severance Hall in January 2015 to mark Boulez’s 90th birthday.

34

About the Music

The Cleveland Orchestra

PI E RRE BOU LE Z

Severance Hall 2015-16

Letter to The Cleveland Orchestra, 2010

35

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written — is almost inevitably centered around his approach to music.

Boulez’s own output as a composer slowed considerably in the second half of his life, as he devoted more and more time to conducting — and most often conducting pieces written by others.

Kurtág is of Hungarian descent, born in western Romania. Fame came his way only in mid-life, with international success and acclaim growing for him at ages when many of us are thinking of retirement.

He was, in fact, born less than a year after Pierre Boulez. So that writing a 90th birthday homage to his friend, whose health was growing noticeably frailer, can only have also “Pierre Boulez left his fingerprint on this been filled with thoughts of Kurtág’s Orchestra. He conducted The Cleveland Ormortality — and those aspects of chestra over more than forty years, with his music that were important not just very calm style of teaching the most complex to Boulez but also to Kurtág. scores. He widened the horizon of all the In England’s Guardian newspaplayers individually, but also as a collective. per, the reviewer wrote of this 2015 The Cleveland Orchestra today is actually homage: “There is little in the surface known for playing the music of the past 70 of Kurtág’s short piece that owes anyor 80 years with great ease, and I think that thing to Boulez’s music, apart from the is very much thanks to Pierre Boulez. Pierre coruscating percussive clang that the managed to get the state of mind of this Orcomposer creates from a cimbalom, chestra to a place where difficult challenges harp, accordion, and tubular bells, in new music are now seen not as challenges, reminiscent of some of the textures of but simply as part of what these musicians Boulez’s own composition Sur Incises. do everyday.”

—Franz Welser-Möst The music moves mostly as a slow processional, unfolding a melodic and harmonic world with absolute economy and clarity — a different world from the decorative splendor of Boulez’s more recent orchestral music. The “solemn-ness” of Kurtág’s music sounds like a memorial. It’s a tribute from one composer in the twilight of his years to another, commemorating their shared history and friendship. It sounds out a space of hieratic meditation and lingering sadness, symbolized by the disembodied echo of the pianissimo accordion notes that are left suspended at crucial points in the work.”

These Cleveland Orchestra performances this week represent the United States premiere of this work — and come just when Boulez would have turned 91, on Saturday. Let us rejoice in having known him, so well, and for so long — as we bid farewell and so long.

—Eric Sellen © 2016 Eric Sellen serves as program book editor for The Cleveland Orchetsra.

Severance Hall 2015-16

About the Music

37

38

Pierre Boulez

The Cleveland Orchestra

PIERRE BOULEZ AND THE CLEVELAND ORCHESTRA

1

5

2

4

3

1. George Szell and Pierre Boulez in 1969, soon after announcing Boulez’s apointment as The Cleveland Orchestra’s first Principal Guest Conductor.

2. Boulez backstage in Paris in 1990, with then Cleveland Orchestra music director Christoph von Dohnányi and former associate conductor Robert Shaw.

3. Boulez taking a curtain call after a concert in Tokyo during the Orchestra’s 1970 tour to Japan and Korea.

4. Boulez conducting a Blossom Festival concert in 1969.

5. A sketch of Boulez drawn by Orchestra member Laszlo Krausz in 1965.

Photography pages 38-41, from The Cleveland Orchestra Archives —

by Don Hunstein, Peter Hastings, Jack van Antwerp, Roger Mastroianni, and others.

Severance Hall 2015-16

39

1

3

1. Pierre Boulez leading a rehearsal of The Cleveland Orchestra on tour in Japan, May 1970.

2. A special onstage 85th birthday salute at Severance Hall in 2010, with (left to right) Pierre Boulez, Gary Hanson, Carol Lee Iott, and Franz Welser-MĂśst, and musicians of The Cleveland Orchestra.

3. Boulez with pianist Pierre-Laurent Aimard during rehearsals for recording both of Ravel’s piano concertos in February 2010.

4. Boulez in rehearsal at Severance Hall, circa 1969.

5. Pierre Boulez, circa 1968.

40

5

4

Pierre Boulez

The Cleveland Orchestra

2

PIERRE BOULEZ AND THE CLEVELAND ORCHESTRA PIERRE BOULEZ born March 26, 1925 died January 5, 2016

Severance Hall 2015-16

Pierre Boulez

From the time he made his American professional conducting debut with The Cleveland Orchestra at the invitation of George Szell in 1965, Pierre Boulez led the Orchestra in more than 200 concerts. He was appointed the Orchestra’s first Principal Guest Conductor in 1969, and served as Musical Advisor for two seasons beginning shortly after Szell’s death in 1970. Across five decades, he has recorded a variety of works with The Cleveland Orchestra. Five of these albums have won Grammy Awards.

Boulez’s complete recorded cycle of Mahler symphonies features Nos. 4 and 7 with Cleveland. He extended this recorded legacy most recently with albums featuring musical works

by Mahler and Ravel.

41

Experience Royal Life Through June 12 A Centennial Exhibition

WORLD PREMIERE IN CLEVELAND

Don’t miss amazing masterworks on loan from museums around the world in celebration of our Centennial.

Titian Through Apr 3

Kifwebe Mask Mar 25 – Jun 12

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Presenting Centennial Sponsor

Supporting Centennial Sponsor

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John Singer Sargent Sep 1 – Nov 1

ClevelandArt.org

The presentation of Pharaoh: King of Ancient Egypt is a collaboration between the British Museum and the Cleveland Museum of Art. The exhibition in Cleveland is made possible by Baker Hostetler, with additional support from the Selz Foundation.

Image credits: Head of Pharaoh Tuthmosis III (detail), about 1479–1425 BC. New Kingdom, Dynasty 18, reign of Tuthmosis III. Karnak, Thebes, Egypt. Green siltstone; 46 x 19 x 32 cm. British Museum, EA 986. © Trustees of the British Museum, London. Portrait of Alfonso d’Avalos, Marchese del Vasto, in Armor with a Page, 1533. Titian (Tiziano Vecellio) (Italian, about 1487–1576).

Oil on canvas; 110 x 80 cm. The J. Paul Getty Museum, Los Angeles, 2003.486. Mask (Kifwebe). Congolese, Luba. Wood, raffia, bark, pigment, and twine; 92.1 x 60.9 x 30.5 cm. Seattle Art Museum, Gift of Katherine White and the Boeing Company, 81.17.869. Nude Descending a Staircase (No. 2), 1912. Marcel Duchamp (American, born France, 1887–1968). Oil on canvas; 147 x 89.2 cm. Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950-134-59. © Succession Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York, 2015.

Photograph and digital image © Philadelphia Museum of Art. Portrait of Emy, 1919. Karl Schmidt-Rottluff (German, 1884–1976). Oil on canvas; 71.9 x 65.4 cm. North Carolina Museum of Art, Bequest of W. R. Valentiner. © 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on canvas; 167.3 x 91.4 cm.

Museum of Fine Arts, Boston, Gift of Mrs. J. D. Cameron Bradley, 55.1116. Photograph © 2016 Museum of Fine Arts, Boston.

Cello Concerto in A minor, Opus 129 composed 1850

At a Glance

by

Schumann wrote his Cello Concerto in October 1850. Although the score was published in 1854, the first performance did not take place until 1860, four years after Schumann’s death.

This concerto runs about 25 minutes in performance. Schumann scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus

the solo cello.

The Cleveland Orchestra first performed Schumann’s Cello Concerto in February 1920, with Nikolai Sokoloff conducting and Pablo Casals as soloist. The work has been occasionally programmed since that time, most recently in March 2005, with Vladimir Fedoseyev conducting and Truls Mørk as soloist.

Robert

SCHUMANN

About the Music

born June 8, 1810 Zwickau, Saxony

R O B E R T S C H U M A N N ’s life was filled with ups and downs,

died July 29, 1856 Endenich, near Bonn

Severance Hall 2015-16

artistically and emotionally. Years of blossoming creativity alternated with periods of fallow inactivity and depression. He achieved some stability through the ongoing emotional support of his wife, the great pianist Clara Wieck Schumann, and the family life they created with their children. But a series of mental breakdowns were eventually followed by his attempted suicide at age 44 and two years in an asylum.

Schumann’s Cello Concerto was created in a moment of renewed output just as the composer took on his first full-time job as an orchestra conductor, in Düsseldorf, in 1850. Indeed, his appointment promised the beginning of a new career for the forty-year-old composer following a string of severe emotional and artistic crises in the previous decade.

Six years earlier, following a serious nervous breakdown, he had sold the newspaper Neue Zeitschrift für Musik — of which he had been the proprietor, editor, and chief music critic — and moved from Leipzig to Dresden with his wife and their two children. (Four more children were born to the Schumanns in Dresden, and another two in Düsseldorf.)

The years in Dresden did not fulfill Schumann’s expectations. The city’s concert schedule was less active than in Leipzig.

The main musical institution for the city was the opera, headed

by Richard Wagner, whose conducting was famously inspired across all repertoire. Wagner’s own operas Tannhäuser and Lohengrin were both written while the two men were living in the About the Music

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same city (though Lohengrin’s first performance was postponed due to a political revolution that necessitated Wagner’s flight from Germany). Schumann completed his own opera Genoveva in Dresden in 1848, was not accepted for performance there (and was finally produced in Leipzig, Schumann’s old home, in 1850).

By that time, however, the call onward to Düsseldorf had come. A friend of Schumann’s, the noted composer and conductor Ferdinand Hiller, was relinquishing his post as music director there and recommended Schumann as his successor. It was difficult for Schumann to leave his native Saxony for the Rhineland, about 400 miles to the west. Although he had occasionally conducted orchestras before, this was Schumann’s first fulltime appointment as a conductor. He felt he could Schumann’s Cello Concerto not turn down this extraordinary offer and, was created in a moment in September 1850, he and his family took up of renewed output just as residence in Düsseldorf. The success of his new symphony — completed soon after his arrival the composer took on his in the Rhineland and appropriately nicknamed first full-time job as an or“Rhenish“ — promised a new beginning for chestra conductor, in DüsSchumann, who seemed finally on his way to seldorf, in 1850. Indeed, recover fully from years of poor physical and mental health. his appointment promised Alas, this promise was not to be fulfilled; the beginning of a new after only two seasons, his relations with the career for the forty-yearorchestra musicians became troubled (many felt old composer following a his conducting was inconsisitent and hard to follow). Schumann attempted suicide early in string of severe emotional 1854 and spent the rest of his life in an asylum. and artistic crises in But back in 1850, Schumann seemed full of the previous decade. energy, thrilled by the prospect of new artistic activities. In three months, he completed two major orchestral works, the Symphony in E-flat major (“Rhenish”) and his Cello Concerto. However, while Schumann soon conducted highly-acclaimed performances of the symphony in Düsseldorf and beyond, the concerto, curiously, remained unperformed in the composer’s lifetime.

WRITING FOR CELLO

The choice of a concerto for cello and orchestra appears, in itself, to be somewhat surprising. No major composer since Haydn had written such a work, although two lighter pieces for cello and orchestra exist by Carl Maria von Weber. A few lesser-known com-

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About the Music

The Cleveland Orchestra

posers (most of them cellists themselves) had written concertos, variations, and other concert pieces, but no cellist was actively pursuing a solo concert career in the early 19th century.

Schumann had more familiarity with the instrument than did many other composers. He had in fact tried to master the cello for a while as an adult.

Having been forced to give up the piano due to an injury to his right hand, he hoped he could learn the cello instead and continue as a performer. We don’t know exactly how far he got in his studies, but the year before the concerto, in 1849, he wrote five short pieces for cello and piano (published as his Opus 102).

Schumann’s Cello Concerto is in three movements, to be played straight through without pauses between. The linkage of the movements is further emphasized by transitions and bridge passages unifying the whole composition through a network of motivic similarities. Thus, the three brief chords that open the work also constitute in modified form the transition to the slow movement, and finally prepare the last movement’s main melody. The introduction to the finale, moreover, contains reminiscences of themes from the first and second movements.

Aside from such thematic connections, there is another feature in the concerto that almost makes it seem a work in a single movement. This is the fact that the individual movements lack strong melodic and textural contrasts — a more typical concerto would alternate sections of full orchestral playing (tutti) with solo passages, and mix together energetic musical themes with more lyrical “cantabile” ideas. But Schumann clearly had other intentions, for the first movement has only two, relatively short, orchestral sections (they are actually almost identical musically). This is followed by the extremely brief second movement, while the third is based on a single melodic idea.

Therefore, each movement develops only one musical characteristic, and the notion of contrasts — so crucial in Classical and Romantic compositions — manifests itself only on the level of the entire work (comparing between the movements, rather than within each one individually).

The first movement is dominated by the beautiful solo cello melody with which it opens. The second consists of a single lyrical melody for the solo instrument, accompanied, interestingly enough, by a second solo cello from the orchestra. And although the finale does contain a contrasting second theme (with an enchanting dialog between solo cello and woodwind), it is quite audibly derived from the brief rhythmic motif that is omnipresent throughout the movement. The only “solo” cadenza in the concerto comes at the end of the third movement, but it has the peculiarity of being accompanied by the orchestra.

—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.

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The Cleveland Orchestra

Truls Mørk Norwegian cellist Truls Mørk is acclaimed for passion, intensity, and grace of his artistry, establishing him as one of the preeminent cellists of our time. He made his Cleveland Orchestra debut in April 1997 (playing Hayden’s Cello Concerto No. 1), and performed with the Orchestra most recently in October 2011 (playing Shostakovich’s Cello Concerto No. 1 on tour in Luxembourg).

Truls Mørk was born to a cellist father and a pianist mother, who began teaching him piano when he was seven. He also took up the violin, but soon switched to cello, taking lessons from his father. At age 17, he began studying with Frans Helmerson, and later studied with Heinrich Schiff and Natalia Shakhovskaya.

In 1982, at the age of 21, Truls Mørk was a prizewinner at the International Tchaikovsky Competition. He was also a winner at the 1983 Cassado Cello Competition and 1986 Naumberg Competition, UNESCO Prize at the European RadioUnion Competition, and received the 2010 Sibelius Prize.

Mr. Mørk has appeared with many of the world’s best-known orchestras and conductors, in standard repertoire and with new works by composers including Pavel Haas, Hafliði Hallgrímsson, Krzysztof Penderecki, and Einojuhani Rautavaara.

He has performed the world premieres of more than thirty works.

Truls Mørk is also an active chamber musician and appears in festivals through-

Severance Hall 2015-16

Guest Artist

out the world. At the 2015 Verbier Festival, his collaborators included Daniil Trifonov, Ilya Gringolts, and Jan Lisiecki. Upcoming appearances include the 2016 Piatigorsky International Cello Festival. He founded the International Chamber Music Festival in Stavanger, Norway, serving as its director during its first 13 years. He is a professor at the Norwegian Academy of Music in Oslo.

Mr. Mørk’s discography includes albums on the Bis, Lyrinx, Simax, and Virgin Classics labels.

His recordings — including works

by Bach, Britten, Dvořák, Dutilleux, Elgar, Haydn, Miasovsky, Prokofiev, Rautavaara, and Shostakovich — have received the Diapason d’Or, Le Choc, Gramophone, and Midem awards. His recording of Shostakovich’s Cello Concertos Nos. 1 and 2 was nominated for a Grammy Award, and his album of concertos by C.P.E. Bach won an Echo Klassik Award.

Truls Mørk plays a 1723 Domenico Montagnana cello purchased for him by the SR Bank of Norway.

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Back to Bruckner — Musical Reality and Meaning G U S T A V M A H L E R famously said “My

time will come.” Anton Bruckner spent much of his life wondering if his music would ever be recognized and embraced.

More than a century after his death, Bruckner’s place in popular and critical appraisal remains a moving target. While Mahler’s anguished music went mainstream, Bruckner’s slowly arching symphonies became something of an acquired taste. Many conductors embraced him as a supreme symphonist. Others too easily pigeonholed his symphonies as “gothic cathedrals in sound,” the work of a devoutly religious man who understood nothing but his own faith.

In recent decades, the real Bruckner has been gaining ground. The veneers of slick editing that early on rendered a number of his scores more “understandable,” more Wagnerian, more mainstream, have slowly been wiped clean. His legacy as a serious organist and thoughtful musician has been reexamined. The bolder ideas of his later symphonies have been viewed as looking forward to the 20th century rather than awkward missteps at the end of the 19th.

With this weekend’s performances, Franz Welser-Möst returns to the music of Bruckner — having recorded five of his symphonies with The Cleveland Orchestra between 2007 and 2012, to critical acclaim.

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Welser-Möst comes by his interest and understanding of Bruckner’s music naturally. He, like Bruckner, grew up near Linz, Austria, and was steeped in Bruckner’s music from an early age. He very clearly remembers eminent conductors from previous generations leading Bruckner performances at the Abbey of Saint Florian, where Bruckner studied and later served as organist. He remembers a vinyl LP of Bruckner’s Second, which he nearly wore out as a young boy (along with his mother’s patience).

Indeed, Welser-Möst has been conducting and thinking about Bruckner nearly all his life. He has studied the scores — the early published versions edited by assistants as well as the autograph manuscripts and later critical editions. He has led performances of differing versions and wrestled with the questions of which notes were really Bruckner and which were someone else’s suggestions.

If Welser-Möst’s focused approach to these works proves nothing else, one thing should be abundantly clear: Bruckner was more than a simple man devoutly writing musical love letters to God. The composer was, certainly, at times socially awkward. Yes, he too often accepted others’ advice about his own music. And, very much, his Catholic faith anchored him through life. But Bruckner’s musical breadth was exceptional. He was a magAbout Bruckner

The Cleveland Orchestra

nificent organist, who mesmerized audiences in performances across Europe with his abilities to improvise — interweaving together, for instance, themes from the Adagio of his own Seventh Symphony with those of Siegfried’s Funeral March from Wagner’s Götterdämmerung.

Bruckner studied all his life. He knew musical history, trends, ideas, influences. He almost certainly saw real and potent meaning behind his compositional choices (of key signatures, for example) in the relationships between musical notes and the messages to be conveyed. Like Bach, Bruckner was fascinated by numbers — an obsession he shared with his counterpoint teacher Simon Sechter. In conversation and rehearsal, Welser-Möst uses such points to make a case for Bruckner symphonies being “about something,” not just long pieces of lovely church music. Life and love, God and mercy, death’s approach — all are in these symphonies.

Welser-Möst points out that Bruckner didn’t just admire Wagner’s music, he studied it. And, Welser-Möst believes, he was not blind to Wagner’s many shortcomings, including, for Bruckner, a lack of religious faith. His borrowings from Wagner were not uncomplicated admiration, but choiceful decisions for his own symphonies. For Bruckner, musical history was a deliberate palette from which to work, not simply a collection of pleasSeverance Hall 2015-16

About Bruckner

ant or favorite ideas to string together.

In this week’s concerts, March 24 and 26, Welser-Möst again juxtaposes Bruckner with other music — Schumann’s Cello Concerto from a couple decades earlier, and a newer piece by a master modern composer. For Welser-Möst, all music is connected, as parent, grandparent, cousin or child. From Bruckner’s rhythmic intensity and repetition, the “small little elements Bruckner uses to build something much larger and extremely powerful” is a cornerstone of much music building, from the past and into the future.

—Eric Sellen

Cleveland + Welser-Möst: Bruckner on DVD Between 2007-12, The Cleveland Orchestra and Franz Welser-Möst recorded five of Bruckner’s symphonies in historic and acoustically important venues. The Fifth Symphony was recorded at the Abbey of St. Florian in Linz, Austria, and the Ninth Symphony at Vienna’s Musikverein. Bruckner’s Symphonies Nos. 4, 7, and 8 were recorded at Severance Hall in Cleveland.

This series of five Bruckner DVD recordings featuring The Cleveland Orchestra under Franz Welser-Möst’s direction was created in partnership and with generous support from Raiffeisenlandesbank Oberösterreich and Clasart.

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Anton Bruckner, 1885, oil painting by Hermann Kaulbach

“ANTON BRUCKNER: There is arguably no other composer who spent so many years studying his art before establishing his unique voice. He remained a devout Catholic for the whole of his life, and his faith pervades all his music, even though it was with the traditionally secular symphony — Gothic cathedrals in sounds, as they have often been described — that his originality was established.”

—The Rough Guide to Classical Music

Symphony No. 6 in A major composed 1879-81

At a Glance

by

Anton

BRUCKNER born September 4, 1824 Ansfelden, on the outskirts of Linz, Upper Austria died October 11, 1896 Vienna

Bruckner began work on his Sixth Symphony in September 1879, and completed the score in September 1881. During the composer’s lifetime, the work was performed only in part — on February 11, 1883, the Vienna Philharmonic played the two middle movements. The first “complete” performance took place in February 1899, three years after the composer’s death, utilizing a heavily cut and revised score, with Gustav Mahler conducting the Vienna Philharmonic. A more complete performance was given in 1901, still with many revised sections made by others. The Bruckner Society published a new score in 1935, edited

by Robert Haas that closely followed

the composer’s original score. The standard score text, being used for this weekend’s performances, was edited by Leopold Nowak and issued in 1951; it differs only slightly from the Haas Edition.

This symphony runs about one hour in performance. Bruckner scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, tuba, timpani, and strings.

The Cleveland Orchestra first performed Bruckner’s Sixth Symphony in December 1974, led by guest conductor Vaclav Neumann.

The most recent performances were in October 1991 under the direction of Christoph von Dohnányi.

About the Music “ I C O U L D B E B O U N D E D in a nutshell, and count myself a

king of infinite space . . .” Hamlet’s words sum up the life and works of Anton Bruckner, a man of simple faith from a small village whose musical thoughts were big. Very big.

The vast spaces that Bruckner’s symphonies traverse are unlike anything else in the orchestral repertoire. There is a thematic and harmonic structure to it all, which lifts and carries the listener through a symphonic experience lasting, in some cases, over an hour. But most of all, in the music of this devout believer, there is a feeling of the paradox at the heart of all religions — the moment of greatest devotion is the moment of liberation of the spirit.

Although Bruckner gave the title “Romantic” to his Fourth Symphony, his relation to the Romantic movement is as complex as the man was simple in his manners. Romanticism, it must be remembered, was an urban phenomenon. Like today’s environmental movement, it drew its energy from city-dwellers’ feelings of loss. In a bourgeois, scientific, industrial age, what was the answer to Wordsworth’s sonnet on the “getting and spending” Severance Hall 2015-16

About the Music

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that was “too much with us”? Rediscover the beauty of nature, said the Romantics. Get back to the land, like your pagan ancestors, and be charmed by the brook, mystified by the forest, awed by the stars.

A MAN OF THE LAND

Anton Bruckner didn’t need Romantic poems to tell him about life on the land. His ancestors had been serfs, then tenant farmers, then schoolteachers —and even this last involved an obligation to work in the fields. Bruckner spent the first half of his life near his birthplace in rural Austria, near Linz, following his father’s humble profession of teacherAnton Bruckner didn’t need organist and sometime field hand. His Austrian conservatism was bred in the bone; he knew Romantic poems to tell his place in the social hierarchy and before his him about life on the land.

God, as taught by the Catholic Church.

His Austrian conservatism His life didn’t lack meaning; it was saturated with meaning. Hard work, study, and faith was bred in the bone; he were his constant companions. Even after his knew his place in the social industriousness had earned him, at age 44, a hierarchy and before his professorship at the Vienna Conservatory and God, as taught by the Caththe post of organist at the Imperial Chapel, his deferential manner and social gaffes caused olic Church. His life didn’t the ever-so-civilized Viennese to look down lack meaning; it was satuon him as a bumpkin. rated with meaning. Hard Bruckner’s good manners also made him work, study, and faith were easy prey for anyone who wanted to enlist him in a musical movement, with or without asking his constant companions. him first. He was one of music’s rare originals, a disciple of no one but God — although his openly-expressed admiration for Wagner’s long melodies and chromatic modulations (generously, but unwisely, he dedicated his Third Symphony to Wagner, and referred to him as “the Master”) earned him enthronement as “the Wagnerian symphonist” and implacable derision from the critic Eduard Hanslick and the rest of the anti-Wagner party. He was moved by, and emulated, the spaciousness of Beethoven’s symphonies, especially the Ninth; for his pains, he was, cruelly and often, compared invidiously to Beethoven in how he carried out the rigors of “sonata form.”

Evidently, this same unselfconscious delight in musical beauty, from whatever source, is what led Bruckner to the Romantic movement. Although his religion left no room for Beethoven’s

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About the Music

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Promethean humanism — not to mention far-out stuff like Berlioz’s drug-induced visions or Liszt’s diabolism — Bruckner did love nature, not because it was invigorating or scary or magical or populated with wood nymphs, but because it revealed God at work in the world.

CONFIDENCE AND TEXTURAL CLARITY

The other paradox in Bruckner’s life is that, despite the rock of faith on which his music is founded, the composer himself was deeply lacking in self-confidence. He subjected his works to endless revisions, and even allowed his pupils to do so, often in an effort to make them more orthodox and pleasing to critics.

As a result, arriving at an authentic text of a Bruckner symphony can be a vexing problem for scholars and conductors.

Fortunately, Bruckner’s Symphony No. 6, composed in 1879-81 and left alone thereafter, exists in a manuscript bearing the (shaky) signature of the composer in his old age, indicating that this was his final word on the subject. As a result, the work comes down to us mostly free of textual controversies, in the post-World War II edition of the International Bruckner Society, prepared under the supervision of the Society’s director, Leopold Nowak. (The Nowak edition, rather than the earlier, somewhat more speculative one by Robert Haas and Alfred Orel, is the basis for this weekend’s performances.)

THE MUSIC OF THE SIXTH SYMPHONY

A silhouette cut-out of Bruckner conducting,

by Otto Böhler.

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How Bruckner works his spiritual magic in this symphony is more easily intuited by the ear than analyzed in print (not that scholars haven’t tried, at great length!). It’s best to get settled in one’s seat before the symphony’s soft opening, because the composer gets right down to business in these first few notes of the first movement — a tick-tick of triplet rhythm that will drive much of the movement, and a broad theme in low strings that will loom large in this movement’s development and coda.

Although the symphony is in A major, that first theme already contains notes not in the A-major scale, pointing toward the dark shadings of so-called “Neapolitan” harmonies, and generally enabling much sideslipping into unexpected keys, to dramatic effect. Three distinct theme groups make up the exposition; the artful transitions between them are as interesting as the themes themselves.

To describe the Adagio second movement, Bruckner About the Music

The Cleveland Orchestra

uses the word feierlich, a word with no good English equivalent, meaning a combination of “solemn” and “festive.” The striking oboe solo near the beginning, entering on a plangent flattedsixth, points to more restless harmonies, and yet the movement follows sonata form (an expected outline throughout the 19th century) and settles into periods of deep serenity, with gorgeous, even hummable themes.

The scherzo third movement has The vast spaces that Brucka curiously split personality, with its ner’s symphonies traverse are delicate play of wood sprites repeatedly unlike anything else in the orblasted by massive full orchestral (tutti) chestral repertoire. There is a passages marked triply loud (fff). In the trio, introduced by horn calls reminiscent thematic and harmonic strucof Beethoven’s “Eroica” Symphony (No. ture to it all. More important, 3), strings and woodwinds engage in a in the music of a devout bedesultory conversation. liever, there is a feeling of the The finale fourth movement opens with a version of the Adagio’s plainparadox at the heart of all retive oboe theme, but a snapping march ligions — the moment of greatrhythm gradually emerges, punctuated est devotion is the moment of by a somewhat menacing motif in the liberation of the spirit. brass. Thus the table is set for a harmonic conflict between the Neapolitan darkness of that brass motif and the light of the symphony’s home key, A major. The journey to the light is long and eventful, including a dramatic development section with fierce, octave-leaping brass calls. During the symphony’s final blaze of A major, the first movement’s opening theme can be heard joining in the festivities.

—David Wright © 2016 David Wright served as program annotator for the New York Philharmonic, and is now a writer about music for orchestras and festivals in North America and Europe.

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Sound for the Centennial TH E C A M PAI G N FO R TH E C LE V EL AN D O RC H ESTR A Dennis W. LaBarre, President, Musical Arts Association Richard J. Bogomolny, MAA Chairman and Fundraising Chair Nancy W. McCann, Fundraising Vice Chair Alexander M. Cutler, Special Fundraising Beth E. Mooney, Pension Fundraising John C. Morley, Legacy Giving Hewitt B. Shaw, Annual Fund

In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have embarked on an ambitious fundraising campaign. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash gifts and legacy commitments, THE while also securing broad-based and increasing annual support from across Northeast CLEVELAND ORCHESTRA Ohio. The generous individuals and organizations listed on these pages have made longterm commitments of annual support, endowment funds, and legacy declarations to the Campaign. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success.

Your participation can make a crucial difference in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact the Orchestra’s Philanthropy & Advancement Office at 216-231-7558.

Listing as of March 10, 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

GIFTS OF $1 MILLION TO $5 MILLION

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

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

Sound for the Centennial Campaign

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GIFTS OF $500,000 TO $1 MILLION

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 George* and Becky Dunn Patricia Esposito

Sidney E. Frank Foundation Albert I. and Norma C. Geller The Gerhard Foundation Mary Jane Hartwell David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III* Trevor and Jennie Jones Elizabeth B. Juliano Mr. Clarence E. Klaus, Jr. Giuliana C. and John D. Koch Dr. Vilma L. Kohn* Mrs. Emma S. Lincoln Mr. and Mrs. Alex Machaskee Robert M. Maloney and Laura Goyanes

Elizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. Morrison Margaret Fulton-Mueller National Endowment for the Arts Roseanne and Gary Oatey William J. and Katherine T. O’Neill Quality Electrodynamics (QED) Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation Richard and Nancy Sneed R. Thomas and Meg Harris Stanton Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

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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 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. Bernie and Nancy Karr

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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

Sound for the Centennial Campaign

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

57

orchestra news

THE CLEVELAND ORCHESTRA

Cleveland Orchestra draws admiring reviews from the press in performances at Carnegie Hall in January and February The Cleveland Orchestra performed at New York’s Carnegie Hall earlier this year, first in January with Franz Welser-Möst and then in February with Mitsuko Uchida. The following excerpts from reviews and commentary represent the kind of admiration and acclaim that these performances engendered:

“It’s not often that a performance of a challenging new piece receives the kind of ovation typically awarded star virtuosi. But that’s what happened on Sunday night at Carnegie Hall when the conductor Franz Welser-Möst led The Cleveland Orchestra in the New York premiere of the Danish composer Hans Abrahamsen’s ‘let me tell you.’ . . . Sunday’s program also offered an outstanding performance of Shostakovich’s formidable Fourth Symphony. . . . Mr. Welser-Möst and his great orchestra just played the piece to the hilt. In this incisive, brilliant performance, the symphony seemed a purposeful entity, however shocking and excessive.”

—New York Times, January 18, 2016 “Both works require utmost precision and high-level solo contributions, abundantly provided by the magnificent Clevelanders.”

—Wall Street Journal, January 19, 2016 “The mighty Clevelanders turned their formidable attention to the often grotesque, ultimately sublime, hour-long ramblings and rumblings of Shostakovich’s rarely performed Fourth Symphony.”

—Financial Times, January 19, 2016 “Less than a month after bringing an astonishing, hair-trigger program to Carnegie Hall — a wintry new vocal cycle by Hans Abrahamsen and a sensitive yet turbocharged Shostakovich performance — the Cleveland Orchestra returned on Sunday with something completely different . . . an evening of Mozart. Clarity, enthusiasm, commitment, a cohesion that’s warmly responsive rather than coldly exact. You always get the sense that this is a quartet in symphony orchestra’s clothing. The redoubtable Mitsuko Uchida . . . led two concertos from the piano. . . .Perceptive, receptive music-making. . . . The glory of The Cleveland Orchestra remains its balances: the smooth yet complex blend of its winds, the way the lower strings offer subtle depth to the higher ones.”

—New York Times, February 16, 2016

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Cleveland Orchestra News

The Cleveland Orchestra

orchestra news Blossom Friends help introduce André Gremillet with special benefit event on Tuesday, April 5 The Hudson chapter of Blossom Friends of The Cleveland Orchestra hosts a special benefit evening welcoming new Cleveland Orchestra executive director André Gremillet to Northeast Ohio on Tuesday, April 5. Mr. Gremillet will discuss his life and professional achievements with Robert Conrad, cofounder and president of WCLV. He will reflect on his time leading orchestras in New Jersey and Melbourne, Australia, as well as sharing his impressions on The Cleveland Orchestra and the community he now serves.

“We are beginning a new era,” says Elisabeth Hugh, President of Blossom Friends of The Cleveland Orchestra. “Not just with André, but as a volunteer group. Our updated name, changed this past October from Blossom Women’s Committee, reflects our drive to be more welcoming and representative of our entire community. We feel hearing from André early in his tenure represents an important moment in Blossom Friends’ long-standing history of supporting The Cleveland Orchestra in a spectacular way.”

The evening benefit begins at 6:00 p.m. with wine and hors d’oeuvres, followed by the conversation at 7:15 p.m. The evening takes place at Steinway Piano Gallery Cleveland (334 East Hines Hill Road in Boston Heights). Tickets start at $75 per person, with proceeds benefiting The Cleveland Orchestra. For more information please contact Connie Van Gilder at 216-513-3075 or cjvangilder@aol.com. Seating is limited, RSVPs recommended by Friday March 25th.

Blossom Friends of The Cleveland Orchestra, formerly known as the Blossom Women’s Committee, was founded in 1968 to support the Orchestra’s presentations at Blossom Music Center, the summer home of The Cleveland Orchestra.

Open to men as well as women, Blossom Friends continues its support of the Orchestra through volunteer service and fundraising. For membership information, please contact Connie Van Gilder at 216-513-3075 or cjvangilder@aol.com.

Severance Hall 2015-16

THE CLEVELAND ORCHESTRA

.W.E.L.C.O.M.E. New cellist joins Orchestra The Cleveland Orchestra welcomes cellist Dane Johansen, who began 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.

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Musicians Emeritus of

T H E

C L E V E L A N D

R

E

T

I

R

E

D

M

O R C H E S T R A

U

S

I

C

I

A

N

S

Listed here are the living members of The Cleveland Orchestra who served more than twenty years. Appointed by and playing under four music directors, these 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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Appreciation

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

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

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

The set was specially available for purchase at the Cleveland Orchestra Store in December, prior to the general U.S. release.

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

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

Severance Hall 2015-16

The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who have volunteered for such events and presentations during the 2014-15 and 2015-16 seasons.

Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton 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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orchestra news

THE CLEVELAND ORCHESTRA

March is “Music in Our Schools” Month — Cleveland Orchestra’s education programs include “Learning Through Music” tying music to core curriculum March is “Music In Our Schools” Month! For nearly a century, education has remained a central part of The Cleveland Orchestra’s mission, and partnerships with Cleveland-area schools remain at the heart of the institution’s ongoing approach.

Learning Through Music is The Cleveland Orchestra’s K-5 program that brings core curriculum to life through classical music. Currently in its 19th season, LTM works with teachers in Cleveland and East Cleveland classrooms to help them integrate music into daily instructional time. Individual Orchestra musicians teach lessons linking music to math, science, social studies, and language arts — and even lead students in composing and performing their own original pieces. This spring, musicians from the Orchestra will make over 170 classroom visits, collaborate with 70 teachers, and bring over 1,200 students to Severance Hall for a live performance.

Year after year, LTM continues to be a classroom favorite. As one 4th grader commented, “I had so much fun. I even got to play an instrument. That was the best time ever.”

In November 2015, Mayfair Elementary in the East Cleveland School District (LTM pilot school) was selected to present at the Student Achievement Fair at the Ohio School Board Association (OSBA) Conference and Trade Show, featuring their collaboration with The Cleveland Orchestra through LTM. The OSBA Capital Conference is Ohio’s premier continuing education program. Part of this conference is the Student Achievement Fair, which showcases innovative projects and programs that boost student achievement and engage youngsters in learning and growth.

Fourth-grade Mayfair Elementary teacher Irene Spraggins and three of her students created a vi-

brant display of the books, CDs, and instruments provided to them as well as samples of student work created through LTM lessons (photo above).

In addition to Learning Through Music, The Cleveland Orchestra also partners with schools through PNC Grow Up Great for Cleveland Metropolitan Pre-K classrooms, and In School Performances (ISPs), bringing The Cleveland Orchestra itself into area schools. This year’s ISP took place on February 23 at Patrick Henry School in Glenville. In-School Performances are made possible in part through the Alfred M. Lerner In-School Performance Fund, generously endowed in her husband’s memory by Norma Lerner.

For additional information about all of The Cleveland Orchestra’s education programs, visit www.clevelandorchestra.com/education-andcommunity.

LAKE ERIE COLLEGE

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Cleveland Orchestra News

lec.edu 1.855.GO.STORM

The Cleveland Orchestra

orchestra news 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: Retired Cleveland Orchestra member Franklin Cohen (principal clarinet emeritus, 1975-2015), who is co-founder of ChamberFest Cleveland, joins together with pianist Szolt Bognár to present an evening of music on Saturday, April 9, at 7 p.m. The evening’s performance at Near West Theatre (6702 Detroit Ave in Cleveland) includes late works of several composers, including Mozart and Schubert, taking audiences on a musical journey exploring creative expressions of destiny and mortality. Tickets are $60 concert only, or $75 with reception. To order tickets or for more information, call 216-229-595 or write to dmorsecpc@sbcglobal.net.

The bassoon quartet Men Who Don’t Bite presents a benefit concert for Family Promise of Lorain County, on Sunday afternoon, April 10, at 3 p.m. The quartet includes Cleveland Orchestra bassoonists Jonathan Sherwin and Barrick Stees.

Admission is free to the event at the Meeting House of First Church Oberlin (Main and Lorain Streets in Oberlin), but contributions toward the organization’s work for the homeless will be gratefully accepted.

The Women’s Committee of The Cleveland Orchestra presents a special Meet the Artist luncheon on Friday, April 15, with a program featuring the Orchestra’s principal viola Robert Vernon. Vernon retires at the end of the current season in August, as the longest-serving string principal in the Orchestra’s history. For the April program, he will be interviewed

by The Cleveland Orchestra’s artistic administrator, Ilya Gidalevich, about his years and memories onstage. The event begins at 11:30 with a patron reception with Vernon, continues with lunch at noon, and then the program itself at 1 p.m. The cost is $40 for Women’s Committee members, $50 for non-members.

Reservations are required; the event takes place at Westwood Country Club in Rocky River.

Severance Hall 2015-16

THE CLEVELAND ORCHESTRA

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.

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 the concert.

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

Music and gift-giving are a perfect match.

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

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

B LOSSOM 2O16 Blossom season announced Dates and programming for the 2016 Blossom were announced on February 7. Look for details online at clevelandorchestra.com.

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Remember how it felt . . . ? . . . to hear The Cleveland Orchestra for the first time?

Yoash and Sharon Wiener believe there is nothing better than listening to beautiful music played by a world-class orchestra in an internationallyrenowned concert hall just a short drive from your home. And they’ve been enjoying The Cleveland Orchestra for nearly half a century.

In addition to being long-time season subscribers to The Cleveland Orchestra at both Severance Hall and each summer’s Blossom Music Festival, Yoash and Sharon are supporting the Orchestra’s future through the gift annuity program. In exchange for their gift, Yoash and Sharon receive income for life and a charitable tax deduction.

“Our very first date was 46 years ago at a Cleveland Orchestra performance in Severance Hall. The date was great and so was the music, and The Cleveland Orchestra has been a central part of our lives together,” says Yoash. “Participating in the gift annuity program is our way of thanking the Orchestra for all it has meant to us.”

THE

CLEVELAND ORCHESTRA

To find out how you can create a gift annuity and join Yoash and Sharon in supporting The Cleveland Orchestra’s future, contact our Legacy Giving Office by calling 216-231-7522.

clevelandorchestra.com/cga

Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of members is current as of October 2015.

For more information, please contact the Orchestra’s Legacy Giving Office by calling Liz Arnett at 216-231-7522.

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*

Severance Hall 2015-16

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

Leagcy Givimg

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

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Legacy Giving THE CLEVELAND ORCHESTRA

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

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

Legacy Giving

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

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTRA

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

Severance Hall 2015-16

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

Legacy Giving

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

The lotus blossom is the symbol of the Heritage Society.

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

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We are proud to partner with The Cleveland Orchestra to build audiences for the future through an annual series of BakerHostetler Guest Artists.

EXPERIENCE FOR TOMORROW

Photo: Chris Lee

bakerlaw.com

BakerHostetler is proud to present Leila Josefowicz, violinist.

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

W E L S E R - M Ö ST M U S I C

D I R E C T O R

Severance Hall

Thursday evening, March 31, 2016, at 7:30 p.m.

Friday morning, April 1, 2016, at 11:00 a.m. * Saturday evening, April 2, 2016, at 8:00 p.m.

Franz Welser-Möst, conductor ANTHONY CHEUNG

(b. 1982)

THOMAS ADÈS (b. 1971)

2015-16 SE A SON

Lyra Violin Concerto: Concentric Paths 1. Rings 2. Paths 3. Rounds LEILA JOSEFOWICZ, violin

INTER MISSION * RICHARD WAGNER (1813-1883)

Orchestral Selections from Götterdämmerung Dawn and Siegfried’s Rhine Journey — Siegfried’s Death and Funeral Music — Brünnhilde’s Immolation

This weekend’s concerts are supported through the generosity of the BakerHostetler Guest Artist Series sponsorship.

The concert will end on Thursday evening at about 9:15 p.m. and on Saturday night at approximately 9:45 p.m.

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

*The Friday morning concert is performed without intermission and features the works by Adès and Wagner. The concert ends at about 12:05 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.

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Concert Program — Week 15

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INTRODUCING THE CONCERTS

Rings, Strings& Circles F O R T H I S W E E K E N D O F C O N C E R T S , Franz Welser-Möst has cho-

sen three cutting-edge works by three composers — two from the 21st century and one whose visionary work in the 19th century was both revolutionary and evolutionary, in orchestral sounds and in operatic storytelling.

To open the evening concerts, Severance Hall audiences get a first listen to the sound-world of Anthony Cheung, The Cleveland Orchestra’s new Daniel R. Lewis Young Composer Fellow. Cheung is the ninth composer-in-residence working with the Orchestra through this far-reaching and forward-looking fellowship program to explore and encourage new generations of musical creativity. In this week’s concerts, we hear Cheung’s modern take on the Orpheus legend — of music’s power to enthrall any and all of us.

Next, violinist Leila Josefowicz returns to encore her performances of Thomas Adès’s challengingly difficult violin concerto, titled Concentric Paths, which she first played with The Cleveland Orchestra in 2010. This is a beautifully-conceived concerto, filled with rewarding ideas, sonic heights, and thrilling demands on the soloist.

To close the concert, Franz leads the Orchestra though major orchestral selections from the final opera, Götterdämmerung (or “Twilight of the Gods”), from Wagner’s epic four-opera Ring of the Nibelung cycle. The composer’s expansive view for an enlarged orchestra narrates the mythical tale of Siegfried, sounding out heroic themes, broad vistas, life-and-death struggles, multi-generational jealousies, and . . . the unyielding and protective power of love. The Cleveland Orchestra has a long and famed history playing Wagner’s music, in excerpts, recordings, and production (with a staged presentation of Tristan and Isolde slated for the Orchestra’s centennial season in 201718). This week, we have a delectable foretaste of Franz and the Orchestra’s masterly abilities with Wagner’s epic musical vocabulary.

—Eric Sellen

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Introducing the Concert

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THURSDAY AND SATURDAY

About Lyra Composer’s Note The composer has written the following comments about this work: T H E S T R U M M I N G or plucking of a lyre — if Western music has an

origin myth, the lyre is inextricably linked to it . . . Apollo with his lyre, truth emanating from its well-proportioned vibrations . . . Orpheus soothing all manner of flora and fauna, as well as the keepers of the underworld. From a simple action upon an instrument comes the mythology of music’s power to tame, sway, placate, and console.

With Beethoven, modern and ancient mythology were conjoined. When the composer supposedly channels the Orpheus narrative into his Fourth Piano Concerto, he put the soloist in the heroic role, pitting it against an orchestra of Furies, and makes a lyre of the piano.

Or so the modern myth-making accounts of Beethoven’s unannounced program for this concerto would like us to believe — from A.B. Marx and Franz Liszt to E.M. Forster (in Abinger Harvest), to musicologists like Joseph Kerman and especially Owen Jander, who argues that the whole concerto is, in fact, an Orphic retelling.

My orchestral piece Lyra begins with such a reading of Beethoven’s fourth concerto, taking the very opening of that piece — one that holds special meaning to me as a pianist — as an invocation: a single major chord, transformed into a strum, out of which poetry and lyricism can emanate.

These uses and associations seem to hold true across most cultures and ways of music making, so the multiple lyrae of my composition include the Chinese Guzheng, the Turkish Kanun, and the West African Kora, among others.

Symbolic elements of the myth’s narrative come to the fore, as do fleeting moments from the vast Orphean musical repertoire of the past four centuries, beginning with Monteverdi’s L’Orfeo, in which La Musica herself appears with her lyre to remind us: “I am Music, who, in sweet accents, / can calm every troubled heart, / now with noble anger, now with love / can I inflame the coldest minds.”

—Anthony Cheung MARCH 2014

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About the Music

The Cleveland Orchestra

THURSDAY AND SATURDAY

Lyra composed 2013

At a Glance

by

Anthony

CHEUNG born January 17, 1982 San Francisco living in Chicago

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Cheung wrote Lyra in 2013 on a commission from the New York Philharmonic, with generous funding support from the Marie-Josée Kravis Prize for New Music. The work was given its world premiere performances by the New York Philharmonic under Alan Gilbert’s direction, June 11-14, 2014. The piece is dedicated in memory of the composer Henri Dutilleux.

This work runs about 20 minutes in performance. Cheung scored it for 3 flutes (one doubling piccolo and alto flute; one tuned a quartertone lower than normal), 3 oboes (one tuned a quarter-tone low), 3

clarinets (one tuned a quarter-tone low), 3 bassoons (one tuned a quarter-tone low), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (tam-tam, wood blocks, Thai gongs, low gongs, orchestra bells, triangle, sizzle cymbal, suspended cymbals, chimes, crotales, spring coil, cowbells, guiro, bass drum, side drum, hi-hat, low log drums, tom-toms, tambourine, vibraphone, marimba, large metal sheet), harp, piano, synthesizer, and strings.

The Cleveland Orchestra is performing music by Anthony Cheung for the first time with this weekend’s concerts.

About the Music A N T H O N Y C H E U N G is the new Daniel R. Lewis Young Composer Fellow, thus serving as composer-in-residence for The Cleveland Orchestra and continuing a program conceived in 1998 and now approaching its twentieth anniversary. Including Cheung, nine composers have served in a sequence of these two-year fellowships (see page 75). Each has been introduced to Severance Hall audiences through the performance of one or more of their existing works, followed by the culmination of their Lewis Fellowship in the world premiere of a brand-new work written especially for The Cleveland Orchestra. Cheung’s commissioned work is scheduled for performances next spring, at Severance Hall concerts on May 18 and 20, 2017.

Cheung claims many interests and influences in his music, including jazz and improvisation, alternate tunings, microtonalities (the pitches between the normal Western tuning of a piano‘s notes), the varied tuning of instruments and music in cultures around the world, and his experiences as a performer.

Like many of his generation, he freely admits to borrowing — or reinterpreting, or sampling — musical moments or ideas from other works or cultures, although some are more easily heard or identified in a performance than others. As he

About the Music

73

has said, “I think we’re in an exciting time where so many of the sonic characteristics that once connoted acceptance within a clearly defined aesthetic have been lifted, recontextualized, and re-invented, and that there isn’t a taboo surrounding their re-appropriation. Of course, there is still the matter of being inventive and in good taste about it, but the fact that it’s harder to point to unified schools of thought based on nationality or region in today’s world is definitely a healthy thing.”

Considering all of this, Cheung’s musical works may sound across a wider range than that of some other composers, and he may have more than one recognizable style. About his own influences or tendencies, Cheung says “I would like to think that regional influences can and should be tapped into, without necessarily being the primary defining characteristic of a composer’s output. The important question is whether there is something musically interesting and relevant about putting these things in dialogue with one another.”

As Cheung discusses in his program note (page 72), his Lyra took as a starting point both the opening chord of Beethoven’s Fourth Piano Concerto and a proposed way of interpreting that concerto as a retelling of the legend of Orpheus (and Orpheus’s strumming of a lyre or The myth of Orpheus is stringed instrument).

He thus includes quotations — or echoes powered through his ability or interpretations — of other pieces written about Orpheus. Sevto charm all living things with his music, played on a eral instruments in the orchestra are tuned a quarter-tone below lyre. (Roman era mosaic, in normal, giving what we may hear as extra bite or dissonance the collection of Istanbul’s when some of these instruments are played at the same time as Archaeology Museums.) the “normal” orchestra. In addition, Lyra also features some prerecorded or sampled music played via the synthesizer, including samplings from some of those other Orpheus works.

With Lyra, Cheung gave this piece a rather straight-forward title. A man who relishes language and its subtleties, and also cares about how a musical score looks on the page, many of his work titles include glancing inferences or slynesses, just as his pieces do in the language of music.

Beyond this background, it can often be best, when hearing a new composer, when meeting someone new, to let them speak for themselves. Sit back, listen, think about what you are hearing, and look forward to getting better acquainted.

—Eric Sellen © 2016

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About the Music

The Cleveland Orchestra

About the Composer A N T H O N Y C H E U N G is a composer, pianist, and teacher. As a performer and advocate for new music, he is artistic director of the Talea Ensemble, which he co-founded in 2007. He is serving as the Daniel R. Lewis Young Composer Fellow of The Cleveland Orchestra for the 2015-16 and 2016-17 seasons.

Cheung says that his primary musical interests include notational aesthetics, jazz improvisation and transcription, microtonality and alternate tunings, rhythmic polyphony, and temporal perception. His musical ideas also engage poetic imagery, syntax and rhetoric, natural phenomena, and the visual arts. As a writer and scholar, his works include a dissertation on composer György Ligeti, as well as articles on contemporary music for specialists and for a general readership.

Commissions have included the creation of new works for the Ensemble Modern, Ensemble Intercontemporain, New York Philharmonic, Frankfurt Radio Symphony Orchestra, and Scharoun Ensemble Berlin. Commissions have also come from the Koussevitzky and Fromm foundations. His works have been performed by ensembles and at festivals across North America and in Europe.

Cheung has received awards from the American Academy of Arts and Letters and ASCAP, as well as first prize in the Sixth International Dutilleux Competition (2008), and a Rome Prize from the American Academy in Rome (2012).

A portrait album, titled Roundabouts, was released with the Ensemble Modern in 2014, and his music and performances have also appeared on New Focus Recordings, Tzadik, and Mode. A number of works can also be heard by visiting his website.

Cheung received a bachelor’s degree in music and history from Harvard and a doctorate from Columbia University, where he taught and also served as assistant conductor of the Columbia University Orchestra. He was a Junior Fellow at the Harvard Society of Fellows, and currently teaches as an assistant professor of music at the University of Chicago.

For more information, visit www.acheungmusic.com.

Severance Hall 2015-16

About the Composer

Daniel R. Lewis Young Composer Fellows The Daniel R. Lewis Young Composer Fellows program is made possible by the Young Composers Endowment Fund, created with a generous gift to The Cleveland Orchestra from Jan R. and Daniel R. Lewis. The composers who have served as Young Composer Fellows to date are:

Marc-André Dalbavie 1999-2000 Matthias Pintscher 2001-03 Susan Botti 2003-05 Julian Anderson 2005-07 Johannes Staud 2007-09 Jörg Widmann 2009-11 Sean Shepherd 2011-13 Ryan Wigglesworth 2013-15 Anthony Chueng 2015-17

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Violin Concerto: Concentric Paths composed 2004-05

At a Glance

by

Thomas

Adès wrote his Violin Concerto on a joint commission from the Berlin Festspiele and the Los Angeles Philharmonic, with underwriting from Lenore and Bernard Greenberg. The concerto received its first performance on September 4, 2005, in Berlin, with the composer conducting the Chamber Orchestra of Europe and Anthony Marwood as soloist.

This concerto runs about 20 minutes in performance. Adès scored it

for an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, trombone, tuba, timpani, percussion, and strings, plus the solo violin.

The Cleveland Orchestra has programmed this work on only one previous occasion, for two weekends of concerts in January 2010, in Cleveland, Indiana, and Miami, with Leila Josefowicz as soloist under the direction of Franz Welser-Möst.

ADÈS

born March 1, 1971 London currently living in London

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About the Music T H E C A R E E R O F B R I T I S H C O M P O S E R Thomas Adès must

be the envy of all young composers hoping to make their name in the world of classical music. His music has been well received and widely performed ever since graduating from Cambridge University and, almost at the same time, becoming composerin-residence to Manchester’s Hallé Orchestra.

As a composer, Adès (pronounced AH-DESS) has had a bewildering stream of commissions, awards, and recordings — and as a pianist and conductor he has appeared leading the Los Angeles Philharmonic, Boston Symphony Orchestra, and the London Symphony Orchestra, among others. For many years, he was also the artistic director of the Aldeburgh Music festival in England, a prestigious summer gathering of importance and renown.

He has composed three operas, the scandalous Powder Her Face in 1995, The Tempest, played at London’s Royal Opera House in 2004 (and at New York’s Metropolitan Opera in 2012), and The Exterminating Angel, due for its premiere later this spring in Salzburg in May. Among his orchestral works, his America: a Prophecy was written for the New York Philharmonic Orchestra in 1998, his Asyla for England’s City of Birmingham Orchestra in 1997 (performed by The Cleveland Orchestra in 1999), and Tevot for the Berlin Philharmonic Orchestra in 2007. The violin concerto Concentric Paths was co-commissioned in 2005 by the Berlin FestAbout the Music

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spiele and the Los Angeles Philharmonic Orchestra. An orchestral suite of dances from Powder Her Face was co-commissioned by The Cleveland Orchestra and London’s Philharmonia in 2007.

Adès’s music is contemporary music. Which is to say that performers like to play and audiences like to listen to it. But . . . it makes no concessions toward being nice — and is extremely difficult for performers and challenging for listeners.

But this music is also extremely rewarding, as Leila Josefowicz, this weekend’s soloist, has explained. She put it clearly when she said in an interview that her “hands shook after first looking at the score” of this violin concerto. She remembers counting like mad to work out the rhythms when she first tackled it and became totally engrossed in figuring out how the interlocking pieces fit together.

Having performed it with The Cleveland Orchestra under Franz Welser-Möst in 2010, Josefowicz feels that there is an organic quality that knits the concerto’s complexities together.

This is what the composer intended, for although the precise nature of the circles on which the work is constructed is not revealed to us either by the composer or by the ear (however sharp and focused), the three movements form a balanced triptych with the longest and weightiest movement at the center. As in a conventional concerto,

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About the Music

The Cleveland Orchestra

the middle movement is slow, built, in the composer’s words, “from two large, and very many small, independent cycles, which overlap and clash, sometimes violently, in their motion towards resolution.”

The outer movements are also circular in design, Adès has explained; the first is fast, with “sheets of unstable harmony in different orbits, the third playful, at ease, with stable cycles moving in harmony at different rates.” The listener will readily pick up the composer’s fondness for a static line in the soloist’s part against busy movement Leila Josefowicz in the orchestra, and vice versa. At talks about Beethoven, the start of the first movement, Adès, and being a musician . . . for example, the busy motion is launched by the soloist with “cir“There’s nothing wrong with the Beethoven cular” patterns (visually recreated Violin Concerto,” says Leila Josefowicz. “In by the bow’s movements), soon fact, it’s a great and wonderful piece. But I passed to the winds while the sooften find the rewards of playing new works loist reaches stratospherically high so much more gratifying. We have to stay in longer notes. ingenious and daring and make sure we keep If the soloist’s range seems listening in new ways. It’s important to hear to pass normal limits at the top, things for the first time.” the timpani are tuned down below She describes composer Thomas Adès their normal range to produce the as “ridiculously bright, and fun.” Adding characteristic thud that punctuates that he has “an inventiveness and a facility the end of the movement and parts for handling an orchestra that is almost suof the second movement, too. An perhuman. His point is pushing the limits, enormous variety of percussion inand that’s why I like his music.” struments are brought into service In studying with Josef Gingold, former in this middle movement, whose concertmaster of The Cleveland Orchestra, length is generated by a series of episodes, each defined by its texJosefowicz says she learned something she ture, much of it very slow and spahas never forgotten: “It’s so important for cious. The central climax sets the a young person to see that performing music deep tuba and brass loose, leaving becomes a way of life. It isn’t, in any way, a desolate wasteland as the soloist just a job. That’s what I learned from him, finds solace and refuge in the open an enthusiasm for this life as a musician.”

G that marks the violin’s lower limit.

The final movement offers a lively rhythm in the orchestra and more serene thoughtfulness from the violin. The end comes suddenly like the abrupt closing of a door or a book, full circle.

—Hugh Macdonald © 2016

Severance Hall 2015-16

About the Music

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

Masterly Enthralling Charming Scintillating “An afternoon of entertaining talk and exhilarating music.”

– The Washington Post

Sunday, October 18, 2015

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

Sunday, January 10, 2016

Chopin & Grieg — A Musical Friendship.

Sunday, April 10, 2016

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

Sunday, May 1, 2016

Musical Pictures — Visually inspired, gloriously colorful works.

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

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Leila Josefowicz Canadian violinist Leila Josefowicz attracts audiences worldwide with her fresh approach to repertoire and dynamic virtuosity. She made her debut with The Cleveland Orchestra in July 1991, and most recently performed with the Orchestra in concerts in July 2011. She performs on a del Gesù violin, made in 1724.

Ms. Josefowicz regularly performs with orchestras across North America, including those of Atlanta, Baltimore, Chicago, Cincinnati, Cleveland, Dallas, Detroit, Houston, Los Angeles, Minnesota, New York, Pittsburgh, Philadelphia, St. Louis, Toronto, and Washington D.C. Her recitals take her to Los Angeles, New York, Philadelphia, San Francisco, and Toronto.

She has also performed throughout Europe, with engagements including concerts with he BBC Symphony, Czech Philharmonic, Finnish Radio Orchestra, Leipzig Gewandhaus Orchestra, London Philharmonic, London Symphony Orchestra, Munich Philharmonic, Royal Concertgebouw Orchestra, Filharmonica della Scala, Swedish Radio Orchestra and Zurich’s Tonhalle Orchestra, as well as in recitals and chamber music concerts.

Ms. Josefowicz works regularly with living composers and has premiered several violin concertos written especially for her, including ones by John Adams, EsaPekka Salonen, Colin Matthews, and Steven Mackey. Adams’s Scheherazade 2 (for violin and orchestra) was given its world premiere by Josefowicz in March 2015 with the New York Philharmonic. Luca Francesconi’s concerto Duende – The Dark Notes was premiered in 2014 in Sweden and encored at the 2015 BBC Proms in London.

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Guest Aritst

Leila Josefowicz’s 1994 debut recording with the Academy of St. Martin-in-theFields for Philips Classics was awarded a Diapason d’Or, as was her album Solo. Her subsequent releases include concertos by Adams, Glazunov, Knussen, Mendelssohn, and Prokofiev, and two albums with pianist John Novacek. Later albums have earned Grammy nominations and an Echo Award.

Her latest recording, of Esa-Pekka Salonen’s Violin Concerto, was nominated for a Grammy Award in 2014.

In recognition of her advocacy of contemporary music, Leila Josefowicz received a MacArthur Foundation Fellowship in 2008, joining a group of prominent scientists, writers, and musicians who have been honored for their unique contributions to contemporary life.

Born in Ontario and raised in California, Leila Josefowicz started playing violin at age three. As a teen, she studied with Jaime Laredo and Jascha Brodsky at the Curtis Institute of Music, from which she graduated in 1997. Ms. Josefowicz came to national attention after her Carnegie Hall debut in 1994, at the age of 16. She received an Avery Fisher Career Grant that year and, in 2007, was awarded a United States Artists Cummings Fellowship.

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

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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 ÁËrË Á a?ß^Ë ¬Á ˤy^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^Ë ¬Á ˤÉ^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 ?ÍÍ jÝË+?ÄÄ ^Ë 87ËÔ|| Ë .?ÍÖÁa?ß^Ë ¬Á ˤÉ^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 www.bw.edu/bachfest or call 4440-826-8070.

Orchestral Selections from Götterdämmerung composed 1869-74, completing a project begun in 1848

At a Glance

by

Richard

Wagner began composing the music for Götterdämmerung in October 1869 while simultaneously finishing the score to the previous opera, Siegfried. He completed the entire orchestral score of the opera by November 1874. The opera was first performed on August 17, 1876, as part of the first Bayreuth Festival, which featured the inaugural presentation of the entire four-opera Ring of the Nibelung cycle. Hans Richter conducted.

The orchestral selections (from Act I and Act III) run 35-40 minutes in performance. Wagner’s orchestral forces for this opera are 3 flutes, piccolo, 3 oboes, english horn, 3 clarinets, bass clarinet, 3 bassoons, 8 horns (three doubling Wagner tubas), 3 trumpets, bass trumpet, 4 trombones, tuba, 2 sets of timpani, percussion (including cymbal, suspended cymbal, triangle, tam-tam), 6 harps (doubling on 2 parts), and strings.

WAGNER born May 22, 1813 Leipzig died February 13, 1883 Venice

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About the Music A F T E R C R E A T I N G the opera Lohengrin in 1848, Richard Wag-

ner wrote almost no music for five years. His life was violently disrupted by his involvement in the revolutionary uprising in Dresden in 1849, from which he was lucky to escape unharmed and un-jailed.

He made an exile’s home in Zurich and there drafted the outline of his next opera, which was to tell the story of the death of the mythic German hero Siegfried. He didn’t immediately start refining the libretto or writing the music, however, as he would normally have done. Instead, he embarked on an immense series of essays and articles setting out his views on art, opera, theater, and almost everything else, sensing that his own vision of and understanding of opera — or what it could be — was undergoing a radical realignment. He used these writings to analyze his deepest instincts about “the opera of the future.”

Not until he had worked through this process did he return to drafting the poem of his Siegfried opera, with its title changed from “Siegfried’s Death” to “Twilight of the Gods” (in German: Götterdämmerung). But the story now needed, he realized, a preliminary opera — or two, or three, as he kept thinking about it — to establish the background to Siegfried’s death (why was his death important in the scheme of the overall story? where had this Siegfried come from, to be a meaningful hero?)

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and to widen the bigger story’s philosophical scope by embracing profound moral issues of power, loyalty, and evil.

No opera had ever attempted a fraction of what Wagner now felt impelled to create. Most of his friends thought he was mad, or at best reckoned that he would never be able to set to music the four long librettos — which he was bold enough not just to write, but to have printed on fine paper and circulated to friends (and to read through dramatically outloud for gatherings of acquaintances, speaking all the roles himself).

A NEW MUSICAL L ANGUAGE

The Valkyrie Brünnhilde as drawn by Arthur Rackham.

Such a new concept of opera required a new language in the music, and only a genius of Wagner’s kind could have envisioned the extraordinary stage experience of these operas at the same time as radically enlarging the harmonic, structural, and orchestral dimensions of the music he was writing. This was a new sound. And it came into being when he began to compose the first of the four operas, Das Rheingold, in November 1853.

Wagner thought the whole task — of writing all four operas — would take him three or four years. In reality, he needed twenty-one years. With such “minor interruptions” as the composition of two other operas, Tristan and Isolde and Die Meistersinger (with about five hours of music in each), the Ring of the Nibelung (as he called the four-opera group) was eventually completed in 1874.

Finishing the four-opera Ring cycle was itself a superhuman achievement, but Wagner dared even further. He also succeeded in helping design and getting built a special theater for his operas, and founded a special summer festival for the single purpose of performing his works — and somehow raising or begging for the funds to do so. Both the theater and the festival survive today, still serving that same purpose. The Bayreuth Festspielhaus (or “Festival House”) opened in August 1876 with the first performances of the complete Ring of the Nibelung.

ORCHESTRAL STORY TELLING

One of the most striking features of Wagner’s new style was the prominence and strength of the orchestra, itself vastly enlarged (eight horns!). Indeed, bigger and stronger singing voices were needed to balance against the extraordinary orchestral ensemble Wagner was writing for.

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About the Music

The Cleveland Orchestra

Another article of “Wagnerian faith” in this new operatic style was the continuous flow of music from beginning to end of each act, abandoning the older practice of composing operas in separate and distinct numbers — arias, duets, choruses, trios, and so on, which audiences had come to expect. Wagner’s music, in contrast, was an organic substance that advances continuously with the action, using themes and musical motifs that are often attached to — or comment on — characters in the action or concepts in the drama.

Wagner’s invention is so rich and Cleveland and creative that the repetition of these Welser-Möst playing Wagner . . . motifs is never without dramatic purpose. The same motif, or group “This live album of Wagner orchestral exof ideas, is remolded (or textured in cerpts is noteworthy for the conducting the orchestration) to be heroic, or of Franz Welser-Möst and the truly remarkmenacing, threatening or passionable playing of The Cleveland Orchestra. ate, anguished or triumphant.

I have seldom heard an ensemble sound The musical progress of Wagso beautiful on a recording. The strings shimner’s operas is thus symphonic in mer like satin, the reeds are clean and clear, its argument, and the fact that the the brass warm and burnished.” voices are deliberately not given —Parterre Box phrases that might be mistaken for “Welser-Möst charts climaxes unerringly, Italian bel canto melodies means that sucks the listener in to the line and expectanmany sections of Wagner’s operas cy of the music.” can be performed in excerpts with—ClassicalSource.com out the voices. The drama is strongly articulated in the orchestra. Indeed, “The strictly orchestral passages on this alas Wagner himself began doing in bum, all familiar preludes or interludes, emconcerts (in part to raise money to phasize tight rhythms and crisp articulation, build his new opera house), such both beautifully exemplified by the Cleveland excerpts work satisfyingly in permusicians. Legato lines unfold with precision formance — rather like narrative and subtlety. . . . Under-the-hood details have symphonic poems in which the acunusual clarity and elegance. . . . The “Ride of tion is represented in the orchestra the Valkyries” gets a boost from the conducalone. tor’s preference for buoyancy over bombast.”

—Opera News ORCHE STRAL E XCE RP T S

The three selections from Götterdämmerung being performed in this weekend’s concerts represent Wagner’s mighty orchestra at its most powerful, in the final climactic drama of the Ring. At the start of the opera, Siegfried has rescued Brünnhilde from the fire-surrounded rock Severance Hall 2015-16

About the Music

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on which Wotan (leader of the gods) placed her, and the pair are instantly in love. Wotan has withdrawn from battling for his own world vision, defeated in his quest for absolute power by the curse put on the fatal Ring in the opening opera. Having wrested the Ring from Fafner the dragon, Siegfried now gives it to Brünnhilde as his bride. (Yes, sometimes brief synopses of Wagner’s operas, and the Ring in particular, sound rather fantastical or outlandishly silly in outline — as several stand-up comics, including Anna Russell, have memorably lampooned — but the power inherent within the music changes the storyline from cartoon to human reality and truth, as you allow yourself to flow along with the music’s intensity and strength.)

Brünnhilde waves farewell, as Siegfried’s horn-call signals the start of the adventures on his Rhine Journey, from Arthur Rackham’s 1910 illustrations for The Ring of the Nibelung.

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“Dawn” and “Siegfried’s Rhine Journey” After a scene in which the three Norns (tellers of Fate) lament the state of the world and foresee its end, dawn rises over the Rhine. As the first excerpt begins, Siegfried’s horn-call is heard in the distance and a clarinet and bass clarinet give out a motif associated with Brünnhilde’s fulfillment in love. This rises majestically to a full-blown statement of Siegfried’s heroic theme and continues as a rapturous love duet for the two of them. Her motif as a Valkyrie (winged women warriors who escort heroes at their deaths to the afterlife) is also interwoven into the musical fabric.

Her first words here are “To new deeds of glory I let you go,” as Siegfried has to leave her to continue the saga (he takes her mighty horse as his means of transport). With a breathtaking change of key, Siegfried leaves their mountain-top rock and heads down the Rhine Valley. She watches him leave and hears his horn-call recede in the distance. A vigorous section — rather like the scherzo movement of a symphony — carries him along the banks of the Rhine, whose surging waters roll the music forward to a serene close. (For orchestral excerpts in concert, this music melds into the next selection.)

About the Music

The Cleveland Orchestra

Siegfried’s Funeral Processsion, as illustrated by the American aritst Howard Pyle (1853-1911).

“Siegfried’s Death and Funeral Music” Siegfried is tricked by a potion into betraying Brünnhilde and stealing back the all-powerful Ring. His memory of Brünnhilde is erased and he trades her to Gunther in exchange for a different bride, Gunther’s sister Gutrune. Brünnhilde, unaware of the potion, swears revenge. The evil Hagen is intent on destroying Siegfried in order to recover the Ring and its power for himself.

In the final act of the opera, Siegfried is persuaded to recount his adventures to a group of hunters — and is given a second potion that brings back his memory. Just as he begins to recount how he rescued Brünnhilde from the rock and realizes that he has betrayed her, Siegfried is killed by Hagen for touching Gunther’s bride. Siegfried dies with Brünnhilde’s name on his lips.

With its weightiest emphasis and darkest colors, the orchestra stamps out the rhythm of a solemn procession as Siegfried’s lifeless body is carried over the cliff top. In Wagner’s stage directions, the moon breaks though the clouds and lights up the funeral procession ever more brightly as it reaches the summit of the cliff. Mists rise from the Rhine and gradually fill the whole stage, concealing the procession. Many of the opera’s themes are heard, including Siegfried’s horn-call and Brünnhilde’s love.

“Brünnhilde’s Immolation” Back at the castle, Hagen kills Gunther in a fight, reaches for the Ring on the dead Siegfried’s finger, but is forced back by Siegfried’s dead arm rising in threat.

Brünnhilde enters, and she addresses them all with praise Severance Hall 2015-16

About the Music

87

of her lost hero. She takes the Ring from Siegfried’s hand and slips in onto her finger. She turns to the pile of logs on which Siegfried’s body is laid. She calls her horse, mounts it and rides to a glorious death, leaping into the blazing pyre. When the whole scene is filled with fire, according to Wagner’s written stage directions, the Rhine bursts its banks and overflows across the stage. Hagen is drowned and the Ring is restored to its rightful owners, the Rhinemaidens. In the distance, the home of the gods, Valhalla, is seen in flames. With the gods’ plans for the earth in ruins, humanity is left to a future without interference (or assistance) from the immortals.

In “Brünnhilde’s Immolation,” the music conveys all of this in a stupendous display of orchestral wizardry. Themes from the entire cycle are brought back in a kaleidoscope of interlocking motifs and musical keys. And the final destruction of everything, which can hardly be explained in terms of the drama’s action, creates a sense of total fulfillment — which must have been felt by Wagner himself in 1874 as he completed the final pages of the longest and most ambitious cycle of operas in history.

—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.

LEFT:

From Arthur Rackham’s 1910 illustrations for Wagner’s Ring of the Nibelung.

Brünnhilde astride her horse Grane, riding into Siegfried’s funeral pyre at the end of Götterdämmerung.

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About the Music

The Cleveland Orchestra

The Cleveland Chapter of the American Guild of Organists and

Plymouth Church, Shaker Heights present

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

Visit our website to learn of other organ performances in Cleveland agocleveland.org

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The Cleveland Orchestra

THE CLEVELAN D ORCHESTRA

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.

$5 MILLION AND MORE

KeyBank PNC Bank $1 MILLION TO $5 MILLION

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 OberĂśsterreich (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 March 2016.

gifts of $2,500 or more during the past year, as of March 5, 2016

PARTNERS IN EXCELLENCE $300,000 AND MORE

Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank Raiffeisenlandesbank OberĂśsterreich (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

THE CLEVELAN D ORCHESTRA

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

$1 MILLION AND MORE

$10 MILLION AND MORE

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

gifts of $2,500 or more during the past year, as of March 5, 2016

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

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

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

$5 MILLION TO $10 MILLION

$100,000 TO $249,999

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

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

$1 MILLION TO $5 MILLION

$50,000 TO $99,999

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

Listing as of March 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

$20,000 TO $49,999 The Batchelor Foundation, Inc. (Miami) Eva L. and Joseph M. Bruening Foundation Mary E. and F. Joseph Callahan Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Helen Wade Greene Charitable Trust National Endowment for the Arts The Frederick and Julia Nonneman Foundation Peacock Foundation, Inc. (Miami) The Reinberger Foundation James G. Robertson Fund of Akron Community Foundation Sandor Foundation Harold C. Schott Foundation The Sisler McFawn Foundation The Veale Foundation

$2,500 TO $19,999 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)

Foundation and Government Annual Support

93

THE CLEVELAN D ORCHESTRA

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 March 5, 2016

$10 MILLION AND MORE

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

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

The Adella Prentiss Hughes Society honors

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

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

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

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

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

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

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 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 Peter B. Lewis* and Janet Rosel Lewis (Miami) 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 March 2016.

94

Individual Annual Support

The Cleveland Orchestra

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

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)

The Leadership Council salutes those extraordinary donors who have pledged to sustain their annual giving at the highest level for three years or more. Leadership Council donors are recognized in these Annual Support listings with the Leadership Council symbol next to their name:

Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler Hector D. Fortun (Miami) T. K. and Faye A. Heston Giuliana C. and John D. Koch Dr. and Mrs. Jerome Kowal 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)

gifts of $50,000 and more gifts of $25,000 and more

INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski 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-MĂśst INDIVIDUAL GIFTS OF $50,000 TO $74,999

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

Severance Hall 2015-16

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

Daniel and Trish Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation 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

Individual Annual Support

listings continue

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THE CLEVELAN D ORCHESTRA listings continued

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

The Ralph and Luci Schey Foundation Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton

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

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.

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

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 Jim and Karen Dakin 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) 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)

96

William Appert and Christopher Wallace (Miami) 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

gifts of $10,000 and more INDIVIDUAL GIFTS OF $12,500 TO $14,999

Mrs. Barbara Ann Davis Robert K. Gudbranson and Joon-Li Kim Eeva and Harri Kulovaara (Miami) 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

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 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) Andrew and Katherine Kartalis Alan Kluger and Amy Dean (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Stewart and Donna Kohl 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 AndrĂŠs Rivero (Miami) Audra and George Rose Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Michael and Chandra Rudd (Miami) Dr. Isobel Rutherford Dr. and Mrs. Martin I. Saltzman 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 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 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)

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 Mr. David and Mrs. Dianne Hunt Mr. and Mrs. Christopher Hyland

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

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 Kathleen A. Coleman

98

Individual Annual Support

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99

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

Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus David and Gloria Kahan Rudolf D. and Joan T. Kamper 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 Ms. Grace Lim 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 Robert and Carol Taller 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 Dr. Edward L. and Mrs. Suzanne Westbrook 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)

Nancy and James Grunzweig Lilli and Seth Harris 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 Barbara and Michael J. Kaplan Dr. and Mrs. Richard S. Kaufman Mrs. Natalie D. Kittredge Dr. Gilles* and Mrs. Malvina Klopman Mr. Donald N. Krosin Ronald and Barbara Leirvik Dr. Edith Lerner 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 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

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

Ms. Nancy A. Adams Mr. and Mrs. Robert J. Amsdell Dr. Ronald and Diane Bell Margo and Tom Bertin Howard R. and Barbara Kaye Besser Mr. and Mrs. David Bialosky Carmen Bishopric (Miami) Mr. and Mrs. 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 The Thomas J. and Judith Fay Gruber Charitable Foundation 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

100

Individual Annual Support

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101

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

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. Howard Dickey-White 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 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

102

Bruce and Eleanor Kendrick Mr. James Kish Fred* and Judith Klotzman Marion Konstantynovich Jacqueline and Irwin* Kott (Miami) Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Vicki Kennedy 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 Loretta J. Mester and George J. Mailath 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 Charles Seitz (Miami) Mr. and Mrs. Thomas W. Seitz Ms. Frances L. Sharp Ms. Jeanne Shatten

Individual Annual Support

Dr. Donald S. Sheldon Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Robert Sieck Laura and Alvin A. Siegal 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 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

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

11001 Euclid Avenue Cleveland, Ohio 44106

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

CLEVELANDORCHESTRA.COM

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

HAILED AS ONE OF

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

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

Severance Hall

The Cleveland Orchestra

11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

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

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

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

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

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

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

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

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

Severance Hall 2015-16

Guest Information

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

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

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

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

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

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

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

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

105

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

106

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

Service animals are welcome at Severance Hall.

Please notify the Ticket Office as you buy tickets.

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

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

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

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

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

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

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

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

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

Guest Information

The Cleveland Orchestra

A Place to Be Remembered . . .

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

Campaign supporters are eligible for special and unique recogni on.

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

THE

CLEVELAND ORCHESTRA

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

clevelandorchestra.com/100campaign

THE CLEVELAN C O N C E R T

C A L E N D A R

SPRING SEASON Welser-Möst Conducts Bruckner March 24 — Thursday at 7:30 p.m.

March 26 — Saturday at 8:00 p.m.

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

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

Wagner’s Götterdämmerung March 31 — Thursday at 7:30 p.m.

April 1 — Friday at 11:00 a.m. <18s April 2 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Leila Josefowicz, violin

CHEUNG Lyra * ADÈS Violin Concerto: Concentric Paths WAGNER Excerpts from Götterdämmerung * not part of Friday Morning Concert

Sponsor: BakerHostetler

BARTÓK ON STAGE: The Miraculous Mandarin and Bluebeard’s Castle April 7 — Thursday at 7:30 p.m.

April 8 — Friday at 8:00 p.m. <18s April 9 — Saturday at 8:00 p.m.

April 10 — Sunday at 3:00 p.m. <18s THE JOFFREY BALLET Ashley Wheater, artistic director and featuring choreography and stage direction by Yuri Possokhov set, lighting, projection design by Alexander V. Nichols 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 death. Two fantastical tales about love . . . 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.

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PNC MUSICAL RAINBOW

7KH 7HUULÀF 7UXPSHW 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

FAMILY CONCERT

Green Eggs and Hamadeus April 16 — Saturday at 2:00 p.m.

<18s

THE CLEVELAND ORCHESTRA Rob Kapilow, conductor Sherry Boone, soprano Joshua Turchin, boy soprano with stage direction by Daniel Pelzig This concert brings together the worlds of Dr. Seuss and Mozart, in a whiz-bang mash-up designed especially for children. The Boston Globe called Green Eggs and Hamadeus ´WKH PRVW SRSXODU IDPLO\ PXVLF VLQFH 3URNRÀHY·V Peter and the Wolf and Britten’s Young Person’s Guide to the Orchestra.” You will like it, Sam-I-am!

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

Supported by The Giant Eagle Foundation

Under 18s Free FOR FAMILIES

<18s

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

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

Concert Calendar

The Cleveland Orchestra

D ORCHESTRA 2015-16 SE A SON

Beethovenâ&#x20AC;&#x2122;s Heroic Symphony

I N

T H E

S P O T L I G H T

April 21 â&#x20AC;&#x201D; Thursday at 7:30 p.m.

April 23 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

April 24 â&#x20AC;&#x201D; Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Antoni Wit, conductor Jan Lisiecki, piano

WAGNER Polonia Overture CHOPIN Piano Concerto No. 2 BEETHOVEN Symphony No. 3 (â&#x20AC;&#x153;Eroicaâ&#x20AC;?)

Sponsor: KeyBank

AT THE MOVIES

Bride of Frankenstein April 26 â&#x20AC;&#x201D; Tuesday at 7:30 p.m.

THE CLEVELAND ORCHESTRA Richard Kaufman, conductor Sheâ&#x20AC;&#x2122;s alive â&#x20AC;&#x201D; and so is the music!!! The 1935 classic KRUURU Ă&#x20AC;OP ZLWK OHJHQGDU\ Ă&#x20AC;OP FRPSRVHU )UDQ] :D[PDQ¡V evocative score played live by The Cleveland Orchestra. )UDQNHQVWHLQ &ROLQ &OLYH DQG 'U 3UHWRULXV JR EDFN LQWR WKHLU ODERUDWRU\ H[KXPH PRUH ERGLHV DQG FRQYHUW a female corpse (Elsa Lanchester) into a bride for the Monster (Boris Karloff).

AT THE MOVIES

A Heroâ&#x20AC;&#x2122;s LIfe

BRIDE OF FRANKENSTEIN

April 28 â&#x20AC;&#x201D; Thursday at 7:30 p.m.

April 29 Âł )ULGD\ DW D P <18s April 30 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Richard Kaufman, conductor

Sponsor: PNC Bank

Tuesday April 26 at 7:30 p.m.

THE CLEVELAND ORCHESTRA Antonio Pappano, conductor Marie-Nicole Lemieux, mezzo-soprano *

WAGNER 3UHOXGH DQG /RYH 'HDWK from Tristan and Isolde CHAUSSON Poem of Love and the Sea* STRAUSS Ein Heldenleben [A Heroâ&#x20AC;&#x2122;s Life] * QRW SDUW RI )ULGD\ 0RUQLQJ &RQFHUW

Sponsor: PNC Bank

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

Sheâ&#x20AC;&#x2122;s alive â&#x20AC;&#x201D; and so is the music!!! The 1935 classic horror film with legendary film composer Franz Waxmanâ&#x20AC;&#x2122;s evocative score played live by The Cleveland Orchestra.

Frankenstein (Colin Clive) 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

CLEVELAND ORCHESTRA TICKETS PHONE

216-231-1111 800-686-1141

clevelandorchestra.com Severance Hall 2015-16

Concert Calendar

109

THE CLEVELAND ORCHESTRA U P C O M I N G

2015-16 SE A SON

C O N C E R T S

AT SEVERANCE HALL . . .

BARTÓK ON STAGE The Miraculous Mandarin and Bluebeard’s Castle

STRAVINSKY’S THE FIREBIRD Thursday May 5 at 7:30 p.m.

Friday May 6 at 11:00 a.m.

Friday May 6 at 7:00 p.m.

Saturday May 7 at 8:00 p.m.

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 CLEVELAND ORCHESTRA Andrés Orozco-Estrada, conductor Kirill Gerstein, piano

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.

Stravinsky’s ground-breaking ballet was an instant sensation when it was premiered — and remains an audience favorite. Based on a Russian folk legend, it features mesmerizing melodies, fierce rhythmic drive, and one of music’s most breathtaking finales. This weekend of concerts also features Rachmaninoff’s First Piano Concerto, filled with lyricism and passion. Plus Zoltán Kodály’s delightful musical postcard about a village he had lived in, Dances from Galánta.

Friday night sponsor: KeyBank

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

TICKETS

110

216-231-1111

clevelandorchestra.com

Upcoming Concerts

The Cleveland Orchestra