The Cleveland Orchestra March 8, 9, 10 Concerts

THE

CLEVEL AND ORC HE STR A

2O1 7-18 CENTENNIAL SEASON

FRANZ WELSER-MÖST

Week 16 March 8, 9, 10

Tchaikovsky’s Sixth Symphony (“Pathétique”) page 27

Perspectives: March is “Music in Our Schools” Month page 7

SEVERANCE HALL

WINTER

We help keep the orchestra feeling sharp.

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

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

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Music colors their world.

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

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2O1 7-18 CENTENNIAL SEASON

TA B L E

OF

CONTENTS

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

About the Orchestra

Students from across Greater Cleveland have attended weekday Education Concerts with The Cleveland Orchestra for nearly 100 years.

PAGE

Week 16 Perspectives from the Executive Director March is “Music in Our Schools” Month . . . . . . . 7 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . . 9 From the Start: The Cleveland Orchestra . . . . . . 11 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

16 TCHAIKOVSKY’S SIXTH Concert: March 8, 9, 10 . . . . . . . . . . . . . . . . . . . . . . . 27 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 29

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

WEEK

STRAVINSKY

Scènes de ballet . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 PROKOFIEV

Piano Concerto No. 2 . . . . . . . . . . . . . . . . . . . . . . . 35 TCHAIKOVSKY

Symphony No. 6 (“Pathétique”) . . . . . . . . . . . . . 41 Guest Conductor: Michael Tilson Thomas . . . . . . 47 Guest Soloist: Daniil Trifonov . . . . . . . . . . . . . . . . . . . 49 NEWS

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

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

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

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

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

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.

14 60 67 69

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

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

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.

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Table of Contents

The Cleveland Orchestra

10 0

RE ASON S

TO

CE LE BR ATE

No. 98 When it debuted, the Orchestra consisted of 54 musicians and conductor Nikolai Sokoloff.

Today, the Orchestra has more than 100 musicians.

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

Perspectives from the Executive Director March 2018 Since its founding a hundred years ago, one of The Cleveland Orchestra’s core missions has been to inspire and educate new generations across Northeast Ohio. As we begin our Second Century, our unwavering commitment to this fundamental promise remains stronger than ever.

March is “Music in Our Schools” month, celebrated across the country to raise awareness surrounding the importance of music and arts education in schools. On Tuesday, March 6, I was privileged to travel along with nearly 200 young musicians from 37 communities across Northeast Ohio, as the Cleveland Orchestra Youth Orchestra and Cleveland Orchestra Youth Chorus gave a special — and superbly polished — performance at the Ohio Statehouse for legislators and government policy-makers.

We believe that no child’s education should be considered complete without music and the arts. From studies and personal experience, we know that music is an essential component of a well-rounded education for all children. Exposure to and learning about the arts helps children, students, parents, and adults. Here’s how . . .

Learning in and through the arts improves academic achievement, raises graduation rates, increases self-esteem, and helps develop many of the traits and skills that are essential to succeeding in the 21st century — including creativity, effective communication, problem solving, collaboration, and innovative thinking; Students who participate in music and the arts outperform their peers on virtually every measure, according to decades of research, with students from lower socio-economic backgrounds reaping the greatest benefits; Arts education feeds and supports Ohio’s industries, arts and cultural organizations, and the overall quality of life throughout our region; Music and the arts provide a positive lens through which to view, interact and understand the world; especially in these turbulent times, music and the arts feed our souls and help strengthen a sense of community.

Each year, thousands of area students and their teachers attend weekday Education Concerts here at Severance Hall, in addition to a dedicated series of in-school programs focused on fostering learning of music and through music. In its first century, with the support of many generous corporations, foundations, and individuals, The Cleveland Orchestra has introduced over 4 million young people to live classical music, and thousands more have participated in instrumental and vocal music-making under our auspices. An important goal for the Orchestra’s Second Century is to enable even more children to experience music firsthand, especially those with the least access — because all children deserve the benefits of an art-rich education, one that contributes to success in school, work, and life.

As audience members and patrons of The Cleveland Orchestra who appreciate the value of music in your own lives, I hope that you can all be advocates for music’s continuing role — in the schools, in our community, for all, each and every day. Your support and advocacy can make a world of difference today, and for future generations.

Severance Hall 2017-18

André Gremillet

7

Together, we’re greater.

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8

The Cleveland Orchestra

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

Severance Hall 2017-18

André Gremillet, Executive Director

Musical Arts Association

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The Cleveland Orchestra

CLEVELAND ORCHESTRA THE

December 1919, Grays Armory

From the Start

A Mission for Greatness in Community, Education, & Music

by E R I C S E L L E N

A

2O1 7-18 CENTENNIAL SEASON

cclaimed for decades among the world’s top symphonic ensembles, The Cleveland Orchestra celebrates its 1OOth year during the 2017-18 season.

Such fame and acclaim did not come without a plan. From the very beginning, the private citizens who created this public institution fully intended to foster a great musical ensemble that would carry the exceptional can-do spirit of the city of Cleveland far and wide. Generations have carried through on the hard work required to forge and sustain the Orchestra’s mission to share extraordinary musical experiences, to foster a love of music in students of all ages, and to proudly carry the name of the city it represents.

The Early Decades: Creation, Growth, and the Construction of Severance Hall At the time the ensemble was created, in 1918, Cleveland was a rising industrial metropolis heavily involved in the steel industry and rivalling Detroit in car manufacturing. Rich magnates put the money together for the Orchestra’s early seasons, including John L. Severance, an acquaintance of John D. Rockefeller.

Unusually for the era, a woman, Adella Prentiss Hughes, was the

Severance Hall 2017-18

About the Orchestra

11

guiding light behind the efforts to create a hometown band — and she worked tirelessly and with great political finesse to launch it on a trajectory toward being “as good as any orchestra in America.”

Nikolai Sokoloff, the Orchestra’s first music director (1918-33), is often overlooked in light of his better-known suc-

12

cessors. He was, however, certainly good enough to pull the group together and guide them forward for more than a decade. Those years saw the start of many education programs that continue today — the Orchestra has introduced more than 4 million young people to classical music across its first century — as well as extensive touring across the United States and to Cuba, and its first concerts at New York’s famed Carnegie Hall.

Perhaps the biggest push in the early years came from John L. Severance when he donated money toward the ensemble’s permanent home concert hall, named to honor both Severance and his wife when it opened in 1931. Severance Hall was among the very first such buildings designed with radio broadcasting capability in its original schematics and quickly gave the musical ensemble a new sense of permanence, style, and purpose.

Artur Rodzinski came next as music director (1933-43), injecting a new level of energy into the Orchestra’s music making.

A gifted if mercurial leader, who may (or may not) have had a pistol strapped to him onstage when he conducted, Rodzinski had big ambitions and started out strong. For four seasons in the mid-1930s, the Orchestra’s season featured fully-staged opera productions at Severance Hall, with some of the day’s most-renowned stars, including Lotte Lehmann and Friedrich Schorr.

However, the cost of presenting four or five operas each year, in the midst of the Depression, eventually forced their discontinuation. Rodzinski moved forward nevertheless, with recordings alongside new and rediscovered works. Finally, he left CleveThe Cleveland Orchestra

land to pursue his own career in the bigger cities of New York and, later, Chicago.

For Erich Leinsdorf, the next music director (1943-46), timing was everything — and World War II largely precluded him from making much impact in Cleveland.

Many of the ensemble’s musicians were on leave for military duty, and Leinsdorf himself was away part of the time for military service. Evenso, he made some solid recordings, led a variety of radio broadcasts, and re-affirmed his own bona fides for the high-powered international career he enjoyed in the ensuing decades.

The Szell Era: Rise to International Fame George Szell, music director from 1946 until his death in 1970, took a credibly good orchestra and made it great. It’s not that he put The Cleveland Orchestra on the map, for it had been touring around the U.S. for years. It was more that he took the stage and insisted that Cleveland could be — in real fact, would become — as good

as any orchestra anywhere. His legendary standards focused 100 musicians toward a kind of peerless perfection that dazzled many ears. Just as a great restaurant grows its reputation through delivering consistent excellence, Szell was concerned with repeatability. Day in and day out, critics and audiences around the world could more and more count on The Cleveland Orchestra to deliver a great performance, everytime, anywhere. That predictability, coupled with the rise of audiophile home listening equipment (and stereo sound) turned Cleveland into a powerhouse in the recording studio, creating an outstanding catalog across the standard repertoire, many selections from which still hold their own as much as half a century later.

The Orchestra’s ambitions also grew along with Szell’s tenure, touring internationally to amaze Europeans unaccustomed to such constant perfection in live performance. A ten-week tour in 1965 included a month in the Soviet Union, which became legendary among Cleveland’s musicians,

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

Severance Hall 2017-18

About the Orchestra

13

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

15

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The Cleveland Orchestra

warmth of sound, while presenting intriguing programming of standard works mixed together with lesser-known repertoire. Touring became an annual part of the Orchestra’s calendar, including regular residencies in Salzburg, performances throughout Europe, and first performances in China.

These years also coincided with the final era of growth in commercial recording. The Cleveland Orchestra laid claim to being the “most-recorded orchestra in America” for nearly a decade, turning out album after album annually to wide acclaim and sales. In addition, Dohnányi revived the Orchestra’s operatic traditions, though mostly with in-concert presentations, and devoted his work to further polish and amalgamate the musicians’ gifted artistry and ensemblework.

One of the greatest long-term achievements of Dohnányi’s tenure was the renovation and expansion of Severance Hall, which restored what many have called “America’s most beautiful concert hall” to visual interior splendor while simultaneously enhancing its famously clear and intimate acoustics.

The work also restored the hall’s original 6,025-pipe concert organ, making it once again 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 Severance Hall 2017-18

— 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

17

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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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About the Orchestra

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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

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To learn more, contact our gift planning team at 216-983-2200 or visit UHGiving.org.

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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

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The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Emilio Llinás 2

Lynne Ramsey

Louis D. Beaumont Chair

Richard Weiss 1

The Musicians

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

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

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra.

The number and seating of musicians onstage varies depending on the piece being performed.

The Cleveland Orchestra

2O1 7-18

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

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

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

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

Robert Walters

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Afendi Yusuf * Robert Marcellus Chair

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

Daniel McKelway

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

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

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

Michael Miller CORNETS Michael Sachs *

ENGLISH HORN Robert Walters

2

Robert R. and Vilma L. Kohn Chair

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

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

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2017-18

CENTENNIAL SEASON

Mary Elizabeth and G. Robert Klein Chair

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

Donald Miller Tom Freer Thomas Sherwood KEYBOARD INSTRUMENTS Joela Jones * Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller

Michael Miller

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

TROMBONES Massimo La Rosa *

Sidney and Doris Dworkin Chair Sunshine Chair George Szell Memorial Chair

Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROMBONE Thomas Klaber

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

EUPHONIUM AND BASS TRUMPET Richard Stout

CONDUCTORS Christoph von Dohnányi

TUBA Yasuhito Sugiyama*

Vinay Parameswaran

Nathalie C. Spence and Nathalie S. Boswell Chair

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

MUSIC DIRECTOR LAUREATE ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong ACTING DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

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

The Musicians

23

CONGRATULATIONS TO

The Cleveland Orchestra CENTENNIAL SEASON

The Cleveland Orchestra guide to

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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: March 8, 9, 10 “Russian Matters, Musical Masters” (musical works by Stravinsky, Prokofiev, and Tchaikovsky) with guest speaker Caroline Oltmanns professor, Youngstown State University

Spring Previews: March 15, 16, 17, 18 “The Wow Factor!” (musical works by Dvořák and Barber) with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

March 22, 24, 25 “First-Rate Seconds” (musical works by Poulenc and Rachmaninoff) with guest speaker Emily Luarance

April 5, 7 “Partners in Joy and in Grief” (musical works by Brahms and Suk) with Rose Breckenridge

April 12 “Beethoven — Buttoned and Unbuttoned” (musical works by Beethoven) with Rose Breckenridge

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Concert Previews

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Committed To Excellence As another long-established Cleveland institution with a global reputation for excellence, we are delighted to continue our support for The Cleveland Orchestra in its centenary year.

47 Offices in 20 Countries squirepattonboggs.com

Local Connections. Global InďŹ&#x201A;uence.

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

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

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

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

2O1 7-18 CENTENNIAL SEASON

Michael Tilson Thomas, conductor IGOR STRAVINSKY (1882-1971)

SERGEI PROKOFIEV (1891-1953)

Scènes de ballet Introduction — Danses (corps de ballet & ballerina) — Pantomime — Pas de deux — Pantomime — Variations — Pantomime — Danses (corps de ballet) — Apothéose

Piano Concerto No. 2 in G minor, Opus 16 1.

2.

3.

3.

Andantino — Allegretto — Andantino Scherzo: Vivace Intermezzo: Allegro moderato Finale: Allegro tempestoso

DANIIL TRIFONOV, piano

INTER MISSION PYOTR ILYICH TCHAIKOVSKY (1840-1893)

Symphony No. 6 (“Pathétique”) in B minor, Opus 74 1.

2.

3.

4.

Adagio — Allegro Allegro con grazia Allegro molto vivace Finale: Adagio lementoso

This weekend’s concerts are sponsored by Squire Patton Boggs (US) LLP, a Cleveland Orchestra Partner in Excellence.

Daniil Trifonov’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Gerhard Foundation, Inc. In recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund, these concerts are dedicated to: March 8 — Barbara S. Robinson March 9 — Mr. and Mrs. Alex Machaskee

Severance Hall 2017-18

Concert Program — Week 16

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March 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

“Russian Matters, Musical Masters” with guest speaker Caroline Oltmanns, Youngstown State University

STRAVINSKY Scènes de ballet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 31 (15 minutes)

PROKOFIEV Piano Concerto No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . Page 35 (30 minutes)

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

INTERMISSION (20 minutes)

TCHAIKOVSKY Symphony No. 6 (“Pathétique”) . . . . . . . . . . . . . . . . . . Page 41 (45 minutes)

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

Concert ends: (approx.)

THUR 9:25 FRI 9:55 SAT 9:55

facebook.com/clevelandorchestra twitter: @CleveOrchestra

Severance Restaurant and Opus Café Post-concert desserts and drinks

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instagram: @CleveOrch (Please note that photography is prohibited during the performance.)

This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Dance, Concerto& Symphony T H I S W E E K ’ S C O N C E R T S offer three works by three Russian-born

composers: Igor Stravinsky, Sergei Prokofiev, and Pyotr Ilyich Tchaikovsky.

The last-named of these dominated Russian musical life at the end of the 19th century. The other two were iconoclasts, spouting wilder ideas and leaving their homelands in the early 20th century to build careers far from home.

While Prokofiev returned to embrace the realities of Soviet rule, Stravinsky kept evolving his view of music, and scandalized Paris before settling in the United States.

The pieces on this program represent musical youth (Prokofiev), middle age (Stravinsky), and renowned maturity (Tchaikovsky). The concert opens with a short ballet score, written by Stravinsky in 1944 for a Broadway revue. It is an amalgam of styles, mixed together against a modern balletic structure, blending modernism and lyrical, classical and jazz.

Next comes Prokofiev’s Second Piano Concerto. Originally written in 1912-13 and premiered to a decidedly negative audience reaction — including catcalls and hissing. The score was lost in the midst of Russia’s revolutions and civil war a few years later, but reconstructed (and thoroughly revised) by the composer in 1923. This is Prokofiev with his youthful edge, throwing tomatoes at the past while at the same time demanding extraordinary stamina and skill at the piano — this week played by Daniil Trifonov.

To close the evening, guest conductor Michael Tilson Thomas leads Tchaikovsky’s final symphony. This great work, premiered just days before the composer’s accidental death in 1893, is filled with deep emotion and rich sonorities. The composer’s brother gave it the nickname “Pathétique” even before his brother’s death added real pathos to its extremes of Romantic tension and release.

—Eric Sellen

LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM).

The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, June 3, at 4:00 p.m. and on Saturday, August 25, at 8:00 p.m.

Severance Hall 2017-18

Week 16 — Introducing the Concerts

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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

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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

Scènes de ballet composed 1944

At a Glance

by

IGOR

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

Severance Hall 2017-18

Stravinsky completed his Scènes de ballet in Hollywood on August 23, 1944, on commission from Billy Rose for a Broadway revue titled “The Seven Lively Arts.” Cole Porter wrote a number of songs for the show, with a book (storyline) by George S. Kaufman and Ben Hecht. After a single out-of-town tryout performance in Philadelphia, the run on Broadway used only parts of Stravinsky’s ballet sequence score. The first complete concert performance was given by the New York Philharmonic under the composer’s direction on February 3, 1945.

This work runs about 15 minutes in performance. Stravinsky scored it for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, bassoon, 2 horns, 3 trumpets, 3 trombones, tuba, timpani, piano, and strings.

The Cleveland Orchestra previously performed Scènes de ballet in January 1947, under the composer’s direction. It has been presented on only one additional weekend of concerts prior to this season, in February 1999 under the direction of Oliver Knussen.

About the Music B Y T O D AY ’ S S T A N D A R D S — for artistic integrity and clear

creative authorship — Stravinsky’s score for “Scènes de ballet” would seem to have come about through an oddly casual conception and birth. In 1944, a well-known Broadway producer, Billy Rose, asked this most famous of “modern” composers, then living in Hollywood, to write music for a short ballet to go into a new musical show. The songs for the new revue, eventually titled The Seven Lively Arts, were being written by Cole Porter.

The book — yes, there was a storyline to tie it all together — was

by George Kaufman and Ben Hecht. Moss Hart was in charge of some of the comedic sketches. (Porter’s now classic “Every Time We Say Goodbye” was among the show’s few hit tunes.)

Stravinsky and Cole Porter?! And Benny Goodman was involved, too. Broadway and ballads and ballet! It was a type of pastiche show almost unknown in today’s Broadway culture of carefully-built story musicals. Yet such a mash-up was one of the points of the show in 1944. Variety shows were still a massmarket medium. And, at least as originally conceived, The Seven Lively Arts was intended as a satire on show business itself and the many “lively arts” — and how they did or didn’t fit (or play nicely) together. As produced, it was filled with good performers and a maddeningly mixed set of creative parts, some better About the Music

31

than others.

Stravinsky, in a letter to conductor and friend Robert Craft, some years later, described this ballet music as “a period piece, a musical portrait of Broadway in the last years of World War II. It is featherweight and sugared.”

The score is divided into nine sections, alternating solo or duet dances with full corps de ballet sequences. It has been been “dressed” with a variety of varying choreography over the years, built around its clear Stravinskian musical structures — filled with modern, neoclassical, lyrical, dissonant, and jazzy touches.

—Eric Sellen © 2018 Igor Stravsinky wrote this commentary about his “Scènes de ballet” in a letter to Robert Craft: B I L LY R O S E telephoned me one spring day in 1944 with an of-

fer of $5,000 for a fifteen-minute ballet suite. He said that my solo dancers would be Alicia Markova and Anton Dolin and that Dolin would “compose” the choreography. But in spite of Dolin, the choreography was my own, in the sense that I conceived the sequence, character, and proportions of the pieces myself and visualized the dance construction of this plotless “abstract” ballet as I wrote the music. In fact, no other score of mine prescribes a choreographic plan so closely.

The orchestral Introduction exposes two identifying devices, the blues chord, and the melodic-pull idea. When the curtain opens, the corps de ballet is discovered dancing in groups. The melodicpull music is played by four violas and danced by four ballerinas. At No. 9 in the score, the groups join together, and at No. 40 they exit as the ballerina enters, sola.

The idea of the Pantomime was that different groups of dancers should enter from different positions, each group in coordination with one of the arpeggiated figures in the music.

The Andantino is a solo dance for the ballerina. When I first played it to Markova and Dolin, in my house in Hollywood, they said the flute cascades suggested falling stars, but I am unaware whether any such pictorial nonsense was realized in the performance, or even whether this part of the piece was performed at all. My only scenic idea was that the ballerina should wear a black tutu with diamond sequins, her partner a classical gilet.

The music from No. 60 to 69 is a dance for the corps de ballet. The trumpet solo in the pas de deux is associated with the male dancer, the horn with the female. The frilled phrase-endings in the

32

About the Music

The Cleveland Orchestra

ballerina’s Allegretto were conceived as possibilities for pirouettes.

The recapitulation of the pas de deux with the full orchestra now sounds to me — pardon the pleonasm — like bad movie music; the happy homesteaders, having massacred the Indians, begin to plant their corn. In the last two measures of this number, the solo dancers disappear at opposite sides of the stage, after which the second Pantomime is an ensemble for the corps de ballet.

The orchestral tutti that follows is the male dancer’s solo variation, and the cello duet is the ballerina’s solo. The final Pantomime unites the solo dancers, and the rest of the score — from the jazz movement in Stravinsky, in a letter to a 3/8 time to the Apotheosis — assembles friend some years later, dethe whole company. I envisaged, for the scribed this ballet music as finale, a stage full of groups twirling and “a period piece, a musical mounting “delirando.”

The story of the first performance of portrait of Broadway in the Scènes de ballet (I did not know whether last years of World War II. Glazunov had already used this title when It is featherweight and sugI chose mine) is very worldly indeed. Page ared.” The original score by page as I completed the orchestra score, my friend Ingolf Dahl arranged it for piais filled with modern, neono. Mr. Rose professed to like the music classical, lyrical, dissonant, in this piano version, or so I was told, but and jazzy touches.” he was dismayed by my orchestral “cellophane.” The music was cut to a fraction of its original length when The Seven Lively Arts, the show for which it was composed, opened in New York. After the first night of the Philadelphia preview run, I received a telegram: YOUR MUSIC GREAT SUCCESS STOP COULD BE SENSATIONAL SUCCESS IF YOU WOULD AUTHORIZE ROBERT RUSSELL BENNETT RETOUCH ORCHESTRATION STOP BENNETT ORCHESTRATES EVEN THE WORKS OF COLE PORTER. I telegraphed back: SATISFIED WITH GREAT SUCCESS. . . . The Apotheosis was composed on the day of the liberation of Paris. I remember that I interrupted my work every few minutes to listen to the radio reports. I think my jubilation is in the music.

—Igor Stravinsky

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About the Music

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Piano Concerto No. 2 in G minor, Opus 16 composed 1912-13, revised 1923

At a Glance

by

Sergei

PROKOFIEV born April 23, 1891 Sontsovka, Ukraine died March 5, 1953 Moscow

Prokofiev wrote his Second Piano Concerto in 1912-13, and played the solo part in the first performance on September 5, 1913, at Pavlovsk, near St. Petersburg. The premiere caused a major scandal, with hisses and catcalls hurled the new work; critics expressed their complete bewilderment at what they perceived as “cacophony” and “craziness” built into a complete “musical mess.”

The score of the Second Piano Concerto was lost or destroyed during the civil war of 1918, so that, in 1923, the composer (by then living in the West) reconstructed it from memory during a stay in Ettal, Bavaria. The first performance of the reconstructed concerto took place in Paris in 1924,

with Serge Koussevitzky conducting.

The 1923 scoring runs about 30 minutes in performance and calls for an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, side drum, cymbals), and strings, plus piano solo. The score was published with a dedication in memory of Max A. Schmidhof, one of Prokofiev’s friends, who had committed suicide in 1913.

The Cleveland Orchestra first performed this concerto in 1962, under George Szell’s direction with soloist Malcolm Frager. The most recent performances were in March 2002, with Steven Smith conducting and Garrick Ohlsson as the soloist.

About the Music A R O U N D T H E T I M E that Prokofiev began work on his Second

Piano Concerto, in December 1912, a group of iconoclastic poets, including the 19-year-old Vladimir Mayakovsky, issued the futurist manifesto “Slap to the Public’s Taste” in Moscow.

The manifesto declared that such revered stalwarts as “Pushkin, Dostoyevsky, Tolstoy, etc. etc. must be thrown overboard from the steamer of the Present Time” and expressed an “invincible hate for the language that existed before.” The manifesto demanded the abolition of all traditional art forms and a radical new start in poetry (including a call for the creation of new words). It called for unbridled individualism in art and life.

Mayakovsky’s first volume of poetry, published in 1913, was titled simply I. The futurists tried their best, in everything, to shock their audiences, as Mayakovsky did with the title of his long poem “Cloud in Trousers,” written in 1914-15.

According to Prokofiev biographer Israel Nestyev, the composer was “an admirer of Mayakovsky’s poetic innovations.”

Prokofiev even met the poet, who was two years his junior, at the Poets’ Café in Moscow. Mayakovsky gave Prokofiev a copy of his poem “War and the World” with the inscription: “To the Severance Hall 2017-18

About the Music

35

World President of Music from the World President of Poetry.”

Unlike Mayakovsky, however, who had early espoused the ideals of communist Bolshevism and become an ardent revolutionary, Prokofiev had very little actual interest in politics. Still, as Nestyev points out, “the young Prokofiev’s épatage [desire to baffle] was . . . closely related to the ‘ultra-leftist’ revolt that was developing in Russian poetry and painting.”

In reality, the young Prokofiev was, by inclination, an iconoclast, not unlike the futurist poets and painters. He, too, had little sympathy for the achievements of his predecessors. He rebelled against the academicism of his teachers at the St. Petersburg Conservatory (Glazunov and The young Prokofiev was an Liadov in particular), the Romanticism of iconoclast, not unlike the Rachmaninoff, and the mysticism of Scriabin. “futurist” poets and paintProkofiev had a natural penchant for ers. He, too, had little symhumor and satire, manifest since childhood, and soon perfected a musical technique to pathy for the achievements express it. This technique often involves of his predecessors. He rethe replacement of certain pitches in harbelled against the academimonies by other pitches, often only a halfstep away, giving the impression of being cism of his teachers at the “out of tune” when it is really, of course, the Conservatory, the Romantiharmony he intended. This was Prokofiev’s cism of Rachmaninoff, and way of creating new musical “words.” the mysticism of Scriabin.

To increase the effect of this harmonic procedure, Prokofiev contrasted this “newness” with a marked traditionalism in other aspects of his style — his rhythms, for instance, often stay within the Classical framework of symmetrical, two-bar-plus-two-bar phrases, and the basic building blocks of his melodies are all inherited from Romantic music. This combination of old and new elements produces the piquancy — and the unmistakably new spirit — that makes Prokofiev’s early style unique and still very special.

CRITICAL RESPONSE

The violence of the young Prokofiev’s quasi-futuristic “slap to the public’s taste” was not lost on the critics attending the first performance, at which the composer himself played the solo part.

Most journalists could not find words strong enough to condemn what one of them called “a Babel of insane sounds heaped one upon another without any rhyme or reason.”

Another wrote: “Prokofiev seats himself at the piano and be-

36

About the Music

The Cleveland Orchestra

gins to strike the keyboard with a dry, sharp touch. The audience is bewildered. Some are indignant. One couple stands up and runs toward the exit. ‘Such music is enough to drive you crazy!’ ‘What is he doing, making fun of us?’ More listeners follow the first couple from various parts of the hall. Prokofiev plays the second movement of his concerto. . . . The most daring members of the audience hiss.

Here and there seats become empty. Finally the young artist ends his Concerto with a mercilessly discordant combination of brasses. The audience is scandalized. The majority hiss. Prokofiev bows defiantly and plays an encore. The audience rushes away. On all sides there are exclamations: “To the devil with all this futurist music! We came here to enjoy ourselves. The cats at home can make music like this!”

Only one critic, Vyacheslav Karatygin, found praise for Prokofiev’s courage and artistic imagination. He did not hesitate to predict a brilliant future for the 22-year-old composer: “The public hissed. This means nothing. Ten years from now it will atone for last night’s catcalls by applauding unanimously a new composer with a European reputation.”

Karatygin’s words proved prophetic. In 1923, the composer, then living in Paris, received his first official invitation to return to Russia, where he was offered a series of concert engagements with the Leningrad Philharmonic Orchestra. By that time he had written the Classical Symphony (later known as “Symphony No. 1” against the composer’s wishes), his Piano Concerto No. 3, the ballet Chout, and the opera The Love for Three Oranges. He also reconstructed from memory the score of his Second Piano Concerto, which had been lost or destroyed during the civil war following the 1917 revolutions. “I have so completely rewritten the Second Concerto,” he wrote to friends in Moscow, “that it might almost be considered the Fourth.”

Although Prokofiev’s first visit to his homeland did not take place until 1927 (he was to settle there permanently in 1936), it is clear that, by 1923, musical circles in the Soviet Union had begun to appreciate a composer who had created such a scandal in Russia 10 years earlier.

A sketch of Prokofiev, drawn in 1928

by Henri Matisse.

THE MUSIC

The beginning of the Second Piano Concerto is a perfect example of Prokofie’s “futurist” style. At the start of the first movement, a beautiful, eight-bar melody, played by the solo piano to an accompaniment of almost Chopinesque figurations in the left hand, is “spiced” with many seemingly incongruous notes. The Severance Hall 2017-18

About the Music

37

instructions given to the performer — narrante [“narrating”], caloroso, con gran espressione [“with warmth and great expression”], and so on — reinforce this Romantic attitude, which coexists with completely un-Romantic sonorities. The movement’s second section adopts a faster tempo and a skipping, staccato melody (marked con eleganza).

After a virtuosic development of this theme, the initial melody returns, growing into an extended cadenza that is turbulent, highly dramatic, and fiendishly difficult to play. A return of the first theme closes the movement, which dies away pianissimo.

Throughout the scherzo second movement, the piano plays unbroken sixteenth-notes in octave unisons, while the melody belongs to the orchestra. It is a movement of perpetual motion and energy, with a virtually uninterrupted rhythmic ostinato (the “obstinate,” persistent presence of a rhythmic figure), shot through with occasional melodic fragments played by various solo instruments and combinations.

The Intermezzo third movement is also based on a rhythmic ostinato, interrupted only once by a short, lyrical piano solo. This caricature of a march includes a middle section (marked “gently, somewhat humorously”) where the piano’s arpeggios and glissando effects provide the background for a little tongue-in-cheek melody in the

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woodwinds. The march returns with a section for piano alone. The full orchestra gradually enters and builds up to a tremendous climax (the high harmonics, a special technique on the violins, are particularly striking), only to collapse in the lowest register in a sudden quiet that ends the movement the same way the first movement had closed.

The Finale fourth movement (marked Allegro tempestoso) contains a number of contrasting sections. It starts with a wild rush and irregular rhythmic figures with wide leaps in both the piano and the orchestral parts. This material then yields to a slower tempo and a simple tune that biographer Nestyev called a Russian lullaby. This “lullaby,” however, soon becomes extremely loud and agitated, and as the tempo speeds up again, the music reaches a fortissimo cadence that gives the impression that the piece has ended. It is too early to applaud, however, for it is now that the pianist attacks a second breakneck cadenza. The orchestra enters with the lullaby melody while the piano continues its virtuoso passages. Finally — after a short, meditative Andante section set over mysterious tremolo — the first theme returns with its irregular rhythms and brings the work to an animated and boisterous close.

—Peter Laki © 2018 Copyright © Musical Arts Association

Severance Hall 2017-18

About the Music

39

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Symphony No. 6 (“Pathétique”) in B minor, Opus 74 composed 1893

At a Glance

by

Pyotr Ilyich

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

Severance Hall 2017-18

Tchaikovsky began writing his Sixth Symphony in February 1893 and conducted the work’s first performance on October 28 of that year in St. Petersburg. The subtitle “Pathétique” was suggested by Tchaikovsky’s brother Modest a few days after the premiere; the composer liked the suggestion and wrote the subtitle on the score, which was dedicated to Tchaikovsky’s nephew Vladimir “Bob” Davydov. Tchaikovsky died just nine days after the premiere.

This symphony runs about 45 minutes in performance. Tchaikovsky scored it for 3 flutes (third doubling piccolo), 2 oboes, 2 clarinets, 2

bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, tam-tam), and strings.

The United States premiere of Tchaikovsky’s Sixth Symphony was given on March 16, 1894, by the New York Symphony Society. The Cleveland Orchestra first presented it during the 1919-20 season, under Nikolai Sokoloff’s direction. The Orchestra’s most recent performances of the “Pathétique” were in April 2014, when Herbert Blomstedt conducted it at a weekend of Severance Hall concerts, and in July 2016, when Hans Graf led a performance at Blossom.

About the Music L A S T S Y M P H O N I E S may tell us a great deal about a composer’s over-riding view of music, and their growth as an artist — or not much at all.

Beethoven’s Ninth, for instance, was a natural outgrowth of how that revolutionary composer’s understanding of a symphony grew across his creative lifetime; it neatly wraps up the composer’s ideals into one large and glorious statement. Although he made a few half-hearted sketches toward a Tenth Symphony, Beethoven didn’t really have more to say in “a symphony” (although in his final years he certainly worked hard and with new ideas in other areas).

Many other composers’ last symphonies similarly act as capstones placed at the top of their orchestral output, nicely summing up their symphonic views and ambitions — Brahms, Dvořák, Shostakovich, Mendelssohn, Schumann (either the Third or Fourth, for differing reasons). Mahler’s last efforts, too (the Ninth or Tenth symphonies, or Song of the Earth), can be read as final musical statements — perhaps as much because we don’t really have the imagination to know how much further and in what direction Mahler would have gone had he not died at age About the Music

41

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

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

—Pyotr Ilyich Tchaikovsky

fifty-one.

For a few composers, however, death truly interfered. And the last symphony just happens to be the last because the composer quite literally couldn’t write anything more. Mozart and Schubert, both tragically dead in their 30s. And especially Tchaikovsky, who very famously died, at age 53, just days after conducting the premiere of his Sixth Symphony, at the very height of his fame as a composer and whose music was very much in demand around the world.

WHO KILLED TCHAIKOVSKY?

There was much discussion in the closing decades of the 20th century about potential intrigue surrounding Tchaikovsky’s sudden death in the autumn of 1893. An idea was put forward, told only as hearsay and at least one generation removed from the original participants, that the composer was forced to kill himself by a secret tribunal of aristocrats who were At the premiere, the unhappy with an affair the composer was having ending of the Sixth was with a young nobleman. met with polite bewilThe facts are difficult to judge at this disderment. The work’s tance in time, but no solid documentary evidence has been put forward in support of the idea. And second performance norms of the period — homosexuality was generally just two weeks later, tolerated among the Russian aristocracy — seem at a memorial service unlikely to have forced the loss of Russia’s greatfor the composer, elicest composer at a time he was widely acclaimed across the globe. Russia was, in that era, very much ited far greater emoseeking the acceptance of the Western World, and tional feelings — and Tchaikovsky’s mastery of Western symphonic music solidified the work’s was a powerful force in that direction. undying popularity.

Tchaikovsky’s own admission to having absent-mindedly taken a drink of unboiled water in the midst of a potential cholera outbreak does not seem unreasonable. He certainly was not the only victim of the disease in those weeks in St. Petersburg.

The story of forced suicide was probably, as much as anything, a reflection of less tolerance for homosexual behavior in Russia under the Communist rule of the mid-20th century — a non-embracing unwillingness to accept or understand that has only grown worse in Russia in recent years. (The current Russian government’s outlawing of open discussion of homosexuality has, among other things, leaped Russia to having among the fastest growing incidence of new AIDS infections in the world. Just as in Tchaikovsky’s time, public health Severance Hall 2017-18

About the Music

43

PYOTR ILYICH TCHAIKOVSKY 1840-1893 1

2

1. Tchaikovsky at the age of twenty in 1860.

2. The three Tchaikovsky brothers in 1875. Family friend Nikolai Dmitrievich Kondratiev (standing at left), Anatoli Tchaikovsky (seated), Modest Tchaikovsky, and Pyotr.

measures are a matter of life . . . and death. Government policy and choices affect lives.)

THE MUSIC

Regardless of what brought about his death, Tchaikovsky without question died a master composer. And the Sixth Symphony, bestowed with the nickname “Pathétique” by his brother Modest prior to Pyotr’s death, shows both what a good composer he was and how daring he was allowing himself to be. The notion of ending a symphony with a quiet movement was completely radical — and the rousing conclusion of the third movement still catches many many many (many!) audiences unaware, resulting in much-deserved (but in some quarters frowned upon) bursts of early applause, just before the fourth movement finale.

(There is no right or wrong answer — to applaud or not to applaud in the middle of a performance. There are traditions in both directions.)

The Sixth Symphony is a big musical statement, lasting nearly three-quarters of an hour. While working on it, Tchaikovsky had written to a friend that the score was “saturated with subjective feeling, and often . . . while composing it in my mind, I shed many tears.” The opening movement builds from a quiet, despairing introduction into a full-out

44

About the Music

The Cleveland Orchestra

3

5

4

3. With his wife Antonina Miliukova, during their brief marriage in 1877.

4. His patroness, Nadezhda von Meck.

5. Late in life, in the early 1890s.

sense of impending tragedy, and then clashes of angst, followed by calmer but unsettled music.

The waltzing second movement seems much more at ease — and very reminiscent of Tchaikovsky’s great ballet scores. The third movement harkens back to the best triumphant writing of the Fourth and Fifth symphonies, including the rousing ending (but did I mention? . . . don’t applaud yet!).

The final movement returns us to the difficult and angstridden world of the first, with a searing melody in the strings. This develops into a larger tragic mood, and then slowly works through melancholy, resignation, and despair (in all the best emotional wallowing inherent in the French word pathétique). Finally, it softens to a quiet, controlled ending, tapering off to . . . nothing.

At the premiere, the ending of the Sixth was met with polite bewilderment. The work’s second performance just two weeks later, at a memorial service for the composer, elicited far greater emotional feelings, as its quiet and enigmatic ending deftly echoed the sudden loss and silence that all of Russia felt over its greatest composer’s death.

—Eric Sellen © 2018

Severance Hall 2017-18

About the Music

45

Michael Tilson Thomas American conductor Michael Tilson Thomas has served as music director of the San Francisco Symphony since 1995. He is also founder and artistic director of the New World Symphony and conductor laureate of the London Symphony Orchestra. In addition to conducting the world’s leading orchestras, he is noted for his work as a composer and a producer of multimedia projects dedicated to music education and the reimagination of the concert experience. He has won eleven Grammy Awards for his recordings, is the recipient of the National Medal of Arts, and is a Chevalier dans l’ordre des Arts et des Lettres of France. Mr. Tilson Thomas made his Cleveland Orchestra debut in August 1974 and most recently led performances here at Severance Hall with The Cleveland Orchestra in March 2006 and with the San Francisco Symphony in November 2014.

Born in Los Angeles, Michael Tilson Thomas is the third generation of his family to follow an artistic career. His grandparents, Boris and Bessie Thomashefsky, were founding members of the Yiddish Theater in America. His father, Ted Thomas, was a producer in the Mercury Theater Company in New York before moving to Los Angeles where he worked in films and television. His mother, Roberta Thomas, was the head of research for Columbia Pictures. Michael Tilson Thomas began his formal education at the University of Southern California, studying piano with John Crown, and conducting and composition with Ingolf Dahl.

In 1969, after winning the Koussevitzky Prize at Tanglewood, Mr. Tilson Thomas was appointed assistant conduc-

Severance Hall 2017-18

Guest Artist

tor of the Boston Symphony Orchestra, and served until 1974 in that role and then as principal guest conductor. His conducting positions have also included music director of the Buffalo Philharmonic (197179), principal guest conductor of the Los Angeles Philharmonic (1981-85), and principal conductor of the London Symphony Orchestra (1988-95). As a guest conductor, Mr. Tilson Thomas has appeared with the major orchestras of Europe and North America.

In February 1988 he inaugurated the New World Symphony, an orchestral academy for graduates of prestigious music programs. In addition to their regular season in Miami Beach, they have toured in Austria, France, Great Britain, South America, Japan, Israel, Holland, Italy and the United States.

Mr. Tilson Thomas’s discography of more than 120 albums includes a wide variety of works by composers ranging from Bach and Beethoven to Charles Ives and Elvis Costello. He recently finished recording Mahler’s complete orchestral works with the San Francisco Symphony. With the San Francisco Symphony, he is producer of Keeping Score, which comprises an educational video series, in-school programs, and online components.

For more information, please visit www.michaeltilsonthomas.com.

47

Daniil Trifonov Russian-born pianist Daniil Trifonov has made a remarkable ascent in the world of classical music as a solo artist, champion of the concerto repertoire, chamber and vocal collaborator, and composer. During the 2010-11 season, at age 20, Trifonov won medals at three of the music world’s most prestigious competitions, taking Third Prize in Warsaw’s Chopin Competition, First Prize in Tel Aviv’s Rubinstein Competition, and both First Prize and Grand Prix in Moscow’s Tchaikovsky Competition. In 2013 he was also awarded the prestigious Franco Abbiati Prize for Best Instrumental Soloist by Italy’s foremost music critics. He made his Cleveland Orchestra debut in August 2012 and most recently performed here in November 2016.

Born in Nizhniy Novgorod, Daniil Trifonov began studying music at age five. He later worked at Moscow’s Gnessin School of Music with Tatiana Zelikman and, in 2009, became a student of Sergei Babayan at the Cleveland Institute of Music. Mr. Trifonov’s schooling also included studies in composition and he has a variety of works for piano, chamber music, and orchestra.

In recent years, Mr. Trifonov has appeared with major North American orchestras, as well as with the Berlin Philharmonic, Czech Philharmonic, London Symphony Orchestra, Mariinsky Orchestra, Munich Philharmonic, Philharmonia Orchestra, Royal Philharmonic Orchestra, Russian National Orchestra, and the Vienna Philharmonic. He has also appeared at the festivals of Edinburgh, Grafenegg, Kre-

Severance Hall 2017-18

Guest Artist

merata, Lockenhaus, Montreux, La Roque d’Anthéron, Ruhr, Tivoli, and Verbier, and performed in recital throughout the world, including appearances in Amsterdam, Berlin, Boston, Brazil, Israel, London, Lucerne, Munich, New York, Paris, Poland, Russia, Seoul, Tokyo, Vienna, Washington D.C., and Zurich. This season he is curating and performing in recital at Carnegie Hall, in San Francisco, and at the Vienna Konzerthaus.

Trifonov: The Carnegie Recital,l a live recording of his 2013 Carnegie Hall debut, is Daniil Trifonov’s first release as an exclusive Deutsche Grammophon artist. Other albums feature Rachmaninof’s Rhapsody on a Theme of Paganini and works by Chopin and Liszt.

Mr. Trifonov’s earlier discography includes a Chopin album for Decca and a recording of Tchaikovsky’s First Piano Concerto with the Mariinsky Orchestra on that ensemble’s own label.

Daniil Trifonov also has been a featured guest on a number of radio and television broadcasts in Great Britain, Poland, Russia, and the United States.

For more information, please visit www.daniiltrifonov.com.

49

& Cleveland Women’s Orchestra

La traviata present Verdi’s

Celebrate the luxurious Golden Age of 1920s Cleveland!

The eternal love story of Alfredo and Violetta brought to life by Verdi’s glorious music will feature soloists, orchestra, chorus, costumes, sets, staging and supertitles. Especially for our audiences, this production is created in the Art Deco style of the Great Gatsby Era.

Tickets: $55 Sponsor Seating $25 General Admission $10 Student 216-816-1411 or online at theclevelandopera.org/traviata

March 14, 2018 | 7 pm

March 16, 2018 | 7:30 pm

March 18, 2018 | 3:30 pm

Polish-American Cultural Center 6501 Lansing Avenue, Cleveland OH 44105

First Baptist Church of Greater Cleveland 3630 Fairmount Blvd. Shaker Heights OH 44118

The Tudor Arms Hotel Grand Ballroom 10660 Carnegie Avenue, Cleveland OH 44106

Free refreshments sponsored by The Cleveland Opera.

Free guarded parking

Free refreshments sponsored by The Cleveland Opera.

Free convenient parking

Refreshments available for purchase from Tudor Arms.

Free valet parking sponsored by The Cleveland Opera

For more information call 216-816-1411 or visit theclevelandopera.org

orchestra news

THE CLEVELAND ORCHESTRA

Tristan & Isolde: April 21, 26, 29 Spring opera presentation features Wagner’s dramatic score of longing with Franz Welser-MÖst leading cast of internationally-renowned singers

STEMME

SIEGEL

VON DER DAMERAU

The Cleveland Orchestra’s spring opera presentation of Tristan and Isolde is led by music director Franz Welser-Möst in three opera-in-concert performances, April 21, 26, and 29. The opera is being presented this year as part of a larger festival titled The Ecstasy of Tristan and Isolde. In this special two-week series of concerts revolving around Wagner’s Romantic opera, Welser-Möst explores the depths and wonder of ecstasy — the human journey toward transcendence and understanding, through music, art, and belief.

Commenting on the opera, Welser-Möst says: “If Beethoven marks the start of the Romantic Era in music, which is surely true, there can also be no arguing that Wagner’s Tristan and Isolde represents the ultimate high point of that same Romanticism. In this score, Wagner broke apart the tonal harmonic system to create a sense of longing, to search for rest and peace and home, for the ultimate fulfillment of love. With this opera, Wagner unleashed music from the past and announced the start of our modern world.”

The larger festival features two additional Cleveland Orchestra concerts led by Welser-Möst on April 25 and 28, along with a screening of Lars von Trier’s film Melancholia in collaboration with the Cleveland Institute of Art Cinematheque on April 22. April 25 features Messiaen’s TurangalîlaSymphonie, while April 28 offers a range of musical works for chorus, brass, and orchestra, and features the Cleveland Orchestra Chorus along with organist Paul Jacobs.

Explaining his concept for the larger festival, Welser-Möst commented: “Wagner’s Tristan and Isolde is an ecstatic piece. In the ending, in Isolde’s ‘Love-Death’ or Liebestod, this woman transcends

Severance Hall 2017-18

ANGER

HELD

her own existence, and finds a deep understanding, of love and life, in death. For some people, ecstasy may be easier to understand through the word ‘transcendence.’ Both words have meanings beyond the usual — of “being outside yourself” in ecstasy, or of becoming ‘more than’ or transcending beyond the normal. In planning the season, and with Tristan and Isolde already on the calendar, I kept coming back to this idea. I became excited at thinking about how much other music there is that touches around these ideas, of religious ecstasy, becoming one with god, of personal ecstasy, of coming to understanding and enlightenment. I think for many people, musical performances are often a channel to understanding and transcendence, of being more than yourself and at peace. And so I worked to develop a festival around this idea.”

Because of the length of the opera itself, Concert Previews will not be presented just prior to each performance. However, ticketholders for the opera are invited to one of several free concert previews taking place in the week ahead of time. Those daytime previews are being held on April 17, 18, and 19 at local libraries, and are part of The Cleveland Orchestra’s annual Music Study Group program. Participants can learn about the history of Tristan and Isolde, discuss the life of Richard Wagner, and be guided through musical listening examples with Rose Breckenridge.

Times and locations can be found on the Orchestra’s website.

The total run time of the opera is approximately 41/ 1/2 hours. Expanded food options will be available for purchase throughout Severance Hall, with complete details available on the Orchestra’s website.

Cleveland Orchestra News

51

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The Cleveland Orchestra

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 was 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 celebrations 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

53

orchestra news A.R.O.U.N.D T.O.W.N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include: Cleveland Orchestra musician Beth Woodside (violin) presents an all-French recital program at lunchtime on Friday, March 9, at The Music Settlement’s main campus in University Circle (11125 Magnolia Drive). Woodside teaches at the Settlement. She will be joined in this performance by colleague musicians Charles Bernard (cello) and Trina Struble (harp) in a program featuring music by Ravel and Saint-Saëns.

The free hour-long presentation begins at noon.

The Cleveland Cello Society presents its 20th annual i Cellisti! concert on Friday evening, March 16. Three Cleveland Orchestra cellists — Mark Kosower, Richard Weiss, and Martha Baldwin — and their students will be featured during the evening, along with the Orchestra’s Joela Jones on piano. The performance features

THE CLEVELAND ORCHESTRA

cellist Alisa Weilerstein, who is in town that week as guest soloist with The Cleveeland Orchestra. (Weilerstein studied with h Weiss for seven years and was enrolled in n the Young Artist Program at the Cleveland Institute of Music, prior to embarking on her international career.) Together, they will perform Menotti’s Suite for Two Cellos and Piano (with Jones).

Kosower and two of his students will perform an arrangement of Beethoven’s Trio in C major (Opus 87). Baldwin will play Georges Bizet’s Carmen Suite with four our of her students in an arrangement for cello quintet.

Additional cello teachers and their students from music conservatories and schools of music across Northeast Ohio will also perform, with the evening culminating in a grand finale of nearly three dozens cellists conducted by Cleveland Orchestra assistant conductor Vinay Parameswaran.

The concert begins at 8 p.m. in CWRU’s Harkness Chapel (11200 Bellflower Road). Tickets are $25 general admission, $100 for Patron seating. Visit www.clevelandcello.com to reserve tickets.

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Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

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): “ 100, The Cleveland Orchestra May (Quietly) Be America’s Best! Sound the trum“At pets, 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

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Cleveland Orchestra News

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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

Mc Gregor

Supporting Seniors in Need and Those Who Serve Them Since 1877 14900 Private Drive • Cleveland 44112 • 216-851-8200 www.mcgregoramasa.org 56

Cleveland Orchestra News

The Cleveland Orchestra

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

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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

Severance Hall 2017-18

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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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

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Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel James and Virginia Meil Dr. Susan M. Merzweiler Loretta J. Mester and George J. Mailath Claudia Metz and Thomas Woodworth+ Lynn and Mike Miller+ Drs. Terry E. and Sara S. Miller Curt and Sara Moll Ann Jones Morgan+ Mr. John Mueller Lucia S. Nash Georgia and Carlos Noble (Miami)+ Richard and Kathleen Nord Thury 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 65 93

Creating custom solutions is what we do best. Let our team deliver solutions designed specifically around your business goals. Contact us for more information on how our services can benefit your strategic marketing initiatives.

1614 East 40th Street | Cleveland, Ohio 44103 | tel: 216.881.9191 | csinc.com

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 LLP

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. Glenmede 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 67

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 69

Itâ&#x20AC;&#x2122;s time for a new identity.

One that tells the story of creativity in Ohio and illustrates it.

Expression is an essential need.

By better illustrating our story, we can better help you express yours.

Complete the story at oac.ohio.gov/identity.

30 EAST BROAD STREET, 33RD FLOOR, COLUMBUS, OHIO 43215-3414 | 614-466-2613 OAC.OHIO.GOV | @OHIOARTSCOUNCIL| #ARTSOHIO

Dreams can come true

Cleveland Public Theatreâ&#x20AC;&#x2122;s STEP Education Program Photo by Steve Wagner

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

Your Investment: Strengthening Community Visit cacgrants.org/impact to learn more.

11001 Euclid Avenue Cleveland, Ohio 44106

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

CLEVELANDORCHESTRA.COM

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

Severance Hall 2017-18

Severance Hall

Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism.

An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and special events each year.

73

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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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11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

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

Intermission & Pre-Concert: Concession service of beverages and light refreshments is available before most concerts and at intermissions at a variety of lobby locations.

Post-Concert Dining: Severance Restaurant is open after most evening concerts with à la carte dining, desserts, full bar service, and coffee. For Friday Morning Concerts, a post-concert luncheon service is offered.

OPUS CAFÉ The new Opus Café is located on the ground floor in the Lerner Lobby 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

75

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

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

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

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

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

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

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

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

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Guest Information

The Cleveland Orchestra

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

Service animals are welcome at Severance Hall.

Please notify the Ticket Office as you buy tickets.

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

77

THE CLEVELAND C O N C E R T

C A L E N D A R

WINTER CONCERTS

SPRING CONCERTS

Tchaikovsky’s Pathétique

Dvořák’s Eighth Symphony

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.

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

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

THE CLEVELAND ORCHESTRA Alan Gilbert, conductor Alisa Weilerstein, cello

STRAVINSKY Scènes de ballet PROKOFIEV Piano Concerto No. 2 TCHAIKOVSKY Symphony No. 6 (“Pathétique”)

DVOŘÁK The Watersprite * BARBER Cello Concerto DVOŘÁK Symphony No. 8 * Not performed on Friday morning concert

Sponsor: Squire Patton Boggs (US) LLP

Sponsor: Squire Patton Boggs (US) LLP Forest City (March 17)

PNC Musical Rainbow

The Brilliant Bass

Romantic Rachmaninoff

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-alongs.

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.)

THE CLEVELAND ORCHESTRA Stéphane Denève, conductor Jory Vinikour, harpsichord

POULENC Pastoral Concerto (for harpsichord and orchestra)* RACHMANINOFF Symphony No. 2 * Not performed on Friday concert Sponsor: PNC Bank KeyBank (Fridays@7)

Brahms Violin Concerto Apr 5 — Thursday at 7:30 p.m.

Apr 7 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Jakub Hrůša, conductor Sergey Khachatryan, violin

Sponsor: American Greetings

Under 18s Free FOR FAMILIES

Mar 22 — Thursday at 7:30 p.m.

Mar 23 — Friday at 7:00 p.m. <18s Mar 24 — Saturday at 8:00 p.m.

Mar 25 — Sunday at 3:00 p.m. <18s

<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).

BRAHMS Violin Concerto SUK Symphony No. 2 (“Asrael”) Sponsor: BakerHostetler

John Williams Apr 8 — Sunday at 7:00 p.m.

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

THE CLEVELAND ORCHESTRA John Williams, conductor America’s most revered and beloved composer for film, John Williams, joins The Cleveland Orchestra for a special, one-night-only concert featuring the music from many of his legendary film scores, including Star Wars, E.T. the Extra-Terrestrial, Indiana Jones, Lincoln, and more.

Please note that this concert is SOLD OUT.

78

Concert Calendar

The Cleveland Orchestra

ORCHESTRA Beethoven’s Fifth Symphony

2O1 7-18 CENTENNIAL SEASON

I N

T H E

S P O T L I G H T

Apr 12 — Thursday at 7:30 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

BEETHOVEN Overture: Coriolan BEETHOVEN Symphony No. 8 BEETHOVEN Symphony No. 5 Sponsor: Tucker Ellis LLP

Beethoven and Wagner Apr 13 — Friday at 11:00 a.m.

<18s

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor

WAGNER Prelude and Love-Death from Tristan and Isolde BEETHOVEN Symphony No. 3 (“Eroica”) Sponsor: BakerHostetler

Tristan & Isolde

Opera: Tristan & Isolde

April 21 — Saturday at 6:00 p.m.

April 26 — Thursday at 6:00 p.m.

April 29 — Saturday at 3:00 p.m.

Apr 21 — Saturday at 6:00 p.m.

Apr 26 — Thursday at 6:00 p.m.

Apr 29 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor The 19th century’s Romantic Era reached its zenith in Wagner’s emotionally-charged grand opera of love and death, Tristan and Isolde. This powerful music of unending longing — and unresolved harmony — launched music into the modern era. Opera-in-concert presentation, sung in German with projected English supertitles.

Sponsor: Jones Day

Turangalîla Symphonie Apr 25 — Wednesday at 7:30 p.m.

Nina Stemme

<18s

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Jean-Yves Thibaudet, piano Cynthia Millar, ondes martenot

MESSIAEN Turangalîla-Symphonie Sponsor: Squire Patton Boggs (US) LLP

Divine Ecstasy

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor featuring Gerhard Siegel, tenor Nina Stemme, soprano Okka von der Damerau, mezzo-soprano Ain Anger, bass Alan Held, baritone The 19th century’s Romantic Era reached its zenith in Wagner’s emotionally-charged grand opera of love and death, Tristan and Isolde. This powerful music of unending longing — and unresolved harmony — launched music into the modern era.

Opera-in-concert presentation, sung in German with projected English supertitles.

Sponsor: Jones Day

Apr 28 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor An evening of works exploring musical, religious, and mystical ecstasy — and their interrelationship with human meditation, transcendence, and understanding.

CLEVELAND ORCHESTRA TICKETS PHONE

216 - 231-1111 800-686-1141

clevelandorchestra.com Severance Hall 2017-18

Concert Calendar

79

Rainey Institute El Sistema Orchestra

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