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Concert: May 25, 26, 27 Beethoven’s Fourth Piano Concerto — page 31 Concert: June 1, 2, 3, 4 At the Movies: West Side Story — page 70 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.

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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 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 107 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

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

22 BEETHOVEN PIANO CONCERTO 4 Concert: May 25, 26, 27 . . . . . . . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 WEEK


Piano Concerto No. 4 . . . . . . . . . . . . . . . . . . . . . . . 35 SCHOENBERG

Transfigured Night . . . . . . . . . . . . . . . . . . . . . . . . . . 41 VARÈSE

Amériques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Soloist: Murray Perahia . . . . . . . . . . . . . . . . . . . . . . . . 39 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 23 NEWS

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

23 WEST SIDE STORY Concert: June 1, 2, 3, 4 . . . . . . . . . . . . . . . . . . . . . . . Introducing the Movie . . . . . . . . . . . . . . . . . . . . . . . . Movie Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BERNSTEIN - LAURENTS-SONDHEIM West Side Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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.

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

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

Production Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Conductor: Brett Mitchell . . . . . . . . . . . . . . . . . . . . . . 89

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.

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . . 14 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Annual Support Individual Support . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Corporate Support . . . . . . . . . . . . . . . . . . . . . . . . . 101 Foundation and Goverment . . . . . . . . . . . . . . . 103


Table of Contents

The Cleveland Orchestra

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

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

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

Visit for information about this exciting partnership

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


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.


as of March 2017

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival O F F I C E R S A ND E XEC UT I VE C O MMIT T E E Richard K. Smucker, President Dennis W. LaBarre, Chairman Richard J. Bogomolny, Chairman Emeritus The Honorable John D. Ong, Vice President Jeanette Grasselli Brown Matthew V. Crawford Alexander M. Cutler David J. Hooker Michael J. Horvitz

Norma Lerner, Honorary Chair Hewitt B. Shaw, Secretary Beth E. Mooney, Treasurer

Douglas A. Kern Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley

Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner Barbara S. Robinson

R E S I D E NT TR U S TE ES Dr. Ronald H. Bell Richard J. Bogomolny Yuval Brisker Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Betsy Juliano Jean C. Kalberer

Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Milton S. Maltz Nancy W. McCann Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Meg Fulton Mueller Katherine T. O’Neill The Honorable John D. Ong Rich Paul Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin

Audrey Gilbert Ratner Charles A. Ratner Zoya Reyzis Barbara S. Robinson Paul Rose Steven M. Ross Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

N O N- R E S I D E NT TR US T E E S Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

Laurel Blossom (SC) Richard C. Gridley (SC)

Loren W. Hershey (DC) Herbert Kloiber (Germany)

T R U S TE E S E X- O F F IC I O Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Dr. Patricia Moore Smith, President, Women’s Committee of The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra T R U S TE E S E M E R I TI George N. Aronoff S. Lee Kohrman Charlotte R. Kramer Donald W. Morrison Gary A. Oatey Raymond T. Sawyer PA S T PR E S I D E NT S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Beverly J. Warren, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

H O N O RARY T RUS T E E S FOR LIFE Dorothy Humel Hovorka Gay Cull Addicott Robert P. Madison Charles P. Bolton Robert F. Meyerson Allen H. Ford James S. Reid, Jr. Robert W. Gillespie

Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08 Dennis W. LaBarre 2009-17

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Severance Hall 2016-17

André Gremillet, Executive Director

Musical Arts Association


Sound for the Centennial TH E C A M PAI G N FO R TH E C LE V EL AN D O RC H ESTR A In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have embarked on an ambitious fundraising campaign. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash gifts and THE CLEVELAND legacy commitments, while also securing broad-based and increasing annual ORCHESTRA support from across Northeast Ohio. The generous individuals and organizations listed on these pages have made long-term commitments of annual support, endowment funds, and legacy declarations to the Campaign. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial difference in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact the Orchestra’s Philanthropy & Advancement Office at 216-231-7520. Listing as of January 30, 2017. GIFTS OF $5 MILLION AND MORE

The Cleveland Foundation Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Nancy Fisher and Randy Lerner in loving recognition of their mother, Norma Lerner

Maltz Family Foundation Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner Anonymous


Art of Beauty Company, Inc. BakerHostetler Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mrs. M. Roger Clapp* Eaton FirstEnergy Foundation Forest City The George Gund Foundation Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley KeyBank Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Mrs. Norma Lerner The Lubrizol Corporation Elizabeth Ring Mather and William Gwinn Mather Fund Medical Mutual


The Andrew W. Mellon Foundation Ms. Beth E. Mooney John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund Ohio Arts Council The Honorable and Mrs. John Doyle Ong The Payne Fund PNC Bank Julia and Larry Pollock Mr. and Mrs. Alfred M. Rankin, Jr. James and Donna Reid Barbara S. Robinson The Leighton A. Rosenthal Family Foundation The Sage Cleveland Foundation The Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation Mr. and Mrs. Richard K. Smucker The J. M. Smucker Company Joe and Marlene Toot Anonymous (4)

Sound for the Centennial Campaign

The Cleveland Orchestra


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

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

GIFTS OF $250,000 TO $500,000

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

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

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

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

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

GIFTS OF $100,000 TO $250,000

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

Severance Hall 2016-17

Sound for the Centennial Campaign

* deceased


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

Severance Hall 2016-17

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

About the Orchestra



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


1l1l 11l1 1l1I

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

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


each year

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


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


Likes on Facebook (as of Mar 2017)

The Cleveland Orchestra has introduced over 4.1 million children in Northeast Ohio to symphonic music through concerts for children since 1918.




concerts each year.

The Orchestra was founded in 1918 and performed its first concert on December 11.

The Cleveland Orchestra performs over



post-concert entertainment), film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to


borhood residency program, designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways. Additionally, a Make Music! initiative championed by Franz Welser-Möst advocates the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people and to develop the youngest audience of any orchestra. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest — with 20% of attendees now comprised of concertgoers age 25 and under. Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences — including popular Friday night concerts (mixing onstage symphonic works with Severance Hall 2016-17

explore music as a universal language of communication and understanding. An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s performances as some of the best such concert experiences anywhere in the world. Hundreds of thousands have learned to love music

About the Orchestra


through its education programs and have celebrated important events with its music. While strong ticket sales cover just under half of each season’s costs, it is the generosity of thousands each year that drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the Orchestra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 193343; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002. The opening in 1931 of Severance Hall as the Orchestra’s permanent home

brought a special pride to the ensemble and its hometown. With acoustic refinements under Szell’s guidance and a building-wide restoration and expansion in 1998-2000, Severance Hall continues to provide the Orchestra an enviable and intimate acoustic environment in which to perfect the ensemble’s artistry. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States. Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world.

Franz Welser-Möst leads a concert at John Adams High School. Through such In-School Performances and Education Concerts at Severance Hall, The Cleveland Orchestra has introduced more than 4 million young people to symphonic music over the past nine decades.


About the Orchestra

The Cleveland Orchestra



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Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra


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

Music Director


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

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

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


Music Director

The Cleveland Orchestra

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DIRECTOR Kelvin Smith Family Chair


Blossom-Lee Chair


Gretchen D. and Ward Smith Chair



Clara G. and George P. Bickford Chair

Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan


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

Emilio Llinás 2 James and Donna Reid Chair

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

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

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

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

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

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

Orchestra Roster

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

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

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

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

The Cleveland Orchestra

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

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

Mary Kay Fink »

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

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

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

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

ENGLISH HORN Robert Walters

Michael Miller

Robert R. and Vilma L. Kohn Chair

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

Concert Previews


“Musicisthepoetryoftheair.” ͲJeanPaulRichter

LiƟgaƟonManagement,Inc.(LMI) ispleasedtosponsor


MURRAYPERAHIA astheyperform Beethoven’sPianoConcertoNo.4, Schoenberg’sTransĮguredNight (sĞƌŬůćƌƚĞEĂĐŚƚ) andVarese’sAmériques.

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Severance Hall

Thursday evening, May 25, 2017, at 7:30 p.m. Friday evening, May 26, 2017, at 8:00 p.m. Saturday evening, May 27, 2017, at 8:00 p.m.

Franz Welser-Möst, conductor LUDWIG VAN BEETHOVEN (1770-1827)

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Piano Concerto No. 4 in G major, Opus 58 1. Allegro moderato 2. Andante con moto 3. Rondo: Vivace MURRAY PERAHIA, piano


EDGARD VARÈSE (1883-1965)

Verklärte Nacht [Transfigured Night] Amériques

This weekend’s concerts are sponsored by Litigation Management, Inc. The Friday concert is also sponsored by Forest City Realty Trust and co-sponsored by RPM International Inc. The Thursday evening performance is dedicated to Giuliana C. and John D. Koch in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

Severance Hall 2016-17

Concert Program — Week 22


May 25, 26, 27

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THI S WE E KE ND'S CONCE RT Restaurant opens: THUR 4:30 FRI 5:00 SAT 5:00


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



Severance Restaurant Reservations for dining suggested:

216-231-7373 or via


“Looking Forward” with guest speaker Cicilia Yudha, assistant professor of piano, Youngstown State University

BEETHOVEN Piano Concerto No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 35 (35 minutes)

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

INTERMISSION (20 minutes)

SCHOENBERG Transfigured Night [Verklärte Nacht] . . . . . . . . . . . . . Page 41 (30 minutes)

Concert ends: (approx.)

VARÈSE Amériques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 47 (20 minutes)

THUR 9:20 FRI 9:50 SAT 9:50

Severance Restaurant Post-concert desserts and drinks

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


This Week’s Concerts

The Cleveland Orchestra


Piano , Night & Sound!!

T H I S W E E K E N D ’ S C O N C E R T S offer a trio of works, giving us glimpses of

three masterful composers in the midst of creating new soundworlds. Here are cutting-edge ideas from across two centuries. Two of these works have come to feel comfortable and normal (but still daring), while the final piece continues to raise strong questions (and longing admiration) for its sheer amassed volume, rhythmical collusion, and musical gallimaufry. The evening begins quietly, with piano alone. Thus did Beethoven upturn expectations in 1808, with a completely unusual start to his Fourth Piano Concerto. The orchestra joins in soon enough, but here Beethoven clearly cut his ties to the past — and created the heroic piano concerto. The soloist is placed fully in charge — not just as the expected center of attention, but as full equal to the entire orchestra. The soloist becomes protagonist rather than mere dialogue partner, and the “conversation” between soloist and orchestra takes on a sense of combative clashing and argument far beyond the good-natured sparring in Mozart’s masterful, beautiful concertos. Our heroic soloist this week is Murray Perahia, making a welcome return to Severance Hall. After intermission, Franz Welser-Möst has chosen two works from the opening edges of the 20th century. The first, Arnold Schoenberg’s Transfigured Night, was written as a string sextet in 1899, then enlarged for string orchestra in 1917. This is lush Romanticism grinding against the awakening of modern psychology. A man and woman walk through the night. A difficult conversation ensues, which, instead of dividing them, brings them closer together. The music is poignant, powerful, beautiful — and, quite unexpected when compared to Schoenberg’s later music. Even here, however, he was laying the groundwork, the shifting sands, toward his more modern music to come. The evening ends with something very very large — the orchestra, the number of instruments, the sound volume, the percussion battery, the assault on our senses and ears. But . . . what fun! once you can let yourself into the clangorous soundworld of Edgard Varèse’s Amériques, created in the 1920s as a sonic reaction to New York City — from its quietest solitude to its biggest city bang. Think . . . musical (and metaphorical) roller-coaster ride, hang on tight, and enjoy! —Eric Sellen


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

Severance Hall 2016-17

Week 22 — 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.

Piano Concerto No. 4 in G major, Opus 58 composed 1805-06

At a Glance


Ludwig van

BEETHOVEN born December 16, 1770 Bonn died March 26, 1827 Vienna

Severance Hall 2016-17

Beethoven composed his Fourth Piano Concerto in 1805-06 and served as both soloist and conductor in the work’s first performances, in March 1807 at a semi-private concert in the home of his patron Prince Lobkowitz, followed by the public premiere at the Vienna Akademie on December 22, 1808. The concerto was published in 1808 with a dedication to Beethoven’s pupil, the Archduke Rudolph. This concerto runs about 35 minutes in performance. Beethoven scored each of the movements differently: the first movement calls for flute, 2 oboes, 2 clarinets, 2 bassoons,

2 horns, and strings, plus the solo piano; the second movement utilizes only piano and strings; and the finale augments the first-movement ensemble with 2 trumpets and timpani. The Cleveland Orchestra first played Beethoven’s Concerto No. 4 in November 1923, with soloist Josef Hofmann and music director Nikolai Sokoloff. The most recent performances were given in July 2016 as part of the Cooper Piano Competition presented jointly with Oberlin College, and in July 2015, when Franz WelserMöst led a performance at Severance Hall with soloist Igor Levit.

About the Music L I K E M A N Y C O M P O S E R S before (and after), Beethoven wrote his concertos for piano and orchestra as vehicles for displaying his own dazzle as a performer. In those times — before radio and recordings and copyright, and when public concerts were less frequent than today — new music was all the rage. Composing your own ensured that you had fresh material to perform. Your biggest hits, from last year or last week, were meanwhile quickly appropriated by others through copied scores and with the best tunes arranged for street organ grinders and local wind ensembles. It is little wonder, then, that Mozart kept some scores under lock and key, and left the cadenzas for many of his concertos blank, so that only he could fill them in authentically with his own brand of extemporaneous perfection. Beethoven moved to Vienna at the age of 22 in 1792. He’d hoped to get to Europe’s musical capital sooner and to study with Mozart, but family circumstances had kept him at home in Bonn helping raise his two younger brothers (while tempering the boys’ alcoholic father). It was as a performer that Beethoven forged his reputation in Vienna, and within a year he was widely known as a red-hot piano virtuoso. This set the stage for writing his own concertos. For the first three, written between 1795 and 1802, he followed very much in Mozart’s footsteps with the form. In the 1780s, Mozart About the Music


had turned the concerto into a fully-realized and independent genre, sometimes churning out three or four each season. But whereas Mozart, over the course of thirty or more works for solo piano or violin, had developed the concerto into sublime products, Beethoven (ultimately creating just five works for piano and one for violin) strived to make the form individual and handmade again. Mozart created the molds and set the standards, and only occasionally over-filled or over-flowed them. Beethoven at first worked within and around those earlier definitions, but the thrust of his musical creativity eventually shattered tradition in order to offer up the first magnificently over-charged concertos of the Romantic 19th century. THE MUSIC

The Fourth Piano Concerto begins unexpectedly, with piano alone. While today we recognize this as unusual, it is probably impossible for us to understand how totally shocking it The Fourth Piano Conwas for audiences at the premiere. Even though Mozart’s concertos had crystallized the form only certo begins unexpecttwenty years earlier, musical audiences of the edly, with piano alone. time knew the conventions and were expecting While we recognize this creativity within those boundaries. A concerto as unusual, it is probalways started with an orchestral introduction. The beginning might be longer or shorter, noisy ably impossible for us to or quiet, but the concerto was ultimately an orunderstand how totally chestral genre, with soloist as an invited guest. shocking it was for audiHere, with Beethoven’s Fourth Concerto, ences at the premiere. the soloist is instead placed fully in charge of the form — not just in the audience’s minds Audiences of the time as the expected center of attention, but as full knew that a concerto equal to the entire orchestra. Thus is the heroic always started with an 19th-century concerto born, in which the soloist orchestral introduction! became protagonist rather than mere dialogue partner, and the “conversation” between soloist and orchestra takes on a sense of combative clashing and argument far beyond the good-natured sparring that earlier concertos had offered as musical entertainment. Not only does the piano begin the concerto, but it starts with unusual gentleness and grace, and “warms up” only gradually. Indeed, the entire concerto seems much more of a personal statement from Beethoven, as soloist and overall composer, than any of his preceding concertos. The opening movement continues at length — at twenty minutes, it is at least a third longer than any that Mozart or Beethoven


About the Music

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had previously created — alternating across the sections of sonata form between a deceptive, gentle playfulness and a more robust outlook. Then in the second movement, the orchestra and soloist almost seem to be wandering around in different concertos. The orchestra offers forceful stabs of sound, to which the piano repeatedly responds with introspective musings, as if thinking about something else entirely. Once the bewildered orchestra backs off, however, Beethoven allows the piano to be more or less alone onstage, as if deep in thought. Some sublimely heart-wrenching solo piano passages follow, including a cadenza for right hand alone, before the movement withers to silence. Without pause, we are suddenly in the third-movement finale. Here, at last, the orchestra and soloist are ready to enjoy playing together, and this joyful movement is a delightful rondo of invention and variations built around an initial short march tune. Beethoven carefully varies the lengths of each statement and its response, building up a wonderfully vibrant sense of fun and excitement. A brief cadenza allows a momentary spotlight on the soloist and then, just as at the beginning of the concerto, Beethoven also breaks convention at the end, with the solo part written through to the final chord in the final bar. Traditionally, the orchestra would have closed out the Severance Hall 2016-17

About the Music


piece without the soloist, or with the soloist merely playing along with the tune at the end. (Beethoven’s Fourth isn’t entirely cutting edge in this respect, however, as Mozart had tried a “dual ending” in his last piano concerto.) In the context of listening to any of Beethoven’s five piano concertos and contemplating his innovations and evolution of the artform, it is occasionally worthwhile noting that there is a sixth piano concerto by Beethoven. This is an arrangement that he made (or helped supervise) of his own Violin Concerto, Opus 61, for a generous Italian publisher. Known as Opus 61a, it is infrequently programmed, few soloists have bothered to learn the part, and, admittedly, some portions of it don’t really work. It is, nonetheless, a strangely interesting work to hear in performance or recording — and one sure way for many modern listeners who feel too well-acquainted with Beethoven’s concertos to be startled again, as his audiences were, on hearing something unexpectedly familiar but different. —Eric Sellen © 2017 Eric Sellen serves as program book editor for The Cleveland Orchestra. He has written program notes for orchestras and festivals across North America and Europe.

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Murray Perahia Across the more than four decades he has been performing, American pianist Murray Perahia has become one of the most sought-after pianists of our time, appearing in all of the major international music centers and with every major orchestra. He also serves as principal guest conductor of the Academy of St. Martin in the Fields, with whom he has toured as conductor and pianist throughout the United States, Europe, Japan, and Southeast Asia. He made his Cleveland Orchestra debut in November 1974 and most recently performed with the Orchestra in January 2000. Born in New York, Murray Perahia started playing piano at age four, and later attended Mannes College, where he majored in conducting and composition. He spent his summers at the Marlboro Festival, where he collaborated with such musicians as Rudolf Serkin, Pablo Casals, and the members of the Budapest String Quartet. He also studied with Mieczyslaw Horszowski and Vladimir Horowitz. In 1972, Mr. Perahia won the Leeds International Piano Competition, and in 1973 he gave his first concert at the Aldeburgh Festival, where he subsequently worked closely with Benjamin Britten and Peter Pears, accompanying the latter in many art song recitals. He also served as coartistic director of the Festival, 1981-89. Murray Perahia has a wide and varied discography. In 2012, Sony Classical issued a special boxed-set edition of all his recordings (including several DVDs) titled

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Guest Artist

The First 40 Years. His albums have received a number of Gramophone Awards and many Grammy nominations. His recording of Brahms’s Handel Variations, which won a Grammy Award in 2011, was described as “one of the most rewarding Brahms recitals currently available.” He was also awarded a 2003 Grammy Award for Chopin’s complete Études and another in 1999 for an album of Bach’s English Suites. Mr. Perahia recently began a project to edit the complete Beethoven sonatas for the Henle Urtext Edition. He also edited and served as producer for numerous hours of recordings by legendary pianist Alfred Cortot, which resulted in the Sony album Alfred Cortot: The Master Classes. Murray Perahia is an honorary fellow of the Royal College of Music and the Royal Academy of Music. In 2004, he was awarded an honorary Knight Commander of the Most Excellent Order of the British Empire by Queen Elizabeth, in recognition of his outstanding service to music. For more information, please visit




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Transfigured Night [Verklärte Nacht], Opus 4 composed 1899 for string sextet; arranged for string orchestra 1917, revised 1943

At a Glance



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

Schoenberg wrote Verklärte Nacht [“Transfigured Night”] in 1899, for string sextet (2 violins, 2 violas, 2 cellos). The first performance was given on March 18, 1902, in Vienna, with the Rosé Quartet (Arnold Rosé, Albert Bachrich, Anton Buzitska, and Friedrich Buxbaum) joined by Franz Jelinek (viola) and the composer Franz Schmidt (cello). In 1917, Schoenberg arranged the piece for string orchestra, adding double basses; he revised this version in 1943. The string orchestra score was given a private premiere on March 26, 1919, in Vienna, conducted by the composer. This work runs about 30 minutes in performance. The orchestral version is scored for string orchestra.

The Cleveland Orchestra first played this music during the 1942-43 and 1944-45 seasons, when Antal Dorati led performances accompanying the visiting Ballet Theatre (now American Ballet Theatre), choreographed by Antony Tudor under the title “Pillar of Fire.” The first concert performances were under the direction of Vladimir Golschmann during the 1944-45 and 1945-46 seasons. The only other Cleveland Orchestra performances of the orchestral score were given under Pierre Boulez’s baton during the 1995-96 season. (Members of the Orchestra presented the original sextet version in a chamber concert at Severance Hall in January 2001.)

About the Music A R N O L D S C H O E N B E R G ’ S boyhood in Vienna gave him his

first musical experiences — playing first the violin, later the cello, and then chamber music, a favorite activity in those years for both amateurs and professionals. He composed duets, trios, and quartets, most of which have disappeared or were destroyed. His String Quartet in D major, from 1895, was not published until 1966, years after his death, leaving the Quartet in D minor of 1904 to be listed as “No. 1.” In between these two quartets came the string sextet titled Verklärte Nacht [“Transfigured Night”], composed rapidly in 1899. This was to be a work of momentous historical importance, quite apart from its strong emotional appeal. Schoenberg broke rules in this piece, as he was to do throughout his career. For one thing, Vienna musicians were assumed to be either Brahmsians or Wagnerians, yet here he was manifestly declaring himself to be both at the same time — traditional and radical simultaneously. Richard Strauss had made a spectacular conversion from one camp to the other, but Schoenberg was able to sustain his deep admiration for Brahms and the classical German tradition by choosing Brahms’s two Severance Hall 2016-17

About the Music


string sextets as his model, while at the same time borrowing Wagner’s harmonic and emotional language in a one-movement form (consolidating to one movement as Franz Liszt had done). Such daring might have been expected to please all parties, yet, as in all Schoenberg’s confrontations with the press and the public, the work ran head on into controversy — and had to be defended with the sort of desperate heroism that war associates with ancient Thermopylae or, in the great wars of the 20th century, with Gallipoli or Dunkirk (with similar and decidedly mixed results). Today’s listeners no longer experience any difficulty with Schoenberg’s harmonic language in this piece, but the emotional intensity still makes huge demands. The textures are often overwhelmingly dense, to the Today’s listeners no point where the music seems too great a burden longer experience diffifor six instruments to bear. In 1917, Schoenberg culty with Schoenberg’s arranged the work for string orchestra. This, however, does not lighten the texture. In fact, harmonic language in the heavier source of sound takes the emotional this piece, but the emointensity to a higher level. tional intensity still Verklärte Nacht is actually a symphonic makes huge demands. poem for chamber group, based on a poem by Richard Dehmel, whose lyrics Schoenberg The textures are often had already set as songs. It tells of a man and a overwhelmingly dense. woman walking through a moonlit wood. She And Schoenberg’s artells him that she is bearing the child of another rangement for string man. His response, partly inspired by the beauty of their surroundings, is to interpret the coming orchestra takes the emochild as a source of a greater love between them. tional intensity to an The night is thus transfigured. even higher level. The poem has a charm and sentimentality enormously outweighed by Schoenberg’s passionate response to it. He reproduces the poem’s five-part form, depicting the couple’s progress through the wood, as Dehmel does, at the beginning, the middle, and the end, with the second and fourth sections being, respectively, her and his passionately expressed words. There is a descending musical motif at the beginning to represent their steady movement, and the woman’s urgent, guilty confession is soon heard. Her pain is palpable, and the tension in the music is broken only by a soft, dream-like passage. Her desperate sense of guilt brings an intense climax, stated with


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Arnold Schoenberg, 1917, portrait by Egon Schiele

Whether one calls oneself conservative or revolutionary, whether one composes in a conventional or progressive manner, whether one tries to imitate old styles or is destined to express new ideas — one must be convinced of the infallibility of your own fantasy and believe in your own inspiration. —Arnold Schoenberg

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the instruments in unison, and then subsiding until only the first violins are left playing. The walking/descending motif moves the narrative on, and the man’s response, which she and we expect to be driven by fury and jealousy, is in fact calm. At the beginning of the “his section,” we hear Schoenberg’s evocation of the words “shimmering universe” [“O sieh, wie klar das Weltall schimmert!”]. Some delicate harmonics, pizzicatos, and an obvious tenderness in the texture of the music reveal him to be identifying closely with her and with her child. Far from being a composer of musical ugliness — as Schoenberg is too often represented or expected to be, from later works that pushed boundaries beyond the tonal realm — he had a real ear for and understanding toward the refined beauty of complex harmony. (He was a masterful orchestrator.) In this early work, the night is magically transfigured at the end when the dense chromatic harmony finally gives way to the purity of D major. —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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Verklärte Nacht [Transfigured Night] by Richard Dehmel Zwei Menschen gehn durch kahlen, kalten Hain; der Mond läuft mit, sie schaun hinein. Der Mond läuft über hohe Eichen; kein Wölkchen trübt das Himmelslicht, in das die schwarzen Zacken reichen.

Two people walk through the bare, cold woods; the moon moves along with them, catching their gaze. The moon floats above tall oak trees, no cloud wisps obscure the heavenly radiance into which the black, jagged branches reach.

Die Stimme eines Weibes spricht: „Ich trag ein Kind, und nit von Dir, ich geh in Sünde neben Dir. Ich hab mich schwer an mir vergangen. Ich glaubte nicht mehr an ein Glück und hatte doch ein schwer Verlangen nach Lebensinhalt, nach Mutterglück und Pflicht; da hab ich mich erfrecht, da liess ich schaudernd mein Geschlecht von einem fremden Mann umfangen, und hab mich noch dafür gesegnet. Nun hat das Leben sich gerächt: nun bin ich Dir, o Dir, begegnet.“

A woman’s voice speaks: “I am with child, and not by you. I walk in sin here beside you. I have completely ruined myself. I no longer believed in happiness, and yet still felt a great longing for life’s fullness, for a mother’s joy and fulfillment; I made up my mind, shuddering, allowing my sex to be taken by a stranger, and even thought myself blessed. Now life has taken its revenge, now, as I have met you, oh, you.”

Sie geht mit ungelenkem Schritt. Sie schaut empor; der Mond läuft mit. Ihr dunkler Blick ertrinkt in Licht.

She walks on, unsteadily. She looks up; the moon keeps pace. Her somber gaze drowns in light.

Die Stimme eines Mannes spricht: „Das Kind, das Du empfangen hast, sei Deiner Seele keine Last, o sieh, wie klar das Weltall schimmert! Es ist ein Glanz um alles her; Du treibst mit mir auf kaltem Meer, doch eine eigne Wärme flimmert von Dir in mich, von mir in Dich. Die wird das fremde Kind verklären, Du wirst es mir, von mir gebären; Du hast den Glanz in mich gebracht, Du hast mich selbst zum Kind gemacht.“

A man’s voice speaks: “The child you have conceived need not be a burden on your soul. Look, how clearly the universe shines! There is a glittering that illuminates all; You are on the cold sea with me, but an inner warmth sparkles from you to me, from me to you. It will transfigure the stranger’s child, and you will bear it to me, from me. You have given me this splendor, you have transformed me into a child.”

Er fasst sie um die starken Hüften. Ihr Atem küsst sich in den Lüften. Zwei Menschen gehn durch hohe, helle Nacht.

He wraps his arm around her strong hips. Their breaths kiss in the air. Two people walk on into the clear, bright night. (English translation by Eric Sellen)

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About the Music


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Amériques composed 1921, revised 1927

At a Glance



VARÈSE born December 22, 1883 Paris died November 6, 1965 New York City

Varèse completed Amériques in 1921. The work was premiered by the Philadelphia Orchestra under Leopold Stokowski’s baton, on April 9, 1926. Varèse revised the work in 1927, with that version first performed by Gaston Poulet and the Orchestre des Concerts Poulet in Paris on May 30, 1929. The original version was published in 1925, the revision in 1929. This weekend’s performances utilize Chou Wen-Chung’s edition from 1973, which corrected many misprints in the earlier printed scores. Varèse’s Amériques runs about 20 minutes in performance; it consists of a single movement in freely shifting meters. The composer’s massive orchestration calls for 4 flutes (some

doubling piccolo and/or alto flute), 3 oboes, english horn, heckelphone, 4 clarinets, bass clarinet, 3 bassoons, 2 contrabassoons, 8 horns, 6 trumpets, 4 trombones, contrabass trombone, tuba, contrabass tuba, timpani (two players), a huge percussion battery (nine players, on a vast array of instruments including lion’s roar, sleigh bells, siren, xylophone, whip, chimes, gong, glockenspiel, cymbals, suspended cymbals, triangle, tambourine, rattle, bass drum, and snare drum), 2 harps, celesta, and strings. Christoph von Dohnányi led all previous Cleveland Orchestra performances of this work, in 1989, 1991, and 2000.

About the Music E D G A R D V A R È S E ’ S account of the creation of Amériques in 1921 might lead one to expect, say, A Frenchman in New York, a somewhat earlier opposite number to — maybe even the inspiration for — Gershwin’s bubbly travelogue An American in Paris (1928): “When I wrote Amériques, I was still under the spell of my first impressions of New York. . . . Not only New York seen, but more especially heard. For the first time with my physical ears, I heard a sound that kept recurring in my dreams as a boy — a high whistling C sharp. It came to me as I worked in my Westside apartment, where I could hear all the river sounds, the lonely foghorns, the shrill peremptory whistles — the whole wonderful river symphony, which moved me more than anything ever had before.” New York, of course, is not Paris, and Varèse acknowledged this, albeit somewhat paradoxically. According to the kindly disposed American critic Paul Rosenfeld, Varèse would “tell you how much the symphony of New York differs from that of Paris — Paris’s being noisier, a succession of shrill, brittle hissing sounds, New York’s on the contrary, quieter, for the mere reason that it is incessant, enveloping the New Yorker’s existence as the rivers the island of Manhattan.”

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About the Music


Well, then, should we expect a sort of “Pastoral Symphony from the New World”? Not really that either. Indeed, the resulting work makes one wonder what sort of music Varèse might have devised to depict Paris. True, Amériques opens placidly enough — the alto flute plays a long line mezzo forte, with hypnotically repeated figurations; two harps enter in the second measure playing percussively yet softly, and a bassoon joins in the third measure playing incisif [“incisive” or “cutting”] yet still softly. Two full pages pass in this fashion before Varèse begins to unleash the torrents of sound that his orchestration — particularly the percussion artillery — should have led us to expect in the first place. (Watching all that setting up and out of those instruments easily reminds one of preparations “When I wrote for war, or at least a good fight.) At this point, the sounds begin to ring faAmériques, I was miliar — not so much from the sidewalks of New still under the spell York as from Stravinsky’s The Rite of Spring, preof my first impressions miered in 1913. In the construction of Amériques of New York as a city. (which juxtaposes more or less self-contained formal blocks), its propulsive rhythms and certain . . . Not only New York details of scoring, owes much to Stravinsky’s exseen, but even more plosive masterpiece — though, in fact, Varèse far especially heard.“ surpasses Stravinsky in an imaginative piling-up —Edgard Varèse of sonorities and in inventive writing for percussion instruments. Stravinsky’s primitive ritual setting may seem an odd bedfellow to New York in the 1920s (or maybe not . . . ), but Varèse never intended a literal depiction of America or of New York, as Rosenfeld points out. He “derived his idiom through direct perception, and used it in interests other than those of descriptivity.” The work’s title, Varèse explained, is not to be construed as “purely geographic, but as symbolic of discoveries — new worlds on earth, in the sky or in the minds of men.” The American scholar Robert P. Morgan takes this larger meaning of “Americas” back further, to the composer’s arrival in this country in 1915, at the age of thirty-two: “Despite his European background and a reputation already gained as a composer and conductor in France and Germany, Varèse came as an explorer. His voyage to America seems in many respects symbolic of a determination to give up old ways of thinking — to discover new worlds of music and to ‘interrogate the tremendous possibilities of this new civilization. . . . In a real sense, Varèse became an American composer.”


About the Music

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Contrary to general belief, an artist is never ahead of his time — but most people are far behind theirs. —Edgard Varèse

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Amériques is generally considered Varèse’s first important composition — a claim that we must take largely on faith, since he destroyed most of his earlier pieces. The belief (or story) then, is that Amériques is the work in which this composer found the basic style that would carry through the rest of his career. According to his American wife, Louise, in her biography of the composer (Varèse: A Looking-Glass Diary, 1972), Varèse “explained that with Amériques, . . . he had begun working in a new idiom toward which his earlier scores had only been groping.” Leopold Stokowski and the Philadelphia Orchestra gave the premiere of Amériques on April 9, 1926, and took the work to Carnegie Hall four days later. At a time when even The Rite of Spring had yet to be fully assimilated, the press and public reacted predictably. “A pretty little shindig of boos and hisses broke out last night,” wrote the anonymous critic of the New York Evening World, “among the ordinarily self-contained and ultra well-poised ladies and gentlemen who make up the Philadelphia Orchestra’s audience in Carnegie Hall, after Mr. Stokowski finished Edgard Varèse’s symphonic genuflection to the Fire Department and the Pneumatic

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At left, Lower Manhattan in 1913; below, Times Square in 1922.

Riveters’ Union.” Samuel Chotzinoff, in the New York World, pieced together the use of the siren with that of the lion’s roar: “Amériques seemed to depict the progress of a terrible fire in one of our larger zoos. The animals sensed the conflagration before their keepers, and set up awful howls and emitted cavernous groans. Suddenly the siren is heard in the distance. . . . The engines arrive. . . . Was the fire put out? Was the menagerie rescued? Mr. Varèse, like a true artist, doesn’t commit himself.” In the delays leading up to the premiere, Varèse worried that Amériques might be “doomed to sleep forever at the bottom of a drawer. . . . Anyway, I think that’s the fate of my music.” He was right that his music would remain little performed, but its fate has proved far from inglorious. Varèse’s music has had a tremendous influence on the work of subsequent composers — particularly, to name just a few, Hans Werner Henze, Pierre Boulez, and Frank Zappa. In a very real sense, Amériques, though approaching a century in age — and not terribly advanced in idiom even for its own time — remains the music of our time. Like The Rite of Spring, this music still sounds amazingly vigorous, bewildering, exciting, and fresh. —James R. Oestreich, 1989 Copyright © Musical Arts Association

James Oestreich, now a music editor for the New York Times, served as program book editor of The Cleveland Orchestra 1988-89.

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About the Music




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Great music has always been important to Tony and Pat Lauria. They’ve been avid subscribers and donors to The Cleveland Orchestra for many years, and it has become such a major part of their lives that they plan international travel around the Orchestra’s schedule in order to enjoy more concerts at home and on tour. “It gives us great pleasure to be a part of The Cleveland Orchestra,” Pat says. In addition to regularly attending concerts and giving to the annual fund, Tony and Pat have established several Charitable Gift Annuities through the Orchestra, which now pay them a fixed stream of income in return for their gifts. To anyone who is considering establishing a Charitable Gift Annuity, Tony says, “It’s a great investment — for yourself and the Orchestra!” To receive a confidential, personalized gift annuity illustration and to join the Laurias in their support of The Cleveland Orchestra’s future, contact Dave Stokley, Legacy Giving Officer, at 216-231-8006 or email


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 56.

The Cleveland Orchestra

Centennial Season 2017-18



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

Cleveland Orchestra News


orchestra news


Women’s Committee welcomes men and women as members for its work supporting the Orchestra

Two new chairs endowed; clarinet and viola chairs named in recognition of generous endowment gifts

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

In recent months, The Cleveland Orchestra has received two generous endowment gifts, which are being recognized through the naming of two musician chairs in the Orchestra — the Victoire G. and Alfred M. Rankin, Jr. Clarinet Endowed Chair has been named for a gift from the Rankins, and The Morgan Sisters Viola Endowed Chair has been named for a gift from siblings Ann Jones Morgan, Susan Morgan Martin, and Patricia Morgan Kulp. The Rankin Chair is currently held by clarinetist Robert Woolfrey. Mr. Rankin has served as a member of the Orchestra’s board of trustees since 1983, and was a vice president 2002-03. The Morgan Chair is currently held by violist Lembi Veskimets. The sisters’ parents, Stanley and Eloise Morgan, endowed the E-Flat Clarinet Chair in 1999, which is currently held by Ms. Veskimets’s husband, Daniel McKelway. Since the program began over four decades ago, named Endowed Musician Chairs have recognized over sixty generous gifts to The Cleveland Orchestra’s Endowment. These gifts represent a significant and important sum within the Endowment, income from which is drawn upon each year toward funding the Orchestra’s operations. A strong endowment helps to ensure the Orchestra’s financial stability into the future, making it possible to continue presenting concerts, education programs, and community initiatives to serve Northeast Ohio for generations to come, and helping the Orchestra to attract and retain the highest caliber of musicians. For more information about supporting the Orchestra through naming a musician chair, or through other gifting to the Endowment, please contact Dave Stokley by calling 216-2318006 or email


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

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 text 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


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

Cleveland Orchestra musician featured on new album; signing CDs pre-concert on June 3

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.

Cleveland Orchestra cellist Brian Thornton has a new album release, featuring the two Cello Sonatas of Johannes Brahms. The recording was made at Oberlin by Thom Moore and Michael Bishop of 5/4 Records, and is being distributed through Steinway & Sons recording division. Pianist Spencer Myer plays the two sonatas with Thornton. The new album is available for purchase through the Cleveland Orchestra Store at Severance Hall. On Saturday, June 3, Thornton will be signing CDs at the Store prior to that evening’s concert.




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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



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M . U . S . I .C . I . A . N S . A . L . U .T. E The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who volunteered for such events and presentations during the 2014-15 and 2015-16 seasons. Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Hans Clebsch Patrick Connolly Ralph Curry Marc Damoulakis Alan DeMattia Vladimir Deninzon Maximilian Dimoff Scott Dixon Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Mary Kay Fink Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Mark Jackobs Joela Jones Richard King Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Massimo La Rosa Jung-Min Amy Lee Yun-Ting Lee Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Michael Miller Sonja Braaten Molloy

Yoko Moore Ioana Missits Eliesha Nelson Peter Otto Chul-In Park Joanna Patterson Zakany Henry Peyrebrune Alexandra Preucil William Preucil Lynne Ramsey Jeffrey Rathbun Jeanne Preucil Rose Stephen Rose Frank Rosenwein Michael Sachs Marisela Sager Jonathan Sherwin Thomas Sherwood Sae Shiragami Emma Shook Joshua Smith Thomas Sperl Barrick Stees Richard Stout Trina Struble Jack Sutte Kevin Switalski Gareth Thomas Brian Thornton Isabel Trautwein Robert Vernon Lembi Veskimets Carolyn Gadiel Warner Stephen Warner Scott Weber Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Derek Zadinsky Jeffrey Zehngut

Severance Hall 2016-17

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

Cleveland Orchestra News





Severance Hall

Thursday evening, June 1, 2017, at 7:00 p.m. Friday evening, June 2, 2017, at 7:00 p.m. Saturday evening, June 3, 2017, at 7:00 p.m. Sunday afternoon, June 4, 2017, at 3:00 p.m.

Brett Mitchell, conductor The Cleveland Orchestra and West Side Story® Associates present

MIRISCH PICTURES presents “WEST SIDE STORY” A ROBERT WISE Production starring NATALIE WOOD RICHARD BEYMER RUSS TAMBLYN RITA MORENO GEORGE CHAKIRIS directed by ROBERT WISE and JEROME ROBBINS screenplay by ERNEST LEHMAN associate producer SAUL CHAPLIN choreography by JEROME ROBBINS music by LEONARD BERNSTEIN lyrics by STEPHEN SONDHEIM based on the stage play produced by ROBERT E. GRIFFITH and HAROLD S. PRINCE book by ARTHUR LAURENTS play conceived, directed, and choreographed by JEROME ROBBINS film production designed by BORIS LEVEN music conducted by JOHNNY GREEN presented by MIRISCH PICTURES, INC. in association with SEVEN ARTS PRODUCTIONS INC. filmed in PANAVISION® TECHNICOLOR®


Concert Program — Week 23

The Cleveland Orchestra

16 17 2 O 1 6 -1 7


PRESENTATION AND CONCERT LENGTH This is a presentation of the complete film West Side Story with live performance by The Cleveland Orchestra of the film’s entire score. The program runs 2 hours and 34 minutes, plus intermission. Please note that this presentation includes the underscoring during the Saul Bass-designed End Credits played live onstage by The Cleveland Orchestra. We kindly ask — out of respect for the music, for the musicians performing onstage, and for your fellow audience members — that you remain in your seats until the End Credits are completed.

Film screening of West Side Story courtesy of Metro-Goldwyn-Mayer Studios Inc. WEST SIDE STORY ©1961 Metro-Goldwyn-Mayer Studios Inc. All Rights Reserved.

West Side Story 50th Anniversary Blu-ray and Limited Edition Blu-ray Box Set available.

Thursday’s concert is sponsored by Huntington National Bank. Friday’s concert is sponsored by Frantz Ward LLP and by Tucker Ellis LLP. Media Partner: CLEVELAND ORCHESTR A R ADIO BROADCASTS

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

Severance Hall 2016-17

Concert Program — Week 23


June 1, 2, 3, 4

16 17

THI S WE E KE ND'S CONCE RT Restaurant opens: THUR 4:30 FRI 4:30 SAT 4:30 SUN noon


Concert begins: THUR 7:00 FRI 7:00 SAT 7:00 SUN 3:00



Severance Restaurant Reservations for dining suggested:

216-231-7373 or via


“Confronting the American Dream” with guest speaker Bill Rudman, artistic director, The Musical Theater Project

At the Movies: WEST SIDE STORY Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 75 Broadway to Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 77 Part One (80 minutes)

INTERMISSION (20 minutes)

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

(Please note that photography during the performance is strictly prohibited.)

Part Two (74 minutes)

Concert ends: (approx.)

THUR 9:55 FRI 9:55 SAT 9:55 SUN 5:55

We kindly ask — out of respect for the music, for the musicians perfoming onstage, and for your fellow audience members — that you remain in your seats until the End Credits are completed.

Severance Restaurant Post-concert desserts and drinks


This Week’s Concerts

The Cleveland Orchestra


Shakespeare, Love& Dance

F R O M W H A T I R E M E M B E R , I first experienced West Side Story in my

parents’ station wagon at a drive-in movie theater. Six of us (dad, mom, two girls, two boys) formed our own “gang,” sheltered in a green Ford Falcon, watching an artistic and moving portrait of the exhilaration and tragedy that being human offers. Everything was in it — love, hate, beauty, caring, daring, shyness and humor, happiness and sadness. And while the West Side of New York has changed mightily in the seven decades from the work’s Broadway premiere, humanity has not. The streets of 1950s conflict have yielded physically to urban renewal, reconstruction, and rebirth, including the building of Lincoln Center and the arrival of Time Warner, Whole Foods, and much more. But conflict — between gangs, between races, between nations, between simple differences of opinion — seems a constant and continuing part of the human condition. With West Side Story, the creative team of Jerome Robbins, Leonard Bernstein, Arthur Laurents, and Stephen Sondheim set out to purposefully blend social commentary into a Broadway musical. While a number of earlier shows had touched on difficult issues (Rodgers & Hammerstein, in particular, pushed against prejudice in several of their musicals), West Side Story was infused with the currency of modern life — the good and the bad, without answers. Here, Shakespeare’s timeless tragedy of Romeo and Juliet was transformed. Two families at war in Renaissance Verona were brought to life in the gang warfare of New York City. The story, the music, the lyrics, the rhythms, the dance all gelled to inspire hope for understanding . . . somehow, someday, somewhere. As we relive the movie version of West Side Story with this weekend’s concerts, let us remember the power of love — and the power of music. Music can inspire and does transform lives. Hold onto that power, and carry it with you. —Eric Sellen

Severance Hall 2016-17

Week 23 — Introducing the Movie



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

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

Create Your Jewish Legacy

Movie adapted from the Broadway musical West Side Story — a modern retelling of Shakespeare's Romeo and Juliet.

MOVI E SYN O P S IS The action transplants Shakespeare’s classic tale of Romeo and Juliet to New York City in the 1950s. The two feuding families are replaced by brawling street gangs. The Montagues become the Anglo Jets, led by Riff, and the Capulets become the Puerto Rican Sharks, led by Bernardo. At a school dance, Tony, former leader of the Jets and Riff’s best friend, and Maria, Bernardo’s younger sister, spot each other across the room — and it’s love at first sight. With opposition from both sides, they meet secretly and their love grows deeper. The cross-gang love affair, however, fuels the gangs’ feuding. Anita, Bernardo’s girlfriend, supports Maria’s decision to romance whomever she wants, even a Jet. Maria makes a request of Tony, to foster peace between the Jets and Sharks. The gangs are plotting one last rumble, a fight they hope will finally end the battle for control of the streets. Tony’s attempt at peacemaking inadvertently leads to a series of tragic events. Will Tony and Maria’s love carry through a battle that threatens to destroy the people they love around them? Through the power of music, the overall tragedy ends with a message of love’s strength against unthinking violence. Role equivalents with Shakespeare's play: Tony = Romeo Maria = Juliet Doc = Friar Lawrence Anita = Nurse

Severance Hall 2016-17

West Side Story

Riff = Mercutio Bernardo = Tybalt Chino = Paris


WEST SIDE STORY A Modern Tale of Gangs and Shakespeare composed for Broadway 1955-57; adapted to the big screen 1960-61

original conception by JEROME ROBBINS stage play by ARTHUR LAURENTS lyrics by STEPHEN SONDHEIM music by LEONARD BERNSTEIN choreography by JEROME ROBBINS

New York, Jan. 6, 1949. Jerry R. [choreographer Jerome Robbins] called today with a noble idea: a modern version of Romeo and Juliet set in slums at the coincidence of Easter-Passover celebrations. Feelings run high between Jews and Catholics. Former: Capulets; latter: Montagues. Juliet is Jewish . . . street brawls, double death — it all fits. But it’s all much less important than the bigger idea of making a musical that tells a tragic story in musical-comedy terms, using only musical-comedy techniques, never falling into the “operatic” trap. Can it succeed? It hasn’t yet in our country.

T H E P A S S A G E A B O V E , taken from Leonard Bernstein’s di-

ary, describes the seed-idea for an artistic venture that would take nine years to germinate into full bloom as the Broadway musical or “dance-drama” called West Side Story. Within less than a week following the phone call, Bernstein and Robbins met with playwright Arthur Laurents for a “long talk about opera or whatever this should be.” Four months later, Laurents presented a draft of the first four scenes to his fellow collaborators, but because of their extremely overloaded work schedules, the idea for the show lay fallow for the next six years. Fast-forward to 1955. Juvenile gang wars were being reported almost daily across the country — and portrayals of juvenile delinquency were turning up within such films as Rebel without a Cause (1955) and Blackboard Jungle (1955). Both Bernstein and Laurents were in Los Angeles in August of that year; Bernstein as the musical director and one of the conductors for a “Festival of the Americas” at the Hollywood Bowl, while Laurents was in Hollywood working on the screenSeverance Hall 2016-17

About the Movie


play Anastasia. Newspaper headlines focusing on gang violence between Mexican-Americans and whites in Los Angeles had caught both of their attention. The reality of ethnic conflict among American youth leaped at their imaginations, and suddenly seemed a suitable alternative to that of the religious strife and family feuds of the original idea. Robbins enthusiastically agreed with shifting the portrayal to involve teenage ethnic gangs as the protagonists. But Laurents claimed he knew nothing of L.A., so New York was chosen for the ground of action. The Capulets and Montagues became the Sharks and the Jets respectively. Again from Bernstein’s diary, August 25, 1955: “. . . we have abandoned the whole Jewish-Catholic premise . . . and have come up with what I think is going to be As the work continued it: two teen-age gangs, one the warring Puerto Ricans, the other self-styled ‘Americans.’ Suddenly to develop toward its it all springs to life. I hear rhythms and pulses and opening on Broadway, — most of all — I can sort of feel the form.” It was the dance of the gangs at this time that Stephen Sondheim joined the group as lyricist. became more than mere Throughout 1956, work progressed slowly counterpoint to the love — all four collaborators were occupied with other story — dance became projects. From Bernstein’s perspective this was the the show’s center not altogether a bad thing, because the exact direction for the final musical was not yet comand driving force, pletely clear. As he wrote in his diary, March 17, with choreographed 1956: “So again Romeo is postponed. . . . Maybe movement carrying the it’s all for the best. . . . It’s such a problematical work plot and the essence of anyway that it should benefit by as much sitting time as it can get. Chief problem: to tread the fine the show’s tragedy. line between opera and Broadway, between realism and poetry, ballet and ‘just dancing,’ abstract and representational. Avoid being ‘messagy.’ The line is there, but it’s very fine, and sometimes takes a lot of peering around to discern it.” By February 1957, Bernstein was fully engaged with the project and rehearsals were in full swing; the score was nearly finished and Laurents script was complete. All that was left at this point was the choreography of the dances and the staging of the action. Jerome Robbins took charge. His intention (and success) was to distill and render dramatically, through stylized dance, what was actually happening on the streets outside the theater — the reality of ethnic teenage gangs struggling for turf in the margins surrounding the affluent midtown Manhattan business district.


About the Movie

The Cleveland Orchestra

WE’RE PROUD SUPPORTERS OF THE ARTS IN PARIS, ROME, GENEVA, AND THE REST OF OHIO. We’re extremely proud to sponsor The Cleveland Orchestra. Your creativity and passion inspire all of us to try to shine as brightly as you. From all your fans at Huntington Bank, thank you.

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As the work continued to develop, the dance of the gangs became more than mere counterpoint to the love story — dance became the center and driving force of West Side Story, with choreographed movement carrying the plot and the essence of the show’s tragedy. Robbins achieved this by assigning to each of the dancers a specific character to play, sing, speak, and dance — making them absolutely integral to the dramatic action. The power, nuance, and flexibility of Bernstein’s score also became a key ingredient. With its jazz underpinnings and abundance of Latin-flavored melodic inflection, the score drives the dancing, creating its pathos and a full fleshing of street ambiance. The artistic result is one of a near seamless fluidity of purely instrumental numbers, song, and dance, propelling the action forward in a rush of constant motion that engages with every step and leap. While dance may have been the center of West Side Story, it was Laurents’s libretto that held the work together, giving form and direction to the explosive choreographed energy. As with the rest of the aspects of the show (and in the tradition of Broadway), the libretto was written in consultation with the other collaborators, shifting and changing through the weeks of rehearsals. In his adaptation of Romeo and Juliet, Laurents’s text intersectSeverance Hall 2016-17

About the Movie


ed with Shakespeare’s play in matters of theme, character, and plot, while obviously diverging in the nature and quality of language so as to better represent contemporary mid-20th century speech patterns. He did this by making up expressions of slang and vernacular suited to amplify the limited vocabulary of the gangs — thus aligning speech with the contemporaneousness of the dance and music where the representation of character thrived in movement and action. Of the many other divergences from Shakespeare’s play, perhaps the most notable is that of the survival of Maria following the murder of Tony. Thus the Broadway version of West Side Story was born, premiering on August 19, 1957, to mixed but mostly positive reviews. It quickly gained a following, won three Tony Awards (losing as Best Musical to Meredith Willson’s The Music Man). Soon, talk of a movie version began conversations with Hollywood. F RO M S TAG E TO S C RE E N

The movie adaptation — which retains most of the elements of the stage version — was premiered in October 1961 to extraordi-

The creators of West Side Story onstage in 1957 (left to right): Stephen Sondheim, Arthur Laurents, Harold Prince, Robert Griffith, Leonard Bernstein, and Jerome Robbins.


About the Movie

The Cleveland Orchestra



October 27, 7:00 p.m. October 28, 7:00 p.m.


narily strong reviews, eventually earning ten Academy Awards, including Best Picture. The action of West Side Story takes place on the West Side of Manhattan in the 1950s. The story plays itself out in about a day and a half, during the last days of summer. Most of the main characters are members of either the Sharks or the Jets street gangs. Riff is the leader and co-founder with Tony of the Jets, Bernardo is leader of the Sharks. The respective girlfriends of Riff and Bernardo are Graziella and Anita. Maria is Bernardoâ&#x20AC;&#x2122;s sister. The only adult characters are Tonyâ&#x20AC;&#x2122;s boss Doc, the owner of a drug store; Officer Krupke, a rather crude cop; Lieutenant Schrank, a plain-clothes police officer; and Glad Hand, who supervises the school dance. One of the major differences between the stage and film versions lies in the revised order of a few of the scenes and some reworked dialogue and song lyrics. The ensemble song â&#x20AC;&#x153;Gee, Officer Krupkeâ&#x20AC;? (in vaudeville style, performed by the Jets), which is placed very late in the stage version (as comic relief, just as such scenes appear in Shakespeare) comes in the first act of the film. Meanwhile, the â&#x20AC;&#x153;Coolâ&#x20AC;? fugue was moved from the staged first act to late in the second act in the film, following the fateSeverance Hall 2016-17

About the Movie


ful rumble scene. The song “America” was originally sung by only the girlfriends of the Sharks; in the film version the song was revised and expanded to include the Sharks in an antiphonal back and forth with the girls, in which they exchange praise of freedom (girls) and disparagement (Sharks) of being in America where racial discrimination, lack of work, and poor education keep them oppressed (Sondheim’s lyrics are perhaps even more relevant today than in the 1950s). Most notable however, is the shift of the rumble scene, in which Bernardo kills Riff and then Tony kills Bernardo, from the end of the first act of the staged version to later in the second act of the film. The multi-layered nature of this work is profound. It has been analyzed and written about from many perspectives — including theatrical, dance, music, socio-economic, race and class, and cultural points of view. With all this in mind, it is perhaps most fitting to allow Arthur Laurents have the last word on what the original intent of the four collaborators was focused on: “We all knew what we did not want — neither formal poetry nor flat reportage; neither opera nor split-level comedy; neither zippered-in ballets nor characterless dance routines. We didn’t want newsreel acting, blue-jean costumes, or garbage can scenery any more than we wanted soap-box pounding for our theme of young love destroyed by a violent world. What we did was to aim at a lyrically and theatrically sharpened illusion of reality.” —Steve LaCoste © 2017 Steve LaCoste has served as archivist of the Los Angeles Philharmonic in addition to writing program notes for a variety of institutions.

At a Glance West Side Story opened on Broadway on September 26, 1957, at the Winter Garden Theatre in New York. Out-of-town tryout performances had taken place beginning in August, in Washington D.C. and then in Philadelphia. The original production ran for 732 performances, closing on June 27, 1959. The show was adapted for the silver screen, with direction by Robert Wise and the original Broadway director/choreographer Jerome Robbins. It opened to general theatrical release on October 18, 1961. For the role of Maria, played in the film by Natalie Wood, most of the character’s singing was dubbed by Marni Nixon.


The adaptation of the score used for this weekend’s performances calls for an orchestra of 3 flutes (all doubling piccolo), 2 oboes and english horn, 3 clarinets and bass clarinet, 2 bassoons and contrabassoon, 3 saxophones, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (conga drum, bongos, snare drum, bass drum, drum set, pitched drums, tam-tam, wood block, temple blocks, timbales, castanets, claves, tambourine, maracas, guiro, rachet, chimes, bells, vibraphone, 3 xylophones, cymbals, marimba, triangle, finger cymbals, cowbells, whistle), harp, piano, guitar (doubling electric, spanish, and mandolin), and strings.

About the Movie

The Cleveland Orchestra

Rumbles, misunderstandings and other tragedies. Great for tonightâ&#x20AC;&#x2122;s performance. Not for legal issues. Legal matters are hard enough. Thatâ&#x20AC;&#x2122;s why our clients appreciate our combination of deep expertise and approachability. Something the Sharks and Jets apparently never learned. Fran

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SUMMER@CIM Jody & Herb Wainer

Find out more at

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. 84

The Cleveland Orchestra

PRODUCTION CREDITS Producer: Paul H. Epstein for The Leonard Bernstein Office, Inc. Associate Producer: Eleonor M. Sandresky for The Leonard Bernstein Office, Inc. Production Supervisor: Steven A. Linder Technical Director: Mike Runice Sound Engineer: Matt Yelton Music Supervision: Garth Edwin Sunderland Original Orchestrations: Leonard Bernstein, Sid Ramin, Irwin Kostal Additional Orchestrations: Garth Edwin Sunderland and Peter West Music Preparation: Peter West Original Manuscript Reconstruction: Eleonor M. Sandresky Technical Consultant: Laura Gibson Soundtrack Adaptation â&#x20AC;&#x201D; Chace Audio by Deluxe: Robert Heiber, Chris Reynolds, Andrew Starbin, Alice Taylor Sound Separation Technology provided by Audionamix Click Tracks and Streamers created by: Kristopher Carter and Mako Sujishi With special thanks to: Arthur Laurents and his Estate, Stephen Sondheim, The Robbins Rights Trust, The Johnny Green Collection at Harvard University, The Sid Ramin Collection at Columbia University, The Robert Wise Collection at the University of Southern California, Lawrence A. Mirisch, David Newman, Metro-Goldwyn-Mayer Studios Inc., MGM HD, Twentieth Century Fox Home Entertainment LLC, Ken Hahn, and Sync Sound West Side Story is a registered trademark of The Leonard Bernstein Office, Inc. in the United States and other countries.

Severance Hall 2016-17

About the Movie


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:

Dmitri Shostakovich, circa 1952.

Any great art work . . . revives and readapts time and space, and the measure of its success is the extent to which it make you an inhabitant of that world â&#x20AC;&#x201D; the extent to which it invites you in and lets you breathe its strange, special air. â&#x20AC;&#x201D;Leonard Bernstein Severance Hall 2016-17


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

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

Severance Hall 2016-17


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



Individual Annual Support The Cleveland Orchestra gratefully recognizes the individuals listed here, who have provided generous gifts of cash or pledges of $2,500 or more to the Annual Fund, benefit events, tours and residencies, and special annual donations.

Giving Societies


Daniel R. Lewis (Miami, Cleveland) Jan R. Lewis (Miami, Cleveland) Mrs. Alfred M. Rankin, Sr. $5 MILLION TO $10 MILLION

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Mrs. Norma Lerner and The Lerner Foundation Mr. and Mrs. Albert B. Ratner $1 MILLION TO $5 MILLION

Irma and Norman Braman (Miami) Mr. Francis J. Callahan* Mrs. M. Roger Clapp* Mr. George Gund III * Francie and David Horvitz (Miami) Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III * The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Sue Miller (Miami) John C. Morley The Family of D. Z. Norton The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson Peter B. Lewis* and Janet Rosel Lewis (Miami) The Ralph and Luci Schey Foundation Mr.* and Mrs. Ward Smith Mr. and Mrs. Richard K. Smucker Anonymous (2) The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which stands today as an emblem of unrivalled quality and community pride. Lifetime giving listing as of March 2017.


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

In celebration of the critical role individuals play in supporting The Cleveland Orchestra each year, donors of $2,500 and more are recognized as members of special Leadership Giving Societies. These societies are named to honor important and inspirational leaders in the Orchestra’s history. The Adella Prentiss Hughes Society honors the Orchestra’s founder and first manager, who from 1918 envisioned an ensemble dedicated to community service, music education, and performing excellence. The George Szell Society is named after the Orchestra’s fourth music director, who served for twenty-four seasons (1946-70) while refining the ensemble’s international reputation for clarity of sound and unsurpassed musical excellence. The Elisabeth DeWitt Severance Society honors not only the woman in whose memory Severance Hall was built, but her selfless sharing, including her insistence on nurturing an orchestra not just for the wealthy but for everyone. The Dudley S. Blossom Society honors one of the Orchestra’s early and most generous benefactors, whose dedication and charm rallied thousands to support and nurture a hometown orchestra toward greatness. The Frank H. Ginn Society honors the man whose judicious management of Severance Hall’s finances and construction created a beautiful and welcoming home for Cleveland’s Orchestra. The 1929 Society honors the vibrant community spirit that propelled 3,000 volunteers and donors to raise over $2 million in a nine-day campaign in April 1929 to meet and match John and Elisabeth Severance’s challenge gift toward the building of the Orchestra’s new concert hall.

Individual Annual Support

The Cleveland Orchestra

Leadership Council

Adella Prentiss Hughes Society

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

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

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

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

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. Michael J. Horvitz James D. Ireland IV The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre Mrs. Emma S. Lincoln Elizabeth F. McBride John C. Morley Mr. Patrick Park (Miami) Mary M. Spencer (Miami) Mr. and Mrs. Franz Welser-MĂśst

George Szell Society gifts of $50,000 and more INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. William P. Blair III David and Francie Horvitz Family Foundation (Miami) Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern Ms. Nancy W. McCann Ms. Beth E. Mooney The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Barbara S. Robinson (Cleveland, Miami) Janet* and Richard Yulman (Miami) Anonymous

Blossom Friends of The Cleveland Orchestra The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler T. K. and Faye A. Heston Mr. and Mrs. Donald M. Jack, Jr. Giuliana C. and John D. Koch Dr.* and Mrs. Jerome Kowal Jan R. Lewis (Miami) Toby Devan Lewis Virginia M. and Jon A. Lindseth Margaret Fulton-Mueller Roseanne and Gary Oatey (Cleveland, Miami) Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner James and Donna Reid The Ralph and Luci Schey Foundation Sally and Larry Sears Hewitt and Paula Shaw Mrs. Jean H. Taber Barbara and David Wolfort (Cleveland, Miami) Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra

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

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

Severance Hall 2016-17

Individual Annual Support


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

Mr. and Mrs. William W. Baker Marsha and Brian Bilzin (Miami) Mr. and Mrs. Charles P. Bolton In dedication to Donald Carlin (Miami) Judith and George W. Diehl JoAnn and Robert Glick Mr. Loren W. Hershey Mrs. Marguerite B. Humphrey Junior Committee of The Cleveland Orchestra Thomas E Lauria (Miami) Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan Mrs. Jane B. Nord William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Mr. and Mrs. James A. Ratner Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Rick, Margarita, and Steven Tonkinson (Miami) Anonymous (3)

Dudley S. Blossom Society gifts of $15,000 and more INDIVIDUAL GIFTS OF $20,000 TO $24,999

Gay Cull Addicott Randall and Virginia Barbato Laurel Blossom Mr. Yuval Brisker Irad and Rebecca Carmi Jill and Paul Clark Mr. and Mrs. Matthew V. Crawford Mary Jo Eaton (Miami) Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami) Jeffrey and Susan Feldman (Miami) Hector D. Fortun (Miami) Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Cherie and Michael Joblove (Miami) Allan V. Johnson Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Mr. and Mrs. Moshe Meidar (Miami) The Miller Family Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Kim Sherwin William I.* and Marjorie B. Shorrock Tom and Shirley Waltermire Anonymous INDIVIDUAL GIFTS OF $15,000 TO $19,999

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

LEADERSHIP PATRON PROGRAM Barbara Robinson, chair Robert Gudbranson, vice chair Ronald H. Bell Henry C. Doll Judy Ernest Nicki Gudbranson Jack Harley Iris Harvie

Faye A. Heston Brinton L. Hyde David C. Lamb Larry J. Santon Raymond T. Sawyer

The Leadership Patron Program recognizes generous donors of $2,500 or more to the Orchestraâ&#x20AC;&#x2122;s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Elizabeth Arnett, Director, Leadership Giving, by calling 216-231-7522.

Mr. Allen H. Ford Ms. Dawn M. Full Mr. and Mrs. Robert W. Gillespie Richard and Ann Gridley Robert K. Gudbranson and Joon-Li Kim Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest Richard and Erica Horvitz (Cleveland, Miami) Tati and Ezra Katz (Miami) Mr. Jeff Litwiller Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Edith and Ted* Miller Lucia S. Nash Dr. Anne and Mr. Peter Neff Drs. Michael and Judith Samuels (Miami) Mrs. David Seidenfeld Mr. and Mrs. Oliver E. Seikel Howard Stark M.D. and Rene Rodriguez (Miami) Joe and Marlene Toot Mr. and Mrs. Alfred Umdasch (Europe) Mr. and Mrs. Daniel P. Walsh Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Jeffrey J. Weaver Meredith and Michael Weil Mr. and Mrs. Jeffrey M. Weiss Florence and Robert Werner (Miami)

Frank H. Ginn Society gifts of $10,000 and more INDIVIDUAL GIFTS OF $12,500 TO $14,999

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


Individual Annual Support

The Cleveland Orchestra


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2O17-18 SEASON

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

north W point portfolio managers c o r p o r a t i o n



Ronald J. Lang Diane M. Stack Daniel J. Dreiling

440.720.1102 440.720.1105 440.720.1104



16 17 2O16-17


Live Publishing provides comprehensive communications and d marketing services to o a who’s who roster of clients, including the world-renowned Cleveland Orchestra.. We know how to deliver iver the most meaningful messages in the most effective media, all in the most cost-effective manner. We’re easy to do business with, and our experienced crew has handled every kind of project – from large to small, print to web. FRANZ WELSER-MÖST

Concert: March 30, 31, April 1 HANDEL’S ROYAL FIREWORKS — page 31 Concert: April 6, 7, 8 MITSUKO UCHIDA’S MOZART — page 67

PERSPECTIVES from the Executive Director — page 7 The Orchestra’s 2017-18 Season Launch — page 8-11

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Severance Hall 2016-17

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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

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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Severance Hall 2016-17

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The Cleveland Orchestra


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

Cumulative Giving

Annual Support


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



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

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


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

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

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

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

Severance Hall 2016-17

Corporate Annual Support

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






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Located one block north of Shaker Square and on the EĂƟŽŶĂůZĞŐŝƐƚĞƌŽĨ,ŝƐƚŽƌŝĐWůĂĐĞƐ͕>ĂƌĐŚŵĞƌĞŽƵůĞǀĂƌĚ ŝƐůĞǀĞůĂŶĚ͛ƐƉƌĞŵŝĞƌĂƌƚƐ͕ĂŶƟƋƵĞƐĂŶĚĚĞƐŝŐŶĚŝƐƚƌŝĐƚ͘ 102

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


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


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. Severance Hall 2016-17


11001 Euclid Avenue Cleveland, Ohio 44106



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


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

Severance Hall

The Cleveland Orchestra

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

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.

Guest Information


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.

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

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

For 13 years we have been privileged to teach, inspire, entertain, and bring together diverse people of all ages through music and cultural exchange.

The Roberto Ocasio Latin Jazz Camp JUNE 25 - 30

Case Western Reserve University Grades 8-12 All Instruments Bobby Sanabria, Artistic Director/ Artist-In-Residence

The George Gund Foundation GIANT EAGLE

JUNE 30 Presentss 7 PM

CLEVELAND MUSEUM OF ART Gartner Auditorium - 11150 East Blvd Open Seating; First Come-First Serve



Performing with the 2017 Camp Big Band of Students and Faculty under Bobby Sanabria, renowned Artist, Educator, 7x Grammy Nominee. Featuring CLEVELAND BALLET dancers in tribute to West Side Story’s 60th Broadway Anniversary!

Camp & Concert Info: 440.572.2048


Guest Information

The Cleveland Orchestra

contact the House Manager at 216-231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Office as you buy tickets.

IN THE EVENT OF AN EMERGENCY Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you require medical assistance.

SECURITY For security reasons, backpacks, musical instrument cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search. Severance Hall is a firearms-free facility. No person may possess a firearm on the premises.

CHILDREN AND FAMILIES Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including: Musical Rainbows (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).

Severance Hall 2016-17

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

T IC K E T SE RV IC ES TICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There is no service charge for the five-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, a $10 service charge per concert applies. Visit for details.

UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleveland Orchestra performances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least two hours before the concert, the value of each ticket can be a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

Guest Information






Jul 1 â&#x20AC;&#x201D; Saturday at 8:00 p.m. Jul 2 â&#x20AC;&#x201D; Sunday at 8:00 p.m.

Jul 14 â&#x20AC;&#x201D; Friday at 7:00 p.m. 6HYHUDQFH+DOO THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

Blossom Music Festival THE CLEVELAND ORCHESTRA Jahja Ling, conductor Aaron Diehl, piano

BEETHOVEN Overture to Egmont BEETHOVEN Symphony No. 1 BEETHOVEN Symphony No. 5

SHOSTAKOVICH Tahiti Trot GERSHWIN Concerto in F GERSHWIN Porgy and Bess: A Symphonic Picture TCHAIKOVSKY 1812 Overture

Sponsor: 7KRPSVRQ+LQH//3

BEETHOVENâ&#x20AC;&#x2122;S SEVENTH Jul 15 â&#x20AC;&#x201D; Saturday at 8:00 p.m. Blossom Music Festival THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

SALUTE TO AMERICA Jul 3 â&#x20AC;&#x201D; Monday at 8:00 p.m. Jul 4 â&#x20AC;&#x201D; Tuesday at 8:00 p.m. Blossom Music Festival BLOSSOM FESTIVAL BAND Loras John Schissel, conductor *UHDWPXVLFÃ&#x20AC;UHZRUNVDQGIXQIRUWKHZKROHIDPLO\ %ORVVRP·VWUDGLWLRQDO)RXUWKRI-XO\FHOHEUDWLRQIHDWXUHV the Blossom Festival Band playing patriotic Sousa marches, %URDGZD\IDYRULWHVDQ$UPHG)RUFHV6DOXWHDQGFRQ FOXGHVZLWK7FKDLNRYVN\·V´µ2YHUWXUHDQGÃ&#x20AC;UHZRUNV Sponsor: .H\%DQN

SYMPHONIE FANTASTIQUE Jul 8 â&#x20AC;&#x201D; Saturday at 8:00 p.m. Blossom Music Festival THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor




A NIGHT AT THE OPERA Jul 9 â&#x20AC;&#x201D; Sunday at 7:00 p.m.

MILHAUD 7KH2[RQWKH5RRI ROUSSEL Suite No. 2 IURPBacchus and Ariane BEETHOVEN Symphony No. 7


Blossom Music Festival THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Erin Wall, soprano

Under 18s Free FOR FAMILIES



All of The Cleveland Orchestraâ&#x20AC;&#x2122;s summer concerts are offered as part of our "Under 18s Free" ticketing program. This offers free tickets for young people attending with families (two Lawn admissions per full-price adult Lawn Ticket at Blossom, or a onefor-one offer for Fridays at Severance Hall). Funded through a generous Endowment gift from the Maltz Family Foundation.

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


Concert Calendar

The Cleveland Orchestra







Jul 21 â&#x20AC;&#x201D; Friday at 8:00 p.m.

Severance Hall THE CLEVELAND ORCHESTRA Jahja Ling, conductor Experience three of tomorrowâ&#x20AC;&#x2122;s rising stars! The Thomas and Evon Cooper International Competition was created in 2010 and alternates each year between piano and violin. Open to musicians between the ages of 13 and 18 from around the world, the competition culminates in this concerWRURXQGZLWKWKHWKUHHĂ&#x20AC;QDOLVWVSOD\LQJDIXOOFRQFHUWRV Presented in partnership with Oberlin Conservatory of Music.

'92Ĺ?Ă&#x2030;.¡61(::25/'6<03+21< Jul 22 â&#x20AC;&#x201D; Saturday at 7:00 p.m. Blossom Music Festival THE CLEVELAND ORCHESTRA Jahja Ling, conductor Eli Matthews, violin with Kent/Blossom Chamber Orchestra conducted by Charles Latshaw beginning 7:00 p.m. Kent/Blossom Chamber Orchestra

VAUGHAN WILLIAMS The Running Set MENDELSSOHN Symphony No. 4 (â&#x20AC;&#x153;Italianâ&#x20AC;?)

INTERMISSION beginning 8:00 p.m. The Cleveland Orchestra


Brought to You by Cuyahoga Arts & Culture and sponsored by KeyBank

Friday June 30 at 9:00 p.m. Mall B in Downtown Cleveland conducted by Loras John Schissel

ROSSINI Overture to The Barber of Seville PAGANINI Violin Concerto No. 1

INTERMISSION The Cleveland Orchestra with Kent/Blossom Chamber Orchestra performing side-by-side

DVOĹ?Ă&#x2030;K Symphony No. 9 (â&#x20AC;&#x153;From the New Worldâ&#x20AC;?)

FIRE AND RAIN Folk Anthems of the 1970s Jul 23 â&#x20AC;&#x201D; Sunday at 7:00 p.m. THE CLEVELAND ORCHESTRA Rob Fisher, conductor AJ Swearingen, guitar and vocals Jayne Kelli, guitar and vocals

Join thousands of your neighbors, family, and friends for a very special evening celebrating Americaâ&#x20AC;&#x2122;s Independence Day. Each summer since 1990, The Cleveland Orchestra has presented a free concert in downtown Cleveland. Once again this year, the Orchestra celebrates our nationâ&#x20AC;&#x2122;s founding with a spectacular concert, ending with Tchaikovskyâ&#x20AC;&#x2122;s â&#x20AC;&#x153;1812â&#x20AC;? Overture and fireworks. Itâ&#x20AC;&#x2122;s a special evening â&#x20AC;&#x201D; featuring great music performed by an extraordinary group of musicians. Pre-Concert activities begin at 6:00 p.m. The concert begins at 9:00 p.m. Admission is free, no tickets are required.

Joni Mitchell, Neil Young, James Taylor, Jim Croce, Neil Diamond, Cat Stevens, and more. In the 1970s, the fusion of folk and rock music swept the nation with its powerful, socially conscious lyrics, memorable melodies, and tight vocal harmonies. Relive this blockbuster era of musical hits in one unforgettable Blossom night. Sponsor: PNC Bank Summer Sesaon continues thru Labor Day Weekend, Sep 1 to 3

Severance Hall 2016-17


Concert Calendar


216 - 231-1111 800-686-1141



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The Cleveland Orchestra May 25, 26, 27, June 1, 2, 3, 4 Concerts  
The Cleveland Orchestra May 25, 26, 27, June 1, 2, 3, 4 Concerts  

May 25, 26, 27 Beethoven's Fourth Piano Concerto June 1, 2, 3, 4 At the Movies: West Side Story