Page 1

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

WEEK 17 — March 5, 7, 8 Mendelssohn’s Hymn of Praise . . . . . . page 27 WEEK 18 — March

12, 13, 14 Schubert & Prokofiev . . . . . . . . . . . . . . . page 62

Censored: Art + Power Festival . . . . page 46

WI NTE 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

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About the Orchestra


Weeks 17 and 18 Perspectives from the President & CEO . . . . . . . . . 9 Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Advisory Councils . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 About The Cleveland Orchestra . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107


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Concert: March 5, 7, 8 . . . . . . . . . . . . . . . . . . . . . . . . 27 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 29 KŘENEK

Static and Ecstatic . . . . . . . . . . . . . . . . . . . . . . . . . . 31 MENDELSSOHN

Hymn of Praise [Lobgesang] . . . . . . . . . . . . . . . . . 35 Sung Text and Translations . . . . . . . . . . . . . . . . . . 39 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 15 Guest Soloists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . 22-26


ON THE COVER Photograph by Roger Mastroianni

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

Origins: Degenerate Art & Music . . . . . . . . . . . . . . . 46


Cleveland Orchestra News . . . . . . . . 52



Concert: March 12, 13, 14 . . . . . . . . . . . . . . . . . . . . 62 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 65 Pairing: Schubert and Prokofiev . . . . . . . . . . . . . . . 67 PROKOFIEV

Symphony No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 SCHUBERT

Symphony in C major (“The Great”) . . . . . . . . . 77 SCHUBERT

Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 PROKOFIEV

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. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . 15 Preferred Airline of The Cleveland Orchestra

Support Severance Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Annual Support Foundation and Government . . . . . . . . . . . . . . . 92 Corporate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Individual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

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 . . . . . . . . . 110


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 news orchestr gs stival brin Spring Fe controvercontext to ulu” by a “L er op l n sia discussio fostering role e around th ization on and weap ciety so of art in









y.” seaand creativit festival this er, through art eland Orchestra’s d: Art & Pow estra “The Clev ng Censore n Berg’s eland Orch on’s h we are calli to demystif y Alba The Clev son, whic for this seas re d, Ohio — from updates Clevelan of our desi been stigmatized taking ces further came out iams, & Power, had Will h k whic Mar , has announ d Censored: Art ered estra. opera Lulu it was written,” says ival is cent eland Orch tifestival, title 2020. The fest ent Alban of Clev s mom The ng the ance of n poli tic officer place in spri a’s perform and 22, and history whe Orchestr chief artis a time in 19, work’s created at the composer, the around the Lulu on May 16, of art it was ra “Lulu was ut the role inst uter, so that ed Berg’s ope k discussion abo were aga ip, and prej subject mat cal forces spar not perform , and the seek s to ent censorsh Nazi Germany’s musical style re its premiere. It was gnized as a governm t ting poin by in society, reco g as a star ization of the arts only later banned befo have and we y, & ime, dice — usin Toda Art and weapon uential in Berg’s lifet tury masterpiece. generate oppression ps and styles “De ety of colorm this infl -cen perf 20th to true the grou ures a vari nity not only a sense of opera labelling festival feat ding the the opportu to give audiences lead to Music.” The entations surroun also creation that work, but pelling e pres the work’s laborativ ounding and a com ningcentury s. times surr It is moving music mid-20th mea performance od, in the early to it would be a time of banning. that the its was peri d, s “Thi emned compose we also knew nd it, and that was we who cond stor y, but val, ’s Lulu was arou mes festi ext Berg n regi the ,” cont In whe te rian view & Power. ful to crea authorita r narrow ected, sored: Art ide of thei The autocratic, er are conn ession outs music director of birth of Cen how art and pow oses, and g artistic expr so Möst, political purpnot only to are explorin often did for z Welserthey used Fran be says used, a. “And k were is conhow art can censorship can be their wor d Orchestr public who Clevelan ork was Artists and how art and but to control the vy hand. Some artw ts, with a hea censorship. so many creative control artis d through s of the art.” prohibite careers and Power festival, ormance suming the and entire Art & to the perf estra is also destroyed, abused Censored: In addition and 22), the Orch art can be With the y and sed y 16, 19, certs (Ma lives lost. music and abu is (Ma con how ra al Lulu into ope r of and two addition of music we will look the characte opera. Because se presenting different genres m, just as g way in the ther.” by a syste ormers who and in her own 23) explorin posers and perf ano aganda com and abusive turn people on one topics, not dby Nazi prop classes of can important stigmatized or eliminated, inclu the a system ve these are ld,” contined work was d in “And I belie but in today’s wor were ruin later kille still in ned and whose lives the past happening an ban ts this from see artis only hum Möst. “We ing Jewish ection of of cola variety ues Welser- . Art is a direct refl t. ing how Holocaus also features you are limit anour own time you stifl s e art, one on The Th Festival n with ing Whe you interact society. e around learn from estra erstand thos people can eland Orch The Clev you can und other, how tra News d Orches Clevelan



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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 . . . About this Book

The Cleveland Orchestra

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


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born December La Côte-S 11, 1803 Isère, Fra aint-André, nce died March 8, 1869 Paris

Food, Drink, and More — in addition to

About this Book

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

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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Yefim Bron fma d by Bak is made poss n’s appearance erHoste with The tler. Clevelan Guest Artis ible by a contribut d Orch ion t Fund from Timothy to the Orchestra’s estra P. and Jenn The Clevelan ifer C. Smu cker. is endowed d Orchestra’s Frida y Morning by the Mar Conc y E. and F. * The Frida Joseph Call ert Series y Morning ahan Fou Concertt and featu und ature is performed nda ress the Pian atio tion n..

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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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ed his Sym fantasti pho que dur ing the spri nie The wor timpani, ng of 183 k’s prem perc iere was 0. Paris Con drum, sna ussion (cymbals given at servatory , bass re drum, the on 1830, con and bell and strin ducted by December 5, s), 2 har gs. ps, Habene François The Clev ck. -Antoine eland Orc perform This sym hestra fi ed Berlioz’ phony run rst minutes s fantasti s about in perform que in Apr Symphonie 50 ance. Berl scored it il 1924 — programm for 2 flutes ioz and has ed it freq piccolo) (sec tim uen ond e. tly , 2 oboes doublin The Orc g hestra has since that (second english Sympho doublin horn), 2 recorded nie g clarinet the doublin 1941 with fantastique five s (second g e-flat clar times: in Artur Rod inet), 4 bas 4 horns, 1982 with zins 2 trumpets soons, Lorin Maa ki, in 1977 and , 2 cornets, bones, 2 Christoph zel, in 198 ophiclei 3 tromvon Doh 9 des (an instrum nányi, and with with Pier older bra ent now re Boulez in 1996 ss replaced (winning Gramm by tuba), y Award a 1998 for best perform orchestr ance). al

About th e Music A NE



Sympho EWSP nie fantas APER tiqu to be an in 1868 insult. Yet e as “a nightmare set to mu described the this was that the exactly crit what Ber sic,” it was meant tener sho ic should have lioz inte a mis uld nded — composer grasp, even dim erable evenin not g, but tha ’s own ly, the nig t the lishtmaris Of Berlioz experience. h agonie ’s real suff s of the only to erin read the letters of g there can be years old no doub 1829 (wh ) to glim t. One has en Berlioz pse the was bursti torment was twe ng with of nty-five musical The ob ideas and a composer wh ose min whose hea riet Smith ject of his pas d sion wa rt was ble son, wh s an An om before in eding. glo-Irish the roles Berlioz had see actress, n viewed of on Jul the iet and her only stage two HarOphelia. at was stil years Since the l quite un a distance, wh n, he had ile of his aware. pressed? How wa ver y exi His first s this un stence she thought, Shakespe real pas naturally are sion to be composed an work, perha enough, ps a was a dra ex, it seems Thomas matic , a few mo Romeo and Jul Moore’s iet, vement Irish Me the land s. He the for which he lodies of n symphoni her birth. Once to music, which set several of at least es, especi he had evoked encounte strongly ally the “Eroica” as Shakes (which imp red Beethoven peare), he ’s res liked the sed him just idea of wri About the ting a Bee as Music thoN



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Perspectives March 2020 As the final weeks of winter move us closer to spring, The Cleveland Orchestra has plenty of music on offer to warm our souls, beginning with two weekends under Franz Welser-Möst’s baton. These include a weekend of concerts featuring works by Ernst Křenek and Felix Mendelssohn, whose Hymn of Praise features the Cleveland Orchestra Chorus — a group of extraordinarily talented and devoted singers who President & CEO we’re proud to honor with The Cleveland Orchestra’s twenty-fourth annual Distinguished Service Award. As you can read on pages 22-26, the award is being given to the Chorus both for their exceptional commitment as volunteers and for their remarkable collective achievements and artistry as an ensemble. The next weekend features a set of concerts in which Franz Welser-Möst juxtaposes symphonies by Sergei Prokofiev and Franz Schubert, two composers born a century apart. Throughout Franz’s tenure as music director of The Cleveland Orchestra, one of his greatest strengths continues to be his creative vision and keen insight into programming, bringing together musical scores or juxtaposing composers whose commonality may not be immediately apparent. Whether Schubert and Prokofiev or Beethoven and Shostakovich, Franz gives us fascinating explorations of interesting connections — similarities and contrasts — that bring the music of these great composers to life and invigorate our understanding of music’s power to offer insight. In May, we’ll have another opportunity to experience Franz’s unique, thought-provoking programming during this spring’s festival, Censored: Art + Power, which centers around Alban Berg’s groundbreaking opera Lulu. The Festival’s offerings — at Severance Hall and beyond — are designed to spark discussion about the role of art in society, government censorship, and prejudice. Using Nazi Germany’s oppression and weaponization of the arts as a starting point, the festival features a weeklong series of concerts at Severance Hall, including three performances of Berg’s Lulu (May 16, 19, and 22) alongside other pieces primarily from the 1920s and ’30s — including provocative compositions by Mary Lou Williams, Bohuslav Martinů, and George Antheil. In addition, the Festival features collaborations with other cultural institutions from across Northeast Ohio, including the Cleveland Museum of Art, Cleveland Institute of Art, Facing History & Ourselves, and Beachwood’s Maltz Museum of Jewish Heritage. More details and information about the Festival can be found on pages 46-53 of this program book. Regardless of the Orchestra’s particular focus each week — playing education concerts, family favorites, or exploring the broad range of classical music for new audiences and longtime friends alike, we are continually reminded of how fortunate we are to be a part of an incredibly loyal and involved hometown community here in Northeast Ohio. You encourage us and inspire us with your attendance, your questions, your support — and we’re grateful. At home and around the world, we carry the Cleveland name with total pride.

Severance Hall 2019-20

André Gremillet President & CEO The Cleveland Orchestra



as of December 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

Benjamin N. 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


Buying and selling fine art in Cleveland for over 40 years

WOLFSGALLERY.COM 13010 Larchmere Blvd, Cleveland William VanDuzer, 1936


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.


April 22 – May 10, 2020 over 100 events including soprano RenÊe Fleming and pianist Evgeny Kissin in an iconic collaboration


Leadership & Restaurant Institute

Eat Well. Do Good. Edwins Restaurant

Open for pre- and post-concert dining. Just 10 minutes from Severance Hall.

Shaker Square, Ohio 44120 | 216.921.3333


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

The Cleveland Orchestra



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


Severance Hall 2019-20

The Cleveland Orchestra



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


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

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

The Cleveland Orchestra

The Cleveland Orchestra

ing performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center. Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency at home throughout Northeast Ohio and around the world. Program Book on your Phone Visit to read bios and commentary from this book on your mobile phone before or after the concert.


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

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

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

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

OBOES Frank Rosenwein* Edith S. Taplin Chair

Corbin Stair 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



The Cleveland Orchestra

Distinguished Service Award The Musical Arts Association is proud to honor the

Cleveland Orchestra Chorus as the 2019-20 recipients of the Distinguished Service Award, recognizing extraordinary service to The Cleveland Orchestra. PREVIOUS RECIPIENTS

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


Franz Welser-Möst 2018-19 Dennis W. LaBarre 2017-18 Robert Vernon 2016-17 Rosemary Klena 2015-16 James D. Ireland III 2014-15 Pierre Boulez 2013-14 Milton and Tamar Maltz 2012-13 Richard Weiner 2011-12 Robert Conrad 2010 -11 Clara Taplin Rankin 2009-10 Louis Lane 2008- 09 Gerald Hughes 2007- 08 John D. Ong 2006-07 Klaus G. Roy 2005 - 06 Alex Machaskee 2004 - 05 Thomas W. Morris 2003 -04 Richard J. Bogomolny 2002- 03 John Mack 2001- 02 Gary Hanson 2000-01 Christoph von Dohnányi 1999-2000 Ward Smith 1998-99 David Zauder 1997-98 Dorothy Humel Hovorka 1996-97

Distinguished Service Award

The Cleveland Orchestra

Presented to the Cleveland

Orchestra Chorus

Lisa Wong, Director

Presented by Richard K. Smucker during the concert of March 5, 2020

For more than two decades, the Cleveland Orchestra’s Distinguished Service Award has been bestowed annually upon a series of individuals, each of whose efforts have made a significant difference in the ensemble’s artistry, prosperity, and growth. Clearly noted in the awards criteria from the beginning, however, was the provision to grant this honor to a group or institution. This season’s award marks the first such recognition, not of a worthy individual, but of the unique collaborative contributions of many. It is given, appropriately, to a group created specifically to partner with The Cleveland Orchestra in performance, to be a worthy artistic pairing with the Orchestra’s own world-renowned acclaim. It is a community partnership of voluntary service and commitment, driven by a clear artistic focus. For more than six decades, the volunteer singers of the Cleveland Orchestra Chorus have been gathering together each season, week in and week out, to prepare and perform the greatest works of the choral-orchestral literature — to lift their voices in song as inspiration for audiences young and old. This year’s Distinguished Service Award honors the success not just of the Chorus members of today, but the achievement of the many — of all who have proudly sung as members of this chorus since 1952. The award is given equally for the individual dedication of each member and for the collective and polished artistry they achieve each season as a group. Cleveland’s is one of the few all-volunteer, professionally-led choruses affiliated with a major American orchestra. Each year, the Chorus demonstrates their skills across a wide range of repertoire, from the carefully-proportioned and delineated scores of Bach’s Passions and Handel’s Oratorios to the exuberant Romantic sounds of Brahms, Rachmaninoff, and Mahler, from intricate 20th-century works to the wide-ranging lilt and lift of popular hits, movie scores, and holiday favorites. Across seven decades, chosen through audition, nearly 3,000 singers from across Northeast Ohio have joined the Cleveland Orchestra Chorus to serve as hardworking, focused, song-filled volunteer choristers. They have rehearsed, prepared, and performed over 150 major choral-orchestral works and operas, as well as singing hundreds of shorter, seasonal, popular, and well-loved favorites — all the while mastering dozens of languages and different musical styles. Each season’s members collectively volunteer as many as 30,000 hours in rehearsal and performance, devoting evenings and weekends in service to the art of choral singing. The group has been featured on over 1,200 concerts since 1952, including 26 appearances at New York’s Carnegie Hall with The Cleveland Orchestra, along with tour performances in Miami, Puerto Rico, and across Europe. They have been heard on hundreds of radio broadcasts, appeared in at least a dozen continues on next page

Severance Hall 2019-20

Distinguished Service Award


television ele evi ion programs, pro ograms and and participated part c pated in nm more ore than than 30 30 commercial comme c al recordings record dings w with ith The Cleveland Orchestra — including 7 Grammy Award nominations and 4 Grammy Awards. They have been featured on 4 private-label box sets created by The Cleveland Orchestra to mark important celebrations, including a special album honoring legendary chorus director Robert Shaw, which featured a range of performances by the Chorus and Orchestra from his years at the helm. In addition, more recently, the Cleveland Orchestra Chorus has created eleven albums with The Cleveland Orchestra, filled with joyous and heart-warming Christmas music, and used the power of that music as fund-raising premiums in their many and successful efforts to help defray the cost of touring and operating a chorus. All in all, an exceptionally accomplished chorus, second to none in the world. In recognition of the extraordinary artistic achievements and unending dedication of this group of talented volunteers, and for their service to the Greater Cleveland community, the Musical Arts Association is extremely pleased to present the Cleveland Orchestra Chorus with the institution’s highest award for distinguished service — and to join everyone in anticipating many more great performances in the years ahead.


The singers of the Cleveland Orchestra Chorus represent a cross-section of Northeast Ohio — from teachers, doctors, lawyers, and medical professionals to students and more. AUDITIONS for the Cleveland Orchestra Chorus and Blossom Festival Chorus are held each spring and autumn. For more information, please contact the Chorus office at 216-231-7372, or by writing


Distinguished Service Award

The Cleveland Orchestra

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. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

A Brief History: Founding of the CLEVELAND ORCHESTRA CHORUS Today’s Cleveland Orchestra Chorus dates to the 1952-53 season, when it was formed at the request of the Orchestra’s fourth music director, George Szell. The idea for a community-based chorus to partner with The Cleveland Orchestra, however, dates to the Orchestra’s earliest years. The first time a group billed as the Cleveland Orchestra Chorus sang was during the 192021 season. With infrequent performances, it lasted DIRECTORS less than a year — and subsequent choral needs were Lisa Wong from 2017 largely filled in by ensembles from local churches Robert Porco 1998-2017 and schools. In the 1930s, a group under the name Gareth Morrell 1989-98 Cleveland Philharmonic Chorus was created by the OrRobert Page 1971-89 chestra — and sang both in opera and concert perforMargaret Hillis 1969-71 mances. But it, too, eventually foundered, after which Clayton Krehbiel 1967-69 singing groups were assembled and rehearsed on Robert Shaw 1956-67 an ad hoc basis up through 1952. Szell was unhappy Russell L. Gee and with the results and asked for a permanent group who Robert M. Stofer 1952-56 could rehearse together and evolve through ongoing, concentrated training and performances. Four years later, Szell invited the noted American choral conductor Robert Shaw to come to Cleveland and join the Orchestra’s staff. In a short period, Shaw raised the Cleveland Orchestra Chorus into a finely-polished and nationally-acclaimed ensemble. His legacy — and the members’ dedication and commitment to the group — has continued across a series of acclaimed choral leaders up to the present day. Severance Hall 2019-20

Distinguished Service Award


Cleveland Orchestra Chorus Lisa Wong, Director

Joela Jones, Principal Accompanist Jacob Bernhardt, Accompanist

Daniel Singer, Assistant Director

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 30,000 volunteer hours each year.




Laurel Babcock Amy Foster Babinski Claudia Barriga Ruby Chen Susan Cucuzza ♦ Karla Cummins Anna K. Dendy Emily Engle Molly Falasco Lisa Fedorovich Sarah Gould ♦ Rebecca S. Hall Ashlyn Herd  Lisa Hrusovsky ♦♦ Kirsten Jaegersen Shannon R. Jakubczak Kate Macy ♦♦ Jessica Marie May Clare Mitchell S. Mikhaila Noble-Pace Jennifer Heinert O’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 ♦ Mary Wilson ♦ Xiaoge Zhang 

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 Pérez-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  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

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


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

Chorus Service Recognition ♦ 15-24 years ♦♦ 25-34 years ♦♦♦ 35-44 years ♦♦♦♦ 45+ years

  = 2019-20 Shari Bierman Singer Fellows

Cleveland Orchestra Chorus

The Cleveland Orchestra



Severance Hall

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Thursday evening, March 5, 2020, at 7:30 p.m. Saturday evening, March 7, 2020, at 8:00 p.m. Sunday afternoon, March 8, 2020, at 3:00 p.m.

Franz Welser-Möst, conductor ERNST KRENEK (1900-1991)

Static and Ecstatic, Opus 214 (ten movements for chamber orchestra) INTER MISSION

D I S T I N G U I S H E D S E R V I C E AWA R D The Cleveland Orchestra’s Distinguished Service Award will be presented to the Cleveland Orchestra Chorus prior to the second half of Thursday evening’s concert. (See pages 22-25)


Lobgesang [Hymn of Praise], Opus 52 Symphony-Cantata to Words from Holy Scripture Part One. Sinfonia 1. Maestoso con moto — Allegro 2. Allegretto un poco agitato 3. Adagio religioso Part Two. Lobgesang 4. “Alles was Odem hat” (chorus) “Lobe den Herrn mein Seele” (soprano) 5. “Saget es, die ihr erlöst seid” (tenor) 6. “Sagt es, die ihr erlöset seid” (chorus) 7. “Ich harrete des Herrn” (soprano duet, chorus) 8. “Stricke des Todes hatten uns umfangen” (tenor) “Wir riefen in der Finsternis” (tenor) 9. “Die Nacht ist vergangen” (soprano and chorus) 10. Chorale: “Nun Danket Alle Gott” (chorus) 11. “Drum sing’ ich mit meinem Liede” (tenor and soprano) 12. “Ihr Volker! bringet her dem Herrn” (chorus) CHRISTINA LANDSHAMER, soprano MARTINA JANKOVÁ, soprano JULIAN PRÉGARDIEN, tenor CLEVELAND ORCHESTRA CHORUS Lisa Wong, director

Severance Hall 2019-20

Program: Week 17


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March 5, 7, 8 THI S WE E KE ND’S CONCE RT Restaurant opens: THUR 4:30 SAT 5:00 SUN 12:00


Severance Restaurant Reservations (suggested) for dining:

216-231-7373 or via


P R E V I E W — Reinberger Chamber Hall

“Cultural Misfits: Mendelssohn the Convert and Křenek the Immigrant” with guest speaker James Wilding, University of Akron

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

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

KŘENEK Static and Ecstatic . . . . . . . . . . . . . . . . . . . . . . page 31 (20 minutes)


(20 minutes)

Special Presentation Thursday only (following intermission): Presentation of The Cleveland Orchesta Distinguished Service Award.

MENDELSSOHN Hymn of Praise . . . . . . . . . . . . . . . . . . . . . . . . page 35 (70 minutes)

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

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

Concert ends: (approx.)

THUR 9:35 SAT 9:50 SUN 4:50

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


Contrast, Song & Symphony T H I S W E E K ’ S C O N C E R T S feature two contrasting works, written

more than a century apart — created in different musical styles, both overall and within each. The concert begins with Static and Ecstatic, c a piece premiered in 1973. It was created by Ernst Křenek, a German-born composer of Czech descent who lived much of his long life in America. Křenek was among the “modern” composers whose music was denounced by Germany’s Nazi regime as unpatriotic and ugly. Yet some of his works were popular, with one of his jazz-infused operas performed often. Static and Ecstatic was written decades later, and in a more modern idiom, juxtaposing a series of ten short movements, whose basic impulses alternate between stasis and motion. After intermission comes a large-scale hybrid work by Felix Mendelssohn. Premiered in 1840, the Hymn of Praise (or Lobgesang in German) was created to mark celebrations of the 400th anniversary of the invention of the printing press and moveable type by Johannes Gutenberg. Mendelssohn called it a “symphony-cantata,” with the work divided into two halves, the first featuring three orchestral movements, and the last adding in chorus and vocal soloists for a series of sections embellished with liturgical texts. For these, the composer chose passages that describe moments of enlightenment — literally the lightening of night to day, or ignorance to understanding. These were intended to commemorate and celebrate the contribution of books and learning to humanity’s forward progression. It is a big work, offering a relatively straightforward journey of awakening and uplift. —Eric Sellen

Thursday evening’s concert is dedicated to Mrs. Alfred M. Rankin, Sr. in recognition of her extraordinary generosity in support of The Cleveland Orchestra. CLEVELAND ORCHESTRA RADIO BROADCASTS

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

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Introducing the Concert


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Static and Ecstatic, Opus 214

(ten movements for chamber orchestra) composed 1971-72

At a Glance


Křenek wrote Statisch und Ekstatisch [Static and Ecstatic] between October 1971 and May 1972 on a commission from Paul Sacher. The composer led the world premiere performance on March 23, 1973, with the Zurich Chamber Orchestra. The first performance in the United States took place on January 26, 1975, in Palm Springs. This work runs nearly 20 minutes in performance. Křenek scored it for a chamber orchestra of flute (doubling

piccolo), oboe, clarinet, trumpet, trombone, piano, and strings, with a large collection of percussion (snare drum, bass drum, bongos, wood block, tambourine, maracas, claves, cow bell, gong, triangle, guiro, cymbals, xylophone, vibraphone, glockenspiel). The Cleveland Orchestra is presenting this work for the first time with this weekend’s concerts.


KŏENEK born August 23, 1900 Vienna, Austria died December 22, 1991 Palm Springs, California

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About the Music E R N S T K ŏ E N E K hit the jackpot in 1927 with his opera Jonny spielt auf [Johnny Plays], first performed in Leipzig and almost immediately thereafter in a hundred other cities. The work’s combination of swooning melodies, a scandalous story, and American jazz was irresistible to the febrile public mood of Germany’s Weimar Republic. Yet its music was atypical for its composer. Surviving almost the length of the 20th century, Křenek took onboard almost every musical trend the century had to offer. And he wrote an enormous amount of music, not to mention several books and dozens of essays. (He wrote the librettos of most of his operas too.) The opus number attached to Statisch und Ekstatisch [Static and Ecstatic] — 214 in his numbered works — is indication enough of the unstoppable flow of works from this constantly active and absorbing mind. If any style could be described as typical of Křenek’s music, serial music — too often derided as “atonal” — is what must be listed. The style originated in Arnold Schoenberg’s twelvetone system, was tweaked by Alban Berg and Anton Webern, and later adopted by almost all serious classical composers in the United States in the 1950s. Křenek was a part of this American flowering, having fled his native Vienna in 1938 and spending the rest of his life in the the United States and Canada. He held many teaching posts,

About the Music


F E S T I VA L BANNING MUSIC As we prepare for our festival in May 2020 surrounding Alban Berg’s opera Lulu, we are noting for certain concerts how music by various composers was treated in Nazi Germany or other locations. During Hitler’s regime, Ernst Křenek was criticized for the style of music — it was too “intellectual” and not appealing for regular people. At first, Mendelssohn’s music continued to be played, but eventually it was banned because of his Jewish heritage. Conversely, the Jewish KulturBund (or Cultural Federation), which was formed by the Nazis to strictly limit and ghettoize Jewish arts activities, could present works by Mendelssohn, but was prohibited from playing any “true German music,” including works by Beethoven, Schumann, Brahms, and Wagner.


at, among other institutions, Vassar College, Hamline College (St, Paul, Minnesota), and Toronto’s Royal Conservatory of Music. He died in Palm Springs in 1991. Static and Ecstatic was commissioned in 1971 by Paul Sacher, who nobly steered some of the wealth of the Swiss pharmaceutical company Hoffmann-La Roche (creator and makers of valium) into supporting contemporary music. As conductor of the Paul Sacher Orchestra in Basel, Sacher commissioned works from almost every leading composer of the 20th century, and quite often led the first performances himself. He also established a foundation in Basel, which houses a remarkably complete collection of those composers’ papers, letters, and manuscripts. Static and Ecstatic is divided into ten short sections or movements, and was written for a small orchestra with a large array of percussion. Some sections are easily discernible and simply described as “static.” Which parts are “ecstatic,” however, must be left to the listener’s own response. The static sections have sustained sound, with little movement, while the strongest contrast is with those sections where the instrumental entries sound entirely random and isolated. The notes are not, in fact, random, but are largely determined by patterns of numbers and notes. Křenek was an admirer of Webern’s pointillistic style, where single notes are heard from different instruments, at different registers (high, middle, or low), without melding into anything resembling a melody. At other times, the instruments are entrusted with sequences of notes, with the overall timbre (or orchestration) changing little. In the fourth section, for example, the piano opens with a series of mysterious clustered chords, and a cello solo is featured. The seventh section is devised like a Bach chorale, the lines of a hymn being interrupted by brief conversations in the percussion or in the strings. The ninth section is broadly static, while the tenth and last section, announced by a snare drum roll, is full of different combinations of speed and sound, including a strong buildup of the full orchestra and passages that might be described as “fairy music,” with two surprising unison notes on the strings and some crash chords on the piano. These may, in fact, be the kind of busy, eventful music that Křenek himself would surely have regarded as “ecstatic.” —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.

About the Music

The Cleveland Orchestra

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Mendelssohn, in a 19th-century lithograph based on a painting by Edward Magnus

The essence of the beautiful is unity in variety. —Felix Mendelssohn

Hymn of Praise [Lobgesang], Opus 52

Symphony-Cantata on Texts from Holy Scripture DND6\PSKRQ\1RLQ%ÁDWPDMRU

composed 1838-40

At a Glance



MENDELSSOHN born February 3, 1809 Hamburg died November 4, 1847 Leipzig

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Mendelssohn wrote his Lobgesang [Hymn of Praise] in 1838-40 with, among other ideas, the notion that it be performed to celebrate the invention of moveable type by Johann Gutenberg. (Mendelssohn was, if nothing else, always aware of occasion, and throughout his life worked to mark important events appropriately, at home or, if warranted, in public.) The completed work, opening with three instrumental movements and concluding with a series of sung movements for chorus and three soloists, was first performed on June 25, 1840, in the Leipzig Thomaskirche. Following revisions, it was published

in 1841. After Mendelssohn’s death, it was designated and re-published as his “Symphony No. 2,” though it is relatively (but not entirely) clear that he never envisioned giving it that name. This work runs between 60 and 70 minutes in performance. Mendelssohn scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, (no percussion), organ, and strings, plus two soprano and one tenor soloist, and mixed chorus. The Cleveland Orchestra has presented this work on only one previous occasion, at a weekend of concerts in 1988 conducted by Jahja Ling.

About the Music B E T W E E N T H E A G E S of twelve and fourteen, Felix Mendels-

sohn composed thirteen symphonies for strings (with occasional surprise entries for percussion). This was a fluency and profligacy quite at odds with his mature approach to the symphony as a genre. His five grown-up symphonies were composed at wide intervals — and regarded with considerable unease by their composer. Each was admired by the public for the polish and approachability found in all his music. As was the custom of the day, they were numbered in order of publication, and because Mendelssohn never published the popular “Italian” symphony nor the “Reformation” symphony, which were composed earlier, Nos. 2 (the “Hymn of Praise”) and 3 (the “Scottish”) are “out of order” to our modern, chronologically-obsessed way of thinking. Just as the “Reformation” Symphony (No. 5) was composed to mark the 300th anniversary of the Augsburg Confession submitted by Luther and Melanchthon to the Emperor Charles V in 1530, the “Hymn of Praise” was intended to mark the 400th anniversary of Gutenberg’s invention of printing. To this end he composed an extended choral finale with words taken from LuAbout the Music


ther’s translation of the psalms, on the grounds that the circulation of the Bible in printed form, at first in the Latin Vulgate, later in German, was a powerful factor in the spread of the Protestant faith. The 1840 celebrations were held not in the city of Mainz, where Gutenberg had worked, but in Leipzig, the center of the book and publishing trade in Germany. In his new work, Mendelssohn was deliberately building on the prestige of Beethoven’s Ninth Symphony, which similarly crowned three symphonic movements with an elaborate and overwhelming finale involving soloists and chorus. He had in fact been planning a symphony in B-flat major before the Gutenberg connection arose, the shape of which became instantly clearer once he had decided, like Beethoven, to use words in his finale. That said, Mendelssohn didn’t, so far as we know, actually call his Hymn of Praise a symphony. The second and third movements are shorter than usual in order to allow for a finale in ten (or so) sections — with the last section, thus, as long as the first three movements combined. In the finale, as in his other symphonic works, Mendelssohn often links sections and movements with continuous music (as, most famously, in his Violin Concerto), or requests that the movements follow one another immediately. Conversely, and exceptionally, he allows a pause before the finale begins. The words are taken mostly from Luther’s translation of the Psalms, with a few passages from elsewhere in the Bible. Like Handel in Messiah and Brahms in his German Requiem, the composer knew the Bible well enough to make his own selections, for Mendelssohn was a committed member of the Lutheran faith, despite his Jewish ancestry. THE MUSIC

At the beginning of the work’s first movement, the trombones declare the succinct theme that speaks for the work as a whole, and will eventually accommodate the words “Alles was Odem hat, lobe den Herrn” [“All that hath life and breath, sing to the Lord”], the final verse from the final Psalm. This theme provides the introduction to the first movement and is worked persistently into the movement’s main Allegro section that follows. The second movement is a delightfully gentle intermezzo featuring two pairs: violins and cellos in octaves, then oboe and bassoon, also in octaves. Its middle section is based on the idea of a chorale in the winds, interleaved with snatches of the main section in the strings. The third movement is slow and serious, always melodic and


About the Music

The Cleveland Orchestra

richly harmonized, with a sense of religious solemnity fitting for a work that is about to explode in Christian praise. When the finale begins, and the trombones recall the symphony’s motto theme, the sense of anticipation is often very palpable in performance — and then the chorus breaks in with a glorious declaration of “Alles was Odem hat.” It is no wonder that this work, along with Mendelssohn’s oratorios Elijah and Saint Paul, were immensely popular in Germany and England in the 19th century. The choral writing is inventive, like Handel’s, and full of variety, equally distributed between all voices, and not too difficult to sing. Mendelssohn had a real understanding of the attachment of amateur choral societies, which flourished in every city in Victorian times and with which the composer was well-acquainted, to sacred choral music on biblical themes. The finale — sometimes viewed as a long, multi-sectioned “fourth movement” in the sense of a traditional symphony — continues in nine (or so) shorter sections, once the substantial first section has been completed. (The exact breaks between sections have long been debated among musicologists; Mendelssohn’s score, in many, instances, just continues onward.) Here follows the opening words as sung in the first English performance in Birmingham on September 23, 1840, conducted by Mendelssohn himself — which differ somewhat from the more literal translation of the complete text, which then follows on subsequent pages: No. 4: “All that hath breath, sing to the Lord” (Psalms 150, 145)— Full-blooded choral writing, using the motto theme. “Praise thou the Lord, O my spirit” (Psalm 103) — For soprano solo supported by female voices; No. 5: “Sing ye praise, all ye redeemed of the Lord” (Psalms 107, 56) — Recitative for solo tenor followed by an aria, which has a flowing part in the inner strings to represent “sorrows” (“tears” in the German text); No. 6: “All ye that cried unto the Lord” (Psalm 56) — A beautifully restrained chorus, with more depiction of sorrows/tears, here as triplets, most often in the cellos; No. 7: “I waited for the Lord, He inclined unto me.” (Psalm 40) — This is a lovely example of what in opera was known as a “vaudeville.” The first soprano solo presents the melody, sup-

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About the Music


ported by a solo horn, with a choral closure. The second soprano then sings the same melody, now with the other soprano and the horn providing counterpoint. Thirdly, the melody is sung by the chorus tenors and basses with decorations from the two soloists and the horn, leading to a climax. Mendelssohn adds an elegant coda to close the movement; No. 8: “The sorrows of death had closed all around me” (Psalm 116, Isaiah 21) — A scene for tenor solo. There is underlying tension here until the Lord speaks and minor turns to major. The last part is the most dramatic part of the work, with the soloist calling to the Watchman, and the soprano soloist finally answering; No. 9: “The night is departing, the day is approaching” (Romans 13) — A magnificent chorus with organ and full orchestra; No. 10: “Now thank we all our God” (Lutheran Hymn by Martin Rinkart, 1647) — This well-known chorale has long been associated with Luther even though it was composed, words and music, a century later. Mendelssohn had also quoted it in his Reformation Symphony. The first verse is sung unaccompanied, the second verse with orchestra providing elaborate accompaniment in the manner of Bach; No. 11: “My song shall be always Thy mercy” (Psalms 89, 27) — This duet for soprano and tenor is accompanied by flutes, bassoons, and strings only, the lower strings sometimes divided to provide a warm, rich sound; No. 12: “Ye nations, offer to the Lord glory and might” (Psalms 96, 150) — The final section involves only the chorus and the orchestra. Inevitably, for a large choral work, it includes a fugue, initiated by the basses with “Danket dem Herrn,” and the return, long awaited, of the symphony’s motto theme on the three trombones, and a final grand cadence from all voices together. —Hugh Macdonald © 2020


About the Music

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Hymn of Praise [Lobgesang], Opus 52 Symphony-Cantata with Texts from Holy Scripture music by FELIX MENDELSSOHN (1809-1847)

PART ONE. Sinfonia. Instrumental movements

1. Maestoso con moto — Allegro 2. Allegretto un poco agitato 3. Adagio religioso PART TWO. Lobgesang. 4. Chorus and Soprano Alles, was Odem hat, lobe den Herrn. (Psalm 150)

All that breathes, praise the Lord.

Lobt den Herrn mit Saitenspiel, lobt ihn mit eurem Lied. (Psalm 33)

Praise the Lord with the lyre, praise him with your song.

Und alles Fleisch lobe seinen heiligen Namen. (Psalm 145)

And let all flesh bless his holy name.

Lobe den Herrn, meine Seele, und was in mir ist, seinen heiligen Namen. Lobe den Herrn, meine Seele, und vergiß es nicht, was er dir Gutes getan. (Psalm 103)

Bless the Lord, O my soul, and all that is within me, bless his holy name. Bless the Lord, O my soul, and forget not that he has done you good.

5. Tenor Recitative and Aria Saget es, die ihr erlöst seid durch den Herrn, die er aus der Not errettet hat, aus schwerer Trübsal, aus Schmach und Banden, die ihr gefangen im Dunkel waret, alle, die er erlöst hat aus der Not. Saget es! Danket ihm und rühmet seine Güte! (Psalm 107)

Proclaim your redemption by the Lord, He has delivered from trouble, those in severe tribulation, from shame and bondage captives in the darkness, all who He has redeemed from distress. Say it! Give thanks to Him and praise His goodness! PLE A SE TURN PAGE QUIE TLY

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Sung Texts and Translations


Er zählet unsere Tränen in der Zeit der Not. Er tröstet die Betrübten mit seinem Wort. (Psalm 56)

He numbers our tears in our time of need, He comforts the afflicted with His word.

Saget es! Danket ihm und rühmet seine Güte.

Say it! Give thanks to Him and praise his kindness.

6. Chorus Sagt es, die ihr erlöset seid von dem Herrn aus aller Trübsal. Er zählet unsere Tränen in der Zeit der Not.

Proclaim that you are redeemed by the Lord, from all suffering. He feels our tears in our time of need.

7. Soprano Duet and Chorus I waited patiently for the Lord, and He inclined toward me and heard my supplication. Blessed are they whose hope is in the Lord! Blessed are they whose hope is in Him!

Ich harrete des Herrn, und er neigte sich zu mir und hörte mein Flehn. Wohl dem, der seine Hoffnung setzt auf den Herrn! Wohl dem, der seine Hoffnung setzt auf ihn! (Psalm 40) 8. Tenor Aria and Recitative Stricke des Todes hatten uns umfangen, und Angst der Hölle hatte uns getroffen, wir wandelten in Finsternis. (Psalm 116)

The sorrows of death encompassed us and fear of hell had struck us, We wandered in darkness.

Er aber spricht: Wache auf! Wache auf, der du schläfst, stehe auf von den Toten, ich will dich erleuchten! (Ephesians 5:14)

He says, Awake! You who sleep, arise from the dead, I will enlighten you!

Wir riefen in der Finsternis: Hüter, ist die Nacht bald hin?

We called in the darkness, Watchman, will the night soon pass?


Sung Texts and Translations

The Cleveland Orchestra

Der Hüter aber sprach: Wenn der Morgen schon kommt, so wird es doch Nacht sein; wenn ihr schon fraget, so werdet ihr doch wiederkommen und wieder fragen: Hüter, ist die Nacht bald hin? (Isaiah 21:11-12)

But the Watchman said: if the morning comes soon, it will yet again be night; and if you ask, you will return and ask again: Watchman, will the night soon pass?

9. Soprano and Chorus Die Nacht ist vergangen, der Tag aber herbei gekommen. So laßt uns ablegen die Werke der Finsternis, und anlegen die Waffen des Lichts, und ergreifen die Waffen des Lichts. (Romans 13:12)

The night has passed, the day has come. So let us cast off the deeds of darkness, and put on the armor of light, and take up the armor of light.

10. Chorale Nun danket alle Gott mit Herzen, Mund und Händen, der sich in aller Not will gnädig zu uns wenden, der so viel Gutes tut, von Kindesbeinen an uns hielt in seiner Hut und allen wohlgetan.

Now let us all thank God with hearts and hands and voices, who in all adversity will be merciful to us, who does so much good, who from childhood has kept us in His care and done good to all.

Lob Ehr und Preis sei Gott, dem Vater und dem Sohne, und seinem heilgen Geist im höchsten Himmelsthrone. Lob dem dreiein’gen Gott, der Nacht und Dunkel schied von Licht und Morgenrot, ihm danket unser Lied. (Evangelical Church Hymnal; text by Martin Rinkart, 1636)

Praise, honor and glory be to God the Father, and the Son, and his Holy Spirit on heaven’s highest throne. Praise to God, three in one, who separated night and darkness from light and dawn, give thanks to Him with our song.


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Sung Texts and Translations


11. Soprano and Tenor Duet Drum sing ich mit meinem Liede ewig dein Lob, du treuer Gott! Und danke dir für alles Gute, das du an mir getan. Und wandl’ ich in der Nacht und tiefem Dunkel und die Feinde umher stellen mir nach, so rufe ich an den Namen des Herrn, und er errettet mich nach seiner Güte.

So I sing your praises with my song forever, faithful God! And thank you for all the good you have done for me. Though I wander in night and deep darkness and enemies beset me all around I will call upon the name of the Lord, and he saved me by His goodness.

12. Chorus Ihr Völker! bringet her dem Herrn Ehre und Macht! Ihr Könige! bringet her dem Herrn Ehre und Macht! Der Himmel bringe her dem Herrn Ehre und Macht! Die Erde bringe her dem Herrn Ehre und Macht! (Psalm 96)

You peoples! give unto the Lord glory and strength! You kings! give unto the Lord glory and strength! The sky will bring forth the Lord glory and strength! Let the earth bring forth the Lord glory and strength!

Alles danke dem Herrn! Danket dem Herrn und rühmt seinen Namen und preiset seine Herrlichkeit. (I Chronicles 16:8-10)

All thanks to the Lord! Praise the Lord and exalt His name and praise His glory.

Alles, was Odem hat, lobe den Herrn, Halleluja! (Psalm 150)

Everything that has breath praise the Lord, Hallelujah!


Cleveland pianist

Daniel Shapiro


2 p.m. | March 22 | The Cleveland Museum of Art 42

Sung Texts and Translations

The Cleveland Orchestra

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Christina Landshamer

Martina Janková

German soprano Christina Landshamer sings with major orchestras and opera companies on both sides of the Atlantic and is also praised for her recital performances. She is making her Cleveland Orchestra debut with this weekend’s concerts. Ms. Landshamer began formal studies at Munich’s Academy of Music & Drama and continued at the State Academy of Music & Performing Arts in Stuttgart. Recent and upcoming engagements include performances in concert with Amsterdam’s Royal Concertgebouw Orchestra, Bavarian Radio Symphony Orchestra, Berlin Philharmonic, Hamburg’s NDR Elbphilharmonie, Leipzig Gewandhaus Orchestra, Munich Philharmonic, Rome’s Accademia di Santa Cecilia, Tokyo’s NHK Symphony Orchestra, and Zurich’s Tonhalle Orchestra. Her operatic appearances have included engagements in Amsterdam, Berlin, Chicago, Munich, Strasbourg, and Stuttgart, as well as with England Glyndebourne Festival. She appeared around the world in recital, including performances at Carnegie Hall, Tokyo’s Kioi Hall, and London’s Wigmore Hall. Her discography includes works on the Accentus, BR-Klassik, EMI, Naxos, Oehms Classics, and Opus Arte labels.

Swiss soprano Martina Janková has sung in opera houses and with orchestras across Europe, and is acclaimed among the leading Mozart performers today. She began her musical training in the Czech Republic, and was later a prizewinner at Germany’s Neue Stimmen International Singing Competition. She first worked with Franz Welser-Möst at the International Opera Studio in Zurich, and has been a leading member of the Zurich Opera since 1998. Ms. Janková’s current season features performances of Schubert at Vienna’s Konzerthaus and of Mahler at the Musikverein, as well as singing Clorinda in Rossini’s La Cenerentola in Zurich with Cecilia Bartoli in the title role. A regular guest at the Salzburg Festival, she has also sung at festivals in Geneva, Graz, Lucerne, and Vienna, and at the Janáček Spring Festival. Her discography includes several solo albums, as well as DVDs of Johann Strauss Jr.’s Simplicius for EMI with Welser-Möst conducting, along with Mozart’s The Marriage of Figaro, Così fan tutte, and Don Giovanni. Martina Janková made her Cleveland Orchestra debut in 2009, and has returned regularly since that time, most recently in May 2019. For more information, visit


Guest Soloists

The Cleveland Orchestra

MainStage series Saturday, March 21 Augustin Hadelich, violin Canton Symphony Orchestra special venue: Umstattd Hall, Canton

Julian Prégardien German tenor Julian Prégardien is known for his work performing Baroque and classical operas and oratorios, as well as 19th century song literature. He received his first musical training as a cathedral choir member. After studying voice in Freiburg and at the Aix-en-Provence Opera Festival Academy, he was an ensemble member of Frankfurt Opera 2009-13. He has also performed with opera companies in Munich, Berlin, Hamburg, and Paris, and with orchestras across Europe and in North America. He is making his Cleveland Orchestra debut with this weekend’s performances. His concert work has included appearances with the Vienna Philharmonic conducted by Franz Welser-Möst. His song recitals have featured collaborations on the great cycles of Schubert and Schumann with a number of well-known pianists. His engagements this season include Bach’s Saint Matthew Passion in Milan, as well as appearances with the Cologne Philharmonie and Orchestre Philharmonique de Radio France. Mr. Prégardien has recorded exclusively since 2018 for Alpha Classics. He is a voice professor at the University of Music & Performing Arts Munich and also serves as artistic director of the Aschaffenburg Brentano Academy. Severance Hall 2019-20

Guest Soloists

Tuesday, April 14 Junction Trio featuring Conrad Tao, piano Jay Campbell, cello Stefan Jackiw, violin

FUZE series Wednesday, April 22 Ann Hampton Callaway’s

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Formalism, Degenerate Art & Music, and the Limits of Censorship b y DAV I D W R I G H T E V E R Y B O D Y H A S M U S I C they don’t like. And, if you hap-

pen to be the dictator of a country, you can do something about it. But there are limits. Sound frivolous and arbitrary? That’s about the level at which music censorship operated in two of the world’s large dictatorships of the 1930s, the Stalinist Soviet Union and Nazi Germany. Art makes lives better, we like to think. Yet it’s unlikely that notes on a sheet of music paper ever brought down a regime. Investigative reporting by a free press, yes. Political tracts, novels, poems, and plays, very possibly. But a symphony?! Not to suggest that music hasn’t been pushed and shoved — and also done its share of lifting political move-


Censored: Art + Power Festival

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ments forward. But protest is different from the cold hand of censorship and control. And protest works by increment, step by step. Whereas “those in charge” can unilaterally suppress an awful lot of things rather quickly. The sword of Damocles that hung over the head of Dmitri Shostakovich on the occasion of the premiere of his Fifth Symphony in 1937 was put there as an exercise of purely arbitrary power by Joseph Stalin and his Soviet arts commissars. The dictator had stormed out of a performance of Shostakovich’s opera Lady Macbeth of Mtsensk the year before, prompting a front-page denunciation of the composer in Pravda, the Communist party newspaper. So that no one really knew what criticism, or worse, now awaited the U.S.S.R.’s most prominent composer. In the event, the audience cheered the new symphony to the rafters, especially its massive, hard-driving finale. (It remains a concert favorite to this day, at home and abroad.) Shostakovich issued a conciliatory statement describing the work as “a Soviet artist’s reply to just criticism,” and the same bureaucrats who had hounded him before were pleased to report to Stalin that the composer had brilliantly depicted the heroic struggle of the Soviet people. PR I VAT E M E S SAG E S

But what was Shostakovich’s Fifth Symphony really about? There were some who thought, privately, that this muscleflexing music was actually satirizing the brutality of Stalinism. If one is to believe Testimony, Solomon Volkov’s much-debated “as told to” Shostakovich memoir, the composer intended exactly that. No Severance Hall 2019-20

matter — Shostakovich’s reputation, and maybe skin, was saved. During that same decade, in Nazi Germany, composers also saw their works suppressed, and many fled into exile. There was a great difference, however, and that was about ideology, or the lack of it. Stalin’s Soviet Union was at least nominally a Marxist state, where the arts were mandated to serve the masses. The worst charge a composer could face was “formalism” — which is to say, art for art’s sake — the cultivation of esoteric ideas for aesthetes, instead of uplifting and inspiring everyday people. THE NAZI DIFFERENCE

Nazism, by contrast, was an anti-intellectual movement with no theoretical underpinning at all to start with, and only a few feeble attempts after the fact. It was driven by an obsession with racial purity, the triumph of the Will, and absolute obedience to the Leader. In this environment, the worst thing a composer could be accused of was being a Jew. From Adolf Hitler’s accession to power in 1933, Jews were excluded (with varying degrees of efficiency) from every organization in German society, including the Reichsmusikkammer, or RMK, the government-sponsored musician’s union. Introduced by the Nazis as a reform to standardize musicians’ pay and working conditions, the RMK was headed initially by Germany’s most distinguished living composer, Richard Strauss, until he was driven out for collaborating with the Jewish opera librettist Stefan Zweig. But the real purpose of the RMK was to serve as an effective barrier to Jewish musicians appearing before the public, and to the per-

Censored: Art + Power Festival


formance of music by Jewish composers. Since German society was supposed to be ruled by obedience to one man, and Adolf Hitler couldn’t be everywhere at once, administrative life under Nazism soon degenerated, as it often does in autocratic governments. The results were chaotic scenes of intrigue and backstabbing. R I VA LRY A N D M U S I CA L PU R I T Y

In cultural matters, the bureaucracy often boiled down to the rivalry between two powerful Nazis, Alfred Rosenberg and Joseph Goebbels, whose agendas were as much about aggregating their own power. After the publication of his book The


Myth of the Twentieth Century [“Der Mythus des zwanzigsten Jahrhunderts”] in 1930, which depicted world history as a conflict between “Aryan” peoples and the “inferior” races, Rosenberg — an ethnic German from Estonia, despite his Jewish-sounding surname — styled himself the resident intellectual of Nazism. He was bitterly disappointed when Hitler passed him over in favor of Goebbels for the post of Reich Minister of Popular Enlightenment and Propaganda. For his part, Goebbels, whose propaganda duties included burnishing Germany’s well-earned reputation abroad as the source of great literature and music, had little use for Rosenberg’s purity campaigns. When a Rosenberg associate alerted Goebbels to the fact that Johann Strauss Jr., the beloved “waltz king” of Vienna, had a Jewish great-grandfather, the minister noted: “I’ve forbid this to be made public. First, it has not yet been proved; second, I do not care to allow the whole body of German culture to be gradually pushed aside. In the end, all that would remain of our history would be Widukind of Saxony, Henry the Lion, and Rosenberg. And that’s a mite too few.” Although Goebbels presided over the horrendous book-burnings of May 1933 in Berlin and in twenty-one other university cities, he also, in his role as head of the Reich Chamber of Culture (which included the RMK), ran interference for some expressionist composers, whose music was considered “degenerate” by Rosenberg. (These included Paul Hindemith, by this time a “model German” neoclassical composer and a prime candidate to oversee musical education in his country, but eventually driven into exile by

Censored: Art + Power Festival

The Cleveland Orchestra

the Rosenberg faction for his expressionist works of the 1920s.) Jazz, with its American associations and African roots, was a major no-no for Nazi purists, but the pragmatic Goebbels found that broadcasting it on the radio was good for the morale of German troops, and helped keep everyday Germans from tuning in to foreign stations. Thus, he even formed a band, Charlie and His Orchestra, to broadcast jazz, laced with English-language Nazi propaganda, to Britain and America. In short, other than Hitler’s wellknown passion in favor of the music of Wagner, no clear message on musical content emerged from the Nazi bureaucracy — unlike the Marxist prescriptions in the Soviet Union. Even the RMK’s list of proscribed non-Aryan composers didn’t at first include Mendelssohn, no doubt because of his music’s popularity with the public. E X H I B I T I O N S O F D I SA PPROVA L

But what of the visual arts? In 1937, an exhibit was organized and opened in Munich, titled “Entartete Kunst” [Degenerate Art] exhibition in Munich. Here, modSeverance Hall 2019-20

ernist styles were shown and labelled as anti-German and simply wrong and forbidden. The world of contemporary visual arts and collecting being a small one, such official disapproval could quickly make a big difference. Careers were cut short, paintings and drawings confiscated, creativity shunned. Tellingly, Goebbels’s personal art collection included, under the guise of “confiscation,” quite a few works of forbidden modern artists. He knew what he liked, and labelled it as a pretext to owning things. Following sporadic efforts to “purify” German music in the previous years, a similar exhibition was assembled in Düsseldorf in 1938 titled “Entartete Musik” [Degenerate Music]. This was the brainchild of one Hans Severus Ziegler, director of the Weimar National Theater. And it was timed to coincide with a sparselyattended festival called Reichsmusiktage (National Music Days). The exhibits drew throngs of Germans to look at the portraits, scores, and writings by the likes of Schoenberg, Stravinsky, Hindemith, Kurt Weill, and Ernst Křenek (composer of the hugely popular jazz opera Jonny spielt auf). Herr Ziegler even provided listening booths so that visitors could experience the “appalling degeneracy” for themselves. The lines for those were long. The influence of the new exhibit fell short, however. Music, both highbrow and low, imbued all of German life, and even the most determined censor hardly knew where to start banning what. Even Peter Raabe, Strauss’s Nazi-approved successor as head of the RMK, openly expressed reservations about the music

Censored: Art + Power Festival


fact of Nazi history, and the cost of those lost to music, as in so much else, is incalculable. It seemed to take the end of the Cold War and the reunification of Germany to turn the public’s attention back to those losses — coming to a cataloging and appreciation for all that was destroyed. The idea of Degenerate Music, a minor phenomenon at the time, can now be seen as a looming issue in retrospect, as a symbol of the murderous insanity of Nazism. LISTENING IN

exhibition. Plans to take it to other cities were shelved. HARAS SME NT, E XILE , BANI SHME NT, AND MORE


Copyright © 2020 by David Wright

David Wright lives in New Jersey and writes about music. He previously served as program annotator for the New York Philharmonic.

Censored: Art + Power Festival


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In the early Nazi years, Jewish musicians suffered mainly harassment and discrimination, not outright bans. As restrictions tightened, Goebbels and his lieutenant Hans Hinkel founded the Jüdischer Kulturbund (Jewish Cultural Association) as a safety valve and propaganda tool, a ghetto-without-walls in which Jewish musicians performed only for Jewish audiences. With classic Nazi illogic, the Kulturbund was forbidden to perform Beethoven in 1937, but Mozart was allowed until 1938 (when Austria was annexed into the Third Reich). As is all too well known, what eventually awaited all those Jewish musicians was a stark choice between exile (if they were lucky to find a way and a visa out) or death. The Holocaust became the central

In 1988, fifty years after Entartete Musik opened in Düsseldorf, a reconstruction of it was mounted in that city, as a reminder of the evils of cultural fascism. A series of recordings on the Decca label followed, also titled Entartete Musik, featuring the works of composers proscribed, imprisoned, or killed by the regime. Herr Ziegler’s listening booths — and the interest that criticism can bring — had outlived him, by quite a stretch.

For more about the Festival, turn to pages 52-53.

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orchestra news


Cleveland, Ohio — The Cleveland Orchestra has announced further updates for this season’s festival, titled Censored: Art & Power, taking place in spring 2020. The festival is centered around the Orchestra’s performances of Alban Berg’s opera Lulu on May 16, 19, and 22, and seeks to spark discussion about the role of art in society, government censorship, and prejudice — using as a starting point Nazi Germany’s oppression and weaponization of the arts by labelling groups and styles “Degenerate Art & Music.” The festival features a variety of collaborative presentations surrounding the opera performances. “This period, in the early to mid-20th century when Berg’s Lulu was composed, was a time of autocratic, authoritarian regimes who condemned artistic expression outside of their narrow view,” says Franz Welser-Möst, music director of The Cleveland Orchestra. “And they often did so with a heavy hand. Artists and their work were prohibited through censorship. Some artwork was destroyed, and entire careers and so many creative lives lost. With the Censored: Art & Power festival, we will look into how music and art can be abused by a system, just as the character of Lulu is abused and abusive in her own way in the opera. Because a system can turn people on one another.” “And I believe these are important topics, not only from the past but in today’s world,” continues Welser-Möst. “We see this happening still in our own time. Art is a direct reflection of human society. When you stifle art, you are limiting how people can learn from interacting with one another, how you can understand those around you


M AY 2 0 2 0

Spring Festival brings context to controversial opera “Lulu” by fostering discussion around the role and weaponization of art in society


through art and creativity.” “The Cleveland Orchestra’s festival this season, which we are calling Censored: Art & Power, came out of our desire to demystify Alban Berg’s opera Lulu, which had been stigmatized from the moment it was written,” says Mark Williams, chief artistic officer of The Cleveland Orchestra. “Lulu was created at a time in history when political forces were against the composer, the work’s musical style, and the subject matter, so that it was banned before its premiere. It was not performed in Berg’s lifetime, and only later recognized as a true 20th-century masterpiece. Today, we have the opportunity not only to perform this influential work, but also to give audiences a sense of the times surrounding the work’s creation that lead to its banning. It is moving music and a compelling story, but we also knew that it would be meaningful to create context around it, and that was the birth of Censored: Art & Power. In the festival, we are exploring how art and power are connected, how art can be used for political purposes, and how art and censorship can be used, not only to control artists, but to control the public who is consuming the art.” In addition to the performances of the opera (May 16, 19, and 22), the Orchestra is also presenting two additional concerts (May 15 and 23) exploring different genres of music and classes of composers and performers whose work was stigmatized by Nazi propaganda and whose lives were ruined or eliminated, including Jewish artists persecuted, banned, and later killed in the Holocaust. The Festival also features a variety of col-

Cleveland Orchestra News

The Cleveland Orchestra

orchestra news


V ER laborative presentations with local arts and education institutions, including: The Cleveland Museum of Art is hosting a gallery talk on Tuesday, May 5, at noon, led by curatorial assistant June De Phillips. The talk will take place in the museum’s German Expressionism and Surrealism Gallery (225) and concentrate on innovative German artists of the 20th century, including Max Beckmann, Ernst Ludwig Kirchner, and Gabriele Münter, whose work the Nazi regime removed from public art collections and featured in the 1937 Degenerate Art Exhibition. Tickets required, space is limited. Cleveland Institute of Art students, with guidance from Cleveland Orchestra staff, are working on an illustration project based on the prompt “censorship in the 21st century.” Selections from their final artwork will be displayed in May at Severance Hall, shown side-by-side with prints of censored work from around the time that Lulu was composed. A series of collaborative lectures, readings, and musical performances will be hosted by the Maltz Museum of Jewish Heritage in Beachwood. These include: on Wednesday, May 13, at 7:00 p.m., Cleveland State University faculty member Mark Cole will give a lecture titled “Degenerate Art: Power & Censorship in Nazi Germany”; on Wednesday, May 20, at 7:00 p.m., the museum will present a performance featur-


ing music of banned composers; on Wednesday, May 27, at 7:00 p.m., Interplay Jewish Theatre will perform a staged reading of Lauren Gunderson’s play “Bauer,” relating the story of persecuted painter and printmaker Rudolf Bauer; and on Wednesday, July 15, at 7:00 p.m., WCLV radio host Eric Kisch will discuss representative “degenerate” composers and celebrate their contributions to classical music. On Sunday, May 17 at 1:30 p.m. and Tuesday, May 19 at 1:30 p.m., Cleveland Institute of Art Cinematheque will screen Florian Henckel von Donnersmarck’s film Never Look Away, a 2019 Academy Award-nominated film based on the life and work of German painter Gerhard Richter, who was haunted by early brushes with Nazism and Communism; and on Thursday, May 21, Cinematheque will show G.W. Pabst’s 1929 German film Pandora’s Box, which was inspired by the same Frank Wedekind’s plays that Berg adapted for the libretto of his opera. In addition, Facing History and Ourselves will share a reading and resource list influenced by the themes of “Censored: Art & Power,” which will be promoted and provided to educators throughout Ohio and the Midwest and be available around the world through their website, More details about any of these events and ticket/admission information can be found at the websites for each partnering organization.

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

The Maltz Performing Arts Center proudly presents

The Peacherine Ragtime Society Orchestra:

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

Underscoring the Masters of Silent Comedy 54

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orchestra news


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

Severance Hall 2019-20

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


orchestra news New subscriber-donor lounge launched with 2019-20 season at Severance Hall




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.

Photo: Kolman Rosenberg

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



APRIL 3, 2020

Honorary Chair Dr. Margaret McKenzie, President Cleveland Clinic-South Pointe Hospital


Cleveland Orchestra News

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 Juliett with choreography by Kenneth MacMillan. Long acclaimed for its artistry and musical excellence, The Cleveland Orchestra is a proud ambassador for Ohio, carrying the depth and breadth of local arts and cultural understanding across the globe. The 2020 International Tour is part of the Orchestra’s 102nd season and the 18th year of the ensemble’s acclaimed partnership with Welser-Möst. “Nearly every season over the past half century, The Cleveland Orchestra has toured internationally,”” says André Gremillet, the Orchestra’s President and CEO. “We are extraordinarily proud to represent Cleveland and Northeast Ohio around the world. Touring remains an essential part of our season both from an artistic and an audience development perspective. It is always a great pleasure for us to be back in Vienna and Paris, and we are honored to be the first orchestra from the United States to play the renowned Abu Dhabi Festival. Music truly is a universal language that transcends cultures and connects us all.” Commenting on the tour, Franz Welser-Möst said: “It is important that we continue to perform

Severance Hall 2019-20

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 be rediscovered. At the same time, their acclaimed laimed works also showcase the art and creativity of two extraordinary composariss aris Liinz L . ..PParis Vien V enna na ers. 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’ss ‘Great’ C-major Symphony or Prokofiev’s Romeo and Juliet.” “In Vienna, we are a household name, from performing there every other season,”” continued Welser-Möst. “We are also well-known in Paris. We leave a lasting impression. And on this tour we have some interesting things to offer. Prokofiev’s Second Symphony has never before been perr formed at Vienna’s Musikverein and the last time Prokofiev’s Sixth Symphony was played there was in 1983 with the Leningrad Philharmonic — and I was in that audience, in standing room. I believe it is important that we present programming, to offer audiences an experience to say, ‘Oh, that is differr ent.’ Helping audiences discover something new, something they enjoy, is important. When we’ve done that, I think we have done a good job.” The Cleveland Orchestra thanks these corporations and individuals for generously supporting the ensemble’s tour performances: Raiffeisenlandesbank Oberösterreich, Jones Day, Mr. and Mrs. Wolfgang Berndt, Mr. and Mrs. Wolfgang Eder, Mr. and Mrs. Robert Ehrlich, Mr. and Mrs. Herbert Kloiber, Mr. and Mrs. Peter Mitterbauer, and Mr. and Mrs. Alfred Umdasch.

Cleveland Orchestra News



Ab Abu A bu u Dhab habii habi Festi F Fest Fes estt val val

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

You Share More Music with More People! by Joela Jones, Principal Keyboard Rudolf Serkin Endowed Chair

Every note of moving, life-changing music that The Cleveland Orchestra plays is possible because of our dedicated community of donors and concertgoers. Thank you for your ongoing support of classical music in Northeast Ohio! My name is Joela Jones, and I am the principal keyboardist for your hometown Cleveland Orchestra. For over 50 years I’ve had the honor of living and working in our great city. Like you, I get excited every time I come to Severance Hall. It’s not only one of the world’s most beautiful concert halls – it’s a special place where magnificent music and memories are made. Having been a part of this family for so long, I love hearing about people’s most cherished Orchestra memories. Many people first experienced The Cleveland Orchestra as a student – stepping off the school bus and walking into Severance Hall for the first time – witnessing the beauty of the Grand Foyer, only to be more in awe of the music onstage. Other people have told me how they came to enjoy classical music later in life after a friend brought them to a Cleveland Orchestra performance – and how that performance set them on a journey of discovery that changed their life. Thousands of people join the Orchestra each season at Severance Hall, at Blossom Music Festival, and around the world. And it’s caring people like you – yes, you! – who make each concert, and each special memory, a reality. Severance Hall 2019-20

Some of my happiest moments are when I am onstage – not playing, but just listening to the music. Everyone in the hall, onstage and in the audience, experiences something magical together. For a few brief, glorious hours, we are transported to another world. I hope you share that same wonder when you join us for a live performance, or listen to the Orchestra on a recording or on the radio. Music provides a wonderful feeling of freedom and joy. And it’s such a blessing to be able to share the power of music with you and our friends and neighbors. Cleveland Orchestra donors have the power to share music with more children, more Northeast Ohio communities, and more friends and neighbors when they need it most. Whether you enjoy the soaring melodies of Dvořák or the epic works of Bruckner, your support allows The Cleveland Orchestra to keeping making music and memories for everyone. Thank you for listening, supporting, and sharing more music.

Share more music with more people with your gift today! Visit or contact Joshua Landis: phone: 216-456-8400 email:

A Musician’s Perspective


Did you know? Your company can share the stage with The Cleveland Orchestra – one of Ohio’s most visible and exciting cultural institutions. For corporate sponsorship opportunities, contact: Jane Hargraft, &KLHI'HYHORSPHQW2૾FHU phone: 216-231-7520 email:





Severance Hall

Thursday evening, March 12, 2020, at 7:30 p.m. Saturday evening, March 14, 2020, at 8:00 p.m.

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

Symphony No. 2 in D minor, Opus 40 1. Allegro ben articolato 2. Theme and Variations: Andante — Variations Nos. 1- 6 — Theme


Symphony in C major (“The Great”), D.944 1. 2. 3. 4.

Andante — Allegro ma non troppo Andante con moto Scherzo: Allegro vivace — Trio Finale: Allegro vivace



This weekend’s concerts are sponsored by Hyster-Yale Materials Handling, Inc. In recognition of their extraordinary generosity in support of The Cleveland Orchestra, these performances are dedicated to: The Honorable and Mrs.* John Doyle Ong (Thursday, March 12) JoAnn and Robert Glick (Saturday, March 14)


Program: Week 18a

The Cleveland Orchestra

2O19 -2O2O

Severance Hall

Friday morning, March 13, 2020, at 11:00 a.m.*

Franz Welser-Möst, conductor FRANZ SCHUBERT (1797-1828)


Symphony No. 3 in D major, D.200 1. 2. 3. 4.

Adagio maestoso — Allegro con brio Allegretto Menuetto Presto vivace

Symphony No. 3 in C minor, Opus 44 1. 2. 3. 4.

Moderato Andante Allegro agitato Andante mosso — Allegro moderato



The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation. TheFriday FridayMorning MorningConcert Concertisisperformed performedwithout withoutintermission intermission **The and will end at about 12:15 p.m.


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 18b


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


Severance Restaurant Reservations (suggested) for dining:

216-231-7373 or via

CONCERT PREVIEW Reinberger Chamber Hall


“Prokofiev and Schubert — A Musician’s Perspective”

“Genius — Youthful and Mature” with Rose Breckenridge

with Katherine Borman, The Cleveland Orchestra

PROKOFIEV Symphony No. 2 . . . . . . . . . . . . . . page 71

Schubert Sym 3

Concert begins: THUR 7:30 SAT 8:00


(35 minutes)

(20 minutes)

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

SCHUBERT Symphony in C major (“The Great”) . . . . . . . . . . . . . . . . . . page 77 (50 minutes)

Prokofiev Sym 3


page 81

page 85


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

Concert ends: (approx.)

No intermission for Friday Morning.

THUR 9:15 SAT 9:45

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


TThis his Week’s Concerts

The Cleveland Orchestra


A Tale of Two Composers T H I S W E E K E N D ’ S C O N C E R T S present music by two composers, born

a century apart, purposely paired for effect and understanding. The musical languages of each are tellingly of their times — classically Romantic and warmly Modern. Franz Schubert was Austrian, Sergei Prokofiev was Russian-Soviet. They each were prolific and masters of many forms, writing vast quantities of music and in many different genres — symphony, opera, chamber music, songs and choral works, and more. As Franz Welser-Möst discusses on the following pages, the idea to juxtapose the music of these two composers came to him across a number of years, through studying scores and leading performances. Pairing their music together brings out both their diff ferences and commonalities, with their music featured in a number of concerts across the 2019-20 season — including this weekend’s intensive look at two pairs of symphonies. Both composers had a natural gift for melody, especially for the voice in Schubert and for the orchestra in Prokofiev. And both use a keenly honed sense and understanding of rhythm for telling effect. In his Second and Third symphonies, Prokofiev writes decidedly modern music. In the Second he riffs on the sounds of modernity — machines, planes, factories, mechanized warfare. The material of the Third, in contrast, is drawn from his opera The Fiery Angel,l here rebuilt into a symphonic tale, told in music belying its origins in a storyline of transcendence, uncertainty, and a powerful sense of drama. In contrast, Schubert’s works harken to a golden age of symphonic exploration, from his early Third (written at age eighteen) to his crowning achievement in the Symphony in C major, nicknamed “The Great” (meaning large and big, although, yes, it is also decidedly very good). This is symphony writ large, pulsed with energy and certainty. —Eric Sellen



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Schubert PAIRING THE TWO by F R A N Z W E L S E R - M Ö S T P E O P L E W I L L R I G H T LY A S K why I have chosen to pair Schubert and

Prokofiev symphonies together? These two composers may, at first, seem like an unlikely twosome. Yet their music shares many parallels and similarities, in addition to some obvious contrasts. For me, juxtaposing their works together offers new perspectives of understanding about each. Schubert has been an important composer all my life. When I was in my teens, I was in a car accident, which took place on the 150th anniversary of Schubert’s death, almost to the hour of the day. I was travelling from playing in one performance of Schubert to another. At the time, I was studying to be a violinist. I thought about many things during my recovery period, understanding that my musical journey would no longer be as a violinist. Schubert’s music was very much present in my mind, and I have always been drawn to his scores. Prokofiev was a very different kind of man, who spent so much of his life wandering and searching, both geographically and in his music. Yet both of these composers wrote so much music, and of all kinds, across many genres, almost like a water spigot always turned on, their minds always pouring out something new. I believe their music works well together because of contrasts and similarities in their outlook and output. Bringing them together offers a particular context to listen to and reflect on the creativity of each. They both had a strong classical spirit. And both were supreme masSeverance Hall 2019-20

Pairing Schubert and Prokofiev


ters of melody. Prokofiev’s tunes, perhaps, are more modern than Schubert’s, but melody was very important for both of them. They also infuse their music with a great deal of longing beneath the surface. In one sense, this pairing is a lesson in understanding emotional longing. For Schubert, it is about melancholy — of reveling in sadness as a joy. For Prokofiev, similarly, the meaning underneath the surface is often filled with sarcasm. Prokofiev’s sarcasm is more subtle than Shostakovich’s, the other best-known Soviet composer, but it is this sharing of subtlety that brings Schubert and Prokofiev together. Perhaps we might think that sarcasm was for the 20th century what melancholy was for the Romantics, helping to illuminate the layering of meaning within music and life. With Prokofiev, certainly, if you simply go for the effect of the melody, and play the music without tying the parts together, you are missing the point. Much of the meaning is underneath, in the accompaniment, which must be captured and balanced as part of the performance. In many ways this is the emotional depth, which both of these composers bring to so much of their music. With Schubert, I think it is remarkk able that even when a specific piece is large in scale, for performers and listeners it is often the small details that are important in making clear the larger meaning of his music.


Ultimately, for both composers, it is essential to let this music sing. The music must breathe, just as a singer does. There is a reason that Schubert wrote so many songs — because he could capture the essence of emotion into phrasing and accompaniment, tying together meaning and music. And his symphonies do this, too. So many of his dance movements, for instance, are like ballads for a singer, but written for the orchestra. Perhaps these two, Schubert and Prokofiev, are not as obvious a pairing as Beethoven and Shostakovich, which I examined a number of years ago (and presented in Cleveland, Miami, and Vienna with The Cleveland Orchestra in 2013-14). In that case, the politics and music were clearly intertwined — with Shostakovich’s own words telling us directly of his debt to Beethoven. Schubert and Prokofiev are, perhaps, more similar to when I have paired works by Anton Bruckner with John Adams or Jörg Widmann with Brahms, each sharing kernels of musical patterns, feeling, and contrasts, and with one older and one newer. With any of the composer pairings I have examined, each of these composers was, in fact, looking both to the past, to history, and also forward beyond their own time. From our understanding today, now that we are further along in musical history, we can more clearly see how their different ideas flow and interact, one to the next.

Franz Welser-Möst


The Cleveland Orchestra

Schubert, painted in 1825 by Wilhelm August Rieder

My music is the product of two interacting forces, of my creative talent and my misery. —Franz Schubert

In my view, the composer, just like the poet, the sculptor, or painter, is duty bound to serve humanity. He must beautify life and defend it. He must be a citizen first and foremost, so that his art can consciously extol human life. —Sergei Prokofiev


Symphony No. 2 in D minor, Opus 40 composed 1924-25

At a Glance Prokofiev wrote his Symphony No. 2 in 1924-25 during what the composer described as “nine months of frenzied toil.” It was premiered in Paris on June 6, 1925, conducted by Serge Koussevitsky. This symphony runs about 35 minutes in performance. Prokofiev scored it for 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets and bass clari-



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

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net, 2 bassoons and contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, cymbals, castanets, tambourine, triangle), piano, and strings. The Cleveland Orchestra is presenting Prokofiev’s Second Symphony for the first time with this season’s concerts, in Miami in January, and in Cleveland and Europe this month.

About the Music P R O KO F I E V ’ S S E C O N D S Y M P H O N Y is a magnificent ex-

ample of the craze for “machine music” that gripped composers — and the public — in the 1920s. Steam trains had been represented in songs and piano pieces since their invention, but the idea of noise as an aesthetic concept belongs wholly to the period after World War I, when mechanisms of progress and industrialization — including aeroplanes, motor cars, and factories — suddenly provided modernist composers with a fresh source of inspiration. The craze was especially virulent in France and Soviet Russia, offering up some incredible works, noises, and sounds. Machine music was, in many ways, in direct conflict with the ideals of 19th-century Romanticism and turn-of-the-century Impressionism. Its deliberate noisiness and its inescapably rhythmic beat were intoxicating elements — and a direct answer against earlier, lusher music. Some composers, especially in Italy, explored non-musical noises, including foghorns, sirens, and whistles. Soviet composers were encouraged to applaud the work of hydroelectric dams and large-scale machines in the guise of orchestral music. In the meantime, French musicians favored making traditional instruments imitate clocks, hammers, and other mechanics or tools. Ravel wrote an article titled “Finding Tunes in Factories.” (Of course, there were some precedents, from the anvils in Verdi’s famous “Anvil Chorus” or in Wagner’s opera Das Rheingold, or the shoe cobbling of Hans Sachs in Act Two of Die Meistersinger. But those were simple devices of everyday use, before the inAbout the Music


Swiss composer Arthur Honegger wrote his famously mechanistic work “Pacific 231” in 1923. In it, he used the instruments of the symphony orchestra to portray the steam, hiss, clang, and power of a locomotive in a journey from one station to the next. Prokofiev’s Second Symphony was directly inspired by the force and fury of such “machines.” (“Pacific” refers to a specific wheel configuration of steam locomotives, commonly shorthanded as 4-6-2.)


terlocking mechanisms of gears, furnaces, or waterworks increased the noise effect of industrial machinery manyfold.) American composer George Antheil toured London, Berlin, and Paris in 1922-23, giving concerts that featured compositions with titles including Mechanisms and Airplane Sonata. At the time, Swiss composer Arthur Honegger was completing his famous Pacific 231, which represents a mighty steam locomotive getting up speed and, at the end, braking to a halt. It first “pulled out of the station” and got underway at a concert in Paris under Serge Koussevitsky’s baton on May 8, 1924. Honegger and Prokofiev were friends. Both had recently visited Russia, and both were alert to the latest aesthetic trends. Directly inspired by Honegger’s pieces, and by the many new musical ideas and experimentation that were happening at the time, Prokofiev composed his Second Symphony, describing it in a letter as his symphony “of iron and steel.” The music was not specifically related to machines, but was clearly inspired by the era’s cult of and fascination with mechanistic rhythm and brutal noisiness. LISTENING TO THE MUSIC

All that said, hold on to your seats and don’t let the music’s violence scare you! Its unrelenting rhythm, its heavy textures, and its loudness are reinforced by intense dissonance, with crunching harmony high in the trumpets or low in the trombones or everywhere all at once. Think of it, yield to it as an experience. This is music that is exhilarating and exciting. All in all, it is a virtuoso performance in audacity and cheek. The better an orchestra manages to play its challenges, the clearer the line is drawn between music and noise. Much of the point was, in fact, to signal that this is modern music. The year was 1925, and this was Prokofiev proving that he can be more advanced — or brutally noisy and clankeryAbout the Music

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REFLECTIONS ON THE MACHINERY OF WAR Franz Welser-Möst talks DERXW3URNRÀHY·V6HFRQG6\PSKRQ\ Prokofiev’s Second Symphony consists of just two movements. The first of these is often described as being preoccupied with the fascination that artists of the time had with the growing world of machines. The second movement — built as a theme and six variations — is said to have a connection to Beethoven’s Diabelli Variations. As far as these ideas go, this is all true. Yet I believe the symphony is also very much a commentary on the changing world of that particular era. This symphony was written seven years after the end of the First World War. The Roaring Twenties were in full swing. It was an incredibly energetic, uncertain, and event-filled time. What I hear in this music is a fascinating examination both of the World War itself and a reflection on how it changed people’s views, how life had changed. This is a piece that displays a far-sighted view of Modernity, and which shows us an Expressionist spirit that is still deeply moving — and disturbing — today. The first movement begins with shrill fanfares of war, with the machinery of war moving immediately, inexorably, mercilessly, and relentlessly forward. We

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hear dark brass choirs, influenced by Russian Orthodox church music. We hear a melody complaining loudly in marching rhythms. Cynical waltzes gives us the image of dancing on the fire of a volcano. The whole thing ends in the key of D minor, symbolizing death. The second movement features a reverberant theme played by the oboe (somewhat akin to a melodious idea from the first movement). The music then illuminates this theme in different ways, as variations do: first it lurks in shadows; then shows itself idyllically (here we hear a birdsong and the murmur of the wind); bizarre sections follow, sounding like a Scherzo, in a great lament, with flashbacks to the war machine with typical marches and, toward the end, a brutal climax, after which surely nothing and no one is left alive. Still the theme from the beginning lifts itself up, sounding tired, moving more slowly. And then, the clever Prokofiev attempts to “freeze” this tune within a strange chord. This, certainly, is the strangest and most Modern symphony Prokofiev wrote.

About the Music

—Franz Welser-Möst March 2020


clangy-bangy — than Stravinsky. That he could, in short, shock the intelligentsia as well as the bourgeoisie. Of course, not even in the first movement can the heavy artillery keep firing throughout. There is a very short moment where the tempo slackens, and later, some longer moments where the texture thins. Yet with only one or two prominent thematic ideas — a downward glissando in the trumpets, the octave leaps in the violins — the music is powered not by themes and keys, as a conventional symphony might be, but by power itself. Why Prokofiev chose to model the second movement as a theme and variations is a mystery, for although it provides some welcome repose after the bludgeoning of the first movement, the new mood does not last — and soon again every opportunity for renewed violence is seized. (Some commentators have suggested that Prokofiev modelled the Second Symphony on Beethoven’s final Piano Sonata, Opus 111, in key structure and the use of a theme and variations format. Franz Welser-Möst says he is reminded of yet a different Beethoven sonata, the Hammerklavier, Opus 106, for the kind of wild and audacious experimentation that Prokofiev — and Beethoven — pursued in these two pieces.) The musical theme or melody/motif of the second movement, begun by the oboe, is long and elegant, not unlike some themes in Prokofiev’s later symphonies. Its comfortable harmony is welcome. In the first variation, the theme is heard in the lower strings, with delicate counterpoints wandering above and below it. The second variation is more inventive, with some remarkable textures in the strings. In the third variation, a quicker tempo is reached. There are hints of forceful dissonance, but the temperature is largely under restraint. The fourth variation is a beautiful Larghetto. Yet this is the last chance for our ears to enjoy a peaceful resolution, because the fifth variation brings back the main sense of madcap activity and crunching dissonance, which was apparently merely taking a brief break. Things intensify even more in the sixth variation, which builds to the most overwhelmingly brutal climax of all. In the midst of such turmoil, the theme can be heard, shouted out by trumpets and horns. The return of the theme itself offers much needed consolation (for our ears and minds), and the music ends on a magically mysterious chord in the strings, played pianissimo. —Hugh Macdonald © 2020


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Symphony in C major (“The Great”), D.944

(Symphony No. 9)* composed 1825-26

At a Glance



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

Schubert wrote this C-major symphony* in 1825-26. There may have been a partial read-through at a rehearsal of the Austrian Philharmonic Society during Schubert’s lifetime, but no public performances were given. The score was rediscovered a decade after Schubert’s death, and the first performance (with cuts) was presented on March 21, 1839, in Leipzig, with Felix Mendelssohn conducting the Gewandhaus Orchestra. This symphony runs about 50 min-

utes in performance. Schubert scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings. The Cleveland Orchestra first performed Schubert’s “Great C-major” Symphony in January 1921, with Nikolai Sokoloff conducting. It has been presented on a regular basis since that time, led by all of the Orchestra’s music directors. The most recent performances were led by Christoph von Dohnányi in November 2015.

About the Music F R A N Z S C H U B E R T composed, or at least started, a dozen

symphonies, a number of which he left unfinished. What we know as his “Unfinished” Symphony, ironically, was almost certainly completed, even though the partial autograph score reveals only two movements, a pulsing first and a heartrending, slow-tempo’d second movement. The origins of Schubert’s “Great” C-major Symphony, often given the designation as his Symphony No. 9, were for many years equally problematic, despite the fact the score for this big work was in the hands of Vienna’s Gesellschaft der Musikfreunde during the composer’s lifetime. At the top of the manuscript is written a date that looks like “March 1828,” which led the English lexicographer George Grove (famous in musical circles as editor for Grove’s Dictionary of Music and Musicians) to argue what the date was when composition began. From this first assumption, he surmised that this was not the symphony that Schubert’s friends said he composed on holiday in the summer of 1825. That must be a different work, now lost.

* The numbering of Schubert’s symphonies after No. 6 has caused much confusion in recent decades, with updated versions of the official Deutsch catalog changing earlier numbering, then wavering and backtracking. For this reason, many orchestras now refer to the “Unfinished” and the “Great C-major” symphonies by their nicknames and Deutsch numbers alone. However, a majority of currently available recordings designate the “Unfinished” as No. 8 and “The Great” as No. 9. Severance Hall 2019-20

About the Music


A more recent inspection of the date written on the score revealed that part of it was trimmed off when the autograph score was bound, and so the 8 could instead by a 5 or 6. If Schubert began his “Great” Symphony in 1825, then the lost symphony is lost no more. The two symphonies are now believed to be one and the same! WRIT TE N AND LOST, THE N FOUND

In that summer of 1825, Schubert traveled with his friend, the singer Michael Vogl, in the mountains of Upper Austria for five months. Schubert, always busy in his head with music, would have been inspired to write a great deal during this period, and a big symphony is exactly what a long holiday might produce. In the city of Linz, they stayed with Anton Ottenwalt, who wrote to another of their friends: “By the way, he worked on a symphony in Gmunden, which is to be performed in Vienna this winter.” Such a work was not performed that winter, but in 1826 the Gesellschaft der Musikfreunde, having learned that Schubert was writing a symphony for them, voted a gift of 100 crowns to him in acknowledgement. A set of parts was made and the autograph score delivered. The work was tried out in rehearsal — but found to be too difficult, so it was returned to the shelf. More than a decade later, long after Schubert’s death, Robert Schumann called on Schubert’s brother Ferdinand in Vienna on New Year’s Day 1839 and was amazed to find an enormous collection of unknown music, including the symphony in C major, which no one had ever heard. He immediately arranged a performance back home in Leipzig, where Felix Mendelssohn was in charge of the city’s famous Gewandhaus Orchestra. Other orchestras, however, in Vienna, Paris, and London, still refused to rehearse it because of the relentless stream of notes in the string parts, especially in the last movement — too difficult, too tiring. E X PR E S S I V E A N D E X PA N S I V E

No doubt about it, this is a big symphony. And it is worth reminding English speakers that the nickname “Great” is a translation of the German word “Grosse,” the meaning of which leans much more toward the idea of large and expansive, rather than being “very good” (which the symphony also surely is). The nickname was first given to this work to help distinguish it from


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Schubert’s earlier, shorter symphony in C major, No. 6, known as Die Kleine or “The Little” C-major Symphony. So where did Schubert find inspiration toward such length and breadth? In May 1824, Beethoven, by that point very deaf, conducted the first performance of his Ninth Symphony. We know that Schubert never missed the opportunity to hear Beethoven’s music performed, and no doubt he was present on that occasion. He could hardly fail to have been impressed by that magnificent, large-scale work. Even if he had no desire to include voices in a symphony of his own, Schubert would nonetheless have responded to the vastly expanded time-scale of Beethoven’s Ninth. Schubert had, after all, long had a great fluency for composing movements rich in melodic invention, the material which can seem reluctant to come to a close. One innovation in orchestral writing that was definitely Schubert’s own was the prominence of the three trombones. He wrote parts for only two horns, when two pairs of horns were already the norm, but replaced the second pair with three trombones, which had the advantage not only of their distincSeverance Hall 2019-20

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

tive sonority but also of their ability to play any note of the normal chromatic scale. With Schubert’s propensity to modulate freely and rapidly from key to key, the trombones were entirely at home. As Haydn did in almost all of his symphonies, but Beethoven only in some of his, Schubert begins his first movement with a slower introductory section, marked Andante, which builds a crescendo into the start of movement proper, marked Allegro. And it was Haydn’s “Drumroll” Symphony, No. 103, that gave Schubert the idea of bringing back the broad theme of the introduction (originally stated by the two horns unaccompanied) at the conclusion of the movement, first in the winds, then in the strings. Schubert’s slow movement is a unique creation, with a nod towards the Allegretto of Beethoven’s Seventh Symphony and its jog-trot tempo. Schubert was sometimes inclined to allow the development of themes, especially in slow movements, to generate tension, defused at the last minute by a return to the sanity of his main themes. But in this movement, the process loses control. Angry dotted figures in the strings are goaded by repetitive trumpet-and-horn calls in a terrifying escalation, to the point where the music completely collapses, fortississimo. A bar and a half of silence is needed before the music can resume, wounded but alive. There is no happier music than the Scherzo third movement, apparently descended from a cloudless sky. The movement’s Trio section, too, is a glimpse of paradise — with the whole of a long melody given to the winds as a group. The closing Finale is another matter altogether, determined to break every record for stamina as if a sprinter were required to run a marathon. The unflagging pace, the sense of machinery switched to “full,” and the dotted rhythms in the strings all suggest that this music cannot and will not be stopped. The famous second subject, with its four repeated notes at the start, compound the pulse and provide the drive that reaches, with the four hammer-like blows on the note C, the end of a “Great” symphony that not even Beethoven could match.

—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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Symphony No. 3 in D major, D.200 composed 1815

At a Glance



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

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Schubert wrote his Symphony in D major, later designated as his Third Symphony, between May and July 1815. Performances during the composer’s lifetime are unknown. The first documented performance of the entire symphony took place in London in February 1881. This symphony runs about 25 minutes in performance. Schubert scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets,

timpani, and strings. The Cleveland Orchestra first performed this symphony in March 1963 under the direction of Robert Shaw. It was most recently presented earlier this season, in September. Historical note: Schubert’s Third Symphony was the opening piece on Franz Welser-Möst’s very first concert program with The Cleveland Orchestra, over a quarter century ago, in February 1993.

About the Music S C H U B E R T L E F T S C H O O L at the age of sixteen and went

to teach at the school where his father had been teaching for many years. This had the benefit of exempting him from military service, for which, with Napoleon still prowling around Europe, he must have been grateful. But Schubert felt no vocational call toward teaching and its duties irked him, since he knew he would much rather be composing music and playing it with his friends. Regardless of his attitude toward his teaching duties, Schubert wrote a bewildering quantity of music of every kind during these years, as if he had no real job occupying his time. Four symphonies (what we know as nos. 2-5), three string quartets, several Masses, piano pieces, an opera, and innumerable songs flowed from his pen before he was eighteen. Symphony No. 3 was begun on May 24, 1815, but then set aside. Two days later, he composed seven songs; why they had priority of his time and attention over the symphony is anyone’s guess. By the time Schubert came back to work on the symphony, Napoleon had been defeated at the Battle of Waterloo on June 18th. He finished the first movement on July 11th-12th, then wrote three more songs on the 15th, and completed the symphony on the 19th. Within a week after that, he had started a new opera. A performance of any of these early symphonies at the time they were written is very unlikely. Although Schubert maintained contact with his old school, the “Stadtkonvikt,” whose orchestra might have given them an airing, there is no documentation to About the Music


tell us that such semi-private performances took place. Like so much of Schubert’s music, many of his greatest pieces had to wait for many years after his death before they were unearthed and performed — to an amazed, admiring audience. The last movement of No. 3 was heard in Vienna in 1860, but the whole series of five early symphonies weren’t first played until the 1880s, in London. Those performances took place through the agency of George Grove, founder of Grove’s Dictionary of Music, who had spent time in Vienna with the young Arthur Sullivan particularly to find out everything about Schubert they could. THE MUSIC

Schubert’s early symphonies invariably convey a sense of divine fluency, as if the music simply flowed unbidden from the composer’s pen, as indeed it must have done. There is never hesitation, and the melodies are graceful and beautifully shaped, with harmony that never jars. No wonder his music teacher at the Stadtkonvikt remarked, “He has learnt everything from God, that lad.” At the same time, there is a naturalness, almost a rustic or earthy quality to some of his music. As though he is showing us both the poise and polish, and the dirt and delight that being human involves. In Schubert’s music, it is fascinating to observe both how closely he followed in Beethoven’s footsteps and how freely he departed from them. By the time Schubert came to maturity, Beethoven was unchallenged as the focal figure in Vienna’s music arena, already world-famous — and notably eccentric and unpredictable both in his social life and his music. Surprisingly, Schubert had almost no personal contact with Beethoven, but he could not help learning a great deal from the master’s many scores, especially when composing sonatas, quartets, or symphonies. Since Beethoven had demonstrated in all manner of ways how to break the rules of classical form inherited from Haydn and Mozart, Schubert was free to do so too, but he did it in his own way, not in Beethoven’s. The custom of beginning a symphony’s opening movement with a slow introduction was established by Haydn as a strong way to start a symphony, and for this symphony Schubert was happy to fall in line. Here, his introduction to the first movement features an upward-rushing scale that will play a prominent part in the movement’s main Allegro section, especially at the end. This


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Allegro is a feast for the woodwinds, who present all the tunes. The oboe gets the playful second subject — but when it returns later in the movement, it is passed, seemingly as a courtesy, to the clarinet. There is a divine simplicity about the slow second movement, with its easy Allegretto pace and Haydnesque tune. The middle part of the movement is rather different in character (and, depending on the performance, in tempo), as if Schubert had material for two slow movements and couldn’t decide which to keep. The clarinet is again favored, and then the opening section is reprised unaltered. Horns, trumpets, and drums are prominent in the Menuetto third movement, whose Trio is a delicate duet for oboe and bassoon in the style of a waltz. Like the first movement, the finale fourth movement plays games with the conventional sequence of keys, but the unstoppable rhythm carries the listener on from tune to tune, and we get the sense that Schubert is almost enjoying himself too much to bring this music to an end. —Hugh Macdonald © 2020

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Maltz Performing Arts Center

Chatham Baroque

Westminster Choir

April 24-26, 2020 | BWV performs the premiere of Fantasy-Partita on “Von Gott will ich nicht lassen” by Dr. James Primosch, winner of the RBI 50th Anniversary Commission Contest. The concert will also include works by J. S. Bach, Schütz, and Schein. Featuring Chatham Baroque April 24 | 7 pm | Gamble Auditorium, Baldwin Wallace University J. S. Bach: Brandenburg Concerto No. 6 BW Faculty/Cleveland Orchestra members Daniel McKelway, Lembi Veskimets, Charles Carleton, Jeffrey Rathbun, Jonathan Sherwin, and Factory Seconds Brass Trio (Jack Sutte, Jesse McCormick, and Richard Stout), Nicole Keller, and friends April 25 | 2 pm | Gartner Auditorium, Cleveland Museum of Art J. S. Bach: St. Matthew Passion, BWV 232 BW Motet Choir and Festival Orchestra joined by the Westminster Choir and Chatham Baroque, Dr. Joe Miller, conducting April 25 | 7 pm | Maltz Performing Arts Center Baldwin Wallace University, Berea, Ohio 44017 | 440-826-8070


Symphony No. 3 in C minor, Opus 44 composed 1928-29, from musical material created 1919-27

At a Glance



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

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Prokofiev composed this symphony in 1928, basing its themes on music from his opera The Fiery Angel, which he had written in 1919-27. (At least one theme had also appeared in an unfinished string quartet from the years just before he began writing the opera.) The work was first performed on May 17, 1929, in Paris, with Pierre Monteux leading the Orchestre Symphonique de Paris. The score was published in 1931 with a dedication to Nikolai Miaskovsky, a close friend of the composer. This symphony runs approximately 35 minutes in performance.

Prokofiev scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, tam-tam, tambourine, castanets, cymbals, bell), 2 harps, and strings. The Cleveland Orchestra first presented this symphony in March 1976, led by Kirill Kondrashin. The most recent performances were under the baton of Franz Welser-Möst during the 2018-19 season, in Cleveland and on tour in Asia.

About the Music A S A G R O U P , Sergei Prokofiev’s symphonies present an ever-

changing range of musical style and evolution, created over the composer’s lifetime of geographic wandering, evolving political allegiance, and musical experimentation. After the modernly, classical First (Haydn updated, with spices), he headed in continually different directions. Ten years after the premiere of that Classical Symphony (later reluctantly designated as Symphony No. 1) in 1918, and his impulsive departure from Russia in the throes of that year’s revolutionary tumult, Prokofiev was still abroad and unsettled. The first four years had been divided between Chicago and New York, followed by a spell in Bavaria, and then, after his marriage, a longer period in Paris. He was often on tour, including several return visits to the Soviet Union. His eventual return there, in 1936, was at least partially a reflection of his attachment to his roots and the neverending challenge of getting his operas performed onstage. Prokofiev wrote both his Third and Fourth Symphonies speedily, the Third in 1928 and the Fourth in 1930. The speed, however, was in large part because both were based on material from operas which had been in gestation for many years — and which were still awaiting performance. About the Music


In the case of Symphony No. 3, the musical source material was the opera The Fiery Angel, which Prokofiev had started creating in 1919. Despite discussions with opera companies in Berlin and New York, the opera was never staged in the composer’s lifetime, and is still a rarity today. It portrays an unsettling story, of dark medieval forces in a nunnery with, for principal character, a woman possessed by the devil who is in a state of high hysteria throughout, making demands that few sopranos are able to meet or willing to attempt. The obsessive, expressionistic character of the opera is reflected in the Third Symphony. Prokofiev composed it, in part, as a reaction to Bruno Walter’s inability to get the Berlin Städtische Opera to stage it. Working to salvage some of the opera’s material — and perhaps continue generating In his Third Symphony, Prokofiev interest in that work — the composer, uses musical material from his previously rather than creating a straight-forward suite of its music, instead re-crafted created opera The Fiery Angel. Yet, in strucmusical material from it into symphonic ture and texture, it bears many similariform, repackaged and reimagined into a ties to his Second Symphony, written three symphony’s traditional four-movement years earlier. In the first movement, there structure. Significantly, the composer are dark chorales and piercing rhythms. In chose not to give the symphony a title related to the opera, and, in fact, claimed the second movement, there are far-reachthat the symphony was separated from ing melodies of lamentation, while the the opera’s storyline and meaning. third movement — sounding agitated and Prokofiev’s Symphony No. 2 of 1925 grotesque — holds parallels both for the had been inspired by the craze for mafirst movement and with a variation in the chine music and factory music current second movement of the Second Symphoat that time — including a sense of mechanical rhythms and related gearings. ny. The fourth movement is a large funeral The Third Symphony is equally noisy and march, ending in a big, dark outcry. Pure dissonant. What makes the music so abExpressionism. sorbing is the incredible inventiveness —Franz Welser-Möst of Prokofiev’s mind. There is not a single bar when something remarkable, even extraordinary, is absent. Throughout these four movements, the orchestration is intricate and very busy, giving few of the players any significant moments of respite. To use a metaphor that, admittedly, applies more specifically to the content of the Second Symphony, the Third is firing on all cylinders throughout.


About the Music

The Cleveland Orchestra

Prokofiev described the origins of his Third Symphony:

“In Paris in 1928, Serge Koussevitzky led a performance of several excerpts from my opera. The selections were well received and I was sorry the opera had not been staged and that the score lay gathering dust on the shelf. I was about to make a suite out of it when I remembered that for one of the entr’actes I had used the development of themes from the preceding scene, and it occurred to me that this might serve as the kernel for a symphony. I examined the themes and found that they would make a good exposition for a movement in sonata allegro form. I found the same themes in other parts of the opera differently expressed and quite suitable for the movement’s recapitulation. In this way, the plan for the first movement of

the symphony worked out quite simply. The material for the Scherzo and Andante movements was also found without difficulty. The finale took a little longer. I spent far more time whipping the thing into final shape, tying up all the loose ends and doing the orchestration. But the result — the Third Symphony — I consider to be one of my best compositions. I do not like it to be called the ‘Fiery Angel’ Symphony. The main thematic material was composed quite independently of the opera. Used in the opera, it naturally acquired its coloring from the plot, but being transferred from the opera to the symphony, it lost that coloring, I believe, and I should therefore prefer the Third Symphony to be regarded as pure symphony.”

One difference with the previous symphony is the larger number of tunes, often plain-sounding and simple, which ride over the orchestral sound. These had important roles as motifs in the opera, but Prokofiev protested against any attempt to detect a program or story in the symphony, pointing out that the themes in question had always been conceived in an instrumental, not vocal, form. The symphony is, nonetheless, nothing if not dramatic. After a noisy introduction, the first true melody of the opening movement is laid out with unmistakable force by four horns and the violins. A second theme, which will be heard again in the finale, belongs to the first violins, milder in character, and, a third, of a forceful rising figure in the brass, provides material for the orchestral mayhem unleashed as the climax of this opening movement. At the end, there is stillness and quiet. The second movement reflects a less frantic aspect of the action, highly-colored and resourceful in the interplay of instruSeverance Hall 2019-20

About the Music


ments, and full of melody. The third movement, in contrast, is a unique creation, frenzied and furious, with a recurrent passage in which the strings produce the eeriest whispery sounds possible, juxtaposed with sudden musical explosions. The middle section, while hardly relaxed, brings along a certain steadiness, with more tunes, artfully orchestrated. It is the finale fourth movement, though, that brings a definitive sense of character to the symphony. Here, an atmosphere of evil and diabolism is pervasive, clothed in orchestration of terrifying power. There is momentary easing, when the second movement’s theme is recalled, and again for a return of the second principal theme of the first movement, but the horrific dissonance on which the symphony ends can only be seen as an attempt to erase from our consciousness any sense of good manners and well being — negating, perhaps, the kinds of Classical values and proportions that the composer’s first symphony has brought into the world. —Hugh Macdonald © 2020


About the Music

The Cleveland Orchestra

Passion. PERIOD.

J.S. Bach

Cleveland’s GRAMMY®-winning period-instrument orchestra presents

ST. MATTHEW PASSION A Dramatic Presentation JEANNETTE SORRELL, conductor

FRIDAY, APRIL 3, 7:30PM SEVERANCE HALL Other performances in N.E. Ohio April 1 & 4 Made possible with support from



NICHOLAS PHAN, Evangelist | THEO HOFFMAN, Jesus | JEFFREY STRAUSS, Pilate CARINE TINNEY, soprano | DANIEL MOODY, countertenor | TYLER DUNCAN, baritone Bach’s resplendent masterpiece is rarely performed live, due to the extraordinary forces required: 2 orchestras, 2 choirs, soloists, and children’s choir. Jeannette Sorrell leads a dramatic presentation, with singers performing from memory in the character roles. Bach’s resounding sense of community envelopes the performance as the audience joins in singing the chorales – just as Bach’s congregation did nearly 300 years ago.

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JOHN L. SEVERANCE SOCIETY Cumulative Giving The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which today symbolizes unrivalled quality and enduring community pride. The individuals, corporations, foundations, and government agencies listed here represent today’s visionary leaders, who have each surpassed $1 million in cumulative gifts to The Cleveland Orchestra. Their generosity and support joins a long tradition of community-wide support, helping to ensure The Cleveland Orchestra’s ongoing mission to provide extraordinary musical experiences — today and for future generations. Current donors with lifetime giving surpassing $1 million, as of October 2019

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

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

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

Severance Society / Lifetime Giving

* 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 Orchestra’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

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$50,000 TO $99,999

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

Buyers Products Company Calfee, Halter & Griswold LLP Cleveland Clinic The Cleveland-Cliffs Foundation DLR Group | Westlake Reed Leskosky Dollar Bank Foundation Eaton Ernst & Young LLP 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: +

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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+

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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

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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

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Individual Annual Support

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Severance Hall 2019-20


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

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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

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Did you know? Thousands of people have made The Cleveland Orchestra a meaningful part of their estate planning. When you include the Orchestra in your will, you ensure a vibrant future for classical music in Northeast Ohio for generations to come.

Photo by Roger Mastroianni

Leave a legacy of music. For more information, contact: Katie Shames, 3ODQQHG*LYLQJ 0DMRU*LIW2ŕŹ&#x160;FHU phone: 216-231-8006 email:


H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of current members is as of June 2019. For more information, please contact the Orchestra’s Legacy Giving Office by contacting Rachel Lappen at or 216-231-8011. Lois A. Aaron Leonard Abrams Gay Cull Addicott Stanley and Hope Adelstein* Sylvia K. Adler* Norman* and Marjorie Allison Dr. Sarah M. Anderson George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Jack L. Barnhart Margaret B. and Henry T.* Barratt Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Fran and Jules Belkin Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Marie-Hélène Bernard Ila M. Berry* Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Mr. William P. Blair III Doug and Barb Bletcher Madeline & Dennis Block Trust Fund Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome Borstein* Mr. and Mrs.* Otis H. Bowden II Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Robert W. Briggs Elizabeth A. Brinkman Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Thomas Brugger, MD Mr. and Mrs. Harvey Buchanan* Joan and Gene* Buehler Gretchen L. Burmeister

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

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

The Cleveland Orchestra

Legacy Giving



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


David and Gloria Kahan Julian and Etole Kahan David George Kanzeg Bernie and Nancy Karr Drs. Julian and Aileen Kassen* Milton and Donna* Katz Nancy F. Keithley and Joseph P. Keithley Patricia and Walter Kelley* Bruce and Eleanor Kendrick Malcolm E. Kenney Mr. and Mrs. Douglas A. Kern Charles M. and Janet G. Kimball* James and Gay* Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Fred* and Judith Klotzman Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn* Mr. Clayton Koppes Susan Korosa Mr.* and Mrs. James G. Kotapish, Sr. Margery A. Kowalski Janet L. Kramer Mr. James Krohngold Mr. and Mrs. Gregory G. Kruszka Thomas* and Barbara Kuby Eleanor* and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Mrs. Carolyn Lampl Marjorie M. Lamport* Louis Lane* Kenneth M. Lapine and Rose E. Mills Lee and Susan Larson Charles K. László and Maureen O’Neill-László Anthony T. and Patricia Lauria Charles and Josephine Robson Leamy Fund* Jordan R. and Jane G. Lefko Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Judy D. Levendula Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs.* Thomas A. Liederbach Rollin* and Leda Linderman Virginia M. and Jon A. Lindseth Ruth S. Link* Dr. and Mrs. William K. Littman Dr. Jack and Mrs. Jeannine Love Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Linda and Saul Ludwig Kate Lunsford Patricia MacDonald Alex and Carol Machaskee Jerry Maddox

Legacy Giving

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

The Cleveland Orchestra

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

Severance Hall 2019-20

Norma Gudin Shaw Elizabeth Carroll Shearer* Dr. and Mrs. William C. Sheldon John F. Shelley and Patricia Burgess* Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin Reverend and Mrs. Malcolm K. Shields Rosalyn and George* Sievila Mr.* and Mrs. David L. Simon Dr.* and Mrs. John A. Sims Naomi G. and Edwin Z. Singer Lauretta Sinkosky H. Scott Sippel and Clark T. Kurtz Ellen J. Skinner Ralph* and Phyllis Skufca Janet Hickok Slade Drs. Charles Kent Smith and Patricia Moore Smith Mr.* and Mrs. Ward Smith Ms. Mary C. Smith Sandra and Richey Smith Roy Smith Myrna and James Spira Barbara J. Stanford and Vincent T. Lombardo George R. and Mary B. Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Elliott K. Stave & Susan L. Kozak Fund Saundra K. Stemen Merle and Albert Stern* Dr. Myron Bud and Helene* Stern Mr. and Mrs. John M. Stickney Dr. and Mrs. William H. Stigelman, Jr. Mr.* and Mrs. James P. Storer Ralph E. and Barbara N. String* In Memory of Marjory Swartzbaugh Dr. Elizabeth Swenson Lorraine S. Szabo Mrs. Jean H. Taber* Norman V. Tagliaferri Nancy and Lee Tenenbaum Dr. and Mrs. Friedrich Thiel Mr. and Mrs. William M. Toneff Joe and Marlene Toot Alleyne C. Toppin Janice and Leonard Tower Dr. and Mrs. James E. Triner William & Judith Ann Tucholsky Dorothy Ann Turick* Mr. Jack G. Ulman Robert and Marti* Vagi Robert A. Valente J. Paxton Van Sweringen Mary Louise and Don VanDyke Steven Vivarronda Hon. and Mrs. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner

Legacy Giving

Mr. and Mrs. Russell Warren Joseph F. and Dorothy L.* Wasserbauer Reverend Thomas L. Weber Etta Ruth Weigl* Lucile Weingartner Max W. Wendel William Wendling and Lynne Woodman Robert C. Weppler Paul and Suzanne Westlake Marilyn J. White Yoash and Sharon Wiener Linda R. Wilcox Alan H.* and Marilyn M. Wilde Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Tony and Diane Wynshaw-Boris Mary Yee Carol Yellig Libby M. Yunger William Zempolich and Beth Meany Roy J. Zook* Anonymous (73)

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


The Kulas Series of Keyboard ConversationsÂŽ

Sunday, March 8, 2020 â&#x20AC;&#x201D; FREE One hour Musicale

THE HENRY J. GOODMAN FAMILY CONCERT Music for the young and young of heart selected for families. Presented by the family and friends of Henry J. Goodman. No tickets or reservations required. 3:00 p.m. in Drinko Hall in the Music & Communication Building of CSU. Sunday, March 29, 2020

FRANZ SCHUBERTâ&#x20AC;&#x201D;THE SOULFUL AND THE SUBLIME Dramatic Impromptus, charming â&#x20AC;&#x2DC;Musical Momentsâ&#x20AC;&#x2122;, and famous songs arranged for the piano by Liszt. Sunday, May 3, 2020

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

photo Š Peter Schaaf









Located one block north of Shaker Square and on the National Register of Historic Places, Larchmere Boulevard is Clevelandâ&#x20AC;&#x2122;s premier arts, antiques and design district. 104

The Cleveland Orchestra

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

Severance Hall 2019-20

Severance Hall

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


2O 2O 19 -2O

Executive Directors, Business Owners, Marketing Managers:



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



Perspect ives WEEK 11



— Janu




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Contact us: 216-721-1800 or

11001 Euclid Avenue Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM



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


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

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


FOOD AND DRINK SEVERANCE RESTAURANT Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances (and for lunch following Friday Morning Concerts). Operated by Marigold Catering, a certified Green Caterer. To make reservations, call 216-231-7373, or online by visiting Please note that the Restaurant is no longer open for post-concert service, with the exception of luncheons following Friday Morning Matinees.

OPUS LOUNGE The Opus Lounge is located on the groundfloor of Severance Hall. This warmand-inviting drink-and-meet speakeasy offers an intimate atmosphere to chat with friends before and after concerts. With full bar service, signature cocktails, and small plates. Located at the top of the escalator from the parking garage.

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

Severance Hall 2019-20

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

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

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

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

Guest Information




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

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

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

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

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

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

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

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

IN THE EVENT OF AN EMERGENCY Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.


SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats upon entering the building. Guests can make arrangements by calling the House Manager in advance at 216-231-7425. Service animals are welcome at Severance Hall. Please notify the Ticket Office as you buy tickets.

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

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

CHILDREN AND FAMILIES Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including: Music Explorers! (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).

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

Guest Information

The Cleveland Orchestra

PARKING GARAGE PARKING Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $15 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. Available on-line, by phone, or in person. Parking can be purchased for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. Parking is also available in several lots within 1-2 blocks of Severance Hall. Visit the Orchestra’s website for more information and details.

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.

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

440.720.1102 440.720.1105 440.720.1104

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

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

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

Severance Hall 2019-20

Guest Information

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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.

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.

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The Cleveland Orchestra March 5, 7, 8, 12, 13, 14 Concerts  

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March 5, 7, 8 - Mendelssohn's Hymn of Praise March 12, 13, 14 - Schubert & Prokofiev

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