The Cleveland Orchestra January 9-11, 30, February 1 Concerts by Live Publishing

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THE

CLEVEL AND ORC HE STR A FRANZ WELSER-MÖST

SEVERANCE HALL Perspectives

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

WEEK 11 — January

9, 10, 11 Bronfman Plays Mozart . . . . . . . . . . . . . page 37 WEEK 12 — January 30, February 1 Prokoﬁev’s Sixth Symphony . . . . . . page 59

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TA B L E O F C O N T E N T S

About the Orchestra

PAGE

Weeks 11 and 12 Perspectives from the President & CEO . . . . . . . . . 9 Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Advisory Councils . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Music Director: Franz Welser-Möst . . . . . . . . . . . . 15 About The Cleveland Orchestra . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 About Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . 89 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

NEWS

Cleveland Orchestra News . . . . . . . . 22

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THE CLEVELAND ORCHESTRA

PROGRAM BOOK

ON THE COVER Photograph by Roger Mastroianni

11 BRONFMAN PLAYS MOZART

WEEK

Concert: January 9, 10, 11 . . . . . . . . . . . . . . . . . . . . 37 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 39 DVOŘÁK

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

Symphony No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 MOZART

Piano Concerto No. 24 . . . . . . . . . . . . . . . . . . . . . . 45 JANÁČEK

Sinfonietta . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 15 Soloist: Yefim Bronfman . . . . . . . . . . . . . . . . . . . . . . . 49

12 PROKOFIEV SIXTH SYMPHONY

WEEK

Concert: January 30, February 1 . . . . . . . . . . . . . 59 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 61 PROKOFIEV

Symphony No. 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 BRIDGE

The Sea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 DUKAS

The Sorcerer’s Apprentice . . . . . . . . . . . . . . . . . . . 71

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.

Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 15

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End Note Tom Sherwood: “I am a Percussionist” . . . . . . . . . 94

Table of Contents

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The Cleveland Orchestra

S O U N D

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T H E

C I T Y

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What’s inside this ABOUT THE ORCHESTRA

Perspectives January 2020 The start of a new year brings with past and antici it time both for pation for the reflection on the future. As many our social media of you will channels — Faceb New Year began ook, Twitter, Instag have seen on , The Cleveland ram — as the Orchestra poste of celebration” d its own “twelv looking back at Presid ent & e days important mome ments from the CEO nts and accom past decade. Under plishthe hashtag #Endo to Northeast Ohio, posts are potent reminders of fDecade, these The Cleveland and of music’s Orchestra’s value importance to so many peopl More Music for e every day. More People. Much of our work the larger goal of playing “more in recent years has been under music for more series and prese taken with peopl ntations. We’ve retooled our subsc e.” We’ve expanded and added es for guests here ription offerings new at , and we’ve successfully Severance Hall. Through the generosity of forwa added new serviccreated new initiat numbers — initiat rd-thinking donor ives to encourage ives that now make s, young people We’ve continued to our attend annual Education in record celebrating comm Concerts free for holiday presentatio unity ties throu all schoo gh free community ls. ns. (Our 2019 Christ reached all-tim concerts and annua mas Concerts e highs in both l revenue and attend here at Severance Hall in Decem ance.) ber Martin Luther King Jr. Celeb rations. Each Orchestra has year for the past presented a specia four decades, The l free concert to together to celebr Cleveland bring the larger ate the spirit of Cleveland comm Dr. King’s vision year, the prese unity ntatio for a better and more collaborative demo n features a specially-assemble d community choru just world. Each nstration of huma This annual conce s lifting voices nity working toget in a rt is filled to capac her toward a better beyond Severance ity each year, with tomorrow. Hall through a its reach exten live radio broad the concert online ded to thousands cast and, in recen . Of special note t years, live stream Concert from 2018 this year, the Orche ing of has been releas stra’s Martin Luther ed for national Welser-Möst’s King Jr. Celebr baton filmed as telecast, in a prese ation part of our ongoi ntation under ream. This teleca ng work with local Franz st brings toget her media partner with the powe ideastr of music to enhan photography and spoken words ce emotional refl by telecast dates and ection and celebr and about Dr. King times, see page 27 of this book.) ation. (For details on Cleveland’s Amba ssador to the World. The nation our efforts to reach al MLK telecast out, here in Ohio is just one exam chestra and Franz and around the ple of Welser-Möst set world. In the coming month and, for the first off s, the Ortime, to the United on a spring international tour — this year to appear at the Abu Arab Emirates Europe as the first Amer Dhabi Festival. ican orchestra This spring, we’re to share a series invited to of new releases also launching showcasing the our own record Severance Hall ing label, Cleve with music-lover s around the world land/Welser-Möst partnership continue to enhan and . At ce initiatives, to touch and add to our concert offerings the same time, here at home , we , education progr the lives of more ams, and ticket people each year. ing Thank for joinin g with us!

Sever ance Hall

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. What’s Happening? — Additional sections of the book give you information about events and happenings, including:

André Gremill illet let President & CEO The Cleveland Orchestra

2019-20

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2O2O eland city wide The Clev ndbreaking d for of its grou Power, schedule the name nd the & ered arou sored: Art ival is cent n Berg’s opera tival, Cen . The fest s of Alba on spring 2020 ance ussi a’s perform seek s to spur disc Orchestr ent cen2020, and governm point Lulu in May in society, role of art as a star ting Nazi about the prejudice, taking ement in Music mov the Orchessorship, and erate Art & t of a Music mov the Degene a major focal poin ade rate Art & will feature dAs ival any. fest the Degene Germany in the dec oun the Germ to ss known as -20 season, presentations surr s igated acro ld War. In addition tra’s 2019 ance tive ment inst s, and collabora ra perform nd Wor variety of ing up to the ope the Seco performance d Reich’s re ical befo mus , to the Thir artworks ing and lead banning ’t conform i Part y held a 19, and 22). ils include: tion didn deta that ed (May 16, unc bora literature uty, the Naz exhibitions Newly-anno ming in colla which will sical bea lic program eved idea of clas ely-attended pub selves, Education music it beli and Our ents wid series of of art and to Jewish, Comng History teachers and stud ningexamples with Faci eland area providing or decadent — due st, and other age in mea erni ful provide Clev s to help them eng udice, and was harm an American, Mod urce m, prej with reso about racis ist, Afric ns on is mun atio seas ing influences. ful convers ; of this com eum of minority “It is an itism highlights eland Mus whose ser-Möst. anti-Sem “One of the n at the Clev Franz Wel ically and An exhibit ts from its collectio Lulu,” says in Gerk both mus g g artis featured the opera lenging wor programmin Art honorin oved by Nazis and entations; an nse and chal ter. Yet this kind of inte such rem pres have was Art we ect mat work d because Degenerate e of Art Cinemain its subj ience.” l in Clevelan open aud many’s 1937 German d Institut is successfu y, adventurous, and nd A Clevelan of G.W. Pabst’s 1929 by the inar creating arou tiong are aord ired we enin extr val insp festi at the rela e that theque scre ’s Box, which was “With the “Lulu” cycl “we will look of how continues, in Berg’s lifetime — film Pandora Frank Wedekind’s ra; Lulu,” he tically s in of his ope and politics s and ‘30s was poli same play Beachthe libretto g ship of art pted for hosted by ic in the 1920 d. We are featurin Berg ada s of lectures Heritage. others certain mus ibite And a serie eum of Jewish and proh Krenek, and ik’ or r partabandoned in Schulhoff, Ernst tz Mus e and othe rtete Mus ‘Enta Erw wood’s Mal al details of thes ths led by works in the mon Nazis labe Addition ks that the announced be wor rian — will ts Music.” ic, authorita ner even CleveDegenerate period of autocrat tic expression 2020, The May ad. in sera ahe z Wel “It was festival d. ed any artis ctor Fran During the condemn a heavy han music dire , which German regimes who r narrow view with estra and ra Lulu d through land Orch prohibite ide of thei on the ope during the Nazi rise sed s were outs abu k focu is wor of Lulu their wrote Möst will at both the character Artists and Alban Berg into how Looking Just as the the composer y 1930s. , we will look — and censorship. matter of in the earl own way to power ive subject censorship sive in her abused by a system ress abu . opp and ther ent art can be governm Art & abusive and on one ano music and f and how iere, the Censored: turn people only from the itsel can ra s m ope way how a syste ortant topics, not work’s prem d to explore the ser-Möst. were imp halted the gne ld,” says Wel These are at the time tical ival is desi today’s wor Power fest ic and composers poli but bu also in nda, p past aga mus prop ch udice, in whi t became by the prej 25 ded wha damaged hate that surroun control, and tra News d Orches Clevelan 9-20 ce Hall 201 Sev eran

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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. 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.

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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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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 information about how to enhance your concert experience by learning more or relaxing with friends.

Severance Hall 2019-20

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Perspectives January 2020 The start of a new year brings with it time both for reflection on the past and anticipation for the future. As many of you will have seen on our social media channels — Facebook, Twitter, Instagram — as the New Year began, The Cleveland Orchestra posted its own “twelve days of celebration” looking back at important moments and accomplishPresident & CEO ments from the past decade. Under the hashtag #EndofDecade, these posts are potent reminders of The Cleveland Orchestra’s value to Northeast Ohio, and of music’s importance to so many people every day. More Music for More People. Much of our work in recent years has been undertaken with the larger goal of playing “more music for more people.” We’ve expanded and added new series and presentations. We’ve retooled our subscription offerings, and added new services for guests here at Severance Hall. Through the generosity of forward-thinking donors, we’ve successfully created new initiatives to encourage young people to attend in record numbers — initiatives that now make our annual Education Concerts free for all schools. We’ve continued celebrating community ties through free community concerts and annual holiday presentations. (Our 2019 Christmas Concerts here at Severance Hall in December reached all-time highs in both revenue and attendance.) Martin Luther King Jr. Celebrations. Each year for the past four decades, The Cleveland Orchestra has presented a special free concert to bring the larger Cleveland community together to celebrate the spirit of Dr. King’s vision for a better and more just world. The presentation features a specially-assembled community chorus lifting voices in a collaborative demonstration of humanity working together toward a better tomorrow. This annual concert is filled to capacity each year, with its reach extended to thousands beyond Severance Hall through a live radio broadcast and, in recent years, live streaming of the concert online. Of special note this year, the Orchestra’s Martin Luther King Jr. Celebration Concert from 2018 has been released for national telecast on PBS, in a presentation under Franz Welser-Möst’s baton filmed as part of our ongoing work with local media partner ideastream. This telecast brings together photography and spoken words by and about Dr. King with the power of music to enhance emotional reflection and celebration. (For more details on this, see page 25 of this book or check your local broadcast listings.) Cleveland’s Ambassador to the World. The national MLK telecast is just one example of our efforts to reach out, here in Ohio and around the world. In the coming months, the Orchestra and Franz Welser-Möst set off on a spring international tour — this year to Europe and, for the first time, to the United Arab Emirates as the first American orchestra invited to appear at the Abu Dhabi Festival. This spring, we’re also launching our own recording label, to share a series of new releases showcasing the Cleveland/Welser-Möst partnership and Severance Hall with music-lovers around the world. At the same time, here at home, we continue to enhance and add to our concert offerings, education programs, and ticketing initiatives, to touch the lives of more people each year. Thank for joining with us!

Severance Hall 2019-20

André Gremillet President & CEO The Cleveland Orchestra

MUSICAL ARTS ASSOCIATION

as of November 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 Margot Copeland Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Robert A. Glick 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 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 John Warner Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Paul E. Westlake Jr. David A. Wolfort Dr. Anthony Wynshaw-Boris

N ATI O NA L A ND I N T E RN AT I O N AL T RUS T E E S Virginia Nord Barbato (New York) Richard C. Gridley Wolfgang C. Berndt (Austria) (South Carolina) Mary Jo Eaton (Florida) Herbert Kloiber (Germany) TRUSTEES EX- OFFICIO Lisa Fedorovich, Co-Chair, Cleveland Orchestra Chorus Operating Committee Barbara R. Snyder, President, Case Western Reserve University TRUSTEES EMERITI George N. Aronoff Dr. Ronald H. Bell David P. Hunt S. Lee Kohrman Raymond T. Sawyer

Ben Pyne (New York) Paul Rose (Mexico)

Dr. Patricia M. Smith, President, Friends of The Cleveland Orchestra Todd Diacon, President, Kent State University

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

TH E C L E V E L A N D O R C H E S T R A FRANZ WELSER-MÖST, Music Director

Severance Hall 2019-20

ANDRÉ GREMILLET, President & CEO

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

Join us as the premier American ragtime ensemble recreates the syncopated stylings of a bygone era. The orchestra will underscore classic silent films with actors such as Stan Laurel and Oliver Hardy in “Habeas Corpus” (1928), Charlie Chaplin in “The Rink” (1916), and Buster Keaton in “One Week” (1920).

The Maltz Performing Arts Center proudly presents

The Peacherine Ragtime Society Orchestra:

Sunday, March 15 | 3 p.m. Tickets range from $12-$40 Purchase your tickets at case.edu/maltzcenter.

Underscoring the Masters of Silent Comedy 12

Advisory Councils and Boards

The Cleveland Orchestra

1918

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.

40,000

each year

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

52 53%

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

4million

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

1931

150

concerts each year.

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

The Cleveland Orchestra performs over

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

it starts with a dream

18 East Orange Street Chagrin Falls, Ohio (440) 247-2828

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

THE CLEVELAND ORCHESTRA

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.

PHOTO BY ROGER MASTROIANNI

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

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 www.ExpressProgramBook.com to read bios and commentary from this book on your mobile phone before or after the concert.

PHOTO BY ROGER MASTROIANNI

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-

Severance Hall 2019-20

The Cleveland Orchestra

T H E

C L E V E L A N D

Franz Welser-Möst MUSIC DIREC TOR

CELLOS Mark Kosower *

Kelvin Smith Family Chair

SECOND VIOLINS Stephen Rose* FIRST VIOLINS Peter Otto FIRST ASSOCIATE CONCERTMASTER

Virginia M. Lindseth, PhD, Chair

Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Jessica Lee ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Stephen Tavani ASSISTANT CONCERTMASTER

Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Katherine Bormann Analisé Denise Kukelhan Zhan Shu

Alfred M. and Clara T. Rankin Chair

The GAR Foundation Chair

Charles 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.

Severance Hall 2019-20

2O19 -2O2O

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 Sharon and Yoash Wiener Chair

Jeffrey Rathbun2 Everett D. and Eugenia S. McCurdy Chair

HORNS Nathaniel Silberschlag* George Szell Memorial Chair

Michael Mayhew

Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia

Robert and Eunice Podis Weiskopf Chair

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

Michael Miller

ENGLISH HORN Robert Walters

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

Michael Miller 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 *

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

Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

The Cleveland Orchestra

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

TRUMPETS Michael Sachs*

Robert Walters

Samuel C. and Bernette K. Jaffe 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

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Vinay Parameswaran ASSISTANT CONDUCTOR

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 DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

orchestra news

THE CLEVELAND ORCHESTRA

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 Orchestra 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 performances 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,

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 insightful 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

THE CLEVELAND ORCHESTRA

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 clevelandorchestra.com.

Cleveland Orchestra News

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orchestra news

THE CLEVELAND ORCHESTRA

Martin Luther King Jr. celebrated in free events with concert on January 12 and open house on January 20 On Sunday, January 12, The Cleveland Orchestra performs its 40th annual concert celebrating the spirit of Dr. King’s life, leadership, and service through musical performance and community recognition. The performance will be conducted by Cleveland Orchestra assistant conductor Vinay Parameswaran, leading musical selections with the Martin Luther King Jr. Celebration Chorus, a group of volunteer singers from across Northeast Ohio assembled and prepared each year by William Henry Caldwell. Video segments will also be featured as part of this year’s concert, creating a multi-media presentation. The concert begins with the presentation of the annual Martin Luther King Jr. Community Service Awards, given jointly by The Cleveland Orchestra and the City of Cleveland to individuals who are positively impacting Cleveland in the spirit of the teachings and example of Dr. King. The concert is free, but tickets are required. Tickets were made available through The Cleveland Orchestra’s website January 4 and were sold out in half an hour. Those without tickets can experience the concert’s music and celebration by live radio broadcast over WCLV (104.9 FM), as well as online streaming at clevelandorchestra.com and via the Orchestra’s Facebook and YouTube channels. A week later, on MLK Day, Monday, January 20, Severance Hall hosts its eighteenth annual Martin Luther King Jr. Day Community Open House from 12 noon to 5 p.m. The afternoon features activities and performances including, in collaboration with Case Western Reserve University, a presentation of “400: An Afrikan Epic.” This musical performance, led by Mark Lomax III, addresses the 400th anniversary of slavery in America, the ripple effects of its consequences, and offers optimism for the future. For a complete detailing of the open house schedule, please visit www.clevelandorchestra.com. Severance Hall 2019-20

National telecast for Cleveland Orchestra’s Martin Luther King Jr. Celebration Concert 2018 concert released nationally American Public Television (APT), a leading syndicator of top-rated programming to the country’s public television stations, selected ideastream’s production, “Martin Luther King Jr. Celebration Concert with The Cleveland Orchestra,” for national distribution. Stations across the United States have the opportunity to telecast the program beginning in January 2020. For Northeast Ohio audiences, WVIZ/PBS ideastream has scheduled broadcasts on Sunday, January 19 at 6 p.m. and Monday, January 20 at 10 p.m. The program features The Cleveland Orchestra’s 2018 live concert conducted by music director Franz Welser-Möst, showcasing the moving and inspiring community celebration honoring the life of Dr. Martin Luther King Jr. The telecast program, jointly created two years ago by ideastream in partnership with The Cleveland Orchestra, is a tribute to the slain civil rights leader as told through music and Dr. King’s own words. The moving and inspiring program features music specially selected to relate to themes in speeches by Dr. King, excerpts of which are included in the hour-long program. KeyBank sponsored the 2018 concert and program.

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

THE LOTUS CL AT SE VE R AN CE

THE CLEVELAND ORCHESTRA

HA LL

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.

Eat Well. Do Good.

EDWINS

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Visit Edwins Butcher Shop and Edwins Bakery 13024 Buckeye Rd., near S. Moreland Blvd.

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THE CLEVELAND ORCHESTRA

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 lectures will be 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

Severance Hall 2019-20

FE STIVAL 2O2O

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.

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Comprehensive Estate Planning & Elder Law

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February 8, 2020 8:00PM

The Cleveland Orchestra

A Phone Call That Changed My Life by Michael Sachs, Principal Trumpet

“Pack your bags, young man. You’re the new Principal Trumpet of The Cleveland Orchestra.” I’ll never forget the phone call from David Zauder (longtime Orchestra Personnel Manager and Second Trumpet) on May 12, 1988 that changed my life forever. The call that brought me to this incredible orchestra and community of people, like BMM PG you JO UIF BVEJFODF, who so greatly value music. When I first moved to Cleveland all those years ago, I was struck by the grandeur of Severance Hall, the polish of the ensemble – and, most of all, the support of this community. The reason The Cleveland Orchestra has thrived for over 100 years is because of people like you. As a dedicated supporter of the Orchestra, you bring life-changing music to the stage week after week for our Cleveland community. It has been the great honor of my lifetime to be in this ensemble, in this city, and it has given me so much. This orchestra raised me and taught me the “Cleveland Orchestra way” which, as it turns out, is very much the Cleveland way. Cleveland – and all of Northeast Ohio – is about family. It’s about tradition, pride, and a sense of belonging.

WhenIIthink thinkof ofyour yourlove loveand andpassion passionfor forthe the When Orchestra, it makes me want to bring you all Orchestra, it makes me want to bring you all onstagewith withme. me.Then Thenyou youcould couldfeel feelthe the onstage powerfulrelationship relationshipbetween betweenthe theaudience audience powerful andthe theensemble. ensemble.Because Becausewithout withoutyou you and inthe theaudience, audience,ititwouldn’t wouldn’tbe beaaconcert! concert! in Youare arethe theother otherhalf halfof ofthe theconversation, conversation, You feedingback backinto intothe thecreative creativeenergy energyon onthe the feeding stageand andfueling fuelingthe themusic. music. stage Simplyput, put,we weare arenothing nothingwithout withoutyou. you. Simply TheCleveland ClevelandOrchestra Orchestrabelongs belongsto tothe the The peopleof ofNortheast NortheastOhio. Ohio. people Therewere weretimes timesin inmy mycareer careerwhen whenIIhad had There thechance chanceto toexplore exploregoing goingto tobigger biggercities cities the NewYork, York,Chicago, Chicago,Los LosAngeles Angeles––but butitit ––New wasnever neverreally reallyaaserious seriousconsideration. consideration. was There’snowhere nowhereelse elseIIwanted wantedto toraise raisemy my There’s family,and andthere’s there’snowhere nowhereelse elseI’d I’drather ratherbe. be. family, Yourcommitment commitmentto toThe TheCleveland Cleveland Your Orchestramakes makesme meproud proudto tocall call Orchestra NortheastOhio Ohiohome. home. Northeast

Show your Cleveland pride Show your Cleveland pride with your gift today! with your gift today! Visit clevelandorchestra.com/donate Visit clevelandorchestra.com/donate oror contact Joshua Landis: contact Joshua Landis: phone: 216-456-8400 phone: 216-456-8400 email: donate@clevelandorchestra.com email: donate@clevelandorchestra.com

At just four years old, young Michael Sachs knew he wanted to play the trumpet, but found out he couldn’t start until his front teeth came in! At six and a half, he finally got his hands on one – and never looked back. Michael loves this photo from his childhood because “besides the puffed out cheeks,” his expression remains the same all these years later.

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From Inside the Orchestra

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The Cleveland Orchestra

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THE CLEVELAND ORCHESTRA

Franz Welser-Möst and Cleveland Orchestra embark on spring tour to Europe and Abu Dhabi T H E C L E V E L A N D O R C H E S T R A and Franz

Welser-Möst embark on their twentieth international tour together this spring, with seven performances scheduled in three cities across Europe (Vienna, Paris, and Linz), and four concerts in the United Arab Emirates as the first American orchestra to perform at the Abu Dhabi Festival. The tour performances span March 19 to April 4. The tour’s concert programs feature the pairing of symphonies by Sergei Prokofiev and Franz Schubert, two composers separated by a century in time, but who shared gifts for melody and intricate layers of musical meaning. Other works on the tour as part of the Abu Dhabi Festival include Tchaikovsky’s Fifth Symphony and Dvořák’s Cello Concerto. The ensemble will be joined in Europe by frequent Cleveland Orchestra guest artist Julia Fischer for performances of Prokofiev’s First Violin Concerto. In Abu Dhabi, the concerts feature baritone Simon Keenlyside, cellist Yo-Yo Ma, and a special collaboration with American Ballet Theatre for staged performances of Prokofiev’s Romeo and Juliett with choreography by Kenneth MacMillan. Long acclaimed for its artistry and musical excellence, The Cleveland Orchestra is a proud ambassador for Ohio, carrying the depth and breadth of local arts and cultural understanding across the globe. The 2020 International Tour is part of the Orchestra’s 102nd season and the 18th year of the ensemble’s acclaimed partnership with Welser-Möst. “Nearly every season over the past half century, The Cleveland Orchestra has toured internationally,”” says André Gremillet, the Orchestra’s President and CEO. “We are extraordinarily proud to represent Cleveland and Northeast Ohio around the world. Touring remains an essential part of our season both from an artistic and an audience development perspective. It is always a great pleasure for us to be back in Vienna and Paris, and we are honored to be the first orchestra from the United States to play the renowned Abu Dhabi Festival. Music truly is a universal language that transcends cultures and connects us all.” Commenting on the tour and his pairing of

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works by Schubert and Prokofiev, Franz WelserMöst said: “It is important that we continue to perform works that are too often neglected or have been forgotten. This season, I am pairing works by Schubert and Prokofiev because, although both of them are well-known composers, there is still so much of their music that remains unknown. Their creativity shares a number of similarities and contrasts, and I believe that hearing g them together brings ou ut special qualities of their ge-nius. Their lesser-known n aris a r Lin Li nzz masterpieces should . ..PParPaParis V nna Vi Vien n na be rediscovered. At the same time, their acclaimed works also showcase the art and creativity of two extraordinary composers. The lesser-known symphonies — such as Schubert’s Third and Fourth, or Pro okofiev’s Second, Third, and d Sixth — are absolute jewels, which audiences should experience. They have as much to offer as Schubert’s ‘Great’ C-major Symphony or Prokofiev’s Romeo and Juliet.” “In Vienna, we are a household name, from performing there every other season,”” continued Welser-Möst. “We are also well-known in Paris. We leave a lasting impression. And on this tour we have some interesting things to offer. Prokofiev’s Second Symphony has never before been perr formed at Vienna’s Musikverein and the last time Prokofiev’s Sixth Symphony was played there was in 1983 with the Leningrad Philharmonic — and I was in that audience, in standing room. I believe it is important that we present programming, to offer audiences an experience to say, ‘Oh, that is differr ent.’ Helping audiences discover something new, something they enjoy, is important. When we’ve done that, I think we have done a good job.” For complete tour details, dates, and programs, visit www.clevelandorchestra.com.

Cleveland Orchestra News

Ab A Abu bu bu Dha hab habi h abi ab bii Fes Fest Festi F Fe est e t ival vvall

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THE CLEVELAND ORCHESTRA

Famed conductor John Williams to lead The Cleveland Orchestra on April 26 The Cleveland Orchestra has announced an added concert to the season, with composer John Williams leading the Orchestra in a special one-night-only program featuring music from his celebrated film scores on Sunday afternoon, April 26, 2020 at Severance Hall. Williams’s movie scores are among the most acclaimed in cinema history. He has also written a selection of works for the concert stage, including a trumpet concerto composed for The Cleveland Orchestra and principal trumpet Michael Sachs, premiered in Cleveland in 1996. Williams has previously led The Cleveland Orchestra in a dozen performances across the years as part of the summer Blossom Music Festival. He made his Severance Hall debut with the Orchestra in 2018. John Williams is one of America’s most accomplished and successful composers for film and the concert stage. Across a career that began in the 1950s, he has composed music and served as music director for more than 100 films. These

include the Star Wars films, the first three Harry Potter movies, and the entire Indiana Jones film series. His 45-year creative partnership with Steven Spielberg includes Jaws, E.T. the Extra-Terrestrial,l Close Encounters of the Third Kind, d Lincoln, and Schindler’s List. Williams has earned five Academy Awards and 51 Oscar nominations, 24 Grammy Awards, 4 Golden Globes, and 3 Emmys. He is the recipient of the National Medal of Arts and Kennedy Center Honors. Williams served as music director of the Boston Pops Orchestra for fourteen seasons and now holds the title of laureate conductor. Tickets for the April 26 concert could be purchased by Cleveland Orchestra subscribers and donors beginning on January 10, before going on sale to the general public on January 14. For tickets, call Severance Hall Ticket Services at 216-231-1111 or visit clevelandorchestra.com.

Cleveland Institute of Music Orchestra Saturday, February 1 at 8pm Maltz Performing Arts Center JoAnn Falletta, guest conductor

HINDEMITH Symphonic Metamorphosis of Themes by Carl Maria von Weber RESPIGHI Fontane di Roma (Fountains of Rome) RESPIGHI Pini di Roma (Pines of Rome)

Reserve FREE tickets at cim.edu/maltz or call 216.368.6062

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The Cleveland Orchestra

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THE CLEVELAND ORCHESTRA

Economic study shows The Cleveland Orchestra’s influence and impact across Northeast Ohio 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

T H E

O R C H E S T R A

C L E V E L A N D

Listed here are the members of The Cleveland Orchestra who hold the honorary title Emeritus. Included are living members who retired after served more than twenty years. Appointed by and playing under four music directors, these 39 retired 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 King * — continues as member 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 December 15, 2019

Appreciation

The Cleveland Orchestra

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THE CLEVELAND ORCHESTRA

M . U . S . I .C . I . A . N S . A . L . U .T. E

The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians 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 2018-19 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.”

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Photo by Roger Mastroianni, courtesy of The Cleveland Orchestra.

YeďŹ m Bronfman

legendary Itâ&#x20AC;&#x2122;s more than music.

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

bakerlaw.com

THE

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

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Thursday evening, January 9, 2020, at 7:30 p.m. Friday morning, January 10, 2020, at 11:00 a.m.* Friday evening, January 10, 2020, at 8:00 p.m. Saturday evening, January 11, 2020, at 8:00 p.m.

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FR ANZ WELSER- MÖST

Franz Welser-Möst, conductor ANTONÍN DVORÁK (1841-1904)

Symphony No. 4 in D minor, Opus 13 1. 2. 3. 4.

Allegro Andante sostenuto e molto cantabile Scherzo: Allegro feroce — Trio Finale: Allegro con brio

INTER MISSION* (Friday morning is presented without intermission) WOLFGANG AMADÈ MOZART (1756-1791)

Piano Concerto No. 24 in C minor, K.491 1. Allegro 2. Larghetto 3. Allegretto YEFIM BRONFMAN, piano

LEOS JANÁCEK (1854-1928)

Sinfonietta 1. 2. 3. 4. 5.

Allegretto Andante Moderato Scherzo: Allegretto Andante con moto

This weekend’s concerts are sponsored by BakerHostetler. Yefim Bronfman’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Timothy P. and Jennifer C. Smucker. The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation. * The Friday Morning Concert is performed without intermission and features the Piano Concerto and Sinfonietta only.

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Program: Week 11

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January 9, 10, 11 THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 FRI 5:00 SAT 5:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

Severance Restaurant Reservations (suggested) for dining:

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

E V E N I N G P R E V I E WS Reinberger Chamber Hall

MORNING PREVIEW Concert Hall

“Mozart and the Czech Tradition”

“Fanfares and Such”

with guest speaker David Rothenberg, Case Western Reserve University

FRIDAY MORNING 11:00

DVOŘÁK Symphony No. 4 . . . . . . . . . page 41

Mozartt

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

with Rose Breckenridge, Music Study Groups

(35 minutes)

(20 minutes)

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

Janáček

INTERMISSION

MOZART Piano Concerto . . . . . . . . . page 45 (30 minutes) 12:10

JANÁČEK Sinfonietta . . . . . . . . . . . . . . page 51 (25 minutes) Concert ends: (approx.)

Severance Restaurant Post-Concert Luncheon follows the Friday Morning concert. No intermission for Friday Morning.

THUR 9:20 FRI 9:50 SAT 9:50

Post-Concert CD Signing on Saturday evening, January 11 with Yefim Bronfman, at Opus Lounge

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

INTRODUCING THE CONCERT

Rhythms, Trumpets &Mozartean Splendor

JANÁČEK

MOZART

DVOŘÁK

T H I S W E E K ’ S C O N C E R T S offer works written across nearly a century-

and-a-half — including a sublime piano concerto, blazing and fiery music depicting a composer’s hometown, and an early symphony fully worth rediscovering. The evening concerts begin with Antonín Dvořák’s Fourth Symphony, composed in 1874-75. Written before Dvořák was recognized and acclaimed as a major talent (and not premiered in its entirety until 1892), it is a startlingly creative and well-developed work, filled with strong rhythmic pulses and pleasing melodies — and all too rarely performed. The concerts continue — or, on Friday morning, begin — with one of Mozart’s late, great piano concertos, written in a mad fury of mature creativity when, in his late twenties, this musical genius wrote a dozen such masterpieces in just four years. Cleveland favorite Yefim Bronfman is this week’s soloist, sharing his supreme artistry with us in a work of infinite splendor. To close the concerts, Franz Welser-Möst leads a wonderfully stirring and sentiment-filled piece, Leoš Janáček’s Sinfonietta. Premiered in 1926, this work’s movements depict — in glory, quietude, crescendos, rhythmic cartwheels, and formidable blasts — the composer’s memories of his hometown of Brno, including a fiery fanfare for multiple trumpets representing the military garrison band in formation and exercise. All in all, magnificent music to begin a new year. —Eric Sellen

In recognition of their extraordinary generosity in support of The Cleveland Orchestra, these performances are dedicated to: Mrs. Norma Lerner and The Lerner Foundation (Thursday, January 9) Mr. and Mrs. Alexander M. Cutler (Thursday, January 9) Dr. and Mrs. Hiroyuki Fujita (Friday evening, January 10) Marjorie B. Shorrock (Saturday, January 11) 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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Introducing the Concert

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Symphony No. 4 in D minor, Opus 13 composed 1874, revised 1888-89

At a Glance

Antonín

DVOŘÁK born September 8, 1841 Nelahozeves, Bohemia died May 1, 1904 Prague

Dvořák wrote his Symphony in D minor between January and March 1874. He included it, along with the previous Symphony in D-flat major, among the manuscripts he handed to an Austrian government program to award stipends to promising younger composers. The jury included Johannes Brahms, who was impressed by Dvořák’s creativity and helped ensure that the relatively unknown Czech composer won that year’s stipend. The symphony (designated and published as “No. 4” many years later) was given a partial premiere on May 25, 1874, when Bedřich Smetana led a performance of only the third

movement in Prague. The entire symphony was presented publicly for the first time in April 1892, conducted by the composer. This symphony runs about 35 minutes in performance. Dvořák scored it for 2 flutes (both doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, triangle, and cymbals), and strings. The Cleveland Orchestra has presented Dvořák’s Fourth Symphony on only one previous occasion, when Aldo Ceccato led a weekend of performances it in January 1982.

About the Music D V O Ř Á K ’ S F O U R T H S Y M P H O N Y, sometimes nicknamed the

“Little,” is often overlooked in deference to its more imposing cousin, the Seventh, also in D minor and nicknamed the “Great” (from the German word “Grosse” meaning first and foremost “large” or “substantial” rather than superb, though that it may also be). Yet Franz Welser-Möst believes that the Fourth is “a piece ready to be rediscovered” — a task The Cleveland Orchestra is well poised to do, he adds, with its “long standing tradition of playing Dvořák.” This is not the composer’s only early work that has been overlooked. Dvořák’s first four symphonies belong to a period of relative obscurity, before the watershed moment in 1878 when Brahms recognized his talent in a government competition that propelled him into the international limelight. Until that point, Dvořák, then in his thirties, was making ends meet by teaching the organ or playing in the orchestral pit at the local opera house in Prague. There he had ample opportunity to experience first-hand the skill and dramatic power of Bedřich Smetana, often called the “Father of Czech Music,” as they rehearsed Smetana’s groundbreaking operas. In his impoverished conditions, Dvořák spent many of his Severance Hall 2019-20

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 ExpressProgramBook.com before or after the concert.

hard-earned pennies on manuscript paper, composing in whatever hours in the day were left to him, and picking out ideas on a feeble spinet keyboard in his crowded bedroom. Many evenings were spent, he recalled, “poring over Beethoven in the hope of discovering the secret of that magic style.” Dvořák’s talent and determination won through, eventually leading to his own first opera being accepted for performance. Slowly, he was able to distance himself from people’s image of him as a “village butcher’s son” toward being recognized as a promising Prague composer. As a sign of this new credibility, Dvořák’s fiancée’s parents finally let him marry their daughter, Anna. This sparked a creative surge, and symphonies Three and Four followed in quick succession in 1873-74. (Their designated numbering was actually assigned to them many decades later.) These two symphonies were among works he submitted to the jury of the Austrian State Stipend, which was judged and awarded annually. In 1875, Brahms was on the jury and spotted Dvořák’s talent and capacity for abundant melody, and recommended that he should win. Brahms also introduced Dvořák to his first publisher, Simrock. Dvořák went on to win the prestigious stipend five times. Despite this success and Brahms’s advocacy, it still took a decade for the German-speaking world to accept Dvořák into a more mainstream fold, given his rustic, Bohemian accent. Equally, Dvořák needed time to find his own voice as a composer. His earlier works are often viewed through the lens of their influences — a touch of Brahms here, perhaps, an echo of Schubert and/or Wagner there. Dvořák’s melodic flair, however, together with his folk-inspired dance rhythms and dramatic instinct ensured a unique voice would emerge, and much of it is evident even in his fledgling works. By the Fourth Symphony, Dvořák’s music was being performed more regularly. The eminent conductor Hans von Bülow pronounced that “next to Brahms,” Dvořák was “the most Godgifted in the present day.” LI STE NING TO DVOŘÁK’S FOURTH SYMPHONY

1. Allegro: The symphony begins in the shadows, but within a few lines, the brass section is set ablaze. Then, as if the composer were uncomfortable staying in the tragic mode for too long, the tension suddenly dissolves and the strings lead us

About the Music

The Cleveland Orchestra

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in a charming waltz. One of the early critiques against Dvořák was that he could reel off a medley of attractive tunes only to shy away from developing that same material. Dvořák saw otherwise and prided himself on his compositional rigor. And it is almost as if he is emphasizing that to the Austrian State jury with this movement’s middle, development section. Here, he makes the most of the contrasting characters so far, between the fanfares with their crisp rhythms and the swaying of the dance. 2. Andante sostenuto e molto cantabile: At the organ school in Prague, the study of Wagner had been outlawed, so Dvořák secretly read through the scores after lights out. Like so many others, he was intoxicated by Wagner’s rich orchestration and twisting harmonies. This is very much on display in this slow-tempo movement, whose opening chorale bears an uncanny resemblance to Wagner’s over to Tannhäuser. Soon though, in the variations that follow, various signature traits of Dvořák’s style take over, including the long cello tune (with the first violins threading their accompaniment) to light commentary from the woodwinds Severance Hall 2019-20

About the Music

above. The timpani are given a prominent role, and the harp is used to enhance the glow of the strings. This is a movement full of interesting colors, and it shows how effectively the young DvoĹ&#x2122;ĂĄk could keep his material flowing. 3. Allegro feroce: When this symphony was given its first airing under the baton of BedĹ&#x2122;ich Smetana, this was the only movement that made it onto the public concert. It has a heroic, swashbuckling quality that takes on a more pompous complexion in the movementâ&#x20AC;&#x2122;s Trio section. A military band then appears to march in, with clashing cymbals and proud trills throughout. These two personalities return in different guises, both galant and impetuous, like two rival brothers. 4. Allegro con brio: The dotted rhythm from the first movement is recalled â&#x20AC;&#x201D; and this curt, repeated idea will become the main rallying point for the whole movement, like an insistent call to action. A flowing tune on the strings gives respite before turning more turbulent and darkening as the opening urgent rhythms return, this time delivered with great relish by the brass. There is much incident in this compact movement, and the line of development is kept taut throughout. The orchestration is handled with such great imagination and assurance that it is easy to see why this piece left Brahms feeling â&#x20AC;&#x153;overwhelmed.â&#x20AC;? It is, thus, time indeed for its treasures to be rediscovered. â&#x20AC;&#x201D;Jonathan James ÂŠ 2020 Jonathan James is a lecturer, conductor, and BBC presenter based in Bristol, England. There he runs a specialist music school and leads creative workshops.

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The Cleveland Orchestra

Piano Concerto No. 24 in C minor, K.491 composed 1786

At a Glance

Wolfgang Amadè

Mozart entered his C-minor Piano Concerto (today known as No. 24 or by its Köchel number as K.491) into the catalog he kept of his own works on March 24, 1786. The work’s premiere most likely took place on April 7 of the same year at the Burgtheater in Vienna, with Mozart playing the solo part. This concerto runs about 30 minutes in performance. Mozart scored it for flute, 2 oboes, 2 clarinets, 2 bas-

soons, 2 horns, 2 trumpets, timpani, strings, and solo piano. The Cleveland Orchestra first performed Mozart’s Piano Concerto No. 24 in November 1931, under music director Nikolai Sokoloff, with Severin Eisenberger as the soloist. It has been heard relatively frequently since that time, most recently in September 2018, when Lang Lang was soloist under Franz Welser-Möst’s direction for the Orchestra’s annual Gala.

MOZART

About the Music

born January 27, 1756 Salzburg

T H I S C O N C E R T O has attracted strings of superlatives ever

died December 5, 1791 Vienna

Severance Hall 2019-20

since it was first performed in the Vienna Burgtheater by the composer himself in 1786. When Beethoven heard a performance of it, he muttered to his companion that he could never match it — and Mozart’s powerful writing doubtless inspired Beethoven’s own Third Piano Concerto, in the same key, fourteen years later. Brahms, too, singled this work out as truly remarkable. Across more than two centuries, commentary has been united in praising its immaculate design, innovation, and expressive depth. The work’s remarkable story starts with the circumstances of its conception. Even by his own prolific standards Mozart was outdoing himself, producing no fewer than fifteen piano concertos in the four years 1782-86. This work in C minor, designated long after Mozart’s death as No. 24, followed hot on the heels of its predecessor, the A major concerto (No. 23, K .488). The two are complete opposites in terms of temperament and color. In that year of 1786, Mozart dashed off three piano concertos while also completing his comic opera, The Marriage of Figaro — his genius, it would seem, not allowing any rest. Part of his urgency may have also involved his continuing debts. The fact of him playing his own piano concertos offered a relatively solid source of income, while also keeping his virtuoso talent in the public eye. About the Music

Eyewitness accounts speak of Mozart’s virtuosity in ecstatic terms, as a pianist and especially as he improvised solo cadenzas within each work. Niemetshek writes of the “heavenly” sound Mozart was able to draw out of the era’s delicate fortepiano, and how he would crown each performance with a lengthy improvisation that left the audience “besides themselves with joy.” That flair for improvisation is very much in evidence in the slow movement of this concerto, with the original manuscript leaving large gaps for the soloist to fill. Mozart himself would have needed just a few scribbled prompts to navigate the work. Robert Levin, a renowned improviser and academic, insists that “capricious spontaneity” such as this “was at the core of the performances, with the element of risk at the forefront.” LISTENING TO THE CONCERTO

1. Allegro: Tragedy comes in many colors. This movement starts and ends with a whisper, carrying its own kind of power. The opening phrase rises only to fall again — and again and again, a symbol of despondency and defeat. Listening more closely, there are actually three potent ideas neatly contained in this opening sentence: a triad rising up, a skip over a larger interval, then four notes sliding down. From that point all these ideas will be in constant evolution, and we are treated to a masterclass in development. The flow hardly halts, with surprising turns at nearly every corner. A strict organization underpins this apparently spontaneous outpouring, however. Even when the material appears new, such as the soloist’s first entry or a woodwind entry later on, the music is a deft re-working of earlier ideas already stated. Mozart’s supreme skill is in keeping this illusion intact over what proved to be the longest and most complex first movement of any concerto he wrote. 2. Larghetto: After such an intricate and emotionally intense opening movement, the Larghetto provides a counterbalance by its daring simplicity, at least initially. The movement begins with eightbar phrases in perfect question and answer — the line kept spare and as refined as porcelain. The woodwinds, which are augmented from normal complement to include two clarinets, then take a prominent role in introducing ideas for the piano to respond to. Here, the soloist embellishes the wind statements in a way that gives us an insight into how Mozart might have improvised in person. 3. Allegretto: The light touch continues in the concerto’s finale, which features a theme with eight variations. The theme is

About the Music

The Cleveland Orchestra

initially given on the strings and slyly references the three main ideas of the first movement. The soloistâ&#x20AC;&#x2122;s response slowly builds in virtuosity until the theme is re-imagined as a spritely march and then woven in baroque counterpoint. The oboe chimes in with a major version of the tune, but the strings soon marshal us back into the minor. One last surprise awaits, a subtle slip into a new meter (6/8) that allows the soloist to take on a new spring in their step. As we have seen and heard, such delightful surprises are the hallmark of this peerless work. â&#x20AC;&#x201D;Jonathan James ÂŠ 2020

Severance Hall 2019-20

About the Music

ts n e s e r p e r t a Music The

s t r A e h t r o f r e t en C k c e B e h t t a bruary 6-24

CONSERVATORY of MUSIC Recognized as the top Bachelor of Music Music Theatre program in the nation by Onstage Magazine, BW Music Theatre is proud to present â&#x20AC;&#x153;The Scottsboro Boys,â&#x20AC;? a collaboration with the Beck Center for the Arts. Presented by special arrangement with Music Theatre International (MTI).

bw.edu/conservatory

ER[ RČŞ FH Baldwin Wallace University, %HUHD 2KLR beckcenter.org

<HÀP %URQIPDQ Russian-American pianist Yefim Bronfman is regarded as one of today’s most talented piano virtuosos, praised for his technique and lyricism, and in demand for performances around the world. He made his Cleveland Orchestra debut in April 1986, and has returned regularly since that time for musical collaborations with the ensemble. His most recent appearances were in September 2018 at Severance Hall and October 2019 at Carnegie Hall. As a guest artist, Mr. Bronfman performs with the world’s most esteemed ensembles, from North America’s major orchestras to those of Amsterdam, Berlin, Dresden, Israel, London, Paris, Vienna, and Zurich, among others. This season’s engagements include as artist-in-residence with the Vienna Symphony, a tour to Asia with the Boston Symphony Orchestra, and a series of recitals celebrating the 250th anniversary of Beethoven’s birth. He is a frequent guest at international festivals and has served as artist-in-residence with Carnegie Hall as well as with the Dresden Staatskapelle, Los Angeles Philharmonic, and New York Philharmonic. A devoted chamber musician, Yefim Bronfman has collaborated with the Cleveland, Emerson, Guarneri, and Juilliard quartets, as well as the Chamber Music Society of Lincoln Center. He also has performed with Emanuel Ax, Joshua Bell, Lynn Harrell, Magdalena Kožená, YoYo Ma, Shlomo Mintz, Jean-Pierre Rampal, Pinchas Zukerman, and many others, and presents solo recitals throughout Asia, Europe, and North America. Mr. Bronfman’s recordings are highly

Severance Hall 2019-20

Guest Artist

praised. He is featured on The Cleveland Orchestra’s recent DVD release performing both Brahms piano concertos recorded with Franz Welser-Möst at Severance Hall. His album of Bartók’s three piano concertos won a 1997 Grammy Award, and both his album featuring Esa-Pekka Salonen’s piano concerto and recording of Magnus Lindberg’s second piano concerto have received Grammy nominations. His discography also includes the complete Prokofiev piano sonatas and concertos, Beethoven’s five piano concertos and triple concerto, Tchaikovsky’s Piano Concerto No. 1, and sonatas by Bartók, Brahms, and Mozart recorded with Isaac Stern. Yefim Bronfman was born in 1958 in Tashkent. After moving to Israel with his family in 1973, he worked with Arie Vardi at Tel Aviv University. Following his family’s relocation to the United States in 1976, he studied at the Curtis Institute, Juilliard School, and Marlboro. His teachers included Rudolf Firkusny, Leon Fleisher, and Rudolf Serkin. In 1991, he returned to Russia for the first time since emigrating, to perform recitals with Isaac Stern. Mr. Bronfman’s honors include the Avery Fisher Prize in 1991. For additional information, visit www.yefimbronfman.com.

Fri., Jan. 10, 7:30p & Sun., Jan. 12, 3:00p - Music Box Supper Club Regional premiere of this new one-act opera by Evan Mack and Joshua McGuire. The Ghosts of Gatsby is 1st place winner of the 2019 National Opera Association (NOA) Dominick Argento Chamber Opera Competition. Presented in a co-production by Baldwin Wallace Conservatory and Cleveland Opera Theater, this production starts the CLE Opera Theater {NOW} Fest ’20 planned in conjunction with the NOA Conference. BW is institutional host for the NOA Conference ’20 ‘20 held in CLE Jan. 8- 11, 2020.

clevelandoperatheater.org/now or Music Box Supper Club: 216-242-1250

Sinfonietta composed 1925-26

At a Glance Janácek composed his Sinfonietta in 1925-26. It was first performed on June 26, 1926, in Prague by the Czech Philharmonic Orchestra conducted by Václav Talich. The United States premiere took place in March 1927 under Otto Klemperer’s direction. This work runs about 25 minutes in performance. Janácek scored it for 4 flutes (fourth doubling piccolo), 2 oboes, english horn, 2 clarinets, small clarinet in e-flat, bass clarinet, 2 bassoons, 4 horns, 12 trumpets (often v

LEOŠ

JANÁČEK born July 3, 1854 Hukvaldy, Moravia died August 12, 1928 Ostrava, Czechoslovakia

Severance Hall 2019-20

reduced to 9 in performances), 2 bass trumpets, 3 trombones, 2 tenor tubas (sometimes played by Wagner tubas instead), bass tuba, timpani, percussion (cymbals, glockenspiel), harp, and strings. The Cleveland Orchestra first performed Janácek’s Sinfonietta in 1946 under George Szell’s direction. It has been presented a number of times since then, most recently in February 2008 led by Pierre Boulez. v

About the Music “ S T R A N G E . V E R Y S T R A N G E . . .” was the first impression

of author Haruki Marakami when he heard Janačèk’s Sinfonietta — explaining why he used this piece as a textual underscore for the equally strange world of his cult book titled 1Q84. Yet, throughout his life, Janáček delighted in creating other-worldly sounds that both enchanted and provoked. It is a curious and utterly unique balancing act. Janáček’s music can be magical, transporting, and resplendent, as well as downright bizarre and bracing. The rhythms can bristle with impatience, the melodic lines are craggy at times, and the textures often zany. Dvořák, after reviewing the younger composer’s latest cycle of male voice choruses, once remarked: “I find many a passage startling, particularly as far as the modulations are concerned. I was dismayed.” Part of this unpredictability was by design, but a larger part was due to Janáček’s volatile personality. Look at any portrait of the composer, whether young or old, and his dark eyes seem to flash with mischief. This was a maverick who set out to do things differently. To Janáček’s highly sensitized ears, any sound could be set to music; not just the standard noises of nature — the rustling, chirping, and burbling that are the stock-in-trade of any composer — but also, as he noted in his diary, the elusive sounds heard “in a telephone receiver, in the dust of centuries-old registers, About the Music

and in the flag that flapped above the Castle in a mad whirl.” He also was deeply fascinated, obsessed even, by the inflections of the human voice, whether in the lusty singing of Moravian songs or in the clipped cadence of his beloved Czech language. Like a dedicated birder, Janáček collected snippets from everyday conversations and converted them into “speech melody,” whether a comment overheard in a post office, a man silencing his dog, or even his own daughter’s final moans as she died of scarlet fever. Nothing was off limits. Janáček’s approach to form and structure was also unorthodox, and is best explained in cinematic terms, such as splice-cuts, sudden close-ups, cross-fades, montages, or wide sweeps. Hearing a Janáček score for the first time is a thrilling, almost visual experience. He has a knack for juxtaposing one apparently jarring sonority against another, leaving the listener unseated (as on a rollercoaster) and guessing what is around the corner or apex. 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 ExpressProgramBook.com before or after the concert.

F RO M PA R K B A N D T O T H E S I N F O N I E T TA

The inspiration for the Military Symphonietta, to use its original name, first came as Janáček walked in Pišek park armin-arm with his muse, a woman thirty years his junior named Kamilla Stösslova. (Their complicated relationship — and the older man’s seemingly unquenchable libido — would make for a lascivious soap opera, but is not relevant here.) In the park, Janáček heard “pretty fanfares” played by a military band, which he duly noted down. These were then very soon put to use as, shortly afterwards in 1926, he received a commission to write music for the Sokol Gymnastic Society festival, an event which celebrated youth, physical vitality, and independent nationhood. The latter cause was very close to Janáček’s heart. For the memorable opening fanfare to this new work, he was keen to retain the rough-edged quality of an amateur military band, representing in its way the sound of the people. The Sinfonietta develops into a collection of scenes in memory of his hometown of Brno — which had changed a great deal since his first encounters of it fifty years earlier. Back then, as a young chorister, it was a small town overrun with Prussian soldiers, its main sights numbering a smelly tanning factory, a grisly cemetery, and a pond in a black field “more like a rubbish dump.” About the Music

The Cleveland Orchestra

BRNO - ČESKÁ REPUBLIKA

After the revolution of 1918 and the rise of the First Czech Republic, Janáček perceived a “miraculous change” in the place and in its significance. He sought to capture both in his Sinfonietta — and to commemorate “the blare of victorious trumpets, the holy peace of the Queen’s Monastery, the shadows of the night . . . and the vision of the greatness of the town.”

A postcard of the city of Brno, located today in the Czech Republic. On the hills stand both the Cathedral of Saints Peter and Paul and, in the distance, Špilberk Castle.

LI S TE N I N G T O T H E S I N FO N I E T TA

While working on the Sinfonietta, Janáček had jotted down location names for each movement — included below in parentheses — which he decided to remove from the printed score. 1. Allegretto (Fanfares): With nine trumpets lined up at the back of the stage, the first surprise in this opening fanfare is that Janáček does not open with a shattering trumpet call, but instead with the more subdued tone of two euphoniums. It is a deliberately rustic sound more in keeping with the military band sound he was trying to recreate. From that bare opening, with Moravian mirror rhythms thumped out on the timpani beneath, the fanfare intensifies in several ways, and this is its power. Slowly, the three lines for trumpets multiply until, right in the final phrasings, all nine are blasting out magnificent triads. The pacing of the ideas is masterful, and the material flexes like an accordion — first compacted Severance Hall 2019-20

About the Music

and accelerated, then stretched out again into a gloriously majestic finish. 2. Andante (The Castle): The castle first appears austere, a stark chord spread over the wind instruments. Is that the castle’s flag “flapping in a mad whirl” in the pair of clarinets? A jaunty dance is announced and then immediately juxtaposed against a more romantic melody. The ideas all cross-relate, but each section feels like a jump-cut (thirteen in all) to a new aspect of the castle and its past, from playful minstrels to triumphant kings and queens who process to a repeat of the opening fanfare. 3. Moderato (The Queen’s Monastery): Muted strings and harp usher us into the quiet of the monastery with a lyrical, noble tune. Outside, however, a storm brews, its whistling winds imitated on the flutes and piccolo against defiant two-note (shortlong) rhythms in the brass. A chamber version of the opening tune returns us to the calm inside the stone walls. 4. Scherzo: Allegretto (The Street): A folk ditty is heard in the streets, deliberately simple and set to a crude strut. There is a comical twist in the final section as the music appears to find repose, but is repeatedly interrupted by clown-like episodes — no peace is to be found on Brno’s bustling streets. 5. Andante con moto (The Town Hall): The finale starts with a gentle choir of three flutes, then a parade of woodwind solos over an agitated line in the cellos. Echoes of previous movements resurface, radically rescored and altered, before the work’s fanfare suddenly returns — this time accompanied by joyful, strident trills in the rest of the orchestra. The Sinfonietta ends with a show of might, as befits the vision of its commissioners, with the country’s youth and their sporting prowess symbolizing a rejuvenated, fiercely independent nation. —Jonathan James © 2020

French pianist

Pierre Rèach

FREE CONCERT! 2 p.m. | Feb. 9 | The Cleveland Museum of Art 54

About the Music

The Cleveland Orchestra

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In my view, the composer, just like the poet, the sculptor, or “Though he was regarded as impossibly avant-garde painter, is duty bound to serve huin his youth, Sergei Prokofiev belongs squarely to

manity. He must beautify life and

the same great tradition of Russian music as Tchai-

it. best-known He must be ascores citizen first kovsky and Mussorgsky.defend . . . His are written in an immediately recognizable style and foremost, so that his art can that reconciles progressive technique with melodic

consciously extol human life.

directness, and rank among the most enjoyable of all 20th-century compositions.”

—Sergei Prokofiev

—Rough Guide to Classical Music

THE

CLEVEL AND ORCHESTRA M U S I C D I R E C TO R 2O19 -2O2O

FR ANZ WELSER- MĂ&#x2013;ST

Severance Hall

Thursday evening, January 30, 2020, at 7:30 p.m. Saturday evening, February 1, 2020, at 8:00 p.m.

Franz Welser-MĂśst, conductor SERGEI PROKOFIEV (1891-1953)

Symphony No. 6 LQ ( Ă DW PLQRU 2SXV 1. Allegro moderato 2. Largo 3. Vivace

INTER MISSION FRANK BRIDGE (1879-1941)

The Sea 2UFKHVWUDO 6XLWH 1. 2. 3. 4.

PAUL DUKAS (1865-1935)

Seascape: Allegro ben moderato Sea Foam: Allegro vivo Moonlight: Adagio non troppo Storm: Allegro energico â&#x20AC;&#x201D; Allegro moderato e largamente

The Sorcererâ&#x20AC;&#x2122;s Apprentice 2UFKHVWUDO 6FKHU]R

Thursday eveningâ&#x20AC;&#x2122;s concert is dedicated to The Walter and Jean Kalberer Foundation in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

Severance Hall 2019-20

Program: Week 12

2O19 -2O2O

Jan 30, Feb 1 THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 SAT 5:00

Concert Preview: BEGINS ONE HOUR BEFORE CONCERT

Concert begins: THUR 7:30 SAT 8:00

Severance Restaurant Reservations (suggested) for dining:

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

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

“Orchestral Portrayals” with Caroline Oltmanns, Youngstown State University

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

PROKOFIEV Symphony No. 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 63 (45 minutes)

Cleveland Orchestra Store INTERMISSION

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

(20 minutes)

BRIDGE The Sea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 67 (20 minutes)

Concert ends: (approx.)

THUR 9:10 SAT 9.40

DUKAS The Sorcerer’s Apprentice . . . . . . . . . . . . . . . . . . . page 71 (12 minutes)

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

This TTh his Week’s Concerts

The Cleveland Orchestra

INTRODUCING THE CONCERT

War, Water & Incantations

T H I S W E E K ’ S C O N C E R T presents three musical works, each portraying

a story, a view, or a set of feelings in music. Two come from the turn of the 19th into the 20th century — including a luminous and chilling portrait of the ocean alongside a fun-filled tone poem about an assistant who isn’t yet a master. Before those comes a big symphony, written to capture the conflicting emotions of war — elation at victory, mixed with the inevitable emptiness over those lost and the devastation caused. The concert begins with Sergei Prokofiev’s Sixth Symphony. Premiered in 1947, this big work is too rarely heard. In it, within the confines of Soviet censorship — and the government’s desires for “uplifting music for the workers” — Prokofiev created a symphony of conflicting emotions. He composed this music just as World War II was ending. At the time, his outlook was tempered by his own declining health. Here, on a large symphonic canvas, he works through both restrained challenge and unbridled elation. The forces within play against one another, until victory at the end seems assured. The conclusion, however, remembers all that has come before, with uncertainty ever the human condition. After intermission, Franz Welser-Möst turns to a different kind of musical portrayal, featuring two tone poems — one British, one French. First comes English composer Frank Bridge’s The Sea, premiered in 1912, just a few years after Debussy’s more famous work of the same name, La Mer. In four movements, Bridge demonstrates how differently the watery world can be portrayed in music, from quiet moonlight to tempestuous storm — just as the ocean is forever-changing in mood, churn, and light. The concert ends with a beautifully-wrought tone poem, The Sorcerer’s Apprentice by Paul Dukas. Premiered in 1897, it is perhaps best known from Disney’s Fantasia, in which Mickey Mouse plays the over-eager magician’s assistant. With his master away, the apprentice is sure he knows the right incantations to speed up his own chores. Things go wildly astray, however, with the build-up to trouble aptly rendered into music sure to make you smile. —Eric Sellen

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Introducing the Concert

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Symphony No. 6 in E-flat minor, Opus 111 composed 1944-47

At a Glance

Sergei

PROKOFIEV born April 23, 1891 Sontsivka, Russia (now Krasnoye in Ukraine) died March 5, 1953 Moscow

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Although some ideas date to 1944, Prokofiev began writing his Sixth Symphony in earnest during the summer of 1945, less than a year after the Fifth had been premiered. He completed the new work in 1947. Its first performance took place on October 10, 1947, with Yevgeny Mravinsky leading the Leningrad Philharmonic. This symphony runs almost 45 minutes in performance. Prokofiev scored it for 2 flutes, piccolo, 2 oboes, english horn, 4 clarinets, bass clarinet,

3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, woodblock, tamtam, tambourine, cymbals, triangle), piano, celesta, and strings. The Cleveland Orchestra first presented Prokofiev’s Sixth Symphony in March 1977 with guest conductor Gennadi Rozhdestvensky. The most recent performances were in February 2013, conducted by Gianandrea Noseda.

About the Music C O N T E X T I S O F T E N I M P O R T A N T . Where does Prokofiev’s

Sixth Symphony fit in with his other symphonies and his outlook on both life and musical creation? On January 13, 1945, he conducted the first performance of his Fifth Symphony in Moscow. The new work was well received and continues to be popular today, rivaled in frequency in the concert hall only by his First Symphony (which he had named directly as Classical Symphony). The Fifth was composed during, but not about, World War II. In fact, it might be termed classical in its conventional form and in its abstract, non-storytelling qualities. It was and is, many people argue, what a symphony ought to be — the exploration of purely musical elements and their combination and relationships. In a sense, such pure music could even be said to be escapism in times of trouble. The Romantic Age of the 19th century had taught us, however, that a symphony does not have to be confined only to musical argument. It can also relate to human experience in direct reference to our feelings and our environment, and how it feels to be alive. Beethoven’s Fifth is surely about something, even if no one can honestly say for certain what that something is outside of its musical journey from darkness to triumphant. In Prokofiev’s case, his Classical Symphony had explored a modern take on a Haydn symphony. His Second presented the brutally mechanistic world of the 1920s, a world in which About the Music

aircraft, motors, and steam power and general noise dictated the sonic environment. The Second was nonetheless still abstract in construction and conception. FROM WAR TO PE AC E , FROM MUSIC TO DESTRUCTION

The Fifth returned to a warmer, Romantic type of symphonic purity, setting it apart from the Third and Fourth, which had both been salvaged from — or at least borrowed music from — operas around 1930. The Third came from The Fiery Angel and the Fourth from The Prodigal Son. Both were easily recognized as stage music in concert dress. So what was to be expected from the Sixth? Prokofiev composed it soon after the Fifth and acknowledged that he was now reflecting on the devastation About the Sixth, of World War II. That sentiment was clear and Prokofiev said that powerful at its first performance in 1947. (The in this music he was parallels with English composer Ralph Vaughan Williams’s output is striking. His Fifth Symphony, trying to recapture the premiered in 1943, refrained from any reference feelings of the closing to the war, while his Sixth, from 1948, is deeply months of World War II elegiac). — elation over the Only four months after the first performance of Prokofiev’s Sixth Symphony in the autumn of coming victory, but also 1946, any euphoria the composer might have felt deep realization “that at the conclusion of the war and his new work’s each of us has wounds warm reception was thrown to the winds when that cannot be healed. the Central Committee of the Soviet Communist Party issued a warning to musicians against One has lost those dear “formulist and antipopular tendencies,” singling to him, another has lost out Shostakovich, Prokofiev, Khatchaturian, and his health. These facts several others for writing music that was “anticannot be forgotten.” democratic and foreign to the Soviet people and its artistic tastes.” The music of Prokofiev’s Sixth Symphony, in particular, was said to be too obscure in meaning for the average Soviet citizen to comprehend. Prokofiev, in fact, left us few comments about this symphony. On one occasion, he offered a few sentences, mostly on its structure. To biographer Israel Nestyev, he said that, to some extent, the music tried to capture the feelings of the closing months of World War II — elation over the victory, but also deep realization “that each of us has wounds that cannot be

About the Music

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healed. One has lost those dear to him, another has lost his health. These facts cannot be forgotten.” For the rest of his life (which ended, as fate would have it, on the same day as dictator Joseph Stalin’s), Prokofiev worked under the shadow of official disapproval, the hardship it caused, and his own failing health. (Evenso, he produced a Seventh Symphony in 1952, full of nostalgia and melancholy, but lacking the personal conviction that propels both the Fifth and the Sixth.) LISTENING TO THE MUSIC

Melody abounds in the Sixth Symphony, most often not as memorable snatches, but instead in the form of long stretches scored with the melody standing out clearly. On violins and flutes in unison, for example, or violas and english horn, or cellos and horn, the colors carefully blended. In the first movement, after a few somewhat irreverent blasts designed to catch the audience’s attention, the violins and violas state the first of these melodies. When the tempo slows down, it is a pair of oboes and english horn that present the next new theme. A quicker tempo and a reminiscence of Severance Hall 2019-20

About the Music

Haydn’s “Clock” Symphony introduce the third melody, now on english horn and violas. The shape of the movement is thus constructed around different tempos and through the interaction of these different themes. Some have likened this to a melancholy landscape, in which we see (and feel) a variety of scenes — a funeral march, a furious expression of angst or outrage, some moments of happiness, and so forth. The long slow movement is framed at the beginning and end by a passage of painful dissonance, as if to conceal or protect the richness and warmth of the movement itself. Another distraction from the stream of melody is a passage where a woodblock calls for our attention, just before the timpani are about to join the double basses and lower winds in a crazy burst of activity. Despite this, this middle movement is truly the soul of the Sixth symphony, filled with ardor, and both solace and conflicted rage. The finale third movement, in contrast, is positive and upbeat. It again reminds us of Haydn, and also with echoes of the ballet music of which Prokofiev was such a master. Its lines are often filled with optimism, rarely questioned. But before the symphony can close, there comes a long descent on the bassoon, which ushers in a return of the theme from the first movement assigned to the oboes. Then there is a moment of questioning, followed by a swift and noisy coda. Leaving us, perhaps, uncertain but contemplating all we have heard. —Hugh Macdonald © 2019

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The Sea, Orchestral Suite composed 1910-11

At a Glance Bridge composed his orchestra suite titled The Sea in 1910-11. It was first performed on September 24, 1912, at the Queen’s Hall in London, with Henry Wood conducting the hall’s orchestra. This work runs just over 20 minutes in performance. Bridge scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3

Frank

BRIDGE born February 26, 1879 Brighton, England died January 10, 1941 Eastbourne, England

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trumpets, 3 trombones, tuba, timpani, percussion (triangle, snare drum, bass drum, cymbals), harp, and strings. The Cleveland Orchestra has presented Bridge’s The Sea on only one previous occasion, when it was played on two concerts in October 1923 under the direction of Nikolai Sokoloff; these were the work’s United States premiere.

About the Music S C E N E S O F N AT U R E were a favorite source of inspiration to composers of suites and symphonic poems. And English composers — including Arnold Bax, Edward Elgar, Granville Bantock, and Frederick Delius — created some memorable landscapes and seascapes in music in the years surrounding the turn of the 19th to the 20th century. Elgar’s Sea Pictures dates from 1899, Delius’s Sea Drift from 1904. The work that stands most clearly behind Bridge’s The Sea, however, is the French example of Debussy’s symphonic suite La Mer [The Sea], which appeared in 1905. It was inspired as much by Turner paintings and Hokusai woodblock prints as by Debussy’s own experience of the sea. Frank Bridge was born in Brighton, on the south coast of England, and lived most of his life along the coast at Eastbourne (where, as it happens, Debussy composed a good part of La Mer), so his familiarity with the sea and its many moods was real. Trained at the Royal College of Music, Bridge quickly earned a prominent place on the London musical scene as a conductor and chamber music player, and it was for orchestra and chamber groups that his best compositions were written. Two or three symphonic poems preceded The Sea, composed in 1910-11. The vigorous support of conductor Henry Wood assured repeated performances of The Sea in London and elsewhere. Today, it is one of Bridge’s best known works. Bridge’s name is often heard or read about in association with that of Benjamin Britten, who was his only composition pupil. Britten not only found him a sympathetic teacher, he greatly admired Bridge’s music. At the age of eleven, Britten About the Music

heard The Sea played at the Norwich Festival and was, in his own words, “knocked sideways” by the sensuous harmonies of the third movement. Bridge supplied his own commentary about the work. The first movement, Seascape, “paints the sea on a summer morning. From high drifts is seen a great expanse of waters lying in the sunlight. Warm breezes play over the surface.” The steady roll of the sea is heard throughout (this is, uncannily, a visual image in the written notation too), while fragments of themes pass to and fro. The surge can generate climaxes for the full orchestra, while modern chromatic harmony provides warmth and color. For the second movement, “sea-foam froths among the low-lying rocks and pools on the shore, playful not stormy.” The playful music abandons key in a swirl of chromatic notes, but a firm tune, usually in the horns, keeps its feet, as it were, on the ground. In the third movement, “moonlight paints a calm sea at night. The first moonbeams are struggling to pierce through dark clouds, which eventually pass over, leaving the sea shimmering in full moonlight.” No more need be said. Fourth movement: “Finally, a raging Storm. Wind, rain and tempestuous seas, with the lulling of the storm an allusion to the first number is heard and which may be regarded as the sealover’s dedication to the sea.” In this, Bridge declares himself to be a fully modern composer, with sumptuous orchestration and a masterly ability to depict the sense of doom that a storm at sea can bring. The return of the first movement was perhaps the only way to provide reassurance. Britten paid tribute to Bridge in many ways, but one was to model his own Four Sea Interludes from the opera Peter Grimes on Bridge’s The Sea. The titles of the last two movements are in each case Moonlight and Storm. Bridge, alas, did not live to hear this great operatic masterpiece by his only student. —Hugh Macdonald © 2019 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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The Sorcerer’s Apprentice [L’apprenti sorcier] Scherzo, after a ballad by Goethe composed 1897

At a Glance

Paul

Paul Dukas wrote The Sorcerer’s Apprentice [Lapprenti sorcier] in early 1897 and conducted the work’s premiere on May 19 of that year in Paris at a concert of the Société Nationale de Musique. It was first performed in the United States the next year, when Theodore Thomas led performances with the Chicago Symphony Orchestra. This work runs just over 10 minutes in performance. Dukas scored it for 2 flutes, piccolo, 2 oboes,

2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 cornets, 3 trombones, timpani, percussion (glockenspiel, triangle, cymbals, and bass drum), harp, and strings. The Cleveland Orchestra first performed The Sorcerer’s Apprentice in January 1920 under the direction of Nikolai Sokoloff. It has been presented frequently since that time, most recently at a Family Concert in October 2018.

DUKAS

About the Music

born October 1, 1865 Paris

T H E Y E A R 1 8 9 7 began for Dukas with the first performance

died May 17, 1935 Paris

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of his Symphony in C major. Perhaps he imagined that this would be the first of many symphonies and that for him, as it was for Beethoven, C major was the place to start. In the end, however, he wrote no more symphonies. The Symphony in C major’s performance was poorly received by both the players and the critics, and it was not played again for ten years. (It is still a great rarity in concert halls today.) The 31-year-old composer resigned himself to remaining in obscurity for the indefinite future. Within a few months, this situation changed dramatically. A new piece, L’Apprenti sorcier [The Sorcerer’s Apprentice], was premiered in Paris, in May 1897, and was a resounding success. It has remained solidly established in the orchestral repertoire ever since. Not only does this work reveal many of Dukas’s great gifts, it achieves to perfection what all symphonic poems and tone poems of the 19th century had set out to do — but in which few had fully succeeded. The symphonic poem (Dukas did not use the term himself) was supposed to be a single-movement orchestral work, without text or voices, that embodied a poetic or pictorial idea, often a poem or a play or a historical event. The form, in concept, had all the virtues of the aesthetics that musicians of the Romantic era espoused, for it was poetic but wordless, and it was integrated into a single whole rather than divided up into About the Music

balanced movements. In France, Dukas had important precedents. These included a number of symphonic poems composed in the 1870s and 1880s, including César Franck’s Le Chasseur maudit [The Cursed Huntsman], Henri Duparc’s Lénore, and Camille Saint-Saëns’s La Jeunesse d’Hercule [The Young Hercules]. Each had a narrative or storyline that is, more or less, represented in the music. Dukas, by selecting Goethe’s poem Der Zauberlehrling [The Sorcerer’s Apprentice], provided himself with a perfect and dramatic vehicle for music. Goethe’s 98-line poem, written in 1797, tells of a magician’s apprentice who has learned his master’s words of command. When his master is away, he orders the broom to fetch water from the river to fill his bath. The obedient broom is soon sweeping back and forth with buckets of water. Alas, the apprentice has forgotten the command to tell the broom to stop, and the house soon begins to overflow with water. In desperation, the apprentice chops the broom in two, only to find that it works twice as hard as before. As the deluge rises, he calls on his master, who miraculously arrives in time to order the broom back into its closet — bringing the story and music to a swift, sudden end. (We never know what happens to the apprentice afterward.) Dukas was a well-trained, fastidious musician with a polished orchestral technique. In The Sorcerer’s Apprentice, he uses the resources of the modern orchestra with brilliant skill to evoke the abracadabra of magic and the busy action of the broom as it brings more and more water into the house. The bassoon and contrabassoon have rarely enjoyed such apt music. Even before Walt Disney did the obvious in 1940 with his famous version for Fantasia (with Mickey Mouse as the apprentice), the details of the action were clearly outlined for our imaginations within the music. The sense of frantic desperation as the apprentice watches it all happening is marvelously well suggested. The master’s timely appearance and the wistful close of the tale leave us smiling not just at the humor of the story but also at Dukas’s clever demonstration that the music, not the poem, is the real storyteller. —Hugh Macdonald © 2019

About the Music

The Cleveland Orchestra

Written in 1797, the humorous incantations of Goethe’s poem “The Sorcerer’s Apprentice” have been transofrmed into many different kinds of arts — including the 19th-century illustration COPYRIGHT © DISNEY

below, Disney’s animated Fantasia in 1940, and Dukas’s fanciful symphonic tone poem in 1897.

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About the Music

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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 October 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 Mr. and Mrs. James A. Haslam III Francie and David Horvitz Mr. and Mrs. Michael J. Horvitz Dorothy Humel Hovorka* 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

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The Walter and Jean Kalberer Foundation 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 Mrs. Jane B. Nord 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 Charles and Ilana Horowitz 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 Richard & Emily Smucker Family Foundation 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

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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 November 20, 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

The Eric & Jane Nord Family Fund $100,000 TO $249,999

Paul M. Angell Family Foundation The Cleveland Foundation William Randolph Hearst Foundation The Louise H. and David S. Ingalls Foundation Kulas Foundation John P. Murphy 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

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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 Kent State University 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

Foundation/Government Annual Support

$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 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 New World Somewhere Fund The M. G. O’Neil Foundation The O’Neill Brothers Foundation 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 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

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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 November 20, 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 Quality Electrodynamics

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$50,000 TO $99,999

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

Buyers Products Company Calfee, Halter & Griswold LLP Cleveland Clinic The Cleveland-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) Northern Trust (Miami) Olympic Steel, Inc. RPM International Inc. The Sherwin-Williams Company Thompson Hine LLP United Airlines University Hospitals Anonymous

Corporate Annual Support

$2,500 TO $14,999 Amsdell Companies Applied Industrial Technologies BDI Blue Technologies Brothers Printing Company Eileen M. Burkhart & Co., LLC Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Component Repair Technologies, Inc. Consolidated Solutions Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Glenmede Trust Company 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 Struktol Company of America Ulmer & Berne LLP Vincent Lighting Systems Margaret W. Wong & Associates LLC Anonymous (2)

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Individual Annual Support The Cleveland Orchestra is sustained through the annual support of thousands of generous patrons. The leadership of those listed on these pages (with gifts of $2,500 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 November 20, 2019 Adella Prentiss Hughes Society gifts of $100,000 and more

gifts of $75,000 to $99,999

INDIVIDUAL GIFTS OF $500,000 AND MORE

Mr. William P. Blair III+ Mr. Yuval Brisker Virginia M. and Jon A. Lindseth Milton and Tamar Maltz Ms. Beth E. Mooney+ Barbara S. Robinson (Cleveland, Miami)+ The Ralph and Luci Schey Foundation

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 Ms. Ginger Warner Mr. and Mrs. Franz Welser-Möst

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

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Lillian Baldwin Society

George Szell Society gifts of $50,000 to $74,999 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 Ms. Nancy W. McCann+ William J. and Katherine T. O’Neill The Honorable and Mrs.* John Doyle Ong Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner+ Sally and Larry Sears+ Marjorie B. Shorrock+ Jim and Myrna Spira+ Dr. Russell A. Trusso Barbara and David Wolfort+ Anonymous+

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

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 Mr. Tim Murphy and Mrs. Barbara Lincoln David and Janice* Logsdon Mr. and Mrs. Alex Machaskee+ Mr. Stephen McHale John C. Morley 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+ Larry J. Santon+ David M. and Betty Schneider Rachel R. Schneider The Seven Five Fund+ Hewitt and Paula Shaw+ Kim Sherwin+ Ms. Eileen Sotak and Mr. William Kessler 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+

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 Mary and Bill Conway Judith and George W. Diehl+ Nancy and Richard Dotson+ Mr. Brian L. Ewart and Mr. William McHenry+ Joan Alice Ford Mr. Allen H. Ford Friends of The Cleveland Orchestra Mr. and Mrs. Robert W. Gillespie Dr. Edward S. Godleski 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 Horvitz and Erica Hartman-Horvitz (Cleveland, Miami) Mr. Jeff Litwiller+ Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee+ Stanley* and Barbara Meisel The Miller Family: Sydell Miller+ Lauren and Steve Spilman+ Stacie and Jeff Halpern+ Edith and Ted* Miller Margaret Fulton-Mueller Dr. Anne and Mr. Peter Neff Dr. Isobel Rutherford Astri Seidenfeld Meredith M. Seikel Mr. Heinrich SpĂ¤ngler (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

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The Severance Cleveland HallOrchestra 2019-20

Individual Annual Support

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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) Robert and Jean* Conrad+ Mrs. Barbara Cook Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Manohar Daga+ Mrs. Barbara Ann Davis+ Henry and Mary* Doll+ Dr. and Mrs. Lloyd H. Ellis Jr. Carl Falb William R. and Karen W. Feth+ Ms. Marina French 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. 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*+ Dr. Veit Sorger (Europe) The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Dr. Elizabeth Swenson Bruce and Virginia Taylor+ 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 (10)

Mr. S. Stuart Eilers+ Mary and Oliver* Emerson Mr. Joseph Falconi 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 Drs. Erik and Ellen Gregorie 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 Dr. and Mrs. Herbert Kern Dr. Gilles* and Mrs. Malvina Klopman+ 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+ Rudolf and Eva Linnebach Frank and Jocelyne Linsalata Mr. Henry Lipian Drs. Todd and Susan Locke

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. and Victor J. Cohn+ Mr. and Mrs. Arnold L. Coldiron Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura+ Marjorie Dickard Comella Component Repair Technologies, Inc. Mr.* and Mrs. Gerald A. Conway Mr. John Couriel and Mrs. Rebecca Toonkel (Miami) Thomas S. and Jane R. Davis Pete and Margaret Dobbins+ Mr. and Mrs. Robert P. Duvin Elliot and Judith Dworkin

84 80

Individual Annual Support

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The Cleveland Orchestra

EXPERIENCE THE UNDENIABLE At Kent State University our students are learning what’s now so that they may be what’s next. Powered by purpose they rise to explore, discover and create, knowing that collaboration inspires innovation. Research and study conducted here tackle the

WWW.KENT.EDU

greatest challenges of today – and tomorrow – to create a brighter future.

KENT STATE UNIVERSITY, KENT STATE AND KSU ARE REGISTERED TRADEMARKS AND MAY NOT BE USED WITHOUT PERMISSION. KENT STATE UNIVERSITY, AN EQUAL OPPORTUNITY, AFFIRMATIVE ACTION EMPLOYER, IS COMMITTED TO ATTAINING EXCELLENCE THROUGH THE RECRUITMENT AND RETENTION OF A DIVERSE WORKFORCE. 19-P-BRAND-1028

listings continued

A 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 Claudia Metz and Thomas Woodworth Lynn and Mike Miller Drs. Terry E. and Sara S. Miller Dr. Shana Miskovsky Mr. and Mrs.* William A. Mitchell 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 Muriel Salovon 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) Jim Simler and Doctor Amy Zhang+ 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 Sandra and Richey Smith Mr. and Mrs. William E. Spatz

George and Mary Stark+ Dr.* and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Stra Jr. Mr. and Mrs. Joseph D. D Sullivan Ms. Lorraine S. S Szabo+ Taras SSzmagala and Helen Jarem Robert and Carol Taller Sidney Taurel and Maria Castello Branco Philip and Sarah Taylor Mr.* and Mrs. Robert N. Trombly Robert and Marti* Vagi Bobbi and Peter* van Dijk Mr. Randall Wagner 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+ Ms. Carol A. Yellig Anonymous (3)

Dr. Ronald Chapnick* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm 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 Ms. Doris Donnelly 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 Carol A. Frankel Richard J. Frey Mr. and Ms. Dale Freygang Judge Stuart Friedman and Arthur Kane Dr. and Mrs. Avrum I. Froimson 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 Holly and Fred Glock Dr.* and Mrs. Victor M. Goldberg Dr. and Mrs. Ronald L. Gould Dr. Robert T. Graf Mr. James Graham and Mr. David Dusek 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 Mrs. Julia M. Healy 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. Joel R. Hlavaty

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 Michael and Karen Baldridge Mr. and Mrs. Eugene J. Beer Jamie Belkin Mr. and Mrs. Belkin Dr. Ronald and Diane* Bell Drs. Nathan A. and Sosamma J. Berger 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 Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney

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Individual Annual Support

Orchestra The Cleveland Orchestra

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 Bruce and Nancy Jackson 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 Mr. Jack E. Kapalka 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 Mr. Donald N. Krosin Alfred and Carol Lambo Mr. and Mrs. Richard L. Larrabee Mrs. Sandra S. Laurenson Charles and Josephine Robson Leamy * Michael Lederman and Sharmon Sollitto 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 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 Mr. Barry Dunaway and Mr. Peter McDermott 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

The Cleveland Severance HallOrchestra 2019-20

David Pavlich and Cherie Arnold Matt and Shari Peart Robert S. Perry Henry Peyrebrune and Tracy Rowell Nan and Bob Pfeifer 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 Dr. Harry S. and Rita K. Rzepka+ 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 Mr. Philip and Mrs. Michelle Sharp Larry Oscar & Jeanne Shatten Charitable Fund of the Jewish Federation Dr. and Mrs. William C. Sheldon Terrence and Judith Sheridan Mr. and Mrs. Reginald Shiverick+ Michael Dylan Short Mr.* and Mrs. Bob Sill Howard and Beth Simon Ms. Ellen J. Skinner Robert and Barbara Slanina Ms. Anna D. Smith Ms. Ja2nice A. 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 Dr. Margaret Tsai Steve and Christa Turnbull+ Gina Vernaci and Bill Hilyard

Individual Annual Support

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 (Miami) (1) Anonymous (6)

* deceased

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 more about how you can play a supporting role for The Cleveland Orchestra, please contact our Philanthropy & Advancement Office by phone: 216-456-8400 or by email: donate @clevelandorchestra.com

87 83

BARBARA J. STANFORD AND VINCENT T. LOMBARDO

“We love the extraordinary Cleveland Orchestra experience – being in palatial Severance Hall, attending an insightful pre-concert talk or post-concert event, and listening to a magnificent orchestra play music that both entertains and enlightens,” say Vincent T. Lombardo and Barbara J. Stanford. “A Cleveland Orchestra concert transports us to a different and much better world. That is why we have subscribed to The Cleveland Orchestra for almost 20 years, and why we have included the Orchestra in our estate planning.”

To find out more about investing in the future of The Cleveland Orchestra with a planned gift that costs nothing today, contact: Rachel Lappen 216-231-8011 legacygiving@clevelandorchestra.com

Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of current members is as of June 2019. For more information, please contact the Orchestra’s Legacy Giving Office by contacting Rachel Lappen at rlappen@clevelandorchestra.com 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

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

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.

The Kulas Series of Keyboard Conversations®

Sunday, February 9, 2020

MORE MISTRESSES AND MASTERPIECES! Love inspired music of ‘signiﬁcant others’ in the lives of Schumann, Liszt, Chopin and Bartók! Sunday, March 8, 2020 — FREE One hour Musicale

THE HENRY J. GOODMAN FAMILY CONCERT Music for the young and young of heart selected for families. Presented by the family and friends of Henry J. Goodman. No tickets or reservations required. 3:00 p.m. in Drinko Hall in the Music & Communication Building of CSU.

Sunday, March 29, 2020

FRANZ SCHUBERT—THE SOULFUL AND THE SUBLIME Dramatic Impromptus, charming ‘Musical Moments’, and famous songs arranged for the piano by Liszt. Sunday, May 3, 2020

BACH TO THE FUTURE Magniﬁcent masterpieces of Bach, Mendelssohn, Rachmaninoff and Shostakovich. Keyboard Conversations® with Jeffrey Siegel concerts begin at 3:00 p.m. in Waetjen Auditorium, Euclid and E. 21st Street. For information: (216) 687-5018

Fine Dining in Little Italy – mere minutes from Severance Hall. Join us for dinner before or after the orchestra.

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The Cleveland Orchestra

11001 Euclid Avenue Cleveland, Ohio 44106

CLEVELANDORCHESTRA.COM

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

Severance Hall 2019-20

Severance Hall

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

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Executive Directors, Business Owners, Marketing Managers:

CLEV E OR C HE L A N D ESTRA FR A N Z W EL SE R- M Ö ST

There are still a limited number of ad spaces available in our Winter and Spring program books. • Northeast Ohio’s most affluent, inﬂuential and active audiences • Youngest concert audience in the U.S. — average age 45 years old • Long time-spent reading and pass-along numbers

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For prime-position and pricing options for winter and spring, contact us now. Your customers, prospects, vendors and donors are in the audience — reach them all year!

11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

WELCOME

LEARN MORE

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

CONCERT PREVIEWS

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

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

PROGRAM NOTES

FOOD AND DRINK SEVERANCE RESTAURANT Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances (and for lunch following Friday Morning Concerts). Operated by Marigold Catering, a certified Green Caterer. To make reservations, call 216-231-7373, or online by visiting www.useRESO.com. Please note that the Restaurant 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.

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

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

RETAIL CLEVELAND ORCHESTRA STORE 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: hallrental@clevelandorchestra.com.

Guest Information

SHARING THE SPACE

ACCESS AND SERVICES

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

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

LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the performers onstage, and for the comfort and listening pleasure of audience members, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the first break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consultation with the conductor and performing artists.

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 clevelandorchestra.com/under18. Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including: 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 series

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.

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 clevelandorchestra.com for details.

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

Severance Hall 2019-20

Guest Information

Tuesday, February 25 Academy of St. Martin in the Fields with Joshua Bell, violin Saturday, March 21 Augustin Hadelich, violin Canton Symphony Orchestra special venue: Umstattd Hall, Canton Tuesday, April 14 Junction Trio featuring Conrad Tao, piano Stefan Jackiw, violin Jay Campbell, cello

Fuze series Tuesday, January 21 Gabriella Montero’s Westward Immigrant experience WKURXJK PXVLF ¿OP Wednesday, April 22 Ann Hampton Callaway’s Jazz Goes to the Movies Golden age of Hollywood love songs

7:30 p.m., Akron’s EJ Thomas Hall

330-761-3460 tuesdaymusical.org 93

T H E B AC K PAG E

F R O M T H E S TAG E

I am a percussionist. by Tom Sherwood

I A M A P E R C U S S I O N I S T . That basically means I strike things. I’m also lucky enough to be a percussionist in one of the greatest orchestras in the world — The Cleveland Orchestra. It would be easier to just call myself a drummer. I certainly play the drums, but a drummer is a different animal than a percussionist. A drummer keeps the time in a band. They drive the groove and rhythm of the music. In an orchestra, that role falls on the conductor. A percussionist provides something else altogether. Of course, there are times when a percussionist is indeed a drummer, but more often than not we provide something fragmented and momentary, a color or effect — the explosive climax of a cymbal crash, the shimmer and sparkle of a triangle roll, a dark earthy snippet on the xylophone. Our usual arsenal of instruments are things like snare drum, bass drum, cymbal, triangle, tambourine, glockenspiel. But we quite often have to grab for the unusual as well — gun shot, thundersheet, metal chain, wooden box, tin can, bucket of water. The options are nearly endless. It’s a lot to keep up with so many instruments. Some of them need constant attention, others just a sense of creativity. You find commonality in how to strike things — lifting and throwing, follow through, weight, tension and release. Yet

each instrument has its own feel and idiosyncrasies. For instance, a marimba and a glockenspiel are essentially the same thing — the former is quite large and made of wood, the latter small and made of steel — but each requires its own approach and touch. Flushing the best sound out of any instrument or object is part of the fun of being a percussionist. If you tell a percussionist to play a rock or stone, they’re going to look for the best sounding rock they can find — and play it in the most musical way possible. It’s all a matter of attention to details and subtleties, and learning how to coax vibrations out of seemingly inanimate objects. Even the much lampooned triangle can go from being clangy and bovine to magical, depending on the care and attention with which someone approaches it. can be a lot like using spices and herbs in cooking. Sometimes it can be plain and simple, while other times percussion is the most noticeable thing about a piece. Composers are all over the map when it comes to using percussion. Some use it sparingly — there’s a Bruckner symphony with a single cymbal crash and one triangle roll. While others heap it on from start to finish — Varèse’s Amériques requires 12 percussionists playing an exotic array of instruments including maracas,

WRITING FOR PERCUSSION

Views from the Stage

The Cleveland Orchestra

PHOTOS BY ROGER MASTROIANNI

slap sticks, sleigh bells, and air raid sirens. On average, though, being a percussionist means sitting and waiting. “Tacets” and counting rests are a big part of the job. It can be a rather manic existence. I heard a saying once that being a percussionist means being bored to death 50% of the time and scared to death the other 50%. Not playing gives you time to notice lots of other things. Onstage I’m surrounded by the silvery and tan gorgeousness of Severance Hall — walls the color of a beautifully pulled espresso shot, a dark rich wood on the floor (worn and pock marked by years of doublebass and cello endpins), condensation from brass instruments, and the shuffling of chairs, music stands, and feet. High above, patterns from Mrs. Severance’s wedding dress (so the story goes — maybe, maybe not) float and roll towards the stage. I can enjoy the wonderful sound of the brass section breathing together. Notice the vibrations in the floor when the timpani roll or when the doublebasses play their low notes. Appreciate the ornate bases of the music stands — made for the opening of Severance Hall in 1931, a time when people paid great attention to and cared about such details. Marvel Severance Hall 2019-20

at the silky patina that wraps itself around the sound of the string section. And, as I sit and watch and listen, I wonder at the strange alchemy of hand gestures, facial expressions, body language, and pure will power that somehow allows a conductor to silently transform 100 musicians into one unified sound. Then the rests are over and you are on your feet again! of a percussionist. You get a frontrow seat (well, maybe it’s a backrow seat, but everything is out in front of me) to the most incredible music ever written. And when it’s your time, you stand up and strike something. Sometimes it’s the loudest thing onstage and sometimes the softest. Oftentimes, it’s exhilarating or nerve wracking. Always, it’s a constant exploration of the beauty of sound in its most abstract form. And then you take your seat again. I know I’m biased, but I think it’s the best seat in the world.

S O T H AT ’ S T H E LI F E

Tom Sherwood joined The Cleveland Orchestra in 2015. This is part of an ongoing series of occasional articles in which members of the Orchestra share their perspectives about music-making, life, and Cleveland.

Views from the Stage

Rainey Institute El Sistema Orchestra

A SYMPHONY OF

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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.

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