The Cleveland Orchestra February 8, 9, 10, 15, 16, 17 Concerts

THE

CLEVEL AND ORC HE STR A

2O1 7-18 CENTENNIAL SEASON

FRANZ WELSER-MÖST

Week 12 February 8, 9, 10

Mitsuko Uchida’s Mozart page 29

Week 13 February 15, 16, 17

Mendelssohn and Mozart page 57

Perspectives: Looking toward the Second Century page 7

SEVERANCE HALL

WINTER

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Music colors their world.

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2O1 7-18 CENTENNIAL SEASON

TA B L E

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CONTENTS

THIS BOOK THE CLEVELAND ORCHESTRA

About the Orchestra

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Week 12 and 13 Perspectives: From the President and Executive Director . . . 7 From the Start: The Cleveland Orchestra . . . . . . 13 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

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

Looking south-southwest across the Severance Hall construction site on January 20, 1930.

Copyright © 2018 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

12 MITSUKO UCHIDA’S MOZART Concert: February 8, 9, 10 . . . . . . . . . . . . . . . . . . . . 29 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 31 WEEK

MOZART

Piano Concerto No. 5 . . . . . . . . . . . . . . . . . . . . . . . 33 HANDEL

Selections from Water Music . . . . . . . . . . . . . . . . . 35 MOZART

Piano Concerto No. 27 . . . . . . . . . . . . . . . . . . . . . . 39 Guest Artist: Mitsuko Uchida . . . . . . . . . . . . . . . . . . . 43 Concertmaster: William Preucil . . . . . . . . . . . . . . . . 44 NEWS WEEK

Cleveland Orchestra News . . . . . . . . 49

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MENDELSSOHN & MOZART Concert: February 15, 16, 17 . . . . . . . . . . . . . . . . . . 57 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 59

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.

RIGEL

Symphony No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

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

MENDELSSOHN

Violin Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

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

MOZART

Symphony No. 40 . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Guest Conductor: Bernard Labadie . . . . . . . . . . . . . 73 Guest Soloist: Isabelle Faust . . . . . . . . . . . . . . . . . . . . 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.

Support Second Century Sponsors . . . . . . . . . . . . . . . . . . . . .

Annual Support Individual Donors . . . . . . . . . . . . . . . . . . . . . . . . . . .

Corporate Support . . . . . . . . . . . . . . . . . . . . . . . . . .

Foundation/Government Support . . . . . . . . . .

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Table of Contents

The Cleveland Orchestra

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RE ASON S

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No. 14 The Orchestra has received eight Grammy Awards and 31 Grammy nominations.

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.

Visit www.judsonsmartliving.org/cwru for information about this exciting partnership

From the President and Executive Director

PERSPECTIVES

WELCOME TO

Severance Hall for these first performances of 2018.

We are delighted that you are joining us for The Cleveland Orchestra’s 1OOth season. This historic moment in time represents a special opportunity to consider and celebrate all that has come before and all that we dream for our orchestra and our community in the future.

RICHARD K. SMUCKER

H O M E T OW N O RC H E S T R A : B U I LT O N S T R E N G T H

The 1OOth season is a milestone anniversary not just for The Cleveland Orchestra, but for the community that created and sustains it. A century of hard work has connected all of us together through decades of memorable musical experiences — including daytime school concerts for literally millions of students, and evening and weekend performances for millions more adults. We are recommitting this institution to continue bringing great musical experiences to Northeast Ohio for the next hundred years and beyond.

In doing so, we believe that a handful of shared values and promises are central to serving this great city in the years ahead:

ANDRÉ GREMILLET

2O1 7-18 CENTENNIAL SEASON

Believing in the Value of Excellence Sharing the Power and Passion of Music Inspiring Future Generations Celebrating and Serving Community The Cleveland Orchestra has championed these values for a hundred years, and we begin our Second Century with a renewed commitment to upholding these promises for our home community.

To ensure that we are moving forward on the strongest possible footing — and making the best possible choices for this orchestra and this community — we have taken a long and concentrated look at how far we’ve come and how far we have yet to travel. By evaluating the successes and challenges of the past century, and especially in examining the trends of the past decade, we are embarking on a clear course forward into what we know will be a vibrant and successful Second Century.

T H E C L E V E L A N D O R C H E S T R A T O DAY: E N V I S I O N I N G T H E F U T U R E

Today, we can say without reservation or hesitation that The Cleveland Orchestra has never been stronger artistically. The past decade has also seen success and achievement across the financial components of our operations — realizing that even a strong institution cannot be entirely free from challenges and occasional setbacks.

Over the past year, we have been examining our strengths alongside areas of our operations and service that can be re-examined and advanced in the years ahead: Achieving Acclaim — At Home and Abroad. Under Franz Welser-Möst’s artistic leadership, Cleveland’s Orchestra is second to none. The recent European Tour in October 2017 was just the latest in a decades-long string of performances, internationally and

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T H E

C L E V E L A N

around the United States, that reaffirms the enduring artistic strength and vibrancy of The Cleveland Orchestra and the incredible partnership that Franz and the Orchestra have formed. We are proud to carry the name of Cleveland around the globe, as testament to our hometown’s ongoing strengths and potential.

Responding to Change. To meet the evolving needs of our audience and community while maintaining focus on our mission and core values, we are working to bring new perspectives and fresh thinking to our work. Within a framework of stability and evolution, we have implemented leadership changes for both staff and board — with a clear focus on how to best serve the Northeast Ohio community.

Reaffirming Our Commitment to Education and Community. Education and community programming — which today reaches more than 100,000 people of all ages each year — has always been an essential part of what The Cleveland Orchestra is and does — and the importance of these offerings will only continue to grow.

Growing Audiences of All Ages. With new programs implemented in the past decade, we are attracting young audiences at a rate that has caught the attention of every other orchestra in the country. The explosion in the number of young audience members attending Cleveland Orchestra concerts has helped add to the vibrancy of performances and fuels renewed confidence in our artform.

Serving More People Across Northeast Ohio. Here at home, more people are enjoying more music performed by Cleveland Orchestra musicians than ever before through diversified programming across a variety of formats, concert lengths, and venues; enhanced amenities before and after concerts; and flexible attendance options, from a build-your-own ticket series to monthly-ticketing memberships to shorter performances for popular Friday evening concert series. Blossom, the Orchestra’s summer home, continues to attract concertgoers of all ages, and will reach its own milestone 5Oth Anniversary season this year.

A Tradition of Generosity and Support. The people of this community — our donors and concertgoers — are the lifeblood of this institution. The past decade in particular has seen renewed growth in donor support, in numbers and dollars. In particular, the Orchestra’s Annual Fund has grown to support both innovative new programs and timetested initiatives that continue impacting lives.

C RE ATI NG RE N E WE D AN D LONG -TE RM FI NAN C IAL S TRE NGTH

The support of many has carried us to worldwide renown and unrivalled artistic achievement, with a continuing commitment at home to inspire future generations through the power of music. The generosity of past and current generations of donors has helped create The Cleveland Orchestra as it stands today. We weathered the international financial crisis of a decade ago, and have moved forward to build for a renewed future.

Even within the context of such major achievement — artistically and institutionally — we occasionally fall short of a balanced budget, as we did the past two years. Such deficits are not indicative of long-term trends, but they are a sober reminder of the careful balancing act required to sustain and strengthen The Cleveland Orchestra’s financial future.

The Orchestra’s Endowment has achieved notable growth in recent years through well-managed investments and a series of important gifts — and this past summer was valued at an historic high of $192 million. Despite this good news, the Orchestra’s Endowment has long been undersized and remains too small to truly secure the Orchestra’s future finances. Increasing the Endowment — thus increasing its contribution toward each year’s budget — is a necessary step toward guaranteeing the sustainability of this Or-

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Launching the Second Century

The Cleveland Orchestra

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O R C H E S T R A chestra for the longterm. Coupled with ongoing growth in the Annual Fund and increased ticket sales in recent years, we are poised, with a strong commitment from everyone who loves The Cleveland Orchestra and its hometown community, to create a sustainable financial basis to carry this institution forward in our Second Century.

ROADMAP FORWARD: PL ANNING FOR CONTINUING SUCCE S S

The Cleveland Orchestra completed a year-long strategic planning process in March 2017, reaffirming the Orchestra’s shared goals and values of who we are and what we do.

This collaborative process resulted in a renewed understanding of the Orchestra’s mission as it relates to today, tomorrow, and the decades ahead.

To help ensure that we focus on the Orchestra’s core mission to serve the Northeast Ohio community, we have established new metrics to measure progress and power the institution forward. These metrics will help monitor and focus our work across artistic planning, audience and community engagement (including education programs), and financial health.

Together, these goals and measurable targets set a clear picture of financial needs and opportunities. Importantly, they also expand our planning windows across a range of artistic and community initiatives to ensure strategic advancement of the Orchestra’s mission and vision.

The five-year financial plan now in place includes strategies for propelling ongoing increased annual fundraising goals and successfully driving strong growth to the Endowment. This roadmap forward gives us clear direction and meaningful goals toward being as successful financially as we are artistically, but it will require hard work and diligence from all involved — board, musicians, staff, volunteers, audiences, and donors.

WORKING TOGE THE R: TOWARD AN E X TRAORDINARY FUTURE

In commemorating the Orchestra’s centennial, we are celebrating the special relationship between The Cleveland Orchestra and its home community — and looking ahead to the bright future that awaits all of us together. Afterall, The Cleveland Orchestra is a product and a promise of great partnerships, between music director and musicians, staff and volunteers, senior leadership and trustees, all of us and our hometown community, everyone together. These bonds have created and fueled the Orchestra’s greatness and placed it among the world’s best.

There is no limit to what we can accomplish together through commitment of time, energy, and financial resources. Our success will set the stage for new generations to experience extraordinary music-making — in unrivalled performances onstage, in the classroom, and around the community.

With hard work and dedication from everyone who loves this Orchestra and believes in the life-changing power of music, an extraordinary future — built on excellence, innovation, dedication, and collaboration — is ours for the making.

Richard K. Smucker President

André Gremillet Executive Director

This message was adapted from the Orchestra’s Annual Report, published in December 2017.

The full report can be read and perused online by visiting: clevelandorchestra.com/publications.

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Together, we’re greater.

HELP US IMPROVE LIVES IN OUR COMMUNITY

For more than 100 years, United Way has led change for the good in Greater Cleveland by creating solutions that best address the community’s basic needs, education, financial stability and health concerns. We connect people from all walks of life and all generations to advance Greater Cleveland by investing in one another.

We’ve seen how far we’ve come. We envision how far we will go. And we know that UNITED is the only way we can continue to achieve the Greater Cleveland we all believe in. Please join us. Together, we’re greater.

Donate Today UnitedWayCleveland.org/Give

United Way of Greater Cleveland | 1331 Euclid Avenue, Cleveland, OH 44115 | 216-436-2100

MUSICAL ARTS ASSOCIATION

as of January 2018

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 Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz Douglas A. Kern

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

Virginia M. Lindseth Nancy W. McCann Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner

Barbara S. Robinson Jeffery J. Weaver Meredith Smith Weil Paul E. Westlake Jr.

R E S I D E NT TR U S TE ES 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 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 Milton S. Maltz Nancy W. McCann Stephen McHale Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Meg Fulton Mueller Katherine T. O’Neill Rich Paul Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner

Charles A. Ratner Zoya Reyzis Barbara S. Robinson Steven M. Ross Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Russell Trusso 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 (New York) Wolfgang C. Berndt (Austria)

Laurel Blossom (California) Richard C. Gridley (South Carolina)

Herbert Kloiber (Germany) Paul Rose (Mexico)

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 Dr. Ronald H. Bell David P. Hunt 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 Robert P. Madison Gay Cull Addicott Robert F. Meyerson Charles P. Bolton The Honorable John D. Ong Allen H. Ford James S. Reid, Jr. Robert W. Gillespie Dorothy Humel Hovorka* Alex Machaskee * deceased

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

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André Gremillet, Executive Director

Musical Arts Association

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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

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About the Orchestra

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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-

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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.

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About the Orchestra

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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

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Second Century Sponsors

The Cleveland Orchestra

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 Orchestra’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

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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 usable (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

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— first into the new millennium 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 nine), 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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tĞƐƚ ^ŝĚĞ ^ƚŽƌLJ dŚĞ <ŝŶŐ ĂŶĚ / dŚĞ <ŝŶŐ ĂŶĚ / Fri. 3/2/18 ~ 8pm ~ Severance Hall Severance Hall 2017-18

Call 216-231-1111 for tickets or go online at cleveland pops.com

About the Orchestra

19

P H OTO BY M I C H A E L P O E H N

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

Franz Welser-Möst is among today’s most distinguished conductors. The 2017-18 season marks his sixteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership extending into the next decade. The New York Times has declared Cleveland under Welser-Möst’s direction to be the “best American orchestra“ for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion.

The Cleveland Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its renewed success in semi-staged and staged opera productions. Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals around the world, including regular appearances in Vienna, New York, and Miami, and at the festivals of Salzburg and Lucerne. In the past decade, The Cleveland Orchestra has been hugely successSeverance Hall 2017-18

Music Director

ful in building up a new and, notably, younger audience through groundbreaking programs involving families, students, and universities.

As a guest conductor, Mr. WelserMöst enjoys a close and productive relationship with the Vienna Philharmonic.

His recent performances with the Philharmonic have included critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014, Beethoven’s Fidelio in 2015, Strauss’s Die Liebe der Danae in 2016, and Reimann’s Lear in 2017), as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan.

He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. This past season, he led the Vienna Philharmonic in performances in Vienna and on tour in the United States, featuring three concerts at Carnegie Hall. He returns to the Salzburg Festival in 2018.

Mr. Welser-Möst also maintains relationships with a number of other European orchestras and opera companies.

His 2017-18 schedule includes concerts with the Royal Stockholm Philharmonic, Zurich’s Tonhalle Orchestra, Orchestre de Paris, Leipzig Gewandhaus, Amsterdam’s Royal Concertgebouw, and Milan’s Filarmonica della Scala, as well as leading a gala with the Shanghai Grand Opera.

From 2010 to 2014, Franz WelserMöst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new pro-

21

ductions, as well as performances of a wide range of other operas, particularly works

by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, conducting more than forty new productions and culminating in three seasons as general music director (2005-08).

Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. The recent Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. A companion video recording of Brahms’s German Requiem was released in 2017.

This past summer, Mr. Welser-Möst was awarded the 2017 Pro Arte Europapreis for his advocacy and achievements as a musical ambassador. Other honors and awards include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America.

22

ABOVE In December 2015, Franz Welser-Möst

led the prestigious Nobel Prize Concert with the Stockholm Philharmonic.

“Franz Welser-Möst, music director of the subtle, responsive Cleveland Orchestra — possibly America’s most memorable symphonic ensemble — leads operas with airy, catlike grace.”

—New York Times “Franz Welser-Möst has managed something radical with The Cleveland Orchestra — making them play as one seamless unit. . . . The music flickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.”

—London Times “There were times when the sheer splendor of the orchestra’s playing made you sit upright in awestruck appreciation. . . . The music was a miracle of expressive grandeur, which Welser-Möst paced with weight and fluidity.”

—San Francisco Chronicle

Music Director

The Cleveland Orchestra

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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 Richard and Nancy Sneed Chair

Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

24

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

25

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THE PERFECT

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26

Visit ACEcleveland.com

The Cleveland Orchestra

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.

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.

Winter Previews: February 8, 9, 10 “Alpha and Omega” (musical works by Mozart, Handel) with guest speaker Cicilia Yudha, associate professor of music, Youngstown State University

February 15, 16 (evening), 17 “Storm and Triumph: Minor Keys and Major Masterworks” (musical works by Rigel, Mendelssohn, Mozart) with guest speaker Eric Charnofsky, instructor, Case Western Reserve University

February 16 (morning) “The Meaning of Minor” (musical works by Mendelssohn, Mozart) with Rose Breckenridge lecturer and administrator, Cleveland Orchestra Music Study Groups

February 22, 23, 24 “Revelling in Ravel” (musical works by Ravel) with guest speaker Jerry Wong, associate professor of piano, Kent State University

COMMON | LESLIE ODOM JR.

39 th Annual

PRESENTED BY

DEE DEE BRIDGEWATER | JOSÉ JAMES | BRIAN SIMPSON’S SMOOTH JAZZ ALL STARS CORY HENRY & THE FUNK APOSTLES | DR. LONNIE SMITH TERENCE BLANCHARD | GRACE KELLY | JOSHUA REDMAN | SNARKY PUPPY VINICIUS CANTUARIA | DIVA JAZZ ORCHESTRA JUNE 28 - 30, 2018

PL AYHOUSE SQUARE

Severance Hall 2017-18

Concert Previews

www.tri-cjazzfest.com

27

I cannot write in verse, for I am no poet. I cannot arrange the parts of speech with such art as to produce effects of light and shade, for I am no painter. Even by signs and gestures I cannot express my thoughts and feelings, for I am no dancer.

But I can do so by means of sounds, for I am a musician.

-Wolfgang Amadeus Mozart -

Mitsuko Uchida

Photo Courtesy Roger Mastroianni

Quality Electrodynamics Proudly supports The Cleveland Orchestra and welcomes the legendary pianist, Engineering Healthcare Innovations

102

Mitsuko Uchida Severance Hall 2016-17

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Thursday evening, February 8, 2018, at 7:30 p.m.

Friday evening, February 9, 2018, at 8:00 p.m.

Saturday evening, February 10, 2018, at 8:00 p.m.

2O1 7-18 CENTENNIAL SEASON

Mitsuko Uchida, piano and conductor WOLFGANG AMADÈ MOZART (1756-1791)

Piano Concerto No. 5 in D major, K175 1. Allegro 2. Andante ma un poco adagio 3. Allegro

GEORGE FRIDERIC HANDEL (1685-1759)

Selections from Water Music 1.

2.

3.

4.

5.

Overture: Largo — Allegro Allegro — Andante — Allegro ca capo Aria Adagio e staccato Allegro Alla Hornpipe

led by WILLIAM PREUCIL, concertmaster

INTER MISSION MOZART

Piano Concerto No. 27 in B-flat major, K595 1. Allegro 2. Larghetto 3. Allegro

These concerts are sponsored by Quality Electrodynamics (QED).

Mitsuko Uchida’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Virginia M. and Newman T. Halvorson.

The Thursday evening performance is dedicated to Mrs. Alfred M. Rankin, Sr. and to Mr. and Mrs. Albert B. Ratner in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

The Friday evening performance is dedicated to Mr. and Mrs. Donald M. Jack, Jr. in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

Severance Hall 2017-18

Concert Program — Week 12

29

February 8, 9, 10

2O1 7-18 CENTENNIAL SEASON

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

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

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

Severance Restaurant Reservations for dining suggested:

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

CONCERT PREVIEW

“Alpha and Omega” with guest speaker Cicilia Yudha, Youngstown State University

MOZART Piano Concerto No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 33 (20 minutes)

HANDEL Selections from Water Music . . . . . . . . . . . . . . . . . . . . . Page 35 (20 minutes)

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

INTERMISSION (20 minutes)

MOZART Piano Concerto No. 27 . . . . . . . . . . . . . . . . . . . . . . . . . . Page 39 (30 minutes)

Concert ends: (approx.)

THUR 9:10 FRI 9:40 SAT 9:40

Severance Restaurant and Opus Café Post-concert desserts and drinks

Share your memories of the performance and join the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch (Please note that photography is prohibited during the performance.)

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This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Keyboards & Waterways

M O Z A R T ’ S P I A N O C O N C E R T O S represent an exceptional body of work, unique in the classical music canon. In writing them, Mozart was working within a general set of expectations (for the musicians and listeners) of do’s and don’ts. Understanding the rules, he gladly and gleefully stepped over the line for perfect effect. And, in writing so many examples, he helped define what a concerto could be. Later composers would embellish and improvise in more personal and obviously emotional directions.

But none would write so many perfect gems in this single genre — so clearly filled with passion and crafted in an identifiably Mozartian way.

This weekend’s concerts feature Mozart’s first and last piano concertos, Nos. 5 and 27. (Don’t get confused by the “No. 5” — Nos. 1 through 4 were not really his own, but merely learning exercises in arranging works by earlier composers; that fact wasn’t fully understood when his concertos were officially numbered in the 19th century.)

Mozart wrote No. 5 in 1773 at the age of 17. It is a fresh and inviting work, filled with the energy of youth along with the beginnings of maturity and depth. It is also believed to have remained one of his own favorites, which he continued to play throughout his short lifetime.

At the end of the evening, Mitsuko Uchida and The Cleveland Orchestra play Piano Concerto No. 27, completed and premiered in 1791, just months before Mozart’s death at the age of 35. This majestic and creative work sparkles with understanding, humor, and Classical virtuosity. From first to last, Mozart’s concertos remind us of the composer’s genius, his humanity, his just-right artistry.

In between the concertos, we have a musical suite from Handel’s immensely popular Water Music, led by concertmaster William Preucil. Originally performed in 1717 to entertain King George on a long boat ride along the Thames, this music is nearly irresistible in its sense of energy and interchange — and as a Baroque-era contrast to Classical Mozart, of simpler forms yet lovely details and fun-filled rhythms. How far music has evolved from Mozartian and Handelian times, yet how wonderful the old still speaks to us and fills our ears and hearts with knowledge and wondrous feeling.

—Eric Sellen Above: Canaletto’s painting of London’s Lord Mayor’s Day festivities in 1747 — not unlike the aquatic royal journey featuring Handel’s Water Music in 1717.

Severance Hall 2017-18

Week 12 — Introducing the Concerts

31

All the news that was fit to paint.

Centuries before Instagram, Twitter, or even photography, view paintings recorded history as it happened. This exhibition is your chance to travel back in time to be an eyewitness to the most significant events in 18th-century Europe.

February 25 – May 20, 2018

ClevelandArt.org Presenting Sponsors

Additional Support Tim O’Brien

Media Sponsor

Breck Platner

Martha Thompson

King Charles III Visiting Pope Benedict XIV at the Coffee House of the Palazzo del Quirinale (detail), 1746. Giovanni Paolo Panini (Italian, 1691–1765). Oil on canvas; 124 × 174 cm. Napoli, Museo di Capodimonte, 205. Image: Scala / Ministero per i Beni e le Attività culturali / Art Resource, NY

Piano Concerto No. 5 in D major, K175 composed 1773

At a Glance

by

Wolfgang Amadè1

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

Severance Hall 2017-18

Mozart composed this Piano Concerto in D major, later cataloged as K175 and designated as “No. 5” of his piano concertos, in 1773; it was most likely first performed that same year in Salzburg. Five years later, he wrote an alternate final movement, now known as Rondo K382; that movement was first performed, with the concerto, in Vienna in 1783. Most modern performances — including this week’s Cleveland Orchestra performances — use the original finale;

the alternate Rondo is treated like a separate work, played on its own.

This concerto runs about 20 minutes in performance. Mozart scored it for 2 oboes, 2 horns, 2 trumpets, timpani, and strings, plus solo pianoforte.

The Cleveland Orchestra has presented this concerto on only one previous occasion, when Mitsuko Uchida led performances from the keyboard for a weekend of concerts in May 2007.

About the Music W H E N A L L O F Mozart’s piano concertos were cataloged and

numbered in sequence in the 19th century (long after the composer’s death), this early Concerto in D major was designated as “No. 5.” Upon closer inspection, however, Nos. 1-4 turned out to be arrangements of works by a variety of minor contemporaries — probably put together by the child Mozart, perhaps as an exercise suggested by and with a lot of help from his father.

So that “Piano Concerto No. 5” is, by most measures, the first concerto Mozart created fully in his own voice — and the start of what turned out to be a sequence of twenty-three unrivalled concertos for solo piano.

Concerto No. 5 was composed in December 1773 when Mozart was just seventeen years old. Although it was surpassed, inevitably, by the great later works of the Vienna years, this was actually the concerto most often played in Mozart’s lifetime — by himself and by others. He had a special fondness for it, and so did the public. He presumably played it in Salzburg when it was first composed; he then took it with him to play in Munich in 1774, then in Mannheim in 1778, in Vienna in 1782, and again in Vienna in 1783. It is often suggested that the Viennese public liked new concertos in preference to old ones, but this work was clearly an exception. It was published in his lifetime in both Paris and Mainz, with more publications in Germany and Austria after his death.

Mozart’s visit to Vienna in 1773 was not as fruitful as father About the Music

33

Painting of Mozart at the age of 14, created by Saverui Dakka Rosa in 1770.

and son hoped. No longterm professional position was offered to him, perhaps because it was observed that the child prodigy was no longer a child. He was nonetheless a prodigy, and a series of beautifully-crafted instrumental works flowed from his pen that year, including a serenade, six string quartets, a string quintet, three symphonies, half a dozen divertimenti, and this first attempt at a piano concerto.

The writing in Piano Concerto No. 5 is highly accomplished and polished, and the piano part confirms — if confirmation were needed — that Mozart’s keyboard gifts were above the ordinary. The structure of a three-movement concerto, to which Mozart remained attached throughout his life, is already clearly delineated in this work.

Later concertos offer subtle and striking variations on the basic formula, but here, in all three movements of his first concerto, he moves decisively and clearly from section to section. The themes, keys, and orchestral interludes are precisely in place, and his own cadenzas, which allow some strong modulations avoided in the concerto itself, survive for the first two movements.

The middle-movement Andante is in a gentle three-beat tempo and in the contrasting key of G major, and the third-movement Allegro shows a teasing preoccupation with fugue, although the severe style is never allowed to dominate.

—Hugh Macdonald © 2018

CONGRATULATIONS TO

The Cleveland Orchestra on celebrating their

CENTENNIAL SEASON

34

About the Music

The Cleveland Orchestra

Water Music: Selected Movements composed 1717

At a Glance

by

George Frideric

HANDEL

born February 23, 1685 Halle, Prussia died April 14, 1759 London

Handel most likely wrote his Water Music in 1717, although some movements may have been written earlier or derived from earlier pieces. The first documented performance took place during a “water party” for King George I on the Thames River, near London, on July 17, 1717. Handel probably directed the musicians, who sat together on a river barge. A total of about 20 movements were eventually published, arranged (eventually) into three suites, but the grouping and ordering of movements was determined for publication and does not necessarily reflect how Handel performed them. Modern performances often choose from among the suites, ordering the movements to create a pleasing set or suite.

The suite of selected movements being performed for this weekend’s concerts runs about 20 minutes in performance — and are taken from the published scores for Suites Nos.

1 and 2. (The full Water Music of all three suites runs about 45 minutes in performance.) Handel’s scoring is usually interpreted for a modern orchestra of 1 or 2 flutes (sometimes with one player doubling on piccolo), 2 oboes, bassoon, 2 horns, 2 trumpets, harpsichord, and strings. Some related wind instruments, such as recorders, were probably used in performances during Handel’s lifetime.

The specific movements for this weekend’s performances are: 1. Suite 1, mvt 1: Overture 2. Suite 1, mvt 3: Allegro 3. Suite 1, mvt 2: Adagio e staccato 4. Suite 2, mvt 1: Allegro 5. Suite 2, mvt 2: Hornpipe The Cleveland Orchestra first presented selections from Handel’s Water Music in 1926, and has presented selections many times since, on public concerts and at education concerts for students — most recently in 2015 at Severance Hall.

About the Music E X C E P T I N G O N LY the perennial oratorio Messiah, Handel’s

Water Music is this composer’s most familiar work. It was created for a truly royal entertainment, an excursion by barge on the Thames hosted by England’s King George I. Handel’s earliest biographers stated that the composer was in disfavor with the monarch until the composition of the Water Music restored him to His Majesty’s graces. This seems at least plausible. When Handel took up residence in England, in 1712, he still held the post of Kapellmeister, or music director, back at the court of Georg Ludwig, Elector of Hanover. He had obtained leave to visit London with the understanding that he would return to Hanover within a reasonable time. But his rising fortunes in England gave Handel little incentive to leave, and his stay in London became a matter not of weeks or months but of years.

We do not know whether the truant Kapellmeister ignored Severance Hall 2017-18

About the Music

35

calls to return to Hanover or, indeed, what the state of his relationship with Georg Ludwig was during his prolonged absence from Germany. If, in fact, it was strained, Handel may well have felt some apprehension when, in August of 1714, Queen Anne died without an heir, and the English crown passed to the House of Hanover. His situation might have become acutely uncomfortable in September of that year, when his nominal employer from Hanover arrived in London as King George I of England.

Handel was, supposedly, afraid to appear at court until the King’s delight with the music he produced for a river party in August 1715 at last effected a reconciliation. Although this story has acquired the force of legend, there is little evidence to support it and a good deal to contradict This occasion in July it. George I certainly had more urgent concerns 1717 has been amply than holding a grudge against a mere composer. documented in letters Moreover, he attended performances of Handel’s works shortly after arriving in England and readily and other accounts. renewed the stipend Queen Anne had granted the One report offers these composer before her death. details: “Next to the Most important, we have no account of the King’s barge was that barge excursion that is supposed to have taken place in 1715. But we do know that much, if not all, of the musicians, about of Handel’s Water Music was heard during a river fifty in number, who trip on July 17, 1717. From available evidence, this played on all kinds seems to be when much of this music was first of instruments. . . .” played — and it was most likely for this “water party” that the work was written.

This occasion in July 1717 has been amply documented in letters and other accounts. One report offers these details: “Next to the King’s barge was that of the musicians, about fifty in number, who played on all kinds of instruments. . . . The music had been composed specially by the famous Mr. Handel . . . [and] His Majesty approved of it so greatly that he caused it to be repeated three times in all.”

Precisely how Handel grouped the movements that comprised his aquatic serenade, and in what order, is not known. The Water Music was published in bits and pieces over the course of the next half century. Various factors suggest an arrangement of three suites, and these are used, together or separately, as the accepted norm for presenting this music today.

This weekend’s suite of five movements is taken from the published Suites Nos. 1 and 2. Suite No. 1, in the key of F major,

36

About the Music

The Cleveland Orchestra

A 2005 documentary

by BBC Television worked to recreate the “water party” on the River Thames in 1717 that featured the premiere of Handel’s Water Music.

is sometimes called the “horn suite” for its prominent use of that instrument, and the third suite, in G major, substitutes flutes for horns and trumpets. Suite No. 2 is in D major, a key quite congenial to the valveless trumpet in use during the Baroque period, with this suite using that tonality and the bright tone of trumpets to splendid effect.

The Water Music consists mostly of movements based on dances of the day. These pieces provide a variety of tunes and sonorities, but Handel further enriches the complexion of the work through other types of movements.

The opening Overture begins gently and broadly, before gaining speed in an almost fugal effect. The “overture” for Suite No. 2 is used here as a middle movement, consisting entirely of elaborate fanfares featuring the brass instruments. Dances comprise the other movements of this weekend’s suite, featuring characteristic rhythms well known to the composer’s listeners. Much of this music is ideally suited for outdoor performance — although it works wonderfully well indoors, too. One can delight in imagining how it must have sounded to its first audience, floating on the Thames on that warm summer evening in 1717.

—Paul Schiavo © 2018

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Shaker Square, Ohio 44120 | 216.921.3333 Severance Hall 2017-18

About the Music

Just 10 minutes from Severance Hall.

37

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Piano Concerto No. 27 in B-flat major, K595 composed 1788-91

At a Glance

by

Wolfgang Amadè

Mozart composed most of this concerto in 1788 in preparation for a concert that never took place. He completed the work in 1791 and performed the solo part at its first performance on March 4, 1791, in Vienna. This was Mozart’s final appearance as a concerto soloist before his death on December 5.

This concerto runs about 30 minutes in performance. Mozart scored it for flute, 2 oboes, 2 bassoons, 2 horns,

and strings, plus solo pianoforte.

The Cleveland Orchestra first performed this concerto in April 1948, under George Szell’s direction with Robert Casadesus as soloist. It has been programmed with some frequency since that time, mostly recently at Severance Hall in November 2010 with Mitsuko Uchida and at the 2014 Blossom Music Festival with pianist Francisco Piemontesi conducted

by Brett Mitchell.

MOZART

About the Music

born January 27, 1756 Salzburg

of twenty-three solo piano concertos. He completed it on January 5, 1791, and entered the date in his catalogue. It has been associated with the pianist Maria Magdalena Hofdemel, but the association is tenuous, since the one Vienna performance was given not by her but by Mozart himself on March 4, 1791, nine months before his death. Were the solo cadenzas written out for her perhaps? It’s possible, although Jan Vitasek, who played the concerto in Prague a few weeks later, would have needed cadenzas, too.

Research of British musicologist Alan Tyson, who examined every surviving scrap of music paper Mozart ever wrote on, has recently settled the matter. The concerto was almost entirely composed three years earlier, in 1788, and was evidently not written with anyone in mind — Mozart did not know the Hofdemels then (so far as we know). As in the case of the last three symphonies, also composed in 1788, he probably proposed to organize a concert series for that year in which the concerto might be featured. As soon as the proposal (and the hoped-for profit its ticket sales would bring) failed, he gave up working on the piece.

At the beginning of 1791, the clarinetist Joseph Beer approached Mozart and asked the composer to take part in a concert on March 4. This gave Mozart cause to finish a “new work” and he pulled the three-year-old concerto out of his papers and finished it up. He only had a few pages of the finale to write.

died December 5, 1791 Vienna

Severance Hall 2017-18

T H I S C O N C E R T O is the last in Mozart’s incomparable series

About the Music

39

A famously unfinished portrait of Mozart, begun

by Joseph Lange in 1789.

The concert became historic in many ways, being the last time Mozart played the piano in public.

It was given in a restaurant across the street from his lodgings, and the soprano soloist whom Beer also invited to take part was none other than Aloysia Weber, sister of Mozart’s wife, Constanze, and his adorata of some twelve years before.

Concerto No. 27 is a strikingly serene work, even allowing for the brilliance always required in a concerto, with signs of a new level of maturity in Mozart’s style. Outwardly, the concerto resembles the composer’s others in its three balanced movements, judiciously placed cadenzas, and a tranquil middle movement of great beauty.

This work profoundly affected Beethoven, whose concertos offer many echoes of individual phrases and combinations.

His Third Piano Concerto in C minor, for example, opens with a similar rising triad followed by a descending scale much as we find here. Mozart, however, softens the drama in his opening movement (Allegro) by allowing one bar’s gentle introduction and by keeping a steadily pulsating tonic bass underneath his melody. A second theme, which follows soon after, presents a plain descending scale:

followed by the “same” descending scale no longer plain but, modified with flat and natural signs, almost as contortedly chromatic as he could devise:

This sort of musical teasing must have given Mozart particular delight. The movement’s development section is easily recognizable for its rather unsubtle moving through remote keys; the

40

About the Music

The Cleveland Orchestra

solo cadenza, on the other hand, stays close to the home key.

In the concerto’s slow movement, marked Larghetto, we observe once more the powerful contrast between extreme simplicity, as at the opening, and the sophisticated elegance of the closing cadence, where second violins and violas move into a winding inner line — a texture Mozart had used frequently since his earliest works.

The premiere of this The finale third movement, given a tempo concerto became hismarking of Allegro, is a rondo — essentially a setoric in many ways, ries of variations alternating with a related main melody. Here, however, solo cadenzas twice hold being the last time up the return of the theme. The one point where Mozart played the piathe theme appears in the wrong key (a fourth no in public. The conhigher than usual or expected) is clearly prominent certo is a strikingly if only because the pretense cannot be sustained for long. serene work, with signs Overall, Mozart’s final concerto for piano of a new level of matuand orchestra leaves the clear impression that his rity in Mozart’s style. invention would have kept bubbling in a similar and evolvingly wondrous vein for many years to come, had fate spared us (and him) his early death. Still, the concertos we have are numerous enough — and rich enough in invention — to give us little possible ground for regret. As Mozart was, we can be glad for every opportunity we have in which music can affect our emotional hearts.

—Hugh Macdonald © 2018 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

41

Orpheus Chamber Orchestra with violinist Augustin Hadelich Wednesday, March 28 7:30 p.m.

EJ Thomas Hall, Akron $45, $40, $25 / free for all students Get engaged: concert talk at 6:30 p.m.

MAY 9, 2018, 2 PM Stetson Chapel, Kalamazoo

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BACH Goldberg Variations, BWV 988

MAY 12, 2018, 8 PM Chenery Auditorium, Kalamazoo

with the KALAMAZOO SYMPHONY ORCHESTRA BEETHOVEN Piano Concerto No. 4 in G Major, Op. 58

north W point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling

42

440.720.1102 440.720.1105 440.720.1104

The Cleveland Orchestra

Mitsuko Uchida Mitsuko Uchida is a performer who brings deep insight into the music she plays through her own search for truth and beauty. She is particularly noted for her interpretations of Mozart, Beethoven, and Schubert, both in the concert hall and on recordings, but has also illuminated the music of Berg, Schoenberg, Webern, and Boulez for a new generation of listeners.

Ms. Uchida made her Cleveland Orchestra debut in February 1990, and since that time has performed with the Orchestra at Severance Hall, at Blossom, and on tour in Europe and Japan. She made her Cleveland Orchestra conducting debut in 1998, and subsequently led performances from the keyboard of all of Mozart’s solo piano concertos as artist-in-residence across five seasons (2002-07). In a special recording project with the Orchestra and Decca, Ms. Uchida has revisited a number of Mozart concertos, with these albums winning acclaim and a Grammy Award.

Mitsuko Uchida performs throughout the world with many different partners.

In 2017, she is embarked on a two-year Schubert Sonata series, featuring twelve of Schubert’s major works, which she is touring throughout Europe and North America. Her performances also include returns to the Salzburg and Edinburgh Festivals and concerto appearances with the Berlin Philharmonic, Chicago Symphony Orchestra, and in Cleveland. In 2016, she was appointed an artistic partner to the Mahler Chamber Orchestra and began a series of concerts directing Mozart concertos from the keyboard with that ensemble in extensive tours of major European venues and Japan.

Severance Hall 2017-18

Guest Artist

Mitsuko Uchida records exclusively for Decca. In April 2008, BBC Music Magazine presented its Instrumentalist of the Year and Disc of the Year awards to Ms. Uchida. Her recording of Schoenberg’s Piano Concerto with Pierre Boulez and The Cleveland Orchestra won four awards, including one from Gramophone for best concerto recording. Five of her most recent recordings were recorded live at Severance Hall with The Cleveland Orchestra and feature ten of Mozart’s piano concertos.

Ms. Uchida’s discography ranges widely, from Mozart to Debussy, and Beethoven to Berg. Albums include the complete Mozart piano sonatas and piano concertos (with the English Chamber Orchestra), the complete Schubert piano sonatas, Debussy’s Études, the five Beethoven piano concertos with the Royal Concertgebouw Orchestra, an album of Mozart violin sonatas with Mark Steinberg, the song cycle Die schöne Müllerin with Ian Bostridge for EMI, and the final five Beethoven piano sonatas.

Mitsuko Uchida has demonstrated a long-standing commitment to aiding the development of young musicians and is a trustee of the Borletti-Buitoni Trust. She is also artistic director of the Marlboro Music Festival in Vermont. In June 2009, she was made a Dame Commander of the Order of the British Empire.

43

William Preucil Concertmaster Blossom-Lee Endowed Chair The Cleveland Orchestra

Photo: ROGER MASTROIANNI

William Preucil became concertmaster of The Cleveland Orchestra in April 1995 and has appeared over 100 times as soloist with the Orchestra in concerto performances.

Prior to joining The Cleveland Orchestra, Mr. Preucil served for seven seasons as first violinist of the Grammy-winning Cleveland Quartet. He served as concertmaster of the Atlanta Symphony Orchestra (198289), after previously holding the same position with the orchestras of Utah and

44

then Nashville.

Mr. Preucil regularly performs chamber music, as a guest soloist with other orchestras, and at summer music festivals.

Mr. Preucil also continues to perform as a member of the Lanier Trio.

Actively involved as an educator, Mr. Preucil serves as Distinguished Professor of Violin at the Cleveland Institute of Music and at Furman University. He previously taught at the Eastman School of Music and at the University of Georgia.

William Preucil began studying violin at the age of five with his mother, Doris Preucil, a pioneer in Suzuki violin instruction in the United States. He later studied at Indiana University with Josef Gingold (former concertmaster of The Cleveland Orchestra).

Concertmaster

The Cleveland Orchestra

A portrait of Wolfgang Amadè Mozart, painted circa 1783 by Joseph Hickel.

We live in this world in order always to learn industriously and to enlighten each other by means of discussion and to strive vigorously to promote the progress of sciences and the fine arts.

—Wolfgang Amadè Mozart

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 (asofofJune Jan 2018) 2016)

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

129,452 133,797

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

TH E P RO M E TH E U S P ROJ E C T

BE ETHOVE N THE CLEVELAND ORCHESTRA

CLEVELAND May 1O-19 VIENNA May 24-28 TOKYO June 2-7 conducted by Franz Welser-Möst The Cleveland Orchestra’s Centennial Season ends with a special series of concerts on three continents. Franz Welser-Möst examines Beethoven’s nine symphonies through the story of PROMETHEUS, a titan of Greek mythology who defied Zeus to give fire to humanity — sparking imagination, civilization, learning, and creativity. Similarly, BEETHOVEN, a titan of classical music, pursued his own art and energies in service to Promethean beliefs — in the goodness of humanity, and the ongoing heroic struggle to create a better world, filled with justice and human worth. These Festival concerts are a not-to-be-missed experience to hear Beethoven’s genius in its glory and great goodness.

CLEVELAND S E V E R A N C E H A L L MAY 10 Symphonies Nos. 1 and 3 (“Eroica”) MAY 11 Symphonies Nos. 4 and 7 MAY 12 Symphonies Nos. 8 and 5 MAY 13 Symphonies Nos. 6 (“Pastoral”) and 2 MAY 17, 18, 19 Symphony No. 9 (“Choral”)

21 6-2 3 1-1111 clevelandorchestra.com TI CK E TS

´%XEEOHV OLNH ÀQH FKDPSDJQH µ – EARLY MUSIC AMERICA

BACH’S Coffeehouse Orchestra

&DUQHJLH +DOO 6HQG RII Apollo’s Fire gears up for its Carnegie Hall debut with music that J.S. Bach performed at his favorite coffeehouse in Leipzig. The program includes Brandenburg Concertos no. 4 and 5, Telemann’s Don Quixote Suite, Sorrell’s acclaimed arrangement of Vivaldi’s La Folia (“Madness”), and more! Fiery strings, colorful recorders and a dizzying harpsichord solo… a memorable evening!

FRIDAY, MARCH 16, 8:00PM CLEVELAND Institute of Music Additional performances March 17-18 around N.E. Ohio

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orchestra news

THE CLEVELAND ORCHESTRA

Blossom turns 50!

Northeast Ohio's landmark summer music park reaches half-century milestone — having entertained more than 20 million fans with concerts across all genres Orchestra announces special line-up for 2018 Blossom Music Festival, presented by The J.M. Smucker Company 50th Anniversary Celebration throughout the summer, presented by The Goodyear Tire & Rubber Company Blossom Music Center marks its 50th anniversary in 2018, and The Cleveland Orchestra is planning both a special season for the annual Festival at its summer home and a special season-long celebration for this milestone year.

Programming for the summer season is being announced on February 11 — including the Orchestra’s 2018 Blossom Music Festival, presented by The J.M. Smucker Company. Highlights include a special presentation on Sunday, July 8, of Roger Daltrey Performs The Who’s “Tommy” with The Cleveland Orchestra (details were announced on January 29, with that show going on sale early on February 2), as well as three movie presentations featuring the Orchestra performing the complete score soundtracks for each film, and a season-opening concert led by Franz Welser-Möst, plus the traditional Fourth-of-July band concerts led by Loras John Schissel.

As part of the Festival, The Cleveland Orchestra’s special Blossom 50th Anniversary Celebration, sponsored by The Goodyear Tire & Rubber Company, will offer special events and debut new special initiatives throughout the summer. These include a special Benefit Evening: A Symphony of Food & Wine on July 13 presented by Blossom Friends of The Cleveland Orchestra and featuring dinner onstage in the Pavilion with a wine auction and performance by members of the Orchestra.

Honorary Chairs for the benefit evening are Peter Van Dijk, who designed the music center’s awardwinning Pavilion, and his wife, Bobbi. Details of the summer’s 50th Anniversary are being announced throughout the spring.

Since it opened in 1968, Blossom Music Center has become one of our nation’s premier outdoor performing spaces for music of all genres, drawing more than 400,000 visitors each sumSeverance Hall 2017-18

BLOSSOM M U S I C F E S T I VA L

YEARS 1968- 2O18

mer, with cumulative attendance of more than 20 million in Blossom’s 50-year history. Enjoying picnics on the lush grounds while experiencing Cleveland Orchestra concerts highlighted by fireworks, stars, and/or fireflies has become a beloved Northeast Ohio tradition.

Blossom Music Center was created as the summer home of The Cleveland Orchestra and opened in July 1968 with performances of Beethoven’s Ninth Symphony conducted by George Szell. The 200-acre music park features the award-winning and acoustically-acclaimed Blossom Pavilion seating over 5,000 under cover.

The adjoining Blossom Lawn accommodates as many as 15,000 more outside on an expansive natural-bowl amphitheater of grass surrounded by bucolic woods.

Located 25 miles south of Cleveland just north of Akron, Ohio, Blossom is situated in the rolling hills of Cuyahoga Valley National Park, which preserves 33,000 acres of natural parkland along the Cuyahoga River. Blossom Music Center was named to honor the Dudley S. Blossom family, who have been major supporters of The Cleveland Orchestra throughout its history. Blossom lies within the city limits of Cuyahoga Falls, in Summit County.

Cleveland Orchestra News

49

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 hometownâ&#x20AC;&#x2122;s orchestra.

His artistry can be heard on many Cleveland Orchestra recordings created under the direction of George Szell, Pierre Boulez, Lorin Maazel, and Christoph von DohnĂĄnyi. In addition to his years of service with the Orchestra, he taught as head of the Cleveland Institute of Musicâ&#x20AC;&#x2122;s trumpet department, at the Oberlin Conservatory of Music, and, after retiring from Cleveland, at Indiana University.

Lawrence Angell, double bassist for forty seasons (1955-95), including 15 as principal bass (1981-95), died on December 3, 2017, at the age of 88. He is survived by his wife, Anita Pontremoli, and five children.

He was studying with Oscar Zimmerman when called into military service, but returned to finish his studies at the Eastman School of Music.

He headed the double bass departments at the Cleveland Institute of Music (1969-99) and Oberlin Conservatory (1980-90), and also taught as part of Kent/Blossom School and performed as a member of the Cleveland Octet. He participated in nearly 500 recordings. After retirement, his teaching activities included work with festivals in Florida and Nova Scotia.

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THE CLEVELAND ORCHESTRA

Orchestra wins acclaim in New York and Florida . . .

Below are a selection of excerpts from the many positive reviews of The Cleveland Orchestra’s recent concerts at New York’s Carnegie Hall and in Florida (Miami and Sarasota): “At 100, The Cleveland Orchestra May (Quietly) Be America’s Best! Sound the trumpets, peal the bells! The Cleveland Orchestra, which many consider one of the finest ensembles in the nation and the world, turns 100 this year. . . . The orchestra has long been renowned for its sound — precise, lithe and transparent, yet not lacking in power or color — and its disciplined work ethic, both honed by a series of strong maestros in the modern era. . . . Skeptics say that touring orchestras are steeled and on their mettle when they visit Carnegie Hall, adding, ‘They don’t play that way every week at home.’ The Cleveland Orchestra, as I learned during a season (1988-89) spent as its program annotator and editor, plays that way every week, no matter what or where.”

—James Oestreich, New York Times “To my ears, this performance of Mahler’s Ninth Symphony was bold, brave, even radical.

There was barely a hint of the regret, nostalgia and wallowing that has become the norm, as with Bernstein. Instead, at ferocious speeds and with dauntless control, there was anger, brutality and violence, on the way to an almost lonely, unwelcome death. No fond farewell, this: Mr. Welser-Möst looked physically and emotionally drained by the end.”

—David Allen, New York Times “I join my colleagues in having been deeply impressed by the Clevelanders’ Mahler, particularly the inner movements, which tingled with tension between rough-hewn aggression and Viennese elegance. I wish my colleague critics David Allen and James Oestreich could have been there on Wednesday for Haydn’s ‘The Seasons,’ its silky warmth a contrast with the previous evening’s discomfiting intensity. The dancing exuberance of Autumn was especially impressive; the Cleveland Orchestra Chorus — all-amateur! — sang with both airiness and pungency throughout.”

—Zachary Woolfe, New York Times “The profundity of the instrumental ensemble as a whole in Mahler’s Symphony No. 9 was astounding, the fluctuations from one mood to another, one tempo to another, were seamless and the ensemble sound was magical. This was the performance of the season.”

—Classical Musical Network (New York) “Rather than relying on the sheer weight and power of one of the world’s great orchestras, Welser-Möst emphasized a strong sense of forward momentum, transparent textures and carefully calibrated levels of intensity to express the force of Beethoven’s musical ideas. . . .

Under Welser-Möst’s baton, the orchestra took a fleeter, less obviously portentous approach than many interpretations, expressing the work’s energy through propulsive force rather than volume. . . . In Beethoven’s Eighth Symphony, the orchestra played with such dynamic and interpretative range that the performance carried unusual subtlety and depth.”

—South Florida Classical Review

Severance Hall 2017-18

Cleveland Orchestra News

51

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

Bringing great talent to Cleveland.

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THE CLEVELAND ORCHESTRA

I.N M.E .M.O.R.I. A .M

Dorothy Humel Hovorka January 4, 1921 to December 21, 2017 Honorary Trustee for Life Dorothy Humel Hovorka died just before Christmas, at the age of 96. First elected in 1961, her name has been a part of The Cleveland Orchestra’s Board of Trustees listing for fifty-five seasons. She served as a member of the Executive Committee for many years and also as a Vice President. In 1996, she was the inaugural recipient of the Orchestra’s Distinguished Service Award. She was elected Honorary Trustee for Life in 2009.

Dorothy’s name and advocacy are legendary — her indomitable spirit, her caring sincerity, her unfailing belief in the value of education, her enduring faith in Cleveland’s arts community, and especially her utmost love for Cleveland’s Orchestra. She was tireless in her efforts to promote and support The Cleveland Orchestra at home and around the world. She worked on the Orchestra’s behalf from every available angle and avenue: as an audience member (since childhood), as a talented pianist (appearing as soloist in six concerts with the Orchestra, in such challenging works as Tchaikovsky’s First Piano Concerto), as a member and then President of the Women’s Committee, and as a trustee. She helped ensure the future of the Orchestra’s Concert Preview series with a generous Endowment gift, and for many years chaired the leadership giving societies’ annual campaigns. She was also a strong advocate for understanding and documenting the institution’s history, leading an oral history project in the 1990s for The Cleveland Orchestra’s Archives and helping to interview many important figures whose association had begun decades earlier (including herself).

Dorothy served as secretary, treasurer, and director of the family company, Humel Construction, for four decades. She was a graduate of Shaker Heights High School and later established the Dorothy Humel Hovorka Award with the Shaker Schools Foundation. She travelled widely, visiting 118 countries and the North Pole. In addition to her work with The Cleveland Orchestra, she served as a board member or officer with a wide number of cultural and educational organizations across Northeast Ohio, including Case Western Reserve University, Cleveland Music School Settlement, Lake Erie Opera Theater, Cleveland Women’s Orchestra, Cleveland Institute of Music, Robert Casadesus International Piano Competition, and the Women’s City Club Foundation.

In every situation, Dorothy Humel Hovorka was aware of the big picture and of small details — and seemed to always know which was more important for that moment.

She treated everyone like a colleague and a friend, but always demanded the best and utmost in return. In an era of different norms, being a woman was never an obstacle for Dorothy. With both grace and force, she could move people along and get things done.

We are forever grateful to have been touched by her remarkable optimisim, her understanding judgement, and her enthusiastic love for Cleveland and music.

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Cleveland Orchestra News

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Musicians Emeritus of

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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 44 musicians collectively completed a total of 1549 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 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 January 2018

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Appreciation

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

M . U . S . I .C . I . A . N S . A . L . U .T. E The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who volunteered for such events and presentations during the 2016-17 season.

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

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

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Special thanks to musicians for supporting the Orchestra’s long-term financial strength The Board of Trustees extends a special acknowledgement to the members of The Cleveland Orchestra for supporting the institution’s programs by jointly volunteering their musical services for several concerts each season. These donated services have long played an important role in supporting the institution’s financial strength, and were expanded with the 2009-10 season to provide added opportunities for new and ongoing revenuegenerating performances by The Cleveland Orchestra.

“We are especially grateful to the members of The Cleveland Orchestra for this ongoing and meaningful investment in the future of the institution,” says André Gremillet, executive director. “These donated services each year make a measureable difference to the Orchestra’s overall financial strength, by ensuring our ability to take advantage of opportunities to maximize performance revenue. They allow us to offer more musical inspiration to audiences around the world than would otherwise be possible, supporting the Orchestra’s vital role in enhancing the lives of everyone across Northeast Ohio.”

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C E LE B R ATE

No. 71 Leopold Stokowski conducted The Cleveland Orchestra for the first time in December 1950 and wrote, “Your Orchestra is superb.”

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

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

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Thursday evening, February 15, 2018, at 7:30 p.m.

Friday morning, February 16, 2018, at 11:00 a.m. * Friday evening, February 16, 2018, at 8:00 p.m.

Saturday evening, February 17, 2018, at 8:00 p.m.

2O1 7-18 CENTENNIAL SEASON

Bernard Labadie, conductor HENRI-JOSEPH RIGEL (1741-1799)

FELIX MENDELSSOHN (1809-1847)

Symphony No. 4 in C minor, Opus 12/4 * 1. Allegro assai 2. Largo non troppo 3. Allegro spiritoso

Violin Concerto in E minor, Opus 64 1. Allegro molto appassionato — 2. Andante — 3. Allegretto non troppo — Allegro molto vivace ISABELLE FAUST, violin

INTER MISSION * WOLGANG AMADÈ MOZART (1756-1791)

Symphony No. 40 in G minor, K550 1.

2.

3.

4.

Molto allegro Andante Menuetto: Allegretto Finale: Allegro assai

This weekend’s concerts are supported through the generosity of the BakerHostetler Guest Artist Series sponsorship.

Bernard Labadie’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from James and Donna Reid.

Isabelle Faust’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Kulas Foundation.

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.

Rigel’s Symphony No. 4 is not played at the Friday Morning concert.

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Concert Program — Week 13

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February 15, 16, 17

2O1 7-18 CENTENNIAL SEASON

THIS WEEK'S CONCERT Restaurant opens: THUR 4:30 FRI P.M. 5:00 SAT 5:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

Severance Restaurant Reservations for dining suggested:

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

C O N C E R T P R E V I E W — evenings

P R E V I E W — Friday Morning

“Storm and Triumph: Minor Keys, Major Masterworks”

“The Meaning of Minor?”

with guest speaker Eric Charnofsky, Case Western Reserve University

with Rose Breckenridge, Music Study Groups FRIDAY MORNING 11:00

RIGEL Symphony No. 4 . . . . . . . . . . . . . . . Page 61 (15 minutes)

MENDELSSOHN Violin Concerto . . . . . . . . . . . . . . . . Page 63

MENDELSSOHN

Concert begins: THUR 7:30 FRI P.M. 8:00 SAT 8:00

(25 minutes)

MOZART

INTERMISSION (20 minutes)

MOZART Symphony No. 40 . . . . . . . . . . . . . . Page 67

12:10

(35 minutes)

Concert ends: (approx.)

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

THUR 9:10 FRI P.M. 9:40 SAT 9:40

Severance Restaurant Severance Restaurant and Opus Café

Post-Concert Luncheon following the Friday Morning concert.

post-concert desserts and drinks . . .

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This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Melody, Form & Substance

T H I S W E E K E N D ’ S C O N C E R T S feature two symphonies from the Classical era and one of the Romantic era’s most-popular violin concertos. All three works, written in minor keys, demonstrate the craft and artistry of their composers — and the fact that music in a minor mode can be filled with energy and delight.

Opening this week’s evening concerts is a symphony by Henri-Joseph Rigel, a lesser-known composer of the 18th century. Born in Germany a decade before Mozart, Rigel spent much of his career in Paris writing Italian-styled instrumental and operatic works. His three-movement Symphony st No. 4, from around 1774, ably demonstrates his abilities — featuring in pleasing lines, pulse, and form.

Mendelssohn’s Violin Concerto was written especially for his friend Ferdinand David. It represents one of the first great violin concertos in which the soloist was directly involved in helping to shape the music itself. Composer and violinist had known each other since childhood, and worked together professionally throughout Mendelssohn’s life. The ret sulting concerto sparkles and shines, showcasing the composs er’s e great melodic gift as well as his craft in choicefully varying from norms in form and content. Guest violinist Isabelle Faust f is i our soloist this week.

To end the program, guest conductor Bernard Labadie has ha chosen one of Mozart’s great final trio of symphonies from 1788. We don’t really know why Mozart wrote these three big symphonies (Nos. 39, 40, and 41) — though this always-practical (and often financially troubled) composer surely had prospects for a performance in which he might gain a share of ticket revenue. Like many of Mozart’s ideas for advancing himself, there is little evidence of a successful Share your memories of the performance and outcome (or income) in this case. But what he did join the conversation online . . . advance that summer, without question, is the facebook.com/clevelandorchestra shape and style of what a symphony could be, twitter: @CleveOrchestra creating three shining examples at the pinnacle of instagram: @CleveOrch his own musical powers. This weekend, we hear (Please note that photography during the middle sibling of the three. the performance is prohibited.)

—Eric Sellen

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Week 13 — Introducing the Concerts

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EVENINGS

Symphony No. 4 in C minor composed circa 1771-1774

At a Glance Rigel composed his Symphony in C minor in the early 1770s in Paris. It was published — and designated as “No. 4” — in his first collection of Six Symphonies Opus 12 in 1774. Its first performance is believed to have taken place that same year, led by the composer as part of the Concert Spirituel in Paris.

This symphony runs about 15

minutes in performance. Rigel scored it for 2 oboes, bassoon, 2 horns, and strings. Some performances may have also included a harpsichord as continuo.

The Cleveland Orchestra is presenting this symphony for the first time with this weekend’s concerts. It is also the first time the Orchestra has performed a work by Rigel.

by

Henri-Joseph

RIGEL

born February 9, 1741 Wertheim am Main, Germany died May 2, 1799 Paris

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About the Music A L T H O U G H T H E R E A R E several recordings available now of

his symphonies and string quartets, the music of Henri-Joseph Rigel is little known to general concert-going audiences. And few musicians know much about him as a man.

A contemporary of Mozart, during the late 18th century the German Rigel was a highly-esteemed composer in his adopted city of Paris, one of the great musical centers of that period. Rigel was born in 1741 in Wertheim am Main, and studied composition with the Neapolitan composer Nicolò Jomelli — Italy was still considered by many as the forefront of musical art — and with Franz Xaver Richter.

In 1767, he travelled to Paris to further his education, and took up permanent residence in France’s bustling capital city. As it turned out, in that same year his name appeared for the first time in the catalog of works by the music publisher Breitkopf of Leipzig, and six of his keyboard sonatas were published in Paris — a good omen for an illustrious career in his new home city.

Rigel was a member of the Concert Spirituel, a highly-influential concert series (for which Mozart composed his Symphony in D major in 1778, later cataloged as K297 and known as the “Paris” Symphony). Rigel became a founding faculty member of the Paris Conservatoire in 1795.

Although he composed fourteen operas — most of that music is now lost — and several oratorios, Rigel’s fame during his lifetime and now rests with his instrumental works. These include twenty-plus orchestral pieces; fourteen symphonies were published in Paris during his lifetime. His first collection, of Six About the Music

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Symphonies, Op. 12 was published in 1774, the year he made his premiere at the Concerts Spirituels. The Symphony No. 4 in C minor is the fourth symphony from that collection, most of which are built in three movements.

The orchestras of Paris, during the last half of the 18th century, were known for their large size and the quality of their playing (compared to earlier in the century), and Rigel took advantage of these forces. His music is often characterized as being part of the Germanic Sturm und Drang (“storm and stress”) movement, a term derived from a movement in German literature. Its parallel instrumental musical style is characterized by extremes of dynamics and forceful expression.

With the Parisian orchestras, Rigel had players who could execute his every orchestral effect and the virtuoso parts that gave maximum strength to his musical ideas. Like Haydn’s more famous Sturm und Drang works — including his symphonies from this same period — Rigel’s Fourth Symphony clearly and resolutely embodies the movement’s spirit and energic soundscape.

Rigel begins the first movement Allegro assai with a flood of rapid tremolo supporting lightning-like flashes of motifs in the first violins, accompanied by accentual bursts in the brass; this music then settles into a second subject that suggests a minuet.

An extended middle section gives greater time to the development of the minuet music itself. The movement’s recapitulation section brings back material from the middle to round things out.

The lilting pastoral of the Largo non troppo second movement contrasts the opening storm with a sense of calm — although its middle section in the minor reminds us that this movement is only a brief respite from the ensuing drama of the third movement, marked Allegro spiritoso. Here, the passionate drive of the first movement returns — with unrelenting force. The music rarely approaches the sunny semblance of a major key, leaving the hearer stressed and in anguish.

—Steve LaCoste © 2018 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

The Cleveland Orchestra

ALL CONCERTS

Violin Concerto in E minor, Opus 64 composed 1838-44

At a Glance

by

Felix

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

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Mendelssohn made the first sketches for his Violin Concerto in 1838, but the actual composition took place largely in 1844. It was first performed on March 13, 1845, at a concert of the Leipzig Gewandhaus Orchestra, with Ferdinand David as soloist and conducted by Niels Gade.

This concerto runs about 25 minutes in performance. Mendelssohn scored it for an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus the solo violin. The

work’s three movements are played without pause.

The Cleveland Orchestra first performed Mendelssohn’s Violin Concerto in November 1919, under Nikolai Sokoloff and with violinist Toscha Seidel. Since that time, it has been presented regularly, played by some of the most well-known soloists of the day, including Yehudi Menuhin, Isaac Stern, Pinchas Zukerman, Itzhak Perlman, Midori, Hilary Hahn, and Christian Tetzlaff, as well as by several of the Orchestra’s concertmasters.

About the Music O N E O F T H E C O R N E R S T O N E S of the concerto repertoire, the Mendelssohn Violin Concerto is one of the most beloved symphonic works ever written.

At age 35, Mendelssohn could already look back on an international career of a decade and a half. He had been able to turn his fortunate personal situation to advantage and fully enjoy the benefits of a privileged family background (his father was a wealthy banker who was able to provide him with the best education and even put an orchestra at his disposal to play his early works). Since 1837, Mendelssohn was himself happily married and was, by 1844, the father of four. His first name, Felix (Latin for “happy”), appeared to be a good omen for his life.

(No one could then have predicted Mendelssohn’s tragic death only three years later.)

This concerto was a gift of friendship to a musician particularly close to Mendelssohn’s heart. Mendelssohn had known Ferdinand David (1810-1873) since boyhood, and shortly after he took over the directorship of the Leipzig Gewandhaus Orchestra, he invited the violinist to be his concertmaster. (David was to hold this position for 37 years, serving long after Mendelssohn’s untimely death.)

David shared with Mendelssohn many of the administrative duties at the orchestra. They also frequently performed chamber music together, with Mendelssohn at the piano. Mendelssohn’s About the Music

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fondness for David can be seen from this passage from a letter written to the violinist: “I realize that there are not many musicians who pursue such a straight road in art undeviatingly as you do, or in whose active course I could feel the same intense delight that I do in yours.”

This was written in 1838, the year Mendelssohn made the first sketches for the Violin Concerto. Other commitments, however, prevented him from completing the work until 1844; the concerto remained one of his last symphonic compositions (followed only by the oratorio Elijah).

The concerto seems perfectly to reflect the composer’s sunny disposition. In this work, as elsewhere in Mendelssohn’s music, Romantic passion is always tempered by Classical restraint, and tender lyrical feelings are This concerto seems balanced by light, even humorous moments. perfectly to reflect the Violinistic virtuosity goes hand in hand with a composer’s sunny dispodepth of expression achieved only by the greatsition. In this work, as est masters.

One of Mendelssohn’s most innovative touchelsewhere in Mendelses comes at the very beginning of the concerto, sohn’s music, Romanwhere he dispensed with the usual orchestral extic passion is always position and introduced the solo instrument, with tempered by Classical a soaring melody, immediately at the outset. The violin remains the center of attention throughout restraint, and tender the entire work, with only a few tutti [“all” instrulyrical feelings are ments] sections where the soloist doesn’t play. balanced by light, even In another striking departure from norms, humorous moments. the movements of the concerto are played without pause. It wasn’t the only time Mendelssohn had the movements of his larger works played with no breaks (he had done the same earlier, in the “Scottish” Symphony), but in the concerto he inserted short connecting passages between the movements. After the first movement, a single note held by a solo bassoon provides a link to the beautiful Andante, and a brief melodic passage serves as a bridge between the second and third movements. The speed of this latter passage, scored for solo violin and string orchestra, is halfway between the preceding slow and subsequent fast tempos. The various moods and sentiments — those of the passionate first, the lyrical second and the graceful third movements — all flow directly from one another, instead of presenting them as separate entities.

The written-out cadenza of the first movement (which

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About the Music

The Cleveland Orchestra

may be, at least in part, by David), is also more strongly integrated into the movement than was the case in earlier concertos. Mendelssohn moved it from its traditional place at the end of the movement to the middle, making it grow organically out of the development section and resolve just as naturally in the recapitulation. Nor does the cadenza end when the orchestra re-enters; it continues while the flute, the oboe, and the first violins play the main theme â&#x20AC;&#x201D; another example of the kind of seamless transition between sections that was so important to Mendelssohn. The charge, often repeated in the past, that Mendelssohn was a conservative whose music contains no significant innovations, rests on a serious misconception.

Felix Mendelssohn (left) wrote his Violin Concerto for his friend Ferdinand David (right). They had known one another since childhood, with David later serving as concertmaster of the Leipzig Gewandhaus Orchestra while Mendelssohn was the ensemble's conductor.

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About the Music

800 321 2322 carnegieinvest.com

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PROUDLY SHARING A CENTENNIAL SEASON WITH THE CLEVELAND ORCHESTRA. LOCATED ON THE OBERLIN COLLEGE CAMPUS Founded in 1917 by Elisabeth Severance Allen (later Prentiss), the AMAM has an acclaimed collection of more than 15,000 objects from virtually every culture and time period.

THURSDAY EVENING HOURS Once a month, galleries remain open until 7:30 pm: February 8, March 1, April 5, and May 3.

LINES OF INQUIRY: LEARNING FROM REMBRANDT’S ETCHINGS—February 6 to May 13 Works by the 17th-century Dutch master from the AMAM collection, as well as from Cornell, Harvard, Princeton, Syracuse, Vassar, Yale, the Morgan Library & Museum, and private lenders.

Centennial exhibitions through May 27: MAIDENFORM TO MODERNISM: THE BISSETT COLLECTION—Paintings by Chagall, Dubuffet, Matisse, Miró, Modigliani, Picasso, and others.

THIS IS YOUR ART: THE LEGACY OF ELLEN JOHNSON—Celebrating the Oberlin professor who championed modern and contemporary art.

A CENTURY OF ASIAN ART AT OBERLIN: JAPANESE PRINTS

Allen Memorial Art Museum 87 North Main St. Oberlin, Ohio

Open Tuesday to Saturday 10–5 Sunday 1–5 Closed Mondays and major holidays

Free admission www.oberlin.edu/ amam

ALL CONCERTS

Symphony No. 40 in G minor, K550 composed summer 1788

At a Glance

by

Wolfgang Amadè1

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

Mozart entered this Symphony in G minor into the catalog of his works on July 25, 1788. It is one of three symphonies he wrote that summer.

There is no record of performance during Mozart’s lifetime. What is today known as the Symphony No. 40 (Mozart’s symphonies and concertos weren’t numbered until the middle of the 19th century, when Ludwig Ritter von Köchel worked to catalog all the composer’s music in chronological order) is sometimes called the “Great” G-minor symphony to distinguish it from Mozart’s earlier symphony in the same key: No. 25, K183, also known as the “Little” G-minor.

The date of the symphony’s first performance is unknown. The fact that Mozart revised the scoring to include clarinets (adjusting the oboe lines at the same time) is a strong indication that he had heard the work

performed and wanted to make it better, or that he added the clarinets for a specific performance opportunity. A number of concert dates have been identified as possible or probable to this storyline, including printed advertisements for concerts in 1789 and 1790, and one in 1791 in which well-known clarinetists were involved.

This symphony runs about 35 minutes in performance. Mozart’s original scoring calls for flute, 2 oboes, 2 bassoons, 2 horns, and strings (with divided violas). This weekend’s performances are using the score’s later edition, in which Mozart added clarinets and made changes to the oboe parts.

The Cleveland Orchestra first performed Mozart’s Symphony No. 40 in its second season, in November 1919, under Nikolai Sokoloff’s direction.

About the Music W H E N M O Z A R T T O O K U P residence in Vienna in the first half of the 1780s, the amount of music making — and the accompanying professional opportunities present there for someone of his all-encompassing talents — seemed almost infinite. He quickly found in the salons of the nobility the practical advantage of connections and patronage (if not the mutual respect and comradery) that he had long been seeking. In addition, his interest and participation in Free Masonry also benefited him in his quest for monetary support. The Masonic lodge was a kind 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” Mozart’s middle name to the proper Latin form Amadeus. Only in recent years have we started remembering the Amadè name he preferred and used.

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About the Music

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of salon in which, as a Mason, he could mix as a “brother” with both the established nobility and newly-ennobled bourgeois in the pursuit of sponsorships.

By mid-decade, however, support for Mozart from the noble class began to wane — even as collective efforts among the aristocracy and bourgeoisie allowed him to continue to finance and produce subscription concerts that helped fill recurring gaps in his finances. But as the decade progressed further, two major factors contributed to an almost complete decline of support, placing Mozart in desperate financial straits. First, war between Austria-Hungary and Turkey drained the Viennese economy. Second, and perhaps even worse, an unfortunate drop in Mozart’s popularity thinned his income Mozart’s last three further. And, in spite of financial assistance symphonies are often from the Emperor and from his friend Baron viewed as a great sumvan Swieten — in both instances to help ming up of the composcover specific projects — by 1788 Mozart’s concert career lay in shambles and his fier’s understanding of nances in ruin. Rarely flush with money even what a symphony could in good times, his household’s ledger was be. In particular, No. now plunging deeper and deeper into debt.

40, written in the miThe future did not present a pretty picture.

Forced into action in June 1788, Mozart nor, is greatly appealmoved his family from the center of Vienna ing and a masterful to a “cheaper” apartment further out. It did, statement of “classical” however, include a calming garden, as a kind proportions without of consolation from his troubles. At the end of a letter to his Masonic “brother” the mersome of the length and chant Michael Puchberg, dated June 27 in self-evident artfulness which he begs financial assistance, Mozart of the “Jupiter” (No. 41) clearly and desperately stated his situation: “If you, my most worthy Brother, will not help that followed. me in my predicament, I shall lose honor and credit, which of all things I dearly wish to preserve. . . . If my wish is fulfilled I can breathe freely again, for I shall then be able to get my affairs in order and keep them so. Do come see me! I am always at home. I have done more work in ten days since I came to these rooms than in two months at any other lodgings, and were I not visited so frequently by black thoughts (which I must forcibly banish), I should do still better, for I live here pleasantly, comfortably, and — cheaply. I will not detain

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About the Music

The Cleveland Orchestra

OPERA THEATER HUMPERDINCK’S

HANSEL &GRETEL Wednesday, February 28 – Friday, March 2 7:30pm | Kulas Hall

TICKETS ARE ON SALE NOW! $20 adults $10 students $15 seniors and groups of 10+ 216.795.3211 or cim.edu NEW SATURDAY MATINEE PERFORMANCE!

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you longer with chatter of my affairs, but will hold my tongue — and hope!” The narration is bleak, but still, there was some hope, for the “ten days” of working was on the great triptych of symphonies he composed that summer in less than three months. Later known as Symphonies Nos. 39, 40, and 41, it is the second of these, in G minor, that we are hearing on this weekend’s concerts.

There has been much speculation among Mozart scholars as to what purpose these three big and complex symphonies served.

For what cause or occasion did the composer spend so much time in their creation? Was it simply an act of pure inspiration, or as Mozart scholar Alfred Einstein poetically muses, “an appeal to eternity”? Or perhaps Mozart hoped to perform them at “academies” during the autumn of 1788 or winter 1789, which could fill his finances through a subscription of patrons? Scholar Neal Zaslaw rebuts the “appeal to eternity” idea by stating that it “flies in the face of Mozart’s known attitudes to music and life, and the financial straits in which he then found himself. . . . While he may often have found great personal pleasure in composing . . . he composed to pay his rent and to be a useful member of society.”

If Zaslaw is correct, then Mozart must have composed these

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About the Music

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works with real performance opportunities in mind. Furthermore, the fact that he made two versions of the Symphony in G minor (No. 40) — first without, then with clarinets and an altered oboe part — suggests that both versions were performed. Still, no record of a financial payment has ever been found, and while some surviving playbills (from concerts between 1789 and 1791) suggest a real possibility of performances, the detailing on those documents is not specific enough to know for sure which “grand symphony” was played in each instance. Chances are that we will never know why Mozart created his last three symphonies.

THE MUSIC

Mozart’s last three symphonies, created we don’t know why, are often viewed as a great summing up of the composer’s understanding of what a symphony could be. In particular, No. 40, written in the minor, is greatly appealing and a masterful statement of “classical” proportions without some of the length and self-evident artfulness of the “Jupiter” (No. 41) that followed.

Overall, this work had a profound effect upon the ensuing Romantic generation. The symphony’s rhythmic drive, along with its rich chromaticism, thematic working-out, passionate outpouring, and general ambiguity — especially in the last movement — found deep resonance in the composers of the 19th century. Even the understated and expectant accompaniment of the violas in the opening movement seemed to signal that change was afoot.

Right at the start, Mozart sets the Allegro molto first movement in motion through the rhythmic impulse of the first themegroup, stated in the first violins over a driving ostinato figure in the viola accompaniment. This stark forward propulsion is interrupted by the dialogue-like interplay of strings and winds in the second theme-group. This group is undermined near its close by the recurrence of the opening motifs, now fragmented and distributed between strings and winds. The movement’s development section is dominated by the first-theme group and impressive contrapuntal textures. In the recapitulation, the transition between the first and second thematic groups functions as a second development, further adding to the driving intensity (and complexity) of the movement.

The Andante second movement is a hybrid creation, with expressive tension carried over from the Allegro molto mixed with a lyricism of melodic writing of a more settled nature. The

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About the Music

The Cleveland Orchestra

expressive tension permeates the movement’s development section via a chromatic ascending bass supporting descending thirds in the winds, violins, and violas.

The pronounced melodic syncopation and imitative counterpoint displayed in the third movement, marked Minuetto, brings a seriousness and gravity to this music, unusual for the period. Even though the movement’s contrasting Trio section is more relaxed, it is hardly a light shepherd’s dance.

Once again, as in the first movement a single minded rhythmic propulsion characterizes the first theme of the Allegro assai fourth movement. The second theme group, separated from the first by a rest, gives some relief to the music’s relentless drive. Still, in the scheme of things, such relaxation is momentary. The development section is completely shaped around the opening ascending “rocket” motif. Symphony No. 40 ends as it began, in the minor mode, the manifest verification of its relentless daemonic drive.

—Steve LaCoste © 2018

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About the Music

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The Cleveland Orchestra

Bernard Labadie Canadian conductor Bernard Labadie is well-known for his performances of Baroque and Classical repertoire. He founded Les Violons du Roy and was that ensemble’s music director for three decades. He continues as music director of an extraordinary choir, La Chapelle de Québec, which he founded in 1985. Mr. Labadie begins a four-year term as principal conductor of the Orchestra of St. Luke’s in New York with the 2018-19 season. He made his Cleveland Orchestra debut in April 2010 and most recent appearance here in August 2016.

As a guest conductor, Bernard Labadie lead major North American and international orchestras. This season, his schedule includes engagements with those of Baltimore, Finland, Frankfurt, Minnesota, Ottawa, St. Louis, and Toronto, as well as L’Orchestre Philharmonique de Radio France and the Rundfunk-Sinfonieorchester Berlin. He has conducted productions with the Canadian Opera Company, Cincinnati Opera, Glimmerglass Opera, New York’s Metropolitan Opera, Mostly Mozart Festival, and Santa Fe Opera, and has served as artistic and music director of L’Opéra de Québec and L’Opéra de Montréal. His operatic repertoire ranges across Baroque and Classical works, including Handel’s Orlando, Samson, and Theodora, and Mozart’s Così fan tutte, Lucio Sillo, and The Magic Flute.

Mr. Labadie’s extensive discography includes works for the ATMA, Brilliant Clas-

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Guest Artist

sics, Dorian, Hyperion, and Virgin Classics labels. These include Handel’s Apollo e Dafne along with a recording of Mozart’s Requiem with Les Violons du Roy and La Chapelle de Québec, both of which received Canada’s Juno Award. Other albums include C.P.E. Bach’s complete cello concertos with Truls Mørk, J.S. Bach’s complete piano concertos with Alexandre Tharaud, and Haydn’s piano concertos with MarcAndré Hamelin.

Bernard Labadie studied at the School of Music of Laval University in Quebec City, and at the conservatories of Montreal and Quebec. With his interests in the Baroque and Classical periods, he has led performances with many period instrument groups around the world, including Les Violons du Roy, Academy of Ancient Music, Boston’s Handel & Haydn Society, Orchestra of the Age of Enlightenment, and the Philharmonia Baroque.

In 2016, Mr. Labadie received the Samuel de Champlain award in Paris. In 2005, the Canadian government appointed him as an Officer of the Order of Canada, while his home province named him a Chevalier de l’Ordre National du Québec the following year.

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April 20-22, 2018

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The Cleveland Orchestra

Isabelle Faust German violinist Isabelle Faust is acclaimed for her artistry, technique and interpretive instincts. She made her Cleveland Orchestra debut in July 2014.

Ms. Faust performs regularly across Europe and in North America. Her appearances have included engagements with the orchestras of Berlin, Boston, Hamburg, London, Munich, Netherlands, Paris, and Tokyo, as well as with the Salzburg Camerata and Mozarteum Orchestra, and with many of the BBC orchestras of Great Britain and ensembles throughout Germany.

She made her United States debut in 1995.

Ms. Faust is both a student of historical technique and an advocate of new music. She has given premieres of works by Werner Egk, Michael Jarrell, Thomas Larcher, Olivier Messiaen, and Jörg Widmann, and has also revisited works by Morton Feldman, György Ligeti, Luigi Nono, and Giacinto Scelsi. In future seasons, she is scheduled to premiere new concertos for violin and orchestra by Ondrej Adamek, Beat Furrer, Oscar Strasnoy, and Marco Stroppa.

As a recitalist and chamber musician, Isabelle Faust has performed throughout Europe, Israel, Japan, and the United States, including festival appearances at Bad Kissingen, Colmar, Delft, Lanaudière Canada, Lyon, Rheingau, Sarasota, Schleswig-Holstein, and Schwetzingen.

Her musical partners include Pierre-Laurent Aimard, Bruno Canino, Bruno Giuranna, Clemens Hagen, Stephen Isserlis, Boris

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Guest Artist

Pergamenschikov, and Joseph Silverstein.

Pianist Alexander Melnikov also performs with Ms. Faust in concerts and recordings. Their Harmonia Mundi album of the complete Beethoven sonatas received an Echo Klassik Award, Gramophone Award, and a Grammy nomination. Her discography also features works

by Bach, Bartók, Berg, Dvořák, Haydn, Janácek, Schumann, and Szymanowski, which have been honored with Diapason d’Or, Diapason d’Or de l’Annee, and a Japanese Record Academy award.

Isabelle Faust began violin lessons at age five, and as a teenager studied with Denes Zsigmondy and Christoph Poppen.

In 1987, she won the International Leopold Mozart Competition of Augsberg. In 1990, Rovigo awarded her its Premio Quadrivio Prize, and in 1993 she received first prize in the Paganini Competition of Genoa.

Isabelle Faust performs on the 1704 “Sleeping Beauty” Stradivarius violin, on loan to her from Germany’s L-Bank BadenWürttemberg. She teaches violin at the Berlin University of the Arts.

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Dreams can come true

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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.

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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George Szell Society

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

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

Individual Annual Annual Support Individual

The Cleveland Orchestra

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 Womenâ&#x20AC;&#x2122;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. Oâ&#x20AC;&#x2122;Neill Julia and Larry Pollock+ Mr. and Mrs. James A. Ratner Marc and Rennie Saltzberg 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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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 Don H. McClung 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 Joanne Avenmarg 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+

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

Individual Annual Support

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

The Cleveland Orchestra

Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel James and Virginia Meil Dr. Susan M. Merzweiler Loretta J. Mester and George J. Mailath Claudia Metz and Thomas Woodworth+ Lynn and Mike Miller+ Drs. Terry E. and Sara S. Miller Curt and Sara Moll Ann Jones Morgan+ Mr. John Mueller Lucia S. Nash Georgia and Carlos Noble (Miami)+ Richard and Kathleen Nord Thury Oâ&#x20AC;&#x2122;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

Composerâ&#x20AC;&#x2122;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

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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 Oâ&#x20AC;&#x2122;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 83 93

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The Cleveland Orchestra

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 85

Jewish values teach us to care for future generations.

The Jewish Federation of Cleveland can help you leave a precious inheritance and lasting legacy for your children, grandchildren, and our community.

Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a confidential conversation at 216-593-2805 or cwolf@jcfcleve.org.

L’dor V’dor.

From Generation to Generation.

Create Your Jewish Legacy

www.jewishcleveland.org

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 87

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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.

89

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AT SE V E R A N C E H A LL RESTAURANT AND CONCESSION SERVICE Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances (and for lunch following Friday Morning Concerts). For reservations, call 216-231-7373, or online by visiting 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 at the top of the escalator CAFE from the parking garage. Offering pre- and post-concert refreshments and light foods, the Café 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 Opus Café on the ground floor.

QUESTIONS

Severance Hall 2017-18

Guest Information

91

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

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

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

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online.

As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can make arrangement by calling the House Manager in advance at 216-231-7425.

Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performances. If you need assistance, please

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

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

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92

Guest Information

The Cleveland Orchestra

contact the House Manager at 216-231-7425 in advance if possible.

Service animals are welcome at Severance Hall.

Please notify the Ticket Office as you buy tickets.

IN THE EVENT OF AN EMERGENCY Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.

Contact an usher or a member of the house staff if you require medical assistance.

SECURITY For security reasons, backpacks, musical instrument cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search.

Severance Hall is a firearms-free facility. No person may possess a firearm on the premises.

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

Severance Hall 2017-18

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 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.

Guest Information

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THE CLEVELAND C O N C E R T

C A L E N D A R

WINTER SEASON Mitsuko Uchida’s Mozart

All Ravel

Feb 8 — Thursday at 7:30 p.m.

Feb 9 — Friday at 8:00 p.m. <18s Feb 10 — Saturday at 8:00 p.m.

Feb 22 — Thursday at 7:30 p.m.

Feb 23 — Friday at 8:00 p.m. <18s Feb 24 — Saturday at 8:00 p.m.

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

THE CLEVELAND ORCHESTRA Matthias Pintscher, conductor Jean-Yves Thibaudet, piano Cleveland Orchestra Chorus

MOZART Piano Concerto No. 5 HANDEL Suite from Water Music MOZART Piano Concerto No. 27

RAVEL Suite from Mother Goose RAVEL Piano Concerto for the Left Hand RAVEL Daphnis and Chloé (complete ballet music)

Sponsor: Quality Electrodynamics (QED)

American Greetings Family Concert

Sponsor: Squire Patton Boggs (US) LLP

Beethoven Lives Upstairs Feb 11 — Sunday at 3:00 p.m.

PNC Musical Rainbow

<18s

The Happy Horn

THE CLEVELAND ORCHESTRA Vinay Parameswaran, conductor with special guest Classical Kids Live!

Feb 23 — Friday at 10:00 a.m. <18s Feb 24 — Saturday at 11:00 a.m. <18s

This award-winning concert program is based on a lively exchange of letters between young Christoph and his uncle.

Its subject is the musical “madman” who has moved into the upstairs apartment of Christoph’s Vienna home — and the young boy’s coming to understand the genius of Beethoven, the torment of his deafness, and the beauty of the music he gave to the world.

(Special Pre-concert Activities begin at 2:00 p.m.)

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

Sponsor: PNC Bank

Youth Orchestra and Youth Chorus

Sponsor: American Greetings

Feb 25 — Sunday at 7:00 p.m.

Mendelssohn’s Violin Concerto Feb 15 — Thursday at 7:30 p.m.

Feb 16 — Friday at 11:00 a.m. <18s Feb 16 — Friday at 8:00 p.m. <18s Feb 17 — Saturday at 8:00 p.m.

<18s

CLEVELAND ORCHESTRA YOUTH ORCHESTRA Vinay Parameswaran, conductor CLEVELAND ORCHESTRA YOUTH CHORUS Daniel Singer, acting director Two of northern Ohio’s premier musical youth ensembles present their annual joint concert at Severance Hall, featuring works by Sibelius, Hanson, and Dvořák.

THE CLEVELAND ORCHESTRA Bernard Labadie, conductor Isabelle Faust, violin

Prelude Concert begins at 6 p.m. with Youth Orchestra and Youth Chorus members performing chamber music.

RIGEL Symphony No. 4* MENDELSSOHN Violin Concerto MOZART Symphony No. 40

Elgar & Beethoven* Mar 1 — Thursday at 7:30 p.m.

Mar 2 — Friday at 11:00 a.m. <18s * Mar 3 — Saturday at 8:00 p.m.

Mar 4 — Sunday at 3:00 p.m. <18s

* Not performed on Friday morning concert Sponsor: BakerHostetler

Under 18s Free FOR FAMILIES

with Hans Clebsch, horn

<18s

Concerts with this symbol are eligible for "Under 18s Free" ticketing. Our "Under 18s Free" program offers free tickets for young people attending with families (one per full-price adult for concerts marked with the symbol above).

THE CLEVELAND ORCHESTRA Nikolaj Znaider, conductor Yefim Bronfman, piano

BEETHOVEN Piano Concerto No. 5 * ELGAR Symphony No. 2 * Not performed on Friday morning concert Sponsor: BakerHostetler

94

Concert Calendar

The Cleveland Orchestra

ORCHESTRA Tchaikovsky’s Pathétique

2O1 7-18 CENTENNIAL SEASON

I N

T H E

S P O T L I G H T

Mar 8 — Thursday at 7:30 p.m.

Mar 9 — Friday at 8:00 p.m. <18s Mar 10 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Michael Tilson Thomas, conductor Daniil Trifonov, piano

STRAVINSKY Scènes de ballet PROKOFIEV Piano Concerto No. 2 TCHAIKOVSKY Symphony No. 6 (“Pathétique”) Sponsor: Squire Patton Boggs (US) LLP

PNC Musical Rainbow

The Brilliant Bass

Mar 9 — Friday at 10:00 a.m. <18s Mar 10 — Saturday at 11:00 a.m. <18s with Henry Peyrebrune, bass

For ages 3 to 6, introducing instruments of the orchestra.

With solo selections, kid-friendly tunes, and sing-along participation.

Sponsor: PNC Bank

American Greetings Family Concert

Scheherazade!

Mar 11 — Sunday at 3:00 p.m.

<18s

THE CLEVELAND ORCHESTRA Vinay Parameswaran, conductor with special guest Enchantment Theatre Company Enjoy an afternoon of wonder as Scheherazade (our storyteller heroine) and her cast of fabulous characters sail on Sinbad’s ship to exotic lands, battle a giant dragon with the Kalandar Prince, and discover Aladdin’s lamp and the surprises hidden inside.

(Special Pre-concert Activities begin at 2:00 p.m.)

Sponsor: American Greetings

Dvořák’s Eighth Symphony Mar 15 — Thursday at 7:30 p.m.

Mar 16 — Friday at 11:00 a.m. <18s * Mar 17 — Saturday at 8:00 p.m.

Mar 18 — Sunday at 3:00 p.m. <18s

March 8 — Thursday at 7:30 p.m.

March 9 — Friday at 8:00 p.m. <18s March 10 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Michael Tilson Thomas, conductor Danill Trifonov, piano

Michael Tilson Thomas returns to Severance Hall to lead a program of all-Russian music, featuring Tchaikovsky’s final, emotionally-laden last symphony. Pianist Daniil Trifonov plays Prokofiev’s fiery and brilliant Second Piano Concerto.

Concert Sponsor: Squire Patton Boggs (US) LLP

THE CLEVELAND ORCHESTRA Alan Gilbert, conductor Alisa Weilerstein, cello

DVOŘÁK The Watersprite * BARBER Cello Concerto DVOŘÁK Symphony No. 8

CLEVELAND ORCHESTRA TICKETS

* Not performed on Friday morning concert Sponsor: Squire Patton Boggs (US) LLP

Severance Hall 2017-18

Tchaikovsky’s Pathétique

PHONE

216 - 231-1111 800-686-1141

clevelandorchestra.com Concert Calendar

95

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A SYMPHONY OF

success

We believe that all Cleveland youth should have access to high-quality arts education. Through the generosity of our donors, we have invested nearly $2 million since 2016 to scale up neighborhood-based programs that now serve 1,500 youth year-round in music, dance, theater, photography, literary arts and curatorial mastery. Thatâ&#x20AC;&#x2122;s a symphony of success.

Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.

(877) 554-5054 clevelandfoundation.org/success