Page 1

THE

CLEVEL AND ORC HE STR A

2O1 7-18 CENTENNIAL SEASON

FRANZ WELSER-MÖST

Week 6 November 17, 18 Mozart & More pages 30-31

Week 6b November 19 At the Movies: North by Northwest page 61

Week 7 November 24, 25, 26 Tchaikovsky’s Fourth Symphony page 67

SEVERANCE HALL

AUTUMN


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

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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

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2O1 7-18 CENTENNIAL SEASON

TA B L E

OF

CONTENTS

THIS BOOK THE CLEVELAND ORCHESTRA

About the Orchestra

6 and 7 PAGE

Week

Perspectives: From the Executive Director . . . . . . 7 From the Start: The Cleveland Orchestra . . . . . . 11 1OOth Season Welcomes . . . . . . . . . . . . . . . . . . 19-25 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . . . 102 WEEK

6

MOZART & MORE Concert: November 17, 18 . . . . . . . . . . . . . . . . . 30-31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33

COVER: PHOTOGRAPHY BY ROGER MASTROIANNI (RIGHT) AND THE CLEVELAND ORCHESTRA ARCHIVES (LEFT):

Cars driving up into the Severance Hall drive-through (now Smith Lobby) in the 1930s.

Copyright © 2017 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com 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

RAMEAU

Suite from Dardanus . . . . . . . . . . . . . . . . . . . . . . . . 37 MOZART

Piano Concerto No. 9 . . . . . . . . . . . . . . . . . . . . . . . . 39 GLUCK

Suite from Don Juan . . . . . . . . . . . . . . . . . . . . . . . . 45 MOZART

Symphony No. 36 (“Linz”) . . . . . . . . . . . . . . . . . . . 49 Conductor: Nicholas McGegan . . . . . . . . . . . . . . . . 35 Soloist: Marc-André Hamelin . . . . . . . . . . . . . . . . . . 43 NEWS

Cleveland Orchestra News . . . . . . . . 53

6B NORTH BY NORTHWEST At the Movies: November 19 . . . . . . . . . . . . . . . . . 61 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 WEEK

7 TCHAIKOVSKY’S FOURTH Concert: November 24, 25, 26 . . . . . . . . . . . . . . . . 67 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 69

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.

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.

COPLAND

El Salón México . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 PAULUS

Grand Organ Concerto . . . . . . . . . . . . . . . . . . . . . . 75

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

TCHAIKOVSKY

Symphony No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Conductor: Giancarlo Guerrero . . . . . . . . . . . . . . . . 71 Soloist: Paul Jacobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Support Second Century Sponsors . . . . . . . . . . . . . . . . . . . . . 20 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86-95

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Table of Contents

The Cleveland Orchestra


10 0

RE ASON S

TO

CE LE BR ATE

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 bakerlaw.com/100reasons to read them all.

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“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.

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Perspectives from the Executive Director November-December 2017 This is a special time of year, as we gather to reflect on the past year amidst the joy of family and friends. All of us in The Cleveland Orchestra family — you here in the audience, supporters near and far, musicians and staff, and the entire community of Northeast Ohio — have a great deal to celebrate and be thankful for. The news of Richard and Emily Smucker’s generous $15 million gift is a recent and shining example (more details of their gift can be found on page 53 of this book). We are deeply fortunate not only to have Richard’s insightful and enthusiastic leadership as board president, but also to have his generous support leading the charge toward a vibrant and successful future as the Orchestra begins its second century. The Cleveland Orchestra has never been stronger. Under Franz Welser-Möst’s artistic leadership, Cleveland’s orchestra is second to none. Our recent concert tour to Europe brought unrivaled acclaim for artistry, innovation, and excellence (a sampling of tour review excerpts is on page 57). At home, more people across Northeast Ohio are enjoying more music performed by Cleveland Orchestra musicians than ever before, and we are attracting young audiences at a rate that has caught the attention of every other orchestra in the country. We are proud to have expanded our education and community offerings, to have increased ticket sales, and to have inspired growing donor support over the past decade. That we are beginning our second century from a position of strength is good cause for celebration. Looking to the future. As we commend the achievements of the past and present, we must also continue to look to the future. An orchestra of Cleveland’s caliber, one that serves its hometown community at such a high level and with programs for so many, costs real money. For all the progress made in the past decade, each year presents challenges. The power of music to inspire must be offered to new generations in positive and creative ways. Dreams must become reality through careful and effective planning. The art of music must be balanced with available resources of time and budget. Our ongoing and future success is assured only through creativity, continuing excellence, and the committed support of everyone involved — musicians, donors, students, volunteers, community leaders, ticket buyers, and citizens from across Northeast Ohio. Smucker Second Century Challenge. The extraordinary gift just announced from Richard and Emily Smucker is a strong vote of confidence in this Orchestra’s future — and in the power of this community to ensure ongoing success. Part of their gift is designated to challenging the community to expand and grow its support. Richard and Emily invite everyone who loves the Orchestra — everyone who believes that Cleveland deserves to call the world’s best orchestra its own — to join in their spirit of generosity, and they will double your gift, large or small. Each new or increased gift to the Annual Fund will be matched in full. Your $25 or $100 will unlock the same amount from the Smuckers’ challenge grant. As you give thanks for the blessings in your life, I hope your gratitude for The Cleveland Orchestra will inspire you to join with Richard and Emily Smucker to help ensure the Orchestra’s future. With this year’s holiday season, I am personally grateful to be part of this Orchestra and this proud, devoted, supportive community. Thank you for being a part of the ongoing story of Cleveland’s extraordinary orchestra.

Severance Hall 2017-18

André Gremillet

7


“Glistening and exuberant”

– THE PLAIN DEALER

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At the Cleveland Museum of Art (12/8) Plus... Shaker Heights, Willoughby, Bay Village & Akron

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MUSICAL ARTS ASSOCIATION

as of October 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 Elizabeth McCormick, 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

9


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CLEVELAND ORCHESTRA THE

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

A

2O1 7-18 CENTENNIAL SEASON

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

11


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-

12

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

13


1918

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

16th

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.

40,000

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.

4million

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

1931

150

concerts each year.

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

The Cleveland Orchestra performs over

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS


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 eventually 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

15


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

16

— 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


PHOTO BY ROGER MASTROIANNI

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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Let’s talk

The Cleveland Orchestra


FR ANZ WELSER-MÖST

Autumn 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

19


2O1 7-18

THE CLEVELAND ORCHESTRA

CENTENNIAL SEASON

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

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

20

Second Century Sponsors

The Cleveland Orchestra


THE CLEVEL AND ORCHESTR A A CENTURY OF EXCELLENCE. AN EXTRAORDINARY FUTURE.

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

21


70TH Anniver

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The Cleveland Orchestra


Cuyahoga County

Together We Thrive Office of County Executive Armond Budish

Autumn 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

Severance Hall 2017-18

From the County Executive: 1OOth Season

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PLEASE STAY AWAKE

DURING THE SYMPHONY, THERE WILL BE TIME TO REST LATER.

(And we’ve got just the place.)

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

Your Grounds for Life. 12316 Euclid Avenue, Cleveland, Ohio | 216-421-2665 | LakeViewCemetery.com


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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T H E

C L E V E L A N D

Franz Welser-Möst M U S I C D I R E C TO R

CELLOS Mark Kosower*

Kelvin Smith Family Chair

SECOND VIOLINS Stephen Rose * FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Peter Otto FIRST ASSOCIATE CONCERTMASTER

Jessica Lee ASSISTANT CONCERTMASTER

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

Katherine Bormann Analisé Denise Kukelhan

Alfred M. and Clara T. Rankin Chair 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 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

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The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Emilio Llinás 2

Lynne Ramsey

Louis D. Beaumont Chair

Richard Weiss 1

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

2

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

CENTENNIAL SEASON

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

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

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

EUPHONIUM AND BASS TRUMPET Richard Stout

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

MUSIC DIRECTOR LAUREATE ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong ACTING DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

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

The Musicians

27


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2O1 7-18 CENTENNIAL SEASON

Concert Previews

LEARNING MORE ABOUT THE MUSIC

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 clevelandorchestra.com, usually by the Monday directly preceding the concert.) The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the stories behind the composers’ lives. Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.

Severance Hall 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: November 17, 18 “Creative Leaps ” (musical works by Mozart, Rameau, Gluck) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

November 24, 25, 26 “Fateful Encounters” (musical works by Copland, Paulus, Tchaikovsky) with guest speaker Meaghan Heinrich, chair, woodwind, brass, & percussion Wisconsin Conservatory of Music

November 30, December 2 “Sciarrino and Bruckner: Odd Couple” (musical works by Sciarrino, Bruckner) with guest speaker Lorenzo Salvagni, music director, Holy Rosary Church

December 7, 8, 9 “The Path to Brahms’s First Symphony” (musical works by Anderson, Mozart, Brahms) with guest speaker David Rothenberg, chair, depaartment of music Case Western Reserve University

Winter Previews: January 11, 12, 13 “Mahler’s Ninth Symphony” with guest speaker Rabbi Roger C. Klein, The Temple – Tifereth Israel

Concert Previews

29


THE

CLEVEL AND ORCHESTRA FR ANZ WELSER- MĂ–ST

M U S I C D I R E C TO R

Severance Hall

Friday morning, November 17, 2017, at 11:00 a.m.

Nicholas McGegan, conductor Suite from the opera Dardanus

JEAN-PHILIPPE RAMEAU

(1683-1764)

Suite from the ballet Don Juan, or the Stone Guest’s Banquet

CHRISTOPH W. GLUCK

(1714-1787)

Symphony No. 36 (“Linz�) in C major, K425

WOLFGANG A. MOZART

(1756-1791)

The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation. The Friday Morning Concert is performed without intermission.

Severance Hall

Friday evening, November 17, 2017, at 7:00 p.m.

Nicholas McGegan, conductor Piano Concerto No. 9 (“Jeunehommeâ€?) LQ(Ă DWPDMRU.

WOLFGANG A. MOZART

(1756-1791)

MARC-ANDRÉ HAMELIN, piano

Symphony No. 36 (“Linz�) in C major, K425

WOLFGANG A. MOZART

7

FRIDAYS@

The Cleveland Orchestra's Fridays@7 series is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence. The Friday evening concert is performed without intermission.

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Concert Program — Week 6 Friday

The Cleveland Orchestra


THE

CLEVEL AND ORCHESTRA FR ANZ WELSER- MĂ–ST

M U S I C D I R E C TO R

2O1 7-18 CENTENNIAL SEASON

Severance Hall

Saturday evening, November 18, 2017, at 8:00 p.m.

Nicholas McGegan, conductor JEAN-PHILIPPE RAMEAU

Suite from the opera Dardanus

WOLFGANG A. MOZART

Piano Concerto No. 9 (“Jeunehommeâ€?) LQ(Ă DWPDMRU.

(1683-1764)

(1756-1791)

1. Allegro 2. Andantino 3. Rondeau: Presto MARC-ANDRÉ HAMELIN, piano

INTER MISSION CHRISTOPH W. GLUCK

(1714-1787)

WOLFGANG A. MOZART

Suite from the ballet Don Juan, or the Stone Guest’s Banquet Symphony No. 36 (“Linz�) LQ&PDMRU. 1. 2. 3. 4.

Adagio — Allegro spiritoso Andante Menuetto Finale: Presto

This weekend’s concerts are supported through the generosity of the BakerHostetler Guest Artist Series sponsorship. Marc-AndrÊ Hamlin’s appearance this weekend with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Sterling A. and Verdabelle Spaulding.

Severance Hall 2017-18

Concert Program — Week 6 Saturday

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November 17, 18

2O1 7-18 CENTENNIAL SEASON

THI S WE E KE ND'S CONCE RT Restaurant opens: FRI AM 12:00 FRI PM 5:00 SAT 5:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT NO PREVIEW ON FRIDAY EVENING

Severance Restaurant Reservations for dining suggested:

216-231-7373 or via www.UseRESO.com

CONCERT PREVIEW Friday Morning / Saturday Evening

“Creative Leaps”

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

with speaker Rose Breckenridge, Music Study Group administrator FRIDAY MORNING 11:00

RAMEAU Suite from Dardanus . . . . . . . . Page 39

(30 minutes)

GLUCK

MOZART Piano Concerto No. 9 . . . . . . . Page 41

(20 minutes)

GLUCK Suite from Don Juan . . . . . . . . Page 45 (20 minutes)

12:10

MOZART Symphony No. 36 (“Linz”) . . . Page 49 (25 minutes)

MOZART Symphony

MOZART Symphony

INTERMISSION

MOZART Concerto

(15 minutes)

RAMEAU

Concert begins: FRI AM 11:00 FRI PM 7:00 SAT 8:00

FRIDAY EVENING 7:00

8:15

7

YS@ A D I FR

Concert ends: (approx.)

FRI AM 12:10 FRI PM 8:15 SAT 9:50

Severance Restaurant and Opus Café

Fridays@7: Stay after for a relaxed post-concert hour of conversation, drinks, and music.

Evenings: post-concert desserts and drinks Morning: post-concert luncheon

32

This Week’s Concerts

The Cleveland Orchestra


INTRODUCING THE CONCERT

Classical Currents & Styles

T H I S W E E K E N D ’ S C O N C E R T S offer musical examples of chang-

ing styles — from the transition of the Baroque Era to the Classical in the 18th century. This was a time of shifting ideas and ideals in musical taste, from the embellished Baroque pleasures of, say, Handel’s Water Music or Vivaldi’s The Four Seasons, to the more measured and classically-proportioned musings of Mozart and Haydn. It was not a matter of less or more creativity, but of changing patterns and ideals — of, metaphorically, the difference between old-fashioned children’s coloring books and today’s stress-relieving exercises for adults. The forms changed, but composers were just as free to test their creativity within newly-formed channels. Our concerts are led by guest conductor Nicholas McGegan, a noted authority of Baroque music who is equally at home across a wide range of eras old and new. The concerts are configured somewhat differently for each performance — between morning and nighttime, Friday or Saturday — and feature two works by Mozart, an early masterpiece of a piano concerto followed by a deftly-mature symphony. Our soloist for the piano concerto is French-Canadian pianist Marc-André Hamelin. Those two “classics” are contrasted with suites of music from a ballet and/or an opera, each from a work representing a transitional state from Baroque to Classical forms and norms. These suites naturally feature movements built on dance rhythms, juxtaposed with more lyrical ideas of airs or arias, and even of dramatic instrumental storytelling. All in all, the musical choices offer a vibrant canvas of colorful music, crafted for entertainment and delight. —Eric Sellen

LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV Classical 104.9 FM. The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, December 31, at 4:00 p.m.

Severance Hall 2017-18

Week 6 — Introducing the Concerts

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10 0

R E A S O N S

TO

C E LE B R ATE

No. 06 The home of The Cleveland Orchestra, Severance Hall, is one of the world’s most beautiful concert venues.

BakerHostetler is honored to collaborate with the Orchestra in building audiences for the future through an annual series of BakerHostetler Guest Artists. To celebrate the Orchestra’s legacy of excellence, we have gathered 100 facts about its history. Visit bakerlaw.com/100reasons to read them all.

bakerlaw.com 34

The Cleveland Orchestra


Nicholas McGegan Now beginning his fifth decade on the podium, British conductor Nicholas McGegan is recognized for his exploration of music from all periods. He first led The Cleveland Orchestra at Severance Hall in February 2007 and, most recently before this weekend’s concerts, in August 2016. Mr. McGegan has served as music director of San Francisco’s Philharmonia Baroque Orchestra for thirty-two years. He is also principal guest conductor of the Pasadena Symphony, and artist-in-association with Australia’s Adelaide Symphony and principal guest conductor of the Pasadena Symphony. He was artistic director of the International Handel Festival 1991-2011. In recent years, he has also participated in residencies at the Juilliard School and Yale University, and has worked with dancer and choreographer Mark Morris. One of the few baroque specialists to regularly conduct major symphony orchestras, Nicholas McGegan’s North American appearances have included engagements with the orchestras of Atlanta, Chicago, Cleveland, Detroit, Los Angeles, New York, Philadelphia, St. Louis, St. Paul, and Toronto. He has also led concerts with the Göteborg Symphony Orchestra, Hallé Orchestra, Hong Kong Philharmonic, Orchestre de la Suisse Romande, Royal Concertgebouw Orchestra of Amsterdam, Scottish Chamber Orchestra, and the Sydney Symphony. He has conducted operatic performances at Sweden’s Drottningholm Theater, London’s Royal Opera House, San Francisco Opera, Santa Fe Opera, and the Washington National Opera.

Severance Hall 2017-18

Guest Conductor

Born in England and educated at Cambridge and Oxford universities, Mr. McGegan has received honorary degrees from London’s Royal College of Music and the San Francisco Conservatory of Music, and was elected an honorary professor of philosophy at the Georg-August Universität Göttingen. His other awards include being named an Officer of the Most Excellent Order of the British Empire and receiving the Halle Handel Prize, Order of Merit of the State of Lower Saxony, and the Medal of Honour of the City of Göttingen. Nicholas McGegan’s discography numbers more than 100 albums. His world premiere recording of Handel’s Susanna with Lorraine Hunt Lieberson earned a Gramophone Award. His recent albums for the Philharmonia Baroque Productions label include Brahms’s Serenades, Haydn Symphonies (Nos. 88, 101, and 104, nominated for a Grammy Award), Scarlatti’s La Gloria Di Primavera, Vivaldi’s The Four Seasons and other concertos with violinist Elizabeth Blumenstock, and Handel’s Atalanta and Teseo. He also records for Hungaroton with Hungary’s Capella Savaria. For more information, please visit www.nicholasmcgegan.com.

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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


Suite from the opera Dardanus from the opera composed 1739 and revised 1744 and 1760

At a Glance Rameau created his opera Dardanus in 1739, to a libretto by CharlesAntoine Le Clerc de la Bruère. It was first performed on November 19, 1739, at the Paris Opéra. The opera was revised in 1744 and 1760. The suite of music being heard this weekend runs just over 15 minutes in performance. The scoring calls for 2 flutes (second doubling piccolo),

2 oboes, 2 bassoons, percussion (tambourine and improvised tambour), and strings, plus harpsichord continuo. The Cleveland Orchestra has performed music from this opera once before, for a weekend of concerts in 2010 led by Bernard Labadie, who presented a different suite of orchestral selections from the score.

by

JEAN-PHILIPPE

RAMEAU

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

Severance Hall 2017-18

About the Music W H E N J E A N - P H I L I P P E R A M E A U ’ S first tragédie lyrique

opera, Hippolyte et Aricie, premiered at the Paris Opéra on October 1, 1733, its success took the town by storm. It was quickly considered the greatest French opera in fifty years — since the death of Jean-Baptiste Lully (1632-87). Hippolyte made Rameau, a relatively obscure composer from the provinces of France, a literal overnight sensation. He was fifty years old. Though not well known as a composer (up until 1733 he had published three small volumes of harpsichord pieces and a handful of cantatas), Rameau was quite well known as a learned music theorist. He published his first book, Traité de l’harmonie, in 1722, the same year he settled in Paris. This was followed by Nouveau système de musique théorique (1726), and several articles in the journal Mercure de France. His reputation rested on his published writings. Yet his desire to be a composer for the stage was equal to his wish to maintain his renown as a musical thinker. And so began what was to become an astonishing lateblooming compositional career. Between the ages of 50 and 70, Rameau composed nineteen operas and/or ballets, all the while producing theoretical works, including four books and more learned journal articles. Soon after the success of Hippolyte, Rameau found himself steeped in an ongoing musical battle — between the Lullistes (conservative defenders of Lully’s legacy) and the Ramistes (defenders of the new, of which Rameau was emblematic). Rameau’s situation as a named figure was tinged with irony; he About the Music

37


was a sincere admirer of Lully. And Rameau had, in fact, carried on many of the traditions of tragédie en musique established by Lully— including sung recitatives, and scenes of divertissement, with ballets, choruses, and airs, not to mention librettos based on stories taken from mythology. Rameau’s skills as a composer helped carry him forward; he was granted a pension from the Opéra in recognition of his stature in 1750. The Lullists were eventually seen as reactionaries and their attacks fell away. Dardanus, premiered in 1739, was Rameau’s fifth opera and third tragédie lyrique. The libretto, by Charles-Antoine Le Clerc de la Bruère, was universally proclaimed to be a flop, though the work as a whole was not a failure due to the richness of the music. The problem was, perhaps, not entirely within the poetry, but with the lack of action on stage and the unreality of the subject. In fact, several years later, in 1744, Rameau and Le Clerc de la Bruère revised the original to the point of nearly creating two different works. They reconstructed the second half and created less interruption in the action, making a better design. Still, this second version of the work was less than a resounding success. Cuthbert Girdlestone, Rameau’s biographer, sums up the situation, remarking on the 1744 revision: “Rameau is the servant of an unworthy mistress. He is interested in the descriptive and expressive aspects of the text, not in its architecture.” The semi-mythological plot centers on Dardanus, a son of Zeus, who is in love with Iphise, the daughter of the Phrygian King Teucer, who is at war with Dardanus. Teucer has promised his daughter’s hand to Antenor, a neighboring king. Through a series of mishaps, Dardanus loses his freedom. He is saved by Venus; other gods intervene on his side and a monster is sent to punish Teucer. Dardanus kills the monster, thereby saving Teucer, who relents, allowing Dardanus and Iphise to be married. The suite of music from the opera being performed as part of this weekend’s concerts bring together a sampling of pieces, dances, and airs from the score. The Overture is of the “French type” (slow-fast-slow). A tambourine is a quick style of dance. The final movements is a Chaconne from Act V, traversing several emotional levels through change across each variation. —Steve LaCoste © 2017

38

About the Music

The Cleveland Orchestra


Piano Concerto No. 9 (“Jeunehomme”) in E-flat major, K271 composed 1776-77

At a Glance

by

Mozart completed this Piano Concerto in E-flat major in January 1777 in Salzburg for a woman pianist, now known to have been named Victoire Jenamy. Her surname was variously mentioned in correspondence at the time only as “Jenomy” or “Jenamè” or “Genomai” — and, with little historical record of who she was, this was later turned into a nickname for the concerto, which became “Jeunehomme.”

MOZART

About the Music

Wolfgang Amadè1

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

The work runs about 30 minutes in performance. Mozart scored it for 2 oboes, 2 horns, strings, and solo piano. The Cleveland Orchestra first performed this concerto in December 1930, with pianist Beryl Rubinstein under Nikolai Sokoloff’s direction. The Orchestra most recently performed the concerto in November 2012, with Mitsuko Uchida conducting from the keyboard.

M O Z A R T ’ S E A R L I E S T F L E D G L I N G E F F O R T at writing a

concerto occurred when he was a lad of nine or ten, just after his first major European tour of Paris and London (1763-66). It was while he and his family were in London that they met Johann Christian Bach, also known as the “London Bach.” Johann Christian was the youngest son of Johann Sebastian Bach, a musician of “older styles.” J.C. Bach was well established in London as music master to the Queen (who had been a German princess) and a highly successful composer of orchestral and chamber music. He was admired for his keyboard playing and his ability to write in the newer Italian style, and for composing music within the abilities of his aristocratic students. Bach’s graceful melodic phrases, short and elegant in design and relatively simple homophonic textures, were to prove extremely influential upon the young Mozart. Young Wolfgang arranged three of Bach’s keyboard sonatas shortly after the family left London, probably as an “assignment” from his father, turning 1 Mozart

was baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart. His first two baptismal names, Johannes Chrysostomus, represent his saint’s name, following the custom of the Roman Catholic Church at the time. In practice, his family called him Wolfgang. Theophilus comes from Greek and can be rendered as “lover of God” or “loved by God.” Amadeus is a Latin version of this same name. Mozart most often signed his name as “Wolfgang Amadè Mozart,” saving “Amadeus” only as an occasional joke. However, after his death,19th-century scholars in all fields of learning were completely enamored of Latin naming and conventions (this is the period of the classification and cataloging of life on earth into kingdom, phylum, class, order, family, genus, species, etc.) and successfully “changed” his name to Amadeus. Only in recent years have we started remembering the Amadè name he preferred.

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them into miniature piano concertos. Mozart’s arrangements utilize Bach’s melodies as models, adding tutti sections for two violins and bass. These works were not only exercises in concerto writing but equally served the purpose of performance pieces for future tours. It wasn’t until late 1773 that Mozart composed his first original piano concerto, what we know today as Piano Concerto No. 5 in D major, cataloged as K175, scored for oboes, horns, trumpets, and timpani. The formal design of this work went beyond that of J.C. Bach, most notably in the contrapuntal nature of the finale. It is believed that A little more than two years were to pass Mozart composed before Mozart composed another piano concerto. this concerto for In the interim, he composed a concerto for bassoon and his Five Violin Concertos. Victoire Jenamy, a In 1776, he composed three piano conFrench woman of some certos, today known as Nos. 6, 7, and 8 (Ks 238, talent as a pianist. 242, and 246). And then he made a great leap The spelling of her forward — into what is universally recognized as the beginning of his mature period with Piano name varies considerConcerto No. 9 in E-flat major, K217. It was comably in contemporary pleted in January 1777, just one month after his documents, and one twenty-first birthday. variant, Mademoiselle It is believed that Mozart composed this concerto for Victoire Jenamy, a French woman of Jeunehomme, has some talent as a pianist. (The spelling of her name become the concerto’s varies considerably in contemporary documents, nickname. and one variant, Mademoiselle Jeunehomme, came to be the concerto’s nickname. She was, in fact, the daughter of French choreographer Jean-Georges Noverre, whose name we shall see again in connection with the ballet suite also being performed on this weekend’s concerts.) Ms. Jenamy may have passed through Salzburg in 1777, and may have played the concerto in an early performance. THE MUSIC

In the first movement, marked Allegro, Mozart created a dramatic entrance by introducing the soloist in the second measure of the first theme (of several themes) with a short phrase that answers the orchestral tutti first phrase (twice) and then is silent for the remainder of the opening exposition. The second exposition begins with a trill in the solo piano leading into a new

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About the Music

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theme not heard in the first exposition, followed by the first theme and the material from the first exposition but with extended passages in figuration and the soloist unaccompanied. A highlight of the movement’s development section is a long passage of the solo piano accompanied by oboes but no other orchestral support. The recapitulation section reverses the sequence of the opening theme, with the piano now stating the first phrase followed by the orchestra. The dark shadings of the Andantio middle movement, in C minor, are presented with muted violins, giving a serious tone to the entire concerto. The fusion of operatic (voice-like inflections) and symphonic elements, especially in the long opening phrase, combined with an A-B-A form are previews of Mozart’s later piano concerto styling. The Rondo finale features extended solo cadenzas and a novel, harmonically and formally extended Menuetto cantabile that changes the time signature from duple to triple meter as well as a slowing of tempo. Mozart leads back to the romping Rondo theme by way of a free cadenza, with the theme then softening before a final, loud forte punctuation. —Steve LaCoste © 2017

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Marc-André Hamelin French-Canadian pianist Marc-André Hamelin is recognized for the technical polish of his performances and his interpretive elegance. He made his Cleveland Orchestra debut in April 2015. Born in Montreal and now a resident of Boston, Marc-André Hamelin began piano studies at age five. He later enrolled at Montreal’s École de musique Vincent-d’Indy and Philadelphia’s Temple University. He is the recipient of a lifetime achievement award from the German Record Critic’s Association, Echo Klassik’s 2014 Instrumentalist of the Year Award, and many other honors. He is also an Officer of the Order of Canada, a Chevalier de l’Ordre du Québec, and a member of the Royal Society of Canada. Mr. Hamelin’s recent and current schedule includes guest artist engagements with the major orchestras of Bavaria, Chicago, Denmark, France, Hanover, London, Los Angeles, Minnesota, Montreal, New Jersey, New York, Oregon, Philadelphia, Seattle, Utah, Vancouver, and Warsaw. As a recitalist, he appears in Amsterdam, Antwerp, Aspen, Berlin, Birmingham (United Kingdom), Boston, California, China, Copenhagen, London, Lucerne, Montreal, Moscow, Munich, New York, Paris, Philadelphia, San Francisco, and Toronto, and at the Aspen, La Jolla, Salzburg, Tanglewood, and Verbier festivals. Marc-André Hamelin’s wide repertoire and interest in new music are represented by his performance of the world premiere of Mark Anthony Turnage’s Pia-

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Guest Soloist

no Concerto, as well as the creation and playing of his own compositions — for string quintet and piano, for piano and cello, and for solo piano. Active as a chamber musician, Mr. Hamelin’s frequent collaborators include the Pacifica and Takács quartets and Emanuel Ax, Martin Fröst, and Leif Ove Andsnes. An exclusive Hyperion Records artist, Marc-André Hamelin has a discography of more than fifty albums. They include concertos and works for solo piano by Alkan, Brahms, Chopin, Godowsky, Liszt, Medtner, and Shostakovich. His release of Schumann’s Waldszenen and Kinderszenen, and of Janáček’s On the Overgrown Path, received awards from Gramophone and BBC Music magazines. In 2015, he was inducted into the Gramophone Hall of Fame. Among Mr. Hamelin’s other recordings is an album of his own compositions, Hamelin: Études, which received a 2010 Grammy nomination (his ninth) and first prize from the German Record Critics’ Association. For additional information, please visit www.marcandrehamelin.com.

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Suite from the ballet Don Juan, or the Stone Guest’s Banquet composed 1761

At a Glance Gluck composed the music for the ballet-pantomime Don Juan ou Le Festin de Pierre [“Don Juan or the Stone Guest’s Banquet”] in 1761. The libretto or plotline was by Ranieri de’ Calzabigi, with choreography by Gasparo Angiolini. The ballet was premiered on October 17, 1761 at the Theater am Kärntnertor in Vienna. This suite of music runs almost 20

by

Christoph Willibald

GLUCK

born July 2, 1714 Berching, Germany died November 15, 1787 Vienna, Austria

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minutes in performance (the entire ballet runs about 45 minutes). Gluck’s scoring calls for 2 flutes, 2 oboes, 1 bassoon, 2 horns, 1 trombone, and strings. The Cleveland Orchestra is performing music from Gluck’s Don Juan for the first time with this weekend’s concerts.

About the Music B Y T H E M I D D L E O F the 18th century, the ideas implicit in

Enlightenment philosophy — of reason and learning, of nature and humanity, of progress and justice — had taken firm hold in the minds and hearts of educated Europeans, especially writers and artists. Theoretical tracts focusing on social and political reform were written, disseminated, and avidly consumed and debated. Outcomes of this great mental “enlightening” included the American and French Revolutions, propelled and compelled by their progressive beliefs in “life, liberty, and the pursuit of happiness,“ and “liberté, égalité, fraternité.” Yet the appeal for reform was not exclusive to social and political concerns. Enlightenment ideas filtered into the arts as well, particularly within opera and dance. Satirical and critical writings by composers and theorists on the perceived inanities of Italian opera seria (“serious” opera) had been proliferating since at least 1720 when composer Benedetto Marcello anonymously published his satirical broadside Il Teatro alla moda. Yet the artform itself would wait four decades before accumulated criticisms would find realization in the reform operas of Christoph Willibald Gluck. “I considered that my greatest effort should be to seek a beautiful simplicity, and I have forborne from making a display of difficulties at the expense of clarity; I judged that the discovery of a novelty was precious only inasmuch as it was called for naturally by the situation and the expression.” This quote, taken from Gluck’s About the Music

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preface to his reform opera Alceste (the opera was written in 1768, the preface was published in 1769) sums up the body of his text and intentions. His main points included that music should be a servant to drama, and that continuity between related sections (such as an aria and its introductory recitative) could maximize dramatic coherence by expressive use of the orchestra. Gluck had actually already accomplished many of his reforms with his first opera Orfeo ed Euridice [“Orfeo and Euridice”] in 1762. Concurrent and even pre-dating the changes Gluck was considering introducing into opera were a related set of changes taking place in dance — which were destined to give ballet sequences greater relevance within stageworks, and also to give dance greater independence as its own Outcomes of Enlightendramatic art form separate from opera. ment thinking included In 1760, the French choreographer Jeanthe American and French Georges Noverre (1720-1810) had published his theoretical tract Lettres sur la dansce, in which he Revolutions, propelled introduced the concept of the pas d’action [“step and compelled by proof action”] and pantomime to give new dramatic gressive beliefs in “life, expression to ballet. Interestingly, Noverre was liberty, and the pursuit greatly influenced by Rameau’s choice to closely link his own instrumental divertissements with of happiness,” and “libplotlines, giving those dances enhanced draerté, égalité, fraternimatic expression. té.” Yet the appeal for As a consequence of all of this, dances in Rameau’s operas were less artificial, less “geometric” reform was not excluthan the conventional, formulaic court dances. sive to social and politiThey told a story, rather than merely marking cal concerns. Ideas for time with interesting stage patterns. Noverre change filtered into the believed that dance could create a “live painting of the passions, manners, customs, ceremonies, and arts as well, particularly costumes of all the peoples on earth,” but also and within opera and dance. more importantly offered a “return to nature.” Thus, the time — by the mid-18th century — was right and ripe for a full-fledged ballet-pantomime (or dramatic ballet) quite separate from an opera. And Gluck was exactly the man to provide the score for such a storytelling musical adventure. A S T O RY T E L L I N G B A L L E T

In 1760, Giacomo Durazzo, the intendent of the theaters of Vienna, introduced Italian poet and librettist Ranieri de’ Calzabigi to both Gluck and the Italian dancer, choreographer and composer

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Gasparo Angiolini, director of ballet at the Imperial Theater in Vienna. All the members of this gang of four were reformers. Their collaboration resulted in the reform ballet Don Juan ou Le Festin de Pierre [“Don Juan or the Stone Guest’s Banquet”]. Calzabigi supplied the plot synopsis based upon Moliere’s play Don Juan ou le Festin de pierre (1665), and Angiolini did the choreography. The basic story of the ballet’s plotline is familiar to many of us from Mozart’s opera Don Giovanni from two decades later. The setting is Madrid. While Don Juan is serenading Dona Elvira, her father the Commander enters with sword drawn to defend her. Don Juan kills the Commander during the skirmish. Don Juan later invites his friends to a banquet that includes much dancing. There is a thunderous knocking at the door. Upon opening the door, Don Juan discovers the marble statue of the dead Commander and invites him to the banquet, but the Commander reciprocates by inviting Don Juan to dinner at his tomb and departs. Don Juan then makes his way to the graveyard. When the Commander rises from his tomb, Don Juan makes light of this terrifying affair — but the judgement passed upon him is irrevocable, and he sinks down into Hell. The suite we are hearing at this week’s concert opens with a brief, robust Sinfonia. The ensuing pieces cover a gamut of dance forms from stately and courtly to stylized gavotte and minuet (some of the same kind of repetitive forms against which Noverre had railed, but presumbably danced with more intent and action) and on to tender airs. Simple homophonic textures give way to dramatic outbursts expressive of foreboding doom, freed from the bonds of courtly niceties. The ballet’s premiere took place on October 17, 1761 at Vienna’s Theater am Kärntnertor. —Steve LaCoste © 2017 Steve LaCoste has served as archivist of the Los Angeles Philharmonic in addition to writing program notes for a variety of institutions.

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About the Music

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Symphony No. 36 (“Linz”) in C major, K425 composed 1783

At a Glance 2 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first performed Mozart’s “Linz” Symphony in December 1943, led by Erich Leinsdorf. It has been programmed occasionally since that time, most recently at Severance Hall in May 2005 under Franz Welser-Möst’s direction and at Bossom in 2014 led by Matthew Halls.

by

Mozart wrote his Symphony in C major, later known as the “Linz” Symphony, in the autumn of 1783 at the request of Count Thun of Linz. The work was premiered on November 4 that same year, by the court orchestra (an ensemble made up of court musicians from the households of both Count Thun Sr. and Jr.). This symphony runs about 25 minutes in performance. Mozart scored it for 2 oboes, 2 bassoons,

MOZART

About the Music

born January 27, 1756 Salzburg

summons of his hometown employer, the Archbishop of Salzburg, he was basking in the glow of the success of the Munich premiere of his opera seria Idomeneo, which had taken place in January. While in Munich, he was not only with his beloved father Leopold and sister Nannerl, but he composed several works, including two popular piano sonatas (K331 and K332). More importantly for his future career, he was in the company of nobles, with whom he conversed on equal terms. All in all, it was a happy time. At first, Mozart viewed this stay in Vienna as a time to seek out prospects for performances and possible commissions, especially for opera. He also saw this as an opportunity to sever ties with Salzburg and the “hated” Archbishop Colloredo. In a letter dated May 26, 1781, he complained about the artistically stifling atmosphere of Salzburg and his hopes for Vienna: “There is no stimulus for my talent! When I play or when any of my compositions are performed, it is just as if the audience were all tables and chairs. If only there were even a tolerably good theater in Salzburg! For in Vienna my sole amusement is the theater.” Mozart’s hopes for change in his situation was further articulated in the same letter: “It seems as if good fortune is about to welcome me here, and now I feel that I must stay. Indeed, I felt when I left Munich, that, without knowing why, I looked forward most eagerly to Vienna.” His anticipation did not last. Once in Vienna, however, Mozart was forced to stay with

Wolfgang Amadè

died December 5, 1791 Vienna

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W H E N M OZ A R T A R R I V E D in Vienna on March 16, 1781, under

About the Music

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the Archbishop’s entourage and dine with the servants (of which, as court organist, he was one). Most frustrating of all, he was prohibited from earning money by playing concerts. He felt insulted, humiliated, and furious. With animosity increasing between himself and the Archbishop, Mozart requested to discharged from his Salzburg duties. The request was denied. These matters came to a head on June 9 when, in an interview with chief steward Count Arco, Mozart was definitively released from service, “. . . with a kick on my ass . . . by order of our worthy Prince Archbishop,” he wrote to his father. In spite of his less-than-honorable discharge, it was all he had hoped for; he was free of Salzburg — and the Archbishop. F R E E T O W R I T E , F R E E T O L OV E

During this period, Mozart was also preoccupied with his difficult but growing love affair with the singer Constanze Weber, and with establishing himself in Vienna as teacher, pianist, and composer. Toward the end of 1781, as his relationship with Constanze deepened, Mozart worked on his new German-language opera The Abuction from the Seraglio [Die Entführung aus dem Serail]. He finally wrote to Leopold of his love for Constanze; neither Leopold nor sister Nannerl approved. Nonetheless, the two married on August 4, 1782; they received his father’s consent letter the next day. It was Mozart’s intention to take his new bride to Salzburg to meet his father and sister but circumstances caused postponement for many months, until July 1783. On October 6, Constanze sang the soprano part in a performance of parts of Mozart’s never completed C minor Mass, K427. The two departed for Vienna the following day, having never obtained Leopold’s unconditional acceptance of Constanze. It was on the return journey to Vienna that they stopped at Linz to visit an old family friend, Count Thun-Hohenstein. “When we reached the gates of the city,” Mozart wrote to Leopold on October 31, “we found a servant waiting there to drive us to Count Thun’s, at whose house we are now staying. . . . On Tuesday, November 4, there will be an academy in the theater here and, as I have not a single symphony with me, I am writing a new one at breakneck speed.” Hence the genesis of his new Symphony in C major, soon nicknamed the “Linz” Symphony. THE MUSIC

The first movement begins with an Adagio introduction very much à la Haydn, the first time Mozart utilizes such a beginning in

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About the Music

The Cleveland Orchestra


a symphony. This is followed by an Allegro spiritu that presents clearly defined thematic groups separated by recognizable transitions. The movement’s development section is dominated by the closing theme from the exposition. There is a brief coda following the recapitulation. The slow second movement, marked Poco adagio, is in quasi-siciliano ternary form (A-B-A) of a cantabile or songful nature. The third movement’s Trio section of this very conventional Minuet is closer to an Austrian Ländler in character. Mozart chose not to end this symphony with a rondo structure of repetition and variation. Instead, this Presto fourth movement is built in fine form with a sonata structure, ending with a brief coda. —Steve LaCoste © 2017

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Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends. As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-7556.

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THE CLEVELAND ORCHESTRA

Smuckers pledge $15 million to Cleveland Orchestra Richard and Emily Smucker invite Greater Cleveland community to join them in supporting the Orchestra’s Second Century Richard and Emily Smucker have pledged $15 million to The Cleveland Orchestra in celebration of the 100th season and launch of the Orchestra’s Second Century. Their gift will be used to fund artistic and education programs, emphasizing programs for young people. A significant portion of their gift will also support funds for the Orchestra’s future, including the endowment. Richard and Emily are designating $3 million of their total pledge as challenge grants, which will be used to inspire the Northeast Ohio community to support the Orchestra as the ensemble enters its Second Century of musical excellence and community engagement. “Emily and I love The Cleveland Orchestra. The work these musicians do inspires audiences and young people throughout our community, across the nation, and around the world,” stated Richard K. Smucker, board president of The Cleveland Orchestra. “From my own life experience, I know that music has the power to change lives. It has transformed how I think about the world, and I revel in the experience of sharing a performance with family and friends, all of us together. I find myself renewed through music.” “This Orchestra has inspired me throughout my life,” continued Richard. “And I want to share that feeling and understanding. Emily and I want to encourage everyone who loves music, who loves this Orchestra, and who loves this great Cleveland community, to celebrate the 100th anniversary and to be part of launching the Orchestra’s Second Century.” The Smuckers join a rich history of community leaders who have made transformational gifts to The Cleveland Orchestra, inspiring continuing and growing community support. The list of visionary leaders includes John L. Severance, who, when putting forth his own pledge in 1929, successfully challenged the community to match his support to build what is now one of the nation’s most prestigious concert halls, Severance Hall. “Through their deep engagement and outstanding generosity, Richard and Emily are shining examples of how this community empowers the Orchestra to be the very best it can be for the benefit of the people of Ohio, commented André Gremi-

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llet, the Orchestra’s executive director. Emily Smucker added, “We want to help ensure that The Cleveland Orchestra continues to inspire future generations, and that this music will be shared and enjoyed one hundred years from now. Richard and I invite people from across Northeast Ohio to join us in championing the impact music can have on individual lives.” “The Orchestra’s musicians and I are deeply moved by Richard and Emily Smucker’s support. Their generosity and enthusiasm for the music we offer is deeply gratifying,” said Franz Welser-Möst, the Orchestra’s music director. “The Cleveland Orchestra is what it is today because of the community that created it. Richard and Emily are leading by example, reminding us that sharing and working together for good is a noble and empowering act. They are deserving of thanks, not just from us today, but from future generations who will be inspired by The Cleveland Orchestra.” Richard K. Smucker was elected as the thirteenth Board President of The Cleveland Orchestra in March 2017, and has served on the Board of Trustees since 1989. After serving in leadership positions with the family-owned J.M. Smucker Company for more than four decades, he now holds the title of Executive Chairman.

Join the SMUCKER SECOND CENTURY CHALLENGE today! Richard and Emily Smucker have generously pledged up to $500,000 to match gifts to The Cleveland Orchestra’s Annual Fund through December 31, 2017. If you’re giving to the Orchestra for the first time, coming back as a donor, or increasing your annual gift — your donation will be matched dollar for dollar! Please join in this challenge, using the attached envelope or by visiting clevelandorchestra.com online. Questions? Contact us at 216-231-7556.

Cleveland Orchestra News

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orchestra news

THE CLEVELAND ORCHESTRA

Heritage Society gathered on October 16 at Severance Hall to share love of music and love of The Cleveland Orchestra On Monday, October 16, 2017, The Cleveland Orchestra’s Heritage Society convened at Severance Hall for their annual luncheon and chamber music performance. Prior to the concert, nearly 200 Society members enjoyed coffee and brief remarks from Joan Katz, The Cleveland Orchestra’s senior director for education and community programs, who shared insights into special community and school programming within the Orchestra’s 100th season. The morning’s live performance featured violinist Yoko Moore and pianist Natsumi Shibagaki playing Beethoven’s Violin Sonata in G major, Opus 30 No. 3. Many Society members have been supporters of The Cleveland Orchestra for decades and have come to know many of the musicians quite well. They were delighted to see Yoko Moore, former Cleveland Orchestra assistant concertmaster, return to the stage with a performance that ranged from grace and lyricism to rustic humor and virtuoso gymnastics. After

the concert, Society members enjoyed a seated luncheon in Smith Lobby, catching up with friends over wine and lunch. The Cleveland Orchestra’s Heritage Society recognizes the generosity of individuals, couples, and famlies who are committed to ensuring the future of music in Northeast Ohio by remembering the Orchestra in their estate plans. Benefits of Heritage Society membership include invitations to special events, a sterling silver lapel pin featuring the Heritage Society lotus blossom symbol, and recognition on the Heritage Society roster. For more information about becoming a legacy donor and joining the Heritage Society, please contact Dave Stokley, Legacy Giving Officer, by writing to dstokley@clevelandorchestra. com or calling at 216-231-8006. All inquiries are confidential.

Proudly supporting The Cleveland Orchestra. Nicola, Gudbranson & Cooper, LLC ATTORNEYS AT LAW

CONGRATULATIONS TO

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Serving Clevelanders since the 1930s. 216-621-7227 | www.nicola.com

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Cleveland Orchestra News

The Cleveland Orchestra


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

FRI ENDS

Severance Hall 2017-18

THE CLEVELAND ORCHESTRA

Great Lakes Brewing Co. supports Orchestra via unique program on Giving Tuesday all day November 28 In the holiday spirit of giving back, Great Lakes Brewing Company is spearheading a unique way to support The Cleveland Orchestra as part of this year’s Giving Tuesday on November 28. Throughout that day, Great Lakes will donate $1 of every pint sold to customers at their brewpub in Ohio City (2516 Market Avenue) — all to celebrate Orchestra’s 100th season. Taking place the Tuesday immediately after Thanksgiving each year, Giving Tuesday was created in 2012 as a more altruistic counterbalance to the consumerism and commercialism of Black Friday and Cyber Monday. As a global day dedicated to raising awareness and giving back to community causes, Giving Tuesday invites everyone to share time, talent, and resources for good. “As a homegrown Northeast Ohio business, we are proud to support Cleveland Orchestra programs like The Circle,” says Mary Mitchell, community marketing supervisor at Great Lakes. “The Circle’s emphasis on creating fun and social ways to engage young professionals in the Orchestra’s musical offerings is a perfect way to help strengthen the community fabric. We saw Giving Tuesday as a perfect opportunity for us to encourage others to support the Orchestra.” “In addition to the unique commemorative beer we’re creating this season in partnership with the Orchestra, we wanted to go above and beyond for this special centennial year. This is the first time we’ve participated in Giving Tuesday in this kind of way — and we’re very excited.” In celebration of Giving Tuesday, the Cleveland Bluegrass Orchestra is giving a free performance in the Great Lakes Brewing Beer Cellar from 6:00 p.m. to 7:00 p.m. Everyone is welcome to stop by Great Lakes anytime throughout the day to raise a glass to the Orchestra’s centennial. For more about how individuals or businesses can show their support for The Cleveland Orchestra on Giving Tuesday, call Brian Deeds, Individual Giving Manager, at 216-231-7556.

Cleveland Orchestra News

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orchestra news

THE CLEVELAND ORCHESTRA

THE CLEVELAND ORCHESTRA

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 Cleveland Orchestra members:

Bernard Adelstein, principal trumpet for twenty-eight seasons (1960-88), died on September 30, 2017, in Sarasota, Florida, where he lived with his wife, Connie. He was 89. Born in Cleveland, he played trumpet with the Pittsburgh, Dallas, and Minneapolis symphonies prior to returning to his hometown’s orchestra. He taught at the Cleveland Institute of Music and Oberlin, and, after retiring from Cleveland, at Indiana University. William Hebert, principal piccolo for forty-one 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. During his years in Cleveland, he taught at Baldwin Wallace for 45 years. Thomas Peterson, clarinet for thirty-two seasons (1963-95) and assistant principal clarinet (1980-95), died on February 28, 2017, at the age of 81. Tom graduated 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.

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Cleveland Orchestra News

The Cleveland Orchestra


orchestra news

THE CLEVELAND ORCHESTRA

Orchestra wins praise and acclaim on European Tour Below are a selection of excerpts from the overwhelmingly positive reviews from The Cleveland Orchestra’s concerts on tour across Europe in October: “The Cleveland Orchestra’s visit to the Philharmonie de Paris was unquestionably a can’tmiss musical event. . . . Our expectations were fully met as we found the Austrian conductor’s interpretation of Mahler’s Sixth Symphony convincing, both in substance and in form. . . . The orchestra upheld its reputation for excellence. . . . This was a pertinent and intelligent interpretation, a very committed and convincing performance. Bravo!” —ResMusica (Paris) THE

CLEVELAND CENTENNIAL SEASON

2O17

EUROPEAN TOUR

ORCHESTRA FR ANZ WE L S E R- M ÖST

“Music is the primary focus — with the excellence of The Cleveland Orchestra under Franz Welser-Möst taking any listener’s breath away. Even while briefly closing your eyes, you will still hear everything (and so much more) of what is happening visually in the opera. This was fully-rounded sound with nuance — an event! Flawless too were performances by Martina Janková as a touching Little Vixen, by Jennifer Johnson Cano as the fox and Alan Held as the Forester, or by Raymond Aceto as Harasta. . . . The cheers at the end were for every aspect of this performance.” —Vienna Kurier

“This was a brilliant performance. . . . . Stravinsky’s Rite of Spring was . . . impressive; the music was precisely led by Franz Welser-Möst through the angular rhythms and contrasts into a thrilling finale at the end.“ —NDR Kultur (Hamburg) “Welser-Möst unfolds the details of Mahler’s colossal symphonic scenario in forward-pressing tempos. . . . In doing so, he can safely rely on the abilities of the instrumental sections and soloists of his Clevelanders, who flawlessly savor Mahler’s expressive phrasing and colorful scales. Powerful crescendos are performed with the same perfection as the softly melting hues of the strings. . . . Great applause followed.” —Kronen Zeitung (Austria) “Franz Welser-Möst conducted Mahler’s Sixth Symphony on the second evening of the performances with his Cleveland Orchestra in the Grosser Saal of the Elbphilharmonie. . . . Mahler, known for his demanding requirements, would probably have approved of what Welser-Möst did with this Mahler symphony. How he merged together dramatic, hard-hitting, and frenetically loving characteristics. How brilliantly and with caring focus on each detail this American orchestra proved itself in excellent form, especially throughout all the solo wind instruments. . . . Where to start the praise, where to end with the amazement? Magnificent, for the urgency with which Welser-Möst kept the manically agitated pulse alive. . . This version was delightfully unsentimental, quite lean and sinewy, with the wallowing fat of pathos exercised away, offering an existential rollercoaster ride. Every single measure called for everyone to give their all, a collective tour de force, an emotional burden that exhausted and animated at the same time. At the end, there was the hard-earned standing ovation.” —Hamburger Abendblatt

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Musicians Emeritus of

T H E

C L E V E L A N D

R

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T

I

R

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D

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O R C H E S T R A

U

S

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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 45 musicians collectively completed a total of 1589 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 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 October 2017

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Appreciation

The Cleveland Orchestra


orchestra news Read about the music on your cellphone before coming to the concert by visiting ExpressProgramBook.com Earlier this year, The Cleveland Orchestra launched a new website specifically for reading about the music ahead of time, easily and conveniently on your mobile phone. The new service, available online at ExpressProgramBook.com, 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. “This is designed with a clear format and purpose,” comments program book editor Eric Sellen. “Just the basic information, no fancy layout, with text sized to make reading on a phone or other mobile device easy.” The service was tested for several months, and is now fully available, with information posted a few days prior to most concerts. The site features only the core musical content of each printed book. The complete program book is available online in a “flipbook” format, for view-

THE CLEVELAND ORCHESTRA

TH E CLE VE L AN D O RCH E STR A

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

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17 2O16

N S E A S O

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Cleveland Orchestra News

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your passion inspires us all. TheThe arts arts serve serve as as a source a source of inspiration of inspiration That’s That’s whywhy PNCPNC is proud is proud to sponsor to sponsor forfor us us all.all. TheThe Cleveland Cleveland Orchestra. Orchestra.

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THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

M U S I C D I R E C TO R

2O1 7-18 CENTENNIAL SEASON

Severance Hall

Sunday evening, November 19, 2017, at 7:00 p.m. A T

T H E

M O V I E S

THE CLEVELAND ORCHESTRA and M-G-M present

ALFRED HITCHCOCK' S

NORTHBY NORTHWEST T M-G-M presents Cary Grant , Eva Marie Saint , and James Mason in Alfred Hitchcock’s “North By Northwest” co-starring Jessie Royce Landis written by Ernest Lehman directed by Alfred Hitchcock in Vistavision® Technicolor® music by Bernard Herrmann produced by Alfred Hitchcock in association with Metro-Goldwyn-Mayer with the music performed live by

THE CLEVELAND ORCHESTRA conducted by RICHARD KAUFMAN The film is presented with one intermssion and will end at approximately 9:40 p.m. The film’s music has been adapted for live orchestra performance by Patrick Russ, utilizing Bernard Herrmann’s original manuscripts. Music supervision for the live film presentation by Richard Kaufmann.

The Cleveland Orchestra’s At the Movies Series is sponsored by PNC Bank, a Cleveland Orchestra Partner in Excellence. Media Partner: cleveland.com Severance Hall 2017-18

At the Movies: North By Northwest

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Richard Kaufman Richard Kaufman has devoted much of his musical life to conducting and supervising music for film and television productions, as well as performing film and classical music in concert halls and on recordings. He made his Cleveland Orchestra debut in May 2009, and his most recent appearances here were for the film Frankenstein in April 2016 at Severance Hall and for “Hollywood Heroes and Superheroes” during the 2017 Blossom Music Festival. Mr. Kaufman celebrates his 27th year as principal pops conductor with Orange County’s Pacific Symphony with the 2017-18 season. He also holds the title of pops conductor laureate with the Dallas Symphony Orchestra, and continues in a twelfth season with the Chicago Symphony Orchestra’s “Friday Night at the Movies” series. In addition, he regularly appears as a guest conductor with symphony orchestras throughout the United States and around the world. In July 2016, two days before its official theatrical release, Richard conducted the San Diego Symphony in a live performance of Michael Giacchino’s new score for Star Trek Beyond, accompanying the film in its gala world premiere in IMAX. He made his Boston Pops debut in May 2015, substituting for John Williams for the Annual Boston Pops Film Night.

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Richard Kaufman received the 1993 Grammy Award for Best Pop Instrumental Performance. His most recent recording, with the London Symphony Orchestra, received a 2013 Grammy nomination for Best Instrumental Accompaniment for a Vocal (“Wild is the Wind”). Other recordings include film music with the orchestras of Brandenburg and Nuremberg, and the New Zealand Symphony. Mr. Kaufman has conducted for many performers and entertainers, including John Denver and Andy Williams. As a violinist, he has performed on the soundtracks of numerous film and television scores, including Jaws, Close Encounters of the Third Kind, and Animal House. Mr. Kaufman joined the MGM Music Department in 1984 as music coordinator, and for the next eighteen years supervised music for MGM film and television projects. He received two Emmy Award nominations. Born in Los Angeles, Richard Kaufman began violin studies at age 7. He attended the Berkshire Music Festival at Tanglewood in the Fellowship program, and earned a bachelor’s degree in music from California State University Northridge. For more information, visit www.kaufmanconductor.com.

Guest Conductor: North By Northwest

The Cleveland Orchestra


The movie was premiered on July 28, 1959.

MOVI E SYN O P S IS At the Plaza Hotel in New York, advertising executive Roger Thornhill (Cary Grant) has the bad luck to call for a messenger just as a page goes out for another hotel guest, “George Kaplan.” From that moment, Roger finds that he has stepped into a nightmare, as he is pursued across America by a group of mysterious agents in an extreme and thrilling case of mistaken identity. On his ill-fated journey, Roger is abducted, falsely accused of murdering a United Nations diplomat, and chased by a fully-armed crop-dusting plane (one of the film’s most famous scenes). In an attempt to elude his captors, Roger boards a train and meets the beautiful and mysterious Eve Kendall (Eva Marie Saint). As the plot unfolds we learn that, though Eve appears to be in league with Roger’s tormenters, she is in fact an undercover government agent who has infiltrated the enemy group. Roger and Eve manage to prevent the group from leaving the country, before attempting a daring escape leading to a climactic finish atop one of America’s most famous landmarks, Mount Rushmore.

THE CAST Cary Grant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Roger Thornhill James Mason . . . . . . . . . . . . . . . . . . . . . . . . . Phillip Vandamm Eva Marie Saint . . . . . . . . . . . . . . . . . . . . . . . . . . . . Eve Kendall Jessie Royce Landis . . . . . . . . . . . . . . . . . . . . . Clara Thornhill with Leo G. Carroll as The Professor, Josephine Hutchinson as “Mrs. Townsend,” Philip Ober as Lester Townsend, Martin Landau as Leonard, Adam Williams as Valerian, Edward Platt as Victor Larrabee, Robert Ellenstein as Licht, Les Tremayne as Auctioneer, Philip Coolidge as Dr. Cross, Patrick McVey as Sergeant Flamm, Edward Binns as Captain Junket, and Ken Lynch as Charlie

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Synopsis: North By Northwest

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AVAILABLE IN SMITH LOBBY pre-concert, during intermission, and post-concert at Severance Hall or shop from your seat at ClevelandOrchestraStore.com View the full line of collaborative Cleveland Orchestra wearables, created in a collaborative partnership between The Cleveland Orchestra and Cleveland Clothing Co., on-line or in-person in the Smith Lobby on the groundoor during concerts. Centennial designs and signature items.


T HE

CLEVEL AND ORC HE STR A

“We can’t think of a better way to use our resources than to support an organization that brings us such great pleasure.” Tony and Pat Lauria believe in doing their part to cultivate and celebrate the extraordinary things in life — including wine, food, and music. For today and for future generations.

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 dstokley@clevelandorchestra.com.


A portrait of Tchaikovsky, painted in 1893 at the height of his fame, by Nikolai Kuznetsov.

Undoubtedly I should have gone mad but for music. Music is indeed the most beautiful of all Heaven’s gifts to humanity wandering in the darkness. Alone it calms, enlightens, and stills our souls. It is not the straw to which the drowning man clings — but a true friend, refuge, and comforter, for whose sake life is worth living. —Pyotr Ilyich Tchaikovsky


THE

CLEVEL AND ORCHESTRA FR ANZ WELSER- MÖST

M U S I C D I R E C TO R

Severance Hall

Friday evening, November 24, 2017, at 8:00 p.m. Saturday evening, November 25, 2017, at 8:00 p.m. Sunday afternoon, November 26, 2017, at 3:00 p.m.

2O1 7-18 CENTENNIAL SEASON

Giancarlo Guerrero, conductor AARON COPLAND (1900-1990)

STEPHEN PAULUS (1949-2014)

El Salón México Grand Concerto for Solo Organ and Orchestra 1. Vivacious and spirited 2. Austere — foreboding 3. Jubilant PAUL JACOBS, organ

INTER MISSION PYOTR ILYICH TCHAIKOVSKY (1840-1893)

Symphony No. 4 in F minor, Opus 36 1. 2. 3. 4.

Andante sostenuto — Moderato con anima Andantino in modo di canzona Scherzo: Pizzicato ostinato Finale: Allegro con fuoco

Paul Jacobs’s appearance this weekend with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Julia Severance Millikin. The Friday performance is dedicated to Giuliana C. and John D. Koch in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. The Saturday performance is dedicated to Milton and Tamar Maltz in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. CLEVELAND ORCHESTRA RADIO BROADCASTS

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 7

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November 24, 25, 26

2O1 7-18 CENTENNIAL SEASON

THIS WEEK'S CONCERT Restaurant opens: FRI 5:00 SAT 5:00 SUN 12:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

Concert begins: FRI 8:00 SAT 8:00 SUN 3:00

Severance Restaurant Reservations for dining suggested:

216-231-7373 or via www.UseRESO.com

CONCERT PREVIEW

“Fateful Encounters” with guest speaker Meaghan Heinrich chair, woodwind, brass, & percussion, Wisconsin Conservatory of Music

COPLAND El Salón México . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 73 (10 minutes)

PAULUS Grand Organ Concerto . . . . . . . . . . . . . . . . . . . Page 75 (20 minutes)

More: About Severance Hall’s Organ

. . . . . . . . Page 79

INTERMISSION (20 minutes)

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

TCHAIKOVSKY Symphony No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . Page 81 (40 minutes)

More: Tchaikovsky Explains His Symphony

. . . . Page 84

Concert ends: (approx.)

FRI 9:40 SAT 9:40 SUN 4:40

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

Severance Restaurant and Opus Café

facebook.com/clevelandorchestra

post-concert desserts and drinks

instagram: @CleveOrch

twitter: @CleveOrchestra

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

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This Week’s Concerts

The Cleveland Orchestra


INTRODUCING THE CONCERT

Flavor, Forte & Ferver

Copland, Paulus, Tchaikovsky

T H I S W E E K E N D ’ S C O N C E R T S present a trio of distinctive works, two American paired with a single Russian. One was inspired south of the border, another within the grandiloquent sounds available from a large pipe organ. Meanwhile, the Russian symphony is a passionately terrific outburst, built as the composer was seeking a new balance within the artistic and personal realms of his life. The concerts begin with a popular, short orchestral work by Aaron Copland. Inspired during a trip to Mexico, the composer tries to give us a glimpse into the vibrant and creative world of a Mexican dance hall in the 1930s. In this piece, after a decade of writing modernly astringent music, Copland began to find the more popular voice that would soon catapult him to fame. The program’s next work features the “grand” sounds of Severance Hall’s Norton Memorial Organ, deployed by the American composer Stephen Paulus into a large-scale concerto for organ and orchestra. Paulus, whose creative life was cut short in 2014 by a stroke, had developed a strong reputation as a creative and multi-faceted voice in American music. Guest organist Paul Jacobs returns for this elegantly fun concerto. To end the concert, guest conductor Giancarlo Guerrero has chosen Tchaikovsky’s dramatic Fourth Symphony, premiered in 1877. Written amidst the composer’s ill-fated marriage and his subsequent reconciliation with the person within himself, this emotion-filled work bristles with passion and drama, poignant melody and powerful statement. This big work is one of two Tchaikovsky symphonies (along with No. 5) written around the idea of “Fate” and its hand in shaping one’s life. Here, in the Fourth, after repeated moments of uncertainty, the composer wrestled and won, bringing the music to a fast-paced and triumphant ending.

—Eric Sellen

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Week 7 — Introducing the Concert

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Giancarlo Guerrero The 2017-18 season marks Giancarlo Guerrero’s ninth year as music director of the Nashville Symphony. He made his Cleveland Orchestra debut in May 2006, and has led the Cleveland ensemble frequently in concerts here at Severance Hall and in Miami. Mr. Guerrero’s contract in Nashville was recently extended through the 2024-25 season. His work in Nashville has featured eight world premieres, including a new work by Richard Danielpour, a Béla Fleck banjo concerto, and a Terry Riley concerto for electric violin. His recordings with Nashville have received five Grammy Awards. Recent and current guest engagements include his debut with the Houston Grand Opera, and debuts with the Pittsburgh Symphony Orchestra, NDR Hanover, Deutsche Radio Philharmonie, Bilbao Symphony, Orchestre National de France, and Netherlands Philharmonic. He has conducted concerts with many of North America’s leading orchestras, including those of Boston, Cincinnati, Dallas, Detroit, Houston, Montreal, Philadelphia, Toronto, and Vancouver. Internationally, his engagements have included performances with the BBC Symphony Orchestra, Frankfurt Radio Symphony, London Philharmonic Orchestra, Deutsches Symphonie-Orchester Berlin, West Australian Symphony Orchestra, and Malaysian Philharmonic. A strong advocate of new music and contemporary composers, Mr. Guerrero has collaborated with and conducted works by some of America’s most respected composers, including John Adams, John Corigliano, Michael Daugherty, Osvaldo Golijov, Jennifer Higdon, Aaron Jay Kernis, and Roberto

Severance Hall 2017-18

Guest Conductor

Sierra. His recordings with the Nashville Symphony include releases of music by Sierra and Richard Danielpour on the Naxos label, Béla Fleck’s Banjo Concerto on Deutsche Grammophone, and an album of works by Stephen Paulus on Naxos. Mr. Guerrero, together with composer Aaron Jay Kernis, recently developed and guided the creation of Nashville Symphony’s Composer Lab & Workshop initiative to further foster and promote new American orchestral music. Mr. Guerrero has appeared regularly in Latin America, conducting the São Paulo State Symphony Orchestra and with the Orquesta Sinfónica Simón Bolívar in Caracas, Venezuela, where he has also worked with young musicians in the country’s much-lauded El Sistema music education program. Born in Nicaragua and raised in Costa Rica, Giancarlo Guerrero received a bachelor’s degree in percussion from Baylor University and his master’s degree in conducting from Northwestern University. He was music director of Oregon’s Eugene Symphony (2003-09) and served as associate conductor of the Minnesota Orchestra (1999-2004). Prior to his tenure in Minnesota, he was music director of the Táchira Symphony Orchestra in Venezuela.

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El Salón México composed 1932-36

At a Glance

by

Aaron

COPLAND born November 14, 1900 Brooklyn, New York died December 2, 1990 Sleepy Hollow, New York

Severance Hall 2017-18

Copland wrote his orchestral piece El Salón México between 1932 and 1936. It was premiered on August 27, 1937, by the Mexico Symphony Orchestra conducted by Carlos Chávez. This work runs approximately 10 minutes in performance. Copland scored it for 2 flutes and piccolo, 2 oboes and english horn, 3 clarinets and bass clarinet, 2 bassoons and contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (brush, gourd, tabor, temple blocks,

wood block, cymbals, snare drum, bass drum, xylophone), piano, and strings. The Cleveland Orchestra first performed Copland’s El Salón México in April 1945 under the direction of Erich Leinsdorf. The composer led performances of the work at Severance Hall in November 1974. It has been presented frequently in education concerts, and most recently at a public concert for the annual Gala in 2012, led by Carlos Prieto.

About the Music E L S A L Ó N M É X I C O is one of Copland’s most popular orches-

tral works. It owes its existence to a remarkable figure in 20thcentury music, Mexican composer Carlos Chávez. Born in 1899 (a year before Copland), Chávez acquired an education in music even though there was no advanced training available in Mexico. This he did by studying European treatises while listening to the music of the streets of Mexico City, and composing a series of works — first for piano and later on for orchestra — which embody Mexican rhythms and melodies. In 1922, Chávez traveled to Europe and the following year to the United States. He returned to New York for a longer period, staying from 1926 to 1928. And it was during this time that his friendship with Copland and other American musicians of the era was formed. Chávez quickly rose to prominence in Mexico and became not only the conductor of the Orquesta Sinfónica de Mexico but also director of Mexico’s National Conservatory of Music. In that capacity, he invited Copland to visit his country in the autumn of 1932, a visit whose most enduring product was the orchestral piece El Salón México. “No doubt I realized,” Copland later wrote, “that it would be foolish for me to attempt to translate into musical sounds the more profound side of Mexico: the Mexico of the ancient civilizations or the revolutionary Mexico of today. In order to do that, one

About the Music

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must really know the country. All that I could hope to do was to reflect the Mexico of the tourists, and that is why I thought of the ‘Salón México,’ because in that ‘hot spot’ one felt, in a very natural and unaffected way, a close contact with the Mexican people. It wasn’t the music that I heard, but the spirit that I felt there, which attracted me. Something of the spirit is what I hope to have put into my music.” It was in fact the music that Copland heard in the Salón México dance hall that inspired him, as well as the spirit. The piece features Mexican percussion instruments and unceasing reference to Mexican tunes and rhythms, even though most are never quoted exactly. Instead, he works them into something new, as an inventive composer would naturally do. Three Mexican songs play a leading part: “El Palo verde,” “La Jesuita,” and “El mosco.” The first of these dominates the opening section, the second the languorous slower part, and the third the exhilarating final pages. Throughout, Copland’s brilliant and textured orchestration is to be marveled at. In many ways, El Salón México marked the point in Copland’s career when he felt the need to reach a broader audience. Much of his earlier music employed a tough, modernistic musical language that many listeners found unrewarding. As he evolved his langauge, he found a new ease in writing more tuneful music, which suited the style he adopted in a series of ballets and films — including Appalachian Spring and Rodeo. In another vein, the rhythmic vitality of El Salón México owes a direct debt to Stravinsky; Copland, in turn, passed it on to his disciple and advocate Leonard Bernstein. (Bernstein made oneand two-piano arrangements of El Salón México for Copland in 1939 for a fee of $25.) Meanwhile we should not forget Chávez, who conducted the first performance of El Salón México in 1936 and whose own music is well worth more performances today. Two elements of Chávez’s work stand out: his “machine music” of the 1920s and his anticipation of “minimalist music” in the 1960s. El Salón México was dedicated not to Chávez, but to Copland’s lifelong partner Victor Kraft. —Hugh Macdonald © 2017 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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About the Music

The Cleveland Orchestra


Grand Concerto for Solo Organ and Orchestra composed 2003

At a Glance

by

Paulus composed his Grand Organ Concerto in 2003. It was first performed on April 1, 2004, in Dallas, Texas, by the Dallas Symphony Orchestra conducted by Marc Albrecht, with Bradley Hunter Welch as the soloist. This concerto runs about 20 minutes in performance. Paulus scored it for 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3

trombones, tuba, timpani, 3 percussionists (tom-toms, snare drum, cowbell, hi-hat, xylophone, güiro, large suspended cymbal, tam-tam, bass drum, glockenspiel, high wood block, low wood block, chimes, sand blocks, temple blocks, crash cymbal), and strings, plus the solo organ. The Cleveland Orchestra is performing this work for the first time with this weekend’s concerts.

Stephen

PAULUS

About the Music

born August 24, 1949 Summit, New Jersey

N O T S I N C E H A N D E L has a composer produced as many as

died October 19, 2014 Arden Hills, Minnesota

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four concertos for the organ, but Stephen Paulus, having written his first organ concerto in 1992, came back to the combination with more works for organ, producing three in close succession during the years 2002-2003. These in turn may be viewed and judged alongside the dozen concertos he wrote for other instruments — including two for piano, three for violin, one for cello, and some for two instruments — as part of an immense output of music cut short by his death at the relatively early age of 65. Paulus wrote eleven operas, and it was through the opera The Postman Always Rings Twice, first performed by Opera Theatre of Saint Louis in 1982, that he came to national attention. Trained at the University of Minnesota and resident in St. Paul, Paulus served as composer-in-residence with the orchestras of Atlanta, Minnesota, and Tucson over the years, and received commissions from many leading American orchestras, including The Cleveland Orchestra. In contrast with so many composers who have found the going hard, Paulus enjoyed frequent and ongoing appreciation in America — and was continuously productive. Oddly, his musical works have had few performances overseas, where his worth as a composer remains too little recognized. His style, being tonal, is not hard to appreciate, and he was not ashamed to write tunes. Unlike the other three, this week’s organ concerto is indeed About the Music

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“Grand,” in name and because it calls for a large orchestra and extensive percussion as well as the powerful organ itself. The full forces, however, are not often used together. Much is made of the effect of trading off phrases and figures between organ and orchestra. The first movement, marked “Vivacious and Spirited,” is episodic, as if it were a set of variations but without the actual theme. An episode might set off a solo flute over rich organ chords, or alternate spiky chords between brass and organ, or set teasing rhythms with organ and orchestra playing hide-andseek with each other. The opening movement’s mood is certainly This week’s organ conpositive, contrasting against the “Austere, Forecerto is indeed “Grand,” boding” character of the slower middle movein name and because it ment. This music is episodic too, a dialogue for flute and clarinet giving way to a faster tempo, calls for a large orcheseventually sounding more like a “scherzo” than tra and extensive pera slow movement. A trumpet brings back the cussion as well as the opening melody, and the timpani give notice of powerful organ itself. a main climax. Austerity, again, is definitely the mood of the ending. Much is made of the efFor the finale third movement, marked fect of trading off phras“Jubilant,” the colorful abilities of the percussion es and figures between section come into their own, and the persistent organ and orchestra. rapid alternation of the organist’s two hands drives the rhythm. In addition to hints of hymn tunes throughout the concerto, the violins come out into the open to quote “The Water is Wide,” and some fancy footwork is required of the soloist. —Hugh Macdonald © 2017

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About the Music

The Cleveland Orchestra


Paul Jacobs American organist Paul Jacobs has garnered extraordinary praise from audiences and critics alike for his technical skills and stage presence and for the nuance and depth of his musical performances. He made his Severance Hall debut in October 2005, returned in February 2015 to play solo organ works as part of a Cleveland Orchestra concert, and performed as soloist with The Cleveland Orchestra for the first time in September 2016. At the age of 15, Paul Jacobs was appointed head organist of a parish of 3,500 in his hometown of Washington, Pennsylvania. He later studied at the Curtis Institute of Music, double-majoring in organ with John Weaver and on the harpsichord with Lionel Party, and studied at Yale University with Thomas Murray. He made musical history at the age of 23 when he played J. S. Bach’s complete organ works in an 18-hour marathon performance on the 250th anniversary of the composer’s death. He has also performed the complete organ works of Olivier Messiaen, and recently reached the milestone of having performed in each of the 50 United States. A fierce advocate of new music, Jacobs has premiered works by Samuel Adler, Mason Bates, Michael Daugherty, Wayne Oquin, Stephen Paulus, and Christopher Theofanidis, among others. As a teacher, he has also been a vocal proponent of the redeeming nature of traditional and contemporary classical music, which he fears is being diluted in a popular culture. Paul Jacobs’s 2017-18 season began with a concert at the Toledo Museum of Art. The season also features perfor-

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Guest Soloist

mances across the United Sates, including appearances in Chicago, New York, Philadelphia, and Washington D.C. This season, he also serves as president of the jury of the first Shanghai International Organ Competition. In recital, he has performed on major instruments in the United Kingdom, and across North America, as well as at the Lucerne Festival and the Oregon Bach Festival, where he is the director of the Festival’s Organ Institute.        Paul Jacobs’s album of Messiaen’s Livre du Saint Sacrement for Naxos received the 2010 Best Solo Instrumental Grammy of the Year. For the San Francisco Symphony Orchestra’s label, he has recorded Lou Harrison’s Organ Concerto with Percussion and Copland’s Organ Symphony. Michael Daugherty’s Once Upon a Castle, which he recorded with the Nashville Symphony Orchestra, received a Grammy Award in 2016. He also appears frequently on radio and televisions programs.         One year after joining the Juilliard School’s faculty in 2003, Mr. Jacobs was named chair of the organ department. He was awarded Juilliard’s William Schuman Scholar’s Chair in 2007. For more information, visit www. pauljacobsorgan.com.

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Norton Memorial Organ Specification of the E.M. Skinner Pipe Organ, Opus 816, at Severance Hall Great Organ 16' 8' 8' 8' 8' 8' 8' 8' 5 1/3' 4' 4' 2 2/3' 2'

16' 8' 4'

6" Wind Pressure Double Diapason First Diapason Second Diapason Th ird Diapason [enclosed in Choir] Harmonic Flute Gedeckt [enclosed in Choir] Viola [enclosed in Choir] Erzähler Quinte Octave Flute [enclosed in Choir] Twelft h Fifteenth Chorus Mixture VII (15-19-22-26-29-33-36) Harmonics IV (17-19-fl at21-22) Trumpet — 10” Wind Tromba — 10” Wind Clarion — 10” Wind Chimes (Solo) Solo High Pressure Reeds (Solo)

Organ

Organ Layout

61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 61 pipes 427 pipes

1 1/3 '

244 pipes 61 pipes 61 pipes 61 pipes

16' 8' 8' 8'

Swell Organ 16' 8' 8' 8' 8' 8' 8' 8' 8' 4' 4' 2' 16' 8' 8' 8' 4' 8'

6” Wind Pressure Melodia Diapason Rohrflöte Flauto Dolce Flute Celeste [TC] Salicional Voix Celeste Echo Gamba Echo Gamba Celeste Octave Flute Triangulaire Flautino Mixture V (15-19-22-26-29) Cornet V (12-15-17-19-22) Waldhorn — 10” Wind Trumpet — 10” Wind French Trumpet Oboe d'A more Clarion — 10” Wind Vox Humana Tremolo Harp (Choir) Celesta (Choir)

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6” Wind Pressure Gamba Geigen Concert Flute Dulciana Gamba Dulcet II Octave Flute Gambette Nazard Piccolo Tierce

61 pipes 183 pipes 73 pipes 73 pipes 61 pipes 73 pipes 61 bars

Solo Organ 73 pipes 73 pipes 73 pipes 73 pipes 61 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 61 pipes 305 pipes 305 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 73 pipes

Choir Organ 16' 8' 8' 8' 8' 8' 4' 4' 4' 2 2/3 ' 2' 1 3/5 '

Larigot Carillon III (12-17-22) Fagotto Orchestral Trumpet Orchestral Oboe Clarinet Tremolo Harp — 10” Wind Celesta (ext.)

73 pipes 73 pipes 73 pipes 73 pipes 73 pipes 146 pipes 73 pipes 73 pipes 73 pipes 61 pipes 61 pipes 61 pipes

8' 8' 8' 4' 16' 8' 8' 8' 8' 4'

10 ” Wind Pressure Flauto Mirabilis Gamba Gamba Celeste Orchestral Flute Corno di Bassetto Tuba Mirabilis — 20” Wind French Horn — 20” Wind Corno di Bassetto (ext.) English Horn Tuba Clarion — 20” Wind Tremolo Chimes

73 pipes 73 pipes 73 pipes 73 pipes 85 pipes 73 pipes 73 pipes 73 pipes 73 pipes 25 bells

Pedal Organ 32' 16' 16' 16' 16' 16' 16' 16' 8' 8' 8' 8' 4' 32' 32' 16' 16' 16' 8'

6” Wind Pressure Major Bass 56 pipes Diapason 32 pipes Contra Bass 56 pipes Diapason (Great) Bourdon (ext. Major Bass) Melodia (Swell) Dulciana 32 pipes Gamba (Choir) Octave (ext. Contra Bass) Gedeckt (ext. Major Bass) Cello (Choir 16' Gamba) Still Gedeckt (Swell 16' Melodia) Super Octave (ext. Contra Bass) Mixture IV (10-12-fl at14-15) — 5” Wind 128 pipes 56 pipes Bombarde — 20” Wind 12 pipes Fagotto 1-12 — 10” Wind (ext. Bombarde) Trombone — 15” Wind Waldhorn (Swell) Fagotto (Choir) Tromba (ext. Bombarde) Chimes

Norton Memorial Organ

The Cleveland Orchestra


Norton Memorial Organ The Norton Memorial Organ at Severance Hall is considered among the finest concert hall organs ever built. Designed specifically for symphonic use and specifically for Severance Hall, the Norton Memorial Organ was created by the renowned organ builder Ernest M. Skinner in Boston in 1930, and then installed just before the hall’s opening in February 1931. The organ is named in memory of Mr. and Mrs. David Z. Norton, recognizing a contribution from their children — Miriam Norton White, Robert Castle Norton, and Laurence Harper Norton — to build the organ. David Norton and his wife had served on the board of trustees of The Cleveland Orchestra and Mr. Norton was the first president of the Orchestra’s non-profit governing corporation. Originally located high above the stage, the organ was removed and restored by the Schantz Organ Company of Ohio during the renovation and restoration of Severance Hall (1998-2000). Thanks to the generosity of hundreds of musiclovers from across Northeast Ohio who donated specifically toward the organ’s restoration and future upkeep, the instrument was reinstalled in its new location surrounding the stage and then rededicated in January 2001. The 94-rank Norton Memorial Organ has 6,025 pipes, made of lead and tin alloy, zinc, or wood. The largest pipe, made of wood, is 32 feet in length, and the smallest, made of metal, is approximately seven inches in length. To learn more about supporting the longterm maintenance and upkeep of Severance Hall’s Norton Memorial Organ, please contact Legacy Giving by calling 216-231-8006 or by email at legacygiving@clevelandorchestra.com. Severance Hall 2017-18

Norton Memorial Organ

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Symphony No. 4 in F minor, Opus 36 composed 1877-78

At a Glance

by

Pyotr Ilyich

TCHAIKOVSKY born May 7, 1840 near Votkinsk, Russia died November 6, 1893 St. Petersburg

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Tchaikovsky began composing his Fourth Symphony in February 1877 in Russia, completing the first three movements by summer. He wrote the final movement in Italy later in the year and finished the orchestration in Venice in January 1878. The work was first performed on February 22, 1878, in Moscow at a concert of the Russian Musical Society conducted by Nikolai Rubinstein. This symphony runs about 40 minutes in performance. Tchaikovsky scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets,

3 trombones, tuba, timpani, percussion (bass drum, cymbals, triangle), and strings. The score was published in 1880 with a dedication “to my best friend” (Nadezhda von Meck). The Cleveland Orchestra first performed this symphony in November 1921, during a pair of subscription concerts at Masonic Hall. The Orchestra has presented it many times since, at home and on tour, most recently at Severance Hall concerts led by Franz Welser-Möst in the autumn of 2011 and at Blossom in 2015 conducted by Stéphane Denève.

About the Music F E W W O R K S in the orchestral repertory carry such a strong emotional charge as Tchaikovsky’s last three symphonies — Nos. 4, 5, and 6. Audiences respond in an almost personal way to the capacity of this music to move us to the depths. As for reading their deeper meaning, the task is made easier for us by the composer’s frank acknowledgement that such works are bound to provoke the listener’s imagination in realistic and dramatic ways. Of course Beethoven’s Fifth has a program, he asserted, when asked if his own Fourth was similarly programmatic: “My symphony rests upon a foundation that is nearly the same, and if you haven’t understood me, it follows only that I am not a Beethoven, a fact which I have never doubted.” The main point Tchaikovsky wanted to make follows at once: “There is not a note in this symphony . . . which I did not feel deeply, and which did not serve as an echo of sincere impulses within my soul.” To his patroness Nadezhda von Meck, with whom he kept up a close correspondence for over fourteen years without ever meeting (except twice, briefly, and by accident), he explained the program of the Fourth Symphony in great detail. According to this analysis (see pages 84-85), the gloomier parts of the work are concerned with fate (represented in the opening passage for brass) and depression, and the eternal struggle to rise above it. There are some brighter moments, and the finale supposedly About the Music

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presents the joy of others as something that might be shared, a cure for the self-hatred and despair that otherwise invades the soul. It can be argued (and many have) as to whether Tchaikovsky intended for Madame von Meck (or us) to take this program literally. Certainly we should not assume that the symphony is merely a record of the emotional and psychological crisis that he suffered at the time of its composition. The year 1877 brought him to a point where suicide was at least a possibility, and he was filled with agitated emotions throughout the year, which doubtless are reflected in the symphony’s music. But the process of creating art is not a simple translation of life into another The year 1877 was filled medium — a transformation occurs in the crewith agitated emotions, ative mind. How specifically the music mirrors which doubtless are reactual events is not easy to determine. Nor do flected in the symphony’s we need to know in order to enjoy this musical masterpiece. music. But the process In the summer of 1876, at the time he atof creating art is not a tended the opening of the inaugural Bayreuth simple translation of life Festival with the first performance of Wagner’s into another medium — Ring of the Nibelung, Tchaikovsky declared his determination to get married, without anyone a transformation occurs in particular in mind as his partner. That winin the creative mind. ter, he started work on the Fourth Symphony, How specifically the mucompleting the draft of the first three movesic mirrors actual events ments before he met the young lady who was to become his wife. The bizarre circumstances is not easy to determine. of their meeting, their almost immediate marNor do we need to know riage, and the composer’s appalling realization in order to enjoy this that instead of curing him of his homosexuality as he perhaps hoped, marriage turned out to be musical masterpiece. a hell even worse than Dante’s version, which he had so recently depicted with great vividness in his musical tone poem Francesca da Rimini. Tchaikovsky fled, first to his relatives in the country, then to Switzerland and Italy, where he completed the symphony and finished the orchestration. In such circumstances many creative artists would have abandoned their art in a haze of self-pity. But Tchaikovsky’s muse never let up. Not only did he complete the Fourth Symphony at this time, he also composed his finest opera, Eugene Onegin, with the exquisite Violin Concerto to follow soon after. There were occasional fallow periods in his career, but the year 1877, however dramatic in domestic affairs, was not one of them. To the end of his

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About the Music

The Cleveland Orchestra


life, he sustained the habit of composing for several hours every day, producing one of the most varied and appealing bodies of work of any composer of his generation. THE MUSIC

At the very start of the first movement, the forthright statement on horns and bassoons grabs the listener’s attention. We are not likely to overlook its recurrence at critical points in this and later movements — and we are not supposed to. But the music settles into a plaintive flow in a halting triple rhythm, overwhelmingly committed to the minor key. The first movement offers some striking contrasts of mood and key, such as the clarinet’s gentle waltz-tune with playful responses from the other winds, and a swaying figure in the violins accompanied by a pair of drums. But the motto theme returns, and the symphonic argument leads to the first of many stupendous climaxes in this work. The second movement is not a profound moment of soulsearching, but a tender intermezzo featuring the solo oboe (later other winds), very lightly accompanied. There is a strong Russian flavor in this movement and no smiles. A lighter mood is provided by the third-movement scherzo, one of Tchaikovsky’s neatest inventions. The conventional division of orchestras into the three families of strings, woodwinds, and brass gave him the idea of featuring each in turn, each with its own melody, its own tempo, and its own character. The strings, furthermore, are plucked throughout, pizzicato. The divisions are not watertight, for snatches of one kind of music keep intruding on the others. The impression is of a teasing game, full of humor and free from dark thoughts of any kind. The noisy finale features in its midst a Russian folksong based on a descending minor scale answered (sometimes) by two solid thumps. In due course, the solemn motto theme makes its dramatic appearance, but it cannot stem the tide of high spirits that close the symphony, leaving Tchaikovsky’s depression (real or imagined) far behind. —Hugh Macdonald © 2015

ALWAYS IN TUNE E FROM START TO FINALE

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About the Music

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Tchaikovsky’s own words about the Fourth Symphony Tchaikovsky wrote a letter on March 1, 1878, to his patroness and benefactor Nadezhda von Meck, to whom he dedicated the published score of the Fourth Symphony. In the letter, he tried to describe the what he referred to as “our” symphony, movement by movement, with musical examples of the work’s major themes. The underlying emotional landscape that he felt the music expressed provides an interesting view of his creative frame of reference for this symphony:

My Dearest Friend . . . In our symphony there is a programme (that is, the possibility of explaining in words what it seeks to express), and to you and you alone I can and wish to indicate the meaning both of the work as a whole, and of its individual parts. Of course, I can do this here only in general terms. The introduction is the kernel of the whole symphony, without question its main idea:

This is Fate, the force of destiny, which ever prevents our pursuit of happiness from reaching its goal, which jealously stands watch lest our peace and well-being be full and cloudless . . . and constantly, ceaselessly poisons our souls. It is invincible, inescapable. One can only resign oneself and lament fruitlessly:

The disconsolate and despairing feeling grows ever stronger and more intense. Would it not be better to turn away from reality and immerse oneself in dreams?

O joy! A sweet, tender dream has appeared. A bright, beneficent human form flits by and beckons us on:

How wonderful! How distant now is the sound of the implacable first theme! Dreams little by little have taken over the soul. All that is dark and bleak is forgotten. There it is, there it is — happiness!

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About the Music

The Cleveland Orchestra


But no! These were only dreams, and Fate awakens us.

And thus, all life is the ceaseless alternation of bitter reality with evanescent visions and dreamed-of happiness. . . . There is no refuge. We are buffeted about by this sea until it seizes us and pulls us down to the bottom. There you have roughly the program of the first movement. The second movement of the symphony expresses a different aspect of sorrow, that melancholy feeling that arises in the evening as you sit alone, worn out from your labors. You’ve picked up a book, but it has fallen from your hands. A whole procession of memories goes by. And we are sad that so much already is over and gone, and at the same time we remember our youth with pleasure. We are weary of life. How pleasant to relax and look back. Much comes to mind! There were blissful moments, when our young blood seethed and life was good. And there were bitter moments of irretrievable loss. It is at once sad and somehow sweet to lose ourselves in the past . . . The third movement does not express definite feelings. These are, rather, capricious arabesques, fugitive images that pass through one’s mind when one has had a little wine to drink and is feeling the first effects of intoxication. At heart one is neither merry nor sad. One’s mind is a blank. The imagination has free rein and it has come up with these strange and inexplicable designs. . . . Among them all at once you recognize a tipsy peasant and a street song. . . . Then somewhere in the distance a military parade goes by. These are . . . images that pass through one’s head as one is about to fall asleep. They have nothing in common with reality; they are strange, wild and incoherent . . . The fourth movement. If you can find no impulse for joy within yourself, look at others. Go out among the people. See how well they know how to rejoice and give themselves up utterly to glad feelings. But hardly have you succeeded in forgetting yourself and enjoying the spectacle of others’ joys, when tireless Fate reappears and insinuates itself. But the others pay no heed. They do not even look around to see you standing there, lonely and depressed. Oh, how merry they are! And how fortunate, that all their feelings are direct and simple. Never say that all the world is sad. You have only yourself to blame. There are joys, strong though simple. Why not rejoice through the joys of others? One can live that way, after all. . . . Just as I was putting my letter into the envelope I began to read it again, and to feel misgivings as to the confused and incomplete program that I am sending you. For the first time in my life I have attempted to put my musical thoughts and forms into words and phrases. I have not been very successful. I was horribly out of spirits all the time I was composing this symphony last winter, and this was a true echo of my feelings at the time. But only an echo. How is it possible to reproduce it in clear and definite language? I do not know. I have already forgotten a good deal. Only the general impression of my passionate and sorrowful experiences has remained. Yours, with devotion and respect,

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About the Music

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THE CLEVELAND ORCHESTRA

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

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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

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89 87


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+

88

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


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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 90

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 91 93


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THE CLEVELAND ORCHESTRA

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 93


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 cacgrants.org/impact to learn more.


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

85 95


Mc Gregor

Supporting Seniors in Need and Those Who Serve Them Since 1877 14900 Private Drive • Cleveland 44112 • 216-851-8200 www.mcgregoramasa.org

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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; www.Larchmere.com 96

The Cleveland Orchestra


11001 Euclid Avenue Cleveland, Ohio 44106

P H OTO BY S T E V E H A L L © H E D R I C H B L E S S I N G

CLEVELANDORCHESTRA.COM

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

Severance Hall 2017-18

Severance Hall

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.

97


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11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

AT SE V E R A N C E H A LL RESTAURANT AND CONCESSION SERVICE Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances (and for lunch following Friday Morning Concerts). For reservations, call 216-231-7373, or online by visiting www.UseRESO.com. 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.

opus

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 hallrental@clevelandorchestra.com

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

FRIDAY MATINEE PARKING

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 info@clevelandorchestra.com.

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 Friends of The Cleveland Orchestra.

RENTAL OPPORTUNITIES

CONCERT PREVIEWS

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.

QUESTIONS

Severance Hall 2017-18

Guest Information

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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.

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

T IC K E T SE RV IC ES

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

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

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

TICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There is no service charge for the five-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, a $10 service charge per concert applies. Visit clevelandorchestra.com 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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THE CLEVELAND C O N C E R T

C A L E N D A R

AUTUMN SEASON

AT THE MOVIES

North by Northwest

ELGAR’S ENIGMA AND EMANUEL AX

Nov 19 — Sunday at 7:00 p.m.

Nov 3 — Friday at 8:00 p.m. <18s Nov 4 — Saturday at 8:00 p.m. Nov 5 — Sunday at 3:00 p.m. <18s

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 (Cary Grant) finds himself thrust into the world of spies when 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.

THE CLEVELAND ORCHESTRA Vladimir Ashkenazy, conductor Emanuel Ax, piano

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

MENDELSSOHN’S SCOTTISH SYMPHONY

Sponsor: PNC Bank

Nov 9 — Thursday at 7:30 p.m. Nov 10 — Friday at 8:00 p.m. <18s Nov 11 — Saturday at 8:00 p.m.

TCHAIKOVSKY’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 William Preucil, violin and leader

VIVALDI Violin Concerto (“Il Favorito”) HAYDN Symphony No. 88 MENDELSSOHN Symphony No. 3 (“Scottish”)

MOZART & MORE 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.

Nov 30 — Thursday at 7:30 p.m. Dec 2 — Saturday at 8:00 p.m.

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)

THE CLEVELAND ORCHESTRA Fabio Luisi, conductor Jonathan Biss, piano

SCIARRINO new work — Piano Concerto: Il sogno di Stradella

(co-commissioned by The Cleveland Orchestra)

BRUCKNER Symphony No. 4 (“Romantic”) YOUTH ENSEMBLE

<18s

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.

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

BRUCKNER’S FOURTH SYMPHONY

THE CLEVELAND ORCHESTRA Nicholas McGegan, conductor Marc-André Hamelin, piano *

Under 18s Free FOR FAMILIES

THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Paul Jacobs, organ

CLEVELAND ORCHESTRA YOUTH ORCHESTRA Dec 1 — Friday at 8:00 p.m.

<18s

CLEVELAND ORCHESTRA YOUTH ORCHESTRA Vinay Parameswaran, conductor The Cleveland Orchestra Youth Orchestra is one of northern Ohio’s premier musical destinations for aspiring student musicians. It provides serious young music students of middle school and high school age with a pre-professional orchestral training experience in a full symphony

Concert Calendar

The Cleveland Orchestra


ORCHESTRA orchestra. The unique musical experiences that the Youth Orchestra offers include weekly coachings with members of The Cleveland Orchestra as well as rehearsals and performances at Severance Hall. Youth Orchestra performances are open to all ages — a perfect opportunity to introduce children to an orchestra concert.

2O1 7-18 CENTENNIAL SEASON

I N

T H E

S P O T L I G H T

Prelude Concert begins at 7 p.m. featuring Youth Orchestra members performing chamber music.

PNC HOLIDAY RAINBOW

CHRISTMAS BRASS QUINTET Dec 8 — Friday at 10:00 a.m. <18s Dec 9 — Saturday at 11:00 a.m. <18s with Michael Miller, trumpet with Jack Sutte, trumpet with Hans Clebsch, horn with Richard Stout, trombone with Kenneth Heinlein, tuba

For children of all ages. This special annual edition of our Musical Rainbow series welcomes in the holiday season through the virutuosic sounds of a brass quintet. Sponsor: PNC Bank

AT THE MOVIES

TIM BURTON’S NIGHTMARE BEFORE CHRISTMAS Dec 19 — Tuesday at 7:30 p.m. Dec 20 — Wednesday at 7:30 p.m. THE CLEVELAND ORCHESTRA Vinay Parameswaran, conductor “This year, Christmas will be ours!” Experience Tim Burton’s cult classic with the score by Danny Elfman performed live. When Jack Skellington, Halloweentown’s pumpkin king, accidentally stumbles on Christmastown, he plots to bring Christmas under his control by kidnapping Santa Claus and taking over the role. But Jack soon discovers even the bestlaid plans of mice and skeleton men can go seriously awry. Sponsor: PNC Bank Presentation licensed by Disney Concerts ©

WINTER SEASON MAHLER’S NINTH SYMPHONY Jan 11 — Thursday at 7:30 p.m. Jan 12 — Friday at 8:00 p.m. <18s Jan 13 — Saturday at 8:00 p.m.

Cleveland C l l d Orchestra O h t

CHRISTMAS

Thursday December 14 at 7:30 p.m. Friday December 15 at 7:30 p.m. Saturday December 16 at 2:30 & 7:30 p.m. Sunday December 17 at 2:30 & 7:30 p.m. Thursday December 21 at 7:30 p.m. Friday December 22 at 7:30 p.m. Saturday December 23 at 2:30 & 7:30 p.m. THE CLEVELAND ORCHESTRA Brett Mitchell, conductor Cleveland Orchestra Chorus and guest choruses Celebrate the holiday season with a favorite Cleveland tradition — with The Cleveland Orchestra and Chorus in these annual offerings of music for the Christmas Season. Including sing-alongs and holiday cheer, all in the festive yuletide splendor of Severance Hall. Sponsored by Dollar Bank

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

CLEVELAND ORCHESTRA TICKETS

STAUD Stromab — world premiere MAHLER Symphony No. 9

PHONE

. . . visit clevelandorchestra.com for complete schedule!

Severance Hall 2017-18

Concert Calendar

216 - 231-1111 800-686-1141

clevelandorchestra.com

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I M P A C T S TA R T S H E R E

The Cleveland Orchestra November 17, 18, 19, 24, 25, 26 Concerts  

November 17, 18 Mozart & More November 19 North by Northwest November 24, 25, 26 Tchaikovsky's Fourth Symphony