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AUTUMN SEASON

SEVERANCE HALL

THE

CLEVELAND ORCHE STRA

16 17 2016-17

FRANZ WELSER-MÖST

Concert: October 27, 28, 29 PROKOFIEV: ROMEO & JULIET — page 31 PERSPECTIVES from the Executive Director — page 7 MUSIC & POLITICS — page 8 ORCHESTRA NEWS — page 54

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

WEEK Upfront

ORCHESTRA

5 PAGE

THE

From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Music & Politics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 13 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 17 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . 84-85 WEEK

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ROMEO & JULIET Program: October 27, 28, 29 . . . . . . . . . . . . . . . . . 31 Concert Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 PROKOFIEV

Suite from The Love for Three Oranges . . . . . . . . 35 PROKOFIEV

Violin Concerto No. 1 . . . . . . . . . . . . . . . . . . . . . . . 39 PROKOFIEV

Suite from Romeo & Juliet . . . . . . . . . . . . . . . . . . . 45 Conductor: Stéphane Denève . . . . . . . . . . . . . . . . . 50 Soloist: James Ehnes . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Visualizing Romeo & Juliet . . . . . . . . . . . . . . . . . . . . 52 NEWS

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

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

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

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

Cleveland Orchestra News . . . . . . 54-63

Support

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

Sound for the Centennial . . . . . . . . . . . . . . . . . . . 14-15 Annual Support Individual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Corporate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Foundation and Government . . . . . . . . . . . . . . . . 77

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

Table of Contents

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 a news page 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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&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 O F F I C E R S A ND E XEC UT I VE C O MMIT T E E Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President Jeanette Grasselli Brown Matthew V. Crawford Alexander M. Cutler David J. Hooker Michael J. Horvitz

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

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

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

R E S I D E NT TR U S TE ES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton 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)

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

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

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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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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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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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

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Music Director

The Cleveland Orchestra


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T H E

C L E V E L A N D

FRANZ WELSER-MÖST MUSIC

DIRECTOR Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

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 Jiah Chung Chapdelaine 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


SEVERANCE HALL

AUTUMN SEASON

THE

CLEVELAND ORCHE STRA

16 17 2016-17

S E A S O N

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PERSPECTIVES from the Executive Director — page 7

DISTINGUISHED SERVICE AWARD — page 8 MUSIC & POLITICS — page 10

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

November 17, 19, 20 “Angst and Alleluia” (Musical works by Haydn, Schubert, Duruflé) with guest speaker Dana Plank, musicology doctoral candidate, Ohio State University School of Music

November 25, 26, 27 “The Legacy of Beethoven’s Fifth” (Musical works by Britten, Mozart, Beethoven)

Concert Previews

with guest speaker David J. Rothenberg, chair, department of music, Case Western Reserve University

29


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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 27, 2016, at 7:30 p.m. Friday evening, October 28, 2016, at 8:00 p.m. Saturday evening, October 29, 2016, at 8:00 p.m.

Stéphane Denève, conductor

16 17 2016-17

S E A S O N

SERGEI PROKOFIEV (1891-1953)

Suite from the opera The Love for Three Oranges Ridiculous People — The Magician and Witch Play Cards (Infernal Scene) — March — Scherzo — The Prince and the Princess — The Escape

Violin Concerto No. 1 in D major, Opus 19 1. Andantino 2. Scherzo: Vivacissimo 3. Moderato JAMES EHNES, violin

INTER MISSION

Suite from the ballet Romeo and Juliet Introduction: The Montagues and the Capulets — Minuet — Juliet, the Young Girl — Masks — The Montagues and the Capulets — Romeo and Juliet — Friar Lawrence — Death of Tybalt — Romeo at Juliet’s Grave — Death of Juliet

Stéphane Denève’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mr. and Mrs. James P. Storer. James Ehnes’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from the late Dr. Frank Hovorka in honor of Dorothy Humel Hovorka. The concert will end on Thursday evening at about 9:15 p.m. and on Friday and Saturday at approximately 9:45 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 5

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October 27, 28, 29

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

2016-17

Severance Restaurant Reservations for pre-concert dining suggested:

S E A S O N

216-231-7373 or via opentable.com

Concert Preview

PREVIEW

in Reinberger Chamber Hall

“Taming Russia’s Naughty Boy”

BEGINS ONE HOUR BEFORE CONCERT

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

16 17

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

PROKOFIEV

Suite from The Love for Three Oranges . . . . Page 35 (15 minutes)

PROKOFIEV

Violin Concerto No. 1 . . . . . . . . . . . . . . . . . . . . Page 39 (25 minutes)

INTERMISSION (20 minutes)

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

PROKOFIEV

Suite from Romeo and Juliet . . . . . . . . . . . . . . Page 45 (40 minutes)

Concert ends: (approx.)

TH 9:15 FRI 9:45 SAT 9:45

Severance Restaurant Post-Concert Desserts and Drinks

Share your memories of the performance and join the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch

32

This Week's Concerts

The Cleveland Orchestra


INTRODUCING THE CONCERT

Three Oranges, Variety & Death Onstage T H E R E I S A L W AY S some danger in presenting a concert of music

by only one composer. Is there enough variety? Sufficient contrast? Excitement aplenty? Juxtaposed with repose and plangent quietude? Beethoven or Mozart offer extraordinary range and popularity. Stravinsky? Wide diversity across changing styles. Tchaikovsky, too, offers “variety,” in a pinch. But . . . try Brahms, and his heartfelt music feels (sounds? no, it really is the feeling) at times a bit too similar — “of a piece” even with more than one involved. How about Prokofiev? No problem. Absolutely, as this weekend’s concerts will well attest. This composer’s music is always his own, yet with fascinating differences — of character, of passion, of modernism (or not), of melody and percussiveness. Varying subjects? Indeed. Especially across the films and ballets and operas. And, okay, throw in a concerto, too. Three oranges. Romeo and Juliet. A violin solo that no one seemed to want. Evocative, emotional, entertaining. Guest conductor Stéphane Denève has chosen a well-balanced trio of works by this Russian-Soviet com“The Kiss” — poser. Opening with the absurd antics of an opera built on a chila Romantic painting dren’s fantastical story — three oranges containing love (or is this by Francesco Hayez, from 1859. merely a metaphor, sweet and juicy?). Guest violinist James Ehnes then proves that Prokofiev’s First Violin Concerto was unfairly ignored by its first intended soloists. Indeed, this is music of great potential — startling, rhythmic, daring, and a heart’s beat away from . . . thrills . . . or tragedy. The real tragedy comes last, in the sheer beauty of excerpts from Prokofiev’s masterful score for the ballet Romeo and Juliet. Let’s forget that the original ballet companies couldn’t imagine these lovers dancing at their deaths. Within Prokofiev’s score is . . . love, passion, beauty, conflict, friendship, family, youth, tragedy, heartache, immortality, and greatness. —Eric Sellen Severance Hall 2016-17

Introducing the Concerts

33


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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.


Suite from The Love for Three Oranges arranged 1921-22, from the opera composed 1919

At a Glance

by

Sergei

PROKOFIEV born April 23, 1891 Sontsovka, Ukraine died March 5, 1953 Moscow

Prokofiev composed his opera The Love for Three Oranges (“Lyubov k tryom apelsinam” in Russian) in 1918-19. The Chicago Opera accepted the work’s commission and gave the world premiere on December 30, 1921. With Prokofiev himself conducting, the opera was sung in French and presented as “L’amour des trois oranges.” In 1923, the composer derived a six-movement concert suite from the opera’s music; the suite was premiered on November 29, 1925, in Paris. The suite being heard this weekend runs about 15 minutes in performance. Prokofiev scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 3 bassoons

(third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (tubular bells, xylophone, cymbals, tam-tam, triangle, bass drum, side drum, tambourine), 2 harps, and strings. The Lake Erie Opera Theater presented Prokofiev’s opera The Love for Three Oranges in September 1965, with members of The Cleveland Orchestra under the direction of Michael Charry, at Severance Hall. Movements from the orchestral suite have been performed on several occasions over the years, most recently when Jahja Ling conducted the suite at Blossom in July 2005.

About the Music P R O K O F I E V ’ S F I R S T O P E R A , Maddalena, was a one-act

melodrama on the model of Strauss’s Elektra. His second, The Gambler, was a strongly modernist version of a story by the Russian author Fyodor Dostoyevsky. Neither of these were performed, the latter because it was ready for production just as the 1917 Revolution began to break out in the streets of Petrograd. Before Prokofiev left Russia, in the spring of 1918, he was given a libretto by the great theater director Vsevolod Meyerhold called The Love for Three Oranges. This was derived from a play that the Italian playwright Carlo Gozzi had created in 1761, titled L’amore delle tre melarance, in which Commedia dell’arte characters constantly intervene in an absurd folktale about a King who learns that only laughter will cure his sick son. Having reached New York in November 1918, Prokofiev gave a piano recital in Aeolian Hall that created a sensation and led to a contract from the Chicago Grand Opera to stage The Love for Three Oranges. The music was composed quickly, but there were the usual delays in bringing it to the stage, by which time Prokofiev had moved on to Paris, where he saw a better future for himself and his music. He returned to Chicago in 1921 to Severance Hall 2016-17

About the Music

35


conduct his opera’s premiere, where it was well received. A performance in New York soon thereafter aroused a barrage of hostility, however. Very successful performances in Leningrad and Moscow, in contrast, established the opera as one of Prokofiev’s major works, and it has become in our own time by far the most widely performed of all his operas. The opportunities it offers to inventive directors and designers are irresistible — in terms of its fantastical story, enormous opportunities for visual interest, musical variety and pizzazz, and all-around fun and daring. As soon as the opera was complete, Prokofiev planned a suite for piano with movements drawn from the opera, with an orchestral suite to follow. This was not done until his return visit to America in the winter of 1921The Love for Three 22, however, and there was no performance Oranges has become of the suite until November 1925 in Paris. The by far the most widely first performance in Moscow was given in 1927 by the “democratic” (conductorless) orchestra performed of all Procalled Persimfans. kofiev’s operas. The

opportunities it offers to inventive directors and designers are irresistible — in terms of its fantastical story, enormous opportunities for visual interest, musical variety and pizzazz, and all around fun and daring.

THE MUSIC

The music is engagingly sparky throughout the opera, full of gross humor, especially for the clownish Commedia dell’arte characters. The suite’s opening movement is drawn from various scenes, including the first bars of the opera and a playful march that introduces Prokofiev’s mock-classical style. In the second movement the King’s sorcerer, named Celio, and Fata Morgana, working for Leander, the King’s enemy, play three rounds of cards. Celio loses. This is quite correctly headed “Infernal Scene” or “Scene in Hell.” The March and Scherzo are both short movements, the March recurring throughout the opera and heard for the first time when Truffaldino attempts to entertain the Prince and make him laugh. The Scherzo symbolizes the storm that helps transport the Prince and Truffaldino in their quest for the three oranges, kept by the evil witch Creonta. Here the orchestral virtuosity betrays Prokofiev’s debt to Rimsky-Korsakov and Stravinsky (particularly Stravinsky’s musical styling in the ballet Pétrouchka). Out of the three oranges, once the Prince finds them, emerge three Princesses, the first two of whom die of thirst. The third is

36

About the Music

The Cleveland Orchestra


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CLASSICAL PIANO SERIES 2016-2017

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Gavin Geoorge, Feb. 12, 2017 Jon Kimuraa Parker, April 2, 2017

16-1051

saved by a group of Eccentrics (or Ridiculous People), who send her a pail of water. The Prince and the Princess attempt a love duet, but are constantly interrupted. The fifth movement of the suite offers up the thirst music (viola solo and divided strings), the recognition music (horn solo) and the interrupted love music (beginning and end). In the final scene, all the characters who had conspired against the King are condemned to death, but at the last moment Fata Morgana appears and opens a trapdoor through which the malefactors all escape. This movement provides the final music of the opera (cruelly testing the string section of any orchestra), while the Prince and Princess live happily ever after — of course. —Hugh Macdonald Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

Severance Hall 2016-17

About the Music

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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.

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Violin Concerto No. 1 in D major, Opus 19 composed 1916-17

At a Glance

by

Sergei

PROKOFIEV born April 23, 1891 Sontsovka, Ukraine died March 5, 1953 Moscow

Severance Hall 2016-17

Prokofiev composed his first violin concerto during 1916 and 1917, although some melodies and ideas date from as early as 1914. Much of the work was done after the February Revolution that toppled the Imperial Russian government. The October Revolution, which installed Lenin’s Communists, disrupted plans for the work’s debut in 1917, and Prokofiev subsequently left Russia. The concerto was finally premiered in Paris on October 18, 1923, with Marcel Darrieux as the soloist and

Serge Koussevitzky conducting. (Igor Stravinsky made his conducting debut at the same concert, leading the first performance of his own Octet for Winds.) This concerto runs about 25 minutes. Prokofiev scored it for 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, tuba, timpani, percussion (snare drum, tambourine), harp, and strings, plus the solo violin. The Cleveland Orchestra first presented this concerto in autumn 1928.

About the Music L I K E H I S Y O U N G C O M PAT R I O T Dmitri Shostakovich, Sergei

Prokofiev composed two violin concertos and two cello concertos. Both of Prokofiev’s violin concertos have attracted all the great virtuosos of the past half century, especially since Prokofiev’s stock in concert halls, if not in opera, has been steadily rising. His complex relationship with his Russian roots, to which biography and criticism has become a great deal more sensitive, resembles the complexity of his music — which combines a passionate attachment to romantic expression, a faith in classical concepts of order, and a love of virtuosity for its own sake. In other composers, this combination might seem contradictory or unproductive, but in Prokofiev we have to admire his skill at crossing forbidden borders and sounding always fresh. For example: Prokofiev quickly earned a reputation as an enfant terrible for his boldly dissonant and percussive piano works, which he played himself with great élan, while still a student at the conservatory in St. Petersburg. Then, within a few years he had produced his first symphony, an exercise in elegant 18thcentury classicism for a small orchestra — anticipating Stravinsky’s neo-classicism by a few years. His second symphony, in contrast, was a mercilessly ear-splitting piece of machine music. He enjoyed showing and exercising these different sides of his personality. Thus, when the idea of a violin concerto first

About the Music

39


A sketch of Prokofiev, drawn in 1928 by Henri Matisse.

came to him in 1913 (he was twenty-two), he wrote in his diary that this was to be a lyrical, elegant work. “Light” and “delicate” were other words he used to describe it. But the concerto was a long time coming, and he admitted that his enthusiasm for it had cooled somewhat as his work on a second piano concerto, a couple of ballets, and a second opera intervened, not to mention his growing fame as a pianist. In 1917, when the sketches of the violin concerto were finally complete, he found himself orchestrating it at the same time as his work on the “Classical Symphony,” with which the concerto has much in common. Some of this was done in May 1917 on a three-day journey up the Kama river from Kazan to Perm. The first performance was scheduled for November 4, but the events of October — with the second Revolution of 1917 putting Lenin’s communists into power — put an end to that idea. Originally Prokofiev must have had Jascha Heifetz in mind as soloist, but the famous violinist had already left Russia, so the composer’s second choice was the great Polish violinist Pawel Kochánski, professor of violin at the St. Petersburg (soon to be renamed Petrograd) Conservatory. By then, they had both also

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About the Music

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left Russia, so Prokofiev discussed the concerto with Kochánski in Paris; he also discussed it with the Russian violinist Cecilia Hansen in Berlin. But neither chose to perform it, and the work was not heard until the conductor Serge Koussevitzky, with his unerring faith in young composers, conducted the concerto’s premiere in Paris in 1923 (with a soloist not considered among the greatest). A great violinist, Josef Szigeti, was there to hear it, however, and he went on to play it in Russia and in many cities elsewhere. Although the tone of Prokofiev’s First Violin Concerto is classical, its frame, with a scherzo enclosed between two slower movements, is the reverse of Prokofiev’s relationship classical practice. From the beginning of the first with his Russian roots movement, there is abundant lyricism, with a resembles the complexity long melody that will reappear at the end of the movement on the flute and again at the end of of his music — combining the work in a halo of gorgeous, magical sound. a passionate attachment The movement changes tempo for a stiffly rhythto romantic expression, a mic section and even some extraordinary gypsy strumming for the soloist, before returning to faith in classical concepts the relaxed tempo of the beginning. of order, and a love of The scherzo second movement is a torrent virtuosity for its own sake. of virtuosity for the soloist, with a march section In this, we admire Prokoin the middle, complete with snare drum. Oddest of all is the attempt by the tuba to insert its fiev for his skill at crossown tune. ing forbidden borders and The tick-tock accompaniment that opens sounding always fresh. the finale third movement is a reminder that Prokofiev almost always liked to keep a steady pulsation somewhere in the orchestra, even when the soloist has a richly romantic theme to present, as here. A second theme is introduced by the violas, and the musical discussion in the middle is centered on a short phrase played by two bassoons at the very beginning. The concerto’s final arrival at the key of D major is extraordinarily satisfying, a goal that must have been in Prokofiev’s mind from the beginning.

—Hugh Macdonald © 2016

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About the Music

41


SERGEI PROKOFIEV 1891-1953

TOP

Prokofiev playing chess, circa 1940s. In New York, around 1918. Prokofiev and cellist Mstislav Rostropovich around 1950, working together on the Symphony-Concerto.

LEFT MIDDLE

Prokofiev with his first wife, Lina, and their two sons, Sviatoslav and Oleg, in 1936.

LEFT BELOW

ABOVE

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About Sergeithe Prokofi Musicev

1991 Russian stamp honoring the composer.

The Cleveland Orchestra


“Though he was regarded as impossibly avant-garde in his youth, Sergei Prokofiev belongs squarely to the same great tradition of Russian music as Tchaikovsky and Mussorgsky. . . . His best-known scores are written in an immediately recognizable style that reconciles progressive technique with melodic directness, and rank among the most enjoyable of all 20th-century compositions.” —Rough Guide to Classical Music

About the Music


ARTISTRY

INNOVATION

Timothy Nelson’s world-premier adaptation of Handel’s opera November 4 & 5, Boesel Musical Arts Center, Berea November 6, The Arcade, 401 Euclid Avenue, Cleveland Presented by Baldwin Wallace Opera and Cleveland Opera Theater.

Bernstein and Sondheim’s American classic November 9–20, Kleist Center for Art and Drama, Berea ĐŽͲƉƌŽĚƵĐƟŽŶŽĨt͛ƐŵƵƐŝĐƚŚĞĂƚƌĞƉƌŽŐƌĂŵĂŶĚ ĚĞƉĂƌƚŵĞŶƚŽĨƚŚĞĂƚƌĞĂŶĚĚĂŶĐĞ͘ŝƌĞĐƚĞĚďLJsŝĐƚŽƌŝĂƵƐƐĞƌƚ͘ 'ƌĞŐĂŶŝĞůƐ͕ĐŚŽƌĞŽŐƌĂƉŚĞƌ͘ĂǀŝĚWĞƉŝŶ͕ŵƵƐŝĐĚŝƌĞĐƚŽƌ͘

For tickets and information, visit bw.edu/events or call 440-826-8070.


Suite from Romeo and Juliet, Opus 64 selections chosen by conductor Stéphane Denève from the composer’s suites, drawn from the ballet originally composed 1934-35

At a Glance

by

Sergei

PROKOFIEV born April 23, 1891 Sontsovka, Ukraine died March 5, 1953 Moscow

Prokofiev wrote his ballet score Romeo and Juliet in 1934-35. Although started at the suggestion of Leningrad’s Kirov Theater and completed as a commission for Moscow’s Bolshoi Theater, both companies declined to present the ballet and the score was left unperformed. Some of the music was instead premiered at a symphony concert in Moscow in October 1935. Prokofiev subsequently prepared two suites of numbers, and a third suite several years later, for use in the concert hall. They were premiered in November 1936 (Suite No. 1), April 1937 (No. 2), and March 1946 (No. 3). (The ballet was staged for the first time in 1938 in Brno, Czechoslovakia.) The excerpts selected for this

weekend’s concerts run about 40 minutes in performance. Prokofiev’s score calls for piccolo, 2 flutes, 2 oboes, english horn, 2 clarinets, bass clarinet, tenor saxophone, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, cornet, 3 trombones, tuba, timpani, percussion (snare drum, triangle, cymbals, bass drum, tambourine, xylophone, bells), harp, piano, and strings. The Cleveland Orchestra first presented music from Prokofiev’s Romeo and Juliet in 1946, conducted by Erich Leinsdorf at Severance Hall. The music has been presented with increasing frequency since that time, most recently when James Gaffigan led a suite of selections in August 2012 at Blossom.

About the Music A F T E R F I F T E E N Y E A R S away from Russia, spent mostly in

France and the United States, Prokofiev felt a complicated urge in the mid-1930s to return to his homeland. Just how much he really understood the Soviet system that had replaced the Russian monarchy he had grown up in is a vexed question, for even if he knew that the liberal attitude to the arts that characterized the early years after the Revolution was no longer apparent, he could not be blamed for failing to foresee the full extent that Stalin’s dictatorship had turned repressive and brutal. By 1936, when Prokofiev’s family finally settled in Moscow, the signs of harsh times ahead were clear, but in 1933 he was accepting commissions from his homeland and paying more frequent visits there with good prospects of productive years ahead. The Kirov Theater in Leningrad wanted a new ballet from Prokofiev, recognizing his gifts as a ballet composer already evident in The Steel Step, The Prodigal Son, and On the Dnieper, all successfully premiered in Paris. Prokofiev suggested Romeo and Juliet as the new ballet’s storyline. The Kirov was unhappy with the idea or details surrounding it, so Prokofiev signed a contract Severance Hall 2016-17

About the Music

45


with Moscow’s Bolshoi Theater instead. Moscow too had some difficulties with details, however, thinking it improbable that the dying lovers could plausibly be seen dancing at the ballet’s conclusion. A happy ending was the first solution, and with this unlikely dénouement the score was completed in the summer of 1935. However, it was rejected by the Moscow theater as unsuitable for dancing. With no immediate prospect of a staged performance, Prokofiev revised the whole work and made two orchestral suites from the 52 shorter numbers that made up the ballet as a whole. Each suite included seven movements. He also arranged ten pieces for piano. The ballet was staged for the first time in Brno, Czechoslovakia, in December 1938, and then subsequently danced at the Kirov Theater in January 1940. Prokofiev made a third suite, with six movements, in 1946. Despite the challenges surrounding its birth, Prokofiev’s Romeo and Juliet ultimately became a triumph around the world, challenging dancers and choreographers in its storytelling, but with great passion and melody carryDespite the challenges ing its music forward, and justly capturing the surrounding its birth, dramatic tragedy as it unfolds. As a suite (or complete score) in the concert hall, or danced Prokofiev’s Romeo and onstage, it has become one of Prokofiev’s sigJuliet has ultimately trinature scores.

umphed around the world, challenging dancers and choreographers in its storytelling, but with great passion and melody carrying it forward, and justly capturing the dramatic tragedy.

THE MUSIC

For this week’s concerts, guest conductor Stéphane Denève has chosen a selection of movements from the ballet, drawing from all three suites and outlining the action of the drama. The Introduction is short and concentrated, with a colossal discord leaving a serene string chord hanging in the air, as if to summarize both the tension and the tenderness of the story. The Minuet accompanies the arrival of the guests at the Capulets’ ball. The music is pompous and solid, with a solo for the cornet, yet it comes to a delicate ending. Juliet, the Young Girl is a mischievous young woman, teasing and obstructing her nurse. She has a tender side, as we learn from a clarinet solo presenting one of her motifs. Another of her melodies appears on the flute, soon joined by the tenor saxophone. Masks conceal the identity of Romeo, Mercutio, and Benvolio, all

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About the Music

The Cleveland Orchestra


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The Last Kiss of Romeo and Juliet, painting by Francesco Hayez, 1823.


Montagues who have come uninvited to the Capulets’ ball. The percussion set up a solid rhythm for the violins’ tune, interrupted briefly by cornet and timpani, mocking their fellow guests. The Montagues and the Capulets are now all present at the ball, a gathering of swaggering, proud knights, as the tremendous power of the violins’ melody reveals. There are ladies present, as a gentler passage reminds us, and Juliet is seen dancing with her cousin Paris. Romeo is entranced, looking on. Romeo and Juliet is the movement that closes the first act of the ballet, representing the famous balcony scene. Juliet is alone, then suddenly alerted to Romeo’s presence (flute). Romeo’s declaration of love (cellos and english horn) has a certain stateliness, not the torrid rapture that one might expect, but always expressed as movement and gesture. Night falls, and we are left recalling Juliet’s lines: How silver-sweet sound lovers’ tongues by night, Like softest music to attending ears! Friar Lawrence is clerical and dignified, represented by bassoon and plucked strings (Prokofiev’s inventive orchestration shows few bounds). The middle section is a passage of glorious writing for the full strings. The Death of Tybalt starts at the point in Act Two when Tybalt kills Mercutio in a street brawl. They fence furiously (but elegantly). The fatal thrust is sudden, Mercutio’s death prolonged, and Romeo’s fury undisguised (storming violins). When he draws on Tybalt, the music drives headlong to the moment when Tybalt falls, accompanied by fifteen heavy blows from the lower instruments. With great solemnity, Tybalt’s body is carried out and the curtain falls. The music now skips ahead to Act Four, where Juliet has taken Friar Lawrence’s potion, which gives the impression that she is dead. Her “corpse” lies in the Capulets’ vault, represented by a climbing theme which later becomes even more desolate on four high horns. The presence of Romeo at Juliet’s Grave is announced by a theme in the lower strings and woodwinds, and, in despair, Romeo takes poison. “O true apothecary, thy drugs are quick.” Juliet almost immediately awakes to find the corpse of Romeo beside her. The music is surprisingly free of tension or despair. Calmly and with dignity her theme unfolds twice, after which she stabs herself with Romeo’s dagger. A solo violin echoes her theme once more, then again the full strings. Juliet’s Death takes hold as the music fades to a plain, tragic, C major chord. —Hugh Macdonald © 2016

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Stéphane Denève French conductor Stéphane Denève is music director of the Brussels Philharmonic and principal guest conductor of the Philadelphia Orchestra. He first led The Cleveland Orchestra in March 2007, and most recently appeared here in July 2015. A graduate of the Paris Conservatoire, Mr. Denève was Georg Solti’s assistant at the Orchestre de Paris and the Paris National Opera, where he later also assisted Georges Prêtre. Mr. Denève subsequently worked with Seiji Ozawa at the Saito Kinen Festival. After his 1997 debut at the Deutsche Oper am Rhein, Stéphane Denève was a member of the conducting staff there for two seasons. He made his United States conducting debut in 1999 with Santa Fe Opera. His operatic engagements have included productions with Barcelona’s Gran Teatre del Liceu, Cincinnati Opera, England’s Glyndebourne Festival, London’s Royal Opera House, Milan’s La Scala, La Monnaie, Netherlands Opera, and Opéra National de Paris. Stéphane Denève served as music director of the Royal Scottish National Orchestra 2005-12, and chief conductor of the Stuttgart Radio Symphony Orchestra 2011-16. He regularly works with young people, including at Tanglewood Music Center and with the New World Symphony, and guest conducts major orchestras around the globe. Recent engagements include Amsterdam’s Royal Concertgebouw Orchestra, Bavarian Radio Symphony, Boston Symphony Orchestra, Chicago Symphony Orchestra, Deutsches Symphonie Orchester Berlin, London

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Symphony Orchestra, Los Angeles Philharmonic, Munich Philharmonic, New York Philharmonic, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, Philharmonia Orchestra, San Francisco Symphony, Swedish Radio Symphony, Toronto Symphony Orchestra, and the Vienna Symphony Orchestra. At home in a range of repertoire and a champion of new music, Mr. Denève has been praised for a special affinity with music of France. With the Brussels Philharmonic, he is director of the Centre for Future Orchestral Repertoire, an online database dedicated to promoting 21stcentury compositions. As a recording artist, he has been acclaimed for conducting works by Connesson, Debussy, Franck, Poulenc, and Roussel on the Chandos, Deutsche Grammophon, Naïve, and Naxos labels. A double winner of the Diapason d’Or de l’année, he was short-listed in 2012 for Gramophone’s Artist of the Year Award, and won the prize for symphonic music at the 2013 International Classical Music Awards. For further information, visit www. stephanedeneve.com.

Guest Conductor

The Cleveland Orchestra


James Ehnes Acclaimed for his virtuosity and musicianship, Canadian violinist James Ehnes has performed in more than thirty countries on five continents. He made his Cleveland Orchestra debut in July 2006, and most recently performed here in August 2015. Born in Manitoba in 1976, James Ehnes began violin studies at age four, and at nine, became a protégé of Francis Chaplin. At age 13, he made his orchestral debut with the Montreal Symphony Orchestra. He later studied with Sally Thomas at the Meadowmount School of Music and, from 1993 to 1997, at the Juilliard School, where he received the Peter Mennin Prize for Outstanding Achievement and Leadership in Music upon graduation. Mr. Ehnes won the Grand Prize in Strings at the 1987 Canadian Music Competition and First Prize in Strings at the 1988 Canadian Music Festival. James Ehnes’s other honors include the first-ever Ivan Galamian Memorial Award, Canada’s Virginia Parker Prize, and a 2005 Avery Fisher Career Grant. He was awarded a Doctor of Music degree by Brandon University, and in 2007 became the youngest person elected as a Fellow to the Royal Society of Canada. The Governor General of Canada appointed Mr. Ehnes a Member of the Order of Canada in 2010, and in 2013 he was named an Honorary Member of the Royal Academy of Music. In recent seasons, James Ehnes has performed with the orchestras of Boston,

Severance Hall 2016-17

Guest Soloist

Chicago, Frankfurt, London, New York, Philadelphia, and Vienna; at music festivals in London, Salzburg, and St. Petersburg; and in recitals in the world’s music capitals. This past summer, he performed a series of recitals throughout Canada. An avid chamber musician, he collaborates with artists including Leif Ove Andsnes and Yo-Yo Ma, tours with his string ensemble the Ehnes Quartet, and serves as the artistic director of the Seattle Chamber Music Society. Mr. Ehnes’s extensive discography of more than 30 recordings features music ranging from J.S. Bach to John Adams. His recent projects include albums of works by Bartók, Britten, Khachaturian, Prokofiev, Shostakovich, and Tchaikovsky. His recordings have been honored with many prizes, including a Grammy, a Gramophone, and multiple Juno Awards. James Ehnes plays the “Marsick” Stradivarius of 1715. For more information, please visit www.jamesehnes.com.

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Illustration by Adelle Hixenbaugh

Illustration by Emily R. Linville

VISUALI Z ING MUSIC W H AT D O E S M U S I C LO O K LI K E ?

That was the question posed to students at the Cleveland Institute of Art (CIA), in connection with The Cleveland Orchestra’s performances this week of music from Prokofiev’s ballet Romeo and Juliet. Students in James Groman’s illustration class took up the challenge. As part of a course assignment, they were tasked with designing illustrations for this tragic love story to give them a sense of how their CIA studies can be applied in the real world. The students researched and immersed themselves in the music and story, as well as in the history of theatri-

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cal illustration. Class discussion points included: 1.) the use and development of illustration in a wide variety of promotional and collateral materials for works and concerts, and 2.) the complications of and creative challenges involved in weaving together aspects of a stage or musical performance into visual elements about a famous story of love, conflict, and tragedy. Six of the resulting student illustrations are reproduced on these pages, and three of these are being displayed at Severance Hall this week, in the Founders Gallery overlooking the BogomolnyKozerefski Grand Foyer.

Illustrating Romeo & Juliet

The Cleveland Orchestra


Illustration by Marissa Krekeler

Illustration by Susana Angel

Illustration by Connor Crabb

Copyright Š by the individual artists.

Illustration by Jordan Patrzalek

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Illustrating Romeo & Juliet

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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.

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Cleveland Orchestra News

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orchestra news A . R . O . U . N . D T. O .W. N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include: Now in its 11th season, Close Encounters features chamber music masterpieces performed by members of The Cleveland perform Orchestra Orchest and faculty musicians from the Cleveland Clevela Institute of Music, up close and in i uniquely intimate settings. The program for November 18 features Mozart’s Clarinet Quintet and Schubert’s Cello Quintet, performed by Orchestra musicians Robfo eert Woolfrey, Tanya Ell, Paul Kushious, Yun-Ting Lee, Isabel Trautwein, and Y guest Yu Jin. The venue is a glass g loft with 360˚ views of Downtown and lof LLake k EErie. Details when ordering tickets. Elegant dessert reception is included. Tickets are $45 for HeightsArts members, $55 for the general public. Discounted subscriptions

THE CLEVELAND ORCHESTRA

and $15 student tickets are also available. Due to limited space, early reservations are recommended. For information, call 216-371-3457, or visit.www.heightsarts.org. In November, the Cleveland Chamber Collective, which includes Cleveland Orchestra members Mary Kay Fink, Sae Shiragami, Beth Woodside, and Lisa Boyko, are presenting two free performances of contemporary music on Monday, November 21 at Cleveland State University’s Drinko Recital Hall, and on Monday, November 28 at Church of the Redeemer in Cleveland Heights. Both concerts start at 7:30 p.m. Please visit www.chambercollective.com for more information. THE CLEVELAND ORCHESTRA

F. A . M . I . L .Y N . E . W . S Please join in extending congratulations and warm wishes to: Jung-Min Amy Lee (violin) and Frank Rosenwein (oboe), whose twin boys, Joshua Sylvan and Julian Mack, were born on October 7.

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PUCCINI’S

Sister

Angelica

MENOTTI’S

Amelia Goes to the Ball Amelia al ballo

Suor Angelica NOVEMBER 9-12, 2016 7:30PM | KULAS HALL

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$20 adults | $10 students $15 each seniors and groups of 10+ 216.795.3211 or cim.edu Cleveland Orchestra News

The Cleveland Orchestra


orchestra news I.N M.E.M.O.R.I.A.M Special musical program planned in memory of Louis Lane on November 20 at CIM Former Cleveland Orchestra resident conductor Louis Lane will be honored with a special musical program on Sunday afternoon, November 20. The event is being held in Mixon Hall at the Cleveland Institute of Music and will feature chamber music performances by musicians from CIM, The Cleveland Orchestra, and Akron and Canton symphonies. The hour-long program at 12:00 noon will feature musical and spoken tributes to Lane, who was a longtime and admired figure in classical music for Northeast Ohio. Lane, who died in February at the age of 92, served as a member of The Cleveland Orchestra’s conducting staff for nearly two decades, from 1956 to 1974. He was also music director of the Cleveland Orchestra summer pops concerts presented at Public Auditorium (1952-68), and served as music director of Lake Erie Opera (1964-70) presenting summer operas at Severance Hall. He taught at both the Cleveland Institute of Music and Oberlin Conservatory, and served on the conducting staffs of both the Akron and Canton symphonies, and later with Dallas and Atlanta. Lane received The Cleveland Orchestra’s Distinguished Service Award in 2008. The tribute event at CIM on November 20 is free and open to the public.

THE CLEVELAND ORCHESTRA

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.

conference series 2016

DEPRESSION AMONG OLDER ADULTS & THEIR CAREGIVERS:

Sponsored by:

Treaments & Supports

November 10, 2016 l 8:30 a.m.-3:45 p.m. Register online at www.benrose.org/education

Severance Hall 2016-17

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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

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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

The Cleveland Orchestra


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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Cleveland Orchestra News

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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 Trina 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

Severance Hall 2016-17

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.”

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orchestra news

THE CLEVELAND ORCHESTRA

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


THE CLEVELAND ORCHESTRA

Presented to Robert

award

Vernon 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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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

The Cleveland Orchestra


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) Womenâ&#x20AC;&#x2122;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

Severance Hall 2016-17

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. Oâ&#x20AC;&#x2122;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 Orchestraâ&#x20AC;&#x2122;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

The Cleveland Orchestra


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

2016

2017

A Season off Drama andd Discovery OCTOBER 6-9 | Resplendent Purcell NOVEMBER 17-20 | Love in Venice: A Multicultural Fiesta DECEMBER 9-16 | Handel’s Messiah FEBRUARY 16-20 | Virtuoso Bach: An Instrumental Extravaganza MARCH 19 | SPECIAL EVENT: An Irish-Applachian Journey MARCH 23-26 | Sacred Bach: A Spiritual Journey APRIL 27-30 | 25th ANNIVERSARY FESTIVAL: Beethoven & Schubert Rediscovered

216.320.0012 | apollosfire.org

Passion. PERIOD.


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

68

Individual Annual Support

The Cleveland Orchestra


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Severance Hall 2016-17

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69


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

listings continue

70

Individual Annual Support

The Cleveland Orchestra


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71


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


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The Cleveland Orchestra


THE CLEVELAN D ORCHESTRA

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

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

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 Oberösterreich (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 Oberösterreich (Europe) The J. M. Smucker Company PARTNERS IN EXCELLENCE $200,000 TO $299,999

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

American Greetings Corporation Forest City 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 O’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 Macy’s Materion Corporation Miba AG (Europe) MTD Products, Inc. North Coast Container Corp. Northern Haserot Oatey Ohio CAT Ohio Savings Bank, A Division of New York Community Bank 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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76

The Cleveland Orchestra


THE CLEVELAN D ORCHESTRA

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

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

$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. O’Neil Foundation Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wuliger Foundation Anonymous (2)

Foundation and Government Annual Support

77


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, Director 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.

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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

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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


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THE CLEVELAND C O N C E R T

C A L E N D A R

AUTUMN SEASON Romeo and Juliet

CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Oct 27 — Thursday at 7:30 p.m. Oct 28 — Friday at 8:00 p.m. <18s Oct 29 — Saturday at 8:00 p.m.

CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor

THE CLEVELAND ORCHESTRA Stéphane 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 — Friday at 10:00 a.m. <18s Oct 29 — Saturday at 11:00 a.m. <18s

The Fantastic Flute with George Pope, ÁXWH

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 AMERICAN GREETINGS FAMILY CONCERT

Oct 30 — Sunday at 3:00 p.m.

<18s

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor Look! Up in the Sky! It’s a Bird! It’s a Plane! No, it’s Super PDQDWWKH6\PSKRQ\&HOHEUDWLQJWKHÀUVWFRPLFERRN superhero (created right here in Cleveland), with music from the movies and more! Including a Costume Contest. Sponsor: American Greetings

'XUXÁp5HTXLHP Nov 17 — Thursday at 7:30 p.m. 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 Sponsor: Squire Patton Boggs (US) LLP

Nov 18 — Friday at 8:00 p.m.

<18s

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. PNC MUSICAL RAINBOWS

Nov 18 — Friday at 10:00 a.m. <18s Nov 19 — Saturday at 11:00 a.m. <18s

The Velvet Violin

with Beth Woodside, violin 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

Beethoven’s Fateful Fifth Symphony 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 (US) LLP AT THE MOVIES

Dec 8 — Thursday at 7:30 p.m. Dec 9 — Friday at 7:30 p.m.

It’s a Wonderful Life

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor Cleveland Orchestra Youth Chorus  ([SHULHQFH)UDQN&DSUD·VFODVVLFKROLGD\ÀOPRQWKHELJ screen — with live orchestral accompaniment performed by The Cleveland Orchestra. Relive the drama of George Bailey’s magical Christmas Eve, as he sees his life’s accomplishments through a different viewpoint . . . of friendship and family, civic pride and community. Sponsor: PNC Bank

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

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Concert Calendar

The Cleveland Orchestra


ORCHESTRA

16 17 2016-17

F O R

PNC HOLIDAY RAINBOWS

T H E

S E A S O N

H O L I DAYS

Dec 9 — Friday at 10:00 a.m. Dec 10 — Saturday at 11:00 a.m. <18s <18s

Christmas Brass Quintet

A special holiday presentation celebrating the Yuletide season in musical brass, featuring members of The Cleveland Orchestra and guests. For ages 5 to 12 and their families. Sponsor: PNC Bank

Cleveland Orchestra CHRISTMAS CONCERTS Dec 10 — Saturday at 2:30 p.m. and 7:30 p.m. Dec 11 — Sunday at 2:30 p.m. Dec 15 — Thursday at 7:30 p.m. Dec 16 — Friday at 7:30 p.m. Dec 17 — Saturday at 2:30 p.m. and 7:30 p.m. Dec 18 — Sunday at 2:30 p.m. and 7:30 p.m. THE CLEVELAND ORCHESTRA Brett Mitchell, conductor Cleveland Orchestra Chorus and guest choruses

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

George Balanchine’s

Celebrate the holiday season with The Cleveland Orchestra and Choruses in these annual offerings of music for the season, featuring sing-alongs and a very special surprise guest — all in the festive Yuletide splendor of Severance Hall. Sponsor: Dollar Bank

Rhapsody in Blue

The Nutcracker

TM

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

Jan 5 — Thursday at 7:30 p.m. Jan 6 — Friday at 11:00 a.m. <18s Jan 6 — Friday at 7:00 p.m. <18s Jan 7 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA -DPHV*DIÀJDQ, conductor Kirill Gerstein, piano

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!

HERRMANN Suite from Psycho SCHOENBERG Piano Concerto * GERSHWIN Rhapsody in Blue BARTÓK Concerto for Orchestra * not part of Friday concerts

Fridays@7 Sponsor: KeyBank

TICKETS: 216-241-6000

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).

Sponsored by Dollar Bank

CLEVELAND ORCHESTRA TICKETS PHONE

216-231-1111 800-686-1141

clevelandorchestra.com Severance Hall 2016-17

Concert Calendar

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Geo Ge G eo org or rge ge B ge a an alan al anch anc chine chin ch ine’ in ne’ es e’s George Balanchine’s

with PENNSYLVANIA BALLET SPONSORED BY

NOV 30 - DEC 4 MATINEE AND EVENING PERFORMANCES, AT THE STATE THEATRE

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TICKETS | playhousesquare.org

Upcoming Concerts The Cleveland Orchestra or 216-241-6000


The Cleveland Orchestra October 27, 28, 29 Concerts  
The Cleveland Orchestra October 27, 28, 29 Concerts  

Prokofiev: Romeo & Juliet