the cleveland orchestra november 6, 7, 8 concerts

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Concert Program: November 6, 7, 8

RACHMANINOFF DANCES

+ PETRASSI + SHOSTAKOVICH — page 31

VIOLINS OF HOPE CLEVELAND

Uniting the Northeast Ohio Community through Music and Remembrance — page 8

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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

2015-16 SEASON

Upfront From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Violins of Hope Cleveland . . . . . . . . . . . . . . . . . . . . . . 8

About the Orchestra The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 18 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

WEEK 4 RACHMANINOFF DANCES + PETRASSI + SHOSTAKOVICH Program: November 6, 7, 8 . . . . . . . . . . . . . . . . . . 31 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 33 PETRASSI Partita . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 SHOSTAKOVICH Violin Concerto No. 1 . . . . . . . . . . . . . . . . . . . . . . . 37 RACHMANINOFF Symphonic Dances . . . . . . . . . . . . . . . . . . . . . . . . . 41

Conductor: Gianandrea Noseda . . . . . . . . . . . . . . . 44 Soloist: Leonidas Kavakos . . . . . . . . . . . . . . . . . . . . . 45 NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . 46-51 Emeritus Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . . 54 Corporate Annual Support . . . . . . . . . . . . . . . . . . . . . 57 Foundation/Government Annual Support . . . . . 59 Individual Annual Support . . . . . . . . . . . . . . . . . . . . 60

Upcoming Concerts Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . . . 78

WEEK 4PA

GE

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 © 2015 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.

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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.

NATIONAL ENDOWMENT

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4 The Cleveland OrchestraTable of Contents

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Perspectives from the Executive Director

7Severance Hall 2015-16 7

November 2015

The artistry of The Cleveland Orchestra under Franz Welser-Möst’s direction was enthusiastically reported by critics and fans every-where we played during the 2015 European Tour and Vienna Residency, October 15-31. I’ve watched and heard The Cleveland Orchestra on tour for more than a quarter century, and I can only say that this Orchestra is indeed playing better than ever. The name of

Cleveland, for the thousands who attended these thirteen concerts, stands for greatness and virtuosity, and also clarity and care in presenting music as each composer imagined it. From Messiaen to Richard Strauss, to Verdi and Beethoven, The Cleveland Orchestra is increasingly recognized for its versatility across a broad range of music, for its flexibility of sound and musical presence. Simply put, as the New York Times said this past summer, “best orchestra in America.”

The thousands of you who attend The Cleveland Orchestra’s concerts here at home know from your own experience that this orchestra is part of what makes Northeast Ohio great. And you know how good this orchestra is. Hearing them play here at Severance Hall and at Blossom, we experience their quality and versatility each year. It is neverthe-less extraordinarily satisfying to read critics from across Europe praise the Orchestra’s artistic achievements, and realize that around the world, The Cleveland Orchestra is just as beloved as it is here at home.

A sampling of commentary from the European press:

“Cleveland has one of the three best concert halls in the world. . . . The orchestra has long been considered as the most European of American orchestras. Today, it is quite simply the best.” —Le Soir, October 14, 2015 (Brussels)

“With this instrument, magnificent in its velvet clarity and deep, mellow sound, Welser-Möst’s subdued presentation was revealed to be a distillate of simplicity, ele-gance, and stylistic precision.” —Corriere Della Sera Milan, October 20, 2015 (Milan)

“Long reputed to be an institution for pure virtuosity, The Cleveland Orchestra has taken on an entirely new richness of tone from these master composers. Welser-Möst pres-ents here an orchestra that is attentive to detail.” —La Terrasse, October 20, 2015 (Paris)

(Additional excerpts from reviews can be read on page 46 of this program book.)

Beyond the sheer quality of their music-making, I am always impressed with the Orch-estra’s dedication and focus on tour. Moving city to city, and adjusting to the different concert halls, can be challenging and wearying. But for Franz and The Cleveland Orches-tra, energy and focus are never in question. As my tenure as executive director comes to an end, I have never been more proud to be associated with this great orchestra and to call this great city home.

Gary Hanson

BY BRENT LARKIN Brent Larkin, a Cleveland journalist for 46 years, is a retired Plain Dealer editorial page editor now serving as a contributing columnist for the newspaper.

8 The Cleveland Orchestra

W H E N I T C O M E S to facing the Holo-caust, some things can’t be rushed. Amnon Weinstein, an Israeli violin-maker whose parents lost hundreds of relatives in the Holocaust, learned that twenty years ago. Richard Bogomolny, past president and now chairman of The Cleveland Orch-estra, learned it more recently. W E I N S T E I N , whose parents were so overwhelmed by the Holocaust that they could never talk to their son about it, found himself similarly overcome when a customer came into his shop decades ago and asked Weinstein to repair the dam-aged violin he was holding. The custom-er, a Holocaust survivor, explained that

he had last used the instrument when the Nazis ordered him to play it while his fel-low Jews were being led to a gas cham-ber. When Weinstein opened the violin, he found ashes inside, presumably from victims burned in the crematoria. Over-come with emotion, Weinstein had to put the violin aside. It would, in fact, take him years to summon the will to restore the violin, but by the time he did, in 1996, Weinstein was ready to do something even bigger. He decided he would try to find other violins played by Jews during the Holocaust and restore as many as possible to concert quality. It would be his way of giving voice to millions who had been silenced by the Holocaust, a way of paying re-

VIOLINS of HOPE CLEVELANDFacing the Holocaust in memory, music, and education — The stories of two men (and a community of partnering) bring Cleveland together through art and remembrance . . .

Music & Community


spects to his relatives and others who had no graves.

B O G O M O L N Y ’ S S T O R Y was not quite so dramatic, but it too is worth telling. About seven years ago a friend, Israel Wiener, who lives in Israel and knows Weinstein, told Bogomolny about Weinstein’s mis-sion. Bogomolny was instantly intrigued and wanted to find a way to bring the vio-lins to Cleveland. Bogomolny’s background gave him

a special appreciation of Weinstein’s mis-sion. The son of a highly-trained violin-ist, he had grown up in a Jewish family in Cleveland at the time of the Holocaust, playing the violin seriously enough to be-come concertmaster of the Harvard Uni-versity Orchestra while in college. He knew that, from generation to generation, from Europe to Israel to Amer-ica, no instrument has evoked the hopes and heartbreaks of the Jewish people as hauntingly as the violin. He understood that it is no coincidence that so many great violinists — virtuosos including Jas-cha Heifetz, Isaac Stern, Itzhak Perlman

and Pinchas Zukerman, and Shlomo Mintz — have been Jewish. This group also includes violinist Bronislaw Huberman, founder of the Israel Philharmonic. But Bogomolny, too, was initially stymied. At the time, Cleveland’s cultural institutions were reeling from the eco-nomic turmoil of the Great Recession and hardly in a position to focus on little more than their own survival. If Cleveland was to give the violins a proper welcome, Bo-gomolny realized, it would have to wait.

T H E W A I T, it turns out, was worth every minute. When Bogomolny finally felt the timing was right to approach other com-munity leaders a few years later, the of-fers to help flowed faster and more fluidly than he ever expected. The result was an unprecedented creative and financial collaboration by Cleveland organizations that has resulted this autumn in the longest and largest tribute ever assembled to honor Wein-stein’s project. Beginning in September, and lasting through December, Cleveland has been hosting an extraordinary array of cultural events — including major concerts, ex-hibits, films, lectures, theater and dance performances, and education programs — under the rubric Violins of Hope Cleveland. The centerpiece of the program-ming is a collection of twenty-seven Holocaust-era instruments — 25 violins, 1 viola, and 1 cello — which Weinstein has brought to Cleveland, including one from Yad Vashem, Israel’s official Holocaust me-morial, which has never before left Israel. This month’s performance at Sever-ance Hall by the Israel Philharmonic is one

V I O L I N S o f H O P E C L E V E L A N D

Community & Remembrance

10 The Cleveland OrchestraCommunity & Music

of the highlights of the unprecedented effort. Members of the violin, viola, and cello sections have agreed to play on in-struments restored by Weinstein. The concert, which marks the first time Israel Philharmonic music director Zubin Mehta has conducted at Severance Hall, is exact-ly the sort of event Weinstein had in mind when he began his restoration project, which now numbers about sixty violins. “Amnon’s view has always been that it is the playing on these instruments that mat-ters most,” says Bogomolny. “It is the voices of those silenced by the Nazis that can only be heard by the playing, and the message is that as long as this music is heard, we realize that the Nazis, no matter how hard and how viciously they tried, could not wipe out the music and culture of the Jewish people.” In another historic performance ear-lier in the fall, on September 27, members of The Cleveland Orchestra under the direc-tion of Franz Welser-Möst played on Wein-stein’s violins in a concert dedicating Silver Hall at Case Western Reserve University’s newly-renovated Maltz Performing Arts Center. The concert featured Israeli virtuo-so Shlomo Mintz and was held on the site of Temple-Tifereth Israel, once the spiritual home of the late Rabbi Abba Hillel Silver. Rabbi Abba Silver, father of the late Rabbi Daniel Silver, was also a leading figure in the drive to establish the state of Israel. T H E S E C O N C E R T S are only one part of the diverse musical and educational ef-forts coordinated in tribute by the seven major Cleveland partner institutions — Case Western Reserve University, The Cleveland Orchestra, Maltz Museum of Jewish Heritage, Cleveland Institute of

Music, Jewish Federation of Cleveland, ideastream (the parent organization of Cleveland’s public television and radio sta-tions), and the local chapter of Facing His-tory and Ourselves. Also participating are more than a dozen affiliate institutions, in-cluding the Museum of Contemporary Art and the Cleveland Women’s Orchestra. It is the sort of grand effort that captures something about Cleveland that sometimes gets lost in all the de-bates about our region’s challenges and strengths — a spirit of cooperation and generosity that makes the Northeast Ohio community special.

T H E C O L L A B O R A T I O N , which has re-sulted in hundreds of events, was the brainchild of Bogomolny. But Bogomolny quickly won vital support from other com-munity leaders, beginning with Milton and Tamar Maltz. This remarkably gener-ous couple immediately agreed to mount a major multimedia exhibition of the vio-lins at the Maltz Museum of Jewish Heri-tage in Beachwood. Dozens of other community lead-ers also made meaningful contributions to this project. A partial list would include Case Western Reserve University presi-dent Barbara Snyder, Jewish Federation of Cleveland president Steve Hoffman, Cleveland Institute of Music president Joel Smirnoff, and Mark Swaim-Fox, director of Facing History and Ourselves. The three-month Violins of Hope Cleveland exhibit, which features 18 of Weinstein’s violins and one from Yad Vashem, is attracting thousands of visitors — including students from Pittsburgh, Detroit, Chicago, and Columbus.

V I O L I N S o f H O P E C L E V E L A N D

CWRU President Barbara Snyder and Milton Maltz, speaking at the opening concert of the newly-renovated Milton and Tamar Maltz Performing Arts Center at The Temple-Tifereth Israel on September 27, 2015.

11Severance Hall 2015-16 11Remembrance & Learning

Other partners jumped in enthusias-tically with their own ideas. CWRU Presi-dent Barbara Snyder suggested having The Cleveland Orchestra play the violins at the opening of the Maltz Center. She also launched a multi-department effort at the University to incorporate the violins into its curriculum for students and for adults taking courses through the Siegal Lifelong Learning Program.

The Cleveland Institute of Music came up with an ambitious schedule of faculty and student concerts using the violins. And the Jewish Federation agreed to host an exhibit of photographs of Weinstein’s workshop taken by photog-rapher Daniel Levin. Ideastream stepped up to broadcast the September 27 con-cert live on WVIZ Channel 25 and WCLV FM and to film a documentary about the entire Cleveland project. All the materi-als and videos used will soon be available worldwide via the ideastream and Violins of Hope Cleveland websites.

E V E N A S A L L T H E S E offerings were tak-ing shape, Bogomolny realized something was missing when he approached philan-thropist Morton Mandel for help from the family-funded Mandel Foundation. Man-del responded with a provocative ques-tion: How would all these wonderful events honoring the violins make a difference going forward, and not merely dissolve into warm, but fading memories? Struck by that question, leaders at CWRU approached Facing History & Ourselves, an organization dedicated to teaching the lessons of the Holocaust and other genocides, and asked if it could help develop lessons using the violins’ history to be taught on a permanent basis in high schools in Northeast Ohio. Bogomolny then met with the organization’s Mark Swain-Fox to move the project forward. Perhaps the most lasting mark of Violins of Hope Cleveland will be this edu-cational component developed by Facing History & Ourselves. Long after the violins have left Cleveland, future generations of students here will be learning about them thanks to course materials that the Cleve-land public schools and other area schools have agreed to make a permanent part of their high school curriculum. It is the sort of far-reaching legacy that Amnon Weinstein probably couldn’t have imagined when he first found the strength to confront, in the form of one battered violin, a tragedy that his parents couldn’t even talk about. But what a fit-ting legacy it is for Weinstein and the vi-sionary Cleveland leaders who were able to look at a collection of violins that told tales of horror and see in them a reason for hope.

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Musical Arts Association 13Severance Hall 2015-16 13

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

Richard C. Gridley (SC) Loren W. Hershey (DC) Herbert Kloiber (Germany)

Ludwig Scharinger (Austria)

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 Committee

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 Scott Chaikin 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 Christopher Hyland Trevor O. Jones

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

Alfred M. Rankin, Jr. Clara T. RankinAudrey 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. WeaverJeffrey 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 October 2015

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

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director Gary Hanson, 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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APR 7-10 A Harlequin Romance

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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, enter-ing his fourteenth year as the ensemble’s music director with the 2015-16 season, 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

18 The Cleveland OrchestraAbout the Orchestra

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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19Severance Hall 2015-16 19About 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.

20 The Cleveland OrchestraAbout the Orchestra

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107,123Likes on Facebook (as of Oct 30, 2015)

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.

52%

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

F L Â N E U R F O R E V E R

18 East Orange StreetChagrin Falls, Ohio(440) 247-2828

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

T H E 2 01 5 -1 6 S E A S O N marks Franz Welser-Möst’s fourteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed part-nership now extending into the next decade. In July 2015, the New York Times declared The Cleve-land Orchestra to be the “best in America“ — for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. Widely-hailed for its artistic excellence, under Welser-Möst’s direction the Orchestra is broadening and enhancing its commu-nity programming at home in Northeast Ohio, is pre-sented in a series of ongoing residencies in the United States and Europe, and has re-established itself as an important operatic ensemble. With a commitment to music education and the Northeast Ohio community, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools with performances in collaboration with the Cleveland Metropolitan School District. He has championed new programs, such as a community-focused Make Music! initiative and a series of “At Home” neighborhood residencies designed to bring the Orchestra and citizens together in new ways. Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established a re-curring biennial residency in Vienna at the famed Musikverein concert hall and appears regularly at Switzerland’s Lucerne Festival. Together, they have also appeared in resi-dence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival. In the United States, an annual multi-week Cleveland Orch estra residency in Florida was inaugurated in 2007 and an ongoing relationship with New York’s Lincoln Center Festival began in 2011. To the start of this season, The Cleveland Orchestra has performed seventeen world and eighteen United States premieres under Franz Welser-Möst’s direction. In partnership with the Lucerne Festival, he and the Orchestra have premiered works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, Toshio Hosokawa, and Matthias Pintscher. In addition, the Daniel R. Lewis Young Composer Fellow program has brought new voices to the repertoire, including Pintscher, Marc-André Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, Sean Shepherd, Ryan Wigglesworth, and Anthony Cheung. Franz Welser-Möst has led annual opera performances throughout his tenure in Cleveland. Following six seasons of opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera pro-ductions of the Mozart-Da Ponte operas. He led concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall in 2012 and in May 2014 led an inno-

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Music Director 23Severance Hall 2015-16 23

Music Director

vative made-for-Cleveland production of Leoš Janáček’s The Cunning Little Vixen at Severance Hall. He conducted performances of Richard Strauss’s Daphne in May 2015 and will present a Bartók doublebill in April 2016 featuring the collaboration of Chicago’s Joff rey Ballet. As a guest conductor, Mr. Welser-Möst enjoys a close and produc-tive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include critically-acclaimed opera produc-tions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014 and Beethoven’s Fidelio in 2015) and a tour of Scandinavia, as well as appear-ances at New York’s Carnegie Hall, at the Lucerne Festival, and in con-cert at La Scala Milan. He has conducted the Philharmonic’s celebrated

annual New Year’s Day concert twice, viewed by millions worldwide. 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. He makes his long-anticipated debut with Amsterdam’s Royal Concertgebouw Orchestra for two weeks of concerts this season, and conducts the Filarmonica of La Scala Milan in a televised Christmas concert. He will also conduct the Vienna Philharmonic in two weeks of subscription concerts, lead the Royal Stockholm Philharmonic in the Nobel Prize con-cert in Stockholm, and conduct a new production of Strauss’s Die Liebe der Danae at the 2016 Salzburg Festival. 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 Zurich Opera across a decade-long tenure, leading more than forty new pro-ductions 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, he has created DVD recordings of live performances of fi ve of Bruckner’s symphonies, and is in the midst of a new project recording major works by Brahms. 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, appoint-ment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.


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The Orchestra

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 WarnerStephen WarnerIoana MissitsJeffrey Zehngut

Vladimir DeninzonSae ShiragamiScott WeberKathleen CollinsBeth WoodsideEmma ShookElayna DuitmanYun-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 HarrellPaul KushiousMartha Baldwin

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


The Orchestra

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

CONDUCTORSChristoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,CLEVELAND ORCHESTRA MIAMI

Brett MitchellASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

O R C H E S T R A


2015-16 SEASON

The music continues after the concert on 89.7 FMNow with more news and information programming during the day and more of your classical music favorites in the evening.

Listen to classical music 24/7 on WKSU HD-3 or at wksu.org.

Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University, an equal opportunity, affirmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 14-1834

Gabriel Bolkosky - A Night of Jazz and TangoFriday, Nov. 13, 2015 | 7 p.m.

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Tickets: $15 in advance, $20 at the door216-987-4444 | www.trictickets.com

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29Severance Hall 2015-16

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

November 6 FRIDAY MORNING CONCERT

“Adversity — Political and Personal”(Musical Works by Shostakovich & Rachmaninoff ) with Rose Breckenridge

November 7, 8“Partitas, Passacaglias, and Plainsong”(Musical Works by Shostakovich & Rachmaninoff ) with Timothy Cutler, professor of music theory, Cleveland Institute of Music

November 19, 20, 21“Celebrating the Greats”(Musical Works by Sartomme and Schubert) with Brett Mitchell, associate conductor of The Cleveland Orchestra in conversation with composer Richard Sartomme

November 27, 28, 29“Fantastic Visions”(Musical Works by Rands, Debussy, and Berlioz) with Meaghan Heinrich, director of conservatory connections, Wisconsin Conservatory of Music, in conversation with composer Bernard Rands

December 3, 4, 5“Handel’s Messiah: It’s More Than Hallelujah” with Rose Breckenridge

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.

Concert Previews

We are proud to partner with

The Cleveland Orchestrato build audiences for the future

through an annual series of

BakerHostetler Guest Artists.

bakerlaw.com

BakerHostetler is proud to present Gianandrea Noseda, conductor and Leonidas Kavakos, violin.

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2015-16 SEASON

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

Concert Program — Week 4

Severance HallFriday morning, November 6, 2015, at 11:00 a.m. *Saturday evening, November 7, 2015, at 8:00 p.m. Sunday afternoon, November 8, 2015, at 3:00 p.m.

Gianandrea Noseda, conductor

This weekend’s concerts are supported through the generosity of the BakerHostetler Guest Artist Series sponsorship.

The concert will end on Saturday evening at about 9:50 p.m.and on Sunday afternoon at approximately 4:50 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 Shostakovich and Rachmaninoff . The concert ends at about 12:20 p.m.

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.

GOFFREDO PETRASSI Partita (for orchestra) (1904-2003) 1. Gagliarda 2. Ciaccona 3. Giga

DMITRI SHOSTAKOVICH Violin Concerto No. 1 * (1906-1975) in A minor, Opus 77 1. Nocturne 2. Scherzo 3. Passacaglia 4. Burlesca LEONIDAS KAVAKOS, violin

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

SERGEI RACHMANINOFF Symphonic Dances, Opus 45 * (1873-1943) 1. Non allegro 2. Andante con moto (Tempo di valse) 3. Lento assai — Allegro vivace

33Severance Hall 2015-16 Introducing the Concerts

T H I S W E E K ’ S concerts offer three works (or just two on Friday morning) from the 20th century, all composed within a short timespan in the 1930s and ’40s. All three include moments of comfortable music, styled in pleasing harmonies and clear form. But each, too, hints at — or pushes forward into — the swirling sounds of modernism that caused such excitement and con-cern in a century filled with wide and divergent musical experimentation. To open the evening concerts, guest conductor Gianandrea Noseda has chosen a work by Italian composer Goffredo Petrassi. His Partita for orchestra helped launch his career in 1932, and presents a unique voice based on harmo-nies advocated by Paul Hindemith, anchored in older musical forms and styles, including the name Partita itself. Greek violinist Leonidas Kavakos joins in for Shostakovich’s tumultuous First Violin Concerto, filled with beauty and troubling outbursts. Written in the

aftermath of World War II, but kept unpublished until the next decade (following Soviet dictator Josef Stalin’s death) with a renewed thawing of the government’s controlling views on artistic values, it is a bravura work for soloist and orchestra, and a dynamic view of Shostakovich’s thrilling brand of music-making. To close the concerts, we hear one of Rachmaninoff’s last works, the Symphonic Dances of 1940. Rachmaninoff had impeccable credentials for and understanding of the Romantic symphony orchestra of the 19th century. And, despite claims to the contrary, he also experimented (albeit in limited ways) with newer 20th-century ideas. Not really

meant to be danced, this work offers up a strong sense of rhythm and move-ment, beautifully orchestrated, magnificently proportioned and phrased for the concert hall. —Eric Sellen

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

Dances &Dictators, Parts&Partitas

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OCTOBER 11–JANUARY 5

PAINTING THE MODERN GARDEN

MONET TO MATISSE

ClevelandArt.org

Chrysanthemums (detail), 1897. Claude Monet (French, 1840–1926). Oil on canvas; 130 x 89 cm. Private collection.

Media Sponsor:

Painting the Modern Garden: Monet to Matisse is co-organized by the Cleveland Museum of Art and the Royal Academy of Arts in London. In Cleveland, the exhibition is made possible by an indemnity from the Federal Council on the Arts and the Humanities.

The Michelle and Richard Jeschelnig Exhibitions & Special Projects Fund

Presenting Sponsors:

COMING EXCLUSIVELY TO CLEVELAND AND LONDON.

35Severance Hall 2015-16 About the Music

A S A YO U N G M A N living in Rome in the 1920s, without much schooling but with a passion for music, Petrassi took a job in a music shop. There, in his spare moments, he was allowed to play the piano in a back room. His playing caught the attention of Alessandro Bustini, who taught composition at Rome’s Conser-vatorio di Santa Cecilia and agreed to take him on as his student. Petrassi soon mixed with the leading group of Italian com-posers who were: 1.) trying to break Italy’s reputation for being solely the home of opera and, at the same time, 2.) strike forward in a modernist direction. Alfredo Casella, Ottorino Respighi, Il-debrando Pizzetti, Gian Francesco Malipiero — these, in their different ways, were the composers who pointed the way for a new Italian School. They were also quite conscious of Italy’s il-lustrious past in the music of the Renaissance and the Baroque. In the 1940s, Petrassi wrote four operas and for a period he was director of La Fenice opera house in Venice. But during the rest of his very long life, he concentrated on songs, choral music, chamber music, and works for orchestra. No less than nine of his works bear the title “Concerto for Orchestra,” many of them including movements that evoke the older Baroque world of Corelli or Bach. The High Priest of the neo-classic movement was then Stravinsky, but Petrassi preferred to model his early works on Paul Hindemith, with its crisp brilliance and fluent dissonance. It is certainly clear that the Partita, which inaugurated his career,

Petrassi composed his Partita for orchestra between July and October 1932. At the urging of his teacher, he submitted it into two contests (one Italian, one French) and won both. The first performance was given on June 13, 1933, in Amsterdam, as part of the 11th Festival of the Interna-tional Society of Contemporary Music, conducted by Alfredo Casella. This work runs just over 15 min-utes in performance. Petrassi scored

it for 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets and bass clarinet, soprano saxophone, alto saxophone, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, piano, and strings. The Cleveland Orchestra is performing this work for the first time with this weekend’s concert, but previously performed Petrassi’s Concerto for Orchestra No. 5 in 1976 under Lorin Mazel’s direction.

About the Music

At a Glance

Partita (for orchestra)composed 1932

by GoffredoPETRASSIborn July 16, 1904Zagarolo, Italy

diedMarch 3, 2003Rome

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36 The Cleveland OrchestraAbout the Music

owed a considerable debt to Hindemith, while at the same time re-fl ecting the tradition of the 17th-century suite with its three move-ment titles: Gagliarda, Ciaccona, and Giga. An earlier work, called Tre Cori, had caught the attention of Al-fredo Casella, who so admired the Partita that he urged Petrassi to enter it for two prizes, both of which he won — one given by the Sindacato Nazionale dei Musicisti, and the other from the French Fé-

dération Internationale des Concerts. It was then accepted for performance by the International Society for Contemporary Music at its 1933 Fes-tival in Amsterdam. Casella conducted the fi rst performance and its success brought Petrassi’s name to international attention. For the remain-ing seventy years of his life, he enjoyed the dis-tinction of composing and teaching as a leading fi gure in Italian music. The Renaissance Gagliarda took many forms, none of which have much bearing on Petrassi’s fi rst movement, which leaps into action from the trumpets’ opening blast and maintains an aggressive tone even without drums or percus-sion. Winds and strings take turns at stepping center-stage, and a solo from the alto saxophone

brings an authentic taste of the 1930s. The piano, too, has an im-portant part to play. The Ciaccona is an ancient form in which a theme in the bass (this one in four separate phrases) underpins a series of variations — fi rst four solo cellos, then full strings, then brass, then saxophone and whispering strings, and so on to a big climax and long fade-out. The fi nal Giga is all energy and youthful panache. Partita is a remarkably sophisticated work for a composer at the outset of his career. It was dedicated to Alessandro Bustini, the composer’s fi rst teacher.

—Hugh Macdonald © 2015

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.

During much of his long

life, Petrassi wrote songs,

choral works, chamber

music, and pieces for or-

chestra. No less than nine

of his works bear the title

“Concerto for Orchestra,”

many of them including

movements that evoke

the older Baroque world

of Corelli or Bach.


I F A N Y S I N G L E T R A I T can be said to run through all of Shosta-kovich’s works, it is compassion. Empathy for the dispossessed and defenseless, and rage at their oppressors, animates much of his music — perhaps all of it, as many listeners hear a note of parody even in his pompous “Stalinist” film scores and cantatas. During his life, he made it plain that war and the victims of war were the subjects of many of his works, and it was an open secret that his interest in Jewish music was spurred by Russian anti-Semitism. Today, as accounts of his life and words continue to multiply, it is increasingly apparent that this often-criticized, often-rehabilitated Soviet composer considered nearly every Soviet citizen, includ-ing himself, a victim of oppression. It’s no accident that George Orwell’s nightmarish satire of totalitarianism 1984 was written in 1948, when what little infor-mation that leaked out of the Soviet Union revealed a society slipping deeper into paranoia, as the aging Stalin desperately tightened his grip on power. Since one of the dictator’s ploys was to whip up popular sentiment against Jews, Shostakovich would have been taking his life in his hands if he had so much as said in public that he was working on a song cycle called From Jewish Folk Poetry, or a violin concerto inspired by a great Rus-sian Jewish violinist, David Oistrakh. In fact, these works weren’t

Shostakovich wrote his first violin concerto in 1945-48, but kept the score private. He revised it slightly in 1955 (after Stalin’s death in 1953). The work was premiered on October 29, 1955, by the Leningrad Philhar-monic with violinist David Oistrakh. It was originally published as Opus 99 to disguise that it had been writ-ten earlier during a period when the composer was officially under censure by the Soviet government; the original Opus 77 number was later restored. This work runs about 35 minutes in performance. Shostakovich

scored it for 3 flutes (third doubling piccolo), 3 oboes and english horn, 3 clarinets (third doubling bass clari-net), 2 bassoons and contrabassoon, 4 horns, tuba, timpani, percussion (tambourine, tam-tam, xylophone), 2 harps, celesta, and strings. The Cleveland Orchestra first presented this concerto as part of the 1984 Blossom Music Festival, conducted by Vladimir Ashkenazy, with Boris Belkin as the soloist. The most recent performances were at Severance Hall in April 2013, con-ducted by Franz Welser-Möst with violinist Frank Peter Zimmermann.

About the Music

At a Glance

Violin Concerto No. 1 in A minor, Opus 77composed 1945-48, revised 1955

by DmitriSHOSTAKOVICHborn September 25, 1906St. Petersburg(later Leningrad)

died August 9, 1975Moscow


performed in public until after Stalin’s death in 1953, and even then the concerto’s opus number had to be changed from 77 to 99 to disguise its date of composition. In Russian music from Rimsky-Korsakov to Rachmaninoff and Prokofi ev, imagery of the night means soft breezes, moonlight, and eroticism. Not so in this concerto’s opening Nocturne. After cellos and basses begin the work with a tortuous solo line (antici-pating the repeating bass of the third movement’s passacaglia), depression and anxiety haunt the soloist’s somber monologue. The orchestral background, dark-colored and harmonically slow-moving, is painted with the deep timbres of contrabassoon, bass clarinet, and string bass; the tortuous theme appears there often, struggling with its chains. The cool, impassive sound of a celesta

curls icy fi ngers around the violin melody at mid-movement and echoes the tortuous theme at the very end. The unbearable tension of the Nocturne fi nds a spasm of release in the sarcastic Scherzo. Ian MacDonald, in his book The New Shostakovich, heard in this movement “the composer, beset by fools and knaves, scorned by his inferiors, and forced to demean himself with fatuous articles and speeches.” Certainly the composer’s personal motif, the notes D, E-fl at, C, B (in German notation, the notes D-S-C-H, standing for D. Schostakowitsch) makes the fi rst of many appearances in his works here, barked out, loud and clear, by the soloist in the second section. The “fools and knaves” emit vulgar burps on the same deep instruments that created the oppressive

atmosphere of the Nocturne. For the soloist, the fi ddling style of Jewish bands in Eastern Europe alternates with phrases of delib-erate banality in a witch’s brew of vitality, anguish, and fury. This music dances, but on a chain. The Passacaglia movement opens in an atmosphere of imperial Stalinist pomp, with horns and timpani pounding out menacing fanfares over the stark, angular ground bass. As in any passacaglia, the bass persists, repeating throughout the piece; here it may represent the implacable state, deaf to the eloquent pleas of the solo violin. In this context, it is a chilling moment when, at the movement’s climax, the violin itself takes up the bass theme in bare, harsh-sounding octaves. Has the composer learned to love Big Brother? The rest of the movement is one

About the Music

Today, as accounts of the

reality of Shostakovich’s

life and words continue

to multiply, it is increas-

ingly apparent that this

often-criticized, often-

rehabilitated Soviet

composer considered

nearly every Soviet citi-

zen, including himself,

a victim of oppression.

THE VIOLINS OF HOPE sound again in this special Cleveland Institute of Music concert series where you will experience carefully restored instruments that survived the Holocaust. For more information visit cim.edu/events

For a full list of Violins of Hope partner events, visit violinsofhopecle.org

September 28, Monday 4pm | Mixon Hall A Dialogue with Amnon Weinstein and Shlomo Mintz

October 7, Wednesday 8pm | Kulas Hall CIM Faculty and guest artists

October 14, Wednesday 8pm | Severance Hall Cleveland Institute of Music Orchestra and guest artists

November 20, Friday 8pm | The Temple-Tifereth Israel, Beachwood, Ohio Cavani String Quartet

November 22, Sunday 4pm | Kulas Hall CIM Faculty and guest artists

December 4, Friday 8pm | Kulas Hall Cavani String Quartet and guest artists


long, disconsolate diminuendo, at the end of which the violin’s melody breaks into scattered fragments, in the manner of the funeral march in Beethoven’s “Eroica” Symphony. From his teacher Glazunov’s Violin Concerto in A minor, Shostakovich borrowed the idea of linking the last two movements by means of a medita-tive solo cadenza. Here the violin begins by trying on borrowed clothes — the menacing fanfare that began the Passacaglia — but soon the fi guration begins to suggest the D-S-C-H motif, and folkdance rhythms invigorate the music, until the violin is shouting out the composer’s motif in slashing, im-pudent chords. As the cadenza reaches a peak of excitement, the orchestra bursts into a sassy dance, beginning with some klezmer-style riff s for the solo violin and clarinet. Burlesca means simply a rustic dance, but in this sparkling rondo (no more gloom from the bass instruments) there are more references than ever to Jewish scales and melodies. Revenge is sweet as the once-terri-fying Passacaglia bass is handed over to xylophone and fl ute — and later to the soloist and to the horns — for mockery and derision.

—David Wright © 2015

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

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I N H I S Y E A R S O F E X I L E from Russia, Rachmaninoff fought a constant battle with the arbiters of taste, both in Europe and in America, who had decided that modern music had to be . . . modern. His roots were deeply planted in the soil of Russia and in the way of life he led there, and his music had evolved within the great (but relatively recent) Russian tradition, best represented by Tchaikovsky. His technique as a composer and orchestrator was unequaled, and his imagination was never dormant, but his style had little in common with the spirit of the jazz age or the various types of neo-classicism that were coming to life in the fi rst decades of the 20th century. It was perhaps because his Fourth Piano Concerto had been poorly received in 1927 — nor was the composer satisfi ed with it himself — that Rachmaninoff cast his next piano concerto as a Rhapsody (in name) and a set of variations on a theme by Paganini (in form). This worked, and the public responded enthusiastically. The same approach brought into being the Symphonic Dances — the Third Symphony had similarly been roughly handled by the press in 1936. So that, rather than a Fourth Symphony, the new work, which turned out to be Rachmaninoff ’s last major composition, was cast originally as Fantastic Dances and then, acknowledging its true identity, as Symphonic Dances. Ballet was in his mind, in any case, because the great Rus-sian choreographer Mikhail Fokine was planning a ballet using

Rachmaninoff completed his Symphonic Dances on October 29, 1940. The fi rst performance was given by the work’s dedicatees,Eugene Ormandy and the Philadel-phia Orchestra, on January 3, 1941. Symphonic Dances runs about 35 minutes. Rachmaninoff scored it for piccolo, 2 fl utes, 2 oboes, english horn, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contra-bassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percus-

sion (triangle, tambourine, bass drum, side drum, cymbals, tam-tam, glockenspiel, xylophone, bells), piano, harp, and strings. The Cleveland Orchestra fi rst performed Rachmaninoff ’s Sym-phonic Dances in January 1942 under Artur Rodzinski. The most recent performances took place in August 2014, at Blossom and at Severance Hall under Johannes Debus’s direction.

About the Music

At a Glance

Symphonic Dances, Opus 45composed 1940

About the Music

by SergeiRACHMANINOFFborn April 1, 1873Semyonovo, Russia

died March 28, 1943Beverly Hills,California

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

Kulas Series of Keyboard Conversations®

with Jeffrey Siegel28th Season 2015-2016

Masterly

Enthralling

Charming

Scintillating

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.


the Rhapsody on a Theme of Paganini, a plan which had Rachmaninoff ’s enthusiastic support. This was premiered in 1939 without much ac-claim, and a follow-up Fokine ballet on the Symphonic Dances never materialized (owing to Fokine’s death in 1942, followed by Rach-maninoff ’s death a year later). Perhaps Rachmaninoff did feel this music as dance music, with the powerful stamping rhythm of the fi rst movement echoing bal-lets by Stravinsky and Prokofi ev, and with the fl eet waltz rhythm of the second movement suggesting Ravel. The fi nale is more intri-cate and elusive, rhythmically, for behind the restless fl ow of sounds the composer was thinking of Russian and Western chant, the latter appearing as the Dies irae from the Latin Church’s mass, frequently cited by Rachmaninoff in his music, notably in the Paganini Rhapsody. There is also reference to the Russian chant he had already set for chorus in his All-Night Vigil of 1915. These two references emerge as intrinsic to his melodic style, deeply rooted, probably subcon-sciously, in the chanting of Orthodox priests that he had heard in his childhood. Melodies that move by step, or at least confi ned to narrow intervals, are readily related to plainchant, and such melo-dies abound in Rachmaninoff ’s works. The great opening theme of

About the Music


the Second Piano Concerto is of this kind. It is signifi cant also that a similar theme from the First Symphony is quoted at the end of the fi rst movement of the Symphonic Dances, played in a quiet and dignifi ed manner and standing apart from the strong pulse of the rest of the movement. The first movement is a superb example of how to build the elements of structure from simple materials, in this case a descend-ing triad, weaving under and over fi rm rhythmic support and planted deeply (with endless chromatic digressions) in the key of C minor. A dialog between oboe and clarinet puts the brakes on for the second section, which is slower, cast in a remote key, and richly melodic. Here an alto saxophone introduces one of Rachmaninoff ’s endless melodies that grow and reshape themselves in a passionate evolution, often hinting at a Russian fl avor. The middle movement is a masterpiece of el-egance in a waltz rhythm full of shifts and turns, its main tune being a plaintive melody fi rst presented by english horn and oboe in partnership. The or-chestration is dazzling, and a muted brass fanfare punctuates the movement from time to time. The third movement fi nale combines mel-ancholy wistfulness (in the Lento assai section) with rhythmic exhilaration and virtuosity in the fast sec-tions. The movement is a quest for its theme, which makes the initial Allegro sound fragmentary and restless, with contributions from the piccolo and trumpet that help to form a melodic core. But this is not to be reached until after a lengthy return to the slower tempo, when the cellos press the claim of something close to the Dies irae tune. The Allegro returns for an exuberant mélange of plainchants for the full orchestra. With so much of the fi nale devoted to gloomy Russian introspection, not remotely suggestive of dance, the whole work comes nearer to being the Fourth Symphony he never wrote, slow movement and fi nale being persuasively combined. This masterly swansong was composed in quiet seclusion in the summer of 1940 when Rachmaninoff was living in Centerport, New York, in a house overlooking Long Island Sound.

—Hugh Macdonald © 2015

Rachmaninoff’s Third

Symphony had been

roughly handled by the

press in 1936. So that,

rather than a Fourth

Symphony, the next work,

which turned out to be

Rachmaninoff’s last

major composition,

was cast originally as

Fantastic Dances and

then, in its fi nal form,

as Symphonic Dances.


Gianandrea NosedaMusical America’s 2015 Conductor of the Year, Gianandrea Noseda leads operatic and symphonic repertoire in his native Italy and around the world. He made his Cleveland Orchestra debut and most re-cent appearances here in February 2013. Mr. Noseda served as principal guest conductor of Russia’s Mariinsky Theater

from 1997 to 2007, the year he became music director of the Teatro Regio in Turin. He leads the Orchestra and Chorus of the Teatro Regio Torino in record-ing projects, in-ternational tours, and residencies in Asia and Europe.

He also serves as principal guest conduc-tor of the Israel Philharmonic Orchestra, principal conductor of the Orquestra de Cadaqués, guest conductor of the Pitts-burgh Symphony Orchestra, artistic di-rector of the Stresa Festival, and laureate conductor of the BBC Philharmonic. Gianandrea Noseda regularly con-ducts the London Symphony Orchestra, Philadelphia Orchestra, Tokyo’s NHK Symphony, and the Vienna Symphony Orchestra, as well as performances at the Teatro alla Scala in Milan. Highlights of Mr. Noseda’s 2015 calendar year include his debuts with the Berlin Philharmonic, and at the Aix-en-Provence Easter Festival

and Salzburg Festival, a series of concerts with the European Union Youth Orchestra on tour. Since his debut with New York’s Metropolitan Opera in 2002, Mr. Noseda has led fi ve Verdi operas there, including last season’s new production of Borodin’s Prince Igor. He has also conducted perfor-mances for the Kirov Opera and Ballet, San Francisco Opera, and the Teatro Commu-nale di Firenze. Gianandrea Noseda’s discography features more than fi fty albums, which have garnered critical acclaim and awards. His Musica Italiana recording project, which he initiated a decade ago on the Chandos label, chronicles under-appreci-ated Italian repertoire of the 20th century. In two projects for Deutsche Grammo-phon, Mr. Noseda conducted the Teatro Regio Torino Orchestra and Chorus in cel-ebration of Verdi’s 200th birthday. Those albums also feature Anna Netrebko and Rolando Villazon. Mr. Noseda is Cavaliere Uffi ciale al Merito della Repubblica Italiana for his contributions to the artistic life of Italy. Born in Milan, Gianandrea Noseda studied piano, composition, and conduct-ing at the Giuseppe Verdi Conservatory. He later worked with conductors Myung-Whun Chung, Valery Gergiev, and Donato Renzetti. For additional information, visit www.gianandreanoseda.com.

Guest Conductor

Leonidas KavakosGreek violinist Leonidas Kavakos is known for his virtuosity and musicianship. He made his Cleveland Orchestra debut in August 2000, and most recently per-formed here in February 2011, when he both conducted and played as soloist. Leonidas Kavakos was born into a musical family and began playing violin

at age fi ve. After taking lessons from his father, he enrolled in the Hellenic Conser-vatory to study with Stelios Kaf-antaris. He later attended mas-terclasses with former Cleveland Orchestra con-certmaster Josef Gingold. By age

21, Mr. Kavakos had won the Jean Sibe lius International Violin Competition (1985) and the Paganini and Naumburg competi-tions (1988). He was named Gramophone’s Artist of the Year in 2014. Leonidas Kavakos appears in con-certs, chamber music, and recitals across the world. He has appeared with the ma-jor orchestras of Europe and North Ameri-ca, including performances as soloist with the Royal Concertgebouw Orchestra of Amsterdam, Berlin Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, Dresden Staatskapelle, Leipzig Gewandhaus Orch-estra, London Symphony Orchestra, Los

Angeles Philharmonic, New York Philhar-monic, Philadelphia Orchestra, and Vienna Philharmonic. From 2007 to 2009, Mr. Kavakos was artistic director of the Camerata Salzburg. In recent seasons, he has conducted the orch estras of Berlin, Boston, Cleveland, Rotterdam, and Stockholm, as well as the Chamber Orchestra of Europe, Maggio Mu-sicale Fiorentino Orchestra, and the Russian State Symphony Orchestra, and appeared with the Budapest Festival and across London. For 15 years, Mr. Kavakos pre-sented an annual chamber music festival in Athens, and curates an annual violin and chamber music masterclass. Leonidas Kavakos won the 1991 Gramophone Concerto of the Year Award for his BIS recording of both the origi-nal and fi nal versions of Sibelius’s Violin Concerto. His discography also includes a wide repertoire on the BIS, Chandos, De-los, and ECM labels. For Sony, Mr. Kava-kos recorded works by Mendelssohn and Mozart with Camerata Salzburg; his disc as conductor/soloist of Mendelssohn’s VIolin Concerto received a 2009 Echo Klas-sik award. Now an exclusive Decca Clas-sics artist, he has released the complete Beethoven violin sonatas (which garnered a 2013 Echo Klassik award) and works by Brahms. Mr. Kavakos is passionate about the art of violin- and bow-making, both past and present. He plays the Abergavenny Stradivarius violin of 1724 and owns sev-eral modern violins. For more information, please visit leonidaskavakos.com.

Guest Soloist 45Severance Hall 2015-16

Welser-Möst and Cleveland Orchestra acclaimed throughout European Tour/Vienna Residency


Franz Welser-Möst led The Cleveland Orchestra on their sixteenth international concert tour and eighth biennial Vienna Residency together, performing twelve concerts in ten cities be-tween October 15 and 31. The tour featured performances in a number of Europe’s premier concert halls, including their debut performance at the new Philharmonie de Paris. The fol-lowing excerpts are taken from from reviews and commentary about these concerts:

“The Cleveland Orchestra’s sheer virtuosity, the honed precision of its interac-tion, and the scintillating silver gleam that was once its trademark, are still breathtaking.” —Frankfurter Allgemeine Zeitung, October 19, 2015

“From the famous theme to the most tragic or airy passages, the conductor showed his masterful skill, not leaving out any detail, and transcending each motif. The prom-ise of a very high quality concert was kept, giving the audience the opportunity to hear one of the best American orchestras in Europe.” —Crescendo, October 15, 2015 (Brussels)

“Welser-Möst’s uncommonly vivid conducting left no doubt — the interpretation was an argument that this work, as Beethoven said of his “Pastoral,” is more an ex-pression of feeling than a painting. . . . The burst of excitement that followed gave the strings another opportunity to demonstrate their excellence.” —Luxemburger Wort, October 19, 2015

“Without a doubt, the superb Cleveland Orchestra, which prefers roundness to bril-liance and never flashy virtuosity, adheres to the approach perfectly. Their Austrian director successfully avoids the trap of going overboard and shows he knows how to conduct the music, from start to finish, making a tight, unified ensemble.” —ConcertoNet, October 22, 2015 (Paris)

“The strings and brass provided gleaming opulence, and Welser-Möst played the mountain guide in overdrive. Overall, as was made clear at the Konzerthaus this eve-ning, the musicians from Cleveland can play anything.” —Westfälische Nachrichten Münster-Stadt, October 24, 2015 (Dortmund)

“Conductor Franz Welser-Möst also strikes the necessary balance between attack and withdrawal, using timbre to maintain the internal tension. . . . Also key: the orch-estra’s clarity and transparency are always present in service of expression. . . . It was a brilliant evening by a great orchestra.” —Der Standard, October 29, 2015 (Vienna)

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


Special pre-concert discussion scheduled for concert by Israel Philharmonic at Severance Hall on November 16Prior to the concert by the Israel Philharmonic Orchestra on Monday, November 16, a special pre-concert discussion will be presented in Reinberger Chamber Hall at Severance Hall. The presentation is titled “Violins of Hope: Jour-ney to Cleveland” and features author James A. Grymes (Violins of Hope) in conversation with Martin Goldsmith, a well-known classical music

radio host on NPR and Sirius XM, and author of The Inextin-guishable Symphony and Alex’s Wake: A Voyage of Betrayal and a Journey of Remembrance. Grymes curated the “Violins of Hope Cleveland” exhibition currently on display at the Maltz Museum of Jewish Heritage. Goldsmith is the son of Rosemary Goldsmith, a vio-list featured in the Maltz exhi-

bition and a member of The Cleveland Orchestra, 1967-1981.

Together, they will discuss the parallel jour-neys that Jewish musicians made from Nazi Ger-many to join the ranks of orchestras in the United States and around the world.

The pre-concert discussion takes place be-ginning at 5:30 p.m., prior to the concert at 7:30 p.m. that evening. The Israel Philharmonic will be led by its music director, Zubin Mehta, in his first appearance at Severance Hall. The concert features works by Ravel and Dvořák, as well as a symphonic poem by Josef Bardanashvili. The concert is being presented locally by The Cleve-land Orchestra, Maltz Family Foundation, and the Jewish Federation of Cleveland, in collaboration with American Friends of the Israel Philharmonic Orchestra. The orchestra is performing a tour across the United States with generous funding from Milton and Tamar Maltz, with national un-derwriting from the American Friends group.

Mark AthertonMartha BaldwinCharles BernardKatherine BormannLisa BoykoCharles CarletonPatrick ConnollyRalph CurryAlan DeMattiaVladimir DeninzonScott DixonElayna DuitmanBryan DummMark Dumm Tanya EllMary Kay FinkKim GomezWei-Fang GuScott HaighDavid Alan HarrellMiho HashizumeMark JackobsJoela JonesRichard KingAlicia KoelzStanley KonopkaMark KosowerPaul KushiousJung-Min Amy LeeYun-Ting LeeTakako MasameEli MatthewsJesse McCormickMichael Miller

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

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

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

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

Cleveland Orchestra News

ISRAELPHILHARMONICORCHESTRA

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49Severance Hall 2015-16 49Cleveland Orchestra News

André Gremillet, managing director of the Mel-bourne Symphony Orchestra, will succeed Gary Hanson as executive director of The Cleveland Orchestra. The appointment was announced by Dennis W. LaBarre, president of the Musical Arts Association, over the summer. At the time of his retirement, Mr. Hanson will have served the institution for more than twenty-seven years, with nearly twelve years in his current position. Gremillet will become executive di-rector at the beginning of January; Hanson will retire in December. In making the ap-pointment, LaBarre said, “André Gremillet has an impressive artistic back-ground, including corporate leadership experience, and has successfully enhanced the fi scal health of two symphony orchestras. I am delighted that André has accepted our off er and I look forward to working with him to extend The Cleveland Orches-tra’s strong record of achievement.”

“André’s leadership qualities together with his artistic sensibilities are a great match for The Cleveland Orchestra,” stated music director Franz Welser-Möst. “I’m very enthusiastic about our choice. Combining the long-term partnership that the musicians and I already have developed, to-gether with André’s international experience along with the extraordinary support and commitment of the Board of Trustees, will help further develop in-novative and thoughtful programming as we look to our centennial in 2018 and build into the Orches-tra’s second century.” “I can think of no individual better suited to take the executive reins of The Cleveland Orchestra,” stated Gary Hanson. “I’m confi dent that André will feel, as I do, that serving this great Orchestra is a true privilege. With his broad experience and record of achievement, André is an ideal leader to pursue ever-greater institutional goals in a time of immense change and challenge for symphony or-chestras.”

“The Cleveland Orchestra represents the brightest example of what a great orchestra should

be in the 21st century,” said André Gremillet. “It is truly an honor to be appointed its next executive director and to succeed Gary Hanson, who has had a remarkable tenure. I look forward to working with the superb artists that are Franz Welser-Möst and the musicians of the Cleveland Orchestra, as well as with a Board and staff who are leaders in the orchestra world, to extend the Orchestra’s achievement in musical excellence, commitment to community, and fi nancial strength.” André Gremillet has been managing direc-tor of the Melbourne Symphony Orchestra since November 2012. During his tenure, the MSO has deepened its engagement with the Melbourne community, resulting in a signifi cant increase in ticket sales and fundraising, and completed a highly successful European Tour. From 2007 to 2012, Gremillet was president and CEO of the New Jersey Symphony Orchestra (NJSO), where his tenure marked a fi nancial turnaround for the organization. Prior to joining the NJSO, Gremi-llet served for four years as president of the internationally-renowned pipe organ building company Casavant Frères in Québec, Canada. He is a conservatory-trained pianist, holding a master’s degree from the Mannes College of Music and an MBA from McGill University.

Silence is golden As a courtesy to the performers onstage and the audience around you, all patrons are reminded to turn off cell phones and to dis-engage electronic watch alarms prior to each concert.

Committed to 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.

Orchestra’s next executive director appointed — André Gremillet takes reins in January


listing as of October 2015


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 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 1977 — 31 years Elizabeth Camus 2011 — 32 years CLARINETTheodore Johnson 1995 — 36 yearsThomas Peterson 2 1995 — 32 years Franklin Cohen ** 2015 — 39 years BASSOONPhillip Austin 2011 — 30 yearsRonald Phillips 2 2001 — 38 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 44 musicians collectively completed a total of 1560 years of service — representing the Orchestra’s ongoing service to music and to the greater Northeast Ohio community.

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

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

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51Severance Hall 2015-16 51Cleveland Orchestra News


W.E .L .C .O.M.EPercussionist joins Orchestra with 2015-16 season Thomas Sherwood be-came the newest member of The Cleveland Orchestra at the start of the musicians’ contract year at the begin-ning of September. He per-formed the fi nal weekend of concerts at Blossom, and continues with the new season (he has a previ-ous performing commitment outside Cleveland the week of September 21-26). Prior to being selected by Franz Welser-Möst, Sherwood had served as principal percussion of the Atlanta Symphony Orchestra since 1999. He gradu-ated with a bachelor of music in percussion performance from the University of Illinois at Champaign-Urbana. A student of Tom Siwe, he was the youngest recipient of the Edgard Varèse Memorial Scholarship. He earned his master of

music degree from Temple University, where he studied with Alan Abel (former associ-ate principal percussion of the Philadelphia Orchestra). Prior to joining the Atlanta Sym-phony Orchestra, Sherwood was a member of Miami’s New World Symphony for three seasons. Since 2008, he has been artistic director and percussionist for the contem-porary music ensemble, Sonic Generator. He also created and has directed the Modern Snare Drum Competition (an annual event for students from all over the country, which has led to the creation of more than a dozen new pieces for snare drum).

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

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


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


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 Jon Limbacher, Chief Development Offi cer, at 216-231-7520. Listing as of September 10, 2015.

Art of Beauty Company, Inc.BakerHostetlerMr. William P. Blair IIIMr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMrs. M. Roger ClappEatonFirstEnergy FoundationForest City Enterprises, Inc. 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 FoundationCuyahoga County residents through Cuyahoga Arts and CultureMr. and Mrs. Alexander M. CutlerNancy 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 AddicottDarby and Jack AshelmanClaudia BjerreJeanette 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 CorporationCharles and Ilana Horowitz RatnerSally and Larry SearsSquire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of CantonMs. Ginger Warner Anonymous (2)

GIFTS OF $500,000 TO $1 MILLION

The Abington FoundationAkron Community FoundationAmerican Greetings CorporationMr. and Mrs. George N. Aronoff Jack L. BarnhartFred G. and Mary W. BehmBen and Ingrid BowmanDr. Christopher P. Brandt and Dr. Beth SersigBuyers Products CompanyMary Kay DeGrandis and Edward J. DonnellyJudith and George W. DiehlGeorge* and Becky Dunn Ernst & 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.Jeff rey 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 FoundationMr. Gary A. OateyOlympic 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 SeidenfeldAndrea E. SenichDavid ShankNaomi G. and Edwin Z. SingerDrs. Charles Kent Smith and Patricia Moore SmithSandra and Richey SmithMs. 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 FoundationMr. and Mrs.* Harvey BuchananCliff s 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 DotsonPatricia EspositoSidney E. Frank FoundationAlbert I. and Norma C. Geller

The 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 GoyanesElizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. Morrison

Margaret Fulton-MuellerNational Endowment for the ArtsWilliam 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

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Th e 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.KeyBankRaiff eisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company

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

PARTNERS IN EXCELLENCE$100,000 TO $199,999Forest City Enterprises, Inc.The Lincoln Electric FoundationMedical Mutual of OhioNordson Corporation Foundation Squire Patton Boggs (US) LLPThompson Hine LLPWhite & Case (Miami)

$50,000 TO $99,999

Dollar BankParker Hannifi n CorporationQuality Electrodynamics (QED)voestalpine AG (Europe)Anonymous

$25,000 TO $49,999Buyers Products CompanyGreenberg Traurig (Miami)Litigation Management, Inc.The Lubrizol CorporationOlympic Steel, Inc.RPM International Inc.

$2,500 TO $24,999Akron Tool & Die CompanyAmerican Fireworks, Inc.American Greetings CorporationBank of AmericaBDIBrothers Printing Co., Inc.Brouse McDowellEileen M. Burkhart & Co LLCCalfee, Halter & Griswold LLPCleveland ClinicThe Cleveland Wire Cloth & Mfg. Co.Cohen & Company, CPAsConsolidated SolutionsDominion FoundationErnst & Young LLPEvarts TremaineThe Ewart-Ohlson Machine CompanyFeldman Gale, P.A. (Miami) Ferro CorporationFirstMerit BankFrantz Ward LLPArthur J. Gallagher & Co.The Giant Eagle FoundationGreat Lakes Brewing CompanyGross BuildersHahn Loeser & Parks LLPHuntington National BankKPMG LLPLittler Mendelson, P.C.Live Publishing CompanyMacy’sMaterion CorporationMiba AG (Europe)MTD Products, Inc.North Coast Container Corp.Northern HaserotOatey Co.Ohio CATOhio Savings Bank, A Division of New York Community BankOswald CompaniesPark-Ohio Holdings Corp.The Plain DealerPolyOne CorporationThe Prince & Izant CompanyThe Sherwin-Williams CompanyStern Advertising AgencyStruktol Company of AmericaSwagelok CompanyTucker EllisUBSUniversity HospitalsVer Ploeg & Lumpkin, P.A. (Miami)WCLV Foundation Westlake Reed LeskoskyMargaret W. Wong & Assoc. Co., LPAAnonymous (2)

Annual Supportgifts of $2,500 or more during the past year, as of September 5, 2015

Cumulative GivingJOHN L. SEVERANCE

SOCIETY

$5 MILLION AND MORE

KeyBankPNC Bank

$1 MILLION TO $5 MILLION

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

Th e John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of September 2015.

Th e Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestra’s Annual Fund, benefi t events, tours and residencies, and special projects.

Corporate Support


57Severance Hall 2015-16 57Corporate 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 FoundationThe William Randolph Hearst FoundationMartha Holden Jennings FoundationMyra Tuteur Kahn Memorial Fund of The Cleveland FoundationMarlboro 2465 FoundationMiami-Dade County Department of Cultural Aff airs (Miami)The Nord Family FoundationThe Payne FundThe Sage Cleveland Foundation

Annual Support gifts of $2,500 or more during the past year, as of September 5, 2015

Th e Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestra’s Annual Fund, benefi t 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 FoundationThe Sisler McFawn FoundationThe Veale Foundation

$2,500 TO $19,999The Abington FoundationAyco Charitable Foundation The Ruth and Elmer Babin FoundationDr. NE & JZ Berman FoundationThe Bernheimer Family Fund of The Cleveland FoundationElisha-Bolton FoundationThe Conway Family FoundationThe Harry K. Fox and Emma R. Fox Charitable FoundationFunding Arts Network (Miami)The Hankins 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

Th e John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of September 2015.


Foundation & Government Support

59Severance Hall 2015-16 59Foundation and Government Annual Support

Individual Annual Support

Th e Cleveland Orchestra gratefully recognizes the individuals listed here, who have provided generous gift s of cash or pledges of $2,500 or more to the Annual Fund, benefi t events, tours and residencies, and special annual donations.


Lifetime Giving JOHN L. SEVERANCE SOCIETY

$10 MILLION AND MORE

Jan and Daniel 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 ClappMr. George Gund III *Francie and David Horvitz (Miami)Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III *The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Peter B. Lewis* and Janet Rosel Lewis (Miami)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 The Ralph and Luci Schey FoundationMr.* and Mrs. Ward SmithMr. and Mrs. Richard K. SmuckerAnonymous (2)

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

Lifetime giving listing as of September 2015.

Giving Societiesgifts during the past year, as of September 5, 2015

In celebration of the critical role individuals play in supporting Th e Cleveland Orchestra each year, donors of $2,500 and more are recognized as members of special Leadership Giving Societies. Th ese societies are named to honor important and inspirational leaders in the Orchestra’s history. ��Th e Adella Prentiss Hughes Society honors the Orchestra’s founder and fi rst manager, who from 1918 envisioned an ensemble dedicated to community service, music education, and performing excellence. Th e George Szell Society is named aft er the Orchestra’s fourth music director, who served for twenty-four seasons (1946-70) while refi ning the ensemble’s international reputation for clarity of sound and unsurpassed musical excellence. Th e Elisabeth DeWitt Severance Society honors not only the woman in whose memory Severance Hall was built, but her selfl ess sharing, including her insistence on nurturing an orches-tra not just for the wealthy but for everyone. Th e 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. Th e Frank H. Ginn Society honors the man whose judicious management of Severance Hall’s fi nances and construction created a beautiful and welcoming home for Cleveland’s Orchestra. Th e 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.

60 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) The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Peter B. Lewis* and Janet Rosel Lewis (Miami) Jan and Daniel Lewis (Miami) Sue Miller (Miami) James and Donna Reid


George* and Becky DunnDr. and Mrs. Hiroyuki Fujita Dee and Jimmy HaslamDavid 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 Dr. Wolfgang Eder Mr. and Mrs. Michael J. Horvitz Elizabeth B. JulianoMr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Franz Welser-Möst


Sheldon and Florence Anderson (Miami) Blossom Women’s Committee

Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler Hector D. Fortun (Miami)Mrs. John A. Hadden, Jr.T. K. and Faye A. Heston Giuliana C. and John D. KochR. Kirk Landon* and Pamela Garrison (Miami)Toby 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 The Claudia and Steven Perles Family Foundation (Miami)Mrs. Alfred M. Rankin, Sr.Charles and Ilana Horowitz Ratner Barbara S. Robinson Sally and Larry Sears Hewitt and Paula Shaw Barbara and David Wolfort 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 FoundationJudith and George W. DiehlMr. and Mrs. Geoff rey Gund Mr. and Mrs. Jeff rey Healy Milton A. and Charlotte R. Kramer Charitable FoundationVirginia M. and Jon A. LindsethJulia and Larry Pollock The Ralph and Luci Schey Foundation

listings continue

Leadership Council Th e 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:

61Severance Hall 2015-16 61Individual Annual Support

listings continue

Jonathan and Tina Kislak (Miami) Mr. and Mrs. Moshe MeidarThe Miller Family Sydell Miller Lauren and Steve Spilman Stacie and Jeff HalpernMr. and Mrs. Donald Stelling (Europe)Gary L. Wasserman and Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe)


Art of Beauty Company, Inc.Marsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia BrouhardJill and Paul ClarkMr. and Mrs. William E. Conway Mrs. Barbara CookPeter D. and Julia Fisher Cummings (Miami)Do Unto Others Trust (Miami)Dr. and Mrs. Robert Ehrlich (Europe)Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami)Colleen and Richard Fain (Miami) Mr. Allen H. FordMs. Dawn M. FullRichard and Ann Gridley Gary Hanson and Barbara Klante Jack Harley and Judy ErnestSondra and Steve HardisDavid and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami)Allan V. Johnson 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. NashMr. Gary A. Oatey (Cleveland, Miami) Mrs. David Seidenfeld Mr. and Mrs. Oliver E. SeikelKim Sherwin Rick, Margarita, and Steven Tonkinson (Miami) Mr. and Mrs. Daniel P. WalshTom and Shirley Waltermire Mr. and Mrs. Jeff rey J. WeaverMr. and Mrs. Jeff rey 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 Mr. and Mrs. Richard A. Manuel*Mr. and Mrs. Stephen MyersPaul A. and Anastacia L. Rose Mr. and Mrs. Alfred Umdasch (Europe)Sandy and Ted Wiese

listings continued

Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton


In dedication to Donald Carlin (Miami)Martha and Bruce Clinton (Miami)Robert and Jean* Conrad Mr. and Mrs. Gerald A. ConwayJoAnn and Robert Glick Mrs. 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

Dudley S. Blossom Society



Gay Cull Addicott Mr. and Mrs. William W. BakerRandall and Virginia BarbatoMr. and Mrs. David J. Carpenter Mr. and Mrs. Matthew V. Crawford Jeff rey and Susan Feldman (Miami)Dr. Edward S. Godleski Mary and Jon Heider (Cleveland, Miami)Mr. and Mrs. Christopher Kelly


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

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

LEADERSHIP PATRON PROGRAM


listings continue


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. AngellAgnes ArmstrongMrs. Elizabeth H. AugustusMr. and Mrs. Robert H. Baker Jennifer Barlament and Ken PotsicStephen Barrow and Janis Manley (Miami) Fred G. and Mary W. BehmMr. and Mrs. Jules BelkinMr. William BergerDr. and Mrs. Eugene H. BlackstoneSuzanne and Jim BlaserDr.* and Mrs. Jerald S. BrodkeyFrank and Leslie Buck Mr. and Mrs. William C. ButlerMs. 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. Ronald E. DziedzickiMr. 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. Garapic

Brenda and David GoldbergMr. and Mrs. Henry J. GoodmanPatti Gordon (Miami)Mr. and Mrs. Randall J. GordonRobert N. and Nicki N. Gudbranson David and Robin GunningAlfredo and Luz Maria Gutierrez (Miami)Douglas M. and Amy Halsey (Miami)Lilli and Seth HarrisClark Harvey and Holly Selvaggi Dr. Robert T. Heath and Dr. Elizabeth L. BuchananJanet D. Heil*Anita and William Heller Thomas and Mary Holmes John and Hollis Hudak (Miami)Bob and Edith Hudson (Miami)Elisabeth Hugh


Robert and Alyssa Lenhoff -BriggsMr. and Mrs. Stanley Cohen (Miami) Ellen E. & Victor J. Cohn Supporting Foundation Henry and Mary Doll Linda 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 Hoff man Mr. and Mrs. Brinton L. HydePamela and Scott Isquick Ms. Elizabeth JamesRichard and Michelle JeschelnigJoela Jones and Richard Weiss Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Nan and Bob Pfeifer

Rosskamm Family TrustDrs. Michael and Judith Samuels (Miami)Patricia J. Sawvel Drs. Daniel and Ximena Sessler Bill* and Marjorie B. Shorrock Mrs. Gretchen D. SmithDr. Gregory Videtic Robert C. Weppler Dr. and Mr. Ann WilliamsAnonymous (3)

INDIVIDUAL GIFTS OF $10,000 TO $12,499William Appert and Christopher Wallace (Miami)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 ClarkJim and Karen Dakin 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. GarrettAlbert I. and Norma C. Geller Mr. and Mrs. Robert W. GillespieMr. David J. GoldenKathleen E. HancockMichael L. HardyMary Jane Hartwell Mr. and Mrs. James A. Haslam IIJoan and Leonard HorvitzRuth and Pedro Jimenez (Miami)Cherie and Michael Joblove (Miami)Mrs. Elizabeth R. Koch Tim and Linda Koelz Stewart and Donna KohlDr. David and Janice LeshnerMr.* 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 Neff Mr. and Mrs. William M. Osborne, Jr. Douglas and Noreen PowersAudra and George Rose

Dr. and Mrs. Ronald J. RossSteven and Ellen RossDr. Isobel RutherfordRaymond T. and Katherine S. SawyerCarol* and Albert SchuppDr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer FoundationMr. and Mrs. Joseph H. Serota (Miami)Howard Stark M.D. and Rene Rodriguez (Miami)Lois and Tom Stauff erCharles B. and Rosalyn Stuzin (Miami) Mrs. Jean H. TaberBruce and Virginia Taylor Joseph F. TetlakJoe and Marlene TootDr. Russell A. TrussoMr. and Mrs. Fred A. Watkins Florence and Robert Werner (Miami)Anonymous (3)


MAJORA CARTERUrban Environmentalist

Tuesday, December 1, 2015

RANDALL LANEEditor of Forbes, Entrepreneur

Wednesday, March 16, 2016

ABRAHAM VERGHESEAuthor, Teacher, Medical Advocate

Monday, April 18, 2016

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October 1, 2MAHLER’S THIRD SYMPHONY — page 61

Explorations with Franz Welser-Möst MUSICAL AND METAPHYSICAL CONNECTIONS IN STRAUSS, MESSIAEN, AND MAHLER — page 8


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. Henry G. BrownellMs. Mary R. Bynum and Mr. J. Philip CalabreseDr. and Mrs. William E. CappaertJohn Carleton (Cleveland, Miami)Mr. and Mrs. Frank H. CarpenterMr. Owen ColliganDrs. Mark Cohen and Miriam Vishny Mr. and Mrs. David G. de RouletMrs. April C. DemingPeter and Kathryn Eloff Peggy and David* FullmerLoren and Michael GarrutoDr. and Mrs. Edward C. Gelber (Miami)Dr. and Mrs. Ronald L. GouldNancy and James GrunzweigMr. Robert D. HartMary S. HastingsHazel Helgesen* and Gary D. Helgesen

Mr. and Mrs. Jerry HerschmanMr. Robert T. HexterDr. Keith A. and Mrs. Kathleen M. Hoover Dr. Fred A. HueplerDr. and Mrs. Scott R. InkleyMr. and Mrs. Richard A. JanusBarbara and Michael J. KaplanDr. and Mrs. Richard S. KaufmanJames and Gay* Kitson Mrs. Natalie D. KittredgeDr. Gilles* and Mrs. Malvina Klopman Mr. James Krohngold Ronald and Barbara Leirvik Dr. Edith LernerMary LohmanHerbert L. and Rhonda MarcusMartin and Lois MarcusMs. Nancy L. MeachamDr. Susan M. MerzweilerBert and Marjorie MoyarSusan B. MurphyRichard B. and Jane E. NashDavid and Judith NewellMr. and Mrs. Peter R. OsenarDr. Lewis and Janice B. PattersonMr. Carl Podwoski

Ms. Sylvia ProfernnaMr.* and Mrs. Thomas A. QuintrellAlfonso Rey and Sheryl Latchu (Miami)Dr. Robert W. ReynoldsCarol Rolf and Steven AdlerRobert and Margo RothFred Rzepka and Anne Rzepka Family FoundationDr. and Mrs. Martin I. Saltzman Mr. 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.Mr. Karl and Mrs. Carol TheilErik TrimbleDrs. Anna* and Gilbert TrueMargaret and Eric* WayneRichard Wiedemer, Jr. Tony and Diane Wynshaw-BorisMarcia and Fred* Zakrajsek


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 Geraldine and 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 BertschMs. Deborah A. Blades


listings continued

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

Ms. Carole HughesMs. Charlotte L. HughesMr. David and Mrs. Dianne Hunt Mr. and Mrs. Christopher Hyland Donna L. and Robert H. JacksonRudolf D. and Joan T. KamperAndrew and Katherine KartalisMilton and Donna* KatzDr. Richard and Roberta KatzmanMr. John and Mrs. Linda KellyDr. and Mrs. William S. KiserMr. and Mrs.* S. Lee KohrmanMr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr.David C. Lamb Anthony 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. LiederbachMr. Jon E. Limbacher and Patricia J. LimbacherMr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. LoveRobert and LaVerne* LugibihlElsie and Byron LutmanMr. 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

Mr. and Mrs. William A. Mitchell Curt and Sara MollGeorgia and Carlos Noble (Miami) Richard and Kathleen NordMr. Thury O’ConnorMr. Henry Ott-HansenMr. and Mrs. Christopher I. Page 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. Giff ordDr. and Mrs. John N. Posch Ms. Rosella PuskasDrs. 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)Mr. and Mrs. Robert C. RuhlMrs. Florence Brewster Rutter Bob and Ellie ScheuerDavid M. and Betty SchneiderLinda B. SchneiderDr. and Mrs. James L. SechlerLee and Jane SeidmanMr. Eric Sellen and Mr. Ron SeidmanSeven Five Fund

Ms. Marlene Sharak Mrs. Frances G. ShoolroyNaomi G. and Edwin Z. Singer Family Fund Bruce SmithDrs. Charles Kent Smith and Patricia Moore Smith David Kane Smith Dr. Marvin* and Mimi Sobel 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 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.Mr. and Mrs. Ronald E. WeinbergDr. R. Morgan and Dr. S. Weirich (Miami)Tom and Betsy WheelerNancy V. and Robert L. Wilcox Bob and Kat WollyungAnonymous (3)

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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

Bill* and Zeda BlauDoug and Barbara BletcherDr. Charles Tannenbaum & Ms. Sharon BodineMr. and Mrs. Richard H. BoleMrs. Loretta BorsteinMs. Andrea L. BoydLisa and Ron BoykoMr. and Mrs. David BriggsDr. Thomas Brugger and Dr. Sandra RussLaurie BurmanMrs. Millie L. CarlsonIrad and Rebecca CarmiLeigh 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. Mark CorradoDr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. DannemillerDr. Eleanor DavidsonMr. and Mrs. Edward B. DavisJeff rey and Eileen DavisMrs. Lois Joan DavisDr. and Mrs. Richard C. DistadMr. George and Mrs. Beth Downes Esther L. and Alfred M. Eich, Jr. Drs. Heidi Elliot and Yuri NovitskyHarry and Ann FarmerMr. William and Dr. Elizabeth FeslerMr. Paul C. ForsgrenRichard J. FreyMr. Wilbert C. Geiss, Sr.Anne and Walter GinnMr. and Mrs. David A. Goldfi nger The Thomas J. and Judith Fay Gruber

Charitable Foundation Mr. Davin and Mrs. Jo Ann GustafsonDr. Phillip M. and Mrs. Mary HallMr. and Mrs. David P. Handke, Jr.Elaine Harris GreenMr. and Mrs. Donald F. Hastings Matthew D. Healy and Richard S. AgnesMr. Loren W. HersheyMr. and Mrs. Robert D. Hertzberg (Miami)Dr. and Mrs. Robert L. HinnesMr. Larry HolsteinDr. Randal N. Huff and Ms. Paulette Beech Ms. Luan K. Hutchinson Ruth F. IhdeMrs. Carol Lee and Mr. James IottRobert 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 KendisBruce and Eleanor KendrickMr. James KishFred* and Judith KlotzmanJacqueline and Irwin* Kott (Miami)Ellen Brad and Bart KovacDr. Ronald H. Krasney and Vicki Kennedy Mr. Donald N. Krosin

Eeva and Harri Kulovaara (Miami)Mr. and Mrs. John J. Lane, Jr. Mr. Gary LeidichMichael and Lois A. LemrDr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Ms. Grace LimMrs. Idarose S. LuntzJanet 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. James E. MengerStephen and Barbara Messner Ms. Betteann MeyersonDrs. 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. and Mrs. Robert D. PaddockGeorge Parras Dr. and Mrs. Gosta PetterssonHenry Peyrebrune and Tracy RowellDr. Roland S. Philip and Dr. Linda M. Sandhaus Ms. Maribel Piza (Miami)Dr. Marc and Mrs. Carol PohlMrs. Elinor G. PolsterKathleen PudelskiDavid and Gloria RichardsMichael Forde RipichMr. and Mrs. James N. Robinson II (Miami)Mr. Timothy D. Robson Ms. Linda M. RocchiMiss Marjorie A. RottMr. 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 Dr. John Sedor and Ms. Geralyn PrestiMs. Kathryn SeiderCharles Seitz (Miami)Mr. and Mrs. Thomas W. Seitz Ms. Frances L. SharpMs. Jeanne ShattenDr. Donald S. SheldonDr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Robert SieckMs. Lois H. Siegel (Miami)David* and Harriet SimonDr. and Mrs. Conrad SimpfendorferThe Shari Bierman Singer FamilyGrace Katherine SipusicRobert and Barbara SlaninaSandra and Richey Smith Roy SmithMs. Barbara Snyder

Lucy and Dan SondlesMs. Sharmon SollittoMichalis and Alejandra Stavrinides (Miami)Mr. Louis StellatoMr. and Mrs. Joseph D. SullivanRobert and Carol TallerKen 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-WolfKatie and Donald WoodcockElizabeth B. Wright Rad and Patty YatesDr. William ZeleiMr. Kal Zucker and Dr. Mary Frances HaerrMr. Max F. ZuponAnonymous (5)

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

listings continued


member of the Leadership Council (see fi rst page of Annual support listings)

* deceased

Th e 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

For information about how you can play a supporting role with Th e Cleveland Orch estra, please contact our Philanthropy & Advancement Offi ce by calling 216-231-7558.



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

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

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

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Severance Hall70 The Cleveland Orchestra

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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

74 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.

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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


A U T U M N S E A S O NSymphonic DancesNovember 6 — Friday at 11:00 a.m. <18s *November 7 — Saturday at 8:00 p.m. November 8 — Sunday at 3:00 p.m. <18s

THE CLEVELAND ORCHESTRAGianandrea Noseda, conductorLeonidas Kavakos, violin

PETRASSI Partita*SHOSTAKOVICH Violin Concerto No. 1RACHMANINOFF Symphonic Dances

* not part of Friday Morning Concert

Sponsor: BakerHostetler

Israel Philharmonic OrchestraNovember 16 — Monday at 7:30 p.m.

ISRAEL PHILHARMONIC ORCHESTRAZubin Mehta, conductor

BARDANASHVILI Journey to the End of the Millennium: Symphonic Poem

RAVEL La Valse [The Waltz]DVOŘÁK Symphony No. 9

(“From the New World”) PRE-CONCERT DISCUSSION at 5:30 p.m. Special discussion about “Violins of Hope: A Journey to Cleveland,” with author James A. Grymes in conversation with classical music radio host Martin Goldsmith.

Concert presented by The Cleveland Orchestra, Maltz Family Foundation, and Jewish Federation of Cleveland in collaboration with the American Friends of the Israel Philharmonic Orchestra.

Schubert’s Great C-major SymphonyNovember 19 — Thursday at 7:30 p.m. November 20 — Friday at 8:00 p.m. <18s November 21 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRAChristoph von Dohnányi, conductorRobert Vernon, violaLynne Ramsey, viola

SMETANA Overture to The Bartered Bride SORTOMME Concerto for Two Violas on Themes from Smetana’s “From My Life” WORLD PREMIERE — CLEVELAND ORCHESTRA COMMISSION

SCHUBERT Symphony in C major (“The Great”), D.944 Sponsor: Squire Patton Boggs (US) LLP

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

Concert Calendar

PNC MUSICAL RAINBOWThe Fabulous FluteNovember 20 — Friday at 10:00 a.m. <18s

November 21 — Saturday at 10:00 & 11:00 a.m. <18s

with Marisela Sager, fl uteFor ages 3 to 6. Host Maryann Nagel gets attendees sing-ing, clapping, and moving to the music in this series intro-ducing instruments of the orchestra. With solo selections, kid-friendly tunes, and sing-along participation.

Sponsor: PNC Bank

Cleveland OrchestraYouth OrchestraNovember 22 — Sunday at 8:00 p.m. <18s

CLEVELAND ORCHESTRA YOUTH ORCHESTRABrett Mitchell, conductor

PUTS River’s Rush BERNSTEIN Jeremiah Symphony SCHUMANN Symphony No. 3 (“Rhenish”) A free Prelude Concert begins at 7:00 p.m. featuring members of the Youth Orchestra performing chamber music.

Symphonie fantastiqueNovember 27 — Friday at 11:00 a.m. <18s *November 28 — Saturday at 8:00 p.m. November 29 — Sunday at 3:00 p.m. <18s

THE CLEVELAND ORCHESTRALionel Bringuier, conductorRobert Walters, english horn

DEBUSSY Prelude to the Afternoon of a Faun

RANDS Concerto for English Horn WORLD PREMIERE — COMMISSIONED BY OBERLIN CONSERVATORY BERLIOZ Symphonie fantastique Sponsor: Squire Patton Boggs (US) LLP

Handel’s MessiahDecember 3 — Thursday at 7:30 p.m.December 4 — Friday at 8:00 p.m. <18s December 5 — Saturday at 8:00 p.m.

THE CLEVELAND ORCHESTRARobert Porco, conductorYulia Van Doren, sopranoJennifer Johnson Cano, mezzo-sopranoJohn Tessier, tenorNathan Berg, bass-baritoneCleveland Orchestra Chamber Chorus

HANDEL Messiah Sponsor: Medical Mutual of Ohio

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

D O R C H E S T R A2015-16 SEASON

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

77Severance Hall 2015-16 77Concert Calendar

AT THE MOVIESBack to the FutureDecember 10 — Thursday at 7:30 p.m.

THE CLEVELAND ORCHESTRABrett Mitchell, conductor

Power up your DeLorean . . . recharge your fl ux capacitor . . . and get ready to celebrate the 30th anniversary of an unforgettable movie classic as you’ve never seen and heard it before! Marty McFly (Michael J. Fox) fi nds himself transported back to 1955, where he struggles to change the destiny of his parents (Lea Thompson, Crispin Glover) and rescue an eccentric friend (Christopher Lloyd), all while trying to ensure he has a future to get back to. With Alan Silvestri’s dazzling musical score performed by The Cleveland Orchestra.

Sponsor: PNC Bank

PNC HOLIDAY RAINBOWChristmas Brass QuintetDecember 11 — Friday at 10:00 a.m. <18s

December 12 — Saturday at 11:00 a.m. <18s

with Jack Sutte, trumpet Michael Miller, trumpet Hans Clebsch, horn Richard Stout, trombone Kenneth Heinlein, tuba

For young people and their families. A special holiday edition of our popular Musical Rainbows series, featur-ing brass sounds of the yuletide, ringing in music for the season and the new year. With Host Maryann Nagel.

Sponsor: PNC Bank

AT THE MOVIESHome AloneDecember 16 — Wednesday at 7:30 p.m.

THE CLEVELAND ORCHESTRABrett Mitchell, conductor

A true holiday favorite, this beloved comedy classic fea-tures renowned composer John Williams’s delightful score performed live by The Cleveland Orchestra. Macaulay Culkin stars as Kevin McCallister, an 8-year-old boy ac-cidently left behind when his family leaves for Christmas vacation, and who must defend his home against two bun-gling thieves. Hilarious and heart-warming, Home Alone is holiday fun for the entire family!

Sponsor: PNC Bank

<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 off ers free tickets for young people attending with families (one per full-price paid adult for concerts marked with the symbol above).

Cleveland OrchestraCHRISTMASFriday December 11 at 7:30 p.m.Saturday December 12 at 2:30 & 7:30 p.m.Sunday December 13 at 2:30 p.m.Thursday December 17 at 7:30 p.m.Friday December 18 at 7:30 p.m.Saturday December 19 at 2:30 & 7:30 p.m.Sunday December 20 at 2:30 & 7:30 p.m.THE CLEVELAND ORCHESTRARobert Porco, conductorCleveland Orchestra Chorusand guest choruses

Celebrate the holiday season with a favorite Cleveland tradition — with The Cleveland Orchestra and Chorus in these annual off erings of music for the Christmas Season. Including sing-alongs and holiday cheer, all in the festive yuletide splendor of Severance Hall.

Sponsored by Dollar Bank

Cl l d O h t

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

THE ISRAEL PHILHARMONICSPECIAL EVENT PRESENTATIONMonday November 16 at 7:30 p.m.ISRAEL PHILHARMONIC ORCHESTRAZubin Mehta, conductor

One of Israel’s oldest and most infl uential cultural institutions, the Israel Philharmonic was founded on the eve of World War II, when the Polish star violinist Bronislaw Huberman auditioned leading Jewish musicians across Europe and procured them lifesaving jobs. When the nation of Israel was founded in 1948, the Palestine Symphony became the Israel Philharmonic Orchestra, the country’s national orchestra. Today, this ensemble is an eloquent voice for peace, as well as Israel’s cultural ambassador.

Presented by The Cleveland Orchestra, Maltz Family Foundation, and the Jewish Federation of Cleveland in collaboration with the American Friends of the Israel Philharmonic Orchestra.

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

78 The Cleveland OrchestraUpcoming Concerts

AT SEVERANCE HALL . . .

AT THE MOVIES

HOME ALONEWednesday December 16 at 7:30 p.m.The Cleveland OrchestraBrett Mitchell, conductorCleveland Orchestra Youth Chorus

A true holiday favorite, this beloved comedy classic features renowned composer John Wil-liams’s delightful score performed live by The Cleveland Orchestra. Macaulay Culkin stars as Kevin McCallister, an 8-year-old boy accidently left behind when his family leaves for Christ-mas vacation, and who must defend his home against two bungling thieves. Hilarious and heart-warming, Home Alone is holiday fun for the entire family!

Home Alone © 1990 Twentieth Century Fox. All rights reserved.

Sponsored by PNC Bank.

the cleveland orchestra november 6, 7, 8 concerts

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