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2015-16 SE ASON



Concert: April 14, 15, 16 MOZART AND HAYDN — pages 24-25 including KeyBank Fridays@7: ALL-MOZART Concert: April 21, 23, 24 BEETHOVEN’S HEROIC SYMPHONY — page 55 At the Movies: April 26 THE BRIDE OF FRANKENSTEIN — page 75

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17 AN D 18




From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . . 9 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 11 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 WEEK

2015-16 SE ASON


MOZART AND HAYDN Program: April 14, 15, 16 . . . . . . . . . . . . . . . . . 24-25 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 27


Copyright © 2016 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800


Symphony No. 6 (“Le Matin”) . . . . . . . . . . . . . . . . 31 MOZART

Concerto for Flute and Harp . . . . . . . . . . . . . . . . . 33 MOZART

Symphony No. 39 . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Conductor: Jane Glover . . . . . . . . . . . . . . . . . . . . . . . 29 Soloists: Y. Kondonassis / J. Smith . . . . . . . . . . . 38-39 NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . 46-51 WEEK


BEETHOVEN’S HEROIC SYMPHONY Program: April 21, 23, 24 . . . . . . . . . . . . . . . . . . . . 55 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 57 WAGNER

Polonia: Concert Overture . . . . . . . . . . . . . . . . . . 61

The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture. The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio. The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.


Piano Concerto No. 2 . . . . . . . . . . . . . . . . . . . . . . . 63 This program is printed on paper that includes 50% recycled content.


Symphony No. 3 (“Heroic”) . . . . . . . . . . . . . . . . . . 69 Conductor: Antoni Wit . . . . . . . . . . . . . . . . . . . . . . . . 59 Soloist: Jan Lisiecki . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 WEEK

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


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.

THE BRIDE OF FRANKENSTEIN Program: April 26 . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Conductor: Richard Kaufman . . . . . . . . . . . . . . . . . . 79

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . 52-53 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83-94


Table of Contents

The Cleveland Orchestra

- -/ vir•tu•o•so / v rCH 'woso performing with exceptional ability, technique, or artistry 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 April 2016 A Special Community — Long before I became executive director here, I had heard that this community was unique. I am now learning firsthand just how remarkable you are. You listen to music more intently. You have more pride for your orchestra. You care more — not simply in terms of financial commitment, but in a generosity of spirit and support. It’s not about whether you attend many concerts or just one or two, or if your family’s only relationship with the Orchestra is through education programs for your children. The people of Northeast Ohio believe in The Cleveland Orchestra. You know how great this orchestra is. You know how important the arts are. Your pride and generosity, your enthusiasm and support combine to continually nourish and propel The Cleveland Orchestra forward. A Community’s Orchestra — With that level of encouragement and support from you comes a great sense of responsibility for us to uphold the excellence and to pursue the innovative spirit that this community and, indeed, the world demand and expect from us. The Cleveland Orchestra takes its role as this community’s orchestra very seriously. To reach new audience members, and to share music in new ways. To proudly carry the name and spirit of Cleveland throughout the world. To use the power of music to make a difference in people’s lives. Your support and interest is actively shaping what this Orchestra is and will be. Collaborations and Partnerships — Integral to being a community’s orchestra is actively partnering with local organizations, and we are proud to showcase Cleveland’s arts, business, and educational institutions through a wide variety of collaborations — in performance, through education programs, and in enhancing the fabric of the community. This past fall, we partnered with Case Western Reserve University, Maltz Museum of Jewish Heritage, ideastream, and others to present Violins of Hope Cleveland — educating and inspiring thousands across the city through programs and events centered on restored violins that survived the Holocaust. Each and every year, we continue and deepen our long-term collaboration with the Cleveland Metropolitan School District, and other learning institutions throughout the region, to present education programs for all ages. This spring brings the latest creation in our ongoing partnership with Cleveland Play House, with the joint presentation of a brand-new play, The Good Peaches. This summer brings partnerships with the National Parks System and with the Cleveland Museum of Art. Strengthening Our Hometown — Creativity and activity flourish throughout the region, and The Cleveland Orchestra is proud to call this great cultural hub its home. We are honored to bring attention and acclaim to Northeast Ohio by highlighting the arts and culture so abundant here. We believe strongly that great art is a cornerstone to the quality of life of all generations, and we are dedicated to sharing great music with everyone. In the months and years ahead, I hope to touch on many topics with you in this space. And I hope you will share your responses. There is so much to talk about! In the meantime, thank you for listening. Thank you for caring. Thank you for making The Cleveland Orchestra everything it can possibly be.

André Gremillet Severance Hall 2015-16


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

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

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

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

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

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

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

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

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

Herbert Kloiber (Germany)

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

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

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

TE Trustee Emeritus

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

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

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Severance Hall 2015-16

André Gremillet, Executive Director

Musical Arts Association


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its founding in 2018, The Cleveland Orchestra is undergoing a new transformation and renaissance. Under the leadership of Franz Welser-Möst, with the 2015-16 season marking his fourteenth year as the ensemble’s music director, The Cleveland Orchestra is acknowledged among the world’s handful of best orchestras. With Welser-Möst, the ensemble’s musicians, board of directors, staff, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence, to renew its focus on fully serving the communities where it performs through concerts, engagement, and music education, to develop the youngest audience of any orchestra, to build on its tradition of community support and financial strength, and to move forward into the Orchestra’s next century with an unshakeable commitment to innovation and a fearless pursuit of success. The Cleveland Orchestra divides its time each year across concert seasons at home in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and to a series of innovative and intensive performance residencies. These include an annual set of concerts and education programs and partnerships in Florida, a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s Lincoln Center Festival, and at Indiana University. Severance Hall 2015-16

Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestra-conductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and radio and internet broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences experience music as a living language that grows and evolves with each new generation. Recent performances with Baroque specialists, recording projects of varying repertoire and in different locations, fruitful re-examinations and juxtapositions of the standard repertoire, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Programs for students and community engagement activities have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities, and have more recently been extended to its touring and residencies. All are being created to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique “At Home” neighborhood residency program, designed to

About the Orchestra



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


1l1l 11l1 1l1I

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

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


each year

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


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


Likes on Facebook (as of 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.




concerts each year.

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

The Cleveland Orchestra performs over



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


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

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

About the Orchestra


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

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

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


About the Orchestra

The Cleveland Orchestra

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


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


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


Music Director

The Cleveland Orchestra

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DIRECTOR Kelvin Smith Family Chair


Blossom-Lee Chair


Clara G. and George P. Bickford Chair



Gretchen D. and Ward Smith Chair

Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan


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

Emilio Llinas 2 James and Donna Reid Chair

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

Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook Yun-Ting Lee VIOLAS Robert Vernon * Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey 1 Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

Orchestra Roster

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

David Alan Harrell Martha Baldwin Dane Johansen Paul Kushious BASSES Maximilian Dimoff * Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1 Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

The Cleveland Orchestra

2015-16 SE ASON

O R C H E S T R A FLUTES Joshua Smith * Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2 Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Corbin Stair Jeffrey Rathbun 2 Everett D. and Eugenia S. McCurdy Chair

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2 James P. and Dolores D. Storer Chair

Michael Miller

Robert Walters

CORNETS Michael Sachs *

ENGLISH HORN Robert Walters

Michael Miller

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Robert Woolfrey Daniel McKelway 2 Robert R. and Vilma L. Kohn Chair

Mary Elizabeth and G. Robert Klein Chair

TROMBONES Massimo La Rosa* Gilbert W. and Louise I. Humphrey Chair

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

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

Richard Stout Alexander and Marianna C. McAfee Chair

* Principal §

Linnea Nereim

Shachar Israel 2





Stanley L. and Eloise M. Morgan Chair

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

Gareth Thomas Barrick Stees 2 *

Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2015-16

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


Associate Principal First Assistant Principal Assistant Principal on sabbatical leave




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

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

Orchestra Roster

Elizabeth Ring and William Gwinn Mather Chair


Frances P. and Chester C. Bolton Chair


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Concert Previews

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

Severance Hall 2015-16

Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a variety of interviews and through talks by local and national experts. Concert Previews are made possible in part by a generous endowment gift from Dorothy Humel Hovorka. April 7, 8, 9, 10 “Folksongs and Freud’” (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) with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups

April 21, 23, 24 “Heroic Beethoven, Fashionable Chopin” (Musical works by Wagner, Chopin, Beethoven) with Donna Lee, professor of piano Kent State University

April 28, 29, 30 “Of Love and Life” (Musical works by Wagner, Chausson, Strauss) with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups

May 5, 6, 7 “First Attempts: Concerto and Ballet” (Musical works by Kodaly, Rachmaninoff, Stravinsky)

Concert Previews

with Jerry Wong, associate professor of piano, Kent State University



W E L S E R - M Ö ST M U S I C


Severance Hall

Thursday evening, April 14, 2016, at 7:30 p.m. Saturday evening, April 16, 2016, at 8:00 p.m.

Jane Glover, conductor F. JOSEPH HAYDN (1832-1809)


Symphony No. 6 (“Le Matin”) in D major 1. 2. 3. 4.

Adagio — Allegro Adagio — Andante — Adagio Menuet and Trio Finale: Allegro

Concerto for Flute and Harp in C major, K299 1. Allegro 2. Andantino 3. Rondo: Allegro JOSHUA SMITH, flute YOLANDA KONDONASSIS, harp


Symphony No. 39 in E-flat major, K543 1. 2. 3. 4.

Adagio — Allegro Andante con moto Menuetto: Allegretto Allegro

These concerts are supported through the generosity of Squire Patton Boggs (US) LLP Cleveland’s Own Series sponsorship. The Thursday performance is dedicated to Mrs. Alfred M. Rankin, Sr. in recognition of her extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. The concert will end on Thursday at about 9:20 p.m. and at approximately 9:50 p.m. on Saturday evening.


Concert Program — Week 17

The Cleveland Orchestra

Severance Hall

KeyBank Fridays@7 Concert Friday evening, April 15, 2016, at 7:00 p.m.

Jane Glover, conductor

2015-16 SEASON


Concerto for Flute and Harp in C major, K299 1. Allegro 2. Andantino 3. Rondo: Allegro JOSHUA SMITH, flute YOLANDA KONDONASSIS, harp

Symphony No. 39 LQ(Ă DWPDMRU.543 1. 2. 3. 4.

Adagio — Allegro Andante con moto Menuetto: Allegretto Allegro


FRIDAYS@ The Fridays@7 concert series is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence. The Friday performance is dedicated to Julia and Larry Pollock in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. The Friday evening concert is performed without intermission and will end at about 8:10 p.m.



Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, May 29, at 4:00 p.m.

Severance Hall 2015-16

Concert Program — Week 17F




Great music. Great drinks.

S@ A fresh approach to Friday nights! Y A ID R F April 15: All-Mozart And great company.

The Cleveland Orchestra’s popular Fridays@7 concert series features a unique twist on a musical night out. The Plain Dealer calls it “the place to be on Friday night!” It’s an exciting and relaxed way to enjoy a night filled with incredible music. Experience an hour-long concert with The Cleveland Orchestra, followed by a casual @fter-Party throughout Severance Hall — for socializing and being with great friends and new acquaintances. 6 p.m. Pre-Concert St@rters . . . Arrive early for a pre-concert happy hour with special drinks and appetizers. 7 p.m. KeyBank Fridays@7: The Cleveland Orchestra . . . This week, enjoy two masterpieces by Wolfgang himself, the one and only Mozart: a concerto for two instruments, and one of his final grand symphonies. 8 p.m. @fter-Party . . . Stay into the evening to hear Cleveland’s own Hot Djang Gypsy Jazz playing favorites from the 1930s and ’40s []. Enjoy artwork from 78th Street Studios, mix and mingle, listen to music, talk with friends. Or . . . head to Severance Restaurant for post-concert dessert and drinks, with live music by Luca Mundaca (


FRIDAYS@ KeyBank Fridays@7: Next Concert May 6 — Stravinsky’s Firebird Andrés Orozco-Estrada (conductor), Kirill Gerstein (piano)

And plan now for next season’s F@7 concerts: October 21, January 6, and March 3


Fridays@7: April 15 All-Mozart

The Cleveland Orchestra



Flute& Harp Wolfgang& Joseph T H I S W E E K E N D ’ S C O N C E R T S include three works from the Classi-

cal period of music, which grew and flourished in the latter half of the 18th century. The three pieces represent early, middle, and high Classical style, as the embellished music of the Baroque became more refined — not necessarily simpler or without detailing, but more certain in its form and content, while still filled with potential in both joyous and emotive ways. The evening concerts open with an early symphony by F. Joseph Haydn, written in 1761 just as his career as a composer was starting out. “Le Matin” is named for the sunrise awakening depicted in its opening measures — while its treatment of various instruments as occasional soloists in the small orchestra still harkens back to the Baroque era of Bach and Handel. The week’s other two pieces are by one of music’s best-known names, Wolfgang Mozart himself. First is an unusual dual concerto from 1778, for flute and harp, with Cleveland Orchestra principal flute Joshua Smith and guest harpist Yolanda Kondonassis in the solo roles. This lovely piece offers a refreshing mixing together of these two instruments, giving each moments to shine, interspersed with gentler measures of support and harmonizing. To end the concert, guest conductor Jane Glover, a noted authority on Mozart’s music, leads The Cleveland Orchestra in one of the composer’s last three symphonies, penned in the summer of 1788. Symphony No. 39 is the first of these three final symphonic jewels, in which Mozart showcased his mastery of the new Classical style at its height — refined, grandly constructed, shining with eloquence, elegance, and deft artistry. —Eric Sellen

Severance Hall 2015-16

Introducing the Concert


BRAVO! We are pleased to support The Cleveland Orchestra, a Cleveland institution with a global reputation for excellence.

Local Connections. Global Influence. 44 Offices in 21 Countries

Jane Glover In great demand in opera and concert venues around the world, British conductor and music scholar Jane Glover has served as music director of Chicago’s Music of the Baroque since 2002. She made her Cleveland Orchestra debut in April 2014. After studying music at the University of Oxford, Jane Glover completed her doctorate on 17th-century Venetian opera. She served as music director of the Glyndebourne Touring Opera (198185) and of the London Mozart Players (1984-91). This summer, she concludes her eight-year tenure as director of opera at the Royal Academy of Music. Known as a Mozart specialist, Ms. Glover also regularly conducts works by Handel, Monteverdi, and Britten (with whom she worked when she was 16). She has conducted the Berlin Staatsoper, Chicago Lyric Opera, English National Opera, Glimmerglass Opera, Glyndebourne, Metropolitan Opera, New York City Opera, Opera Australia, Opéra National de Bordeaux, Opéra National du Rhin, Opera Theatre of Saint Louis, Royal Danish Opera, Royal Opera House Covent Garden, and the Teatro La Fenice. In addition to Great Britain’s major symphony and chamber orchestras, Jane Glover has conducted those of Houston, Saint Louis, San Francisco, Sydney, and Toronto, as well as the Academy of St. Martin in the Fields, City of London Sinfonia, Boston’s Handel & Haydn Society,

Severance Hall 2015-16

Guest Conductor

Orchestra of St. Luke’s, and the Philharmonia Baroque. Ms. Glover’s discography features symphonies by Mozart and Haydn with the London Mozart Players. With the London Philharmonic, the Royal Philharmonic, and the BBC Singers, she has recorded music of Britten, Haydn, Mendelssohn, Mozart, Schubert, and Walton. Her recent albums include Haydn masses on the Naxos label, and Handel’s Messiah for Signum. Jane Glover’s book, Mozart’s Women: His Family, His Friends, His Music, was published in 2005 and nominated for both the Samuel Johnson Prize and the Whitbread Prize for nonfiction. She holds honorary degrees from several universities, has a professorship at the University of London, and is a fellow of the Royal College of Music. She was named a Commander of the Most Excellent Order of the British Empire in 2003. For more information, please visit



Symphony No. 6 (“Le Matin” or “The Morning”) composed 1761

At a Glance


F. Joseph


born March 31, 1732 Rohrau, Austria died May 31, 1809 Vienna

Haydn composed this symphony in D major in the spring of 1761. It was first performed that same year, at the Esterházy Palace in Vienna, with the composer leading the Esterházy’s court orchestra. The origin of the nickname “Le Matin” (or “The Morning”) was associated with the work almost from its first performance, and refers to the opening measures depiction of a sunrise. The name most likely came from Haydn himself; in interviews four decades later, he talked about Prince Anton Paul Esterházy suggesting that Haydn write a piece about the times of day, which Haydn says he wrote as four quartets; most scholars now believe that Haydn was referring to his three symphonies: No. 6 (“The Morn-

ing”), No. 7 (“Noontime”), and No. 8 (“The Evening”). This symphony runs about 20 minutes in performance. Haydn scored it for the players he had available: 1 flute, 2 oboes, 2 bassoons, 2 horns, and a string section of 4 violin/violas, cello, and bass (who also doubled as one of the bassoonists). Harpsichord continuo may also have been included, as it is with this week’s performances. The Cleveland Orchestra has performed this symphony in only one previous season, when it was presented in November 1920, led by Arthur Shepherd for two performances, and the next month by Nikolai Sokoloff, whose single performance featured just two of the symphony’s four movements.

About the Music O F T E N C A L L E D the Father of the Symphony, “Papa” Joseph

Hadyn did not set out to be. Circumstances and luck came his way just as he turned 30 — and he found that he had both the time and resources to father a whole lot of musical works, including symphonies. Indeed, his new job responsibilities called on him to be constantly composing. And through repeated need, he re-engineered and tinkered with form and format of the symphony (its DNA, as it were) to refine, define, and establish the “symphony” as the prime orchestral form by the end of the 18th century. (That he also helped define what a string quartet could be as a genre, by creating two dozen of those, shows his remarkable versatility and acuity as a musician — and takes nothing away from his work as a symphonist. He was a busy parent.) No. 6, nicknamed “Le Matin” (“The Morning”) came very early in his sequence of a hundred symphonies, and right at the start of the events that allowed him to begin exploring and remodeling the “symphony.” In 1761, Haydn accepted the position of Vice Kapellmeister for the Esterházy princes, an important Austrian noble family. At first, he served under the 74-year-old Kapellmeister Gregor Joseph Werner, who was fully in charge of Severance Hall 2015-16

About the Music


church music, while Haydn was given responsibility of music at social and other occasions. Haydn took the opportunity to employ some better musicians, and allow some lesser ones to be let go. And to write many occasional pieces — some were called symphonies, others called overtures or suites, but even those were works of several movements for an orchestral ensemble. Haydn’s employer had suggested, perhaps off-handedly, that his new composer write a piece “about the hours of the day.” Haydn obliged, but in a larger and more ambitious way — and impressed Prince Anton Paul (and his brother Prince Nicholas) with the resulting three symphonies: No. 6 called “The Morning,” No. 7 “Noontime,” and No. 8 “The Evening.” (The numbering of Haydn’s symphonies came many years later, after the composer’s death, and not very accurately in terms of chronology, but we know that these three were composed as a grouping early in his time with the Esterházys.) In all three of these time-of-day symphonies, Haydn worked in an older “concertante” style, featuring one or more instruments in soloistic roles throughout, and, by doing so, no doubt earning the respect and friendship of the orchestral musicians newly under his charge. No. 6 opens with six measures of crescendo, from very soft to full orchestra, representing sunrise at break of day, before moving directly into a joyful first movement, with flute and oboe given prominent moments. The violin is featured in a solo role in the next two movements, including a pleasing Adagio, and with solo cello occasionally also adding its voice. The flute sounds out again in the Minuet third movement, with bassoon and double bass joining in for a kind of duet at the movement’s Trio section. The finale gives the violin a moment for fiery show before bringing the work to a well-paced conclusion. —Eric Sellen © 2016

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About the Music

The Cleveland Orchestra


Concerto for Flute and Harp composed 1778

At a Glance


Wolfgang Amadè

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

Severance Hall 2015-16

Mozart wrote his Concerto for Flute and Harp in April 1778, during a stay in Paris. The work was written for the Count de Guines and his daughter, who played the flute and the harp, respectively. The first performance was probably a private one at the house of the Count. The United States premiere was given on August 17, 1875, by the Theodore Thomas Orchestra at a Thomas Summer Night’s Concert in New York’s Central Park, with Carl Wehner and Adolphus Lockwood as soloists.

This concerto runs about 30 minutes in performance. Mozart scored it for 2 oboes, 2 horns, and strings, in addition to the solo flute and solo harp. The Cleveland Orchestra performed the second and third movements at a Popular Concert in March 1924, under conductor Nikolai Sokoloff and with soloists Weyert Moor and Laura Newell Veissi. It was performed and recorded in June 1993 with Joshua Smith and Lisa Wellbaum as soloists, conducted by Christoph von Dohnányi.

About the Music T H E H A R P is one of the most ancient of instruments. Yet it was

only very gradually that it found its way into Western art music to become a standard part of and partner to the symphony orchestra. The harp long enjoyed wide currency on the continent and on the British Isles, but its songbook consisted largely of popular dance tunes, and, up to the middle of the 18th century, the social status of harpists was often rather low. The situation began to change when the harp was first provided with a pedal mechanism, allowing the musicians to play all twelve notes of the normal, chromatic Western scale. (The pedal harp soon replaced the earlier hook harp on which chromatic playing had been possible but quite cumbersome.) This new-fangled harp became a fashionable society instrument in many European cities — especially in Paris, where composers, makers, players, and teachers converged and where many of the elegant salons were decorated with pictures of harps. Yet, few 18th-century composers played the harp and were interested in its sound only sporadically. The first harp concerto was probably written by George Frederic Handel, whose Organ Concerto in B-flat major of 1736 was originally intended for the harp. A few decades later, in 1762, Carl Philipp Emanuel Bach wrote a solo for the instrument. And his father, Johann Sebastian, had earlier arranged his Violin Partita in E major for an unAbout the Music


specified instrument which, from its range and writing, many think was the harp. Several other composers wrote concertos and solo pieces for the instrument in the 18th century, but it was not until the early 19th century, after Sébastien Erard had patented the modern double-action harp (on which the pedal could be depressed twice instead of once), that the instrument’s new career as a member of the symphonic orchestra finally began. (One of the earliest orchestral works to feature the harp as part of the ensemble is Berlioz’s Symphonie fantastique, written in 1830.) A N E W A DV E N T U R E I N PA R I S

It is not surprising that Mozart’s only composition using a harp was written in Paris, where, according to various accounts, there were as many as five dozen harp teachers active at the time of the composer’s visit in 1778. Indeed, the Concerto for Flute and Harp, written for the flute-playing Count de Guines and his harp-playing daughter, was one of those occasional works by which the 22-yearold composer hoped to break into the Parisian musical scene. Mozart was desperate to make a name for himself in the French capital. He was trying to establish himself there and find a permanent job. But, much as he hated his working relationship with Archbishop Colloredo in his native Salzburg, he had at first somewhat been reluctant to go visit Paris, and did so only at his father’s insistent urging. On the way, he spent a few months in Mannheim, in the hope of getting a post at the electoral court there. Although this attempt failed, he seemed in no hurry to leave the city in which he found wonderful musicians, good friends, and a very talented 16-year-old soprano named Aloysia Weber with whom he fell deeply in love. Eventually, however, Leopold Mozart told his son: “Off with you to Paris!” So that Wolfgang, accompanied by his mother, took the mail-coach from Mannheim on March 14, 1778, and arrived in the French capital nine days later. Mozart’s sojourn in Paris, which lasted until the end of September 1778, was a total failure, both artistically and financially. The composer hoped in vain to renew the contacts made earlier in the 1760s when he had visited Paris as a child prodigy. Then he had been the center of attention in the city. Ten years later, at age 22, he was only one of many aspiring musicians competing for a limited number of opportunities — and the man who had been so supportive earlier, the German-born and very influential Baron von Grimm, proved singularly unhelpful. Mozart did make new contacts soon after his arrival. As early as


About the Music

The Cleveland Orchestra

April 5, when he had been in Paris some two weeks, his mother reported to her husband that Wolfgang had several pupils and had received numerous commissions. Among these, she mentioned two concertos, “one for the flute and one for the harp,” which was her mistaken way of referring to the “double concerto” for two instruments (flute and harp together as soloists). But eventual material gains from all this work were minimal. Mozart’s letters to his father show his disappointment with his French hosts. He wrote extensively to his father (see page 37) about his long days with the Baron de It is not surprising that Guines and his family, trying to spark interest or enMozart’s only composition thusiasm in music, or simply to be acknowledged. using a harp was written He gave the countess composition lessons — and described to his father, in fascinating details, the in Paris, where, according methods he used with the not-too-gifted young lady to various accounts, there (Mozart’s collected letters are great fun to read, for were as many as five doztheir details of 18th-century life and for their someen harp teachers active at times bawdy storytelling). Regardless, he was paid for his efforts only after a long delay, and then only the time of the composer’s half the promised fee. And for the Flute and Harp visit in 1778. The ConcerConcerto, the count forgot to pay Mozart altogether. to for Flute and Harp was The composer’s contacts with the family soon one among the 22-yearcame to an end, as the countess got married and the count left Paris for his country estate. We do not old composer’s hopes for know if the concerto, or even parts of it, were actubreaking into the Parisian ally played by the commissioning family. musical scene. By this time, however, Mozart had suffered a far greater tragedy, when his mother died, after a short illness, on July 3. At which point Wolfgang, alone and without many funds, wanted to do nothing so much as get out of Paris as soon as possible. THE CONCERTO

By writing a concerto for two instruments, Mozart cultivated a genre that was at the time very fashionable in Paris, the so-called symphonie concertante. Unfortunately, even the popularity of the genre didn’t result in any tangible success for Mozart. Indeed, we don’t know if the concerto was ever performed in Paris — or anywhere for that matter — during Mozart’s lifetime. Composing for the flute was nothing new to Mozart. Just before coming to Paris, he had completed in Mannheim his two Severance Hall 2015-16

About the Music


flute concertos (one a transcription of his Oboe Concerto) and the first of his two flute quartets. Still, he cannot have had much experience with the harp. Like other 18th-century instances where pieces were often interchangeably performed on the harp or the harpsichord, Mozart’s harp part frequently gives a distinctly keyboard-like impression, with its Alberti basses and other typical techniques known to students of the piano. At the same time, of course, there are also many arpeggios and other figures idiomatic of and very suitable for the harp. Although it is natural for the harp to play accompanying figures to the melodies of the flute, Mozart made a visible effort to reverse the roles at times and to give the harp an occasional chance to be the leader. The concerto follows the expected three-movement format. It begins with an Allegro in sonata form and 4/4 time, and then continues with an Andantino in 3/4 also in sonata form, but without a development section (doing without was customary in slow movements). In this Andantino, in which the solo instruments are joined by the strings only, Mozart divided the violas into two sections, giving the movement a unique sound and atmosphere. To bring the concerto to a close, there is a spirited Rondo, in duple meter, in which the two oboes and two horns play important solos along with the flute and the harp. —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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About the Music

The Cleveland Orchestra

Paris 1778

Hobnobbing with the Wealthy . . . In a letter to his father, dated May 1, 1778, Mozart described his visit to Madame la Duchesse de Chabot: “I had to wait for half an hour in a large, ice-cold, unheated room, which hadn’t even a fireplace. At last the Duchesse de Chabot appeared. She was very polite and asked me to make the best of the clavier in the room, as none of her own were in good condition. Would I perhaps try it? I said that I would be delighted to play something, but that it was impossible at the moment, as my fingers were numb and cold; and I asked her to have me taken at least to a room where there was a fire. Oh oui, Monsieur vous avez raison [“Oh yes, sir, you are right”], was all the reply I got. She then began to draw and continued to do so for a whole hour, having as company some gentlemen, who all sat in a circle round a big table, while I had the honor to wait. The windows and doors were open and not only my hands but my whole body and my feet were frozen and my head began to ache. . . . At last, to cut my story short, I played on that miserable, wretched pianoforte. But what vexed me most of all was that Madame and Severance Hall 2015-16

Paris: 1778

all her gentlemen never interrupted their drawing for a moment, so that I had to play to the chairs, tables, and walls. . . . As the Duchess would not hear of my going, I had to wait another half hour, until her husband came in. He sat down beside me and listened with the greatest attention and I forgot the cold and my headache and in spite of the wretched clavier, I played as I play when I am in good spirits. After a while, Mozart gave up calling on aristocratic houses altogether. Getting around in Paris was not easy and not cheap in those days, as Mozart noted in the same letter: “The distances are too great for walking or the roads too muddy, for really the mud in Paris is beyond all description. To take a carriage means that you have the honor of spending four to five livres a day, and all for nothing. People pay plenty of compliments, it is true, but there it ends. They arrange for me to come on such and such a day. I play and hear them exclaim: Oh, c’est un prodige, c’est inconcevable, c’est étonnant! [“Oh, this is a prodigy, this is inconceivable, this is amazing!”], and then it is Adieu.”


Yolanda Kondonassis Yolanda Kondonassis is among the world’s premier solo harpists and today’s most recorded classical harpist. An international performer, she is also an author, educator, and environmental activist. She previously appeared as a concerto soloist with The Cleveland Orchestra in 1994, playing the Ginastera concerto. Ms. Kondonassis heads the harp departments at the Oberlin Conservatory of Music and Cleveland Institute of Music, and presents masterclasses around the world. She plays a Lyon & Healy Salzedo Model harp. Born in Oklahoma, Yolanda Kondonassis attended the Interlochen Arts Academy and studied with Alice Chalifoux (The Cleveland Orchestra’s principal harp, 1931-74) at the Cleveland Institute of Music, where she received bachelor’s and master’s degrees. Her honors include top prizes in the Affiliate Artists National Auditions and the Maria Korchinska International Harp Competition, two National Endowment for the Arts grants, the Darius Milhaud Prize, and a 2011 Cleveland Arts Prize. Since her debut at age 18 with the New York Philharmonic, Ms. Kondonassis has appeared with orchestras across North America and around the world.


She performs at major music festivals, and is regularly featured on CNN, NPR, PBS, and Sirius XM Radio. Committed to contemporary music, Yolanda Kondonassis has premiered works by Bright Sheng, Donald Erb, Keith Fitch, Lauren Keiser, Hannah Lash, and Gary Schocker. Her upcoming projects include a concerto commission with Jennifer Higdon. As a chamber musician, Ms. Kondonassis partners with the Biava, JACK, Jupiter, Rossetti, Shanghai, and Vermeer quartets, as well as with pianist Jeremy Denk, guitarist Jason Vieaux, violist Cynthia Phelps, and flutists Marina Piccinini, Joshua Smith, and Eugenia Zukerman. With hundreds of thousands of albums sold worldwide, Kondonassis’s extensive discography includes nineteen titles. Her 2008 release, Air (Telarc), was nominated for a Grammy Award. Her next album, celebrating Ginastera’s Centennial, features the Ginastera Harp Concerto and will be released in October 2016 on Oberlin Music. As an composer and arranger, her works have been published by Carl Fischer Music. Yolanda Kondonassis is founding director of Earth at Heart, a nonprofit devoted to earth literacy and inspiration through the arts. Her children’s book, Our House is Round: A Kid’s Book About Why Protecting Our Earth Matters, was published by Skyhorse Publishing. For more information, visit www.

Concerto Soloist

The Cleveland Orchestra

Joshua Smith Principal Flute Elizabeth M. and William C. Treuhaft Endowed Chair The Cleveland Orchestra

Firmly established as one of America’s outstanding flutists, Joshua Smith is equally at home as a soloist, chamber musician, and educator. He was appointed as The Cleveland Orchestra’s principal flute at age twenty, joining the ensemble in 1990. He appears regularly as soloist with the Orchestra, in repertoire ranging from Bach and Mozart to Penderecki and Widmann. In September 2014, he was featured with the Orchestra on tour in Europe, playing Jörg Widmann’s flute concerto at the BBC London Proms, Lucerne Festival, Berlin Philharmonie, Vienna Musikverein, and Amsterdam Concertgebouw. Mr. Smith received a Grammy nomination for his Telarc recording, Air, and has recorded two discs with harpsichordist Jory Vinikour dedicated to the Sonatas of J.S. Bach. He appeared on a Live from the Marlboro Music Festival recording and can be heard on more than 100 Cleveland Orchestra recordings. Intrigued with exploring new ways of connecting with audiences, Joshua Smith leads the chamber group Ensemble HD, which features Cleveland Orch-

Severance Hall 2015-16

Concerto Soloist

estra members and guests. The artists perform in concert halls as well as nontraditional venues. Ensemble HD released its first double vinyl album in May 2013, Live at The Happy Dog. It was recorded at The Happy Dog, a local bar-restaurant in Cleveland’s Gordon Square Arts District. Joshua Smith was invited to speak to the National Endowment for the Arts Council about community engagement efforts spearheaded by Ensemble HD. Mr. Smith appears as a chamber musician throughout the United States, including recent and ongoing appearances with the Philadelphia Chamber Music Society series, at the Marlboro and Santa Fe Music Festivals, and with the Israeli Chamber Project. He has performed in collaborative concerts at the Cleveland Museum of Art, Pensacola Museum of Art, Museum of Contemporary Art in Miami, and the 92nd Street Y in New York City. Joshua Smith serves as head of the flute department of the Cleveland Institute of Music. He is a Powell Artist and performs most often on a new grenadilla Powell or on an old Rudall-Carte. A native of Albuquerque, New Mexico, he worked closely with renowned pedagogue Frank Bowen before attending Philadelphia’s Curtis Institute of Music, where he studied with Julius Baker and Jeffrey Khaner. For more information, visit


Experience Royal Life Through June 12 A Centennial Exhibition


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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Karl Schmidt-Rottluff Aug 25 – Dec 18

Marcel Duchamp Apr 5 – Jul 3

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John Singer Sargent Sep 1 – Nov 1

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.


Symphony No. 39 LQ(Ă DWPDMRUK543 composed 1788

At a Glance Mozart wrote this symphony in 1788, completing it (and recording it in his catalog) on June 26. It is not known when the symphony was first performed. This symphony runs about 30 minutes in performance. Mozart scored it for flute, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.


Wolfgang Amadè

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

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The Cleveland Orchestra first performed this symphony in E-flat major at a pair of concerts in January 1922, under the direction of founding music director Nikolai Sokoloff. It has been programmed frequently since that time, most recently at performances in February 2012, conducted by Franz Welser-MĂśst.

About the Music I N T H E S U M M E R O F 1 7 8 8 , after supervising the first Vien-

nese production of Don Giovanni, Mozart composed three symphonies in quick succession. Although he was to live another three years, these were to prove his last essays in the form. They must have been intended for a subscription series that he was planning for that autumn in Vienna, though evidence is scanty that this ever took place. After that, Mozart would have had opportunities to perform them on his visits to Leipzig in 1789 and Frankfurt in 1790, and in charity concerts in Vienna in 1791, and probably on other occasions as well. The old myth that he never heard them played is unlikely to be true. Another frequently repeated notion is that the three symphonies were intended as a triptych. If this means that they were meant to be performed together, the idea is a non-starter: concerts at the time rarely included more than two symphonies, and often even a single work was split into two installments. But Mozart does seem to have set out to compose three symphonies of completely different and complementary characters, with a view to displaying his range of expression across his proposed concert series, and perhaps subsequently in a published set. The character of each work is defined largely by the choice of two inter-related elements, key and scoring. No. 40, in G minor and without trumpets and drums, is intense and tragic; No. 41, in C major and without clarinets, is open and brilliant. As for No. 39, it is in the key of E-flat major, which for Mozart implied warmth and solidity, even solemnity (in 1791 it was to be the home key of his “Masonic� opera, The Magic Flute). And these About the Music


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qualities are matched by the scoring for strings, with cellos and basses frequently separated and violas occasionally divided, and a wind section of flute, two clarinets (these newer, mellow instruments replacing the more usual oboes), two bassoons, two horns, and two trumpets with their associated timpani. The full and warm sound of these instruments in this key is evident at once in the slow introduction, which opens with sonorous dotted (long-short) rhythms, and includes some harsh dissonances before a quiet transition to the main Allegro of the movement. One other significant feature of this introduction is the sweeping downward scales in the violins, which (consciously or unconsciously) are echoed in the Allegro, and in different forms in the slow movement and the finale. The Allegro itself is in 3/4 time, rather than the more usual 4/4, and, in the aftermath of the imposing introduction, the combination of this meter and the lyricism of the lightly scored first subject make the movement seem initially rather slight. Its full stature becomes apparent only with the strenuous tutti, or full orchestra, passages that follow both the first theme and the group of ideas which make up the second subject. Similarly, the A-flat major Andante second movement does not reveal all of its character at once. The serene surface presented at the opening is at first merely ruffled by two bars of minor-key coloring, and only then disturbed by a violent outburst in F minor, which later returns even more vehemently in the remote key of B minor. The trumpets and drums, absent from this movement, return to add weight to the Minuet. The movement’s Trio section, in rustic Ländler time (and apparently based on a traditional dance tune), is dominated by the clarinets, the first demonstrating the instrument’s singing quality while the second plays an accompanying pattern in the low chalumeau register. The closing Allegro is one of Mozart’s most Haydn-like movements, resembling many of his older friend’s finales in its perpetualmotion energy, with only occasional, telling halts, and in the way all its material is spun out of the opening idea — right up to the witty ending. —Anthony Burton © 2016 Anthony Burton is a British writer on music. After studying at Cambridge, he began his career in the United States at the Hopkins Center of Dartmouth College. He subsequently worked in production and as a broadcaster on BBC Radio 3 and BBC World Service.

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About the Music


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A portrait of Wolfgang Amadè Mozart, painted in 1819 by Barbara Kraft, based on paintings created during the composer’s lifetime


I cannot write in verse, for I am no poet. I cannot arrange the parts of speech with such art as to produce effects of light and shade, for I am no painter. Even by signs and gestures I cannot express my thoughts and feelings, for I am no dancer. But I can do so by means of sound, for I am a musician.


—W. A. Mozart, November 1777

orchestra news


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


Cleveland Orchestra News

The Cleveland Orchestra

orchestra news The Cleveland Orchestra’s “At the Movies” series announced for 2016-17 The Cleveland Orchestra has announced a three-concert “At the Movies” series sponsored by PNC Bank for the 2016-17 season. Building on the popularity of film screenings with live music presented over the past five seasons, the Orchestra continues the tradition with Nosferatu in October, It’s a Wonderful Life in December, and Breakfast at Tiffany’s on Valentine’s Day. All three movies will be projected on a giant screen above the Severance Hall stage, with music performed live. “At the Movies” series subscriptions are available now through the Severance Hall Ticket Office, online at, or by calling 216-231-1111. Series subscribers will also be given an opportunity to purchase tickets to a fourth movie, West Side Story, at a discounted price, before tickets go on sale to the general public. The film score to West Side Story will be performed live by The Cleveland Orchestra in June 2017 as part of the regular weekly classical subscription concerts. The 2016-17 “At the Movies” series features: On Tuesday, October 25, the classic 1922 silent horror film Nosferatu will be presented. This film is acclaimed as an influential cinematic masterpiece, starring Max Schreck as the vampire Count Orlok. Organist Todd Wilson will accompany the film with improvised live music on Severance Hall’s Norton Memorial Organ. On Thursday, December 8, Frank Capra’s holiday classic It’s a Wonderful Life starring James Stewart and Donna Reed will be shown with the music of the soundtrack performed live by The Cleveland Orchestra and the Cleveland Orchestra Youth Chorus, conducted by Brett Mitchell. To close the series, on Valentine’s Day, Tuesday, February 14, guest conductor Justin Freer will lead The Cleveland Orchestra in the live musical score to the romantic comedy Breakfast at Tiffany’s, starring Audrey Hepburn.

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.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.

Cleveland Orchestra News


Musicians Emeritus of




















Listed here are the living members of The Cleveland Orchestra who served more than twenty years. Appointed by and playing under four music directors, these 45 musicians collectively completed a total of 1596 years of service — representing the Orchestra’s ongoing service to music and to the greater Northeast Ohio community. Listed by instrument section and within each by retirement year, followed by years of service. FIRST VIOLIN Keiko Furiyoshi 2005 — 34 years Alvaro de Granda 2 2006 — 40 years Erich Eichhorn 2008 — 41 years Boris Chusid 2008 — 34 years Gary Tishkoff 2009 — 43 years Lev Polyakin 2 2012 — 31 years SECOND VIOLIN Richard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 years Stephen Warner 2016 — 37 years VIOLA Lucien Joel 2000 — 31 years Yarden Faden 2006 — 40 years CELLO Martin Simon 1995 — 48 years Diane Mather 2 2001 — 38 years Stephen Geber * 2003 — 30 years Harvey Wolfe 2004 — 37 years Catharina Meints 2006 — 35 years Thomas Mansbacher 2014 — 37 years BASS Lawrence Angell * 1995 — 40 years Harry Barnoff 1997 — 45 years Thomas Sepulveda 2001 — 30 years Martin Flowerman 2011 — 44 years HARP Lisa Wellbaum * 2007 — 33 years FLUTE/PICCOLO William Hebert 1988 — 41 years John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years

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

** Principal Emeritus * Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

listing as of February 2016



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orchestra news



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

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

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

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The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who have volunteered for such events and presentations during the 2014-15 and 2015-16 seasons. Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Hans Clebsch Patrick Connolly Ralph Curry Marc Damoulakis Alan DeMattia Vladimir Deninzon Maximilian Dimoff 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 Yoko Moore 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


orchestra news


March was “Music in Our Schools” Month — Cleveland Orchestra’s education programs include “Learning Through Music” tying music to core curriculum March was “Music In Our Schools” Month — but The Cleveland Orchestra is teaching and helping with learning all year ’round. For nearly a century, education has remained a central part of the Orchestra’s mission, and partnerships with Cleveland-area schools remain at the heart of the institution’s ongoing approach. Among many offerings both at Severance Hall and beyond, 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. 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.” 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. (Over 18,000 additional students attend Education Concerts annually from the community at-large.) 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 vibrant 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 more information about The Cleveland Orchestra’s education programs, visit

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news


Auditions announced for Cleveland Orchestra Choruses for 2016-17 season and 2016 Blossom Music Festival

Family Concerts for 2016-17 season announced The Cleveland Orchestra has announced details of its Family Concerts series for the 201617 season. The series, for children ages 7 and older, are designed to introduce young people to classical music and feature performances by The Cleveland Orchestra with special guest artists. Subscriptions are now available through the Severance Hall Ticket Office. The three Family Concerts take place on Sunday afternoons in October, March, and April, with each featuring a program of music around a special theme. Prior to each 3:00 p.m. concert, an hour of free family-friendly pre-concert activities takes place throughout Severance Hall. The season’s concerts are: On Sunday, October 30, Halloween Spooktacular: Superman at the Symphony celebrates the first comic book superhero ever created (right here in Cleveland). The afternoon will feature the annual Halloween Costume Contest, with attendees encouraged to dress up. On Sunday, March 5, The Magic Firebird presents an imaginative production of the classic Russian tale of The Firebird, set to Igor Stravinsky’s dynamic ballet music. The Orchestra is joined by Enchantment Theatre Company, who will bring the story to life with large puppets, masks, and magic. The series concludes on Sunday, April 2, with Prokofiev’s “Peter and the Wolf,” in which the characters in the story are portrayed by various instruments as told by the guest artists of Magic Circle Mime Co.

Severance Hall 2015-16

The Cleveland Orchestra Choruses have announced spring audition dates for membership in adult, youth, and children’s ensembles for the 2016-17 season. The Cleveland Orchestra has a long-standing commitment to and tradition of choral music in which community members of all ages have the opportunity to participate. Adult singers can audition for the Cleveland Orchestra Chorus and/or Blossom Festival Chorus on Thursday evenings, April 28 and May 5, or on Saturday afternoon, May 7. Students in grades 9-12 (and boys in grade 8 whose voice has changed) can audition for the Cleveland Orchestra Youth Chorus. Audition dates are Sunday, May 22, or Saturday mornings, June 4 and 11. Children in grades 5-9 can audition for the Cleveland Orchestra Children’s Chorus or Children’s Preparatory Chorus. Audition dates are Monday evening, May 23, or Saturday afternoons, June 4 and June 11. A scheduled audition time is required for all ensembles. All auditions are by appointment only and can be arranged by visiting

B LOSSOM 2O16 Blossom season announced Dates and programming for the 2016 Blossom Music Festival were announced on February 7. Look for details online at Individual tickets to on sale on May 9.

Cleveland Orchestra News


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


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


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

Sound for the Centennial Campaign

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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

GIFTS OF $100,000 TO $250,000

The Abington Foundation Akron Community Foundation Mr. and Mrs. George N. Aronoff Jack L. Barnhart Fred G. and Mary W. Behm Madeline & Dennis Block Trust Fund Ben and Ingrid Bowman Dr. Christopher P. Brandt and Dr. Beth Sersig Buyers Products Company Mr. and Mrs. David J. Carpenter Mary Kay DeGrandis and Edward J. Donnelly Judith and George W. Diehl 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


The arts enrich all our lives.

A community is more than a collection of homes and businesses. It’s also the institutions that improve our lives through art, music, dance, and theater. KeyBank supports a wide range of arts organizations, because we know that a vibrant cultural scene is vital to bringing the people of our communities closer through their shared appreciation of the diverse talents they provide. That’s why KeyBank is a proud sponsor of The Cleveland Orchestra and this evening’s concert. KeyBank helps people and businesses thrive. Learn more. Contact KeyBank at is federally registered service mark of KeyCorp. ©2016 KeyCorp. KeyBank is a Member FDIC.



The Cleveland Orchestra


W E L S E R - M Ö ST M U S I C


Severance Hall

Thursday evening, April 21, 2016, at 7:30 p.m. Saturday evening, April 23, 2016, at 8:00 p.m. Sunday afternoon, April 24, 2016, at 3:00 p.m.

Antoni Wit, conductor RICHARD WAGNER (1813-1883)


2015-16 SEASON

Overture: Polonia [Poland]

Piano Concerto No. 2 in F minor, Opus 21 1. Maestoso 2. Larghetto 3. Allegro vivace JAN LISIECKI, piano


Symphony No. 3 (“Eroica”) in E-flat major, Opus 55 1. 2. 3. 4.

Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace Finale: Allegro molto — Poco andante — Presto

These concerts are sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence. Thursday’s concert is co-sponsored by Materion Corporation, and by American Greetings Corporation. Antoni Wit’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from James and Donna Reid. Jan Lisiecki’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Sterling A. and Verdabelle Spaulding. The concert will end on Thursday evening at about 9:25 p.m. and on Saturday night at approximately 9:55 p.m.

Severance Hall 2015-16

Concert Program — Week 18


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Calm Virtuosity & Heroic Choices T H I S W E E K E N D ’ S C O N C E R T S offer a program filled with differing

flavors of nationalistic — or patriotic — fervor, across European borders and battlelines, between politics and musical passion. The pieces come in Polish and Germanic flavors, tinged with Polish, French, and musical ideals. To open the concert, guest conductor Antoni Wit leads a rarely-performed concert overture by the opera composer Richard Wagner. This unusual piece, written early in the composer’s career in 1835-36, is an amalgam of musical ideas, created prior to Wagner developing his mature musical style. It is an ode to Poland as a country and for the freedom of its people. Next comes Frédéric Chopin’s PIano Concerto No. 2, filled with consummate musicianship and style, elegance and deft flare. Guest pianist Jan Lisiecki takes up the solo role in this concerto, which catapulted Chopin’s early career as a symbol of Polish pride in 1830. The concert concludes with Beethoven’s Third Symphony, nicknamed the “Eroica” or “Heroic.” Here the composer sounded his symphonic genius, creating a longer, bigger, more powerful symphony than any written before him. Inspired by Napoleon’s heroic stand for French liberty — and renamed for the ideal of freedom when Napoleon became too self-obsessed — this is music of great passion and astounding musical verve. In this work, Beethoven’s mastery and vision transformed the idea of “symphony” into a very personal artform — filled with power, meaning, and revolution. —Eric Sellen ABOVE

“Napoleon Crossing the Alps” — a painting from 1805 by Jacques-Louis David, portraying Napoleon as a fearless and heroic leader.

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Introducing the Concert


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The Cleveland Orchestra

Antoni Wit Conductor Antoni Wit is one of Poland’s most highly-regarded symphonic leaders. He has served as artistic director of Spain’s Orquesta Sinfónica de Navarra since 2013. He is making his Cleveland Orchestra debut with this weekend’s concerts. A strong advocate of Polish music — ranging from Lutosławski and Penderecki to Górecki and Kilar — Antoni Wit has conducted many premiere performances of their compositions. He has led more than 150 recordings for CBS, Decca, EMI, Naxos, NVC Arts, Polskie Nagrania, and Sony. His discography includes Lutosławski’s complete orchestral works and Szymanowski’s complete oratorios and orchestral works. Mr. Wit’s recording honors include a BBC Music Magazine Editor’s Choice award, Diapason d’Or, EMI Record of the Year, four Grammy nominations, Gramophone Editor’s Choice award, Midem Classique, and several Polish Phonographic Academy Fryderyk awards. Along with Poland’s major orchestras, Mr. Wit has guest conducted the Accademia Nazionale di Santa Cecilia Rome, BBC Symphony, Berlin Philharmoniker, China Philharmonic, Dresden Staatskapelle, Montreal Symphony Orchestra, Royal Philharmonic, and the St. Petersburg Philharmonic. He also has conducted operas by Menotti, Rossini, and Verdi in Malmö and Warsaw, and Moniuszko’s Halka in Tokyo and Trieste. A graduate of Kraków’s State Higher School of Music, Antoni Wit studied conducting with Henryk Czyż and composi-

Severance Hall 2015-16

Guest Conductor

tion with Krzysztof Penderecki, and then later worked with Nadia Boulanger in Paris. In 1969, he earned a law degree at Kraków’s Jagiellonian University. He was named assistant at the National Philharmonic by Witold Rowicki. In 1971, he placed second in the Herbert von Karajan International Conducting Contest. He subsequently studied at Tanglewood with Stanisław Skrowaczewski and Seiji Ozawa in 1973. Antoni Wit served as artistic director of the Pomeranian Philharmonic (19741977), and was director of the Orchestra and Choir of Polish Radio and Television in Krakow (1977-1983). In 1983, he became the managing and artistic director of the Polish Radio National Symphony Orchestra, leading that ensemble seventeen years. Between 1987 and 1992 he was artistic director, and later a guest conductor, of the Orquesta Filarmónica de Gran Canaria. He served as managing and artistic director of the National Philharmonic in Warsaw (2002-13). Since 1998, he has been a professor of conducting at the Fryderyk Chopin University of Music in Warsaw.


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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

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Polonia [Poland] Concert Overture composed 1835-36

At a Glance


Wagner wrote this concert overture in 1835-36, although he may have incorporated ideas that had occurred to him as early as 1832. (In addition to this work saluting the cause of Polish freedom, he also wrote an arrangement of “Rule Britannia” in 1836, as an offering to the London Philharmonic Society.) Wagner led the overture’s first performance, on March 29, 1836, in Magdeburg.

This work runs about 10 minutes in performance. Wagner scored it for 2 piccolos and 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, percussion (triangle, cymbals, tenor drum, field drum, and bass drum), and strings. The Cleveland Orchestra is performing this overture for the first time with this week’s performances.



About the Music

born May 22, 1813 Leipzig

B E F O R E T H E R E W A S Richard Wagner the musically daring,

died February 13, 1883 Venice

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egomaniacal, and grandly successful opera composer, there was . . . Richard Wagner the poor student, the drinking and carousing young man, the hot-headed revolutionary, the lovestruck youth, the tempestuous young musician in search of . . . himself. This week’s concerts begin with a rarely-performed concert overture from Wagner’s early years. It is more heartfelt than accomplished, more indicative of the young Wagner’s musical training and thinking of the time than the polished musical revolutionary he would become. Before there was the modern self-governed state of Poland, there was the Polish language and Polish people who brought together lands that were then traded back and forth — for centuries — among Germanic and Russian rulers. At times, puppet states were established with a veneer of self-rule, while other times saw sections of land simply ruled over quite directly. That the “country” survived at all is, in many ways, remarkable. Although Poland is, of course, not the only people to be subjugated for generations, survive, and then ultimately begin to flourish. Other lands and peoples, even in our modern world, still await self-rule. Poland, during Wagner’s lifetime was subject to the obliterating effect of “the Partition” agreement from the previous century. The flame of freedom that the United States ignited by warring against Great Britain, followed by the French warring against their own royalty, lit smaller and larger fires across About the Music


Europe in subsequent generations. Wagner himself had youthful sympathies, certainly for Poland and later for the Germanic lands where he lived. He famously escaped from Dresden in 1849 after a big uprising there, which would have landed him in jail had he not made haste to become an exile in Switzerland. The concert overture Polonia — the word is Latin for the Polish regions, although today it is used more often to refer to the many Polish people living outside Poland — was created in 1836 as the young Wagner was laboring to find his own voice as a composer. In his memoirs, he claimed that the work recalled an evening of solidarity with a group of Polish exiles, drinking and singing late into the night in May 1832. But the piece was also simply an exercise in orchestrating, with an ensemble at his disposal for testing and listening to ideas from his mind while he was music director at Magdeburg. (Wagner is not the only big-name classical composer to have penned a tribute to Poland — Edward Elgar also wrote a Polonia overture, in 1915.) This music is not the Richard Wagner who changed musical history — who headed us squarely toward “modern” music with the shifting, curving tonalities of Tristan and Isolde. It is not even the Wagner of his three youthful operas (Die Feen, Das Liebesverbot, and Rienzi). Yet it draws clearly on the kinds of contemporary operas he was learning and conducting at Magdeburg — with moments recalling boisterous passages from Donizetti, whose music he liked, and even Bellini, whose vocal writing Wagner admired throughout his life. Even with the hindsight of history filling our ears with everything Wagner would yet become, this overture makes extraordinarily interesting listening. It is solidly built, with an architecture that reveals his famously careful and methodical (if sometimes overly prosaic) mind. Listen for what you can hear in it. —Eric Sellen © 2016


About the Music

The Cleveland Orchestra

Piano Concerto No. 2 in F minor, Opus 21 composed 1829-30

At a Glance



CHOPIN born March 1, 1810 Zelazowa Wola, Poland died October 17, 1849 Paris

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Chopin wrote his F-minor Piano Concerto in 1829-30. He played the solo part at the private premiere performance, on March 4, 1830, in Warsaw, conducted by Karol Kurpinski. A public performance was given two weeks later, on March 17, at the Warsaw National Theater as part of Chopin’s “debut” concert in the capital. The concerto was designated as “No. 2” at the time of its publication. (Chopin’s other piano concerto, in E minor, written later in 1830, was published first, as “No. 1.”)

This concerto runs about 30 minutes in performance. Chopin scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, bass trombone, timpani, and strings. The Cleveland Orchestra first presented this concerto in December 1932, conducted by Nikolai Sokoloff and with Josef Hofmann as soloist. It has been heard on a few occasions since that time, most recently in November 2012, when Louis Lortie played the solo part under the direction of Jaap van Zweden.

About the Music C H O P I N ’ S T W O P I A N O C O N C E R T O S are both early works,

composed before he left Warsaw for what was to be a journey that led to Paris as his permanent home. He was just twenty, with considerable ambitions as a composer and as a virtuoso pianist, and his French father, Nicolas Chopin, was far from being the obstructive parent that great artists are traditionally supposed to battle against. He made it clear to his son that to succeed at the highest level in music he needed to experience the wider world and to find out for himself how music was cultivated in the great capitals of Europe: Vienna, Berlin, Paris. The concerts Chopin gave in Warsaw before leaving his hometown in 1830 put his immense talents on display and earned him the label “genius” from at least some members of the press. Concerts in that era were entirely different from the events we know today. They lasted three hours or more, and often included a number of soloists, among them always at least one singer. Solo pieces alternated with orchestral music. There was generally a chorus on hand, and the weight of the music would tend to get lighter as the evening proceeded. The public was especially enamored of singers, preferably famous sopranos, and of pianists, who had an instrument of great brilliance at their command. During Beethoven’s lifetime, the piano had enjoyed the About the Music


fruits of rapid industrial advance. It was stronger, heavier, larger, and louder. It was in those days still always brown, never black, and it was equipped with a variety of pedals for special effects. Its sound could fill ever larger halls. Above all, by the time Chopin appeared on the scene it had an upper register that added more than an octave to the range of the instruments that Mozart had played. This high register had a tinkly brilliance that pianists and composers rushed to exploit. (Even Beethoven’s inactive ears responded to this new sound in his later works.) Finger virtuosity was the goal of every aspiring pianist, and the études and variations that poured from the presses offered even modest piaPremiering his concerto in nists the chance to impress their listeners 1830, Chopin was greetwith cascades of notes that sound much ed as a true national hero more difficult than they really are. in Warsaw: “How beautiAt the highest level, therefore, pianistcomposers had to develop a truly formidafully he plays! What fluble finger technique, the most celebrated ency! What evenness! He exponent of which was the young Franz plays with such certainty, Liszt. Chopin was among the young virso cleanly that his concerto tuosos of this order, although he did not meet Liszt until reaching Paris. His models might be compared to were Johann Nepomuk Hummel, Friedrich the life of a just man: no Kalkbrenner, and Ignaz Moscheles — well ambiguity, nothing false.” established touring pianists and successful composers, all of whom wrote concertos that combine great virtuosity with solid craftsmanship. Chopin probably did not know any of Mozart’s or Beethoven‘s concertos in his teenage years. Hummel was his model for this concerto in F minor, which, although today known as his Concerto No. 2, was really written before the concerto in E-minor now known as “No 1”. In the 19th century, the order of publication of musical works often determined a piece’s numbering, regardless of what order things may actually have flowed from a composer’s pen. Chopin performed the F-minor concerto (No. 2) in Warsaw in March 1830 to rapturous acclaim from the press. He was greeted as a true national hero: “How beautifully he plays! What fluency! What evenness! There could be no more perfect concord between the two hands. He plays with such certainty, so cleanly that his concerto might be compared to the life of a just man: no ambiguity, nothing false. He plays with the good manners of a well-bred person who may indeed be aware of his own significance but has no pretensions, knowing that, if he chose, anything might be permitted to him. His music is full of expressive feel-


About the Music

The Cleveland Orchestra

ing and song, and puts the listener into a state of subtle rapture, bringing back to his memory all the happy moments he has known.” Chopin’s playing, in fact, was always noted for its high breeding and lack of showy display, yet his music, especially his concertos, calls for great precision and brilliant polish. We cannot fail to notice that the critic had already observed the expressive qualities of this music. The new work was repeated a week later to even greater applause. Chopin already had a second concerto in the works. This was to be known as No. 1, in E minor. It was ready by October 1830, when the composer performed it to another enthusiastic audience. “The bravos were deafening,” Chopin reported, although there was little response in the press. A few weeks later he left Warsaw, never to return. Chopin’s concertos have been criticized for the minor role allotted to the orchestra and — by Berlioz — for their unadventurous use of instruments. And they treat the classical key system with a youthful certain impudence. Yet their melodic richness, their warmly colored harmony, and their highly crafted piano writing all ensure their place in the repertory. Chopin himself played the F-minor concerto (No. 2) only twice more, during his early years in Paris. He would not have regarded it as approaching the peak of his creative genius, but as a vehicle for a young pianist-composer it served him well. For Chopin to model his first attempt at a full-scale concerto on a work by Hummel is neither surprising nor shameful. Having studied with Mozart as a boy, Hummel went on to a brilliant career. He visited Warsaw in 1828 and met young Chopin, who regarded his concertos with enormous admiration. They were up-to-date virtuoso works, more advanced in this respect — of sheer virtuosity — than Beethoven’s concertos (which, in any case, Chopin did not know). The first movement of Chopin’s concerto is based on themes that start off simply but are quickly subjected to fanciful elaborations of every kind. The second movement is a marvel of elegance and filigree decoration, the orchestra giving patient support throughout. And the finale has the character of a lively Polish dance, part mazurka, part krakowiak, in 3/4 time. Towards the end, the horn sounds the signal for a turn to the major key and a coda driven by cascades of notes ranging from one end of the piano to the other. —Hugh Macdonald © 2016 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.


About the Music

The Cleveland Orchestra

Jan Lisiecki Canadian pianist Jan Lisiecki has won acclaim for his interpretive maturity, distinctive sound, and poetic sensibility. He is making his Cleveland Orchestra debut with this weekend’s concerts. Among Jan Lisiecki’s honors are many Canadian music awards, including from several Canadian music festivals and OSM Standard Life Competitions, and the 2010 Révélations Radio-Canada Musique and 2011 Jeune Artiste des Radios Francophones awards. In 2013, he received the Leonard Bernstein Award at the Schleswig-Holstein Music Festival, and was named Gramophone magazine’s Young Artist of the Year. He has been a prize winner in seven international competitions — in England, Italy, Japan, and the United States. He has also been featured on radio and television programs in Europe and North America. He is the subject of a CBC National News documentary called The Reluctant Prodigy. Mr. Lisiecki has performed at many music festivals in Poland, with Canada’s major orchestras, and with the BBC Symphony, Deutsches Symphonie-Orchester Berlin, Gothenburg Symphony Orchestra, Leipzig Radio Symphony Orchestra, Minnesota Orchestra, New York Philharmonic, NHK Symphony Orchestra, Orchestra Filarmonica della Scala, Orchestre de Paris, Philadelphia Orchestra, and Zurich’s Tonhalle Orchestra. He has appeared in recital in London, Rome, and San Francisco. His current schedule includes concerts with the Bamberg Symphony, San

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Guest Soloist

Francisco Symphony, and a tour of Europe with the Zurich Chamber Orchestra. Born to Polish parents in Canada in 1995, Jan Lisiecki began piano lessons at age five and made his concerto debut four years later. After skipping four grade levels, he graduated from Western Canada High School and earned a bachelor’s degree at the Glenn Gould School of Music in Toronto. He came to international attention in 2010, when the Fryderyk Chopin Institute issued his live recording of Chopin’s piano concertos. Deutsche Grammophon signed him as an exclusive artist in 2011; his albums include works by Mozart, Chopin, and Schumann. Mr. Lisiecki is committed to making the world a better place through charity work and advocacy. He donates time and performances to such organizations as the David Foster Foundation, Polish Humanitarian Organization, and the Wish Upon a Star Foundation. In 2012, he was named Unicef Ambassador to Canada, having been a National Youth Representative since 2008.


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Symphony No. 3 (“Eroica” or “Heroic”) in E-flat major, Opus 55 composed 1802-04

At a Glance


Ludwig van

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

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Beethoven composed his Third Symphony between 1802 and 1804. He conducted the first performance at a private concert in the home of Prince Lobkowitz, to whom the work is dedicated, in December 1804. The first public performance took place at the Theater-an-der-Wien on April 7, 1805, with the composer conducting. This symphony runs about 50 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings.

The Cleveland Orchestra first performed Beethoven’s “Eroica” Symphony in October 1920, under Nikolai Sokoloff’s direction. It is among the most frequently performed symphonies in the Orchestra’s repertoire, appearing often in Cleveland’s programming at home and in cities around the world. The Cleveland Orchestra has recorded Beethoven’s Third three times: in 1957 with George Szell, in 1977 with Lorin Maazel, and in 1983 with Christoph von Dohnányi.

About the Music T H E O R I G I N S O F A W O R K as momentous in its impact

on history as on hearers of every generation cannot be lightly traced. Yet, for this symphony, two separate impulses seem to have fused in Beethoven’s mind, as in some white-hot cauldron, creating a solid artifact whose effect and power dwarf the mere historical circumstances of its composition. The first impulse was Beethoven’s admiration for Napoleon as a symbol of human heroism. The idea of basing a symphony on Bonaparte was said to have been suggested by General Bernadotte, the French ambassador to Vienna, with whom Beethoven was certainly acquainted. The story of the title page of the completed symphony, headed “Bonaparte,” being angrily torn up by Beethoven on hearing that Napoleon had crowned himself Emperor is well attested. From what we know of Beethoven’s character, he is more than likely to have drawn a comparison between Napoleon and himself, feeling within him the power to refashion the art of music as comprehensively as Napoleon was redrawing the map of Europe. The second impulse was personal. In October 1802, Beethoven drew up the extraordinary document known as the Heiligenstadt Testament, in which he calmly acknowledged the likely permanence of his deafness and less calmly bequeathed his earthly goods to his two brothers. But for his art, he admits, he About the Music


ABOVE AND BELOW — Differing accounts of Beethoven’s outrage at Napoleon.

The story tells of him tearing the paper in two. The manuscript (at top) shows a physical, maybe violent attempt to erase the word “Buonaparte.”

Bonaparte out, “Heroic” in “In this symphony, Beethoven had Buonaparte in mind, but as he was when he was First Consul. Beethoven esteemed him greatly at the time and likened him to the greatest Roman consuls. I as well as several of his more intimate friends saw a copy of the score lying upon his table with the word ‘Buonaparte’ at the extreme top of the title page, and at the extreme bottom ‘Luigi van Beethoven,’ but not another word. Whether and with what the space between was to be filled out, I do not know. I was the first to bring him the intelligence that Buonaparte had proclaimed himself emperor, whereupon he flew into a rage and cried out: ‘Is he then, too, nothing more than an ordinary human being? Now he, too, will trample on all the rights of man and indulge only his ambition. He will exalt himself above all others to become a tyrant!’ Beethoven went to the table, took hold of the title page by the top, tore it in two, and threw it on the floor. The page had to be rewritten, and only then did the symphony receive the title ‘Sinfonia eroica’.” — from Recollections of Ferdinand Ries


Beethoven’s Third Symphony

The Cleveland Orchestra

would have ended his own life: “It seemed impossible to leave the world until I had brought forth all that I felt was within me.” Since his Third Symphony, the “Eroica,” was already planned and was to preoccupy him throughout the summer of 1803, it may be said to have saved his life — as though music itself achieves its own triumphs over human frailty, a theme suggested in the splendor of the Third Symphony’s finale, and even more affirmatively in the Fifth Symphony. After the “Eroica,” Beethoven’s music was irretrievably changed. Great musical landscapes were opened up, which he spent the rest of his life exploring, but at the same time the sense of primal beauty — which is more perfectly expressed in Beethoven’s early works than in any other music, even Mozart — was lost. Beethoven’s With his Third Symphony, gift of flowing, elegant melody was now not just Beethoven’s swamped by the relentless dynamic energy music was changed, but of the heroic Middle Period. His orchestraall music was irretrievably tion became heavier, his movements longer, and the domestic quality of his music was changed. The 18th centutransformed into great idealism, on the one ry, with its pleasant music, hand, and profound inner searching, on the was chronologically and other. Not just Beethoven’s music was changed, culturally buried. Music all music was irretrievably changed. The was henceforth inescapably 18th century, with its pleasant music, was more personal, expressive, chronologically and culturally buried — and and profoundly dramatic. pre-Romantic civilization left for modern archaeology to uncover. Music was henceforth inescapably personal, expressive, and profoundly dramatic. And earlier music, no matter what its origins, was now interpreted in the new way. The conventions of listening and interpretation that Beethoven forced on his Viennese audiences are with us still today. Not all those early listeners found the Third Symphony agreeable. In 1805, everyone was struck by its great length, while many found it headed in the wrong direction. “His music,” wrote one critic, “could soon reach the point where one would derive no pleasure from it, unless well trained in the rules and difficulties of the art, but rather would leave the concert hall with an unpleasant feeling of fatigue from having been crushed by a mass of unconnected and overloaded ideas and a continuous tumult from all the instruments.” Another writer confessed that he found in the Severance Hall 2015-16

About the Music


new symphony “too much that is glaring and bizarre,” turning at once to a symphony by Anton Eberl (a composer now largely forgotten) that gave him more pleasure. The strength of the “Eroica” is surely that it challenges us to see new significance and new meaning in it at every performance. Those who predicted that it would take centuries before it was fully understood may have been right. A C LO S E R LO O K AT T H E M U S I C

The new attitude of self-importance that disgusted freedom-loving Beethoven — “Napoleon On His Imperial Throne,” oil on canvas painting, by Jean-Auguste Dominique Ingres, 1806.


The first movement is created on an immense scale, with development and coda sections extended beyond any movement written before it. Unlike many symphonies by Mozart or Haydn, it has no slow introduction. Instead, it is prefaced by two robust chords of E-flat major, like an affirmation of solidity and strength with the sort of finality one expects to find at the end of a movement, not the beginning. A movement in 3/4 meter allows rich opportunities for cross-rhythms and cross-accents, of which Beethoven takes full advantage, sometimes laying the stress on the second rather than the first beat of the measure, sometimes leaving the first beat silent, and at moments of greatest tension hammering out dissonant chords at two-beat intervals as if to deny the movement’s basic pulse altogether. At other times, the music glides effortlessly along, even if distant storms are never far over the horizon, and the movement ends with the same two solid chords with which it had opened. The second movement, an awesome funeral march, is somber and processional in the minor key, drawing an intense sound from the strings that would have been unimaginable in the previous century. The major key pierces the tragedy with the winds, led off by the oboe, unfolding a noble melody that reaches a strong climax before returning to the march. A fugal episode generates enormous power, and the desolate ending is beyond words. Even the third-movement Scherzo, in which Beethoven would normally settle for a lighter mood, finds extraordinary dynamic strength, and its Trio section puts the three horns on display (when just two horns would previously have been normal in a symphonic work like this). It is typical of Beethoven that in a work of such high seriousness he finds room for his incessant humor. It sometimes makes About the Music

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you wonder if he was serious at all. The well-known moment at the first movement’s recapitulation, when the horn apparently makes a false entry comes across as a well-intended joke. So too is the portentous rush of notes (in the wrong key) at the beginning of the fourth-movement finale, leading not to a weighty thematic declaration, but to a simple, almost inane, bass line bereft of theme, which acts as an expectant anticipation of the main theme. When the theme does arrive, it turns out to be no more than a dance tune of surpassing obviousness borrowed from the ballet The Creatures of Prometheus, which Beethoven had written just a couple of years earlier. Ballet music! Just as we start to wonder how he could have sunk so low, the music becomes fugal, then dramatic, then aggressive, then elegiac, then massively grand and conclusive. Once again, Beethoven has outwitted his listeners by the sheer power of his invention. Keeping pace with his thought processes is an exhausting, but happily inexhaustible and energizing, occupation. —Hugh Macdonald © 2016

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About the Music


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Severance Hall

Tuesday evening, April 26, 2016, at 7:30 p.m.

2015-16 SEASON

Prior to the movie presentation, The Cleveland Orchestra will perform

Young Frankenstein: Transylvanian Lullaby by John Morris (b.1926) A S Y M P H O N I C N I G H T AT T H E M O V I E S

with ith th the score performed f d li live

by THE CLEVELAND ORCHESTRA conducted by RICHARD KAUFMAN Directed by James Whale Produced by Carl Laemmle, Jr. Screenplay by William Hurlbut from the novel “Frankenstein” by Mary Shelley Music by Franz Waxman A Universal Picture

THE CAST Boris Karloff . . . . . . . . . . . . . . . . . . . . . . . . . . . . The Monster Colin Clive . . . . . . . . . . . . . Baron Henry von Frankenstein Valerie Hobson . . . . . . . . . . . . Elizabeth von Frankenstein Ernest Thesiger . . . . . . . . . . . . . . . . . . . . . . . . Dr. Pretorius Elsa Lanchester . . . . . Mary Shelley / The Monster’s Mate Gavin Gordon . . . . . . . . . . . . . . . . . . . . . . . . . . . Lord Byron Douglas Walton . . . . . . . . . . . . . . . . . . . . . . . . Percy Shelley Una O’Connor . . . . . . . . . . . . . . . Minnie, the Housekeeper The film is presented without intermission and will end at approximately 9:00 p.m.

The Cleveland Orchestra’s At the Movies series is sponsored by PNC Bank, a Cleveland Orchestra Partner in Excellence. Cleveland Orchestra Media Partner:

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Concert Program — Bride of Frankenstein


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The Cleveland Orchestra

THE STORY Mary Shelley (Elsa Lanchester), author of the book Frankenstein, reveals to Percy Shelley (Douglas Walton) and Lord Byron (Gavin Gordon) that Baron Henry von Frankenstein (Colin Clive) and his Monster (Boris Karloff) did not die in the mill fire. We flashback to scenes from the previous movie, “Frankenstein” (1931). After the mill collapses, and it seems the Monster has been destroyed, the burgomeister (E.E. Clive) urges everyone to return to their homes. But the father (Reginald Barlow) of the little girl who the Monster had accidentally killed wants to see the creature’s dead body with his own eyes. His wife (Mary Gordon) tries to stop him, but he wanders through the still-burning debris, falls through a hole to a flooded cavern, and is killed by the Monster. The Frankensteins’ servant Minnie (Una O’Connor) also meets with the Monster, but manages to escape with her life — but no one believes her when she says that the Monster is still alive. Meanwhile, Henry wants nothing more than to settle into a peaceful life with his new bride (Valerie Hobson). But his old professor, Dr. Pretorius (Ernest Thesiger), now disgraced, convinces him to continue his work in creating new life. Soon the village learns that the Monster is still alive. They capture him, but he escapes and goes wandering through the forest as the villagers hunt him. The Monster discovers an isolated cabin occupied by an old blind hermit (O.P. Heggie), who is playing the violin. The creature and the lonely hermit become friends, as the old man teaches the Monster the joys of music, cigars, bread, and wine. The Monster understands human speech and soon learns to speak himself. Their happiness together is dashed when two travelers stop by to ask directions. They recognize the Monster and attack him, inadvertently burning down the hermit’s cabin. The Monster runs away, angry and unhappy. A chance meeting brings Dr. Pretorius and the Monster together — and Pretorius uses the Monster to kidnap Mrs. Frankenstein and blackmail Henry into returning to his castle and continuing his experiments. The Monster wants his creator to build him a friend; Pretorius wants to see dead tissue become a living woman. Henry is forced to give his creature a bride. Henry and Pretorius succeed in following the creation of Man with the creation of Woman (Elsa Lanchester again). But Woman is not happy with Man and backs away from him. The Monster is despondent. He frees Henry and Henry’s wife, and then releases a lever that destroys himself, his bride, and Dr. Pretorius. Severance Hall 2015-16

Synopsis — Bride of Frankenstein


It’s time for a new identity. One that tells the story of creativity in Ohio and illustrates it.

Expression is an essential need. By better illustrating our story, we can better help you express yours.

Complete the story at


Richard Kaufman Richard Kaufman has devoted much of his musical life to conducting and supervising music for film and television productions, as well as performing film and classical music in concert halls and on recordings. He made his Cleveland Orchestra debut in May 2009, and his most recent appearances here included seasonending concerts in the 2015 Blossom Music Festival. Mr. Kaufman celebrates his 25th year as principal pops conductor with Orange County’s Pacific Symphony with the 2015-16 season. He also holds the title of pops conductor laureate with the Dallas Symphony Orchestra, and begins a tenth season with the Chicago Symphony Orchestra’s “Friday Night at the Movies” series. In addition, he regularly appears as a guest conductor with symphony orchestras throughout the United States and around the world. He made his Boston Pops debut in May 2015, substituting for John Williams for the Annual Boston Pops Film Night. Producer: John Goberman Technical Supervisor: Pat McGillen Music Consultant: John Waxman

Richard Kaufman received the 1993 Grammy Award for Best Pop Instrumental Performance. His most recent recording, with the London Symphony Orchestra, received a 2013 Grammy nomination for Best Instrumental Accompaniment for a Vocal (“Wild is the Wind,” arranged by Nan Schwartz). Other recordings include film music with the Brandenburg Philharmonic, Nuremberg Symphony, and New Zealand Symphony. Mr. Kaufman has conducted for many performers and entertainers, including John Denver and Andy Williams. As a violinist, he has performed on the soundtracks of numerous film and television scores, including Jaws, Close Encounters of the Third Kind, and Animal House. Mr. Kaufman joined the MGM Music Department in 1984 as music coordinator, and for the next eighteen years supervised music for MGM film and television projects. He received two Emmy Award nominations. Born in Los Angeles, Richard Kaufman began violin studies at age 7. He attended the Berkshire Music Festival at Tanglewood in the Fellowship program, and earned a bachelor’s degree in music from California State University Northridge. For more information, please visit

A Symphonic Night at the Movies is a production of PGM Productions Inc. of New York and is presented by arrangement with IMG Artists. The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations).

Severance Hall 2015-16

Guest Conductor


A quiet park comes to life

University Circle Inc.’s WOW! Wade Oval Wednesdays

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

Your Investment: Strengthening Community Visit to learn more.

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



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

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

L’dor V’dor. From Generation to Generation. Create Your Jewish Legacy


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

Cumulative Giving

Annual Support


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



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

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


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

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

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

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

Severance Hall 2015-16

Corporate Annual Support

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



more coverage MATTERS WKSU 89.7 has you covered with more engaging NPR programs and in-depth reporting in more of Northeast Ohio (22 counties to be precise).

Celebrating 65 years

WKSU, an equal opportunity, affirmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 16-UR-00310-030

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The Cleveland Orchestra


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

Cumulative Giving

Annual Support




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


$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


$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



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

Lifetime Giving

Giving Societies


gifts during the past year, as of March 5, 2016


In celebration of the critical role individuals play in supporting The Cleveland Orchestra each year, donors of $2,500 and more are recognized as members of special Leadership Giving Societies. These societies are named to honor important and inspirational leaders in the Orchestra’s history. The Adella Prentiss Hughes Society honors the Orchestra’s founder and first manager, who from 1918 envisioned an ensemble dedicated to community service, music education, and performing excellence. The George Szell Society is named after the Orchestra’s fourth music director, who served for twenty-four seasons (1946-70) while refining the ensemble’s international reputation for clarity of sound and unsurpassed musical excellence. The Elisabeth DeWitt Severance Society honors not only the woman in whose memory Severance Hall was built, but her selfless sharing, including her insistence on nurturing an orchestra not just for the wealthy but for everyone. The Dudley S. Blossom Society honors one of the Orchestra’s early and most generous benefactors, whose dedication and charm rallied thousands to support and nurture a hometown orchestra toward greatness. The Frank H. Ginn Society honors the man whose judicious management of Severance Hall’s finances and construction created a beautiful and welcoming home for Cleveland’s Orchestra. The 1929 Society honors the vibrant community spirit that propelled 3,000 volunteers and donors to raise over $2 million in a nine-day campaign in April 1929 to meet and match John and Elisabeth Severance’s challenge gift toward the building of the Orchestra’s new concert hall.

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

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

Irma and Norman Braman (Miami) Mr. Francis J. Callahan* Mrs. M. Roger Clapp* Mr. George Gund III * Francie and David Horvitz (Miami) Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III * The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre 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.


Individual Annual Support

The Cleveland Orchestra

Adella Prentiss Hughes Society gifts of $100,000 and more INDIVIDUAL GIFTS OF $500,000 AND MORE

Mr. and Mrs. Albert B. Ratner Mr. and Mrs. Richard K. Smucker INDIVIDUAL GIFTS OF $200,000 TO $499,999

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

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

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)

George Szell Society Elisabeth DeWitt Severance Society 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-Möst 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


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

Dudley S. Blossom Society gifts of $15,000 and more INDIVIDUAL GIFTS OF $20,000 TO $24,999

Gay Cull Addicott Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. Yuval Brisker Mr. and Mrs. Matthew V. Crawford 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)



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

Frank H. Ginn Society 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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Supporting the health, independence and dignity of older adults.





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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)

The 1929 Society gifts of $2,500 to $9,999 INDIVIDUAL GIFTS OF $7,500 TO $9,999

Robert and Alyssa Lenhoff-Briggs Mr. and Mrs. Stanley Cohen (Miami) Ellen E. & Victor J. Cohn Supporting Foundation Bob and Linnet Fritz Linda and Lawrence D. Goodman (Miami) Harry and Joyce Graham Mr. Paul Greig Iris and Tom Harvie Mrs. Sandra L. Haslinger Henry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman Mr. and Mrs. Brinton L. Hyde

Pamela and Scott Isquick 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


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


Individual Annual Support

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Severance Hall 2015-16



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


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


Individual Annual Support

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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 %DFKHORURI0XVLF_0DVWHURI0XVLF_'RFWRURI0XVLFDO$UWV_$UWLVW&HUWL¼FDWH_3URIHVVLRQDO6WXGLHV_$UWLVW'LSORPD

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Cleveland School of the Arts Concert Choir William B. Woods, director | 3pm, Sunday, April 17, 2016 Program includes Bernstein: Chichester Psalms Presented at Pilgrim Congregational Church, 2592 W. 14th St. Visit for program and season listing.



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


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 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

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2015-16 SE ASON

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Concert Program: March 24 and 26


— page 29

Concert Program: March 31, April 1 and 2 WAGNER’S GÖTTERDÄMMERUNG — page 69

PERSPECTIVES from the Executive Director

— page 7

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

Severance Hall 2015-16

levelands disncve audio ideo leader since 1954. 216-431-7300 216-431-7300 95

11001 Euclid Avenue Cleveland, Ohio 44106



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


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

Severance Hall

The Cleveland Orchestra

11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

AT SE V E R A N C E H A LL RESTAURANT AND CONCESSION SERVICE Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances, and for lunch following Friday Morning Concerts. For reservations, call 216-231-7373, or online by visiting Intermission & Pre-Concert: Concession service of beverages and light refreshments is available before most concerts and at intermissions at a variety of lobby locations. Post-Concert Dining: Severance Restaurant is open after most evening concerts with à la carte dining, desserts, full bar service, and coffee. For Friday Morning Concerts, a post-concert luncheon service is offered.

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

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

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

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

Severance Hall 2015-16

Guest Information

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

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

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

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


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

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

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

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

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


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

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

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

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

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

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

Guest Information

The Cleveland Orchestra

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.



SPRING SEASON Mozart (and Haydn)


April 14 â&#x20AC;&#x201D; Thursday at 7:30 p.m. April 15 â&#x20AC;&#x201D; Friday at 7:00 p.m. <18s April 16 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

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

Bride of Frankenstein

THE CLEVELAND ORCHESTRA Richard Kaufman, conductor

THE CLEVELAND ORCHESTRA Jane Glover, conductor Joshua Smith, Ă XWH Yolanda Kondonassis, harp

HAYDN Symphony No. 6 (â&#x20AC;&#x153;Le Matinâ&#x20AC;?)* MOZART Concerto for Flute and Harp MOZART Symphony No. 39 * not part of Fridays@7 concert.

6KH¡VDOLYHÂłDQGVRLVWKHPXVLF7KHFODVVLF KRUURUĂ&#x20AC;OPZLWKOHJHQGDU\Ă&#x20AC;OPFRPSRVHU)UDQ]:D[PDQ¡V evocative score played live by The Cleveland Orchestra. Frankenstein (Colin Clive) and Dr. Pretorius go back LQWRWKHLUODERUDWRU\H[KXPHPRUHERGLHVDQGFRQYHUW a female corpse (Elsa Lanchester) into a bride for the Monster (Boris Karloff). Sponsor31&%DQN


A Heroâ&#x20AC;&#x2122;s LIfe


April 28 â&#x20AC;&#x201D; Thursday at 7:30 p.m. April 29 Âł)ULGD\DWDP <18s April 30 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

Green Eggs and Hamadeus April 16 â&#x20AC;&#x201D; Saturday at 2:00 p.m.


THE CLEVELAND ORCHESTRA Rob Kapilow, conductor Sherry Boone, soprano Joshua Turchin, ER\VRSUDQR ZLWKVWDJHGLUHFWLRQE\Daniel Pelzig This concert brings together the worlds of Dr. Seuss and Mozart, in a whiz-bang mash-up designed especially for children. The %RVWRQ*OREHcalled *UHHQ(JJVDQG+DPDGHXV ´WKHPRVWSRSXODUIDPLO\PXVLFVLQFH3URNRĂ&#x20AC;HY¡V3HWHUDQG WKH:ROIDQG%ULWWHQ¡V<RXQJ3HUVRQ¡V*XLGHWRWKH2UFKHVtra.â&#x20AC;? You will like it, Sam-I-am! Free pre-concert activities begin one hour before start time.  6XSSRUWHGE\7KH*LDQW(DJOH)RXQGDWLRQ

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

THE CLEVELAND ORCHESTRA Antonio Pappano, conductor Marie-Nicole Lemieux, PH]]RVRSUDQR *

WAGNER Prelude and Love-Death from 7ULVWDQDQG,VROGH CHAUSSON Poem of Love and the Sea* STRAUSS Ein Heldenleben [$+HUR¡V/LIH] * not part of Friday Morning Concert  6SRQVRU31&%DQN

Stravinskyâ&#x20AC;&#x2122;s Firebird May 5 â&#x20AC;&#x201D; Thursday at 7:30 p.m. May 6 Âł)ULGD\DWDP <18s May 6 â&#x20AC;&#x201D; Friday at 7:00 p.m. <18s May 7 â&#x20AC;&#x201D; Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA AndrĂŠs Orozco-Estrada, conductor Kirill Gerstein, piano

KODĂ LY Dances of GalĂĄnta * RACHMANINOFF 3LDQR&RQFHUWR1R STRAVINSKY Suite from 7KH)LUHELUG * not part of Friday Morning or Fridays@7 concert  )ULGD\(YHQLQJ6SRQVRU.H\%DQN


Under 18s Free FOR FAMILIES For a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Cleveland Orchestra concerts, visit



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



Cleveland Orchestra Youth Orchestra May 8 â&#x20AC;&#x201D; Sunday at 3:00 p.m.




CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor Jieming Tang, violin

ADAM SCHOENBERG Finding Rothko KORNGOLD Violin Concerto RACHMANINOFF Symphonic Dances Celebrating its 30th season, the Cleveland Orchestra Youth Orchestra is a full symphony orchestra comprised of some of Northeast Ohioâ&#x20AC;&#x2122;s best and brightest young musicians. Each season, this acclaimed training ensemble SUHVHQWVFRQFHUWVRIWUDGLWLRQDODQGQHZHUZRUNVĂ&#x20AC;OOHG with an enthusiasm and interest that can rival that of their teachers and mentors. â&#x20AC;&#x153;A gripping performance,â&#x20AC;? commented the Cleveland Plain Dealer of a recent concert, â&#x20AC;&#x153;one that would have been the envy of an adult ensemble.â&#x20AC;? The ensembleâ&#x20AC;&#x2122;s concertmaster, Jieming Tang, is featured as soloist on this spring concert as the winner of the Youth Orchestraâ&#x20AC;&#x2122;s annual concerto competition A free Prelude Concert begins at 2:00 p.m. featuring members of the Youth Orchestra performing chamber music.

Zimmermann Plays BartĂłk May 12 â&#x20AC;&#x201D; Thursday at 7:30 p.m. May 13 â&#x20AC;&#x201D; Friday at 8:00 p.m. May 14 â&#x20AC;&#x201D; Saturday at 8:00 p.m.


THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor Frank Peter Zimmermann, violin*

Cleveland Orchestra Youth Orchestra Brett Mitchell, conductor Jieming Tang, violin

LISZT Orpheus BARTĂ&#x201C;K Violin Concerto No. 2 BARTĂ&#x201C;K Music for Strings, Percussion, and Celesta

Beethovenâ&#x20AC;&#x2122;s Emperor Concerto May 19 â&#x20AC;&#x201D; Thursday at 7:30 p.m. May 20 â&#x20AC;&#x201D; Friday at 11:00 a.m. <18s May 21 â&#x20AC;&#x201D; Saturday at 8:00 p.m. May 22 â&#x20AC;&#x201D; Sunday at 3:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor Rudolf Buchbinder, piano

DVOĹ?Ă&#x2030;K The Wood Dove* JANĂ&#x2030;ĂžEK Suite from From the House of the Dead BEETHOVEN Piano Concerto No. 5 (â&#x20AC;&#x153;Emperorâ&#x20AC;?) * not part of Friday Morning Concert

Sponsor: BakerHostetler

Celebrating its 30th season, the Cleveland Orchestra Youth Orchestra is a full symphony orchestra comprised of some of Northeast Ohioâ&#x20AC;&#x2122;s best and brightest young classical musicians. Each season, this acclaimed training ensemble presents concerts of traditional and newer works, filled with an enthusiasm and interest that can rival that of their teachers and mentors. A free Prelude Concert begins at 2:00 p.m. featuring members of the Youth Orchestra performing chamber music.


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

Concert Calendar



2015-16 SE A SON




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

She’s alive — and so is the music!!! The 1935 classic horror film with legendary film composer Franz Waxman’s evocative score played live by The Cleveland Orchestra. Frankenstein (Colin 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

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

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.




Upcoming Concerts

The Cleveland Orchestra

The Cleveland Orchestra April 14, 15, 16, 21, 23, 24, 26 Concerts  
The Cleveland Orchestra April 14, 15, 16, 21, 23, 24, 26 Concerts  

April 14, 15, 16 Mozart and Haydn April 21, 23, 24 Beethoven's Heroic Symphony April 26 The Bride of Frankenstein