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October 5, 6

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September 28, 29, 30

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

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





Week 2 September 28, 29, 30 Beethoven and Stravinsky Rite of Spring page 30

Week 3 October 5, 6 Mahler Sixth Symphony page 59

Welcome 1OOth Season pages 7-11



Dreams can come true

Cleveland Public Theatre’s STEP Education Program Photo by Steve Wagner

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

Your Investment: Strengthening Community Visit to learn more.

Music colors their world. That’s why we’re proud supporters of The Cleveland Orchestra’s music education programs for children, making possible the rewards and benefits of music in their lives. Drive







Season Welcome

2 and 3 PAGE


From the Music Director . . . . . . . . . . . . . . . . . . . . . . . . 7 From the President and Executive Director . . . . . . 9 From the County Executive . . . . . . . . . . . . . . . . . . . . 10 From the Mayor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Distinguished Service Award . . . . . . . . . . . . . . . . . . 62

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 13 From the Start: The Cleveland Orchestra . . . . . . 15 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . 94-96 WEEK


BEETHOVEN & STRAVINSKY Concert: September 28, 29 30 . . . . . . . . . . . . 30-31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 BEETHOVEN

String Quartet No. 15 . . . . . . . . . . . . . . . . . . . . . . . 35 STRAVINSKY

The Rite of Spring . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 BEETHOVEN

Leonore Overture No. 3 . . . . . . . . . . . . . . . . . . . . . 47 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 23 NEWS


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

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

Cleveland Orchestra News . . . . . . . . . 51

3 MAHLER’S SIXTH SYMPHONY Concert: October 5, 6 . . . . . . . . . . . . . . . . . . . . . . . . 59 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 61 WEEK

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

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


Symphony No. 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 23 More About Mahler . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

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 Second Century Sponsors . . . . . . . . . . . . . . . . . . . . . . 8 Annual Support Individual Support . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Corporate Support . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Foundation and Goverment . . . . . . . . . . . . . . . . 85


Table of Contents

The Cleveland Orchestra

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No. 62 The Cleveland Orchestra was among the first American orchestras to be heard regularly on the radio.

BakerHostetler is honored to share with The Cleveland Orchestra a 100-year tradition of excellence in service to our community. We are proud of our decades-long support of this world-class orchestra, and to celebrate its legacy we have gathered 100 facts about its illustrious history. Visit to read them all.

“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


September 2017 Dear Friends, Looking toward The Cleveland Orchestra’s second century, I am filled with enormous pride in the one-hundred-year collaboration between the Orchestra and this community. The exceptional musicianship and dedication of this Orchestra are acclaimed anew with each passing season — here at home and around the world — and are bolstered by your incredible interest in what we do. Your devotion inspires us each and every day. Your musical curiosity and intellect drive us forward, to study more, to dream beyond the past, and to continue exploring new boundaries in music. Conducting each performance is as exciting an adventure for me as the first time I stepped on the podium at Severance Hall. Our 1OOth season serves as an historic milestone, not only to celebrate our rich history, but to look forward to everything this institution will accomplish in the century to come. All of this is only possible because of you, through the passionate and devoted hometown that supports us, seeks answers, and eagerly attends our concerts. Against the ever-increasing and fractious challenges of 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 deep, meaningful experiences. Music is an incredible tool for good — to inspire people, as Beethoven believed, in the “fight for good,” for what is right and true. Music inspires creativity, engages the imagination, and fosters learning and understanding. I truly believe that The Cleveland Orchestra’s next 1OO years will indeed be exceptional. Together, we are launching a century that will be filled with extraordinary, unexpected, and emotionally-charged musical experiences for everyone. Thank you for joining us on the adventure!

Severance Hall 2017-18

Welcome: From the Music Director


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Second Century Celebration We are deeply grateful to the visionary philanthropy of the sponsors listed here who have given generously toward The Cleveland Orchestra’s 1OOth season in support of bringing to life a bold vision for an extraordinary Second Century — to inspire and transform lives through the power of music.

Presenting Sponsors

Leadership Sponsors


Ruth McCormick Tankersley Charitable Trust

Calfee, Halter & Griswold LLP National Endowment for the Arts The Sherwin-Williams Company

Westfield Insurance KPMG LLP PwC

Global Media Sponsor

Series and Concert Sponsors We also extend thanks to our ongoing concert and series sponsors, who make each season of concerts possible: American Greetings Corporation BakerHostetler Buyers Products Company Dollar Bank Foundation Eaton Ernst & Young LLP Forest City Frantz Ward LLP The Goodyear Tire & Rubber Company Great Lakes Brewing Company Hahn Loeser & Parks LLP Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. Jones Day KeyBank The Lincoln Electric Foundation Litigation Management, Inc. The Lubrizol Corporation Materion Corporation Medical Mutual MTD Products, Inc. North Coast Container Corp. Ohio Savings Bank Olympic Steel, Inc. Parker Hannifin Foundation PNC Bank Quality Electrodynamics (QED) RPM International Inc. The J. M. Smucker Company Squire Patton Boggs (US) LLP The Sherwin-Williams Company Thompson Hine LLP Tucker Ellis


Second Century Sponsors

The Cleveland Orchestra


Dear Friends, Welcome to The Cleveland Orchestra’s 1OOth season. This year represents a milestone anniversary, not just for the Orchestra itself but for the community that created it. A hundred years of hard work has created a century of excellence — connecting all of us together through extraordinary musical experiences. As we begin the Orchestra’s Second Century, a handful of shared values and promises are central to serving this great city in the years ahead: Believing in the Value of Excellence: Everything we do is built on a foundation of doing it well. The Cleveland Orchestra’s reputation for excellence is a direct reflection of the values of this community, built on the firm belief that there is a difference between good, better, and best. We employ and expect the best in order to present the the highest quality musical experiences. The Orchestra’s excellence leads by example — for young and old alike. Quality matters. Sharing the Power and Passion of Music: The Cleveland Orchestra’s fundamental mission is to share great musical experiences. We are striving to play more music for more people, because we believe that music enriches lives, augments learning, and inspires creativity and understanding. Music matters. Inspiring Future Generations: Education has been at the forefront of The Cleveland Orchestra’s mission since the very beginning, by teaching music and helping students learn life skills through music. Today, we are redoubling our efforts — to touch the lives of young people throughout the region through powerful performances, free tickets, and compelling education initiatives. Education matters. Celebrating Community: Each and every year, we work to fulfill the promise of those who created The Cleveland Orchestra — through quality, sharing, education, and celebration. Our greatest strength is the people of Northeast Ohio, who created this Orchestra and continue to expect and demand great things from us. We believe in the power of music because you do. Your support and belief in us carries us forward. Music is about sharing and joining together. Community matters. Throughout this season, let us revel in the great music-making onstage, in the enthusiam we share, in the power of music to make the world a better place.

Richard K. Smucker President

Severance Hall 2017-18

André Gremillet Exective Director

Welcome: 1OOth Season


Cuyahoga County

Together We Thrive Office of County Executive Armond Budish

September 2017 Dear Friends, As the world has changed in remarkable ways over the past 100 years, The Cleveland Orchestra has grown in stature to become one of the world’s most-renowned and lauded musical organizations. The Cleveland Orchestra attracts the finest orchestral players from around the globe. Orchestra musicians have made Northeast Ohio their home, where they raise their families, and enjoy the quality of life that Cuyahoga County has to offer. Arts and culture are key to our quality of life in the region. Cuyahoga County is a place bursting at the seams with arts, music, sports, great food, festivals, waterfront recreation, unique neighborhoods, distinctive places — all converging in one vibrant, dynamic, diverse community. Music plays a critical role in achieving a well-balanced life in Northeast Ohio and beyond. The Orchestra’s greatest strength is the community and people of Northeast Ohio, who support and believe in the Orchestra as one of the area’s finest examples of quality, creativity, and inspiration — for students, children, families, and adults. The Cleveland Orchestra enriches lives by creating extraordinary musical experiences for all. We can all proudly support what The Cleveland Orchestra has achieved in its first hundred years — and we look forward to even more memorable music-making in the future. Bravo Cleveland Orchestra!! My best always,

Armond Budish Cuyahoga County Executive


From the County Executive: 1OOth Season

The Cleveland Orchestra

2017-18 100th Season Dear Fellow Citizens: I am pleased and proud to congratulate The Cleveland Orchestra on their 100th Anniversary season. This orchestra was created here in Cleveland 100 years ago by local citizens who insisted on the very best for our city. Quality is one of Cleveland’s trademarks and The Cleveland Orchestra is one of our city’s greatest success stories. Conceived with trust and support, built on ambition and drive, focused on quality and service to the community, The Cleveland Orchestra is a cultural anchor of this great city. Music touches people of all ages, races, lifestyles, and backgrounds. And there are significant developmental, academic, and social benefits for young people who study music, especially from an early age. The Orchestra’s concerts and education programs, which have introduced over 4 million young people to symphonic music, are often the first chapter in a lifelong passion. The Cleveland Orchestra proudly carries the name of Cleveland while touring internationally and domestically, shining a positive light on Cleveland around the world. But no matter where they perform each week, The Cleveland Orchestra is and always will be Cleveland’s Orchestra. Throughout this season, please join me in celebrating The Cleveland Orchestra and all of its accomplishments, today and tomorrow. Sincerely,

Mayor M yor Frank G.. Jackson Ma

Severance Hall 2017-18

From the Mayor: 1OOth Season


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as of June 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 U S T E E S Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

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

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

T RU S TE E S E X- O F F I C I O Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Patricia Sommer, President, Friends of The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra T RU 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 CLEVEL AND ORCHESTR A Franz Welser-Möst, Music Director

Severance Hall 2017-18

André Gremillet, Executive Director

Musical Arts Association


PROUDLY SHARING PROUDLY SHARING A CENTENNIAL A CENTENNIAL SEASON WITH SEASON WITH THE CLEVELAND THE CLEVELAND ORCHESTRA. ORCHESTRA. LOCATED ON THE OBERLIN COLLEGE CAMPUS LOCATED ON THE OBERLIN COLLEGE CAMPUS Founded in 1917 by Elisabeth Severance Allen Founded in 1917 by Elisabeth Severance Allen (later Prentiss), the AMAM has an acclaimed (later Prentiss), the AMAM has an acclaimed collection of more than 15,000 objects from collection of more than 15,000 objects from virtually every culture and time period. virtually every culture and time period. CENTENNIAL SYMPOSIUM—October7,7,10–5 10–5 CENTENNIAL SYMPOSIUM—October Keynote speaker: Stephan Jost, director, Art Gallery Keynote speaker: Stephan Jost, director, Art Gallery of Ontario (AGO). Free to the public. of Ontario (AGO). Free to the public. Centennial exhibitions: Centennial exhibitions: MAIDENFORM TO MODERNISM: MODERNISM:THE THEBISSETT BISSETT MAIDENFORM TO COLLECTION, through May May27, 27,2018 2018 COLLECTION, through Gifts founders of of the theMaidenform Maidenformcompany company Gifts from founders include works include works by by Matisse, Matisse,Dubuffet, Dubuffet,and andothers. others. THIS IS YOUR THIS YOUR ART: ART: THE THELEGACY LEGACYOF OFELLEN ELLEN JOHNSON, through May 27, 2018 JOHNSON, through May 27, 2018 Celebrating the Celebrating the art art history historyprofessor professorwho whochamchampioned modern and contemporary art pioned modern and contemporary artatatOberlin. Oberlin. CENTURY OF AA CENTURY OF ASIAN ASIANART ARTAT ATOBERLIN OBERLIN Throughout 2017–18, exhibitions Throughout 2017–18, exhibitionshighlight highlight collectors who collectors who donated donatedAsian Asianart arttotothe theAMAM. AMAM. LINES OF INQUIRY: LINES OF INQUIRY: LEARNING FROM REMBRANDT’S ETCHINGS LEARNING FROM REMBRANDT’S ETCHINGS February 6–May 13, 2018 February 6–May 13, 2018 Allen Memorial Art Allen Memorial Art Museum Museum 87 North Main St. 87 NorthOhio Main St. Oberlin, Oberlin, Ohio

Open Tuesday to Free admission Open Tuesday Free admission Saturday 10–5 to Saturday 10–5 Sunday 1–5 SundayMondays 1–5 Closed amam Closed Mondays amam and major holidays and major holidays


December 1919, Grays Armory

From the Start

A Mission for Greatness in Community, Education, & Music by E R I C S E L L E N



cclaimed for decades among the world’s top symphonic ensembles, The Cleveland Orchestra celebrates its 1OOth year during the 2017-18 season. Such fame and acclaim did not come without a plan. From the very beginning, the private citizens who created this public institution fully intended to foster a great musical ensemble that would carry the exceptional can-do spirit of the city of Cleveland far and wide. Generations have carried through on the hard work required to forge and sustain the Orchestra’s mission to share extraordinary musical experiences, to foster a love of music in students of all ages, and to proudly carry the name of the city it represents. The Early Decades: Creation, Growth, and the Construction of Severance Hall At the time the ensemble was created, in 1918, Cleveland was a rising industrial metropolis heavily involved in the steel industry and rivalling Detroit in car manufacturing. Rich magnates put the money together for the Orchestra’s early seasons, including John L. Severance, an acquaintance of John D. Rockefeller. Unusually for the era, a woman, Adella Prentiss Hughes, was the

Severance Hall 2017-18

About the Orchestra


guiding light behind the efforts to create a hometown band — and she worked tirelessly and with great political finesse to launch it on a trajectory toward being “as good as any orchestra in America.” Nikolai Sokoloff, the Orchestra’s first music director (1918-33), is often overlooked in light of his better-known suc-


cessors. He was, however, certainly good enough to pull the group together and guide them forward for more than a decade. Those years saw the start of many education programs that continue today — the Orchestra has introduced more than 4 million young people to classical music across its first century — as well as extensive touring across the United States and to Cuba, and its first concerts at New York’s famed Carnegie Hall. Perhaps the biggest push in the early years came from John L. Severance when he donated money toward the ensemble’s permanent home concert hall, named to honor both Severance and his wife when it opened in 1931. Severance Hall was among the very first such buildings designed with radio broadcasting capability in its original schematics and quickly gave the musical ensemble a new sense of permanence, style, and purpose. Artur Rodzinski came next as music director (1933-43), injecting a new level of energy into the Orchestra’s music making. A gifted if mercurial leader, who may (or may not) have had a pistol strapped to him onstage when he conducted, Rodzinski had big ambitions and started out strong. For four seasons in the mid-1930s, the Orchestra’s season featured fully-staged opera productions at Severance Hall, with some of the day’s most-renowned stars, including Lotte Lehmann and Friedrich Schorr. However, the cost of presenting four or five operas each year, in the midst of the Depression, eventually forced their discontinuation. Rodzinski moved forward nevertheless, with recordings alongside new and rediscovered works. Finally, he left CleveThe Cleveland Orchestra

land to pursue his own career in the bigger cities of New York and, later, Chicago. For Erich Leinsdorf, the next music director (1943-46), timing was everything — and World War II largely precluded him from making much impact in Cleveland. Many of the ensemble’s musicians were on leave for military duty, and Leinsdorf himself was away part of the time for military service. Evenso, he made some solid recordings, led a variety of radio broadcasts, and re-affirmed his own bona fides for the high-powered international career he enjoyed in the ensuing decades. The Szell Era: Rise to International Fame George Szell, music director from 1946 until his death in 1970, took a credibly good orchestra and made it great. It’s not that he put The Cleveland Orchestra on the map, for it had been touring around the U.S. for years. It was more that he took the stage and insisted that Cleveland could be — in real fact, would become — as good

as any orchestra anywhere. His legendary standards focused 100 musicians toward a kind of peerless perfection that dazzled many ears. Just as a great restaurant grows its reputation through delivering consistent excellence, Szell was concerned with repeatability. Day in and day out, critics and audiences around the world could more and more count on The Cleveland Orchestra to deliver a great performance, everytime, anywhere. That predictability, coupled with the rise of audiophile home listening equipment (and stereo sound) turned Cleveland into a powerhouse in the recording studio, creating an outstanding catalog across the standard repertoire, many selections from which still hold their own as much as half a century later. The Orchestra’s ambitions also grew along with Szell’s tenure, touring internationally to amaze Europeans unaccustomed to such constant perfection in live performance. A ten-week tour in 1965 included a month in the Soviet Union, which became legendary among Cleveland’s musicians,

Education has long been a fundamental part of The Cleveland Orchestra’s programs each year, including teaching and coaching future musicians — such as these young students in 1929.

Severance Hall 2017-18

About the Orchestra



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


1l1l 11l1 l1l1 1

The 2017-18 season will mark Franz Welser-Möst’s 16th 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.

52 53%

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.


Follows Followson onFacebook Facebook(as (asof ofJune Sep 2017) 2016)

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

129,452 130,010



concerts each year.

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

The Cleveland Orchestra performs over



staff, and board members for the Orchestra’s unflagging ability to put on a great performance for wildly enthusiastic audiences — even with circumstances of lessthan-optimal hotels, transportation, and backstage facilities. Despite his reputation, the steel-eyed taskmaster Szell was not entirely without emotion and understanding of those around him or of humanity as a collective society. Stories abound of small gestures of sympathy and understanding at fateful moments in the lives of longtime Orchestra musicians. And, having escaped in the 1930s from a Europe-turned-afoul, he was well-tuned to world politics and changing times — and to the need for public statements in times of crisis. Following the assassination of Martin Luther King Jr. in 1968, he led the Orchestra in a moving performance of the Funeral March from Beethoven’s Seventh Symphony, making a statement of solidarity and caring with the ongoing struggle for human justice. Planning and foresight by the Orchetra’s leadership also brought about increased performance opportunities. In 1968, the opening of the Orchestra’s parklike countryside summer home, Blossom Music Center, ensured the musicians of a year-round employment contract, further bonding them with their hometown audiences (who also lined up by the thousands at Blossom for rock-n-roll concerts by the era’s other big-name musical legends). Forging Ahead: Boulez and Maazel Upon Szell’s death, Pierre Boulez was appointed to an interim position as musical advisor for two seasons (1970-72). Boulez Severance Hall 2017-18

made his professional American debut with the Cleveland ensemble in 1965. His relationship as a friend and influence on the podium in Cleveland eventually extended to nearly half a century. He brought daring programming of new music along with new ideas to clear the accumulated earwax from old ways of listening to classics. His astute musical judgement and his extraordinary laser-like precision on the podium eventaully won Cleveland five Grammy Awards. By example and with keen intellect and approach, he effortlessly encouraged the musicians across a widening spectrum of the repertoire. Lorin Maazel, the next music director (1972-82), stirred things up a bit for The Cleveland Orchestra. His high-energy leadership and fascinating programming, along with a compelling (if at times headstrong) conducting style also dared the musicians to make music in new ways. International touring continued, including the Cleveland’s first trips to South America and to Australia and New Zealand — with the Orchestra’s global reach becoming a true reality beyond its well-deserved reputation. The ensemble’s recordings also continued, with Maazel leading large swaths of the repertoire and helping the Orchestra pioneer digital recording. A New Golden Era: Dohnányi and a Restored Severance Hall Christoph von Dohnányi, the sixth music director (1982-2002), brought artistic leadership for a second “Golden Age,” as well as, finally, some critical distinction beyond being “the Orchestra that Szell built.” Dohnányi focused on both precision and

About the Orchestra


warmth of sound, while presenting intriguing programming of standard works mixed together with lesser-known repertoire. Touring became an annual part of the Orchestra’s calendar, including regular residencies in Salzburg, performances throughout Europe, and first performances in China. These years also coincided with the final era of growth in commercial recording. The Cleveland Orchestra laid claim to being the “most-recorded orchestra in America” for nearly a decade, turning out album after album annually to wide acclaim and sales. In addition, Dohnányi revived the Orchestra’s operatic traditions, though mostly with in-concert presentations, and devoted his work to further polish and amalgamate the musicians’ gifted artistry and ensemblework. One of the greatest long-term achievements of Dohnányi’s tenure was the renovation and expansion of Severance Hall, which restored what many have called “America’s most beautiful concert hall” to visual interior splendor while simultaneously enhancing its famously clear and intimate acoustics. The work also restored the hall’s original 6,025-pipe concert organ, making it once again useable (from a new location within the hall) for the first time in half a century. Accelerando con moto: Welser-Möst and a New Century Franz Welser-Möst became The Cleveland Orchestra’s seventh music director in the autumn of 2002. His charge has been to carry the ensemble forward


— first into the new millenium and now into the Orchestra’s own Second Century. His playbook has been to build on the best traditions of the past while steering clearly and with passionate directness to argue for music’s renewed relevance in a changing world. He has expanded repertoire while further honing the Orchestra’s flexibility for modern (and older) music. The Orchestra’s long operatic tradition has been augmented with the return of fullystaged opera productions to Severance Hall, including cutting-edge presentations filled with 21st-century technological know-how and wonder — all in service to telling the plotlines of challenging works in compelling ways and with superb casts. Welser-Möst has also led The Cleveland Orchestra in a series of acclaimed video and other recordings, further enlarging the ensemble’s storied recorded legacy. He has advocated for a renewed and extended focus aimed at serving the people of Cleveland, through expanded education offerings and a new diversity of programming and concert formats. Special ticketing programs offer free tickets for families to bring children with them to concerts, with a notable increase of younger people attending performances — with 20% of audiences now aged 25 and younger. In the past decade, the Orchestra has also extended its work as Cleveland’s ambassador to the world, regularly showcasing its extraordinary musicianship in music capitals and at festivals and in residencies across Europe and on tour in the

About the Orchestra

The Cleveland Orchestra


United States. With his contract extended to encompass a tenure of at least two decades, Welser-Möst continues to prepare The Cleveland Orchestra for its Second Century, serving the art of music and the people of its hometown earnestly and with the utmost dedication to harness the power of music to change lives and to inspire creativity and understanding. Tellingly, throughout the Orchestra’s history, there has been a strong tradition of leadership continuity, not just artistically (with only seven Music Directors in 100 years), but also in Presidents of the governing non-profit Board of Trustees (just twelve), and staff Executive Directors (only ten), providing a steady but focused progression of guidance propelling the Orchestra forward. Contrasted with the shifting sands at some other well-known ensembles, this unity of purpose and personnel has helped carry the Orchestra forward institutionally as a tireless agent for inspiring its hometown through great music. For, in truth, the Orchestra’s greatest strength remains the citizens of its hometown and the region surrounding Cleve-

land, whose forebears imagined such a world-famous orchestra could exist and then set about to make it happen. Individuals and corporations financed the Orchestra’s growth while insisting on excellence as the goal, not just musically, but in programs for educating and inspiring the city’s youth. That support continues today at uniquely high levels, boasting the greatest generosity of per capita donations for any major American orchestra. Thus, the extraordinary dream continues — marching The Cleveland Orchestra into a Second Century of achievement and success, arm in arm with the community whose name it carries.

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Severance Hall 2017-18

About the 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 2017-18 season marks his sixteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership extending into the next decade. The New York Times has declared Cleveland under Welser-Möst’s 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 successSeverance Hall 2017-18

Music Director

ful in building up a new and, notably, younger audience through groundbreaking programs involving families, students, and universities. As a guest conductor, Mr. WelserMöst 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, Strauss’s Die Liebe der Danae in 2016, and Reimann’s Lear in 2017), 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. This past season, he led the Vienna Philharmonic in performances in Vienna and on tour in the United States, featuring three concerts at Carnegie Hall in February. He returns to the Salzburg Festival in 2018. Mr. Welser-Möst also maintains relationships with a number of other European orchestras and opera companies. His 2017-18 schedule includes concerts with the Royal Stockholm Philharmonic, Zurich’s Tonhalle Orchestra, Orchestre de Paris, Leipzig Gewandhaus, Amsterdam’s Royal Concertgebouw, and Milan’s Filarmonica della Scala, as well as leading a gala with the Shanghai Grand Opera. From 2010 to 2014, Franz WelserMöst 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 pro-


ductions, as well as performances of a wide range of other operas, particularly works by Wagner and 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. A companion video recording of Brahms’s German Requiem was released in 2017. This past summer, Mr. Welser-Möst was awarded the 2017 Pro Arte Europapreis for his advocacy and achievements as a musical ambassador. Other honors and awards 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.


ABOVE In December 2015, Franz Welser-Möst

led the prestigious Nobel Prize Concert with the Stockholm Philharmonic.

“Franz Welser-Möst, music director of the subtle, responsive Cleveland Orchestra — possibly America’s most memorable symphonic ensemble — leads operas with airy, catlike grace.” —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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Franz Welser-Möst M U S I C D I R E C TO R

CELLOS Mark Kosower*

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


Alfred M. and Clara T. Rankin Chair

The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Emilio Llinás 2 James and Donna Reid Chair

Bryan Dumm Muriel and Noah Butkin 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 Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

Yun-Ting Lee Jiah Chung Chapdelaine VIOLAS Wesley Collins* Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey

Louis D. Beaumont Chair

Richard Weiss 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

The Musicians

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

2O1 7-18

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

Robert Walters

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Afendi Yusuf * Robert Marcellus Chair

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

Daniel McKelway

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

Michael Miller CORNETS Michael Sachs *

ENGLISH HORN Robert Walters


Robert R. and Vilma L. Kohn 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 2017-18


Mary Elizabeth and G. Robert Klein Chair

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

Donald Miller Tom Freer Thomas Sherwood KEYBOARD INSTRUMENTS Joela Jones * 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


TROMBONES Massimo La Rosa *

Sidney and Doris Dworkin Chair Sunshine Chair George Szell Memorial Chair

Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROMBONE Thomas Klaber

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal


CONDUCTORS Christoph von Dohnányi

TUBA Yasuhito Sugiyama*

Vinay Parameswaran

Nathalie C. Spence and Nathalie S. Boswell Chair

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


Elizabeth Ring and William Gwinn Mather Chair


Frances P. and Chester C. Bolton Chair

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

The Musicians




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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.

Severance Hall 2017-18

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.

Autumn Previews: September 28, 30 “2017-18: Season Overview” (Musical works by Beethoven and Stravinsky) Franz Welser-Möst in conversation with André Gremillet, executive director of The Cleveland Orchestra

September 29 “Liberty, Love, and Thanksgiving” (Musical works by Beethoven) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

October 5, 6 “Mahler’s Tragic Sixth Symphony” with guest speaker Michael Strasser, professor of musicology, Baldwin Wallace University

November 3, 4, 5 “Making a Mark on HIstory” (Musical works by Beethoven and Elgar) with guest speaker Cicilia Yudha, associate professor of piano, Youngstown State University

Concert Previews





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Severance Hall

Thursday evening, September 28, 2017, at 7:30 p.m. Saturday evening, September 30, 2017, at 8:00 p.m.


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

String Quartet No. 15 in A minor, Opus 132

(performed by string orchestra) 1. 2. 3. 4. 5.

Assai sostenuto — Allegro Allegro ma non tanto — Trio Holy Song of Thanksgiving: Molto adagio — Andante Alla marcia, assai vivace — Finale: Allegro appassionato — Presto


The Rite of Spring (1947 score) Part I: Adoration of the Earth Introduction — Augurs of Spring — Ritual of Abduction — Round Dance — Ritual of the Rival Tribes — Procession of the Wise Elder — Blessing the Earth — Dance of the Earth Part II: The Sacrifice Introduction — Mystic Circles of the Young Girls — Glorification of the Chosen One — Evocation of the Ancestors — Ritual of the Ancestors — Sacrifical Dance (The Chosen One)

The Saturday evening performance is dedicated to The Brown and Kunze Foundation in recognition of their extraordinarily generous annual support of The Cleveland Orchestra. The concert will end at about 9:10 p.m. on Thursday and at approximately 9:40 p.m. on Saturday evening.


Concert Program — Week 2a

The Cleveland Orchestra




2O1 7-18 Severance Hall


Friday morning, September 29, 2017, at 11:00 a.m.

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

String Quartet No. 15 in A minor, Opus 132 (performed by string orchestra) 1. 2. 3. 4. 5.

Assai sostenuto — Allegro Allegro ma non tanto — Trio Holy Song of Thanksgiving: Molto adagio — Andante Alla marcia, assai vivace — Finale: Allegro appassionato — Presto

Leonore Overture No. 3, Opus 72b

The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation. This Friday Morning concert is performed without intermission and will run about one hour in performance.


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

Severance Hall 2017-18

Concert Program — Week 2b


September 28, 29, 30


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


Severance Restaurant Reservations for dining suggested:

216-231-7373 or via



“2017-18: Season Overview”

“Liberty, Love, and Thanksgiving”

with Franz Welser-Möst in conversation with executive director André Gremillet

with Rose Breckenridge FRIDAY MORNING 11:00

BEETHOVEN String Quartet No. 15 . . . . . . . . . . . . . . Page 35 (40 minutes)


Concert begins: THUR 7:30 SAT 8:00

Program note about Leonore Overture No. 3 begins on page 47



(20 minutes)

STRAVINSKY The Rite of Spring . . . . . . . . . . . . . . . . . Page 41


(30 minutes)

Concert ends: (approx.)

THUR 9:05 SAT 9:35

Severance Restaurant and Opus Café

Severance Restaurant Post-Concert Luncheon following the Friday Morning concert.

Post-concert desserts and drinks

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

No intermission for Friday Morning.


This Week’s Concerts

The Cleveland Orchestra


Philosophy& Sacrifice

T H I S W E E K E N D ’ S C O N C E R T S offer works by two of music’s greatest revolutionaries, Ludwig van Beethoven and Igor Stravinsky. Both were recognized for their genius, for their daring, and for the changing styles of their music. If Beethoven’s music evolved from courtly niceties to political profundities, Stravinsky shifted wholesale across different periods of his lifetime. The music of both men still startles, still moves us, still speaks directly to human understanding and instincts. To begin these concerts, Franz Welser-Möst has chosen one of Beethoven’s late string quartets from 1825 — played by an entire string orchestra instead of just four musicians. “In the late quartets,” Franz says, “Beethoven pushes beyond what four players can achieve, or perhaps offers so much meaning that hearing this music, with more players listening intently together, can give new perspective on the depth of Beethoven’s message. In this work, he created something ethereal, yet filled with wisdom, a musical experience somewhere between chamber music and symphony.” In Franz’s program note about this quartet, he discusses how toward the end of Beethoven’s life, the composer managed to write philosophy into sound. There is beauty here, and intense, quiet revolution. Following intermission of the evening concerts, Beethoven’s philosophical focus is broken asunder by the primal music of Stravinsky’s The Rite of Spring from 1913. This is gut-wrenching, cataclysmic music, built on energetic rhythms and disjointed melody. The ballet’s premiere caused riots in the theater — perhaps triggered as much for the storyline of human sacrifice and the angular choreography as by the music’s base elements. The power of this work is still staggering, in conception and performance. For Friday morning’s concert, the intensity of Beethoven’s string quartet is contrasted with one of his most famous — and uplifting — overtures. Leonore Overture No. 3 is itself a powerful encapsulation of triumph over challenge, defiance over adversity. As we celebrate the power of music all season long, let us marvel at these works of creative genius. —Eric Sellen Above, The Joffrey Ballet’s re-creation of the original production of The Rite of Spring, performed with The Cleveland Orchestra at Blossom in 2013. Severance Hall 2017-18

Week 2 — Introducing the Concert


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Co-organized by the Cleveland Museum of Art and Cooper Hewitt, Smithsonian Design Museum, New York Muse with Violin Screen (detail), 1930. Paul Fehér (Hungarian, 1898–1990), designer. Rose Iron Works (American, Cleveland, est. 1904). Wrought iron, brass; silver and gold plating; 156.2 x 156.2 cm. The Cleveland Museum of Art, On Loan from Rose Iron Works Collections, LLC. © Rose Iron Works Collections, LLC


String Quartet No. 15 in A minor, Opus 132 (performed by string orchestra) composed 1825

At a Glance


Ludwig van

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

Severance Hall 2017-18

Beethoven wrote this quartet in A minor in 1825. He suffered an unknown digestive malady when writing the second movement and, once feeling better, inscribed the third movement as a “Holy Song of Thanksgiving of a Convalescent to the Deity” [Heiliger Dankgesang eines Genesenen an die Gottheit]. The first performances were given in September 1825, first presented to a small group of friends on September 9 followed by the first official public performance on September 11 — at the tavern “Zum

wilden Mann” in Vienna, with Ignaz Schuppanzigh and Karl Holz (violins), Franz Weiss (viola), and Joseph Lincke (cello). This work runs just over 40 minutes in performance. Beethoven scored it for a traditional string quartet of two violins, one viola, and one cello. For this week’s performances by the strings of The Cleveland Orchestra, Franz Welser-Möst has included string basses, doubling the cello line an octave lower in many sections of the music.

About the Music Franz Welser-Möst has prepared the following comments about this Beethoven quartet: B E E T H O V E N ’ S L AT E S T R I N G Q U A R T E T S are an extraordi-

nary set of masterpieces, in part because they are so enigmatic. Listening to each, we sense that there are layers of meaning behind the notes — that the music was intended to say more, to tell us and help us understand not just what Beethoven wanted to say musically, but how he viewed life itself. Beethoven was a man who wanted to fully embrace the world around him. He read widely, and his growing understanding of ideas and philosophy and literature changed his outlook on the world and even how he thought about music. Ultimately, I believe that his life and his music came together to create its own cosmos, to represent a world view that is available to us, in part, by listening to his music. On his desk, Beethoven had a motto under glass, which he looked at each day as he sat down to work. The statement had come from the Greeks more than two thousand years before, as they studied Egyptian religion and spirituality. It was a saying that is supposed to have been inscribed on the temple of the goddess Isis: “Ich bin alles was ist, und was sein wird, und kein Sterblicher hat den Schleier von meinem Gesicht gehoben” [I About the Music


am everything that is, and what shall be, and no mortal has lifted the veil from my face]. Across the centuries, this saying — and the goddess Isis herself — had come to symbolize the mysteries of Nature, to reflect the idea that some things in the natural world are unknowable. But in Beethoven’s time, as the Age of Enlightenment continued to blossom, scientists and philosophers and other great thinkers were coming to believe that the veil of mystery might in fact be lifted. They believed that humanity, by asking the right questions and searching in the right and logical way, could find the answers. Civilization was headed toward betterment, toward good, toward real understanding of the world. Over the course of his life, Beethoven studied much. He read Ancient Greek philosophy as well as very new works — Rousseau, Voltaire, German literature, the French Revolution, Pantheism, religion, politics. He was interBeethoven read widely ested in everything. From this, his own cosmos throughout his life. or worldview emerged and evolved. It was He was interested in filled with much beyond music. Yet music was everything. From this, his language, and as an artist, music was how he translated his worldview for others, through his own cosmos or his heart and mind and creativity. And like so worldview emerged many composers lucky enough to reach the later and evolved. It was stages of life, Beethoven continued to expand filled with much beyond his view, in part, by reducing it to the essentials, by working to eliminate anything extra in order music. Yet music was to find the true essence of being. his personal language, Beethoven looked at the ancient Egyptian and, as an artist, music motto on his desk every day — and in his own was how he translated music, in his own way, he was trying to lift the veil, to understand and explain the world around his worldview for others, him. In his later piano sonatas, and the Late through his heart and Quartets, in the Missa Solemnis and the Ninth mind and creativity. Symphony, he reached to expand the palette of what he had written before — in form and harmony, in the forces used to perform, and also in trying to complete the philosophical journey that he had started early on in his oeuvre. In preparation for these late works, he had devoted some time looking to the past, to music from earlier times, from the Middle Ages and the Renaissance and the Baroque. This ongoing quest for knowledge and ideas prepared him to continue stretching his own approach and musical vocabulary. It did not matter if an idea was


About the Music

The Cleveland Orchestra

old or new. What mattered is that it was the right idea to convey what Beethoven needed to say at a given moment. The older he became, the bigger his tool set could be. But also, the more carefully he used it, focusing on the essence and the message within the music. I believe that we must take all of this into account when approaching Beethoven’s enigmatic Late Quartets. There is something quite abstract about these masterpieces. Yet they also feel so very physical and substantial, so that playing them with four players at times doesn’t seem to be enough. Or, perhaps, it is better to say that performing them with a larger ensemble can, on occasion, help lift the veil on Beethoven’s worldview, giving us added insight. THE MUSIC: MOVEMENT BY MOVEMENT

In many ways, these Late Quartets are pure philosophical ideas. In a physical sense, they are not real. They are just ideas. And how do you do justice to a philosophical idea with instruments? Beethoven shows us. He starts the opening movement of his Opus 132 Quartet with a short, slow, mysterious theme (built from a motif that he also uses in the other two quartets from this period, Opus 130 and Opus 131). And right away you have the feeling that fate is involved. There is uncertainty. In a word, the music is an enigma. As the movement takes hold, Beethoven works within the key of A-minor, a key that is half-dark, half-light. It is a strong key, full of desire, yet also melancholic. The music here is more lyrical than dramatic. The tempo moves forward at the main section marked “Allegro” — and now we have begun a journey of intimate drama, told in a poetic, lyrical way. The second theme seems to suggest a feeling of companionship, of brotherhood and togetherness. We are taking this enigmatic journey together. The second movement is a Scherzo, but not the kind of wild dance that Beethoven so often built for his symphonies and earlier works. This is a gentle Scherzo, a movement filled with subtle humor. The Trio section features a kind of pastoral music that reminds us of the Sixth Symphony; the music is related to nature, but played in the lighter, lofty sound of A major, thus contrasting in basic color with the previous movement. In some parts, as a point of humor, the listener is fooled as to where the main beat in this dance is. We smile as we listen. Humor and nature here work together. Life feels comfortable, something to be enjoyed. Severance Hall 2017-18

About the Music

With his increasing hearing loss, Beethoven tried several different “ear trumpets.” They helped in the early stage, but eventually he came to rely on written conversations with guests.


But the mood is about to change. At age 55, Beethoven was taken ill in the midst of completing the quartet’s second movement. He spent several weeks in bed, unable to write and feeling his mortality in very real and everyday ways. A HYMN OF THANKSGIVING

At the center of this five-movement quartet stands the slow third movement, over which Beethoven wrote “Heiliger Dankgesang eines Genesenen an die Gottheit” [Holy Song of Thanksgiving of a Convalescent to the Deity]. After There is something his long time bedridden — indeed, because of quite abstract about his illness — Beethoven returned to the quartet Beethoven’s last string with a new outlook and decided to express in quartets. Yet they also the music gratefulness for his recovery. Yet the result is so much more than a simple hymn of feel very physical and thanksgiving. It is also a continuation of his comsubstantial, so that mentary about life, and of expanding his musical playing them with horizons to say ever more. Here, unexpectedly, four players at times he chose to write in the Lydian mode, beginning on the note of F. He was consciously deciding doesn’t seem to be to use a kind of mode or scale from the Middle enough. Or, perhaps, Ages, to expand this Quartet’s sound world and performing them with to elevate the meaning of this music beyond his a larger ensemble, on own time. Giving thanks is a universal feeling; every generation since the beginning of humanoccasion, helps lift the ity has found reason to be grateful. veil on Beethoven’s The movement’s music — twice as long in worldview, giving performance as any of this quartet’s other moveus added insight. ments — is full of devotion and humility. It is created with chorale-like melodies, long and slow. One section, almost as if telling a story, is headed “Neue Kraft fühlend“ [“Feeling New Strength”]. A musician once said to me that the way this section starts, it could have been written by Handel. There is something to this, because Beethoven admired Handel and also studied much of his choral writing while completing the Missa Solemnis the year before this Quartet. Also within this “Handel-like” section, there are moments reminiscent of passages in the slow movement of Beethoven’s own Ninth Symphony. Next there is a variation of the first part, followed by a variation of the second part, followed again by another variation of the first part over which Beethoven wrote “mit grosser Innigkeit” [with great intimacy]. Each repetition intensifies what has been said before. As this meditative music continues,


About the Music

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there comes a brief pause in D minor, the key so often associated with and used to signal death. Here, Beethoven contemplates exactly that. And then, after a big outcry, and with feelings of longing and nostalgia, he brings the movement to an ethereal ending, full of beauty. How do you move on from there? How can music bring us back to reality? How do we put our feet on the ground again, after such beauty and meditation, from the heights of clouds filled with deepest feelings? Here, again, Beethoven finds a way. And he manages this with a fourth movement that comes, in part, from his great sense of humor. He follows the great and divine slow movement with a huge contrast, with a small, witty, light march. Written in A major, the tempo marking says “alla Marcia” [like a march], but it is the kind you can’t actually march to. Yet we are happy to go along with it, to go forward once more, and to begin walking. We — and Beethoven — are past the illness, and we are happy to be alive and moving again. And he takes this march right on into a kind of recitativo for the first violin, in music that is a clear reminder of the recitative in the final movement of the Ninth Symphony. Thus, Beethoven uses the very brief fourth movement (just two minutes in length) to prepare us for the finale. And, of course, in opera a recitative is followed by an aria. And in the fifth movement, he begins that aria with a melody he originally had planned for the last movement of the Ninth. The tempo marking is “Appassionato,” with the passion relating directly back to what was expressed in the first movement. We have come full circle. But not entirely. Much of this music is completely Romantic, yet this movement’s sound-world (as it joins Beethoven’s cosmos) also includes music that could have been written a hundred years later — at the start of the 20th century, when Mahler and Stravinsky and Schoenberg and others were wrestling music clearly, fitfully, at times awkwardly, luminously into the Modern Age. Ultimately, in this Quartet, Beethoven created not just a musical masterpiece, but one that reflects his personal situation — including a grave illness. Yet the music extends well beyond that specific incident. He has shown us how to do it, he has created philosophy put into sound! —Franz Welser-Möst © 2017

A sketch from 1815, of Beethoven, dressed up and out walking, by Johann Peter Lyser.

The 2017-18 season marks Franz Welser-Möst’s sixteenth year as music director of The Cleveland Orchestra.

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Pictures from Pagan Russia, in Two Parts:

The Rite of Spring [Le Sacre du Printemps] composed 1912-13; performed in the 1947 revised score

At a Glance



STRAVINSKY born June 17, 1882 Oranienbaum, near St. Petersburg died April 6, 1971 New York

Stravinsky wrote the scenario to the ballet Le Sacre du Printemps [“The Rite of Spring”] in collaboration with the painter-writer Nikolai Roerich in 1910-11 and composed the music in 1912-13. It was first performed on May 29, 1913, by Sergei Diaghilev’s Ballets Russes at the Théâtre des Champs-Élysées in Paris, with Pierre Monteux conducting. The sets were by Roerich, and the choreography by Vaslav Nijinsky. The Rite of Spring runs about 30 minutes in performance. Stravinsky scored it for piccolo, 3 flutes (one doubling second piccolo), alto flute, 4 oboes (one doubling second english horn), english horn, small clarinet in E-flat, 3 clarinets (one doubling second bass clarinet), bass clarinet,

4 bassoons (one doubling second contrabassoon), contrabassoon, 8 horns (two doubling tenor tubas), 4 trumpets (one doubling bass trumpet), piccolo trumpet, 3 trombones, 2 tubas, timpani, percussion (bass drum, tambourine, cymbals, antique cymbals, triangle, tam-tam, güiro [a scraped gourd]), and strings. The Cleveland Orchestra first performed The Rite of Spring in March 1935, conducted by Artur Rodzinski. The most recent performances were at Severance Hall in 2010 and in Miami in 2014, led by Franz Welser-Möst. The Cleveland Orchestra recorded The Rite of Spring with Pierre Boulez in 1969, with Lorin Maazel in 1980, with Riccardo Chailly in 1985, and with Boulez again in 1991.

About the Music Franz Welser-Möst has prepared the following comments about Stravinsky’s ballet score for The Rite of Spring: S O M E T I M E S a group of radical changes comes across the

world in a relatively short period of time. Imagine the beginning of the 20th century. The motorization of people was begun, with Henry Ford building the first car that sold in the thousands. The airplane took flight. Whole nations and peoples literally marched enthusiastically and with great optimism into World War I, which ground any such happy ideas of war out of them during a stalemate — on the battlefields and between the politicians of all the affected countries — that cost tens of millions of lives. In the arts, Pablo Picasso and Henri Matisse and many others shifted the norm from realism to modern points of view. Arnold Schoenberg had just finished his rules for a new type of twelve-tone music, and Igor Stravinsky changed the music world — and everyone who listens — forever. He did it with a Severance Hall 2017-18

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single piece, The Rite of Spring. Musical Romanticism and Impressionism were over almost overnight. The modern world had arrived. There could be no turning back. Imagine the tumult at the world premiere of The Rite of Spring in 1913, where people physically attacked each other with chairs! I still remember people walking out in the middle of a performance of this world-changing piece in my hometown of Linz, Austria, in 1977, over sixty years after its world premiere. What is so radical about this piece? Instead of the lushness of Romanticism or the subtle, soft sketches of Impressionism, in Stravinsky’s music people heard for the first time innate brutality, unleashed mechanical power, violent archaic rhythms, and the brute force of nature — not This ballet is scored neatly packaged into music, but created wholly for a huge orchestra. within the music. These conflicting sounds were In it, almost without exhighly complex and difficult to grasp, and unlike anything ever written before. They evoked aggeration, Stravinsky archaic feelings from human pre-history, from sums up everything ancient pagan times. There had been loud muthat had been written sic before, and challenging rhythms, and confor orchestra up until flicting musical lines. But Stravinsky extended it tenfold and wrapped it not as a package, but as that moment, setting a kind of religious ritual that transforms not just us firmly on new ground the dancers in the story, but the entire audience in a new — and thus experiencing this sound world for the first time. modern — world. This ballet is scored for a huge orchestra. In it, almost without exaggeration, Stravinsky sums up everything that had been written for orchestra up until that moment, setting us firmly on new ground in a new — and thus modern — world. Perhaps equal to the music in importance, there is, of course, a highly-dramatic story, told theatrically in two parts, built around human sacrifice, innocence, and understanding. PA R T O N E : A d o r a t i o n o f t h e E a r t h

Introduction: In this opening section, Stravinsky wants the orchestra to express the fear that every sensitive mind has in front of the power of the elements. The entire orchestra has to reproduce the birth of spring. Augurs of Spring, Dances of the Young Girls: Here the orchestra gives voice to nature — in archaic, motoric rhythms; to


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and The Cleveland Orchestra

Above, The Joffrey Ballet’s recreation of the original production of The Rite of Spring, performed with The Cleveland Orchestra in 2013.

Left, sketches by designer Nicholas Roerich of costumes for the original Paris production in 1913; above, Igor Stravinsky, who was a guest conductor of The Cleveland Orchestra on several occasions between 1925 and 1964; above right, Pierre Boulez and the Orchestra won a Grammy Award in 1971 for their recording of The Rite of Spring.

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The Rite of Spring


these are added fanfares announcing spring. Ritual of Abduction: For the first time (but certainly not the last), uneven rhythms are introduced, describing the panic among the ones who are being abducted. Spring Rounds: In this section is written all the power of nature waiting to break out. The latent forces ready to burst forth are preparing to be unleashed. Ritual of the Rival Tribes: This section is thick with an atmosphere of fighting, mixed together with a seductive melody in C major, which turns triumphant; just before the next passage the characters of the wise elders are introduced. Procession of the Sage: Rigid, strong, ancient-sounding music. Kiss of the Earth: The Sage brings a message and touches the earth like a lover. Dance of the Earth: The people break into dance, full of life, wild, seemingly chaotic and merciless. PA R T T WO : T h e S a c r i f i c e

Introduction: We hear mystic music in a dense atmosphere of lament and uncertainty.

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Mystic Circles of the Young Girls: 13 girls, beautiful and innocent, walk in circles, together forming a larger circle; one of them is chosen by fate, twice finding herself tripping into an outer circle. Glorification of the Chosen One: Uneven rhythms return, reaching a new high of intensity; the chosen girl tries to break out of the circle, attempting to escape her fate; in a strange ritual, the others honor her by pushing her back to the center. Evocation of the Ancestors: The girls begin a dance to invoke their ancestors; ancient ideas and Russian sounds evoke a picture of continuity with fate. Ritual of the Ancestors: Old spirits are implored with repeated stubborn rhythms; a procession seems to come closer in the brass before it breaks out fortissimo in the full orchestra, then is stopped; the spectral presence begins again, then disappears. Sacrificial Dance: The chosen girl accepts her fate and dances as if in a trance; this will be her final dance before she breaks down, dead. —Franz Welser-Möst © 2017



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First-prize winner of the 2001 Cleveland International Piano Competition Finalist at the 12th Van Cliburn International Piano Competition in 2005 Laureate of the 2003 Honens International Piano Competition (Calgary, Canada) Laureate of the 2006 Axa Dublin International Piano Competition




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Leonore Overture No. 3 composed 1806

At a Glance


Ludwig van

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

Beethoven composed his “Leonore” Overture No. 3 in 1806 for the revival of his opera, Fidelio, which took place at Vienna’s Theater-an-der-Wien on March 29 of that year. The first known performance of this overture in the United States was given on December 7, 1850, at the Tremont Temple in Boston by the Musical Fund Society under George J. Webb’s direction. This overture runs about 15 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings. The Cleveland Orchestra first performed Beethoven’s Third “Leonore” Overture during the ensemble’s inaugural season in 1918-1919, with founding director Nikolai Sokoloff, at a concert at Woodland Avenue

Presbyterian Church. It has been programmed frequently since that time. Among the Orchestra’s many performances of “Leonore” No. 3 over the years was a rain-soaked rendition of the solo trumpet call in November 1929 during groundbreaking ceremonies for Severance Hall. In recent years, many of the Orchestra’s performances have been as an encore, for concerts at home here at Severance Hall or on tour across North America or in Europe. The Cleveland Orchestra recorded Beethoven’s “Leonore” Overture No. 4 three times for release on commercial albums: with George Szell in April 1963 and August 1967, with Lorin Maazel in August 1978, and with Christoph von Dohnányi in December 1986.

About the Music B E E T H O V E N W R O T E only one opera, spending several dif-

ficult and challenging years creating it, revising it, and lovingly trying to perfect it. Fidelio is about a man wrongfully imprisoned, who is saved through the clever and daring efforts of his faithful wife, Leonore. The subject matter was close to Beethoven’s heart. The stage action clearly mirrors his belief in freedom from political oppression and the boundless power of human love — as well as his belief (and supreme ability) to give musical voice to ideals of freedom, heroism, and the eternal striving of humanity for good. “Fighting for good” was not just a riveting storyline for Beethoven, he believed in it as integral to his life’s work as an artist. In the course of writing, producing, and revising the opera, Beethoven wrote three versions of an overture for it, all now known as the “Leonore” overtures. (Beethoven had, in fact, wanted to call the opera Leonore, but was dissuaded from doing so in order to avoid confusion with an already existing opera by that same title.) Although the three were numbered Severance Hall 2017-18

About the Music


upon publication, for many years, what order Beethoven had really written these three related overtures was hotly argued and contested. Chemical testing of the manuscript papers in the 20th century, however, solved that long-lasting riddle, telling us that his creativity had actually written them 2-3-1. Thus, “No. 2” was first in 1805, and from this he expanded the musical ideas into “No. 3” the next year, only to narrow the writing again for “No. 1” three years later. Ultimately, however, Beethoven rejected them all. In performance, he came to understand that each of his “Leonore” Overtures was too big — that each so fully encapsulated the action (and emotional journey) of the opera into music that experiencing the opera itself became superfluous. In 1814, he wrote the much briefer and expectant Overture to Fidelio, which sets just the right mood, leaving the three “Leonore” Overtures as perfect and big-hearted material for symphonic concerts. (The once common practice of performing “Leonore” No. 3 in opera productions between the two scenes of Act Two, popularized but not begun by Gustav Mahler, has died out in recent years, because there, too, the music overwhelms — and brings to an extended pause, followed by a feeling

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of anti-climax — the dramatic acting out of the opera onstage.) Leonore No. 3 is the most-often performed, and the most fully developed, but all three follow a similar outline and deploys some of the same musical material. Beethoven begins with a repeated grand gesture of chords and ominous music, which gives way to a second set of dramatic chords and is then cleared away by a great sweeping melody. At a crucial moment, an off-stage trumpet silences the orchestra — previewing the way a trumpet call announces the governor’s arrival to grant pardons in the opera itself — leading on to closing music of great fanfare and rejoicing, of the triumph of good people over evil intentions. —Eric Sellen © 2017 2017-18 is Eric Sellen’s twenty-fifth season as The Cleveland Orchestra’s program book editor.

CIM@SEVERANCE HALL Wednesday, October 4 at 8pm CLEVELAND INSTITUTE OF MUSIC ORCHESTRA Brett Mitchell, guest conductor SCHOENBERG Five Pieces for Orchestra (rev. 1949) BATES The B Sides for Orchestra and Electronica (2009) BEETHOVEN Symphony No. 5

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New principal clarinet joins Orchestra for 2017-18

New assistant conductor begins with 2017-18 season

Afendi Yusuf joins The Cleveland Orchestra as principal clarinet with the start of the 2017-18 season. He holds the Robert Marcellus Principal Clarinet Endowed Chair. Born in Addis Ababa, Ethiopia, he has appeared as guest principal with a number of North American ensembles, including the Orpheus Chamber Orchestra, Canadian Opera Company, and the Toronto and Cincinnati symphony orchestras. As a guest ensemble musician, he has also performed with several orchestras across North America. Yusuf is winner of a variety of concerto competitions and has made solo appearances with a number of ensembles in the United States and Europe. He is an alumnus of the Aspen Music Festival and School, Brott Music Festival, National Youth Orchestra of Canada, and the National Arts Centre’s Young Artists Program. He has participated in the Marlboro Music Festival since 2016. Afendi Yusuf holds a bachelor of arts degree from Ontario’s Wilfrid Laurier University, where he was a student of Ross Edwards, and an artist diploma from the Glenn Gould School in Toronto, where he studied with Joaquin Valdepeñas. He also holds a master of music degree and professional studies certificate from the Colburn School’s Conservatory of Music in Los Angeles, where he was a student of Yehuda Gilad.

Vinay Parameswaran joins The Cleveland Orchestra as assistant conductor with the 2017-18 season. He holds the Elizabeth Ring and William Gwinn Mather Conductor Endowed Chair. In this role, he leads the Orchestra in a variety of concerts each season and many weeks serves as cover or backup conductor. He also serves as music director of the Cleveland Orchestra Youth Orchestra. Parameswaran comes to Cleveland following three seasons as associate conductor of the Nashville Symphony. This past summer, he was a Conducting Fellow at the Tanglewood Music Center. Mr. Parameswaran’s recent guest conducting engagements have included the Rochester Philharmonic, Milwaukee Symphony, National Symphony Orchestra, and the Vermont Symphony Orchestra. He has participated in conducting masterclasses with David Zinman at the National Arts Centre Orchestra in Ottawa, as well as with Marin Alsop and Gustav Meier at the Cabrillo Festival. A native of the San Francisco Bay Area, Vinay Parameswaran played as a student for six years in the San Francisco Symphony Youth Orchestra. He holds a bachelor of arts degree in music and political science from Brown University. He received a diploma from the Curtis Institute of Music, where he studied with OttoWerner Mueller.

Acting chorus directors appointed for 2017-18

Silence is golden

Lisa Wong has been appointed acting director of choruses for The Cleveland Orchestra with the 2017-18 season. She steps up with the conclusion in August of Robert Porco’s nineteen-year tenure. She has served as assistant conductor of choruses since 2010 and director of the Cleveland Orchestra Youth Chorus since 2012. Assistant director Daniel Singer will lead the Youth Chorus as acting director this season.

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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.

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

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Season begins with “A Hero’s Journey” — a collaborative multimedia music project and school concert presentation tied to Orchestra’s Beethoven Prometheus Project

On September 22, a collaborative education project with Cleveland Orchestra musicians and Cleveland School of the Arts (CSA) culminated in a live school performance led by Franz Welser-Möst. Centered around Beethoven’s music alongside ideas and ideals of heroism, the daytime Education Concert at Severance Hall was titled “Beethoven & Prometheus: A Hero’s Journey.” The creative journey toward this live concert began last spring, when Orchestra musicians and staff immersed themselves at CSA, working with students and teachers to explore a unique intersection of mythology and music. This “Prometheus Project for Students” was inspired by Welser-Möst’s “Prometheus Project,” a major concert festival in May 2018, to be presented as part of the Orchestra’s Centennial Season during 2017-18. Those public concerts will feature Beethoven’s symphonies alongside important overtures, examining Beethoven’s music through the metaphor of Prometheus, a daring Greek semi-god who defied Zeus to be-


stow the gift of fire on humanity. For Beethoven, this gifting of fire helped propel human civilization forward, providing a spark (literally and metaphorically) of creativity that has powered the imagination of generations. In Welser-Möst’s view, Beethoven saw Prometheus as a metphor for powering humanity’s quest for justice and goodness, for fighting for good, and the embrace of individual freedoms — themes that Beethoven incorporated directly into his music. Through an interdisciplinary curriculum codeveloped by The Cleveland Orchestra, Cleveland School of the Arts, and Fifth House Ensemble (a Chicago-based leader in arts-integration and audience engagement), CSA students engaged deeply with the stories, challenges, and accomplishments of Beethoven and Prometheus, and the way they served — or strived to serve — the greater good. Utilizing artistic mediums (visual and performing arts), engaging core curriculum (English/ language arts, science, and social studies), and using American scholar Joseph Campbell’s classic “Hero’s Journey” framework, students were asked to create works of their own that connect these themes to personal narratives — to create stories in art of their personal heroes and the ways in which each student envisions using their own gifts to shape their future world. A core group of ten Cleveland Orchestra musicians were involved throughout the project. On September 22 at Severance Hall, in a concert performed exclusively for students in the Cleveland Metropolitan School District (CMSD), select CSA student projects and creations were projected onto large screens surrounding the Orchestra, integrating them into “Beethoven & Prometheus: A Hero’s Journey.” The emotionally rich, multidisciplinary, multimedia concert experience was designed to illuminate connections from Beethoven’s music to the mythological Prometheus to the lives of today’s students. The concert will be repeated for additional schools in November. Above, a student artwork from this collaborative project exploring music, heroes and heroism, and humanity’s search for good.

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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 simple- to-read format. The service 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.


A.R.O.U.N.D T.O.W.N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include: mber Carolyn Gadiel Warner, a member of both the violin and keyboard sections ions of the orchestra since 1979, is performming her annual “Carolyn Warner and Friends” recital at the Cleveland Insti-tute of Music on Sunday afternoon, October 1 at 4 p.m. The program in Mixon Hall is titled “An Evening in Paris” and is dedicated to the music of France over the course of the late 19th and early 20th centuries. Performers include Orchestra members William Preucil, Stanley Konopka, Dane Johansen, Mary Kay Fink, Frank Rosenwein, Barrick Stees, Robert Woolfrey, and Jesse McCormick, as well as saxophonist James Umble and pianist April Sun. The concert is free and open to the public, but a reservation is required:


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Statue installed at Blossom celebrates family’s enduring partnership with The Cleveland Orchestra Visitors to Blossom Music Center this past summer may have noticed a new greeter at the Smith Plaza entrance to Emily’s Garden — a statue depicting the goddess Diana as a child. Created by American sculptor Wheeler Williams (1897-1972) as part of his series “Childhood of the Gods,” the statue was donated to The Cleveland Orchestra by the Blossom family “in memory and honor of those who have gone before.” People remembered included Harold Lecy, a devoted member of the Blossom Music Center horticultural staff. Emily’s Garden was created in 1992 to commemorate Emily (the second Mrs. Dudley S. Jr.) Blossom’s influential guidance for and support of the Orchestra’s summer home. The Music Center is named to honor the Blossom family’s roles as leaders and major supporters of The


Cleveland Orchestra across several generations. Dudley S. Blossom Sr. served as the Orchestra’s president (1936-38), his son Dudley Jr. served as a trustee (1946-61), and his granddaughter, Laurel Blossom, is a current trustee. In a special private gathering to welcome the statue to its new permanent home on July 22, 2017, Ms. Blossom spoke about the heirloom’s history within the family, evoking memories of the statue’s acquisition by her mother, Jean V. Blossom, for placement atop the bird bath in the driveway of the family home, and at subsequent locations under the loving care of other members of the family. Ms. Blossom expressed her hope that Diana — charmingly frozen as a youth by the sculptor’s artistry — will bring everyone who sees her in Emily’s Garden the same feelings of joy she has given the Blossom family over the years. Ms. Blossom concluded with the hope that Diana, goddess of nature and the moon, may long “guard this place and these people.”

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Cleveland Orchestra volunteer group promotes the power of music for a new century

Friends launches season of Meet the Artist luncheons on Friday, October 6th

The Orchestra’s flagship volunteer group — renamed earlier this year as Friends of The Cleveland Orchestra — is gearing up to celebrate the Orchestra’s 100th. Now in its tenth decade of service, the group is continuing its long tradition of raising funds to support the Orchestra and promote the institution’s education and community programs. Through social activities and raising awareness about the power of music to enhance lives, Friends of The Cleveland Orchestra OF THE are also looking to CLEVELAND ORCHESTRA grow the breadth and reach of the group’s membership for the Orchestra’s Second Century. Founded in 1921 as the Women’s Committee of The Cleveland Orchestra, the group has ably served the interests of the Orchestra across generations of women and men (men were first admitted for membership in the 1990s). The group was the brainchild of Adella Prentiss Hughes, the Orchestra’s first general manager, who envisioned a formation of volunteers promoting and advocating for the Orchestra’s musical mission. Education programs were among the group’s early initiatives and, in a very different era, the women also devoted much time to selling season ticket subscriptions. As Friends of The Cleveland Orchestra, the volunteers are continuing much of their longstanding work, while also looking to branch out with new ideas to help support the Orchestra financially and as advocates of music education and volunteering for the Orchestra. Ongoing programs include a series of Meet the Artist luncheons, benefit events, and scholarship initiatives to support Cleveland Orchestra Youth Orchestra members pursuing careers in music. As ambassadors for The Cleveland Orchestra, Friends strive to promote the Orchestra’s work, strengthen its relationships across Northeast Ohio, and to support the Orchestra financially. For information about becoming a Friend, contact Lori Cohen, Community Leadership Liaison, by calling 216-231-7557.

Friends of The Cleveland Orchestra presents its first Meet the Artist luncheon of the season on Friday, October 6. The event features Cleveland Orchestra cellist Brian Thornton, who will talk about his work as an orchestral musician and as soloist and chamber player. The luncheon will be held at the Westwood Country Club in Rocky River. The event includes a short performance by Thornton, who will then discuss his life as a musician with the Orchestra’s artistic administrator, Ilya Gidalevich. Reservations are required and cost $40 for Friends, $50 for non-members, or $100 for priority seating and a pre-luncheon reception. Please email or call 216-938-6701 for reservations.


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I.N M.E .M.O.R.I. A .M Please join in extending sympathy and condolences to the families and friends of these former Orchestra members:

Thomas Peterson, assistant principal clarinet for 32 seasons (196395) died on February 28, 2017, at the age of 81. Tom garduated from Eastman School of Music and played as a member of the Buffalo Philharmonic prior to coming to Cleveland. His wife, Barbara, was a flutist who taught at Cleveland State University. William Hebert, principal piccolo for 41 seasons (1947-88) died on June 16, 2017, in San Diego, California, at the age of 94. He and his wife, Olive, had just celebrated their 70th wedding anniversary. Bill was born on May 6, 1923, and later attended the Juilliard School of Music prior to coming to Cleveland. He taught at Baldwin Wallce for 45 years.

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“Presented with a sense of theatre as Handel intended... scintillating and superb.” – CLEVELANDCLASSICAL.COM

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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 2016-17 season. Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Hans Clebsch John Clouser Kathleen Collins Ralph Curry Marc Damoulakis Alan DeMattia Vladimir Deninzon Scott Dixon Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Mark Jackobs Dane Johansen Joela Jones Richard King Thomas Klaber Alicia Koelz Stanley Konopka Mark Kosower Analisé Kukelhan Paul Kushious Jung-Min Amy Lee Yun-Ting Lee Emilio Llinás

Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Donald Miller Michael Miller Robert O’Brien Peter Otto Chul-In Park Joanna Patterson Zakany William Preucil Lynne Ramsey Jeffrey Rathbun Frank Rosenwein Marisela Sager Jonathan Sherwin Thomas Sherwood Emma Shook Joshua Smith Saeran St. Christopher Corbin Stair Lyle Steelman Richard Stout Yasuhito Sugiyama Jack Sutte Kevin Switalski Gareth Thomas Brian Thornton Isabel Trautwein Robert Walters Carolyn Gadiel Warner Scott Weber Richard Weiss Robert Woolfrey Derek Zadinsky Jeffrey Zehngut

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

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Mahler, in a photograph taken in 1909 in New York

The point is not to take the world’s opinion as a guiding star, but to go one’s way in life and to work unfalteringly, neither depressed by failure nor seduced by applause. —Gustav Mahler




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Thursday evening, October 5, 2017, at 7:30 p.m. Friday evening, October 6, 2017, at 8:00 p.m.


Franz Welser-Möst, conductor GUSTAV MAHLER (1860-1911)

Symphony No. 6 in A minor 1. 2. 3. 4.

Allegro energico, ma non troppo Andante moderato Scherzo: Wuchtig [Powerful] — Trio Finale: Allegro moderato

The symphony is presented without intermission and will run about 75 minutes in performance.

D I S T I N G U I S H E D S E R V I C E AWA R D The Cleveland Orchestra’s Distinguished Service Award will be presented to Dennis W. LaBarre prior to the Thursday concert. (See pages 62-63)


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

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Concert Program — Week 3


October 5, 6


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Concert Preview:

“Mahler’s Tragic Sixth Symphony”


Concert begins: THUR 7:30 FRI 8:00


with guest speaker Michael Strasser, professor of musicology, Baldwin Wallace University

Mvt 1 20 mins

MAHLER: Symphony No. 6 (75 minutes) presented without intermission

____ Mvt 2 13 mins


THURSDAY ONLY ____ Mvt 3 12 mins


At the start of Thursday’s concert, The Cleveland Orchestra’s annual Distinguished Service Award will be presented to Dennis W. LaBarre, Chairman of the Board of Trustees. (For more information, see pages 62-63.)

Mvt 4 30 mins

Concert ends:

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


THUR 9:00 FRI 9:20

Severance Restaurant and Opus Café

post-concert desserts and drinks

instagram: @CleveOrch

twitter: @CleveOrchestra

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


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Tragedy, Fate, Despair T H I S W E E K ’ S C O N C E R T presents a famously enigmatic

symphony by Gustav Mahler. The composer himself gave his Sixth Symphony the nickname “Tragic,” then later decided it should not carry the weight of such a label. There are many varying stories, from Mahler and his contemporaries, and from his wife Alma after his death, concerning the composer’s feelings about this music. In some stories, tragic events came to Mahler, but after the symphony had been written. In others, his sense of fate was actively associated with this music. As Franz Welser-Möst writes, in his program note for this work starting on page 65, there are moments of both tragic and happier music within the confines of this dramatically moving 75-minute work. Musical themes of portent, of serenity, of fateful uneasiness, and of searing beauty fill this musical world with contrary feelings, heartfelt hopes, and uncertainty. GUSTAV MAHLER Silhouette by Hans Schliessmann In the symphony’s fourth movement, Mahler wrote a part for large hammer, which falls against a resonant block of wood — echoing the sound of an axe chopping at or splitting a tree. Mahler changed his mind as to how many of these should sound, removing one of three from the score — and then reconsidering his decision. Alma his widow (not always a trustworthy source of what her husband really was thinking) described these as “the blows of fate and destiny.” Franz Welser-Möst performs the work with two hammer blows, leaving the third moment powerful in its sonic emptiness. —Eric Sellen

Severance Hall 2017-18

Week 3 — Introducing the Movie


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Distinguished Service Award The Musical Arts Association is proud to honor Dennis W. LaBarre as the 2017-18 recipient of the Distinguished Service Award, recognizing extraordinary service to The Cleveland Orchestra. PREVIOUS RECIPIENTS

Distinguished Service Award Committee Marguerite B. Humphrey, Chair Ambassador John D. Ong, Vice Chair Richard J. Bogomolny Dr. Jeanette Grasselli Brown Robert Conrad AndrĂŠ Gremillet Robert P. Madison Clara Taplin Rankin


Robert Vernon 2016-17 Rosemary Klena 2015-16 James D. Ireland III 2014-15 Pierre Boulez 2013-14 Milton and Tamar Maltz 2012-13 Richard Weiner 2011-12 Robert Conrad 2010 -11 Clara Taplin Rankin 2009-10 Louis Lane 2008- 09 Gerald Hughes 2007- 08 John D. Ong 2006-07 Klaus G. Roy 2005 - 06 Alex Machaskee 2004 - 05 Thomas W. Morris 2003 -04 Richard J. Bogomolny 2002- 03 John Mack 2001-02 Gary Hanson 2000-01 Christoph von DohnĂĄnyi 1999-2000 Ward Smith 1998-99 David Zauder 1997-98 Dorothy Humel Hovorka 1996-97

Distinguished Service Award

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Presented to Dennis

W. LaBarre

Presented by Richard K. Smucker at the concert of October 5, 2017

D E N N I S L A B A R R E was first elected to The Cleveland Orchestra’s board of trustees in

1987. He became a Vice President in 2000, then First Vice President and President-Elect in 2008. He was elected President in 2009, leading the institution for the next seven years. From March 2017, his work continues in the role of Board Chairman. During Dennis’s presidency, The Cleveland Orchestra made tremendous strides. His leadership helped navigate through the Great Recession, stemming a drop in the Orchestra’s Endowment and tirelessly pushing forward with efforts to increase that fund for the future. He worked closely with the Board and with staff leadership to implement rigorous and transparent financial discipline and management, to help encourage and enable balanced budgets across multiple years. His determination to couple strong artistic vision with community service and financial strength continues in his new role as Chairman. Knowing the importance of building a cohesive and collaborative culture, Dennis strongly advocated a new era of embracing all viewpoints and inviting the Orchestra’s musicians into a closer and more open relationship with the board, staff, and community. Dennis was directly involved with many labor contract negotiations, approaching each with an open mind, integrity, flexibility, and an appreciation for advancing the institution through cooperation, collaboration, and shared knowledge of the financial realities for continuing forward as a great Orchestra. He appointed musicians onto many board committees, fostering new understanding of the common values that make The Cleveland Orchestra’s greatness possible. Dennis’s view of leadership embraces the value of continuity balanced against change and innovation. He has tirelessly advocated for the institution’s advancement, supporting new ideas and urging that new programs and initiatives be launched to continue the Orchestra’s work in a changing world. As a temporary steward of a timeless institution, he worked to ensure seamless transitions of leadership. He extended Franz Welser-Möst’s contract, ensuring that the incredible artistic partnership between Franz and the Orchestra can continue forward. At the same time, he oversaw the transition of staff leadership, hiring Executive Director André Gremillet, followed by his own hand-off of the presidency to help propel the Orchestra he loves onward into a new era. Born in Scarsdale, New York, Dennis received a B.A. degree from Northwestern University and a law degree from the University of Virginia. His career was spent as a partner in Jones Day, leading its corporate practice and expansion into New York and internationally. He and his wife, Camille Dickinson LaBarre, have been active in supporting arts, educational, and philanthropic initiatives in Cleveland and New York, where Camille serves as a Managing Director of the Metropolitan Opera. In recognition of his dedicated, unstinting, proactive, and visionary leadership in service to The Cleveland Orchestra, for his constant drive toward supporting the Orchestra’s mission with financial strength to best serve the Greater Cleveland community through music, education, and collaboration, the Musical Arts Association is extraordinarily pleased to present Chairman Dennis W. LaBarre with its highest award for distinguished service. Severance Hall 2017-18

Distinguished Service Award




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Symphony No. 6 (“Tragic”) in A minor composed 1903-04

At a Glance



MAHLER born July 7, 1860 Kalischt, Bohemia (now Kalištĕ in the Czech Republic) died May 18, 1911 Vienna

Mahler began work on his Sixth Symphony in 1903 and completed it in 1904. He conducted the symphony’s premiere on May 27, 1906, in Essen, Germany. The first performance in the United States took place in December 1947 at New York’s Carnegie Hall, with Dimitri Mitropoulos leading the New York Philharmonic. In Mahler’s original manuscript for this symphony, the slow movement was placed third, after the Scherzo. During rehearsals for the first performances, Mahler reversed the order of these two inner movements — and performed it that way every time he conducted this work. Some printed editions, however, followed his original score. Franz Welser-Möst follows the order Mahler used in all of his performances. This symphony runs 75-80 min-

utes in performance. Mahler scored it for 4 flutes, 4 oboes, 3 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, cymbals, triangle, rattle, tam-tam, glockenspiel, xylophone, cowbells, deep bells, twig brush, hammer), celesta, and strings. The Cleveland Orchestra first performed Mahler’s Sixth Symphony in October 1967 under George Szell’s direction. (Those performances, taped as part of the Orchestra’s nationally-syndicated radio broadcasts, were later edited and released commercially by Columbia Records.) The Sixth has been performed on several occasions since then, most recently in 2015 at Severance Hall and in Miami, conducted by Franz Welser-Möst.

About the Music Franz Welser-Möst has prepared the following comments about Mahler’s Sixth Symphony: I N H I S F I R S T F I V E S Y M P H O N I E S , Gustav Mahler wrote in a style deeply rooted in the Romantic movement. Those five works dramatically featured music about nature and incorporated elements of folk music. This kind of styling might be characterized as “Naivität” — of simplicity, naturalness, and, at times, innocence. In the Sixth Symphony, Mahler becomes rather more what we call in German “ich-bezogen” or “self-centered.” He is also more abstract in his references to nature, god, life, and form (not just musical form but the actual concepts of what he is portraying) — and the music is much more enigmatic than before. With his evolving approach to the symphony as a genre, and in how he treats his musical material, Mahler in the Sixth Symphony takes a step away from Romanticism into the modern era. Quite obviously, too, the composer’s ongoing interest in using “extra”

Severance Hall 2017-18

About the Music


instruments, such as the hammer blow in the last movement of the Sixth, is brought forward, in order to make his musical ideas as impactful as possible. When we look at the overall structure of the Sixth, at first glance it seems to be a traditional four-movement symphony. In structure, this is familiar from Haydn’s time, except that it is much longer and much more expansive. Yet there is more here than an outline of four movements (Allegro energico, ma non troppo – Andante moderato – Scherzo – Allegro moderato). There is an overall harmonic structure and progression across the symphony, which makes us wonder, is this old and familiar? or new and taking us in a different direction? There is also the Andante second movement, which seems out of place harmonically. Movements one, three, Within the Sixth Symand four are all written in the same key of A minor — in a very traditional manner of a unified phony, Mahler’s music key structure (unlike the more twisted path that is much more enigmatic Mahler later follows in his Ninth Symphony). But than his earlier works. the second movement here is written in E-flat major. What a dissonance this creates, to go from With his evolving apA to E-flat! For many centuries, this interval was proach to the symphony known as the “diavolo in musica” — the devil in as a form — and music. What is Mahler telling us by doing this, in how he treats his especially for this slow second movement, which it seems to me is perhaps the most peaceful symmusical material — phonic music he ever wrote? Let us examine the Mahler in the Sixth entire symphony to try to answer this question.

Symphony takes a step away from Romanticism into the modern era.


The musical material that Mahler pours into the first movement is already gigantic. He starts with a restless, breathless, nervous march written in the key of Aminor — a key of semi-darkness, lurking in shadows. Fanfares join in, which we hear over and over again. (The true meaning of these fanfares is finally revealed at the very end of the last movement, when they are followed by a low-pitched angelic chorale, responding to these frightening fanfares from far far away.) Within just the first few opening minutes, Mahler has already thrown at us the main ingredients — both in ideas and feeling — that he is going to explore over the symphony’s entire duration of approximately 77 minutes (that’s the timing from the first performance in 1906, which Mahler himself conducted). Here we have the inevitable insistent march of life. Just as the Marschallin in Strauss’s


About the Music

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opera Der Rosenkavalier would like to suspend time but cannot, Mahler reminds us of this feeling we all have, of life slipping forward inevitably, whether we are prepared for it, or not. Time in this symphony stops only in the final movement, when the fanfares of the last call to judgement demand an accounting of our actions here on earth, juxtaposed with sounds from heaven, which, perhaps, promise us salvation. Mahler, of course, had visited this scenario before, in the Resurrection section of the Second Symphony; here in the Sixth he is taking a new view, offering us another look at time marching us forward. All of this is introduced even before Mahler dives into the opening movement’s second subject, which Alma, his wife, claimed to be a portrait of her. Yes, this music is passionate, just as she was. And it is also erratic, as she was. Yet I am not sure that Mahler really intended this music to represent his wife. To me, it does not match up with all that he said and wrote in words about his “Almschi” over their years together. Perhaps his view kept changing, as it does for any of us with a longtime friend or companion. Next, after repeating the musical elements thus far, to make sure we have all the essential ideas clearly in mind, Mahler works the musical themes and ideas against one another, almost like a sudden street brawl. The resulting fire and ire illuminates the conflicts, then dies away to a peaceful moment. Here, Mahler gives us a brief preview of the calm atmosphere that will pervade the next movement. Here, for just a few moments, quietly, the key of E-flat major yet to come is also previewed, briefly. The stormy process returns and continues, wild and restless. This leads us into the movement’s recapitulation, stating once more all of the initial themes — this time with even more anxiety, more nerves exposed, and shorter than the first time. Finally, Mahler tries, in the movement’s last major section, to take charge of the March, to flip it toward a message of triumph. With enormous effort, the materials coalesce; Mahler is on the verge of succeeding, of remembering joy. But, now, returning to A major, he shows us that this key is dangerous. The key A major may seem like the lightest and least confrontational of scales for music, but it is also the one most in danger of falling apart. And so it happens. The Severance Hall 2017-18

About the Music

Alma Mahler in 1909. After Mahler’s death, she claimed that one of the musical themes in the first movement of his Sixth Symphony is a portrait of her. They had a strongwilled and tempestuous relationship, shattered by the death of one of their daughters and her affair with Walter Gropius.


music crashes in on itself, crushed. The movement has ended. At the start of the second movement, Mahler wrote “Andante moderato” — a moderate, flowing tempo. Slow and calm, yet uncertain, for the key is in dissonance with where we have been. The distance is the devil-like tritone, E-flat major from A minor. Yet it is also a return, to the brief quietude he showed us in the middle of the opening movement. And it becomes clear, almost as an intuition, that this new tranquility and peacefulness is what Mahler dreams of and yearns for. At the same time, he believes that it is not and cannot and will not be for him. This desire, this feeling of home, of being at home, represented by cowbells (giving a perfect atmospheric hint of life in the Austrian mountains in summer), is only a dream, distant In the third movement, and far away. The key of E-flat major was used long bea brief quietude refore Mahler, by Mozart, Beethoven, and others, turns — and it becomes to portray human dignity. These are values of clear that this tranquiltogetherness, of companionship and brotherhood. This is Mahler’s desired wish, but one that ity and peacefulness is will not be fulfilled. And it is perhaps telling that what Mahler dreams of in the musical moments when we hear and feel and yearns for. At the these desires the most, we also hear a version of same time, he believes the “Alma theme” from the first movement. Just as Mahler couldn’t find peace and quiet within that it is not and cannot himself, and with so few others in this world, and will not be for him. neither could Alma give it to him. This musical This desire, this feeling quietude and peace is just a dream, and it must of home is only a dream, come to an end. The dream floats away, easing our minds, while at the same time disturbing distant and far away. our thoughts. Mahler named the third movement as a Scherzo, marked in 3/8 time, hinting toward a lighter sort of music. But that possibility is contradicted by the tempo marking at the start: “Wuchtig . . . ohne zu schleppen” [Powerful . . . without dragging]. Some reports claim that Mahler saw in this movement children playing, but, as in the march of the first movement, he undermines any sense of normality with many short pauses, creating a feeling of restless energy, breathless and nervous. He also undermines the rhythmical structure almost immediately, by emphasizing the wrong beats. It is impossible in this music to feel when to set your feet on the ground, to find a pulse and steady dance rhythm. This is very different from a “normal” Scherzo by Bruck-


About the Music

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Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values inspire us to act. With the stock market at an all-time high, now is the time to donate appreciated securities to the Jewish Federation of Cleveland. To realize potential tax beneďŹ ts in 2017, make this transfer before December 31, 2017*.

Take an active role in helping meet needs in the Jewish and general communities, today and in the future. To transfer securities, contact Kari Blumenthal at 216-593-2893 or *Ask your ďŹ nancial advisor for details.


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ner, Brahms, or Beethoven. In addition, throughout the movement’s Trio section, the measure and tempo constantly change, undermining the words “bedächtig, altväterisch” [moderately, old-fashioned], which should make it comfortable (“gemütlich”) to listen to. Ultimately, this movement seems much more schizophrenic than watching children playing quietly. Instructions in the violins — “wie gepeitscht” [as if whipped] — further contradict any attempt to make this music something childlike or about childhood, unless it is a gruesome Brothers Grimm-type fairytale, an adult fantasy where pain substitutes for pleasure. The movement ends in total darkness, thinning out musically more and more, giving us the feeling that Mahler lost his way in this ongoing conflict between playfulness and reality. Eventually, the contradictions of meaning overwhelm the music. There is no solution but to stop.

Mahler’s writing cottage in the woods at Maiernigg on the shores of the Wörthersee in southern Austria, where he composed the Fifth, Sixth, and Seventh symphonies across the summers of 1902 to 1905.


At the beginning of the enigmatic and expansive last movement, Mahler opens with a dissonance built on a low tone C. It is very much as if he is going to create an echo of the hero’s death from the C-minor world of the stately second movement of Beethoven’s “Eroica” Symphony. This is immediately combined with harps and celesta (the instruments of heaven), and then the first violins cry out. In fear, the music is reaching toward heaven. This idea collapses almost at once and instead turns into a funeral march, with the lowest instrument, the tuba, reminding us of the music that this symphony started with in the Severance Hall 2017-18

About the Music


first movement. Slowly, pierced by small outcries, the phrases take on more energy and lead us into a section marked Allegro energico. It is defiant, rebellious, and angry — exceeding even the harsh fighting of the first movement. And, again, just like what happened then, the music is interrupted, briefly, by music of a calmer feeling, this time of lightness and hope. It is merely a mirage, however. Again, Mahler attempts to bring the different themes presented thus far into a positive, passionate rendering. But with the first hammer blow (“wie ein Axthieb” — like an axe-stroke), a mighty thwack stops our forward momentum and throws us back into the despair of a tragic drama. But Mahler is not finished. He wrestles the music, trying to get out of this predicament, or around it, or past it, by calming the musical material with the melody from the beginning of the movement, pointing toward heaven. But, again, a hammer blow, and the axe stops us. In response, feeling trapped, the music becomes even wilder. We are in the midst of a great and mighty storm, of conflict and contradiction, searching for hope, stopped by the reality of despair. Into this turmoil, we arrive at the recapitulation of this monstrous movement disheveled and nearly shattered. Mahler tries for a long time to bring things to a positive, energetic ending, but his powers diminish against the intense conflict. Life cannot win; death will take us in the end. Finally, the theme of the first violins reaching desperately, anxiously toward heaven is now sounded quietly, expressively in the low brass. This, for certain, is more like a funeral. We have not reached heaven. And here, for the last time, comes the fanfare that had proclaimed itself so many times in the first movement. This is the last call, presented here in a slow tempo, with a chorale sung first in that lightest key of A-major and then turning at the last moment into the shadow of A-minor. Salvation? Hope? According to this ending, absolutely not! —Franz Welser-Möst © 2017 The 2017-18 season marks Franz Welser-Möst’s sixteenth year as music director of The Cleveland Orchestra.



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M A N Y N E W B O O K S about Mahler and his music have appeared in recent decades, quite reminiscent of the avalanche of books about Wagner that came out in the first two-thirds of the 20th century. If Mahler hasn’t yet overtaken Wagner as the subject of the most books about any composer, he’s certainly been gaining — and taking up more and more shelf space. Here are a few choice titles for further reading:

The Real Mahler, by Jonathan Carr. 254 pages. (Constable Press, London, 1997). This very readable and reasonably-lengthed biography by journalist Jonathan Carr is a good place for many people to start. Carr keeps his musical discussions to an understandable minimum and does a good job of trying to explain away certain legends that still too often crop up as fact in discussions of Mahler’s life. Why Mahler? How One Man and Ten Symphonies Changed Our World, by Norman Lebrecht. 336 pages / also available as an ebook. (Pantheon, 2010). This book is one man’s very personal view of how Mahler’s music has helped shape his life and mind. It has gotten decidedly mixed reviews, but if you like — or love — Mahler’s music, this book can help you sort through why and how. As with much of Lebrecht’s writings in print or online, he is intent on challenging and startling you. Be open to connections. Let yourself be surprised. The Mahler Album, by Gilbert Kaplan. 340 pages. (Abrams, s, 2011). Published to coincide with the 100th anniversary of Mahler’s death, this expanded edition is the definitive collection of all the known Mahler photographs. Mahler, by Henry-Louis de La Grange. 4 volumes; somewhere over 3500 pages. (Oxford University Press, I:1973, II:1995, III:1999, IV: 2008). A major milestone for English readers occurred in 2008 with the publication of the fourth and final volume of de La Grange’s nearly dayby-day discussion (originally in French) of Mahler’s life and art. rt An updated Volume One was in the works when de La Grange died in January 2017 (and may yet appear). While others have delved deeper on specific symphonies or aspects, or come to differing conclusions here and there, this is a choice source for detail. The Dent Master Musicians Series: Mahler, by Michael Kennedy. 220 pages. (J.M. Dent, London, rev. ed. 2001). Although a few more recently uncovered facts cloud a number of pages, this clearly written book provides a solid entry-level view of Mahler and his music. Some readers will be particularly pleased at the book’s division into halves — the first half about his life and, quite separate, a second half about the major musical works. —Eric Sellen Severance Hall 2017-18

More About Mahler




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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

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 T HE great music to transform the mind and soul CLEVEL AND that is what I most appreciate, and the gift I so O RCHESTRA enjoy sharing with others.” Celebrate the power of music, and help T HE build The Cleveland Orchestra’s future with your friends and community, by supporting the Annual Fund. Call Elizabeth Arnett, Director of Leadership and Individual Giving, at 216-231-7522 today.


Individual Annual Support The Cleveland Orchestra is sustained through the annual support of thousands of generous patrons. The leadership of those listed on these pages (with gifts of $2,000 and more) shows an extraordinary depth of support for the Orchestra’s music-making, education presentations, and community initiatives.

Giving Societies gifts during the year prior to July 1, 2017 Adella Prentiss Hughes Society

gifts of $50,000 to $99,999

gifts of $100,000 and more Musicians of The Cleveland Orchestra+ (in-kind support for community programs and opportunities to secure new funding) 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+ Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre+ Mrs. Norma Lerner and The Lerner Foundation+ Mrs. Emma S. Lincoln+ Milton and Tamar Maltz John C. Morley+ Mr. Patrick Park (Miami) Mr. and Mrs. Albert B. Ratner James and Donna Reid Mr. and Mrs. Richard K. Smucker+ Mr. and Mrs. Franz Welser-Möst+

With special thanks to the Leadership Patron Committee for their commitment to each year’s annual support initiatives: Barbara Robinson, chair Robert N. Gudbranson, vice chair Ronald H. Bell Iris Harvie James T. Dakin Faye A. Heston Karen E. Dakin Brinton L. Hyde Henry C. Doll David C. Lamb Judy Ernest Larry J. Santon Nicki N. Gudbranson Raymond T. Sawyer Jack Harley

88 76

George Szell Society

Mr. William P. Blair III+ Blossom Friends of The Cleveland Orchestra The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown+ Mr. and Mrs. Alexander M. Cutler+ Mrs. John A Hadden Jr. T. K. and Faye A. Heston Mr. and Mrs. Donald M. Jack, Jr. Elizabeth B. Juliano Giuliana C. and John D. Koch+ Toby Devan Lewis Virginia M. and Jon A. Lindseth Mr. and Mrs. Alex Machaskee+ Ms. Nancy W. McCann+ Ms. Beth E. Mooney+ Rosanne and Gary Oatey (Cleveland, Miami)+ The Honorable and Mrs. John Doyle Ong+ Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner+ Barbara S. Robinson (Cleveland, Miami)+ Sally and Larry Sears+ Mary M. Spencer (Miami)+ Mrs. Jean H. Taber* Barbara and David Wolfort (Cleveland, Miami)+

+ Multiyear Pledges Multiyear pledges support the Orchestra’s artistry while helping to ensure a sustained level of funding. We salute those extraordinary donors who have signed pledge commitments to continue their annual giving for three years or more. These donors are recognized with this symbol next to their name: +

Individual Annual Annual Support Individual

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Elisabeth DeWitt Severance Society

Dudley S. Blossom Society gifts of $15,000 to $24,999

gifts of $25,000 to $49,999 Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. William W. Baker Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton+ Mr. Yuval Brisker Mary Alice Cannon Mr. and Mrs. David J. Carpenter+ Jill and Paul Clark Robert and Jean* Conrad+ Judith and George W. Diehl George* and Becky Dunn Friends of The Cleveland Orchestra (formerly the Women’s Committee of The Cleveland Orchestra) JoAnn and Robert Glick+ Mr. and Mrs. Geoffrey Gund Mr. and Mrs. Jeffrey Healy+ Mary and Jon Heider (Cleveland, Miami) Mrs. Marguerite B. Humphrey+ Junior Committee of The Cleveland Orchestra Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern Milton A. and Charlotte R. Kramer Charitable Foundation Margaret Fulton-Mueller+ Mrs. Jane B. Nord William J. and Katherine T. O’Neill Julia and Larry Pollock+ Mr. and Mrs. James A. Ratner Larry J. Santon and Lorraine S. Szabo+ The Ralph and Luci Schey Foundation+ Hewitt and Paula Shaw Richard and Nancy Sneed+ Jim and Myrna Spira R. Thomas and Meg Harris Stanton+ Ms. Ginger Warner (Cleveland, Miami) Anonymous (2)

Listings of all donors of $300 and more each year are published annually, and can be viewed online at CLEVELANDORCHESTRA . COM

Gay Cull Addicott+ Randall and Virginia Barbato Dr. Christopher P. Brandt and Dr. Beth Sersig+ Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Mr. and Mrs. William E. Conway Mrs. Barbara Cook Mary Jo Eaton (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Mr. Allen H. Ford Ms. Dawn M. Full Mr. and Mrs. Robert W. Gillespie Richard and Ann Gridley+ Robert K. Gudbranson and Joon-Li Kim+ Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest David and Nancy Hooker+ Joan and Leonard Horvitz Richard and Erica Horvitz (Cleveland, Miami) Allan V. Johnson Jonathan and Tina Kislak (Miami) Mr. Jeff Litwiller+ Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel The Miller Family+ Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Edith and Ted* Miller+ Mr. Donald W. Morrison+ Dr. Anne and Mr. Peter Neff Mr. and Mrs. James A. Saks Rachel R. Schneider+ Mrs. David Seidenfeld+ Kim Sherwin+ William* and Marjorie B. Shorrock+ Mr. and Mrs. Alfred Umdasch (Europe) Tom and Shirley Waltermire+ Mr. and Mrs. Fred A. Watkins+ Mr. and Mrs. Jeffery J. Weaver Meredith and Michael Weil Mr. and Mrs. Jeffrey M. Weiss Paul and Suzanne Westlake listings continue

The Cleveland Severance HallOrchestra 2017-18

Individual Annual Annual Support Support

89 77

Frank H. Ginn Society gifts of $10,000 to $14,999 Mr. and Mrs. Dean Barry Laurel Blossom Irma and Norman Braman (Miami)+ Mr. D. McGregor Brandt, Jr. Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler+ Richard J. and Joanne Clark Mrs. Barbara Ann Davis+ Dr. M. Meredith Dobyns Henry and Mary* Doll+ Nancy and Richard Dotson+ Mr. and Mrs. Robert P. Duvin Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Carl Falb+ Bob and Linnet Fritz Albert I. and Norma C. Geller Dr. Edward S. Godleski Patti Gordon (Miami) Amy and Stephen Hoffman

Thomas H. and Virginia J.* Horner Fund+ James and Claudia Hower Mrs. Elizabeth R. Koch Stewart and Donna Kohl Dr. David and Janice Leshner Joy P. and Thomas G. Murdough, Jr. (Miami)+ Brian and Cindy Murphy+ Mr. Raymond M. Murphy+ Mr. J. William and Dr. Suzanne Palmer Douglas and Noreen Powers Audra* and George Rose+ Paul A. and Anastacia L. Rose Steven and Ellen Ross Mr. and Mrs. David A. Ruckman Dr. Isobel Rutherford Dr. and Mrs.* Martin I. Saltzman+ David M. and Betty Schneider Carol* and Albert Schupp Mr. and Mrs. Oliver E. Seikel Seven Five Fund

Mrs. Gretchen D. Smith+ The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Mr. and Mrs. Jonathan M. Steingass Bruce and Virginia Taylor+ Mr. Joseph F. Tetlak Rick, Margarita, and Steven Tonkinson (Miami)+ Gary L. Wasserman and Charles A. Kashner (Miami) Pysht Fund The Denise G. and Norman E. Wells, Jr. Family Foundation+ Robert C. Weppler Sandy and Ted Wiese Sandy Wile and Susan Namen Tony and Diane Wynshaw-Boris+ Max and Beverly Zupon Anonymous (4)

The 1929 Society gifts of $5,000 to $9,999 Robert and Alyssa Lenhoff-Briggs Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App William Appert and Christopher Wallace (Miami) Robert and Dalia Baker Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Daniel and Trish Bell (Miami) Mr. William Berger Howard Bernick and Judy Bronfman Mr. David Bialosky and Ms. Carolyn Christian+ Suzanne and Jim Blaser Robert and Alyssa Lenhoff-Briggs Dr.* and Mrs. Jerald S. Brodkey Frank and Leslie Buck+ Ms. Maria Cashy+ Drs. Wuu-Shung and Amy Chuang+ Ellen E. & Victor J. Cohn+ Kathleen A. Coleman+ Diane Lynn Collier and Robert J. Gura+ Marjorie Dickard Comella The Sam J. Frankino Foundation Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Ralph Daugstrup Mr. and Mrs. Thomas S. Davis Pete and Margaret Dobbins+ Carl Dodge Mr. and Mrs. Paul Doman Mary and Oliver* Emerson Dr. D. Roy and Diane A. Ferguson William R. and Karen W. Feth+


Joseph Z. and Betty Fleming (Miami) Scott A. Foerster Joan Alice Ford Michael Frank and Patricia A. Snyder Barbara and Peter Galvin Joy E. Garapic Dr. and Mrs. Adi Gazdar Brenda and David Goldberg Mr. and Mrs. Randall J. Gordon+ Angela and Jeffrey Gotthardt Harry and Joyce Graham Mr. Paul Greig AndrĂŠ and Ginette Gremillet Ms. Nancy L. Griffith The Thomas J. and Judith Fay Gruber Charitable Foundation Robert N. and Nicki N. Gudbranson+ David and Robin Gunning Gary Hanson and Barbara Klante Mr. Robert D. Hart Clark Harvey and Holly Selvaggi+ Iris and Tom Harvie+ Henry R. Hatch Robin Hitchcock Hatch Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan+ Janet D. Heil* Anita and William Heller+ Mr. Loren W. Hershey Patrick* and Jean Holden Steve and Mary Hosier Elisabeth Hugh+ David and Dianne Hunt Mr. and Mrs. Brinton L. Hyde

Individual Annual Support

Pamela and Scott Isquick+ Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus Joela Jones and Richard Weiss Andrew and Katherine Kartalis Milton and Donna* Katz Dr. Richard and Roberta Katzman Dr. and Mrs. Richard S. Kaufman Mr. and Mrs. Christopher Kelly Dr. and Mrs. William S. Kiser James and Gay* Kitson+ Mrs. Natalie D. Kittredge Rob and Laura Kochis Tim and Linda Koelz+ Mr. and Mrs.* S. Lee Kohrman Mr. Clayton R. Koppes Mr. James Krohngold+ Mr. and Mrs. Peter A. Kuhn+ Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb+ Kenneth M. Lapine and Rose E. Mills+ Anthony T. and Patricia A. Lauria Dr. Edith Lerner Mr. Lawrence B. and Christine H. Levey+ Judith and Morton Q. Levin+ Dr. Stephen B. and Mrs. Lillian S. Levine+ Dr. Alan and Mrs. Joni Lichtin+ Mr. Rudolf and Mrs. Eva Linnebach+ Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Elsie and Byron Lutman Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel

The Cleveland Orchestra

Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel James and Virginia Meil Dr. Susan M. Merzweiler Loretta J. Mester and George J. Mailath Claudia Metz and Thomas Woodworth+ Lynn and Mike Miller+ Drs. Terry E. and Sara S. Miller Curt and Sara Moll Ann Jones Morgan+ Mr. John Mueller Lucia S. Nash Georgia and Carlos Noble (Miami)+ Richard and Kathleen Nord Thury O’Connor Mr. and Mrs. Peter R. Osenar Mr. Henry Ott-Hansen Mr. Robert S. Perry Nan and Bob Pfeifer+ 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 Brian and Patricia Ratner Amy and Ken Rogat Carol Rolf and Steven Adler Dr. and Mrs. Michael Rosenberg (Miami) Dr. and Mrs. Ronald J. Ross Rosskamm Family Trust Robert and Margo Roth+ Dr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter+ Drs. Michael and Judith Samuels (Miami) Patricia J. Sawvel Raymond T. and Katherine S. Sawyer Linda B. Schneider Dr. and Mrs. James L. Sechler Mr. Eric Sellen and Mr. Ron Seidman Vivian L. Sharp Mr. James E. Simler and Ms. Amy Zhang Naomi G. and Edwin Z. Singer+ The Shari Bierman Singer Family Drs. Charles Kent Smith and Patricia Moore Smith+ Roy Smith Mr. Eugene Smolik

Mr. and Mrs. William E. Spatz+ atz+ George and Mary Stark Mr. and Mrs. Donald W. Strang, rang, Jr. Stroud Family Trust Dr. Elizabeth Swenson+ Robert and Carol Taller+ Mr. and Mrs. Bill Thornton Dr. Russell A. Trusso Robert and Marti Vagi+ Robert A. Valente and Joan A. Morgensten+ Dr. Gregory Videtic and Rev. Christopher McCann Walt and Karen Walburn Dr. Beverly J. Warren Mr. and Mrs. Mark Allen Weigand+ Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Richard Wiedemer, Jr.+ Dr. and Mr. Ann Williams+ Bob and Kat Wollyung Anonymous

James Carpenter 2 seats (In memory of Christina) (Miami) Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm Dr. William and Dottie Clark Drs. John and Mary Clough Drs. Mark Cohen and Miriam Vishny Mr. and Mrs. Stanley Cohen (Miami) Mr. and Mrs. Mark Corrado Douglas S. Cramer / Hubert S. Bush III (Miami) Mr. and Mrs. Manohar Daga+ Karen and Jim Dakin Mrs. Frederick F. Dannemiller Mr. Kamal-Neil Dass and Mrs. Teresa Larsen+ Dr. Eleanor Davidson Mrs. Lois Joan Davis Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White+ Dr. and Mrs. Richard C. Distad Maureen Doerner & Geoffrey White Carolyn J. Buller and William M. Doll Mr. George and Mrs. Beth Downes+ Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki Mrs. Mary S. Eaton Mr. and Mrs. Bernard H. Eckstein Esther L. and Alfred M. Eich, Jr.+ Erich Eichhorn and Ursel Dougherty Mr. S. Stuart Eilers Peter and Kathryn Eloff+ Harry and Ann Farmer

Mr. William and Dr. Elizabeth Fesler Mr. Paul C. Forsgren Richard J. Frey Mr. and Ms. Dale Freygang Peggy A. Fullmer Ms. Marilee Gallagher 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 Dr. and Mrs. Ronald L. Gould Dr. Robert T. Graf Nancy F. Green (Miami) Ms. Anna Z. Greenfield Drs. Erik and Ellen Gregorie Mr. and Mrs. Stephen Griebling Dr. and Mrs. Franklin W. Griff Candy and Brent Grover Nancy and James Grunzweig+ Mr. and Mrs. John E. Guinness Mr. Davin and Mrs. Jo Ann Gustafson Dr. Phillip M. and Mrs. Mary Hall Douglas M. and Amy Halsey (Miami) Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green Lilli and Seth Harris Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes In Memory of Hazel Helgesen Mr. and Mrs. Jerry Herschman The Morton and Mathile Stone Philanthropic Fund Dr. Fred A. Heupler Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes

Composer’s Circle gifts of $2,000 to $4,999 Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. and Mrs.* Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum+ Mr. and Mrs. James B. Aronoff+ Art of Beauty Company, Inc. Ms. Patricia Ashton Steven Michael Auvil and Elise Hara Auvil Mr. and Mrs. Eugene J. Beer Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Mr. Roger G. Berk Barbara and Sheldon Berns Jayusia and Alan Bernstein (Miami) Margo and Tom Bertin John and Laura Bertsch Howard R. and Barbara Kaye Besser Ms. Deborah A. Blades Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Mr. and Mrs. Richard H. Bole Irving and Joan M. Bolotin (Miami) Mrs. Loretta Borstein Lisa and Ronald Boyko Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mrs. Frances Buchholzer J. C. Burkhardt Mr. and Mrs. Robert G. Busha Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker Dr. and Mrs. William E. Cappaert John and Christine Carleton (Miami) Mrs. Millie L. Carlson+ Mr. and Mrs. Frank H. Carpenter

92 80

Individual Annual Annual Support Individual

The Cleveland Orchestra

Thomas and Mary Holmes Gail Hoover and Bob Safarz+ Dr. Keith A. and Mrs. Kathleen M. Hoover+ Dr. Randal N. Huff and Ms. Paulette Beech+ Ms. Laura Hunsicker Gretchen Hyland and Edward Stephens Jr. Ruth F. Ihde Dr. and Mrs. Scott R. Inkley William W. Jacobs Mr. and Mrs. Bruce D. Jarosz Robert and Linda Jenkins Dr. and Mrs. Donald W. Junglas Barbara and Michael J. Kaplan Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt Ms. Deborah Kaye The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Dr. Gilles* and Mrs. Malvina Klopman+ Fred* and Judith Klotzman Cynthia Knight (Miami) Drs. Raymond and Katharine Kolcaba+ Marion Konstantynovich Jacqueline and Irwin* Kott (Miami) Dr. Ronald H. Krasney and Vicki Kennedy+ Mr. Donald N. Krosin Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr. + Mrs. Sandra S. Laurenson Dr. and Mrs. Arthur Lavin Michael Lederman Ronald and Barbara Leirvik Mr. and Mrs. Ernest C. Lemmerman Michael and Lois Lemr Irvin and Elin Leonard+ Mr. Alan R. Lepene Robert G. Levy+ Drs. Todd and Susan Locke Mary Lohman Ms. Mary Beth Loud Mrs. Idarose S. Luntz Damond and Lori Mace Ms. Linda Macklin David Mann and Bernadette Pudis Janet A. Mann Herbert L. and Ronda Marcus Martin and Lois Marcus 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 Dr. and Mrs. William A. Mast Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Mr. and Mrs. Christopher J. McKenna Mr. and Mrs. Tom McLaughlin Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Mr. and Mrs. Trent Meyerhoefer Ms. Betteann Meyerson+ Beth M. Mikes Abby and Jake Mitchell Mr. and Mrs. William A. Mitchell+

Severance HallOrchestra 2017-18 The Cleveland

Mr. and Mrs. Thomas W. Morris Bert and Marjorie Moyar+ Susan B. Murphy Randy and Christine Myeroff Steven and Kimberly Myers+ Ms. Megan Nakashima Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Deborah L. Neale Robert D. and Janet E. Neary Steve Norris and Emily Gonzales Marshall I. Nurenberg and Joanne Klein Richard and Jolene O’Callaghan Mr. and Mrs. John Olejko Dr. and Mrs. Paul T. Omelsky Mr. Robert Paddock Mr. John D. Papp George Parras+ Dr. Lewis E. and Janice B. Patterson David Pavlich and Cherie Arnold Matt and Shari Peart Dr. and Mrs. Gosta Pettersson Henry Peyrebrune and Tracy Rowell Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ Dale and Susan Phillip Maribel A. Piza (Miami)+ Mr. Carl Podwoski Dr. Marc A. and Mrs. Carol Pohl Brad Pohlman and Julie Callsen Mr. Robert and Mrs. Susan Price Ms. Sylvia Profenna Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca+ Ms. C. A. Reagan Dr. Robert W. Reynolds Ms. Janet Rice David and Gloria Richards Ms. Carole Ann Rieck Mrs. Charles Ritchie Joan and Rick Rivitz Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Ms. Linda M. Rocchi Dick A. and Debbie Rose Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo+ Fred Rzepka and Anne Rzepka Family Foundation Dr. Harry S. and Rita K. Rzepka+ Dr. Vernon E. Sackman and Ms. Marguerite Patton+ Fr. Robert J. Sanson Ms. Patricia E. Say+ Mr. Paul H. Scarbrough+ Robert Scarr and Margaret Widmar Bob Scheuer 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) Drs. Daniel and Ximena Sessler+ Mr. Kenneth and Mrs. Jill Shafer Donna E. Shalala (Miami) Ginger and Larry Shane

Individual Annual Annual Support Support Individual

Harry and Ilene Shapiro Ms. Frances L. Sharp Larry Oscar and Jeanne Shatten+ Dr. and Mrs. William C. Sheldon+ Terrence and Judith Sheridan Mr. Richard Shirey+ Mr. and Mrs. Reginald Shiverick+ Michael Dylan Short Mr. Robert Sieck Laura and Alvin A. Siegal Howard and Beth Simon Ms. Ellen J. Skinner Ms. Anna D. Smith Ms. Janice A. Smith Sandra and Richey Smith+ Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Mr. Marc Stadiem Ms. Sharon Stahler Dr.* and Mrs. Frank J. Staub Mr. Alan L. Steffen Mr. Eduardo Stern (Miami) Frederick and Elizabeth Stueber Mr. Taras G. Szmagala, Jr. Kathy* and Sidney Taurel (Miami)+ Dr. and Mrs. Thomas A. Timko Mr.* and Mrs. Robert N. Trombly Steve and Christa Turnbull+ Mrs. H. Lansing Vail, Jr. Bobbi and Peter van Dijk Mrs. Stasia M. Vavruska Brenton Ver Ploeg (Miami) Teresa Galang-ViĂąas and Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney George and Barbara von Mehren Mr. Norman Wain Ms. Laure A. Wasserbauer+ Margaret and Eric* Wayne+ Alice & Leslie T. Webster, Jr. Mr. Peter and Mrs. Laurie Weinberger Michael and Danielle Weiner Dr. Paul R. and Catherine Williams Ms. Claire Wills Richard and Mary Lynn Wills Elizabeth B. Wright+ William Ronald and Lois YaDeau Rad and Patty Yates Ken and Paula Zeisler Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (3)+ Anonymous (8)

+ has signed a multiyear pledge (see information box earlier in this section)

* deceased

Thank You 81 93

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Corporate Support The Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations listed on this page, whose annual support (through gifts of $2,500 and more) demonstrates their belief in the Orchestra’s music-making, education initiatives, and community presentations.

Annual Support gifts during the year prior to July 1, 2017 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. PARTNERS IN EXCELLENCE $300,000 AND MORE

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

BakerHostetler Eaton Jones Day PNC Bank Raiffeisenlandesbank Oberösterreich (Europe) PARTNERS IN EXCELLENCE $100,000 TO $199,999

American Greetings Corporation Medical Mutual Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP

The Cleveland Severance HallOrchestra 2017-18

$50,000 TO $99,999

DLR Group | Westlake Reed Leskosky Dollar Bank Foundation Forest City Litigation Management, Inc. Parker Hannifin Foundation Quality Electrodynamics (QED) Anonymous $15,000 TO $49,999

Buyers Products Company Case Western Reserve University Ernst & Young LLP Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP The Lincoln Electric Foundation The Lubrizol Corporation Materion Corporation MTD Products, Inc. North Coast Container Corp. Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. RPM International Inc. The Sherwin-Williams Company Tucker Ellis

Corporate Corporate Annual Annual Support Support

$2,500 TO $14,999 Akron Tool & Die Company American Fireworks, Inc. BDI BestLight LED Brothers Printing Co., Inc. Calfee, Halter & Griswold LLP Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Counselling Services Consolidated Solutions Cozen O’Connor (Miami) Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Adam Foslid/Greenberg Traurig (Miami) Gross Builders Huntington National Bank Littler Mendelson, P.C. Live Publishing Company Macy’s Miba AG (Europe) Northern Haserot Oatey Ohio CAT OMNOVA Solutions Oswald Companies Park-Ohio Holdings PolyOne Corporation RSM US, LLP Southern Wine and Spirits (Miami) Stern Advertising Struktol Company of America University Hospitals Ver Ploeg & Lumpkin (Miami) Anonymous (2)

87 83

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Located one block north of Shaker Square and on the EÄ&#x201A;Ć&#x;ŽŜÄ&#x201A;ĹŻZÄ&#x17E;Ĺ?Ĺ?Ć?Ć&#x161;Ä&#x17E;Ć&#x152;ŽĨ,Ĺ?Ć?Ć&#x161;Ĺ˝Ć&#x152;Ĺ?Ä?WĹŻÄ&#x201A;Ä?Ä&#x17E;Ć?Í&#x2022;>Ä&#x201A;Ć&#x152;Ä?Ĺ&#x161;ĹľÄ&#x17E;Ć&#x152;Ä&#x17E;ŽƾůÄ&#x17E;Ç&#x20AC;Ä&#x201A;Ć&#x152;Ä&#x161; Ĺ?Ć?ĹŻÄ&#x17E;Ç&#x20AC;Ä&#x17E;ĹŻÄ&#x201A;ĹśÄ&#x161;Í&#x203A;Ć?Ć&#x2030;Ć&#x152;Ä&#x17E;ĹľĹ?Ä&#x17E;Ć&#x152;Ä&#x201A;Ć&#x152;Ć&#x161;Ć?Í&#x2022;Ä&#x201A;ĹśĆ&#x;Ć&#x2039;ĆľÄ&#x17E;Ć?Ä&#x201A;ĹśÄ&#x161;Ä&#x161;Ä&#x17E;Ć?Ĺ?Ĺ?ĹśÄ&#x161;Ĺ?Ć?Ć&#x161;Ć&#x152;Ĺ?Ä?Ć&#x161;Í&#x2DC; 84

The Cleveland Orchestra


Foundation/Government Support The Cleveland Orchestra is grateful for the annual support of the foundations and government agencies listed on this page. The generous funding from these institutions (through gifts of $2,500 and more) is a testament of support for the Orchestra’s music-making, education initiatives, and community presentations.

Annual Support gifts during the year prior to July 1, 2017 $1 MILLION AND MORE

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

The George Gund Foundation Ohio Arts Council $250,000 TO $499,999

Kulas Foundation John P. Murphy Foundation $100,000 TO $249,999

Paul M. Angell Family 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

The George W. Codrington Charitable Foundation GAR Foundation 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 Cleveland Severance HallOrchestra 2017-18

$15,000 TO $49,999

The Abington Foundation The Batchelor Foundation, Inc. (Miami) Mary E. & 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 Sandor Foundation Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation The Veale Foundation The Edward and Ruth Wilkof Foundation

$2,500 TO $14,999 The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation Eva L. and Joseph M. Bruening Foundation Cleveland State University 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 Jack, Joseph and Morton Mandel 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 Miami-Dade County Public Schools (Miami) Harold C. Schott 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 Wuliger Foundation Anonymous (2)

Foundation/Government Annual Foundation/Government Annual Support 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 216-231-7522.

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 46 musicians collectively completed a total of 1628 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 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 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

FLUTE/PICCOLO John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years OBOE Robert Zupnik 2 1977 — 31 years Elizabeth Camus 2011 — 32 years CLARINET Theodore Johnson 1995 — 36 years Franklin Cohen * 2015 — 39 years Linnea Nereim 2016 — 31 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 2017

Severance Hall 2017-18



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

Academy of St Martin in the Fields Chamber Ensemble Thursday, October 19 | 7:30 p.m. EJ Thomas Hall, Akron DvoĜák’s Sextet in A, Op. 48, B.80 Enescu’s Octet in C, Op. 7 $45, $40, $25 / free for all students 330-761-3460


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north O point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling Severance Hall 2017-18

440.720.1102 440.720.1105 440.720.1104

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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.

OPUS CAFÉ The new Opus Café is located on the ground floor in the Lerner Lobby as the top of the escalator CAFE from the parking garage. Offering pre- and post-concert refreshments and light foods, the Cafe is a perfect spot for meeting and talking with friends.


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.


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

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.



Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings

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

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.


Severance Hall 2017-18

Guest Information


AT T H E CO NC E R T COAT CHECK Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground floor.

PHOTOGRAPHY AND SELFIES, VIDEO AND AUDIO RECORDING Photographs of the hall and selfies to share with others can be taken when the performance is not in progress. However, audio recording, photography, and videography are prohibited during performances. As courtesy to others, please turn off any phone or device that makes noise or emits light.

REMINDERS Please disarm electronic watch alarms and turn off all pagers, cell phones, and mechanical devices before entering the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance may be asked to leave the concert hall.

LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the

comfort and listening pleasure of the audience, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the first break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consultation with the conductor and performing artists.

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can make arrangement by calling the House Manager in advance at 216-231-7425. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performances. If you need assistance, please

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Guest Information

The Cleveland Orchestra

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

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

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

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

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

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

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

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Severance Hall 2017-18

Guest Information

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AUTUMN SEASON STRAVINSKYâ&#x20AC;&#x2122;S RITE OF SPRING Sep 28 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Sep 28 â&#x20AC;&#x201D; Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor

BEETHOVEN Quartet No. 15 STRAVINSKY The Rite of Spring

ALL-BEETHOVEN Sep 29 â&#x20AC;&#x201D; Friday at 11:00 a.m.


THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor

BEETHOVEN Quartet No. 15 BEETHOVEN Leonore Overture No. 3

MAHLERâ&#x20AC;&#x2122;S SIXTH SYMPHONY Oct 5 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Oct 6 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor

MAHLER Symphony No. 6

GALA: JOURNEY TO ITALY Oct 7 â&#x20AC;&#x201D; Saturday at 7:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-MĂśst, conductor

VERDI Ballet Music from Don Carlos RESPIGHI The Birds J. STRAUSS JR. Rose from the South J. STRAUSS SR. The Carnival of Venice TCHAIKOVSKY Capriccio Italien Lead Sponsors: The Lerner Foundation KeyBank Richard and Emily Smucker Audrey and Albert Ratner Dee and Jimmy Haslam


Dr. Jekyll and Mr. Hyde Oct 27 â&#x20AC;&#x201D; Friday at 8:00 p.m. Todd Wilson, organ &HOHEUDWH+DOORZHHQZLWKDPDVWHUSLHFHRIWKHVLOHQWĂ&#x20AC;OP era! â&#x20AC;&#x201D; accompanied live with improvised music by acclaimed organist Todd Wilson. A timeless tale of human FRQĂ LFW'U-HN\OO -RKQ%DUU\PRUH IDFHVKRUULEOHFRQVHquences when he lets his dark side run wild with a potion that transforms him into the animalistic Mr. Hyde. FeaturLQJ6HYHUDQFH+DOO¡VPLJKW\1RUWRQ0HPRULDO2UJDQ The Cleveland Orchestra does not appear on this concert.

Sponsor: PNC Bank


HALLOWEEN SPOOKTACULAR Oct 29 â&#x20AC;&#x201D; Sunday at 3:00 p.m.


CLEVELAND INSTITUE OF MUSIC ORCHESTRA Carl Topilow, conductor Eric Charnofsky, narrator An afternoon of deliciously frightening musical fun! Delight in the musical magic of Paganiniâ&#x20AC;&#x2122;s The Witchesâ&#x20AC;&#x2122; Dance, music from Star Wars, frightening sounds, and even more bewitching music! Come dressed in your Halloween best for a costume contest for audience members WKHRUFKHVWUDDQG6HYHUDQFH+DOOZLOOEHGUHVVHGXSWRR  Sponsor: American Greetings

EMANUEL AX PLAYS BEETHOVEN Nov 3 â&#x20AC;&#x201D; Friday at 8:00 p.m.. <18s Nov 4 â&#x20AC;&#x201D; Saturday at 8:00 p.m. Nov 5 â&#x20AC;&#x201D; Sunday at 3:00 p.m.. <18s THE CLEVELAND ORCHESTRA Vladimir Ashkenazy, conductor Emanuel Ax, piano

ELGAR Serenade for Strings BEETHOVEN Piano Concerto No. 1 ELGAR Enigma Variations



Oct 27 â&#x20AC;&#x201D; Friday at 10:00 a.m. <18s Oct 27 â&#x20AC;&#x201D; Saturday at 10:00 & 11:00 a.m. <18s

Nov 9 â&#x20AC;&#x201D; Thursday at 7:30 p.m. Nov 10 â&#x20AC;&#x201D; Friday at 8:00 p.m. <18s Nov 11 â&#x20AC;&#x201D; Saturday at 8:00 p.m.

THE VIBRANT VIOLIN with Yoko Moore, violin

For ages 3 to 6. Host Maryann Nagel gets attendees singing, clapping, and moving to the music in this series introducing instruments of the orchestra. With solo selections, kid-friendly tunes, and sing-along participation. Sponsor: PNC Bank

THE CLEVELAND ORCHESTRA William Preucil, violin and leader



Sponsor: 6TXLUH3DWWRQ%RJJV 86 //3


Concert Calendar

The Cleveland Orchestra







Nov 17 — Friday at 11:00 a.m. <18s Nov 17 — Friday at 7:00 p.m. <18s Nov 18 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA Nicholas McGegan, conductor Marc-André Hamelin, piano *

RAMEAU Suite from Dardanus MOZART Piano Concerto No. 9* GLUCK Suite from Don Juan ** MOZART Symphony No. 36 (“Linz”) * not part of Friday Morning Concert ** Fridays@7 concert features the works by Rameau and Mozart Sponsors: BakerHostetler KeyBank (Fridays@7)


North by Northwest Nov 19 — Sunday at 7:00 p.m. THE CLEVELAND ORCHESTRA Richard Kaufman, conductor Hitchcock’s masterpiece accompanied by Bernard Herrmann’s original score played live by The Cleveland Orchestra. Gripping, suspenseful, and visually iconic, this late-period Hitchcock classic is one of the most popular spy thrillers of all time. Madison Avenue advertising man Roger Thornhill &DU\*UDQW ÀQGVKLPVHOIWKUXVWLQWRWKHZRUOGRIVSLHVZKHQ he is mistaken for a man by the name of George Kaplan. He is pursued across America by a group of murderous agents and a mysterious blonde (Eva Marie Saint) — leading to a dramatic rescue and escape at the top of Mt. Rushmore. Sponsor: PNC Bank

TCHAKOVSKY’S FOURTH SYMPHONY Nov 24 — Friday at 8:00 p.m. <18s Nov 25 — Saturday at 8:00 p.m. Nov 26 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Paul Jacobs, organ

COPLAND El Salón México PAULUS Grand Concerto (for organ and orchestra) TCHAIKOVSKY Symphony No. 4

Under 18s Free FOR FAMILIES

Brahms First Symphony

Thursday December 7 at 7:30 p.m. Friday December 8 at 8:00 p.m. <18s Saturday December 9 at 8:00 p.m. THE CLEVELAND ORCHESTRA Christoph von Dohnányi, conductor Richard Goode, piano

The Cleveland Orchestra’s Conductor Laureate, Christoph von Dohnányi, returns during the ensemble’s 1OOth season to lead a weekend of concerts at Severance Hall. Featuring the triumphant melodies and burnished harmonies of Brahms’s First Symphony. Guest soloist Richard Goode joins in for Mozart’s luminous Piano Concerto No. 18, and the Orchestra also performs a newer work by British composer Julian Anderson.


Many Cleveland Orchestra’s concerts are offered as part of our "Under 18s Free" ticketing program. This offers free tickets for young people attending with families (one ticket per fullprice adult ticket at Severance Hall on Fridays and Sundays). Funded through a generous Endowment gift to The Cleveland Orchestra from the Maltz Family Foundation.

Severance Hall 2017-18


Concert Calendar


216 - 231-1111 800-686-1141







Friday October 27 at 8:00 p.m.

Sunday October 29 at 3:00 p.m.



Todd Wilson, organ

Let the movies magic begin! Celebrate Halloween with this 1920 masterpiece from the silent film era — with musical accompaniment improvised live by acclaimed organist Todd Wilson. A benevolent doctor and aspiring scientist, Dr. Jekyll (John Barrymore) is tempted to explore the two sides of his personality — the good and the evil. He faces horrible consequences when a potion allows his dark side run wild, creating his alter-ego Mr. Hyde. Featuring Severance Hall’s mighty Norton Memorial Organ and its 6,025 pipes. Please note that The Cleveland Orchestra does not perform on this concert. Sponsored by PNC Bank

CLEVELAND INSTITUTE OF MUSIC ORCHESTRA Carl Topilow, conductor Eric Charnofsky, narrator

Deliciously frightening musical fun! Delight in the musical magic of Paganini’s The Witches’ Dance, musical selections from Star Wars, mysterious sounds and stories, and even more bewitching music! Come dressed in your Halloween best for a costume contest for audience members (the orchestra and Severance Hall will be dressed up, too). Free pre-concert activities begin one hour before concert time. Sponsored by American Greetings

Visit for a complete schedule of future events and performances, and purchase tickets online 24 / 7.




Upcoming Concerts

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The Cleveland Orchestra July Sept 28, 29, 30 Oct 5, 6 Concerts  
The Cleveland Orchestra July Sept 28, 29, 30 Oct 5, 6 Concerts  

Sept 28, 29, 30 Beethoven and Stravinsky Oct 5, 6 Mahler Sixth Symphony