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Concert: January 5, 6, 7 RHAPSODY IN BLUE — pages 28-29 Concert: January 12, 14 BRUCKNER’S SEVENTH SYMPHONY

— page 59

PERSPECTIVES from the Executive Director — page 7 MESSAGE from the President — page 8


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Proud supporters of The Cleveland Orchestra’s music education programs for children, making possible the rewards and beneďŹ ts of music in their lives. Drive


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From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 From the President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

11 15 21 24 90 91 94


Copyright © 2017 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800

8 RHAPSODY IN BLUE Program: January 5, 6, 7 . . . . . . . . . . . . . . . . . . . 28-29 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 31 WEEK


Suite from Psycho . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 SCHOENBERG

Piano Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 GERSHWIN

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.

Rhapsody in Blue . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 BARTÓK

Concerto for Orchestra . . . . . . . . . . . . . . . . . . . . . . 45 Conductor: James Gaffigan . . . . . . . . . . . . . . . . . . . . 50 Soloist: Kirill Gerstein . . . . . . . . . . . . . . . . . . . . . . . . . . 51 NEWS

Cleveland Orchestra News . . . . . . 52-57

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.

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . 12-13 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . 76-89 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.

BRUCKNER’S SEVENTH Program: January 12, 14 . . . . . . . . . . . . . . . . . . . . . . 59 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 61

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.


Trauermarsch [Funeral March] . . . . . . . . . . . . . . . 63 Restoring Bruckner to Greatness . . . . . . . . . . . . . . . 66 BRUCKNER

Symphony No. 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 21 Soloist: Yefim Bronfman . . . . . . . . . . . . . . . . . . . . . . . 75


Table of Contents

The Cleveland Orchestra

le·ga·to adjective / luh-gah-toh / smooth and connected; without breaks between the successive tones The strongest, most productive relationships are those linked by passion and purpose. BakerHostetler is proud to support The Cleveland Orchestra’s commitment to world-class performances.

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Perspectivesfrom the Executive Director January 2017 At The Cleveland Orchestra’s Annual Meeting in December, Board President Dennis W. LaBarre and I spoke about the past year and plans for the future. Some of our thoughts are included here and on the following pages. (The complete Annual Report — detailing recent achievements and milestones, along with results for the past fiscal year, and listings of those who make everything possible — is being shared with donors and posted on our website.) As I start my second year as executive director of The Cleveland Orchestra, there are many developments to discuss and plans to share as we move forward. In February, we will announce the upcoming 2017 Blossom Music Festival season. In March, we’ll announce details of the Orchestra’s 100th season for 2017-18, which will also signal some specific goals and shape our overall strategic direction for a Second Century of extraordinary musicmaking in service to the citizens of Northeast Ohio. I am truly excited to be part of this Orchestra at this time, as we embark together into a future even more glorious and wondrous than what we have witnessed over the past 100 years. Ultimately, The Cleveland Orchestra is about great partnerships — between music director and musicians, staff and volunteers, senior leadership and trustees, all of us and our hometown community, everyone together. This is what has created and fueled The Cleveland Orchestra’s greatness and placed it among the world’s best. I am grateful to build the future of this great Orchestra with so many dedicated and forward-looking partners. On the cusp of the Orchestra’s centennial season, we have a unique opportunity to set the stage for new generations to experience the power of music — in unrivaled performances, exemplary education programs, and collaborative community initiatives. To help ensure success, we are completing a strategic planning process to reaffirm our shared goals and values — who we are and what we do. I believe some of these goals should include: Further developing a culture of extraordinary music-making, which inspires audiences and advances our artform; Engaging young people throughout our community; Creating meaningful impact in Cleveland and Northeast Ohio; Proudly representing Cleveland on the national and international stage; Ensuring our long-term sustainability for the benefit of this community. This unique and great ensemble — built with community passion and pride — could only have been created in Cleveland. As we unite and dedicate ourselves to future success, there is hard work ahead, but there is so much we can accomplish together through commitment of time, energy, and financial resources. The future will present new challenges and opportunities. But our success will extend the Orchestra’s capacity to offer extraordinary music-making at home, to enable the power of music to touch the lives of people across Northeast Ohio and beyond. Thank you for inspiring all of us with your devotion for The Cleveland Orchestra and everything it means to you. Thank you for believing in your hearts and minds that The Cleveland Orchestra truly is second to none in the world. I look forward to our continued work together.

Severance Hall 2016-17

André Gremillet


From the President The following is adapted from President LaBarre’s message in the Orchestra’s Annual Report published in December 2016. You can read the full report online at T H E C L E V E L A N D O R C H E S T R A — created by the citizens of Northeast Ohio — is, and always will be, a direct reflection of the strengths, expectations, and support of the people of this great hometown. As has been true throughout the Orchestra’s first century, the mutual partnership of The Cleveland Orchestra and the Northeast Ohio community will be the driving force and foundation for our future achievements and success together. Now, as we prepare to announce the Orchestra’s 100th season for 2017-18, we welcome all those who love and support this extraordinary institution to join in celebrating today and heralding the dawn and promise of our Second Century.

Exceptional Music for Northeast Ohio and Beyond This institution’s guiding star — today, tomorrow, and always — is the belief that great art is essential to the quality of life for all generations. We are dedicated to sharing great music with everyone. The Cleveland Orchestra takes its role as this community’s orchestra very seriously — to reach new audience members, and to share music in new ways, to proudly carry the name and spirit of Cleveland throughout the world, and to use the power of music to make a difference in people’s lives. The artistic strength of The Cleveland Orchestra has never been better. Franz Welser-Möst, now in his fifteenth year as music director, and this Orchestra are widely acknowledged for their extraordinarily collaborative music-making and the finesse and depth of their performances. Their work together is filled with consummate craft, unprecedented precision, and passionate musical understanding. The Orchestra’s continuing artistic vitality and achievements are exemplified by: unsurpassed musical excellence, with the Orchestra playing at a level unrivaled in the world and unmatched in its own storied past; world-wide acclaim, sustaining the Orchestra’s reputation for excellence and creating a ready market for the Orchestra’s touring and residencies; extraordinary artistic collaborations with acclaimed guest artists, bringing a richness and depth to the Orchestra’s regular music-making, to its opera and ballet presentations, and to community and education programs; strong community support and interest, uniting strong ticket sales, enthusiastic interest from young people (students to young adults), and the ongoing generosity of thousands of individuals, foundations, and corporations; a longstanding tradition of leadership continuity across artistic, staff, and board personnel, allowing for planned change within an evolving structure of stability — exemplified this past year by a smooth transition between executive directors, and, in the coming year, by welcoming Richard K. Smucker as President Elect to continue a seamless transition into the future.


From the President

The Cleveland Orchestra



A Second Century of Strength and Vitality As we build to the Orchestra’s centennial, we have a unique vantage point from which to examine our strengths and challenges, and a remarkable opportunity to build on today’s achievements and to set our hometown orchestra on a path toward an even more brilliant future. Today, The Cleveland Orchestra’s multi-layered strengths are balanced against some key areas that, despite solid performance in recent years, continue to be of challenge and concern. These include an Endowment that, despite a notable increase across the past half-dozen years, remains under-sized in relation to the Orchestra’s annual budget. The ultimate success of our drive to propel The Cleveland Orchestra forward within the 21st century is directly tied to our ability to right-size the Endowment — and achieve increased annual operating fundraising for specific artistic and community initiatives — as soon as possible. We must also build on and continue recent growth in ticket sales and overall community support. In his first year as executive director, André Gremillet, alongside the board and staff leadership, has helped guide us through an evaluation and taking stock of The Cleveland Orchestra’s current position in the world — artistically, operationally, financially, and in relation to the many people who support it and who derive great pride and benefit from the ensemble’s many musical offerings. We are working to ensure and affirm a dynamic and unified vision for the institution going forward. Overall, we must ensure that we are focused on the right initiatives and programs for a 21st-century orchestra. To grow with the future, we must leave behind good ideas that have run their course, while upholding traditions that still make a difference in the modern world. Our view and commitment is on continuing artistic vitality and long-term financial sustainability and strength. Building a Brilliant Future for Cleveland’s Orchestra For The Cleveland Orchestra’s second hundred years, we can and should dream big — not just to continue, but to grow, to be even greater than we have been. Everything that The Cleveland Orchestra represents and all that it achieves is only possible through the dedicated efforts of everyone involved — from the musicians onstage to the staff behind the scenes, from the hundreds of volunteers to the many thousands of audience members listening intently, and, finally, to the donors who contribute generously each year toward our success. Thank you for your part in making this journey, and in joining with us as we push forward in pursuit of an extraordinary Second Century. On a personal note, it has been and continues to be a privilege and an honor to serve this extraordinary institution. As I prepare to hand the presidency to Richard K. Smucker, I remain fully committed to The Cleveland Orchestra and its success, and will be actively involved as Chairman as we move forward into a Second Century of great music and great pride for our community — here at home and across the globe. —DENNIS W. LaBARRE Severance Hall 2016-17

From the President


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The Cleveland Orchestra


as of December 2016

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President Richard J. Bogomolny, Chairman Richard K. Smucker, First Vice President & President Elect The Honorable John D. Ong, Vice President Jeanette Grasselli Brown Matthew V. Crawford Alexander M. Cutler David J. Hooker Michael J. Horvitz

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

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

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

RESIDENT TRUS TEES Dr. Ronald H. Bell Richard J. Bogomolny Yuval Brisker Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita 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 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 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 Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

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

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

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

TRUS TEES EX-OFFICIO Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Dr. Patricia Moore Smith, President, Women’s Committee of The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra TRUS TEES EMERITI George N. Aronoff S. Lee Kohrman Charlotte R. Kramer Donald W. Morrison Gary A. Oatey Raymond T. Sawyer PA S T PRESIDENT S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

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

H O N O RARY T RUS T E E S FOR LIFE Dorothy Humel Hovorka Gay Cull Addicott Robert P. Madison Charles P. Bolton Robert F. Meyerson Allen H. Ford James S. Reid, Jr. Robert W. Gillespie

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


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 November 25, 2016. GIFTS OF $5 MILLION AND MORE

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

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


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


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


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 Dollar Bank Foundation 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

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 Mr. Larry J. Santon

Raymond T. and Katherine S. Sawyer SCH Foundation Mrs. David Seidenfeld David Shank The Sherwin-Williams Company Naomi G. and Edwin Z. Singer The Sisler McFawn Foundation 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)

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

Sound for the Centennial Campaign

* 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



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


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.


each year

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


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


Likes on Facebook (as of Dec 2016)

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




concerts each year.

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

The Cleveland Orchestra performs over



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


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


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.


About the Orchestra

The Cleveland Orchestra


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


Franz Welser-Möst is among today’s most distinguished conductors. The 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


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 being released in early 2017. 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


Music Director

The Cleveland Orchestra

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DIRECTOR Kelvin Smith Family Chair


Blossom-Lee Chair


Gretchen D. and Ward Smith Chair



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


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


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 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

BASS CLARINET Yann Ghiro BASSOONS John Clouser * Louise Harkness Ingalls Chair BASSOONS Gareth Thomas * John Clouser Louise Harkness Barrick Stees 2 Ingalls Chair Sandra L. Haslinger Chair Gareth Thomas 2 Jonathan Sherwin Barrick Stees Sandra L. Haslinger Chair

CONTRABASSOON Jonathan Jonathan Sherwin Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2016-17

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia

PERCUSSION Marc Damoulakis* 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


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


Elizabeth Ring and William Gwinn Mather Chair


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

Orchestra Roster


north W point portfolio managers c o r p o r a t i o n The glamour of the InterContinental life

Ronald J. Lang Diane M. Stack Daniel J. Dreiling

440.720.1102 440.720.1105 440.720.1104

Your Destination for Unique Home Furnishings SEVERANCE HALL




9801 Carnegie Avenue, Cleveland, OH, 44106, 216 707 4100 34300 Solon Road | Solon, OH | 440-248-2424 | 800-260-2949 9-9 Mon, Tues & Thurs | 9-5:30 Wed, Fri & Sat


The Cleveland Orchestra


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Concert Previews

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

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. January 5 and 7 “Tools of the Trade” (Musical works by Herrmann, Schoenberg, Gershwin, Bartók) with guest pianist Kirill Gerstein in conversation with Jerry Wong, associate professor of piano, Kent State University

January 6 FRIDAY MORNING “In America” (Musical works by Herrmann, Gershwin, Bartók) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

January 12 and 14 “Farewells to Remember” (Musical works by Widmann, Bruckner) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

February 9, 10, 11 “Symphonic Song, Unfinished Business” (Musical works by Mahler, Schubert) with guest speaker Rabbi Roger Klein of The Temple – Tiffereth Israel

February 16, 17, 18 “Doubled Delight, Romantic Symphony” (Musical works by Mozart, Tchaikovsky) with guest speaker Donna Lee, professor of piano, Kent State University

Severance Hall 2016-17

Concert Previews





Severance Hall

Thursday evening, January 5, 2017, at 7:30 p.m. Saturday evening, January 7, 2017, at 8:00 p.m.

James Gaffigan, conductor BERNARD HERRMANN (1911-1975)


Suite from the movie Psycho Prelude — The City — The Rainstorm — The Madhouse — The Murder — Finale

Piano Concerto, Opus 42 1. 2. 3. 4.

Andante — Molto allegro — Adagio — Giocoso (moderato)



Rhapsody in Blue

(orchestrated by Ferde Grofé, original jazz band version)



Concerto for Orchestra 1. 2. 3. 4. 5.

Introduzione: Andante non troppo — Allegro vivace Giuoco delle coppie: Allegro scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Pesante — Presto

The Saturday evening performance is dedicated to Ms. Beth E. Mooney in recognition of her extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. The concert will end on Thursday evening at about 9:30 p.m. and on Saturday night at approximately 10:00 p.m.


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


Concert Program — Week 8

The Cleveland Orchestra

Severance Hall

Friday morning, January 6, 2017, at 11:00 a.m. Friday evening, January 6, 2017, at 7:00 p.m.

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James Gaffigan, conductor BERNARD HERRMANN (1911-1975)




Suite from the movie Psycho Prelude — The City — The Rainstorm — The Madhouse — The Murder — Finale

Rhapsody in Blue

(orchestrated by Ferde Grofé, original jazz band version)


BÉLA BARTÓK (1881-1945)

Concerto for Orchestra 1. 2. 3. 4. 5.

Introduzione: Andante non troppo — Allegro vivace Giuoco delle coppie: Allegro scherzando Elegia: Andante non troppo Intermezzo interrotto: Allegretto Finale: Pesante — Presto


FRIDAYS@ The Cleveland Orchestra's Fridays@7 series is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence. The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation. The Friday morning and evening concerts are performed without intermission and will run about 75 minutes in performance.

James Gaffigan's appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from James and Donna Reid. Kirill Gerstein's appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Julia Severance Millikin.

Severance Hall 2016-17

Concert Program — Week 8 Friday


January 5, 6, 7

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

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Severance Restaurant Reservations for pre-concert dining suggested: (or for luncheon after Friday Morning concert)



216-231-7373 or via

P R E V I E W Thursday/Saturday

P R E V I E W Friday Morning

“Tools of the Trade”

“In America”

with pianist Kirill Gerstein in conversation with Jerry Wong, associate professor of piano, Kent State University

with Rose Breckenridge, Cleveland Orchestra Music Study Groups No Preview on Friday evening.


Psycho Suite . . . . . . . . . . . . . . . . Page 33 (10 minutes)


(15 minutes)





Rhapsody in Blue . . . . . . . . . . . Page 41

(20 minutes)




Piano Concerto . . . . . . . . . . . . . Page 37





Concert begins: TH 7:30 SAT 8:00




INTERMISSION (20 minutes) Thursday and Saturday only. No intermission for Friday concerts.



Concerto for Orchestra . . . . . Page 45 (40 minutes)

Severance Restaurant Concert ends: (approx.)

Post-Concert Luncheon following the Friday Morning concert.

TH 9:30 SAT 10:00



Fridays@7: Stay after for a relaxed post-concert hour of conversation, drinks, and music.

Severance Restaurant Post-Concert Desserts and Drinks after evening concerts.


TThis h Week’s Concerts

The Cleveland Orchestra


America, Jazz & Hollywood T H I S W E E K E N D ’ S C O N C E R T S present four musical works from the

20th century, created in America (by first or second generation immigrants). In each, we hear ideas and currents from a century filled with upheaval, experimentation, creativity, and musical evolution. As a sampling, they represent a cross-section of diverging channels — from jazzy syncopation and Hollywood gloss to concert hall classical mixed with pushes against tradition and expectation. This is American concert music . . . unbound, unlabelled, utterly true. First up is a symphonic suite of music from Alfred Hitchcock’s masterly thriller from 1960, Psycho. Composer Bernard Herrmann scored the movie for only strings — largely because the budget wouldn’t afford more musicians. Yet . . . how greatly creative and perfectly matched is this music to the film’s varying scenes, screams, and scenarios. Next, on Thursday and Saturday evenings, is Arnold Schoenberg’s Piano Concerto, created in 1942 for . . . well, HITCHCOCK the commissioning of this work changed hands (literally and figuratively). The composer had left Nazi Germany a decade before, and then settled in California. There he found friends and work, and continued creating new music from his twelve-tone ideas (while at times straying from his own rules). This concerto still sounds modern three-quarters of a century later, rippling with energy and oddly melodic contours. At the center of the program comes George Gershwin’s iconic Rhapsody in Blue from 1924, played this weekend in its original version for “jazz band.” In this guise, even more of its originality and vitality is revealed than in the larger, glossier symphonic orchestration that later became standard. Guest pianist Kirill Gerstein plays both concertos. But wait, there’s even more . . . following intermission (or without intermission on Friday), guest conductor James Gaffigan concludes the program with a masterful showpiece, Béla Bartók’s big-hearted, big-sounding Concerto for Orchestra. Written in 1943 as a special commission, in this work Bartók showcases the many individual and section talents of the modern symphony orchestra — exuberantly, tenderly, lingeringly, and with not-tobe-missed gusto. —Eric Sellen

Severance Hall 2016-17

Introducing the Concerts


BASQUIAT THE UNKNOWN NOTEBOOKS January 22 through April 23, 2017 See the first major exhibition of the artist’s notebooks filled with poetry, wordplay, sketches, and personal observations. Visit for tickets or more information. This exhibition is organized by the Brooklyn Museum.



Jean Michel Basquiat in his Great Jones Street studio, New York (detail), Tseng Kwong Chi (Chinese-Canadian-American, born Hong Kong, 1950–1990). Chromogenic print; 50 x 50 in. Muna Tseng Dance Projects, New York & Eric Firestone Gallery, East Hampton, New York. © 1987 Muna Tseng Dance Projects, Inc. New York.

Psycho: Symphonic Suite (for string orchestra) suite created circa 1967-68, from the full film score composed in 1959-60

At a Glance Herrmann wrote his score for the film Psycho in 1959-60, utilizing only a string orchestra to stay within the allotted music budget. The film was given initial premiere release in July 1960, with national release across the United States following in September. Herrmann created a symphonic suite from his own score in the later 1960s. The suite runs just under 10 min-



HERRMANN born June 29, 1911 New York City died December 24, 1975 Los Angeles, California

Severance Hall 2016-17

utes in performance, as presented for this weekend’s concerts. It utilizes the same string orchestra as the film. The Cleveland Orchestra is performing this suite for the first time with this weekend’s concerts. The Orchestra performed the entire score in April 2014, accompanying an “At the Movies” screening presentation at Severance Hall.

About the Music I F O N E W E R E T O compile a history of American music cre-

ated for radio and film (and television) in the middle 20th century, Bernard Herrmann would be firmly at its heart and center, as composer, conductor, and innovator. He had been quite involved in the “new music” concert scene in New York from the time he was a teenager — and worked his career successfully upward from one new medium to the next. Herrmann counted Charles Ives and Percy Grainger as mentors, and was a colleague with George Gershwin, Nicolas Slonimsky, Oscar Levant, and many others. In 1931, at the age of twenty, he became a member of Aaron Copland’s “Young Composers Group,” a forum for the performance of music by promising young composers sympathetic to modernist tendencies. However, it was in the relatively new medium of radio that Herrmann distinguished himself from his contemporaries. Herrmann began his radio career at the Columbia Broadcasting System (CBS) in 1934 as a staff conductor. Within two years, he found himself composing and arranging music for the Columbia Workshop, an unorthodox experimental forum for performers of all types — writers including poets Archibald MacLeish and W.H. Auden, directors Irving Reiss and William Robson, and composer Marc Blitzstein. Among the artists Herrmann came into contact at CBS was Orson Welles, the director of their new drama series “Mercury Theatre on the Air.” Welles became Herrmann’s most fruitful radio collaborator, with their work together including the famous (or infamous) October 30, 1938, production of Welles’s adaptation of H.G. Wells’s The War About the Music


of the Worlds, for which Herrmann conducted the live broadcast. A year later, the fall of 1939 proved to be momentous. The Nazis invaded Poland, Herrmann married writer Lucille Fletcher after a five-year on-again off-again courtship, and Orson Welles was given a contract with RKO studios in Hollywood to make films. In his first meetings with RKO executives, Welles demanded that they hire the unknown (to them) Herrmann to score his first film, adding that they also should pay Herrmann the same fee they would have paid the older and well-known Max Steiner (the studio’s first choice). Thus, Hermann and his new wife were off to Hollywood, where he would score his first film, Citizen Kane. In scoring Citizen Kane, Herrmann applied the techniques he had successfully learned in radio, utilizing what would come to be recognized as his “fingerprints” in the ensuing decades. He rejected the then standard Hollywood practice of near perpetual musical accompaniment (à la Steiner’s King Kong) by limiting much of the score to aural “bridges” used for scenic transitions: “In radio drama, every scene must be bridged by some sort of sound device, so that even five seconds of music becomes a vital instrument in telling the ear that the scene is shifting. I felt that in this film, where the photographic con-

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Tuesday, JANUARY 4 Gamble Auditorium, 7 pm



About the Music

The Cleveland Orchestra

trasts were often so sharp and sudden, a brief cue — even two or three chords — might heighten the effect immeasurably.” Herrmann also showed his penchant for unique combinations of instruments, to match a particular emotion or pathos. Lastly, instead of composing tunes, Herrmann settled on a “series of a few notes” — the kind of repeated leitmotifs pioneered by some operatic composers, but which came to signify Herrmann’s signature “non-melodic” style. With Citizen Cane, his very first film, Herrmann received an Academy Award nomination for Best Score of a Dramatic Picture. HITCHCOCK AND PSYCHO

Fast forward a decade and a half to 1955, the first year of Hermann’s celebrated 10-year collaboration with Alfred Hitchcock. All in all, Hermann scored seven films with Hitchcock, including The Trouble with Harry (1955), Vertigo (1958), North by Northwest (1959), and Psycho (1960). Psycho is often considered Herrmann and Hitchcock’s collaborative masterpiece, with much of its success heavily dependent on the musical score. Hitchcock felt, and stated at the time of the movie’s release, that Herrmann’s music greatly enhanced the terror, tension, and sense of imminent doom. The producing studio, Paramount, did not like the film in its original form, however. Perhaps they found the plot — that of the murder of a Phoenix secretary, who after absconding with $40,000 from her employer, is stabbed to death in an isolated motel by the young, psychotic owner dressed as his dead mother — unpalatable for American viewers. Hitchcock, too, after seeing an early cut, was himself disappointed. Enter Bernard Herrmann. Hitchcock fans should be forever grateful that the composer saw the film before it was edited further: “Hitchcock . . . felt it didn’t come off. He wanted to cut it down to an hour television show and get rid of it. I had an idea of what one could do with the film, so I said, ‘Why don’t you go away on your holiday, and when you come back, we’ll record the score and see what you think.’ . . . ’Well, do what you like, but only one thing I ask of you,’ said Hitchcock, ‘please write nothing for the murder in Severance Hall 2016-17

About the Music

Above, scenes from the Hitchcock-Herrmann film Psycho, released in 1960 and nominated for four Academy Awards — Best Director, Best Supporting Actress (Janet Leigh), Best Cinematography, Best Art Direction.


the shower. That must be without music’.” What came to be his most famous score was also the most concentrated orchestration of his career. By limiting the instrumentation to strings only, Herrmann’s intention — and accomplishment — was to “complement the black-and-white photography of the film with a black-and-white score,“ while simultaneously working within a limited budget. In spite of Hitchcock’s admonition not to write music for the murder in the shower scene, upon later viewing the scene both without, and then with the underlying music cue, Hitchcock said: ”Of course, that’s the one we’ll use.” Thus was set the most celebrated cue in film history. THE SUITE

The Symphonic Suite from the film stitches together a sequence of memorable musical moments from Herrmann’s score. The Prelude establishes an atmosphere of foreboding and suspense as several distinct melodic fragments oscillate above a relentless rhythmic shifting in the lower strings. A series of descending chords frames The City as a respite before The Rainstorm, which returns to music of The Prelude. The Madhouse follows, introducing three separate melodies in free imitation, leading to the screeching strings of The Murder. This leads directly to a climax in the music’s underlying suspense, before finding an uneasy resolution in the Finale. —Steve Lacoste © 2016 Steve Lacoste serves as archivist for the Los Angeles Philharmonic.

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About the Music

The Cleveland Orchestra


Piano Concerto, Opus 42 composed 1942

At a Glance



SCHOENBERG born September 13, 1874 Vienna died July 13, 1951 Los Angeles

Above, painted self portrait by Arnold Schoenberg.

Severance Hall 2016-17

Schoenberg sketched his Piano Concerto during July 1942, originally for a potential commission from the pianist Oscar Levant. Schoenberg completed the full score by the end of the year. It was first performed on February 6, 1944, by the NBC Symphony Orchestra conducted by Leopold Stokowski, with Edward Steuermann as soloist. The score is dedicated to Henry Clay Shriver, who helped pay for the work after Levant and Schoenberg couldn’t agree on terms. This concerto runs about 20

minutes in performance. Schoenberg scored it for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (xylophone, bells, cymbals, bass drum, snare drum, tam-tam), and strings, plus the solo piano. The Cleveland Orchestra has performed this concerto on only a few occasions, first in 1959 with Louis Lane conducting and Glenn Gould as the soloist. More recent performances occured in 1971, 1990, and 2000.

About the Music T H E R E P U TAT I O N of Arnold Schoenberg as a master composer,

renowned theorist, teacher of great insight, painter, librettist, and inventor of 12-tone music has been universally associated with controversy of one kind or another for more than a hundred years. The manifold historical and contemporary critical conferences, books, dissertations, and debates devoted to his work have continued unabated since his death in July 1951. That such discussions persist to this day is testimony to the depth and humanity of his multifarious genius — a genius whose artistic legacy has been and continues to be simultaneously vilified and sanctified by both the professional musicians and non-professional music lovers alike. When Schoenberg set foot on American soil as an exile from Nazi Germany on October 31, 1933, his reputation as a composer of difficult and challenging music preceded his arrival. Neither he nor his music was a complete stranger to American audiences. So much so that the New York Times and other newspapers announced to the general public his planned immigration and welcome receptions were given in his honor in New York and Washington D.C., and at Harvard University. The attention granted him attests to the fact that a large quantity of his preexilic works had already been performed in the United States (more than two hundred documented performances, according to musicologist and Schoenberg specialist Sabine Feisst), About the Music


many of which had been discussed and reviewed in the press. Of course, at this point, Schoenberg’s output was a mixed bag of evolving ideas — including earlier tonal works as well as recent pieces in the more challenging 12-tone technique that he had pioneered since 1921. FROM BOSTON TO CALIFORNIA

Schoenberg spent his first year in the U.S. teaching at the Malkin Conservatory — in Boston and, for a handful of Malkin students in New York (where he commuted once a week). Disappointment soon set in, however, as he discovered that the school had no orchestra, the Beneath the surface, students were ill-prepared, and the classrooms Schoenberg’s Piano in Boston were, at best, meagerly provisioned Concerto holds an autofor teaching. Having been professor of combiographical storyline. position at the Prussian Academy of the Arts in Berlin from 1925 until his exile (he was Ferruccio Among his posthumous Busoni’s successor there), the situation in Boston papers was a brief was nearly intolerable for a sixty-year-old forced early outline of the to begin again. work’s four movements: His chronic asthma and bronchitis was also irritated by the Northeast climate, so that it is “1. Life was so easy; entirely understandable why Schoenberg left 2. Suddenly, hatred Boston in March 1934, having fulfilled less than broke out; 3. A grave a year of his appointment. After spending a few months in New York, situation was created; Schoenberg moved with his wife and their young 4. But life goes on.” daughter to Los Angeles in the autumn of that year and began teaching at the University of Southern California. Two years later, in 1936, he became a professor of music at UCLA. His students over the next two decades included John Cage, Earl Kim, Otto Klemperer, Leonard Stein, and Gerald Strang, as well as the Hollywood film composers Alfred Newman and David Raksin. Also among this list was pianist, composer, author, comedian, and actor Oscar Levant, who plays an important role in the life of Schoenberg’s Concerto for Piano and Orchestra — an early (if not the very first) piano concerto based on a 12-tone row. The curious origins of Schoenberg’s Piano Concerto came about in the form of a commission from Levant for a “slight piano piece.” Schoenberg instead began work on a concerto. In his Memoirs of an Amnesiac more than two decades later, Levant


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gave details of the events that unfolded: “When I returned to New York there was correspondence, and suddenly this small piano piece burned feverishly in Schoenberg’s mind and he decided to write a piano concerto. He sent me some early sketches, and it is possible that in the main row of tones my name or initials were involved. However, I wasn’t prepared for a piano concerto, and in the meantime Hanns Eisler assumed the role of negotiator for Schoenberg. Among other things, the fee grew to a vast sum for which, as the dedicatee, I was promised immortality.” Unwilling to pay, Levant eventually withdrew from the commission. Luckily, Henry Clay Shriver, a wealthy student of Gerald Strang, took over the commission, paying $1,000 upon completion of the concerto. THE MUSIC

The concerto consists of four separate, easily recognizable movements, each having its own distinctly different character and texture, played without pauses between. On the surface, the piece is neo-classical in design, with the four movements echoing the order and movement characteristics of an 18th-century symphony — 1. waltz, 2. scherzo, 3. slow movement, and 4. dance finale. Behind the scenes, however, more was lurking. Found among Schoenberg’s posthumous papers were early sketches outlining a brief extramusical program further articulating the work’s formal outline: “1. Life was so easy; 2. Suddenly, hatred broke out; 3. A grave situation was created; 4. But life goes on.” The autobiographical nature of the program was thus embodied in the character of each movement — Schoenberg’s successful life in Berlin, his exile at the hands of the Nazis, his flight from Europe and the start of World War II, establishment of a new life for him and his family in Los Angeles. The waltz-like nature of the first movement, with its classically sculpted theme (stated twice, first on the piano and then in the orchestra) and light accompaniment indeed evokes a time of relative calm before the catastrophic Nazi storm. In contrast, the second movement erupts into syncopated rhythmic energy, percussive orchestration, and a faster tempo embodying all of the “hatred” stated in the program. The slow third movement’s “grave situation” sustains a dark orchestration cast in a lower range, with complex counterpoint and pungent dissonance. The fourth movement harkens back to earlier segments of the work, reintroducing simpler textures and a buoyant, dance-like rhythm that is reminiscent of the “life was so easy” music in the first movement. Omnipresent dissonance, however, adds a later of underlying irony to the simplistic idea that “life goes on.” —Steve Lacoste © 2016 Severance Hall 2016-17

About the Music


George Gershwin working on his opera Porgy and Bess in 1935.

True music must repeat the thought and inspirations of the people and the time. My people are Americans and my time is today. —George Gershwin


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Rhapsody in Blue (for piano and jazz band) composed 1924, orchestrated for jazz band by Ferde Grofé

At a Glance



GERSHWIN born September 26, 1898 Brooklyn, New York died July 11, 1937 Hollywood, California

Above, painted self portrait by George Gershwin.

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Gershwin wrote his Rhapsody in Blue in early 1924 at the request of the New York band leader Paul Whiteman. Although Gershwin notated which instruments should play certain musical lines, the work was fully orchestrated by Whiteman’s arranger, Ferde Grofé, to match the “jazz band” set to play the premiere. The first performance took place late in the afternoon of February 12, 1924, at New York’s Aeolian Hall, with Gershwin as the soloist. Grofé later arranged a version for full symphony orchestra, which became the accepted standard for many years. This piece runs about 15 minutes

in performance. The original scoring called for 3 woodwind players (covering oboe, clarinet, sopranino saxophone, 2 soprano saxophones, 2 alto saxophones, tenor saxophone, baritone saxophone), 2 trumpets, 2 horns, 2 trombones, tuba (doubling on double bass), percussion (drum set, glockenspiel), timpani, banjo, and violins, plus the solo piano. The Cleveland Orchestra first played Rhapsody in Blue in July 1938, and has performed it frequently since. It has presented the original jazz band version on only one previous occasion, in July 2009 at Blossom.

About the Music G E O R G E G E R S H W I N ’ S iconic Rhapsody in Blue can rightly be called the most American of American concert pieces. Here, in a single work, is jazz and syncopation, filled with symphonic strength littered with the feeling of made-up improvisation. It sounds, literally for all the world, like America — new and fresh, decisive, bold, and just plain fun. During the 19th and early 20th centuries, musicians, social critics, teachers, and pretty much everyone else in America spent a good deal of time wringing their hands and gnashing their teeth over what makes music “American.” The great Bohemian composer Antonín Dvořák was brought to America in 1892 to teach our young composers how to write national music — to create American music. It didn’t happen, but we did get a dandy “New World” Symphony out of him, which certainly made the trip worthwhile, for him and us. Three decades later, on the evening of February 12, 1924, American music was forever changed by a singular new work. Paul Whiteman gave the downbeat and Ross Gorman began the most famous clarinet “lick” in music. Although there had certainly been earlier samplings and trial-runs, Rhapsody in Blue opened the door to use our own popular melodies — be they from pop songs, African-American jazz, Yiddish theater, cowboy About the Music


music, or what have you. It was all good and fair game, and the immediate fame of this new Gershwin piece made doing so . . . not just acceptable, but accepted and welcome. Rhapsody in Blue enabled the American composer to use anything around him or her to make music. Which is to say, as Virgil Thomson once really did when asked “How does one write American music?” “Well, be an American and sit down and write some music!” T H E C O N C E R T T H AT F E B R U A R Y (the 12th was a Tuesday)

began at 2:45 p.m., and by 5:05, Rhapsody in Blue had yet to be premiered. Many famous musicians were there — Sergei Rachmaninoff, Leopold Stokowski, Fritz Gershwin stated: Kreisler, Jascha Heifetz, and John Philip Sousa “The ‘Rhapsody’ began were all in attendance at New York’s Aeolian as a purpose, not a plan. Concert Hall, waiting in anticipation for George Gershwin’s contribution to this special concert It was on the train, with titled “An Experiment in Modern Music.” its steely rhythms, its The history of what many have argued is rattlety-band that is so the most famous piece of American music is, in often stimulating to a some repects, as interesting as the work itself. Five weeks earlier, late in the evening of Janucomposer — I frequently ary 3, 1924, Gershwin and lyricist Buddy DeSylva hear music in the heart of were playing pool in a billiards parlor on Broadnoise — I suddenly heard way. Gershwin’s brother Ira sat quietly reading the paper and happened upon an article noting the complete construction that George Gershwin was “hard at work on a new of the rhapsody from concerto for Paul Whiteman’s February 12th conbeginning to end.” cert.” This was news to George, who had completely forgotten Whiteman’s request to write a concerto for solo piano and jazz orchestra! Gershwin (soon with the assistance of Whiteman’s arranger Ferde Grofé) got right to work on his “American Rhapsody,” with just over a month before the concert. In a letter to a friend, Gershwin detailed how he came to write the work: “[I had] . . . no set plan in my mind — no structure to which my mind could conform. The ‘Rhapsody,’ as you see, began as a purpose, not a plan. At this stage of the piece I was summoned to Boston for the premiere of ‘Sweet Little Devil.’ I had already done some work on the rhapsody. It was on the train, with its steely rhythms, its rattlety-band that is so often stimulating to a composer — I frequently hear music in the heart of noise — I suddenly heard — and even saw on paper — the complete construction of the rhapsody from beginning to end. No new themes came


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to me, but I worked on the thematic material already in my mind, and tried to conceive the composition as a whole. I heard it as a musical kaleidoscope of America, and of our vast melting pot, of our national pep, of our blues, our metropolitan madness. By the time I reached Boston, I had a definite plot of the piece, as distinguished from its actual substance.” Over the following weeks, Grofé would stop daily at Gershwin’s home and pick up a few more pages of the “Rhapsody” to orchestrate. Portions of the completed parts were rehearsed in the days preceding the concert and Gershwin actually improvised some of the piano solo in the second section of the work at the premiere. (The manuscript score at the Library of Congress has a note on the “empty” spots of the piano solo with a cue — in Whiteman’s handwriting — to “wait for [George’s] nod.”) When the Rhapsody in Blue was finally played at that important early 20th-century concert, the public and critics were almost unanimous in their praise. American music had made a huge leap. And it would never be the same. T H E R E A R E at least three versions of Rhapsody in Blue, as created by

Gershwin and orchestrated by Ferde Grofé. Grofé was the arranger for Paul Whiteman, who had commissioned and premiered the work with Gershwin at the piano. For many years, many people thought that Grofé had orchestrated the piece originally because “George didn’t know how.” This is almost completely false. Gershwin, who at the time was known as a song writer, may not have had much experience as an orchestrator, but he knew what he wanted, as his original score clearly shows in the markings and suggestions for what instruments might play when. Grofé orchestrated and arranged everything for Whiteman, no matter whose music it was (or how skilled an arranger that person might be). After Rhapsody in Blue, Gershwin did the orchestrations of all his major concert pieces. Grofé eventually created several different orchestrations of Rhapsody in Blue. The original orchestration, being heard at this weekend’s concerts, was for Whiteman’s jazz band (yes, including violins!). Grofé later created versions for symphony orchestra (published in 1942, it became the standard concert version for many years) and also one for a “theater orchestra” (created in 1926, the ensemble for this was sized between the original jazz band and the later symphonic version, and is how Gershwin himself performed it most often), as well as one for symphonic band (which omitted the piano entirely). —Loras John Schissel © 2016 Loras John Schissel is a senior musicologist for the Library of Congress and has served as conductor of the Blossom Festival Band since 1998. He is also music director and conductor of the Virginia Grand Military Band.

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About the Music


Concerto for Orchestra composed 1943

At a Glance



BARTÓK born March 25, 1881 Nagyszentmiklós, Hungary died September 26, 1945 New York

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Bartók wrote his Concerto for Orchestra in 1943, on commission from the Koussevitzky Foundation. It was first performed on December 1, 1944, by the Boston Symphony Orchestra under Serge Koussevitzky’s direction at New York’s Carnegie Hall. This work runs about 40 minutes in performance. Bartók scored it for 3 flutes (third doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets (third doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (side

drum, bass drum, tam-tam, cymbals, triangle), 2 harps, and strings. Bartók’s Concerto for Orchestra was introduced to The Cleveland Orchestra’s repertoire at concerts in January 1946 by George Szell, then a guest conductor. The Orchestra’s most recent performances were led by Brett Mitchell in August 2015, with the Orchestra playing side-by-side with the Kent/Blossom Chamber Orchestra. The Cleveland Orchestra recorded Bartók’s Concerto for Orchestra in 1965 with George Szell and in 1988 with Christoph von Dohnányi.

About the Music LI K E M O S T O F U S , Béla Bartók’s life was a mixture of good and bad fortune, adversity, rejection, acceptance, and success. Perhaps he had more than his fair share of setbacks and detractors, but he squarely played the cards that life and circumstances dealt him. And his music, which some people find difficult and others relish joyfully, has come to be considered among the most exciting and enduring from the 20th century’s many edge-cutting musical pioneers. His Concerto for Orchestra, dating from the final years of his life, is an unquestioned masterpiece — full of tunes, bursting with excitement and suspense, and a splendid showpiece for the talents of any symphony orchestra. Bartók was born in Hungary, in a town now in Ukraine but which then belonged to the large Austro-Hungarian Empire of Central Europe. He inherited musical talent from both parents, although his father died when Béla was still a boy. He took his first piano lessons from his mother, who kept moving her young family (there were two children, Béla and his younger sister, Erzébet) from town to town as varying means of support changed. Béla’s abilities as a pianist soon overtook his mother’s, so that, when money afforded it, he studied with several other teachers, intent on a keyboard career. He eventually moved to Budapest to complete his education, and was then appointed to a position on the piano faculty of the Budapest ConservaAbout the Music


Béla Bartók, dressed for hiking through Transylvania in 1907, to record and research local indigenous folk music.


tory. With this, he had a steady income, and was able to spend more time composing and pursuing his interest in Hungarian and Eastern European folk music. Bartók’s research and cataloging of folksongs and melodies — and his many trips into the countryside to discover “new” folk music — became a central influence on his own work as a composer. His music often features powerful, irregular folk rhythms, melodies based on folk-music scales (rather than traditional classical keys), and writing that mixes together unusual combinations of notes and instruments. Bartók’s style softened somewhat as he aged, and the extreme dissonance and clashing harmonies that caused controversy for his earliest successes evolved into a core musical language that is both original and still very modern. Yet it is also clearly in the classical tradition — and he wrote in many traditional forms, including string quartets, sonatas, rhapsodies, concertos, and operas. Bartók and his wife immigrated to the United States in 1940, after years of unhappiness in Hungary over Nazi Germany’s step-by-step subjugation of Central Europe. With his mother’s death in 1939, the composer finally felt willing to leave his native land. He had been to the United States on several previous occasions, performing as conductor and piano soloist in a number of his works, but his musical reception here had been decidedly mixed. So that he arrived in New York knowing few friends and having just a partial list of musical acquaintances. He was able to continue his folk-music research, bringing in a meager income by working on a large project cataloging SerboCroatian folk tunes at Columbia University. But Bartók’s health was increasingly problematic, and he often found himself inexplicably exhausted. At times he was hospitalized, where a diagnosis was not immediately forthcoming (he was eventually found to have leukemia). He was frequently unable to work, and with few new performances of any of his works, the Bartóks’ finances became increasingly precarious. Into this situation in 1943 walked — quite literally, into Bartók’s hospital room — the conductor of the Boston Symphony Orchestra, Serge Koussevitzky, with a commission for a

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brand-new orchestral work, including a down payment of half the money! The idea for the commission was really from two of Bartók’s friends, but Koussevitzky was careful not to mention this. How, exactly, any of them expected the enfeebled composer to gather himself together to write new music is unclear. But having a task to fulfill sometimes focuses one’s energies, and in little more than three months Bartók had completed his Concerto for Orchestra, which one early critic applauded as “a virtuoso piece for a virtuoso orchestra.” For his new work, Bartók chose to continue the pattern of many of his previous works, which had featured prominent solo parts. The commission, however, For his new work, was for an orchestral work only, so he chose to Bartók chose to continue spotlight different soloists throughout the piece the pattern of many of his by writing virtuoso moments for the principal players of many of the Boston Symphony’s inprevious works, which had strument sections, or for entire sections at once. featured prominent solo

parts. The commission, however, was for an orchestral work only, so he chose to spotlight different soloists throughout the piece by writing virtuoso moments for the principal players, or for entire sections at once.


The Concerto for Orchestra is in five movements, beginning and ending with a large-scale movement and with a central, mournful elegy. The long opening movement introduces several musical themes that reappear later. It begins quietly and then journeys through a wide range of dynamics and instrumentations, continually highlighting a variety of musical sounds, pleasing melodies, and raucous ideas, before dashing toward a glorious — and then sudden — finish. The second movement, “Game of Pairs,” works through a changing series of pairs of wind instruments — bassoons, oboes, clarinets, and then flutes — each with their own tune, and each paired against their mate at a different harmonic interval. A chorale for brass pauses this procession, which then continues with a third bassoon and then with the oboes and clarinets arguing together as a quartet. Eventually all the solo instruments arrange themselves together for a “family photo” moment in sound. The third movement is an Elegy, at first quiet and sad, but increasingly anguished and agitated in its emotional despair. Echoes from the opening movement bring a sense of time and

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About the Music


depth to this mournful thrashing. At one moment, Bartók builds upon a musical phrasing from his opera Bluebeard’s Castle, in which the heroine, Judith, discovers the truth within a “Lake of Tears,” filled with the unhappiness of those who have ventured before her. But the intent of the elegy is clear even without understanding this musical reference. The fourth movement is titled “Interrupted Intermezzo” and begins as a mostly tender meeting between a pair of lovers, represented by woodwinds (initially by a solo oboe) and by the violas as a section (accompanied in their ardent love song by harp). Suddenly, something goes awry, and some belches from the rest of the orchestra interrupt the reverie. Bartók suggested to a student that this was “like a group of drunken villagers who come upon and interrupt the lover’s serenade.” But, whatever the interruption’s cause, the mood settles again for more quiet cooing. The expansive fifth movement is a large tour de force for the orchestra and its many players. The movement’s central structure involves the creation of a fugue surrounded by a whirling and fiery dance. Some introspective moments, when the action almost seems to have moved offstage somewhere, lend variety and also provide moments of rest (for some of the players) as the piece winds itself to a successful finish. —Eric Sellen © 2016


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of music that expresses

absolutely nothing.

—Béla Bartók

Portrait of Bartók by Geoffrey Landesmann, Cleveland, December 1940 — Cleveland Orchestra Archives

I cannot conceive

James Gaffigan American conductor James Gaffigan is chief conductor of the Lucerne Symphony Orchestra and principal guest conductor of Cologne’s Gürzenich Orchestra and the Netherlands Radio Philharmonic Orchestra. He also served as associate conductor of the San Francisco Symphony for three years, 2006-09, and was assistant conductor of The Cleveland Orchestra 200306. In 2008, he received the League of American Orchestras’ Helen M. Thompson Award for founding and directing CityMusic Cleveland. His most recent guest appearance with The Cleveland Orchestra was in October 2014. James Gaffigan’s international career was launched in 2004, when he was named a first prize winner at that year’s Sir Georg Solti International Conducting Competition in Germany. Since then, in addition to his conducting positions, he has guest conducted major orchestras across Europe, the United States, and Asia. In recent seasons, he has led the BBC Symphony, Berlin Radio Symphony Orchestra, Bournemouth Symphony, Camerata Salzburg, City of Birmingham Symphony Orchestra, Czech Philharmonic, Deutsches Symphonie-Orchester, Dresden Staatskapelle, Leipzig Radio Orchestra, London Philharmonic, London Symphony Orchestra, Munich Philharmonic, Qatar Philharmonic, Rotterdam Philharmonic, São Paolo Symphony, Stuttgart Radio Orchestra, Sydney Symphony, Tokyo Metropolitan Symphony, Tonhalle Orchestra, and the Vienna Symphony Orchestra. In North America, he has led performances with the orchestras of Baltimore, Chicago,


Cincinnati, Dallas, Detroit, Houston, Indianapolis, Los Angeles, Minnesota, Philadelphia, St. Louis, and San Francisco. At the Vienna State Opera, James Gaffigan has conducted Puccini’s La Bohème and Mozart’s Don Giovanni and The Marriage of Figaro. He also has an ongoing relationship with England’s Glyndebourne Festival, and has appeared at the Aspen Music Festival, Bavarian State Opera, Hamburg Opera, Houston Opera, Norwegian Opera, and Zurich Opera. Born in New York City in 1979, James Gaffigan studied at the LaGuardia High School of Music and Art and the Juilliard School Preparatory Division. A graduate of the New England Conservatory of Music, he earned his master’s degree in conducting at the Shepherd School of Music at Rice University, where he worked with Larry Rachleff. Mr. Gaffigan participated in the first three summers of the American Academy of Conducting in Aspen, 200003, where he received the Academy’s first Robert Harth Conducting Award. He also studied at the Tanglewood Music Center. James Gaffigan lives in Lucerne with his wife, writer Lee Taylor Gaffigan, and their children, Sophia and Liam.

Guest Conductor

The Cleveland Orchestra

Kirill Gerstein Russian-born pianist Kirill Gerstein is acclaimed for his masterful technique and his interest in both classical music and jazz. He made his Cleveland Orchestra debut in July 2008 and most recently played here in May 2016. His schedule this season also features concerts with the orchestras of Atlanta, Boston, Detroit, New York, and St. Louis, playing concertos by Tchaikovsky, Gershwin, Schoenberg, and Busoni, as well as recitals in Washington D.C., Seattle, and Chicago. Born in 1979 in Voronezh, Russia, Kirill Gerstein attended a school for gifted children in his hometown. After teaching himself to play jazz by listening to his parents’ record collection, he was admitted, at age 14, to Boston’s Berklee College of Music. He spent two seasons at Tanglewood Music Center, and studied with Solomon Mikowsky at the Manhattan School of Music, as well as with Dmitri Bashkirov and Ferenc Rados. By age 20, Kirill Gerstein had earned his bachelor’s and master’s of music degrees. In 2010, Mr. Gerstein became the sixth recipient of the Gilmore Artist Award, and also received an Avery Fisher grant. He has shared this recognition by commissioning boundary-crossing works by Timo Andres, Chick Corea, Alexander Goehr, Oliver Knussen, and Brad Mehldau, among others. He is currently artist-inresidence at Berklee College of Music and serves on the piano faculty of the Boston Conservatory. Kirill Gerstein has appeared with North America’s major orchestras, including those of Atlanta, Baltimore, Boston, Chicago, Cincinnati, Cleveland, Dallas, Severance Hall 2016-17

Guest Soloist

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


orchestra news


Martin Luther King Jr. celebrated in music on January 15 and in afternoon open house on Monday, January 16 On Sunday, January 15, The Cleveland Orchestra performs its 37th annual concert celebrating the spirit of Dr. King’s life, leadership, and service in music and community recognition. Guest conductor Thomas Wilkins leads the performance, which features selections with the Martin Luther King Jr. Celebration Chorus, a group of volunteer singers from across Northeast Ohio assembled and prepared each year by William Henry Caldwell. Also featured on the concert is cellist Thomas Mesa, a winner of the 2016 Sphinx Competition for aspiring Black and Latino string players. Mr. Mesa will perform a movement from Antonín Dvořák’s Cello Concerto. The concert begins with the presentation of the annual Martin Luther King Jr. Community Service Awards, given jointly by The Cleveland Orchestra and the City of Cleveland in cooperation with the Greater Cleveland Partnership to individuals who are positively impacting Cleveland in the spirit of the teachings and example of Dr. King. Free tickets for the concert became available on January 3 and were all distributed through the Severance Hall Ticket Office and the Orchestra’s website by the end of that day. Those without tickets can experience the concert’s music and celebration by live radio broadcast over radio stations WCLV (104.9 FM) and WCPN (90.3 FM). The next day, on Monday, January 16, Severance Hall holds its sixteenth annual Martin Luther King Jr. Day Community Open House from 12 noon to 5 p.m. This day of free activities and performances celebrates the legacy of Dr. King and features performances by a variety of Northeast Ohio community performing arts groups, including the Cleveland Orchestra Youth Orchestra and Youth Chorus. For more complete details, visit


Cleveland Orchestra joins in national food drive this month For a ninth year, The Cleveland Orchestra is holding a food drive at the start of the calendar year, with goods donated locally. The event is part of Orchestras Feeding America, a national food drive held by America’s symphony orchestras. First started in 2009, this project has involved over 250 orchestras from across the nation, who have together collected over 500,000 pounds of food for their communities. The project is the single largest orchestra project organized at a national level, uniting musicians, audiences, staff, and volunteers to help alleviate hunger. This year’s drive in Cleveland is being undertaken surrounding the Orchestra’s concerts at Severance Hall in January — including the Martin Luther King weekend, with collection of non-perishable food items at concerts and performances January 5-7 and 12-16 at Severance Hall. Unexpired food donations are being collected Thursday through Saturday evenings, and at Monday afternoon’s Martin Luther King Jr. Day Community Open House. Food collected this year by The Cleveland Orchestra will be donated to Inner City Baptist Church Food Center, which is part of the Hunger Network of Cleveland. The center acts as an “emergency” food pantry serving the Hough neighborhood, site of The Cleveland Orchestra’s “At Home” Neighborhood Residency in 2016.


Food collection times at Severance Hall: Thursday, January 5, 6:30-8:00 pm Friday, January 6, 6:00-7:30 pm Saturday, January 7, 7:00-8:30 pm Thursday, January 12, 6:30-8:00 pm Saturday, January 14, 7:00-8:30 pm Sunday, January 15, 6:00-7:30 pm Monday, January 16, 11:30 am-5:30 pm

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news .W.E.L.C.O.M.E. New violinist joins Orchestra During the autumn season, The Cleveland Orchestra welcomed violinist Jiah Chung Chapdelaine to the second violin section. She has previously served as concertmaster of Opera Cleveland, performed new compositions with the Cleveland Chamber Symphony, and was a member of the Akron Symphony. A native of Seoul, Korea, Jiah Chung Chapdelaine began playing the violin at age 5. She subsequently moved to Iowa City, Iowa, where she pursued violin playing with Doris Preucil and Allen Ohmes. She holds bachelor’s and master’s of music degrees from the Cleveland Institute of Music, where her principal teachers were David Cerone, David Updegraff, and David Russell. As a soloist, she has appeared with the Sioux City Orchestra,


Waterloo/Cedar Falls Symphony, Des Moines Symphony Orchestra, and the National Repertory Orchestra. As a teacher, she has served as a member of the faculty of the Cleveland Institute of Music’s Preparatory Department since 2003. In addition, she has taught at the University of Akron since 2014. A resident of Cleveland Heights, Ms. Chapdelaine enjoys traveling, cooking, and spending time with her husband, Stephen, and their children, Ella and Oliver.

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orchestra news Franz Welser-Möst leads discussion about Bach’s Saint John Passion at Temple–Tifereth Israel on Sunday afternoon, March 5 The weekend prior to The Cleveland Orchestra’s performances of Bach’s Saint John Passion on March 9-12, Franz Welser-Möst will discuss the work with a panel of guest speakers on Sunday afternoon, March 5, beginning at 3 p.m. The event at The Temple–Tifereth Israel in Beachwood is free and open to the public, but registration is required by visiting One focus of the afternoon’s discussion will be to address a question that has dogged the Passion almost since its premiere in 1724, whether the work was intended to be anti-Semitic — and how any lingering aspects of that legacy should be approached in modern performances. The Saint John Passion is an extraordinarily beautiful, poetic, and forceful telling of the Crucifixion of Jesus Christ. The panel will explore the context of European history, music, and religion that influenced the creation of Bach’s masterpiece and the intersections of meaning, message, and intent. The afternoon’s panelists include: Michael Marissen of Swarthmore College (author of the newly-released book Bach and God) and Rabbi Roger Klein (Temple–Tifereth Israel), along with moderator David J. Rothenberg (Case Western Reserve University). The event is part of an ongoing partnership between The Cleveland Orchestra with the Maltz Museum of Jewish Heritage and Case Western Reserve University.



New monthly Members Club 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 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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Newest Cleveland Orchestra release features Brahms’s “German Requiem� on DVD

Cleveland Orchestra gift ideas continue into the new year . . .

The Cleveland Orchestra’s newest DVD recording is due out this month. Featuring Brahms’s A German Requiem in a live performance, it complements the release last year of all the Brahms symphonies and concertos. The recording was made this past autumn at Austria’s Abbey of St. Florian, and features the Vienna Singverein chorus along with soprano Hanna-Elisabeth MĂźller and baritone Simon Keenlyside, conducted  !A by Franz Welser-MĂśst. The 8 recording became available in December in Europe and is being released in the United States later in January. Preorders are being accepted at, and by special         arrangement the DVD will be     available through the Cleveland Orchestra Store prior to the official release date.

The Cleveland Orchestra Store offers a host of gift ideas all year ’round — including the newest recordings (and celebrated classics) and Cleveland Orchestra logo apparel. Visit the Store on the ground floor of Severance Hall at intermission or following wing today’s concert. In addition, Cleveland Orchestra Gift Certificates and Blossom Lawn Ticket Books for the Orchestra’s 2017 Blossom Music Festival are available through the Severance Hall Ticket Office ffice by calling 216-231-1111 or 800-686-1141, or online at








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Concert: January 5, 6, 7 RHAPSODY IN BLUE â&#x20AC;&#x201D; pages 28-29

Concert: January 12, 14 BRUCKNERâ&#x20AC;&#x2122;S SEVENTH SYMPHONY â&#x20AC;&#x201D; page 59

PERSPECTIVES from the Executive Director â&#x20AC;&#x201D; page 7

MESSAGE from the President â&#x20AC;&#x201D; page 8

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Musicians Emeritus of




















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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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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We are honored to be a partner in excellence with The Cleveland Orchestra. Enjoy the performance.

Copyright Roger Mastroianni

BakerHostetler is pleased to present Yefim Bronfman.




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Thursday evening, January 12, 2017, at 7:30 p.m. Saturday evening, January 14, 2017, at 8:00 p.m.

Franz Welser-Möst, conductor JÖRG WIDMANN (b. 1973)

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Trauermarsch [Funeral March] (for piano and orchestra) YEFIM BRONFMAN, piano


Symphony No. 7 in E major 1. Allegro moderato 2. Adagio: Sehr feierlich und sehr langsam [Very solemn and very slow] 3. Scherzo: Sehr schnell — Trio: Etwas langsamer [Very fast] [Somewhat slower] 4. Finale: Bewegt, doch nicht schnell [Moving, but not fast]

These concerts are sponsored by BakerHostetler, a Cleveland Orchestra Partner in Excellence. Yefim Bronfman’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Sterling A. and Verdabelle Spaulding. The Thursday evening performance is dedicated to The Honorable and Mrs. John Doyle Ong in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. The Saturday evening performance is dedicated to Dr. and Mrs. Hiroyuki Fujita in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. The concert will end at about 9:25 p.m. on Thursday and at approximately 9:55 p.m. on Saturday.

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Concert Program — Week 9


January 12, 14

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


Severance Restaurant Reservations for pre-concert dining suggested:

216-231-7373 or via

Concert Preview


in Reinberger Chamber Hall

“Farewells to Remember” with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups


Concert begins: THUR 7:30 SAT 8:00


WIDMANN Trauermarsch [Funeral March] . . . . . . . . . . . . . . Page 63 (25 minutes)

INTERMISSION (20 minutes)

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

BRUCKNER Symphony No. 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 69 (65 minutes)

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

Concert ends: (approx.)

THUR 9:25 SAT 9:55

Severance Restaurant Post-Concert Desserts and Drinks


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This Week’s Concerts

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Tributes & Tributaries

Franz Welser-Möst was awarded the Bruckner Society of America’s Medal of Honor in 2011.

T H I S W E E K E N D ' S C O N C E R T S feature two large-scale works, created

over a century apart, yet related through intention and mastery. Each offers a sense of solace while also signalling spiritual searching and enlightenment. One is openly called a funeral march, the other served fully the same purpose for its composer’s grief at the death of another master. The evening begins with Jörg Widmann’s Trauermarsch, a piano concerto commissioned by a group of orchestras for pianist Yefim Bronfman, who also performs it in Cleveland this weekend. This funeral march as piano concerto is a very recent work, given its world premiere in Berlin in December 2014 and its United States premiere just seven months ago in San Francisco. This is new music, of and for the 21st century, yet infused by and derived from the past, from within music’s ongoing evolution as a universal language. Thus, in a way, this is the “original” Funeral March (yes, the rhythm we all know by Chopin) transferred and fully transformed and magnified into today’s world. It is contemplative, and mournful, and joyously alive . . . all at the same time. Such music is for the living — feel it, and yourself, breathing across every phrase. After intermission, Franz Welser-Möst returns to one of the touchstone composers of his own musical understanding, with Anton Bruckner’s expansive Seventh Symphony. As Franz writes in his own comments about this work ((beginning on page 69), this was Bruckner’s first real success, at the age of sixty. ne IIt has few of the textual confusions of his earlier symphonies, which were rewritA silhouette cut-out of Bruckner conducting. ten at the hands of others (and are only recently being fully explored in the composer’s original scores). Franz sees Bruckner’s Seventh as a symphonic twin to Richard Wagner’s great opera of passion and love, Tristan and Isolde. And Bruckner’s own love for si Wagner’s art is, in fact, embedded within this score, through a Wag musical tribute ccreated by Bruckner in the symphony’s second movement at the time of Wagner’s death in 1883. Yet, like all music, this too is for the living. Listen intently for all that you can hear across this big and shimmering work. —Eric Sellen

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Introducing the Concerts


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Trauermarsch [Funeral March] composed 2014

At a Glance


Widmann wrote his Trauermarsch [Funeral Music] in 2014 on a joint commission from the Berlin Philharmonic, San Francisco Symphony, and Toronto Symphony Orchestra. It was first performed on December 18, 2014, in Berlin, with Yefim Bronfman as the soloist, conducted by Simon Rattle. This concerto runs about 25 minutes in performance. Widmann scored it for 3 flutes (all doubling piccolo), 3 oboes (second doubling english horn), 3 clarinets, bass clarinet, 3 bassoons (third doubling

born June 19, 1973 Munich

About the Music



now living in Freiburg

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contrabassoon), 4 horns, 3 trumpets, tuba, timpani, an extensive grouping of percussion (bass drum, small drum, 3 tam-tams, Brazilian tambourine, crotales, claves, cowbells, Chinese cymbal, 3 cymbals, Peking gong, slide whistle/lotusflute, tubular bells, glockenspiel, vibraphone, vibraslap, water gong, waterphone, xylophone), 2 harps, celesta, and strings, plus the solo piano. The Cleveland Orchestra is performing this work for the first time at this weekend’s concerts.

S T I L L I N H I S E A R LY F O R T I E S , Jörg Widmann pursues a double career as composer and solo clarinettist and has enjoyed continuous success in both roles. This seems quite remarkable as his list of compositions is long, and he produces new works, some of them very substantial, with regularity while still maintaining his teaching position as professor of composition at the Institute of New Music at the Freiburg Music College and performing on the clarinet and conducting. Cleveland audiences know Widmann and his music from his tenure, 2009-11, as The Cleveland Orchestra’s Daniel R. Lewis Young Composer Fellow, as well as performances of his works since that time by the Orchestra at Severance Hall and on tour. He is currently also serving as principal guest conductor for the Irish Chamber Orchestra. Widmann has naturally written a variety of works for clarinet, which he has played himself and recorded under leading conductors. In addition, his list of orchestral works is extensive. He has composed a cycle of five string quartets and an oboe concerto, and works for piano and horn. His violin concerto was played by The Cleveland Orchestra in May 2015 with Christian Tetzlaff, for whom it was written, as soloist. Earlier, his flute concerto, Flûte en suite, was premiered at Severance Hall in May 2011, with principal flute Joshua Smith, for whom it had been created.

About the Music


His Trauermarsch, or “Funeral March,” was commissioned by the Berlin Philharmonic Orchestra in partnership with the San Francisco Symphony and the Toronto Symphony Orchestra. After its first performance in Berlin, in December 2014, the same soloist, Yefim Bronfman played it in San Francisco in June 2016. The Toronto premiere will take place this coming March. A MARCH BECOMES A CONCERTO

Having played frequently with Bronfman in chamber music, Widmann originally wanted to write for him a full-length piano concerto in four movements. It was planned to begin with a funeral march, but this idea became so obsessive in the composer’s mind that it became the whole piece. “It took me pages and pages and pages,” Widmann has said, “to realize that “It took me pages and my piece would be a funeral march and that the planned second movement would never start — pages and pages,” Widor the third, or the fourth!” He has also stated mann says, “to realize that he had in mind two composers who never that my piece would be a wrote piano concertos, Gustav Mahler and Alfuneral march and that ban Berg. Mahler, especially, for the massive funeral march that opens his Fifth Symphony the planned second moveand infuses many other pieces too. ment would never start The character of a funeral march is some— or the third, or the thing that anyone can recognize, whether in fourth!” He has also statmusic by Handel or Chopin or Mahler — the solemn 4/4 tempo, the minor key, the heavy ed that he had in mind rhythms, the drooping phrases, like tears. Given two composers who never those basic features, such music almost writes wrote piano concertos, itself, and sure enough the opening of WidMahler and Alban Berg. mann’s Trauermarsch offers a drooping phrase, some teardrops, and a dotted rhythm, all on the piano, almost without harmony. But a composer as sophisticated as Widmann inevitably transforms such ideas with and into his own sound world. The pair of drooping notes becomes a basic element of the piece, along with the march rhythm, often represented in clusters at the bottom of the piano and in the low strings, who are required to tune their lowest strings lower than normal. The opening passage recurs once in the middle of the piece and once more towards the end. Although this is a march, the pulse is anything but regular, with constant changes of speed, slackening or hurrying, always within a slow, mournful pace. Yet even that can change. Before long, the


About the Music

The Cleveland Orchestra


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piano has a passage of quick repeated rhythms at the top of the keyboard, supported by a snaredrum played with brushes, dramatically interrupted by snarling horns. Another departure from the slow tempo is a spirited passage a little over halfway in, when the piano rattles away at speed while trumpets and then trombones exchange brittle fanfares. After the piano has played for a while with hands spread as far apart as they can get, the timpani get busy and the tempo becomes something truly lively. Then there are some strange episodes â&#x20AC;&#x201D; one where the winds blow through their instruments without notes, followed by a series of â&#x20AC;&#x153;wolf howlsâ&#x20AC;? from the horns. Suddenly the piano has an unexpected tune, as if this was ballet music, leading to the second return of the opening. The heaviest blow is yet to fall, after which the music gradually declines to the point where the piano, in the composerâ&#x20AC;&#x2122;s words, is laid to rest in its own grave. In Widmannâ&#x20AC;&#x2122;s single-movement violin concerto the soloist plays continually throughout. Here, too, the soloist is given no respite, except for a few bars (only) towards the end, when the low instruments deliver a series of regular, heavy chords. The bewildering map of notes that the soloist has to trace in this work is enough to test the greatest virtuoso of the keyboard. Widmann calls for an immense orchestra with enough percussion instruments to fill a dictionary. Watch out for the â&#x20AC;&#x153;lotus flutes,â&#x20AC;? the â&#x20AC;&#x153;water gong,â&#x20AC;? the â&#x20AC;&#x153;waterphone,â&#x20AC;? the â&#x20AC;&#x153;Peking Opera gong,â&#x20AC;? the â&#x20AC;&#x153;vibraslap,â&#x20AC;? and of course all the other percussion instruments we see more regularly on concert stages. A composer always wants to create a unique sound world, and with the Trauermarsch Widmann has surely succeeded. â&#x20AC;&#x201D;Hugh Macdonald Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

Severance Hall 2016-17

About the Music


Restoring Bruckner’s Greatness — Musical Meaning and Purpose G U S T A V M A H L E R famously said “My

time will come.” Anton Bruckner spent much of his life wondering if his music would ever be recognized and embraced. More than a century after his death, Bruckner’s place in popular and critical appraisal remains a moving target. While Mahler’s anguished music went mainstream, Bruckner’s slowly arching symphonies became something of an acquired taste. Many conductors embraced him as a supreme symphonist. Others dismissively pigeonholed his symphonies as enormous “gothic cathedrals in sound,” the work of a devoutly religious man who understood nothing but his own faith. In recent decades, the real Bruckner has been gaining ground. The veneers of slick editing that early on rendered a number of his scores more “understandable,” more Wagnerian, more mainstream, have slowly been wiped clean. His legacy as a serious organist and thoughtful musician has been reexamined. The bolder ideas of his later symphonies have been viewed as looking forward into the 20th century rather than awkward missteps at the end of the 19th. With this weekend’s performances, Franz Welser-Möst once again returns to the music of Bruckner, whose works remain one of the touchstones of his own understanding of music. He recorded five of Bruckner’s symphonies — including


this weekend’s No. 7 — with The Cleveland Orchestra between 2007 and 2012, to critical acclaim. Welser-Möst comes by his interest and understanding of Bruckner’s music naturally. He, like Bruckner, grew up near Linz, Austria, and was steeped in Bruckner’s music from an early age. He very clearly remembers eminent conductors from previous generations leading Bruckner performances at the Abbey of Saint Florian, where Bruckner studied and later served as organist. He remembers a vinyl LP of Bruckner’s Second, which as a young boy he nearly wore out (along with his mother’s patience) from repeated playing. Indeed, Welser-Möst has been conducting and thinking about Bruckner nearly all his life. He has studied the scores — the early published versions edited by assistants as well as the autograph manuscripts and later critical editions. He has led performances of differing versions and wrestled with the questions of which notes were really Bruckner’s and which were someone else’s suggestions. If Welser-Möst’s focused approach to these works proves nothing else, one thing should be abundantly clear: Bruckner was more than a simple man devoutly writing musical love letters to God. Yes, the composer was at times socially awkward. Yes, he too often accepted others’ advice about his own music. And, About Bruckner

The Cleveland Orchestra

very much, his Catholic faith anchored him through life. But Bruckner’s musical breadth was exceptional. He was a magnificent organist, who mesmerized audiences in performances across Europe with his abilities to improvise — interweaving, for instance, themes from the Adagio of his own Seventh Symphony with those of Siegfried’s Funeral March from Wagner’s Götterdämmerung. Bruckner studied all his life. He knew musical history, trends, ideas, influences. Like many composers before him, he saw real and potent meaning behind his compositional choices — of key signatures, for example, and in the relationships between musical notes and the messages to be conveyed. Like Bach, Bruckner was fascinated by numbers — an obsession he shared with his counterpoint teacher Simon Sechter. In conversation and rehearsal, Welser-Möst uses such points to make a case for Bruckner symphonies being “about something,” not just long pieces of lovely church music. Life and love, God and mercy, death’s approach — all are in these symphonies. Welser-Möst points out that Bruckner didn’t just admire Richard Wagner’s music, he studied it. And, Welser-Möst believes, Bruckner was not blind to Wagner’s many shortcomings, including, for Bruckner, a lack of religious faith. Bruckner’s borrowings from Wagner were not uncomplicated admiration, but choiceSeverance Hall 2016-17

About Bruckner

Cleveland + Welser-Möst: Bruckner on DVD Between 2007-12, The Cleveland Orchestra and Franz Welser-Möst recorded five of Bruckner’s symphonies in historic and acoustically important venues. The Fourth and Fifth Symphonies were recorded at the Abbey of St. Florian in Linz, Austria, and the Ninth Symphony at Vienna’s Musikverein. Bruckner’s Symphonies Nos. 7 and 8 were recorded at Severance Hall in Cleveland. This series of five Bruckner DVD recordings featuring The Cleveland Orchestra under Franz Welser-Möst’s direction was created in partnership and with generous support from Raiffeisenlandesbank Oberösterreich and Clasart.

ful decisions for his own symphonies. For Bruckner, musical history was a deliberate palette from which to work, not simply a collection of pleasant or favorite ideas to string together. The memorial tribute to Wagner that Bruckner wrote into the second movement of the Seventh Symphony was not pandering or simply personal, it was transformative — taking grief and creating from it (and through it) a substantive musical message. Within the Seventh Symphony, Bruckner fashioned a “symphonic twin” to Wagner’s opera Tristan and Isolde, emanating desire, adoration, love — of God, of Wagner, of the everyday joy and wonder of being alive. —Eric Sellen



No one plays Bach like Apollo’s Fire! From J.S. Bach’s sunny Orchestral Suite No. 1, to the darkly brooding Oboe Concerto in G minor, to the sparkling and beloved Brandenburg Concertos No. 3 and 4. “These excellent musicians bring across their music with an exuberant musicality, like wind through a forest.” – THE BOSTON GLOBE


Symphony No. 7 in E major composed 1881-1883

At a Glance



BRUCKNER born September 4, 1824 Ansfelden, Upper Austria died October 11, 1896 Vienna

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Bruckner composed his Seventh Symphony between the years 1881 and 1883. The work’s first performance took place on December 30, 1884, in Leipzig, with Arthur Nikisch conducting the Leipzig Gewandhaus Orchestra. The score includes the dedication to “his Majesty, King Ludwig II of Bavaria, in deepest reverence.” This symphony runs about 65 minutes in performance. Bruckner scored it for an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 4 Wagner tubas, 3 trumpets, 3 trombones, tuba, timpani, percussion

(triangle and cymbals), and strings. (The score edition being used for this weekend’s performances was edited by Leopold Nowak.) The Cleveland Orchestra first performed Bruckner’s Seventh Symphony in March 1938, at a pair of evening subscription concerts led by Artur Rodzinski. Franz Welser-Möst and the Orchestra have performed it on several occasions, at home and on tour, including concerts at Severance Hall in September 2008, when it was recorded for telecast and DVD.

About the Music Franz Welser-Möst has prepared the following comments about this Bruckner symphony: T H E S E V E N T H S Y M P H O N Y is often discussed as Bruckner’s breakthrough work. It is the symphony that provided his first great popular success, at the age of sixty, and which gave him a sense of accomplishment that, for the first time, he might no longer have to continue proving himself. His Fourth Symphony had appealed to some, but the Seventh was quickly embraced by many — and it is easy to hear the appeal of this music. Its success, however, is a fact “outside” the symphony itself. Bruckner envisioned and wrote this music for himself, and we should approach it with this in mind. Bruckner was not trying to write something popular. It was his music, in his mind and in his heart, before it was a success. There is no coincidence in the fact that Bruckner’s Seventh Symphony is, literally, No. 7. In Catholicism, and in the Bible, seven stands symbolically for several spiritual ideals, for God, and especially for God’s mercy. For Bruckner, the symbolism of the number 7 informed him directly as he wrote this symphony. Bruckner was deeply rooted in his Catholic faith. It was his anchor in life. Yet sometimes he found himself conflicted between that faith and the world. He was torn, for instance, be-

About the Music


tween his own faith and his absolute adoration for the opera composer Richard Wagner, who proclaimed that God — whether God existed or not — did not matter. I believe that this conflict within Bruckner’s understanding of his own faith played out directly in the creation of the Seventh Symphony, with Wagner and Wagner’s music playing a major role as the symphony progressed and took shape. Bruckner chose the key of E major for this work very deliberately. To him, this was the key of love, from Wagner’s Tristan and Isolde. In the opera, Wagner used the trick of creating music that is always searching for that home key — just as Tristan’s and Isolde’s love is searching for solace and peace, yearning and longing for consummation and unity. Only at the end of the opera does the music fully settle on E major, with both hero and heroine finding peace, finally, in death. I see Bruckner’s I see Bruckner’s Seventh very much as a symphonic twin to Tristan and Isolde. In this Seventh very much as music, Bruckner explores themes of love and a symphonic twin to desire, of his own conflict between what love Wagner’s opera Tristan means in the Christian sense of caring and what love means in the romantic sense of desire. and Isolde. In this music, God’s love and mercy are the dialogue and Bruckner explores themes conversation of this symphony.

of love and desire, of his own conflict between what love means in the Christian sense of caring and what love means in the romantic sense of desire.


In the Seventh, for the first time, Bruckner includes in his orchestral ensemble four of the so-called Wagner tubas. Wagner had created these for the large orchestra in his Ring of the Nibelung saga. Bruckner uses them in his last three symphonies, Nos. 7, 8, and 9. Yet even with these added in, it is worth remembering that Bruckner’s symphonic orchestra is much closer in scale and size to Beethoven’s, to a “classical orchestra,” than to the larger forces that Gustav Mahler and Richard Strauss were just beginning to create. This is important to acknowledge in as we strive to understand Bruckner’s music. Bruckner was a symphonist in the traditional sense, using almost no percussion, and adding other instruments very sparingly. Again, he was writing for himself, within an existing form — stretching the length and some limits, but not deliberately trying to make something big or bigger. Of course, this should not take away from what Mahler and Strauss did, but they were working toward different aims, toward a different complexity and sound


About the Music

The Cleveland Orchestra

world. Bruckner was very much his own man, his own composer. The first movement opens with a tremolo, as in several of the earlier Bruckner symphonies. This time, the tremolo is in E major, showing desire. From this, the music builds with a grandly arching melody. Bruckner designs the movement in a customary sonata pattern, working through three themes. The second of these includes a turn, first announced by the oboe, that Wagner used in the big love scenes of both Tristan and Isolde and Götterdämmerung. Thus, here we have love and we have Wagner. This is not coincidence or imitation. This is Bruckner making deliberate conversation in music. While the first movement includes Wagnerian turns, the second movement is an open memorial to Bruckner’s idol. This Adagio starts as lament. Here Bruckner quotes from his own Te Deum, which he was writing at the same time as the Seventh Symphony. The phrase matches to the text “non confundar in aeternum,” meaning “let me not be confounded (or damned) for eternity.” Across the movement, the “non confundar in aeternum” comes seven times — again, here is Bruckner’s obsession with and belief in the symbolism of numbers — reaching toward C major, which was God’s key in Baroque music. This music represents the essence of Christianity for Bruckner, his belief that love is the only thing that matters, that meeting God at death is the very reason for our journey, and that it is God’s love that can redeem human life. It’s a very personal statement. Wagner’s health was failing after the premiere of Parsifal in the summer of 1882. While working on the second movement that next winter, Bruckner wrote to a friend that he’d had a premonition of Wagner’s death. In fact, we know that Wagner was on his mind throughout the time he worked on this movement. And then Wagner really did die, in February 1883, and Bruckner was overwhelmed with emotion. What had started as a lament became a self-fulfilling Anton Bruckner Arrives in Heaven — a silhouette by Otto Böhler (1873-1915). Bruckner is being greeted (from left to right) by Liszt, Wagner, Schubert, Schumann, Weber, Mozart, Beethoven, Gluck, Haydn, Handel, and Bach (at organ).

Severance Hall 2016-17

About the Music


prophecy. And Bruckner continued and reworked the ending of the movement, creating very moving passages that feature horns and the Wagner tubas, and changing the music to be a true memorial for Wagner. The climax of the Adagio movement is, in fact, the climax of the entire symphony. While it comes toward the end of this movement, Bruckner also designed it, structurally, to come exactly in the center of the symphony as a whole. Here Bruckner revels in the key of C major (God) and brings in a clash of cymbals and triangle to punctuate the climactic moment, as though Heaven itself were opening up before us. Bruckner described the opening of the Scherzo third movement to one of his assistants, saying the theme in the trumpet is like a rooster’s call to start the day. This signals a sense of nature in this movement, which features dance-like music of an almost Schubertian feeling. Here we are at peace, in a sense, after the memorial to Wagner in the previous movement. Life must go on and will go on. Nature and everyday life continue. Much of Bruckner’s music harkens back to Gregorian chant, and to his background in Catholic Church music. This is very much true in the Finale fourth movement of the Seventh. Even within this, however, there is conflict in this music, as Bruckner moves backward and forward, between two extremes — from the ancient building blocks he is using as a foundation, to the new music he is creating. In this movement, Bruckner varies from usual sonata form, shifting instead to an arch. After introducing and developing three themes, he backs away, and revisits the themes in reverse order: 3-2-1. This mirrors the arch-like sense of the first movement and the arch-like structure of the symphony as a whole, and helps give the listener a sense of wholeness or completeness, of a journey — toward God’s love and mercy? — well and devoutly traveled. Perhaps, in the end, the inner conflict between romantic desire and spiritual love remains unresolved. Or perhaps both are an integral part of life, through which each of us must find peace, understanding, and acceptance — of ourselves and those around us. Whether or not Wagner was right, that God’s existence doesn’t matter, perhaps God’s mercy is about personal inner peace. The Seventh Symphony is an important expression detailing part of Bruckner’s own journey, in music and in life. —Franz Welser-Möst


About the Music

The Cleveland Orchestra

Anton Bruckner, 1885, oil painting by Hermann Kaulbach

“ANTON BRUCKNER: There is arguably no other composer who spent so many years studying his art before establishing his unique voice. He remained a devout Catholic for the whole of his life, and his faith pervades all his music, even though it was with the traditionally secular symphony — Gothic cathedrals in sounds, as they have often been described — that his originality was established.” —The Rough Guide to Classical Music


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The Cleveland Orchestra

Yefim Bronfman Russian-American pianist Yefim Bronfman is regarded as one of today’s most talented piano virtuosos, equally praised for his commanding technique and lyrical gifts. He made his Cleveland Orchestra debut in April 1986, and has returned regularly since that time for musical collaborations with the ensemble. He is featured on The Cleveland Orchestra’s most recent DVD release performing both Brahms piano concertos recorded with Franz Welser-Möst at Severance Hall. He is also featured in another DVD release conducted by Welser-Möst, of Liszt’s Piano Concerto No. 2 with the Vienna Philharmonic. Yefim Bronfman was born in 1958 in Tashkent. After moving to Israel with his family in 1973, he worked with Arie Vardi at Tel Aviv University. Following his family’s relocation to the United States in 1976, he studied at the Curtis Institute, Juilliard School, and Marlboro. His teachers included Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin. Mr. Bronfman made his international debut in 1975 with the Montreal Symphony, and his New York Philharmonic debut in 1978. In 1991, he returned to Russia for the first time since emigrating, to perform recitals with Isaac Stern. Mr. Bronfman’s honors include the Avery Fisher Prize. As a guest artist, Yefim Bronfman performs with the world’s most esteemed ensembles, from North America’s major orchestras to those of Amsterdam, Berlin, Dresden, Israel, London, Paris, Vienna, and Zurich, among others. He is a frequent guest at international festivals, and has served as artist-in-residence with Carnegie Hall, the Los Angeles Philharmonic, Severance Hall 2016-17

Guest Soloist

New York Philharmonic, and the Dresden Staatskapelle, and as artiste étoile in Switzerland. His appearances this season include the opening concerts of the Israel Philharmonic, and also in that orchestra’s 80th birthday celebrations. A devoted chamber musician, Mr. Bronfman has collaborated with the Cleveland, Emerson, Guarneri, and Juilliard quartets, as well as the Chamber Music Society of Lincoln Center. He also has performed with Emanuel Ax, Joshua Bell, Lynn Harrell, Magdalena Kožená, Yo-Yo Ma, Jean-Pierre Rampal, Pinchas Zukerman, and many others, and presents solo recitals throughout Asia, Europe, and North America. Mr. Bronfman’s recordings are highly praised — his album of Bartók’s three piano concertos won a Grammy Award, and his album featuring Esa-Pekka Salonen’s piano concerto and his recording of Magnus Lindberg’s second piano concerto have both received Grammy nominations. His prolific discography also includes the complete Prokofiev piano sonatas and concertos, Beethoven’s five piano concertos and triple concerto, Tchaikovsky’s Piano Concerto No. 1, and sonatas by Bartók, Brahms, and Mozart recorded with Isaac Stern. For more information, please visit



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


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.


gifts during the past year, as of September 15, 2016

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

Individual Annual Support

The Cleveland Orchestra

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

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

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

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

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

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

Blossom Friends of The Cleveland Orchestra The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler T. K. and Faye A. Heston Giuliana C. and John D. Koch Dr.* and Mrs. Jerome Kowal Jan R. Lewis (Miami) Toby Devan Lewis Mrs. Emma S. Lincoln Virginia M. and Jon A. Lindseth Margaret Fulton-Mueller Roseanne and Gary Oatey (Cleveland, Miami) Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner James and Donna Reid The Ralph and Luci Schey Foundation Sally and Larry Sears Hewitt and Paula Shaw Barbara and David Wolfort (Cleveland, Miami) Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra

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

George Szell Society

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

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

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

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

Severance Hall 2016-17

Individual Annual Support


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

Mr. and Mrs. William W. Baker Marsha and Brian Bilzin (Miami) Mr. and Mrs. Charles P. Bolton In dedication to Donald Carlin (Miami) Judith and George W. Diehl JoAnn and Robert Glick Mr. Loren W. Hershey Mrs. Marguerite B. Humphrey Mr. and Mrs. Donald M. Jack, Jr. Junior Committee of The Cleveland Orchestra Thomas E Lauria (Miami) Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan Mrs. Jane B. Nord William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Mr. and Mrs. James A. Ratner Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Mr. Larry J. Santon Anonymous (2)

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

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

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

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

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

The Leadership Patron Program recognizes generous donors of $2,500 or more to the Orchestraâ&#x20AC;&#x2122;s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Elizabeth Arnett, Manager, Leadership Giving, by calling 216-231-7522.

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

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

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


Individual Annual Support

The Cleveland Orchestra

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

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

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

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

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

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

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

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

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

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

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

listings continue


Individual Annual Support

The Cleveland Orchestra

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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)


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


Individual Annual Support

The Cleveland Orchestra

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


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 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


“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.

FEBRUARY 12, 7 pm BOP STOP at The Music Settlement 2920 Detroit Ave. Cleveland

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Located one block north of Shaker Square and on the EĂƟŽŶĂůZĞŐŝƐƚĞƌŽĨ,ŝƐƚŽƌŝĐWůĂĐĞƐ͕>ĂƌĐŚŵĞƌĞŽƵůĞǀĂƌĚ ŝƐůĞǀĞůĂŶĚ͛ƐƉƌĞŵŝĞƌĂƌƚƐ͕ĂŶƟƋƵĞƐĂŶĚĚĞƐŝŐŶĚŝƐƚƌŝĐƚ͘ 86

The Cleveland Orchestra


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

Cumulative Giving

Annual Support


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



BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual 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


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

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

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

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

Severance Hall 2016-17

Corporate Annual Support

$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co. LLC Calfee, Halter & Griswold LLP The Cedarwood Companies Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Counselling Services Consolidated Solutions Cozen O’Connor (Miami) Dominion Foundation Ernst & Young LLP Evarts Tremaine The Ewart-Ohlson Machine Company Ferro Corporation FirstMerit Bank Frantz Ward LLP Arthur J. Gallagher & Co. The Giant Eagle Foundation Great Lakes Brewing Company Gross Builders Hahn Loeser & Parks LLP The Lincoln Electric Foundation Littler Mendelson, P.C. Live Publishing Company Macy’s Materion Corporation Miba AG (Europe) MTD Products, Inc. North Coast Container Corp. Northern Haserot Oatey Ohio CAT Ohio Savings Bank, A Division of New York Community Bank OMNOVA Solutions Oswald Companies Park-Ohio Holdings Corp. PolyOne Corporation RSM US, LLP The Sherwin-Williams Company Southern Wine and Spirits (Miami) Stern Advertising Agency Struktol Company of America Swagelok Company Tucker Ellis United Automobile Insurance (Miami) University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) Westlake Reed Leskosky Margaret W. Wong & Assoc. Co., LLC Anonymous (2)


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The Cleveland Orchestra


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

Cumulative Giving

Annual Support



$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


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


11001 Euclid Avenue Cleveland, Ohio 44106



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


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

Severance Hall

The Cleveland Orchestra

11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

AT SE V E R A N C E H A LL RESTAURANT AND CONCESSION SERVICE Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances (and for lunch following Friday Morning Concerts). For reservations, call 216-231-7373, or online by visiting Intermission & Pre-Concert: Concession service of beverages and light refreshments is available before most concerts and at intermissions at a variety of lobby locations. Post-Concert Dining: Severance Restaurant is open after most evening concerts with à la carte dining, desserts, full bar service, and coffee. For Friday Morning Concerts, a post-concert luncheon service is offered.

CLEVELAND ORCHESTRA STORE A variety of items relating to The Cleveland Orchestra — including logo apparel, DVD and compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermissions. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Call 216-231-7478 for more information, or visit the Store online at

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

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

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

Severance Hall 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

BE FO R E T H E CO NC E R T GARAGE PARKING AND PATRON ACCESS Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $15 per concert. This pre-paid parking ensures you a parking space, but availability of prepaid parking passes is limited. To order pre-paid parking, call the Ticket Office at 216-231-1111. Parking can be purchased (cash only) for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. However, the garage often fills up and only ticket holders with prepaid parking passes are ensured a parking space. Parking is also available in several lots within 1-2 blocks of Severance Hall. Visit the Orchestra’s website for more information and details.

FRIDAY MATINEE PARKING Due to limited parking availability for Friday Matinee performances, patrons are strongly encouraged to take advantage of these convenient off-site parking and round-trip bus options: Shuttle bus service from Cleveland Heights is available from the parking lot at Cedar Hill Baptist Church (12601 Cedar Road). The roundtrip service rate is $5 per person. Suburban round-trip bus transportation is available from four locations: Beachwood Place, Crocker Park, Brecksville, and Akron’s Summit Mall. The round-trip service rate is $15 per person per concert, and is provided with support from the Women’s Committee of The Cleveland Orchestra.

CONCERT PREVIEWS Concert Preview talks and presentations begin one hour prior to most regular Cleveland Orchestra concerts at Severance Hall.


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

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

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

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

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can make arrangement by calling the House Manager in advance at 216-231-7425. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performances. If you need assistance, please


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

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

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

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

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

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

Guest Information

The Cleveland Orchestra

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WINTER SEASON Rhapsody in Blue Jan 5 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Jan 6 â&#x20AC;&#x201D; Friday at 11:00 a.m. <18s Jan 6 â&#x20AC;&#x201D; Friday at 7:00 p.m. <18s Jan 7 â&#x20AC;&#x201D; Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA -DPHV*DIÃ&#x20AC;JDQ, conductor Kirill Gerstein, piano

HERRMANN Suite from Psycho SCHOENBERG Piano Concerto * GERSHWIN Rhapsody in Blue BARTÃ&#x201C;K Concerto for Orchestra * not part of Friday concerts

Fridays@7 Sponsor: KeyBank

Brucknerâ&#x20AC;&#x2122;s Seventh Symphony Jan 12 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Jan 14 â&#x20AC;&#x201D; Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor <HÃ&#x20AC;P%URQIPDQ, piano

WIDMANN Trauermarsch (for piano and orchestra) BRUCKNER Symphony No. 7 Sponsor: BakerHostetler

Martin Luther King Jr. Day Severance Hall Open House Jan 16 â&#x20AC;&#x201D; Monday from noon to 5 p.m. Severance Hall joins in the city-wide celebration of Martin Luther Kingâ&#x20AC;&#x2122;s life and achievements with a free public open house featuring musical performances by groups from across Northeast Ohio. Details at

Piano Recital: Lucas Debargue Feb 3 â&#x20AC;&#x201D; Friday at 8:00 p.m. A special solo recital presentation featuring the up-andcoming French pianist Lucas Debargue, performing works by Scarlatti, Chopin, Ravel, and Medtner.

Mahlerâ&#x20AC;&#x2122;s Song of the Earth Feb 9 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Feb 10 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s Feb 11 â&#x20AC;&#x201D; Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Christoph von Dohnányi, conductor 0LFKHOOH'H<RXQJ, mezzo-soprano Paul Groves, tenor


MAHLER The Song of the Earth [Das Lied von der Erde] Sponsor: Medical Mutual

Martin Luther King Jr. Celebration Concert


Jan 15 â&#x20AC;&#x201D; Sunday at 7:00 p.m

Feb 14 â&#x20AC;&#x201D; Tuesday at 7:30 p.m.

THE CLEVELAND ORCHESTRA Thomas Wilkins, conductor Thomas Mesa, cello 0DUWLQ/XWKHU.LQJ-U&HOHEUDWLRQ&KRUXV William Henry Caldwell, director and conductor

THE CLEVELAND ORCHESTRA Justin Freer, conductor Cleveland Orchestra Youth Chorus

The Cleveland Orchestraâ&#x20AC;&#x2122;s 37th annual concert celebrating the spirit of Dr. Kingâ&#x20AC;&#x2122;s life, leadership, and vision. Presented in collaboration with the City of Cleveland. TICKETS: Admission is free, but tickets are required. Tickets were SOLD OUT as of January 3. Or listen to the concert live on Cleveland radio stations WCLV (104.9 FM) or WCPN (90.3 FM). Sponsor: KeyBank

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

Breakfast at Tiffanyâ&#x20AC;&#x2122;s

A classic movie from 1961 for Valentineâ&#x20AC;&#x2122;s Day! Experience director Blake Edwardsâ&#x20AC;&#x2122;s romantic comedy with Henry 0DQFLQL·VOHJHQGDU\VFRUH LQFOXGLQJ´0RRQ5LYHUµ SOD\HG live by The Cleveland Orchestra. Sponsor: PNC Bank

Mozart and Tchaikovsky Feb 16 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Feb 17 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s Feb 18 â&#x20AC;&#x201D; Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Semyon Bychkov, conductor .DWLD/DEqTXH, piano 0DULHOOH/DEqTXH, piano

MOZART Concerto for Two Pianos TCHAIKOVSKY Manfred Symphony Sponsor: BakerHostetler


Concert Calendar

The Cleveland Orchestra


16 17 2 O 1 6 -1 7


Youth Orchestra and Youth Chorus Feb 19 — Sunday at 7:00 p.m.






CLEVELAND ORCHESTRA YOUTH CHORUS Lisa Wong, director with Marian Vogel, soprano

BATES Sea-Blue Circuitry DEBUSSY Nocturnes POULENC Gloria Two of Northeast Ohio’s premier youth ensembles present a joint concert featuring two French works for chorus and orchestra, plus a recent orchestral work by American composer Mason Bates.

Debussy’s La Mer Feb 23 — Thursday at 7:30 p.m. Feb 24 — Friday at 11:00 a.m. <18s Feb 25 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Matthias Pintscher, conductor Cédric Tiberghien, piano

PINTSCHER Ex Nihilo SAINT-SAËNS Piano Concerto No. 5 SCHOENBERG Chamber Symphony No. 2 * DEBUSSY La Mer [The Sea] * not performed on Friday concert

Sponsor: PNC Bank

All American: Copland’s Third March 2 — Thursday at 7:30 p.m. March 3 — Friday at 7:00 p.m. <18s March 4 — Saturday at 8:00 p.m.

Sunday January 15 at 7:00 p.m. THE CLEVELAND ORCHESTRA Thomas Wilkins, conductor Thomas Mesa, cello Martin Luther King Jr. Celebration Chorus William Henry Caldwell, director/conductor

The Cleveland Orchestra’s 37th annual concert celebrating the spirit of Dr. King’s life, leadership, and vision. Presented in collaboration with the City of Cleveland.

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor William Preucil, violin

BERNSTEIN Suite from On the Waterfront * THOMAS Juggler in Paradise: Violin Concerto No. 3 COPLAND Symphony No. 3 * not performed on Friday concert

Sponsor: Squire Patton Boggs Fridays@7 Sponsor: KeyBank

Under 18s Free FOR FAMILIES


Concerts with this symbol are eligible for "Under 18s Free" ticketing. Our "Under 18s Free" program offers free tickets for young people attending with families (one per full-price adult for concerts marked with the symbol above).

Severance Hall 2016-17


Concert Calendar

TICKETS: Admission is free, but tickets

are required. This concert is SOLD OUT. Listen live on radio stations WCLV and WCPN. Concert Sponsor: KeyBank


216 - 231-1111 800-686-1141



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The Cleveland Orchestra Januray 5, 6, 7, 12, 14 Concerts  
The Cleveland Orchestra Januray 5, 6, 7, 12, 14 Concerts  

January 5, 6, 7 Rhapsody in Blue January 12, 14 Bruckner' Seventh Symphony