the cleveland orchestra april 25-27 concerts
DESCRIPTION
Haydn's The SeasonsTRANSCRIPT
T H E C L E V E L A N D O R C H E S T R AF R A N Z W E L S E R - MF R A N Z W E L S E R - M Ö S TS T M U S I C D I R E C T O R
1213
SEASONMusic. Pure + Simple. clevelandorchestra.com
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April 25, 26, 27HAYDN’S THE SEASONS
A S P O R T I N G L I F E !
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Table of Contents4 The Cleveland Orchestra
1213SEASON
TA B L E O F C O N T E N T S
THIS WEEK T H E C L E V E L A N D O R C H E S T R A
PA
GE
7 In the News
From the Executive Director . . . . . . . . . . . . . . . . . . 7
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.
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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
11Severance Hall 2012-13 11Severance Hall 2012-13
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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,
performing Bruckner’s Fourth Symphony in concert
at Severance Hall in April 2012.
FIRST VIOLINSWilliam PreucilCONCERTMASTER
Blossom-Lee Chair
Yoko MooreASSISTANT CONCERTMASTER
Clara G. and George P. Bickford Chair
Peter OttoFIRST ASSOCIATE CONCERTMASTER
Jung-Min Amy LeeASSOCIATE CONCERTMASTER
Gretchen D. and Ward Smith Chair
Takako MasamePaul and Lucille Jones Chair
Wei-Fang GuDrs. Paul M. and Renate H. Duchesneau Chair
Kim GomezElizabeth and Leslie Kondorossy Chair
Chul-In ParkHarriet T. and David L.Simon Chair
Miho HashizumeTh eodore Rautenberg Chair
Jeanne Preucil RoseDr. Larry J.B. and Barbara S. Robinson Chair
Alicia KoelzOswald and Phyllis Lerner Gilroy Chair
Yu YuanPatty and John Collinson Chair
Isabel TrautweinTrevor and Jennie Jones Chair
Mark DummGladys B. Goetz Chair
Alexandra PreucilKatherine BormannYing Fu
SECOND VIOLINSStephen Rose*
Alfred M. and Clara T. Rankin Chair
Emilio Llinas 2
James and Donna Reid Chair
Eli Matthews 1
Patricia M. Kozerefski and Richard J. Bogomolny Chair
Elayna DuitmanIoana MissitsCarolyn Gadiel WarnerStephen WarnerSae ShiragamiVladimir DeninzonSonja Braaten MolloyScott WeberKathleen CollinsBeth WoodsideEmma ShookJeffrey Zehngut
VIOLASRobert Vernon*
Chaillé H. and Richard B. Tullis Chair
Lynne Ramsey1
Charles M. and Janet G. Kimball Chair
Stanley Konopka 2
Mark JackobsJean Wall Bennett Chair
Arthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly
CELLOSMark Kosower*
Louis D. Beaumont Chair
Richard Weiss1
Th e GAR Foundation Chair
Charles Bernard2
Helen Weil Ross Chair
Bryan Dumm Muriel and Noah Butkin Chair
Tanya EllRalph CurryBrian ThorntonDavid Alan HarrellPaul KushiousMartha BaldwinThomas Mansbacher
BASSESMaximilian Dimoff *
Clarence T. Reinberger Chair
Kevin Switalski 2
Scott Haigh1
Mary E. and F. Joseph Callahan Chair
Mark AthertonThomas SperlHenry Peyrebrune
Charles Barr Memorial Chair
Charles CarletonScott DixonDerek Zadinsky
HARPTrina Struble*
Alice Chalifoux Chair
F R A N Z W E L S E R - M Ö S T M U S I C D I R E C TO R Kelvin Smith Family Chair
The Orchestra
T H E C L E V E L A N D
22 The Cleveland Orchestra
* 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
23Severance Hall 2012-13 23Severance Hall 2012-13
W E
L I G H T
T H E
W A YTo new beginnings
and healthier tomorrows
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
25Severance Hall 2012-13 25Severance Hall 2012-13
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
26 The Cleveland Orchestra
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Cleveland Orchestra News
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.
27Severance Hall 2012-13 27Severance Hall 2012-13
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Cleveland Orchestra News
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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28 The Cleveland Orchestra
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.
HC
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OrchestraNews
Cleveland Orchestra News
29Severance Hall 2012-13 29Severance Hall 2012-13
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NewsNewsNews
OrchestraNews
Cleveland Orchestra News
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.”
30 The Cleveland Orchestra
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Orchestra NewsNews
Cleveland Orchestra News
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
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Cleveland Orchestra News
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
Orchestra News
32 The Cleveland OrchestraCleveland Orchestra News
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CAMELOT KING FORA DAY
PASSIONS a double bill
july 13-august 23 july 21-august 24 july 20-august 22
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THE FLYING DUTCHMAN
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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.
33Severance Hall 2012-13 33Severance Hall 2012-13
Orchestra NewsNews
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Cleveland Orchestra News
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.
Empowering the lives of over 16,000 children and families each year.
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Collecting for clients is music to our ears.
Call Alan Weinberg, Managing Partner, at 216-685-1100.
Weltman, Weinberg & Reis Co., LPA
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Ronald J. Lang 440.720.1102Diane M. Stack 440.720.1105Daniel J. Dreiling 440.720.1104
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35Severance Hall 2012-13 35Severance Hall 2012-13
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
Please call 216-273-1000 or
visit chamberfestcleveland.com
Box office hours: M-F, 10am–3pm
20CFC@Mixon Series, 8pmContinuum: The Divine CosmosPre-concert recital*VIP after party to follow at L’Albatros
21Transformer Station, 9pmCFC @ Transformer Station
23Harkness Chapel, 3pmLet’s Dance!FREE for kids under 18!
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.
41Severance Hall 2012-13 41Severance Hall 2012-13
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
42 The Cleveland Orchestra
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.
43Severance Hall 2012-13 43Severance Hall 2012-13
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
44 The Cleveland Orchestra
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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).
The Cleveland Orchestra
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
46 The Cleveland Orchestra
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
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!
series/kc
a
Sunday, October 2, 2011A Beethoven Bonanza! The many
moods of genius!
Sunday, November 20, 2011The Romantic Music of Franz Liszt
Sunday, October 2, 2011A Beethoven Bonanza! The many
moods of genius!
Sunday, March 6, 2012A musical love triangle: Robert, Claraand Johannes!
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.
49Severance Hall 2012-13 49Severance Hall 2012-13
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
CLEVELANDORCHESTRACHORUS
52 The Cleveland Orchestra
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
CLEVELANDORCHESTRACHORUS
53Severance Hall 2012-13
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
CLEVELANDORCHESTRACHORUS
“THE
MEDIUM IS THE MESSAGE.” – Marshall McLuhan, 1911-1980
PUT YOUR AD IN A WORLD-CLASS SETTING& REACH NORTHEAST OHIO’S MOST AFFLUENT, WELL-EDUCATED AND
INFLUENTIAL AUDIENCE
ADVERTISE INTHE CLEVELAND ORCHESTRA PROGRAM BOOK
John Moore 216-721-4300 [email protected]
Pho
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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
CLEVELANDORCHESTRACHORUS
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
56 The Cleveland Orchestra
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
59Severance Hall 2012-13
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
60 The Cleveland Orchestra
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!
The Seasons — Sung Text
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!
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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!
Everlasting, mighty, gracious God!
Everlasting, mighty, gracious God!
Honor, glory, and praise be unto you,everlasting, mighty, gracious God!
The Seasons — Sung Text
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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!
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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.
The Seasons — Sung Text
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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.
The Seasons — Sung Text
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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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lec.edu1.855.GO.STORM
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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.
The Seasons — Sung Text
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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.
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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.
The Seasons — Sung Text
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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.
The Seasons — Sung Text
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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!
The Seasons — Sung Text
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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!
P L E A S E T U R N PA G E Q U I E T LY
Severance Hall 2012-13 72-CThe Seasons — Sung Text
The Cleveland Orchestra72-D
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The Seasons — Sung Text
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
OO C O
Pho
to C
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tian
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The Seasons — Sung Text
P L E A S E T U R N PA G E Q U I E T LY
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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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.
The Seasons — Sung Text
P L E A S E T U R N PA G E Q U I E T LY
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 .
No. 33 — RECITATIVE
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
wives and maidensKnurre, schnurre, knurre,schnurre, Rädchen, schnurre!
hanneWeber, webe zart und fein,webe fein das Schleierleinmir zur Kirmesfeier.
wives and maidensKnurre, schnurre, knurre,schnurre, Rädchen, schnurre!
hanneAussen blank und innen rein,muss de Mädchens Busen sein,wohl deckt ihn der Schleier.
wives and maidensKnurre, schnurre, knurre,schnurre, Rädchen, schnurre!
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.
No. 35 — RECITATIVE
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.
Rumble, whir, rumble, whir, little wheel, whir!
Weaver, weave delicately, fi nely, weave the gossamer veil for me to wear at the fair.
Rumble, whir, rumble, whir, little wheel, whir!
Bright without and pure within must the maiden’s breast be, though the veil cover it.
Rumble, whir, rumble, whir, little wheel, whir!
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.”
The Seasons — Sung Text
P L E A S E T U R N PA G E Q U I E T LY
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.
No. 37 — RECITATIVE
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?
The Seasons — Sung Text
P L E A S E T U R N PA G E Q U I E T LY
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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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
T H E C L E V E L A N D O R C H E S T R A
Endowed Funds listing continues
T H E C L E V E L A N D O R C H E S T R A
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
T H E C L E V E L A N D O R C H E S T R A
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.
T H E C L E V E L A N D O R C H E S T R A
Corporate Support
73Severance Hall 2012-13
CLEVELANDINSTITUTEMUSICOFCONCERT SERIES2012 | 2013
ORCHESTRACHAMBER MUSIC
ENSEMBLE
OPE
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ART
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CU
LTU
RE
NEW
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ATA
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
$5 MILLION TO $10 MILLION
The George Gund FoundationThe Andrew W. Mellon Foundation
John P. Murphy Foundation
$1 MILLION TO $5 MILLION
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.
T H E C L E V E L A N D O R C H E S T R A
Foundation & Government Support
75Severance Hall 2012-13
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)
INDIVIDUAL GIFTS OF $100,000 TO $199,999
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)
INDIVIDUAL GIFTS OF $75,000 TO $99,999
Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr.
INDIVIDUAL GIFTS OF $50,000 TO $74,999
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.
T H E C L E V E L A N D O R C H E S T R A
Lifetime GivingJOHN L. SEVERANCE SOCIETY
$10 MILLION AND MORE
Daniel R. and Jan R. Lewis (Miami, Cleveland)
$5 MILLION TO $10 MILLION
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
$1 MILLION TO $5 MILLION
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
INDIVIDUAL GIFTS OF $30,000 TO $49,999
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
INDIVIDUAL GIFTS OF $25,000 TO $29,999
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
INDIVIDUAL GIFTS OF $20,000 TO $24,999
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
INDIVIDUAL GIFTS OF $15,000 TO $19,999
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
77Severance Hall 2012-13
78 The Cleveland Orchestra
T H E C L E V E L A N D O R C H E S T R A
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
INDIVIDUAL GIFTS OF $12,500 TO $14,999
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
Individual Annual Support
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
80 The Cleveland Orchestra
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
T H E C L E V E L A N D O R C H E S T R A
listings continued
Individual Annual Support
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Severance Hall 2012-13 81
82 The Cleveland Orchestra
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
INDIVIDUAL GIFTS OF $3,500 TO $4,999
T H E C L E V E L A N D O R C H E S T R A
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)
INDIVIDUAL GIFTS OF $2,500 TO $3,499
listings continue
Individual Annual Support
listings continued
84 The Cleveland Orchestra
T H E C L E V E L A N D O R C H E S T R A
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
Individual Annual Support
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
Severance Hall 2012-13 85
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
T H E C L E V E L A N D O R C H E S T R A
Visit the Cleveland Orchestra Store for
the latest and best Cleveland Orchestra
recordings and DVDs.
2 1 6 . 5 3 6 . 7 6 0 0 www.HeidiONeill.com [email protected]
Heidi O’NeillRegistered Landscape Architect
Severance Hall 2012-13 87
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
PH
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Severance Hall The Cleveland Orchestra88
Severance Hall 2012-13 89
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
Severance Hall 2012-13 91
The Cleveland Orchestra
11001 Euclid Avenue, Cleveland, Ohio 44106 C L E V E L A N D O R C H E S T R A . C O M
AT SEVERANCE HALLCONCERT DINING AND CONCESSION SERVICE Severance Restaurant at Severance Hall is open for pre-concert dining. For reservations, call 216-231-7373, or make your plans on-line by visit-ing opentable.com. Concert concession service of beverages and light refreshments is available before most concerts and at intermissions in the Smith Lobby on the street level, in the Bogomolny-Kozerefski Grand Foyer, and in the Dress Circle Lobby.
FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall are being offered this season on October 14, November 25, February 10 and 24, and May 5 and 26. For additional information or to re-serve you place for these tours, please call the Sever-ance Hall Ticket Offi ce at 216-231-1111. Private tours can be arranged for a fee by calling 216-231-7421.
THE CLEVELAND ORCHESTRA STORE A wide variety of items relating to The Cleve-land Orchestra — including logo apparel, compact disc recordings, and gifts — are available for pur-chase at the Cleveland Orchestra Store before and after concerts and during intermission. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Cleveland Orchestra subscribers receive a 10% discount on most items purchased. Call 216-231-7478 for more information, or visit the Store online at clevelandorchestra.com
ATM — Automated Teller Machine For our patrons’ convenience, an ATM is located in the Lerner Lobby of Severance Hall, across from the Cleveland Orchestra Store on the ground fl oor.
QUESTIONS If you have any questions, please ask an usher or a staff member, or call 216-231-7300 during regular weekday business hours, or email to [email protected]
RENTAL OPPORTUNITIES Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and confer-ences, pre- or post-concert dinners and receptions, weddings, and social events. Exclusive catering pro-vided by Sammy’s. Premium dates are available. Call the Facility Sales Offi ce at 216-231-7420 or email to [email protected]
BEFORE THE CONCERTGARAGE PARKING AND PATRON ACCESS Pre-paid parking for the Campus Center Ga-rage can be purchased in advance through the Tick-et Offi ce for $14 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order pre-paid parking, call the Severance Hall Ticket Offi ce at 216-231-1111. Parking can be purchased for the at-door price of $10 per vehicle when space in the Campus Cen-ter Garage permits. However, the garage often fi lls up well before concert time; only ticket holders who purchase pre-paid parking passes are ensured a parking space. Overfl ow parking is available in CWRU Lot 1 off Euclid Avenue, across from Sever-ance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.
FRIDAY MATINEE PARKING Due to limited parking availability for Friday Matinee performances, patrons are strongly en-couraged to take advantage of convenient off-site parking and round-trip shuttle services available from Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10 per car.
CONCERT PREVIEWS Concert Previews at Severance Hall are present-ed in Reinberger Chamber Hall on the ground fl oor (street level), except when noted, beginning one hour before most Cleveland Orchestra concerts.
Guest Information 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.
Severance Hall 2012-13 93
U P C O M I N G C O N C E R T S
T H E C L E V E L A N D O R C H E S T R A
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!
94 The Cleveland Orchestra
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