Page 1




. . . . . . . . . . . . . . . . page 9

WEEK 3 — October

11, 12 Brahms Third Symphony

T ’S WHA E ? D I INS ages Se e p 6 -7

. . . . . . page 37

WEEK 4 — October

17, 18, 19 Beethoven’s Seventh . . . . . . . . . . page 53

WEEK 5 — October

24, 26 Nielsen Fifth Symphony


. . . . . . . page 73

Everything You Love


Insuring lifelong dance partners

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About the Orchestra


Weeks 3, 4, and 5 Perspectives from the President & CEO . . . . . . . . . 9 Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Music Director: Franz Welser-Möst . . . . . . . . . . . . 17 About The Cleveland Orchestra . . . . . . . . . . . . . . . 19 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105




Cleveland Orchestra News . . . . . . . . 24



Concert: October 11, 12. . . . . . . . . . . . . . . . . . . . . . . 37 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 39 BRAHMS

Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 ADÈS

Piano Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 BACH

Orchestral Suite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Artists: Gilbert / Gerstein . . . . . . . . . . . . . . . . . . . . . . 36

ON THE COVER Photograph by Roger Mastroianni

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



Concert: October 17, 18, 19 . . . . . . . . . . . . . . . . . . 53 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 55 ANDRIESSEN

Agamemnon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 PROKOFIEV

Violin Concerto No. 2 . . . . . . . . . . . . . . . . . . . . . . . 61 BEETHOVEN

Symphony No. 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Artists: van Zweden / Hadelich . . . . . . . . . . . . . . . . 52



Concert: October 24, 26 . . . . . . . . . . . . . . . . . . . . . . 73 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 75

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.


Isle of the Dead . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Preferred Airline of The Cleveland Orchestra


Piano Concerto No. 1 . . . . . . . . . . . . . . . . . . . . . . . 79 NIELSEN

Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

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

Artists: Slobodeniouk / Hamelin . . . . . . . . . . . . . . . 72



Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101


Table of Contents

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

The Cleveland Orchestra





BakerHostetler is proud of our long association with The Cleveland Orchestra. We share its commitment to excellence and its dedication to a thriving community.

What’s inside this ABOUT THE ORCHESTRA



Presid ent & CEO

Q: In September, The

André Gremillet discusses extending Fran z Welser-Möst’s contract with the Orchestra — and how this continuing part nership is impacting Nort heast Ohio

Cleveland Orche stra announced a new five-year contra ct extension with Franz Welser-Mös t. Why does this excite you?

André: I couldn’t be happi

Perspectives — Each month, President & CEO André Gremillet writes about current news and ideas. Turn to page 9 to learn more regarding important Cleveland Orchestra initiatives and achievements.

the podium. Funda mentally, Franz does things differently and in a better way. He’s about cooperation and collaboratio n, and true chamber music , where every music is listening to one ian another and playin g and breathing togeth er. Of equal impor tance, for Franz, it’s not just about the performances, it’s also very much about what a great orchestra can do in this comm unity, to promote music education and inspire new generations .

er about this news. Franz has made a real differe nce here, helping to shape and refine this orchestra’s famou s sound into some thing even better. The Cleveland Orche stra has never played better , and there’s more do. Our discus to sions about his contract were never about whether to contin ue, but when and for how long. Franz’s partn Q: Please talk about ship with this orche ersome of the chang stra is an incred es taking place with ible thing. I’ve only the Orchestra’s been here four educayears, but tion and comm I’ve admired The unity programs? Cleveland Orche stra from afar all my life. André: From the It’s been a great very start, Franz orchestra for many decad has been involved es. But Franz Wel in The Cleveland ser-Möst has helped it grow Orchestra’s education even more than programs and I had imagined. Peopl community engagement activit e in the orchestra ies. He’s a determ business are surprised every advocate for the ined time we go on power of music tour at just how good to enable and chang this orchestra is, e the lives of every how much warmer and flexib child. Music helps in le the playing is. learning and under People around the world standing, in schools are looking at and neighborho us with renewed intere ods. And helping everyone st. Perhaps they — the underserved pigeonholed us twent engaged alike and y years ago as — participate. very good, yet now there This power of music is what is even more here. Franz has alway This orchestra has gaine s been about. Wheth d agility and under er he’s collaboratin standing, and are even g and conducting a specia more collaborativ l school concert e in their music-maki centered around the ng. Yes, Georg ideas of herois e Szell put this orchestra on m in the way he rethou the world map, ght Beethoven’s and gave it that first sheen symphonies with the Prome of chamber music theus Project two qualityy — but it was o years ago. Or the new always with direct “Crescendo” progr ion from am we’ve launched to teach instru mental Sever ance Hall 2019-20

From the Presid

What’s Happening? — Additional sections of the book give you information about events and happenings, including: News — Most books also include a selection of pages relating recent Orchestra news, including upcoming performances by ensemble members, memoriam announcements, information about new initiatives, tour review excerpts, introduction of new musicians, or other matters of interest.



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estra designe eland Orch r van Dijk, who The Clev Pete gs new architect nfor death of season brin d Orchestra’s exte al Pavilion The new y Green the orchestr ic Center. The Clevelan Humphre Hefling artifacts fromcollection. In the som Mus orah er 7, Blos Deb ive Setpemb ds,” sive Arch ria Hoy and He died on 90. ivists And titled “On the Stan of arch age m, Roo e of bit 2019, at the was nationally ted an exhi exploring the rang ts, and have crea Van Dijk innovative , commen ed for his open-air drawings eland recogniz that Clev Blossom’s 1968 doodlings s have design for in musician completed Orchestra (and pavilion, ounding as the sum created surr arsals across ahoga Falls Cuy eland in e of The Clev ion during) rehe mer hom mill a. Over 21 the years. als are, of Orchestr attended Rehears vers have nse 52 inte ic-lo ss of mus acro time Blossom course, a n working events at variety of nic conin a wide l sympho concentratio upcoming firm, seasons, for to classica van Dijk ’s addition out details s. But, keep al ess helped genres in som’s succ elop a glob performance l eye (and certs. Blos up Cleveland, dev arts centers, chfu Gro ing a wat of creative orming now DLR ber gning perf He was a strong num desi a , in to . practice proceedings r own thoughts colconcert halls structure and func ch ear) on the ed thei ters, and ress sket tem add thea to exp con to nity s have st, eager le utilizing musician the opportu moderni shapes whi s and steel. r in taking or clea , es ts. ed scor ding glas tion in bold guest artis can be view s, just ed preserva erials inclu leagues and n Room exhibit porary mat was also a committ the 1970s rmission The Gree during inte seating level Van Dijk ing role in d’s lead n elan a mai ed Clev play save off the tionist and terplan to rance Hall up a mas of the Seve Many of the ntown. in drawing s conSquare dow estra send concert hall. ements on Playhouse re Cleveland Orch r’s wife Bobbi stat on inventive Pete The enti e created wishes to his designs for and best omdisplay wer dolences proud that lasting part of stands cust $5 the music ily. We are as a of d fam cost stan and the arts. ter the his love of Music Cen built — at tsBlossom itect and local craf as an arch each — by opening of his legacy rumen for the e Hall in Feb ue Severanc is a uniq This . ary 1931 with conveyed . a’s artistry, and horn Orchestr view of the er than harp pen rath pencil and al new exhibits Addition groundd on the and ery, can be foun Gall Lerner floor in the Box located just ic near in the Mag 1968 concert hall Blossom, bit outside the lny-Kozerefski rge Szell at anent exhi , Dijk and Geo B gomo new perm ager, the Bog Peter van as a n ding man r, as well Grand Foye the Orchestra’s foun kin Board d to in the Ran dedicate tiss Hughes, tra News Adella Pren hes Orc d Clevelan 9-20 ce Hall 201 Sev eran





n is know Gerstein insights in t Kirill pianis probing made Russian hnique and 08 jazz. He tec n sic and but in July 20 for his rt bega cal mu de ssi n Gilbe tra ar ago, cla es ye Ala mboth Orch re a nductor uctor of Ha e veland tly played he nd can co through his Cle th th en Ameri e as chief co pears onie wi rved most rec 2018. He ap music ur r d arm an be ten ilh se ph his sly mber l, cham major ilNDR Elb He previou in Nove in recita ncert with burg’s York Ph l world his season. in co e New ya . Since as out the s, and als 2019 -20 director of th d of the Ro He ce tiv an fes om an sic perform and music s of Th -2008). -2017) as mu as rmance Boston ic (2000 uctor ic (2009 orchestr e perfo the armon harmon t cond hony premier ncerto with lm Philh l gues 2019, he world Co Stockho as principa n Symp ians in March with other Piano polita es sic Ades’s rk chestra continu Tokyo Metro ident of Mu tohony Or ucing the wo Atlanes an’s mp ing pr Sy d Jap ing the br of er an sen introd th sides of rld ization found rios Cla has be and is d the wo w organ of s for My as on bo ity, a ne s from aroun es in suporchestr rstein record iere recording for Un ian the . Ge em tical tim human music No. 1 in ho tic. Mr his world pr sic at cri gether and ncerto Ec d rm mu ment, of the no Co ed an sics, an to perfo ace, develop ant member y’s Pia receiv sk ill on es ov Kir rsi ch pe aik ssia, Tch assist d Or 79 ve port of er’s 18 chilild in Ru rly was an The Clevelan os ch ula ted He a mp gif s. reg co . As ff of right ool for urned rAward jazz by ting sta has ret ding pe Klassik attended a sch self to play conduc ), and tly lea was rstein 94-1997 most recen ing him ordings, he bruary Ge ch Fe tea tra (19 in t, of ic ter Hall ts’ rec a gues armon rance dren. Af to his paren rklee College ilh ve here as Ph Se ood Be w York violin, viola, nces at Tanglew of listening to Boston’s forma rn to two Ne ed d died at hool at Bo rt learn admitte has also stu nhattan Sc 2019. n Gilbe d music e He at the Ma Ala . die th e s, stu d the g at t-priz Music violinist , and later nter an include firs mpetition, nductin ard Ce co no d sic illi rs an Mu no no Co and pia rsity d the Ju org Fisher . His ho binstein Pia rd Unive of Music an Avery Ge Music Harva th the , and an it www. thur Ru aInstitute , he won bo vis 2001 Ar Artist Award Curtis e Intern . ation, re In 1994 ize in th rformance a Gilmo r more inform Pe School. and first pr Fo Music ze ances grant. om. Solti Pri mpetition for nic perform n.c tei stra n, tio Co Orche kirillgers sympho tional informa veland The Cle ds opera . For more He lea s world m. Artist d the Guest aroun w.alang ww it vis

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Donors and Patrons — Ticket revenue covers D less than half of the cost of presenting each concert by The Cleveland Orchestra. Listed in this book are hundreds of generous individuals, corporations, and foundations who invest in us each year to help ensure the continuing value that a world-class orchestra brings to Northeast Ohio. You can join them in supporting our education initiatives, artistic presentations, and community engagement activities! History — You’ll also find pages where you can see a list of the musicians, or read about The Cleveland Orchestra’s history, and about the ensemble’s home here at Severance Hall. Our Advertisers — The advertisements throughout the book are purchased by local and national companies and non-profits, creating revenue that helps pay for the cost of printing each week’s book.

D Discover more . . . About this Book

The Cleveland Orchestra



What’s on Tonight? — A section of most












Thursday Hall evening, October Saturday 24, 2019, evening, October at 7:30 p.m 26, 2019, Dima Slo at 8:00 p.m . bodenio . uk

books is devoted to each concert, beginning with a “program page” listing the musical works in order, including each piece’s different sections (or movements) along with the names of the conductor and solo artists.


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(1873-1943F )


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Sympho ny No. 5

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Additional sections include: Concert Timeline — For most concerts, a page is included showing expected running times of each piece and intermission, as well as an estimated end time. You’ll also find infomation about how to enhance your concert experience by learning more or relaxing with friends.

Marc-And ré is made poss Hamelin’s appearan Guest Artis ible by a contribut ce with The Clevelan ion t Fund from d Sterling to the Orchestra’s Orchestra A. and Verd Saturday 's concert abelle Spa is dedicate in recogniti ulding. d to on of her in support extraordin Toby Devan Lew of The Clev ary is eland Orch generosit y estra.


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Symph composed ony No. 7 181 1-12

About the Artists — Biographies are featured about soloists and conductors performing here at Severance Hall each week.

About this Book



At a Glance — Following the introduction for each concert, there is specific information about each piece of music, including a concise “At a Glance” section featuring barebones info.

Severance Hall 2019-20


Current and IO BROA as part of past Cleveland DCA STS Orchestra week on Saturday ly programm conc ing on ideas erts are broadcas evenings at 8:00 00 p.m. and tream/WCLV Class t Sunday after ical noons at 104.9 FM, 4:00 p.m.

11, 12 October ND ’S CO NC E RT

Introducing the Concert — A special introductory page gives you a quick overview of the music to be performed, tying together the composers, performers, and musical styles you will be hearing.

Food, Drink, and More — in addition to Severance Restaurant (open before evening concerts) and Opus Lounge (open before and after), a variety of drinks and snacks are available in lobbies throughout the building. Order yourself a beverage to enjoy, or ask about our special donor/subscriber lounges.

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President & CEO


Perspectives André Gremillet discusses extending Franz Welser-Möst’s contract with the Orchestra — and how this continuing partnership is impacting Northeast Ohio

Q: In September, The Cleveland Orchestra announced a new five-year contract extension with Franz Welser-Möst. Why does this excite you?

André: I couldn’t be happier about this news. Franz has made a real difference here, helping to shape and refine this orchestra’s famous sound into something even better. The Cleveland Orchestra has never played better, and there’s more to do. Our discussions about his contract were never about whether to continue, but when and for how long. Franz’s partnership with this orchestra is an incredible thing. I’ve been here less than four years, but I’ve admired The Cleveland Orchestra from afar all my life. It’s been a great orchestra for many decades. But Franz Welser-Möst has helped it grow even more than I had imagined. People in the orchestra business are surprised every time we go on tour at just how good this orchestra is, how much warmer and flexible the playing is. People around the world are lookk ing at us with renewed interest. Perhaps they pigeonholed us twenty years ago as very good, yet now there is even more here. This orchestra has gained agility and understanding, and are even more collaborative in their music-making. Yes, George Szell put this orchestra on the world map, and gave it that first sheen of chamber music quality — but it was always with Severance Hall 2019-20

From the President

direction from the podium. Fundamentally, Franz does things differently, in a very modern way. He’s about cooperation and collaboration, and true chamber music, where every musician is listening to one another and playing and breathing together. Of equal importance, for Franz, it’s not just about the performances, it’s also very much about what a great orchestra can do in this community, to promote music education and inspire new generations.

Q: Please talk about some of the changes taking place with the Orchestra’s education and community programs?

André: From the very start, Franz has been involved in The Cleveland Orchestra’s education programs and community engagement activities. He’s a determined advocate for the power of music to enable and change the lives of every child. Music helps in learning and understanding, in schools and neighborhoods. And helping everyone — the underserved and engaged alike — participate. This power of music is what Franz has always been about. Whether he’s collaborating and conducting a special school concert centered around the ideas of heroism in the way he rethought Beethoven’s symphonies with the Prometheus Project two years ago. Or the new “Crescendo” program we’ve launched to teach instrumental music les-


continued from previous page

sons in Cleveland schools. For Franz and all of us at The Cleveland Orchestra, hands-on music-making is one of the greatest tools not only for learning new skills, but for developing self-discipline and self-confidence, for collaborating with the musicians around you and learning to be an ensemble and perform together as a team.

Q: Many Cleveland-area adults remember attending a Cleveland Orchestra Education Concert at Severance Hall as a student. Please talk about the exciting news about these ongoing concerts that was also announced in September.

André: Across more than a century now, The Cleveland Orchestra has introduced over 4 million students to classical music. And each year we devote several weeks of the Orchestra’s performances to Education Concerts, with busloads of children coming to Severance Hall and witnessing a live symphony orchestra for the first time in their lives. Franz’s leadership and vision has only strengthened our commitment to these efforts and, now, thanks to a tremendously generous gift to the Orchestra from Mrs. Jane Nord, tickets to these concerts will be free to all schools and students in the area. Thank you, Jane, for making our dream of universal access for young people, especially the most disadvantaged, a reality. This will be transformational, as we continue to work toward breaking down barriers that stand in the way of people from experiencing The Cleveland Orchestra. We are continuing to evolve and grow our education programs and community engagement activities. We want to do more, and we intend to make an even larger difference and to literally touch the lives of every child in Northeast Ohio. 10

Q: Please talk more about some of the new ideas and plans being worked on for the years ahead.

André: This truly is an exciting time to be at The Cleveland Orchestra and to live in Northeast Ohio. Of course, there are challenges. But without effort and vision nothing great ever happens. And so many things will be happening. This next year we are launching the Orchestra’s own recording label — to showcase the partnership between Franz Welser-Möst and The Cleveland Orchestra, to add new and amazing performances to this ensemble’s storied recording history. Some of these, I believe, will be eye-opening — and very much ear-opening — for music-lovers around the world. We continue to pursue collaborations with other arts organizations here in Greater Cleveland — for tourism, and to enhance the opera festival we do each season, so that we can bring even more breadth and depth to the public discussions around important works of art. We have new touring plans that will be announced in the coming months, which relate directly to tourism in Northeast Ohio and to the Economic Impact Study we just released (see page 33) — about how important The Cleveland Orchestra is to this community, not just for what we do artistically, but, like our sports teams and museums and colleges and universities, all of these are important to the quality of life and work throughout greater Cleveland. To read more about the Orchestra’s plans, please turn to pages 24-25 of this book.

From the President

The Cleveland Orchestra



12316 Euclid Avenue, Cleveland, Ohio | 216-421-2665 |


as of October 2 019

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 Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz Douglas A. Kern RESIDENT TRUSTEES Robin Dunn 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 Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey Betsy Juliano Jean C. Kalberer

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

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

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

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 Dr. Tomislav Mihaljevic Beth E. Mooney John C. Morley 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

NATIONAL AND INTERNATIONAL TRUS TEES 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

Dr. Patricia M. Smith, President, Friends of The Cleveland Orchestra Todd Diacon, 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 2019-20


Musical Arts Association


THE CLEVELAND ORCHESTRA The Cleveland Orchestra’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.

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 * deceased

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

MIAMI ADVISORY COUNCIL Michael Samuels, Co-Chair Mary Jo Eaton, Co-Chair Bruce Clinton Martha Clinton Betty Fleming Joseph Fleming

Alfredo Gutierrez Luz Maria Gutierrez Maribel Piza Judy Samuels

Lists as of September 2 O19

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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 18th

1l1l 11l1 l1l1 1 1l

The The2017-18 2019-20season seasonwill marks mark Franz FranzWelser-Möst’s Welser-Möst’s18th 16th year yearas asmusic musicdirector. 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(June 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. The 2019-20 season marks his eighteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership extending into the next decade. The New York Times has declared Cleveland under Welser-Möst’s direction to be the “best American orchestra“ for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. Under his direction, The Cleveland Orchestra has been praised for its inventive programming, its ongoing support for new musical works, and for its innovative approach to semi-staged and staged opera presentations. An imaginative approach to juxtaposing newer and older works has opened new dialogue and fresh insights for musicians and audiences alike. The Orchestra has also been hugely successful in building up a new and, notably, a young audience. As a guest conductor, Mr. WelserMöst enjoys a particularly close and Severance Hall 2019-20

Music Director

productive relationship with the Vienna Philharmonic. He has twice appeared on the podium for their celebrated New Year’s Concert, and regularly conducts the orchestra in subscription concerts in Vienna, as well as on tours in Japan, China, Australia, and the United States. Highlights of his guest conducting appearances in the 2019-20 season include performances of Strauss’s Die Aegyptische Helena at Teatro alla Scala, and concerts with the New York Philharmonic, Leipzig Gewandhaus Orchestra, and Amsterdam’s Royal Concertgebouw Orchestra. Mr. Welser-Möst is also a regular guest at the Salzburg Festival, where his work leading a series of opera performances has been widely acclaimed. Franz Welser-Möst’s recordings and videos have won major international awards and honors. With The Cleveland Orchestra, his recordings include a number of DVDs on the Clasart Classic label, featuring live performances of five of Bruckner’s symphonies and a multi-DVD set of major works by Brahms. A number of his Salzburg opera productions, including Rosenkavalier, have been released internationally on DVD by Unitel. In June 2019, Mr. Welser-Möst was awarded the Gold Medal in the Arts by the Kennedy Center International Committee on the Arts in recognition of his long-lasting impact on the international arts community. Other honors include recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America.


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The Cleveland Orchestra



is today 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 2019-20 season marks the ensemble’s eighteenth 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, and volunteers 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 recurring residencies at Vienna’s Musikverein, and regular appearances in European music capitals, in New York, at Indiana University, and in Miami, Florida. Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of excellence in everything that it does. Its ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestra-conductor 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 championing of new composers and the commissioning of new works helps audiences experience music as a living language that grows with each new generation. Fruitful juxtapositions and re-examinations of classics, new recording projects and tours of varying repertoire and in different locations, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Programs for students and engaging musical explorations for the community are core to the Orchestra’s mission, fueled by a commitment to serving Cleveland and surrounding communities. All are being created to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique series of neighborhood initiatives and performances, designed to bring the Orchestra and the citizens of NorthPHOTO BY ROGER MASTROIANNI


Severance Hall 2019-20

The Cleveland Orchestra



Each year since 1989, The Cleveland Orchestra has presented a free concert in downtown Cleveland, with last summer’s for the ensemble’s official 100th Birthday bash. Nearly 3 million people have experienced the Orchestra through these free performances. This summer’s concert took place on August 7.


east 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 — as the Orchestra now boasts one of the youngest audiences for symphonic concerts anywhere. con Innovative Programming. The Cleveland Orchestra was among the first Cl Clev American orchestras heard on a regular Ame series seri of radio broadcasts, and its Severance anc Hall home was one of the first concert halls hallll in the world built with recording and h broadcasting capabilities. Today, Cleveland b bro Orchestra concerts are presented in a variOrc 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 ball and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz con W lser-Möst’s creative vision has given the Wel Orchestra an unequaled opportunity to Orc explore music as a universal language of exp p communication and understanding. com

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 less than half of each season’s costs, the generosity of thousands each year drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the ensemble quickly

The Cleveland Orchestra

The Cleveland Orchestra

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 sound environment in which to perfect the ensemble’s artistry. Tour-

ing 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 at home throughout Northeast Ohio and 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.

north W point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling Severance Hall 2019-20

440.720.1102 440.720.1105 440.720.1104

The Cleveland Orchestra




Franz Welser-Möst MUSIC DIREC TOR

CELLOS Mark Kosower *

Kelvin Smith Family Chair



Virginia M. Lindseth, PhD, Chair

Jung-Min Amy Lee


Gretchen D. and Ward Smith Chair

Jessica Lee


Clara G. and George P. Bickford Chair

Stephen Tavani


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.

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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

The Cleveland Orchestra

HORNS Nathaniel Silberschlag* George Szell Memorial Chair

Michael Mayhew


Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

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

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

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal



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

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

The Musicians

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong


Frances P. and Chester C. Bolton Chair


orchestra news


The Cleveland Orchestra and Franz Welser-Möst extend acclaimed partnership to 2027 Musical collaboration continues to flourish, with ambitious plans for future Worldwide performances to expand, playing more music for more people at home and around the globe On September 21, The Cleveland Orchestra announced a new five-year extension of Franz Welser-Möst’s contract as Music Director, continuing a partnership that began in 2002 to 2027. The announcement was made at Severance Hall in Cleveland at the Gala Concert opening the Orchestra’s 2019-20 season. “I am delighted to announce this extended contract, ensuring The Cleveland Orchestra’s acclaimed partnership with Franz Welser-Möst for an additional five years to 2027,” said Richard K. Smucker, Chair of the Orchestra’s Board of Trustees. “From Franz’s work here over the past quarter century, from everything we’ve witnessed and experienced across our Centennial Celebrations in 2018 to today, and through ongoing discussions and plans for the future, I know there is so much more to look forward to. This pairing, of Franz Welser-Möst and The Cleveland Orchestra, is already among the most successful artistic partnerships in the world today. Newspapers regularly proclaim Cleveland’s Orr chestra under Franz’s baton as ‘America’s finest,’ as ‘America’s best,’ as ‘one of the top three in the world.’ This recognition inspires in us great pride and deep humility — as well as extraordinary awe and thanks to these exemplary, hard-working musicians.” “But, and let me say this loud and clear,” continued Smucker. “Together we know that Franz Welser-Möst and The Cleveland Orchestra can do even more. Franz’s vision and leadership reach across all areas of our institution, building and fostering our commitment to music education, dedicated to excellence, and determined to play more music for more people, to inspire young and old alike through the incredible power of music.” Franz Welser-Möst first appeared with The Cleveland Orchestra as a guest conductor in February 1993. He was invited to return every season beginning in 1994, and was chosen and announced in 1999 as the Orchestra’s seventh Music Director, succeeding Christoph von Dohnányi, who served as music director from 1984 until 2002. Welser-Möst’s tenure began with the


2002-03 season. “I am humbled by the faith that the musicians of the Orchestra and everyone in Cleveland has placed in my hands,” commented Franz WelserMöst. “From the beginning, I have been inspired by Cleveland’s musicians and by the support and keen interest that the entire Cleveland community provides to The Cleveland Orchestra. I continue to be energized by these incredible artists and by all that we are able to do together. There is no better place in the world to work and to create music together than what The Cleveland Orchestra and community have offered to me.” “I first conducted The Cleveland Orchestra in 1993 and I then spent a decade leading perforr mances as a guest conductor here,” continued Welser-Möst. “So that even before I accepted the artistic leadership role here, I believed that Cleveland offered an opportunity to take a level of accomplished artistry and deeply-held traditions of excellence, and to grow even further, into something truly extraordinary together. I am humbled and excited by what we have already achieved together, and am looking forward to how much more we will do in years ahead. To remain connected with our audiences, to make a difference in our changing world, requires that we constantly evolve and thrive in new ways. The Cleveland Orchestra, and the entire community here, continually demonstrate a curiosity and willingness to learn that inspires me. I am eager to continue this wonderful relationship with this dynamic community.” “The relationship between Franz Welser-Möst and the musicians of The Cleveland Orchestra continues to flourish and evolve,” said André Gremillet, the Orchestra’s President & CEO. “This Orchestra has long been recognized as one of the best in the world. Whether we’re playing at home in Ohio, in Miami, New York, or across Europe or Asia, The Cleveland Orchestra is consistently acclaimed for its artistry, musicality, and unrivaled excellence. Under Franz’s leadership, it has grown even further, both artistically and in deepening its close and storied

Cleveland Orchestra News

The Cleveland Orchestra

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

both artistically and in deepening its close and storied relationship with the larger Cleveland community. Musically, it has become a more agile ensemble, refining its chamber-music like approach to music-making in order to consistently offer performances of incredible finesse, unmatched subtlety, and deep meaning. Under Franz’s leadership and with his innovative programming, The Cleveland Orchestra’s audiences have grown bigger and, most notably, they have grown younger as we attract students and young people from across the region.” In announcing the news, Richard Waugh, chair of the Musicians’ Committee of The Cleveland Orchestra, commented: “There is a strong sense of understanding and mutual respect between Franz Welser-Möst and the musicians of The Cleveland Orchestra. There is a sense of excitement, willingness and ability to collaborate within this Orchestra that makes each rehearsal, each performance into a unique opportunity for sharing and teamwork. Franz WelserMöst has enhanced and increased our understanding and potential as an ensemble, which makes for a wonderful collegial environment onstage for everyone. We are looking forward to our ongoing music-making with him.” The announcement and accompanying news release detailed a variety of plans that are in development or already in place for future seasons, including new and ongoing programs to further eliminate barriers to attending the Orchestra’s education and community engagement initiatives. Also detailed were the launch of a new series of recordings showcasing WelserMöst and the Orchestra, as well as opera offerings for the next five seasons. “Franz Welser-Möst’s reputation for insightt ful leadership and programming draws musicians from around the world, both as guests and to audition for the Orchestra itself,”” said Mark Williams, Chief Artistic Officer of The Cleveland Orchestra. “Part of his success in making Cleveland a destination for opera is his ability to discover and nurture


Severance Hall 2019-20

the best singers worldwide. He has recognized the potential of many singers from the beginning of their careers and helped mentor them into the wellknown artists they are today. But without seeking credit or publicity — simply by inviting them to work in Cleveland in unique opera presentations and other repertoire. He has done much the same over the past two decades working with a series of emerging composers, encouraging and supporting their work through performances and commissions, building on The Cleveland Orchestra’s long history of commissioning and presenting new works.” “I believe that part of each season should always be about discovery, for the Orchestra’s musicians, for guest artists, for the audiences,” said Franz Welser-Möst. “Our role as musicians is not simply to play music that we all know and love, but also to explore, whether they are new works or ‘undiscovered gems’ from the past that are new for the audience and the Orchestra, but deserve to be heard. For me, too, it is important to study and learn new works, and to encourage a curiosity about the many shapes and styles of music — for the audience, within the Orchestra, and for myself. Learning keeps us alive and helps us to understand and share music as a language in new ways.” To read the complete news release detailing future plans related to Franz Welser-Möst’s ongoing tenure as music director, please visit

Cleveland Orchestra News


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orchestra news


Spring festival to foster discussion about the role of art in society, government censorship, and prejudice The Cleveland Orchestra has announced the name of its groundbreaking citywide festival, Censored: Art & Power, r scheduled for spring 2020. The festival is centered around the Orchestra’s performances of Alban Berg’s opera Lulu in May 2020, and seeks to spur discussion about the role of art in society, government censorship, and prejudice, taking as a starting point the Degenerate Art & Music movement in Nazi Germany. As a major focal point of the Orchestra’s 2019-20 season, the festival will feature a variety of collaborative presentations surrounding and leading up to the opera performances (May 16, 19, and 22). Newly-announced details include: Education programming in collaboration with Facing History and Ourselves, which will provide Cleveland area teachers and students with resources to help them engage in meaningful conversations about racism, prejudice, and anti-Semitism; An exhibit at the Cleveland Museum of Art honoring artists from its collection whose work was removed by Nazis and featured in Germany’s 1937 Degenerate Art presentations; A Cleveland Institute of Art Cinematheque screening of G.W. Pabst’s 1929 German film Pandora’s Box, x which was inspired by the same plays in Frank Wedekind’s “Lulu” cycle that Berg adapted for the libretto of his opera; And a series of lectures hosted by Beachwood’s Maltz Museum of Jewish Heritage. Additional details of these and other partner events will be announced in the months ahead. During the festival in May 2020, The Cleveland Orchestra and music director Franz WelserMöst will focus on the opera Lulu, which German composer Alban Berg wrote during the Nazi rise to power in the early 1930s. Looking at both the abusive and oppressive subject matter of the opera itself and how government censorship halted the work’s premiere, the Censored: Art & Power festival is designed to explore the ways in which music and composers at the time were damaged by the prejudice, propaganda, political control, and hate that surrounded what became

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ART & POWER known as the Degenerate Art & Music movement instigated across Germany in the decade before the Second World War. In addition to banning artworks, musical performances, and literature that didn’t conform to the Third Reich’s idea of classical beauty, the Nazi Party held a series of widely-attended public exhibitions providing examples of art and music it believed was harmful or decadent — due to Jewish, Communist, African American, Modernist, and other minority influences. “One of the highlights of this coming season is the opera Lulu,”” says Franz Welser-Möst. “It is an intense and challenging work both musically and in its subject matter. Yet this kind of programming is successful in Cleveland because we have such an extraordinary, adventurous, and open audience.” “With the festival we are creating around Lulu,” he continues, “we will look at the relationship of art and politics in Berg’s lifetime — of how certain music in the 1920s and ‘30s was politically abandoned and prohibited. We are featuring works by Erwin Schulhoff, Ernst Krenek, and others — works that the Nazis labeled ‘Entartete Musik’ or Degenerate Music.” “It was a period of autocratic, authoritarian regimes who condemned any artistic expression outside of their narrow view with a heavy hand. Artists and their work were prohibited through censorship. Just as the character of Lulu is abused and abusive in her own way, we will look into how music and art can be abused by a system — and how a system can turn people on one another. These are important topics, not only from the past but also in today’s world,” says Welser-Möst.

Cleveland Orchestra News


orchestra news New subscriber-donor lounge launched with 2019-20 season at Severance Hall The Cleveland Orchestra inaugurates a new subscriber benefit with the start of the 2019-20 season. Named the Lotus Club, this stylish and contemporary lounge was designed by Arhaus Furniture and encourages members to celebrate the rich history and elegant decor of Severance Hall — in an intimate space featuring cozy seating areas and an impressive selection of light bites, local beers, spirits, and other refreshments. The Club is located in the Taplin Room just off the main level of the concert hall; access is also available from the building’s groundfloor and via a special members entrance to Severance Hall along Euclid Avenue. The Lotus Club is open two hours before the Orchestra’s classical subscription series concerts and during intermission throughout the entire season. Two levels of membership





are available. Patrons with a subscription of four or more concerts who donate $600-$2,499 to the Annual Fund receive Platinum Membership cards and have unlimited access to the Lotus Club. Patrons with a subscription of four or more concerts donating $150-$599 receive Gold Membership cards, providing access to the Club once per season. In addition to light food and beverage service provided by Marigold Catering, the lounge features private restrooms, televisions, and a variety of entrance options. For information about becoming a Lotus Club member, please contact the Orchestra’s Ticket Office at 216-231-1111 or 800-686-1141.

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Cleveland Orchestra News

The Cleveland Orchestra


I.N M.E .M.O.R.I. A .M The Cleveland Orchestra notes the death of retired musician Myron Bloom, and extends condolences to his family and friends. Bloom served as principal horn with the Orchestra for 22 years, the longest-serving principal horn in the ensemble’s history, having first joined during the 1954-55 season. He was appointed section principal by George Szell in 1955 and retired in 1977. He was an acclaimed teacher, with his playing admired in performances and on recordings around the world. He died on September 26, 2019, at the age of 93. Born in Cleveland on April 18, 1926, he originally trained to be a cellist. World War II, however, changed the course of his life, when he chose a brass instrument to play in the U.S. Navy Band. After the war, he attended the Eastman School of Music in Rochester, but joined the Louisiana Philharmonic as principal horn prior to graduating. He was later also a regular participant for many summers at the Marlboro Festival in Vermont. He left Cleveland in 1977 and played with the Orchestre de Paris, dividing his time between Europe and teaching at Indiana University in Bloomington. He also taught at the Curtis Institute of Music in Philadelphia.

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: Orchestra violinist Beth Woodside is presenting a recital with pianist Randal Fusco of sonatas Schubert, Debussy, Hindemith, and Brahms. The program will be presented three times: October 20 at 7 p.m. at the Lyndhurst Community Presbyterian Church ($12 tickets), November 1 at 6 p.m. at The Settlement’s recital hall (free admission), and on November 4 at 7:15 p.m. at Kendal at Oberlin (free admission).

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New principal horn joins Orchestra with new season The newest member of The Cleveland Orchestra began playing with the ensemble in early August at Blossom. Nathaniel Silberschlag was appointed principal horn of The Cleveland Orchestra in May 2019. He holds the George Szell Memorial Endowed Chair. Silberschlag previously served as assistant principal horn of the Washington National Opera/Kennedy Center Opera House orchestra, where he was the youngest member ever to win a position with the ensemble, at the age of 19. He completed his bachelor of music degree from New York’s Juilliard School in May 2019, where he was a student of Julie Landsman and recipient of the Kovner Fellowship. Born in Leonardtown, Maryland, in the Chesapeake region, Nathaniel Silberschlag comes from of a family of sixteen professional musicians across several generations. He is the third generation of his family to attend the Juilliard School. As soloist, Silberschlag has performed with the Juilliard Orchestra, Bulgarian Philharmonic, Romania State Symphony, New York’s Little Orchestra Society, and the Chesapeake Orchestra. He has also played concerts with a variety of ensembles, including the New York Philharmonic and Orpheus Chamber Orchestra. At the John F. Kennedy Center for the Performing Arts, Silberschlag became a graduate of the National Symphony Orchestra Youth Fellowship program under the tutelage of Sylvia Alimena. He also spent two summers in the Kennedy Center’s Summer Music Institute. He was a fellow at the Music Academy of the West in the summers of 2017 and 2018, and in 2018 was named one of ten Zarin Mehta Fellows to perform with the New York Philharmonic as part of their 2018 Global Academy. Since 2007, he has been a participant fellow at Italy’s Alba Music Festival, and also attended the Eastern Music Festival in 2016. He is a member of the New York Festival Brass Quintet.

Cleveland Orchestra News


My Cleveland Orchestra Journey From high-school student to professional musician by Eliesha Nelson, viola

My name is Eliesha Nelson, and while I’ve been a violist in The Cleveland Orchestra for nineteen years, my journey with this incredible ensemble and organization truly began thirty years ago when I auditioned for one of America’s premier training ensembles for high-school students, the Cleveland Orchestra Youth Orchestra, known affectionately inside Severance Hall as “COYO” (pronounced “coy-oh”). I'm truly honored and proud to be the first-ever COYO alum to become a Cleveland Orchestra musician. I joined the Youth Orchestra in 1989 after moving from Alaska to study in the Cleveland Institute of Music’s Young Artist Program. Attending a new high school and living in a new city without my family was difficult, but COYO quickly became my home away from home.

Every time I pick up my instrument, I am reminded that the many hours of practice are ultimately for the audience, to help concertgoers of all ages make an emotional connection to the music.

I am grateful for those formative years and for the incredible opportunities COYO afforded me. I was able to learn from some of the world’s greatest musicians who taught me how to craft a musical phrase that touches the heart of the listener – a skill and understanding that still influences my playing today. The Cleveland Orchestra Youth Orchestra not only gave me world-class training in classical music, it taught me to listen, to observe, and to empathize at an impressionable time in my life. Now every time I pick up my instrument, I am reminded that the many hours of practice are ultimately for the audience, to help concertgoers of all ages make an emotional connection to the music.

I know from talking with other COYO alums (three of whom are my colleagues at The Cleveland Orchestra!) that even those who haven’t pursued music as a profession benefited from their studies, and truly value music and the arts as a vital part of experiencing and understanding life. As an Orchestra musician, I have the honor of coaching today’s bright COYO students who will go on to excel in a variety of fields. It is so special that I can now give back to these hard-working young For more information on COYO, people in the same way others did for me all please contact Lauren Generette: those years ago, and it’s a beautiful reminder of phone: 216-231-7352 email: the importance of music education. A portion of operating support for the Cleveland Orchestra Youth Orchestra is generously provided by the Martha Holden Jennings Foundation. Endowment support is provided by The George Gund Foundation and Christine Gitlin Miles. Touring support provided by the Jules and Ruth Vinney Cleveland Orchestra Youth Orchestra Touring Fund.


To support COYO, please visit or contact Joshua Landis: phone: 216-456-8400 email:

A Musicians’ Journey

The Cleveland Orchestra

orchestra news New exhibit from the Orchestra’s Archives features drawings, doodlings, and commentary The new season brings new displays of artifacts from The Cleveland Orchestra’s extensive Archive collection. In the Humphrey Green Room, archivists Andria Hoy and Deborah Hefling have created an exhibit titled “On the Stands,” exploring the range of drawings, comments, and doodlings that Cleveland Orchestra musicians have created surrounding (and during) rehearsals across the years. Rehearsals are, of course, a time of intense concentration working out details for upcoming performances. But, keeping a watchful eye (and ear) on the proceedings, a number of creative musicians have added their own thoughts to scores or in taking the opportunity to sketch colleagues and guest artists. The Green Room exhibit can be viewed during intermissions, just off the main seating level of the Severance Hall concert hall. Many of the inventive statements on display were created on the music stands custombuilt — at the cost of $5 each — by local craftsmen for the opening of Severance Hall in February 1931. This is a unique view of the Orchestra’s artistry, conveyed with pencil and pen rather than harp and horn. Additional new exhibits can be found on the groundfloor in the Lerner Gallery, and in the Magic Box located just outside the concert hall near the Bogomolny-Kozerefski Grand Foyer, as well as a new permanent exhibit dedicated to the Orchestra’s founding manager, Adella Prentiss Hughes, in the Rankin Board Room. Severance Hall 2019-20



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

Famed Cleveland architext Peter van Dijk (1929-2019) The Cleveland Orchestra joins in mourning the death of architect Peter van Dijk, who designed the orchestral Pavilion for Blossom Music Center. He died on Setpember 7, 2019, at the age of 90. Van Dijk was nationally recognized for his innovative design for Blossom’s open-air pavilion, completed in 1968 in Cuyahoga Falls as the summer home of The Cleveland Orchestra. Over 21 million music-lovers have attended events at Blossom across 52 seasons, in a wide variety of genres in addition to classical symphonic concerts. Blossom’s success helped van Dijk’s firm, now DLR Group Cleveland, develop a global practice in designing performing arts centers, theaters, and concert halls. He was a strong modernist, eager to express structure and function in bold, clear shapes while utilizing contemporary materials including glass and steel. Van Dijk was also a committed preservationist and played a leading role in the 1970s in drawing up a masterplan to save Cleveland’s Playhouse Square downtown. The entire Cleveland Orchestra sends condolences and best wishes to Peter’s wife Bobbi and family. We are proud that his designs for Blossom Music Center stand as a lasting part of his legacy as an architect and his love of the arts.

Peter van Dijk and George Szell at Blossom, 1968

Cleveland Orchestra News



I.N M.E .M.O.R.I. A .M The Cleveland Orchestra notes the death of retired musician Ronald Phillips, and extends condolences to his family and friends. Phillips served as a bassoonist with the Orchestra for 38 years, having first joined with the 1960-61 season. During his tenure, he served a number of seasons as assistant personnel manager and was assistant principal bassoon for 21 seasons. He retired in 2001. Ron Phillips died on June 17, 2019, at the age of 84. Born in Illinois, his family moved to Cleveland when he was eight. In school band, he was fascinated by the bassoon because of its unusual shape. He studied with George Goslee, then principal bassoon of The Cleveland Orchestra before attending Eastman Conservatory and serving in the U.S. Navy Band. He taught both privately and at a number of Northeast Ohio colleges.


Friends autumn fundraiser features bluegrass and jeans on Sunday, October 20 The volunteers of Friends of The Cleveland Orchestra present an evening of music and fun on Sunday, October 20, from 5:30 p.m. to 9:00 p.m. The event features a performance by the Cleveland Bluegrass Orchestra, comprised of five Cleveland Orchestra musicians playOF THE ing favorite downCLEVELAND ORCHESTRA home tunes and original arrangements. The casual-attire event takes place at the Music Settlement’s “The Bop Stop” (2920 Detroit Ave in Ohio City). With honorary chair Robert Conrad, the event is raising funds to support the Orchestra’s “Mindful Music Moments” program. Tickets begin at $150. For more information or to make reservations, please call 216-408-0450.


Making Every Connection Possible Witth nearly 100 years of mission-focused, non-profit service to the community, CHSC strives to make every connection possible for those with communication disorders reggardless of their ability to pay. Community support makes this possible. Programs for heaaring, speech, and deaf services continue to grow to meet the ever-increasing need.


Cleveland Orchestra News

The Cleveland Orchestra

orchestra news


Economic study shows The Cleveland Orchestra’s LQÁXHQFHDQGLPSDFWDFURVV1RUWKHDVW2KLR The Cleveland Orchestra has released information from a study it commissioned from research firm Kleinhenz & Associates and Case Western Reserve University. The study examines the Orchestra’s economic and social impact on the local and regional areas the ensemble calls home. Driven by a commitment to enrich lives by creating extraordinary musical experiences at the highest level, The Cleveland Orchestra continues to foster a culture of excellence, integrity, and artistic innovation. The economic study, conducted during the Orchestra’s 2017-18 season, analyzes the financial influence this renowned institution has on Northeast Ohio. The study concludes that The Cleveland Orchestra generates $135.4 million of annual sales across Northeast Ohio’s seven-county region, calculated by looking at a variety of factors, including performances held at Severance Hall and summer concerts at Blossom Music Center (both classical programming by the Orchestra and the rock, country, and other music presented by Live Nation). In addition, activities at Severance Hall and Blossom Music Center supported by The Cleveland Orchestra created nearly 1,300 jobs, which are directly accountable for $60.8 million of annual payroll income. The study determined that the Orchestra remains an integral thread woven through the fabric of the Northeast Ohio community, and the economic areas most affected by its influence are performing arts, dining and restaurants, hotel, and travel. “The Cleveland Orchestra provides terrific value to the people of Northeast Ohio and is an invaluable asset in helping our company recruit the best talent from around the nation,”” said Richard K. Smucker, Chair of The Cleveland Orchestra and Executive Chairman of The J.M. Smucker Company. “The Cleveland Orchestra is also the only art form from this region that travels the globe every year, and as such it performs an important role as ambassador for the city. By carrying the name of Cleveland in this way, the Orchestra provides many of our region’s companies with exciting connections to new international business possibilities.” “For more than a century, The Cleveland

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Orchestra has been committed to presenting inspirational and unrivaled music performances for audiences across Northeast Ohio, and around the world,”” said André Gremillet, President and CEO of The Cleveland Orchestra. “This remarkable ensemble has demonstrated a lifelong dedication to engaging the members of its community by participating in a wealth of educational programs for people of all ages. Although many Clevelanders possess a deep and enduring appreciation for the Orchestra’s musical and cultural significance, we hope this study also helps people understand the organization’s economic value to Cleveland and Northeast Ohio.” “The Cleveland Orchestra has been a vibrant part of Cleveland’s economic and cultural fabric, benefitting those who live here and those who visit from all over the world,” said Dr. Tomislav Mihaljevic, CEO & President of the Cleveland Clinic and a Cleveland Orchestra Trustee. “It is internationally recognized for the highly talented musicians, leaders, and programs that have made it a tremendous asset to this community for many years. We are very proud and honored to have such a treasure that helps the city recruit great talent to Cleveland.” After concluding that the Orchestra is responsible for $135.4 million in spending across the region, the report also determined that $116 million of that total comes from operations and $19.4 million from visitors to the region. At Severance Hall, the Orchestra generates approximately $99.5 million in economic activity within Cuyahoga County. Further findings reveal that the Orchestra generates $84.2 million in spending from its operating expenditures, and its visitors generate $15.3 million in sales. There were 159,000 attendees of Orchestra events at Severance Hall, spending $11.2 million excluding ticket sales; 45 percent of those visitors were from outside Cuyahoga County. More than half of The Cleveland Orchestra’s musicians are connected to the Cleveland Institute of Music as members of the faculty, alumni, or both. Together, The Cleveland Orchestra and CIM are responsible for annually adding $172.1 million to Northeast Ohio’s economy.

Cleveland 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 39 musicians collectively completed a total of 1382 years of playing in The Cleveland Orchestra — representing the ensemble’s ongoing service to music and to the greater Northeast Ohio community. Listed by instrument section and within each by retirement year, followed by years of service. FIRST VIOLIN Keiko Furiyoshi 2005 — 34 years Alvaro de Granda 2 2006 — 40 years Erich Eichhorn 2008 — 41 years Boris Chusid 2008 — 34 years Gary Tishkoff 2009 — 43 years Lev Polyakin 2 2012 — 31 years Yoko Moore 2 2016 — 34 years SECOND VIOLIN Richard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 years Stephen Warner 2016 — 37 years VIOLA Lucien Joel 2000 — 31 years Yarden Faden 2006 — 40 years Robert Vernon * 2016 — 40 years CELLO Martin Simon 1995 — 48 years Diane Mather 2 2001 — 38 years Stephen Geber * 2003 — 30 years Harvey Wolfe 2004 — 37 years Catharina Meints 2006 — 35 years Thomas Mansbacher 2014 — 37 years BASS Harry Barnoff 1997 — 45 years Thomas Sepulveda 2001 — 30 years Martin Flowerman 2011 — 44 years HARP Lisa Wellbaum * 2007 — 33 years

FLUTE/PICCOLO John Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years OBOE Elizabeth Camus 2011 — 32 years CLARINET Theodore Johnson 1995 — 36 years Franklin Cohen * 2015 — 39 years Linnea Nereim 2016 — 31 years BASSOON Phillip Austin 2011 — 30 years HORN 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

* Principal Emeritus § 1 2

Associate Principal Emeritus First Assistant Principal Emeritus Assistant Principal Emeritus

listing as of October 5, 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 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 Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton Jiah Chung Chapdelaine Hans Clebsch John Clouser Kathleen Collins Wesley Collins Ralph Curry Marc Damoulakis Alan DeMattia Maximillian Dimoff Scott Dixon Bryan Dumm Mark Dumm Tanya Ell Mary Kay Fink Tom Freer Wei-Fang Gu Scott Haigh David Alan Harrell Miho Hashizume Shachar Israel Mark Jackobs Dane Johansen Joela Jones Richard King Arthur Klima Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Jung-Min Amy Lee Yun-Ting Lee Michael Mayhew 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 Lynne Ramsey Jeffrey Rathbun Jean Preucil Rose Stephen Rose Frank Rosenwein Michael Sachs Jonathan Sherwin Thomas Sherwood Sae Shiragami Emma Shook Zhan Shu Jessica Sindell Thomas Sperl Saeran St. Christopher Corbin Stair Lyle Steelman Barrick Stees Richard Stout Trina Struble Yasuhito Sugiyama Jack Sutte Stephen Tavani Gareth Thomas Brian Thornton Isabel Trautwein Lembi Veskimets Robert Walters Carolyn Gadiel Warner Richard Waugh Scott Weber Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Yu Yuan Afendi Yusuf 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 a decade ago to provide added opportunities for new and ongoing revenue-generating 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


Alan Gilbert

Kirill Gerstein

American conductor Alan Gilbert began his tenure as chief conductor of Hamburg’s NDR Elbphilharmonie with the 2019-20 season. He previously served as music director of the New York Philharmonic (2009-2017) and of the Royal Stockholm Philharmonic (2000-2008). He continues as principal guest conductor of Japan’s Tokyo Metropolitan Symphony and is founder and president of Musicians for Unity, a new organization bringing together musicians from around the world to perform music at critical times in support of peace, development, and human rights. He was an assistant member of the conducting staff of The Cleveland Orchestra (1994-1997), and has returned regularly here as a guest, most recently leading performances at Severance Hall in February 2019. Born to two New York Philharmonic violinists, Alan Gilbert learned violin, viola, and piano, and later studied music at Harvard University and conducting at the Curtis Institute of Music and the Juilliard School. In 1994, he won both the Georg Solti Prize and first prize in the International Competition for Music Performance. He leads opera symphonic performances around the world. For more information, visit

Russian pianist Kirill Gerstein is known for his technique and probing insights in both classical music and jazz. He made his Cleveland Orchestra debut in July 2008 and most recently played here a year ago, in November 2018. He appears throughout the world in recital, chamber music performances, and in concert with major orchestras and music festivals. Since his world premiere performances of Thomas Ades’s Piano Concerto with the Boston Symphony Orchestra in March 2019, he has been introducing the work with other orchestras on both sides of the Atlantic. Mr. Gerstein records for Myrios Classics, and his world premiere recording of Tchaikovsky’s Piano Concerto No. 1 in the composer’s 1879 version received an Echo Klassik Award. As a child in Russia, Kirill Gerstein attended a school for gifted children. After teaching himself to play jazz by listening to his parents’ recordings, he was admitted to Boston’s Berklee College of Music. He has also studied at Tanglewood Music Center and the Manhattan School of Music. His honors include first-prize at the 2001 Arthur Rubinstein Piano Competition, a Gilmore Artist Award, and an Avery Fisher grant. For more information, visit www.


Guest Artists

The Cleveland Orchestra




Severance Hall

Friday morning, October 11, 2019, at 11:00 a.m.* Friday evening, October 11, 2019, at 8:00 p.m. Saturday evening, October 12, 2019, at 8:00 p.m.

Alan Gilbert, conductor JOHANNES BRAHMS (1833-1897)

Symphony No. 3 in F major, Opus 90 1. 2. 3. 4.

Allegro con brio Andante Poco allegretto Allegro — Un poco sostenuto


Piano Concerto 1. Allegramente (quarter note = 112) 2. Andante gravemente (eighth note = 66 intimo) 3. Allegro giojoso (quarter note = 120) KIRILL GERSTEIN, piano


Suite No. 3 in D major, BWV1068 1. 2. 3. 4. 5.

Overture Air Gavotte I, Gavotte II Bouree Gigue

Saturday evening’s concert is dedicated to Mr. and Mrs. Marshall Brown in recognition of their extraordinary generosity in support of 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 includes two works in this order: Adès Concerto, followed by Brahms Symphony.


Saturday’s concert is being broadcast live on ideastream/WCLV Classical 104.9 FM. The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, January 12, 2020, at 4:00 p.m.

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Program: Week 3


October 11, 12 THI S WE E KE ND’S CONCE RT Restaurant opens: FRI 5:00 SAT 5:00


Severance Restaurant Reservations (suggested) for dining:

216-231-7373 or via

CO N CE R T PR E V I E W Evenings in Reinberger Chamber Hall — Friday Morning in the Concert Hall

“Something Old, Something New” with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

BRAHMS Symphony No. 3 . . . . . . . . . . . . . page 41


Concert begins: FRI 8:00 SAT 8:00


(35 minutes)


INTERMISSION (20 minutes)

ADÈS Piano Concerto . . . . . . . . . . . . . . page 45 (25 minutes)


BACH Orchestral Suite No. 3 . . . . . . . . page 48 Concert ends: (approx.)

(20 minutes)

Severance Restaurant Post-Concert Luncheon follows the Friday Morning concert.

FRI 9:45 SAT 9:45

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


This Week’s Concerts

The Cleveland Orchestra


Inspiration, New& Old

W H I L E C L E A R LY K E E P I N G I N M I N D T H A T every piece of mu-



sic was once brand-new, this week’s concerts offer three works written across a span of 300 years. Each was written by an acknowledged master of his era, created as musical statements in the Baroque 18th century, the Romantic 19th century, and from within the modern, swirling, everchanging eclecticism that is symphonic music today in the 21st. The concerts feature a very new concerto by acclaimed British composer Thomas Adès. Written for this week’s soloist, pianist Kirill Gerstein, this piece was premiered barely six months ago, and has already created a stir in performances on both sides of the Atlantic. As music, it bridges between traditions and expectations of both new and old. Johannes Brahms wrote music of incredible depth and feeling. While many of his works have an autumnal feeling to them, his music ranged widely across human emotions, from sunlit meadows to raging storms, grief, joy, and humor. He wrote his Third Symphony in the summer of 1883 in the resort town of Wiesbaden. It is filled with Brahmsian melodies and harmonies, as well as surprising choices against symphonic norms (including a memorably soft and beautiful ending). The week’s evening concerts end with an orchestral suite — an early “symphony” in all but name — created Johann Sebastian Bach. Equally know for his sacred by Jo b and a secular works, this set of dance-inspired movements includes the famous “Air in G” (once overplayed but seemingly inexhaustible, filled with beauty, warmth, and poignancy). Guest conductor Alan Gilbert leads us BACH through these varied works, fresh from having begun his new role as chief conductor in Hamburg. —Eric Sellen Silhouette of Brahms out walking, by Otto Böhler.

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Introducing the Concert


Get drawn in.

Immerse yourself in the genius of Michelangelo’s creative process.

Now through January 5 Organized by the Teylers Museum in collaboration with the Cleveland Museum of Art and the J. Paul Getty Museum. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Major Sponsors Josie and Chace Anderson Sam J. Frankino Foundation Bill and Joyce Litzler

Supporting Sponsors

Media Sponsor

In Honor of Helen M. DeGulis Stephen Dull David A. Osage and Claudia C. Woods Dr. and Mrs. Gösta Pettersson Dr. Linda M. Sandhaus and Dr. Roland S. Philip Anne H. Weil

Seated male nude, separate study of his right arm (recto) (detail), 1511. Michelangelo Buonarroti (Italian, 1475–1564). Red chalk, heightened with white; 27.9 x 21.4 cm. Teylers Museum, Haarlem, purchased in 1790. © Teylers Museum, Haarlem

Symphony No. 3 in F major, Opus 90 composed 1883

At a Glance



BRAHMS born May 7, 1833 Hamburg died April 3, 1897 Vienna

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Brahms completed his Third Symphony in Wiesbaden during the summer of 1883. The first performance took place on December 2, 1883, at a concert of the Vienna Philharmonic Orchestra conducted by Hans Richter. The score was published the following year. Frank van der Stucken conducted the American premiere on October 24, 1884, in New York. This symphony runs about 35 minutes in performance. Brahms scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, and strings.

The Cleveland Orchestra first performed this work in March 1923 under Nikolai Sokoloff ’s direction (at subscription concerts featuring Sergei Rachmaninoff as the soloist in his own Second Piano Concerto). The work was heard most recently in October 2010, in performances at Severance Hall and on tour conducted by Franz Welser-Möst in 2014. The Cleveland Orchestra recorded this symphony with George Szell in 1964, with Lorin Maazel in 1976, with Christoph von Dohnányi in 1988, with Vladimir Ashkenazy in 1991, and with Franz Welser-Möst in 2014.

About the Music D U R I N G T H E V E R Y H O T S U M M E R of 1853, when Brahms

was twenty years old, he fulfilled a childhood dream by walking down the river Rhine from Mainz to Bonn. This is a spectacular hike of about a hundred miles, filled with reminders of German history and legend. One of the first places he stopped at was Wiesbaden and the little town of Rüdesheim close by, famous for the Rheingau wines that are made there. Memories of those days were behind Brahms’s decision, thirty years later, to spend the summer of 1883 in Wiesbaden. He was a man of regular habits, one of which was to escape from Vienna in the summer months to find a suitably tranquil holiday spot where he could compose in peace. He usually went to the Austrian or Swiss Alps, but in 1883 he had an invitation from his friends Rudolf and Laura von Beckerath, who lived in Wiesbaden. Rudolf was a winemaker and violinist, Laura was a pianist, and they had houses in both Wiesbaden and Rüdesheim. Brahms took rooms for himself in Wiesbaden’s Geisbergstrasse for the summer. A further enticement was the presence in Wiesbaden of a young singer, Hermine Spies, who Brahms had heard for the first time that January. Her lovely contralto voice and bright personality enchanted him to the point where Brahms’s sister assumed an engagement was in the air. Even though he remained 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.

a committed bachelor, the company of this “pretty Rhineland girl,” as he described her, undoubtedly brightened those summer months and even perhaps pervaded the great work that took shape on his desk — the Third Symphony. It had been six years since the Second Symphony was written, and in the interval Brahms had composed two concertos — one for violin and his Second Piano Concerto — and two overtures. He was no longer nervous about engaging the most challenging of forms; the First Symphony had literally taken him years to write. But now he was quite secure in his mature command of musical expression and technique. Each new work by Brahms was guaranteed an enthusiastic reception. With Wagner’s death earlier in 1883, in February, Brahms, at fifty, was regarded as Germany’s leading musician. A new symphony from his pen would be a major event. The Czech composer Antonín Dvořák was in Vienna that October when Brahms returned from Wiesbaden, and the two spent some time together. Dvořák wrote to Simrock, publisher for both composers: “I’ve never seen him in better spirit. You know how reluctant he is to talk even to his closest friends about his creative work, yet he was not like that with me. I asked to hear something of his new symphony and he played me the first and last movements. I can say without exaggeration that this symphony surpasses the two previous ones. Not perhaps in size and force, but in beauty.” THE MUSIC

The Third Symphony differs from Brahms’s other three in being shorter and milder in tone, without the heroic passages that the others, particularly the First and Fourth, display. It is the only one in which material from one movement reappears in another, and the only one to end quietly in a soft pianissimo — a rather radical departure from symphonic tradition. For these reasons, it is less often played today. But many connoisseurs prize it above the other Brahms symphonies for the delicacy of its scoring and its ravishing, melodic richness. The cyclic procedure of recalling, at the end of a multimovement work, the gesture of the opening is rare in Brahms — despite the popularity of thematic recall in Liszt, Dvořák, Tchaikovsky, and most other composers of that era. In the Third Symphony, Brahms employs this in a way that suggests a deep nostalgia. The work’s opening gesture is an


About the Music

The Cleveland Orchestra

upward motif (F – A-flat – F) very similar to the F – A – F motto associated with the violinist Joachim. Joachim and Brahms had developed a great friendship, one of the deepest of Brahms’s life. And it had all begun that same summer thirty years before, in 1853, the very reason that Brahms had found his return to Wiesbaden so filled with memories. By substituting in the A-flat, Brahms introduces the ambiguity of major-minor tonality that so strikingly holds the listener’s attention throughout this new symphony. The ambiguity is not fully resolved until we reach those luminous, soft chords at the very end of the last movement, pianissimo, and solidly in the major-key. The two central movements are exceptionally touching. The Andante second movement feels like a set of variations on the clarinet’s elegant theme, but is not so systematic, and some strange and solemn chords in the lower strings provide an enigmatic interlude. The restrained writing for trombones in this movement is masterly. The melody of the third movement, heard at the start in the cellos, is one to cherish long after the performance is over. For shapely elegance, it has no rival, and its effect is even more penetrating when it passes first to the winds, then to the first horn on its own. Neither of these two middle movements ever rises in volume to forte for more than a passing moment. Energetic music is plentiful in both the opening movement and in the finale, along with musical argument (re-shaping themes and figures, and moving through the keys) in Brahms’s sure-handed manner. But they both come to rest with the same dream-like reminiscence of the rising motto and its balanced descending theme. Brahms seems to be perfectly at peace with the world. The symphony’s first performance took place in Vienna in December 1883 in a concert which featured Dvořák’s Violin Concerto, also new to the Viennese. Although Vienna was his home, where he had many friends and supporters, there was usually an element of the press determined to cut Brahms down to size. Yet those sour voices were silent in this instance, and the symphony was acclaimed by all, going on to successfully and successively welcomed performances all over Germany and beyond. —Hugh Macdonald © 2019

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About the Music

Johannes Brahms, in 1874 and 1891


Piano Concerto   composed 2018-19

At a Glance




Adès composed his Piano Concerto in 2018-19 for pianist Kirill Gerstein on a commission from the Boston Symphony Orchestra. Funding for the commission was provided from Catherine and Paul Buttenwieser and through the New Works Fund established by the Massachusetts Cultural Council. The world premiere performance took place on March 7, 2019 in Boston, with Gerstein as soloist and the composer conducting. This concerto runs just over 20 minutes in performance. Adès scored

it for 3 flutes (third doubling piccolo and alto flute), 3 oboes (third doubling english horn), 3 clarinets (third doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (wood block, tam-tam, side drum, bass drum with cymbal, tambourine, castanets, guero, whip or whips, cowbell, cymbals, marimba, glockenspiel, xylophone) and strings. The Cleveland Orchestra is presenting this concerto for the first time with this week’s concerts.

born March 1, 1971 London

About the Music

currently living in London

asked in reply to Kirill Gerstein’s quiet request if Adès could write a piece for him sometime? The two had become friends while working together and were rehearsing for performances in Boston nearly a decade ago when Gerstein decided to ask. At the time, the pianist was choosing to use some of his Gilmore Artist Award prize money to commission a series of new pieces, from composers including Timo Andres, Chick Corea, and Oliver Knussen. He assumed his request to Adès would put him somewhere back in a long line of people and orchestras commissioning new works. (The composer is presently working on a co-commission for The Cleveland Orchestra, to be premiered next season.) Adès had previously written two works for piano and orchestra, the short Concerto Conciso (1997) for piano and small ensemble and In Seven Days (2008), which attempts to portray the creation of the universe in seven movements and, in addition to the piano, can also feature an optional video component. Those, however, were not concertos in the traditional sense. Sooner than expected Adès became involved in the idea of writing a real concerto, and decided to set some other things aside to bring it to fruition. In the same period, while performing together with Gerstein, he also created a piano version of one section from his most recent opera, The Exterminating Angel,

Severance Hall 2019-20

“ d o e s i t h a v e t o b e a s o l o w o r k ? ” Thomas Adès

About the Music


for piano alone. Evenso, it took Adès a few years to fulfill the project — with the new Piano Concerto being given its debut this past spring in Boston, with Gerstein as soloist and the composer conducting. Unlike many Adès works, which have often featured enigmatic, provocative, or storytelling names, the new piece’s title says exactly what it is: Piano Concerto (or “Concerto for Piano and Orchestra” on the score, in the older-fashioned, formal way). “I don’t think we’ve had such a piano concerto in the literature since Prokofiev and Ravel,” Gerstein said in an interview with Gramophone magazine earlier this year. “It’s quite concise. It does what a piano concerto should do — it has octaves, a cadenza, a slow movement of gravitas. The composer references the traditional models, but you never think he is doing something derivative.” This is a piano concerto in the grand tra“If you look at, say, a lot of well-known piano concertos dition. . . . Adès has written a tonal piece that is from the past, they have family simultaneously thoughtful and musical, rootcharacteristics,” Adès noted in ed in the past but forward-looking, and also an interview with the Boston crowd-pleasing.” Globe. “I find it very rewarding, —Wall Street Journal, March 2019 increasingly, to look back down the mountain, if you like, and see the bone structure.” Still, Adès’s 20-minute work comes off as an he cautions that the process affectionate, joyous, remarkably uncomplicatof creating a new work is not ed tribute to tradition. The writing is labyrinsimply taking a known format and adding new ingredients. thine, to be sure, but this is a composer so sure Instead, it takes time to “invesof his abilities and influences that there is no tigate why that structure grew in sense in this concerto of history as a burden that way in the first place, and . . . or as something to be thrown off. It is, rather, this concerto is no more difficult something to be approached as an equal.” than your average very difficult —New York Times, March 2019 concerto,” he added, laughing. Adès has long been acclaimed among Britain’s next great composers, with his works now ranging across many genres, including three operas that have gained ground in the repertoire through many productions. His early opera, Powder Her Face, also has quite a life in the concert hall, through three different-sized suites that he’s created — The Cleveland Orchestra was among those commissioning the original suite.


About the Music

The Cleveland Orchestra

Adès talks thru his new Piano Concerto . . . The first movement Allegramente opens with a statement of the theme by piano and then tutti. A march-like bridge passage leads to the more expressive second subject, first played by the piano and then taken up by the orchestra. The development section interrogates the first theme before an octave mini-cadenza leads to the recapitulation double forte. There is then a solo cadenza based on the second subject, first played tremolo and then over many octaves, the piano joined first by horn and then by the full orchestra. The movement ends with a coda based on the first theme and the march. The second movement Andante gravemente consists of a chordal introduction and a melody, which is joined by a countermelody, and a second idea with a simple falling melody over rising harmony. The first melody reappears, leading to a fortissimo climax, subsiding to a final statement of the original theme and a coda based

on the countermelody. The finale Allegro giojoso begins with a three-chord call to arms, and then a tumbling theme for piano and orchestra, which is interrupted by the blustering entry of a clarinet solo, heralding a burlesque canon. There is a good deal of argument, with frequent differences of opinion as regards key, brought to an end by the call to arms. Eventually the piano takes up a new theme in the style of a ball bouncing downstairs and develops it to a chorale climax. The tumbling material is developed, and the call to arms is heard in multiple directions leading to an impasse, a winding down of tempo, and a new slow (Grave) section in three time with a new falling theme. This leads to a precipice which the piano falls off with the original tumbling theme, and a coda lining up all the other themes for a final resolution on the call to arms.” —Thomas Adès

In addition to his work as a composer, Thomas Adès is equally involved as a conductor, performer, and teacher. From 1999 to 2008, he served as artistic director of the Aldeburgh Festival in England. And, beginning in 2016, he’s been an artist partner with the Boston Symphony Orchestra. He has won many awards, including the 2015 Léonie Sonning Music Prize and the Grawemeyer Award in 2000, for which he is the youngest ever recipient. He coaches piano and chamber music annually at Cornwall’s International Musicians Seminar, keeping himself grounded and in touch. —Eric Sellen © 2019 Severance Hall 2019-20

About the Music


Orchestral Suite No. 3 in D major, BWV1068 composed circa 1720s-1730s

At a Glance


Johann Sebastian


born March 31, 1685 Eisenach, Saxe-Eisenach, Germany died July 28, 1750 Leipzig


Exactly when Bach wrote each of his four orchestral suites has been subject to intense debate over the years. Dates for Suite No. 3 have ranged from as early as 1720 to the late 1730s. Nothing is known of its early performance history. This suite runs about 20 minutes in performance. Bach scored it for an orchestra of 2 oboes, bassoon, 3 trumpets, timpani, strings, and continuo (harpsichord on the bass line plus lower strings possibly reinforced with bassoon). The Cleveland Orchestra has

presented music from this suite on a variety of occasions and concerts since 1919, with the second movement “Air” used with some regularity as a memorial piece (including a performance without conductor at the Memorial Concert for George Szell in August 1970). The complete suite was most likely first presented by the Orchestra in 1947 and most recently in November 2011 at Severance Hall performances conducted by Ton Koopman, and in August 2015 at Blossom led by Nicholas McGegan.

About the Music T H I S G R E A T W O R K has long been known as the third of four

Orchestral Suites that Bach created sometime in the 1720s or, more likely, in the 1730s. We know them as “Suites,” but Bach called them “Ouvertures” — which is confusing today, when that same word also denotes the first movement of each suite. Times change, eras move along. And words come to mean different things. (Had he been alive to write them just a few decades later, each of Bach’s orchestral suites might simply have been called a symphony.) At all events, the movements of these orchestral suites are parallel to those of Bach’s various keyboard suites — the English Suites, the French Suites, the Partitas — with each containing a series of French-style dances, always constructed in two balanced halves, each of which is repeated. This work is thought to have originated in the 1730s, when Bach was pulling back from his commitment to music for the church and devoting more of his time to running concerts in the city of Leipzig. A number of such concerts were promoted by purveyors of the latest craze, coffee, which quite literally excited audiences into paying renewed attention. Bach’s group was a voluntary association of professional musicians and university students, who gave regular weekly concerts with public admission. This was a heavy time commitAbout the Music

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ment, added to Bach’s ongoing duties in charge of the music at St. Thomas’s and a second church, St. Nicolai. By this time, however, he had a large reserve of cantatas and other music to draw on for the sacred services, so that he could devote his composing efforts to creating instrumental music. The D-major Suite makes brilliant use of three trumpets, in addition to the two oboes and drums that complement the usual strings. Trumpet playing was a highly specialized art in Bach’s time, as it still is today. There was, in fact, a time not long ago when it was thought that Bach’s trumpeters died young because of the difficulty of the instrument — a belief that seems to have failed to recognize that life expectancy was not high for any adults at the time. Certainly, from this and a few other pieces, we know there were enough good trumpeters in Leipzig to allow Bach to write for them in spectacular fashion. The opening movement is in the manner of a French overture, with dotted rhythms and little scalic upbeats, leading directly into a swift fugue led off by oboes and violins. The whole process is then repeated. The second movement Air is one of Bach’s most celebrated tunes — so that many modern audiences, while basking in the superbly crafted melody, fail to notice that the harmony (with strings alone) is full of tension and daring. The Gavotte brings back the wind players in a strongly Frenchified dance movement structured in the A–B–A pattern. The lively Bourrée is full of interjections from the trumpets and drums, as though they were not being allowed to play their full part. The Suite closes with a Gigue, its melody typical of Bach in ranging high and low while also darting about in unexpected rhythms. The major key and the sense of solid celebration make this one of Bach’s happiest works and a fitting addition to any concert, reminding us of his incomparable genius. —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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About the Music


Dreams can come true

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Jaap van Zweden

Augustin Hadelich

Dutch conductor Jaap van Zweden has begun his second year as music director of the New York Philharmonic with the 2019-20 season; he has also served as music director of the Hong Kong Philharmonic since 2012. He previously led the Dallas Symphony Orchestra as music director (2008-17). He made his Cleveland Orchestra debut in January 2010 and most recently conducted here in November 2016. Originally trained as a violinist at the Amsterdam Conservatory and New York’s Juilliard School, Mr. van Zweden became the youngest concertmaster of the Royal Concertgebouw Orchestra at age 19. He later pursued conducting studies in the Netherlands and shifted his career focus. He subsequently held leadership positions with the Netherlands Symphony Orchestra, Residentie Orchestra of The Hague, and the Royal Flemish Orchestra, and chief conductor and artistic director of the Netherlands Radio Philharmonic and Chamber orchestras. Mr. van Zweden was named Musical America’s 2012 Conductor of the Year. He regularly guest conducts with the world’s major orchestras and opera companies, and has recorded for Decca, Naxos, and Octavia. For more, visit

Italian violinist Augustin Hadelich plays a wide-ranging and adventurous repertoire — from Adès to Paganini and Brahms to Bartók. He made his Cleveland Orchestra debut in August 2009 and most recently played here in August 2017. He performs extensively with orchestras across North America, and also appeared in the United Kingdom, throughout Europe, and in Asia. He has played at major American festivals, the BBC Proms, and the Salzburg Festival, and performs regularly in recital worldwide. Mr. Hadelich records for Avie, Naxos, and Warner Classics. He received a 2016 Grammy Award for “Best Classical Instrumental Solo” for his recording of Dutilleux’s Violin Concerto. He plays the 1723 “Ex-Kiesewetter” Stradivari violin, on loan through the Stradivari Society of Chicago. Born in Italy to German parents, Augustin Hadelich earned a diploma from the Istituto Mascagni in Livorno, and graduate and artist’s diplomas from the Juilliard School. His honors include a gold medal in the 2006 International Violin Competition at Indianapolis, a 2009 Avery Fisher Career Grant, and being named Musical America’s 2018 Instrumentalist of the Year. For additional information, visit


Guest Artists

The Cleveland Orchestra




Severance Hall

Thursday evening, October 17, 2019, at 7:30 p.m. Friday evening, October 18, 2019, at 8:00 p.m. Saturday evening, October 19, 2019, at 8:00 p.m.

Jaap van Zweden, conductor LOUIS ANDRIESSEN (b. 1939)


Agamemnon Violin Concerto No. 2 in G minor, Opus 63 1. Allegro moderato 2. Andante assai — Più animato — Tempo I — Allegretto 3. Allegro, ben marcato AUGUSTIN HADELICH, violin


Symphony No. 7 in A major, Opus 92 1. 2. 3. 4.

Poco sostenuto — Vivace Allegretto Presto Allegro con brio

PROGRAM UPDATE — Please Note: Jaap van Zweden, who was to have conducted this weekend’s concerts, has had to cancel his appearances due to a family medical matter. Klaus Mäkelä has agreed to step in to conduct. The program remains the same, except for a change in the opening piece. For more information and details, please see program insert.

Saturday evening’s concert is dedicated to Milton and Tamar Maltz in recognition of their extraordinary generosity in support of The Cleveland Orchestra. LIVE RADIO BROADCAST

Saturday’s concert is being broadcast live on ideastream/WCLV Classical 104.9 FM. The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, January 19, 2020, at 4:00 p.m.

Severance Hall 2019-20

Program: Week 4


October 17, 18, 19 THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 FRI 5:00 SAT 5:00


Severance Restaurant Reservations (suggested) for dining:

216-231-7373 or via

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

“Beethoven’s Seventh” with guest speaker Rabbi Roger C. Klein, The Temple Tifereth-Israel

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

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

ANDRIESSEN Agamemnon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 57 (20 minutes)

PROKOFIEV Violin Concerto No. 2 . . . . . . . . . . . . . . . . . . . . . . . page 61 (25 minutes)

Share your memories join the conversation online . . .

INTERMISSION (20 minutes) twitter: @CleveOrchestra instagram: @CleveOrch

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

BEETHOVEN Symphony No. 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 65 (35 minutes)

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

Concert ends: (approx.)

THUR 9:15 FRI 9:45 SAT 9:45

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


TThis Th his Week’s Concerts

The Cleveland Orchestra


Stories, Drama& Dance T H I S W E E K ’ S C O N C E R T S feature three works from three different

centuries — a newer orchestral work to open, written by a living composer of international stature, a showy concerto in the middle created by a 20thcentury master, and, to close, an ebulliently joyfilled symphony by a one of history’s most-acclaimed names. The evening begins with a work premiered one year ago in New York City. In it, Dutch composer Louis Andriessen evokes the bigger-than-life passions of ancient Greek myths and personalities. This music “is not a literal drama depicting specific scenes in the narrative,” he says, but instead an interaction in music of major characters from the Trojan War — centering around the athletic, battle-tested Agamemnon. This is music of creative fire, argument, and drama. Next, guest soloist Augustin Hadelich comes to center stage for Prokofiev’s challenging — and exhilarating — Second Violin Concerto from 1935. In this, the composer, having returned from the West to live permanently in the 20th-century’s version of Russia (a.k.a. the Soviet Union), happily mixes popular charm (to please audiences and the Soviet authorities) with his own ideas of what music should and could be. The firebrand daring of his youth is not gone, but has been melded into a mature voice that is also clearly Russian and plenty entertaining, modern and alive. Guest conductor Jaap van Zweden ends the evening with one of Beethoven’s most thrilling symphonies. Built on a series of rhythmic motifs, the Seventh Symphony has long been admired as a celebration of “dance.” It is, perhaps, even more like a celebration of life, wending its way through different forms of movement, including dance, procession (the second movement funeral march), agility, speed, and repetition. Its infecting rhythms, masterful transformations, and just-right modulations show Beethoven aptly pushing and bending (but never quite breaking) every edge of his audience’s expectations. Music, at its best, both dares and satisfies, pulling us forward to harmonic resolution through irresistibly restless sounds. —Eric Sellen

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Introducing the Concert


Your legacy helps create

Agamemnon, Symphonic Poem composed 2017-18

At a Glance



ANDRIESSEN born June 6, 1939 Utrecht, Netherlands lives in Amsterdam

Andriessen wrote his orchestral piece Agamemnon in 2017 on a commission from the New York Philharmonic, with funding from the Marie-Josée Kravis Prize for New Music. The work was premiered on October 4, 2018, by the New York Philharmonic at Geffen Hall under the direction of Jaap van Zweden. Agamemnon runs nearly 20 minutes in performance. Andriessen scored it for 3 flutes (second and third doulbing piccolo), 3 oboes, 2

clarinets, bass clarinet, contrabass clarinet, 2 bassoons (second doubling contrabassoon), 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (gongs, 2 cymbals, snare drum, 2 tom-toms, 2 split drums, 2 bass drums, drum kit, glockenspiel, vibraphone, xylophone), 2 pianos (on opposite sides of the stage), electric guitar, bass guitar, female speaker, and strings. The Cleveland Orchestra is performing this work for the first time with this weekend’s concerts.

About the Music A year ago, Louis Andriessen discussed his new orchestral work Agamemnon, the premiere of which helped to launch celebrations surrounding his 80th birthday this past summer . . .

Q: Agamemnon is only your second work in recent years for symphony orchestra. How did this surprise return to orchestral composition come about?

Andriessen: My generation of Dutch composers had a real problem, not with the classical orchestra, but the apparatus that surrounded it, particularly in Amsterdam. It was a conservative world, averse to risk, and we tried to break away from this from the 1960s through to the ’90s — adding pop, jazz, and instruments alien to the orchestral world. But things changed with a new generation of orchestral administrators more open to our ideas, and orchestral musicians who were more comfortable playing Steve Reich and Phil Glass, etc. When the Concertgebouw asked me to write Mysteriën in 2013, I heard the voice of my father saying “Louis, you should do this now.” Mysteriën was a philosophical and mystical work, but I’d also had for a long time the idea of a war-like piece, full of fast music and nervous terror, which became Agamemnon, written for the New York Philharmonic and its new Dutch conductor, Jaap van Zweden.

Q: You’ve drawn Agamemnon from the Iliad. What continues to attract you to Greek mythology? Severance Hall 2019-20

About the Music


Andriessen: I’m interested in how mythology is constructed and how that can be mirrored in music. It’s not the specific story — which could be set anywhere. It’s how the author creates the fantasy with all its levels and references that interest me. There are theories that Homer’s Iliad was assembled by multiple writers, giving us already an argument of many voices. The greatest example of a musical construction of a mythology is how J.S. Bach built a musical world to reflect his Christianity, with all its symbolism and ciphers. In more modern times, Stravinsky showed us how to deal with mythology.

Q: How do you view the person of Agamemnon? He often gets bad press.

Andriessen: It’s true that he’s often viewed as a villain, and he was certainly a brutal warrior and a womanizer, who sacrificed his daughter Iphigenia in a deal to get the right winds to sail to Troy. Yet he was an inspiring leader who was originally reluctant to go to war and then agreed to support his younger brother Menelaus, whose wife Helen had been abducted by a Trojan prince. I don’t want to pass jjudgement, because he lived in a very different Dr a mat is Personae moral world to ours, where the humans — particularly their leaders — were largely puppets of the Agamemnon — led a ten-year Gods. I think of him as a double character, part long war; kin ng of Mycenae, good guy and part bad guy — and interesting beseducer of women. cause he is like a lot of us. Kalchas — Tro ojan defector, seer.


Iphigenia — is sacrificed to the goddess Arteemis. Or perhaps nott? Achilles — thee fleet-footed warrior of leg gend. Klytemnestra a — murders her husband Aga amemnon when he comes ho ome victorious. He brings wiith him the young prophetess Kassandra (daughter of the Kin ng of Troy).

Q: You list the cast of Agamemnon at the front of the score. How do they act out the drama?

Andriessen: This piece is not a literal drama

depicting specific scenes in the narrative. It’s more an interplay of characters, who are distinct but can also be grouped, into the men (Agamemnon, Achilles, and the seer Kalchas) and the women (the two daughters Iphigenia and Klytemnestra, and the Trojan prophetess Kassandra, daughter of the defeated Trojan king who was taken back to Greece as Agamemnon’s concubine). You might hear Achilles running around the battlefield one moment and then perhaps Iphigenia in a few quieter bars of music. And Kalchas is there arguing in declamatory music about the will of the Gods.


About the Music

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About the Composer L O U I S A N D R I E S S E N is well regarded among the leading composers working in the Netherlands today and a central figure in the international new music scene. From a background of jazz and avant-garde composition, he has evolved a style employing elemental harmonic, melodic, and rhythmic materials, heard in totally distinctive instrumentation. His range of inspiration is wide, from the music of Charles Ives, to the visual art of Mondrian or medieval poetic visions, to writings on shipbuilding and atomic theory — all translated or transfigured into an eclectic but ordered sound world. Recent commissions include Mysteriën, premiered by Amsterdam’s Royal Concertgebouw Orchestra, Agamemnon, premiered by the New York Philharmonic in October 2018, and The only one, created for the Los Angeles Philharmonic and premiered in April 2019. His newest opera, Theatre of the World, about the 17th-century polymath Athanasius Kircher, received first performances in Los Angeles and Amsterdam in 2016, and was released as a Nonesuch recording in 2017. Andriessen held the Richard and Barbara Debs Composer’s Chair at Carnegie Hall, and was named Composer of the Year by Musical America in 2010. He won the 2011 Grawemeyer Award for Music Composition for his opera La Commedia and, in 2016, was awarded the Kravis Prize for New Music, which included the commissioning of his orchestral work Agamemnon.

Q: You’ve described the work as a symphonic poem. Were there particular models you had in mind, to follow or avoid?

Andriessen: I’d normally look for French examples, but Debussy and Ravel were too dreamy for a war piece driven by fierce energy. I heard Richard Strauss’s Till Eulenspiegel again after many years and, though I don’t generally respond to his German musical world, I found his piece very interesting for Agamemnon. It has sudden film-like cuts from one scene to another and was quick-paced, like a cartoon film, with the characters running around the screen. It also had a naughty, Severance Hall 2019-20

About the Music


subversive streak and a built-in unreliability of mood, which was something I wanted to capture.

Q: How do you balance the mythic and the modern in your music and the soundworld for Agamemnon? Andriessen Interview by David Allenby, 2018, reprinted from music publisher Boosey & Hawke’s website

Andriessen: I don’t worry about an authenticity of style — like trying to actually create historic ancient Greek music. We can never know, so any attempt would be artificial. I always remember when I was a young composer and was worrying about style, my father said to me “Just do it, and you will find your own voice.” It was just the same with Bach and Stravinsky — they created their own language as a personal construct. Though Agamemnon is for symphony orchestra, the scoring is slanted to my personal soundworld with some typical Andriessen additions, including soprano sax, pianos on either side of the conductor, electric guitar, bass guitar, and drum kit. These allow enough for martial brutality.

This gold face was named “Mask of Agamemnon” when found by German archaeologist Heinrich Schliemann as he was searching for the ancient city of Mycenae in 1876. Later dating of the mask has attributed it to an earlier era, before the Trojan War.


About the Music

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Violin Concerto No. 2 in G minor, Opus 63 composed 1935

At a Glance



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

Severance Hall 2019-20

Prokofiev composed his second violin concerto in 1935. The premiere took place in Madrid on December 1, 1935, with Robert Soetens playing the solo part and the Madrid Symphony Orchestra conducted by Enrique Arbós. This concerto runs approximately 25 minutes in performance. Prokofiev scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, percussion (bass drum, snare drum, triangle, cymbals, castanets), and strings, plus the solo violin.

The Cleveland Orchestra first played this concerto in January 1946 under the direction of music director Erich Leinsdorf, with Joseph Knitzer as the soloist. It has been programmed somewhat regularly since then. The most recent regular-season concerts were at Severance Hall in January 2015 (with conductor Hannu Lintu and violinist Vadim Gluzman) and at Blossom in 2000 (with Jahja Ling conducting and Leonidas Kavakos as soloist).

About the Music S E R G E I P R O K O F I E V was born to relatively well-off middle-

class Russian parents. His father helped manage a large estate, while his mother enjoyed the arts and encouraged her son’s blooming interests and talent. Prokofiev made his way through conservatory, arriving young and learning enough, though he disagreed wholeheartedly with several of his teachers and tried to go his own way. Waves of unrest in Russia punctuated his youth, eventually culminating in the two revolutions of 1917. In the spring, the czar was overthrown and a plan for democracy tried to get itself established. In October, however, the Bolsheviks leveraged continuing unrest and pushed through a communist takeover. Prokofiev, sensing that the changes ahead were not likely to help his career, left Russia and spent the next decade and a half in the West, much of it in Paris or the United States. His virtuosity as a pianist got him noticed; his reputation as a “bad boy” composer, eager to push boundaries and dare new things, propelled him along, too. Eventually, however, Prokofiev decided to return home. There, in 1935, he decided to write music that was more easily accessible. He wholeheartedly embraced the then-current Soviet aesthetic norms, apparently accepting the notion that music had to be understood by the masses and that if it was, it could help build a better world (implying that he thought it was indeed a better world that the Soviets were building; he later clearly saw the About the Music


challenges, destruction, and censorship that Stalinist strongman rule would bring, but, early on, his main interest was in pursuing his own artistic expression). It would be a mistake to see his choices in re-styling his music only as the acceptance of official ideology. These changes in Prokofiev’s style had been long in coming, from at least since the time of the First Violin Concerto and the Classical Symphony, both written in 1917, shortly before Prokofiev’s departure from Russia. It doesn’t appear that Prokofiev forced himself to go against personal inclinations and use an official idiom he didn’t completely agree with. Musicologist Richard Taruskin has gone so far as to claim that Prokofiev’s “simple style represented the real Prokofiev. It was in these pieces, which he wrote for the sake of audience appeal, and not the ones he wrote for the sake of his reputation with the snobs, that his particular genius resided.” According to Taruskin, Prokofiev returned to the Soviet Union because he realized that “his particular genius” would be better appreciated there than in the West, where he was losing the competition with the more fashionable, more radically modern Stravinsky. Yet for all his desire to be simple and accessible, Prokofiev took pains not to make too great concessions to popular taste. As he wrote in his 1937 article “The Flowering of Art,” “In our country music has come to belong to the masses of people. Their artistic taste, the demands they place upon art, are growing with incredible speed, and the Soviet composer must take this into account in each new work. This is something like shooting at a moving target. Only by aiming at the future, at tomorrow, will you not be left behind at the level of yesterday’s demands. For this reason I consider it a mistake for a composer to strive for simplification. Any attempt to ‘play down’ to the listener represents a subconscious underestimation of his cultural maturity and developing tastes. Such an attempt always has an element of insincerity. And music that is insincere cannot endure.” The works of Prokofiev’s early Soviet period, including the ballet Romeo and Juliet, the film music Alexander Nevsky, and the Violin Concerto No. 2, show Prokofiev’s efforts to write music of great and immediate mass appeal that at the same time avoids “simplification.” This is entirely consistent with his tendency to com bine traditional composition with some unorthodox elements, a tendency found in works starting in his youth. THE CONCERTO’S MUSIC

The melodies of the Second Violin Concerto are based on triad-like classical tunes and often have the same periodic structure.


About the Music

The Cleveland Orchestra

Evenso, Prokofiev speaks the language of classical music with a strong 20th-century Russian accent, utilizing shifts of key or meter. Such abrupt changes had been a hallmark of Prokofiev’s style since the 1910s. By the 1930s, however, they no longer represented mere iconoclasm and a desire to shock the audience (as they had in Prokofiev’s “barbarian” period). Rather, they represent that extra ingredient which keeps the composition from becoming overly “simplified.” The concerto’s first movement is in sonata form, built almost academically — and clearly showing that such a formal structure offers a winning progression of ideas, whether an audience member remembers or knows anything about the structure, or not. The second movement, marked Andante assai, has a simple, long-drawn-out melody played by the solo violin, accompanied by string pizzicatos and delicate counter-themes in the woodwinds. The melody and its accompaniment become more and more excited and go over into a middle section in a faster tempo that, despite the presence of virtuosic passages, remains fundamentally lyrical in tone. The opening theme eventually returns, and the movement ends quietly, with an unusual duet between the principal clarinet and the principal double bass in the last measure. The final movement is a traditional rondo in form, with returns of the main theme alternated against varying material or episodes. The theme’s most striking feature is its rhythm. Some of the variant episodes, on the other hand, are of a primarily melodic nature, while others are characterized by an irregular meter. As in many minor-key works from the earlier Classical period, the end of the concerto modulates from G minor to G major, but with some telltale ambiguous notes hanging around. The last sonority in the work is neither major nor minor, adding dissonance and uncertainty. The composer’s enfant terrible youth had retained some of its presence — and pungence — afterall. —Peter Laki © 2019 Copyright © Musical Arts Association

Peter Laki is a musicologist and frequent lecturer on classical music. He is a visiting associate professor at Bard College.

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About the Music


ENJOY THE INTIMATE SETTING OF ONE OF THE NATION’S BEST ACADEMIC ART MUSEUMS. LOCATED ON THE OBERLIN COLLEGE CAMPUS Free to the public since 1917, the Allen Memorial Art Museum presents an acclaimed collection of more than 15,000 objects from virtually every culture and time period. ALLEN AFTER HOURS Enjoy the galleries until 7:30 p.m., with a guest lecture or musical performance starting at 5:30, on Thursdays November 7 and December 5. Highlighted exhibitions: AFTERLIVES OF THE BLACK ATLANTIC—Marking 400 years since the first captive Africans stepped ashore in colonial Virginia, this exhibition places contemporary artworks in dialogue with historical African objects. Artists from many nations express the complexities of memory, identity, and belonging in the wake of the transatlantic slave trade. THE ENCHANTMENT OF THE EVERYDAY— Look into a different world, where utilitarian objects became something magical in the hands of Asian artisans working in ivory, jade, and cloisonné. JAPAN ON STAGE—Color woodblock prints from Japanese theatrical and dance traditions, including kabuki, no, gigaku, and bunraku (puppet theater).

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

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

Free admission amam

Symphony No. 7 in A major, Opus 92 composed 1811-12

At a Glance


Ludwig van

BEETHOVEN born December 16, 1770 Bonn died March 26, 1827 Vienna

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Beethoven wrote his Seventh Symphony in 1811-12. He conducted the first performance on December 8, 1813, at a special concert at the University of Vienna. The score was published in 1816 with a dedication to Count Moritz von Fries, a Viennese nobleman and longtime patron. This symphony runs about 35 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Beethoven’s Seventh Symphony crept into The Cleveland Orchestra’s

repertoire. The second movement was played by itself in November 1919, at the “First Popular Concert” of the Orchestra’s second season. The first performance of the entire symphony at a Cleveland Orchestra subscription concert was by the La Scala Orchestra of Milan, conducted by Arturo Toscanini, on February 2, 1921. The Cleveland Orchestra played the complete Symphony for the first time in April 1922 with music director Nikolai Sokoloff conducting. It has been played frequently on Orchestra concerts since that time.

About the Music I T S E E M S F I T T I N G that the Seventh Symphony, Beethoven’s greatest demonstration of the compelling power of rhythm, received its first hearing through the efforts of Johann Nepomuk Mälzel, inventor of the metronome. Mälzel has been described by one Beethoven biographer as “part Edison and part Barnum,” and while he is best remembered today for the little ticking box that has held generations of music students to the rhythmic straight and narrow, it was more extravagant contraptions, such as the Mechanical Chess Player and the Mechanical Trumpet, with which he mesmerized the public during his lifetime. Beethoven delighted in all sorts of modern devices, and was pleased to compose his bombastic Wellington’s Victory for another Mälzel instrument, the orchestraimitating Panharmonicon. To help promote this confluence of two very different kinds of genius — his own mechanical and Beethoven’s compositional — Mälzel proposed a triumphal tour of England, to be funded by a series of concerts in Vienna. (The tour never came off, owing to a dispute between the two men regarding the performing and publishing rights to the music.) The first concert was to benefit Austrian soldiers wounded in the Napoleonic Wars; if that concert succeeded, there would be no problem selling tickets to repeat performances, which

About the Music


would be for the benefit of Mälzel and Beethoven. The latter’s new orchestral arrangement of Wellington’s Victory would attract patriotic Austrians to the concert, Mälzel’s Mechanical Trumpet would be heard in marches by Dussek and Pleyel, and, for connoisseurs, there would be a chance to hear an “entirely new symphony” Beethoven had recently finished, his Seventh. To assure the event’s drawing power, Mälzel lined up an allstar orchestra, with the great Schuppanzigh and Spohr leading the violins, the composer Meyerbeer and pianists Hummel and Moscheles playing drums and cymbals, and the venerable Salieri (teacher of Beethoven and Schubert, and rival of Mozart) cuing the fanfares and salvos. (The presence of the 15-year-old Schubert at this concert has not been documented, but it seems likely, in view of the importance of the event and the strong rhythmic influence of the Seventh Symphony in Schubert’s later compositions.) PREMIERING A NEW SYMPHONY

Johann Nepomuk Mälzel’s invention of the first practical metronome helped composers specify tempos that everyone could duplicate. Beethoven includes a reference to the device in his 8th Symphony — and Mälzel was directly involved in the concert in which the 7th Symphony was premiered.


In rehearsal, the famous Beethoven temper was not in evidence. When the violinists complained about the difficulty of their part, the composer merely asked them politely to take it home and practice; at the next rehearsal, there were smiles and compliments all around. Beethoven’s unique conducting style, however, was in full flower at the concert on December 8, 1813, with his gesturing perhaps exaggerated because of his deafness. From Louis Spohr’s description of it, one imagines that today Beethoven might cut quite a figure on public television: “Beethoven was in the habit of giving dynamic indications to the orchestra by means of all sorts of peculiar movements of his body. When he wanted a sforzando [‘suddenly strong’] he would vehemently throw out both his arms, which previously he had held crossed across his breast. For a piano [‘softly’] he would crouch down, going down deeper as he wanted the sound to be softer. Then, at the beginning of a crescendo [‘gradual increase in loudness’] he would rise gradually, and when the forte [‘loudly’] was reached he would leap up into the air. Occasionally he would shout with the music in order to make the forte stronger, without being conscious of it . . .” At one point, Beethoven’s inability to hear quiet passages led to near-disaster, when he overlooked the second of two pauses in the recapitulation of the symphony’s first movement. While the orchestra paused, Beethoven continued to About the Music

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beat time, getting himself about ten bars ahead of the players. Spohr’s description continued: “Beethoven, indicating the pianissimo passage in his own way, had crouched down under the music stand; at the crescendo, which followed, he became visible once more, made himself taller, and then leapt high up in the air at the moment when, according to his calculation, the forte should have begun. When this did not happen, he looked about him in terror, stared in astonishment at the orchestra, which was still playing the pianissimo, and found his place only when the so-long-awaited forte began and became audible to him.” PUBLIC ACCL AIM

And how did this cliffhanging performance of a new “serious” work fare amid the hokum and foofooraw of Mälzel’s patriotic spectacle? Very well, thank you. The audience came prepared to be thrilled, and Beethoven’s robust new symphony didn’t disappoint them. Their applause, wrote one journalist, “rose to the point of ecstasy.” Significantly, it was not the symphony’s taut, propulsive outer movements that had to be repeated, but the melodious Allegretto, whose major-minor ambiguity so Severance Hall 2019-20

About the Music


richly anticipated the bittersweet moods of postwar, Biedermeier Vienna and its greatest composer, Schubert. To us latter-day listeners, however, the Seventh Symphony’s most striking characteristic may be the synthesis it achieves between the intensity and compression of the Fifth and the rustic high spirits of the “Pastoral” Sixth. Beethoven’s symphonic imagination had lain fallow for three years after he finished those two works, and this new start found him writing with a harmonic daring that assures that even his most obsessive rhythms will never become monotonous. Although the symphony is in A major, the remote keys of C and F figure so prominently that they become tonal centers in their own right, giving this busy music a much-needed sense of tonal space; the third-movement scherzo, in fact, turns the tables by being in F major, but ending its first phrase firmly on an A-major chord. It was not Beethoven’s harmonic skill, however, but his persistent rhythms that prompted Richard Wagner to call this symphony “the Apotheosis of the Dance.” The work’s patterns are all versions of the dactylic foot — one strong beat, followed by two weaker ones. The simplest form of this is the scherzo’s steady quarter notes in 3/4 meter. Then there is the famous “Schubert-

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About the Music

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rhythm” of the second-movement Allegretto, which, speeded up, becomes the engine that drives the finale. Even the cantering 6/8 of the first movement’s Vivace section is made up of innumerable tiny dactylic cells. Beethoven has not neglected the thematic unification of this work, either. In particular, themes from the long Poco sostenuto introduction to the opening section throughout the first and later movements. For example, the introduction’s long, rising scales (like “gigantic stairs,” commented the English writer George Grove) can be heard cantering up and down in the development section of the movement’s main Vivace section. And this theme’s graceful turns and leaps eventually grow into the whirling-dervish theme of the finale. Later in the first movement, an immensely long crescendo builds over a bass that moans in semitones; something very similar happens before the coda of the finale (these are said to be the passages that caused Carl Maria von Weber to say that Beethoven was “ripe for the madhouse”) — and both of these moments have a close cousin in the Trio theme of the scherzo, with its wavering half-step. W H AT ’ S I T A LL A B O U T ?

Such observations, however, can carry us only a little way toward understanding how a composer can be so bold and so right at the same time, throughout a long work. Even associations beyond or outside the music don’t add much. British music writer Donald Francis Tovey wrote that “the symphony is so overwhelmingly convincing and so untranslatable, that it has for many years been treated quite reasonably as a piece of music, instead of as an excuse for discussing the French Revolution.” The revolution, of course, is in the music. And familiar as this music is, it always catches us off guard, from the opening notes — a pregnant oboe theme that Beethoven promptly discards — to the sudden, final A-major cannon shots, which explode any thought of a lengthy “Beethoven coda.” Asked once why he didn’t compose more music in the vein of his best-selling works, Beethoven replied, “Art always demands something new from us.” Two centuries after he wrote it, the Seventh Symphony sounds as new as tomorrow’s premiere.

A drawing of Beethoven out walking, circa 1815, by Johann Theodor Lyser.

—David Wright © 2019 David Wright lives and writes in New Jersey. He previously served as program annotator for the New York Philharmonic.

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About the Music


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Dima Slobodeniouk

Marc-André Hamelin

Conductor Dima Slobodeniouk has been music director of the Orquesta Sinfónica de Galicia in Spain since 2013. He also serves as principal conductor of the Lahti Symphony Orchestra and artistic director of the Lahti Sibelius Festival. Linking his native Russian roots with the cultural influence of his later homeland Finland, he often draws on the powerful musical heritage of these two countries. He is making his Cleveland Orchestra debut with this weekend’s concerts. Mr. Slobodeniouk has conducted major orchestras around the world, including those of Amsterdam, Baltimore, Berlin, Boston, Chicago, Finland, Leipzig, London, and Sydney. His upcoming schedule includes his debuts with the NHK Symphony Orchestra, Seoul Philharmonic Orchestra, San Francisco Symphony Orchestra, Tonhalle Orchester, and the Vienna Symphony Orchestra. He is an advocate for contemporary composers and is committed to working with young musicians. Mr. Slobodeniouk’s album with the Lahti Symphony Orchestra featuring Kalevi Aho’s Bassoon Concerto received a BBC Music Magazine Award in 2018. His recordings can be heard on BIS and Ondine. For more information, visit

French-Canadian pianist Marc-André Hamelin is recognized for the technical polish of his performances and his interpretive elegance. He made his Cleveland Orchestra debut in April 2015 and most recently played here in November 2017. Mr. Hamelin appears in concert with major orchestras around the world and in chamber music and recitals and in festivals internationally. He began the 2019-20 season performing both Brahms piano concertos in Montreal. An exclusive Hyperion Records artist, Mr. Hamelin has a discography of more than 50 albums and has received nine Grammy nominations. His world premiere performances of concertos by Mark Anthony Turnage and Ryan Wigglesworth, along with his own compositions, attest to his wide repertoire and advocacy for new music. His honors include a lifetime achievement award from the German Record Critic’s Association, and being named an Officer of the Order of Canada, a Chevalier de l’Ordre du Québec, and a member of the Royal Society of Canada. Beginning piano studies at age five, Mr. Hamelin attended Montreal’s École de musique Vincent-d’Indy and Philadelphia’s Temple University. For more information, visit


Guest Artists

The Cleveland Orchestra




Severance Hall

Thursday evening, October 24, 2019, at 7:30 p.m. Saturday evening, October 26, 2019, at 8:00 p.m.

Dima Slobodeniouk, conductor SERGEI RACHMANINOFF (1873-1943)

FRANZ LISZT (1811-1886)

Isle of the Dead Symphonic Poem, Opus 29 Piano Concerto No. 1 in E-flat major 1. Allegro maestoso — 2. Quasi adagio — 3. Allegretto vivace — 4. Allegro marziale animato (played as one movement) MARC-ANDRÉ HAMELIN, piano


Symphony No. 5, Opus 50 1. Tempo giusto — Adagio 2. Allegro — Presto — Andante un poco tranquillo — Allegro

Marc-André Hamelin’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Sterling A. and Verdabelle Spaulding. Saturday's concert is dedicated to Toby Devan Lewis in recognition of her extraordinary generosity in support of The Cleveland Orchestra. CLEVELAND ORCHESTRA RADIO BROADCASTS

Current and past Cleveland Orchestra concerts are broadcast as part of weekly programming on ideastream/WCLV Classical 104.9 FM, on Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.

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Program: Week 5


October 24, 26 THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 SAT 5:00


Concert begins: THUR 7:30 SAT 8:00

Severance Restaurant Reservations (suggested) for dining:

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

“Struggle, Rest, and Triumph” with Rose Breckenridge, lecturer and administrator, Cleveland Orchestra Music Study Groups

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

RACHMANINOFF Isle of the Dead . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 77 (20 minutes)

LISZT Piano Concerto No. 1 . . . . . . . . . . . . . . . . . . . . . . . page 79 (20 minutes)

INTERMISSION (20 minutes)

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

NIELSEN Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 85 (35 minutes)

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

Concert ends: (approx.)

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This TTh his Week’s Concerts

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Sorrow, Virtuoso & Battle C O M P O S E R S A R E I N S P I R E D — and driven — by many things.

From vistas and stories to melodies, sounds, complex ideas, and simple rhythms. The challenge for each composer is to build a structure around or within that inspiration, and to present a whole that resonates, inspires, defies, and/or satisfies listeners. This weekend’s concerts bring together three examples, two from the 20th century along with one powerhouse concerto from the 19th, all showcasing virtuosity of loud and soft-spoken varieties. The evening begins with an evocative and moving symphonic poem by Sergei Rachmaninoff — inspired by a painting of an island (real or imagined) of death and sorrow. A human figure accompanies a coffin by boat to its final resting place. In this poignant work, Rachmaninoff both depicts and invokes the very mysteries of life and death, memory and mourning. Next comes Franz Liszt’s fiery First Piano Concerto. Sketched and perfected over many years, this work by one of history’s foremost piano virtuosos shines and shimmers in big-hearted — and big-handed — display and show. Yet the focus is always on the listener, with form and format melding seemlessly together for a rip-roaring goodtime. Marc-André Hamelin takes up the demanding solo part. To close, guest conductor Dima Slobodeniouk leads The Cleveland Orchestra in one of Carl Nielsen’s most powerful symphonies. Not unlike his Scandinavian contemporary Jean Sibelius, the Danish Nielsen built his symphonies from a local perspective — thoroughly woven in his own musical language, while also clearly derived from the larger Germanic traditions of Beethoven, Schumann, and Brahms. His independent voicing brings with it a new sense of space and interaction. The symphony is built in two halves, with first and second movements paired, followed by third and fourth combined. In the second movement, a solo snare drum is instructed (in the score) to do battle with the rest of the orchestra onstage. The ensuing conflict is both thrilling and revealing — with echoes of the fight quietly informing the symphony’s second half. This is exciting and enigmatic music, designed to speak directly to human emotions and deeper thoughts of life and living. —Eric Sellen

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Introducing the Concert


BW Music Theatre presents


November 12-24 at Baldwin Wallace University


Baldwin Wallace University, %HUHD2KLRER[RȪFH440-826-2240

Isle of the Dead, Symphonic Poem, Opus 29 composed 1909

At a Glance



RACHMANINOFF born April 1, 1873 Semyonovo, Russia died March 28, 1943 Beverly Hills, California

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Rachmaninoff composed his symphonic poem Isle of the Dead (in Russian, “Ostov myortvykh”) in 1909 in Dresden and conducted the Moscow Philharmonic Society in the work’s premiere on April 18, 1909. This work runs about 20 minutes in performance. Rachmaninoff scored it for 3 flutes (third doubling piccolo), 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 6 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals), harp, and strings.

The Cleveland Orchestra first performed The Isle of the Dead during a weekend of concerts in October 1934, led by music director Artur Rodzinski. Rodzinski conducted it again in 1942, in a pair of concerts featuring Rachmaninoff as pianist in his own Second Piano Concerto. The symphonic poem has been presented on just two additional occasions, in November 1991 led by Alexander Lazarev, and in February 2013 conducted by Giannandrea Noseda.

About the Music C O M P A R E D T O the number of orchestral works inspired by

literature, those that take their subjects from paintings or other physical artworks are relatively few in number. Of these, Rachmaninoff’s Isle of the Dead is surely one of the most powerful. The composer not only created a musical translation of what his eyes saw, he also provided a meditation on the great themes of life and death which the picture suggests. The artistry of Swiss landscape painter Arnold Böcklin (1827-1901) was much admired at the turn of the 20th century. His Bild zum Träumen [Dream-Picture], later renamed Toteninsel or “Isle of the Dead,” was particularly esteemed. The German composer Max Reger wrote a series of four tone poems after four Böcklin works, including the Toteninsel; so did the Swiss composer Huber. But Rachmaninoff’s tone poem is an outstanding contribution to the genre, and one of his finest orchestral works. He composed it between January and March 1909 during one of his stays in Dresden, having seen a black and white copy of the painting, apparently in Paris. In fact, Böcklin made at least six different versions of the painting. The first hangs in the Kunstmuseum, Basel, with later versions in Berlin, New York, Leipzig, and Saint Petersburg. They all show a small boat approaching an island on which a group of very tall cypress trees are enclosed in a semicircle of massive rocks. There is ongoing dispute as to whether island that inAbout the Music


Arnold Böcklin’s The Isle of the Dead (third version, painted in 1883, 59" x 31½").

spired the paintings is Pondikonisi (near Corfu, Greece) or Ponza (near Ischia, Italy) or Saint George in the Adriatic’s Bay of Kotor (in what is today Montenegro). Wherever the island is, real or imagined, it is certainly a stark and awesome place, marked as a cemetery by the slabs of stone and the surrounding cypresses. The figure of Death can be seen standing over a linen-draped casket at the front of the boat being rowed toward the island. In Rachmaninoff’s music, the heavy movement of oars is suggested by a lopsided ostinato figure in 5/8 time, and the music builds inexorably as various instruments join the swell. Few composers could control a series of orchestral crescendos as skillfully, and this one eventually leading to a series of climaxes. The themes are shadowy, often suggesting the plainchant Dies Irae found so often in Rachmaninoff’s music, and the presence of death persists right to the end, when the boat is heard pulling away from the island. The strain of fatalism in Rachmaninoff’s character brought forth music of unequaled power. Some of this had rubbed off on him from Tchaikovsky (and, perhaps, from a certain Russian artistic bent), but Rachmaninoff was able to convey the darkest corners of the soul more potently than any other composer of his time. —Hugh Macdonald © 2019


About the Music

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Piano Concerto No. 1 sketched 1830s; composed 1845-49, revised 1853-54 and 1856

At a Glance



LISZT born October 22, 1811 Doborján, Hungary (now Raiding, Austria) died July 31, 1886 Bayreuth, Germany

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Liszt worked on his Piano Concerto No. 1, off and on, for more than 20 years. Early sketches go back as far as 1830, with a first real sketch done in 1839; the bulk of the music was completed in the later 1840s, and revised in 1853-54 and 1856. The premiere took place in Weimar on February 17, 1855, with the composer at the piano and Hector Berlioz conducting. The score, published in 1857, is dedicated to composer and pianist Henry Litolff. This concerto runs about 20 minutes in performance. Liszt scored it for

2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, cymbals, triangle, strings, and solo piano. The first American performance of this concerto was given by Theodore Thomas’s Orchestra in New York on December 2, 1865, with Sebastian Bach Mills as the soloist. Liszt’s Piano Concerto No. 1 entered The Cleveland Orchestra’s repertoire in January 1921, when it was played by Mischa Levitzki under music director Nikolai Sokoloff ’s direction.

About the Music L I S Z T ’ S T W O P I A N O C O N C E R T O S are standard works in

the repertoire of today’s piano virtuosos. Yet they are not at all what one might have expected the world’s greatest pianist to write. (“Greatest” is arguable, of course. Given the music he wrote, however, and with no recordings of his playing to prove or disprove the point, many have placed him on the “greatest” throne unchallenged.) Liszt lived a long, full life. He gave innumerable concerts all over Europe and composed an immense body of music. He was centrally involved in the great surge of music-making that marked his lifetime and in the heated debates that surrounded himself, his pupils, and his friends — particularly over the passionate debates over the music of his son-in-law Wagner. All that said, Liszt left us only two concertos, both short and compact. And he was reluctant to perform either of them himself. Both works gave him endless trouble and were constantly revised. Liszt’s two concertos have also generated adverse criticism from those who wish his music was more like . . . “this” and less like . . . “that.” Both have also won passionate admirers and been promoted by world-class performers — why didn’t he compose five full-scale three-movement piano concertos like Beethoven or Saint-Saëns?! Liszt liked the glamor of a solo appearance, undoubtedly, About the Music


and often eliminated the need for a vocal soloist (with whom so many other pianists shared the stage) by performing operatic fantasies for piano alone. His solo performances were most often his own transcriptions and elaborations (improvizations) on familiar music by other composers (Mozart, Weber, Rossini, Verdi, etc.), rather than regular piano works written by himself or by others. Such pieces could equally call for orchestral support, so we find amongst his works a handful of arrangements for piano solo and orchestra — fantasies on Beethoven’s Ruins of Athens, on Berlioz’s Lélio, on Hungarian folk melodies, and arrangements of Schubert’s Wanderer Fantasy and Weber’s Polonaise brillante. One of his favorite works was Weber’s Konzertstück for piano and orchestra. In this context — his performing as a solo star — a traditional piano concerto in three movements had less appeal for him; in fact, it was almost unthinkable. Yet, because he wrote both a Malédiction and a Totentanz (or “Death Dance”) — notice the demonic titles! — for piano and orchestra, we should perhaps think of his two piano concertos, both in a similar continuous single movement, as tone-poems without titles, as concert-pieces or fantasies, rather than concertos in the traditional sense.

The Juniper Tree Thur., Oct. 31 | Sat., Nov. 2 | Sun., Nov. 3 7:30pm l Mixon Hall The Juniper Tree is based on one of the Brothers Grimm’s darkest, most mature tales, taking the idea of the “evil stepmother” to the extreme! Philip Glass and Robert Moran composed music in alternating scenes for this shocking and tuneful 1984 opera. Featuring original films by Cleveland Institute of Art students, filmed at Hale Farm and Village TICKETS: or 216.795.3211 Music by Philip Glass & Robert Moran | Libretto by Arthur Yorinks ©1985 Dunvagen Music Publishers Inc. | Used by Permission.


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Liszt’s overriding intent and purpose with both concertos was to integrate the form itself into a single movement (as he also did in his masterly B minor sonata for solo piano). The first Piano Concerto, like the second, unfolds in a series of episodes using recurrent themes that are adapted to different speeds and different surroundings to provide variety and contrast. Sections of a dreamy, amorous character thus rub shoulders with energetic or martial music and passages of swashbuckling virtuosity, all sharing the same handful of melodic shapes and giving the impression of free improvisation — an art at which Liszt excelled. The very striking gesture with which the First Concerto opens (unison strings sounding together) is to be heard throughout in various forms, more often intervening in cadenza-like passages, or in lyrical sections as a reminder of the main rhythmic pulse. A slower Adagio section feels like part of a slow movement; a lighter part (with prominent triangle) suggests a scherzo; and a martial character marks a finale. But the opening gesture is never far out of hearing, and the continuity of the music in a Severance Hall 2019-20

About the Music


single movement is never really threatened. The end is overtaken by a sweep of virtuosity from the soloist. BUILDING THE CONCERTO

Liszt sketched substantial portions of this First Concerto in 1839, when he was living in Italy and about to embark on a decade of frantic touring and concert-giving, which laid the ground for the legendary reputation — as a wild, tireless, hypnotizing performer — that followed him for the rest of his life. But for a man so formidably confident in his stage appearances, Liszt was rarely satisfied with his own compositions. He was an obsessive reviser, subjecting most of his major works to years of rethinking and alteration. In view of the huge number of compositions and arrangements that he left, he must have found time amid the touring, teaching, and conducting to work patiently refining pieces that had been in his mind for many years. The two concertos reappeared on his desk in the 1850s, when he was settled in Weimar and no longer constantly on the road. The First Concerto reached completion in 1855 and was first performed then, with Liszt himself as soloist and Hector Berlioz as the conductor. The Second was first played two years later, not by Liszt himself, but by his brilliant pupil Hans von Bronsart, to whom it was dedicated. Liszt was still not satisfied with them, however, and so neither concerto was published until he had devoted many more hours revising each. In Liszt’s last years, the concertos appeared in his concerts several times, but never with himself playing the solo part; by then, he preferred conducting them. Note: A Third Piano Concerto was reconstructed from scattered Liszt manuscripts by the scholar Jay Rosenblatt and first performed in Chicago in 1990. It too dates from 1839, but it seems that, unlike its two siblings, it never emerged from draft. Indeed, its manuscripts may have already been dispersed when Liszt returned to the other two, and was simply forgotten. In a single continuous movement, it belongs snugly with the other two, but has yet to be accepted as a standard weapon in the virtuoso pianist’s abundant arsenal. —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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SCARBOROUGH FAYRE Music from Merry Old England Spirited tunes and exquisite ballads

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Symphony No. 5, Opus 50 composed 1921-22

At a Glance



NIELSEN born June 9, 1865 Sortelung, Denmark died October 3, 1931 Copenhagen

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Nielsen began work on his Fifth Symphony in February 1921. He completed it on January 15, 1922, and conducted the first performance in Copenhagen nine days later. This symphony runs about 35 minutes in performance. Nielsen scored it for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons (second doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (cymbals, triangle, tam-

bourine, side or snare drum), celesta, and strings. The Cleveland Orchestra first performed Nielsen’s Fifth Symphony in February 1951, under Erik Tuxen, who had given the American premiere in Washington D.C. the month before. The Orchestra’s most recent performances were conducted by Herbert Blomstedt at Severance Hall in April 2006.

About the Music I N T H E 1 9 T H C E N T U R Y , many people viewed Germany

as the epicenter of classical-symphonic thinking. The land of Beethoven, Schumann, Mendelssohn, and eventually Brahms was considered the source, to be aspired to. In Scandinavia, composers customarily studied in Germany as soon as they had acquired the necessary musical fundamentals in their home countries. Indeed, the conservatories in Stockholm and Copenhagen were frequently staffed by German musician-instructors — and the better students quickly progressed to Berlin, Leipzig, or Vienna for further study. The exchange of skills and experience was profitable for all. But by the time that Carl Nielsen came of age, in the century’s closing decades, it was widely felt that northern composers should preserve their independence from the great German tradition. So that, without pursuing a narrow nationalist path on the basis of folk melodies (which some felt the Russians and Czechs were taking to excess), the continent’s Northern musical creators should express a distinctive character of their own. While his friend Sibelius took a course of strict study in Berlin, Nielsen, having grounded his studies at the Copenhagen Conservatory, preferred to travel from one city to the next across Europe, visiting Germany, France, and Italy, and sampling and savoring the music he encountered all along the way. Nielsen returned to Denmark as Sibelius did to Finland, both determined to put their countries on the musical map by About the Music


the sheer force of their creative personalities, rather than by waving a flag of national tunes and folk music. Nielsen was a man of simple origins, brought up in poverty far from any city, and largely self-taught in music. Throughout his life, he reached out for new ideas, new experiences, and a greater understanding for the world of feeling and expression. He was highly active in all musical spheres, as composer, violinist, conductor, and teacher, and he traveled widely. He rose steadily to a supreme position in Danish musical life and, at the time of the composition of the Fifth Symphony, was conductor of Copenhagen’s long-established concert society, the Musikforeningen, at the head of whose orchestra he presented his new work as soon as it was finished, early in 1922. T H E G R E AT E S T DA N I S H C O M P O S E R

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Nielsen is everywhere regarded as the greatest of Danish composers, yet only a few of his works are regularly heard outside of Denmark, and his star shines only fitfully in the bright constellation that includes his fellow-Scandinavians and friends Jean Sibelius and Karl Stenhammar — not to mention the plethora of creative talent that was challenging the ears of Europe and America in the first years of the last century: Mahler, Strauss, Debussy, Scriabin, Schoenberg, Elgar, Roussel, Szymanowski, to mention only a few. Many of these composers regarded writing symphonies as their prime creative outlet, as did Nielsen, and the inheritance from Beethoven was still the driving impulse behind their conceptions of form and expression. Despite the allure of novelty to which all the arts succumbed in those years (and which is a constant challenge to avoid for artists working in every field at any time), Nielsen remained true to his original ideals, which he found in the music of Haydn and Mozart, and in the language of traditional tonality. He never wrote for the huge orchestras so fashionable around 1910. And, as with Sibelius’s music, there is a certain austerity in Nielsen’s orchestral palette (in the Fifth Symphony there is no bass clarinet, no english horn, and no harp). Above all, Neilsen avoided sensationalism and sentimentality, and strove to write music that presented its own arguments and reached its own solutions. A Nielsen symphony is a self-contained experience that demands little more than willing concentration and a sympathetic, discerning ear. The character of his music is embodied in the titles he gave About the Music

The Cleveland Orchestra

Nielsen talks about his Fifth Symphony . . . As the symphony opens, I am out walking in the country — I’m not thinking of anything in particular, in fact I’m not paying much attention to what I see or come across. What was that now? a flower snapping, a little clod of earth falling? Was it an animal with bright eyes staring there from a tuft of grass? (The various motifs are really chaotic, almost accidental — only one of them, the ‘evil’ motif, is used a lot.) Then suddenly I become aware of myself as a musician: my thoughts take a definite form, impressions flood forth in me — and now everything is singing pleasantly. . . . Then the ‘evil’ motif intervenes — in the woodwind and strings — and the side drum becomes more and more angry and aggressive; but the nature-

theme goes on, peaceful and unaffected, in the brass. Finally the evil has to give way, a last attempt and then it flees — and with a strophe thereafter in consoling major mode a solo clarinet ends this large idyllmovement, an expression of vegetative (idle, thoughtless) nature. “The second movement is its counterpole: if the first movement was passivity, here it is action (or activity) that is conveyed. So it’s something very primitive I wanted to express: the division of dark and light, the battle between evil and good. A title like ‘Dream and Deeds’ could maybe sum up the inner picture I had in front of my eyes when composing.” —Carl Nielsen

to three of his six symphonies. No. 3 is “Expansive,” No. 4 is “Inextinguishable,” and No. 6 is “Simple.” Contradictory though those three titles may seem, Nielsen felt strongly that music should be wide-ranging, exploratory, searching and self-confident, but always simple (if, at times, deceptively so). The Fifth has no subtitle, but there are many that a fine performance can suggest — track your own thoughts as you listen. THE MUSIC OF THE FIF TH SYMPHONY

Nielsen divided this symphony into two movements, the first itself in two parts, the second in four (although the latter is ofen viewed in two sections, creating a four-section structure for the entire work, analogous to the usual four-movement scheme of a traditional symphony). Surprises are so frequent in this work as to become expected, paradoxically, with certain patterns sustained for quite Severance Hall 2019-20

About the Music


a long time. There is an obsessive character in some of the music, like a dog with a bone, perhaps illustrated by repeated notes making up a theme, perhaps strong gestures repeated, unaltered, at intervals. What makes the opening of the first movement so distinct is a sense of immobility, the harbinger of a big work, and the independence of events. A long wavering figure on the viola continues for pages, as if deaf to violent interventions from the winds and independent of steadier themes elsewhere. The timpani pound away at two notes impervious to melodies and cries elsewhere, and a sense of separateness persists to the end of the section. The second section (marked Adagio non troppo), in contrast, offers a homogeneous orchestra, melodious and warm. But eventually more insect-like intrusions from the upper winds attempt to disturb the steady flow. The ultimate gesture of independence arrives when the snare drum, until now comforming to the rhythmic pulse of the movement, strides off on its own, refusing even to be part of the orchestra. The composer instructed the drummer to “improvise, as if at all costs to stop the progress of the music.” Chaos ensues, but the progress of the music is never actually stopped. The clarinet eventually sings what seems like a lament for ruin and desolation, now past. The second movement is held together by the return of its opening at the end, as a simple framing device. This opening section has a strong symphonic feel, with contrasting themes and textures, and the usual intrusive surprises. It gives way to a whispering scherzo (Presto), a fugue led off by the first violins and embracing all the strings in turn. The spirit of Beethoven is alive here. The ensuing Andante section is another fugue, mysterious in character and based on a slow version of the movement’s main theme. It grows into a reprise of the opening Allegro and a final apotheosis that resolves the hazardous journey this music has pursued since the start. —Hugh Macdonald © 2019


About the Music

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Music is life and, like life, is inextinguishable. —Carl Nielsen

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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 January 2019

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 & 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



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 $2,500 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 5, 2019 Adella Prentiss Hughes Society gifts of $100,000 and more

gifts of $50,000 to $99,999


Mrs. Jane B. Nord Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Albert B. Ratner Mr. and Mrs. Richard K. Smucker+ Mrs. Jean H. Taber* INDIVIDUAL GIFTS OF $200,000 TO $499,999

Musicians of The Cleveland Orchestra+ (in-kind support for community programs and opportunities to secure new funding) Haslam 3 Foundation+ Mrs. Norma Lerner and The Lerner Foundation+ Mrs. Emma S. Lincoln* Jenny and Tim Smucker+ INDIVIDUAL GIFTS OF $100,000 TO $199,999

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski+ Mr. and Mrs. Alexander M. Cutler+ Dr. and Mrs. Hiroyuki Fujita+ Mr. and Mrs. Michael J. Horvitz+ James D. Ireland IV The Walter and Jean Kalberer Foundation+ Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre+ Elizabeth F. McBride Rosanne and Gary Oatey (Cleveland, Miami)+ James and Donna Reid Bruce and Virginia Taylor+ Ms. Ginger Warner Mr. and Mrs. Franz Welser-Möst+

82 92

George Szell Society

Mr. William P. Blair III+ Mr. Yuval Brisker The Brown and Kunze Foundation Mr. and Mrs. Marshall Brown Rebecca Dunn JoAnn and Robert Glick 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 Milton and Tamar Maltz Ms. Nancy W. McCann+ Ms. Beth E. Mooney+ 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+ Marjorie B. Shorrock+ Jim and Myrna Spira+ Dr. Russell A. Trusso Barbara and David Wolfort (Cleveland, Miami)+ Anonymous+

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

Individual Annual Support

The Cleveland Orchestra

Elisabeth DeWitt Severance Society

Dudley S. Blossom Society gifts of $15,000 to $24,999

gifts of $25,000 to $49,999 Gay Cull Addicott+ Mr. and Mrs. William W. Baker Randall and Virginia Barbato Dr. and Mrs. Wolfgang Berndt (Europe) Irma and Norman Braman (Miami) Dr. Ben H. and Julia Brouhard Jeanette Grasselli Brown and Glenn R. Brown Irad and Rebecca Carmi Mr. and Mrs. David J. Carpenter Mary Jo Eaton (Miami) Dr. and Mrs. Robert Ehrlich (Europe) The Sam J. Frankino Foundation Mr. and Mrs. Geoffrey Gund Mary and Jon Heider (Cleveland, Miami) Mrs. Marguerite B. Humphrey+ Allan V. Johnson Elizabeth B. Juliano Mr. and Mrs. Joseph P. Keithley Giuliana C. and John D. Koch Milton A. & Charlotte R. Kramer Charitable Foundation Richard and Christine Kramer Jan R. Lewis David and Janice* Logsdon Mr. and Mrs. Alex Machaskee+ Mr. Stephen McHale Julia and Larry Pollock Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Sandor Foundation+ David M. and Betty Schneider Rachel R. Schneider Hewitt and Paula Shaw+ R. Thomas and Meg Harris Stanton+ Mr. and Mrs. Alfred Umdasch (Europe) Meredith and Michael Weil Paul and Suzanne Westlake Tony and Diane Wynshaw-Boris+ Anonymous (2)

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

Art of Beauty Company, Inc. Mr. and Mrs. Dean Barry Blossom Friends of The Cleveland Orchestra Dr. Christopher P. Brandt and Dr. Beth Sersig+ Dr. Gwen Choi Jill and Paul Clark Robert and Jean* Conrad+ Mary and Bill Conway Judith and George W. Diehl+ Nancy and Richard Dotson+ Mr. Brian L. Ewart and Mr. William McHenry+ Joan Alice Ford Friends of The Cleveland Orchestra Mr. and Mrs. Robert W. Gillespie 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) Mr. Jeff Litwiller+ Mr. and Mrs. Thomas B. McGowan Stanley* and Barbara Meisel Edith and Ted* Miller+ The Miller Family+ Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Margaret Fulton-Mueller+ Dr. Anne and Mr. Peter Neff Dr. Isobel Rutherford Astri Seidenfeld Meredith and Oliver* Seikel The Seven Five Fund Kim Sherwin Mr. Heinrich Spängler (Europe) Mr. and Mrs. Richard P. Stovsky Mr. and Mrs. Leonard K. Tower Mr. and Mrs. Daniel P. Walsh Tom and Shirley Waltermire+ Mr. and Mrs. Fred A. Watkins+ Mr. and Mrs. Jeffery J. Weaver Robert C. Weppler Sandy and Ted Wiese Max and Beverly Zupon Anonymous listings continue

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Individual Annual Support

83 93

Frank H. Ginn Society gifts ift off $10,000 $10 000 to t $14,999 $14 999 Mr. and Mrs. Jules Belkin Mr. David Bialosky and Ms. Carolyn Christian+ Mr. D. McGregor Brandt, Jr. Robert and Alyssa Lenhoff-Briggs J. C. and Helen Rankin Butler+ Ms. Bernadette Chin Richard J. and Joanne Clark Martha and Bruce Clinton (Miami) Mrs. Barbara Ann Davis+ Henry and Mary* Doll+ Dr. and Mrs. Lloyd H. Ellis Jr. Carl Falb+ William R. and Karen W. Feth+ Albert I.* and Norma C. Geller Patti Gordon (Miami) Mr. Robert Goss Mr. and Mrs. Stephen Griebling Mr. Michael GrĂśller (Europe) Iris and Tom Harvie+ Mr. Alfred Heinzel (Europe) Mr. and Mrs. Jerry Herschman Dr. Fred A. Heupler+ Amy and Stephen Hoffman

Mr. and Mrs. Brinton L. Hyde Barbara and Michael J. Kaplan Andrew and Katherine Kartalis Mrs. Elizabeth R. Koch Rob and Laura Kochis Mr. James Krohngold+ David C. Lamb+ Dr. Edith Lerner Dr. David and Janice Leshner Mr. David and Dr. Carolyn Lincoln Alan Markowitz M.D. and Cathy Pollard Scott and Julie Mawaka Mr.* and Mrs. Arch J. McCartney Mr. and Mrs.* William A. Mitchell+ Mr. Hisao Miyake Mr. Donald W. Morrison+* Mr. John Mueller Brian and Cindy Murphy+ Randy and Christine Myeroff Mr. J. William and Dr. Suzanne Palmer+ John N.* and Edith K. Lauer Mr. Thomas Piraino and Mrs. Barbara McWilliams Douglas and Noreen Powers

Mr. and Mrs. Ben Pyne Audra* and George Rose+ Paul A. and Anastacia L. Rose Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Mrs. Florence Brewster Rutter*+ Dr. and Mrs.* Martin I. Saltzman Mr. Lee Schiemann Carol* and Albert Schupp Dr. and Mrs. James L. Sechler Dr. Marvin and Mimi Sobel*+ Veit Sorger (Europe) The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Dr. Elizabeth Swenson Michael and Edith Teufelberger (Europe) Dr. Gregory Videtic and Rev. Christopher McCann+ Dr. Horst Weitzman Denise G. and Norman E. Wells, Jr. Sandy Wile and Sue Berlin Anonymous (9)

Elliot and Judith Dworkin Mr. S. Stuart Eilers+ Mary and Oliver* Emerson Joseph Z. and Betty Fleming (Miami) Michael Frank and Patricia A. Snyder Bob and Linnet Fritz Barbara and Peter Galvin Joy E. Garapic Brenda and David Goldberg Mr. and Mrs. Randall J. Gordon+ Harry and Joyce Graham AndrĂŠ and Ginette Gremillet Nancy Hancock Griffith+ The Thomas J. and Judith Fay Gruber Charitable Foundation Robert N. and Nicki N. Gudbranson Robert K. Gudbranson and Joon-Li Kim+ David and Robin Gunning Mr. Davin and Mrs. Jo Ann Gustafson Alfredo and Luz Gutierrez (Miami) Gary Hanson and Barbara Klante+ Clark Harvey and Holly Selvaggi+ Henry R. Hatch Robin Hitchcock Hatch Barbara L. Hawley and David S. Goodman Mr. Jeffrey Healy Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan+ Janet D. Heil* Anita and William Heller+ Dr.* and Mrs. George H. Hoke Dr. Keith A. and Mrs. Kathleen M. Hoover

Elisabeth Hugh+ David and Dianne Hunt Pamela and Scott Isquick+ Richard and Michelle Jeschelnig Joela Jones and Richard Weiss Milton and Donna* Katz Dr. Richard and Roberta Katzman Paul Rod Keen and Denise Horstman Mr. and Mrs. Christopher Kelly Bruce and Eleanor Kendrick Cynthia Knight (Miami) Mr. and Mrs.* S. Lee Kohrman Mr. and Mrs. Peter A. Kuhn+ Mr. and Mrs. Arthur J. Lafave, Jr. Dr. and Mrs. John R. Lane Kenneth M. Lapine and Rose E. Mills+ Anthony T. and Patricia A. Lauria Mr. Lawrence B. and Christine H. Levey+ Judith and Morton Q. Levin Dr. Stephen B. and Mrs. Lillian S. Levine+ Dr. Alan and Mrs. Joni Lichtin+ Mr. Rudolf and Mrs. Eva Linnebach+ Frank and Jocelyne Linsalata Mr. Henry Lipian Drs. Todd and Susan Locke Anne R. and Kenneth E. Love David Mann and Bernadette Pudis Ms. Amanda Martinsek James and Virginia Meil+ Dr. Susan M. Merzweiler+ Loretta J. Mester and George J. Mailath

The 1929 Society gifts of $5,000 to $9,999 Ms. Nancy A. Adams Dr. and Mrs. D. P. Agamanolis Mr. William App Robert and Dalia Baker Mr. Thomas and Mrs. Laura Barnard Fred G. and Mary W. Behm Mr. Allen Benjamin Mel Berger and Jane Haylor Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Dr. Robert Brown and Mrs. Janet Gans Brown Dr. Thomas Brugger and Dr. Sandra Russ Frank and Leslie Buck Mr. and Mrs. Timothy J. Callahan Dr. and Mrs. William E. Cappaert Ms. Maria Cashy+ Drs. Wuu-Shung and Amy Chuang+ Ellen E. & Victor J. Cohn+ Mr. and Mrs. Arnold L. Coldiron Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura+ Marjorie Dickard Comella Mr.* and Mrs. Gerald A. Conway Mrs. Barbara Cook Mr. John Couriel and Mrs. Rebecca Toonkel (Miami) Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Manohar Daga+ Thomas S. and Jane R. Davis Pete and Margaret Dobbins+ Mr. and Mrs. Robert P. Duvin

84 94

Individual Annual Support

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C Claudia Metz and Thomas Woodworth+ Lynn and Mike Miller Drs. Terry E. and Sara S. Miller Curt and Sara Moll Mr. and Mrs. Thomas W. Morris Bert and Marjorie Moyar Susan B. 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 Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ Maribel A. Piza, P.A. (Miami)+ Mr. and Mrs. Richard W. Pogue Brad Pohlman and Julie Callsen Dr. and Mrs. John N. Posch+ Ms. Linda Pritzker Ms. Rosella Puskas Mr. Lute and Mrs. Lynn Quintrell Mr. and Mrs. Roger F. Rankin

Brian and Patricia Ratner Amy and Ken Rogat Robert and Margo Roth+ Fred Rzepka and Anne Rzepka Family Foundation Michael and Deborah Salzberg Drs. Michael and Judith Samuels (Miami) Mitchell and Kyla Schneider John and Barbara Schubert Lee and Jane Seidman Drs. Daniel and Ximena Sessler+ Kenneth Shafer Donna E. Shalala (Miami) Naomi G. and Edwin Z. Singer The Shari Bierman Singer Family Drs. Charles Kent Smith and Patricia Moore Smith+ Mrs. Gretchen D. Smith+ Roy Smith Mr. and Mrs. William E. Spatz George and Mary Stark+ Dr.* and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Jr. Stroud Family Exempt Trust Mr. and Mrs. Joseph D. Sullivan

Ms. Lorraine S. Szabo Mr. Taras G. Szmagala, Jr. Robert and Carol Taller+ Sidney Taurel & Maria Castello Branco Mr. and Mrs. P Philip L. Taylor Mr.* aand Mrs. Robert N. Trombly Robert and Marti* Vagi Dr. and Mrs. H. Reid Wagstaff Walt and Karen Walburn Mrs. Lynn Weekley Mr. and Mrs. Mark Allen Weigand+ Pysht Fund Dr. Edward L. and Mrs. Suzanne Westbrook+ Tom and Betsy Wheeler Richard Wiedemer, Jr.*+ Dr. Paul R. and Catherine Williams Richard and Mary Lynn Wills Bob and Kat Wollyung+ Tony and Diane Wynshaw-Boris+ Ms. Carol A. Yellig Anonymous (3)

The Circle — Young Professionals of The Cleveland Orchestra Mr. and Mrs. David Clark Drs. John and Mary Clough Drs. Mark Cohen and Miriam Vishny Douglas S. Cramer / Hubert S. Bush III (Miami) Ms. Patricia Cuthbertson Karen and Jim Dakin Mr. Kamal-Neil Dass and Mrs. Teresa Larsen+ Mrs. Lois Joan Davis Carol Dennison and Jacques Girouard Michael and Amy Diamant Dr. and Mrs. Richard C. Distad Carl Dodge Maureen Doerner and Geoffrey White William and Cornelia Dorsky Mr. George and Mrs. Beth Downes+ Jack and Elaine Drage Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki Mr. Tim Eippert Peter and Kathryn Eloff Harry and Ann Farmer Dr. and Mrs. J. Peter Fegen Mr. William and Dr. Elizabeth Fesler Mr. Scott Foerster Mr. Paul C. Forsgren Richard J. Frey Mr. and Ms. Dale Freygang Judge Stuart Friedman and Arthur Kane The Fung Family Dr. Marilee Gallagher Mr. James S. Gascoigne Mr. William Gaskill and Ms. Kathleen Burke

Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Dr.* and Mrs. Victor M. Goldberg Dr. and Mrs. Ronald L. Gould Dr. Robert T. Graf Mr. James Graham and Mr. David Dusek Drs. Erik and Ellen Gregorie Nancy and James Grunzweig+ Mr. Steven and Mrs. Martha Hale Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Jane Hargraft and Elly Winer Lilli and Seth Harris Mr. Adam Hart Matthew D. Healy and Richard S. Agnes Dr. Toby Helfand In Memory of Hazel Helgesen The Morton and Mathile Stone Philanthropic Fund Mr. Robert T. Hexter Ms. Elizabeth Hinchliff Mr. and Mrs. Stephen J. Holler 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 Ms. Kimberly R. Irish Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus Mr. and Mrs. Bruce D. Jarosz Robert and Linda Jenkins Mr. Robert and Mrs. Mary V. Kahelin Rudolf D.* and Joan T. Kamper Mr. Jack E. Kapalka

Composer’s Circle gifts of $2,500 to $4,999 Mr. and Mrs. Paul R. Abbey Mr. and Mrs. Charles Abookire, Jr. Sarah May Anderson Susan S. Angell Mr. and Mrs. Jeffrey R. Appelbaum Mr. and Mrs. Eugene J. Beer Jamie Belkin Mr. and Mrs. Belkin Dr. Ronald and Diane* Bell Barbara and Sheldon Berns Margo and Tom Bertin John and Laura Bertsch Howard R. and Barbara Kaye Besser Mitch and Liz Blair Bill* and Zeda Blau Doug and Barbara Bletcher+ Georgette and Dick Bohr Mr. and Mrs. Richard H. Bole Lisa and Ronald Boyko+ Mr. and Mrs. Adam A. Briggs Mr. and Mrs. David Briggs Mr. and Mrs. Dale R. Brogan Mr. and Mrs. Henry G. Brownell Mrs. Frances Buchholzer Mr. Gregory and Mrs. Susan Bulone Mr. and Mrs. Marc S. Byrnes Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker Mr. and Mrs. Frank H. Carpenter Mr. and Mrs. Brian Cassidy Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald Chapnick* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm

86 96

Individual Annual Support

Orchestra The Cleveland Orchestra

Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Dr. and Mrs. William S. Kiser James and Gay* Kitson+ Fred* and Judith Klotzman Mr. Clayton R. Koppes Mrs. Ursula Korneitchouk Jacqueline and Irwin* Kott (Miami) Dr. Ronald H. Krasney and Vicki Kennedy+ Dr. and Mrs. John P. Kristofco Alfred and Carol Lambo Mr. and Mrs. Richard L. Larrabee Mrs. Sandra S. Laurenson Charles and Josephine Robson Leamy * Michael Lederman and Sharmon Sollitto Judy and Donnie Lefton (Miami) Ronald and Barbara Leirvik Mr. Ernest and Dr. Cynthia Lemmerman+ Michael and Lois Lemr Irvin and Elin Leonard Robert G. Levy+ Mary Lohman Elsie and Byron Lutman Mr. and Mrs.* Robert P. Madison 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+ Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Beth M. Mikes Mr. Ronald Morrow III Eudice M. Morse Mr. Raymond M. Murphy+ Ms. Megan Nakashima Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Richard and Jolene O’Callaghan+ Mr. and Mrs. John Olejko Harvey* and Robin Oppmann Mr. Robert Paddock Mr. John D. Papp George Parras Dr. Lewis E. and Janice B. Patterson David Pavlich and Cherie Arnold Matt and Shari Peart Robert S. Perry Dale and Susan Phillip Dr. Marc A. and Mrs. Carol Pohl In memory of Henry Pollak Mr. Robert and Mrs. Susan Price+ Sylvia Profenna Dr. Robert W. Reynolds David and Gloria Richards Drs. Jason and Angela Ridgel Mrs. Charles Ritchie Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Mr. and Mrs. Peter J. Ryerson

The Cleveland Severance HallOrchestra 2019-20

Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton Fr. Robert J. Sanson Ms. Patricia E. Say Mr. Paul H. Scarbrough Don Schmitt and Jim Harmon Ms. Beverly J. Schneider Mr. James Schutte+ Mrs. Cheryl Schweickart Mr. and Mrs. Alexander C. Scovil Ms. Kathryn Seider Rafick-Pierre Sekaly Mr. Eric Sellen and Mr. Ron Seidman Steve and Marybeth Shamrock Ginger and Larry Shane Harry and Ilene Shapiro Ms. Frances L. Sharp Larry Oscar & Jeanne Shatten Charitable Fund of the Jewish Federation Dr. and Mrs. William C. Sheldon+ Terrence and Judith Sheridan Mr. Richard Shirey+ Mr. and Mrs. Reginald Shiverick+ Michael Dylan Short 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 Ms. Janice A. Smith Sandra and Richey Smith+ Mr. Eugene Smolik Ms. Barbara R. Snyder Drs. Nancy Ronald Sobecks Drs. Thomas and Terry Sosnowski Jeff and Linda Stanley Edward R. & Jean Geis Stell Foundation Frederick and Elizabeth Stueber Michael and Wendy Summers Mr. David Szamborski Mr. and Mrs. John Taylor Ken and Martha Taylor Mr. Karl and Mrs. Carol Theil+ Mr. John R. Thorne and Family Bill and Jacky Thornton Dr. and Mrs. Thomas A. Timko Drs. Anna* and Gilbert True Steve and Christa Turnbull+ Bobbi and Peter* van Dijk Teresa Galang-Viñas and Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney John and Deborah Warner Margaret and Eric* Wayne+ Mr. Peter and Mrs. Laurie Weinberger Katie and Donald Woodcock Elizabeth B. Wright+ Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (2)+ Anonymous (7)

With special thanks to the Leadership Patron Committee for their commitment to each year’s annual support initiatives: Brinton L. Hyde, chair air Robert N. Gudbranson, vice chair Barbara Robinson, past chair Ronald H. Bell James T. Dakin Karen E. Dakin Henry C. Doll Judy Ernest Nicki N. Gudbranson Jack Harley Iris Harvie Faye A. Heston David C. Lamb Larry J. Santon Raymond T. Sawyer

Thank You The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including the Leadership donors listed on these pages. Listings of all annual donors of $300 and more each year are published annually, and can be viewed online at CLEVELANDORCHESTRA .COM For information about how you can play a supporting role for The Cleveland Orchestra’s ongoing artistic excellence, education programs, and community partnerships, please contact our Philanthropy & Advancement Office by phone: 216-456-8400 or by email: donate

* deceased

Individual Annual Support

87 97


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 Orchestraâ&#x20AC;&#x2122;s music-making, education programs, and community initiatives.

Annual Support gifts in the past year, as of September 5, 2019 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, Inc. NACCO Industries, Inc. KeyBank The J. M. Smucker Company PARTNERS IN EXCELLENCE $200,000 TO $299,999

BakerHostetler Jones Day PARTNERS IN EXCELLENCE $100,000 TO $199,999

CIBC The Goodyear Tire & Rubber Co. Medical Mutual Parker Hannifin Foundation

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$50,000 TO $99,999

The Lubrizol Corporation PNC Quality Electrodynamics voestalpine AG (Europe) $15,000 TO $49,999

Buyers Products Company Calfee, Halter & Griswold LLP Cleveland Clinic The Cliffs Foundation DLR Group | Westlake Reed Leskosky Dollar Bank Foundation Eaton Ernst & Young LLP Forest City Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP Huntington National Bank Miba AG (Europe) MTD Products, Inc. Northern Trust (Miami) Olympic Steel, Inc. RPM International Inc. The Sherwin-Williams Company Thompson Hine LLP United Airlines University Hospitals

Corporate Annual Support

$2,500 TO $14,999 Amsdell Companies BDI Blue Technologies Brothers Printing Company Eileen M. Burkhart & Co., LLC Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Consolidated Solutions Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Gross Builders Jobs Ohio The Lincoln Electric Foundation Littler Mendelson, P.C. Live Publishing Company Materion Corporation Northern Haserot Oatey Oswald Companies Park-Ohio Holdings Tony and Lennie Petarca PwC RSM US LLP Stern Advertising Ulmer & Berne LLP Margaret W. Wong & Associates LLC 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 September 5, 2019 $1 MILLION AND MORE

The William Bingham Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Elizabeth Ring Mather and William Gwinn Mather Fund Richard & Emily Smucker Family Foundation $500,000 TO $999,999

Ohio Arts Council $250,000 TO $499,999

John P. Murphy Foundation The Eric & Jane Nord Family Fund $100,000 TO $249,999

Paul M. Angell Family Foundation William Randolph Hearst Foundation The Louise H. and David S. Ingalls Foundation Kulas Foundation David and Inez Myers Foundation Dr. M. Lee Pearce Foundation, Inc. (Miami) The Kelvin and Eleanor Smith Foundation Weiss Family Foundation $50,000 TO $99,999

The Burton Charitable Trust The George W. Codrington Charitable Foundation The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs GAR Foundation ideastream League of American Orchestras: American Orchestras’ Futures Fund supported by the Ann and Gordon Getty Foundation

The Cleveland Severance HallOrchestra 2019-20

Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation The Nord Family Foundation The Payne Fund $15,000 TO $49,999

The Abington Foundation Akron Community Foundation The Batchelor Foundation, Inc. (Miami) The Bruening Foundation Mary E. & F. Joseph Callahan Foundation Case Western Reserve University Cleveland State University Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Char and Chuck Fowler Family Foundation The Gerhard Foundation, Inc. The Helen Wade Greene Charitable Trust The Kirk Foundation (Miami) Miami-Dade County Department of Cultural Affairs (Miami) National Endowment for the Arts The Frederick and Julia Nonneman Foundation The Reinberger Foundation Albert G. & Olive H. Schlink Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation The Veale Foundation Wesley Family 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 Cowles Charitable Trust (Miami) D’Addario Foundation Everence Foundation Fisher-Renkert 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 The Laub Foundation The Lehner Family Foundation The G. R. Lincoln Family Foundation The Jack, Joseph, and Morton Mandel Foundation The M. G. O’Neil Foundation The O’Neill Brothers Foundation New World Somewhere Fund Paintstone Foudnation Peg’s Foundation Performing Arts Readiness Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Jean C. Schroeder Foundation The Shifrin Family Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The George Garretson Wade Charitable Trust The Welty Family Foundation The Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wright Foundation The Wuliger Foundation Anonymous

Foundation/Government Annual Support

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Support the Arts! Your interests are valued at Kendal, where opportunities for lifelong learning, arts and entertainment, quiet reflection and more are supported. Whether you’re looking for new adventures in an active community, or pursuing your passions at home, you’ll find Kendal offers communities and services to help you thrive.

To learn more, visit us online or call for an appointment.

Kendal at Oberlin 1.800.548.9469

Kendal at Home 1.877.284.6639


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Kendal affiliates serving older adults in northern Ohio


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 June 2019. For more information, please contact the Orchestra’s Legacy Giving Office by contacting Rachel Lappen at or 216-231-8011. 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 Elizabeth A. Brinkman Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Thomas Brugger, MD 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

The Cleveland Orchestra

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 Alex and Carol Machaskee Jerry Maddox

Legacy Giving

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 Lois S. and Stanley M. Proctor* Mr. David C. Prugh* Leonard and Heddy Rabe

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY 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 Lawrence M. Sears and Sally Z. Sears Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Oliver E.* and Meredith M. Seikel Reverend Sandra Selby Eric Sellen Holly Selvaggi Thomas and Ann Sepúlveda B. Kathleen Shamp Jill Semko Shane David Shank Dr. and Mrs. Daniel J. Shapiro* Helen and Fred D. Shapiro Norine W. Sharp*

Severance Hall 2019-20

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 Ms. Mary C. 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. Stave & 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 John and Deborah Warner

Legacy Giving

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

The lotus blossom is the symbol of the Heritage Society. It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall. For more information, please call 216-231-8011.


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 is no longer open for post-concert service, with the exception of luncheons following Friday Morning Matinees.

OPUS LOUNGE The Opus Lounge is located on the groundfloor of Severance Hall. This warmand-inviting 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 2019-20

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 Wear your pride and love for 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 Venues 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.

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 Guests 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. Guests 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 Large print editions 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: Music Explorers! (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).

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

Guest Information

The Cleveland Orchestra

PARKING GARAGE PARKING Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $15 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. Available on-line, by phone, or in person. Parking can be purchased 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 Orchestra’s website for more information and details.

MainStage 2019-20

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 Grace Church in Fairlawn. The round-trip service rate is $15 per person per concert, and is operated with support from Friends of The Cleveland Orchestra.

Wednesday, October 30 October Octets Dover & Escher string quartets Thursday, November 21 Fei-Fei Margaret Baxtresser Annual Piano Concert

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 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 week’s program. Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There is no service charge for the five-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, a $10 service charge per concert applies. Visit for details.

UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleveland Orchestra performances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least two hours before the concert, the value of each ticket can be a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

Severance Hall 2019-20

Guest Information

Tuesday, February 25, 2020 Academy of St Martin in the Fields with Joshua Bell, violin Saturday, March 21, 2020 Augustin Hadelich, violin Canton Symphony Orchestra special venue: Umstattd Hall, Canton Tuesday, April 14, 2020 Junction Trio Stefan Jackiw, Jay Campbell, Conrad Tao 7:30 p.m. , Akron’s EJ Thomas Hall $45 / $40 / $25 / free for students

330-761-3460 107







Orchestra Personnel Carrie Marcantonio DIRECTOR

David Snyder MANAGER


Choruses Jill Harbaugh

as of October 5, 2019



Julie Kim

Ross Binnie



Christine Honolke




Gil Gerity John Riley Don Verba Dave Vacca STAGEHANDS

Venues & Events Ron Willner DIRECTOR OF VENUES & EVENTS



Joan Katz Napoli

Charles Laszlo


Courtney Gazda




Lauren Generette







Matt Fritz

Bob Bellamy


Patron Advancement John O’Dell

Andrew Kuhar


Sandra Jones


Sales & Marketing Jaclyn Nachman



Marketing & Audience Services Julie Stapf SENIOR DIRECTOR OF MARKETING

Ian Mercer

Kim Svenson



Eric Sellen, MANAGING EDITOR Michel Jaffe, EDITOR


Jon Hummel


Becca Varadan


Rosemary Klena

Patron Services Adam Clemens HOUSE MANAGER




Bob Nock Renee Pettway Christopher Downey Michael Evert BUILDING ENGINEERS

Shelia Baugh George Felder Michelle Williams DOOR PERSONS

Quinn Chambers Steven Washington Pauletta Hughes HALL STAFF LEADS

Antonio Adamson Kervin Hinton Dwayne Johnson Jerome Kelly Darrell Simmons Glynis Smith Dwayne Taylor HALL STAFF & CLEANERS

Ellen Cubberley Debbie Kummer Kathleen Sutton RETAIL ASSOCIATES


Ticket Services Tim Gaines TICKET OFFICE MANAGER (to November 1)

Jessica Norris DIRECTOR, TICKET SERVICES (beginning November 1)


Cindy Adams Monica Berens Larry Parsons Randy Yost CUSTOMER SERVICE REPRESENTATIVES

Mary Ellen Snyder Joan Eppich Sharon Matovich Cedric Lewis TICKETING SERVICE REPRESENTATIVES


Administrative Staff

The Cleveland Orchestra PHILANTHROPY & ADVANCEMENT Public Relations & Communications Justin Holden SENIOR DIRECTOR, COMMUNICATIONS








Individual & Leadership Giving Yvette Hanzel


Finance Janice Brennan CONTROLLER





Information Technology David Vivino DIRECTOR



Mailroom Jim Hilton SUPERVISOR



Judy Murphy DIRECTOR



216-231-7300 Ticket Office

216-231-1111 or 800-686-1141 Group Sales





Corporate Giving, Foundation and Government Support Stephen Langel FOUNDATION GIFT OFFICER


Education Programs & Community Engagement

216-231-7355 Media & Public Relations

216-231-7476 Archives


Development Stewardship, Volunteers, & Events Lori Cohen COMMUNITY LEADERSHIP LIAISON



Development Communications & Data Operations Carey Skinner

Individual Giving

216-456-8400 Corporate Giving

216-231-7518 Foundation Giving





Administrative Offices



Julie Gergotz

11001 Euclid Avenue Cleveland, OH 44106

Rachel Lappen


Severance Hall

Legacy Giving







Customer Experience

216-231-7441 Severance Hall Rental Office


Severance Hall 2019-20

Administrative Staff





hen it opened in 1931, Severance Hall featured a “motor driveway” through the groundfloor of the building. Is was designed to accommodate chauffeurdriven limousine and taxi cabs bringing concertgoers to Severance Hall. As times changed and patrons drove their own vehicles, the drive-thru was used less and less, and finally closed in 1970. The next year, the space was converted into a lounge restaurant known as the Supper Club, serving buffet meals prior to evening concerts. In 1975, it was named the Keynote Restaurant and given some touches of art deco decor to better match the building’s origins. The buffet was closed in 1998 as a major renovation and expansion of Severance


Hall got underway. During the renovation, the space was converted into what is today the Smith Lobby, with adjoining Ticket Office and new restrooms. The original tiled road surface was covered over and portions were preserved at either end of the lobby. Looking through glass viewing portals on the floors of the Rankin and Shea entrances, today’s visitors can see the centerline tiles of the original roadway preserved in place during the renovation.

Severance Hall’s Drive-thru Motorway

The Cleveland Orchestra

Whatever greatness The Cleveland Orchestra has achieved is because of all the people in this community, from Cleveland and surrounding communities, who believe in what the power of music can do.


â&#x20AC;&#x201D;Franz Welser-MĂśst

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 more than $5 million since 2016 to scale up neighborhoodbased programs that now serve 3,000 youth yearround in music, dance, theater, photography, literary arts and curatorial mastery. Thatâ&#x20AC;&#x2122;s a symphony of success. Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.

(877) 554-5054

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The Cleveland Orchestra October 11-26 Concerts  

October 11-12 - Brahms Third Symphony October 17-19 - Beethoven's Seventh October 24-26 - Nielsen Fifth Symphony

The Cleveland Orchestra October 11-26 Concerts  

October 11-12 - Brahms Third Symphony October 17-19 - Beethoven's Seventh October 24-26 - Nielsen Fifth Symphony

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