the cleveland orchestra february 28-march 2 concerts

T H E C L E V E L A N D O R C H E S T R AF R A N Z W E L S E R - MF R A N Z W E L S E R - M ÖÖ S TS T M U S I C D I R E C T O R

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SEASONMusic. Pure + Simple. clevelandorchestra.com

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February 28, March 1, 2DOHNÁNYI CONDUCTS MAHLER’S FIRST SYMPHONY

T I M E O N Y O U R S I D E

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Table of Contents4 The Cleveland Orchestra

1213SEASON

TA 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

PA

GE

7 In the News

From the Executive Director . . . . . . . . . . . . . . . . . . 7

From the President . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

8 About the Orchestra

Spotlight: Photo of the Week . . . . . . . . . . . . . . . . . 8

Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 11

Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 22

Meet the Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Administrative Staff . . . . . . . . . . . . . . . . . . . . . . . . . 62

Student Ticket Programs . . . . . . . . . . . . . . . . . . . . 64

Education & Community . . . . . . . . . . . . . . . . . . . . 65

Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

35 Concert — Week 15

Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Program: February 28, March 1, 2 . . . . . . . . . 35

Introducing the Program . . . . . . . . . . . . . . . . . . . . 37

HENZE

Adagio, Fugue, and Maenads’ Dance from The Bassarids . . . . . . . . . . . . . . . . . . . . . . . . 41

MAHLER

Symphony No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Conductor: Christoph von Dohnányi . . . . . . . . 57

48 Support

Sound for the Centennial . . . . . . . . . . . . . . . . . . . . 48

Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Corporate Annual Support . . . . . . . . . . . . . . . . . . . 73

Foundation / Government Annual Support . . . 75

Individual Annual Support . . . . . . . . . . . . . . . . . . 76

90 Future Concerts

Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . 94

Copyright © 2013 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 Musical Arts Association 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.

This program book isprinted on paper thatincludes 50% recycled post-consumer 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%

15

CHICAGO CINCINNATI CLEVELAND COLUMBUS COSTA MESA DENVER

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Perspectives from the Executive Director

7Severance Hall 2012-13 7Severance Hall 2012-13

February 2013

Many of you will have seen recent press coverage of this season’s

record-breaking sales revenues and the growing presence of young

audience members here at Severance Hall. The news is encourag-

ing for the Orchestra and all of Northeast Ohio. The Plain Dealer’s

front-page coverage noted that The Cleveland Orchestra “is seeing

attendance and ticket revenue skyrocket, mostly as a result of new

programs aimed at children and students.” In an editorial, Crain’s Cleveland Business

wrote that the Orchestra “deserves bravos for the hard work it and its supporters have

done to secure the future of this ensemble of skilled musicians, who together remain the

city’s most visible global ambassadors.”

These are important steps toward a bright future, and much of the credit belongs to the

staff who work tirelessly in the service of our patrons and artists. This team of dedicated

professionals works behind the scenes every day to ensure that what happens off stage

matches the unsurpassed excellence of the music-making onstage. Staff members (listed

on pages 62- 63 of this book) focus their energies to plan and produce, manage and mar-

ket hundreds of performances, educational programs, and patron events annually.

The planning begins years in advance. Every event — at home in Northeast Ohio and on

the road — involves scores of decisions and details that begin to take shape at least three

years in advance. This month, the fi nal details are being set for the 2013 Blossom Music

Festival and 2013-14 season at Severance Hall in preparation for next month’s season

announcements. At the same time, the programming for 2014-15 is being discussed and

decided, while conductors and soloists are being booked for 2015-16.

For every rehearsal, performance, program, and event, Severance Hall and Blossom

must be prepared to ensure an effi cient and comfortable experience for the artists on-

stage and for you in the audience. From cleaning and climate control to program books

and box offi ce, from fi nance and food service to payroll and parking, every detail is im-

portant. And these days, as we diversify our activities in Northeast Ohio, staff members

throughout the institution are coordinating an increasingly complex puzzle of program-

ming, people, and partnerships.

Fundraising is an essential part of the equation, requiring not only that we ask for your sup-

port, but that we earn your support, and that genuine and grateful thanks are extended to

each and every donor.

Simultaneously, the infrastructure of the institution must be attended to, including the

maintenance and management of Severance Hall’s physical plant, of the organization’s

computer systems, and the Orchestra’s array of equipment, instruments, and music library.

The success of this season — and of future seasons in the months and years to come

— is the result of hard work by many hands. I hope you will join me in expressing grati-

tude to all the dedicated staff members for everything they do, for helping to make The

Cleveland Orch estra the very best right here in Northeast Ohio.

Gary Hanson

U N D E R T H E L E A D E R S H I P of Music Director Franz Welser-Möst, Th e Cleve-

land Orchestra has become one of the most sought-aft er performing ensem-

bles in the world. In concerts at its winter home at Severance Hall and at each

summer’s Blossom Festival, in residencies from Miami to Vienna, and on tour

around the world, Th e Cleveland Orchestra sets standards of artistic excel-

lence, creative programming, and community engagement. Th e partnership

with Franz Welser-Möst, now in its eleventh season — and with a commit-

ment to the Orchestra’s centennial in 2018 — has moved the ensemble forward

with a series of new and ongoing initiatives, including:

the establishment of residencies around the world, fostering creative artistic

growth and an expanded fi nancial base, including an ongoing residency at

the Vienna Musik verein (the fi rst of its kind by an American orchestra);

expansion of education and community programs in Northeast Ohio to

make music an integral and regular part of everyday life for more people; the

2012-13 season includes the launch of an annual Neighborhood Residency pro-

About the Orchestra8 The Cleveland Orchestra

follow the Orchestra on Facebook for weekly historic photos from the archives

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PHOTO OF THE WEEK

SATURDAY INSTRUMENTAL SCHOOL. Music students line up for a photograph in April 1929 at

East Technical High School. The students were part of a program in which Cleveland Orchestra mu-

sicians taught instrument lessons on Saturdays throughout the school year — nearly 3,000 students

took part during the late 1920s and early ’30s. The Orchestra has a long and successful history as

an education partner with schools, colleges, and universities throughout Northeast Ohio.

gram that will bring Th e Cleveland Orchestra to neighborhoods across the region

for an intensive week of special activities and performances. First stop is the Gordon

Square Arts District in Cleveland’s Detroit/Shoreway neighborhood in May 2013;

an ongoing residency in Florida, under the name Cleveland Orch estra Miami,

involving an annual series of concerts and community activities, coupled with an

expansive set of educational presentations and collaborations (based on successful

educational programs pioneered at home in Cleveland);

creative new artistic collaborations, including staged works and chamber music

performances, with arts institutions in Northeast Ohio and in Miami;

an array of new concert off erings (including Fridays@7 and Celebrity Series at

Severance Hall as well as movie, themed, and family presentations at Blossom) to

make a wider variety of concerts more available and aff ordable;

concert tours from coast to coast in the United States, including annual appear-

ances at Carnegie Hall;

regular concert tours to Europe and Asia;

ongoing recording activities, including new releases under the direction of Franz

Welser-Möst, Mitsuko Uchida, and Pierre Boulez, as well as a series of DVD con-

cert presentations of symphonies by Anton Bruckner;

a concentrated and ongoing eff ort to develop future generations of audiences for

Cleveland Orchestra concerts in Northeast Ohio, through research, targeted dis-

counts, social media off ers and promotion, and student ticket programs;

continuing and expanded educational partnerships with schools, colleges, and

universities across Northeast Ohio and in the Miami-Dade community;

additional new residencies at Indiana University and at New York’s Lincoln Cen-

ter Festival;

the return of ballet as a regular part of the Orchestra’s presentations, featuring

performances by Th e Joff rey Ballet; the 2012-13 season featured the Orchestra’s fi rst

fully staged performances of Tchaikovsky’s Th e Nutcracker.

Th e Cleveland Orchestra was founded in 1918 by a group of local citizens in-

tent on creating an ensemble worthy of joining America’s ranks of major sympho-

ny orchestras. Over the ensuing decades, the Orchestra quickly grew from a fi ne

regional organization to being one of the most admired symphony orchestras in

the world. Th e opening in 1931 of Severance Hall as the Orchestra’s home brought

a special pride to the ensemble and its hometown, as well as providing an enviable

and intimate acoustic environment in which to develop and refi ne the Orchestra’s

artistry. 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 facilities in the United States.

The Orchestra Today 9Severance Hall 2012-13

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Musical Arts Association

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

Richard C. Gridley (SC) George Gund III (CA) Loren W. Hershey (DC)

Herbert Kloiber (Germany)Ludwig Scharinger (Austria)

TRUSTEES EX-OFFICIO Faye A. Heston, President, Volunteer Council of Th e Cleveland Orchestra

Beth Schreibman Gehring, President, Women’s Committee of Th e Cleveland Orchestra

Claire Frattare, State Chair, Blossom Women’s Committee

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

Dr. Lester Lefton, 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 1983-95

Richard J. Bogomolny 1995-2002, 2008-09

James D. Ireland III 2002-08

HONORARY TRUSTEES FOR LIFE Gay Cull Addicott Francis J. Callahan Mrs. Webb Chamberlain Oliver F. Emerson

Allen H. FordRobert W. GillespieDorothy Humel HovorkaRobert F. Meyerson

TRUSTEES EMERITI Clifford J. Isroff Samuel H. Miller David L. Simon

RESIDENT TRUSTEES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Scott Chaikin Paul G. Clark Owen M. Colligan Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Terrance C. Z. Egger 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 Christopher Hyland

James D. Ireland III Trevor O. Jones Betsy Juliano Jean C. Kalberer Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Robert P. Madison Milton S. Maltz Nancy W. McCann Thomas F. McKee Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. Oatey Katherine T. O’Neill

The Honorable John D. OngLarry Pollock Alfred M. Rankin, Jr. Clara T. RankinAudrey Gilbert Ratner Charles A. RatnerJames S. Reid, Jr.Barbara S. Robinson Paul RoseSteven M. RossRaymond T. SawyerLuci ScheyNeil SethiHewitt B. Shaw, Jr. Richard K. SmuckerR. Thomas StantonThomas A. WaltermireGeraldine B. WarnerJeffrey 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

Raymond T. Sawyer, Secretary

Beth E. Mooney, Treasurer

Jeanette Grasselli Brown Alexander M. Cutler Matthew V. Crawford 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 December 2012

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

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director Gary Hanson, Executive Director


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Your Guide to: the orchestra the facilities the concerts the people

2012

F E S T I V A L B O O K

2 012 -2 013 C O N C E RT S E R I E S

Autumn 2012

STATIONBREAK

Fall Forecast Arts and Culture In

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Election 2012 Complete Coverage

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Inside WKSU Regina Brett

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

T H E 2 01 2 -1 3 S E A S O N marks Franz Welser-Möst’s

eleventh year as music director of Th e Cleveland

Orchestra, with a long-term commitment extend-

ing to the Orchestra’s centennial in 2018. Under his

direction, the Orchestra is acclaimed for its continu-

ing artistic excellence, is enlarging and enhancing its

community programming at home, is presented in a

series of ongoing residencies in the United States and

Europe, continues its historic championship of new

composers through commissions and premieres, and

has re-established itself as an important operatic en-

semble. Concurrently with his post in Cleveland, Mr. Welser-Möst became

general music director of the Vienna State Opera in September 2010.

With a committed focus on music education in Northeast Ohio, Franz

Welser-Möst has taken Th e Cleveland Orchestra back into public schools with

performances in collaboration with the Cleveland Metropolitan School District.

Th e initiative continues and expands upon Mr. Welser-Möst’s active participation

in community concerts and educational programs, including the Cleveland Orches-

tra Youth Orchestra and partnerships with music conservatories and universities

across Northeast Ohio.

Under Mr. Welser-Möst’s leadership, Th e Cleveland Orchestra has established

an ongoing biennial residency in Vienna at the famed Musikverein concert hall and

another at Switzerland’s Lucerne Festival. Together, they have appeared in residence

at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where a 2008 residency

included fi ve sold-out performances of a staged production of Dvořák’s opera Rusalka.

In the United States, Mr. Welser-Möst has established an annual multi-week Cleveland

Orch estra residency in Florida under the name Cleveland Orchestra Miami and, in

2011, launched a new biennial residency at New York’s Lincoln Center Festival.

To the start of this season, Th e Cleveland Orchestra has performed fourteen

world and fi ft een United States premieres under Franz Welser-Möst’s direction.

Th rough the Roche Commissions project, he and the Orchestra have premiered

works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin,

Toshio Hosokawa, and Matthias Pintscher in partnership with the Lucerne Festi-

val and Carnegie Hall. In addition, the Daniel R. Lewis Young Composer Fellow

program has brought new voices to the repertoire, including Pintscher, Marc-An-

dré Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann,

and Sean Shepherd.

Franz Welser-Möst has led a series of opera performances during his tenure

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Music Director 15Severance Hall 2012-13 15Severance Hall 2012-13

Music Director

in Cleveland, re-establishing the Orchestra as an important oper-

atic ensemble. Following six seasons of opera-in-concert presen-

tations, he brought fully staged opera back to Severance Hall with

a three-season cycle of Zurich Opera productions of the Mozart-

Da Ponte operas. He led concert performances of Strauss’s Sa-

lome at Severance Hall and at Carnegie Hall in May 2012.

Franz Welser-Möst became general music director of the

Vienna State Opera in 2010. His long partnership with the com-

pany has included acclaimed performances of Tristan and Isolde,

a new production of Wagner’s Ring cycle with stage director Sven-

Eric Bechtolf, and critically praised new productions of Hin-

demith’s Cardillac and Janáček’s Katya Kabanova and From the

House of the Dead. During the 2012-13 season, his Vienna performances include

Wagner’s Parsifal, Strauss’s Arabella and Ariadne auf Naxos, Puccini’s La Bohème,

and Berg’s Wozzeck.

Mr. Welser-Möst also maintains an ongoing relationship with the Vienna Phil-

harmonic. Recent performances with the Philharmonic include appearances at the

Lucerne Festival and Salzburg Festival, in Tokyo, and in concert at La Scala Milan,

as well as leading the Philharmonic’s 2011 New Year’s Day concert, viewed by telecast

in seventy countries worldwide; he conducted the New Year’s Day concert again at

the start of 2013 and also leads the Philharmonic in a series of concerts at New York’s

Carnegie Hall in March 2013. Across a decade-long tenure with the Zurich Opera,

culminating in three seasons as general music director (2005-08), Mr. Welser-Möst

led the company in more than 40 new productions and numerous revivals.

Franz Welser-Möst’s recordings and videos have won major awards, including

the Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and

two Grammy nominations. With Th e Cleveland Orchestra, he has created DVD

recordings of live performances of Bruckner symphonies, presented in three ac-

coustically distinctive venues (the Abbey of St. Florian in Austria, Vienna’s Musik-

verein, and Severance Hall). With Cleveland, he has also released a recording of

Beethoven’s Ninth Symphony as well as an all-Wagner album featuring soprano

Measha Brueggergosman. DVD releases on the EMI label have included Mr. Wels-

er-Möst leading Zurich Opera productions of Th e Marriage of Figaro, Così fan tutte,

Don Giovanni, Der Rosenkavalier, Fierrabras, and Peter Grimes.

For his talents and dedication, Mr. Welser-Möst has received honors that

include recognition from the Western Law Center for Disability Rights, honor-

ary membership in the Vienna Singverein, appointment as an Academician of the

European Academy of Yuste, a Gold Medal from the Upper Austrian government

for his work as a cultural ambassador, a Decoration of Honor from the Republic of

Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner So-

ciety of America. He is the co-author of Cadences: Observations and Conversations,

published in a German edition in 2007.

16 The Cleveland Orchestra

“The Cleveland Orchestra proved

that they are still one of the world’s

great musical beasts. With Franz

Welser-Möst conducting, this music

. . . reverberated in the souls of the

audience.” —Wall Street Journal

“Cleveland’s reputation as one of the

world’s great ensembles is richly deserved.”

—The Guardian (London)

T H EC L E V E L A N DO R C H E S T R A

Franz Welser-Möst M U S I C D I R E C T O R

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PHOTO COURTESY OF CLEVELAND PUBLIC ART, RYAN DIVITA PHOTOGRAPHER

WWW.CACGRANTS.ORG 216 515 8303

CUYAHOGA ARTS & CULTURE IS PROUD TO SUPPORT

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WESTERN RESERVE HISTORICAL SOCIETY & MANY OTHERS

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Franz Welser-Möst and The Cleveland Orchestra,

performing Bruckner’s Fourth Symphony in concert

at Severance Hall in April 2012.

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee Chair

Yoko 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 BormannYing Fu

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2

James and Donna Reid Chair

Eli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Elayna DuitmanIoana MissitsCarolyn Gadiel WarnerStephen WarnerSae ShiragamiVladimir DeninzonSonja Braaten MolloyScott WeberKathleen CollinsBeth WoodsideEmma ShookJeffrey Zehngut

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 Chair

Richard Weiss1

Th e GAR Foundation Chair

Charles Bernard2

Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya EllRalph CurryBrian ThorntonDavid Alan HarrellPaul KushiousMartha BaldwinThomas Mansbacher

BASSESMaximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune

Charles Barr Memorial Chair

Charles CarletonScott DixonDerek Zadinsky

HARPTrina Struble*

Alice Chalifoux Chair

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 TO R Kelvin Smith Family Chair

The Orchestra

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


* Principal§ Associate Principal1 First Assistant Principal2 Assistant Principal

FLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein*

Edith S. Taplin Chair

Mary LynchJeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaff e Chair

CLARINETSFranklin Cohen*

Robert Marcellus Chair

Robert 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 Chair

William HestandBarrick Stees2

Sandra L. Haslinger Chair

Jonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSRichard King *

George Szell Memorial Chair

Michael Mayhew §

Knight Foundation Chair

Jesse McCormickHans ClebschAlan 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 Chair

Tom Freer 2

PERCUSSIONJacob Nissly*

Margaret Allen Ireland Chair

Donald MillerTom FreerMarc Damoulakis

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin Chair

Carolyn Gadiel WarnerMarjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’BrienDonald Miller

ORCHESTRA PERSONNELCarol Lee IottDIRECTOR

Karyn GarvinMANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIEDDr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

Sidney and Doris Dworkin Chair

Sunshine Chair

The Orchestra

CONDUCTORSChristoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,CLEVELAND ORCHESTRA MIAMI

James FeddeckASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

1213

SEASONO R C H E S T R A


Get in tune with a new vacation destination this spring. Cleveland Hopkins International Airport is now offering great deals on domestic and international flights. So whether you take off to the sun, the slopes, or the slots—you can be sure to take it all in.

clevelandairport.com

Your weekend deserves an encore.


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From the President

This message from Musical Arts Association president Dennis W. LaBarre is reprinted

from the Association’s recently published Annual Report. Here, Mr. LaBarre off ers an

overview of the progress that The Cleveland Orchestra is making in implementing

changes for a stronger future, as a musical institution devoted to the citizens of North-

east Ohio who created it and have sustained it. The complete Annual Report can be read

by visiting clevelandorchestra.com and clicking on the “Support the Orchestra” section.

AS I RE FLECT on my fi rst three years as president of the Musi-

cal Arts Association, I am moved by both institutional pride and

extraordinary gratitude. I am proud of the continued artistic

vibrancy of The Cleveland Orchestra. I am equally proud of

the progress we are making to successfully evolve beyond a

business model that is no longer sustainable, for us or for our

peer orchestras. But most of all, I am grateful that our progress

forward is based on a demonstrated recognition among all the constituencies that

make up our institutional fabric that we are all in this together.

Despite the challenges ahead, I am confi dent about the future of The Cleveland Or-

chestra. We have an informed and engaged Board of Trustees who relentlessly are

facing our challenges, and making steady increases in their fundraising participation

and personal philanthropy. We have a staff that demonstrates tireless devotion to

the institution’s goals, who are holding down expenses, implementing new innova-

tions, achieving record operating margins, and aggressively supporting our fund-

raising activities. We have musicians who not only sustain the highest artistic stan-

dards, but have increasingly partnered with us in seeking outcomes that will help

The Cleveland Orchestra thrive for years to come. We have a music director who

inspires artistic excellence and also demonstrates a rare vision into all aspects of our

activities in a manner not always found among those who hold similar positions. We

are blessed with the continued devotion and genuine enthusiasm of the Orchestra’s

many patrons and volunteers, and the ongoing generosity of our donors, for which

we are most grateful.

We began a thorough, new analysis of the landscape faced by symphony orchestras

in 2008. The backdrop for this eff ort was the economic distress that has become a

“new normal” and the recognition of inevitable societal and demographic change

aff ecting orchestras, including the aspects of those forces that were most impact-

ful for our own circumstances. These industry-wide realities included structural

and operating defi cits, shrinking audiences, the challenging relationships between

board/leadership and musicians, and the need for multi-year fi nancial planning and

investment capital for innovation.

We have developed and continue to evolve a ten-year plan based on transparent,

rigorous analysis of the hard facts we currently face, rather than rely on historical

wisdom as the basis for decisions. Most importantly, we have identifi ed our chal-

lenges, fi nancial and otherwise, while there is still time for remedy. We are earnestly

From the President

C O N T I N U E S


implementing strategic goals to broaden the audiences and community we serve

and benefi t. This has brought a focus on broader community engagement across

Northeast Ohio, to the importance of the entire concert experience, and to the infl u-

ence of changing social patterns and technologies.

Of equal importance, we have developed a structure of fi nancial disciplines geared

to support a recapitalization of our institution, improve operating margins, and resist

the temptation to satisfy near-term fi nancial needs at the expense of long-term fi nan-

cial stability. The dedication of all constituencies to this objective is clearly refl ected

in our recently completed, successful and cooperative trade agreement negotiations.

Our year-on-year operating defi cit shrank from $2.7 million in FY11 to $180,000 in

FY12 — as a result of success in the special fundraising portion of our Sound for the

Centennial Campaign. In order to continue on track for the future, we must succeed

in sustaining this eff ort over the next three years while building our endowment.

We are making progress toward eliminating concerns for future defi cits, and we are

a third of the way toward securing commitments for the Campaign’s overall endow-

ment goals.

Central to our vision, the justifi cation for all these eff orts begins with the musical ex-

perience. Here at Severance Hall and Blossom, in Miami and New York, and abroad

in Vienna, Paris, and Salzburg, I have had many opportunities to experience The

Cleveland Orchestra’s artistic ascendancy fi rst-hand, and to revel in the musical gifts

they share in each performance. This is an Orchestra worthy of the acclaim it receives

and the pride it inspires. At the same time, the Orchestra is pursuing a variety of pro-

grams, from education and community initiatives to innovations such as Fridays@7

and expanded opera and ballet off erings. Coupled with strong audience develop-

ment eff orts, these initiatives are attracting new audiences that are younger than

ever before.

We are able to off er much only because of our community’s generosity — nearly

13,000 donors gave $17.3 million in FY12 annual support, in addition to endowment

commitments to our comprehensive Campaign. We owe a debt of gratitude to the

people of Northeast Ohio for such extraordinary generosity. We are proud to serve

this community through our performances and education activities, and in doing so

to contribute to the economic growth of our region and serve as a source of com-

munity pride. As one of the region’s most visible ambassadors, we proudly carry the

Cleveland name everywhere we play. I am confi dent that together we are making

steady progress toward long-term institutional and fi nancial health, and toward the

long-term sustainability of this great Orchestra for our great community.

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C O N T I N U E D

Dennis W. LaBarrePresident

From the President

27Severance Hall 2012-13 27Severance Hall 2012-13 Cleveland Orchestra News

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News

OrchestraNewsNewsNews

OrchestraNewsNews

The Cleveland Orchestra is presenting a

special Showcase Concert at Severance Hall on

Thursday, March 7, at 7 p.m., featuring, for the

first time, the Orchestra onstage with all of its

youth ensembles — the Cleveland Orchestra

Youth Orchestra, Youth Chorus, and Children’s

Chorus. The concert is the inaugural event in

a new initiative called Make Music!, which will

encourage people of all ages to participate

in making and learning about music. The

Showcase Concert is being held in the midst

of a week filled with education presentations

by The Cleveland Orchestra, to highlight both

the importance of music education and the

Orchestra’s historic and ongoing role in work-

ing with students throughout Northeast Ohio.

“We are launching Make Music!,” says

Cleveland Orchestra executive director Gary

Hanson, “because everyone in our community

can enjoy and benefit from making music. We

know a child’s education is not complete with-

out the arts, and music making is an especially

important part of a complete music education.”

For the concert on March 7, young musi-

cians from El Sistema@Rainey, an intensive

after-school music program for young string

musicians, will begin the evening, led by their

founder, Isabel Trautwein, a violinist in The

Cleveland Orchestra. They will be followed with

performances by each of the Orchestra’s youth

Education Showcase Concert set for March 7Franz Welser-Möst leads special Showcase Concert combining

Cleveland Orchestra and all its youth ensembles for first time

ensembles. Franz Welser-Möst concludes the

evening by conducting a side-by-side perfor-

mance of works by Dvořák and Tchaikovsky

with Cleveland Orchestra musicians sitting

side-by-side with the Youth Orchestra, and then

lead everyone in a grand finale featuring all the

groups performing Handel’s “Hallelujah” Chorus.

The concert is free and open to the pub-

lic, but tickets are required. Remaining tickets

can be obtained at clevelandorchestra.com.

Franz Welser-Möst talks about

importance of music education

at City Club on March 8

in live radio broadcast

In conjunction with The Cleve-

land Orchestra’s week of education

activities in early March, Franz Welser-

Möst will discuss the importance

of music education at the City Club

Forum on Friday, March 8, begin-

ning at 12 noon. He will be joined by

Cleveland Orchestra violinist Isabel

Trautwein, founder and director of the El Siste-

ma@Rainey program. The City Club program

is aired locally on WCLV/104.9 and WCPN/90.3

radio, and broadcast nationally in 40 states,

from Maine to Alaska.

28 The Cleveland OrchestraCleveland Orchestra News

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OrchestraNewsNews

Ticket sales revenue for The Cleveland

Orchestra’s 2012-13 Severance Hall season is

on track to set a new all-time record, driven

by the best-ever ticket sales in November and

December. Along with increased student

attendance across the season, these growth

numbers are encouraging news for the Orch-

estra’s strategic shifts in recent years and for

the ensemble’s future.

“Northeast Ohioans are clearly respond-

ing to the Orchestra’s strategic innovations.

More people are attending a wider variety of

our programs, and the significant increase in

the number of new patrons at Severance Hall

is extraordinary,” says Gary Hanson, Cleveland

Orchestra executive director. “Our commit-

ment to student attendance and a younger

Orchestra ticket sales setting new recordsSeverance Hall season sales on track to set all-time record;

younger people attending in increased numbers

audience is part of a Cleveland Orchestra

renaissance, as we commit to redoubling

our commitment to community service and

Northeast Ohio.”

Front-page coverage in The Plain Dealer

in January noted that The Cleveland Orches-

tra “is seeing attendance and ticket revenue

skyrocket, mostly as a result of new programs

aimed at children and students.”

Sales for the 2012-13 Severance Hall

season, which runs from September through

May, are already 24% ahead of last year at the

same time. Current season ticket sales rev-

enue is on track to achieve an all-time record

of $7.6 million, surpassing the previous record

set in 2000-01, and $1.3 million more than last

season.


Orchestra NewsNews

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Cleveland Orchestra News

The Cleveland Orchestra’s 2013 Blossom Music

Festival has been announced, with complete

details available on the Orchestra’s website. Sea-

son information and series renewals are being

mailed to subscribers to last year’s Festival, and

new series packages are available for purchase

now. Lawn Ticket Books are also for sale now.

Individual tickets for the entire season go on sale

on Tuesday, May 28.

For the 2013 Festival, the Orchestra pres-

ents 19 concerts at Blossom Music Center in

Cuyahoga Valley National Park from July 3 to

September 1. Continuing a 40-year tradition,

the Blossom season begins with “Salute to

America” concerts performed by the Blossom

Festival Band. The band programs on July 3 and

4 are under the direction of Loras John Schissel

and feature post-concert fi reworks.

Music Director Franz Welser-Möst conducts

The Cleveland Orchestra for the Festival’s offi cial

Opening Night on Friday, July 5, plus two ad-

ditional evenings. His programs feature Strauss’s

Four Last Songs, Beethoven’s “Eroica” Symphony,

and Liszt’s fi ery Totentanz, along with excerpts

from operas by Richard Wagner during this 200th

anni versary of the composer’s birthyear.

Highlights of the 2013 Festival season also

include The Joff rey Ballet’s return, on August

17 and 18, in a program celebrating the 100th

anniversary of the world premiere of The Rite of

Spring. Stravinsky’s daring score is matched to a

reconstruction of the work’s original choreogra-

phy by Vaslav Nijinsky and facsimiles of the origi-

nal costumes by Nicholas Roerich. Tito Muñoz

leads The Cleveland Orchestra for these ballet

performances, which also feature works choreo-

graphed by Jerome Robbins and Stanton Welch.

In additional to classical symphonic works,

a variety of popular music will be also featured

at Blossom Festival concerts this summer, rang-

ing from a program of the “Sounds of Simon

& Garfunkel” (July 14), under the direction of

Michael Krajewski, to an evening of show tunes

titled “Broadway’s Leading Men” (July 28), led by

Jack Everly. Cleveland Orchestra chorus direc-

tor Robert Porco conducts highlights from the

Gershwin opera Porgy and Bess (July 21), and

Bramwell Tovey leads an evening of the music of

popular song (August 25), including melodies by

Cole Porter, Jerome Kern, Richard Rodgers, and

Duke Ellington .

In a program sure to delight children of all

ages, the 2013 Festival will close with “Pixar in

Concert” on Labor Day Weekend, August 31 and

September 1. The Cleveland Orchestra performs

selections from thirteen Pixar fi lms, accompany-

ing movie clips projected on large screens. The

evening is led by Hollywood conductor Richard

Kaufman.

A program on July 27 features participants

from Kent/Blossom Music performing in a side-

by-side concert with The Cleveland Orchestra.

Twenty Cleveland Orchestra musicians serve on

the faculty at Kent/Blossom Music, and twenty

alumni of Kent/Blossom Music are now mem-

bers of The Cleveland Orchestra.

The family-friendly “Under 18s Free” ticket

program continues at Blossom, where over

26,000 young people have attended Festival

concerts during the past two summers. This

ground-breaking initiative is made possible

through The Cleveland Orchestra’s Center for Fu-

ture Audiences and additional generous funders.

Series subscriptions are now on sale. For

complete season details and schedule, visit

clevelandorchestra.com.

2013 Blossom Music Festival announcedFestival season features great orchestral works, a special ballet

anniversary, and programs of popular songs and fi lm music

30 The Cleveland OrchestraCleveland Orchestra News

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OrchestraNewsNews

A . R .O.U. N . D T.O.W. NRecitals and presentations featuring Orchestra musicians

Upcoming local performances by members

of The Cleveland Orchestra include:

Cleveland Orchestra member Jacob Nissly

(percussion) joins together in a unique concert

featuring two Shaker Heights High School alum-

ni musicians, Luke Rinderknecht and Dinesh

Joseph, on Tuesday evening, March 5. The

program at 7:30 p.m in the Shaker Heights High

School auditorium features works for marimba

and vibraphone by Cole, Druckman, Reich, and

Takemitsu. The evening benefits the Shaker

Schools Foundation. Tickets are $30 or $15, with

special rates for Shaker faculty and staff. For

further information, call 216-295-4329.

Cleveland Orchestra members Isabel

Trautwein (violin) and Tayna Ell (cello) join with

colleagues in a special program presented by

Heights Arts to honor the former Cleveland

Quartet and its original players. The program

on Sunday afternoon, March 24, beginning at

3:00 p.m. features the quartet’s original violin-

ists, Donald Weilerstein and Peter Salaff, along

with former students in Northeast Ohio and the

Cavani Quartet to present a program of Bartók’s

Duos for Two Violins, Dvořák’s Piano Quartet

in E-flat major, and Brahms’s Sextet in G major.

Reservations are required, $40 for Heights Arts

members, $50 non-members. For additioanl

information, call 216-371-3457 or visit www.

heightsarts.org/music.staff.

Family Concert seriescontinues in spring with

“Symphony Under the Sea” after Spooktacular start

The Cleveland Orchestra’s season of FamilyConcerts continues with “Sym-phony Under the Sea” onFriday evening, March8, led by conductorRobert Franz — includ-ing favorite musicalnumbers from Disney’sThe Little Mermaid. And con-tinues with “Fables, Fantasy, andFolkore” on Sunday afternoon, May 12, led byMichael Butterman. Intended for children ages7 and older, the series is designed to introduceyoung people to classical music. In addition toeach one-hour Orchestra concert, the FamilyConcert series features free, pre-concert activi-ties, including an “Instrument Discovery” inwhich children can try playing various instru-

ments.For complete details about the spring

concerts, visit clevelandorchestra.com.

THE CLEVELAND ORCHES TRA

F .A .M. I .L .Y N .E .W.S Please join in extending congratula-tions and warm wishes to: Kim Gomez (violin) and James Gomez,

whose baby girl, Christina Therese Gomez,

was born on February 5.


We believe in working for the greater good of all and

we are proud to support any organization that shares this value.

We thank The Cleveland Orchestra for its commitment to excellence!

Ken Lanci, Chairman & CEOConsolidated Companies

Friday Morning concertgoers can enjoy free bus service courtesy of Women’s Committee

The Women’s Committee of The Cleve-

land Orchestra is again sponsoring free bus

service to each of the Orchestra’s Friday Morn-

ing concerts this season. The buses depart

from locations in Akron, Beachwood, Brecks-

ville, and Westlake. A bus pass is required, and

can be reserved along with concert tickets

through the Severance Hall Ticket Office in-

person or by calling 216-231-1111. (Donations

to help defray the cost of this bus service are

also welcome and can be given through the

ticket office).

The season’s final Friday Morning concert

is on May 3, with Ton Koopman leading a con-

cert of works by Haydn, Mozart, and Fischer,

and featuring Cleveland Orchestra principal

timpani Paul Yancich as soloist.

OrchestraNewsNews

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Special thanks to Cleve- land Orchestra musicians

The Board of Trustees extends special

thanks to the members of The Cleveland Or-

chestra for donating their services for several

concerts during the Orchestra’s most recent

weeks in residence in Miami in January. These

donated performances included daytime Edu-

cation Concerts at the Adrienne Arsht Center

for the Performing Arts of Miami-Dade County,

attended by thousands of school children,

as well as the Orchestra’s concert in Naples,

Florida.

“These and other donated services each

year are a meaningful demonstration of the

musicians’ commitment to this institution’s

future,” notes Gary Hanson, executive director.

“The members of The Cleveland Orchestra are

committed to serving the Orchestra’s commu-

nities and presenting music as an important

and vital part of life.”


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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

by a generous endowment gift from

Dorothy Humel Hovorka.

February 28, March 1, 2“Titans and Other Heroes” with Michael Strasser,

professor of musicology, Baldwin Wallace

University Conservatory of Music

March 21, 23“Music of the Night” with Rabbi Roger Klein, The Temple – Tifereth Israel

April 4, 5, 6 “Mozart: Master of the Concerto” with Pierre van der Westhuizen,

executive director, Cleveland

International Piano Competition

April 11, 12, 13, 14 “The Story of Carmina Burana” with David J. Rothenberg,

associate professor of musicology,

Case Western Reserve University

April 18, 20, 21 “Just Between Us Composers” Sean Shepherd, Lewis Young Composer Fellow,

in conversation with Keith Fitch, head of

composition, Cleveland Institute of Music

1213 SEASON

For Concert Preview details, visit clevelandorchestra.com

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 loca-

tions around Cleveland to explore the

music being played each week and the

stories 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

for finding your own rhythm.

Inspiring. Thought Provoking. PNC is proud to sponsor The Cleveland Orchestra. Because we appreciate all that goes into your work.

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35Severance Hall 2012-13 Concert Program — Week 15

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

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

Christoph von Dohnányi’s appearance with The Cleveland Orchestrais made possible by a gift to the Orchestra’s Guest Artist Fund from Roger and Anne Clapp.

The concerts will end at approximately 9:40 each evening.

LIVE RADIO BROADCAST Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM), Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.

Severance HallThursday evening, February 28, 2013, at 8:00 p.m. Friday evening, March 1, 2013, at 8:00 p.m.Saturday evening, March 2, 2013, at 8:00 p.m.

Christoph von Dohnányi, conductor

hans werner henze Adagio, Fugue, and(1926-2012) Dance of the Maenads from the opera The Bassarids

INTERMISSION

gustav mahler Symphony No. 1(1860-1911) 1. Langsam, schleppend: wie ein Naturlaut [Slow, dragging: as if spoken by nature] 2. Kräftig bewegt, doch nicht zu schnell [With powerful movement, but not too fast] 3. Feierlich und gemessen, ohne zu schleppen [Solemn and measured, without dragging] 4. Stürmisch bewegt [With violent movement]

1213

SEASON


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37Severance Hall 2012-13 37Severance Hall 2012-13 Introducing the Program

I N T R O D U C I N G T H E P R O G R A M

Between Love&MusicL OV E — the yearning for it, the ecstasy of it, and the losing of it — pro-

vided, in diff erent ways, the impetus behind the two works on this week’s

program. Two doomed love aff airs stood as bookends to the conception

and composition of Gustav Mahler’s First Symphony, a work so unlike

any other symphony to that date (except perhaps Berlioz’s Symphonie

fantastique) that Mahler hardly knew what to call it at fi rst. And 80

years later, Hans Werner Henze found that a brief and passionate love af-

fair put him in just the right frame of mind to depict mythological lust,

temptation, and death in his opera Th e Bassarids.

But if Henze was able to stick to “the facts of life” in exploring the

rational versus the Dionysan in human nature, Mahler seemed driven to

embrace all of life at once — heroic, hum-

ble, child-like, ironic, exalted, vulgar, spiri-

tual, carnal, everything. His First Symphony

opens in a buoyant mood, full of nature im-

agery and led by the two-note cuckoo call.

Childlike optimism mostly prevails through

the fi rst movement and into the waltzy-scher-

zo, whose deliberately corny tune becomes

more frantic and ironic as it goes along; this

movement off ers “sincere relief” in a sweet

little Ländler dance.

Th e innocence of children, and their ca-

sual attitude toward death, is at the root of the

third movement, a funeral march based on, of

all things, the nursery tune “Frère Jacques.”

Other themes hint at grotesque characters

from village life, and once again there is relief

from a quotation of a Mahler song, depicting

a contented dream. But then a cymbal crash

brings the rudest of awakenings, into a world

fi lled with turmoil; visions of heaven and of the fi rst movement’s happy

child-world contend with this harsh reality and, aft er much struggle,

overcome it in the symphony’s ultra-brilliant, triumphant conclusion.

In 1963, Hans Werner Henze, then a promising young composer,

was approached by W.H. Auden and Chester Kallman to set their opera

libretto Th e Bassarids, a distinctly modern take on the Greek play Th e Bac-

GUSTAV MAHLERSilhouette by Hans Schliessmann


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39Severance Hall 2012-13

A 19th-century engravingof Maenads dancing around

the side of a Greek urn.

Introducing the Program

chae of Euripides. Henze, a devoted Mahlerian (who conducted Mahler’s

First with the Berlin Philharmonic a few years later), liked the librettists’

psychological approach to the mythological drama, in which Pentheus, the

puritanical King of Th ebes, attempts to forbid the cult of Dionysus, only

to be overcome with lustful curiosity about it, leading to his death at the

hands of the god’s crazed followers.

Th e opera enjoyed success at its Salzburg premiere in 1966 — con-

ducted by Christoph von Dohnányi — and in subsequent productions.

Nearly four decades later, at Dohnányi’s suggestion, Henze extracted sev-

eral moments from Movement III to create an independent orchestral suite

titled Adagio, Fuge, und Mänadentanz (“Adagio, Fugue, and Maenads’

Dance”). It is vivid music whose emotional state speaks clearly for itself,

from the aching yearning of the opening (with teasing, mocking laughter

from the god’s followers), to moments of sensuous reverie and erotic stir-

rings, to frenzied visions of dancing Bacchantes. At the end, an ominous

dialogue of solo cello and bassoon represents the drama’s seductive con-

versation between the god and the king, and a horrible fortissimo crash

seals the deal. —David Wright

David Wright lives and writes in Wellesley, Massachusetts. He pre- viously served as program annotator for the New York Philharmonic.

With this Thursday’s concert, The Cleveland Orchestra gratefully honors the Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation

for its generous support.

Jane Eaglen in a Seattle Opera

Ring Cycle as Brunnhilde.

Photo by Gary Smith.

www.bw.edu/summer-music-programs

The world’s top Wagner teachers,

coaches and conductors help launch

the careers of singers exploring the

Wagnerian repertoire.

Jane Eaglen, soprano

Timothy Mussard, tenor

Alan Held, bass-baritone

Eric Weimer, coach/conductor

William Vendice, coach/conductor

Final concerts of semi-staged

Wagner scenes and arias:

Saturday, July 27, 2:00 & 6:00 pm

Free and open to the public.

Open master classes throughout

the Intensive.

Baldwin Wallace UniversityConservatory of Music

WAGNER INTENSIVEJuly 17-27, 2013

41Severance Hall 2012-13 About the Music

I F E V E R T H E T I T L E of Michael Tippett’s oratorio A Child of

Our Time applied to a 20th-century composer, it was Hans Wer-

ner Henze. From his youth in fascist Germany, to the loss of his

father and his own conscription as a 17-year-old in World War

II, to his postwar embracing of Marxism and protests against

the Vietnam War, to what some would call his retreat into mat-

ters of art, psychology, and nature, Mr. Henze swam in most

of the cultural currents of the 20th century, and continued as

a prolifi c and provocative presence into the 21st.

When composing music, Mr. Henze never felt obliged to

choose between the trends set in motion by Arnold Schoenberg

and Igor Stravinsky — he revered the Austrian master for depth

of emotion and rigor of musical thought, and the Russian for

audacity and protean imagination. In addition, many of his

hundreds of works refl ect a “power to the people” aesthetic that

comes through in material from folksongs, protest songs, and

cabaret, blended with techniques of the avant-garde.

So it’s not surprising that in 1964, when he began com-

posing his opera Th e Bassarids, Henze was obsessed with the

music not of Schoenberg or Stravinsky, but of Gustav Mahler.

As Henze recalled in his memoir, Bohemian Fift hs, Mahler’s

amalgam of popular tunes and psychological probing got under

his skin to the point of “sleepless nights during which the ‘Frère

Jacques’ motif from Mahler’s First Symphony kept on going round

and round, remorselessly, inside my head.” (Ironically, the fol-

lowing year the Berlin Philharmonic engaged Henze to conduct

that very symphony — and, more strategically, Christoph von

Dohnányi has chosen to pair music from Th e Bassarids with

that same symphony for these Cleveland Orchestra concerts.)

It was the poet W.H. Auden who, in 1961, fi rst mentioned

the idea of creating an opera adaptation of Euripides’s Th e Bac-

chae and giving it the title of a lost work by Aeschylus, Th e Bas-

sarids. (Th e two titles are virtually synonymous, both referring

to female devotees of the god Bacchus, or Dionysus.) Before giv-

ing their libretto to Henze to set, Auden and co-author Chester

Kallman got him to agree to attend an opera by Richard Wagner

and try to overcome his aversion to that composer’s music.

Th e conditions for reconsidering Wagner could hardly

Adagio, Fugue, and Dance of the Maenadsfrom the opera The Bassaridscomposed 1964-66

by Hans WernerHENZEborn July 1, 1926Gütersloh, Germany

diedOctober 27, 2012Dresden, Germany

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When he be-

gan composing

his opera

The Bassarids,

Henze was

obsessed with

the music of

Gustav Mahler.

Mahler’s amal-

gam of popular

tunes and psy-

chological prob-

ing got under

his skin to the

point of “sleep-

less nights dur-

ing which the

‘Frère Jacques’

motif from

Mahler’s First

Symphony kept

on going round

and round, re-

morselessly, in-

side my head.”

About the Music

have been more auspicious. Happening to be in Vienna when

Herbert von Karajan was conducting Die Götterdämmerung

at the Vienna State Opera, Henze found himself observing a

performance from the conductor’s private box, no less. “I have

to admit, it sounded wonderful,” he recalled. “. . . But I simply

cannot abide this silly and self-regarding emotionalism, behind

which it is impossible not to detect a neo-German mentality and

ideology. . . . Th ere was little real danger that I would explore

Wagnerian techniques when writing Die Bassariden.”

Henze was equally appalled when a sympathetic critic,

H.H. Stuckenschmidt, perhaps noting the Salome-like tension

between moral rectitude and fl eshly temptation in Th e Bassarids,

pronounced Henze the successor to Richard Strauss. Henze pre-

ferred the observation of a British critic that his music sounded

like “Strauss gone sour.” “Aft er all,” Henze wrote, “the occasional

late Romantic exuberance that is to be found in my works is not

intended to be exuberance as such but its anachronistic opposite.

A Mahlerian such as myself (and Mahler’s infl uence is greater in

the music of Die Bassariden than even in my Sixth, Seventh, and

Eighth Symphonies) cannot simultaneously summon up the same

degree of enthusiasm for Richard Strauss. But one can show its

negative aspects, can turn existing values upside-down, and call

them into question, just as everything in art must forever be re-

examined and constantly called into question.”

Henze, then living a “monastic” existence in a villa outside

Rome, questioned his own frame of mind to do justice to Auden

and Kallman’s libretto of repressed lust and murderous passion.

In both the original play and the libretto, Pentheus, the rational-

istic king of Th ebes, attempts to ban the cult of Dionysus, only

to be tempted by a visiting Stranger (who turns out to be the god

himself) to secretly observe the orgiastic rituals and dancing of

the Bassarids and Maenads, including the king’s own mother

and her sisters, on nearby Mount Cytheron. He is discovered, set

upon, and torn limb from limb by the god’s followers, aft er which

Th ebes is destroyed and Pentheus’s family exiled and scattered.

As Henze tells it, his state of mind was revived in timely

fashion by an aristocratic young man (whom he describes, but

does not name, in his memoir) with whom he struck up an af-

fair. “Th e covert aim of the exercise,” he writes, “was to furnish

me with the feelings generally associated with love at its most

tempestuous, from simple desire to the bitterness of jealousy (of

which I could never get enough) and from tender veneration to


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a very real longing for death — feelings, in short, that had to

be depicted in every bar of Th e Bassarids. Before they could

be turned into music, I had to experience those feelings myself

— including Pentheus’s obsessions. In that sense, I could hardly

have been better provided for.”

(Henze, in writing and speaking, referred to the opera by

both its English and German titles. Which title is the “origi-

nal” depends on what rule you apply. Th e libretto Henze set

was in English, but the fi rst production, at Salzburg in August

1966, was in German. A similar situation exists with Haydn’s

oratorio Th e Creation, but only the most pedantic writers in

English insist on calling it Die Schöpfung.)

Th e Bassarids, with its continuous action divided into what

the librettists called four “movements,” was a success at its Salz-

burg premiere — conducted by Christoph von Dohnányi — and

in several subsequent productions, aft er which it seemed to fall

from view for a while. Henze credited a 1986 Berlin production,

in English and conducted by Gerd Albrecht, with breaking “the

oppressive spell on the score” and opening the way to many more

theatrical and concert performances.

At the composer’s suggestion, that 1986 Berlin production

omitted the opera’s orchestral Intermezzo, which occurred at

the critical point in the “third movement” at which the Strang-

er/Dionysus holds up to Pentheus a magic mirror showing the

goings-on at Mount Cytheron, and the puritanical king is over-

come both by disgust and by a desire to go there and see for

himself. Th e original intention of the Intermezzo was to portray

in semi-comical pantomime some of the opera’s confl icts, but

in dramatic and musical styles that contrasted with the rest of

the opera — to give perspective dimension to the tragedy itself.

Aft erwards, however, Henze wrote that he “had never believed in

the dramaturgical need for the Intermezzo [which] . . . interfered

with the measured Euripidean directness of the main plot.”

Nearly forty years aft er the opera’s premiere, Henze cre-

ated a diff erent kind of orchestral complement to the opera.

Working at Christoph von Dohnányi’s request, this self-de-

scribed post-Strauss Mahlerian extracted and wove together an

orchestral suite from the score in 2005, choosing some of the

most dramatic moments of Movement III to create a power-

ful statement for the concert hall. Here, he pulled sections of

orchestral writing and judiciously assigned vocal lines to solo

instruments for striking eff ect. Th e opening of the Adagio

Henze wrote his opera Die

Bassariden (“The Bassarids”)

between 1964 and early 1966.

It was fi rst performed on Au-

gust 6, 1966, as part of that

summer’s Salzburg Festival,

conducted by Christoph von

Dohnányi. At Dohnányi’s

suggestion, Henze created

an orchestral suite from the

opera in 2005. Titled Adagio,

Fuge, und Män aden tanz

(“Adagio, Fugue, and Dance of

the Maenads”), this features

key dramatic moments from

Movement III (Act III) of the

full score.

This orchestral suite

runs about 20 minutes in

performance. Henze scored it

for 4 fl utes (third and fourth

doubling piccolo), 2 oboes,

2 english horns, 4 bassoons,

contrabassoon, saxophone,

6 horns, 4 trumpets, bass

trumpet, 3 trombones, 2

tubas, timpani, percussion

(glockenspiel, xylophone, vi-

braphone, rohrengl, triangle,

fi nger cymbals, cymbals,

tam-tams, cowbells, gongs,

bongos, wood block, bell tree,

military drum, bass drum,

maracas, rachet, anvil), 2

harps, 2 pianos, celeste, and

strings.

The Cleveland Orchestra

presented in-concert perfor-

mances of Henze’s opera The

Bassarids in October 1990,

at Severance Hall and at

Carnegie Hall.

At a Glance


section literally trembles with yearning, as long melodic lines reach upward,

punctuated by the teasing mockery of the Maenads. Feverish visions appear

and vanish; a banal little dance tune for solo violin is heard and snatched

away. A big crescendo leads to the manic Fugue, which soon yields to a hazy,

impressionistic atmosphere, in which are heard bits of melody sung earlier by

the chorus of Bassarids. Th e frenzied dancing of the Maenads, dressed in ani-

mal skins and waving their ivy-entwined staff s, needs no introduction, but the

music that follows is deeply ambiguous, at least until a dark dialogue of solo

cello and bassoon, followed by an intense crescendo to fortissimo, appears to

depict the moment of Pentheus’s fateful decision.—David Wright © 2013

In appreciation of their support, The Cleveland Orchestra and Musical Arts Association

extend a special welcome to Squire Sanders (US) LLP, whose guests are enjoying a special evening at Severance Hall this weekend.

Kulas Series of Keyboard Conversations® with Jeffrey Siegel 24th Season 2011-2012

Presented by Cleveland State University’s Center for Arts and Innovation

Sunday, October 2, 2011A Beethoven Bonanza! The many

moods of genius!

Sunday, November 20, 2011The Romantic Music of Franz Liszt

Sunday, March 4, 2012Rochmaninoff and Tchaikovsky

Sunday, March 6, 2012A musical love triangle: Robert, Claraand Johannes!

Masterly

Enthralling

Charming

Scintillating

All concerts begin at 3:00 pm at Cleveland State University’s Waetjen Auditorium, Euclid Ave. and E. 21st St. For more information call 216.687.5018 or visit www.csuohio.edu/concert series/kc

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


moods of genius!


Sunday, March 4, 2012Rochmaninoff and Tchaikovsky


series/kc

a


moods of genius!



moods of genius!


y 6, 2012

Presented by Cleveland State University’s Center for Arts and Innovation

Kulas Series of Keyboard Conversations®with Jeffrey Siegel

25th Anniversary Season 2012-2013

MasterlyB

EnthrallingB

CharmingB

Scintillating

“An afternoon of entertaining talk and exhilarating music.”

–The Washington Post

All concerts begin at 3:00 pm at Cleveland State University’s Waetjen

Auditorium, Euclid Ave. and E. 21st St.For more information call 216.687.5018

or visit www.csuohio.edu/concertseries/kc

Sunday, October 14, 2012Spellbinding Bach

Sunday, November 11, 2012Free Family Concert!Music for the Young and Young at Heart presented in honor of Mr. Siegel’s 25th anniversary at Cleveland State University

Sunday, January 27, 2013Claude Debussy: Clair de lune, Fireworks and Beyond!

Sunday, March 24, 2013Schubert in the Age of the Sound Bite

Sunday, April 28, 2013Bach and the Romantics

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

Sound for the Centennial


The Cleveland Orchestra’s artistic health and fi nancial well-being depend on the dedicated and ongoing support of music-lovers throughout Northeast Ohio. The Orchestra’s continued excel-lence in community service and musical performance can only be ensured through ongoing annual support coupled with increased giving to the Endowment and special fundraising.

As the Orchestra approaches its centennial celebration in 2018, the individuals and organiza-tions listed on these pages have made longterm commitments to secure the fi nancial stability of our great Orchestra. This listing represents multi-year commitments of annual and endow-ment support, and legacy gift declarations, as of January 30, 2013.

The Cleveland Orchestra and Musical Arts Association gratefully recognize the transforma-tional support and extraordinary commitment of these individuals, corporations, and founda-tions toward the Orchestra’s future. To join your name to these visionary contributors, please contact Jon Limbacher, Chief Development Offi cer, at 216-231-7520.

Sound for the Centennial Campaign

Gay Cull Addicott Jeanette Grasselli Brown and Glenn R. BrownRobert and Jean* ConradRichard and Ann GridleyThe Louise H. and David S. Ingalls FoundationMr. and Mrs. Douglas A. KernMr. and Mrs. Jon A. Lindseth

Ms. Nancy W. McCannDavid and Inez Myers Foundation The Honorable and Mrs. John Doyle OngThe Payne FundMr. and Mrs. Richard K. Smucker

Art of Beauty Company, Inc.BakerHostetlerMr. William P. Blair IIIMr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMrs. M. Roger ClappEaton CorporationFirstEnergy FoundationForest City Enterprises, Inc.Mr. and Mrs. Michael J. HorvitzThe Walter and Jean Kalberer FoundationMr. and Mrs. Joseph P. KeithleyKeyBankKulas FoundationMr. and Mrs. Dennis W. LaBarreMrs. Norma LernerThe Lubrizol Corporation

The Andrew W. Mellon FoundationMs. Beth E. MooneySally S. and John C. MorleyJohn P. Murphy FoundationNACCO Industries, Inc.Julia and Larry PollockMrs. Alfred M. Rankin, Sr.Mr. and Mrs. Alfred M. Rankin, Jr.Mr. and Mrs. Albert B. RatnerJames and Donna ReidBarbara S. RobinsonThe Sage Cleveland FoundationThe Kelvin and Eleanor Smith FoundationThe J. M. Smucker CompanyJoe and Marlene TootAnonymous

GIFTS OF $5 MILLION AND MORE

Mr. and Mrs. Alexander M. CutlerMaltz Family FoundationAnonymous

GIFTS OF $1 MILLION TO $5 MILLION

GIFTS OF $500,000 TO $1 MILLION

49Severance Hall 2012-13 Sound for the Centennial Campaign

* deceased

Mr. and Mrs. George N. AronoffBen and Ingrid BowmanGeorge* and Becky DunnDr. and Mrs. Hiroyuki FujitaAlbert I. and Norma C. GellerIris and Tom HarvieMr. and Mrs. S. Lee KohrmanMr. Gary A. OateyRPM International Inc.Hewitt and Paula Shaw

Naomi G. and Edwin Z. SingerMs. Ginger WarnerMr. Max W. WendelPaul and Suzanne WestlakeMr. Donald Woodcock

GIFTS OF $100,000 TO $250,000

Randall and Virginia BarbatoJohn P. Bergren* and Sarah M. EvansMr. and Mrs.* Harvey BuchananCliffs Natural ResourcesMr. and Mrs. Matthew V. CrawfordNancy and Richard DotsonSidney E. Frank FoundationDavid and Nancy HookerMrs. Marguerite B. HumphreyJames D. Ireland IIITrevor and Jennie JonesGiuliana C. and John D. KochDr. Vilma L. Kohn

Mr. Clarence E. Klaus, Jr.Mr. and Mrs. Alex MachaskeeMr. Donald W. MorrisonMargaret Fulton-MuellerWilliam J. and Katherine T. O’NeillParker Hannifi n CorporationCharles and Ilana Horowitz RatnerMr. and Mrs. James A. SaksThe Skirball FoundationMr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

GIFTS OF $250,000 TO $500,000

“THE

MEDIUM IS THE MESSAGE.” – Marshall McLuhan, 1911-1980

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Pho

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L I K E S H O S T A K O V I C H , Gustav Mahler first revealed his

uniqueness and importance as a composer in his First Sym-

phony. But while Shostakovich’s sparkling First made its young

composer the musical celebrity of the year 1925, Mahler’s First

had to struggle for recognition, as a strangely jarring and mod-

ern work in the era of Johannes Brahms and Richard Strauss.

Th e complexity of its emotional roots in Mahler’s artistic and

personal life made even its composer unsure what to call it and

how to present it to an audience.

Mahler’s list of works is short, and has a curiously organic

quality, in which each composition seems to grow out of and

refer to its predecessors. Th e First Symphony began to take

shape in Mahler’s mind in 1884, while he was working on his

orchestral song cycle Lieder eines fahrenden Gesellen (“Songs of

a Wayfarer”), and it contains quotations from those songs. Th e

concept of a “wanderer,” a poetic, footloose soul disappointed

in love, was a familiar one from earlier in the century, from

Schubert’s songs — not only “Der Wanderer” itself, but the

cycles Die schöne Müllerin (“Th e Beautiful Maid of the Mill”)

and Die Winterreise (“Th e Winter’s Journey”). Mahler’s life as

an itinerant conductor, not yet famous as a composer and lack-

ing a prestigious post, must have resonated in his mind with

Schubert’s songs. His unrequited love for the actress Johanne

Richter provided an additional spur to compose in this vein,

and in fact he wrote both the texts and the music of the “Way-

farer” cycle.

If one unhappy love was present at the conception of the

First Symphony, another seems to have driven it on to comple-

tion. By 1888, Mahler was director of the Leipzig Opera and

was making a reputation as a reform-minded taskmaster in the

mold of one of his heroes, the composer-conductor Carl Maria

von Weber. In January of that year, Mahler produced in Leipzig

his own completion of Weber’s unfi nished opera Die drei Pintos

(“Th e Th ree Pintos”), with the help of Captain Carl von Weber,

the composer’s grandson. During the work on this production,

Mahler and the captain’s wife carried on a passionate aff air, which

she eventually terminated, perhaps as early as that March. By

then, however, the stimulus of this hopeless love had already

sent Mahler to his writing desk, where the orchestral work that

Symphony No. 1 in D majorcomposed 1885-89

by GustavMAHLERborn July 7, 1860Kalischt, Bohemia(now Kalištì inthe Czech Republic)

diedMay 18, 1911Vienna

It Ain’t Over Till...Götterdämmerung on May 11th. Between now and then, listen to LIVE Metropolitan Opera broadcasts on WCLV 104.9 ideastream each Saturday afternoon (check wclv.org for start times).

You’ll be there from the moment the orchestra tunes until the curtain falls, and it won’t cost you a penny. Did you just yell “BRAVO”?

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’s


had been forming in his mind for four years, as he said, “rushed

out . . . like a mountain torrent.” Th is was, in fact, one of his

more temperate statements in letters to friends. Other passages

from that time are dotted with exclamation points: “Trilogy of

passion and whirlwind of life! Everything within me and around

me unfolds! Nothing is! Just give me a little longer! Th en you

shall hear all!”

In barely six weeks of white-hot creation, Mahler completed

the entire work in full score. Th ere followed a long process not

only of revision and clarifying the orchestration, but of fi guring

out what it was he had created. Mahler became director-general

of the Royal Opera in Budapest in October 1888, and conducted

the new work’s fi rst performance there a month later, on No-

vember 20. It was billed simply as “Symphonic Poem in Two

Parts.” Th e audience, which did not yet know its new director

well and was perhaps expecting a story-piece along the lines of

Franz Liszt or Richard Strauss, received the piece indiff erently.

To provide future audiences with a literary aid to under-

standing the work, Mahler was persuaded to provide a program

for it that was derived from the novel Th e Titan by the early

Romantic writer Jean Paul Richter (apparently no relation to

Johanne Richter, although the similarity of their names can’t

have escaped Mahler’s notice). It went as follows:

Part I: From the days of youth,

youth-pieces, fruit-pieces, and thorn-pieces.

1. Spring and no end. Th e introduction depicts the

awakening of nature at earliest dawn.

2. Flower chapter (Andante)

3. Full sail (Scherzo)

Part II: Commedia umana

4. Shipwrecked. A funeral march in the manner of

Callot [a 17th-century French engraver]. Th e following

may, if necessary, serve as explanation: Th e external

impulse to this piece was given to the composer by the

parodistic picture, “Th e Hunter’s Funeral,” well known

to all children in South Germany from an old book of

fairytales: the forest animals follow the hunter’s coffi n;

hares carry the fl ag, a band of Bohemian musicians goes

in front, accompanied by cats, toads, crows, etc., play-

ing instruments, and stags, roe-deer, foxes, and other

Mahler’s fi rst sketches of

what was to become the First

Symphony probably date

from 1885. The actual com-

position took place largely

in February and March

1888. The fi rst performance,

under the title “Symphonic

Poem in Two Parts,” was

given on November 20, 1889,

in Budapest, with Mahler

conducting. At the second

performance (Hamburg, Oc-

tober 27, 1893), the work was

renamed “Titan, Tone-Poem

in the Form of a Symphony.”

In 1896, Mahler discarded

the second of the work’s fi ve

movements (“Blumine”),

and the four-movement

“Symphony in D major”

was performed in Berlin on

March 16, 1896. Mahler

revised the work further in

1906-07. He conducted the

fi rst performances in the

United States on December

16, 1909, with the New York

Philharmonic.

This symphony runs

about 50 minutes in per-

formance. Mahler scored it

for 4 fl utes (third and fourth

doubling piccolo), 4 oboes

(third doubling english

horn), 4 clarinets (third dou-

bling bass clarinet and E-fl at

clarinet, fourth doubling

E-fl at clarinet), 3 bassoons

(third doubling contrabas-

soon), 7 horns, 4 trumpets,

3 trombones, tuba, 2 sets of

timpani, harp, percussion

(triangle, cymbals, bass

drum, tam-tam), and strings.

At a Glance

phot

o: P

ocke

tAce

s

www.carnegie-capital.com

54 The Cleveland OrchestraAbout the Music

Mahler’s

list of works

is short, and

has a curiously

organic quality,

in which each

composition

seems to grow

out of and

refer to its

predecessors.

four-legged and feathered creatures of the woods follow

the procession in comic attitudes. Here this piece is to

be thought of as the expression of a mood sometimes of

ironical merriment, sometimes of sinister brooding, fol-

lowed immediately by —

5. Dall’ inferno al Paradiso (Allegro furioso), the sud-

den expression of a heart wounded to its depths.

By the time he published the work a decade later in 1899,

under the title “Symphony No. 1 in D major,” Mahler had with-

drawn this program and the subtitle “Titan,” which neverthe-

less still crops up now and then to puzzle concertgoers and CD

listeners. Nevertheless, the written program remains useful

as a gloss to the emotional progress of the symphony. Mahler

also deleted the Andante second movement, bringing the sym-

phony into a form standardized by Beethoven — sonata-allegro,

scherzo, slow movement, fi nale.

As for the passionate love that drew the music out of him,

Mahler acknowledged it in a letter in 1896, but went on to cau-

tion that “the symphony begins where the love aff air ends. . . . Th e

extrinsic experience became the occasion, not the message, of the

work.”

T H E M U S I C

Th us we come to the music itself, aft er Mahler had dropped

his explanations of what the symphony was “about.” Certainly,

mythological heroes and doomed love are not necessary for us

to get the message of dawn, youth, and hope with which the

symphony’s fi rst movement opens. Th e fi rst “theme” heard is a

simple two-note phrase in the winds that drops by the interval

of a fourth, a melodic motion that will become the hallmark


of the entire symphony. Th e falling fourth becomes a clarinet

cuckoo, then kicks off the buoyant tune of the second “Wayfar-

er” song, “Ging heut’ morgens übers Feld” (“I went this morning

over the fi elds”). All this nature imagery is set off with distant

bugle calls, as if the composer were dreaming of his own child-

hood, growing up near the barracks of Litomerice. Although the

movement’s development section twists these ideas into some

dark and menacing shapes, and the fortissimo [“very loud”]

return of the bugle calls is a dire event, the music recovers its

optimism, and ends exuberantly amid fourths pounded out on

solo timpani.

In the waltz-scherzo second movement, the fourths mo-

tif becomes a yodeling accompaniment to a lumbering dance

tune based on the “Wayfarer” theme of the fi rst movement. Th e

blatantly “popular,” perhaps even vulgar, character of melodies

like this left listeners in Mahler’s time wondering whether to

take the music seriously. Th e composer’s answer was . . . yes

and no. For all the energy of this movement’s “full sail” mood,

there is a touch of hysteria under it all, as horns bleat, winds

chirp, the tempo pushes faster and faster, and fi nally the whole

engine runs off its harmonic rails. Th e irony is gentler in the

movement’s Trio section, in which a schmaltzy Ländler tune

wanders or meanders where it will.

Th e third movement begins with the timpani again playing

fourths alone, but now it is beating out the cadence of a funeral

march, which is based on, of all things, the children’s round tune

“Frère Jacques.” Not just the engraving of Th e Hunter’s Funeral,

but other strange images from childhood, perhaps glimpsed at

a village fair, seem to haunt this eerie music — a gypsy band,

a lone man playing cymbal and bass drum, a drunken hiccup

from the violins. Th en the music melts into beatifi c G major,

The Huntsman’s

Funeral, a19th-

century woodcut by

Moritz von Schwind,

which helped inspire

the third movement

of Mahler’s First

Symphony.

About the Music


lulled by a harp, as the violins play a bit of the last “Wayfarer”

song, in which the poet recalls falling asleep under a linden

tree: “Th ere I knew not what life does. / All, all was well! / Love

and sorrow! World and dream!” But the march returns, more

ironic than ever, anticipating in its acid scoring the way Kurt

Weill would later twist a popular tune into bitter satire.

With a cymbal crash, the dam of feeling bursts at the

beginning of the fi nale, and out pours an inchoate mass of

anger and dread, which fi nally organizes itself into a sonata-

form movement based on themes from the beginning of the

work. Th ese are mild words to describe the hellish, Berliozian

brew that Mahler serves up here, relieved only by a tantalizing

glimpse of heaven, a gorgeous cantabile melody in D-fl at major.

Finally, a chorale melody seems about to redeem the tortured

soul, but in the middle of the struggle the music retreats to the

child’s dream that began the symphony, to meditate again on

the fi rst movement’s themes. Th e recapitulation that follows

recalls stormy material from both the fi rst and last movements,

as if the composer were attempting to reconcile the child and

the adult within him. At last he succeeds: the chorale returns,

drawing into itself parts of many of the symphony’s themes and

pealing them out fortissimo in a single declaration of triumph,

amid a blaze of brilliant orchestral color.

—David Wright © 2013

Mahler’s Symphony

No. 1 was fi rst presented

in Cleveland four years

before the founding of The

Cleveland Orchestra, on De-

cember 15, 1914, performed

by the Chicago Symphony

Orchestra conducted by

Frederick Stock. The Cleve-

land Orchestra fi rst played it

in 1942, under the direction

of Artur Rodzinski. The most

recent performances by

the Orchestra were given in

December 2010, conducted

by Pinchas Steinberg. Franz

Welser-Möst led the most

recent Blossom Festival

performance, in 2007.

Mahler’sFirst Symphony and Cleveland

About the Music

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57Severance Hall 2012-13 Conductor

Christoph von Dohnányi Music Director Laureate The Cleveland Orchestra

Christoph von Dohnányi served as the sixth music direc-

tor of Th e Cleveland Orchestra from 1984 to 2002, and was

named the Orchestra’s music director laureate in 2002. He

fi rst conducted Th e Cleveland Orchestra in December 1981

and was named music director designate the following year.

He most recently conducted the Orchestra in a weekend of

concerts in March 2012.

During his tenure as music director in Cleveland, Mr.

Dohnányi led Th e Cleveland Orchestra in over a thousand

concerts, including regular concert tours of the United States,

Europe (including performances at the Salzburg Festival and

Edinburgh Festival) and in Asia (including the fi rst concert appearance by Th e

Cleveland Orchestra in mainland China). Mr. Dohnányi was instrumental in choos-

ing to restore Severance Hall’s Norton Memorial Organ, which was rededicated in

January 2001, following the celebratory reopening of Severance Hall in January 2000.

With Th e Cleveland Orchestra, Mr. Dohnányi recorded the complete sym-

phonies of Beethoven, Brahms, and Schumann; selected symphonies by Bruckner,

Dvořák, Mahler, Mozart, Schubert, and Tchaikovsky; works by Adams, Bartók,

Berlioz, Birtwistle, Busoni, Ives, Ravel, Richard Strauss, Varèse, and Webern; and

Wagner’s operas Das Rheingold and Die Walküre. In December 2001, Th e Cleve-

land Orchestra released the Christoph von Dohnányi Compact Disc Edition, a 10-

CD retrospective featuring live performances with Th e Cleveland Orchestra from

1984 through 2001.

With London’s Philharmonia Orchestra, Mr. Dohnányi served as principal

conductor (1997-2008) and as principal guest conductor (1994-97), and currently

holds the position of honorary conductor for life. He has led the Philharmonia in a

number of opera productions at the Th éâtre du Châtelet in Paris. He most recently

served as chief conductor of the NDR Symphony Orchestra in Hamburg (2004-

2010) and now devotes his time as a guest conductor appearing around the world.

Christoph von Dohnányi’s recent performances have included opening the

Boston Symphony Orchestra’s 75th anniversary season at Tanglewood last sum-

mer, and season opening concerts in the autumn with the orchestra of Teatro alla

Scala in Milan and with L’Orchestre de Paris. He also led performances of Bruck-

ner’s Eighth Symphony with London’s Philharmonia Orchestra. Th is spring, his

engagements include concerts with the Israel Philharmonic and the Philharmonia.

In North America, in addition to these performances in Cleveland, he is leading

concerts with the New York Philharmonic, Boston Symphony Orchestra, Washing-

ton D.C.’s National Symphony, and the Philadelphia Orchestra, and coaching and

conducting at the Juilliard School. Other notable engagements from recent seasons

PH

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include Strauss’s Salome with the Zurich Opera, concerts with the Royal Concert-

gebouw Orchestra and Zurich’s Tonhalle, a two-week series of all four Brahms

symphonies with the Los Angeles Philharmonic, Richard Strauss’s Ariadne auf

Naxos at Tanglewood, and a new production of Schoenberg’s Moses and Aron with

stage director Achim Freyer and the Zurich Opera.

Christoph von Dohnányi has accepted invitations as a guest conductor

at the Royal Opera House, Lyric Opera of Chicago, Metropolitan Opera in

New York, La Scala Milan, Vienna State Opera, and Zurich Opera. During the

1992-93 season, he conducted a new production of Wagner’s Th e Ring of the Ni-

belung at the Vienna State Opera. As a regular guest at the Salzburg Festival,

Mr. Dohnányi has led the Vienna Philharmonic in several new productions, in-

cluding Bartók’s Bluebeard’s Castle, Mozart’s Così fan tutte and Th e Magic Flute,

Schoenberg’s Erwartung, and Richard Strauss’s Ariadne auf Naxos, Der Rosen-

kavalier, and Salome. Also in Salzburg, he conducted the Vienna Philharmonic

in the world premieres of Henze’s Die Bassariden and Cerha’s Baal.

With the Vienna Philharmonic, Mr. Dohnányi has recorded symphonic

works by Mendelssohn and Tchaikovsky, and a number of operas including

Beethoven’s Fidelio, Berg’s Wozzeck and Lulu, Schoenberg’s Erwartung, Strauss’s

Salome, and Wagner’s Th e Flying Dutchman. He also recorded the violin concertos

of Glass and Schnittke with Gidon Kremer and the Dvořák Piano Concerto with

András Schiff .

Born in Berlin, Christoph von Dohnányi was a law student at the Uni-

versity of Munich, but soon chose to pursue his music studies full time. Aft er

winning the Richard Strauss Prize of Munich for conducting, he spent a period

of time studying with his grandfather, Ernö (Ernst von) Dohnányi, at Flori-

da State University. In 1952, Mr. Dohnányi accepted a position as assistant to

Georg Solti coaching and conducting at the Frankfurt Opera. He also served as

chief conductor of Cologne’s West German Radio Symphony Orchestra (1964-

69), was the artistic and music director of the Frankfurt Opera (1968-77), and

held the position of intendant and chief conductor of the Hamburg State Opera

(1977-84).

Conductor

Empowering the lives of over 16,000 children and families each year.

www.GuidestoneOhio.org

GUSTAV MAHLER 1860-1911

Gustav Mahler, at age fi ve (below left) in the

earliest known photograph; with beard at age twenty-one

in 1881; (right top) his wife, Alma, and their two daughters,

Maria and Anna, in 1906; at the coast (bottom right) of

the North Sea; and in a cartoon making fun of the unusual

instruments (including cowbell and forging hammer) he

orchestrated into his Sixth Symphony.


The Musical Arts Association gratefully acknowledges the artistry and dedication of all the

musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout

the year, many musicians donate performance time in support of community engagement,

fundraising, education, and audience development activities. We are pleased to recognize

these musicians, listed below, who have volunteered for such events and presentations dur-

ing the 2011-12 and 2012-13 seasons.

Musician Appreciation

Appreciation


Martha Baldwin

Charles Bernard

Katherine Bormann

Charles Carleton

Hans Clebsch

Patrick Connolly

Ralph Curry

Marc Damoulakis

Maximilian Dimoff

Scott Dixon

Bryan Dumm

Mark Dumm

Tanya Ell

Ying Fu

Kim Gomez

Miho Hashizume

Joela Jones

Alicia Koelz

Stanley Konopka

Mark Kosower

Paul Kushious

Jung-Min Amy Lee

Takako Masame

Eli Matthews

Sonja Braaten Molloy

Jacob Nissly

Peter Otto

Chul-In Park

Joanna Patterson Zakany

Henry Peyrebrune

Alexandra Preucil

Lynne Ramsey

Marisela Sager

Jonathan Sherwin

Emma Shook

Joshua Smith

Barrick Stees

Trina Struble

Brian Thornton

Isabel Trautwein

Carolyn Gadiel Warner

Stephen Warner

Richard Weiss

Robert Woolfrey

Derek Zadinsky

Jeff rey Zehngut



RICHARD KINGhorn

BORN: West Islip, Long Island, New York

WHY A MUSICIAN: Loved it and was good at it.

ROLE MODEL: My father.

CLEVELAND ORCHESTRA HIGHLIGHT: Playing Strauss’s opera Der Rosenkavalier.

FREE TIME: Spending time with family, running, working on my old car.

ON MY MP3 PLAYER: Don’t have one.

FAVORITE ORCHESTRAL WORK: Richard Strauss’s Till Eulenspiegel.

Meet the MusiciansCleveland Orchestra musicians parti-

cipate in a variety of community and

education activities beyond the weekly

orchestral concerts at Severance Hall.

These activities include masterclasses

and recitals, PNC Musical Rainbows, the

Learning Through Music school partner-

ship program, and coaching the Cleve-

land Orchestra Youth Orchestra.

PHOTOGRAPHS BY ROGER MASTROIANNI

Meet the Musicians

SCOTTHAIGHbass

BORN: Oak Park, Illinois

ROLE MODELS: My teacher. People with positive attitudes.

ON MY MP3 PLAYER: Don’t have one.

WHY A MUSICIAN: When I was a teenager, I couldn’t imagine doing anything else!

FREE TIME: Exercise and practice.

FAVORITE ORCHESTRAL WORK: I can’t decide. I like most of the orchestral repertoire.

DANIELMcKELWAYclarinet

BORN: Hanover, New Hampshire (but raised in Davidson, North Carolina)

ON MY MP3 PLAYER: sea shanties, The Beatles, clarinet chamber music with

my teacher Harold Wright, The Cleve- land Orchestra with George Szell.

ROLE MODELS: My teacher Robert Listokin is the most inspiring human I have ever encountered.

FREE TIME: Play with my son Rein, hang out and talk with my wife, Lembi, and enjoy our two twin daughters. Run, sail, hike, ski, climb mountains, work on my 1976 Toyota Celica, watch ACC basketball.


Administrative Staff as of February 10, 2013

EXECUTIVE OFFICEGary Hanson EXECUTIVE DIRECTOR

Rosemary Klena EXECUTIVE ASSISTANT

ORCHESTRA OPERATIONSGary Ginstling GENERAL MANAGER

Cherilyn Byers ADMINISTRATIVE ASSISTANT

Julie Kim DIRECTOR OF OPERATIONS

Amy Gill ORCHESTRA OPERATIONS MANAGER

Artistic AdministrationMark Williams DIRECTOR, ARTISTIC PLANNING

Randy Elliot ASSISTANT ARTISTIC ADMINISTRATOR

Barb Bodemer DRIVER

Orchestra PersonnelCarol Lee Iott DIRECTOR

Karyn Garvin MANAGER

Marla Bentley ORCHESTRA PERSONNEL ASSISTANT

Stage Joe Short STAGE MANAGER

Gil GerityThomas HoldenJohn RileyDon Verba STAGEHANDS

ChorusJill Harbaugh MANAGER

Rachel Novak ASSISTANT TO THE MANAGER

Education & Community ProgramsJoan Katz Napoli DIRECTOR

Sandra Jones MANAGER, EDUCATION & FAMILY CONCERTS

Erika Richter EDUCATION & COMMUNITY PROGRAMS COORDINATOR

Ashley Smith MANAGER, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

CLEVELAND ORCHESTRA MIAMIHolly Hudak MANAGING DIRECTOR

Montserrat Balseiro PATRON DEVELOPMENT & EDUCATION MANAGER

Etain Elisabeth Connor DEVELOPMENT OFFICER

Pratima Raju ASSOCIATE DEVELOPMENT OFFICER

SALES & COMMUNICATIONSRoss Binnie CHIEF MARKETING OFFICER

SalesJulie Stapf DIRECTOR OF SALES

Ryan Buckley DIGITAL MARKETING & WEBSITE MANAGER

David Szekeres INTERIM PUBLICATIONS MANAGER

Timothy Parkinson COMMUNICATIONS ASSOCIATE

Jerry Golski GROUP SALES MANAGER

ResearchAdriane Smith PATRON SYSTEMS MANAGER

Ticket Offi ceTimothy Gaines TICKET OFFICE MANAGER

Joan Eppich ASSOCIATE MANAGER

Mary Ellen Campbell ASSISTANT MANAGER

Monica Berens SUBSCRIPTION REPRESENTATIVE

Patrick ColvinJoclyn MadeyCindy AdamsTraci ShillaceMary Ellen Snyder CUSTOMER SERVICE REPRESENTATIVES

CommunicationsAna Papakhian DIRECTOR

Christine Honolke MEDIA RELATIONS MANAGER

Deborah Hefl ing ARCHIVIST

Program Book Eric Sellen EDITOR

SEVERANCE HALLMary Ann Makee DIRECTOR OF FACILITIES MANAGEMENT & OPERATIONS

Laura Clelland ADMINISTRATIVE ASSISTANT

Building OperationsCharles László BUILDING OPERATIONS MANAGER

Janet Montagino ADMINISTRATIVE ASSISTANT

Steve Skunta SENIOR BUILDING ENGINEER

Scott MillerRobert NockChristopher DowneyMichael Evert BUILDING ENGINEERS

Shelia BaughGeorge FelderMichelle Williams DOOR PERSONS

Quinn Chambers HALL STAFF & CLEANING SUPERVISOR

Steven WashingtonPauletta Hughes HALL STAFF LEAD

Antonio AdamsonKervin HintonDwayne JohnsonJerome KelleyDarrell SimmonsDwayne Taylor HALL STAFF

Glynis SmithRenee Pettway CLEANING PERSONS

Facility SalesBob Bellamy FACILITY SALES MANAGER

Concerts & Special EventsErin Patton Graziani MANAGER

Jennifer Masters ASSOCIATE MANAGER

House ManagementJudith Diehl HOUSE MANAGER

Adam Clemens ASSOCIATE HOUSE MANAGER

RetailLarry Fox STORE MANAGER

Pauline KivachGretchen KolovichHelen Douglas SALES ASSOCIATES


Administrative Staff


PHILANTHROPY & ADVANCEMENTJon Limbacher CHIEF DEVELOPMENT OFFICER

Colleen Halpin SENIOR DEVELOPMENT ASSOCIATE

Leadership GivingTim Mann DIRECTOR, LEADERSHIP DEVELOPMENT

Ellen Bender LEADERSHIP GIVING OFFICER

Bryan de Boer LEADERSHIP GIVING OFFICER

Grace Sipusic MAJOR GIFTS OFFICER

Hayden Howland MANAGER, LEADERSHIP GIVING

Jessica Thomas INDIVIDUAL GIVING COORDINATOR

Bridget Mundy LEGACY GIVING OFFICER

Institutional GivingAnizia Karmazyn DIRECTOR OF DEVELOPMENT, INSTITUTIONAL GIVING

Leah Hostetler DEVELOPMENT ASSOCIATE

David Welshhans DEVELOPMENT OFFICER, CORPORATE & FOUNDATION RELATIONS

Erin Gay DEVELOPMENT OFFICER, FOUNDATION & CORPORATE RELATIONS

Patricia Camacho Hughes DEVELOPMENT MANAGER, STEWARDSHIP

Development OperationsSuzanne Richardson de Roulet MANAGER, DEVELOPMENT COMMUNICATIONS

Emily Szy MANAGER, SPECIAL EVENTS & DONOR SERVICES

Lori Cohen COMMUNITY LEADERSHIP LIAISON

Anne Soulé RESEARCH ANALYST

Jim Reynolds DEVELOPMENT DATABASE COORDINATOR

Severance Hall11001 Euclid AvenueCleveland, OH 44106

Administrative Offi ces216-231-7300

Ticket Offi ce216-231-1111or 800-686-1141

Group Sales216-231-7493

Education &Community Programs216-231-7355

Media Relations216-231-7476

Archives216-231-7356

Individual Giving216-231-7562

Institutional Giving216-231-8011

Legacy Giving216-231-8006

Volunteers216-231-7557

Severance HallRental Offi ce216-231-7421

Cleveland Orchestra Store216-231-7478

Administrative Staff

c l e ve l a ndo r c he s t r a . c om

FINANCE & ADMINISTRATIONJames E. Menger CHIEF FINANCIAL OFFICER

Shirley Rundo ADMINISTRATIVE ASSISTANT

Faith Noble CONTROLLER

Barbara S. Snyder ACCOUNTING MANAGER

Carolann Oravec PAYROLL MANAGER

Heather Poston SENIOR ACCOUNTANT

Mary Stewart-McGovern ACCOUNTING ANALYST

Christina Dutkovic ACCOUNTING ASSOCIATE

Information TechnologyDavid Vivino DIRECTOR

Randy Conn DATABASE ANALYST

Theresa Henderson NETWORK ADMINISTRATOR

MailroomJim Hilton SUPERVISOR

Lomack Gray MAILROOM CLERK

Human ResourcesMichelle Vectirelis DIRECTOR

Charise Reid HUMAN RESOURCES COORDINATOR

Connie Pomeroy HUMAN RESOURCES ASSOCIATE


Student Ticket Programs “Under 18s Free,” Student Advantage membership,

and Student Frequent FanCard off er aff ordable access

to Cleveland Orchestra concerts all season long

Th e Cleveland Orchestra is committed to developing one of the youngest audiences

of any orchestra in the country. With the help of generous contributors, the Orch-

estra has expanded its discounted ticket off erings through several new programs. In

the opening two months of the current Severance Hall season, student attendance has

doubled from last season, with nearly 20% of the audience being students experiencing

Cleveland Orchestra concerts through these various programs and off ers.

STUDE NT ADVANTAGE PROGRAM

Th e Orchestra’s ongoing Student Advantage Program provides opportunities

for students to attend Orchestra concerts at Severance Hall through discounted

ticket off ers. Membership in the Student Advantage Program is free.

A new Student Frequent FanCard was introduced this season. Priced at $50,

the FanCard off ers students unlimited single tickets (one per FanCard holder) to

weekly Classical Subscription Concerts all season long.

“UNDE R 18s FRE E ” FOR FAMILIE S

Introduced for Blossom Music Festival concerts two summers ago, the “Un-

der 18s Free” for families program now includes select Cleveland Orchestra concerts

at Severance Hall each season. Th is program off ers free tickets (one per regular-

priced adult paid admission) to young people ages 7-17 to the Orchestra’s Fridays@7,

Friday Morning at 11, and Sunday Aft ernoon at 3 concerts.

All of these programs are supported by Th e Cleveland Orchestra’s Center for

Future Audiences and the Alexander and Sarah Cutler Fund for Student Audi-

ences. Th e Center for Future Audiences was created with a $20 million lead en-

dowment gift from the Maltz Family Foundation to develop new generations of

audiences for Cleveland Orchestra concerts in Northeast Ohio.

Student Ticket Programs

65Severance Hall 2012-13 Education & Community

The Cleveland Orchestra: Serving the Community Th e Cleveland Orchestra draws together traditional and new programs in music education and community involvement to deepen connections with audiences throughout Northeast Ohio

THE CLE VE L AND ORCHE STRA has a long and proud history of sharing

the value and joy of music with citizens throughout Northeast Ohio. Education

and community programs date to the Orchestra’s founding in 1918 and have re-

mained a central focus of the ensemble’s actitivities for over ninety years. Today,

with the support of many generous individual, foundation, corporate, and govern-

mental funding partners, the Orchestra’s educational and community programs

reach more than 70,000 young people and adults annually, helping to foster a love

of music and a lifetime of involvement with the musical arts. On these pages, we

share photo graphs from a sampling of these many programs. For additional in-

formation about these and other programs, visit us at clevelandorchestra.com

or contact the Education & Community Programs Offi ce by calling 216-231-7355.

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 introduced more

than 4 million young people to symphonic music over the past nine decades.

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El Sistema@Rainey performing at Severance Hall. The initiative is an intensive after-school orchestral music program launched in September 2011 by Cleveland Orchestra violinist Isabel Trautwein and Cleveland’s Rainey Institute. Modeled after the national Venezuelan program El Sistema (“the system”), the initiative emphasizes community-based orchestra training from a young age, with a focus on making music fun and inspiring young musicians with a passion for music and for life. The Cleveland Orchestra and education partner Conn-Selmer are the offi cial providers of instruments for the El Sistema@Rainey program, with instrument support from Royalton Music for El Sistema@Rainey Summer Camp.

Cleveland Orchestra bassist Mark Atherton with classroom students at Cleveland’s Mayfair Elementary School, part of the Learning Through Music program that fosters the use of music and the arts to support general classroom learning.

Through the PNC Musical Rainbows series at Severance Hall, Cleveland Orchestra musicians introduce nearly 10,000 preschoolers each year to the instruments of the orchestra.

Education & Community


O R C H E S T R A

Cleveland Orchestra fl utist Marisela Sager working with pre-school students as part of PNC Grow Up Great, a program utilizing music to support pre-literacy and school readiness skills.

T H A N K Y O UThe Cleveland Orchestra’s Education & Community programs are made

possible by many generous individuals and organizations, including:

PROGRAM FUNDERSThe Abington Foundation

The Eva L. and Joseph M. Bruening FoundationCleveland Clinic

The Cleveland FoundationConn-Selmer, Inc.

Cuyahoga Arts & CultureDominion Foundation

The Harry K. Fox and Emma R. Fox Charitable FoundationThe Giant Eagle Foundation

Muna & Basem Hishmeh FoundationInvacare Corporation

Martha Holden Jennings FoundationKeyBank

The Laub FoundationThe Lincoln Electric Foundation

The Lubrizol CorporationThe Nord Family Foundation

Ohio Arts CouncilOhio Savings Bank

PNCThe Reinberger Foundation

Albert G. & Olive H. Schlink FoundationThe Sherwin-Williams Foundation

The South Waite FoundationSurdna Foundation

Thomas H. White Foundation, a KeyBank TrustThe Edward & Ruth Wilkof Foundation

Women’s Committee of The Cleveland Orchestra

ENDOWMENT FUNDS AND FUNDERSHope and Stanley I. Adelstein

Kathleen L. BarberMr. Roger G. Berk

In memory of Anna B. BodyIsabelle and Ronald Brown

Dr. Jeanette Grasselli Brown and Dr. Glenn R. BrownRoberta R. Calderwood

Alice B. Cull Memorial FundMr. and Mrs. Charles B. Emrick, Jr.

Charles and Marguerite C. GalanieMr. David J. Golden

The George Gund FoundationDorothy Humel Hovorka

Mr. James J. HummerFrank and Margaret Hyncik

Walter and Jean Kalberer FoundationAlfred Lerner In-School Performance Fund

Mr. and Mrs. Stanley A. MeiselChristine Gitlin Miles

Mr. and Mrs. David T. MorganthalerMorley Fund for Pre-School Education

Pysht FundThe Ratner, Miller, and Shafran Families

and Forest City Enterprises, Inc.In memory of Georg Solti

The William N. Skirball EndowmentJules and Ruth Vinney Youth Orchestra Touring Fund

Anonymous

More than 1,200 talented young musicians have performed as members of the Cleve- land Orchestra Youth Orchestra in the quarter century since its founding in 1986.

67Education & Community


The Cleveland OrchestraCenter for Future AudiencesTHE CLE VE L AND ORCHE STRA’s Center for Future Audiences was estab-

lished to fund programs to develop new generations of audiences for Cleve-

land Orch estra concerts in Northeast Ohio. Th e Center was created in 2010

with a $20 million lead endowment gift from the Maltz Family Foundation.

Center-funded programs focus on addressing economic and geographic bar-

riers to attending Cleveland Orch estra concerts at Severance Hall and Blos-

som Music Center. Programs include

research, introductory off ers, targeted

discounts, student ticket programs,

and integrated use of new technolo-

gies. Th e goal is to create one of the

youngest audiences of any symphony

orchestra in the country. For addition-

al information about these plans and

programs, call us at 216-231-7464.

Center for Future Audiences

ENDOWED FUNDS

Maltz Family Foundation

Mr. and Mrs. Alexander M. Cutler

THANK YOU for helping develop tomorrow’s audiences today.

For information about contributing to this major endowment initiative,

please contact the Orchestra’s Philanthropy & Advancement Department

by calling Jon Limbacher, Chief Development Offi cer, at 216-231-7520.



Generous contributions to the endowment have been made to support specifi c

artistic initiatives, education and community programming and performances,

facilities maintenance costs, touring and residencies, and more. Named funds can

be established with new gift s of $250,000 or more. For information about making your

own endowment gift to the Orchestra, please call 216-231-7438.

Endowed Funds funds established as of October 2012

ARTISTIC endowed funds support a variety of programmatic initiatives ranging

from guest artists and radio broadcasts to the all-volunteer Cleveland Orchestra Chorus.

Artistic CollaborationKeithley Fund

Artist-in-ResidenceMalcolm E. Kenney

Young ComposersJan R. and Daniel R. Lewis

Friday Morning ConcertsMary E. and F. Joseph Callahan Foundation

International TouringFrances Elizabeth Wilkinson

Cleveland Orchestra Chorus Jerome and Shirley GroverMeacham Hitchcock and Family

Concert PreviewsDorothy Humel Hovorka

Radio BroadcastsRobert and Jean Conrad

UnrestrictedWilliam P. Blair III Fund for Orchestral ExcellenceJohn P. Bergren and Sarah S. EvansMargaret Fulton-Mueller FundVirginia M. and Jon A. Lindseth

American Conductors FundDouglas Peace HandysideHolsey Gates Handyside

Severance Hall Guest ConductorsRoger and Anne ClappJames and Donna Reid

Cleveland Orchestra SoloistsJulia and Larry Pollock Family Fund

Guest ArtistsThe Eleanore T. and Joseph E. Adams FundMrs. Warren H. CorningThe Gerhard FoundationMargaret R. Griffi ths TrustThe Virginia M. and Newman T. Halvorson FundThe Hershey FoundationThe Humel Hovorka FundKulas FoundationThe Payne FundElizabeth Dorothy RobsonDr. and Mrs. Sam I. SatoThe Julia Severance Millikin FundThe Sherwick FundMr. and Mrs. Michael SherwinSterling A. SpauldingMr. and Mrs. James P. StorerMrs. Paul D. Wurzburger

Endowed Funds

CENTER FOR FUTURE AUDIENCES — Th e Cleveland Orchestra’s Center for Future

Audiences, created with a lead gift from the Maltz Family Foundation, was established

to develop new generations of audiences for Th e Cleveland Orchestra.

Center for Future AudiencesMaltz Family Foundation

Student AudiencesAlexander and Sarah Cutler Fund


Endowed Funds listing continues


70 The Cleveland OrchestraEndowed Funds

SEVERANCE HALL endowed funds support maintenance of keyboard instruments

and the facilities of the Orchestra’s concert home, Severance Hall:

Keyboard MaintenanceWilliam R. DewThe Frederick W. and Janet P. Dorn FoundationMr. and Mrs. Richard A. ManuelVincent K. and Edith H. Smith Memorial Trust

OrganD. Robert and Kathleen L. BarberArlene and Arthur HoldenKulas FoundationDescendants of D.Z. NortonOglebay Norton Foundation

Severance Hall PreservationSeverance family and friends

EDUCATION AND COMMUNITY endowed funds help support programs that deepen con-

nections to symphonic music at every age and stage of life, including training, performances, and

classroom resources for thousands of students and adults each year.

Education ProgramsAnonymous, in memory of Georg SoltiHope and Stanley I. AdelsteinKathleen L. BarberIsabelle and Ronald BrownDr. Jeanette Grasselli Brown and Dr. Glenn R. BrownAlice B. Cull MemorialFrank and Margaret HyncikJunior Committee of The Cleveland OrchestraMr. and Mrs. David T. MorgenthalerJohn and Sally Morley Education FundThe William N. Skirball Endowment

Education Concerts WeekThe Max Ratner Education Fund, given by the Ratner, Miller, and Shafran

families and by Forest City Enterprises, Inc.

In-School PerformancesAlfred M. Lerner Fund

Classroom ResourcesCharles and Marguerite C. Galanie

Cleveland Orchestra Youth Orchestra The George Gund FoundationChristine Gitlin Miles, in honor of Jahja LingJules and Ruth Vinney Touring Fund

Musical RainbowsPysht Fund

Community ProgrammingMachaskee Fund

Endowed Funds continued from previous page


BLOSSOM MUSIC CENTER and BLOSSOM FESTIVAL endowed funds support the

Orchestra’s summer performances and maintenance of Blossom Music Center.

Blossom Festival Guest ArtistDr. and Mrs. Murray M. BettThe Hershey FoundationThe Payne FundMr. and Mrs. William C. Zekan

Blossom Festival Family ConcertsDavid E. and Jane J. Griffi ths

Landscaping and MaintenanceThe Bingham FoundationEmily Blossom family members and friendsThe GAR FoundationJohn S. and James L. Knight Foundation


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PARTNERS IN EXCELLENCE$300,000 AND MORE

KeyBankThe Lubrizol CorporationNACCO Industries, Inc.The J. M. Smucker Company

PARTNERS IN EXCELLENCE$200,000 TO $299,999BakerHostetlerEaton CorporationFirstEnergy FoundationForest City Enterprises, Inc.PNC

PARTNERS IN EXCELLENCE$100,000 TO $199,999Google, Inc.Medical Mutual of OhioParker Hannifin Corporation

$50,000 TO $99,999

Exile LLCJones DayQuality Electrodynamics (QED)Raiffeisenlandesbank

Oberösterreich (Europe) The Sage Cleveland FoundationAnonymous

$25,000 TO $49,999Bank of AmericaDix & EatonThe Giant Eagle FoundationNorthern Trust Bank of Florida (Miami)Park-Ohio Holdings Corp.The Plain DealerRPM International Inc.Squire, Sanders & Dempsey (US) LLPThompson Hine LLP

$2,500 TO $24,999Akron Tool & Die CompanyAkronLife MagazineAmerican Fireworks, Inc.American Greetings CorporationBDIBrouse McDowellEileen M. Burkhart & Co LLCBuyers Products Company

Cedar Brook Financial Partners, LLCThe Cleveland Wire Cloth & Mfg. Co.The Cliffs FoundationCommunity Behavioral Health CenterConn-Selmer, Inc.Consolidated Graphics Group, Inc.Dealer Tire LLCDollar BankDominion FoundationErnst & Young LLPEvarts-Tremaine-Flicker CompanyFeldman Gale, P.A. (Miami)Ferro CorporationFirstMerit BankFrantz Ward LLPViktor Kendall, Friends of WLRNGallagher Benefit ServicesGenovese Vanderhoof & AssociatesGreat Lakes Brewing CompanyGross BuildersHahn Loeser + Parks LLPHouck Anderson P.A. (Miami)Hunton & Williams, LLP (Miami)Hyland SoftwareThe Lincoln Electric FoundationLittler Mendelson, P.C.C. A. Litzler Co., Inc.Live Publishing CompanyMacy’sMaterion CorporationMiba AG (Europe)MTD Products, Inc.Nordson CorporationNorth Coast Container Corp.Northern HaserotOatey Co.Ohio CATOhio Savings Bank, A Division

of New York Community BankOlympic Steel, Inc.Oswald CompaniesPolyOne CorporationThe Prince & Izant CompanyRichey Industries, Inc.Satch Logistics LLCSEMAG Holding GmbH (Europe)The Sherwin-Williams CompanyStern Advertising AgencySwagelok CompanyTriMark S.S. KempTrionix Research Laboratory, Inc.Tucker EllisUlmer & Berne LLPUnited Automobile Insurance

Company (Miami)Ver Ploeg & Lumpkin, P.A. (Miami)Ricky & Sarit Warman —

Papa John’s Pizza (Miami)WCLV FoundationWestlake Reed LeskoskyThe Avedis Zildjian CompanyAnonymous (3)

Annual Supportgifts of $2,500 or more during the past year, as of December 20, 2012

Cumulative GivingJOHN L. SEVERANCESOCIETY

$5 MILLION AND MORE

KeyBank

$1 MILLION TO $5 MILLION

BakerHostetlerBank of AmericaEaton CorporationFirstEnergy FoundationForest City Enterprises, Inc.The Goodyear Tire

& Rubber CompanyThe Lubrizol Corporation /

The Lubrizol FoundationMerrill LynchNACCO Industries, Inc.Parker Hannifin CorporationThe Plain DealerPNC BankPolyOne CorporationRaiffeisenlandesbank

Oberösterreich (Europe) The Sage Cleveland Foundation

The J. M. Smucker Company

The Severance Society recognizes

generous contributors of $1 million

or more in cumulative giving

to The Cleveland Orchestra.

Listing as of December 2012.

Corporate Annual Support

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


browse class & event listings online www.case.edu/lifelonglearning Tel: 216.368.2090

The Laura & Alvin Siegal Lifelong Learning program at Case Western Reserve University provides

high-quality lifelong learning opportunities for adults who want to cultivate their ongoing intellectual curiosity.

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Translated into more

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NATHAN ENGLANDER

TUESDAY MARCH 12

SPRING PROGRAMMING HIGHLIGHTS

SENIOR SCHOLARS – Spring topics include: Women’s Work: Myths and Realities (Professor Dorothy Miller);

American Pulp Fiction (Professor William Marling);

Revolutions (Presented by the Baker-Nord Center for

Humanities); The Decline of the Middle Ages (Professor

Brazil Today: an Opera in Five Acts

(Professor Don Ramos). Classes held at the College Club:

Tuesday, Wednesday or Thursday afternoons.

VISITING SCHOLARS – including: Political Scientist

Dr. Guy Ben-Porat (Ben-Gurion University, Israel);

Rabbi Steve Greenberg

Learning and Leadership, and the first openly gay

Orthodox Rabbi) & Professor Vivian Mann (director of

ACE (The Association for Continuing Education) Programs include Discussion

Day April 15; Annual Meeting with

Professor Michael Scharf (CWRU School

of Law) and OFF-CAMPUS STUDIES in

locations throughout Northeast Ohio.

DISTINGUISHED LECTURE SERIES – Including: Chief

Rabbi of Poland Michael Schudrich; Professor

S. Gurock; Professor Robert M. Seltzer; Professor Haya

Bar-Itzhak & Professor Christine Hayes.

SCHOLARS ON THE CIRCLE – Spring programs in

partnership with the Cleveland Museum of Art, Western

Reserve Historical Society, The Music Settlement, and

Kelvin Smith Library.

and Hebrew language courses and

programs (all levels).

. . . for the love of learning

Events co-sponsored by Cuyahoga County Public Library

Foundation/Government Annual Support

$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

Cuyahoga Arts and CultureThe Andrew W. Mellon FoundationThe Kelvin and Eleanor

Smith Foundation

$250,000 TO $499,000Kulas FoundationThe Miami Foundation,

from a fund established by the John S. and James L. Knight Foundation (Miami)

John P. Murphy FoundationDavid and Inez Myers FoundationOhio Arts Council

$100,000 TO $249,999Sidney E. Frank FoundationGAR FoundationThe George Gund Foundation

$50,000 TO $99,999The George W. Codrington

Charitable FoundationMartha Holden Jennings FoundationThe Mandel FoundationMyra Tuteur Kahn Memorial Fund

of The Cleveland FoundationJohn S. and James L. Knight FoundationElizabeth Ring Mather

and William Gwinn Mather FundNational Endowment for the ArtsDonald and Alice Noble Foundation, Inc. The Payne FundSurdna Foundation

$20,000 TO $49,999The Abington FoundationAkron Community FoundationThe Helen C. Cole Charitable TrustThe Mary S. and David C.

Corbin FoundationThe Gerhard Foundation, Inc.Ann and Gordon Getty FoundationThe Margaret Clark Morgan FoundationThe Frederick and Julia Nonneman

FoundationThe Nord Family FoundationPeacock Foundation, Inc. (Miami)The Sisler McFawn Foundation

Annual Supportgifts of $2,000 or more during the past year, as of December 20, 2012

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.

$2,000 TO $19,999Ayco Charitable FoundationThe Ruth and Elmer Babin FoundationThe Batchelor Foundation, Inc. (Miami)The Bernheimer Family Fund

of The Cleveland FoundationBicknell FundEva L. and Joseph M. Bruening FoundationThe Collacott FoundationMary and Dr. George L. Demetros

Charitable TrustElisha-Bolton FoundationFisher-Renkert FoundationThe Harry K. Fox and Emma R. Fox

Charitable FoundationFunding Arts Network (Miami)The Helen Wade Greene Charitable TrustThe Hankins FoundationThe Muna and Basem Hishmeh FoundationRichard H. Holzer Memorial FoundationThe Kangesser FoundationThe Kridler Family Fund

of The Columbus FoundationThe Jean Thomas Lambert FoundationThe Laub FoundationVictor C. Laughlin, M.D.

Memorial Foundation TrustThe G. R. Lincoln Family FoundationMiami-Dade County Department

of Cultural Affairs (Miami)Paintstone FoundationThe Charles E. & Mabel M. Ritchie

Memorial FoundationThe Leighton A. Rosenthal

Family FoundationSCH FoundationAlbert G. & Olive H. Schlink FoundationHarold C. Schott FoundationJean C. Schroeder FoundationKenneth W. Scott FoundationThe Sherwick FundLloyd L. and Louise K. Smith

Memorial FoundationThe South Waite FoundationThe Taylor-Winfield FoundationThe George Garretson Wade Charitable TrustThe S. K. Wellman FoundationThe Welty Family FoundationThomas H. White Foundation,

a KeyBank TrustThe Edward & Ruth Wilkof FoundationThe Wuliger FoundationAnonymous (2)

Cumulative GivingJOHN L. SEVERANCESOCIETY

$10 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents

through Cuyahoga Arts & Culture

Kulas FoundationMaltz Family FoundationState of OhioOhio Arts CouncilThe Kelvin and Eleanor

Smith Foundation


John P. Murphy Foundation


Ann and Gordon Getty Foundation

GAR FoundationThe George Gund FoundationThe Louise H. and David S.

Ingalls FoundationMartha Holden Jennings

FoundationKnight Foundation

(Cleveland, Miami)The Andrew W. Mellon FoundationDavid and Inez

Myers FoundationNational Endowment for the ArtsThe Payne FundThe Reinberger Foundation

The Severance Society recognizes

generous contributors of $1 million

or more in cumulative giving

to The Cleveland Orchestra.

Listing as of December 2012.


Foundation & Government Support


INDIVIDUAL GIFTS OF $500,000 AND MORE

Daniel R. and Jan R. Lewis (Miami)

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

Irma and Norman Braman (Miami) Francie and David Horvitz

Family Foundation (Miami) The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Susan Miller (Miami) Ms. Ginger Warner (Cleveland, Miami)


Mr. and Mrs. Joseph P. KeithleyDr. and Mrs. Herbert Kloiber (Europe)Peter B. Lewis and Janet Rosel (Miami)Mr.* and Mrs. Herbert McBride Mr. and Mrs. Albert B. Ratner Janet and Richard Yulman (Miami)


Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr.


Sheldon and Florence Anderson (Miami)Mr. William P. Blair III Mr. Richard J. Bogomolny

and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. CutlerHector D. Fortun (Miami) Mr. and Mrs. Michael J. HorvitzJames D. Ireland III Mr. and Mrs. Dennis W. LaBarre R. Kirk Landon and Pamela Garrison (Miami) Toby Devan LewisMs. Beth E. MooneyJames and Donna ReidBarbara S. Robinson Mr. and Mrs. Richard K. Smucker Barbara and David Wolfort Anonymous

Individual Support

The Cleveland Orchestra and Musical Arts Association gratefully recognize 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 GivingJOHN L. SEVERANCE SOCIETY

$10 MILLION AND MORE

Daniel R. and Jan R. Lewis (Miami, Cleveland)


Mr. Richard J. Bogomolny

and Ms. Patricia M. Kozerefski

Mr. and Mrs. Alexander M. Cutler

Mrs. Norma Lerner

and The Lerner Foundation

Mrs. Alfred M. Rankin

Mr. and Mrs. Albert B. Ratner


Irma and Norman Braman (Miami) Mr. and Mrs. Francis J. CallahanMrs. Anne M. ClappMr. George Gund IIIFrancie 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 Susan 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 Anonymous (2)

The Severance Society recognizes generous contributors

of $1 million or more in lifetime giving to The Cleve-

land Orchestra. As of December 2012.

Annual Supportgifts during the past year, as of December 20, 2012

Individual Annual Support76 The Cleveland Orchestra

Individual Annual Support


Mr. and Mrs. Daniel M. Bell (Miami)Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s CommitteeMr. and Mrs. Charles P. Bolton The Brown and Kunze FoundationJeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Do Unto Others Trust (Miami)Mr. and Mrs. Geoffrey Gund George Gund Trevor and Jennie Jones Elizabeth B. Juliano (Cleveland, Miami) Giuliana C. and John D. Koch Foundation

(Cleveland, Miami) Dr. Vilma L. KohnMr. and Mrs. S. Lee Kohrman Charlotte R. KramerMs. Nancy W. McCann Sally S. and John C. Morley Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr.Charles and Ilana Horowitz Ratner Luci and Ralph* ScheyMary M. Spencer (Miami)Mr. and Mrs. Franz Welser-Möst


Dr. and Mrs. Hiroyuki Fujita Junior Committee of The Cleveland OrchestraDavid and Jan LeshnerMr. and Mrs. Jon A. LindsethMr. and Mrs. Edward A. LozickMargaret Fulton-Mueller Mrs. Jane B. NordMr. and Mrs. James A. RatnerHewitt and Paula Shaw Richard and Nancy Sneed (Cleveland, Miami) Paul and Suzanne Westlake


Gay Cull AddicottMr. and Mrs. William W. Baker Jill and Paul Clark Bruce and Beth Dyer Esther L. and Alfred M. Eich, Jr. Dr. Edward S. Godleski Andrew and Judy Green Gary Hanson and Barbara Klante Mr. and Mrs. Jack HoeschlerRichard and Erica Horvitz (Cleveland, Miami)Mrs. Marguerite B. Humphrey William J. and Katherine T. O’Neill

Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Mr. and Mrs. James A. SaksMarc and Rennie SaltzbergRaymond T. and Katherine S. SawyerDr. and Mrs. Neil SethiR. Thomas and Meg Harris Stanton Mr. and Mrs. Donald Stelling (Europe)Mr. Gary L. Wasserman

and Mr. Charles A. Kashner (Miami)Women’s Committee of The Cleveland OrchestraAnonymous gift from Switzerland (Europe) Anonymous


Randall and Virginia Barbato

Jayusia and Alan Bernstein (Miami)

Scott Chaikin and Mary Beth Cooper

Mr. and Mrs. Peter O. Dahlen

George* and Becky Dunnlistings continue

Gay Cull Addicott

William W. Baker

Ronald H. Bell

Henry C. Doll

Judy Ernest

Nicki Gudbranson

Jack Harley

Iris Harvie

Brinton L. Hyde

Randall N. Huff

David C. Lamb

Raymond T. Sawyer

Barbara Robinson, chair

Robert Gudbranson, vice chair

Ongoing annual support gifts are a critical compo-

nent toward sustaining The Cleveland Orchestra’s

economic health. Ticket revenues provide only a

small portion of the funding needed to support

the Orchestra’s outstanding performances, educa-

tional activities, and community projects.

The Crescendo Patron Program recognizes gener-

ous 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 Hayden Howland, Manager of

Leadership Giving, by calling 216-231-7545.

Crescendo Annual Campaign Patrons




Colleen and Richard Fain (Miami)

Jeffrey and Susan Feldman

Mr. Allen H. Ford

Richard and Ann Gridley

Mrs. John A Hadden Jr.

Jack Harley and Judy Ernest

Mary and Jon Heider (Cleveland, Miami)

Tati and Ezra Katz (Miami)

Jonathan and Tina Kislak (Miami)

Robert M. Maloney and Laura Goyanes

Mr.* and Mrs. Arch J. McCartney

Mr. Thomas F. McKee

Miba AG (Europe)

Lucia S. Nash

Mr. Gary A. Oatey

Brian and Patricia Ratner

David and Harriet Simon

Mr. Joseph F. Tetlak

Rick, Margarita and Steven Tonkinson (Miami)

LNE Group – Lee Weingart (Europe)

Anonymous


Mr. and Mrs. David J. Carpenter Judith and George W. Diehl Joyce and Ab* GlickmanMr. and Mrs. Jeffrey Healy Mrs. David Seidenfeld Mr. and Mrs. Alfred Umdasch (Europe)

INDIVIDUAL GIFTS OF $10,000 TO $12,499Mr. and Mrs. George N. Aronoff Marsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. D. McGregor Brandt, Jr.Augustine* and Grace CaliguireMr. and Mrs. R. Bruce CampbellRichard J. and Joanne ClarkMartha and Bruce Clinton (Miami)Mr. and Mrs. William E. ConwayMrs. Barbara CookBruce Coppock and Lucia P. May (Miami)Mr. and Mrs. Matthew V. Crawford Mr. Peter and Mrs. Julie Cummings (Miami)Mr. and Mrs. Robert P. DuvinMike S. and Margaret Eidson (Miami) listings continue


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:

Dr. and Mrs. Lloyd H. Ellis Jr.Ms. Dawn M. FullFrancisco A. Garcia and Elizabeth Pearson (Miami)Mr. and Mrs. Richard T. GarrettAlbert I. and Norma C. Geller Mr. and Mrs. Robert W. GillespieRobert K. Gudbranson and Joon-Li KimJeffrey and Stacie HalpernSondra and Steve HardisDavid and Nancy Hooker Joan and Leonard HorvitzMr. and Mrs. Christopher Hyland Mr. and Mrs. Donald M. Jack, Jr.Allan V. Johnson Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Mr. and Mrs. Richard A. ManuelMr. and Mrs. Stanley A. MeiselEdith and Ted* MillerMrs. Sydell L. MillerThe Estate of Walter N. MirapaulElisabeth and Karlheinz Muhr (Europe)Brian and Cindy MurphyMr. and Mrs. William M. Osborne, Jr. Mr. and Mrs. George M. Rose Mr. and Mrs. David A. RuckmanMr. Larry J. Santon Dr. E. Karl and Lisa SchneiderRachel R. Schneider Mr. and Mrs. Oliver E. SeikelKim Sherwin Mr. and Mrs. Steven SpilmanLois and Tom Stauffer Mrs. Blythe SundbergDr. Russell A. TrussoTom and Shirley Waltermire The Wells Family Foundation, Inc.Sandy and Ted Wiese Anonymous

INDIVIDUAL GIFTS OF $7,500 TO $9,999Laurel Blossom Dr. and Mrs. Jerald S. BrodkeyDr. Thomas Brugger and Dr. Sandra RussEllen E. & Victor J. Cohn Supporting Foundation Mr. Owen ColliganMr. and Mrs. Edward B. Davis Henry and Mary Doll Nancy and Richard DotsonKathleen E. HancockMary Jane Hartwell Iris and Tom Harvie Mrs. Sandra L. HaslingerAmy and Stephen Hoffman Pamela and Scott Isquick Joela Jones and Richard WeissJudith and Morton Q. Levin Mr. Jeff LitwillerMr. and Mrs.* Robert P. Madison Mrs. Robert H. MartindaleMr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Pannonius Foundation Douglas and Noreen Powers

listings continued

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University Hospitals Center for Music and Medicineis proud to support The Cleveland Orchestra.

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Rosskamm Family TrustPatricia J. Sawvel Carol* and Albert SchuppDr. Gerard and Phyllis SeltzerNaomi G. and Edwin Z. Singer Family Fund Mrs. Gretchen D. SmithMr. and Mrs. Donald W. Strang, Jr.Mrs. Marie S. StrawbridgeBruce and Virginia Taylor Anonymous (3)

INDIVIDUAL GIFTS OF $5,000 TO $7,499Susan S. AngellMr. and Mrs. Albert A. AugustusMr. and Mrs. Dean Barry Mr. Jon Batchelor (Miami)Fred G. and Mary W. BehmDrs. Nathan A. and Sosamma J. Berger Mr. William BergerDr.* and Mrs.* Norman E. Berman Dr. and Mrs. Eugene H. BlackstonePaul and Marilyn* BrentlingerMr. Robert W. BriggsFrank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William & Dottie Clark Mrs. Lester E. Coleman Mr. and Mrs. Gerald A. ConwayCorinne L. Dodero Foundation

for the Arts and Sciences Mr. and Mrs. Ralph DaugstrupMrs. Barbara Ann Davis Ms. Nancy J. Davis (Miami)Mr. and Mrs. Thomas S. DavisMr. and Mrs. Terry C. Z. EggerDr. and Mrs. Robert ElstonMary and Oliver Emerson Dr. D. Roy and Diane A. FergusonChristopher Findlater (Miami)Joy E. GarapicMr. David J. GoldenMr. and Mrs. Henry J. GoodmanMr. and Mrs. Randall J. GordonHarry and Joyce Graham Mr. Paul Greig David and Robin GunningClark Harvey and Holly SelvaggiIn memory of Philip J. HastingsHenry R. HatchRobin Hitchcock HatchBarbara Hawley and David GoodmanJanet D. Heil*Anita and William HellerT. K. and Faye A. HestonBob and Edith Hudson (Miami)Mr. James J. Hummer Mr. and Mrs. Brinton L. HydeRudolf D. and Joan T. Kamper Andrew and Katherine KartalisMilton and Donna* Katz Dr. and Mrs. William S. KiserMrs. Justin Krent

Mr. James and Mrs. Patricia KrohngoldMr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr.David C. LambShirley and William Lehman (Miami) Mr.* and Mrs. Leo LeidenLarry and Christine LeveyMr. and Mrs. Adam Lewis (Miami)Mrs. Emma S. LincolnHeather and Irwin LowensteinMr. and Mrs. Alex Machaskee Ms. Jennifer R. MalkinMr. and Mrs. Morton L. MandelAlan Markowitz M.D. and Cathy PollardAlexander and Marianna C.* McAfee Claudia Metz and Thomas Woodworth Drs. Terry E. and Sara S. MillerMr. and Mrs. William A. Mitchell Ann Jones MorganRobert Moss (Miami)Mr. Raymond M. MurphyMr. and Mrs. Stephen E. MyersMr. and Mrs. Herbert Newman Richard and Kathleen NordMr. Henry Ott-HansenMr. J. William and Dr. Suzanne PalmerClaudia and Steven Perles (Miami)Nan and Bob Pfeifer Dr. and Mrs. John N. Posch Lois S.* and Stanley M. ProctorMs. Rosella PuskasMr. and Mrs. Thomas A. QuintrellDrs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. RankinMs. Deborah ReadPaul A. and Anastacia L. RoseDr. Tom D. Rose Mr. and Mrs. Robert C. RuhlMrs. Florence Brewster Rutter David M. and Betty Schneider Linda B. SchneiderLarry and Sally Sears Mr. Eric Sellen and Mr. Ron SeidmanMrs. Frances G. ShoolroyMarjorie B. Shorrock Laura and Alvin A. SiegalDavid Kane Smith Jim and Myrna SpiraGeorge and Mary Stark Charles B. and Rosalyn Stuzin (Miami)Ms. Lorraine S. Szabo Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. TromblyDon and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami)Mr. and Mrs. Fred A. Watkins Dr. and Mrs. Leslie T. Webster, Jr.Dr. Edward L. and Mrs. Suzanne WestbrookTom and Betsy WheelerCharles WinansAnonymous (6)

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listings continued



Dr. and Mrs. D. P. AgamanolisMr. and Mrs. Robert H. BakerMs. Delphine BarrettMrs. Joanne M. BearssMr. and Mrs. Jules BelkinDr. Ronald and Diane BellSuzanne and Jim BlaserDr. Ben H. and Julia BrouhardDr. and Mrs. William E. CappaertMs. Mary E. ChilcoteDrs. Mark Cohen and Miriam VishnyDiane Lynn CollierMarjorie Dickard ComellaPete and Margaret DobbinsPeter and Kathryn EloffMr. Brian L. Ewart

and Mr. William McHenryPeggy and David* FullmerMrs. Joan Getz (Miami)Robert N. and Nicki N. GudbransonMr. Robert D. HartMatthew D. Healy and Richard S. AgnesHazel Helgesen and Gary D. HelgesenMs. Rosina Horvath

Mr. David and Mrs. Dianne HuntDr. and Mrs. Scott R. InkleyDonna L. and Robert H. JacksonMr. and Mrs. Richard A. JanusHelen and Erik JensenDr. Gilles and Mrs. Malvina KlopmanDr. James and Mrs. Margaret KreinerRonald and Barbara LeirvikMr. and Mrs. Irvin A. LeonardDr. Alan and Mrs. Joni LichtinAnne R. and Kenneth E. LoveRobert and LaVerne* LugibihlElsie and Byron LutmanJoel and Mary Ann MakeeMartin and Lois MarcusSusan and Reimer MellinDr.* and Mrs. Hermann Menges, Jr.Dr. Susan M. MerzweilerMr. and Mrs. Peter R. OsenarMrs. Ingrid PetrusMr. and Mrs. John S. PietyMr. and Mrs. Richard W. PogueIn memory of Henry PollakWilliam and Gwen Preucil

Dr. Robert W. ReynoldsMrs. Charles RitchieAmy and Ken RogatFred Rzepka and Anne Rzepka

Family FoundationBob and Ellie ScheuerMs. Freda SeavertCharles Seitz (Miami)Ginger and Larry ShaneMr. Richard ShireyDr. Marvin and Mimi SobelMr. and Mrs. William E. SpatzHoward Stark M.D.

and Rene Rodriguez (Miami)Mrs. Barbara Stiefel (Miami)Dr. Elizabeth SwensonMr. and Mrs. Leonard K. TowerRobert and Marti VagiMr. and Mrs. Mark Allen WeigandMr. Peter and Mrs. Laurie WeinbergerRobert C. WepplerRichard Wiedemer, Jr.Nancy V. and Robert L. Wilcox



Ms. Nancy A. AdamsStanley I. and Hope S. AdelsteinNorman and Rosalyn Adler

Family Philanthropic FundMr. Gerald O. AllenNorman and Helen AllisonMr. and Mrs. Robert J. AmsdellRev. Dr. and Mrs. Kenneth J. AndersonMr. and Mrs. Jeffrey R. AppelbaumMr. and Mrs. Stanley H. Arkin (Miami)Geraldine and Joseph BabinMr. Roger G. BerkKerrin and Peter Bermont (Miami)Barbara and Sheldon BernsJulia and David Bianchi

(Cleveland, Miami)Carmen Bishopric (Miami)Bill and Zeda BlauMr. Doug BletcherMr. and Mrs. Dennis A. BlockJohn and Anne BourassaLisa and Ron BoykoMrs. Ezra BryanJ. C. and Helen Rankin ButlerMs. Mary R. Bynum

and Mr. J. Philip CalabreseMrs. Millie L. CarlsonMr. and Mrs. Frank H. CarpenterLeigh CarterMr. and Mrs. James B. ChaneyDr. and Mrs. Ronald ChapnickMs. Suzan ChengDr. and Mrs. Chris ChengelisMr. and Mrs. Homer D. W. ChisholmMr. and Mrs. Robert A. ClarkMr. and Mrs. Stanley Cohen (Miami)Mr. and Mrs. David J. Cook

Dr. Dale and Susan CowanMrs. Frederick F. DannemillerCharles and Fanny Dascal (Miami)Jeffrey and Eileen DavisMrs. Lois Joan DavisDr. Sharon DiLauro-PetrusDr. and Mrs. Richard C. DistadMs. Maureen A. Doerner

and Mr. Geoffrey T. WhiteMr. George and Mrs. Beth DownesMs. Mary Lynn DurhamGeorge* and Mary EatonDavid and Margaret EwartHarry and Ann FarmerCarl and Amy FischerScott Foerster, Foerster and BohnertJoan Alice FordMrs. Amasa B. FordMr. Randall and Mrs. Patrice FortinMr. Monte Friedkin (Miami)Marvin Ross Friedman

and Adrienne bon Haes (Miami)Arthur L. FullmerRichard L. FurryJeanne GallagherBarbara and Peter GalvinMrs. Georgia T. GarnerBarbara P. Geismer*Mr. Wilbert C. Geiss, Sr.Dr. Kevin and Angela GeraciAnne and Walter GinnMr. and Mrs. David GoldbergMr. and Mrs. David A. GoldfingerDr. and Mrs. Ronald L. GouldMr. and Mrs. Robert T. GrafNancy Green (Miami)Mr. and Mrs. Brent R. Grover

The Thomas J. and Judith Fay Gruber Charitable Foundation

Nancy and James GrunzweigMr. Davin and Mrs. Jo Ann GustafsonDr. Phillip M. and Mrs. Mary HallNorman C. and Donna L. HarbertMr. and Mrs. George B. P. HaskellMr. and Mrs. Jerry HerschmanMr. Robert T. HexterDr. and Mrs. Robert L. HinnesMr. and Mrs. Edmond H. HohertzThomas and Mary HolmesDr. Keith A. and

Mrs. Kathleen M. HooverMark and Ruth Houck (Miami)Dr. Randal N. Huff

and Ms. Paulette BeechMs. Charlotte L. HughesMs. Luan K. HutchinsonRuth F. IhdeDr. Michael and Mrs. Deborah JoyceBarbara and Michael J. KaplanDr. and Mrs. Richard S. KaufmanRev. William C. KeeneMr. Karl W. KellerElizabeth KelleyAngela Kelsey

and Michael Zealy (Miami)The Kendis Family Trust:

Hilary & Robert Kendis and Susan & James Kendis

Bruce and Eleanor KendrickMr. James KishNatalie KittredgeFred and Judith KlotzmanEllen Brad and Bart Kovac


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listings continued

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Dr. Ronald H. Krasney and Ms. Sherry* Latimer

Mr. Donald N. KrosinMr. and Mrs. S. Ernest KulpMrs. Carolyn LamplMr. and Mrs. Israel LapciucKenneth M. LapineAnthony T. and Patricia A. LauriaMr. Jin-Woo LeeMichael and Lois A. LemrDr. Edith LernerDr. Stephen B. and

Mrs. Lillian S. LevineRobert G. LevyMr. Jon E. Limbacher

and Patricia J. LimbacherIsabelle and Sidney* LobeHolly and Donald LoftusMartha Klein LottmanMary LoudMarianne Luedeking (Miami)Herbert L. and Rhonda MarcusDr. and Mrs. Sanford E. MarovitzDavid and Elizabeth MarshMr. and Mrs.* Duane J. MarshMrs. Meredith T. MarshallDr. Ernest and Mrs. Marian MarsolaisMr. Julien L. McCallJim and Diana McCoolWilliam and Eleanor McCoyMs. Nancy L. MeachamMr. James E. MengerStephen and Barbara MessnerMr. Stephen P. MetzlerMr. and Mrs. Roger Michelson (Miami)MindCrafted SystemsMs. Barbara A. MorrisonJoan Katz Napoli

and August NapoliRichard B. and Jane E. NashMr. David and Mrs. Judith NewellMort and Milly Nyman (Miami)Richard and Jolene O’Callaghan

Nedra and Mark Oren (Miami)James P. Ostryniec (Miami)Mr. and Mrs. Robert D. PaddockDeborah and Zachary ParisDr. Lewis and Janice B. PattersonDr. Roland S. Philip

and Dr. Linda M. SandhausDr. Marc and Mrs. Carol PohlMr. Richard and Mrs. Jenny ProeschelK. PudelskiDr. James and Lynne RambasekMs. C. A. ReaganAlfonso Conrado Rey (Miami)David and Gloria RichardsMichael Forde RipichDr. Barbara RisiusCarol Rolf and Steven AdlerDr. and Mrs. Michael Rosenberg (Miami)Michael and Roberta RusekDr. Harry S. and Rita K. RzepkaNathan N. and Esther Rzepka

Family Philanthropic FundBunnie Joan Sachs Family FoundationDr. and Mrs. Martin I. SaltzmanMs. Patricia E. SayMr. Paul H. ScarbroughMr. James SchutteDr. John Sedor and Ms. Geralyn PrestiLee G. and Jane SeidmanDrs. Daniel and Ximena SesslerHarry and Ilene ShapiroNorine W. SharpDr. and Mrs. William C. SheldonDr. Howard* and Mrs. Judith SiegelMs. Linda M. SmithMr. and Mrs.* Jeffrey H. SmytheMrs. Virginia SnappMs. Barbara SnyderMr. John C. Soper

and Dr. Judith S. BrennekeMr. John D. SpechtMr. and Mrs.* Lawrence E. StewartStroud Family Trust

Dr. Kenneth F. SwansonMr. Taras G. Szmagala Jr.Mr. Nelson S. TalbottKen and Martha TaylorGreg and Suzanne ThaxtonMr. Karl and Mrs. Carol TheilParker D. Thomson Esq. (Miami)Mr. and Mrs. Robert J. TomsichMr. and Mrs. Lyman H. TreadwaySteve and Christa TurnbullMiss Kathleen TurnerRobert A. ValenteBrenton Ver Ploeg (Miami)Mr. and Mrs. Joaquin Vinas (Miami)Mr. and Mrs. Les C. VinneyDr. Michael Vogelbaum

and Mrs. Judith RosmanRicky and Sarit Warman

– Papa John’s Pizza (Miami)Mr. and Mrs. Joseph F. WasserbauerMs. Laure A. WasserbauerPhilip and Peggy WasserstromEric* and Margaret WayneMr. and Mrs. Jerome A. WeinbergerMrs. Mary Wick BoleDr. Paul R. and Mrs. Catherine WilliamsDr. and Mr. Ann WilliamsRichard and Mary Lynn WillsMichael H. Wolf

and Antonia Rivas-WolfMr. Robert Wolff

and Dr. Paula SilvermanRad and Patty YatesFred and Marcia ZakrajsekMr. Kal Zucker

and Mrs. Mary Frances HaerrAnonymous (10)

member of the Leadership Council (see page 78)

* deceased

The Cleveland Orchestra is sustained through the support of thousands of generous patrons,

including members of the Crescrendo 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

For information about how you can play a supporting role for The Cleveland Orchestra’s

ongoing artistic excellence, education programs, and community partnerships, please

contact our Philanthropy & Advancement Office by calling 216-231-7545.

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


listings continued

The Cleveland Orchestra’s catalog of recordings

continues to grow. The newest DVD features Bruckner’s

Eighth Symphony recorded live at Severance Hall under

the direction of Music Director Franz Welser-Möst in 2010

and released in May 2011. And, released in

2012, Dvořák’s opera Rusalka on CD, recorded

live at the Salzburg Festival. Writing of the

Rusalka performances, the reviewer for

London’s Sunday Times praised the perform -

ance as “the most spellbinding account

of Dvořák’s miraculous score I have ever

heard, either in the theatre or on record.

. . . I doubt this music can be better played than by the

Clevelanders, the most ‘European’ of the American or-

chestras, with wind and brass soloists to die for and a

string sound of superlative warmth and sensitivity.”

Other recordings released in recent years

include two under the baton of Pierre Boulez

and a third album of Mozart piano concertos

with Mitsuko Uchida, whose fi rst Cleveland

Orchestra Mozart album won a Grammy Award

in 2011.

R E C O R D I N G Sg r e a t g i f t i d e a s


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recordings and DVDs.

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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 Th e Cleveland Or-

chestra since its opening on February 5,

1931. Aft er 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

temple to wealth; and we believe it is his

intention that all music lovers should be

welcome there.” John Long Severance

(president of the Musical Arts 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. Th e interior

of the building refl ects a combination

of design styles, including Art Deco,

Egyptian Revival, Classicism, and Mod-

ernism. An extensive renovation, resto-

ration, and expansion of the facility was

completed in January 2000. In addition

to serving as the home of Th e 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

gala 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 Hall88 The Cleveland Orchestra


j l 20 t 22

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KITCHEN OPENUNTIL 11 PM

on fridays & saturdays

before & after the concert

C O N C E R T C A L E N D A R


90 The Cleveland OrchestraConcert Calendar

W I N T E R S E A S O NThursday February 28 at 8:00 p.m.Friday March 1 at 8:00 p.m.Saturday March 2 at 8:00 p.m.THE CLEVELAND ORCHESTRAChristoph von Dohnányi, conductor

HENZE Suite from The BassaridsMAHLER Symphony No. 1 (“Titan”)

Sponsor: PNC

Thursday March 7 at 7:00 p.m.THE CLEVELAND ORCHESTRAconducted by Franz Welser-Möst with CLEVELAND ORCHESTRA YOUTH ORCHESTRAJames Feddeck, conductorCLEVELAND ORCHESTRA YOUTH CHORUSLisa Wong, directorCLEVELAND ORCHESTRA CHILDREN’S CHORUSAnn Usher, directorEl SISTEMA@RAINEY MUSICIANSled by Isabel Trautwein

SPECIAL SHOWCASE CONCERTMAKE MUSIC!Franz Welser-Möst and The Cleveland Orchestra shine a spotlight on the importance of music education with this special Showcase Concert featuring all of the Orchestra’s youth ensembles performing together for the fi rst time in the Orchestra’s history! The Showcase Concert is part of Make Music!, a new effort aimed at encouraging people of all ages to come together and make music!

Friday March 8 at 7:00 p.m.THE CLEVELAND ORCHESTRARobert Franz, conductorwith the Singing Angels

FAMILY CONCERT SYMPHONY UNDER THE SEASubmerge yourself in wet, watery, wonderful music featur-ing Disney’s beloved theme to The Little Mermaid, Handel’s Water Music, and much more! Come along as we go under the sea and let the waves of enchanting music wash over you as Severance Hall is transformed into an aquatic auditorium for a family evening to remember!

Sponsor: The Giant Eagle Foundation

Sunday March 10 at 7:00 p.m.CLEVELAND ORCHESTRA YOUTH ORCHESTRAJames Feddeck, conductorCLEVELAND ORCHESTRA YOUTH CHORUSLisa Wong, director

TCHAIKOVSKY Symphony No. 5 BRAHMS Nänie HANSON Song of Democracy

S P R I N G S E A S O NThursday March 21 at 8:00 p.m.Saturday March 23 at 8:00 p.m.THE CLEVELAND ORCHESTRAAlan Gilbert, conductor

RAVEL Mother Goose (complete ballet music) MAHLER Symphony No. 7

Friday March 22 at 10:00 a.m.Saturday March 23 at 10:00 a.m.Saturday March 23 at 11:00 a.m.

PNC MUSICAL RAINBOWTHE FABULOUS FLUTE

Marisela Sager, fl ute30-minute programs for ages 3 to 6.

Thursday April 4 at 8:00 p.m.Friday April 5 at 8:00 p.m.Saturday April 6 at 8:00 p.m.THE CLEVELAND ORCHESTRAMitsuko Uchida, piano and conductor

MOZART Piano Concerto No. 17 MOZART Divertimento in B-fl at major MOZART Piano Concerto No. 25 Sponsor: Quality Electrodynamics (QED)

Thursday April 11 at 8:00 p.m.Friday April 12 at 8:00 p.m.Saturday April 13 at 8:00 p.m.Sunday April 14 at 3:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorRobert Walters, oboe d’amoreRebecca Nelsen, sopranoNicholas Phan, tenorStephen Powell, baritoneCleveland Orchestra ChorusCleveland Orchestra Children’s Chorus

BACH Concerto in A major, BWV1055 ORFF Carmina Burana Sponsor: KeyBank

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

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

O R C H E S T R A 1213SEASON


Thursday April 18 at 8:00 p.m.Saturday April 20 at 8:00 p.m.Sunday April 21 at 3:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorFrank Peter Zimmermann, violin

SHEPHERD Tuolumne [WORLD PREMIERE]

SHOSTAKOVICH Violin Concerto No. 1DVOŘÁK Symphony No. 6

Thursday April 25 at 8:00 p.m.Friday April 26 at 8:00 p.m.Saturday April 27 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorMalin Hartelius, sopranoMaximilian Schmitt, tenorLuca Pisaroni, baritoneCleveland Orchestra Chorus

HAYDN The Seasons Sponsor: BakerHostetler

Friday April 26 at 10:00 a.m.Saturday April 27 at 10:00 a.m.Saturday April 27 at 11:00 a.m.

PNC MUSICAL RAINBOWTHE VIRTUOSO VIOLIN

Beth Woodside, violin30-minute programs for ages 3 to 6.

Wednesday May 1 at 7:30 p.m.Friday May 3 at 7:30 p.m.THE CLEVELAND ORCHESTRAJames Feddeck, conductor

AT THE CLEVELAND MUSEUM OF ART CALIFORNIA MASTERWORKSTwo special programs feature interesting and daring sounds of musical works that originated from composers living and writing in California during the 20th century — and welcoming into classical music a myriad of non-Eu-ropean infl uences. Funded in part through The Cleveland Orchestra’s Keithley Fund for Artistic Collaboration.

Friday May 3 at 11:00 a.m.Saturday May 4 at 8:00 p.m.Sunday May 5 at 3:00 p.m.THE CLEVELAND ORCHESTRATon Koopman, conductorPaul Yancich, timpani PROGRAM INCLUDES: FISCHER Symphony with Eight Timpani HAYDN Symphony No. 45 (“Farewell”)

Concert Calendar

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

HANDEL’SWATER MUSICThursday May 9 at 8:00 p.m.Friday May 10 at 8:00 p.m.THE CLEVELAND ORCHESTRATon Koopman, conductorJay Carter, countertenorSteven Soph, tenorKlaus Mertens, bassCleveland Orchestra Chamber Chorus

In 1717, England’s King George was suf-

fering in the polls. His political advisors

suggested that he do something big to

get the people behind him. They came up

with the idea of a summer boating party

on the Thames, for which Handel wrote the

music. Arguably the most popular piece of

Baroque music today, Water Music makes

fashionable use of the dance forms popular

at the time, combining festivity and fi nesse.

Sponsor: Thompson Hine LLP

92 The Cleveland Orchestra92 The Cleveland Orchestra

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

AT SEVERANCE HALLCONCERT DINING AND CONCESSION SERVICE Severance Restaurant at Severance Hall is open for pre-concert dining. For reservations, call 216-231-7373, or make your plans on-line by visit-ing opentable.com. Concert concession service of beverages and light refreshments is available before most concerts and at intermissions in the Smith Lobby on the street level, in the Bogomolny-Kozerefski Grand Foyer, and in the Dress Circle Lobby.

FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall are being offered this season on October 14, November 25, February 10 and 24, and May 5 and 26. For additional information or to re-serve you place for these tours, please call the Sever-ance Hall Ticket Offi ce at 216-231-1111. Private tours can be arranged for a fee by calling 216-231-7421.

THE CLEVELAND ORCHESTRA STORE A wide variety of items relating to The Cleve-land Orchestra — including logo apparel, compact disc recordings, and gifts — are available for pur-chase at the Cleveland Orchestra Store before and after concerts and during intermission. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Cleveland Orchestra subscribers receive a 10% discount on most items purchased. Call 216-231-7478 for more information, or visit the Store online at clevelandorchestra.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 Orchestra, is the perfect location for business meetings and confer-ences, pre- or post-concert dinners and receptions, weddings, and social events. Exclusive catering pro-vided by Sammy’s. 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 $14 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 Severance Hall Ticket Offi ce at 216-231-1111. Parking can be purchased for the at-door price of $10 per vehicle when space in the Campus Cen-ter Garage permits. However, the garage often fi lls up well before concert time; only ticket holders who purchase pre-paid parking passes are ensured a parking space. Overfl ow parking is available in CWRU Lot 1 off Euclid Avenue, across from Sever-ance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.

FRIDAY MATINEE PARKING Due to limited parking availability for Friday Matinee performances, patrons are strongly en-couraged to take advantage of convenient off-site parking and round-trip shuttle services available from Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10 per car.

CONCERT PREVIEWS Concert Previews at Severance Hall are present-ed in Reinberger Chamber Hall on the ground fl oor (street level), except when noted, beginning one hour before most Cleveland Orchestra concerts.

Guest Information

9393Severance Hall 2012-13 93Severance Hall 2012-13 Guest 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, VIDEO, AND AUDIO RECORDING Audio recording, photography, and videogra-phy are strictly prohibited during performances at Severance Hall. 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 accordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance of any kind 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 arrange a loan by calling the House Manager at 216-231-7425 TTY line access is available at the public pay phone located in the Security Offi ce. Infrared As-sistive Listening Devices are available from a Head Usher or the House Manager for most performanc-

es. 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 when purchasing 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 Regardless of age, each person must have a ticket and be able to sit quietly in a seat through-out the performance. Season subscription concerts are not recommended for children under the age of seven. However, Family Concerts and Musical Rainbow programs are designed for families with young children. Cleveland Orchestra Youth Orchestra performances are recommended for older children.

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 2 hours before the concert, the value of each ticket will be treated as a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each cal-endar year.

94

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


The Cleveland Orchestra94 The Cleveland Orchestra

ALAN GILBERTCONDUCTS MAHLERThursday March 21 at 8:00 p.m.Saturday March 23 at 8:00 p.m.THE CLEVELAND ORCHESTRAAlan Gilbert, conductor

Alan Gilbert, former assistant conductor of

The Cleveland Orchestra and now music director

of the New York Philharmonic, returns to lead

Mahler’s Seventh Symphony, nicknamed “The

Song of the Night.” This epic, fi ve-movement

work opens with the repeated echoes of a boat’s

oars dipping into a lake — and continues across

a musical journey from shore to shore, through

night to the glorious sunrise of day. Here Mahler

captures life’s authenticity and elation, heartfelt

pain and immeasurable beauty. The concert

begins with Ravel’s delightful ballet score for

Mother Goose.

Please Note: Following the instructions of his doctors, Pierre Boulez has reluctantly withdrawn from his scheduled appearances with The Cleveland Orchestra for this weekend. Alan Gilbert, music director of the New York Philharmonic, has graciously agreed to step in to lead these concerts.

See also the concert calendar listing on pages 90-91, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Severance Hall concerts.

TICKETS 216-231-1111 clevelandorchestra.com

At Severance Hall . . .

Upcoming Concerts

CARMINA BURANAThursday April 11 at 8:00 p.m.Friday April 12 at 8:00 p.m.Saturday April 13 at 8:00 p.m.Sunday April 14 at 3:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorRobert Walters, oboe d’amoreRebecca Nelsen, sopranoNicholas Phan, tenorStephen Powell, baritoneCleveland Orchestra ChorusCleveland Orchestra Children’s Chorus

Carl Orff ’s joyous Carmina Burana bursts forth

like a boisterous street festival — fi lled with

great music, marvelous mayhem, and delightful

merriment. This modern-day Canterbury Tales

comes complete with lusty hymns to spring-

time, animated drinking songs, and a swan’s

anguishingly ironic farewell to life (on a barbe-

cue spit!). The evening opens with a concerto

by J.S. Bach, for oboe d’amore.

Sponsor: KeyBankNew!

If you want to changeYOUR COMMUNITY,

be that change.

Isabel Trautwein, Cleveland OrchestraFirst Violinist, Program Director, Dreamer& Doer, Local Hero.Longing to share the experience of making music with children who had never been to Severance Hall, Isabel launched a strings program at the Rainey Institute in the Hough neighborhood. Now there’s a waiting listto learn how to play classical music. You, too, can play a part in creating lasting change within the Cleveland community by making a donation to the Cleveland Foundation — dedicated to enhancing the lives of all Clevelanders now and for generations to come.

Support your passions.Give through the Cleveland Foundation.Please call our Advancement Team at 1.877.554.5054

ClevelandFoundation.org

the cleveland orchestra february 28-march 2 concerts

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