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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

Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

8 About the Orchestra

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

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

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

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

Student Ticket Programs . . . . . . . . . . . . . . . . . . 72-P

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

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

37 Concert — Week 20

Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Program: April 25, 26, 27 . . . . . . . . . . . . . . . . . . 37

Introducing the Program . . . . . . . . . . . . . . . . . . . . 39

HAYDN

The Seasons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Sung Text and Translation . . . . . . . . . . . . . . . . . 59

Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . 15

Guest Soloists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . 51

56 Support

Sound for the Centennial . . . . . . . . . . . . . . . . . . . . 56

Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . 72-N

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%

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Perspectives from the Executive Director

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

April 2013

At the end of March, The Cleveland Orchestra received a $10 million,

fi ve-year grant from The Cleveland Foundation — the largest such

commitment to an arts organization in the Foundation’s history and

one of the largest gifts ever received by the Orchestra. We are deep-

ly grateful for this exceptional grant and for the confi dence in the

Orchestra’s strategic direction that it represents. Over the past year,

the Foundation’s staff and board have rigorously assessed the Orchestra’s ongoing trans-

formation, and we sincerely appreciate their generous support of this important work.

The Cleveland Foundation grant is a testament to much more than the Orchestra’s

historical ranking among the world’s best — it is an extraordinary commitment to our

programming innovations and our active community engagement. Sweeping changes

at The Cleveland Orchestra have taken root in recent years and are starting to bear fruit.

These include our eff orts to foster future audiences, to shape and focus our education

programs, and our work to build strong and meaningful working partnerships across the

Northeast Ohio community.

We are on target for a record-breaking season in ticket sales here at Severance Hall, in-

cluding a signifi cant increase in the number of young people eagerly enjoying and ener-

gizing our regular classical concerts. These numbers are the direct result of strong mar-

keting programs (such as Student Advantage and Under18s Free) for our core symphonic

concerts and innovative programming changes (including the KeyBank Fridays@7 and

Celebrity series).

Our education and community programs are also scoring strong successes. Our long -

standing commitment to education was celebrated in March, including a unique

showcase concert featuring all our youth ensembles performing together with The

Cleveland Orchestra for the fi rst time — a special event that was telecast on WVIZ. In

addition, we believe that the introduction of “Make Music!” as a focus and catalyst for

our ongoing work in music education will bring new understanding and energy to

these programs. New initiatives in the community include the Orchestra’s inaugural

neighborhood residency, “At Home in Gordon Square,” which unleashes a week fi lled

with free events and performances, May 11-17, as part of the vibrant renaissance of this

westside neighborhood.

Good news about The Cleveland Orchestra and Northeast Ohio will continue. The initial

stages of our Sound for the Centennial Campaign’s endowment and special fundraising

phases have been strong, as evidenced by The Cleveland Foundation’s generous gift

and by commitments from additional forward-looking organizations and individuals

(see pages 56-57). This Campaign spans the decade up to the Orchestra’s hundredth

birthday in 2018, and comprises all our fundraising eff orts across the next fi ve years.

With your support and enthusiasm, there will be more good news ahead — for The

Cleveland Orchestra and the entire Northeast Ohio community.

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 more archival photos

Robert Shaw rehearsing The Cleveland Orchestra Chorus for performances of Beethoven’s Missa

Solemnis in December 1963, in what was then the chorus rehearsal room at Severance Hall. The all-

volunteer Chorus is celebrating the 60th anniversary of its founding throughout the 2012-13 season.

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PHOTO OF THE WEEK

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

*deceased

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 February 2013

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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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 acous-

tically 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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Franz Welser-Möst and The Cleveland Orchestra,

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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 TROSMBONEThomas 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


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In Cl evel and: S t . V i n c e n t C h a r i t y M e d i c a l C e n t e r , S t . J o h n M e d i c a l C e n t e r*, S i s t e r s o f C h a r i t y F o un d a t i o n o f C l e v e l a n d , B u i l d i n g H e a l t h y C o m m un i t i e s , R e g i n a H e a l t h C e n t e r , J o s e p h ’s H o m e , L i g h t o f H e a r t s V i l l a*,C a t h o l i c C o m m un i t y C o n n e c t i o n*, I n d e p e n d e n t P h y s i c i a n S o l u t i o n s

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A Ministry of the Sisters of Charity of St. AugustineCanton, Ohio Cleveland, Ohio Columbia, South Carolina

*Joint ventures with partners


Orchestra News

On March 28, The Cleveland Foundation an-

nounced the awarding of a fi ve-year, $10 million

grant to The Cleveland Orchestra in support of

the Orchestra’s recent and ongoing eff orts to

attract a new, broader audience and to trans-

form itself for the future. Given as part of the

Orchestra’s Sound for the Centennial Campaign,

this unprecedented grant is the largest single

grant to an arts organization in the Foundation’s

99-year history.

“We are deeply grateful for the Cleveland

Foundation’s extraordinary grant and the con-

fi dence in the Orchestra’s strategic direction

that it represents,” says Gary Hanson, executive

director of The Cleveland Orchestra. “Over the

past year, the foundation’s staff and board have

rigorously assessed the Orchestra’s ongoing

transformation and we sincerely appreciate their

generous commitment to our work.”

“Through the years, the Cleveland Foun-

dation has stepped up to provide signifi cant

support to major Northeast Ohio institutions

at pivotal times,” remarked Ronald B. Richard,

president and chief executive offi cer of the Foun-

dation. “We intend that this grant will catalyze

additional leadership funding for the Orchestra’s

creative eff orts in the community to make this

world-class institution accessible and enjoyable

to all of Greater Cleveland for years to come.”

The grant to the Orchestra was part of a

record $26.6 million in grants in the fi rst quarter

of 2013 authorized by the Foundation’s board

of directors, including grants in support of core

neighborhood and youth initiatives, educa-

tional institutions, and eff orts to create a vibrant

downtown. Established in 1914, the Cleveland

Foundation is the world’s fi rst community foun-

dation and one of the largest today. Through the

generosity of donors, the foundation improves

the lives of Greater Clevelanders by building

community endowment, addressing needs

through grantmaking, and providing leadership

on vital issues.

Cleveland Foundation grants Orchestra $10 million Largest gift to an arts organization in Foundation’s history

is vote of confi dence in Th e Cleveland Orchestra’s programming

innovations and community engagement across Northeast Ohio

“The Cleveland Foundation’s just-announced

$10 million grant to The Cleveland Orchestra —

the largest arts grant in the foundation’s history

— is a ringing vote of confi dence in the future of

this treasured local institution and its pacesetting

innovations. . . . The grant is a welcome affi rma-

tion that The Cleveland Orchestra will be making

beautiful music for another 100 years.”

—Cleveland Plain Dealer, March 28

The Cleveland Foundation has awarded The

Cleveland Orchestra a $10 million grant to

support its ongoing eff orts to cultivate new

and broader audiences and to build a strong

endowment to sustain the nearly century-old

institution. The grant . . . is a demonstration of

the grantmaking organization’s confi dence in

the strategic direction the orchestra is taking,

said Robert Eckardt, The Cleveland Foundation’s

executive vice president. . . . “It was time to step

up and provide a signifi cant commitment to the

Orchestra as they work through the challenging

environment they fi nd themselves in,” Mr. Eckardt

said. . . . “They are an important part of Cleve-

land’s brand, and it’s diffi cult to imagine Cleve-

land without a world-class orchestra.” . . . Gary

Hanson, the orchestra’s executive director, stated

that The Cleveland Foundation’s commitment . . .

adds “meaningful momentum” to the Orchestra’s

Sound for the Centennial fundraising campaign,

which runs through 2018 — the orchestra’s

100-year anniversary.

—Crain’s Cleveland Business, March 28

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Cleveland Orchestra News

News


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News

Orchestra NewsLongterm generosity and new commitments by Kulas Foundation

and John P. Murphy Foundation recognized through the naming

of Severance Hall’s upper lobby and dress circle seating

Two important parts of Severance Hall

— the dress circle seating area of the Concert

Hall, and the adjoining dress circle lobby — have

been named in recognition of longterm support

for The Cleveland Orchestra by two extraordi-

nary local organizations: the John P. Murphy

Foundation and the Kulas Foundation. Both

have long historical relationships with the Or-

chestra and have made generous new funding

commitments to the Sound for the Centennial

Campaign, which spans the decade leading to

the Orchestra’s 100th anniversary in 2018.

“These two foundations represent a special

kind of strong, ongoing commitment to the

Orchestra — and to the entire Northeast Ohio

community,” said Gary Hanson, executive direc-

tor of The Cleveland Orchestra, in announcing

the named spaces. “We are humbled by their

generosity and by their faith in the Orchestra’s

eff orts to transform itself and to harness the pas-

sion and power of music to serve more people

across the region.”

The John P. Murphy Foundation is now

permanently honored at Severance Hall with

the naming of the John P. Murphy Dress Circle

Lobby. The Foundation and its trustees and

offi cers have been generous supporters of The

Cleveland Orchestra since 1970, contributing

more than $7.5 million. John P. Murphy began

serving on the Musical Arts Association board of

trustees in 1953 and continued as a trustee until

1968. The Foundation has made a ten-year com-

mitment of funding to The Cleveland Orchestra

as part of the comprehensive Sound for the Cen-

tennial Campaign.

“The John P. Murphy Foundation has long

understood the tremendous value that The

Cleveland Orchestra holds for all of Northeast

Ohio,” says Nancy W. McCann, president of the

Foundation’s board of trustees. “Our $3 million

commitment to the Sound for the Centennial

Campaign is an investment in this community

that will help the Orchestra sustain its world-re-

nowned level of artistic excellence while engag-

ing more local residents through transformative

and innovative musical programming.”

With the naming of the Kulas Dress Circle,

the Orchestra permanently honors the Kulas

Foundation, which has generously supported

The Cleveland Orchestra for three-quarters of

a century. With their lifelong passion of music,

Elroy J. Kulas and his wife, Fynette, began sup-

porting the Orchestra in 1919, long before they

established the Kulas Foundation in 1937. Both

later served as active members of the Musical

Arts Association board of trustees. In the past

three decades, the Kulas Foundation has con-

tributed more than $10 million to The Cleveland

Orchestra. Their generosity has helped support

education programs as well as the construction

and naming of Kulas Plaza at Blossom Music

Center to provide updated services for donors.

They recently committed $3 million for the

Sound for the Centennial Campaign.

“We are extraordinarily grateful to Kulas

Foundation trustees Richard W. Pogue, Patrick

F. McCartan, and Nancy W. McCann for their

leadership in working to support The Cleveland

Orchestra,” said Gary Hanson.

“The Cleveland Orchestra is among North-

east Ohio’s top cultural gems,” continued Nancy

McCann. “With our commitment to this Cam-

paign, the Kulas Foundation honors the ensem-

ble’s 100th anniversary and looks forward to the

Orchestra’s ongoing role as a strong and vibrant

part of this community’s future.”

Committed to Accessibility

Severance Hall is committed to making

performances and facilities accessible to all

patrons. For information about accessibility

or for assistance, call the House

Manager at 216 231-7425.


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NewsNewsNews

Orchestra will be “at home” in Gordon Square Inaugural neighborhood residency will bring an intensive week

of performances, activities, and concerts on west side, May 11-17

Orchestra News

In May, The Cleveland Orchestra launches

its “At Home” neighborhood residency pro-

gram with an intensive week of performances

and activities in the Gordon Square Arts District

on Cleveland’s west side. All of the events, May

11-17, will be free and open to the public. Lead-

ers and representatives from Gordon Square

businesses and associations have partnered

with the Orchestra to plan and host the week’s

activities.

These new “At Home” residencies are be-

ing designed to immerse the Orchestra in local

neighborhoods through a festival-like week of

performances and presentations, in order to

bring the Orchestra’s musicians in closer con-

text, contact, and connection with the North-

east Ohio community.

“The citizens of this region created The

Cleveland Orchestra,” says executive director

Gary Hanson, “and continue to support the

Orchestra’s music-making and its education

programs at a higher level than any other met-

ropolitan area in the country. In thanks for that

faithful support, as a way to give back to the

community, and as part of our ongoing com-

mitment to Northeast Ohio, we are working

to create a real-life everyday connection with

neighborhoods throughout the region.”

The Cleveland Orchestra’s “At Home”

neighborhood residency program is supported

in part by the Machaskee Fund for Community

Programming, a fund created by a generous en-

dowment gift from Alex and Carol Machaskee.

The centerpiece of the “At Home” in Gor-

don Square week of over a dozen free music

presentations will be a Thursday night concert

by The Cleveland Orchestra at Saint Colman

Catholic Church. Seating for this is limited and

tickets are required. Tickets can be obtained

from a variety of Gordon Square businesses and

organizations beginning on Saturday, April 27.

Complete details of all the free performanc-

es and activities for “At Home” in Gordon Square

— including family-friendly programs for all age

groups — can be found on the Orchestra’s web-

site at clevelandorchestra.com/athome.

A new neighborhood or town will be cho-

sen each season to partner with The Cleveland

Orchestra in creating a unique and intensive

week-long festival of musical activities, perfor-

mances, exploration, and everyday fun.

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Children’s Choruses present spring concert on May 13

The Cleveland Orchestra Children’s Cho-

rus — along with the group’s Preparatory

Chorus — present their annual spring concert

on Monday evening, May 13. The program of

choral works begins at 7:30 p.m. at University

Circle United Methodist Church (1919 East

107th, Cleveland). The concert is free and

open to the public.

Blossom Women’s Committeespring membership luncheon

to be held on May 8

The Blossom Women’s Committee is

holding their spring membership luncheon

on Wednesday, May 8, in Pepper Pike. The pro-

gram includes a performance by retired assis-

tant principal cello Diane Mather together with

clarinetist Joseph Fried and pianist Nina Fried.

The event includes a pre-lunch reception, lun-

cheon, and the musical performance. Tickets

are $38 and can be ordered through May 1.

The luncheon takes place at the Country Club

(2825 Lander Road). The public is welcome.

For additional information, send an email

to Lis Hugh at [email protected].

Comings and goings

As a courtesy to the performers onstage

and the entire audience, late-arriving patrons

cannot be seated until the first break in the

musical program.

Mellon Foundation grants $2.5 million to Cleveland Orchestra for artistic initiatives

The Andrew W. Mellon Foundation has

awarded a new $2.5 million grant to The Cleve-

land Orchestra to support artistically ambitious

programming with special emphasis on opera

and ballet. The gift — the largest to the Or-

chestra in the Foundation’s history — supports

the type of programming and partnerships that

challenge and expand the Orchestra and help

distinguish the ensemble from its peers.

“We are grateful to the Andrew W. Mellon

Foundation for supporting artistic initiatives as

part of our ongoing transformation,” said Gary

Hanson, the Orchestra’s executive director, in

making the announcement. “Of national phil-

anthropic foundations, the Mellon Foundation

is among the most important in the support of

symphony orchestras. We deeply appreciate

their recognition and endorsement of the work

of The Cleveland Orchestra.”

The Mellon Foundation award will support

opera performances in the next three seasons

at Severance Hall, beginning with semi-staged

performances of Janáček’s The Cunning Little

Vixen in May 2014, led by music director Franz

Welser-Möst. In addition, the grant also sup-

ports world-renowned guest artists in longterm

collaborations with The Cleveland Orchestra,

such as conductor Ton Koopman, pianist Mit-

suko Uchida, and music director laureate Chris-

toph von Dohnányi.

The New York-based Andrew W. Mellon

Foundation has a long history of supporting The

Cleveland Orchestra and of funding efforts to

reach new listeners. Its first gift to the ensemble

was in 1977, and a grant of $800,000 in 2009

supported the then-new “Fridays@7”series as

well as performances of opera, chamber music,

and collaborations with Chicago’s Joffrey Ballet.

The new Mellon gift and its challenge com-

ponent through June 2016 add momentum to

current fundraising efforts, which include com-

prehensive commitments to annual giving and

legacy gifts to the Orchestra’s endowment.

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ENews

OrchestraNews



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NewsNewsNews

OrchestraNews


I .N M.E .M.O.R. I .A .MThe Cleveland Orchestra notes the death

on the morning of April 16 of retired Orchestra

trumpeter David Zauder, in Colorado sur-

rounded by his family.

David was hired by

George Szell in 1958, join-

ing the trumpet section of

The Cleveland Orchestra.

He served until the close of

the 1996-97 season, taking

on the concurrent role of

principal cornet and retir-

ing after 39 years — longer

than any other trumpeter in the Orchestra’s

history. Equal in importance to his service as

a member of the Orchestra was David’s ex-

traordinary tenure as the Orchestra’s person-

nel manager, a post he held for 25 seasons,

through all of Lorin Maazel’s and much of

Christoph von Dohnányi’s music directorships.

He had earlier served as assistant personnel

manager, 1960-71, covering the final decade

of George Szell’s tenure.

While much of David’s work was out of

the spotlight, he stepped forward as a soloist

with the Orchestra on several occasions. His fi-

nal solo appearance was for the opening night

gala concert in 1996. He was also the featured

soloist in twenty concerts with the Blossom

Festival Concert Band, an organization for

which he was the guiding spirit from its incep-

tion in Blossom’s second season in 1969. In

recognition of his extraordinary service, David

Zauder was the recipient of the Orchestra’s

Distinguished Service Award in 1997.

His great humanity and his love of life

were shaped by his personal history as a Ho-

locaust survivor. David Zauder was born in

Krakow, Poland, in 1928 or 1931 — his birth

year is uncertain as his birth certificate was

destroyed during the war. As a youth, he was

interned in the Auschwitz, Flossenburg, and

Sachsenhausen concentration camps. David

survived and began his new life in America on

May 20, 1946. His story has been told in the

published work of his daughter, Karen Brass.

Friday Morning concertgoers can enjoy free bus service

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.

Composer Sean Shepherd met with students

last week at Shaker Heights High School (above),

Baldwin Wallace University, Cleveland School of

Arts, and the Cleveland Institute of Music as part

of his work as the Daniel R. Lewis Young Composer

Fellow. Shepherd was in town for the world pre-

miere performances of his new work, Tuolumne,

created as part of his two-year fellowship with The

Cleveland Orchestra. The Plain Dealer wrote of his

new work: “Inspired by three photographs by Ansel

Adams, the colorful piece readily achieved its goal,

evoking the harsh environment of the Sierra Ne-

vada and the tug-of-war between black and white

that defines the pictures.”


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Orchestra NewsNews


The George Gund Foundation awarded a

$3 million grant at its February board meeting

to support The Cleveland Orchestra’s Sound

for the Centennial Campaign. Pledged over six

years, the award honors the late George Gund

III, who was a trustee of the Musical Arts Asso-

ciation.

The Foundation’s commitment perma-

nently endows a new Fund for Artistic Excel-

lence in George Gund’s name, providing

immediate support for the Orchestra’s core

artistic programming for the community. “This

commitment to the Campaign not only cel-

ebrates George Gund’s legacy and leadership

at the Orchestra,” said David Abbott, the Foun-

dation’s executive director. “It also ensures that

one of our community’s most valuable assets

can continue to serve Northeast Ohio at the

George Gund Foundation supports Th e Cleveland Orchestra’s

“Sound for the Centennial Campaign” with $3 million gift

highest levels of artistic excellence.”

George Gund III was elected as an interna-

tional trustee in 1994 and served on the board

of the Musical Arts Association for 19 years. The

new gift is the largest gift made by the Gund

Foundation to The Cleveland Orchestra, and

ranks among the largest institutional leader-

ship commitments to the Sound for the Centen-

nial Campaign thus far, as well as among the

Foundation’s largest commitments to a cultural

organization in Northeast Ohio.

The Orchestra’s Sound for the Centennial

Campaign runs through the Orchestra’s centen-

nial in 2018 and will ensure that the Orchestra

can continue to thrive now and into the future

by building a signifi cant endowment and pro-

viding immediate support for artistic excellence

and community and education programs.

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31Severance Hall 2012-13 31Severance Hall 2012-13 Cleveland Orchestra News

NewsT

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Chorus auditions announced for children,youth, and adult singers for Blossom and 2013-14 Spring audition dates for the choral groups

sponsored by The Cleveland Orchestra have

been announced. The auditions — for adults,

youth, and children — are for membership in

groups singing during the 2013 Blossom Music

Festival and the 2013-14 Season at Severance

Hall. Auditions will take place in May and June.

The Cleveland Orchestra Choruses embody a

long-standing commitment to choral music in

which community members of all ages have the

opportunity to participate.

The Cleveland Orchestra Children’s

Chorus is open to students in grades 6-8 and

directed by Ann Usher, and the Cleveland Or-

chestra Children’s Preparatory Chorus is open to

students in grades 5-8 and directed by Suzanne

Walters. Both groups are holding auditions on

May 20, June 3, and June 8. The Children’s Cho-

rus, formed in 1967, provides musical training in

vocal production and choral performance skills.

The Children’s Preparatory Chorus provides

children with initial choral experiences to which

younger singers may not have been exposed,

while establishing a solid foundation in vocal

production techniques.

To audition, children are asked to sing one

verse of “America” (My Country, ’Tis of Thee) with

piano accompaniment in the key of his or her

choice and one verse of “America the Beautiful”

(Oh beautiful, for spacious skies) without accom-

paniment in the key of D. Singing scales and

doing some rhythmic exercises may also be in-

cluded in the audition, for which an accompanist

is provided.

Students in grades 9-12 are welcome to

audition for the Cleveland Orchestra Youth

Chorus, directed by Lisa Wong, on May 4, June

1, or June 2. Created in 1991, the Youth Chorus

helps raise awareness of choral music-making

in the schools of Northeast Ohio and encour-

ages students to continue their choral activities

through college and into adulthood. The Youth

Chorus collaborates each season in performance

with the Cleveland Orch estra Youth Orchestra.

Youth Chorus audition requirements are to pre-

pare a piece from the OMEA Solo & Ensemble list,

or an equivalent classical solo piece; Broadway

or “pop” tunes are not acceptable. In addition

to the prepared piece, students will be asked to

sight-read and demonstrate their vocal range.

An accompanist is provided at the audition.

The Cleveland Orchestra Chorus is one of

the few professionally trained, all-volunteer cho-

ruses sponsored by a major American orchestra.

Coming from nearly fi fty Northeast Ohio com-

munities, members of the Chorus perform with

The Cleveland Orchestra in subscription and

Christmas concerts each year. Previous choral

experience and sight-reading skills are required.

The Blossom Festival Chorus includes many

members of the Cleveland Orchestra Chorus

and other Northeast Ohio choral groups. It has

established itself as a permanent annual part of

the summertime Blossom Festival and has sung

in more than 100 concerts since its 1968 debut.

Both groups are directed by Robert Porco.

Auditions for the Cleveland Orchestra

Chorus and Blossom Festival Chorus will be held

May 20 and 21, by appointment only. Those

auditioning are asked to prepare two pieces

from the classical literature, one of which should

be in a foreign language. Each piece should be

approximately two minutes in length. Previous

choral experience and sight-reading skills are

required. An accompanist is provided at the

audition.

To schedule an audition, call the Chorus

Offi ce at 216-231-7374, or send an email to

[email protected].

Orchestra News

32 The Cleveland OrchestraCleveland Orchestra News

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OrchestraNewsNews

Family Concert seriesconcludes in May with

storytelling in “Fables, Fantasy, and Folklore”

The Cleveland

Orchestra’s season

of Family Concerts concludes with “Fables, Fantasy, and Folklore” on Sunday afternoon, May 12, led by guest conductor Michael Butterman. The con-cert features such classics as Rimsky-Korsakov’s Scheherazade (based on Tales from the Arabian Nights), Grieg’s In the Hall of the Mountain King,and Rossini’s William Tell Overture. Intended for children ages 7 and older, the series is de-signed to introduce young people to classical music. In addition to each one-hour Orchestra concert, the Family Concert series features free, pre-concert activities, including an “In-strument Discovery” in which children can try

playing various instruments. For complete details about this concert,

visit clevelandorchestra.com.

Silence is golden

As a courtesy to everyone around you,

patrons are reminded to turn off cell phones

and to disengage electronic watch alarms prior

to each concert.

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 Eliesha Nel-

son (viola) joins with pianist James Housman

for a concert on Sunday afternoon, April 28, at

3 p.m. at Pilgrim Congregational Church

(2592 West 14th Street, Cleveland).

The program, part of Arts Renais-

sance Tremont, includes works

by Finney, Kapustin, and Schubert.

Admission is by freewill offering.

Cleveland Orchestra member Paul Yan-

cich (timpani) leads a concert of the Cleve-

land Institute of Music Percussion Ensemble

on Monday evening, April 29, at 8 p.m. The

performance takes place at CIM’s

Kulas Hall. For more information, call

216-795-5000 or visit cim.edu.

Cleveland Orchestra member Richard

Stout (trombone) leads a concert of the

Cleveland Institute of Music Brass Ensemble

on Tuesday evening, April 30, at 8 p.m.

The performance takes place at CIM’s Kulas

Hall. For more information, call 216-795-5000

or visit cim.edu.


Orchestra NewsNews

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Collaboration with Cleveland Museum of Art continues with “California Masterworks” concerts on May 1 and 3

The Cleveland Orchestra and the Cleve-

land Museum of Art renew their collaborative

work together in May with “California Mas-

terworks,” featuring two Cleveland Orchestra

concerts of works by groundbreaking compos-

ers associated with California. James Feddeck,

Cleveland Orchestra assistant conductor, con-

ducts two diff erent programs, Wednesday, May

1, and Friday, May 3, at the Museum’s Gartner

Auditorium. The programs feature works by

John Adams, Henry Cowell, Lou Harrison, Terry

Riley, James Tenney, and, in a posthumous

world premiere, Dane Rudhyar.

In addition to the concerts, “California

Masterworks” will also include the showing of

three fi lms highlighting California composers

(Crossroads and Music with Balls on April 26, and

Lou Harrison: A World of Music on April 29), plus

Concert Previews talks with Case Western Re-

serve University professor Henry Adams (speak-

ing about modern and 20th-century California

art), and concludes with a special performance

of John Cage’s large-scale multi-media work

HPSCHD in the Museum’s Ames Family Atrium

on the evening of May 3, from 9 to 11 p.m.

The Orchestra and Museum presented

their fi rst similar collaboration in 2011, with a

series of in-gallery chamber orchestra perfor-

mances titled “Italian Masterworks.”

These Cleveland Orchestra performances

are made possible in part by the Keithley Fund

for Artistic Collaboration, created through a

generous gift to the Orchestra’s endowment.

Additional support is provided through en-

dowed funds at the Cleveland Museum of Art.

For more information or to purchase

tickets to “California Masterworks,” visit the

Museum’s website at clevelandart.org.

Be a part of one of Northeast Ohio’s classic summer traditions. Reserve your space in the

2013 Blossom Festival programs.

Call John Moore at 216-721-4300 for a proposal tailored to your

unique advertising needs.

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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.

April 25, 26, 27 “Haydn’s The Seasons” with Francesca Brittan,

assistant professor of musicology,

Case Western Reserve University

May 3, 4, 5“Drama from Start to Finish” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

May 9, 10“Handel and George I and George II” with David J. Rothenberg,

associate professor of musicology,

Case Western Reserve University

May 23, 25 “Fate and Tchaikovsky’s Fifth” with Michael Strasser,

professor of musicology, Baldwin Wallace

University Conservatory 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

Chicago Cincinnati Cleveland Columbus Costa Mesa DenverHouston Los Angeles New York Orlando Washington, DCwww.bakerlaw.com

We are proud to be a

Cleveland Orchestra Partner in Excellence

© 2013 Baker & Hostetler LLP

37Severance Hall 2012-13 Concert Program — Week 20

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 BakerHostetler, a Cleveland Orchestra Partner in Excellence.

The appearance of Malin Hartelius, Maximilian Schmitt, and Luca Pisaroni with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s

Guest Artist Fund from the Kulas Foundation.

With this weekend’s concerts, The Cleveland Orchestra gratefully

honors the Kulas Foundation for its generous support. The concert will end at approximately 10:40 p.m. each evening.

LIVE RADIO BROADCAST Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, June 9, at 4:00 p.m.

Severance HallThursday evening, April 25, 2013, at 8:00 p.m. Friday evening, April 26, 2013, at 8:00 p.m. Saturday evening, April 27, 2013, at 8:00 p.m.

Franz Welser-Möst, conductor

1213

SEASON

The Seasons(oratorio for soloists, chorus, and orchestra) by f. joseph haydn (1732-1809)

I. Spring Nos. 1-8

II. Summer Nos. 9-18

INTERMISSION

III. Autumn Nos. 19-28

IV. Winter Nos. 29-39

MALIN HARTELIUS, soprano — as hanne MAXIMILIAN SCHMITT, tenor — as lukas LUCA PISARONI, bass-baritone — as simon

CLEVELAND ORCHESTRA CHORUS Robert Porco, director

(The sung German text and English translation begins on page 59.)

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”?

The 2012-13 Metropolitan Opera broadcast season is sponsored by Toll Brothers, America’s luxury home builder, with generous long-term support from The Annenberg Foundation and the Vincent A. Stabile Endowment for Broadcast Media.

’s

39Severance Hall 2012-13 39Severance 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

Life, Death&RenewalH AY D N ’ S “ T H E S E A S O N S ” is a work of great simplicity and startling

depth. Its arching storyline across the year of a village — and the story’s

underlying relation to the recurring cycles of nature, of birth, life, and

death — bring forth universal perspectives

within everyday matters. Haydn’s master-

ful detailing of the score, from the deft imi-

tation of the sounds of nature and animals

to the wondrous scene painting that marks

the beginning of each season, brings clear

joy and recognition to new listeners — and

new insights for those returning to it from

years of acquaintance. Three soloists act as

our journey’s guides: a father and daugh-

ter, plus a young farmer, who sometimes

don other roles. Their interactions with the

chorus (in various guises) amidst the evolv-

ing heather and heath, weather and whimsy

created by the orchestra, provide us an eve-

ning of plentiful abundance. And a thank-

fullness for life — for life’s ever-turning

cycles, and life’s seasons of work and repast,

creation and joy.

This week’s concerts

mark the final performances of the full Cleveland Orchestra

Chorus this season — a season in which we have celebrated

this ensemble’s remarkable sixty years of artistry. Created

at the behest of George Szell in 1952, the Chorus has sung

in countless concerts here at Severance Hall and on tour

and recordings with The Cleveland Orchestra. Their musi-

cal craft and artistry are elegant partners to the Orchestra’s

own excellence. Each chorus member volunteers their time

and devotion to share their music-making with all of us each year. This

season also marks Robert Porco’s fifteenth leading the Chorus — with

hearty thanks from all of us for his exacting, untiring, and inspiring work.

—Eric Sellen

ANNIVERSARYSEASON

60TH

CLEVELANDORCHESTRACHORUS

ABOVE

Frontispiece illustration from an 18th-century editionof the Scottish poet James Thomson’s “The Seasons.”

Tickets on sale May 1, 2013

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Box office hours: M-F, 10am–3pm

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25Dobama Theatre, 6pmCoffee and Conversation*

26CFC@Mixon Series, 8pmLayers: The Architecture of Time

27Cedar Lee Theater, 7pmThe General Wine tasting and concert to follow at the Wine Spot

28Harkness Chapel, 8pmA Tempo

29CFC@Mixon Series, 8pmRiot (Like It’s 1913!)

30Dunham Tavern, 3pmMirrors

*indicates a free event, no tickets required.

Diana & Franklin CohenArtistic Directors

ChamberFest Cleveland is proud to present the region’s only summer chamber music festival. Join us for a dynamic second season of world-class music performed by internationally renowned chamber musicians.

JUNE 20–30, 2013

(IT’S) ABOUT

OUR MISSIONChamberFest Cleveland will present world-class musicians for an intensive

summer chamber music festival, exploring unique and immersive thematic

programming, and creating original, engaging musical experiences for its

audiences. This annual event will nurture and enrich the appreciation

of classical music in our community.


F O L L O W I N G T H E E N O R M O U S S U C C E S S of his visits to

London in the 1790s, it would have been easy enough for Jo-

seph Haydn to rest on his laurels. He had labored for decades

in obscurity, but this vote of confi dence from the English pub-

lic enhanced his international stature by several magnitudes

and shored up the fi nancial confi dence of a composer who had

spent the bulk of his career as a servant at the pleasure of his

aristocratic patron.

Even so, Haydn was eager to accept new creative challenges

aft er he returned to Vienna in 1795. Th e London sojourn had

exposed him to stirring encounters with Handel’s oratorios (in

particular, Israel in Egypt and Messiah). A large-scale com-

memoration of Handel given in 1791 in Westminster Abbey in

particular left a deep impression. Haydn “was struck as if he

had been put back to the beginning of his studies and had known

nothing up to that moment,” an early biographer recalled him

remarking. “He meditated on every note and drew from those

most learned scores the essence of true musical grandeur.”

It wasn’t the music alone that Haydn found so awe-inspir-

ing, but Handel’s remarkable ability to move a diverse audience

as well. “I want to write a work that will give permanent fame to

my name in the world,” he was reported to have said. So when

the opportunity to try his own hand at English-style oratorio

arose, it’s not surprising that Haydn eagerly took it on. Th us the

composer so oft en regarded as the founding father of the instru-

mental genres of the symphony and the string quartet crowned

his glorious career with a fi nal fl owering of choral music. While

Beethoven would incorporate the human voice into his fi nal sym-

phony, Haydn’s symphonic odyssey took him to a limit of expres-

sion beyond which he ventured directly into the oratorio.

Johann Peter Salomon (1745-1815), the impresario who

had organized Haydn’s lucrative series of London concerts,

provided him with an English libretto recounting the biblical

creation story — a libretto allegedly once off ered to the old mas-

ter Handel himself (which may have added a competitive thrill

to Haydn’s undertaking). Th e decisive catalyst was provided

in Vienna by the Baron Gottfried van Swieten (1733-1803), the

music-loving diplomat, librarian, and artistic busybody who had

earlier enlisted Mozart to retool several of Handel’s oratorios

The Seasons [Die Jahreszeiten]composed 1799-1801

About the Music

by F. JosephHAYDNborn March 31, 1732Rohrau, Austria

diedMay 31, 1809Vienna


in a style more attractive to contemporary Viennese audiences (in order

to present them for the fi rst time in the Hapsburg capital).

Van Swieten tailored the English libretto into a version suitable for

Haydn, who set about composing Th e Creation in simultaneous German

and English versions. In the 1770s, Haydn had had mixed success with

his foray into the Italian-style oratorio in his Il ritorno di Tobia (“Th e Re-

turn of Tobia”). But Th e Creation, cast on a monumental scale in three

parts, signaled an entirely new level of ambition, costing the composer

great eff ort accompanied by a surprising degree of self-doubt.

Nevertheless, Th e Creation earned Haydn even higher praise than

before; its premiere in April 1798 in Vienna in fact marked the climactic

triumph of his career. And the process of writing Th e Creation opened up

new fl oodgates of inspiration and led soon thereaft er to the idea of a

companion oratorio, Die Jahreszeiten (in German) or Th e Seasons (in

English), set, like Th e Creation, to both German and English versions

of the libretto so that Haydn’s large English following could experi-

ence the work in their native language. Along with these late-period

oratorios, Haydn continued with this outpouring of choral works in a

series of Masses. All of these works combine to present a grand sum-

mation of Haydn’s artistry, including his mastery of the orchestra.

By the time he began Th e Seasons, the sixty-something com-

poser’s own longevity had made him a statistical anomaly for this

era. He had been born into the waning years of the Baroque and

lived through the Enlightenment reforms introduced by Emperor

Joseph II as well as the fi rst stage of the old order’s reaction to the revolu-

tionary changes unfolding in France. Napoleon was consolidating power

and already campaigning in the Middle East and would soon invade the

Austrian Empire itself. Haydn died just a few months aft er Vienna fell a

second time to Napoleon’s Grande Armée in 1809.

Perhaps the unsettling awareness of a changing world that formed

the bass line of life during Haydn’s last decades encouraged thoughts of

a countervailing stability, as represented by the recurring patterns of na-

ture. Even aft er composing Th e Creation — in which Haydn had under-

taken to depict nothing less than the majesty of the cosmos — his gift for

representing nature in music was hardly exhausted.

Like its predecessor, Th e Seasons is a testament to Haydn’s evolution

as an artist and to the formidable scope of his genius. Th e score fuses his

appreciation for the rhetorical brilliance of the high Baroque with the Clas-

sical style Haydn himself had been so instrumental in shaping — all in

the service of the Enlightenment-inspired optimism that radiates through

his mature works. Th e Seasons, moreover, anticipates something of the

sensibility of the new century being born. Th e sensational reception of

About the Music

The Scottish

poet James

Thomson,

whose volume

of poetry

The Seasons

formed a basis

for creating

the libretto

to Haydn’s

musical work.


Th e Creation, however, was not extended to Th e Seasons when

it premiered in 1801, and ever since it has tended to be eclipsed

by the earlier oratorio’s reputation.

T H E T E X T

While van Swieten began with a pre-existing English

libretto for Th e Creation, in the case of Th e Seasons he him-

self designed the text using a popular, epic-length work by the

Scottish poet and playwright James Th omson (1700-1748). Van

Swieten inserted some extraneous sources as well into the fi nal

part. Beginning with Winter, Th omson originally wrote separate

poems for each season (not in sequence) and then gathered and

revised these as the epic Th e Seasons, totaling well over 4,000

lines of blank verse. It became popular throughout 18th-cen-

tury Europe. (Handel may even have read the poems as they

were being published.)

From this mass of material, van Swieten culled a few dra-

matic episodes sure to trigger Haydn’s musical imagination and

simplifi ed the verse. He also invented a trio of characters to be

represented by the soloists: Simon, a farmer (bass); his daughter,

Hanne (soprano); and a young farm worker, Lukas (tenor). Th ese

aren’t fully characterized individuals but human archetypes who

contribute observations about nature and its eff ects to comple-

ment the ongoing commentary of the chorus. Hanne and Lukas

play a pair of sweethearts in the “Summer” section.

Th e rapport between Haydn and van Swieten, a some-

time-composer himself, was by no means smooth sailing. Th e

librettist felt no restraint in off ering musical recommendations

to a composer of Haydn’s stature as to how best to set his text.

And van Swieten made sure to include an abundance of ani-

mal imagery (leaping lambs, milk-white steeds, and, most no-

toriously, croaking frogs) so as to capitalize on Haydn’s widely

celebrated gift for uncannily eliciting pictorial detail in sound.

To a colleague who prepared a piano reduction of the score for

rehearsal, Haydn indiscreetly complained about the imitation of

frogs at the end of the “Summer” section, scribbling a note that

he “was forced to write this Frenchifi ed trash.” Van Swieten got

wind of this harsh critique, according to Haydn scholar H.C.

Robbins Landon, though a potentially lasting break with the

composer was apparently mended.

For contemporary audiences, the text derived from Th om-

son’s poem can seem stilted, though Th omson wielded great

The score

of The

Seasons

fuses Haydn’s

appreciation

for the

rhetorical

brilliance

of the high

Baroque

with the

Classical style

that Haydn

himself had

been so

instrumental

in shaping

— all in the

service of the

Enlightenment-

inspired

optimism

that radiates

through

his mature

works.

About the Music


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45Severance Hall 2012-13

infl uence among his own contemporaries and into the 19th

century. Some of the diffi culty has to do with van Swieten’s

own problematic mangling of the original in his German ver-

sion and in his “retranslation” of the latter back to English to

fi t the music. One novelty of the way Haydn introduced the

score is that he insisted it be published in a bilingual edition,

with the German and English versions side by side.

T H E M E A N I N G A N D T H E M U S I C

Still, van Swieten designed a structure of neatly pro-

portioned contrasts that served the composer well. “Spring”

presents a paean to nature that gravitates toward praise of the

Creator, anticipating the utopian vision reached by the end of

the work. But “Summer” introduces a contrastingly confl icting

portrayal of nature as both triumphant and endangering, with

its climactic thunderstorm at last yielding to idyllic repose.

Th e remaining two seasons mirror this pattern — the uni-

fi ed focus on the bounty of the harvest in “Autumn” gives way to

the divergent moods found in “Winter.” And the ambivalence

of this last season is especially multilayered. Human commu-

nity provides shelter from the bleakness outdoors, but with the

triumph of Winter, “silent fear oppresses nature all around.” Th e

oratorio’s focus subsequently turns toward the spiritual realm

to fi nd meaning in this endless cycle of birth and death.

“Oft en, in pastoral music of the 18th century, the disrup-

tion of an idyll is represented merely as a misunderstanding be-

tween lovers or the arrival of bad weather — tempests, storms,

lightning and thunder — soon followed by the return of calm,”

writes Maynard Solomon in his insightful book Late Beethoven.

He draws attention to the philosophical signifi cance of Haydn’s

approach to this pastoral subject matter: “At the loft iest level of

this process, Haydn’s oratorios Th e Seasons and Th e Creation

are versions of a rational Enlightenment pastoral that locates

harmonious patterns everywhere in a divine hierarchical ar-

rangement of the universe.”

Van Swieten also supplied brief descriptions for what

the purely instrumental introductions to each season should

conjure. In part one, devoted to “Spring,” the fi rst music we

hear is, surprisingly, of a gloomy G-minor cast, suggesting “the

passage from Winter to Spring.” Th e richness of invention in

this prelude announces that Haydn intends to draw fully on

his combination of craft and imagination as a symphonist. In

At a Glance

Haydn composed The Sea-

sons, one of his last major

works, between 1799 and

1801, during a period when

he was dealing with a decline

in his health. The libretto

(with versions in English and

in German) had been as-

sembled by Gottfried van Swi-

eten, utilizing some parts of

a volume of poetry by James

Thomson. The composer led

the fi rst performance, for a

select audience of aristo-

cratic patrons, on April 24,

1801, and the general public

premiere on May 29, both in

Vienna.

The Seasons runs about

140 minutes in performance

(plus intermission). Haydn

scored it for 2 fl utes (fi rst

doubling piccolo), 2 oboes, 2

clarinets, 2 bassoons, contra-

bassoon, 4 horns, 3 trumpets,

3 trombones, timpani, percus-

sion (triangle, bass drum,

cymbals), fortepiano, and

strings, plus mixed chorus

and three soloists (soprano,

tenor, and bass).


fi rst performed Haydn’s The

Seasons during the 1922-23

season. Robert Shaw led

performances during the

1965-66 season, at Sever-

ance Hall and at Carnegie

Hall in New York. The only

other Cleveland Orchestra

performances took place in

October 1998, conducted by

Franz Welser-Möst.

About the Music


terms of the Classical orchestra, the ensemble is remarkably expanded and

includes a sizeable brass presence. Th is vividly energetic music stands as

a microcosm of the ever-changing face of nature itself. And right from

the beginning, Haydn establishes a fundamental tension that underlies

Th e Seasons as a whole — nature’s bountiful and life-enhancing dimen-

sion is juxtaposed with a reminder of its darker power.

Th e human voice at last enters as each of the soloists hails the de-

parture of Winter. For all the variety of his moment-by-moment musi-

cal gestures, Haydn is a careful architect of the cumulative eff ect, always

reinforcing the unity of his design over the large scale. Th e gentle, lilting

fi rst chorus is only the fi rst stage of a gradual crescendo of joy register-

ing the eff ects of Spring’s reawakening. Th is continues through Simon’s

aria of the husbandman (here Haydn quotes the famous tune from the

Andante movement of his “Surprise” Symphony No. 94, changing the

surprise to the appearance of a “whistling” piccolo) and the marvel-

ous catalog of creatures sung by the trio, and right up to the invoca-

tion of the divinity at the end of “Spring.”

With a dramatically abrupt shift in tonality (from D to B-fl at

major), Haydn moreover establishes another signifi cant pattern. Fo-

cus on the manifestations of nature in the here and now is enlarged

to embrace a cosmic, deistic perspective. It’s oft en been noticed that

Th e Seasons provided Beethoven with a model for aspects of his Sixth

Symphony (nicknamed “Pastoral”) — especially the storm sequence in

“Summer” — but this harmonic gesture also looks ahead to a similarly

awe-inspiring moment and shift of focus in the fi nale of Beethoven’s

Ninth Symphony.

Th e introduction to “Summer” also starts in a minor key (C minor)

and gives us a picture of night yielding to dawn. Th is occasions a splendid

instance of Haydn’s signature musical pictorialism (a full century before

Richard Strauss’s primal sunrise at the start of Also Sprach Zarathustra)

— the glorious arrival of the new day, which forms the fi rst big climax

of this second part. Yet however much this passage makes us think of

“programmatic” musical feats of the later Romantics, Haydn literally puts

his music fi rst. An oft en-noted feature of Th e Seasons is that the musical

image usually precedes the verbal one. Even more, Haydn’s music gen-

erates feelings of tension and release that have an inherent logic of their

own, as we experience in the sluggish but anxious moments presaging

the gathering of energy for the storm’s outburst and the newfound sense

of peace as the day draws to its quiet close. Nature’s patterns and cycles,

in a sense, almost seem to mimic musical ones.

Beginning with “the farmer’s delight in the abundant harvest,” “Au-

tumn” includes some of the most memorable genre painting of Th e Seasons.

About the Music

Gottfried

van Swieten,

who created

the libretto

for Haydn’s

The Seasons.

47Severance Hall 2012-13 About the Music

Despite its pious ode to labor, this is perhaps the most pagan of

the oratorio’s four parts. Like a symphonic scherzo, it certainly

contains the most unbridled revelry, and the fun begins in ear-

nest with the innocent pleasure of the lovers, continuing on into

the sequences of hunting and drinking. Th omson’s depiction of

this hunting episode in his original poem was actually intended

as a passionate protest against the practice, lamenting our capac-

ity “to joy at anguish, and delight in blood.” For his part, Haydn

creates the musical equivalent of a Dutch master’s lively detail

in evoking the fall of the shot bird and, in the quickening string

fi gurations juxtaposed with the hunting calls of horns, the stag’s

futile fl ight; the fi nal wine-fueled carousel sets off an intensify-

ing whirl of counterpoint.

With yet another C-minor prelude — now suggesting

“the dense fog which marks the beginning” of “Winter” — Th e

Seasons launches its most revelatory section. As in Th omson’s

poem, the cycle of seasons is seen to project an allegory of the

stages of human life and its inevitable demise. What does all

this gathered experience amount to? Haydn, looking back over

his own career, seems to have included in Th e Seasons an ele-

ment of self-portraiture. Th e genre scene in the inn (in which

Haydn sets texts interpolated by van Swieten that were not in

Th omson’s poem) off ers momentary respite through the patterns

generated by art, but the story told in “Winter” must return to

the inescapable reality of our mortal nature. By contrast, Th e

Creation had concluded with Adam and Eve still in Paradise,

their fall still in the future.

Th e tonal meandering of Simon’s fi nal aria — a single voice

left to contemplate life’s dissolution — conveys an extraordi-

nary restlessness, into which Haydn introduces dramatically

resonant silences. At last a resolution is achieved in the exul-

tant concluding trio and double chorus. Th e journey has come

full circle, but — as in a symphonic recapitulation, following a

richly worked-through development — the perspective is new,

hard won, sublime. Haydn’s love of nature expressed through-

out Th e Seasons reaffi rms his faith in a benefi cent order behind

its patterns, to which his music now gives reverberant voice.

—Thomas May © 2013

Th omas May, a frequent contributor to Cleveland Orchestra program books,

writes regularly about music and theater. His books include Decoding Wag-

ner and Th e John Adams Reader.

The cycle

of seasons is

seen to project

an allegory of

the stages of

human life

and its inevi-

table demise.

What did all

this gathered

experience

amount to?

Indeed, Haydn,

looking back

over his own

career, seems

to have

included in

The Seasons

an element of

self-portraiture.

And the story

in “Winter”

returns to the

inescapable

reality of our

mortal nature.

48 The Cleveland OrchestraGuest Artists

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

Malin HarteliusSwedish soprano Malin Hartelius is known for her roles in the

operas of Mozart, Johann Strauss, and Richard Strauss. She

first collaborated with Franz Welser-Möst at the 1996 Salzburg

Festival, and since her Cleveland Orchestra debut in 2002,

has performed in many works under his direction here. Her

most recent appearances with the Orchestra, in October and

November 2011, were in Mozart’s Mass in C minor in both

Cleveland and Vienna. After studies at the Vienna Conserva-

tory with Margarethe Bence, Malin Hartelius was a member

of the Vienna State Opera for three seasons. She then joined

the Zurich Opera, where she has sung in many operas under

Mr. Welser-Möst. Ms. Hartelius also performs on the opera

stages of Berlin, Frankfurt, Hamburg, Munich, and Paris, and at the Salzburg Festival.

In concert, she has appeared with the Leipzig Gewandhaus Orchestra, London Sym-

phony Orchestra, Philharmonia Orchestra, Royal Concertgebouw Orchestra, Tonhalle

Orchestra, and the Vienna Philharmonic. Her discography includes works by Bach,

Brahms, Handel, and Haydn, and opera performances at Salzburg and Zurich. In 2010,

the King of Sweden awarded her the Litteris et Artibus medal.


Maximilian SchmittGerman tenor Maximilian Schmitt began singing as a choir-

boy with the Regensburg Cathedral Choir. He then studied

voice at the Berlin University of the Arts with Anke Eggers

and later, with Ann Murray and Robert Dean Smith. In 2005

and 2006, he was a Young Ensemble member at the Bavarian

State Opera, and from 2008 to 2012, he was in the Mannheim

National Theatre ensemble. Mr. Schmitt also has performed

with the Amsterdam Opera and at the Salzburg State Theatre,

as well as with the Academy for Ancient Music Berlin, Basel

Chamber Orchestra, Concerto Köln, Leipzig Gewandhaus Or-

chestra, Orchestre de Paris, Scottish Chamber Orchestra, and

the Vienna Symphonic Orchestra, among others. In recital, he

collaborates with pianist Gerold Huber and soprano Christina

Landshamer. In 2011, the duo released an album of Schumann songs for Oehms clas-

sics. Mr. Schmitt’s discography also includes music by Bach’s sons and Haydn’s The Cre-

ation on Harmonia Mundi, Bach’s St. Matthew Passion on Decca, and Bach’s Christmas

Oratorio on BR-Klassik. He is making his Cleveland Orchestra debut with this week-

end’s performances. For more information, visit www.maximilianschmitt.com.

Luca PisaroniItalian bass-baritone Luca Pisaroni made his Cleveland Or-

chestra debut in May 2011. Commanding a diverse rep-

ertoire that includes Mozart’s operas, Mr. Pisaroni has

performed with the Chicago Lyric Opera, England’s Glynde-

bourne Festival, Houston Grand Opera, Metropolitan Opera,

Opéra Bastille, Opéra National de Paris, Netherlands Opera,

San Francisco Opera, Santa Fe Opera, and the Vienna State

Opera, as well as in Aix-en-Provence, Amsterdam, Baden-

Baden, Madrid, Salzburg, and Vienna. He has also sung with

the Berlin Philharmonic, Boston Symphony Orchestra, Dal-

las Symphony Orchestra, and the Philadelphia Orchestra, and

in recital in Amsterdam, Chicago, London, and New York.

Luca Pisaroni can be heard on the Virgin Classics recording of Handel’s La

Resurrezione and in Deutsche Grammophon’s recent album of Mozart’s Don Giovan-

ni. His DVDs of Mozart operas include performances at Glyndebourne, Netherlands

Opera, Salzburg Festival, and Théâtre des Champs-Élysées. Raised in Verdi’s home-

town of Busseto, Luca Pisaroni studied music in Milan, Buenos Aires, and New York.

At age 26, he made his debut at the Salzburg Festival with the Vienna Philharmonic.

For further information, visit www.lucapisaroni.com.

Guest Artists

Ancient catastrophe. Modern obsession.

ClevelandArt.org

The storied destruction of Pompeii remains a modern muse for artists

from Duchamp and Warhol to Rothko, Ingres, and dozens more.

Come see their powerful interpretations of this cataclysmic event, open now through July 7.

Come see amazing.

Mount Vesuvius at Midnight,

Cheyney and Eileen Disturb a Historian at Pompeii,

51Severance Hall 2012-13 Cleveland Orchestra Chorus

SOPRANOSAmy F. BabinskiCathleen R. Bohn ♦♦♦Emily BzdafkaMary Jane Carlin ♦♦Susan CucuzzaCarrie CulverLisa Rubin Falkenberg ♦Rosie GellottDanielle GreenwayDebbie GutowskiRebecca S. HallLisa Hrusovsky ♦Shannon R. JakubczakSarah JonesHope Klassen-Kay ♦Kate Macy ♦Lisa ManningJulie Myers-PruchenskiNoreen Norka ♦Jennifer Heinert O’LearySarah OsburnMelissa PattonLenore M. PershingJoy PowellRoberta PrivetteCassandra E. RondinellaJennifer R. SauerMonica SchieSharon Shaff erSamantha J. SmithSidney Storry ♦Jane Timmons- Mitchell ♦♦Sarah TobiasMelissa Vandergriff Sharilee WalkerCarole WeinhardtMarilyn Wilson ♦Mary Wilson ♦Constance Wolfe ♦

ALTOSAlexandria L. AlbainyEmily Austin ♦Beth BaileyKatherine BrownJulie A. CajigasLydia ChamberlinBarbara J. ClughCarolyn DessinMarilyn Eppich ♦Amanda EvansNancy Gage ♦♦♦Diana Weber GardnerAnn Marie Hardulak ♦♦♦Betty Huber ♦Karen HuntJenna KirkLucia Leszczuk ♦♦Diana MartinGinger Mateer ♦Danielle S. McDonaldPeggy Norman ♦Marta Perez-StableCindy PiteraGinny RoedigBecky A. Seredick ♦♦Peggy Shumate ♦Shari Singer ♦Shelley B. SobeyIna Stanek-Michaelis ♦Martha Cochran TrubySarah B. TurellLaure Wasserbauer ♦Meredith S. WhitneyFlo Worth ♦Debra Yasinow ♦

TENORSEric H. BerkoGerry C. Burdick ♦♦Brent ChamberlinThomas GinsburgThomas GlynnDaniel M. Katz ♦Peter KvideraTod LawrenceSteve LawsonRohan MandeliaJames Newby ♦♦Tremaine Oatman ♦♦♦Robert Poorman ♦Matthew RizerJohn SabolLee ScantleburyJames Storry ♦♦♦Charles Tobias ♦William VenableChester F. Willey ♦

BASSESCraig AstlerJack BlazeyNikola BudimirCharles Carr ♦Peter B. ClausenDwyer ConklynSteve diLauro ♦♦♦Jeff rey DuberMatthew EnglehartThomas E. Evans ♦Richard Falkenberg ♦Robert HigginsKurtis B. Hoff manPaul HubbardThomas HullJoshua JonesJoel KincannonJason LevyScott Markov ♦Tyler MasonShaun McGrathRoger Mennell ♦Robert MitchellTom MoormannKeith Norman ♦♦John Riehl ♦Corey RubinRobert SeamanMichael Seredick ♦♦Steven SkaggsDavid A. WelshhansS. David WorhatchPaul Zeit ♦♦

Carolyn Dessin, Chair,

Cleveland Orchestra Chorus Operating Committee

Jill Harbaugh, Manager of Choruses

Rachel Novak, Assistant to the Manager of Choruses

Cleveland Orchestra Chorus Robert Porco, Director Lisa Wong, Assistant Director

Joela Jones, Principal Accompanist

Celebrating its 60th anniversary throughout the 2012-13 season, the Cleveland

Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a

major American orchestra. Founded at the request of George Szell in 1952 and following in the

footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung

in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a

dozen recordings. Its members hail from nearly fi ft y Cleveland-area communities and together

contribute over 15,000 volunteer hours to the Orchestra’s music-making each year.

H A Y D N ’ S T H E S E A S O N S

Service Recognition 15-24 years

25-34 years

35-44 years

♦ ♦♦

♦♦♦

ANNIVERSARYSEASON

60TH



Robert Porco Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra

Robert Porco is in his fift eenth year as di-

rector of choruses for Th e Cleveland Orch -

estra. In addition to overseeing choral activities and prepar-

ing the Cleveland Orchestra Chorus and the Blossom Fes-

tival Chorus for a variety of concert programs each season,

Mr. Porco conducts the Orchestra’s annual series of Christ-

mas concerts at Severance Hall and regularly conducts subscription concert programs

both at Severance Hall and Blossom. He has also served as director of choruses for the

Cincinnati May Festival since 1989.

In 2011, Mr. Porco was honored by Chorus America with its annual Michael

Korn Founders Award for a lifetime of signifi cant contributions to the professional

choral art. Th e Ohio native served as chairman of the choral department at Indiana

University, 1980-98, and in recent years has taught doctoral-level conducting at the

school. As a teacher and mentor, Mr. Porco has guided and infl uenced the develop-

ment of hundreds of musicians, many of whom are now active as professional conduc-

tors, singers, or teachers. As a sought-aft er guest instructor and coach, his teaching

work has included programs at Harvard University, Westminster Choir College, and

the University of Miami Frost School of Music.

Lisa Wong Assistant Director of Choruses

Lisa Wong became assistant director of choruses for Th e Cleveland Orchestra

with the 2010-11 season. In this capacity, she assists in preparing the Cleveland

Orch estra Chorus and Blossom Festival Chorus for performances each year. With

the 2012-13 season, she has taken on the added position of director of the Cleveland

Orch estra Youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is a

faculty member at the College of Wooster, where she conducts the Wooster Chorus

and the Wooster Singers and teaches courses in conducting and music education.

She previously taught in public and private schools in New York, Pennsylvania, and

Indiana. Active as a clinician, guest conductor, and adjudicator, Ms. Wong holds

a bachelor’s degree in music education from West Chester University and master’s

and doctoral degrees in choral conducting from Indiana University.

The Cleveland Orchestra Chorus expresses congratulations and thanks to ROBERT PORCO in commemorating

your fi rst fi fteen years as Director of Choruses!

Cleveland Orchestra Chorus

ANNIVERSARYSEASON

60TH



Proclamation O F F I C E O F T H E M AY O R

WHEREAS, on behalf of the citizens of the City of Cleveland, I am honored to offer this Proclamation in recognition of the 60th Anniversary of the Cleveland Orchestra Chorus; and

WHEREAS, the Cleveland Orchestra Chorus is one of the few profes-sionally trained, all volunteer choruses sponsored by a major American orches-tra. In addition to performing with The Cleveland Orchestra in concerts each season here in Northeast Ohio, the Chorus has appeared with the Orchestra on tour in New York, Brussels, Lucerne, London, Edinburgh, on television, and on numerous recordings; and

WHEREAS, members of the Cleveland Orchestra Chorus volunteer more than 15,000 hours annually through rehearsals and performances, and raise their own funds for international tours through a variety of projects and special events; and

WHEREAS, I would like to recognize the creative efforts of the Cleve-land Orchestra Chorus, as they celebrate their 60th Anniversary and continue to use their talents and gifts to entertain the people of the City of Cleveland; and

NOW, THEREFORE, I, Frank G. Jackson, the 56th Mayor of the City of Cleveland, do hereby offer this Proclamation recognizing the 60th Anniver-sary of the Cleveland Orchestra Chorus. I urge all citizens to join me in recog-nizing their accomplishments, acknowledging their contributions to Cleveland, and wishing them many more years of success.

In witness thereof, I have set my hand and caused the Corporate Seal of the City of Cleveland to be affi xed on this 25th day of April in the year 2013.

Mayor Frank G. Jackson

Cleveland Orchestra Chorus

ANNIVERSARYSEASON

60TH


“THE

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

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INFLUENTIAL AUDIENCE

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55Severance Hall 2012-13 Cleveland Orchestra Chorus

Dear Friends:

Although I cannot be with you this weekend, it is my pleasure to welcome you to these performances as you celebrate the 60th anniversary season of the Cleveland Orchestra Chorus.

For the past sixty years, the Cleveland Orchestra Chorus has represented the region’s vibrant arts community. In this fi fteenth season under the direction of Robert Porco, your efforts emphasize the importance of the arts by compel-ling others to think about and see the world in a different manner. Creativity isvastly important to success in every aspect of life.

The Cleveland Orchestra has become one of the most sought-after perform-ing ensembles in the world, setting standards of artistic excellence, concert programming, and community engagement. I am proud that you continue to epitomize the best of what Cleveland and the state of Ohio have to offer. Your efforts renew our commitment to tolerance, equality, friendship, and the notion of increasing global cultural understanding through singing and making music together.

Please accept my best wishes for you in these performances and for continued success in the future.

Sincerely,

Sherrod Brown United States Senator

SHERROD BROWNOHIO

ANNIVERSARYSEASON

60TH


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 April 5, 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. Kern

Mr. and Mrs. Jon A. LindsethMs. Nancy W. McCannThe 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.The George Gund FoundationMr. and Mrs. Michael J. HorvitzThe Walter and Jean Kalberer FoundationMr. and Mrs. Joseph P. KeithleyKeyBankKulas FoundationMr. and Mrs. Dennis W. LaBarreMrs. Norma LernerThe Lubrizol CorporationThe Andrew W. Mellon Foundation

David and Inez Myers 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 FoundationRalph and Luci Schey FoundationThe Kelvin and Eleanor Smith FoundationThe J. M. Smucker CompanyJoe and Marlene TootAnonymous

GIFTS OF $5 MILLION AND MORE

The Cleveland FoundationMr. and Mrs. Alexander M. Cutler

Maltz Family FoundationAnonymous

GIFTS OF $1 MILLION TO $5 MILLION

GIFTS OF $500,000 TO $1 MILLION

57Severance 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 HarvieJeff and Julia HealyMr. and Mrs. S. Lee KohrmanMrs. Emma S. LincolnMr. Gary A. OateyRPM International Inc.

Hewitt and Paula ShawNaomi G. and Edwin Z. SingerVirginia and Bruce TaylorMs. Ginger WarnerDenise G. and Norman E. Wells, Jr. Family FoundationMr. Max W. WendelPaul and Suzanne WestlakeMarilyn J. WhiteMr. Donald Woodcock

GIFTS OF $100,000 TO $250,000

Randall and Virginia BarbatoJohn P. Bergren* and Sarah S. 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

tuckerellis.com

The Cleveland Orchestra. Tucker Ellis.

In tune with each other and committed to excellence in Northeast Ohio.

perfectharmony

CLEVELAND COLUMBUS DENVER LOS ANGELES SAN FRANCISCO


SpringNo. 1 — INTRODUCTION AND RECITATIVE(The introduction depicts the passage from winter to spring.) simonSeht, wie der strenge Winter flieht,zum fernen Pole zieht er hin.Ihm folgt auf seinen Rufder wilden Stürme brausend Heer,

mit grässlichem Geheul.

lukasSeht, wie vom schroffen Fels der SchneeIn trüben Strömen sich ergiesst!

hanneSeht, wie vom Süden her,durch laue Winde sanft gelocktder Frühlingsbote streicht.

No. 2 — CHORUS OF COUNTRYFOLKcountryfolk

Komm, holder Lenz!Des Himmels Gabe, komm!Aus ihrem Todesschlaferwecke die Natur!

maidens and wivesEs nahet sich der holde Lenz,schon fühlen wir den linden Hauch,bald lebet alles wieder auf.

the menFrohlocket ja nicht allzufrüh,oft schleicht, in Nebel eingehüllt,der Winter wohl zurück und streutauf Blüt’ und Keim sein starres Gift.

allKomm, holder Lenz!Des Himmels Gabe, komm!Auf uns’re Fluren senke dich,o komm, holder Lenz, o kommund weile länger nicht. Komm, komm!

See how harsh winter flees!He withdraws to the distant pole. At his summons, the roaring crowd of wild storms follows with fearful roaring.

See how, from the rugged cliffs, the snow into turbid streams melts.

See how, from the south, gently lured by mild breezes,the messenger of spring comes!

Come, sweet spring!Gift of heaven, come!From her sleep of deathawaken Nature!

Sweet spring draws near,already we feel her gentle breath,soon everything springs to life again.

Do not rejoice all too soon,for often, wrapped in mists, winter creeps back again and strews on blossom and bud his rigid poison.

Come, sweet spring! Gift of heaven, come! Descend to our fields, come, sweet spring,and delay no longer! Come, come!

T H E S E A S O N S music by F. Joseph Haydn (1732-1809)

German text by Gottfried van Swieten (1733-1803)

after a poem by James Thomson (1700-1749)

The Seasons — Sung Text

P L E A S E T U R N PA G E Q U I E T LY


No. 3 — RECITATIVE simonVom Widder strahlet jetztdie helle Sonn’ auf uns herab.Nun weichen Frost und Dampfund schweben laue Dünst’ umher;der Erde Busen ist gelöst;erheitert ist die Luft .

No. 4 — ARIA simonSchon eilet froh der Ackersmannzur Arbeit auf das Feld,in langen Furchen schreitet erdem Pfl uge fl ötend nach.In abgemess’nem Gange dannwirft er den Samen aus,den birgt der Acker treuund reift ihn bald zur gold’nen Frucht.

No. 5 — RECITATIVE lukasDer Landmann hat sein Werk vollbrachtund weder Müh’ noch Fleiss gespart:Den Lohn erwartet eraus Händen der Natur,und fl eht den Himmel an.

No. 6 — TRIO AND CHORUS: PRAYER lukas, then chorusSei nun gnädig, milder Himmel!Öff ne dich und träufe Segenüber unser Land herab!

lukas, simonLass deinen Tau die Erde wässern!Lass Regenguss die Furchen tränken!

hanneLass deine Lüft e wehen sanft ,lass deine Sonne scheinen hell!

hanne, lukas, simon, chorusUns spriesset Überfl uss alsdann,und deiner Güte Dank und Ruhm.Sei nun gnädig, milder Himmel!Öff ne dich und träufe Segenüber unser Land herab!


From Aries now the bright sun shines down on us. Now frost and mist give way, and gentle vapors hover around; the earth’s bosom is unbound, the air made cheerful.

Already the husbandman cheerfully hastens to his work in the fi eld, striding in the long furrows behind his plow, whistling. Th en with measured step he casts the seed,which the soil faithfully conceals and soon nurtures to golden fruit.

Th e farmer has fi nished his work, sparing neither toil nor industry; he looks for his reward from the hands of Nature, and prays for it to heaven.

Be gracious now, kindly Heaven! Open, and pour forth blessings down upon our land!

Let your dew water the earth!Let downpours drench the furrows!

May your breezes blow gently, may your sun shine brightly!

An abundance shall fl ow over us,with your blessing and glory.Be gracious now, kindly Heaven! Open, and pour forth blessings down upon our land!

61Severance Hall 2012-13 The Seasons — Sung Text

No. 7 — RECITATIVEhanne

Erhört ist unser Fleh’n,der laue West erwärmt und fülltdie Luft mit feuchten Dünsten an.Sie häufen sich — nun fallen sieund giessen in der Erde Schossden Schmuck und Reichtum der Natur.

No. 8 — SONG OF JOY (with alternating chorus of young people)

hanneO wie lieblich ist der Anblickder Gefilde jetzt!Kommt, ihr Mädchen,lasst uns wallenauf der bunten Flur!

lukasO wie lieblich ist der Anblickder Gefilde jetzt!Kommt, ihr Burschen,lasst uns wallenzu dem grünen Hain!

hanne, lukasO wie lieblich, usw.

hanneSeht die Lilie, seht die Rose,seht die Blumen all’!

lukasSeht die Auen, seht die Wiesen,seht die Felder all’!

hanneSeht die Erde, seht die Wer,seht die helle Luft!

lukasAlles lebet, alles schwebet,alles reget sich.

hanneSeht die Lämmer, wie sie springen!

lukasSeht die Fische, welch Gewimmel!

hanneSeht die Bienen, wie sie schwärmen!

lukasSeht die Vögel, welch Geflatter!

Our prayer is heard; the gentle west wind warms and fills the air with moist vapors.They build up; now they falland pour into the lap of earththe beauty and richness of Nature.

Oh, how lovely is the sight of the countryside now! Come, maidens, let us wander in the colorful fields.

Oh, how lovely is the sight of the countryside now! Come, lads, let us wander to the green woods.

Oh, how lovely is the sight, etc.

See the lilies, see the roses, see all the flowers!

See the pastures, see the meadows, see all the fields!

See the earth, see the water, see the clear air!

Everything lives, everything moves, everything bestirs itself.

See the lambs — how they leap!

See the fish — what a multitude!

See the bees — how they swarm!

See the birds — what a fluttering!



chorusAlles lebet, alles schwebet,alles reget sich.

young womenWelche Freude, welche Wonneschwellet unser Herz!

young menSüsse Triebe, sanfte Reizeheben uns’re Brust!

simonWas ihr fühlet, was euch reizet,ist des Schöpfers Hauch.

chorusLasst uns ehren, lasst uns loben,lasst uns preisen Ihn!

menLasst erschallen, ihm zu danken,eure Stimmen hoch!

chorusEs erschallen, ihm zu danken,uns’re Stimmen hoch!

allEwiger, mächtiger, gütiger Gott!

hanne, lukas, simonVon Deinem Segensmahlehast Du gelabet uns.

menMächtiger Gott!

hanne, lukas, simonVom Strome Deiner Freudenhast Du getränket uns.Gütiger Gott!

allEwiger, mächtiger, gütiger Gott!

hanne, lukas, simonEwiger! Mächtiger! Gütiger Gott!

allEhre, Lob und Preis sei Dir,ewiger, mächtiger, gütiger Gott!

Everything lives, everything moves, everything stirs itself anew.

What joy, what raptureswells our hearts!

Sweet desires, gentle impulses exalt our hearts!

What you feel, what arouses you, is the Creator’s breath.

Let us honor him, let us glorify him,let us praise him!

Sing out with thanks to him,your voices lifted high!

Sing out with thanks to himour voices sounding on high!

Everlasting, mighty, gracious God!

From your feast of blessingyou have restored us.

Mighty God!

From the stream of your joysyou have given us to drink.Gracious God!



Honor, glory, and praise be unto you,everlasting, mighty, gracious God!




SummerNo. 9 — INTRODUCTION AND RECITATIVE (The introduction depicts dawn.)

lukasIn grauem Schleier rückt herandas sanfte Morgenlicht;mit lahmen Schritten weicht vor ihmdie träge Nacht zurück.Zu düst’ren Höhen fliehtder Leichenvögel blinde Schar;ihr dumpfer Klagetonbeklemmt das bange Herz nicht mehr.

simonDes Tages Herold meldet sich;mit scharfem Laute rufet erzu neuer Tätigkeitden ausgeruhten Landmann auf.

No. 10 — ARIA AND RECITATIVEsimon

Der munt’re Hirt versammelt nundie frohen Herden um sich her,zur fetten Weid’ auf grünen Höh’ntreibet er sie langsam fort.Nach Osten blickend steht er dann,auf seinem Stabe hingelehnt,zu seh’n den ersten Sonnenstrahl,welchem er entgegen harrt.

hanneDie Morgenröte bricht hervor,wie Rauch verflieget das leichte Gewolk,der Himmel pranget im hellen Azur,der Berge Gipfel im feurigen Gold.

No. 11 — TRIO AND CHORUShanne

Sie steigt herauf, die Sonne, sie steigt.

hanne, lukasSie naht, sie kommt.

hanne, lukas, simonSie strahlt, sie scheint.

chorusSie scheint in herrlicher Pracht,in flammender Majestät!Heil! O Sonne, Heil!

Against a gray veil, the soft light of dawn approaches; with faltering steps the sluggish night retreats before it. To dark caverns flees the blind flock of funeral birds; their gloomy note oppresses the fearful heart no more.

The day heralds its coming; with sharp sounds it summons to renewed workthe rested farmer.

The cheerful shepherd now gathers his happy flocks around him; to rich pastures on green heights he slowly drives them forth.Then he stands looking to the east, leaning on his staff,to see the first ray of the sun, which he is awaiting.

The rosy dawn breaks forth;like smoke the thin clouds disperse.The heavens shine in bright azure,the mountaintops in fiery gold.

It rises now, the sun, it rises,

it draws near, it appears,

it beams, it shines!

It shines in magnificent splendor,in flaming majesty!Hail, Oh sun, hail!



Des Lichts und Lebens Quelle, Heil!O du des Weltalls Seel’ und Aug’,der Gottheit schönstes Bild!Dich grüssen dankbar wir!

hanne, lukas, simonWer spricht sie aus, die Freuden alle,die deine Huld in uns erweckt?Wer zählet sie, die Segen alle,die deine Mild’ auf uns ergiesst?

chorusDie Freuden! O wer spricht sie aus?Die Segen! O wer zählet sie?Wer spricht sie aus? Wer zählet sie, wer?

hanneDir danken wir, was uns ergötzt.

lukasDir danken wir, was uns belebt.

simonDir danken wir, was uns erhält.

hanne, lukas, simonDem Schöpfer aber danken wir,was deine Kraft vermag.

allHeil! O Sonne, Heil!Des Lichts und Lebens Quelle, Heil!Dir jauchzen alle Stimmen,dir jauchzet die Natur.

No. 12 — RECITATIVE simonNun regt und bewegt sich alles umher;ein buntes Gewühle bedecket die Flur.Dem braunen Schnitter neiget sichder Saaten wallende Flut,die Sense blitzt — da sinkt das Korn.Doch steht es bald und aufgehäuftin festen Garben wieder da.

lukasDie Mittagssonne brennet jetzt in voller Glutund giesst durch die entwölkte Luftihr mächtiges Feu’r in Strömen herab.Ob den gesengten Flächen schwebt,im nieder’n Qualm, ein blendend Meervon Licht und Widerschein.

Hail! Source of light and life, Oh thou, soul and eye of the universe, fairest image of the Godhead! Thankfully we greet thee!

Who can express all the joys that thy grace awakens in us? Who can count all the blessings that thy kindness pours out on us?

The joys, who can express them? The blessings, who can count them? Who can express them? Who can count them?

We thank You for what delights us.

We thank You for what revives us.

We thank You for what sustains us.

But we thank the Creator for what Your power permits us.

Hail, Oh sun, hail!Hail! Source of light and life, For You all voices rejoice, for You nature rejoices.

Now everything around stirs and moves;a colorful throng covers the field. Before the brown reaper the waving flood of grain bows down; the scythe flashes — the grain falls; yet soon it stands, piled together in tight sheaves.

The midday sun now burns at full glow, and through the cloudless sky a mighty blaze pours streaming down.Above the scorched plain there floats, in low-lying mists, a dazzling sea of light and reflection.




Nature succumbs to the burden, withered fl owers, arid meadows, dry springs, everything reveals the heat’s fury, and bereft of strength,man and beast languish,stretched out on the ground.

Welcome now, dark grove,where the canopy of ancient oaksaff ords us cooling shelter,and where the slender aspen’s leavesrustle with hushed murmuring!On soft moss the brook trickles therein sparking fl ow,and, humming cheerfully, the sun’sbright brood twists and turns about.Zephyr’s breath spreads abroadthe pure balsam scent of plants,and from the nearby thicket,the young shepherd’s reed sounds.

What comfort for the senses!What refreshment for the heart!Every vein is fl owing,and in every nerve now beatsa reviving sensation.Th e soul awakens to delicious pleasureand new strength lift sthe breast with gentle impulse.

No. 13 — CAVATINA lukasDem Druck erlieget die Natur.Welke Blumen, dürre Wiesen, trock’ne Quellen, alles zeigt der Hitze Wut,und kraft los schmachten Mensch und Tieram Boden hingestreckt.

No. 14 — RECITATIVE hanneWillkommen jetzt, o dunkler Hain,wo der bejahrten Eiche Dachden kühlenden Schirm gewährt,und wo der schlanken Espe Laubmit leisem Gelispel rauscht!Am weichen Moose rieselt dain heller Flut der Bach,und fröhlich summend irrt und wirrtdie bunte Sonnenbrut.Der Kräuter reinen Balsamduft verbreitet Zephirs Hauch,und aus dem nahen Busche töntdes jungen Schäfers Rohr.

No. 15 — ARIA hanneWelche Labung für die Sinne!Welch’ Erholung für das Herz!Jeden Aderzweig durchströmet,und in jeder Nerve bebterquickendes Gefühl.Die Seele wachet auf zum reizenden Genuss,und neue Kraft erhebtdurch milden Drang die Brust.


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No. 16 — RECITATIVE simonO seht! Es steiget in der schwülen Luft am hohen Saume des Gebirgsvon Dampf und Dunst ein fahler Nebel auf.Empor gedrängt dehnt er sich aus,und hüllet bald den Himmelsraumin schwarzes Dunkel ein.

lukasHört, wie vom Tal ein dumpf Gebrüllden wilden Sturm verkünd’t!Seht, wie von Unheil schwerdie fi nst’re Wolke langsam ziehtund drohend auf die Eb’ne sinkt!

hanneIn banger Ahnung stocktdas Leben der Natur:Kein Tier, kein Blatt beweget sich,und Todesstille herrscht umher.

No. 17 — CHORUS chorusAch, das Ungewitter naht!Hilf uns, Himmel!O wie der Donner rollt!O wie die Winde toben!Wo fl ieh’n wir hin?Flammende Blitze durchwühlen die Luft ,den zackigen Keilen berstet die Wolke,und Güsse stürzen herab.Wo ist Rettung?Wütend rast der Sturm;der weite Himmel entbrennt.Weh’ uns Armen!Schmetternd krachen Schlag auf Schlagdie schweren Donner fürchterlich.Weh’ uns! Weh’ uns!Erschüttert wankt die Erdebis in des Meeres Grund.

Look! Th ere rises in the sultry air by the high mountain border a pale cloud of mist and vapor.Pressed upward, it stretches out and soon envelops the entire sky in black darkness.

Hear how from the valley a muffl ed roar announces the wild storm!See how, heavy with trouble, the dark cloud moves slowly, and sinks menacingly to the plain!

In fearful anticipation all nature stands still. No animal, no leaf moves, and deathly stillness prevails all around.

Ah, the thunderstorm draws near!Help us, Heaven!Oh, how the thunder rolls!Oh, how the winds rampage!Whither shall we fl ee?Lightning fl ashes rend the air,the cloud bursts with jagged thunder bolts,and torrents plunge downward.Where is salvation?Violently the storm rages,Th e expanse of sky catches fi re.Woe to us wretches!Sparking, crashing, stroke on stroke,the heavy thunder cracks terribly. Woe to us! Woe to us!Shaken, the earth reels,down to the bottom of the sea.



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No. 18 — TRIO AND CHORUS lukasDie düst’ren Wolken trennen sich;gestillet ist der Stürme Wut.

hanneVor ihrem Untergangeblickt noch die Sonn’ empor;und vor dem letzten Strahle glänztmit Perlenschmuck geziert die Flur.

simonZum langgewohnten Stalle kehrtgesättigt und erfrischt das fette Rind zurück.

lukasDen Gatten ruft die Wachtel schon.

hanneIm Grase zirpt die Grille froh.

simonUnd aus dem Sumpfe quakt der Frosch.

lukas, hanne, simonDie Abendglocke tönt.Von oben winkt der helle Sternund ladet uns zur sanft en Ruh.

menMädchen, Burschen, Weiber, kommt!Unser wartet süsser Schlaf;wie reines Herz, gesunder Leibund Tagesarbeit ihn gewährt.

womenWir geh’n, wir geh’n, wir folgen euch.

allDie Abendglocke hat getönt.Von oben winkt der helle Sternund ladet uns zur sanft en Ruh,

Th e dark clouds divide, the storm’s wrath is stilled.

Before settingthe sun looks out once more, and from its last rays the meadow sparkles, adorned with pearls.

To long familiar stall, nourished and refreshed, the fat cattle return.

Already the quail calls its mate.

In the grass the cricket chirps merrily.

And from the marsh, the frog croaks.

Th e evening bell tolls.From on high the bright star shines and invites us to gentle rest.

Girls, lads, women, come!Sweet sleep awaits us,as pure heart, healthy body,and daily labor assure them.

We go, we go, we’ll follow you!

Th e evening bell has tolled.From on high the bright star shinesand invites us to gentle rest.



AutumnNo. 19 — INTRODUCTION AND RECITATIVE(Th e introduction depicts the farmer’s satisfaction at the abundant harvest.)

hanneWas durch seine Blüteder Lenz zuerst versprach,was durch seine Wärmeder Sommer reifen hiess,zeigt der Herbst in Fülledem frohen Landmann jetzt.

lukasDen reichen Vorrat fährt er nunauf hochbelad’nen Wagen ein.Kaum fasst der weiten Scheune Raum,was ihm sein Feld hervorgebracht.

simonSein heit’res Auge blickt umher,es misst den aufgetürmten Segen ab,und Freude strömt in seine Brust.

No. 20 — TRIO AND CHORUS

simonSo lohnet die Natur den Fleiss;ihn ruft , ihn lacht sie an,ihn muntert sie durch Hoff nung auf,ihm steht sie willig bei;ihm wirket sie mit voller Kraft .

hanne, lukasVon dir, o Fleiss, kommt alles Heil.Die Hütte, die uns schirmt,die Wolle, die uns deckt,die Speise, die uns nährt,ist deine Gab’, ist dein Geschenk.

hanne, lukas, simonO Fleiss, o edler Fleiss!Von dir kommt alles Heil!

hanneDu fl össest Tugend ein,und rohe Sitten milderst du.

lukasDu wehrest Laster abund reinigest der Menschen Herz.

All that the blossomsof spring once promised,all that the warmthof summer ripened, is revealed in the fullness of autumn to the happy country man.

Th e rich harvest he now brings in on high-laden wagons.Th e broad storerooms scarcely hold what his fi eld has produced.

His cheerful eye looks round,measuring off the piled-up harvest, and joy streams in his heart.

Th us Nature rewards Industry;she summons it, smiles upon it,bolsters it with hope,and stands by it willingly;she works on it with her full strength.

From thee, oh Industry, come all good things: Th e cottage that protects us, the wool that covers us, the food that nourishes us, is your gift and your bounty.

Industry, oh noble Industry! From thee come all good things.

You cause virtue to fl ow in,and you soft en uncouth manners.

You avert blasphemyand purify the human heart.




simonDu stärkest Mut und Sinnzum Guten und zu jeder Pfl icht.

allO Fleiss, o edler Fleiss!Von dir kommt alles Heil!

No. 21 — RECITATIVE hanneSeht, wie zum Haselbusche dortdie rasche Jugend eilt!An jedem Aste schwinget sichder Kleinen lose Schar,und der bewegten Staud’ entstürztgleich Hagelschau’r die lock’re Frucht.

simonHier klimmt der junge Bau’rden hohen Stamm entlang,die Leiter fl ink hinauf.Vom Wipfel, der ihn deckt,sieht er sein Liebchen nah’n,und ihrem Tritt entgegenfl iegt dann in trautem Scherzedie runde Nuss herab.

lukasIm Garten steh’n um jeden Baumdie Mädchen gross und klein,dem Obste, das sie klauben,an frischer Farbe gleich.

No. 22 — DUET lukasIhr Schönen aus der Stadt, kommt her!Blickt an die Tochter der Natur,die weder Putz noch Schminke ziert.Da seht mein Hannchen, seht!Ihr blüht Gesundheit auf den Wangen;im Auge lacht Zufriedenheit,und aus dem Munde spricht das Herz,wenn sie mir Liebe schwört.

hanneIhr Herrchen süss und fein, bleibt weg!Hier schwinden eure Künste ganz,und glatte Worte wirken nicht;man gibt euch kein Gehör.

You strengthen courage and inclination toward the good and to each duty.

From thee, oh, Industry!From thee come all good things!

Lo, how to the hazel bush therethe speedy boys hasten.On every branch the merry troopsof youngsters are swinging,and from the shaken bushes falls,like a shower of hail, the ripened fruit.

Here the young farmer climbsthe high trunk’s length,up the ladder briskly.From the top, which conceals him,he sees his sweetheart drawing near,and in her directionthere fl ies, in tender jest,a round nut.

In the garden, around each tree, stand the girls, big and little,fresh-colored, just like the fruits that they are gathering.

You pretty city girls, come here! Behold the daughter of Nature, using neither ornament nor rouge. Behold there my little Hanne!Good health blossoms on her cheek; contentment laughs from her eye, and her lips tell her heart’s words, when she avows her love to me.

You fi ne, sweet gentlemen, away! Here your arts are utterly useless, and smooth words have no eff ect; we pay them no heed.



Nicht Gold, nicht Pracht kann uns verblenden,ein redlich Herz ist, was uns rührt;und meine Wünsche sind erfüllt,wenn treu mir Lukas ist.

lukasBlätter fallen ab,Früchte welken hin,Tag und Jahr vergeh’n,nur meine Liebe nicht.

hanneSchöner grünt das Blatt,süsser schmeckt die Frucht,heller glänzt der Tag,wenn deine Liebe spricht.

lukas, hanneWelch ein Glück ist treue Liebe!Uns’re Herzen sind vereinet,trenn kann sie Tod allein.

lukasLiebstes Hannchen!

hanneBester Lukas!

hanne, lukasLieben und geliebet werden,ist der Freuden höchster Gipfel,ist des Lebens Wonn’ und Glück!

No. 23 — RECITATIVE simonNun zeiget das entblösste Feldder ungebet’nen Gäste Zahl,die an den Halmen Nahrung fandund irrend jetzt sie weitersucht.Des kleinen Raubes klaget nichtder Landmann, der ihn kaum bemerkt;dem Übermasse wünscht er dochnicht ausgestellt zu sein.Was ihn dagegen sichern mag,sieht er als Wohltat an,und willig frohnt er dann zur Jagd,die seinen guten Herrn ergötzt.

Neither gold nor fi nery can dazzle us,an honest heart is what touches us; and my wishes are fulfi lled if my Lukas is true to me.

Leaves fall,fruits shrivel away, days and years may pass, but not my love.

Th e leaf shows a fairer green, the fruit tastes sweeter, the day shines brighter when your love speaks.

What happiness is true love! Our hearts are united,death alone can divide them.

Dearest little Hanne!

Darling Lukas!

To love and be loved is the highest summit of joy, life’s rapture and bliss.

Now the denuded fi eld showsthe number of unbidden guestswho found nourishment among the stalksand wander now to seek them elsewhere.Th e countryman does not lament thesesmall theft s; he hardly notices them.He does not wish to be criticizedfor excessive gain.Whatever keeps him safe from that,he regards as a favor,and willingly then joins the hunt,which gives pleasure to his good master.



72 The Cleveland OrchestraThe Seasons — Sung Text

No. 24 — ARIAsimon

Seht auf die breiten Wiesen hin,Seht, wie der Hund im Grase streift!Am Boden suchet er die Spurund geht ihr unablässig nach.Jetzt aber reisst Begierd’ ihn fort;er horcht auf Ruf und Stimme nicht mehr;er eilet zu haschen — da stockt sein Lauf,und er steht unbewegt wie Stein.Dem nahen Feinde zu entgeh’nerhebt der scheue Vogel sich;doch rettet ihn nicht schneller Flug.Es blitzt, es knallt, ihn erreichet das Bleiund wirft ihn tot aus der Luft herab.

No. 25 — RECITATIVElukas

Hier treibt ein dichter Kreisdie Hasen aus dem Lager auf.Von allen Seiten hergedrängt,hilft ihnen keine Flucht.Schon fallen sie und liegen baldin Reihen freudig hingezählt.

No. 26 — CHORUS OF THE FARMERS AND HUNTERSmen

Hört, hört das laute Getön,das dort im Walde klinget!

womenWelch ein lautes Getöndurchklingt den ganzen Wald!

allEs ist der gellenden Hörner Schall,der gierigen Hunde Gebelle.

menSchon flieht der aufgesprengte Hirsch;ihm rennen die Doggen und Reiter nach.

Look at the wide fields!See how the hound reconnoiters in the grass!seeking the scent on the groundand tirelessly pursuing it.Now eagerness carries him away;he heeds call or voice no longer;he hastens to the catch, then stops runningand stands motionless as a stone.In order to evade his nearby enemythe timorous bird springs up;but rapid flight does not save him.There’s a flash, a bang, and the lead hits it,and casts it down, dead, from the air.

Here a tight ring drives the hares out of their lairs. Pressed on all sides, no flight helps them. Already they fall and soon lie in rows joyfully counted.

Listen! Hear the loud tone sounding there in the forest!

What a loud tonesounds through the entire forest!

It is the call of the shrill horns, the baying of eager hounds.

Already the bounding stag flees, the hounds and riders pursuing.

womenEr fl ieht, er fl ieht.O wie er sich streckt!

allIhm rennen die Doggen und Reiter nach.O wie er springt! O wie er sich streckt!

womenDa bricht er aus den Gesträuchen hervorund läuft über Feld in das icht hinein.

menJetzt hat er die Hunde getäuscht;zerstreuet schwärmen sie umher.

allDie Hunde sind zerstreut:sie schwärmen hin und her.

huntersTajo, tajo, tajo!

menDer Jäger Ruf, der Hörner Klangversammelt aufs neue sie.

huntersHo, ho, ho! Tajo! Ho, ho!

men and womenMit doppeltem Eifer stürzet nunder Haufe vereint auf die Fährte los.

huntersTajo, tajo, tajo!

womenVon seinen Feinden eingeholt,an Mut und Kräft en ganz erschöpft ,erlieget nun das schnelle Tier.

menSein nahes Ende kündigt andes tönenden Erzes Jubellied,der freudigen Jäger Siegeslaut.

huntersHalali! Halali! Halali!

womenDen Tod des Hirschen kündigt andes tönenden Erzes Jubellied,der freudigen Jäger Siegeslaut.

huntersHalali! Halali! Halali!

He fl ees, he fl ees.Oh, how he stretches!

Pursued by the hounds and riders.Oh, how he leaps, how he stretches out!

Th ere he breaks out of the undergrowthand races across the fi eld into the thicket.

Now he has deceived the hounds; they rush around in confusion.

Th e hounds are scattered; they rush back and forth.

Tally ho! Tally ho! Tally ho!

Th e hunters’ cry, the sound of horns gathers them anew.

Ho! Ho! Ho! Tally ho! Ho! Ho!

With redoubled zeal now the pack unites on the scent.

Tally ho! Tally ho! Tally ho!

Surrounded by its enemies, drained of strength and energy, the speedy animal now succumbs.

His looming end is announced by the jubilant song of the sounding brass, the hunter’s joyful cry of victory.

Hurrah! Hurrah! Hurrah!

Th e stag’s death is announced by the jubilant song of the sounding brass, the hunter’s joyful cry of victory.

Hurrah! Hurrah! Hurrah!



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allDen Tod des Hirschen kündigt andes tönenden Erzes Jubellied,der freudigen Jäger Siegeslaut.Halali! Halali! Halali!

No. 27 — RECITATIVE

hanneAm Rebenstocke blinket jetztdie helle Traub’ in vollem Saft eund ruft dem Winzer freundlich zu,dass er zu lesen sie nicht weile.

simonSchon werden Kuf’ und Fasszum Hügel hingebracht,und aus den Hütten strömetzum frohen Tagewerkedas munt’re Volk herbei.

hanneSeht, wie den Berg hinanvon Menschen alles wimmelt!Hört, wie der Freudentonvon jeder Seit’ erschallet.

lukasDie Arbeit fördert lachender Scherzvom Morgen bis zum Abend hin,und dann erhebt der brausende Mostdie Fröhlichkeit zum Lustgeschrei.

No. 28 — RECITATIVE allJuchei! Juchei! Der Wein ist da,die Tonnen sind gefüllt,nun lasst uns fröhlich sein,und Juchei! Juchei! Juch!Aus vollem Halse schrei’n.

menLasst uns trinken!Trinket, Brüder, lasst uns fröhlich sein!

womenLasst uns singen! Singet alle!Lasst uns fröhlich sein!

allJuchei! Juch! Es lebe der Wein!

Th e stag’s death is announced by the jubilant song of the sounding brass, the hunter’s joyful cry of victory.Hurrah! Hurrah! Hurrah!

Now on the vine sparkle the bright grapes full of juice, calling amiably to the vintner that he not delay picking them.

Already vat and cask have been brought to the hilland from their huts,to the cheerful day’s work,the merry folk stream forth.

Look how the entire hillside is full of people!Listen, how the joyous sound rings out on every hand.

Th e work encourages laughing jests from morning to evening, and then the fermenting wine lift s the merriment to shouts of delight.

Hurrah! Hurrah! Th ere is the wine, the barrels are fi lled,now let us be merry,and cry “Hurrah! Hurrah! Hurrah!” full-throatedly.

Let’s drink! Drink, brothers, let’s be merry!

Let’s sing! Sing, everyone! Let’s be merry!

Hurrah! Hurrah! Hurrah! Long live wine!


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menEs lebe das Land, wo er uns reift!Es lebe das Fass, das ihn verwahrt!Es lebe der Krug, aus dem er fliesst!

allJuchei! Juch! Es lebe der Wein!

menKommt, ihr Brüder! Füllt die Kannen,leert die Becher! Lasst uns fröhlich sein!

allHeisa! Lasst uns fröhlich seinund Juchei! Juchei! Juch!Aus vollem Halse schrei’n.Juchei! Juch! Juch!Es lebe der Wein!

womenNun tönen die Pfeifenund wirbelt die Trommel.Hier kreischet die Fiedel,da schnarret die Leier,und dudelt der Bock.

menSchon hüpfen die Kleinenund springen die Knaben,dort fliegen die Mädchen,im Arme der Bursche,den ländlichen Reih’n.

womenHeisa, hopsa, lasst uns hüpfen!

menIhr Brüder, kommt!

womenHeisa, hopsa, lasst uns springen!

Long live the land, where it matures! Long live the barrel, that preserves it! Long live the jug from which it flows!

Hurrah! Hurrah! Long live wine!

Come, brothers! Fill the tankards, empty the glasses! Let’s be merry!

Hurrah! Let’s be merry!and cry “Hurrah! Hurrah! Hooray!”full-throatedly.Hurrah! Hooray! Hooray!Long live wine!

Now the pipes sound and the drum rolls.Here the fiddle screeches, there the hurdy-gurdy rasps, and the bagpipe drones.

Already the little ones jump, the lads leap,there the girls flyinto the arms of the boys, for the country rounds.

Cheers! Let us skip!

Come, brothers!

Cheers! Let us leap!

Severance Hall 2012-13Severance Hall 2012-13 72-E

Robert L. Cronquist – Music Directorwith guest artists Jinjoo Cho and Cicely Parnas

— PROGRAM —Brahms Double Concerto for

Violin, Cello and Orchestra in A minor, op. 102ro o ieff mphon o. , op. 1 1

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C C L AR A

— TICKETS —Dress Circle – $20 Main Floor – $15 Balcony – $10— AVAILABLE AT —everance all Bo ice – 216.231.1111 or – www.clevelandorchestra.com

at SEVERANCE HALLunda , April 2 , 201 at 0 pm



menDie Kannen füllt!

womenHeisa, hopsa, lasst uns tanzen!

menDie Becher leert!

allHeisa! Lasst uns fröhlich seinund Juchei! Juchei! Juch!aus vollem Halse schrei’n.

menJauchzet, lärmet!Springet, tanzet!Lachet, singet!Nun fen wir den letzten Krug!

everyone elseHeisa! Juchei! Juch!Heisasa! Hopsasa! Heisa! Hopsa! usw.

menUnd singen dann im vollen Chordem freudenreichen Rebensaft:

all othersHeisa, hei! Juchei! JuchHeisasa! Juch!

allEs lebe der Wein, der edle Wein,der Grillen und Harm verscheucht!Sein Lob ertöne laut und hochin tausendfachem Jubelschall!Heisa, lasst uns fröhlich seinund Juchei! Juchei! Juch!aus vollem Halse schrei’n.

Fill the tankards!

Cheers! Let us dance!

Empty your glasses!

Hurrah! Let’s be merry!and cry “Hurrah! Hurrah! Hooray!” full-throatedly.

Revel, shout,leap, dance,laugh, sing!Now we take the last drink!

Cheers! Hooray! Hurrah!Cheers! Hip-Hooray! Hurrah! etc.

And we sing in full chorus to the joy-giving juice of the vine:

Cheers! Hey! Hurrah! Hooray!Cheers! Hooray!

Long live wine, noble wine,which banishes melancholy and grief! Let its praise resound high and loud in a thousandfold cry of jubilation! Hey, let’s be happyand sing “Hurrah! Hurrah! Hooray!” full-throatedly.

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photo by Hernan Herrero

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The Cleveland Orchestra72-F

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WinterNo. 29 — INTRODUCTION AND RECITATIVE(Th e Introduction depicts the thick fogs, with which winter begins.)

simonNun senket sich das ble Jahrund fallen Dünste kalt herab.Die Berg’ umhüllt ein grauer Dampf,der endlich auch die Flächen drückt,und am Mittage selbstder Sonne matten Strahl verschlingt.

hanneAus Lapplands Höhlen schreitet herder stürmisch düst’re Winter jetzt.Vor seinem Tritt erstarrtin banger Stille die Natur.

No. 30 — CAVATINA

hanneLicht und Leben sind geschwächet,Wärm’ und Freude sind verschwunden.Unmutsvollen Tagen folgetschwarzer Nächte lange Dauer.

No. 31 — RECITATIVE lukasGefesselt steht der breite See,gehemmt in seinem Laufe der Strom.Im Sturze von türmenden Felsen hängtgestockt und stumm der Werfall.Im dürren Haine tönt kein Laut.Die Felder deckt, die Täler fülltein’ ungeheure Flockenlast.Der Erde Bild ist nur ein Grab,wo Kraft und Reiz erstorben liegt,wo Leichenfarbe traurig herrschtund wo dem Blicke weit umhernur öde Wüstenei sich zeigt.

No. 32 — ARIA

lukasHier steht der Wand’rer nunverwirrt und zweifelhaft ,wohin den Schritt er lenken soll.Vergebens suchet er den Weg:Ihn leitet weder Pfad noch Spur.

Now the pale year sinks away, and cold vapors descend.A gray mist surrounds the mountains, eventually oppressing the plains, too, and even at noonswallows up the sun’s weak rays.

From the caves of Lapland strides the stormy, gloomy winter now. At his footstep, Nature freezes into anxious silence.

Light and life have grown weak, warmth and joy have disappeared. Upon disgruntled days follows black nights’ long duration.

Th e broad lake stands in fetters, arrested in its course the stream. In its plunge from towering cliff s the waterfall stands frozen and mute. In the withered grove no sound is heard.An immense burden of snowfl akes covers the fi elds, fi lls the valleys. Th e image of earth is now a grave, where strength and allure lie dead, where a deathlike hue bleakly rules, and where, to the circling gaze, only desolate waste is seen.

Here stands the traveller now,confused and doubting,whither he should turn his steps.In vain he seeks the way;neither path nor track guide him.



Severance Hall 2012-13 72-G

Vergebens strenget er sich anund watet durch den tiefen Schnee,er fi nd’t sich immer mehr verirrt.Jetzt sinket ihm der Mut,und Angst beklemmt sein Herz,da er den Tag sich neigen sieht,und Müdigkeit und Frostihm alle Glieder lähmt.Doch plötzlich trifft sein spähend Aug’der Schimmer eines nahen Lichts.Da lebt er wieder auf;vor Freuden pocht sein Herz.Er geht, er eilt der Hütte zu,wo starr und matt er Labung hofft .


lukasSo wie er naht, schallt in sein Ohr,durch heulende Winde nur erst geschreckt,heller Stimmen lauter Klang.

hanneDie warme Stube zeigt ihm danndes Dörfchens Nachbarschaft ,vereint in trautem Kreiseden Abend zu verkürzenmit leichter Arbeit und Gespräch.

simonAm Ofen schwatzen hiervon ihrer Jugendzeit die Väter;zu Körb’ und Reusen fl ichtdie Weidengert’ und Netze Stricktder Söhne munt’rer Haufe dort.Am Rocken spinnen die Mütter,am laufenden Rade die Töchter;und ihren Fleiss belebtein ungekünstelt frohes Lied.

No. 34 — SONG WITH CHORUS — SPINNING SONG by gottfried august bürger

wives and maidensKnurre, schnurre, knurre,schnurre, Rädchen, schnurre!

hanneDrille, Rädchen, lang und fein,drille fein ein Fädeleinmir zum Busenschleier!

In vain he exerts himselfand wades through the deep snow;he fi nds himself ever more lost.Now his courage failsand fear seizes his heart,as he sees the day draw to an end,and weariness and coldhave paralyzed all his limbs.But suddenly his searching eye discernsthe shimmer of a nearby light.He revives again;his heart beats with joy.He goes, he hastens toward the hut,where, cold and weak, he seeks comfort.

And as he nears, there echoes in his ear,just now terrifi ed by howling winds,the loud sound of happy voices.

Th e warm room reveals to him then the neighbors of the little village, united in a cozy circleto shorten the eveningwith light work and conversation.

Here by the stove the fatherschatter of their boyhood;there the happy crowd of sonsplait willow withes into baskets andhampers and weave their nets.Th e mothers spin on the distaff ,their daughters on the spinning wheel;and an artless cheerful songenlivens their industry.

Rumble, whir, rumble, whir, little wheel, whir!

Turn, little wheel, long and fi ne, spin a fi ne little threadto make a veil for my bosom.

The Seasons — Sung Text The Cleveland Orchestra72-H


hanneWeber, webe zart und fein,webe fein das Schleierleinmir zur Kirmesfeier.


hanneAussen blank und innen rein,muss de Mädchens Busen sein,wohl deckt ihn der Schleier.


hanneAussen blank und innen rein,fl eissig, fromm und sittsam sein,locket wack’re Freier.

allAussen blank und innen rein,fl eissig, fromm und sittsam sein,locket wack’re Freier.


lukasAbgesponnen ist der Flachs,nun steh’n die Räder still.Da wird der Kreis verengtund von dem Männervolk umringt,zu horchen auf die neue Mär,die Hanne jetzt erzählen wird.

No. 36 — SONG WITH CHORUS hanneEin Mädchen, das auf Ehre hielt,liebt’ einst ein’ Edelmann;da er schon längst auf sie gezielt,traf er allein sie an.Er stieg sogleich vom Pferd und sprach:Komm, küsse deinen Herrn!Sie rief vor Angst und Schrecken:Ach! Ach ja, von Herzen gern.


Weaver, weave delicately, fi nely, weave the gossamer veil for me to wear at the fair.


Bright without and pure within must the maiden’s breast be, though the veil cover it.


Bright without and pure within, be industrious, pious, and modest, to attract a gallant suitor.

Bright without and pure within, be industrious, pious, and modest, to attract a gallant suitor.

Now the fl ax has all been spun, now the wheels are still.Now the circle closes in and, surrounded by the menfolk, attends to the latest story, which Hanne will now relate.

A girl who cared for her reputationonce loved a nobleman;since he had long been aft er her,he met her all alone.He climbed down from his horse and said:“Come, kiss your lord!”She cried with fear and terror, “Oh!Oh yes, with all my heart.”



Severance Hall 2012-13 72-I

chorusEi, ei, warum nicht nein?

hanneSei ruhig, sprach er, liebes Kind,und schenke mir dein Herz;denn meine Lieb’ ist treu gesinnt,nicht Leichtsinn oder Scherz.Dich mach ich glücklich: Nimm dies Geld,den Ring, die gold’ne Uhr!Und hab’ ich sonst, was dir gefällt,o sag’s und ford’re nur!

chorusEi, ei, das klingt recht fein!

hanneNein, sagt sie, das wär’ viel gewagt,mein Bruder möchte’ es seh’n,und wenn er’s meinem Vater sagt,wie wird mir’s dann ergeh’n?Er ackert uns hier allzu nah . . .Sonst könnt’ es wohl gescheh’n.Schaut nur, von jenem Hügel dakönnt Ihr ihn ackern seh’n.

chorusHo, ho, was soll das sein?

hanneIndem der Junker geht und sieht,schwingt sich das lose Kindauf seinen Rappen und entfl iehtgeschwinder als der Wind.Lebt wohl, rief sie, mein gnäd’ger Herr!So räch’ ich meine Schmach.Ganz eingewurzelt stehet erund gafft ihr staunend nach.

chorusHa, ha, das war recht fein.


simonVom dürren Osten dringtein scharfer Eishauch jetzt hervor.Schneidend fährt er durch die Luft ,verzehret jeden Dunstund hascht des Tieres Odem selbst.Des grimmigen Tyranns,des Winters Sieg ist nun vollbracht,und stummer Schrecken drücktden ganzen Umfang der Natur.

Eh, eh, why not “no”?

“Be calm,” he said, “dear child, and give me your heart; for my love is honorable, neither frivolous nor a joke.I’ll make you happy: take this money,this ring, this golden watch!And if I have anything else you like,just name it and ask for it!”

Eh, eh, that sounds very fi ne!

“No,” says she, “that would be too daring,my brother might see, and if he told my father, what would become of me? He is plowing all too near us here . . . Otherwise it might work. Just look — from that hill there you can see him plowing.”

Ho, ho, what does this mean?

While the squire goes and sees, the lively girl swings up on his black horse and escapes faster than the wind.“Farewell,” she cried, “my noble lord!Th us I avenge my shame.” Utterly rooted, he stands there and gapes aft er her in wonder.

Ha, ha, that was a good one!

From the desolate East a sharpicy breath now presses forward.It cuts through the air as it comes,consumes all the vaporand snatches the very breath of the animals.Th e victory of Winter,the grim tyrant, is now complete,silent terror oppressesthe entire circuit of Nature.

The Seasons — Sung Text The Cleveland Orchestra72-J

No. 38 — ARIA AND RECITATIVE

simonErblicke hier, betörter Mensch,erblicke deines Lebens Bild.Verblühet ist dein kurzer Lenz,erschöpfet deines Sommers Kraft .Schon welkt dein Herbst dem Alter zu,schon naht der bleiche Winter sichund zeiget dir das off ’ne Grab.Wo sind sie nun, die hoh’n Entwürfe,die Hoff nungen vom Glück,die Sucht nach eitlem Ruhme,der Sorgen schwere Last?Wo sind sie nun, die Wonnetage,verschwelgt in Üppigkeit?Und wo die frohen Nächte,im Taumel durchgewacht?Wo sind sie nun? Wo?Verschwunden sind sie wie ein Traum.Nur Tugend bleibt.

simonDie bleibt alleinund leitet uns, unwandelbar,durch Zeit und Jahreswechsel,durch Jammer oder Freudebis zu den höchsten Zielen hin.

No. 39 — TRIO AND DOUBLE CHORUS simonDann bricht der grosse Morgen an,der Allmacht zweites Wort erwecktzum neuen Dasein uns,von Pein und Tod auf immer frei.

lukas, simonDie Himmelspforten öff nen sich,der heil’ge Berg erscheint.Ihn krönt des Herren Zelt,wo Ruh’ und Frieden thront.

first chorusWer darf durch diese Pforten geh’n?

hanne, lukas, simonDer Arges mied und Gutes tat.

second chorusWer darf besteigen diesen Berg?

Look here, deluded man,observe the image of your life.Faded is your brief springtime,exhausted your summer’s strength.Already your autumn fades to age,already pale winter draws nearand shows you your open grave.Where are they now, the loft y schemes,the hopes of happiness,the quest aft er idle fame,the heavy burden of sorrows?Where are they now, the days of rapture,wasted in luxury?And where the happy nightsspent in intoxication?Where are they now? Where?Th ey are vanished like a dream.Only virtue remains.

It alone remainsand leads us, changeless,through change of times and seasons,through sorrow or joyto the highest goal.

Th en dawns the great morning, the Almighty’s second word awakensus to the new being,forever free of pain and death.

Th e gates of heaven open, the holy mount appears. Th e Lord’s tabernacle crowns it, where rest and peace are enthroned.

Who may pass through these gates?=

He who avoided evil and did good.

Who may ascend this mountain?



Severance Hall 2012-13 72-K

The Seasons — Sung Text The Cleveland Orchestra72-L

hanne, lukas, simonVon dessen Lippen Wahrheit floss.

first chorusWer darf in diesem Zelte wohnen?

hanne, lukas, simonDer Armen und Bedrängten half.

first chorusWer wird den Frieden dort geniessen?

hanne, lukas, simonDer Schutz und Recht der Unschuld gab.

first chorusO seht, der grosse Morgen naht.

second chorusO seht, er leuchtet schon.

both chorusesDie Himmelspforten öffnen sich,der heil’ge Berg erscheint.

first chorusVorüber sind,

second chorusverbrauset sind

first chorusdie leidenvollen Tage,

second chorusdes Lebens Winterstürme.

both chorusesEin ew’ger Frühling herrscht;und grenzenlose Seligkeitwird der Gerechten Lohn!Lasst uns wirken, lasst uns streben!

first chorusLasst uns kämpfen,

second choruslasst uns harren,

both choruseszu erringen diesen Preis.Uns leite Deine Hand, o Gott!Verleih’ uns Stärk’ und Mut;dann siegen wir, dann geh’n wir einin Deines Reiches Herrlichkeit.Amen.

He from whose lips flowed truth.

Who may dwell in this tabernacle?

He who assisted the poor and needy.

Who will enjoy the peace there?

He who gave protection and support to the innocent.

Behold, the great morning draws near.

Behold, it shines already.

The gates of heaven open, the holy mount appears.

Past . . .

calmed are . . .

. . . the days of sorrow,

. . . the winter storms of life.

An eternal springtime reigns; and boundless bliss is the reward of the just. May we, too, gain such a reward some day! Let us work, let us strive!

Let us struggle,

Let us wait in confidence,

. . . to win this prize.May Thy hand lead us, oh God! Lend us strength and courage; then shall we sing, then shall we enter into the splendor of Thy kingdom. Amen.

D A S E N D E

Severance Hall 2012-13 72-M

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~ Memorial Day weekend ~ Saturday, May 25, 2013 ~ 10am-5pm

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 March 2013

ARTISTIC endowed funds support a variety of programmatic initiatives ranging

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

Artistic ExcellenceGeorge Gund III Fund

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

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


Endowed Funds The Cleveland Orchestra72-N

Endowed 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

Severance Hall 2012-13 72-O

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 months of the current Severance Hall season, student attendance doubled from

last season, with nearly 20% of the audience being students experiencing Cleveland Or-

chestra 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 The Cleveland Orchestra72-P

The Partners in Excellence program

salutes companies with annual contri-

butions of $100,000 and more, exem-

plifying leadership and commitment to

artistic excellence at the highest level.

PARTNERS IN EXCELLENCE$300,000 AND MORE

KeyBankThe Lubrizol CorporationNACCO Industries, Inc.Raiffeisenlandesbank

Oberösterreich (Europe) The J. M. Smucker Company

PARTNERS IN EXCELLENCE$200,000 TO $299,999

BakerHostetlerEaton CorporationFirstEnergy FoundationForest City Enterprises, Inc.PNC

PARTNERS IN EXCELLENCE$100,000 TO $199,999

The Cliffs FoundationGoogle, Inc.Medical Mutual of OhioParker Hannifin Corporation

$50,000 TO $99,999

Exile LLCJones DayQuality Electrodynamics (QED)Anonymous

$25,000 TO $49,999

Bank 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 $24,999

AdCom CommunicationsAkron Tool & Die CompanyAkronLife MagazineAmerican Fireworks, Inc.American Greetings CorporationBDIBrouse McDowellEileen M. Burkhart & Co LLC

Buyers Products CompanyCedar Brook Financial Partners, LLCThe Cleveland Wire Cloth & Mfg. Co.Community 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 ServicesGreat 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 February 25, 2013

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 DealerPNCPolyOne CorporationRaiffeisenlandesbank

Oberösterreich (Europe) 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 February 2013.

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


CLEVELANDINSTITUTEMUSICOFCONCERT SERIES2012 | 2013

ORCHESTRACHAMBER MUSIC

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C I M @ S E V E R A N C E

CIM@MOCA

cim.edu

CLEVELAND INSTITUTE OF MUSIC11021 East Boulevard Cleveland, OH 44106 | 216.791.5000 | cim.edu

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

Creativity, Passion, Accountability, and Integrity are our guiding principles.

Contact Jonathan Green • 216.593.0900 ext. 109 • www.jmgreencpa.com

Providing Controllership, CFO, Transaction Management,and Traditional Accounting Services to enterpreneurs

and not-for-profit organizations.

The Cleveland Orchestra74

Foundation/Government Annual Support

$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

Cuyahoga Arts and CultureThe George Gund FoundationThe Andrew W. Mellon FoundationDavid and Inez Myers FoundationThe Kelvin and Eleanor

Smith Foundation

$250,000 TO $499,000

Kulas FoundationThe Miami Foundation,

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

John P. Murphy FoundationOhio Arts Council

$100,000 TO $249,999

Sidney E. Frank FoundationGAR Foundation

$50,000 TO $99,999

The George W. Codrington Charitable Foundation

Martha Holden Jennings FoundationMyra Tuteur Kahn Memorial Fund

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

and William Gwinn Mather FundNational Endowment for the ArtsDonald and Alice Noble Foundation, Inc. The Payne FundThe Sage Cleveland FoundationSurdna Foundation

$20,000 TO $49,999

Akron Community FoundationThe Helen C. Cole Charitable TrustThe Mary S. and David C.

Corbin FoundationThe Gerhard Foundation, Inc.Ann and Gordon Getty FoundationThe Helen Wade Greene Charitable TrustThe Margaret Clark Morgan FoundationThe Frederick and Julia Nonneman

FoundationThe Nord Family FoundationWilliam J. and Dorothy K. O’Neill FoundationPeacock Foundation, Inc. (Miami)The Reinberger FoundationThe Sisler McFawn Foundation

Annual Supportgifts of $2,000 or more during the past year, as of February 25, 2013

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 $19,999

The Abington FoundationAyco 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 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


The George Gund FoundationThe Andrew W. Mellon Foundation

John P. Murphy Foundation


GAR FoundationAnn and Gordon Getty

FoundationThe Louise H. and David S.

Ingalls FoundationMartha Holden Jennings

FoundationKnight Foundation

(Cleveland, Miami)David and Inez

Myers FoundationNational Endowment for the ArtsThe Payne FundThe Reinberger FoundationThe Sage Cleveland Foundation

The Severance Society recognizes

generous contributors of $1 million

or more in cumulative giving

to The Cleveland Orchestra.

Listing as of February 2013.


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)


James D. Ireland III 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. HorvitzElizabeth B. Juliano (Cleveland, Miami) Mr. and Mrs. Dennis W. LaBarre R. Kirk Landon and Pamela Garrison (Miami) Toby Devan LewisMr. and Mrs. Edward A. LozickMs. Beth E. MooneyJames and Donna ReidBarbara S. Robinson

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, Sr.

Mr. and Mrs. Albert B. Ratner


Irma and Norman Braman (Miami) Mr. Francis J. CallahanMrs. M. Roger ClappMr. George Gund III*Francie and David Horvitz (Miami)Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre 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 February 2013.

Annual Supportgifts during the past year, as of February 25, 2013

Individual Annual Support76 The Cleveland Orchestra

Individual Annual Support

Mr. and Mrs. Richard K. Smucker Barbara and David Wolfort Anonymous


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 Giuliana C. and John D. Koch (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. LindsethMargaret Fulton-Mueller Mrs. Jane B. NordMr. and Mrs. James A. RatnerHewitt and Paula Shaw Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton Paul and Suzanne Westlake


Gay Cull AddicottMr. and Mrs. William W. Baker Jill and Paul Clark Mr. and Mrs. Matthew V. Crawford Bruce and Beth Dyer Esther L. and Alfred M. Eich, Jr. Jeffrey and Susan FeldmanDr. 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 Joy P. and Thomas G. Murdough, Jr. (Miami)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 SethiMr. 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)listings 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




Scott Chaikin and Mary Beth Cooper

Martha and Bruce Clinton (Miami)

Mr. and Mrs. Peter O. Dahlen

George* and Becky Dunn

Colleen and Richard Fain (Miami)

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 ClarkMr. and Mrs. William E. ConwayMrs. Barbara CookBruce Coppock and Lucia P. May (Miami)Mr. Peter and Mrs. Julie Cummings (Miami)Mr. and Mrs. Robert P. Duvin 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:

Mike S. and Margaret Eidson (Miami) 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. GillespieElaine Harris GreenRobert 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. Jeff LitwillerMr. 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 Dr. Tom D. Rose Mr. and Mrs. David A. RuckmanDr. Isobel RutherfordMr. 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 SundbergMrs. Jean H. TaberDr. 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. and Mrs.* Robert P. Madison Mrs. Robert H. Martindale

listings continued

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Severance Hall 2012-13 79


Mr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Mr. Raymond M. Murphy Pannonius Foundation Douglas and Noreen PowersRosskamm 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. Robert H. Baker Mr. 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. 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. RoseMr. and Mrs. Robert C. RuhlMrs. Florence Brewster Rutter David M. and Betty Schneider Linda B. SchneiderLarry and Sally Sears Dr. and Mrs. James L. SechlerCharles Seitz (Miami)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 WinansFred and Marcia Zakrajsek Anonymous (6) listings continue


listings continued


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Dr. and Mrs. D. P. AgamanolisMs. 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. Jackson

Mr. and Mrs. Richard A. JanusHelen and Erik JensenDr. Gilles and Mrs. Malvina KlopmanDr. James and Mrs. Margaret KreinerJudy and Donald Lefton (Miami)Ronald 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. MerzweilerBert and Marjorie MoyarRichard B. and Jane E. NashMr. and Mrs. Peter R. OsenarMrs. Ingrid PetrusMr. and Mrs. John S. PietyMr. and Mrs. Richard W. PogueIn memory of Henry PollakWilliam and Gwen PreucilDr. Robert W. ReynoldsMrs. Charles Ritchie

Amy and Ken RogatFred Rzepka and Anne Rzepka

Family FoundationMr. Paul H. ScarbroughBob and Ellie ScheuerMs. Freda SeavertGinger and Larry ShaneMr. Richard ShireyHoward and Beth SimonDr. 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. TowerMr. and Mrs. Lyman H. TreadwayRobert 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 BletcherMadeline and Dennis A. BlockMr. and Mrs. Richard H. BoleJohn 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. Chisholm

Mr.* and Mrs. Robert A. ClarkMr. and Mrs. Stanley Cohen (Miami)Mr. and Mrs. David J. CookDr. Dale and Susan CowanMrs. Frederick F. DannemillerCharles and Fanny Dascal (Miami)Jeffrey and Eileen DavisMrs. Lois Joan DavisDr. 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. Goldfinger

Dr. and Mrs. Ronald L. GouldMr. and Mrs. Robert T. GrafNancy Green (Miami)Mr. and Mrs. Brent R. GroverThe Thomas J. and Judith Fay Gruber

Charitable FoundationNancy 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. HohertzPeter A. and Judith HolmesThomas and Mary HolmesDr. Keith A. and

Mrs. Kathleen M. HooverMark and Ruth Houck (Miami)Dr. Randal N. Huff

and Ms. Paulette BeechMs. Carole HughesMs. 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)


listings continue


listings continued



The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis

Bruce and Eleanor KendrickMr. James KishNatalie KittredgeFred and Judith KlotzmanJacqueline and Irwin Kott (Miami)Ellen Brad and Bart KovacDr. Ronald H. Krasney

and Ms. Sherry* LatimerMr. Donald N. KrosinMr. and Mrs. S. Ernest KulpMrs. Carolyn LamplMr. and Mrs. John J. LaneMr. and Mrs. Israel Lapciuc (Miami)Kenneth 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 Napoli

Mr. David and Mrs. Judith NewellMarshall I. Nurenberg and Joanne KleinMort and Milly Nyman (Miami)Richard and Jolene O’CallaghanNedra and Mark Oren (Miami)James P. Ostryniec (Miami)Mr. and Mrs. Robert D. PaddockDeborah and Zachary ParisDr. Lewis and Janice B. PattersonDrs. John Petrus and Sharon DiLauroDr. Roland S. Philip

and Dr. Linda M. SandhausMs. Maribel Piza (Miami)Dr. 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. 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 SnyderLucy and Dan SondlesMr. 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. and Mrs. William W. TaftMr. Nelson S. TalbottKen and Martha TaylorGreg and Suzanne ThaxtonMr. Karl and Mrs. Carol TheilParker D. Thomson Esq. (Miami)Dr. and Mrs. Thomas A. TimkoMr. and Mrs. Robert J. TomsichSteve and Christa TurnbullMiss Kathleen TurnerRobert A. ValenteBrenton Ver Ploeg (Miami)Mr. Gregory VideticMr. 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 SilvermanTony and Diane Wynshaw-BorisRad and Patty YatesMr. Kal Zucker

and Dr. 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

Cowan’s Auctions holds two Fine Jewelry & Timepieces auctions annually.

For information on how to bid, consign and receive free appraisals visit cowans.com

Accepting Exceptional Consignments

ContactBrad [email protected]

513.871.1670 x176270 Este Ave.Cincinnati, OH 45232


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


Visit the Cleveland Orchestra Store for

the latest and best Cleveland Orchestra

recordings and DVDs.

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Heidi O’NeillRegistered Landscape Architect


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 Hall The Cleveland Orchestra88

C O N C E R T C A L E N D A R

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

Concert Calendar

S P R I N G S E A S O NThursday 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 ORCHESTRAJames Feddeck, conductorRobert Walters, oboe d’amoreRebecca Nelsen, sopranoNicholas Phan, tenorStephen Powell, baritoneCleveland Orchestra ChorusCleveland Orchestra Children’s Chorus

BACH Concerto in A major, BWV1055ORFF Carmina Burana

Sponsor: KeyBank

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, bass-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 RAINBOWSPECTACULAR STRINGS

Alexandra Preucil, violin David Alan Harrell, cello

30-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 MASTERWORKS

Two special programs feature daring sounds of musical works that originated from composers living and writing in California during the 20th century — and welcomed into classical music a myriad of non-European 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

MOZART Symphony No. 1 FISCHER Symphony with Eight Timpani MOZART Symphony No. 17* REBEL Overture to The Elements* HAYDN Symphony No. 45 (“Farewell”) *not included on Friday Morning Matinee

Thursday 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

HANDEL Water Music, Suite No. 1 HANDEL Zadok the Priest HANDEL Dettingen Te Deum Sponsor: Thompson Hine LLP

Sunday May 12 at 2:00 p.m.THE CLEVELAND ORCHESTRAMichael Butterman, conductor FAMILY CONCERT FABLES, FANTASY, AND FOLKLORE

Discover how music can bring characters and stories to life, then use your imagination to help create your own musical story with the help of The Cleveland Orchestra! This highly in-teractive concert includes such classics as Rimsky-Korsakov’s Scheherazade (based on Tales from the Arabian Nights), Grieg’s In the Hall of the Mountain King, Rossini’s William Tell Overture, and Berlioz’s Symphonie fantastique. Bring your family, and your imagination for storytelling on the big stage.

Sponsor: The Giant Eagle Foundation

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

The Cleveland Orchestra90

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

O R C H E S T R A 1213SEASON

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

Sunday May 12 at 7:00 p.m.CLEVELAND ORCHESTRA YOUTH ORCHESTRAJames Feddeck, conductorHannah Moses, cello

BARBER Overture to The School for ScandalDVOŘÁK Cello Concerto

SZYMANOWSKI Etude R. STRAUSS Death and Transfi guration

May 11 to 17THE CLEVELAND ORCHESTRA

NORTHEAST OHIO NEIGHBORHOOD RESIDENCY THE CLEVELAND ORCHESTRA

AT HOME IN GORDON SQUAREThe Cleveland Orchestra presents its inaugural neighbor-hood residency in Northeast Ohio May 11-17 in Cleveland’s Gordon Square Arts District. During this fi rst residency, the Orchestra offers more than fi fteen events for the commu-nity throughout the week, including performances by Cleve-land Orchestra musicians, ensembles from the Cleveland Orchestra Youth Orchestra and Youth Chorus, a Cleveland Orchestra concert preview, and educational programs for local students. All of the events will be free and open to the public. For details, visit clevelandorchestra.com.

Saturday May 18 at 8:00 p.m.THE CLEVELAND ORCHESTRAJames Feddeck, conductorwith Patti Austin

CELEBRITY SERIES PATTI AUSTIN: MUSIC OF

ELLA AND ELLINGTONPop-jazz superstar Patti Austin began her career as a four-year-old, onstage with legend Dinah Washington. Since then, she has performed hit songs all over the world. In a tribute to jazz giants Ella Fitzgerald and Duke Ellington, Patti Austin joins The Cleveland Orchestra for a program of all-time favorites such as “Cottontail,” “I Got It Bad,” “Honey-suckle Rose,” “Mr. Paganini,” and more!

Thursday May 23 at 8:00 p.m.Saturday May 25 at 7:00 p.m.*Sunday May 26 at 3:00 p.m.THE CLEVELAND ORCHESTRAManfred Honeck, conductorLars Vogt, piano* MARTINSSON Open Mind BEETHOVEN Piano Concerto No. 3* TCHAIKOVSKY Symphony No. 5 *not included on KeyBank Fridays@7 Thursday/Saturday Sponsor: BakerHostetler



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 The Cleveland Orchestra92

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.


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


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

PATTI AUSTIN Music of Ella and EllingtonSaturday May 18 at 8:00 p.m.THE CLEVELAND ORCHESTRAJames Feddeck, conductorwithPatti Austin, vocalist

Pop-jazz superstar Patti Austin began her

career as a four-year-old, onstage with the leg-

endary Dinah Washington. Since then, she has

performed hit songs all over the world — and

is considered one of the most stunning inter-

preters of song onstage today. In a tribute to

jazz giants Ella Fitzgerald and Duke Ellington.

She joins with The Cleveland Orchestra for this

program featuring songs from Austin’s Grammy-

nominated album For Ella, including such favor-

ites as “I’ve Got You Under My Skin,” “I Only Have

Eyes For You,” “Mack the Knife,” and more!

FABLES, FANTASY, AND FOLKLORESunday May 12 at 2:00 p.m.THE CLEVELAND ORCHESTRAMichael Butterman, conductor

The Cleveland Orch estra’s season of Family

Concerts concludes with a program of musical

storytelling led by guest conductor Michael

Butterman. The concert features such classics

as Rimsky-Korsakov’s Scheherazade (based on

Tales from the Arabian Nights), Grieg’s In the

Hall of the Mountain King, and Rossini’s William

Tell Overture. Intended for children ages 7

and older, the series is designed to introduce

young people to classical music. In addition

to the one-hour Orchestra concert, each Fam-

ily Concert features free, pre-concert activities,

including an “Instrument Discovery” in which

children fi nd their inner musicians with hands-

on experience.

Sponsor: The Giant Eagle FoundationNew!


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 april 25-27 concerts

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