The Cleveland Orchestra Sept. 29-30/Oct. 6-9 Concerts

AUTUMN SEASON

SEVERANCE HALL

THE

CLEVELAND ORCHE STRA

16 17 2016-17

FRANZ WELSER-MÖST

Concert: September 29, 30 SIBELIUS SECOND SYMPHONY — page 31 Concert: October 6, 7, 8, 9 RESPIGHI’S ROMAN TRIPTYCH

— page 69

PERSPECTIVES from the Executive Director — page 7 DISTINGUISHED SERVICE AWARD — page 8 MUSIC & POLITICS — page 10

S E A S O N

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16 17 TA B L E

OF

CONTENTS

2016-17

S E A S O N

THIS WEEK CLEVELAND

WEEKS Upfront

ORCHESTRA

1 AN D 2

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

PAGE

THE

From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Distinguished Service Award: Robert Vernon . . . 8 Music & Politics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 15 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 17 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . 108 -109

1 SIBELIUS SECOND SYMPHONY Program: September 29, 30 . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33

Copyright © 2016 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

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

WEEK

IVES

Symphony No. 3: The Camp Meeting . . . . . . . 35 COPLAND

Organ Symphony . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 SIBELIUS

Symphony No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 23 Guest Soloist: Paul Jacobs . . . . . . . . . . . . . . . . . . . . . . 45 NEWS

Cleveland Orchestra News . . . . . . 58- 65

2 RESPIGHI’S ROMAN TRIPTYCH Program: October 6, 7, 8, 9 . . . . . . . . . . . . . . . . . . 69 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 71 Respighi & Beethoven . . . . . . . . . . . . . . . . . . . . . . . . . 73

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.

WEEK

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

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

BEETHOVEN

Symphony No. 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 RESPIGHI

Roman Festivals, Fountains of Rome, Pines of Rome . . . . . . . . . . . . . . . . . . 81

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

Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 23

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . 56-57 Annual Support Individual Giving . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Corporate Support . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Foundation and Government Support . . . . . 101

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Table of Contents

The Cleveland Orchestra

med·ley noun / ’medle- / a piece of music combining tunes or passages from various sources We are strongest when we work together to benefit the lives of those in our communities.

It’s an honor to form such a bond with The Cleveland Orchestra and its commitment to world-class performances.

EXPERIENCE FOR TOMORROW

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Perspectivesfrom the Executive Director Autumn 2016 Welcome to The Cleveland Orchestra’s 99th season. The coming months promise much as the Orchestra performs its annual season here at home in one of the most beautiful — and best-sounding — concert halls in the world.

Franz Welser-Möst, now in his fifteenth year as music director, and this Orchestra have formed an incredible partnership. They are widely acknowledged for their extraordinarily collaborative music-making and the finesse and depth of their performances. Their work together is filled with consummate craft, unprecedented precision, and passionate musical understanding.

Cleveland’s incredible onstage musical team was showcased at three prestigious music festivals in Europe in August, with audiences and critics alike lauding the Orchestra’s performances. One five-star review of the first Salzburg concert from the Kurier included these glowing observations: “Under the leadership of Franz Welser-Möst, The Cleveland Orchestra has matured into one of the supreme bodies of sound in the world. . . . Ultimate precision is coupled with a nearly uncontrollable joy in new sounds. . . . Even Richard Strauss is like child’s play for The Cleveland Orchestra and Welser-Möst, as they confirmed with a performance of the Symphonica domestica, in which Welser-Möst opened a cosmos of sound, replete with superlatives.”

(Additional European review excerpts can be read on page 58 of this program book.)

The tour to Europe was, in fact, just part of a tremendously good summer filled with great performances by The Cleveland Orchestra here at home. Despite some evenings where rain dampened attendance, the 2016 Blossom Music Festival drew in nearly $2.3 million in ticket revenue. Record sales of Lawn Ticket Books once again helped carry this year’s success — alongside our popular Under 18s Free program — and resulted in an average of over 7,000 patrons per concert, down only slightly from the previous summer. Our Labor Day Weekend tradition for family programming was extraordinarily popular, with the Orchestra’s live accompaniment to the movie Raiders of the Lost Ark selling 25,000 tickets across two nights.

Our neighborhood residency “At Home in Hough” also brought forth wonderful participation, engaging residents of this important and historic neighborhood close to Severance Hall through workshops, classes, clinics, and performances. Hundreds of youth took part in music training and presentations, as well as arts programs delivered by our partners from the Cleveland Museum of Art. These efforts produced a showcase of neighborhood art and music surrounding The Cleveland Orchestra’s free Community Concert on August 11. The Orchestra, joined onstage by the specially-assembled Hough Community Chorus of more than 90 singers, brought the audience to its feet, clapping and singing along.

Looking to the months ahead, we have many performances of special promise in store — brought to life for you and made possible by you, thanks to generous support from across Northeast Ohio. I can think of no more exciting place to be than watching and hearing and experiencing this great Orchestra right now. The Cleveland Orchestra is playing better than ever, and everyone onstage is committed to serving up great art that is also great entertainment. Thank you for joining us — and I look forward to seeing you throughout the season.

Severance Hall 2016-17

André Gremillet

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The Cleveland Orchestra

Distinguished Service Award The Musical Arts Association is proud to honor Robert Vernon as the 2016-17 recipient of the Distinguished Service Award, recognizing extraordinary service to The Cleveland Orchestra.

PREVIOUS RECIPIENTS

Distinguished Service Award Committee Marguerite B. Humphrey, Chair Ambassador John D. Ong, Vice Chair Richard J. Bogomolny Dr. Jeanette Grasselli Brown Robert Conrad AndrĂŠ Gremillet Carol Lee Iott Dennis W. LaBarre Robert P. Madison Clara Taplin Rankin

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Rosemary Klena 2015-16 James D. Ireland III 2014-15 Pierre Boulez 2013-14 Milton and Tamar Maltz 2012-13 Richard Weiner 2011-12 Robert Conrad 2010 -11 Clara Taplin Rankin 2009-10 Louis Lane 2008- 09 Gerald Hughes 2007- 08 John D. Ong 2006-07 Klaus G. Roy 2005 - 06 Alex Machaskee 2004 - 05 Thomas W. Morris 2003 -04 Richard J. Bogomolny 2002- 03 John Mack 2001-02 Gary Hanson 2000-01 Christoph von DohnĂĄnyi 1999-2000 Ward Smith 1998-99 David Zauder 1997-98 Dorothy Humel Hovorka 1996-97

Distinguished Service Award

The Cleveland Orchestra

Presented to Robert

Vernon

Presented by Dennis W. LaBarre at the concert of October 8, 2016

R O B E R T V E R N O N was invited to join The Cleveland Orchestra as principal viola in 1976.

He retired this past August, following forty years of dedicated service. During his tenure, Bob Vernon became the longest-serving string principal in the Orchestra’s history. He played in more than 4,500 concerts with the Orchestra and recorded more than 250 works — including much of the entire standard repertoire — with five different record labels, and performed on over 110 concert tours with The Cleveland Orchestra.

For four decades, Bob’s work — as a musician and teacher, as a section leader, soloist, and member of the ensemble — has embodied the dedication to musical excellence and collaborative music-making for which The Cleveland Orchestra is renowned throughout the world. His unequalled musicianship, paired with an assured self-modesty in service to his art, leads by example. His diplomatic yet firm leadership features a natural charm combined with consummate musical craft. He has always been generous with his time, professionally and personally. He ably served under three music directors and performed with countless guest conductors and artists, and was embraced as a colleague by nearly 300 musician-members of The Cleveland Orchestra across his forty-year tenure. Bob appeared as soloist in seventeen different works in over 120 concerts at home in Severance Hall, including three works commissioned for him by The Cleveland Orchestra. His solo appearances also included tours across the United States and to Europe, and performances at Carnegie Hall, Boston’s Symphony Hall, and the Kennedy Center in Washington D.C. As a teacher, Bob has co-chaired the viola department at the Cleveland Institute of Music, and continues doing so even after retiring from the Orchestra. He has also added teaching at New York’s Juilliard School in recent years, and has led masterclasses nationally and internationally, as well as coaching in residencies and at summer music festivals throughout his career. He has nurtured generations of viola students, helping to foster solid talent into performers of disciplined craft, unexcelled capability, and clear musical understanding. Bob’s students hold positions as celebrated chamber musicians and teachers, and have won positions in more than 50 major orchestras in North America, Asia, and Europe — including nine positions in the viola section of The Cleveland Orchestra, counting among these the violist chosen to succeed him as section principal.

Beyond his work as a musician onstage, Bob has championed the Orchestra’s education programs and community offerings, including coaching the Cleveland Orchestra Youth Orchestra. He has helped steer the institution forward, serving as a member of the search committee that selected Franz Welser-Möst as the Orchestra’s seventh music director. His work, dedication, and ultimate legacy have been recognized within his own profession and beyond. Earlier this year, the American Viola Society presented Bob with its Career Achievement Award “for his work as principal, soloist, chamber musician, and recording artist, and for the breadth and significance of his achievements as a teacher.”

In recognition of his long-serving, untiring, and exemplary leadership and unequalled musicianship in service to The Cleveland Orchestra, the art of music, and the Northeast Ohio community, the Musical Arts Association is extraordinarily pleased to present Principal Viola Emeritus Robert Vernon with its highest award for distinguished service.

Severance Hall 2016-17

Distinguished Service Award

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&Politics

Music

Music has always rallied our emotions — personal, public, and politic — reminding us of the roles composers have played in struggles for national identity, free speech, and more — from Beethoven and Haydn to Sibelius, Copland, Verdi, Strauss et al.

W H I L E M A N Y O F U S may think of

the concert hall as a place far from everyday politics, the power of music to sway emotions and elections, and to inspire and kindle revolution, has a long and ardent history.

This year’s fall season of The Cleveland Orchestra features examples of composers immersed in the politics of their times — as well as some who chose to keep their art outside the same turmoil.

Sibelius’s Symphony No. 2 was written soon after his great tone poem Finlandia, which had become a musical rallying cry toward Finnish independence from Russia. The Second Symphony also carries pride-of-place among great Finnish national works. Yet, of course, it can be enjoyed as pure music, too — great art can be appreciated on many levels.

Copland, whose Organ Symphony graces the Orchestra’s concert on opening weekend, pushed hard for an “American sound” in his music. While the Organ Symphony’s jazziness didn’t quite grab the public’s admiration, his later works certainly did — Appalachian Spring, Billy the Kid, Rodeo, Fanfare for the Common Man. Yet Copland’s own American-ness

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was questioned amidst the post-World War II McCarthy witch-hunt for communist sympathizers “lurking everywhere” — scarring his reputation for a time. Copland’s stirringly patriotic A Lincoln Portrait was scheduled to be included as part of President Dwight Eisenhower’s inaugural festivities in 1952, but was removed from the playlist because of who wrote it. Such choices remind us that politics is at times overwhelmed by emotion — that goodness and worth can be questioned in any of us, rightly or wrongly.

Contrasting examples of musical politics range from the courteous (but not subtle) message in Haydn’s “Farewell” Symphony of 1772, in which the orchestra musicians, tired and wanting to go home at the end of a long residency away from home, leave the stage one by one as their parts in the musical work conclude . . . eventually leaving an empty stage.

Haydn’s employer got the message and packed up the household (court musicians and all) that same week, allowing everyone to return to their families and homes.

Of course, in that instance, it was the visual effect and not necessarily the music itself that carried the message.

Musical Politics

The Cleveland Orchestra

In the 19th century, “Viva Verdi!” became a rallying cry for Italian unification under one king — quietly masquerading as praise of the great opera composer (who believed in the cause), but also standing as code for “Viva Vittorio Emanuele Re D’Italia” or “Viva Victor Emmanuel King of Italy”).

More complex examples include Beethoven and Shostakovich, whose symphonies Franz Welser-Möst so tellingly juxtaposed several seasons back.

Franz’s exploration of those symphonies was built around the political positions inherent in works by the two composers.

Beethoven’s views are more obvious in his writings and works, and consistent with changing attitudes toward political freedom advocated during the Age of Enlightenment. The politics of Shostakovich’s musical statements are much more veiled and enigmatic. And despite decades of solid debate, the jury is and always will be out on the vigor and vitality of Shostakovich’s political aims. Yes, perhaps he was ardently thumbing his nose at the government, or . . . well . . . maybe . . . he was just being human and writing music that moves us. (Franz returns to Beethoven’s political thinking during The Cleveland Orchestra’s Centennial Season in 2017-18, with fresh perspectives on the messaging underneath and within more Beethoven symphonies — sure to offer both emotional uplift and keen insight, in the midst of illuminating performances.)

Severance Hall 2016-17

M O N A R C H Y, U N I T Y, A N D N A Z I I S M

In the 19th century, Giuseppe Verdi repeatedly ran into problems with government censors because the plots of his operas came tellingly close to everyday political situations and predicaments — requiring the composer to change character names or relocate the action to entirely different places (country and century) before those works could be performed. Audiences generally understood the underlying political messages nevertheless.

Verdi’s chorus “Va, Pensiero,” from the opera Nabucco, which gave voice to imprisoned Hebrew Slaves crying for their own homeland, gained great currency across Italy as a rallying cry for an Italian homeland united under one monarch. Even Verdi’s own name became a public codename for the political cause of unification: VIVA VERDI = Viva Vittorio Emanuele Re D’Italia (“Viva Victor Emmanuel King of Italy”). But when someone at the time said it, or wrote it, were they applauding a great Italian composer . . . or advocating for something more?

Richard Strauss, who pushed the

Politics and Music

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boundaries for appropriate subject matter in orchestral works (himself, his family, a mountain hike, death) and operas (incest, matricide, necrophilia) later found himself in an uncomfortable political situation.

After being asked twice by the Nazi government to head the Reichsmusikkammer, a governmental body to review musician salary standards and work rules, Strauss saw no option in continuing to refuse. But from within, he managed to advocate for and extend copyright for all composers, and to help safeguard family and friends of Jewish ancestry. At the same time, many international artists were boycotting performances in Nazi Germany, while others — both younger and imminent — kept the wheels of German opera companies and orchestras turning, bringing hope and small joys (and work and salaries) to a wide variety of musicians.

Some composers long dead were also drawn into the challenges and barbarism of Nazism, with Richard Wagner’s operas and ideology praised and applauded — and put on a pedestal — directly by Hitler himself. Of course, Wagner’s own anti-Semitism fit nicely into Hitler’s ideas.

The shadow this has cast on Wagner’s music has continued — the Israel Philharmonic wouldn’t play anything by Wagner for decades, and only broke that silence in small doses in non-regular concerts. The issue remains unsettled and perhaps unsolvable — can a composer’s viewpoints outside of music be separated from the music itself?

WINDS OF AMERICAN POLITICS

The anti-war songs of the 1960s and early 1970s literally helped sway (and sing

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and swing and strum) the U.S. away from the Vietnam War. This music signalled a strong view — mostly through the words, not the notes — and continued a long tradition in American elections with campaign songs and music to rally each side of a debate. Recent elections bring recurring stories of songwriters who object to their works being used by campaigns —

Just like choosing which candidates to vote for in an election, choosing which concerts to attend in a symphony season can be an emotional and life-changing act. on both the right and the left — at campaign events. (Similarly, films appropriate songs and melodies, and forever coloring the associations we attached to particular works of music — Strauss’s “Also Sprach Zarathustra” in 2001: A Space Odyssey, Wagner’s “Ride of the Valkyries” in Apocalypse Now, Mozart’s Piano Concerto No. 21 in Elvira Madigan, and so forth.)

Sometimes the politics of music move forward as an unexpected part of a love story, as audiences are swayed in sympathy. The Broadway musicals of Rodgers & Hammerstein were often daring in pushing social-political issues, especially misogyny and discrimination, with repeated songs and situations that questioned racial barriers and norms. That they were applauded and helped move American society forMusical Politics

The Cleveland Orchestra

Songs and songwriting have long played a role in U.S. politics.

ward can be credited ass much to their authors’ fortitude as to the music which that fortitude allowed them to write. Still, singing (or whistling) a happy tune can sometimes change your mind about a situation.

Of course, some politicians rise above common angst and have preferred to keep conversation civil and congenial — and options for reconciliation open.

Perhaps only a great politician, such as Abraham Lincoln, could have ordered his military band to play his opposition’s music near the end of the Civil War. When asked why, he said “I have always thought ‘Dixie’ one of the best tunes I have ever heard. Our adversaries attempted to appropriate it, but I insisted yesterday that we fairly captured it . . . and I now request the band to favor me with its performance.”

Your favorite pop star may sing or write a great song for everyday life.

Whether their political judgement is equally gifted, well, you have to make that decision yourself. Their art may or may not sway you . . . politically. That said, the Severance Hall 2016-17

lyrics to some songs, the story of some operas, the history of certain works of art . . . make them specifically political. Many composers and lyricists were indeed trying to make a point, to advocate for (or against) movement in a certain direction.

Just like choosing which candidates to vote for in an election, choosing which concerts to attend in a symphony season can be an emotional and life-changing act. Choose thoughtfully what you’ll hear.

Listen whole-heartedly.

—Eric Sellen

Politics and Music

Eric Sellen serves as program book editor for The Cleveland Orchestra — and believes in the power of music.

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The Cleveland Orchestra

T H E M U S I C AL ARTS ASSOCIATION

as of September 2016

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival OFFICERS AND EXECUTIVE COMMITTEE 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

RESIDENT TRUS TEES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Yuval Brisker 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 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 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)

Laurel Blossom (SC) Richard C. Gridley (SC)

Loren W. Hershey (DC) Herbert Kloiber (Germany)

TRUS TEES EX-OFFICIO 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 TRUS TEES EMERITI Charlotte R. Kramer Gary A. Oatey

PA S T PRESIDENT S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

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

H O N O RARY T RUS T E E S FOR LIFE Robert P. Madison Gay Cull Addicott Robert F. Meyerson Allen H. Ford James S. Reid, Jr. Robert W. Gillespie Dorothy Humel Hovorka Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

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 2016-17

André Gremillet, Executive Director

Musical Arts Association

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Going Places.

its Centennial Season in 2017-18, The Cleveland Orchestra continues refining its mission, praised as one of the very best orchestras in the world and noted for its devotion and service to the community it calls home. The 2016-17 season marks the ensemble’s fifteenth year under the direction of Franz Welser-Möst, one of the world’s most renowned musical leaders. Looking toward the future, the Orchestra and its board of trustees, 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 fully focus on serving its hometown community (through outstanding concerts, vibrant musical engagement, and strong music education programs), 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 concert presentations and community partnerships in Miami, Florida, a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s Lincoln CenAS IT APPROACHES

Severance Hall 2016-17

ter Festival, and at Indiana University.

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. 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 touring cities 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” neigh-

About the Orchestra

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1918

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

15th

1l1l 11l1 1l1I

The 2016-17 season marks Franz Welser-Möst’s 15th year as music director.

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

40,000

each year

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

52%

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

4million

Likes on Facebook (as of Sept 2016)

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

126,787

1931

150

concerts each year.

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

The Cleveland Orchestra performs over

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

post-concert entertainment), film scores performed live by the Orchestra, collaborations 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

PHOTO BY ROGER MASTROIANNI

borhood residency program, designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways.

Additionally, a Make Music! initiative championed by Franz Welser-Möst advocates 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 and to develop the youngest audience of any orchestra. 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 Severance Hall 2016-17

explore music as a universal language of communication and understanding.

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 performances as some of the best such concert experiences anywhere in the world. Hundreds of thousands have learned to love music

About the Orchestra

19

through its education programs and have celebrated important events with its music.

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

brought a special pride to the ensemble and its hometown. With acoustic refinements under Szell’s guidance and a building-wide restoration and expansion in 1998-2000, Severance Hall continues to provide the Orchestra an enviable and intimate acoustic environment in which to perfect the ensemble’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.

20

About the Orchestra

The Cleveland Orchestra

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18 East Orange Street Chagrin Falls, Ohio (440) 247-2828

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

P H OTO BY M I C H A E L P O E H N

Franz Welser-Möst is among today’s most distinguished conductors. The 2016-17 season marks his fifteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. Under his direction, the New York Times has declared Cleveland to be the “best American orchestra“ for 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 semi-staged 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. His recent performances with the Philharmonic have included critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014, Beethoven’s Fidelio in 2015, and Strauss’s Die Liebe der Danae in 2016), 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. For the 2016-17 season, he leads the Vienna Philharmonic in performances in Vienna and on tour in the United States, including three concerts at Carnegie Hall in February 2017.

Mr. Welser-Möst also maintains relationships with a number of other European orchestras and opera companies. His 2016-17 schedule includes Mozart’s The Marriage of Figaro with La Scala Milan. He also leads Mahler’s Ninth Symphony with the Dresden Staatskapelle, including a performance at the Salzburg Easter Festival. Recent engagements have also featured performances with Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra, as well as his acclaimed debut with Amsterdam’s Royal Concertgebouw Orchestra. In December 2015, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm.

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 Severance Hall 2016-17

Music Director

23

Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the 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 recent Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. Brahms’s German Requiem is scheduled for release in 2016.

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.

“Franz Welser-Möst, music director of the subtle, responsive Cleveland Orchestra — possibly America’s most memorable symphonic ensemble — leads operas with airy, catlike grace. His style may well prove a natural fit with Debussy’s enigmatic masterpiece Pelléas and Mélisande, staged by the imaginative Yuval Sharon. May 2, 4, 6, 2017.”

—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

24

Music Director

The Cleveland Orchestra

Your legacy helps create a healthier community.

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Gifts to University Hospitals continue the legacy of giving from generation to generation – by enabling us to live our mission every day:

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T H E

C L E V E L A N D

FRANZ WELSER-MÖST MUSIC

DIRECTOR Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Peter Otto FIRST ASSOCIATE CONCERTMASTER

Jessica Lee ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford 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

26

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

Emilio Llinás 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 Wesley Collins* 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

16 17 2016-17

S E A S O N

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

Robert Walters ENGLISH HORN Robert Walters Samuel C. and Bernette K. Jaffe Chair

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

E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair

BASSOONS John Clouser * Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia

CONTRABASSOON Jonathan Sherwin

Margaret Allen Ireland Chair

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

TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller

Michael Miller CORNETS Michael Sachs * Mary Elizabeth and G. Robert Klein Chair

Michael Miller TROMBONES Massimo La Rosa*

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

Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout

* Principal § 1 2

*

Associate Principal First Assistant Principal Assistant Principal on sabbatical leave

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Brett Mitchell TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

ASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco DIRECTOR OF CHORUSES

Sandra L. Haslinger Chair

Jonathan Sherwin

PERCUSSION Marc Damoulakis*

TIMPANI Paul Yancich *

Frances P. and Chester C. Bolton Chair

Otto G. and Corinne T. Voss Chair

Tom Freer 2*

Mr. and Mrs. Richard K. Smucker Chair

Severance Hall 2016-17

Orchestra Roster

27

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audiocraft.com info@audiocraft.com 216-431-7300 The Cleveland Orchestra

16 17 LEARNING MORE ABOUT THE MUSIC

2016-17

Concert Previews

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

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

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

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

Severance Hall 2016-17

S E A S O N

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.

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

Details: Speakers and other details about upcoming Previews can be found on the Orchestra’s website in the listing for each concert.

September 29, 30 “Season Overview: 2016-17” Franz Welser-Möst in conversation with André Gremillet, executive director of The Cleveland Orchestra

October 6, 7, 8, 9 “Making Masterpieces with” (Musical works by Beethoven and Respighi) with guest speaker Timothy Cutler, professor of muisc theory, Cleveland Institute of Music

October 14, 15, 16 “From St. Petersburg to Paris” (Musical works by Mussorgsky, Shostakovich, Dutilleux, and Ravel) with guest speaker Eric Charnofsky, instructor, department of music Case Western Reserve University

October 20, 21, 22 “New Approaches” with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups

October 27, 28, 29 “Taming Russia’s Naughty Boy” (Musical works by Prokofiev)

Concert Previews

with guest speaker Timothy Cutler, professor of muisc theory, Cleveland Institute of Music

29

Dreams can come true

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

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

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

THE

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

M U S I C D I R E C TO R

Severance Hall

Thursday evening, September 29, 2016, at 7:30 p.m.

Friday evening, September 30, 2016, at 8:00 p.m.

Franz Welser-Möst, conductor CHARLES IVES (1874-1954)

16 17 2016-17

S E A S O N

Symphony No. 3: The Camp Meeting 1. Old Folks Gatherin’: Andante maestoso 2. Children’s Day: Allegro 3. Communion: Largo

AARON COPLAND (1900-1990)

Symphony for Organ and Orchestra 1. Prelude 2. Scherzo 3. Finale PAUL JACOBS, organ

INTER MISSION JEAN SIBELIUS (1865-1957)

Symphony No. 2 in D major, Opus 43 1. Allegretto 2. Tempo andante, ma rubato 3. Vivacissimo — Lento e suave — Tempo primo — Lento e suave — 4. Finale: Allegro moderato

The Thursday concert is co-sponsored by Materion Corporation.

The concert will end on Thursday evening at about 9:25 p.m. and on Friday at approximately 9:55 p.m.

CLEVELAND ORCHESTRA RADIO BROADCASTS

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

Severance Hall 2016-17

Concert Program — Week 1

31

September 29, 30

THIS WEEKEND'S CONCERT Restaurant opens: TH 4:30 FRI 5:00

Severance Restaurant Reservations for pre-concert dining suggested:

216-231-7373 or via opentable.com

Concert Preview

PREVIEW

in Reinberger Chamber Hall

“Season Overview: 2016-17”

begins one hour before concert

Concert begins: TH 7:30 FRI 8:00

Duration times shown for musical pieces (and intermission) are approximate.

with Franz Welser-Möst in conversation with André Gremillet, executive director of The Cleveland Orchestra

IVES

Symphony No. 3: The Camp Meeting . . . . Page 35 (20 minutes)

COPLAND

Organ Symphony . . . . . . . . . . . . . . . . . . . . . . . . Page 41 (25 minutes) SPECIAL INTERMISSION RECEPTION

THURSDAY ONLY INTERMISSION (20 minutes)

The audience is invited to meet photographer Jennie Jones and view a selection of her photographs in the Humphrey Green Room documenting the restoration and refurbishment of Severance Hall’s Norton Memorial Organ.

(See page 60 for more details.)

SIBELIUS

Symphony No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . Page 53 (45 minutes)

Concert ends: (approx.)

When I sit down to write a symphony . . . it is as if the Almighty had thrown down pieces of a mosaic from Heaven’s floor and asked me to put them together.

—Jean Sibelius

TH 9:25 FRI 9:55

Severance Restaurant Post-Concert Desserts and Drinks

32

This Week's Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Modernity&Nationalism

T H I S W E E K ’ S C O N C E R T S feature two rather avant-garde American works,

paired with a popular and winning symphony from Finland, all from the early decades of the 20th century. The American composers led contrasting lives — one as a composer, the other as an insurance executive — but both were intent on creating an authentically American style of music. The Finnish composer was an ardent nationalist, though in fact his symphonic model slants toward a style of his country’s Russian oppressors — with a big-tuned and triumphant ending.

The first American work is Charles Ives’s Third Symphony, subtitled “The Camp Meeting.” This piece looks back nostalgically, to a soundworld from Ives’s youth — filtered to a surprisingly modern sound.

Here, Ives drew upon hymns for both melodies and harmonies, but then added layers of complexity. Multi-voiced fugues appear and then dissolve. Quiet introspection relaxes and then is disturbed by unorthodox harmonies and ideas. Much feels familiar and comfortable, but the music continually unfolds in unexpected ways. In fact, this work for chamber orchestra, written around 1904, is among Ives’s approachable scores — its sweet and sour conflicts act like an astringent sorbet, resetting our ears and minds to listen anew.

Next comes Aaron Copland’s Organ Symphony from 1924. In contrast to the nostalgia of Ives, this music was looking forward with strong rhythms, clashing chords, and a jazz-infused spirit. American organist Paul Jacobs joins the Orchestra for this bristling and bustling work, featuring Severance Hall’s Norton Memorial Organ.

To close the concert, Franz Welser-Möst has chosen Jean Sibelius’s popular Second Symphony from 1902. This is big music, built from small parts and motifs into one grand and eloquent musical statement. It moves from rhythmic impulses, from quiet urgings to big-scale full-throated joy. For many years after the premiere, this work was heard as a cry for Finnish independence from Russia — with a triumphal ending. The composer insisted that he had no such storyline in mind, that he could not even write a symphony that way, that others were imposing local politics on his music. Throughout his life, Sibelius championed Finland as a country and a people. His symphonies, however, were personal statements of pure music. The Second is just at the edge of modernity, bold, and ultimately joyful.

—Eric Sellen Severance Hall 2016-17

Introducing the Concerts

33

Two dozen never before seen drawings. Exclusive to CMA. See the debut exhibition of Kara Walker’s new body of large-scale works on paper.

Now through December 31.

Another must-see exhibition

Presenting Centennial Sponsor

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October 9–February 26 Discover the Cleveland Gothic table fountain, internationally recognized as the most complete surviving example of these scarce medieval automatons.

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ARTLENS app

ClevelandArt.org Works in process, 2016. Kara Walker (American, born 1969). Courtesy Kara Walker. Photo: Ari Marcopoulos.

Table Fountain, c. 1320–40. France. Gilt-silver, translucent enamel on basse-taille, and opaque enamel. The Cleveland Museum of Art, Gift of J. H. Wade, 1924.859.

Symphony No. 3: The Camp Meeting composed circa 1902-04, revised 1908-10

At a Glance

by

Charles

IVES

born October 20, 1874 Danbury, Connecticut died May 19, 1954 New York City

Severance Hall 2016-17

Ives composed much of his Third Symphony, subtitled “The Camp Meeting,” in 1904, although he may have sketched parts of it in the preceding two years. He made revisions to the manuscript during a period around 1909. The work was premiered on April 5, 1946, by the New York Little Symphony conducted by Lou Harrison in Carnegie Hall’s recital hall.

This symphony runs about 20 minutes in performance. Ives’s score

calls for a small orchestra of flute, oboe, clarinet, bassoon, 2 horns, trombone, bells, and strings.

The Cleveland Orchestra first performed Ives’s Third Symphony in May 1962, as a chamber orchestra presented under the name Cleveland Sinfonietta, conducted by Louis Lane at Severance Hall. The Orchestra performed it twice more, in July 1976 and July 1977, accompanying members of the Pennsylvania Ballet in danced presentation.

About the Music A F T E R G R A D U A T I N G from Yale in 1898, Ives moved to New

York with a group of friends to take up a job as medical actuary — and then quickly moved into insurance. It is generally well remembered that his whole career was devoted to insurance and that his business, later based in Hartford, Connecticut, was successful. He retired at the age of 58, thirty years after the moment when, according to his own account, he “gave up music.”

In fact he persisted with music, so that the first twenty years of his insurance career were also the years in which he wrote most of his music, sketched in his free time at weekends and piled up in a disorderly muddle at home. Very little of it was performed or published at the time, because musicians with traditional training, namely those in charge of orchestras and publishing houses, found Ives’s musical ideas bewildering and bizarre.

The story is told that Gustav Mahler, while conductor of the New York Philharmonic, asked to see the score of Ives’s Symphony No. 3, borrowed a copy, and never returned it. Maybe this happened, maybe it didn’t. Some evidence suggests that Mahler talked about premiering it with the New York Philharmonic. The story is usually intended to say much through Mahler’s silence, but we don’t know whether Mahler actually ever saw the score or, if he did, what he actually thought.

The past hundred years have revealed that Ives’s music is indeed bewildering and bizarre, which is one reason why his reputation has soared during a time in which originality has been About the Music

35

prized. Younger American composers with adventurous ideas about new music (principally Henry Cowell and Elliott Carter) discovered Ives in the 1930s and found that he had opened up new paths in music long before more celebrated European composers had gone down the same route. And so began a steady process of reconstructing Ives’s music from scratchy manuscripts, many of them incomplete, and bringing them to the public. By the time of his death in 1954, Ives was something of a celebrity, though he was singularly untouched by his fame.

Not only was his music found to be experimental, it was also manifestly American. Ives could be said to have spent his life reliving his childhood in Danbury, Connecticut, where his father was a bandmaster with One of the predominant unorthodox ideas about all aspects of music, aspects of Ives’s music which his son inherited in spades.

Outdoor parades, singing in church, camp is his juxtaposition of meetings, and the ongoing performance in several things at once every county of local varieties of folk music — — imitating the many all these stayed in his musical consciousness simultaneous sounds that to be recalled, sometimes literally, sometimes strangely transformed, in his larger compositions. surround us every day.

Ives had little patience with European muYet if Ives’s music appears sical traditions and made the point by treating to have no recognizable his American sources as his thematic treasure style, it is because he store, while applying harmony that defied the textbooks, and structural and compounding never ceased to be experideas consistently outside the box. One of the imental. He never gave predominant aspects of much of Ives’s music is up the search for new the juxtaposition of several things at once — combinations and a new imitating, in his mind, the many simultaneous sounds that surround us everyday. musical language.

If Ives’s music appears to have no recognizable style, it is because he never ceased to be experimental. He never gave up the search for new combinations and a new musical language.

SY M PH O N I C C R E AT I O N

The First Symphony, written as his senior thesis at Yale (although he probably “finished” it during the next several years), was “correct” in form but deviant in many details. The Second Symphony, completed around 1902, quoted a large number of tunes associated with Connecticut rural life and with his father’s

36

About the Music

The Cleveland Orchestra

musical life in Danbury.

The Third Symphony followed about two years later and again drew on tunes Ives had known as a boy. By now his musical language had taken clearer shape and was definitely more personal. He composed it for a small orchestra in only three movements, each of which quotes hymns that would have been sung at camp meetings, hence the symphony’s subtitle.

The first movement, Old Folks Gatherin’, has a fugal section on the tune “Azmon,” known as “Oh for a thousand tongues to sing.” Its main climax is consoled by a desolate oboe followed by a flute that drags out the notes on a second hymn, known as “Erie” (“What a Friend We Have in Jesus”). Images of a third hymn also appear, known as “Woodworth” (“Just as I am Without a Plea”). These tunes can be caught in snatches as the music winds to a close.

The second movement, Children’s Day, is the scherzo of the symphony, more engaging and skittish than the first movement. Before long, a bassoon and then a horn are heard playing “Naomi,” another hymn tune, in long notes. The movement often suggests a playful march.

The third movement, Communion, is a slow movement, the weightiest of the three, with fragments from hymn tunes buried in a dense contrapuntal texture. There are hints of irregular fugues with the texture growing in complexity and chromaticism, but little relaxation of the tension until the end when a page of repose brings release. As the music fades, there are bells to be heard in the far distance.

The Third Symphony had to wait more than forty years for a performance. Then it won the Pulitzer Prize for 1947.

—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.

38

About the Music

The Cleveland Orchestra

Beauty in music is too often confused with something that lets the ears lie back in an easy chair. Many sounds that we are used to do not bother us, and for that reason we are inclined to call them beautiful. Frequently, when a new or unfamiliar work is accepted as beautiful on its first hearing, its fundamental quality is one that tends to put the mind to sleep. —Charles Ives

A Celebration of

Russian Tenor

PHOTOS

Mikhail Urusov

An evening of tangos, classical music and contemporary works, featuring Alexandra Preucil, violinist of The Cleveland Orchestra. Accompanying Ms. Preucil and dancers of Cleveland Ballet Company, a selection of musicians from The Cleveland Orchestra will frame the stage with their artistry.

From Argentinian tangos to the most classical scores, this performance promises to captivate the audience with superb dancing and delight them with music from great composers. Stay in touch with Cleveland Ballet online for more details about this exciting upcoming event!

A Celebration of Dance & Music Ohio Theatre Playhouse Square October 11th 7:00pm For tickets call Playhouse Square at 216-241-6000 or visit www.playhousesquare.org

501c (3)

216-320-9000 | www.clevelandballet.org

Symphony for Organ and Orchestra composed 1924

At a Glance

by

Copland composed his Organ Symphony in Paris and New York between May and November 1924. He dedicated it to his teacher Nadia Boulanger, who was the soloist at its first performance, with the New York Symphony Orchestra under Walter Damrosch’s direction, on January 11, 1925.

This work runs about 25 minutes in performance. Copland scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons,

COPLAND

About the Music

Aaron

born November 14, 1900 Brooklyn, New York died December 2, 1990 Sleepy Hollow, New York

Severance Hall 2016-17

contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (side drum, bass drum, cymbals, xylophone, wood block), 2 harps, celesta, and strings, plus the solo organ.

The Cleveland Orchestra has performed this work on only one previous occasion, when Robert Spano led four performances for a concert weekend in October 2002, with Todd Wilson as the soloist.

B E F O R E W O R L D W A R I , it was customary for aspiring American composers to go to Europe to complete their training, usually to Leipzig or to some German conservatory that upheld the great traditions of Central European classical music. This parade of aspiring composers, to Europe and then back to the United States, produced a crop of excellent composers, including John Knowles Paine, Edward MacDowell, Horatio William Parker, and George Whitefield Chadwick, all of whose music is now regrettably largely neglected in America. (It is not coincidental that many of their names sound today like establishment law firms — they were working, but very capably, in the mainstream of symphonic traditions.)

Part of the reason for such wholesale neglect is that the next generation, of which Aaron Copland was a leader, felt that American music should sound American, not European. Their incredible success in creating an “American sound” drove the older composers’ music from the stage. Few of the earlier generation had taken Antonín Dvořák’s sage advice to Americans to seek inspiration in the music of Native Americans or in African American music.

By going to Paris — not Germany — in 1921 to study, Copland chose the city where the freshest artistic winds were blowing and where he could experiment in the feverish atmosphere generated by the presence of such far-out luminaries as Igor Stravinsky, James Joyce, Marcel Duchamp, Ezra Pound, the group of French composers known as “Les Six,” Pablo Picasso, About the Music

41

George Antheil (and many others) — and where the hottest new music was American jazz. While Stravinsky’s music directly appealed to Copland’s sense of music, he seized upon jazz as the flavor that could help give him identity as an American composer. In addition, he studied with Nadia Boulanger, then at the beginning of a great career as conductor and teacher, whose precepts were firmly based on Bach and Stravinsky, and who had a distinct aversion to the musical reachings of Richard Wagner.

Most new music in these surroundings was sharply rhythmic and clean-cut, to distance it from the opulent, some said rambling, scores of Alexander Scriabin and Richard Strauss. Copland grew under Boulanger’s tutelage. He also impressed Serge Koussevitsky, who was soon to take up his position as music director of the Boston Symphony Orchestra.

At the time, Boulanger was about to Aaron Copland talks go on her first American tour as organist about his Organ Symphony and conductor. Upon hearing Copland “The organ is treated as an integral part play his Cortège macabre on the piano, of the orchestra, rather than as a solo Koussevitsky said (as written down by instrument with orchestral accompaniCopland himself): “You vill write an organ concerto, Mademoiselle Boulanger vill play ment; yet it always remains very much it, and I vill conduct!” in the foreground. The three moveCopland later noted that he had ments of the symphony are loosely never heard a note of anything he had connected by a recurrent motto based yet orchestrated or written anything for on the tones of the minor triad. Unlike the organ, and that, in fact, he didn’t care for the instrument very much. He needed most musical mottos, however, it is not Boulanger’s encouragement to take on immediately recognizable as such. At the assignment. “You can do it,” she said, first, it plays a seemingly inconsequenand that was the end of the discussion.

tial part as mere accompaniment, but as the work progresses its real significance is made clear.”

NE W YORK PRE MIE RE

The American tour started with a concert in New York to be given by Walter Damrosch, who had founded the American School at Fontainebleau, where Boulanger taught and Copland studied.

So that Copland had the prospect of performances of his first big orchestral work in New York and Boston, when he was just 24 years old.

The Organ Symphony was finished in the autumn of 1924 and sent off to Boulanger for her comments. “I can’t tell you my joy — the work is brilliant, so full of music,” she replied. She was a little concerned that the Scherzo movement was too fast and would cause confusion, but Copland decided to take his chances and leave it as it was.

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About the Music

The Cleveland Orchestra

Nadia Boulanger’s class in Paris in 1923. Aaron Copland is just to the right and behind her in the center of the photograph.

(U.S. Library of Congress)

After the first performance in January 1925, Damrosch, who had conducted without giving Copland the slightest idea of what he thought of the piece, turned to the audience and said “Ladies and gentlemen, I am sure you will agree that if a gifted young man can write a symphony like this at twenty-three, within five years he will be ready to commit murder!” It was a joke, for which Damrosch later apologized, but it aimed mainly to soothe anyone in the audience who found the music unpleasant. The performance in Boston a few weeks later was a quite different experience, because Koussevitsky was wildly enthusiastic about the piece and had studied it with extreme care.

In 1927, Copland wrote a version of the piece for orchestra alone, which he published as his First Symphony. He later said that he preferred it in its original form, however.

In fact, organ concertos are quite few. Copland’s work might be compared with Saint-Saëns’s Third Symphony, with its important organ part, and Poulenc’s Organ Concerto. But such works present enormous problems both to the composer and the players, since pitch and balance between organ and orchestra are often problematic issues, and coordination between player and conductor is difficult, especially if there is any delay in the instrument’s response. (In older, mechanical organs, there is a delay between when the organist depresses a key and when the pipes themselves emit the musical tone.)

THE MUSIC

Copland’s organ part is plenty challenging for the soloist, requiring Severance Hall 2016-17

About the Music

43

a lot of heavy chordal work for the hands and a lot of double-pedal music for the feet. Its relation to the orchestra, however, is carefully worked out and often very dramatic.

In the first movement, the organ is part of an intimate dialogue between very few instruments at a slow and somewhat dreamy pace.

In contrast, the Scherzo second movement is very fast and busy, built on tiny fragments, often just two notes, thrown about in a hurly-burly of teasing rhythms. Here, the full orchestra is heard for the first time.

The movement’s contrasting middle section isolates a few wind instruments to partner with the organ.

Copland intended the third movement to carry the work’s emotional weight. The bare line on the violas at the beginning marks out the movement’s themes, especially the first three notes, later to be turned into a relentless march rhythm. The organ’s first entry is spectacular, and whereas the Scherzo was a study in complex rhythms, here in the Finale the rhythms are plain while the harmony is complex. The build-up to the work’s close is particularly impressive. Overall, this is unmistakably a work that heralds a great career ahead.

—Hugh Macdonald © 2016

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– Music School Central

Baldwin Wallace University prohibits discrimination on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

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About the Music

The Cleveland Orchestra

Paul Jacobs American organist Paul Jacobs has garnered extraordinary praise from audiences and critics alike for his technical skills and stage presence and for the nuance and depth of his musical performances. He made his Severance Hall debut in October 2005, returned in February 2015 to play solo organ works as part of a Cleveland Orchestra concert, and is performing as soloist with The Cleveland Orchestra for the first time with this weekend’s concerts.

At the age of 15, Paul Jacobs was appointed head organist of a parish of 3,500 in his hometown of Washington, Pennsylvania. He later studied at the Curtis Institute of Music, double-majoring in organ with John Weaver and on the harpsichord with Lionel Party, and studied at Yale University with Thomas Murray. He made musical history at the age of 23 when he played J. S. Bach’s complete organ works in an 18-hour marathon performance on the 250th anniversary of the composer’s death. He has also performed the complete organ works of Olivier Messiaen, and recently reached the milestone of having performed in each of the 50 United States.

A fierce advocate of new music, Jacobs has premiered works by Samuel Adler, Mason Bates, Michael Daugherty, Wayne Oquin, Stephen Paulus, and Christopher Theofanidis, among others. As a teacher, he has also been a vocal proponent of the redeeming nature of traditional and contemporary classical music, which he fears is being diluted in a popular culture.

Recent and upcoming performances include a solo recital at Lincoln Center to begin the 2016-17 season and perforSeverance Hall 2016-17

Guest Soloist

mances with the orchestras of Kansas City, Los Angeles, Montreal, Philadelphia, and Washington D.C. In recital, he has performed on major instruments in the United Kingdom, and in Atlanta, Dallas, San Francisco, and Washington D.C., as well as at the Lucerne Festival and the Oregon Bach Festival, where he is the director of the Festival’s Organ Institute.

Paul Jacobs’s album of Messiaen’s Livre du Saint Sacrement for Naxos received the 2010 Best Solo Instrumental Grammy of the Year. For the San Francisco Symphony Orchestra’s label, he has recorded Lou Harrison’s Organ Concerto with Percussion and Copland’s Organ Symphony.

Michael Dougherty’s Once Upon a Castle, which he recorded in 2015 with the Nashville Symphony Orchestra, is scheduled for release by Naxos this autumn. He also appears frequently on radio and televisions programs.

One year after joining the Juilliard School’s faculty in 2003, Mr. Jacobs was named chair of the organ department. He was awarded Juilliard’s William Schuman Scholar’s Chair in 2007.

For more information, visit www. pauljacobsorgan.com.

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Norton Memorial Organ Specification of the E.M. Skinner Pipe Organ, Opus 816, at Severance Hall Great Organ

Organ Layout

6” Wind Pressure

16’ 8’ 8’ 8’ 8’ 8’ 8’ 8’ 5-1/3’ 4’ 4’ 2-2/3’ 2’

16’ 8’ 4’

Double Diapason First Diapason Second Diapason Third Diapason [enclosed in Choir] Harmonic Flute Gedeckt [enclosed in Choir] Viola [enclosed in Choir] Erzähler Quinte Octave Flute [enclosed in Choir] Twelfth Fifteenth Chorus Mixture VII (15-19-22-26-29-33-36) Harmonics IV (17-19-flat21-22) Trumpet 10” Wind Tromba 10”Wind Clarion 10”Wind Chimes Solo High Pressure Reeds

61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 427 pipes 244 pipes 61 pipes 61 pipes 61 pipes (Solo)

1-1/3’ Larigot Carillon III (12-17-22) 16’ Fagotto 8’ 8’ 8’

(Solo)

Swell Organ

Orchestral Trumpet Orchestral Oboe Clarinet Tremolo Harp 10” Wind Celesta

16’ 8’ 8’ 8’ 4’ 8’

Melodia Diapason Rohrflöte Flauto Dolce Flute Celeste [TC] Salicional Voix Celeste Echo Gamba Echo Gamba Celeste Octave Flute Triangulaire Flautino Mixture V (15-19-22-26-29) Cornet V (12-15-17-19-22) Waldhorn 10” Wind Trumpet 10”Wind French Trumpet Oboe d’Amore Clarion 10”Wind Vox Humana Tremolo Harp Celesta

73 pipes 73 pipes 73 pipes 73 pipes 61 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 61 pipes 305 pipes 305 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes (Choir) (Choir)

Choir Organ 6” Wind Pressure

16’ 8’ 8’ 8’ 8’ 8’ 4’ 4’ 4’ 2-2/3’ 2’ 1-3/5’

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Gamba Geigen Concert Flute Dulciana Gamba Dulcet II Octave Flute Gambette Nazard Piccolo Tierce

73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 146 pipes 73 pipes 73 pipes 73 pipes 61 pipes 61 pipes 61 pipes

73 pipes 61 pipes 73 pipes 61 bars (ext.)

Solo Organ

6” Wind Pressure

16’ 8’ 8’ 8’ 8’ 8’ 8’ 8’ 8’ 4’ 4’ 2’

61 pipes 183 pipes 73 pipes

10” Wind Pressure

8’ 8’ 8’ 4’ 16’ 8’ 8’ 8’ 8’ 4’

Flauto Mirabilis Gamba Gamba Celeste Orchestral Flute Corno di Bassetto Tuba Mirabilis 20” Wind French Horn 20”Wind Corno di Bassetto English Horn Tuba Clarion 20”Wind Tremolo

73 pipes 73 pipes 73 pipes 73 pipes 85 pipes 73 pipes 73 pipes (ext.)

73 pipes 73 pipes

Chimes

25 bells

Pedal Organ 6” Wind Pressure

32’ 16’ 16’ 16’ 16’ 16’ 16’ 16’ 8’ 8’ 8’ 8’ 4’ 32’ 32’ 16’ 16’ 16’ 8’

Major Bass 56 pipes Diapason 32 pipes Contra Bass 56 pipes Diapason (Great) Bourdon (ext. Major Bass) Melodia (Swell) Dulciana 32 pipes Gamba (Choir) Octave (ext. Contra Bass) Gedeckt (ext. Major Bass) Cello (Choir 16’ Gamba) Still Gedeckt (Swell 16’ Melodia) Super Octave (ext. Contra Bass) Mixture IV (10-12-flat14-15) 5” Wind 128 pipes 56 pipes Bombarde 20”Wind Fagotto 1-12 on 10”Wind 12 pipes Trombone 15”Wind (ext. Bombarde) Waldhorn (Swell) Fagotto (Choir) Tromba (ext. Bombarde) Chimes

Norton Memorial Organ

The Cleveland Orchestra

Norton Memorial Organ The Norton Memorial Organ at Severance Hall is considered among the finest concert hall organs ever built. Designed specifically for symphonic use and specifically for Severance Hall, the Norton Memorial Organ was created by the renowned organ builder Ernest M. Skinner in Boston in 1930, and then installed just before the hall’s opening in February 1931.

The organ is named in memory of Mr. and Mrs. David Z. Norton, recognizing a contribution from their children — Miriam Norton White, Robert Castle Norton, and Laurence Harper Norton — to build the organ. David Norton and his wife had served on the board of trustees of The Cleveland Orchestra and Mr. Norton was the first president of the Orchestra’s non-profit governing corporation.

Originally located high above the stage, the organ was removed and restored by the Schantz Organ Company of Ohio during the renovation and restoration of Severance Hall (1998-2000). Thanks to the generosity of hundreds of musiclovers from across Northeast Ohio who donated specifically toward the organ’s restoration and future upkeep, the instrument was reinstalled in its new location surrounding the stage and then rededicated in January 2001.

The 94-rank Norton Memorial Organ has 6,025 pipes, made of lead and tin alloy, zinc, or wood. The largest pipe, made of wood, is 32 feet in length, and the smallest, made of metal, is approximately seven inches in length.

To learn more about supporting the longterm maintenance and upkeep of Severance Hall’s Norton Memorial Organ, please contact Legacy Giving by calling 216-231-8006 or by email at legacygiving@clevelandorchestra.com.

Severance Hall 2016-17

Norton Memorial Organ

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Norton Memorial Organ The restoration and reinstallation in 2001 of the Norton Memorial Organ was funded through The Cleveland Orchestra’s Twenty-First Century Campaign.

These leadership donors made major gifts to the Organ Fund endowment: D. Robert and Kathleen Barber Descendants of D. Z. Norton Arlene and Arthur Holden

Kulas Foundation Oglebay Norton Foundation

The Cleveland Orchestra is also grateful to the donors listed on these three pages, whose gifts to the Orchestra’s endowment were recognized through the naming of individual pipes within the Norton Memorial Organ: Anonymous (4) Mrs. Rebecca E. Adler Judy Buckle Airhart and Robert E. Airhart II Reta Biehle Alder American Guild of Organists Cleveland Chapter Deborah S. Amundsen William and Donna Anderson David A. Andreano Mrs. J. R. Andrisek Dr. Albert C. and June S. Antoine In Memory of Adam M. Araca Agnes M. Armstrong, in Memory of Floyd St. Clair Mr. and Mrs. Lawrence J. Badar The Families of Sara W. Baker and Duncan A. White, Jr., in Memory of Duncan A. White Thomas D. Balch and Harry D. Balch Michelle and Anthony Bandy-Zalatoris Alvin and C. Clair Barkley Mr. and Mrs. Michael P. Barrick Patricia Baskin Russell and Joanne Bearss Ercil F. Beck Gene and Helen Beer Richard L. and Sandra Y. Beery Fred G. and Mary W. Behm Leo and Judith Bender In Memory of Eunice J. Bernard In Memory of Susan A. Bernard Mrs. Lorin S. Berne, in Memory of Alex L. Siegel and Lorin S. Berne John and Laura, David and Mary Bertsch The Nicholas Besser, Jr. Family, in Memory of Nicholas Besser, Jr. Mrs. Edith Bettendorf Ralph L. Beuthin Mr. and Mrs. Woodrow J. Beville, Jr. Mr. and Mrs. William H. Beyer Mr. and Mrs. Jeffrey M. Biggar In Honor of Bascom Biggers III Mr. and Mrs. Robert B. Billman, Jr. Mark and Kathleen Binnig In Memory of Bertha and Jack Bloch and Anne and Bill Fast Mr. and Mrs. A. Richard Boerner Mr. and Mrs. Donald P. Bogner Richard J. Bogomolny, Patricia M. Kozerefski, and Julie Xing Bogomolny Ruth Turvy Bowman Grace W. Bregenzer Nancy H. Bright, M.D.

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Marjorie J. Brines In Honor of Jerry Brodkey Drs. Michael A. and Sharon G. Broniatowski Mr. and Mrs. Peter R. Brooks Mr. and Mrs. Kenneth L. Brown Peter and Ann Brown John and Maria Cristina Bruch Dr. and Mrs. William E. Bruner II Diane Catherine Buehner Ruth E. Bueschlen Charles and Virginia Burchard Honnie and Stanley Busch In Memory of Mr. and Mrs. Dwight B. Buss J.C. and Helen Rankin Butler Wilton H. and Ruth B. Cahn The Carreras Family Richard and Nancy Cecil Mr. and Mrs. Paul Chaffee Mary Lou Chalfant Carmelline E. Charnas Thomas V. and Barbara Chema Drs. Chiou S. and Suio L. Chen Mrs. Charles R. Chew Mary E. Chilcote Henry Chisholm IV Bernie and Stan Christensen Mrs. Chester D. Christie John M. Clough, M.D. In Honor of Helen Champney Cole Al, Mimi, Lisa, and Chris Connors, in Honor of Birute Smetona Mr. and Mrs. Homer E. Cook, Jr. Mr. and Mrs. Alfred G. Corrado Glee A. Cousino Norman and Ann Craig Doris and Marvin Cramer W. S. Cumming Dr. and Mrs. James R. Cunningham Barbara Ann Davis Mr. and Mrs. B. Neil Davis, in Honor of Joela Jones Sally and David de Roulet Bradford E. DeBusk Mr. and Mrs. John W. Decker Shelley G. Dedmon Miss Linda L. Dembeck Mr. and Mrs. Thomas Demitrack Mr. and Mrs. Del Denny Mrs. Marjorie Dickard-Comella Pierre and Margaret Diemer Gabriel and Nancy DiFrancesco John and Kathleen Dogger In Memory of Christine Bonhoeffer von Dohnányi In Honor of Christoph von Dohnányi

Norton Memorial Organ

Mr. and Mrs. Joseph C. Domiano Gail and Michael Dowell Mr. and Mrs. Theodore D. Driscol Jane Seelbach Driver Mrs. Charles C. Dugan Mr. and Mrs. Richard Egan Anne F. Eiben Robert M. Eiben, M.D. Dr. and Mrs. Robert M. Eiben, in Honor of their Children Mr. and Mrs. Milton J. Ellis William Mitchell Ellison Worth Ellison Mrs. Frederick L. Emeny In Honor of Mr. and Mrs. Oliver F. Emerson Mary Grace and Robert Richard Engisch Edith Virginia Enkler, in Memory of Mrs. Edith Ann Enkler in Memory of Henry Enkler in Memory of Isaac Parey Masten in Memory of Mrs. Isaac Parey Masten in Memory of John Parey Masten Richard L. and Jean A. Erickson Dr. Wilma M. Evans Brian L. Ewart and William K. McHenry The Fagerhaug Six: Lauren, David, Hadyn, Raleigh, Zoe, and Mya Edward R. and Joan M. Falkner Mr. and Mrs. Herbert J. Farr III Dr. and Mrs. J. Peter Fegen James and Linda Focareto Jean and Greg Foust Mrs. Jessica R. Franklin, in Memory of her Husband James E. Franklin Mr. and Mrs. Dempwolf Frey Kent and Paula Frisby Michael, Joan, Gregory, Timothy, Marie, and Rebecca Fry In Honor of Peggy Fullmer Jack and Katherine Ganz Richard K. Gardner Michael and Barbara Garrison In Memory of Myrna Macklin Garvin Mr. and Mrs. R.H. Geissenhainer Patricia J. Genchi Claudette and Ron Giesinger Pastor Andrea R. Cermak Gifford Alda and Nick Giorgianni In Memory of Kelly Jean Mitchell Golonka Lynn, Shelley, and Laura Gordon Dr. Barbara Gothe and Dr. Harvey Rodman Mr. and Mrs. Dennis M. Grapo, in Memory of their Son Larry Mr. and Mrs. William A. Gray Elaine Harris Green

The Cleveland Orchestra

Loretta Gregoric Dr. Raymond and JoAnn Greiner Linda and Fred Griffith Tom and Nancy Griffith Sally K. Griswold In Memory of Henry S. Grossman Mrs. Jerome E. Grover, in Loving Memory of her Husband Jerome John A. and Ashley M. Gustafson Michael H. Hackett In Honor of Marianne Millikin Hadden Rita H. Haier Gary and Pat Halford James and Diane Hall James and Ruth Hall Phillip M. and Mary E. Hall Judith Lee Hallam Nancy Y. Hammond The Hanes Family, in Memory of Edgar A. and Mary C. Hanes Curt and Margie Harler Duncan and Adrienne Hartley Eloise Haugh, in Loving Memory of her Daughter Susan E. Garrison Donald R. Hausser In Memory of Mr. and Mrs. Fred J. Hausser Mr. and Mrs. Donald G. Havener Mr. and Mrs. David W. Hay In Memory of Lloyd David Hayes John D. Hays and Denise A. Hunyadi Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan H. Arlan Heiser, in Honor of his Wife Janice D. Heiser Ron and Pam Heldorfer Clyde J. Henry, Jr. M. Diane Henry Gary and Ginna Hermann Douglas and Suzanne Hicks Mr. and Mrs. Theodore H. Hieronymus William W. and Alix B. Hill Marilou and Robert Hiltabiddle Barbara Hiney Dr. and Mrs. Thomas Hirsch In Memory of Sarah C. Hirsh Dale and Nancy Holwick David and Nancy Hooker William E. and Donna H. Horton Phoebe Hostetler Lorraine Angus and Sam Hubish and Boys, in Honor of Rev. Caroline G. and Dr. John C. Angus Valerie A. Hughes George Mitchell Hunter Eleanor Mandala Iacobelli Yoshiko Ikuta and Family Glenn T. Imhoff Paul and Jean Ingalls Carol S. and William G. E. Jacobs, in Honor of their Parents Louise R. and Bernard W. Lindgren and Betty L. and Elmer E. Jacobs The James Family Paul J. and Nancy Jankowski Dr. Guy and Judith Jeanblanc Mr. and Mrs. Robert H. Jeffreys Jean and Rick Jerauld, in Memory of F. Meade Bailey Marjorie T. Johnson

Severance Hall 2016-17

Mr. and Mrs. William J. Jones Mr. and Mrs. H.S. Jorgensen, Jr. Mrs. Reynold H. Juengel Don and Nancy Junglas Robert and Mary Kaczmarski Etole and Julian Kahan Mr. and Mrs. Robert E. Kahelin Ben and Charlotte Kahn Philanthropic Fund of Cleveland Mr. and Mrs. Rudolf Kamper Gary and Angela Karges Donald and Maribeth Katt Donna and Milton Katz Dr. Steven and Karen Katz Mr. and Mrs. Ned G. Kendall Winnetta Kennedy and Mickey R. Kennedy Donald R. Kern Mr. and Mrs. Michael T. Kestner Anita and S.I. Khayat Gail and Robert Kichler Mr. and Mrs. Albert F. Klavora Jimmy and Lynn Kleinman Mr. and Mrs. Mark S. Klingbeil Mrs. C. Landon Knight Mr. and Mrs. William F. Knoble Robert and Betty Koch Raymond and Katharine Kolcaba Ursula Korneitchouk E.J. Kovac David B. Krakowski Marjorie N. Krause Michael and Jane Krauss Mr. and Mrs. Lawrence M. Krejci, Jr. Donald N. Krosin Bob Kuebler and Jeff Segal Charles and Jo Anne Lake The Lampl Family, in Loving Memory of Jack W. Lampl, Jr. Jo Ann D. and John J. Lane Mr. and Mrs. Leonard R. Lang Mr. and Mrs. R. Gordon Latimer Dr. and Mrs. Randolph C. Leach Joe, Sue-Min, and Kent Lee Leo and Delores Leiden In Honor of Katherine Grace Lenhart A Friend, in Memory of Mildred L. Lewis Katie Liekoski Judge Sara Lioi Nan and Art Livergood Mrs. Elliot L. Ludvigsen Steven J. Lutgen and Delilah I. Flores Herbert and Marianna Luxenberg John MacFarland and Shirley Wesley Laura and Clark Maciag, in Honor of their Son Samuel Q. Winegardner In Memory of Clara Caldwell Macklin Robert and Sara Madison Robert G. and Nanci Markey Andrew and Sabra Massey Kiki and Vaughan Matthews Robert and Meredith McCreary Barb and Dave McKissock Frank and Mary Mehwald In Memory of Karl Meinhardt Mr. Daniel D. Merrill, in Memory of Kenneth Griggs Merrill Barbara L. and Stephen A. Messner Claudia Metz and Thomas Woodworth Brenda Clark Mikota Mr. and Mrs. Louis T. Milic Richard A. and Caroline Miller Drs. Terry E. and Sara S. Miller Lois and Paul Moeller

Norton Memorial Organ

Catherine D. Montgomery Roger and Sally Mook Mrs. Marta B. Mota Mr. and Mrs. Stephen T. Murphy Mr. and Mrs. Richard B. Nash In Memory of E. Loraine Nelson Roger and Martha Nelson Mary A. Neumann Edward E. and Linda D. Noble Mr. and Mrs. Wilbur Nordstrom Mr. and Mrs. Clarence B. Olmsted William and Barbara O’Riordan Dennis and Lanette Parise Patricia J. Pasco Mr. and Mrs. Timothy Patterson Thomas J. and Thomasina B. Patton James F. and Barbara G. Pelowski Mrs. Margaret P. Pennington Mr. and Mrs. E. Lee Perry in Memory of Mr. and Mrs. A. Dean Perry in Memory of Mr. and Mrs. Edward B. Greene in Memory of John Erwin Hollis in Memory of John and Slocumb Hollis Kenneth and Katherine Petrey Mrs. Gene Phillips and Daughters, in Memory of Bert R. Phillips Janet G. Pierce William T. Plesec and Susan M. Stechschulte Alan and Marjorie Poorman David S. Popa Joyce Pope, in Honor of W. Nicholas Pope Char Portman, in Memory of her Husband Robert G. Portman Robert W. Price Lois and Stanley Proctor Elizabeth J. Ptak Rosella M. Puskas Mr. and Mrs. Linn J. Raney Tom and Helen Rathburn Scott and Mary Rawlings Conrad and Helen Rawski In Honor of Dr. Sandford Reichart The Dr. David and Hope Reynolds Family Dr. and Mrs. Robert W. Reynolds Mr. and Mrs. Bunn S. Rhea Dr. and Mrs. Frederick C. Robbins Viola Startzman Robertson Keith and Margaret Robinson Mr. Timothy D. Robson Paul and Anastacia Rose In Memory of Enid Rothenfeld Marjorie A. Rott Dr. Edward L. Ruch and Dr. Teresa D. Ruch Mr. and Mrs. Robert C. Ruhl In Memory of Estelle Ruth Barry and Karol Sabol Burt Saltzman In Honor of Dorothy S. Sawyer Bob and Ellie Scheuer Sandra J. Schlub Dr. E. Karl and Lisa Schneider The Herbert A. Schneider Family, Brian Jao and Stephen Jao Mr. and Mrs. Richard F. Schubert Robert and Linda Schumacher Richard and Marcy Schwarz Joel and Beth Scott

LISTING CONTINUES

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L I S T I N G C O N T I N U ED

Dr. James L. Sechler and Veronika Ilyes-Sechler Edward Seely Donald M. Shafer and Kathrine Stokes-Shafer Mrs. Robert S. Shankland, in Memory of Dr. Robert S. Shankland Frances L. Sharp Mr. and Mrs. Jerry Shaw Jerry and Laurie Sheets Don, Sue, Sarah, and Mark Sheldon Mr. and Mrs. Terrence E. Sheridan Dr. and Mrs. Earl K. Shirey Richard Shirey William and Marjorie Shorrock David and Julie Siegel Toby and Jay Siegel Mr. and Mrs. Milan J. Skorepa Rosanne H. Skuly Ray and Eleanor Smiley Christopher, Michelle, Jennifer, and Heather Smith Dr. and Mrs. Lynn A. Smith Sidney B. and Beverly J. Smith Mr. and Mrs. William E. Smith Janice Horter Smuda Mr. and Mrs. Jeffrey H. Smythe Dr. and Mrs. Ralph E. Snelson Dr. Marvin and Mimi Sobel In Memory of Jacob and Theodosia Soehnlen The Spencer Family, in Honor and Memory of Paul and Margaret Mendenhall In Memory of Stanley R. Stahurski Helga and Ron Stanger Gary and Sue Stark and Family Dr. Frank J. and Arlene R. Staub Mr. and Mrs. S. Finley Stay, in Honor of the 1999-2000 Gilmour Academy Middle School Ellen M. Stepanian, in Memory of her Parents James H. and Armenuie G. Stepanian Barbara A. Sterk The Families of David J., Paul F., and Roger M. Stiller, in Memory of their Parents Paul F. and Caroline L. Stiller C. Chester Stock James Storry

Faye and Sel Strassman In Loving Memory of Marilyn Henderson Stull by her Husband and Children Bill and Edith Taft Mr. and Mrs. John J. Tanis Anne L. Taylor, M.D., in Honor of M. Alexandra Taylor Ronald E. Teare, in Honor of Charles H. Teare Harold G. Telford The Family of Herman Teske, in his Memory The Thomas Thoburn Family E. Jean Thom Dr. Katherine M. Thomas Katherine K. Tibbetts, in Memory of her Husband William D. Tibbetts In Memory of Dr. and Mrs. Jesse E. Titus and Mr. and Mrs. E. William Simon Betty Trump, in Memory of her Husband Robert C. Trump Robert J. and Marti J. Vagi In Memory of John Valley Mr. and Mrs. Charles Valone, Jr., in Memory of Susan Elizabeth Valone, M.D. The VanDyke Family Donna L. VanRaaphorst Dona Grace Wood Vernon, With Gratitude in Loving Memory of Jabez Hall Wood Kathryn M. Vine Vera Grdina Virant Mr. and Mrs. Elmer F. Vitek In Honor of James Gregory Wagner, Sr. Kenneth C. Waldo, Jr. Cathy and Scott Wallenstein Eleanor M. Warner, in Memory of her Husband William S. Warner Robert, Ruth, and Roberta Wavrek Dr. and Mrs. Frank L. Weakley Suzanne and Bob Weber Susan Weir and Leif Ancker Mr. and Mrs. John Weisel Eugene P. Wenninger and Cheryl A. Casper Western Reserve Theatre Organ Society

Rodney and Judy Whitwell Mr. and Mrs. Robert L. Wilcox Deborah A. and Louise I. Wiles Donald R. Wilkinson, in Memory of his Wife Betty N. Wilkinson Audrey B. and Hazel M. Willacy Jane C. Williams Meredith Williams, in Loving Memory of his Wife Helen Sue Williams Dr. Michael and Barbara Williams Paul and Catherine Williams Reese and Nancy Williams, in Honor of their Parents Mrs. James A. Winton Women’s Committee of The Cleveland Orchestra In Honor of Dr. Denton Wyse Sally T. and Robert E. Yocum, in Memory of Dorothy D. and James M. Taylor Michael D. Zaverton Ms. Liga A. Zemesarajs Marguerite J. Ziegler Matt, Adam, Mary Frances, and Kal Zucker In Memory of Larry E. Zupon

To learn about making an endowment gift of your own in support of The Cleveland Orchestra, please call 216-231-8006

conference series 2016

LGBT OLDER ADULTS: Supporting Their Unique Health & Social Needs October 20, 2016 l 8:30 a.m.-5:15 p.m.

Featuring the 10th Annual Katz Policy Lecture with speaker Michael Adams, CEO, SAGE USA

WITH SUPPORT FROM:

Register online at www.benrose.org/education

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Norton Memorial Organ

The Cleveland Orchestra

“The Apollo’s Fire sound: point polished to a ravishing satiny gloss.”

– THE BOSTON GLOBE

2016

2017

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Symphony No. 2 in D major, Opus 43 composed 1901-02

At a Glance

by

Jean

SIBELIUS

Sibelius composed much of his Second Symphony during the spring of 1901 while in Italy and completed it in Finland during the winter of 1901-02. It was first performed on March 8, 1902, in Helsingfors (Helsinki) with Sibelius conducting. The symphony was published in 1903 with a dedication to Axel Carpelan, who had made Sibelius’s Italian trip possible.

This symphony runs about 45 minutes in performance. Sibelius scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trom-

bones, tuba, timpani, and strings.

Sibelius’s Second was first performed in the Cleveland area on March 16, 1917, by the New York Philharmonic conducted by Joseph Stransky. The Cleveland Orchestra played it for the first time in November 1927, under the direction of Nikolai Sokoloff. The most recent performance was at Blossom in 2014 when the Orchestra played it side-by-side with the Kent/Blossom Chamber Orchestra under the direction of John Storgårds.

born December 8, 1865 Hämeenlinna, Finland

About the Music

died September 20, 1957 Järvenpää, Finland

he did not embark on his first symphony until he was well into his thirties. Like Richard Strauss, who was only a year older, he had dabbled unsuccessfully in opera but was best known for a series of tone poems — in Sibelius’s case, tone poems with Finnish subjects. Strauss soon renewed his efforts in opera, to great success. Sibelius, instead, built a solid and lasting achievement in his seven symphonies, the last dating from 1924.

We could equally compare Sibelius to Beethoven, who also waited until he was thirty before producing the first of his immortal nine symphonies. (Sibelius’s own much-talked-about Eighth Symphony, so keenly anticipated and so lavishly discussed by music-lovers and journalists, never appeared — or was perhaps purposefully destroyed by the composer — even though he lived a full thirty years after apparently retiring from composition.)

In fact, comparing Sibelius to Beethoven was a recurrent element of early 20th-century music criticism, in which the English critic Cecil Gray roundly declared Sibelius to be “the greatest master of the symphony since the death of Beethoven.”

While any symphonist in the last two hundred years has known that his or her work would always be compared to Beethoven, Sibelius’s early symphonic thinking was more about contemporary models — of Borodin or Tchaikovsky, and of Bruckner, whose works impressed him deeply. During a stay in Berlin

Severance Hall 2016-17

M A N Y O F U S think of Sibelius primarily as a symphonist, yet

About the Music

53

in 1898, he also heard Berlioz’s Symphonie fantastique and noted in his sketchbook: “O santa inspirazione! O santa dea!”

Sibelius’s First Symphony appeared in 1899, almost simultaneously with Finlandia and following his Lemminkäinen Suite.

Suddenly, he was known across Europe. He was invited to conduct his music in Stockholm, Paris, Heidelberg, and Berlin. He acquired a publisher in Leipzig and met Dvořák in Prague. He was awarded a Finnish state pension for life and was thus able to resign his teaching post at Helsinki University to devote his energies to composing and promoting his music through concerts and conducting.

The music of Sibelius’s There were to be dark times ahead — when poor health, alcoholism and depression, money Second Symphony problems, and anxiety about his standing in encompasses many contemporary music dogged him — but for moods, but there is the first few years of the 20th century Sibelius clearly a sunlit quality was riding high.

In 1901, he travelled south and took a villa in in the opening moveRapallo, Italy, and there began his Second Symment and a sense of triphony. The music encompasses many moods, umphant well-being in the but there is a sunlit quality in the opening movefinale. This music may ment and a sense of triumphant well-being in the finale. This music may very well reflect the very well reflect the optimistic state of the composer’s mind and his optimistic state of affairs at that time. the composer’s mind and Returning to Finland, he completed the his affairs at the time. symphony at his mother-in-law’s country retreat and then gave the first performance at Helsinki University in March 1902. It was an immediate success, played soon after in Hamburg, Chicago, and Boston, and beyond — and it has remained a familiar and popular concert work ever since.

THE MUSIC

The first movement has been much acclaimed for its subtle handling of conventional symphonic form. The themes are clear — fragmentary at first, but soon melding into an organic shape.

Particularly characteristic is the theme that begins on a long-held note, like so many Sibelius themes, finally moving into a flourish and a falling fifth. There are phrases when the woodwinds find themselves wrapped up in trills, there are solid passages for the brass alone, and constant running, fidgety figures in the strings.

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About the Music

The Cleveland Orchestra

Sibelius shapes all this with masterly control, and the close of the movement has the same quiet serenity as the opening.

The slow movement is a fine example of Sibelius’s skill with tempo. “Tempo andante, ma rubato” at the head of the movement is little indication of the diversity of ideas that will come. The most surprising passage is the wandering tread of double basses and cellos at the beginning, which turns out to be the accompaniment to a melancholy tune on two bassoons. The tempo quickens and From the Rough Guide a sense of agitation seizes the music. Afto Classical Music: ter some stern opinions from the brass, a “The Symphony No. 2 marks a transition divinely beautiful entry of the strings rebetween the youthful and the mature stores calm, for a brief period at least. The movement is long, very varied in mood, but Sibelius. Much of it was composed in always tightly controlled and balanced.

Italy, and the Russian influence has A very speedy scherzo third movehere been at least partly replaced by ment follows, alternating with a sunny something more southern in feeling: middle section when the oboe gives us textures are more open, the thematic another of those themes that start on a writing more ingratiating, and there is single note, many times repeated, and finally rounded off. Its second appearance a general atmosphere of warmth. That leads directly without a break into the finale said, a mood of foreboding emerges at fourth movement, perhaps in homage to the start of the second movement. . . .

Beethoven’s Fifth, where a triumphant fiThe finale is a real epic — pulsating and nale similarly emerges from its preceding elemental — which, like the first symscherzo.

While alternating tempos play a maphony, has that most Russian of conjor part in the first two movements of this cepts, a stirring ‘big tune’ as the work’s symphony, here it is the steady broad pulse crowning glory.” that creates the tension. There is also a competing juxtaposition between the simple opening theme in the major and the second subject in the minor key (first played by the woodwinds over a surging figure in the violas and cellos). The unsophisticated contour of these two main themes has drawn criticism even from Sibelius’s admirers, but that is surely the secret to the movement’s overwhelming effect.

For when the minor theme returns, it builds and builds towards the inevitable, unforgettable moment when the major key breaks out like sunshine bursting through the clouds. Sibelius’s later symphonies are filled with a sense of mystery, but here it is impossible not to hear the grand uplifting feeling that a great performance of this work conveys.

—Hugh Macdonald © 2016 Severance Hall 2016-17

About the Music

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

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

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

Listing as of September 15, 2016.

GIFTS OF $5 MILLION AND MORE

The Cleveland Foundation Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Nancy Fisher and Randy Lerner in loving recognition of their mother, Norma Lerner

Maltz Family Foundation Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner Anonymous

GIFTS OF $1 MILLION TO $5 MILLION

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

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Ms. Beth E. Mooney 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 (4)

Sound for the Centennial Campaign

The Cleveland Orchestra

GIFTS OF $500,000 TO $1 MILLION

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

Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann 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 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 Roy Smith Richard and Nancy Sneed R. Thomas and Meg Harris Stanton Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort Women’s Committee of The Cleveland Orchestra

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 Gary Hanson and Barbara Klante Iris and Tom Harvie Jeff and Julia Healy The Hershey Foundation T. K. and Faye A. Heston Mr. Daniel R. High Mr. and Mrs. Donald M. Jack, Jr.

Severance Hall 2016-17

Elizabeth B. Juliano Bernie and Nancy Karr Mr. and Mrs.* S. Lee Kohrman Mr. James Krohngold 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. and Mrs. David A. Ruckman

Sound for the Centennial Campaign

Mr. Larry J. Santon Raymond T. and Katherine S. Sawyer Mrs. David Seidenfeld David Shank Naomi G. and Edwin Z. Singer Drs. Charles Kent Smith and Patricia Moore Smith Sandra and Richey Smith George R. and Mary B. Stark Ms. Lorraine S. Szabo Virginia and Bruce Taylor Tucker Ellis Dorothy Ann Turick The Denise G. and Norman E. Wells, Jr. Family Foundation Mr. Max W. Wendel Paul and Suzanne Westlake Marilyn J. White The Edward and Ruth Wilkof Foundation Katie and Donald Woodcock William Wendling and Lynne Woodman Anonymous (3)

* deceased

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orchestra news

THE CLEVELAND ORCHESTRA

Cleveland/Welser-Möst partnership garners critical acclaim on 2016 European tour The Cleveland Orchestra and Franz Welser-Möst performed at three prestigious European festivals in August, receiving applause and widespread critical acclaim. The following are excerpted from commentary and reviews of the 2016 European Festivals Tour:

“Welser-Möst creates the necessary space indeed for this orchestra to shine. The dense sound is indicative of a tightly-knit team; Welser-Möst’s reputation of having been instrumental in developing the orchestra’s sound during his tenure as chief conductor is well deserved. The performance was rewarded at the end with enthusiastic applause and congratulatory calls of ‘bravo’ from the audience.”

—APA (Austrian Press Agency) “This is an orchestra that has the marvelous ability to shift between pathos and clear, structured thought, without exaggerated sound splitting, without theatrics. This is especially true for their conductor — Welser-Möst’s interpretation of Beethoven was exemplary in its clarity while avoiding extremes, even in the tempos.”

—Badische Zeitung “Rousing applause sounded on Thursday in Salzburg’s Grosse Festspielhaus in celebration of The Cleveland Orchestra and music director Franz Welser-Möst.”

—Salzburg Nachrichten “Welser-Möst’s ideas were matter of fact and clear. He never hesitated, despite the many tempo changes and transitions. The orchestra forged this piece in a single casting from the initial engaging, exciting note to the final accord.”

—Salzburg Nachrichten “Under the guidance of maestro Franz Welser-Möst, The Cleveland Orchestra proved itself a superbly trained, beautifully sounding single body.”

—Kronen Zeitung “The audience could admire the enormous transparency and sensitive subtleness of the chamber music in Bartók’s Music for Strings, Percussion, and Celesta, throughout the entire evening that The Cleveland Orchestra played at Salzburg’s Great Festival Hall.”

—Kurier.at ”The Cleveland Orchestra demonstrated its fabulous technical skill, coupled with rhythmic agility. . . . The adagio featuring some ghost-like effects was especially explored with attention to precision and coloring.”

—Die Presse

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Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

.W.E.L.C.O.M.E. New principal viola and assistant concertmaster join Orchestra The Cleveland Orchestra welcomes violist Wesley Collins, whose appointment as principal viola was announced in June. He joined the Orchestra with the start of the 2016-17 season, and now holds the Orchestra’s Chaillé H. and Richard B. Tullis Principal Viola Endowed Chair. He fills the vacancy created from the retirement in August of principal viola Robert Vernon, who was Collins’s teacher at the Cleveland Institute of Music.

Prior to coming to Cleveland, Wesley Collins had been a member of the viola section of the Boston Symphony Orchestra, which he joined in 2012 and then was promoted to third chair viola in 2014. He had previously played as a member of the Atlanta Symphony Orchestra, 2008-12. Collins completed his bachelor of music degree at the Cleveland Institute of Music in 2007.

While a student in Cleveland, he played as a substitute with The Cleveland Orchestra, and also performed in the Canton Symphony Orchestra, Cleveland Chamber Symphony, and CityMusic Cleveland, and was assistant principal viola with the Akron Symphony Orchestra. His summer activities have included the Tanglewood Music Center, Sarasota Music Festival, Encore School for Strings, and the Pacific Music Festival.

Born and raised in Cincinnati, Wesley Collins began studying violin with his mother, Sandy Collins, at the age of four. He also played trumpet under the instruction of his father, Philip Collins, former principal trumpet of the Cincinnati Symphony Orchestra. He later switched to viola under the guidance and inspiration of Michael Klotz, violist of the Amernet String Quartet.

With the start of the 2016-17 season, The Cleveland Orchestra welcomes violinist Jessica Lee as assistant concertmaster. She holds the Orchestra’s Clara G. and George P. Bickford Assistant Concertmaster Endowed Chair. She fills the vacancy from Yoko Moore’s retirement at the end of last season.

Jessica Lee was the Grand Prize Winner of the 2005 Concert Artists Guild International Competition and has appeared as a soloist and in recital around the the world, including with the Malaysia Festival Orchestra for the gala birthday celebration of the Sultan of Malaysia in Kuala Lumpur, as well as performances with the Houston Symphony and other U.S. orchestras, and in recital in New York City, in Washington D.C., and at the Caramoor Festival. Her summer appearances have included performances at the Bridgehampton, Santa Fe, Music@Menlo, Lake Champlain, and Olympic music festivals.

As a chamber musician, Lee was a longtime member of the Johannes String Quartet and played as a member of the Chamber Music Society of Lincoln Center Two. She has toured with Musicians from Marlboro and is a member of the conductor-less string ensemble ECCO (East Coast Chamber Orchestra).

A native of Virginia, Jessica Lee began playing the violin at age three. Following studies with Weigang Li of the Shanghai Quartet, she was accepted to the Curtis Institute of Music at age 14 and earned a bachelor’s degree under the tutelage of Robert Mann and Ida Kavafian. She completed her studies with Robert Mann for a master of music degree at the Juilliard School.

Comings and goings

Silence is golden

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

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

Severance Hall 2016-17

Cleveland Orchestra News

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orchestra news

THE CLEVELAND ORCHESTRA

Photo exhibit showcases organ’s restoration Photographer Jennie Jones documented the 1998-2001 restoration of Severance Hall’s organ; ten of her photographs will form permanent exhibit A special exhibit of photographs related to the Norton Memorial Organ will soon be hanging at Severance Hall in permanent tribute and as documentation of the famed instrument’s restoration. Regarded as one of the finest concert hall organs in North America, the mighty Norton was returned to its full glory by a painstaking refurbishment between 1998 and 2001 — with the process captured in beautiful detail by acclaimed Cleveland architectural photographer Jennie Jones.

Weighing more than 50,000 pounds, the massive instrument was built by renowned organ builder Ernest M. Skinner in 1930 specifically for Severance Hall, and today stands as one of the largest Skinner organs in existence; all of its more than 6,000 pipes had to be removed, some by crane, for the restoration, which was completed by Schantz Organ Company of Orville, Ohio.

Jones has donated her series of photographs from the organ’s restoration to The Cleveland Orchestra and, from those, ten will be permanently installed in the hallway leading to the entrance of the organ loft (on the third floor) of Severance Hall, where they can be viewed by those taking special tours of the building.

The Orchestra extends its deepest gratitude to Jennie Jones and her husband, Trevor, for this unique gift and for their longtime support.

SPECIAL INTERMISSION RECEPTION

THURSDAY SEPTEMBER 29 The audience is invited to meet photographer Jennie Jones in the Humphrey Green Room and to view ten of her photographs documenting the restoration of Severance Hall’s Norton Memorial Organ.

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Two photographs by Jennie Jones of the organ during restoration.

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

Cleveland Orchestra joined together with Cleveland Museum of Art for this summer’s neighborhood residency “At Home” in Hough Collaborations with community partners provided music and arts experiences all summer long All summer long, The Cleveland Orchestra joined with the Cleveland Museum of Art to celebrate music and art in Hough, an historic neighborhood located between downtown Cleveland and University Circle. This collaboration between two of Ohio’s premier cultural organizations extended the Orchestra’s ongoing neighborhood residency program and was designed to strengthen partnerships with local communities to develop new and meaningful ways to enliven Northeast Ohio with arts and music.

One highlight of the activities in Hough was a free public concert by The Cleveland Orchestra, led

by Cleveland Orchestra associate conductor Brett Mitchell on August 11. The concert was shared across Northeast Ohio via live broadcast on radio and online by ideastream® and with a television rebroadcast later in August on WVIZ PBS. In collaboration with the Hough community, the August 11 performance also showcased visual and musical talents of neighborhood citizens, with a display of photography from the Cleveland Museum of Art’s year-long centennial self-portrait project and displayed banners created by Hough community groups and Cleveland Museum of Art staff.

“The Cleveland Orchestra marked a new high for our neighborhood residency program,” says Joan Katz Napoli, the Orchestra’s director of education and community programs. “Collaborating with our Hough community partners was truly a neighborly endeavor that showcased the musical and artistic vibrancy at the heart of Hough, creating arts partnerships that will be sustained long into the future. It is always so exciting and fun to watch kids thrilled to learn by doing.”

The Cleveland Orchestra’s ongoing neighborhood residencies program is designed to reflect, interact with, and build upon the distinctive characters of different Northeast Ohio communities — and to celebrate the power of music Severance Hall 2016-17

Throughout the summer, music and visual arts programs took place at Hough community centers, demonstrating the power of the arts to enrich lives.

to build connections within and between neighborhoods, and to inspire people at every age.

All told, the Orchestra’s education and community programs touch the lives of thousands of young people in 100 neighborhoods across Northeast Ohio each year.

To learn more, visit clevelandorchestra.com.

Cleveland Orchestra News

THE

CLEVELAND ORCHESTRA

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orchestra news

HE CLEVELAND ORCHESTRA

A.R.O.U.N.D T.O.W.N Recitals and presentations featuring Orchestra musicians

New Members Club monthly ticketing program launched with the 2016-17 season The Cleveland Orchestra has announced details of a new ticket packaging and loyalty program, called the “Members Club.” This $35 per month membership program is designed to offer convenience and value for patrons who want to experience more Cleveland Orchestra concerts each season and includes access to year-round concerts at both Severance Hall and the Blossom Music Festival. Similar to monthly programs offered by a variety of entertainment companies, the Members Club was created to serve audience members who desire more flexibility than traditional subscription packages.

The innovative program, which features a mobile app for convenience and mobile ticketing, is the latest addition to the Orchestra’s commitment to providing new ticketing options.

Membership provides the ultimate flexibility in attending The Cleveland Orchestra. In exchange for a monthly membership fee of $35 (billed automatically), members can reserve a single ticket for $10 to any concert, at any time, through a mobile app developed specifically for the program. For multiple tickets to a single concert, additional memberships are required.

The Members Club began with an invitation-only pilot program a year ago in Fall 2015 and is now being rolled out and offered to the public. Early development of the Members Club was funded by grants from The George W. Codrington Charitable Foundation and The Char and Chuck Fowler Family Foundation.

For more details and information, visit www.clevelandorchestra.com/membersclub.

Upcoming local performances and other presentations involving members of The Cleveland Orchestra include: The Women’s Committee of The Cleveland Orchestra presents the first Meet the Artist luncheon of the season on Friday, October 7, with a program featuring Joshua Smith, the Orchestra’s principal flute. Smith has led the Orchestra’s flute section since 1990, is regularly featured as a concerto soloist, and is also involved in chamber music and innovative presentations across Northeast Ohio. For the October luncheon in Shaker Heights, he will give a short performance and be interviewed by The Cleveland Orchestra’s artistic administrator, Ilya Gidalevich. The event begins at 11:30 with a patron reception with Smith, continues with lunch at noon, and then the program itself at 1 p.m. The cost is $40 for Women’s Committee members, $50 for non-members; $100 premium ticket includes the pre-lunch reception.

Reservations are required; call 440-338-3369 or email pk4sommer@roadrunner.com.

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

Join the millions of people who enjoy all the sounds of life!

Cleveland Hearing & Speech Center is the premier provider of audiology products and services. From hearing screenings, ĞǀĂůƵĂƟŽŶƐ͕ ĂŶĚ ĚĞǀŝĐĞ ĮƫŶŐƐ͕ ƚŽ ĨŽůůŽǁ ƵƉ ĂŶĚ ƐƵƉƉŽƌƚ͕ ,^ ǁŝůů ĞŶƐƵƌĞ LJŽƵ ŶĞǀĞƌ ŵŝƐƐ Ă ŶŽƚĞ͊

Ăůů ƚŽĚĂLJ ĨŽƌ ŵŽƌĞ ŝŶĨŽƌŵĂƟŽŶ͘ 216-231-8787

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orchestra news Newest Cleveland Orchestra album with Mitsuko Uchida to be released in October

THE CLEVELAND ORCHESTRA

IN MEMORIAM

Robert Page 1927-2016

The Cleveland Orchestra’s newest album of Mozart concertos with pianist Mitsuko Uchida is being released at the end of October by Decca. The new album features Mozart’s Piano Concertos Nos. 17 and 25, from live recordings made at Severance Hall concerts in February 2016. The recording will be available in the United States and internationally beginning on October 28. Pre-orders are being accepted at amazon.com, and by special arrangement the album itself will be available through the Cleveland Orchestra Store beginning the week prior to the official release date.

This is the fifth album of Mozart concertos pairing Uchida with The Cleveland Orchestra.

The Cleveland Orchestra notes the death on August 7 of former director of choruses Robert Page at the age of 89 — and extends condolences to his family and many friends. Page served as director of the Cleveland Orchestra Chorus for eighteen seasons, 1971-89, preparing the chorus for many concert performances and tours, as well as a number of acclaimed recordings, including Grammy Award-winning albums of Orff’s Carmina Burana and Gershwin’s Porgy and Bess. He had earlier worked with Eugene Ormandy at the Philadelphia Orchestra, and also led the Mendelssohn Choir of Pittsburgh for a quarter century, stepping down in 2005.

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Musicians Emeritus of

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Listed here are the living members of The Cleveland Orchestra who served more than twenty years, all of whom now carry the honoray title of Emeritus. Appointed by and playing under four music directors, these 48 musicians collectively completed a total of 1701 years of playing in The Cleveland Orchestra — representing the ensemble’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 Yoko Moore 2 2016 — 34 years

FLUTE/PICCOLO William Hebert 1988 — 41 years John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 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

CLARINET Theodore Johnson 1995 — 36 years Thomas Peterson 2 1995 — 32 years Franklin Cohen * 2015 — 39 years Linnea Nereim 2016 — 31 years

VIOLA Lucien Joel 2000 — 31 years Yarden Faden 2006 — 40 years Robert Vernon * 2016 — 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

OBOE Robert Zupnik 2 1977 — 31 years Elizabeth Camus 2011 — 32 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 § 1 2

Associate Principal Emeritus First Assistant Principal Emeritus Assistant Principal Emeritus listing as of September 2016

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Appreciation

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

M.U.S.I.C.I.A.N S.A.L.U.T.E 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 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 Shachar Israel 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 Daniel McKelway Michael Miller Sonja Braaten Molloy

Yoko Moore Ioana Missits Eliesha Nelson Peter Otto Chul-In Park Joanna Patterson Zakany Henry Peyrebrune Alexandra Preucil William Preucil Lynne Ramsey Jeffrey Rathbun Jeanne Preucil Rose Stephen Rose Frank Rosenwein Michael Sachs Marisela Sager Jonathan Sherwin Thomas Sherwood Sae Shiragami Emma Shook Joshua Smith Thomas Sperl Barrick Stees Richard Stout Tina Struble Jack Sutte Kevin Switalski Gareth Thomas Brian Thornton Isabel Trautwein Robert Vernon Lembi Veskimets Carolyn Gadiel Warner Stephen Warner Scott Weber Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Derek Zadinsky Jeffrey Zehngut

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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.”

Cleveland Orchestra News

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THE

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

M U S I C D I R E C TO R

Severance Hall

Thursday evening, October 6, 2016, at 7:30 p.m.

Friday evening, October 7, 2016, at 8:00 p.m.

Saturday evening, October 8, 2016, at 8:00 p.m.

Sunday afternoon, October 9, 2016, at 3:00 p.m.

Franz Welser-Möst, conductor LUDWIG VAN BEETHOVEN (1770-1827)

16 17 2016-17

S E A S O N

Symphony No. 8 in F major, Opus 93 1.

2.

3.

4.

Allegro vivace e con brio Allegretto scherzando Tempo di Menuetto — Trio Allegro vivace

INTER MISSION OTTORINO RESPIGHI (1879-1936)

RESPIGHI

Roman Festivals 1.

2.

3.

4.

Fountains of Rome 1.

2.

3.

4.

RESPIGHI

Games at the Circus Maximus — Jubilee — October Harvest — Epiphany

The Fountain of Valle Giulia at Dawn — The Triton Fountain in the Morning — The Trevi Fountain at Midday — The Fountain of the Villa Medici at Sunset

Pines of Rome 1.

2.

3.

4.

The Pines of the Villa Borghese — Pines Near a Catacomb — The Pines of the Janiculum — The Pines of the Appian Way

D I S T I N G U I S H E D S E R V I C E AWA R D The Cleveland Orchestra’s Distinguished Service Award will be presented to Robert Vernon prior to the Saturday concert. (See pages 8-9)

These concerts are sponsored by Thompson Hine LLP, a Cleveland Orchestra Partner in Excellence.

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Concert Program — Week 2

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October 6, 7, 8, 9

THIS WEEKEND'S CONCERT Restaurant opens: TH 4:30 FRI 5:00 SAT 5:00 SUN 12:00

Severance Restaurant Reservations for pre-concert dining suggested:

216-231-7373 or via opentable.com

Concert Preview

PREVIEW

in Reinberger Chamber Hall

“Making Masterpieces with Metronomes, Trees, and Record No. 1605”

begins one hour before concert

Concert begins: TH 7:30 FRI 8:00 SAT 8:00 SUN 3:00

Duration times shown for musical pieces (and intermission) are approximate.

with guest speaker Timothy Cutler, professor of music theory, Cleveland Institute of Music

BEETHOVEN

Symphony No. 8 . . . . . . . . . . . . . . . . . . . . . Page 77 (20 minutes)

SPECIAL PRESENTATION

SATURDAY ONLY INTERMISSION (20 minutes)

At the start of Saturday’s concert, The Cleveland Orchestra’s annual Distinguished Service Award will be presented to Robert Vernon, Principal Viola Emeritus. (For more information and details, see pages 8-9.)

RESPIGHI

Roman Festivals . . . . . . . . . . . . . . . . . . . . . . Page 81 (25 minutes)

RESPIGHI

Fountains of Rome . . . . . . . . . . . . . . . . . . . Page 83 (15 minutes)

RESPIGHI Concert ends: (approx.)

Pines of Rome . . . . . . . . . . . . . . . . . . . . . . . . Page 85 (25 minutes)

TH 9:25 FRI 9:55 SAT 10:05 SUN 4:55

Severance Restaurant Post-Concert Desserts and Drinks

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This Week's Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Rational Amusement & Roman Delights T H I S W E E K E N D ' S C O N C E R T S present two very contrasting sound

worlds, created a hundred years apart. Each composer was a leading musical mind of his country — the Germanic Beethoven at the start of the 19th century, and the Italian Ottorino Respighi in Italy a century later. Each delighted in trying new ideas in music, though what we are hearing this week is less cutting edge for each man than other examples from their output.

We begin with Beethoven’s Eighth Symphony from 1812. Despite Beethoven's well-known revolutionary spirit, this symphony has much in common with his teacher Haydn’s more gentle works in this genre. Though, in truth, Beethoven has loaded this score with plenty of startling musical humor — which audiences of his day might have found funnier (more unexpected) than our modern ears give credit.

Still, however one listens, this is music of great character, disciplined writing, and clear lines that both delight and amuse.

After intermission, Franz Welser-Möst has chosen to present all three of Respighi’s musical “travelogues” about Rome. This is a healthy and concentrated dose of aural scene painting, created by a master orchestrator. The sonic highs are intense, the subtle interludes are perfectly detailed, the structures well-proportioned.

Together, Respighi’s three Roman tone poems present a kaleidoscope of fantastical orchestral colors, each depicting in four movements aspects or scenes from daily life in Rome — from the modern city and within the historic grandeur of its ancient past. They are fun without being overly profound, filled with clear storytelling unweighted by darkening clouds.

Evenso, these scores test the mettle of any symphonic ensemble and, as Franz has said, with one of the very best orchestras on earth to work with, it is appropriate and necessary at times to play music that is simply fun to play and to listen to, consummately presented for sonic effect — brass, clash, and all. The feeling of Roman armies from the past marching into our midst . . . can be profoundly moving.

—Eric Sellen

LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM).

The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday, November 20, at 4:00 p.m.

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Introducing the Concert

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Student Appreciation October 6-9 Student attendance continues to grow at Severance Hall As The Cleveland Orchestra’s 2016-17 season gets underway, more Student Advantage Members, Frequent Fan Card holders, Student Ambassadors, and student groups are contributing to the continued success of these programs.

The Orchestra’s ongoing Student Advantage Program provides opportunities for students to attend concerts at Severance Hall and Blossom through discounted ticket offers. Membership is free to join and rewards members with discounted ticket purchases. Thousands of students have already joined for this season.

The Student Frequent Fan Card was introduced five years ago with great success — and continues to grow, with the number of Frequent Fan Card holders more than quadrupling since the program’s inaugural year. Priced at $50, the Fan Card offers students unlimited single tickets (one ticket per card holder) to weekly classical subscription concerts all season long.

The Student Ambassador program is also growing. These young volunteers help to promote the Orchestra’s concert offerings and student programs directly on campuses across Northeast Ohio. (Email Jim Sector at jsector@clevelandorchestra.com to learn more about becoming a Student Ambassador.)

In addition, attendance through Student Group sales are also bringing in more and more young people to Cleveland Orchestra concerts. From as far as Toronto and Nashville, these groups make up an integral part of the overall success toward generating participation and interest among young people.

All of these programs are supported by The Cleveland Orchestra’s Center for Future Audiences, through the Alexander and Sarah Cutler Fund for Student Audiences. The Center for Future Audiences was created with a $20 million lead endowment gift from the Maltz Family Foundation to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.

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The Cleveland Orchestra extends a special welcome to members of the Student Advantage Program and this season’s Student Ambassadors.

Contrasts in Time The Vigor of Respighi’s Roman Triptych vs. the Sublimity of Beethoven’s Eighth b y D AV I D W R I G H T " W H O ' S T H AT F R I E N D of yours who

looks so much like Beethoven?”

So asked a Paris party guest in 1925, pointing to the man playing the piano.

Felix Sluys, a Belgian doctor, replied, “You know, they share the same trade.”

The man at the piano was, in fact, Italy’s most celebrated living composer of the day, mostly on the strength of his 1917 orchestral piece Fountains of Rome and its spectacular sequel of 1924, Pines of Rome.

Roman Festivals would complete the series in 1928.

It wasn’t the first or last time that Ottorino Respighi’s square face, furrowed brow, and resolute mouth would remind onlookers of the master from Bonn.

For the most part, the resemblance of the two composers ended there. True, both were masters at handling the symphony orchestra of their day, Beethoven building his sinewy style from the insights Severance Hall 2016-17

of Haydn and Mozart, and Respighi further cultivating the most picturesque aspects of Rimsky-Korsakov (with whom he studied composition) and also Debussy and Strauss. And when not composing, both could be found with their nose in a book, Beethoven devouring the works of Shakespeare, Goethe, and Hegel, while Respighi’s relaxation, according to his wife Elsa’s lively memoirs, “consisted of studying a language or reading physics or philosophy.”

But these intellectual pursuits took the two men in very different directions, according to their distinct personalities.

RESPIGHIAN SPLENDOR

Respighi, a decorous Bolognese amid the rough-and-tumble of Roman life, endlessly generous with his composition pupils (whom he continued to take on long after the financial need had passed), tried to live in a world apart from politics,

Beethoven and Respighi

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both governmental and artistic. Early in his career, it seemed he might find his composing niche in interpreting and arranging neglected music of the Renaissance and Baroque eras for a modern audience, and indeed his neoclassical works such as Ancient Airs and Dances and The Birds remain popular today. No one was more surprised than Respighi himself when, amid the wartime deprivations of 1917, his lush tone poem Fountains of Rome suddenly made

Fame brought Respighi some protection from interference from Italy’s facist regime. But it also trained an uncomfortable spotlight on him when political sides were being chosen. him an international star.

Fame brought Respighi a certain measure of protection from interference (or worse) by the fascist regime that eventually came to power in Italy. It also, however, trained an uncomfortable spotlight on him when political sides were being chosen. So while Respighi was attracted to Gabriele D’Annunzio for the latter’s sensual, psychological poetry, not his political views, the composer’s association with the proto-fascist poet-activist earned him the ire of antifascist groups. It didn’t help Respighi’s public image that the dictator Mussolini greeted him and his wife after concerts and impressed them with his knowledge of the composer’s works.

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At the same time, Respighi had no use for the blackshirted thugs who, in 1931, confronted the conductor Toscanini and slapped him in the face for refusing to play a fascist march before a concert in Bologna. (On that scandalous occasion, it was Respighi who negotiated safe passage out of town for the venerable maestro.) And when the composer later accepted membership in the prestigious National Academy, it was on condition of not joining the fascist party. None of this, of course, prevented the regime from promoting Respighi’s scenic compositions as commercials for the imperial glory that was, and they thought would be again, Rome.

BE E THOVE NIAN HE ROIC S

In Beethoven’s time a century earlier, corrupt imperial and royal regimes tottered under pressure from the intellectual currents of the Enlightenment. Beethoven himself imbibed humanistic philosophy from Kant, drama from Shakespeare, and poetry from Goethe. Besides reading the classical Greek philosophers, Enlightenment thinkers turned to Greek mythology to express, in allegory, ideas that otherwise would never get past the imperial censors.

A favorite myth, especially with Beethoven, was that of Prometheus, the titan who founded the human race by stealing fire (read “power”) from the gods (kings and emperors) and giving it to all the people. Franz Welser-Möst is in the midst of studying this myth as a meaningful lens through which to consider Beethoven’s musical output — but there will be more to talk about regarding that . . . next season.

Beethoven and Respighi

The Cleveland Orchestra

Early in his career, Beethoven provided music for a ballet, The Creatures of Prometheus, which told a version of that myth in dance. An unpretentious little contredanse from that score later became the theme of the awe-inspiring variations finale of his Symphony No. 3, the “Eroica” or “Heroic.”

Vast and searching in its content, the “Eroica” was a musical revolution in itself, inspired by the idea — shared by many

Each of Beethoven’s nine symphonies strives toward the “sublime,” to an experience beyond the everyday, which Enlightenment writers substituted for the God of organized religion. besides Beethoven — that Napoleon Bonaparte was the new Prometheus, shattering the old regimes and bringing power to the people. After famously tearing up the title page of his “Bonaparte Symphony” upon hearing that Napoleon himself had taken on imperial airs, Beethoven apparently decided that it was useless to look to others and instead became his own Prometheus, in a solitary stance that matched the isolation caused by his increasing deafness. When Beethoven finally met his idol Goethe in 1812, the latter observed of him: “A more self-contained, energetic, sincere artist I never saw. I can understand very well how singular must be his attitude toward the world.”

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Beethoven’s symphonies, from the high wit of the First to the serene fervor of the world-embracing Ninth, trace this journey from public artist to lone visionary. “Power to the people” is a theme that runs throughout, whether the composer is deeply probing the human condition in the Third and Fifth Symphonies, or, in the rustic Sixth and Eighth, celebrating the lives of folks who don’t probe anything very much.

Each of the nine symphonies, in its own way, strives toward the “sublime,” the experience of something greater than our everyday existence, which Enlightenment writers substituted for the God of organized religion. To Hegel, Schopenhauer, and their successors, the comic was the sublime’s twin, combining with it to form “humor,” an inspired version of which gives Beethoven’s Eighth its irresistible vitality.

According to the later 19th-century philosopher Theodor Lipps, “The mission of humor is to make the sublime appear more lovable, while on the other hand its mission is to seek out the sublime in the concealed, in narrowness and oppression, in the ill-considered and disdained, in every kind of smallness and lowliness. . . . Sublimity in the comic defines the essence of humor.”

Gotthold Ephraim Lessing, a dramatist whose work Beethoven knew well, wrote in his essay Laocoon: “The ridiculous . . . requires a contrast between perfections and imperfections. This is the explanation of my friend, to which I would add that this contrast must not be too sharp and decided, but the opposites must be such as would admit of being blended into each other.” And it is, indeed, impossible to separate the rambunctious spirit from the classical discipline of the Eighth Symphony.

Beethoven and Respighi

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Jewish Federation OF CLEVELAND

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

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

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

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

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

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Symphony No. 8 in F major, Opus 93 composed 1811-12

At a Glance

by

Ludwig van

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

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Beethoven wrote his Eighth Symphony during 1811 and 1812, the largest part of it immediately upon completion of the Seventh Symphony during the summer of 1812. He completed the score in October 1812, while visiting his brother Johann in Linz. Beethoven dedicated the score to Count Moritz Fries. Despite increasing deafness, Beethoven conducted the first performance, at the Vienna Redoutensaal on February 27, 1814. The concert also featured repeat performances of the Seventh Symphony and Wellington’s Victory, both of which had been pre-

miered in December.

This symphony runs about 30 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

The Cleveland Orchestra first performed Beethoven’s Symphony No. 8 during the Orchestra’s fourth season, in November 1921, with music director Nikolai Sokoloff conducting. It has been performed with some frequency since that time, most recently in May 2011 at Severance Hall under the direction of Franz Welser-Möst.

About the Music T H E S M A L L A U S T R I A N C I T Y of Linz plays a role in the his-

tory of the symphony — as a form — well out of proportion to the city’s size.

Anton Bruckner was descended from generations of Linz farmers, and many aspects of the deep feeling for nature within his symphonies springs from there. Wolfgang Mozart, on the other hand, was just passing through town when he composed his “Linz” Symphony in a few days for a concert. Beethoven composed (or at least completed) his Eighth Symphony in Linz in October 1812.

A fresh, vigorous breeze from the hills of Upper Austria seems to blow through all these works. They share a healthy disregard for the ambiguities and neuroses of life in the big city.

This naturalness and ease is remarkable in Beethoven’s case, because he composed both the Eighth and the boisterous Seventh during one of the most emotionally trying periods of his life.

Beethoven’s most impassioned love letter, to the woman he calls only “Immortal Beloved” (recent scholarship suggests this was a married member of his social circle in Vienna, Antonie Brentano), dates from July 6, 1812, when Beethoven was in the resort town of Teplitz, sketching the Eighth Symphony. In the letter, he expresses in the strongest terms his love for her, his yearning for domestic companionship, and his fear of entangling About the Music

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relationships. Beethoven had been turned down by women before, but here apparently was one prepared to endure disgrace for his love, yet he was unable to give it freely. The psychological stress on him — and on her too, of course — must have been intense; he took to his bed, unwell, for part of September.

When it was time to end his summer vacation, he delayed returning to Vienna, going first to Linz, where more emotional upsets awaited him. His brother Nikolaus Johann had moved in with a servant woman without marrying her, and the composer — ironically, considering his own love troubles — spent several weeks trying unsuccessfully to break up this scandalous arrangement. During this time, Beethoven also took walks along the Danube and in the hills, and completed the idyllic Eighth Symphony, which, Each of the Eighth’s moveunder the circumstances, sounds like his escape ments is so steeped in to a happier, more orderly world. Music as a release valve from everyday reality. dance rhythms that the In the opinion of the distinguished pianist whole work leaves an imand musicologist Charles Rosen, “the civilized gaipression like that of the ety of the classical period” made its last stand in suites of Lully and Bach, Beethoven’s Eighth Symphony and late quartets.

“After that,” Rosen writes, “wit was swamped by great Baroque sublimasentiment.” The sharp turn, the pithy remark, the tions of popular dance. practical joke that could be relied on to raise a And in its combination of smile in Haydn’s music were all giving way to these rhythms with a kind the earnestness of the Romantic era. Although Beethoven was as responsible for this trend of fierce, brawling wit, the as anybody, he reserved special affection for Eighth is the most Haydncertain works that we now consider conservaesque of Beethoven symtive (or at least laid-back), such as the F-sharp major Piano Sonata, Opus 78, or the G-major phonies since the First.

Violin Sonata, Opus 96. According to his pupil Carl Czerny, Beethoven considered the Eighth Symphony “much better” than the Seventh, and couldn’t understand why the public showed more enthusiasm for the latter.

Both symphonies inhabit a world that knows no doubt or depression.

Neither has a truly slow movement — only an Allegretto in the Seventh that sounds slow amid its energetic companions. But unlike the dionysian Seventh, the Eighth — with its bucolic F major tonality, the same as the “Pastoral” Symphony No. 6 — balances its urbane wit with the gentle charm and comedy of the village band. Here Beethoven’s music takes a last long look back at the classical Arcadia, from the threshold of a Promethean age.

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About the Music

The Cleveland Orchestra

THE MUSIC

If Beethoven claimed that his “Pastoral” contained “mehr Empfindung als Malerey” [“more expression of feeling than scene-painting”], the Eighth Symphony can make that claim twice over. No thunderstorms or bird calls here — just tunes and a beat, full of the tang of country air and the jabs of country humor. Each of the Eighth’s movements is so steeped in dance rhythms that the whole work leaves an impression like that of the suites of Lully and Bach, great Baroque sublimations of popular dance. And in its combination of these rhythms with a kind of fierce, brawling wit, the Eighth is also the most Haydnesque of Beethoven symphonies since the First.

Rhythm provides the “family resemblance” between the themes of the first movement, which manages to preserve the clear contrasts of sonata form even though all its themes have the same rhythmic shape. The four-note rocking-octave figure that closes the exposition epitomizes that rhythm, propels the development section, and will also play a role in the finale, helping to unify the entire work.

Instead of choosing between a scherzo and a minuet for this symphony, Beethoven in effect includes one of each. The Allegretto scherzando second movement comes first, its Italian-style jauntiness and volatility strongly suggestive of Rossini, who in 1812 had just produced his first big operatic hits — too soon, perhaps, for Beethoven to have fallen (like Schubert in his Sixth Symphony) under the direct influence of Rossinimania.

In its first two bars, the minuet third movement establishes the heavy sawing of village fiddlers as the frame for what is actually a rather sophisticated, sinuous minuet theme. In the movement’s Trio section, despite the outdoorsy sound of horns, clarinet, and rustling cellos, that sophistication comes through still more, with even a touch of Mozartean nostalgia. Thus Beethoven turns the old symphonic formula — in which the minuet’s Trio is the most rustic, unsophisticated moment in the whole symphony — on its head.

The Eighth’s finale fourth movement shares a kind of wild energy with that of the Seventh, but the mood here is less militant, more quirky. There are links to earlier movements — the reiterated “flip” motif in the main theme, identical to that in the Allegretto; and the first movement’s rocking octave, now transformed into a steady drumbeat under much of the music. Both of these figure prominently in the finale’s sonata form, which Beethoven seems to delight in varying and expanding, until this movement threatens to overbalance its three concise companions. But how can we deny Beethoven his rambunctious ending coda, overflowing with fresh ideas, when he shares the pleasure so liberally with us?

—David Wright © 2016 David Wright is a former program annotator for the New York Philharmonic and writes about music for orchestra's and festivals around the world.

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About the Music

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Roman Festivals [Feste Romane] composed 1928

Fountains of Rome [Fontane di Roma] composed 1915-16

Pines of Rome [Pini di Roma] composed 1923-24

About the Music F O R A T L E A S T T H R E E H U N D R E D Y E A R S , Italy was the

by

Ottorino

RESPIGHI born July 9, 1879 Bologna, Italy died April 18, 1936 Rome

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musical center of Europe. It is no accident that most of Mozart’s operas are set to Italian librettos. Yes, Beethoven, and Schubert and Schumann, among others, shifted some attention northward, but it wasn’t really until the later 19th century that the powerful influences of Wagner and Schoenberg, and the Russian composers tipped the musical scales in favor of the Central and Eastern nations of the continent. At which point younger Italian composers learned to use Schoenberg’s twelve-tone method, and their elders trooped off to Bayreuth to hear Wagner’s operas, or to Moscow to learn orchestration from Rimsky-Korsakov.

Ottorino Respighi followed the latter course — literally taking coursework in Russia at the turn of the 19th to the 20th century. Respighi remains best known today as the composer of Romantic orchestral showpieces that take after Tchaikovsky, Rimsky-Korsakov, Richard Strauss, and perhaps most of all Mussorgsky’s Pictures at an Exhibition, with its vivid scenes of daily life and its taste for the grotesque. (This discussion, perhaps, is ignoring the influence of Paris and the French, which flitted in and out, strongly on and off across the decades — but musical life there was also greatly affected by Wagnerian harmonies and new Russian ideas.)

Back home in Rome, Respighi composed his breakthrough tone poem, Fountains of Rome, in 1915-16, soon followed by the first set of Ancient Airs and Dances. He then continued to experiment with other genres, including ballet, song, and the instrumental sonata, but the immense international success of Fountains of Rome pulled him back toward the symphonic poem.

In the next decade, he created two “sequels” — Pines of Rome (1924) and Roman Festivals (1928). All three (Fountains, Pines, and Festivals) are in four sections, modeled after the traditional symphonic sequence of movements, played without breaks.

In Respighi’s conception of each, the contrasting “movements” About the Music

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At a Glance ROMAN FESTIVALS Respighi wrote his symphonic poem Feste Romane [“Roman Festivals”] in 1928.

Its first performance was given on February 29, 1929, by the New York Philharmonic under the direction of Arturo Toscanini at Carnegie Hall.

This work runs about 25 minutes in performance.

Respighi scored it for 3 flutes (third doubling piccolo), 2 oboes, english horn, 3 clarinets (including piccolo clarinet), bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, 3 buccine (Roman trumpets), timpani, percussion (bells, glockenspiel, cymbals, bass drum, field drum, snare drum, horse hooves, ratchet, sleigh bells, tambourine, tamtam, triangle, wood blocks, xylophone), piano, organ, mandolin, and strings.

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become sort of a triptych-plus-one of painted Roman scenes, arranged to comment on one another and suggest the variety and depth of Roman life.

Individually and together, these works demonstrate Respighi’s great skill in orchestration and detailing, in contrast and juxtaposition, and in melodic and rhythmic pleasures. For performers, they represent a tour de force requiring skill and stamina, which are justly rewarded as great entertainment and in greatly inspiring sounds.

Across the three, Respighi utilized differing framings for connecting the movements. In Fountains of Rome, written first, each movement takes place at a different time of day, from morning to nighttime. In Pines of Rome, the traversal is geographic, with a strong sense of the historical past. While in Roman Festivals, the impressionistic touches of the earlier works fall away to full-on scene-painting in music — and the composer freely moves around in both space and time.

RO M A N F E S T I VA L S

Across the decade that Respighi worked on these three Roman “travelogues,” his musical depictions trended away from a gentle impressionism toward something more graphic, reaching a shirt-grabbing conclusion in Roman Festivals in 1928. The composer declared that this work represented his “maximum of orchestral sonority and color.” And with it, he brought to an end not only his Roman triptych but a very prominent sector of his creative activity. (It also concluded any further ambition to compose more lavish portrayals of Rome, no matter how much fame — and money — they had brought him.)

In the eight years left to him before his death, Respighi’s only compositions for orchestra were transcriptions of music by earlier composers, among them the last of his three suites of Ancient Airs and Dances and some arrangements of Bach organ works (for large orchestra, to be sure).

That said, this “ending,” of Roman Festivals, is where Franz Welser-Möst is choosing to begin this weekend’s hour-long performances of these three Roman works, nicely juxtaposing pieces from the years 1928, 1917, and then 1924, in that order.

Sonically, it works — and, besides, Respighi did not really ever suggest any optimal order for combining them as a group.

Whereas in Fountains of Rome, Respighi uses four times of day as chronological reference points, in Roman Festivals he About the Music

The Cleveland Orchestra

ranges across four historical eras from ancient Rome to the city of his own day. In fact, as Elsa Respighi tells it, the last scene was so recognizable to Respighi’s fellow Romans that one of them exclaimed during the first performance (quite correctly, it turned out), “But this is Piazza Navona!”

The preface to the score includes descriptions of the individual sections of the piece, which serve the same function as the wall labels in a museum — they are not the painting, but they serve to orient us in the painting: I. Games at the Circus Maximus. A threatening sky hangs over the Circus Maximus, but it is the people’s holiday: ‘Ave Nero!’ The iron doors are unlocked, the strains of a religious song and the howling of wild beasts mingle in the air. The crowd comes to its feet in frenzy. Unperturbed, the song of the Martyrs gathers strength, conquers and then is drowned in the tumult.

II. The Jubilee. Pilgrims trail down the long road, praying. Finally, from the summit of Monte Mario appears to ardent eyes and gasping spirits the holy city: ‘Rome! Rome!’ A hymn of praise bursts forth, the churches ring out their reply. [This movement is built largely on the 12th-century Eastern hymn ‘Christ ist erstanden,’ ‘Christ is risen.’]

III. October Festival. The October or “Wine Harvest” Festival in the Roman “Castelli” covered with vines; echoes of the hunt, tinkling bells, songs of love. Then in the tender twilight arises a romantic serenade [for mandolin, against the gentlest twilight glow in the orchestra].

IV. Epiphany. The night before Epiphany in the Piazza Navona; a characteristic rhythm of trumpets dominates the frantic clamor; above the swelling noise float, from time to time, rustic motifs, saltarello cadenzas, the strains of a barrel-organ in a booth and the call of a barker, the harsh song and the lively stornello in which is expressed the popular sentiment — “Lassàtese passà, semo Romani!” [“We are Romans, let us pass!”].

The Circus Maximus was a center for public games and sports in Ancient Rome, and survived into later eras (up to today’s ruins) for a variety of outdoor activities.

FO U NTAI N S O F RO M E

Imperial Rome’s system of aqueducts, one of the technological wonders of the ancient world, terminated in hundreds Severance Hall 2016-17

About the Music

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At a Glance FOUNTAINS OF ROME Respighi wrote his symphonic poem Fontane di Roma [“Fountains of Rome”] in 1915-16. It was premiered in Rome on March 11, 1917, at the Teatro Augusteo under the direction of Antonio Guarnieri.

This work runs about 15 minutes in performance.

Respighi scored it for 3 flutes, piccolo, 3 oboes, english horn, 3 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, celesta, piano, optional organ, and strings.

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of public basins where Romans went daily to draw water. It wasn’t long before noble families and imperial authorities set about decorating some of those gathering places with architectural elements and statuary to convey a sense of beauty, power, and abundance. At the empire’s height in 98 A.D., the Roman commissioner Sextus Julius Frontinus counted 39 monumental fountains fed by nine aqueducts.

Beginning in the 15th century and accelerating in the 17th and 18th, a series of popes reconstructed the ruined aqueducts and commissioned spectacular sculptures for their endpoints — culminating in a flourish of massive allegorical scenes (and splashing water) in the florid and expressive Baroque style that, to this day, has made Rome’s fountains collectively the most celebrated in the world.

Musical water pieces, full of drips and ripples, abound in the repertory, from Liszt’s “Les jeux d’eau à la Villa d’Este” to Debussy’s “Reflets dans l’eau.” In Fountains of Rome, Respighi is after nothing so literal as that, but instead approached these monuments with a painter’s eye, in search of (as he noted in a preface to the score) “the sentiments and visions suggested to him by four of Rome’s fountains at the hour in which the character of each is most in harmony with the surrounding landscape, or in which their beauty appears most suggestive to the observer.”

Here, with some added information [in brackets], are the composer’s “museum labels” for Fountains of Rome: I. The Fountain of Valle Giulia at Dawn. The first part of the poem, inspired by the fountain of Valle Giulia, depicts a pastoral landscape: droves of cattle pass and disappear in the fresh, damp mists of a Roman dawn.

II. The Triton Fountain in the Morning. A sudden loud and insistent blast of horns above the trills of the whole orchestra introduces the second part, the Triton Fountain. It is like a joyous call, summoning troops of naiads and tritons, who come running up, pursuing each other and mingling in a frenzied dance between the jets of water.

III. The Trevi Fountain at Midday. Next there appears a solemn theme, borne on the undulations of the orchestra. It is the Fountain of Trevi at mid-day. The solemn theme, passing from the woodwinds to the brass instruments, assumes a triumphal character. Trumpets peal; across the radiant surface of the water there passes Neptune’s chariot, drawn by sea horses and followed by a train of sirens and tritons. The procession then vanishes, while faint About the Music

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Trevi Fountain in Rome, designed in the 17th century

by Italian architect Nicola Salvi and completed by Pietro Bracci and Giuseppe Pannini.

trumpet blasts resound in the distance.

IV. The Fountain of Villa Medici at Sunset. The fourth part, the Villa Medici Fountain, is announced by a sad theme [for solo flute and English horn] which rises above a subdued warbling. It is the nostalgic hour of sunset. The air is full of the sound of tolling bells, birds twittering, leaves rustling. Then all dies peacefully into the silence of the night.

PINES OF ROME

If one hears more than a touch of Hollywood in the intensely visual imagery of Pines of Rome, it’s important to remember that the movie industry was in its infancy during the early 1920s, and that later giants of film music — from Max Steiner and Erich Wolfgang Korngold to John Williams — have acknowledged their debt to Respighi, not the other way around.

The vivid orchestration of Pines of Rome even calls for “6 buccine” — that is, six ancient Roman war horns. (The composer suggests modern flugelhorns as stand-ins for the buccine.) In one charmingly literal touch borrowed from the 1920s avant-garde, Respighi specifies that the nightingale’s song in the third section of Pines of Rome be played not by a flute or some other instrument, but by a gramophone record of a real nightingale (available, for a small additional fee, from his publisher, G. Ricordi).

Pines of Rome was first heard at the Teatro Augusteo in Rome during the 1924-25 season, under the direction of Bernardino Molinari. At the time of its American premiere, performed by Arturo Toscanini with the New York Philharmonic in Carnegie Hall on January 14, 1926, Respighi sent the following observations to Lawrence Gilman, the distinguished critic and author of the Philharmonic proSeverance Hall 2016-17

About the Music

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Parts of the Appian Way road to Rome are still visible and tree-lined — and popular as a walking trail for tourists and Italians.

At a Glance PINES OF ROME Respighi wrote his symphonic poem Pini di Roma [“Pines of Rome”] in 1923-24. It was first performed on December 14, 1924, in Rome, conducted

by Bernardino Molinari.

Pines of Rome runs about 25 minutes in performance. Respighi scored it for 3 flutes (third doubling piccolo), 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, off-stage trumpet, 4 trombones, 6 buccine (Roman trumpets), timpani, percussion (triangle, small cymbals, tambourine, rattle, cymbals, bass drum, tam-tam, bells, celesta), gramophone (for recorded nightingale), harp, piano, organ, and strings.

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gram notes: “While in his preceding work, Fountains of Rome, the composer sought to reproduce by means of tone an impression of Nature, in Pines of Rome he uses Nature as a point of departure, in order to recall memories and vision. The century-old trees, which so characteristically dominate the Roman landscape, become witnesses to the principal events in Roman life.”

In the printed score, the four sections of Pines of Rome are described as follows: I. The Pines of Villa Borghese: Children are at play in the pine grove of Villa Borghese; they dance in a circle, they mimic marching soldiers, and battles; they chirp with excitement like swallows at evening; they run away in a swarm. Suddenly the scene changes . . .

II. Pines Near a Catacomb: . . . and we see the shadows of the pines that crown the entrance of a catacomb. From the depths rises a dolorous chant that spreads solemnly, like a hymn, and then mysteriously dies away.

III. The Pines of the Janiculum: There is a tremor in the air.

The pines of Janiculum Hill are profiled in the full moon. A nightingale sings.

IV. The Pines of the Appian Way: Misty dawn on the Appian Way. Solitary pines stand guard over the tragic landscape.

The faint, unceasing rhythm of numberless footsteps. A vision of ancient glories appears to the poet’s fantasy: trumpets blare and a Roman consular army bursts forth, in the brilliance of the newly risen sun, toward the Sacred Way, mounting step by step by step in triumph to the Capitol.

—David Wright © 2016

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THE CLEVELAN D ORCHESTRA

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.

Giving Societies

Lifetime Giving JOHN L. SEVERANCE SOCIETY $10 MILLION AND MORE

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) 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 September 2016.

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gifts during the past year, as of September 15, 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.

Individual Annual Support

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Leadership Council 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) Musicians of The Cleveland Orchestra (in-kind support for community programs and opportunities to secure new funding) Mr. and Mrs. James A. Haslam III Mrs. Norma Lerner and The Lerner Foundation Milton and Tamar Maltz Sue Miller (Miami) INDIVIDUAL GIFTS OF $100,000 TO $199,999

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. Michael J. Horvitz James D. Ireland IV The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre Elizabeth F. McBride John C. Morley Mr. Patrick Park (Miami) Mary M. Spencer (Miami) Mr. and Mrs. Franz Welser-MĂśst

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:

INDIVIDUAL GIFTS OF $50,000 TO $74,999

Blossom Friends of The Cleveland Orchestra The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler T. K. and Faye A. Heston Giuliana C. and John D. Koch Dr.* and Mrs. Jerome Kowal Jan R. Lewis (Miami) Toby Devan Lewis Mrs. Emma S. Lincoln Virginia M. and Jon A. Lindseth Margaret Fulton-Mueller Roseanne and Gary Oatey (Cleveland, Miami) Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner James and Donna Reid The Ralph and Luci Schey Foundation Sally and Larry Sears Hewitt and Paula Shaw Barbara and David Wolfort (Cleveland, Miami) Women’s Committee of The Cleveland Orchestra

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

George Szell Society

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

gifts of $50,000 and more INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. William P. Blair III David and Francie Horvitz Family Foundation (Miami) Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern Ms. Nancy W. McCann Ms. Beth E. Mooney The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Barbara S. Robinson (Cleveland, Miami) Janet* and Richard Yulman (Miami) Anonymous

Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. David J. Carpenter Robert and Jean* Conrad George* and Becky Dunn Mr. and Mrs. Geoffrey Gund Mrs. John A. Hadden, Jr. Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable Foundation Julia and Larry Pollock Rachel R. Schneider Richard and Nancy Sneed Jim and Myrna Spira R. Thomas and Meg Harris Stanton Ms. Ginger Warner (Cleveland, Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Paul and Suzanne Westlake listings continue

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Individual Annual Support

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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $25,000 TO $29,999

Mr. and Mrs. William W. Baker Marsha and Brian Bilzin (Miami) Mr. and Mrs. Charles P. Bolton In dedication to Donald Carlin (Miami) 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. James A. Saks Marc and Rennie Saltzberg Mr. Larry J. Santon Anonymous (2)

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

Gay Cull Addicott Randall and Virginia Barbato Laurel Blossom Mr. Yuval Brisker Jill and Paul Clark Mr. and Mrs. Matthew V. Crawford Mary Jo Eaton (Miami) Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami) Jeffrey and Susan Feldman (Miami) Hector D. Fortun (Miami) Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Cherie and Michael Joblove (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 William I.* and Marjorie B. Shorrock Mr. and Mrs. Donald Stelling (Europe) Mrs. Jean H. Taber Rick, Margarita, and Steven Tonkinson (Miami) Tom and Shirley Waltermire Anonymous INDIVIDUAL GIFTS OF $15,000 TO $19,999

William Appert and Christopher Wallace (Miami) Mr. and Mrs. Dean Barry Dr. Christopher P. Brandt and Dr. Beth Sersig

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

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.

Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Mr. and Mrs. William E. Conway Mrs. Barbara Cook Dr. and Mrs. Robert Ehrlich (Europe) Mr. Allen H. Ford Ms. Dawn M. Full Richard and Ann Gridley Robert K. Gudbranson and Joon-Li Kim Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest Richard and Erica Horvitz (Cleveland, Miami) 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 Drs. Michael and Judith Samuels (Miami) Mrs. David Seidenfeld Mr. and Mrs. Oliver E. Seikel Howard Stark M.D. and Rene Rodriguez (Miami) Joe and Marlene Toot Mr. and Mrs. Alfred Umdasch (Europe) Mr. and Mrs. Daniel P. Walsh Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Jeffrey J. Weaver Meredith and Michael Weil Mr. and Mrs. Jeffrey M. Weiss Florence and Robert Werner (Miami)

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

Mrs. Barbara Ann Davis Eeva and Harri Kulovaara (Miami) James and Virginia Meil Joseph and Gail Serota (Miami) Gary L. Wasserman and Charles A. Kashner (Miami) Margaret and Eric* Wayne Sandy and Ted Wiese listings continue

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Individual Annual Support

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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $10,000 TO $12,499

Sheldon and Florence Anderson (Miami) Mr. and Mrs. George N. Aronoff Jayusia and Alan Bernstein (Miami) Mr. and Mrs. Richard L. Bowen Mr. D. McGregor Brandt, Jr. Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler Ms. Lucy Chamberlain Richard J. and Joanne Clark Jim and Karen Dakin Do Unto Others Trust (Miami) Henry and Mary* Doll Nancy and Richard Dotson Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Isaac K. Fisher (Miami) Kira and Neil Flanzraich (Miami) Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie Linda and Lawrence D. Goodman (Miami) Patti Gordon (Miami) Mary Jane Hartwell

Thomas H. and Virginia J. Horner Fund Joan and Leonard Horvitz Ruth and Pedro Jimenez (Miami) Andrew and Katherine Kartalis Alan Kluger and Amy Dean (Miami) Mrs. Elizabeth R. Koch Stewart and Donna Kohl Shirley and William Lehman (Miami) Dr. David and Janice Leshner Elsie and Byron Lutman Mr. and Mrs. Alex Machaskee Mr.* and Mrs. Arch J. McCartney 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. Andres Rivero (Miami) Audra* and George Rose Paul A. and Anastacia L. Rose Mr. Peter Rose Steven and Ellen Ross

Mr. and Mrs. David A. Ruckman Michael and Chandra Rudd (Miami) Dr. Isobel Rutherford Dr. and Mrs.* Martin I. Saltzman Raymond T. and Katherine S. Sawyer Carol* and Albert Schupp Seven Five Fund David* and Harriet Simon Mrs. Gretchen D. Smith Dr. Marvin* and Mimi Sobel The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Bruce and Virginia Taylor Dr. Russell A. Trusso Robert C. Weppler Sandy Wile and Susan Namen Anonymous (3)

Elisabeth Hugh Mr. David and Mrs. Dianne Hunt Mr. and Mrs. Brinton L. Hyde Pamela and Scott Isquick Joela Jones and Richard Weiss James and Gay* Kitson Tim and Linda Koelz Mr. James Krohngold David C. Lamb Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Claudia Metz and Thomas Woodworth Mr. Donald W. Morrison Georgia and Carlos Noble (Miami) Pannonius Foundation Nan and Bob Pfeifer

Douglas and Noreen Powers Dr. and Mrs. Michael Rosenberg (Miami) Dr. and Mrs. Ronald J. Ross Rosskamm Family Trust Mrs. Florence Brewster Rutter Patricia J. Sawvel Dr. and Mrs. James L. Sechler Drs. Daniel and Ximena Sessler Dr. Gregory Videtic Dr. and Mr. Ann Williams Anonymous (2)

Jaime A. Bianchi and Paige A. Harper (Miami) 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 Drs. Wuu-Shung and Amy Chuang Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura Maureen and George Collins (Miami)

Corinne L. Dodero Foundation for the Arts and Sciences Mr. and Mrs. Ralph Daugstrup Pete and Margaret Dobbins Mr. and Mrs. Paul Doman Mr. and Mrs. Robert P. Duvin Mary and Oliver* Emerson William R. and Karen W. Feth Joseph Z. and Betty Fleming (Miami) Barbara and Peter Galvin Joy E. Garapic Dr. and Mrs. Adi Gazdar Joyce and Ab* Glickman Brenda and David Goldberg

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 Marjorie Dickard Comella Mrs. Lois Joan Davis Mr. and Mrs. Thomas S. Davis Bob and Linnet Fritz Dr. Edward S. Godleski Harry and Joyce Graham Mr. Paul Greig AndrĂŠ and Ginette Gremillet Iris and Tom Harvie Henry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman INDIVIDUAL GIFTS OF $5,000 TO $7,499

Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App Mr. and Mrs. Robert H. Baker Montserrat Balseiro (Miami) Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Daniel and Trish Bell (Miami) Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Mr. William Berger Dr. and Mrs. Erol Beytas Mr. David Bialosky and Ms. Carolyn Christian

listings continue

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Individual Annual Support

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

Mr. David J. Golden Mr. Albert C. Goldsmith Mr. and Mrs. Randall J. Gordon Robert N. and Nicki N. Gudbranson David and Robin Gunning Alfredo and Luz Gutierrez (Miami) Gary Hanson and Barbara Klante Mr. Robert D. Hart 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 Donna L. and Robert H. Jackson Carol S. and William G. E. Jacobs Mr. and Mrs. Richard A. Janus David and Gloria Kahan Milton and Donna* Katz Dr. Richard and Roberta Katzman Dr. and Mrs. Richard S. Kaufman Mr. and Mrs. Michael T. Kestner Dr. and Mrs. William S. Kiser Mrs. Natalie D. Kittredge Mr. and Mrs.* S. Lee Kohrman Mr. Clayton R. Koppes Jacqueline and Irwin* Kott (Miami) Mr. and Mrs. Peter A. Kuhn Dr. and Mrs. Stephen A. Kushnick Mr. and Mrs. Arthur J. Lafave, Jr. 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 Ms. Grace Lim

Mr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Mr. and Mrs. Morton L. Mandel Mr. David Mann Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel Dr. and Mrs. Eberhard Meinecke Dr. Susan M. Merzweiler Ms. Betteann Meyerson Mr. Robert Miller 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 Mr. J. William and Dr. Suzanne Palmer Jay Pelham (Miami) Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Dr. and Mrs. John N. Posch Ms. Rosella Puskas Mr.* and Mrs. Thomas A. Quintrell Mr. and Mrs. Roger F. Rankin Mr. and Mrs. Robert J. Reid Amy and Ken Rogat Robert and Margo Roth Mr. and Mrs. Robert C. Ruhl David M. and Betty Schneider Linda B. Schneider Ms. Adrian L. Scott Lee and Jane Seidman Mr. Eric Sellen and Mr. Ron Seidman Ms. Marlene Sharak Vivian L. Sharp Naomi G. and Edwin Z. Singer Family Fund

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 Mr. Joseph Stroud Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Robert and Carol Taller Kathy* and Sidney Taurel (Miami) Mr. Joseph F. Tetlak Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Miss Kathleen Turner Robert and Marti Vagi Robert A. Valente and Joan A. Morgensten Teresa Galang-Viñas and Joaquin Viñas (Miami) Mr. and Mrs. Mark Allen Weigand Charles and Lucy Weller Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Nancy V. and Robert L. Wilcox Bob and Kat Wollyung Katie and Donald Woodcock Tony and Diane Wynshaw-Boris Mrs. Henrietta de Zabner (Miami) Anonymous (2)

David Hollander (Miami) Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. Inkley Mrs. Carol Lee and Mr. James Iott Robert and Linda Jenkins Richard and Michelle Jeschelnig Barbara and Michael J. Kaplan Dr. Gilles* and Mrs. Malvina Klopman Mr. Donald N. Krosin Charles and Josephine Robson Leamy Ronald and Barbara Leirvik Dr. Edith Lerner Mrs. Idarose S. Luntz Herbert L. and Ronda Marcus Martin and Lois Marcus Ms. Nancy L. Meacham Bert and Marjorie Moyar Susan B. Murphy Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Mr. and Mrs. Peter R. Osenar Dr. Lewis and Janice B. Patterson Dr. and Mrs. Gosta Pettersson Maribel A. Piza (Miami) Dr. Marc A. and Mrs. Carol Pohl

Mrs. Charles Ritchie Carol Rolf and Steven Adler Mr. Paul H. Scarbrough Ginger and Larry Shane Harry and Ilene Shapiro Mr. Richard Shirey Mr. Robert Sieck Howard and Beth Simon Angela and Jeffrey Gotthardt Mr. Karl and Mrs. Carol Theil Drs. Anna* and Gilbert True Mr. and Mrs. Les C. Vinney Mr. and Mrs. Norman L. Wernet Richard Wiedemer, Jr. Max and Beverly Zupon Anonymous (2)

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

Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. and Mrs. Robert J. Amsdell Agnes Armstrong Howard R. and Barbara Kaye Besser Lisa and Ronald Boyko Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert Mr. and Mrs. Frank H. Carpenter Drs. Mark Cohen and Miriam Vishny Erich Eichhorn and Ursel Dougherty 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 Nancy and James Grunzweig In Memory of Hazel Helgesen Mr. and Mrs. Jerry Herschman Dr. Fred A. Heupler Mr. Robert T. Hexter

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94

Individual Annual Support

The Cleveland Orchestra

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THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $2,500 TO $3,499 Mr. and Mrs.* Norman Adler Mr. and Mrs. James B. Aronoff Art of Beauty Company, Inc. Mark and Maria Bagnall (Miami) Ms. Delphine Barrett Mr. and Mrs. Belkin Mr. Roger G. Berk Barbara and Sheldon Berns Margo and Tom Bertin John and Laura Bertsch Ms. Deborah A. Blades Bill* and Zeda Blau Doug and Barbara Bletcher Mr. and Mrs. Richard H. Bole Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Rev. Joan Campbell Mrs. Millie L. Carlson Leigh Carter Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm Michael and Lorena Clark (Miami) Dr. William and Dottie Clark Drs. John and Mary Clough Kenneth S. and Deborah G. Cohen Mr.* and Mrs. Gerald A. Conway Mr. and Mrs. Mark Corrado John and Lianne Cunningham (Miami) Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller The Dascal Family (Miami) Mr. Kamal-Neil Dass and Mrs. Teresa Larsen Dr. Eleanor Davidson Jeffrey and Eileen Davis Carol Dennison and Jacques Girouard Dr. and Mrs. Howard Dickey-White 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. Harry and Ann Farmer Scott A. Foerster Joan Alice Ford Mr. Paul C. Forsgren Michael Frank and Patricia A. Snyder Mr. and Ms. Dale Freygang 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. Lawrence Haims* and Dr. Barbara Brothers Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Christian and Holly Hansen (Miami) Elaine Harris Green Lilli and Seth Harris Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes Dr. and Mrs. Robert L. Hinnes Dr. Randal N. Huff and Ms. Paulette Beech Ms. Gretchen Hyland Ruth F. Ihde Mr. Norman E. Jackson Pamela Jacobson Mr. Bruce D. Jarosz Dr. Michael and Mrs. Deborah Joyce Rudolf D. and Joan T. Kamper Angela Kelsey and Michael Zealy (Miami)

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The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Mr. James Kish Fred* and Judith Klotzman Marion Konstantynovich Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Vicki Kennedy Dr. Michael E. Lamm Mr. and Mrs. John J. Lane, Jr. Mr. and Mrs. Robert Lasser Michael Lederman Michael and Lois A. Lemr Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Drs. Todd and Susan Locke Ms. Mary Beth Loud Joel and Mary Ann Makee 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 Mr. and Mrs. Thomas W. Morris Mr. Ronald Morrow III Randy and Christine Myeroff Steven and Kimberly Myers Deborah L. Neale Marshall I. Nurenberg and Joanne Klein Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan Dr. and Mrs. Paul T. Omelsky James P. Ostryniec (Miami) Mr. Robert Paddock Dr. Dean and Mrs. Kathy Pahr Mr. John D. Papp George Parras Mr. Thomas and Mrs. Tommie Patton Mr. Matt Peart Henry Peyrebrune and Tracy Rowell Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Mr. Carl Podwoski Mr. Robert and Mrs. Susan Price Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. James and Lynne Rambasek Brian and Patricia Ratner Ms. C. A. Reagan Dr. Robert W. Reynolds David and Gloria Richards James and LaTeshia Robinson (Miami) Mr. Timothy D. Robson Ms. Linda M. Rocchi Dr. Robert and Mrs. Lauryn Ronis Dick A. and Debbie Rose 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 Fr. Robert J. Sanson Ms. Patricia E. Say Don Schmitt and Jim Harmon Mr. James Schutte

Individual Annual Support

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 Larry Oscar and Jeanne Shatten Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Grover Short Laura and Alvin A. Siegal The Shari Bierman Singer Family Robert and Barbara Slanina Sandra and Richey Smith Mr. Roy Smith Ms. Barbara Snyder Jorge Solano (Miami) Lucy and Dan Sondles Michalis and Alejandra Stavrinides (Miami) Mr. Taras G. Szmagala, Jr. Dr. and Mrs. Thomas A. Timko Erik Trimble Steve and Christa Turnbull Mrs. H. Lansing Vail, Jr. Brenton Ver Ploeg (Miami) Suzanne and Carlos Viana (Miami) Dr. Michael Vogelbaum and Mrs. Judith Rosman Barbara and George von Mehren Mr. and Mrs. Reid Wagstaff Alice & Leslie T. Webster, Jr. Mr. Peter and Mrs. Laurie Weinberger Mr. and Mrs. John W. Wilhelm Dr. Paul R. and Catherine Williams Richard and Mary Lynn Wills Elizabeth B. Wright Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (9)

member of the Leadership Council (see information box earlier in this section)

* deceased

THE

CLEVELAND ORCHESTRA

The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Leadership Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestraâ&#x20AC;&#x2122;s Annual Report, which can be viewed online at CLEVELANDORCHESTRA .COM

The Cleveland Orchestra

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

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

clevelandorchestra.com

SEVERANCE HALL

AUTUMN SEASON

THE

CLEVELAND ORCHE STRA

16 17 2016-17

S E A S O N

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The Cleveland Orchestra

THE CLEVELAN D ORCHESTRA

The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestraâ&#x20AC;&#x2122;s Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

Annual Support

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

$5 MILLION AND MORE

KeyBank PNC Bank $1 MILLION TO $5 MILLION

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

Listing as of September 2016.

gifts of $2,500 or more during the past year, as of September 15, 2016

PARTNERS IN EXCELLENCE $300,000 AND MORE

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

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

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

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

Severance Hall 2016-17

Corporate Annual Support

$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co. LLC Calfee, Halter & Griswold LLP The Cedarwood Companies Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Counselling Services Consolidated Solutions Cozen Oâ&#x20AC;&#x2122;Connor (Miami) Dominion Foundation Ernst & Young LLP Evarts Tremaine The Ewart-Ohlson Machine Company Ferro Corporation FirstMerit Bank Frantz Ward LLP Arthur J. Gallagher & Co. The Giant Eagle Foundation Great Lakes Brewing Company Gross Builders Hahn Loeser & Parks LLP The Lincoln Electric Foundation Littler Mendelson, P.C. Live Publishing Company Macyâ&#x20AC;&#x2122;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 OMNOVA Solutions Oswald Companies Park-Ohio Holdings Corp.

PolyOne Corporation RSM US, LLP The Sherwin-Williams Company Southern Wine and Spirits (Miami) Stern Advertising Agency Struktol Company of America Swagelok Company Tucker Ellis United Automobile Insurance (Miami) University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) Westlake Reed Leskosky Margaret W. Wong & Assoc. Co., LLC Anonymous (2)

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The Cleveland Orchestra

THE CLEVELAN D ORCHESTRA

The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestraâ&#x20AC;&#x2122;s Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

Annual Support

$1 MILLION AND MORE

$20,000 TO $49,999

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

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

$10 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Kulas Foundation Maltz Family Foundation State of Ohio Ohio Arts Council The Kelvin and Eleanor Smith Foundation $5 MILLION TO $10 MILLION

The George Gund Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon Foundation John P. Murphy Foundation $1 MILLION TO $5 MILLION

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 Sisler McFawn Foundation The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support.

Listing as of September 2016.

Severance Hall 2016-17

gifts of $2,500 or more during the past year, as of September 15, 2016

$500,000 TO $999,999

The George Gund Foundation Ohio Arts Council $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

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

Paul M. Angell Family Foundation The George W. Codrington Charitable Foundation Florida Division of Cultural Affairs (Miami) 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

$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 The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs The Hankins 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. Oâ&#x20AC;&#x2122;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

101

11001 Euclid Avenue Cleveland, Ohio 44106

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

CLEVELANDORCHESTRA.COM

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

HAILED AS ONE OF

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

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

Severance Hall

The Cleveland Orchestra

Ben and Martha Lavin

Dr. Arthur Lavin Subscriber and Annual Fund donor

SHARING MUSIC WITH FAMILY AND FRIENDS . . .

“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.

clevelandorchestra.com/AnnualFund

A Place to Be Remembered . . .

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

Campaign supporters are eligible for special and unique recogni on.

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

THE

CLEVELAND ORCHESTRA

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

clevelandorchestra.com/100campaign

11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

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

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

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

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

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

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

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

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

Severance Hall 2016-17

Guest Information

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

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

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

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

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

Suburban round-trip bus transportation is 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.

105

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

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

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

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

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online.

As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can make arrangement by calling the House Manager in advance at 216-231-7425.

Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performances. If you need assistance, please

106

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

Service animals are welcome at Severance Hall.

Please notify the Ticket Office as you buy tickets.

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

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

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

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

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

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

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

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

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

Guest Information

The Cleveland Orchestra

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 oac.ohio.gov/identity.

30 EAST BROAD STREET, 33RD FLOOR, COLUMBUS, OHIO 43215-3414 | 614-466-2613 OAC.OHIO.GOV | @OHIOARTSCOUNCIL| #ARTSOHIO

THE CLEVELAND C O N C E R T

C A L E N D A R

AUTUMN SEASON Sibelius Second Symphony Sep 29 â&#x20AC;&#x201D; Thursday at 7:30 p.m.

Sep 30 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor Paul Jacobs, organ

IVES Symphony No. 3: The Camp Meeting COPLAND Organ Symphony SIBELIUS Symphony No. 2

Respighiâ&#x20AC;&#x2122;s Roman Triptych Oct 6 â&#x20AC;&#x201D; Thursday at 7:30 p.m.

Oct 7 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s Oct 8 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

Oct 9 â&#x20AC;&#x201D; Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor

BEETHOVEN Symphony No. 8 RESPIGHI Roman Festivas, Fountains of Rome, Pines of Rome Sponsor: Thompson Hine

Daphnis and ChloĂŠ Oct 14 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s Oct 15 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

Oct 16 â&#x20AC;&#x201D; Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Alain Altinoglu, conductor Baiba Skride, violin

MUSSORGSKY Dawn on the Moscow River SHOSTAKOVICH Violin Concerto No. 2 DUTILLEUX MĂŠtaboles RAVEL Daphnis and ChloĂŠ Suite No. 2 Sponsor: BakerHostetler

Yuja Wang Plays BartĂłk Oct 20 â&#x20AC;&#x201D; Thursday at 7:30 p.m.

Oct 21 â&#x20AC;&#x201D; Friday at 11:00 a.m. <18s Oct 21 â&#x20AC;&#x201D; Friday at 7:00 p.m. <18s Oct 22 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA -DNXE +UŢäD, conductor Yuja Wang, piano *

BARTĂ&#x201C;K Piano Concerto No. 1 * BRAHMS Symphony No. 4 * not part of Friday morning concert Fridays@7 Sponsor: KeyBank

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ROTARY INTERNATION FOUNDATION CENTENNIAL

Oct 23 â&#x20AC;&#x201D; Tuesday at 3:00 p.m.

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor A special concert celebration open to the public and Rotarians from around the world â&#x20AC;&#x201D; commemorating the 100th anniversary of the creation of The Rotary Foundation, which was the brainchild of Cleveland businessman Arch C. .OXPSK D SUDFWLFHG Ă XWH SOD\HU DQG PXVLF ORYHU 7KLV PDW inee concert features musical works by Debussy, Beethoven, Liszt, and John Williams, plus video segments highlighting the history of Rotary and its humanitarian efforts.

Presented by Rotary International, Cleveland District AT THE MOVIES

Oct 25 â&#x20AC;&#x201D; Tuesday at 7:30 p.m.

Movie: Nosferatu Todd Wilson, organ

7KH SHUIHFW +DOORZHHQ WUHDW Âł D VLOHQW Ă&#x20AC;OP DFFRPSDQLHG by an improvised score on Severance Hallâ&#x20AC;&#x2122;s mighty Norton Memorial Organ played by acclaimed organist Todd Wilson.

An expressionistic masterpiece starring Max Schreck as the vampire. Itâ&#x20AC;&#x2122;ll scare the musical life out of you!

Sponsor: PNC Bank

Romeo and Juliet Oct 27 â&#x20AC;&#x201D; Thursday at 7:30 p.m.

Oct 28 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s Oct 29 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA StÊphane Denève, conductor James Ehnes, violin

PROKOFIEV Love for Three Oranges Suite PROKOFIEV Violin Concerto No. 1 PROKOFIEV Suite from Romeo and Juliet PNC MUSICAL RAINBOWS

Oct 28 â&#x20AC;&#x201D; Friday at 10:00 a.m. <18s Oct 29 â&#x20AC;&#x201D; Saturday at 11:00 a.m. <18s

The Fantastic Flute with George Pope, Ă XWH

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

Sponsor: PNC Bank

Under 18s Free FOR FAMILIES

<18s

The Cleveland Orchestra is committed to developing the youngest audience of any orchestra. Our "Under 18s Free" program offers free tickets for young people attending with families (one per full-price paid adult for concerts marked with the symbol above).

Concert Calendar

The Cleveland Orchestra

ORCHESTRA AMERICAN GREETINGS FAMILY CONCERT

Oct 30 — Sunday at 3:00 p.m.

16 17 2016-17

F O R

T H E

S E A S O N

H O L I DAYS

<18s

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor Look! Up in the Sky! It’s a Bird! It’s a Plane! No, it’s Super PDQ DW WKH 6\PSKRQ\ &HOHEUDWLQJ WKH ÀUVW FRPLF ERRN superhero (created right here in Cleveland), with music from the movies and more! Including a Costume Contest.

Sponsor: Ameican Greetings

'XUXÁp 5HTXLHP Nov 17 — Thursday at 7:30 p.m. <18s Nov 19 — Saturday at 8:00 p.m.

Nov 20 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Matthew Halls, conductor Sasha Cooke, mezzo-soprano Cleveland Orchestra Chorus

HAYDN Te Deum for the Empress Maria Therese SCHUBERT Symphony No. 4 (“Tragic”) DURUFLÉ Requiem

AT P L AY H O U S E S Q U A R E

Sponsor: Squire Patton Boggs (US) LLP

Wed Nov 30 at 7 p.m.

Thurs Dec 1 at 7 p.m.

Fri Dec 2 at 11 a.m. and 7 p.m.

Sat Dec 3 at 2 p.m. and 7 p.m.

Sun Dec 4 at 2 p.m.

CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Nov 18 — Friday at 8:00 p.m.

<18s

CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor

BRIGGS Fountain of Youth BRUCKNER Symphony No. 4 A free Prelude Concert begins at 7:00 p.m. featuring members of the Youth Orchestra performing chamber music.

%HHWKRYHQ·V )DWHIXO )LIWK 6\PSKRQ\ Nov 25 — Friday at 8:00 p.m. <18s Nov 26 — Saturday at 8:00 p.m.

Nov 27 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Jaap van Zweden, conductor Daniil Trifonov, piano

BRITTEN SInfonia da Requiem MOZART Piano Concerto No. 23 BEETHOVEN Symphony No. 5 Sponsor: Squire Patton Boggs

*HRUJH %DODQFKLQH·V

The Nutcracker

TM

PENNSYLVANIA BALLET Angel Corella, artistic director THE CLEVELAND ORCHESTRA conducted by Brett Mitchell Cleveland Orchestra Children’s Chorus

A holiday must-see full of magic and marvels, featuring Tchaikovsky’s beloved music score and featuring Pennsylvania Ballet in George Balanchine’s legendary production — with larger-than-life scenery, breathtaking dancing, and . . . plenty of seasonal magic!

TICKETS: 216-241-6000

Sponsored by Dollar Bank

CLEVELAND ORCHESTRA TICKETS PHONE

216-231-1111 800-686-1141

clevelandorchestra.com Severance Hall 2016-17

Concert Calendar

109

If I could express the same thing with words as with music, I would, of course, use a verbal expression. Music is something autonomous and much richer. Music begins where the possibilities of language end. That is why I write music. â&#x20AC;&#x201D;Jean Sibelius

110

Upcoming Concerts

The Cleveland Orchestra