CLEVELAND ORC HE STR A
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Concert: February 9, 10, 11 MAHLER'S SONG OF THE EARTH
— page 31
At the Movies: February 14 BREAKFAST AT TIFFANY’S — page 57 Concert: February 16, 17, 18 MOZART AND TCHAIKOVSKY — page 71 PERSPECTIVES from the Executive Director — page 7 Changing Times, Changing Meanings — page 8
S E A S O N
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2 O1 6 -1 7
S E A S O N
THIS WEEK CLEVELAND
10 AN D 11
From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Changing Times, Changing Meanings . . . . . . . . . . 8
About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 13 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 17 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
COVER PHOTOGRAPHY BY ROGER MASTROIANNI
Copyright © 2017 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: firstname.lastname@example.org 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
10 THE SONG OF THE EARTH Program: February 9, 10, 11 . . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 WEEK
“Unfinished” Symphony . . . . . . . . . . . . . . . . . . . . . 35 MAHLER
The Song of the Earth . . . . . . . . . . . . . . . . . . . . . . . 39 Conductor: Donald Runnicles . . . . . . . . . . . . . . . . . . 53 Soloists: Michelle DeYoung, Paul Groves . . . . 54-55 MOVIE BREAKFAST AT TIFFANY’S Program: February 14 . . . . . . . . . . . . . . . . . . . . . . . . 57 Movie Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Conductor: Justin Freer . . . . . . . . . . . . . . . . . . . . . . . . 61 NEWS
The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture. The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio. The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.
Cleveland Orchestra News . . . . . . 64-69
Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . 14-15 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . 86-97
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.
11 MOZART & TCHAIKOVSKY Program: February 16, 17, 18 . . . . . . . . . . . . . . . . . 71 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 73 WEEK
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.
Concerto for Two Pianos . . . . . . . . . . . . . . . . . . . . 75 TCHAIKOVSKY
Manfred Symphony . . . . . . . . . . . . . . . . . . . . . . . . . 79 Conductor: Semyon Bychkov . . . . . . . . . . . . . . . . . . 84 Soloists: Katia and Marielle Labèque . . . . . . . . . . . 85
Table of Contents
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Perspectivesfrom the Executive Director February 2017 In these cold and wintery weeks of the year, even with great concerts warming our souls here at Severance Hall, it seems quite encouraging to also think ahead to the warm summer months and the delights of lovely evenings at Blossom surrounded by nature and the pleasures of great music in the great outdoors. Many of you will have read online and in newspapers that we’ve just announced the line-up of artists and programs for the 2017 Blossom Music Festival — with complete details being mailed out in the weeks ahead to ticket buyers and our friends. I look forward to seeing you there this coming summer. Planning each Orchestra season takes time and requires much careful thought and effort behind the scenes. Staff members begin mapping out facility and musician schedules years in advance, in tandem with ongoing discussions with Franz Welser-Möst and our core teams regarding ideas and the capacity (time and money) for new artistic projects. Many choices must be factored in, including guest artists’ schedules, resources, and overall balance. It is neither easy nor simple, but each year we roll out the future for you. Looking back across a number of seasons, it is also instructive to see how various aspects of The Cleveland Orchestra’s seasons have changed and evolved in recent years, very much on purpose. We have added new series and offerings, including annual opera presentations, movie nights, and summer concerts at Severance Hall, as well as varying concert lengths and start times — all to best match the changing needs and desires of you, our audience. After only a year here, I continue to be amazed and greatly impressed by how supportive you are, and by how hard the staff and Orchestra work each year to give you intelligent, interesting, exciting, varied, and emotion-filled programming. We are committed to working every day to be the best orchestra you can imagine. While you are just learning of our Blossom 2017 plans, more plans are also underway. On March 17, here at Severance Hall, we will announce major details of The Cleveland Orchestra’s 100th season for 2017-18. This special year marks an important milestone. We believe, however, that its real importance is not about what we have already achieved, but as the beginning of this institution’s Second Century. The past 99 years of great performances are prelude to everything we can do in the years ahead . . . as we continue to nurture a love for music in people across Northeast Ohio, young and old alike . . . as we deliver excellence in everything we do . . . as we serve you great performances built on the power of music to change lives for the better . . . to spark creativity, and to foster learning and understanding. Everything we have done, everything The Cleveland Orchestra will do is only possible through your enthusiasm, interest, and support. Being here with us, contributing toward the Orchestra’s work financially and intellectually, and with questions and ideas is part of your starring roles. I am grateful each and every day for your interest and dedication, and for the devoted work of the musicians onstage, the staff behind the scenes, and the many volunteers who each take their roles so personally and seriously, to ensure that your Cleveland Orchestra grows each year toward even more extraordinary achievements and success. Thank you.
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THE TIMES THEY ARE A-CHANGING
Evolving Tastes . . . Changing Meaning Upcoming performances of Bach’s Saint John Passion and the movie Breakfast at Tiffany’s remind us how our understanding of celebrated classics can shift through changing times and evolving attitudes . . . by Eric Sellen E A C H S E A S O N of concerts brings a
range of music from across the centuries. Some works feel timeless, imparting strength and a solid connection to human truths. Yet other pieces remind us that eras change — as do taste, sensitivities, and accepted norms. Two works being performed by The Cleveland Orchestra in February and March raise questions about society, aesthetics, and morals — and whether one can enjoy a piece of art despite flaws now visible in its original meaning or its creator’s beliefs. Is Bach’s Saint John antiSemitic, or was it intended to be? Is the casting and portrayal of a certain character in the movie Breakfast at Tiffany’s racist? How do we balance modern understanding with past perspective? Years ago, I liked Tchaikovsky better; now I prefer Mahler. Did the music change, or did I? Or the way I listen, or what I’m listening for? As a callow youth, I thought life was a clear trajectory from simple to complex, from white wine to red, ketchup to mustard, Tchaikovsky to Mahler. I’ve learned in the years since
that life is much more . . . interesting — especially regarding the parameters for “good taste” and personal choice. In a more obvious process, the meaning of words change across time, as do the “right” words for public use. What one generation finds offensive, the next may take up in solidarity and defiance. The words your grandmother used to describe people of African American descent, or Chinese, or Native American are most likely not the terms you use today. Times change, and language moves along with us — though some of us, yes, are more willing to embrace new words and let go of older ones. Musical works similarly go in and out of fashion, not just over the style of the notes but because of the meanings embedded within a work, or the words being sung, or even over the way it is presented. True timeless masterpieces are few and far between. Beethoven’s Violin Concerto may be universally beloved today, but it took half a century after the composer’s death to get there — and Evolving Tastes
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the untiring advocacy of violinist Josef Joachim — to get it accepted as a normal part of the concert repertoire. So . . . what are any of us to do?! Give up that favorite out-of-style sweater in the back of the closet? Listen only in private to that symphony once roundly applauded but now thought passé (but which still speaks directly to your heart)?! Or do we . . . just face the music unashamed, but well aware that times have changed and . . . well, yes, even Mozart wouldn’t write that if he were alive today. At what point does a blemish spoil the entire fruit? How can we embrace the past, knowingly and wisely? GOOD INTENTIONS VS. G E T TI N G TH E POINT ACROSS
Songs and stage works (anything with words, really) are perhaps most susceptible to changing attitudes. Everyone loves Beethoven’s Ninth Symphony. Yet those uplifting words at the end talk about “all men becoming as brothers.” Yes, we’ve come to believe, we want to believe it’s a universal call to solidarity and that sisters are welcome, too. But . . . that isn’t literally what the words say, and women didn’t have anything near equality at home and in society then. For many people today, the text’s possible meanings do “allow” everyone to join in. Though for some a sense of exclusion remains. Imperceptibly, subconsciously. How can I, as a man, know what the word “man” means to everyone (men, women, and in-between). What does it mean, how does it feel to a young girl first experiencing Beethoven’s Ode to Joy. Full of joy! Half joy? Killjoy? Severance Hall 2016-17
Perception is half of how communication works. Intended meaning, if the other person doesn’t catch your drift, doesn’t succeed. To close the final act of Richard Wagner’s great opera Die Meistersinger, there is a grand anthem and ode to Germanic arts and civilization. Premiered in 1867, these words were later bent to starkly dark effect by Hitler and Nazi Germany. Even today, a verse or two of the closing hymn is sometimes left out of performances. Yet the opera’s story, of a medieval German town celebrating its own culture — only partially aware of the outside world — gives us a context to understand that the anthem is sung to celebrate the town’s heritage, to defend its values, without necessarily disparaging all others. Evenso, Wagner the man did have what many today would say were “unhealthy views” about some of humanity’s peoples. Combined with Hitler’s appropriation of his art, this caused Wagner’s
music to be all-but-banned from Israel for many years — and despised by others. Is this like ivory, the purchasing of which today encourages the slaughter and disfiguring of the earth’s dwindling population of elephants? Or, because Wagner’s operas are from the past, are we free to reinterpret and enjoy the music, created by his flawed genius? The value of a work of art is as dependent on the viewer’s perception as any qualities inherent in the artwork itself. SATIRE AND MAKE UP
Theater, perhaps, has both the best and worst of it. The storyline may, in fact, be hued in a way that ages quickly, but a production can always be conceived that shows an alternative view. In contrast, movies don’t have many options — unlike live productions, a film is frozen in time. And, truth be told, some film classics are emotionally great but clearly outdated and out-of-fashion in detail. Sometimes there really is a good reason to remake a hit movie — to bring it up to date with modern sense and sensibilities. A recent new production of Gilbert & Sullivan’s The Mikado in New York raised several related issues, regarding not just the subject matter but when makeup should be used to change the ethnic characteristics of an actor. Black-face may be long gone from the Broadway stage, but . . . since this operetta’s premiere in 1885, thousands of productions of The Mikado have been staged with Caucasians (and others) dressed and made up to look like inhabitants of a madeup Japanese village. The show was written as a satirical spoof on British formalities and customs — with the story set in Japan because “everything Japanese” was new and trendy at the time. Yet satire and
trends often don’t survive historical scrutiny (or require further updating). Today, The Mikado is a show with good music and clever lyrics, filled with a veritable minefield for 21st-century worldly-wise sensitivities. Ban productions entirely? Or ask for creative license to present the satire to modern audiences? The New York Gilbert & Sullivan Players company that presented The Mikado in January appears, by all accounts, to have found a solution that successfully embraced and at the same time drew lines around the issue, framing the
Ultimately, it is up to each of us to find the right place for music in our lives — and to know that art helps us to understand the complexities of life, sometimes imperfectly. “show” as a dream of Gilbert and Sullivan, influenced by the world around them in 1885 — reminding viewers that context influences content. A similar casting and makeup controversy shadows the classic film Breakfast at Tiffany’s from 1961, which The Cleveland Orchestra is presenting in a special Valentine’s showing with live orchestral accompaniment on February 14. In the film, an Oriental man (I choose to use the problematic and out-of-date term “Oriental” purposefully, for effect) is played by a white actor, Mickey Rooney. The makeup and stereotyped mannerisms make some moments in the film cringe-worthy for many Evolving Tastes
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modern viewers. Some people might suggest that, metaphorically, because of a few bad apples, we should cut down the whole tree. Yet, Breakfast at Tiffany’s is a lauded and applauded movie, if charmingly oldfashioned, filled with some fine acting that carry forward a storyline accompanied by some strong music (by Cleveland-born Henry Mancini). Again, life — and the movies — are rarely perfect. Frozen in time, films are fascinating time capsules of past eras, exposing their details, warts and all.
BACH’S SAINT JOHN SPECIAL CONCERT PREVIEW MARCH 5 — Sunday at 3 p.m. 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 www.maltzmuseum.com. The afternoon’s panelists include: Michael Marissen of Swarthmore College (author of the newly-released book Bach and God) and Rabbi Roger C. Klein (The 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.
SAINTS AND SINNERS
The Saint John Passion was created by Bach in 1724. It tells the story of Jesus’s trial and crucifixion, as related in the New Testament book of Saint John, which has long been tinged with undercurrents of anti-Semitism (depending, in part, on specific phrasings in various translations and versions of its text). The question has long been debated and discussed — and will be again on March 5 (see details in the box above). We have no specific statements about Bach’s feelings on intentions; the meanings or inferences in the text of the Passion itself leave room for interpretation. The music, however, is clearly inspired and inspiring. So how should modern audiences respond? As much as we might like to believe that the concert hall is a safe refuge from the cares and concerns of the world, and a place to relax and get away from controversies in the news (or troubles in the neighborhood and anxiety among friends and family), few musical works are completely carefree. Somewhere in the history of each work, in the life of the composer or librettist, in the words and meaning of the music itself, there is likely to be both good
and bad, salvation and danger. Ultimately, it is up to each of us to find the right place for music and art in our lives and in our hearts — and to know that not only can melodies and harmonies and vistas and perspectives ease our worries, but art can help us to understand the complexities of life. Sometimes, getting away is not about relaxing, but merely finding the time to listen from a different point of view — and be inspired. So open your ears, eyes, and minds. And be willing, sometimes, to forgive your ancestors’ missteps. Eric Sellen serves as program book editor for The Cleveland Orchestra. email: email@example.com
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The Cleveland Orchestra
T H E M U S I C AL ARTS ASSOCIATION
as of December 2016
operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival O F F I C E R S A ND E XEC UT I VE C O MMIT T E E Dennis W. LaBarre, President Richard J. Bogomolny, Chairman 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
R E S I D E NT TR U S TE ES 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)
T R U S TE E S E X- O F F IC I O Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Dr. Patricia Moore Smith, President, Women’s Committee of The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra T R U S TE E S E M E R I TI George N. Aronoff S. Lee Kohrman Charlotte R. Kramer Donald W. Morrison Gary A. Oatey Raymond T. Sawyer PA S T PR E S I D E NT S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53
Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Beverly J. Warren, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University
H O N O RARY T RUS T E E S FOR LIFE 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 January 20, 2017. GIFTS OF $5 MILLION AND MORE
The Cleveland Foundation Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Nancy Fisher and Randy Lerner in loving recognition of their mother, Norma Lerner
Maltz Family Foundation Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner Anonymous
GIFTS OF $1 MILLION TO $5 MILLION
Art of Beauty Company, Inc. BakerHostetler Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mrs. M. Roger Clapp* Eaton FirstEnergy Foundation Forest City The George Gund Foundation Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley KeyBank Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Mrs. Norma Lerner The Lubrizol Corporation Elizabeth Ring Mather and William Gwinn Mather Fund 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
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GIFTS OF $500,000 TO $1 MILLION
Gay Cull Addicott American Greetings Corporation Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Dr. and Mrs. Hiroyuki Fujita GAR Foundation Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Mr. and Mrs. Douglas A. Kern James and Gay* Kitson
Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann Nordson Corporation Foundation Parker Hannifin Foundation Charles and Ilana Horowitz Ratner Sally and Larry Sears Squire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of Canton Ms. Ginger Warner Anonymous (4)
GIFTS OF $250,000 TO $500,000
Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Blossom Friends of The Cleveland Orchestra Mr. and Mrs. Harvey Buchanan* Cliffs Natural Resources The George W. Codrington Charitable Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa 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 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.
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Sound for the Centennial Campaign
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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.
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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.
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.
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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
THE CLEVEL AND ORCHESTRA
BY THE NUMBERS
post-concert entertainment), film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to
PHOTO BY ROGER MASTROIANNI
borhood residency program, designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways. Additionally, a Make Music! initiative championed by Franz Welser-Möst advocates the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people and to develop the youngest audience of any orchestra. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest — with 20% of attendees now comprised of concertgoers age 25 and under. Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences — including popular Friday night concerts (mixing onstage symphonic works with Severance Hall 2016-17
explore music as a universal language of communication and understanding. An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s performances as some of the best such concert experiences anywhere in the world. Hundreds of thousands have learned to love music
About the Orchestra
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
P H OTO BY M I C H A E L P O E H N
Franz Welser-Möst is among today’s most distinguished conductors. The 2016-17 season marks his fifteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. Under his direction, the New York Times has declared Cleveland to be the “best American orchestra“ for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. The Cleveland Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its recent success in semi-staged and staged opera productions. In addition to an unprecedented annual residency in Miami, Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals, including the Salzburg Festival and the Lucerne Festival. The Cleveland Orchestra has been hugely successful in building up a new and, notably, a young audience through its groundbreaking programs involving students and by working closely with universities. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. His recent performances with the Philharmonic have included critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014, Beethoven’s Fidelio in 2015, and Strauss’s Die Liebe der Danae in 2016), as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. For the 2016-17 season, he leads the Vienna Philharmonic in performances in Vienna and on tour in the United States, including three concerts at Carnegie Hall in February 2017. Mr. Welser-Möst also maintains relationships with a number of other European orchestras and opera companies. His 2016-17 schedule includes Mozart’s The Marriage of Figaro with La Scala Milan. He also leads Mahler’s Ninth Symphony with the Dresden Staatskapelle, including a performance at the Salzburg Easter Festival. Recent engagements have also featured performances with Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra, as well as his acclaimed debut with Amsterdam’s Royal Concertgebouw Orchestra. In December 2015, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Severance Hall 2016-17
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
The Cleveland Orchestra
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2026 Murray Hill Road, Cleveland Ohio 44106 Severance Hall 2016-17
T H E
C L E V E L A N D
FRANZ WELSER-MÖST MUSIC
DIRECTOR Kelvin Smith Family Chair
FIRST VIOLINS William Preucil CONCERTMASTER
Jung-Min Amy Lee ASSOCIATE CONCERTMASTER
Gretchen D. and Ward Smith Chair
Peter Otto FIRST ASSOCIATE CONCERTMASTER
Jessica Lee ASSISTANT CONCERTMASTER
Clara G. and George P. Bickford Chair
Takako Masame Paul and Lucille Jones Chair
Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair
Kim Gomez Elizabeth and Leslie Kondorossy Chair
Chul-In Park Harriet T. and David L. Simon Chair
Miho Hashizume Theodore Rautenberg Chair
Jeanne Preucil Rose Dr. Larry J.B. and Barbara S. Robinson Chair
Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair
Yu Yuan Patty and John Collinson Chair
Isabel Trautwein Trevor and Jennie Jones Chair
Mark Dumm Gladys B. Goetz Chair
Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan
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
CELLOS Mark Kosower* Louis D. Beaumont Chair
Richard Weiss 1 The GAR Foundation Chair
Charles Bernard 2 Helen Weil Ross Chair
Bryan Dumm Muriel and Noah Butkin Chair
Tanya Ell Thomas J. and Judith Fay Gruber Chair
Ralph Curry Brian Thornton William P. Blair III Chair
David Alan Harrell Martha Baldwin Dane Johansen Paul Kushious BASSES Maximilian Dimoff * Clarence T. Reinberger Chair
Kevin Switalski 2 Scott Haigh 1 Mary E. and F. Joseph Callahan Chair
Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair
Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.
The Cleveland Orchestra
16 17 2 O 1 6 -1 7
S E A S O N
O R C H E S T R A FLUTES Joshua Smith * Elizabeth M. and William C. Treuhaft Chair
Saeran St. Christopher Marisela Sager 2 Austin B. and Ellen W. Chinn Chair
Mary Kay Fink PICCOLO Mary Kay Fink Anne M. and M. Roger Clapp Chair
OBOES Frank Rosenwein * Edith S. Taplin Chair
Corbin Stair Jeffrey Rathbun 2 Everett D. and Eugenia S. McCurdy Chair
HORNS Michael Mayhew § Knight Foundation Chair
Jesse McCormick Robert B. Benyo Chair
Hans Clebsch Richard King Alan DeMattia TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair
Jack Sutte Lyle Steelman2 James P. and Dolores D. Storer Chair
Robert Walters ENGLISH HORN Robert Walters
CLARINETS Daniel McKelway 2 Robert R. and Vilma L. Kohn Chair ACTING PRINCIPAL
Robert Woolfrey ACTING ASSISTANT PRINCIPAL
E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair
BASS CLARINET Yann Ghiro BASSOONS John Clouser * Louise Harkness Ingalls Chair
Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair
Jonathan Sherwin CONTRABASSOON Jonathan Sherwin
Severance Hall 2016-17
Margaret Allen Ireland Chair
Donald Miller Tom Freer * Thomas Sherwood KEYBOARD INSTRUMENTS Joela Jones *
CORNETS Michael Sachs *
Samuel C. and Bernette K. Jaffe Chair
PERCUSSION Marc Damoulakis*
Mary Elizabeth and G. Robert Klein Chair
TROMBONES Massimo La Rosa* Gilbert W. and Louise I. Humphrey Chair
Rudolf Serkin Chair
Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair
LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair
Donald Miller ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sunshine Chair Robert Marcellus Chair George Szell Memorial Chair
Richard Stout Alexander and Marianna C. McAfee Chair
BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair
* Principal § 1 2
Associate Principal First Assistant Principal Assistant Principal on sabbatical leave
CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE
Brett Mitchell ASSOCIATE CONDUCTOR
Elizabeth Ring and William Gwinn Mather Chair
Robert Porco TIMPANI Paul Yancich * Otto G. and Corinne T. Voss Chair
DIRECTOR OF CHORUSES
Frances P. and Chester C. Bolton Chair
Tom Freer 2*
Mr. and Mrs. Richard K. Smucker Chair
Baldwin Wallace University
Conservatory of Music Opera Program presents Francis Poulencâ€™s
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Feb 23-25 @ 7:30pm Feb 26 @ 2pm John Patrick Theatre
Kleist Center for Art & Drama 95 E. Bagley Road TICKETS www.bw.edu/tickets 440.826.2240