the cleveland orchestra april 14, 15, 16, 21, 23, 24, 26 concerts

2015-16 SEASON

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Concert: April 14, 15, 16

MOZART AND HAYDN — pages 24-25 including KeyBank Fridays@7: ALL-MOZART

Concert: April 21, 23, 24

BEETHOVEN’S HEROIC SYMPHONY — page 55

At the Movies: April 26

THE BRIDE OF FRANKENSTEIN — page 75

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2015-16 SEASON

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

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

Upfront From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . . 9 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 11 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

WEEK 17 MOZART AND HAYDN Program: April 14, 15, 16 . . . . . . . . . . . . . . . . . 24-25 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 27 HAYDN Symphony No. 6 (“Le Matin”) . . . . . . . . . . . . . . . . 31 MOZART Concerto for Flute and Harp . . . . . . . . . . . . . . . . . 33 MOZART Symphony No. 39 . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Conductor: Jane Glover . . . . . . . . . . . . . . . . . . . . . . . 29 Soloists: Y. Kondonassis / J. Smith . . . . . . . . . . . 38-39

NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . 46-51

WEEK 18 BEETHOVEN’S HEROIC SYMPHONY Program: April 21, 23, 24 . . . . . . . . . . . . . . . . . . . . 55 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 57 WAGNER Polonia: Concert Overture . . . . . . . . . . . . . . . . . . 61 CHOPIN Piano Concerto No. 2 . . . . . . . . . . . . . . . . . . . . . . . 63 BEETHOVEN Symphony No. 3 (“Heroic”) . . . . . . . . . . . . . . . . . . 69

Conductor: Antoni Wit . . . . . . . . . . . . . . . . . . . . . . . . 59 Soloist: Jan Lisiecki . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

WEEK 18 AT THE MOVIES THE BRIDE OF FRANKENSTEIN Program: April 26 . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Conductor: Richard Kaufman . . . . . . . . . . . . . . . . . . 79

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . 52-53 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83-94

WEEKS 17 AND 18

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

All unused books are recycled as part of theOrchestra’s regular busi-ness recycling program.

These books are printed with EcoSmart certifi ed inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

50%

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

Copyright © 2016 by The Cleveland Orchestra and the Musical Arts Association

Eric Sellen, Program Book Editor E-MAIL: [email protected]

Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

Program book advertising is sold through Live Publishing Company at 216-721-1800

The Cleveland Orchestra is grateful to the following organizations for their ongoing

generous support of The Cleveland Orchestra: National Endowment for the Arts,

the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County

through Cuyahoga Arts and Culture.

The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding

from the State of Ohio.

The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

4 The Cleveland OrchestraTable of Contents

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Virginia Havens loves to learn. Living at Judson Manor, she continues to pursue lifelong learning opportunities at Case Western Reserve University. Judson and Case Western Reserve University recently established an exciting new partnership that offers Judson residents complete access to University events, programs and facilities, like the Kelvin Smith Library and the new state-of-the-art Tinkham Veale University Center.For CWRU alumni considering a move to Judson, there is an attractive discount towards an independent living entry fee and relocation package.Learn more about all the benefits included in the new partnership between Judson and Case Western Reserve University. Call (216) 791-2004 today.

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7Severance Hall 2015-16 7

April 2016

A Special Community — Long before I became executive director here, I had heard that this community was unique. I am now learning firsthand just how remarkable you are. You listen to music more in-tently. You have more pride for your orchestra. You care more — not simply in terms of financial commitment, but in a generosity of spirit and support. It’s not about whether you attend many concerts or just one or two, or if your family’s only relationship with the Orchestra is

through education programs for your children. The people of Northeast Ohio believe in The Cleveland Orchestra. You know how great this orchestra is. You know how important the arts are. Your pride and generosity, your enthusiasm and support combine to continu-ally nourish and propel The Cleveland Orchestra forward.

A Community’s Orchestra — With that level of encouragement and support from you comes a great sense of responsibility for us to uphold the excellence and to pursue the in-novative spirit that this community and, indeed, the world demand and expect from us. The Cleveland Orch estra takes its role as this community’s orchestra very seriously. To reach new audience members, and to share music in new ways. To proudly carry the name and spirit of Cleveland throughout the world. To use the power of music to make a difference in people’s lives. Your support and interest is actively shaping what this Orchestra is and will be.

Collaborations and Partnerships — Integral to being a community’s orchestra is actively partnering with local organizations, and we are proud to showcase Cleveland’s arts, busi-ness, and educational institutions through a wide variety of collaborations — in perfor-mance, through education programs, and in enhancing the fabric of the community. This past fall, we partnered with Case Western Reserve University, Maltz Museum of Jewish Heri-tage, ideastream, and others to present Violins of Hope Cleveland — educating and inspiring thousands across the city through programs and events centered on restored violins that survived the Holocaust. Each and every year, we continue and deepen our long-term col-laboration with the Cleveland Metropolitan School District, and other learning institutions throughout the region, to present education programs for all ages. This spring brings the latest creation in our ongoing partnership with Cleveland Play House, with the joint presen-tation of a brand-new play, The Good Peaches. This summer brings partnerships with the National Parks System and with the Cleveland Museum of Art.

Strengthening Our Hometown — Creativity and activity flourish throughout the region, and The Cleveland Orchestra is proud to call this great cultural hub its home. We are hon-ored to bring attention and acclaim to Northeast Ohio by highlighting the arts and culture so abundant here. We believe strongly that great art is a cornerstone to the quality of life of all generations, and we are dedicated to sharing great music with everyone.

In the months and years ahead, I hope to touch on many topics with you in this space. And I hope you will share your responses. There is so much to talk about! In the meantime, thank you for listening. Thank you for caring. Thank you for making The Cleveland Orches-tra everything it can possibly be.

Perspectives from the Executive Director

André Gremillet

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BROOKLYN HEIGHTS 1100 Resource Dr. WOODMERE 28000 Chagrin Blvd. 216.741.9000 CaliforniaClosets.com/Cleveland

Musical Arts Association

* deceased

TE Trustee Emeritus


NON-RESIDENT TRUSTEES Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

Richard C. Gridley (SC) Loren W. Hershey (DC)

Herbert Kloiber (Germany)

TRUSTEES EX-OFFICIO Faye A. Heston, President, Volunteer Council of Th e Cleveland Orchestra Dr. Patricia Moore Smith, President, Women’s Committee of Th e Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of Th e Cleveland Orchestra

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Beverly J. Warren, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

PAST PRESIDENTS D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

Ward Smith 1983-95Richard J. Bogomolny 1995-2002, 2008-09James D. Ireland III 2002-08

RESIDENT TRUSTEES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Betsy Juliano Jean C. Kalberer Nancy F. Keithley

Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. KramerTE

Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Milton S. Maltz Nancy W. McCann Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. OateyTE

Katherine T. O’Neill The Honorable John D. Ong Rich Paul Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin

Audrey Gilbert Ratner Charles A. RatnerZoya ReyzisBarbara S. Robinson Paul RoseSteven M. RossRaymond T. SawyerLuci ScheyHewitt B. Shaw Richard K. SmuckerJames C. SpiraR. Thomas StantonJoseph F. Toot, Jr.Daniel P. WalshThomas A. WaltermireGeraldine B. WarnerJeffery J. WeaverMeredith Smith WeilJeffrey M. WeissNorman E. WellsPaul E. Westlake Jr.David A. Wolfort

OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair Hewitt B. Shaw, Secretary Beth E. Mooney, Treasurer

Jeanette Grasselli Brown Matthew V. Crawford Alexander M. Cutler David J. Hooker Michael J. Horvitz

Douglas A. Kern Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley

Larry PollockAlfred M. Rankin, Jr.Audrey Gilbert RatnerBarbara S. Robinson

THE MUSICAL ARTS ASSOCIATION as of January 2016

operating Th e Cleveland Orchestra, Severance Hall, and Blossom Music Festival

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director André Gremillet, Executive Director

HONORARY TRUSTEES FOR LIFE Gay Cull Addicott Oliver F. Emerson* Allen H. Ford

Robert W. Gillespie Dorothy Humel Hovorka Robert P. Madison

Robert F. MeyersonJames S. Reid, Jr.

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A S I T N E A R S T H E C E N T E N N I A L O F its founding in 2018, The Cleveland Orch estra is undergoing a new trans-formation and renaissance. Under the leadership of Franz Welser-Möst, with the 2015-16 season marking his fourteenth year as the ensemble’s music director, The Cleveland Orchestra is acknowledged among the world’s handful of best orches-tras. With Welser-Möst, the ensemble’s musicians, board of directors, staff , volun-teers, and hometown are working togeth-er on a set of enhanced goals for the 21st century — to continue the Orchestra’s legendary command of musical excel-lence, to renew its focus on fully serv-ing the communities where it performs through concerts, engagement, and music education, to develop the young-est audience of any orchestra, to build on its tradition of community support and fi nancial strength, and to move forward into the Orchestra’s next century with an unshakeable commitment to innovation and a fearless pursuit of success. The Cleveland Orchestra divides its time each year across concert seasons at home in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devot-ed to touring and to a series of innovative and intensive performance residencies. These include an annual set of concerts and education programs and partnerships in Florida, a recurring residency at Vien-na’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s Lincoln Center Festival, and at Indi-ana University.

Musical Excellence. The Cleve-land Orchestra has long been commit-ted to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknow ledged among the best orchestra-conductor partnerships of to-day. Performances of standard repertoire and new works are unrivalled at home, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and radio and internet broadcasts. Its longstand-ing championship of new composers and commissioning of new works helps audi-ences experience music as a living lan-guage that grows and evolves with each new generation. Recent performances with Baroque specialists, recording proj-ects of varying repertoire and in diff erent locations, fruitful re-examinations and juxtapositions of the standard repertoire, and acclaimed collaborations in 20th- and 21st-century masterworks together en-able The Cleveland Orchestra the ability to give musical performances second to none in the world. Serving the Community. Pro-grams for students and community en-gagement activities have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities, and have more recently been extended to its touring and residencies. All are be-ing created to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique “At Home” neigh-borhood residency program, designed to

11Severance Hall 2015-16 11About the Orchestra

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B Y T H E N U M B E R S

The Orchestra was founded in 1918 and performed its

fi rst concert on December 11.

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

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The 2015-16 season will mark Franz Welser-Möst’s 14th

year as music director.

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Over 40,000 young people attend Cleveland Orch estra concerts each year via programs funded by the Center for Future Audiences, through student programs and

Under 18s Free ticketing — making up 20% of audiences.

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Over half of The Cleveland Orchestra’s funding each year

comes from thousands of generous donors and spon-

sors, who together make possible our concert presenta-

tions, community programs, and education initiatives.

SEVERANCE HALL, “America’s most beautiful concert hall,” opened in 1931

as the Orchestra’s permanent home.

each year

bring the Orchestra and citizens together in new ways. Additionally, a new Make Music! initiative is being developed, cham-pioned by Franz Welser-Möst in advocacy for the benefi ts of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music educa-tion programs, the Orchestra made national and international headlines through the creation of its Center for Future Audi-ences in 2010. Established with a signifi cant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orches-tra’s continuing work to develop interest in classical music among young people. The fl agship “Un-der 18s Free” program has seen unparalleled success in increas-ing attendance and interest — with 20% of attendees now comprised of concertgoers age 25 and under. Innovative Programming. The Cleveland Orchestra was among the fi rst American orchestras heard on a regular series of radio broadcasts, and its Sever-ance Hall home was one of the fi rst concert halls in the world built with recording and broadcasting capabilities. Today, Cleve-land Orchestra concerts are presented in a variety of formats for a variety of audiences — including popular Friday night concerts (mixing onstage symphonic works with post-concert entertainment), fi lm scores performed live by the Orchestra, collabora-

tions with pop and jazz singers, ballet and opera presentations, and standard reper-toire juxtaposed in meaningful contexts with new and older works. Franz Wels-er-Möst’s creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding.

An Enduring Tradition of Com-munity Support. The Cleveland Orches-tra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s concerts. Hun-dreds of thousands have learned to love music through its education programs and celebrated important events with its music. While strong ticket sales cover just under half of each season’s costs, it is the generos-

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13Severance Hall 2015-16 13About the Orchestra

Franz Welser-Möst leads a concert at John Adams High School. Through such In-School Performances and Education Concerts at Severance Hall, The Cleveland Orchestra has introduced more than 4 million young people to symphonic music over the past nine decades.

ity of thousands each year that drives the Orchestra forward and sustains its extraor-dinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the Orch estra quickly grew from a fi ne regional organization to being one of the most admired sympho-ny orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Soko loff , 1918-33; Artur Rodzinski, 1933-43; Erich Leins dorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Wels-er-Möst, since 2002. The opening in 1931 of Severance Hall as the Orchestra’s permanent home, with later acoustic refi nements and remodeling

of the hall under Szell’s guidance, brought a special pride to the ensemble and its home-town, as well as providing an enviable and intimate acoustic environment in which to develop and refi ne the Orch estra’s artistry. Touring performances throughout the Unit-ed States and, beginning in 1957, to Europe and across the globe have confi rmed Cleve-land’s place among the world’s top orches-tras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facili-ties in the United States. Today, concert performances, com-munity presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constitu-ency around the world.

14 The Cleveland OrchestraAbout the Orchestra

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

Franz Welser-Möst is among today’s most distin-guished conductors. The 2015-16 season marks his fourteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partner-ship now extending into the next decade. In 2015, the New York Times declared Cleveland to be the “best American orchestra“ due to its virtuosity, elegance of sound, variety of color, and chamber-like musical co-hesion. The Cleveland Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its recent success in semi-staged and staged opera productions. In addition to an unprecedented annual resi-dency in Miami, Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals, including the Salzburg Festival and the Lucerne Festival. The Cleveland Orchestra has been hugely successful in build-ing up a new and, notably, a young audience through its groundbreaking programs involving students and by working closely with universities. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include crit-ically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014 and Beethoven’s Fidelio in 2015) and a tour of Scandinavia, as well as appearanc-es at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. This season, he leads the Vienna Philharmonic in two weeks of subscription concerts, and will conduct a new production of Strauss’s Die Liebe der Danae with them at the 2016 Salzburg Festival. Mr. Welser-Möst also maintains relationships with a number of other European orchestras, and the 2015-16 season includes return engagements to Munich’s Bavar-ian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. In December, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm and conducted the Filarmonica of La Scala Milan in a televised Christmas concert. This season, he also makes his long-anticipated debut with Amsterdam’s Royal Concert-gebouw Orchestra for two weeks of concerts. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the

Music Director

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18 The Cleveland OrchestraMusic Director

Zurich Opera across a decade-long tenure, conducting more than forty new produc-tions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Gram-my nominations. The Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik 2015 for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of fi ve of Bruck-ner’s symphonies and a recently-released multi-DVD set of major works by Brahms, fea-turing Yefi m Bronfman and Julia Fischer as soloists. For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the

Republic of Austria for his artistic achieve-ments, and the Kilenyi Medal from the Bruckner Society of America.

AT LEFT

Franz Welser-Möst was invited to lead the prestigious Nobel Prize Concert with the Stockholm Philharmonic in December 2015. Other recent accolades include being singled out in a year-end review of notable performers and perform-ances in 2015 by Deutschland Radio.

“Right now The Cleveland Orchestra may be, as some have argued, the fi nest in America. . . . The ovations for Mr. Welser-Möst and this remarkable orchestra were ecstatic.” —New York Times

“Franz Welser-Möst has managed something radical with The Cleveland Orch-estra — making them play as one seamless unit. . . . The music fl ickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.”

—London Times

“There were times when the sheer splendor of the orchestra’s playing made you sit upright in awestruck appreciation. . . . The music was a miracle of ex-pressive grandeur, which Welser-Möst paced with weight and fl uidity.”

—San Francisco Chronicle

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Orchestra Roster

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee ChairYoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Takako MasamePaul and Lucille Jones Chair

Wei-Fang GuDrs. Paul M. and Renate H. Duchesneau Chair

Kim GomezElizabeth and Leslie Kondorossy Chair

Chul-In ParkHarriet T. and David L.Simon Chair

Miho HashizumeTh eodore Rautenberg Chair

Jeanne Preucil RoseDr. Larry J.B. and Barbara S. Robinson Chair

Alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

Isabel TrautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

Alexandra PreucilKatherine BormannAnalisé Denise Kukelhan

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2

James and Donna Reid ChairEli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten MolloyCarolyn Gadiel WarnerElayna DuitmanIoana MissitsJeffrey Zehngut

Vladimir DeninzonSae ShiragamiScott WeberKathleen CollinsBeth WoodsideEmma ShookYun-Ting Lee

VIOLASRobert Vernon*

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2

Mark JackobsJean Wall Bennett Chair

Arthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSMark Kosower*

Louis D. Beaumont ChairRichard Weiss1

Th e GAR Foundation ChairCharles Bernard2

Helen Weil Ross ChairBryan Dumm

Muriel and Noah Butkin ChairTanya Ell

Th omas J. and Judith Fay Gruber Chair

Ralph CurryBrian Thornton

William P. Blair III ChairDavid Alan HarrellMartha BaldwinDane JohansenPaul Kushious

BASSESMaximilian Dimoff *

Clarence T. Reinberger ChairKevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune

Charles Barr Memorial ChairCharles CarletonScott DixonDerek Zadinsky

HARPTrina Struble*

Alice Chalifoux Chair

This roster lists the fulltime mem-bers of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

F R A N Z W E L S E R - M Ö S T M U S I C D I R E C T O R Kelvin Smith Family Chair

T H E C L E V E L A N D

20 The Cleveland Orchestra

Orchestra Roster

FLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran 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 StairJeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaff e Chair

CLARINETSRobert WoolfreyDaniel McKelway 2

Robert R. and Vilma L. Kohn Chair

Linnea Nereim

E-FLAT CLARINETDaniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINETLinnea Nereim

BASSOONSJohn Clouser *

Louise Harkness Ingalls ChairGareth ThomasBarrick Stees2 *

Sandra L. Haslinger ChairJonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSMichael Mayhew §

Knight Foundation ChairJesse McCormick

Robert B. Benyo ChairHans ClebschRichard KingAlan DeMattia

TRUMPETSMichael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack SutteLyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard StoutAlexander andMarianna C. McAfee Chair

Shachar Israel2

BASS TROMBONEThomas Klaber

EUPHONIUM AND BASS 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 FreerThomas Sherwood

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin ChairCarolyn Gadiel Warner

Marjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’Brien

Joe and Marlene Toot ChairDonald Miller

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

* Principal § Associate Principal 1 First Assistant Principal 2 Assistant Principal * on sabbatical leave

CONDUCTORSChristoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,CLEVELAND ORCHESTRA MIAMI

Brett MitchellASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

O R C H E S T R A


2015-16 SEASON

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23Severance Hall 2015-16

Concert Previews Cleveland Orchestra Concert Previews are presented before every regular subscription con-cert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a vari-ety of interviews and through talks by local and national experts. Concert Previews are made possible in part by a generous endowment gift from Dorothy Humel Hovorka.

April 7, 8, 9, 10“Folksongs and Freud’” (Musical works by Bartók) with Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

April 14, 16“From Dawn to Dusk” (Musical works by Mozart and Haydn) with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups

April 21, 23, 24“Heroic Beethoven, Fashionable Chopin” (Musical works by Wagner, Chopin, Beethoven) with Donna Lee, professor of piano Kent State University

April 28, 29, 30“Of Love and Life” (Musical works by Wagner, Chausson, Strauss) with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups

May 5, 6, 7“First Attempts: Concerto and Ballet”(Musical works by Kodaly, Rachmaninoff , Stravinsky) with Jerry Wong, associate professor of piano, Kent State University

LEARNING MORE ABOUT THE MUSIC

The Cleveland Orchestra off ers a vari-ety of options for learning more about the music before each concert begins. For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermis-sion, or afterward. (Program notes are also posted ahead of time online at clevelandorchestra.com, usually by the Monday directly preceding the concert.) The Orchestra’s Music Study Groups also provide a way of explor-ing the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the sto-ries behind the composers’ lives. Free Concert Previews are pre-sented one hour before most subscrip-tion concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the op-portunity for audience members to ask questions.

Concert Previews

24 The Cleveland OrchestraConcert Program — Week 17Concert Program — Week 17

T H E C L E V E L A N D O R C H E S T R A F R A N Z W E L S E R - M Ö S T M U S I C D I R E C T O R


Severance HallThursday evening, April 14, 2016, at 7:30 p.m.Saturday evening, April 16, 2016, at 8:00 p.m.

Jane Glover, conductor

Severance HallThursday evening, April 14, 2016, at 7:30 p.m.Saturday evening, April 16, 2016, at 8:00 p.m.


F. JOSEPH HAYDN Symphony No. 6 (“Le Matin”) in D major (1832-1809) 1. Adagio — Allegro 2. Adagio — Andante — Adagio 3. Menuet and Trio 4. Finale: Allegro

WOLFGANG AMADÈ MOZART Concerto for Flute and Harp (1756-1791) in C major, K299

1. Allegro 2. Andantino 3. Rondo: Allegro JOSHUA SMITH, fl ute YOLANDA KONDONASSIS, harp

I N T E R M I S S I O N

MOZART Symphony No. 39 in E-fl at major, K543 1. Adagio — Allegro 2. Andante con moto 3. Menuetto: Allegretto 4. Allegro

F. JOSEPH HAYDN Symphony No. 6 (“Le Matin”) in D major (1832-1809) 1. Adagio — Allegro 2. Adagio — Andante — Adagio 3. Menuet and Trio 4. Finale: Allegro

WOLFGANG AMADÈ MOZART Concerto for Flute and Harp (1756-1791) in C major, K299

1. Allegro 2. Andantino 3. Rondo: Allegro JOSHUA SMITH, fl ute YOLANDA KONDONASSIS, harp


MOZART Symphony No. 39 in E-fl at major, K543 1. Adagio — Allegro 2. Andante con moto 3. Menuetto: Allegretto 4. Allegro

These concerts are supported throughthe generosity of Squire Patton Boggs (US) LLPCleveland’s Own Series sponsorship.

The Thursday performance is dedicated to Mrs. Alfred M. Rankin, Sr.in recognition of her extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

The concert will end on Thursday at about 9:20 p.m. and at approximately 9:50 p.m. on Saturday evening.

These concerts are supported throughthe generosity of Squire Patton Boggs (US) LLPCleveland’s Own Series sponsorship.

The Thursday performance is dedicated to Mrs. Alfred M. Rankin, Sr.in recognition of her extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

The concert will end on Thursday at about 9:20 p.m. and at approximately 9:50 p.m. on Saturday evening.


2015-16 SEASON

Concert Program — Week 17F

Severance HallKeyBank Fridays@7 ConcertFriday evening, April 15, 2016, at 7:00 p.m.


WOLFGANG AMADÈ MOZART (1756-1791)

Concerto for Flute and Harp in C major, K299 1. Allegro 2. Andantino 3. Rondo: Allegro JOSHUA SMITH, fluteYOLANDA KONDONASSIS, harp

Symphony No. 39 543 1. Adagio — Allegro 2. Andante con moto 3. Menuetto: Allegretto 4. Allegro

7@FRIDAYS

The Fridays@7 concert series is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence.

The Friday performance is dedicated to Julia and Larry Pollockin recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

The Friday evening concert is performed without intermission and will end at about 8:10 p.m.

LIVE RADIO BROADCAST — SATURDAY EVENING Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, May 29, at 4:00 p.m.


KeyBank Fridays@7: Next Concert

May 6 — Stravinsky’s Firebird Andrés Orozco-Estrada (conductor), Kirill Gerstein (piano)

And plan now for next season’s F@7 concerts: October 21, January 6, and March 3

April 15: All-Mozart The Cleveland Orchestra’s popular Fridays@7 concert series features a unique twist on a musical night out. The Plain Dealer calls it “the place to be on Friday night!” It’s an exciting and relaxed way to enjoy a night fi lled with incredible music. Experience an hour-long concert with The Cleveland Orchestra, followed by a casual @fter-Par-ty throughout Severance Hall — for socializing and being with great friends and new acquaintances.

6 p.m. Pre-Concert St@rters . . . Arrive early for a pre-concert happy hour with special drinks and appetizers.

7 p.m. KeyBank Fridays@7: The Cleveland Orchestra . . . This week, enjoy two masterpieces by Wolfgang himself, the one and only Mozart: a concerto for two instruments, and one of his fi nal grand symphonies.

8 p.m. @fter-Party . . . Stay into the evening to hear Cleveland’s own Hot Djang Gypsy Jazz playing favorites from the 1930s and ’40s [facebook.com/hotdjang].

Enjoy artwork from 78th Street Studios, mix and mingle, listen to music, talk with friends.

Or . . . head to Severance Restaurant for post-concert dessert and drinks, with live music by Luca Mundaca (www.lucamundaca.com).

7@FRIDAYS

Great music. Great drinks.

And great company.

A fresh approach to Friday nights!

7@FRIDAYS

Fridays@7: April 15 All-Mozart

FRIDAY EVENING


T H I S W E E K E N D ’ S C O N C E R T S include three works from the Classi-cal period of music, which grew and flourished in the latter half of the 18th century. The three pieces represent early, middle, and high Clas-

sical style, as the embellished music of the Baroque became more refined — not necessarily simpler or without detailing, but more

certain in its form and content, while still filled with potential in both joyous and emotive ways.

The evening concerts open with an early sym-phony by F. Joseph Haydn, written in 1761 just as his career as a composer was starting out. “Le Matin”

is named for the sunrise awakening depicted in its opening measures — while its treatment of various

instruments as occasional soloists in the small orchestra still harkens back to the Baroque era of Bach and Handel.

The week’s other two pieces are by one of music’s best-known names, Wolfgang Mozart himself. First is an

unusual dual concerto from 1778, for flute and harp, with Cleveland Orchestra principal flute Joshua Smith and guest

harpist Yolanda Kondonassis in the solo roles. This lovely piece offers a refreshing mixing together of these two instru-

ments, giving each moments to shine, interspersed with gen-tler measures of support and harmonizing. To end the concert, guest conductor Jane Glover, a

noted authority on Mozart’s music, leads The Cleveland Orch-estra in one of the composer’s last three symphonies, penned in

the summer of 1788. Symphony No. 39 is the first of these three final symphonic jewels, in which Mozart showcased his mastery of the new Classical style at its height — refined, grandly constructed, shining with eloquence, elegance, and deft artistry. —Eric Sellen

I N T R O D U C I N G T H E C O N C E R T S

Flute&Harp Wolfgang&Joseph

Introducing the Concert

THURSDAY — FRIDAY — SATURDAY

BRAVO!We are pleased to support The Cleveland Orchestra, a Cleveland institution with a global reputation for excellence.

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In great demand in opera and concert venues around the world, British con-ductor and music scholar Jane Glover has served as music director of Chicago’s Music of the Baroque since 2002. She made her Cleveland Orchestra debut in April 2014. After studying music at the Univer-sity of Oxford, Jane Glover completed her doctorate on 17th-century Venetian opera. She served as music director of the Glyndebourne Touring Opera (1981-85) and of the London Mozart Players (1984-91). This summer, she concludes her eight-year tenure as director of opera at the Royal Academy of Music. Known as a Mozart specialist, Ms. Glover also regularly conducts works by Handel, Monteverdi, and Britten (with whom she worked when she was 16). She has conducted the Berlin Staatsoper, Chicago Lyric Opera, English National Op-era, Glimmerglass Opera, Glyndebourne, Metropolitan Opera, New York City Op-era, Opera Australia, Opéra National de Bordeaux, Opéra National du Rhin, Opera Theatre of Saint Louis, Royal Danish Op-era, Royal Opera House Covent Garden, and the Teatro La Fenice. In addition to Great Britain’s major symphony and chamber orchestras, Jane Glover has conducted those of Houston, Saint Louis, San Francisco, Sydney, and Toronto, as well as the Academy of St. Martin in the Fields, City of London Sin-fonia, Boston’s Handel & Haydn Society,

Orchestra of St. Luke’s, and the Philhar-monia Baroque. Ms. Glover’s discography features symphonies by Mozart and Haydn with the London Mozart Players. With the London Philharmonic, the Royal Philhar-monic, and the BBC Singers, she has record-ed music of Britten, Haydn, Mendels-sohn, Mozart, Schubert, and Walton. Her recent albums include Haydn masses on the Naxos label, and Handel’s Messiah for Signum. Jane Glover’s book, Mozart’s Wom-en: His Family, His Friends, His Music, was published in 2005 and nominated for both the Samuel Johnson Prize and the Whitbread Prize for nonfiction. She holds honorary degrees from several universi-ties, has a professorship at the University of London, and is a fellow of the Royal College of Music. She was named a Com-mander of the Most Excellent Order of the British Empire in 2003. For more information, please visit www.janeglover.co.uk.

Jane Glover

Guest Conductor


by F. JosephHAYDNborn March 31, 1732Rohrau, Austria

diedMay 31, 1809Vienna

THURSDAY and SATURDAY

O F T E N C A L L E D the Father of the Symphony, “Papa” Joseph Hadyn did not set out to be. Circumstances and luck came his way just as he turned 30 — and he found that he had both the time and resources to father a whole lot of musical works, includ-ing symphonies. Indeed, his new job responsibilities called on him to be constantly composing. And through repeated need, he re-engineered and tinkered with form and format of the symphony (its DNA, as it were) to refine, define, and establish the “symphony” as the prime orchestral form by the end of the 18th century. (That he also helped define what a string quartet could be as a genre, by creating two dozen of those, shows his remarkable versatility and acuity as a musician — and takes noth-ing away from his work as a symphonist. He was a busy parent.) No. 6, nicknamed “Le Matin” (“The Morning”) came very early in his sequence of a hundred symphonies, and right at the start of the events that allowed him to begin exploring and remodeling the “symphony.” In 1761, Haydn accepted the posi-tion of Vice Kapellmeister for the Esterházy princes, an important Austrian noble family. At first, he served under the 74-year-old Kapellmeister Gregor Joseph Werner, who was fully in charge of

Haydn composed this symphony in D major in the spring of 1761. It was first performed that same year, at the Esterházy Palace in Vienna, with the composer leading the Esterházy’s court orchestra. The origin of the nick-name “Le Matin” (or “The Morning”) was associated with the work almost from its first performance, and refers to the opening measures depiction of a sunrise. The name most likely came from Haydn himself; in interviews four decades later, he talked about Prince Anton Paul Esterházy suggesting that Haydn write a piece about the times of day, which Haydn says he wrote as four quartets; most scholars now believe that Haydn was referring to his three symphonies: No. 6 (“The Morn-

ing”), No. 7 (“Noontime”), and No. 8 (“The Evening”). This symphony runs about 20 min-utes in performance. Haydn scored it for the players he had available: 1 flute, 2 oboes, 2 bassoons, 2 horns, and a string section of 4 violin/violas, cello, and bass (who also doubled as one of the bassoonists). Harpsichord con-tinuo may also have been included, as it is with this week’s performances. The Cleveland Orchestra has per-formed this symphony in only one pre-vious season, when it was presented in November 1920, led by Arthur Shep-herd for two performances, and the next month by Nikolai Sokoloff, whose single performance featured just two of the symphony’s four movements.

About the Music

At a Glance

Symphony No. 6 (“Le Matin” or “The Morning”)composed 1761

About the Music


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church music, while Haydn was given responsibility of music at social and other occasions. Haydn took the opportunity to employ some better musicians, and allow some lesser ones to be let go. And to write many occasional pieces — some were called symphonies, oth-ers called overtures or suites, but even those were works of several movements for an orchestral ensemble. Haydn’s employer had suggested, perhaps off-handedly, that his new composer write a piece “about the hours of the day.” Haydn obliged, but in a larger and more ambitious way — and impressed Prince Anton Paul (and his brother Prince Nicholas) with the resulting three symphonies: No. 6 called “The Morning,” No. 7 “Noontime,” and No. 8 “The Evening.” (The numbering of Haydn’s symphonies came many years later, after the composer’s death, and not very accurately in terms of chronology, but we know that these three were composed as a grouping early in his time with the Esterházys.) In all three of these time-of-day symphonies, Haydn worked in an older “concertante” style, featuring one or more instruments in solois-tic roles throughout, and, by doing so, no doubt earning the respect and friendship of the orchestral musicians newly under his charge. No. 6 opens with six measures of crescendo, from very soft to full orchestra, representing sunrise at break of day, before moving directly into a joyful first movement, with flute and oboe given prominent moments. The violin is featured in a solo role in the next two move-ments, including a pleasing Adagio, and with solo cello occasionally also adding its voice. The flute sounds out again in the Minuet third movement, with bassoon and double bass joining in for a kind of duet at the movement’s Trio section. The finale gives the violin a moment for fiery show before bringing the work to a well-paced conclusion.

—Eric Sellen © 2016

About the Music



T H E H A R P is one of the most ancient of instruments. Yet it was only very gradually that it found its way into Western art music to become a standard part of and partner to the symphony or-chestra. The harp long enjoyed wide currency on the continent and on the British Isles, but its songbook consisted largely of popular dance tunes, and, up to the middle of the 18th century, the social status of harpists was often rather low. The situation began to change when the harp was first provided with a pedal mechanism, allowing the musicians to play all twelve notes of the normal, chromatic Western scale. (The pedal harp soon replaced the earlier hook harp on which chromatic playing had been possible but quite cumbersome.) This new-fangled harp became a fashionable society instrument in many European cities — especially in Paris, where compos-ers, makers, players, and teachers converged and where many of the elegant salons were decorated with pictures of harps. Yet, few 18th-century composers played the harp and were interested in its sound only sporadically. The first harp concerto was probably written by George Frederic Handel, whose Organ Concerto in B-flat major of 1736 was originally intended for the harp. A few decades later, in 1762, Carl Philipp Emanuel Bach wrote a solo for the instrument. And his father, Johann Sebas-tian, had earlier arranged his Violin Partita in E major for an un-

Mozart wrote his Concerto for Flute and Harp in April 1778, during a stay in Paris. The work was written for the Count de Guines and his daughter, who played the flute and the harp, re-spectively. The first performance was probably a private one at the house of the Count. The United States premiere was given on August 17, 1875, by the Theodore Thomas Orchestra at a Thomas Summer Night’s Concert in New York’s Central Park, with Carl Wehner and Adolphus Lockwood as soloists.

This concerto runs about 30 min-utes in performance. Mozart scored it for 2 oboes, 2 horns, and strings, in ad-dition to the solo flute and solo harp. The Cleveland Orchestra per-formed the second and third move-ments at a Popular Concert in March 1924, under conductor Nikolai Sokoloff and with soloists Weyert Moor and Laura Newell Veissi. It was performed and recorded in June 1993 with Joshua Smith and Lisa Wellbaum as soloists, conducted by Christoph von Dohnányi.

About the Music

At a Glance

Concerto for Flute and Harpcomposed 1778

by Wolfgang Amadè MOZARTborn January 27, 1756Salzburg

diedDecember 5, 1791Vienna

About the Music


specified instrument which, from its range and writing, many think was the harp. Several other composers wrote concertos and solo pieces for the instrument in the 18th century, but it was not until the early 19th century, after Sébastien Erard had patented the modern double-action harp (on which the pedal could be depressed twice instead of once), that the instrument’s new career as a member of the symphonic orchestra finally began. (One of the earliest orches-tral works to feature the harp as part of the ensemble is Berlioz’s Symphonie fantastique, written in 1830.)

A N E W A DV E N T U R E I N PA R I S It is not surprising that Mozart’s only composition using a harp was written in Paris, where, according to various accounts, there were as many as five dozen harp teachers active at the time of the composer’s visit in 1778. Indeed, the Concerto for Flute and Harp, written for the flute-playing Count de Guines and his harp-playing daughter, was one of those occasional works by which the 22-year-old composer hoped to break into the Parisian musical scene. Mozart was desperate to make a name for himself in the French capital. He was trying to establish himself there and find a permanent job. But, much as he hated his working relationship with Archbishop Colloredo in his native Salzburg, he had at first some-what been reluctant to go visit Paris, and did so only at his father’s insistent urging. On the way, he spent a few months in Mannheim, in the hope of getting a post at the electoral court there. Although this attempt failed, he seemed in no hurry to leave the city in which he found wonderful musicians, good friends, and a very talent-ed 16-year-old soprano named Aloysia Weber with whom he fell deeply in love. Eventually, however, Leopold Mozart told his son: “Off with you to Paris!” So that Wolfgang, accompanied by his mother, took the mail-coach from Mannheim on March 14, 1778, and arrived in the French capital nine days later. Mozart’s sojourn in Paris, which lasted until the end of Sep-tember 1778, was a total failure, both artistically and financially. The composer hoped in vain to renew the contacts made earlier in the 1760s when he had visited Paris as a child prodigy. Then he had been the center of attention in the city. Ten years later, at age 22, he was only one of many aspiring musicians competing for a limited number of opportunities — and the man who had been so supportive earlier, the German-born and very influential Baron von Grimm, proved singularly unhelpful. Mozart did make new contacts soon after his arrival. As early as

About the Music


April 5, when he had been in Paris some two weeks, his mother reported to her husband that Wolfgang had several pupils and had received numerous commissions. Among these, she mentioned two concertos, “one for the flute and one for the harp,” which was her mistaken way of referring to the “double concerto” for two instruments (flute and harp together as soloists). But eventual material gains from all this work were mini-mal. Mozart’s letters to his father show his disappointment with his French hosts. He wrote extensively to his father (see page 37) about his long days with the Baron de Guines and his family, trying to spark interest or en-thusiasm in music, or simply to be acknowledged. He gave the countess composition lessons — and described to his father, in fascinating details, the methods he used with the not-too-gifted young lady (Mozart’s collected letters are great fun to read, for their details of 18th-century life and for their some-times bawdy storytelling). Regardless, he was paid for his efforts only after a long delay, and then only half the promised fee. And for the Flute and Harp Concerto, the count forgot to pay Mozart altogether. The composer’s contacts with the family soon came to an end, as the countess got married and the count left Paris for his country estate. We do not know if the concerto, or even parts of it, were actu-ally played by the commissioning family. By this time, however, Mozart had suffered a far greater tragedy, when his mother died, after a short illness, on July 3. At which point Wolfgang, alone and without many funds, wanted to do nothing so much as get out of Paris as soon as possible.

T H E C O N C E R T O By writing a concerto for two instruments, Mozart cul-tivated a genre that was at the time very fashionable in Paris, the so-called symphonie concertante. Unfortunately, even the popularity of the genre didn’t result in any tangible success for Mozart. Indeed, we don’t know if the concerto was ever per-formed in Paris — or anywhere for that matter — during Mo-zart’s lifetime. Composing for the flute was nothing new to Mozart. Just before coming to Paris, he had completed in Mannheim his two

About the Music

It is not surprising that

Mozart’s only composition

using a harp was written

in Paris, where, according

to various accounts, there

were as many as five doz-

en harp teachers active at

the time of the composer’s

visit in 1778. The Concer-

to for Flute and Harp was

one among the 22-year-

old composer’s hopes for

breaking into the Parisian

musical scene.


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flute concertos (one a transcription of his Oboe Concerto) and the first of his two flute quartets. Still, he cannot have had much experience with the harp. Like other 18th-century instances where pieces were often interchangeably performed on the harp or the harpsichord, Mo-zart’s harp part frequently gives a distinctly keyboard-like impression, with its Alberti basses and other typical techniques known to students of the piano. At the same time, of course, there are also many arpeg-gios and other figures idiomatic of and very suitable for the harp. Although it is natural for the harp to play accompanying figures to the melodies of the flute, Mozart made a visible effort to reverse the roles at times and to give the harp an occasional chance to be the leader. The concerto follows the expected three-movement format. It begins with an Allegro in sonata form and 4/4 time, and then con-tinues with an Andantino in 3/4 also in sonata form, but without a development section (doing without was customary in slow move-ments). In this Andantino, in which the solo instruments are joined by the strings only, Mozart divided the violas into two sections, giving the movement a unique sound and atmosphere. To bring the con-certo to a close, there is a spirited Rondo, in duple meter, in which the two oboes and two horns play important solos along with the flute and the harp. —Peter Laki © 2016

Copyright © Musical Arts Association

Peter Laki is a musicologist and frequent lecturer on classical music. He is a visiting associate professor at Bard College.

About the Music

37Severance Hall 2015-16 Paris: 1778

In a letter to his father, dated May 1, 1778, Mozart described his visit to Madame la Duchesse de Chabot: “I had to wait for half an hour in a large, ice-cold, unheated room, which hadn’t even a fireplace. At last the Duchesse de Chabot appeared. She was very polite and asked me to make the best of the clavier in the room, as none of her own were in good condition. Would I perhaps try it? I said that I would be delighted to play something, but that it was impossible at the moment, as my fingers were numb and cold; and I asked her to have me taken at least to a room where there was a fire. Oh oui, Monsieur vous avez raison [“Oh yes, sir, you are right”], was all the reply I got. She then began to draw and continued to do so for a whole hour, having as company some gentlemen, who all sat in a circle round a big table, while I had the honor to wait. The windows and doors were open and not only my hands but my whole body and my feet were frozen and my head began to ache. . . . At last, to cut my story short, I played on that miserable, wretched pianoforte. But what vexed me most of all was that Madame and

all her gentlemen never interrupted their drawing for a moment, so that I had to play to the chairs, tables, and walls. . . . As the Duchess would not hear of my going, I had to wait another half hour, until her husband came in. He sat down beside me and listened with the greatest attention and I forgot the cold and my headache and in spite of the wretched clavier, I played as I play when I am in good spirits. After a while, Mozart gave up calling on aristocratic houses altogether. Getting around in Paris was not easy and not cheap in those days, as Mozart noted in the same letter: “The distances are too great for walk-ing or the roads too muddy, for really the mud in Paris is beyond all description. To take a carriage means that you have the honor of spending four to five livres a day, and all for nothing. People pay plenty of compliments, it is true, but there it ends. They arrange for me to come on such and such a day. I play and hear them exclaim: Oh, c’est un prodige, c’est inconcevable, c’est étonnant! [“Oh, this is a prodigy, this is inconceivable, this is amaz-ing!”], and then it is Adieu.”

Paris 1778 Hobnobbing with the Wealthy . . .


Yolanda Kondonassis is among the world’s premier solo harpists and today’s most recorded classical harpist. An inter-national performer, she is also an author, educator, and environmental activist. She previously appeared as a concerto solo-ist with The Cleveland Orchestra in 1994, playing the Ginastera concerto.

Ms. Kondo-nassis heads the harp departments at the Oberlin Conservatory of Music and Cleve-land Institute of Music, and pres-ents masterclasses around the world. She plays a Lyon & Healy Salzedo Model harp. Born in Okla-

homa, Yolanda Kondonassis attended the Interlochen Arts Academy and studied with Alice Chalifoux (The Cleveland Or-chestra’s principal harp, 1931-74) at the Cleveland Institute of Music, where she received bachelor’s and master’s degrees. Her honors include top prizes in the Affi liate Artists National Auditions and the Maria Korchinska International Harp Competition, two National Endowment for the Arts grants, the Darius Milhaud Prize, and a 2011 Cleveland Arts Prize. Since her debut at age 18 with the New York Philharmonic, Ms. Kondonas-sis has appeared with orchestras across North America and around the world.

She performs at major music festivals, and is regularly featured on CNN, NPR, PBS, and Sirius XM Radio. Committed to contemporary mu-sic, Yolanda Kondonassis has premiered works by Bright Sheng, Donald Erb, Keith Fitch, Lauren Keiser, Hannah Lash, and Gary Schocker. Her upcoming projects include a concerto commission with Jen-nifer Higdon. As a chamber musician, Ms. Kon-donassis partners with the Biava, JACK, Jupiter, Rossetti, Shanghai, and Vermeer quartets, as well as with pianist Jeremy Denk, guitarist Jason Vieaux, violist Cyn-thia Phelps, and fl utists Marina Piccinini, Joshua Smith, and Eugenia Zukerman. With hundreds of thousands of albums sold worldwide, Kondonassis’s extensive discography includes nineteen titles. Her 2008 release, Air (Telarc), was nominated for a Grammy Award. Her next album, celebrating Ginastera’s Centen-nial, features the Ginastera Harp Concerto and will be released in October 2016 on Oberlin Music. As an composer and ar-ranger, her works have been published by Carl Fischer Music. Yolanda Kondonassis is founding director of Earth at Heart, a nonprofi t devoted to earth literacy and inspiration through the arts. Her children’s book, Our House is Round: A Kid’s Book About Why Protecting Our Earth Matters, was published by Skyhorse Publishing. For more information, visit www.yolandaharp.com.

Yolanda Kondonassis

Concerto Soloist


Firmly established as one of America’s outstanding fl utists, Joshua Smith is equally at home as a soloist, chamber musician, and educator. He was appoint-ed as The Cleveland Orchestra’s principal fl ute at age twenty, joining the ensemble

in 1990. He ap-pears regularly as soloist with the Orchestra, in repertoire rang-ing from Bach and Mozart to Penderecki and Widmann. In September 2014, he was featured with the Orches-tra on tour in Europe, playing

Jörg Widmann’s fl ute concerto at the BBC London Proms, Lucerne Festival, Berlin Philharmonie, Vienna Musikverein, and Amsterdam Concertgebouw. Mr. Smith received a Grammy nomi-nation for his Telarc recording, Air, and has recorded two discs with harpsichord-ist Jory Vinikour dedicated to the Sonatas of J.S. Bach. He appeared on a Live from the Marlboro Music Festival recording and can be heard on more than 100 Cleveland Orchestra recordings. Intrigued with exploring new ways of connecting with audiences, Joshua Smith leads the chamber group Ensem-ble HD, which features Cleveland Orch-

estra members and guests. The artists perform in concert halls as well as non-traditional venues. Ensemble HD released its fi rst double vinyl album in May 2013, Live at The Happy Dog. It was recorded at The Happy Dog, a local bar-restaurant in Cleveland’s Gordon Square Arts District. Joshua Smith was invited to speak to the National Endowment for the Arts Coun-cil about community engagement eff orts spearheaded by Ensemble HD. Mr. Smith appears as a chamber mu-sician throughout the United States, in-cluding recent and ongoing appearances with the Philadelphia Chamber Music So-ciety series, at the Marlboro and Santa Fe Music Festivals, and with the Israeli Cham-ber Project. He has performed in collab-orative concerts at the Cleveland Museum of Art, Pensacola Museum of Art, Museum of Contemporary Art in Miami, and the 92nd Street Y in New York City. Joshua Smith serves as head of the fl ute department of the Cleveland Insti-tute of Music. He is a Powell Artist and performs most often on a new grena-dilla Powell or on an old Rudall-Carte. A native of Albuquerque, New Mexico, he worked closely with renowned peda-gogue Frank Bowen before attending Philadelphia’s Curtis Institute of Music, where he studied with Julius Baker and Jeff rey Khaner. For more information, visitwww.solofl ute.com.

Joshua Smith Principal Flute Elizabeth M. and William C. Treuhaft Endowed Chair The Cleveland Orchestra

Concerto Soloist

WORLD PREMIERE IN CLEVELAND

A Centennial Exhibition

Through June 12Experience Royal Life

Don’t miss amazing masterworks on loan from museums around the world in celebration of our Centennial.

The presentation of Pharaoh: King of Ancient Egypt is a collaboration between the British Museum and the Cleveland Museum of Art.

The exhibition in Cleveland is made possible by Baker Hostetler, with additional support from the Selz Foundation.

Image credits: Head of Pharaoh Tuthmosis III (detail), about 1479–1425 BC. New Kingdom, Dynasty 18, reign of Tuthmosis III. Karnak, Thebes, Egypt. Green siltstone; 46 x 19 x 32 cm. British Museum, EA 986. © Trustees of the British Museum, London. Portrait of Alfonso d’Avalos, Marchese del Vasto, in Armor with a Page, 1533. Titian (Tiziano Vecellio) (Italian, about 1487–1576). Oil on canvas; 110 x 80 cm. The J. Paul Getty Museum, Los Angeles, 2003.486. Mask (Kifwebe). Congolese, Luba. Wood, raffia, bark, pigment, and twine; 92.1 x 60.9 x 30.5 cm. Seattle Art Museum, Gift of Katherine White and the Boeing Company, 81.17.869. Nude Descending a Staircase (No. 2), 1912. Marcel Duchamp (American, born France, 1887–1968). Oil on canvas; 147 x 89.2 cm. Philadelphia Museum of Art, The Louise and Walter Arensberg Collection, 1950-134-59. © Succession Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York, 2015. Photograph and digital image © Philadelphia Museum of Art. Portrait of Emy, 1919. Karl Schmidt-Rottluff (German, 1884–1976). Oil on canvas; 71.9 x 65.4 cm. North Carolina Museum of Art, Bequest of W. R. Valentiner. © 2016 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn. Helen Sears, 1895. John Singer Sargent (American, 1856–1925). Oil on canvas; 167.3 x 91.4 cm. Museum of Fine Arts, Boston, Gift of Mrs. J. D. Cameron Bradley, 55.1116. Photograph © 2016 Museum of Fine Arts, Boston.

Marcel DuchampApr 5 – Jul 3

Titian Through Apr 3

Kifwebe MaskMar 25 – Jun 12

John Singer Sargent Sep 1 – Nov 1

Karl Schmidt-Rottluff Aug 25 – Dec 18

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I N T H E S U M M E R O F 17 8 8 , after supervising the first Vien-nese production of Don Giovanni, Mozart composed three sym-phonies in quick succession. Although he was to live another three years, these were to prove his last essays in the form. They must have been intended for a subscription series that he was planning for that autumn in Vienna, though evidence is scanty that this ever took place. After that, Mozart would have had opportunities to perform them on his visits to Leipzig in 1789 and Frankfurt in 1790, and in charity concerts in Vienna in 1791, and probably on other occasions as well. The old myth that he never heard them played is unlikely to be true. Another frequently repeated notion is that the three sym-phonies were intended as a triptych. If this means that they were meant to be performed together, the idea is a non-starter: concerts at the time rarely included more than two symphonies, and often even a single work was split into two installments. But Mozart does seem to have set out to compose three symphonies of completely different and complementary characters, with a view to displaying his range of expression across his proposed concert series, and perhaps subsequently in a published set. The character of each work is defined largely by the choice of two inter-related elements, key and scoring. No. 40, in G mi-nor and without trumpets and drums, is intense and tragic; No. 41, in C major and without clarinets, is open and brilliant. As for No. 39, it is in the key of E-flat major, which for Mozart implied warmth and solidity, even solemnity (in 1791 it was to be the home key of his “Masonic” opera, The Magic Flute). And these

Mozart wrote this symphony in 1788, completing it (and recording it in his catalog) on June 26. It is not known when the symphony was first performed. This symphony runs about 30 min-utes in performance. Mozart scored it for flute, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

The Cleveland Orchestra first per-formed this symphony in E-flat major at a pair of concerts in January 1922, under the direction of founding music director Nikolai Sokoloff. It has been programmed frequently since that time, most recently at performances in February 2012, conducted by Franz Welser-Möst.

About the Music

At a Glance

Symphony No. 39 K543composed 1788

by Wolfgang Amadè MOZARTborn January 27, 1756Salzburg

diedDecember 5, 1791Vienna

About the Music

ABRAHAMVERGHESE

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qualities are matched by the scoring for strings, with cellos and basses frequently separated and violas occasionally divided, and a wind section of flute, two clarinets (these newer, mellow instruments replacing the more usual oboes), two bassoons, two horns, and two trumpets with their associated timpani. The full and warm sound of these instruments in this key is evi-dent at once in the slow introduction, which opens with sonorous dotted (long-short) rhythms, and includes some harsh dissonances before a quiet transition to the main Allegro of the movement. One other significant feature of this introduction is the sweeping down-ward scales in the violins, which (consciously or unconsciously) are echoed in the Allegro, and in different forms in the slow movement and the finale. The Allegro itself is in 3/4 time, rather than the more usual 4/4, and, in the aftermath of the imposing introduction, the combination of this meter and the lyricism of the lightly scored first subject make the movement seem initially rather slight. Its full stat-ure becomes apparent only with the strenuous tutti, or full orches-tra, passages that follow both the first theme and the group of ideas which make up the second subject. Similarly, the A-flat major Andante second movement does not reveal all of its character at once. The serene surface presented at the opening is at first merely ruffled by two bars of minor-key coloring, and only then disturbed by a violent outburst in F minor, which later returns even more vehemently in the remote key of B minor. The trumpets and drums, absent from this movement, return to add weight to the Minuet. The movement’s Trio section, in rustic Ländler time (and apparently based on a traditional dance tune), is dominated by the clarinets, the first demonstrating the instrument’s singing quality while the second plays an accompanying pattern in the low chalumeau register. The closing Allegro is one of Mozart’s most Haydn-like move-ments, resembling many of his older friend’s finales in its perpetual-motion energy, with only occasional, telling halts, and in the way all its material is spun out of the opening idea — right up to the witty ending. —Anthony Burton © 2016

Anthony Burton is a British writer on music. After studying at Cambridge, he began his career in the United States at the Hopkins

Center of Dartmouth College. He subsequently worked in production and as a broadcaster on BBC Radio 3 and BBC World Service.

About the Music

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I cannot write in verse, for I am no poet. I cannot arrange the parts of speech with such art as to produce eff ects of light and shade, for I am no painter. Even by signs and gestures I cannot express my thoughts and feelings, for I am no dancer. But I can do so by means of sound, for I am a musician.

—W. A. Mozart, November 1777

‘‘

‘‘

A portrait of Wolfgang Amadè Mozart, painted in 1819 by Barbara Kraft, based on paintings created during the composer’s lifetime


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

Cleveland Orchestra News

Cleveland Orchestra draws admiring reviews from the press in performances at Carnegie Hall in January and February

The Cleveland Orchestra performed at New York’s Carnegie Hall earlier this year, fi rst in January with Franz Welser-Möst and then in February with Mitsuko Uchida. The follow-ing excerpts from reviews and commentary represent the kind of admiration and acclaim that these performances engendered:

“It’s not often that a performance of a challenging new piece receives the kind of ovation typically awarded star virtuosi. But that’s what happened on Sunday night at Carnegie Hall when the conductor Franz Welser-Möst led The Cleveland Orchestra in the New York premiere of the Danish composer Hans Abrahamsen’s ‘let me tell you.’ . . . Sunday’s program also off ered an outstanding performance of Shostakovich’s formidable Fourth Symphony. . . . Mr. Welser-Möst and his great or-chestra just played the piece to the hilt. In this incisive, brilliant performance, the symphony seemed a purposeful entity, however shocking and excessive.”

—New York Times, January 18, 2016

“Both works require utmost precision and high-level solo contributions, abun-dantly provided by the magnifi cent Clevelanders.”

—Wall Street Journal, January 19, 2016

“The mighty Clevelanders turned their formidable attention to the often gro-tesque, ultimately sublime, hour-long ramblings and rumblings of Shostakovich’s rarely performed Fourth Symphony.” —Financial Times, January 19, 2016

“Less than a month after bringing an astonishing, hair-trigger program to Carn-egie Hall — a wintry new vocal cycle by Hans Abrahamsen and a sensitive yet turbocharged Shostakovich performance — the Cleveland Orchestra returned on Sunday with something completely diff erent . . . an evening of Mozart. Clarity, enthusiasm, commitment, a cohesion that’s warmly responsive rather than coldly exact. You always get the sense that this is a quartet in symphony orchestra’s clothing. The redoubtable Mitsuko Uchida . . . led two concertos from the piano. . . .Perceptive, receptive music-making. . . . The glory of The Cleveland Orchestra remains its balances: the smooth yet complex blend of its winds, the way the low-er strings off er subtle depth to the higher ones.”

—New York Times, February 16, 2016




. W . E . L . C . O . M . E .New cellist joins Orchestra The Cleveland Orchestra welcomes cellist Dane Johansen, who began playing as a member of the Orch estra for the subscription con-certs on March 3-6. Johansen was cellist with the Escher String Quartet for fi ve years, during which he and his colleagues were BBC Radio 3 New Generation Artists, and also recipients of an Avery Fisher Career Grant and the Martin Segal Award from Lincoln Center. He has performed as a soloist and chamber musician around the world. He made his Lincoln Center debut in a perfor-mance of Elliott Carter’s Cello Concerto under the direction of James Levine in celebration of the composer’s centennial. He made his Carn-egie Hall debut as fi rst winner of the Juilliard Leo Ruiz Memorial Award. For many years, Dane has dedicated much energy and time exploring Johann Sebastian Bach’s Six Suites for Solo Cello. He performed them at New York’s Alice Tully Hall in 2010 and also throughout his 580-mile pilgrimage on the “Walk to Fistera” along the Camino de Santiago in Northern Spain in 2014 — the story of his adventure on the Camino with Bach is being made into a documentary fi lm and ac-companying recording, scheduled for release in 2016. A native of Fairbanks, Alaska, Johansen studied at the Cleveland Institute of Music, Conservatoire National Supérieur de Paris, and at the Juilliard School, where he earned his art-ist diploma. He studied privately with Bernard Greenhouse.

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

Th e Cleveland Orchestra’s “At the Movies” series announced for 2016-17 The Cleveland Orchestra has announced a three-concert “At the Movies” series sponsored by PNC Bank for the 2016-17 season. Building on the popularity of fi lm screenings with live music presented over the past fi ve seasons, the Orchestra continues the tradition with Nosferatu in October, It’s a Wonderful Life in December, and Breakfast at Tiff any’s on Valentine’s Day. All three movies will be projected on a giant screen above the Sever-ance Hall stage, with music performed live. “At the Movies” series subscriptions are avail-able now through the Severance Hall Ticket Of-fi ce, online at clevelandorchestra.com, or by calling 216-231-1111. Series subscribers will also be given an op-portunity to purchase tickets to a fourth movie, West Side Story, at a discounted price, before tickets go on sale to the general public. The fi lm score to West Side Story will be performed live by The Cleveland Orchestra in June 2017 as part of the regular weekly classical subscription concerts. The 2016-17 “At the Movies” series features: On Tuesday, October 25, the classic 1922 silent horror fi lm Nosferatu will be presented. This fi lm is acclaimed as an infl uential cinematic master-piece, starring Max Schreck as the vampire Count Orlok. Organist Todd Wilson will accompany the

fi lm with improvised live music on Sever-ance Hall’s Norton Memorial Organ. On Thursday, December 8, Frank Capra’s holiday clas-sic It’s a Wonderful Life starring James Stewart and Donna Reed will be shown

with the music of the soundtrack performed live by The Cleveland Orchestra and the Cleveland Or-chestra Youth Chorus, conducted by Brett Mitchell. To close the series, on Valentine’s Day, Tues-day, February 14, guest conductor Justin Freer will lead The Cleveland Orchestra in the live musi-cal score to the romantic comedy Breakfast at Tiff any’s, starring Audrey Hepburn.

listing as of February 2016


FIRST VIOLINKeiko Furiyoshi 2005 — 34 yearsAlvaro de Granda 2 2006 — 40 yearsErich Eichhorn 2008 — 41 yearsBoris Chusid 2008 — 34 yearsGary Tishkoff 2009 — 43 yearsLev Polyakin 2 2012 — 31 years SECOND VIOLINRichard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 yearsStephen Warner 2016 — 37 years VIOLALucien Joel 2000 — 31 yearsYarden Faden 2006 — 40 years CELLOMartin Simon 1995 — 48 years Diane Mather 2 2001 — 38 yearsStephen Geber * 2003 — 30 yearsHarvey Wolfe 2004 — 37 yearsCatharina Meints 2006 — 35 yearsThomas Mansbacher 2014 — 37 years BASSLawrence Angell * 1995 — 40 yearsHarry Barnoff 1997 — 45 years Thomas Sepulveda 2001 — 30 yearsMartin Flowerman 2011 — 44 years HARPLisa Wellbaum * 2007 — 33 years FLUTE/PICCOLOWilliam Hebert 1988 — 41 yearsJohn Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years

OBOERobert Zupnik 2 1977 — 31 years Elizabeth Camus 2011 — 32 years CLARINETTheodore Johnson 1995 — 36 yearsThomas Peterson 2 1995 — 32 years Franklin Cohen ** 2015 — 39 years BASSOONRonald Phillips 2 2001 — 38 years Phillip Austin 2011 — 30 years HORNMyron Bloom * 1977 — 23 years Richard Solis * 2012 — 41 years TRUMPET/CORNETBernard Adelstein * 1988 — 28 years Charles Couch 2 2002 — 30 years James Darling 2 2005 — 32 years TROMBONEEdwin Anderson 1985 — 21 yearsAllen Kofsky 2000 — 39 yearsJames De Sano * 2003 — 33 years PERCUSSIONJoseph Adato 2006 — 44 yearsRichard Weiner * 2011 — 48 years LIBRARIANRonald Whitaker * 2008 — 33 years

** Principal Emeritus * Principal § Associate Principal 1 First Assistant Principal 2 Assistant Principal

Appreciation

R E T I R E D M U S I C I A N S

Listed here are the living members of The Cleveland Orchestra who served more than twenty years. Appointed by and playing under four music directors, these 45 musicians collectively completed a total of 1596 years of service — representing the Orchestra’s ongoing service to music and to the greater Northeast Ohio community.

Listed by instrument section and within each by retirement year, followed by years of service.

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

Musicians Emeritus of


New DVD Brahms cyclereleased and available at Severance HallFollowing their critically-acclaimed releases of Anton Bruckner symphonies with Clasart, Franz Welser-Möst and The Cleveland Orch estra have released an all-Brahms DVD box set. The set features all four symphonies, Piano Concer-tos Nos. 1 and 2 with Yefim Bronfman and the Violin Concerto with Julia Fischer, and selected other orchestral works. The set was released in Europe in October and is now in general release worldwide. All performances were recorded live — at Severance Hall, during a BBC Proms concert at Royal Albert Hall in London, and in Vienna’s Musikverein.

The set was specially available for purchase at the Cleveland Orchestra Store in December, prior to the general U.S. release.

Silence is goldenAs a courtesy to the performers onstage and

the audience around you, all patrons are reminded to turn off cell phones and to dis-engage electronic watch alarms prior to each concert.

Committed to AccessibilitySeverance Hall is committed to making

performances and facilities accessible to all patrons. For information about accessibility or for assistance, call the House Manager at 216-231-7425.

Mark AthertonMartha BaldwinCharles BernardKatherine BormannLisa BoykoCharles CarletonHans ClebschPatrick ConnollyRalph CurryMarc DamoulakisAlan DeMattiaVladimir DeninzonMaximilian DimoffScott DixonElayna DuitmanBryan DummMark Dumm Tanya EllMary Kay FinkKim GomezWei-Fang GuScott HaighDavid Alan HarrellMiho HashizumeMark JackobsJoela JonesRichard KingAlicia KoelzStanley KonopkaMark KosowerPaul KushiousMassimo La RosaJung-Min Amy LeeYun-Ting LeeTakako MasameEli MatthewsJesse McCormick

Michael MillerSonja Braaten MolloyYoko MooreIoana MissitsEliesha NelsonPeter OttoChul-In ParkJoanna Patterson ZakanyHenry PeyrebruneAlexandra PreucilLynne RamseyJeffrey RathbunJeanne Preucil RoseStephen RoseFrank RosenweinMichael SachsMarisela SagerJonathan SherwinSae ShiragamiEmma ShookJoshua SmithThomas SperlBarrick SteesRichard StoutJack SutteKevin SwitalskiBrian ThorntonIsabel TrautweinRobert VernonCarolyn Gadiel WarnerScott WeberRichard WeissBeth WoodsideRobert WoolfreyDerek ZadinskyJeffrey Zehngut

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

The Musical Arts Association gratefully acknow ledges the artistry and dedication of all the musicians of The Cleveland Orch-estra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of commun-ity engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who have volunteered for such events and presentations during the 2014-15 and 2015-16 seasons.

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


50 The Cleveland OrchestraCleveland Orchestra News


March was “Music In Our Schools” Month — but The Cleveland Orchestra is teaching and help-ing with learning all year ’round. For nearly a century, education has remained a central part of the Orchestra’s mission, and partnerships with Cleveland-area schools remain at the heart of the institution’s ongoing approach. Among many off erings both at Sever-ance Hall and beyond, Learning Through Music is The Cleveland Orchestra’s K-5 program that brings core curriculum to life through classical music. Currently in its 19th season, LTM works with teachers in Cleveland and East Cleveland classrooms to help them integrate music into daily instructional time. Individual Orchestra musicians teach lessons linking music to math, science, social studies, and language arts — and even lead students in composing and perform-ing their own original pieces. Year after year, LTM continues to be a classroom favorite. As one 4th grader commented, “I had so much fun. I even got to play an instrument. That was the best time ever.” This spring, musicians from the Orchestra will make over 170 classroom visits, collaborate with 70 teachers, and bring over 1,200 students to Severance Hall for a live performance. (Over 18,000 additional students attend Education Concerts annually from the community at-large.) In November 2015, Mayfair Elementary in the East Cleveland School District (LTM pilot school) was selected to present at the Student Achievement Fair at the Ohio School Board As-sociation (OSBA) Conference and Trade Show, featuring their collaboration with The Cleveland Orchestra through LTM. The OSBA Capital Conference is Ohio’s premier continuing education program. Part of this conference is the Student Achievement Fair, which showcases innovative projects and

programs that boost student achievement and engage youngsters in learning and growth. Fourth-grade Mayfair Elementary teacher Irene Spraggins and three of her students created a vi-brant display of the books, CDs, and instruments provided to them as well as samples of student work created through LTM lessons (photo above). In addition to Learning Through Music, The Cleveland Orchestra also partners with schools through PNC Grow Up Great for Cleveland Metro-politan Pre-K classrooms, and In-School Perfor-mances (ISPs), bringing The Cleveland Orchestra itself into area schools. This year’s ISP took place on February 23 at Patrick Henry School in Glen-ville. In-School Performances are made possible in part through the Alfred M. Lerner In-School Performance Fund, generously endowed in her husband’s memory by Norma Lerner. For more information about The Cleveland Orchestra’s education programs, visit www.cleve-landorchestra.com/education-and-community.

March was “Music in Our Schools” Month — Cleveland Orchestra’s education programs include “Learning Th rough Music” tying music to core curriculum

51Severance Hall 2015-16 51Cleveland Orchestra News


Auditions announced forCleveland Orchestra Chorusesfor 2016-17 season and 2016 Blossom Music Festival The Cleveland Orchestra Choruses have announced spring audition dates for member-ship in adult, youth, and children’s ensembles for the 2016-17 season. The Cleveland Orches-tra has a long-standing commitment to and tradition of choral music in which community members of all ages have the opportunity to participate. Adult singers can audition for the Cleve-land Orchestra Chorus and/or Blossom Festi-val Chorus on Thursday evenings, April 28 and May 5, or on Saturday afternoon, May 7. Students in grades 9-12 (and boys in grade 8 whose voice has changed) can audition for the Cleveland Orchestra Youth Chorus. Audition dates are Sunday, May 22, or Saturday mornings, June 4 and 11. Children in grades 5-9 can audition for the Cleveland Orchestra Children’s Chorus or Children’s Preparatory Chorus. Audition dates are Monday evening, May 23, or Saturday afternoons, June 4 and June 11. A scheduled audition time is required for all ensembles. All auditions are by appoint-ment only and can be arranged by visiting clevelandorchestra.com/chorus-auditions.

Blossom season announced Dates and programming for the 2016 Blos-som Music Festival were announced on February 7. Look for details online at clevelandorchestra.com.Individual tickets to on sale on May 9.

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Family Concerts for2016-17 season announced

The Cleveland Orchestra has announced details of its Family Concerts series for the 2016-17 season. The series, for children ages 7 and older, are designed to introduce young people to classical music and feature performances by The Cleveland Orchestra with special guest art-ists. Subscriptions are now available through the Severance Hall Ticket Office.

The three Family Concerts take place on Sunday afternoons in October, March, and April, with each featuring a program of music around a special theme. Prior to each 3:00 p.m. concert, an hour of free family-friendly pre-concert activi-ties takes place throughout Severance Hall.

The season’s concerts are:On Sunday, October 30, Halloween Spook-

tacular: Superman at the Symphony cel-ebrates the first comic book superhero ever cre-ated (right here in Cleveland). The afternoon will feature the annual Halloween Costume Contest, with attendees encouraged to dress up.

On Sunday, March 5, The Magic Firebird presents an imaginative production of the clas-sic Russian tale of The Firebird, set to Igor Stravin-sky’s dynamic ballet music. The Orchestra is joined by Enchantment Theatre Company, who will bring the story to life with large puppets, masks, and magic.

The series concludes on Sunday, April 2, with Prokofiev’s “Peter and the Wolf,” in which the characters in the story are portrayed by various instruments as told by the guest art-ists of Magic Circle Mime Co.


Sound for the Centennial THE CAMPAIGN FOR THE CLEVELAND ORCHESTRA


In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have em-barked on an ambitious fundraising campaign. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash gifts and legacy commitments, while also securing broad-based and increasing annual support from across Northeast Ohio. The generous individuals and organizations listed on these pages have made long-term commitments of annual support, endowment funds, and legacy declarations to the

Campaign. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial diff erence in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact the Orchestra’s Philanthropy & Advancement Offi ce at 216-231-7558. Listing as of March 10, 2016.

Art of Beauty Company, Inc.BakerHostetlerMr. William P. Blair IIIMr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMrs. M. Roger Clapp*EatonFirstEnergy FoundationForest City The George Gund FoundationMr. and Mrs. Michael J. HorvitzHyster-Yale Materials Handling NACCO Industries, Inc. Jones DayThe Walter and Jean Kalberer FoundationMr. and Mrs. Joseph P. KeithleyKeyBankKulas FoundationMr. and Mrs. Dennis W. LaBarreMrs. Norma LernerThe Lubrizol CorporationThe Andrew W. Mellon Foundation

Ms. Beth E. MooneySally S.* and John C. MorleyJohn P. Murphy FoundationDavid and Inez Myers FoundationThe Eric & Jane Nord Family FundOhio Arts CouncilThe Honorable and Mrs. John Doyle OngThe Payne FundPNC BankJulia and Larry PollockMr. and Mrs. Alfred M. Rankin, Jr.James and Donna ReidBarbara S. RobinsonThe Leighton A. Rosenthal Family Foundation The Sage Cleveland FoundationThe Ralph and Luci Schey FoundationThe Kelvin and Eleanor Smith FoundationMr. and Mrs. Richard K. SmuckerThe J. M. Smucker CompanyJoe and Marlene TootAnonymous (3)

GIFTS OF $5 MILLION AND MORE

The Cleveland FoundationMr. and Mrs. Alexander M. CutlerCuyahoga County residents through Cuyahoga Arts and CultureNancy Fisher and Randy Lerner in loving recognition of their mother, Norma Lerner

Maltz Family FoundationMrs. Alfred M. Rankin, Sr.Mr. and Mrs. Albert B. RatnerAnonymous

GIFTS OF $1 MILLION TO $5 MILLION

Sound for the Centennial Campaign

Dennis W. LaBarre, President, Musical Arts Association Richard J. Bogomolny, MAA Chairman and Fundraising Chair Nancy W. McCann, Fundraising Vice Chair Alexander M. Cutler, Special Fundraising Beth E. Mooney, Pension Fundraising John C. Morley, Legacy Giving Hewitt B. Shaw, Annual Fund


Gay Cull AddicottAmerican Greetings CorporationJeanette Grasselli Brown and Glenn R. Brown Robert and Jean* ConradDr. and Mrs. Hiroyuki Fujita GAR FoundationRichard and Ann GridleyThe Louise H. and David S. Ingalls FoundationMartha Holden Jennings FoundationMyra Tuteur Kahn Memorial Fund of The Cleveland FoundationMr. and Mrs. Douglas A. KernJames and Gay* Kitson

Virginia M. and Jon A. LindsethMs. Nancy W. McCannMedical Mutual of OhioNordson Corporation FoundationParker Hannifi n FoundationCharles and Ilana Horowitz RatnerSally and Larry SearsSquire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of CantonMs. Ginger Warner Anonymous (4)

GIFTS OF $500,000 TO $1 MILLION

The Abington FoundationAkron Community FoundationMr. and Mrs. George N. AronoffJack L. BarnhartFred G. and Mary W. BehmMadeline & Dennis Block Trust FundBen and Ingrid BowmanDr. Christopher P. Brandt and Dr. Beth SersigBuyers Products CompanyMr. and Mrs. David J. CarpenterMary Kay DeGrandis and Edward J. DonnellyJudith and George W. DiehlErnst & Young LLPMr. Allen H. FordFrantz Ward LLPDr. Saul GenuthThe Giant Eagle FoundationJoAnn and Robert GlickHahn Loeser & Parks LLPIris and Tom HarvieJeff and Julia HealyThe Hershey FoundationMr. Daniel R. HighMr. and Mrs. Donald M. Jack, Jr.Bernie and Nancy Karr

Mr. and Mrs.* S. Lee KohrmanKenneth M. Lapine and Rose E. MillsDr. David and Janice LeshnerLitigation Management, Inc.Jeffrey LitwillerLinda and Saul LudwigDr. and Mrs. Sanford E. MarovitzMr. Thomas F. McKeeThe Miller Family: Sydell Miller Lauren and Steve Spilman Stacie and Jeff HalpernThe Margaret Clark Morgan FoundationThe Nord Family FoundationOlympic Steel, Inc.Park-Ohio Holdings Corp. Helen Rankin Butler and Clara Rankin Williams The Reinberger FoundationAmy and Ken RogatAudra and George RoseRPM International Inc.Mr. Larry J. SantonRaymond T. and Katherine S. Sawyer

Mrs. David SeidenfeldDavid ShankNaomi G. and Edwin Z. SingerDrs. Charles Kent Smith and Patricia Moore SmithSandra and Richey SmithGeorge R. and Mary B. StarkMs. Lorraine S. SzaboVirginia and Bruce TaylorTucker EllisDorothy Ann TurickThe Denise G. and Norman E. Wells, Jr. Family FoundationMr. Max W. WendelPaul and Suzanne WestlakeMarilyn J. WhiteThe Edward and Ruth Wilkof FoundationKatie and Donald WoodcockWilliam Wendling and Lynne WoodmanAnonymous (3)

GIFTS OF $100,000 TO $250,000

Randall and Virginia BarbatoJohn P. Bergren* and Sarah S. EvansThe William Bingham FoundationBlossom Friends of The Cleveland OrchestraMr. and Mrs.* Harvey BuchananCliffs Natural ResourcesThe George W. Codrington Charitable FoundationThe Helen C. Cole Charitable TrustThe Mary S. and David C. Corbin

FoundationMr. and Mrs. Matthew V. CrawfordWilliam and Anna Jean CushwaNancy and Richard DotsonGeorge* and Becky Dunn Patricia Esposito

Sidney E. Frank FoundationAlbert I. and Norma C. GellerThe Gerhard FoundationMary Jane HartwellDavid and Nancy HookerMrs. Marguerite B. HumphreyJames D. Ireland III*Trevor and Jennie JonesElizabeth B. JulianoMr. Clarence E. Klaus, Jr.Giuliana C. and John D. KochDr. Vilma L. Kohn*Mrs. Emma S. LincolnMr. and Mrs. Alex MachaskeeRobert M. Maloney and Laura Goyanes

Elizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. MorrisonMargaret Fulton-MuellerNational Endowment for the ArtsRoseanne and Gary OateyWilliam J. and Katherine T. O’NeillQuality Electrodynamics (QED)Mr. and Mrs. James A. SaksHewitt and Paula ShawThe Skirball FoundationRichard and Nancy SneedR. Thomas and Meg Harris StantonMr. and Mrs. Jules Vinney*David A. and Barbara Wolfort

GIFTS OF $250,000 TO $500,000

* deceased

Sound for the Centennial Campaign


The arts enrich all our lives.

A community is more than a collection of homes and businesses. It’s also the institutions that improve our lives through art, music, dance, and theater. KeyBank supports a wide range of arts organizations, because we know that a vibrant cultural scene is vital to bringing the people of our communities closer through their shared appreciation of the diverse talents they provide. That’s why KeyBank is a proud sponsor of The Cleveland Orchestra and this evening’s concert.

KeyBank helps people and businesses thrive. Learn more. Contact KeyBank at key.com/community.

Key.com is federally registered service mark of KeyCorp. ©2016 KeyCorp. KeyBank is a Member FDIC. 2144956

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2015-16 SEASON

Severance HallThursday evening, April 21, 2016, at 7:30 p.m.Saturday evening, April 23, 2016, at 8:00 p.m. Sunday afternoon, April 24, 2016, at 3:00 p.m.

Antoni Wit, conductor


Concert Program — Week 18

These concerts are sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence.

Thursday’s concert is co-sponsored by Materion Corporation, and by American Greetings Corporation.

Antoni Wit’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from James and Donna Reid.

Jan Lisiecki’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Sterling A. and Verdabelle Spaulding.

The concert will end on Thursday evening at about 9:25 p.m.and on Saturday night at approximately 9:55 p.m.

RICHARD WAGNER Overture: Polonia [Poland] (1813-1883)

FRÉDÉRIC CHOPIN Piano Concerto No. 2 (1810-1849) in F minor, Opus 21 1. Maestoso 2. Larghetto 3. Allegro vivace JAN LISIECKI, piano


LUDWIG VAN BEETHOVEN Symphony No. 3 (“Eroica”) (1770-1827) in E-fl at major, Opus 55 1. Allegro con brio 2. Marcia funebre: Adagio assai 3. Scherzo: Allegro vivace 4. Finale: Allegro molto — Poco andante — Presto

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Introducing the Concert

ABOVE“Napoleon Crossing the Alps” — a painting from 1805 by Jacques-Louis David, portraying Napoleon as a fearless and heroic leader.


T H I S W E E K E N D ’ S C O N C E R T S offer a program filled with differing flavors of nationalistic — or patriotic — fervor, across European borders and battlelines, between politics and musical passion. The pieces come in Pol-ish and Germanic flavors, tinged with Pol-ish, French, and musical ideals. To open the concert, guest conductor Antoni Wit leads a rarely-performed con-cert overture by the opera composer Rich-ard Wagner. This unusual piece, written early in the composer’s career in 1835-36, is an amalgam of musical ideas, created prior to Wagner developing his mature musical style. It is an ode to Poland as a country and for the freedom of its people. Next comes Frédéric Chopin’s PIano Concerto No. 2, filled with consummate musicianship and style, elegance and deft flare. Guest pianist Jan Lisiecki takes up the solo role in this concerto, which catapulted Chopin’s early career as a symbol of Polish pride in 1830. The concert concludes with Beet-hoven’s Third Symphony, nicknamed the “Eroica” or “Heroic.” Here the composer sounded his symphonic genius, creating a longer, bigger, more powerful symphony than any written before him. Inspired by Napoleon’s heroic stand for French liberty — and renamed for the ideal of freedom when Napoleon became too self-obsessed — this is music of great passion and astounding musical verve. In this work, Beethoven’s mastery and vision transformed the idea of “symphony” into a very personal artform — filled with power, meaning, and revolution. —Eric Sellen

I N T R O D U C I N G T H E C O N C E R T S

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Guest Conductor 59Severance Hall 2015-16

Conductor Antoni Wit is one of Poland’s most highly-regarded symphonic lead-ers. He has served as artistic director of Spain’s Orquesta Sinfónica de Navarra since 2013. He is making his Cleveland Orchestra debut with this weekend’s concerts. A strong advocate of Polish music — ranging from Lutosławski and Pend-erecki to Górecki and Kilar — Antoni Wit has conducted many premiere perfor-mances of their compositions. He has led more than 150 recordings for CBS, Decca, EMI, Naxos, NVC Arts, Polskie Nagrania, and Sony. His discography includes Lutosławski’s complete orchestral works and Szymanowski’s complete oratorios and orchestral works. Mr. Wit’s record-ing honors include a BBC Music Magazine Editor’s Choice award, Diapason d’Or, EMI Record of the Year, four Grammy nomi-nations, Gramophone Editor’s Choice award, Midem Classique, and several Polish Phonographic Academy Fryderyk awards. Along with Poland’s major orches-tras, Mr. Wit has guest conducted the Ac-cademia Nazionale di Santa Cecilia Rome, BBC Symphony, Berlin Philharmoniker, China Philharmonic, Dresden Staatska-pelle, Montreal Symphony Orchestra, Royal Philharmonic, and the St. Peters-burg Philharmonic. He also has conduct-ed operas by Menotti, Rossini, and Verdi in Malmö and Warsaw, and Moniuszko’s Halka in Tokyo and Trieste. A graduate of Kraków’s State Higher School of Music, Antoni Wit studied con-ducting with Henryk Czyż and composi-

tion with Krzysztof Penderecki, and then later worked with Nadia Boulanger in Paris. In 1969, he earned a law degree at Kraków’s Jagiellonian University. He was named as-sistant at the National Phil-harmonic by Witold Row-icki. In 1971, he placed second in the Herbert von Karajan International Conducting Contest. He subsequently studied at Tan-glewood with Stanisław Skrowaczewski and Seiji Ozawa in 1973. Antoni Wit served as artistic director of the Pomeranian Philharmonic (1974-1977), and was director of the Orchestra and Choir of Polish Radio and Television in Krakow (1977-1983). In 1983, he be-came the managing and artistic director of the Polish Radio National Symphony Orchestra, leading that ensemble sev-enteen years. Between 1987 and 1992 he was artistic director, and later a guest conductor, of the Orquesta Filarmónica de Gran Canaria. He served as manag-ing and artistic director of the National Philharmonic in Warsaw (2002-13). Since 1998, he has been a professor of conduct-ing at the Fryderyk Chopin University of Music in Warsaw.

Antoni Wit

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“An afternoon of entertaining talk and exhilarating music.” – The Washington Post

Sunday, October 18, 2015Robert Schumann — Passionate music inspired by Schumann’s beloved!

Sunday, January 10, 2016Chopin & Grieg — A Musical Friendship.

Sunday, April 10, 2016 Splendor from Silence: Smetana, Fauré & Beethoven — Written after deafness engulfed them.

Sunday, May 1, 2016Musical Pictures — Visually inspired, gloriously colorful works.


B E F O R E T H E R E WA S Richard Wagner the musically daring, egomaniacal, and grandly successful opera composer, there was . . . Richard Wagner the poor student, the drinking and carousing young man, the hot-headed revolutionary, the lovestruck youth, the tempestuous young musician in search of . . . himself. This week’s concerts begin with a rarely-performed concert over-ture from Wagner’s early years. It is more heartfelt than accom-plished, more indicative of the young Wagner’s musical training and thinking of the time than the polished musical revolution-ary he would become. Before there was the modern self-governed state of Po-land, there was the Polish language and Polish people who brought together lands that were then traded back and forth — for centuries — among Germanic and Russian rulers. At times, puppet states were established with a veneer of self-rule, while other times saw sections of land simply ruled over quite directly. That the “country” survived at all is, in many ways, remarkable. Although Poland is, of course, not the only people to be sub-jugated for generations, survive, and then ultimately begin to flourish. Other lands and peoples, even in our modern world, still await self-rule. Poland, during Wagner’s lifetime was subject to the oblit-erating effect of “the Partition” agreement from the previous century. The flame of freedom that the United States ignited by warring against Great Britain, followed by the French war-ring against their own royalty, lit smaller and larger fires across

Wagner wrote this concert overture in 1835-36, although he may have incorporated ideas that had occurred to him as early as 1832. (In addi-tion to this work saluting the cause of Polish freedom, he also wrote an arrangement of “Rule Britannia” in 1836, as an offering to the London Philharmonic Society.) Wagner led the overture’s first performance, on March 29, 1836, in Magdeburg.

This work runs about 10 minutes in performance. Wagner scored it for 2 piccolos and 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 4 trum-pets, 3 trombones, tuba, percussion (triangle, cymbals, tenor drum, field drum, and bass drum), and strings. The Cleveland Orchestra is per-forming this overture for the first time with this week’s performances.

At a Glance

Polonia [Poland] Concert Overturecomposed 1835-36

About the Music

About the Musicby RichardWAGNERborn May 22, 1813Leipzig

died February 13, 1883Venice


Europe in subsequent generations. Wagner himself had youthful sympathies, certainly for Poland and later for the Germanic lands where he lived. He famously escaped from Dresden in 1849 after a big uprising there, which would have landed him in jail had he not made haste to become an exile in Switzerland. The concert overture Polonia — the word is Latin for the Polish regions, although today it is used more often to refer to the many Pol-ish people living outside Poland — was created in 1836 as the young Wagner was laboring to fi nd his own voice as a composer. In his mem-oirs, he claimed that the work recalled an evening of solidarity with a group of Polish exiles, drinking and singing late into the night in May 1832. But the piece was also simply an exercise in orchestrating, with an ensemble at his disposal for testing and listening to ideas from his mind while he was music director at Magdeburg. (Wagner is not the only big-name classical composer to have penned a tribute to Poland — Edward Elgar also wrote a Polonia overture, in 1915.) This music is not the Richard Wagner who changed musical history — who headed us squarely toward “modern” music with the shifting, curving tonalities of Tristan and Isolde. It is not even the Wagner of his three youthful operas (Die Feen, Das Liebesverbot, and Rienzi). Yet it draws clearly on the kinds of contemporary operas he was learning and conducting at Magdeburg — with moments recall-ing boisterous passages from Donizetti, whose music he liked, and even Bellini, whose vocal writing Wagner admired throughout his life. Even with the hindsight of history fi lling our ears with every-thing Wagner would yet become, this overture makes extraordinarily interesting listening. It is solidly built, with an architecture that reveals his famously careful and methodical (if sometimes overly prosaic) mind. Listen for what you can hear in it.

—Eric Sellen © 2016

About the Music


C H O P I N ’ S T W O P I A N O C O N C E R T O S are both early works, composed before he left Warsaw for what was to be a journey that led to Paris as his permanent home. He was just twenty, with considerable ambitions as a composer and as a virtuoso pianist, and his French father, Nicolas Chopin, was far from being the obstructive parent that great artists are traditionally supposed to battle against. He made it clear to his son that to succeed at the highest level in music he needed to experience the wider world and to fi nd out for himself how music was cultivated in the great capitals of Europe: Vienna, Berlin, Paris. The concerts Chopin gave in Warsaw before leaving his hometown in 1830 put his immense talents on display and earned him the label “genius” from at least some members of the press. Concerts in that era were entirely diff erent from the events we know today. They lasted three hours or more, and often in-cluded a number of soloists, among them always at least one singer. Solo pieces alternated with orchestral music. There was generally a chorus on hand, and the weight of the music would tend to get lighter as the evening proceeded. The public was especially enamored of singers, preferably famous sopranos, and of pianists, who had an instrument of great brilliance at their command. During Beethoven’s lifetime, the piano had enjoyed the

Chopin wrote his F-minor Piano Concerto in 1829-30. He played the solo part at the private premiere performance, on March 4, 1830, in Warsaw, conducted by Karol Kurpin-ski. A public performance was given two weeks later, on March 17, at the Warsaw National Theater as part of Chopin’s “debut” concert in the capital. The concerto was designated as “No. 2” at the time of its publica-tion. (Chopin’s other piano concerto, in E minor, written later in 1830, was published fi rst, as “No. 1.”)

This concerto runs about 30 min-utes in performance. Chopin scored it for 2 fl utes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, bass trombone, timpani, and strings. The Cleveland Orchestra fi rst presented this concerto in December 1932, conducted by Nikolai Sokoloff and with Josef Hofmann as soloist. It has been heard on a few occasions since that time, most recently in November 2012, when Louis Lortie played the solo part under the direc-tion of Jaap van Zweden.

At a Glance

Piano Concerto No. 2 in F minor, Opus 21composed 1829-30

About the Music

About the Music

by FrédéricCHOPINborn March 1, 1810Zelazowa Wola,Poland

diedOctober 17, 1849Paris


fruits of rapid industrial advance. It was stronger, heavier, larger, and louder. It was in those days still always brown, never black, and it was equipped with a variety of pedals for special eff ects. Its sound could fi ll ever larger halls. Above all, by the time Chopin appeared on the scene it had an upper register that added more than an octave to the range of the instruments that Mozart had played. This high register had a tinkly brilliance that pianists and composers rushed to exploit. (Even Beethoven’s inactive ears responded to this new sound in his later works.) Finger virtuosity was the goal of every aspiring pianist,

and the études and variations that poured from the presses off ered even modest pia-nists the chance to impress their listeners with cascades of notes that sound much more diffi cult than they really are. At the highest level, therefore, pianist-composers had to develop a truly formida-ble fi nger technique, the most celebrated exponent of which was the young Franz Liszt. Chopin was among the young vir-tuosos of this order, although he did not meet Liszt until reaching Paris. His models were Johann Nepomuk Hummel, Friedrich Kalkbrenner, and Ignaz Moscheles — well established touring pianists and successful composers, all of whom wrote concertos

that combine great virtuosity with solid craftsmanship. Chopin probably did not know any of Mozart’s or Beethoven‘s concertos in his teenage years. Hummel was his model for this con-certo in F minor, which, although today known as his Concerto No. 2, was really written before the concerto in E-minor now known as “No 1”. In the 19th century, the order of publication of musical works of-ten determined a piece’s numbering, regardless of what order things may actually have fl owed from a composer’s pen. Chopin performed the F-minor concerto (No. 2) in Warsaw in March 1830 to rapturous acclaim from the press. He was greeted as a true national hero: “How beautifully he plays! What fl uency! What even-ness! There could be no more perfect concord between the two hands. He plays with such certainty, so cleanly that his concerto might be com-pared to the life of a just man: no ambiguity, nothing false. He plays with the good manners of a well-bred person who may indeed be aware of his own signifi cance but has no pretensions, knowing that, if he chose, anything might be permitted to him. His music is full of expressive feel-

Premiering his concerto in

1830, Chopin was greet-

ed as a true national hero

in Warsaw: “How beauti-

fully he plays! What fl u-

ency! What evenness! He

plays with such certainty,

so cleanly that his concerto

might be compared to

the life of a just man: no

ambiguity, nothing false.”

About the Music


ing and song, and puts the listener into a state of subtle rapture, bringing back to his memory all the happy moments he has known.” Chopin’s playing, in fact, was always noted for its high breeding and lack of showy display, yet his music, especially his concertos, calls for great precision and brilliant polish. We cannot fail to notice that the critic had already observed the expressive qualities of this music. The new work was repeated a week later to even greater applause. Chopin already had a second concerto in the works. This was to be known as No. 1, in E minor. It was ready by October 1830, when the composer performed it to another enthusiastic audience. “The bravos were deafening,” Chopin reported, although there was little response in the press. A few weeks later he left Warsaw, never to return. Chopin’s concertos have been criticized for the minor role allot-ted to the orchestra and — by Berlioz — for their unadventurous use of instruments. And they treat the classical key system with a youthful certain impudence. Yet their melodic richness, their warmly colored harmony, and their highly crafted piano writing all ensure their place in the repertory. Chopin himself played the F-minor concerto (No. 2) only twice more, during his early years in Paris. He would not have regarded it as approaching the peak of his creative genius, but as a vehicle for a young pianist-composer it served him well. For Chopin to model his fi rst attempt at a full-scale concerto on a work by Hummel is neither surprising nor shameful. Having studied with Mozart as a boy, Hummel went on to a brilliant career. He visited Warsaw in 1828 and met young Chopin, who regarded his concertos with enormous admiration. They were up-to-date virtuoso works, more advanced in this respect — of sheer virtuosity — than Beethoven’s concertos (which, in any case, Chopin did not know). The fi rst movement of Chopin’s concerto is based on themes that start off simply but are quickly subjected to fanciful elaborations of every kind. The second movement is a marvel of elegance and fi ligree decoration, the orchestra giving patient support throughout. And the fi nale has the character of a lively Polish dance, part mazurka, part krakowiak, in 3/4 time. Towards the end, the horn sounds the signal for a turn to the major key and a coda driven by cascades of notes ranging from one end of the piano to the other.

—Hugh Macdonald © 2016

Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books

on Beethoven, Berlioz, Bizet, and Scriabin.

About the Music

Guest Soloist 67Severance Hall 2015-16

Canadian pianist Jan Lisiecki has won acclaim for his interpretive maturity, dis-tinctive sound, and poetic sensibility. He is making his Cleveland Orchestra debut with this weekend’s concerts. Among Jan Lisiecki’s honors are many Canadian music awards, includ-ing from several Canadian music festivals and OSM Standard Life Competitions, and the 2010 Révélations Radio-Canada Musique and 2011 Jeune Artiste des Ra-dios Francophones awards. In 2013, he received the Leonard Bernstein Award at the Schleswig-Holstein Music Festival, and was named Gramophone magazine’s Young Artist of the Year. He has been a prize winner in seven international com-petitions — in England, Italy, Japan, and the United States. He has also been fea-tured on radio and television programs in Europe and North America. He is the sub-ject of a CBC National News documentary called The Reluctant Prodigy. Mr. Lisiecki has performed at many music festivals in Poland, with Canada’s major orchestras, and with the BBC Sym-phony, Deutsches Symphonie-Orchester Berlin, Gothenburg Symphony Orchestra, Leipzig Radio Symphony Orchestra, Min-nesota Orchestra, New York Philharmon-ic, NHK Symphony Orchestra, Orchestra Filarmonica della Scala, Orchestre de Paris, Philadelphia Orchestra, and Zurich’s Tonhalle Orchestra. He has appeared in recital in London, Rome, and San Fran-cisco. His current schedule includes con-certs with the Bamberg Symphony, San

Francisco Symphony, and a tour of Eu-rope with the Zurich Chamber Orchestra. Born to Polish parents in Canada in 1995, Jan Lisiecki began piano lessons at age fi ve and made his concerto de-but four years later. After skipping four grade levels, he graduated from Western Canada High School and earned a bach-elor’s degree at the Glenn Gould School of Music in To-ronto. He came to international attention in 2010, when the Fryderyk Cho-pin Institute issued his live recording of Chopin’s piano concertos. Deutsche Grammophon signed him as an exclusive artist in 2011; his albums include works by Mozart, Chopin, and Schumann. Mr. Lisiecki is committed to making the world a better place through char-ity work and advocacy. He donates time and performances to such organizations as the David Foster Foundation, Polish Humanitarian Organization, and the Wish Upon a Star Foundation. In 2012, he was named Unicef Ambassador to Canada, having been a National Youth Represen-tative since 2008.

Jan Lisiecki

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T H E O R I G I N S O F A W O R K as momentous in its impact on history as on hearers of every generation cannot be lightly traced. Yet, for this symphony, two separate impulses seem to have fused in Beethoven’s mind, as in some white-hot cauldron, creating a solid artifact whose eff ect and power dwarf the mere historical circumstances of its composition. The fi rst impulse was Beethoven’s admiration for Napoleon as a symbol of human heroism. The idea of basing a symphony on Bonaparte was said to have been suggested by General Berna-dotte, the French ambassador to Vienna, with whom Beethoven was certainly acquainted. The story of the title page of the com-pleted symphony, headed “Bonaparte,” being angrily torn up by Beethoven on hearing that Napoleon had crowned himself Emperor is well attested. From what we know of Beethoven’s character, he is more than likely to have drawn a comparison between Napoleon and himself, feeling within him the power to refashion the art of music as comprehensively as Napoleon was redrawing the map of Europe. The second impulse was personal. In October 1802, Beethoven drew up the extraordinary document known as the Heiligenstadt Testament, in which he calmly acknowledged the likely permanence of his deafness and less calmly bequeathed his earthly goods to his two brothers. But for his art, he admits, he

Beethoven composed his Third Sym-phony between 1802 and 1804. He conducted the fi rst performance at a private concert in the home of Prince Lobkowitz, to whom the work is dedicated, in December 1804. The fi rst public performance took place at the Theater-an-der-Wien on April 7, 1805, with the composer conducting. This symphony runs about 50 minutes in performance. Beethoven scored it for 2 fl utes, 2 oboes, 2 clari-nets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings.

The Cleveland Orchestra fi rst performed Beethoven’s “Eroica” Sym-phony in October 1920, under Nikolai Sokoloff ’s direction. It is among the most frequently performed sympho-nies in the Orchestra’s repertoire, appearing often in Cleveland’s programming at home and in cities around the world. The Cleveland Orchestra has recorded Beethoven’s Third three times: in 1957 with George Szell, in 1977 with Lorin Maazel, and in 1983 with Christoph von Dohnányi.

At a Glance

Symphony No. 3 (“Eroica” or “Heroic”) in E-fl at major, Opus 55composed 1802-04

About the Music

About the Music

by Ludwig vanBEETHOVENborn December 16, 1770Bonn

diedMarch 26, 1827Vienna


Bonaparte out, “Heroic” in “In this symphony, Beethoven had Buonaparte in mind, but as he was when he was First Consul. Beethoven esteemed him greatly at the time and likened him to the greatest Roman consuls. I as well as several of his more intimate friends saw a copy of the score lying upon his table with the word ‘Buonapar-te’ at the extreme top of the title page, and at the extreme bottom ‘Luigi van Beethoven,’ but not another word. Whether and with what the space between was to be fi lled out, I do not know. I was the fi rst to bring him the intelligence that Buonaparte had proclaimed himself emperor, whereupon he fl ew into a rage and cried out: ‘Is he then, too, nothing more than an ordinary human being? Now he, too, will trample on all the rights of man and indulge only his ambition. He will exalt himself above all others to become a tyrant!’ Beethoven went to the table, took hold of the title page by the top, tore it in two, and threw it on the fl oor. The page had to be rewritten, and only then did the symphony receive the title ‘Sinfonia eroica’.”

— from Recollections of Ferdinand Ries

ABOVE AND BELOW — Diff ering accounts of Beethoven’s outrage at Napoleon. The story tells of him tearing the paper in two. The manuscript (at top) shows a physical, maybe violent attempt to erase the word “Buonaparte.”

Beethoven’s Third Symphony70 The Cleveland Orchestra


would have ended his own life: “It seemed impossible to leave the world until I had brought forth all that I felt was within me.” Since his Third Symphony, the “Eroica,” was already planned and was to preoccupy him throughout the summer of 1803, it may be said to have saved his life — as though music itself achieves its own triumphs over human frailty, a theme suggested in the splendor of the Third Symphony’s fi nale, and even more affi r-matively in the Fifth Symphony. After the “Eroica,” Beethoven’s music was irretrievably changed. Great musical landscapes were opened up, which he spent the rest of his life exploring, but at the same time the sense of primal beauty — which is more perfectly expressed in Beethoven’s early works than in any other music, even Mozart — was lost. Beethoven’s gift of flowing, elegant melody was now swamped by the relentless dynamic energy of the heroic Middle Period. His orchestra-tion became heavier, his movements longer, and the domestic quality of his music was transformed into great idealism, on the one hand, and profound inner searching, on the other. Not just Beethoven’s music was changed, all music was irretrievably changed. The 18th century, with its pleasant music, was chronologically and culturally buried — and pre-Romantic civilization left for modern ar-chaeology to uncover. Music was henceforth inescapably personal, expressive, and profoundly dramatic. And earlier music, no matter what its origins, was now interpreted in the new way. The conventions of listening and interpretation that Beethoven forced on his Viennese audiences are with us still today. Not all those early listeners found the Third Symphony agreeable. In 1805, everyone was struck by its great length, while many found it headed in the wrong direction. “His music,” wrote one critic, “could soon reach the point where one would derive no pleasure from it, unless well trained in the rules and diffi culties of the art, but rather would leave the concert hall with an unpleasant feeling of fatigue from having been crushed by a mass of uncon-nected and overloaded ideas and a continuous tumult from all the instruments.” Another writer confessed that he found in the

About the Music

With his Third Symphony,

not just Beethoven’s

music was changed, but

all music was irretrievably

changed. The 18th centu-

ry, with its pleasant music,

was chronologically and

culturally buried. Music

was henceforth inescapably

more personal, expressive,

and profoundly dramatic.


new symphony “too much that is glaring and bizarre,” turning at once to a symphony by Anton Eberl (a composer now largely forgotten) that gave him more pleasure. The strength of the “Eroica” is surely that it challenges us to see new signifi cance and new meaning in it at every perfor-

mance. Those who predicted that it would take centu-ries before it was fully understood may have been right.

A C L O S E R L O O K AT T H E M U S I C The fi rst movement is created on an immense scale, with development and coda sections extended beyond any movement written before it. Unlike many symphonies by Mozart or Haydn, it has no slow intro-duction. Instead, it is pre faced by two robust chords of E-fl at major, like an affi rmation of solidity and strength with the sort of fi nality one expects to fi nd at the end of a movement, not the beginning. A movement in 3/4 meter allows rich opportunities for cross-rhythms and cross-accents, of which Beethoven takes full advantage, sometimes laying the stress on the second rather than the fi rst beat of the measure, sometimes leaving the fi rst beat silent, and at moments of greatest tension hammering out dissonant chords at two-beat intervals as if to deny the movement’s basic pulse altogether. At other times, the music glides eff ortlessly along, even if

distant storms are never far over the horizon, and the movement ends with the same two solid chords with which it had opened. The second movement, an awesome funeral march, is somber and processional in the minor key, drawing an intense sound from the strings that would have been unimaginable in the previous century. The major key pierces the tragedy with the winds, led off by the oboe, unfolding a noble melody that reaches a strong climax before returning to the march. A fugal episode generates enormous power, and the desolate ending is beyond words. Even the third-movement Scherzo, in which Beethoven would normally settle for a lighter mood, fi nds extraordinary dynamic strength, and its Trio section puts the three horns on display (when just two horns would previously have been nor-mal in a symphonic work like this). It is typical of Beethoven that in a work of such high serious-ness he fi nds room for his incessant humor. It sometimes makes

About the Music

The new attitude of self-importance that dis-gusted freedom-loving Beethoven — “Napoleon On His Imperial Throne,” oil on canvas painting, by Jean-Auguste Domi-nique Ingres, 1806.


you wonder if he was serious at all. The well-known moment at the fi rst movement’s recapitulation, when the horn apparently makes a false entry comes across as a well-intended joke. So too is the portentous rush of notes (in the wrong key) at the begin-ning of the fourth-movement fi nale, leading not to a weighty thematic declaration, but to a simple, almost inane, bass line bereft of theme, which acts as an expectant anticipation of the main theme. When the theme does arrive, it turns out to be no more than a dance tune of surpassing obviousness borrowed from the ballet The Creatures of Prometheus, which Beethoven had written just a couple of years earlier. Ballet music! Just as we start to wonder how he could have sunk so low, the music becomes fugal, then dramatic, then aggressive, then elegiac, then massively grand and conclusive. Once again, Beethoven has outwitted his listeners by the sheer power of his invention. Keeping pace with his thought processes is an exhausting, but happily inexhaustible and energizing, occupation.

—Hugh Macdonald © 2016

About the Music

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2015-16 SEASON

AT THE MOVIE SERIES

Severance HallTuesday evening, April 26, 2016, at 7:30 p.m.


The Cleveland Orchestra’s At the Movies series is sponsored by PNC Bank, a Cleveland Orchestra Partner in Excellence.

Cleveland Orchestra Media Partner: cleveland.com

A S Y M P H O N I C N I G H T AT T H E M O V I E S

with the score performed live by THE CLEVELAND ORCHESTRA

conducted by RICHARD KAUFMAN

Directed by James Whale

Produced by Carl Laemmle, Jr.

Screenplay by William Hurlbut from the novel “Frankenstein” by Mary Shelley

Music by Franz Waxman

A Universal Picture

T H E C A S TBoris Karloff . . . . . . . . . . . . . . . . . . . . . . . . . . . . Th e MonsterColin Clive . . . . . . . . . . . . . Baron Henry von FrankensteinValerie Hobson . . . . . . . . . . . . Elizabeth von FrankensteinErnest Th esiger . . . . . . . . . . . . . . . . . . . . . . . . Dr. PretoriusElsa Lanchester . . . . . Mary Shelley / Th e Monster’s MateGavin Gordon . . . . . . . . . . . . . . . . . . . . . . . . . . . Lord ByronDouglas Walton . . . . . . . . . . . . . . . . . . . . . . . . Percy ShelleyUna O’Connor . . . . . . . . . . . . . . . Minnie, the Housekeeper

Th e fi lm is presented without intermission and will end at approximately 9:00 p.m.

ith th f d li

Prior to the movie presentation, The Cleveland Orchestra will performYoung Frankenstein: Transylvanian Lullaby by John Morris (b.1926)

Concert Program — Bride of Frankenstein


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T H E S T O R Y

Mary Shelley (Elsa Lanchester), author of the book Frankenstein, reveals to Percy Shelley (Douglas Walton) and Lord Byron (Gavin Gordon) that Baron Henry von Fran-kenstein (Colin Clive) and his Monster (Boris Karloff ) did not die in the mill fi re. We fl ashback to scenes from the previous movie, “Frankenstein” (1931). After the mill collapses, and it seems the Monster has been destroyed, the burgomeister (E.E. Clive) urges everyone to return to their homes. But the father (Reginald Barlow) of the little girl who the Monster had accidentally killed wants to see the creature’s dead body with his own eyes. His wife (Mary Gordon) tries to stop him, but he wanders

through the still-burning debris, falls through a hole to a fl ooded cavern, and is killed by the Monster. The Frankensteins’ servant Minnie (Una O’Connor) also meets with the Monster, but manages to escape with her life — but no one believes her when she says that the Monster is still alive. Meanwhile, Henry wants nothing more than to settle into a peaceful life with his new bride (Valerie Hobson). But his old professor, Dr. Pretorius (Ernest Thesiger), now disgraced, convinces him to continue his work in creating new life. Soon the village learns that the Monster is still alive. They capture him, but he escapes and goes wandering through

the forest as the villagers hunt him. The Monster discovers an isolated cabin occu-pied by an old blind hermit (O.P. Heggie), who is playing the violin. The creature and the lonely hermit become friends, as the old man teaches the Monster the joys of music, cigars, bread, and wine. The Monster understands human speech and soon learns to speak himself. Their happiness together is dashed when two travelers stop by to ask directions. They recognize the Monster and attack him, inadvertently burning down the hermit’s cabin. The Monster runs away, angry and unhappy. A chance meeting brings Dr. Pretorius and the Monster together — and Pretorius uses the Monster to kidnap Mrs. Frankenstein and blackmail Henry into returning to his castle and continuing his experiments. The Monster wants his creator to build him a friend; Pretorius wants to see dead tissue become a living woman. Henry is forced to give his creature a bride. Henry and Pretorius succeed in following the creation of Man with the creation of Woman (Elsa Lanchester again). But Woman is not happy with Man and backs away from him. The Monster is despondent. He frees Henry and Henry’s wife, and then releases a lever that destroys himself, his bride, and Dr. Pretorius.

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Producer: John GobermanTechnical Supervisor: Pat McGillenMusic Consultant: John Waxman

A Symphonic Night at the Movies is a production of PGM Productions Inc. of New York and is presented by arrangement with IMG Artists.

The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations).

Richard KaufmanRichard Kaufman has devoted much of his musical life to conducting and super-vising music for fi lm and television pro-

ductions, as well as performing fi lm and classical music in con-cert halls and on recordings. He made his Cleve-land Orchestra debut in May 2009, and his most recent ap-pearances here included season-

ending concerts in the 2015 Blossom Mu-sic Festival. Mr. Kaufman celebrates his 25th year as principal pops conductor with Orange County’s Pacifi c Symphony with the 2015-16 season. He also holds the title of pops conductor laureate with the Dallas Symphony Orchestra, and begins a tenth season with the Chicago Symphony Orch estra’s “Friday Night at the Movies” series. In addition, he regularly appears as a guest conductor with symphony orchestras throughout the United States and around the world. He made his Bos-ton Pops debut in May 2015, substituting for John Williams for the Annual Boston Pops Film Night.

Richard Kaufman received the 1993 Grammy Award for Best Pop Instrumental Performance. His most recent recording, with the London Symphony Orchestra, received a 2013 Grammy nomination for Best Instrumental Accompaniment for a Vocal (“Wild is the Wind,” arranged by Nan Schwartz). Other recordings include fi lm music with the Brandenburg Philharmonic, Nuremberg Symphony, and New Zealand Symphony. Mr. Kaufman has conducted for many performers and entertainers, in-cluding John Denver and Andy Williams. As a violinist, he has performed on the soundtracks of numerous fi lm and televi-sion scores, including Jaws, Close Encoun-ters of the Third Kind, and Animal House. Mr. Kaufman joined the MGM Mu-sic Department in 1984 as music coor-dinator, and for the next eighteen years supervised music for MGM fi lm and tele-vision projects. He received two Emmy Award nominations. Born in Los Angeles, Richard Kauf-man began violin studies at age 7. He attended the Berkshire Music Festival at Tanglewood in the Fellowship pro-gram, and earned a bachelor’s degree in music from California State University Northridge. For more information, please visit www.kaufmanconductor.com.

Guest Conductor

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A Place to Be Remembered . . . The Cleveland Orchestra is entering the public phase of a major fund-raising eff ort, the Sound for the Centennial Campaign. The campaign is focused on adding more value to our community by securing fi nancial strength for the Orchestra’s second century. The campaign is building the Orch estra’s endowment through cash gi s and legacy commitments, while also securing broad-based and increasing annual support from across Northeast Ohio. Campaign supporters are eligible for special and unique recogni on. From concert dedica ons and program book recogni on to limited-term or permanent naming opportuni es of musician chairs. Plus unique op ons to name spaces and seats in Severance Hall or Blossom Music Center. All available only by suppor ng The Cleveland Orchestra.

You too can play a cri cal part in securing The Cleveland Or ch estra’s role in making the Northeast Ohio community great. To learn more about receiving special recogni on through the Sound for the Centennial Campaign, please contact the Philanthropy & Advancement Department by calling 216-231-7558.

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OF CLEVELANDJewish Federation

Caring for those in need never goes out of style. Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values have always inspired us to act. Those same values teach us to care for the next generation. By making a legacy gift, you leave your children and grandchildren a precious inheritance and a lasting testimony to your values.

Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a confidential conversation at 216-593-2805 or [email protected].

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The Partners in Excellence program salutes companies with annual contri-butions of $100,000 and more, exem-plifying leadership and commitment to musical excellence at the highest level.

PARTNERS IN EXCELLENCE$300,000 AND MORE

Hyster-Yale Materials HandlingNACCO Industries, Inc.KeyBankRaiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company

PARTNERS IN EXCELLENCE$200,000 TO $299,999BakerHostetlerEatonFirstEnergy FoundationJones DayPNC Bank

PARTNERS IN EXCELLENCE$100,000 TO $199,999American Greetings CorporationForest CityThe Lincoln Electric FoundationMedical Mutual of OhioNordson Corporation Foundation Squire Patton Boggs (US) LLPThompson Hine LLPWhite & Case (Miami)

$50,000 TO $99,999

Dollar Bank FoundationParker Hannifin FoundationQuality Electrodynamics (QED)voestalpine AG (Europe)Anonymous

$25,000 TO $49,999Buyers Products CompanyFirstMerit BankAdam Foslid / Greenberg Traurig (Miami)Litigation Management, Inc.The Lubrizol CorporationOlympic Steel, Inc.RPM International Inc.

$2,500 TO $24,999Akron Tool & Die CompanyAmerican Fireworks, Inc.ArtsMarketing Services Inc.Bank of AmericaBDIBrothers Printing Co., Inc. Brouse McDowellEileen M. Burkhart & Co LLCCalfee, Halter & Griswold LLPCarlton Fields (Miami)Cleveland ClinicThe Cleveland Wire Cloth & Mfg. Co.Cohen & Company, CPAsConsolidated SolutionsDominion FoundationErnst & Young LLPEvarts TremaineThe Ewart-Ohlson Machine Company Feldman Gale, P.A. (Miami) Ferro CorporationFrantz Ward LLPArthur J. Gallagher & Co.The Giant Eagle FoundationGreat Lakes Brewing CompanyGross BuildersHahn Loeser & Parks LLPHuntington National BankKPMG LLP Lakewood Supply Co.Littler Mendelson, P.C.Live Publishing CompanyMacy’s Materion CorporationMiba AG (Europe)MTD Products, Inc.North Coast Container Corp.Northern HaserotOatey Ohio CATOhio Savings Bank, A Division of New York Community BankOswald CompaniesPark-Ohio Holdings Corp.The Plain DealerPolyOne CorporationThe Prince & Izant CompanyThe Sherwin-Williams CompanySouthern Wine and Spirits (Miami)Stern Advertising AgencyStruktol Company of America Swagelok CompanyTucker EllisUBS United Automobile Insurance (Miami)University HospitalsVer Ploeg & Lumpkin, P.A. (Miami)WCLV Foundation Westlake Reed LeskoskyMargaret W. Wong & Assoc. Co., LPA Anonymous (2)

Annual Supportgifts of $2,500 or more during the past year, as of March 5, 2016

Cumulative GivingJOHN L. SEVERANCE

SOCIETY

$5 MILLION AND MORE

KeyBankPNC Bank

$1 MILLION TO $5 MILLION

BakerHostetlerBank of AmericaEatonFirstEnergy FoundationForest City The Goodyear Tire & Rubber CompanyHyster-Yale Materials HandlingNACCO Industries, Inc.Jones DayThe Lubrizol Corporation / The Lubrizol FoundationMedical Mutual of OhioParker Hannifin FoundationThe Plain DealerPolyOne CorporationRaiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker CompanyUBS

The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of March 2016.

The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Corporate Support


83Severance Hall 2015-16 83Corporate Annual Support

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$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

Cuyahoga Arts & CultureThe Andrew W. Mellon Foundation

$500,000 TO $999,999The George Gund FoundationOhio Arts CouncilTimken Foundation of Canton

$250,000 TO $499,999Knight Foundation (Miami)Kulas FoundationJohn P. Murphy FoundationThe Eric & Jane Nord Family Fund

$100,000 TO $249,999GAR FoundationElizabeth Ring Mather and William Gwinn Mather FundDavid and Inez Myers FoundationThe Kelvin and Eleanor Smith Foundation

$50,000 TO $99,999Paul M. Angell Family FoundationThe George W. Codrington Charitable FoundationThe Gerhard Foundation, Inc.Ann and Gordon Getty FoundationMartha Holden Jennings FoundationMyra Tuteur Kahn Memorial Fund of The Cleveland FoundationMiami-Dade County Department of Cultural Affairs (Miami)The Nord Family FoundationThe Payne FundThe Sage Cleveland Foundation

Annual Support gifts of $2,500 or more during the past year, as of March 5, 2016

The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

$20,000 TO $49,999The Batchelor Foundation, Inc. (Miami) Eva L. and Joseph M. Bruening FoundationMary E. and F. Joseph Callahan FoundationThe Helen C. Cole Charitable TrustThe Mary S. and David C. Corbin FoundationMary and Dr. George L. Demetros Charitable TrustThe Helen Wade Greene Charitable TrustNational Endowment for the ArtsThe Frederick and Julia Nonneman FoundationPeacock Foundation, Inc. (Miami)The Reinberger FoundationJames G. Robertson Fund of Akron Community FoundationSandor FoundationHarold C. Schott FoundationThe Sisler McFawn FoundationThe Veale Foundation

$2,500 TO $19,999The Abington FoundationThe Ruth and Elmer Babin FoundationDr. NE & JZ Berman FoundationThe Bernheimer Family Fund of The Cleveland FoundationElisha-Bolton FoundationThe Conway Family FoundationThe Cowles Charitable Trust (Miami)The Harry K. Fox and Emma R. Fox Charitable FoundationFunding Arts Network (Miami)The Hankins FoundationThe William Randolph Hearst FoundationThe Muna & Basem Hishmeh FoundationRichard H. Holzer Memorial FoundationThe Laub FoundationVictor C. Laughlin, M.D. Memorial Foundation TrustThe Lehner Family FoundationThe G. R. Lincoln Family FoundationBessie Benner Metzenbaum Foundation The Margaret Clark Morgan FoundationThe M. G. O’Neil Foundation Paintstone FoundationThe Charles E. & Mabel M. Ritchie Memorial FoundationThe Leighton A. Rosenthal Family FoundationSCH FoundationAlbert G. & Olive H. Schlink FoundationJean C. Schroeder FoundationKenneth W. Scott FoundationLloyd L. and Louise K. Smith Memorial FoundationThe South Waite FoundationThe George Garretson Wade Charitable TrustThe S. K. Wellman FoundationThe Welty Family FoundationThomas H. White Foundation, a KeyBank TrustThe Edward and Ruth Wilkof FoundationThe Wuliger FoundationAnonymous (2)

Cumulative GivingJOHN L. SEVERANCE

SOCIETY

$10 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through Cuyahoga Arts & CultureKulas FoundationMaltz Family FoundationState of OhioOhio Arts CouncilThe Kelvin and Eleanor Smith Foundation


The George Gund FoundationKnight Foundation (Cleveland, Miami)The Andrew W. Mellon FoundationJohn P. Murphy Foundation


The William Bingham FoundationThe George W. Codrington Charitable Foundation GAR FoundationAnn and Gordon Getty FoundationThe Louise H. and David S. Ingalls FoundationMartha Holden Jennings FoundationElizabeth Ring Mather and William Gwinn Mather FundDavid and Inez Myers FoundationNational Endowment for the ArtsThe Eric & Jane Nord Family FundThe Payne FundThe Reinberger FoundationThe Sage Cleveland Foundation

The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of March 2016.


Foundation & Government Support

85Severance Hall 2015-16 85Foundation and Government Annual Support

Individual Annual Support

The Cleveland Orchestra gratefully recognizes the individuals listed here, who have provided generous gifts of cash or pledges of $2,500 or more to the Annual Fund, benefit events, tours and residencies, and special annual donations.


Lifetime Giving JOHN L. SEVERANCE SOCIETY

$10 MILLION AND MORE

Daniel R. Lewis (Miami, Cleveland)Jan R. Lewis (Miami, Cleveland)Mrs. Alfred M. Rankin, Sr.


Mr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMr. and Mrs. Alexander M. CutlerMrs. Norma Lerner and The Lerner FoundationMr. and Mrs. Albert B. Ratner


Irma and Norman Braman (Miami) Mr. Francis J. Callahan*Mrs. M. Roger Clapp*Mr. George Gund III *Francie and David Horvitz (Miami)Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III *The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Sue Miller (Miami) Sally S.* and John C. Morley The Family of D. Z. NortonThe Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr.Charles and Ilana Horowitz RatnerJames and Donna Reid Barbara S. Robinson Peter B. Lewis* and Janet Rosel Lewis (Miami)The Ralph and Luci Schey FoundationMr.* and Mrs. Ward SmithMr. and Mrs. Richard K. SmuckerAnonymous (2)

The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orch-estra’s home concert hall, which stands today as an emblem of unrivalled quality and community pride.

Lifetime giving listing as of March 2016.

Giving Societiesgifts during the past year, as of March 5, 2016

In celebration of the critical role individuals play in supporting The Cleveland Orchestra each year, donors of $2,500 and more are recognized as members of special Leadership Giving Societies. These societies are named to honor important and inspirational leaders in the Orchestra’s history. ��The Adella Prentiss Hughes Society honors the Orchestra’s founder and first manager, who from 1918 envisioned an ensemble dedicated to community service, music education, and performing excellence. The George Szell Society is named after the Orchestra’s fourth music director, who served for twenty-four seasons (1946-70) while refining the ensemble’s international reputation for clarity of sound and unsurpassed musical excellence. The Elisabeth DeWitt Severance Society honors not only the woman in whose memory Severance Hall was built, but her selfless sharing, including her insistence on nurturing an orches-tra not just for the wealthy but for everyone. The Dudley S. Blossom Society honors one of the Orchestra’s early and most generous benefactors, whose dedication and charm rallied thousands to support and nurture a hometown orchestra toward greatness. The Frank H. Ginn Society honors the man whose judicious management of Severance Hall’s finances and construction created a beautiful and welcoming home for Cleveland’s Orchestra. The 1929 Society honors the vibrant com-munity spirit that propelled 3,000 volunteers and donors to raise over $2 million in a nine-day campaign in April 1929 to meet and match John and Elisabeth Severance’s challenge gift toward the building of the Orchestra’s new concert hall.

86 The Cleveland OrchestraIndividual Annual Support

Adella Prentiss Hughes Society

gifts of $100,000 and more

INDIVIDUAL GIFTS OF $500,000 AND MORE

Mr. and Mrs. Albert B. Ratner Mr. and Mrs. Richard K. Smucker

INDIVIDUAL GIFTS OF $200,000 TO $499,999

Irma and Norman Braman (Miami) Mr. and Mrs. James A. Haslam IIIThe Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis (Miami)Jan R. Lewis (Miami)Peter B. Lewis* and Janet Rosel Lewis (Miami) Sue Miller (Miami) James and Donna Reid


George* and Becky DunnDr. and Mrs. Hiroyuki Fujita David and Francie Horvitz Family Foundation (Miami) James D. Ireland III* Mr. and Mrs. Joseph P. KeithleyDr. and Mrs. Herbert Kloiber (Europe)Mr. and Mrs. Dennis W. LaBarre Mrs. Emma S. Lincoln Milton and Tamar MaltzElizabeth F. McBride Mary M. Spencer (Miami) Ms. Ginger Warner (Cleveland, Miami) Janet* and Richard Yulman (Miami)

George Szell Society



Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. Patrick Park (Miami)Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Franz Welser-Möst


Sheldon and Florence Anderson (Miami) Blossom Friends of The Cleveland Orchestra

Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler Hector D. Fortun (Miami)T. K. and Faye A. Heston Giuliana C. and John D. KochDr. and Mrs. Jerome KowalToby Devan LewisMr.* and Mrs. Edward A. LozickRobert M. Maloney and Laura Goyanes Ms. Nancy W. McCann Ms. Beth E. Mooney Sally S.* and John C. Morley Margaret Fulton-Mueller Roseanne and Gary Oatey (Cleveland, Miami) The Claudia and Steven Perles Family Foundation (Miami)Mrs. Alfred M. Rankin, Sr.Charles and Ilana Horowitz Ratner Barbara S. Robinson (Cleveland, Miami) Sally and Larry Sears Hewitt and Paula Shaw Barbara and David Wolfort (Cleveland, Miami) Women’s Committee of The Cleveland OrchestraAnonymous (2)

Elisabeth DeWitt Severance Society



Daniel and Trish Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton The Brown and Kunze FoundationMr. and Mrs. David J. Carpenter Robert and Jean* Conrad Mr. and Mrs. Geoffrey Gund Mrs. John A. Hadden, Jr.Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable FoundationVirginia M. and Jon A. LindsethJulia and Larry Pollock

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Leadership Council The Leadership Council salutes those extraordinary donors who have pledged to sustain their annual giving at the highest level for three years or more. Leadership Council donors are recognized in these Annual Support listings with the Leadership Council symbol next to their name:

87Severance Hall 2015-16 87Individual Annual Support

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William Appert and Christopher Wallace (Miami) Art of Beauty Company, Inc.Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia BrouhardIrad and Rebecca CarmiJill and Paul ClarkMr. and Mrs. William E. Conway Mrs. Barbara CookPeter D. and Julie F. Cummings (Miami)Do Unto Others Trust (Miami)Dr. and Mrs. Robert Ehrlich (Europe)Mr. Allen H. FordMs. Dawn M. FullRichard and Ann Gridley Gary Hanson and Barbara Klante Sondra and Steve HardisJack Harley and Judy ErnestDavid and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami)Trevor and Jennie Jones Tati and Ezra Katz (Miami) Mr. Jeff LitwillerMr. and Mrs. Thomas B. McGowanMr. Thomas F. McKee Mr. and Mrs. Stanley A. MeiselEdith and Ted* Miller Lucia S. NashMrs. David Seidenfeld Mr. and Mrs. Oliver E. SeikelJoe and Marlene TootMr. and Mrs. Daniel P. WalshTom and Shirley Waltermire Mr. and Mrs. Jeffrey J. WeaverMr. and Mrs. Jeffrey M. Weiss

Frank H. Ginn Society


INDIVIDUAL GIFTS OF $12,500 TO $14,999 Mrs. Barbara Ann Davis Robert K. Gudbranson and Joon-Li Kim Eeva and Harri Kulovaara (Miami)Mr. and Mrs. Richard A. Manuel*Mr. and Mrs. Stephen MyersPaul A. and Anastacia L. Rose Mr. and Mrs. Alfred Umdasch (Europe)Margaret and Eric* Wayne Sandy and Ted Wiese

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The Ralph and Luci Schey Foundation Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton


Marsha and Brian Bilzin (Miami) In dedication to Donald Carlin (Miami)Martha and Bruce Clinton (Miami)Mr.* and Mrs. Gerald A. ConwayJudith and George W. DiehlJoAnn and Robert Glick Mr. Loren W. HersheyMrs. Marguerite B. Humphrey Mr. and Mrs. Donald M. Jack, Jr.Junior Committee of The Cleveland OrchestraThomas E Lauria (Miami)Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan Mrs. Jane B. NordWilliam J. and Katherine T. O’Neill Mr. and Mrs. James A. RatnerMr. and Mrs. David A. Ruckman Mr. and Mrs. James A. Saks Marc and Rennie SaltzbergMr. Larry J. Santon Jim and Myrna SpiraPaul and Suzanne Westlake Anonymous

Dudley S. Blossom Society



Gay Cull Addicott Mr. and Mrs. William W. BakerRandall and Virginia BarbatoMr. Yuval BriskerMr. and Mrs. Matthew V. Crawford Jim and Karen DakinMr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami)Jeffrey and Susan Feldman (Miami)Dr. Edward S. Godleski Mary and Jon Heider (Cleveland, Miami)Allan V. JohnsonMr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Mr. and Mrs. Moshe Meidar (Miami)The Miller Family Sydell Miller Lauren and Steve Spilman Stacie and Jeff HalpernKim Sherwin Mr. and Mrs. Donald Stelling (Europe)Rick, Margarita, and Steven Tonkinson (Miami) Gary L. Wasserman and Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe)


Ronald H. BellHenry C. DollJudy ErnestNicki GudbransonJack Harley Iris Harvie

Faye A. HestonBrinton L. HydeDavid C. LambLarry J. SantonRaymond T. Sawyer

Barbara Robinson, chairRobert Gudbranson, vice chair

The Leadership Patron Program recognizes generous donors of $2,500 or more to the Orchestra’s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Elizabeth Arnett, Manager, Leadership Giving, by calling 216-231-7522.

LEADERSHIP PATRON PROGRAM


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The 1929 Society

gifts of $2,500 to $9,999INDIVIDUAL GIFTS OF $7,500 TO $9,999

Dr. and Mrs. D. P. AgamanolisSusan S. AngellMr. William AppAgnes ArmstrongMrs. Elizabeth H. AugustusMr. and Mrs. Robert H. Baker Jennifer Barlament and Ken PotsicFred G. and Mary W. BehmMr. and Mrs. Jules BelkinMr. William BergerDr. and Mrs. Eugene H. BlackstoneSuzanne and Jim BlaserDr.* and Mrs. Jerald S. BrodkeyDr. Thomas Brugger and Dr. Sandra RussFrank and Leslie Buck Mr. and Mrs. William C. ButlerAugustine* and Grace CaliguireMs. Maria Cashy Dr. William and Dottie ClarkKathleen A. Coleman

Diane Lynn Collier and Robert J. Gura Marjorie Dickard ComellaCorinne L. Dodero Foundation for the Arts and Sciences Mr. Kamal-Neil Dass and Ms. Teresa LarsenMr. and Mrs. Ralph DaugstrupMr. and Mrs. Thomas S. DavisPete and Margaret Dobbins Mr. and Mrs. Bernard H. EcksteinDr. and Mrs. Robert ElstonMary and Oliver Emerson* Ms. Karen FethJoseph Z. and Betty Fleming (Miami)Scott A. FoersterJoan Alice FordBarbara and Peter GalvinJoy E. GarapicDr. and Mrs. Adi GazdarBrenda and David GoldbergMr. Albert C. Goldsmith

Mr. and Mrs. Henry J. GoodmanPatti Gordon (Miami)Mr. and Mrs. Randall J. Gordon Robert N. and Nicki N. Gudbranson David and Robin GunningAlfredo and Luz Gutierrez (Miami)Douglas M. and Amy Halsey (Miami)Clark Harvey and Holly Selvaggi Dr. Robert T. Heath and Dr. Elizabeth L. BuchananJanet D. Heil*Anita and William Heller Thomas and Mary Holmes Elisabeth Hugh Ms. Carole HughesMs. Charlotte L. HughesMr. David and Mrs. Dianne Hunt Mr. and Mrs. Christopher Hyland


Robert and Alyssa Lenhoff-BriggsMr. and Mrs. Stanley Cohen (Miami) Ellen E. & Victor J. Cohn Supporting Foundation Bob and Linnet FritzLinda and Lawrence D. Goodman (Miami)Harry and Joyce GrahamMr. Paul GreigIris and Tom Harvie Mrs. Sandra L. HaslingerHenry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman Mr. and Mrs. Brinton L. Hyde

Pamela and Scott Isquick Richard and Michelle JeschelnigJoela Jones and Richard Weiss James and Gay* Kitson Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Georgia and Carlos Noble (Miami) Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Nan and Bob Pfeifer Rosskamm Family TrustMrs. Florence Brewster Rutter

Patricia J. Sawvel Dr. and Mrs. James L. SechlerDr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer FoundationDrs. Daniel and Ximena Sessler Bill* and Marjorie B. Shorrock Mrs. Gretchen D. SmithDr. Gregory Videtic Robert C. Weppler Dr. and Mr. Ann WilliamsAnonymous (3)


Mr. and Mrs. George N. Aronoff Mr. and Mrs. Dean Barry Drs. Nathan A. and Sosamma J. Berger Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. and Mrs. Richard L. BowenMr. D. McGregor Brandt, Jr.Paul and Marilyn Brentlinger*Mr. and Mrs. Marshall BrownJ. C. and Helen Rankin Butler Scott Chaikin and Mary Beth Cooper Drs. Wuu-Shung and Amy Chuang Richard J. and Joanne ClarkHenry and Mary* Doll Mr. and Mrs. Paul DomanNancy and Richard DotsonMr. and Mrs. Robert P. Duvin Mary Jo Eaton (Miami)Dr. and Mrs. Lloyd H. Ellis Jr.Mr. Brian L. Ewart and Mr. William McHenry Nelly and Mike Farra (Miami)Mr. Isaac Fisher (Miami)Kira and Neil Flanzraich (Miami) Sheree and Monte Friedkin (Miami) Mr. and Mrs. Richard T. Garrett

Albert I. and Norma C. GellerMr. and Mrs. Robert W. GillespieMr. David J. GoldenKathleen E. HancockMary Jane Hartwell Mr. and Mrs. James A. Haslam IIJoan and Leonard HorvitzRuth and Pedro Jimenez (Miami)Cherie and Michael Joblove (Miami)Andrew and Katherine KartalisAlan Kluger and Amy Dean (Miami)Mrs. Elizabeth R. Koch Tim and Linda Koelz Stewart and Donna KohlShirley and William Lehman (Miami)Dr. David and Janice LeshnerElsie and Byron LutmanMr.* and Mrs. Arch J. McCartneyMr. Donald W. Morrison Joy P. and Thomas G. Murdough, Jr. (Miami) Brian and Cindy MurphyMr. Raymond M. Murphy Dr. Anne and Mr. Peter NeffMrs. Milly Nyman (Miami)Mr. and Mrs. William M. Osborne, Jr.

Douglas and Noreen PowersAndrés Rivero (Miami)Audra and George Rose Dr. and Mrs. Ronald J. RossSteven and Ellen RossMichael and Chandra Rudd (Miami)Dr. Isobel RutherfordDr. and Mrs. Martin I. Saltzman Drs. Michael and Judith Samuels (Miami)Raymond T. and Katherine S. SawyerCarol* and Albert SchuppMr. and Mrs. Joseph H. Serota (Miami)Seven Five FundDr. Marvin* and Mimi Sobel Howard Stark M.D. and Rene Rodriguez (Miami)Lois and Tom StaufferMrs. Jean H. TaberBruce and Virginia Taylor Mr. Joseph F. TetlakDr. Russell A. TrussoMr. and Mrs. Fred A. Watkins Florence and Robert Werner (Miami)Anonymous (4)


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Ms. Nancy A. AdamsMr. and Mrs. Robert J. AmsdellDr. Ronald and Diane Bell Margo and Tom BertinHoward R. and Barbara Kaye BesserMr. and Mrs. David BialoskyCarmen Bishopric (Miami)Mr. and Mrs. Robert R. BroadbentMs. Mary R. Bynum and Mr. J. Philip CalabreseDr. and Mrs. William E. CappaertJohn Carleton (Cleveland, Miami)Mr. and Mrs. Frank H. CarpenterDrs. Mark Cohen and Miriam Vishny Mr. Owen ColliganMr. and Mrs. David G. de RouletMrs. April C. DemingPeter and Kathryn Eloff Mr. William and Dr. Elizabeth FeslerRichard J. FreyPeggy and David* FullmerLoren and Michael GarrutoDr. and Mrs. Edward C. Gelber (Miami)Dr. and Mrs. Ronald L. GouldThe Thomas J. and Judith Fay Gruber

Charitable Foundation

Nancy and James GrunzweigLilli and Seth HarrisMr. Robert D. HartMary S. HastingsIn Memory of Hazel HelgesenMr. and Mrs. Jerry HerschmanDr. Fred A. HeuplerMr. Robert T. HexterDavid Hollander (Miami)Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. InkleyBarbara and Michael J. KaplanDr. and Mrs. Richard S. KaufmanMrs. Natalie D. KittredgeDr. Gilles* and Mrs. Malvina Klopman Mr. Donald N. KrosinRonald and Barbara Leirvik Dr. Edith LernerMary LohmanMrs. Idarose S. LuntzHerbert L. and Rhonda MarcusMartin and Lois MarcusMs. Nancy L. MeachamDr. Susan M. MerzweilerBert and Marjorie MoyarSusan B. Murphy

Richard B. and Jane E. NashDavid and Judith NewellMr. and Mrs. Peter R. OsenarDr. Lewis and Janice B. PattersonMr. Carl PodwoskiAlfonso Rey and Sheryl Latchu (Miami)Dr. Robert W. ReynoldsCarol Rolf and Steven AdlerFred Rzepka and Anne Rzepka Family FoundationMr. Paul H. Scarbrough Ginger and Larry ShaneHarry and Ilene ShapiroMr. Richard Shirey Howard and Beth SimonMs. Ellen J. SkinnerMr. Richard C. StairMr. Taras G. Szmagala, Jr.Kathy* and Sidney Taurel (Miami)Mr. Karl and Mrs. Carol TheilErik TrimbleDrs. Anna* and Gilbert TrueRichard Wiedemer, Jr. Mrs. Henietta Zabner (Miami)Marcia and Fred* Zakrajsek Max and Beverly Zupon


Mr. and Mrs. Charles Abookire, Jr. Dr. Jacqueline Acho and Mr. John LeMayStanley I.* and Hope S. AdelsteinMr. and Mrs.* Norman Adler Mr. and Mrs. Monte Ahuja

Mr. and Mrs. James B. Aronoff Joseph BabinMr. Mark O. Bagnall (Miami)Ms. Delphine BarrettMr. and Mrs. Belkin

Mr. Roger G. BerkKerrin and Peter Bermont (Miami)Barbara and Sheldon BernsJohn and Laura Bertsch


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INDIVIDUAL GIFTS OF $5,000 TO $7,499 CONTINUED

Donna L. and Robert H. JacksonMr. and Mrs. Richard A. JanusDavid and Gloria KahanRudolf D. and Joan T. KamperMilton and Donna* KatzDr. Richard and Roberta KatzmanMr. John and Mrs. Linda KellyMr. and Mrs. Michael T. KestnerDr. and Mrs. William S. KiserMr. and Mrs.* S. Lee KohrmanMr. Clayton R. KoppesMr. James Krohngold Mr. and Mrs. Peter A. Kuhn Dr. and Mrs. Stephen A. KushnickMr. and Mrs. Arthur J. Lafave, Jr.David C. Lamb Mrs. Sandra S. LaurensonAnthony T. and Patricia A. Lauria Ivonete Leite (Miami)Irvin and Elin Leonard Mr. Lawrence B. and Christine H. LeveyDr. Alan and Mrs. Joni Lichtin Mr. and Mrs.* Thomas A. LiederbachMs. Grace LimMr. Jon E. Limbacher and Patricia J. LimbacherMr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. LoveRobert and LaVerne* LugibihlMr. and Mrs.* Robert P. Madison Ms. Jennifer R. MalkinMr. and Mrs. Morton L. MandelAlan Markowitz M.D. and Cathy PollardMr. and Mrs. E. Timothy McDonelJames and Virginia Meil

Dr. and Mrs. Eberhard MeineckeMs. Betteann Meyerson Mr. and Mrs. William A. Mitchell Curt and Sara MollDr. R. Morgan and Dr. S. Weirich (Miami)Richard and Kathleen NordMr. Thury O’ConnorMr. Henry Ott-HansenJay Pelham (Miami)Mr. and Mrs. John S. PietyMr. Robert Pinkert (Miami)Mr. and Mrs. Richard W. Pogue In memory of Henry PollakMartin R. Pollock and Susan A. GiffordDr. and Mrs. John N. Posch Ms. Rosella PuskasMr.* and Mrs. Thomas A. QuintrellDrs. Raymond R. Rackley and Carmen M. FonsecaDr. James and Lynne Rambasek Mr. and Mrs. Roger F. RankinBrian and Patricia RatnerMs. Deborah ReadMr. and Mrs. Robert J. ReidMrs. Charles Ritchie Amy and Ken RogatDr. and Mrs. Michael Rosenberg (Miami)Robert and Margo Roth Mr. and Mrs. Robert C. RuhlDavid M. and Betty SchneiderLinda B. SchneiderLee and Jane SeidmanMr. Eric Sellen and Mr. Ron SeidmanMs. Marlene Sharak Mrs. Frances G. Shoolroy*

Naomi G. and Edwin Z. Singer Family Fund

Bruce SmithDrs. Charles Kent Smith and Patricia Moore Smith David Kane Smith Mr. and Mrs. William E. Spatz George and Mary Stark Dr. and Mrs. Frank J. StaubMr. and Mrs. Donald W. Strang, Jr.Stroud Family TrustDr. Elizabeth Swenson Ms. Lorraine S. Szabo Robert and Carol Taller Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. TromblyMiss Kathleen Turner Robert and Marti Vagi Don and Mary Louise VanDykeTeresa Galang-Viñas and Joaquin Viñas (Miami)Mr. and Mrs. Mark Allen Weigand Mr. and Mrs. Michael R. Weil, Jr.Charles and Lucy WellerMr. and Mrs. Ronald E. WeinbergTom and Betsy WheelerDr. Edward L. and Mrs. Suzanne WestbrookNancy V. and Robert L. Wilcox Sandy Wile and Susan NamenBob and Kat WollyungKatie and Donald WoodcockTony and Diane Wynshaw-BorisAnonymous (2)

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cim.edu

The Cleveland Institute of Music is dedicated to the education of the complete musician of the 21st century. Fill your spring with concerts and performances from our exceptional conservatory student musicians.

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Jaime A. Bianchi and Paige A. Harper (Miami)Ms. Deborah A. BladesBill* and Zeda BlauDoug and Barbara BletcherDr. Charles Tannenbaum and Ms. Sharon BodineMr. and Mrs. Richard H. BoleMrs. Loretta BorsteinMs. Andrea L. BoydLisa and Ron BoykoMr. and Mrs. David BriggsLaurie BurmanRev. Joan CampbellMrs. Millie L. CarlsonLeigh CarterMr. and Mrs. James B. ChaneyDr.* and Mrs. Ronald ChapnickMr. Gregory R. ChemnitzMr. and Mrs. Homer D. W. ChisholmMrs. Robert A. ClarkDr. John and Mrs. Mary CloughKenneth S. and Deborah G. CohenMr. and Mrs. Mark CorradoDr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. DannemillerDr. Eleanor DavidsonMr. and Mrs. Edward B. DavisJeffrey and Eileen DavisMrs. Lois Joan DavisDr. and Mrs. Howard Dickey-White Dr. and Mrs. Richard C. DistadWilliam Dorsky and Cornelia HodgsonMr. George and Mrs. Beth Downes Mr. and Mrs. Robert DreshfieldMs. Mary Lynn Durham Mr. and Mrs. Ronald E. DziedzickiEsther L. and Alfred M. Eich, Jr. Erich Eichhorn and Ursel DoughertyDrs. Heidi Elliot and Yuri NovitskyHarry and Ann FarmerMr. Paul C. ForsgrenMichael Frank & Patricia A. SnyderMr. William Gaskill and Ms. Kathleen BurkeMr. Wilbert C. Geiss, Sr.Anne and Walter GinnDr. and Mrs. Victor M. GoldbergMr. and Mrs. David A. Goldfinger Mr. Davin and Mrs. Jo Ann GustafsonDr. Phillip M. and Mrs. Mary HallMr. and Mrs. David P. Handke, Jr.Elaine Harris Green Mr. and Mrs. Donald F. Hastings Matthew D. Healy and Richard S. AgnesMr. and Mrs. Robert D. Hertzberg (Miami)Dr. and Mrs. Robert L. HinnesMr. Larry HolsteinBob* and Edith Hudson (Miami)Dr. Randal N. Huff and Ms. Paulette Beech Ms. Luan K. Hutchinson Ruth F. IhdeMrs. Carol Lee and Mr. James IottMr. Norman E. Jackson (Miami)Ms. LaVerne JacobsonRobert and Linda JenkinsDr. Michael and Mrs. Deborah JoyceMr. Peter and Mrs. Mary JoyceMr. Stephen JudsonRev. William C. KeeneAngela Kelsey and Michael Zealy (Miami)The Kendis Family Trust: Hilary and Robert Kendis and Susan and James Kendis

Bruce and Eleanor KendrickMr. James KishFred* and Judith KlotzmanMarion KonstantynovichJacqueline and Irwin* Kott (Miami)Ellen Brad and Bart KovacDr. Ronald H. Krasney and Vicki Kennedy Dr. Michael E. LammMr. and Mrs. John J. Lane, Jr. Michael LedermanJudy and Donald Lefton (Miami)Mr. Gary LeidichMichael and Lois A. LemrDr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Ms. Mary Beth LoudJanet A. MannMr. and Mrs. Raul Marmol (Miami)Dr. and Mrs. Sanford E. Marovitz Ms. Dorene MarshDr. Ernest and Mrs. Marian MarsolaisMr. Fredrick MartinMs. Amanda MartinsekMr. Julien L. McCallWilliam C. McCoyMr. and Mrs. James E. MengerStephen and Barbara Messner Loretta J. Mester and George J. MailathMr. Michael and Mrs. Lynn MillerDrs. Terry E. and Sara S. Miller Jim and Laura MollSteven and Kimberly MyersDeborah L. NealeMarshall I. Nurenberg and Joanne KleinRichard and Jolene O’Callaghan Dr. Guilherme OliveiraMr. Robert D. PaddockGeorge Parras Mr. Thomas and Mrs. Tommie PattonDr. and Mrs. Gosta PetterssonHenry Peyrebrune and Tracy RowellDr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan PhillipMs. Maribel Piza (Miami)Dr. Marc and Mrs. Carol PohlMrs. Elinor G. PolsterMr. Robert and Mrs. Susan PriceKathleen PudelskiMs. C. A. ReaganDavid and Gloria RichardsMichael Forde RipichMr. and Mrs. James N. Robinson II (Miami)Mr. Timothy D. Robson Ms. Linda M. RocchiMiss Marjorie A. Rott*Michael and Chandra Rudd (Miami)Mr. Kevin Russell (Miami)Mrs. Elisa J. Russo Dr. Harry S. and Rita K. RzepkaPeter and Aliki RzepkaDr. Vernon E. Sackman and Ms. Marguerite PattonRev. Robert J. SansonMs. Patricia E. Say Mr. James Schutte Ms. Adrian L. ScottMr. and Mrs. Alexander C. ScovilDr. John Sedor and Ms. Geralyn PrestiMs. Kathryn SeiderCharles Seitz (Miami)Mr. and Mrs. Thomas W. Seitz Ms. Frances L. SharpMs. Jeanne Shatten

Dr. Donald S. SheldonDr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Robert SieckLaura and Alvin A. SiegalLois H. Siegel (Miami)David* and Harriet SimonDr. and Mrs. Conrad SimpfendorferThe Shari Bierman Singer FamilyGrace Katherine SipusicRobert and Barbara SlaninaRoy SmithSandra and Richey Smith Ms. Barbara SnyderLucy and Dan SondlesMr. Louis StellatoMr. and Mrs. Joseph D. SullivanKen and Martha TaylorDr. and Mrs. Thomas A. TimkoSteve and Christa Turnbull Mrs. H. Lansing Vail, Jr.Robert A. ValenteBrenton Ver Ploeg (Miami)Mr. and Mrs. Les C. VinneyDr. Michael Vogelbaum and Mrs. Judith RosmanBarbara and George von MehrenAlice & Leslie T. Webster, Jr.Mr. and Mrs.* Jerome A. WeinbergerMr. Peter and Mrs. Laurie WeinbergerRichard and Mary Lynn WillsMr. Martin WisemanMichael H. Wolf and Antonia Rivas-WolfElizabeth B. Wright Rad and Patty YatesDr. William ZeleiMr. Kal Zucker and Dr. Mary Frances HaerrAnonymous (6)

INDIVIDUAL GIFTS OF $2,500 TO $3,499 CONTINUED

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member of the Leadership Council (see first page of Annual Support listings)

* deceased

The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Leadership Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA.COM



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H A I L E D A S O N E O F the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Or-chestra since its opening on February 5, 1931. After that fi rst concert, a Cleve-land newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a tem-ple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Associa-tion, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnifi cent building. De-signed by Walker & Weeks, its elegant

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

11001 Euclid AvenueCleveland, Ohio 44106C L E V E L A N D O R C H E S T R A . C O M

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Severance Hall96 The Cleveland Orchestra

11001 Euclid AvenueCleveland, Ohio 44106C L E V E L A N D O R C H E S T R A . C O M


AT SEVERANCE HALLRESTAURANT AND CONCESSION SERVICE Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances, and for lunch following Friday Morning Concerts. For reservations, call 216-231-7373, or online by visiting clevelandorchestra.com/opentable. Intermission & Pre-Concert: Concession service of beverages and light refreshments is avail-able before most concerts and at intermissions at a variety of lobby locations. Post-Concert Dining: Severance Restaurant is open after most evening concerts with à la carte dining, desserts, full bar service, and coffee. For Friday Morning Concerts, a post-concert luncheon service is offered.

CLEVELAND ORCHESTRA STORE A variety of items relating to The Cleveland Orchestra — including logo apparel, DVD and com-pact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermissions. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Call 216-231-7478 for more information, or visit the Store online at cleveland-orchestra.com.

ATM — Automated Teller Machine For our patrons’ convenience, an ATM is located in the Lerner Lobby of Severance Hall, across from the Cleveland Orchestra Store on the ground fl oor.

QUESTIONS If you have any questions, please ask an usher or a staff member, or call 216-231-7300 during regular weekday business hours, or email to [email protected].

RENTAL OPPORTUNITIES Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orches-

tra, is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and social events. Catering provided by Marigold Catering. Premium dates are available. Call the Facility Sales Offi ce at 216-231-7420 or email to [email protected]

BEFORE THE CONCERTGARAGE PARKING AND PATRON ACCESS Pre-paid parking for the Campus Center Ga-rage can be purchased in advance through the Tick-et Offi ce for $15 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order pre-paid parking, call the Ticket Offi ce at 216-231-1111. Parking can be purchased (cash only) for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. However, the ga-rage often fi lls up and only ticket holders with pre-paid parking passes are ensured a parking space. Parking is also available in several lots within 1-2 blocks of Severance Hall. Visit the Orchestra’s web-site for more information and details.

FRIDAY MATINEE PARKING Due to limited parking availability for Friday Matinee performances, patrons are strongly en-couraged to take advantage of these convenient off-site parking and round-trip bus options: Shuttle bus service from Cleveland Heights is available from the parking lot at Cedar Hill Baptist Church (12601 Cedar Road). The round-trip service rate is $5 per person. Suburban round-trip bus transportation is availble from four locations: Beachwood Place, Crocker Park, Brecksville, and Akron’s Summit Mall. The round-trip service rate is $15 per person per concert, and is provided with support from the Women’s Committee of The Cleveland Orchestra.

CONCERT PREVIEWS Concert Preview talks and presentations begin one hour prior to most regular Cleveland Orchestra concerts at Severance Hall.

Guest Information

98 The Cleveland OrchestraGuest Information

AT THE CONCERTCOAT CHECK Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground fl oor.

PHOTOGRAPHY AND SELFIES,VIDEO AND AUDIO RECORDING Photographs of the hall and selfi es to share with others can be taken when the performance is not in progress. However, audio recording, pho-tography, and videography are prohibited during performances at Severance Hall. And, as courtesy to others, please turn off any phone or device that makes noise or emits light.

REMINDERS Please disarm electronic watch alarms and turn off all pagers, cell phones, and mechanical devices before entering the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them ac-cordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a distur-bance may be asked to leave the concert hall.

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

SERVICES FOR PERSONS WITH DISABILITIES

Severance Hall provides special seating op-tions for mobility-impaired persons and their com-panions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheel-chairs to assist patrons in going to and from their seats. Patrons can make arrangement by calling the House Manager in advance at 216-231-7425. Infrared Assistive Listening Devices are avail-able from a Head Usher or the House Manager for most performances. If you need assistance, please

contact the House Manager at 216-231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Offi ce as you buy tickets.

IN THE EVENT OF AN EMERGENCY Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you re-quire medical assistance.

SECURITY For security reasons, backpacks, musical instru-ment cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search. Severance Hall is a fi rearms-free facility. No person may possess a fi rearm on the premises.

CHILDREN AND FAMILIES Regardless of age, each person must have a ticket and be able to sit quietly in a seat through-out the performance. Cleveland Orchestra sub-scription concerts are not recommended for chil-dren under the age of 8. However, there are sev-eral age-appropriate series designed specifi cally for children and youth, including: Musical Rainbows (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older). Our Under 18s Free ticket program is designed to encourage families to attend together. For more details, visit clevelandorchestra.com/under18.

TICKET SERVICESTICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a dif-ferent performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to fi ve days prior to a performance. There will be no service charge for the fi ve-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit clevelandorchestra.com for details and blackout dates.

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

Your Role . . . in The Cleveland Orchestra’s Future Genera ons of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its educa on programs, celebrated im-portant events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends. Ticket sales cover less than half the cost of presen ng The Cleveland Orchestra’s season each year. To sustain its ac vi es here in Northeast Ohio, the Orchestra has undertaken the most ambi ous fundraising campaign in our history: the Sound for the Centennial Cam-paign. By making a dona on, you can make a crucial diff erence in helping to ensure that future genera ons will con nue to enjoy the Orchestra’s performances, educa on pro-grams, and community ac vi es and partnerships. To make a gi to The Cleveland Orches-tra, please visit us online, or call 216-231-7562.

clevelandorchestra.com

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

For a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Cleveland Orchestra concerts, visit www.clevelandorchestra.com.


S P R I N G S E A S O N

Mozart (and Haydn)April 14 — Thursday at 7:30 p.m.April 15 — Friday at 7:00 p.m. <18s

April 16 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAJane Glover, conductorJoshua Smith, Yolanda Kondonassis, harp

HAYDN Symphony No. 6 (“Le Matin”)*MOZART Concerto for Flute and HarpMOZART Symphony No. 39

* not part of Fridays@7 concert.

FAMILY CONCERTGreen Eggs and HamadeusApril 16 — Saturday at 2:00 p.m. <18s THE CLEVELAND ORCHESTRARob Kapilow, conductorSherry Boone, sopranoJoshua Turchin,

Daniel PelzigThis concert brings together the worlds of Dr. Seuss and Mozart, in a whiz-bang mash-up designed especially for chil-dren. The called

-tra.” You will like it, Sam-I-am! Free pre-concert activities begin one hour before start time.

Beethoven’s Heroic SymphonyApril 21 — Thursday at 7:30 p.m.April 23 — Saturday at 8:00 p.m. April 24 — Sunday at 3:00 p.m. <18s

THE CLEVELAND ORCHESTRAAntoni Wit, conductorJan Lisiecki, piano

WAGNER Polonia OvertureCHOPIN Piano Concerto No. 2BEETHOVEN Symphony No. 3 (“Eroica”)

Concert Calendar

AT THE MOVIESBride of FrankensteinApril 26 — Tuesday at 7:30 p.m. THE CLEVELAND ORCHESTRARichard Kaufman, conductor

evocative score played live by The Cleveland Orchestra. Frankenstein (Colin Clive) and Dr. Pretorius go back

a female corpse (Elsa Lanchester) into a bride for the Monster (Boris Karloff).Sponsor

A Hero’s LIfeApril 28 — Thursday at 7:30 p.m.April 29 <18s

April 30 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAAntonio Pappano, conductorMarie-Nicole Lemieux, *

WAGNER Prelude and Love-Deathfrom

CHAUSSON Poem of Love and the Sea*STRAUSS Ein Heldenleben [ ] * not part of Friday Morning Concert

Stravinsky’s FirebirdMay 5 — Thursday at 7:30 p.m.May 6 <18s

May 6 — Friday at 7:00 p.m. <18s

May 7 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAAndrés Orozco-Estrada, conductorKirill Gerstein, piano

KODÁLY Dances of Galánta*RACHMANINOFF STRAVINSKY Suite from * not part of Friday Morning or Fridays@7 concert

<18sUnder 18s Free FOR FAMILIES

Concerts with this symbol are eligible for "Under 18s Free" ticketing. The Cleveland Orchestra is committed to developing the youngest audience of any orchestra. Our "Under 18s Free" program offers free tickets for young people attending with families (one per full-price paid adult for concerts marked with the symbol above).

CLEVELAND ORCHESTRA TICKETS PHONE 216-231-1111 800-686-1141 clevelandorchestra.com

D O R C H E S T R A

I N T H E S P O T L I G H T

101Severance Hall 2015-16 101Concert Calendar

Cleveland OrchestraYouth OrchestraMay 8 — Sunday at 3:00 p.m. <18s

CLEVELAND ORCHESTRA YOUTH ORCHESTRABrett Mitchell, conductorJieming Tang, violin

ADAM SCHOENBERG Finding Rothko KORNGOLD Violin Concerto RACHMANINOFF Symphonic Dances

Celebrating its 30th season, the Cleveland Orchestra Youth Orchestra is a full symphony orchestra comprised of some of Northeast Ohio’s best and brightest young musi-cians. Each season, this acclaimed training ensemble

with an enthusiasm and interest that can rival that of their teachers and mentors. “A gripping performance,” com-mented the Cleveland Plain Dealer of a recent concert, “one that would have been the envy of an adult ensemble.” The ensemble’s concertmaster, Jieming Tang, is featured as soloist on this spring concert as the winner of the Youth Orchestra’s annual concerto competition

A free Prelude Concert begins at 2:00 p.m. featuring members of the Youth Orchestra performing chamber music.

Zimmermann Plays BartókMay 12 — Thursday at 7:30 p.m.May 13 — Friday at 8:00 p.m.May 14 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorFrank Peter Zimmermann, violin*

LISZT Orpheus BARTÓK Violin Concerto No. 2 BARTÓK Music for Strings, Percussion, and Celesta

Beethoven’s Emperor ConcertoMay 19 — Thursday at 7:30 p.m.May 20 — Friday at 11:00 a.m. <18s

May 21 — Saturday at 8:00 p.m. May 22 — Sunday at 3:00 p.m. THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorRudolf Buchbinder, piano

DVO K The Wood Dove* JAN EK Suite from From the House of the Dead BEETHOVEN Piano Concerto No. 5 (“Emperor”) * not part of Friday Morning Concert

Sponsor: BakerHostetler

2015-16 SEASON

CLEVELANDORCHESTRAYOUTH ORCHESTRA Sunday May 8 at 3:00 p.m. <18s

Cleveland Orchestra Youth OrchestraBrett Mitchell, conductorJieming Tang, violin

Celebrating its 30th season, the Cleveland Orch estra Youth Orchestra is a full symphony orchestra comprised of some of Northeast Ohio’s best and brightest young classical musicians. Each season, this acclaimed train-ing ensemble presents concerts of traditional and newer works, filled with an enthusiasm and interest that can rival that of their teachers and mentors.

A free Prelude Concert begins at 2:00 p.m. featuring members of the Youth Orchestra performing chamber music.

U P C O M I N G C O N C E R T S

T H E C L E V E L A N D O R C H E S T R A2015-16 SEASON

See also the concert calendar listing on previous pages, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Cleveland Orchestra concerts.

TICKETS 216-231-1111 clevelandorchestra.com

102 The Cleveland OrchestraUpcoming Concerts

AT SEVERANCE HALL . . .

STRAVINSKY’STHE FIREBIRDThursday May 5 at 7:30 p.m.Friday May 6 at 11:00 a.m.Friday May 6 at 7:00 p.m.Saturday May 7 at 8:00 p.m.THE CLEVELAND ORCHESTRAAndrés Orozco-Estrada, conductorKirill Gerstein, piano

Stravinsky’s ground-breaking ballet was an instant sensation when it was premiered — and remains an audience favorite. Based on a Russian folk legend, it features mesmerizing melodies, fi erce rhythmic drive, and one of music’s most breathtaking fi nales. This week-end of concerts also features Rachmaninoff ’s First Piano Concerto, fi lled with lyricism and passion. Plus Zoltán Kodály’s delightful musi-cal postcard about a village he had lived in, Dances from Galánta. Friday night sponsor: KeyBank

AT THE MOVIESBRIDE OFFRANKENSTEINTuesday April 26 at 7:30 p.m.THE CLEVELAND ORCHESTRARichard Kaufman, conductor

She’s alive — and so is the music!!! The 1935 classic horror fi lm with legendary fi lm composer Franz Waxman’s evocative score played live by The Cleveland Orchestra. Frankenstein (Colin Clive) and Dr. Pretorius go back into their laboratory, exhume more bodies, and convert a female corpse (Elsa Lanchester) into a bride for the Monster (Boris Karloff ). Sponsored by PNC Bank

the cleveland orchestra april 14, 15, 16, 21, 23, 24, 26 concerts

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