A Tale of Two Buildings

has been recognized by local and national historic preservation groups, and it is on the National Register of Historic Places.

After The Cleveland Orchestra’s first concert at Severance Hall on February 5, 1931, 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.”

Over the years, as The Cleveland Orchestra became one of the world’s top orchestras, Severance Hall began to show its age. As a result, Severance Hall was renovated in 1958 and again in 1998 to update the building and repair and restore it to its original splendor. Today Severance Hall contains a Main Concert Hall (where Education Concerts take place); Reinberger Chamber Hall (where Musical Rainbows for preschoolers are presented); a restaurant; gift shop; musician locker rooms; backstage dressing rooms; a Music Library, offices and more.

You will enter or exit Severance Hall through the Grand Foyer which is surrounded by 24 red marble columns from Italy, and 14 Egyptian style paintings, created by local artist Elsa Vick Shaw which hang above the doorways and trace the development of ancient musical instruments. The mosaic tile floor is terrazzo, containing trillions of tiny marble chips cemented together and laid into a pattern of three giant lotus blossoms (the lotus blossom was Mrs. Severance’s favorite flower). Inside the main concert hall, the design of the beautiful ceiling overhead is said to be patterned on the lace in Mrs. Severance’s wedding dress. Sadly, Mrs. Severance died just weeks before Severance Hall opened in 1931, but the building stands as a memorial to her, and to her husband and their vision for giving The Cleveland Orchestra a permanent home.

2016-17 Season Guide for Young Concert-goers

TAblE OF COnTEnTsSounds of the Orchestra, Grades 3-5 . . . . 2Violins of Hope, Grades 6-12. . . . . . . . . . . . 3See the Sounds. . . . . . . . . . . . . . . . . . . . . . . 4Conductor of the Orchestra . . . . . . . . . . . . 5Fun & Games . . . . . . . . . . . . . . . . . . . . . . . . . 6

Fan Mail . . . . . . . . . . . . . . . . . . . . . . . . . . .7Youth Orchestra . . . . . . . . . . . . . . . . . . . .8Children’s Chorus . . . . . . . . . . . . . . . . . . .8Youth Chorus. . . . . . . . . . . . . . . . . . . . . . .8Family Concerts . . . . . . . . . . . . . . . . . . . .8

tHe cLeVeLAnD OrcHestrA

A Tale of Two Buildings

Maltz Performing Arts Center at the Temple Tifereth Israel on the campus of Case Western Reserve University.

Students coming to the Violins of Hope Education Concerts in March 2017, will hear The Cleveland Orchestra perform in the Maltz Performing Arts Center housed in an historic synagogue built in 1924 and located in University Circle, just minutes from Severance Hall. The building, designed by architect Charles Greco, sits at E. 105th Street and Ansel Road.

Known then simply as “The Temple,” the building was home to one of the largest Reform Jewish congregations in the country. The original sanctuary seated 2,000 people when it opened, but, by 1945, the Temple’s membership was so great that on High Holy Days extra (overflow) services were held in Severance Hall. And so a connection existed between these two historic buildings more than 70 years ago!

Connected to Cleveland’s history, and to each other

This is a tale of two buildings – one, a “temple to music” (Severance Hall) and the other, a “temple turned musical” (the new Maltz Performing Arts Center at the Temple Tifereth-Israel in University Circle). During the 2016-17 school year, The Cleveland Orchestra will perform Education Concerts at both of these historic buildings, connected to Cleveland’s history, and to each other.

continued on page 5

Severance HallSeverance Hall, the home of The Cleveland Orchestra, is the destination for students coming to “The Sounds of the Orchestra” Education Concerts in November 2016. It is where the Orchestra rehearses and performs its concerts, and is also an historic landmark. People from all over the world come to Cleveland to hear The Cleveland Orchestra, and to admire Severance Hall, long considered one of the best concert halls in the world for orchestral music.

Before Severance Hall was built, The Cleveland Orchestra led a nomadic existence, performing in auditoriums and theaters throughout the city including Grays Armory, Public Hall, St. Ann’s Church, and Masonic Auditorium.

The Orchestra’s founders were eager for the Orchestra to have a permanent home, and John Long Severance and his wife Elisabeth stepped forward to donate most of the funds necessary to build Severance Hall. It was designed by the city’s leading architects at that time, Walker & Weeks, who also designed such Cleveland landmarks as Cleveland Public Auditorium (1922), the Federal Reserve Bank (1923), and the Cleveland Public Library (1925)

Severance Hall’s elegant Georgian exterior, which features Indiana limestone, was designed to ‘harmonize’ with the classical architecture of other prominent buildings in University Circle, especially the Cleveland Museum of Art. The interior of the building is a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. Severance Hall

severance hall Concert hall

ALL SHAPES AND SIZES (full orchestra vs. chamber orchestra)STRAUSS Introduction from Also sprach Zarathustra

MOZART Allegro from Eine kleine Nachtmusik (strings) MuSIc IN StErEo (polyphony)DUKAS Fanfare from La PériDAUGHERTY “MXYZPTLK” from Metropolis Symphony

MuSIc froM AfAr (offstage)BERLIOZ “Scené aux Champs” from Symphonie fantastiqueBEETHOVEN Leonore Overture No. 3

AN orcHEStrA of SoLoIStSRAVEL Bolero (percussion)

NEw SouNDS for tHE coNcErt HALL (technology)BATES Mothership for orchestra & electronica

The Cleveland Orchestra Brett Mitchell, conductor

November 1-4, 2016

played not only in concert halls like this one but also in opera houses. This overture was written as a part of a larger opera, so there is a story that goes along with the music. You will hear a trumpet that sounds far away, because it is being played offstage as well. This trumpet leads the piece into a recapitulation, which means a recap of what was already played, before the piece’s dramatic conclusion.

An Orchestra of Soloists Maurice Ravel (1875-1937) was born in 1875 and began his musical studies at age 7. As a student he composed several short pieces for piano and was quickly recognized for his creative use of harmony

and Spanish influences. Ravel’s composing career was interrupt-ed when he served in World War I in the ambulance corps. How-ever, after two years of service, he was discharged from the mili-tary for health reasons. Ravel’s music is often described in terms of “color”. His compositions are filled with many sounds that were

new and exotic to audiences of the time. Today, you will hear many sounds coming from the percussion family in his piece “Bolero.” One of the most impor-tant percussion parts is the snare drum, which plays the same rhythm during the entire piece.

New Sounds for the Concert Hall (technology)

Mason Bates (1977-) is an innovative composer who combines classical music with jazz harmonies, techno rhythms, and electronic sounds. This piece “imagines the orchestra as a mothership” that is boarded by instruments in every family, using the E-flat clarinet (woodwind family), marimba (percussion family), cello (string family), and trumpet (brass family). In Mothership, you will

not only hear these traditional orchestral instruments, but you will also hear many electronic sounds playing with the orchestra. Bates likes to bring classical music to new audiences, and one time he premiered (performed a work for the first time) a piece on YouTube and it got over two million views.

The Cleveland Orchestra and associate conductor, Brett Mitchell, will explore the unique traits of the four families of musical instruments that make up the “Sounds of the Orchestra.” Students will experience the distinctive sounds of the string, woodwind, brass, and percussion sections, and will learn how composers weave these individual groups into diverse musical soundscapes.

for several Paris newspapers. On this concert you will hear the Fanfare from La Péri. A fanfare is a short, showy, piece of music usually played for a special event. It is often played to announce the arrival of an important person, such as a king or queen. Fan-fares are usually played by trumpets and other brass instruments, and have a majestic, even royal sound.

Michael Daugherty (1954-) Michael Daugh-erty was a huge fan of the Superman comic strips that were originally written by Jerry Siegel here in Cleveland. While Daugherty was teaching at Oberlin

College Conservatory, his enthu-siasm for Superman inspired him to write the Metropolis Symphony. In this symphony, you can hear many different styles of music, including symphonic, rock, jazz, and funk. Today you will hear the third movement of the Metropolis Symphony, titled Mxyzptlk (pro-nounced “mixes-pit-lick”), which

is based on the “mischievous imp from the fifth di-mension who regularly wreaks havoc on Metropolis.” This movement features the upper register of the orchestra, including the woodwind family (like the clarinet, oboe, and bassoon) and two flute players who will perform on both sides of the conductor. This piece is very high-energy, so grab your cape and be prepared to imagine yourself flying beside Super-man as he defeats the supervillain, Mxyzptlk.

Music from Afar (offstage)

Hector Berlioz (1803-1869) was a French com-poser who began singing, flute and guitar lessons at age 13. Berlioz wrote his Symphonie Fantastique dur-ing the revolution of 1830. He wrote, “I dashed off the

final pages of my orchestral score to the sounds of stray bullets coming over the roofs and patter-ing on the walls outside my win-dow.” Today you will hear part of the third movement, “Scène aux champs”, which means “Scene in the Fields.” Berlioz wrote this movement to depict a summer evening on the countryside. An

English horn and an oboe will play back and forth, representing two shepherds having a conversation. However, the oboe might sound far away, because it is being played offstage.

Ludwig Van Beethoven (1770-1827)pronounced LUDE-vig vahn BAY-toe-vin) showed an extraordinary talent for music by the time he was five, but his childhood was an unhappy one because of a stern and overbearing father who forced him

to practice hour after hour, sometimes even all night long! He played his first concert at age 7, and was hired as a church organist at age 11 when he was already considered a composer. When people protested that he did not follow the accepted rules of composition, Beethoven told them, “rules are made to be

broken.” Beethoven’s new ideas literally transformed music, from the reserved and balanced Classical musical style to the more dramatic and emotional Romantic style. On this concert, you will hear a portion of the Leonore overture No. 3, a piece that is

the cleveland orchestra Education concerts for Grades 3-5

All Shapes and Sizes (full vs. chamber orchestra)

Richard Strauss (1864-1949) (pronounced Ree-card) was born in Munich, Germany. Richard’s father was a musician (he played the French horn) and he made sure his son was surrounded by mu-

sic. Richard began piano lessons at age 4, violin lessons at age 6, and theory and composition lessons at age 11. He became a very successful composer and conductor. His best known works are his symphonic poems, op-eras and songs. His symphonic poems told a story without

words or action—he used only musical sounds. Also Sprach Zarathustra (“Zarathustra also spoke”) is an example of a symphonic poem. You will hear the beginning of this work on the concert where he wanted to represent the sun rising in the morning. The three note theme builds one note at a time, and is repeated, separated by notes on the timpani, each time getting louder and more exciting until the mu-sical sun seems to burst into full view the third time. In this piece you will hear the huge force of a full orchestra. Fun fact: this piece was also used in the movie “2001: A Space Odyssey.”

Wolfgang Amadeus Mozart (1756-1791) Mozart was a genius. In his brief lifetime Mozart wrote nearly 1,000 pieces of music in many different forms including symphonies, sonatas, operas, con-certos, serenades, religious and chamber music. He was prolific (productive – producing a large quan-

tity); he was versatile (multital-ented – could compose in any form, for any occasion); he was fast (he once wrote an entire op-era in 18 days!); and he was, of course, musically gifted. Mozart’s music is characterized by beau-tiful melodies, clarity of sound, a sense of balance and order, and by his ability to capture hu-

man emotions – joy, fear, tragedy, comedy, love and more! When Mozart was living in the city of Vienna, he was often asked to write music for special occa-sions, such as formal dinners or dances. “Eine kleine Nachtmusik” (In English, “A Little Night Music”) was likely written for just such an occasion. The section you will hear only uses the string instruments, which is called a chamber orchestra. I bet you will recog-nize the energetic first movement when you hear it!

Music in Stereo (polyphony) PAUL DUKAS (1865-1935) (pronounced Du-KAH) is a French composer most well-known for his fa-mous children’s work, The Sorcerer’s Apprentice, made popular by the Disney movie Fantasia featur-ing Mickey Mouse in the Sorcerer’s role. Paul Dukas

was not only a composer, but a scholar and a teacher as well. He started composing music at 14 years of age, and, at age 16, entered the Paris Conservatory where he later became a profes-sor of composition and orches-tration. Dukas was also highly regarded as a music critic (one who writes reviews of concerts)

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Sounds the of theOrchestra

VIOLINS hOpeof

You can break bodies. You can extinguish voices. You can even crush souls, temporarily. You cannot, however, silence music. Not with gas chambers. Not with firing squads. Not by means of starvation. Music always survives.

On these Education Concerts, music and drama will combine to give us a powerful new lens through which to view the important role of music in Jewish life before, during and after the Holocaust. The violin was deeply embedded in Jewish culture for centuries before World War II, but during the Holocaust (i.e., the systematic persecution and murder of six million Jews by the Nazis) the violin played an extraordinary role in fostering Jewish survival and hope. For some Jews, the instrument was a liberator; for others, it was a savior that spared their lives. For many, the violin provided comfort during one of the darkest periods in history. The music on this concert was selected to convey the themes of Jewish spirit, resistance, resilience…and hope.

Prelude by Finzi Gerald Finzi’s music embraces a rich variety of moods – from sad and melancholic, to thoughtful and reflective, to joyous and hopeful. In his piece Prelude, Finzi uses only the strings of the orchestra to create a moving, musical “soundscape,” which,

along with projected images, will set the stage for our Violins of Hope Education Concert. Gerald finzi was born in 1901 in Lon-don, England to parents of Jew-ish descent, although he himself was agnostic (one who neither believes nor disbelieves in the existence of God). Finzi’s music reflects a distinctly English style,

inspired by folk songs and English composers who preceded him.

Overture on Hebrew Themes by ProkofievIn Jewish culture (as in many cultures) music marks both happy and sad occasions, unites people in prayer, provides entertainment, and, for an unusual-ly large number of Jews in pre-World War II Europe, provided a professional career. In his overture on Hebrew themes, Sergei Prokofiev illustrates the spirit of Jewish music in history which is sometimes described as sounding happy yet tragic. He uses two melodies, based loosely on Jewish folksongs, one more celebratory and dance-like, played pri-marily by the clarinet, and evocative of traditional Jewish klezmer music; the other melody, more rev-erent, sustained, and with a singing quality, is intro-duced by the strings and horns. Sergei Prokofiev

was a Russian composer born in 1891. He wrote his first piece of music at the age of five, com-posed his first opera at age nine and entered the St. Petersburg Conservatory at age 13 where he studied with the famous Russian composer Nikolai Rimsky-Korsa-kov. Prokofiev spent twenty years traveling in America and western

Europe as a pianist and conductor of his own mu-sic. After returning to Russia in 1936, he composed one of his most famous pieces Peter and the Wolf in response to the Soviet demand for high-quality children’s music.

“Allegro molto” from Chamber Symphony for String Orchestra by ShostakovichDespite the humiliating and inhumane conditions the Jews were subjected to in ghettos, labor camps and death camps, they resisted their Nazi captors in various ways – both through armed resistance (with weapons), unarmed resis-tance (defiance, illegal food smuggling etc.) and spiritual resistance (maintaining their dignity and humanity in the face of Nazi efforts to degrade them). They would not let their spirit be broken. Dmitri Shostakovich was no stranger

to the themes of resistance and protest. He was born and raised in Russia in 1906 and spent his entire career in the Soviet system, which significantly influenced his musical compositions. His style, both tra-ditional and experimental, reflected his need to write music that expressed his in-nermost feelings of resistance and protest against political injustice without drawing too much attention to his unpatriotic mes-

sage. In his chamber Symphony, Shostakovich truly embod-ies the theme of resistance, and dedicates it “to the memory of the victims of fascism and war.” The intensity with which the strings are played suggests a passionate protest, directed at some of the same individuals who played a key role in the history of the Holocaust.

Schindler’s List by WilliamsThe movie Schindler’s List tells the true story of Oskar Schindler, a German entrepreneur (and Nazi party member because it was ‘good for business’) who hired many Jew-ish workers for his factories. When the Nazi SS began ex-terminating Jews in the Krakow ghetto, Schindler arranged to have his workers protected to keep his factory in opera-tion, but soon realized that in so doing, he was also saving many innocent lives. This piece from the movie soundtrack features a haunting melody played by solo violin written in

the style of Jewish folk music, as well as several other solo parts, possibly meant to represent the individual lives of those who were rescued by Oskar Schindler. Composer John williams was born in 1932 in New York City. He learned to play several instruments as a child, including piano, and later studied com-position at the Julliard School of Music in

New York. He has written music for more than 75 movies, including Jurassic Park, Raiders of the Lost Ark, E.T., Home Alone, Hook, Harry Potter and Star Wars.

“Simchas Torah” (“Rejoicing”) from Baal Shem by Bloch

Ernest Bloch was a composer of Jewish ancestry, born in 1880 in Geneva, Switzerland. Bloch spent much of his early career traveling throughout Europe playing the violin, conducting, composing, and more. During this time, Bloch took many trips to America where he became a respected composer and

teacher, and founded the Cleveland Institute of Music (just around the corner from Severance Hall!). In 1924, while living in Cleveland, Bloch earned his Ameri-can citizenship. It was after this time that he began to express his Jewish heritage more explicitly in his music, and composed Baal Shem in a distinctive He-brew style. “Simchas torah” (“Rejoicing”), from Baal Shem, is a prayer read during a Jewish holiday that marks the end of the reading cycle of the Torah, or Jewish scripture, and the beginning of a new one. The rhythm, pitch, dynamics, tempo, instrumentation and overall feel of the music sound bright and celebratory, representative of resilience and new beginnings.

Kol Nidrei by BruchKol Nidrei, meaning “All Vows” in Aramaic, is a prayer chanted at the beginning of the evening service of Yom Kippur (The Day of Atonement), the most sol-emn of the Jewish High Holy Days. Each year on Yom Kippur, Jews especially remember those who have passed on. Max Bruch’s music, Kol Nidrei, was derived from a Hebrew melody that he acquired from a Jewish choir member while conducting in Berlin, Germany. Interestingly, the popularity of Kol Nidrei led to the wrongful assumption that Bruch himself was Jew-ish, but he was not. The piece alternates between a simple melody, played by solo cello and representa-tive of the reflective spirit of the Yom Kippur holi-day, and orchestral passages that support the main

melody. The opening notes of the cello solo represent the cantor’s sighs on this somber day. Max Bruch was a German composer and conductor born in 1838 who wrote over 200 works, but was most well known for his first violin concerto (a concerto is a piece for a solo instrument accompanied by orchestra).

Overture to La scala di seta (“The Silken Ladder”) by Rossini Polish violinist Bronislaw Huberman was one of the most celebrated violinists of his time. But even more important than his virtuosic music making was the political foresight and bravery he displayed during the Nazis’ rise to power. As the situation for Jews be-gan to deteriorate steadily in Europe, Huberman used his reputation to recruit the ‘best of the best’ Jewish orchestral players from Nazi Germany, Austria, Po-land and Hungary, to regroup in Palestine as a new ensemble, the Palestine Symphony Orchestra. Later renamed the Israel Philharmonic Orchestra, the en-semble is world-renowned today and a testament to the Jewish spirit of resilience and hope. The piece you will hear, the overture to La scala di seta (“The Silk-en Ladder”) was featured on the first concert of the Palestine Symphony Orchestra in 1936, led by the fa-mous conductor Arturo Toscanini. If it hadn’t been for Huberman, dozens of musicians and their families — nearly 1000 people in all — would certainly have died. Along with literally saving lives, Huberman found a way to preserve and perpetuate an enormous legacy

of European Jewish musical tra-dition. The Italian composer Gio-achino (Jo-KEEN-o) rossini, born in 1792 in Pesaro, Italy, the son of a trumpeter and opera singer, com-posed the overture with a lyric introduction featuring several so-los in the woodwinds and French horn, followed by vibrant music that is bouncy, quick, and light,

ending this musical exploration of the Holocaust on a positive note.

fINZI PreludeProKofIEV Overture on Hebrew ThemesSHoStAKoVIcH “Allegro molto” from Chamber Symphony for String OrchestrawILLIAMS Main Theme from Schindler’s List BLocH “Simchas Torah” (“Rejoicing”) from Baal ShemBrucH Kol NidreiroSSINI Overture from La scala di seta (“The Silken Ladder”)

March 7-10, 2017The Cleveland Orchestra • Brett Mitchell, conductor

Based on the original 2015 Violins of Hope Education Concerts, a collaboration between The Cleveland Orchestra and the Case Western Reserve University/Cleveland Play House

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the cleveland orchestra Education concerts for Grades 6-12

See the SoundsThis is page 1 of the conductor’s music for Ludwig van Beethoven’s Symphony No. 5. Since it shows all the musicians’ parts, it is called a “full score.”

This printed page takes only 10 seconds in performance and shows the music for 11 different instruments! Most lines of music show the part for one or two players, but some instruments—such as the violins—have many musicians playing the same instrument. This page should be played by a minimum of around 40 players.

woodwind Family8 players4 Instruments

brass Family4 players2 Instruments

Percussion Family1 player1 Instrument

string Family35-60 players4 Instruments

Sym Flutes

Oboes

Clarinets

Bassoons

Horns

Trumpets

Timpani

Violins I

Violins II

Violas

Cellos

BassesCheck us out online!www.clevelandorchestra.com

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Good Audience Memberfor Live Orchestra Performance

DesCriptionApplauds when conductor crosses the stage and steps onto the podium.

Watches for the conductor to signal the orchestra to begin.Listens quietly in seat while orchestra performs.

Claps when music stops and conductor turns to face the audience.Listens carefully to enjoy the music.

mUsiCal enJoyment

FIRST VIOLINSwilliam PreucilCONCERTMASTER Blossom-Lee ChairJung-min Amy leeASSOCIATE CONCERTMASTER Gretchen D. and Ward Smith ChairPeter OttoFIRST ASSOCIATE CONCERTMASTER

Jessica leeASSISTANT CONCERTMASTER Clara G. and George P. Bickford ChairTakako masame Paul and Lucille Jones Chairwei-Fang Gu Drs. Paul M. and Renate H. Duchesneau ChairKim Gomez Elizabeth and Leslie Kondorossy ChairChul-in Park Harriet T. and David L. Simon Chairmiho hashizume Theodore Rautenberg ChairJeanne Preucil rose Dr. Larry J.B. and Barbara S. Robinson ChairAlicia Koelz Oswald and Phyllis Lerner Gilroy Chairyu yuan Patty and John Collinson Chairisabel Trautwein Trevor and Jennie Jones Chairmark dumm Gladys B. Goetz ChairAlexandra Preucil Katherine bormann Analisé denise Kukelhan

SECOND VIOLINSstephen rose* Alfred M. and Clara T. Rankin ChairEmilio llinás 2

James and Donna Reid ChairEli matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chairsonja braaten molloyCarolyn Gadiel warnerElayna duitmanioana missitsJeffrey Zehngut Vladimir deninzonsae shiragamiscott weberKathleen Collinsbeth woodsideEmma shookyun-Ting lee

FRaNz WELSER-MöST MuSiC DiRECTORKelvin Smith Family Chair

VIOLaSwesley Collins* Chaillé H. and Richard B. Tullis Chairlynne ramsey1

Charles M. and Janet G. Kimball Chairstanley Konopka 2

mark Jackobs Jean Wall Bennett ChairArthur Klimarichard waughlisa boykolembi VeskimetsEliesha nelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSmark Kosower* Louis D. Beaumont Chairrichard weiss1

The GAR Foundation ChairCharles bernard2

Helen Weil Ross Chairbryan dumm Muriel and Noah Butkin ChairTanya Ell Thomas J. and Judith Fay Gruber Chairralph Currybrian Thornton William P. Blair III Chairdavid Alan harrellmartha baldwin dane Johansen Paul Kushious

BaSSESmaximilian dimoff * Clarence T. Reinberger ChairKevin switalski 2

scott haigh1

Mary E. and F. Joseph Callahan Chairmark AthertonThomas sperlhenry Peyrebrune Charles Barr Memorial ChairCharles Carletonscott dixonderek Zadinsky

HaRPTrina struble* Alice Chalifoux Chair

FLUTESJoshua smith* Elizabeth M. and William C. Treuhaft Chairsaeran st. Christophermarisela sager 2

Austin B. and Ellen W. Chinn Chairmary Kay Fink

PICCOLOmary Kay Fink Anne M. and M. Roger Clapp Chair

OBOESFrank rosenwein* Edith S. Taplin ChairCorbin stair Jeffrey rathbun2

Everett D. and Eugenia S. McCurdy Chairrobert walters

ENGLISH HORNrobert walters Samuel C. and Bernette K. Jaffe Chair

CLaRINETSrobert woolfreydaniel mcKelway 2

Robert R. and Vilma L. Kohn Chair

E-FLaT CLaRINETdaniel mcKelway Stanley L. and Eloise M. Morgan Chair

BaSS CLaRINETlinnea nereim

BaSSOONSJohn Clouser* Louise Harkness Ingalls ChairGareth Thomas barrick stees2

Sandra L. Haslinger ChairJonathan sherwin

CONTRaBaSSOONJonathan sherwin

HORNSmichael mayhew§

Knight Foundation ChairJesse mcCormick Robert B. Benyo Chairhans Clebsch richard KingAlan demattia

TRUMPETSmichael sachs* Robert and Eunice Podis Weiskopf ChairJack suttelyle steelman2

James P. and Dolores D. Storer Chairmichael miller

CORNETSmichael sachs* Mary Elizabeth and G. Robert Klein Chairmichael miller

TROMBONESmassimo la rosa* Gilbert W. and Louise I. Humphrey Chairrichard stout Alexander and Marianna C. McAfee Chairshachar israel2

BaSS TROMBONEThomas Klaber

EUPHONIUM aNDBaSS TRUMPETrichard stout

TUBayasuhito sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPaNIPaul yancich* Otto G. and Corinne T. Voss ChairTom Freer 2

Mr. and Mrs. Richard K. Smucker Chair

PERCUSSIONmarc damoulakis * Margaret Allen Ireland Chairdonald millerTom Freer Thomas sherwood

KEYBOaRDINSTRUMENTSJoela Jones* Rudolf Serkin ChairCarolyn Gadiel warner Marjory and Marc L. Swartzbaugh Chair

LIBRaRIaNSrobert O’brien Joe and Marlene Toot Chair donald miller

ENDOWED CHaIRSCURRENTLY UNOCCUPIEDSidney and Doris Dworkin ChairDr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sunshine ChairRobert Marcellus ChairGeorge Szell Memorial Chair

* Principal§ Associate Principal1 First Assistant Princi pal2 Assistant Principal

CONDUCTORS

Christoph von dohnányiMuSIC DIRECTOR LAuREATE

brett mitchellASSOCIATE CONDuCTOR Elizabeth Ring and William Gwinn Mather Chair

robert PorcoDIRECTOR OF CHORuSES Frances P. and Chester C. Bolton Chair

mphony No. 5 in C Minor, Op. 67

Brett Mitchell, Associate Conductor, The Cleveland Orchestra

birThPlACE: Seattle, Washington

FAmily: I got married three summers ago to my beautiful wife Angela, who is a host on WCLV. We live in Lakewood with our two cats, M’ow and Jack.

FAVOriTE FOOd: My mom’s turkey dinner is pretty hard to beat. (Then again, so is my dad’s flank steak...)

FAVOriTE mOViE: Impossible to choose just one! I love Star Wars, the first two Superman films (starring Christopher Reeve), Field of Dreams, and Moulin Rouge!

FAVOriTE bOOK: Extremely Loud and Incredibly Close by Jonathan Safran Foer. Also love the works of Cummings, Auden, Hesse, Wilde, and Eliot.

PErFOrmErs i AdmirE: Every member of The Cleveland Orchestra.

sTudiEd musiC AT: I got my undergraduate degree in music composition from Western Washington university, and my graduate degrees in orchestral conducting from The university of Texas at Austin.

OrChEsTrAs i’VE COnduCTEd: London Philharmonic Orchestra, Leipzig Gewandhaus Orchestra, Detroit Symphony, Oregon Symphony, Houston Symphony, Rochester Philharmonic, Philadelphia Orchestra, Baltimore Symphony, Memphis Symphony, Pittsburgh Symphony, Frankfurt Radio Symphony, Washington D.C.’s National Symphony Orchestra, and the Saint Paul Chamber Orchestra.

insTrumEnTs i hAVE sTudiEd: My primary instrument has always been the piano, which I’ve played since I was a little boy. In school, I first played the saxophone, then switched to percussion in high school.

my hObbiEs ArE: I absolutely love Cleveland, but deep down, I’ll always be a die-hard Seattle Seahawks fan. Go Hawks! (I know, I know...)

The whole Cleveland Orchestra goes ‘back to school’ once each year. In recent years, in-school concerts have taken place at John Hay, James Ford Rhodes, John Adams, Cleveland School of the Arts, Memorial School, Mound and Patrick Henry School (all Cleveland public schools), and Saint Ignatius, Saint Joseph Academy, and Shaker Heights High School.

Conductor of Cleveland Orchestra Education Concerts

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When it was completed in 1924, Henry Turner Bailey, the director of the Cleveland School of Art (now the Cleveland Institute of Art), described the Byzantine-style building as “one of the masterpieces of the city.”

The building’s exterior features Indiana limestone (just like Severance Hall). Its distinctive heptagonal shape was chosen because it closely approximates a circle, a symbol of unity. The Temple’s large gold dome is a landmark in University Circle neighborhoods. In 1974 the building was added to the National Register of Historic Places.

In addition to its distinctive architecture, the Temple is renowned for the distinguished rabbis who have occupied its pulpit, particularly Rabbi Abba Hillel Silver and his son, Rabbi Daniel Silver, whose combined leadership lasted 72 years. Abba Hillel Silver was a powerful presence on the pulpit and was known for his Sunday-morning lectures, which reflected a combination of scholarship and spirituality, and were widely attended not only by the congregation, but also by non-Jewish members of the community. As an internationally recognized leader of the Zionist movement, Abba Hillel Silver’s famous address to the United Nations in 1947 contributed to the creation of the state of Israel.

Rabbi Daniel Silver, a scholar and great intellect like his father, and a devoted spiritual leader, took over leadership of the Temple in 1963. Eager to help address the emerging challenges in the Hough neighborhood where The Temple is located, he chaired several civic groups committed to the welfare of the community, determined that the Temple remain vital to the inner city.

As many families moved further and further to the east (to Beachwood, Solon, Orange and beyond), a ‘branch synagogue’ was established in suburban Beachwood in 1969. Even as the branch became the main place of worship and activities, the grand building on Ansel Road continued to be the congregation’s heart and soul. Although in physical decline, the building was used until recently for High Holy Day services, life cycle events, and housed an educational program for inner city youth.

Fast forward to 2010. The Temple and Case Western Reserve University entered into a collaboration to breathe new life into the Temple building and to provide a new space for CWRU’s arts programs (music, dance etc.) at the same time. A generous multimillion dollar gift from the Maltz Family Foundation jumpstarted the building renovation, and last September (2015) the Temple officially became the Maltz Performing Arts Center at the Temple Tifereth-Israel on the campus of Case Western Reserve University. The inaugural concert was performed by The Cleveland Orchestra.

You will notice an ‘acoustical canopy’ – a 60,000 pound glass structure that hangs from the ceiling that helps to direct the sound coming from the stage. It is an engineering feat that has transformed the sanctuary into an excellent concert hall.

Preserving and renovating a building for a new purpose is called “adaptive reuse.” For Cleveland, it’s the latest outstanding example of something the city has been doing well for decades – preserving and reusing its architectural treasures!

A Tale of Two Buildingscontinued from cover

maltz Performing Arts Center

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N B T U C L A R I N E T B L T C Z A R V N O P P G Q R S R O E O I C Q A M K E Y B O A R D I W N X C S W S T R I N G N G D F O D D Y Y X T S C D U E T G C B B U O M L O I L U H I G C E L L O C B B A O M J S A X O P H O N E T P A N R P K S R E E D S O A Z O O L N D A H I P W T P X O R Y R S S T D N W O O D W I N D L N A I C R A I U N N F G A M L S O S T O O T C H I M E S N V P N K O R U M R O R G A N H O I I A J X U F B C E V B A S S O O N R Y O M L O A B A S S V I O L M E P V P U N V I O L I N P O A N D L E E T E U T R O R C H E S T R A Y T E V T A M B O U R I N E U Y C M A R C H S B A S S D R U M Q J

1. _______________________ 19. ______________________2. _______________________ 20. ______________________3. _______________________ 21. ______________________4. _______________________ 22. ______________________5. _______________________ 23. ______________________6. _______________________ 24. ______________________7. _______________________ 25. ______________________8. _______________________ 26. ______________________9. _______________________ 27. ______________________10. ______________________ 28. ______________________11. ______________________ 29. ______________________12. ______________________ 30. ______________________13. ______________________ 31. ______________________14. ______________________ 32. ______________________15. ______________________ 33. ______________________16. ______________________ 34. ______________________17. ______________________ 35. ______________________18. ______________________ 36. ______________________

SBEAT ____________________________

ILZREBO __________________________

EVHTEOENB ______________________

SKADU ___________________________

LEVAR ____________________________

TROZAM __________________________

USSARST _________________________

GTRYAHUED ______________________

CHOBL ____________________________

SMLLIIAW _________________________

CHURB ____________________________

HHVICTSOOKAS __________________

VPOEKIRFO _______________________

NISSORI __________________________

ZIFNI ______________________________

Sounds the of theOrchestra

VIOLINShOpeof

Violins of Hope

BLOCHWILLIAMS

BRUCH SHOSTAKOVICH

PROKOFIEVROSSINI

FINZI

the Sounds of the orchestra

BATESBERLIOZ

BEETHOVENDUKASRAVEL

MOZARTSTRAUSS

DAUGHERTY

ScrAMBLED coMPoSErSbandbassbass drumbassoonbowbrasscellochimesclarinet

conductorcymbalsduetflutegonghornkeyboardmarchoboe

MuSIcAL worD SEArcH orchestraorganpercussionpianoreedsaxophonesnare drumsolostring

tambourinetimpanitrombonetrumpettubaviolaviolinwoodwindxylophone

7

Send a letter to the editor about your concert experience. Mail your letter to:

Education DepartmentThe Cleveland OrchestraSeverance Hall11001 Euclid AvenueCleveland, OH 44106

Include your name, school and grade

The Cleveland Orchestra Youth Chorus (COYC) was founded in 1991 to help raise awareness of choral music-making in the schools of north-east Ohio and to encourage more students to continue their choral activities through college and into adulthood. Like their colleagues in the Youth Orchestra, they are in grades 9-12, from over 30 schools and communities, and are selected by competi-tive auditions. The COYC has the opportunity to perform concerts in the greater Cleve-land community as well as on stage at Severance Hall alongside their colleagues in the Cleveland Or-chestra Youth Orchestra. For information, please call the Chorus Office at (216) 231-7374 or email chorus@clevelandorchestra.com.

2016-2017 marks the 31st season of the Cleveland Orchestra Youth Orchestra, and its third season with Brett Mitchell as music director.

During the 2016-17 season, the 100 members of the Cleveland Orches-tra Youth Orchestra will present three concerts at Severance Hall on November 18, February 19 (with the Cleveland Orchestra Youth Cho-rus) and May 12.

Youth Orchestra members come from 40 communities across Ohio. It is very possible that someone from your area is in the Youth Orchestra. Most of these talented young musicians have been playing an instrument for at least three years, and some for many more. They became Youth Orchestra members by playing an audition for the music director and members of The Cleveland Orchestra.

Members of the Cleveland Orchestra Youth Orchestra and their conductor practice together every weekend at Severance Hall. They rehearse the same great music as The Cleveland Orchestra, and they get to meet and work with many members of The Cleveland Orchestra who serve as coaches for the Youth Orchestra. If you are in middle school or high school and play an orchestral instrument, please consider auditioning. The Youth Orchestra holds auditions every spring – usually in May. For Youth Orchestra information, please call (216) 231-7352 or visit www.clevelandorchestrayouthorchestra.com.

The Cleveland Orchestra Children’s (COCC) and Preparatory Choruses (COCPC) help students develop their leadership skills through music

which help strengthen their future musical experiences. The Cleveland Orchestra Chil-dren’s Chorus, founded in 1967, and comprised of students in grades 6-8; performs regularly with The Cleveland Orchestra and Cleveland Orchestra Cho-rus throughout their subscrip-tion and holiday season. The Preparatory Chorus led by Su-zanne Walters and comprised of students in grades 5-8, col-laborates with the Children’s

Chorus in two concerts each season. Students are chosen through audi-tions held in the spring. For information, please call the Chorus Office at (216) 231-7374 or email chorus@clevelandorchestra.com.

The Cleveland Orchestra’s 2016-17 Education and Community Programs are made possible by:

as of August 2016

B R E T T M I T C H E L L • M U S I C D I R E C T O R

A n n U S H E R • D I R E C T O R

C L E V E L A N D O R C H E S T R A

CHILDREN’S CHORUS

L I S A W O n g • D I R E C T O R

EndOwmEnT FundErsHope and Stanley I. AdelsteinKathleen L. BarberMr. Roger G. BerkIn memory of Anna B. BodyIsabelle and Ronald BrownDr. Jeanette Grasselli Brown

and Dr. Glenn R. BrownRoberta R. CalderwoodAlice H. Cull MemorialMr. and Mrs. Charles R. Emrick, Jr.Charles and Marguerite C. GalanieMr. David J. GoldenThe George Gund FoundationThe Hershey FoundationDorothy Humel HovorkaMr. James J. HummerFrank and Margaret HyncikJunior Committee of The Cleveland OrchestraWalter and Jean Kalberer FoundationAlfred M. Lerner In-School Performance FundLinda and Saul LudwigMachaskee Fund for Community ProgrammingMr. and Mrs. Stanley A. MeiselChristine Gitlin Miles, in honor of Jahja LingMr. and Mrs. David T. MorganthalerMorley Fund for Pre-School EducationThe Eric & Jane Nord Family FundPysht FundThe Max Ratner Education Fund, given by

the Ratner, Miller, and Shafran Families and Forest City Enterprises, Inc.

The William N. Skirball EndowmentAnonymous, in memory of Georg SoltiJules and Ruth Vinney Cleveland Orchestra

Youth Orchestra Touring Fund PrOGrAm FundErsThe Abington FoundationAmerican Greetings CorporationEva L. and Joseph M. Bruening FoundationMary E. and F. Joseph Callahan FoundationConway Family FoundationCuyahoga County Residents through

Cuyahoga Arts & CultureDominion FoundationThe Harry K. Fox and Emma R. Fox

Charitable FoundationThe Giant Eagle FoundationKeyBankThe Laub FoundationMacy’sMuna & Basem Hishmeh FoundationMartha Holden Jennings FoundationThe Nord Family FoundationNordson Corporation FoundationOhio Arts CouncilOhio Savings Bank,

A Division of New York Community BankPNC BankThe Reinberger FoundationAlbert G. and Olive H. Schlink FoundationThe Sherwin-Williams CompanyThomas H. White FoundationThe Edward and Ruth

Wilkof FoundationWomen’s Committee of

The Cleveland Orchestra

HALLOWEEN SPOOKTACuLAR suPErmAn AT ThE symPhOnyOCT 30, 2016, SuN at 3 p.m.The Cleveland OrchestraBrett Mitchell, conductor

Look! Up in the sky! It’s a bird! It’s a plane! No, it’s Superman at the Symphony! Cel-ebrating the first comic book superhero ever created (right here in Cleveland!), this “super” fun concert features music from John Williams’s score for the movie Super-man and Michael Daugherty’s Metropolis Symphony, accompanied by classic images of the Man of Steel. Our annual Halloween Costume Contest begins at 2 p.m. — spe-cial prize category for the best Superman or Superwoman!

This popular three- concert series, designed for young people ages 7 & up, is a perfect introduction to orchestral music.

PETEr And ThE wOlFAPril 2, 2017 SuN at 3 p.m.The Cleveland OrchestraBrett Mitchell, conductorWith special guests Magic Circle Mime Company

Family Series Concerts are supported by The Giant Eagle Foundation

Free pre-concert activities begin one hour before concert time.

Order tickets online at clevelandorchestra.com,

or call 216-231-1111, or 800-686-1141.

AcknowledgmentsThe Score is prepared by the Education & Community Department of The ClevelandOrchestra. All rights reserved.

Photos of The Cleveland Orchestra by Roger Mastroianni

The Musical Arts Association, operating The Cleveland Orchestra

André Gremillet, Executive Director

Joan Katz Napoli, Director, Education and Community Programs

Sandra A. Jones, Manager, Education and Family Concerts

Lauren Generette, Manager, Cleveland Orchestra Youth Orchestra

Sarah Lamb, Coordinator Education & Community Programs

We gratefully acknowledge the following organizations for their contributions to the Violins of Hope research:

- Zachary Lewis, The Cleveland Plain Dealer

- Mark Swaim-Fox and Lisa Lefstein Berush, Facing History and Ourselves

- James A. Grymes, Violins of Hope

Peter and the Wolf, Prokofiev’s beloved tale whose characters are portrayed by vari-ous instruments of the orchestra, returns to Severance Hall! Peter (strings), the Bird (flute), the Cat (clarinet), Grandpa (bas-soon), the Duck (oboe), the Wolf (horns), and the Hunters (timpani) are assisted in this ‘re-telling with a twist’ by the popular (and hilarious) Magic Circle Mime Co.

ThE mAGiC FirEbirdmArCh 5, 2017, SuN at 3:00 p.m.

The Cleveland OrchestraRuth Reinhardt, conductorWith special guests Enchantment Theatre Company

An enchanted tree bears golden apples, a handsome Prince pursues a beautiful princess, and a magnificent firebird with magic feathers helps the Prince defeat the evil magician Kashcheï! With life-sized puppets, masks, and magic, Enchantment Theatre Company presents the classic Russian fairytale The Firebird, set to the original ballet music by Igor Stravinsky. Don’t miss this magical production!

Family ConCertseries

AmericAn GreetinGs