Spotlight Magazine - 1.2 Winter-Spring 2021 - The Cleveland Orchestra

Page 1

2 O2 O -2 1


A Season Like No Other . . . including February-March-April-May Broadcast Guide plus Severance Hall at Ninety and Comfort Food with Franz Welser-Möst 1




2 0 2 1

2 O2 O -2 1


W I N T E R - S P R I N G

TA B L E O F CO N T E N T S A Year Like No Other: Q&A with André Gremillet . . . . . . . . . . .


Letter from Franz Welser-Möst . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


Broadcasts: Adella and In Focus. . . . . . . . . . . . . . . . . . . . . . . . . . . . .


In Focus Weeks / Episodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 FEBRUARY - MARCH - APRIL - MAY 2021 Podcasts: On a Personel Note . . . . . . . . . . . . . . . . . . . . . . . . . . . .


Food: Pasta with Franz Welser-Möst . . . . . . . . . . . . . . . . . . . . . . . 21 Opportunity from Crisis: Youth Orchestra and Youth Chorus Go Online . . . . . . . . . . .


Preservation Fund . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


Cleveland Orchestra Donors and Sponsors . . . . . . . . . . . . . . . . Individual, Corporate, Foundations and Government


Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


Supporting Institutions You Love . . . . . . . . . . . . . . . . . . . . . . . . .


Martin Luther King Jr. Celebrations . . . . . . . . . . . . . . . . . . . . . . . .


Serving the Community: Musical Inspiration . . . . . . . . . . . . . .


New Briefs & Updates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


Severance Hall: 90th Anniversary . . . . . . . . . . . . . . . . . . . . . . . . .


The Back Page: Listening at Home . . . . . . . . . . . . . . . . . . . . . . . .


Spotlight Magazine is a quarterly publication for subscribers and donors of The Cleveland Orchestra. Copyright © 2021. All rights reserved. Eric Sellen, Managing Editor Justin Holden, Senior Director, Communications Ross Binnie, Chief Brand Officer

The Cleveland Orchestra is grateful to these government agencies for ongoing and special project support:

Cover photograph © by Roger Mastroianni.


We recently sat down with

Q: In this new year, with 2020 finally in the rearview mirror, how is The Cleveland Orchestra doing?

André: I would say that, overall, we are doing relatively well, given the circumstances. The past year has been extremely difficult, for everyone personally and for The Cleveland Orchestra as an institution fighting for its very survival through this pandemic. Yet we had some tremendous successes in the past few months, despite the many challenges that this health and economic crisis has brought us. And I believe, more than ever, that it is vitally important to celebrate achievement and remain focused on long-term goals while working to overcome the difficulties we face. Last season, before the coronavirus shut everything down, The Cleveland Orchestra and Franz Welser-Möst were once again having a remarkable season, playing at the very top of their game. We were about to embark on an international tour, first to Europe and then to Abu Dhabi for a historic collaboration with American Ballet Theatre. And we were about to launch our own recording label. The tour obviously could not and did not take place, but we launched the new label to great acclaim, managing not just the initial three-disc release, but also creating a second release despite the pandemic. A year ago, The Cleveland Orchestra was also making great progress toward improving its overall and long-term financial situation. Remarkably, even with the pandemic, through the generosity of thousands of supporters from across Northeast Ohio and around the world — combined with salary reductions across the entire institution — we were able to close the books of last fiscal year, ending on June 30, 2020, with a balanced budget.





President & CEO André Gremillet for a Zoom chat about how The Cleveland Orchestra is navigating the challenges of the Covid-19 pandemic . . . and learn about his hopes for the year ahead.

These are not small accomplishments, and we’re continuing to build on this success in everything we’ve done since March 2020 — introducing our own digital streaming service, producing the first of our “In Focus” series of digital concert broadcasts, premiering a series of podcasts, and reprogramming the current season to adapt to changing safety requirements. We’ve also retooled and refocused our education and community offerings to provide learning opportunities and to engage people of all ages during the pandemic. With

“We remain in the midst of a crisis that is more challenging than anything The Cleveland Orchestra has ever faced, with an incredibly high level of uncertainty for the coming months and perhaps for several years to come.” all of these efforts, I believe we are moving forward in a good direction, in the right direction toward the future. Yet there are challenges in front of us before we move on to anything that feels normal again. We remain in the midst of a crisis that is more challenging than anything The Cleveland Orchestra has ever faced, with an incredibly high level of uncertainty for the coming months and perhaps for several years to come. In the short term, our revenue gap is daunting, with no easy or quick-fix. Yet despite all of this, I remain optimistic about the Orchestra’s future.

Q: Please talk about the principles and priorities that have helped guide you in making choices in the face of the pandemic.

André: As I mentioned, the Covid-19 pandemic is clearly an unprecedented crisis, and how we handle it now will forever impact the future of this storied institution. Within the larger framework of ensuring The Cleveland Orchestra’s survival as an institution — not just getting by, but surviving in a way to continue growing and thriving in the future — we have kept three things solidly in mind for every decision: First, the health and safety of everyone comes first. We can’t cut corners or ask people to take uncomfortable risks. This is why, very early on, we partnered with the Cleveland Clinic, to count on the best medical advice and counsel we could possibly have in ensuring the health of everyone onstage and off, from the musicians, staff, and volunteers to the attending audience. We will not compromise on safety. Second, it’s important to keep the institution whole. We have an incredible pool of talent gathered together, both onstage and off — highly-accomplished and dedicated professionals who make this Orchestra’s greatness possible. Therefore, protecting musicians’ and staff’s employment as much as possible, while making sure that they have a viable institution to work for after this pandemic, is essential for the long-term future of The Cleveland Orchestra. This is why I fully believe that salary cuts for everyone — instead of laying off talent that will be hard to replace in the future — is the right approach, and I am heartened and energized by so many who, despite this shared sacrifice, are working harder than ever before. Thirdly, and this one is essential, throughout this time of disruption and uncertainty, it has been vital that we find ways and offer opportunities to continue sharing our music and education programs with the Northeast Ohio community, first and foremost, as well as with people around the world. The Cleveland Orchestra is nothing but potential when not performing — if not onstage, then online. Making music is why we exist and


Given how much our community values what we do, and how closely all of the institution’s stakeholders are working together, I see a path forward to weather this storm, to move through this crisis and build toward a new future stronger than ever. It requires much work, and tremendous flexibility. But together, we can do this.

how we bring value to the world. It is our responsibility to do everything we possibly can to continue delivering that value to the people and community that support us. All that said, in the face of a life-and-death situation, I think we also more fully understand both the importance of the arts in people’s lives and that we need to keep what we do in the perspective of, literally, life and death. I truly believe that music helps people on the journey through life — in energizing us, helping us

“The health and safety of everyone comes first. We can’t cut corners or ask people to take uncomfortable risks. This is why very early on we partnered with the Cleveland Clinic, to count on the best medical advice and counsel we could possibly have.” see the world, to enjoy each day, to soothe our sorrows and pains. But music itself isn’t the entire journey. We offer perspective, and hope, and understanding of who we are and what we can do, collectively and individually, as humans. Personally, this crisis has certainly been a reminder of the importance of accepting what you cannot control, and of focusing instead on what you can control — and on the difference you are able to make today.

Q: Please talk about all the performances that the pandemic has forced you to cancel.

André: For pretty much everyone, this entire situation was unexpected. A year ago, life was moving 5


along according to plan. Then suddenly, this pandemic was everyone’s focus, and pretty quickly affected the entire world and everything we do. I think at that time, few of us would have expected that the ripple effects would still be continuing a year later. Perhaps we were naive, or we were simply being hopeful. Nevertheless, I think we quickly began looking at the long term, to work on different scenarios that could carry us forward. We understood early on, as we were forced to cancel the end of last season at Severance Hall, and then the summer’s entire Blossom Music Festival, that our first goal had to be survival, that The Cleveland Orchestra had to be able to come out of this and return to its mission — and that getting there would require some hard decisions and a lot of work. Our approach from the beginning was to cancel performances only when it became absolutely clear that they could not take place. This has required great flexibility, not to mention the utmost patience and understanding from our subscribers, for which I am most thankful. Even with the performances we’ve filmed and broadcast for subscribers, our plans kept changing, especially as to when we can first welcome even a limited audience back to Severance Hall. In fact, only recently we made new choices for this spring, and there continue to be many unknowns in this area. As I said, we were hoping a year ago that the pandemic would not be as disrupting as it still is today. But health and safety come first. It is greatly disappointing not to welcome audiences back to Severance Hall this spring. But I think we can all be proud and happy 6

that the music continues. And in this context, let me emphasize one thing that is very important — that we intend to continue the filming of concerts and performances, even after audiences return, to offer the option for people in Cleveland and around the world to experience The Cleveland Orchestra from the comfort of home. This is part of our future.

Q: How is everyone doing? André: It has been a difficult year for all of us — the musicians, the staff, the board, audiences, volunteers, everyone. Working remotely much of the time and not being together is difficult. But this year has also demonstrated what a remarkable team The Cleveland Orchestra has in place, all of whom have stayed focused not on what was being lost in terms of cancelled concerts and so forth, but on figuring out how to adapt, now and for the future. This includes the performances that we’ve filmed and shared digitally through our new Adella app, and the many other online offerings that we’ve developed, produced, and offered in the past year. Some of these things were already being planned, but on a much longer timescale. We moved faster with new choices than we were expecting to a year ago, and we’ve gone in some new directions. But, taking a larger view of history, innovation has long been one of The Cleveland Orchestra’s strengths. This Orchestra did not become the world-famous ensemble it is merely by doing what others had done before, or by simply continuing to do what we were already doing. In all of this, teamwork is key — and everyone has been part of

the solutions we’ve implemented. Through all of this, Franz Welser-Möst has been a wonderful partner. His understanding of both the gravity of the situation and the opportunity it has offered to do things in different ways couldn’t be more helpful. He was never downcast about what we couldn’t do, but always looking for the silver lining, for utilizing the great strengths of The Cleveland Orchestra to continue fulfilling our mission. In the same vein, Franz and the Orchestra’s musicians have been wonderfully supportive and creatively flexible in helping to ensure that new efforts could get underway. And I cannot thank the staff enough, for their quick response and hard work to completely shift gears in order to make our new digital offerings available so quickly and at such a high level of quality. Additionally, on the side of community leadership, board chair Richard K. Smucker has been an anchor of strength. His focus is always on the future, on what we

“I think we can and should all be optimistic and hopeful right now. We've achieved a lot in the past year, despite the many unexpected challenges. There is a lot of work ahead, and we’ve been through a great deal of tumult and disruption. But with the vaccine being rolled out and administered, there is light on the horizon.” can do better — and how we can serve more people in the community. Indeed, all the trustees share this mindset, and each of them is committed to ensuring that The Cleveland Orchestra survives and thrives. Added to all of this is our deep gratitude for the extraordinary outpouring of support — both financial and emotional — from so many people and organizations here in Cleveland and beyond. It’s been remarkable and all of it helps to make the future possible. There can be little doubt that, with the exception

of war, Covid-19 is the biggest disruptor of normal everyday rhythms and life that any of us have experienced or lived through. But people are resilient, and so is The Cleveland Orchestra.

Q: Are there plans for Orchestra concerts this summer? André: Yes, we plan to announce the 2021 Blossom Music Festival season in April. Ten concerts in July and August will feature The Cleveland Orchestra onstage and be open for limited capacity, socially-distanced audiences. There will be fewer concerts than usual, but there will be both classical and popular symphonic fare. Because it is outdoors, we can make plans now for audiences and musicians to experience music together again.

Q: What about the 2021-22 season at Severance Hall? André: By the fall, we expect everything to be starting to feel more like normal, in terms of programming and the ability of guest artists to travel. So we are planning a full season, to which we will welcome audiences back to Severance Hall. Parts and aspects of the season will be modified, to take into consideration that vaccination efforts will likely still be going on. The season will start slightly later, in October, and we expect to be playing in the fall to a reduced capacity at Severance Hall. We will continue filming performances and offering them as “In Focus” broadcasts via Adella, for viewing at home. That, we expect, will become part of our standard offerings going forward. In addition, we expect to have Holiday concerts again in December 2021, and we are working with schools to adapt to new realities for our education and family presentations, and also working with students in our youth ensembles. Again, details will be announced in the coming weeks, but I fully believe that audiences will experience The Cleveland Orchestra in live concerts throughout next season. The season will also include our annual opera presentation, which is an important part of each year, and 7

which so many people look forward to. In this regard, I’m happy to say that no one has to be disappointed about missing Verdi’s Otello this year. We’ve moved it to next season, to May 2022, along with the entire festival that was being planned to surround it. In fact, we are working on plans to expand the annual festival with each opera, to offer a wider exploration of the important themes that are inherent in each work. We’ll be announcing more details in the coming months about the “Outsiders” festival that surrounds Otello, as our planning shifts from the kind of emergency triage choices we’ve made for this season to the kind of thoughtful long-term planning for which we have always prided ourselves.

that we don’t know how long it’s going to last — and the hardest thing financially to manage right now is the uncertainty over the length of the recovery. We don’t know when things will start to really get back to normal operationally. Even once it is safe to have a full audience back at Severance Hall, we don’t know how long it will take for people to be comfortable and coming back in large numbers. We know from surveys that many are eager to do so. But saying you want to and actually coming back are two different things. The vaccine is going to make all the difference. Regardless of that timeline, this pandemic has affected the future, in some ways, for years to come.

Q: What about plans for touring? The Cleveland Orchestra

Q: As you look to the coming year, do you have any closing

has a long history as Cleveland’s ambassador to the world. Will that change?

thoughts for The Cleveland Orchestra community?

André: In terms of touring, the past year has taken quite a toll on planning and abilities in this area, not just for us but for all kinds of performing arts presentations everywhere. Many things need to be back in place before The Cleveland Orchestra can tour again, but it will happen. We cancelled our tours a year ago to Europe and Abu Dhabi, we cancelled this year’s Miami performances in January and February 2021, and we’ve cancelled the European tour originally scheduled for the fall of 2021. But our intention is to bring touring back into The Cleveland Orchestra’s calendar and to do as much as we ever did, once enough people are vaccinated and when travel again becomes a regular feature of everyday lives. This Orchestra is one of Ohio’s most famous and best exports, and we will be on the road again, proudly carrying the name of Cleveland across the United States to Asia, Europe, and beyond.

Q: How is The Cleveland Orchestra doing financially?

André: First and foremost, I want to offer my deepest sympathy to everyone who has lost a loved one during this pandemic. Those of us who have been fortunate and have not gotten sick or lost a family member can never forget what a human tragedy this pandemic remains for our community. We need to put our work at The Cleveland Orchestra in perspective, no matter how important and challenging, while keeping in mind that so many people have been very sick and lost their lives. Remembering what truly matters at the end of the day is essential, including the fact that with the vaccine being rolled out and administered, there is finally light on the horizon. The Cleveland Orchestra will survive this crisis, thanks to the outpouring of generosity of this community, and will continue to do everything possible to serve our hometown and bring comfort and hope through music. This probably has never been as important as it is now, and, ultimately, this is what we are focused on as we look to the future.

André: In the short term, we’re doing okay. Meaning

So we’ve been able to meet the initial challenge. My concern is what’s ahead of us, because we know it’s going to be difficult, even under the best scenarios we’ve planned for. One of the biggest challenges is



that if we look back at what happened from mid-March through December, the first nine-month period of the pandemic, we have managed to weather the first part of this storm. We did so with much help from our generous donors and patrons, along with government help that made it possible to keep our people employed, and by making salary reductions that continue to this day for everyone in the institution.

Dear Friends, The past year has been like no other — filled with surprises few of us might have imagined. As a global community, we have experienced unexpected hardship and disappointments. We have faced isolation. And yet, we have also shared hope and renewal. Throughout this pandemic, our beliefs in life’s joys and continuation have been tested like never before. Yet I have also been reminded wholeheartedly of something I already knew. I admired The Cleveland Orchestra long before I visited Severance Hall for the first time nearly three decades ago. In the years since, my respect for and relationship with this extraordinary ensemble and organization has grown and grown. And my understanding of Cleveland’s people as a dynamic and supportive hometown has also deepened. This past year has reminded me again and again just how extraordinary Cleveland’s caring and dedicated people are — the Orchestra together with its hometown community. The necessary separation that we have all felt across these many months has only confirmed for me Cleveland’s unique strengths. The time apart has reminded me once again just how important the arts are in uniting the world and in bringing us together — to perform, to listen, to learn, to understand. I continue to believe with all my heart that music is an integral and essential part of life — as essential as education, family, and friendship. The arts help us understand the world and each other more deeply. Everything that makes The Cleveland Orchestra special is still true. We haven’t lost our connections by being apart. In fact, on a daily basis, when we lean on our shared understandings, we become stronger. We listen to one another more intently, as musicians and people, and we savor our moments together with renewed strength. What a joy it was for me to return to Cleveland in October and to make music for our community again. Of course it was not the same, without audiences at Severance Hall to share our music in person. Yet all of us onstage understood that we were sharing with you nonetheless — through filming, through digital technology, through our utmost efforts and resolve. Together we are re-creating and strengthening The Cleveland Orchestra in the midst of unprecedented times. Together, we are becoming stronger. I look forward to seeing you all again face to face. In the meantime, we are playing music, in our hearts and online for you. Thank you for your vital role in making today and tomorrow into reality.

2 O2 O -2 1

Best regards,

Franz Welser-Möst Music Director




Just for you . . .

To watch In Focus, The Cleveland Orchestra’s new premium concert series, you must have an account/login for access to Adella. (FYI, this account and log-in is different from your account to log into the Orchestra’s website.) Subscriber/Donor Activation: Cleveland Orchestra subscribers (including Members Club and The Circle) and donors received log-in credentials this past fall to give you access to Adella Premium and In Focus as a free benefit of your support. (If you have not yet done so and are looking to log in, please contact our Adella Helpline below.)

Open to Everyone. Anyone can enjoy both Adella and In Focus through most internet-enabled devices — including Amazon Fire and Roku, along with laptop computers and tablets, smart TVs and smartphones (Apple or Android). On some devices, you’ll download the Adella app, which gives you a convenient interface that is always available for watching. On a number of computers and older smartTVs, you’ll instead navigate via an internet browser and go to Creating an Account: Anyone can create an Adella account, but you’ll need a valid email address and a credit card in order to sign up and sign on. Feedback: Adella is a new service we’ve built to serve friends and fans of The Cleveland Orch-

ADELLA COMPATIBILITY To access Adella, you must have an internet-connected device: Smartphones and Tablets iOS and Android

Computers Apple (via internet browser) Windows (via internet browser)

Televisions and Streaming/Gaming Devices Roku, AppleTV, AndroidTV, Chromecast, Amazon Fire and for other smart TVs with internet, via browers directly to


Adella Helpline: 216-456-8401

Our front-of-house representatives are ready to help you!

call us: Helpline Hours: 9 AM to 6 PM Mon thru Fri (weekends: leave a voicemail for us)

We’ve developed a comprehensive set of “how to” steps logging in, pulling up a comfortable chair (or sofa), and

or visit: for our complete FAQs about watching In Focus and using the Adella app.

experiencing The Cleveland Orchestra online and onscreen.

or email us:

and FAQs (frequently asked questions) to assist you with


estra. We’d like to hear how well Adella and In Focus are meeting your needs. If you are asked to fill out a survey, please participate. If you have specific comments, please send feedback via email to:


This past fall, we launched our new streaming service Adella, built to share Cleveland Orchestra concert broadcasts and other digital offerings with you — and the response has been very positive. We created Adella to work across a wide variety of internet platforms and devices. With this new service, you can experience your favorite orchestra at home or on the road — from the smartphone in your pocket to that bigger-than-life television (with big-sound soundbar) on your family room wall.



with special thanks . . . Presenting Sponsor

Digital & Season Sponsors

In Focus Digital Partner

The Dr. M. Lee Pearce Foundation, Inc.

Episode Sponsors Episodes 4-5: CIBC Bonus Episode 1 Dr. and Mrs. Hiroyuki Fujita

2 O2 O -2 1

Bonus Episode 2 Tony and Diane Wynshaw-Boris




Sonata and Serenade 1. B1 IN FOCUS SEASON 1 BONUS EPISODE 1

broadcast February 11 to August 11 via Adella * recital filmed January 4, Wigmore Hall, London orchestra filmed October 2-3, Severance Hall Mitsuko Uchida, piano IN SOLO RECITAL FRANZ SCHUBERT (1797-1828) Piano Sonata in C major, D.840 (unfinished) 1. Moderato 2. Andante

__________________________________________ The Cleveland Orchestra Franz Welser-Möst, conductor WOLFGANG AMADÈ MOZART (1756-1791) Eine kleine Nachtmusik [A Small Serenade] Serenade No. 10 in G major, K.525 1. 2. 3. 4.

Allegro Romanze: Andante Menuetto: Allegretto Rondo: Allegro


Pianist Mitsuko Uchida is showcased in a solo performance filmed especially for Cleveland Orchestra audiences on January 4, 2021, playing one of Schubert’s most mesmerizing sonatas. The two movements of this unfinished solo work for piano, written when the composer was 28 years old, were among pieces that Uchida performed in recital at Severance Hall in November 2019. Uchida’s brilliant solo playing is paired with one of Mozart’s most popular and well-known works, his Eine kleine Nachtmusik. “Nachtmusik” literally means “night music,” but more simply suggests music for serenading evening guests, before or after dinner. Here Mozart’s richness for invention and uplifting joy carries you forward through four exquisite movements for strings. Franz Welser-Möst led this performance filmed at Severance Hall in October 2020.

In addition to the concert performances, episodes of In Focus include behind-the-scenes interviews and features about the music and musicmaking.

Digital Program Book Learn more about the music by texting ”TCO” to 216-238-0883 or scan QR code with your phone: 12





Alisa Weilerstein Plays Bach




broadcast February 25 to August 25 via Adella * filmed January 26-29, Severance Hall Alisa Weilerstein, cello IN SOLO RECITAL JOHANN SEBASTIAN BACH (1685-1750) Unaccompanied Cello Suites Nos. 1-6 Suite No. 1 in G major, BWV1007 Prélude — Allemande — Courante — Sarabande — Menuet I and II — Gigue

Suite No. 2 in D minor, BWV1008 Prélude — Allemande — Courante — Sarabande — Menuet I and II — Gigue

Suite No. 3 in C major, BWV1009 Prélude — Allemande — Courante — Sarabande — Bourrée I and II — Gigue

Suite No. 4 in E-flat major, BWV1010 Prélude — Allemande — Courante — Sarabande — Bourrée I and II — Gigue

Suite No. 5 in C minor, BWV1011


The Cleveland Orchestra presents a special solo recital performance of Alisa Weilerstein playing Bach’s complete cycle of Solo Cello Suites. Written around 1720, the Suites were not published during Bach’s lifetime, and for many decades were usually thought of as exercises — either ideas that Bach was working out on paper, or as studies for cellists to use in practicing their instruments. They became well known through the efforts of Pablo Casals, one of the 20th century’s most gifted cellists. Since that time, these Suites have been praised to be among the greatest and most-loved works for cello — showcasing a player’s artistry in a journey across a range and depth of emotions. Cellists tackle these pieces, suite by suite, to discover their own take on Bach’s art. These performances were recorded at Severance Hall in January 2021 especially for Cleveland Orchestra audiences.

Prélude — Allemande — Courante — Sarabande — Gavotte I and II — Gigue

Suite No. 6 in D major, BWV1012 Prélude — Allemande — Courante — Sarabande — Gavotte I and II — Gigue

Digital Program Book


Learn more about the music by texting ”TCO” to 216-238-0883 By texting to this number, you may receive messages about The Cleveland Orchestra and its performances; message and data rates may apply. Reply “HELP” for help, “STOP” to cancel.




Carmen-Suite 1.6 IN FOCUS SEASON 1 EPISODE 6

broadcast March 11 to June 11 via Adella * filmed March 4-5, Severance Hall The Cleveland Orchestra Franz Welser-Möst, conductor RODION SHCHEDRIN (b. 1932) Carmen-Suite (for strings and percussion) 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.

Introduction Dance Intermezzo Changing of the Guard Carmen’s Entrance and Habanera Scene Intermezzo II Boléro Toreador Toreador and Carmen Adagio Fortune Telling Finale


Bizet’s colorful and flamboyant opera Carmen, with its eye-popping portrayal of on-the-street living filled with smoking, fighting, and drinking women, scandalized Parisian audiences when it first premiered in 1874. Yet this stagework quickly became wildly famous for its music and emotional intensity — becoming one of the most-loved and well-known operas ever written. For this episode of In Focus, Franz Welser-Möst offers a different look at this beloved work through a brilliant arrangement for string orchestra and percussion, created as a ballet score by Russian composer Rodion Shchedrin for his dancer wife, prima ballerina Maya Plisetskaya. The intense passions of this famously tune-filled opera are revealed in unexpected detail across thirteen movements, just begging you to dance.

For all In Focus broadcast programs, the musical selections, artists, and episode availability dates are all subject to change.

* In Focus performances are recorded live at Sever-

Need Help Tuning In?

Digital Program Book Learn more about the music by texting ”TCO” to 216-238-0883 By texting to this number, you may receive messages about The Cleveland Orchestra and its performances; message and data rates may apply. Reply “HELP” for help, “STOP” to cancel.


ance Hall and made available for subscribers and donors to watch at home via digital streaming. Each broadcast can be viewed any time from the premiere date/time forward for at least three months. This series is being created in collaboration with Digital River Media and ideastream, along with audio producer Elaine Martone and audio engineer Gintas Norvila.





Memory & Transformation 1.7 IN FOCUS SEASON 1 EPISODE 7

broadcast March 25 to June 25 via Adella * filmed March 11-12, Severance Hall The Cleveland Orchestra Franz Welser-Möst, conductor Mark Kosower, cello DMITRI SHOSTAKOVICH (1906-1975) Chamber Symphony, Opus 110a (arranged for string orchestra by Rudolf Barshai from String Quartet No. 8) 1. 2. 3. 4. 5.

Largo Allegro molto Allegretto Largo Largo

OLIVIER MESSIAEN (1908-1992) Le Christ, lumière du Paradis [Christ, Light of Paradise] from Éclairs sur l’Au-Delà


On the one-year anniversary of the global pandemic, Franz Welser-Möst leads a program bringing together two 20thcentury works of contemplation and loss, hope and understanding. First comes Shostakovich’s Chamber Symphony, adapted from his Eighth String Quartet. This is a piece layered in meaning — filled with fascinating self-references and musical allusions, and dedicated “in memory of victims of fascism and war.” Such a moving work captures and stretches music’s ability to ask questions and seek answers. The program concludes with a transformative vision by French composer Olivier Messiaen, drawn from the last piece he wrote. Here the composer drew on his deep faith and belief in eternal life to depict an ever-expanding vision of the universe threaded with stars, birdsongs, and never-ending light.

For all In Focus broadcast programs, the musical selections, artists, and episode availability dates are all subject to change.

Need Help Tuning In?

Digital Program Book Learn more about the music by texting ”TCO” to 216-238-0883 or scan QR code with your phone:

* Each In Focus episode will be available to watch for three months from its premiere date.




Visions & Impressions




broadcast April 8 to July 8 via Adella * filmed March 2-3 and March 18-19, Severance Hall The Cleveland Orchestra Franz Welser-Möst, conductor Joshua Smith, flute Paul Jacobs, organ TŌRU TAKEMITSU (1930-1996) Air (for solo flute) SERGEI PROKOFIEV (1891-1953) Visions fugitives, Opus 22a (fifteen movements for piano arranged by Rudolf Barshai for string orchestra)

CLAUDE DEBUSSY (1862-1918) Syrinx (for solo flute) FRANCIS POULENC (1899-1963) Organ Concerto (for organ, timpani, and strings) Andante — Allegro giocoso — Subito andante moderato — Tempo allegro: Molto agitato — Très calme: Lent — Tempo de l’allegro initial — Tempo d’introduction: Largo


This episode of In Focus looks at contrasts and musical impressions. Opening with a solitary flute and concluding with the largest and grandest of all pipe instruments, a quartet of musical works speak to the ethereal and momentary nature of music, of giving sound to air. Principal flute Joshua Smith performs two exquisitely enigmatic pieces for solo flute — Japanese composer Tōru Takemitsu’s Air and Claude Debussy’s tender Syrinx evoking mythical beauty. Between these, Franz Welser-Möst leads The Cleveland Orchestra strings in Prokofiev’s whimsical and effervescent Visions fugitives, drawn from an early cycle of piano miniatures. The program concludes with a thundering performance of the 20th century’s most intriguing organ concerto played by Paul Jacobs, “a virtuoso of dazzling technical acumen” (The New York Times).

Need Help Tuning In?

Digital Program Book Learn more about the music by texting ”TCO” to 216-238-0883 or scan QR code with your phone: 16



* Each In Focus episode will be available to watch for three months from its premiere date.



Musical Magicians




broadcast April 22 to July 22 via Adella * filmed March 24-26, Severance Hall The Cleveland Orchestra Franz Welser-Möst, conductor Marc Damoulakis, percussion JOHN CORIGLIANO (b. 1938) Conjurer — Concerto for Percussionist 1. Wood 2. Metal 3. Skin

ANTONÍN DVOŘÁK (1841-1904) String Quintet No. 2 in G major, Opus 77 (performed by string orchestra) 1. 2. 3. 4.

Allegro con fuoco Scherzo: Allegro vivace Poco andante Finale: Allegro assai


This program offers discoveries new and old, highlighting music’s magical ability to uncover and reveal pleasures, dreams, and new connections. A modern concerto by American composer John Corigliano gives the soloist a new role, of literally concocting and conjuring the musical material into existence, as if by magic. For this episode of In Focus, principal percussionist Marc Damoulakis takes up the conjuring. Dvořák wrote his Second String Quintet in 1875, just as his career was gaining international attention. Here he infuses classical traditions with musical stylings from his Bohemian homeland, bringing enlivened rhythms and sensibilities in an artful mix of thoughtful patterns and heartfelt emotions. Franz Welser-Möst leads The Cleveland Orchestra strings in a full-voiced rendition of a work originally written for string quartet and double bass.

Need Help Tuning In?

Digital Program Book Learn more about the music by texting ”TCO” to 216-238-0883 By texting to this number, you may receive messages about The Cleveland Orchestra and its performances; message and data rates may apply. Reply “HELP” for help, “STOP” to cancel.


* Each In Focus episode will be available to watch for three months from its premiere date.



10 Style & Craft 1.1O IN FOCUS SEASON 1 EPISODE 10

broadcast May 6 to August 6 via Adella * filmed March 9-10 and April 8-9, Severance Hall CO N C E RT OV E RV I E W

MAURICE RAVEL (1875-1937) Sonatine (arranged by David Walter for oboe and piano) with

Frank Rosenwein, oboe Carolyn Gadiel Warner, piano 1. Modéré 2. Mouvement de menuet 3. Animé

__________________________________________ The Cleveland Orchestra Vinay Parameswaran, conductor BENJAMIN BRITTEN (1913-1976) Variations on a Theme of Frank Bridge, Opus 10 (for string orchestra) Introduction and Theme — Adagio — March — Romance — Aria Italiano — Boureé classique — Viennese Waltz — Moto perpetuo — Funeral March — Chant — Fugue and Finale

This broadcast features two works by two talented young composers — one French, one English — and both with great gift for melody and form, style and craft. Frenchman Maurice Ravel wrote a short sonata movement to enter into a magazine contest in 1903. The piece was disqualified on a technicality, but soon enough expanded into a three-movement work that gained admirers everywhere — onstage and off. Three decades later, an acquaintance asked the young Benjamin Britten if he could complete a brand-new commission on very short deadline. The resulting homage to Britten’s teacher Frank Bridge was given its premiere at the world-famous Salzburg Festival just three months later, adding to Britten’s newly surging reputation. This set of variations aptly mirrors Bridge’s wide-ranging musical taste and dynamic personality, from Viennese waltz to a march, from funeral march to beguiling opera aria.

Need Help Tuning In?

Digital Program Book Learn more about the music by texting ”TCO” to 216-238-0883 By texting to this number, you may receive messages about The Cleveland Orchestra and its performances; message and data rates may apply. Reply “HELP” for help, “STOP” to cancel.




* Each In Focus episode will be available to watch for three months from its premiere date.


11 Order & Disorder




broadcast May 20 to August 20 via Adella * filmed April 14-15 and March 18-19, Severance Hall WOLFGANG AMADÈ MOZART (1756-1791) Clarinet Quintet in A major, K .581 with

Afendi Yusuf, clarinet Stephen Rose, violin Jeanne Preucil Rose, violin Lynne Ramsey, viola Mark Kosower, cello 1. 2. 3. 4.

Larghetto — Allegro Adagio Menuetto: Allegretto Allegro

__________________________________________ The Cleveland Orchestra Franz Welser-Möst, conductor ALBAN BERG (1885-1935) Three Pieces from Lyric Suite 1. Andante amoros 2. Allegro misterioso — Trio estatico 3. Adagio appassionato


On offer: a program of juxtaposition from two of music’s most creative composers, writing in two styles more than a century apart. First comes a poignant quintet, written by Mozart in 1789 — a difficult and unhappy year for him — yet filled with sweet and warm music that brings comfort, fresh perspective, and hope. Here is Mozart bringing order to, and despite his disordered life, through music. For this In Focus performance, principal clarinet Yusuf Afendi joins Cleveland Orchestra colleagues in this extraordinary work. For Alban Berg, writing more than a century after Mozart, the process of musical creation was an intensely-driven search for innovative answers using old materials in new ways — to shake up the old order into newly disordered beauty. In his Lyric Suite, he creates solace and splendor in contrasting string voices, buzzing and interacting with hard-edged vitality and poetic grace.

Need Help Tuning In?

Digital Program Book Learn more about the music by texting ”TCO” to 216-238-0883 or scan QR code with your phone:


* Each In Focus episode will be available to watch for three months from its premiere date.


At left: Don McClung and Julie Stapf talking online about the podcast series.

ON A PERSONAL NOTE PODCAST onstage and off.”

T H E P R O M O T I O N A L C A M PA I G N for On A Personal Note, The Cleveland Orchestra’s podcast series, proclaims that “every story has a soundtrack.” Premiered a year ago, the series has 22 episodes to date and will launch a third season later this year. We sat down recently with two insiders to learn more about what the story behind the podcast itself might be . . .

“We’d actually been talking about doing podcasting for quite a while,” says Julie Stapf, senior director of marketing and audience services for The Cleveland Orchestra. “One of our charges is to share the Orchestra’s many layers with our audiences — to communicate the interesting details and storylines from behind the scenes. I’d been watching the explosive growth of podcasts in recent years — and knew this would be a great way to tell some of the amazing stories about individual Orchestra members, to share personal stories at depth and in a new format. Stapf continued: “With the start of the pandemic a year ago, we were instantly faced with a new reality and challenge. How to stay in touch with the Orchestra’s fans and connect emotionally during this difficult time? We also knew that Franz Welser-Möst had a very touching story to tell for the first podcast — about the Orchestra’s final performances as we were forced to shut our doors and cancel concerts in March 2020. It was a dramatic story to put into words, and is particularly moving as you listen to his voice talk about everything that was happening at that time,

“And so we were off and running,” chimes in Don McClung, founder and CEO of Digital River Media, the Orchestra’s partner in creating the series. “We look at each podcast as unique. Each episode is a tightly-packed documentary, requiring research and care to present with a clear storyline that draws the listener in and carries you through to the end. We work from an audience-first approach: the listener’s journey is of prime importance. A podcast is not simply turning on a microphone and having a conversation. We dig deep, we ask many questions, often recording several hours of material, looking for the best way to tell each story in just a few minutes.” “The music, of course, is the starting point, and a central focus,” adds Annie Murmann, chief content officer with Digital River Media. “But each podcast goes beyond the music, to draw the listener into each musician’s life, and especially into how a given musical work resonates — or challenges, or frustrates, or connects with them.” “This is not a podcast about music,” says McClung. “This is about people. This is about being human. With the music serving as an entry point, as a vehicle to take us along. The music, too, becomes a way of remembering, of reliving the events right along with the storyteller.” “Podcasting gives the listener a special opportunity to just sink into the words, to take in the meaning of each phrase, to hear the rhythm and detail,” says Stapf. “In this format, you don’t have any visual distraction, which so often shorthands or interprets the story for you in a video. This is a different medium. In a podcast, listening on your earbuds, it’s just that special guest talking directly to you. You become an active participant, hearing the nuance, the anxiety, the joy of what’s underneath the inflection of each phrase, of the subtle meaning in a pause. It can be so dramatic and satisfying — and engaging!”

The Cleveland Orchestra’s podcast On A Personal Note was launched in 2020, with two seasons to date totalling 22 episodes. A third season will premiere later this year. Listen — and subscribe — to it for free at, or from your favorite podcast app or service.



A Simple Pasta

Franz Welser-Möst shares a recipe of earthy flavors and simple comfort Comfort food for my wife Geli and me means simple food. In times like these, we eat at home and, more than ever, we cook together. I do the simple part, like cutting the vegetables — because I am not a good cook! I like to collaborate and work together to make a meal to share.

INGREDIENTS onion garlic radicchio pasta (linguini or your favorite style) plus oil and salt and top with grated cheese (Parmigiano-Reggiano)

Simple comfort food for us? For instance, like this . . . Cut onions and garlic into small pieces, put it into a frying pan to roast and carmelize. When they are light brown, add pieces of radicchio, also cut into smaller pieces. Cook spaghetti of your favorite style. Drain and add the spaghetti, stirring together in the frying pan. That’s it! Serve immediately.

OPTIONAL ADDITIONS OR TOPPINGS parsley Kalamata olives red pepper flakes grated black pepper

If you wish, top with fresh cheese or perhaps parsley. —Franz Welser-Möst 21



Youth Orchestra .

Youth Chorus .





Opportunity from Crisis

Student musicians adapt to the pandemic by Sue Starrett FOR TH R E E DECADES, nearly everything went like clock-

work, one season after another. Two unique ensembles bringing together student musicians from across Northeast Ohio to learn and perform together. Each season assembling, rehearsing, and presenting concerts onstage at Severance Hall and performing together in the greater Cleveland area — showcasing new generations of talented instrumentalists and gifted young singers. Until a worldwide virus interrupted everything — the how, the where, and the what. But, fortunately, not the who and why. Learning and inspiration continue.

Above: COYO musicians meet online with composer Gabriela Lena Frank.

In the midst of a year like no other, Northeast Ohio students and professional musicians have been working and learning online as a team!

Both ensembles — the Cleveland Orchestra Youth Orchestra (COYO) founded in 1984, and the Cleveland Orchestra Youth Chorus (COYC) founded in 1991 — were created to offer middle and/or high school students the opportunity to work with professional musicians and to form and perform as a full symphony orchestra and chorus (and in unique smaller ensemble combinations). Yet, while the coronavirus disrupted their patterns and focus — cancelling spring concerts a year ago, moving auditions online, and making online Zoom video gatherings the primary mode of interaction, both groups have discovered how to continue this year with learning, musicmaking, and teamwork. Each ensemble’s team leaders — artistic director and staff manager — worked across the summer to build out new plans for the 2020-21 season. They understood they would have to begin online, but hoped that in-person coaching, rehearsals, and performances would eventually take place. Their goal, to continue offering inspiring learning experiences, was amplified by the belief that musicmaking fosters a sense of community, whether the group is together onstage or online. “Good can come from this pandemic,” says Youth Orchestra music director Vinay Parameswaran. “I am proud of the things we’ve done to keep these young musi-


cians engaged. We are reaching students in different ways and still giving them a well-rounded season.” Youth Chorus director Daniel Singer and manager Becca Varadan agree. “We are a chorus community that sincerely cares about young singers. We want to provide them musical experiences for learning, but which are also opportunities for joy and hope.” As the 2020-21 season began, two COYO chamber ensembles (comprised of strings and percussion only) were working toward live performances scheduled to take place at Severance Hall in February 2021. Later in the fall, when the ongoing pandemic forced those plans to change, coaching sessions were no longer concert-oriented. Youth Orchestra manager Lauren Generette says this provided a different opportunity, to “foster the students’ ability to connect to repertoire through new ways of approaching the music.” The young musicians participated in online Zoom conversations with two composers, Jessie Montgomery and Gabriela Lena Frank, and also began exploring core symphonic works via Zoom presentations featuring discussions with a variety of speakers and guest artists. Parameswaran led the first virtual session, guiding the students through the score of Beethoven’s Third Symphony, nicknamed the “Eroica” or “Heroic.” Guest conductor Nicholas McGegan — who was in Cleveland in November to film an episode of In Focus with The Cleveland Orchestra — hosted a second session on this famous symphony, examining the work in the context of art, literature, history, and what was happening in

the composer’s life at the time. As follow-up, Cleveland Orchestra section coaches and COYO members continued this “deep dive” by playing excerpts of the symphony for each other and discussing personal connections to the music in a studio-class format on Zoom. After the holiday break in December, the second semester has included a virtual visit in late January with composer-conductor John Adams to discuss his string piece Shaker Loops. In February, all the members of the Youth Orchestra came together again to study Dvořák’s “New World” Symphony (Symphony No. 9) in an engaging and interactive online discussion with Cleveland Orchestra Music Director Franz Welser-Möst. Meanwhile, brass and woodwind coaches have also been holding weekly online sessions with their students. To keep them involved and playing, coaches have held masterclasses and facilitated the study of a range of important scores. As clarinet coach Robert Woolfrey says, “The silver lining to this pandemic is that we have more time with students to talk about repertoire and performance. We can focus on more than the next concert.” His section has been studying the clarinet parts in major orchestral repertoire, beginning with Mendelssohn and Beethoven. Each student listens to several recordings of an assigned work, considers the historical context, and performs a passage. “With live performances for audiences put on hold, we play for each other, providing immediate feedback and discussion,” says Woolfrey. MUSIC AND MEANING “Making music together is fun and something to celebrate,” says violinist Owen Lockwood, who is completing his fourth year in the Youth Orchestra. A senior at Shaker High School, he greatly appreciates the guidance from Cleveland Orchestra members, the opportunity to have played in Severance Hall, and the chance to interact with people he wouldn’t have met otherwise. “This year has gone every which way for everyone,” adds violist Victoria Goettel, first-year COYO member and a senior at Brecksville-Broadview Heights High School. “But it’s pretty good so far.” She is grateful that “even through video calls, we keep playing. There was never a time when the coaches and music director weren’t caring about our wellbeing. People who make music need to be taken care of too.” In the spring, plans call for all Youth OrchesLeft: Franz Welser-Möst and Vinay Parameswaran in conversation during a Youth Orchestra coaching session online.


tra members to attend online seminars related to injury prevention, preparation for college auditions, and career options in discussions with alumni who are professional performers or in related roles. TRAINING VOICES “We vocalists know we will be the last folks back in the concert hall,” says director Danny Singer. Yet that hasn’t prevented the Youth Chorus from singing together on Zoom. In repertoire chosen for themes of love, friendship, community, and togetherness, they’ve been working on fundamentals while also forging emotional connections. To prepare for a holiday project in partnership with the Orchestra’s Children’s Choruses — released on YouTube this past December (available by searching on YouTube for “Cleveland Orchestra Youth

and senior solo videos, and look ahead to, everyone hopes, a more normal season in 2021-22. Mentor High School junior Grace Prentice joined the Youth Chorus two years ago as a mezzo-soprano. She is pleased that their Sunday rehearsals have continued, and that in addition to focusing on music, they spend time talking about how they feel. “I am proud of the singing community for doing what it can with very little,” she says. “This season has taught me about myself as a musician and helped me think about my future with music.” She attributes these lessons to being surrounded by people who love what she loves: “It is electrifying, all working toward one goal together.” Baritone Sohum Kapadia, a University School senior, commented that COYC has handled this year exceptionally well. Zoom fatigue hasn’t been an issue for him, thanks to the continuation of the Halloween dress-up day tradition and interactions with their manager and music director. “Ms. Varadan’s weekly emails make me excited about the coming rehearsals, while Mr. Singer is one of the funniest people I know.” Director Singer shifted to serious mode when expressing his gratitude for the entire chorus family and stated emphatically that his students’ physical and mental health always comes first. A YEAR TO LEARN AND REMEMBER

& Children’s Chorus 2020”) — each student learned several pieces, sang for everyone, received feedback, and made adjustments. The spring semester has been designed to be upbeat and inspiring, according to manager Varadan. “Students will have opportunities to interact with guest clinicians and receive one-on-one training with our talented directors. This is not the norm during a regular season, and we are confident that these experiences will enhance their development as young musicians.” Highlights include a four-week virtual choir project titled Songs from Silence, published during the pandemic by Elaine Hagenberg. Other sessions, planned in conjunction with the students’ interests, include choral composition and the relationship between music and social justice. An end-of-season celebration will recognize graduating seniors, premiere the virtual choir project Above: Youth Chorus members in an online Christmas performance.


“This is a total team effort,” says Parameswaran about the Youth Orchestra. “I never doubted for one second that COYO would continue this season. Yes, it was an adjustment to learn Zoom and how to interact effectively through online sessions, but we are very lucky to have such a dedicated team — the students, and Cleveland Orchestra coaches and staff.” Indeed, only a few students dropped out of each ensemble, something that happens even in a normal season. And interest for next season remains strong. Sometimes a significant loss can become a new opportunity, when everyone involved works together. For the Cleveland Orchestra Youth Orchestra and Youth Chorus, new collaborations and partnerships have pulled everyone forward. Despite all that Youth Orchestra and Chorus members have sacrificed, they are experiencing an abundance of technical, artistic, and personal growth this season. And having fun, too! Sue Starrett is a longtime Cleveland Orchestra subscriber and donor, and discovered her own love for music as an aspiring trumpeter in the fourth grade.

March 2021

To The Cleveland Orchestra family:   This month marks one year since the pandemic suddenly changed all of our lives and forced us to cancel live concerts with audiences. Since then, you have stood up for music in a way we never could have imagined.   You have carried us through our cancella ons and donated your ckets. You have been generous during a challenging me and enabled us to launch new digital programs — keeping The Cleveland Orchestra connected with you and thousands of other music lovers at home and around the world. The music plays on because of you.   In light of our recent announcement cancelling in-person a endance at our spring concerts, many of you have called and wri en in, asking how you can help the Orchestra. Now more than ever, your support is an investment in The Cleveland Orchestra and the future of classical music.   A gi to the Preserva on Fund offers much-needed assistance toward helping us weather this crisis. With help from generous people like you, The Cleveland Orchestra will survive — and thrive — for years to come.   Gi s of every size truly make a difference. To make your dona on to the Orchestra Preserva on Fund today, please use the envelope a ached. You can also visit or call 216-456-8400.   Thank you for standing for music during this extraordinary me.

Jane Hargra Chief Development Officer & Proud Supporter The Cleveland Orchestra

Make your gift to sustain music today:

.. .

Return in the attached envelope Online at By phone at 216-456-8400



Individual Support Annual Support

The Th Cleveland Cl l dO Orchestra extends heartfelt gratitude to all music-lovers who support our endeavors each year. Donations of all sizes sustain the Orchestra, enabling us to share the power of music with friends and neighbors both near and far. As we move forward through the most challenging period in our storied history, we are deeply thankful for the generosity of every member of The Cleveland Orchestra family. To learn more, visit

gifts listing current as of January 10, 2021

Adella Prentiss Hughes Society GIFTS OF $100,000 AND MORE

The Honorable John Doyle Ong Ms. Ginger Warner Mr. and Mrs. Franz Welser-Möst


Mrs. Jane B. Nord Mr. and Mrs. Alfred M. Rankin, Jr. Estate of Carol and Michael Sherwin Mr. and Mrs. Richard K. Smucker Estate of Richard M. Stofer GIFTS OF $200,000 TO $499,999

Musicians of The Cleveland Orchestra (in-kind support for community programs and opportunities to secure new funding) Randall and Virginia Barbato Estate of Dean and Beryl Bardy Estate of Dolores B. Comey Mrs. John A Hadden Jr.* Haslam 3 Foundation Milton A. & Charlotte R. Kramer Charitable Foundation Mrs. Norma Lerner and The Lerner Foundation Estate of Laura Ingrid Messing Mr. and Mrs. Albert B. Ratner James* and Donna Reid The Ralph and Luci Schey Foundation Jenny and Tim Smucker Mr. Nicholas M. Trivisonno* GIFTS OF $100,000 TO $199,999

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. Yuval Brisker Irad and Rebecca Carmi Mr. and Mrs. Alexander M. Cutler Rebecca Dunn Estate of Dr. Saul M. Genuth JoAnn and Robert Glick 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 Virginia M. and Jon A. Lindseth The Milton and Tamar Maltz Family Foundation Elizabeth F. McBride Ms. Nancy W. McCann Estate of Robert Messing Ms. Beth E. Mooney Estate of George and Barbara Morisky The Oatey Foundation (Cleveland, Miami) William J. and Katherine T. O’Neill


Lillian Baldwin Society GIFTS OF $75,000 TO $99,999

Dr. and Mrs. Hiroyuki Fujita Toby Devan Lewis Mr. Stephen McHale Sally S.* and John C. Morley Charles and Ilana Horowitz Ratner Barbara S. Robinson (Cleveland, Miami) Barbara and David Wolfort

George Szell Society GIFTS OF $50,000 TO $74,999

Mr. William P. Blair III The Brown and Kunze Foundation Brenda and Marshall B. Brown Dr. and Mrs. Robert Ehrlich (Europe) Mr. and Mrs. Donald M. Jack, Jr. Richard and Michelle Jeschelnig Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern Mr. Joseph Milgram Julia and Larry Pollock Mr. and Mrs. Benjamin N. Pyne Mrs. Alfred M. Rankin, Sr. Sandor Foundation Sally and Larry Sears Marjorie B. Shorrock Jim and Myrna Spira Mrs. Jean H. Taber* Dr. Russell A. Trusso Meredith and Michael Weil Paul and Suzanne Westlake Tony and Diane Wynshaw-Boris Anonymous

Elisabeth DeWitt Severance Society GIFTS OF $25,000 TO $49,999

Gay Cull Addicott Mr. and Mrs. William W. Baker Dr. and Mrs. Wolfgang Berndt (Europe) Dr. Ben H. and Julia Brouhard Jeanette Grasselli Brown and Glenn R. Brown Dr. Robert Brown and Mrs. Janet Gans Brown Cleveland Orchestra Chorus

Judith and George W. Diehl Friends of The Cleveland Orchestra Dr.* and Mrs. Adi Gazdar Mr. and Mrs. Robert W. Gillespie Richard and Ann Gridley Mr. and Mrs. Geoffrey Gund Iris and Tom Harvie Mary and Jon Heider (Cleveland, Miami) Mrs. Lynn Heisler David and Nancy Hooker Mrs. Marguerite B. Humphrey Allan V. Johnson Dr. Malcolm E. Kenney, Ph.D. Richard and Christine Kramer Mr. Tim Murphy and Mrs. Barbara Lincoln Mr. and Mrs. Alex Machaskee Randy and Christine Myeroff Mr. and Mrs. James A. Ratner Mr. and Mrs. James A. Saks Mark and Shelly Saltzman Larry J. Santon Astri Seidenfeld The Seven Five Fund Hewitt and Paula Shaw Kim Sherwin Ms. Eileen Sotak and Mr. William Kessler The Stair Family Charitable Foundation, Inc. R. Thomas and Meg Harris Stanton Bill and Jacky Thornton Tom and Shirley Waltermire Mr. and Mrs. John Warner Sandy and Ted Wiese Anonymous (2)

Dudley S. Blossom Society GIFTS OF $15,000 TO $24,999

Mrs. Elizabeth Barry Blossom Friends of The Cleveland Orchestra Mr. and Mrs. Charles P. Bolton Dr. Christopher P. Brandt and Dr. Beth Sersig J. C. and Helen Rankin Butler Dr. Gwen Choi Mary and Bill Conway Mr. and Mrs. Matthew V. Crawford Nancy and Richard Dotson Mary Jo Eaton (Miami) Mr. Brian L. Ewart and Mr. William McHenry William R. and Karen W. Feth Mr. Michael Gröller (Europe) Kathleen E. Hancock

Sondra and Steve Hardis Jack Harley and Judy Ernest Amy and Stephen Hoffman Joan and Leonard* Horvitz Richard Horvitz and Erica Hartman-Horvitz (Cleveland, Miami) Mr. and Mrs. Brinton L. Hyde Pamela Jacobson John D. and Giuliana C. Koch Rob and Laura Kochis Mr. and Mrs.* S. Lee Kohrman Dr. David and Janice Leshner Mr. Jeff Litwiller Alan Markowitz M.D. and Cathy Pollard Mr. Thomas F. McKee Edith and Ted* Miller Dr. Anne and Mr. Peter Neff Mr. Thomas Piraino and Mrs. Barbara McWilliams Steven and Ellen Ross Meredith and Oliver* Seikel Lois and Tom Stauffer Mr. John R. Stock Mr. and Mrs. Richard P. Stovsky Dr. Elizabeth Swenson Bruce and Virginia Taylor Mr. and Mrs. Alfred Umdasch (Europe) Mr. Daniel & Mrs. Molly Walsh Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Jeffery J. Weaver Denise G. and Norman E. Wells, Jr. Robert C. Weppler Max and Beverly Zupon Anonymous (4)

of The Cleveland Orchestra Mr. J. William and Dr. Suzanne Palmer Ms. Sally Peyrebrune Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dr. and Mrs. John N. Posch Douglas and Noreen Powers Mr. and Mrs. Roger F. Rankin Paul A. and Anastacia L. Rose Michael and Chandra Rudd (Miami) Dr. Isobel Rutherford Dr. and Mrs.* Martin I. Saltzman David M. and Betty Schneider Rachel R. Schneider Carol* and Albert Schupp Dr. and Mrs. James L. Sechler Donna E. Shalala (Miami) Sandra and Richey Smith Roy Smith Richard and Nancy Sneed Dr. Veit Sorger (Europe) Mr. Emil F. Sos Jr. Mr. Heinrich Spängler (Europe) Sidney Taurel and Maria Castello Branco Philip and Sarah Taylor Mr. Joseph F. Tetlak Michael and Edith Teufelberger (Europe) Mr. and Mrs. Joshua Ungier Dr. Gregory Videtic and Rev. Christopher McCann Dr. Horst Weitzman Mr. Yoash and Mrs. Sharon Wiener Sandy Wile and Sue Berlin Anonymous (10)

Frank H. Ginn Society

The 1929 Society

GIFTS OF $10,000 TO $14,999

Mr. and Mrs. Jules Belkin Mr. and Mrs.* John M. Bourne Mr. D. McGregor Brandt, Jr. Mr. and Mrs. Hugh Calkins* Martha and Bruce Clinton (Miami) Robert and Jean* Conrad Mrs. Barbara Cook Mrs. Barbara Ann Davis Dr. M. Meredith Dobyns Henry and Mary* Doll Dr.* and Mrs. Lloyd H. Ellis Jr. Carl Falb Mr. Joseph Falconi* Mr. and Mrs. Richard C. Fedorovich Michael Frank and Patricia A. Snyder Ms. Marina French The Fung Family Barbara and Peter Galvin Albert I.* and Norma C. Geller Dr. Edward S. Godleski Patti Gordon (Miami) Harry and Joyce Graham Dr. Fred A. Heupler David and Dianne Hunt Barbara and Michael J. Kaplan Mr. and Mrs. Christopher Kelly Mrs. Elizabeth R. Koch Mr. and Mrs. S. Ernest Kulp David C. Lamb Dr. Edith Lerner Ms. Cathy Lincoln Mr. David and Dr. Carolyn Lincoln Estate of Emma S. Lincoln Mr.* and Mrs. Arch J. McCartney Drs. Amy and James Merlino Claudia Metz and Thomas Woodworth Ann Jones Morgan Brian and Cindy Murphy Mr. Raymond M. Murphy Northeast Blossom Friends

GIFTS OF $5,000 TO $9,999

Ms. Nancy A. Adams Dr. and Mrs. D. P. Agamanolis Mr. and Mrs. A. Chace Anderson Robert and Dalia Baker Michael and Karen Baldridge Mr. and Mrs. Thomas Barnard Fred G. and Mary W. Behm Dr. Jodi Berg Mel Berger and Jane Haylor Margo and Tom Bertin Mr. David Bialosky and Ms. Carolyn Christian Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser David and Chuanpis Borsani Ms. Elizabeth Brinkman Dr. Thomas Brugger and Dr. Sandra Russ Frank and Leslie Buck Mr. and Mrs. Robert G. Busha Dr. and Mrs. William E. Cappaert Ms. Maria Cashy Dr. Victor A. Ceicys Chip and Karen Chaikin Mr. and Mrs. James B. Chaney Drs. Wuu-Shung and Amy Chuang Jill and Paul Clark Richard J. and Joanne Clark Drs. John and Mary Clough Drs. Mark Cohen and Miriam Vishny 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 Mr.* and Mrs. Gerald A. Conway Jim and Mary Conway Ms. Margot James Copeland Mr. John Couriel and Dr. Rebecca Toonkel (Miami)

Mr. and Mrs. Manohar Daga Mr. and Mrs. Ralph Daugstrup Bruce and Jackie Davey Dr. Todd Diacon Pete and Margaret Dobbins Maureen Doerner and Geoffrey White Dr. Doris Donnelly Mr. Barry Dunaway and Mr. Peter McDermott Mr. and Mrs. Robert P. Duvin Elliot and Judith Dworkin Mary and Oliver* Emerson Mr. William and Dr. Elizabeth Fesler Joseph Z. and Betty Fleming (Miami) Joan Alice Ford Bob and Linnet Fritz Joy E. Garapic Brenda and David Goldberg Barbara H. Gordon Mr. Robert Goss Drs. Erik and Ellen Gregorie André and Ginette Gremillet Mr.* and Mrs. Stephen Griebling Mr. Calvin Griffith Nancy Hancock Griffith Candy and Brent Grover The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Robert N. and Nicki N. Gudbranson David and Robin Gunning Mr. Davin and Mrs. Jo Ann Gustafson

“It’s my hope that because of my gift, future generations will be able to have the same experience I have: a life enriched by music and the company it brings.” —Bracy E. Lewis Longtime Cleveland Orchestra Subscriber and Heritage Society Member

Alfredo and Luz Gutierrez (Miami) Martha and Steven Hale Dr. Phillip M. and Mrs. Mary Hall Mr. Newman T. Halvorson Gary Hanson and Barbara Klante Clark Harvey and Holly Selvaggi Henry R. Hatch* Robin Hitchcock Hatch Mrs. Julia M. Healy Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan listings continue


Dr. Toby Helfand Anita and William Heller Mr. and Mrs. Jerry Herschman Dr. Keith A. and Mrs. Kathleen M. Hoover James and Claudia Hower Elisabeth Hugh Donna L. and Robert H. Jackson Elizabeth B. Juliano Andrew and Katherine Kartalis Mr. Clifford Kassouf Milton and Donna* Katz Dr. Richard* and Roberta Katzman Dr. and Mrs. Herbert Kern Dr. and Mrs. William S. Kiser Dr. Gilles* and Mrs. Malvina Klopman Mr. and Mrs. Jon A. Knight Mr. Donald N. Krosin Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. Bob and Ellie Scheuer Dr. and Mrs. John R. Lane Kenneth M. Lapine and Rose E. Mills John N.* and Edith K. Lauer Mrs. Sandra S. Laurenson Anthony T. and Patricia A. Lauria Jeffrey and Janet Leitch Judith and Morton Q. Levin Dr. Stephen B. and Mrs. Lillian S. Levine Eva and Rudolf Linnebach David and Janice* Logsdon Anne R. and Kenneth E. Love Elsie and Byron Lutman David Mann and Bernadette Pudis Ms. Amanda Martinsek Mr. and Mrs. Thomas B. McGowan James and Virginia Meil Glenn and Ida Mercer Dr. Susan M. Merzweiler Loretta J. Mester and George J. Mailath Lynn and Mike Miller Drs. Terry E. and Sara S. Miller Dr. Shana Miskovsky Curt and Sara Moll Bert and Marjorie Moyar Mr. John Mueller Mr. and Mrs. Stephen Myers Richard and Kathleen Nord Thury O’Connor Dr. and Mrs. Paul T. Omelsky Mr. and Mrs. Peter R. Osenar Mr. and Mrs. Richard W. Pogue Dr. Marc A. and Mrs. Carol Pohl Ms. Rosella Puskas Lute and Lynn Quintrell Brian and Patricia Ratner Ms. C. A. Reagan Mr. and Mrs. Robert J. Reid Amy and Ken Rogat Dr. and Mrs. Ronald J. Ross Robert and Margo Roth Muriel Salovon Drs. Michael and Judith Samuels (Miami) Don Schmitt and Jim Harmon The Estate of Audrey Schregardus Lee and Jane Seidman Drs. Daniel and Ximena Sessler Kenneth Shafer Jim Simler and Doctor Amy Zhang Howard and Beth Simon The Shari Bierman Singer Family Drs. Charles Kent Smith and Patricia Moore Smith Mrs. Gretchen D. Smith Mr. and Mrs. Michael J. Snyder


Mr. and Mrs. William E. Spatz George and Mary Stark Sue Starrett and Jerry Smith Dr.* and Mrs. Frank J. Staub Edward R. & Jean Geis Stell Foundation Stroud Family Trust Ms. Lorraine S. Szabo Taras Szmagala and Helen Jarem Robert and Carol Taller Michael Tinter Mr.* and Mrs. Robert N. Trombly Robert and Marti* Vagi Bobbi and Peter* van Dijk Mr. and Mrs. Les C. Vinney Mr. Randall Wagner Dr. and Mrs. H. Reid Wagstaff Walt and Karen Walburn Mr. John Walton Greg and Lynn Weekley Mr. and Mrs. Mark Allen Weigand Pysht Fund Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Mr. Peter White Dr. Paul R. and Catherine Williams Richard and Mary Lynn Wills Bob and Kat Wollyung Estate of Shirley Zook Anonymous

Composer’s Circle GIFTS OF $2,500 TO $4,999

Mr. and Mrs. Paul R. Abbey Mr. and Mrs. Victor Alexander Mr. Francis Amato Sarah May Anderson Susan S. Angell Art of Beauty Company, Inc. Ms. Sharon Aunchman Aurora Blossom Friends of The Cleveland Orchestra Don and Karen Beal Mr. and Mrs.* Eugene J. Beer Drs. Nathan A. and Sosamma J. Berger Mr. Jeffrey and Dr. Sheila Berlin John and Laura Bertsch Mitch and Liz Blair Zeda W. Blau Mr. Lawrence A. Blaustein Doug and Barbara Bletcher Madeline & Dennis Block Trust Fund Mr. and Mrs. Richard H. Bole Jeff and Elaine Bomberger Larry and Gayle Boron Lisa and Ronald Boyko William and AnnaMarie Brancovsky Mr. and Mrs. Adam A. Briggs Mr. and Mrs. David Briggs Mr. and Mrs. Dale R. Brogan Dale and Wendy Brott Mr. and Mrs. Henry G. Brownell Mr. Gregory and Mrs. Susan Bulone Brian and Cyndee Burke Mr. and Mrs. Timothy J. Callahan Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker John N. Cannon John and Christine Carleton Mr. and Mrs. John J. Carney William and Barbara Carson Darrell Cass Mr. and Mrs. Brian Cassidy Dr. Chapnick* and Mrs. Sonia Chapnick r. Ronald Chapnick Mr. Gregory R. Chemnitz

Mr. and Mrs. Homer D. W. Chisholm Dr. William and Dottie Clark Mr. and Mrs. Christopher M. Connor Craig Cook Dr. Dale and Susan Cowan William* and Anna Jean Cushwa Dr. Lucy Ann Dahlberg Mrs. Lois Joan Davis Prof. George and Mrs. Rebecca Dent Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White Dr. and Mrs. Richard C. Distad Carl Dodge Mr. George and Mrs. Beth Downes Jack and Elaine Drage Ms. Mary Lynn Durham

”I give to make sure that classical music will always be around. Music is a wonderful way for families from around the world to connect. It has brought my family together!” —Sumiko 12-year-old Granddaughter of Cleveland Orchestra Trustee Barbara S. Robinson

Mr. and Mrs. Ronald E. Dziedzicki Mr. S. Stuart Eilers Mr. Tim Eippert Peter and Kathryn Eloff Andy and Leigh Fabens Harry and Ann Farmer Mr. and Mrs. Frederick A. Fellowes Nancy M. Fischer Mr. Dean Fisher Tim and Diane Fitzpatrick Scott A. Foerster Mr. Paul C. Forsgren Mr. and Mrs. Christopher W. Foster Richard J. Frey Mr. and Ms. Dale Freygang Dr. Marilee Gallagher Mr. James S. Gascoigne and Ms. Cynthia Prior Mr. William Gaskill and Ms. Kathleen Burke Mr. Wilbert C. Geiss, Sr. Mr. and Mrs. M. Lee Gibson Anne and Walter Ginn Holly and Fred Glock Dr.* and Mrs. Victor M. Goldberg Dr. and Mrs. Ronald L. Gould listings continue

Dr. Robert T. Graf Michelle Grass Robert K. Gudbranson and Joon-Li Kim Jane Haag Mr. and Mrs. David P. Handke, Jr. Jane Hargraft and Elly Winer Lilli and Seth Harris Mr. and Mrs. Jonathan Hatch Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes In Memory of Hazel Helgesen The Morton and Mathile Stone Philanthropic Fund T. K.* and Faye A. Heston Mr. Douglas and Mrs. Suzanne Hicks Mr. and Mrs. Arnold Hirshon Mr. Joel R. Hlavaty Dr.* and Mrs. George H. Hoke Thomas and Mary Holmes Gail Hoover and Bob Safarz Lois Krejci-Hornbostel and Roland Hornbostel Dr. Randal N. Huff and Ms. Paulette Beech Ms. Laura Hunsicker Ruth F. Ihde Ms. Melanie Ingalls Ms. Kimberly R. Irish Bruce and Nancy Jackson Mr. and Mrs. Richard A. Janus Mr. and Mrs. Bruce D. Jarosz Robert and Linda Jenkins Mr. David and Mrs. Cheryl Jerome Dr. and Mrs. Sheldon Kaffen Mr. David G. Kanzeg Mr. Jack E. Kapalka Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt Kim and Nora Katzenberger The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Kent Blossom Friends of The Cleveland Orchestra Dr. and Mrs. Thomas F. Keys Mr. and Mrs. Raymond M. Kinat James and Gay* Kitson Fred* and Judith Klotzman Mr. Ronald and Mrs. Kimberly Kolz Drs. Jill Korbin and Lawrence Greksa Jacqueline and Irwin* Kott (Miami) Dr. Ronald H. Krasney and Vicki Kennedy Stephen A. Kushnick, Ph.D. Dr. Jeanne Lackamp Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr. Mr. and Mrs. Richard L. Larrabee Charles and Josephine Robson Leamy* Michael Lederman and Sharmon Sollitto Mr. Ernest and Dr. Cynthia Lemmerman Michael and Lois Lemr Irvin and Elin Leonard Robert G. Levy Leda Linderman Frank and Jocelyne Linsalata Mary Lohman Herbert L. and Ronda Marcus Dr. and Mrs. Sanford E. Marovitz Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Edward Martin Dr. and Mrs. William A. Mast Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Ms. Nancy L. Meacham Mr. James E. Menger Mr. Glenn A. Metzdorf Mr. and Mrs. Trent Meyerhoefer Beth M. Mikes Janet L. Miller

Mr. Robert Miller Amy and Marc Morgenstern Mr. and Mrs. Thomas W. Morris Mr. Ronald Morrow III Eudice M. Morse Susan B. Murphy Ms. Megan Nakashima Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Andrea Nobil (Miami) Mr. and Mrs. Forrest A. Norman III Steve Norris and Emily Gonzales Richard and Jolene O’Callaghan Mr. and Mrs. Irving Oleinick Ms. Elizabeth Osborne Mr. Robert Paddock Mr. John D. Papp George Parras Drs. James and Marian Patterson Dr. Lewis E. and Janice B. Patterson David Pavlich and Cherie Arnold Matt and Shari Peart Henry Peyrebrune and Tracy Rowell Nan and Bob Pfeifer Dale and Susan Phillip Peter Politzer and Jane S. Murray Mr. Robert and Mrs. Susan Price Sylvia Profenna Kathleen Pudelski Mr. Winthrop Quigley Nancy Raybin Mrs. Vicki Ann Resnick Dr. Robert W. Reynolds David and Gloria Richards Joan and Rick Rivitz Mr. D. Keith* and Mrs. Margaret Robinson Mr. Timothy D. Robson Drs. Edward and Teresa Ruch Dr. Harry S. and Rita K. Rzepka Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton Anne Sagsveen Michael Salkind and Carol Gill Richard and Mary Lou Sanders Kathy Sands Fr. Robert J. Sanson Ms. Patricia E. Say Mr. and Mrs. Bryan Scafidi Mr. Paul H. Scarbrough Ms. Beverly J. Schneider Mitchell and Kyla Schneider John and Barbara Schubert Mr. James Schutte Mr. and Mrs. Thomas W. Seabright Ms. Kathryn Seider Rafick-Pierre Sekaly Mr. Eric Sellen and Mr. Ron Seidman 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 Philip A. Shultz Mr. Duane and Mrs. Irene Shuster Mr. Robert Sieck Ms. Ellen J. Skinner Robert and Barbara Slanina Bruce L. Smith David Kane Smith Ms. Janice A. Smith Mr. Eugene Smolik Mrs. Virginia Snapp Drs. Nancy and Ronald Sobecks Diane M. Stack

“Seeing our incredible community’s support for The Cleveland Orchestra fills me with pride. You make the music possible.” —Kate Klonowski Cleveland Orchestra Chorus Member

Mr. and Mrs. Jeffrey C. Stanley Mr.* and Mrs. Donald W. Strang, Jr. Frederick and Elizabeth Stueber Mr. and Mrs. John Taylor Mr. Karl and Mrs. Carol Theil Mr. John R. Thorne and Family Dr. and Mrs. Thomas A. Timko Drs. Anna* and Gilbert True Dr. Margaret Tsai Steve and Christa Turnbull Gina Vernaci and William Hilyard George and Barbara von Mehren Sam and Mary Walker Sprunt Margaret and Eric* Wayne Mr. Peter and Mrs. Laurie Weinberger Dr. Julia Whiteside de Vos Katie and Donald Woodcock Ms. Jennifer Wynn Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr rr Anonymous (8) * deceased

The Cleveland Orchestra is grateful to every member of our donor family, who help bring our music to life. To learn more, visit

Donor Services Phone: 216-456-84OO Email:



Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations, foundations, and government agencies listed on these pages, whose annual support demonstrates their belief in the Orchestra’s music-making, education initiatives, and community presentations.

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. McKinsey & Company, Inc. ◊ The J. M. Smucker Company



Corporate Support

Jones Day KeyBank Ohio CAT

Annual Support

The Boston Consulting Group ◊ CIBC The Goodyear Tire & Rubber Co. Medical Mutual

gifts listing current as of January 10, 2021


◊ in-kind support + financial and in-kind support



Foundation and Government Support Annual Support gifts listing current as of January 10, 2021


The William Bingham Foundation Cuyahoga County residents through Cuyahoga Arts & Culture The Jack, Joseph and Morton Mandel Foundation Ohio Arts Council Richard & Emily Smucker Family Foundation Anonymous GIFTS OF $250,000 TO $499,999

The Cleveland Foundation The Eric & Jane Nord Family Fund The Seedlings Foundation The Kelvin and Eleanor Smith Foundation GIFTS OF $100,000 TO $249,999

A G P R Foundation Paul M. Angell Family Foundation Goodyear Foundation Haslam 3 Foundation The Louise H. and David S. Ingalls Foundation Kulas Foundation Elizabeth Ring Mather and William Gwinn Mather Fund The MJH Foundation John P. Murphy Foundation David and Inez Myers Foundation, Cleveland, Ohio The Oatey Foundation Bill and Kathy O’Neill Foundation

The Payne Fund Dr. M. Lee Pearce Foundation, Inc. (Miami) The Ralph and Lucille Schey Foundation Weiss Family Foundation GIFTS OF $50,000 TO $99,999

Mary E. & F. Joseph Callahan Foundation The George W. Codrington Charitable Foundation The Jean, Harry, and Brenda Fuchs Family Foundation, in memory of Harry Fuchs GAR Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation League of American Orchestras: American Orchestras’ Futures Fund supported by the Ann and Gordon Getty Foundation National Endowment for the Arts The Nord Family Foundation The Brown Kunze Foundation Wolfort Family Foundation GIFTS OF $15,000 TO $49,999

The Abington Foundation The Batchelor Foundation, Inc. (Miami) The Bruening Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation

GIFTS OF $50,000 TO $99,999

GIFTS OF $2,500 TO $14,999

BakerHostetler PNC Quality Electrodynamics

Applied Industrial Technologies BDI Blue Technologies Brothers Printing Company The Cleveland Cliffs Foundation Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Component Repair Technologies, Inc. Cuda Booster Club Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Glenmede Trust Company Haak Law LLC Hamilton Beach/Proctor-Silex, Incorporated Lake Effect Health The Lincoln Electric Foundation Littler Mendelson, P.C. Nordson Corporation Foundation The North American Coal Corporation Northern Haserot Oswald Companies Ratner, Millier, and Shafran Families RSM US, LLP Struktol Company of America Ver Ploeg & Marino (Miami) Vincent Lighting Systems Anonymous

GIFTS OF $15,000 TO $49,999

Buyers Products Company Calfee, Halter & Griswold LLP Case Western Reserve University Cleveland Clinic + DLR Group | Westlake Reed Leskosky Dollar Bank Foundation Eaton Ernst & Young LLP Flourish, Inc. Frantz Ward LLP The Giant Eagle Foundation ideastream ◊ The Lubrizol Corporation Miba AG (Europe) Northern Trust Park-Ohio Holdings The Sherwin-Williams Company Thompson Hine LLP United Airlines ◊ Anonymous (2)

To learn more about how your corporation or foundation can make a difference or raise your profile by supporting The Cleveland Orchestra’s musical work each year, please contact Michelle Devine,Director of Institutional Giving. Corporate Giving, Foundations, and Government Support Phone: 216-231-7518 Email:

GIFTS OF $2,500 TO $14,999

Robert R. and Gay C. Cull Family Foundation Mary and Dr. George L. Demetros Charitable Trust Corinne L. Dodero Foundation for the Arts and Sciences The Sam J. Frankino Foundation The Gerhard Foundation, Inc. The Robert and Ann Gillespie Foundation The Helen Wade Greene Charitable Trust Geoffrey Gund Foundation Joan Yellen Horovitz Foundation Richard Horvitz and Erica Hartman-Horvitz Foundation Joseph P. & Nancy F. Keithley Foundation Kent State University Miami-Dade County Department of Cultural Affairs (Miami) The Esther and Hyman Rapport Philanthropic Trust The Reinberger Foundation Sandor Foundation Albert G. & Olive H. Schlink Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation Third Federal Foundation The Veale Foundation The George Garretson Wade Charitable Trust Wesley Family Foundation

Selma Ankist Family Trust The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation Cleveland State University Foundation The Clinton Family Fund The Coldiron Family Foundation The Conway Family Foundation The Cowles Charitable Trust (Miami) D’Addario Foundation Davey Family Foundation James Deering Danielson Foundation Dorn Familly Foundation The Frederick W. and Janet P. Dorn Foundation Everence Foundation Feth Family Foundation Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Walter Henry Freygang Foundation Ann and Gordon Getty Foundation The Harold and Marion Gordon Foundation The Hankins Foundation The Muna & Basem Hishmeh Foundation George M. and Pamela S. Humphrey Fund Anna-Maria and Stephen Kellen Foundation Ethel and Allyn Kendis Charitable Trust John D. & Giuliana C. Koch Family Fnd The Charles J. and Elizabeth R. Koch Foundation The Laub Foundation The Lehner Family Foundation

The G. R. Lincoln Family Foundation The Logsdon Family Foundation The Norweb Foundation The Sylvia and Heath Oliver Foundation The M. G. O’Neil Foundation The O’Neill Brothers Foundation Paintstone Foundation Peg’s Foundation Performing Arts Readiness The Perkins Charitable Foundation Playhouse Square Foundation Pysht Fund Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation The Betty T. and David M. Schneider Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation Edward R. & Jean Geis Stell Foundation Stroud Family Trust Tetlak Foundation The Welty Family Foundation The Thomas H. White Foundation, a KeyBank Trust The Allayne & Douglas Wick Foundation The Edward and Ruth Wilkof Foundation The Wright Foundation The Wuliger Foundation Anonymous




connects you to the region’s vibrant arts and culture scene. With just a few clicks, discover hundreds of events made possible in part with public funding from Cuyahoga Arts & Culture.








Ohio City ty Inc. nc.


H E R I TAGE S O C I ET Y The Heritage Society recognizes dedicated supporters who have entrusted their legacy with The Cleveland Orchestra by including the Orchestra in beneficiary plans. Their generosity ensures that music-lovers at home and around the world will enjoy America’s finest orchestra for years to come. We extend our heartfelt thanks to the membership listed here, as of January 2021. For more information, please reach out to Katie Shames, J.D., Planned Giving & Major Gift Officer, at or 216-231-8006. Lois A. Aaron* Leonard Abrams Gay Cull Addicott Norman* and Marjorie Allison Sarah May Anderson George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Ruth Balombin* Mrs. Louis W. Barany* D. Robert and Kathleen L. Barber* 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 Richard F. Brezic* Robert W. Briggs Elizabeth A. Brinkman Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Ronald and Isabelle Brown* Thomas Brugger, MD Mr. and Mrs. Clark E. Bruner* Mr. and Mrs. Harvey Buchanan* Rita W. Buchanan* Joan and Gene* Buehler Gretchen L. Burmeister 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 and Anne Poirson NancyBell Coe Kenneth S. and Deborah G. 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 Mr. and Mrs. Thomas Cucuzza 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 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 Warren and Zoann Dusenbury* Mr. and Mrs. Robert Duvin* Dr. Robert E. Eckardt Paul and Peggy Edenburn Mr. and Mrs. Alfred M. Eich, Jr. Mr. and Mrs. Ramon Elias* 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 Jules and Lena Flock* Joan Alice Ford Mr. and Mrs. Ralph E. Fountain* Gil* and Elle Frey Arthur* and Deanna Friedman Mr.* and Mrs. Edward H. Frost

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 Carl E. Gennett* John H. and Ellen P. Gerber* Frank and Louise Gerlak Dr. James E. Gibbs In Memory of Roger N. Gifford 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 Mr. Michael Gotwald Mrs. Joseph B. Govan* 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 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 Richard* and Mary Louise Hahn Raymond G. Hamlin, Jr. Kathleen E. Hancock Holsey Gates Handyside* Norman C. and Donna L. Harbert Mary Jane Hartwell* Peter and Gloria Hastings* 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 Edwin R. and Mary C. Hill* Ruth Hirshman-von Baeyer* Bruce F. Hodgson Mary V. Hoffman Mrs. Barthold M. Holdstein* Leonard* and Lee Ann Holstein David and Nancy Hooker Thomas H. and Virginia J.* Horner Fund Gertrude S. Hornung*

Patience Cameron Hoskins Elizabeth Hosmer 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. Donald M. Jack, Jr. Carol S. Jacobs Pamela Jacobson Milton* and Jodith Janes Merritt and Ellen Johnquest* Allan V. Johnson E. Anne Johnson Nancy Kurfess Johnson, M.D. Paul and Lucille Jones* Mrs. R. Stanley Jones* 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 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* Thea Klestadt* Fred* and Judith Klotzman Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Mr. Clayton Koppes Susan Korosa Mr.* and Mrs. James G. Kotapish, Sr. Margery A. Kowalski Janet L. Kramer Bruce G. Kriete* 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 Marjorie M. Lamport* Louis Lane* LISTING CONTINUES




Kenneth M. Lapine and Rose E. Mills Lee and Susan Larson Charles K. László and Maureen O’Neill-László Anthony T. and Patricia Lauria 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 Dr.* and Mrs. William K. Littman Dr. Jack and Mrs. Jeannine Love Jeff and Maggie Love Dr. Alan and Mrs. Min Cha Lubin Ann B. and Robert R. Lucas* Linda and Saul Ludwig Kate Lunsford Patricia MacDonald Alex and Carol Machaskee Mrs. H. Stephen Madsen Alice D. Malone* Mr. and Mrs. Donald Malpass, Jr. Clement P. Marion Dr. and Mrs. Sanford E. Marovitz David C. and Elizabeth F. 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 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* Susan B. Murphy Deborah L. Neale David and Judith Newell Steve Norris and Emily Gonzales Russell H. Nyland* Paul and Connie Omelsky Katherine T. O’Neill The Honorable 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*


Drs. Roland Philip and Linda Sandhaus Elisabeth C. Plax Florence KZ Pollack Julia and Larry Pollock John L. Power* and Edith Dus-Garden Victor and Louise Preslan Mrs. Robert E. Price* Richard J. Price Leonard and Heddy Rabe M. Neal Rains Dr. James and Lynne Rambasek Mrs. Alfred M. Rankin, Sr. Mrs. Theodore H. Rautenberg* James* and Donna Reid Mrs. Hyatt Reitman* Mrs. Charles Ritchie 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 Howard and Laurel Rowen Professor Alan Miles Ruben and Judge Betty Willis Ruben Marc Ruckel 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 Mr. Edward Seely* Oliver E.* and Meredith M. Seikel Reverend Sandra Selby Eric Sellen Holly Selvaggi Thomas and Ann Sepúlveda The Seven Five Fund B. Kathleen Shamp Jill Semko Shane David Shank

Helen* and Fred D. Shapiro Norine W. Sharp* Dr. and Mrs. William C. Sheldon John F. Shelley and Patricia Ann Burgess* Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin* Reverend and Mrs. Malcolm K. Shields 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 M. Isabel 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. Stava & 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 The Strawbridge Family Foundation/Holly Strawbridge Ralph E. and Barbara N. String* In Memory of Marjory Swartzbaugh Dr. Elizabeth Swenson Lorraine S. Szabo Mr. Ronald E. Teare Nancy and Lee Tenenbaum Pauline Thesmacher* Dr. and Mrs. Friedrich Thiel Mrs. William D. Tibbetts* 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 Mr. Jack G. Ulman Robert and Marti* Vagi Robert A. Valente J. Paxton Van Sweringen* Mary Louise and Don VanDyke Nicholas J. Velloney* Steven Vivarronda Hon. and Mrs. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L.* Wasserbauer Charles D. Waters* Reverend Thomas L. Weber

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 Emma Jane Yoho, M.D. Libby M. Yunger William Zempolich and Beth Meany Anonymous (82) —————————————— * deceased

The lotus blossom is the symbol of the Heritage Society. It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall. For more information, please call 216-231-8006.

Supporting Institutions You Love — Now and in the Future by Katie Shames

DISPELLING COMMON MYTHS ABOUT CREATING YOUR LEGACY famously said: “We make a living by what we get, but we make a life by what we give.” These words have long resonated with me and feel particularly pertinent now. The words succinctly express the opportunity for all of us — regardless of economic station or circumstances — to help preserve the institutions we love and ensure the future of causes we care about.


Perhaps you didn’t expect the word “opportunity” in a piece during the Covid-19 pandemic? Yet, in fact, the disruption created by the coronavirus has signaled to many that there has never been a more opportune time to express commitment to the places and people we each value most deeply. Today is an important moment to help preserve the causes closest to your heart — including the many the institutions that make Cleveland a world leader in so many areas. While the effects of the pandemic affect each of us differently, the challenges for institutions and causes we value most have never been greater. Now is a perfect time to ask, “How can I help?” To answer that, I’d like to dispel a few common misconceptions about charitable giving: Myth #1: You need to be wealthy to make a bequest. Everyone can create a legacy. Estate planning is a form of best practice for all households regardless of income, and is an act of consideration for your heirs. Planning your estate early preserves time, assets, and family harmony. Myth #2: Bequests are the only way to leave a legacy. When people hear “legacy giving” or “planned giving,” many assume this refers only to bequests after death. In actuality, there are a variety of ways to leave a thoughtful legacy today, which can benefit your family and your community. If music is your passion, you can designate The Cleveland Orchestra as a beneficiary in a life insurance policy, or create an enduring legacy by endowing a program fund, or naming a seat at Severance Hall or Blossom Music Center. Myth #3: It’s too complicated. Leaving a meaningful legacy doesn’t have to be intimidating. For some people, it’s as simple as adding

one line into your will. For others, it may require a deeper knowledge of tax and estate law — and that’s where I can help. It’s my job to welcome and guide you through making decisions that meet your goals. I can work with you and your family members individually, or with your advisors to achieve the vision you have in mind. Myth #4: You can’t provide for both your heirs and the institutions you love. Planned giving is not an either/or proposition. There are ways to do both, through Charitable Trusts or Charitable Remainder Trust — protecting your family and providing for the causes you care about. Myth #5: It’s not the right time to plan your legacy. As these stressful months of the pandemic have demonstrated, there is nothing we should take for granted. Life can change dramatically, and very quickly. Planning is always a good idea. Here is a simple but profound truth: Future generations will benefit tomorrow from your thoughtfulness today. Your gifts make your own life and legacy, as Winston Churchill wisely advised us. Now is the time. To learn about leaving a meaningful legacy of music with The Cleveland Orchestra, contact Katie Shames at 216-231-8006 or Katie Shames serves as planned giving and major gift officer for The Cleveland Orchestra. She holds a bachelor’s degree from Vassar College and a law degree from New York Law School.


Orchestra’s online MLK Celebration builds upon musical and community connections Multi-week series of events reaches more people, locally and nationally TH E CLE VE L AN D O RCH E STR A’s

Martin Luther King Jr. Celebration took place online this year due to the ongoing coronavirus pandemic. This 41st annual MLK Celebration presented a variety of virtual offerings, with many of them utilizing the power of music and the arts to remember Dr. King’s life and legacy — and to inspire people to carry on his work for racial and economic equity and inclusion. “Every year, The Cleveland Orchestra honors Dr. King by offering inspiring and meaningful music performances to our community,” said André Gremillet, the Orchestra’s President & CEO. “Although we were forced to present this year’s offerings in a different way, a range of video postings and broadcasts reached more people than ever before.” “For the 2021 celebration, we were proud to amplify and showcase a selection of partnerships and collaborations online,” notes Joan Katz Napoli, senior director of education and community programs for the Orchestra. “These included sharing videos from community partners showcasing music and art, featuring powerful words to honor Dr. King. The celebration continued across much of January and into February, concluding with our MLK Community Service Awards highlighting local organizations involved in the ongoing fight for racial equity, economic justice, and education — and who champion these causes through the arts.” The Cleveland Orchestra’s 2018 Martin Luther King Jr. Celebration Concert telecast, conducted by Franz WelserMöst and created in partnership with ideastream/WVIZ, was among free featured videos offered (and available until April 14 via the Orchestra’s Adella app 36


41 ST DR . MARTIN LUTHER KING JR. CELEBRATION JA N - F E B 2 O 2 1 Community Access Partner:

streaming service). The telecast was re-released over the national PBS network, and viewed on over 300 public television channels across the U.S. HIGHLIGHTING THE WORK OF BLACK COMPOSERS This year’s Celebration also featured new video recordings with members of The Cleveland Orchestra performing musical works by select Black American composers: Florence Price, Leslie Adams, and Coleridge-Taylor Perkinson. These were filmed at Severance Hall in January, and were among the most-watched videos offered to the public through social media during the virtual celebration.

AMPLIFYING THE WORK OF COMMUNITY PARTNERS Community partners from across the Greater Cleveland area joined the Orchestra for this virtual

MLK Celebration — presenting music, theater, and dance performances honoring Dr. King’s life and legacy. Partners included Karamu House, Inlet Dance Theatre, Tri-C Vocal Arts, Djapo Cultural Arts Institute, and the Cleveland School of the Arts. CELEBRATING LOCAL LEADERS Included in online offerings were documentary-style videos highlighting Dr. King’s life and his connections to Cleveland. These featured some of his most powerful speeches alongside local individuals — including Congresswoman Marcia L. Fudge and YWCA Greater Cleveland CEO Margaret Mitchell — who continue his legacy today. The Orchestra’s MLK Celebration concluded with announcement of the 2021 MLK Community Service Awards, which this year recognized a dozen Northeast Ohio partnerships and organizations who made extraordinary efforts to serve our community in this extraordinary year of Covid-19 and racial reckoning.

SERVING THE COMMUNITY The Cleveland Orchestra is working across the pandemic to inspire new generations through the power and joy of music E D U CATIO N AN D CO M M U N IT Y S E RVICE

have been central to The Cleveland Orchestra’s mission since the ensemble’s first concert in 1918 — and the Orchestra’s commitment to future generations has never been more important. While the Covid-19 pandemic has interrupted so many lives, it has been particularly disruptive for students during critical years for growth and learning. Because of this, The Cleveland Orchestra’s education staff and musicians have redoubled efforts throughout the past year, to adapt and provide instruction and programs online to foster learning about music, for teachers and students. Over the past hundred years, The Cleveland Orchestra has introduced more than four million young people to symphonic music through live concert experiences. With the support of many generous individual, foundation, corporate, and governmental funding partners, the Orchestra’s education and community programs in recent years have reached more than 100,000 young people and adults annually, helping to foster a lifelong relationship with music. Our commitment is to the future — we cannot afford to lose a generation’s interest in music due to current pandemic restrictions and changes in how schools are operating. This season, we’ve adapted and retooled our ongoing programs, and created new resources and tools. Our successes have included launching online videos to continue our flagship Education Concert series with an online web-series “What is an Orchestra?” (including guides and interactive quizzes for students and a guide for teachers/parents), alongside a video version of our ongoing Music Explorers programs for pre-schoolers and a new series to help students choose which instrument to learn how to play. Our “Mindful Music Moments” collaboration has been repackaged and shared with families at home, providing daily exposure to classical music that creates a calm, focused, and positive environment for learning. Additional programs, including online workshops, have supported hundreds of educators and caregivers in providing music experiences for students, along with more planned for the future. The need has never been greater. Many people have asked what the Covid pandemic has taught us? Among the lessons we have learned: kids need music — and thrive with music. The Orchestra’s in-person programs and online offerings provide a bright spot in each student’s day, giving them a respite and, in the midst of uncertainty, can offer a feeling of consistency, creativity, and joy in chaotic times. These truths are especially important this year. To learn more, visit 37

NEW CONDUCTORS FOR CHILDREN’S CHORUSES The 2020-21 season began with the appointment of two new directors for the Cleveland Orchestra Children’s Choruses. Ann Usher stepped down last summer after twenty years as director of the Children’s Chorus, and Suzanne Walters stepped down as director of the Preparatory Chorus after eight years.


New to these same same roles are Alexander Looney as director and Jelani Watkins to direct the Preparatory Chorus and serve as assistant director for the Children’s Chorus.

Looney is the choral director for JELANI WATKINS the Hiland High School/Middle School with East Holmes Public Schools, and Watkins is director of the middle school choral program at Hawken School in Lyndhurst. Please join in welcoming both to their new positions to share the joy of music with new generations.

NEWS Briefs & Updates



Among new programs launched this season by the Orchestra’s Education and Community Engagement department is an online video series to help guide young students in choosing an orchestral instrument to learn

to play. Developed in response to requests from local school music teachers and parents, the videos showcase Cleveland Orchestra musicians onstage at Severance rument. stral inst an orche choosing


Hall sharing musical journeys, brief performances, practical tips, and encouragement for students to join their school orchestra or band program. The series can be viewed from the Orchestra’s website at CHRISTMAS CONCERTS CANCELLED IN 2020 WILL RETURN FOR 2021

Cancellation of this season’s Cleveland Orchestra Christmas Concerts was a disappointment for everyone — onstage and for the audiences who look forward to this annual tradition. And while the coronavirus pandemic is continuing this spring, the situation looks brighter for this coming December. In March, the schedule for this year’s Holiday Concerts is being announced and a special pre-sale will be offered to last year’s ticketholders, as well as those who have purchased in recent years. Watch your mailboxes for complete details, including the public on-sale date in April! For more information, visit clevelandorchestra. com/holidays.


As a partner program begun by Carnegie Hall in New York, the Lullaby Project is designed to harness music to support maternal health and aid family and childhood development. The program was launched in Cleveland’s Hough neighborhood in 2019 and expanded into Maple Heights in 2020, building on music’s emotional power to bring families together and to strengthen bonds between newborn babies and their mothers and fathers. Working side-by-side with Cleveland Orchestra musicians and local music therapists, new and expectant parents create, sing, and share a personal lullaby for their babies — putting into words and melody their hopes and dreams for each child’s future. The Cleveland Orchestra is a partner of the Carnegie Hall Lullaby Project, with organizations nationally and internationally adapting the program model to best serve local communities.



This year marks the 100th anniversary of Friends of The Cleveland Orchestra — and a century of proud service in promoting music in Northeast Ohio. The volunteer group was established in early 1921 by Cleveland Orchestra founder Adella Prentiss Hughes as the Women’s Committee to support the Orchestra through fundraising, community advocacy, and music education activities.

Watch your mailboxes in April for a detailed announcement of the 2021 Blossom Music Festival. Ten Cleveland Orchestra concerts are planned in July and August, featuring both classical and popular symphonic programming. Audience capacity will be limited due to coronavirus restrictions, but, as an outdoor venue, Blossom can accommodate the many fans eager to enjoy a live-concert experience again.

Today, the group welcomes all music lovers. Special and annual events each season include a long-running Meet the Artist series featuring Orchestra musicians — with a number of virtual events and activities held online throughout the pandemic this season. Following concert cancellations a year ago, in March 2020, Friends of The Cleveland Orchestra immediately stepped up with a gift to support the Board’s $1 million community fundraising challenge — and have contributed two additional gifts in the months since.

To learn more about the Friends group, or to join one of The Cleveland Orchestra’s volunteer organizations, please contact Lori Cohen, Volunteer Liaison Officer, at Friends of The Cleveland Orchestra is one of two non-performing volunteer groups working to support the Orchestra’s activities, alongside Blossom Friends of The Cleveland Orchestra, who promote each summer season at Blossom Music Center and who were instrumental in the success of the Blossom Preservation Challenge in 2020.


“It is not lost on us that we reach

our 100th year in the midst of a global pandemic,” said Friends president Dr. Patricia Moore Smith. “Yet we celebrate the fact that we are still going strong. We’re committed to The Cleveland Orchestra and to keeping music alive in Northeast Ohio.”


The Cleveland Orchestra has extended Vinay Parameswaran’s as a member of the ensemble’s conducting staff for a fifth year, through the 2021-22 season, while also promoting him from assistant conductor to associate conductor. The promotion was effective at the end of January. He will also continue his work as music director of the Cleveland Orchestra Youth Orchestra. With his time in Cleveland, Parameswaran has joined a long line of Cleveland Orchestra assisting conductors over the past century, many who have gone on to major conducting careers. Please join in congratulating him for his ongoing role here in Cleveland. SPRING CONCERTS It was announced in February that The Cleveland Orchestra has cancelled all remaining concerts for the current season due to the uncertainty as to health and safety

Across the past century, volunteers have made a difference and been involved in many activities to suppport The Cleveland Orchestra — including fundraising, ticket sales, and promoting educational activities.

NEWS Briefs & Updates 39

standards required for welcoming audiences back to Severance Hall. However, the season continues online with the filming of Orchestra performances by the Orchestra March through May. These broadcasts will be shared as new In Focus episodes every two weeks into the summer — free for current ticket subscribers (including Members Club and The Circle) to view online, and also available for anyone to purchase through a monthly online subscription. All ticketholders to the current 2020-21 season have been sent instructions about requesting refunds or applying their balance forward to future subscription purchases. “We are humbled by the response of so many who have donated the dollar-value of their subscriptions to help ensure the The Cleveland Orchestra’s future,” said André Gremillet, the Orchestra’s president & CEO. “We are so fortunate to have one of the most generous and dedicated hometown communities in the world.”

NEWS Briefs & Updates



A new book by Franz WelserMöst has been published in its debut Germanlanguage edition in 2020, and will be released in an English translation later this spring. Titled Al ich die Stille fand or From Silence: Finding Calm in a Dissonant World, the book explores the conductor’s views on music, his own career, and where art fits in today’s world. Watch for complete details — and ordering options — in the

coming weeks. The English edition will soon be available from the Cleveland Orchestra Store online. PIPELINE OFFERS CLEVELAND STUDENTS OPPORTUNITY TO AIM AT A MUSICAL CAREER

CMSD’s Cleveland School of the Arts (Grades 9-12) continues online. Recently, mentee participants were accepted to college music and music education programs at Howard University, Loyola University, and Cleveland State University.

Started in 2018, The Cleveland Orchestra’s “Crescendo Pipeline Program” offers students in the Cleveland Municipal School District a new pathway toward careers in musical performance. The program features access to instruments and to high-quality music instruction — with the goal of expanding the pipeline and routes foward for talented, under-represented students. The program can help in preparing a path for students to join the Cleveland Orchestra Youth Orchestra, studying at the Cleveland Institute of Music, and beyond! To maintain music instruction with schools closed due to the Covid-19 pandemic, Cleveland Orchestra musicians and teaching artists have held lessons outdoors in parking lots and driveways, or online through Zoom or Facetime — all to keep the Mound School Strings program in Slavic Village and the Wade Park Brass program in Hough moving forward throughout the current season. In addition, Music Mentors at

MUSIC AS MEDICINE IN TROUBLED TIMES Musicians of The Cleveland Orchestra have shared their musical talents in hospital settings across Northeast Ohio in the past year, saluting and serenading medical personnel in lobbies and other spaces for their heroism on the frontlines of the Covid-19 battle. Chamber music presentations have offered both joyful and calming music to say thank you and encourage everyone to continue forward, buoyed by music’s message of creativity and beauty.

Acclaim for A New Century Released June 2020 “This orchestra has never sounded finer on disc.”

—Gramophone Magazine “These recordings . . . capture the true sound of Severance better than any previous recordings ever have. . . . .This lovingly crafted box set is a treasure, and a welcome return to what is promised to be a regular schedule of releases. As Franz Welser-Möst says, music tells us who we are, and because of that, we need to hear the discoveries and breakthroughs being made in Cleveland. They don’t just entertain there. They find new worlds.”

—MusicWeb International


three discs, deluxe box and 150-page book

Schubert / Křenek Released October 2020

The Cleveland Orchestra’s second recording on its own new label has received worldwide acclaim. The new album, available on CD (Hybrid SACD) or digitally via online streaming or download purchase, features Schubert’s greatest symphonic masterpiece, the “Great” C-major Symphony (D.944) paired with a uniquely modern work by 20th-century composer Ernst Křenek, Static and Ecstatic. Both pieces were recorded live at Severance Hall with Music Director Franz Welser-Möst in March 2020, and mark The Cleveland Orchestra’s final performances prior to arts and entertainment being shuttered around the world due to the coronavirus — offering uniquely heartfelt and dynamic performances.


one disc, deluxe album

“This recording stands as testament: The Cleveland Orchestra is America’s finest, still.” —The New York Times



T H I S U N I Q U E LY B E A U T I F U L B U I L D I N G O P E N E D 9 0 Y E A R S A G O February 5th marked the anniversary of the opening of Severance Hall in 1931 . . . AI LE D AM O N G

the world’s most beautiful and best-sounding concert halls, Severance Hall has been home to The Cleveland Orchestra since the building’s opening on February 5, 1931. After the 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 Orchestra’s governing board 1921-1936, donated most of the funds for this magnificent structure. His wife, Elisabeth, died unexpectedly a short time after the new hall was announced, and Severance poured additional money and resources toward its completion as a personal memorial to her. When selecting a site for their new hall, the Orchestra chose a location in the heart of Cleveland’s “University Circle” area, an idyllic setting on the city’s eastside that serves as home to an unrivaled concentration of major cultural, educational, and medical institutions — including the Cleveland Museum of Art, Cleveland Institute of Music, and what is today Case Western Reserve University. Designed by the Cleveland firm Walker & Weeks, Severance Hall’s elegant Georgian



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 Art Deco, Egyptian Revival, Classicism, and Modernism. From the day it opened, Severance Hall helped to shape The Cleveland Orchestra into the ensemble it has become — enabling the Orchestra to rehearse and perform in a single acoustic environment. The landmark building was one of the most modern, up-to-date concert facilities in America when it opened in 1931 as The Cleveland Orchestra’s permanent home. Among the first concert halls designed and built with radio broadcasting capability, it helped carry the name of Cleveland across the country and into Canada through weekly and special broadcasts. Three generations later, a program for a large-scale restoration, renovation, and expansion of Severance Hall was undertaken in the late 1990s. The work added new space to the building while carefully preserving the historical integrity of the original Walker & Weeks design and restoring faded finishes to their original luster. Severance Hall reopened on January 8, 2000, as a long-beloved concert hall returned to the service of its world-class resident orchestra. The New York Times said that the renovated concert hall “sounds as seductive as it looks.” And the Cincinnati Enquirer commented that “Severance Hall is now the most visually stunning setting for an orchestra this side of Vienna’s Musikverein. Even better, its pristine acoustics . . . have been preserved and even enhanced.” Opposite: Severance Hall’s Concert Hall from the stage. At Left: 1930 rendering of the completed hall interior.



At right, the Bogomolny-Kozerefski Grand Foyer serves as the entryway to Severance Hall’s concert hall. At left, the 400-seat Reinberger Chamber Hall on the groundfloor of Severance Hall.


The shape of the lotus, said to be among Elisabeth Severance’s favorite flowers, is echoed throughout Severance Hall, in floor patterns, lighting fixtures, and decorative architectural motifs.


in 1931, Severance Hall featured a “motor driveway” through the groundfloor of the building. It was designed to accommodate chauffeurdriven limousines and taxi cabs bringing concertgoers to Severance Hall. As times changed and patrons drove their own vehicles, the drive-thru was used less and less, and finally closed in 1970. The next year, the space was converted into a lounge restaurant known as the Supper Club, serving buffet meals prior to evening concerts. In 1975, it was renamed the Keynote Restaurant and given some touches of art deco decor to connect with the building’s origins. The buffet was closed in 1998, just as a major renova44

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


M U S I C AT H O M E I N T H E T I M E O F C O V I D - 1 9


ONE OF MY CHORES during this pandemic crisis has been weeding out my CD collection. Hundreds of them (allright, yes, thousands!). The weeding done, in part, to structure evenings and weekends no longer spent this past year visiting with friends in-person, no longer travelling to Cleveland from home (Arizona) on a regular basis (on any basis whatsoever since last March). These many compact discs (I managed to jettison most of my LPs twenty years ago) had proudly taken up rows and rows of shelves, amassed across more than three decades. Chosen lovingly, or sometimes maniacally, occasionally merely because work required me to listen to and come to appreciate a certain piece. The mania included dozens of different versions of every Mahler symphony and of Wagner’s Ring of the Nibelung. Along with classics — Beethoven and Schumann, Prokofiev and Shostakovich, Rossini, Bellini, and Donizetti, more Wagner, and John Adams and Philip Glass, Broadway and folksongs — plus much that is more obscure. It was a difficult task, as was letting go! What a joy building the collection was, to see those expansive shelves, a library not just of sound, but of discoveries across a lifetime, and also filled with “liner notes” and writing about the many works. An amalgamation of performances and wise words by experts, friends, and acquaintances — a resource immediately available to me, anytime. It was a personal showcase (perhaps revealingly) of my personal tastes, preferences, and ignorance (everything that was missing) in music. Today, rather than owning a physical collection of music, many of us instead subscribe to “everything” — to Apple or Amazon music, and Spotify . . . the options are becoming endless. Today, we listen to whatever, whenever. Joyfully exposed to unexpected new music, if we choose those parameters, or doggedly closing our ears and narrowly listening to what we know we like. All of which got me to thinking . . . How do each of us collect and share and experience music today, in


the 21st century? How do we get acquainted with new music? And how has all this changed over the past hundred years — indeed, over the past many centuries? The history of music can be told in many ways. From birdsong to symphony, lone voice in the wilderness to electric guitar amidst fans by the stadiumfull. Worksong to campfire. Tree trunk to timpani. Anywhere-at-all to a scientifically-tuned symphony hall. Music was always about communicating and sharing. Before radio and recording, how did we commune together through music? In village tavern or livingroom. Oom-pah-pahhing with the town band, enjoying the family quartet, or worshipping as congregation or choir. Eventually, some aspects were systematized and shaped by design — changing the dynamic (as it were) of “making music.” Sound echoing in caves, then cathedrals. Pipe organs adding air power. Gathering friends at home or barn for an evening of song or dance. Throughout, the best tunes, the best music was shared with gusto. Town to town, musician to musician, tradition by tradition, country to country. And then, with printing, via transcriptions for differing instrument groupings — to offer the best magical phrasings and turn of notes to everyone. In the 18th and 19th centuries, the keyboard took off, and took over. Harpsichord, and then (especially) the piano — transportable even to distant shores, popularizing, enabling, and spreading everywhere. Resulting in more sharing and back-and-forth, mixing-and-matching. Opera tunes as piano solos, symphonies played as quartets, chamber orchestra versions of bigger pieces. Because “here” there were only ten musicians, not a full symphony. In fact, it’s been estimated that, in the 19th century, more people heard Beethoven’s Fifth Symphony in Liszt’s solo piano version than managed to experience it in a live orchestral performance! Making classical music “covers,” as it were, voiced up or down, popularized in arrangements.



Then things were mechanized. Piano becomes player begets calliope, then jukebox violin. Since the advent of recorded sound, musical sharing has taken off exponentially and changed trajectory. Recordings, radio, disk/disc, internet, cloud. Music “on-tap.” And, more and more often, offering something closer to each composer’s “original” intentions. Yet the act of “playing music” has also shifted. Fewer American children learn to play an instrument these days. In part because they can “play” anything they want anytime they want. Literally anything and everything. In the car, subway, plane, bus, while making dinner, in the shower, on a bike, on the radio, on your phone. Has this changed how we listen to music? Did we once focus more intensely at a live performance? When you knew it might be your once-in-a-lifetime chance to hear this or that particular work in person? Now the music flows over us twenty-four-seven. Advances of civilization and invention are part of human desire and history. But is the future always better, or merely different? How do those of us who grew up in an era of LPs differ in our music appreciation from younger generations today? Or of our parents’ generation, now gone? Access changes attitude. Access and abundance change intake habits. Does easy access lessen perceived value? (Think of all the everyday things we took for granted that Covid-19 unexpectedly interrupted!) Yet times change. And in recent years, live concerts were beginning to feel special again, a new discovery (!) to watch and experience in realtime, with real artists making split-second choices. Reminding me that music out of the cloud, while marvelous in its bounty, is still “canned” and “off the shelf.” Orchestral recordings represent great moments captured (with or without niggling details perfected thru editing). But the living, breathing performance is different, often even better in its intimacy, its immediacy — in sharing a moment with those around you, together in “the room where it happens.” Yes, surely there is room for both. For live performance and recordings, audio and video. The Cleveland

Orchestra’s new “In Focus” broadcast series adds a unique middle dimension — recent live performances, enjoyed at home. Or, in the future, enjoyed live in-person and then again at home! All that said, I do yearn for live concerts again — for the tangible taste in my ear, the seismic (literally) sensations of music being created anew by a group of artists oaring together as one, driven by a conductor in a moment beyond rehearsal and out-of-reach for editing. To remind us that music (and life) is, ultimately, in the moment. Yes, it can be stored online or on the shelf, but experiencing it is still in the now, whether listening to an LP, CD, or via my cellphone to a bluetooth speaker strapped to the handlebars of my bicycle — breathing in Richard Strauss’s Rosenkavalier throughout a 28-mile bike ride on a sunlit morning in Arizona! Even in the midst of a pandemic, life offers us many brilliantly different and marvelous options. Grab the music and go! The 2020-21 season is Eric Sellen’s twenty-eighth (and final) year as program book editor for The Cleveland Orchestra.

TR ADITIONS, TR ANSITIONS, AND TR ANSCRIPTIONS . . . Listening to transcriptions of favorite symphonies and other works can be a rewarding pastime — and open your ears to aspects of a piece you weren’t aware of in the original. Before today’s internet, there was solid money to be made in transcriptions. Many composers created piano scores of their own orchestral works. Or publishers paid others to do it. Muzio Clementi adapted Mozart’s final symphonies for piano, violin, cello, and flute. Schoenberg created a chamber orchestra version of Mahler’s Song of the Earth. Franz Liszt’s piano “reductions” of Beethoven’s nine symphonies are famously interesting to hear — and challenging for pianists. And if you’ve only heard Mussorgsky’s Pictures at an Exhibition in Ravel’s full orchestration, do look for the pianosolo original!


Non-Profit Organization U.S. Postage PAID Cleveland, Ohio Permit No. 714

2 O2 O -2 1

The Musical Arts Association operating THE CLEVELAND ORCHESTRA Severance Hall 11001 Euclid Avenue Cleveland, OH 44106-1796

Applause and praise for online concert presentations . . . “With its new ‘In Focus’ concert series . . . on its new Adella app, The Cleveland Orchestra has given patrons more than just a virtual substitute for the live events they’ve been missing due to distance or coronavirus cancellations. It’s given them a whole new outlook on musical life, a glimpse of a bright digital future.” —Cleveland Plain Dealer, October 2020 “The Cleveland Orchestra and Welser-Möst go online with inspiration and finesse. . . . The sheer joy of having one of the greatest orchestras on the planet back in action again manifests itself on each and every moment.” —Adventures in Music, October 2020 “By filming throughout the hall, with no audiences to inconvenience, video crews are able to capture angles spectators rarely see; in Cleveland, the views of Emanuel Ax’s fingers at the keyboard playing Haydn, or of Yefim Bronfman’s in Schnittke’s Concerto for Piano and Strings, are alone worth the price of admission. It can be fascinating to watch conductors, physically distant and partially obscured by face masks, find new ways to get their intentions across to players.” —New York Times, December 2020 “In Cleveland’s series, the sound is gorgeous, and the video is superb.” —Seen and Heard International, November 2020 SE ASON


Why is our new digital App named Adella? Born in Cleveland, Adella Prentiss Hughes grew up to be a music impresario and community leader. In 1918, after managing a group that brought visiting orchestras to Cleveland for over a decade, she founded The Cleveland Orchestra, convinced that her hometown deserved a “great orchestra” of its own. She served as the ensemble’s general manager for fifteen seasons, with a clear vision for the institution she had created and for what its future could be. It is for these reasons that we’ve named our new digital streaming service in honor of Adella’s pioneering spirit. We hope that this 21st-century Adella will open a new chapter for The Cleveland Orchestra and carry this world-renowned ensemble further into today’s vibrant and multimedia-connected future.

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.