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Concert: February 23, 24, 25 DEBUSSY’S LA MER — page 31 Concert: March 2, 3, 4 ALL AMERICAN: COPLAND & BERNSTEIN — page 61 PERSPECTIVES from the Executive Director — page 7 Changing Times, Changing Meaning — page 8

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WEEKS 12 AN D 13 From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Changing Times, Changing Meanings . . . . . . . . . . 8

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

13 17 23 26 29 99 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

12 DEBUSSY’S LA MER Program: February 23, 24, 25 . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 WEEK


Ex Nihilo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 SAINT-SAËNS Piano Concerto No. 5 (“Egyptian”) . . . . . . . . . . . 37 SCHOENBERG

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.

Chamber Symphony No. 2 . . . . . . . . . . . . . . . . . . 41 DEBUSSY

La Mer [The Sea] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Conductor: Matthias Pintscher . . . . . . . . . . . . . . . . . 48 Soloist: Cédric Tiberghien . . . . . . . . . . . . . . . . . . . . 49 NEWS

Cleveland Orchestra News . . . . . . 50-55

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 . . . . . . . . . . . . . . . . . . . 14-15 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . 78-89 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.

ALL AMERICAN Program: March 2, 3, 4 . . . . . . . . . . . . . . . . . . . . . . . 61 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 63

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.


Symphonic Suite from On the Waterfront . . . . 65 THOMAS

Juggler in Paradise: Violin Concerto No. 3 . . . 69 COPLAND

Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Conductor: Brett Mitchell . . . . . . . . . . . . . . . . . . . . . . 76 Soloists: William Preucil . . . . . . . . . . . . . . . . . . . . . . . 77


Table of Contents

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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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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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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.

Severance Hall 2016-17

André Gremillet



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

Changing Meaning


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 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.


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:

Severance Hall 2016-17

Changing Meaning



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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


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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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

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Severance Hall 2016-17

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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

north W point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling

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Severance Hall 2016-17

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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

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

Michael Miller

Robert Walters ENGLISH HORN Robert Walters

Michael Miller

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

Shachar Israel


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



Elizabeth Ring and William Gwinn Mather Chair

Robert Porco TIMPANI Paul Yancich * Otto G. and Corinne T. Voss Chair


Frances P. and Chester C. Bolton Chair

Tom Freer 2*

Mr. and Mrs. Richard K. Smucker Chair

Orchestra Roster



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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. February 23, 24, 25 “Exotic Views” (Musical works by Pintscher, Saint-Saëns, Schoenberg, and Debussy) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

March 2, 4 “American Music, American Sounds” (Musical works by Bernstein, Thomas, and Copland) with guest Katherine Bormann violin, The Cleveland Orchestra

SAINT JOHN PASSION March 5 — Sunday at 3 p.m. for performances March 9, 11, 12 “Bach’s Saint John’s Passion” Franz Welser-Möst leads a special discussion at The Temple-Tifereth Israel in Beachwood; free admission, but tickets required — Tickets:

March 9, 11, 12 “Bach, Lutheranism, and the Gospel of John” with guest speaker David J. Rothenberg, chair, department of music, Case Western Reserve University

March 9, 11, 12 “The Many Faces of Igor Stravinsky” with guest speaker Michael Strasser, professor of musicology, Baldwin Wallace University

Severance Hall 2016-17

Concert Previews


for getting everyone out of their seats. Inspiring. Thought Provoking. PNC is proud to sponsor The Cleveland Orchestra. Because we appreciate all that goes into your work.

4 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC Š2013




Severance Hall

Thursday evening, February 23, 2017, at 7:30 p.m. Friday morning, February 24, 2017, at 11:00 a.m. * Saturday evening, February 25, 2017, at 8:00 p.m.

16 17

Matthias Pintscher, conductor MATTHIAS PINTSCHER (b. 1971)


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Ex Nihilo [Out of Nothing] Piano Concerto No. 5 (“Egyptian”) in F major, Opus 103 1. Allegro animato 2. Andante 3. Molto allegro CÉDRIC TIBERGHIEN, piano


CLAUDE DEBUSSY (1862-1918)

Chamber Symphony No. 2, Opus 38 * 1. Adagio 2. Con fuoco — Molto adagio

La Mer [The Sea]

Three Symphonic Sketches for Orchestra 1. From Dawn to Noon on the Sea 2. Play of the Waves 3. Dialogue of the Wind and the Sea

These concerts are sponsored by PNC Bank, a Cleveland Orchestra Partner in Excellence. Cédric Tiberghien’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Gerhard Foundation, Inc. The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation. * The Friday Morning concert is performed without intermission. The Schoenberg symphony is not played at the Friday Morning concert.

Severance Hall 2016-17

Concert Program — Week 12


February 23, 24, 25 THIS WEEKEND'S CONCERT Restaurant opens: THUR 4:30 SAT 5:00


16 17 2016-17


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

“Exotic Views” with Rose Breckenridge, lecturer-administrator, Cleveland Orchestra Music Study Groups

No intermission for Friday Morning.


PINTSCHER Ex Nihilo . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 35 (10 minutes)

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


SAINT-SAËNS Piano Concerto No. 5 . . . . . . . . . . . . . . . Page 37


Concert begins: THUR 7:30 SAT 8:00


(20 minutes)

SCHOENBERG Chamber Symphony No. 2 . . . . . . . . . . Page 41


(20 minutes)

DEBUSSY La Mer [The Sea] . . . . . . . . . . . . . . . . . . . . Page 45 (just over 20 minutes) Concert ends: (approx.)

THUR 9:25 SAT 9:55

Severance Restaurant Severance Restaurant

Post-Concert Luncheon following the Friday Morning concert.

Post-Concert Desserts and Drinks


This Week’s Concerts

The Cleveland Orchestra


Influence& Inspiration

T H I S W E E K E N D ’ S C O N C E R T S feature four musical works, created by

two French composers and two from Germany. The German-born were strongly influenced by the time they’ve spent in the United States. As for the Frenchmen, one wrote his concerto in Egypt, the other was fascinated by the undulating rhythms of the ocean, which, fas theoretically, are or should be an international source of t inspiration. The musical program is, thus, not simply juxtaposing varying French and German sensibilities, but showcasing a finely-tuned sampling of creative influence and inspiration, intuition and imagination. The concerts begin with a piece written by this week’s guest conductor, Matthias Pintscher. Ex Nihilo, w meaning “out of nothing,” is a musical musing from 2008 me about . . . jetlag, inspired by the disorientation of modern travel, of waking up in a strange place. Let it unfold and ease your mind into new sounds and new surroundings. Next up is Camille Saint-Saëns’s lively “Egyptian” Piano Concerto, from 1896. The composer was one of the finest pianists of Share your memories the 19th century — and a great champion of the performance and of concertos by Mozart and Beethoven. join the conversation online . . . Here he’s mixed in a French interest and taste for the Middle East. Guest pianist twitter: @CleveOrchestra Cédric Tiberghien takes the solo role. instagram: @CleveOrch For the evening concerts, following intermission, comes a long-gestating Chamber Symphony No. 2 from Arnold Schoenberg, started in 1906 and finally completed in 1939. It balances his changing ideas of music as a language, between late Romanticism and modern dissonance, into a pleasingly spicy offering. The concerts end with Claude Debussy’s masterful depiction of the timeless, churning ocean. La Mer, premiered in 1905, is a powerful evocation of nature’s captivating, mesmerizing, ever-changing charm. —Eric Sellen


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

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.

Ex Nihilo [Out of Nothing] (for chamber orchestra) composed 2011

At a Glance Pintscher wrote his Ex Nihilo [“Out of Nothing”] in 2011. It was first performed on January 22, 2012, by the BBC Scottish Symphony Orchestra conducted by the composer in Glasgow. This work runs just over 10 minutes in performance. Pintscher scored it for a large chamber orchestra of flute



PINTSCHER born January 29, 1971 Marl, Germany living in New York City and Paris

Severance Hall 2016-17

(doubling piccolo), alto flute (doubling flute), clarinet, bass clarinet, contrabass clarinet, bassoon, contrabassoon, 2 horns, 2 trumpets, 2 trombones, harp, piano, percussion, and strings. The Cleveland Orchestra is performing Ex Nihilo for the first time with this weekend’s performances.

About the Music M A T T H I A S P I N T S C H E R is now well established as a leading

composer of his generation, with a parallel career as a conductor. He has earned broad recognition in classical music circles, especially in England, France, and across the United States. He has been a regular visitor to Cleveland since his Daniel R. Lewis Young Composer fellowship as composer-in-residence (200002), and has returned here regularly to lead performances by The Cleveland Orchestra or for the premiere of new works. He first came to worldwide notice with his opera Thomas Chatterton, staged in Dresden in 1998, which was followed by prestigious performances in Berlin under Claudio Abbado’s baton and at the Salzburg Festival. In addition to the opera, he has composed a good quantity of chamber music for different instruments, a steady output of orchestral music, and a series of concertos (none of which is actually named “concerto”) that can be seen as a linked sequence or series. His Reflections on Narcissus for cello and orchestra, from that group, was heard in Severance Hall in 2010, while the Orchestra gave the world premiere of his Chute d’Étoiles (for two trumpets and orchestra) in 2012. His idyll for orchestra was commissioned by The Cleveland Orchestra and premiered in 2014. His output for orchestra also includes Five Pieces for Orchestra (1997) and the paired works Towards Osiris (2006) and Osiris (2008). While some of Pintscher’s orchestral works refer to Egyptian or Greek mythology, he traces the origins of his ideas as a composer to his experience as a boy playing in an orchestra for the first time and being absorbed by the intricacy of sound all About the Music


around him. His fascination with complex sound — and a corresponding lack of audible pulse in his music — marks him as a composer building on the legacy of Pierre Boulez, with whom he worked at Paris’s IRCAM studio. (In 2016, Pintscher took on the position of principal conductor of the Lucerne Festival Academy in Switzerland, a summer festival school for modern music and musicians, which Boulez had founded in 2003.) Pintscher has been artist-in-residence with the BBC Scottish Symphony Orchestra in Glasgow since 2010, and it was for them that he composed Ex Nihilo in 2011. Ex Nihilo, meaning “Out Although written for chamber orchestra, the wind of Nothing,” carries no instruments have more individual prominence, as text or specific storyline, does the percussion section of three players, each of whom has at least a dozen instruments to attend to. it is about an experience Ex Nihilo, meaning “Out of Nothing,” carries no the composer says text or specific storyline in the score, but has been he knows all too well; related by the composer to an experience he says waking up jet-lagged in he knows all too well: waking up jet-lagged and disoriented in a strange place, such as in a foreign a foreign city, in hotel city, with eyes starting to see shapes in the hotel darkness. Soon come darkness. From this come the sounds of a big city the sounds of a big city and its restless energy. The sounds are themselves quite remarkable. and its restless energy. Near the beginning, there is a sinister moaning, made by alto flute with the player’s mouth covering the whole mouthpiece. Soon, the bass clarinet shuffles about, and the contrabassoon pretends to dance. Eventually these whisperings and shuffling resolve into actual notes, and a sudden explosion announces the real sound of a noisy city, with a trumpet improvising somewhere in the distance. —Hugh Macdonald © 2017

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Piano Concerto No. 5 (“Egyptian”) in F major, Opus 103 composed 1896

At a Glance


Saint-Saëns wrote his Fifth Piano Concerto in Egypt in the spring of 1896. The premiere took place on June 2, 1896, in Paris, at the Salle Pleyel, with the composer at the piano and Paul Taffanel conducting. (The occasion was a concert marking the 50th anniversary of Saint-Saëns’s debut as a pianist at the age of 10 in 1846.) This concerto runs about 30 minutes in performance. Saint-Saëns scored it for an orchestra of 2 flutes

and piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (tam-tam), and strings, plus the solo piano. The Cleveland Orchestra first performed Saint-Saëns’s “Egyptian” Piano Concerto in November 1922. It has been programmed a few times since then, most recently in November 1995, when Stephen Hough played it on a weekend of concerts conducted by Jahja Ling.


SAINT-SAËNS born October 9, 1835 Paris died December 16, 1921 Algiers

Severance Hall 2016-17

About the Music I F S A I N T - S A Ë N S had devoted his professional career to be-

ing a concert pianist, he would have been as famous and as acclaimed as Anton Rubinstein, Leschetizky, or Paderewski, or any other lion of the age. His five piano concertos, all of which he played himself, provide scintillating evidence of his astonishing technique both in weight and nimbleness. He played across Europe, and championed works by a range of composers, from Mozart and Beethoven to Liszt. Yet playing the piano was only one of many activities, not all of them concerned with music, that consumed Saint-Saëns over a very long life. He was a modernist and a reactionary at the same time, an atheist who composed a huge quantity of religious music, a deeply serious and thoughtful composer whose best-known work is the frivolous (but fun-filled and deftly written) Carnival of the Animals. His first four piano concertos appeared at steady intervals between 1858 and 1875. The Second, which he composed in seventeen days, has remained his most popular concerto (he also created concertos for cello and violin). After the age of forty, Saint-Saëns spent more and more time vacationing — and writing — in North Africa, which yielded the Suite algérienne for orchestra in 1880, and two works for piano and orchestra: a colorful one-movement piece re-titled Africa in 1891 and the Fifth Piano Concerto in 1896. Like the famous Bacchanale Scene at About the Music


the end of his opera Samson and Delilah, all of these works contain musical allusions to Moorish music in one form or another, although, except in the case of Africa, Saint-Saëns was too much a classicist ever to allow such elements to be more than glancing evocations of distant places. (These touches of “exotic” music act, perhaps, like the sounds of splattering rain in a movie scene, establishing the weather and then fading off except for occasional reminders; the scene is not “about” the rain. These Saint-Saëns works are not “about” North Africa, but merely tinged with aural incense by having been written there.) In January 1896, Saint-Saëns went to Milan for the Italian première of his opera Henry VIII, and from there traveled on to Cairo for his customary winter After the age of forty, vacation. He ventured up the Nile into Upper Saint-Saëns spent much Egypt and then came back down river to settle time vacationing — and into a Cairo hotel to write the Fifth Piano Conwriting — in North Afcerto. As usual, the music flowed from his pen, and it took just over three weeks to complete. rica, which yielded the His first ideas for the work had been noted down Suite algérienne for oron a previous holiday two years before, when he chestra in 1880, and went to the Canary Islands, but the main work two works for piano and was completed in Cairo in time to include the new concerto in a momentous concert at Paris’s orchestra: the colorSalle Pleyel, marking the fiftieth anniversary of ful one-movement Afrithe composer’s first appearance there in 1846 ca of 1891 and the Fifth at the age of ten. This anniversary took place on Piano Concerto in 1896. June 2, 1896, with the great violinist Sarasate, a close friend, sharing the bill. All contain musical alluThe concerto was published the same year sions to Moorish music with a dedication to Louis Diémer, a fine pianist in one form or another. who played it many times. Saint-Saëns continued to play it regularly in public, even past his eightieth birthday. THE MUSIC

There is nothing Egyptian about the concerto, except for some specific touches in the second movement. The outer movements are perfectly European and, one might say, classical in their balance of themes and tempos. The opening theme in the first movement has an affinity with plainchant, like many of Saint-Saëns’s tunes, and the second main tune recalls Brahms in its broad sweep. The finale third movement is a brilliant tour-de-force that actually exhibits


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little force. Rather, its magic lies in fleetness and ingenuity, and it keeps the soloist scampering from one end of the keyboard to the other. The most remarkable music is to be found in the middle movement, which is unlike anything else by Saint-Saëns. It is not simply that most of the themes have a Middle-Eastern character, based on modal intervals; it also proceeds strangely from one episode to another without any apparent direction, like an improvisation, although the balance of the movement is cleverly controlled and seemingly well-proportioned. The one theme that is said to have a Nubian origin, related to something the composer heard in local music — perhaps by Nile boatmen singing — of modern Upper Egypt (today’s southern Egypt stretching into Sudan). But the tune, in fact, sounds more northern, and has no arabic intervals at all. Two curious passages stand out. In one, the left hand plays a series of notes that are colored by the right hand with soft chords that give it the sound of an organ mixture stop, a device later used by Ravel in Boléro. The other is a strange chirruping in the distant key of F-sharp major, beneath which a Chinese-influenced melody is heard against soft blows on the tam-tam. Was Saint-Saëns recalling other journeys to distant parts, or just being playful? —Hugh Macdonald © 2017

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Chamber Symphony No. 2, Opus 38 composed 1906-1916, revised 1939

At a Glance



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

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Schoenberg worked on this Chamber Symphony for two years beginning in 1906; after completing most of the first movement and sketches for the second, he left it unfinished. He returned to it occasionally over the next decade, then set it aside again. After revising his Chamber Symphony No. 1 in 1935, he revisited No. 2 and outlined a three-movement work. He completed it in 1939 at the request from Fritz Stiedry for a new orchestral work. While finishing it, he combined some ideas for the planned third movement into the second movement, but decided that two movements was

enough. The work was first performed on December 15, 1940, in New York City, with Stiedry conducting. This chamber symphony (or Kammersymphonie, in German) runs about 20 minutes in performance. Schoenberg scored it for an orchestra of 2 flutes (second doubling piccolo), 2 oboes (second doubling english horn), 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, and strings. The Cleveland Orchestra has presented this work on only one previous weekend of concerts, when Andrew Grams conducted performances of it in May 2006.

About the Music A R N O L D S C H O E N B E R G ’ S transition from being a tonal

composer in his twenties to inventing serialism in his forties was long, difficult, and painful. He always insisted that he was driven by some invisible force, that something urged him into forging a new musical language — even though he had clearly mastered the late Romantic style shared by many composers at the turn of the 19th to the 20th centuries. The Romantic style was, in fact, a style to which he often longed to return. Work by work, step by step, he moved into more chromatic territory, burning bridges, abandoning tonality bit by bit, allowing discords to become dissonances, and then “emancipating” the dissonance by allowing chords to be made up of any of the twelve notes of the chromatic scale. His ears — and eventually our ears — got used to more and more harmonic chaos, to a spicier sounding world, filled with a less simplistic notion of what music could be. (Schoenberg was not the only force pushing to upend the traditional sound world, but, in the realm of classical music, he is the one who pushed fastest in full public view and with the most sense of creating a new “system.”) The final step Schoenberg took was to systematize the language, and to codify his ideal, in which all of the twelve tones were involved in equal balance. About the Music


Evidence that the process was painful is provided by the Second Chamber Symphony, which he began to compose in 1906 immediately after finishing the First Chamber Symphony. In “No. 1,” and in his first two string quartets, Schoenberg held on to tonality, but no longer relied on it to guide the musical structure, as it had been doing for generations of classical tonal music. These early works were built in a successful idiom, a corollary to the traditional tonal system. But immediately on starting the Second Chamber Symphony, Schoenberg felt that he could no longer continue in the same furrow. His next step would have to be the abandonment of tonality — but this new Chamber Symphony, he realized, was not going to be the work to move him that far forward, to carry the burden of voicing that new future. So he left it as a series of sketches, its two movements far from complete. He came back to it in 1911 and again in 1916, but without success. In 1938, he was asked by Fritz Stiedry, a refugee from Hitler’s Germany who had known Schoenberg in Vienna, for a work for his orchestra, the New Friends of Music Orchestra of New York. This prompted Schoenberg to look over the incomplete Chamber Symphony. Having at last a more detached view of style — in the intervening years, he had not just worked out his own serialism, but ably orchestrated a number of works in other more conventional sound worlds — Schoenberg was able to complete the work in the style always intended for it. Stiedry led the work’s world premiere in December 1940. THE MUSIC

The second movement is faster and longer than the first. Both movements give excellent opportunities for watching (and hearing) Schoenberg’s gift for finding always new combinations for his themes, while the size of the small orchestra prevents the texture from ever becoming too thick. When listening to Schoenberg’s serial works for orchestra, you sometimes get the impression of two pieces of music being played simultaneously in different rooms. In this Chamber Symphony, in contrast, that sense of many simultaneous directions is there, but the various musics still blend into a happy unity. Schoenberg at one time planned a third movement, but later gave up on that idea, although he incorporated some ideas from it into the completed second movement. —Hugh Macdonald © 2017


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J.S. Bach was famous for saying that the purpose of all music is “the glory of God and the refreshment of the spirit.” Guest conductor Joseph Gascho, a prize-winning harpsichordist and rising star of the American baroque scene, leads Apollo’s Fire and Apollo’s Singers in this spiritual journey.


But music, don’t you know, is a dream from which the veils have been lifted. It’s not even the expression of a feeling, it is the feeling itself. —Claude Debussy

La Mer [The Sea] composed 1903-05

At a Glance



DEBUSSY born August 22, 1862 St. Germain-en-Laye, France died March 25, 1918 Paris

Debussy composed La Mer between the summer of 1903 and early March 1905. The first performance was given in the Concerts Lamoureux series in Paris on October 15, 1905, conducted by Camille Chevillard. La Mer was first played in the United States on March 1, 1907, by Karl Muck and the Boston Symphony Orchestra. The score was published that year, and reissued with some corrections and revisions in 1909. La Mer runs a little more than 20 minutes in performance. Debussy scored it for piccolo, 2 flutes, 2 oboes, english horn, 2 clarinets, 3 bassoons, contrabassoon (in the last movement only), 4 horns, 3 trumpets, 2 cornets (also only in the last movement), 3 trombones, tuba, timpani, glockenspiel (with celeste as an alternative in the second movement), unpitched percussion (cymbals, tam-tam,

triangle, and bass drum), 2 harps, and strings. The string numbers are not specified, except that when the cellos are divided fourfold in the first movement Debussy asks first for 8 players and then for 16. The Cleveland Orchestra first performed La Mer in April 1927, under the direction of Nikolai Sokoloff. It has been programmed frequently since that time, most recently at a Blossom side-by-side performance led by Stéphane Denève with that summer’s Kent/Blossom Music students. The Cleveland Orchestra has recorded La Mer six times: in 1940 and 1941 with Artur Rodzinski (the first version was not released), in 1963 with George Szell, in 1977 with Lorin Maazel, in 1986 with Vladimir Ashkenazy, and in 1993 with Pierre Boulez. The Boulez recording received a 1995 Grammy Award.

About the Music W H E N I T C O M E S T O R O O T S , origins, sources, and influences,

Debussy is one of the most complex of composers. He was so sensitive to experiences of all kinds — and so absorbent of images and ideas — that we may well envy his capacity to select and marshal artistic impressions of many kinds and then fashion them into new works of art. Both the outer and inner world contributed to this storehouse of expression, which implies, in the case of La Mer that he was not only affected by his own image of the sea and his own contact with it, but that he was also stirred into creating a musical portrait of the sea by other artists’ earlier attempts to do so in other media, especially painting. His actual contact with the sea was no more varied than that of other reasonably well-to-do Frenchmen of his generation. He had spent holidays in Cannes and Arcachon and had seized the advantage of a nearby sea-coast during his time at Severance Hall 2016-17

About the Music


Debussy was greatly interested — and inspired by — artistic representations of the ocean, including (above) Katsushika Hokusai’s “The Great Wave Off the Coast of Kanagawa” from “Thirty-Six Views of Mount Fuji” (1830-32) and J. M. W. Turner’s paintings such as (righthand page) “Waves Breaking on a Lee Short at Margate” (circa 1840).


the Villa Medici in Rome. In 1889, he had evidently suffered an alarming voyage in a small boat off of St-Lunaire, in Brittany. Visits to London in 1902 and 1903 not only involved Channel crossings, they also allowed him to see a selection of paintings by Turner, whose work he already knew and admired but had not until then been able to study in such depth. It may be this admiration, and a desire to represent his seascapes in sound, that prompted Debussy to begin the composition of La Mer in the summer of 1903, completing and performing the work two years later. It was not only Turner whose vivid treatment of such subjects touched Debussy. The Impressionists had always appealed profoundly to him, and his work is in many ways a musical counterpart to theirs, La Mer especially. The Japanese artist Hokusai was another artist well known to Parisian connoisseurs; a version of his famous print of a wave appeared, at Debussy’s request, on the cover of the full score. “I have loved the ocean and listened to it passionately,” Debussy wrote, as the music instantly confirms. The surge and flow of the sea, the tiniest drops of spray and its whole broad sweep are vividly portrayed. At the same time the three movements, while only claiming to be symphonic “sketches,” add up to a more than passable imitation of a traditional symphony — the outer movements (themselves connected by cyclic recall of About the Music

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earlier themes) enclosing a brisk and (literally) breezy scherzo. The first movement, evoking the sun rising to its full splendor over the ocean, is the furthest from inherited ideas of formal rigor or musical structure, as it expands and progresses without ever going over its earlier material. Some striking ideas are to be heard many times, notably the abrupt little rhythm of two notes with which the cellos begin, and the rising and falling melody given out very early by the trumpet and english horn in octaves. As the movement gathers momentum, the wavelike phrases are more recognizable, and a striking episode for sixteen cellos stands out. In the second movement, portraying the intricate play of the waves, Debussy’s delicate orchestral skill is on display, although there are episodes of disturbing force in among the tracery of lighter textures. The third movement portrays the winds in dialogue with the sea, with some clear evocations of the first movement. A broad new theme, not unlike those written by Debussy’s compatriot César Franck, recurs in various guises; two cornets join the brass section, and the themes tumble over each other as the work reaches its shimmering conclusion. —Hugh Macdonald © 2017 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He now lives in England and has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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About the Music


Matthias Pintscher German composer and conductor Matthias Pintscher is music director of the Ensemble Intercontemporain in Paris and principal conductor of the Lucerne Festival Academy. He served as The Cleveland Orchestra’s Daniel R. Lewis composer-inresidence 2000-02, and made his conducting debut here in May 2003. He most recently led the Orchestra in 2010. Mr. Pintscher began his musical training at the Hochschule für Musik in Detmold and later studied conducting with Peter Eötvös. In his early twenties, he started working with Hans Werner Henze, and composing took a more prominent role. Mr. Pintscher has subsequently divided his time between composition and conducting. Noted for his interpretations of contemporary music, he has also developed an affinity for repertoire of the late 20th and late 19th centuries and of the Second Viennese School. Matthias Pintscher is artist-in-association with the BBC Scottish Symphony Orchestra and artist-in-residence with the Danish National Symphony Orchestra. His works have been performed internationally by major orchestras, including Berlin, Chicago, Cleveland, Hamburg, London, New York, Paris, and Philadelphia, as well as at the Lucerne, Grafenegg, and Moritzburg festivals. Mr. Pintscher’s compositions are published by Bärenreiter-Verlag, and can be heard in recordings on the ECM, EMI, Kairos, Teldec, Wergo, and Winter & Winter labels. In recent seasons, Mr. Pintscher has conducted major orchestras across North


America, Europe, and Australia. European engagements have included performances with the Accademia Nazionale di Santa Cecilia, BBC Symphony Orchestra, Berlin Staatskapelle, Mahler Chamber Orchestra, Mariinsky Orchestra, Paris Opera Orchestra, Orchestre Philharmonique de France, Zurich Tonhalle Orchestra, and the Vienna Radio Symphony Orchestra. Matthias Pintscher has also worked with many leading contemporary music ensembles, including Helsinki’s Avanti, Ensemble Contrechamps, Ensemble Modern, Klangforum Wien, Porto’s remix, and the Scharoun Ensemble. Since 2011, he has curated the music segment of the Impuls Romantik Festival in Frankfurt. Since 2007, he has served as the artistic director of the Heidelberg Atelier for the Heidelberg Spring Festival, now known as the Heidelberg Young Composers Academy. Since September 2014, Mr. Pintscher has been a member of the composition faculty at the Juilliard School. He makes his home in both New York and Paris. For additional information, visit

Guest Conductor

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Cédric Tiberghien French pianist Cédric Tiberghien performs with major orchestras and in prestigious concert halls across five continents. He made his Cleveland Orchestra debut and most recent appearance in July 2013. Cédric Tiberghien studied at the Paris Conservatoire with Frédéric Aguessy and Gérard Frémy and was awarded the Premier Prix in 1992, at the age of 17. He was a prize winner at the international piano competitions of Bremen, Dublin, Geneva, Milan, and Tel Aviv. Mr. Tiberghien subsequently received first prize at the LongThibaud Competition in Paris in 1998, along with five special awards, including the audience award and orchestra award. Propelling his international career, these honors and subsequent performances led to over 150 engagements worldwide, including seven visits to Japan. With more than 60 concertos in his repertoire, Mr. Tiberghien has appeared with many of the world’s finest orchestras, including those of Boston, Bremen, Brussels, Budapest, Cincinnati, Cleveland, Czech Republic, London, Paris, Rotterdam, Seattle, Seoul, Sydney, Tokyo, Washington D.C., and Zurich. His recent and upcoming schedule includes performances with the Auckland Philharmonia, BBC Scottish Symphony, Hong Kong Sinfonietta, City of Birmingham Symphony Orchestra, and Tasmania Symphony, along with an extensive residency with the Orchestre de Bretagne. Mr. Tiberghien’s recital schedule includes several projects at London’s Wig-

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Guest Soloist

more Hall as well as appearances at Rome’s Accademia Filarmonica, Seoul’s Kumho Art Hall, Tokyo’s Asahi Hall and Bunka Kaikan, Vienna’s Konzerthaus, and in summer festivals throughout Europe. As a dedicated chamber musician, Cédric Tiberghien collaborates regularly with violinist Alina Ibragimova, violist Antoine Tamestit, soprano Sophie Karthäuser, and cellist Pieter Wispelwey. Mr. Tiberghien’s most recent recital release is the first of a threevolume exploration of Bartók’s solo piano works for the Hyperion label. His discography also features César Franck’s Symphonic Variations and Les Djinns with the Liege Philharmonic on the Cyprès label, Brahms’s Concerto No. 1 with the BBC Symphony, and six recital albums on Harmonia Mundi featuring musical works by Bach, Beethoven, Brahms, Chopin, and Debussy. Mr. Tiberghien’s passion for chamber music is reflected in a variety of recordings, including music by Ravel and Lekeu, songs with texts by Verlaine, the complete works for violin and piano by Szymanowski, and the complete Beethoven violin sonatas.


orchestra news Women’s Committee welcomes men and women as members for its work supporting the Orchestra As it approaches its own centennial in 2021, the Women’s Committee of The Cleveland Orchestra is preparing for the Orchestra’s exciting 100th Season in 2017-18. Membership in the volunteer group is open to both men and women, who work each year on a series of initiatives to help support the Orchestra’s community service activities and music education programs, and to promote and recognize the ensemble’s traditions of musical excellence. The group was created in 1921 by Adella Prentiss Hughes — the trailblazing woman who founded The Cleveland Orchestra and acted as the Orchestra’s first executive director. While preparing for this spring’s events, the volunteers are looking at new ways to extend the group’s success and support as the Orchestra enters its Second Century. The Committee’s initiatives include: Meet the Artist Series — an annual series of luncheons featuring short performances by and conversations with Cleveland Orchestra members and guest artists. Musician Recognition — hosting an annual recognition reception for Cleveland Orchestra musicians who reach a 25-year milestone as members, co-sponsored with the board of Trustees. Friday Matinee Buses — support for bus transportation options to the Orchestra’s Friday Morning Concert series, to help make attending these daytime performances accessible for residents from Akron, Beachwood, Brecksville, and Westlake. Alice B. Weeks Scholarship Program — given since 1967 in honor of an avid music-lover and supporter whose husband founded the firm that designed Severance Hall, this scholarship is today awarded annually to a Cleveland Orchestra Youth Orchestra member pursuing a career in music. For more information about joining the Women’s Committee, please contact Barbara Wolfort by email at



A . R . O . U . N . D T. O .W. N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include: Continuing its 11th season, Close Encounters Chamber Music features performances by members of The Cleveland Orchestra and faculty musicians from the Cleveland Institute of Music, up close and in uniquely intimate settings. The program on Sunday afternoon, Febru-ary 26, features Dvořák’s String Quintet et alongside works by Bohuslav Martinů and Jörg Widmann — performed by Jinjoo Cho, Peter Otto, and Isabel Trautwein (violins), Yu Jin and Kirsten Docter (violas), and Tanya Ell (cello). The venue is the historic Dunham Tavern Museum Barn. An elegant dessert reception is included. Tickets are $45 for HeightsArts members, $55 for the general public. Discounted subscriptions and $15 student tickets are also available. Due to limited space, early reservations are recommended. For information, call 216-371-3457, or visit The Cleveland Cello Society presents a special recital on Friday evening, March 10, featuring Cleveland Orchestra cellist Mark Kosower on its Solo Artist Series, performing with pianist Jee-Won Oh. The program, presented at Cleveland’s The Music Settlement (11125 Magnolia Drive in University Circle), features works by Beethoven, Brahms, Khachaturian, Schubert, and Martinů. The recital begins at 7:00 p.m. Tickets are $25 general admission ($10 students). Patron level support is encouraged at the $100 level. For more information, visit or call 216-921-3480.

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

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orchestra news .W.E.L.C.O.M.E. New bass clarinet joins Cleveland Orchestra In January, The Cleveland Orchestra welcomed

Yann Ghiro to the clarinet section as bass clarinet. Since 1998, he has served as principal clarinet of the BBC Scottish Symphony Orchestra, performing and recording regularly as soloist with that ensemble. He has also appeared as a guest with the Scottish Chamber Orchestra, City of Birmingham Symphony Orchestra, BBC Philharmonic, Northern Sinfonia, BBC National Orchestra of Wales, London’s Philharmonia Orchestra, and Korea’s KBS Symphony. He is a lecturer at the Royal Conservatory of Scotland. Yann Ghiro was born in 1971 in Nice, France, and began clarinet lessons at the age of eleven. After studying for six years at the Paris

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Conservatoire — where he gained first prize in clarinet, bass clarinet, and chamber music — Mr. Ghiro continued his studies at the Prague Mozart Academy, working with artists including Sándor Végh, Gábor Takács-Nagy, Philippe Hirschhorn, and Steven Isserlis. A Fulbright Scholarship then allowed him to study at the Juilliard School of Music in New York, graduating in 1996. On his return to France, he became principal bass clarinet in the Pasdeloup Orchestra in Paris. He also played regularly with Paris Opera, Orchestre de Paris, Ensemble Intercontemporain, Strasbourg Philharmonic Orchestra, Orchestre Philharmonique de Radio France, and the Monte Carlo Philharmonic Orchestra.

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

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orchestra news Franz Welser-MĂśst leads discussion about Bachâ&#x20AC;&#x2122;s Saint John Passion at Templeâ&#x20AC;&#x201C;Tifereth Israel on Sunday afternoon, March 5 The weekend prior to The Cleveland Orchestraâ&#x20AC;&#x2122;s performances of Bachâ&#x20AC;&#x2122;s Saint John Passion on March 9-12, Franz Welser-MĂśst will discuss the work with a panel of guest speakers on Sunday afternoon, March 5, beginning at 3 p.m. The event at The Templeâ&#x20AC;&#x201C;Tifereth Israel in Beachwood is free and open to the public, but registration is required by visiting One focus of the afternoonâ&#x20AC;&#x2122;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 â&#x20AC;&#x201D; 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 Bachâ&#x20AC;&#x2122;s masterpiece and the intersections of meaning, message, and intent. The afternoonâ&#x20AC;&#x2122;s panelists include: Michael Marissen of Swarthmore College (author of the newlyreleased book Bach and God) and Rabbi Roger C. Klein (The Templeâ&#x20AC;&#x201C;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.


Cleveland Orchestra gift ideas continue into the new year . . . The Cleveland Orchestra estra Store offers a host of gift ideas all year â&#x20AC;&#x2122;round â&#x20AC;&#x201D; 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 todayâ&#x20AC;&#x2122;s concert. rt In addition, Cleveland Orchestra Gift Certificates and Blossom Lawn Ticket Books for the Orchestraâ&#x20AC;&#x2122;s 2017 Blossom Music Festival are available through the Severance Hall Ticket Office by calling 216-231-1111 or 800-686-1141, or online at

Blossom Festival announced Dates and programming for the 2017 Blossom Music Festival were announced on February 5. Full details, as well as series subscriptions and Lawn Ticket Books are now available through the Severance Hall Ticket Office or online by visiting



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Meet the Artist Luncheon on March 3 features cellist

Newest Cleveland Orchestra release features Brahmsâ&#x20AC;&#x2122;s â&#x20AC;&#x153;German Requiemâ&#x20AC;? on DVD The Cleveland Orchestraâ&#x20AC;&#x2122;s newest DVD recording is due out this month. Featuring Brahmsâ&#x20AC;&#x2122;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 Austriaâ&#x20AC;&#x2122;s Abbey of St. Florian, and features the Vienna Singverein chorus along with soprano Hanna-Elisabeth MĂźller and baritone Simon Keenlyside, conducted by Franz  !A Welser-MĂśst. The recording 8 became available in December in Europe and is being released in the United States in February. Pre-orders are being accepted at amazon. com, and by special arrange        ment the DVD will be avail    able through the Cleveland Orchestra Store prior to the official release date.    






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The Womenâ&#x20AC;&#x2122;s Committee presents its next Meet the Artist luncheon on Friday, March 3. The event features Cleveland Orchestra cellist Dane Johansen, who will talk about his is work as an orchestral musician and as soloist and chamber player. Johansen n was a member of the Escher String Quartet for five years before joining The he Cleveland Orchestra in March 2016. The luncheon will be held at the Cleveland Skating Club in Shaker Heights. The event includes a short performance by Johansen, who will then discuss his life as a musician with the Orchestraâ&#x20AC;&#x2122;s artistic administrator, Ilya Gidalevich. Reservations are required by February 27 and cost $40 for Womenâ&#x20AC;&#x2122;s Committee members, $50 for non-members, or $100 for priority seating and a pre-luncheon reception. Call 440-3383369 or email


MARCH 1-4, 2016 | 7:30PM | KULAS HALL RESERVE YOUR TICKETS TO SEE CIMâ&#x20AC;&#x2122;S EXCEPTIONAL VOICE STUDENTS PERFORM IN A FULLY STAGED PRODUCTION OF ONE OF MOZARTâ&#x20AC;&#x2122;S MOST POPULAR OPERAS. $20 adults | $10 students | $15 each seniors and groups of 10+ | 216.795.3211 or

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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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The reach of The Cleveland Orchestra has not only enriched the lives of those here in Cleveland, it has also touched millions worldwide.

We are fortunate to have such a resource here in Northeast Ohio.

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H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of members is current as of November 2016. For more information, please contact the Orchestra’s Legacy Giving Office by calling Dave Stokley at 216-231-8006. Lois A. Aaron Leonard Abrams Shuree Abrams* Gay Cull Addicott Stanley and Hope Adelstein* Sylvia K. Adler* Gerald O. Allen* Norman and Marjorie* Allison George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Ruth Balombin* Mrs. Louis W. Barany* D. Robert and Kathleen L. Barber* Jack L. Barnhart Margaret B. and Henry T.* Barratt Norma E. Battes* Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Bertram H. Behrens* Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Marie-Hélène Bernard Ila M. Berry Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Dr. and Mrs. Harold B. Bilsky* Robert E. and Jean Bingham* Mr. William P. Blair III Madeline & Dennis Block Trust Fund Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome* Borstein Mr. and Mrs.* Otis H. Bowden II Ruth Turvy Bowman* Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Richard F. Brezic* Robert W. Briggs Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Ronald and Isabelle Brown* Mr. and Mrs. Clark E. Bruner* Mr. and Mrs. Harvey Buchanan* Rita W. Buchanan* Joan and Gene* Buehler

Gretchen L. Burmeister Stanley and Honnie Busch* Milan and Jeanne* Busta Mrs. Noah L. Butkin* Mr. and Mrs. William C. Butler Minna S. Buxbaum* Gregory and Karen Cada Roberta R. Calderwood* Jean S. Calhoun* Harry and Marjorie M. Carlson Janice L. Carlson Dr.* and Mrs. Roland D. Carlson Mr. and Mrs. George P. Carmer* Barbara A. Chambers, D. Ed. Arthur L. Charni* Ellen Wade Chinn* NancyBell Coe Kenneth S. and Deborah G. Cohen Ralph M. and Mardy R. Cohen* Victor J. and Ellen E. Cohn Robert and Jean* Conrad Mr.* and Mrs. Gerald A. Conway James P. and Catherine E. Conway* Rudolph R. Cook* The Honorable Colleen Conway Cooney and Mr. John Cooney John D. and Mary D.* Corry Dr. Dale and Susan Cowan Dr. and Mrs. Frederick S. Cross* Martha Wood Cubberley Dr. William S. Cumming* In Memory of Walter C. and Marion J. Curtis William and Anna Jean Cushwa Alexander M. and Sarah S. Cutler Howard Cutson Mr.* and Mrs. Don C. Dangler Mr. and Mrs. Howard J. Danzinger Barbara Ann Davis Carol J. Davis Charles and Mary Ann Davis William E. and Gloria P. Dean, Jr. Mary Kay DeGrandis and Edward J. Donnelly Neeltje-Anne DeKoster* Carolyn L. Dessin William R. Dew* Mrs. Armand J. DiLellio James A. Dingus, Jr. Dr. and Mrs. Richard C. Distad Maureen A. Doerner and Geoffrey T. White Henry and Mary Doll Gerald and Ruth Dombcik Barbara Sterk Domski Mr.* and Mrs. Roland W. Donnem

Nancy E. and Richard M. Dotson Mrs. John Drollinger Drs. Paul M.* and Renate H. Duchesneau George* and Becky Dunn Warren and Zoann Dusenbury* Mr. and Mrs. Robert Duvin Paul and Peggy Edenburn Robert and Anne Eiben* Mr. and Mrs. Alfred M. Eich, Jr. Mr. and Mrs. Ramon Elias* Roger B. Ellsworth Oliver* and Mary Emerson Lois Marsh Epp Patricia Esposito Margaret S. Estill* Dr. Wilma McVey Evans* C. Gordon and Kathleen A.* Ewers Patricia J. Factor Carl Falb Susan L. Faulder* Dr. and Mrs. Frederick Fennell* Mrs. Mildred Fiening Gloria and Irving* Fine Jules and Lena Flock* Joan Alice Ford Dr. and Mrs. William E. Forsythe* Mr.* and Mrs. Ralph E. Fountain Gil and Elle Frey Arthur and Deanna Friedman Mr.* and Mrs. Edward H. Frost Dawn Full Henry S. Fusner* Dr. Stephen and Nancy Gage Charles and Marguerite C. Galanie* Barbara and Peter Galvin Mr. and Mrs. Steven B. Garfunkel Donald* and Lois Gaynor Barbara P. Geismer* Albert I. and Norma C. Geller Carl E. Gennett* Dr. Saul Genuth John H.* and Ellen P. Gerber Frank and Louise Gerlak Dr. James E. Gibbs In Memory of Roger N. Gifford Dr. Anita P. Gilger* S. Bradley Gillaugh Mr.* and Mrs. Robert M. Ginn Fred and Holly Glock Ronald* and Carol Godes William H. Goff Mr. and Mrs. Henry J. Goodman John and Ann Gosky Mrs. Joseph B. Govan* Harry and Joyce Graham LISTING CONTINUES

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H E R I TAGE S O C I ET Y Elaine Harris Green Tom and Gretchen Green Anna Zak Greenfield Richard and Ann Gridley Nancy Hancock Griffith David E.* and Jane J. Griffiths David G. Griffiths* Ms. Hetty Griffiths* Margaret R. Griffiths* Bev and Bob Grimm Judd and Zetta Gross* Candy and Brent Grover Mrs. Jerome E. Grover* Thomas J.* and Judith Fay Gruber Henry and Komal* Gulich Mr. and Mrs. David H. Gunning Mr. and Mrs. William E. Gunton Joseph E. Guttman* Mrs. John A Hadden Jr. Richard* and Mary Louise Hahn James J. Hamilton Kathleen E. Hancock Douglas Peace Handyside* Holsey Gates Handyside* Norman C. and Donna L. Harbert Mary Jane Hartwell William L.* and Lucille L. Hassler Peter and Gloria Hastings* Mrs. Henry Hatch (Robin Hitchcock) Virginia and George Havens Barbara L. Hawley and David S. Goodman Gary D. Helgesen Clyde J. Henry, Jr. Ms. M. Diane Henry Wayne and Prudence Heritage Rice Hershey* T. K. and Faye A. Heston Gretchen L. Hickok* Mr. and Mrs.* Daniel R. High Edwin R. and Mary C. Hill* Ruth Hirshman-von Baeyer* Mr. and Mrs. D. Craig Hitchcock* Bruce F. Hodgson Goldie Grace Hoffman* Mary V. Hoffman Feite F. Hofman MD* Mrs. Barthold M. Holdstein Leonard* and Lee Ann Holstein David and Nancy Hooker Gertrude S. Hornung* Patience Cameron Hoskins Elizabeth Hosmer Dorothy Humel Hovorka Dr. Christine A. Hudak, Mr. Marc F. Cymes Dr. Randal N. Huff Mrs. Marguerite B. Humphrey Adria D. Humphreys* Ann E. Humphreys and Jayne E. Sisson Karen S. Hunt Mr. and Mrs. G. Richard Hunter Ruth F. Ihde Mr. and Mrs. Jonathan E. Ingersoll Pamela and Scott Isquick Mr. and Mrs.* Clifford J. Isroff Mr. and Mrs. Donald M. Jack, Jr. Carol S. Jacobs Pamela Jacobson


Milton* and Jodith Janes Alyce M. Jarr* Jerry and Martha Jarrett* Merritt Johnquest Allan V. Johnson E. Anne Johnson Nancy Kurfess Johnson, M.D. Paul and Lucille Jones* Mrs. R. Stanley Jones* William R. Joseph* David and Gloria Kahan Julian and Etole Kahan Bernie and Nancy Karr Drs. Julian and Aileen Kassen* Milton and Donna* Katz Patricia and Walter Kelley* Bruce and Eleanor Kendrick Malcolm E. Kenney Mr. and Mrs. Douglas A. Kern Nancy H. Kiefer* Charles M. and Janet G. Kimball* James and Gay* Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Julian H. and Emily W. Klein* Thea Klestadt* Fred* and Judith Klotzman Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn* Elizabeth Davis Kondorossy* Mr. Clayton Koppes Mr.* and Mrs. James G. Kotapish, Sr. LaVeda Kovar* Margery A. Kowalski Bruce G. Kriete* Mr. James Krohngold Mr. and Mrs. Gregory G. Kruszka Thomas* and Barbara Kuby Eleanor* and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Dr. Joan P. Lambros* Mrs. Carolyn Lampl Samuel and Marjorie Lamport* Louis Lane* Kenneth M. Lapine and Rose E. Mills Charles K. László and Maureen O’Neill-László Anthony T. and Patricia Lauria Charles and Josephine Robson Leamy Fund Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Judy D. Levendula Gerda Levine Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs.* Thomas A. Liederbach Rollin and Leda Linderman Ruth S. Link* Dr. and Mrs. William K. Littman Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Ann B. and Robert R. Lucas* Linda and Saul Ludwig

Legacy Giving

Kate Lunsford Mr. and Mrs. Thomas E. Lynch* Patricia MacDonald Alex and Carol Machaskee Jerry Maddox Mrs. H. Stephen Madsen Alice D. Malone Mr. and Mrs. Donald Malpass, Jr. Lucille Harris Mann* Mr. and Mrs. Richard A. Manuel* Clement P. Marion Mr. Wilbur J. Markstrom* Dr. and Mrs. Sanford E. Marovitz David C.* and Elizabeth F. Marsh Duane and Joan Marsh* Florence Marsh, Ph.D.* Mr. and Mrs. Anthony M. Martincic Kathryn A. Mates Dr. Lee Maxwell and Michael M. Prunty Alexander and Marianna* McAfee Nancy B. McCormack Mr. William C. McCoy Marguerite H. McGrath* Dorothy R. McLean Jim and Alice Mecredy* James and Virginia Meil Mr. and Mrs.* Robert F. Meyerson Brenda Clark Mikota Christine Gitlin Miles Chuck and Chris Miller Edith and Ted* Miller Leo Minter, Jr. Mr. and Mrs. William A. Mitchell Robert L. Moncrief Ms. Beth E. Mooney Beryl and Irv Moore Ann Jones Morgan Mr. and Mrs. Stanley L. Morgan* George and Carole Morris Mr. and Mrs. Thomas W. Morris Mr. and Mrs.* Donald W. Morrison Joan and Edward Mortimer* Florence B. Moss Susan B. Murphy Dr. and Mrs. Clyde L. Nash, Jr Deborah L. Neale Mrs. Ruth Neides* David and Judith Newell Dr. and Mrs. S. Thomas Niccolls* Steve Norris and Emily Gonzales Russell H. Nyland* Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong Aurel Fowler-Ostendorf* Mr. J. William and Dr. Suzanne Palmer R. Neil Fisher and Ronald J. Parks Nancy* and W. Stuver Parry Mrs. John G. Pegg* Dr.* and Mrs. Donald Pensiero Mary Charlotte Peters Mr. and Mrs. Peter Pfouts* Janet K. Phillips* Florence KZ Pollack Julia and Larry Pollock Victor and Louise Preslan* Mrs. Robert E. Price* Lois S. and Stanley M. Proctor*

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H E R I TAGE S O C I ET Y Mr. David C. Prugh* Leonard and Heddy Rabe M. Neal Rains Mr. George B. Ramsayer Joe L. and Alice Randles* Mrs. Alfred M. Rankin, Sr. Mrs. Theodore H. Rautenberg* James and Donna Reid Mrs. Hyatt Reitman* Mrs. Louise Nash Robbins* Dr. Larry J.B.* and Barbara S. Robinson Margaret B. Robinson Dwight W. Robinson Janice and Roger Robinson Amy and Ken Rogat Margaret B. Babyak* and Phillip J. Roscoe Audra and George Rose Dr. Eugene and Mrs. Jacqueline* Ross Helen Weil Ross* Robert and Margo Roth Marjorie A. Rott* Howard and Laurel Rowen Professor Alan Miles Ruben and Judge Betty Willis Ruben Florence Brewster Rutter Mr. James L. Ryhal, Jr. Renee Sabreen Marjorie Bell Sachs Dr. Vernon E. Sackman and Ms. Marguerite Patton Sue Sahli Mr. and Mrs. James A. Saks Mr. and Mrs. Sam J. SanFilipo* Larry J. Santon Stanford and Jean B. Sarlson Sanford Saul Family James Dalton Saunders Patricia J. Sawvel Ray and Kit Sawyer Richard Saxton* Alice R. Sayre In Memory of Hyman and Becky Schandler Robert Scherrer Sandra J. Schlub Ms. Marian Schluembach Robert and Betty Schmiermund Mr.* and Mrs. Richard M. Schneider Lynn A. Schreiber* Jeanette L. Schroeder Frank Schultz Carol* and Albert Schupp Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Oliver E. and Meredith M. Seikel Russell Seitz* Reverend Sandra Selby Eric Sellen Andrea E. Senich Thomas and Ann Sepúlveda Elsa Shackleton* B. Kathleen Shamp Jill Semko Shane David Shank Dr. and Mrs. Daniel J. Shapiro* Helen and Fred D. Shapiro

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Norine W. Sharp* Norma Gudin Shaw Elizabeth Carroll Shearer* Dr. and Mrs. William C. Sheldon John F. Shelley and Patricia Burgess* Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin Reverend and Mrs. Malcolm K. Shields Rosalyn and George Sievila Mr.* and Mrs. David L. Simon Dr.* and Mrs. John A. Sims Naomi G. and Edwin Z. Singer Lauretta Sinkosky H. Scott Sippel and Clark T. Kurtz* Ellen J. Skinner Ralph* and Phyllis Skufca Janet Hickok Slade Alden D. and Ellen D. Smith* Drs. Charles Kent Smith and Patricia Moore Smith Mr.* and Mrs. Ward Smith M. Isabel Smith* Sandra and Richey Smith Roy Smith Nathan Snader* Sterling A. and Verdabelle Spaulding* Barbara J. Stanford and Vincent T. Lombardo George R. and Mary B. Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Willard D. Steck* Saundra K. Stemen Merle Stern Dr. Myron Bud and Helene* Stern Mr. and Mrs. John M. Stickney Nora and Harrison Stine* Mr. and Mrs. Stanley M. Stone Mr.* and Mrs. James P. Storer Ralph E. and Barbara N. String The Irving Sunshine Family Vernette M. Super* Mr. and Mrs. Herbert J. Swanson* In Memory of Marjory Swartzbaugh Dr. Elizabeth Swenson Lewis Swingley* Lorraine S. Szabo Norman V. Tagliaferri Susan and Andrew Talton* Frank E. Taplin, Jr.* Charles H. Teare* and Clifford K. Kern* Mr. Ronald E. Teare Nancy and Lee Tenenbaum Pauline Thesmacher* Dr. and Mrs. Friedrich Thiel Mrs. William D. Tibbetts* Mr. and Mrs. William M. Toneff Marlene and Joe Toot Alleyne C. Toppin Janice and Leonard Tower Dorothy Ann Turick Mr. Jack Ulman Mr. and Mrs. Robert A. Urban* Robert and Marti Vagi Robert A. Valente J. Paxton Van Sweringen

Legacy Giving

Mary Louise and Don VanDyke Elliot Veinerman* Nicholas J. Velloney* Steven Vivarronda Hon. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L. Wasserbauer Charles D. Waters* Reverend Thomas L. Weber Etta Ruth Weigl* Lucile Weingartner Eunice Podis Weiskopf* Max W. Wendel William Wendling and Lynne Woodman Marilyn J. White Robert and Marjorie Widmer* Yoash and Sharon Wiener Alan H. and Marilyn M. Wilde Elizabeth L. Wilkinson* Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Miriam L. and Tyrus W. Wilson* Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Mary Yee Emma Jane Yoho, M.D.* Libby M. Yunger Dr. Norman Zaworski* William Zempolich and Beth Meany William L. and Joan H. Ziegler* Carmela Catalano Zoltoski* Roy J. Zook* Anonymous (108)

The lotus blossom is the symbol of the Heritage Society. It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall.


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

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Thursday evening, March 2, 2017, at 7:30 p.m. Friday evening, March 3, 2017, at 7:00 p.m. * Saturday evening, March 4, 2017, at 8:00 p.m.

2 O 1 6 -1 7

Brett Mitchell, conductor LEONARD BERNSTEIN (1918-1990)


16 17 S E A S O N

Symphonic Suite from On the Waterfront Violin Concerto No. 3: Juggler in Paradise * WILLIAM PREUCIL, violin


Symphony No. 3 * 1. 2. 3. 4.

Molto moderato, with simple expression Allegro molto Andantino quasi allegretto Molto deliberato (Fanfare) — Allegro risoluto

These concerts are supported through the generosity of Squire Patton Boggs (US) LLP Cleveland’s Own Series sponsorship. Thursday’s concert is sponsored by Hahn Loeser & Parks LLP.

The Cleveland Orchestra’s Fridays@7 series is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence. * Friday’s concert is performed without intermission and features the violin concerto and symphony only.

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Concert Program — Week 13


March 2, 3, 4

16 17

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




Severance Restaurant Reservations for pre-concert dining suggested:

216-231-7373 or via

P R E V I E W Thursday/Saturday

“American Music, American Sounds” with Katherine Bormann, violin The Cleveland Orchestra

No Concert Preview and no intermission on Friday evening.


BERNSTEIN Suite from On the Waterfront . . . . . . . . . . Page 65 (20 minutes)

(20 minutes)


THOMAS Juggler in Paradise: Violin Concerto No. 3 . . . . . . . . . . . . . . . . . Page 69


Concert begins: THUR 7:30 SAT 8:00

INTERMISSION (20 minutes) Duration times shown for musical pieces (and intermission) are approximate.

COPLAND Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . Page 73 (45 minutes)

Concert ends: (approx.)


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

THUR 9:20 SAT 9:50

Severance Restaurant Post-Concert Desserts and Drinks


This Week’s Concerts



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

The Cleveland Orchestra


American Sounds:

Inspiration, Virtuosity, Imagination & Grandeur T H I S W E E K E N D ' S C O N C E R T S feature three

different works, all written by American composers. Two of those composers are household names in musical Americana. Those two were men. The third composer is a newer voice, and a woman. Not that gender has any necessary role in what a writer’s music may sound like. Or hair color. Or sexuality (Bernstein and Copland were gay). Or . . . ? So . . . what makes music sound American?! At the end of the 19th century, the Czech composer Antonín Dvořák searched among our folk music — the tunes of African-Americans and Native Americans — for authentic New World sounds, then synthesized and melded together his own ideas. Dozens of American-born composers also searched for their own authentic voice. Gershwin looked to jazz rhythms. Aaron Copland worked with cowboy tunes, but also, like a whole squad of early 20th-century symphonists, built his music on broad harmonics and chords “as solid and big as the Grand Canyon” (or at least that’s how some people explained the inherent “strength” heard in this “American” music). Bernstein’s score for the film On the Waterfront is a dynamic tooling of atmospheric sounds — and, at times, a clear preview of the composer’s eclectic and dynamic style for West Side Story. Augusta Read Thomas’s concerto Juggler in Paradise is a strong admixture of influences, beautifully resolved into her own voice and style. Preparing for a session with this week’s soloist, Cleveland Orchestra concertmaster William Preucil, she commented that “the grandparents of this concerto are Mahler, Debussy, Stravinsky, and Boulez” — a very European bunch. Though other influences, she happily added, have included Ella Fitzgerald and Joni Mitchell. To close the program, conductor Brett Mitchell leads Copland’s grand Symphony No. 3, which closes with a mighty orchestral setting of his popular “Fanfare for the Common Man.” Big, strong, clear-eyed, and optimistic. —Eric Sellen LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday, June 4, at 4:00 p.m. and on Saturday evening, September 23, at 8:00 p.m.

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Introducing the Concerts


ENJOY THE INTIMATE SETTING OF ONE OF THE NATION’S BEST ACADEMIC ART MUSEUMS. LOCATED ON THE OBERLIN COLLEGE CAMPUS Free and open to the public since 1917, the Allen Memorial Art Museum holds an acclaimed collection of more than 14,000 objects from virtually every culture and time period. FIRST THURSDAY EVENING HOURS The AMAM offers a program at 5:30 p.m. on the first Thursday of each month during the academic year: March 2, April 6, and May 4. Galleries remain open until 8 p.m. Free to the public. Special exhibitions through June 12, 2017 WILDFIRE TEST PIT Artist Fred Wilson “mines” the AMAM collection, creating unexpected juxtapositions that encourage visitors to experience history anew. FRED WILSON: BLACK TO THE POWERS OF TEN Works by the New York-based artist who was the recipient of a MacArthur “genius” grant explore race, time, memory, and meaning. CONVERSATIONS: PAST AND PRESENT IN ASIA AND AMERICA Pop Art from the West inspires contemporary Asian and Asian-American artists. Ceramic artists draw on techniques and traditions developed in the East.

Allen Memorial Art Museum 87 North Main St. Oberlin, Ohio

Open Tuesday to Saturday 10–5 Sunday 1–5 Closed Mondays and major holidays

Free admission amam


Symphonic Suite from On the Waterfront composed 1955 from the film score written in 1953-54

At a Glance



BERNSTEIN born August 25, 1918 Lawrence, Massachusetts died October 14, 1990 New York City

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Bernstein composed his score to the film On the Waterfront in 1953 and early 1954. The film was released in July 1954. The score was nominated for an Academy Award, but did not win. In 1955, Bernstein arranged music from the film into a symphonic concert suite of six movements. It was premiered on August 11, 1955, with the composer conducting the Boston Symphony Orchestra. This suite runs about 20 minutes in performance. Bernstein scored it for 2 flutes and piccolo, 2 oboes,

3 clarinets and bass clarinet, 2 bassoons and contrabassoon, alto saxophone, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, perucssion (snare drum, bass drum, tuned drums, tam-tams, woodblock, cymbals, triangle, glockenspiel, xylophone, vibraphone, chimes), harp, piano, and strings. The Cleveland Orchestra first played this suite in August 1988 at Blossom, conducted by Leonard Slatkin. It was performed again at Blossom in 1991 and 2006.

About the Music T H R O U G H O U T the golden age of Hollywood, composing

music for movies was regarded as a job for inside professionals — men like Korngold, Steiner, Waxman, and Rózsa, most of them trained in Europe and adopted by the studios as indispensable specialists. For most “classical” composers, such as Stravinsky and Copland, there was a distrust of Hollywood, based on the suspicion that, in California at least, creative work was not one’s own once it fell “into the hands” of the movie-makers, that one had to do what one was told, and that the public was largely uncritical of a film score provided that the film itself was satisfying. Leonard Bernstein was similarly hesitant to work in films, and had seen only one of his pieces, the musical On the Town, adapted as a film before being asked to write a new one. Sam Spiegel, the producer for On the Waterfront, asked Bernstein to write the score for this new movie starring Marlon Brando and Lee J. Cobb and directed by Elia Kazan. Bernstein was already famous as pianist, composer, and conductor, and his name was actually brought in to add some celebrity to a film that its creators suspected was too gritty and realistic. Once he saw a rough-cut of the film he felt “a surge of excitement. I heard music as I watched. That was enough.” Opening in July 1954, the film was a huge success. The grip About the Music


of corrupt union bosses in the New York docks had been exposed a few years earlier, yet the subject was still topical if only because the issue of informing on fellow workers was all too menacing while the HUAC (House Un-American Activities Committee) hearings were causing great ruptures in Hollywood. The film won eight Oscars, although not the score (which was nominated but lost to Dmitri Tiomkinâ&#x20AC;&#x2122;s music for the early airplane disaster movie The High and the Mighty). Part of the disappointment explains, perhaps, why Bernstein never wrote another film score. Extracting a concert suite from a film score offers a number of benefits. It ensures that the music can enjoy a separate life in the orchestral repertoire, and it gives the composer a chance to retrieve anything of value that was left on the cutting-room floor. In addition, the music can be heard with its full dynamic levels, not buried behind dialogue or sound effects, and it can be experienced in the composerâ&#x20AC;&#x2122;s own orchestration rather than what studio staffers may do to meet a deadline and stay within a budget. A further benefit for Bernstein of working again on this score in 1955 was to develop musical ideas that were to have an enormous impact on his score for West Side Story, which was just beginning to take shape. The contrast between brutal violence and a redeeming love is central to both works. The savage fury of percussion and brass is used for the fighting, and the delicacy of his scoring for strings and


About the Music

The Cleveland Orchestra

upper winds represents the love of Edie (Eva Marie Saint), who persuades Terry (Brando) to put his conscience first. The suite is built in six short movements: 1. 2. 3. 4. 5. 6.

Andante — Presto barbaro Adagio — Allegro molto agitato Andante largamente — More flowing — Lento Moving forward — Largamente — Andante come prima Allegro non troppo — Poco più sostenuto A tempo

As the music unfolds, the two types of music are clearly distinct. The horn solo that opens the first movement is heard over the credits, unusually spare for a movie of that date, and it suggests the loneliness of a painful conscience. The love theme is introduced by the flute in the third movement. A four-note figure heard on the alto sax at the end of the first movement outlines an important element of the suite, which does not follow the sequence of action of the film, but works out its themes and contrasts to create something more symphonic in character. Like the film itself, this music is both harsh and touching. —Hugh Macdonald © 2017

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Baldwin Wallace University Campus Performances

“Brahms’ Bach: The Bach that Brahms Performed” Friday, April 7, 7 p.m.

“The Art of Arrangement and Counterpoint” Westhuizen Duo Pierre and Sophié van der Westhuizen

Saturday, April 8, 3 p.m.

Johannes Brahms: Ein Deutsches Requiem, Op. 45 Saturday, April 8, 7 p.m.

Bach’s genius and influence manifest in the music of Johannes Brahms, featuring the powerful and stirring Ein Deutsches Requiem.

2017 (440) 826-8070

Friday, March 3, 7 p.m. The BW Bach Festival partners with the Westhuizen Duo and Verb Ballets to present the love songs of Brahms intertwined with music of Cole Porter and Ira Gershwin. 78th Street Studios Northeast Ohio’s largest art and design complex

1300 West 78th St. Cleveland, OH 44102

Juggler in Paradise: Violin Concerto No. 3 composed 2008

At a Glance bassoon, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, a large battery of percussion (bass drum, snare drum, bongos, conga drum, tom-toms, tam-tam, wood blocks, claves, triangles, cymbals, sizzle cymbal, finger cymbals, crotales, chimes, glockenspiel, xylophone, vibraphone, marimba), 2 harps, piano, celesta, and strings, plus the solo violin. The Cleveland Orchestra is presenting this concerto for the first time with this week’s performances.


Thomas wrote this violin concerto in 2008 on a joint commission from the Orchestre philharmonique de Radio France, BBC Symphony Orchestra, and Washington D.C.’s National Symphony Orchestra. It was first performed on January 16, 2009, in Paris, with Andrey Roeyko conducting and Frank Peter Zimmernnn as the soloist. This concerto runs about 20 minutes in performance. Thomas scored it for on orchestra of piccolo, 2 flutes (second doubling alto flute, 2 oboes, english horn, 2 clarinets, bass clarinet,

born April 24, 1964 Glen Cove, New York

About the Music

lives in Chicago

The composer has written the following commentary about this violin concerto:


Augusta Read

F L O W E R I N G A C R O S S a twenty-minute arch, Violin Concerto

No. 3 can be thought of as a series of poetic outgrowths and variations, which are organic and, at every level, concerned with transformations and connections. The violin solo is present for almost 100% of the sweeping arc, serving as the protagonist as well as fulcrum point on and around which all musical force-fields rotate, bloom and proliferate. The work begins with a slow, spacious, elegant solo for violin, accompanied, at first, by delicate sounds in the harps and percussion. Steadily the orchestration thickens, providing natural momentum for the soloist’s necessity to continue “singing” with an inner energy that is ever so gradually becoming animated and increasingly characterized. With each new phrase, across a 14-minute arch, the tempos quicken. At the point when the bongo drums’ solos appear, the music progressively becomes playful, spry and jazzy. This builds into an all-out 3-minute romp — loud, punchy, virtuosic and athletic! Toward the end of the gambol, there is the option for the soloist to play a 30-second cadenza providing it is in the style, syntax and language of the composition and continues a high level of rhythmic energy. The intensity climaxes, ends and we Severance Hall 2016-17

About the Music


are suddenly in a spacious landscape. A feeling of timeless space leads to the final 3-minutes of the composition, which is dreamy — as if the soloist was delicately floating while chanting an ardent incantation. The work’s descriptive title, “Juggler in Paradise” is a poetic image for the way solo and orchestra relate, a continuous rhapsodic cadenza set against colorful ‘paradisiacal constellations.’ It’s physical, too: dance is often close by. When the violin starts to speed up, the score suggests playing “as if ‘juggling’ the notes, rhythms, articulations”; and further on, “like several objects in motion, in “the air.” The animated, quicksilver orchestrations, at times pointillist like a Seurat paining, at other times akin to bold brush strokes, full and brassy, are continuously juggling and flexibly rearranging. —August Read Thomas

ABOUT THE COMPOSER Augusta Read Thomas was born in New York. She studied composition with Oliver Knussen at Tanglewood (1986, 1987, 1989), Jacob Druckman at Yale University (1988), Alan Stout and Bill Karlins at Northwestern University (1983-1987), and at the Royal Academy of Music in London (1989). She was a Junior Fellow in the Society of Fellows at Harvard University (1991-94) and a Bunting Fellow at Radcliffe College (1990-91). Her music has been described as nuanced, majestic, elegant, capricious, lyrical, and colorful. A Grammy winner, her body of works embodies impressive range and unbridled passion, and fierce poetry. She rose early to worldwide recognition in her profession. Her work has been championed by Daniel Barenboim, Mstislav Rostropovich, Pierre Boulez, Essa Pekka Salonen, Lorin Maazel, Seiji Ozawa, and Oliver Knussen. Thomas has served as an influential educator, teaching at Eastman, Northwestern, Tanglewood, Aspen Music Festival, and now at the University of Chicago, where she has been recognized through appointment as the school’s sixteeth “University Professor” (and one of only seven currently). She has said, “Teaching is a natural extension of my creative process and of my enthusiasm for the music of others.” She proposed and has established the Center for Contemporary Composition at the University of Chicago.


About the Music

The Cleveland Orchestra

“Augusta Read Thomas has secured for herself a permanent place in the pantheon of American composers of the 20th and 21st centuries. She is without question one of the best and most important composers that this country has today. Her music has substance and depth and a sense of purpose. She has a lot to say and she knows how to say it — and say it in a way that is intelligent yet appealing and sophisticated.” — Edward Reichel

Thomas was the longest-serving Mead Composer-in-Residence for Daniel Barenboim and Pierre Boulez with the Chicago Symphony Orchestra, from 1997 through 2006. That residency culminated in the premiere of Astral Canticle, one of two finalists for the 2007 Pulitzer Prize in music. During her residency, Thomas not only premiered nine commissioned orchestral works, but was also central toward establishing the thriving MusicNOW series on which she commissioned and programmed the work of many living composers. She envisioned, spearheaded and led Ear Taxi Festival, a six-day-long new music festival in October 2016 celebrating the vibrant classical contemporary music scene in Chicago. The event involved more than 350 musicians, 25 ensembles, 88 composers, and 5 installations, and presented over 50 world premieres along with performances of 35 already existing works. Recent and upcoming commissions include works for the Boston Symphony Orchestra, Utah Symphony, London’s Wigmore Hall, Jack Quartet, Third Coast Percussion, Tanglewood, Danish Chamber Players, Notre Dame University, and the Fromm Foundation. Ms. Thomas has won the Ernst von Siemens Music Prize, among many other awards. She is a member of the American Academy of Arts and Sciences and of the American Academy of Arts and Letters. G. Schirmer, Inc. is the exclusive publisher of her music worldwide for all works composed until December 31, 2015. Nimbus Music Publishing is the exclusive publisher of her music worldwide for all works composed after January 1, 2016. Her discography includes 77 commercially-recorded albums.

Severance Hall 2016-17

About the Composer


Aaron Copland, 1974. Photo by Peter Hastings, taken at Severance Hall.

You compose because you want to somehow summarize in some permanent form your most basic feelings about being alive, to set down . . . some sort of permanent statement about the way it feels to live now, today. â&#x20AC;&#x201D;Aaron Copland

About the Music

Symphony No. 3 composed 1944-46

At a Glance



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

Severance Hall 2016-17

Copland began his Third Symphony in 1944, on a commission from the Koussevitzky Music Foundation, completing the work by September 1946. The symphony was premiered on October 18, 1946, with Serge Koussevitzky leading the Boston Symphony Orchestra. This symphony runs about 45 minutes in performance. Copland scored it for 3 flutes, piccolo, 2 oboes, english horn, 3 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba,

timpani, percussion (bass drum, snare drum, tenor drum, tam-tam, woodblock, slapstick, cymbals, triangle, ratchet, xylophone, glockenspiel, tubular bells, anvil, claves), 2 harps, celesta, piano, and strings. The Cleveland Orchestra first performed Copland’s Third Symphony in 1947 under the direction of George Szell. Copland led Cleveland performances in 1965 and 1974. The Orchestra’s most recently performed it in December 2013 under the direction of Marin Alsop.

About the Music A A R O N C O P L A N D ’ S long life and busy career as composer

and teacher left a legacy of great richness. He was quite quickly regarded as a leading figure among the many musicians of midcentury who were particularly concerned with the problem of defining a distinctive American voice in music. Even by 1900, the year of his birth, there had been many excellent American composers (too little heard today, without a doubt), but their training was European and their style was recognizably related to the great German, Czech, and French traditions. Copland studied in France with Nadia Boulanger and he was much under the spell of Stravinsky, but he was nonetheless determined to fashion what he had learned into something new. In one direction, in the sphere of abstract instrumental music such as sonatas and variations, he was clearly a brave pioneer with a considerable musical intellect, but it was in ballet and film that he was able to put an American label on his music and win a degree of popularity that lifted him to the most favored rank. Raised in the Jewish community of Brooklyn, he was clearly not a natural son of the prairies, yet he managed to convey a sense of the great outdoors and of the nation’s wide spaciousness in the music he wrote for the ballets Billy the Kid and Appalachian Spring, and in his scores for films such as Of Mice and Men and The Red Pony. During World War II, he broadened this national identity About the Music


with patriotic pieces such as the Lincoln Portrait and Fanfare for the Common Man. So when in 1944 he was asked by Serge Koussevitsky to write something in memory of the conductor’s wife, Natalie Koussevitsky, Copland took the opportunity to combine in one big work his gift for large-scale formal thinking with his sharpened sense of national musical greatness. The end of the war was a moment for a strong positive gesture in music, and so he composed the largest symphonic work of his career using the Fanfare for the Common Man as a rousing and recognizable basis for its triumphant finale. In fact, he became so absorbed in the composition of the symphony that he refused some tempting offers from Hollywood, including the opportunity to work with Alfred Hitchcock. His first symphony, written in 1924, had a prominent organ part, though he later revised it without the organ. His second symphony, the so-called Short Symphony, was lean and concise, with a modest orchestra. In the Third Symphony, in contrast, he adopted the full traditional four-movement form and called for an immense orchestra whose full weight is not actually heard until the close of the finale. Copland’s delight in rhythmic intricacy is on display in all four movements. This dismayed some of the music’s early critics, but it is more teasing for the eye as printed in the score than for the ear, since the listener readily engages with Copland’s lopsided and often joyful treatment of the beat. The first movement spreads outwards from its broad, simple opening, gradually gathering pace and momentum, but never losing dignity and control. The composer’s harmonic style is based on diatonic chords from within the traditional major scale, but avoiding clean common triads. Until the end of the movement, that is, because the final chord is a luminous chord of E major, a fundamental entity that has not been heard in the work until that point. The second movement is a scherzo, brisk and breezy, which reminds us strongly of Copland’s success as a ballet composer. It also evokes Shostakovich, but without any aggression. The central section is pastoral and relaxed, led off by the oboe, while the reprise of the scherzo is cut short by a noisy version of the pastoral theme, grandioso. The slow third movement brings to mind the words of Darius Milhaud: “The melancholy simplicity of the Third Symphony’s themes is a direct expression of Copland’s own delicate sadness and sensitive heart.” This is not robust cowboy music but a quiet reflection on almost atonal themes, most of them pitched high in the orchestra. The central section is a surprise, returning to rhythmic, spiky music with a toyshop character. There is no big climax but a gradual return


About the Music

The Cleveland Orchestra


Aaron Copland, Leonard Bernstein, and Serge Koussevitzky together at Tanglewood in 1940. Koussevitzky encouraged both young men in their music creating and music-making, including the commissioning of Copland’s Third Symphony.

to the pensive, desolate music of the opening. Once again, a pure major triad at the end is perfectly judged. This leads directly into the finale, with the striding gestures of the Fanfare for the Common Man prominently passed from one instrument to another. (Copland had created this Fanfare as part of a wartime project of the Cincinnati Symphony Orchestra, which created a series of propagandistically upbeat or patriotic fanfares to begin each concert during the 1942-43 season; Copland’s became an immediate and ongoing favorite with audiences and musicians.) In the symphony, the rhythmic complexity is constant, but the effect is uplifting as the orchestra rises to great heights of virtuosity. At one point, the oboe leads us like children to run free in the fields; at another we are rescued from an overpowering climax by the piccolo wandering off on its own. The fanfare is naturally the concluding gesture of a symphony that has ranged far and wide in feeling and expression and come to rest on a strongly positive note. —Hugh Macdonald © 2017 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


Brett Mitchell Associate Conductor Elizabeth Ring and William Gwinn Mather Endowed Chair The Cleveland Orchestra

The 2016-17 season marks Brett Mitchell’s fourth and final year as a member of The Cleveland Orchestra’s conducting staff. In this role, he leads the Orchestra in several dozen concerts each season at Severance Hall, Blossom Music Festival, and on tour. He also serves as music director of the Cleveland Orchestra Youth Orchestra. In June 2015, he led the Youth Orchestra in a four-city tour to China, marking the ensemble’s second international tour and its first to Asia. With the 2017-18 season, Mr. Mitchell becomes music director of the Colorado Symphony in Denver. He currently holds the title music director designate. He will also continue an active career as a guest conductor, leading performances throughout North America, Europe, and Asia. Recent and upcoming guest engagements include performances with the orchestras of Columbus, Dallas, Detroit, Houston, Indianapolis, Oregon, St. Paul, and Washington D.C., and the Frankfurt Radio Symphony, among others. Mr. Mitchell served as music director of the Saginaw Bay Symphony Orchestra, 2010-15, where an increased focus on locally relevant programming and community collaborations resulted in record attendance throughout his tenure. He had earlier been assistant conductor of the Houston Symphony (2007-11), where he led over 100 performances with the ensemble and concurrently held a League of American Orchestras American Conducting Fellowship. He was also an assistant


conductor to Kurt Masur at the Orchestre National de France (2006-09) and served as director of orchestras at Northern Illinois University (2005-07). He was associate conductor of the Pittsburgh New Music Ensemble (2002-06), where he led many subscription programs, six world premieres, and several recording projects. Mr. Mitchell has also served as music director of nearly a dozen opera productions, principally as music director at the Moores Opera Center in Houston (2010-13), leading eight productions. A native of Seattle, Brett Mitchell holds a doctor of musical arts degree from the University of Texas at Austin, where he was also music director of the University Orchestra. He earned a bachelor of music degree in composition from Western Washington University, which selected him as its Young Alumnus of the Year in 2014. Mr. Mitchell also participated in the National Conducting Institute in Washington D.C., studied with Kurt Masur as a recipient of the inaugural American Friends of the Mendelssohn Foundation Scholarship, and with Lorin Maazel. For more information, please visit


The Cleveland Orchestra

William Preucil Concertmaster Blossom-Lee Endowed Chair The Cleveland Orchestra

William Preucil became concertmaster of The Cleveland Orchestra in April 1995 and has appeared over 100 times as soloist with the Orchestra in concerto performances at both Severance Hall and Blossom. Prior to joining The Cleveland Orchestra, Mr. Preucil served for seven seasons as first violinist of the Grammy-winning Cleveland Quartet, performing more than 100 concerts each year in the world’s major music capitals. Telarc International recorded the Cleveland Quartet performing the complete cycle of Beethoven’s 17 string quartets, as well as a variety of chamber works by Haydn, Mozart, Schubert, and Brahms. William Preucil served as concertmaster of the Atlanta Symphony Orchestra (1982-89), after previously holding the same position with the orchestras of Utah and Nashville. During his tenure in Atlanta, he appeared with the Atlanta Symphony as soloist in 70 performances of 15 different concertos. He has premiered two works by composer Stephen Paulus written especially for him, the Violin Concerto No. 1 with the Atlanta Symphony Orchestra under Robert Shaw’s direction in 1987, and the Violin Concerto No. 3 with The Cleveland Orchestra under Giancarlo Guerrero in 2012. Mr. Preucil has also appeared as soloist with the symphony orchestras of Detroit, Hong Kong, Minnesota, Rochester, and Taipei. Mr. Preucil regularly performs chamber music, as a guest soloist with other orchestras, and at summer music festivals. His North American festival performances

Severance Hall 2016-17


have included Santa Fe, Sarasota, Seattle, and Sitka, with international appearances in France, Germany, and Switzerland. Each summer, he serves as concertmaster and violin soloist with the Mainly Mozart Festival Orchestra in San Diego. Mr. Preucil also continues to perform as a member of the Lanier Trio, whose recording of the complete Dvořák piano trios was honored as one of Time magazine’s top 10 compact discs at the time of its release. The Lanier Trio also has recorded the trios of Mendelssohn and Paulus for Gasparo Records. Actively involved as an educator, Mr. Preucil serves as Distinguished Professor of Violin at the Cleveland Institute of Music and at Furman University. He previously taught at the Eastman School of Music and at the University of Georgia. William Preucil began studying violin at the age of five with his mother, Doris Preucil, a pioneer in Suzuki violin instruction in the United States. At 16, he graduated with honors from the Interlochen Arts Academy and entered Indiana University to study with Josef Gingold (former concertmaster of The Cleveland Orchestra). He was awarded a performer’s certificate at Indiana University and also studied with Zino Francescatti and György Sebök.



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 January 2017.


gifts during the past year, as of January 15, 2017

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

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:

gifts of $100,000 and more INDIVIDUAL GIFTS OF $500,000 AND MORE

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

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

Musicians of The Cleveland Orchestra (in-kind support for community programs and opportunities to secure new funding) Irma and Norman Braman (Miami) 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-Möst

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 Mr. and Mrs. Donald M. Jack, Jr. 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 Mrs. Jean H. Taber Barbara and David Wolfort (Cleveland, Miami) Women’s Committee of The Cleveland Orchestra

Elisabeth DeWitt Severance Society gifts of $25,000 and more INDIVIDUAL GIFTS OF $30,000 TO $49,999

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

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Individual Annual Support


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 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 Rick, Margarita, and Steven Tonkinson (Miami) Anonymous (3)

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 Irad and Rebecca Carmi 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 Tom and Shirley Waltermire Anonymous INDIVIDUAL GIFTS OF $15,000 TO $19,999

William Appert and Christopher Wallace (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia Brouhard Mr. and Mrs. William E. Conway Mrs. Barbara Cook

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, Director, Leadership Giving, by calling 216-231-7522.

Dr. and Mrs. Robert Ehrlich (Europe) Mr. Allen H. Ford Ms. Dawn M. Full Mr. and Mrs. Robert W. Gillespie 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 Dr. Anne and Mr. Peter Neff 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

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


Individual Annual Support

The Cleveland Orchestra


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

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

Create Your Jewish Legacy

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 Mr. and Mrs. Robert P. Duvin Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Isaac K. Fisher (Miami) Kira and Neil Flanzraich (Miami) Bob and Linnet Fritz Albert I. and Norma C. Geller Dr. Edward S. Godleski 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 Mrs. Milly Nyman (Miami) Mr.* and Mrs. William M. Osborne, Jr. Mr. J. William and Dr. Suzanne Palmer AndrĂŠs 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 David M. and Betty Schneider Carol* and Albert Schupp 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 Pysht Fund Robert C. Weppler Sandy Wile and Susan Namen Anonymous (4)

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

Robert and Alyssa Lenhoff-Briggs Ellen E. and Victor J. Cohn Supporting Foundation Marjorie Dickard Comella Mrs. Lois Joan Davis Mr. and Mrs. Thomas S. Davis 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 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 Mr. John Mueller 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. Elizabeth Swenson 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 Mary and Oliver* Emerson Carl Falb Dr. D. Roy and Diane A. Ferguson William R. and Karen W. Feth Joseph Z. and Betty Fleming (Miami) Joan Alice Ford Michael Frank and Patricia A. Snyder Barbara and Peter Galvin Joy E. Garapic


Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App Robert and Dalia 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

Dreams can come true

Cleveland Public Theatreâ&#x20AC;&#x2122;s STEP Education Program Photo by Steve Wagner

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

Your Investment: Strengthening Community Visit to learn more.


Dr. and Mrs. Adi Gazdar Joyce and Ab* Glickman Brenda and David Goldberg 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 Rob and Laura Kochis 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. Stephen B. and Mrs. Lillian S. Levine 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 Ms. Jennifer R. Malkin 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 Lynn and Mike Miller 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 Oâ&#x20AC;&#x2122;Connor Mr. Henry Ott-Hansen 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 Dr. and Mrs. Robert C. Ruhl 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 Drs. Charles Kent Smith and Patricia Moore Smith David Kane Smith Roy 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 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-ViĂąas and Joaquin Vinas (Miami) Mr. and Mrs. Mark Allen Weigand Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Richard Wiedemer, Jr. 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)

Lilli and Seth Harris In Memory of Hazel Helgesen Mr. and Mrs. Jerry Herschman Dr. Fred A. Heupler Mr. Robert T. Hexter 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 E. 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 Mr. Taras G. Szmagala, Jr. Mr. Karl and Mrs. Carol Theil Drs. Anna* and Gilbert True Mr. and Mrs. Les C. Vinney Mr. and Mrs. Norman L. Wernet Richard and Mary Lynn Wills Max and Beverly Zupon Anonymous (2)


Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. and Mrs. Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum 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 A. Fullmer Loren and Michael Garruto Dr. and Mrs. Edward C. Gelber (Miami) Angela and Jeffrey Gotthardt Dr. and Mrs. Ronald L. Gould Mr. and Mrs. Stephen Griebling The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Mr. Davin and Mrs. Jo Ann Gustafson

listings continue


Individual Annual Support

The Cleveland Orchestra

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

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5pm -11pm | Fri. & Sat.

Live Music Thursday, Friday & Saturday

Let’s talk.

contact Live Publishing 216.721.1800

Join us for dinner before or after the orchestra. ~ 216.721.0300 2198 Murray Hill Rd. • Cleveland, OH 44106 •

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12405 Mayfield Road, Cleveland, Ohio 44106 216-421-8049 | find us on

Ristorante & Wine Bar – in Little Italy 216-231-5977 2181 Murray Hill Road | Join us for dinner before or after the orchestra.

Severance Hall 2016-17


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 Georgette and Dick Bohr 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. Stanley Cohen (Miami) 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 Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White Dr. and Mrs. Richard C. Distad Dr. M. Meredith Dobyns Carl Dodge 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 Mr. Paul C. Forsgren 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 Ms. Anna Z. Greenfield Drs. Erik and Ellen Gregorie Dr. and Mrs. Franklin W. Griff Dr. Lawrence Haims* and Dr. Barbara Brothers Dr. Phillip M. and Mrs. Mary Hall Douglas M. and Amy Halsey (Miami) Mr. and Mrs. David P. Handke, Jr. Christian and Holly Hansen (Miami) 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 Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary and Robert Kendis and Susan and 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 Lemr 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 Ms. Charlotte V. McCoy William C. McCoy Mr. and Mrs. Christopher J. McKenna Mr. and Mrs. James E. Menger Stephen and Barbara Messner Loretta J. Mester and George J. Mailath 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 Ms. Megan Nakashima Deborah L. Neale Marshall I. Nurenberg and Joanne Klein Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan Mr. and Mrs. John Olejko 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 Matt and Shari 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 Mr. Lute and Mrs. Lynn Quintrell 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 Mr. D. Keith and Mrs. Margaret Robinson James and LaTeshia Robinson (Miami) Mr. Timothy D. Robson Ms. Linda M. Rocchi Dr. Robert and Mrs. Lauryn Ronis Dick A. and Debbie Rose

Individual Annual Support

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 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 Mr. Kenneth and Mrs. Jill Shafer 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 Ms. Barbara Snyder Jorge Solano (Miami) Lucy and Dan Sondles Michalis and Alejandra Stavrinides (Miami) Mr. and Mrs. Martin Striegl Frederick and Elizabeth Stueber 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 Walt and Karen Walburn Alice and Leslie T. Webster, Jr. Mr. Peter and Mrs. Laurie Weinberger Mr. and Mrs. John W. Wilhelm Dr. Paul R. and Catherine Williams Elizabeth B. Wright Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (10)

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

Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends. As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-7562.


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 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 January 2017.

gifts of $2,500 or more during the past year, as of January 15, 2017


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 Ernst & Young LLP Adam Foslid / Greenberg Traurig (Miami) The Lubrizol Corporation Olympic Steel, Inc. RPM International Inc.


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) DLR Group | Westlake Reed Leskosky Dominion Foundation 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 (Miami) Margaret W. Wong & Associates LLC Anonymous (2)

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




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 January 2017.

Severance Hall 2016-17

gifts of $2,500 or more during the past year, as of January 15, 2017

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture $500,000 TO $999,999

The George Gund Foundation The Andrew W. Mellon Foundation Ohio Arts Council $250,000 TO $499,999

Knight Foundation (Miami) Kulas Foundation John P. Murphy Foundation $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 Frederick and Julia Nonneman Foundation The Payne Fund The Sage Cleveland Foundation

$20,000 TO $49,999 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 Reinberger Foundation Sandor Foundation The Sisler McFawn Foundation George Stevens Fund of Akron Community Foundation The Veale 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 Cleveland State University 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 The Margaret Clark Morgan Foundation The M. G. O’Neil Foundation Paintstone Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Harold C. Schott Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The O’Neill Brothers 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



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 Youth Orchestra and Youth Chorus

Mahler’s Song of the Earth Feb 9 — Thursday at 7:30 p.m. Feb 10 — Friday at 8:00 p.m. <18s Feb 11 — Saturday at 8:00 p.m.

Feb 19 — Sunday at 7:00 p.m.


THE CLEVELAND ORCHESTRA Donald Runnicles, conductor Michelle DeYoung, mezzo-soprano Paul Groves, tenor

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

SCHUBERT Symphony No. 8 (“Unfinished”) MAHLER The Song of the Earth [Das Lied von der Erde]

BATES Sea-Blue Circuitry DEBUSSY Nocturnes POULENC Gloria

Sponsor: Medical Mutual

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.


Breakfast at Tiffany’s Feb 14 — Tuesday at 7:30 p.m.

Debussy’s La Mer

THE CLEVELAND ORCHESTRA Justin Freer, conductor Cleveland Orchestra Youth Chorus A classic movie from 1961 for Valentine’s Day! Experience director Blake Edwards’s romantic comedy with Henry Mancini’s legendary score (including “Moon River”) played live by The Cleveland Orchestra. Sponsor: PNC Bank

Mozart and Tchaikovsky Feb 16 — Thursday at 7:30 p.m. Feb 17 — Friday at 8:00 p.m. <18s Feb 18 — Saturday at 8:00 p.m.

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

THE CLEVELAND ORCHESTRA Semyon Bychkov, conductor Katia Labèque, piano Marielle Labèque, piano

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.

MOZART Concerto for Two Pianos TCHAIKOVSKY Manfred Symphony

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor William Preucil, violin

Sponsor: BakerHostetler

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

Under 18s Free FOR FAMILIES



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 LLPS (US) Fridays@7 Sponsor: KeyBank

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).


Concert Calendar

The Cleveland Orchestra


16 17 2 O 1 6 -1 7






The Magic Firebird

March 5 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Ruth Reinhardt, conductor with special guests Enchantment Theatre Company An enchanted tree bears golden apples, a handsome Prince pursues a beautiful princess, and a magnificent firebird with magic feathers helps the Prince defeat the evil magician Kashcheï! With life-sized puppets, masks, and magic, Enchantment Theatre Company presents the classic Russian fairytale The Firebird, set to the original ballet music by Igor Stravinsky. You won’t want to miss this magical production! Free pre-concert activities begin one hour before start time. Sponsored by American Greetings Corporation Supported by The Giant Eagle Foundation

Bach’s Saint John Passion Mar 9 — Thursday at 7:30 p.m. Mar 11 — Saturday at 8:00 p.m. Mar 12 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Maximilian Schmitt, tenor (Evangelist) Andrew Foster-Williams, bass-baritone (Christus) Lauren Snouffer, soprano Iestyn Davies, countertenor NIcholas Phan, tenor Michael Sumuel, bass-baritone Cleveland Orchestra Chamber Chorus

BACH Saint John Passion (Sung in German with projected English supertitles.)

All Stravinsky Mar 16 — Thursday at 7:30 p.m. Mar 18 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Seraphic Fire, vocal ensemble Cleveland Orchestra Chorus


Fireworks Apollo: Apollon musagète Symphonies of Wind Instruments Threni, Lamentations of Jeremiah

Sponsor: Jones Day


with Seraphic Fire Thursday March 16 at 7:30 p.m. Saturday March 18 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Seraphic Fire, vocal ensemble Patrick Dupré Quigley, director Cleveland Orchestra Chorus Robert Porco, director

This unique concert draws from the wealth and variety of Stravinsky’s musical output, centering on his writing style and stylings for voice. Featuring the Cleveland debut of Miami’s Seraphic Fire vocal ensemble. [Pop culture note: Stravinsky was named by Time magazine as one of the most influential people of the 20th century.] Concert Sponsor: Jones Day


The Cool Clarinet Mar 17 — Friday at 10:00 a.m. <18s Mar 18 — Saturday at 11:00 a.m. <18s with Robert Woolfrey, clarinet


216 - 231-1111 800-686-1141

Sponsor: PNC Bank

Severance Hall 2016-17




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The Cleveland Orchestra, Feb 23-25 March 2-4 concerts  
The Cleveland Orchestra, Feb 23-25 March 2-4 concerts  

Debussy's La Mer; All American: Copland & Bernstein