Page 1

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

WEEK 13 — February

6, 8 Sibelius First Symphony

. . . . . . . . . . . . page 35

WEEK 13m — February

7, 9 At the Movies: Amadeus

WEEK 14 — February

. . . . . . . . . . page 55

13, 14, 15, 16 Beethoven and Mozart . . . . . . . . . . . . page 67

WINTE R 2O19 -20

Everything You Love


Insuring lifelong dance partners

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

Nothing excites some kids more than music. That’s why we’re proud supporters of The Cleveland Orchestra’s music education programs for children, making possible the rewards and benefits of music in their lives. Drive


About the Orchestra


Weeks 13 and 14 Perspectives from the President & CEO . . . . . . . . . 9 Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Advisory Councils . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Music Director: Franz Welser-Möst . . . . . . . . . . . . 15 About The Cleveland Orchestra . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91



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Cleveland Orchestra News . . . . . . . . 23 ON THE COVER Photograph by Roger Mastroianni



Concert: February 6, 8 . . . . . . . . . . . . . . . . . . . . . . . 35 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 37 SIBELIUS

En Saga . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 KNUSSEN

Violin Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 SIBELIUS

Symphony No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Artists: Mälkki and Josefowicz . . . . . . . . . . . . . . . . . 34

Copyrightt © 2020 by The Cleveland Orchestra and Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800



Concert: February 7, 9 . . . . . . . . . . . . . . . . . . . . . . . . Introducing the Movie . . . . . . . . . . . . . . . . . . . . . . . . Conductor: Vinay Parameswaran . . . . . . . . . . . . . . Mozart Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . . .

55 57 59 60 63



Concert: February 13, 14, 15, 16 . . . . . . . . . . . . . . 67 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 69 BEETHOVEN

Overture to Egmont . . . . . . . . . . . . . . . . . . . . . . . . . 71 BEETHOVEN

Violin Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

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.


Symphony No. 41 (“Jupiter”) . . . . . . . . . . . . . . . . 77 Preferred Airline of The Cleveland Orchestra

Artists: Herreweghe and Faust . . . . . . . . . . . . . . . . . 70

Support Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Annual Support Foundation and Government . . . . . . . . . . . . . . . Corporate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Individual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

81 82 83 84

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

End Note

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

Opera with The Cleveland Orchestra . . . . . . . . . . 94


Table of Contents

The Cleveland Orchestra





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


What’s inside this ABOUT THE ORCHESTRA

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





a newsiosn about the role ofice ud orchesl tr discus , and prej to foster nsorship LEV THE C

ce stiva Spring fe ty, government art in socieOrchestra has announced fes-





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


d Clevelan on The rmfeatured release perfo ded . He is or D os rec praised ’s recent DV concert Hall. tra Orches Brahms piano at Severance ert nc th ös co ing bo lser-M piano nz We three d both e of -Ame for his with Fra of Bartók’s ard, an ed as on Russian aised um my Aw Salonen’s is regard virtuosos, pr demand for His alb ka 97 Gram fman n a 19 ring Esa-Pek of Magnus piano , and in made tos wo talented e and lyricism e world. He featu ording ril album d th iqu and rec Ap un his o in t aro techn ert bu conc ances tra de ce that piano cond perform land Orches regularly sin e erg’s se th ve ed Lindb o s with his Cle s return concert nces boration and ha piano 1986, al colla ent appeara Hall eived music st rec rance have rec nominatime for His mo at Seve my le. 18 ll. am 20 Gr ie Ha cograensemb ptember His dis es Carneg an per. Se at ns in 19 tio nfm were r 20 o includ Octobe artist, Mr. Bro teemed phy als lete Proand in es est As a gu world’s most ca’s major e comp th sonae piano Ameri rlin, with th kofiev ertos, forms m North sterdam, Be and d conc les, fro Am a, tas an five ensemb to those of , Paris, Vienn oven’s as on n’s en Beeth orchestr Israel, Lond ertos nc is seaso ence co Th n, . ers sid piano ncerDresde ong oth as artist-in-re to Asia ple co tri am d h, r an ky’s d lude Zuric ny, a tou tra, and haikovs o ms, an nts inc ho Tc me mp to, es ge k, Brah ga a Sy Orch Concert tas by Bartó e Vienn Symphony 0th Piano Stern. na the 25 with th n and so d with Isaac rn in 1958 in e Bosto ls celebrating . He is a No. 1, th with th ita bir was bo recorde th his s of rec oven’s Mozart m Bronfman to Israel wi rdi festivals Beeth a serie al of on g fi Va ati Ye ary vin with th Arie ter mo annivers guest at intern -residence n famnt. Af rked wi t ist-in esde ng his Tashke 1973, he wo , frequen rved as art the Dr Followi tes in 1976 in s with s se onic, family iversity. d Sta and ha Hall as wella les Philharm Aviv Un to the Unite Juilliard ie ge at Tel titute, on Carneg , Los An onic. inrelocati the Curtis Ins ers , kapelle ’s arm ch ily ats ian ilh sic d Sta Ph s tea d at w York chamber mu ed with the isher, an studie Marlboro. Hi Fle he on and Ne rat ted and y, Le to Ruscollabo , and JuilA devo School, dolf Firkusn urned an has , he ret ating, to Ru arneri Bronfm cluded rkin. In 1991 on, Gu e Chamber Yefim emigr onSe d, Emers as th also e since Stern. Mr. Br Rudolf Clevelan ets, as well first tim ac nter. He ua r e Ce Isa he th ln art th Fis sh er y sia for recitals wi liard qu ciety of Linco anuel Ax, Jo Yoe the Av , So perform nors includ with Em na Kožená al, Music it rmed ale ’s ho mp vis rfo gd an Ra n, pe e Ma fm err has rrell, ormatio 1991. Jean-Pi nn Ha rs, and Prize in additional inf m. Bell, Ly lomo Mintz, many othe For d ia, Eu, Sh fman.co an, an Yo Ma hout As efimbron Zukerm throug www.y Pinchas solo recitals ca. highly ts 49 Ameri gs are presen rth din No or d rec rope, an Bronfman’s Mr.

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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.


D Discover more . . . clevelandorchestra.com About this Book

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

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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




What’s on Tonight? — A section of most




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Perspectives February 2020 A hundred years ago, Cleveland Orchestra founder Adella Prentiss Hughes recognized the value of music education for young people and the need to grow an audience for her new orchestra. More than a century later, education and community service are still core to our mission — and have never been more important. One of the great President & CEO joys of my professional life is sharing in the excitement students feel as they experience the power and passion of an extraordinary musical performance during a first-time visit to Severance Hall. Across the decades, the Orchestra has introduced more than four million Clevelandilies. This This area students to classical music through concerts presented for schools and famlies. month, we present “Beethoven: The Man & His Music” — programmed to honor the legendary composer’s 250th birthday this year. For these daytime Education Concerts, we’re sharing with middle-school students a number of Beethoven’s orchestral masterpieces, as well as the difficult challenges he faced throughout his life. That Beethoven was able to overcome so many obstacles and channel both his frustrations and his love of humanity into composing some of the greatest music ever written is a lesson for everyone. In addition to performing Beethoven’s works for nearly 6,000 young people at Severance Hall, assistant conductor Vinay Parameswaran also leads the Orchestra in special presentations for students at the Lorain Palace Theatre and for west side Cleveland residents at Lakewood Civic Auditorium. The expansive reach of this year’s education performances is made possible, in part, by Mrs. Jane Nord, whose transformational gift to The Cleveland Orchestra last year ensures free admission to Education Concerts for all schools and students throughout our hometown community — forever. This remarkable donation was inspired by Mrs. Nord’s own “revelatory and powerful” experience hearing The Cleveland Orchestra as a young girl, and her wish that every child across Northeast Ohio have the same opportunity as she did to be moved by these world-class musicians. At the top of February, we welcomed Jamie Bernstein, daughter of Leonard Bernstein, to Severance Hall. Here, she shared her father’s radiant music in a program titled “The Bernstein Beat: What Makes Music Dance?” — presented as part of our 50th season of Cleveland Orchestra Family Concerts. As many of you know, Leonard Bernstein was not just an innovative composer, but also a brilliant music educator, who brought his pioneering Young People’s Concerts television series to millions of living rooms across the country in the 1960s. As The Cleveland Orchestra continues forward into its second century, Franz WelserMöst and this entire institution remain deeply committed to engaging young people through memorable musical presentations and education initiatives. March is Music In Our Schools Month across the United States — I hope everyone who has been inspired by The Cleveland Orchestra will reflect on the importance of music in your own lives, and join us in nurturing new generations of music lovers. We must all be advocates for music in our schools, and embrace every opportunity to spark a passion for this special artform in young and old alike. I’m reminded of Beethoven’s simple declaration: “Music can change the world.” Indeed, it does — every day.

Severance Hall 2019-20

André Gremillet President & CEO The Cleveland Orchestra



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


Severance Hall 2019-20


Musical Arts Association


THE CLEVELAND ORCHESTRA The Cleveland Orchestra’s Board of Trustees is grateful to the community leaders listed on this page, who provide valuable knowledge, expertise, and support in helping propel the Orchestra forward into the future.

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


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

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

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

Alfredo Gutierrez Luz Maria Gutierrez Maribel Piza Judy Samuels

Lists as of September 2 O19

Advisory Councils and Boards

The Cleveland Orchestra


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

16 18th

1l1l 11l1 l1l1 1 1l

The The2017-18 2019-20season seasonwill marks mark Franz FranzWelser-Möst’s Welser-Möst’s18th 16th year yearas asmusic musicdirector. director.

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


each year

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

52 53%

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


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

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

129,452 200,000



concerts each year.

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

The Cleveland Orchestra performs over



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

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

Music Director

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


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is today hailed as one of the very best orchestras on the planet, noted for its musical excellence and for its devotion and service to the community it calls home. The 2019-20 season marks the ensemble’s eighteenth year under the direction of Franz Welser-Möst, one of today’s most acclaimed musical leaders. Working together, the Orchestra and its board of trustees, staff, and volunteers have affirmed a set of community-inspired goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence while focusing new efforts and resources toward fully serving its hometown community throughout Northeast Ohio. The promise of continuing extraordinary concert experiences, engaging music education programs, and innovative technologies offers future generations dynamic access to the best symphonic entertainment possible anywhere. The Cleveland Orchestra divides its time across concert seasons at home — in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and intensive performance residencies. These include recurring residencies at Vienna’s Musikverein, and regular appearances in European music capitals, in New York, at Indiana University, and in Miami, Florida. Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of excellence in everything that it does. Its ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestra-conductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home and on tour across the globe, and through recordings and broadcasts. The Orchestra’s longstanding championing of new composers and the commissioning of new works helps audiences experience music as a living language that grows with each new generation. Fruitful juxtapositions and re-examinations of classics, new recording projects and tours of varying repertoire and in different locations, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Programs for students and engaging musical explorations for the community are core to the Orchestra’s mission, fueled by a commitment to serving Cleveland and surrounding communities. All are being created to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique series of neighborhood initiatives and performances, designed to bring the Orchestra and the citizens of NorthPHOTO BY ROGER MASTROIANNI


Severance Hall 2019-20

The Cleveland Orchestra



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


east Ohio together in new ways. Active performance ensembles and teaching programs provide proof of the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than a century of quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance — with 20% of attendees now comprised of concertgoers age 25 and under — as the Orchestra now boasts one of the youngest audiences for symphonic concerts anywhere. con Innovative Programming. The Cleveland Orchestra was among the first Cl Clev American orchestras heard on a regular Ame series seri of radio broadcasts, and its Severance anc Hall home was one of the first concert halls hallll in the world built with recording and h broadcasting capabilities. Today, Cleveland b bro Orchestra concerts are presented in a variOrc etyy of formats for a variety of audiences — including casual Friday night concerts, film incl scores scor performed live by the Orchestra, collaborations with pop and jazz singers, colla ll ballet ball and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz con W lser-Möst’s creative vision has given the Wel Orchestra an unequaled opportunity to Orc explore music as a universal language of exp p communication and understanding. com

An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s performances as some of the best such concert experiences available in the world. Hundreds of thousands have learned to love music through its education programs and have celebrated important events with its music. While strong ticket sales cover less than half of each season’s costs, the generosity of thousands each year drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the ensemble quickly

The Cleveland Orchestra

The Cleveland Orchestra

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.


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




Franz Welser-Möst MUSIC DIREC TOR

CELLOS Mark Kosower *

Kelvin Smith Family Chair


Virginia M. Lindseth, PhD, Chair


Gretchen D. and Ward Smith Chair


Clara G. and George P. Bickford Chair


Takako Masame Paul and Lucille Jones Chair

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

Kim Gomez Elizabeth and Leslie Kondorossy Chair

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

Miho Hashizume Theodore Rautenberg Chair

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

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Katherine Bormann Analisé Denise Kukelhan Zhan Shu


Alfred M. and Clara T. Rankin Chair

The GAR Foundation Chair

Charles Bernard2 Helen Weil Ross Chair

Emilio Llinás2 James and Donna Reid Chair

Bryan Dumm Muriel and Noah Butkin Chair

Eli Matthews1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

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

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

Lynne Ramsey

Louis D. Beaumont Chair

Richard Weiss1


Charles M. and Janet G. Kimball Chair

Stanley Konopka2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Richard and Nancy Sneed Chair

Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Musicians

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

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

Kevin Switalski2 Scott Haigh1 Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

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

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



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


Frances P. and Chester C. Bolton Chair


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The Cleveland Orchestra

orchestra news


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 Juliet 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

Severance Hall 2019-20

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 them together brings out special qualities of their genius. Their lesser-known masterpieces should . ..ParisLinzVienna 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 Prokofiev’s Second, Third, and 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 performed 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 different.’ 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



Abu Dhabi Festival

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





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

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Cleveland Orchestra News

The Cleveland Orchestra

orchestra news


Spring Festival to foster discussion about the role of art in society, government censorship, and prejudice The Cleveland Orchestra has announced the name of its 2020 Festival in May, Censored: Art & Power, scheduled for spring 2020. Centered around the Orchestra’s performances of Alban Berg’s opera Lulu in May 2020, the Festival 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). Partner events 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, which was inspired by the same plays in Frank Wedekind’s “Lulu” cycle that Berg adapted for the libretto of his opera; And a lecture 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 known as the Degenerate Art & Music move-

Severance Hall 2019-20


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

Cleveland Orchestra News



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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 PGyouJOUIFBVEJFODF, 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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A.R.O.U.N.D T.O.W.N Recitals and presentations featuring Orchestra musicians Upcoming local performances by Cleveland Orchestra musicians and family:

Friends of The Cleveland Orchestra presents their next “Meet the Artist” program on Friday, February 28 — featuring Peter Otto, first associate concertmaster of The Cleveland Orchestra. The event takes place in the Sky Lounge at One University Circle (10730 Euclid Avenue) in Cleveland, and features a short performance and conversation with Ilya Gidalevich OF THE CLEVELAND ORCHESTRA (artistic administrator for The Cleveland Orchestra). Registration and a private reception begins at 11:30 a.m., with lunch following at 12 noon, followed by the program. For tickets, visit clevelandorchestra. com/meetheartist.


Soprano Gabrielle Haigh, an alumnus of the Cleveland Orchestra Children’s Chorus (2001-06) and Youth Chorus (2007-09), returns to Northeast Ohio as soloist with the Akron Symphony Orchestra in the Mozart Requiem on February 22, 2020, and as soloist with the Canton Symphony Orchestra in Dvořák’s Te Deum on April 25, 2020. Ms. Haigh is the daughter of Scott Haigh (first assistant principal bass).

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

Committed to Accessibility Severance Hall is committed to making performances and facilities accessible to all patrons. For information about accessibility or for assistance, call the House Manager at 216-231-7425.

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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 broadcast the program twice — with it now available for streaming via PBS-member app services nationwide. 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


Conductor John Williams leads soldout 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. All tickets for the concert were soldout within days of the concert’s announcement in January.

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The Cleveland Orchestra

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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




















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



The Cleveland Orchestra

orchestra news


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

The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians offer performance and coaching time in support of Orchestra education, community engagement, fundraising, and audience development activities. We are pleased to recognize these musicians, listed below, who offered their talents and artistry for such presentations during the 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.”

Cleveland Orchestra News


Susanna Mälkki

Leila Josefowicz

Finnish conductor Susanna Mälkki is chief conductor of the Helsinki Philharmonic Orchestra and principal guest conductor of the Los Angeles Philharmonic. She made her Cleveland Orchestra debut in April 2015 and most recently conducted here in July 2017. Ms. Mälkki studied cello with Hannu Kiiski and conducting with Jorma Panula, and continued her education at the Sibelius Academy and London’s Royal Academy of Music. She served as principal cello of the Gothenburg Symphony Orchestra in the mid-1990s prior to devoting her career to conducting. In addition to her current work in Helsinki and Los Angeles, she has held leadership positions with the Ensemble InterContemporain, Gulbenkian Orchestra, and Stavanger Symphony Orchestra. She has guest conducted many of the major orchestras in Europe and the United States — and has also led opera premieres, including works by Thomas Adès and Kaija Saariaho. Susanna Mälkki has recorded for the BIS, Kairos, and NMC labels. Her honors include France’s Chevalier of the Légion d’honneur and the Pro Finlandia Medal of the Order of the Lion of Finland. For more information, visit www. susannamalkki.com.

Violinist Leila Josefowicz attracts audiences worldwide with compelling artistry and a fresh approach to repertoire. In recognition of her advocacy of contemporary music, Ms. Josefowicz received a 2008 MacArthur Foundation Fellowship. She has collaborated with many composers, including John Adams and Oliver Knussen, and premiered concertos written for her by Luca Francesconi, Steven Mackey, Colin Matthews, and Esa-Pekka Salonen. In 2018, she received the Avery Fisher Prize for outstanding achievement and excellence in music. Ms. Josefowicz made her Cleveland Orchestra debut in July 1991 and most recently performed here in December 2018. She performs with the world’s major orchestras and regularly appears in recital around the globe The current season includes world premiere performances of a new chamber work by Thomas Adès, in Paris and Tokyo. Leila Josefowicz’s awardwinning discography includes concertos by Adams, Glazunov, Knussen, Mendelssohn, Prokofiev, and Salonen. In addition to several Grammy nominations, she has received an Echo Award and the Diapason d’Or. For more information, visit www. leilajosefowicz.com.


Guest Artists

The Cleveland Orchestra




Severance Hall

Thursday evening, February 6, 2020, at 7:30 p.m. Saturday evening, February 8, 2020, at 8:00 p.m.

Susanna Mälkki, conductor JEAN SIBELIUS (1865-1957)

OLIVER KNUSSEN (1952-2018)

En Saga [A Legend], Opus 9 Violin Concerto, Opus 30 1. Recitative — 2. Aria — 3. Gigue (played without pause)



Symphony No. 1 in E minor, Opus 39 1. 2. 3. 4.

Andante, ma non troppo — Allegro energico Andante (ma non troppo lento) Scherzo: Allegro — Lento (ma non troppo) — Tempo 1 Finale (Quasi una Fantasia): Andante — Allegro molto


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.

Severance Hall 2019-20

Program: Week 13


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

“Romanticism — Evocative and Un-Finnished” with guest speaker Eric Charnofsky, Case Western Reserve University

Concert begins: THUR 7:30 SAT 8:00

SIBELIUS En Saga . . . . . . . . . . . . . . . . . . . . . . . . . page 39 (15 minutes)

KNUSSEN Violin Concerto . . . . . . . . . . . . . . . . . page 43 (20 minutes)

INTERMISSION (20 minutes)

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

SIBELIUS Symphony No. 1 . . . . . page 47 (40 minutes)

facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch

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

Durations shown for musical pieces (and intermission) are approximate. Concert ends: (approx.)

THUR 9:10 SAT 9:40

Post-Concert CD Signing on Thursday evening, February 6 with Leila Josefowicz, 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


Modern Voices& Sounds A L L M U S I C is, of course, new when first written. Yet some pieces and

some composers are more groundbreaking than others. Some music still sounds new, even years after it was written. While other works or songs sound like comfortably old-fashioned friends from the very first hearing. This week’s concert offers two composers who often worked at the cutting edge throughout their careers, fashioning music that pushed boundaries without ever being alienating or filled with mere gimmicks. The music we hear is separated by a hundred years, but the spirit within is a shared daring and caring about music’s ability to communicate anew in our ever-changing world. Finnish composer Jean Sibelius originally wanted to be a violinist, but realized at conservatory that he either wasn’t good enough or, perhaps, that he was a little too lazy for all the practicing required. Instead, he shifted his sights to writing music, creating a body of work both grounded in his homeland’s storytelling (ancient myths and the modern fight for countryhood) and focused squarely on advancing music’s vocabulary into a new century. This weeks’ concerts present two works by Sibelius, the brief tone poem En Saga (translated as “A Legend” or “A Fairytale”) from 1892 and his First Symphony from 1899. Both are early Sibelius, yet clearly demarcate and preview the journey he was to follow as a composer, distilling music into a modern but welcoming language, big-voiced and startlingly true. In between, guest soloist Leila Josefowicz joins with conductor Susanna Mälkki for a Violin Concerto from 2002, written by British composer Oliver Knussen. Knussen was a unique figure in modern musical circles, as a composer, conductor, and creative mentor. He was a perfectionist who completed few pieces. He wrote for adults and for young people. Each piece he premiered creates a special soundworld worth listening to. —Eric Sellen


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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En Saga, Opus 9 composed 1892-93

At a Glance



SIBELIUS born December 8, 1865 Hämeenlinna, Finland died September 20, 1957 Järvenpää, Finland

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Sibelius wrote En Saga [“A Legend” or “A Fairytale”] in 1892-93, possibly reworking some sketches for a chamber work for flute, clarinet, and strings. En Saga was first performed on February 16, 1893, in Helsinki, with the Helsinki Orchestral Society conducted by the composer. Sibelius made some revisions to the score in 1902. This symphonic fantasy runs about 15 minutes in performance. Sibelius scored it for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets,

2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, triangle, cymbals), and strings. The Cleveland Orchestra first presented Sibelius’s En Saga in January 1932 during a weekend of concerts led by Rudoph Ringwall. It was performed with some regularity over the next three decades, but was last performed by the Orchestra at concerts in December 1965 conducted by George Szell.

About the Music J E A N S I B E L I U S cut a striking figure in his late twenties. A

leading critic at the time, Carl Flodin, cast the young man in the guise of a brooding, Romantic hero (apart, perhaps, from the ears): “His fair hair fell in disorder onto his forehead. His eyes had a veiled expression, but when his restless imagination began to work, they became more penetrating and took on a bluish shimmer. His ears were remarkable — large, well-shaped ‘sound receivers’.” These ‘sound receivers’ would prove themselves sensitive to all sorts of aural stimuli, from the buzz and drone of traditional folk instruments to the whispers of the pines and the wings of a swan. Sibelius found a unique way of hearing the world and translating it with striking imagination into his music. Over the course of the thirty-five years of his active creative life — before lapsing into the long “silence of Järvenpää” of his later years — he remodelled the symphony as a genre, rejuvenated the tone poem, and refashioned orchestral thinking for generations to come. En Saga is Swedish for “A Fairy-Tale” or “A Legend,” and is the first of thirteen atmospheric tone poems Sibelius would write, many of them based on legends from the Kalevala, one of the major Finnish folk epics. As a mini musical fantasy, En Saga manages to have the trappings of a simple folktale while at the same time exploring radical new structural ideas. Indeed, its abrupt tonal shifts and loose narrative were steps too far for the critics at its About the Music


premiere of 1893. Sibelius revised the work in 1902, paring it down and making it more direct. At its second outing, in Berlin, it still had detractors, but the concert was successful enough to ensure Sibelius his break-through into the prestigious German musical scene. What in lesser hands might have been a pleasant medley of Finnish folktunes becomes, with Sibelius at the helm, an enthralling trip into a fairytale world. For the first two thirds of this tone poem the music is in perpetual motion. It would be the perfect underscore to a night-time train journey (in a movie or on your EarPods). In this music, the young Sibelius also demonstrates how adept he is at enchanting the listener by evoking a parallel realm of spirit and wonder. He sets a precedent for Ravel to follow ten years later with his ballets about nymphs and princesses. (The iridescent scoring to the opening of En Saga was doubtless particularly appealing to the Frenchman.) What, then, is this “fairy-tale” about? Tantalizingly, that is left unsaid. Whereas in other descriptive works Sibelius was happy to respond explicitly to the narrative at their source, this work he described merely as “an expression of a state of mind,” adding that “in none of my other works have I revealed myself as completely as in ‘En Saga’.” It combines, in other words, the atmosphere of an ancient Finnish legend with a musical autobiography. It may be tempting to hear the heroic tone of the material as allied to Sibelius’s championing of Finnish independence, as this was such a defining passion for him in his early career. Without evidence, however, that point cannot be pressed. The pleasure is in allowing the music to take its own course. LISTENING TO EN SAGA

Once heard, the fantastical introduction to this work is not easily forgotten. Under a rainbow of strings (using a string-crossing technique that Sibelius would use again and again in his compositions), bassoons and horns lurk in the dark, hovering between two deep notes. Woodwinds give a pulsing response, sounding like water-birds. This sets the scene. There are then three main ideas, which will be repeated and developed: 1. First, the main folk tune that uncoils in the low strings and bassoons before being held aloft by the violins; it is both proud and melancholic. 2. Next is a rather sullen dance given out by the violas, who


About the Music

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skip on the first note multiple times. 3. Lastly, there is the violinsâ&#x20AC;&#x2122; brusque response to this, again hammering out their first note four times. In keeping with Sibeliusâ&#x20AC;&#x2122;s new, organic way of thinking, these three ideas now morph, shrink, and grow to feed the rest of the tone poem. At all times, the orchestra is presented in fascinating colors that will become common elements in Sibeliusâ&#x20AC;&#x2122;s palette. The â&#x20AC;&#x153;cross-hatchingâ&#x20AC;? in the strings is a good example, as the entire section â&#x20AC;&#x201D; from violins down to basses â&#x20AC;&#x201D; blur a chord with hushed tremolo bowing. The sound of the woodwinds is darkly clothed, and the brass are at times used like a dead weight. The pleasure of a texture often takes precedence over a tune. Many of these traits would be replicated and developed in subsequent orchestral works. The final section of En Saga strikes a particularly personal tone, with the orchestra reduced to chamber forces, as if we are being given a diary account of events. Suddenly, all the earlier momentum is gone, and the ideas drift over a pedal-note before receding into silence. Then, a stern alarm call is given and our hero is stirred back into action, only to be returned to that magical gloaming where things began, this time accompanied by a mournful lone clarinet. The work wanders into a distant key in its final bars. Wherever the interpretation of each listener may take you, there is no â&#x20AC;&#x153;happily ever afterâ&#x20AC;? to be had here. â&#x20AC;&#x201D;Jonathan James Š 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.

  %X\7LFNHWV72'$<&DOO       )ULGD\0DUFKWKaSPa6HYHUDQFH+DOO  Ă&#x201A;¸Ă&#x2C6;Ăśã­Â&#x203A;ĂŁĂ&#x2C6;Ă&#x2022;­¯ãĂ&#x153;Ă&#x2C6;¨ã­Â&#x203A;ɽɜĂ&#x153;ËŹɞɜĂ&#x153;Ę&#x152;]ĂŁÂ&#x203A;ó¯Â&#x203A;wĂ&#x2C6;Ă&#x201A;Â&#x2022;Â&#x203A;Ă&#x2DC;Ę?¯ŸŸÜ9Ă&#x2C6;Â&#x203A;ÂźĘ?XçÂ&#x203A;Â&#x203A;Ă&#x201A;Ę?9Ă&#x2C6;çĂ&#x2DC;Ă&#x201A;Â&#x203A;ĂśĘ?]ĂŁÂŻĂ&#x201A;ŠĘ?d­Â&#x203A;w­Ă&#x2C6;Ę? BÂ&#x201A;Ă Ă Â&#x201A;BÂŻÂ&#x201A;Ę?Ă&#x2C6;­Â&#x203A;Ă ÂŻÂ&#x201A;Ă&#x201A;Y­Â&#x201A;Ă&#x2022;Ă&#x153;Ă&#x2C6;Â&#x2022;ĂśĘ?wÂ&#x203A;w¯ŸŸYĂ&#x2C6;Â?šyĂ&#x2C6;çĘ?wÂ&#x203A;Ă&#x2DC;Â&#x203A;d­Â&#x203A;­Â&#x201A;Ă Ă&#x2022;ÂŻĂ&#x2C6;Ă&#x201A;Ă&#x153;Ę?hĂ&#x201A;Â&#x2022;Â&#x203A;Ă&#x2DC;VĂ&#x2DC;Â&#x203A;Ă&#x153;Ă&#x153;çĂ&#x2DC;Â&#x203A;Ę? ĂłÂ&#x203A;Ă&#x2DC;Ăś=ÂŻĂŁĂŁÂźÂ&#x203A;d­¯Ă&#x201A;Š]­Â&#x203A;Ă&#x2C6;Â&#x203A;Ă&#x153;0Ă&#x153;BÂ&#x201A;Š¯Â?Ę?IĂ&#x2022;Â&#x203A;Ă&#x201A;Ă&#x2DC;Ă Ă&#x153;Ę?Ă&#x2C6;Ă&#x201A;Ę­ĂŁ]ĂŁĂ&#x2C6;Ă&#x2022;Â&#x203A;Ÿ¯Â&#x203A;ó¯Ă&#x201A;Ę­

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About the Music


PELLĂ&#x2030;AS + MĂ&#x2030;LISANDE February 28-29 at 7:30 p.m. and March 1 at 2 p.m.

of The award-winning BW Opera presents a new, abridged, English-language adaptation of Claude Debussy and Maurice Maeterlinckâ&#x20AC;&#x2122;s Symbolist opera featuring a love triangle between a mysterious woman and two brothers driven to extremes by suspicion and jealousy.

EZHGXWLFNHWV_ER[RČŞFH Baldwin Wallace University, Black Box Theatre, Kleist Center for Art & Drama, Berea, Ohio 44017

Violin Concerto, Opus 30 composed 2001-02

At a Glance



KNUSSEN born June 12, 1952 Glasgow, Scotland died July 8, 2018 Snape, England

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Knussen wrote his Violin Concerto in 2001-02, co-commissioned by the Philadelphia Orchestra and the Pittsburgh Symphony. The world premiere was given in Philadelphia on April 5, 2002, with Pinchas Zukerman as the soloist and the composer conducting. This concerto runs not quite 20 minutes in performance. Knussen scored it for 3 flutes, oboe and english horn, 2 clarinets, bassoon and contrabassoon, 3 horns, 2 trumpets,

2 trombones, timpani, percussion (side drum, tenor drum, tam-tam, 2 triangles, 2 suspended cymbals, tubular bells, glockenspiel, vibraphone), harp, piano (doubling celesta), and strings, plus the solo violin. The Cleveland Orchestra has previously performed this concerto on a weekend of concerts in February 2005, conducted by the composer and with William Preucil as the soloist.

About the Music O L I V E R K N U S S E N was a master perfumer among contempo-

rary composers. He was able to take a complex chord and distill it down to its essence before diffusing it across the page of his score, allotting each instrument a precise role within the tincture. He was also a man of contrasts. On the podium he had a bear-like, imposing presence, while at the composing desk he was, as he once stated, “profoundly drawn to miniature things and fineness of detail and precision.” His perfectionism meant he produced a relatively modest number of works, each of them testifying to his commitment to detail. (With on-again off-again infamy, he twice postponed and then never completed a commission for The Cleveland Orchestra, to be titled Cleveland Pictures and inspired by artworks from the Cleveland Museum of Art — a veritably modern “Pictures at an Exhibition,” at least in concept.) A typical Knussen orchestral score has clear, refined gestures, careful application of color, and exquisite orchestration. It is also short. His Third Symphony is over in a quarter of an hour, and his Violin Concerto is barely longer. His works are, in fact, masterclasses in concision, and the purity of his technique reflects that of Benjamin Britten, a composer who inspired Knussen initially and whose legacy he was proud to continue through his residency in Aldeburgh, Britten’s hometown. Knussen was the son of a professional double bassist and About the Music


showed an early enthusiasm in writing for orchestra, composing his first symphony aged fifteen. His appetite for music and exploration led him down many avenues. He excelled as a conductor of 20th century and contemporary repertoire, curated exciting programs as an artistic director on both sides of the Atlantic, and was an enthusiastic advocate and mentor for many young composers. His death in 2018 left the contemporary music scene bereft of one of its most recognized and tireless champions. C R E AT I N G A M O D E R N V I O LI N C O N C E R T O

Knussen wrote his Violin Concerto in 2002 for Pinchas Zukerman, who had given support early in the composer’s career conducting the United States premiere of Knussen’s children’s opera, Where the Wild Things Are, in 1985. As befits its dedicatee, the violin line in the concerto has distinctly a lyrical quality to it, recalling the same kind of romantic touches Knussen had given his horn concerto in 1994. The concerto is in three “scenes,” as Knussen describes them, each with titles borrowed from the baroque era: Recitative, Aria, and Gigue. Although there are clear parallels with their baroque precedents, Knussen warns in his own program notes for the premiere in Pittsburgh that the “expressive world is sometimes wildly at odds with expectations.” Broadly, however, the rationale for the movement titles is borne out in the writing. In each movement, Knussen distills the essence of its baroque predecessor and re-imagines the devices and rhetoric of that period in his own, highly personal language. In the first movement, the violinist is given the ornamental lines and free speech of a solo recitative. In one memorable section of the Aria, the melody is crafted from eloquent interlocking intervals in the sweet spot of the violin’s range. The Gigue is suitably playful, although in places it veers towards the savage — like a “vaudeville clown,” Knussen insists in his commentary. Across the entire piece, the soloist is given a bright spotlight in which to shine, mainly through the subtle and restrained orchestration of the accompaniment. The score’s instrumentation is an important factor here. There are three flutes, which often feature as a luminous treble choir. The woodwinds have a contrabassoon for some moments of menace, but are otherwise restricted to one per part. The brass is similarly pared back, ceding space to a celesta and harp, and there are just two percussionists (fewer certainly than many modern compositions, but more than many other traditional


About the Music

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concertos). It is a conservative line-up by modern standards, and vital for the transparency and delicacy that were so key to Knussen’s soundworld as a composer. Throughout, you are aware of a very organized mind at work. A perilously high harmonic E for the solo violin opens the piece over the toll of a bell and this sound-image is mirrored in the final bars. The high harmonic also concludes the slow movement, so that we are given three aural pillar points at the beginning, middle, and end. Knussen writes that the violinist resembles “a tightrope walker progressing along a (decidedly unstable) high wire strung across the span” of the work. Certainly, the soloist’s part has treacherous moments hidden amongst its lyricism. As ever, their role is to negotiate the complex lines while making it look natural. A tightrope walk indeed. —Jonathan James © 2020

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About the Music


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


Symphony No. 1 in E minor, Opus 39 composed 1898-1899

At a Glance



Sibelius composed the first of his seven symphonies in 1898. It was first performed on April 26, 1899, in Helsinki (Helsingfors) by the Helsinki Philharmonic under the composer’s direction. Karl Muck introduced it to the United States on January 5, 1907, with the Boston Symphony. This symphony runs about 40 minutes in performance. Sibelius scored it for 2 flutes, 2 oboes, 2 clari-

nets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, triangle), harp, and strings. The Cleveland Orchestra first presented this symphony in January 1921 at the “New” Masonic Hall, conducted by Nikolai Sokoloff. It has been programmed occasionally since that time, most recently in July 2016, conducted by Jahja Ling.


About the Music

born December 8, 1865 Hämeenlinna, Finland

A T T H E C U S P O F a new century, Jean Sibelius was bracing himself to make his mark. In 1899, the thirty-four year-old had written a few larger works, but was mainly known for a clutch of patriotic theater pieces and tone poems — including Finlandia, which would become an anthem to Finland’s resistance to Russian oppression. (For centuries Finland had been a pawn between Russia and Sweden, and Swedish was still the language used in government paperwork and by high society up into the creation of an independent country in 1917.) With those earlier works finished, the time had come for Sibelius to step up and write his first symphony. First symphonies had been considered major statements in almost every composer’s catalog, especially after Beethoven so clearly transformed the symphony itself as the highest sort of musical work one could or should write. By the mid-1800s, symphonies were understood to be a declaration of serious intent, a bid to be accepted into the pantheon of symphonic composers that featured the most famous names in classical music. As a magnum opus for an ensemble that could comprise up to a hundred players or more, the symphony gave composers the scope and canvas to flex their creative muscles — and to take risks — while also requiring them to respect the constraints of a multi-movement form. Brahms famously waited until he was forty-three before he dared to extend Beethoven’s legacy with his own first symphony. Inevitably for the first outing of a major work in this genre,

died September 20, 1957 Järvenpää, Finland

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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.

comparisons are invited and influences sought — by audiences and musicians, if not by the composer who has created it. It is often said that Sibelius’s First Symphony owes a lot to Tchaikovsky, whose Sixth Symphony of 1893, nicknamed the “Pathétique,” he had so admired. And, yes, In Sibelius’s No. 1 there is a pathos and a Russian Romantic sweep to the string sound in the broader tunes. But surely this has as much to do with Sibelius’s love of Italian and French opera as any Russian influence. Stravinsky once described this aspect as “Italian melody gone north.” Throughout his symphonic career, Sibelius wrote fullblooded themes that lodge in the memory despite not being typically “catchy” nor based on standard melodic formulae. Many of these draw on the gruff tones of Finnish rune-singing and the asymmetric shapes of the country’s folk tunes — the typical spoken cadence of the Kalevala — giving them a unique Nordic accent. Thus, a Sibelius tune can be blunt and imperious, like a towering iceberg, majestic on a canvas of whites and grays (if rendered visually). Yet, they can also express a deep yearning, built with the kind of softer melodic arches often favored by Romantic composers of the 19th century. Either way, they are inimitable, as particular to Sibelius as the landscape he was so often describing. TH E S TO RY SO FAR

Sibelius’s First Symphony is actually his third “symphonic” work, following two large-scale pieces based on heroes from the legends of the Kalevala. Indeed, both the Kullervo Symphony (1893) and the Lemminkäinen Suite (1895) are important orchestral statements. But they are also hybrids, in the sense of blending the symphonic four-movement genre with the programmatic approach of a tone poem — with each movement depicting a different chapter in the hero’s adventure. In terms of the composer’s evolution, however, they represent his first steps into the world of the symphony, while stopping short of the abstract purity and logical rigor he envisioned for his first symphony proper. WORTHY OF AN ENCORE (O R TWO)


About the Music

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As with En Saga, Sibelius’s First Symphony testifies to a deeply original mind. Imagine a Romantic tableau, a scene from nature perhaps. Your eye may be caught by some highlights daubed in eerie colors, or to corners obscured in shade. On closer inspection, however, you may see (or hear, if you are catching my drift) the small swirls and twists of the brush proliferating into the whole picture. And you will marvel at how it holds together beautifully, one image echoed in another — one movement built from parts and parcels. This organic growth was all part of the “profound logic” that Sibelius vaunted when famously discussing the purpose of the symphony as a genre with Gustav Mahler in 1907. Where Mahler would happily take the scenic route if the trajectory of his narrative demanded it, Sibelius stuck to the path preordained by the natural development of initial cell ideas of music. Rather than be governed by a story or external concerns, Sibelius’s symphonies give the impression of being germinated from their opening bars alone, the music evolving from within itself to an extent not seen or heard before (and almost never since, either). If Mahler was telling a story — and letting the emotional weight carry him forward — Sibelius was painting a picture or creating a fully-formed place, consistent unto itself. LISTENING TO SIBELIUS’S FIRST SYMPHONY

I. Andante, ma non troppo — Allegro Energico: The symphony starts, if you lean in to listen closely, with a soft tremor on timpani — the sonic equivalent of rolling mist, and a sound that would become a signature trait of Sibelius’s symphonic style. Above, a clarinet sings a lament that slowly descends through an octave, turning on itself as it falls. This slow-motion turn, another Sibelian signature, will be reflected in much of the melodic material to come, setting the path that so many of his melodies will follow. The vigorous entry of the strings quickly dispels the soporific mood. The brass and wind play the clarinet’s turning figure as the music is wound to a climax, the strings’ theme now played with stern authority by the whole orchestra. That picture then dissolves into a water-color, with flutes dancing against a shimmering backdrop in the upper strings and harp, giving a hint of sylvan magic. A startling accelerando follows — startling, because it ends in abrupt silence and a dismissive pluck on the strings. The first movement is filled with wrong-footings and textural contrasts such as these, with a nightmarish episode suddenly giving way to a sunlit theme, or sudden thumps in the strings sending a gentle wind tune Severance Hall 2019-20

About the Music


spiralling into chaos. Right at the end, the heavy brass dissipate into two despondent pizzicato chords. Thus, in this opening movement, everything is in constant flux, each section as apparently ephemeral as the last, like stagecloths lifted one after the other to reveal a different set. Yet despite this elusive quality, the underlying design to the movement can be felt and the music makes sense, in its original way. 2. Andante ma non troppo lento: Pairs of strings and winds introduce the sighing tune that will haunt this movement. The opening paragraphs flow like a ballet, full of constant movement and beautiful gestures, whether languid or fleeting. A solo cello strikes a few graceful poses against two flutes swaying on the points of their shoes. The build-ups that characterized the first movement return as the material gathers weight and a storm-like urgency. Peace is finally re-established as the strings lull us back to the soft mood of the beginning. With so many moods traversed in under ten minutes, this is a remarkably intense movement. 3. Scherzo: There are echoes of both Beethoven’s and Dvořák’s Ninth symphonies in this scherzo, with tribal drums and driving pizzicato strings that eventually give way to a waltz. The characters in this movement wear both clogs and stilettos, moving between the woods and the ballroom. A middle section introduces a note of hesitation and repose before the tuba’s uncouth interruption prompts a return of the opening dance. 4. Finale (Quasi una Fantasia): The pathos in the opening cry on the strings echoes the grief-laden world of Tchaikovsky’s Sixth Symphony (“Pathétique”) — this is, indeed, where Sibelius’s remark that “there is a lot of that man in this work” rings truest. Whatever the Slavic overtones, this tune is in fact a version of the forlorn clarinet melody that opens the first movement, this time recast as a mass mourning. The tone remains subdued but tense as the suspense slowly builds. Eventually, the waves crest in clashes of cymbals, rattling drums, and a dramatic free-wheeling descent in the strings — bringing to mind the “Fantasia” of the movement’s title. Once you hear this, you can sit back and relish the fact that the biggest tune of the work is on its way. It is unashamedly opulent, with the strings at their most unrestrained — and Sibelius at his most open-hearted. The turbulence returns, however, with grim inevitability, this time even more exciting than before. There is a wildness to the


About the Music

The Cleveland Orchestra

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music now that competes with the big string tune when it, too, returns to the mêlée. The question is which will win out in the end, the wild chase or the romance? Neither, as it turns out. The romantic tune breaks down as the movement slows and turns a corner back into its tragic home key of E minor. The path at the end seems to lead nobly upwards, but the drum-roll returns like a specter from the first movement and the music stops mid-air, halted, as it was in that opening movement, by two peremptory pizzicato chords. It is this final gesture of bathos — and the symphony’s many unexpected twists and turns — that clearly signal Sibelius’s musical vision for the century to come. —Jonathan James © 2020

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About the Music


Dreams can come true

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

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To join our donor family, visit clevelandorchestra.com/donate For more information, contact: Joshua Landis, 0DQDJHURI,QGLYLGXDO*LYLQJ phone: 216-456-8400 email: annualgiving@clevelandorchestra.com

A portrait of Wolfgang Amadè Mozart, painted circa 1783 by Joseph Hickel.

I cannot write in verse, for I am no poet. I cannot arrange the parts of speech with such art as to produce effects of light and shade, for I am no painter. Even by signs and gestures I cannot express my thoughts and feelings, for I am no dancer. But I can do so by means of sound, for I am a musician. â&#x20AC;&#x201D;W.A. Mozart, November 1777



2O19 -2O2O


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Friday evening, February 7, 2020, at 7:30 p.m. Sunday afternoon, February 9, 2020, at 2:00 p.m. THE SAUL ZAENTZ COMPANY presents A MILOŠ FORMAN FILM

Starring F. MURRAY ABRAHAM TOM HULCE ELIZABETH BERRIDGE with SIMON CALLOW ROY DOTRICE CHRISTINE EBERSOLE JEFFREY JONES CHARLES KAY Director of Photography: MIROSLAV ONDŘÍČEK Film Score Recording Conducted and Supervised by NEVILLE MARRINER Production Design by PATRIZIA VON BRANDENSTEIN Choreographer: TWYLA THARP Costume Design by THEODOR PIŠTĚK Screenplay and Original Stageplay by PETER SHAFFER Produced by SAUL ZAENTZ Directed by MILOŠ FORMAN In Live Performance featuring THE CLEVELAND ORCHESTRA and the CLEVELAND ORCHESTRA CHORUS conducted by VINAY PARAMESWARAN The presentation runs about 3 hours, with one intermission.

Amadeus Live is a production of Avex Classics International.

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At the Movies: Amadeus Live


ON DISPLAY AT SEVERANCE HALL The Cleveland Orchestra is pleased to present a special display of original costume renderings from the movie Amadeus, for viewing in the Humphrey Green Room (off the main Orchestra Level of the Concert Hall). These are on loan from the collections of longtime subscribers Philip and Peggy Wasserstrom and their daughter and her husband, Katie and Michael Shames: “Not unlike the mysterious visitor knocking on Mozart’s door to commission a requiem, a series of chance encounters brought us to an apartment on Fifth Avenue in New York City over thirty years ago, where we met a woman acting as agent for Theodor Pištěk, winner of the Academy Award for costume design in 1985 for Miloš Forman’s movie Amadeus. At the time, Mr. Pištěk was working to assemble funds to carry with him while returning to his home behind the Iron Curtain, in what was then Czechoslovakia. Seeing a means toward assisting him, we bought a series of Mr. Pištěk’s costume drawings for the movie, adding depth to our own appreciation of the marvelous film’s production values and creativity. As fifty-year subscribers to The Cleveland Orchestra, we have experienced immeasurable pleasure in attending Severance Hall concerts and witnessing the growth and evolution of this cherished institution. We are extraordinarily pleased to share these original costume sketches for viewing at Severance Hall this weekend for the Orchestra’s movie presentation.” —Philip and Peggy Wasserstrom (with Michael and Katie Shames)

THE S TO RY L IN E Claiming to have murdered the composer Wolfgang Amadeus Mozart, the elderly composer Antonio Salieri recounts to a priest his dealings with the brilliant “Amadeus.” Salieri, today seen as a minor light of the Classical era, was Court Composer to Austrian Emperor Joseph II when Mozart first met the Emperor. Joseph II, a major patron of the arts, seeing talent that he liked almost immediately commissioned Mozart to write an opera in German, rather than the customary Italian. Mozart showed himself to be childish, arrogant, annoying, and brilliant all at once. And Salieri was simultaneously in awe and green with envy at his rival’s genius. Ultimately, Salieri uses Mozart’s difficult relationship with his father — and his guilt over being a bad son — to drive Mozart slightly mad. Salieri plots and prods, pushing Amadeus into a downward spiral of ill health and, eventually, death. Still frustrated by Mozart’s greater talents, Salieri positions himself to have been a closer friend to Mozart than reality ever knew.


At the Movies: Amadeus Live

The Cleveland Orchestra


Mozart, Amadeus& Salieri T H E M O V I E A M A D E U S is a brilliant evocation of Mozart’s era, delivered

as a thriller filled with good, bad, and bawdy characters. Based on Peter Shaffer’s well-crafted play of the same name — Tony Award-winner for best play in 1981 — it is a tale told well and ably, and not entirely inline with reality. The movie won the Oscar for best film in 1985. Perhaps it goes without saying that no film is the real thing. Even a documentary makes choices for emphasis and omission. Amadeus is a great play and a magnificent movie, inbued with intrigue, conflict, suspense and suspicion, triumph and tragedy. It is also what playwright Shaffer called “a fantasia on the theme of Mozart and Salieri” — a reweaving of reality into an incredibly captivating and suspenseful yarn. The arts are necessarily about “artistic license.” And Shaffer indulged himself, and us, to stunning and mighty affect. Yes, Wolfgang Mozart was a bawdy and wildly outgoing personality, whose dreams and expenditures were always bigger than his own life (or bank account) could afford. And, yes, he and Salieri did know one another, certainWolfgang Amadeus 1 ly. But what exactly passed between them — friendship, rivalry, hatred, admiration, or something in between — we MOZART cannnot fully know. born It is, thereby, perfectly fitting that even the name of January 27, 1756 Salzburg the movie/play is largely fictitious, and not the middlename that Wolfgang preferred or used the most. Still, Amadeus is died December 5, 1791 a joy, bursting with energized acting, extravagantly elegant Vienna scenery and costumes, and music second to none. —Eric Sellen

1 What was his name?

See page 61.

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Introducing the Movie ie


Marilyn Monroe, the Beatles, and Twiggy. This new exhibition features approximately 180 works that take viewers through the photographer’s creative process. Picture. Perfect.

Feb 7–Apr 12 | FREE Support provided by Fred and Laura Ruth Bidwell

Sally and Sandy Cutler

Viki and Al Rankin

cma.org Marilyn Monroe, 1952. Philippe Halsman (American, b. Russia [now Latvia], 1906–1979). Gelatin silver print, ferrotyped; 25.4 x 19.8 cm. © Halsman Archive. Image courtesy of the Cleveland Museum of Art


Vinay Parameswaran Assistant Conductor Elizabeth Ring and William Gwinn Mather Endowed Chair The Cleveland Orchestra

T H E 2 0 1 9 - 2 0 S E A S O N marks Vinay Parameswaran’s third year as a member of The Cleveland Orchestra’s conducting staff. In this role, he leads the Orchestra in several dozen concerts each season at Severance Hall, Blossom Music Festival, and on tour. He also serves as music director of the Cleveland Orchestra Youth Orchestra, and his contract in both positions was recently extended through the 2020-21 season. Mr. Parameswaran came to Cleveland following three seasons as associate conductor of the Nashville Symphony (2014-2017), where he led over 150 performances. In the summer of 2017, he was a Conducting Fellow at the Tanglewood Music Center. Recent seasons have included Mr. Parameswaran making his guest conducting debuts with the Rochester Philharmonic and the Tucson Symphony, and also made his subscription debut with the Nashville Symphony conducting works by Gabriella Smith, Grieg, and Piev. Other recent engagements have included debuts with the National Symphony Orchestra, Milwaukee Symphony, Jacksonville Symphony, Eugene Symphony, and the Vermont Symphony Orchestra.

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In addition to his concert work, Mr. Parameswaran has led performances of Mozart’s The Magic Flute and Donizetti’s The Elixir of Love with Curtis Opera Theater. He also assisted with Opera Philadelphia’s presentation of Verdi’s Nabucco. Mr. Parameswaran has participated in conducting masterclasses with David Zinman at the National Arts Centre Orchestra in Ottawa, as well as with Marin Alsop and Gustav Meier at the Cabrillo Festival of Contemporary Music. He is the conductor on the album Two x Four featuring the Curtis 20/21 ensemble alongside violinists Jaime Laredo and Jennifer Koh, featuring works by Bach, David Ludwig, Philip Glass, and Anna Clyne. A native of the San Francisco Bay Area, Mr. Parameswaran played percussion for six years in the San Francisco Symphony Youth Orchestra. He holds a bachelor of arts degree in music and political science from Brown University, where he began his conducting studies with Paul Phillips. He received a diploma from the Curtis Institute of Music, where he studied with Otto-Werner Mueller as the Albert M. Greenfield Fellow.

Conductor: Amadeus Live





Born January 27, in Salzburg, the seventh and last child of Leopold and Anna Maria. (Only two of their children survived infancy.) Baptized “Johannes Chrysostomus Wolfgangus Theophilus Mozart.”


At age 3, Wolfgang begins to play the harpsichord.


At age 5, he begins to compose.


His father takes Wolfgang (and his sister, Nannerl, four years older) on the road as child prodigies. Over the next four years, they will visit and perform before royalty in Vienna, Paris, and London.


He begins writing his first operas, completing four in two years.


Wolfgang (age 14) and his father visit Italy for the first time, and are exposed to Italian opera in its native land.


At age 15, he begins his service with his father’s employer, the Archbishop of Salzburg.


While he and his mother are in Paris looking for lucrative employment for Wolfgang, Anna Maria is taken ill and dies. Wolfgang must bury her alone, and then tell his father and sister back in Salzburg the news.


After looking for a job in Vienna, Wolfgang is dismissed from his post with the Archbishop and decides to begin life as a freelance artist.


Marries Constanze Weber on August 4. They will have six children, but (typical for the era) only two will survive to adulthood (and neither of them will have progeny of their own).


Over the next several years, he writes and performs a series of mature piano concertos and creates six string quartets dedicated to Haydn, making for himself both a name and a good living.


Meets Haydn, who praises Mozart as “the greatest living composer.”

Amadeus: Mozart Timeline

The Cleveland Orchestra


The opera The Marriage of Figaro premieres in Vienna on May 1.


He travels to Prague early in the year to see Figaro, where it is acclaimed a masterpiece. Prague asks him to write a new opera. Father Leopold dies on May 28. Don Giovanni, his second collaboration with librettist Lorenzo Da Ponte, is premiered in October in Prague. Wolfgang is appointed to the relatively minor (and not very well-paid) post of “chamber composer” by Emperor Joseph II.


Mozart composes what become his last three symphonies (Nos. 39, 40, and 41) in anticipation of a series of benefit concerts that never take place. His finances are increasingly limited and problematic, and he moves around Vienna several times in the next few years to find lodgings he can work in or afford.


The opera Così fan tutte is premiered in Vienna. Mozart attends the coronation of Emperor Leopold II.


Composes the operas The Magic Flute and La clemenza di Tito, and begins work on his Requiem Mass. Dies on December 5 at the age of 35. After a simple funeral service, following customs of the time in Vienna, he was buried in an unmarked grave.

What’s his name?! Mozart was baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart. His first two baptismal names, Johannes Chrysostomus, represent his saints’ names, following the custom of the Roman Catholic Church at the time. In practice, his family called him Wolfgang. Theophilus comes from Greek and can be rendered as “lover of God” or “loved by God.” Amadeus is a Latin version of this same name. Mozart most often signed his name as “Wolfgang Amadè Mozart,” saving Amadeus only as an occasional joke. In the years following his death, scholars in all fields of learning were quite enamored of Latin naming and conventions (this is the period of the classification and cataloging of life on earth into kingdom, phylum, class, order, family, genus, species, etc.) and successfully “changed” his name to Amadeus. Only in recent years have some started remembering and calling him by the Amadè middlename he preferred. Severance Hall 2019-20

Mozart Timeline: Amadeus


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

Lisa Wong was appointed director of choruses for The Cleveland Orchestra in May 2018, after serving as acting director throughout the 2017-18 season. She joined the choral staff of The Cleveland Orchestra as assistant director of choruses at the start of the 2010-11 season, assisting in preparing the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. In 2012, she took on added responsibilities as director of the Cleveland Orchestra Youth Chorus, leading that ensemble for five seasons. In addition to her duties at Severance Hall, Ms. Wong is an associate professor of music at The College of Wooster, where she conducts the Wooster Chorus and teaches courses in conducting, choral literature, and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Recent accolades have included work in Nairobi, Kenya, and Stockholm, Sweden. Ms. Wong holds a bachelorâ&#x20AC;&#x2122;s degree in music education from West Chester University and masterâ&#x20AC;&#x2122;s and doctoral degrees in choral conducting from Indiana University.


Chorus: Amadeus Live

The Cleveland Orchestra

Cleveland Orchestra Chorus Lisa Wong, Director

Daniel Singer, Assistant Director Joela Jones, Principal Accompanist

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




Laurel Babcock Amy Foster Babinski Claudia Barriga Ruby Chen Susan Cucuzza Anna K. Dendy Emily Engle Molly Falasco Lisa Fedorovich Sarah Gould Rebecca S. Hall Ashlyn Herd 5 Lisa Hrusovsky Kirsten Jaegersen Shannon R. Jakubczak Kate Macy Jessica Marie May Clare Mitchell S. Mikhaila Noble-Pace Jennifer Heinert Oâ&#x20AC;&#x2122;Leary Allison M. Paetz Katie Paskey Victoria Peacock Lenore M. Pershing Jylian Purtee Meghan Schatt Katie Schick Monica Schie Ellie Smith Megan Tettau Sharilee Walker Xiaoge Zhang 5

Emily Austin Debbie Bates Riley Beistel Mylane Bella-Smuts Julie A. Cajigas Barbara J. Clugh Carolyn L. Dessin Brooke Emmel Marilyn Eppich Diana Weber Gardner Rachael Grubb Karen Hazlett Kristen Hosack Klara Hricik Betty Borlaug Huber Karen S. Hunt Sarah N. Hutchins Melissa Jolly Kate Klonowski Kristi Krueger Cathy Lesser Mansfield Danielle S. McDonald Karla McMullen Holly Miller Peggy A. Norman Dawn Ostrowski Marta PĂŠrez-Stable Jennifer Rozsa Ina Stanek-Michaelis Jane Timmons-Mitchell Kristen Tobey Martha Cochran Truby Gina L. Ventre Laure Wasserbauer Caroline Willoughby Leah Wilson Debra Yasinow Lynne Leutenberg Yulish

Daveon Bolden 5 Vincent L. Briley Rong Chen Daniel M. Katz Peter Kvidera Adam Landry Tod Lawrence Shawn Lopez Rohan Mandelia Ryan Pennington Matthew Rizer Ted Rodenborn Matt Roesch John Sabol James Storry Kevin Walters Steven Weems Allen White Peter Wright BASS

Christopher Aldrich Tyler Allen Jack Blazey Sean Cahill Serhii Chebotar Peter B. Clausen Nick Connavino

Christopher Dewald Jeffrey Duber Matthew Englehart Brian Fancher Andrew Fowler Jose Hernandez Kurtis B. Hoffman Dennis Hollo Jason Howie Jeral Hurd James Johnston Joshua Jones Matthew Kucmanic Jason Levy Scott Markov Tyler Mason Robert Mitchell Tremaine Oatman Francisco X. Prado Brandon Randall John Riehl Andrew Schettler Robert G. Seaman John Semenik Jarod Shamp James B. Snell Charles Tobias Matt Turell

 5 = 2019-20 Shari Bierman Singer Fellows

Lisa Fedorovich and Vincent L. Briley, Co-Chairs, Cleveland Orchestra Chorus Operating Committee Jill Harbaugh, Manager of Choruses

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Chorus: Amadeus Live


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Severance Hall

Thursday evening, February 13, 2020, at 7:30 p.m. Friday evening, February 14, 2020, at 7:00 p.m.* Saturday evening, February 15, 2020, at 8:00 p.m. Sunday afternoon, February 16, 2020, at 3:00 p.m.

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Philippe Herreweghe, conductor LUDWIG VAN BEETHOVEN (1770-1827)


Overture to Egmont, Opus 84 Violin Concerto in D major, Opus 61 1. Allegro ma non troppo 2. Larghetto 3. Rondo: Allegro ISABELLE FAUST, violin


Symphony No. 41 (“Jupiter”) in C major, K.551 1. 2. 3. 4.

Allegro vivace Andante cantabile Menuetto: Allegro — Trio Finale: Molto allegro

* The Friday evening concert is performed without intermission and features the Overture and Symphony only.

Thursday’s concert is sponsored by DLR Group | Westlake Reed Leskosky. Friday’s concert is co-sponsored by Hahn Loeser & Parks LLP. Isabelle Faust’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Kulas Foundation. In recognition of their extraordinary generosity in support of The Cleveland Orchestra, these performances are dedicated to: Mr. and Mrs. Alfred M. Rankin, Jr. (Thursday, February 13) Mr. and Mrs. Donald M. Jack, Jr. (Friday, February 14)

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Program: Week 14


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February 13, 14, 15, 16 THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 FRI 5:00 SAT 5:00 SUN 12:00


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 (Thursday, Saturday, and Sunday)

“Singular Works by Mozart and Beethoven” with David Rothenberg, g Case Western Reserve University FRIDAY EVENING 7:00

BEETHOVEN Overture to Egmont . . . . . . page 71 (10 minutes)

(45 minutes)


BEETHOVEN Violin Concerto . . . . . . . . . . page 73


Concert begins: THUR 7:30 SAT 8:00 SUN 3:00

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

INTERMISSION 7:50 7 7: :50 50

(20 minutes)

MOZART Symphony No. 41 . . . . . . . . page 77 (35 minutes)



After Fridays@7 Join us for more good times, with a special post-concert cocktail gathering to mix and mingle with Cleveland Orchestra musicians and audience colleagues, in the Lotus Club and on the main orchestra level of the Concert Hall.

Concert ends: (approx.)

THUR 9:25 SAT 9:55 SUN 4:55

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


TThis his Week’s Concerts

The Cleveland Orchestra


Ludwig & Wolfgang

W H I L E T H E H E A D L I N E R S for this week’s concerts are the renowned

guest artists violinist Isabelle Faust and guest conductor Philippe Herreweghe, the star of any orchestral concert is the music itself. And this week features big works by two of classical music’s greatest titans: Ludwig van Beethoven and Wolfgang A. Mozart. First comes a brief overture penned by Beethoven as part of music to accompany a theatrical play. The stagework — and the music — is filled with passion, drama, and scene-setting. Next (on all but Friday evening’s concert) is Beethoven’s immense — and immensely beautiful — Violin Concerto. This work is today considered among the greatest such pieces ever written. It was not always so, however, and generated puzzlement and ho-hum reactions at its premiere in 1806. Its length, which we may find heavenly today, was longer than early 19thcentury expectations. Even its beguiling melodies did not ensure its success, which happened gradually over several decades, as one violinist after another found its beauty and brought it to the public’s attention again and again. The weekend’s concerts come to an end with Mozart’s big-hearted Symphony No. 41, known in Englishspeaking countries by the nickname “Jupiter.” This was Mozart’s last-completed symphony. Here, in four magnificent movements, the composer shows what his idea of an ideal symphonic piece — without a storyline — could be, filled with power, variation, and contrast, and ending in a mighty fugal movement of unsurpassed force and beauty. If Mozart’s “Jupiter” Symphony from 1788 is a supreme example of music from the Classical era, its emotional sway and energy also signal the Romantic era just around the turnof-century ahead — into which Beethoven would lead the way. —Eric Sellen


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


Philippe Herreweghe

Isabelle Faust

Belgian conductor Philippe Herreweghe is widely-known for his work across Europe leading music from Bach’s time, but is equally at home with Romantic repertoire and contemporary music. To perform Baroque music, he has been involved in creating several groups, including Collegium Vocale Gent and La Chapelle Royale. He also established the Orchestre des Champs-Élysées to focus on period music from 1750 to the early 20th century and Ensemble Vocal Européen de la Chapelle Royale to sing Renaissance polyphony. Other leadership positions have included work with the Festival de Saintes and the Royal Philharmonic Orchestra of Flanders. For the 2019-20 season, he is serving as artist-in-residence with Frankfurt Opera. His discography comprises more than 100 albums. Among Mr. Herreweghe’s honors are being named European Musician of the Year. Concurrent with his piano studies with Marcel Gazelle at the Conservatory in Ghent, Philippe Herreweghe studied medicine and psychiatry there. He later focused on harpsichord with Johan Huys and organ with Gabriël Verschraegen. He is making his Cleveland Orchestra debut with this weekend’s concerts.

German violinist Isabelle Faust performs regularly across Europe and North America. She is both a student of historical technique and an advocate of new music, playing a wide range of repertoire across all time periods and styles. Her past and upcoming premieres include new works by Werner Egk, Marco Stroppa, Michael Jarrell, Oscar Strasnoy, Thomas Larcher, Olivier Messiaen, Péter Eötvös, Ondřej Adámek, Jörg Widmann, and Brett Dean. She is a guest soloist with major orchestras around the world and performs as a recitalist and chamber musician. For the 2019-20 season, Ms. Faust is serving as artist-in-residence with Amsterdam’s Royal Concertgebouw, and also with Philharmonie Essen, Centro Nacional de Difusión Musical Madrid, and Philharmonie du Luxembourg. Her award-winning discography features works across a range of repertoire, from Bach to Bartók, Beethoven to Berg, along with Mozart to Brahms. Isabelle Faust made her Cleveland Orchestra debut in July 2014 and most recently performed here in February 2018. She teaches violin at the Berlin University of the Arts. Her honors include first prize in the Paganini Competition of Genoa.


Guest Artists

The Cleveland Orchestra

Overture to Egmont, Opus 84 composed 1809-10

At a Glance Beethoven composed his Overture to Goethe’s play Egmont in 1809-10 on a commission from the German National Theater in Vienna to write incidental music for the play. The score was premiered with a new production of the play on June 15, 1810.

This overture runs not quite 10 minutes in performance. Beethoven scored it for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings.

About the Music by

Ludwig van

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

A C R O S S H I S L I F E T I M E , Beethoven wrote a series of nearly a

dozen overtures, some as concert works, others for his only opera (Fidelio) or attached to incidental music for several dramatic stageworks. All of them are serious in subject matter. Most of them are related to Beethoven’s lifelong belief in the ultimate goodness of humanity — alongside the need both to “fight for Good” and for heroes to lead us forward by example or sacrifice. Beethoven created his overture and incidental music to Wolfgang von Goethe’s play Egmont at the invitation of the German National Theater in Vienna in 1809-10. (Beethoven’s own First Symphony had been premiered at this same theater in 1800.) Goethe had completed the play in 1788, telling the story of a 16th-century Dutch hero, Count Egmont, who rallied the population and fought against Spanish subjugation of the Netherlands. Beethoven readily agreed to write incidental music for the play’s revival, with the subject matter so completely attuned to his own political beliefs in freedom and justice. The Overture, often played by itself in the concert hall, is quintessential Beethoven. Grand chords begin a slow introduction filled with ominous portent. The chords are repeated along with slow melodic themes, before a sudden outburst of energy carries us rapidly forward in expectation and anticipation. The musical fight continues, in strong jabs and tuneful stirrings, building and developing not unlike one of Beethoven’s great symphonic movements. Eventually, a climactic and heroic tune calls forth in the brass, carrying the overture to a shining, triumphant finish. —Eric Sellen © 2020

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About the Music


Your legacy helps create

Violin Concerto in D major, Opus 61 composed 1806

At a Glance


Ludwig van

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

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Beethoven wrote his Violin Concerto in 1806 for Franz Clement, who was the soloist in the first performance on December 23, 1806, in Vienna. The score was published in 1808 with a dedication to Beethoven’s childhood friend Stephan von Breuning. This concerto runs about 45 minutes in performance. Beethoven scored it for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus solo violin. The Cleveland Orchestra first performed Beethoven’s Violin Concerto in

January 1920, when the 19-year-old Jascha Heifetz appeared as the soloist, with Nikolai Sokoloff conducting. Since that time, the concerto has been presented by the Orchestra quite frequently, performed with many of the world’s greatest violin soloists. The Orchestra’s most recent performances were at Blossom in 2012, with soloist Gil Shaham led by Jahja Ling, and at Severance Hall in January 2013, with violinist Joshua Bell conducted by Franz Welser-Möst.

About the Music T H E F O U R D R U M T A P S that open this Violin Concerto are

one of the most surprising and audacious ideas that Beethoven ever committed to paper. What was he thinking? Is this an echo of the military music that emanated from the French Revolution — and which was to be heard all over Vienna in those warlike years? Is it an easy way to set the tempo, like those audible 1-2-3-4 counts that jazz musicians rely on? Is it a suggestion of menace or coming thunder? Is it a way to attract the audience’s attention? To make everyone sssshush and listen quietly right from the top? Is it a tune? The concerto itself is so familiar to many of us — along with so many even more daring ideas let loose in the past two centuries — that it’s quite a challenge today to imagine the shock waves those four notes should have set off at its first performance in 1806. Unless, perhaps, the audience was too noisy to allow anyone to hear them clearly (or at all). Perhaps the Viennese were already used to Beethoven’s eccentricities and regarded this as just another of his strange ways. At the time, critics in the press barely noticed the oddity of such an opening. Instead, they complained about the concerto’s length and repetitiousness, and mostly expressed the view that things would be better if Beethoven reined himself in a little and stuck to the agreeable style he had perfected in his first two symphonies. No one was yet ready to bask in the 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.

work’s beautifully melodic and elegant writing for the violin, or appreciate the spacious symphonic breadth of the first movement, let alone declare this to be the finest violin concerto anyone had ever heard. In fact, this concerto came into the world with very little fanfare and made little impression on the Viennese or anyone else. Not for some fifty years was it treated as the great work we now know it to be, when Joseph Joachim, Ferdinand David, Henri Vieuxtemps, and other virtuosi began to play it everywhere. In the 1870s, a crop of fine concertos appeared — by Brahms, Lalo, Tchaikovsky, and Bruch — all more or less in homage to Beethoven’s concerto and most of them in the same key of D major. If later concertos were written to honor Beethoven’s, where was Beethoven’s inspiration from? He probably had little if any knowledge of Mozart’s five early violin concertos (they, too, didn’t gain popularity until decades later). Instead, Beethoven’s models were mostly French, in concertos by Viotti, Kreutzer, and Rode, all working in Paris. He may also have known Louis Spohr’s concertos. Beethoven also almost certainly knew a D-major concerto by Franz Clement, a young Viennese violinist who had played it in a concert in 1805 at which Beethoven had first presented his Symphony No. 3, nicknamed the “Eroica.” Beethoven’s own concerto was written “par Clemenza pour Clement” in the autograph score, and the dedicatee gave the first performance in December 1806, an event colored by the anecdote that Clement was sight-reading from Beethoven’s messy manuscript and by the program’s inclusion of a sonata to be played by Clement on a single string and “mit umgekehrten Violin” — with the instrument upside-down. (Such stunts were common at concerts of the time — and often what audiences remembered most.) BE E THOVE N’S CONCE RTO

What makes Beethoven’s concerto different from all those others from his time is its enormously enlarged sense of space. With four symphonies behind him, he now thought instinctively in the extended paragraphs of symphonic structure and was able to create a broad horizon within which his themes can be extended in leisurely fashion and adorned by graceful elaborations from the soloist. For the four drum taps are a theme, or at least a crucial part of a theme, to be taken up by the soloist and the orchestra at various points, sometimes soft, as at the open-


About the Music

The Cleveland Orchestra

ing, sometimes brutally loud, and always highly distinctive. The other themes of this opening movement are elegant, often built out of rising or falling scales and usually moving in stepwise motion, avoiding wide intervals and sustaining a calm dignity. Since Beethoven left no written-out solo cadenzas for this concerto, violinists have been writing their own for two centuries. Spohr, Joachim, Vieuxtemps, Eugène Ysaÿe, Fritz Kreisler, Jascha Heifetz, and dozens of others have published their own versions, and some more recent cadenzas break with convention by quoting from other concertos or indulging in modernisms such as quarter-tones written in the cracks between notes within Beethoven’s own tonal scale. All three movements offer opportunities for cadenzas, the one at the end of the slow movement acting as a link to the rondo finale. The middle slow movement is a group of variations on a theme, ten measures long, of surpassing simplicity and beauty. First played by the strings alone, the theme passes to the horns and clarinet, then to the bassoon, then back to the strings with strong woodwind punctuation. The soloist, who has offered only decoration up to this point, then introduces a second theme, even more serene than the first, which acts as an interlude before the next variation, marked by pizzicato strings. Perhaps Beethoven was thinking of Haydn, who also liked to leaven his sets of variations with secondary themes. This second theme returns, accompanied now by the winds. The movement has remained firmly in its home key of G major throughout, and just when another variation seems to be hinted at by the horns, a violent series of chords sets up the cadenza-link into the finale. The Rondo third movement’s catchy theme releases a burst of energy and an inexhaustible flow of lively invention. The bassoon is favored in a minor-key episode that is heard, regrettably, only once. At the end, the coda plays with the theme like a kitten with a ball of wool — rounding the work off with a light touch quite at odds with the image of a surly, stormy composer that we too often take to be the real Beethoven. —Hugh Macdonald © 2020

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About the Music




Love duets and playful tiffs from Monteverdi and Vivaldi

“Consummate artistry” –NEW YORK TIMES

These concerts are generously sponsored by SANDRA & RICHEY SMITH


O Jerusalem!


Music & poetry from the four quarters of the ancient city

Cleveland’s own GRAMMY®-winning baroque orchestra performing on period instruments

These concerts are generously sponsored by


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Symphony No. 41 (“Jupiter”) in C major, K551 composed 1788

At a Glance


Wolfgang Amadè

MOZART born January 27, 1756 Salzburg died December 5, 1791 Vienna

Severance Hall 2019-20

Mozart finished the score of this work, his last completed symphony, on August 10, 1788. The location and date of its first performance are not known. The nickname “Jupiter” (used mostly only in Englishspeaking countries) was probably suggested by Johann Peter Salomon (1745-1815), the German-born violinist and impresario who brought Haydn to London (and hoped to invite Mozart as well). This symphony runs about 35 minutes in performance. Mozart scored it for flute, 2 oboes, 2 bas-

soons, 2 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first performed Mozart’s “Jupiter” Symphony during the 1922-23 season under founding music director Nikolai Sokoloff. It has been performed quite frequently since then, most recently in 2018 under the baton of Herbert Blomstedt. The Cleveland Orchestra recorded this symphony in 1955 (mono) and again in 1963 (stereo) with George Szell, and in 1990 with Christoph von Dohnányi.

About the Music O N F R I D AY , J U LY 2 5 , 1 7 8 8 , Mozart finished his new Symphony in G minor, today known as No. 40. It was his second in that key. He had also very recently composed a Symphony in E-flat major (No. 39). Nevertheless, Mozart turned immediately to creating yet another symphony, destined to be his last. This one was in C major, and came to be designated decades later as his Symphony No. 41, and given the nickname “Jupiter” (mostly in Englishspeaking countries). It took him no more than two weeks and two days to complete this score, probably less, and he entered it in his own catalog of works on August 10. It was not unusual that he should compose so fast, but it was odd that he should compose three such substantial works without a performance in view. As far as we know, no impresario had invited him to present concerts, and no publisher had asked him for symphonies (which were not as easy to market as concertos). Mozart was not competing with other composers, at least no more than usual, and in any case he disdained such motives. The only explanation, widely accepted by historians today, is that he planned to mount his own concerts in Vienna during the autumn and winter seasons, and would need new works to draw in the public. No mention of such plans is found in his About the Music


letters or in the press, however, but there was little reason why such an idea should have progressed further than a few discussions in Viennese cafés with possible collaborators and patrons. Such letters as have survived from this period speak of Mozart being: a.) madly busy, and b.) desperate for money. If he was planning concerts, both of these would apply. Still, no such concerts were given. In fact, in the three years of his life remaining, Mozart gave no more public concerts in Vienna and composed no more symphonies. Thus, the great burst of symphonic composition in the summer of 1788 must therefore be seen as his last dream of giving regular concerts to enthusiastic Viennese audiences, as he had in 1783 and 1784. All three of these final symphonies had to wait until after Mozart’s death to be published and performed. No first performance of the “Jupiter” has been identified, although the parts were published in 1793. The nickname itself was conferred by Johann Salomon, the German impresario who settled in London in 1781 and secured Haydn’s two long visits, with twelve new symphonies. It is highly likely that he presented the “Jupiter” sometime in London before his death in 1815. THE MUSIC

All four movements vie with one another for the greatness that the term Jupiter implies, but the finale fourth movement stands out for its miraculous combination of fugue and symphonic form. The four equal notes that begin the finale are both a fugue subject and the first theme of the movement. Mozart then introduces new themes which turn out in due course to be counterpoints to the four-note subject. The movement’s development section is where complexity begins to take over, although not until the extended coda are all the counterpoints heard together in a magnificent tour de force. At the same time, the energy and positive spirit of the finale make a solid, satisfactory conclusion to the whole work. The first three movements are scarcely less impressive. The slow movement stands out for the way in which its innocent opening generates a movement of great intensity, with harmony sometimes as dissonant as anyone could imagine in 1788, and decorative figures in the winds which are by no means simply decorative. The balance between winds and strings is the most ingenious and resourceful that Mozart ever achieved — and he


About the Music

The Cleveland Orchestra


In this story of a handsome lost prince, his comic sidekick, a beautiful princess in distress, a commanding high priest and a bitter, vengeful queen, complications and challenges abound, but everything sorts out happily in the end as two loving couples head to the altar.


Wed, Feb 26 & Fri, Feb 28 @ 7:30pm Sun, Mar 1 @ 2pm Kulas Hall TICKETS: cim.edu/magicflute or 216.795.3211

did it without calling for clarinets, an instrument he understood so well and had begun using in orchestral writing. At the time Mozart penned his last three symphonies, Haydn still had a dozen yet to write. Great though that composer’s “London” Symphonies are, however, many musicians believe that it is Mozart’s “Jupiter” that crowned the 18th century’s enormous legacy of the Classical orchestral symphony — a legacy that Beethoven single-handedly transformed while re-setting the stage for the Romantic Era of the next century. —Hugh Macdonald © 2020 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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About the Music


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Kendal affiliates serving older adults in northern Ohio


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

Severance Hall 2019-20

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

* deceased



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 January 20, 2020 $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 Martha Holden Jennings Foundation

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Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation The Frederick and Julia Nonneman 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 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 The George Garretson Wade Charitable Trust 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) The Frederick W. and Janet P. Dorn Foundation 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 Welty Family Foundation The Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wright Foundation The Wuliger Foundation Anonymous

The Cleveland Orchestra


Corporate Support The Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations listed on this page, whose annual support (through gifts of $2,500 and more) demonstrates their belief in the Orchestraâ&#x20AC;&#x2122;s music-making, education programs, and community initiatives.

Annual Support gifts in the past year, as of January 20, 2020 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

The Cleveland Severance HallOrchestra 2019-20

$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 Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP Huntington National Bank Miba AG (Europe) Northern Trust Olympic Steel, Inc. RPM International Inc. The Sherwin-Williams Company Third Federal Foundation 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 January 20, 2020 Adella Prentiss Hughes Society gifts of $100,000 and more

Lillian Baldwin Society gifts of $75,000 to $99,999


Mr. William P. Blair III+ 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

George Szell Society gifts of $50,000 to $74,999 Mr. Yuval Brisker The Brown and Kunze Foundation Mr. and Mrs. Marshall Brown Rebecca Dunn JoAnn and Robert Glick Mrs. John A Hadden Jr.* Mr. and Mrs. Donald M. Jack, Jr. Mr. and Mrs. Douglas A. Kern Toby Devan Lewis Ms. Nancy W. McCann+ Mr. Stephen McHale 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+

+ 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: +

82 84

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

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

Elisabeth DeWitt Severance Society 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 Dr. Robert Brown and Mrs. Janet Gans 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 Dr. Malcolm E. Kenney, PhD 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 Mr. and Mrs. Alex Machaskee+ 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) Mr. and Mrs. John Warner Meredith and Michael Weil Paul and Suzanne Westlake Tony and Diane Wynshaw-Boris+

The Severance Cleveland HallOrchestra 2019-20

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 Patti Gordon (Miami) Richard and Ann Gridley+ Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest Iris and Tom Harvie+ Amy and Stephen Hoffman 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 Mr. Donald W. Morrison+* Margaret Fulton-Mueller Dr. Anne and Mr. Peter Neff Steven and Ellen Ross Dr. Isobel Rutherford Astri Seidenfeld Meredith M. Seikel Mr. Heinrich Spängler (Europe) Mr. and Mrs. Richard P. Stovsky Mr. and Mrs. Leonard K. Tower Mr. Daniel and Mrs. Molly Walsh Tom and Shirley Waltermire+ Mr. and Mrs. Fred A. Watkins+ Mr. and Mrs. Jeffery J. Weaver Robert C. Weppler Sandy and Ted Wiese Max and Beverly Zupon Anonymous listings continue

Individual Annual Support

83 85

Frank H. Ginn Society gifts f off $10,000 to $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+ Michael Frank and Patricia A. Snyder Ms. Marina French Albert I.* and Norma C. Geller Mr. Robert Goss Mr. and Mrs. Stephen Griebling Mr. Michael GrĂśller (Europe) Mr. Alfred Heinzel (Europe)

Mr. and Mrs. Jerry Herschman Dr. Fred A. Heupler+ 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. John Mueller Brian and Cindy Murphy+ Randy and Christine Myeroff Mr. J. William and Dr. Suzanne Palmer+ John N.* and Edith K. Lauer Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ 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 Mrs. Florence Brewster Rutter* Dr. and Mrs.* Martin I. Saltzman Mr. Lee Schiemann Carol* and Albert Schupp Dr. and Mrs. James L. Sechler 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) 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+ Donna L. and Robert H. Jackson 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 David and Janice* Logsdon Anne R. and Kenneth E. Love Elsie and Byron Lutman

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 Ms. Elizabeth Brinkman 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. and Mrs. James V. Conway Mr. John Couriel and Mrs. Rebecca Toonkel (Miami) Mr. and Mrs. Ralph Daugstrup Thomas S. and Jane R. Davis Pete and Margaret Dobbins+ Mr. and Mrs. Robert P. Duvin Elliot and Judith Dworkin

84 86

Individual Annual Support

listings continue

The Cleveland Orchestra

2O 2O 19 -2O

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listings continued

Da Mann and Bernadette Pudis David Ms. Amanda Martinsek M JJames 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 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 Lute and Lynn Quintrell Mr. and Mrs. Roger F. Rankin

Brian and Patricia Ratner Ms. C. A. Reagan 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) Don Schmitt and Jim Harmon 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 Dr. Marvin and Mimi Sobel*+ Mr. and Mrs. William E. Spatz George and Mary Stark+ Dr.* and Mrs. Frank J. Staub

Mr. and Mrs. Donald W. Strang, Jr. Stroud Family Trust Mr. and Mrs. Joseph D. Sullivan Sulliv Ms. Lorraine S. Szabo+ Szabo Taras Szmaga Szmagala and Helen Jarem Robert and Carol Taller Sidney Taurel and Maria Castello Branco Philip and Sarah Taylor Mr. Joseph F. Tetlak 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)

Mr. and Mrs. Frank H. Carpenter William and Barbara Carson Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald Chapnick* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm 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 Dr. Todd Diacon 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. and Mrs. Frederick A. Fellowes Mr. William and Dr. Elizabeth Fesler Scott A. 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 and Ms. Cynthia Prior 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 Mr. Calvin Griffith Candy and Brent Grover 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

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 Mr. Lawrence A. Blaustein 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 Brian and Cyndee Burke Mr. and Mrs. Robert G. Busha Mr. and Mrs. Marc S. Byrnes Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker John and Christine Carleton

86 88

Individual Annual Support

Orchestra The Cleveland Orchestra

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 Mr. and Mrs. Stephen J. Holler Thomas and Mary Holmes Gail Hoover and Bob Safarz 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 Pamela Jacobson Mr. and Mrs. Richard A. Janus Mr. and Mrs. Bruce D. Jarosz Robert and Linda Jenkins Mr. Robert and Mrs. Mary V. Kahelin Rudolf D.* and Joan T. Kamper Mr. Jack E. Kapalka 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. John J. Lane, Jr.+ 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 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 Glenn and Ida Mercer Beth M. Mikes Mr. Ronald Morrow III Eudice M. Morse Mr. Raymond M. Murphy

The Cleveland Severance HallOrchestra 2019-20

Ms. Megan Nakashima Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Andrea Nobil (Miami) Richard and Jolene O’Callaghan+ Mr. and Mrs. John Olejko Harvey* and Robin Oppmann Mr. Robert Paddock Mr. John D. Papp George Parras Dr. Lewis E. and Janice B. Patterson David Pavlich and Cherie Arnold Matt and Shari Peart Robert S. Perry Henry Peyrebrune and Tracy Rowell Nan and Bob Pfeifer Dale and Susan Phillip Dr. Marc A. and Mrs. Carol Pohl Peter Politzer and Jane S. Murray 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 Joan and Rick Rivitz 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 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 David Kane Smith Ms. Janice A. Smith Mr. Eugene Smolik Ms. Barbara R. Snyder Drs. Nancy and Ronald Sobecks Drs. Thomas and Terry Sosnowski Diane M. Stack Mr. and Mrs. Jeffrey C. Stanley

Individual Annual Support

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

87 89

11001 Euclid Avenue Cleveland, Ohio 44106



the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 19211936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant Georgian HAILED AS ONE OF


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

Severance Hall

The Cleveland Orchestra

11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM



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


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

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


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

Severance Hall 2019-20

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




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 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


OPER A TR ADITIONS The Cleveland Orchestra has a long and storied history of operatic performances. In the mid-1930s, after the opening of Severance Hall, music director Artur Rodzinski led several fully-staged opera productions each year (including the United States premiere of Shostakovich’s Lady Macbeth of Mtzensk). But economic constraints of the Depression ended the series after a few years. The Orchestra’s season featured occasional in-concert presentations in the ensuing decades, as well as several summer seasons of Lake Erie Opera’s staged productions at Severance Hall in the mid-1960s and two staged productions at Blossom in the mid1980s. During Franz Welser-Möst’s tenure, opera has become a regular and welcome part of the Orchestra’s annual schedule, now boasting nearly twenty operas featuring international stars and up-and-coming talent, and mixing in-concert presentations alongside innovatively-staged productions.

Views from the Stage

Opposite page, top to bottom: Wagner’s Die Walküre in 1934 and Shostakovich’s Lady Macbeth of Mtzensk in 1935 were among fully-staged operas in Severance Hall’s early years. More recently, Mozart’s Così fan tutte in 2010 was featured as part of a three-year cycle of Mozart’s Da Ponte operas in productions from Zurich Opera.


At left: Nina Stemme starring in the title role in a concert presentation of Strauss’s Salomé in 2012.

Franz Welser-Möst led The Cleveland Orchestra and an international cast of singers in a unique production of Leoš Janáček’s The Cunning Little Vixen in 2014, directed by Yuval Sharon and blending together live action with projected animation. Encore performances were presented in 2017-18, in Cleveland and Vienna.

Severance Hall 2019-20

Views from the Stage


Rainey Institute El Sistema Orchestra



We believe that all Cleveland youth should have access to high-quality arts education. Through the generosity of our donors, we have invested more than $5 million since 2016 to scale up neighborhoodbased programs that now serve 3,000 youth yearround in music, dance, theater, photography, literary arts and curatorial mastery. Thatâ&#x20AC;&#x2122;s a symphony of success. Find your passion, and partner with the Cleveland Foundation to make your greatest charitable impact.

(877) 554-5054 clevelandfoundation.org/success

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The Cleveland Orchestra February 6-9, 13-16 Concerts  

February 6, 8 - Sibelius First Symphony February 7, 9 - At the Movies: Amadeus February 13-16 - Beethoven and Mozart

The Cleveland Orchestra February 6-9, 13-16 Concerts  

February 6, 8 - Sibelius First Symphony February 7, 9 - At the Movies: Amadeus February 13-16 - Beethoven and Mozart

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