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Concert: March 30, 31, April 1 HANDEL’S ROYAL FIREWORKS — page 31 Concert: April 6, 7, 8 MITSUKO UCHIDA’S MOZART — page 67 PERSPECTIVES from the Executive Director — page 7 The Orchestra’s 2017-18 Season Launch — page 8-11


We help keep the orchestra feeling sharp. As the official health insurer of The Cleveland Orchestra, Medical Mutual is honored to provide continuous support and applause to one of the world’s most respected musical ensembles.

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


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From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Launching the Centennial Season . . . . . . . . . . . 8-11

Copyright © 2017 by The Cleveland Orchestra and the Musical Arts Association

About the Orchestra

Eric Sellen, Program Book Editor E-MAIL:

Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 13 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 17 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

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

WEEK 16 HANDEL’S ROYAL FIREWORKS Program: March 30, 31, April 1 . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 HANDEL

Concerto Grosso, Opus 6 No. 11 . . . . . . . . . . . . . 35 RAMEAU

Suite from Les Boréades . . . . . . . . . . . . . . . . . . . . . 39 PURCELL

Suite from King Arthur . . . . . . . . . . . . . . . . . . . . . . . 43 HANDEL

Music for the Royal Fireworks . . . . . . . . . . . . . . . 47 Conductor: Harry Bicket . . . . . . . . . . . . . . . . . . . . . . . 51 NEWS

Cleveland Orchestra News . . . . . . . . . 56

17 MITSUKO UCHIDA’S MOZART Program: April 6, 7, 8 . . . . . . . . . . . . . . . . . . . . . . . . . 67 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 69 Mozart Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 WEEK


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

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

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

Piano Concerto No. 12 . . . . . . . . . . . . . . . . . . . . . . 71 MENDELSSOHN

String Symphony No. 2 . . . . . . . . . . . . . . . . . . . . . . 75

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.


Piano Concerto No. 20 . . . . . . . . . . . . . . . . . . . . . . 79 Piano and Conductor: Mitsuko Uchida . . . . . . . . . . 85

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . . 14 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103


Table of Contents

The Cleveland Orchestra

ac·com·pa·ni·ment noun / uh-kuhm-puh-ni-ment / a musical part in a composition designed to serve as background and support We all rely on others to be there looking out for us even before we know a need arises. BakerHostetler is proud to support The Cleveland Orchestra’s commitment to world-class performances.

“It’s wonderful living next to such a great university.” —Kerstin and Leonard Trawick, Judson residents since 2013

Kerstin Trawick thinks it’s never too late to learn something new. Living at Judson Park, she continues to pursue lifelong learning opportunities at Case Western Reserve University. Judson and Case Western Reserve have established an exciting partnership that offers Judson residents complete access to University events, programs and facilities, like the Kelvin Smith Library and the new state-of-the-art Tinkham Veale University Center. For CWRU alumni considering a move to Judson, there is an attractive discount towards an independent living entry fee and complimentary relocation package. Learn more about all the benefits included in the partnership between Judson and Case Western Reserve University. Call (216) 446-1579 today.

Visit for information about this exciting partnership

Perspectivesfrom the Executive Director Spring 2017 On March 17, a gathering of community and friends filled Severance Hall to hear about our plans for The Cleveland Orchestra’s 100th Season in 2017-18. It turned out to be a memorably lively and festive Friday night — filled with pride, interest, gratitude, comradery, philosophy, ideas, dreams about the future, and celebration. The evening began with a welcoming reception, accompanied by members of the Cleveland Orchestra Youth Orchestra performing chamber music with members of The Cleveland Orchestra — a unique offering through the Youth Orchestra’s Advanced Performance program, which takes the idea of coaching beyond mere discussion and sits the coaches down to perform music alongside these blossoming young musicians. By 7 p.m., over a thousand subscribers, donors, and friends had assembled in the Concert Hall, ready and eager to hear about the launch of The Cleveland Orchestra’s Second Century. For those of us onstage, it was a humbling and exciting evening. Richard K. Smucker, the Board of Trustees’ new president, and I began with opening remarks, talking about the Orchestra’s unique and storied connection with the community that created it and has sustained it for 99 years, of the power and energy inherent in Cleveland’s current renaissance as a world-class city, and of the incredible power of sharing music together, for young and old, and everyone in between.


We heard from three Cleveland Orchestra musicians, who eloquently stated their pride in coming to Cleveland to join this great orchestra, and of the pride and humility they feel in performing here and in helping introduce and teach music to new generations from across Northeast Ohio. (Those statements are featured on the following pages of this program book.) The highlight of the evening was hearing Franz Welser-Möst talk at length from the stage about The Cleveland Orchestra and his view of the value and power of music in today’s world. He unabashedly compared The Cleveland Orchestra against the world’s other great orchestras, and stated how special the way this Orchestra works together is — how focused and eager the musicians are to make the very best music performances possible. He discussed the special relationship of The Cleveland Orchestra with its home community, and talked about the bright future that awaits all of us working together, as an institution and as a community. (The entire presentation was broadcast live by our media partner, ideastream, on WCLV radio — and will soon be available to view at the Orchestra’s YouTube channel.) It was an exciting evening. Not just because we were all together, but because I was reminded that everything we do, everything The Cleveland Orchestra has done and will do, is only possible through the enthusiasm, interest, and support of our audiences and this community. Thank you for being a central part of the Orchestra’s story. The best is yet to come.

André Gremillet Severance Hall 2016-17


A C E N T U R Y O F E XC E L L E N C E .

At a special event at Severance Hall on March 17, The Cleveland Orchestra’s 100th season was announced along with plans for the Orchestra’s Second Century.

The past year has been incredible for Northeast Ohio. The excitement of professional sports championships, a political convention, an extraordinary boom in construction. The list goes on: More people moving into downtown. Award-winning chefs opening new restaurants and creating a thriving food scene. The growth of leading biomedical facilities. A diverse, dynamic, and expanding cultural epicenter with theater, museums, music, and art. And it all leads to the broad and rapidly-expanding recognition that Cleveland truly is a world-class city on the rise. It is no longer our little secret. Northeast Ohio truly is a great place to live, work, and raise a family. Tonight, as we launch plans for our Centennial Season and the Orchestra’s Second Century, it is our turn to add another building block to Cleveland’s renaissance, to show the Orchestra’s gratefulness to this wonderful community for 100 years of support, and for the Orchestra to begin celebrating an historic moment for one of the finest institutions that has always been here for this community, always performed at the top of its game, and always proudly wears the name of Cleveland everywhere it travels across and around the world. The next 18 months will be very exciting, and we invite you to join us as we venture into an extraordinary Second Century. Thank you, each and every one of you, for coming tonight, and for your continued support of The Cleveland Orchestra. In the end, however, such success cannot come without hard work all around. It truly takes a village to produce an orchestra this good for one hundred years. And we, on this stage, are very fortunate to call our village, our home . . . Cleveland!” —Richard K. Smucker President, The Cleveland Orchestra


100th Season 2017-18

The Cleveland Orchestra

A N E X T R AO R D I N A R Y F U T U R E .

Three members of The Cleveland Orchestra spoke about what Cleveland and the Orchestra mean to them: Massimo La Rosa, Martha Baldwin, and Joshua Smith.

The first time in my life that I came to the United States was to play my audition to be principal trombone in The Cleveland Orchestra. I am from Sicily, but before Cleveland I spent twelve years of my life playing opera in Venice, one of the most beautiful cities in the world. I never thought to leave my wonderful country to go anywhere else, but when the opportunity to join the incredible, special, historical Cleveland Orchestra was presented to me, I never had second thoughts. Playing in The Cleveland Orchestra was what I wanted and where I wanted to be. There are many aspects that make me feel privileged to be a member of this Great Orchestra. What I find most inspiring and unique is the fact that

The Cleveland Orchestra

everything here converges toward the most important point that any musician can ask for, The Music. I have always believed that Music should not be played to show; Music should be played to share, and that’s what I can say happens here . . . on this stage, with audiences who listen and care. I am privileged to be part of this great ensemble of incredible, talented musicians, who are eager to share the best we have with our community week after week, without reservation, without ego. This is The Cleveland Orchestra to me. Thank you for allowing me to share with you.” —Massimo La Rosa

Centennial Season 2017-18

Principal Trombone The Cleveland Orchestra


A C E N T U R Y O F E XC E L L E N C E .

In 2013 Nobel Laureate for Medicine, Dr. Thomas Sudhof, was interviewed in the medical journal The Lancet. He was asked who his most influential teacher had been. His answer? His childhood bassoon teacher. This may, at first hearing, sound like a disconnect. But to those of us deeply involved in teaching music, it makes perfect sense. Because, you see, music education isn’t just about music. It is about character. Through the study of music, students learn how to think analytically, how to set and achieve multi-faceted goals, to practice self-governance and discipline, to develop impulse control, and innumerable other intellectual and social skills that serve them wherever life takes them. Learning an instrument is an educational experience that can seem somewhat old world. It is an internship that can begin as early as preschool. You work one-on-one with your teacher for years as they teach and guide you, just as they were taught by their teacher. The traditions of our craft are passed from generation to generation this way. I was lucky enough to have two Cleveland Orchestra principal cellists as teachers. The vast majority of Cleveland Orchestra members teach — through the Orchestra’s education programs as well as in private studios, at local institutions such as the Cleveland Institute of Music, Music Settlement, or local universities, and of course as coaches for the Cleveland Orchestra Youth Orchestra and that


ensemble’s Advanced Performance program. Several of those young musicians played alongside their Cleveland Orchestra mentors as everyone arrived for this evening’s event. While many of our students have gone on to careers in music, other former students have, we know, taken some of what we have taught them and are now scattered across the globe doing all kinds of things. There are science and engineering majors at Case, Carnegie Mellon, and MIT, history and arts majors at Yale and Cambridge, physicians at the Cleveland Clinic, and a recipient of the MacArthur Genius Grant. Many current members of The Cleveland Orchestra are among the many local kids touched by music education provided by Cleveland Orchestra members or their peers across the country and around the world. Here in Cleveland, it is our passion, our joy, our pride to have the honor of being a part of the lives of so many children in this city. On behalf of all the teaching members of The Cleveland Orchestra — thank you for trusting us with your children. Thank you for allowing us the pleasure of being part of your families. Thank you for believing in The Cleveland Orchestra. Thank you for embracing the power of music. Thank you.”

100th Season 2017-18

—Martha Baldwin Cello, The Cleveland Orchestra

The Cleveland Orchestra

A N E X T R AO R D I N A R Y F U T U R E .

We have this societal standard of regarding childhood and early adulthood as a sheltered fantasy realm. And only after leaving high school and going off to find a job or get a degree (or two or three) do we enter the “real world.” My experience was different. I dove into the Real World at the age of twenty-one. It was here in Cleveland. It was Cleveland. The first time I got into a Cleveland taxicab, the driver asked me what I was doing here, and I said, “moving here to join the orchestra.” And he said, “The Cleveland Orchestra?” And started to tell me about how he had been raised going to Children’s Concerts at Severance every year. “So I’m taking you to Severance Hall?!” “Yes.” And I immediately understood that I was joining a community that gets it. That understands what we do and loves us for it. And in the sense that the “real world” turns you into an adult, I’ve grown into a person in this family onstage, who understands what I do, and supports me while I do it, so that I can return the gift to them, and also to you, this equally wonderful and supportive community family. This is what we do together — this is an orchestra applauded for blend, for transparency, for flexibility, and, recently, for sincere and vulnerable communication. And we wouldn’t succeed at any of these goals (which we do!) unless we were willing to support each other (which we are!). Because, as Massimo said, we’re all here for the music. And music is a big part of my real world, onstage and off, and a big part of the real Cleveland. Thank you.” —Joshua Smith Principal Flute The Cleveland Orchestra

Members of The Cleveland Orchestra played as “The Cleveland Bluegrass Orchestra” for the celebration reception following the presentation on March 17. For more about the 2017-18 season, please turn to news on page 56.

The Cleveland Orchestra

Centennial Season 2017-18





ST. LAWRENCE STRING QUARTET Performing Haydn, Beethoven, and John Adams


MASTER CLASSES WITH MARILYN HORNE The legendary singer’s annual visit to work with conservatory students


TAFELMUSIK Performing Bach’s The Circle of Creation


RICHARD GOODE, PIANO Performing Beethoven sonatas spanning the composer’s three style periods

4 PM SUNDAY, APRIL 9, 2017

THE CLEVELAND ORCHESTRA Featuring principal cellist Mark Kosower and principal oboist Frank Rosenwein as soloists, with music by Delius, Vaughan Williams, and Strauss

8 PM FRIDAY, APRIL 21, 2017

Artists and dates are subject to change. Subscriptions and partial-season packages are available. For ticket information, call 800-371-0178 or visit


as of March 2017

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 Richard K. Smucker, President Dennis W. LaBarre, Chairman Richard J. Bogomolny, Chairman Emeritus 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 Dennis W. LaBarre 2009-17

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 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 THE CLEVELAND legacy commitments, while also securing broad-based and increasing annual ORCHESTRA support from across Northeast Ohio. The generous individuals and organizations listed on these pages have made long-term 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 216-231-7520. Listing as of January 30, 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

The Cleveland Orchestra


Gay Cull Addicott American Greetings Corporation Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Dr. and Mrs. Hiroyuki Fujita GAR Foundation Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Mr. and Mrs. Douglas A. Kern James and Gay* Kitson

Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann Nordson Corporation Foundation Parker Hannifin Foundation Charles and Ilana Horowitz Ratner Sally and Larry Sears Squire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of Canton Ms. Ginger Warner Anonymous (4)

GIFTS OF $250,000 TO $500,000

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Blossom Friends of The Cleveland Orchestra Mr. and Mrs. Harvey Buchanan* Cliffs Natural Resources The George W. Codrington Charitable Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa Dollar Bank Foundation Nancy and Richard Dotson George* and Becky Dunn Patricia Esposito

Sidney E. Frank Foundation Albert I. and Norma C. Geller The Gerhard Foundation Mary Jane Hartwell David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III* Trevor and Jennie Jones Mr. Clarence E. Klaus, Jr. Giuliana C. and John D. Koch Dr. Vilma L. Kohn* Mrs. Emma S. Lincoln Mr. and Mrs. Alex Machaskee Robert M. Maloney and Laura Goyanes Mr. Donald W. Morrison Margaret Fulton-Mueller

National Endowment for the Arts Roseanne and Gary Oatey William J. and Katherine T. O’Neill Quality Electrodynamics (QED) Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation Roy Smith Richard and Nancy Sneed R. Thomas and Meg Harris Stanton Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort Women’s Committee of The Cleveland Orchestra

Elizabeth B. Juliano Bernie and Nancy Karr Mr. and Mrs.* S. Lee Kohrman Mr. James Krohngold Kenneth M. Lapine and Rose E. Mills Dr. David and Janice Leshner Litigation Management, Inc. Jeffrey Litwiller Linda and Saul Ludwig Dr. and Mrs. Sanford E. Marovitz Mr. Thomas F. McKee The Miller Family: Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern The Margaret Clark Morgan Foundation The Nord Family Foundation Olympic Steel, Inc. Park-Ohio Holdings Corp. Helen Rankin Butler and Clara Rankin Williams The Reinberger Foundation Amy and Ken Rogat Audra* and George Rose RPM International Inc. Mr. and Mrs. David A. Ruckman Mr. Larry J. Santon

Raymond T. and Katherine S. Sawyer SCH Foundation Mrs. David Seidenfeld David Shank The Sherwin-Williams Company Naomi G. and Edwin Z. Singer The Sisler McFawn Foundation Drs. Charles Kent Smith and Patricia Moore Smith Sandra and Richey Smith George R. and Mary B. Stark Ms. Lorraine S. Szabo Virginia and Bruce Taylor Tucker Ellis Dorothy Ann Turick The Denise G. and Norman E. Wells, Jr. Family Foundation Mr. Max W. Wendel Paul and Suzanne Westlake Marilyn J. White The Edward and Ruth Wilkof Foundation Katie and Donald Woodcock William Wendling and Lynne Woodman Anonymous (3)

GIFTS OF $100,000 TO $250,000

The Abington Foundation Akron Community Foundation Mr. and Mrs. George N. Aronoff Jack L. Barnhart Fred G. and Mary W. Behm Madeline & Dennis Block Trust Fund Ben and Ingrid Bowman Dr. Christopher P. Brandt and Dr. Beth Sersig Buyers Products Company Mr. and Mrs. David J. Carpenter Mary Kay DeGrandis and Edward J. Donnelly Judith and George W. Diehl Ernst & Young LLP Mr. Allen H. Ford Frantz Ward LLP Dr. Saul Genuth The Giant Eagle Foundation JoAnn and Robert Glick Hahn Loeser & Parks LLP Gary Hanson and Barbara Klante Iris and Tom Harvie Jeff and Julia Healy The Hershey Foundation T. K. and Faye A. Heston Mr. Daniel R. High Mr. and Mrs. Donald M. Jack, Jr.

Severance Hall 2016-17

Sound for the Centennial Campaign

* deceased


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its Centennial Season in 2017-18, The Cleveland Orchestra continues refining its mission, praised as one of the very best orchestras in the world and noted for its devotion and service to the community it calls home. The 2016-17 season marks the ensemble’s fifteenth year under the direction of Franz Welser-Möst, one of the world’s most renowned musical leaders. Looking toward the future, the Orchestra and its board of trustees, staff, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence, to fully focus on serving its hometown community (through outstanding concerts, vibrant musical engagement, and strong music education programs), to develop the youngest audience of any orchestra, to build on its tradition of community support and financial strength, and to move forward into the Orchestra’s next century with an unshakeable commitment to innovation and a fearless pursuit of success. The Cleveland Orchestra divides its time each year across concert seasons at home in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and to a series of innovative and intensive performance residencies. These include an annual set of concert presentations and community partnerships in Miami, Florida, a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s Lincoln CenAS IT APPROACHES

Severance Hall 2016-17

ter Festival, and at Indiana University. Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestra-conductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and radio and internet broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences experience music as a living language that grows and evolves with each new generation. Performances with Baroque specialists, recording projects of varying repertoire and in different locations, fruitful re-examinations and juxtapositions of the standard repertoire, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Programs for students and community engagement activities have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities, and have more recently been extended to touring cities and residencies. All are being created to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique “At Home” neigh-

About the Orchestra



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


1l1l 11l1 1l1I

The 2016-17 season marks Franz Welser-Möst’s 15th year as music director.

SEVERANCE HALL, “America’s most beautiful concert hall,” opened in 1931 as the Orchestra’s permanent home.


each year

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


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


Likes on Facebook (as of Mar 2017)

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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The majestic beauty of Lake View Cemetery has been bringing people together for nearly 150 years. And that’s why all denominations and walks of life are represented here. With its blooming daffodils, pristine pond, and lush trees, you won’t find a more serene or moving finale.

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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. The New York Times has declared Cleveland under his direction 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 renewed success in semi-staged and staged opera productions. Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals around the world, including regular appearances in Vienna, New York, and Miami, and at the festivals of Salzburg and Lucerne. In the past decade, The Cleveland Orchestra has been hugely successful in building up a new and, notably, younger audience through groundbreaking programs involving families, students, and universities. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. His recent performances with the Philharmonic have included critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014, Beethoven’s Fidelio in 2015, and Strauss’s Die Liebe der Danae in 2016), as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. For the 2016-17 season, he leads the Vienna Philharmonic in performances in Vienna and on tour in the United States, including three concerts at Carnegie Hall in February 2017. Mr. Welser-Möst also maintains relationships with a number of other European orchestras and opera companies. His 2016-17 schedule includes Mozart’s The Marriage of Figaro with La Scala Milan. He also leads Mahler’s Ninth Symphony with the Dresden Staatskapelle, including a performance at the Salzburg Easter Festival. Recent engagements have also featured performances with Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra, as well as his acclaimed debut with Amsterdam’s Royal Concertgebouw Orchestra. In December 2015, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Severance Hall 2016-17

Music Director


Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, conducting more than forty new productions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. The recent Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. Brahms’s German Requiem is being released in early 2017. For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. AT LEFT

Franz Welser-Möst was invited to lead the prestigious Nobel Prize Concert with the Stockholm Philharmonic in December 2015.

“Franz Welser-Möst, music director of the subtle, responsive Cleveland Orchestra — possibly America’s most memorable symphonic ensemble — leads operas with airy, catlike grace. His style may well prove a natural fit with Debussy’s enigmatic masterpiece Pelléas and Mélisande, staged by the imaginative Yuval Sharon. May 2, 4, 6, 2017.” —New York Times “Franz Welser-Möst has managed something radical with The Cleveland Orchestra — making them play as one seamless unit. . . . The music flickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.” —London Times “There were times when the sheer splendor of the orchestra’s playing made you sit upright in awestruck appreciation. . . . The music was a miracle of expressive grandeur, which Welser-Möst paced with weight and fluidity.” —San Francisco Chronicle


Music Director

The Cleveland Orchestra

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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 Theodore

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 The Morgan Sisters Chair Eliesha Nelson Eliesha Nelson Joanna Patterson Zakany Joanna Patterson Zakany Patrick Connolly Patrick Connolly

Orchestra Roster

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair The

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas 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 CORNETS Michael Sachs *

ENGLISH HORN Robert Walters

Michael Miller

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


Yann Ghiro 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 *

Robert Walters

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



2 O1 6 -1 7


Concert Previews

The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins. For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at, usually by the Monday directly preceding the concert.) 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. Upcoming Previews: March 30, 31, April 1 “Baroque Marathon” (Musical works by Handel, Rameau, Purcell) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

April 6, 7, 8 “Exquisite Dualism” (Musical works by Mozart and Mendelssohn) with guest speaker Cicilia Yudha, assistant professor of piano, Youngstown State University

April 20, 21, 22 “Rhapsodies and Dreams” (Musical works by Delius, Vaughan Williams, Strauss) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

May 11, 13, 14 “Musical Magic Onstage” (Musical works by Henze and Mendelssohn) with guest speaker Francesca Brittan, assistant professor of musicology, Case Western Reserve University

Severance Hall 2016-17

Concert Previews


Ralph Waldo Emerson

Thanks to the richness of Cleveland’s cultural heritage and the excellence of The Cleveland Orchestra, literally millions of men, women, and children have experienced p such a dawn . . . and it is unforgettable. g Hyster-Yale Materials Handling, Inc.

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Severance Hall

Thursday evening, March 30, 2017, at 7:30 p.m. Friday morning, March 31, 2017, at 11:00 a.m. * Saturday evening, April 1, 2017, at 8:00 p.m.

2 O 1 6 -1 7

Harry Bicket, conductor GEORGE FRIDERIC HANDEL (1685-1759)



Concerto Grosso in A major Opus 6, No. 11 1. 2. 3. 4.


16 17

Andante larghetto, e staccato Allegro Largo, e staccato — Andante Allegro

Suite from Les Boréades Ouverture — Menuet — Allegro — Rondeau — Gavotte — Contredanse en rondeau — Air — Entr’acte (Suite of the Winds) — Gavotte (for the Hours and Zephyrs) — Rigaudon — Contredanse



Suite from King Arthur * First Act Tune — Song Tune (“How Blest Are Shepherds”) — Symphony (“Shepherd, Shepherd, Leave Decoying”) — Song Tune (“Fairest Isle”) — First Music: Chaconne — Second Music: Overture — Aire (Minuet) — Overture

Music for the Royal Fireworks Overture — Bourrée — La Paix [“The Peace”] — La Réjouissance [“The Rejoicing”] — Menuet I & II

These concerts are sponsored by Hyster-Yale Materials Handling, Inc., a Cleveland Orchestra Partner in Excellence. The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation. * The Friday Morning concert is performed without intermission. The Purcell suite is not played at the Friday Morning concert.

Severance Hall 2016-17

Concert Program — Week 16


March 30, 31, April 1

16 17

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


Concert begins: THUR 7:30 FRI 11:00 SAT 8:00



Severance Restaurant Reservations for pre-concert dining suggested:

216-231-7373 or via


“Baroque Marathon” with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

HANDEL Concerto Grosso, Opus 6 No. 11 . . . . . . . Page 35 (20 minutes)

RAMEAU Suite from Les Boréades . . . . . . . . . . . . . . . . Page 39 (25 minutes) Duration times shown for musical pieces (and intermission) are approximate.

I N T E R M I S S I O N — not included on Friday Morning (20 minutes)

PURCELL — not included on Friday Morning Suite from King Arthur . . . . . . . . . . . . . . . . . Page 43 (20 minutes)

Concert ends: (approx.)

THUR 9:20 FRI 12:15 SAT 9:50

HANDEL Music for the Royal Fireworks . . . . . . . . . . Page 47 (20 minutes)

Severance Restaurant Post-Concert Desserts and Drinks

Share your memories of the performance and join the conversation online . . . twitter: @CleveOrchestra


This Week’s Concerts

The Cleveland Orchestra


Trumpet, Dance & Fire

T H I S W E E K ’ S C O N C E R T S offer a compendium of styles from the

Baroque era, representing musical tastes from England and France. The era itself, roughly 1600 to 1750, saw a blossoming of musical ornamentation and grandeur, with increasingly emotional flavoring and dramatic fervor. Fittingly, this week’s concerts showcase instrumental suites from two operas, as well as music that accompanied a grand public celebration. The concerts begin with a “group concerto,” or concerto grosso by George Frideric Handel, in which a trio of instrumentalists play the role of concertino — highlighted in soloing roles within this large-scale instrumental work. Written in 1739 at the height of Handel’s fame in London, this work draws upon his masterful skill for variety within continuity. Next comes a suite of movements from the opera Les Boréades (or “The Descendants of Boreus”) by Frenchman Jean-Philippe Rameau. This opera was left unperformed at the composer’s death in 1764, and its music was only rediscovered two centuries later. This is Baroque French opera music at its finest high art, filled with dance and song, pageant and pleasantry. Also featured on the evening concerts is a suite from Henry Purcell’s “semi-opera” King Arthur of 1691. This earlier and more English approach to dramatic writing for the stage also flows with dances (as much music once did), plus songs and other music laden with cheer and merriment. To close the concerts, guest conductor Harry Bicket has chosen music for a grand spectacle, Handel’s Music for the Royal Fireworks. Composed in 1749 for public celebrations in London for a somewhat muddled peace treaty amongst European powers, this music is filled with excitement and bursting with energy. If the treaty itself was unconvincing and didn’t last, the celebrations of victory were perfectly bombastic and joyfilled — and a great hit with the public! —Eric Sellen ABOVE :

An 18th-century illustration showing a public fireworks display.

Severance Hall 2016-17

Introducing the Concerts


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Untitled (Crown), 1982. Jean-Michel Basquiat (American, 1960–1988). Acrylic, ink, and paper collage on paper; 20 x 29 in. Private collection, courtesy of Lio Malca. Copyright © Estate of Jean-Michel Basquiat, all rights reserved. Licensed by Artestar, New York. Photo:

Concerto Grosso in A major, Opus 6 No. 11 composed 1739

At a Glance Handel wrote a set of twelve Concerti Grossi in September and October 1739, publishing them as a group and then designating them as Opus 6. They were first performed during the 173940 concert season in London at the Lincoln’s Inn Fields Theater. No. 11 was, perhaps, premiered on April 23, 1740.


George Frideric


born February 23, 1685 Halle, Prussia died April 14, 1759 London

Severance Hall 2016-17

This concerto runs almost 20 minutes in performance. Handel scored it for a string orchestra, along with harpsichord. There are three featured concertini solos: two violin, one cello. The Cleveland Orchestra is playing this concerto for the first time with this weekend’s concerts.

About the Music I F N E C E S S I T Y I S T H E M O T H E R of invention, and the door

to opportunity opens only to those who forcefully knock, then Handel (and not to mix proverbial metaphors too extravagantly) grabbed fate by the throat in the late 1730s by deliberately changing his acclaimed career as a composer. What he did was evolve himself from composing Italian-style operas, which he had been writing quite successfully for more than a quarter century, to become instead a composer of non-staged oratorios and instrumental music. This change largely came as the result of the eclipse of the performance of Italian opera in London by the rise of a popular home-grown theater in the guise of English satirical ballad opera — most notably represented by The Beggars Opera (1728), and especially by The Dragon of Wantley (1737), which lampooned Italian-style opera in general and Handel’s Giustino (1736) very particularly. In other words, the London public had had their fill of Italian opera, wanted something different, and sought their entertainment elsewhere. As a consequence, Handel’s bottomline had been erased. Or, to put it succinctly, necessity in this case arose from a lack of “box office.” Following a series of stupendous underselling failures leading to ever increasing debt, Handel hit upon a performance formula that would play to his London audience’s taste for the brilliant vocal displays of coloratura, trills, and cadenzas of prima donnas and castratos, but without the tiring (and costly) antics (and scenery) taking place on stage. Part of his solution was to insert a concerto as an oratorio “entr’acte” in which he himself About the Music


would be the organ soloist. Thus, the voices were there, and so, too, was a star instrumental soloist — a plenitude to enjoy. In hindsight it was a logical tactical move for Handel to take, seeing as his renown as a virtuoso of the instrument throughout his career was, by all contemporary accounts, comparable only with Bach. No less an (ear) witness to Handel’s stature as a performer than music historian Sir John Hawkins in his General History of the Science and Practice of Music (1776) wrote: “As to his performance on the organ, the powers of speech are so limited, that it is almost a vain attempt to describe it otherwise than by its effects…but who shall describe its effects on his enraptured auditory? Silence, the truest applause, succeeded the instant that he addressed himself to the instrument, and that so profound, that it checked the respiration…while the nature of his touch kept the attention of his hearers awake only to those enchanting sounds to which it gave utterance.” Though Handel played an organ concerto within an oratorio performance at Oxford as early as 1733, it wasn’t until 1735 that there was a public announcement in the press regarding his performance of a concerto in the midst of the oratorio Esther. Over the course of the next five years, Handel published three sets of concertos — his Six Concerti Grossi Opus 3 for strings and diverse winds (1734), Six Organ Concertos Opus 4 (1738), and last (but certainly not least) Twelve Concerti Grossi Opus 6, for four violins, viola, cello and bass (1739). In performance, the string sections can be the minimum or enlarged depending on the number of players available. THE FORM

The twelve Concertos Grosso (or Concerti Grossi; there is some disagreement on how best to pluralize it within modern English) of Opus 6 were composed within one month, between September 29 and October 30, 1739. He was thus completing one new work nearly every other day, quite an astonishing rate and a feat surpassed only by Handel’s own miraculous completion of the complete Messiah in 1741 in three weeks! In publishing these works with the English title “Twelve Grand Concertos, Opus 6,” Handel seems to have been acknowledging a debt to the foremost composer of this genre, the Italian composer Archangelo Corelli, whose own Concerti Grossi Opus 6 from 1714 were very well known at the time. The main feature of the Italian concerto is that of shifting textures resulting from, in this grosso (multiple) case, several violin soloists (concertini) pitted against the orchestral mass of violins, viola, cello,


About the Music

The Cleveland Orchestra

and bass, or ripieno (tutti, all together), which function largely as accompaniment to the soloists. THE MUSIC

Concerto No. 11 in A major was the last to be finished and is largely a transcription of the second organ concerto from Six Organ Concertos, Opus 7 (published in 1740, the year after Opus 6). It is cast in four movements (or five, depending on how and exactly what one counts as a movement; many sources treat the very brief “movement” iii as an introduction to “iv,” reassigning “v” as movement 4). There are two violin soloists, and a solo cello role is also apparent, which play separately from their ripieno sections. The first movement is multi-sectional, with dotted rhythmic figures characteristic of a French overture broken up by recurring lyrical passages played by the soloists. The second movement is a double fugue in which the entire orchestra participates in developed iterations of the fugal themes in a well-integrated linear texture. A brief Largo, e staccato made up of chordal statements punctuated by trills makes for a grand introductory upbeat to the Andante often designated the third movement. Contrast in textures is the order of the day in this movement, as chordal passages reciprocate with driving solo passages in triplets (and later sixteenth notes) with a minimal accompaniment. One might almost call this movement an incipient rondo. The final Allegro is a fiery dance with bursts of imitation between soloists and orchestra creating a joyous romp that brings the concerto to a full-bodied conclusion. —Steve LaCoste © 2017

With special thanks to the Cleveland Museum of Art for the generous loan of their German harpsichord being played for this Concerto Grosso. This instrument by Bruce Kennedy (after Michael Mietke, 1719) was built in Amsterdam in 2000 and dedicated to Vincent M. Arnold, member of the founding committee of the Musart Society.

Steve LaCoste has served as archivist of the Los Angeles Philharmonic in addition to writing program notes for a variety of institutions.

“Since 1968, we have loved WCLV. It’s the connective tissue, the consummate partner for all things classical music in Northeastern Ohio.” Jody & Herb Wainer

Severance Hall 2016-17

Find out more at

About the Music




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Pulitzer Prize winner and TIME Magazine editor Jon Meacham discusses the American presidency

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Suite from Les Boréades [“The Descendants of Boreus”] composed 1762-64

At a Glance




born September 25, 1683 Dijon, France died September 12, 1764 Paris

Severance Hall 2016-17

Rameau composed his final opera, Abaris ou Les Boréades [“Abaris, or The Descendants of Boreus”] in his last years, perhaps working on it from 1762 to 1764. The work was in the early stage of rehearsals when Rameau died. The production was discontinued, possibly subject to censorship over the subversive undertones of its storyline. The score was rediscovered in the middle of the 20th century, first performed in 1963, and given a world

premiere staged presentation in 1982 at the Aix-en-Provence Festival, led by John Eliot Gardiner. The suite of music being performed this weekend runs about 25 minutes in performance. The score calls for 2 flutes, 2 piccolos, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, timpani, harpsichord, and strings. The Cleveland Orchestra is performing music from Les Boréades for the first time this week.

About the Music T H E T W O G E N R E S that most clearly defined French opera

between 1650 and 1750 were those of dance (comédie ballet) and tragedy (tragédie lyrique). Although Parisian audiences were inundated by Italian opera throughout the 17th century, their penchant for reason, moderation, order, and decorum were offended by Italian displays of excesses of passion, flights into fantasy, and technical virtuosity. Enter Jean-Baptiste Lully (1632-1687), Italian-born composer to the court of King Louis XIV. Lully’s genius lay in his ability to patiently synthesize features of Italian opera with the French taste for ballet, divertissements, spectacle, pastoral, and tragedy — thus fashioning and giving birth to a uniquely French style of opera in general, and, most particularly, what came to be called tragédie en musique or tragédie lyrique. Lully’s operatic legacy and influence were in decline when the French-born Jean-Philippe Rameau composed Hippolyte et Aricie, his first of five tragédie lyriques, in 1733 at the age of 50. Yet, with his first dramatic work, Rameau single-handedly revived French opera as a style and as something desired. Up to this point in his life, Rameau had been a church composer and organist in Paris and in various cities across France. More importantly, he was busy working on his theoretical works philosophizing “about” music, the first of which, the Traité de l’harmonie (1722), along with his subsequent writings was to make him one of the About the Music


most important and renowned music theorists in the history of Western music. It was his thinking and writing upon which he most fervently wished his reputation to proceed. How then, at such an advanced age, did Rameau also become the greatest French composer of the 18th century? Through the wonders and force of the music he created. Through the brilliance of his orchestrations, which often “comment” on or augment the text and unfolding action onstage in a foreshadowing of Wagnerian operatic music more than a century later. Through the forward drive of his harmonic progressions, which also portray the emotional states of his protagonists. Through the shear inventiveness and freedom with which Rameau approached and expanded stereotyped French dance. And, when all is said and done, by placing Rameau never saw his music at the service of the drama and the text, final opera performed. in a way that could be taken up and carried on He died after the work by Christoph Willibald Gluck (and others) after had been given just two Rameau’s death.

rehearsals, at the age of eighty. As a consequence, performances were postponed, perhaps because no one but Rameau was capable of effectively directing the opera’s music.


In the thirty years following the composition of Hippolyte et Aricie, Rameau was to compose four more tragédies lyriques, culminating in the five-act Abaris, ou les Boréades [“Abaris, or the Descendents of Boreus”], his last completed work. Rameau never saw his final opera performed. He died after the work had been given just two rehearsals, at the ripe old age of eighty. As a consequence, performances were postponed, perhaps because no one but Rameau was capable of effectively directing the opera’s challenging music. It was not, in fact, until two centuries later that the score was performed, in 1963 in concert and 1982 fully-staged, with modern editors and performers left to make practical decisions on how to make its music and drama come to life. The story of the opera, based on a libretto by Cahusac, with whom Rameau had collaborated on several projects, takes place in Bactria, a kingdom ruled by queen Alphise, who is to marry a descendant of Boreus, god of the north wind. To make a long story short, she is in love with Abaris, a stranger raised by a high priest of Apollo. Queen Alphise decides to abdicates her throne, after which a displeased Boreus causes a tempest (and some scat-


About the Music

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tered earthquakes). Apollo intervenes in favor of Abaris, who it turns out is Apollo’s son (his mother being none other than a nymph daughter of Boreus), and Abaris is made king of Bactria. All is resolved, or . . . all’s well that ends calms the wind. The Suite from Les Boréades that conductor Harry Bicket is presenting for this weekend’s concerts is dominated by dances and airs, which function in the manner of incidental music for a play — evoking the wrath of gods, the power of the winds and nature, of competition and intrigue between lovers and rivals. Beginning with the rusticity of the minuet (and adjoining trio section) of the Overture, an essential pastoral atmosphere is established by horns and woodwinds. The very pronounced use of woodwinds throughout, such as paired clarinets, and Rameau’s use of a piccolo in the “Gavotte for the Hours and Zephyrs” is not only reflective of the wind-blown subject of the opera, but is characteristic of the composer’s masterful sense of orchestral color and descriptive power. —Steve LaCoste © 2017

Severance Hall 2016-17

About the Music

“The Fury of Achilles” by Charles-Antoine Coypel, is typical of the kind of scene-painting imagined in Rameau’s opera, of gods and natural powers in noble conflict. (Oil on canvas, 1737, Hermitage Museum, St. Petersburg, Russia.)


Suite from King Arthur composed 1690-91

At a Glance Purcell wrote his semi-opera King Arthur, or the British Worthy in 1690-91, to a libretto prepared by John Dryden. The work was first performed in late May or early June 1691 at the Queen’s Theatre, Dorset Garden, in London. This Suite of musical excerpts from King Arthur being presented



PURCELL born September 10, 1659 London, England died November 21, 1695 London, England

Severance Hall 2016-17

this weekend runs about 20 minutes in performance. The score calls for an orchestra of 2 oboes, 2 bassoons, 2 trumpets, timpani, and strings, plus harpsichord. The Cleveland Orchestra is performing music from King Arthur for the first time this week.

About the Music K N O W N I N H I S O W N T I M E as “Orpheus Britannicus,” Henry

Purcell was for the two centuries following his death considered to be England’s greatest composer. He held that position until the advent and careers of Edward Elgar (1857-1934), and Benjamin Britten (1913-1976) made their claims to greatness — Elgar in the instrumental and oratorio realms, and Britten especially for opera. A gifted organist, and bass and countertenor singer, Purcell was from early in his career a composer of church, occasional, and purely instrumental music of the highest quality. That his posthumous reputation is founded largely upon his works for the stage is due to a handful of dramatic works he composed from 1689 to 1695, the last six years of his brief life. It is ironic that Purcell’s distinction as the greatest composer of English opera until those of Benjamin Britten rests exclusively on the fact that he composed only one genuine opera, Dido and Aeneas (1689). Just as was true in France during this same period, there was no living operatic tradition in England for Purcell to build on. The Italians had not yet conquered the Isle (including Handel’s usurpation of the Italian style of opera in the next century). And there was essentially nothing homegrown of a true and dramatic musical theater tradition. During the first third of the 17th century, two theatrical traditions defined theater in England. First was the court or private masque, which emphasized spectacle and dance over dramatic vocal music. In addition, there was a tradition stemming from the plays of Shakespeare, Marlowe, and others, wherein music was relegated merely or only to song within a tragic or comedic stagework. Add to this situation the devastating effect of London’s About the Music


theaters silenced by two decades of Puritan rule, from 1641 to 1660, and one begins to understand the operatic void into which Purcell stepped. By 1660, however, when Charles II became king of the restored monarchy, London theaters began to reopen to a new kind of genre based upon a revival of plays written prior to Puritan rule. In these productions, the word still held sway, but music was given a prominent role, not only in song and dance, but also in music between scenes and acts, and in instrumental music used for changes between scenes. From all of these facts, it makes perfect sense that the English came up with the appellation “semi-opera” or “dialogue-opera” for these multi-part dramas. Purcell had written as many as a dozen of these prior to composing Dido and Aeneas. A SEMI- OPERA ABOUT KING ARTHUR

Yet there was even one more type of play that Purcell was to set to music, the so-called “heroic drama,” of which the poet, dramatist, and critic John Dryden (1631-1700) was the principal creator and main explicator. In a nutshell, heroic drama is a type of drama that, to quote Professor Robert E. Moore, “involves unreal actions in an unreal world, and is expressed in a style solemnly and consciously artificial.” It was after seeing Purcell’s Dioclesian (1690) that Dryden proposed that he and Purcell collaborate on a new work for the stage. This turned out to be the heroic five-act semi-opera King Arthur, or the British Worthy (1691). The libretto Dryden furnished for King Arthur was streamlined to accommodate Purcell’s creative share in the project, the poet noting that “. . . the numbers of Poetry and Vocal Musik, are sometimes so contrary, that in many places I have been oblig’d to cramp my Verses and make them rugged to the Hearer,” and then going further to state that “. . . because these sorts of Entertainments are principally design’d for the Ear and the Eye my Art, on this occasion, ought to be subservient to his.” The principal characters had spoken roles that were performed by actors, while music was performed by singers in minor parts portraying generic or allegorical figures. Briefly stated, the plot revolves around Arthur’s betrothal to Emmeline, the blind daughter of Conon, the Duke of Corn-


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wall. She is abducted by Oswald, a rival lover and King of Kent. Most of the action revolves around Arthur’s attempts to free Emmeline from Oswald’s grasp. He employs the great wizard Merlin to use enchantments in battle against Osmond (Oswald’s Wizard). Arthur eventually rescues Emmeline and forgives his enemies, thereby unifying Britain. Much of the music is stately and evocative of the British countryside. First Act Tune is a gently rocking dance tune. “How Blest Are the Shepherds� is of a hymn-like nature for strings, while “Shepherd, Shepherd, Leave Decoying� is a bouncy ditty featuring winds. The Chaconne presents a stately tune with variations utilizing a bass line that Handel later used for his variations called The Harmonious Blacksmith (and Bach used as the ground for his Goldberg Variations). Second Music: Overture is in three parts, the first part of which is made up of antiphonal statements and echoes between string groups, the second part is imitative in design, while part three also features imitation but with the orchestration changed to winds with strings. Aire is, as the title suggests, a light minuet for strings. The final Overture states a slow introduction leading into a fugue-like second section followed by a third slow section more lyrical than the opening. All in all, this is well-crafted and varied music, created by England’s greatest composer of the time, as he attempted to tell his country’s past while grasping toward new ideas for the future of music.


Medieval manuscript illustrations of the legend of King Arthur.

—Steve LaCoste Š 2017


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Music for the Royal Fireworks composed 1749

At a Glance


George Frideric


born February 23, 1685 Halle, Prussia died April 14, 1759 London

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Handel wrote his Music for the Royal Fireworks in 1749 for King George II’s planned festivities to commemorate the signing of the Treaty of Aix-la-Chapelle. The first public performance was given as a preview on April 24, 1749, in London’s Vauxhall Gardens, with the composer leading the assembled musicians. The work was repeated and officially premiered during the Treaty celebration festivities on April 26. This suite of music runs about 20 minutes in performance. Handel’s original performances featured 28 oboes, 12 bassoons, one or more contrabassoons

and serpents, 9 horns, 9 trumpets, and 3 sets of timpani. Handel rescored it to include strings later that spring. Modern indoor performances usually utilize a smaller ensemble made up of a variety of woodwind instruments, horns, trumpets, and timpani, with strings often also included. The Cleveland Orchestra has presented Handel’s Royal Fireworks Music on a number of occasions, most recently with conductor Nicholas McGegan, at the 2010 Blossom Festival and in April 2011 at Severance Hall under Ton Koopman’s direction.

About the Music I N F E B R U A R Y 1 74 9 , Handel received what would be his last

court commission, for a new work in celebration of the Peace of Aix-la-Chapelle, which ended the War of the Austrian Succession, more or less to England’s benefit. Because the armistice had been signed in October 1748, and the celebrations were scheduled for April 1749, there was plenty of time for preparation of the public observance. To that end, two Italian pyro-technicians and a French theater architect were brought in to plan for and oversee the construction of an outdoor stage along with the accompanying scaffolding. In Green Park in November 1748, construction began for a large wooden structure in Palladian style with a central triumphal arch, statues of Greek gods, and a bas-relief of the king. And, most importantly for our story, an apparatus 410 feet long and 114 feet high that served as a structure for an enormous fireworks display. All of these activities were under way when Handel received the court commission. The royal request (nay, command) stipulated its desire for “martial” music to be performed at the event. This implied the exclusive use of winds, brass, and percussion, a specification with which Handel did not necessarily intend to comply. The situation put into action a heated correspondence between the Duke of Montague, Master General of the Ordnance, and About the Music


Charles Frederick, “Comptroller of his Majesty’s Fireworks as well as War as for Triumph.” In the first letter from the Duke to Charles Frederick, it became clear that the king “. . . hoped there would be no fiddles. Now Handel proposes to lessen the number of trumpets, etc., and to have violins. I don’t at all doubt but when the King hears it he will be very much displeased. . . . I am sure it behooves Handel to have as many trumpets, and other martial instruments as possible. . . . The King has, within this fortnight expressed himself to this purpose.” Another point of contention between Handel and the king was over the king’s wish for a public rehearsal at Vauxhall Gardens. Again, the Duke wrote that “. . . Mr. Handel has hitherto refused to let it (the rehearsal) be at Vauxhall, which his Majesty seemed to think he was in the wrong of. . . . If he continues to express his zeal for his Majesty’s service by doing what is so contrary to it, in not letting the rehearsal be there, I shall entirely give over any further thoughts of his overture and shall take care to have another.” Needless to say, Handel retracted his resistance to both the

A period illustration showing a fireworks display for the Duke of Richmond along the River Thames in May 1749, just a month after a similar kind of display was presented to the accompaniment of Handel’s brand-new Music for the Royal Fireworks.


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martial orchestration and open rehearsal (Handel wrote out instructions on how to include strings in a performance later that spring). The rehearsal took place on April 21, causing a huge traffic jam with an audience of over 12,000. The Gentleman’s Magazine for April 1749 commented: “So great a resort occasioned such a stoppage on London Bridge, that no carriage could pass for 3 hours.” Luckily for Handel, on the day of the concert, his music was played prior to the pyro-technic spectacle, which ended in disaster — the right section of the pavilion caught fire and burned down in the middle of the show. THE MUSIC

Handel opens the Music for the Royal Fireworks with a French Overture, for which the well-worn adjective “magisterial” is an apt description. A middle Allegro section (without fugue) contrasts with the opening Grave; the ensuing Lentement is then capped by a reprise of the Allegro. The Bourrée that follows features oboes in a lively melodic repartee with a different section of instruments (usually strings, in modern performance, or other winds, originally) and a fast-moving dance. The next movement, a lilting Largo alla Siciliana, fully realizes the accompanying inscription La Paix [“the Peace”] in its title. The fourth movement, La Réjouissance [“The Rejoicing”], is marked Allegro in tempo, and is, perhaps, the most martial of all the movements, with its continuously beating snare drum driving the music forward. Two minuets close out the piece. The graceful motion and quietude of Minuet I contrasts greatly with both the preceding Allegro and the last movement, Minuet II, which in many ways refers back to the majesty and nobility of the first section of the Overture. —Steve LaCoste © 2017 Severance Hall 2016-17

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Harry Bicket British musician Harry Bicket is renowned internationally as an opera and concert conductor, and especially for his understanding and interpretation of Baroque and Classical repertoire. He has served since 2007 as artistic director of The English Concert, one of the United Kingdom’s most highly-regarded period orchestras. Since 2013, he has been chief conductor of the Santa Fe Opera. He is also renowned as a harpsichordist and organist. He is making his Cleveland Orchestra debut with this weekend’s concerts. Harry Bicket was born in Liverpool and educated at the Royal College of Music and Oxford University. He also studied organ at St. George’s Chapel, Windsor, and was sub-organist at Westminster Abbey, when he performed at the wedding of Sarah Ferguson and Prince Andrew. He has served as organist and harpsichordist with the Academy of Ancient Music, City of Birmingham Symphony Orchestra, The English Concert, Monteverdi Orchestra, and the Philharmonia Orchestra. This season, Mr. Bicket is touring internationally with The English Concert, with performances across Europe, and in the Far East and the United States. As a conductor, Mr. Bicket came to the international stage when he stood in to conduct Handel’s Theodora at the Glyndebourne Festival in 1996. Since that time, he has led operatic productions at the Bavarian State Opera, Lyric Opera of Chicago, English National Opera, English Touring

Severance Hall 2016-17

Guest Conductor

Opera, Los Angeles Opera, London’s Royal Opera House, Metropolitan Opera, New York City Opera, Opera North, Royal Danish Opera, and the Scottish Opera. On the concert podium, he has led Great Britain’s major orchestras — period instrument as well as traditional symphony orchestras — in addition to conducting ensembles around the world, including the Bavarian Radio Orchestra, Chicago Symphony Orchestra, Hong Kong Philharmonic, Israel Philharmonic Orchestra, Los Angeles Philharmonic, Minnesota Orchestra, New York Philharmonic, Oslo Philharmonic, Orchestra of St. Luke’s, Rotterdam Philharmonic, Royal Stockholm Philharmonic, and the Saint Paul Chamber Orchestra. Harry Bicket’s recordings can be heard on the Archive, Avie, Decca, EMI, Erato, Mundi, and Virgin Veritas labels. Several of his albums have been nominated for Grammy Awards. Mr. Bicket is married to environmental scholar Audrey de Nazelle. They reside in London.


CIM@SEVERANCE HALL Wednesday, April 19, 2017 Enjoy an evening of Bernstein, Chopin and Tchaikovsky as the acclaimed Cleveland Institute of Music Orchestra returns to Severance Hall, home of The Cleveland Orchestra, with Jahja Ling, Distinguished Principal Guest Artist, conducting. The concert is FREE, but tickets are required. Contact the Severance Hall Box OfďŹ ce at or call 216.231.1111 For a complete schedule of CIM events visit: Bachelor of Music | Master of Music | Doctor of Musical Arts | Artist CertiďŹ cate | Professional Studies | Artist Diploma


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Lithograph of Handel, 1789.

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OPERA IN FIVE ACTS BY C L AU D E D E B U SSY The Cleveland Orchestra conducted by Franz Welser-Möst stage direction by Yuval Sharon set design by Mimi Lien lighting and projection design by Jason Thompson costume design Ann Closs-Farley choreography by Danielle Agami

16 17 2 O 1 6 -1 7


featuring Elliot Madore, baritone (Pelléas) Martina Janková, soprano (Mélisande) Hanno Müller-Brachmann, bass-baritone (Golaud) Peter Rose, bass (Arkel) Nancy Maultsby, mezzo-soprano (Geneviève) Julie Mathevet, soprano (Yniold) David Castillo, baritone (Doctor/Shepherd) and the Cleveland Orchestra Chamber Chorus (Sung in French with English supertitles)

SEVERANCE HALL MAY 2 — TUESDAY at 7:30 p.m. MAY 4 — THURSDAY at 7:30 p.m. MAY 6 — SATURDAY at 7:30 p.m. Luminous and hypnotic — Pelléas and Mélisande is among the most magical and mesmerizing of all opera scores. Composed when Impressionism was a new and radical force, it was Claude Debussy’s only completed opera. This tale of two fallen lovers resonates with mystery and meaning. Debussy’s beautiful depiction transforms the unending musical longing that Richard Wagner had pioneered with Tristan and Isolde into a tragedy of unique power. It is presented at Severance Hall in a made-for-Cleveland production directed by Yuval Sharon (The Cunning Little Vixen) filled with dream-like realism.

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2017-18 Centennial Season announced; Orchestra’s Second Century begins with special season featuring two operas and Beethoven Prometheus Project The Cleveland Orchestra and Franz Welser-Möst have announced details of the Orchestra’s 2017-18 calendar. The season will be the ensemble’s 100th year of concerts and marks the launch of its Second Century. 2017-18 is also the 16th year of the Orchestra’s acclaimed partnership with Franz Welser-Möst. With the 2017-18 season, The Cleveland Orchestra pushes forward with a series of ambitious goals across all areas of the institution: artistic, community, education, service, and financial. These goals include building upon the ensemble’s legendary musical excellence, continuing to grow the youngest audience of any orchestra, deepening relationships in the community through unique collaborations, customized engagement, and music education for all ages. “Looking toward The Cleveland Orchestra’s future, I am filled with enormous pride in the one hundred year collaboration between the Orchestra and community,” said the Orchestra’s music director, Franz Welser-Möst. “The exceptional musicianship and dedication of this Orchestra are acclaimed anew with each passing season, here at home and around the world. Our audiences’ musical curiosity and intellect drives all of us onstage forward, to dream beyond the past, and to continue exploring new boundaries in music.” Going on, he said, “Our 100th season serves as an historic moment, not only to celebrate our rich history, but to look


forward to everything this institution will accomplish in the century to come. Against the ever-increasing and fractious challenges of the world today, I believe that we have an obligation to harness the life-changing power of music to make the world a better place — to push the limits of our art to create thrilling adventures in music. Music is an incredible tool for good — to inspire people, as Beethoven believed, in the ‘fight for good,’ for what is right and true.” André Gremillet, Cleveland Orchestra executive director, added: “The year marks an important milestone, both in celebrating the remarkable first 100 years and in launching a second century that will further build on the great legacy of the Orchestra. I believe that our Second Century can be even more exhilarating than our first as we continue to elevate the extraordinary artistry of the Orchestra, develop new audiences, and deepen our relationship with our exceptional community.” 2017-18 Season Sponsors Underwriting for the season features two Presenting Sponsors in support of The Cleveland Orchestra’s Second Century Season: The J.M. Smucker Company and KeyBank. “The Cleveland Orchestra is a source of civic pride because of its artistic excellence, and the community involvement of its musicians, music director, staff, and volunteers. We are so fortunate to have this great institution in our backyard,” said Richard Smucker, The Cleveland Orchestra’s board president and executive

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At a special event at Severance Hall on March 17, The Cleveland Orchestra’s 100th season was announced. Franz Welser-Möst addressed the audience of over a thousand subscribers, donors, and Orchestra friends, talking about the power of music to change lives and the Orchestra’s special relationship with the Northeast Ohio community.

chairman of The J.M. Smucker Company. “The Orchestra is truly making a difference in our community, and we are excited to celebrate the 100th anniversary of this cultural jewel of Northeast Ohio.” “A world-class institution, The Cleveland Orchestra has long been a cornerstone in the city’s rich history,” stated Beth Mooney, chairman and chief executive officer of KeyBank. “As Cleveland’s hometown bank, we are extremely pleased to support The Cleveland Orchestra’s Second Century season.” In addition to the season’s two Presenting Sponsors, sponsors for 201718 include: voestalpine AG, Hyster-Yale Materials Handling and NACCO Industries, Inc., Ruth McCormick Tankersley Charitable Trust, and Swagelok Company, along with The Sherwin-Williams Company, Westfield Insurance, and KPMG LLP. Severance Hall 2016-17

2O17-18 SEASON Complete details of the 2017-18 Centennial Season can be viewed at Series subscription renewals have been mailed to all current subscribers, with a renewal deadline of April 28. New series packages are now available for purchase. Individual tickets for the season will go on sale in August.

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Richard K. Smucker elected as new President of The Cleveland Orchestra’s Board of Trustees At its regular meeting on Friday, March 3, Franz Welser-Möst and André Gremillet — and 2017, The Cleveland Orchestra‘s Board of Trustall my colleagues on the Board of Trustees, most ees elected long-time board member Richard especially the untiring efforts and far-sighted work K. Smucker to be the organization’s thirteenth that Richard Bogomolny and Dennis LaBarre have Board President. In this role, he will oversee brought in their leadership roles.” direction and governance for The Cleveland Or“It has been and will always be a privilege and chestra, working with the Board’s officers, Exan honor to serve this extraordinary institution,” ecutive Committee, and Trustees, alongside the said Dennis W. LaBarre. “As I hand the presidency Orchestra’s executive director, André Gremillet, to Richard K. Smucker, I remain fully committed and music director, Franz Welser-Möst. Smucker to The Cleveland Orchestra and its success, and was first elected to the Board of Trustees in 1989. will be actively involved as chairman as we move Smucker succeeds Dennis W. LaBarre, forward into a Second Century of great music and who has led the group as Board great pride for our community — here President since 2009. LaBarre has at home and across the globe. Our work served on the board for 29 years. together is truly a team effort, and I am As part of the planned succession thankful to all my teammates, past, and leadership transition, LaBarre present, and future.” was elected as board chairman. “There is no institution or organRichard J. Bogomolny, who ization dearer to my heart than The served as President for eight years Cleveland Orchestra,” said Richard J. and most recently as Chairman for Bogomolny. “I will continue to do evthe past fifteen years, was honored erything I can to support The Cleveland with the title chairman emeritus, Orchestra’s unrivalled success, for future a first in the Orchestra’s history. generations and for the greater good RICHARD K. SMUCKER Both LaBarre and Bogomolny will and enrichment of this community.” remain actively involved in the Almost alone among America’s Board’s ongoing work for the Orchestra. top symphony orchestras, The Cleveland The Cleveland Orchestra is in final stages of Orchestra has a long tradition of leadership planning to celebrate its centennial and launch continuity across all three institutional arenas into its Second Century. Smucker has chaired — artistic, board, and staff. In 99 years, the the group’s Centennial Planning Committee, Orchestra has been led by only seven music and the Orchestra is announcing details of its directors, thirteen board presidents, and eight 100th season for 2017-18 on March 17. executive directors. Such long tenures and con“I am first and foremost indebted to everyone tinuity, coupled with well-planned and orderly who has come before me,” commented Richard K. transitions at each level, have helped deliver Smucker, upon his election as president. “There a remarkable cohesion and stable platform of is no better or finer orchestra in the world than The planning and support for the Orchestra as it rose Cleveland Orchestra, and that is due not just to to national and international fame to become, the extraordinary talent and dedication onstage, and continue as, one of the world’s greatest and but to the ongoing support and generosity of this most-acclaimed music ensembles. Franz Welsercommunity, and to the incredible hard work of Möst became the Orchestra’s seventh music staff members, Board members, and volunteers director in 2002, with his contract now extendacross a century of excellence. I am appreciative ing beyond 2020. André Gremillet joined the to have been chosen to help lead this great instituOrchestra as executive director in January 2016, tion forward into what I know will be an extraorsucceeding Gary Hanson, who had served as the dinary future. I am also so very thankful to have Orchestra’s eighth staff executive from 2004 to such great partners for the years ahead, including the end of 2015. Severance Hall 2016-17

Cleveland Orchestra News


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 current and former members of The Cleveland Orchestra include: Former Cleveland Orchestra musician Franklin Cohen (principal clarinet emeritus) is performing a recital with organist Todd Wilson as part of the BrownBag concert series at Trinity Cathedral (2230 Euclid Avenue, Cleveland) on Wednesday, April 5, at 12 noon. The program includes the world premiere of David Conte’s Clarinet Sonata (for clarinet and piano), with the composer at the keyboard, along with several Schubert songs arranged for clarinet. Freewill offering. Lunches available for purchase, $7. 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 next program, on Sunday afternoon, April 30, features four horn players of The Cleveland Orchestra in a program “Horns, Unconducted.” Presented at the restored Herrick Mews in Cleveland Heights, the concert with Hans Clebsch, Richard King, Michael Mayhew, and Jesse McCormick features musical works ranging from Baroque to contemporary. 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

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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Children’s Chorus celebrates 50th anniversary with special concert on April 29th The Cleveland Orchestra Children’s Chorus is commemorating 50 years of music-making this season. To celebrate, the Children’s Chorus is inviting alumni to participate in a special Cleveland Orchestra Children’s Chorus Alumni Choir, assembled just for this occasion. The S-A-T-B ensemble will perform as part of the 50th Anniversary Celebration concert on Saturday afternoon, April 29, under the direction of Ann Usher, current director of the Children’s Chorus. The free community concert will be presented at 4:00 p.m. at Mentor Schools Fine Arts Center (6477 Center Street, Mentor OH 44060). The performance will feature the current Cleveland Orchestra Children’s Chorus (Ann Usher, director), Cleveland Orchestra Children’s Preparatory Chorus (Suzanne Walters, director), and the special Alumni Choir. Former Children’s Choruses directors Sevilla Morse (1970-75, 199192), Becky Seredick (1975-90), and Ella W. Lee

Davis (1992-2000) will also take part in the celebrations that day. Registration for the Alumni Choir is taking place now, with singers asked to fill out a registration form at Alumni Choir members will be sent music via email in the weeks preceding the concert, and will take part in an afternoon rehearsal the day of the concert (Saturday, April 29, 2017).

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Newest Cleveland Orchestra release features Brahms’s “German Requiem” on DVD

Cleveland Orchestra gift ideas continue all year ’round . . .

The Cleveland Orchestra’s newest DVD recording is due out this month. Featuring Brahms’s A German Requiem in a live performance, it complements the release last year of all the Brahms symphonies and concertos. The recording was made this past autumn at Austria’s Abbey of St. Florian, and features the Vienna Singverein chorus along with soprano Hanna-Elisabeth Müller THE CLE VEL AND ORC HES and baritone Simon KeenFRANZ WELSER-M TRA ÖST lyside, conducted by Franz Welser-Möst. The recording became available in December in Europe and is being released in the United States in March. The DVD is available through JOHANNES BRAH MS EIN the Cleveland Orchestra DEUTSCHES Store or through online REQUIEM retailers.

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




Recorde d live at the Stiftsbas ilika

St. Florian

“Brahms’ Bach: The Bach that Brahms Performed” ($) Friday, April 7, 7 p.m. “The Art of Arrangement and Counterpoint” Westhuizen Duo ($) 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 Ein Deutsches Requiem.

April 7–8, 2017 62

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2017 The Cleveland Orchestra

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New monthly Members Club ticketing program launched with the 2016-17 season

Documentary featuring life of Robert Shaw to be shown April 10 A new documentary about the life and musical journey of Robert Shaw is being presented as a free screening on Monday evening, April 10, at First Baptist Church (3630 Fairmount Blvd, Shaker Heights). The event is free and open to the public, with a pre-film concert by student singers from Shaker Heights High School. Robert Shaw: A Man of Many Voices details the life, legacy, and music-making of Shaw, who served as director of the Cleveland Orchestra Chorus 1956-67. Shaw died in 1999, acclaimed among the greatest choral conductors of the 20th century. For more information, visit www.

Cleveland Int’l Film Festival features documentary by Cleveland Orchestra cellist April 4, 5, 9 Among films being shown at this year’s Cleveland International Film Festival is one conceived and created by a musician who’s now a member of The Cleveland Orchestra. In 2014, Dane Johansen shouldered his cello and walked 600 miles of the Camino de Santiago, one of the world’s most famous pilgrimages, intending to perform and record Bach’s Six Suites for Solo Cello in historic churches along the way. Johansen says the trek was shaped by unexpected and humbling insights into his career and approach to life. Weaving together interviews with fellow travelers and scenes from the road, the film Strangers on Earth explores the music and the pilgrimage. Showings at the Film Festival are on April 4, 5, and 9. For more information, visit

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At the beginning of the season last September, The Cleveland Orchestra announced details of a new ticket packaging and loyalty program, called the “Members Club.” This $35 per month membership program is designed to offer convenience and value for patrons who want to experience more Cleveland Orchestra concerts each season and includes access to year-round concerts at both Severance Hall and the Blossom Music Festival. Similar to monthly programs offered by a variety of entertainment companies, the Members Club was created to serve audience members who desire more flexibility than traditional subscription packages. The innovative program, which features a mobile app for convenience and mobile ticketing, is the latest addition to the Orchestra’s commitment to providing new ticketing options. The Members Club began with an invitation-only pilot program a year ago in Fall 2015 and is now being rolled out and offered to the public. Early development of the Members Club was funded by grants from The George W. Codrington Charitable Foundation and The Char and Chuck Fowler Family Foundation. For more details and information, visit

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

Cleveland Orchestra News


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 honorary 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

Severance Hall 2016-17

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

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I cannot write in verse, for I am no poet. I cannot arrange the parts of speech with such art as to produce effects of light and shade, for I am no painter. Even by signs and gestures I cannot express my thoughts and feelings, for I am no dancer. But I can do so by means of sounds, for I am a musician. -Wolfgang Amadeus Mozart -

Mitsuko Uchida

Photo Courtesy Roger Mastroianni

Quality Electrodynamics Proudly supports The Cleveland Orchestra and welcomes the legendary pianist, Engineering Healthcare Innovations


Mitsuko Uchida Severance Hall 2016-17




Severance Hall

Thursday evening, April 6, 2017, at 7:30 p.m. Friday evening, April 7, 2017, at 8:00 p.m. Saturday evening, April 8, 2017, at 8:00 p.m.

Mitsuko Uchida, piano and conductor WOLFGANG A. MOZART (1756-1791)

16 17 2 O 1 6 -1 7


Piano Concerto No. 12 in A major, K414 1. Allegro 2. Andante 3. Rondeau: Allegro


String Symphony No. 2 in D major 1. Allegro 2. Andante 3. Allegro vivace led by WILLIAM PREUCIL, concertmaster


Piano Concerto No. 20 in D minor, K466 1. Allegro 2. Romance 3. Allegro assai

These concerts are sponsored by Quality Electrodynamics (QED). Mitsuko Uchida’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Kulas Foundation. The Thursday evening performance is dedicated to Hewitt and Paula Shaw and to Audrey and Albert Ratner in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. The Saturday evening performance is dedicated to Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

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Concert Program — Week 17


April 6, 7, 8

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


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



Severance Restaurant Reservations for pre-concert dining suggested:

216-231-7373 or via

P R E V I E W — Reinberger Chamber Hall

“Exquisite Dualism” with guest speaker Cicilia Yudha, assistant professor of piano, Youngstown State University

MOZART Piano Concerto No. 12 . . . . . . . . . . . . . . . . Page 71 (25 minutes)

MENDELSSOHN String Symphony No. 2 . . . . . . . . . . . . . . . . Page 75 (12 minutes)

INTERMISSION (20 minutes)

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

MOZART Piano Concerto No. 20 . . . . . . . . . . . . . . . . . Page 79 (30 minutes) Concert ends: (approx.)

THUR 9:05 FRI 9:35 SAT 9:35

Severance Restaurant Post-Concert Desserts and Drinks

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


This Week’s Concerts

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Musical Tastes& Flavors

M O Z A R T ’ S P I A N O C O N C E R T O S represent an exceptional body of work, unique in the classical music canon. In writing them, Mozart was working within a general set of expectations (for the musicians and listeners) of do’s and don’ts. Understanding the rules, he gladly and gleefully stepped over the line for perfect effect. And, in writing so many examples, he helped define what a concerto could be. Later composers would embellish and improvise in more personal and obviously emotional directions. But none would write so many perfect gems in this single genre — so clearly filled with passion and crafted in an identifiably Mozartian way. This week’s program with Mitsuko Uchida features two of Mozart’s piano concertos. Both were written during his “Vienna years,” the short decade of time Mozart spent as a mature artist in that great cultural capital before his early death at the age of 35. Concerto No. 12 from 1783 was created within a set of three, each written to be performed either with a small orchestra or with a string quartet as collaborative partner. No. 20 from only two years later is a grander affair, in styling and musical musing, with a few more instruments added to the orchestra, and movements that are just a little bit bigger and longer. Both concertos are exquisitely drafted and craftA portrait of Mozart ed, showcasing Mozart’s genius but also telling us by Johann Nepomuk much about our own expectations of what a concerto della Croce, 1780. can be. Of course, many newer and noisier (and bigger and bolder) concertos have been written in the two centuries and more since Mozart’s death. But his work as a composer so clearly set the stage for what was to come — and it is good for our ears (and minds) to return to the roots, to the establishment of a type, to taste the basic recipe again. With Mozart as a master chef in music, let us savor and relish the experience. In between the Mozart concertos, concertmaster William Preucil leads the strings of The Cleveland Orchestra through a delightful work by a very young Felix Mendelssohn, the String Symphony No. 2, written when the composer was just 12 years old. —Eric Sellen

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Introducing the Concerts


Piano Concerto No. 12 in A major, K414 composed 1782-83

At a Glance


Wolfgang Amadè

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

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Mozart composed this concerto in 1782-83 as one of three concertos he created for a series of subscription concerts in Vienna in the spring of 1783, at which he performed as soloist. In a letter to the Prussian publisher Sieber dated April 26, 1783, the composer indicated that the concertos could be performed either with orchestra or with a string quartet. This concerto runs about 25 min-

utes in performance. Mozart scored it for 2 oboes, 2 horns, and strings, plus solo pianoforte. The Cleveland Orchestra first played this concerto in November 1954 under George Szell’s direction with pianist Robert Casadesus. The most recent performances were on a weekend of concerts in May 2004 with Mitsuko Uchida as soloist and conductor.

About the Music I N T H E W I N T E R O F 1 7 8 2 - 8 3 , flushed with the success of

his opera Die Entführung aus dem Serail [“The Abduction from the Seraglio”] and newly married, Mozart planned a series of subscription concerts for the spring. For this purpose he composed three piano concertos in a group. At the time, he had not written a full piano concerto for about three years. But, amazingly, over the next several years he came to produce a fantastic harvest of fifteen concertos — an outpouring of creative energy in response to the enthusiasm with which the Viennese public received them. The three concertos that started this series, later cataloged with adjacent Köchel numbers 413, 414, and 415, were deliberately designed to be easily performed, with or without wind instruments, and in the case of K415, with or without trumpets and drums too, in the hope that they would be widely circulated. The smaller the orchestra required, the easier someone might be able to present a concert. Mozart’s escape from Salzburg to Vienna in 1781 — finally leaving behind the drudgery of his service to the archbishop in his hometown — also brought him the benefit of independence from his father (who remained behind in Salzburg), but also the problem of making a living as a freelance musician in the Imperial capital. Upon arrival, he was largely without friends in high places to give him a step up. For scholars and the public, admiring his musicality more than two centuries later, these circumstances have also brought About the Music


the benefit of a correspondence with his father in Salzburg, a father who had zealously kept every scrap of letter or note that passed within the family since the boy was a tiny miracle in short pants. Relations with his often disapproving father could be strained, and it is not clear that Mozart always told him the whole truth (in person or in writing). Nevertheless, the composer was always excited about what he was working on and always at least claiming to be optimistic about its success, regardless of his true feelings or how things actually turned out. As he started work on these three concertos, Mozart told his father that they “are a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural, without being vapid. There are passages here and there from which connoisseurs alone can deMozart told his father rive satisfaction; but these passages are written in that the concertos he such a way that the less learned cannot fail to be was writing “are a happleased, though without knowing why.” py medium between By “connoisseurs” Mozart meant professional musicians, and the “less learned” are the what is too easy and too general public, who in fact often knew (and todifficult; they are very day still know) quite a lot and have never ceased brilliant, pleasing to the to be pleased with Mozart’s concertos whether ear, and natural, withthey know why or not. (For that matter, do any of us really know why we really like any particular out being vapid.” piece of music? Even when we try to put words to the question, our reasoning and explanation rarely measure up to the greatness, the value, the pleasure within the music itself. Oftentimes, the flow of invention and craft is inexplicable. Let us enjoy the gifts that life presents us. Understanding oneself is important, but life and living don’t always provide the time required to know everything.) THE CONCERTO

This concerto, K414 in A major, was probably the first of the three to be composed, but when it was performed is uncertain. The other two were played in concerts in March 1783, which the Emperor attended. Both of those were rapturously received, and in all probability so was No. 12, whenever it was first performed, most likely sometime that same year. Whether Mozart ever played the concerto again is not known, but because the taste of the times was always for new works and because Mozart was always ready to compose them, it is unlikely.


About the Music

The Cleveland Orchestra

Happily for music-lovers then and now, these three concertos were published as a set two years later and were made accessible to anyone who cared to play them. Mozart would not normally write out solo cadenzas when he knew he was to be the soloist himself, but he wrote out two sets of cadenzas for all three movements of K414, along with cadenzas for the other two concertos in the set. Clearly for these concertos, his mind was on a wider public. This concerto, today known as No. 12 in Mozartâ&#x20AC;&#x2122;s overall catalog of piano concertos, has turned out to be the most popular of the three, probably because of the wealth of melody in all three movements. In this concerto, the oboes and horns add color, but they are really never featured on their own, for Mozart was quite clear that these concertos could be played with strings only as accompaniment, with just a quintet or quartet. The strings are thus kept in constant dialogue with the soloist. The first movement is notable for its easy gait, for the delightful interplay between first and second violins, and for a sunny mood that never clouds over. The second movement begins with a theme taken from an overture by Johann Christian Bach, the youngest son of Johann Sebastian, who had particularly inspired Mozart as a child during his stay in London, where Bach lived. Mozart offered this as a gesture of homage, since Bach had died in March of that year. Strangely enough, at the point where we would expect to hear the melody repeated with the entry of the oboes and horns, the first violins play a version of the theme that opened the first movement, almost as if they (or Mozart) had forgotten which movement they were supposed to be playing. The finale third movement again brings music of an easy, flowing nature. It is profligate in themes and important cadenzas, but nevertheless always preserves a feeling of the intimacy of chamber music. â&#x20AC;&#x201D;Hugh Macdonald Š 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.

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About the Music


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String Symphony No. 2 in D major composed 1821

At a Glance Mendelssohn wrote his “Sinfonia II” for strings in 1821, as part of what eventually numbered twelve such works that he created between 1821 and 1823. The date of a first performance (if any) during Mendelssohn’s lifetime is unknown, but some or all of them may have been played at his parents’ house



MENDELSSOHN born February 3, 1809 Hamburg died November 4, 1847 Leipzig

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by gathered musicians and friends. This work runs a little more than 10 minutes in performance. It is scored for string orchestra. The Cleveland Orchestra is playing this work for the first time with this weekend's concerts, led by concertmaster William Preucil.

About the Music T H E S Y M P H O N Y N O R M A L LY K N O W N as Mendelssohn’s

First (No. 1, in C minor) was originally headed “Sinfonia XIII.” Between 1821 and 1823, Mendelssohn had composed at least twelve symphonies for strings (some percussion is included in No. 11) displaying early testament to the vigorous youthful genius that was to burst out a year or two later in the Octet and the Overture to A Midsummer Night’s Dream. The young Mendelssohn had good reason to relish and let loose his own fluency, based on an extraordinary knowledge of Bach, Mozart, and Beethoven. Music poured out of him at that tender age, with no trace of technical difficulty or doubt. In his mature years, the fluency remained with him, but freedom from doubt did not. He was reluctant to publish works that he felt were not as good as they should be — with the result that the numbering of his mature symphonies is no reflection of the order in which they were composed. The brilliant, heart-warming “Italian” Symphony, completed in 1833, was not published in his lifetime at all, so anxious was he that it was not quite ready for circulation. Nor was the “Reformation” Symphony from 1830. These are favorite works for orchestras today, yet Mendelssohn agonized over them and made revisions several times over, and their numbering — No. 4 for the “Italian” and No. 5 for the “Reformation” — are merely witness to publication order. The “Hebrides” overture was equally the victim of doubt, revision, and indecision. All this is hard to believe when we hear the effortless stream of notes in the early sinfonias for strings, composed in this case when the composer was just twelve years old. But then, there was never any question of performing these in public or pubAbout the Music


lishing them. In fact, they were not made available for performance until the 1960s. They were composed for performance by friends and family in the Mendelssohns’ prosperous home, where concerts were frequent and guests invited from among the leaders of Berlin’s cultured society. The boy Felix had played the piano from an early age (instructed by his mother, and later by Ludwig Berger), and at the age of ten he studied music theory with Carl Zelter, one of Berlin’s leading musicians (and a friend of Goethe and an enthusiast for the music of Bach). Young Felix’s background when he composed the String Symphonies was thus based on Bach’s fugues and the classical forms of Haydn and Mozart. Although he would shortly discover Beethoven as the source of a new world of musical expression, this is not evident in these earliest works. THE MUSIC

In these early works, Mendelssohn’s problem was more to rein in his invention than to think of what has to come next, since he had to impose a form on the seemingly unstoppable

Audience favorite

Escher String Quartet

Get engaged: concert talk at 6:30 p.m. with Escher and Eric Kisch of WCLV-FM

Wednesday, April 26 7:30 p.m. | EJ Thomas Hall, Akron $25 | $40 | $45 | students always free

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About the Music

The Cleveland Orchestra

A 19th-century illustration of Mendelssohn as a child conducting family members in a musical evening. Mendelssohn’s childhood was comfortable financially, and his family encouraged him to discover interests across all the arts, including drawing, painting, and writing.

flow of ideas from inside his mind. In the first movement, in which both first and second halves are repeated (as in many of Haydn and Mozart’s early symphonies), he is troubled only, it seems, in the development section, when he abruptly replaces the bustling, active texture with phrases that creep rather than leap, and the volume is turned down to a quiet piano for the first time. Bach would strongly have approved his desire to give the cellos and basses as much of the musical interest as the violins, a balance that was so rare in Haydn. The slow second movement opens with an elegant phrase, but quickly adopts a busier texture with Bachian phrases and responses. He gives the cellos some entries independent of the basses here. The movement as a whole resembles a fugue that somehow lacks its main subject. Vigor and bustle return in the finale third movement, and when it reaches the end, one can sense the boy Felix reaching for the pile of music paper to get going on Sinfonia No. 3. He probably already knew there would be twelve, setting his sights (and sounds) on an even dozen as a set. —Hugh Macdonald © 2017

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About the Music


PIano Concerto No. 20 in D minor, K466 composed 1784-85

At a Glance Mozart completed his Piano Concerto in D minor (later cataloged as K466 and designated as “No. 20”) on February 10, 1785, and performed the solo part in the work’s world premiere the next day at one of his subscription concerts held at the popular Vienna concert hall called the “Mehlgrube” (“the flour pit”). This concerto runs about 30 minutes in performance. Mozart scored it

for flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus the solo pianoforte. This work was the first of Mozart’s solo piano concertos to be performed by The Cleveland Orchestra, with Myra Hess as soloist during the 1922-23 season. The most recent performances were given with Mitsuko Uchida, leading from the keyboard, in 2010, in Cleveland and on tour.


Wolfgang Amadè

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

Severance Hall 2016-17

About the Music T W O Y E A R S A N D S E V E N C O N C E R T O S after the K414 concerto that opens this weekend’s concerts, Mozart had more subscription concerts to plan. Enthusiasm for his performances was greater than ever, and a new concerto was always the bait that brought the public in. The year 1784 saw the composition of six piano concertos, the last completed on December 11. So with a concert planned for February 11 of the new year yet another concerto took shape on his desk. It was a close call, with the composition finished, according to Mozart’s own catalogue, on February 10. Indeed, it was perhaps not entirely finished even at that date, since Mozart would sometimes leave the solo figuration (clearly etched in his mind) to be filled in on paper later. His father, Leopold, attended the concert and wrote to his daughter: “We had a new and very fine concerto by Wolfgang, which the copyist was still copying when we arrived, and the rondo which your brother did not even have time to play through, as he had to supervise the copying.” Leopold had good reason to feel pride. Only a few days before, he had led a string quartet session in which three of Mozart’s quartets had been played. Josef Haydn, the leading composer of the day, was present, and told him: “Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name. He has taste and, what is more, the most profound knowledge of composition.” Those quartets were in due course published with a dedi-

About the Music


cation to Haydn, the “father of the string quartet,” as many saw him. In the field of piano concertos, on the other hand, Mozart had no competition even from Haydn. Each of Mozart’s concertos seems to be as rich in ideas and as resourceful in treatment as the last. Within the threemovement framework and the conventions that governed the forms of each movement, Mozart devised endless conversations between piano and orchestra, never running out of something to say. Concerto No. 20 (cataloged in the 19th century as K466) is in the minor mode, which provides opportunities for chromatic color, and for a certain darkness in the tone. When the mode eventually, at the end of the finale, turns to major, it is as if the sun has broken through the clouds and brought the broadest of happy smiles to everyone beneath. With a sinister opening — shifting syncopations over a gruff bass — it is some time before the first movement offers anything that might qualify as a theme. The winds — which here are indispensable to the music, unlike in Concerto No. 12 — make an attempt at announcing a theme, but even then


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About the Music

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A portrait of Wolfgang Amadè Mozart, painted in 1819 by Barbara Kraft, based on paintings created during the composer’s lifetime

Neither rejoice nor lament prematurely, for whatever may happen, all will be well if we only have health; for happiness exists merely in the imagination. —Wolfgang Amadè Mozart


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

Mozart is thrifty with melody, preferring to bewitch us with the variety of his ideas and the subtlety of their interaction. All in all, this movement suggests drama, perhaps, but one that is not fully played out. The remaining two movements have the task of settling the disturbances that still linger in the air. The Romance second movement achieves this by harping continually on a simple and truly melodic theme. Yet it is not quite the only theme on offer in this movement, and it is interrupted by a contrasting section. The soloist is quite active in company with the wind section. The rondo finale third movement begins with a “rocket,” the favorite gesture of the Mannheim composers that Mozart so admired, and it fizzes into the sky over and over again throughout the movement. A truly happy point arrives when the woodwinds give out a catchy little tune, taken up at once by the piano. Yet the most miraculous moment of all comes at the end of the movement, when the music has finally made it into D major. This tune draws a neat little response from the trumpets, music they had been itching to play all along. For this concerto, there are no existing written cadenzas by Mozart — he clearly didn’t have the time or the need to write anything down for this own performances. There are some by Beethoven for the first and last movements, which Mitsuko Uchida is playing for these performances. —Hugh Macdonald © 2017 Severance Hall 2016-17

About the Music



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Mitsuko Uchida Mitsuko Uchida is a performer who brings deep insight into the music she plays through her own search for truth and beauty. She is particularly noted for her interpretations of Mozart, Beethoven, and Schubert, both in the concert hall and on recordings, but has also illuminated the music of Berg, Schoenberg, Webern, and Boulez for a new generation of listeners. Ms. Uchida made her Cleveland Orchestra debut in February 1990, and since that time has performed with the Orchestra at Severance Hall, at Blossom, and on tour in Europe and Japan. She made her Cleveland Orchestra conducting debut in 1998, and subsequently led performances from the keyboard of all of Mozart’s solo piano concertos as artist-in-residence across five seasons (2002-07). In a special recording project with the Orchestra and Decca, Ms. Uchida has revisited a number of Mozart concertos, with the resulting albums winning acclaim and a Grammy Award. Mitsuko Uchida performs throughout the world with many different partners. In 2017, she is embarking on a Schubert Sonata series, featuring twelve of Schubert’s major works, which she will tour throughout Europe and North America. She will also return to the Salzburg and Edinburgh Festivals and performs with the Berlin Philharmonic and Chicago Symphony Orchestra, in addition to this week in Cleveland. In 2016, she was appointed an artistic partner to the Mahler Chamber Orchestra and began a series of concerts directing Mozart concertos from the keyboard with that ensemble in extensive tours of major European venues and Japan.

Severance Hall 2016-17

Guest Artist

Mitsuko Uchida records exclusively for Decca. In April 2008, BBC Music Magazine presented its Instrumentalist of the Year and Disc of the Year awards to Ms. Uchida. Her recording of Schoenberg’s Piano Concerto with Pierre Boulez and The Cleveland Orchestra won four awards, including one from Gramophone for best concerto recording. Five of her most recent recordings were recorded live at Severance Hall with The Cleveland Orchestra and feature ten of Mozart’s piano concertos. Ms. Uchida’s discography ranges widely, from Mozart to Debussy, and Beethoven to Berg. Albums include the complete Mozart piano sonatas and piano concertos (with the English Chamber Orchestra), the complete Schubert piano sonatas, Debussy’s Études, the five Beethoven piano concertos with the Royal Concertgebouw Orchestra, an album of Mozart violin sonatas with Mark Steinberg, the song cycle Die schöne Müllerin with Ian Bostridge for EMI, and the final five Beethoven piano sonatas. Mitsuko Uchida has demonstrated a long-standing commitment to aiding the development of young musicians and is a trustee of the Borletti-Buitoni Trust. She is also artistic director of the Marlboro Music Festival in Vermont. In June 2009, she was made a Dame Commander of the Order of the British Empire.


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Born January 27, in Salzburg, the seventh and last child of Leopold and Anna Maria. (Only two of their children survived infancy.) Baptized “Johannes Chrysostomus Wolfgangus Theophilus Mozart.”


At age 3, Wolfgang begins to play the harpsichord.


At age 5, he begins to compose.


His father takes Wolfgang (and his sister, Nannerl, four years older) on the road as child prodigies. Over the next four years, they will visit and perform before royalty in Vienna, Paris, and London.


He begins writing his first operas, completing four in two years.


Wolfgang (age 14) and his father visit Italy for the first time, and are exposed to Italian opera in its native land.


At age 15, he begins his service with his father’s employer, the Archbishop of Salzburg.


While he and his mother are in Paris looking for lucrative employment for Wolfgang, Anna Maria is taken ill and dies. Wolfgang must bury her alone, and then tell his father and sister back in Salzburg the news.


After looking for a job in Vienna, Wolfgang is dismissed from his post with the Archbishop and decides to begin life as a freelance artist.


Marries Constanze Weber on August 4. They will have six children, but (typical for the era) only two will survive to adulthood (and neither of them will have progeny of their own).


Over the next several years, he writes and performs a series of mature piano concertos and creates six string quartets dedicated to Haydn, making for himself both a name and a good living.


Meets Haydn, who praises Mozart as “the greatest living composer.”

Severance Hall 2016-17

Mozart Timeline



The Marriage of Figaro premieres in Vienna on May 1.


He travels to Prague early in the year to see Figaro, where it is acclaimed a masterpiece. Prague asks him to write a new opera. Father Leopold dies on May 28. Don Giovanni, his second collaboration with librettist Lorenzo Da Ponte, is premiered in October in Prague. Wolfgang is appointed to the relatively minor (and not very well-paid) post of “chamber composer” by Emperor Joseph II.


Mozart composes what become his last three symphonies (Nos. 39, 40, and 41) in anticipation of a series of benefit concerts that never take place. His finances are increasingly limited and problematic, and he moves around Vienna several times in the next few years to find lodgings he can work in or afford.


Così fan tutte is premiered in Vienna. Mozart attends the coronation of Emperor Leopold II.


Composes the operas The Magic Flute and La clemenza di Tito, and begins work on his Requiem Mass. Dies on December 5 at the age of 35. After a simple funeral service, following customs of the time in Vienna, he was buried in an unmarked grave.

What’s his name?! Mozart was baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart. His first two baptismal names, Johannes Chrysostomus, represent his saints’ names, following the custom of the Roman Catholic Church at the time. In practice, his family called him Wolfgang. Theophilus comes from Greek and can be rendered as “lover of God” or “loved by God.” Amadeus is a Latin version of this same name. Mozart most often signed his name as “Wolfgang Amadè Mozart,” saving Amadeus only as an occasional joke. At the time of his death, scholars in all fields of learning were quite enamored of Latin naming and conventions (this is the period of the classification and cataloging of life on earth into kingdom, phylum, class, order, family, genus, species, etc.) and successfully “changed” his name to Amadeus. Only in recent years have we started remembering the Amadè middle name he preferred.


Mozart Timeline

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Dr. Arthur Lavin Subscriber and Annual Fund donor


“My parents loved The Cleveland Orchestra from the earliest days of their marriage — and introduced me to music’s great power, its gripping depths and joyful highs.” Ben and Martha Lavin married shortly after World War II. As a young couple, they became Cleveland Orchestra subscribers, making it a routine part of their week — and sharing Saturday nights and the Orchestra with their best friends. Their son, Arthur, began attending with his parents as a teenager, hearing the Orchestra at both Severance Hall and Blossom Music Center. Those early experiences, listening as a young man to great performances by George Szell, left an indelible impression: “In college, I dove deeply into listening — not studying music, for, although I tried, I was too clumsy to master an instrument. But I found my ears were tuned to music, and I have been plumbing its depths ever since!” “Above all, it is the nearly infinite power of great music to transform the mind and soul that is what I most appreciate, and the gift I so enjoy sharing with others.” Celebrate the power of music, and help build The CleveTHE land Orchestra’s future with your friends and community, by CLEVELAND ORCHESTRA supporting the Annual Fund. Call Elizabeth Arnett, Director of Leadership and Individual Giving, at 216-231-7522 today.


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 March 2017.


gifts during the past year, as of March 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

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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 Mrs. Emma S. Lincoln Elizabeth F. McBride John C. Morley Mr. Patrick Park (Miami) Mary M. Spencer (Miami) Mr. and Mrs. Franz Welser-MĂśst

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

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 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) Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra

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

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 Larry J. Santon and Lorraine S. Szabo Rachel R. Schneider Richard and Nancy Sneed Jim and Myrna Spira R. Thomas and Meg Harris Stanton Ms. Ginger Warner (Cleveland, Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Paul and Suzanne Westlake listings continue

Severance Hall 2016-17

Individual Annual Support


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

Mr. and Mrs. William W. Baker Marsha and Brian Bilzin (Miami) Mr. and Mrs. Charles P. Bolton In dedication to Donald Carlin (Miami) Judith and George W. Diehl JoAnn and Robert Glick Mr. Loren W. Hershey Mrs. Marguerite B. Humphrey 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 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 Dr. and Mrs. Robert Ehrlich (Europe)

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.

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 Mr. Brian L. Ewart and Mr. William McHenry 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


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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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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. 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


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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 Carol Rolf and Steven Adler 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 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 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 Mr. John D. Papp 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 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





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Located one block north of Shaker Square and on the EĂƟŽŶĂůZĞŐŝƐƚĞƌŽĨ,ŝƐƚŽƌŝĐWůĂĐĞƐ͕>ĂƌĐŚŵĞƌĞŽƵůĞǀĂƌĚ ŝƐůĞǀĞůĂŶĚ͛ƐƉƌĞŵŝĞƌĂƌƚƐ͕ĂŶƟƋƵĞƐĂŶĚĚĞƐŝŐŶĚŝƐƚƌŝĐƚ͘ 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. Eugene J. Beer 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 Mrs. Frances Buchholzer 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. and Mrs. 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 Alfred and Carol Lambo 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 Mr. and Mrs. Trent Meyerhoefer 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 George Parras Mr. David Pavlich 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 Ms. Sylvia Profenna 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 & 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 Ken and Paula Zeisler 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

The Cleveland Orchestra guide to Fine

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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 March 2017.

gifts of $2,500 or more during the past year, as of March 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 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 Company (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 March 2017.

Severance Hall 2016-17

gifts of $2,500 or more during the past year, as of March 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 Frederick and Julia Nonneman Foundation The Nord Family 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 Cleveland State University Foundation The Conway Family Foundation The Cowles Charitable Trust (Miami) Elisha-Bolton Foundation 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


Remember how it felt . . . ? . . . to hear The Cleveland Orchestra for the first time? Yoash and Sharon Wiener believe there is nothing better than listening to beautiful music played by a world-class orchestra in an internationallyrenowned concert hall just a short drive from your home. And they’ve been enjoying The Cleveland Orchestra for nearly half a century. In addition to being long-time season subscribers to The Cleveland Orchestra at both Severance Hall and each summer’s Blossom Music Festival, Yoash and Sharon are supporting the Orchestra’s future through the gift annuity program. In exchange for their gift, Yoash and Sharon receive income for life and a charitable tax deduction. “Our very first date was nearly 50 years ago at a Cleveland Orchestra performance at Severance Hall. The date was great and so was the music, and The Cleveland Orchestra has been a central part of our lives together,” says Yoash. “Participating in the gift annuity program is our way of thanking the Orchestra for all it has meant to us.”



To find out how you can create a gift annuity and join Yoash and Sharon in supporting The Cleveland Orchestra’s future, contact our Legacy Giving Office by calling 216-231-8006.


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

Severance Hall 2016-17

Legacy Giving



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*

The Cleveland Orchestra


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

Severance Hall 2016-17

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.


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 5 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

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.



SPRING SEASON Handelâ&#x20AC;&#x2122;s Royal Fireworks

Don Quixote

Mar 30 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Mar 31 â&#x20AC;&#x201D; Friday at 11:00 a.m. <18s Apr 1 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

Apr 20 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Apr 21 â&#x20AC;&#x201D; Friday at 11:00 a.m. <18s Apr 22 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Harry Bicket, conductor

THE CLEVELAND ORCHESTRA Andrew Davis, conductor Frank Rosenwein, oboe * Mark Kosower, cello Wesley Collins, viola

HANDEL Concerto Grosso, Opus 6 No. 11 RAMEAU Suite from Les BorĂŠades PURCELL Suite from King Arthur * HANDEL Music for the Royal Fireworks * Not performed on Friday Morning concert. Sponsor: Hyster-Yale Materials Handling Inc. AMERICAN GREETINGS FAMILY CONCERT

Sponsor: Squire Patton Boggs (US) LLP

Peter and the Wolf

Apr 2 â&#x20AC;&#x201D; Sunday at 3:00 p.m.

PellĂŠas and MĂŠlisande



Mitsuko Uchidaâ&#x20AC;&#x2122;s Mozart Apr 6 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Apr 7 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s Apr 8 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

May 2 â&#x20AC;&#x201D; Tuesday at 7:30 p.m. May 4 â&#x20AC;&#x201D; Thursday at 7:30 p.m. May 6 â&#x20AC;&#x201D; Saturday at 7:30 p.m. THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor featuring Elliot Madore, baritone (PellĂŠas) Martina JankovĂĄ, soprano (MĂŠlisande) Hanno MĂźller-Brachmann, bass-baritone (Golaud) Peter Rose, bass (Arkel) Nancy Maultsby, mezzo-soprano (Geneviève) Cleveland Orchestra Chamber Chorus in a new production directed by Yuval Sharon

DEBUSSY PellĂŠas and MĂŠlisande Sung in French with projected English supertitles.

THE CLEVELAND ORCHESTRA Mitsuko Uchida, piano and conductor William Preucil, concertmaster and leader

A Midsummer Nightâ&#x20AC;&#x2122;s Dream

MOZART Piano Concerto No. 12 MENDELSSOHN String Symphony No. 2 MOZART Piano Concerto No. 20 Sponsor: Quality Electrodynamics (QED) PNC MUSICAL RAINBOW

The Cheerful Cello Apr 7 â&#x20AC;&#x201D; Friday at 10:00 a.m. <18s Apr 8 â&#x20AC;&#x201D; Saturday at 11:00 a.m. <18s with Martha Baldwin, cello Sponsor: PNC Bank

Under 18s Free FOR FAMILIES

DELIUS Brigg Fair VAUGHAN WILLIAMS Concerto IRU2ERHDQG6WULQJV* STRAUSS 'RQ4XL[RWH * not part of Friday concert


May 11 â&#x20AC;&#x201D; Thursday at 7:30 p.m. May 13 â&#x20AC;&#x201D; Saturday at 8:00 p.m. May 14 â&#x20AC;&#x201D; Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor Julia Fischer, violin with Itay Tiran, actor Anya Matanovic, soprano Emily Fons, mezzo-soprano Members of the Cleveland Orchestra Youth Chorus

HENZE Il Vitalino raddoppiato: &KDFRQQHIRU9LROLQDQG&KDPEHU2UFKHVWUD MENDELSSOHN Incidental Music to A Midsummer Nightâ&#x20AC;&#x2122;s Dream 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 Dynamic Duo May 12 — Friday at 10:00 a.m. <18s May 13 — Saturday at 11:00 a.m. <18s

with Carolyn Gadiel Warner, piano and violin and Stephen Warner, violin Sponsor: PNC Bank

Youth Orchestra May 12 — Friday at 8:00 p.m.


CLEVELAND ORCHESTRA YOUTH ORCHESTRA Brett Mitchell, conductor Catharine Baek, piano

TOWER Made in America RAVEL Piano Concerto in G major PROKOFIEV Symphony No. 5 This concert features a recent work by American composer Joan Tower, along with the winner of the Youth Orchestra’s annual concerto competition playing Ravel’s brilliant Piano &RQFHUWR7KHQLJKWHQGVZLWK3URNRÀHY·V)LIWK6\PSKRQ\

Haydn’s Miracle Symphony May 18 — Thursday at 7:30 p.m. May 19 — Friday at 11:00 a.m. <18s May 20 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Pierre-Laurent Aimard, piano

HAYDN Symphony No. 39 LIGETI Piano Concerto CHEUNG Topos [World Premiere] * HAYDN Symphony No. 96 (“Miracle”) * Not performed on Friday Morning concert. Sponsor: BakerHostetler

Murray Perahia Plays Beethoven May 25 — Thursday at 7:30 p.m. May 26 — Friday at 8:00 p.m. <18s May 27 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Murray Perahia, piano

BEETHOVEN Piano Concerto No. 4 SCHOENBERG 7UDQVÀJXUHG1LJKW VARÈSE Amériques Sponsor: Litigation Management Inc.

Tuesday May 2 at 7:30 p.m. Thursday May 4 at 7:30 p.m. Saturday May 6 at 7:30 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor in a new production directed by Yuval Sharon with an international cast including Elliot Madore, baritone (Pelléas) Martina Janková, soprano (Mélisande)

Luminous and hypnotic — Pelléas and Mélisande is among the most magical and mesmerizing of all opera scores. This tale of two fallen lovers resonates with mystery and meaning. It is presented at Severance Hall in a made-for-Cleveland production directed by Yuval Sharon (The Cunning Little Vixen) filled with dream-like realism.


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

Severance Hall 2016-17


Concert Calendar


216 - 231-1111 800-686-1141



bigger picture

For more than a century, you have invested in the arts, education, health, neighborhoods, the economy and so much more. You see the bigger picture of what our community canâ&#x20AC;&#x201D;and shouldâ&#x20AC;&#x201D;be. Invest in the future by partnering with the Cleveland Foundation to make your greatest charitable impact.

(877) 554-5054


The Cleveland Orchestra March 30, 31, April 1, 6, 7, 8 Concerts  
The Cleveland Orchestra March 30, 31, April 1, 6, 7, 8 Concerts  

March 30, 31, April 1 Handel's Royal Fireworks April 6, 7, 8 Mitsuko Uchida's Mozart