The Cleveland Orchestra October 4, 5, 6 Concerts by Live Publishing

THE CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

2O18 SEASON 2O19

From the Executive Director . . . page 7 Franz Welser-Möst Q&A . . . . . . . page 8 October 4, 5, 6 Mahler’s Second Symphony . . . . . . . . . . . page 29 WEEK 3 —

Offstage Trumpets

AUTU M N

. . . . . . . . . . . . page 89

SEVERANCE HALL

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THE CLEVELAND ORCHESTRA

PROGRAM BOOK

Y E A R S

TA B L E

CONTENTS

Week

About the Orchestra

2O18 SEASON 2O19 COVER: PHOTOGRAPHY BY ROGER MASTROIANNI

PAGE

1 9 18 -2 O1 8

Perspectives from the Executive Director . . . . . . . 7 Q&A with Franz Welser-Möst . . . . . . . . . . . . . . . . . . . 8 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 15 About The Cleveland Orchestra . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Distinguished Service Award . . . . . . . . . . . . . . . . . . 58 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Copyrightt © 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

MAHLER SECOND SYMPHONY Concert: October 4, 5, 6 . . . . . . . . . . . . . . . . . . . . . . 29 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 31 MAHLER

Symphony No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Second Symphony Manuscript Score . . . . . . . . . . Mahler Talks about Words and Music . . . . . . . . . . . Mahler’s Description of Symphony No. 2 . . . . . . . Sung Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Mahler’s Trip to Cleveland . . . . . . . . . . . . . . . . . . . . .

38 42 43 46 53

Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 23 Soloists: Joélle Harvey, Sasha Cooke . . . . . . . . . . . 49 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . . 51

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.

Offstage Trumpets . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Read More About Mahler . . . . . . . . . . . . . . . . . . . . . . 95

NEWS

Cleveland Orchestra News . . . . . . . . . 58 50%

Support Second Century Sponsors. . . . . . . . . . . . . . . . . . . . . . Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Annual Support Individual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Corporate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Foundation and Government . . . . . . . . . . . . . . . Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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

68 76 77 79

Table of Contents

The Cleveland Orchestra

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Perspectives from the Executive Director Autumn 2018 Welcome to our new season and to the continuing journey of The Cleveland Orchestra. Now in our 101st season, the discovery and musicmaking continue, second to none in the world. The Orchestra’s ongoing partnership with music director Franz Welser-Möst continues to grow, deepen, and offer extraordinary musical experiences — for those onstage and for audiences across Northeast Ohio and around the world. Last season’s Centennial celebrations brought great success and widespread acclaim. The season featured magnificent performances, creative and collaborative education offerings, and unsurpassed achievements by the Orchestra’s musicians and Franz. Two extraordinary and ambitious festival presentations ended the season, with acclaimed performances of The Ecstasy of Tristan and Isolde followed by The Prometheus Project, a thought-filled and invigorating re-examination of Beethoven’s symphonies and music within the context of the composer’s own time — and its relevance and relationship to today’s world. From the Centennial’s first notes a year ago in the inspiring Education Concert “Beethoven & Prometheus: A Hero’s Journey,” which saw students from the Cleveland School of the Arts sharing the stage at Severance Hall, and across the “Around the Region Celebration,” which further shared performances and music-making, our landmark 100th Season repeatedly showcased the extraordinary talent and collaborative spirit that this institution devotes to sharing the power of music in multiple ways throughout Northeast Ohio. The celebrations — and success — continued across the summer, first with our official 100th Birthday free community concert in downtown on July 6, followed by an enormously successful Blossom Music Festival season commemorating the 50th Anniversary of our beloved outdoor summer home. Record ticket revenue was matched with attendance that also approached record levels, and welcomed 20,000 more people to Blossom than the year before. The excitement and passion continue with our new season, including the 100th Anniversary Gala on September 29, which is being filmed for broadcast as part of PBS’s Great Performances series later this season. The annual gala is devoted to raising vital funding for The Cleveland Orchestra’s ongoing education and community programming — to ensure that the power of music continues to inspire future generations, promotes learning for all, and proudly unites the communities we serve. Everything we do, every note The Cleveland Orchestra plays, every child we inspire, every student we motivate, every heart we touch — is only possible through the attention, care, interest, enthusiasm, and generosity of thousands. As you can see from the many people listed on pages of this program book, from our Second Century Sponsors to the Honor Rolls of each year’s donors, many passionate people and organizations help ensure that The Cleveland Orchestra’s music-making happens on time and on budget. Among these, I’d like to call particular attention to members of the Heritage Society, whose foresight and devotion make specific provisions for the Orchestra in their wills and estate plans. Nearly twenty-five years after the creation of this program, such legacy gifts are making a real difference each year in helping to ensure The Cleveland Orchestra’s financial strength for the future. Enjoy the new season!

André Gremillet Severance Hall 2018-19

Q&A Q

2O18 SEASON 2O19

Franz Welser-Möst

Q: Please talk about your thoughts about The Cleveland Orchestra’s 101st season.

talks about the new season, growing with Cleveland’s Orchestra, exploring and presenting new perspectives, and rediscovering older masterpieces . . . Learn more by attending the CONCERT PREVIEW on September 20 and 22, with Franz Welser-Möst discussing the season with executive director André Gremillet. Or visit clevelandorchestra.com to view a recorded video of this Preview.

Franz: I very much look forward to the start of every season at Severance Hall, and to welcoming audiences to continue our journey together for musical discovery. Of course, this year is unique, and we kept this in mind during our planning. What does one do after a oncein-a-lifetime 100th season?! The party is over, but life continues the next day. We must continue to grow and to look for new and different experiences. Some choices were obvious. For example, after “The Prometheus Project,” we will take a little break away from Beethoven. After the very big orchestra and seriousness in Wagner’s Tristan and Isolde, this year I have chosen an opera with a much smaller orchestra — and one that has more fun inside of it. Part of Strauss’s Ariadne auf Naxos is a comedy. Instead of wrestling with the big questions of life and love that were in Tristan, in this opera Strauss slyly looks at the value of the arts in our lives, and how serious art and comic art complement and comment on one another. So that I think the very real and very

Exploring the 2018-19 Season

The Cleveland Orchestra

easy answer to what comes after a Centennial season is more music. And more new discoveries, more examinations of favorite pieces and neglected masterworks. And more hard work — for the Orchestra and me. These musicians always amaze me. Their dedication and incredible focus remain unmatched anywhere in the world. The coming year brings some big pieces, of course, some favorites like Mahler’s Second Symphony and Tchaikovsky’s Fifth, and some new works and new composers we haven’t heard before. And we also begin a serious exploration and re-examination of the works of two composers: Franz Schubert and Sergei Prokofiev. Some of their works are very well known, but some are not, and I want to rediscover these and share the incredible artistry and creativity of these two composers. We have a sophisticated audience in Cleveland. I am always looking for music that isn’t played often enough, that may have been neglected, so we can discover something new together.

Q: Please comment on your overall philosophy for programming.

Franz: I think it is important to “think big,” to be daring and try things. You do not grow by doing the same things in the same way again and again. And I think this is why The Cleveland Orchestra is

Severance Hall 2018-19

unique. When I look around the classical music world, so much has become tame and playing it safe. And that makes things dull and boring, and you take everything for granted, and you become dull and boring. There are pieces we come back to again and again. How do you make them come to life in performance? Some people call these “warhorses,” which is not always intended as a compliment. But a “warhorse,” in the real sense of the word is alive with feeling and purpose, and you can count on it to carry you through the journey, even into battle. We looked at Beethoven’s music — his “warhorses” — last season with new eyes and ears. And I think doing that opened many people’s eyes and minds to new ways of hearing those pieces. I want audiences to be open to hearing new music and old music with that same curiosity and intensity.

Q: What can you tell us about Ariadne auf Naxos, this year’s opera presentation?

Franz: Ariadne auf Naxos is part of a series of operas which I have programmed to expand and challenge the Orchestra as they continue to grow artistically. And Richard Strauss’s Ariadne auf Naxos does exactly this. Instead of a very large Wagnerian orchestra, Ariadne is scored for a chamber group of 35 musicians. After the dark seriousness of Wagner, Ariadne features comic

Franz talks about the 2018-19 Season

elements. It is a wonderful opera, funny and serious at the same time, with beautiful music. In essence, it is a contest between classical art and comedy. There is a play within the play, or really an opera within an opera. The similarities and contrasts — what is happening and what the characters want to happen — are very telling. I really love this opera, and I am eager to hear the musicians of The Cleveland Orchestra interpret this music. Strauss’s writing includes marvelous solos — for flute and oboe and cello, for instance — that will be truly vibrant and meaningful when played by the principal players in Cleveland. The music is unbelievably beautiful, so much so that some passages literally bring me to tears. I have always admired and enjoyed Strauss’s musical genius. As time passes, I find that I appreciate his approach to music-making more and more. This opera spans, as the saying goes, ‘from the sublime to the ridiculous — from beauty to humor.’ And audiences will love it.

Q: Can you talk about how the opera is being presented and staged?

Franz: Ariadne is the next of our madefor-Cleveland productions. With it, we are introducing a new stage director, Frederic Wake-Walker. I worked with him in Milan a couple years ago, and he is exactly the kind of director that we look for — with a creative mind that brings new ideas, who wants to re-examine old works and to discover new meaning or perhaps to find the original meaning but from the perspective of being alive today, to shine light on the core meanings written into a work. His ideas will incorporate Severance Hall — and its classic beauty — into the staging,

embracing the fact that we are presenting this opera here in this beautiful hall. We have a superb cast. Andreas Schager is singing the all-but-impossible role for tenor. And Tamara Wilson will be incredible as Ariadne. Daniela Fally will be amazing with the challenging vocal gymnastics written for the role of Zerbinetta. And, of course, we have a great orchestra, who will be involved onstage, too. All of this will come together to offer audiences something very special and unique. It will be meaningful and engaging, with touches of humor. The music, as I said, is just incredibly beautiful.

Q: Any closing thoughts? Franz: The musicians of The Cleveland Orchestra are a group of gifted and extraordinarily talented people. They are curious about music and everything they do. I believe that it is very important, in the arts, that we try new things and that we find new ways of looking at the things that are familiar to us. If you don’t risk something, if you don’t take unexpected turns, if you don’t question what you know, you will become tired and bored — and boring. Think big! Nurture the people around you. Listen with open ears and minds! The experience will reward you.

Exploring the 2018-19 Season

The Cleveland Orchestra

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Y E A R S

THE CLEVELAND ORCHESTRA

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

Presenting Sponsors

Leadership Sponsors Ruth McCormick Tankersley Charitable Trust

Sponsors

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

Westfield Insurance KPMG LLP PwC

Global Media Sponsor

Individuals

Mr. Allen Benjamin Amy and Stephen Hoffman Laurel Blossom Mr. and Mrs.* S. Lee Kohrman Mr. Allen H. Ford Elizabeth F. McBride Robin Hitchcock Hatch John C. Morley The Stair Family Charitable Foundation, Inc.

Series and Concert Sponsors We also extend thanks to our ongoing concert and series sponsors, who make each season of concerts possible: BakerHostetler

Buyers Products Company

Dollar Bank Foundation

Caffee, Halter & Griswold LLP

Eaton

Ernst & Young LLP

DLR Group | Westlake Reed Leskosky

Forest City

Frantz Ward LLP

The Giant Eagle Foundation

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 Lubrizol Corporation Medical Mutual MTD Products, Inc. North Coast Container Corp. Ohio Savings Bank Olympic Steel, Inc. Parker Hannifin Foundation PNC Quality Electrodynamics RPM International Inc. The Sherwin-Williams Company The J. M. Smucker Company Squire Patton Boggs (US) LLP Thompson Hine LLP United Airlines Weiss Family Foundation

Second Century Sponsors

The Cleveland Orchestra

PHOTOGRAPHY BY ROGER MASTROIANNI

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MUSICAL ARTS ASSOCIATION

as of August 2018

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival

O F F I C E R S A ND E XE C 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.

RE S I D E NT TR U S TE E S 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 TRUS 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 R U S TE E S E X- O F FI 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 R U S TE E S E M E R I T I 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 The Honorable John D. Ong Charles P. Bolton James S. Reid, Jr. Allen H. Ford Robert W. Gillespie * deceased Alex Machaskee

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 2018-19

André Gremillet, Executive Director

Musical Arts Association

“Sorrell is a true Mozartian... a near-perfect blend of dramatic cogency and the ability to sing.” – FANFARE Record Magazine

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THE

CLEVELAND ORCHESTRA

its Centennial Season in 2017-18 and across 2018, The Cleveland Orchestra begins its Second Century hailed as one of the very best orchestras on the planet, noted for its musical excellence and for its devotion and service to the community it calls home. The coming season will mark the ensemble’s seventeenth year under the direction of Franz Welser-Möst, one of today’s most acclaimed musical leaders. Working together, the Orchestra and its board of trustees, staff, volunteers, and hometown have affirmed a set of community-inspired goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence while focusing new efforts and resources toward fully serving its hometown community throughout Northeast Ohio. The promise of continuing extraordinary concert experiences, engaging music education programs, and innovative technologies offers future generations dynamic access to the best symphonic entertainment possible anywhere. The Cleveland Orchestra divides its time across concert seasons at home — in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and intensive performance residencies. These include a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, in New York, at Indiana University, and in Miami, Florida. Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestraconductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home and on tour across the globe, and through recordings and broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences experience music as a living language that grows with each new generation. Fruitful re-examinations and juxtapositions of traditional repertoire, recording projects and tours of varying repertoire and in different locations, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Programs for students and engaging musical explorations for the community at large have long been part of the Orchestra’s PHOTO BY ROGER MASTROIANNI

WITH CE LE BRATION S THROUGHOUT

Severance Hall 2018-19

The Cleveland Orchestra

PHOTO BY ROGER MASTROIANNI

commitment to serving Cleveland and surrounding communities. All are being created to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique series of neighborhood residencies and visits, designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways. Active performance ensembles and programs provide proof of the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people and to develop the youngest audience of any orchestra. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest — with 20% of attendees now comprised of concertgoers age 25 and under — as the Orchestra now boasts one of the youngest audiences attending regular symphonic concerts anywhere. Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences —

Each year since 1989, The Cleveland Orchestra has presented a free concert in downtown Cleveland, with this past summer’s on July 6 as the ensemble’s official 100th Birthday bash. Nearly 3 million people have experienced the Orchestra through these free performances.

including casual Friday night concerts, film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding. An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s performances as some of the best such concert experiences available in the world. Hundreds of thousands have learned to love music through its education programs and have celebrated important events with its music.

The Cleveland Orchestra

While strong ticket sales cover just under half of each season’s costs, it is the generosity of thousands each year that drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the ensemble quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 1933-43; Erich Leinsdorf, 1943-46; George Szell, 194670; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz WelserMöst, from 2002 forward. The opening in 1931 of Severance Hall as the Orchestra’s permanent home brought a special pride to the ensemble and its hometown. With acoustic refinements under Szell’s guidance and a building-wide restoration and expansion in 1998-2000, Severance Hall continues to provide the Orchestra an enviable and intimate acoustic environment in which to perfect the ensemble’s artistry. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States. Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world. Severance Hall 2018-19

MainStage series 7:30 p.m. at Akron’s EJ Thomas Hall $45 / $40 / $25 / free for students

Tuesday, October 16 Les Violons du Roy with Anthony Roth Costanzo, countertenor

Tuesday, January 22, 2019 Calidore String Quartet with Inon Barnatan, piano

Tuesday, February 12 Lawrence Brownlee, tenor Eric Owens, bass-baritone

more MainStage Tuesday, March 12 Chamber Music Society of Lincoln Center Thursday, March 28 Escher String Quartet

The Cleveland Orchestra

330-761-3460 tuesdaymusical.org 19

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

Virginia M. Lindseth, PhD, Chair

Jessica Lee ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Stephen Tavani ASSISTANT CONCERTMASTER

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 Zhan Shu

Alfred M. and Clara T. Rankin Chair

The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Emilio Llinás 2 James and Donna Reid Chair

Bryan Dumm Muriel and Noah Butkin Chair

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

Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

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

Lynne Ramsey

Louis D. Beaumont Chair

Richard Weiss 1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Richard and Nancy Sneed Chair

Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Musicians

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

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

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

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

The Cleveland Orchestra

1 9 18 -2 O1 8

Y E A R S

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

Saeran St. Christopher 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

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

ENGLISH HORN Robert Walters Samuel C. and Bernette K. Jaffe Chair

CLARINETS Afendi Yusuf *

CORNETS Michael Sachs * Mary Elizabeth and G. Robert Klein Chair

Michael Miller

Robert Marcellus Chair

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

Daniel McKelway

HORNS Michael Mayhew §

Robert R. and Vilma L. Kohn Chair

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

BASSOONS John Clouser * Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

TROMBONES Massimo La Rosa * Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

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

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

Severance Hall 2018-19

The Musicians

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 ENDOWED CHAIRS CURRENTLY UNOCCUPIED Austin B. and Ellen W. Chinn Chair Sidney and Doris Dworkin Chair Sunshine Chair George Szell Memorial Chair

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Vinay Parameswaran ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

P H O T O B Y J U L I A W E S E LY

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

Franz Welser-Möst is among today’s most distinguished conductors. The 2018-19 season marks his seventeenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership extending into the next decade. The New York Times has declared Cleveland under Welser-Möst’s direction to be the “best American orchestra“ for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. During The Cleveland Orchestra’s centennial last season — dedicated to the community that created it — Franz Welser-Möst led two ambitious festivals, The Ecstasy of Tristan and Isolde, examining the power of music to portray and create transcendence, followed by a concentrated look at the philosophical and political messages within Beethoven’s music in The Prometheus Project (presented on three continents, in Cleveland, Vienna, and Tokyo). His innovative approach to programming, introducSeverance Hall 2018-19

Music Director

ing new music, and rediscovering and re-examining older works continues this season, including a brand-new made-forCleveland production by Frederic WakeWalker of Richard Strauss’s opera Ariadne auf Naxos in January. Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals around the world, including regular appearances in Vienna, New York, and Miami, and at the festivals of Salzburg and Lucerne. During Welser-Möst’s tenure, The Cleveland Orchestra has been hugely successful in building up a new and, notably, younger audience at home in Cleveland through groundbreaking programs involving families, students, universities, and cross-community partnerships. A series of established and newly created education offerings continue to energize and engage students throughout the region. As a guest conductor, Mr. WelserMöst enjoys a close and productive relationship with the Vienna Philharmonic. His recent performances with the Philharmonic have included a series of critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014, Beethoven’s Fidelio in 2015, Strauss’s Die Liebe der Danae in 2016, Reimann’s Lear in 2017, and Strauss’s Salome in 2018), as well as appearances on tour at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. Performances with the Philharmonic this year include appearances at the Salzburg, Grafenegg,

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

PHOTO BY ROGER MASTROIANNI

and Glyndebourne festivals, and, in November, at Versailles and Tokyo’s Suntory Hall. He returns to Vienna in the spring to lead Mahler’s Eighth Symphony. Mr. Welser-Möst also maintains relationships with a number of other European orchestras and opera companies. His 2018-19 schedule includes concerts with the Czech Philharmonic and Dresden Staatskapelle. He leads performances of Mozart’s The Magic Flute in a new production directed by Yuval Sharon with the Berlin State Opera, and Strauss’s Ariadne auf Naxos at Milan’s Teatro alla Scala. From 2010 to 2014, Franz WelserMöst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring of the Nibelung cycle and a series of criticallypraised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, conducting more than forty new productions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s audio and video recordings have won major awards,

including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. The recent Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD releases of live performances of five of Bruckner’s symphonies and a multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. A companion video recording of Brahms’s German Requiem was released in 2017. In 2017, Mr. Welser-Möst was awarded the Pro Arte Europapreis for his advocacy and achievements as a musical ambassador. Other honors and awards include the Vienna Philharmonic’s “Ring of Honor” for his long-standing personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. Music Director

The Cleveland Orchestra

OBERLIN COLLEGE & CONSERVATORY

ARTIST RECITAL SERIES 2018-19 A CELEBRATION OF THE ARTS AT OBERLIN SINCE 1878

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DiDonato

THE CLEVELAND ORCHESTRA Alexandre Tharaud, piano SEPTEMBER 21

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DORIC STRING QUARTET FEBRUARY 22

JOYCE DIDONATO: SONGPLAY

JAMES EHNES, VIOLIN OCTOBER 14

FEBRUARY 27

PIOTR ANDERSZEWSKI, PIANO

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APRIL 3

NOVEMBER 18

MASTER CLASS WITH MARILYN HORNE DECEMBER 9

THE SPRING QUARTET Featuring Esperanza Spalding, Joe Lovano, Jack DeJohnette, and Leo Genovese APRIL 17

DeJohnette

Genovese

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Artists and dates are subject to change. Subscriptions and partial-season packages are available. More information available at oberlin.edu/artsguide.

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1 9 1 8 -2O18 C E N T E N N I A L

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

Severance Hall 2018-19

Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience. Concert Previews are made possible in part by a generous endowment gift from Dorothy Humel Hovorka.

Autumn Previews: September 20, 22 “2018-19: Season Overview” (musical works by Rathbun, Abrahamsen, and Tchaikovsky) Franz Welser-Möst in conversation with André Gremillet, executive director of The Cleveland Orchestra

September 27, 30 “New Wine, Old Wine Skins?” (musical works by Prokofiev and Bartok) with Rose Breckenridge lecturer and administrator, Cleveland Orchestra Music Study Groups

October 4, 5, 6 “Mahler’s Resurrection Symphony” (Mahler’s Symphony No. 2) with Rabbi Roger C. Klein, The Temple – Tifereth Israel

October 18, 19, 20 “From Far Away to Now” (musical works by Barber, Ginastera, and Rimsky-Korsakov) with Rose Breckenridge

October 25, 27 “Viennese Influences” (musical works by Webern, Berg, and Schoenberg) with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

Concert Previews

â&#x20AC;&#x201D;Gustav Mahler

Mahler, in a photograph taken in 1907 in Vienna.

It is a funny thing, but when I am making music, all the answers I seek for in life seem to be there, in the music. Or rather, I should say, when I am making music, there are no questions and no need for answers.

THE

CLEVELAND ORCHESTRA FR ANZ WELSER- MÖST

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

Severance Hall

Thursday evening, October 4, 2018, at 7:30 p.m. Friday evening, October 5, 2018, at 8:00 p.m. Saturday evening, October 6, 2018, at 8:00 p.m.

Franz Welser-Möst, conductor

2O18 SEASON 2O19

GUSTAV MAHLER (1860-1911)

Symphony No. 2 in C minor 1. Allegro maestoso 2. Andante moderato 3. Scherzo: In ruhig fliessender Bewegung — [In quietly fl owing motion] 4. Urlicht (Primeval Light): Sehr feierlich, aber schlicht — [Very solemn, but simple] — 5. Finale: Im Tempo des Scherzos. Wild herausfahrend. [In the tempo of the scherzo. Excitedly moving forward] — Allegro energico — Der Grosse Appell [The Grand Summons] — Langsam, misterioso [Slow, mysteriously] “Aufersteh’n” [Rise Again, resurrection hymn by friedrich klopstock] JOÉLLE HARVEY, soprano SASHA COOKE, mezzo-soprano CLEVELAND ORCHESTRA CHORUS Lisa Wong, director The symphony is presented without intermission and will run about 80 minutes in performance.

Joélle Harvey’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Margaret R. Griffiths Trust. Sasha Cooke’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mr. and Mrs. James P. Storer. LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV Classical 104.9 FM. The concert will be rebroadcast as part of regular weekly programming on WCLV on Saturday evening, December 29, at 8:00 p.m.

Severance Hall 2018-19

Concert Program — Week 3

October 4, 5, 6

1 9 1 8 -2O18

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

Severance Restaurant Reservations (suggested) for dining:

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

C O N C E R T P R E V I E W — Reinberger Chamber Hall

Concert Preview:

“Mahler’s Resurrection Symphony”

BEGINS ONE HOUR BEFORE CONCERT

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

C E N T E N N I A L

with Rabbi Roger C. Klein

Mvt 1 20 mins

MAHLER Symphony No. 2 (80 minutes)

------------

Mvt 2 10 mins

About the Music . . . . . . . . . . . . . . . . . . . . . . . . . page 33 What Mahler Said this Music Is About . . . . page 43 Sung Text and Translations . . . . . . . . . . . . . . . page 46

------------

Mvt 3

Mahler Visited Cleveland in 1910 . . . . . . . . . page 53

10 mins

Offstage Trumpets . . . . . . . . . . . . . . . . . . . . . . page 89 ------------

More About Mahler . . . . . . . . . . . . . . . . . . . . . . page 95

Mvt 4 5 mins ------------

Mvt 5 30 mins

Duration times shown for musical pieces are approximate.

Concert ends: (approx.)

THUR 8:55 FRI 9:25 SAT 9:25

opus LO U N G E

Opus Lounge This season, stop by our newlyredecorated lounge (with full bar service) for post-concert desserts, drinks, and convivial comradery.

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

This Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

Life, Faith & Mahler M A H L E R F A M O U S LY S A I D : “My time will come.” He was right, and his

time is now. While Mahler’s music confused audiences during his own lifetime and was banned by the Nazis, his work was championed by musicians as visionary. Embraced by audiences after World War II, Mahler’s music found its place in our complex, complicated modern world. If Beethoven and Mozart were quickly made musical gods, IN A NUTSHELL it took Mahler decades beyond his own lifetime to rise to olympian stature. Movement 1 (20 minutes) Although the Second Symphony C-minor = funeral march caused Mahler much difficulty in the A searching, searing, and anguished writing — he finished it more than six look at life now past — filled with deyears after starting — it also proved to spair, triumph, and uncertainty. be one of his first great public successes Movement 2 (10 minutes) as a composer. With its joyous ending A-flat major = emotional reverie employing full chorus and two soloists, it A gentle Ländler dance is challenged also became something of a calling card with distant, ominous feelings. for Mahler as a conductor-composer. He Movement 3 (10 minutes) programmed it among his first and last C-minor = spiritual uncertainty orchestral concerts with the Vienna PhilA humorous and sarcastic portrayal harmonic, in 1899 and 1907 respectiveof life’s naive fumblings and joys. ly, and programmed it again among his first orchestral concerts in New York City, Movement 4 (5 minutes) where he led its United States premiere D-flat major = anguished resignation on December 8, 1908, at Carnegie Hall. A furtive and determined call This symphony’s meaning (what it’s for answers to life’s questions. “about”) wrestles directly with big quesMovement 5 (30 minutes) tions of value and worth, striving and E-flat major = idealism and triumph accomplishment — things that Mahler Introduction plus ten episodes — (and most of us) wrestle and struggle with sounding a call to judgement and prothroughout our lives. That Mahler came claiming hope, eternal life, triumph. to a triumphant conclusion within this music gives testament to an enduringly optimistic and hopeful strain of outlook within humanity — and a grand potential for every generation that hears its musical arguments, battles, and ultimate victory. —Eric Sellen

Mahler 2 . . .

Severance Hall 2018-19

Introducing the Concerts

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Symphony No. 2 in C minor composed 1888-94

At a Glance

Gustav

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

Mahler composed his Second Symphony between 1888 and 1894, although a few idea sketches date from 1886. It was premiered on December 13, 1895, with the Berlin Philharmonic conducted by Mahler. (The first three movements of the symphony, without the final two, had been first performed the previous March, also with the Berlin Philharmonic led by Mahler.) Mahler also introduced this symphony to the United States, conducting its first performance here on December 8, 1908, at a concert of the New York Symphony at Carnegie Hall. Although it is commonly given the nickname “Resurrection” from the hymn text of the fourth movement, Mahler did not name it that. This symphony runs about 80 minutes in performance. Mahler scored it for a large orchestra of 4 flutes (all four doubling piccolo), 4

oboes (third and fourth doubling english horn), 3 clarinets (third doubling bass clarinet), 2 E-flat clarinets, 4 bassoons (one doubling contrabassoon), 8 horns, 6 trumpets, 4 trombones, tuba, 2 sets of timpani, percussion (snare drums, bass drum, cymbals, 2 tam-tams, triangle, glockenspiel, 3 bells, rute [a bundle of twigs or a birch-broom]), 2 harps, organ, and strings, plus soprano and alto soloists, and mixed chorus. In the final movement, there is an offstage band of 2 horns, 4 trumpets, timpani, bass drum, cymbals, and triangle. The Cleveland Orchestra first performed Mahler’s Second Symphony in January 1936 at Severance Hall, conducted by Artur Rodzinski. The most recent performances were given at Severance Hall and on tour in Europe in the autumn of 2007, led by Franz Welser-Möst.

About the Music G U S TAV M A H L E R ’ S M U S I C , and his life, are full of contrasts.

His very person and every day were filled with juxtapositions of the refined with the coarse — of big and small, of rapid mood swings and peaceful contentment, of transcendent meditation and crass humor, of joy and wonderment together with sadness and the commonplace. He was an exacting and mesmerizing conductor sometimes filled with grave self-doubt. He was raised a Jew and then became a Catholic (at age 37), but was strongly attracted to Buddhist beliefs in reincarnation. During his own lifetime Mahler was best known, and most admired, as a conductor. His music was less favorably reviewed. Although it appealed to some (Richard Strauss was an early advocate), it found many audiences quite unprepared for the startling juxtaposition of sounds that Mahler frequently wrote — massive orchestras in which a passage for only a few instruSeverance Hall 2018-19

About the Music

ments might be suddenly swamped by the entire ensemble welling up excitedly, followed by something equally different and bewildering. His music, which to 21st-century ears sounds so normal in its churning, was often a perplexing “curtain of chaos” to 19th-century audiences raised on Beethoven and Brahms, or even Berlioz and Wagner. As a conductor, Mahler was largely self-taught. There was, in fact, little choice in the matter. He couldn’t take conducting courses during his time at the Vienna Conservatory because none were offered — no one then thought conductMahler’s music, ing was something you could teach. Nor had he apprenticed with an experienced practitioner, although which to many he was eventually able to watch and gain insight from of us in the some well-known colleagues. Mostly he worked him21st century self up through the ranks with very practical (and tiring) sounds so normal work, starting with his first job conducting at a summer resort. Next came a series of municipal theaters and in its churning, then ever bigger opera houses, learning by quick trial was often a and error how best to communicate his intentions to perplexing the assembled musicians. “curtain of chaos” That Mahler came to be regarded as one of the to 19th-century great conductors of his era is testament to his willingness to try, learn from his mistakes, and try again, as well as an audiences raised extraordinary ability to read and understand a musical on Beethoven score. His strangely charismatic appeal on the podium, and Brahms, as much for the orchestra members as to the audience, or even Berlioz also electrified performances and spurred musicians to uncanny ensemble work and inspired playing. and Wagner. Mahler earned his livelihood as a conductor all his life. But doing so kept him very busy and left precious little time to compose. Certainly at first, the busyness was helpful, for Mahler came to understand a great deal from the many works he conducted, watching how the printed pages of other composers’ works sounded in performance. AS A COMPO SE R , Mahler created his earliest works for chamber

groups, or for voice and piano, and then for voice and orchestra. But eventually he began writing — and wrestling with — his First Symphony, created between 1884 and 1888. It was a rough road and a difficult birth. And Mahler’s fumbling attempts to explain that the symphony was “about” a hero didn’t help early audiences understand what he was trying to say. The connec-

About the Music

The Cleveland Orchestra

tion between the music and the storyline — a hero supposedly triumphant, but battered, and then dying — wasn’t immediately obvious to most listeners. Mahler later withdrew his “explanations” about the Symphony No. 1 and tried to let the music speak for itself. He was similarly minded about later symphonies, including the Second — providing written explanations and then dismissing them. A letter to his wife in 1901 talks about his description of the Second as “a crutch for a cripple. It gives only a superficial indication, all that any written program can do for a musical work, let alone this one, which is so much all of a piece that it can no more be explained than the world itself. I’m quite sure that if God were asked to draw up a program of the world he created, he could never do it. At best, it would say as little about the nature of God and life as my analysis says about my C-minor Symphony.” (See page 43 for what Mahler did say about his Second Symphony — and further discussion of his later disavowal.) With the First Symphony written (but not yet performed), Mahler immediately began writing a new orchestral piece. In his mind, he was starting exactly where the First had ended, with the strangely dead hero figure still in his mind. And so he wrote Severance Hall 2018-19

About the Music

a long funeral march or Totenfeir. But eventually, in September 1888, he set the score aside, uncertain whether it was part of a new symphony or an independent work. In retrospect, Mahler’s First Symphony was indeed a learning experience. At its premiere in Budapest in 1889, the composer realized almost at once that he had failed. It was the first of his first big orchestral writings to be performed, and he simply had gotten the balancing between instruments and sections wrong. The music may indeed have sounded like a “curtain of chaos” at its premiere. But Mahler, always striving for perfection, set about revising the score, and tinkered The Second with it for over a decade (including jettisoning an enSymphony’s tire “extra” movement) before fashioning it into what eventual message audiences know today. In the summer of 1893, he took up the Totenfeir of Eternal Life again, certain that it was the start of his Second Symhelped Mahler phony, and wrote a second and third movement to go understand what with it, and then added a short orchestra song for solo he was trying to voice as a fourth movement. But, he was at a loss about write about in all how to continue. What sort of ending would satisfactorily bring this expansive work to a close? of his music — In January 1894, one of his colleague conducabout the big tors in Hamburg, Hans von Bülow, died. And, strangely questions in life, enough, this gave Mahler the inspiration he needed to about the meaning complete the Second Symphony. At von Bülow’s funeral, a chorus sang out the words of a resurrection hymn text and value of life by Friedrich Klopstock — and, according to Mahler, he itself, in the big could suddenly see how to finish the symphony, with picture and for a grand movement for soloists and full chorus singing each individual. a hymn about Resurrection and Eternal Life. More importantly, Mahler also suddenly better understood what he was trying to write about in all of his music. Not that he had the answers immediately at hand, if ever. But he was now able to verbalize the fact that his music was about the big questions in life, about the meaning and value of life itself — in the big picture and for each individual. His First Symphony wasn’t just about a hero, it was about the heroic struggles of life on earth. “Goethe said immortal things on this subject,” Mahler wrote, referring to humanity’s place in the universe. “What I want to say I am naturally only able to express fully in music. . . . That is what has been given to me and for that I will be called to account.”

About the Music

The Cleveland Orchestra

THE MUSIC

The Second Symphony begins with the long funeral march that Mahler had written at the same time as the First Symphony. Perhaps this first movement is for the everyman hero in Mahler’s mind, or perhaps for humanity as a whole. After some stuttered opening measures, a grand march of strings and winds moves forward, slowly building, and time and again welling up within anguished cries and stabbing chords, surrounded by calmer and serenely foreboding passages. (Among musical motifs is the kernel for what will become the “resurrection” hymn in the last movement.) The movement’s conflict, between the underlying march and portrayals of idyllic calm, keeps us on edge. From within each respite, the music marches on, ultimately leading us to a climactic stuttering chord cluster about ten minutes in. And then . . . the march starts all over again. While mourning our fallen hero, we simultaneously seem to recall his triumphs in brightly ecstatic declarations. The episodes eventually resolve into more introspective music of remembrance. At the very end, the mood is shattered, with a quick and sudden reminder that the hero is dead. We are left in silence. Mahler marked very specific instructions in the score at this point, stating that a pause of several minutes should occur after the opening movement, before continuing. Such lengthy time for silent introspection may be less necessary — or possible — in our fast-paced modern world, and conductors today, balancing between adequate reflection and noisy restlessness in the audience, choose varying lengths for Mahler’s requested period of silence. The second movement is in the “tempo of a minuet.” It Severance Hall 2018-19

About the Music

MAHLER the Conductor During his lifetime, Mahler was best known as a superstar conductor — and only incidentally as a composer of strange new music. Above, caricatures of Mahler on the podium, from a set of postcards drawn by Otto Böhler (1873-1913).

About the Manuscript: The manuscript score to Mahler’s Second Symphony made news in recent years by being one of the few such manuscripts to come up for auction. Mahler had kept the score (which includes corrections and alterrations he made) during his lifetime, after which his widow, Alma Mahler, gifted it to his friend the Dutch conductor Willem Mengelberg at the first Mahler Festival in Amsterdam, in 1920. Following Mengelberg’s death in 1951, ownership passed to the Mengelberg Foundation. In 1984, it was sold to Mahler enthusiast and U.S. entrepreneur Gilbert Kaplan. After Kaplan’s death in January 2016, the manuscript was offered for sale on the open market and sold for a record price.

The Score: Mahler’s Second

The Cleveland Orchestra

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is mostly gentle, peaceful music, set as an Austrian Ländler dance. At times it feels menacing, as though a distant storm cloud has appeared on the horizon, but the menace is always in the distance and these moments melt away to quiet tranquility. The bucolic reverie is broken with the timpani strokes that open the third-movement Scherzo. This is an orchestral rendition of one of Mahler’s songs, about St. Anthony and the Fishes, which he was writing at the same time. The movement is full of conflicting musical ideas, as if a multitude of St. Anthony’s fishes (bigger, smaller, snapping, peaceful, etc.) are swimming within one vast, steadily moving current. There are playful currents and undercurrents, along with anxious moments of splashing and unanswered questions. It is tempting (and possibly quite accurate) to read meaning into the music from the unvocalized song text, with the foolishly selfish fishes swimming happily but uncomprehendingly against St. Anthony’s words for a better life. The short, quiet fourth movement follows immediately. Scored for chamber orchestra, it introduces a solo voice singing about humanity’s desire for meaning (a ray of light) from God. Although Mahler at least twice considered asking for another significant pause at the end of this movement, the published score includes instrucSeverance Hall 2018-19

About the Music About the Music

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tion to continue attacca (“at once”) into the finale. The fifth movement opens with thunderous noise, which dissolves into quiet expectancy. Then come ten episodes, clearly marked in the score, building from and commenting on the opening thunder — and carrying us forward with a message of hope and certainty. Brass are heard from offstage. Their tune is picked up onstage, dissected and questioned, then brought gradually to a magnificent full-throated salute in the orchestra, reiterated and repeated. It continues into a triumphant march, vanquishing all opposition. Suddenly, the music turns to terror and uncertainty. Offstage again, we hear new ideas in opposition, which boil over and then subside toward stillness. Just over fifteen minutes into this final movement, from pairs of trumpets arranged outside the auditorium come “the Grand Call” (der grosse Appell) echoed against birdcalls from flute and piccolo onstage, followed by the chorus’s quiet intoning of the Resurrection Hymn. For some listeners, this is the Christian Day of Judgement. For Mahler, it was less specific and more universal — and more forgiving. Among the many changes and additions he made to the original hymn text, Mahler removed the words “Jesus Christ” altogether. Yet, within that context and understanding, the symphony’s ending is a tangible reckoning of Mahler’s own life values, told in music — terrifying at times, but also expectant, wondering, uncertain, daring to hope. And then exhilaratingly reassuring, as the symphony comes to a fully triumphant ending, whole orchestra and chorus, with soloists soaring and bells pealing. “We will all return,” Mahler said to Richard Specht, one of his first biographers. “Our life only has sense if it is shot through with this certainty, and it is wholly unimportant whether in later reincarnation we recall an earlier one. What counts is not the individual and his memory . . . but only that great movement towards perfection, that purification that progresses with each reincarnation. That is why I have to live ethically, to spare my Self a part of the same road when it returns.” And what can be better, for Mahler-the-composer’s belief in reincarnation and eternal life, than to have his “Resurrection” Symphony performed today — again and again — captivating and thrilling audiences all over the world more than a century after its creator’s death. Mahler does indeed live on! —Eric Sellen © 2018 Eric Sellen serves as program book editor for The Cleveland Orchestra.

Severance Hall 2018-19

About About the the Music Music

Mahler’s own words about composing, and music as a language vs. words . . . 1893: “Creation, bringing a work into the world . . . is essentially mystical. . . . I believe it is this way for most men, except perhaps for the greatest geniuses, whose names could be written on one fingernail. Artistic creation reminds me of the birth of a pearl, that treasure offered to the world only after having caused the oyster severe pain. Spiritual and physical birth have much in common: what struggles, what torture, what anguish accompany them — what rejoicing too, if the infant be healthy and vigorous. . . . The artist . . . carries the seed in his innermost being, nourishing it as it comes to maturity, until the completed work can be born into the light. . . . Sometimes, to one’s own astonishment, inspiration coming from elsewhere may impel one to do something that later one no longer understands. I often feel like a blind hen discovering a grain of wheat. This mysterious unconscious force is the more remarkable in that it appears in individual passages, usually the most important and difficult, rather than in a whole movement or an entire piece. Most of the time, they are precisely the passages on which I have no inclination to work, those I would love to avoid, but which take possession of me and finally demand to be expressed.” 1896: “We are faced with the essential question of knowing how, or even why, the content of a musical work should be defined in words. . . . Allow me to state briefly my point of view: I know, for my part, that as long as I am able to express my experience in words, I would never do so in music. My need to express myself musically, symphonically, begins only in the realm of obscure feelings, at the gate leading to the ‘other world,’ where things are no longer destroyed by time and space. Just as I find it trite to invent music to fit a program, in the same way I find it unsatisfactory and fruitless to try to invent a program for a musical work. . . . Here we have reached, and of this I am certain, the great fork where the two paths of symphonic and dramatic music diverge. . . . If you compare a Beethoven symphony and a work by Wagner, you will sense the essential difference immediately. . . . I have composed a few symphonies that were born amid veritable labor pains — and, after always encountering the same questions, the same misunderstandings, I have worked out this conception of things myself. Nevertheless, it is useful at first, when my manner is still strange to a listener, for him to receive for his voyage some milestones and signposts — or let us better say, a star map, so that he can orient himself in the nocturnal sky with its shining worlds. But such an explanation will never offer more. People must proceed from something known, otherwise they will get lost!” —Gustav Mahler

Musical Creation and Understanding

The Cleveland Orchestra

I F M A H L E R H A D H I S WAY , you wouldn’t be reading this.

Before, during, or after the concert. Maybe. When he led a performance with the New York Philharmonic of his First Symphony in 1909, he banished from the printed program book any kind of written commentary about the work — both his own words about the piece, long since withdrawn, and anyone else’s thoughts. The writer for that printed program book, Henry Krehbiel, who was (commonly for the time) also a music critic for one of New York’s newspapers, instead filled the book’s pages with an inconclusive essay about the value of program notes. And yet, Mahler really did like to talk about what his GUSTAV MAHLER Drawing by Enrico Caruso symphonies meant — what was in his mind behind the music. And long after he’d stopped doing so publicly, or having his thoughts printed (as he did for early performances of the First Symphony), he talked and wrote to friends and colleagues about all his later works. Most probably, for Mahler, talking about what he was composing was, in fact, part of the process — trying to look at his music through the filter of a different sort of language. Mahler’s first language was music. He sang before he could talk, he was picking out tunes before he could walk. And, although he became very skillful with words and language (as his many letters and writings attest), he remained frustrated at the impossibility of translating music into words — of the inadequacy of words to describe music fully. Much of what Mahler said about his music can (or should) be understood metaphorically. His thoughts are not always what the music is about. Rather, his words were an attempt to convey some essence of the music to the people around him, by describing a situation or feeling similar to what his music was saying more directly (to him). His changing and conflicting feelings about program notes were like much else in his life, including religion and politics. Ambivalence reigned. For Mahler, life was a compromise (not wholly successful) of keeping competing ideas and needs in forced balance. With all of that in mind — and the fact that Mahler disavowed any explanations for the Second Symphony (but not the sung text itself, which Severance Hall 2018-19

Mahler Talks About Symphony No. 2

obviously has direct meaning), the following paragraphs are a compendium of how Mahler described his Symphony No. 2. Taken from several discussions, they are combined together here, as compiled by Mahler enthusiast and conductor Gilbert Kaplan for his own first recording of the work. —Eric Sellen

Mahler’s descriptive words about the Second Symphony:

Death of a Hero: At 5 p.m. in the afternoon of May 22, 1911, Mahler’s casket is placed into the horse-drawn hearse, for the trip to the parish church and then to the gravesite in Vienna’s Ginzing Cemetery.

Movement I. — “We stand by the coffin of a person well loved. His whole life, his struggles, his passions, his sufferings, and his accomplishments on earth once more for the last time pass before us. And now, in this solemn and deeply stirring moment, when the confusions and distractions of everyday life are lifted like a hood from our eyes, a voice of awe-inspiring solemnity chills our heart — a voice that, blinded by the mirage of everyday life, we usually ignore: ‘What? What is life and what is death? Why did you live? Why did you suffer? Is it all nothing but a huge, frightful joke? Will we live on eternally? Do our life and death have a meaning?’ We must answer these questions in some way if we are to go on living — indeed, if we are to go on dying! He into whose life this call has once sounded must give an answer. And this answer I give in the final movement.” Movement II. — “A memory, a ray of sunlight, pure and cloudless, out of the departed’s life. You must surely have had the experience of burying someone dear to you, and then, perhaps, on the way back some long-forgotten hour of shared happiness suddenly rose before your inner eye, sending as it were a sunbeam into your soul not overcast by any shadow — and you almost forgot what had just taken place.” Movement III. — “When you awaken from that blissful dream

Mahler Talks About Symphony No. 2

The Cleveland Orchestra

and are forced to return to this tangled life of ours, it may easily happen that this surge of life ceaselessly in motion, never resting, never comprehensible, suddenly seems eerie, like the billowing of dancing figures in a brightly lit ballroom that you gaze into from outside in the dark — and from a distance so great that you can no longer hear the music! Then the turning and twisting movement of the couples seems senseless. You must imagine that, to one who has lost his identity and his happiness, the world looks like this — distorted and crazy, as if reflected in a concave mirror. Life then becomes meaningless. Utter disgust for every form of existence and evolution seizes him in an iron grip, and he cries out in a scream of anguish.” Movement IV. — “The moving voice of naive faith sounds in our ears. ‘I am from God and will return to God. The dear God will give me a light, will light me to eternal blessed life!’” Movement V. — “Once more we must confront terrifying questions. The movement starts with the same dreadful scream of anguish that ended the Scherzo. The voice of the Caller is heard. The end of every living thing has come, the last Judgement is at hand, and the horror of the day of days has come upon us. The earth trembles; the last trumpet sounds; the graves burst open; all the creatures struggle out of the ground, moaning and trembling. Now they march in a mighty procession: rich and poor, peasants and kings, the whole church with bishops and popes. All have the same fear, all cry and tremble alike because, in the eyes of God, there are no just men. The cry for mercy and forgiveness sounds fearful in our ears. The wailing becomes gradually more terrible. Our senses desert us; all consciousness dies as the Eternal Judge approaches. The trumpets of the Apocalypse ring out. Finally, after all have left their empty graves and the earth lies silent and deserted, there comes only the long-drawn note of the bird of death. Even it finally dies.” “What happens now is far from expected: Everything has ceased to exist. The gentle sound of a chorus of saints and heavenly hosts is then heard. Soft and simple, the words gently swell up: ‘Rise again, yea, you shall rise again.’ Then the glory of God comes into sight. A wondrous light strikes us to the heart. All is quiet and blissful. Lo and behold: There is no judgement, no sinners, no just men, no great and no small; there is no punishment and no reward. A feeling of overwhelming love fills us with blissful knowledge and illuminates our existence.” —Gustav Mahler

Severance Hall 2018-19

Mahler Talks About Symphony No. 2

Symphony No. 2 (“Resurrection”) Movement 4

Urlicht [Primal Light] text adapted by Gustav Mahler from Des Knaben Wunderhorn [The Youth’s Magic Horn] as collected and adapted by Achim von Arnim and Clemens Brentano ALTO SOLOIST

O Röschen rot! Der Mensch liegt in grösster Not! Der Mensch liegt in grösster Pein! Je lieber möcht’ ich im Himmel sein!

O tiny red rose! Humanity lies in greatest need! Humanity lies in greatest pain! I would much rather be in Heaven!

Da kam ich auf einen breiten Weg, Da kam ein Engelein und wollt’ mich abweisen. Ach nein! Ich liess mich nicht abweisen! Ich bin von Gott und will wieder zu Gott! Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben!

Once I came onto a broad path, and an angel came and wanted to turn me away. But no, I would not be turned away! I am from God and would return to God! Dear God will give me a light, — will light my way to eternal, blissful life!

Movement 5

Finale: Auferstehung (“Resurrection”) text by Friedrich Klopstock (1724-1803) as adapted and extended by Mahler CHORUS AND SOPRANO SOLOIST

Aufersteh’n, ja, aufersteh’n wirst du, Mein Staub, nach kurzer Ruh! Unsterblich Leben! Unsterblich Leben Wird der dich rief dir geben!

Rise again, yes, you will rise again, my dust, after a brief rest! Immortal life! Immortal life will be granted by the One who calls you!

Wieder aufzublüh’n wirst du gesät! Der Herr der Ernte geht Und sammelt Garben Uns ein, die starben!

To bloom again you were sown! The Lord of the Harvest goes forth and gathers like sheaves, those of us who have died!

Mahler Second Symphony: Sung Text

The Cleveland Orchestra

ALTO SOLOIST

O glaube, mein Herz, o glaube: Es geht dir nichts verloren! Dein ist, Dein, ja Dein, was du gesehnt! Dein, was du geliebt! Was du gestritten!

O believe, my heart, O believe: nothing will be lost to you! Yours is . . . yours . . . yes, yours is what you longed for! Yours is what you loved, what you fought for!

SOPRANO SOLOIST

O glaube: Du wards nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten!

O believe! You were not born in vain! You have not lived in vain, nor suffered!

CHORUS AND SOLOISTS

Was entstanden ist, das muss vergehen! Was vergangen, auferstehen! Hör’ auf zu beben! Bereite dich zu leben!

What has come into being, must perish! What has perished must rise again! Cease from trembling! Prepare to live!

SOPRANO AND ALTO SOLOISTS

O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen! Mit Flügeln, die ich mir errungen, In heissem Liebesstreben Werd’ ich entschweben Zum Licht, zu dem kein Aug’ gedrungen!

O Pain, you who pierce all things, from you I have been taken! O Death, conqueror of all things, now you are conquered! With the wings I have won for myself, in love’s ardent struggle, I shall fly upward to that light which no eye has penetrated!

CHORUS AND SOLOISTS

Mit Flügeln, die ich mir errungen, In heissem Liebesstreben Werd’ ich entschweben Zum Licht, zu dem kein Aug’ gedrungen! Sterben werd’ ich, um zu leben!

With wings I won for myself, in love’s ardent struggle, I shall fly upward to that light which no eye has yet seen! I shall die so as to live!

Aufersteh’n, ja, aufersteh’n wirst du, Mein Herz, in einem Nu! Was du geschlagen, Zu Gott wird es dich tragen!

Rise again, yes, you will rise again, My heart, in an instant! Your own beating will take you to God!

Severance Hall 2018-19

Sung Text: Mahler Second Symphony

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Joélle Harvey

Sasha Cooke

American soprano Joélle Harvey is regarded among the best and most interesting singers of her generation, praised for artistry across varying repertoire including new music. She previously sang with The Cleveland Orchestra in 2014 and 2016. Ms. Harvey is the recipient of a 2011 first prize from the Gerda Lissner Foundation, along with honors from the George London Foundation and the Richard Tucker Foundation. She earned bachelor’s and master’s degrees in vocal performance from the University of Cincinnati CollegeConservatory of Music, and was a member of Glimmerglass Opera’s 2007 Young American Artists Program and San Francisco Opera’s Merola Program. Recent and upcoming engagements include appearances with the orchestras of Kansas City, Los Angeles, New York, San Francisco, and Washington D.C., as well as performances with the English Concert, Glyndebourne Festival Opera, Handel and Haydn Society, Laguna Music Festival, and Pittsburgh Opera. She has also has sung with the London Symphony Orchestra, Amsterdam’s Royal Concertgebouw, and Les Violons du Roy, and at the BBC Proms and with London’s Royal Opera house. For more information, visit www.joelleharvey.com.

American mezzo-soprano Sasha Cooke sings with leading orchestras, opera companies, and chamber ensembles and is known for her wide-ranging repertoire and commitment to new music. She made her Cleveland Orchestra debut in October 2012 and most recently sang here in November 2016. Ms. Cooke is a graduate of Rice University and New York’s Juilliard School, and also attended the young artists’ programs of Aspen, Marlboro, the Metropolitan Opera, and Ravinia. Her honors include first place in the 2010 Gerda Lissner and José Iturbi International Music competitions, and the Kennedy Center’s Marian Anderson Award. Sasha Cooke has performed with major orchestras and operas companies in the United States, in Asia, with summer festivals, and in recital in London, New York, and throughout the U.S. Her current season includes a recital presented by New York’s Carnegie Hall. In new music, she has sung world premieres of works by Mohammed Fairouz, Mark Grey, Marc Neikrug, and Augusta Read Thomas. Her portrayal of Kitty Oppenheimer in the Metropolitan Opera’s production of John Adams’s Doctor Atomic is captured on DVD, which won the 2012 Grammy Award for best opera recording.

Severance Hall 2018-19

Guest Soloists

Lisa Wong Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra

Lisa Wong was appointed director of choruses for The Cleveland Orchestra in May 2018, after serving as acting director throughout the 2017-18 season. She joined the choral staff of The Cleveland Orchestra as assistant director of choruses at the start of the 2010-11 season, assisting in preparing the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. In 2012, she took on added responsibilities as director of the Cleveland Orchestra Youth Chorus, leading that ensemble for five seasons. In addition to her duties at Severance Hall, Ms. Wong is an associate professor of music at The College of Wooster, where she conducts the Wooster Chorus and teaches courses in conducting, choral literature, and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Recent accolades have included work in Nairobi, Kenya, and Stockholm, Sweden. Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

DEPARTMENT OF ART HISTORY AND ART FREE FALL LECTURES THE SUBVERSIVE AFTERLIFE OF IMAGES: IMPLIED, ENSUING ACTION IN MEDIEVAL JEWISH VISUAL CULTURE The Julius Fund Lecture in Medieval Art

Marc Epstein

October 17 | 5:30pm Cleveland Museum of Art

BUILT ENVIRONMENTS AND PERFORMANCES OF POWER The 44th Annual Cleveland Symposium

Keynote: John Hopkins

October 26 | 10:00am-6:30pm Keynote | 5:45pm Cleveland Museum of Art

DESTRUCTION AND DEFIANCE IN LATE REPUBLICAN ROME

THE PRAISEWORTHY ONE: DEVOTIONAL IMAGES OF THE PROPHET MUHAMMAD IN ISLAMIC TRADITIONS Christiane Gruber

December 7 | 5:30pm Cleveland Museum of Art

DIVINE, DESIRABLE, DEADLY: THE MIDDLE AGES THROUGH OBJECTS Lecture & book signing

Penelope J.E. Davies

Elina Gertsman and Barbara Rosenwein

November 7 | 5:30pm

December 12 | 6:00pm

Cleveland Museum of Art

The Julius Fund Lecture in Ancient Art

216.368.4118

Cleveland Orchestra Chorus

The Cleveland Orchestra

Cleveland Orchestra Chorus Lisa Wong, Director

Daniel Singer, Assistant Director Joela Jones, Principal Accompanist The Cleveland Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute over 25,000 volunteer hours each year.

MAHLER Symphony No. 2 SOPRANO

ALTO

TENOR

Amy Foster Babinski Claudia Barriga Yu-Ching Ruby Chen Susan Cucuzza Anna K. Dendy Emily Engle Molly Falasco Lisa Rubin Falkenberg Lisa Fedorovich Sarah Gould Rebecca S Hall Karen Hazlett Ashlyn Herd Lisa Hrusovsky Shannon R. Jakubczak Nina Kapusta Hope Kay Olivia Lawrence Kate Macy Madelaine Matej5 Jessica M. May Clare Mitchell S. Mikhaila Noble-Pace Jennifer Heinert Oâ&#x20AC;&#x2122;Leary Lenore M. Pershing Jylian Purtee Molly Schacher Meghan Schatt Monica Schie Cicely Schonberg Megan Tettau Isabella V. Tuma Sharilee Walker Mary Wilson

Emily Austin Laura Avdey Debbie Bates Andrea Bliscik5 Barbara J. Clugh Carolyn Dessin Marilyn Eppich Diana Weber Gardner Betty Huber Karen Hunt Sarah N. Hutchins Melissa Jolly Kate Klonowski Cathy Lesser Mansfield Danielle S. McDonald Karla McMullen Holly N. Miller Peggy A. Norman Dawn Ostrowski Marta Perez-Stable Amy Shen Ina Stanek-Michaelis Rachel Thibo Jane Timmons-Mitchell Martha Cochran Truby Gina L. Ventre Laure Wasserbauer Leah Wilson Debra Yasinow Lynne Leutenberg Yulish

Frederick Allen Vincent L. Briley Robert Hutson Daniel M. Katz Peter Kvidera Adam Landry Tod Lawrence Shawn Lopez Rohan Mandelia James Newby Ryan Pennington Matthew Rizer Ted Rodenborn Matt Roesch John Sabol Lee Scantlebury James Storry Michael J. Ward Allen White Peter Wright BASS

Christopher Aldrich Tyler Allen Jack Blazey Sean Cahill Kevin Calavan Serhii Chebotar Peter B. Clausen Nick Connavino Kyle Crowley Christopher Dewald

Jeffrey Duber Matthew Englehart Richard Falkenberg Brian Fancher Kurtis B. Hoffman Dennis Hollo Martin Horning Jason Howie James Johnston Joshua Jones David C. Keller Matthew Kucmanic Jason Levy Scott Markov Tyler Mason Roger Mennell Robert Mitchell Stephen Mitchell Tom Moormann Keith Norman Tremaine Oatman Francisco Prado Brandon Randall John Riehl Robert Seaman John Semenik Jarod Shamp James B. Snell Charles Tobias Nicolas Turnberrez Patrick Wickliffe

5= Shari Bierman Singer Fellow

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Jill Harbaugh, Manager of Choruses

Severance Hall 2018-19

Cleveland Orchestra Chorus

W H E N G U S TAV CA M E T O T OW N . . .

What did Cleveland think of Mahler ? by ERIC SELLEN

G U S T A V M A H L E R made one trip to Cleve-

land, in December 1910 to conduct a concert of the New York Philharmonic Orchestra. Cleveland was the first stop on the Philharmonic’s first tour west from New York City; they’d gone east into New England previously, but agreed to come west for the first time at the invitation of Cleveland’s Adella Prentiss Hughes. (On the return trip home, they stopped to play at Pittsburgh, Buffalo, and Rochester.) Mahler was then in his second season as the Philharmonic’s music director (the customary title at the time was merely “conductor”). Mahler and the concert he would conduct in Cleveland were ballyhooed and championed to an unprecedented extent in the local papers. He played none of his own music, but rather presented his own “doctored” scorings of music by Bach and Beethoven. And then closed with Wagner. Afterward, the area’s critics were nearly unanimous in their praise. Mahler sailed for Europe four months later (a week later than he had originally planned). A month after that, he was dead. M A H L E R F I R S T C A M E to America in the fall of 1907, arriving just before

Christmas. He had resigned his post as artistic director of the Vienna State Opera the previous March, forced out by politics and intrigue. He was lured across the Atlantic by an enormous salary offer from the Metropolitan Opera. In addition to the proffered wages, the work in New York was to be limited to a few months each year, and Mahler looked forward to having more time for composing. He hoped that his heart would last. His condition had been diagnosed, almost by accident, in July 1907. What time he had was limited — Severance Hall 2018-19

Gustav Mahler in Cleveland: 1910

but so was his wealth (and what little his family would have if he died sooner rather than later). He hoped that after a few seasons of substantial wages at the Met, he could safely retire from the rigors of conducting and devote his time exclusively to composition. Mahler’s Met debut came on New Year’s Day, 1908, with Wagner’s Tristan and Isolde. But his hope for a few easy seasons of unencumbered opera conducting did not materialize. During 1908, the management of the Met changed hands from Heinrich Conried, who had hired Mahler, to Guilio Gatti-Casazza, who brought the young Arturo Toscanini with him. Nonetheless, in some fashion, and with many favorable reviews, Mahler conducted during three seasons at the Met. But GattiCasazza and the “Italians” (with Toscanini) were wielding more and more control. Early on in these struggles, Mahler began shifting his work in New York to orchestral conducting — first with New York’s Symphony Society and then with the New York Philharmonic Society. The Philharmonic, teetering on the brink of bankruptcy and disillusion, gambled on Mahler’s great box office appeal to save their orchestra. It was at this time that Adella Prentiss Hughes began coaxing the New York Philharmonic for a visit westward. Her Cleveland Symphony Concerts had premiered in the “Forest City” in 1901, and she had so far managed to bring four of the country’s great “Symphonic Six” orchestras to Cleveland: the Boston Symphony Orchestra, Cincinnati Symphony Orchestra, Theodore Thomas Orchestra (soon to be renamed the Chicago Symphony Orchestra), and New York’s Sym-

phony Society. The Philharmonic in 1910 would give her one more, so that Cleveland — already known as an orchestral center (even though it did not yet have its own orchestra) — would be the only city to hear these five in one season. (Philadelphia, the other of America’s turn-ofthe-century elite orchestras, would join the touring schedule the following season and make Mrs. Hughes the first presenter to have all six in one year.) In early September, Mrs. Hughes announced that the country’s oldest symphonic ensemble — the “Dean of American Orchestras” — would be included on the 1910-11 concert schedule, conducted by Gustav Mahler. The December concert of the New York Philharmonic would include Mahler’s modernized orchestration of Beethoven’s Eighth Symphony — “Beethoven as Mr. Mahler thinks it would be if Beethoven were alive today and acquainted with the larger scope of the instrumentation of the present day.” Throughout the fall of 1910, Cleveland newspapers kept local citizens apprised of Mahler’s every move. His sailing from Cherbourg on October 18 was duly noted, including the fact that his contract with the Philharmonic covered his travelling expenses (over $2,000 for his family’s five-day trans-Atlantic passage on the German liner Kaiser Wilhelm II). In November, one paper printed a firsthand report of a Philharmonic rehearsal in New York, which read in part: “In the midst of it all, an odd-looking nervous little man walked briskly onto the stage and picked his way to the center. He stood a moment chatting with the concertmaster, Theodore Spiering, then glanced at his watch, picked up his small baton and

Gustav Mahler in Cleveland: 1910

The Cleveland Orchestra

Caricature drawings of Mahler in action as the “hyper-Modern” conductor, by Hans Schliessmann.

mounted the conductor’s platform. A single light tap and the confusion ceased. The indiscriminate throng of men at practice felt instantly the influence of the master musician, and was transformed into an alert, expectant symphony orchestra.” On the eve of the concert, Cleveland’s Plain Dealer included a profile of Gustav Mahler: “The most nervous, tireless, imaginative of directors, whose spirit never seems to rest, has lived a half century in spite of his habit and distractions. He today commands as much musical youth as a 20-year-old. A whole school of directors and opera reformers are his followers, all of whom have umbrageous black hair, piercing eyes behind big eyeglasses, jerking shoulders and stamping feet . . .” For the concert, Beethoven’s Sixth Symphony, the “Pastoral,” was substituted for the originally announced Eighth, preceded by Mahler’s own arrangement of a Bach suite and followed by three Wagnerian orchestral opera excerpts. Reviews of the December 6 concert were almost universally positive: Severance Hall 2018-19

Town Topics: “An extraordinary concert had to be the issue after the unusual way in which both Mahler and his organization were advertised. It is no easy task to prove so much better than a busy press agent story proclaims one to be. Mahler exceeded all expectations. . . . Hereafter we shall consider a Mahler concert a standard.” Plain Dealer: “Little Mahler with the big brain. Little Mahler with the mighty force. Little Mahler with the great musical imagination. Little Mahler, whose gigantic power makes the other conductors seem like pygmies. . . . His strength, his mastery over his instrument, were obvious from the first. . . . The hearer is apt to be skeptical about arrangements by modern conductors of compositions by masters like Bach and Beethoven. But doubt vanishes in conviction under the hands of Mahler. . . . The fact that the orchestra came without a soloist to break the continuity of a program that was in itself a work of art is further cause for congratulation.” Leader: “. . . Mr. Mahler’s extraordinary genius shows itself in many ways. He certainly takes great liberties in the presentation of classic works to modern audiences, and if it may (as it surely does) make some of the sternly judicious grieve, it undoubtedly makes the average listener rejoice to hear the spirit though not the letter of the old texts given with the inspiration of modern genius . . .” While Mahler survived Cleveland almost unscathed, elsewhere the press often attacked him mercilessly for his “tampering” and “modernizing” of Beethoven and others. On this subject, however, it is worth noting that Mahler at times advocated others doing the same to his own compositions after he died

Gustav Mahler in Cleveland: 1910

— so as to keep the musical language as “up-to-date” as possible. Beyond the several attempts to complete Mahler’s unfinished Tenth Symphony, of course, few have taken him at his word. Today’s artistic focus is most often at presenting a composer’s musical vision for a particular work — updating and popularizing has shifted out of the classical concert hall and into pops concerts and other musical genres, where new “covers” in jazz, rock, r&b, lounge, country, etc. give new interest, but in a different way. I N J A N U A R Y 1 9 1 1 , the Plain Dealer

reported rumors from New York that Mahler’s contract with the Philharmonic would be extended for three more years. Mahler’s health, however, did not coop-

erate. A potentially fatal blood infection had taken hold (in an era prior to most antibiotics); he conducted his final concert on February 21. Shortly thereafter, he quarrelled with the Philharmonic’s operating committee, probably with intentional provocation on their part. In March, concertmaster Spiering succeeded Mahler “temporarily” as the group’s conductor. Expecting not to see New York again, Mahler sailed for Europe on April 8, 1911. Five weeks later, on May 18, he died in Vienna. Mahler’s own music first came to Cleveland three years later, when the Chicago Symphony Orchestra and its conductor, Frederick Stock, presented the First Symphony on December 15, 1914.

Gustav Mahler’s grave in Vienna’s Grinzing Cemetery.

Gustav Mahler in Cleveland: 1910

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

JOHN L. SEVERANCE SOCIETY Cumulative Giving The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which today symbolizes unrivalled quality and enduring community pride. The individuals, corporations, foundations, and government agencies listed here represent today’s visionary leaders, who have each surpassed $1 million in cumulative gifts to The Cleveland Orchestra. Their generosity and support joins a long tradition of community-wide support, helping to ensure The Cleveland Orchestra’s ongoing mission to provide extraordinary musical experiences — today and for future generations.

Current donors with lifetime giving surpassing $1 million, as of September 2018

Gay Cull Addicott American Greetings Corporation Art of Beauty Company, Inc. BakerHostetler Bank of America The William Bingham Foundation Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Irma and Norman Braman Jeanette Grasselli Brown and Glenn R. Brown The Cleveland Foundation The George W. Codrington Charitable Foundation Robert and Jean* Conrad Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Eaton FirstEnergy Foundation Forest City GAR Foundation Mr. and Mrs. Richard T. Garrett The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation The Goodyear Tire & Rubber Company The George Gund Foundation Francie and David Horvitz Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Jones Day Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation The Walter and Jean Kalberer Foundation

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Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern KeyBank Knight Foundation Milton A. & Charlotte R. Kramer Charitable Foundation Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Nancy Lerner and Randy Lerner Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis Jan R. Lewis Peter B. Lewis* and Janet Rosel Lewis Virginia M. and Jon A. Lindseth The Lubrizol Corporation Maltz Family Foundation Elizabeth Ring Mather and William Gwinn Mather Fund Elizabeth F. McBride Ms. Nancy W. McCann William C. McCoy The Sisler McFawn Foundation Medical Mutual The Andrew W. Mellon Foundation Mr. and Mrs. Robert F. Meyerson* Ms. Beth E. Mooney The Morgan Sisters: Susan Morgan Martin, Patricia Morgan Kulp, Ann Jones Morgan John C. Morley John P. Murphy Foundation David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Family of D. Z. Norton State of Ohio Ohio Arts Council The Honorable and Mrs. John Doyle Ong

Parker Hannifin Foundation The Payne Fund PNC Julia and Larry Pollock PolyOne Corporation Raiffeisenlandesbank Oberösterreich Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner James and Donna Reid The Reinberger Foundation Barbara S. Robinson The Sage Cleveland Foundation The Ralph and Luci Schey Foundation Seven Five Fund Carol and Mike Sherwin Mrs. Gretchen D. Smith The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Mr. and Mrs. Richard K. Smucker Jenny and Tim Smucker Richard and Nancy Sneed Jim and Myrna Spira Lois and Tom Stauffer Mrs. Jean H. Taber* Joe and Marlene Toot Ms. Ginger Warner Robert C. Weppler Janet* and Richard Yulman Anonymous (7)

Severance Society / Lifetime Giving

* deceased

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The Cleveland Orchestra

P H OTO BY R O G E R MA S T R O I A N N I

Distinguished Service Award The Musical Arts Association is proud to honor Franz Welser-Möst as the 2018-19 recipient of the Distinguished Service Award, recognizing extraordinary service to The Cleveland Orchestra. PREVIOUS RECIPIENTS

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

Dennis W. LaBarre 2017-18 Robert Vernon 2016-17 Rosemary Klena 2015-16 James D. Ireland III 2014-15 Pierre Boulez 2013-14 Milton and Tamar Maltz 2012-13 Richard Weiner 2011-12 Robert Conrad 2010 -11 Clara Taplin Rankin 2009-10 Louis Lane 2008- 09 Gerald Hughes 2007- 08 John D. Ong 2006-07 Klaus G. Roy 2005 - 06 Alex Machaskee 2004 - 05 Thomas W. Morris 2003 -04 Richard J. Bogomolny 2002- 03 John Mack 2001- 02 Gary Hanson 2000-01 Christoph von Dohnányi 1999-2000 Ward Smith 1998-99 David Zauder 1997-98 Dorothy Humel Hovorka 1996-97

Distinguished Service Award

The Cleveland Orchestra

orchestra news Presented to Franz

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Welser-Möst

Presented by Richard K. Smucker during the concert of September 20, 2018

F R A N Z W E L S E R - M Ö S T first stood in front of The Cleveland Orchestra as a guest conductor at Severance Hall in February 1993. Announcement of his appointment as the ensemble’s new leader followed six years later, with his tenure as the seventh Music Director beginning in September 2002. Having envisioned and led us through the tremendous success of our Centennial season, Franz now begins his seventeenth year of leadership and has, to date, clocked a quarter-century of collaboration with The Cleveland Orchestra. Franz’s charge from the beginning was to carry the ensemble forward, to build on the past and drive into the future — first to the new millennium and now into the Orchestra’s Second Century. His playbook has been to argue with passionate directness for music’s ongoing and renewed relevance in a changing world, and to nurture a welcoming spirit of collaboration among the artists onstage and the audiences engaged with the Orchestra’s music-making. Building on the achievements of his predecessors, Franz has expanded the ensemble’s repertoire while further honing the Orchestra’s flexibility within increasingly diverse styles of modern music. The Orchestra’s long operatic tradition has been intensified, witnessing the return of fully-staged opera productions to Severance Hall — including cutting-edge presentations filled with 21st-century technology and wonder, all in service to presenting the human emotions and truths embedded in a series of inspired operatic works, presented in compelling productions featuring superb casts. From the beginning, Franz has understood the power of community and institutions partnering together — for The Cleveland Orchestra to be more than a worldclass musical ensemble, but to truly be Cleveland’s Orchestra, serving all the people in and around Cleveland, through expanded education offerings and a new diversity of programming. His strong belief that we harness the life-changing power of music to inspire has pushed us to pursue new directions and take risks, to create extraordinary and meaningful experiences such as The Prometheus Project and The Prometheus Project for Students. Franz’s vision that we touch every child with music has led to the creation of new programs that enable more children, especially those with the least access, to make music and reap its benefits and joys. His belief in music’s innate ability to transcend differences and bring people together has led to neighborhood initiatives and new concert formats. His advocacy has created annual in-school performances by The Cleveland Orchestra for the first time in decades, augmenting our ongoing School Concerts at Severance Hall with experiences in the students’ own neighborhoods. A series of interlocking initiatives aimed at families, children, and students has resulted in a notable increase of younger people attending performances, with 20% of Clevecontinues on next page

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Distinguished Service Award

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land Orchestra classical audiences now aged 25 and younger. During his first twenty-five years associated with The Cleveland Orchestra, Franz has conducted nearly a thousand concerts — two-thirds of these here at home in Northeast Ohio. He has conducted over 500 works by nearly 150 different composers, including 16 complete opera scores. He has led performances with the Orchestra in 75 cities on three continents, with the Welser-Möst/Cleveland partnership appearing to unparalleled acclaim in ongoing residencies and national tours, and across 18 international tours to date. Counting this weekend’s performances, he has conducted 20 world premieres and 16 United States premieres with The Cleveland Orchestra. With a steady hand, admiring discernment, and focused guidance, Franz shaped The Cleveland Orchestra’s Centennial season to be a celebration not just of the institution and its music, but to illuminate and celebrate the community that created this world-class ensemble and has sustained it for a hundred years. His programming for the Centennial season moved through an ongoing arc of growth and interconnection to past concerts and future seasons. He rewarded audiences with a challenging and energizing re-examination of Beethoven’s music in the political context of Beethoven’s own life and beliefs with The Prometheus Project. He set Wagner’s epochal love story of Tristan and Isolde into the context of varying ecstatic and transcendent musical traditions. He revisited touchstone symphonic works, and juxtaposed them against new pieces — just as he does every year. Because he believes that each and every season should engage the emotions, bodies, and minds of audiences, and inspire everyone. Franz believes in the power of music — to tell stories, to propel ideas, to rally communities together in times of joy and to comfort in times of sadness or upheaval, to inspire children, people, ideas, and collaborative action. He believes that The Cleveland Orchestra epitomizes the best music-making possible anywhere. Through plan, action, and deeds, he repeatedly demonstrates his dedication and devotion to the music, the musicians, and the audiences and communities we serve. He believes in giving his utmost to deliver extraordinary musical experiences in the concert hall, to engage and nurture today’s audiences and to inspire future generations. In recognition of his exemplary achievements with and visionary leadership for The Cleveland Orchestra to date, in shaping this ensemble’s artistic and institutional path forward into the future, preserving the strength of tradition while embracing innovation, new technologies, and collaborative partnerships, for his unwavering focus on the education and inspiration of future generations, for his artistic integrity, uncompromising musicianship, and determined dedication in service to the Greater Cleveland community, the Musical Arts Association is extremely pleased — and wholeheartedly believes it perfectly fitting, during the Orchestra’s 100th birthday year of 2018 — to present Music Director Franz Welser-Möst with this institution’s highest award for distinguished service.

Distinguished Service Award

The Cleveland Orchestra

orchestra news THE CLEVELAND ORCHESTRA

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

Please join us in extending sympathy and condolences to family and friends of Allen Kofsky, who died on June 7, 2018, at the age of 92. Allen was a member of The Cleveland Orchestra’s trombone section for 39 seasons, joining in 1961 and retiring in 2000. He also served as assistant personnel manager for 20 seasons, 1974-94. He had started playing trombone at age 8, when he was particularly drawn to the instrument’s sliding mechanism. He served in the U.S. Navy Band during World War II, and subsequently attended the Cleveland Institute of Music with the GI Bill. He was principal trombone of the Kansas City Philharmonic for seven years before returning to Cleveland to help his father’s bricklaying business. He was appointed to The Cleveland Orchestra fulltime by George Szell.

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Friends launches season of Meet the Artist programs on Friday, October 26 Friends of The Cleveland Orchestra presents its first Meet the Artist program of the season on Friday morning, October 26. The event takes place at Severance Hall and features Cleveland Orchestra percussionist Marc DamoulaOF THE CLEVELAND ORCHESTRA kis, who will talk about his work as an orchestral musician and section principal. The event begins at 10:30 a.m. in Severance Restaurant. The program includes brunch followed by a short performance by Damoulakis, who will then discuss his life as a musician with the Orchestra’s artistic administrator, Ilya Gidalevich. Reservations are required and tickets cost $50 for the event or $100 for premium tickets which include a post-performance reception. Visit the Orchestra’s website to make reservations at clevelandorchestra.com.

FRI ENDS

The Cleveland Orchestra guide to Fine

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

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.W.E.L.C.O.M.E.

Two violinists join Cleveland Orchestra with 2018-19 season Two new musicians have joined The Cleveland Orchestra with the start of the 2018-19 season, appointed by Franz Welser-Möst through auditions this past spring: Stephen Tavani joins the Orchestra as assistant concertmaster. He has served as concertmaster for the Chamber Orchestra of Philadelphia since 2016 and recently also served as guest concertmaster for Jacksonville Symphony and the Louisiana Philharmonic. In the summer of 2016, he participated in his first season with the Marlboro Music Festival in Vermont, and returned to that renowned festival again in 2017. He has performed at the Dresden Music Festival, Music From Angel Fire, Philadelphia Chamber Music Society, Colburn Chamber Music Society, Curtis Recital Series, and with Curtis On Tour and the Curtis 20/21 Ensemble. As a soloist, Mr. Tavani’s performances have included appearances with the Youth Orchestra of the Americas, National Repertory Orchestra, American Youth Symphony, Brentwood West-

wood Symphony, and the Cleveland Philharmonic, among other ensembles. He’s also served as concertmaster for the Curtis Symphony Orchestra and Chamber Orchestra, Colburn Orchestra, Youth Orchestra of Americas during a 2015 tour of Canada, National Repertory Orchestra, American Youth Symphony, and the MasterWorks Festival Orchestra. Mr. Tavani holds an artist diploma from the Curtis Institute of Music in Philadelphia, where he studied with Ida Kavafian and Arnold Steinhardt. He earned a bachelor of music degree from the Colburn Conservatory in Los Angeles, where he studied with Robert Lipsett and Arnold Steinhardt. He has also studied in the Concertmaster Academy program at the Cleveland Institute of Music, working with William Preucil, concertmaster of The Cleveland Orchestra. Born into a musical family, Stephen Tavani grew up in Northern Virginia one of six brothers, including two cellists, another violinist, and a pianist. His mother is a voice teacher and lyric soprano, his father a family physician and pianist.

Zhan Shu joins the Orchestra as a member of the first violin section. Before coming to Cleveland, he had been a member of the Pittsburgh Symphony Orchestra since 2014. He was previously a member of the Milwaukee Symphony Orchestra, where he served as acting associate concertmaster for the 2008-09 season. He also served as concertmaster of the Terre Haute Symphony Orchestra and Symphony of Southeast Texas, and as guest concertmaster of the Quad City Symphony Orchestra in Iowa, Xian Symphony Orchestras in China, and Schleswig-Holstein Musik Festival Orchestra in Germany. Mr. Shu has appeared as soloist with the Pittsburgh Symphony Orchestra, Milwaukee

Symphony Orchestra, Midland-Odessa Symphony Orchestra, Pittsburgh Youth Symphony Orchestra, Indiana University Philharmonic, Texas Music Festival Orchestra, Mannes Orchestra, and the Hunan Symphony Orchestra in China. He has also participated in the Sarasota Music Festival, Toronto Summer Music Festival and Vietnam Connection Music Festival, and has performed regularly with Present Music in Milwaukee. A native of China, Mr. Shu received his early training from the Central Conservatory of Music in Beijing. He holds a bachelor of music degree from Mannes College of Music, where he studied with Lucie Robert, and received a master’s of music from the University of Houston under Emanuel Borok. He was subsequently a recipient of the Josef Gingold and Jascha Heifetz Scholarships from Indiana University, where he was an artist diploma student under the guidance of Mauricio Fuks and Alexander Kerr.

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A.R.O.U.N.D T.O.W.N Recitals and presentations featuring Orchestra musicians

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Website devoted to former program book editor Klaus G. Roy is now online

Upcoming local performances by members of The Cleveland Orchestra include: A special performance titled “Carolyn Warner and Friends, Part II” takes place on Wednesday evening, October 10, at the Cleveland Institute of Music’s Mixon Hall in University Circle. The all-French program beginning at 8 p.m. is free and open to the public and features musical works by Roussel, Chaminade, Poulenc, Ravel, and Franck. In addition to Warner herself, Cleveland Orchestra members performing include Mary Kay Fink k (flute), Frank Rosenwein (oboe), Robert Woolfrey (clarinet), Barrick Stees (bassoon), Jesse McCormick k (horn), and Charles Bernard (cello), along with CIM faculty member Daniel Shapiro (piano). Admission is free, but ticket reservations are suggested — please visit www.cim.edu.

A special website devoted to former Cleveland Orchestra program book editor and annotator Klaus G. Roy was launched earlier this year. The site features audio recordings of some of Roy’s talks on music and interviews with a variety of guest artists, as well as of his own works as a composer (including a series of his musical holiday greeting cards). He was well-known for his erudition and humor in making music accessible to attending audience members. He was given the Cleveland Arts Prize for music in 1965 and The Cleveland Orchestra’s Distinguished Service Award in 2005. He died at the age of 86 in 2010. The website can be visited at www.klausgeorgeroy.com.

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Annual gala raises funds for education 100th Anniversary Gala on September 29 features pianist Lang Lang; performance being recorded for 2019 PBS Great Performances telecast

The Cleveland Orchestra’s 100th Anniversary Gala took place on Saturday evening, September 29, 2018, at Severance Hall. The annual gala raises crucial funding in support of the Orchestra’s education programs and community initiatives — and this year’s brought in a record of over $1.7 million. The performance featured internationally-acclaimed guest pianist Lang Lang with a musical program offering works touching on more than a century of Viennese musical traditions — including works by Mozart, Richard Strauss, and Maurice Ravel. The performance under Franz Welser-Möst’s baton was recorded for later telecast on America’s preeminent performing arts television series, PBS’s Great Performances. The concert is being recorded in association with Cleveland’s ideastream WVIZ, with the U.S. television broadcast created as a coproduction of The Cleveland Orchestra, ideastream and Thirteen Productions LLC for New York’s WNET. This year’s gala evening at Severance Hall features the concert and a gala dinner, chaired by four prominent members of the Orchestra’s board of trustees: Norma Lerner (gala chair), r Nancy McCann (co-chair), r Beth Mooney (corporate co-chair), r and Richard K. Smucker (corporate co-chair). r The gala portion of the evening was completely sold out. This concert marks the fourth time that The Cleveland Orchestra has been featured on the Great Performances series, most recently in 2006 when Franz Welser-Möst led the Orchestra in a Carnegie Hall Opening Night Concert. Additional appearances on the long-running series include concerts under music directors Lorin Maazel and Christoph von Dohnányi. “As The Cleveland Orchestra is about to commemorate its 100th birthday in December 2018,” notes André Gremillet, the Orchestra’s executive director, “this special television broadcast of our Anniversary Gala concert represents a great opportunity to showcase the Orchestra and its unique partnerr ship with music director Franz Welser-Möst. We are delighted to share with the world the kind of superb musical experiences we are so proud to offer our Cleveland audience every week here at home.” “We are excited to be bringing viewers this milestone concert and to continue our relationship with Severance Hall 2018-19

SEPTEMBER 29 THE CLEVELAND ORCHESTRA

The Cleveland Orchestra and ideastream. Here’s to another 100 years!” said David Horn, executive producer of Great Performances. The Cleveland Orchestra’s media activities are made possible, in part, through support from Clasart Classics, the Orchestra’s Global Media Sponsor and a co-producer of this Great Performances episode. The Orchestra also thanks Japan’s NHK Broadcasting, Bayerischer Rundfunk / 3sat, and Finland’s YLE for their partnership and participation. Great Performances is made possible by many generous sponsors and supporters, and by many thousands of contributing PBS viewers.

Cleveland Orchestra News

Musicians Emeritus of

T H E

O R C H E S T R A

C L E V E L A N D

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 1543 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 James De Sano * 2003 — 33 years Thomas Klaber 2018 — 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 August 2018

Appreciation

The Cleveland Orchestra

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HE 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 offer performance and coaching time in support of Orchestra’s education, community engagement, fundraising, and audience development activities. We are pleased to recognize these musicians, listed below, who offered their talents and artistry for such presentations during the 2017-18 season. Mark Atherton Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Jiah Chung Chapdelaine Hans Clebsch John Clouser Kathleen Collins Wesley Collins Marc Damoulakis Vladimir Deninzon Maximillian Dimoff Elayna Duitman Bryan Dumm Mark Dumm Tanya Ell Kim Gomez Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Dane Johansen Joela Jones Arthur Klima Alicia Koelz Stanley Konopka Mark Kosower Analisé Kukelhan Paul Kushious Massimo La Rosa Jung-Min Amy Lee Jessica Lee Yun-Ting Lee Emilio Llinás Takako Masame Eli Matthews Jesse McCormick Daniel McKelway Michael Miller

Ioana Missits Sonja Braaten Molloy Eliesha Nelson Robert O’Brien Peter Otto Chul-In Park Joanna Patterson Zakany Henry Peyrebrune William Preucil Lynne Ramsey Jeffrey Rathbun Stephen Rose Frank Rosenwein Michael Sachs Marisela Sager Jonathan Sherwin Thomas Sherwood Sae Shirajami Emma Shook Joshua Smith Saeran St. Christopher Corbin Stair Lyle Steelman Barrick Stees Richard Stout Trina Struble Yasuhito Sugiyama Jack Sutte Brian Thornton Isabel Trautwein Lembi Veskimets Robert Walters Carolyn Gadiel Warner Richard Waugh Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Afendi Yusuf Derek Zadinsky Jeffrey Zehngut

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

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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 programs, and community initiatives.

Giving Societies gifts in the past year, as of August 31, 2018 Adella Prentiss Hughes Society gifts of $100,000 and more

gifts of $50,000 to $99,999

Musicians of The Cleveland Orchestra+ (in-kind support for community programs and opportunities to secure new funding) Mary Alice Cannon Mr. and Mrs. Alexander M. Cutler+ Rebecca Dunn Mr. Allen H. Ford Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. James A. Haslam III Mr. and Mrs. Michael J. Horvitz+ James D. Ireland IV The Walter and Jean Kalberer Foundation+ Dr. and Mrs. Herbert Kloiber (Europe) Mrs. Norma Lerner and The Lerner Foundation+ Mrs. Emma S. Lincoln* Mr. and Mrs. Alex Machaskee+ Milton and Tamar Maltz Elizabeth F. McBride Ms. Beth E. Mooney+ John C. Morley+ Rosanne and Gary Oatey (Cleveland, Miami)+ Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Albert B. Ratner James and Donna Reid Mr. and Mrs. Richard K. Smucker+ Jenny and Tim Smucker+ Richard and Nancy Sneed+ Jim and Myrna Spira Mrs. Jean H. Taber* Ms. Ginger Warner Mr. and Mrs. Franz Welser-Möst+

+ 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: +

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George Szell Society

Dr. and Mrs. Wolfgang Berndt (Europe) Mr. William P. Blair III+ Blossom Friends of The Cleveland Orchestra Laurel Blossom Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski+ The Brown and Kunze Foundation Mr. and Mrs. John E. Guinness Mrs. John A Hadden Jr. Mr. and Mrs. Donald M. Jack, Jr. Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre+ Toby Devan Lewis Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann+ William J. and Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong+ Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner+ Barbara S. Robinson (Cleveland, Miami)+ The Ralph and Luci Schey Foundation+ Sally and Larry Sears+ Dr. Russell A. Trusso Barbara and David Wolfort (Cleveland, Miami)+ Anonymous+

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

Individual Annual Support

The Cleveland Orchestra

Elisabeth DeWitt Severance Society gifts of $25,000 to $49,999

gifts of $15,000 to $24,999

Gay Cull Addicott+ Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. Allen Benjamin Mr. and Mrs. Charles P. Bolton+ Irma and Norman Braman (Miami) Mr. Yuval Brisker Jeanette Grasselli Brown and Glenn R. Brown+ Mr. and Mrs. David J. Carpenter+ Jill and Paul Clark Robert and Jean* Conrad+ Friends of The Cleveland Orchestra JoAnn and Robert Glick+ Mr. and Mrs. Jeffrey Healy+ Mary and Jon Heider (Cleveland, Miami) Mrs. Marguerite B. Humphrey+ Elizabeth B. Juliano Mr. and Mrs. Joseph P. Keithley Giuliana C. and John D. Koch Milton A. & Charlotte R. Kramer Charitable Foundation Daniel R. Lewis (Miami) Jan R. Lewis Mr. Stephen McHale Margaret Fulton-Mueller+ Mrs. Jane B. Nord Julia and Larry Pollock Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman+ Marc and Rennie Saltzberg Larry J. Santon and Lorraine S. Szabo+ Rachel R. Schneider+ The SJF Foundation Music Mentors Program Donna E. Shalala (Miami) Hewitt and Paula Shaw+ Marjorie B. Shorrock+ The Star Family Charitable Foundation, Inc. R. Thomas and Meg Harris Stanton+ Paul and Suzanne Westlake Tony and Diane Wynshaw-Boris+ Anonymous

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

The Severance Cleveland HallOrchestra 2018-19

Dudley S. Blossom Society

Art of Beauty Company, Inc. Mr. and Mrs. Dean Barry Dr. Christopher P. Brandt and Dr. Beth Sersig+ Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Mr. and Mrs. William E. Conway Judith and George W. Diehl+ Mary Jo Eaton (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Ms. Dawn M. Full Dr. Edward S. Godleski Drs. Erik and Ellen Gregorie Richard and Ann Gridley+ 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 Junior Committee of The Cleveland Orchestra Jonathan and Tina Kislak (Miami) Mr. Jeff Litwiller+ Mr. and Mrs. Stanley A. Meisel The Miller Family+ Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Edith and Ted* Miller+ Dr. Anne and Mr. Peter Neff Patricia J. Sawvel Mrs. David Seidenfeld+ Meredith and Oliver Seikel+ Seven Five Fund Kim Sherwin+ Mr. and Mrs. Alfred Umdasch (Europe) Tom and Shirley Waltermire+ Dr. Beverly J. Warren Mr. and Mrs. Fred A. Watkins+ Mr. and Mrs. Jeffery J. Weaver Meredith and Michael Weil Denise G. and Norman E. Wells, Jr. Max and Beverly Zupon Anonymous

Individual Annual Support

listings continue

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THANKS TO THE CLEVELAND ORCHESTRA,

CLASSICAL MUSIC IS ALIVE AND WELL. Trust us, we would know.

For nearly 150 years, Lake View Cemetery has been the final resting place for people of all denominations and walks of life. The majestic beauty of the lush trees, rolling landscapes, and pristine pond have stood the test of time. And for what itâ&#x20AC;&#x2122;s worth, the headstones have, too.

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

Frank H. Ginn Society gifts of $10,000 to $14,999 Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Mr. David Bialosky and Ms. Carolyn Christian+ Mr. D. McGregor Brandt, Jr. Robert and Alyssa Lenhoff-Briggs Dale and Wendy Brott Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler+ Mr.* and Mrs. Hugh Calkins Richard J. and Joanne Clark Mrs. Barbara Cook Dr. and Mrs. Delos M. Cosgrove III Mrs. Barbara Ann Davis+ Dr. M. Meredith Dobyns Henry and Mary* Doll+ Nancy and Richard Dotson+ Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry+ Dr. and Mrs. Adi Gazdar Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie

Patti Gordon (Miami) Harry and Joyce Graham Robert K. Gudbranson and Joon-Li Kim+ Mr. Gregory Hall Amy and Stephen Hoffman Thomas H. and Virginia J.* Horner Fund+ James and Claudia Hower Mr. and Mrs. Brinton L. Hyde Mrs. Elizabeth R. Koch Rob and Laura Kochis Mr. James Krohngold+ Dr. Edith Lerner Dr. David and Janice Leshner Mr. Lawrence B. and Christine H. Levey+ Dr. and Mrs. Tom McLaughlin Mrs. Alice Mecredy* Mr. and Mrs.* William A. Mitchell+ Mr. Donald W. Morrison+ Mr. John Mueller Joy P. and Thomas G. Murdough, Jr. (Miami)+ Brian and Cindy Murphy+ Randy and Christine Myeroff Mr. J. William and Dr. Suzanne Palmer+

Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ Douglas and Noreen Powers Audra* and George Rose+ Paul A. and Anastacia L. Rose Steven and Ellen Ross Dr. Isobel Rutherford Mrs. Florence Brewster Rutter+ Dr. and Mrs.* Martin I. Saltzman+ Carol* and Albert Schupp Mrs. Gretchen D. Smith+ Veit Sorger (Europe) Lois and Tom Stauffer Bruce and Virginia Taylor+ Mr. Joseph F. Tetlak Mr. and Mrs. Leonard K. Tower Dr. Gregory Videtic and Rev. Christopher McCann+ Pysht Fund Robert C. Weppler Sandy and Ted Wiese Sandy Wile and Joanne Avenmarg Dr. and Mr. Ann Williams+ Anonymous (6)

Joy E. Garapic Brenda and David Goldberg Mr. and Mrs. Randall J. Gordon+ Angela and Jeffrey Gotthardt Mr. and Mrs. James C. Gowe AndrĂŠ and Ginette Gremillet Mr. and Mrs. Stephen Griebling Nancy Hancock Griffith+ The Thomas J. and Judith Fay Gruber Charitable Foundation Robert N. and Nicki N. Gudbranson David and Robin Gunning Alfredo and Luz Gutierrez (Miami) Gary Hanson and Barbara Klante+ 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+ Dr. Fred A. Heupler Mary and Steve Hosier Elisabeth Hugh David and Dianne Hunt Pamela and Scott Isquick+ Donna L. and Robert H. Jackson Robert and Linda Jenkins Richard and Michelle Jeschelnig Joela Jones and Richard Weiss Barbara and Michael J. Kaplan

Andrew and Katherine Kartalis Milton and Donna* Katz Dr. Richard and Roberta Katzman Mr. and Mrs. Christopher Kelly Mrs. Natalie D. Kittredge Dr. Gilles* and Mrs. Malvina Klopman+ Tim and Linda Koelz+ Stewart and Donna Kohl Mr. and Mrs.* S. Lee Kohrman Elizabeth Davis Kondorossy* Cindy L. and Timothy J. Konich Mr. Clayton R. Koppes 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 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 Lugibihl Mrs. Idarose S. Luntz Elsie and Byron Lutman 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

The 1929 Society gifts of $5,000 to $9,999 Dr. and Mrs. D. P. Agamanolis Robert and Dalia Baker Mr. William Berger Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Mr. and Mrs. Richard H. Bole Mrs. Frances Buchholzer Frank and Leslie Buck+ Mr. and Mrs. Marc S. Byrnes Mr. and Mrs. Timothy J. Callahan Ms. Maria Cashy+ Drs. Wuu-Shung and Amy Chuang+ Martha and Bruce Clinton (Miami) Ellen E. & Victor J. Cohn+ Kathleen A. Coleman+ Diane Lynn Collier and Robert J. Gura Marjorie Dickard Comella Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Ralph Daugstrup Thomas S. and Jane R. Davis Pete and Margaret Dobbins+ Mr. and Mrs. Paul Doman Mr. and Mrs. Robert P. Duvin Mary and Oliver* Emerson Carl Falb+ William R. and Karen W. Feth+ Joseph Z. and Betty Fleming (Miami) Joan Alice Ford Mr. Paul C. Forsgren Michael Frank and Patricia A. Snyder Bob and Linnet Fritz Barbara and Peter Galvin

listings continue

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Individual Annual Support

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listings continued

C Claudia Metz and Thomas Woodworth+ Ms. Toni S. Miller Lynn and Mike Miller Drs. Terry E. and Sara S. Miller Curt and Sara Moll Ann Jones Morgan+ Mr. Raymond M. Murphy+ Deborah L. Neale Richard and Kathleen Nord Thury O’Connor Dr. and Mrs. Paul T. Omelsky Mr. and Mrs. Peter R. Osenar Mr. Henry Ott-Hansen Pannonius Foundation Robert S. Perry Dr. and Mrs. Gosta Pettersson Mr. and Mrs. Richard W. Pogue Dr. and Mrs. John N. Posch+ Ms. Rosella Puskas Mr. and Mrs. Ben Pyne Mr. and Mrs. Thomas A. Quintrell* Mr. and Mrs. Roger F. Rankin Ms. C. A. Reagan Amy and Ken Rogat Dick A. Rose Dr. and Mrs. Michael Rosenberg (Miami) Dr. and Mrs. Ronald J. Ross Robert and Margo Roth+

Fred Rzepka and Anne Rzepka Family Foundation Drs. Michael and Judith Samuels (Miami) David M. and Betty Schneider Mr. Eric Sellen and Mr. Ron Seidman Drs. Daniel and Ximena Sessler+ Kenneth Shafer Naomi G. and Edwin Z. Singer+ The Shari Bierman Singer Family Drs. Charles Kent Smith and Patricia Moore Smith+ Roy Smith Dr. Marvin and Mimi Sobel*+ Mr. and Mrs. William E. Spatz George and Mary Stark+ Mr. and Mrs. Donald W. Strang, Jr. Stroud Family Trust Frederick and Elizabeth Stueber Holly and Peter Sullivan Dr. Elizabeth Swenson+ Mr. Taras G. Szmagala, Jr. Robert and Carol Taller+ Kathy* and Sidney Taurel (Miami)+ Mr. and Mrs. John Taylor Bill and Jacky Thornton Mr.* and Mrs. Robert N. Trombly Robert and Marti Vagi+ Robert A. Valente and Joan A. Morgensten+

Walt and Karen Walburn Mr. and Mrs. Daniel P. Walsh Mr. and Mrs. Mark Allen Wei Weigand+ Dr. Edward L. and Mrs. Suzanne Suzan Westbrook Tom aand Betsy Wheeler Richard Wiedemer, Jr.+ Bob and Kat Wollyung Anonymous (6)

Mr. and Mrs. Robert G. Busha Ms. Mary R. Bynum and Mr. J. Philip Calabrese Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker Dr. and Mrs. William E. Cappaert Mrs. Millie L. Carlson+ Mr. and Mrs. John J. Carney Mr. and Mrs. Frank H. Carpenter Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. John C. Chipka and Dr. Kathleen S. Grieser Mr. and Mrs. Homer D. W. Chisholm The Circle — Young Professionals of The Cleveland Orchestra Drs. John and Mary Clough Drs. Mark Cohen and Miriam Vishny Douglas S. Cramer / Hubert S. Bush III (Miami) Mr. and Mrs. Manohar Daga+ Karen and Jim Dakin Dr. and Mrs. Thomas M. Daniel Mrs. Frederick F. Dannemiller+ Mr. Kamal-Neil Dass and Mrs. Teresa Larsen+ Bruce and Jackie Davey Mrs. Lois Joan Davis

Ms. Nancy J. Davis (Miami) Carol Dennison and Jacques Girouard Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White+ Dr. and Mrs. Richard C. Distad Carl Dodge Maureen Doerner & Geoffrey White Mr. George and Mrs. Beth Downes+ Jack and Elaine Drage Mr. Barry Dunaway and Mr. Peter McDermott Mr. Patrick Dunster Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki+ Esther L. and Alfred M. Eich, Jr.+ Erich Eichhorn and Ursel Dougherty Mr. S. Stuart Eilers+ Peter and Kathryn Eloff+ Harry and Ann Farmer Dr. and Mrs. J. Peter Fegen Mr. William and Dr. Elizabeth Fesler Mr. Dean Fisher Carol A. Frankel Richard J. Frey Mr. and Ms. Dale Freygang Peggy A. Fullmer Morris and Miriam Futernick (Miami) Jeanne Gallagher Dr. Marilee Gallagher Mr. William Gaskill and Ms. Kathleen Burke

Composer’s Circle gifts of $2,000 to $4,999 Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. Francis Amato Susan S. Angell Stephen and Amanda Anway Mr. William App Mr. and Mrs. Jeffrey R. Appelbaum+ Mr. and Mrs. James B. Aronoff+ Ms. Patricia Ashton Mr. and Mrs. Eugene J. Beer Mr. and Mrs. Belkin Ms. Pamela D. Belknap Mr. and Mrs. James R. Bell III Dr. Ronald and Diane Bell Mr. Roger G. Berk Barbara and Sheldon Berns Margo and Tom Bertin John and Laura Bertsch Mitch and Liz Blair Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Irving and Joan M. Bolotin (Miami) Jeff and Elaine Bomberger Lisa and Ronald Boyko+ Ms. Barbara E. Boyle Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mr. Gregory and Mrs. Susan Bulone J.C. and H.F. Burkhardt

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Individual Annual Support

The The Cleveland Cleveland Orchestra Orchestra

Mr. Wilbert C. Geiss, Sr. Ms. Suzanne Gilliland Anne and Walter Ginn Holly and Fred Glock Dr.* and Mrs. Victor M. Goldberg Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Donna Lane Greene Dr. and Mrs. Franklin W. Griff Candy and Brent Grover Nancy and James Grunzweig+ Mr. Scott R. Gunselman Mr. Davin and Mrs. Jo Ann Gustafson Scott and Margi Haigh Mark E. and Paula N. Halford Dr. James O. Hall Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green + Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes Dr. Toby Helfand In Memory of Hazel Helgesen Jay L. and Cynthia P. Henderson Charitable Fund Ms. Phyllis A. Henry The Morton and Mathile Stone Philanthropic Fund T. K.* and Faye A. Heston Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Mr. and Mrs. Stephen J. Holler Thomas and Mary Holmes Gail Hoover and Bob Safarz Dr. Keith A. and Mrs. Kathleen M. Hoover+ Ms. Sharon J. Hoppens Xavier-Nichols Foundation / Robert and Karen Hostoffer Dr. Randal N. Huff and Ms. Paulette Beech+ Ms. Laura Hunsicker Ruth F. Ihde Bruce and Nancy Jackson William W. Jacobs Mr. and Mrs. Richard A. Janus Mr. and Mrs. Bruce D. Jarosz Jaime and Joseph Jozic Dr. and Mrs. Donald W. Junglas David and Gloria Kahan Mr. Jack E. Kapalka Honorable Diane Karpinski Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Howard and Mara Kinstlinger Dr. and Mrs. William S. Kiser James and Gay* Kitson+ Fred* and Judith Klotzman Drs. Raymond and Katharine Kolcaba+ Marion Konstantynovich Mrs. Ursula Korneitchouk Dr. Ronald H. Krasney and Vicki Kennedy+ Mr. and Mrs. Russell Krinsky Mr. Donald N. Krosin Stephen A. Kushnick, Ph.D. Bob and Ellie Scheuer+

The Cleveland Severance HallOrchestra 2018-19

Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr.+ Mrs. Sandra S. Laurenson Mr. and Mrs. Michael Lavelle Dr. and Mrs. Arthur Lavin Charles and Josephine Robson Leamy * Michael Lederman and Sharmon Sollitto Judy and Donnie Lefton (Miami) Ronald and Barbara Leirvik Ivonete Leite (Miami) Mr. and Dr. Ernest C. Lemmerman+ Michael and Lois Lemr Mr. Alan R. Lepene Mr. and Mrs. Roger J. Lerch Robert G. Levy+ Matthew and Stacey Litzler Drs. Todd and Susan Locke Ms. Susan Locke Mary Lohman Mr. and Mrs. Carlos Lopez-Cantera (Miami) Ms. Mary Beth Loud Damond and Lori Mace Mr. and Mrs.* Robert P. Madison Robert M. Maloney and Laura Goyanes David Mann and Bernadette Pudis Herbert L. and Ronda Marcus Martin and Lois Marcus Dr. and Mrs. Sanford E. Marovitz+ Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick W. Martin+ Ms. Amanda Martinsek Dr. and Mrs. William A. Mast Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Ruth and John Mercer Mr. Glenn A. Metzdorf Ms. Betteann Meyerson+ Beth M. Mikes Osborne Mills, Jr. and Loren E. Bendall David and Leslee Miraldi Ioana Missits Mr. and Mrs. Marc H. Morgenstern Mr. Ronald Morrow III Eudice M. Morse Bert and Marjorie Moyar+ Susan B. Murphy Steven and Kimberly Myers+ Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Robert D. and Janet E. Neary Georgia and Carlos Noble (Miami) Marshall I. Nurenberg and Joanne Klein Robert and Gail Oâ&#x20AC;&#x2122;Brien Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan+ Mr. and Mrs. John Olejko Harvey and Robin Oppmann Mr. Robert Paddock Ms. Ann Page Mr. John D. Papp George Parras Dr. Lewis E. and Janice B. Patterson+ David Pavlich and Cherie Arnold Matt and Shari Peart Nan and Bob Pfeifer

Individual Annual Support

Mr. Charles and Mrs. Mary Pfeiffer Dale and Susan Phillip Ms. Irene Pietrantozzi Maribel A. Piza (Miami)+ Dr. Marc A. and Mrs. Carol Pohl Brad Pohlman and Julie Callsen Peter Politzer In memory of Henry Pollak Mr. Robert and Mrs. Susan Price Sylvia Profenna Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca+ Mr. Cal Ratcliff Brian and Patricia Ratner Dr. Robert W. Reynolds David and Gloria Richards Ms. Carole Ann Rieck Joan and Rick Rivitz Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Ms. Susan Ross Dr. and Mrs. Robert C. Ruhl Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo+ Lawrence H. Rustin and Barbara C. Levin (Miami) Dr. Harry S. and Rita K. Rzepka+ Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton+ Michael Salkind and Carol Gill Fr. Robert J. Sanson Ms. Patricia E. Say+ Mr. Paul H. Scarbrough+ Robert Scarr and Margaret Widmar Mr. Matthew Schenz Don Schmitt and Jim Harmon Ms. Beverly J. Schneider Ms. Karen Schneider John and Barbara Schubert Mr. James Schutte+ Mrs. Cheryl Schweickart Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Lee and Jane Seidman Charles Seitz (Miami) Rafick-Pierre Sekaly Ginger and Larry Shane 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+ Mrs. Dorothy Shrier Mr. Robert Sieck Laura and Alvin A. Siegal Mr. and Mrs. Bob Sill Jim Simler and Doctor Amy Zhang Howard and Beth Simon Ms. Ellen J. Skinner Robert and Barbara Slanina Ms. Anna D. Smith Bruce L. Smith David Kane Smith listings continue

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You dream it. We design and build it. Make every space your own.

LOVING HOW YOU LIVE.

californiaclosets.com BROOKLYN HEIGHTS 1100 Resource Dr WOODMERE 28000 Chagrin Blvd

216.741.9000

to Cleveland.

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Vi t Se ak Interi s F Your D gn & Home Furnishing Needs

216-621-7227 | nicolaimmigrationlaw.com

The Cleveland Orchestra

listings continued

Sandra and Richey Smith+ Mr. Eugene Smolik Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Dr. Nancy Sobecks Lucy and Dan Sondles Mr. John D. Specht Mr. Michael Sprinker Diane Stack and James Reeves* Mr. Marc Stadiem Dr.* and Mrs. Frank J. Staub Edward R. & Jean Geiss Stell Foundation Mr. Ralph E. String Michael and Wendy Summers Ken and Martha Taylor Mr. and Mrs. Philip L. Taylor Mr. Karl and Mrs. Carol Theil+ Mr. Robert Thompson Mrs. Jean M. Thorrat Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Jonathan Tisch Erik Trimble Dr. and Mrs. Michael B. Troner (Miami) Drs. Anna* and Gilbert True Dr. Margaret Tsai Steve and Christa Turnbull+ Dr. and Mrs. Wulf H. Utian Bobbi and Peter van Dijk Brenton Ver Ploeg (Miami) Teresa Galang-Viñas and Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney George and Barbara von Mehren Mr. and Mrs. Reid Wagstaff Mrs. Carolyn Warner Ms. Laure A. Wasserbauer+ Margaret and Eric* Wayne+ Mr. Peter and Mrs. Laurie Weinberger Judge Lesley Wells Dr. Paul R. and Catherine Williams Ms. Claire Wills Richard and Mary Lynn Wills Betty and Michael Wohl (Miami) Katie and Donald Woodcock Tanya and Robert Woolfrey Elizabeth B. Wright+ William Ronald and Lois YaDeau Rad and Patty Yates Ms. Ann Marie Zaller Mr. Jeffrey A. Zehngut Ken and Paula Zeisler Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (3)+ Anonymous (11)

+ has signed a multiyear pledge (see information box earlier in these listings)

Thank You The Cleveland Orchestra is sustained through the support of thousands sands of generous patrons, including the Leadership donors listed on these se pages. Listings of all annual donors of $300 and more each year are published blished annually, and can be viewed online at CLEVELANDORCHESTRA .COM For information about how you can play a supporting role le for The Cleveland Orchestra’s ongoing artistic excellence,, education programs, and community partnerships, please contact our Philanthropy & Advancement Office by phone: 216-231-7545 or email: miqbal@clevelandorchestra.com estra.coom

T HE

CLEVELAND ORC HE STR A FRANZ WELSER-MÖST

* deceased

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Individual Annual Support

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THE CLEVELAND ORCHESTRA

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

Annual Support gifts in the past year, as of August 31, 2018 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 Anonymous PARTNERS IN EXCELLENCE $200,000 TO $299,999

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

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

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$50,000 TO $99,999

Dollar Bank Foundation Forest City Parker Hannifin Foundation voestalpine AG (Europe) $15,000 TO $49,999

Buyers Products Company Case Western Reserve University DLR Group | Westlake Reed Leskosky 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 MTD Products, Inc. North Coast Container Corp. Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. Park-Ohio Holdings RPM International Inc. The Sherwin-Williams Company Westfield Insurance United Airlines

Corporate Annual Support

$2,500 TO $14,999 American Fireworks, Inc. Applied Industrial Technologies BDI Blue Technologies Brothers Printing Co., Inc. Calfee, Halter & Griswold LLP Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. The Cliffs Foundation Cohen & Company, CPAs Consolidated Solutions Deloitte & Touche LLP Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Glenmede Trust Company Gross Builders Huntington National Bank Johnson Investment Counsel KPMG LLP Littler Mendelson, P.C. Live Publishing Company Materion Corporation Miba AG (Europe) Oatey Ohio CAT Oswald Companies PolyOne Corporation PwC RSM US, LLP Stern Advertising Struktol Company of America Ulmer & Berne LLP University Hospitals Ver Ploeg & Lumpkin (Miami) Anonymous (2)

The Cleveland Orchestra

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 programs, and community initiatives.

Annual Support gifts in the past year, as of August 31, 2018 $1 MILLION AND MORE

Cuyahoga County residents through Cuyahoga Arts and Culture Elizabeth Ring Mather and William Gwinn Mather Fund $500,000 TO $999,999

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

The Louise H. and David S. Ingalls Foundation John P. Murphy Foundation $100,000 TO $249,999

Paul M. Angell Family Foundation William Randolph Hearst Foundation Kulas Foundation David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation Ruth McCormick Tankersley Charitable Trust Weiss Family Foundation $50,000 TO $99,999

The George W. Codrington Charitable Foundation The Mary S. and David C. Corbin Foundation The Jean, Harry, and Brenda Fuchs Family Foundation, in memory of Harry Fuchs GAR Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Nord Family Foundation The Payne Fund

The Cleveland Severance HallOrchestra 2018-19

$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 Cuyahoga Community College Mary and Dr. George L. Demetros Charitable Trust The Char and Chuck Fowler Family Foundation The Gerhard Foundation, Inc. The Helen Wade Greene Charitable Trust The Kirk Foundation (Miami) The Frederick and Julia Nonneman Foundation National Endowment for the Arts The Reinberger Foundation 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 The Bruening Foundation Cleveland State University Foundation The Cowles Charitable Trust (Miami) Elisha-Bolton Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Ann and Gordon Getty Foundation The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation George M. and Pamela S. Humphrey Fund Lakeland Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family Foundation Peg’s Foundation Northern Ohio Italian American Foundation The M. G. O’Neil Foundation Paintstone Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH 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 Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Wuliger Foundation Anonymous (2)

Foundation/Government Annual Support

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T HE

CLEVEL AND ORC HE STR A

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

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

Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of current members is as of August 2018. For more information, please contact the Orchestra’s Legacy Giving Office by calling Dave Stokley at 216-231-8006. Lois A. Aaron Leonard Abrams Gay Cull Addicott Stanley and Hope Adelstein* Sylvia K. Adler* Norman* and Marjorie Allison Dr. Sarah M. Anderson George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Jack L. Barnhart Margaret B. and Henry T.* Barratt Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Marie-Hélène Bernard Ila M. Berry* Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Mr. William P. Blair III Doug and Barb Bletcher Madeline & Dennis Block Trust Fund Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome Borstein* Mr. and Mrs.* Otis H. Bowden II Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Robert W. Briggs Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Mr. and Mrs. Harvey Buchanan* Joan and Gene* Buehler Gretchen L. Burmeister Stanley and Honnie Busch* Milan and Jeanne* Busta Mr. and Mrs. William C. Butler

Gregory and Karen Cada Roberta R. Calderwood* Harry and Marjorie* M. Carlson Janice L. Carlson Dr.* and Mrs. Roland D. Carlson Barbara A. Chambers, D. Ed. Dr. Gary Chottiner & Anne Poirson NancyBell Coe Kenneth S. and Deborah G. Cohen Ralph M. and Mardy R. Cohen* Victor J. and Ellen E. Cohn Robert and Jean* Conrad Mr.* and Mrs. Gerald A. Conway The Honorable Colleen Conway Cooney and Mr. John Cooney John D. and Mary D. Corry* Dr. Dale and Susan Cowan Dr. and Mrs. Frederick S. Cross* Martha Wood Cubberley In Memory of Walter C. and Marion J. Curtis William and Anna Jean Cushwa Alexander M. and Sarah S. Cutler Mr.* and Mrs. Don C. Dangler Mr. and Mrs. Howard J. Danzinger Barbara Ann Davis Carol J. Davis Charles and Mary Ann Davis William E. and Gloria P.* Dean, Jr. Mary Kay DeGrandis and Edward J. Donnelly Neeltje-Anne DeKoster* Carolyn L. Dessin Mrs. Armand J. DiLellio James A. Dingus, Jr. Dr. and Mrs. Richard C. Distad Maureen A. Doerner and Geoffrey T. White Henry and Mary* Doll Gerald and Ruth Dombcik Barbara Sterk Domski Mr.* and Mrs. Roland W. Donnem Nancy E. and Richard M. Dotson Mrs. John Drollinger Drs. Paul M.* and Renate H. Duchesneau George* and Becky Dunn Mr. and Mrs. Robert Duvin

Dr. Robert E. Eckardt Paul and Peggy Edenburn Robert and Anne Eiben* Mr. and Mrs. Alfred M. Eich, Jr. Roger B. Ellsworth Oliver* and Mary Emerson Lois Marsh Epp Patricia Esposito C. Gordon and Kathleen A.* Ewers Patricia J. Factor Carl Falb Regis and Gayle Falinski Mrs. Mildred Fiening Gloria and Irving* Fine Joan Alice Ford Mr. and Mrs. Ralph E. Fountain* Gil* and Elle Frey Arthur* and Deanna Friedman Mr.* and Mrs. Edward H. Frost Dawn Full Henry S. Fusner* Dr. Stephen and Nancy Gage Barbara and Peter Galvin Mr. and Mrs. Steven B. Garfunkel Donald* and Lois Gaynor Albert I. and Norma C. Geller Dr. Saul Genuth Frank and Louise Gerlak Dr. James E. Gibbs S. Bradley Gillaugh Mr.* and Mrs. Robert M. Ginn Fred and Holly Glock Ronald* and Carol Godes William H. Goff Mr. and Mrs. Henry J. Goodman John and Ann Gosky Harry and Joyce Graham Elaine Harris Green Tom and Gretchen Green Anna Zak Greenfield Richard and Ann Gridley Nancy Hancock Griffith David E.* and Jane J. Griffiths Bev and Bob Grimm Candy and Brent Grover Thomas J.* and Judith Fay Gruber Henry and Komal Gulich Mr. and Mrs. David H. Gunning LISTING CONTINUES

The Cleveland Orchestra

Legacy Giving

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY L I S T I N G C O N T I N U ED

Mr. and Mrs. William E. Gunton Mrs. John A Hadden Jr. Richard* and Mary Louise Hahn James J. Hamilton Kathleen E. Hancock Holsey Gates Handyside* Norman C. and Donna L. Harbert Mary Jane Hartwell* William L.* and Lucille L. Hassler Mrs. Henry Hatch (Robin Hitchcock) Nancy Hausmann Virginia and George Havens Barbara L. Hawley and David S. Goodman Gary D. Helgesen Clyde J. Henry, Jr. Ms. M. Diane Henry Wayne and Prudence Heritage T. K.* and Faye A. Heston Fred Heupler, M.D. Mr. and Mrs.* Daniel R. High Mr. and Mrs. D. Craig Hitchcock* Bruce F. Hodgson Mary V. Hoffman Feite F. Hofman MD* Mrs. Barthold M. Holdstein* Leonard* and Lee Ann Holstein David and Nancy Hooker Thomas H. and Virginia J.* Horner Fund Patience Cameron Hoskins Elizabeth Hosmer Dorothy Humel Hovorka* Dr. Christine A. Hudak, Mr. Marc F. Cymes Dr. Randal N. Huff Mrs. Marguerite B. Humphrey Adria D. Humphreys* Ann E. Humphreys and Jayne E. Sisson David and Dianne Hunt Karen S. Hunt Mr. and Mrs. G. Richard Hunter Ruth F. Ihde Mr.* and Mrs. Jonathan E. Ingersoll Pamela and Scott Isquick Mr. and Mrs. Clifford J. Isroff* Mr. and Mrs. Donald M. Jack, Jr. Carol S. Jacobs Pamela Jacobson Milton* and Jodith Janes Jerry and Martha Jarrett* Merritt and Ellen Johnquest* Allan V. Johnson E. Anne Johnson Nancy Kurfess Johnson, M.D. David and Gloria Kahan Julian and Etole Kahan David George Kanzeg Bernie and Nancy Karr Drs. Julian and Aileen Kassen* Milton and Donna* Katz

Nancy F. Keithley and Joseph P. Keithley Patricia and Walter Kelley* Bruce and Eleanor Kendrick Malcolm E. Kenney Mr. and Mrs. Douglas A. Kern Charles M. and Janet G. Kimball* James and Gay* Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Fred* and Judith Klotzman Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn* Mr. Clayton Koppes Susan Korosa Mr.* and Mrs. James G. Kotapish, Sr. Margery A. Kowalski Janet L. Kramer Mr. James Krohngold Mr. and Mrs. Gregory G. Kruszka Thomas* and Barbara Kuby Eleanor* and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Mrs. Carolyn Lampl Marjorie M. Lamport* Louis Lane* Kenneth M. Lapine and Rose E. Mills Charles K. László and Maureen O’Neill-László Anthony T. and Patricia Lauria Charles and Josephine Robson Leamy Fund* Jordan R. and Jane G. Lefko Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Judy D. Levendula Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs.* Thomas A. Liederbach Rollin* and Leda Linderman Ruth S. Link* Dr. and Mrs. William K. Littman Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Linda and Saul Ludwig Kate Lunsford Patricia MacDonald Alex and Carol Machaskee Jerry Maddox Mrs. H. Stephen Madsen Alice D. Malone* Mr. and Mrs. Donald Malpass, Jr. Lucille Harris Mann* Mr. and Mrs. Richard A. Manuel* Clement P. Marion Dr. and Mrs. Sanford E. Marovitz

Legacy Giving

David C. and Elizabeth F. Marsh* Duane and Joan Marsh* Mr. and Mrs. Anthony M. Martincic Kathryn A. Mates Dr. Lee Maxwell and Michael M. Prunty Alexander and Marianna* McAfee Nancy B. McCormack Mr. William C. McCoy Dorothy R. McLean Jim and Alice Mecredy* James and Virginia Meil Mr. and Mrs. Robert F. Meyerson* Brenda Clark Mikota Christine Gitlin Miles Antoinette S. Miller Chuck and Chris Miller Edith and Ted* Miller Leo Minter, Jr. Mr. and Mrs.* William A. Mitchell Robert L. Moncrief Ms. Beth E. Mooney Beryl and Irv Moore Ann Jones Morgan George and Carole Morris Mr. and Mrs. Thomas W. Morris Mr. and Mrs.* Donald W. Morrison Joan R. Mortimer, PhD* Susan B. Murphy Dr. and Mrs. Clyde L. Nash, Jr Deborah L. Neale Mrs. Ruth Neides* David and Judith Newell Steve Norris and Emily Gonzales Paul and Connie Omelsky Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong Henry Ott-Hansen Mr. J. William and Dr. Suzanne Palmer R. Neil Fisher and Ronald J. Parks Nancy* and W. Stuver Parry Dr.* and Mrs. Donald Pensiero Mary Charlotte Peters Mr. and Mrs. Peter Pfouts* Janet K. Phillips* Elisabeth C. Plax Florence KZ Pollack Julia and Larry Pollock John L. Power and Edith Dus-Garden Richard J. Price Lois S. and Stanley M. Proctor* Mr. David C. Prugh* Leonard and Heddy Rabe M. Neal Rains Mrs. Alfred M. Rankin, Sr. James and Donna Reid Mrs. Charles Ritchie Dr. Larry J.B.* and Barbara S. Robinson Margaret B. Robinson

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY Dwight W. Robinson Janice and Roger Robinson Amy and Ken Rogat Carol Rolf and Steven Adler Margaret B. Babyak* and Phillip J. Roscoe Audra* and George Rose Dr. Eugene and Mrs. Jacqueline* Ross Robert and Margo Roth Marjorie A. Rott* Howard and Laurel Rowen Professor Alan Miles Ruben and Judge Betty Willis Ruben Marc Ruckel Florence Brewster Rutter Dr. Joseph V. Ryckman Mr. James L. Ryhal, Jr.* Renee Sabreen* Marjorie Bell Sachs Dr. Vernon E. Sackman and Ms. Marguerite Patton Sue Sahli Mr. and Mrs. James A. Saks John A Salkowski Larry J. Santon Stanford and Jean B. Sarlson James Dalton Saunders Patricia J. Sawvel Ray and Kit Sawyer Alice R. Sayre In Memory of Hyman and Becky Schandler Robert Scherrer Sandra J. Schlub Ms. Marian Schluembach Robert and Betty Schmiermund Mr.* and Mrs. Richard M. Schneider Jeanette L. Schroeder Frank Schultz Carol* and Albert Schupp Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Oliver E.* and Meredith M. Seikel Reverend Sandra Selby Eric Sellen Holly Selvaggi Thomas and Ann Sepúlveda B. Kathleen Shamp Jill Semko Shane David Shank Dr. and Mrs. Daniel J. Shapiro* Helen and Fred D. Shapiro Norine W. Sharp* Norma Gudin Shaw Elizabeth Carroll Shearer* Dr. and Mrs. William C. Sheldon John F. Shelley and Patricia Burgess* Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin

Severance Hall 2018-19

Reverend and Mrs. Malcolm K. Shields Rosalyn and George* Sievila Mr.* and Mrs. David L. Simon Dr.* and Mrs. John A. Sims Naomi G. and Edwin Z. Singer Lauretta Sinkosky H. Scott Sippel and Clark T. Kurtz Ellen J. Skinner Ralph* and Phyllis Skufca Janet Hickok Slade Drs. Charles Kent Smith and Patricia Moore Smith Mr.* and Mrs. Ward Smith Sandra and Richey Smith Roy Smith Barbara J. Stanford and Vincent T. Lombardo George R. and Mary B. Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Saundra K. Stemen Merle and Albert Stern* Dr. Myron Bud and Helene* Stern Mr. and Mrs. John M. Stickney Mr.* and Mrs. James P. Storer Ralph E. and Barbara N. String* In Memory of Marjory Swartzbaugh Dr. Elizabeth Swenson Lorraine S. Szabo Mrs. Jean H. Taber* Norman V. Tagliaferri Nancy and Lee Tenenbaum Dr. and Mrs. Friedrich Thiel Mr. and Mrs. William M. Toneff Joe and Marlene Toot Alleyne C. Toppin Janice and Leonard Tower Dr. and Mrs. James E. Triner William & Judith Ann Tucholsky Dorothy Ann Turick* Mr. Jack G. Ulman Robert and Marti* Vagi Robert A. Valente J. Paxton Van Sweringen Mary Louise and Don VanDyke Steven Vivarronda Hon. and Mrs. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L.* Wasserbauer Reverend Thomas L. Weber Etta Ruth Weigl* Lucile Weingartner Max W. Wendel William Wendling and Lynne Woodman Robert C. Weppler Paul and Suzanne Westlake Marilyn J. White

Legacy Giving

Yoash and Sharon Wiener Alan H.* and Marilyn M. Wilde Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Tony and Diane Wynshaw-Boris Mary Yee Carol Yellig Libby M. Yunger William Zempolich and Beth Meany Roy J. Zook* Anonymous (73)

The lotus blossom is the symbol of the Heritage Society. It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall. For more information about becoming a member of the Heritage Society, please contact the Orchestra’s Legacy Giving Office by calling Dave Stokley at 216-231-8006.

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WELCOME

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Severance Hall is Cleveland’s “musical home” for symphonic music and many other presentations. We are strongly committed to making everyone feel welcome. The following information and guidelines can help you on your musical journey.

CONCERT PREVIEWS

DOORS OPEN EARLY The doors to Severance Hall open three hours prior to most performances. You are welcome to arrive early, enjoy a glass of wine or a tasty bite, learn more about the music by attending a Concert Preview, or stroll through this landmark building’s elegant lobbies. The upper lobbies and Concert Hall usually open 30 minutes before curtain.

SPECIAL DISPLAYS Special archival displays providing background information about The Cleveland Orchestra or Severance Hall can often be viewed in the lobby spaces or in the Humphrey Green Room (just off the left-hand side of the Concert Hall on the main Orchestra Level).

PROGRAM NOTES

FOOD AND DRINK SEVERANCE RESTAURANT 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). Operated by Marigold Catering, a certified Green Caterer. To make reservations, call 216-231-7373, or online by visiting www.useRESO.com. Please note that the Restaurant will not be open for post-concert service this season, with the exception of luncheons following Friday Morning Matinees.

OPUS LOUNGE The new Opus Lounge is located on the groundfloor of Severance Hall. Created where “the Store” was formerly, LO U N G E his newly-renovated eating and drinking lounge offers an intimate atmosphere to meet friends before and after concerts. With full bar service, signature cocktails, and small plates. Located at the top of the escalator from the parking garage.

opus

REFRESHMENTS Intermission & Pre-Concert: Concession service of beverages and light refreshments is available before most concerts and at intermissions at a variety of locations throughout the building’s lobbies.

Severance Hall 2018-19

Concert Preview talks and presentations are given prior to most regular Cleveland Orchestra concerts at Severance Hall, beginning one hour prior to curtain. Most Previews take place in Reinberger Chamber Hall. (See clevelandorchestra.com for more details.)

Program notes are available online prior to most Cleveland Orchestra concerts. These can be viewed through our website or by visiting www.ExpressBook. com. These notes and commentary are also available in our printed program books, distributed free-of-charge to attending audiences members.

RETAIL CLEVELAND ORCHESTRA STORE Proudly wear your love of The Cleveland Orchestra, or find the perfect gift for the music lover in your life. Visit the Cleveland Orchestra Store before and after concerts and during intermission to view CDs, DVDs, books, gifts, and our unique CLE Clothing Company attire. Located near the Ticket Office on the groundfloor in the Smith Lobby.

INTERESTED IN RENTING SEVERANCE HALL? Severance Hall is available for you! Home of the world-renowned Cleveland Orchestra, this Cleveland landmark is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and or other family gatherings — with catering provided by Marigold Catering. For more information, call Bob Bellamy in our Facility Sales Office: 216-231-7420, or email: hallrental@clevelandorchestra.com.

Guest Information

SHARING THE SPACE

ACCESS AND SERVICES

The concert halls and lobbies are shared by all audience members. Please be mindful and courteous to others. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance may be asked to leave the performance.

We welcome all guests to our concerts and strive to make our performances accessible to all patrons.

LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the performers onstage, and for the comfort and listening pleasure of audience members, 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. Happy artists make better concerts.

PHOTOGRAPHY AND SELFIES, VIDEO AND AUDIO RECORDING Photographs of the hall and selfies to share with others through social media can be taken when the performance is not in progress. However, audio recording, photography, and videography are prohibited during performances at Severance Hall.

PHONES AND WATCHES As a courtesy to others, please turn off or silence any phone or device that makes noise or emits light — including disarming electronic watch alarms. Please consider placing your phone in “airplane mode” upon entering the concert hall.

HEARING AIDS Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly so as not to disturb those near you.

MEDICAL ASSISTANCE Contact an usher or a member of the house staff if you require medical attention. Emergency medical assistance is provided in partnership with University Hospitals Event Medics and the UH Residency Program.

SECURITY AND FIREARMS For the security of everyone attending concerts, large bags (including all backpacks) and musical instrument cases are prohibited in the concert halls. These must be checked at coatcheck and may be subject to search. Severance Hall is a firearms-free facility. With the exception of on-duty law enforcement personnel, no one may possess a firearm on the premises.

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.

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 upon entering the building. Patrons can make arrangements by calling the House Manager in advance at 216-231-7425. Service animals are welcome at Severance Hall. Please notify the Ticket Office as you buy tickets.

ASSISTANCE FOR THE DEAF OR HARD OF HEARING Infrared Assistive Listening Devices (ALDs) are available without charge for most performances at Severance Hall, in Reinberger Chamber Hall and upstairs in the Concert Hall. Please inquire with a Head Usher or the House Manager to check out an ALD. A driver’s license or ID card is required, which will be held until the return of the device.

LARGE PRINT PROGRAMS AND BRAILLE EDITIONS A large print edition of most Cleveland Orchestra program books are available; please ask an usher. Braille versions of our program books can be made available with advance request; please call 216-231-7425.

CHILDREN AND FAMILIES Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit clevelandorchestra.com/under18. 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 Explorers! (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).

YOUNGER CHILDREN We understand that sometimes young children cannot sit quietly through a full-length concert and need to get up and move or talk freely. For the listening enjoyment of those around you, we respectfully ask that you and your active child step out of the concert hall to stretch your legs (and baby’s lungs). An usher will gladly help you return to your seat at an appropriate break.

Guest Information

The Cleveland Orchestra

PARKING GARAGE PARKING 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 pre-paid parking passes is limited. Available on-line, by phone, or in person. Parking can be purchased (cash only) for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. Parking is also available in several lots within 1-2 blocks of Severance Hall. Visit the Orchestraâ&#x20AC;&#x2122;s website for more information and details.

FRIDAY MATINEE PARKING Parking availability for Friday Morning Matinee performances is extremely limited. Bus service options are available for your convenience: Shuttle bus service from Cleveland Heights is available from the parking lot at Cedar Hill Baptist Church (12601 Cedar Road). The round-trip service rate is $5 per person. Suburban round-trip bus transportation is available from four locations: Beachwood Place, Westlake RTA Park-and-Ride, St. Basil Church in Brecksville, and Summit Mall in Akron. The round-trip service rate is $15 per person per concert, and is operated with support from Friends of The Cleveland Orchestra.

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

440.720.1102 440.720.1105 440.720.1104

TICKETS LOST TICKETS If you have lost or misplaced your tickets, please contact the Ticket Office as soon as possible. In most cases, the Ticket Office will be able to provide you with duplicate seating passes, which you can pick up prior to the performance.

TICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same weekâ&#x20AC;&#x2122;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.

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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, â&#x20AC;&#x153;turnbacksâ&#x20AC;? 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.

Severance Hall 2018-19

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

Severance Hall 2018-19

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.

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M U S I C I A N

P E R S P E C T I V E S

(Offstage)

Sound the Trumpets! by MICHAEL SACHS Principal Trumpet The Cleveland Orchestra

The last movement

Q: How many pieces call for offstage instruments?

of Mahler’s Second

Michael: Once you start thinking about it, and counting, there are perhaps more than you’d expect. While the most frequent instruments offstage are brass or percussion, there are other examples, too. The beautiful and lengthy english horn solo in the third act of Tristan and Isolde, for instance. And there’s an offstage trumpet in Tristan, too, where the score requests a special type of “hochtrompete” or wooden trumpet (we rented a special instrument for that last spring). In Berlioz’s Symphonie fantastique, there is an offstage oboe and an english horn, and tolling bells. Mahler wrote parts for offstage instruments in at least six of his symphonies. And one I’ve done many times, the trumpet call in Beethoven’s Leonore overtures. Wagner wrote offstage horns in the Ring, of course, and there’s off-stage women’s chorus in the Neptune movement of Holst’s The Planets. Many operas have offstage voices. I could go on — there are a quite a few examples.

Symphony features a series of famous offstage trumpet calls, along with an offstage percussionand-brass group. We sat down with Cleveland Orchestra principal trumpet Michael Sachs to learn more about what goes on when the music is happening out of sight.

Q: Tell us a little bit about what you have to think about when you’re going to play offstage?

Michael: Playing offstage brings a unique set of variables. Where exactly to play? How to coordinate with the conductor? How loudly (or softly) to play to have the right Severance Hall 2018-19

Offstage and Out of Sight

effect. We have to think through all these, and try things out in rehearsal. Depending on the piece and desired effect, offstage musicians can be placed just about anywhere in the hall. At Severance, I often play from behind the organ loft. This space is very resonant and with a high ceiling, creating a spacious feel but with definition. Playing from there, my sound can evolve out from behind the orchestra and seem to be coming from many different directions once it reaches the hall. There is also a canteen area just behind the stage, and I have played from there. It’s a room for musicians to gather when not onstage, so we have to make sure everyone understands what’s going on — because when we’re playing, the doors from the stage and to the canteen will be opened partway. Of course, we only want the music to sound out to the concert hall. I’ve also played in stairwells, and at the back of the dress circle right in the midst of the audience.

Q: How do you know when to play or how loudly to play?

Michael: Technology helps, but it doesn’t give us all the answers. There’s always a TV monitor showing the conductor, but sound travels in time. Because of the distance from where I am playing to the stage, there is a lag between when I play and when my sound reaches the stage. I have to anticipate what I see in order to coordinate what I play with the group playing on stage. The dynamic level can be tricky, too. Many times, one has to play a passage somewhat louder than normal, and yet with the right coloring so that it is the cor-

rect sound and dynamic level by the time it reaches the hall and blends with the music. Offstage, I also find that certain elements need to be exaggerated — the note lengths, articulation, and vibrato — in order to fit the context by the time it reaches the stage. As the sound carries and reverberates out through doors, it changes. We have to work on all of this, and learn how to get the right sound in performance. It’s all a learning curve and part of the job.

Q: Does being offstage affect the pitch you are playing? Michael: Absolutely. Intonation for this is tricky. Because of the distance, the pitch being played offstage flattens a bit, getting lower by the time it reaches the rest of the orchestra onstage. Depending how far away I am placed, I often have to play a passage higher in order for things to be in tune and match up inside the hall. There’s another issue, too. Many times, once I start playing, I can’t hear the orchestra onstage at all. So that I’m “flying blind,” but without my ears — with just the conductor on the monitor as my guide post. When I first came to Cleveland,

Offstage to the Right: Trumpets

Severance Hall 2018-19

I asked the stagehands for a speaker in order to hear the music from the stage, but I quickly realized I was in a different world — that I was playing in a different pitch and timing, so that hearing via the speaker was more confusing than helpful.

Q: Do unexpected things happen? Michael: (Laughs.) If one thing I’ve definitely learned in three decades as principal trumpet with The Cleveland Orchestra, when playing offstage, anything can — and sometimes does — happen. Once, as I started to play, the TV monitor just stopped and went blank. My only choice was forge ahead and do my “best guess” as to when to play — and, apparently, it turned out allright. When I’ve played offstage from the canteen at Severance Hall, musicians who aren’t playing a particular piece sometimes forget why I’m standing there and they start talking to me. I quickly ask them to “hang on a second” and proceed to play the next passage.

Severance Hall 2018-19

I’ve also had well-meaning ushers or hall staff at tour venues run toward me, yelling at me to “stop playing, there’s a concert going on!” In Lucerne, Switzerland, I was performing the posthorn solo in Mahler’s Third Symphony. I played the first entrance from the bottom of a narrow staircase above the organ loft, and then was supposed to move to the top of the staircase — taking TV monitor, music stand, and music with me — for a closer sound in the following passage. The move had to all happen within five bars of rest. The choreography between me, two stagehands, and our librarian, all in a very tight space, was tremendous. And it went off without a hitch — although in order to get out of the way, one of the stagehands ended up on the floor of the landing at my feet while I played the second passage.

Q: Any interference from the audience? Michael: Just this past spring in Vienna with The Prometheus Project,t we performed

Offstage and Out of Sight

walked away.

Q: Any fun tales to tell? Michael: My favorite offstage story in-

Beethoven’s Leonore Overture No. 3, which has a dramatic offstage trumpet fanfare. Tucked in my usual spot, a side vestibule at the Musikverein, all was going smoothly until a wayward audience member stuck his head around the corner to see what was happening. The stagehands and Viennese staff were over by the door and not at all sure what to make of this. With the door to the hall cracked open, I suspect they didn’t want to make a scene and potentially interrupt the concert. As I finished that first fanfare, the visitor strolled over in front of my monitor to take a look. With little time before I needed to play the next entrance, I tried to wave him away. But he turned instead, completely blocking the TV monitor and my view of Franz. Again, I simply had to use my best guess and play when I judged the moment to be. As I finished, the audience member turned and quietly

volves Richard Strauss’s Ein Heldenleben, in which three trumpets play an offstage fanfare leading to the Battle Scene. In the spring of my first season, David Zauder and Jim Darling — both longtime members of the trumpet section — and I went offstage to play. It’s always a little strange to just get up and walk offstage in the middle of a performance — and then back on. But that first time with Heldenleben, once offstage, Dave and Jim looked at each other, and the next thing I know, Dave reached forward and changed the TV monitor from a view of the conductor to the broadcast of that night’s Cleveland Indians game. I already knew my colleagues well enough to know they were messing with me — and I just smiled. I was certain it was just a test, for a new player. Three bars before we were to play, Dave clicked the monitor back to the stage, took a step back just in time and kicked off the fanfares. Humor is a great part of life — and it was good to know the baseball score, too! For Mahler’s Second this season, I’ll actually be onstage, and several of my colleagues will be playing from behind the scenes. My fingers will be crossed that all goes smoothly and without incident!

Photos — page 90: Respighi Pines of Rome (2016), page 91: Berlioz Symphonie fantastique (1990), page 92: Mahler Symphony No. 1 (2018)

Offstage Center: Trumpets

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MAHLER

Painting of Mahler, sitting one evening near a fireplace, by the Finnish artist Akseli Gallen-Kallela, 1907

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

The Real Mahler, by Jonathan Carr. 254 pages. (Constable Press, London, 1997). This very readable and reasonably-lengthed biography by journalist Jonathan Carr is a good place for many people to start. Carr keeps his musical discussions to an understandable minimum and does a good job of trying to explain away certain legends that still too often crop up as fact in discussions of Mahler’s life. Why Mahler? How One Man and Ten Symphonies Changed Our World, by Norman Lebrecht. 336 pages / also available as an ebook. (Pantheon, 2010). This book is one man’s very personal view of how Mahler’s music has helped shape his life and mind. It has gotten decidedly mixed reviews, but if you like — or love — Mahler’s music, this book can help you sort through why and how. As with much of Lebrecht’s writings in print or online, he is intent on challenging and startling you. Be open to connections. Let yourself be surprised. The Mahler Album, by Gilbert Kaplan. 340 pages. (Abrams, s, 2011). Published to coincide with the 100th anniversary of Mahler’s death, this expanded edition is the definitive collection of all the known Mahler photographs. Mahler, by Henry-Louis de La Grange. 4 volumes; somewhere over 3500 pages. (Oxford University Press, I:1973, II:1995, III:1999, IV: 2008). A major milestone for English readers occurred in 2008 with the publication of the fourth and final volume of de La Grange’s nearly dayby-day discussion (originally in French) of Mahler’s life and art. rt An updated Volume One was in the works when de La Grange died in January 2017 (and may yet appear). While others have delved deeper on specific symphonies or aspects, or come to differing conclusions here and there, this is a choice source for detail. The Dent Master Musicians Series: Mahler, by Michael Kennedy. 220 pages. (J.M. Dent, London, rev. ed. 2001). Although a few more recently uncovered facts cloud a number of pages, this clearly written book provides a solid entry-level view of Mahler and his music. Some readers will be particularly pleased at the book’s division into halves — the first half about his life and, quite separate, a second half about the major musical works. —Eric Sellen Severance Hall 2018-19

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Rainey Institute El Sistema Orchestra

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