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Concert: May 11, 13, 14 Mendelssohn’s A Midsummer Night’s Dream — page 31 Concert: May 18, 19, 20 Haydn, Ligeti, and a World Premiere — page 73 Leadership Summit: Q&A with Franz Welser-Möst, Richard Smucker, and André Gremillet — pages 7-11

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

Ohio’s Health Insurance Choice Since 1934 © 2016 Medical Mutual of Ohio

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


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Leadership Q&A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Copyright © 2017 by The Cleveland Orchestra and the Musical Arts Association

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 13 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

20 MIDSUMMER NIGHT’S DREAM Concert: May 11, 13, 14 . . . . . . . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 WEEK

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


Il Vitalino raddoppiato . . . . . . . . . . . . . . . . . . . . . . 35 MENDELSSOHN

A Midsummer Night’s Dream . . . . . . . . . . . . . . . 41 Violin Solo: Julia Fischer . . . . . . . . . . . . . . . . . . . . . . . Actor: Itay Tiran . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Singers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . NEWS

39 49 51 23

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

21 HAYDN, CHEUNG, & LIGETI Concert: May 18, 19, 20 . . . . . . . . . . . . . . . . . . . . . . . 73 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 75 WEEK

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


Symphony No. 39 . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 This program is printed on paper that includes 50% recycled content.


Piano Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 CHEUNG

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

Topos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 HAYDN

Symphony No. 96 (“The Miracle”) . . . . . . . . . . . 91

These books are printed with EcoSmart certified inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

Piano Solo: Pierre-Laurent Aimard . . . . . . . . . . . . . 83 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 23

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . . 14 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94


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

LE ADERSHIP SUMMIT: Franz Welser-Möst, Richard Smucker, and André Gremillet talk about The Cleveland Orchestra in today’s world

Richard Smucker (Board President), Franz Welser-Möst (Music Director), and André Gremillet (Executive Director) recently sat down together to discuss The Cleveland Orchestra’s plans going forward.

Q: There are orchestras all over the world. What’s different here? What’s special about the Cleveland community and its relationship with The Cleveland Orchestra? Franz: “In my view, Cleveland is the only city in America where the Orchestra is part of the city’s DNA. You can meet people on the street, far from Severance Hall, but they know about The Cleveland Orchestra. Not just one stranger, but everyone. That just doesn’t happen in other cities in America. So I think it’s a unique situation. This Orchestra and this community have grown together over these first 100 years. This is the Orchestra’s home, the musicians raise Severance Hall 2016-17



their families here. And the city responds and embraces the Orchestra. As I always say, audiences are part of performance — and here it really is true. Cleveland audiences listen and respond to what we are doing. This challenges us and helps us to be better. It is an intense relationship, and demanding, which is the way it should be.” Richard: “In describing this city, I would start with the fact that Cleveland has a history and tradition for supporting the arts, in general. It goes way back to the turn of the 20th century. Whether it was the Art Museum or the Orchestra, or the Natural History Museum, Cleveland has a mindset of arts-centered support and thinking. And it’s been true for generations. It’s why The Cleveland Orchestra exists and it has a lot to do with how and why this Orchestra became a great ensemble, because the community cares about the arts and understands how important art is in nourish-

Orchestra — Today & Tomorrow


ing our minds and our souls. Per capita, we have some of the best attendance, across all the arts, compared with any other city in the nation. That too, gets passed from generation to generation. The arts become a necessary part of your life. And, as a community, you develop a reputation that that’s the way you think, that’s the way you look at the arts. Cleveland has that, and that makes a world of difference.” André: “I would add that, for me, coming here and witnessing the sophistication of the audience was eye-opening. And I mean that in the absolute sense of the word, which is not to confuse sophistication with being smug or elitest. I’m talking about true sophistication. Audiences here truly appreciate the music that’s being played for them and appreciate the quality of the playing. Perhaps the only comparison I can make is with sports, where it reminds me of the hockey team in Montreal where I grew up. People there know their hockey in the way no other public does. Similarly, Cleveland knows music. This audience is able to appreciate anything from a challenging twelve-tone piece by Stravinsky to a Baroque dance from 250 years before, from a masterpiece of the past to a brand-new hit. This is unique. I would be hard-pressed to suggest, certainly in America, any other city with this level of sophistication. I think it’s part of a great tradition, and the musicians onstage feed on this energy.” Richard: “I’ve said this before, and I’m not the first person to say it, so I can’t claim this idea, but live music is one of the only art forms that can truly travel the world. In our case, the Orchestra spreads the reputation of Cleveland itself, not only domestically, but internationally. The Orch-


estra carries the name of Cleveland with it, which is a wonderful way to share the cultural gem that we have, to share the Orchestra and the city itself.” Q: You’ve each come from a different place and for different reasons to be in your positions with The Cleveland Orchestra at this time. What about The Cleveland Orchestra brought you here and what keeps you focused on your job? Richard: “I’m both the newest, having been elected President in March this year, and the longest-serving of the three of us, having joined the Board of Trustees in 1989. I’ve been in the area for many years — for a lifetime, actually. I’ve attended Cleveland Orchestra concerts and supported this institution all of my life. What’s gotten me more involved now, from a personal

standpoint, is simply that I have more time. I recently gave up the job as CEO of our company. This affords me time to give back to a community I love and believe in — and for me one thing I know I want to give back to is The Cleveland Orchestra. Because of everything it offers and gives to this community, because of its international reputation, the spotlight it brings to Cleveland from around the world. And, most importantly, I support and believe in how the Orchestra educates our children, teaching about music and life skills through music. All of these things enticed me to give more

Orchestra Leadership — Q&A

The Cleveland Orchestra

time to the Orchestra, and so I agreed to be Board President and to really step up and to speak up, to be an official advocate.” André: “What brought me here, without question, was the excellence of The Cleveland Orchestra, which I’ve been aware of for a very long time, since I was a young boy. More specifically, as I got to know the institution better as I was being considered for this job, what closed the deal for me was the absolute and ongoing quest for musical excellence, of never settling for less — the absolute priority that is displayed by everyone in and around this Orchestra on the music and what the music represents. In other words, the values of this Orchestra are the right values. And it matters as something to believe in, because audiences, because students, everyone who experiences what we offer can tell the difference and learn from seeing and hearing excellence. When I accepted this job, I was making a long-term decision for myself and my family. And I was choosing an institution with values that I could really live by, and build upon, and be proud of, in serving this community which I now call home.” Franz: “My answer is quite simple. What brought me here is that The Cleveland Orchestra offered me the job. The challenge, once I accepted, was to figure out how to do the job here in Cleveland, with this Orchestra — how to build on what was already great, and make it even better.” Q: And what keeps you here? Franz: “The spirit of the Orchestra. I’ve guest conducted all the major orchestras in this world — what we would call, in Europe, the champion league of orchestras — and I’ve never experienced better work-

Severance Hall 2016-17

ing circumstances than what Cleveland offers. And it all comes from the minds and the attitudes of the musicians. It’s really special here because they’re so extremely dedicated, and they are always prepared for what we’re doing this week, even while they are preparing for next week and next season. They have a passion for quality. And this passion itself is extraordinary, and so is the level they produce day in and day out. They’re not here to simply do what they’ve done before. They are always ready to be challenged and pushed. They want to achieve and offer the best. And the pushing and challenging goes both ways, and that’s what a great relationship should be.” Q: How do the three of you work together? How do you collaborate toward shared goals? Franz: “I always go first. No, seriously, that’s not true. The answer is really all about communication. I think I can speak for all three of us — we have a common goal, which is trying to make this extraordinary Orchestra even better. Do we sometimes disagree? Perhaps, but it really is just the start of a discussion. A different opinion is not a disagreement. It’s a starting point, and an opportunity to learn. It’s the outcome that is important, not who had the idea to begin with. It’s not so much how you get there, but where you are going together. All three of us, actually, come from a different angle, and approach the future with different priorities. And that is a good thing! When I hear a different opinion, or new idea, I take it as a chance to move The Cleveland Orchestra forward.” André: “I want to agree wholeheartedly with Franz’s first point about communication. It’s kind of a cliché, but I think in our world it is perhaps even more impor-

Orchestra — Today & Tomorrow


tant. Because we do such different things in our respective roles, it’s important to make sure that we’re all aware of what’s happening across the organization. I think over-communicating is better than not, because that’s how you build the trust required to make things happen.

sions, and where we could at times disagree in a way that would be constructive for the institution. In the long initial conversation that Franz and I had, it quickly became clear that this was the case — and that we shared a similar view on how to successfully work together.”

Richard: “That’s exactly right. I could not agree more, Franz and André. And let me add just a little to that. We do come from different backgrounds, so we all have different experiences, maybe different expectations. All of that informs our thinking and makes us stronger together. But as long as we can respectfully share our opinions and share our thoughts, we’re all going to get better, and the institution itself is going to get better. The really good thing is that there is already a tremendous amount of respect here, not just personally, but across the organization. As Franz says, it is the outcome that matters. It’s what we want for The Cleveland Orchestra — that is the most important thing, and I know we all share that goal.”

Q: Please talk about the Orchestra’s finances. Ticket sales have grown, donations have grown. Where are we headed?

André: “ And I think the fact that this supercedes any individual interest or expectations, to me, is a common outlook that we have — and that is what can make us successful. I have told this story to many people, including to Franz: When Franz interviewed me for this job two years ago, it was already a two-way stream. We were trying to assess one another, to judge how well we would work together. Because, at this level, we must have a partnership, a true partnership, of give and take and sharing. And one of the main criteria for me was to understand whether we could forge a mutually respectful partnership, one that would allow for genuine discus-


André: “The Cleveland Orchestra’s finances, like every orchestra’s, are challenging. The business model of an orchestra is a careful balancing act. We are in the business of having an artistic product of the highest quality. We work to be as efficient and streamlined as possible offstage, but onstage there is no compromise. To play a symphony still requires as many musicians as it did 100 years ago. That hasn’t changed. And, especially nowadays when being accessible to everyone is essential, when making the music accessible is so important, there are no quick fixes. There’s no way we can possibly charge audience members what it truly costs to put a concert on stage. And therefore, the Orchestra’s finances are always about having enough contributed income, and enough support, philanthropically, to make this work. I fully believe that we are on the right path, but there’s still a lot of work to be done.” Richard: “We need to share with the community as a whole the importance of the Orchestra to Cleveland and Northeast Ohio — and the fact that more than half of the budget is supported by contributions. That’s just how orchestras work. We need to make sure that the community

Orchestra — Today & Tomorrow

The Cleveland Orchestra

understands the importance of the Orchestra for the community, and what it does for everyone — concerts, and education, and community programs. We touch the lives of so many people each year, tens of thousands, hundreds of thousands, of all ages. We’re approaching 100,000 for the number of students who experience The Cleveland Orchestra in concert each year. It’s vital and important work. And the Northeast Ohio community makes it possible. We have a strong Annual Fund, which quite literally carries us forward each year. The generosity of this community is remarkable — and continues to grow. We cannot thank the community enough, because we rely on that support, so that we can serve you the audience great music and extraordinary performances.” André: “The people of this community — the annual donors and concert subscribers — are the lifeblood of this institution. Across the years, the Orchestra has grown and soared through their support. We have also in recent years made solid progress in growing the Endowment, but there is more to do.” Richard: “Successfully and substantially increasing the Endowment now will guarantee the sustainability of this Orchestra for the long-term. So that future generations can enjoy The Cleveland Orchestra doing great things for the people of Northeast Ohio. Just as the musicians don’t rest on their laurels, building this Orchestra for the future requires that our donor base must also grow, and new gifts be introduced to the Endowment. Sooner rather than later. As well as new focused gifts for specific programs and purposes. We can build a great future together, with the people of this community, who care about what we do and are hungry for the musical experiences that we offer.”

Severance Hall 2016-17

Invitation The generous support of this community for The Cleveland Orchestra remains this institution’s greatest strength. Ticket sales, which have surged in recent years, cover less than half the cost of presenting the Orchestra’s concerts and education programs each season. The remainder comes from philanthropic gifts. To the many of you who have already given to this year’s Annual Fund, I extend a grateful and special thanks. For those who haven’t, I would ask you to give now to continue the forward momentum we have and to help strengthen this year’s effort as The Cleveland Orchestra prepares for its Centennial Season in 2017-18. Every dollar makes a difference, every gift makes a difference. Many corporations and foundations are stepping up their support as we approach this historic milestone. Continuing strong corporate and community support is essential. Please give by visiting Thank you.

Orchestra Leadership — Q&A

André Gremillet Executive Director


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The Cleveland Orchestra


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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Going Places.



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

Severance Hall 2016-17

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

About the Orchestra



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


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

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


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

16 17 2 O 1 6 -1 7


O R C H E S T R A FLUTES Joshua Smith * Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2 Austin B. and Ellen W. Chinn Chair

Mary Kay Fink »

PICCOLO Mary Kay Fink » Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Corbin Stair Jeffrey Rathbun 2 Everett D. and Eugenia S. McCurdy Chair

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman 2 James P. and Dolores D. Storer Chair

ENGLISH HORN Robert Walters

Michael Miller

Robert R. and Vilma L. Kohn Chair

Robert Woolfrey **

Victoire G. and Alfred M. Rankin, Jr. Chair

Yann Ghiro E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Yann Ghiro BASSOONS John Clouser * Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2016-17

Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller

Michael Miller CORNETS Michael Sachs *

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*

Mary Elizabeth and G. Robert Klein Chair

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

Shachar Israel


BASS TROMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

* 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


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The Cleveland Orchestra

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Concert Previews


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

Severance Hall 2016-17


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. Spring Previews: May 11, 13, 14 “Of Love, Mischief, and Magic” (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

May 25, 26, 27 “Looking Forward” (Musical works by Beethoven, Schoenberg, Varèse) with guest speaker Cicilia Yudha, assistant professor of piano, Youngstown State University

June 1, 2, 3, 4 “Confronting the American Dream” (At the Movies: West Side Story)

Concert Previews

with guest speaker Bill Rudman, artistic director, The Musical Theater Project


The arts enrich all our lives.

A community is more than a collection of homes and businesses. It’s also the institutions that improve our lives through art, music, dance, and theater. KeyBank supports a wide range of arts organizations, because we know that a vibrant cultural scene is vital to bringing the people of our communities closer through their shared appreciation of the diverse talents they provide. That’s why KeyBank is a proud sponsor of The Cleveland Orchestra and this evening’s concert. KeyBank helps people and businesses thrive. Learn more. Contact KeyBank at is federally registered service mark of KeyCorp. ©2016 KeyCorp. KeyBank is a Member FDIC. 3340526




Severance Hall

Thursday evening, May 11, 2017, at 7:30 p.m. Saturday evening, May 13, 2017, at 8:00 p.m. Sunday afternoon, May 14, 2017, at 3:00 p.m.

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Franz Welser-Möst, conductor HANS WERNER HENZE (1926-2012)

2 O 1 6 -1 7


Il Vitalino raddoppiato

Chaconne for Violin and Chamber Orchestra JULIA FISCHER, violin


Overture, Opus 21 and Incidental Music, Opus 61 to A Midsummer Night’s Dream Overture No. 1. Scherzo (after Act I): Allegro vivace No. 2. Act II, Scene 1: L’istesso tempo — Allegro vivace No. 3. Act II, Scene 3: Song with Chorus: “You Spotted Snake” No. 4. Andante — Allegro molto No. 5. Intermezzo (after Act II): Allegro appassionato No. 7. Nocturne (end of Act III): Con moto tranquillo No. 8. Act IV, Scene 1: Andante — Con moto tranquillo No. 9. Wedding March (after Act IV): Allegro vivace No. 10. Act V, Scene 1: Allegro comodo — Funeral March No. 11. A Dance of Clowns: Allegro di molto — No. 12. Allegro vivace No. 13. Finale: Allegro di molto — Fairy Song: “Through this house give glimmering light” with ITAY TIRAN, actor ANYA MATANOVIC, soprano EMILY FONS, mezzo-soprano and with members of the CLEVELAND ORCHESTRA YOUTH CHORUS Lisa Wong, director

This weekend’s concerts are sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence.

Severance Hall 2016-17

Concert Program — Week 20


May 11, 13, 14

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


Concert begins: THUR 7:30 SAT 8:00 SUN 3:00



Severance Restaurant Reservations for dining suggested:

216-231-7373 or via

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


“Of Love, Mischief, & Magic” with guest speaker Francesca Brittan, assistant professor of musicology, Case Western Reserve University

HENZE Il Vitalino raddoppiato . . . . . . . . . . . . . . . . . . . . . . . . . . Page 35 (30 minutes)

Julia Fischer’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from The Hershey Foundation.

I NT E R M I S S I O N (20 minutes)

MENDELSSOHN Incidental Music to A Midsummer Night’s Dream . . . . . . . 41 (60 minutes)

Itay Tiran’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from Mrs. Warren H. Corning. Anya Matanovic’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from Virginia M. and Newman T. Halvorson. Emily Fons’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from Dr. and Mrs. Sam I. Sato.

Concert ends: (approx.)

THUR 9:25 SAT 9:55 SUN 4:55

Severance Restaurant Post-concert desserts and drinks

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


This Week’s Concerts

The Cleveland Orchestra


Music: Doubles & Dreams

T H I S W E E K E N D ’ S C O N C E R T S offer two works by two rather different composers who, nonetheless, are connected by intelligence, intellect, curiosity, and a keen desire to adopt and complement, to adapt and advocate, to promote their own wide-ranging interests — and to entertain — while embracing art’s beauty and its abilities to communicate vividly, beautifully, languidly, defiantly, and with grace and daring. The first half of the concert features a work premiered in 1978, written by the 20th-century German composer Hans Werner Henze. In it, he borrowed freely from a piece created by an Italian composer of the Baroque era, Tomaso Vitali. (Well, maybe — we don’t really know that Vitali wrote it.) Here, more or less, Vitali’s piece is played directly and simultaneously “within” Henze’s new work, giving, in effect, commentary and embellishment on the older work from a modern viewpoint. The title, Il Vitalino raddoppiato, more or less translates to a “doubling” of Vitali’s. It starts somewhat simply as alternating instances of “original variation with response,” but gains complexity and tension — and depth — as the music flows. Julia Fischer is soloist for this fascinating mix of modest modernity and bravura Baroque. After intermission, Franz Welser-Möst has chosen to present Felix Mendelssohn’s incidental music for Shakespeare’s A Midsummer Night’s Dream. Created for a new stage production in 1843, this music embodies the shifting lightness and fairy grace, confusion and mischief of a classical stage comedy. This week’s performances bring a sense of theatricality — and storytelling — with narration and elocution by Israeli actor Itay Tiran. Singers from the Cleveland Orchestra Youth Chorus, plus soloists Anya Matanovic and Emily Fons, complete our “cast.” This is a beguiling and beautiful score, filled with wonder and merriment — ultimately bringing the curtain gently down on a memorable night . . . of drama and music, love mis-cued and lessons learned, of fantastic fairytales and sweet human dreams. —Eric Sellen Above right: The Cobbe portrait of Shakespeare (or, maybe, that’s Thomas Overbury).

Severance Hall 2016-17

The Thursday evening performance is dedicated to Mr. and Mrs. Alexander M. Cutler in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. The Saturday evening performance is dedicated to The Brown and Kunze Foundation in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

Week 20 — Introducing the Concert


Through August 6



Presenting Sponsor

Brand-New & Terrific: Alex Katz in the 1950s is organized by the Colby College Museum of Art, Waterville, Maine, and curated by Diana Tuite, Katz Curator at Colby. Bather (detail), 1959. Alex Katz (American, b. 1927). Oil on linen; 121.9 x 182.9 cm. Colby College Museum of Art, Museum purchase made possible by Peter and Paula Lunder through the Lunder Foundation, Michael Gordon ’66, Barbara and Theodore Alfond through the Acorn Foundation, and the Jere Abbott Acquisitions Fund, 2016.189. Art © Alex Katz / Licensed by VAGA, New York, NY.

Il Vitalino raddoppiato Chaconne for Violin and Chamber Orchestra composed 1977

At a Glance


Hans Werner


born July 1, 1926 Gütersloh, Germany died October 27, 2012 Dresden, Germany

Severance Hall 2016-17

Henze composed Il Vitalino raddoppiato for solo violin and orchestra in 1977; he used as his starting point a Chaconne generally (but not definitively) attributed to the Baroque composer Tomaso Vitali, which had been discovered in the Dresden Library in 1867. Henze’s work was first performed on August 2, 1978, at the Salzburg Festival, with Austria’s ORF Symphony Orchestra conducted by Leif Segerstam; the soloist was Gidon

Kremer, to whom Henze dedicated the work. This work runs about 30 minutes in performance. Henze scored it for a chamber orchestra of flute (doubling piccolo), oboe (doubling english horn), bass clarinet, bassoon, horn, harp, and strings, plus the solo violin. The Cleveland Orchestra is performing this work for the first time with this week’s concerts.

About the Music H A N S W E R N E R H E N Z E ’ S preface to the score speaks of Vi-

tali’s Chaconne as a strangely beautiful childhood memory — for the way it seemed to express so much of what he could not express in pictures, in words, or in notes. He called it “a comfort, a longing, a lingering consolation,” and it was as a homage to Vitali that he composed his reworking for violin and chamber orchestra in 1977 and dedicated it to Gidon Kremer, who gave the first performance at the Salzburg Festival. Tomaso Vitali was a violinist-composer of the Italian Baroque who lived and worked in Modena for over seventy years. A number of his sonatas and concertos were published around 1700, and a curious work, a Chaconne, survived unpublished in a manuscript in Dresden until 1867, when the great violinist Ferdinand David (for whom Mendelssohn wrote his violin concerto) made a version of it for violin and piano that was taken up by all the great violinists of the next hundred years. Jascha Heifetz made a celebrated recording. Like all chaconnes, Vitali’s took a simple bass line — in this case four descending notes — and repeated it many times, while “above” that the violin part is given many variations and elaborations. What set Vitali’s Chaconne apart from most chaconnes was its unusual length (over fifty variations of the four-note frame), the resourcefulness of the violin writing, and its readiness to modulate from the main G-minor key to related keys About the Music


in order to avoid the ennui of remaining in one key for too long. It thus moves from time to time to B-flat minor, F minor, A minor, and E-flat minor, while always maintaining the steady four-note descending bass, and returning to G minor between forays into other keys. At one point, it even inverts the four notes, requiring five notes (to rise from G to D) in place of the usual four (descending from G to D). (Vitali’s Chaconne wanders so far and so unusually from the home key that some have questioned its authenticity as a Baroque work.) Henze’s title implies that the original work has been duplicated — Il Vitalino raddoppiato literally means “the Vitalino doubled.” More or less throughout the work, every four bars of Vitali are answered by four bars of Henze, with Henze’s accompaniment provided for Vitali’s bars as well as for his own. It is usually clear to the listener which is which, although from time to time the music wanders briefly from this pattern. And, at the end, we gradually lose sight of Vitali altogether and the soloist takes over with a long cadenza that has no connection with Vitali at all, except, presumably, in Henze’s own thinking about the music. And then, a tiny fragment of Vitali is heard as the orchestra returns for the closing moments. All in all, with this chamber concerto Henze proved — if any proof were necessary — that the variation form has stayed alive and well up into the modern era. The musical derivation brings warmth and older-fashioned charm to Henze’s sometimes colder musical language (although, in truth, his own catalog and tastes ranged widely, created by a mind filled with curiosity and wide-ranging interest). In this concerto, music as a language seems alive with history and currency. —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.




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About the Music

The Cleveland Orchestra

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Julia Fischer German violinist Julia Fischer is praised for her technical mastery and musical interpretations. She made her Cleveland Orchestra debut in July 2008, and her most recent performances were in January 2014. This season, Ms. Fischer is artist-inresidence at both Lugano Musica and Munich Musik. Her recent and upcoming performances include tours with the BBC Philharmonic and Dresden Philharmonic, and engagements with the Academy of St. Martin in the Fields, Bavarian State Orchestra, Chicago Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, St. Petersburg Philharmonic, Tonhalle Zurich, and the Vienna Philharmonic Orchestra. In recital, Julia Fischer appears at the major European venues, including the Konzerthaus Berlin, Musikverein, Palais des Beaux Arts, and Wigmore Hall. Her current schedule also includes a recital tour of Asia and Australia. The Julia Fischer Quartet, which she founded in 2013, includes violinist Alexander Sitkovetsky, violist Nils Mönkemeyer, and cellist Benjamin Nyffenegger. She also collaborates with Igor Levit, Daniel Müller-Schott, and Simon Trpceski. Born in Munich in 1983 to a pianist mother from Slovakia and a mathematician father from Germany, Julia Fischer began playing piano at age three and violin at age four. After taking violin lessons at the Leopold Mozart Conservatory, she was admitted to the Munich Academy of

Severance Hall 2016-17

Guest Artist

Music at age nine. She became a pupil of Ana Chumachenco, and in 2011, assumed her teacher’s position at the Academy. Throughout her career as a violinist, Ms. Fischer has continued her piano studies. Julia Fischer’s award-winning discography features Brahms’s violin concerto — on CD with the Netherlands Philharmonic, and on DVD with The Cleveland Orchestra and Franz Welser-Möst, as well as the Bruch and Dvořák concertos and works by Sarasate. Decca released a DVD of her 2008 piano debut concert, in which she also performed as violin soloist. Among Julia Fischer’s honors are first prize in the 1995 International Yehudi Menuhin Competition, Germany’s 2005 and 2007 Echo Awards, and France’s Diapason d’Or de l’année in 2006. She was named BBC Music Magazine’s 2006 “Best Newcomer of the Year,” Gramophone’s 2007 “Artist of the Year,” and the 2009 Midem Classical Awards’ “Instrumentalist of the Year.” In 2016, she received Germany’s Federal Cross of Merit. Visit for more information.




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Overture, Opus 21 and Incidental Music, Opus 61 to Shakespeare’s A Midsummer Night’s Dream composed 1826 (overture) and 1842

At a Glance



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

In 1842, Friedrich William IV, King of Prussia, asked that Mendelssohn write incidental music to Shakespeare’s A Midsummer Night’s Dream. The music was to include and augment the overture that Mendelssohn had written at the age of 17 in 1826. Mendelssohn wrote the music in 1842-43. It was first performed in the Royal Theatre of the New Palace in Potsdam, on October 14, 1843, as part of a new production of the play directed by Ludwig Tieck; Mendelssohn conducted. The music selected for this weekend’s concerts runs not quite an hour in performance. For this week’s performances, including excerpts from the play, the performance will be about 60 minutes in length. Mendelssohn scored this music for an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 3 trumpets, 3 trombones, ophicleide (a modern tuba is often utilized in performances), cymbals, triangle, timpani, and strings, plus 2 female soloists and chorus.

The Cleveland Orchestra first played music from Mendelssohn’s A Midsummer Night’s Dream during the ensemble’s second season, when the overture was played at the Sunday Popular Concert in February 1920. Many other selections have been programmed since that time, especially the four major entr’actes and the Wedding March. Several of the more extensive performances have featured an actor or actors reciting some lines from the play between musical selections and/or utilizing those parts of the score designed as underscoring; the most recent of these took place in July 2008, when Drew Carey was the narrator/actor for a performance at that summer’s Blossom Music Festival. The Cleveland Orchestra’s recording of major selections from this score, created under the direction of George Szell in 1967, is featured as a part of the soundtrack to Woody Allen’s 1982 movie A Midsummer Night’s Sex Comedy.

About the Music F E L I X M E N D E L S S O H N was only seventeen when he and

his sister Fanny saw a production of Shakespeare’s A Midsummer Night’s Dream (in a famous and artful German translation) in Berlin. He immediately wrote a piece for piano duet for them to play together, depicting the characters and extraordinary events in the play. He had no thought of it being an overture to something — for an opera or a performance of the play or anything — but having orchestrated it soon thereafter he called it an Overture and thus made an entirely novel contribution to the 19th century’s wealth of program music (music with a storyline). Fifteen years later, the by-then-famous composer was Severance Hall 2016-17

About the Music


invited by the King of Prussia to write incidental music for the play and to append it to the overture for a production in the royal palace at Potsdam, near Berlin. As written, some of the music was to be played during the action of the play, but the main pieces, apart from the Overture, were four entr’actes, performed between each of the five acts, and the “Dance of the Clowns” near the end (the Clowns in the play, or “Rüpeln” in German, are better known in English as the “rude mechanicals” or “rustics,” with the dance known as the “Bergomask” or rustic dance). In Mendelssohn’s day, it was quite normal for plays to be accompanied by a full orchestra, which was heard at the beginning and between the acts. Music could also be played as background to spoken lines, a technique also used in opera or operettas (especially comic works with dialogue). The entr’actes, written This provided a bridge between spoken and sung to be played between passages, and the same could be used to effect acts, are assured a more in the spoken theater also. Of course, plays with songs — including most of Shakespeare’s comattentive hearing in toedies — required music, as they still do today. day’s concert hall simply Many theaters in the 19th century had perbecause 19th-century aumanent orchestras and a conductor, and a great diences were free to get deal of fine music was composed as incidental music — though most of what was created then up and move about and is not likely to be heard today as part of a stage chat with acquaintances production. Beethoven’s Egmont music, Grieg’s during these musical inmusic for Peer Gynt, Sibelius’s music for Pelléas terludes. The cacophany et Mélisande, and Fauré’s music for Masques et Bergamasques are just a few of the dozens of must have been exasperworks for the theater that survive now almost ating for anyone who acexclusively in recordings and in the concert hall. tually wanted to listen. Yes, occasionally a theater will try pairing one of these with an actual production of the play, but the results are mixed. Our expectations for dramatic works — and accompanying music — are different today. Times do change. Certainly in the case of many entr’actes, written to be played between acts, they are assured a more attentive hearing in today’s concert hall because a 19th-century audience was free to get up and move about and chat with acquaintances during these musical interludes. This must have been exasperating for anyone who actually wanted to listen. This week’s Cleveland Orchestra presentation is a hybrid form, which has gained strong popularity in recent decades — of putting


About the Music

The Cleveland Orchestra

well-built incidental music together with an actor (or actors) reciting poignant and important moments from a play’s dialogue, usually in the language of the audience. The result can be a moving evocation of the play’s atmosphere and strongest moments, undergirded with music, focusing on the overall storyline without all the details. The music itself becomes a star, clearly and appropriately showcased. THE MUSIC AND STORY

In composing his Overture to A Midsummer Night’s Dream, Mendelssohn no doubt relished the challenge of recreating in music what he had seen on the stage. In this, he felt no inhibition about showing us Shakespeare’s characters as vividly as possible, while still holding firm to the structural principles of classical sonata form. The four magical chords in the winds is the curtain-up, suggesting the mysterious forest. The violins then show us, with extreme delicacy, the fairies that inhabit it. Then a grand orchestral tutti [“all together”] for Theseus and his court. The second subject is the lovers’ theme on the strings, sighing and amorous. And, finally, we see the “rude mechanicals,” stamping their feet and with one of their number (Bottom) braying like the donkey into which he will later be transformed, in the play’s reality if not in his general personality. The central part of the overture takes us to the fairies’ nocturnal frolics in the forest, with some alarming calls in the horns. Eventually, four descending pizzicato [“plucked” strings] scales show the lovers settled in sleep, and a passage vividly suggests speech before the opening chords again bring the fairies to life. Some uncouth notes (bassoon, then horn, then tuba) show us Bottom snoring in Titania’s arms (representing the confusion of couplings that nighttime in the Oberon, Titania and Puck with Fairies Dancing. A painting by William Blake (17571827). Watercolor and graphite on paper, circa 1788. Tate Britain, London.

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About the Music


“Hermia and Lysander,” an evocation of Shakespear’s A Midsummer Night’s Dream by the British artist John Simmons (18231876), circa 1870.


forest has engendered), and Theseus’s music is held back to the end, because he is the last mortal to speak in the play. The fairies, however, have the last word, and Theseus is shown sinking in a drowsy “goodnight!” The Scherzo, played after Act I, introduces the fairies’ scene in the forest at the start of Act II. Having already proved himself to be a master of gossamer fairy music in the Overture, Mendelssohn produced yet another sample of orchestral wizardry for this scene, rarely rising above piano [“soft,” as in “quiet”] and showing off the fine skills of both strings and winds, especially the flute, whose long fairy dance at the end trips lightly off the scene and into silence. Puck immediately steps in with “How now, spirit! Whither wander you?” and his exchanges with the fairies are interspersed with true “incidental” music, fragments of the Scherzo. The triangle’s ting announces the entry of King Oberon and his train from one side and Queen Titania and her train from the other, and the scene is enacted against fragments of Oberon’s fairy march from time to time. In the following scene Titania calls on her fairies to sing, and they oblige with “You Spotted Snakes,” one of Mendelssohn’s most irresistibly charming songs, turning elegantly from minor to major in each of two verses. Some whispered fragments are heard while Oberon squeezes the magic flower into Titania’s sleeping eyes. The Intermezzo is in two parts. At the end of Act II, Hermia has woken in the forest to find her lover Lysander gone. She runs off in desperation: “Either death or you I’ll find immediately.” The music perfectly conveys her distress as she gets lost in the woods, the themes darting from one instrument to another in the minor mode with no settled cadence. Her agitation is shown in the shuddering middle strings. As she is lost to sight deeper in the forest, we see Bottom and Quince arriving (two bassoons) for a gathering of the mechanicals. Shortly, they are all assembled, ready for the rehearsal of their play. (A brief movement of music, which accompanies one section of Act III, when Titania and the two pairs of lovers all find themselves bewitched into swooning over the wrong partner, is to be omitted in this week’s performance.) At the end of Act III, the four lovers have all been maneuvered into lying down to sleep very near one another in the same clearing in the woods. Puck arrives to squeeze the juice About the Music

The Cleveland Orchestra

The Cleveland Opera

La boheme



Saturday, June 10, 2017 at 7:30 pm The Ohio Theatre, Playhouse Square | 1511 Euclid Avenue, Cleveland OH 44115 Tickets $25 - $65 can be purchased through Playhouse Square box office at or by calling 216-241-6000 or 866-546-1353. Grzegorz Nowak, conductor CAST

Jorge Pita Carreras, tenor Rodolfo, a poet Dorota Sobieska, soprano Mimì, a seamstress Jianan Huang, baritone Marcello, a painter

Angela Mitchell, soprano Musetta, a singer James Binion, baritone Schaunard, a musician Bryant Bush, bass Colline, a philosopher

Jason Budd, bass Benoît, their landlord Adam E. Shimko, bass Alcindoro, a state councilor Kyle Kelvington, tenor Parpignol, a toy vendor

For additional information, visit or call 216-816-1411.

Mendelssohn, in a 19th-century lithograph based on a painting by Edward Magnus

The essence of the beautiful is unity in variety. â&#x20AC;&#x201D;Felix Mendelssohn

The British artist Arthur Rackham (1867-1939) created a set of illustrations for an acclaimed Edwardian edition of Shakespeare’s A Midsummer Night’s Dream published in 1908. At right, Titania is enamored upon seeing Bottom transformed into an ass.

into Lysander’s eyes, which will make him return to his true love, Hermia. The music is a sublime Nocturne, while the four lovers sleep. A solo horn, supported by two bassoons, leads off with a shapely theme that fills a paragraph. The violins are then a little agitated in character, and the music spreads into what might have been the slow movement of a symphony. The end fades into silence. In Act IV, Oberon has to disentangle the plot, supported by music that quotes the Nocturne and then the Overture. Theseus enters and calls for horns (Mendelssohn chose trumpets) to announce the Wedding March. This celebrates the coming nuptials of Theseus and Hippolyta, and also embraces the happy resolution of all the misunderstandings and quarrels that have beset the two pairs of lovers, Lysander and Hermia, and Demetrius and Helena. For as long as anyone can remember, this music has blessed the weddings of countless couples the world over, many of whom, heading for the daylight and the photographer, will have left the church long before the music reaches its broad and melodious subsidiary themes. Here’s a chance finally to hear the music in all its glorious fullness. The tune gained its currency in Victorian England — it was used at the 1858 wedding of Queen Victoria and Prince Albert’s eldest daughter; the monarchs were great admirers and friends of Mendelssohn, and helped generate a Mendelssohn “craze” that helped to build up amateur choral societies across Great Britain, many of which lasted well into the 20th century — a goodly number still flourish Severance Hall 2016-17

About the Music


today. The rival wedding march, or “Here Comes the Bride,” from Richard Wagner’s opera Lohengrin, in some minds neatly fits the divide between the “classical” world of Mendelssohn and the “new music” world of Wagner — but, of course, the actual music of the two marches isn’t that different in form and feeling. Both have lost some grip on actual use in weddings, of course, with matrimonial and courtship traditions of many sorts upended or discarded in our evolving world. Trumpets announce the mechanicals’ play (within the play) of “Pyramus and Thisby,” and, at the death of Pyramus, a Funeral March is heard. This ends on a solitary bassoon note as Thisby also dies. Theseus next calls for a Bergomask, or Dance of the Clowns, which recalls the braying donkey from the Overture. After a reprise of the Wedding March has seen the mortals off the stage, female voices sing Oberon’s lines “Through the house give glimmering light” based on the fairy music of the Overture. Then, at the last, Oberon and Puck exchange the last words while those magical wind chords from the Overture finally reach their perfect resolution — bringing the curtain gently down. Goodnight. —Hugh Macdonald © 2017

If we shadows have offended, Think but this, and all is mended. That you have but slumb’red here While these visions did appear. And this weak and idle theme, No more yielding than a dreame, Gentles, do not reprehend, If you pardon, we will mend.

A Midfommer Nights Dreame End ofAct V. _—__—



And, as I am an honest Puck, If we have unearned luck To escape the serpents’ tongue, We will make amends ere long; Else thee Puck a liar call. So, good night unto you all. Give me your hands, if we be friends, And Robin shall restore amends. [ Exit. ]

About the Music

The Cleveland Orchestra

Itay Tiran Itay Tiran is an Israeli stage and screen actor, a theater director, and musician. He is one of the most acclaimed Israeli actors working today. His performances have gained him many awards and nominations. He is making his Cleveland Orchestra debut with this week’s concerts. He began his artistic studies at the Thelma Yellin High School of the Arts, where he focused on piano. He is a graduate of the Beit Zvi School of the Performing Arts, where he received American Israel Cultural Foundation scholarships from 2000 to 2002. Mr. Tiran’s performances have garnered awards in Israeli theater and film, including Most Promising Actor in Israeli theater (2003), Best Actor (2005) for his performance in the title role in Hamlet at the Israeli Cameri Theater, and Best Supporting Actor for his role as Mozart in Amadeus (2009). Other theater roles have included Mother Courage, as Eilif; Utz Li Gutz Li [“Rumpelstilzchen”], as the King; Cabaret, as the Host (Best Actor, 2011); Richard II, as Richard; Richard III, as Richard (Best Actor 2012); Cyrano de Bergerac, as Cyrano; A Funny Thing Happened on the Way to the Forum, as Hysterium; Ivanov (which he also adapted and translated), as Ivanov; The Threepenny Opera, as Mack the Knife; and Mephisto, as Hendrik Höfgen. Itay Tiran made his directing debut

Severance Hall 2016-17

Guest Artist

in 2010 with Georg Büchner’s Woyzeck, in which he played the title role. He also adapted for stage and directed Little Man What Now?, for which he received the Milo Award for Direction. He was nominated for Best Actor at the Israeli Film Academy Awards for his roles in Forgiveness and The Debt. He has also appeared in Demon, The Promise, The Dead and the Living, and Boy Run, and on television in The Seminary and Hostages. In 2009, Mr. Tiran began a collaboration with German conductor Kurt Masur in performances of Mendelssohn’s A Midsummer Night’s Dream. That year they performed with the Israel Philharmonic Orchestra and the Orchestre National de France, and later with the San Francisco Symphony. At that time, Mr. Tiran also joined the Gropius Ensemble, which combines modern classical music with theatrical elements.


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Anya Matanovic

Emily Fons

American soprano Anya Matanovic made her Cleveland Orchestra debut in 2015 in Strauss’s Daphne. In repertoire by composers ranging from Handel to Stravinsky, she has performed with many opera companies across the United States, including Boston Lyric Opera, Glimmerglass Festival, Kentucky Opera, Lyric Opera of Kansas City, New York City Opera, Santa Fe Opera, and Seattle Opera. She has also appeared with a variety of orchestral ensembles, including the Illinois Symphony Orchestra, Palm Springs Orchestra, Portland Chamber Orchestra, Qatar Philharmonic Orchestra, Richmond Symphony, and the Rochester Philharmonic Orchestra. Born in Wisconsin to a Slovenian-born father and an American mother, Anya Matanovic grew up in Issaquah, Washington. She was a member of the Seattle Opera Young Artist Program, and an apprentice singer with the Santa Fe Opera. She was a regional finalist in the Metropolitan Opera National Council Auditions and has won prizes in a number of other voice competitions. Ms. Matanovic co-founded NachtMusik, an outreach group that performs opera throughout the Los Angeles area. For additional information, visit

American mezzo-soprano Emily Fons made her Cleveland Orchestra debut in July 2014. A Wisconsin native, she received her undergraduate degree from Luther College and master’s degree in opera and musical theater from Southern Illinois University. She was a 2010 semi-finalist in the Metropolitan Opera National Council Auditions and has also been honored by the Milwaukee Civic Music Association. Ms. Fons was a member of the Ryan Center at the Lyric Opera of Chicago and an apprentice with Santa Fe Opera; she participated in the University of Miami’s Salzburg program, Oberlin Baroque Performance Institute, and the Masterworks Festival. Ms. Fons has appeared with the opera companies of Atlanta, Baltimore, Chicago, Dallas, Indianapolis, New York, Pittsburgh, St. Louis, and San Diego. She performed in the 2015 world premiere of Higdon’s Cold Mountain with Santa Fe Opera. In concert, Emily Fons’s appearances have included engagements with the Los Angeles Chamber Orchestra, Madison Symphony, Oregon Symphony, Pacific Symphony, and at the Ongaku-Juku Festival. For more information, visit

Severance Hall 2016-17

Guest Artists


Lisa Wong

Director, Cleveland Orchestra Youth Chorus

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season, helping to prepare the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. With the 201213 season, she took on the added position of director of the Cleveland Orchestra Youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is an associate professor of music at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting, choral literature, and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Recent accolades have included work at Kenyatta University in Nairobi, Kenya, as a part of Tunaweza Kimuziki, and as a conductor for “Conducting 21C: Musical Leadership for a New Century” in Stockholm, Sweden. Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.


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Cleveland Orchestra Youth Chorus

The Cleveland Orchestra

Cleveland Orchestra Youth Chorus Lisa Wong , Director

Daniel Singer, Assistant Director Daniel Overly, Accompanist

Founded in 1991, the Cleveland Orchestra Youth Chorus gives vocally talented singers of high school age the opportunity to experience music-making at a professional artistic level. Comprised of students in grades 9-12, the members of the Youth Chorus represent some 40 different communities across Northeast Ohio. The Youth Chorus performs with the Cleveland Orchestra Youth Orchestra each year, presents its own annual holiday program, and sings in concerts with The Cleveland Orchestra. Membership is by audition. Sema Albulet Mayfield High School

Sydney Ball Cleveland Heights High School

Amelia Bayless-Marr Shaker Heights High School

Leah Beardslee Mentor High School

Samuel Blocker University School

Anna Buescher Chagrin Falls High School

Sasha Desberg sbe g Revere R evere High H g School Scho l

Jade Ja de D Domos om mos Aurora A urora H High gh School Sc ool

TTaniya n ya Dsouza D ouza Gilmour G i mo r Academy Academy

Niamh N amh Field F eld Newbury Junior/Senior High School

Debolina Ghosh Hathaway Brown

Mariana Gomez St. Peregrine Academy

Sarah Grube Shaker Heights High School

Alyse Hancock-Phillips Berea-Midpark High School

Fisher Ilijasic Shaker Heights High School

Lydia Kee Home School

Severance Hall 2016-17

Rachel Kovatich

Emma Violet Rosberil

Strongsville High School

Averie Lester

St. Joseph Academy

Jennifer Rowan

Lakewood High School

Rebecca Li

Mentor High School

Hannah Rutkowski

Andrews Osborne Academy

Narayah B. Lyles Cleveland School of the Arts

St. Joseph Academy

Steven Schein Mentor High School

Maria Schreiner

Grace Maicki Hawken School

Hawken School

Eva Shepard

Sarah Malarney Laurel School

Kirtland High School

Emily Shields

Annamarie A na Martin Gilmour Gi m Academy

Mentor High School

Michael Stupecki

EEllie l ie M Martin Laurel aurr School

Highland High School

Meghan Sweeney

Madeleine M ade Massey Laurel aurr School

Mentor High School

Natalie Thomas

Eunice Min Shaker Heights High School

Laurel School

Angel Victoria Tyler

Grace Mino Highland High School

Andrews Osborne Academy

Azalea Artemis Webster

Kristina Mullen Hathaway Brown

Shaker Heights High School

Garrett Wineberg

Nathan Niedzwiecki Homestead Lutheran Academy

West Geauga High School

Alex Wuertz

Isabella Oâ&#x20AC;&#x2122;Brien-Scheffer

Beaumont School

Berea-Midpark High School

Victoria Rasnick Strongsville High School

Mimi Ricanati Shaker Heights High School

Julie Weiner, Manager of Youth Choruses

Cleveland Orchestra Youth Chorus







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




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

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

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

Severance Hall 2016-17

Legacy Giving



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


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

Legacy Giving

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

The Cleveland Orchestra


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

Severance Hall 2016-17

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

Legacy Giving

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

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


orchestra news


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

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news



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.

Cleveland Orchestra News


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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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orchestra news


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: The Women’s Committee of The Cleveland Orchestra presents a special evening featuring the musicians of the Amici String Quartet on Friday, May 19. The benefit event is to raise money toward the Committee’s work in supporting the Orchestra. The Amici Quartet was founded in 1985, and all four musicians ns are members of The Cleveland Orchestra: stra: Takako Masame and Miho Hashizume (violin), Lynne Ramsey (viola), and Ralph ph Curry (cello). The evening will feature a performance by the group, as well ass a conversation with them moderated by Ilya Gidalevich, the Orchestra’s artistic administrator. Honorary hosts for the evening, to be held at Shaker Heights Country Club, are André and Ginette Gremillet. Benefit co-chairs are Patricia Moore Smith, Pat Sommer, and Barbara Davis. For more information, email to

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 Read about the music on your cellphone before coming to the concert by visiting The Cleveland Orchestra has launched a new website specifically for reading about the music ahead of the concert, easily and conveniently on your mobile phone. The new service, available online at, provides the program notes and commentary about the musical pieces, along with biographies of the soloists and other artists in a simpleto-read format. “This is designed with a clear format and purpose,” comments program book editor Eric Sellen. “Just the basic information, no fancy layout, with the type at a size that makes reading on a phone or other mobile device easy.” The service has been tested for several months, and is now fully available, with information posted a few days prior to each concert. The site features only the core musical content of each book. The complete program book is available online in a “flipbook” format, for viewing on



a desktop computer or tablet. But because the flipbook format is harder to read on a mobile phone, the Orchestra chose to work with its program book partner, Live Publishing Company, to create the ExpressBook for reading on phones. Flipbooks are available from the Orchestra’s main website at going back several years. The ExpressBook only has current season programs, beginning the week of any given concert and looking back several concerts. Feedback and suggestions are welcome and encouraged, and can be sent by emailing to


Fill your Summer with Music at the Cleveland Institute of Music!

Join us on campus from May through August for many exceptional concert experiences, including finale concerts of CIM’s intensive summer programs for Summer Sonata, Young Composers, Encore Chamber Music Academy and the nationally renowned Sphinx Performance Academy. We will also be home to summer festivals and our annual alumni showcase performances, Lunch and Listen. Check for the complete schedule. Severance Hall 2016-17

Cleveland Orchestra News


orchestra news


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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Cleveland Orchestra News

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


We are honored to partner with The Cleveland Orchestra to build audiences for the future through an annual series of BakerHostetler Guest Artists.

Copyright Marco-Borggreve

BakerHostetler is pleased to present Pierre-Laurent Aimard, piano.




Severance Hall

Thursday evening, May 18, 2017, at 7:30 p.m. Friday morning, May 19, 2017, at 11:00 a.m. * Saturday evening, May 20, 2017, at 8:00 p.m.

16 17 2 O 1 6 -1 7

Franz Welser-Möst, conductor F. JOSEPH HAYDN (1732-1809)

GYÖRGY LIGETI (1923-2006)


Symphony No. 39 in G minor 1. 2. 3. 4.

Allegro assai Andante Menuet — Trio Finale: Allegro di molto

Piano Concerto 1. 2. 3. 4. 5.

Vivace molto ritmico e preciso — Lento e deserto Vivace cantabile Allegro risoluto, molto ritmico — Presto luminoso: fluido, costante, sempre molto ritmico




Topos (for orchestra) 1. 2. 3. 4.

Ombra, Night Music Streams, Storm/Stress, Tempesta Speaking Love (in 11 short verses) Wild Hunt


Commissioned by The Cleveland Orchestra with support from the Young Composers Endowment Fund, generously established by Daniel R. Lewis and Jan R. Lewis.

F. JOSEPH HAYDN (1732-1809)

Symphony No. 96 (“The Miracle”) in D major 1. 2. 3. 4.

Adagio — Allegro Andante Menuet: Allegretto — Trio Finale: Vivace

This weekend’s concerts are supported through the generosity of the BakerHostetler Guest Artist Series sponsorship. * The Friday Morning Concert is performed without intermission, and features both Haydn symphonies and the Ligeti concerto.

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Concert Program — Week 21


May 18, 19 20

16 17

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


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



Severance Restaurant Reservations for dining suggested:

216-231-7373 or via



“Meet the Composer”

“Disruptions: Classical & Modern”

with composer Anthony Cheung in conversation with Rabbi Roger C. Klein of The Temple–Tifereth Israel

with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

HAYDN Symphony No. 39 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 77 (20 minutes)

GYÖRGY LIGETI Piano Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 79 (25 minutes)

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

CHEUNG — not included on Friday Morning Topos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 85 (20 minutes)

Concert ends: (approx.)

THUR 9:20 FRI 12:10 SAT 9:50

HAYDN Symphony No. 96 (“The Miracle”) . . . . . . . . . . . . . . . . Page 91 (20 minutes)

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


Context& Content

T H I S W E E K ’ S C O N C E R T S present pairs of musical works separated by nearly two centuries of evolution and change — including the world premiere of a brand-new work commissioned by The Cleveland Orchestra. Betwixt and between, there are connections — musical and personal. The concerts begin and end with symphonies by F. Joseph Haydn, often referred to as the “father” (or “papa”) of the symphony. It was during his many years working as an employee of the Esterházy princes that he helped fashion the “customary” parameters of the symphony as a major instrumental work, normally of four movements. His duties required him to write one symphony after another — and he used the steady assignment to explore and expand his ideas of what a symphony could be. We hear two this week, No. 39, from around 1765, created in his “Sturm und Drang” [“storm and stress”] period — named for an upwelling of vibrancy and color in the arts. The concerts close with one of Haydn’s mature symphonies, from three decades later, No. 96. Its miraculous nickname is from a catastrophe averted. The remainder of the program involves two (or just one on Friday) much more recent works — an avant-garde piano concerto (1977) and a world premiere (2017). It is not coincidental that Anthony Cheung’s brand-new piece shares a program with Ligeti’s Piano Concerto and two symphonies by Haydn. Cheung, and our piano soloist this week, Pierre-Laurent Aimard, both have connections to Ligeti, in person or in study. Additionally, as noted above, the opening Haydn Symphony is from that composer’s “Sturm und Drang” period. This Cheung has used as part of his inspiration for — one of the “topics” of — one of the movements in Topos. In fact, connections and inter-relationships are an integral part of Cheung’s approach as a composer. Context is important for content, and vice versa. Cleveland, The Cleveland Orchestra, and this week’s concerts are the context for this world premiere, spanning centuries and giving us new sounds and new insight.

—Eric Sellen

The Thursday evening performance is dedicated to Mr. and Mrs. Alfred M. Rankin, Jr. in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation.

Severance Hall 2016-17

Week 21 — Introducing the Concert


Season VI

Cycles : Phases June XV - July I, MMXVII

ChamberFest Cleveland, the celebrated summer music festival founded by Franklin Cohen, principal clarinetist emeritus of The Cleveland Orchestra, and his daughter, Diana Cohen, concertmaster of The Calgary Philharmonic, announces Season 6, â&#x20AC;&#x153;Cycles:Phases.â&#x20AC;? Featuring nearly thirty world-renowned artists, this lively chamber music festival will take place at seven exciting venues throughout Cleveland from June 15 through July 1, 2017.

FOR A FULL CONCERT LISTING and to purchase tickets visit our website WWW.CHAMBERFESTCLEVELAND.COM OR CALL US AT 216.471.8887 ChamberFest Cleveland is funded in part by:

Symphony No. 39 in G minor composed circa 1765-68

At a Glance Haydn wrote this Symphony in G minor sometime between 1765 and 1768 as an employee of Prince Esterházy. This symphony runs almost 20 minutes in performance. Haydn scored it for an orchestra of 2 oboes, 4 horns,

and strings. The Cleveland Orchestra has played this symphony on one previous weekend of concerts, in December 1992, conducted by Kurt Sanderling.

About the Music F O R T H E F I R S T S I X T Y Y E A R S of his life, Haydn never


F. Joseph


born March 31, 1732 Rohrau, Austria died May 31, 1809 Vienna

Severance Hall 2016-17

moved outside of Vienna and its immediate eastern provinces — the area where Austria, the Czech Republic, and Hungary now converge. The son of a wheelwright, Haydn had risen to world eminence and the patronage of kings and emperors solely through his musical gifts. The single element of luck in Haydn’s career was the chance that brought the organist of St. Stephen’s Cathedral in Vienna to the town where the eight-year-old Haydn was at school. His talent for music and his pleasing voice were sufficient to transport him directly to St. Stephen’s, the leading church in Vienna, within the ambience of the great notabilities of the Hapsburg Empire. For his first years as a composer, Haydn took what work he could find in Vienna. Then in 1759, the year of his first symphony, he was engaged as music director to Count Morzin, a Viennese nobleman. And then, within a year, he was taken on by Prince Esterházy, the first of four princes of that line for whom Haydn worked across a period of over forty years. His contract stipulated, among other duties and obligations, that he “shall appear in uniform. The said Joseph Heyden shall take care that he and all the members of his orchestra follow the instructions given and appear in white stockings, white linen, powdered, and with either a queue or a tiewig.” Moving between Vienna and the prince’s two sumptuous country palaces, Haydn was obligated to his employer for everything and could scarcely call his life, let alone his works, his own. Yet Nikolaus the Magnificent, prince from 1762 to 1790, adored music and valued Haydn enormously. Haydn’s worldwide fame grew from the music which the About the Music


Nikolaus Esterházy I,

many visitors to the Esterházy palaces had occasion to enjoy, whether symphonies, quartets, or operas. It was a form of artistic confinement that suited Haydn perfectly. He had no resentment about his status; his muse preferred to mature slowly and privately, until in his advanced years he was ready to enjoy the fruits of seniority and celebrity. In the early 1770s, Haydn’s symphonies took on a darker or richer color and for the first time, in part because he wrote several in minor keys. Nos. 26 and 39, despite their numbering, were composed at much the same time, being the first two in a series that also includes Nos. 44, 45, and 49, all in minor. The last of these has a nickname “La Passione,” which might serve for all of them, and collectively they are known as his Sturm und Drang [”Storm and Stress”] symphonies exploring darker emotions in parallel with the Sturm und Drang period in German theater of the time — more emotional, more realism, more passion.

the prince who employed Haydn


throughout most

In Symphony No. 39, the actuality of the key of G minor is emphasized from the start, and the stern mood dominates both the first and last movements. There are two pairs of horns in different keys, rather than the usual single pair, in order to deal with the greater range of modulation that the minor key generates. The winds take a rest for the Andante second movement, which, except in the last six bars, is in only two parts, the violins all playing together and the violas doubling the cellos and basses, thus creating a very austere texture. In the third movement, G minor returns for this Menuet, while in its Trio section the winds come to prominence. In the finale fourth movement the furious tremolandos in the inner strings proclaim a movement of high energy and relentless drive. Staying stormy to the end, there is never any question of switching to G major as a sweetener. —Hugh Macdonald © 2017

of his reign, 1762-90.

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.

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


Find out more at

About the Music

The Cleveland Orchestra

Piano Concerto composed 1980-88

At a Glance



LIGETI born May 28, 1923 Dicsöszentmárton, Romania died June 12, 2006 Vienna

Ligeti made his initial sketches for his Piano Concerto in 1980, at the invitation of the conductor Mario di Bonaventura. He created a threemovement work in 1985-86, which was premiered in Graz, Austria, on October 23, 1986, by members of the Vienna Philharmonic. Ligeti subsequently wrote two additional movements for the piece, and the completed five-movement concerto was premiered on February 29, 1988, in Vienna, with the Austrian Radio Symphony. Both premieres were conducted by Mario di Bonaventura and featured his brother Anthony di Bonaventura as the soloist. This concerto runs about 25

minutes in performance. Ligeti scored it for an orchestra of flute (doubling piccolo), oboe, clarinet (doubling alto ocarina), bassoon, horn, trumpet, trombone, percussion (triangle, 2 crotales, 2 suspended cymbals, 4 woodblocks, 5 temple blocks, tambour de basque, snare drum, 3 roto-toms, 4 tom-toms, bass drum, guiro, castanets, whip, siren, whistle, alarm whistle, slide whistle, flexatone, chromatic harmonica, glockenspiel, xylophone), and strings, plus the solo piano. The Cleveland Orchestra has presented this concerto on one previous weekend of concerts, in 2000, conducted by Pierre Boulez and featuring Pierre-Laurent Aimard as the soloist.

About the Music T H E H U N G A R I A N C O M P O S E R György Ligeti’s music in

the 1960s and ’70s established him as a leader of the European avant-garde — in succession to such figures as Pierre Boulez and Karlheinz Stockhausen, whose music represented the first wave of postwar innovation. Fleeing Hungary after the 1956 uprising there, Ligeti settled in Vienna and absorbed all the newest music he could, always aiming to be free of prevailing orthodoxies. The most distinctive feature of his first successful pieces was “micropolyphony,” a dense texture generated by many strands too intricate to be heard individually but combining to give a texture of great richness. Apparitions (1959) and Atmosphères (1961) are examples of this style. At the same time, he adopted many elements of style from his compatriot Béla Bartók and was always interested in folk music and exotic musics of all kinds. Ligeti spent many years as a professor of composition, first in Stockholm, then at the Hamburg Hochschule für Musik, and in 1972 as composer-in-residence at Stanford University. In 1969, the American conductor Mario di Bonaventura programmed Ligeti’s Cello Concerto at the Congregation of the Severance Hall 2016-17

About the Music


Arts Festival at Dartmouth College, of which he was the director, and at once offered Ligeti a commission to compose a piano concerto to be played by his brother Anthony di Bonaventura, professor of music at Boston University. No deadline was set, in part because the composer was deeply involved in creating his opera Le Grand Macabre, eventually performed in Stockholm in 1978. A creative impasse ensued, for although Ligeti made some jottings for the Piano Concerto in 1980, he made little real progress. He later said he had made “hundreds of attempts” to compose the concerto’s first page, pointing to a sprawling pile of manuscripts underneath his grand piano. So he set it aside to work out his ideas on rhythm, mainly in a series of Études for piano. With that behind him, he The accumulation of took up the Piano Concerto again in 1985 and notes, or tiny effects, completed three movements for a hearing in is, in Ligeti’s argument, Graz, Austria, in 1986 and for the premiere of the a special application of completed five-movement concerto in Vienna a year later. The soloist and conductor were the Chaos Theory — with brothers Anthony and Mario di Bonaventura, as patterns emerging from originally intended, and it was to Mario that the within the complex work was dedicated.

“chaos” that is set from beginning parameters. This is exceedingly difficult music for the orchestra as well as for the soloist to play, and, despite appearances, very difficult for the conductor also.


Ligeti’s aim in this music was to control separate levels of sound that display unrelated rhythms and combine them in ways that arrive at meeting points from time to time. In his busiest music, different rhythmic strands are clearly heard, but they do not relate audibly to other strands or to the conductor’s beat. From the point of view of the listener in the concert hall, the conductor can be seen giving a regular pulse although the events in the music itself never, or rarely, coincide with that beat. The accumulation of notes, or tiny effects, is, in Ligeti’s argument, a special application of Chaos Theory — patterns do emerge from within the complex “chaos” that is set from beginning parameters. This is exceedingly difficult music for the orchestra as well as for the soloist to play, and, despite appearances, very difficult for the conductor also. The pianist is accompanied by a small orchestra (single winds and no timpani) with an immense variety of percussion


About the Music

The Cleveland Orchestra

and “street sounds” such as the slide whistle and the ocarina. The first movement keeps the pianist busy throughout, and mostly loud, with a solo part that could be by Bartók were it not for the orchestra’s seemingly random intrusion. Folksy tunes with lopsided rhythms are heard from time to time. The second movement is the longest, being in essence a lament, with many drooping, mournful phrases, as at the beginning on the piccolo over a solo double bass. The plaintive mood at the beginning is gradually destroyed by some short, fierce entries and an accumulating sense of crisis. The scream of high-pitched whistles and a climactic siren bring it to a nightmarish conclusion, with the unexpected sound of a mouth-organ appearing, as it were, from nowhere. The third movement is a scherzo, reminiscent of Bartók’s “insect music” near the start and of Messiaen’s forestful of birds later on. The fourth movement is more enigmatic, with clearer textures and some gaps. Ligeti applied the mathematical concept of fractals in devising some of the rhythmic elements of this movement. He was very amused to be told that some listeners could hear “Happy Birthday to You” in this movement, too. The last and shortest movement, the fifth movement begins with a piano cadenza and is then filled with fairy-like music with scales reaching up to the sky. The piano and the xylophone have a race to the finish all on their own. This is music of astonishing complexity, which is also unmistakably exciting and brilliant as a product of the human mind. It was a real breath of fresh air when it appeared in 1988 and was widely imitated by younger composers. —Hugh Macdonald © 2017

Severance Hall 2016-17

About the Music


Pierre-Laurent Aimard French pianist Pierre-Laurent Aimard is acclaimed among today’s most important pianists, in both contemporary music and the standard piano repertoire. Since his Cleveland Orchestra debut in February 1996, he has returned often, performing with the Orchestra at home and on tour in Europe and the United States. He served as the Orchestra’s artist-in-residence from 2007 to 2009, and most recently appeared here in February 2012. Mr. Aimard performs with the world’s leading orchestras and has collaborated closely with many important contemporary composers, including Benjamin, Boulez, Kurtág, and Stockhausen. For more than 15 years, Mr. Aimard worked with György Ligeti, and also recorded his complete works for piano. Since his Carnegie Hall debut in 2001, Pierre-Laurent Aimard has maintained a regular relationship there, as well as with the Berlin Philharmonie, Cité de la musique, Lucerne Festival, Palais des BeauxArts, Salzburg Mozarteum, and Vienna Konzerthaus. Pierre-Laurent Aimard holds a professorship in Cologne, and presents concert lectures and workshops worldwide. He has been an artistic partner with the Saint Paul Chamber Orchestra, was artistic director of London’s Southbank Centre Messiaen Centenary Festival in 2008, and served as artistic director of the Aldeburgh Festival (2009-16). He continues to perform in his trio with Mark Simpson and Antoine Tamestit. Now an exclusive Deutsche Gram-

Severance Hall 2016-17

Guest Artist

mophon artist, Mr. Aimard has an extensive discography with Sony Classical and Teldec. His first DG album, Bach’s Art of the Fugue, won the Diapason d’Or award and prize for the Choc du Monde de la Musique. His recordings have received Echo Classic awards (2003, 2004, and 2009), a 2005 Grammy for Ives’s Concord Sonata and songs, and a Schallplattenkritik Honorary Prize in 2009. Mr. Aimard’s recent releases feature works by Bach, Debussy, and Liszt. He recorded Ravel’s piano concertos with The Cleveland Orchestra and Pierre Boulez. Born in Lyon in 1957, Pierre-Laurent Aimard studied at the Paris Conservatory with Yvonne Loriod, and in London with Maria Curcio. He received first prize in the 1973 Messiaen Competition and was appointed at age 19 by Pierre Boulez as the Ensemble Intercontemporain’s first solo pianist. Pierre-Laurent Aimard received the Royal Philharmonic Society’s Instrumentalist Award in 2005 and 2006, and was Musical America’s “Instrumentalist of the Year” in 2007. In 2016, he was given the Helpmann Award for his recitals of Messiaen’s Vingt regards sur l’enfant-Jésus.



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Topos (for orchestra) composed 2016-17

At a Glance



CHEUNG born January 17, 1982 San Francisco living in Chicago

Severance Hall 2016-17

Cheung wrote Topos in 2016-17 on a commission from The Cleveland Orhestra, funded through the Young Composers Endowment Fund, established in 1997 by a generous endowment gift from Daniel R. Lewis and Jan R. Lewis. The work is being given its world premiere performances with this weekend’s concerts. Cheung has dedicated the work to Franz WelserMöst and The Cleveland Orchestra, and to his wife, Wang Lu. Topos runs about 20 minutes in performance. Cheung scored it for 3 flutes (one doubling piccolo, one doubling flute, one tuned a quartertone lower than normal), 3 oboes (one

tuned a quarter-tone low), 3 clarinets (one tuned a quarter-tone low), bass clarinet, 3 bassoons, 5 horns (two tuned a quarter-tone low), 3 trumpets, 3 trombones, tuba, timpani, percussion (triangle, cymbals, clash cymbals, sizzle cymbal, hi-hat, indian bells, chimes, bamboo chimes, tahi gongs, anvil, 2 bongos, 2 tambourines, guiro, 2 almglockens, marimba, vibraphone, glockenspiel, snare drum, 2 bass drums, tam-tams, roto toms, woodblocks, whip, wind machine, thunder sheet), 2 harps (one tuned a quartertone low), piano, keyboard (tuned a quarter-tone low), celeste, and strings.

About the Music A N T H O N Y C H E U N G was introduced to Cleveland audiences a year ago as the newest Daniel R. Lewis Young Composer Fellow. As such, he is serving as composer-in-residence for The Cleveland Orchestra for two seasons — and continues a program conceived in 1998 and now approaching its twentieth anniversary. Including Cheung, nine composers have served in a sequence of these two-year fellowships (see page 87). Each has been introduced to Severance Hall audiences through the performance of one or more of their existing works, followed by the culmination of their Lewis Fellowship in the world premiere of a brand-new work written especially for The Cleveland Orchestra. A year ago, we heard Cheung’s Lyra, built upon a reading of Beethoven’s Fourth Piano Concerto as a tale of Orpheus and his stringed lyre. A soundworld came forth, with connections of subject and music, subject to music, and the idea of sounding anew and through history. Ideas and concepts are, in fact, as important to Cheung’s music as whatever musical development or modulations he may choose in building each work — not more important, but equally enmeshed in the musical fabric. This week’s world premiere features a brand-new work, the largest-scale piece Cheung has yet created, as he discusses

About the Music


in his own comments about this work (see pages 88-89). There, he also draws together some ideas that bring this week’s concert together, connecting directly with the music of Haydn and Ligeti, as well as a variety of other well-known classical composers. This week’s Topos may — or may not — sound like the same composer as Lyra, heard a year ago. Identifying “style” from just two works is challenging. Although, like last year’s Lyra, this new piece features a number of instruments tuned a quarter-step lower than normal, creating a sound “crowded” against our expected normal tonalities. In addition, there are echoes or mirroring of and from other musical pieces. The connection between his various works, in fact, is through Cheung’s inventive musical mind and his far-ranging thinking about musical history, philosophy, and the history of ideas, as well as his desire for connecting to context. Like many of his generation, Cheung is very comfortable borrowing — or reinterpreting, or sampling — musical moments or ideas from other works or cultures, either current or historical, although some are more easily heard or identified in a performance than others. As he has said, “I think we’re in an exciting time where so many of the sonic characteristics that once connoted acceptance within a clearly defined aesthetic have been lifted, recontextualized, and re-invented, and that there isn’t a taboo surrounding their re-appropriation. Of course, there is still the matter of being inventive and in good taste about it, but the fact that it’s harder to point to unified schools of thought based on nationality or region in today’s world is definitely a healthy thing.” Cheung claims many interests and influences in his music, including jazz and improvisation, alternate tunings, microtonalities (the pitches between the normal Western tuning of a piano‘s notes), the varied tuning of instruments and music in cultures around the world, and his experiences as a performer. About his own ideas of context and conent, Cheung says, “I would like to think that regional influences can and should be tapped into, without necessarily being the primary defining characteristic of a composer’s output. The important question is whether there is something musically interesting and relevant about putting these things in dialogue with one another.” With Topos, Cheung has given this new piece a short and straightforward title, meaning “topics.” He is a man who relishes language, its subtleties, and its nuanced (and varied) meanings. Here, he introduces an idea in the title, and “works it out” for our ears in the playing — in four differnt movements with different approaches and topics. There is seriousness here, and serious humor, too. Listen openly. —Eric Sellen © 2017


About the Music

The Cleveland Orchestra

About the Composer A N T H O N Y C H E U N G is a composer, pianist, and teacher. As a performer and advocate for new music, he is coartistic director of the Talea Ensemble, which he co-founded in 2007. He is serving as the Daniel R. Lewis Young Composer Fellow of The Cleveland Orchestra for the 2015-16 and 2016-17 seasons. Cheung says that his primary musical interests include notational aesthetics, jazz improvisation and transcription, microtonality and alternate tunings, rhythmic polyphony, and temporal perception. His musical ideas also engage poetic imagery, syntax and rhetoric, natural phenomena, and the visual arts. As a writer and scholar, his works include a dissertation on composer György Ligeti, as well as articles on contemporary music for specialists and for a general readership. Commissions have included the creation of new works for the Ensemble Modern, Ensemble Intercontemporain, New York Philharmonic, Frankfurt Radio Symphony Orchestra, Chicago Symphony Orchestra, and Scharoun Ensemble Berlin. Commissions have also come from the Koussevitzky and Fromm foundations. His works have been performed by ensembles and at festivals across North America and in Europe. Cheung has received awards from the American Academy of Arts and Letters and ASCAP, as well as first prize in the Sixth International Dutilleux Competition (2008), and a Rome Prize from the American Academy in Rome (2012). Two portrait albums, titled Roundabouts (2014) and Dystemporal (2016) offer an overview of some of his work to date. His music and performances have also appeared on New Focus Recordings, Tzadik, and Mode, and a number of works can also be heard by visiting his website. Cheung received a bachelor’s degree in music and history from Harvard and a doctorate from Columbia University, where he taught and also served as assistant conductor of the Columbia University Orchestra. He was a Junior Fellow at the Harvard Society of Fellows, and currently teaches as an assistant professor of music at the University of Chicago. For more information, visit

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About the Composer

Daniel R. Lewis Young Composer Fellows The Daniel R. Lewis Young Composer Fellows program is made possible by the Young Composers Endowment Fund, created with a generous gift to The Cleveland Orchestra from Daniel R. Lewis and Jan R. Lewis. The composers who have served as Young Composer Fellows to date are:

Marc-André Dalbavie 1999-2000 Matthias Pintscher 2001-03 Susan Botti 2003-05 Julian Anderson 2005-07 Johannes Staud 2007-09 Jörg Widmann 2009-11 Sean Shepherd 2011-13 Ryan Wigglesworth 2013-15 Anthony Cheung 2015-17


About Topos Composer’s Note The composer has written the following comments about this work: T O P O S is a work that re-engages familiar yet constantly evolving

“topics” from the vast repository of Western music. My interest in the histories and semiotics of musical gestures, genres, and types, along with their fixed and changing notions of meaning for composers and audiences across the centuries, became a focal point of the piece. Each movement is based on one or several related musical topics — representational tropes with special recurring characteristics that evoke scenery, psychological effect, natural and cultural phenomena, etc. The fluidity of meaning in these topics fascinates me. For example, horn calls were originally indicative of hunting, signaling, and fanfare, but reemerged in the 19th century as symbols of nostalgia and even leavetaking or farewell. In musicological research of the past few decades, “topic theory” is an area that has excited the understanding and interpretation of works that were once thought to be culturally neutral or expressively stagnant. Raymond Monelle’s The Musical Topic, introduced to me by my friend, the musicologist Andrew Haringer, was a major influence on my horn concerto, Fog Mobiles (2010). And, after reading other seminal texts by Leonard Ratner, Kofi Agawu, and others, my listening continued to change. Every stray hunting call, open-landscaped pastoral drone, thunderous storm, and flowing stream became even more magnified with semiotic meaning. This was especially so in works considered to belong to the dubious category of “absolute music,” without deliberate representational aims. As Mary Hunter writes, “the excitement of topic theory in its early days, and as applied to instrumental music, was that music whose cultural capital depended to a large extent on its so-called purity — its detachment from the groundings of life in society and its apparent echewal of fixed signification — could be shown, with historical support, to be deliciously and stimulatingly ‘impure’.” The first movement of Topos opens with my idea of a shadowy ombra topic, traditionally associated with ghosts and the supernatural, and is paired with “night music,” a genre that itself spans everything from Chopin’s nocturnes to the unsettled moods and evocations of nocturnal birds and insects in Béla Bartók’s own “night music.”


About the Music

The Cleveland Orchestra

Sturm und Drang (“storm and stress”), a term with applications to both early Romantic literature and certain restless minor-key Classical-era musical works, is more about inner emotional turmoil, with a quite specific taxonomy of characteristics. I conflate it in the second movement with my idea of actual storm music (tempesta), revealing the overlap of both inner agitation and the terror of the outward sublime. Both are introduced by a “water” topic that flows ceaselessly in overlapping layers, becoming more dangerous and menacing. (The water/river symbolism is also layered with historical/poetic allusion, from an opening E-flat pedal that suggests Wagner’s opera Das Rheingold and Schumann’s “Rhenish” Symphony, to the swirling treble gestures of Ravel’s Ondine.) The third movement, “Speaking Love,” departs the most from a culturally prescribed musical topic, and is instead a rhapsodic fantasy in eleven verses of varying lengths on the topic of love, from timid whispers to passionate declarations, with passing allusions to Wagner’s Tristan and Isolde and Berg’s Lyric Suite, among other works. The “Wild Hunt” fourth movement explores the huge range of expressive meaning that a simple horn call (usually a pair in parallel motion “horn fifths”) can lead to, from nostalgia to triumph to everything in between. A particular sequence of allusions moves non-chronologically but diachronically through examples as varied as Mahler, Schumann, Haydn, Beethoven, and Ligeti — heard in both original and recomposed versions — revealing the topic in all its strangely complex and multidimensional manifestations. Topos is the largest-scale project I’ve yet undertaken, and one that owes the most to the past. It is conscious of allusion and intertextuality (perhaps to a fault), while also aiming for a totally new perspective on familiar subjects. The reason why these musical topics are relatable is because they are part of our collective historical consciousness as listeners, while also speaking to shared human conditions. Thus they are open-ended and invite constant reinvention and commentary. My lasting gratitude goes to Franz Welser-Möst and The Cleveland Orchestra for their invitation to do precisely that. This piece is dedicated with gratitude to them, and with love to my wife, Wang Lu. —Anthony Cheung MARCH 2017

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About the Music


Symphony No. 96 (“Miracle”) in D major composed 1791

At a Glance


F. Joseph


born March 31, 1732 Rohrau, Austria died May 31, 1809 Vienna

Severance Hall 2016-17

Haydn wrote this symphony in D major in late 1790 or early 1791 in preparation for or during his first concert tour to London. The symphony was first performed on March 11, 1791, at the Hanover Square Rooms in London, conducted by the composer. (The work’s nickname of “Miracle” or “The Miracle” comes from an incident at one of Haydn’s London concerts that year, during which a chandelier crashed to the floor where moments before audience members had been. Although the nickname has become associated with Symphony No. 96, the chandelier crash actually took place a

number of years later, at the premiere of Haydn’s Symphony No. 102 on February 12, 1795.) This symphony runs about 20 minutes in performance. Haydn scored it for 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first presented Haydn’s Symphony No. 96 at concerts in December 1961, led by Robert Shaw. The Orchestra has played it on only a few occasions since then, most recently at Severance Hall in April 2011, conducted by Jiří Bělohlávek.

About the Music U P O N T H E D E A T H O F Prince Nicolaus Esterházy in 1790, he

was succeeded by his son Anton, who showed little interest in music. Although he retained Haydn’s services, there was nothing now to prevent Haydn from accepting some of the more enticing invitations that came his way. Haydn chose to go to London, because it was — more than ever — the most active musical capital in Europe. In his two visits to London, which entailed a cumulative stay of three years altogether, he tasted success and public adulation as never before. He composed now not for a patron but for the public. The “Miracle” nickname that identifies Symphony No. 96 derives from an early performance of the symphony during which a chandelier fell to the ground, happily without injuring a single person. As the story goes, audience members, so very pleased with the symphony, moved forward toward the stage at the symphony’s conclusion and away from the area beneath a chandelier just before it fell. Thus, at first blush, it seems quite appropriate to give such fine music the credit for such remarkably good fortune. Alas, history has a way of being only half true. The chandelier actually fell in 1795 during a performance of a later symphony, No. 102, which has no nickname at all. Somehow, by gossip and About the Music


Hanover Square Rooms concert hall, where Haydn’s “London” symphonies were premiered. Above, the interior in an 1844 illustration (with replaced chandeliers) and an exterior view from about the same time. Upper right: Johann Peter Salomon, the impresario who invited Haydn to come to London and lead a series of concerts.

tales-told and embellishment, and then with the quick-hold of tradition, the name was appended to the wrong symphony — and it would now truly require a miracle to take it away and give it to the rightful symphony. As we all know, many “miracles” cannot really be explained. During his first trip to London, Haydn composed six symphonies, now known as Nos. 93-98. They were numbered for publication later, some years after Haydn’s death, and not in the order written. The “Miracle” was actually the first for the group. But it seems likely that, to measure the response and taste of his new and unknown public, Haydn initially offered them such works as No. 90 and No. 92, composed in Vienna and brought in his luggage. When he heard the London orchestra (much larger and noisier than any he had ever heard before) and observed the London audience (thirsty for novelty and vociferous in their applause), he was able to set to work and compose the new symphonies he had contracted to write. The “Miracle” was highly successful, as Haydn must have supposed it would be, and its brightness perhaps reflected the new excitement of Haydn’s life and the extrovert style of London in those years. THE MUSIC

The symphony requires no clarinets, but there are trumpets and drums — used to powerful and striking effect. Like all


About the Music

The Cleveland Orchestra

but one of the twelve “London” symphonies that Haydn eventually wrote, the first movement has a slow introduction. This emphasizes the contrast between major and minor, which is reflected to particular effect elsewhere in this symphony. In the ensuing main body of the movement, with a tempo marking of Allegro, the first strong effect comes from a heavy, full entry the moment the opening theme (heard softly, as opening themes usually are) has been stated. There is no distinctive second theme. In the movement’s development section, tension, as always in Haydn, is quickly built up. It reaches an extreme climax — and . . . a long silence ensues. What follows sounds like a recapitulation (a restating of the initial music), but Haydn is playing tricks. Did he enjoy testing his new and sophisticated audience in this way? Did they spot the false recapitulation in the wrong key (in a key four notes too high)? Probably not as a group; but they surely felt the comfort of the real recapitulation in the correct key when it appears soon after. The slow movement, in G major, is a ternary form with a loud forceful middle section in the minor. The close is particularly appealing — two solo violins are featured (an obvious compliment to Salomon, the concertmaster who was the person who had invited Haydn to London in the first pace) and the wind players join them in concertante decorations. The third movement is a minuet, a stately court dance much in vogue throughout the 18th century. The oboe is the soloist here, in the minuet’s Trio section (basically, the second half of the movement), and, less prominently, a bassoon. The most winning movement of the symphony is undoubtedly the Finale fourth movement, a tour de force of vivacious comedy, exactly tailored to win applause. Haydn wanted it to be played in the “softest piano at a very quick tempo.” Again, there is an angry episode in the minor, a section for the winds alone, and some clamorous entries for trumpets and drums. Indeed and overall, at his first attempt for this new and worldly city, Haydn had hit on a successful formula that would serve for all the other symphonies he was to write for London. —Hugh Macdonald © 2017

Severance Hall 2016-17

About the Music



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

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Individual Annual Support


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

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

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

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

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

Mr. Peter Rose Steven and Ellen Ross Mr. and Mrs. David A. Ruckman Michael and Chandra Rudd (Miami) Dr. Isobel Rutherford Dr. and Mrs.* Martin I. Saltzman Raymond T. and Katherine S. Sawyer David M. and Betty Schneider Carol* and Albert Schupp David* and Harriet Simon Mrs. Gretchen D. Smith Dr. Marvin and Mimi Sobel* The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Bruce and Virginia Taylor Dr. Russell A. Trusso Pysht Fund Robert C. Weppler Sandy Wile and Susan Namen Anonymous (4)

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

Robert and Alyssa Lenhoff-Briggs Ellen E. and Victor J. Cohn Supporting Foundation Marjorie Dickard Comella Mrs. Lois Joan Davis Mr. and Mrs. Thomas S. Davis Harry and Joyce Graham Mr. Paul Greig AndrĂŠ and Ginette Gremillet Iris and Tom Harvie Henry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman Elisabeth Hugh Mr. David and Mrs. Dianne Hunt Mr. and Mrs. Brinton L. Hyde

Pamela and Scott Isquick Joela Jones and Richard Weiss James and Gay* Kitson Tim and Linda Koelz Mr. James Krohngold David C. Lamb Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Claudia Metz and Thomas Woodworth Mr. Donald W. Morrison Mr. John Mueller Georgia and Carlos Noble (Miami) Pannonius Foundation Nan and Bob Pfeifer Douglas and Noreen Powers Dr. and Mrs. Michael Rosenberg (Miami)

Dr. and Mrs. Ronald J. Ross Rosskamm Family Trust Mrs. Florence Brewster Rutter Patricia J. Sawvel Dr. and Mrs. James L. Sechler Drs. Daniel and Ximena Sessler Dr. Elizabeth Swenson Dr. Gregory Videtic Dr. and Mr. Ann Williams Anonymous (2)

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

Corinne L. Dodero Foundation for the Arts and Sciences Mr. and Mrs. Ralph Daugstrup Pete and Margaret Dobbins Mr. and Mrs. Paul Doman Mary and Oliver* Emerson Carl Falb Dr. D. Roy and Diane A. Ferguson William R. and Karen W. Feth Joseph Z. and Betty Fleming (Miami) Joan Alice Ford Michael Frank and Patricia A. Snyder Barbara and Peter Galvin Joy E. Garapic


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

listings continue


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

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.

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

Cumulative Giving

Annual Support


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



BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual Parker Hannifin Foundation PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of March 2017.

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


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

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

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

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


Corporate Annual Support

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

The Cleveland Orchestra


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

Cumulative Giving

Annual Support




The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Kulas Foundation Maltz Family Foundation State of Ohio Ohio Arts Council The Kelvin and Eleanor Smith Foundation $5 MILLION TO $10 MILLION

The George Gund Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon Foundation John P. Murphy Foundation $1 MILLION TO $5 MILLION

The William Bingham Foundation The George W. Codrington Charitable Foundation GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation The Sisler McFawn Foundation The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of March 2017.

Severance Hall 2016-17

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

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

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

Knight Foundation (Miami) Kulas Foundation John P. Murphy Foundation $100,000 TO $249,999

GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation $50,000 TO $99,999

Paul M. Angell Family Foundation The George W. Codrington Charitable Foundation Florida Division of Cultural Affairs (Miami) The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Frederick and Julia Nonneman Foundation The Nord Family Foundation The Payne Fund The Sage Cleveland Foundation

$20,000 TO $49,999 The Batchelor Foundation, Inc. (Miami) Eva L. and Joseph M. Bruening Foundation Mary E. and F. Joseph Callahan Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Char and Chuck Fowler Family Foundation The Helen Wade Greene Charitable Trust National Endowment for the Arts The Reinberger Foundation Sandor Foundation The Sisler McFawn Foundation George Stevens Fund of Akron Community Foundation The Veale Foundation

$2,500 TO $19,999 The Abington Foundation The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation Cleveland State University Foundation The Conway Family Foundation The Cowles Charitable Trust (Miami) Elisha-Bolton Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family Foundation The Margaret Clark Morgan Foundation The M. G. O’Neil Foundation Paintstone Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Harold C. Schott Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The O’Neill Brothers Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wuliger Foundation Anonymous (2)

Foundation and Government Annual Support


11001 Euclid Avenue Cleveland, Ohio 44106



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



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

Severance Hall

The Cleveland Orchestra

11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

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

CLEVELAND ORCHESTRA STORE A variety of items relating to The Cleveland Orchestra — including logo apparel, DVD and compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermissions. The Store is also open Tuesday through Friday from 11 a.m. to 5 p.m. Call 216-231-7478 for more information, or visit the Store online at

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

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

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

Severance Hall 2016-17

Guest Information

tra, is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and social events. Catering provided by Marigold Catering. Premium dates are available. Call the Facility Sales Office at 216-2317420 or email to

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

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

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


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.

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.

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

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

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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.

Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit under18.


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).

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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Guest Information




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.

Thursday June 1 at 7:00 p.m. Friday June 2 at 7:00 p.m. Saturday June 3 at 7:00 p.m. Sunday June 4 at 3:00 p.m. THE CLEVELAND ORCHESTRA Brett Mitchell, conductor

Fall in love again with the magic of West Side Story. 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, including Best Picture. Presented by arrangement with MGM Studios Inc.


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 May 11, 13, 14; 18,19, 20 Concerts  
The Cleveland Orchestra May 11, 13, 14; 18,19, 20 Concerts  

May 11, 13, 14 Mendelssohn's A Midsummer Night's Dream May 18,19, 20 Haydn, Ligeti and a World Premiere