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FRANZ WELSER-MÖST

Concert: November 17, 19, 20 DURUFLÉ REQUIEM — page 27 Concert: November 25, 26, 27 BEETHOVEN’S FIFTH SYMPHONY — page 57 PERSPECTIVES from the Executive Director — page 7

S E A S O N


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16 17 TA B L E

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CONTENTS

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THIS WEEK CLEVELAND

WEEKS Upfront

ORCHESTRA

6 AN D 7 PAGE

THE

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

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

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . . 9 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 13 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . 92-93

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

6 DURUFLÉ’S REQUIEM Program: November 17, 19, 20 . . . . . . . . . . . . . . . . 27 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 29 WEEK

HAYDN

Te Deum for Empress Maria Therese . . . . . . . . . 31 SCHUBERT

Symphony No. 4 (“Tragic”) . . . . . . . . . . . . . . . . . . 35 DURUFLÉ

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.

Requiem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Conductor: Matthew Halls . . . . . . . . . . . . . . . . . . . . . 44 Soloist: Sasha Cooke . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . 46-47 NEWS

Cleveland Orchestra News . . . . . . 48-55

Support

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.

Sound for the Centennial . . . . . . . . . . . . . . . . . . . 10-11 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . 74-87

6 BEETHOVEN’S FIFTH Program: November 25, 26, 27 . . . . . . . . . . . . . . . 57 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 59 WEEK

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

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

BRITTEN

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.

Sinfonia da Requiem . . . . . . . . . . . . . . . . . . . . . . . . 61 MOZART

Piano Concerto No. 23 . . . . . . . . . . . . . . . . . . . . . . 65 BEETHOVEN

Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Conductor: Jaap van Zweden . . . . . . . . . . . . . . . . . . 72 Soloist: Daniil Trifonov . . . . . . . . . . . . . . . . . . . . . . . . . 73

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Table of Contents

The Cleveland Orchestra


med·ley noun / ’medle- / a piece of music combining tunes or passages from various sources We are strongest when we work together to benefit the lives of those in our communities. It’s an honor to form such a bond with The Cleveland Orchestra and its commitment to world-class performances.

EXPERIENCE FOR TOMORROW

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Kerstin Trawick thinks it’s never too late to learn something new. Living at Judson Park, she continues to pursue lifelong learning opportunities at Case Western Reserve University. Judson and Case Western Reserve have established an exciting partnership that offers Judson residents complete access to University events, programs and facilities, like the Kelvin Smith Library and the new state-of-the-art Tinkham Veale University Center. For CWRU alumni considering a move to Judson, there is an attractive discount towards an independent living entry fee and complimentary relocation package. Learn more about all the benefits included in the partnership between Judson and Case Western Reserve University. Call (216) 791-2004 today.

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Perspectivesfrom the Executive Director November 2016 As we enter the final months of the year, it is clear that 2016 has been filled with great excitement, with hard-fought rivalry (in sports and politics), and ongoing change. There were wins and losses, cliffhangers and surprise outcomes. But amidst the tumult and anxiety, I also believe there were clear constants and certain good things that everyone can agree on. Among these is the power of music to touch lives — to inspire, to make a positive difference . . . to excite, to soothe, to make a difficult day better, or to make a joyous one even greater. Music is a celebration of what’s best in all of us. From inaugurating the new Public Square with a heartfelt Star-Spangled Spectacular to opening the final game of the World Series with an ensemble of our musicians playing the national anthem for millions as the crowd sang along, The Cleveland Orchestra was there, giving voice to the drive, the passion, the pride, and the incredible strength of our community here in Northeast Ohio. With a goal of inspiring people and touching lives, a dedication to the highest levels of excellence, and a commitment to serving you, The Cleveland Orchestra is your champion, not just for one season, but all year round. As we approach the end-of-year holidays, our offerings are particularly focused on traditions of family and faith, of dreams for a better world, and of humanity’s capacity for good. The Cleveland Orchestra’s holiday season is brimming with joy and entertainment as well as reflection and grace — from our regular weekly symphonic concerts this month at Severance Hall to the enchanting beauty of George Balanchine’s The Nutcracker ® with Pennsylvania Ballet at Playhouse Square, from the Orchestra’s annual Christmas Concerts to our special performances of the great holiday movie It’s a Wonderful Life. Through all of these, there is great music, cherished traditions, and much joy and inspiration, for young and old alike. As I complete the first year of my tenure as executive director, I want to express my heartfelt gratitude to everyone for welcoming me so wholeheartedly, and for inspiring me with your passion for The Cleveland Orchestra and everything it means to you. In the months ahead, I look forward to sharing our plans for The Cleveland Orchestra’s 100th season in 2017-18. The Cleveland Orchestra’s first century of success has only been possible through community dedication and support, coupled with the hard work and commitment of the musicians onstage, the staff behind the scenes, and the many volunteers who help each season. In this holiday time of reflection and thanks, I hope you will remember The Cleveland Orchestra in your thoughts, and consider a year-end gift to help support all that we do for you and for Northeast Ohio. Thank you.

André Gremillet

Severance Hall 2016-17

From the Executive Director

7


SEVERANCE HALL

AUTUMN SEASON

Lunch • Dinner • Happy Hours Sushi Bar • Patio 45 Private Parties • Chef’s Table Gift Certificates

THE

CLEVELAND ORCHE STRA

16 17 2016-17

S E A S O N

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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

9


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

13


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

15


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.

16

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

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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

22

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 2 O 1 6 -1 7

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

23


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The Cleveland Orchestra


16 17 LEARNING MORE ABOUT THE MUSIC

2 O1 6 -1 7

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

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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, November 17, 2016, at 7:30 p.m. Saturday evening, November 19, 2016, at 8:00 p.m. Sunday afternoon, November 20, 2016, at 3:00 p.m.

Matthew Halls, conductor F. JOSEPH HAYDN (1732-1809)

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S E A S O N

Te Deum for the Empress Maria Therese CLEVELAND ORCHESTRA CHORUS

FRANZ SCHUBERT (1797-1828)

Symphony No. 4 (“Tragic”) in C minor, D417 1. 2. 3. 4.

Adagio molto — Allegro vivace Andante Menuetto: Allegro vivace — Trio Allegro

INTER MISSION MAURICE DURUFLÉ (1902-1986)

Requiem, Opus 9 1. 2. 3. 4. 5. 6. 7. 8. 9.

Requiem aeternam Kyrie eleison Domine Jesu Christe Sanctus and Benedictus Pie Jesu Agnus Dei Lux aeterna Libera me In Paradisum

SASHA COOKE, mezzo-soprano CLEVELAND ORCHESTRA CHORUS Robert Porco, director

These concerts are supported through the generosity of Squire Patton Boggs (US) LLP Cleveland’s Own Series sponsorship. Sasha Cooke’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Sherwick Fund.

Severance Hall 2016-17

Concert Program — Week 6

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November 17, 19, 20 THIS WEEKEND'S CONCERT Restaurant opens: TH 4:30 SAT 5:00 SUN 12:00

2 O1 6 -1 7

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 Concert Hall

“Angst and Alleluia”

BEGINS ONE HOUR BEFORE CONCERT

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

16 17

with guest speaker Dana Plank, musicology doctoral candidate, Ohio State University School of Music

HAYDN

Te Deum for Maria Therese . . . . . . . . . . . . . . Page 31 (10 minutes)

SCHUBERT

Symphony No. 4 (“Tragic”) . . . . . . . . . . . . . . . Page 35 (30 minutes)

INTERMISSION (20 minutes)

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

DURUFLÉ

Requiem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 39 (45 minutes)

Concert ends: (approx.)

Share your memories of the performance and join the conversation online . . .

TH 9:25 SAT 9:55 SUN 4:55

Severance Restaurant Post-Concert Desserts and Drinks

facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch

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This Week's Concerts

The Cleveland Orchestra


INTRODUCING THE CONCERT

Mourning, Tragedy & Thanksgiving T H I S W E E K E N D ’ S C O N C E R T S offer much singing (uplifting and then

more introspective), plus an extraordinary early symphony written by a 19-year-old Franz Schubert. The voices of the Cleveland Orchestra Chorus are featured on much of the program — in the opening, mostly joyous Haydn Te Deum, and then in Maurice Duruflé’s deeply devout and deeply moving Requiem. Haydn was certainly also a devout man, writing “Laus Deo” [Praise the Lord] or similar words at the end of most of his scores. But the 18th-century approach to church music required a big and boisterous style largely borrowed from opera mixed together with symphonic music. In his Te Deum for the Empress Maria Therese, from 1800 or so, Haydn presents a glorious hymn of praise, written in appreciation for one of his most vocal proponents — and her God. (The Empress was vocal in many ways, and could and did sing solos in church services.) In the middle of these concerts comes Schubert’s “Tragic” Symphony — labelled that by the composer himself, just as he was passing out of his teenage years. This work was built on the structural format of earlier works by Haydn, Mozart, and especially Beethoven. Unperformed (as far as we know) during Schubert’s lifetime, this symphony (like the rest of his first five) was as much a personal learning exercise as a clear demonstration of his evolving and growing greatness as a composer. Nevertheless, or evenso, how impressive was his command of musical vocabulary and rules — and how perfectly willing (and able) he was to bend the rules for sublime effect. Guest conductor Matthew Halls ends these concerts with Duruflé’s magnificent Requiem, a 20th-century version of this utterance of mourning and solace. Built on the ancient soundings of plainchant, juxtaposed with more modern tinges and touches, this music is deeply moving, reflective, and beautiful. Guest soprano Sasha Cooke is featured in a tender solo role. —Eric Sellen

LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Saturday evening, January 21, at 8:00 p.m.

Severance Hall 2016-17

Introducing the Concerts

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Te Deum for Empress Maria Therese, H.23c.2 composed 1799-1800

At a Glance

by

F. Joseph

HAYDN

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

Severance Hall 2016-17

Haydn began writing his “Te Deum for the Empress Maria Therese” in 1799, on a commission from Maria Therese of Naples and Sicily, completing it by 1800. The first known performance was given on the Eisenstadt estate in September 1800, conducted by the composer. Existing modern scores are derived from parts for this performance later found among the Esterházy family’s records. This Te Deum runs about 10 min-

utes in performance. Haydn scored it for an orchestra including flute, 2 oboes, 2 bassoons, 2 horns, 3 trumpets, timpani, strings and continuo (organ), along with four-part chorus. The Cleveland Orchestra and Chorus have performed this work on only one previous weekend of concerts, in March 1986, conducted by Robert Page.

About the Music B E T W E E N T H E Y E A R S 1796 and 1802, Haydn wrote a new

Mass every year for Princess Esterházy’s name-day. Approaching his seventieth year and enjoying worldwide celebrity, the composer was no longer writing symphonies and had almost given up creating new string quartets as well. On his trips to London, he had been deeply stirred by Handel’s oratorios, which served Haydn as a model for choral writing. At the same time, in the field of instrumental composition Haydn was already an acknowledged master. And so he concentrated his efforts on choral works, creating a single setting of the Te Deum amid the series of six Masses. The Te Deum was commissioned not by his Esterházy patrons, but by the Empress Maria Therese, second wife (and first cousin) of the Holy Roman Emperor Franz II, who spent his early years as Emperor attempting to ward off Napoleon’s constant aggression. The daughter of the King of Naples and Sicily, she was described as easy-going with a sensuous appearance. She loved masquerades and carnivals, and participated in every ball. She is reputed to have been so jealous that she did not allow her husband to take part in social life or meet other women. Although she was gifted and charitable, her treatment of her husband was considered excessively possessive in an age when spouses were not expected to be particularly close. Maria Therese admired Haydn, as almost everyone did at the time, and would have commissioned more works from him as his patron (Prince Esterházy) allowed. (She acquired a numAbout the Music

31


ber of scores by Haydn, including a full Mass that he had written in 1799 and for which she sang as the soprano soloist at its premiere; that work was later nicknamed the “Theresienmesse,” even though she had not commissioned it.) In return for permitting Haydn to compose the Te Deum for the Empress, the first performance took place not in Vienna but at the Esterházy country palace at Eisenstadt in the early fall of 1800. According to stories from the time, it was performed at Eisenstadt in honor of two distinguished English visitors, Admiral Nelson and Lady Hamilton. In this work, Haydn’s setting of the Latin text is brisk and businesslike. Always regarded as a hymn of celebration, the Te Deum’s character is reinforced here by the solid unison with which the chorus begins. This opening section has much in common with the first movements of the London symphonies. Unlike in the Masses, no soloists are required, so the chorus sings the full text in a single movement divided into three sections. These correspond in many ways to the three movements of a classical concerto, with a slow section in the middle beginning with the words “Te ergo quaesumus,” a moment of humble prayer. The music throughout much of the work displays a positive spirit, with a vivid suggestion of the torment of hell towards the very end, at “Non confundar in aeternum” [“May I never be confounded”]. Those words are first introduced a little earlier in a vigorous double fugue, which has the sopranos leading off with “In te Domine speravi” while the altos respond with “Non confundar” on a countersubject. The two subjects are worked out against one another in exuberant style, as in some of Handel’s splendid choruses. —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.

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About the Music

The Cleveland Orchestra


Empress Maria Therese of Naples and Sicily in a painting by Louise Élizabeth Vigée Le Brun from 1772.

Te Deum for Empress Maria Therese music by F. JOSEPH HAYDN

Te Deum laudámus, te Dominum confitémur. Te aetérnum Patrem omnis terra venerátur. Tibi omnes Angeli; tibi caeli et univérsae Potestátes. Tibi Chérubim et Séraphim incessábili voce proclámant: Sanctus, Sanctus, Sanctus, Dóminus Deus Sábaoth. Pleni sunt caeli et terra majestátis glóriae tuae.

We praise you, O God, we acknowledge you to be the Lord. All the earth worships you, the Father everlasting. To you all Angels cry aloud; the Heavens, and all the Powers. To you Cherubim and Seraphim proclaim without ceasing; Holy, Holy, Holy, Lord God of Hosts; Heaven and earth are full of the Majesty of your glory.

Te gloriósus Apostolórum chorus; te Prophetárum laudábilis númerus; te Mártyrum candidátus laudat exércitus. te per orbem terrárum sancta confitétur Ecclésia; Patrem imménsae majestátis, Venerándum tuum verum et únicum Fílium, Sanctum quoque Paráclitum Spíritum.

The glorious chorus of the Apostles, the admirable company of the Prophets, the noble army of Martyrs praises you, across the whole world the Holy Church praises you; the Father of infinite Majesty, your honorable, true, and only Son, as well as the Holy Spirit, our advocate.

Tu Rex glóriae, Christe. Tu Patris sempitérnus es Fílius. Tu ad liberándum susceptúrus hóminem, non horruísti Vírginis úterum. Tu devícto mortis acúleo, aperuísti credéntibus regna caelórum. Tu ad déxteram Dei sedes, in glória Patris. Judex créderis esse ventúrus.

You are the King of Glory, O Christ. You are the everlasting Son of the Father. To deliver us, you became human, without distaining the Virgin’s womb. You overcame the sharpness of death, opening Heaven’s Kingdom to all believers. You sit at the right hand of God, in the glory of the Father. We believe you shall come to be our Judge. PLEASE TURN PAGE QUIETLY

Severance Hall 2016-17

Sung Text — Te Deum

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CONTINUED FROM PREVIOUS PAGE

Te ergo quaesumus, fámulis tuis súbveni, quos pretióso sánguine redemísti. Aetérna fac cum Sanctis tuis in glória numerári.

Therefore, we beseech you, to help your servants, whom you have redeemed with precious blood. Allow them to be counted among your Saints in glory everlasting.

Salvum fac pópulum tuum, Dómine, et bénedic haereditáti tuae. Et rege eos, et extólle illos usque in aetérnum. Per síngulos dies benedícimus te. Et laudámus nomen tuum in saeculum, et in saeculum saeculi. Dignáre, Dómine, die isto sine peccáto nos custodíre. Miserére nostri, Dómine, miserére nostri. Fiat misericórdia tua, Dómine, super nos, quemádmodum sperávimus in te. In te, Dómine, sperávi; non confúndar in aetérnum.

Save your people, O Lord, and bless your heritage. Govern them and lift them up forever. Day by day, we magnify you; and we praise your name, and onward forever and ever. Keep us safe, O Lord, and without sin today. Have mercy upon us, O Lord, have mercy. O Lord, let your mercy shine on us, because we have put our trust in you. I have trusted you, O Lord; let me never lose my faith in you.

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2016-2017 Mark your calendars for these upcoming events!

Simone Dinnerstein

Gavin George

Sunday, Oct. 16 2 p.m.

Sunday Feb. 12 2 p.m.

Daniela Liebman

Jon Kimura Parker

Sunday, Nov. 20 2 p.m.

Sunday, April 2 2 p.m.

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34

Sung Text — Te Deum

The Cleveland Orchestra


Symphony No. 4 (“Tragic”) in C minor, D417 composed 1816

At a Glance

by

Franz

SCHUBERT born January 31, 1797 Himmelpfortgrund, near Vienna died November 19, 1828 Vienna

Severance Hall 2016-17

Schubert completed his C-minor symphony on April 27, 1816. The name “Tragic” was added by the composer himself at a later date. The symphony was probably performed privately the year it was written; however, the first documented public performance — led by A. F. Riccius in Leipzig — did not take place until November 19, 1849, the 21st anniversary of Schubert’s death. The first American performance was conducted by Eugene Luening at the Milwaukee Academy of Music on

February 2, 1897, three days after the 100th anniversary of Schubert’s birth. This symphony runs about 30 minutes in performance. Schubert scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first performed Schubert’s Fourth Symphony in February 1963, under Robert Shaw. The Orchestra’s most recent performances were led by Franz Welser-Möst in August 2010.

About the Music A LT H O U G H M O S T L I S T E N E R S will agree that the nickname

“Tragic” only really describes the opening few minutes of this symphony, it was put there by Schubert himself. For the composer, then aged nineteen, most music was light and cheerful. Indeed, he most likely surprised himself with this unexpected burst of intensity and gloom. Yes, in the hundreds of songs he created in his teenage years there are plenty of soulful moments, occasionally even tragedy, but his youthful instrumental music and symphonies have a vital energy that rarely touches upon sorrow, let alone despair. When he composed his Symphony No. 3, in 1815, Schubert had been teaching at his father’s school for two years and was already tiring of it. Early in 1816, as he began the Fourth Symphony, he applied for a post as music teacher at a training college at Laibach (now Ljubljana in Slovenia). He included a testimonial from Salieri, one of Vienna’s leading musicians, but failed to get the post. Instead, he decided to give up teaching and went, against the advice of his father, to live in the center of Vienna with his friend Franz von Schober. He was hoping to make a living from his compositions and some private teaching. Schubert’s plan for making a livelihood proved to be difficult, and remained so for the rest of his short life. Yet nothing ever stemmed the flow of new compositions. He kept writing works, of every kind — songs, operas, chamber music, piano About the Music

35


music, and, later, in 1816, his Fifth Symphony. His first five symphonies, composed within three years, may have been performed — or at least played through — if Schubert was able to collect enough musicians together to run through them. But we have no documentation of that, and we don’t know if he ever heard them performed. They emerged after Schubert’s death in the hands of his brother, and while the Fourth found a welcome in Leipzig in 1849, the others had to wait until George Grove, founder of the famous Grove’s Dictionary of Music and Musicians, persuaded August Manns to give their first performances at concerts in the Crystal Palace in London, across the years 1873-81. These early symphonies invariably convey a sense of divine fluency, as if the music simply flowed without effort from Schubert’s pen, as indeed it must have done. There is never hesitation, and the melodies are graceful and beautifully shaped, with harmony that never jars. No wonder his music teacher at the Stadtkonvikt remarked, “He has learned everything directly from God, that Schubert lad.” THE MUSIC

In Schubert’s music, it is always fascinating to observe how closely he followed in Beethoven’s footsteps — and how freely he departed from them. By the time Schubert had come to maturity, Beethoven was unchallenged as the focal figure in Vienna’s music, already world-famous and notably eccentric and unpredictable both in his social life and his music. Schubert had almost no personal contact with him, surprisingly, but could not help learning a great deal from Beethoven’s scores, so long as he was composing sonatas, quartets, and symphonies. And, because Beethoven had already demonstrated varying ways to break the rules of classical form inherited from Haydn and Mozart, Schubert surely felt free to do so too — but the young Schubert did it in his own way, at times breaking even from Beethoven’s path. These early Schubert symphonies thus often sound Mozartian in spirit, but push out the boundaries of what was then “current practice” in new directions. The symphony’s first movement opens with an expressive Adagio introduction modeled on Haydn and Beethoven, which then leads into the movement’s main Allegro section. Anticipating some of his later, greater works, Schubert’s Fourth Symphony exhibits a new approach to the form of a first movement — which may sound too technical to some readers and listeners (so feel free to skip ahead in this reading, if you wish). Put briefly, the Allegro in a minor-key work, as here, normally offered an exposition section that moved up a third from the key’s tonic to

36

About the Music

The Cleveland Orchestra


the relative major (C minor to E-flat major), while the later recapitulation of this same material remained in the tonic throughout (C minor to C major). In Schubert’s movement, however, the exposition moves from the tonic not up to E-flat major but down to A-flat major. And, by starting the recapitulation in G minor, rather than C minor, he can then move down to E-flat, a key missing in the exposition. Yet the movement still has to end in C major, so Schubert twists the final passages further and adds a noisy coda to seal the Schubert’s early symphodeal in the right key, after these unexpected detours. Twisting from key to key was already a nies invariably convey a skill that Schubert possessed in abundance, so sense of divine fluency, as it may be said that this playful tinkering with the if the music simply flowed structures of classical music was perfectly natural without effort from to him. Nevertheless, what is admirable is that his clever shifts from key to key never distract Schubert’s pen. There is the listener from the main goal and are always never hesitation, the melhandled judiciously. Otherwise he could have odies are graceful and started in one key and freely ended in another beautifully shaped, the (a liberty not regularly taken by composers until the 20th century). harmony never jars. His The second movement offers an enchantmusic teacher remarked, ing melody, with a contrasting, more active “B” “He has learned everysection to follow. An A-B-A form would have been perfectly acceptable, but Schubert exthing directly from God.” tends it into A-B-A-B-A, simply because he has so much to say and can draw ever more interesting offspring from the original material. The scherzo and its trio in E-flat major come next, as the symphony’s third movement. Then, in the finale fourth movement, Schubert again plays teasing games with keys, but eventually arriving at the sunshine of C major, as if to eliminate any thought that this was ever supposed to be a “tragic” symphony. With so many hints of marvels to come in his later music, it is impossible not to see in this work a demonstration of a young composer’s prodigious talent already on full display.

—Hugh Macdonald © 2016

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Requiem, Opus 9 composed circa 1941-47

At a Glance

by

Maurice

DURUFLÉ born January 11, 1902 Louviers, France died June 16, 1986 Louveciennes, France

There are a number of conflicting stories about the origins of this work. It was requested through Duruflé’s publisher, perhaps by the collaborationist Vichy French government. The commission may have been for an organ work only, and the composer incorporated some music from an organ suite he was working on at the time, which featured musical themes from Gregorian chant. He expanded that use into the vocal lines, completing the work in 1947. Duruflé dedicated the score in memory of his father. The work was premiered with the orchestra and chorus of French Radio on November 2, 1947, conducted by Roger Désormière. This work runs about 45 minutes in performance. Duruflé scored it for an orchestra of 3 flutes (second and third doubling piccolo),

2 oboes (second doubling english horn), 2 clarinets and bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, cymbals, tam-tam), harp, celesta, organ, and strings, plus four-part chorus and a mezzosoprano soloist. A part for baritone soloist is also written, but can be sung by the men’s chorus instead, as it is for this weekend’s performances. The Cleveland Orchestra is performing Duruflé’s Requiem for the first time with this weekend’s concerts. The Cleveland Orchestra Chorus has presented it previously, however, in several performances with organ only. It has also been featured on concerts performed by the Cleveland Orchestra Youth Orchestra and Chorus.

About the Music M A U R I C E D U R U F L É belongs to that distinctive family of

French composers for whom playing the organ was central to their musical existence. They were, in many ways, one large related family — because, as teachers and as players, they passed on their skills and their professional jobs as organists from one generation to the next. Most of them were devout Catholics, too. With César Franck (1822-1890) as patriarch, the next generations included Tournemire, Guilmant, Widor, Gigout, and Vierne. Then came Duruflé, Alain, Langlais, Dupré, Messiaen, and others up to the present day. Perhaps the root of this flourishing school was, in fact, the great French organ-builder Aristide Cavaillé-Coll (1811-1899), whose instruments adorn many Parisian churches where these composers have played. Duruflé studied with Charles Tournemire (1870-1939) and was his assistant at the church of Ste-Clotilde, in Paris, where César Franck had once been in charge. He studied composition with Paul Dukas (who was also Messiaen’s teacher) and, from

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About the Music

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1930 until his death, he was organist at St-Étienne-du-Mont, close to the Panthéon in Paris. Like Dukas, Duruflé composed only a handful of works, and he confessed to finding composition very difficult, especially when it came to songs or piano writing. For the organ and for chorus, though, he wrote some fine music, especially the Requiem, which has easily become his best-known work and one of the most widely sung choral works of the 20th century. The key to its success lies in Duruflé's grateful and graceful writing for choral voices and in the consistent mood of penitence and mourning that colors each of its nine movements. The similarity to Gabriel Fauré’s Requiem has escaped no one, even in the requirement of mezzosoprano and baritone soloists — although Duruflé specified that the baritone solo could be sung by the choir section instead (as is true of this weekend’s Severance Hall performances). Duruflé secured a firmly devotional charDuruflé’s Requiem has acter for this work by basing the vocal lines on become his best-known plainchant, an early form of church vocal writing work and one of the most that coalesced in the 5th and 6th centuries and widely sung choral works is widely known by the more popularized term Gregorian chant (named after Pope Gregory, of the 20th century. The who advocated for a standardized set of chants key to its success lies in for church services). grateful and graceful writDuruflé had been taught plainchant as ing for choral voices and a boy, and in the choral lines of his Requiem he reproduced the stepwise movement of in the consistent mood of plainchant and its freely flowing rhythm, with penitence and mourning occasional outbursts of more modern speed, that colors each of shifting meters, and volume. Overall, the Reits nine movements. quiem largely maintains a steady pace, a modest level of declamation, and a harmonic style based on thickened chords (which often provide a comfortable bed of sound not unlike that of the organ). As worked out by the composer, the Requiem can also be played with a reduced orchestra or with organ alone. THE MUSIC

Duruflé’s wife said of him that he “had a Gregorian soul.” As a choirboy singing in Rouen Cathedral, he was enchanted by plainchant and he was always a devout Catholic. Plainchant is to be heard in every movement of the Requiem, sometimes prominently stated, sometimes woven into the musical texture. In the opening movement, for example, plainchant is heard sung by tenors and basses at their first entry, with decoration from the or-

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About the Music

The Cleveland Orchestra


Maurice Duruflé was a noted organist and teacher — and only occasionally a composer. He married one of his organ students, Marie-Madeleine Chevalier, and together they gave many organ recitals across Europe. A serious automobile accident in 1975 injured both of them and ended Maurice’s concert career. She was able to resume playing briefly, after his death in 1986.

chestra and wordless response from the sopranos and altos. Next, the sopranos have plainchant for “Te decet hymnus,” after which the opening section returns with the plainchant now in the violins and a unison line for the chorus. In the Kyrie that follows, plainchant shapes the staggered entries of each voice, and the rich contrapuntal texture continues over the plainchant stated in long notes by trumpet and trombone, in a manner familiar from the treatment of chorales in so many of Bach’s cantatas. These two movements clearly illustrate the role that plainchant plays. The music also responds to dramatic elements in the text, so in the Domine Jesu Christe, a longer movement, there is a sudden increase of speed at “Libera eas” with several strong climaxes, followed by a calm passage for the mention of the archangel Michael. This movement introduces the baritone “solo“ line for the first time. The Sanctus rises to an even bigger climax for its Hosannas, and the Pie Jesu is characterized by a serene cello solo in support of the mezzo-soprano soloist. The brass instruments return in Libera Me, with some unexpectedly angular music. “Dies illa, dies iræ” carries considerable terror, as in all Requiems, but the closing movement provides a beautifully serene end to this uniquely soothing work. —Hugh Macdonald © 2016 Severance Hall 2016-17

About the Music

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1.

Requiem music by MAURICE DURUFLÉ Introit

Requiem aeternam dona eis, Domine, et lux perpetua luceat eis. Te decet hymnus, Deus in Sion, et tibi reddetur votum in Jerusalem. Exaudi orationem meam, ad te omnis caro veniet.

2.

Grant them eternal rest, Lord, and let perpetual light shine upon them. You are praised, God in Zion, and to you vows are made in Jerusalem. Hear my prayer, to you all flesh will come.

Kyrie

Kyrie eleison. Christe eleison.

3.

Offertory

4.

Sanctus

Lord, have mercy. Christ, have mercy.

Domine Jesu Christe, Rex gloriae, libera animasomnium fidelium defunctorum de poenis inferni, et de profundo lacu. Libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum. Sed signifer sanctus Michael repraesentet eas in lucem sanctam, quam olim Abrahae promisisti, et semini ejus. Hostias et preces tibi, Domine, laudis offerimus. Tu suscipe pro animabus illis, quarum hodie memoriam facimus. Fac eas, Domine, de morte transire ad vitam, quam olim Abrahae promisisti et semini ejus.

Sanctus Dominus Deus Sabaoth. Pleni sunt coeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine domini.

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Lord Jesus Christ, King of glory, liberate the souls of the departed from the pains of hell and from the lowest pit. Deliver them from the lion’s mouth, do not let the abyss swallow them up, do not let them fall into darkness. But let Michael, the holy standard-bearer, bring them into the holy light, as you once promised to Abraham. and to his family for generations Sacrifices and prayers to you, Lord, we offer with praise. Accept them on behalf of the souls of those whom we commemorate today, make them, o Lord, to pass from death to life, as you once promised to Abraham and his children for generations.

Holy, holy, holy, Lord God of hosts. Heaven and earth are full of your glory. Hosanna in the highest. Blessed are they who come in the name of the Lord. Sung Text — Requiem

The Cleveland Orchestra


5.

Pie Jesu — SOPRANO SOLOIST

6.

Agnus Dei

7.

Lux aeterna

Pie Jesu Domine, dona eis requiem sempiternam.

Agnus Dei, qui tollis peccata mundi, dona eis requiem sempiternam.

Merciful Lord Jesus, grant them everlasting rest.

Lamb of God, who takes away the sins of the world, grant them eternal rest.

Lux aeterna luceat eis, Domine, cum sanctis tuis in aeternum, quia pius es. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

May eternal light shine on them, Lord, with your saints forever, for you are merciful. Grant them eternal rest, and let perpetual light shine upon them.

Libera me Libera me, Domine, de morte aeterna, in die illa tremenda, quando coeli movendi sunt et terra, dum veneris judicare saeculum per ignem. Tremens factus sum ego, et timeo, dum discussio venerit, atque ventura ira, quando coeli movendi sunt et terra.

Deliver me, Lord, from eternal death, on that dreadful day, when heaven and earth shall move, when you come to judge the world through fire. I am trembling and full of fear, at the judgement that shall come, and also at the coming of your wrath, when heaven and earth shall move.

Dies illa, dies irae, calamitatis et miseriae, dies magna et amara valde. Requiem aeternam dona eis, Domine, et lux perpetua luceat eis.

That day, day of wrath, calamity and misery, that great and exceedingly bitter day. Grant them eternal rest, Lord, and let perpetual light shine upon them.

8.

9.

In Paradisum

In Paradisum deducant te Angeli, in tuo adventu suscipiant te martyres, et perducant te in civitatem sanctam, Jerusalem. Chorus Angelorum te suscipiat, et cum Lazaro quondam paupere aeternam habeas requiem. Severance Hall 2016-17

May the Angels lead you into Paradise, at your coming may the martyrs receive you and lead you into the holy city, Jerusalem. May the chorus of Angels receive you, and with Lazarus, once a pauper, may you have eternal rest.

Sung Text — Requiem

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Matthew Halls British conductor Matthew Halls first came to prominence as a harpsichordist, organist, and early music conductor. Since 2013, he has served as artistic director of the Oregon Bach Festival, while also leading performances with major symphony orchestras and opera companies as a guest conductor. He made his Cleveland Orchestra debut in August 2014, with a return in April 2015. Educated at Oxford University, Mr. Halls subsequently taught there for five years. Since that time, he has served as artistic director of the King’s Consort and the Retrospect Ensemble. In 2011, he appeared for the first time at the Oregon Bach Festival. In 2015, the Festival launched the Berwick Academy for Historically Informed Performance, under Halls’s leadership. Matthew Halls’s recent and future conducting engagements include performances with the Cincinnati Symphony Orchestra, Houston Symphony, Indianapolis Symphony Orchestra, Los Angeles Chamber Orchestra, Milwaukee Symphony Orchestra, Ottawa’s National Arts Centre Orchestra, Philadelphia Orchestra, Seattle Symphony, Toronto Symphony Orchestra, and Washington D.C.’s National Symphony Orchestra. In Europe, his schedule includes concerts with the BBC Scottish Symphony, Bergen Philharmonic, Bremen Philharmonic, Concentus Musicus Wien, Frankfurt Radio Symphony Orchestra, Iceland Symphony, Musica Viva Moscow, Royal Northern Sinfonia, Royal Philharmonic Orchestra, RTE National Symphony,

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Tonkünstler Orchestra NÖ, and the Vienna Symphony. Mr. Halls makes regular appearances with the Salzburg Mozarteum Orchestra, in Austria and on tour, and this season he is appearing at the Mostly Mozart Festival. In addition, he has led the Adelaide, Auckland, Melbourne, Tasmanian, and West Australian symphony orchestras. Matthew Halls’s operatic repertoire features works from the Renaissance, Baroque, and Classical eras, and also extends to later compositions, especially those by Benjamin Britten. He has led operas at the Aalto-Musiktheater Essen, Bavarian State Opera, Central City Opera Colorado, Handelfestspiele Halle, Netherlands Opera, and the Salzburg Landestheater. For Linn Records, Matthew Halls has recorded a set of four of Bach’s harpsichord concertos conducted from the keyboard, and Bach’s Easter and Ascension oratorios, as well as award-winning albums of Purcell’s Sonatas in Three and Four Parts. His recording of Handel’s Parnasso in Festa on Hyperion received the Stanley Sadie Handel Recording Prize.

Guest Conductor

The Cleveland Orchestra


Sasha Cooke Acclaimed American mezzo-soprano Sasha Cooke is sought after by the world’s leading orchestras, opera companies, and chamber ensembles for her versatile repertoire and commitment to new music. She made her Cleveland Orchestra debut in October 2012. Born in California and raised in Texas, Sasha Cooke is a graduate of Rice University and the Juilliard School. She also attended the young artists’ programs of the Aspen Music Festival, Central City Opera, Marlboro Music Festival, Metropolitan Opera, Music Academy of the West, Ravinia Festival’s Steans Institute, and the Wolf Trap Foundation. In 2010, Ms. Cooke placed first in the Gerda Lissner Competition and José Iturbi International Music Competition, and received the Kennedy Center’s Marian Anderson Award. She received firsts in the 2007 Sun Valley Opera Vocal, 2007 Young Concert Artists International, and the 2006 Bach Vocal competitions. Sasha Cooke has sung with the orchestras of Baltimore, Boston, Chicago, Colorado, Columbus, Dallas, Detroit, Houston, Kansas City, Los Angeles, Milwaukee, Nashville, New York, Philadelphia, Pittsburgh, San Francisco, St. Paul, San Diego, Seattle, and Tucson. She has also appeared with the Deutsches SymphonieOrchester Berlin, Hong Kong Philharmonic, Melbourne Symphony Orchestra, New Zealand Symphony, Orchestre de Lyon, Shanghai Symphony, Singapore Sym-

Severance Hall 2016-17

Guest Soloist

phony Orchestra, and the Tokyo Symphony. Her schedule includes performances at the Aspen Music, Caramoor, Lucerne, Mostly Mozart, RoundTop, and Santa Fe Chamber Music festivals, as well as with the Chamber Music Society of Lincoln Center, New York Festival of Song, and the Mirò Quartet. Ms. Cooke appears in recital in London, New York, Washington D.C., and throughout the United States. In new music, Sasha Cooke has sung the world premieres of Mohammed Fairouz’s Symphony No. 3, Mark Grey’s Frankenstein, Marc Neikrug’s Canta-Concerto, and Augusta Read Thomas’s Earth Echoes. She was acclaimed for her performance as Kitty Oppenheimer in the Metropolitan Opera premiere of John Adams’s Doctor Atomic, the DVD of which was given the 2012 Grammy Award for best opera recording. Her recent operatic engagements include performances with Chicago Opera Theater, Dallas Opera, English National Opera, Houston Grand Opera, Opéra National de Bordeaux, San Francisco Opera, and the Seattle Opera.

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

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

Lisa Wong

Assistant Director of Choruses

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season, helping to prepare the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. With the 2012-13 season, she took on the added position of director of the Cleveland Orchestra Youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is an associate professor of music at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting, choral literature, and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Recent accolades have included work at Kenyatta University in Nairobi, Kenya, as a part of Tunaweza Kimuziki, and as a conductor for “Conducting 21C: Musical Leadership for a New Century” in Stockholm, Sweden. Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

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Cleveland Orchestra Chorus

The Cleveland Orchestra


Cleveland Orchestra Chorus Robert Porco, Director

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

ALTOS

TENORS

BASSES

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

Alexandria Albainy Emily Austin Laura Avdey Debbie Bates Dawn Bodnar Julie A. Cajigas Lydia M Chamberlin Brianna Clifford Barbara J. Clugh Carolyn L. Dessin Marilyn Eppich Amanda Evans Haley Gabriel Kathy Jo Gutgsell Ann Marie Hardulak Betty Huber Karen Hunt Sarah Hutchins Kate Klonowski Lucia Leszczuk Diana Martin Danielle S. McDonald Karla McMullen Peggy A. Norman Marta Perez-Stable Alanna M. Shadrake Ina Stanek-Michaelis Rachel Thibo Martha Cochran Truby Gina L. Ventre Laure Wasserbauer Maggie Fairman Williams Leah Wilson Debra Yasinow Lynne Leutenberg Yulish

Vincent L. Briley Gerry C. Burdick Brent Chamberlin David Ciucevich Manuel Gomez Corey Hill * Daniel M. Katz Peter Kvidera Tod Lawrence Rohan Mandelia James Newby Tremaine Oatman Ryan Pennington Matthew Rizer Ted Rodenborn John Sabol Lee Scantlebury James Storry Charles Tobias William Venable Michael J. Ward

Christopher D. Aldrich Tyler Allen Brian Bailey Jack Blazey Sean Cahill Kevin Calavan Carlos Castells Peter B. Clausen Nick Connavino Christopher Dewald Jeffrey Duber Matthew Englehart Thomas E. Evans Richard Falkenberg Nicolas Gutierrez Joshua Jones Jason Levy Tim Manning Scott Markov Tyler Mason Preston Masters * Roger Mennell Robert Mitchell Stephen Mitchell Tom Moormann Keith Norman Daniel Parsley Francisco X. Prado John Riehl Steven Ross James B. Snell Stephen Stavnicky Patrick Wickliffe

* Shari Bierman Singer Fellow

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Jill Harbaugh, Manager of Choruses

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Cleveland Orchestra Chorus

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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.

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

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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.

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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. For more details and information, visit www.clevelandorchestra.com/membersclub. 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. Jessica Lee (violin) and Kenneth Rock, whose daughter, Corah Jinah Rock, was born on October 29.

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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

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CLEVELAND ORCHESTRA

The Cleveland Orchestra


orchestra news Newest Cleveland Orchestra album with Mitsuko Uchida to be released in October The Cleveland Orchestra’s newest album of Mozart concertos with pianist Mitsuko Uchida was 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

Cleveland Orchestra offers holiday gift ideas, including gift certificates and more . . . Music and the holidays are a perfect match. The Cleveland Orchestra Store offers a host of gift ideas for the holiday season, including recordings and d Cleveland Orchestra logo apparel. Visit the Store at intermission or following today’s concert. In addition, Cleveland Orchestra Gift Certificates and Blossom Lawn Ticket Books for the Orchestra’s ’s 2017 Blossom Music Festival are available through the Severance Hall Ticket Office by calling 216-231-1111 or 800-686-1141, or online at clevelandorchestra.com.

WINTER CHAMBER MUSIC FESTIVAL Cleveland Institute of Music presents its Winter Chamber Music Festival: December 1 – 14

Enjoy the passion and energy of CIM chamber music! Concerts feature strings, brass, piano, woodwinds and percussion student ensembles, plus performances by our distinguished faculty and celebrated guest artists. For complete festival details: cim.edu/calendar

cim.edu Severance Hall 2016-17

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Musicians Emeritus of

T H E

C L E V E L A N D

R

E

T

I

R

E

D

M

U

O R C H E S T R A

S

I

C

I

A

N

S

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

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

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

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THE

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

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

Severance Hall

Friday evening, November 25, 2016, at 8:00 p.m. Saturday evening, November 26, 2016, at 8:00 p.m. Sunday afternoon, November 27, 2016, at 3:00 p.m.

2 O 1 6 -1 7

Jaap van Zweden, conductor BENJAMIN BRITTEN (1913-1976)

WOLFGANG AMADÈ MOZART (1756-1791)

16 17 S E A S O N

Sinfonia da Requiem, Opus 20 1. Lacrymosa 2. Dies Irae 3. Requiem aeternam

Piano Concerto No. 23 in A major, K488 1. Allegro 2. Adagio 3. Allegro assai DANIIL TRIFONOV, piano

INTER MISSION LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 5 in C minor, Opus 67 1. 2. 3. 4.

Allegro con brio Andante con moto Allegro — Allegro

These concerts are sponsored by Squire Patton Boggs (US) LLP, a Cleveland Orchestra Partner in Excellence. Jaap van Zweden’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from Mrs. Paul D. Wurzburger. Daniil Trifonov’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mr. and Mrs. Michael Sherwin.

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Concert Program — Week 7

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November 25, 26, 27

16 17

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

2016-17

Severance Restaurant Reservations for pre-concert dining suggested:

216-231-7373 or via opentable.com

Concert Preview

PREVIEW

in Reinberger Chamber Hall

“The Legacy of Beethoven’s Fifth”

BEGINS ONE HOUR BEFORE CONCERT

Concert begins: FRI 8:00 SAT 8:00 SUN 3:00

S E A S O N

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

BRITTEN Sinfonia da Requiem . . . . . . . . . . . . . . . . . . . . . . . Page 61 (20 minutes)

MOZART Piano Concerto No. 23, K488 . . . . . . . . . . . . . . . Page 65 (25 minutes)

INTERMISSION (20 minutes)

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

BEETHOVEN Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 69 (35 minutes)

Concert ends: (approx.)

FRI 9:45 SAT 9:45 SUN 4:45

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

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This Week's Concerts

The Cleveland Orchestra


INTRODUCING THE CONCERT

Solace, Artistry & Fate

T H I S W E E K E N D ' S C O N C E R T S offer three musical works from three

different centuries. The three composers were immensely gifted musicians, not just in writing music but also in performing it — although fate intervened for two of them, causing Mozart’s early death at age 35 and sending Beethoven into deafness that ended his performing career, but not his creativity or musical passions. The concerts open with an early work by the 20th-century British composer Benjamin Britten. He wrote it while living in the United States in 1940, on a commission from the government of Japan (not yet at war with the U.S. but causing much trouble in Asia against its neighbors). In his own mind, Britten was writing an instrumental requiem to honor his parents, who had died in the previous half decade. The Japanese rejected the resulting work as too Christian and non-celebratory for their purposes — but how wonderfully well it works as a piece for the concert hall. Next comes one of Mozart’s masterful piano concertos. Here we are offered irresistable beauty and grace, filled with joy and passion. Mozart’s musical imagination enabled him to create a series of great concertos in the 1780s for his own purpose as a star pianist — and for the delight of audiences ever since. Daniil Trifonov is this week’s guest soloist. To end the concert, guest conductor Jaap van Zweden leads one of the most famous works of music ever written, Beethoven’s great Fifth Symphony. The opening motto’s simplicity is memorably sparse — but was clearly an invitation to Beethoven’s full genius and artistry as a composer. Whether it really was “fate knocking on the door” (something the composer probably did not say), this work remains an intense journey from darkness to light — and a reminder of great music’s power to enrich our lives and imaginations. —Eric Sellen

LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Saturday, January 14, 2017, at 8:00 p.m. and on Sunday, March 12, at 4:00 p.m.

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Introducing the Concerts

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Sinfonia da Requiem composed 1940

At a Glance

by

Benjamin

BRITTEN born November 22, 1913 Lowestoft Suffolk, England died December 4, 1976 Aldeburgh Suffolk, England

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Britten composed his Sinfonia da Requiem between April and June 1940, on a commission from the Japanese government for a work to help commemorate the 2600th anniversary of the Japanese Empire. After paying Britten, Japan rejected the music, however. The work’s first performance took place in New York on March 29, 1941, with John Barbirolli leading the New York Philharmonic. This work runs about 20 minutes

in performance. Britten scored it for 3 flutes (doubling piccolo and bass flute), 2 oboes and english horn, 2 clarinets and bass clarinet, 2 bassoons and contrabassoon, alto saxophone, 6 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, cymbals, bass drum, tambourine, whip, xylophone), 2 harps, piano, and strings. The Cleveland Orchestra has performed this work on five concerts previously, all during the 1976-77 season.

About the Music I N T H E Y E A R 1 9 6 1 , as a commemoration of two World Wars

and specifically for the consecration of the rebuilt cathedral in Coventry, England, Benjamin Britten composed his War Requiem. This great work for chorus, orchestra, and soloist is now valued, with his opera Peter Grimes, as perhaps Britten’s most enduring masterpiece. The composer was quite mindful of the fact that, twenty years earlier, he had composed a different kind of Requiem, this time for orchestra alone, which left many an echo in the composition of the later, larger work. As a lifelong pacifist, Britten felt the tragedy of war particularly deeply, and his feelings can be heard with incredible clarity in both works. By an irony, as his friend the composer Lennox Berkeley observed, the Sinfonia da Requiem was commissioned by the Japanese government in 1939 in order to commemorate the 2600th anniversary of its empire. At the time, neither Britain nor America, where Britten was living, was at war with Japan, so the composer found it hard to refuse, being a twenty-six-year-old far from home and hard-up for money. He and his lifelong partner Peter Pears had come to America that year, partly because their friend W. H. Auden was there and partly to escape the darkening situation in Europe. Britten felt at home in America and liked the sense of openness and freedom he saw all around him, but as the months went by he felt the tug of his homeland ever more strongly. “For the About the Music

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moment,” he wrote to his sister in April 1940, “I am stuck here. I find myself with the proposition of writing a Symphony in about three weeks!” He was keen to compose something in memory of his parents. His father, a dentist, had died in 1934 and his mother in 1937, so the idea of a non-choral Requiem in the form of a short symphony fitted both the commission and his own sentiments. The three-movement work was quickly finished — and quickly paid for. And, no doubt Britten would have gone to Tokyo that autumn, as planned, if the Japanese committee had not found the music unsuitable because it did not “express felicitations for the 2600th anniversary of our country,” and was “purely a religious music of Christian nature.” Fortunately for his sake, Britten was thus spared the embarrassment of contributing to a concert in Japan that turned out to be a fascist parade that excluded Jews. THE MUSIC

Despite being highly productive since his early teens, Britten had composed very little for orchestra alone. His masterly writing in this work for a large orchestra is thus all the more remarkable, and because he intended that the Sinfonia da Requiem express anti-war feelings, he used these resources to evoke the horror of violence — not

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About the Music

The Cleveland Orchestra


just with the thunderous drumbeat that opens the work, but also, even more powerfully, in the hellish chaos of the central Dies iræ movement. The first movement, Lacrymosa, is a lament with a heaving phrase that drags itself up from the depths against constant dissonances. The alto saxophone presents a contrasting theme built on yawning intervals, while the dragging rhythms persist to the end. The Dies Irae steps in almost unperceived with fluttering flutes and galloping strings. Brass and percussion come to the fore like the devils that pursue sinners in medieval paintings, and once again the saxophone provides not altogether comfortable contrast. With the return of the galloping strings, all hell is let loose. As if exhausted by its own excess, the orchestra comes almost to a halt, and with a sense of blessed relief three flutes give out the calm theme of the Requiem æternam. The remainder of the symphony is a solemn prayer for the dead that was to be the germ of the great War Requiem, composed when the catastrophe that Britten had dreaded in 1940 was a recent bitter memory. —Hugh Macdonald © 2016 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

Celebrate the season with holiday favorites at the BW Conservatory of Music CONSERVATORY HOLIDAY CONCERT* *A selection of concerts are LIVE STREAMED. For more information, visit bw.edu/academics/ conservatory/events/ livestream

Sunday, December 4 at 3:00 p.m.

MEN’S CHORUS HOLIDAY CONCERT

WITH MR. SUN’S ECHO Saturday, December 3 at 3:00 p.m. and 6:00 p.m. Holiday concert tickets: bw.edu/tickets or 440-826-8070 More Conservatory events: bw.edu/events/cultural

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About the Music

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Piano Concerto No. 23 in A major, K488 composed 1786

At a Glance Mozart completed his A-major concerto (today known as No. 23 or by its Köchel number as K488) on March 2, 1786. He most likely premiered the concerto that month in Vienna. K488 runs about 25 minutes in performance. Mozart scored it for flute, 2 clarinets, 2 bassoons, 2 horns,

by

Wolfgang Amadè

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

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and strings, plus the solo piano. The Cleveland Orchestra first performed Mozart’s Piano Concerto No. 23 in March 1929, under the direction of Nikolai Sokoloff and with Myra Hess as soloist. Mitsuko Uchida played the solo part and conducted during the most recent performances, in 2010.

About the Music M O Z A R T H A D A W A Y with the piano concerto — like no

other composer before or after him. Building upon the achievements of two of J. S. Bach’s sons, Carl Philipp Emanuel and Johann Christian, Mozart gave the word “concerto” a whole new meaning — and set up expectations not just in the minds of his own audiences, but for generations to come. He continued the idea of alternating orchestral and solo passages, and also kept a number of other structural elements (how each movement is constructed). But then he completely expanded on the earlier form, making it both more complex and more flexible. In his hands, the piano concerto became capable of expressing the most diverse characters and feelings, from grandiose and festive to lyrical and intimate, with innumerable shadings in between. For a series of years in the 1780s, Mozart wrote several concertos each season, which he then premiered to great acclaim. What we now know as Concerto No. 23 (the group was cataloged and numbered decades after Mozart’s death) was written 1786, the year Mozart completed his opera The Marriage of Figaro. The first movement of the piano concerto K488 does not open with a fanfare or any kind of powerful “curtain-raising” motif, as many other concertos do. It begins instead with a gentle melody, played quietly (piano), setting the stage for a movement with a unique blend of moods. Here we experience a quiet serenity with occasional touches of wistfulness. In the orchestration, one notes the absence of oboes and the presence of clarinets, resulting in a special, darker-hued sound. Here the strings begin a new theme that is immediately embellished by the piano and elaborated on in many variations by the orchestra.

About the Music

65


For many of Mozart’s concertos, we do not have a solo cadenza written in Mozart’s own hand. Most often, he left this part of the score blank and improvised in performance. By not writing down his own ideas for the cadenza, he kept competing artists from performing one of his concertos with the composer’s genuine voice. For the first movement of the piano concerto K488, however, an original cadenza by Mozart has survived. This cadenza tells us a great deal about Mozart the improviser. Besides virtuosic passages, it also contains expressive, singing music, and expands upon the concerto’s thematic material in simple yet ingenious ways. The emotional high point in Mozart’s mature Mozart first began piano concertos is often the second movement. writing concertos built The “Adagio” movement of K488, however, is extraordinary even among Mozart’s concertos. Its on structural frameworks dominating sentiment in many ways presages that he had inherited. musical Romanticism. The melody moves in the Then, across twenty-some quiet rhythm of the siciliano dance, but contains piano concertos, he commany expressive wide leaps, emphasizing chromatic half-steps and the melancholy-sounding pletely expanded on “Neapolitan” sixth chord. The key of F-sharp that earlier form, makminor is extremely rare in Mozart’s music — in ing it both more complex fact, this is the only time it is the main key of a and more flexible. In his movement in the composer’s entire catalog of works. The unusual quality of the key gives the hands, the piano concerto music a certain heightened poignancy that is became capable of exeasier to feel than to describe. pressing the most diverse The third-movement finale, marked “Alcharacters and feelings, legro assai,” is a playful romp with a multitude of spirited melodies. It is an extended “sonatafrom grandiose and fesrondo,” meaning that a recurrent first theme altive to lyrical and intiternates with a number of episodes (rondo), but mate, with innumerable with the layering of sonata form onto this practice, shadings in between. so that one of the episodes also returns, just as a second theme would do in a sonata recapitulation. The fusion of these two forms results in a structure that allows us to enjoy the wonderful melodies several times, while the alternations and transformations of the melodies afford a seemingly inexhaustible diversity. Mozart was well aware of the exceptional richness of this concerto. It was one of a select group of works he sent to Prince Fürstenberg in Donaueschingen. In an accompanying letter to

66

About the Music

The Cleveland Orchestra


Sebastian Winter, a former servant of the Mozart family who now worked for the Prince, the composer wrote that these were “compositions which I keep for myself or for a small circle of music-lovers and connoisseurs (who promise not to let them out of their hands).” He wanted the Prince to be assured that these compositions had not been circulating widely; and he did not hide his hopes that His Highness might also commission symphonies, concertos, and chamber works on a regular basis, for performances by the Prince’s own orchestra. Mozart received a total of 143½ florins for the scores he sent (four symphonies, five concertos, and three chamber works) — which paid for about three months’ rent at his apartment on the Schulerstrasse in Vienna. But the additional commissions Mozart was hoping for never materialized. —Peter Laki

ABOVE —

A favorite Mozart family portrait from 1780-81. Wolfgang and his sister, Nannerl, are sitting at the fortepiano, father Leopold stands with his violin, and mother Anna (who died in 1778) is represented in the portrait onthe thewall. wall. portait on

Copyright © Musical Arts Association

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

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About the Music

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Symphony No. 5 in C minor, Opus 67 composed 1804-08

At a Glance

by

Ludwig van

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

Severance Hall 2016-17

Beethoven began sketching this symphony as early as 1804, and completed it during the first months of 1808. The first performance took place on December 22, 1808, at the Theater-an-der-Wien in Vienna, at a legendary marathon concert led by the composer and devoted entirely to his works (the program also included the premiere of the Sixth Symphony, Fourth Piano Concerto, and Choral Fantasy, among other works — all in an unheated hall, and seriously under-rehearsed). This symphony runs about 35

minutes in performance. Beethoven scored it for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. The piccolo, contrabassoon, and trombones (which Beethoven had not used in his first four symphonies) play only in the fourth movement. The Cleveland Orchestra first played Beethoven’s Fifth Symphony during its inaugural season, in April 1919. It has been performed frequently ever since — on tour, at Blossom, and here at Severance Hall.

About the Music H O W W O N D E R F U L that familiarity does not always breed con-

tempt. And that some pieces, such as Beethoven’s Fifth — the most famous of all symphonies — still “work” in performance, two hundred years after its premiere in an unheated concert hall one cold night in Vienna in December 1808. Audiences of all kinds, occasional and frequent attenders alike, still enjoy its wonders — and even those few who arrive with trepidation at hearing an old warhorse one more time are inevitably drawn to the music’s drama, skill, and rousing good ending. Beethoven began this symphony in 1804, soon after completing his Third, which had been given the nickname “Eroica” (meaning “heroic”). That work, which contemporary audiences felt was much too long (over 45 minutes) for a symphony, had been created just after one of the composer’s most anguishing life experiences, as he brought himself to terms with the increasing deafness that would eventually rob him of all hearing. After sketching the first two movements of the new symphony, Beethoven set it aside for over two years to write his opera Fidelio and also the lively and untroubled Fourth Symphony. He then worked diligently on the Fifth throughout 1807, while simultaneously writing another new symphony, the Sixth, given the nickname “Pastoral.” This kind of multi-tasking at several compositions at once was very normal practice for Beethoven About the Music

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throughout his life, with the ideas for one work helping to inspire or contrast with another — or sometimes with ideas originally intended for one slipping across into a different work entirely. Throughout this Middle Period of Beethoven’s life, the composer was routinely strapped for funds and, in 1808, he developed plans for a special evening “Akademie” concert to raise money for himself. For December 22, he was able to secure performers and the Theater-an-der-Wien (for a time, he lived in an apartment upstairs in this same theater). Rehearsals would be squeezed in on the previous days. Beethoven, perhaps sensing the difficulty of finding any future workable dates, kept revising the evening’s program to Whether you choose to include more and more and ever more music. listen to this work with The concert lasted over four hours and feathe idea of “fate knocking tured the world premieres of two symphonies (the Sixth and Fifth, in that order), the Fourth on my door” (a “quote” Piano Concerto (with Beethoven as soloist), and that Beethoven probably the “Choral” Fantasy (written as a grand finale to never said), or as a jourtake advantage of all the assembled performing ney from darkness to light forces at once, including orchestra, vocal soloists, and with Beethoven as piano soloist). Unfortu(from ignorance to ennately, the weather that night was colder than lightenment), or merely usual and the building was unheated. So that, as a well-crafted symalthough no one attending could possibly have phony, this piece in percomplained about not getting their money’s worth of music, the conditions for comfortable formance is sure to take listening and performing deteriorated as the you on a worthwhile — hours passed. yet familiar — journey. The Fifth Symphony was second-to-last on this marathon program, just before the “Choral” Fantasy. Even with the wintry weather, audience fatigue, and with less than adequate rehearsal preparations, the evening’s works made solid impressions. From that cold start, the Fifth Symphony’s reputation only increased, and by the end of the 19th century it had attained its current status as classical superstar. World War II’s use of the opening four-note theme (matching Morse code’s dot-dot-dotdash for “V”) to signify Victory only pushed it further into public consciousness. Whether you choose to listen to this work with the idea of “fate knocking on my door” (something Beethoven probably never said), or as a journey from darkness to light (from mystery

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About the Music

The Cleveland Orchestra


THEATER AN DER WIEN — This concert hall in Vienna, built in 1801, is where Beethoven's opera Fidelio was first presented — and where Beethoven lived for a time. Beethoven's Fifth and Sixth symphonies also received their premieres here in 1808.

to certainty, from ignorance to enlightenment), or merely as a well-crafted symphony that ably blends variety with a musical pathway that keeps you interested and leaves you satisfied, this piece in performance is sure to take you on a worthwhile — and at times familiar — journey. The four movements are concise and focused. The first movement is built almost entirely around the four-note opening motif — stated again and again, as foreground, then background, upside down and forward again, in unison and harmonized. The second movement takes a graceful line and works it through various guises, almost always with a sense of expectancy underneath and bursting forth toward a stronger and stronger presence. The third movement continues in this confident vein, only to alternate between quiet uncertainty and forthright declamations. Near the end, a section of quietly forbidding darkness leads directly into the bright sunshine and C major of the last movement. Here, Beethoven revels in the major key, then develops a strong musical idea through to an unstoppable finish, repeated and extended, emphatic and . . . triumphant. —Eric Sellen © 2016 Eric Sellen serves as program book editor for The Cleveland Orchestra.

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About the Music

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Jaap van Zweden Dutch conductor Jaap van Zweden is serving in his final year as music director of the Dallas Symphony Orchestra. His appointment as the next music director of the New York Philharmonic was announced earlier this year. He officially takes up his role as music director designate for the 2017-18 season, and then steps in as music director in 2018-19. He made his Cleveland Orchestra debut in January 2010 and most recently appeared here in November 2012. Jaap van Zweden was born in 1960 in Amsterdam. He began violin studies at the Amsterdam Conservatory and at age 16 entered the Juilliard School to work with Dorothy DeLay. At 19, he became the youngest concertmaster of Amsterdam's Royal Concertgebouw Orchestra. After 16 years as a professional violinist, he changed his focus in 1997, having pursued conducting studies in the Netherlands. Mr. van Zweden became music director of the Dallas Symphony Orchestra in 2008. Following the end of his tenure, he will take the title conductor laureate in 2017-18. He became music director of the Hong Kong Philharmonic Orchestra in 2012, and is leading Hong Kong’s first performances of Wagner’s four-opera Ring of the Nibelung cycle, which is being recorded by Naxos. Mr. van Zweden earlier served as chief conductor of the Netherlands Symphony Orchestra, Residentie Orchestra of the Hague, and the Royal Flemish Orchestra. He was also chief conductor and artistic director of the Netherlands Radio Philharmonic and Chamber orchestras. He was named Musical America’s “Conductor of the Year” in 2012.

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As a guest conductor, Jaap van Zweden has led orchestras across Europe, North America, and Asia, including those of Amsterdam, Berlin, Boston, Chicago, Czech Republic, London, Los Angeles, Munich, New York, Oslo, Paris, Philadelphia, San Francisco, and Vienna, along with Tokyo’s NHK Symphony Orchestra and Zurich’s Tonhalle Orchestra. His operatic work has included productions with the National Reisopera and Netherlands Opera, in repertoire by Barber, Beethoven, Haydn, Puccini, Verdi, and Wagner. Jaap van Zweden’s discography includes the complete Beethoven and Brahms symphonies, as well as works by Mahler, Mozart, and Stravinsky. For the Octavia label, he has conducted Bruckner symphonies with the Netherlands Radio Philharmonic. Mr. van Zweden has recorded performances of Wagner’s Lohengrin, Die Meistersinger, and Parsifal, with the latter earning the 2012 Edison Award for best opera recording. For the Dallas Symphony’s own label, his artistry has included releases of several symphonies by Beethoven, Dvořák, Mahler, and Tchaikovsky, and the world premiere recording of Steven Stucky’s August 4, 1964.

Guest Conductor

The Cleveland Orchestra


Daniil Trifonov At the age of 20, Russian-born pianist Daniil Trifonov won First Prize in the Arthur Rubinstein International Piano Master Competition and First Prize, Gold Medal, and Grand Prix in the International Tchaikovsky Competition in 2011. He made his Cleveland Orchestra debut in August 2012 and most recent appearance here in March 2015. Born in Nizhny Novgorod to musician parents, Daniil Trifonov began studying music at age five. He subsequently studied at Moscow’s Gnesin School of Music with Tatiana Zelikman and, in 2009, became a student of Sergei Babayan at the Cleveland Institute of Music. Mr. Trifonov also studied composition and has written piano, chamber, and orchestral music. Among his other honors are prizes at the International Scriabin Competition and San Marino International Piano Competition in 2008, a Guzik Foundation Career Grant in 2009, a bronze medal at the 2010 Chopin Competition, and the Franco Abbiati Prize for Best Instrumental Soloist in 2013. Mr. Trifonov has performed with the orchestras of Atlanta, Boston, Chicago, Dallas, Los Angeles, New York, Philadelphia, San Francisco, Seattle, and Toronto. Other engagements have included concerts with the Czech Philharmonic, Israel Philharmonic, London Symphony Orchestra, Mariinsky Orchestra, Philharmonia Orchestra, Royal Philharmonic Orchestra, Russian National Orchestra, Vienna Philharmonic Orchestra, and the Warsaw Phil-

Severance Hall 2016-17

Guest Soloist

harmonic Orchestra. Daniil Trifonov has appeared at the festivals of Edinburgh, Grafenegg, Kremerata, Lockenhaus, Montreux, La Roque d’Anthéron, Ruhr, Tivoli, and Verbier, as well as in recital in Amsterdam, Berlin, Boston, Brazil, Israel, London, Lucerne, Munich, New York, Paris, Poland, Russia, Seoul, Tokyo, Vienna, Washington D.C., and Zurich. As an exclusive Deutsche Grammophon artist, Daniil Trifonov’s first release was Trifonov: The Carnegie Recital, a live recording of his 2013 Carnegie Hall debut. His next album features Rachmaninoff’s Rhapsody on a Theme of Paganini with the Philadelphia Orchestra. Mr. Trifonov’s discography also includes a Chopin album for Decca and a recording of Tchaikovsky’s First Piano Concerto with the Mariinsky Orchestra on the ensemble’s own label. Daniil Trifonov has also been a featured guest on a variety of radio and television concert broadcasts in Great Britain, Poland, Russia, and the United States. For more information, please visit www.daniiltrifonov.com.

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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) Women’s Committee of The Cleveland Orchestra

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

George Szell Society

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

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

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

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

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Individual Annual Support

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

Mr. and Mrs. William W. Baker Marsha and Brian Bilzin (Miami) Mr. and Mrs. Charles P. Bolton In dedication to Donald Carlin (Miami) Judith and George W. Diehl JoAnn and Robert Glick Mr. Loren W. Hershey Mrs. Marguerite B. Humphrey Mr. and Mrs. Donald M. Jack, Jr. Junior Committee of The Cleveland Orchestra Thomas E Lauria (Miami) Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan Mrs. Jane B. Nord William J. and Katherine T. O’Neill Mr. and Mrs. James A. Ratner Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Mr. Larry J. Santon Anonymous (2)

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

Gay Cull Addicott Randall and Virginia Barbato Laurel Blossom Mr. Yuval Brisker Jill and Paul Clark Mr. and Mrs. Matthew V. Crawford Mary Jo Eaton (Miami) Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami) Jeffrey and Susan Feldman (Miami) Hector D. Fortun (Miami) Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Cherie and Michael Joblove (Miami) Allan V. Johnson Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Mr. and Mrs. Moshe Meidar (Miami) The Miller Family Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Kim Sherwin William I.* and Marjorie B. Shorrock Mr. and Mrs. Donald Stelling (Europe) Mrs. Jean H. Taber Rick, Margarita, and Steven Tonkinson (Miami) Tom and Shirley Waltermire Anonymous INDIVIDUAL GIFTS OF $15,000 TO $19,999

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

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

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

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

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

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

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

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Individual Annual Support

The Cleveland Orchestra


CREATE YOUR JEWISH LEGACY

Caring for those in need never goes out of style. Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values have always inspired us to act. Those same values teach us to care for the next generation. By making a legacy gift, you leave your children and grandchildren a precious inheritance and a lasting testimony to your values. Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a confidential conversation at 216-593-2805 or cwolf@jcfcleve.org.

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

Create Your Jewish Legacy

www.jewishcleveland.org


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

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

Thomas H. and Virginia J. Horner Fund Joan and Leonard Horvitz Ruth and Pedro Jimenez (Miami) Andrew and Katherine Kartalis Alan Kluger and Amy Dean (Miami) Mrs. Elizabeth R. Koch Stewart and Donna Kohl Shirley and William Lehman (Miami) Dr. David and Janice Leshner Elsie and Byron Lutman Mr. and Mrs. Alex Machaskee Mr.* and Mrs. Arch J. McCartney Joy P. and Thomas G. Murdough, Jr. (Miami) Brian and Cindy Murphy Mr. Raymond M. Murphy Dr. Anne and Mr. Peter Neff Mrs. Milly Nyman (Miami) Mr. and Mrs. William M. Osborne, Jr. Andres Rivero (Miami) Audra* and George Rose Paul A. and Anastacia L. Rose Mr. Peter Rose Steven and Ellen Ross

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

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

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

Jaime A. Bianchi and Paige A. Harper (Miami) Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Dr.* and Mrs. Jerald S. Brodkey Dr. Thomas Brugger and Dr. Sandra Russ Frank and Leslie Buck Mr. and Mrs. William C. Butler Augustine* and Grace Caliguire Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura Maureen and George Collins (Miami)

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

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

Robert and Alyssa Lenhoff-Briggs Mr. and Mrs. Stanley Cohen (Miami) Ellen E. & Victor J. Cohn Supporting Foundation Marjorie Dickard Comella Mrs. Lois Joan Davis Mr. and Mrs. Thomas S. Davis Bob and Linnet Fritz Dr. Edward S. Godleski Harry and Joyce Graham Mr. Paul Greig AndrĂŠ and Ginette Gremillet Iris and Tom Harvie Henry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman INDIVIDUAL GIFTS OF $5,000 TO $7,499

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

listings continue

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Individual Annual Support

The Cleveland Orchestra


Dreams can come true

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

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

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


THE 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

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Individual Annual Support

The Cleveland Orchestra


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Located one block north of Shaker Square and on the EÄ&#x201A;Ć&#x;ŽŜÄ&#x201A;ĹŻZÄ&#x17E;Ĺ?Ĺ?Ć?Ć&#x161;Ä&#x17E;Ć&#x152;ŽĨ,Ĺ?Ć?Ć&#x161;Ĺ˝Ć&#x152;Ĺ?Ä?WĹŻÄ&#x201A;Ä?Ä&#x17E;Ć?Í&#x2022;>Ä&#x201A;Ć&#x152;Ä?Ĺ&#x161;ĹľÄ&#x17E;Ć&#x152;Ä&#x17E;ŽƾůÄ&#x17E;Ç&#x20AC;Ä&#x201A;Ć&#x152;Ä&#x161; Ĺ?Ć?ĹŻÄ&#x17E;Ç&#x20AC;Ä&#x17E;ĹŻÄ&#x201A;ĹśÄ&#x161;Í&#x203A;Ć?Ć&#x2030;Ć&#x152;Ä&#x17E;ĹľĹ?Ä&#x17E;Ć&#x152;Ä&#x201A;Ć&#x152;Ć&#x161;Ć?Í&#x2022;Ä&#x201A;ĹśĆ&#x;Ć&#x2039;ĆľÄ&#x17E;Ć?Ä&#x201A;ĹśÄ&#x161;Ä&#x161;Ä&#x17E;Ć?Ĺ?Ĺ?ĹśÄ&#x161;Ĺ?Ć?Ć&#x161;Ć&#x152;Ĺ?Ä?Ć&#x161;Í&#x2DC; www.Larchmere.com Severance Hall 2016-17

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

82

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


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


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

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84

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)

85


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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

87


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

88

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

Severance Hall

The Cleveland Orchestra


11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

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

89


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

90

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

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

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

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

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

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

Guest Information

The Cleveland Orchestra


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

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

Complete the story at oac.ohio.gov/identity.

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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, flute

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

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

AMERICAN GREETINGS FAMILY CONCERT

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 Brett Mitchell, conductor

THE CLEVELAND ORCHESTRA Jaap van Zweden, conductor Daniil Trifonov, piano

Oct 30 — Sunday at 3:00 p.m. <18s

Look! Up in the Sky! It’s a Bird! It’s a Plane! No, it’s Superman at the Symphony! Celebrating the first comic book superhero (created right here in Cleveland), with music from the movies and more! Including a Costume Contest. Sponsor: American Greetings

Duruflé Requiem 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

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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BRITTEN Sinfonia da Requiem MOZART Piano Concerto No. 23 BEETHOVEN Symphony No. 5 Sponsor: Squire Patton Boggs (US) LLP

HOLIDAY FESTIVAL 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 Experience Frank Capra’s classic holiday film on the big 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

Concert Calendar

The Cleveland Orchestra


ORCHESTRA

16 17 2 O1 6 -1 7

F O R

PNC HOLIDAY RAINBOWS

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

T H E

S E A S O N

H O L I DAYS

<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

WINTER SEASON 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.

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.

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!

THE CLEVELAND ORCHESTRA James Gaffigan, conductor Kirill Gerstein, piano

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

TICKETS: 216-241-6000

Fridays@7 Sponsor: KeyBank

Sponsored by Dollar Bank

<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).

Severance Hall 2016-17

TM

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

Rhapsody in Blue

Under 18s Free FOR FAMILIES

The Nutcracker

Concert Calendar

CLEVELAND ORCHESTRA TICKETS PHONE

216-231-1111 800-686-1141

clevelandorchestra.com

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THE CLEVELAND ORCHESTRA presents

George e Balanchineâ&#x20AC;&#x2122;s

with

PENNSYLVANIA BALL BALLET sponsored byy

216-241-6000

TICKETS or playhousesquare.org

Nov 30 - Dec 1 - Dec 2 - Dec 3 - Dec 4 N MATI N E E AN D E VE N I N G PE R FOR MANCE S


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I M P A C T S TA R T S H E R E

The Cleveland Orchestra November 17, 19, 20, 25-27 Concerts  

November 17, 19, 20 Durufle Requiem November 25-27 Beethoven's Fifth Symphony

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