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Concert: April 20, 21, 22 STRAUSS’S DON QUIXOTE — page 31 PERSPECTIVES from the Executive Director — page 7 The Orchestra’s 2017-18 Season Launch — page 8-11 Claude Debussy on writing opera — page 56


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WEEK 18 From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Launching the Centennial Season . . . . . . . . . . . 8-11

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

13 17 23 26 29 86 89 94


STRAUSS’S DON QUIXOTE Program: April 20, 21, 22 . . . . . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 DELIUS

Brigg Fair: An English Rhapsody . . . . . . . . . . . . . 35 VAUGHAN WILLIAMS

Concerto for Oboe and Strings . . . . . . . . . . . . . . 39 STRAUSS

Don Quixote . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Conductor: Andrew Davis . . . . . . . . . . . . . . . . . . . . . Oboe Soloist: Frank Rosenwein . . . . . . . . . . . . . . . . Cello Soloist: Mark Kosower . . . . . . . . . . . . . . . . . . . . VIola Soloist: Wesley Collins . . . . . . . . . . . . . . . . . . . NEWS

51 52 53 54

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

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.

Cleveland Orchestra News . . . . . . . . . 58

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . . Annual Support Individuals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Corporate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Foundations and Government . . . . . . . . . . . . . .



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

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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.

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 58.

The Cleveland Orchestra

Centennial Season 2017-18


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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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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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DIRECTOR Kelvin Smith Family Chair


Blossom-Lee Chair


Gretchen D. and Ward Smith Chair



Clara G. and George P. Bickford Chair

Takako Masame Paul and Lucille Jones Chair

Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez Elizabeth and Leslie Kondorossy Chair

Chul-In Park Harriet T. and David L. Simon Chair

Miho Hashizume Theodore Rautenberg Chair

Jeanne Preucil Rose Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan


SECOND VIOLINS Stephen Rose * Alfred M. and Clara T. Rankin Chair

Emilio Llinás 2 James and Donna Reid Chair

Eli Matthews 1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook Yun-Ting Lee Jiah Chung Chapdelaine VIOLAS Wesley Collins* Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey 1 Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

Orchestra Roster

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

David Alan Harrell Martha Baldwin Dane Johansen Paul Kushious BASSES Maximilian Dimoff * Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1 Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

The Cleveland Orchestra

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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 Steelman 2 James P. and Dolores D. Storer Chair

ENGLISH HORN Robert Walters

Michael Miller

Robert R. and Vilma L. Kohn Chair

Mary Elizabeth and G. Robert Klein Chair

TROMBONES Massimo La Rosa * Gilbert W. and Louise I. Humphrey Chair Alexander and Marianna C. McAfee Chair

Shachar Israel



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

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Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

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

Robert Woolfrey ** Yann Ghiro

Stanley L. and Eloise M. Morgan Chair

Rudolf Serkin Chair

Carolyn Gadiel Warner

Donald Miller

Michael Miller CORNETS Michael Sachs *

CLARINETS Daniel McKelway 2 *

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*


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

* Acting Principal ** Acting Assistant Principal » on sabbatical leave



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

Tom Freer 2 Mr. and Mrs. Richard K. Smucker Chair

Orchestra Roster

Elizabeth Ring and William Gwinn Mather Chair


Frances P. and Chester C. Bolton Chair




DISCOVER THE MAGIC OF STORYTELLING The AHA! outdoor Book Festival will feature authors, publishers and interactive exhibits

EXPLORE THE AFRICAN AMERICAN EXPERIENCE Author Isabel Wilkerson discusses the incredible story of the Great Migration

June 7-9, 2017 in partnership with

EXAMINE THE CREATIVE PROCESS Award-winning American novelist Jonathan Safran Foer



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

and many more! Visit for more info and tickets.

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Concert Previews


The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins. For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at, usually by the Monday directly preceding the concert.) 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: 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

May 18, 20 “Meet the Composer: Anthony Cheung” (Musical works by Haydn, Cheung, and Ligeti) with composer Anthony Cheung in conversation with Rabbi Roger C. Klein of The Temple–Tifereth Israel

May 19 (Friday Morning) “Disruptions — Classical and Modern” (Musical works by Haydn and Ligeti) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

Severance Hall 2016-17

Concert Previews


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

Local Connections. Global Inuence. 46 Offices in 21 Countries




Severance Hall

Thursday evening, April 20, 2017, at 7:30 p.m. Friday morning, April 21, 2017, at 11:00 a.m. * Saturday evening, April 22, 2017, at 8:00 p.m.

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Andrew Davis, conductor FREDERICK DELIUS (1862-1934)



Brigg Fair

An English Rhapsody

Concerto for Oboe and Strings * 1. Rondo Pastorale: Allegro moderato 2. Minuet and Musette: Allegro moderato 3. Scherzo Finale: Presto — Doppio più lento — Lento — Presto FRANK ROSENWEIN, oboe



Don Quixote, Opus 35

Fantastic Variations on a Theme of Knightly Character Introduction — Theme and Variations I-X — Finale


These concerts are supported through the generosity of Squire Patton Boggs (US) LLP Cleveland’s Own Series sponsorship. 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, and features the Delius and Strauss works only.

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Concert Program — Week 18


April 20, 21, 22

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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 dining suggested:

216-231-7373 or via


“Rhapsodies and Dreams” with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

DELIUS Brigg Fair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 35 (15 minutes)

VAUGHAN WILLIAMS — not included on Friday Morning Concerto for Oboe and Strings . . . . . . . . . . . . . . . . . Page 39 (20 minutes)

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

STRAUSS Don Quixote . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 43 (40 minutes)

Duration times shown for musical pieces (and intermission) are approximate. Concert ends: (approx.)

THUR 9:10 FRI 12:05 SAT 9:40

Severance Restaurant Evening: post-concert desserts and drinks Morning: luncheon

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


This Week’s Concerts

The Cleveland Orchestra


Principal Quests& Quietude

Don Quixote and Sancho Panza, by Picasso, 1955.

T H I S W E E K ’ S C O N C E R T S offer works by three composers whose lives

— and music — bridged from the Romantic 19th century into the early Modernity of the 20th century. Each reacted to a changing world in his own, sometimes conservative, way. Two were born British, one staying very English in his outlook, while the other leaned decidedly toward French sensibilities. The third, a German through and through, propelled musical traditions forward, both orchestrally and in operatic storytelling. Also on offer are the virtuosic artistry of three principal players of The Cleveland Orchestra, stepping forward into the limelight as soloists: oboe, cello, and viola. The concerts begin with a deliciously pastoral trip to the English countryside, with Frederick Delius’s Brigg Fair from 1907. This gentle set of genial variations brings a delightful breath of the outdoors in, steeped with solid earnestness and touchingly deft orchestral details. For the week’s evening concerts, principal oboe Frank Rosenwein steps to the front of the stage for Ralph Vaughan Williams’s Concerto for Oboe and Strings, from 1944. Written for one of the 20th century’s great oboists, Leon Goossens, this charming work glows in musical warmth and instrumental virtuosity — balancing fragrant tradition with easy touches of modernity. To close the concerts, guest conductor Andrew Davis has chosen Richard Strauss’s whimsical tone poem Don Quixote, from 1897. In this great work, by engaging both his masterful understanding of music with the listener’s own imagination, Strauss turned a creative and human story into a vibrantly real work of art. Here, Don Quixote comes to life in all his mistaken glory — as do the windmills, Dulcinea, the unsuspecting sheep, and Sancho Panza, along with so many of Cervantes’s other characters and events. And, in the end, with the kind of grace and forbearance that transcends human folly into greatness, the Don accepts his own demise and death, accompanied by music perfectly fit for the occasion. Principal cello Mark Kosower and principal viola Wesley Collins take up the starring roles, with telling assists from colleagues throughout the ensemble. Smile, laugh, and enjoy. —Eric Sellen


Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on Saturday evening, June 17, at 8:00 p.m.

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Introducing the Concerts


BASQUIAT THE UNKNOWN NOTEBOOKS “An absorbing new show”— Steven Litt, The Plain Dealer Now through April 23 Members FREE. Member guests $5. This exhibition is organized by the Brooklyn Museum.



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:

Brigg Fair, An English Rhapsody composed 1907

At a Glance Delius wrote his Brigg Fair “rhapsody” in 1907, utilizing an English folksong introduced to him by Percy Grainger. It was first performed on January 18, 1908, by the Liverpool Orchestral Society conducted by Granville Bantock. This work runs about 15 minutes in performance. Delius scored it for 3 flutes, 2 oboes and english horn, 2 clarinets and bass clarinet, 3 bassoons and




born January 29, 1862 Bradford, England died June 10, 1934 Grez-sur-Loing, France

Severance Hall 2016-17

contrabassoon, 6 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, triangle, bells), harp, and strings. The Cleveland Orchestra has played this work on only two previous weekends of concerts, in November 1949 conducted by George Szell, and in January 1956 led by Thomas Beecham.

About the Music F R E D E R I C K D E L I U S is usually classified as an English

composer, but his life and music were influenced by cultures far beyond that sodden countryside. After his Yorkshire childhood, he spent very little time in the country of his birth. And, indeed, his music sounds rather different from that of English contemporaries including Edward Elgar and Gustav Holst. Delius’s parents were German, but his upbringing was English. As a young man he also spent two years near Jacksonville, Florida, pretending to be an orange grower but actually studying music. This was followed by two years at the Leipzig Conservatory, where he met the Norwegian composer Edvard Grieg, whose music he greatly admired. From Germany, he moved in 1888 to Paris, where he lived a true Bohemian life at the height of the belle époque. Delius traveled regularly to Norway and occasionally to England. In Paris, he cultivated a circle of cosmopolitan figures, including many writers and painters drawn to Paris by its cultural magnetism; Gauguin, Munch, and Strindberg were among his friends there. Oddly, with the exceptions of Maurice Ravel and Florent Schmitt, he seems to have had little personal contact with French composers. From 1897 until his death, Delius lived in a small village an hour out of Paris called Grez-sur-Loing, where he found the tranquility he needed for his work — and where many friends came to visit him. Being fluent in four languages and a habitual traveler, he developed a musical language About the Music


that has affinities with a wide swath of late 19th-century styles, including those of Wagner, Grieg, and Debussy in a luxuriant Romantic idiom. He set poems in many languages, but chose English texts for his operas and his most important choral works. These latter include Walt Whitman’s Sea Drift and translations of Nietzsche for his Mass of Life. One of his closest friends was the eccentric Australian composer Percy Grainger, who shared Delius’s passion for the Nordic world. Delius’s musical language was a million miles from folksong, yet Grainger persuaded Delius to listen to a recording he had made on wax cylinders at a music festival in Brigg, North Lincolnshire, in 1905. This was made by Joseph Taylor, a man in his early seventies, singing the folksong “Brigg Fair.” To Grainger’s suggestion that he write a series of variations on this folk tune, Delius responded with a “Rhapsody” for large orchestra that is actually a series of seventeen variations that mostly run directly into one another. The tune is a modal melody first heard on the oboe, although it doesn’t quite fit the words of the song, printed at the front of the score. Modal music scales are fairly common among naturally-derived folk music; their main characteristic is that they are neither major nor minor (or, to some ears, they are both at the same time). The song’s first verse is: It was on the fift’ of August The weather fine and fair Unto Brigg Fair I did repair For Love I was inclined This verse fails to rhyme, perhaps because Joseph Taylor admitted that his memory was poor and could only remember two of what he remembered as five verses. The printed score features six verses, continuing from above: I rose up with the lark in the morning With my heart so full of glee, Of thinking there to meet my dear Long time I wished to see. I looked over my left shoulder To see whom I could see, And there I spied my own true love Come tripping down to me.


About the Music

The Cleveland Orchestra

I took hold of her lily-white hand And merrily was my heart, And now we’re met together I hope we ne’er shall part. For it’s meeting is a pleasure And parting is a grief, But an unconstant lover Is worse than a thief. The green leaves they shall wither And the branches they shall die If ever I prove false to her, To the girl that loves me. The work opens with a pastoral flute that suggests rural England in the manner of Vaughan Williams. It is doubtful, however, that Delius cared much about the original song or its words. Instead, he was mostly interested in the challenge of composing a richly chromatic orchestral work on the basis of a purely modal theme. He was a master of sliding chromatic harmony, partly learned from Grieg, and the variations consequently resemble a Baroque passacaglia in which a given line recurs many times, but always with different harmonies. Across the piece, there are also two “interludes,” both of which bring back the pastoral flute. In addition, the full orchestra is mobilized from time to time, against the thinner or selective orchestration heard throughout many of the variations. Bells are heard, but they more suggest the knell of the Catholic dies irae than a Lincolnshire country church. With considerable charm the ending reduces the tune to the barest essentials. —Hugh Macdonald © 2017

Severance Hall 2016-17

About the Music


Concerto for Oboe and Strings composed 1943-44

At a Glance Vaughan Williams composed this concerto in 1943-44 for the oboist Leon Goossens. The premiere was scheduled to take place at a Proms concert in London in July 1944, but part of the Proms season was cancelled that summer due to V-1 rocket raids threatening the city. The concerto was first performed on September 20, 1944, with Goossens as soloist and Malcolm Sargent

conducting the Liverpool Philharmonic Orchestra. The score was published with a dedication to Goossens. The concerto runs not quite 20 minutes in performance. Vaughan Williams scored it for string orchestra, plus the solo oboe. The Cleveland Orchestra is performing this concerto for the first time with this weekend’s concerts.



VAUGHAN WILLIAMS born October 12, 1872 Down Ampney, England died August 26, 1958 London

Severance Hall 2016-17

About the Music T R A I N E D A T T H E Royal College of Music in London, Ralph Vaughan Williams pursued the career that was expected of a composer in late Victorian England — with a heavy emphasis on choral music, a proper devotion to symphonic writing, and a healthy disdain for opera. In his youth, he was thought by many to disdain technical skills also, and he later acknowledged what he called his “amateurish technique.” Yet Vaughan Williams tackled this deficiency (whether real or imagined) in two ways. First, he studied with a series of well recognized composers, including the English Stanford, Wood, and Parry, and with Max Bruch in Berlin and with Maurice Ravel (his younger by three years) in Paris. Thus, he became unarguably in control of saying (musically) what he needed or wanted to say, never prone to miscalculation or error. Second, he viewed amateurism with a sympathetic understanding that had great consequences for his own career and for the health of British musical life. Local choirs, community orchestras, brass bands, children’s groups — in these he found inspiration and to these he devoted encouragement and energy that very few top-level composers have ever been inclined to give. He is credited with the alarming (or amusing) maxim: “If it’s worth doing at all, it’s worth doing badly.” Vaughan Williams had a humanitarian and social outlook that drove him to see the potential for musical expression both in symphony concerts and in the local pub. His music was not only for the people, it came from the people. And his attachment About the Music


to folksong marks everything he wrote, from the song “Bushes and Briars,” which he collected on a “listening” expedition to the countryside in 1903, to the end of his long life. Folksong was a handy flag to fly for nationalist composers in many countries, especially on the fringes of Europe, where national identity became a central concern in the later 19th century. But Vaughan Williams had no jingoistic motive in his quest for English folksong. In those tunes, rather, he found a simple truth and honesty that, he felt, such pieces as Richard Strauss’s grandiloquent tone poems did not provide. Furthermore, the modal scales on which many folksongs were constructed offered an alternative to the magnificent tradition and structure of major and minor scales that had served and been built upon by Western musicians since the Renaissance. Folksong was a It was not that tonal music was dead. Far from handy flag to fly for nait, in fact. But in modal music, whether heard in tionalist composers in the fields of East Anglia or transcribed from the many countries in the partbooks of Tudor church music, Vaughan Williams found a language that precisely fitted his later 19th century. In gifts as a composer — and also found a response such tunes, Vaughan in the deeper consciousness of his audiences. Williams found a simple Welsh, Irish, and Scottish folksongs had been plundered by European composers (including truth and honesty that, Haydn, Beethoven, and Weber) for well over a he felt, such pieces as century. The movement that Vaughan Williams Richard Strauss’s granspearheaded, along with Cecil Sharp and others, diloquent tone poems was driven by the belief that English folksong, from the heart of the English countryside and did not provide. lacking all Celtic qualities, had been unfairly neglected. Like Bartók and Kodály during a similar timeframe in Hungary, Vaughan Williams took his notebook (but no recording phonograph) to the lanes and villages and rolling hills of England. Vaughan Williams was also sympathetic to neglected instruments and to their players. He wrote concertos for the tuba and for the mouth organ, and he made an important contribution to the repertoire of the oboe by composing in 1944 the concerto being heard in this weekend’s Cleveland Orchestra concerts. He wrote it four years before Strauss created his oboe concerto — so that within one decade the oboe, so richly served by 18thcentury music, had two solidly good modern masterworks for its leading players. Leon Goossens, for whom this concerto was written, was


About the Music

The Cleveland Orchestra

an outstanding musician, and the son of a distinguished conductor, Sir Eugene Goossens. Sir Thomas Beecham chose him as principal oboe in every orchestra he ever ran, and he had works written for him by Bax, Bliss, Britten, and Elgar in addition to Vaughan Williams. He originated a kind of sweet oboe sound that, while never greatly admired in the United States, was quite influential in Europe, especially before more recent decades have tended toward a more universalizing of orchestral expectations. Today’s orchestras do sound more alike than a half century ago, with both positive and negative portents. THE MUSIC

Vaughan Williams’s Oboe Concerto is a testing piece for the player, while never quite so demanding of the breath control that Strauss laid upon his soloist. With only strings in support, the textures are plain, and the suggestions of pentatonic figures, always representing folksong, are present throughout. Each movement is provided with contrasts of pace and mood, so that the first movement is tranquil and plaintive to start with, but soon offers a more jumpy style. After a working-out, the movement ends with an extended oboe cadenza with the strings still playing. “Minuet” and “Musette” are the ancient titles that Vaughan Williams gave his second movement, the first being a dance, and the second a small bagpipe. Within the concerto, the Musette hardly resembles a bagpipe, but a long-sounding drone is represented by long notes held in turn by the oboe and the violins, while the others keep the movement going. The close of the movement ingeniously combines both elements. The last movement is the most diverse, for although it is a Scherzo, it twice slows down, the first time for some broad chords in the divided strings, and the second time for a few moments of nostalgia before the short, brisk close. Throughout the movement, the two rising notes that preceded the soloist at the beginning of the concerto are forced to the surface, often with figuration recalled from the first movement, giving a lovely sense of completeness. —Hugh Macdonald © 2017

THE CLEVELAND ORCHESTRA welcomes the trustees of The Kelvin and Eleanor Smith Foundation to Thursday’s concert and thanks them for their longtime support.

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About the Music


Don Quixote, Opus 35

Fantastic Variations on a Theme of Knightly Character composed 1896-97

At a Glance



STRAUSS born June 11, 1864 Munich died September 8, 1949 Garmisch-Partenkirchen, Bavaria

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Strauss completed Don Quixote in December 1897. The first performance took place on March 8, 1898, in Cologne, with Franz Wüllner conducting and Friedrich Grützmacher playing the solo cello part. Don Quixote runs about 40 minutes in performance. Strauss scored it for piccolo, 2 flutes, 2 oboes, english horn, 2 clarinets (second doubling piccolo clarinet in E flat), bass clarinet, 3 bassoons, contrabassoon, 6 horns, 3 trumpets, 3 trombones, tenor tuba, bass tuba, timpani, percussion (snare drum, bass drum, cymbals, triangle,

glockenspiel, tambourine, wind machine), harp, and strings, including extensive solos for cello and viola. The Cleveland Orchestra first performed Don Quixote in March 1932, with Nikolai Sokoloff conducting and principal cellist Victor de Gomez playing the solo cello part. It has been programmed with some frequency since that time, with the most recent performances given in March 2006; Franz Welser-Möst conducted and Desmond Hoebig played the solo cello role.

About the Music H AV I N G C R E AT E D a series of varied tone poems — including

Macbeth, Don Juan, Death and Transfiguration, Till Eulenspiegel, and Thus Spake Zarathustra — behind him, Strauss must have felt there was no subject on earth he could not turn into a blaze of modern music. Just the last two of those ranged from medieval German story-telling to contemporary philosophy, from earthy humor to the quest for the meaning of life. Furthermore, it was all done with instruments; he had no need for a text or for voices. Yes, the scores have occasional headings to guide the listener (or the performers), but the symphony orchestra, with its intricate blend of sounds, had become in Strauss’s hands so expressive that any attentive listener was expected to follow the action or the argument without any additional help. Strauss is said to have boasted that he could portray a teaspoon in music, and he came close, if not in his tone poems, then in his operas, to literal representations of this kind. Very few people questioned the aesthetic correctness of using music as a paint-brush or as a story-teller. In fact, a “glossary” of conventional musical usages had been developed and recognized since long before Vivaldi’s The Four Seasons. Some things, such as military scenes or storms or birdsong, were easy to imitate About the Music


“Don Quixote and Sancho Panza“ by Honoré Daumier (1808-1879).

“Don Quixote and Sancho Panza” by Honoré-Victorin Daumier, oil on canvas, circa 1867


Don Quixote

based on the novel by Miguel de Cervantes

Introduction: “Don Quixote loses his sanity while reading novels about knights, and decides to become a knight-errant” Themes: “Don Quixote, knight of the sorrowful countenance” and “Sancho Panza” Variation I. “Adventure at the windmills” Variation II. “The Victorious struggle against the army of the Great Emperor Alifanfaron” [actually a flock of sheep] Variation III. “Dialogue between knight and squire” Variation IV. “Unhappy adventure with a procession of pilgrims” Variation V. “The knight’s vigil” Variation VI. “The meeting with Dulcinea” Variation VII. “The ride through the air” Variation VIII. “The unhappy voyage in the enchanted boat” Variation IX. “Battle with the magicians” Variation X. “Duel with the knight of the bright moon” Finale: “Coming to his senses again” – Death of Don Quixote

or “create” and could be found in many pieces of music. Where the questions arose was with abstract states of mind or ideas. Although everyone agreed that the opening of Beethoven’s Fifth Symphony meant something, there was little agreement as to what that something might actually be. Even before Beethoven’s amanuensis Schindler was shown to be a liar — his claim that the great man had told him it was “Fate Knocking at the Door” was disputed to be a fictional account that he simply made up. Strauss avoided this delicate (and challenging) issue by actually telling us what his pieces were about. And he dug deep into the repertoire of musical associations to find the right sonorities — the right brushes Strauss is said to have and the right paints — with which to describe boasted that he could his storyline. If some of his critics felt that Thus portray a teaspoon in Spake Zarathustra failed to enter the heart of Nimusic, and he came etzsche’s thoughts and philosophical outlook, there was little question that Till Eulenspiegel close, if not in his tone brought its nasty-boy subject brilliantly to life. poems, then in his opThe choice for Strauss’s next tone poem fell eras, to literal represenon Cervantes’s immortal Don Quixote, almost as tations of this kind. And a sequel or continuation to Till Eulenspiegel. In it, he recounts a number of humorous advenfew people question the tures in the picaresque tradition, all drawn from aesthetic correctness a classic masterpiece that most of his audiences of using music as a would have read. paint-brush or as Strauss composed most of his Don Quixote in the summer and autumn of 1897, at a time in a story-teller. his career when he was in great demand as a guest conductor. No one else came close to his standing as the leading living composer in the world, which only reinforced his awareness of boundless powers within himself. He could have the choice of any or all the German orchestras to play his music, and their reputation for virtuosity was growing every day. His demands accordingly extended from one work to the next. THE MUSIC

In Don Quixote, Strauss wrote virtuoso parts for the orchestra’s principal cello and principal viola, to represent the Don himself and his sidekick, Sancho Panza. While the Don is equally as often played by a guest soloist or the ensemble’s own principal player for the cello part, the humble Sancho has almost always Severance Hall 2016-17

About the Music



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

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“Don Quixote Tilting at the Windmill“ by William Stewart Watson (1800-1870). Oil on canvas, National Galleries of Scotland.

been portrayed from the orchestra desks. At times in the score, the violist shares the impersonation of the Don’s companion-servant with the bass clarinet and the tenor tuba. From many dozens of hapless adventures in the novel, Strauss selected ten episodes and presented them as variations on a theme, with a finale that closes with the Don’s death. This is a brilliant use of variation form, comparable with Elgar’s depiction of his friends in his Enigma Variations, composed just a year later. The long introduction surveys all the themes that are to be part of the story, with the solo cello and solo viola introducing themselves at the very end. Variation I begins immediately and at once we learn that the Don’s readings in the literature of knight-errantry have turned his brain. He is determined to prove himself as a knight, prepared to take on any foe and to defend his beloved Dulcinea at any cost. His first foe turns out to be a group of harmless windmills whose big sails turn slowly. Quixote leaps at them and falls flat on his face. Variation II is the most celebrated, with the foe being a flock of sheep — memorably represented first by borrowing the pastoral theme from Rossini’s Overture to William Tell, then by muted fluttertongued brass. Variation III shows Sancho attempting to offer guidance to his deluded master, and in Variation IV they have an unfortunate contretemps with a procession of penitents. In Variation V, musically Severance Hall 2016-17

About the Music


“Don Quixote Defeated“ from a set of illustrations by Gustave Doré (1832-1883) for a printed edition of the novel by Miguel de Cervantes (1547-1616).

like a cadenza, the Don, in vigil over his weapons, pours out his heart to the distant Dulcinea. In Variation VI, a folksy tune in the oboes brings on a peasant girl whom the Don takes to be his beloved, only to be undeceived once again. Next, in Variation VII, they fly through the air (in their minds only). While the clouds whizz by and the wind machine turns, the double basses firmly root the scene to the ground. Variation VIII is an ill-starred voyage on an enchanted boat, with a constant watery flow beneath. In Variation IX, they then encounter two priests on mules (two bassoons), whom Don Quixote immediately attacks. The last episode is a fight with a real opponent, the Knight of the Shining Moon, Variation X, who lays the Don low. Indeed, it is time to retire from the fray. He recovers his senses, devotes his days to meditation, and dies with a smile on his “long countenance.” On Strauss’s desk at the same time as Don Quixote was a work called Held und Welt [“Hero and World”], which in due course became Ein Heldenleben [“A Hero’s Life”], the hero being in that big orchestral work Strauss himself. Brilliant though that composition is, we are much more inclined to regard the Knight of the Long Countenance as a more fruitful hero to represent in music, since the humor and the virtuosity are in perfect balance. For the composer, there were still the Sinfonia domestica and the Alpine Symphony to write, but of all these monumental orchestral works from Strauss’s pen, it is Don Quixote that, for many, stands out for its affectionate portraiture and its humanity. —Hugh Macdonald © 2017 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.


About the Music

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Richard Strauss, photographed in New York, 1904.

The human voice is the most beautiful instrument of all, but also the most difficult to play. —Richard Strauss

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Sir Andrew Davis Recognized among Britain’s mostacclaimed conductors working today, Andrew Davis has served as music director and principal conductor of Lyric Opera of Chicago since 2000, and as chief conductor of the Melbourne Symphony Orchestra since 2013. He is known for leading a repertoire ranging from the Baroque to contemporary, with a special focus on newer British music. He made his Cleveland Orchestra debut in May 1974, and most recently led performances here in October 2010. Mr. Davis conducts performances at major opera houses throughout Europe and North America, including at the Bayreuth Festival, Edinburgh Festival, La Scala, New York’s Metropolitan Opera, and London’s Royal Opera, and with the companies of Munich, Paris, San Francisco, and Santa Fe. Major orchestras with whom he has appeared include those of Amsterdam, Berlin, Boston, Chicago, Cleveland, Detroit, Montreal, New York, and St. Louis, as well as with most of the orchestras of Great Britain. Andrew Davis is a prolific recording artist, with his work represented on the Capriccio, CBS, Decca, Deutsche Grammophon, EMI, Sony, and Warner Classics International labels. He currently records exclusively for Chandos Records. His albums have received a variety of awards and accolades, including from Gramophone, the Solti Prize from the French Académie du Disque Lyrique, and two Grammy nom-

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Guest Conductor

inations. His most recent releases include works by Berlioz, York Bowen, Delius, Elgar, Grainger, Holst, and Ives. In 1992, Mr. Davis was made a Commander of the British Empire for his services to British music, and in 1999 he was knighted in the New Year Honours List. He received the Royal Philharmonic Society’s Charles Heidsieck Music Award in 1991. Born in 1944 in Hertfordshire, England, Andrew Davis became an organ scholar at King’s College, Cambridge. He later studied conducting in Rome with Franco Ferrara. Mr. Davis’s first major position, with the BBC Symphony Orchestra, began in 1970; he returned as its chief conductor in 1989. He served as principal conductor of the Toronto Symphony Orchestra, 1975-88, and music director of the Glyndebourne Festival Orchestra, 1988-2000. Today he holds titles as conductor laureate of the BBC Symphony Orchestra and Toronto Symphony Orchestra, and as conductor emeritus of the Royal Liverpool Philharmonic. For more information, visit



Frank Rosenwein Principal Oboe Edith S. Taplin Endowed Chair The Cleveland Orchestra

Frank Rosenwein joined The Cleveland Orchestra in 2005. He made his solo debut with the Orchestra in February 2007, in Bach’s Brandenburg Concerto No. 2. Recent concerto appearances with the Orchestra have included playing a movement from Mozart’s Oboe Concerto at the gala celebrating the start of Franz WelserMÜst’s tenth season as music director in October 2011, and performing the Richard Strauss Oboe Concerto in September 2012. Since 2006, Mr. Rosenwein has been head of the oboe department at the Cleveland Institute of Music. He also teaches at the Kent/Blossom Music Festival, and is in demand as a guest artist and masterclass clinician in schools all over the world. An avid chamber musician, he has spent many summers at the Marlboro Festival and has performed with the Mainly Mozart Festival in San Diego and the Seattle Chamber Music Society.

Born in Evanston, Illinois, Mr. Rosenwein holds a bachelor of music degree from the Cleveland Institute of Music, where he studied with former Cleveland Orchestra principal oboe John Mack, and a master of music degree from the Juilliard School. Prior to coming to Cleveland, he served as principal oboe (2002-05) of the San Diego Symphony and San Diego Opera, and was also guest principal oboe with the Chicago Symphony Orchestra. Mr. Rosenwein is married to associate concertmaster Jung-Min Amy Lee. They live in Cleveland Heights with their twin boys, Joshua and Julian, and their dog, Sofie.



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Mark Kosower Principal Cello Louis D. Beaumont Endowed Chair The Cleveland Orchestra

Mark Kosower joined The Cleveland Orchestra as principal cello in 2010. Described as “a virtuoso of staggering prowess” by the Cleveland Plain Dealer, he is a consummate artist equally at home internationally as a recital and concerto soloist. As an orchestral principal, he was formerly solo cellist of the Bamberg Symphony in Germany (2006-10). During the 2016-17 season Mr. Kosower appears as soloist with the symphony orchestras of Buffalo, Naples, Phoenix, and Toledo among others, records Eberhard Klemmstein’s cello concerto with the Bratislava Radio Orchestra, appears in recitals with pianist Jee-Won Oh (including a centennial concert celebrating the life of Alberto Ginastera), and records the Brahms cello sonatas at the Beethovensaal in Hannover, Germany. He also appears at the Kent/Blossom, Peninsula, and Santa Fe Chamber music festivals. Mr. Kosower is a frequent guest at international chamber music festivals, including Santa Fe, Eastern Music, North Shore Chamber Music, Japan’s Pacific Music Festival, and Colorado’s Strings Music Festival. In past seasons, he has appeared internationally as soloist with the Rotterdam Philharmonic, Orchestre de Paris, China National Symphony in Beijing, National Symphony Orchestra of Taiwan, Brazilian Symphony Orchestra, and the Orquestra Sinfonica de Venezuela, in addition to solo performances at the Châtelet in Paris, the Alte Oper in Frankfurt, the Hong Kong Cultural Centre, and the Teatro Municipal in Rio de Janeiro, as well as performances

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Solo Artist

with orchestras across the United States. Mr. Kosower has recorded for the Ambitus, Delos, Naxos International, and VAI labels, including as the first cellist to record the complete music for solo cello of Alberto Ginastera, which he completed for Naxos. He was described as a “powerful advocate of Ginastera’s art” by MusicWeb International, and Strings Magazine said of his Hungarian music album (also with Naxos) that “the music allows Kosower to showcase his stunning virtuosity, passionate intensity, and elegant phrasing.” A dedicated teacher, Mr. Kosower has given masterclasses around the world and is currently a member of the faculty at the Cleveland Institute of Music and the Kent/ Blossom Music Festival. He also teaches a week of classes in California at Hidden Valley Music Seminars in Carmel Valley each summer and will be a visiting distinguished professor at the University of Oregon during the 2017-18 academic year. Born in Wisconsin, Mark Kosower began studying cello at the age of one-anda-half with his father, and later studied with Janos Starker at Indiana University and with Joel Krosnick at the Juilliard School. Mr. Kosower’s many accolades include an Avery Fisher Career Grant, a Sony Grant, and as grand prize winner of the Irving M. Klein International String Competition.



Wesley Collins

Principal Viola Chaillé H. and Richard B. Tullis Endowed Chair The Cleveland Orchestra

Cleveland, Mr. Collins played as a substitute musician with The Cleveland Orchestra, played in the Canton Symphony Orchestra, Cleveland Chamber Symphony, and CityMusic Cleveland, and served as assistant principal viola with the Akron Symphony Orchestra. His summer activities have included the Tanglewood Music Center, Sarasota Music Festival, Encore School for Strings, and the Pacific Music Festival. Born and raised in Cincinnati, Mr. Collins began studying violin with his mother, Sandy, at the age of four. He also played trumpet under the instruction of his father, Philip Collins, former principal trumpet of the Cincinnati Symphony Orchestra. He subsequently switched to viola under the tutelage of Michael Klotz, violist with the Amernet String Quartet. Mr. Collins has served as an adjunct professor of viola at Boston University.

Wesley Collins joined The Cleveland Orchestra as principal viola with the start of the 2016-17 season. He previously served as a member of the viola section of the Boston Symphony Orchestra beginning in 2012 and was promoted to third chair viola there in 2014. Before joining the Boston Symphony Orchestra, he was a member of the Atlanta Symphony Orchestra 2008-12. Wesley Collins completed his bachelor of music degree at the Cleveland Institute of Music in May 2007, where he was a student of Robert Vernon (principal viola of The Cleveland Orchestra 1973-2016). While in



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Claude Debussy on writing opera . . . “I imagine a kind of drama quite different from Wagner’s, in which music would begin where the words are powerless as an expressive force. Music is made for the inexpressible; I would like it to seem to emerge from the shadows and go back into them from time to time, and it should always be discreet.” —Claude Debussy, circa 1889

“For a long time I had been striving to write music for the theater, but the form in which I wanted it to be was so unusual that after several attempts I had given up on the idea. The traditional forms were totally at odds with all that I envisioned, demanding a type of music that is alien to me. . . . To do what my mind dreamed of, I would need to work with . . . a poet who half speaks things. The ideal would be two related dreams. No time, no place, no big scenes. . . . Music in opera is too often far too predominant — with too much singing and the musical settings are too cumbersome. For my ideal, the libretto would be short, with mobile scenes — scenes with different locations and of different types. The characters would not discuss or argue, but would simply be at the mercy of life, and submit to their destiny.” —Claude Debussy, 1890

“It is my intention that the characters of this opera try to sing like real people, and not in an old-fashioned arbitrary language made up of wornout clichés. . . . I imagine something different, something new, which can release dramatic music from the heavy yoke under which it has lived for so long. The drama of Pelléas and Mélisande, despite its dream-like atmosphere, contains so much humanity. It seemed to suit my intentions admirably. In it there is an evocative language whose sensitivity I understood could be extended into music and into the orchestral backcloth.” —Claude Debussy, circa 1900


Opera Presentation: May 2-4-6

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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

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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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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



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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 with the Orchestra 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: 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 t 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.

Comings and goings As a courtesy to the performers onstage and the entire audience, late-arriving patrons cannot be seated until the first break in the musical program.

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

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news


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).

Audience favorite

Escher String Quartet

north O point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling Severance Hall 2016-17

440.720.1102 440.720.1105 440.720.1104

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


Cleveland Orchestra News


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Cleveland Orchestra video release features Brahms’s “German Requiem” on DVD The Cleveland Orchestra’s newest DVD recording was released earlier this spring. 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 THE CLE VEL AND ORC HES Hanna-Elisabeth Müller FRANZ WELSER-M TRA ÖST and baritone Simon Keenlyside, conducted by Franz Welser-Möst. The recording became available in December in Europe and was recently released in the United States. The JOHANNES BRAH MS EIN DVD is available through DEUTSCHES the Cleveland Orchestra REQUIEM Store or through online retailers. HANNA-ELISABE



Recorde d live at the Stiftsbas ilika

St. Florian

Cleveland Orchestra musicians play National Anthem for opening Cleveland home game Seven members of The Cleveland Orchestra played the National Anthem at Progressive Field for the opening home game of Cleveland’s major league baseball team on Tuesday, April 11. The musicians were: violinists Takako Masame, Chul-In Park, Jeanne Preucil Rose, Stephen Rose, and Stephen Warner (retired 2016), cellist David Alan Harrell, and bass player Scott Dixon.

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The Cleveland Orchestra

orchestra news Cleveland Orchestra Bruckner recordings released as a DVD box set — featuring five symphonies conducted by Franz Welser-Möst The Cleveland Orchestra’s acclaimed Bruckner recordings under Franz Welser-Möst’s direction have been released as a 5-DVD box set. The previously issued recordings are of Bruckner Symphonies Nos. 4, 5, 7, 8, and 9, recorded live in three acclaimed concert spaces: Severance Hall, Vienna’s Musikverein, and the Abbey of Saint Florian in Linz, Austria. A preview of the DVD set is available on The Cleveland Orchestra’s YouTube channel online. This new DVD Set is currently available in the Cleveland Orchestra Store, located at Severance Hall, and online through Amazon. The set is among a series of live recordings of The Cleveland Orchestra conducted by music director Franz Welser-Möst, made in partnership with Clasart. The Severance Hall recordings were made with assistance from the Orchestra’s local media partner ideastream. Known for his special understanding of Bruckner’s music, Franz Welser-Möst led these performances from 2006 to 2012. Bonus content featured as part of the newly-boxed set includes an interview with Welser-Möst about Symphony No. 5, an introduction by Welser-Möst about Symphony No. 7, and a pre-performance discussion by Cleveland radio host Dee Perry talking with Welser-Möst and DVD director William Cosel about Symphony No. 8. The set is a production of Clasart Film and Fernsehproduktions GmbH, in cooperation with ATV (DVD 1), NHK and ORF (DVD 3), WVIZ/PBS IDEASTREAM (DVD 4), and Felix Breisach Medienwerkstatt GmbH (DVD 2 & 5).

Severance Hall 2016-17


Summers@Severance concerts set for July and August 2017 Following three successful seasons of Summers@Severance concerts, The Cleveland Orchestra’s annual series of summer performances at Severance Hall continues in 2017 with three Friday nights in July and August. The series is sponsored by Thompson Hine LLP, who have helped underwrite the series since its inauguration in 2014. Complete details of the concerts are available online at the Orchestra’s website. The concerts include a night of Beethoven on July 14, Schumann’s Third Symphony on July 28, and Mozart’s Requiem on August 18. Summers@Severance was created to expand The Cleveland Orchestra’s summertime offerings and showcase the ensemble as an integral part of its home neighborhood all year round. The series presents concerts of popular classical works, with an early start time surrounded by convenient pre- and post-concert opportunities to socialize with friends or family in the outdoor beauty of University Circle. The Front Terrace of Severance Hall is open before and after each concert, with beverage service and seating areas. Special “happy hour” drink prices are offered in the hour prior to each concert, with attendees encouraged to arrive early and enjoy the outdoors. Series tickets (all three concerts as a package) for Summers@Severance are now on sale through the Severance Hall Ticket Office or online at Individual concert tickets go on sale for all of the Orchestra’s summer concerts (at Severance Hall and Blossom) beginning Monday, May 1.

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



The Cleveland Orchestra

orchestra news


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.”

Cleveland Orchestra News


Dreams can come true

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

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

Your Investment: Strengthening Community Visit to learn more.






Experience this classic film on the big screen with the original score performed live!


1 — Thursday at 7:00 p.m. 2 — Friday at 7:00 p.m. 3 — Saturday at 7:00 p.m. 4 — Sunday at 3:00 p.m.

at Severance Hall The Cleveland Orchestra Brett Mitchell, conductor Celebrate the 50th anniversary of this iconic film, as The Cleveland Orchestra plays Leonard Bernstein’s electrifying score live while the re-mastered film is shown in hi-def on the big screen with the original vocals and dialog. Winner of ten Academy Awards®. music by Leonard Bernstein and Irwin Kostal screenplay by Ernest Lehman based on “West Side Story” by Jerome Robbins, Leonard Bernstein, Stephen Sondheim, and Arthur Laurents directed by Robert Wise and Jerome Robbins presented by arrangement with MGM © all rights reserved

TICKETS 216-231-1111




Evenings under the stars with The Cleveland Orchestra . . . Symphonic Music in the great outdoors! Lawn Ticket Books now on sale. Series Subscriptions on sale now. Individual Tickets available beginning May 1. Summer Weekends, from the Fourth-of-July to Labor Day!


Ben and Martha Lavin

Dr. Arthur Lavin Subscriber and Annual Fund donor


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


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

The Cleveland Orchestra

Leadership Council

Adella Prentiss Hughes Society

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

gifts of $100,000 and more INDIVIDUAL GIFTS OF $500,000 AND MORE INDIVIDUAL GIFTS OF $50,000 TO $74,999

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

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

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. Michael J. Horvitz James D. Ireland IV The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre 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


Individual Annual Support

The Cleveland Orchestra

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


Individual Annual Support

The Cleveland Orchestra


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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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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

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The Cleveland Orchestra


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

Cumulative Giving

Annual Support


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



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

Severance Hall 2016-17

Corporate Annual Support

$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co., LLC Calfee, Halter & Griswold LLP The Cedarwood Companies Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Counselling Services Consolidated Solutions Cozen O’Connor (Miami) 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)



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The Cleveland Orchestra


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

Cumulative Giving

Annual Support




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


11001 Euclid Avenue Cleveland, Ohio 44106



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


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

Severance Hall

The Cleveland Orchestra

Ludwig van Beethoven, 1818, pencil drawing by August von KlĂśber

Tones sound and roar and storm about me until I have set them down in notes. â&#x20AC;&#x201D;Ludwig van Beethoven

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. 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





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Guest Information

The Cleveland Orchestra

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).

Severance Hall 2016-17

Guest Information

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 is no service charge for the five-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, a $10 service charge per concert applies. Visit for details.

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.


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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 Handel’s Royal Fireworks

Don Quixote

Mar 30 — Thursday at 7:30 p.m. Mar 31 — Friday at 11:00 a.m. <18s Apr 1 — Saturday at 8:00 p.m.

Apr 20 — Thursday at 7:30 p.m. Apr 21 — Friday at 11:00 a.m. <18s Apr 22 — 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 Boréades 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 — Sunday at 3:00 p.m. <18s

Pelléas and Mélisande

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor with special guests Magic Circle Mime Co Prokofiev’s beloved tale, in which characters are portrayed by various instruments of the orchestra, returns to Severance Hall! Peter (strings), the Bird (flute), the Cat (clarinet), Grandpa (bassoon), the Duck (oboe), the Wolf (horns), and the Hunters (timpani) are assisted in this “re-telling with a twist” by Magic Circle Mime Company. Free pre-concert activities begin one hour before start time. Sponsored by American Greetings Corporation

Mitsuko Uchida’s Mozart Apr 6 — Thursday at 7:30 p.m. Apr 7 — Friday at 8:00 p.m. <18s Apr 8 — Saturday at 8:00 p.m.

May 2 — Tuesday at 7:30 p.m. May 4 — Thursday at 7:30 p.m. May 6 — Saturday at 7:30 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor featuring Elliot Madore, baritone (Pelléas) Martina Janková, soprano (Mélisande) Hanno Müller-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 Pelléas and Mélisande Sung in French with projected English supertitles.

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

A Midsummer Night’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 — Friday at 10:00 a.m. <18s Apr 8 — 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 for Oboe and Strings* STRAUSS Don Quixote * not part of Friday concert


May 11 — Thursday at 7:30 p.m. May 13 — Saturday at 8:00 p.m. May 14 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Franz Welser-Möst, 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: Chaconne for Violin and Chamber Orchestra MENDELSSOHN Incidental Music to A Midsummer Night’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 Concerto. The night ends with Prokofiev’s Fifth Symphony.

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 Transfigured Night 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



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The Cleveland Orchestra April 20, 21, 22 Concerts  

Strauss's Don Quixote

The Cleveland Orchestra April 20, 21, 22 Concerts  

Strauss's Don Quixote