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2015-16 SE ASON



Concert: May 26, 28 DVOŘÁK’S STABAT MATER — page 31 PERSPECTIVES from the Executive Director — page 7 Musical Relationships, Language and Identity — page 8

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

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WEEK Upfront




From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Identity, Language, and Music . . . . . . . . . . . . . . . . . 8

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 15 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 17 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . 84-85 WEEK

2015-16 SE ASON


DVOŘÁK’S STABAT MATER Program: May 26, 28 . . . . . . . . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 DVOŘÁK

Stabat Mater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Sung Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 23 Guest Soloists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . . . 50 NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . 56-63


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

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.

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

Support Mellon Challenge Grant . . . . . . . . . . . . . . . . . . . . 12-13 Sound for the Centennial . . . . . . . . . . . . . . . . . . . 54-55 Annual Support Corporate Support . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Foundation and Government Support . . . . . . 67 Individual Giving . . . . . . . . . . . . . . . . . . . . . . . . . . . 68


50% All unused books are recycled as part of the Orchestra’s regular business recycling program. These books are printed with EcoSmart certified inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

Table of Contents

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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.

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Perspectivesfrom the Executive Director May 2016 Throughout the country, there is a yearly ritual at non-profit organizations large and small, to bring the Annual Fundraising campaign to a successful close. It is no small task, yet it is, in fact, what makes each year possible. The Cleveland Orchestra’s Annual Fund reaches back to its earliest history, to a group of founding guarantors who chose, nearly a century ago, to take on shared responsibility for each year’s budget. These were families with strong links to the Orchestra’s founding and to its subsequent growth and achievements, and to the community’s own success as one of America’s great industrial cities. The Cleveland Orchestra was founded to serve this community through the art of music — through performances second to none, and with education programs that would inspire new generations. It remains a worthy ideal. Across the decades, like most other non-profit arts organizations of the era, The Cleveland Orchestra also became more and more of a true business — running a year-round schedule of concerts and education programs, overseeing the daily operation of a great concert hall and an ambitious summer home. Musical art had become work, requiring not just creativity and enthusiasm, but rigorous implementation, dedicated oversight, and long-term planning. Across these same decades, the responsibility for ensuring The Cleveland Orchestra’s success was willingly and happily taken on by a larger and larger group of individuals, each invested not just in the artistic rewards and achievements but the financial outcomes of each season as well. The list of guarantors became a community-wide Annual Fund, supported by thousands of gifts large and small, every one making a difference. The Cleveland Orchestra’s Annual Fund is, in fact, one of the most amazing things about this institution and community. Indeed, as a symbol of how generous — and involved — you are, this Annual Fund is extraordinary. You are more generous than any other in this country in terms of per capita giving. And I believe this is a direct reflection of what happens onstage. Franz and the musicians of this Orchestra push themselves every day to be better, to do more. You recognize this constant striving, and you push yourselves, too — to give just a little more, to support to the utmost. This spring, my wife, Ginette, and I sat down to make our own first Annual Fund pledge to The Cleveland Orchestra, not simply because I work here, but because we fundamentally believe in the future of this extraordinary ensemble and want to be a part of this community’s support going forward. Closing out this year’s Annual Fund at the end of June presents both opportunities and challenges. A strong finish requires the efforts and support of everyone who cares about this Orchestra and is able to contribute. Even with the surging success of recent years, ticket sales cover less than half of the costs for producing the Orchestra’s concerts and programs. If you have already made your gift or pledge to the Annual Fund, thank you. If you have not, but enjoy and count on what this Orchestra offers you, please . . . give today. Every gift, small or large, makes a difference in carrying this institution forward year by year.

André Gremillet Severance Hall 2015-16


Nationality and Language, Identity and Music . . . Cleveland Orchestra concerts this month feature works by Eastern European composers Bartók, Janáček, and Dvořák — allowing concertgoers to ponder the varied influences of spoken language, musical vocabulary, and a composer’s style. T H I S S P R I N G , Franz Welser-Möst’s con-

certs at Severance Hall are featuring a rare grouping together of musical works by composers from what we today call Eastern Europe — including Dvořák, Janáček, Kurtág, and especially Bartók. These Czech and Hungarian works not only add diversity and breadth to the season, they also can remind us of Franz’s fundamental belief that music — the studying, listening to, learning about, the playing of an instrument — are essential to developing (as a child) and maintaining (as an adult) a well-rounded mind. We might also wonder how the music of the countries (or peoples) of Eastern Europe are connected to one another and to the larger world of classical music — and to the grand Germanic symphonic traditions of Central Europe (with which these countries were long identified)? How does the language of a country affect music and how people listen to it? Relatedly, how do composers of different


countries come to sound “like home” to their compatriots? Does music, in fact, influence how a person thinks? In the 2014 book Whatever Happened to the Metric System?, author John Bemelmans Marciano notes that those of us still using the “British” Standard of measure instead of the Metric system are now valuable for maintaining diversity of thought in the world — we actually think differently about weights and measures than those raised on the Metric system. We think about the world from a different angle. Although many will argue, neither system of weights and measures is inherently better in and of itself. They are merely different and each has its advantages and disadvantages. Up to the point at which too much variation (too much converting one system to another) causes misunderstanding or chaos. In other words, difference and diversity help create a more interesting and stimulating world. So it is with language. The dream of Music and Identity

The Cleveland Orchestra

A map of ethnic groupings across Europe. 1897, Hungary.

a universal language, whether Latin or Esperanto or English or Chinese is more like a nightmare of impoverishment, of making everything too much the same. What might be gained in certainty of communication would be erased by all that is lost by not having brains raised with different languages as their baseline, their “normal.” Nuances of meaning, of “untranslatable” words between languages, would not just cease to exist, but the differing ways of viewing and thinking about objects and ideas behind those differences would also be . . . gone. As some scholars and philosophers have suggested, the biggest difference between France and Germany across the centuries is not their cultures per se, but their languages, and that the two cultures are more a byproduct of their differing languages (and ways of actually thinking), not the other way around. So it is with music. The differences of spoken language, and mindset, also affect music. Not just in how words are set in differing languages, so as to sound natural, but in the inherent normal rhythms of different languages, of everyday life and hearing. The national music of varying countries, almost without exception, mirrors inflections and rhythms — and ways of thinking — inherent in the languages of its peoples. Music “from home” brings peace of mind and happiness. The music you listen to, the language you speak is as strong a home as any physical structure. Possibly more so. News reports this year have cited studies showing that children raised with dual language skill (bilingual as children) grow up to be more collaborative (less Severance Hall 2015-16

prone to conflict) as adults. They understand more of the possibilities of the world (and the people around them) because their minds were “set” in their formative years with the diverse “views” inherent in two different languages. Conductor Daniel Barenboim’s youth-filled West-Eastern Divan Orchestra — including Palestinians and Israelis — is founded on the related notion that making music together brings understanding and commonality and sharing, to those involved, if not to the countries and peoples at large. EASTERN EUROPEAN RHY THMS

So what, if anything, do these ideas tell us about the musical works we are hearing this spring — about these composers from what we today call Eastern Europe? Eastern now, due to 20th-century politics, when the democratic West squared off with the communist “East” as adversary. For centuries prior, that swath of Europe was, with Germany and Austria, called Central Europe, a civilized, flourishing area of arts and culture and progress. Budapest and Prague and Warsaw were as proudly modern and progressive as Vienna, Berlin, and Paris from the Enlight-

Language and Music


enment forward into the 20th century, before being cordoned off as Russia’s Eastern Block zone. Their music and arts continued to shine, even under postWorld War II authoritarian rulers. As Jan Simon postulates in a collection of essays titled The Late Romantic Century, “the importance of language as a factor and criterion of nationality also influenced the practice of composers in east central Europe. The nature of a spo-

Difference and diversity help create a more interesting and stimulating world. ken language inevitably affects the music that sets it . . . and ultimately, if indirectly, leaves its mark on instrumental music too. . . . For Janáček and Bartók, fidelity to the rhythms and inflections of the spoken language was an article of nationalist, as well as realist, faith.” Bartók together with his friend Zoltán Kodály spent years cataloging the folk music of their Hungarian homeland, and other countrysides, too. The process inevitably enriched and altered each composer’s own music vocabulary and, ultimately, helped create their unique musical voices. Indeed, Bartók made folk music and rhythms wholeheartedly part of his own music — not by direct quotation, but by merging it and synthesizing folk music into the very DNA of his musical ideas. Bartók’s Violin Concerto and Music for Strings, Percussion, and Celesta, or his Concerto for Orchestra, would be very different pieces had he grown up in . . . Scotland or Peru.


Dvořák’s earliest fame came from his Slavonic Dances, perfectly derived from the Czech rhythms and ideals of his upbringing. Yet the mature Dvořák continued to pursue Germanic traditions of symphonic form and character, while almost unconsciously infusing his scores with aspects of Czech-ness. His great interest during his years as a teacher in America was looking for unique and authentic American music, interviewing former Black slaves and Native Americans. Of course, many composers become multi-lingual in their ability to write in the voices of different nations — some more successfully real and authentic (rather than merely imitative) than others. The Stabat Mater that closes the season with its Latin text, is less Czech than many other of Dvořák’s works, but even in this musical mourning we can identify and recognize moments of a different mindset. This music, certainly, is not German. But its universality, at least for believers and those willing to suspend disbelief in the face of great musical expression, brings us back to language and identity. And perhaps to that other idea . . . that music itself is a universal language, or at least one great channel for translating or transferring what it means to be human from one mind to many, to share our emotional insights, to draw strength from our common bond and intellect. In this way, art makes a difference and shares our humanity . . . each and every day. —Eric Sellen Eric Sellen serves as program book editor for The Cleveland Orchestra — and believes in the power of music.

Nationality and Music

The Cleveland Orchestra

Ben and Martha Lavin

Dr. Arthur Lavin Subscriber and Annual Fund donor


“My parents loved The Cleveland Orchestra from the earliest days of their marriage — and introduced me to music’s great power, its gripping depths and joyful highs.” Ben and Martha Lavin married shortly after World War II. As a young couple, they became Cleveland Orchestra subscribers, making it a routine part of their week — and sharing Saturday nights and the Orchestra with their best friends. Their son, Arthur, began attending with his parents as a teenager, hearing the Orchestra at both Severance Hall and Blossom Music Center. Those early experiences, listening as a young man to great performances by George Szell, left an indelible impression: “In college, I dove deeply into listening — not studying music, for, although I tried, I was too clumsy to master an instrument. But I found my ears were tuned to music, and I have been plumbing its depths ever since!” “Above all, it is the nearly infinite power of great music to transform the mind and soul that is what I most appreciate, and the gift I so enjoy sharing with others.” Celebrate the power of music, and help build The CleveTHE land Orchestra’s future with your friends and community, by CLEVELAND ORCHESTRA supporting the Annual Fund. Call Elizabeth Arnett, Manager of Leadership and Individual Giving, at 216-231-7522 today.



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


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

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

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

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

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

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

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

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

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

Herbert Kloiber (Germany)

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

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

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

TE Trustee Emeritus

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

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

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Severance Hall 2015-16

André Gremillet, Executive Director

Musical Arts Association


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

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

About the Orchestra



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


1l1l 11l1 1l1I

The 2015-16 season marks 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 May 10, 2016)

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




concerts each year.

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

The Cleveland Orchestra performs over



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


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

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

About the Orchestra


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

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

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


About the Orchestra

The Cleveland Orchestra

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


Franz Welser-Möst is among today’s most distinguished conductors. The 2015-16 season marks his fourteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. In 2015, the New York Times declared Cleveland to be the “best American orchestra“ due to its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. The Cleveland Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its recent success in semistaged and staged opera productions. In addition to an unprecedented annual residency in Miami, Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals, including the Salzburg Festival and the Lucerne Festival. The Cleveland Orchestra has been hugely successful in building up a new and, notably, a young audience through its groundbreaking programs involving students and by working closely with universities. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014 and Beethoven’s Fidelio in 2015) and a tour of Scandinavia, as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. This season, he leads the Vienna Philharmonic in two weeks of subscription concerts, and will conduct a new production of Strauss’s Die Liebe der Danae with them at the 2016 Salzburg Festival. Mr. Welser-Möst also maintains relationships with a number of other European orchestras, and the 2015-16 season includes return engagements to Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. In December, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm and conducted the Filarmonica of La Scala Milan in a televised Christmas concert. This season, he also makes his long-anticipated debut with Amsterdam’s Royal Concertgebouw Orchestra for two weeks of concerts. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Severance Hall 2015-16

Music Director


Zurich Opera across a decade-long tenure, conducting more than forty new productions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. The Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik 2015 for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a recently-released multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. AT LEFT

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

“Right now The Cleveland Orchestra may be, as some have argued, the finest in America. . . . The ovations for Mr. Welser-Möst and this remarkable orchestra were ecstatic.” —New York Times “Franz Welser-Möst has managed something radical with The Cleveland Orchestra — making them play as one seamless unit. . . . The music flickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.” —London Times “There were times when the sheer splendor of the orchestra’s playing made you sit upright in awestruck appreciation. . . . The music was a miracle of expressive grandeur, which Welser-Möst paced with weight and fluidity.” —San Francisco Chronicle


Music Director

The Cleveland Orchestra

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DIRECTOR Kelvin Smith Family Chair


Blossom-Lee Chair


Clara G. and George P. Bickford Chair



Gretchen D. and Ward Smith Chair

Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan


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

Emilio Llinas 2 James and Donna Reid Chair

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

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

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

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

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

Orchestra Roster

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

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

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

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

The Cleveland Orchestra

2015-16 SE ASON

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

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

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

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

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

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

Michael Miller

Robert Walters

CORNETS Michael Sachs *

ENGLISH HORN Robert Walters

Michael Miller

Samuel C. and Bernette K. Jaffe Chair

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

Mary Elizabeth and G. Robert Klein Chair

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

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

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

Richard Stout Alexander and Marianna C. McAfee Chair

* Principal §

Linnea Nereim

Shachar Israel 2





Stanley L. and Eloise M. Morgan Chair

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

Gareth Thomas Barrick Stees 2 *

Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2015-16

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


Associate Principal First Assistant Principal Assistant Principal on sabbatical leave




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

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

Orchestra Roster

Elizabeth Ring and William Gwinn Mather Chair


Frances P. and Chester C. Bolton Chair


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June 23-25, 2016


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



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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.

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

May 26, 28 “Music for the Sorrowful Mother” (Dvořák’s Stabat Mater) with guest speaker David J. Rothenberg, chair, department of music, Case Western Reserve University

LAKE ERIE COLLEGE Severance Hall 2015-16

Concert Previews 1.855.GO.STORM


There’s great beauty in

orchestrating the complex PHOTOGRAPHY BY ROGER MASTROIANNI

in pursuit of harmony.

Litigation Management, Inc. is proud to sponsor THE CLEVELAND ORCHESTRA -andFRANZ WELSER-MÖST conducting DvoĢák’s Stabat Mater. Transforming Information, Delivering Insight®


W E L S E R - M Ö ST M U S I C


Severance Hall

Thursday evening, May 26, 2016, at 7:30 p.m. Saturday evening, May 28, 2016, at 8:00 p.m.

Franz Welser-Möst, conductor

2015-16 SEASON


ANTONÍN DVOR ÁK (1841-1904)

Stabat Mater, Opus 58 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.

Orchestral Introduction, Solo Quartet and Chorus: Stabat Mater dolorosa Solo Quartet: Quis est homo, qui non fleret Chorus: Eja, Mater, fons amoris Bass Solo and Chorus: Fac, ut ardeat cor meum Chorus: Tui Nati vulnerati Tenor Solo and Chorus: Fac me vere tecum flere Chorus: Virgo virginum praeclara Duet, Soprano and Tenor: Fac, ut portem Christi mortem Alto Solo: Inflammatus et accensus Solo Quartet and Chorus: Quando corpus morietur

ERIN WALL, soprano JENNIFER JOHNSTON, mezzo-soprano NORBERT ERNST, tenor ERIC OWENS, bass-baritone CLEVELAND ORCHESTRA CHORUS Robert Porco, director

This weekend’s concerts are sponsored by Litigation Management, Inc. The Thursday performance is dedicated to Mr. and Mrs. Dennis W. LaBarre in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. The concert is performed without intermission and will end on Thursday evening at about 9:00 p.m. and on Saturday night at approximately 9:30 p.m. LIVE RADIO BROADCAST


Saturday evening’s concert is being broadcast live on WCLV (104.9 FM) as part of regular weekly broadcasts that feature current and recent concerts of The Cleveland Orchestra, aired on Saturday evenings and Sunday afternoons.

Severance Hall 2015-16

Concert Program — Week 23


# 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


Mourning , Solace & Meaning

T H E C O N N E C T I O N S B E T W E E N a work of art and the life of the artist are not always direct and easy to sort through. Some composers work out their inner feelings through their music, while for others the creation of music is a refuge completely walled off and separate from their personal life. So it is across the arts, music and literature, design and painting, sculpture and poetry. Yet for many of us — as listeners, as witnesses to great or sundry art, as we experience seeing the world through an artist’s new perspective — the openness of emotion to life and art are a direct channel of communication. Dvořák began sketching his Stabat Mater in 1876 around the time of a tragedy in his own life, the death of a newly-born child. How directly that influenced his early sketches we cannot know, for he had other reasons to be tackling a large religious work — in order to prove his well-rounded abilities as a composer of high art. He returned to the Stabat Mater a year later, however, as a very personal deliberation on the meaning of death, of life, and a parent’s grieving. In 1877, in the course of just a few weeks, he and his wife, Anna, lost two more young children to death. And, it seems apparent, the composer poured his feelings and his search for solace into completing the Stabat Mater — a Catholic text on the grieving Mary’s heartache for her son Jesus’s sacrifice for humanity. The music of this Stabat Mater is deeply felt, building at the end to a gleaming resolution and affirmation of life, and, perhaps, of God’s will. It contrasts with other composers’ settings of this same text — more solemn and introspective than Rossini’s operatic-inspired version from 1841, less glorious (until the end) than Haydn’s of 1767, less mournful in its meditative voice than Poulenc’s more modern setting from 1950. Even without the meaning within the Latin text, this is powerful music, about life’s journey, about grief and understanding. —Eric Sellen

Severance Hall 2015-16

Introducing the Concert


Stabat Mater, Opus 58 composed 1876-77

At a Glance Dvořák began writing his setting of the Stabat Mater in the first half of 1876, then set it aside for a time and returned to it a year later, completing the core in October-November 1877. The work was premiered on December 23, 1880, in Prague, conducted by Adolf Čech. This work runs about 85 minutes in performance. Dvořák scored it for an orchestra of 2 flutes, 2 oboes plus english horn, 2 clarinets, 2 bassoons,

4 horns, 2 trumpets, 3 trombones, tuba, organ or harmonium, timpani, and strings, plus four vocal soloists and mixed choir. The Cleveland Orchestra first presented Dvořák’s Stabat Mater in May 1919 at Finney Chapel in Oberlin. The work has been presented on two previous Severance Hall weekends, in 1980 under James Conlon’s direction, and in 1989 led by Helmuth Rilling.




About the Music

born September 8, 1841 Nelahozeves, Bohemia

D V O Ř Á K , L I K E H AY D N , was blessed with a simple and unshaken faith. He was not markedly devout, but the Catholic church played its traditional part at the crucial moments of his life, and, like Haydn, he wrote “Thanks be to God” at the end of most of his manuscripts. That Dvořák wrote three large sacred works across his lifetime — a Stabat Mater, a Requiem, and a Te Deum — does not itself prove his commitment to faith, but these works presented no obstacle of conscience (unlike some other composers’ wrestling with the depth of their faith directly in their own musical creations). In the case of the Stabat Mater, this work served as consolation and inspiration. Dvořák’s choral music also included some psalm settings and an oratorio on St. Ludmila with a strong religious background. Even so, in the latter part of his life Dvořák was more absorbed by folk culture and the traditional stories of Bohemia than in religion, and his music seemed, to pious Victorians for example, more distinctive for its exotic color than for any obvious sacred flavor. The Stabat Mater was sketched early in 1876, soon after the composition of the Fifth Symphony and the Serenade for Strings. Many writers have tried to link it too directly to the death of his daughter Josefa the previous September. The storyline seems obvious — a parent mourning a child — and, indeed, there may have been some initial impetus, but Josefa had lived only two days in an era of high infant mortality, and most people were

died May 1, 1904 Prague

Severance Hall 2015-16

About the Music


hardened against such unfortunate but common tragedy. Much more pertinent to Dvořák’s state of mind was his returning to his early sketches a year later at the time of the deaths of two older children — his daughter Růžena (Josefa’s twin) in an accident, aged eleven months in August 1876, and his son Otakar of smallpox, aged three, a month later. In a reversal to these early misfortunes, the Dvořáks went on to have six more children, who survived. At the time of creating the Stabat Mater, Dvořák was already famous beyond the borders of Bohemia, thanks to his friendship with Brahms and to having a German publisher, Simrock of Berlin. His Slavonic Dances and Moravian Duets were hugely enjoyed and the rhythms of Czech music were At the time of creating heard on countless German and (soon) English pianos. the Stabat Mater, Dvorák’s Dvořák’s motivation for composing a StaSlavonic Dances and Morabat Mater rested partly on the idea that a large vian Duets were hugely sacred work would consolidate his international enjoyed throughout much reputation in a style that was not obviously Czech, with the setting of Latin text. He was not of Europe. His motivation wrong, for after its first performance in Prague for composing a Stabat in 1880, it was quickly taken up in other Czech Mater rested partly on the cities and abroad, reaching Budapest in 1882 idea that a large sacred and London on March 10, 1883. (A very personal note: My great-aunt May, whom I remember as work would consolidate a very old lady, sang in the chorus in this London his international reputaperformance; I have her score with the date.) tion in a style that was The success of the Stabat Mater in London not obviously Czech. led to an immediate invitation to Dvořák to come in person to conduct it himself, which he did the next year, the first of many visits to England and the essential prelude to his celebrated engagement in the New World and his living in New York for three years beginning in 1892. THE MUSIC

The poem of the Stabat Mater, which was written by an unknown Franciscan monk in the 13th century, has been set to music innumerable times. Its pathos and poetry lift it above most other medieval texts. The short lines and tidy rhyme scheme is attractive to musicians, and the four trochees that make up the first two lines of each verse generate, in Dvořák’s case, patterns of four or eight notes that tend to be heard many times in the course of each movement.


About the Music

The Cleveland Orchestra

Dvořák had for precedent a well-known Stabat Mater by Pergolesi and a more recent setting by Rossini, written for concert performance in Paris. He was followed by a powerful setting by Verdi, one of that composer’s very last works. Today, Dvořák’s Stabat Mater is less frequently performed, perhaps for the very reason that it displays few of the obviously Bohemian traits familiar from his later works. By that standard it is an austere work, mostly moving at a slow pace, mostly in a minor key, not the least operatic in character (unlike Rossini’s setting), and, except at the concluding Amen, not the least like Handel’s oratorios, the benchmark of “popular” choral music. No. 1: Orchestral Introduction, Solo Quartet and Chorus: “Stabat Mater dolorosa” — The opening movement is one of the most beautiful and most inspired pieces Dvořák ever wrote, with its long falling phrase at the opening, which matches both the rhythm and the pathos of the words “Stabat mater dolorosa” to perfection. It is a long movement, rising at regular intervals to a colossal chord on a diminished seventh, but infused throughout, even at the resigned close, with a depth of sorrow that perhaps only music can express. No. 2: Solo Quartet: “Quis est homo” — Here, once again the syllables of the opening words dictate the phrase with which the alto soloist begins. Her long phrase is taken up in turn by the tenor, then the bass, then the soprano, while each voice continues, forming a thickening counterpoint. The mood of this movement is intense abjection, in contemplation of the suffering Jesus, with occasional brief moments of warmth. No. 3: Chorus: “Eja, Mater” — This chorus is built on a steady, not brisk, march tempo, and its main section is repeated almost exactly, with a brief link before the return to the beginning. No. 4: Bass Solo and Chorus: “Fac, ut ardeat cor meum” — The bass solo pronounces the beginning of “Fac, ut ardeat” with considerable force, and with the orchestra’s brass in support. Clarinets, then flutes, weaving in and out, offer a second section, and the choral women’s voices take charge of the second of the two verses, supported by the organ. The process is repeated, with the men this time joining the women, and the solo bass takes the movement to its conclusion over the orchestra reiterating his opening phrase. No. 5: Chorus: “Tui Nati vulnerati” — Only the word “pœnas” interrupts the smooth flow of lines in “Tui Nati vulnerati.” Severance Hall 2015-16

About the Music

The “Mater dolorosa” has long been a subject of painters and sculptors, such as this pain ng by Aelbert Bouts from the late 15th century.


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

Presenting Exhibition Sponsor

Karl Schmidt-Rottluff Aug 25 – Dec 18

Marcel Duchamp Apr 5 – Jul 3

Presenting Centennial Sponsor

Supporting Centennial Sponsor

Media Sponsor

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.

Then Dvořák unexpectedly decides to move the tempo forward and offer a much more positive setting of the opening words, with a strong climax. The inner flow is never stemmed, however, and the opening section returns as serene as before. No. 6: Tenor Solo and Chorus: “Fac me vere tecum flere” — The sixth movement is given to the tenor soloist in close dialogue with the chorus. The second section, short but speedy, is much more dramatic, and the whole process is repeated, with a strong conclusion when both soloist and chorus voice their passionate longing. No. 7: Chorus: “Virgo virginum praeclara” — The choral writing here is of a type all Victorian composers loved to emulate, even if many could not equal Dvořák’s tasteful ingenuity. Restrained, devout, shapely. These are the qualities they admired most. No. 8: Duet, Soprano and Tenor: “Fac, ut portem Christi mortem” — Next we hear a dialogue for the soprano and tenor soloists. The tenor’s entry sets up a chug-chug accompaniment that continues through the central section, and then gives way to a coda that comes to end on a long restful chord. No. 9: Mezzo-Soprano Solo: “Inflammatus et accensus” — This movement disguises its broad tempo with a style of baroque walking bass line (listen to the lower voices of the orchestra). The second section is more passionate and chromatic. The lower-voiced female soloist has this entire, very satisfying movement to herself. No. 10: Solo Quartet and Chorus: “Quando corpus morietur” — For the close, Dvořák returns to musical ideas from the opening movement, although its outstanding falling phrase is not heard until the full three-line verse has been sung, including a phrase for “paradisi gloria” that rises not to the colossal diminished-seventh chord that was heard five times in the opening movement, but to a blazing chord of G major, followed swiftly by another, higher one, in A major. No clearer musical expression of the glory of Paradise could be imagined. The falling phrase immediately recurs, in the major key, and soon the traditional treatment of “Amen” as a double fugue brings the work to a conclusion at a speed and a level of energy that has been heard nowhere up to this point in the whole work. We have arrived at solace and resolution, with peace and acceptance, and even a little joy. —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.

Severance Hall 2015-16

About the Music




The house where Antonín Dvořák was born in Nelahozeves, Bohemia (now the Czech Republic) in 1841; Dvořák as a young man; and Dvořák with his wife, Ottilie, in 1886 in London.

LOWER HALF OF PAGE: Dvořák in 1885, a few years before he came to New York; the Statue of Liberty, erected in New York harbor in 1886, greeted Dvořák upon his arrival in 1892; Dvořák’s death in 1904 was international news, including this “post-mortem” memorial photograph (a common tradition in the late19th and early 20th centuries).


Antonín Dvořák

The Cleveland Orchestra

It cannot be emphasized too strongly that art, as such, does not pay, to use an American expression — at least not in the beginning. And that art that has to pay its own way is apt to become vitiated and cheap. —Antonín Dvořák

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13th-century Franciscan text, formerly attributed to Jacopone da Todi (d. 1306) musical setting by Antonín Dvořák (1841-1904)

1. Orchestral Introduction &

Solo Quartet and Chorus: Andante con moto Stabat mater dolorosa juxta crucem lacrimosa, dum pendebat Filius.

The grieving mother stood beside the cross weeping where her Son was hanging.

Cujus animam gementem, contristatam et dolentem per transivit gladius.

Through her weeping soul, compassionate and grieving, a sword passed.

O quam tristis et afflicta fuit illa benedicta, mater Unigeniti!

O how sad and afflicted was the blessed mother of the Only-begotten!

Quae moerebat et dolebat, et tremebat, cum videbat nati poenas incliti.

She who mourned and grieved, and trembled, as she witnessed the torment of her Son.

2. Solo Quartet: Andante sostenuto Quis est homo qui non fleret, Matrim Christi si videret in tanto supplicio?

Who among us would not weep when seeing Christ’s mother in such agony?

Quis non posset contristari piam matrem contemplari dolentem cum Filio?

Who would not feel compassion when contemplating Christ’s mother suffering with her Son?

Pro peccatis suae gentis vidit Iesum in tormentis, et flagellis subditum.

For the sins of His people she saw Jesus in torment and subjected to flogging.

Vidit suum dulcem Natum moriendo desolatum, dum emisit spiritum.

She saw her sweet Son dying, forsaken, giving up His Spirit. P L E A S E T U R N PA G E Q U I E T LY

Severance Hall 2015-16

Stabat Mater — Sung Text


3. Chorus: Andante con moto Eja, mater, fons amoris me sentire vim doloris fac ut tecum lugeam.

O mother, fountain of love, make me feel the power of sorrow, that I may grieve with you.

4. Bass Solo and Chorus: Largo Fac ut ardeat cor meum in amando Christum Deum ut sibi complaceam.

Grant that my heart may burn in the love of Christ the Lord, that I may please Him greatly.

Sancta mater, istud agas, crucifixi fige plagas cordi meo valide.

Holy mother, grant to me that His crucified wounds are transfixed within my heart.

5. Chorus: Andante con moto Tui Nati vulnerati, tam dignati pro me pati, poenas mecum divide.

Grant that His punishment so worthily suffered for me can also be shared with me.

6. Tenor Solo and Chorus: Andante con moto Fac me vere tecum flere, crucifixo condolere, donec ego vixero.

Let me weep piously with you, bemoan the Crucified, for as long as I live.

Juxta crucem tecum stare, te libenter sociare in planctu desidero.

To stand beside the cross with you, and to join with you in mourning, this I desire.

7. Chorus: Largo Virgo virginum praeclara, mihi iam non sis amara, fac me tecum plangere.


Chosen Virgin of virgins, don’t be bitter with me now, let me mourn with you.

Stabat Mater — Sung Text

The Cleveland Orchestra

8. Duet, Soprano and Tenor: Larghetto Fac ut portem Christi mortem, passionis fac consortem, et plagas recolere.

Grant that I may bear Christ’s death, Let me share His torments, and the memory of His wounds.

Fac me plagis vulnerari, cruce hac inebriari, ob amorem Filii.

Let me be wounded with distress, and through the cross, let me be fulfilled with love for your Son.

9. Mezzo-Soprano Solo: Andante maestoso Inflammatus et accensus per te, virgo, sim defensus in die iudicii.

If fire will destroy me, Virgin, through you may I be defended on the day of judgement.

Fac me cruce custodiri morte Christi praemuniri, confoveri gratia.

Let me be guarded by the cross, fortified by the death of Christ, and cherished by grace.

10. Finale: Solo Quartet and Chorus: Andante con moto When my body dies, Quando corpus morietur, grant that my soul will be given fac ut animae donetur the glory of Paradise. paradisi gloria. Amen. Amen. Amen. Amen.

Severance Hall 2015-16

Stabat Mater — Sung Text







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Erin Wall

Jennifer Johnston

Canadian soprano Erin Wall sings an extensive opera and concert repertoire spanning three centuries, from Mozart and Beethoven to Britten, Mahler, and Strauss. She has sung leading roles with the world’s most prestigious opera houses, including New York’s Metropolitan Opera, Italy’s Teatro alla Scala, Opéra National de Paris, Lyric Opera of Chicago, and the Vienna State Opera, and appears in concert with major symphony orchestras worldwide. In concert, recent and upcoming performances include the world premiere of Zosha Di Castri’s Dear Life at the National Arts Centre in Ottawa, Vaughan Williams’s A Sea Symphony and Handel’s Messiah with the Toronto Symphony, Bruckner’s Te Deum with the Chicago Symphony Orchestra, Orff’s Carmina Burana with the Royal Philharmonic Orchestra, Mahler’s Symphony No. 8 in Philadelphia, and a recital with the George London Foundation. This summer, Ms. Wall sings the title role in Barber’s Vanessa with Santa Fe Opera. Her discography includes Mahler’s Symphony No. 8 with the San Francisco Symphony, as well as Mozart’s Così fan tutte, Beethoven’s Symphony No. 9, and Britten’s War Requiem, among other titles. Ms. Wall is making her Cleveland Orchestra debut with this weekend’s concerts.

English mezzo-soprano Jennifer Johnston is making her Severance Hall debut with this weekend’s concerts. She previously sang with The Cleveland Orchestra in a 2015 performance of Mahler’s Third Symphony in Paris. A former BBC New Generation Artist, she is a graduate of Cambridge University and the Royal College of Music. Her operatic appearances have included engagements with the Baltic Sea Festival, Bavarian State Opera, Beijing Festival, Festival d’Aix en Provence, Salzburg Festival, Opéra de Lille, Opera North, Scottish Opera, and Teatro alla Scala. In concert, she has performed with the major orchestras of Great Britain as well as with ensembles in Berlin, Dallas, Hong Kong, Leipzig, Lucerne, Malaysia, Munich, São Paulo, and Vienna. She has also sung at the Aldeburgh Festival, BBC Proms, and the London Song Festival. Noted for her interpretations of contemporary music, Ms. Johnston gave the world premieres of Anthony Payne’s orchestration of Vaughan Williams’s Four Last Songs and two song cycles by Cheryl Frances Hoad. Her discography includes albums on the BBC Music, Champs Hill Records, Naxos, Onyx, and Presto Classical labels.

Severance Hall 2015-16

Guest Artists


Jewish Federation OF CLEVELAND

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Norbert Ernst

Eric Owens

Austrian tenor Norbert Ernst has been an ensemble member of the Vienna State Opera since 2010. He studied in his native Vienna with Gerd Fussi at the Josef Matthias Hauer Conservatory and with Robert Holl and Charles Spencer at the University of Music and Performing Arts. Mr. Ernst was a member of the German Opera on the Rhine, 2002-05, and has subsequently performed in works by Donizetti, Mozart, Strauss, and Wagner at venues such as the Bavarian State Opera, Berlin State Opera, Grand Théâtre in Geneva, Gran Teatre del Liceu, Dutch National Opera, Opéra de Monte Carlo, and the Opéra National de Paris. From 2004 through 2011, he was a permanent guest at the annual summer Bayreuth Festival. He has also appeared with the Cincinnati Opera, Opera Festival in Savonlinna, and at the Salzburg Festival. In recital, he has performed in Amsterdam, Berlin, Düsseldorf, Linz, Munich, New York, Paris, and Vienna. He made his debut with The Cleveland Orchestra in May 2015 in Strauss’s Daphne at Severance Hall, and reprised the role in July 2015 with the Orchestra at New York’s Lincoln Center Festival.

American bass-baritone Eric Owens first appeared with The Cleveland Orchestra in August 1998, and more recently appeared in May 2012 in Strauss’s Salome. He began playing piano at age six, and oboe at age 11. He studied voice at Temple University and continued at the Curtis Institute of Music, and was a member of the Houston Grand Opera Studio. Eric Owens has performed in the major opera houses of North America. His European performances have included engagements with the English National Opera and London’s Royal Opera House. His operatic repertoire features works by Handel, Mozart, Donizetti, Rossini, and Bellini, as well as major Wagnerian roles and more contemporary fare including John Adams and Elliot Goldenthal. He regularly appears with major American and European orchestras in a range of concert works from the 18th, 19th, and 20th centuries. Eric Owens’s honors include the 2003 Marian Anderson Award as well as first prizes in the Plácido Domingo Operalia Competition, Metropolitan Opera National Council Auditions, Luciano Pavarotti International Voice Competition, Palm Beach Opera National Voice Competition, and Mario Lanza Voice Competition.

Severance Hall 2015-16

Guest Artists


Robert Porco Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra

Robert Porco became director of choruses for The Cleveland Orchestra in 1998. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco conducts the Orchestra’s annual series of Christmas concerts at Severance Hall and regularly conducts subscription concert programs both at Severance Hall and Blossom. He has also served as director of choruses for the Cincinnati May Festival since 1989. In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of significant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana University 1980-98, and in recent years has taught doctoral-level conducting at the school. As teacher and mentor, Mr. Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, he has taught at Harvard University, Westminster Choir College, and the University of Miami Frost School of Music.

Lisa Wong

Assistant Director of Choruses

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season. In this capacity, she assists in preparing the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. With the 2012-13 season, she took on the added position of director of the Cleveland Orchestra Youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is a faculty member at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana, where she worked with the choral department of the Indiana University Jacobs School of Music (including directing the Chamber Choir of the Indiana University Children’s Choir). Active as a clinician, guest conductor, and adjudicator, Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.


Cleveland Orchestra Chorus

The Cleveland Orchestra

Cleveland Orchestra Chorus Robert Porco, Director

Lisa Wong, Assistant Director Joela Jones, Principal Accompanist The Cleveland Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute over 15,000 volunteer hours to the Orchestra’s music-making each year. CHORUS — DVOŘÁK’S STABAT MATER SOPRANOS




Amy Foster Babinski Kimberly Brenstuhl Yu-Ching Ruby Chen Susan Cucuzza Anna K. Dendy Emily Engle Lisa Rubin Falkenberg ♦♦ Sarah Gaither Rebecca S. Hall Lisa Hrusovsky ♦ Shannon R. Jakubczak Sarah J. Jones Hope Klassen-Kay ♦ Adrienne Leska Kate Macy ♦ Lisa Manning Megan Meyer Julie Myers-Pruchenski S. Mikhaila Noble-Pace Jennifer Heinert O’Leary ♦ Sarah Henley Osburn Melissa B. Patton Lenore M. Pershing Joy Marie Rivera Cassandra E. Rondinella Meghan Schatt Monica Schie ♦ Jane Timmons-Mitchell ♦♦ Melissa Vandergriff Sharilee Walker ♦ Kiko Weinroth Mary Wilson ♦ Constance Wolfe ♦

Alexandria Albainy Emily Austin ♦ Alissa L. Bodner Marie Bucoy-Calavan Lydia Chamberlin Brianna Clifford Barbara J. Clugh Carolyn Dessin ♦ Marilyn Eppich ♦ Amanda Evans Kathy Jo Gutgsell Ann Marie Hardulak ♦♦♦ Betty Huber ♦ Karen Hunt Sarah N. Hutchins Lucia Leszczuk ♦♦ Diana Martin Danielle S. McDonald Karla McMullen Peggy A. Norman ♦ Marta Perez-Stable Alanna M. Shadrake Ina Stanek-Michaelis ♦ Rachel Thibo Martha Cochran Truby Gina Ventre Laure Wasserbauer ♦ Meredith Sorenson Whitney Debra Yasinow ♦♦ Lynne Leutenberg Yulish

Vincent L. Briley Gerry C. Burdick ♦♦ Brent Chamberlin Manuel Gomez Corey Hill * Daniel M. Katz ♦ Peter Kvidera Tod Lawrence Shawn Lopez Stephen Mason James Newby ♦♦ Tremaine B. Oatman ♦♦♦ Ryan Pennington Matthew Rizer ♦ Ted Rodenborn John Sabol Lee Scantlebury ♦ James Storry ♦♦♦♦ Charles Tobias ♦♦ William Venable Michael Ward Steven Weems

Christopher D. Aldrich Tyler Allen Jack Blazey Sean Cahill Kevin Calavan Charles Carr ♦ Peter B. Clausen ♦ Nick Connavino Christopher Dewald Jeffrey Duber ♦ Matthew Englehart Thomas E. Evans ♦ Richard S. Falkenberg ♦♦ Kurtis B. Hoffman Joshua Jones Jason Levy ♦ Tim Manning Scott Markov ♦ Tyler Mason Roger Mennell ♦♦ Robert Mitchell Stephen Mitchell Tom Moormann Keith Norman ♦♦♦ Glenn Obergefell Daniel Parsley John Riehl ♦♦ Steven Ross Thomas Shaw Steven Skaggs James B. Snell

Service Recognition ♦ 15-24 years ♦♦ 25-34 years ♦♦♦ 35-44 years ♦♦♦♦ 45+ years

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Jill Harbaugh, Manager of Choruses * Shari Bierman Singer Fellow

Severance Hall 2015-16

Cleveland Orchestra Chorus


Dreams can come true

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

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Your Investment: Strengthening Community Visit to learn more.

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Have your name or the name of a loved one forever celebrated on a seat at Severance Hall, Reinberger Chamber Hall, or Blossom Music Center. Name a seat today! For more information on how to name a seat, please contact Brian Deeds at 216-231-7556 or at

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

Severance Hall 2015-16

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



Please join with the entire Cleveland Orchestra family as we bid farewell to two long-time musicians with the ending of the 2015-16 contract season. Their com-

Special thanks to musicians for supporting the Orchestra’s long-term financial strength The Board of Trustees extends a special acknowledgement to the members of The Cleveland Orchestra for supporting the institution’s programs by jointly volunteering their musical services for several concerts each season. These donated services have long played an important role in supporting the institution’s financial strength, and were expanded with the 2009-10 season to provide added opportunities for new and ongoing revenuegenerating performances by The Cleveland Orchestra. “We are especially grateful to the members of The Cleveland Orchestra for this ongoing and meaningful investment in the future of the institution,” says André Gremillet, executive director. “These donated services each year make a measureable difference to the Orchestra’s overall financial strength, by ensuring our ability to take advantage of opportunities to maximize performance revenue. They allow us to offer more musical inspiration to audiences around the world than would otherwise be possible, supporting the Orchestra’s vital role in enhancing the lives of everyone across Northeast Ohio.”


bined service totals 74 seasons. Robert Vernon retires at the close of the Orchestra’s European Festivals Tour in August, after 40 years as principal viola of The Cleveland Orchestra, making him the longest-serving string principal in the ensemble’s history. Yoko Moore retires at the end of May with the close of the 2015-16 Severance Hall season, following 34 years as assistant concertmaster, and including 19 seasons as a coach for the Cleveland Orchestra Youth Orchestra. She was one of the first women appointed assistant concertmaster of a major American orchestra. Upon leaving the Orchestra, both musicians will become a member of the ensemble’s Musicians Emeritus roster, recognizing their long and dedicated service to the Orchestra and all of Northeast Ohio. Thank you! And best wishes in the years ahead as you continue teaching, performing, and pursuing your dreams.

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

Yoko Moore

Robert Vernon Principal Viola Chaillé H. and Richard B. Tullis Endowed Chair The Cleveland Orchestra

Robert Vernon has served as principal viola of The Cleveland Orchestra since 1976 and is the longest-tenured string principal in the Orchestra’s history. He has performed more than 4,500 concerts with the Orchestra and has recorded more than 300 works — virtually the entire standard repertoire — with five different record labels, and has made more than 110 concert tours with The Cleveland Orchestra. As a soloist, Bob has appeared in seventeen different works in over 120 concerts at home in Severance Hall, including three works commissioned for him by The Cleveland Orchestra. He has also appeared as soloist on tour and with a number of other ensembles across the United States. A teacher as well as a performer, Bob is a member of the faculty and co-chair of the viola department at the Cleveland Institute of Music. For the past seven years, he has also served as a member of the viola faculty at New York’s Juilliard School, from which he graduated with honors. Bob’s students hold positions as chamber musicians and teachers, and have won positions in more than 50 major orchestras in North America and Asia — including eight positions in the viola section of The Cleveland Orchestra. Bob retires from The Cleveland Orchestra — but not, he says, from his life as a performer and teacher — in August following the ensemble’s European tour. He and his wife, Valerie, have been married for 35 years and have three grown children. He looks forward to spending more time with his family in the normal course of daily life, while continuing to perform and teach.

Severance Hall 2015-16


Assistant Concertmaster Clara G. and George P. Bickford Endowed Chair The Cleveland Orchestra

Yoko Moore joined The Cleveland Orchestra in 1982 as one of the first women appointed assistant concertmaster of a major American ensemble. Prior to coming to Cleveland, she was a member of the Dallas Symphony Orchestra for five years and concertmaster of the Tulsa Philharmonic for one year. Born in Shimane, Japan, Yoko was encouraged by parents who believed that girls, as well as boys, should achieve. Shortly before her fourth birthday, she started playing the violin and, at age 12, she won her first prize. She set her sights on a music career and received her degree from Toho Music School in Tokyo and studied with Toshiya Eto. While in Tokyo, she performed with the New Japan Philharmonic under the direction of Seiji Ozawa and was a soloist with the Tokyo Symphony Orchestra and the Tokyo Solisten. Ozawa urged her to move to the United States, where there were more opportunities for women. Although her first love is orchestral playing, Yoko frequently performs in chamber music with friends and colleagues, and has also returned to Japan to appear as soloist on a number of occasions. She has performed as a soloist with The Cleveland Orchestra several times. Yoko says she has been fortunate to work with a succession of wonderful concertmasters, from the late Danny Majeske to William Preucil. “I’ve learned so much from all of them. My assistant concertmaster position has never been just a job. Music is my joy. It expresses all my feelings.” Yoko looks forward to having more time to read and to listen to music, and to share more life experiences with her daughter and granddaughter.

Cleveland Orchestra News


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orchestra news


Cleveland Orchestra returns to Public Square for annual free downtown event on July 29; FRQFHUWIHDWXUHVSDWULRWLFPXVLFDQGÀUHZRUNV The Cleveland Orchestra returns to Public Square this summer for its 27th annual free downtown community concert, taking place on Friday evening, July 29. This year’s Star-Spangled Spectacular is brought to you by Cuyahoga Arts & Culture, and sponsored by KeyBank. The concert celebrates the completion of renovations of Public Square and is the first large-scale public event being held in the new space. Led by guest conductor Loras John Schissel, The Cleveland Orchestra’s program features patriotic works and American favorites including works by John Philip Sousa, Rodgers & Hammerstein, and George Gershwin, and features guest soloist baritone Norman Garrett. The performance is capped off with a special fireworks display. As part of the Orchestra’s ongoing partnership with ideastream toward providing greater access to music and culture of the region, the Star-Spangled Spectacular performance will be broadcast live on radio stations WCPN (90.3 FM) and WCLV Classical (104.9 FM). “The Orchestra is greatly looking forward to sharing the annual Star-Spangled Spectacular concert with Northeast Ohio,” says André Gremillet, executive director of The Cleveland Orchestra. “This celebration is one of Cleveland’s great annual traditions, and is extra-special with this year’s reopening of the newly renovated and redesigned Public Square. We are grateful to the people of Cuyahoga County, who make this event possible through Cuyahoga Arts & Culture, and to sponsor KeyBank and our other producing partners who make this event possible, including the City of Cleveland for their collaborative effort in hosting this special concert. We are excited to bring Northeast Ohio together with music to celebrate this great city.” “We’re proud to be in our tenth year of supporting The Cleveland Orchestra’s annual free downtown concert,” says Karen Gahl-Mills, CEO and executive director of Cuyahoga Arts & Culture. “As we celebrate the tremendous redesign of Public Square, we hope this event will serve

Severance Hall 2015-16

Star-Spangled Spectacular brought to you by Cuyahoga Arts & Culture

as a reminder of the thousands of free events supported by Cuyahoga Arts & Culture that are available for the community each year.” About Cuyahoga Arts & Culture Cuyahoga Arts & Culture’s mission is to inspire and strengthen the community by investing in arts and culture. Cuyahoga County residents created Cuyahoga Arts & Culture in 2006 when they approved a tax on cigarettes to support arts and culture in our community. In 2015, the community affirmed its commitment to arts and culture by extending the tax through 2027. Cuyahoga Arts & Culture has invested more than $140 million in more than 300 organizations to support thousands of enriching arts and culture experiences in every corner of the county. For more information, visit Concert Start and Pre-Concert The concert begins at 9:00 p.m., with preconcert activities starting at 6:00 p.m. Admission is free, with special transportation options offered through RTA. Fireworks follow the concert, weather permitting.

Cleveland Orchestra News


orchestra news


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.

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


Cleveland Orchestra News

The Cleveland Orchestra

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Modern Snare Drum Competition takes place May 27-28, with sessions open to the public Cleveland Orchestra percussionist Thomas Sherwood is presenting his ninth annual “Modern Snare Drum Competition,� this year to be held in Cleveland May 27 and 28 in University Circle. The competition features two divisions, for those 26 or older, and for those 19 and younger. The contestants, limited to 35 entrants, compete through a series of performances, including newly commissioned works. The rounds are open free to the public. Preliminary rounds begin at the Cleveland Institute of Music on Friday, May 27, with the semi-final and final rounds taking place the next day at the Cleveland Museum of Art. For additional information, please contact by email to

B LOSSOM 2O16 Blossom tickets on sale Dates and programming for the 2016 Blossom Music Festival were announced in February. And individual tickets are now available through the Severance Hall Ticket Officer or online by visiting


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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


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

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

Severance Hall 2015-16

Accolades and celebrations surround Robert Vernon as violist prepares to retire On January 10, 2016, over twenty professional violists gathered at the Cleveland Institute of Music to play a concert in honor of Robert Vernon, who is retiring as principal viola of The Cleveland Orchestra this coming summer. The special concert celebrated Vernon as a teacher and recognized his legacy of forty seasons as principal. Seven members of The Cleveland Orchestra’s viola section, all of whom are former students of Vernon, performed in various small ensembles. As a large group ensemble, the twenty played as a “viola orchestra” to perform three larger works conducted by former viola student Ted Kuchar. The participants represented the orchestras of Atlanta, Boston, Cleveland, and South Dakota, as well as many teachers from major university music schools from around the country. This coming summer, Vernon’s tenure, accomplishments, and artistry as an orchestral player and teacher will also be recognized by the American Viola Society, which is bestowing its Career Achievement Award on him during their annual Festival meeting, this year being held in Oberlin in June.

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

Cleveland Orchestra News


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

Cumulative Giving

Annual Support


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



BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual of Ohio Parker Hannifin Foundation The Plain Dealer PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company UBS The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of 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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Concert Program: March 24 and 26


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

PERSPECTIVES from the Executive Director

— page 7

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The Cleveland Orchestra


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

Cumulative Giving

Annual Support




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

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

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

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

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


$100,000 TO $249,999

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

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


$50,000 TO $99,999

The William Bingham Foundation The George W. Codrington Charitable Foundation GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of March 2016.

Severance Hall 2015-16

Paul M. Angell Family Foundation The George W. Codrington Charitable Foundation The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Nord Family Foundation The Payne Fund The Sage Cleveland Foundation

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

$2,500 TO $19,999 The Abington Foundation The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of The Cleveland Foundation Elisha-Bolton Foundation The Conway Family Foundation The Cowles Charitable Trust (Miami) The Harry K. Fox and Emma R. Fox Charitable Foundation Funding Arts Network (Miami) The Hankins Foundation The William Randolph Hearst Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family Foundation Bessie Benner Metzenbaum Foundation The Margaret Clark Morgan Foundation The M. G. O’Neil Foundation Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wuliger Foundation Anonymous (2)

Foundation and Government Annual Support



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

Lifetime Giving

Giving Societies


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


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

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

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

Irma and Norman Braman (Miami) Mr. Francis J. Callahan* Mrs. M. Roger Clapp* Mr. George Gund III * Francie and David Horvitz (Miami) Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III * The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Sue Miller (Miami) Sally S.* and John C. Morley The Family of D. Z. Norton The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson Peter B. Lewis* and Janet Rosel Lewis (Miami) The Ralph and Luci Schey Foundation Mr.* and Mrs. Ward Smith Mr. and Mrs. Richard K. Smucker Anonymous (2) The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which stands today as an emblem of unrivalled quality and community pride. Lifetime giving listing as of March 2016.


Individual Annual Support

The Cleveland Orchestra

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

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

Irma and Norman Braman (Miami) Mr. and Mrs. James A. Haslam III The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis (Miami) Jan R. Lewis (Miami) Peter B. Lewis* and Janet Rosel Lewis (Miami) Sue Miller (Miami) James and Donna Reid INDIVIDUAL GIFTS OF $100,000 TO $199,999

George* and Becky Dunn Dr. and Mrs. Hiroyuki Fujita David and Francie Horvitz Family Foundation (Miami) James D. Ireland III* Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre Mrs. Emma S. Lincoln Milton and Tamar Maltz Elizabeth F. McBride Mary M. Spencer (Miami) Ms. Ginger Warner (Cleveland, Miami) Janet* and Richard Yulman (Miami)

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

Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler Hector D. Fortun (Miami) T. K. and Faye A. Heston Giuliana C. and John D. Koch Dr. and Mrs. Jerome Kowal Toby Devan Lewis Mr.* and Mrs. Edward A. Lozick Robert M. Maloney and Laura Goyanes Ms. Nancy W. McCann Ms. Beth E. Mooney Sally S.* and John C. Morley Margaret Fulton-Mueller Roseanne and Gary Oatey (Cleveland, Miami) The Claudia and Steven Perles Family Foundation (Miami) Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner Barbara S. Robinson (Cleveland, Miami) Sally and Larry Sears Hewitt and Paula Shaw Barbara and David Wolfort (Cleveland, Miami) Women’s Committee of The Cleveland Orchestra Anonymous (2)

George Szell Society Elisabeth DeWitt Severance Society gifts of $50,000 and more gifts of $25,000 and more

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

Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. Patrick Park (Miami) Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Franz Welser-Möst INDIVIDUAL GIFTS OF $50,000 TO $74,999

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

Severance Hall 2015-16

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

Daniel and Trish Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Mr. and Mrs. David J. Carpenter Robert and Jean* Conrad Mr. and Mrs. Geoffrey Gund Mrs. John A. Hadden, Jr. Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable Foundation Virginia M. and Jon A. Lindseth Julia and Larry Pollock

Individual Annual Support

listings continue


THE CLEVELAN D ORCHESTRA listings continued

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

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

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

The Leadership Patron Program recognizes generous donors of $2,500 or more to the Orchestra’s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Elizabeth Arnett, Manager, Leadership Giving, by calling 216-231-7522.

INDIVIDUAL GIFTS OF $25,000 TO $29,999

Marsha and Brian Bilzin (Miami) In dedication to Donald Carlin (Miami) Martha and Bruce Clinton (Miami) Mr.* and Mrs. Gerald A. Conway Judith and George W. Diehl JoAnn and Robert Glick Mr. Loren W. Hershey Mrs. Marguerite B. Humphrey Mr. and Mrs. Donald M. Jack, Jr. Junior Committee of The Cleveland Orchestra Thomas E Lauria (Miami) Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan Mrs. Jane B. Nord William J. and Katherine T. O’Neill Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Mr. Larry J. Santon Jim and Myrna Spira Paul and Suzanne Westlake Anonymous

INDIVIDUAL GIFTS OF $15,000 TO $19,999

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

Gay Cull Addicott Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. Yuval Brisker Mr. and Mrs. Matthew V. Crawford Jim and Karen Dakin Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami) Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Mary and Jon Heider (Cleveland, Miami) Allan V. Johnson Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Mr. and Mrs. Moshe Meidar (Miami) The Miller Family Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Kim Sherwin Mr. and Mrs. Donald Stelling (Europe) Rick, Margarita, and Steven Tonkinson (Miami) Gary L. Wasserman and Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe)



William Appert and Christopher Wallace (Miami) Art of Beauty Company, Inc. Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Jill and Paul Clark Mr. and Mrs. William E. Conway Mrs. Barbara Cook Peter D. and Julie F. Cummings (Miami) Do Unto Others Trust (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Mr. Allen H. Ford Ms. Dawn M. Full Richard and Ann Gridley Gary Hanson and Barbara Klante Sondra and Steve Hardis Jack Harley and Judy Ernest David and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami) Trevor and Jennie Jones Tati and Ezra Katz (Miami) Mr. Jeff Litwiller Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Edith and Ted* Miller Lucia S. Nash Mrs. David Seidenfeld Mr. and Mrs. Oliver E. Seikel Joe and Marlene Toot Mr. and Mrs. Daniel P. Walsh Tom and Shirley Waltermire Mr. and Mrs. Jeffrey J. Weaver Mr. and Mrs. Jeffrey M. Weiss

Frank H. Ginn Society gifts of $10,000 and more INDIVIDUAL GIFTS OF $12,500 TO $14,999

Mrs. Barbara Ann Davis Robert K. Gudbranson and Joon-Li Kim Eeva and Harri Kulovaara (Miami) Mr. and Mrs. Richard A. Manuel* Mr. and Mrs. Stephen Myers Paul A. and Anastacia L. Rose Mr. and Mrs. Alfred Umdasch (Europe) Margaret and Eric* Wayne Sandy and Ted Wiese

Individual Annual Support

listings continue

The Cleveland Orchestra

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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

listings continue

The Cleveland Orchestra

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NOW TWO LOCATIONS 27100 Chagrin Blvd. at I-271 Orange Village

1640 Lee Rd. at Mayfield Cleveland Hts.

(216) 364-7100

(216) 932-7100



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




Supporting the health, independence and dignity of older adults.

Fine Dining in Little Italy – mere minutes from Severance Hall. Join us for dinner before or after the orchestra. ~ 216.721.0300 2198 Murray Hill Rd. • Cleveland, OH 44106 •

Open for lunch Tuesday ~ Friday

In the heart of Little Italy!

V 5pm -10pm | Tue.-Thur. & Sun.

5pm -11pm | Fri. & Sat.

Live Music Thursday, Friday & Saturday

V alerio’s


12405 Mayfield Road, Cleveland, Ohio 44106 216-421-8049 | find us on

World-class performances. World-class audiences. Advertise among friends in The Cleveland Orchestra programs.

Severance Hall 2015-16

Let’s talk.

contact John Moore 216.721.4300

Ristorante & Wine Bar – in Little Italy 216-231-5977 2181 Murray Hill Road | Live music Wednesday, Friday & Sunday! Join us for dinner before or after the orchestra.



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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The Cleveland Orchestra

No need for alarm with ’roundthe-clock care.

Once you visit The Weils, we know you’re going to like what you see. Once you move in – you’re going to love your new home! Schedule a tour today. Call 440.996.0504.

Assisted Living • Memory Care • Rehabilitation Pavilion • Long-Term Care • Outpatient Therapy 16695 Chillicothe Road (Rt. 306), Chagrin Falls, OH 44023

440.543.4221 |

Reserve your space in the Blossom Music Festival programs. Be a part of one of Northeast Ohio’s classic summer traditions. Call 216-721-1800 or email

The Cleveland Orchestra guide to

Fine Shops & Services Michael Hauser DMD MD Implants and Oral Surgery For Music Lovers Beachwood 216-464-1200

World-class performances. World-class audiences. Advertise among friends in The Cleveland Orchestra programs.

Let’s talk.

contact John Moore 216.721.4300

25th ANNIVERSARY SEASON! 7pm, Friday, August 19, 2016

J A Z Z !! in Lincoln Park Paul Ferguson | Cleveland Jazz Orchestra FREE! | An Arts in August Event Visit for Arts Renaissance Tremont’s upcoming program and season listings.

Severance Hall 2015-16

Exacting craftsmanship and meticulous attention to every detail, every job. 216-952-9801



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

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.

11001 Euclid Avenue Cleveland, Ohio 44106



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


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

Severance Hall

The Cleveland Orchestra

Immigration Services for Corporations & Individuals

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World-class performances. World-class audiences. Advertise among friends in The Cleveland Orchestra programs.

contact John Moore


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Located one block north of Historic Shaker Square, Larchmere Boulevard is Clevelandâ&#x20AC;&#x2122;s premier arts and antiques district, featuring over 40 eclectic and independent shops & services. Severance Hall 2015-16


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.

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 available 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

Itâ&#x20AC;&#x2122;s time for a new identity. One that tells the story of creativity in Ohio and illustrates it.

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

Complete the story at





2O16 BLOSSOM MUSIC FESTIVAL presented by The J.M. Smucker Company


1812 Overture

July 2 — Saturday at 8:00 p.m. <18s July 3 — 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


A London Symphony

July 16 — Saturday at 8:00 p.m.

ELGAR Introduction and Allegro (for string quartet and orchestra) MOZART Piano Concerto No. 21 VAUGHAN WILLIAMS Symphony No. 2 (“A London Symphony”) 2O16 BLOSSOM MUSIC FESTIVAL

An American in Paris


July 17 — Sunday at 7:00 p.m.

July 4 — Monday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Bramwell Tovey, conductor Javier Perianes, piano

A Salute to America


BLOSSOM FESTIVAL BAND Loras John Schissel, conductor Great music, fireworks, and fun for the whole family! Blossom’s traditional, star-spangled celebration of America, including Broadway favorites and Sousa marches, and ending with Tchaikovsky’s 1812 Overture. Sponsor: KeyBank

RAVEL Rapsodie espagnole COPLAND Suite from Appalachian Spring RAVEL Piano Concerto in G major GERSHWIN An American in Paris Sponsor: Medical Mutual

Cooper Piano Competition: Stars of Tomorrow

Franz and Brahms


THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Lauren Snouffer, soprano Dashon Burton, bass-baritone Cleveland Orchestra Chorus

BARTÓK Music for Strings, Percussion, and Celesta BRAHMS A German Requiem Sponsor: Thompson Hine LLP 2O16 BLOSSOM MUSIC FESTIVAL

Beethoven’s Heroic Symphony July 9 — Saturday at 8:00 p.m.




July 8 — Friday at 7:00 p.m.


THE CLEVELAND ORCHESTRA Michael Francis, conductor David Fung, piano


THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

ADÈS Overture, Waltz, and Finale from Powder Her Face STRAUSS Death and Transfiguration BEETHOVEN Symphony No. 3 (“Eroica”)

July 22 — Friday at 7:00 p.m.


THE CLEVELAND ORCHESTRA Jahja Ling, conductor Finalists, to be announced Experience the drama as the three finalists of the 2016 Thomas and Evon Cooper International Piano Competition each perform a great piano concerto, with the competition’s winner announced at the end of the evening. Presented in partnership with Oberlin College. Sponsor: Thompson Hine LLP 2O16 BLOSSOM MUSIC FESTIVAL

Thibaudet Plays Grieg July 23 — Saturday at 8:00 p.m.


THE CLEVELAND ORCHESTRA Jahja Ling, conductor Jean-Yves Thibaudet, piano

STRAVINSKY Four Norwegian Moods GRIEG Piano Concerto SIBELIUS Symphony No. 1

Sponsor: Blossom Friends of The Cleveland Orchestra


Concert Calendar

The Cleveland Orchestra





Magic of the Movies

July 24 — Sunday at 7:00 p.m.


THE CLEVELAND ORCHESTRA Michael Krajewski, conductor Capathia Jenkins, vocalist Blossom Festival Chorus The greatest film scores performed live in a blockbuster tribute to some of the most memorable music of all time. Enjoy favorites from Titanic, James Bond movies, Star Wars, The Sound of Music, and more. FREE DOWNTOWN CONCERT

A Star-Spangled Spectacular brought to you by Cuyahoga Arts & Culture July 29 — Friday evening THE CLEVELAND ORCHESTRA Loras John Schissel, conductor Norman Garrett, baritone

The Cleveland Orchestra’s annual free downtown concert — the first large public event on the newly-renovated Public Square. Free admission, no tickets required. Sponsor: KeyBank

Zukerman Plays Mozart

pre-concert begins at 6:00 p.m. THE CLEVELAND ORCHESTRA Loras John Schissel, conductor Norman Garrett, baritone


THE CLEVELAND ORCHESTRA Hans Graf, conductor Pinchas Zukerman, violin with Kent/Blossom Chamber Orchestra conducted by Brett Mitchell

NORMAN The Great Swiftness BEETHOVEN Symphony No. 8 HINDEMITH Overture, Cupid and Psyche MOZART Violin Concerto No. 5 (“Turkish”) TCHAIKOVSKY Symphony No. 6 (“Pathétique”) 2O16 BLOSSOM MUSIC FESTIVAL

Michael Feinstein’s Broadway July 31 — Sunday at 7:00 p.m.

Join thousands of your neighbors, family, and friends for a special musical evening — marking the reopening of Public Square and The Cleveland Orchestra’s 27th annual FREE concert in downtown Cleveland. Featuring American favorites by Gershwin, Rodgers & Hammerstein, John Philip Sousa, and more! This community celebration is supported by the residents of Cuyahoga County through a grant from Cuyahoga Arts & Culture.


Sponsored by KeyBank.

THE CLEVELAND ORCHESTRA Jack Everly, conductor Michael Feinstein, vocalist Back by popular demand, Michael Feinstein returns to the Blossom stage for an unforgettable night of Broadway hits and classic songs by Ellington, Berlin, Gershwin, and more.

Visit for a complete schedule.

Severance Hall 2015-16

brought to you by Cuyahoga Arts & Culture

Friday July 29 at 9:00 p.m.


July 30 — Saturday at 7:00 p.m.


Concert Calendar


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2015-16 SE A SON






Friday July 8 at 7:00 p.m.



Presented by The J.M. Smucker Company

Saturday July 9 at 8:00 p.m. <18s

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Lauren Snouffer, soprano Dashon Burton, bass-baritone Cleveland Orchestra Chorus

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

Franz-Welser-Möst leads The Cleveland Orchestra and Chorus in one of Brahms’s most touching and achingly beautiful works, his German Requiem. Begun in mourning for his mother, Brahms chose his own texts from the Bible for a deeply personal and human requiem of universal caring. For this concert, the Requiem’s beauty is paired with the startlingly intriguing sounds of Bartók’s Music for Strings, Percussion, and Celesta. Sponsor: Thompson Hine LLP

Beethoven poured his heart and soul into the Third Symphony. Begun as a work in honor of Napoleon and the French people, it eventually became a paen to human freedom and the fight for justice everywhere — with Napoleon, by then having crowned himself Emperor, erased from the title page. From its opening chords through the passionate tread of its funeral march to the blazing glory of the finale, this symphony’s passion knows no bounds. The concert also features an operatic suite by Thomas Adès and Richard Strauss’s tone poem Death and Transfiguration. Sponsor: Blossom Friends of The Cleveland Orchestra

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.




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