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2015-16 SE ASON



Concert: April 28, 29, 30 A HERO’S LIFE — page 27 Concert: May 5, 6, 7 STRAVINSKY’S THE FIREBIRD — pages 58-59 including KeyBank Fridays@7 PERSPECTIVES from the Executive Director — page 7

Better health results in more standing ovations. One of the world’s most respected musical ensembles is found right here in Cleveland. Since 1918,The Cleveland Orchestra has thrilled millions of people by performing some of the most beautiful music ever composed. Medical Mutual is honored to play a part in keeping the health of these talented musicians in tune and to provide the support and applause they so richly deserve.

Medical Mutual is the official health insurer of The Cleveland Orchestra and everything you love. © 2016 Medical Mutual of Ohio

Ohio’s Health Insurance Choice Since 1934

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








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2015-16 SE ASON


From the Executive Director . . . . . . . . . . . . . . . . . . . . 7

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 11 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 13 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . 100-102 WEEK


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

A HERO’S LIFE Program: April 28, 29, 30 . . . . . . . . . . . . . . . . . . . . 27 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 29 WAGNER

Prelude and Love-Death from Tristan and Isolde . . . . . . . . . . . . . . . . . . 33 CHAUSSON

Poem of Love and the Sea . . . . . . . . . . . . . . . . . . . 37 STRAUSS

Ein Heldenleben . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Conductor: Antonio Pappano . . . . . . . . . . . . . . . . . . 31 Soloist: Marie-Nicole Lemieux . . . . . . . . . . . . . . . . . 45 NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . 54-57 WEEK


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.

STRAVINSKY’S THE FIREBIRD Program: May 5, 6, 7 . . . . . . . . . . . . . . . . . . . . . 58-59 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 61

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


Dances of Galánta . . . . . . . . . . . . . . . . . . . . . . . . . . 65

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


Piano Concerto No. 1 . . . . . . . . . . . . . . . . . . . . . . . 67 STRAVINSKY

Suite from The Firebird . . . . . . . . . . . . . . . . . . . . . . 73

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.

Conductor: Andrés Orozco-Estrada . . . . . . . . . . . . 63 Soloist: Kirill Gerstein . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Support Mellon Challenge Grant . . . . . . . . . . . . . . . . . . . . . . 8-9 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.


“I’m lucky to have a great university at my doorstep.” —Virginia Havens, Judson resident since 2009

Virginia Havens loves to learn. Living at Judson Manor, she continues to pursue lifelong learning opportunities at Case Western Reserve University. Judson and Case Western Reserve University recently established an exciting new partnership that offers Judson residents complete access to University events, programs and facilities, like the Kelvin Smith Library and the new stateof-the-art Tinkham Veale University Center. For CWRU alumni considering a move to Judson, there is an attractive discount towards an independent living entry fee and relocation package. Learn more about all the benefits included in the new partnership between Judson and Case Western Reserve University. Call (216) 791-2004 today.

Visit for information about this exciting partnership

Perspectivesfrom the Executive Director April-May 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




Ensuring world-class opera and ballet for Northeast Ohio and the future . . . Passion and drama, beauty and spectacle define these artforms. And when opera and ballet are performed by The Cleveland Orchestra . . . every performance is elevated to the very highest level.

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

Time is running out to double your support! Ensuring the Orchestra continues presenting the best opera and ballet the world has to offer — right here at home — requires additional philanthropic support each season.

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

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

Support the future of opera and ballet with The Cleveland Orchestra today! Contact Em Ezell in our Philanthropy & Advancement Office by calling 216-231-7523, or make a donation online by visiting and choosing to give to opera and ballet.

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


With Extra Special Thanks . . . The Cleveland Orchestra applauds the generous donors listed here, who are making possible presenta ons of ar s cally

ambi ous programming of opera and ballet every year.

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

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

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

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

Severance Hall 2015-16

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


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BROOKLYN HEIGHTS 1100 Resource Dr. WOODMERE 28000 Chagrin Blvd. 216.741.9000


as of January 2016

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

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

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

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

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

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

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

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

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

Herbert Kloiber (Germany)

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

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

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

TE Trustee Emeritus

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

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

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Severance Hall 2015-16

André Gremillet, Executive Director

Musical Arts Association


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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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Your Grounds for Life.

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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

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The Cleveland Orchestra


Concert Previews

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

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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 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, 7 “Passion and the Dance” (Musical works by Kodály, Rachmaninoff, Stravinsky) with guest speaker Jerry Wong, associate professor of piano, Kent State University

May 6 FRIDAY MORNING “Youthful Beginnings” (Musical works by Rachmaninoff, Stravinsky) with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups

May 12, 13, 14 “Of Musical Tales and Strings” (Musical works by Liszt and Bartók) with guest speaker Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

May 19, 21, 22 “Death and Glory” (Musical works by Dvořák Janáček, Beethoven)

Concert Previews

with guest speaker Cicilia Yudha, associate professor of piano, Youngstown State University


for getting everyone out of their seats. Inspiring. Thought Provoking. PNC is proud to sponsor The Cleveland Orchestra. Because we appreciate all that goes into your work.

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W E L S E R - M Ö ST M U S I C


Severance Hall

Thursday evening, April 28, 2016, at 7:30 p.m. Friday morning, April 29, 2016, at 11:00 a.m. * Saturday evening, April 30, 2016, at 8:00 p.m.

Antonio Pappano, conductor RICHARD WAGNER (1813-1883)


2015-16 SEASON

Prelude and Love-Death from Tristan and Isolde Poem of Love and the Sea * [Poème de l’amour et de la mer] 1. The Flower of the Waters — 2. Interlude — 3. The Death of Love MARIE-NICOLE LEMIEUX, mezzo-soprano


A Hero’s Life [Ein Heldenleben] 1. 2. 3. 4. 5. 6.

The Hero — The Hero’s Adversaries — The Hero’s Companion — The Hero’s Battlefield — The Hero’s Works of Peace — The Hero’s Withdrawal from the World — and the Fulfillment of His Life (played without pause) solo violin: William Preucil

These concerts are sponsored by PNC Bank, a Cleveland Orchestra Partner in Excellence. Marie-Nicole Lemieux’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from the late Dr. Frank Hovorka in honor of Dorothy Humel Hovorka. The concert will end on Thursday evening at about 9:30 p.m. and on Saturday night at approximately 10:00 p.m.

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

*The Friday morning concert is performed without intermission and features the works by Wagner and Strauss. The concert ends at about 12:10 p.m.

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Concert Program — Week 19


Richard Wagner, 1871, Munich, by photographer Franz Hanfstaengl.

One supreme fact that I have discovered is that it is not willpower, but fantasy that creates. Imagination is the creative force. Imagination creates reality. —Richard Wagner



Love, Death& Heroics F O R T H I S W E E K E N D ’ S C O N C E R T S , guest conductor Antonio Pappano has put together an intriguing program of musical works from the latter half of the 19th century — centered around some of life’s most challenging and consistent contrasts, between love and death, the awakening of spring and the dying of autumn, between family and self. The concert begins with some of the most famously daring — and history-changing — music, from Wagner’s opera Tristan and Isolde, written 1857-59. In an orchestral pairing of the opening and closing minutes of the opera, the composer’s genius in turning Western tonality toward the modern age is fully in evidence. In waves of yearning and reaching, the music signals not just the lovers’ longing, but a musical search for peace and rest. In the opera, peace comes only with death and ending, with love leading . . . inevitably . . . to death, joy to sorrow, the beauty of music to . . . the peace of silence. For this week’s evening concerts, the program continues with a work by the French composer Ernest Chausson, who heard Wagner’s call forward. In his Poem of Love and the Sea, premiered in 1893, Chausson blends together the new Germanic longings with French sensitivities and poetic words of opposites and togethers. French-Canadian contralto Marie-Nicole Lemieux joins with The Cleveland Orchestra for these enchantingly enigmatic poems. Mr. Pappano concludes the concerts with one of Richard Strauss’s grand and grandiloquent tone poems, from 1897-98. In Ein Heldenleben (or “A Hero’s Life”), Strauss wrote his own autobiography in orchestral prose, complete with heroic struggles against his critics, love and conflicts with his wife, adulation of his patrons, and contemplation of his triumphs (what some saw as Love of Self). All of this, including a soaringly beautifuly role for the solo violin, played by concertmaster William Preucil, is deftly offered in proper form and compelling music. —Eric Sellen


“Tristan and Isolde Drink the Love Potion” — 15th-century French manuscript illustration.

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Introducing the Concert



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Antonio Pappano One of today’s most sought-after conductors, British-Italian conductor Antonio Pappano has served as music director of London’s Royal Opera House since 2002. He has also held the position of music director with the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome since 2005. He made his Cleveland Orchestra and Severance Hall debut in March 1995, and most recently conducted here in April 2001. Mr. Pappano conducts widely in both symphonic and operatic repertoire. Early in his career, he served as pianist, répétiteur, and assistant conductor at many major European and North American opera houses, including the Bayreuth Festival, Lyric Opera of Chicago, and New York City Opera. He was music director with Belgium’s Théâtre Royal de la Monnaie 1992-2002, and principal guest conductor of the Israel Philharmonic Orchestra 1997-99. Antonio Pappano has led productions at many of the world’s great opera venues, including New York’s Metropolitan Opera, San Francisco Opera, Berlin State Opera, Teatro alla Scala in Milan, Paris’s Théâtre du Châtelet, Vienna State Opera, and the Salzburg Festival. He has appeared as a guest conductor with many of the greatest orchestras, including those of Amsterdam, Berlin, Boston, Chicago, Cleveland, Dresden, London, Munich, New York, Paris, Philadelphia, and Vienna, as well as with the Chamber Orchestra of Europe and the Verbier Festival Orchestra.

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Guest Conductor

An exclusive recording artist for Warner Classics (formerly EMI Classics) since 1995, Mr. Pappano has a discography that features operas and orchestral works. His recordings have received accolades including Classic Brit, Echo Klassik, Gramophone, and BBC Music Magazine awards. As a pianist, he has appeared with some of today’s most acclaimed singers, including Ian Bostridge, Joyce DiDonato, and Gerald Finley, both in recital and on recordings. He also regularly appears as a speaker and presenter, particularly for BBC Television documentaries. Born in London to Italian parents, Antonio Pappano moved with his family to the United States at age 13. His honors include Gramophone’s Artist of the Year award in 2000, the 2003 Olivier Award for Outstanding Achievement in Opera, 2004 Royal Philharmonic Society Music Award, and the Bruno Walter prize from the Académie du Disque Lyrique in Paris. In 2012, he was knighted by the British Empire and became a Cavaliere di Gran Croce of the Republic of Italy. He became the hundredth recipient of the Royal Philharmonic Society’s Gold Medal in 2015.



Prelude and Love-Death from Tristan and Isolde composed 1857-59

At a Glance



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

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Wagner wrote his libretto for the opera Tristan and Isolde in the summer of 1857 and composed the score between October of that year and August 1859. The opera was first performed on June 10, 1865 in Munich, with Hans von Bülow conducting. Wagner prepared a concert version of excerpts linking the Prelude with the final minutes of the opera (the “Love-Death”), which he conducted in concert in 1863, two years before the opera’s premiere. The Prelude and Love-Death runs nearly 20 minutes in performance. Wagner scored it for 3 flutes (third dou-

bling piccolo), 2 oboes, english horn, 2 clarinets, bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, bass tuba, timpani, harp, and strings. The Cleveland Orchestra first performed music from Tristan and Isolde in March 1921, when Nikolai Sokoloff led performances of the Prelude and LoveDeath, which has been programmed frequently since that time. Artur Rodzinski led staged performances of the complete opera in November1933. Franz Welser-Möst will lead performances of the complete opera in April 2018 here at Severance Hall.

About the Music “ O N LY M E D I O C R E P E R F O R M A N C E S can save me. Good

ones will likely drive the audience mad.” That was the conclusion Wagner came to about the new opera he had initially conceived as a mere divertissement (preferably one that could bring in some badly needed box office revenue). A viable candidate for Wagner’s most perfectly realized masterpiece, Tristan and Isolde was intended to be more “practical” than the massive four-opera Ring of the Nibelung project that had preoccupied him for nearly a decade. By the summer of 1857, Wagner had begun to acknowledge that his vision for a festival staging of the epic Ring cycle wasn’t likely to be realized anytime soon. Even more, the composer must have been fearing creative burnout. By this point, he had reached the forest scene in the second act of Siegfried, the third Ring drama. The composer believed that he needed to recharge his musical imagination with a different project. Another motivating force was the composer’s emerging desire for Mathilde Wesendonck. She was the beautiful and accomplished wife of a patron who had been supporting Wagner during his exile in Switzerland. Her much older husband, Otto, who made his fortune in the American silk market, was now About the Music



Mathilde Wesendonck, in a painting from 1850 by Karl Ferdinand Sohn.


retired in Zurich and had befriended Wagner. It’s usually assumed — by the romantically inclined, at any rate — that it was the composer’s passion for Mathilde that drove him to seek an artistic outlet for its expression. The famous medieval romance of Gottfried von Strassburg depicts the chivalric plight of the young knight Tristan and his beloved Isolde (wife of Tristan’s royal uncle Marke), who are overwhelmed by helpless mutual desire. Surely the uncanny parallel with Wagner’s own situation with Mathilde Wesendonck fascinated the composer. Yet the true relation of cause and effect — art imitating life or the reverse? — is not so easy to tease out. Indeed, Wagner’s instinctive need to explore new musical ideas simmering inside him might just as well have caused him to fall in love. Rather like the love potion in the opera itself, Mathilde fueled his inspiration. So, too, did his recently acquired enthusiasm for the pessimistic philosophy of Arthur Schopenhauer, which held that desire enslaves humanity in a perpetual state of suffering. These ideas led Wagner to see the Tristan legend in a new light. He reconfigured it into a plot of minimalist sparseness — in striking contrast to the Ring’s sprawling, epic narrative. In Tristan and Isolde, very little happens onstage. In fact, more action occurs in the final minutes that culminate in Isolde’s “Love-Death” (which concludes the opera) than in the four-plus hours preceding it. Thus Wagner was driven to explore a new kind of music that would reveal the inner states of his main characters — what they experience as love passes through them. Even the “mediocre” performances Wagner half desired were impossible to come by at first. The opera’s outrageous novelty — its extremities of musical and dramatic expression — overtaxed the conventional operatic resources of the time. It wasn’t until six years after he had completed the score that Tristan received its premiere (with the added support of the composer’s new patron, “mad” King Ludwig of Bavaria). The Tristan Prelude (without the Love-Death) was first heard in concert in Prague, under the baton of Hans von Bülow. Bülow — whose wife Cosima would also succumb to Wagner’s romantic charms — was one of the composer’s staunchest advocates, and later led the premiere of the opera itself. When the composer rehearsed the Tristan Prelude for a series of Paris programs in 1860, Wagner observed (in a letter to Mathilde Wesendonck) that he had to guide his musicians through the piece “note by note — as if to discover precious stones in a mine.” About the Music

The Cleveland Orchestra


The Prelude distills the essence of the entire opera by evoking the desire that is its engine. Two motifs, heard at the outset, descend (cellos) and ascend (oboes) in yearning chromatic half-steps. The harmony they produce when they first collide — known as “the Tristan chord” — is a landmark in Western music history. But listeners need no advanced degree in harmonic theory to feel the sense of unresolved desire that Wagner evokes by using it. This is the kernel of the entire opera. The Prelude soon introduces a wide-ranging melody, full of longing, that suggests a similarly open-ended quality. What was so radical here is how Wagner sustains an unprecedented level of tension. His use of silence is part of the strategy, while also avoiding traditional contrasts of musical material, and building the musical tension and density toward an inevitable In the Love-Death from climax. Yet even this feels unresolved, with Tristan, swelling waves the Prelude tapering to near inaudibility on of music build toward an another series of ambiguous harmonies. oceanic climax, after which From his concert performances of the Prelude, Wagner came up with the idea in the chromatic desire mo1863 — still two years before the opera’s tif that opened the Prelude premiere — of linking the Prelude directly returns and at last resolves to the music Isolde sings in her final solo to into what Richard Strauss conclude the opera. This ending has become known as the Liebestod (“Love-Death”), aldescribed as “the most though when first Wagner detailed his plan beautifully orchestrated to link the two as concert companions, he B-major chord in the whole actually applied that term to the Prelude history of music.” and referred to Isolde’s song as “transfiguration.” Onstage, Isolde has arrived too late to heal the mortally wounded Tristan. But in her “transfigured” state, she experiences the enlightenment that her beloved attained just before his death. Here, Wagner revisits the most heated part of their love duet from the second act. However, the hectic lyricism that earlier characterized this music is now reconfigured in serene, patiently swelling waves. They build toward an oceanic climax, after which the chromatic desire motif that opened the Prelude returns and at last resolves into what Richard Strauss described as “the most beautifully orchestrated B-major chord in the whole history of music.” —Thomas May © 2016 Thomas May is a writer and lecturer on music for orchestras and festivals in North America and Europe. His books include The John Adams Reader and Decoding Wagner.

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About the Music


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.


Poem of Love and the Sea [Poème de l’amour et de la mer] composed 1882-93

At a Glance



CHAUSSON born January 20, 1855 Paris died June 19, 1899 Limay, France

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Chausson wrote his Poème de l’amour et de la mer [“Poem of Love and the Sea”] between 1882 and 1893. The final section of the work was first performed separately, as a song with piano accompaniment, under the title “Le Temps des Lilas” [“The Time of Lilacs”], on February 21, 1893, in Brussels; tenor Désiré Demest was the soloist, with the composer at the piano. The orchestral version of the entire work was premiered in Paris on April 8, 1893. This work runs about 25 minutes

in performance. Chausson scored it for an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, harp, and strings, plus vocal soloist. The Cleveland Orchestra has previously performed Chausson’s Poem of Love and the Sea on only two sets of weekend concerts, in March 1964, under Louis Lane’s direction, with contralto Maureen Forrester as soloist, and in February 2006, with guest conductor Marc Minkowski and soprano Felicity Lott.

About the Music D U R I N G H I S L I F E T I M E , Ernest Chausson’s home, at 22 Bou-

levard de Courcelles in Paris, was always open to artists, poets, and musicians. The list of his regular guests reads like a Who’s Who of French culture: the leading impressionist painters Edouard Manet and Edgar Degas, the writers André Gide and Colette, the composers César Franck, Gabriel Fauré, and Claude Debussy, could all be seen at Chausson’s soirées. (One notable absence was Camille Saint-Saëns, the arch-rival of Chausson’s teacher Franck.) The host, himself a composer, had inherited a fortune. His father, a contractor, had worked on Baron Haussmann’s extensive construction projects, which had transformed Paris into a modern city. The son could afford to devote himself to composition and to collecting paintings by his numerous artist friends. The two main influences on Chausson as a composer were Franck and Wagner; in his best works he was able to combine the new Wagnerian harmonic idiom with a genuinely French sensitivity. Chausson, whose musical career was cut short by a fatal bicycle accident at age 44, wrote two great musical “poems.” One is the popular Poème for violin and orchestra of 1896. The other is the work we are hearing at these concerts, which, deAbout the Music



The Troubadour SMIRNOFF Conductor

Il trovatore VERDI


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spite initial popularity, fell into obscurity in the latter half of the 20th century. It has been making something of a well-deserved return to favor — with performers and audiences alike — in the past two decades, including a number of new recordings. In Poème de l’amour et de la mer (“Poem of Love and the Sea”), as on several other occasions, Chausson was inspired by the work of a poet his own age who was also a personal friend. Maurice Bouchor (1855-1929), highly regarded in his own time, is all but forgotten today. If we read Bouchor’s poems without Chausson’s music, they may seem overly sentimental and cloying in today’s world. Yet the composer responded to Bouchor’s style in a sincere and lushly beautiful tone, producing a work that can be seen as a bridge between the Romanticism of Franck and the modernism of Debussy. It is interesting to note that these poems contain a few nods to Théophile Gautier, an important poet of the older generation, whose Nuits d’été (“SumThe two main influences mer Nights”) had been so memorably set on Chausson as a composto music by Hector Berlioz. That song cycle er were César Franck and includes a scene grieving for a lost love while gazing upon the sea (“Sur les lagunes”), a Richard Wagner. In his scene directly echoed here. The Berlioz/ best works he was able Gautier image of the lovers who go happily to combine Wagner’s new picking flowers (“Villanelle”), however, is harmonic idiom with a gennegated in Bouchor’s “The Death of Love,” where such a gentle and innocent activity uinely French sensitivity. is, alas, no longer possible. Chausson arranged the poems he had chosen from Bouchor’s collection in two extended vocal movements separated by a brief orchestral interlude. Each of the vocal movements comprises a number of separate poems, differing in meter and form. The individual poems alternate with connecting sections for orchestra alone. Many of the melodies in the work use the five-note or pentatonic scale (made up by only the black keys of a piano). The use of this scale, prevalent in many non-Western cultures and also a favorite of Debussy, gives this music a touch of exoticism. The rich and ingenious orchestration also anticipates Debussy, especially in its sensitive use of the woodwind instruments and the harp. A typical product from the period of fin-de-siècle (“end-of-thecentury”) feeling of decadence and change, the work moves from a lyrical opening in a major key, rejoicing in the scent of the lilacs, to a dark conclusion in the minor, lamenting a love that is “forever dead.”

—Peter Laki © 2016 Severance Hall 2015-16

About the Music


1. La Fleur des eaux

L’air est plein d’une odeur exquise de lilas, qui, fleurissant du haut des murs jusques en bas, embaument les cheveux des femmes. La mer au grand soleil va toute s’embraser, et sur le sable fin qu’elles viennent baiser roulent d’éblouissantes lames. O ciel qui de ses yeux dois porter la couleur, brise qui vas chanter dans les lilas en fleur pour en sortir tout embaumée, ruisseaux, qui mouillerez sa robe, ô verts sentiers, vous qui tressaillerez sous ses chers petits pieds, faites-moi voir ma bien-aimée! Et mon cœur s’est levé par ce matin d’été; car une belle enfant était sur le rivage, laissant errer sur moi ses yeux pleins de clarté, et qui me souriait d’un air tendre et sauvage. Toi que transfiguraient la Jeunesse et l’Amour, tu m’apparus alors comme l’âme des choses; mon cœur vola vers toi, tu le pris sans retour, et du ciel entr’ouvert pleuvaient sur nous des roses. Quel son lamentable et sauvage va sonner l’heure de l’adieu! La mer roule sur le rivage, moqueuse, et se souciant peu que ce soit l’heure de l’adieu. Des oiseaux passent, l’aile ouverte, sur l’abîme presque joyeux; au grand soleil la mer est verte, et je saigne, silencieux, en regardant briller les cieux. Je saigne en regardant ma vie qui va s’éloigner sur les flots; mon âme unique m’est ravie et la sombre clameur des flots couvre le bruit de mes sanglots. Qui sait si cette mer cruelle la ramènera vers mon cœur? Mes regards sont tournés vers elle; la mer chante, et le vent moqueur raille l’angoisse de mon cœur.


Sung Text and Translation

The Cleveland Orchestra

An exquisite scent of lilac fills the air from blooms that deck the walls from top to bottom, and perfume women’s hair. Bathed in bright sunlight, the sea will be aflame, and on the fine sand, in a kiss, break dazzling waves.

1. The Flower of the Waters

O sky that will reflect the color of her eyes, breeze that will sing among the lilac blooms to emerge scent-laden, streams that will dampen her dress, o grassy paths, you that will throb beneath her dear, small feet, let me see my beloved! My heart awoke that summer morning, for a beautiful girl was there upon the shore, letting her limpid gaze roam over me, smiling with tender wildness. You, transfigured by Youth and Love, seemed then to be the very soul of nature; my heart went out to you, you took it for ever, and roses rained down on us from the opening sky. What wild lament will sound the hour of farewell! The sea surges upon the shore, mocking and indifferent to the hour of farewell. Birds soar on outspread wings above the carefree deep; bathed in bright sunlight, the sea is green, and I grieve in silence, gazing upon the splendor of the sky. I grieve as I see my life carried away on the waves; my very soul is taken from me, and the dull booming of the waves muffles the sound of my sobs. Who knows if this cruel sea will bring her back to me? My eyes take their fill of her; the sea is singing, and the mocking wind jeers at the anguish of my heart. Severance Hall 2015-16


Sung Text and Translation


3. La Mort de l’amour Bientôt l’île bleue et joyeuse parmi les rocs m’apparaîtra; l’île sur l’eau silencieuse comme un nénuphar flottera. A travers la mer d’améthyste doucement glisse le bateau, et je serai joyeux et triste de tant me souvenir — bientôt! Le vent roulait des feuilles mortes; mes pensées roulaient comme des feuilles mortes, dans la nuit. Jamais si doucement au ciel noir n’avaient lui les mille roses d’or d’où tombent les rosées! Une danse effrayante, et les feuilles froissées, et qui rendaient un son métallique, valsaient, semblaient gémir sous les étoiles, et disaient l’inexprimable horreur des amours trépassées. Les grands hêtres d’argent que la lune baisait étaient des spectres: moi, tout mon sang se glaçait en voyant mon aimée étrangement sourire. Comme des fronts de morts nos fronts avaient pâli, et, muet, me penchant vers elle, je pus lire ce mot fatal écrit dans ses grands yeux: l’oubli. Le temps des lilas et le temps des roses ne reviendra plus à ce printemps-ci; le temps des lilas et le temps des roses est passé, le temps des œillets aussi. Le vent a changé, les cieux sont moroses, et nous n’irons plus courir, et cueillir les lilas en fleur et les belles roses; le printemps est triste et ne peut fleurir. Oh! joyeux et doux printemps de l’année, qui vins, l’an passé, nous ensoleiller, notre fleur d’amour est si bien fanée, las ! que ton baiser ne peut l’éveiller! Et toi, que fais-tu ? pas de fleurs écloses, pas de grand soleil ni d’ombrages frais; le temps des lilas et le temps des roses avec notre amour est mort à jamais.


Sung Text and Translation

The Cleveland Orchestra

3. The Death of Love Very soon the happy blue isle will appear among the rocks; floating upon the silent water like a water-lily. Across the amethyst sea the boat glides softly, and I shall feel both joy and sorrow at so many memories — soon. The wind rolled the dead leaves along, my thoughts were rolled along like dead leaves in the night, the myriad golden roses from which the dew falls had never shone with such gentleness in the black sky! In terrifying dance, the crumpled leaves waltzed with a metallic sound, seeming to moan beneath the stars, and telling the inexpressible horror of dead loves. Great silver beeches, moon-kissed, loomed like spectres: and my blood turned to ice at my love’s strange smile. Our faces had grown as pale as the faces of the dead, and leaning mutely toward her, I could read this fatal word in her wide eyes: oblivion. The time of lilac and the time of roses will not return this spring; the time of lilac and the time of roses is past — and the time of carnations, too. The wind has changed, the heavens frown, and we shall run no more to pluck the lilac blooms and the beautiful roses; the spring is sad and cannot bloom. How sweet and happy was the spring that came last year to bathe us in its sunshine glow! The flower of our love is now so withered, alas, that your kiss cannot revive it! And you, what are you doing? No flowers blooming, no merry sunshine or cool shade, the time of lilac and the time of roses, with our love, is forever dead.

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Sung Text and Translation

the end


Marie-Nicole Lemieux French-Canadian contralto Marie-Nicole Lemieux rose to international prominence in 2000 when she won first prize at the Queen Elisabeth Competition in Brussels. Since that time, she has appeared with important opera companies, major orchestras, and at prestigious festivals across North America and Europe. She is making her Cleveland Orchestra debut with this weekend’s performances. Marie-Nicole Lemieux was born in Quebec and studied music in her youth. In 1994, she began vocal studies at the Chicoutimi Conservatoire de musique with Rosaire Simard. In 2000, she earned a master’s degree in voice at the Conservatoire de musique de Montréal, where she worked with Marie Daveluy. Within three weeks, Ms. Lemieux won first prize at both the Jeunesse Musicale du Canada’s Joseph Rouleau Competition in Montreal and the Queen Elisabeth Competition for opera, and second prize in Lieder at that competition. The following year, she received the Canada Council Virginia Parker Prize. Since that time, Marie-Nicole Lemieux’s career has grown internationally. She made her operatic debut at the Canadian Opera Company in 2002, and has performed with the Bavarian State Opera, Berlin State Opera, Opéra de Genève, Glyndebourne Festival Opera, London’s Royal Opera House, Opéra Montréal, Opéra de Nancy, Opéra de Orange, Netherlands Opera, Strasbourg Opera, Vienna State Opera, and Zurich Opera, among other companies. She has also sung at the Edinburgh Festival, at Paris’s Théâtre des Champs-Élysées and Severance Hall 2015-16


Théâtre du Châtelet, and at Vienna’s Theater-an-der-Wien. In addition to her opera performances, Ms. Lemieux also regularly appears as a concert soloist on both sides of the Atlantic, singing a broad repertoire including songs by Berlioz, Brahms, Chausson, Enescu, Mahler, and Wagner, as well as orchestral works. In concert and sacred repertoire, she often favors the Baroque and early Classical periods. In 2007, she made her United States recital debut in Overland Park, Kansas, followed by her concert debut with the Los Angeles Philharmonic. Her discography includes recordings for labels including Analekta, Cypres, Dorian, Naïve, and Virgin Classics, and features French and Italian songs as well as operas or concert works by Berg, Brahms, Debussy, Gluck, Handel, Mahler, Monteverdi, Mozart, Rossini, Scarlatti, Schoenberg, Schumann, Verdi, Vivaldi, and Webern. Marie-Nicole Lemieux is a Knight of the National Order of Quebec and a member of the Order of Canada and the Order of Pléiade. For more information, please visit


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

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

Sunday, October 18, 2015

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

Sunday, January 10, 2016

Chopin & Grieg — A Musical Friendship.

Sunday, April 10, 2016

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

Sunday, May 1, 2016

Musical Pictures — Visually inspired, gloriously colorful works.

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


The Cleveland Orchestra


Ein Heldenleben [A Hero’s Life], Opus 40 composed 1897-98

At a Glance



STRAUSS born June 11, 1864 Munich died September 8, 1949 Garmisch-Partenkirchen, Bavaria

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Strauss completed his symphonic poem Ein Heldenleben (“A Hero’s Life”) in 1897-98, and conducted the first performance in Frankfurt on March 3, 1899. The United States premiere took place a year later, on March 10, 1900, with Theodore Thomas conducting the Chicago Symphony Orchestra. The published score was dedicated to Willem Mengelberg and the Amsterdam Concertgebouw Orchestra. Ein Heldenleben runs approximately 40 minutes in performance. Strauss scored it for large orchestra: 3 flutes, piccolo, 4 oboes (fourth

doubling english horn), 2 clarinets, small clarinet in E-flat, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 5 trumpets, 3 trombones, tenor tuba, bass tuba, timpani, percussion (bass drum, tenor drum, snare drum, cymbals, tam-tam, triangle), 2 harps, and strings. The Cleveland Orchestra first performed Ein Heldenleben in February 1928, at a pair of subscription concerts conducted by Nikolai Sokoloff. The most recent performances were led by Franz Welser-Möst in early 2011, when it was performed here at home, in Miami, and on tour.

About the Music R I C H A R D S T R AU S S used to insist that he himself was the hero

in Ein Heldenleben — though commentators have found it hard to reconcile this belligerent self-portrait with Strauss’s distinctly un-heroic personality, or with later, mellower self-representations in Sinfonia domestica and the opera Intermezzo. On the other hand, those who knew Strauss’s wife, the former Pauline de Ahna, say the section marked “The Hero’s Companion” fits her like a glove. Strauss and de Ahna, a soprano, were married in 1894; their marriage lasted until Strauss’s death 55 years later. The series of magnificent, supremely capricious and concerto-sized violin solos of the “Companion” episode is peppered with directions to the soloist, such as “loving,” “angry,” “sentimental,” “nagging,” “flippant” or “hypocritically languishing” — adjectives more often used to describe a person than a musical performance. In a letter to French novelist and music critic Romain Rolland, Strauss admitted having portrayed his wife in Ein Heldenleben. Yet the essence of art always lies in the way it transcends the subject matter that provided the initial impulse. The question we must ask is how Strauss used autobiographic material to create this tone poem. Unlike the majority of Strauss’s tone poems, Ein HeldenAbout the Music


leben was not based on any particular literary work. Rather, it sought to express, in the composer’s words, “a more general and free ideal of great and manly heroism.” This followed logically from Strauss’s previous tone poem, Don Quixote, which, based on Cervantes, was a specific case of misguided heroism, “a crazy striving for false ideals.” As Strauss pointed out, “Don Quixote is only fully and completely comprehensible when put side-by-side with Heldenleben.” HEORIC IDEALISM

The subject of Ein Heldenleben is, then, heroism in general (and not just a portrait of Mr. and Mrs. Strauss). But what exactly is meant by “heroism” here? In the world of Romantic ideals that Strauss inherited, a hero is someone who confronts the whole world all by himself. The prototype of the Romantic hero, on whom Strauss modeled The subject of Ein Heldenhis protagonist, is Goethe’s Faust. Like Faust, leben is heroism in general. the hero of Ein Heldenleben fights for his ideBut what exactly is meant als, meets a woman, and works for the good by “heroism” here? In the of society. Unlike Faust, however, Strauss’s hero ultimately withdraws from the world world of Romantic ideals and finds fulfillment in an idyllic state that that Strauss inherited, a has more to do with Rousseau’s philosophy hero is someone who conof the “whole person” than with Goethe’s fronts the world all by himportrayal of one man’s struggles. Besides the literary and philosophical self. The prototype of the motifs reflected in the tone poem, there Romantic hero, on whom are some clear musical echoes as well. The Strauss modeled his promost obvious ancestor of Ein Heldenleben tagonist, is Goethe’s Faust. is Beethoven’s “Eroica” [Heroic] Symphony, which shares with Strauss’s work not just the word in the title but the key of E-flat major. In addition, the portrayal of the adversaries (or critics) owes a great deal to Wagner’s opera Die Meistersinger (“The Mastersingers”), in which the real-life music critic Hanslick was transformed into the villain Beckmesser. The parodying episode in the Meistersinger Overture (also in the key of E-flat major, like Heldenleben), with the sarcastic staccatos (short, separated notes) in its woodwind parts, was probably not far from Strauss’s mind when he wrote the section about the adversaries. Strauss was only 34 years old when he completed Ein Heldenleben. It was to remain the last work he called a “tone


About the Music

The Cleveland Orchestra

poem” — the two large-scale symphonic works he was to write later, Sinfonia domestica and An Alpine Symphony, have the word “symphony” in their titles. Thus, Ein Heldenleben closes the great cycle of tone poems that had occupied Strauss for a whole decade; in this work, he took stock of his achievements, looked back, and summarized. Had Strauss died the following year (at 35, like Mozart), we would see this work as the high point of his output, and the extensive self-quotations near the end (more about those later) would take on an even greater symbolic significance. But Strauss lived on for another half-century, during which time he concentrated most of his energies on an impressive series of operas, fourteen in all, including Salome, Elektra, and Der Rosenkavalier. Therefore, Ein Heldenleben merely closed one chapter in Strauss’s life, though, no doubt, a very important one.

Richard Strauss, in addition to being a composer, was also one of the most gifted conductors of his generation (he was an early champion of Gustav Mahler’s music). In this period pictorial, the wildness of Strauss’s music is lampooned in the angry, hard-working musicians.


Throughout the work, straightforward E-flat-major tonality alternates with tonalities that encompass a few unorthodox touches, and with passages of rapidly changing, sometimes completely disappearing, key centers. The first theme, firmly in E-flat major, has the irregularity of emphasizing minor and major sevenths in a way no earlier, strictly classical composer would have done. The music of the adversaries, on the other Severance Hall 2015-16

About the Music


hand, contains 11 of the 12 tones of the Western musical scale, in a theme whose tonal center is anybody’s guess. The violin solo, representing Pauline or the “eternal feminine,” again drifts in and out of tonal stability. One of the most stable areas is the tender love scene that follows the great violin solo; another is the peaceful song toward the end, of the hero retired from the world. In stark contrast to these, the battle scene — which the French novelist Romain Rolland called the best battle music in the orchestral literature — is full of abrupt key changes. The violent orchestral sounds of this section show the extent to which Strauss expanded the vocabulary of 19thcentury orchestral music in his desire to offer the most complete panorama of human emotions and characters. In a true compositional tour de force, Strauss managed to combine the program of his tone poem with traditional classical sonata form (see Strauss was only 34 years chart on page opposite). According to this old when he completed scheme, the section about the hero’s peaceEin Heldenleben. It was to ful deeds comes as the recapitulation after remain the last work the battle scene, which represents the development. The recapitulation, however, he called a “tone poem,” is enlarged by an extensive new episode thus closing the great cycle with a series of quotations from some of his that had occupied Strauss own earlier musical works, beginning with the great theme from Don Juan, followed for a whole decade. In Helby themes from Also sprach Zarathustra, denleben, he took stock of Death and Transfiguration, Don Quixote, and his achievements, looked Macbeth, as well as the opera Guntram and back, and summarized. the songs Befreit (“Liberated”) and Traum durch die Dämmerung (“Dreaming at Twilight”). These references, sometimes simultaneous and sometimes successive, amount to a survey of the hero’s (in this case, Strauss’s) past life, followed by a final outburst, after which the music settles into the peaceful, pastoral mood of the coda. It should come as no surprise that a work as innovative as Ein Heldenleben should sharply divide critical reaction. Strauss’s music came in for more than its share of invectives — ranging from “outrageously hideous noise” to “Hundeleben” (“A Dog’s Life”). Some of the best musicians of the time, however, immediately recognized the importance of the work. After the Paris premiere, Claude Debussy wrote a review in which he referred to Strauss as “close to being a genius.” And there was a 20-year-


About the Music

The Cleveland Orchestra

Formal Outline of Ein Heldenleben (based on the studies of Norman Del Mar) I. The Hero

1st subject

II. The Hero’s Adversaries (or critics)


III. The Hero’s Companion

2nd subject

IV. The Hero’s Battlefield


V. The Hero’s Works of Peace (and struggles in the face of continued criticism)

Recapitulation (with added episode)

VI. The Hero’s Withdrawal from the World and the Fulfillment of His Life


old conservatory student in Budapest named Béla Bartók, whose life received new meaning from the revelations of Zarathustra and Ein Heldenleben. Bartók made Strauss’s Heldenleben into something of a signature piece, performing it in his own piano arrangement (which he, to our great loss, never wrote down) to great acclaim in Budapest and Vienna. In 1904, he wrote his first major orchestral work, Kossuth, about a Hungarian hero. (This piece brings in Kossuth’s wife and contains a major battle scene, but has a tragic, rather than idyllic, ending.) Bartók’s Straussian fever eventually cooled off, but he, and other composers of his generation, proceeded further — in their many different ways — along the path of musical innovation that Strauss himself eventually abandoned. —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.

Join the millions of people who enjoy all the sounds of life! Cleveland Hearing & Speech Center is the premier provider of audiology products and services. From hearing screenings, ĞǀĂůƵĂƟŽŶƐ͕ĂŶĚĚĞǀŝĐĞĮƫŶŐƐ͕ƚŽĨŽůůŽǁƵƉĂŶĚƐƵƉƉŽƌƚ͕ ,^ǁŝůůĞŶƐƵƌĞLJŽƵŶĞǀĞƌŵŝƐƐĂŶŽƚĞ͊

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About the Music


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

The Cleveland Orchestra


Gay Cull Addicott American Greetings Corporation Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Dr. and Mrs. Hiroyuki Fujita GAR Foundation Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Mr. and Mrs. Douglas A. Kern James and Gay* Kitson

Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann Medical Mutual of Ohio Nordson Corporation Foundation Parker Hannifin Foundation Charles and Ilana Horowitz Ratner Sally and Larry Sears Squire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of Canton Ms. Ginger Warner Anonymous (4)

GIFTS OF $250,000 TO $500,000

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Blossom Friends of The Cleveland Orchestra Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources The George W. Codrington Charitable Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa Nancy and Richard Dotson 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


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


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

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.

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The Amici Quartet — comprised of Cleveland Orchestra members Takako Masame (violin), Miho Hashizume (violin), Lynn nn Ramsey (viola), and Ralph Curry (cello) o) — continue their performances of the he Beethoven quartets with a program on Sunday afternoon, May 1. The conncert at Pilgrim Church (2592 West 14th Street in the Tremont neighborhood of Cleveland) is the season finale for Arts Renaissance Tremont and features Quartet No. 3 (Opus 18 No. 3), Grosse Fugue (Opus 133), and Quartet No. 7 (Opus 59 No. 1). The performance begins at 3 p.m. and is free and open to the public, with a freewill donation option.

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.

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


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



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



W E L S E R - M Ö ST M U S I C


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Thursday evening, May 5, 2016, at 7:30 p.m. Saturday evening, May 7, 2016, at 8:00 p.m.

Andrés Orozco-Estrada, conductor ZOLTÁN KODÁLY (1882-1967)


Dances of Galánta 1. 2. 3. 4. 5.

Lento — Maestoso Allegretto moderato Allegro con moto, grazioso Allegro Allegro vivace

Piano Concerto No. 1 in F-sharp minor, Opus 1 1. Vivace — Moderato — Vivace 2. Andante 3. Allegro vivace KIRILL GERSTEIN, piano


Suite from The Firebird [1945 version] IIIntroduction — The Firebird, Its Dance, and Variations — Pantomime I — Pas de deux — Pantomime II — Scherzo (Dance of the Princesses) — Pantomime III — Rondo — Infernal Dance — Berceuse (Lullaby) — Final Hymn

Kirill Gerstein’s appearances with The Cleveland Orchestra this weekend are made possible by a contribution to the Orchestra’s Guest Artist Fund from the Kulas Foundation. The concert will end on Thursday evening at about 9:10 p.m., and on Saturday at approximately 9:40 p.m.


Concert Program — Week 20

The Cleveland Orchestra

Severance Hall

Friday morning, May 6, 2016, at 11:00 a.m. Friday evening, May 6, 2016, at 7:00 p.m.

Andrés Orozco-Estrada, conductor SERGEI RACHMANINOFF (1875-1943)

2015-16 SEASON

Piano Concerto No. 1 in F-sharp minor, Opus 1 1. Vivace — Moderato — Vivace 2. Andante 3. Allegro vivace KIRILL GERSTEIN, piano


Suite from The Firebird [1945 version] IIIntroduction — The Firebird, Its Dance, and Variations — Pantomime I — Pas de deux — Pantomime II — Scherzo (Dance of the Princesses) — Pantomime III — Rondo — Infernal Dance — Berceuse (Lullaby) — Final Hymn


FRIDAYS@ The Fridays@7 concert series is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence. The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation. The concert is performed without intermission, with the morning concert ending at about 12:10 p.m. and the evening concert at 8:10 p.m.


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

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Concert Program — Week 20F




Great music. Great drinks.

S@ A fresh approach to Friday nights! Y A ID R F May 6: Stravinsky’s The Firebird 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 Russian masterpieces — Rachmaninoff’s Piano Concerto No. 1 and Stravinsky’s mesmerizing The Firebird. 8 p.m. @fter-Party . . . Stay into the evening to hear Cleveland’s own Hot Djang Gypsy Jazz playing mid-century jazz favorites — 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 Season October 7 — Yuja Wang Plays Bartók Jakub Hrůša (conductor), Yuja Wang (piano)

January 6 — Rhapsody in Blue James Gaffigan (conductor), Kirill Gerstein (piano)

March 3 — Copland’s Third Symphony

2O16 2O17 SEASON

Series on sale now! 216-231-1111

Brett Mitchell (conductor), William Preucil (violin)


Fridays@7: May 6: The Firebird

The Cleveland Orchestra



Except perhaps as a stamp, Stravinsky always gives you more than your two-cents worth.

Dance, Concerto & The Firebird T H I S W E E K E N D ’ S C O N C E R T S feature musical works about beginnings and transformations. Two pieces are works from the start of two very famous Russian composers’ careers, while a third piece revisits a childhood place through music, blending an adult’s reaching back to youthful sounds together with his later understanding of music’s power and history. All three concerts feature Sergei Rachmaninoff’s lesser-heard First Piano Concerto, written just as he turned 18 years old in 1891. Even in its revised form from 1917, the freshness of his musical thinking is clear, as are some of the characteristic telltale signs of his later, mature identity as a composer. Russian-born pianist Kirill Gerstein takes up the solo role, first created by the composer for himself. On Thursday and Saturday, the evening begins with a charming suite by the Hungarian composer Zoltán Kodály, written in 1930 but harkening back to enticingly exciting performance ideas of the previous century. Here, the verbunkos (or army “recruiting”) style, which became one and the same with Hungarian pride, gives substance to a suite of dance music from the site of Kodály’s own childhood memories. To close out each of this weekend’s concerts, guest conductor Andrés Orozco-Estrada leads Igor Stravinsky’s The Firebird, heard here in the rarely-performed 1945 suite he drew from the complete ballet score. This tantalizing and dazzling music catapulted Stravinsky onto the world stage in 1910. Built on Russian musical traditions and a very Russian fable, Stravinsky nonetheless startled with his incisive musical storytelling. This is music rendered large and fantastical, alternating rhythmical strength with beguiling orchestration and melodies. And thrillingly paced to catch and match your attention — and entice your applause. —Eric Sellen

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Introducing the Concert


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June 23-25, 2016


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The Cleveland Orchestra

Andrés Orozco-Estrada Columbian conductor Andrés OrozcoEstrada is among the most sought-after conductors of his generation. Within the past two years, he has taken up positions as music director of the Houston Symphony, chief conductor of the Frankfurt Radio Symphony Orchestra, and principal guest conductor of the London Philharmonic. He is making his Cleveland Orchestra debut with this weekend’s concerts. Mr. Orozco-Estrada’s artistic work primarily focuses on the Romantic repertoire and Viennese classics. At the same time, he is interested in contemporary music and regularly performs premieres of Austrian composers and compositions of Spanish and South American origin. Born in 1977 in Medellín, Colombia, Andrés Orozco-Estrada began his musical studies on the violin and had his first conducting lessons at the age of 15. In 1997, he moved to Vienna, where he joined the conducting class of Uroš Lajovic at the Vienna Music Academy. Mr. Orozco-Estrada came to international attention in 2004, when he stepped in to conduct the Tonkünstler Orchestra Niederösterreich in Vienna. Since that time, he has developed an ongoing musical partnership with that ensemble, including serving as its music director, 2009-15. He was also principal conductor of the Basque National Orchestra, 2009-13. Andrés Orozco-Estrada has conducted many leading orchestras in

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Guest Conductor

Europe and North America, including Amsterdam’s Royal Concertgebouw Orchestra, City of Birmingham Symphony Orchestra, Leipzig Gewandhaus Orchestra, Mahler Chamber Orchestra, Munich Philharmonic, Orchestre National de France, Oslo Philharmonic Orchestra, Philadelphia Orchestra, Pittsburgh Symphony Orchestra, Royal Stockholm Philharmonic, Santa Cecilia Orchestra in Rome, Saint Louis Symphony Orchestra, and the Vienna Philharmonic. He made his debut with the Glyndebourne Festival Opera in 2014 conducting Mozart’s Don Giovanni. Pentatone is in the midst of releasing a number of recordings led by Andrés Orozco-Estrada, including works by Stravinsky and Richard Strauss with the Frankfurt Radio Symphony and compositions by Dvořák and Smetana with the Houston Symphony. Mr. Orozco-Estrada currently lives in Vienna. For more information, please visit


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Dances of Galánta [Galántai Tánkoc] composed 1933

At a Glance Kodály wrote his Galántai Tánkoc (“Dances of Galánta”) in 1933 for the 80th anniversary of the Budapest Philharmonic Society, which first presented it on October 23, 1933, under the direction of Ernö Dohnányi. This work runs about 15 minutes in performance. Kodály scored it for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, percus-

sion (tambourine, triangle, chimes), and strings. The Cleveland Orchestra first performed the Dances of Galánta in November 1936, at a pair of Severance Hall subscription concerts led by Artur Rodzinski. They have been performed on a number of occasions since, most recently at Severance Hall concerts in May 2012 led by Lionel Bringuier.




About the Music

born December 16, 1882 Kecskemét, Hungary

T H E C O M P O S E R Zoltán Kodály made it his life’s work to study

died March 6, 1967 Budapest

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the folk music of his native Hungary and to write original compositions inspired by the folk tradition. That said, his Dances of Galánta from 1933 are much more than arrangements of folk dances from a field trip. This music held deep personal meaning for Kodály, because the town of Galánta was the place where he had grown up, having moved there as a toddler with his family. (The town was then in Northern Hungary, and is now part of Slovakia.) In the preface to the printed score, Kodály wrote: “The author spent the most beautiful seven years of his childhood in Galánta. The town band, led by the fiddler Mihók, was famous. But it must have been even more famous a hundred years earlier. Several volumes of Hungarian dances were published in Vienna around the year 1800. One of them lists its source this way: ‘from several Gypsies in Galánta.’ . . . May my modest composition inspired by this music serve to continue the old tradition.” During his research, Kodály found extensive evidence to show that the fame of those Gypsy musicians had indeed spread far beyond the boundaries of their hometown. As a child in Galánta, Kodály not only had ample occasion to hear Mihók’s band, he also learned many folksongs, sung to him by servants and schoolmates. (On another occasion in the 1930s, he vividly recalled the voices of his “bare-footed companions from the Galánta public school.”) During his time in Galánta, Kodály was also introduced to Western classical music. He took About the Music


up the cello and, because his parents loved to play chamber music with friends, young Zoltán was soon able to participate directly in musical evenings at home. Forty-odd years after this initial encounter with music of Galánta as a young boy, Kodály returned to the published source material as a mature composer and as a leading scholar of Hungarian musical traditions. He took the melodies from the early 19th-century Viennese editions, which had recently been rediscovered by a musicologist named Ervin Major. But Kodály didn’t have to rely solely on the printed notes, for he also had the sound of the old town band still in his ears as he scored the music. The style of these dances is known as verbunkos, from the German Werbung or “recruitment.” In centuries past, Austrian army recruiters traveled around the countryside with impressively-dressed officer-soldiers and musicians in tow; the officers would dance in formation to rhythmical music — all meant to entice young men to sign up. This verbunkos became the dominant Hungarian instrumental tradition of the 19th century. In his composition for full orchestra, Kodály gave the various verbunkos melodies exquisite musical coloring, and arranged them in a masterful sequence with alternating moods and tempos. The pensive introduction anticipates the stately principal melody, played by the solo clarinet. Later on, this melody will return several times as a rondo (or variation) theme. Two intervening episodes (one played by the flute, the other by the oboe) are faster in tempo and lighter in character. In the second half of the composition, the variations of the rondo form are cast aside and we hear a series of dance tunes that — with the exception of one slower theme used for contrast — gradually get faster and faster. The climactic ending is delayed for a moment by the return of part of the opening melody, with a short clarinet cadenza added. The entire second half of the piece is dominated by a characteristic syncopated rhythmic figure (short-long-short), which provides an ending that is as striking as it is simple. —Peter Laki © 2016 Copyright © Musical Arts Association

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


About the Music

The Cleveland Orchestra


Piano Concerto No. 1 in F-sharp minor, Opus 1 composed 1890-91, revised 1917

At a Glance




Rachmaninoff began writing his Piano Concerto in F-sharp minor (later published as No. 1) in 1890, and completed the work the following summer. The first movement was premiered on March 17, 1892, with the composer as soloist and Vasily Safonov conducting the Moscow Conservatory Orchestra. He revised the score in 1917; this revised version was premiered on January 29, 1919, at Carnegie Hall in New York, again with the composer as soloist and with Morris Altschuler conducting the Russian

Symphony Society Orchestra. In its 1917 revision, this concerto lasts about 25 minutes. Rachmaninoff scored it for a standard 19th-centurysized orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, strings, and solo piano. The Cleveland Orchestra first performed Rachmaninoff ’s Piano Concerto No. 1 in October 1939, at a pair of subscription concerts conducted by Music Director Artur Rodzinski, with Rachmaninoff himself as soloist.

born April 1, 1873 Semyonovo, Russia

About the Music

died March 28, 1943 Beverly Hills, California

age, even before he had graduated from the Moscow Conservatory. This is somewhat surprising, given that his childhood had been extremely unsettled as his father slipped further into debt, moving his family from place to place. Rachmaninoff’s musical training began at the St. Petersburg Conservatory, and his career might have been quite different if he had remained there — and studied with Rimsky-Korsakov, and fraternized with Glazunov and Stravinsky. Instead, after some poor exam results, he was transferred to Moscow, where he studied with the disciplinarian Zverev. At the Moscow Conservatory, he was a pupil of Arensky and Taneyev, met a group of talented fellow-students including Scriabin and Medtner, and above all came under the influence of Tchaikovsky. Rachmaninoff graduated from the Conservatory’s piano class at the age of nineteen and from the composition class a year later, by which time he had already started a symphony, completed the First Piano Concerto, composed the Trio Élégiaque, a tone poem called Prince Rostislav, and an opera Aleko. For five years, until the famously disastrous performance of his First Symphony in 1897, fine music continued to flow from his pen, especially piano music and songs. Later in life, Rachmaninoff was better known as a conductor or as a pianist, but it was on composition that all his ambitions were focused as he

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R A C H M A N I N O F F P R O V E D H I M S E L F a composer at an early

About the Music


approached his twentieth year. An earlier piano concerto (in C minor) was abandoned, but Rachmaninoff tried again in 1890 and completed the first movement. The rest was rapidly written in July 1891. “I could have finished it much earlier,” he wrote, “but after the first movement I was idle for a long time and only began to write out the other movements on July 3rd. I wrote down and orchestrated the last two movements in two and a half days. You can imagine what a job that was! I wrote from five in the morning until 8 o’clock at night.” Vasily Safonov, head of the Moscow Conservatory, agreed to conduct the first performance the following year. Later in life, Rachmaninoff It is hard to imagine that such rich, was better known as a complex piano writing could fail to imconductor or pianist, but it press, but one reviewer wrote: “In the first was on writing music that movement there was not yet any individuality, but there was taste, tension, youthful all his ambitions were sincerity, and obvious skill; already there is focused as he approached much promise.” his twentieth year. An Rachmaninoff himself was not entirely earlier piano concerto was satisfied, and before long he was hinting that he would like to revise the concerto. left incomplete, but he tried He did not do so, however, for another again and finished the quarter century, until the world-shaking new work in 1891. days of 1917 when the tsar’s abdication in the spring caused the composer to celebrate being at last in a “free country.” Still, as the threat of further revolution came closer, Rachmaninoff felt less and less comfortable and made plans to go abroad. Working still in Moscow, he wrote out a new version of the concerto, completing it just two weeks after the October Revolution broke out in Petrograd. At a fortunate moment, Rachmaninoff received an invitation to give some concerts in Stockholm and he was able to get the necessary visas. Just before Christmas, he took his family away from Russia, never to return. THE MUSIC

Knowing Rachmaninoff’s later music as we do, we may choose to disagree with the reviewer who thought that the first movement lacked individuality. Hallmarks of his mature style are all in the music (in both the original version and the 1917 revision) — the rich harmonic progressions, the wealth of melody woven into cascading torrents of notes in the solo part, the subtle orchestration. The music is restless, never retaining a single tempo for long, often interrupted by magnificent decorative


About the Music

The Cleveland Orchestra

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

swirls in the piano, and unfailingly rich in texture. The melodies have his stamp of authorship, but they do not extend into the long snakelike themes of his later music; here they are still always built up a few measures at a time. The tempo markings by which we conventionally list the three movements — 1. Vivace, 2. Andante, 3. Allegro vivace — tell only a part of the story of this music. The first movement’s main theme, for instance, is first heard at a surprisingly moderate pace. And, yes, the slow movement starts at a slow speed, but its end is so full of filigree notes that it feels almost like a scherzo, echoing the slow movement of Tchaikovsky’s First Piano Concerto. And the finale includes a section marked “Andante ma non troppo,” lovingly decorated by the soloist before returning to the up-tempo music. Perhaps the strongest impression this concerto leaves is of Rachmaninoff the improviser. He feels his way towards his themes before stating them, and then immediately adds decorations and variations that pull the tempo and the texture in different directions, almost as if he was playing the piece for the first time. Indeed, perhaps this is a clue towards explaining the concerto’s eternal freshness. —Hugh Macdonald © 2016 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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About the Music


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

Kirill Gerstein Russian-born pianist Kirill Gerstein is acclaimed for his masterful technique and searching interpretations in both classical music and jazz. He made his Cleveland Orchestra debut in July 2008 and most recently played here in September 2013. Born in 1979 in Voronezh, Russia, Kirill Gerstein attended a school for gifted children in his hometown. After teaching himself to play jazz by listening to his parents’ record collection, he was admitted, at age 14, to Boston’s Berklee College of Music. He spent two seasons at Tanglewood Music Center, and studied with Solomon Mikowsky at the Manhattan School of Music, as well as with Dmitri Bashkirov and Ferenc Rados. By age 20, Kirill Gerstein had earned his bachelor’s and master’s of music degrees. In 2010, Mr. Gerstein became the sixth recipient of the Gilmore Artist Award, and also received an Avery Fisher grant. He has shared this recognition by commissioning boundary-crossing works by Timo Andres, Chick Corea, Alexander Goehr, Oliver Knussen, and Brad Mehldau, among others. He is currently artist-in-residence at Berklee College of Music and serves on the piano faculty of the Boston Conservatory. Kirill Gerstein has appeared with North America’s major orchestras, including those of Atlanta, Baltimore, Boston, Chicago, Cincinnati, Cleveland, Dallas, Detroit, Houston, Los Angeles, New York, Philadelphia, San Francisco, and Toronoto. He has also been an active guest solo-

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Guest Soloist

ist with orchestras in Europe, appearing with those of Amsterdam, Berlin, Birmingham, Denmark, Dresden, Finland, London, Munich, and Zurich, as well as with Tokyo’s NHK Symphony, Australia’s Melbourne Symphony, Santa Cecilia Orchestra of Rome, and Simón Bolívar Youth Orchestra of Venezuela. He has appeared at many of the most prestigious music festivals, including Aixen-Provence, Aspen, Delft, Lucerne, Salzburg, Santa Fe Chamber Music, and Verbier. He is equally at home with chamber music and in recital, and occasionally performing jazz. For Myrios Classics, Mr. Gerstein has recorded solo works by Knussen, Liszt, and Schumann, and two albums of sonatas for viola and piano with Tabea Zimmermann. His first orchestral album, the world premiere recording of Tchaikovsky’s Piano Concerto No. 1 in the composer’s 1879 version, received an Echo Klassik Award. Kirill Gerstein became an American citizen in 2003. For more information, visit


Season 5

“TALES & LEGENDS” June 15 - July 2, 2016

ChamberFest Cleveland’s Season 5 will explore tales and legends as portrayed in music. Musical inspiration appears in many forms, often revolving around stories from the profane to the divine. From literary inspiration to the spinning of dreams, ChamberFest Cleveland will take you on journeys of the fantastical, mystical, and obsessive. For ticket information call 216.471.8887


Suite from The Firebird [L’Oiseau de feu] suite version created by the composer in 1945, from the ballet score composed 1909-10

At a Glance



STRAVINSKY born June 17, 1882 Oranienbaum, near St. Petersburg died April 6, 1971 New York

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Stravinsky composed the ballet L’Oiseau de feu [The Firebird] between November 1909 and May 1910, on commission from Sergei Diaghilev and his dance company, the Ballets Russes. The first performance took place on June 25, 1910, at the Paris Opera, with the Ballets Russes. The major roles were danced by Michel Fokine (as Prince Ivan), Tamara Karsavina (the Firebird), and Alexis Bulgakov (Kashcheï); Gabriel Pierné conducted. Stravinsky drew three suites from the ballet; the first in 1911, the second in 1919, and the third in 1945.

The 1945 suite runs approximately 30 minutes in performance and is scored for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, snare drum, tambourine, triangle, xylophone), piano, harp, and strings. While music from The Firebird has frequently appeared on Cleveland Orchestra programs, including performances conducted by the composer, this weekend is only the second time the Orchestra has presented the 1945 suite.

About the Music S E R G E I D I A G H I L E V ’ S Paris-based Ballets Russes was one of

the greatest dance companies in history. Diaghilev, the director, combined the soul of a brilliant artist with the mind and skills of a shrewd businessman. He was committed to exciting and innovative productions, and he sought out the best dancers, artists, and composers available. For two decades from the company’s formation in 1909, he worked with or discovered many of the most creative artists in the city — dancers, choreographers, painters, and composers. The scores created for him included works by Debussy, Ravel, Prokofiev, and Falla. Musically, however, Diaghilev never made a more sensational nor a more fruitful discovery than when he engaged the 27-year-old Igor Stravinsky in 1909 to write music for Michel Fokine’s new ballet for the next season, The Firebird. It was the start of a long collaboration that was to give the world a series of ground-breaking scores — Pétrouchka, The Rite of Spring, Les Noces, Mavra, and Apollon Musagète — and which ended only with Diaghilev’s death in 1929. For many years, there had already been a great affinity between Russia and France. A political alliance between the two countries had brought Russia closer to France, while France had always been a strong presence in Russia (where French had About the Music


long been the language of the educated classes.) At the same time, the geographical distance and the difference in cultures meant that Russian things seemed to have an exotic flavor in the eyes (and ears) of the French. Both Debussy and Ravel admired and were influenced by the music of the 19th-century Russian masters Mussorgsky and Rimsky-Korsakov.

To create a story of an appropriately exotic flavor, Fokine used several Russian fairytales within the scenario for The Firebird. Although the storyline and the musical styling of the ballet score grew out of strong Russian traditions, both seemed highly original in the West.


To create a story of an appropriately exotic flavor, Fokine used several Russian fairytales within the scenario of The Firebird. The stories of the beneficent Firebird and the evil ogre Kashcheï-the-Immortal were combined together in an ingenious plot, which Eric Walter White summarized in his standard book on Stravinsky as follows: “A young Prince, Ivan Tsarevich, wanders into Kashcheï’s magic garden at night in pursuit of the Firebird, whom he finds fluttering round a tree bearing golden apples. He captures it and extracts a feather as forfeit before agreeing to let it go. He then meets a group of 13 maidens and falls in love with one of them, only to find that she and the other 12 maidens are princesses under the spell of Kashcheï. When dawn comes and the princesses have to return to Kashcheï’s palace, Ivan breaks open the gates to follow them inside; but he is captured by Kashcheï’s guardian monsters and is about to suffer the usual penalty of petrifaction, when he remembers the magic feather. He waves it; and at his summons the Firebird appears and reveals to him the secret of Kashcheï’s immortality (his soul, in the form of an egg, is preserved in a casket). Opening the casket, Ivan smashes the vital egg, and the ogre immediately expires. His enchantments dissolve, all the captives are freed, and Ivan and his Tsarevna are betrothed with due solemnity.” Originally, the music for The Firebird was to be written by the Russian composer Nikolai Tcherepnin. But Tcherepnin withdrew from the project, and Anatol Liadov and Alexander Glazunov were both approached. For whatever reasons, Diaghilev could not come to terms with any of these more experienced composers, so he approached Stravinsky, who had already worked for him as an orchestrator, and whose short orchestral piece Fireworks had greatly impressed him. The young composer, honored by Severance Hall 2015-16

About the Music

A Russian lacquer box portraying the fable of The Firebird.


Pencil sketch of Igor Stravinsky, by Pablo Picasso, 1920.

Pencil sketch of Igor Stravinsky, by Pablo Picasso, 1920.

the commission, put aside his own project, the opera The Nightingale, and began work on the ballet instead. To describe the magic world of fairybirds and evil sorcerers, Stravinsky had a whole tradition to build on, a tradition he had inherited from his teacher Rimsky-Korsakov. In the last years before his death in 1908, Rimsky had written three operas on fantastical subjects, one of which was titled Kashcheï the Immortal. In these operas — and in a number of other works also — Rimsky-Korsakov made ample use of a special scale Russian musicians came to know as the “Rimsky scale,” which Stravinsky chose to use. (This scale, also known as the “octatonic” scale, consists of the regular alternation of half-steps and whole steps: C – C-sharp – D-sharp – E – F-sharp – G – A – B-flat.) This particular grouping of tones, lying outside the major-minor system, is always associated with the evil Kashcheï in The Firebird. The music of the magical Firebird itself is also chromatic in nature, related in part to the Kashcheï music. The motifs of the Tsarevich, on the other hand, are purely diatonic (that is, built upon a traditional seven-note Western scale) and derived from a particular type of Russian folksong known as the “long-drawnout song” [protyazhnaya pesnya]. Thus, although both the storyline and the musical styling of the ballet score grew out of strong Russian traditions, both seemed highly original in the West. For all the Rimsky influence, however, Stravinsky’s first ballet also shows a remarkable degree of individuality. The handling of rhythm in particular is quite innovative — in this score there are already quite a few typical Stravinskyan ostinatos, or “stubbornly” repeated figures. The orchestration also reveals the hand of a true young master. C R E AT I N G P O PU L A R C O N C E R T S U I T E S

It is little wonder, then, that The Firebird remained Stravinsky’s most popular work throughout his long life. He himself conducted hundreds of performances — mostly in the form of suites drawn from the complete score. Stravinsky created three of these, one in 1911 and another in 1919, which soon became the most popular version. In 1945, he made a new suite — in part, to renew the copyright on the musical material, but also to reduce the orchestration in order to make the work accessible to smaller orchestras. Stravinsky also included two movements that had been omitted in the 1919 suite (the “Pas de deux” and the “Dance


About the Music

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of the Princesses”), creating a longer condensation of the score. Indeed, the 1945 suite contains more than half of the 45-minute ballet score. It begins with the mysterious introduction that leads directly to the “Dance of the Firebird,” with its vibrant highwoodwind colors. The slow “Pas de deux” follows, introduced by a short “Pantomime.” Here the Bird begs the Prince to set her free, featuring a solo cello alongside the woodwinds. (The complete ballet has solo viola at this point.) The tempo speeds up for “Pantomime II” and the “Dance of the Princesses,” a lively scherzo dominated by fast-moving sixteenth-notes in the strings, interrupted by a lyrical clarinet solo. A third pantomime leads to the “Khorovod (Round Dance) of the Princesses,” which features one of the ballet’s great melodies as an introduction, played by the solo oboe in a slow tempo. The actual dance begins with a string theme at a slightly faster tempo. The suite continues with the famous “Infernal Dance,” announced by a fast timpani roll. A syncopated motif arises from the lower registers (bassoons, horns, tuba) and gradually takes over the entire orchestra. There is a lyrical counter-subject symbolizing the suffering of Kashcheï’s prisoners. After the dance has reached its paroxysm, the Firebird’s “Lullaby” appears as a total contrast, with the solo bassoon singing a delicate song accompanied by the harp and muted strings. In the suite, this lyrical moment sets the stage for the “Final Hymn” — corresponding to the “General Rejoicing” at the end of the ballet where everyone celebrates the wedding of Prince Ivan and the Princess. The beautiful folksong that Stravinsky would use more than half a century later for his Canon (written in memory of the conductor Pierre Monteux) is played first by the solo horn, then gradually grows in volume until the entire orchestra joins in. At the end, a significant rhythmic change occurs, with the symmetrical triple meter (3/2) giving way to an asymmetrical 7/4, signalling that the music — and the story of The Firebird — has reached its musical culmination. —Peter Laki © 2016

Costume drawing by León Bakst for the Ballets Russes premiere of The Firebird in 1910; below, Tamara Karsavina in the role.

Copyright © Musical Arts Association

Severance Hall 2015-16

About the Music


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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.

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The Cleveland Orchestra


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)


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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

# in the nation #2 “Top 10 Colleges for Musical Theatr Theatre Majors” C Conservatory Co Conse of Music

– Music School Central

#4 in the nation “The Top 10 Liberal Arts Colleges for Music in the U.S.” – College Magazine w

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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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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Severance Hall 2015-16

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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 O’Callaghan Dr. Guilherme Oliveira Mr. Robert D. Paddock George Parras Mr. Thomas and Mrs. Tommie Patton Dr. and Mrs. Gosta Pettersson Henry Peyrebrune and Tracy Rowell Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Mrs. Elinor G. Polster Mr. Robert and Mrs. Susan Price Kathleen Pudelski Ms. C. A. Reagan David and Gloria Richards Michael Forde Ripich Mr. and Mrs. James N. Robinson II (Miami) Mr. Timothy D. Robson Ms. Linda M. Rocchi Miss Marjorie A. Rott* Michael and Chandra Rudd (Miami) Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo Dr. Harry S. and Rita K. Rzepka Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton Rev. Robert J. Sanson Ms. Patricia E. Say Mr. James Schutte Ms. Adrian L. Scott Mr. and Mrs. Alexander C. Scovil Dr. John Sedor and Ms. Geralyn Presti 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 Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA .COM

The Cleveland Orchestra

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Severance Hall 2015-16

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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.




Bride of Frankenstein

Cleveland Orchestra Youth Orchestra

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

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

THE CLEVELAND ORCHESTRA Richard Kaufman, conductor

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


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


Sponsor: PNC Bank

May 5 â&#x20AC;&#x201D; Thursday at 7:30 p.m. May 6 Âł)ULGD\DWDP <18s May 6 Âł)ULGD\DWSP <18s May 7 â&#x20AC;&#x201D; Saturday at 8:00 p.m.


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

LISZT Orpheus BARTĂ&#x201C;K Violin Concerto No. 2 BARTĂ&#x201C;K 0XVLFIRU6WULQJV Percussion, and Celesta

THE CLEVELAND ORCHESTRA AndrĂŠs Orozco-Estrada, conductor Kirill Gerstein, piano


Friday Evening Sponsor: KeyBank

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


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).



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

Stravinskyâ&#x20AC;&#x2122;s Firebird

Under 18s Free FOR FAMILIES


DVOĹ?Ă&#x2030;K 7KH:RRG'RYH* JANĂ&#x2030;ĂžEK 6XLWHIURP From the House of the Dead BEETHOVEN Piano Concerto No. 5  ´(PSHURUÂľ


Concert Calendar

The Cleveland Orchestra






0D\â&#x20AC;&#x201D; Thursday at 7:30 p.m. 0D\â&#x20AC;&#x201D; Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor Luba OrgonĂĄĹĄovĂĄ, soprano Jennifer Johnston, mezzo-soprano Norbert Ernst, tenor Eric Owens, bass-baritone Cleveland Orchestra Chorus

DVOĹ?Ă&#x2030;K Stabat Mater Sponsor: Litigation Management, Inc.

SUMMER SEASON %/26620086,&)(67,9$/

presented by The J.M. Smucker Company

1812 Overture

-XO\ â&#x20AC;&#x201D; Saturday at 8:00 p.m. <18s -XO\ â&#x20AC;&#x201D; Sunday at 8:00 p.m. <18s THE CLEVELAND ORCHESTRA Johannes Debus, conductor

RIMSKY-KORSAKOV Scheherazade SHOSTAKOVICH Suite No. 1 for Variety Orchestra TCHAIKOVSKY 1812 Overture %/26620086,&)(67,9$/

A Salute to America

-XO\ â&#x20AC;&#x201D; Monday at 8:00 p.m.


BLOSSOM FESTIVAL BAND Loras John Schissel, conductor *UHDWPXVLFĂ&#x20AC;UHZRUNVDQGIXQIRUWKHZKROHIDPLO\%ORVsomâ&#x20AC;&#x2122;s traditional, star-spangled celebration of America, LQFOXGLQJ%URDGZD\IDYRULWHVDQG6RXVDPDUFKHVDQG HQGLQJZLWK7FKDLNRYVN\¡V1812 Overture. Sponsor: KeyBank


%HHWKRYHQ¡V+HURLF6\PSKRQ\ -XO\ â&#x20AC;&#x201D; Saturday at 8:00 p.m.

CLEVELAND ORCHESTRA <287+25&+(675$ Sunday 0D\at 3:00 p.m. <18s

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

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. Supported by the Martha Holden Jennings Foundation.


A free Prelude Concert begins at 1:45 p.m. featuring members of the Youth Orchestra performing chamber music.

THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor

ADĂ&#x2C6;S Overture, Waltz, and Finale from Powder Her Face STRAUSS 'HDWKDQG7UDQVĂ&#x20AC;JXUDWLRQ BEETHOVEN Symphony No. 3 (â&#x20AC;&#x153;Eroicaâ&#x20AC;?) Sponsor: Blossom Friends of The Cleveland Orchestra


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

Concert Calendar



2015-16 SE A SON




BEETHOVEN’S EMPEROR CONCERTO Thursday May 19 at 7:30 p.m. Friday May 20 at 11:00 a.m. <18s Saturday May 21 at 8:00 p.m. Sunday May 22 at 3:00 p.m. <18s




DVOŏÉK’S STABAT MATER Thursday May 26 at 7:30 p.m. Saturday May 28 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Rudolf Buchbinder, piano

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Luba Orgonášová, soprano Jennifer Johnston, mezzo-soprano Norbert Ernst, tenor Eric Owens, bass-baritone Cleveland Orchestra Chorus

When Beethoven’s Fifth Piano Concerto was premiered, it was hailed as “without doubt one of the most original, imaginative, most effective but also one of the most difficult” of concertos. Renowned Beethoven specialist Rudolf Buchbinder returns to Severance Hall to perform this great concerto, nicknamed the “Emperor.” The concert also features rarely-heard works by Dvořák and Janáček.

Seeking solace, a grief-stricken Dvořák wrote his Stabat Mater after suffering the loss of three of his children in rapid and tragic succession. A profound, masterful setting of the expression of loss and sorrow, Dvořák’s work conveys his deep sense of emptiness — and documents his inner struggle and hard-won hope regained through music. Franz WelserMöst leads these performances featuring a quartet of internationally-renowned soloists.

Sponsore: BakerHostetler

Sponsor: Litigation Management, Inc.

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 28, 29, 30, May 5, 6, 7 Concerts  
The Cleveland Orchestra April 28, 29, 30, May 5, 6, 7 Concerts  

April 28, 29, 30 A Hero's Life May 5, 6, 7 Stravinsky's Firebird