Page 1


Welcome . . . . . . . . . . . . . . . . . . . . . . . . page 7


WEEK 21 — May

9, 10, 11 Smetana’s Má Vlast . . . . . . . . . . . page 21 WEEK 22 — May

16, 17, 18 Bartók & Schubert . . . . . . . . . . . . page 57


Everything You Love


Insuring lifelong dance partners

Protecting and caring for your family is a full-time job. We know, because it’s ours. To learn more about our comprehensive health plans, visit

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







About the Orchestra


Weeks 21 and 22

2O18 SEASON 2O19

Persp rspectives pectives from the President & CEO . . . . . . . . . 7 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . . 9 M Music Director: Franz Welser-Möst . . . . . . . . . . . . . 13 About The Cleveland Orchestra . . . . . . . . . . . . . . . 15 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93



ON THE COVER Photograph by Roger Mastroianni

Copyrightt © 2019 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

Concert: May 9, 10, 11 . . . . . . . . . . . . . . . . . . . . . . . . 21 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 23

Program book advertising is sold through Live Publishing Company at 216-721-1800


Wide Open Land . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 BRUCH

Concerto for Two Pianos . . . . . . . . . . . . . . . . . . . . 31 SMETANA

Three Symphonic Poems from Má Vlast . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Guest Conductor: Semyon Bychkov . . . . . . . . . . . . 24 Guest Pianists: Katia Labèque and Marielle Labèque . . . . . . . . . . . . . . . . . . . . 25


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



Concert: May 16, 17, 18 . . . . . . . . . . . . . . . . . . . . . . . 57 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 59

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


Piano Concerto No. 3 . . . . . . . . . . . . . . . . . . . . . . . . 61 SCHUBERT

Mass (No. 6) in E-flat major . . . . . . . . . . . . . . . . . . 65 Sung Texts and Translation . . . . . . . . . . . . . . . . . . 73 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . Guest Pianist: Mitsuko Uchida . . . . . . . . . . . . . . . . . Guest Vocalists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . . .


13 60 77 81

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.

Support Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82


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

Table of Contents

The Cleveland Orchestra

extraordinary It’s more than music.

We are proud to support The Cleveland Orchestra and the transformative power of accomplished professionals working together to achieve excellence.

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

L’dor V’dor. From Generation to Generation. Create Your Jewish Legacy

Perspectives Spring 2019 Not long ago, Irish novelist Cecelia Ahern suggested that “Home isn’t a place, it’s a feeling.” But following The Cleveland Orchestra’s recent three-week visit to Asia (March 26 to April 14), I’ve come to believe that home can be both a place and a feeling. Although we had a marvelous journey, featuring eleven unforgettable performances in seven cities, and exposing legions of new fans to the extraordinary experience of André Gremillet hearing this remarkable orchestra for the first time, I found myself overcome with gratitude upon returning to our hometown of Cleveland — a special place that always seems poised to provide the warm and welcome embrace we need after an extensive trip across the globe. At the airport in Cleveland, I was asked what it’s like to work for the Orchestra — a question I hear daily, whether navigating the streets of Shanghai or wandering the sidewalks near University Circle. Music lovers across Northeast Ohio — and around the world — seem excited to peek behind the curtain and learn about the day-to-day operations of this legendary organization. Of course, it’s impossible to distill more than a century’s worth of tremendous performances, education programs, and ground-breaking initiatives into a brief conversation. But after several years of practice, I’m able to detail a few of the reasons why I remain honored and humbled to work for this incredible institution: Great Music. The primary goal of the musicians onstage, our staff, and volunteers is for the Orchestra to play more great music for more people — presenting breathtaking and inspirational concert experiences for audiences of all ages. Whether handing out program books, operating the lighting at Severance Hall, or serving drinks at one of our concession areas, every member of the Orchestra family feels a wave of pride when these spectacular musicians begin to play. Regardless of how you ended up here — maybe you’re a subscriber, you’re coming to celebrate a special occasion, or you received tickets as a gift — we know many of you choose to share important moments in your life with us. And we’re committed to doing everything in our power to make each concert performance a magical and memorable event. Enthralling Education and Community Programs. In the Orchestra’s longstanding commitment to serve this city, few initiatives have greater impact or importance than our education programs. Created to engage people in concert halls, classrooms, and everyday life, these initiatives are responsible for inspiring thousands of students and adults through the power and passion of music. From personal experience, I can assure you there’s nothing more rewarding than watching a young person transfixed and transported by these wonderful musicians — and knowing the joy of music has been sparked in future generations. Unparalleled Community Support. For more than a century, the people of Cleveland have consistently proven themselves to be one of the most generous music-minded communities in the country. An impressive-sized group of individual donors from across the region form the bedrock of our annual support campaign with gifts, large and small. We’re also grateful for the ongoing patronage provided by corporations and members of our Heritage Society, who’ve earmarked legacy gifts to help continue growing the Orchestra’s Endowcontinues

Severance Hall 2018-19

From the President



ment. By making these charitable contributions, supporters are recognizing The Cleveland Orchestra as an integral and important part of this community’s quality of life. Finally, I wrap up any conversation by thanking each person for their interest in The Cleveland Orchestra. I tell them that none of these things would be possible without the incredible support of the generous people of Northeast Ohio. And as with my recent airport inquisitor, I often offer a sentiment that I know is shared by our acclaimed music director Franz Welser-MÜst and the Orchestra’s talented musicians: It always feels good to be home.

AndrÊ Gremillet President & CEO The Cleveland Orchestra P. S. Spring Community Challenge. Two special groups have joined together to encourage new and increased giving this spring through a unique challenge grant. The Cleveland Orchestra’s Advisory Council (created in 2016) and our young professionals’ group, The Circle (founded in 2014), are jointly matching new and increased gifts to the Annual Fund. I urge you to take advantage of this opportunity to double the impact of each gift in support of your hometown orchestra. Complete details can be found in the center of this book, along with a gift envelope.

&$5/)5('(5,&.*$(571(5NJ$0(5,&$1ǾǪ The Fisherman, 1946, 28 x 48 inches



From the President

The Cleveland Orchestra


as of February 2 O19

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival OFFICERS AND EXECUTIVE COMMITTEE Richard K. Smucker, Chair André Gremillet, President & CEO Dennis W. LaBarre, Immediate Past Chair Richard J. Bogomolny, Chair Emeritus Richard J. Bogomolny Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz RESIDENT TRUSTEES Robin Blossom Richard J. Bogomolny Yuval Brisker Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Robert A. Glick Robert K. Gudbranson Iris Harvie Dee Haslam Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey Betsy Juliano

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

Douglas A. Kern 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.

Jean C. Kalberer Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch Richard Kramer 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 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 Richard Stovsky Russell Trusso Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Paul E. Westlake Jr. David A. Wolfort

N ATI O NA L A ND I N T E RN AT I O N AL T RUS T E E S Virginia Nord Barbato (New York) Wolfgang C. Berndt (Austria) Mary Jo Eaton (Florida)

Richard C. Gridley (South Carolina) Herbert Kloiber (Germany) Paul Rose (Mexico)

TRUSTEES EX- OFFICIO Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Barbara R. Snyder, President, Case Western Reserve University

Patricia Sommer, President, Friends of The Cleveland Orchestra Beverly J. Warren, President, Kent State University

TRUSTEES EMERITI George N. Aronoff Dr. Ronald H. Bell David P. Hunt S. Lee Kohrman Raymond T. Sawyer

HONORARY TRUSTEE S FOR LIFE Alex Machaskee Gay Cull Addicott Robert P. Madison Charles P. Bolton The Honorable John D. Ong Jeanette Grasselli Brown James S. Reid, Jr. Allen H. Ford Robert W. Gillespie

PA S T BOA R D PR E S ID E N T S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

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


Severance Hall 2018-19


Musical Arts Association


THE CLEVELAND ORCHESTRA ADVISORY COUNCIL Larry Oscar, Chair Greg Chemnitz, Vice Chair Richard Agnes Mark J. Andreini Lissa Barry Dean Barry William P. Blair III Frank Buck Becky Bynum Phil Calabrese Paul Clark Richard Clark Kathy Coleman Judy Diehl Barbara Hawley Matt Healy Brit Hyde Rob Kochis Janet Kramer David Lamb Susan Locke

Todd Locke Amanda Martinsek Michael Mitchell Randy Myeroff George Parras Beverly Schneider Astri Seidenfeld Reg Shiverick Tom Stanton Fred Stueber Terry Szmagala Brian Tucker Peter van Dijk Diane Wynshaw-Boris Tony Wynshaw-Boris as of February 2 O19

EUROPEAN ADVISORY BOARD Herbert Kloiber, Chair Wolfgang Berndt, Vice Chair Gabriele Eder Robert Ehrlich Peter Mitterbauer Elisabeth Umdasch

The Cleveland Orchestraâ&#x20AC;&#x2122;s Board of Trustees is grateful to the community leaders listed on this page, who provide valuable knowledge, expertise, and support in helping propel the Orchestra forward into the future.



Since 1845, Baldwin Wallace University has challenged talented, eager students to discover, create and lead. A BW education is a commitment to meaningful learning, personal accomplishment and extraordinary performance.

Baldwin Wallace University, Berea, Ohio 44017 Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.


Advisory Councils and Boards

The Cleveland Orchestra


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

16 17th

1l1l 11l1 l1l1 1 1

The The2017-18 2018-19season seasonwill marks mark Franz Welser-Möst’s 16th 17th year as music director.

SEVERANCE HALL, “America’s most beautiful concert hall,” opened in 1931 as the Orchestra’s permanent home.


each year

Over 40,000 young people attend Cleveland Orchestra concerts each year via programs funded by the Center for Future Audiences, through student programs and Under 18s Free ticketing — making up 20% of audiences.

52 53%

Over half of The Cleveland Orchestra’s funding each year comes from thousands of generous donors and sponsors, who together make possible our concert presentations, community programs, and education initiatives.


Followers Follows onon Facebook social media (as of(April June 2019) 2016)

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

129,452 200,000



concerts each year.

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

The Cleveland Orchestra performs over



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

Franz Welser-Möst is among today’s most distinguished conductors in the world. 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 WelserMöst’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). As a guest conductor, Mr. WelserSeverance Hall 2018-19

Music Director

Möst 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, as well as appearances on tour at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. Performances with the Philharmonic this season include appearances at the Salzburg, Grafenegg, 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. He has also built impressive relationships with other great symphonic ensembles and opera houses. His schedule also includes performances of Richard 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, and, prior to that, led the Zurich Opera for a decade, culminating in three seasons as general music director (2005-08). Mr. Welser-Möst was awarded the Pro Arte Europapreis in 2017 for his advocacy and achievements as a musical ambassador. Other honors and awards include 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.




its Centennial Season in 2017-18 and across 2018, The Cleveland Orchestra has begun 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. The Orchestra’s longstanding championship of new composers and the 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 21stcentury 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 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. PHOTO BY ROGER MASTROIANNI


Severance Hall 2018-19

The Cleveland Orchestra




Recent seasons have seen the launch of a unique series of neighborhood initiatives and performances, designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways. Active performance ensembles and teaching 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 a century of 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. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance — with 20% of attendees now comprised of concertgoers age 25 and under und d — as the Orchestra now boasts one of th the youngest audiences for symphonic concerts anywhere. con Innovative Programming. The Cleveland Orchestra was among the first Clev Cl American orchestras heard on a regular A Am series seri of radio broadcasts, and its Severance Hall home was one of the first concert halls hall in the world built with recording and broadcasting capabilities. Today, Cleveland b broa Orchestra concerts are presented in a variO Orc etyy of formats for a variety of audiences — including casual Friday night concerts, film incl scores scor performed live by the Orchestra, collaborations with pop and jazz singers, colla ll ballet b ll and opera presentations, and stanball dard repertoire juxtaposed in meaningful contexts with new and older works. Franz con

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.

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. 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.

The Cleveland Orchestra

The Cleveland Orchestra

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, 193343; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002. 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. 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. Program Book on your Phone Visit to read bios and commentary from this book on your mobile phone before or after the concert.

Custom solutions for better living BROOKLYN HEIGHTS 1100 Resource Dr WOODMERE 28000 Chagrin Blvd

216.741.9000 ©2019 California Closet Company, Inc. All rights reserved. Franchises independently owned and operated.

Severance Hall 2018-19

The Cleveland Orchestra




Franz Welser-Möst MUSIC DIREC TOR

CELLOS Mark Kosower *

Kelvin Smith Family Chair


Virginia M. Lindseth, PhD, Chair


Gretchen D. and Ward Smith Chair


Clara G. and George P. Bickford Chair


Takako Masame Paul and Lucille Jones Chair

Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez Elizabeth and Leslie Kondorossy Chair

Chul-In Park Harriet T. and David L. Simon Chair

Miho Hashizume Theodore Rautenberg Chair

Jeanne Preucil Rose Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Katherine Bormann Analisé Denise Kukelhan Zhan Shu


Alfred M. and Clara T. Rankin Chair

The GAR Foundation Chair

Charles Bernard2 Helen Weil Ross Chair

Emilio Llinás2 James and Donna Reid Chair

Bryan Dumm Muriel and Noah Butkin Chair

Eli Matthews1 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 Weiss1


Charles M. and Janet G. Kimball Chair

Stanley Konopka2 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 Switalski2 Scott Haigh1 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

2O18 SEASON 2O19 O R C H E S T R A FLUTES Joshua Smith* Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Jessica Sindell2 Austin B. and Ellen W. Chinn Chair

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

OBOES Frank Rosenwein* Edith S. Taplin Chair

Corbin Stair Jeffrey Rathbun2 Everett D. and Eugenia S. McCurdy Chair

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

CLARINETS Afendi Yusuf* Robert Marcellus Chair

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

Daniel McKelway2 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 Stees2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Severance Hall 2018-19

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

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

Jack Sutte Lyle Steelman2 James P. and Dolores D. Storer Chair

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

Michael Miller TROMBONES Shachar Israel2 Richard Stout Alexander and Marianna C. McAfee Chair


PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Blossom-Lee Chair Sunshine Chair Myrna and James Spira Chair Gilbert W. and Louise I. Humphrey Chair George Szell Memorial Chair

* Principal § 1

TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

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

Tom Freer


Mr. and Mrs. Richard K. Smucker Chair


Associate Principal First Assistant Principal Assistant Principal



Elizabeth Ring and William Gwinn Mather Chair


Frances P. and Chester C. Bolton Chair

The Musicians


Photo Photo by Ken by Ken Blaze, Blaze, courtesy courtesy of The of The Cleveland Cleveland Orchestra. Orchestra.

Katia Labèque and Marielle Labèque perform Katia Labèque and Marielle Labèque perform with The Cleveland Orchestra at Severance Hall withFebruary The Cleveland Orchestra at Severance Hall on 16, 2017. on February 16, 2017.

synchronized It’s more than music. It’s more than music.

We are proud to support The Cleveland Orchestra We to support The Cleveland Orchestra and are the proud transformative power of accomplished professionals and the transformative powerexcellence. of accomplished professionals working together to achieve working together to achieve excellence.




Severance Hall

Thursday evening, May 9, 2019, at 7:30 p.m. Friday morning, May 10, 2019, at 11:00 a.m.* Saturday evening, May 11, 2019, at 8:00 p.m.

Semyon Bychkov, conductor DETLEV GLANERT

(b. 1960)

MAX BRUCH (1838-1920)

2O18 SEASON 2O19

Wide Open Land, Music with Brahms * Concerto for Two Pianos, Opus 88a 1. 2. 3. 4.

Andante sostenuto Andante con moto — Allegro molto vivace Adagio ma non troppo Andante — Allegro



Three Symphonic Poems from Má Vlast [My Homeland] No. 1: Vyšehrad, The Mighty Fortress No. 2: The Moldau [Vltava] No. 3: Šárka, The Warrior Maid

This weekend’s concerts are supported through the generosity of the BakerHostetler Guest Artist Series sponsorship. Thursday evening’s performance is dedicated to Mrs. Barbara S. Robinson in recognition of her extraordinary generosity in support of The Cleveland Orchestra. Saturday evening’s performance is dedicated in memory of Mrs. Jean H. Taber (1922-2017) in recognition of her longtime love of and generosity to The Cleveland Orchestra. The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation. * The Friday Morning Concert is performed without intermission and features the works by Bruch and Smetana.

Severance Hall 2018-19

Concert Program — Week 21


May 9, 10, 11

2O18 SEASON 2O19

THIS WEEK’S CONCE RT Restaurant opens: THUR 4:30 SAT 5:00


Severance Restaurant Reservations (suggested) for dining:

216-231-7373 or via

EVENING PREVIEWS Reinberger Chamber Hall


“My Homeland: Reflections on European Identity”

“Czech Connections” with Rose Breckenridge, Cleveland Orchestra Music Study Groups

with Adam Roberts, Kent State University

GLANERT Wide Open Land . . . . . . . . . . . page 27


Concert begins: THUR 7:30 SAT 8:00


(10 minutes)

BRUCH Concerto for Two Pianos . . . . page 31 (25 minutes)

(20 minutes)

SMETANA Three Symphonic Poems from Má Vlast . . . . . . . . . . . . . . . page 35


Durations shown for musical pieces (and intermission) are approximate.



(35 minutes)

Concert ends: (approx.)

THUR 9:10 SAT 9:40

Severance Restaurant Opus Lounge

Post-Concert Luncheon follows the Friday Morning concert.

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This Week’s Concertss

The Cleveland Orchestra


Land, Home & Two Pianos T H I S W E E K ’ S C O N C E R T S bring together Germanic and Czech ideas

and ideals of music, nature, and virtuosity. A concerto written for two sisters from a century ago, played by two sisters of today. A tone poem of 19thcentury Czech patriotism. And, for the evening concerts, a more modern view of German landscapes and open vistas. The evening concerts begin with a recent work by the German composer Detlev Glanert. Well-known in Europe, especially for his many operas, Glanert is a newer name and sound here in the United States. His Weites Land, d or “Wide Open Land,” devolves from Brahmsian echoes, both musical and topographical. Next, we hear Max Bruch’s Concerto for Two Pianos, performed by the modern-day duo of Katia and Marielle Labèque. This work was commissioned by a similar (but apparently less talented) sister team a century ago, who went so far as to simplify the score so as to be able to play it. No such need for the Labèques, who command Bruch’s original writing for this big-hearted work. To conclude these concerts, guest conductor Semyon Bychkov has chosen the first three symphonic poems from Bedřich Smetana’s mighty sixmovement cycle titled Má Vlast, t or “My Homeland.” Here, in music, Smetana portrays not just some of the natural wonders of the Czech lands, but affirms ABOVE strengths and stories of the Czech people. Included is the most The River Moldau, painted by Vojtech Adalbert famous of the cycle, The Moldau, vividly painting the national river Brechler (1826-1891). as it flows day and night from mountain spring through little village, under the bridges of Prague and onward to the sea. —Eric Sellen

Semyon Bychkov’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The John Sherwin Family Fund. d Katia and Marielle Labèque’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Julia Severance Millikin. LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV Classical 104.9 FM. The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, June 23, at 4 p.m. and Saturday evening, August 3, at 8 p.m.

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Introducing the Concert


Semyon Bychkov Russian-born conductor Semyon Bychkov enjoys a globe-spanning career, leading orchestras and operas in Europe, Asia, Russia, and the United States. With this season, he became music director of the Czech Philharmonic. He made his Cleveland Orchestra debut in April 2010. Today, while he is often noted for interpreting operas by Strauss, Verdi, and Wagner, his performances encompass music from across four centuries and feature contemporary composers in addition to many standards and lesser-known works from the core Russian-European repertoire. In 2018, he conducted Wagner’s Parsifal at both the Vienna State Opera and Bayreuth. Recent engagements have also included Vienna performances of Wagner’s Lohengrin, Strauss’s Der Rosenkavalier, and Mussorgsky’s Khovanshchina, and London productions of works by Mozart, Strauss, and Wagner. His schedule this season also features concerts with the New York Philharmonic, Leipzig Gewandhaus Orchestra, Munich Philharmonic, and Amsterdam’s Royal Concertgebouw Orchestra. Mr. Bychkov’s inaugural season as music director of the Czech Philharmonic in 2018-19 features concerts in Prague, London, New York and Washington D.C., as well as extensive tours across the United States and Germany. With a recording career that began in 1986 when he signed with Philips, Mr. Bychkov has an extensive discography with the Berlin Philharmonic, Bavarian Radio Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, and the West German Radio Symphony Orchestra, among others. His album of Wagner’s Lohengrin was


named BBC Music Magazine’s Record of the Year in 2010. The International Opera Awards named him Conductor of the Year in 2015. In 2013, Mr. Bychkov launched The Tchaikovsky Project, a series of concerts, residencies, and studio recordings with the Czech Philharmonic. The project culminates this year with residencies in Vienna and Paris alongside Decca’s release of all Tchaikovsky’s symphonies, his three piano concertos, and other orchestral works. Semyon Bychkov began piano lessons at age five, and later attended the Glinka Choir School and the Leningrad Conservatory. He won the Rachmaninoff Conducting Competition when he was 20 years old, before leaving the Soviet Union in 1975. He subsequently enrolled at the Mannes School of Music and, from 1980 to 1989, gained his first orchestral post with the Buffalo Philharmonic, as principal guest conductor and then as music director. Later conducting roles have included leadership positions with the Orchestre de Paris (1989-98), St. Petersburg Philharmonic (1990-94), Maggio Musicale in Florence (1992-98), Dresden Semperoper (19982003), and the West German Radio Symphony Orchestra (1997-2010).

Guest Conductor

The Cleveland Orchestra

Katia Labèque and Marielle Labèque French piano duo Katia and Marielle Labèque are siblings who have been performing together for more than thirty-five years. Renowned for their synchronicity and energy, they made their Cleveland Orchestra debut in November 1985; this weekend they are appearing both in evening concerts and on Sunday’s Family Concert series performance. The Labèque sisters have been regular guests of the major orchestras of the world — including those of Amsterdam, Berlin, Boston, Chicago, Cleveland, Dresden, Hamburg, Leipzig, London, Los Angeles, Munich, Philadelphia, San Francisco, and Vienna. They have also appeared with the English Baroque Soloists, Il Giardino Armonico, Musica Antiqua, Orchestra of the Age of Enlightenment, and Venice Baroque. In addition, they perform regularly at renowned music festivals and in recital throughout the world. Dedicated to repertoire both historical and modern — from Baroque and Classical to new — Katia and Marielle Labèque have worked with composers including Thomas Adès, Louis Andriessen, Luciano Berio, Pierre Boulez, David Chalmin, Philip Glass, Osvaldo Golijov, György Ligeti, and Olivier Messiaen. In 2005, the Labèques launched the KML Foundation to research, develop awareness for, and create new duo piano repertoire. In May 2015, they premiered a concerto written for them by Glass; concertos commissioned from Bryce Dessner and Nico Muhly are scheduled for premieres. The Labèques’ discography features works on Decca, EMI, Erato, Philips, Sony, and their own label, KML. Releases from KML include Sisters and Minimalist Dream

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Guest Artists

House, which covers fifty years of minimalist music. Recent KML projects included a partnership with Deutsche Grammophon for an album featuring Stravinsky’s The Rite of Spring and Debussy’s Épigraphes Antiques. In 2018, they released an album titled Moondog devoted to music of Louis Thomas Hardin. Another new album, Amoria, is an exploration of their Basque roots covering five centuries of music from the Renaissance to the present day. The Labèques can also be seen on several DVDs produced by EuroArts, including The Labèque Way: A Letter to Katia and Marielle by Alessandro Baricco produced by El Deseo (Pedro and Agustín Almodóvar) and filmed by Félix Cábez. Among highlights of the Labèques’ recent performances is the Vienna Summer Night Concert 2016, which attracted an audience of over 100,000 and more than 1.5 million television viewers worldwide. The sisters graduated from the Paris Conservatory. Their biography, Une vie à quatre mains by Renaud Machart, was recently published by Buchet/Chastel. For more information, please visit



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Wide Open Land, Music with Brahms composed 2013

At a Glance Glanert wrote Weites Land: Musik mit Brahms in 2013. (The German word “weites” is best translated as “open” or “wide open,” as Glanert is referring, in part, to the vast and expansive landscapes across northern Germany.) The piece was premiered on February 9, 2014, in Oldenburg, Germany, with the Oldenburg City Orchestra led by Roger Epple.



GLANERT born September 6, 1960 Hamburg, Germany residing in Berlin, Germany

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This work runs just over 10 minutes in performance. Glanert scored it for 3 flutes (third doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, timpani, and strings. The Cleveland Orchestra is presenting the United States premiere of Weites Land: Musik mit Brahms with this weekend’s concerts.

About the Music “With his feet firmly planted in Romanticism, Detlev Glanert reinterprets ancient tales or events in ways relevant to today.” —Primephonic M U S I C , A R T, L E A R N I N G , L I F E . Everything we experience

happens in the context of our own lives and history. Music, even very new music, comes with context. Some new works gently touch on tradition and seem familiar almost at once. Others are refreshingly different or radical from the get-go. Some composers bend our ears decidedly much, others only a little. Detlev Glanert is a composer who believes, thinks about, and derives inspiration from the world around him, past and present. He sets his creative work squarely in the context of the musical past and present. And he composes in direct response to other artistic works — literary, philosophical, visual, and musical. He’s written works about people, ideas, and situations. There’s an organ concerto about a zoo of animals. There’s a requiem revolving around the 15th-century painter Hieronymus Bosch. There’s an opera about the decadent Roman emperor Caligula. There’s Jewish persecution — literally a persecution of a Jew — in a musical work about a haunting court trial a hundred years before the Holocaust. And, of course, he’s written pieces about, with, in response to, and alongside of other composers’ music — as so many have done before him. Listening to or reading about Glanert’s many musical endeavors may bring to mind Luciano Berio’s orchesAbout the Music


trations of others’ works, or Berio’s “renderings” of Schubert. Or Mahler’s incorporation of Jewish klezmer music into the modern symphonic ensemble . . . the neo-classicism of Prokofiev and Stravinsky . . . Brahms’s own variations on a theme by Haydn. Such mixing and matching, borrowing and reconfigurations have been going on a long time — since music was invented. In modern parlance, such “sampling” may be more direct and obvious — using the past to create something new for the future. But composers have always acted as filters to place old musical ideas into new context and light. Glanert’s Weites Land, d translated either as ‘Open Land’ or ‘Wide Open Land,’ begins with just such a touch, firmly echoing the start of Brahms’s Fourth Symphony. But, it is only a starting point, merely a beginning, from which Glanert then clearly creates his own musical work. As Kerstin Schüssler-Bach has written about this piece: “Glanert does not merely paint over Brahms’s music in free-form compositional reflection, but rather, in larger ways, he subtly takes up some of Brahms’s attitudes and gestures.” While writing his own music, Glanert seems to be simultaneously channeling Brahms’s gifts of phrasing, his pacing and sense of contrast. “This music exhibits a never-overwrought nostalgic lyricism punctuated with defiantly-vigorous outbreaks. And . . . Glanert demonstrates a kind of precise motivic work that Brahms would surely have enjoyed.” Like Brahms, Glanert was born in Hamburg — and takes that parallel both seriously and with a sense of awe and irony. “There is much of Northern Germany in Weites Land, the Brahmsian smell of marshland and wide skies,” says the composer. And, according to Schüssler-Bach: “Another ‘open land’ in this piece is the resonance of the music itself, which spreads its wings wide, but not without a touch of Brahmsian melancholy.” Weites Land d is but one of several pieces in which Glanert has underlined his own connections to Brahms, each echoing or mirroring Brahms in different and unique ways, and ultimately transforming the old master’s ideas into something totally different, in a new context. Glanert was raised in German Lutheranism, as was Brahms, but, like Brahms again, does not practice that religion in his own daily life: “The Lutheran church promised me paradise after death, but I have come to believe there will be no paradise. We have to create paradises here and now on earth.” Music and the arts ably form Glanert’s toolkit toward finding salvation in the here and now. Glanert had the practical experience of learning both trumpet and double bass as a young student, and of playing in a youth orchestra. Eventually, he wanted to learn more about music and followed


About the Music

The Cleveland Orchestra

his father’s suggestion for a kind of old-world style apprenticeship, which managed to be with the acclaimed German composer Hans Werner Henze in Cologne. His studies and friendship with Henze became especially important in turning Glanert’s artistic focus to drama and opera. And Glanert has, in many ways, taken up Henze’s 20th-century operatic calling. To date, Glanert has written more than a dozen stageworks, produced throughout Germany. In these, like his mentor, he does not shy from controversial subjects and political positions, firmly believing in the value of strong characters and clear storytelling between opposing ideas. His intellectually curious mind roams across many subjects and ideas, for his own projects or merely to fuel his interest in how humanity strives. “I always have to find the conflict within the drama in my music,” Glanert says. “One idea against another, that is the focus of my writt ing. Not just showing injustice, but how we react to injustice. Love, hate, death — my work deals with all these things and how they interact.”” He works his musical ideas along these same lines, of demonstrating dualities — harmony and melody not in opposition but as differing threads, of sound against silence in differing degrees and proportions, of influences against originality. Glanert currently serves as one of a trio of composers-in-residence with Amsterdam’s acclaimed Royal Concertgebouw Orchestra, each with a ten-year contract that has allowed for long gestations and new directions. In addition to his operas, Glanert has written three symphonies and many other works across a wide variety of genres. He readily admits to two great influences beyond Henze — to Mahler, for the sheer scale of reach (with the symphonic form intended to encompass everything), and to Ravel, for that Frenchman’s consummate skill and deftness as a musician and orchestrator. “Music has to be connected to the life of people,” says Glanert. “It must tell you something about your life and something about what you are. Opera has to have this principle, and so does orchestral music. If it does not, it will die.” —Eric Sellen © 2019

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Shinto: Discovery of the Divine in Japanese Art is organized by the Cleveland Museum of Art with the special cooperation of the Nara National Museum.

The Cleveland Museum of Art gratefully acknowledges:

Discover rarely seen Japanese

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This exhibition was organized by the Cleveland Museum of Art, with the special support of the Japan Foundation as part of Japan 2019, a series of events highlighting Japanese arts and culture in the United States throughout 2019.

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Additional Support Blakemore Foundation Andrew W. Mellon Foundation Endowment Fund Iwashimizu HachimangĹŤ Shrine Samukawa Jinjya Shrine Miyajidake Jinjya Shrine

Seated Tenjin, 1259. Kamakura period (1185â&#x20AC;&#x201C;1333). Wood with color; 94.9 x 101.5 x 68.8 cm. Yoki Tenman Jinja, Sakurai, Nara Prefecture. Important Cultural Property. Photo: Nara National Museum

Concerto for Two Pianos, Opus 88a composed 1914-15

At a Glance



BRUCH born January 6, 1838 Cologne, Germany died October 2, 1920 Berlin

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Bruch wrote his Concerto for Two Pianos in 1914-15, adapting his Third Orchestral Suite from 1905-10 and turning it into a concerto. In 1911, he’d been asked by the duo-pianists Rose and Ottilie Sutro to write a two-piano concerto — and the Sutro sisters eventually premiered Bruch’s new work (after simplifying the piano parts for themselves) on December 29, 1916, with the Philaelphia Orchestra led by Leopold Stokowski. Bruch’s original manuscript came to light in the 1970s

(following Ottilie Sutro’s death in 1970), at which time the original piano parts were published. This concerto runs about 25 minutes in performance. Bruch scored it for 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings, plus the two pianos. The Cleveland Orchestra is presenting this concerto for the first time with this weekend’s concerts.

About the Music T W O S I S T E R S born in Baltimore in 1870 and 1872, Rose and

Ottilie Sutro, lie behind the story of Max Bruch’s Concerto for Two Pianos. They studied the piano in Berlin and made their debut as a two-piano duo in London in 1894. Playing piano duets was a widespread domestic activity in those years, and almost all orchestral music was transcribed for four hands, to be played on a single piano. Many pieces were also arranged for four hands at two pianos. Brahms, for example, created two-piano arrangements of his own works, several of which might well qualify as valid works in their own right. Indeed, such scores, explored at home or played as a performance for guests or in a small assembly hall, were how a majority of people experienced many great symphonies and other works in an era before recordings, and before live orchestral performances became more frequent and widespread. The Sutro sisters had in their repertory several two-piano works, by Mozart and Schumann, as well as the Fantasy in D minor by Max Bruch, composed in 1861. They played this latter work for the composer in Berlin in 1911 and asked him if he would write a two-piano concerto for them. He agreed. It was an unusual request, because very few concertos for two pianos had been written in the 19th century, practically nothing in fact since Mozart and Bach (for two harpsichords) apart from one by Mendelssohn. For Bruch, at the time in his seventies and feeling left beAbout the Music


hind by the advance of modern music, most of which he detested, his agreement was something he may well have soon regretted. At the time, he was busy composing a Suite, his third, for orchestra and organ, inspired by his visit to the island of Capri in the spring of 1904. He’d written then: “Beautiful weather. In the evening between eight and nine a procession in the narrow streets and alleys of Capri. Leading it was a messenger of sadness with a large tuba on which he played a kind of signal. Next came several large flowered crosses, one carried by a hermit from Mount Tiberio. A few hundred children dressed in white and carrying large candles, each of them also holding a small black cross. They sang in unison a kind of lament that sounded approximately thus.” Bruch noted down the tune they sang, as well as the tuba signal, both of which were incorporated into his new Suite. This was played in London in 1909 at a Promenade Concert conducted by Henry Wood, and afterward revised by Bruch. He also arranged it for two pianos, and it was this effort that gave him the idea of creating a two-piano concerto out of the same work, the four movements of the Suite becoming the four movements of the new concerto. (This mostly answers the question as to why a full concerto was assigned the opus number of “88a,” thus sharing a number instead of having its own.) THE MUSIC

Brahms’s Second Piano Concerto contained four movements, but the standard was still three. Bruch’s four movements depart from norms, too, in presenting a slower Andante as the first movement, preceded by a portentous introduction using the “tuba signal,” a loud unison kind of fanfare. The children’s lament from Capri is presented as a reverential fugue in four parts played by the two pianos. It builds to a climax and subsides to a quiet ending. The second movement is closer to a symphonic first movement, moving along swiftly after an improvisatory-sounding introduction. Bruch’s skill in this movement is exemplary, with the two pianos in perfect balance and a lively orchestra always in support. The third movement is a beautiful Adagio, which unfolds an unending series of melodies — of unmistakably romantic character. The finale fourth movement then returns to the “tuba signal,” which this time leads into a robust movement of great virtuosity and vigor. Bruch had an impeccable technique steeped in the language of German romanticism. His music invariably gives great pleasure, yet little apart from the Violin Concerto No. 1 (in G major) and Scottish Fantasy heard very often today.


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Following its creation, the story of Bruch’s Concerto for Two Pianos is still more curious. Because it was essentially identical to the Third Suite, which he planned to publish in Germany, Bruch would not allow the concerto version to be played or published there. And he was not in Philadelphia to hear the sisters give the first performance of the concerto, in December 1916; otherwise, he would have discovered that they had rewritten the solo parts to suit their evidently rather modest skills. They copyrighted their version of the work at the Library of Congress, but after a second performance a year later, in New York in November 1917, they never played it again. In 1970, Ottilie Sutro died, aged 98. A trunk of her effects was purchased at auction in Baltimore for $11 by Nathan Twining, who realized that it contained Bruch’s original manuscript and proceeded to publish the concerto in its original form in association with the pianist Martin Berkofsky — finally affording pianists and audiences alike the work that Bruch really wrote. Relatedly, in April 1920, six months before his death, in low spirits and very short of money, Bruch had allowed the Sutro sisters to take back to America the autograph manuscript of his most famous work, the Violin Concerto No. 1 in G minor. They agreed to sell it on his behalf, but in fact held on to it, paying him in devalued German marks and pocketing the difference for themselves. At some point it came on the market and was eventually purchased by Mary Flagler Cary, whose collection is now part of the Pierpont Morgan Library in New York.

A publicity shot of Rose and Ottilie Sutro, from about the time they premiered Bruch’s Concerto for Two Pianos in 1916.

—Hugh Macdonald © 2019 Hugh Macdonald is a noted authority on French music and the Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis.

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Three Symphonic Poems from My Homeland [Má Vlast] composed 1873-1875, with three additional symphonic poems added 1875-80

At a Glance



SMETANA born March 2, 1824 Litomyšl, Bohemia died May 12, 1884 Prague

Smetana first talked about writing a musical work depicting the river Moldau in 1867. Five years later, he made some sketches related to two “symphonic poems,” one about the river and one about the fortress Vyšehrad. He completed these two in 1874, after suffering profound hearing loss that summer. He wrote Šárka in early 1875, and the fourth poem, From Bohemia’s Forests and Fields, later that year. Each piece was premiered separately in Prague: Vyšehrad on March 14, 1875, and The Moldau three weeks later on April 4. The premiere of Forests and Fields followed in December 1876, and Šárka in March 1877. Smetana wrote two additional movements for the cycle in 1878-79; they were premiered in 1880. The entire cycle was first performed

together on November 5, 1882. The first three tone poems of Má Vlast together run about 35 minutes. Smetana scored them for an orchestra of 3 flutes (third doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (triangle, cymbals, bass drum), 2 harps, and strings. The Cleveland Orchestra first presented music from Má Vlast during the 1920-21 season, and has frequently performed the cycle’s second movement, The Moldau. The Orchestra has performed the entire six-movement cycle only three times: at a single concert in 1924 and at two in 1976. During the 2012-13 season, Franz Welser-Möst led performances of the first four movements.

About the Music S M E T A N A W R O T E the six parts of his symphonic cycle Má

Vlast (“My Country” or “My Homeland”) just as he reached the age of fifty, when fame and fortune were knocking regularly on his door. And just when sudden deafness created a nearly irreconcilable gulf between himself and the everyday world around him. These tone poems were, perhaps in part, a way for the composer to recapture and hold onto the sounds of the world around him — encapsulating in music the joy and emotion in life and living. Smetana originally conceived the cycle as a four-part symphony that would extol the glories of his native Bohemia and its Czech people. Only after the initial success of its opening movements, each premiered separately, did he decide to “complete” the work by adding two final sections. The entire series was first performed together as a cycle on November 5, 1882. Since 1952, it has been programmed as the opening concert for the “Prague Spring Festival,” performed annually on the anniSeverance Hall 2018-19

About the Music


versary of Smetana’s death each May 12th. Despite being a cycle of connected and intertwined symphonic poems, several of these well-crafted works are frequently performed alone, especially The Moldau. The opening three movements — being presented in sequence at this week’s Cleveland Orchestra concerts — are often played as a group and provide a well-focused view of Smetana’s original idea for creating a “symphony” on Czech themes. Part One: V YŠEHRAD, THE MIGHT Y FORTRESS

The fortress Vyšehrad, shown as it looked around 1800. Its walls were destroyed and rebuilt many times over the course of the past thousand years to defend the Czech homeland. Today, the hilltop serves as a national cemetery and patriotic site.

The site of Vyšehrad overlooks Prague at one of the most picturesque turns of the River Moldau, south of Prague Castle. Today, the ancient hillside includes one of the Czech Republic’s most revered cemeteries (both Smetana and Dvořák were laid to rest there). But over the past millennium, fortress walls have been built and come to ruin on this dramatic outcropping. Fittingly and quite unexpectedly, Smetana opens his symphonic ode with a simple series of harp chords and glissandos (borrowing a castle theme associated with Vyšehrad in his opera Libuše). Here, in an exchange between two harps, the chords and glissandos are intended to conjure up the singing narratives of legendary Czech troubadours, who over the centuries had recounted the nation’s stories of glory, conquest, and fate. Smetana explained the cycle’s first symphonic poem in 1879 with these brief words: “The harp of a balladeer begins; the balladeer sings of the events that have taken place on Vyšehrad, of the glory, splendor, tournaments, and battles — and finally its decay and ruin. The composition ends on an elegiac note.” The musical shape of the tone poem, in a straightfoward A-B-A form, is easy to follow, and mirrors the hillside’s own history from natural monument through glorious battles and battlements, through a period of decay and nostalgic neglect that returns it to something like its original natural serenity, layered with memories of the past. Part Two: THE MOLDAU [Vltava]

The main musical theme of The Moldau is today a popular Czech folksong. It was not, however, a Czech song when


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Smetana borrowed it. Smetana had, in fact, often voiced violent opposition to the idea of adopting true folksong melodies into the national musical language he was trying to create. His borrowing, in this case, reached quite far geographically, when he adapted (perhaps subconsciously) a folk melody he had heard while teaching for a number of years in Sweden as a young man. (Dvořák crossed much the same path and controversy with some of the adapted borrowings within his “New World” Symphony.) Smetana’s words about this tone poem clearly lay out the river’s migration from mountain spring through Bohemia toward the sea: “Two springs pour forth in the shade of the Bohemian Forest, one warm and gushing, the other cold and peaceful. Their waves flow quickly over rocky beds, joining together and glistening in the morning sun. The forest brook, hastening on, becomes the river Moldau. Coursing through Bohemia’s valleys, it grows into a mighty stream. Through thick woods it flows, as the triumphant sounds of the hunt and the notes of hunters’ horns are heard ever nearer. It flows through grass-grown pastures and lowlands where a wedding feast is being celebrated in song and dance. At night, wood and water nymphs revel in its sparkling waves. Reflected on its surface are fortresses and castles — witnesses to bygone days of knightly splendor and the vanished glory of fighting times. At the St. John Rapids, the stream races ahead, winding through the cataracts, hewing out a path with its foaming waves through the rocky chasm into the broad riverbed — finally, flowing on in majestic peace toward Prague and welcomed by the time-honored castle Vyšehrad [Smetana encores the castle’s musical motif from the first tone poem of the cycle]. Then it vanishes beyond our gaze.” A personal note: I have vivid memories from childhood of waking on Sunday mornings to hear the swift-running current of the River Moldau flowing mightily past my bedroom door. It was Smetana’s music, of course, from an oft-played recording (by The Cleveland Orchestra) cherished by my father. He often chose to wake us on Sundays by playing music — of a vastly eclectic range. But the watery sounds of the Moldau were among my favorite, both for the realism of the river itself and for the long, over-arching crescendo that turns little stream (barely awake) into mighty river in glorious sunshine (breakfast is ready!). Part Three: ŠÁRKA, THE WARRIOR MAID

Rather than painting another landscape, Smetana took a story from Czech history for the third section of Má Vlast. The Severance Hall 2018-19

About the Music


composer wrote: “This tone poem does not depict a landscape, but a story — the saga of the maid Šárka. Deceived in love, she swears revenge against all men. From the distance comes the sounds of arms. It is Ctirad with his knights, marching to overcome and chastise the warlike maiden. From afar, he hears the wails of a maid and sees Šárka bound to a tree. He is enflamed with passion and frees her. With a prepared drink, Šárka intoxicates Ctirad and his knights, who then fall into a deep slumber. At a horn signal, repeated from afar, Šárka’s female companions swarm from the forest and a blood bath ensues. The piece is closed by a gruesome slaughter and the blind rage of Šárka slaking her lust for revenge.” The programmatic writing and larger-than-life nature of Šárka’s story make this tone poem feel like ancient Greek drama (or modern-day suspense film). It opens big with overwrought outbursts, then lulls us unsuspectingly with sentimental feelings and lilting dance steps. We are then jolted awake by Šárka’s trickery and the resulting blood-mad slaughter, bringing these three movements to a forceful ending. POSTSCRIPT: A SYMPHONIC CYCLE

Program Book on your Phone Read about the music before the concert. To read bios and commentary from this book on your mobile phone, you can visit before or after the concert.

Like Verdi and Wagner, Smetana devoted a majority of his creative energies to writing opera. Like them, too, he was pioneering the art form both as music and as an expression of his country’s nationhood. While none of them wrote much in the way of purely orchestral work, Smetana is best known today — outside his homeland — for the handful of orchestral works that comprise Má Vlast. And, as originally conceived, this cycle of tone poems remains closer to a traditional symphony in form and function than Smetana cared to admit — or Wagner and Verdi ever achieved. When the whole of Má Vlast was first performed as a cycle in November 1882, Smetana had been deaf for eight years. The music was greeted with great acclaim and rejoicing. Smetana heard none of it, of course, but appears to have understood — two years before his death, and just as his mind was beginning to disintegrate into mental confusion and dementia — that he had finally been anointed the musical saint of his struggling Czech homeland. —Eric Sellen © 2019 2018-19 is Eric Sellen’s twenty-sixth season as The Cleveland Orchestra’s program book editor.


About the Music

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I am not ashamed to reply to you in my mother tongue, however imperfectly, and am glad to be able to show that my fatherland means more to me than anything else. â&#x20AC;&#x201D;BedĹ&#x2122;ich Smetana

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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


Dreams can come true

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

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

Your Investment: Strengthening Community Visit to learn more.

Steve Norris and Emily Gonzales love to find new ways to get involved and support The Cleveland Orchestra. Not only do they belong to the Orchestra’s young professionals group, The Circle, they are also the youngest members of the Heritage Society, a group of over 650 generous individuals who have remembered the Orchestra in their estate plans. Steve and Emily met in college, where they took music classes together. After graduation, Steve introduced Emily to summer concerts at Blossom and the beauty of Severance Hall. “Music is an important part of our love story, and we want it to be part of our legacy,” says Steve.

is an “Music important part of our love story, and we want it to be part of our legacy.” “Hopefully, our story encourages others to give so that this Cleveland gem will be around for everyone to enjoy for another century and more.” Steve and Emily are living proof: It’s never too early to plan your legacy. To find out more about investing in the future of The Cleveland Orchestra with a planned gift that costs nothing today, contact: Dave Stokley Legacy Giving Officer The Cleveland Orchestra 216-231-8006

Steve Norris and Emily Gonzales

Everyone Can Leave a




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 February 2019. For more information, please contact the Orchestra’s Legacy Giving Office by contacting Dave Stokley at or 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 Fran and Jules Belkin 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 Dr. Thomas Brugger and Dr. Sandra Ross Mr. and Mrs. Harvey Buchanan* Joan and Gene* Buehler Gretchen L. Burmeister

Stanley and Honnie Busch* Milan and Jeanne* Busta Ms. Lois L. Butler 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 In Memory of Margaret Goss 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 LISTING CONTINUES

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Legacy Giving



Bev and Bob Grimm Candy and Brent Grover Thomas J.* and Judith Fay Gruber Henry and Komal Gulich Mr. and Mrs. David H. Gunning Mr. and Mrs. William E. Gunton Mrs. John A Hadden Jr. Richard* and Mary Louise Hahn James J. Hamilton Raymond G. Hamlin Jr. 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 Lee and Susan Larson 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 Virginia M. and Jon A. Lindseth Ruth S. Link* Dr. and Mrs. William K. Littman Dr. Jack and Mrs. Jeannine Love Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Linda and Saul Ludwig Kate Lunsford Patricia MacDonald

Legacy Giving

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 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

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY 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 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*

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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 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 Myrna and James Spira Barbara J. Stanford and Vincent T. Lombardo George R. and Mary B. Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Elliott K. Stava and Susan L. Kozak Fund Saundra K. Stemen Merle and Albert Stern* Dr. Myron Bud and Helene* Stern Mr. and Mrs. John M. Stickney Dr. and Mrs. William H. Stigelman, Jr. 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

Legacy Giving

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 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 (72)

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, please call 216-231-8006.


Your legacy helps create a healthier community. Gifts to University Hospitals enable us to live our mission every day and continue the legacy of giving from generation to generation. With your support, we’ll continue advancing the science of health and the art of compassion for the benefit of our patients and our community. Join the many who are leaving their legacy.

To learn more, contact our Gift Planning Team: | 216-983-2200

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orchestra news


Orchestra donors join together to challenge Northeast Ohio community to increase spring giving $50,000 $50 000

community support


match grant

This spring, two groups of Cleveland Orchestra donors are coming together across generational divides to encourage members of the Northeast Ohio community to support their hometown orchestra with new and increased giving. The Orchestra’s Advisory Council has joined forces with its young professionals group, The Circle, to generously present a spring fundraising challenge. Each new and increased gift to the Orchestra’s Annual Fund unlocks the equivalent amount from a $50,000 match grant, thus doubling each new gift. “We’re urging Orchestra fans to step up like never before,” says Larry Oscar, chair of the Advisory Council. “And we’ll help by doubling your gift! As advocates for The Cleveland Orchestra, the Advisory Council whole-heartedly understands that it’s our responsbility to ensure that The Cleveland Orchestra is empowered and able to grow the programs and offerings that have nurtured and served this community for a hundred years.” Bryan Scafidi, The Circle president, adds: “As Cleveland’s next generation of leaders, we are extremely proud to partner with the Advisory Council to help encourage increased community giving.” Created in 2016, The Cleveland Orchestra’s Advisory Council is a group of passionate and engaged civic and business leaders who are helping to propel the institution into a vibrant future, by serving as a resource to the Orchestra’s Board of Trustees and staff. The Council works to advocate for The Cleveland Orchestra throughout the region, in their business and personal lives, to help ensure that the Orchestra can engage with and impact all communities where it performs. The Circle was founded in 2014 and is comprised of individuals who share a love of music and a mission to support one of Cleveland’s — and the world’s — cultural gems. The group represents future leaders not only for Northeast

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$100,000 raised!

Ohio but for symphonic music and music eduction, as they support the Orchestra both as concertgoers and donors. Gifts to this spring’s Community Challenge directly support The Cleveland Orchestra’s Annual Fund to fuel musical programs across the institution. It supports education and community initiatives, enhances the audience experience through maintenance and modernization of facilities — at both Blossom and Severance Hall — and gives the institution’s artistic team creative freedom to enable the Orchestra to reach new heights of artistic excellence. “I’m extraordinarily humbled and pleased to see these two groups coming together to help make a real difference,” comments André Gremillet, the Orchestra’s president & CEO. “Everyone involved with The Cleveland Orchestra is grateful to these two generous groups for their passion, dedication, and support — and for providing this special challenge match to increase giving.” “The Annual Fund is the lifeblood of The Cleveland Orchestra’s giving support,” continues Gremillet. “Year in, year out, new donors and new generations have joined the Annual Fund to build the Orchestra into the world-renowned institution it is today. By giving year after year, donors breathe life into each season — and help ensure that the concerts and education programs that have inspired so many can continue into the future. Every day, any day is a good time to make your first gift, or to increase your already generous support.” For more information on how gifts of any size will help make an impact, visit us online at: Questions? You can contact us . . . phone: 216-456-8400 email:

Cleveland Orchestra News


orchestra news Summers@Severance dates set for July and August 2019 The 2019 season of Summers@Severance concerts have been announced. The Cleveland Orchestra’s annual series of summer performances at Severance Hall continues this year with four Friday nights in July and August, along with a bonus movie option. The series is sponsored by Thompson Hine LLP, who have helped underwrite the series since its inauguration in 2014. Complete details of the concerts are available online at the Orchestra’s website. The concerts include a night of Mahler and Beethoven with Franz Welser-Möst on July 12, guitarist Pepe Romero on July 19, Mozart’s Great Mass in C minor on August 2, and Mendelssohn’s Italian Symphony on August 16. Two performances of the movie Batman from 1989, with the Orchestra performing the score live, are offered as special add-on concerts, August 23 and 25. Summers@Severance was created to expand The Cleveland Orchestra’s summertime offerings and showcase the ensemble as an integral part of its home neighborhood all year round. The series presents concerts of popular classical works, with an early start time surrounded by convenient pre- and post-concert opportunities to socialize with friends or family in the outdoor beauty of University Circle. The Front Terrace of Severance Hall is open before and after each concert, with beverage service and seating areas. Series tickets (all four concerts as a packk age) for Summers@Severance are now on sale through the Severance Hall Ticket Office or online at Individual concert tickets are available and on sale now for all of the Orchestra’s summer concerts (at Severance Hall and Blossom). Sponsored by:




I.N M.E .M.O.R.I. A .M The Cleveland Orchestra notes the deaths of two former members, and extends condolences to their families and friends. Oboist Robert Zupnik died on March 19, 2019, at the age of 101. At the time he was the oldest living retired member of The Cleveland Orchestra. Born in November 1917, he was a graduate of Shaker Heights High School and had originally pursued schooling in chiropractic medicine before being called into the military during World War II. He switched focus to music, and became assistant principal oboe of The Cleveland Orchestra in 1946. Hired by George Szell, he served to his retirement in 1977. He also taught at Oberlin College Conservatory of Music. Trombonist Edwin Anderson died on October 2, 2018, in Bloomington, Indiana, at the age of 85. He was born in July 1933 in Massachusetts and studied at the New England Conservatory of Music and Eastman School of Music. He was hired into The Cleveland Orchestra’s trombone section in 1964 by George Szell, and, in 1979, was appointed to the position of bass trombone, retiring in 1985. He later joined the faculty at Indiana University’s Jacobs School of Music, while also performing with a number of other orchestras.

Comings and goings As a courtesy to the performers onstage and the entire audience, late-arriving patrons cannot be seated until the first break in the musical program.

Silence is golden As a courtesy to the performers onstage and the audience around you, patrons are reminded to turn off cell phones and to disengage electronic alarms prior to the concert.

Cleveland Orchestra News

The Cleveland Orchestra

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A . R . O . U . N . D T. O .W. N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include: A presentation titled “Beth Woodside and Friends”” will be performed on Tuesday evening, ing, May 21 at the First Unitarian Church in Shake er Heights (21600 Shaker Blvd). Cleveland Orchestra violinist Beth Woodside will be joined by colleagues Emma Shook (violin), Lembi Veskimets (viola), and Ralph Curry (cello) in quartets by Mozart and Brahms. The concert is a community outreach concert from Cleveland’s Music Settlement. The performance at 7 p.m. is free and open to public. On Wednesday afternoon, May 22, the Cleveland Clinic’s “Ideas for Tomorrow” speaker series continues with a session featuring Cleveland Orchestra music director Franz Welser-Möst. Admission is free, but tickets are required and seating is limited. The event takes

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place at the InterContinental Hotel (9801 Carnegie Avenue). For those unable to attend, the event will also be streamed live online. Additional information can be found at, including details of how to request tickets. The Women’s Committee of The Clevel land Orchestra presents the final Meet the Artist luncheon of the season on Friday, May 31, with a program featuring Clevelan nd Orchestra violist Eliesha Nelson. TThe program includes a short performance, followed by live conversation/interview with Nelson by The Cleveland Orchestra’s aartistic administrator, Ilya Gidalevich. The event e begins at 11:30 with a patron reception, t continues with lunch at noon, and th hen the program itself at 1 p.m. The cost is $50 per person; $100 premium ticket includes the pre-lunch reception. Reservations are required; the event occurs at Westwood Country Club in Rocky River. For information or reservations, visit

Cleveland Orchestra News


orchestra news 2019-20 audition dates set for chorus ensembles Audition dates have been announced this spring and summer for positions in The Cleveland Orchestra’s various chorus ensembles and groups — for adults, high school students, and children’s choir — for the 2019-20 season. For the Cleveland Orchestra Chorus (and Blossom Festival Chorus), adult singers can audition May 4, 5, and 9, by signing up for an audition time. Previous choral experience is required. Youth Chorus auditions will take place on June 2, June 13, and September 7 — by appointment only — open to students entering grades 9-12 in the fall of 2019, as well as 8th grade boys with changed voices. Children’s Chorus or Preparatory Chorus auditions will take place May 20, June 5, and July 20, by appointment, for students in grades 6-9 or 5-8. Complete details can be found in a news release posted on the Orchestra’s website.


New album features Cleveland Orchestra cellist Brian Thornton A new album has been released fearuing Cleveland Orchestra cellist Brian Thornton playing works by Debussy and Brahms. He is joined in Brahms’s Clarinet Trio from 1891 by Orchestra colleague Afendi Yusuf (clarinet) and on both pieces on the album by pianist Spencer Myer; the first piece is Debussy’s Cello Sonata from 1915. Writing of the Debussy, one reviewer said, “Thornton and Myer find the perfect balance of risk and reserve.” The album was recorded in Oberlin’s Clonick Hall, and released on the Steinway & Sons label. The album/CD is available through a number of online retailers.

The Cleveland Orchestra guide to Fine

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Special free Tour Send-off Concert on June 7 showcases Youth Orchestra prior to departure for third international tour to Europe The Cleveland Orchestra Youth Orchestra is set to undertake its third international tour this summer. The 2019 tour to Europe June 10-20 features concerts in Austria, Slovakia, and Hungary. The Youth Orchestra will be conducted by its music director, Vinay Parameswaran. The tour repertoire features works by Johannes Brahms, Béla Bartók, and John Adams. Franz Welser-Möst, music director of The Cleveland Orchestra, will join the group on tour in Austria, coaching the ensemble in Linz and conducting Brahms’s Tragic Overture on June 12 at the Abbey of St. Florian. A special exchange partnership with Anton Bruckk ner Private University of Linz will also take place, involving students from COYO and the University in chamber music coaching and performance, funded by voestalpine AG. The Cleveland Orchestra Youth Orchestra tour is made possible in part through the generosity of the Vinney family. In 2011, the Jules and Ruth Vinney Cleveland Orchestra Youth Orchestra Touring Fund was established to help cover costs of Youth Orchestra touring and to provide scholarships to eligible Youth Orchestra members. An endowment gift from the Jules and Ruth Vinney Philanthropic Fund, advised by their children Les Vinney, Margo Vinney, and Karen Jacobs, established this Touring Fund, to provide ongoing support toward future Youth Orchestra’s tours.

Saint Florian Abbey, Austria

Musi Mu s kv k er e ei ein, n, Vie ienn nnaa nn

EUROPE TOUR SEND-OFF CONCERT Friday, June 7, 8:00 p.m., Severance Hall Tickets: Free admission, but tickets are required. 216-231-1111

Reduta Concert Hall, Bratislava


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Youth Orchestra News


Musicians Emeritus of




















Listed here are the living members of The Cleveland Orchestra who served more than twenty years, all of whom now carry the honorary title of Emeritus. Appointed by and playing under four music directors, these 41 musicians collectively completed a total of 1443 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

FLUTE/PICCOLO John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years OBOE 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 James De Sano * 2003 — 33 years Thomas Klaber 2018 — 33 years PERCUSSION Joseph Adato 2006 — 44 years LIBRARIAN Ronald Whitaker * 2008 — 33 years

HARP Lisa Wellbaum * 2007 — 33 years

* Principal Emeritus § 1 2

Associate Principal Emeritus First Assistant Principal Emeritus Assistant Principal Emeritus

listing as of April 2019



The Cleveland Orchestra

orchestra news


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, president & CEO. “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.”

Cleveland Orchestra News


I cannot conceive of music that expresses absolutely nothing -Béla Bartók

Mitsuko Uchida plays Bartók

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Quality Electrodynamics

and welcomes the legendary pianist,

Engineering Healthcare Innovations

Mitsuko Uchida




Severance Hall

Thursday evening, May 16, 2019, at 7:30 p.m. Friday evening, May 17, 2019, at 8:00 p.m. Saturday evening, May 18, 2019, at 8:00 p.m.

Franz Welser-Möst, conductor BÉLA BARTÓK (1881-1945)

2O18 SEASON 2O19

Piano Concerto No. 3 1. Allegretto 2. Adagio religioso — Poco più mosso — Tempo I 3. Allegro vivace MITSUKO UCHIDA, piano


Mass in E-flat major, D.950 1. 2. 3. 4. 5. 6.

Kyrie Gloria Credo Sanctus Benedictus Agnus Dei


These concerts are sponsored by Dr. Hiroyuki and Mrs. Mikiko Fujita and Quality Electrodynamics. This weekend’s guest artists’ performances are made possible, in part, by a contribution to the Orchestra’s Guest Artist Fund from The Gerhard Foundation, Inc. In recognition of their extraordinary generosity in support of The Cleveland Orchestra, these performances are dedicated to: Mr. and Mrs. Albert B. Ratner (Thursday, May 16) Barbara and David Wolfort (Friday, May 17) Mr. Yuval Brisker (Saturday, May 18)

Severance Hall 2018-19

Concert Program — Week 22


May 16, 17, 18

2O18 SEASON 2O19

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


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

Severance Restaurant Reservations (suggested) for dining:

216-231-7373 or via


“Divine and Spiritual Inspirations” with guest speaker Cicilia Yudha, Youngstown State University

BARTÓK Piano Concerto No. 3 . . . . . . . . . . . . . . . . . page 61 (25 minutes)

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

INTERMISSION (20 minutes)

Cleveland Orchestra Store Located in the Smith Lobby on the groundfloor, the Cleveland Orchestra Store is open before and after concerts, and during intermission.

SCHUBERT Mass (No. 6) in E-flat major. . . . . . . . . . . . page 65 (50 minutes)

Share your memories of the performance and join the conversation online . . . twitter: @CleveOrchestra instagram: @CleveOrch

Concert ends: (approx.)

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

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

Opus Lounge Stop by our newly-redecorated speakeasy lounge (with full bar service) for post-concert drinks, desserts, and convivial comradery.


TThis Th his Week’s Concerts

The Cleveland Orchestra


Requiem& Farewell

T H I S W E E K E N D ’ S C O N C E R T S pair two masterful works, one each from

the 19th and 20th centuries. Written in the final year of each composer’s life, they are often viewed as requiems, or at least as farewells. While Béla Bartók was well aware of his failing health, Franz Schubert was young and, despite health challenges, hoped he had many years to go. Bartók wrote his Third — and last — Piano Concerto in the summer of 1945. He had been diagnosed with leukemia the year before, and the concerto was intended as a special gift to his wife, Ditta Pásztory-Bartók, as something that she could perform herself to make money after he was gone. As it turned out, Bartók died just as he reached the concerto’s final pages, and Mrs. Bartók never played it. Evenso, the new work was quickly recognized as a masterpiece. It stands in some contrast to Bartók’s earlier piano concertos. This one is more subdued, less aggressive in its newness — or perhaps Bartók had fully and comfortably found a perfect balance in his own style, ably integrating new and old, traditional and forward-looking ideas. Cleveland favorite Mitsuka Uchida is this week’s masterful soloist. After intermission, Franz Welser-Möst leads The Cleveland Orchestra, Chorus, and a quintet of international soloists in Schubert’s Mass in E-flat major. Written in 1828, this work was not premiered until after the composer’s death — and thus has often been seen as something akin to his own funeral mass. As Franz explains in his program note about this piece, however, Schubert’s mind and music were much more focused on life and living, in an era when living was difficult and death was a given. Running nearly an hour, this mass is filled with some of Schubert’s most beautiful writing — of nearly endless melodies, masterfully harmonized and orchestrated, which seem to suspend time and bring us face to face, ear to ear, with contemplating the meaning of life and our time here on earth. —Eric Sellen

A SPECIAL NOTE OF THANKS We extend special thanks to Dr. Hiroyuki and Mrs. Mikiko Fujita and Quality Electrodynamics, s who have made a special gift of support toward Mitsuko Uchida’s ongoing musical partnership with The Cleveland Orchestra. Thursday evening’s concert this week marks Ms. Uchida’s 100th performance at Severance Hall.

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Introducing the Concert


Mitsuko Uchida Mitsuko Uchida is a performer who brings deep insight into the music she plays through her own search for truth and beauty. She is particularly noted for her interpretations of Mozart, Beethoven, and Schubert, both in the concert hall and on recordings, but has also illuminated the music of Berg, Schoenberg, Webern, and Boulez for a new generation of listeners. Ms. Uchida made her Cleveland Orchestra debut in February 1990, and since that time has performed with the Orchestra at Severance Hall, at Blossom, and on tour in Europe and Japan. She made her Cleveland Orchestra conducting debut in 1998, and subsequently led performances from the keyboard of all of Mozart’s solo piano concertos as artist-in-residence across five seasons (2002-07). In a special recording project with the Orchestra and Decca, Ms. Uchida revisited a number of Mozart concertos, with these albums winning acclaim and a Grammy Award. Ms. Uchida performs throughout the world with many different partners. In 2017, she embarked on a two-year Schubert Sonata series, featuring twelve of the composer’s major works, which she is touring to renowned venues across Europe and North America. Her performances also include returns to the Salzburg and Edinburgh Festivals and concerto appearances with the Berlin Philharmonic, Chicago Symphony Orchestra, and in Cleveland. In 2016, she was appointed an artistic partner to the Mahler Chamber Orchestra and began a series of concerts directing Mozart concertos from the keyboard with that ensemble in extensive tours of major European venues and Japan.


Mitsuko Uchida records exclusively for Decca, and her extensive discography includes the complete Mozart and Schubert piano sonatas. Her recording of Schoenberg’s Piano Concerto with Pierre Boulez and The Cleveland Orchestra won four awards, including one from Gramophone for best concerto recording. Five of her most recent albums were recorded live at Severance Hall with The Cleveland Orchestra and feature ten of Mozart’s piano concertos. Ms. Uchida’s discography ranges widely, from Mozart to Debussy, and Beethoven to Berg. Albums include the complete Mozart piano sonatas and piano concertos (with the English Chamber Orchestra), the complete Schubert piano sonatas, Debussy’s Études, the five Beethoven piano concertos with the Royal Concertgebouw Orchestra, an album of Mozart violin sonatas with Mark Steinberg, the song cycle Die schöne Müllerin with Ian Bostridge for EMI, and the final five Beethoven piano sonatas. Mitsuko Uchida has demonstrated a long-standing commitment to aiding the development of young musicians and is a trustee of the Borletti-Buitoni Trust. She is also artistic director of the Marlboro Music Festival in Vermont. In June 2009, she was made a Dame Commander of the Order of the British Empire.

Guest Artist

The Cleveland Orchestra

Piano Concerto No. 3 composed 1945

At a Glance



BARTÓK born March 25, 1881 Nagyszentmiklós, Hungary died September 26, 1945 New York

Severance Hall 2018-19

Bartók wrote his Third Piano Concerto for his wife, pianist Ditta PásztoryBartók, in the summer of 1945. He completed the score with the exception of the last seventeen measures, which he only sketched. These measures were deciphered and orchestratt ed by Bartók’s friend, the composer Tibor Serly. The first performance was given on February 8, 1946, by pianist György Sándor and the Philadelphia Orchestra under Eugene Ormandy’s direction. This concerto runs about 25 minutes in performance. Bartók scored it for solo piano, plus an orchestra

consisting of 2 flutes (second doubling piccolo), 2 oboes (second doubling english horn), 2 clarinets (second doubling bass clarinet), 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, cymbals, tam-tam, triangle, xylophone), and strings. The Cleveland Orchestra first presented Bartók’s Third Piano Concerto in November 1959, with George Szell conducting and Jacob Lateiner playing the solo part. The most recent performances were given in April 2015, with Susanna Mälkki conductt ing and Jeremy Denk as soloist.

About the Music F O R M O S T O F H I S C A R E E R , Béla Bartók divided his time

between four professions: as composer, as pianist, as folklorist, and as teacher. Each activity required many hours of quiet concentrated work, but each nurtured the others in innumerable ways, sometimes hidden, sometimes obvious, and nowhere more evident than in his music for solo piano or in his three piano concertos. The last concerto, especially, is filled with special inspriration and emotional depth, intended as a birthday gift for his wife from a man who knew he was dying. Bartók gave his last concert in Budapest on October 8, 1940, then traveled via Switzerland and Lisbon to the United States, wondering if he would return to his homeland, or Europe, ever again. He was fifty-nine, and widely regarded as one of Europe’s leading composers — even though critics still found his music cruelly dissonant and aggressive. Bartók’s most recent works at the time — the blandly titled (but musically creative) Music for Strings, Percussion and Celesta of 1936, the Second Violin Concerto of 1938, and the Sixth String Quartet, written in 1939 — all represented a real maturity in his music, with complex influences from folk music completely absorbed in a modern style. Lyricism and unsettling rhythmic energy were written in equal measure, offering a discerning and suitable balance in these works. About the Music


But being transplanted from his home country was extremely painful for Bartók. His lifelong attachment to folk music was not purely an ethnographic pursuit, it was an expression of his soul’s roots in the Hungarian countryside. The separation caused by World War II thus severed a vital bond. For the first year or two, Bartókk found it hard to settle himself, and he composed little. He was also short of money, earning what he could from his studies in European folk music. His health was also deteriorating. The offer of a commission from Serge Koussevitsky, music director of the Boston Symphony Orchestra, provided stimulus not just for a specific work, the Concerto for Orchestra, but also helped inspire for a group of superb late works all composed in the two years before September 1945, when Bartókk died in a New York hospital. These works are the Viola Concerto, the Sonata for unaccompanied violin (commissioned by Yehudi Menuhin), and the Third Piano Concerto, which Bartók intended as a birthday present for his wife, Ditta Pásztory-Bartók. At Bartók’s death, the Piano Concerto was not quite finished, and Pásztory did not ever play it in public. The orchestration of the last seventeen bars was taken on by a loyal Hungarian friend, Tibor Serly, and the new work was permiered by György Sándor, another pupil and friend of Bartók, in Philadelphia the following February, followed by a performance at New York’s Carnegie Hall shortly thereafter. THE MUSIC

What was immediately observed about the Third Piano Concerto was how different it is from Bartók’s two previous piano concertos, dating from 1926 and 1931 respectively. The aggressive and discordant style of the earlier concertos has given way to a much more restrained and sensitive musical language. The scoring is lighter, too, with any massing of the brass sections barely required until the last movement. Delicacy is required as much as brilliance from the soloist, who is often playing a single line an octave apart in each hand. In louder passages, the music sometimes manifests itself as double octaves in each hand. Formally, too, Bartók was aiming for clarity. The balanced shape of the first movement gives the same satisfaction in this respect as, say, a classical opening movement by Haydn from a century and a half earlier — with first and second subjects returning according to those older patterns and the dynamic level rarely rising even to


About the Music

The Cleveland Orchestra

anything above a pleasingly loud (but not too loud) forte. For the slow movement, BartĂłk offers a solemn homage to the famous Heilige Dankgesang, or â&#x20AC;&#x153;Holy Song of Thanksgivingâ&#x20AC;? from Beethovenâ&#x20AC;&#x2122;s late string quartet, Opus 132. But whereas Beethoven was giving thanks in his writing for recovery from sickness with a more vitally moving middle section, BartĂłk, perhaps knowingly, betrays no sense of recovery. His mood is resignation rather than sadness. The movementâ&#x20AC;&#x2122;s middle section, instead, recalls the birds and insects of earlier works, such as the Music for Strings, Percussion and Celesta, a love of nature having been his personal spiritual religion since childhood. A brief surge of tension and a portentous blow on the tam-tam herald the quiet close. The finale third movement is dominated by a spritely rhythm and a much more forceful attitude. It includes a rather playful fugue, led off by the soloistâ&#x20AC;&#x2122;s left hand, and demands a greater virtuosity of the soloist than the earlier movements. If this was the last music that BartĂłk wrote, it recognizes with supreme satisfaction the inspiration he had always derived from the spirit of folksong and folkdance, and from the exhilarating rhythms he heard on his travels around rural Hungary. â&#x20AC;&#x201D;Hugh Macdonald Š 2019 Hugh Macdonald is a noted authority on French music and the Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, Scriabin, and Saint-SaĂŤns.


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Severance Hall 2018-19

About the Music


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Mass in E-flat major (Mass No. 6), D.950 composed 1828

At a Glance



SCHUBERT born January 31, 1797 Himmelpfortgrund, near Vienna died November 19, 1828 Vienna

Severance Hall 2018-19

Schubert wrote his Mass in E-flat major, the last of his six masses, during the summer of 1828, the final year of his life. The first performance took place posthumously on October 4, 1829, at the Holy Trinity Church in the Vienna suburb of Alsergrund under the direction of the composer’s brother, Ferdinand Schubert. It was later designated as “Mass No. 6” and given the number D.950 in Otto Erich Deutsch’s cataloging of Schubert’s music. This mass runs about 50 minutes in performance. Schubert scored it

for 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings, plus a mixed chorus and five soloists (soprano, alto, two tenors, and bass). The Cleveland Orchestra has performed the complete music of this Schubert mass on only one previous weekend of concerts, in April 1997 under the direction of Robert Shaw. The Kyrie and Gloria movements were performed as part of a concert on tour, in March 1930 in Hamilton, Ontario, Canada.

About the Music Franz Welser-Möst has prepared the following comments about Schubert’s Mass in E-flat major especially for these Cleveland performances: F R A N Z S C H U B E R T ’ S Mass in E-flat major was written as a

very personal statement. Composed in 1828, in what became the last year of his life, I believe that it offers keen insight into this composer’s musical world — into the large and luxuriant, yet also very intimate sensibilities of how he created music and viewed life here on earth. Many of us who grew up in Austria in the second half of the 20th century know this piece well. It is a familiar friend that speaks to us with a personal conviction and voice. I have long wanted to share it with Cleveland audiences — and am pleased to be doing so now. Just as we find in Schubert’s “Great” C-major Symphony and in many other works from the final years of this composer’s life (including the last three piano sonatas and the string quintet), the music of this Mass expands to “heavenly lengths.” In this, I am quoting a term coined by Robert Schumann to describe Schubert’s extraordinary ability to extend musical thought — to create a feeling that abolishes the constancy of real, objectively measurable time. For many of us, in performance this music has the ability to become time itself, to suspend the listener in sound, and allow us to both contemplate our lives and to remove ourselves for a time from everyday cares. About the Music



Schubert began familiarizing himself with the requirements of church music when he was quite young, during his association with Michael Holzer, the Kapellmeister of the Lichtentaler parish church, who gave him organ lessons starting in his youth. Schubert’s understanding expanded during his time as a soprano chorister of the Viennese Court, followed by some brief studies with Antonio Salieri. They continued while serving as an assistant teacher at the school run by his own father. By the time he was nineteen, in 1816, Schubert had already composed four masses and seventeen smaller church works. All of these were very much in an earlier style, built upon the Catholic liturgical traditions of the time. Church traditions, however, were undergoing a period of transition across the 18th and early 19th centuries, influenced by ecclesiastical and secular interests and rivalries, as well as through intellectual and social currents that triggered intense discussions about proper liturgical forms and forces. In 1749, Pope Benedict XIV had tried to curb the increasing use of theatrical — or operatic — style in church music, feeling that such exuberant writing was more entertaining and indulgent than a true expression of faith required. In a decree of 1783, Emperor Joseph II similarly demanded a moderation in the ornamental splendors then sounding in church music. At the time, Joseph II was also championing religious tolerance and actively introducing new thinking and new Enlightenment philosophies and ideas (including liberty, equality, and human justice) into the church. He wanted to place increased emphasis on the individual and on humanity as a whole — and to see and hear less excess in glorifying God. Trumpets and timpani, for example, were banned from religious services altogether. (Many of these provisions were later relaxed under Franz II, Joseph II’s successor, and eventually lifted after 1820.) S C H U B E R T ’ S L AT E R C H U RC H M U S I C

In many aspects, Schubert’s late Masses — especially the German Mass (D.872) from 1827, and the Mass in E-flat major (No. 6) from 1828 — are a direct reflection of these ongoing upheavals. Yet they also give voice to Schubert’s own maturing worldview about music and life, distilled through his individual experience. Looking at this music, I think it is quite obvious that in these works Schubert had contemplated the liturgical genre of the mass itself — and its purpose in praising God — and chose to take it down


About the Music

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An 18th-century depiction of Vienna’s Alserkirche, where Beethoven’s body was blessed in 1827 prior to his funeral and where Schubert’s Mass in E-flat major was premiered in 1829, a year after the composer’s death.

from its traditional high pedestal and place it instead squarely on earth amidst the people. This music is focused on individual devotion, with humanity given a central role in God’s power and unfolding love. Human feelings, especially, become an important element in the masses in A-flat major (No. 5) and E-flat major (No. 6). This music is not simply about God, but about our own relationship to God within the universe and how the world serves our lives here on earth. As a result, through Schubert’s innate creativity and masterful writing, I believe that these works affect the listener to a special degree — because they are deeply human, without separating us apart from God. In a sense, in this music Humanity and God are one, without distance between. U N DE R S TAN DI N G S C H U B E R T ’S F I NAL MA S S

Schubert did not live to witness the first performances of his Mass in E-flat major, led by his older brother, Ferdinand, who was also a composer but chiefly a church musician and organist. The premiere took place in the Alserkirche, then known as the Church of the Holy Trinity, in Alsesrgrund, on October 4, 1829. This was the same church in which Beethoven’s body was blessed two years earlier, when Franz Schubert served as one of the torchbearers at that famous funeral. (Interestingly, even more than being Franz’s brother, Ferdinand Schubert is best known for designing Beethoven’s gravestone.) These facts have led to much speculation about this last great Mass by Schubert. When we examine how the music was received, many commentators have suggested that this Mass has characteristics of a Requiem. Some have gone further, inSeverance Hall 2018-19

About the Music

Program Book on your Phone Read about the music before the concert. To read bios and commentary from this book on your mobile phone, you can visit before or after the concert.


terpreting it as a kind of premonition of death, written during the last year of Schubert’s life. Of course, this is mere speculation. Schubert’s health was an issue in his final year, but he was trying to look forward. In order to get closer to the true meaning and content of this music, I believe that we can look at tonal symbolism, along with certain peculiarities of instrumentation and other musical choices made by Schubert. The characteristics of varying keys is crucial to the understanding of so many of Schubert’s works. With this Mass, the fact that he chose E-flat major seems, at first glance, unusual. This key had strong associations to the Enlightenment and Freemasonry, both of which advocated questioning thought and the centrality of humanity. This is the key Mozart used for his opera The Magic Flute and which Beethoven chose for his “Eroica” Symphony (No. 3), both of which clearly belong to the secular sphere of life. I believe that this key shows Schubert’s desire to emphasize the human within a spiritual work, as Emperor Joseph II had demanded years before. In addition, E-flat major carries a sense of the mysterious, another aspect of Freemasonry from this era. Thus, the opening section of the Mass, the Kyrie, begins with mystical wind chords and a throbbing rhythm in the cellos and basses, which seem to be calling for attention from the Almighty. Devoutly, the chorus begins with the first “Have mercy on the Lord, d ” a touching expression of Schubert’s humility and modesty. The Christe Eleison is in B-flat major, the key of hope. It emphatically paints a picture of Jesus Christ as an important source of hope for humanity. After the mystical recapitulation of the Kyrie, Schubert concludes this section with a heavy musical sigh, expressing hope for mercy and for all humanity. Of course, one method that geniuses like Schubert used to learn their musical craft was by studying the works of great predecessors. For Schubert, these sources of inspiration included Gregorian Chant (which Schubert knew firsthand as a young singer in church), along with such masters of the Renaissance as Giovanni Pierluigi da Palestrina and Orlando di Lasso, most of whose choral works were not given instrumental accompaniment, and George Frideric Handel, whose great oratorios are dominated by fugal-writing. All of these provided ideas for Schubert’s church music. Schubert drew on this reservoir of compositional techniques in his two great masses. At the beginning of the glorification of God in the Gloria, the entire choir sings, but without the accompaniment of instruments — a practice that has long been frowned upon in the Liturgy of the Vatican, even up to today! Theologically, this suggests


About the Music

The Cleveland Orchestra

that nothing should come between God and People, so that there can be a direct connection to heaven. God is praised loudly, but also quietly, and reverentially adored. The Gloria continues with the Gratias, voicing gratitude to God, here expressed with an extraordinarily beautiful melody. This sounds in five variations across the orchestra, mirroring the Catholic symbol number for faith. It is interesting to note that Schubert, at this point and shortly again afterwards, surrounds the text with music and does not include the phrases “Fili unigenite” [“Only begotton son”] and then “Filius patris” [“Son of the Father”] directly as intended in the words of the Mass, but quotes them only later. I sometimes wonder if this might be a sign of the difficult relationship that Schubert had with his own father? The Gloria continues with Domine Deus, whose text refers to the Lord as the Lamb of God who has sacrificed himself, is portrayed by Schubert in a movement, written at a walking tempo, that can feel emotionally shattering. This is a very personal confession of guilt for the death of Jesus. At the end of this section, Schubert omitted a whole line of text: “. . . suscipe deprecationem nostram. Qui sedes ad dexteram patris . . .“ [“ . . . graciously receive our supplication, you who sit at the right hand of the Father . . .“] Again, we can only guess why Schubert set the text about the guilt of the world and the petition for mercy, but omits the line that refers to the father. The music quiets down, coming nearly to a standstill, before the jubilant singing of the beatitudes or blessings of God breaks forth, in music related to the beginning of the Gloria. All of this is followed by a highly artistic fugue inspired by Gregorian chant and reminiscent of Renaissance choral music, which leads from the lowest to the highest voices of the choir, demonstrating in music that there are no limits to the Holy Spirit.

Mass No. 6

I N E - F L AT M A J O R

1. Kyrie

5 minutes 2. Gloria

12 minutes 3.

Credo 15 minutes


Sanctus 3 minutes


Benedictus 5 minutes


Agnus Dei 10 minutes


Next we have arrived at the extended text of the Credo. Schubert sets the beginning of this section in a rather unusual way. When we think back on Credo movements in Bach or Mozart masses, or in Beethoven’s Missa Solemnis (1823), we immediately recall music showing strong commitment and the firmness of faith. Schubert, however, begins mysteriously, more akin to Beethoven’s choice in his Mass in C major (1807). Schubert’s music focuses on the invisible God. The meaning of this text is confirmed in an assertive passage, but then Schubert repeats many of the beliefs in a quieter, more The Cleveland Orchestra

About the Music


mystical context. What follows in the Et Incarnatus part of the Credo is the most beautiful section of this magnificent work, thanks in full measure to one of the most poignant tunes Schubert ever wrote, filled with yearning and melancholy. He sets this music in the key of A-flat major, the romantic key of the night. First, he asks the cellos to perform the melody, then the first tenor soloist, then the second, and finally the solo soprano voice. In the manner of a lullaby, the high voices, like three angels, delicately sing of the incarnation of Jesus by the Holy Spirit and the Virgin Mary. Eventually, this part of the Credo ebbs toward silence, out of which Schubert tells us in darkest musical colors of the crucifixion of Jesus — and with it the pain and desolation of humanity. Yet once again, Schubert brings in a seemingly endless and beautiful melody, making the crucifixion almost physically tangible, by drawing out strong contrasts — a technique very similar to what he did in the Gloria, where the opening music resounded again after the middle section. The ensuing text, which delineates Christian beliefs, is handled with new strength, more firmly even than in the first part of the Credo. As in all his masses, Schubert omits the sentence “. . . et unam sanctam, catholicam et apostolicam ecclesiam . . .” regarding the belief in “one holy, catholic, and apostolic church.” Is he suggesting his own thoughts, his free spirit in religious matters? All of this is followed, as in the Gloria, by a great fugue extoling the duration of eternal life. We are now well more than halfway through the Mass. The Sanctus begins with repetitive triplets in the strings, reminding us of the second part, the Christe Eleison, of the Kyrie. The choir’s first vocalization of “Sanctus” reminds us also of the same devotion and humility as in the Credo. Here, in Schubert’s setting, the praise of faith seems to be more aimed at Jesus as a “brother” than toward God the Father. This falls squarely in line with Enlightenment attitudes, which Schubert again and again reveals within overwhelming intimacy throughout this Mass. It is even true when he turns up the volume, as he does here, with the Domine Deus section reaching a threefold forte to describe the omnipotence of God. For Schubert, the ensuing Osanna is not, as in many other composers’ works, a joyful dance, but much more like a festive song, inspired by choral music from the Renaissance. He connects the Benedictus atmospherically with the earlier Et Incarnatus Est, returning to the dream-like nocturnal key of A-flat


About the Music

Severance Hall 2018-19

major. At the same time, he continues to weave theological interpretative ideas to surround the Sanctus text, including a sense of urgency in humanity’s relationship with Jesus. Compositionally, the work’s final section, the Agnus Dei, is related directly to Schubert’s famous song Der Doppelgänger [“The Lookalike”]. The song’s second stanza reads: Da steht auch ein Mensch und starrt in die Höhe, Und ringt die Hände, vor Schmerzensgewalt; Mir graust es, wenn ich sein Antlitz sehe, — Der Mond zeigt mir meine eigne Gestalt. A man also stands there and looks to the sky, And wrings his hands, overwhelmed by pain; I am horrified — when I see his face, The moon shows me my own shape! With this association, Schubert appears to be connecting the suffering of Jesus Christ directly to a more personal pain — and less to a larger, human feeling of need. Even the sections about the guilt of the world are musically very personal and internalized. In the Dona Nobis, the peace described in the text is experienced musically, as Schubert paints a renewed view of human harmony. Briefly, Schubert returns to the faster tempo of the Agnus Dei. Here he tries to rouse himself against guilt, before finally bringing this music toward a peaceful ending, touching in these closing measures once more into the mystical feelings of both the opening Kyrie and the central Credo. A VERY PERSONAL MASS

There is a melancholy resignation and sense of doubt throughout this work, which sets it apart from so many other mass settings, before and after Schubert. It is not surprising that many performers and interpreters have suggested that this Mass from Schubert’s final months of life should serve as a requiem for a composer who died so young, aged just thirty-one years. And there are, of course, many similarities with a funeral mass, which shares extended lines and sections of text with a general church mass like this. In addition, the expressiveness of Schubert’s writing here is filled mysticism and a variety of tragic gestures and Severance Hall 2018-19

About the Music

Franz Schubert’s grave in Vienna’s Central Cemetery.


feelings — not just sadness, but also consolation. At the height of his powers to build music of so many different kinds, Schubert here integrates a richness of expression into the “heavenly lengths” that Schumann first noted a decade after his death. This was one of Schubert’s special skills, to create a kind of stasis or suspension, a unique and sustained ability to make time stand still. A concertmaster of the Vienna Philharmonic once said to me in rehearsal: “This piece cannot be long enough! For me, it could last forever.” How very true.

—Franz Welser-Möst Franz Welser-Möst was appointed the seventh Music Director of The Cleveland Orchestra in June 1999 and began his tenure with the 2002-03 season.


About the Music

The Cleveland Orchestra

Mass in E-flat major by FRANZ SCHUBERT 1. Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.

Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.

2. Gloria Gloria in excelsis Deo, et in terra pax hominibus bonae voluntatis. Laudamus te, benedicimus te, adoramus te, glorificamus te. Gratias agimus tibi propter magnam gloriam tuam. Domine Deus, Rex coelestis, gratias agimus tibi. Deus pater omnipotens, gratias agimus tibi, Domine Jesu Christe, gratias agimus tibi, Fili unigenite, gratias agimus tibi.

Glory to God in the highest, and on earth peace to all those of good will. We praise you, we bless you, we worship you, we glorify you. We give you thanks for your great glory. Lord God, heavenly King, we give you thanks. God, Father almighty, we give you thanks. Lord Jesus Christ, we give you thanks. Only-begotten Son, we give you thanks.

Gloria in excelsis Deo! Laudamus te, benedicimus te glorificamus te, laudamus te.

Glory to God in the highest! We praise you, we bless you, we glorify you, [and] praise you!

Domine Deus, agnus Dei, qui tollis peccata mundi, miserere nobis. Filius Patris, agnus Dei, qui tollis peccata mundi, miserere nobis. Domine Deus, agnus Dei, filius Patris, qui tollis peccata mundi, miserere nobis! Quoniam tu solus sanctus, quoniam tu solus altissimus, quoniam tu solus Dominus, tu solus, tu sanctus, altissimus, quoniam tu solus altissimus, quoniam tu solus Dominus.

Lord God, Lamb of God, you who take away the world’s sins, have mercy upon us. Son of the Father, Lamb of God, you who take away the world’s sins, have mercy upon us. Lord God, Lamb of God, Son of the Father, you who take away the world’s sins, have mercy upon us! For you alone are holy, only you are most high, only you are Lord, you alone, you holy, most high, for you alone are most high, for you alone are Lord!

Cum Sancto Spiritu in gloria Dei Patris, amen.

With the Holy Spirit, in the glory of God the Father. Amen. PL E A S E T U R N PAG E Q U I E T LY

Severance Hall 2018-19

Mass: Text and Translation


3. Credo Credo in unum Deum, factorem coeli et terrae, visibilium omnium et invisibilium. Credo in unum Dominum Jesum Christum, Credo in Filium Dei unigenitum, et ex Patre natum ante omnia saecula, Deum de Deo, lumen de lumine, Deum verum de Deo vero, per quem omnia facta sunt, Qui propter nos homines et propter nostram salutem descendit de coelis.

I believe in one God, maker of heaven and earth, of all things visible and invisible. I believe in one Lord Jesus Christ, I believe in the only-begotten Son of God, born of the Father, before all ages, God of God, light of light, true God of true God, by whom all things were made. Who for us, and for our salvation, came down from heaven.


Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est.

And became incarnate by the Holy Spirit of the Virgin Mary and was made a man.


Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.

He was also crucified for us under Pontius Pilate, suffered and was buried.


Et incarnatus est de Spiritu Sancto ex Maria Virgine et homo factus est.

And became incarnate by the Holy Spirit of the Virgin Mary and was made a man.


Crucifixus etiam pro nobis sub Pontio Pilato, passus et sepultus est.

He was also crucified for us under Pontius Pilate, suffered and was buried.

Et resurrexit tertia die secundum scipturas, et ascendit in coelum, sedet ad dexteram Patris, Et iterum venturus est cum gloria judicare vivos et mortuos, cujus regni non erit finis.

And on the third day he rose again, according to the scriptures, and ascended into heaven, and sits to the right of the Father, And he shall come again with glory to judge the living and the dead, whose kingdom shall have no end.

Credo in Spiritum Sanctum, Dominum et vivificantem, qui ex Patre Filioque procedit,

I believe in the Holy Spirit, the Lord and life-giver, who comes from the Father and Son,


Mass: Text and Translation

The Cleveland Orchestra

Qui cum Patre et Filio simul adoratur et conglorificatur, qui locutus est per prophetas. Confiteor unum baptisma in remissionem peccatorum mortuorum, et vitam venturi saeculi, amen.

Who with the Father and the Son together is worshipped and glorified, who spoke through the prophets. I acknowledge one baptism for the remission of the sins of the dead, and the life of the world to come. Amen.

4. Sanctus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth! Pleni sunt coeli et terra gloria tua. Osanna in excelsis Deo, osanna!

Holy, holy, holy, Lord God of hosts! Heaven and earth are full of your glory. Osanna in the highest to God, osanna!

5. Benedictus SOLO QUARTET

Benedictus qui venit in nomine Domini.

Blessed is He who comes in the name of the Lord.


Benedictus qui venit in nomine Domini.

Blessed is He who comes in the name of the Lord.

Osanna in excelsis Deo, osanna!

Osanna in the highest to God, osanna!

6. Agnus Dei Agnus Dei, qui tollis peccata mundi, miserere nobis. Agnus Dei, qui tollis peccata mundi,

Lamb of God, you who take away the sins of the world, have mercy upon us. Lamb of God, you who take away the sins of the world,

Dona nobis pacem.

Grant us peace.

Agnus Dei, qui tollis peccata, dona nobis pacem.

Lamb of God, you who take away our sins, grant us peace.


Severance Hall 2018-19

Mass: Text and Translation


Schubert, painted in 1825 by Wilhelm August Rieder

I never force myself to be devout except when I feel so inspired, and never compose hymns or prayers unless I feel within me real and true devotion. â&#x20AC;&#x201D;Franz Schubert

Martina Janková soprano


Swiss soprano Martina Janková has sung in opera houses and with orchestras across Europe. She began her musical training in the Czech Republic, and later was a prizewinner at Germany’s Neue Stimmen International Singing Competition. She first worked with Franz WelserMöst at the International Opera Studio in Zurich, and has been a leading member of the Zurich Opera since 1998. Ms. Janková’s recent schedule includes performances with Vienna’s Concentus Musicus and Zurich Chamber Orchestra. A regular guest at the Salzburg Festival, she has also sung at festivals in Geneva, Graz, Lucerne, and Vienna, and at the Janáček Spring Festival. Her DVDs include Johann Strauss Jr.’s Simplicius for EMI with WelserMöst conducting, as well as appearing in Mozart’s The Marriage of Figaro, Così fan tutte, and Don Giovanni. Other albums are found on DGG Archiv, Philips/Universal, and Supraphon. Martina Janková made her Cleveland Orchestra debut in 2009. Her most recent appearances were in 2017, in the title roles of Debussy’s Pelléas and Mélisande and Janáček’s The Cunning Little Vixen. For more information, visit www. The Cleveland Orchestra

Tamara Mumford

Guest Artists

American mezzo-soprano Tamara Mumford has appeared in more than 140 performances with New York’s Metropolitan Opera, including Adams’s Nixon in China and Wagner’s Ring of the Nibelung cycle. This season, in addition to singing at the Met and here in Cleveland, she performs in concerts with the Chicago Symphony Orchestra, Los Angeles Philharmonic, and Berlin Philharmonic (in Berlin and on tour in Asia). She makes her debut with the Santa Fe Opera in 2019 in the world premiere of Poul Ruders’s The Thirteenth Child. Ms. Mumford is a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program and earned a bachelor of music degree from Utah State University. She was among a select group of sixteen singers invited to work with Naxos Records and Yale University to record the songs of Charles Ives. Other honors include the Arthur E. Walters Memorial Award, and awards from the Connecticut Opera Guild, Joyce Dutka Foundation, Palm Beach Opera, and Sullivan Foundation competitions. She made her Cleveland Orchestra debut in March 2012. For more information, please visit


Werner Güra tenor

Matthew Plenk tenor

German tenor Werner Güra is making his Cleveland Orchestra debut with this weekend’s concerts. He studied at the Salzburg Mozarteum and also worked with Theo Adam, Nicolai Gedda, Margreet Honig, Kurt Widmer, and Wessela Zlateva. After guesting in Basel and Frankfurt, he joined the ensemble of Semperoper Dresden in 1995. He subsequently appeared in productions with the Berlin State Opera, La Monnaie Brussels, Operá de Lille, Paris National, Genoa’s Teatro Carlo Felice, and Zurich Opera. In the past decade, Mr. Güra has concentrated primarily on oratorios and symphonic works, singing with major orchestras on both sides of the Atlantic, including Amsterdam, Berlin, Cincinnati, London, Philadelphia, Pittsburgh, and Vienna. Acclaimed as a recitalist and performer of artsongs, Mr. Güra has sung at intimate venues in Belgium, Berlin, France, Geneva, Germany, and London. With an award-winning discography of more than forty albums, Werner Güra’s artistry can be heard on the EuroArts, Harmonia Mundi, Sony, TDK, and Teldec labels. Since 2009, Mr. Güra has been a professor at the Music Academy Zurich.

American tenor Matthew Plenk has sung with opera companies across the United States. He holds a bachelor’s degree from the Hartt School of Music and a master’s degree from Yale University, and is a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program. He has appeared with the Metropolitan Opera Chamber Ensemble, Musica Angelica Baroque, and Oratorio Society of New York, as well as with Opera Theatre of Saint Louis, Des Moines Metro Opera, and Lyric Opera of Kansas City. In concert, he has sung in performances with the orchestras of Boston, Los Angeles, Minnesota, and Philadelphia, and at a variety of festivals across North America. In 2005, Mr. Plenk was one of sixteen singers invited to work with Naxos Records and Yale University to record the complete songs of Charles Ives. In 2015, he joined the University of Denver’s Lamont School of Music as assistant professor of voice. Matthew Plenk made his Cleveland Orchestra debut in Strauss’s Salome (2012), and has returned to Severance Hall to sing in Strauss’s Daphne (2015) and in Wagner’s Tristan and Isolde (2018). For more information, visit


Guest Artists

Severance Hall 2018-19

Experience a crescendo of 27 inspiring galleries orchestrated under one roof.

Dashon Burton bass-baritone

American bass-baritone Dashon Burton made his Cleveland Orchestra debut in May 2005, with his most recent appearances being in May and June 2018 in Cleveland, Vienna, and Tokyo. He began his studies at Case Western Reserve University, graduated from the Oberlin College Conservatory of Music, and earned a master of music from Yale University’s Institute of Sacred Music in 2011. He has performed at the Bethlehem Bach Festival in Pennsylvania, Carmel Bach Festival, Cincinnati May Festival, and Spoleto USA Festival, and with Copenhagen’s Le Concert Lorrain, Boston’s Handel & Haydn Society, Oratorio Society of New York, and the Yale Schola Cantorum, among other ensembles. An advocate of new music, Mr. Burton has premiered works by William Brittelle and Edie Hill. He is a founding member of Roomful of Teeth, an ensemble devoted to new compositions and winner of the 2013 Grammy for Best Chamber Music/Small Ensemble Performance. Dashon Burton’s competition honors include top prize from the International Vocal Competition in the Netherlands. For more information, visit www. The Cleveland Orchestra

Guest Artists

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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 bachelorâ&#x20AC;&#x2122;s degree in music education from West Chester University and masterâ&#x20AC;&#x2122;s and doctoral degrees in choral conducting from Indiana University.









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Cleveland Orchestra Chorus

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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.

Schubert Mass in E-flat major SOPRANO



Amy Foster Babinski Laurel Babcock Claudia Barriga Yu-Ching Ruby Chen Susan Cucuzza ♦ Emily Engle Molly Falasco Lisa Rubin Falkenberg ♦♦ Lisa Fedorovich Rebecca S. Hall Karen Hazlett Ashlyn Herd Lisa Hrusovsky ♦ Shannon R. Jakubczak Hope Kay ♦ Kate Macy ♦♦ Madelaine Matej 5 Jessica M. May Clare Mitchell Jennifer Heinert O’Leary ♦ Lenore M. Pershing Jylian Purtee Molly Schacher Meghan Schatt Monica Schie ♦ Cicely Schonberg Megan Tettau Lauren Vanden Broeck 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 Robert Hutson Daniel M. Katz ♦♦ Peter Kvidera ♦ Adam Landry Tod Lawrence ♦ Rohan Mandelia James Newby ♦♦♦ Ryan Pennington Matthew Rizer ♦ Ted Rodenborn Matt Roesch John Sabol ♦ Lee Scantlebury ♦ James Storry ♦♦♦♦ Allen White Peter Wright BASS

Christopher Aldrich Tyler Allen Jack Blazey ♦ Sean Cahill Kevin Calavan Peter B. Clausen ♦ Nick Connavino Kyle Crowley Christopher Dewald Jeffrey Duber ♦

Matthew Englehart ♦ Richard Falkenberg ♦♦ Brian Fancher Kurtis B. Hoffman Dennis Hollo Jason Howie James Johnston Joshua Jones 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

Chorus Service Recognition ♦ 15-24 years Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Jill Harbaugh, Manager of Choruses

♦♦ 25-34 years ♦♦♦ 35-44 years ♦♦♦♦ 45+ years

 5 = 2018-19 Shari Bierman Singer Fellow

The Cleveland Orchestra

Cleveland Orchestra Chorus



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 September 10, 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) Mr. and Mrs. Dennis W. LaBarre+ 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 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 Doris F. Beardsley and James E. Beardsley 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 Sandy and Ted Wiese Denise G. and Norman E. Wells, Jr. Max and Beverly Zupon listings continue Anonymous

Individual Annual Support

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The Cleveland Opera brings to life the original opera version of Porgy and Bess, com mposed by George Gershwin to the libretto byy the author DuBose Heyward and lyricist Ira Geershwin. Come hear America’s famous songs,, including “Summertime,” “My Man’s Gone Now,” “I Got Plenty o’ Nuttin’,” “I Loves You, Porgy,” and many otherr heartfelt musical moments. Completee with soloists, chorus, dance, costumess, sets and full orchestra. Don’t miss this spectacular classic of American art at its best.

Jonathan Stuckey as Porgy

Karen Clark Green as Bess

For additional information, visit or call 216-816-1411.

Saturday, June 1, 2019 | 7:30 pm Ohio Theatre, Playhouse Square | 1511 Euclid Avenue, Cleveland OH 44115 Tickets $25-$65 can be purchased through Playhouse Square box office at or by calling 216-241-6000 or 866-546-1353.

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 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+ Mr. and Mrs. Herschman 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

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

The Severance Cleveland HallOrchestra 2018-19

Individual Annual Support

95 85

listings continued

L Loretta J. Mester and George J. Mailath 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 Walb Mr. and Mrs. D Daniel P. Walsh Mr. and Mrs. Mark Allen Weigand+ Dr. Edward L. and Mrs. Suzanne Westbrook Tom and 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

96 86

Individual Annual Support

The The Cleveland Cleveland Orchestra Orchestra

Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with the power of its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, in downtown Cleveland, on the radio, and with family and friends. As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-456-8400.

Mr Wilbert C Mr. C. Geiss Geiss, Sr. 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+

98 88

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

Orchestra The Cleveland Orchestra

listings continued

Sandra and Richey Smith+ Mr. Eugene Smolik Mr. and Mrs.* Jeff rey H. Smythe Jeffrey 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 Geis GeissStell StellFoundation 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. Jeff rey A. Zehngut Jeffrey 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 support of thousands The Cleveland Orchestra is sustained through thethe support of thousands nds of generous patrons, including Leadership donors listed these pages. of generous patrons, including the the Leadership donors listed onon these pages. Listings all annual donors of $300 and more are published Listings of allofannual donors of $300 and more eacheach year year are published hed annually, and be canviewed be viewed online at CLEVELANDORCHESTRA annually, and can online at CLEVELANDORCHESTRA .COM.COM For information about you play can play a supporting For information about how how you can a supporting role role for The Cleveland estra’s ongoing artistic excellence, for Th e Cleveland OrchOrch estra’s ongoing artistic excellence, education programs, and community partnerships, education programs, and community partnerships, please contact our Philanthropy & Advancement Office please contact our Philanthropy & Advancement Office by phone: 216-231-7545 or email: by phone: 216-231-7556 or email: hestra.ccom.



* deceased

The Cleveland Severance HallOrchestra 2018-19

Individual Annual Support

99 89


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 September 1, 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

88 90

$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. 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


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

89 91

11001 Euclid Avenue Cleveland, Ohio 44106



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


Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and special events each year. Severance Hall

The Cleveland Orchestra

11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM



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.


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).


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 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 located, this newly-renovated drink-and-meet speakeasy offers an intimate atmosphere to chat with 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.

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 for more details.)

Program notes are available online prior to most Cleveland Orchestra concerts. These can be viewed through the Orchestra’s website or by visiting www. 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:

Guest Information




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 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


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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.

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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 for details.

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WEEK 12a â&#x20AC;&#x201D; January

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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

Guest Information


Rainey Institute El Sistema Orchestra



We believe that all Cleveland youth should have access to high-quality arts education. Through the generosity of our donors, we have invested nearly more than $4 million since 2016 to scale up neighborhood-based programs that now serve 3,000 youth year-round in music, dance, theater, photography, literary arts and curatorial mastery. Thatâ&#x20AC;&#x2122;s a symphony of success. Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.

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The Cleveland Orchestra May 9, 10, 11 and May 16, 17, 18 Concerts  

Smetana's Ma Vlast, May 9, 10, 11; Bartok & Schubert, May 16, 17, 18

The Cleveland Orchestra May 9, 10, 11 and May 16, 17, 18 Concerts  

Smetana's Ma Vlast, May 9, 10, 11; Bartok & Schubert, May 16, 17, 18

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