the cleveland orchestra april 28, 29, 30, may 5, 6, 7 concerts

2015-16 SEASON

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Concert: April 28, 29, 30

A HERO’S LIFE — page 27

Concert: May 5, 6, 7

STRAVINSKY’S THE FIREBIRD — pages 58-59 including KeyBank Fridays@7

PERSPECTIVES from the Executive Director — page 7

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2015-16 SEASON

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

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

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

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 11 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 13 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . 100-102

WEEK 19 A HERO’S LIFE Program: April 28, 29, 30 . . . . . . . . . . . . . . . . . . . . 27 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 29 WAGNER Prelude and Love-Death from Tristan and Isolde . . . . . . . . . . . . . . . . . . 33 CHAUSSON Poem of Love and the Sea . . . . . . . . . . . . . . . . . . . 37 STRAUSS Ein Heldenleben . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Conductor: Antonio Pappano . . . . . . . . . . . . . . . . . . 31 Soloist: Marie-Nicole Lemieux . . . . . . . . . . . . . . . . . 45

NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . 54-57

WEEK 20 STRAVINSKY’S THE FIREBIRD Program: May 5, 6, 7 . . . . . . . . . . . . . . . . . . . . . 58-59 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 61 KODÁLY Dances of Galánta . . . . . . . . . . . . . . . . . . . . . . . . . . 65 RACHMANINOFF Piano Concerto No. 1 . . . . . . . . . . . . . . . . . . . . . . . 67 STRAVINSKY Suite from The Firebird . . . . . . . . . . . . . . . . . . . . . . 73

Conductor: Andrés Orozco-Estrada . . . . . . . . . . . . 63 Soloist: Kirill Gerstein . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Support Mellon Challenge Grant . . . . . . . . . . . . . . . . . . . . . . 8-9 Sound for the Centennial . . . . . . . . . . . . . . . . . . 52-53 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83-94

WEEKS 19 AND 20

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

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

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

50%

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

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

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

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

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

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

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

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

through Cuyahoga Arts and Culture.

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

from the State of Ohio.

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

4 The Cleveland OrchestraTable of Contents

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

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Visit www.judsonsmartliving.org/cwru for information about this exciting partnership

—Virginia Havens, Judson resident since 2009

7Severance Hall 2015-16 7

April-May 2016

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

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

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

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

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

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

Perspectives from the Executive Director

André Gremillet

Passion and drama, beauty and spectacle defi ne these artforms. And when opera and ballet are performed by The Cleveland Orchestra . . . every performance is elevated to the very highest level.

Under the leadership of Franz Welser-Möst, the Orchestra is committed to making opera and ballet a part of every season’s programming. And thus helping to secure a rich, vital future for Northeast Ohio’s cultural community.

Ensuring the Orchestra continues presenting the best opera and ballet the world has to off er — right here at home — requires additional philanthropic support each season.

And now, every dollar you contri-bute counts twice . . .

The Andrew W. Mellon Foundation has awarded The Cleveland Orchestra $2.5 million to support opera and ballet.

Through June 2016, $1.25 million of the Foundation’s grant is matching, on a one-to-one basis, gifts from donors designated to support ambitious opera and ballet programming.

Support the future of opera and ballet with The Cleveland Orchestra today! Contact Em Ezell in our Philanthropy & Ad-vancement Offi ce by calling 216-231-7523, or make a donation online by visiting clevelandorchestra.com/donate and choosing to give to opera and ballet.

Time is running out to double your support!

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

Ensuring world-class opera and ballet for Northeast Ohio and the future . . .

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Mr. and Mrs. Charles Abookire, Jr.Ms. Nancy A. AdamsDrs. Nathan A. and Sosamma J. BergerMr. William P. Blair IIIMrs. Barbara Ann DavisMr. and Mrs. Ralph DaugstrupDr. M. Meredith DobynsJack Harley and Judy ErnestAngela and Jeff rey GotthardtIris and Tom HarvieDr. Fred A. HeuplerElisabeth HughRobert and Linda JenkinsMr. and Mrs. Richard W. KlymTim and Linda KoelzMr. Clayton R. KoppesPannonius FoundationAnthony T. and Patricia A. LauriaMr. and Mrs.* Thomas A. Liederbach

Ms. Grace LimElizabeth F. McBrideMs. Nancy W. McCannMr. and Mrs. Stanley A. MeiselDeborah L. NealeDr. and Mrs. Paul T. OmelskyMr. J. William and Dr. Suzanne PalmerMs. MacGregor W. PeckPatricia J. SawvelHarry and Ilene ShapiroMs. Frances L. SharpMr. Marc StadiemMr. and Mrs. William W. TaftMs. Ginger Warner Mrs. Darlene K. Woodruff Anonymous

The Cleveland Orchestra applauds the generous donors listed here, who are making possible presenta ons of ar s cally

ambi ous programming of opera and ballet every year.

The Andrew W. Mellon FoundationGeorge* and Becky Dunn

Mrs. Emma S. Lincoln

With Extra Special Thanks . . .

Jim and Karen DakinMr. and Mrs. Dennis W. LaBarreJames and Virginia MeilMs. Beth E. MooneyDr. James and Lynne Rambasek

Blossom Friends of The Cleveland OrchestraJeanette Grasselli Brown and Glenn R. Brown

Judith and George W. DiehlT. K. and Faye A. Heston

Margaret Fulton-MuellerDonald and Alice Noble Foundation, Inc.

Rachel R. SchneiderAnonymous

Listing as of March 2016.

Add your name to this list of opera and ballet supporters today, and double your gift through the Mellon Foundation grant . . . through June 2016.

9

Mr. Larry J. SantonDr. Gerard and Phyllis Estelle Seltzer FoundationDrs. Daniel and Ximena SesslerWomen’s Committee of The Cleveland Orchestra Anonymous

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Musical Arts Association

* deceased

TE Trustee Emeritus


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

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

Herbert Kloiber (Germany)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

THE MUSICAL ARTS ASSOCIATION as of January 2016

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

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

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

Robert W. Gillespie Dorothy Humel Hovorka Robert P. Madison

Robert F. MeyersonJames S. Reid, Jr.

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

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

13Severance Hall 2015-16 13About the Orchestra

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

The Orchestra was founded in 1918 and performed its

fi rst concert on December 11.

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

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

year as music director.

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

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

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Over half of The Cleveland Orchestra’s funding each year

comes from thousands of generous donors and spon-

sors, who together make possible our concert presenta-

tions, community programs, and education initiatives.

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

as the Orchestra’s permanent home.

each year

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

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

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

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15Severance Hall 2015-16 15About the Orchestra

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

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

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

16 The Cleveland OrchestraAbout the Orchestra

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

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

Music Director

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20 The Cleveland OrchestraMusic Director

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

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

AT LEFT

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

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

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

—London Times

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

—San Francisco Chronicle

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Orchestra Roster

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee ChairYoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Takako MasamePaul and Lucille Jones Chair

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

Kim GomezElizabeth and Leslie Kondorossy Chair

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

Miho HashizumeTh eodore Rautenberg Chair

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

Alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

Isabel TrautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

Alexandra PreucilKatherine BormannAnalisé Denise Kukelhan

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2

James and Donna Reid ChairEli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten MolloyCarolyn Gadiel WarnerElayna DuitmanIoana MissitsJeffrey Zehngut

Vladimir DeninzonSae ShiragamiScott WeberKathleen CollinsBeth WoodsideEmma ShookYun-Ting Lee

VIOLASRobert Vernon*

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2

Mark JackobsJean Wall Bennett Chair

Arthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSMark Kosower*

Louis D. Beaumont ChairRichard Weiss1

Th e GAR Foundation ChairCharles Bernard2

Helen Weil Ross ChairBryan Dumm

Muriel and Noah Butkin ChairTanya Ell

Th omas J. and Judith Fay Gruber Chair

Ralph CurryBrian Thornton

William P. Blair III ChairDavid Alan HarrellMartha BaldwinDane JohansenPaul Kushious

BASSESMaximilian Dimoff *

Clarence T. Reinberger ChairKevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune

Charles Barr Memorial ChairCharles CarletonScott DixonDerek Zadinsky

HARPTrina Struble*

Alice Chalifoux Chair

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

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

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

22 The Cleveland Orchestra

Orchestra Roster

FLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn ChairMary Kay Fink

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein*

Edith S. Taplin ChairCorbin StairJeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaff e Chair

CLARINETSRobert WoolfreyDaniel McKelway 2

Robert R. and Vilma L. Kohn Chair

Linnea Nereim

E-FLAT CLARINETDaniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINETLinnea Nereim

BASSOONSJohn Clouser *

Louise Harkness Ingalls ChairGareth ThomasBarrick Stees2 *

Sandra L. Haslinger ChairJonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSMichael Mayhew §

Knight Foundation ChairJesse McCormick

Robert B. Benyo ChairHans ClebschRichard KingAlan DeMattia

TRUMPETSMichael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack SutteLyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard StoutAlexander andMarianna C. McAfee Chair

Shachar Israel2

BASS TROMBONEThomas Klaber

EUPHONIUM AND BASS TRUMPETRichard Stout

TUBAYasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANIPaul Yancich*

Otto G. and Corinne T. Voss ChairTom Freer 2

Mr. and Mrs. Richard K. Smucker Chair

PERCUSSIONMarc Damoulakis*

Margaret Allen Ireland ChairDonald MillerTom FreerThomas Sherwood

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin ChairCarolyn Gadiel Warner

Marjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’Brien

Joe and Marlene Toot ChairDonald Miller

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

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

CONDUCTORSChristoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,CLEVELAND ORCHESTRA MIAMI

Brett MitchellASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

O R C H E S T R A


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25Severance Hall 2015-16

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

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

May 5, 7“Passion and the Dance”(Musical works by Kodály, Rachmaninoff , Stravinsky) with guest speaker Jerry Wong, associate professor of piano, Kent State University

May 6 FRIDAY MORNING

“Youthful Beginnings”(Musical works by Rachmaninoff , Stravinsky) with Rose Breckenridge, administrator and lecturer, Cleveland Orchestra Music Study Groups

May 12, 13, 14“Of Musical Tales and Strings” (Musical works by Liszt and Bartók) with guest speaker Michael Strasser, professor of musicology, Baldwin Wallace University Conservatory of Music

May 19, 21, 22“Death and Glory”(Musical works by Dvořák Janáček, Beethoven) with guest speaker Cicilia Yudha, associate professor of piano, Youngstown State University

LEARNING MORE ABOUT THE MUSIC

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

Concert Previews


for getting everyone out of their seats.Inspiring. Thought Provoking. PNC is proud to sponsor The Cleveland Orchestra. Because we appreciate all that goes into your work.

©2013 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC 4


2015-16 SEASON

Severance HallThursday evening, April 28, 2016, at 7:30 p.m.Friday morning, April 29, 2016, at 11:00 a.m. * Saturday evening, April 30, 2016, at 8:00 p.m.

Antonio Pappano, conductor

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

RICHARD WAGNER Prelude and Love-Death (1813-1883) from Tristan and Isolde

ERNEST CHAUSSON Poem of Love and the Sea * (1855-1899) [Poème de l’amour et de la mer] 1. The Flower of the Waters — 2. Interlude — 3. The Death of Love MARIE-NICOLE LEMIEUX, mezzo-soprano

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

RICHARD STRAUSS A Hero’s Life [Ein Heldenleben] (1864-1949) 1. The Hero — 2. The Hero’s Adversaries — 3. The Hero’s Companion — 4. The Hero’s Battlefield — 5. The Hero’s Works of Peace — 6. The Hero’s Withdrawal from the World — and the Fulfillment of His Life (played without pause) solo violin: William Preucil

Concert Program — Week 19

These concerts are sponsored by PNC Bank, a Cleveland Orchestra Partner in Excellence.Marie-Nicole Lemieux’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from the late Dr. Frank Hovorka in honor of Dorothy Humel Hovorka.The concert will end on Thursday evening at about 9:30 p.m.and on Saturday night at approximately 10:00 p.m.

The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation.

*The Friday morning concert is performed without intermission and features the works by Wagner and Strauss. The concert ends at about 12:10 p.m.

One supreme fact that I have dis-covered is that it is not willpower, but fantasy that creates. Imagination is the creative force. Imagination creates reality.

—Richard Wagner

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F O R T H I S W E E K E N D ’ S C O N C E R T S , guest conductor Antonio Pappano has put together an intriguing program of musical works from the latter half of the 19th century — centered around some of life’s most chal-lenging and consistent contrasts, between love and death, the awakening of spring and the dying of autumn, between family and self. The concert begins with some of the most famously daring — and history-changing — music, from Wagner’s opera Tristan and Isolde, written 1857-59. In an orchestral pairing of the opening and closing minutes of the opera, the composer’s genius in turning Western tonality toward the mod-

ern age is fully in evidence. In waves of yearning and reaching, the music signals not just the lovers’ longing, but a musical search for peace and rest. In the opera, peace comes only with death and end-ing, with love leading . . . inevitably . . . to death, joy to sorrow, the beauty of music to . . . the peace of silence. For this week’s evening concerts, the program continues with a work by the French composer Ernest Chausson, who heard Wagner’s call forward. In his Poem

of Love and the Sea, premiered in 1893, Chausson blends together the new Germanic longings with French sensitivities and poetic words of opposites and togethers. French-Canadian contralto Marie-Nicole Lemieux joins with The Cleveland Orchestra for these enchantingly enigmatic poems. Mr. Pappano concludes the concerts with one of Richard Strauss’s grand and grandiloquent tone poems, from 1897-98. In Ein Heldenleben (or “A Hero’s Life”), Strauss wrote his own autobiography in orchestral prose, complete with heroic struggles against his critics, love and confl icts with his wife, adulation of his patrons, and contemplation of his triumphs (what some saw as Love of Self). All of this, including a soaringly beautifuly role for the solo violin, played by concertmaster William Preucil, is deftly off ered in proper form and compelling music. —Eric Sellen

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

Love, Death&Heroics

Introducing the Concert

THURSDAY — FRIDAY — SATURDAY

ABOVE“Tristan and Isolde Drink the Love Potion” — 15th-century French manuscript illustration.


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One of today’s most sought-after conduc-tors, British-Italian conductor Antonio Pappano has served as music director of London’s Royal Opera House since 2002. He has also held the position of music di-rector with the Orchestra dell’Accademia Nazionale di Santa Cecilia in Rome since 2005. He made his Cleveland Orchestra and Severance Hall debut in March 1995, and most recently conducted here in April 2001. Mr. Pappano conducts widely in both symphonic and operatic repertoire. Early in his career, he served as pianist, répétiteur, and assistant conductor at many major European and North Ameri-can opera houses, including the Bayreuth Festival, Lyric Opera of Chicago, and New York City Opera. He was music direc-tor with Belgium’s Théâtre Royal de la Monnaie 1992-2002, and principal guest conductor of the Israel Philharmonic Or-chestra 1997-99. Antonio Pappano has led produc-tions at many of the world’s great opera venues, including New York’s Metropoli-tan Opera, San Francisco Opera, Berlin State Opera, Teatro alla Scala in Milan, Paris’s Théâtre du Châtelet, Vienna State Opera, and the Salzburg Festival. He has appeared as a guest conductor with many of the greatest orchestras, includ-ing those of Amsterdam, Berlin, Boston, Chicago, Cleveland, Dresden, London, Munich, New York, Paris, Philadelphia, and Vienna, as well as with the Chamber Orchestra of Europe and the Verbier Fes-tival Orchestra.

An exclusive recording artist for Warner Classics (formerly EMI Classics) since 1995, Mr. Pappano has a discog-raphy that features operas and orches-tral works. His recordings have received accolades including Classic Brit, Echo Klassik, Gramo-phone, and BBC Music Magazine awards. As a pianist, he has appeared with some of today’s most acclaimed sing-ers, including Ian Bostridge, Joyce DiDona-to, and Gerald Finley, both in recital and on recordings. He also regularly appears as a speaker and presenter, particularly for BBC Televi-sion documentaries. Born in London to Italian parents, Antonio Pappano moved with his family to the United States at age 13. His honors include Gramophone’s Artist of the Year award in 2000, the 2003 Olivier Award for Outstanding Achievement in Opera, 2004 Royal Philharmonic Society Music Award, and the Bruno Walter prize from the Aca-démie du Disque Lyrique in Paris. In 2012, he was knighted by the British Empire and became a Cavaliere di Gran Croce of the Republic of Italy. He became the hundredth recipient of the Royal Philhar-monic Society’s Gold Medal in 2015.

Antonio Pappano

Guest Conductor


“ O N LY M E D I O C R E P E R F O R M A N C E S can save me. Good ones will likely drive the audience mad.” That was the conclusion Wagner came to about the new opera he had initially conceived as a mere divertissement (preferably one that could bring in some badly needed box offi ce revenue). A viable candidate for Wagner’s most perfectly realized masterpiece, Tristan and Isolde was intended to be more “practical” than the massive four-opera Ring of the Nibelung project that had preoccupied him for nearly a decade. By the summer of 1857, Wagner had begun to acknowl-edge that his vision for a festival staging of the epic Ring cycle wasn’t likely to be realized anytime soon. Even more, the com-poser must have been fearing creative burnout. By this point, he had reached the forest scene in the second act of Siegfried, the third Ring drama. The composer believed that he needed to recharge his musical imagination with a diff erent project. Another motivating force was the composer’s emerging desire for Mathilde Wesendonck. She was the beautiful and ac-complished wife of a patron who had been supporting Wagner during his exile in Switzerland. Her much older husband, Otto, who made his fortune in the American silk market, was now

Wagner wrote his libretto for the opera Tristan and Isolde in the summer of 1857 and composed the score between October of that year and August 1859. The opera was fi rst performed on June 10, 1865 in Munich, with Hans von Bülow conducting. Wagner prepared a concert ver-sion of excerpts linking the Prelude with the fi nal minutes of the opera (the “Love-Death”), which he conducted in concert in 1863, two years before the opera’s premiere. The Prelude and Love-Death runs nearly 20 minutes in performance. Wagner scored it for 3 fl utes (third dou-

bling piccolo), 2 oboes, english horn, 2 clarinets, bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, bass tuba, timpani, harp, and strings. The Cleveland Orchestra fi rst per-formed music from Tristan and Isolde in March 1921, when Nikolai Sokoloff led performances of the Prelude and Love-Death, which has been programmed frequently since that time. Artur Rod - zinski led staged performances of the complete opera in November1933. Franz Welser-Möst will lead perfor-mances of the complete opera in April 2018 here at Severance Hall.

About the Music

At a Glance

Prelude and Love-Deathfrom Tristan and Isoldecomposed 1857-59

About the Music

by RichardWAGNERborn May 22, 1813Leipzig

died February 13, 1883Venice



retired in Zurich and had befriended Wagner. It’s usually assumed — by the romantically inclined, at any rate — that it was the com-poser’s passion for Mathilde that drove him to seek an artistic outlet for its expression. The famous medieval romance of Gottfried von Strassburg depicts the chivalric plight of the young knight Tristan and his beloved Isolde (wife of Tristan’s royal uncle Marke), who are overwhelmed by helpless mutual desire. Surely the uncanny parallel with Wagner’s own situation with Mathilde Wesendonck fascinated the composer. Yet the true relation of cause and eff ect — art imitating life or the reverse? — is not so easy to tease out. Indeed, Wagner’s instinc-tive need to explore new musical ideas simmering inside him might just as well have caused him to fall in love. Rather like the love potion in the opera itself, Mathilde fueled his inspiration. So, too, did his recently acquired enthusiasm for the pessimistic philosophy of Arthur Schopenhauer, which held that de-sire enslaves humanity in a perpetual state of suff ering. These ideas led Wagner to see the Tristan legend in a new light. He reconfi gured it into a plot of minimalist sparseness — in striking contrast to the Ring’s sprawling, epic narrative. In Tristan and Isolde, very little happens onstage. In fact, more action occurs in the fi nal minutes that culminate in Isolde’s “Love-Death” (which concludes the opera) than in the four-plus hours preceding it. Thus Wagner was driven to explore a new kind of music that would reveal the in-ner states of his main characters — what they experience as love passes through them. Even the “mediocre” performances Wagner half desired were impossible to come by at fi rst. The opera’s outrageous novelty — its extremities of musical and dramatic expression — overtaxed the conventional operatic resources of the time. It wasn’t until six years after he had completed the score that Tristan received its premiere (with the added support of the composer’s new patron, “mad” King Ludwig of Bavaria). The Tristan Prelude (without the Love-Death) was fi rst heard in concert in Prague, under the baton of Hans von Bülow. Bülow — whose wife Cosima would also succumb to Wagner’s romantic charms — was one of the composer’s staunchest advocates, and later led the premiere of the opera itself. When the composer rehearsed the Tristan Prelude for a series of Paris programs in 1860, Wagner observed (in a letter to Mathilde Wesendonck) that he had to guide his musicians through the piece “note by note — as if to discover precious stones in a mine.”

About the Music

ABOVE: Mathilde Wesendonck, in a painting from 1850by Karl Ferdinand Sohn.


T H E M U S I C The Prelude distills the essence of the entire opera by evoking the desire that is its engine. Two motifs, heard at the outset, descend (cellos) and ascend (oboes) in yearning chromatic half-steps. The harmony they produce when they fi rst collide — known as “the Tristan chord” — is a landmark in Western music history. But listeners need no advanced degree in harmonic theory to feel the sense of unresolved desire that Wagner evokes by using it. This is the kernel of the entire opera. The Prelude soon introduces a wide-ranging melody, full of long-ing, that suggests a similarly open-ended quality. What was so radical here is how Wagner sustains an unprecedented level of tension. His use of silence is part of the strategy, while also avoiding traditional contrasts of musical material, and building the musi-cal tension and density toward an inevitable climax. Yet even this feels unresolved, with the Prelude tapering to near inaudibility on another series of ambiguous harmonies. From his concert performances of the Prelude, Wagner came up with the idea in 1863 — still two years before the opera’s premiere — of linking the Prelude directly to the music Isolde sings in her fi nal solo to conclude the opera. This ending has become known as the Liebestod (“Love-Death”), al-though when fi rst Wagner detailed his plan to link the two as concert companions, he actually applied that term to the Prelude and referred to Isolde’s song as “transfi gura-tion.” Onstage, Isolde has arrived too late to heal the mortally wounded Tristan. But in her “transfi gured” state, she experiences the enlightenment that her beloved attained just before his death. Here, Wagner revisits the most heated part of their love duet from the second act. However, the hectic lyricism that earlier character-ized this music is now reconfi gured in serene, patiently swelling waves. They build toward an oceanic climax, after which the chromatic desire motif that opened the Prelude returns and at last resolves into what Richard Strauss described as “the most beautifully orchestrated B-major chord in the whole history of music.”

—Thomas May © 2016Thomas May is a writer and lecturer on music for orchestras and

festivals in North America and Europe. His books include The John Adams Reader and Decoding Wagner.

About the Music

In the Love-Death from

Tristan, swelling waves

of music build toward an

oceanic climax, after which

the chromatic desire mo-

tif that opened the Prelude

returns and at last resolves

into what Richard Strauss

described as “the most

beautifully orchestrated

B-major chord in the whole

history of music.”

WORLD PREMIERE IN CLEVELAND

A Centennial Exhibition

Through June 12Experience Royal Life

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

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

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

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

Marcel DuchampApr 5 – Jul 3

Titian Through Apr 3

Kifwebe MaskMar 25 – Jun 12

John Singer Sargent Sep 1 – Nov 1

Karl Schmidt-Rottluff Aug 25 – Dec 18

ClevelandArt.orgPresenting Centennial Sponsor

Media SponsorSupporting Centennial Sponsor

Presenting Exhibition Sponsor


THURSDAY and SATURDAY

D U R I N G H I S L I F E T I M E , Ernest Chausson’s home, at 22 Bou-levard de Courcelles in Paris, was always open to artists, poets, and musicians. The list of his regular guests reads like a Who’s Who of French culture: the leading impressionist painters Ed-ouard Manet and Edgar Degas, the writers André Gide and Co-lette, the composers César Franck, Gabriel Fauré, and Claude Debussy, could all be seen at Chausson’s soirées. (One notable absence was Camille Saint-Saëns, the arch-rival of Chausson’s teacher Franck.) The host, himself a composer, had inherited a fortune. His father, a contractor, had worked on Baron Haussmann’s extensive construction projects, which had transformed Paris into a mod-ern city. The son could aff ord to devote himself to composition and to collecting paintings by his numerous artist friends. The two main infl uences on Chausson as a composer were Franck and Wagner; in his best works he was able to combine the new Wagnerian harmonic idiom with a genuinely French sensitivity. Chausson, whose musical career was cut short by a fatal bicycle accident at age 44, wrote two great musical “poems.” One is the popular Poème for violin and orchestra of 1896. The other is the work we are hearing at these concerts, which, de-

Chausson wrote his Poème de l’amour et de la mer [“Poem of Love and the Sea”] between 1882 and 1893. The fi nal section of the work was fi rst performed separately, as a song with piano accompaniment, under the title “Le Temps des Lilas” [“The Time of Lilacs”], on February 21, 1893, in Brussels; tenor Désiré Demest was the soloist, with the composer at the piano. The orches-tral version of the entire work was premiered in Paris on April 8, 1893. This work runs about 25 minutes

in performance. Chausson scored it for an orchestra of 2 fl utes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, harp, and strings, plus vocal soloist. The Cleveland Orchestra has pre-viously performed Chausson’s Poem of Love and the Sea on only two sets of weekend concerts, in March 1964, under Louis Lane’s direction, with contralto Maureen Forrester as soloist, and in February 2006, with guest conductor Marc Minkowski and soprano Felicity Lott.

About the Music

At a Glance

Poem of Love and the Sea[Poème de l’amour et de la mer]composed 1882-93

About the Music

by ErnestCHAUSSONborn January 20, 1855Paris

diedJune 19, 1899Limay, France

Il trovatore

VERDI

The TroubadourOPERA CIRCLE CLEVELAND

Saturday, June 11, 2016 at 7:30 pm

The Ohio Theatre, PlayhouseSquare

1511 Euclid Avenue, CLEVELAND Ohio 44115

TICKETS at 216-241-6000 or online at PlayhouseSquare.org

After its sold-out Madama Butterfly 2015, Opera Circle Cleveland is returning to The Ohio Theatre

with the Verdi masterpiece Il trovatore, fully staged with English translation projected.

SMIRNOFFConductor

SCHUTZAThe Met

SOBIESKAOpera Circle Cleveland

WETZELArizona Opera

CARRCentral City Opera

SKOOGOpera Circle Cleveland

After its sold-out Madama Butterfly 2015, Opera Circle Cleveland is returning to The Ohio Theatre

with the Verdi masterpiece Il trovatore, fully staged with English translation projected.


spite initial popularity, fell into obscurity in the latter half of the 20th century. It has been making something of a well-deserved return to favor — with performers and audiences alike — in the past two de-cades, including a number of new recordings. In Poème de l’amour et de la mer (“Poem of Love and the Sea”), as on several other occasions, Chausson was inspired by the work of a poet his own age who was also a personal friend. Maurice Bouchor (1855-1929), highly regarded in his own time, is all but forgotten today. If we read Bouchor’s poems without Chausson’s music, they may seem overly sentimental and cloying in today’s world. Yet the composer responded to Bouchor’s style in a sincere and lushly beautiful tone, producing a work that can be seen as a bridge between the Roman-ticism of Franck and the modernism of Debussy. It is interesting to note that these poems contain a few nods to Théophile Gautier, an important poet of the older generation, whose Nuits d’été (“Sum-mer Nights”) had been so memorably set to music by Hector Berlioz. That song cycle includes a scene grieving for a lost love while gazing upon the sea (“Sur les lagunes”), a scene directly echoed here. The Berlioz/Gautier image of the lovers who go happily picking fl owers (“Villanelle”), however, is negated in Bouchor’s “The Death of Love,” where such a gentle and innocent activity is, alas, no longer possible. Chausson arranged the poems he had chosen from Bouchor’s collection in two extended vocal movements separated by a brief or-chestral interlude. Each of the vocal movements comprises a number of separate poems, diff ering in meter and form. The individual poems alternate with connecting sections for orchestra alone. Many of the melodies in the work use the fi ve-note or penta-tonic scale (made up by only the black keys of a piano). The use of this scale, prevalent in many non-Western cultures and also a favorite of Debussy, gives this music a touch of exoticism. The rich and ingenious orchestration also anticipates Debussy, especially in its sensitive use of the woodwind instruments and the harp. A typical product from the period of fi n-de-siècle (“end-of-the-century”) feeling of decadence and change, the work moves from a lyrical opening in a major key, rejoicing in the scent of the lilacs, to a dark conclusion in the minor, lamenting a love that is “forever dead.”

—Peter Laki © 2016

About the Music

The two main infl uences

on Chausson as a compos-

er were César Franck and

Richard Wagner. In his

best works he was able

to combine Wagner’s new

harmonic idiom with a gen-

uinely French sensitivity.


L’air est plein d’une odeur exquise de lilas,qui, fl eurissant du haut des murs jusques en bas,embaument les cheveux des femmes.La mer au grand soleil va toute s’embraser,et sur le sable fi n qu’elles viennent baiserroulent d’éblouissantes lames.

O ciel qui de ses yeux dois porter la couleur,brise qui vas chanter dans les lilas en fl eurpour en sortir tout embaumée,ruisseaux, qui mouillerez sa robe, ô verts sentiers,vous qui tressaillerez sous ses chers petits pieds,faites-moi voir ma bien-aimée!

Et mon cœur s’est levé par ce matin d’été;car une belle enfant était sur le rivage,laissant errer sur moi ses yeux pleins de clarté,et qui me souriait d’un air tendre et sauvage.Toi que transfi guraient la Jeunesse et l’Amour,tu m’apparus alors comme l’âme des choses;mon cœur vola vers toi, tu le pris sans retour,et du ciel entr’ouvert pleuvaient sur nous des roses.

Quel son lamentable et sauvageva sonner l’heure de l’adieu!La mer roule sur le rivage,moqueuse, et se souciant peuque ce soit l’heure de l’adieu.Des oiseaux passent, l’aile ouverte,sur l’abîme presque joyeux;au grand soleil la mer est verte,et je saigne, silencieux,en regardant briller les cieux.Je saigne en regardant ma viequi va s’éloigner sur les fl ots;mon âme unique m’est ravieet la sombre clameur des fl otscouvre le bruit de mes sanglots.Qui sait si cette mer cruellela ramènera vers mon cœur?Mes regards sont tournés vers elle;la mer chante, et le vent moqueurraille l’angoisse de mon cœur.

1. La Fleur

des eaux

Sung Text and Translation


An exquisite scent of lilac fi lls the airfrom blooms that deck the walls from top to bottom,and perfume women’s hair.Bathed in bright sunlight, the sea will be afl ame,and on the fi ne sand, in a kiss,break dazzling waves.

O sky that will refl ect the color of her eyes,breeze that will sing among the lilac bloomsto emerge scent-laden,streams that will dampen her dress, o grassy paths,you that will throb beneath her dear, small feet,let me see my beloved!

My heart awoke that summer morning,for a beautiful girl was there upon the shore,letting her limpid gaze roam over me,smiling with tender wildness.You, transfi gured by Youth and Love,seemed then to be the very soul of nature;my heart went out to you, you took it for ever,and roses rained down on us from the opening sky.

What wild lamentwill sound the hour of farewell!The sea surges upon the shore,mocking and indiff erentto the hour of farewell.Birds soar on outspread wingsabove the carefree deep;bathed in bright sunlight, the sea is green,and I grieve in silence,gazing upon the splendor of the sky.I grieve as I see my lifecarried away on the waves;my very soul is taken from me,and the dull booming of the wavesmuffl es the sound of my sobs.Who knows if this cruel seawill bring her back to me?My eyes take their fi ll of her;the sea is singing, and the mocking windjeers at the anguish of my heart.

1. The Flower of the Waters

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


42 The Cleveland OrchestraSung Text and Translation

3. La Mort de l’amourBientôt l’île bleue et joyeuseparmi les rocs m’apparaîtra;l’île sur l’eau silencieusecomme un nénuphar fl ottera.

A travers la mer d’améthystedoucement glisse le bateau,et je serai joyeux et tristede tant me souvenir — bientôt!

Le vent roulait des feuilles mortes; mes penséesroulaient comme des feuilles mortes, dans la nuit.Jamais si doucement au ciel noir n’avaient luiles mille roses d’or d’où tombent les rosées!Une danse eff rayante, et les feuilles froissées,et qui rendaient un son métallique, valsaient,semblaient gémir sous les étoiles, et disaientl’inexprimable horreur des amours trépassées.Les grands hêtres d’argent que la lune baisaitétaient des spectres: moi, tout mon sang se glaçaiten voyant mon aimée étrangement sourire.Comme des fronts de morts nos fronts avaient pâli,et, muet, me penchant vers elle, je pus lirece mot fatal écrit dans ses grands yeux: l’oubli.

Le temps des lilas et le temps des rosesne reviendra plus à ce printemps-ci;le temps des lilas et le temps des rosesest passé, le temps des œillets aussi.Le vent a changé, les cieux sont moroses,et nous n’irons plus courir, et cueillirles lilas en fl eur et les belles roses;le printemps est triste et ne peut fl eurir.

Oh! joyeux et doux printemps de l’année,qui vins, l’an passé, nous ensoleiller,notre fl eur d’amour est si bien fanée,las ! que ton baiser ne peut l’éveiller!Et toi, que fais-tu ? pas de fl eurs écloses,pas de grand soleil ni d’ombrages frais;le temps des lilas et le temps des rosesavec notre amour est mort à jamais.


3. The Death of LoveVery soon the happy blue islewill appear among the rocks;fl oating upon the silent waterlike a water-lily.

Across the amethyst seathe boat glides softly,and I shall feel both joy and sorrowat so many memories — soon.

The wind rolled the dead leaves along, my thoughtswere rolled along like dead leaves in the night,the myriad golden roses from which the dew fallshad never shone with such gentleness in the black sky!In terrifying dance, the crumpled leaveswaltzed with a metallic sound,seeming to moan beneath the stars, and tellingthe inexpressible horror of dead loves.Great silver beeches, moon-kissed,loomed like spectres: and my blood turned to iceat my love’s strange smile.Our faces had grown as pale as the faces of the dead,and leaning mutely toward her, I could readthis fatal word in her wide eyes: oblivion.

The time of lilac and the time of roseswill not return this spring;the time of lilac and the time of rosesis past — and the time of carnations, too.The wind has changed, the heavens frown,and we shall run no more to pluckthe lilac blooms and the beautiful roses;the spring is sad and cannot bloom.

How sweet and happy was the springthat came last year to bathe us in its sunshine glow!The fl ower of our love is now so withered,alas, that your kiss cannot revive it!And you, what are you doing? No fl owers blooming,no merry sunshine or cool shade,the time of lilac and the time of roses,with our love, is forever dead.


t h e e n d


French-Canadian contralto Marie-Nicole Lemieux rose to international promi-nence in 2000 when she won fi rst prize at the Queen Elisabeth Competition in Brus-sels. Since that time, she has appeared with important opera companies, major orchestras, and at prestigious festivals across North America and Europe. She is making her Cleveland Orchestra debut with this weekend’s performances. Marie-Nicole Lemieux was born in Quebec and studied music in her youth. In 1994, she began vocal studies at the Chicoutimi Conservatoire de musique with Rosaire Simard. In 2000, she earned a master’s degree in voice at the Conser-vatoire de musique de Montréal, where she worked with Marie Daveluy. Within three weeks, Ms. Lemieux won fi rst prize at both the Jeunesse Musicale du Can-ada’s Joseph Rouleau Competition in Montreal and the Queen Elisabeth Com-petition for opera, and second prize in Lieder at that competition. The following year, she received the Canada Council Vir-ginia Parker Prize. Since that time, Marie-Nicole Lemieux’s career has grown internation-ally. She made her operatic debut at the Canadian Opera Company in 2002, and has performed with the Bavarian State Opera, Berlin State Opera, Opéra de Genève, Glyndebourne Festival Op-era, London’s Royal Opera House, Opéra Montréal, Opéra de Nancy, Opéra de Orange, Netherlands Opera, Strasbourg Opera, Vienna State Opera, and Zurich Opera, among other companies. She has also sung at the Edinburgh Festival, at Paris’s Théâtre des Champs-Élysées and

Théâtre du Châtelet, and at Vienna’s The-ater-an-der-Wien. In addition to her opera perfor-mances, Ms. Lemieux also regularly ap-pears as a concert soloist on both sides of the Atlantic, singing a broad reper-toire includ-ing songs by Berlioz, Brahms, Chausson, En-escu, Mahler, and Wagner, as well as orches-tral works. In concert and sa-cred repertoire, she often favors the Baroque and early Clas-sical periods. In 2007, she made her United States recital debut in Overland Park, Kansas, followed by her concert debut with the Los Ange-les Philharmonic. Her discography includes record-ings for labels including Analekta, Cy-pres, Dorian, Naïve, and Virgin Classics, and features French and Italian songs as well as operas or concert works by Berg, Brahms, Debussy, Gluck, Handel, Mahler, Monteverdi, Mozart, Rossini, Scarlatti, Schoenberg, Schumann, Verdi, Vivaldi, and Webern. Marie-Nicole Lemieux is a Knight of the National Order of Quebec and a member of the Order of Canada and the Order of Pléiade. For more information, please visit www.marienicolelemieux.com.

Marie-Nicole Lemieux

Soloist

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

Kulas Series of Keyboard Conversations®

with Jeffrey Siegel28th Season 2015-2016

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All concerts begin at 3:00 pm in Cleveland State University’s WaetjenAuditorium, Euclid Ave. and E. 21st St.For more information call 216.687.5022or visit www.csuohio.edu/concertseries/kc

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

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

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

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

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



RICHARD STRAUS S used to insist that he himself was the hero in Ein Heldenleben — though commentators have found it hard to reconcile this belligerent self-portrait with Strauss’s distinctly un-heroic personality, or with later, mellower self-representations in Sinfonia domestica and the opera Intermezzo. On the other hand, those who knew Strauss’s wife, the for-mer Pauline de Ahna, say the section marked “The Hero’s Com-panion” fi ts her like a glove. Strauss and de Ahna, a soprano, were married in 1894; their marriage lasted until Strauss’s death 55 years later. The series of magnifi cent, supremely capricious and concerto-sized violin solos of the “Companion” episode is peppered with directions to the soloist, such as “loving,” “angry,” “sentimental,” “nagging,” “fl ippant” or “hypocritically languish-ing” — adjectives more often used to describe a person than a musical performance. In a letter to French novelist and music critic Romain Rolland, Strauss admitted having portrayed his wife in Ein Heldenleben. Yet the essence of art always lies in the way it transcends the subject matter that provided the initial impulse. The ques-tion we must ask is how Strauss used autobiographic material to create this tone poem. Unlike the majority of Strauss’s tone poems, Ein Helden-

Strauss completed his symphonic poem Ein Heldenleben (“A Hero’s Life”) in 1897-98, and conducted the fi rst performance in Frankfurt on March 3, 1899. The United States pre-miere took place a year later, on March 10, 1900, with Theodore Thomas conducting the Chicago Symphony Orchestra. The published score was dedicated to Willem Mengelberg and the Amsterdam Concert gebouw Orchestra. Ein Heldenleben runs approxi-mately 40 minutes in performance. Strauss scored it for large orchestra: 3 fl utes, piccolo, 4 oboes (fourth

doubling english horn), 2 clarinets, small clarinet in E-fl at, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 5 trumpets, 3 trombones, tenor tuba, bass tuba, timpani, percussion (bass drum, tenor drum, snare drum, cym-bals, tam-tam, triangle), 2 harps, and strings. The Cleveland Orchestra fi rst per-formed Ein Heldenleben in February 1928, at a pair of subscription concerts conducted by Nikolai Soko loff . The most recent performances were led by Franz Welser-Möst in early 2011, when it was performed here at home, in Miami, and on tour.

About the Music

At a Glance

Ein Heldenleben [A Hero’s Life], Opus 40composed 1897-98

About the Music

by RichardSTRAUSSborn June 11, 1864Munich

diedSeptember 8, 1949Garmisch-Partenkirchen, Bavaria



leben was not based on any particular literary work. Rather, it sought to express, in the composer’s words, “a more general and free ideal of great and manly heroism.” This followed logi-cally from Strauss’s previous tone poem, Don Quixote, which, based on Cervantes, was a specifi c case of misguided heroism, “a crazy striving for false ideals.” As Strauss pointed out, “Don Quixote is only fully and completely comprehensible when put side-by-side with Heldenleben.”

HEORIC IDE ALISM The subject of Ein Heldenleben is, then, heroism in general (and not just a portrait of Mr. and Mrs. Strauss). But what exactly is meant by “heroism” here? In the world of Romantic ideals that Strauss inherited, a hero is someone who confronts the whole

world all by himself. The prototype of the Romantic hero, on whom Strauss modeled his protagonist, is Goethe’s Faust. Like Faust, the hero of Ein Heldenleben fi ghts for his ide-als, meets a woman, and works for the good of society. Unlike Faust, however, Strauss’s hero ultimately withdraws from the world and fi nds fulfi llment in an idyllic state that has more to do with Rousseau’s philosophy of the “whole person” than with Goethe’s portrayal of one man’s struggles. Besides the literary and philosophical motifs refl ected in the tone poem, there are some clear musical echoes as well. The most obvious ancestor of Ein Heldenleben is Beethoven’s “Eroica” [Heroic] Symphony, which shares with Strauss’s work not just

the word in the title but the key of E-fl at major. In addition, the portrayal of the adversaries (or critics) owes a great deal to Wagner’s opera Die Meistersinger (“The Mastersingers”), in which the real-life music critic Hanslick was transformed into the vil-lain Beckmesser. The parodying episode in the Meistersinger Overture (also in the key of E-fl at major, like Heldenleben), with the sarcastic staccatos (short, separated notes) in its woodwind parts, was probably not far from Strauss’s mind when he wrote the section about the adversaries. Strauss was only 34 years old when he completed Ein Heldenleben. It was to remain the last work he called a “tone

About the Music

The subject of Ein Helden-

leben is heroism in general.

But what exactly is meant

by “heroism” here? In the

world of Romantic ideals

that Strauss inherited, a

hero is someone who con-

fronts the world all by him-

self. The prototype of the

Romantic hero, on whom

Strauss modeled his pro-

tagonist, is Goethe’s Faust.

49Severance Hall 2015-16 About the Music

poem” — the two large-scale symphonic works he was to write later, Sinfonia domestica and An Alpine Symphony, have the word “symphony” in their titles. Thus, Ein Heldenleben closes the great cycle of tone poems that had occupied Strauss for a whole decade; in this work, he took stock of his achievements, looked back, and summarized. Had Strauss died the following year (at 35, like Mo-zart), we would see this work as the high point of his output, and the extensive self-quotations near the end (more about those later) would take on an even greater symbolic signifi cance. But Strauss lived on for another half-century, during which time he concentrated most of his energies on an impressive series of operas, fourteen in all, including Salome, Elektra, and Der Rosen-kavalier. Therefore, Ein Heldenleben merely closed one chapter in Strauss’s life, though, no doubt, a very important one.

MUSICAL BAT TLE S AND TRIUMPH Throughout the work, straightforward E-fl at-major tonal-ity alternates with tonalities that encompass a few unorthodox touches, and with passages of rapidly changing, sometimes completely disappearing, key centers. The fi rst theme, fi rmly in E-fl at major, has the irregularity of emphasizing minor and major sevenths in a way no earlier, strictly classical composer would have done. The music of the adversaries, on the other

Richard Strauss, in addition to being a composer, was also one of the most gifted conductors of his generation (he was an early champion of Gustav Mahler’s music). In this period pictorial, the wildness of Strauss’s music is lampooned in the angry, hard-working musicians.


hand, contains 11 of the 12 tones of the Western musical scale, in a theme whose tonal center is anybody’s guess. The violin solo, representing Pauline or the “eternal femi-nine,” again drifts in and out of tonal stability. One of the most stable areas is the tender love scene that follows the great violin solo; another is the peaceful song toward the end, of the hero retired from the world. In stark contrast to these, the battle scene — which the French novelist Romain Rolland called the best battle music in the orchestral literature — is full of abrupt key changes. The violent orchestral sounds of this section show the extent to which Strauss expanded the vocabulary of 19th-century orchestral music in his desire to off er the most complete panorama of human emotions and characters. In a true compositional tour de force, Strauss managed to

combine the program of his tone poem with traditional classical sonata form (see chart on page opposite). According to this scheme, the section about the hero’s peace-ful deeds comes as the recapitulation after the battle scene, which represents the de-velopment. The recapitulation, however, is enlarged by an extensive new episode with a series of quotations from some of his own earlier musical works, beginning with the great theme from Don Juan, followed by themes from Also sprach Zarathustra, Death and Transfi guration, Don Quixote, and Macbeth, as well as the opera Guntram and the songs Befreit (“Liberated”) and Traum durch die Dämmerung (“Dreaming at Twi-

light”). These references, sometimes simultaneous and some-times successive, amount to a survey of the hero’s (in this case, Strauss’s) past life, followed by a fi nal outburst, after which the music settles into the peaceful, pastoral mood of the coda. It should come as no surprise that a work as innovative as Ein Heldenleben should sharply divide critical reaction. Strauss’s music came in for more than its share of invectives — ranging from “outrageously hideous noise” to “Hundeleben” (“A Dog’s Life”). Some of the best musicians of the time, however, imme-diately recognized the importance of the work. After the Paris premiere, Claude Debussy wrote a review in which he referred to Strauss as “close to being a genius.” And there was a 20-year-

About the Music

Strauss was only 34 years

old when he completed

Ein Heldenleben. It was to

remain the last work

he called a “tone poem,”

thus closing the great cycle

that had occupied Strauss

for a whole decade. In Hel-

denleben, he took stock of

his achievements, looked

back, and summarized.


Formal Outline of Ein Heldenleben (based on the studies of Norman Del Mar)

I. The Hero 1st subject

II. The Hero’s Adversaries (or critics) Transition

III. The Hero’s Companion 2nd subject

IV. The Hero’s Battlefi eld Development

V. The Hero’s Works of Peace Recapitulation (and struggles in the face of (with added episode) continued criticism)

VI. The Hero’s Withdrawal from Coda the World and the Fulfi llment of His Life

old conservatory student in Budapest named Béla Bartók, whose life received new meaning from the revelations of Zarathustra and Ein Heldenleben. Bartók made Strauss’s Heldenleben into something of a signature piece, performing it in his own piano arrangement (which he, to our great loss, never wrote down) to great acclaim in Buda-pest and Vienna. In 1904, he wrote his fi rst major orchestral work, Kossuth, about a Hungarian hero. (This piece brings in Kossuth’s wife and contains a major battle scene, but has a tragic, rather than idyllic, ending.) Bartók’s Straussian fever eventually cooled off , but he, and other composers of his generation, proceeded further — in their many diff erent ways — along the path of musical innovation that Strauss himself eventually abandoned. —Peter Laki © 2016

Copyright © Musical Arts Association

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

About the Music

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Sound for the Centennial THE CAMPAIGN FOR THE CLEVELAND ORCHESTRA


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

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

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

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

GIFTS OF $5 MILLION AND MORE

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

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

GIFTS OF $1 MILLION TO $5 MILLION

Sound for the Centennial Campaign

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


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

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

GIFTS OF $500,000 TO $1 MILLION

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

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

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

GIFTS OF $100,000 TO $250,000

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

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

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

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

GIFTS OF $250,000 TO $500,000

* deceased

Sound for the Centennial Campaign


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

Cleveland Orchestra News

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

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

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

—New York Times, January 18, 2016

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

—Wall Street Journal, January 19, 2016

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

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

—New York Times, February 16, 2016




A.R.O.U.N.D T .O .W.N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include:

The Amici Quartet — comprised of Cleve-land Orchestra members Takako Masame (violin), Miho Hashizume (violin), Lynn Ramsey (viola), and Ralph Curry (cello) — continue their performances of the Beethoven quartets with a program on Sunday afternoon, May 1. The con-cert at Pilgrim Church (2592 West 14th Street in the Tremont neigh-borhood of Cleveland) is the season finale for Arts Renaissance Tremont and features Quartet No. 3 (Opus 18 No. 3), Grosse Fugue (Opus 133), and Quartet No. 7 (Opus 59 No. 1). The performance begins at 3 p.m. and is free and open to the public, with a freewill donation option.

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.

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

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Family Concerts for2016-17 season announced

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

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

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

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

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

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

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listing as of February 2016


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

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

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

Appreciation

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

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

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


Musicians Emeritus of


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

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

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

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



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

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

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


Kirill Gerstein’s appearances with The Cleveland Orchestra this weekend are made possible by a contribution to the Orchestra’s Guest Artist Fund from the Kulas Foundation.

The concert will end on Thursday evening at about 9:10 p.m., and on Saturday at approximately 9:40 p.m.

ZOLTÁN KODÁLY Dances of Galánta (1882-1967) 1. Lento — Maestoso 2. Allegretto moderato 3. Allegro con moto, grazioso 4. Allegro 5. Allegro vivace

SERGEI RACHMANINOFF Piano Concerto No. 1 in F-sharp minor, Opus 1 (1873-1943) 1. Vivace — Moderato — Vivace 2. Andante 3. Allegro vivace KIRILL GERSTEIN, piano

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

IGOR STRAVINSKY Suite from The Firebird [1945 version] (1882-1971) IIIntroduction — The Firebird, Its Dance, and Variations — Pantomime I — Pas de deux — Pantomime II — Scherzo (Dance of the Princesses) — Pantomime III — Rondo — Infernal Dance — Berceuse (Lullaby) — Final Hymn

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

Severance HallThursday evening, May 5, 2016, at 7:30 p.m.Saturday evening, May 7, 2016, at 8:00 p.m.

Andrés Orozco-Estrada, conductor

Concert Program — Week 20


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

The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation.

The concert is performed without intermission, with the morning concertending at about 12:10 p.m. and the evening concert at 8:10 p.m.

2015-16 SEASON

7@FRIDAYS

Concert Program — Week 20F

Severance HallFriday morning, May 6, 2016, at 11:00 a.m. Friday evening, May 6, 2016, at 7:00 p.m.

Andrés Orozco-Estrada, conductor

CLEVELAND ORCHESTRA RADIO BROADCASTS Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM), on Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.

SERGEI RACHMANINOFF Piano Concerto No. 1 in F-sharp minor, Opus 1 (1875-1943) 1. Vivace — Moderato — Vivace 2. Andante 3. Allegro vivace KIRILL GERSTEIN, piano

IGOR STRAVINSKY Suite from The Firebird [1945 version] (1882-1971) IIIntroduction — The Firebird, Its Dance, and Variations — Pantomime I — Pas de deux — Pantomime II — Scherzo (Dance of the Princesses) — Pantomime III — Rondo — Infernal Dance — Berceuse (Lullaby) — Final Hymn


KeyBank Fridays@7: Next Season

October 7 — Yuja Wang Plays Bartók Jakub Hrůša (conductor), Yuja Wang (piano)

January 6 — Rhapsody in Blue James Gaffigan (conductor), Kirill Gerstein (piano)

March 3 — Copland’s Third Symphony Brett Mitchell (conductor), William Preucil (violin)

May 6: Stravinsky’s The Firebird The Cleveland Orchestra’s popular Fridays@7 concert series features a unique twist on a musical night out. The Plain Dealer calls it “the place to be on Friday night!” It’s an exciting and relaxed way to enjoy a night filled with incredible music. Experience an hour-long concert with The Cleveland Orchestra, followed by a casual @fter-Par-ty throughout Severance Hall — for socializing and being with great friends and new acquaintances.

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

7 p.m. KeyBank Fridays@7: The Cleveland Orchestra . . . This week, enjoy two Russian masterpieces — Rachmaninoff’s Piano Concerto No. 1 and Stravinsky’s mesmerizing The Firebird.

8 p.m. @fter-Party . . . Stay into the evening to hear Cleveland’s own Hot Djang Gypsy Jazz playing mid-century jazz favorites — facebook.com/hotdjang.

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

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

7@FRIDAYS

Great music. Great drinks.

And great company.

A fresh approach to Friday nights!

7@FRIDAYS

Fridays@7: May 6: The Firebird

FRIDAY EVENING

Series on sale now! 216-231-1111 clevelandorchestra.com

2O16S E A S O N

2O17

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T H I S W E E K E N D ’ S C O N C E R T S feature musical works about begin-nings and transformations. Two pieces are works from the start of two very famous Russian composers’ careers, while a third piece revisits a childhood place through music, blending an adult’s reaching back to youthful sounds together with his later understanding of music’s power and history. All three concerts feature Sergei Rachmaninoff ’s lesser-heard First Piano Concerto, written just as he turned 18 years old in 1891. Even in its revised form from 1917, the freshness of his musical thinking is clear, as are some of the characteristic telltale signs of his later, mature iden-tity as a composer. Russian-born pianist Kirill Gerstein takes up the solo role, fi rst created by the composer for himself.

On Thursday and Saturday, the evening begins with a charming suite by the Hungarian composer Zoltán Kodály, written in 1930 but har-kening back to enticingly exciting performance ideas of the previous century. Here, the verbun-kos (or army “recruiting”) style, which became one and the same with Hungarian pride, gives substance to a suite of dance music from the site of Kodály’s own childhood memories. To close out each of this weekend’s con-certs, guest conductor Andrés Orozco-Estrada

leads Igor Stravinsky’s The Firebird, heard here in the rarely-performed 1945 suite he drew from the complete ballet score. This tantalizing and dazzling music catapulted Stravinsky onto the world stage in 1910. Built on Russian musical traditions and a very Russian fable, Stravinsky nonetheless startled with his incisive musical storytelling. This is music rendered large and fantastical, alternating rhythmical strength with be-guiling orchestration and melodies. And thrillingly paced to catch and match your attention — and entice your applause. —Eric Sellen

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

Dance, Concerto &The Firebird

Introducing the Concert


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Columbian conductor Andrés Orozco-Estrada is among the most sought-after conductors of his generation. Within the past two years, he has taken up positions as music director of the Houston Sym-phony, chief conductor of the Frankfurt Radio Symphony Orchestra, and princi-pal guest conductor of the London Phil-harmonic. He is making his Cleveland Orchestra debut with this weekend’s concerts. Mr. Orozco-Estrada’s artistic work primarily focuses on the Romantic reper-toire and Viennese classics. At the same time, he is interested in contemporary music and regularly performs premieres of Austrian composers and compositions of Spanish and South American origin. Born in 1977 in Medellín, Colombia, Andrés Orozco-Estrada began his musical studies on the violin and had his fi rst con-ducting lessons at the age of 15. In 1997, he moved to Vienna, where he joined the conducting class of Uroš Lajovic at the Vi-enna Music Academy. Mr. Orozco-Estrada came to in-ternational attention in 2004, when he stepped in to conduct the Tonkünstler Orchestra Niederösterreich in Vienna. Since that time, he has developed an ongoing musical partnership with that ensemble, including serving as its music director, 2009-15. He was also principal conductor of the Basque National Or-chestra, 2009-13. Andrés Orozco-Estrada has con-ducted many leading orchestras in

Europe and North America, including Amsterdam’s Royal Concertgebouw Or-chestra, City of Birmingham Symphony Orchestra, Leipzig Gewandhaus Orches-tra, Mahler Chamber Or-chestra, Munich Philharmon-ic, Orchestre National de France, Oslo Philharmon-ic Orchestra, Philadelphia Orchestra, Pittsburgh Symphony Or-chestra, Royal Stockholm Philharmonic, Santa Cecilia Orchestra in Rome, Saint Louis Symphony Orchestra, and the Vienna Philharmon-ic. He made his debut with the Glynde-bourne Festival Opera in 2014 conducting Mozart’s Don Giovanni. Pentatone is in the midst of releas-ing a number of recordings led by An-drés Orozco-Estrada, including works by Stravinsky and Richard Strauss with the Frankfurt Radio Symphony and compo-sitions by Dvořák and Smetana with the Houston Symphony. Mr. Orozco-Estrada currently lives in Vienna. For more information, please visit www.en.orozcoestrada.com.

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T H E C O M P O S E R Zoltán Kodály made it his life’s work to study the folk music of his native Hungary and to write original com-positions inspired by the folk tradition. That said, his Dances of Galánta from 1933 are much more than arrangements of folk dances from a fi eld trip. This music held deep personal meaning for Kodály, because the town of Galánta was the place where he had grown up, having moved there as a toddler with his fam-ily. (The town was then in Northern Hungary, and is now part of Slovakia.) In the preface to the printed score, Kodály wrote: “The author spent the most beautiful seven years of his childhood in Ga-lánta. The town band, led by the fi ddler Mihók, was famous. But it must have been even more famous a hundred years earlier. Several volumes of Hungarian dances were published in Vienna around the year 1800. One of them lists its source this way: ‘from several Gypsies in Galánta.’ . . . May my modest composition inspired by this music serve to continue the old tradition.” During his research, Kodály found extensive evidence to show that the fame of those Gypsy musicians had indeed spread far beyond the boundaries of their hometown. As a child in Galánta, Kodály not only had ample occasion to hear Mihók’s band, he also learned many folksongs, sung to him by servants and schoolmates. (On another occasion in the 1930s, he vividly recalled the voices of his “bare-footed compan-ions from the Galánta public school.”) During his time in Galánta, Kodály was also introduced to Western classical music. He took

Kodály wrote his Galántai Tánkoc (“Dances of Galánta”) in 1933 for the 80th anniversary of the Budapest Philharmonic Society, which fi rst pre-sented it on October 23, 1933, under the direction of Ernö Dohnányi. This work runs about 15 minutes in performance. Kodály scored it for 2 fl utes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, percus-

sion (tambourine, triangle, chimes), and strings. The Cleveland Orchestra fi rst performed the Dances of Galánta in November 1936, at a pair of Sever-ance Hall subscription concerts led by Artur Rodzinski. They have been performed on a number of occasions since, most recently at Severance Hall concerts in May 2012 led by Lionel Bringuier.

At a Glance

Dances of Galánta [Galántai Tánkoc]composed 1933

About the Music

About the Musicby ZoltánKODÁLYborn December 16, 1882Kecskemét, Hungary

diedMarch 6, 1967Budapest

THURSDAY and SATURDAY


up the cello and, because his parents loved to play chamber music with friends, young Zoltán was soon able to participate directly in musical eve-nings at home. Forty-odd years after this initial encounter with music of Galánta as a young boy, Kodály returned to the published source material as a mature composer and as a leading scholar of Hungarian musical traditions. He took the melodies from the early 19th-century Viennese editions, which had recently been rediscovered by a musicologist named Ervin Major. But Kodály didn’t have to rely solely on the printed notes, for he also had the sound of the old town band still in his ears as he scored the music. The style of these dances is known as verbunkos, from the German Werbung or “recruitment.” In centuries past, Austrian army recruiters trav-eled around the countryside with impressively-dressed offi cer-soldiers and musicians in tow; the offi cers would dance in formation to rhythmical mu-sic — all meant to entice young men to sign up. This verbunkos became the dominant Hungarian instrumental tradition of the 19th century. In his composition for full orchestra, Kodály gave the various verbun-kos melodies exquisite musical coloring, and arranged them in a masterful sequence with alternating moods and tempos. The pensive introduction anticipates the stately principal melody, played by the solo clarinet. Later on, this melody will return several times as a rondo (or variation) theme. Two intervening episodes (one played by the fl ute, the other by the oboe) are faster in tempo and lighter in character. In the second half of the composition, the variations of the rondo form are cast aside and we hear a series of dance tunes that — with the exception of one slower theme used for contrast — gradually get faster and faster. The climactic ending is delayed for a moment by the return of part of the opening melody, with a short clarinet cadenza added. The entire second half of the piece is dominated by a characteristic syncopated rhyth-mic fi gure (short-long-short), which provides an ending that is as striking as it is simple. —Peter Laki © 2016

Copyright © Musical Arts Association

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

About the Music


R AC H M A N I N O F F PROV E D H I M S E LF a composer at an early age, even before he had graduated from the Moscow Conser-vatory. This is somewhat surprising, given that his childhood had been extremely unsettled as his father slipped further into debt, moving his family from place to place. Rachmaninoff ’s musical training began at the St. Petersburg Conservatory, and his career might have been quite diff erent if he had remained there — and studied with Rimsky-Korsakov, and fraternized with Glazunov and Stravinsky. Instead, after some poor exam results, he was transferred to Moscow, where he studied with the disciplinarian Zverev. At the Moscow Con-servatory, he was a pupil of Arensky and Taneyev, met a group of talented fellow-students including Scriabin and Medtner, and above all came under the infl uence of Tchaikovsky. Rachmaninoff graduated from the Conservatory’s piano class at the age of nineteen and from the composition class a year later, by which time he had already started a symphony, completed the First Piano Concerto, composed the Trio Élégiaque, a tone poem called Prince Rostislav, and an opera Aleko. For fi ve years, until the famously disastrous performance of his First Symphony in 1897, fi ne music continued to fl ow from his pen, especially piano music and songs. Later in life, Rach-maninoff was better known as a conductor or as a pianist, but it was on composition that all his ambitions were focused as he

Rachmaninoff began writing his Piano Concerto in F-sharp minor (later published as No. 1) in 1890, and completed the work the following summer. The fi rst movement was premiered on March 17, 1892, with the composer as soloist and Vasily Safonov conducting the Moscow Conservatory Orchestra. He revised the score in 1917; this revised version was premiered on January 29, 1919, at Carnegie Hall in New York, again with the composer as soloist and with Mor-ris Altschuler conducting the Russian

Symphony Society Orchestra. In its 1917 revision, this concerto lasts about 25 minutes. Rachmaninoff scored it for a standard 19th-century-sized orchestra of 2 fl utes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trum-pets, 3 trombones, timpani, strings, and solo piano. The Cleveland Orchestra fi rst per-formed Rachmaninoff ’s Piano Con-certo No. 1 in October 1939, at a pair of subscription concerts conducted by Music Director Artur Rodzinski, with Rachmaninoff himself as soloist.

At a Glance

Piano Concerto No. 1 in F-sharp minor, Opus 1composed 1890-91, revised 1917

About the Music

About the Music

by SergeiRACHMANINOFFborn April 1, 1873Semyonovo, Russia

died March 28, 1943Beverly Hills,California



approached his twentieth year. An earlier piano concerto (in C minor) was abandoned, but Rach-maninoff tried again in 1890 and completed the fi rst movement. The rest was rapidly written in July 1891. “I could have fi nished it much ear-lier,” he wrote, “but after the fi rst movement I was idle for a long time and only began to write out the other movements on July 3rd. I wrote down and orchestrated the last two movements in two and a half days. You can imagine what a job that was! I wrote from fi ve in the morning until 8 o’clock at night.” Vasily Safonov, head of the Moscow Conservatory,

agreed to conduct the fi rst performance the following year. It is hard to imagine that such rich, complex piano writing could fail to im-press, but one reviewer wrote: “In the fi rst movement there was not yet any individu-ality, but there was taste, tension, youthful sincerity, and obvious skill; already there is much promise.” Rachmaninoff himself was not entirely satisfi ed, and before long he was hinting that he would like to revise the concerto. He did not do so, however, for another quarter century, until the world-shaking days of 1917 when the tsar’s abdication in the spring caused the composer to cel-

ebrate being at last in a “free country.” Still, as the threat of further revolution came closer, Rachmaninoff felt less and less comfortable and made plans to go abroad. Working still in Moscow, he wrote out a new version of the concerto, completing it just two weeks after the October Revolution broke out in Petrograd. At a fortunate moment, Rachmaninoff received an invitation to give some concerts in Stock-holm and he was able to get the necessary visas. Just before Christ-mas, he took his family away from Russia, never to return.

T H E M U S I C Knowing Rachmaninoff ’s later music as we do, we may choose to disagree with the reviewer who thought that the fi rst movement lacked individuality. Hallmarks of his mature style are all in the music (in both the original version and the 1917 revision) — the rich harmonic progres-sions, the wealth of melody woven into cascading torrents of notes in the solo part, the subtle orchestration. The music is restless, never retaining a single tempo for long, often interrupted by magnifi cent decorative

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About the Music

69Severance Hall 2015-16 About the Music

swirls in the piano, and unfailingly rich in texture. The melodies have his stamp of authorship, but they do not extend into the long snakelike themes of his later music; here they are still always built up a few measures at a time. The tempo markings by which we conventionally list the three move-ments — 1. Vivace, 2. Andante, 3. Allegro vivace — tell only a part of the story of this music. The fi rst movement’s main theme, for instance, is fi rst heard at a surprisingly moderate pace. And, yes, the slow movement starts at a slow speed, but its end is so full of fi ligree notes that it feels almost like a scherzo, echoing the slow movement of Tchaikovsky’s First Piano Concerto. And the fi nale includes a section marked “Andante ma non troppo,” lovingly decorated by the soloist before returning to the up-tempo music. Perhaps the strongest impression this concerto leaves is of Rachmaninoff the improviser. He feels his way towards his themes before stating them, and then immediately adds decorations and variations that pull the tempo and the texture in diff erent directions, almost as if he was playing the piece for the fi rst time. Indeed, perhaps this is a clue towards explaining the concerto’s eternal freshness. —Hugh Macdonald © 2016

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

on Beethoven, Berlioz, Bizet, and Scriabin.

cim.edu

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

For a complete schedule of events, visit cim.edu/events

COME HEAR THE NEXT GENERATION OF CLASSICAL MUSICIANS

OF CLEVELANDJewish Federation

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

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

www.jewishcleveland.org

L’dor V’dor. From Generation to Generation. Create Your Jewish Legacy

Guest Soloist 71Severance Hall 2015-16

Russian-born pianist Kirill Gerstein is ac-claimed for his masterful technique and searching interpretations in both classical music and jazz. He made his Cleveland Orchestra debut in July 2008 and most recently played here in September 2013. Born in 1979 in Voronezh, Russia, Kirill Gerstein attended a school for gifted children in his hometown. After teach-ing himself to play jazz by listening to his parents’ record collection, he was admit-ted, at age 14, to Boston’s Berklee Col-lege of Music. He spent two seasons at Tanglewood Music Center, and studied with Solomon Mikowsky at the Manhat-tan School of Music, as well as with Dmitri Bashkirov and Ferenc Rados. By age 20, Kirill Gerstein had earned his bachelor’s and master’s of music degrees. In 2010, Mr. Gerstein became the sixth recipient of the Gilmore Artist Award, and also received an Avery Fisher grant. He has shared this recognition by commissioning boundary-crossing works by Timo Andres, Chick Corea, Al-exander Goehr, Oliver Knussen, and Brad Mehldau, among others. He is currently artist-in-residence at Berklee College of Music and serves on the piano faculty of the Boston Conservatory. Kirill Gerstein has appeared with North America’s major orchestras, includ-ing those of Atlanta, Baltimore, Boston, Chicago, Cincinnati, Cleveland, Dallas, Detroit, Houston, Los Angeles, New York, Philadelphia, San Francisco, and Torono-to. He has also been an active guest solo-

ist with orchestras in Europe, appearing with those of Amsterdam, Berlin, Birming-ham, Denmark, Dresden, Finland, Lon-don, Munich, and Zurich, as well as with Tokyo’s NHK Symphony, Australia’s Mel-bourne Symphony, Santa Cecilia Orches-tra of Rome, and Simón Bolívar Youth Orchestra of Venezuela. He has appeared at many of the most presti-gious music festivals, in-cluding Aix-en-Provence, Aspen, Delft, Lucerne, Salz-burg, Santa Fe Chamber Mu-sic, and Ver-bier. He is equally at home with chamber music and in recital, and occasionally per-forming jazz. For Myrios Classics, Mr. Gerstein has recorded solo works by Knussen, Liszt, and Schumann, and two albums of sonatas for viola and piano with Tabea Zimmermann. His fi rst orchestral album, the world premiere recording of Tchai-kovsky’s Piano Concerto No. 1 in the com-poser’s 1879 version, received an Echo Klassik Award. Kirill Gerstein became an American citizen in 2003. For more information, visit www.kirillgerstein.com.

Kirill Gerstein

ChamberFest Cleveland’s Season 5 will explore tales and legends as portrayed in music. Musical inspiration appears in many forms, often revolving around stories from the profane to the divine. From literary inspiration to the spinning of dreams, ChamberFest Cleveland will take you on journeys of the fantastical, mystical, and obsessive.

Season 5

“TALES & LEGENDS” June 15 - July 2, 2016

For ticket information call 216.471.8887


S E R G E I D I A G H I L E V ’ S Paris-based Ballets Russes was one of the greatest dance companies in history. Diaghilev, the director, combined the soul of a brilliant artist with the mind and skills of a shrewd businessman. He was committed to exciting and inno-vative productions, and he sought out the best dancers, artists, and composers available. For two decades from the company’s formation in 1909, he worked with or discovered many of the most creative artists in the city — dancers, choreographers, painters, and composers. The scores created for him included works by Debussy, Ravel, Prokofi ev, and Falla. Musically, however, Diaghilev never made a more sensa-tional nor a more fruitful discovery than when he engaged the 27-year-old Igor Stravinsky in 1909 to write music for Michel Fokine’s new ballet for the next season, The Firebird. It was the start of a long collaboration that was to give the world a series of ground-breaking scores — Pétrouchka, The Rite of Spring, Les Noces, Mavra, and Apollon Musagète — and which ended only with Diaghilev’s death in 1929. For many years, there had already been a great affi nity between Russia and France. A political alliance between the two countries had brought Russia closer to France, while France had always been a strong presence in Russia (where French had

Stravinsky composed the ballet L’Oiseau de feu [The Firebird] between November 1909 and May 1910, on commission from Sergei Diaghilev and his dance com-pany, the Ballets Russes. The fi rst performance took place on June 25, 1910, at the Paris Opera, with the Ballets Russes. The major roles were danced by Michel Fokine (as Prince Ivan), Tamara Karsavina (the Fire-bird), and Alexis Bulgakov (Kash-cheï); Gabriel Pierné conducted. Stravinsky drew three suites from the ballet; the fi rst in 1911, the second in 1919, and the third in 1945.

The 1945 suite runs approximately 30 minutes in performance and is scored for 2 fl utes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bas-soons, 4 horns, 2 trumpets, 3 trom-bones, tuba, timpani, percussion (bass drum, cymbals, snare drum, tambourine, triangle, xylophone), piano, harp, and strings. While music from The Firebird has frequently appeared on Cleve-land Orchestra programs, including performances conducted by the composer, this weekend is only the second time the Orchestra has presented the 1945 suite.

At a Glance

Suite from The Firebird [L’Oiseau de feu]suite version created by the composer in 1945, from the ballet score composed 1909-10

About the Music

About the Music

by IGORSTRAVINSKYborn June 17, 1882Oranienbaum,near St. Petersburg

diedApril 6, 1971New York



long been the language of the educated classes.) At the same time, the geographical distance and the diff erence in cultures meant that Russian things seemed to have an exotic fl avor in the eyes (and ears) of the French. Both Debussy and Ravel admired and were infl uenced by the music of the 19th-century Russian masters Mussorgsky and Rimsky-Korsakov.

T H E S T O R Y A N D B A L L E T To create a story of an appropriately exotic fl avor, Fokine used several Russian fairytales within the scenario of The Firebird. The stories of the benefi cent Firebird and the evil ogre Kashcheï-the-Immortal were com-bined together in an ingenious plot, which Eric Walter White summarized in his standard book on Stravinsky as follows: “A young Prince, Ivan Tsarevich, wanders into Kashcheï’s magic garden at night in pursuit of the Firebird, whom he fi nds fl uttering round a tree bearing golden apples. He captures it and extracts a feather as forfeit before agree-ing to let it go. He then meets a group of 13 maidens and falls in love with one of them, only to fi nd that she and the other 12 maid-ens are princesses under the spell of Kashcheï. When dawn comes and the princesses have to return to Kashcheï’s palace, Ivan breaks open the gates to follow them inside; but he is captured by Kash-cheï’s guardian monsters and is about to suff er the usual penalty of petrifaction, when he remembers the magic feather. He waves it; and at his summons the Firebird appears and reveals to him the secret of Kashcheï’s immortality (his soul, in the form of an egg, is preserved in a casket). Opening the casket, Ivan smashes the vital egg, and the ogre immediately expires. His enchantments dissolve, all the captives are freed, and Ivan and his Tsarevna are betrothed with due solemnity.” Originally, the music for The Firebird was to be written by the Russian composer Nikolai Tcherepnin. But Tcherepnin withdrew from the project, and Anatol Liadov and Alexander Glazunov were both approached. For whatever reasons, Diaghilev could not come to terms with any of these more experienced composers, so he approached Stravinsky, who had already worked for him as an orchestrator, and whose short orchestral piece Fireworks had greatly impressed him. The young composer, honored by

About the Music

To create a story of an

appropriately exotic fl avor,

Fokine used several

Russian fairytales within

the scenario for The Fire-

bird. Although the storyline

and the musical styling of

the ballet score grew out

of strong Russian tradi-

tions, both seemed highly

original in the West.

A Russian lacquer boxportraying the fable

of The Firebird.


the commission, put aside his own project, the opera The Night-ingale, and began work on the ballet instead. To describe the magic world of fairybirds and evil sorcer-ers, Stravinsky had a whole tradition to build on, a tradition he had inherited from his teacher Rimsky-Korsakov. In the last years before his death in 1908, Rimsky had written three operas on fan-tastical subjects, one of which was titled Kashcheï the Immortal. In these operas — and in a number of other works also — Rimsky-Korsakov made ample use of a special scale Russian musicians came to know as the “Rimsky scale,” which Stravinsky chose to use. (This scale, also known as the “octatonic” scale, consists of the regular alternation of half-steps and whole steps: C – C-sharp – D-sharp – E – F-sharp – G – A – B-fl at.) This particu-lar grouping of tones, lying outside the major-minor system, is always associated with the evil Kashcheï in The Firebird. The music of the magical Firebird itself is also chromatic in nature, related in part to the Kashcheï music. The motifs of the Tsarevich, on the other hand, are purely diatonic (that is, built upon a traditional seven-note Western scale) and derived from a particular type of Russian folksong known as the “long-drawn-out song” [protyazhnaya pesnya]. Thus, although both the storyline and the musical styling of the ballet score grew out of strong Russian traditions, both seemed highly original in the West. For all the Rimsky infl uence, however, Stravinsky’s fi rst bal-let also shows a remarkable degree of individuality. The han-dling of rhythm in particular is quite innovative — in this score there are already quite a few typical Stravinskyan ostinatos, or “stubbornly” repeated fi gures. The orchestration also reveals the hand of a true young master.

C R E AT I N G P O P U L A R C O N C E R T S U I T E S It is little wonder, then, that The Firebird remained Stravin-sky’s most popular work throughout his long life. He himself conducted hundreds of performances — mostly in the form of suites drawn from the complete score. Stravinsky created three of these, one in 1911 and another in 1919, which soon became the most popular version. In 1945, he made a new suite — in part, to renew the copyright on the musical material, but also to reduce the orchestration in order to make the work accessible to smaller orchestras. Stravinsky also included two movements that had been omitted in the 1919 suite (the “Pas de deux” and the “Dance

About the Music

Pencil sketch of Igor Stravinsky, by Pablo Picasso, 1920.

Pencil sketch of Igor Stravinsky, by Pablo Picasso, 1920.

“The trouble with music appreciation in general is that

people are taught to have too much respect for music.

They should be taught to love it instead.”

—Igor Stravinsky

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of the Princesses”), creating a longer condensation of the score. Indeed, the 1945 suite contains more than half of the 45-minute ballet score. It begins with the mysterious introduction that leads directly to the “Dance of the Firebird,” with its vibrant high-woodwind colors. The slow “Pas de deux” follows, introduced by a short “Pantomime.” Here the Bird begs the Prince to set her free, featuring a solo cello along-side the woodwinds. (The complete ballet has solo viola at this point.) The tempo speeds up for “Pantomime II” and the “Dance of the Princesses,” a lively scherzo dominated by fast-moving sixteenth-notes in the strings, interrupted by a lyrical clarinet solo. A third pantomime leads to the “Khorovod (Round Dance) of the Princesses,” which features one of the ballet’s great melodies as an introduc-tion, played by the solo oboe in a slow tempo. The actual dance begins with a string theme at a slightly faster tempo. The suite continues with the famous “Infernal Dance,” an-nounced by a fast timpani roll. A syncopated motif arises from the lower registers (bassoons, horns, tuba) and gradually takes over the entire orchestra. There is a lyrical counter-subject symbolizing the suff ering of Kashcheï’s prisoners. After the dance has reached its paroxysm, the Firebird’s “Lul-laby” appears as a total contrast, with the solo bassoon singing a delicate song accompanied by the harp and muted strings. In the suite, this lyrical moment sets the stage for the “Final Hymn” — corresponding to the “General Rejoicing” at the end of the ballet where everyone celebrates the wedding of Prince Ivan and the Princess. The beautiful folksong that Stravinsky would use more than half a century later for his Canon (written in memory of the conductor Pierre Monteux) is played fi rst by the solo horn, then gradually grows in volume until the entire orchestra joins in. At the end, a signifi cant rhythmic change occurs, with the symmetrical triple meter (3/2) giving way to an asymmetrical 7/4, signalling that the music — and the story of The Firebird — has reached its musical culmination.

—Peter Laki © 2016Copyright © Musical Arts Association

About the Music

Costume drawing by León Bakstfor the Ballets Russes premiere of The Firebird in 1910; below, Tamara Karsavina in the role.

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

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

clevelandorchestra.com/100campaign

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. iver the most meaningful

2015-16 SEASON

SP

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S E V E R A N C E H A L L

Concert Program: March 24 and 26 WELSER-MÖST CONDUCTS BRUCKNER’S SIXTH — page 29

Concert Program: March 31, April 1 and 2WAGNER’S GÖTTERDÄMMERUNG — page 69

PERSPECTIVES from the Executive Director — page 7

Ronald J. Lang 440.720.1102Diane M. Stack 440.720.1105Daniel J. Dreiling 440.720.1104

n o r t h p o i n tportfolio managersc o r p o r a t i o n


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

PARTNERS IN EXCELLENCE$300,000 AND MORE

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

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

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

$50,000 TO $99,999

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

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

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

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

Cumulative GivingJOHN L. SEVERANCE

SOCIETY

$5 MILLION AND MORE

KeyBankPNC Bank

$1 MILLION TO $5 MILLION

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

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

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

Corporate Support


83Severance Hall 2015-16 83Corporate Annual Support

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$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

Cuyahoga Arts & CultureThe Andrew W. Mellon Foundation

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

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

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

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

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

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

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

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

Cumulative GivingJOHN L. SEVERANCE

SOCIETY

$10 MILLION AND MORE

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


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


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

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


Foundation & Government Support

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

Individual Annual Support

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


Lifetime Giving JOHN L. SEVERANCE SOCIETY

$10 MILLION AND MORE

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


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


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

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

Lifetime giving listing as of March 2016.

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

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

86 The Cleveland OrchestraIndividual Annual Support

Adella Prentiss Hughes Society

gifts of $100,000 and more

INDIVIDUAL GIFTS OF $500,000 AND MORE

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

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

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


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

George Szell Society



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


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

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

Elisabeth DeWitt Severance Society



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

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

87Severance Hall 2015-16 87Individual Annual Support

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

Frank H. Ginn Society


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

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


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

Dudley S. Blossom Society



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


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

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

Barbara Robinson, chairRobert Gudbranson, vice chair

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

LEADERSHIP PATRON PROGRAM


www.bw.edu/conservatory

Conservatory of Music

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#2 in the nation “Top 10 Colleges for Musical Theatre Majors” – Music School Central

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listings continued

The 1929 Society

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

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

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

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


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

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

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


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

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

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


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

Charitable Foundation

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

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


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

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

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


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

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

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

Naomi G. and Edwin Z. Singer Family Fund

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

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

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

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

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

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

* deceased

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



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

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

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

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


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

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

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

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

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

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

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

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

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

Guest Information

98 The Cleveland OrchestraGuest Information

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

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

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

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

SERVICES FOR PERSONS WITH DISABILITIES

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

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

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

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

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

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

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

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

clevelandorchestra.com

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


S P R I N G S E A S O NAT THE MOVIESBride of FrankensteinApril 26 — Tuesday at 7:30 p.m. THE CLEVELAND ORCHESTRARichard Kaufman, conductor

She’s alive — and so is the music!!! The 1935 classic horror

Sponsor: PNC Bank

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

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

WAGNER Prelude and Love-DeathTristan and Isolde

CHAUSSON *STRAUSS A Hero’s Life] * Sponsor: PNC Bank

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

May 6 <18s

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

KODÁLY * RACHMANINOFF Piano Concerto No. 1 STRAVINSKY The Firebird

* Friday Evening Sponsor: KeyBank

Concert Calendar

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

CLEVELAND ORCHESTRA YOUTH ORCHESTRABrett Mitchell, conductorJieming Tang, violin

ADAM SCHOENBERG KORNGOLD Violin ConcertoRACHMANINOFF Symphonic Dances

-

the Cleveland Plain Dealer

A free Prelude Concert begins at 1:45 p.m. featuring mem-bers of the Youth Orchestra performing chamber music.

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

LISZT OrpheusBARTÓK Violin Concerto No. 2BARTÓK

Percussion, and Celesta

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

May 21 — Saturday at 8:00 p.m. May 22 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorRudolf Buchbinder, piano

DVO K *JAN EK

From the House of the DeadBEETHOVEN Piano Concerto No. 5

* Sponsor: BakerHostetler

<18sUnder 18s Free FOR FAMILIES

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

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

D O R C H E S T R A

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

101Severance Hall 2015-16 101Concert Calendar

— Thursday at 7:30 p.m.— Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorLuba Orgonášová, sopranoJennifer Johnston, mezzo-sopranoNorbert Ernst, tenorEric Owens, bass-baritoneCleveland Orchestra Chorus

DVO K Stabat Mater Sponsor: Litigation Management, Inc.

S U M M E R S E A S O N

presented by The J.M. Smucker Company1812 Overture

— Saturday at 8:00 p.m. <18s — Sunday at 8:00 p.m. <18s

THE CLEVELAND ORCHESTRAJohannes Debus, conductor

RIMSKY-KORSAKOV Scheherazade SHOSTAKOVICH Suite No. 1 for Variety Orchestra TCHAIKOVSKY 1812 Overture

A Salute to America — Monday at 8:00 p.m. <18s

BLOSSOM FESTIVAL BANDLoras John Schissel, conductor

-som’s traditional, star-spangled celebration of America,

1812 Overture. Sponsor: KeyBank

— Saturday at 8:00 p.m. <18s THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductor

ADÈS Overture, Waltz, and Finale from Powder Her Face STRAUSS BEETHOVEN Symphony No. 3 (“Eroica”) Sponsor: Blossom Friends of The Cleveland Orchestra

2015-16 SEASON

CLEVELANDORCHESTRA

Sunday at 3:00 p.m. <18s

Cleveland Orchestra Youth OrchestraBrett Mitchell, conductorJieming Tang, violin

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

Supported by the Martha Holden Jennings Foundation.

A free Prelude Concert begins at 1:45 p.m. featuring members of the Youth Orchestra performing chamber music.

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

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

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

TICKETS 216-231-1111 clevelandorchestra.com

102 The Cleveland OrchestraUpcoming Concerts

AT SEVERANCE HALL . . .

DVO K’SSTABAT MATERThursday May 26 at 7:30 p.m.Saturday May 28 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorLuba Orgonášová, sopranoJennifer Johnston, mezzo-sopranoNorbert Ernst, tenorEric Owens, bass-baritoneCleveland Orchestra Chorus

Seeking solace, a grief-stricken Dvořák wrote his Stabat Mater after suffering the loss of three of his children in rapid and tragic suc-cession. A profound, masterful setting of the expression of loss and sorrow, Dvořák’s work conveys his deep sense of emptiness — and documents his inner struggle and hard-won hope regained through music. Franz Welser-Möst leads these performances featuring a quartet of internationally-renowned soloists. Sponsor: Litigation Management, Inc.

BEETHOVEN’SEMPEROR CONCERTOThursday May 19 at 7:30 p.m.Friday May 20 at 11:00 a.m. <18s

Saturday May 21 at 8:00 p.m.Sunday May 22 at 3:00 p.m. <18s

THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorRudolf Buchbinder, piano

When Beethoven’s Fifth Piano Concerto was premiered, it was hailed as “without doubt one of the most original, imaginative, most effective but also one of the most dif-ficult” of concertos. Renowned Beethoven specialist Rudolf Buchbinder returns to Sev-erance Hall to perform this great concerto, nicknamed the “Emperor.” The concert also features rarely-heard works by Dvořák and Janáček. Sponsore: BakerHostetler

ORGONÁŠOVÁ JOHNSTON ERNST OWENS

the cleveland orchestra april 28, 29, 30, may 5, 6, 7 concerts

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