the cleveland orchestra october 22-26 concerts

1Severance Hall 2009-10

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IN PARTNERSHIP WITH THE CLEVELAND MUSEUM OF ART AND CLEVELAND CINEMATHEQUE

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For Tickets: clevelandorchestra.com


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DIN PARTNERSHIP WITH THE CLEVELAND MUSEUM OF ART AND CLEVELAND CINEMATHEQUE

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Experience a week of exploration

across the highly tempestuous and

deeply emotional intermingling of

music and politics. Music Director

Franz Welser-Möst and The Cleveland

Orchestra take a fascinating look

at two highly autobiographical

composers, whose lives and careers

were separated by over a century,

yet whose works demonstrate

how artists of two eras wrestled

with themes of freedom, as well as

personal and collective liberty and

politics. The festival includes three

concerts, plus two fi lm screenings

in partnership with the Cleveland

Museum of Art and the Cleveland

Institute of Art Cinematheque.

Pre-fi lm and pre-concert talks,

and a chamber music perform-

ance by members of The Cleve-

land Orchestra, are also featured.

Tuesday October 22 at 7:00 p.m.FILM: A CLOCKWORK ORANGEat the Cleveland Institute of Art Cinematheque

Opening The Cleveland Orchestra’s “Fate and Freedom” festival, this screening of the movie A Clockwork Orange (1971), directed by Stanley Kubrick, includes introductory remarks by John Ewing, co-founder of the Cinematheque.

Wednesday October 23 at 6:30 p.m.FILM: THE NEW BABYLONat the Cleveland Museum of Art

Shown as part of The Cleveland Orchestra’s “Fate and Freedom” festival, the revolutionary silent fi lm The New Babylon (1929) features Shostakovich’s fi rst fi lm score. Preceded by a discussion between Frank J. Oteri and John Ewing moderated by James Krukones, associate professor of history at John Carroll University.

THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorat Severance Hall

Thursday October 24 at 7:30 p.m. BEETHOVEN Symphony No. 3 (“Eroica”) SHOSTAKOVICH Symphony No. 6

PRE-CONCERT: Franz Welser-Möst discusses Shostakovich and Beethoven and their symphonies with Mark Williams, the Orchestra’s director of artistic planning, beginning at 6:30 p.m. on the stage at Severance Hall.

Friday October 25 at 8:00 p.m. BEETHOVEN Symphony No. 4 SHOSTAKOVICH Symphony No. 8

PRE-CONCERT: Frank J. Oteri, New Music USA’s composer advocate and senior editor of NewMusicBox, presents a pre-concert talk with Rebecca Mitchell, visiting assistant professor of Russian/Soviet history at Oberlin College, at 7 p.m. in Reinberger Chamber Hall at Severance Hall.

Saturday October 26 at 8:00 p.m. BEETHOVEN Symphony No. 5 SHOSTAKOVICH Symphony No. 10

PRE-CONCERT: Cleveland Orchestra musicians perform chamber music works by Beethoven and Shostakovich at 7 p.m. in Reinberger Chamber Hall at Severance Hall.

Related EventOPERA: SHOSTAKOVICH’S THE NOSESaturday October 26 at 1:00 p.m. The Metropolitan Opera, Live in HD in select Northeast Ohio movie theaters

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

October 22, 23, 24, 25, 26FATE AND FREEDOM: THE MUSIC OF BEETHOVEN AND SHOSTAKOVICH

A S P O R T I N G L I F E !

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

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

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7 In the News

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

Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . 72-C

8 About the Orchestra

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

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

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

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

25 Festival — Week 5

Film: A Clockwork Orange . . . . . . . . . . . . . . . . . . . 27

Film: The New Babylon . . . . . . . . . . . . . . . . . . . . . . 29

Concert Previews and Prelude . . . . . . . . . . . . 30-31

Concerts: October 24, 25, 26 . . . . . . . . . . . 32-33

Introducing the Concerts . . . . . . . . . . . . . . . . . . . . 35

“Will and Freedom, Music and Meaning” by Franz Welser-Möst . . . . . . . . . . . . . . . . . . . . . 37

“Fate and Freedom: Legacies and Music of Beethoven and Shostakovich” . . . . . . . . . . 43

BEETHOVEN

Symphony No. 3 (“Eroica”) . . . . . . . . . . . . . . . . 49 SHOSTAKOVICH

Symphony No. 6 . . . . . . . . . . . . . . . . . . . . . . . . . . 53

BEETHOVEN

Symphony No. 4 . . . . . . . . . . . . . . . . . . . . . . . . . . 59 SHOSTAKOVICH

Symphony No. 8 . . . . . . . . . . . . . . . . . . . . . . . . . . 61

BEETHOVEN

Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . 65 SHOSTAKOVICH

Symphony No. 10 . . . . . . . . . . . . . . . . . . . . . . . . . 69

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

56 Support

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

Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . 72-H

Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . 72-M

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

Foundation / Government Annual Support . . . 75

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

90 Future Concerts

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

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

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

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

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

50%

WEEK 5

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

Copyright © 2013 by The Cleveland Orchestra and the Musical Arts Association

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

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

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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 ENDOWMENTFOR THE ARTS

4 The Cleveland OrchestraTable of Contents

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Living at Judson Manor, she enjoys walking to the museum, and nearby shops and restaurants in the Circle’s new Uptown district.

This is Smart Living™ defined at Judson Manor. Call (216) 791-2004 to arrange for a tour today.

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To read more about Hope, visit www.judsonsmartliving.org/Hope

—Hope Hungerford, Judson Manor resident since 2010

7Severance Hall 2013-14 7

October 2013

With this week’s concerts, we move into the heart of the 2013-14

season, the twelfth of Franz Welser-Möst’s tenure as music direc-

tor. The artistic excellence for which the Orchestra has long been

famous is a core value that has been enhanced under his leader-

ship. At the same time, under Franz’s leadership, the Orchestra’s

commitment to serving Northeast Ohio is stronger than ever.

Indeed, to Franz, the Orchestra’s dedication to artistic excellence can only thrive if we are

committed to being relevant and vital to the community that supports us. Music educa-

tion, long one of The Cleveland Orchestra’s core pillars, is central to Franz’s vision for this

institution’s future. For Franz, music brings people together — across genres, cultures,

countries, and generations. Ensemble music-making, whether by amateurs or profes-

sionals, gives meaning to the lives of those participating; for students, music helps in-

spire the creativity necessary for the long-term vitality of society. To inspire music-mak-

ing among young people, Franz and the Orchestra’s musicians perform in local schools

and share their knowledge and enthusiasm across a range of programs and off erings.

Taking the Orchestra into local neighborhoods, Franz will be at the forefront of the

Orch estra’s next “At Home” neighborhood residency, just announced for May 2014 in

partnership with Lakewood community businesses and organizations. Like last sea-

son’s inaugural event, “The Cleveland Orchestra at Home in Gordon Square,” the 2014

program will be a week-long residency that immerses the Orchestra in a neighborhood,

off ering a series of events — from musicians visiting area schools, to ensemble perfor-

mances in local hot spots, to a public concert featuring the entire Orchestra. All free

and open to everyone.

Looking even further ahead, to the Orchestra’s 100th Season in 2017-18, Franz has ar-

ticulated a vision for our Centennial that celebrates the community that has nurtured

the Orch estra since its founding and continues to support it through extraordinary gen-

erosity, alongside a series of programs and initiatives that look forward, laying a founda-

tion for our second century.

Through excellence, innovation, and collaboration, and by focusing on producing artis-

tic and educational experiences of the highest quality, Franz is leading this institution

as an example for our industry worldwide, while serving the interests and needs of the

Orchestra’s hometown.

P.S. Included in this fall’s elections is Issue 1, a replacement levy for services to our com-

munity's most vulnerable citizens through Cuyahoga County Health and Human Servic-

es. This funding helps ensure a safety net across our community for children, families,

and seniors. Every vote can make a critical diff erence in this election. For further infor-

mation, visit www.CuyahogaHHS.org.

Perspectives

Gary Hanson

Perspectives from the Executive Director

I N P E R F O R M A N C E S A T H O M E and around the globe, Th e Cleveland Orch-

estra remains Northeast Ohio’s most visible international ambassador and one

of the most sought-aft er performing ensembles in the world. In concerts at its

winter home at Severance Hall and at each summer’s Blossom Music Festi-

val, in residencies from Miami to Vienna, and on tour around the world, Th e

Cleveland Orchestra sets standards of artistic excellence, creative program-

ming, and active community engagement. With the 2013-14 season, Franz

Welser-Möst enters his twelft h year leading the ensemble, with a commitment

extending to the Orchestra’s centennial in 2018. Th is artistic partnership con-

tinues to move the ensemble forward through a series of new and ongoing ini-

tiatives, including:

expansion of education and community programs in Northeast Ohio to fea-

ture music as an integral and regular part of everyday life for more people, in-

cluding the launch this past spring of an “At Home” neighborhood residency

program that brings Th e Cleveland Orchestra to a single neighborhood or town

About the Orchestra8 The Cleveland Orchestra

FEBRUARY 1935 — Cleveland Orchestra music director Artur Rodzinski secured the rights for the American premiere of Shostakovich’s opera Lady Macbeth of Mzensk at Severance Hall, and hired Richard Rychtarik to design the sets (sketch above). They then encored the Cleveland performances with the work’s New York City premiere.

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for an intensive week of special activities and performances, as well as the broaden-

ing of the Orchestra’s ongoing education and community engagement initiatives to

include Make Music!, a program of active and participatory experience and learning;

the establishment of residencies around the world, fostering creative artistic

growth and an expanded fi nancial base — including ongoing residencies

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

and in Florida under the name Cleveland Orch estra Miami (featuring an

annual series of concerts and community activities, coupled with educational

presentations and collaborations based on successful programs pioneered at home

in Cleveland);

creative new artistic collaborations with arts institutions in Northeast Ohio,

including staged works, concerts, and chamber music performances;

a concentrated and successful eff ort to develop future generations of audiences

for Cleveland Orchestra concerts in Northeast Ohio, through research, targeted

discounts, social media promotion, and student ticket programs, with demonstrat-

ed results at Severance Hall and Blossom;

a variety of new concert off erings (including KeyBank Fridays@7 and Celebri-

ty Series at Severance Hall as well as movie, themed, and family presentations at

Blossom) to play more music for more people;

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

going collaborations with Chicago’s Joff rey Ballet;

continuing and expanded educational partnerships with schools, colleges, and

universities across Northeast Ohio and beyond;

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

ances at Carnegie Hall;

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

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

DVD concert presentations of symphonies by Anton Bruckner led by Welser-Möst.

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

on creating an ensemble worthy of joining America’s ranks of major symphony or-

chestras. Over the ensuing decades, the Orchestra quickly grew from a fi ne regional

organization to being one of the most admired symphony orchestras in the world.

Th e opening in 1931 of Severance Hall as the Orchestra’s home brought a special

pride to the ensemble and its hometown, as well as providing an enviable and inti-

mate acoustic environment in which to develop and refi ne the Orchestra’s artistry.

Year-round performances became a reality in 1968 with the opening of Blossom Mu-

sic Center, one of the most beautiful and acoustically admired outdoor concert facili-

ties in the United States.

The Orchestra Today 9Severance Hall 2013-14

W EL I G H T

T H EW A Y

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

S t . V i n c e n t C h a r i t y M e d i c a l C e n t e r , S t . J o h n M e d i c a l C e n t e rS C C S C **, S i s t e r s o f C h a r i t y F o un d a t i o n S f C, g y , g , p , g ,

C a t h o l i c C o m m u n i t y C o n n e c t i o n*, I n d e p e n d e n t P h y s i c i a n S o l u t i o n s *

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

Shirley B. Dawson, President, Women’s Committee of Th e Cleveland Orchestra

Claire Frattare, President, Blossom Women’s Committee

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

Dr. Lester Lefton, President, Kent State University

Barbara R. Snyder, President, Case Western Reserve University

PAST PRESIDENTS D. Z. Norton 1915-21

John L. Severance 1921-36

Dudley S. Blossom 1936-38

Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55

Frank E. Taplin, Jr. 1955-57

Frank E. Joseph 1957-68

Alfred M. Rankin 1968-83

Ward Smith 1983-95

Richard J. Bogomolny 1995-2002, 2008-09

James D. Ireland III 2002-08

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

Robert W. GillespieDorothy Humel HovorkaRobert F. Meyerson

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

RESIDENT TRUSTEES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Scott Chaikin Paul G. Clark Owen M. Colligan Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Terrance C. Z. Egger Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Christopher Hyland

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

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

OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President

Richard J. Bogomolny, Chairman

The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair

Raymond T. Sawyer, Secretary

Beth E. Mooney, Treasurer

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

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

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

THE MUSICAL ARTS ASSOCIATION as of August 2013

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

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

Musical Arts Association 11Severance Hall 2013-14 11

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Severance Hall, a Cleveland landmark and home of the

world-renowned Cleveland Orchestra, is perfect for business

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

T H E 2 01 3 -1 4 S E A S O N marks Franz Welser-Möst’s

twelft h year as music director of Th e Cleveland Or-

chestra, with a long-term commitment extending

to the Orchestra’s centennial in 2018. Under his di-

rection, the Orchestra is acclaimed for its continu-

ing artistic excellence, is extending and enhancing

its community programming at home in Northeast

Ohio, is presented in a series of ongoing residencies

in the United States and Europe, continues its his-

toric championship of new composers through com-

missions and premieres, and has re-established itself

as an important operatic ensemble. Concurrently with his post in Cleveland, Mr.

Welser-Möst is general music director of the Vienna State Opera.

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

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

formances in collaboration with the Cleveland Metropolitan School District. Mr.

Welser-Möst’s championship of community music-making expands upon his active

participation in educational programs and collaborative programming, including

the Cleveland Orchestra Youth Orchestra and partnerships with music conservato-

ries, universities, and other arts institutions across Northeast Ohio.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sean Shepherd, and Ryan Wigglesworth.

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

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Music Director 15Severance Hall 2013-14 15

Music Director

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

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

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

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

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

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

May 2014 brings an innovative made-for-Cleveland production of

Leoš Janáček’s Th e Cunning Little Vixen to Northeast Ohio.

Franz Welser-Möst became general music director of the

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

pany has included acclaimed performances of Tristan and Isol-

de, a new production of Wagner’s Ring cycle with stage director

Sven-Eric Bechtolf, and critically praised new productions of Hindemith’s Cardillac

and Janáček’s Katya Kabanova and From the House of the Dead. During the 2013-

14 season, his Vienna schedule includes a new production of Puccini’s Th e Girl of

the Golden West, as well as performances of Tristan and Isolde, Verdi’s Don Carlo,

Beethoven’s Fidelio, and Richard Strauss’s Ariadne auf Naxos and Der Rosenkavalier.

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

harmonic. Recent performances with the Philharmonic include appearances in con-

cert at La Scala Milan, at New York’s Carneige Hall, and in opera presentations at the

Salzburg Festival. He also led the Philharmonic’s New Year’s Day concert, viewed by

telecast in seventy countries worldwide in 2011 and again in 2013. Across a decade-

long tenure with the Zurich Opera, culminating in three seasons as general music di-

rector (2005-08), Mr. Welser-Möst led the company in more than 40 new productions.

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

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

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

cordings of live performances of fi ve of Bruckner’s symphonies, presented in three

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

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

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

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

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

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

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

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

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

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

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

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

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

published in a German edition in 2007.

16 The Cleveland Orchestra

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

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

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“The Cleveland Orchestra proved

that they are still one of the world’s

great musical beasts. With Franz

Welser-Möst conducting, this music

. . . reverberated in the souls of the

audience.” —Wall Street Journal

“Cleveland’s reputation as one of the

world’s great ensembles is richly deserved.”

—The Guardian (London)

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Franz Welser-Möst and The Cleveland Orchestra,

performing Bruckner’s Fourth Symphony in concert

at Severance Hall in April 2012.

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee Chair

Yoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Alexandra PreucilASSISTANT CONCERTMASTER

Dr. Jeanette Grasselli Brownand Dr. Glenn R. Brown 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

Katherine Bormann

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2

James and Donna Reid Chair

Eli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

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

Yun-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 Chair

Richard Weiss1

Th e GAR Foundation Chair

Charles Bernard2

Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya EllRalph CurryBrian ThorntonDavid Alan HarrellPaul KushiousMartha BaldwinThomas Mansbacher

BASSESMaximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune

Charles Barr Memorial Chair

Charles CarletonScott DixonDerek Zadinsky

HARPTrina Struble*

Alice Chalifoux Chair

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

The Orchestra

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


FLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein*

Edith S. Taplin Chair

Mary LynchJeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaff e Chair

CLARINETSFranklin Cohen*

Robert Marcellus Chair

Robert WoolfreyDaniel McKelway 2

Robert R. and Vilma L. Kohn Chair

Linnea Nereim

E-FLAT CLARINETDaniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINETLinnea Nereim

BASSOONSJohn Clouser *

Louise Harkness Ingalls Chair

Barrick Stees2

Sandra L. Haslinger Chair

Jonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSRichard King *

George Szell Memorial Chair

Michael Mayhew §

Knight Foundation Chair

Jesse McCormickHans ClebschAlan DeMattia

TRUMPETSMichael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack SutteLyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard StoutAlexander andMarianna C. McAfee Chair

Shachar Israel2

BASS TROMBONEThomas Klaber

EUPHONIUM AND BASS TRUMPETRichard Stout

TUBAYasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANIPaul Yancich*

Otto G. and Corinne T. Voss Chair

Tom Freer 2

PERCUSSIONMarc Damoulakis°

Margaret Allen Ireland Chair

Donald MillerTom Freer

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin Chair

Carolyn Gadiel WarnerMarjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’BrienDonald Miller

ORCHESTRA PERSONNELKaryn GarvinDIRECTOR

Anna StoweACTING MANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIEDSidney and Doris Dworkin Chair

Sunshine Chair

* Principal ° Acting Principal § Associate Principal 1 First Assistant Princi pal 2 Assistant Principal

CONDUCTORSChristoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,CLEVELAND ORCHESTRA MIAMI

Brett MitchellASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

The Orchestra

O R C H E S T R A


Whether you’re traveling for business or pleasure, Cleveland Hopkins

International Airport understands you like to move at an upbeat tempo.

That’s why we offer more non-stop flights than any airport in the region.

So you can experience a medley of destinations, without an intermission.

Going more places, more often.www.clevelandairport.com



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IN PARTNERSHIP WITH THE CLEVELAND MUSEUM OF ART AND CLEVELAND CINEMATHEQUE

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Beethoven and Shostakovich

Film: A Clockwork Orange . . . . . . . . . . . . . . . 27Film: The New Babylon . . . . . . . . . . . . . . . . . . 29Concert Previews . . . . . . . . . . . . . . . . . . . . 30-31Concerts: The Cleveland Orchestra . . . . . 32-33About the Music . . . . . . . . . . . . . . beginning on page 35

2 2 6

work Orange


Music should strike

fi re from the heart of man,

and bring tears from the

eyes of woman.

—Ludwig van Beethoven

‘‘ ‘‘

Ludwig van Beethoven, 1818, pencil drawing by August von Klöber

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Tuesday evening, October 22, 2013, at 7:00 p.m.Cleveland Institute of Art Cinematheque

presents

A Clockwork Orange (1971)directed and produced by Stanley Kubrick

screenplay by Stanley Kubrick

based on the novella A Clockwork Orange by Anthony Burgess

original music by Walter Carlos

and featuring works

by Ludwig van Beethoven and Gioachino Rossini

cinematography John Alcott

editing by Bill Butler

Warner Bros. / Hawk Films

S T A R R I N G

Malcolm McDowell as Alex DeLarge

Patrick Magee as Mr. Frank Alexander

Adrienne Corri as Mrs. Mary Alexander

Miriam Karlin as Cat Lady

James Marcus as Georgie

Warren Clarke as Dim

Michael Tarn as Pete

Michael Bates as Chief Guard Barnes

Teenage thugs terrorize London in Kubrick’s nasty but aurally and

visually dazzling futuristic tale — a sardonic portrait of human na-

ture, freedom, and “civilized” society. In future Britain, charismatic

delinquent Alex DeLarge is jailed and volunteers for an experimen-

tal aversion therapy developed by the government in an eff ort to

solve society’s crime problem . . . but not all goes to plan.

137 min. 35mm. Rated R (originally X)

John Ewing, director of the Cleveland Institute

of Art Cinematheque, will introduce the fi lm.

Film: A Clockwork Orange

There can be no music without ideology.

The old composers, whether they knew it or not,

were upholding a political theory. Most of them,

of course, were bolstering the rule of the upper

classes. Only Beethoven was a forerunner of the

revolutionary movement. If you read his letters,

you will see how often he wrote to his friends that

he wished to give new ideas to the public and

rouse it to revolt against its masters.

—Dmitri Shostakovich

‘‘

‘‘Dmitri Shostakovich, circa 1964.

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Wednesday evening, October 23, 2013, at 6:30 p.m.Cleveland Museum of Art

presents

The New Babylon (1929)directed and written by Grigori Kozintsev and Leonid Trauberg

based on a scenario by P. Bliakin

music by Dmitri Shostakovich

cinematography by Andrei Moskvin and Yevgeny Mikhailov

A Sovkino Film

S T A R R I N G

David Gutman as owner of the ‘New Babylon’ shop

Yelena Alexandrovna Kuzmina as Louise Poirier, the shop assistant

Pyotr Sobolevsky as Jean, the soldier

Sergei Gerasimov as Lutro, the journalist

Vsevolod Pudovkin as the police intendent

The events of the 1871 Paris Commune are seen through the eyes

of a French department store clerk in this incandescent Soviet si-

lent fi lm. Shown accompanied by a recording of Dmitri Shostako-

vich’s original orchestral score.

93 min. Blu-ray. Unrated.

Special thanks to Nina Goslar,

ZDF/Arte, and Miles Feinberg at G. Schirmer, Inc.

At 6:30, before the fi lm screening,

John Ewing, curator of fi lm at the Cleveland Museum of Art,

talks about politics, music, and cinema with

Frank J. Oteri, composer/music journalist,

in a discussion moderated by

James Krukones of John Carroll University.

Film: The New Babylon


THIS WEEK’S

Concert Previews REINBERGER CHAMBER HALL

October 24 — Thursday at 6:30 p.m.“Beethoven and Shostakovich” Franz Welser-Möst discusses

this week's festival with Mark Williams,

director of artistic planning

October 25 — Friday at 7:00 p.m.“The Context of History” with guest speaker Frank J. Oteri,

composer advocate at New Music USA

in conversation with Rebecca Mitchell,

visiting assistant professor

of history at Oberlin College

October 26 — Saturday at 7:00 p.m.“Concert Prelude:

Beethoven & Shostakovich” performed by members of

The Cleveland Orchestra

(see opposite page)

Cleveland Orchestra Concert Previews are

presented before every regular subscription con-

cert, and are free to all ticketholders to that day’s

performance. Previews are designed to enrich the

concert-going experience for audience members

of all levels of musical knowledge through a variety

of interviews and through talks by local and na-

tional experts.

Concert Previews are made possible

by a generous endowment gift from Dorothy

Humel Hovorka.

Concert Previews

The Musical Arts Association gratefully

acknow ledges the artistry and dedication of

all the musicians of The Cleveland Orches-

tra. In addition to rehearsals and concerts

throughout the year, many musicians donate

performance time in support of community

engagement, fundraising, education, and au-

dience development activities. We are pleased

to recognize these musicians, listed below, who

have volunteered for such events and presenta-

tions during the 2012-13 and 2013-14 seasons.

Mark Atherton

Martha Baldwin

Charles Bernard

Katherine Bormann

Lisa Boyko

Charles Carleton

Kathleen Collins

Patrick Connolly

Ralph Curry

Maximilian Dimoff

Bryan Dumm

Tanya Ell

Kim Gomez

David Alan Harrell

Miho Hashizume

Shachar Israel

Joela Jones

Alicia Koelz

Mark Kosower

Paul Kushious

Jung-Min Amy Lee

Mary Lynch

Takako Masame

Eli Matthews

Jesse McCormick

Sonja Braaten Molloy

Eliesha Nelson

Chul-In Park

Joanna Patterson Zakany

Alexandra Preucil

William Preucil

Lynne Ramsey

Jeff rey Rathbun

Frank Rosenwein

Jonathan Sherwin

Sae Shiragami

Emma Shook

Joshua Smith

Saeran St. Christopher

Barrick Stees

Jack Sutte

Brian Thornton

Isabel Trautwein

Lembi Veskimets

Carolyn Gadiel Warner

Stephen Warner

Richard Weiss

Robert Woolfrey

Paul Yancich

Jeff rey Zehngut

Musician Salute

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Concert PreludeSaturday evening, October 26, 2013, at 7:00 p.m.

Reinberger Chamber Hall — Severance Hall

DMITRI SHOSTAKOVICH (1906-1975)

Pieces for Two Violins and Piano 1. Prelude 2. Gavotte 3. Waltz

William Preucil, violinAlexandra Preucil, violin

Carolyn Gadiel Warner, piano

LUDWIG VAN BEETHOVEN (1770-1827)

from Trio in B-fl at major, Opus 11 for clarinet, cello, and piano1. Theme and Variations: “Pria ch’io l’impegno”/Allegretto

Robert Woolfrey, clarinetTanya Ell, cello

Carolyn Gadiel Warner, piano

BEETHOVEN

from Serenade in D major, Opus 8 for violin, viola, and cello 1. Marcia: Allegro — Adagio

2. Menuetto: Allegretto

Sonja Braaten Molloy, violinLembi Veskimets, violaMartha Baldwin, cello

SHOSTAKOVICH

String Quartet No. 7 in F-sharp minor, Opus 108 1. Allegretto — 2. Lento — 3. Allegro — Allegretto

Takako Masame, violinMiho Hashizume, violin

Lynne Ramsey, violaRalph Curry, cello

Pre-Concert: October 26

M U S I C O F


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

Severance HallFranz Welser-Möst, conductor

Thursday evening, October 24, 2013, at 7:30 p.m.

LUDWIG VAN BEETHOVEN Symphony No. 3 (“Eroica”)(1770-1827) in E-fl at major, Opus 55 1. Allegro con brio 2. Marcia funebre: Adagio assai 3. Scherzo: Allegro vivace 4. Finale: Allegro molto — Poco andante — Presto INTERMISSION

DMITRI SHOSTAKOVICH Symphony No. 6 in B minor, Opus 54(1906-1975) 1. Largo 2. Allegro 3. Presto

The concert will end at approximately 9:10 p.m.

Friday evening, October 25, 2013, at 8:00 p.m.

LUDWIG VAN BEETHOVEN Symphony No. 4 in B-fl at major, Opus 60(1770-1827) 1. Adagio — Allegro vivace 2. Adagio 3. Allegro vivace 4. Allegro ma non troppo

INTERMISSION

DMITRI SHOSTAKOVICH Symphony No. 8 in C minor, Opus 65(1906-1975) 1. Adagio — Allegro non troppo 2. Allegretto 3. Allegro non troppo 4. Largo 5. Allegretto


Concert Program — Week 5

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33Severance Hall 2013-14 33Concert Program — Week 5

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

LIVE RADIO BROADCASTS All three concerts are being broadcast live on WCLV (104.9 FM). These concerts will be rebroadcast on three consecutive Sunday afternoons in December as part of regular weekly programming on WCLV:

. Beethoven’s Third and Shostakovich’s Sixth on December 8 at 4:00 p.m.,

. Beethoven’s Fourth and Shostakovich’s Eighth on December 15 at 4:00 p.m.

. Beethoven’s Fifth and Shostakovich’s Tenth on December 22 at 4:00 p.m.

Saturday evening, October 26, 2013, at 8:00 p.m.

LUDWIG VAN BEETHOVEN Symphony No. 5 in C minor, Opus 67(1770-1827) 1. Allegro con brio 2. Andante con moto 3. Scherzo: Allegro — Trio — 4. Finale: Allegro INTERMISSION

DMITRI SHOSTAKOVICH Symphony No. 10 in E minor, Opus 93(1906-1975) 1. Moderato 2. Allegro 3. Allegretto 4. Andante — Allegro


P L E A S E N O T E that these performances are being broadcast live on WCLV 104.9 FM and around the world via web-streaming. Please silence alarm watches and turn your phones off prior to the start of the concert.

M U S I C O F


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

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

35Severance Hall 2013-14 Introducing the Concerts

T H I S W E E K ’ S F E S T I VA L off ers a concentrated look at the music (and

politics) of two of classical music’s greatest symphonists.

If Mozart and Haydn in the 18th century had evolved the “sym-

phony” from a mere grouping of short movements into a whole statement

of musical greatness, Beethoven’s genius grabbed hold of it at the start of

the 19th century and made symphonies into a very personal artform —

fi lled with passion and meaning (but still beautiful). Others followed in

his footsteps, but few with as much political and philosophical intent.

A century later, Shostakovich, surrounded by the changing life-

and-death politics of 20th-century Russia, used Beethoven’s example to

create a new set of personal symphonic statements, fi lled with meaning

and revolution (or at least passionate protest).

As Franz Welser-MÖst discusses beginning on page 37, these two

composers approached the creating of their music very diff erently.

Beethoven was quite open about the politics of freedom in which he be-

lieved, and wrote it directly into his music. Shostakovich also believed

in freedom, but writing openly would have been suicidal; he was, in ef-

fect, forced to stay in the closet as a protester, but able to write protest

into his music in creative ways — which could be questioned or ignored,

and understood, but would never act as evidence against him.

Th is week’s concerts off er an unusual opportunity to compare

these two great symphonic writers. And to think about — and talk

about — how each of us incorporates our beliefs (and the rights of oth-

ers) into everyday life, into our work, into our friendships. Do we pro-

test? Do we inspire others? Are you making a diff erence?

—Eric Sellen

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

Fate, Freedom&Choices

Pre-Concert: Talks and Performances . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Franz Welser-Möst discusses the composers’ music and beliefs . . . . . 37

Frank J. Oteri writes about the composers’ lives and music . . . . . . . . . 43

Program Notes for Th ursday . . . . . . . . . . . . . . . . . . . . . . beginning on 49

Program Notes for Friday . . . . . . . . . . . . . . . . . . . . . . . . . beginning on 59

Program Notes for Saturday . . . . . . . . . . . . . . . . . . . . . . . beginning on 65


B E E T H O V E N M U S E D O N T H E I D E A L S O F H I S T I M E and put those truths

forward in an unmistakable way in his music. He let the world know, in no un-

certain terms, what he believed in, politically and philosophically.

Under Stalin, Shostakovich would never have survived acting as openly as

Beethoven. He had to subtly undermine what he was told to do, in order to ex-

press his yearnings for personal and political peace and freedom.

T H E F I R S T D E C A D E O F T H E 1 9 T H C E N T U R Y was a turbulent period in Eu-

rope, politically, socially, and philosophically. Beethoven’s Th ird, Fourth, and

Fift h symphonies, composed between 1803 and 1808, fall into this period, as does

his only opera, Fidelio, and his incidental music for Goethe’s Egmont, a dramatic

play about a quintessential hero.

Th e philosophical ideas of the time were still very much indebted to the

French Revolution, even though that Revolution had already betrayed those very

ideas and ideals in blood. Beethoven, who many have speculated may have been

a Freemason, very much wanted to be a “fi ghter for the Good.” Within these con-

texts, a variety of musical details in these three symphonies suggest a strong un-

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Music and Meaning


dercurrent of political and philosophical content.

T H E M E A N I N G O F B E E T H O V E N ’ S T H I R D S Y M P H O N Y ,

the “Eroica” or “heroic” symphony, is encapsulated in its well-

known story of the composer’s violent removal of its original

dedication to Napoleon — a man who was the embodiment of

the heroic ideal for many members of the middle class, and for

some aristocrats, too. Th is work clearly shows Beethoven as a

“fi ghter for the Good.” Th is manifests itself from the start, even

in the choice of the key of E-fl at major, whose three fl ats stood

for liberty, equality, and fraternity, expressing humanity and the

sublimity of human expression. Compare this, for example, to

Mozart’s Th e Magic Flute, whose overture opens with a series of

solemn, sublime E-fl at major chords (which are tellingly repeat-

ed later in the scene between the opera’s hero and the Speak-

er). In the symphony’s Scherzo movement, Beethoven depicts

nature within this “fi ght for the Good,” as he would later do in

the “Pastoral” Sixth Symphony and in the second movement of

his opus summum, the Ninth Symphony. In the last movement

of the “Eroica,” he quotes his own musical theme from the bal-

let Prometheus, about the Greek mythological fi gure who was a

friend and benefactor of humanity.

One can, in fact, trace a span and lineage of philosophi-

cal message translated by Beethoven’s genius into many musi-

cal details and coded messages. Th is should not be surprising to

us. Great composers had done this before him, and many have

followed aft er, embedding in the beauty of music the strength of

purpose; it is enough to recall the fascinating symbolism of some

of Bach’s greatest works to understand that layers of meaning in

art are a given and not the exception.

All this is easy enough to see in the “Eroica,” but what about

Beethoven’s Fourth Symphony, generally seen as light, cheerful,

and humorous? At fi rst glance, it might indeed look that way, if

only the fi rst movement didn’t have a dark and ominous intro-

duction. Here, in the gloomy tonality of B-fl at minor, the music

seems to be searching for something more. Th is serious under-

current also shows through in the second movement, in the key of

E-fl at major (!), as well as the pastoral element in the third move-

ment’s trio section (set in D-fl at major, a key of many great musi-

cal farewells). But delicate and subtle humor is not incompatible

with profound philosophical message. Indeed, humor enlightens.

In the second movement of this oft en clever and witty

The

meaning of

Beethoven’s

“heroic”

Third Sym-

phony is

encapsulated

in the story

of the com-

poser’s vio-

lent removal

of its original

dedication to

Napoleon —

a man who

was at the

time the em-

bodiment of

the heroic

ideal for

many.

Will and Freedom


symphony, Beethoven leads us once more

to the heights (and depths) of human dig-

nity and expression. In Beethoven’s time,

humanity itself had become a central fo-

cus and arbiter of thought and morality, as

distilled and expressed by the philosopher

Immanuel Kant. Th e slow movement

sings about such transcendent and self-

aware expression in broad, soaring melo-

dies, suggesting a vision of, and a yearning

for, the ideals in which Beethoven so

fi rmly believed. Th ere is a great similar-

ity here with Florestan’s great aria from

the opening of Act II of Fidelio. In the

symphony, the melody is accompanied by

small, expressive motifs of sighing. Paral-

lel thirds abound (as they also do in the

slow movement of the Ninth Symphony), denoting fraternity and human com-

panionship. (Th e slow movement of the Ninth also contains a climax in E-fl at

major, with a quotation from Masonic music.) In addition to the pastoral mood

within the third movement, sublimity is also evident at the beginning of the last

movement, where Beethoven writes a singing melody that is a close relative of the

Prometheus theme in the “Eroica.”

I N H I S F I F T H S Y M P H O N Y , Beethoven’s philosophical-political ideas are sent

through the purifying fi re of the Enlightenment. Indeed, the symphony’s music

perfectly captured the Latin phrase per aspera ad astra — “through the fi re to the

stars.” While Beethoven the hothead creates this fi ery dramaturgy to such perfect

form in the fi rst movement, in the second he takes us to an imaginary world —

with music that is quintessentially Viennese. A-fl at major, the movement’s home

key, is the fl at sixth degree of C minor, a degree used as a deceptive cadence (!).

Moreover, it also anticipates, in its harmonies and its layout (if not in its melody

or other musical parameters), the dark night in the second act of Wagner’s Tristan

and Isolde. In the symphony, this imaginary world is disrupted, time and again,

by some powerful C-major fanfares, giving us a foretaste of the last movement yet

to come (in which the music really does reach for the stars).

Th e gloomy scherzo, which revisits the fateful drama of the fi rst movement,

also contains a Trio section in which the fi nale’s triumphant C major is revealed

in outline. Yet this triumph will only be possible aft er the third movement has

sunk back into the fateful “knocking” (a heartbeat?!) of the fi rst movement. Here

Beethoven — and this was not lost on his contemporaries — fashioned the tri-

umph of the last movement in such a way that the words of the French revolu-

Music and Meaning


Shostakovich’s

desire for

freedom was

cast under

the cruel rule

of Stalinist

Russia. This

led Shosta-

kovich, by

necessity, to

flee to an in-

ner world of

safety, where

he could write

“classical”

symphonies,

taking as a

starting point

Beethoven’s

own achieve-

ments.

tionary hymn could be easily underlaid to the music. A timeless

message was thus wrapped with a clear political statement.

Th is most classical of all symphonies shows us all of the

Beethovenian ideals, inspired by the ancient world and then re-

vived and re-energized by the Enlightenment. Beethoven expresses

these musical paths with great power, derived from his innermost

soul. Th is, certainly, is how he wages his “fi ght for the Good” —

through music and meaning. And he very much expects that the

outside world will follow him, in message if not in action. Th is in-

trospectively extroverted music speaks directly to all of us.

Th us we can understand Beethoven.

B U T H O W D O T H I N G S S TA N D W I T H S H O S TA K O V I C H ? If

Beethoven’s path led from the inside to the outside, with Shosta-

kovich, it is exactly the opposite. His desire and will for free-

dom were cast under the cruel rule of Stalinist Russia. Th is led

Shostakovich, by necessity, to fl ee to an inner world of safety —

where extra messages within the music can speak meaning while

also adding a layer of security and deniability. Here, Shosta-

kovich wrote “classical” symphonies, taking as a starting point

Beethoven’s own achievements.

Like the Beethoven symphonies we have examined, Shosta-

kovich’s Sixth (1939) and Eighth (1943) were written during tur-

bulent times, in the destructive storm of World War II. Th is was

also during Stalin’s reign of absolute power, which was person-

ally very diffi cult for Shostakovich. In his fi rst symphonic mes-

sage from aft er the war, the Tenth Symphony (1953), he wrestled

with Stalin and his times, soon aft er the dictator’s death. While

Shostakovich’s music oft en has a political background, this is

emphatically true for all three of these symphonies. Within that

context, his wish for personal artistic freedom is deeply connect-

ed to a yearning for liberty for his country.

S H O S TA K O V I C H ’ S S I X T H S Y M P H O N Y begins with a long

slow movement in B minor, widely seen as the key of suff ering. It

is a monumental expression of pain, oft en reduced to mere whis-

per, to describe the unspeakable coldness and emptiness of Shosta-

kovich’s world. In order to satisfy the demands of the regime, the

composer followed this long and weighty lament with two brief fast

movements. Th ese can superfi cially be heard as cheerful, yet their

grotesque features pervert, contradict, and undermine the wishes

of Stalin’s henchmen.

Will and Freedom


In the Eighth Symphony, the funeral lament from the second movement of

Beethoven’s “Eroica” is present from the very start. Th e tonality of C minor is the

same. And, like its predecessor, it is a funeral march. In contrast to Beethoven’s

work, however, this music off ers no perspective of a better world, and instead erupts

in a single outcry against the injustices and cruelties of World War II. Yes, Shosta-

kovich ends the monumental movement in C major, but this expresses not hope but

the fact that redemption is completely out of reach.

Th us, the fi rst movement of the Eighth Symphony is monumental in the in-

tensity of its lament and, indeed, in its very duration. But the story continues in the

next two movements, both in fast tempo and portraying the various cruelties and

the incredible stupidity of the war and its brainless massacres.

Th e fourth-movement passacaglia — musically connected to the fi rst move-

ment by the repeated outcry — is a slow but unceasing funeral lament. And then,

fi nally, the fi ft h movement, with the childlike simplicity of a waltz in C major, once

again removes the yearned-for peace and freedom into a realm that is out of our

reach. It is thus only logical that, at the end, the all-determining outcry should be

heard again for one last time, before the movement and this entire, deeply moving

antiwar utterance dissolves in the pure C-major of a possible yet improbable future.

In the Baroque era, C major was the tonality of the divine; in Classical times it stood

for a divinity that might possibly be attained. Here it is only the expression of a di-

vinity that mankind has irretrievably lost.

Th e Tenth Symphony is perhaps Shostakovich’s most personal utterance about

his own lack of freedom. Written in the melancholy key of E minor, the fi rst move-

ment is a perpetual Valse triste or “sad waltz,” which rises up, from time to time, in

great despair, whipping into a great frenzy, only to fade into a kind of icy silence. In

the second movement — in a dark and gloomy B-fl at minor — Shostakovich paints

a merciless mug of Stalin. In the third — a cautious and deliberate waltz — he en-

codes the name of his muse and beloved, Elmira Nazirova, while his own initials

(D-S-C-H) are repeated over and over again. Th e movement, which is in C minor,

ends on a melancholy A-minor chord, with another dash of the composer’s initials

thrown in. Th e introduction to the fi nal movement is an elegy, followed by a pseu-

do-happy folk festival — a last dance, as it were — in E major. And yet, even here,

Shostakovich wouldn’t be the great tragedian that he is if he didn’t hammer his ini-

tials into our ears one last time just before the end.

D E S P I T E T H E I R D I F F E R E N C E S — and perhaps as much because of their simi-

larities — Beethoven and Shostakovich both wrote music that lives beyond the cir-

cumstances in which they were created. Both composers deliver timeless messages

about freedom and human dignity. Music has value and meaning to creator and lis-

tener alike. Hearing is believing, music can deliver understanding.

Music and Meaning

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T H E C E N T U RY T H AT T R A N S P I R E D between the death of Lud-

wig van Beet hoven and the emergence of Dmitri Shostakovich as a

composer was a time of transformative change — from the advent

of electricity, recorded sound, and motion pictures to the unleash-

ing of the destructive power of modern warfare, the globalization

of the world, and an enlarging struggle for human rights, liberty,

and freedoms. Even so, Beethoven and Shostakovich’s music and

their shared outlook on humanity’s place in the world show a re-

markable kinship.

Beethoven and Shostakovich both began their compositional

careers as child prodigies and were also formidable piano virtuo-

sos. Th ey both shared their most private thoughts in their string

BY

FR

AN

K J. O

TE

RI

exploring THE music

AND legacies OF

Fate Freedom

AND BEETHOVEN AND

SHOSTAKOVICH

Fate and Freedom


quartets, but made their most important public musical state-

ments with their symphonies. In fact, both took the abstract in-

strumental genre of the symphony and used it to tell compelling

narratives. For example, both composers created symphonies that

attempted to sonically convey the concept of fate — perhaps most

notably for Beethoven in his Fift h Symphony and for Shostako-

vich in his tragic Eighth Symphony, which he composed dur-

ing the Second World War. (Both of these symphonies are among

those being performed as part of Th e Cleveland Orchestra’s “Fate

and Freedom” Festival, October 22-26.)

Works such as these reveal that Beethoven and Shostako-

vich were consummate musical dramatists, yet opera proved to

be something of a quagmire in both of their careers.

Th e strained relationships both composers had with the

politically powerful are also equally legendary — Beethoven’s

disdain for authority and aristocracy perhaps best exemplifi ed by

his crossing out the dedication of his Th ird Symphony, the “Eroi-

ca” (or “heroic”), to Napoleon upon learning that that small man

had declared himself an emperor; and Shostakovich’s run-ins

with a dictator even more ruthless than Napoleon, Joseph Stalin.

A curious correlation to Beethoven’s abandoned Eroica dedica-

tion is Shostakovich’s abortive attempt at creating a “Lenin Sym-

phony,” which he described working on 1938. Such a symphony

never materialized; in its place was the purely instrumental Sixth

Symphony in 1939. (Th e Cleveland Orchestra pairs the Eroica

with this Sixth Symphony on Th ursday, October 24.)

Beethoven and Shostakovich also both suff ered from

chronic poor health in their later years, yet their fi nal composi-

tions seem to transcend the vagaries of human existence. Aft er

their deaths, each was hailed as a champion for individual artistic

freedom who triumphed despite oft en adverse personal condi-

tions. Nowadays musicologists as well as avid fans are still at-

tempting to fi nd hidden meanings buried in their scores — such

as the allusions to Freemasonry in Beethoven’s Fourth Symphony

(performed on October 25) or secret autobiographical ciphers in

Shostakovich’s Tenth Symphony (performed on October 26).

But the parallels run much deeper than that. While Haydn

and Mozart both hinted at it, Beethoven was the fi rst composer

to fully imbue the symphony with the same narrative and emo-

tional heft as a novel, play, or epic poem. Shostakovich, while

certainly not the only signifi cant symphonist of his era, was

among the few composers who remained steadfastly committed

Beethoven

and Shosta-

kovich were

consummate

musical

dramatists,

yet opera

proved to be

something of

a quagmire

in both

of their

careers.

BE

ETH

OV

EN

BEETHOVEN

Fate and Freedom


to creating large musical

statements in this medi-

um at a time when most

composers rejected the

symphony as an anach-

ronism. Shostakovich

completed a total of fi f-

teen symphonies over

the course of nearly half

a century.

For Shostakovich,

like many Soviet musicians, Beethoven’s music remained the

pre-eminent role model — the greatest repertoire an instrumen-

talist or a conductor could interpret and the standard bearer for

what music was to be. A bust of this key compositional hero was

a fi xture of Shostakovich’s writing studio. And, fi ttingly, the

Soviet quartet that premiered nearly all of Shostakovich’s string

quartets (13 of the 15) was named the Beethoven Quartet. So

deep was the infl uence of Beethoven on the young Shostakovich

that the central theme for his earliest multi-movement orchestral

work, the Th eme and Variations in B-fl at minor, Opus 3, which

he composed at the age of 15, bears an uncanny resemblance to

the most famous theme of Beethoven’s Ninth Symphony.

Following Beethoven’s precedent in that monumental sym-

phony, Shostakovich also added a chorus to the fi nal movements

of his Second and Th ird symphonies — although both of these

early compositions take nascent Soviet patriotism to an almost

unbearably propagandistic level. (Th ere is, however, a later work

that clearly echoes the pathos of Beethoven’s setting of Schiller’s

paean to universal brotherhood, Shostakovich’s controversial

Symphony No. 13, “Babi Yar,” a work which also sets the words

of a major poet, Yevgeny Yevtushenko, an outspoken critic of in-

justice in the Soviet Union. But Shostakovich’s 13th Symphony,

which was virtually banned in the Eastern Bloc for nearly a de-

cade aft er its fi rst performance and fi nally entered the repertoire

aft er a copy of the score was smuggled into the West, is a far cry

from an Ode to Joy; if anything, it is an Ode to Despair!)

D E S P I T E T H E D E E P C O N N E C T I O N S between these two com-

posers, there are also some stark diff erences between Beethoven

and Shostakovich which are equally fascinating. Beethoven was

a lifelong bachelor whose romantic liaisons will forever be

Beethoven’s

abrasive-

ness was

notorious

and he

never

apologized;

Shostakovich

reinvented

his outward

musical per-

sona simply

to survive.

SH

OS

TAK

OV

ICH

Fate and Freedom


shrouded in mystery; Shostakovich was married three times.

Beethoven was notorious for his abrasiveness and never

apologized; the castigated Shostakovich reinvented his composi-

tional persona several times during his life to survive the cultural

purges that Stalin unleashed and ultimately triumphed because

of this — Shostakovich famously declared his masterful Fift h

Symphony to be “a Soviet artist’s reply to just criticism” and the

work was an instant sensation both at home and abroad and it re-

mains so to this day.

Perhaps most strikingly, cinema did not exist during

Beethoven’s lifetime and writing music for movies was an im-

portant revenue stream for Shostakovich throughout his career

— in fact his 35 fi lm soundtracks dwarf the combined total of his

number of symphonies and string quartets. Shostakovich’s fi lm

scores also allowed him greater freedom to experiment than he

had most of the time with his music for the concert hall; sev-

eral of his soundtracks include music featuring the theremin,

an early electronic instrument that would become a hallmark of

American horror and sci-fi movie scores years aft er Shostakovich

pioneered its use in motion pictures. Beethoven, of course, did

not live into the age of electricity and therefore could never have

tinkered with a theremin. He did, however use a glass armonica

(a musical curiosity that sounds similarly otherworldly) for the

incidental music he composed for the 1814 production of Johann

Friedrich Duncker’s play Leonore Prohaska, music that is rarely

revived nowadays.

During the week-long Fate and Freedom Festival, Th e

Cleveland Orchestra’s juxtaposition of some of the greatest works

by Beethoven and Shostakovich — along with a rare screening

of the 1929 silent fi lm Th e New Babylon featuring Shostakovich’s

very fi rst fi lm score — off ers audiences a unique opportunity to

refl ect on how each of these composers responded to the cen-

tral concerns of their respective eras and how their now timeless

work continues to have a deep impact on all of us.

ASCAP award-winning composer and music journalist Frank J. Oteri is the composer advocate at New Music USA and senior editor

of its web magazine “NewMusicBox.”

For Shos-

takovich,

like many

Soviet

musicians,

Beethoven’s

music re-

mained the

pre-eminent

role model —

the greatest

repertoire an

artist could

interpret and

the standard

bearer for

what music

was to be.

Fate and Freedom

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To learn about making a legacy gift, contact Carol Wolf at 216.593.2805 or [email protected].

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49Severance Hall 2013-14 About the Music

T H E O R I G I N S O F A W O R K as momentous in its impact

on history as on hearers of every generation cannot be lightly

traced. Yet, for this symphony, two separate impulses seem to

have fused in Beethoven’s mind, as in some white-hot cauldron,

creating a solid artifact whose eff ect and power dwarf the mere

historical circumstances of its composition.

Th e fi rst impulse was Beethoven’s admiration for Na-

poleon as a symbol of human heroism. Th e idea of basing a

symphony on Bonaparte was said to have been suggested by

General Bernadotte, the French ambassador to Vienna, with

whom Beethoven was certainly acquainted. Th e story of the

title page of the completed symphony, headed “Bonaparte,”

being angrily torn up by Beethoven on hearing that Napoleon

had crowned himself Emperor is well attested. From what we

know of Beethoven’s character, he is more than likely to have

drawn a comparison between Napoleon and himself, feeling

within him the power to refashion the art of music as compre-

hensively as Napoleon was redrawing the map of Europe.

The second impulse was personal. In October 1802,

Beethoven drew up the extraordinary document known as the

Heiligenstadt Testament, in which he calmly acknowledged the

likely permanence of his deafness and less calmly bequeathed

his earthly goods to his two brothers. But for his art, he ad-

mits, he would have ended his own life: “It seemed impossible

to leave the world until I had brought forth all that I felt was

within me.” Since his Th ird Symphony, the “Eroica,” was already

planned and was to preoccupy him throughout the summer of

1803, it may be said to have saved his life — as though music

itself achieves its own triumphs over human frailty, a theme

suggested in the splendor of the Th ird Symphony’s fi nale, and

even more affi rmatively in the Fift h Symphony.

Aft er the “Eroica,” Beethoven’s music was irretrievably

changed. Great landscapes were opened up, which he spent the

rest of his life exploring, but at the same time the sense of pri-

mal beauty — which is more perfectly expressed in Beethoven’s

early works than in any other music, even Mozart — was lost.

Beethoven’s gift of fl owing, elegant melody was now swamped

by the relentless dynamic energy of the heroic Middle Period.

Symphony No. 3 (“Eroica”)in E-fl at major, Opus 55composed 1802-04

by Ludwig vanBEETHOVENborn December 16, 1770Bonn

diedMarch 26, 1827Vienna

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His orchestration became heavier, his movements longer, and

the domestic quality of his music was transformed into great

idealism, on the one hand, and profound inner searching, on

the other.

Not just Beethoven’s music was changed, all music was

irretrievably changed. Th e 18th century was chronologically

and culturally buried, and pre-Romantic civilization left for

modern archaeology to uncover. Music was henceforth ines-

capably personal, expressive, and dramatic, and earlier music,

no matter what its origins, was now interpreted in the new way.

Th e conventions of listening and interpretation that Beethoven

forced on his Viennese audiences are with us still today.

Not all those early listeners found the Th ird Symphony

agreeable. In 1805, everyone was struck by its great length, while

many found it headed in the wrong direction. “His music,”

wrote one critic, “could soon reach the point where one would

derive no pleasure from it, unless well trained in the rules and

diffi culties of the art, but rather would leave the concert hall

with an unpleasant feeling of fatigue from having been crushed

by a mass of unconnected and overloaded ideas and a continu-

ous tumult from all the instruments.” Another writer confessed

that he found in the new symphony “too much that is glaring

and bizarre,” turning at once to a symphony by Anton Eberl (a

composer now largely forgotten) that gave him more pleasure.

Th e strength of the “Eroica” is surely that it challenges

us to see new signifi cance and new meaning in it at every per-

formance. Th ose who predicted that it would take centuries

before it was fully understood may have been right.

Th e fi rst movement adopts the key and melodic language

of Mozart’s Symphony No. 39, but expands it on an immense

scale; both development and coda are hugely extended. Unlike

the Mozart symphony, it has no slow introduction, but is pre-

faced by two robust chords of E-fl at major, like an affi rmation

of solidity and strength with the sort of fi nality one expects to

fi nd at the end of a movement, not the beginning. A movement

in 3/4 meter allows rich opportunities for cross-rhythms and

cross-accents, of which Beethoven takes full advantage, some-

times laying the stress on the second rather than the fi rst beat

of the measure, sometimes leaving the fi rst beat silent, and at

moments of greatest tension hammering out dissonant chords

at two-beat intervals as if to deny the movement’s basic pulse

altogether. At other times, the music glides eff ortlessly along,

About the Music

With his

Third Sym-

phony, not just

Beethoven’s

music was

changed, all

music was

irretrievably

changed. The

18th century

was chronologi-

cally and cul-

turally buried,

and pre-Roman-

tic civilization

left for modern

archaeology to

uncover.


even if distant storms are never far over the horizon, and the

movement ends with the same two solid chords with which it

had opened.

Th e second movement, an awesome funeral march, is

somber and processional in the minor key, drawing an intense

sound from the strings that would have been unimaginable in

the previous century. Th e major key pierces the tragedy with

the winds, led off by the oboe, unfolding a noble melody that

reaches a strong climax before returning to the march. A fugal

episode generates enormous power, and the desolate ending is

beyond words.

Even the third-movement Scherzo, in which Beethoven

would normally settle for a lighter mood, fi nds extraordinary

dynamic strength, and its Trio section puts the three horns on

display (when just two horns would previously have been nor-

mal in a symphonic work like this).

It is typical of Beethoven that in a work of such high se-

riousness he fi nds room for his incessant humor. It sometimes

makes you wonder if he was serious at all. Th e well-known

moment at the fi rst movement’s recapitulation, when the horn

apparently makes a false entry comes across as a well-intended

joke. So too is the portentous rush of notes (in the wrong key)

at the beginning of the fourth-movement fi nale, leading not to

a weighty thematic declaration, but to a simple, almost inane,

bass line bereft of theme, which acts as an expectant anticipa-

tion of the main theme. When the theme does arrive, it turns

out to be no more than a dance tune of surpassing obviousness

borrowed from the ballet Th e Creatures of Prometheus, which

Beethoven had written just a couple of years earlier. Ballet

music! Just as we start to wonder how he could have sunk so

low, the music becomes fugal, then dramatic, then aggressive,

then elegiac, then massively grand and conclusive. Once again,

Beethoven has outwitted his listeners by the sheer power of his

invention. Keeping pace with his thought processes is an ex-

hausting, but happily inexhaustible, occupation.

—Hugh Macdonald © 2013

Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, and Scriabin.

About the Music

Beethoven composed his

Third Symphony between

1802 and 1804. He conduct-

ed the fi rst performance at a

private concert in the home

of Prince Lobkowitz,

to whom the work is dedi-

cated, in December 1804.

The fi rst public performance

took place at the Theater-

an-der-Wien on April 7, 1805,

again with the composer

conducting.

This symphony runs

about 50 minutes in

performance. Beethoven

scored it for 2 fl utes, 2 oboes,

2 clarinets, 2 bassoons, 3

horns, 2 trumpets, timpani,

and strings.


fi rst performed Beethoven’s

“Eroica” Symphony in

October 1920, under Nikolai

Sokoloff ’s direction. Most

recently, it was performed in

October 2010 at Severance

Hall, in November 2010 on

tour in Japan and Korea, and

at Blossom in July 2013, each

time under the direction of

Franz Welser-Möst.


has recorded Beethoven’s

Third three times: in 1957

with George Szell, in 1977

with Lorin Maazel, and in

1983 with Christoph von

Dohnányi.

At a Glance


Symphony No. 6 in B minor, Opus 54composed 1937-39

S H O S TA KOV I C H was thirty-three when he composed his Sixth

Symphony, the same age as Beethoven when he wrote his Th ird,

the “Eroica.” Th ere are many fruitful comparisons to be made

between these two great composers, and in this case we have to

observe how both composers were at that moment in their lives

coming to terms with traumatic conditions that had begun to

cast a shadow over their future.

For Beethoven it was the relentless progress of his deafness.

For Shostakovich it was the terrifying atmosphere of political

oppression triggered by Stalin’s purges. Soviet artists were not

immune — some notable poets and theater directors “disap-

peared,” and any composer unwilling or unable to conform to

the rigid expectations of the men in power lived in fear for his

livelihood, and oft en for his life.

In this context, Shostakovich’s “Eroica” — his artistic re-

joinder to the changing circumstances of his life — was the Fift h

Symphony. Th is was his response, aft er two years of silence,

to what he described as the “just criticism” leveled at his opera

Lady Macbeth of Mtsensk, premiered in 1935. Th e critique was

actually a tirade of printed abuse from the Soviet authorities,

as dictator Stalin continued consolidating his power over ev-

erything and everyone. Th e apparatchiki beneath him abused

the next levels down, tightening the screws of command. Th is

included a vast and concerted eff ort to place all art and artists

at the ready disposal of the government’s propaganda purpos-

es — all new art was to be patriotic, rallying and uplift ing the

people.

What the authorities and the public took to be the Fift h’s

strongly optimistic tone when it was heard in 1937 won for its

composer a gale of popularity and favor. And Shostakovich

knew that the dark, pessimistic streak in his make-up would

bring trouble on his head if he allowed it to surface too strongly.

His trick, therefore, was to end the Fift h Symphony in a riot of

brassy celebration in order to dim any memory of introspec-

tion that might be heard in its earlier movements. Although

Shostakovich was said to admit that the fi nale of the Fift h was

ironic in tone, it served its purpose well enough.

In the Sixth, then, composed in 1939, he adopted a similar

tactic. By traditional symphonic standards, it is crudely unbal-

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

died August 9, 1975Moscow

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anced, having a long, thoughtful, slow movement to start, fol-

lowed by a lively scherzo and an even more high-spirited fi nale.

Perhaps it is a traditional four-movement symphony without a

fi rst movement. But the apparent lack of weight in the scherzo

and fi nale seems to assign them to a diff erent world than that

of the actual fi rst movement, whose unhurried exploration of

abstract material foreshadows much of Shostakovich’s later

music.

From the audience’s point of view, this is not a problem.

With concentration fresh, we trace the shapely themes that

emerge one by one in the fi rst movement, usually associated

with a single instrument. Aft er a strong start, the fi rst violins

lay out an important, desolate theme; then the piccolo intro-

duces one; then the english horn has another, echoed by distant

trumpets; then the fl ute. Later, it is the fl ute who is allowed a

passage of what sounds like free improvisation. Th e movement’s

recapitulation arrives very late, just in time to bring this richly

woven tapestry to a close.

Great virtuosity is called for in the scherzo second move-

ment scherzo, especially from the winds. Th e torrent of notes

begets a carnival atmosphere with heavy-booted peasants danc-

ing in the streets. Th en, once the timpani have had their say,

everything is delicate and feather-light to the end.

Th e fi nale seems to go even faster. It is a playful burlesque,

oft en recalling that same side of Prokofi ev’s music. Rossini also

comes to mind, that joker among composers for whom (unlike

Shostakovich) there was no dissembling. Eventually the horns

come up with a boisterous tune that suggests nothing so much

as a circus band, and from that moment on the riotous momen-

tum is not to be stopped.

Th e Sixth Symphony was fi rst performed in Leningrad

in November 1939 in a concert that also premiered Prokofi ev’s

cantata extracted from the fi lm Alexander Nevsky. Such was

the enthusiasm for Prokofi ev’s patriotic music that the new

Shostakovich symphony was almost overlooked. Sometimes

Shostakovich, a painfully shy man, preferred it that way.


Shostakovich composed his

Sixth Symphony between

1937 and 1939. His original

intentions were to create a

symphony on the subject

of Soviet leader Vladimir

Lenin, and during part of this

period he considered or at-

tempted including sung text

with chorus and soloists. He

eventually decided to write

a purely orchestral work,

without any direct connec-

tion to Lenin. The symphony

was premiered in November

1939, in Leningrad (today’s

St. Petersburg), with Evgeny

Mravinsky conducting the

Leningrad Philharmonic

Orchestra.

This symphony runs

about 30 minutes in perfor-

mance. Shostakovich scored

it for 3 fl utes (third doubling

piccolo), 3 oboes (third dou-

bling english horn), 4 clari-

nets (third doubling e-fl at

clarinet and fourth doubling

bass clarinet), 3 bassoons

(third doubling contrabas-

soon), 4 horns, 3 trumpets,

3 trombones, tuba, timpani,

percussion (snare drum, bass

drum, cymbals, triangle,

tambourine, tam-tam, and

xylophone), harp, celesta,

and strings.


fi rst performed Shostakovich’s

Sixth Symphony at a weekend

of concerts in January 1945,

conducted by Fritz Reiner. It

was most recently presented

in 2012, at Severance Hall,

and on tour in the United

States and Europe, conducted

by Franz Welser-Möst.

At a Glance

About the Music

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Sound for the Centennial Campaign


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T W O Y E A R S I N T E R V E N E D aft er the completion of his Th ird

Symphony (the “Eroica”) before Beethoven ventured upon an-

other symphony. Th ree symphonies (the Fourth, Fift h, and

Sixth) followed in succession, each very diff erent from the oth-

ers in character and scale.

Th e Fourth is always observed to be less forceful and dra-

matic than the Th ird and Fift h, but it surpasses them in athletic

energy and, in places, in sheer beauty of sound. Yet Beethoven’s

purpose was never quite what it seems, so that simply to char-

acterize the Fourth as “light-weight” or “relaxed” is to tell only

a part of the story. Robert Schumann compared it to a “slender

Greek maiden,” but even he would admit that the extremes of

seriousness and skittishness found in the work do not properly

belong to such a maiden’s drapery.

Th e Fourth Symphony was composed mainly in 1806 and

fi rst performed the following year in Vienna at the house of Prince

Lobkowitz (whose family heritage of Beethoven memorabilia has

recently been restored to their residence in Prague, now a muse-

um). It was dedicated to Count Oppersdorff . Beethoven enjoyed

the hospitality and support of both noblemen at that time.

Like many of Haydn’s symphonies — and a few of Mozart’s

— Beethoven’s Fourth Symphony opens with a slow introduc-

tion. Th e purpose of these introductions was not to foreshadow

the themes or even the mood of the rest of the movement, but

to act like the overture to an opera, and accustom the audience

to the orchestra’s sound and to induce a serious concentration.

In the “Eroica,” Beethoven had dispensed with an introduction,

but the Fourth has a fi ne one, dark and mysterious in character,

and without any clear sense of direction until a fortissimo burst

and some rocket-like fi gures in the violins force the issue.

Once the fi rst movement’s main Allegro vivace section —

and the true key of the symphony, B-fl at major, is established

— all tension evaporates. Th e standard procedures of classical

sonata form fall into their assigned places. In the development,

the actual pace of the music is still brisk, but the harmonic pace

is very slow, giving an impression of immense breadth, like a

glance forward to Wagner or Bruckner. Beethoven keeps us

waiting expectantly for the return of the opening theme, even

aft er the correct key has been fi rmly reached. Th e rest of the

About the Music

FRIDAY

Symphony No. 4 in B-fl at major, Opus 60composed 1806




movement duly follows, with only a brief coda, not another

massive peroration in the manner of the “Eroica.”

Berlioz likened the slow movement to the story of Francesca

da Rimini in Dante’s Divine Comedy, so moving that it reduced

Virgil to tears and caused Dante to fall “like a dead body.” He

then introduced another image: “Th is movement seems as if it

had been soft ly murmured by the Archangel Michael one day

when, overcome by a feeling of melancholy, he contemplated the

universe from the threshold of the Empyrean.”

Th e main melody is indeed of wonderful serenity. Th e sec-

ond melody, introduced by the solo clarinet, provides not contrast

but rather completion, as though the whole fi rst paragraph were

a single sentence. Th ere are stern pages in this movement, bleak

pages, too, but its profound placidity marks it off as one of the

greatest of Beethoven’s slow movements. None of his contem-

poraries could approach him on this ground.

Although marked Menuetto, the third movement has the

character of a scherzo, with teasing cross-accents and a lively

pace. Th e Trio section is a little slower, and pastoral in character.

Th e strings join in later with some strange rumbling inner lines,

and the original tempo returns. Beethoven repeats the whole

process, so that the Trio is heard twice, the Scherzo three times.

Th e fi nale is as muscular and energetic as a tiger. Th e

bustling opening theme has no introduction and immediately

plunges into the bass register. It is more oft en used as accompa-

niment than as theme, though it can serve either purpose. Th e

fl ow is sometimes broken by more relaxed passages and there is

an extraordinary series of harsh baying chords that recur from

time to time. Th e recapitulation is marked by the spotlight fall-

ing briefl y and famously on the fi rst bassoon, and at the end the

principal melody stops running, apparently exhausted. But its

faint is merely a feint. Th is is another of Beethoven’s jokes —

just when you think his melody cannot keep going even one

bar more, it leaps up and slaps you rudely in the face.


Beethoven composed his

Fourth Symphony during

the summer and early fall of

1806. The fi rst performance

took place at Prince Lobko-

witz’s residence in Vienna in

March 1807; the fi rst public

performance was at the

Burgtheater on April 13,

1808. Beethoven conducted

both performances.

This symphony runs


mance. Beethoven scored it

for fl ute, 2 oboes, 2 clarinets,

2 bassoons, 2 horns, 2 trum-

pets, timpani, and strings.


fi rst performed Beethoven’s

Fourth Symphony during

the 1924-25 season with

founding music director

Nikolai Sokoloff . The most

recent performances were

led by Franz Welser-Möst in

Nov ember 2012 at Severance

Hall in Cleveland and at

Carnegie Hall.

About the Music

At a Glance

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extend a special welcome to PricewaterhouseCoopers LLP, whose guests are enjoying a special evening at Severance Hall this weekend.


Symphony No. 8 in C minor, Opus 65composed 1943



T H E G E R M A N A R M Y ’ S S I E G E of Leningrad began in Au-

gust 1941. In October, before the worst privations overtook

the city, Shostakovich and his family, along with other artists

and musicians, were evacuated to Kyubyshev, deep in the heart

of central Russia, where life was uncomfortable but free from

danger. Here, Shostakovich was able to complete his Seventh

Symphony, the so-called “Leningrad” Symphony, and to witness

from afar its worldwide success. It quickly became a symbol

of Russia’s heroic defi ance at a time when the outcome of the

struggle against Nazi Germany was anything but clear.

In the summer of 1943, Shostakovich spent a few months

at a special musicians’ retreat in Ivanovo, much nearer Mos-

cow than Kyubyshev. Th ese “Houses of Rest and Creativity,”

set up by the Soviet government, off ered composers a working

milieu and the freedom to compose in relative comfort. Here,

in the space of little more than two months, he composed his

next symphony, the Eighth, an immense work of great depth

and range, and had it ready for performance in Moscow in No-

vember of that year.

Interpreting Shostakovich’s music is like walking on very

thin ice, yet critics and admirers, from that day to this, have con-

fi dently proclaimed that such a work as the Eighth Symphony, so

obviously an important and profound piece of music, must there-

fore be lamenting the fate of Russia, or proclaiming the greatness

of the Soviet Union, or mocking the composer’s tormentors with

layers of irony, or any other scenario that the music might suggest.

In 1943, the authorities were clear that it was a pessimistic work,

full of “unhealthy individualism,” at a time when (aft er the Battle

of Stalingrad) the Germans were in retreat, and the prospect of

victory was for the fi rst time there for all to see. Shostakovich’s

symphony was therefore relegated to the list of works “not rec-

ommended” for performance — banned, in eff ect.

For some later critics, free of Soviet ideology, the Eighth

is a tragic work, lamenting the millions killed or mutilated in

the war. For others, its meaning is hidden beneath a veneer of

irony, since Shostakovich’s ambiguous position as a Soviet artist

(fettered by the unpredictable responses of his masters) bred in

him a highly developed skill at dissimulation: he became good

at saying one thing and meaning another, of making declara-

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tions in public that he might contradict in private. If that same irony

informs his music, how do we know whether his merriment is real or

his misery is feigned?

We don’t know. Music may be a language, but we don’t know

what it means. Shostakovich was in any case a very private, not to say

inscrutable, individual, leaving us free to adopt almost any view of his

work without any certainty that our view will coincide with his. He

himself never gave out any kind of program or message to attach to

the Eighth Symphony, nor did he connect it with the traumatic times

in which it was composed. We are simply left with a big symphony in

fi ve movements, which encompasses long, quiet, thoughtful passages,

some explosions of untamed force, some meditations on easy-going

material of little substance, some bursts of comic humor, some pages

of intense musical argument, and much else.

T H E M U S I C

Like the popular Fift h Symphony, the Eighth has an opening

movement that grows gradually from a slow, pithy start to a climax of

cataclysmic force. It passes through a section of blatant crudity to a

second climax, then returns to the isolated emptiness of the beginning.

About the Music


Th is huge twenty-fi ve-minute movement displays Shostako-

vich in all his various humors — the long wandering themes

(oft en given to a solo instrument), the frantic bursts of energy,

the high whooping horns, the fury of the percussion, the eerie

calm of low strings barely moving. Th e themes are carefully

and fully developed. One that is worth following in its various

appearances is fi rst heard in the violins over a gentle rhythmic

accompaniment, in a quintuple beat:

Th is is the second main theme of the movement and it recurs

in many forms.

Th e same variety of mood characterizes the other four

movements. Th e second movement, with a certain burlesque

fl avor, has a memorable solo for the piccolo. Th e third is even

more lively, a scherzo in 2/4 time set off by the violas alone.

Th is movement has abundant humor. How could they ever

have thought it was pessimistic? It’s fun to watch, too. When

the trombones take on the violas’ fi guration, they present a

splendid sight with their slides darting back and forth. And

the timpani, too, has the same fi gure, a pair of sticks fl ying over

three drums.

Th e fourth movement is intensely serious. It is a passaca-

glia, built on a ten-measure theme that starts in unison on the

full orchestra, all of whom gradually fall away to leave the violins

alone. Th is theme is repeated a dozen times with a series of dif-

ferent counter-themes — notably in the horn, then the piccolo,

then four fl uttering fl utes, then the clarinet — and then passes

almost imperceptibly into the fi ft h-movement fi nale.

Th is is introduced by the bassoon family going their merry

way, and the music remains carefree even when the tempo in-

creases to fast. But there is tension in the air, and the catastrophe

soon strikes with the same force and the same climactic music

as in the fi rst movement. A long solo for the bass clarinet has

the task of restoring calm, and the end has a seraphic quality,

in the deep repose of C major.

Th e symphony has traced the complete gamut of human

feeling, but does it have a precise meaning? Let those of us lis-

tening decide for ourselves, one by one.


Shostakovich wrote his

Eighth Symphony during the

summer of 1943. It was fi rst

performed on November 3,

1943, by the USSR Symphony

Orchestra conducted by

Yevgeny Mravinsky. The fi rst

performance in the United

States was presented by the

New York Philharmonic led

by former Cleveland Or-

chestra music director Artur

Rodzinski.

This symphony runs



it for 4 fl utes (third and fourth

doubling piccolo), 2 oboes,

english horn, 3 clarinets, bass

clarinet, 3 bassoons (third

doubling contrabassoon), 4

horns, 3 trumpets, 3 trom-

bones, tuba, timpani, percus-

sion (triangle, tambourine,

snare drum, 2 cymbals, bass

drum, tam-tam, xylophone),

and strings.

The Cleveland Orches-

tra fi rst performed Shosta-

kovich’s Eighth Symphony

in March 1976, under the

direction of Kirill Kondrashin.

It has been heard a few

times since, most recently

led by Franz Welser-Möst

at Blossom in July 2013 and

at Severance Hall and on

tour during the 2002-03

season.

At a Glance

About the Music


E V E R Y L I S T E N E R may feel free to interpret this immortal

work in his or her own fashion. Th e idea that it represents the

composer’s mighty but victorious struggle with destiny was

put into circulation by Beethoven himself, or at least by his

fantasy-spinning amanuensis Anton Schindler, who reported

the composer’s explanation of the opening motif as “So pocht

das Schicksal an die Pforte” (‘Th us Fate knocks at the door’).

Perhaps Beethoven did say that, and it certainly off ers a vivid

image for an extraordinarily unconventional opening for a clas-

sical symphony. But there are so many other forces at work in

this symphony, besides that of fate, that we need to open our

ears and minds to every signal it sends out. Most listeners agree

that the signals can be diff erent at each hearing.

Fate struck Beethoven most cruelly in about 1802 when,

still in his early thirties, he acknowledged the fact of his deafness

and began the long process of coming to terms with a handicap

that was less of a musical disability (it did not interfere with his

ability to compose) than a social one. His standing as a vir-

tuoso pianist with excellent connections at court was seriously

threatened, and his relations with friends, and especially with

women, were now forever circumscribed.

We might think that as a composer his reactions were far

more violent than the situation warranted. Th e “Eroica” Sym-

phony (No. 3), the immediate product of that profound crisis,

transformed the world of classical music forever. But he did not

stop there. Th e superhuman creative energy that produced his

great heroic works of that decade had never been heard in music

before. One colossal path-breaking work followed another, com-

bining unearthly beauty of invention, technical virtuosity, vastness

of conception, and a radical freedom of expression and form.

Beethoven may have — privately — felt inordinately

sorry for himself, but there is no self-pity in the music. Defi -

ance, yes certainly, although the sense of triumph expressed

in the conclusion of the Fift h Symphony is surely more than a

tongue-sticking-out I-told-you-so addressed to fate. Beethoven’s

triumph gloats not just over an unfair destiny cowering at his

feet, but rather over all humanity, over all of us who have the

misfortune not to measure up to his infi nite creative spirit.

If Beethoven gave up the unequal struggle to take care of

About the Music

SATURDAY

Symphony No. 5 in C minor, Opus 67composed 1804-08




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worldly and domestic concerns, if he lost control of his fi nances,

if he quarreled with landlords and servants, if he felt robbed by

publishers and creditors, if he lived in squalor, if he could not

count on the aff ection and loyalty of friends, there always re-

mained one domain in which he was the unchallenged master:

music itself. He could change the world by scratching barely

legible lines and dots on ruled paper, the physical manifesta-

tion of a cauldron of sound and pride that boiled in his brain.

Th e famous four-note motif that opens the symphony is

heard constantly in the fi rst movement, but it is far from being

the all-pervading idea that many people suppose. Listen out for

others! Th e second movement deft ly and curiously blends gor-

geous cantilena with military trumpets, all wrapped in varia-

tion form. Th e third movement is full of mystery; not defi ant,

not triumphant, more humorous or spectral, and out of it grows

the huge shout of triumph of the fourth-movement fi nale, as the

trombones proclaim a new order of the universe, supported by

piccolo, contrabassoon, and the full weight of C major, the key

that Haydn had assigned to the completion of Creation itself.

Th e disorder and confusion that reigned at the fi rst per-

formance of this symphony in a famously long concert — which

also included the fi rst performances of the Fourth Piano Con-

certo, the Sixth Symphony, and the Choral Fantasia — perfectly

illustrates the sorry mis-match between reality in Beethoven’s

life, when a long, diffi cult concert had to be rehearsed and per-

formed, and the sublime quality of the music itself. No wonder

Viennese audiences were confused by this giant in their midst.


Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis and is a noted authority on French music. He has written books on Beethoven, Berlioz, and Scriabin.

Beethoven began sketching

this symphony as early as

1804, and completed it dur-

ing the fi rst months of 1808.

The fi rst performance took

place on December 22, 1808,

at the Theater-an-der-Wien

in Vienna, at a legendary

marathon concert led by

the composer and devoted

entirely to his works (the pro-

gram also included the pre-

miere of the Sixth Symphony,

Fourth Piano Concerto, and

Choral Fantasy — all in an

unheated hall, and seriously

under-rehearsed).

This symphony runs


mance. Beethoven scored it

for piccolo, 2 fl utes, 2 oboes,

2 clarinets, 2 bassoons, con-

trabassoon, 2 horns, 2 trum-

pets, 3 trombones, timpani,

and strings. The piccolo,

contrabassoon, and trom-

bones (which Beethoven

had not used in his fi rst four

symphonies) play only in the

fourth movement.


fi rst played Beethoven’s Fifth

Symphony during its inaugu-

ral season, in April 1919. It has

been performed frequently

ever since — most recently

conducted by Franz Welser-

Möst at Severance Hall in

autumn 2009 and at Blossom

in 2012 led by Jahja Ling.

At a Glance

About the Music

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SHOS TAKOVICH made it known publicly that he composed the

great Tenth Symphony in the months following Stalin’s death,

which took place on March 5, 1953 (the same day as Prokofi ev’s

death). It is clear to us now, however, and was probably clear

to many of his friends then, that he had been working on the

symphony for several years — and that it was written under the

shadow of events in January 1948 when Andrei Zhdanov, the

politburo member with responsibility for the arts, led a purge

on Soviet musicians, with Shostakovich as the main target. An

important group of composers, which included both Shosta-

kovich and Prokofi ev, were singled out for their sins against

the ideals of Soviet music and in particular for “formalism,” the

recurrent catch-all accusation that had been heard in offi cial

pronouncements throughout the Stalinist era.

Of course all music is formal, and so, in a sense, it must

also be “formalist.” In this case, the State required music to serve

a political purpose, and that could only be done with words or

a message conveyed in song or onscreen or even with just an

appropriate title. “Symphony” or “Concerto” or “String Quar-

tet” were vague and inadequate titles for the purpose — and

thus open to condemnation not simply for not supporting the

offi cial line but actually for subverting it.

At the moment when the purge occurred, Shostakovich

was engaged in composing a violin concerto written in admi-

ration of the playing of David Oistrakh. He continued writing

the concerto, but only in secret, and it could not be performed.

Shostakovich turned to fi lm music and choral works instead, as

his sole means of retaining recognition as a composer. But in

private, he was also working on string quartets and on a suc-

cessor to the Ninth Symphony of 1945. Sketches for the Tenth

in fact go back as early as 1946, and there is evidence that he

was working on it in 1951.

Th e year 1953 — and Stalin’s death — thus released the

backlog of music that had been waiting to be brought out in

public. Th e Violin Concerto was not ready until 1955, but the

Fourth and Fift h String Quartets were heard toward the end of

1953, along with the Tenth Symphony, presented on December 17

by the Leningrad Philharmonic Orchestra under Shostakovich’s

leading interpreter of the day, Yevgeny Mravinsky. Th e Tenth

SATURDAY

Symphony No. 10 in E minor, Opus 93composed 1948-53



About the Music


was soon acclaimed in the West as one of the composer’s ma-

jor works. International recognition of Shostakovich as a lead-

ing living composer dated back to his First Symphony in 1925,

but Shostakovich’s standing across the West was reenforced by

new works in the 1950s and for the last twenty

years of his life. His writing was widely appre-

ciated as a counterblast to the craze for serial

and atonal music that gripped many young

composers, especially in the United States.

Interpreting the Tenth Symphony, as with

any work by Shostakovich, presents immense

problems. From his many years grappling with

offi cialdom, he had learned to dissemble and

mask his true feelings about what he created.

In addition, he was a very private, not to say

inscrutable, individual.

All these circumstances allow us to adopt

almost any view of his work, but without any

certainty that our view will coincide with his.

Th e layers of irony are deep. What seem to be

depictions of misery or horror may be nothing

of the kind. Th e hollow hymns of triumph may not be hollow.

He was indeed a “formalist” composer, deeply concerned with

the structure and shape of his music, always looking for new

ways to insert contrast or its opposite, hinting at references that

may be decoys, and extracting veins of gold from the traditional

large orchestra.

T H E M U S I C

Of the Tenth Symphony’s four parts, the fi rst movement is

the longest and perhaps the bleakest, giving prominence (as does

About the Music

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the whole symphony) to the leading woodwinds. A clarinet, for

example, is the fi rst to join the strings’ opening meditations, and

a low fl ute is the fi rst to present an important new theme later

on. Two lonely piccolos are heard at the close. Th e music is in

no hurry. Twice the music rises to fearsome climaxes, fed on the

frightening rap of the snare drum and the weight of the full brass.

Th e raw energy of the second movement is unrivaled in

20th-century music, like a runaway train. Is it exultation or

fury? It’s hard to say. Over the wild gambols of the rest, the

brass occasionally stamp out what sounds like an Orthodox

Russian chant. What can that mean?

Th e relaxed air of the third movement is more than wel-

come, and it becomes more personal when Shostakovich gradu-

ally hones in on his personal signature, the D-S-C-H motif that

permeated a number of his later works. Th is was created from

the way his name is spelled in German, as Dmitrij SCHosta-

kowitsch, and the fact that in German the note of E-fl at is “Es”

(and thus S) and B-natural is H:

Another prominent tune that keeps recurring on the horn

seems planets away from the tone and color of the movement.

Th is too has been shown to have an explanation as ELMIRA,

the name of one of his female students, although, as before,

the signifi cance of her intrusion in the symphony is a mystery:

Th e movement concludes with what sounds like a corny brass

band playing loose with D-S-C-H, as if in mockery.

Before the true fi nale begins, there is a thoughtful introduc-

tion featuring oboe and bassoon and casting a veil of mystery.

Th is is dispelled in the exuberant fourth movement Allegro,

whose climax is a triumphant writing-on-the-wall of the let-

ters D-S-C-H. Triumph or cataclysm? It could be either. It is

certainly an exhilarating musical experience whatever we read

into its meaning.—Hugh Macdonald © 2013

About the Music

Shostakovich composed

his Tenth Symphony during

the summer and autumn

of 1953, although some

thematic material may date

from the previous two years.

It was premiered in Lenin-

grad on December 17, 1953,

by the Leningrad Philhar-

monic Orchestra conducted

by Yevgeny Mravinsky.

The fi rst United States

performance took place

on October 14, 1954, with

the New York Philharmonic

under Dimitri Mitropoulos’s

direction.

This symphony runs just

over 50 minutes in perfor-


it for 3 fl utes (second and

third doubling piccolo), 3

oboes (third doubling eng-

lish horn), 3 clarinets (third

doubling bass clarinet), 3

bassoons (third doubling

contrabassoon), 4 horns,

3 trumpets, 3 trombones,

tuba, timpani, percussion

(snare drum, bass drum,

cymbals, tam-tam, triangle,

tambourine, xylophone),

and strings.


fi rst performed Shostako-

vich’s Tenth Symphony in

December 1967 under David

Oistrakh’s direction. The

most recent performances

were given in January 2013

under the baton of Franz

Welser-Möst.

At a Glance


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Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

Conservatory of Music

Rodgers & Hammerstein’s

Carousel Nov. 14-16, 19-23 at 7:30 pm;

Nov 16-17, 23-24 at 2 pmDirected by Scott Plate

A timeless classic rediscovered in an environmental acoustic staging

and scored for two pianosKleist Center for Art & Drama, 95 E. Bagley Rd.

For tickets: 440-826-2240

Our Gilbert & Sullivan Series continues with

The Pirates of Penzance Nov. 8-9 at 7 pm; Nov. 9 at 2 pm;

Nov. 10 at 1 pmDirected and Conceived by

Benjamin Wayne Smith

A one-hour reduction of thisenduring comedy classic

Fynette Kulas Music Hall, Boesel Musical Arts Center, 49 Seminary St.; FREE

440-826-2368 • www.bw.edu/conservatory • [email protected]

Severance Hall 2013-14

Student attendance continuesto grow at Severance Hall

As Th e Cleveland Orchestra’s 2013-14 season gets underway, more Student Ad-

vantage Members, Frequent Fan Card holders, Student Ambassadors, and stu-

dent groups are contributing to the continued success of these programs.

Th e Orchestra’s ongoing Student Advantage Program provides opportu-

nities for students to attend concerts at Severance Hall and Blossom through

discounted ticket off ers. Membership is free to join and rewards members

with discounted ticket purchases. For this season, a record 6,000 students

have joined.

Th e Student Frequent Fan Card was introduced a year ago with great suc-

cess. Th e program is continuing to grow, with the number of Frequent Fan

Card holders tripling so far this season over 2012-13. Priced at $50, the Fan

Card off ers students unlimited single tickets (one ticket per card holder) to

weekly classical subscription concerts all season long.

Th e Student Ambassador program is also growing. Th ese young volun-

teers help to promote the Orchestra’s concert off erings and student programs

directly on campuses across Northeast Ohio.

Also this year, a group of Student Marketing Advisors was formed to help

the Orchestra incorporate student feedback and insight to programs, and give

local marketing majors a chance to work closely with the Orchestra’s sales team.

In addition, attendance through Student Group sales are also bringing in

more and more young people to Cleveland Orchestra concerts. From as far as

Toronto and Nashville, these groups make up an integral part of the overall suc-

cess toward generating participation and interest among young people.

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

for Future Audiences, through the Alexander and Sarah Cutler Fund for Student

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

endowment gift from the Maltz Family Foundation to develop new generations

of audiences for Cleveland Orchestra concerts in Northeast Ohio.

Student Attendance 72-A


Collecting for clients is music to our ears.

Call Alan Weinberg, Managing Partner, at 216-685-1100.Weltman, Weinberg & Reis Co., LPA

Call Scott Weltman, Managing Partner, at 216-685-1032. Weltman, Weinberg & Reis Co., LPA

72-B

Come see two of the most celebrated modern masters of the violin.Pre-concert conversations at 6:00 p.m.

Come see amazing.

O’Connor String Quartet

Co-presented by the Cleveland Institute of Music

Jordi Savall & Hespèrion XXI

CMA Performing Arts Series

Tickets on sale now


Under 18s Free ticketing program extended to new series and concerts at Severance Hall

Committed to welcoming more young

people and families, The Cleveland Orchestra

has signifi cantly expanded its “Under 18s Free”

program for the 2013-14 season at Severance

Hall — to include forty-six concerts from Sep-

tember to May, an increase from just fourteen

“Under 18s Free” concerts in the 2012-13 sea-

son. “Under 18s Free” tickets will be available

for all family programming at Severance Hall,

along with Cleveland Orchestra concerts on

Fridays and Sundays. The concerts include the

Family Concert Series, PNC Musical Rainbows,

Cleveland Orchestra Youth Orchestra and

Youth Chorus concerts, as well as The Cleve-

land Orchestra’s Friday morning and evening

concerts and Sunday matinees.

“We’re dedicated to serving more people in

our community,” says Gary Hanson, the Orches-

tra’s executive director. “The expansion of our

‘Under 18s Free’ program will provide access to

more than three times as many performances for

families and young people this season.”

Since the creation of the Center for Future

Audiences in 2010, funding from the Center

has helped enable nearly 60,000 young people

to attend Blossom Music Festival concerts and

performances at Severance Hall. The Center’s

ticket initiatives include “Under 18s Free,” Stu-

dent Advantage, and Student Ambassadors

programs. The Center for Future Audiences,

created with a lead endowment gift from the

Maltz Family Foundation, was established to

fund programs to develop new generations of

audiences for Cleveland Orchestra concerts in

Northeastern Ohio.

The “Under 18s Free” program off ers free

tickets (one per regular-priced adult paid ad-

mission) to young people ages 7-17. (Holiday

concerts and Celebrity Series concerts are

excluded from the “Under 18s Free” off er.) Indi-

vidual free tickets for Severance Hall concerts

for this program must be purchased through

the Severance Hall Ticket Offi ce; some series

purchases can be made online.

The Cleveland Orchestra and Music Direc-

tor Franz Welser-Möst’s live recording of Bruck-

ner’s Symphony No. 4, released earlier this

year, is receiving wide acclaim in reviews from

around the world — including a new award

announced this fall. The Bruckner Society of

America has just announced that it is giving

this DVD its “best video of the year” des-

ignation, lauding the perfor-

mance and the presentation.

The performance was

fi lmed in 2012 at the beautiful

17th-century baroque Abbey

of St. Florian in Austria. Emmy

Award-winner Brian Large di-

rected the video recording. This

is the fi rst video produced of the

recent critical edition of the 1888

version of Bruckner’s Fourth Sym-

phony, edited by Benjamin Korst-

vedt and published in 2004 as part

of the Bruckner Collected Works edition.

Reviewers’ praise includes:

“How does one approach Anton Bruckner

and his exuberant Fourth Symphony distinc-

tively? Franz Welser-Möst and his fellow Cleve-

landers accomplished it. And in such a way!”

—Vienna Zeitung, June 2013

“A great orchestra, a Bruckner expert.

. . . Five out of fi ve stars.” —Kurier (Austria),

May 2013

“In St. Florian, Franz Welser-Möst and The

Cleveland Orchestra breathed new life into

this version. A glorious concert.” —Die Presse

(Austria), May 2013

Clasart produced the recording, which

is being distributed by Arthaus and Naxos.

The Cleveland Orchestra’s long-term partner-

ship with Clasart has resulted in fi ve Bruckner

DVDs to date. Founded in Munich in 1977,

Clasart is part of the Tele München Group. The

Cleveland Orchestra extends special thanks to

Raiff eisenlandesbank Oberösterreich and Tele

München Group for their ongoing support for

electronic media projects.

Orchestra’s recording of Bruckner 4th receives praise and awards

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News

Orchestra News

Cleveland Orchestra News

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News

Orchestra NewsTwo new appointments to

Orchestra’s management team

Gary Hanson, executive director of

The Cleveland Orchestra, has announced

two new appointments to the Orchestra’s

management team.

Jennifer Barlament has been appointed

to the position of General Manager eff ective

September 23, overseeing Orchestra operations,

concert production, collective bar-

gaining, electronic media, and facili-

ties (Severance Hall and Blossom).

“It is a great pleasure to welcome

Jennifer Barlament to the staff of The

Cleveland Orchestra,” said Hanson

in making the appointment. “Her

strong musical background and

record of achievement are among the terrifi c port-

folio of skills and talent she will bring to us.” Bar-

lament has served as executive director of the

Kalamazoo Symphony Orchestra since 2009,

and was general manager of the Omaha Sym-

phony, 2002-09. She was the 2013 recipient of

the Orchestra League’s Helen M. Thompson

Award for extraordinary achievement and com-

mitment in the fi eld of orchestra management.

Carol Lee Iott, who has served as Director

of Orch estra Personnel since 2005 and as Act-

ing General Manager this year, is taking on the

new position of Director of Strategy and Special

Initiatives, overseeing institutional strategy,

major cross-departmental initiatives,

Orchestra personnel, and education

and community programs.

“I’m delighted that Carol Lee has

accepted my invitation to create this

new position,” said Hanson. “In this

role, Carol Lee’s portfolio of initiatives

will include planning our Centennial

celebration, establishing programs to realize

Franz’s ‘Make Music!’ vision, and leading an ex-

pansion of our neighborhood residencies initia-

tive.” Prior to coming to Cleveland, Iott served

as director of orchestra personnel with the

Chicago Symphony Orch estra, 1995-2005.

Post-concert performers

chosen for spring concerts

in KeyBank Fridays@7 series

Following the fi rst performance in Sep-

tember, The Cleveland Orchestra’s Fridays@7

series continues in 2014 with three popular

concert off erings, pairing orchestral favorites

with an array of post-concert world music

presentations.

The three spring

concerts (March

7, April 11, and

May 2) feature popular works

for piano and orchestra by Rach-

maninoff , plus Mozart’s Requiem. The one-

hour concerts include the early 7 p.m. start

time, plus extra music both before and after.

The post-concert presentations in the spring

will be:

March 7 — New York Gypsy All-Stars.

Back by popular demand to Fridays@7, the

New York Gypsy All-Stars jump the turnstiles of

Balkanalia, Turkish roots, and gypsy soul with

funky refi nement.

April 11 — The Medicine Show reaches

people in hard-to-get places. The international

group made up of players from Brazil, America,

Japan, and Germany who are inspired by the

intersection of their collective desire to play

music that is a passport into another dimension.

May 2 — Requiem to Resurrection.

Gospel legend Theresa Thomason and the Mt.

Zion Congregational Church gospel choir will

lift the rafters in a musical journey for the soul.

Let the spirit move you!

Special three-concert series packages are

available for the spring KeyBank Fridays@7 per-

formances. Contact Severance Hall Ticket Ser-

vices for complete details, or purchase online

at clevelandorchestra.com.

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.

7@FRIDAYS

72-D

Severance Hall 2013-14Severance Hall 2013-14 Cleveland Orchestra News 72-E

Where people with disabilities thrive216.662.1880 ncch.org


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NewsNewsNews

Orchestra NewsNew album being released by Orchestra musician; benefi t recital takes place on Sunday, October 27 Massimo La Rosa, principal trombone of The Cleveland Orchestra, is releasing a new album on October 24 titled Sempre Espres-sivo. The album features works for trombone, including J.S. Bach’s Suite No. 1 in G major for solo cello (performed on trombone) and a new arrangement of the Intermezzo from Puccini’s opera Manon Lescaut. In conjunction with the re-lease, La Rosa performs a ben-efi t recital at the First Unitarian Church in Shaker Heights on Sunday, October 27, beginng at 3:00 p.m. A reception fol-lows the performance, with funds raised at the recital to benefi t dystonia research.

Women’s Committee Fall Benefi t features evening of music and food at Nighttown on November 7 The Women’s Committee’s Fall Benefi t event takes place on Thursday evening, November 7, at Nighttown restaurant in Cleveland Heights. The evening includes dining and socializing, plus a musi-cal performance by the Oberlin Conservatory of Music Improvisation Ensemble under the direction of

Jamey Haddad — exploring a range of musical genres and styles from around the world. Reservations are $75 per person, or $100 for the patron-level ticket. Reservations can be made by calling Cleveland Orchestra Ticket Services at 216-231-1111.


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Orchestra NewsNews

With the start of the 2013-14 season, The

Cleveland Orchestra welcomes new assistant

conductor Brett Mitchell. As assistant conduc-

tor, he serves as cover conductor for Severance

Hall and Blossom Music Festival subscription

concerts, and provides assistance to music di-

rector Franz Welser-Möst. He is also serving as

music director of the Cleveland Orchestra Youth

Orchestra. Mitchell holds the Elizabeth Ring

and William Gwinn Mather Assistant Conductor

Endowed Chair.

In addition to his appointment in Cleve-

land, Brett Mitchell is currently in his fourth sea-

son as music director of Michigan’s Saginaw Bay

Symphony Orchestra. He has guest conducted

widely and served as assistant conductor of the

Houston Symphony (2007-11), where he concur-

rently held a League of American Orchestras

American Conducting Fellowship. Since that

time, he has re-

turned to lead that

orchestra regularly

as a guest conduc-

tor. He was also an

assistant conductor

to Kurt Masur at the

Orchestre National

de France (2006-09).

A native of Se-

attle, Brett Mitchell

holds a doctor of

musical arts degree from the University of Texas

at Austin, where he was also music director of

the University Orchestra. He earned a bachelor

of music degree in composition from Western

Washington University.

A complete biography can be read

at clevelandorchestra.com.

Brett Mitchell joins Orchestra as assistant

conductor and music director of Youth Orchestra


The Cleveland Carousel Society is bringing back the Grand Carousel from Euclid Beach

Park’s historic past for all to ride again.

Go to: www.clevelandcarousel.org

Or call: 216-752-1505

Part Emotion, Part Memory

All Magic

You can be a part of

this historic restoration by becoming a

member, naming donor or sponsor of the Carousel horses right

now.


Guide to Fine Schools

Other fine schools advertising in The Cleveland Orchestra’s Severance Hall programs include:

216-898-8300www.berea.k12.oh.us

Consistently ranked among“Best Communities for Music Education”

in the Nation!

Baldwin Wallace University Conservatory of Music440-826-2369

Cleveland Institute of Music216-791-5000

Cleveland State UniversityKulas Series of Keyboard Conversations

with Jeffrey Siegel216-687-5018

Lake Erie College1-855-GO-STORM

The Oberlin Conservatory of Music440-775-8413

72-F

Severance Hall 2013-14Severance Hall 2013-14 Cleveland Orchestra News 72-G

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NewsNewsNews

Orchestra NewsOrchestra announces “At Home” neighborhood residency in Lakewood for May 2014 The Cleveland Orchestra and

Lakewood have announced a new

partnership to present the Orch-

estra’s next “At Home” neighbor-

hood residency in May 2014. The centerpiece

of this week of activities, education programs,

and public performances will be a free Cleve-

land Orchestra concert at the Civic Audito-

rium in Lakewood on Saturday evening, May

24. The concert will be recorded for a delayed

broadcast on WVIZ/PBS ideastream, and a

radio broadcast on WCLV 104.9. The television

broadcast will also feature a segment about

the Orchestra’s performances, collaborations,

and events in Lakewood.

“ Creating a grassroots opportunity for

Lakewood to experience perhaps the greatest

orchestra in the world at a very personal level

is a cultural experience that we will remember

for years to come,” commented Lakewood

Mayor Michael P. Summers in announcing the

collaboration. “Our increasingly vibrant com-

mercial corridors and neighborhoods will be

made ever-more-so by the music and the musi-

cians.” Ian Andrews, executive director of Lake-

woodAlive, Lakewood’s nonprofi t economic

development organization, added, “Lakewood

is known for its commitment to the arts. The Or-

chestra’s events will strengthen this commitment

and showcase the city’s great quality of life, local

organizations, restaurants, schools, and business-

es that make our community special.”

The Cleveland Orchestra introduced its

“At Home” neighborhood residency program

in May 2013 with a week of performances and

activities in the Gordon Square community

of Cleveland. Events include free perfor-

mances by Orchestra musicians and educa-

tion programs for children, students, and

families. Details of The Cleveland Orchestra’s

Lakewood neighborhood residency will be

announced in March 2014, along with infor-

mation about acquiring tickets for the free

Cleveland Orchestra concerts.

F.A.M. I .L .Y N .E .W.S Please join in extending congratula-tions and warm wishes to:

Sonja Braaten Molloy (violin) and her

husband, Owen Molloy, whose baby boy,

Cormac Henry, was born June 22.

Charles Bernard (cello) and Jeff Wil-

liams, who were married on September 5.

Lyle Steelman (trumpet) and Leslie

Brown, who were married on September 14.

Franklin Cohen serves on competition jury and teaches in China, Japan, and Korea Franklin Cohen, principal clarinet of

The Cleveland Orchestra, is on a four-

week trip to Asia during which he has

been invited to serve on the jury, with

other prominent clarinetists from

around the world, for the 2013 Beijing

International Clarinet Competition.

After the competition, he will give

masterclasses for the international

contestants who have come to par-

ticipate. Cohen will then visit Seoul,

Osaka, and Tokyo, where he will

present concerts, seminars, and

classes at several of Japan and

Korea’s major conservatories.

Silence is golden As a courtesy to everyone around you,

patrons are reminded to turn off cell phones

and to disengage electronic watch alarms

prior to each concert.

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.

at home

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The Cleveland OrchestraLegacy Giving

Lois A. AaronLeonard AbramsShuree Abrams*Gay Cull AddicottStanley and Hope AdelsteinSylvia K. AdlerGerald O. Allen*Norman and Marjorie* AllisonGeorge N. Aronoff Herbert Ascherman, Jr.Jack and Darby AshelmanMr. and Mrs. William W. BakerRuth Balombin*Mrs. Louis W. Barany*D. Robert* and Kathleen L. BarberJack BarnhartMargaret B. and Henry T.* BarrattNorma E. Battes*Rev. Thomas T. Baumgardner and Dr. Joan BaumgardnerFred G. and Mary W. BehmBertram H. Behrens*Dr. Ronald and Diane BellBob BellamyJoseph P. BennettIla M. BerryHoward R. and Barbara Kaye BesserDr.* and Mrs. Murray M. BettDr. Marie BielefeldRaymond J. Billy (Biello)Dr. and Mrs. Harold B. Bilsky*Robert E. and Jean Bingham*Claudia BjerreMr. William P. Blair IIIMrs. Flora BlumenthalMr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMr. and Mrs. Charles P. BoltonKathryn Bondy*Loretta and Jerome* BorsteinMr. and Mrs.* Otis H. Bowden IIRuth Turvy Bowman*Drs. Christopher P. Brandt and Beth Brandt SersigMr. D. McGregor Brandt, Jr.David and Denise BrewsterRichard F. Brezic*Robert W. BriggsDr. Jeanette Grasselli Brown and Dr. Glenn R. BrownRonald and Isabelle Brown*Mr. and Mrs. Clark E. Bruner*Mr. and Mrs.* Harvey Buchanan

Rita W. Buchanan*Joan and Gene* BuehlerGretchen L. BurmeisterStanley and Honnie* BuschMilan and Jeanne* BustaMrs. Noah L. Butkin*Mr. and Mrs. William C. ButlerMinna S. Buxbaum*Gregory and Karen CadaRoberta R. Calderwood*Jean S. Calhoun*Harry and Marjorie M. CarlsonJanice L. CarlsonDr. and Mrs. Roland D. CarlsonMr. and Mrs. George P. Carmer*Barbara A. Chambers, D. Ed.Arthur L. Charni*Ellen Wade Chinn*NancyBell CoeKenneth S. and Deborah G. CohenRalph M. and Mardy R. CohenVictor J. and Ellen E. CohnRobert and Jean* ConradMr. and Mrs. Gerald A. ConwayJames P. and Catherine E. Conway*Rudolph R. Cook*The Honorable Colleen Conway CooneyJohn D. and Mary D.* CorryDr. and Mrs. Frederick S. Cross*Martha Wood CubberleyDr. William S. Cumming*In Memory of Walter C. and Marion J. CurtisMr. and Mrs. William W. CushwaHoward CutsonDr. Christine A. Hudak, Mr. Marc F. CymesMr. and Mrs. Don C. DanglerMr. and Mrs. Howard J. DanzingerBarbara Ann DavisCarol J. DavisCharles and Mary Ann DavisWilliam E. and Gloria P. Dean, Jr.Mary Kay DeGrandis and Edward J. DonnellyNeeltje-Anne DeKosterCarolyn L. DessinWilliam R. Dew*Mrs. Armand J. DiLellioJames A. Dingus, Jr.Dr. and Mrs. Richard C. DistadMaureen A. Doerner and Geoff rey T. WhiteHenry and Mary DollGerald and Ruth DombcikMr.* and Mrs. Roland W. Donnem

Nancy E. and Richard M. DotsonMrs. John DrollingerDrs. Paul M.* and Renate H. DuchesneauGeorge* and Becky DunnWarren and Zoann Dusenbury*Mr. and Mrs. Robert DuvinPaul and Peggy EdenburnRobert and Anne EibenMr. and Mrs. Alfred M. Eich, Jr.Mr. and Mrs. Ramon Elias*Roger B. EllsworthOliver and Mary EmersonLois Marsh EppPatricia EspositoMargaret S. Estill*Dr. Wilma McVey Evans*C. Gordon and Kathleen A.* EwersPatricia J. FactorSusan L. Faulder*Dr. and Mrs. Frederick Fennell*Mrs. Mildred FieningGloria and Irving B. FineJules and Lena Flock*Joan Alice FordDr. and Mrs. William E. Forsythe*Mr.* and Mrs. Ralph E. FountainGil and Elle FreyArthur and Deanna FriedmanMr.* and Mrs. Edward H. FrostDawn FullHenry S. FusnerDr. Stephen and Nancy GageCharles and Marguerite C. Galanie*Barbara and Peter GalvinMr. and Mrs. Steven B. GarfunkelDonald* and Lois GaynorBarbara P. Geismer*Albert I. and Norma C. GellerCarl E. Gennett*John H.* and Ellen P. GerberFrank and Louise GerlakDr. James E. GibbsIn Memory of Roger N. Giff ordDr. Anita P. Gilger*S. Bradley GillaughMr.* and Mrs. Robert M. GinnFred and Holly GlockRonald* and Carol GodesWilliam H. Goff Mr. and Mrs. Henry J. GoodmanJohn and Ann GoskyMrs. Joseph B. Govan*Elaine Harris Green

Th e Heritage Society honors those individuals who are helping to ensure

the future of Th e Cleveland Orchestra with a Legacy gift . Legacy gift s come

in many forms, including bequests, charitable gift annuities, and insurance

policies. Th e following listing of members is current as of September 2013.

For more information, please call Bridget Mundy, Legacy Giving Offi cer,

at 216-231-8006.


H E R I T A G E S O C I E T Y

Legacy & Planned GivingLegacy & Planned Giving

72-H

Severance Hall 2013-14 Legacy Giving

Tom and Gretchen GreenRichard and Ann GridleyNancy Hancock Griffi thDavid G. Griffi ths*David E.* and Jane J. Griffi thsMs. Hetty Griffi thsMargaret R. Griffi ths*Bev and Bob GrimmJudd and Zetta Gross*Candy and Brent GroverMrs. Jerome E. Grover*Thomas J.* and Judith Fay GruberMr. and Mrs. David H. GunningMr. and Mrs. William E. GuntonJoseph E. Guttman*Mrs. John A Hadden Jr.Richard* and Mary Louise HahnJames J. HamiltonKathleen E. HancockDouglas Peace Handyside*Holsey Gates HandysideNorman C. and Donna L. HarbertMary Jane HartwellWilliam L.* and Lucille L. HasslerPeter and Gloria Hastings*Mrs. Henry Hatch (Robin Hitchcock)Virginia and George HavensGary D. HelgesenClyde J. Henry, Jr.Ms. M. Diane HenryWayne and Prudence HeritageRice Hershey*T. K. and Faye A. HestonGretchen L. HickokMr. and Mrs.* Daniel R. HighEdwin R. and Mary C. Hill*Ruth Hirshman-von Baeyer*Mr.* and Mrs. D. Craig HitchcockBruce F. HodgsonGoldie Grace Hoff man*Mary V. Hoff manFeite F. Hofman MDMrs. Barthold M. HoldsteinLeonard* and Lee Ann HolsteinDavid and Nancy HookerGertrude S. Hornung*Patience Cameron HoskinsElizabeth HosmerDorothy Humel HovorkaDr. Randal N. Huff Mrs. Marguerite B. HumphreyAdria D. Humphreys*Ann E. Humphreys and Jayne E. SissonKaren S. HuntMr. and Mrs. G. Richard HunterRuth F. IhdeMr. and Mrs. Jonathan E. IngersollPamela and Scott IsquickMr. and Mrs.* Cliff ord J. Isroff Mr. and Mrs. Donald M. Jack, Jr.Carol S. JacobsMilton* and Jodith JanesAlyce M. Jarr*

Jerry and Martha* JarrettMerritt JohnquestAllan V. JohnsonE. Anne JohnsonNancy Kurfess Johnson, M.D.Paul and Lucille Jones*Mrs. R. Stanley Jones*William R. Joseph*David and Gloria KahanJulian and Etole KahanDrs. Julian* and Aileen KassenMilton and Donna* KatzPatricia and Walter* KelleyBruce and Eleanor KendrickMalcolm E. KenneyNancy H. Kiefer*Charles M. and Janet G. Kimball*James and Gay* KitsonMr. Clarence E. Klaus, Jr.Mary Elizabeth and G. Robert Klein*Julian H. and Emily W. Klein*Thea Klestadt*Paul and Cynthia KlugMartha D. KnightMr. and Mrs. Robert KochDr. Vilma L. KohnElizabeth Davis Kondorossy*Clayton KoppesMr.* and Mrs. James G. Kotapish, Sr.LaVeda Kovar*Margery A. KowalskiBruce G. Kriete*Mr. and Mrs. Gregory G. KruszkaThomas and Barbara KubyEleanor and Stephen KushnickMr. and Mrs. Dennis W. LaBarreJames I. LaderMr. and Mrs. David A. LambrosDr. Joan P. Lambros*Mrs. Carolyn LamplMarjorie M. LamportLouis LaneCharles K. László and Maureen O’Neill-LászlóAnthony T. and Patricia LauriaCharles and Josephine Robson Leamy FundTeela C. LelyveldMr. and Mrs. Roger J. LerchJudy D. LevendulaGerda LevineDr. and Mrs. Howard LevineBracy E. LewisMr. and Mrs.* Thomas A. LiederbachRollin and Leda LindermanRuth S. LinkDr. and Mrs. William K. LittmanJeff and Maggie LoveDr. Alan and Mrs. Min Cha LubinAnn B. and Robert R. Lucas*Kate LunsfordMr. and Mrs. Thomas E. Lynch*Patricia MacDonald

Alex and Carol MachaskeeJerry MaddoxMrs. H. Stephen MadsenAlice D. MaloneMr. and Mrs. Donald Malpass, Jr.Lucille Harris MannMr. and Mrs. Richard A. ManuelClement P. MarionMr. Wilbur J. Markstrom*Dr. and Mrs. Sanford E. MarovitzDavid C. and Elizabeth F. MarshDuane and Joan* MarshFlorence Marsh, Ph.D.*Mr. and Mrs. Anthony M. MartincicKathryn A. MatesDr. Lee Maxwell and Michael M. PruntyAlexander and Marianna* McAfeeNancy B. McCormackMr. William C. McCoyMarguerite H. McGrath*Dorothy R. McLeanJim* and Alice MecredyJames and Virginia MeilMr. and Mrs.* Robert F. MeyersonBrenda Clark MikotaChristine Gitlin MilesChuck and Chris MillerEdith and Ted* MillerLeo Minter, Jr.Mr. and Mrs. William A. MitchellRobert L. MoncriefMs. Beth E. MooneyBeryl and Irv MooreAnn Jones MorganMr. and Mrs. Stanley L. Morgan*George and Carole MorrisMr. and Mrs. Thomas W. MorrisMr. and Mrs.* Donald W. MorrisonJoan R. Mortimer, PhDFlorence B. MossSusan B. MurphyDr. and Mrs. Clyde L. Nash, JrDeborah L. NealeMrs. Ruth NeidesDavid and Judith NewellDr.* and Mrs. S. Thomas NiccollsRussell H. Nyland*Katherine T. O’NeillMr. and Mrs. John D. OngAurel Fowler-Ostendorf*Mr. J. William and Dr. Suzanne PalmerR. Neil Fisher and Ronald J. ParksNancy and W. Stuver ParryMrs. John G. Pegg*Dr. and Mrs. Donald PensieroMary Charlotte PetersMr. and Mrs. Peter Pfouts*Janet K. Phillips*Florence KZ PollackJulia and Larry PollockVictor and Louise PreslanMrs. Robert E. Price*Lois S.* and Stanley M. Proctor


H E R I T A G E S O C I E T Y


LISTING CONTINUES

72-I


Mr. David C. PrughLeonard and Heddy RabeM. Neal RainsMr. George B. RamsayerJoe L. and Alice Randles*Mrs. Alfred M. Rankin, Sr.Mrs. Theodore H. Rautenberg*James and Donna ReidMrs. Hyatt Reitman*Mrs. Louise Nash Robbins*Dr. Larry J.B.* and Barbara S. RobinsonDwight W. RobinsonMargaret B. Babyak* and Phillip J. RoscoeDr. Eugene and Mrs. Jacqueline RossHelen Weil Ross*Robert and Margo RothMarjorie A. RottHoward and Laurel RowenProfessor Alan Miles Ruben and Judge Betty Willis RubenFlorence Brewster RutterMr. James L. Ryhal, Jr.Renee SabreenScott SabreenMarjorie Bell SachsVernon SackmanSue SahliMr. and Mrs. James A. SaksMr. and Mrs. Sam J. SanFilipo*Larry J. SantonStanford and Jean B. SarlsonSanford Saul FamilyJames Dalton SaundersPatricia J. SawvelRay and Kit SawyerRichard Saxton*Alice R. SayreIn Memory of Hyman and Becky SchandlerRobert ScherrerSandra J. SchlubMs. Marian SchluembachRobert and Betty SchmiermundMr.* and Mrs. Richard M. SchneiderLynn A. Schreiber*Jeanette L. SchroederMr. Frank SchultzCarol* and Albert SchuppRoslyn S. and Ralph M. SeedNancy F. SeeleyEdward SeelyOliver E. and Meredith M. SeikelRussell Seitz*Reverend Sandra SelbyEric SellenAndrea E. SenichThomas and Ann SepúlvedaElsa Shackleton*B. Kathleen ShampJill Semko Shane

David ShankDr. and Mrs. Daniel J. ShapiroNorine W. SharpNorma Gudin ShawElizabeth Carroll ShearerDr. and Mrs. William C. SheldonFrank* and Mary Ann SherankoKim SherwinMr. and Mrs. Michael SherwinReverend and Mrs. Malcolm K. ShieldsRosalyn and George SievilaMr. and Mrs. David L. SimonDr.* and Mrs. John A. SimsNaomi G. and Edwin Z. SingerLauretta SinkoskyH. Scott Sippel and Clark T. KurtzEllen J. SkinnerRalph* and Phyllis SkufcaJanet Hickok SladeAlden D. and Ellen D. Smith*Mr.* and Mrs. Ward SmithM. Isabel Smith*Nathan Snader*Sterling A. and Verdabelle Spaulding*Barbara J. Stanford and Vincent T. LombardoSue Starrett and Jerry SmithLois and Tom Stauff erWillard D. Steck*Merle SternDr. Myron Bud and Helene* SternMr. and Mrs. John M. StickneyNora and Harrison Stine*Mr. and Mrs. Stanley M. StoneMr.* and Mrs. James P. StorerRalph E. and Barbara N. StringThe Irving Sunshine FamilyVernette M. Super*Mr. and Mrs. Herbert J. Swanson*In Memory of Marjory SwartzbaughLewis Swingley*Lorraine S. SzaboNorman V. TagliaferriSusan and Andrew Talton*Frank E. Taplin, Jr.*Charles H. Teare* and Cliff ord K. Kern*Mr. Ronald E. TearePauline Thesmacher*Dr. and Mrs. Friedrich ThielMrs. William D. Tibbetts*Mr. and Mrs. William M. Toneff Marlene and Joe TootAlleyne C. ToppinJanice and Leonard TowerDorothy Ann TurickMr. and Mrs. Robert A. UrbanRobert and Marti VagiRobert A. ValenteJ. Paxton Van SweringenMary Louise and Don VanDyke

Elliot Veinerman*Nicholas J. Velloney*Steven VivarrondaHon. William F. B. VodreyPat and Walt* WahlenMrs. Clare R. WalkerJohn and Deborah WarnerMr. and Mrs. Russell WarrenJoseph F. and Dorothy L. WasserbauerCharles D. Waters*Reverend Thomas L. WeberEtta Ruth WeiglLucile WeingartnerEunice Podis Weiskopf*Max W. WendelWilliam Wendling and Lynne WoodmanMarilyn J. WhiteRobert and Marjorie Widmer*Yoash and Sharon WienerAlan H. and Marilyn M. WildeElizabeth L. Wilkinson*Helen Sue* and Meredith WilliamsCarter and Genevieve* WilmotMiriam L. and Tyrus W.* WilsonMr. Milton Wolfson* and Mrs. Miriam Shuler-WolfsonNancy L. WolpeMrs. Alfred C. WoodcockKatie and Donald WoodcockDr.* and Mrs. Henry F. Woodruff Marilyn L. WozniakNancy R. WurzelMichael and Diane WyattMary YeeEmma Jane Yoho, M.D.Libby M. YungerDr. Norman Zaworski*William L.* and Joan H. ZieglerCarmela Catalano Zoltoski*Roy J. Zook*Anonymous (105)


H E R I T A G E S O C I E T YBe forever a part of what the world is talking about!


LISTING CONTINUED

Th e lotus blossom is the

symbol of the Heritage Society.

It represents eternal life and

recognizes the permanent benefi ts

of legacy gift s to Th e Cleveland Orch-

estra’s endowment. Said to be Elisabeth

Severance’s favorite fl ower, the lotus is

found as a decorative motif in nearly

every public area of Severance Hall.

*deceased

Legacy Giving72-J


Academic Sponsor

TO

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SP

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20

13

-2

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72-K


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

lished to fund programs to develop new generations of audiences for Cleveland

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

$20 million lead endowment gift from the Maltz Family Foundation. Center-

funded programs focus on addressing economic and geographic barriers to

attending Cleveland Orch estra concerts at Severance Hall and Blossom Music

Center. Programs include research,

introductory off ers, targeted dis-

counts, student ticket programs, and

integrated use of new technologies.

Th e goal is to create one of the young-

est audiences of any symphony or-

chestra in the country. For additional

information about these plans and pro-

grams, call us at 216-231-7464.

Center for Future Audiences

E N DOWE D FU N DS

Maltz Family Foundation

Mr. and Mrs. Alexander M. Cutler

THANK YOU�for helping develop ��tomorrow’s audiences today.

For information about contributing to this major endowment initiative,

please contact the Orchestra’s Philanthropy & Advancement Department

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

72-L

Severance Hall 2013-14 Endowed Funds

Th e generous donors listed here have made endowment gift s to support specifi c artistic

initiatives, education and community programming and performances, facilities main-

tenance costs, touring and residencies, and more. (Additional endowment funds are

recognized through the naming of Orchestra chairs, listed on pages 22-23.) Named funds

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

own endowment gift to Th e Clevelamd Orchestra, please call 216-231-7438.

Endowed Funds funds established as of August 2013

ARTISTIC endowed funds support a variety of programmatic initiatives ranging

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

Artistic ExcellenceGeorge Gund III Fund

Artistic CollaborationJoseph P. and Nancy F. Keithley

Artist-in-ResidenceMalcolm E. Kenney

Young ComposersJan R. and Daniel R. Lewis

Friday Morning ConcertsMary E. and F. Joseph Callahan Foundation

Radio BroadcastsRobert and Jean ConradDr. Frederick S. and Priscilla Cross

Cleveland Orchestra Chorus Jerome and Shirley GroverMeacham Hitchcock and Family

American Conductors FundDouglas Peace HandysideHolsey Gates Handyside

Severance Hall Guest ConductorsRoger and Anne ClappJames and Donna Reid

Cleveland Orchestra SoloistsJulia and Larry Pollock Family

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

Concert PreviewsDorothy Humel Hovorka

International TouringFrances Elizabeth Wilkinson

UnrestrictedArt of Beauty Company, Inc.William P. Blair III Fund for Orchestral ExcellenceJohn P. Bergren and Sarah S. EvansNancy McCannMargaret Fulton-Mueller Virginia M. and Jon A. Lindseth

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

Audiences, created with a lead gift from the Maltz Family Foundation, is working to

develop new generations of audiences for Th e Cleveland Orchestra.

Center for Future AudiencesMaltz Family Foundation

Student AudiencesAlexander and Sarah Cutler

Endowed Funds listing continues


72-M

The Cleveland OrchestraEndowed Funds

SEVERANCE HALL endowed funds support maintenance of keyboard instruments

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

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

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

Severance Hall PreservationSeverance family and friends

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

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

classroom resources for thousands of students and adults each year.

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

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

families and by Forest City Enterprises, Inc.

In-School PerformancesAlfred M. Lerner Fund

Classroom ResourcesCharles and Marguerite C. Galanie

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

Musical RainbowsPysht Fund

Community ProgrammingAlex and Carol Machaskee

Endowed Funds continued from previous page

BLOSSOM MUSIC CENTER and BLOSSOM FESTIVAL endowed funds support the

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

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

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

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


72-N

Severance Hall 2013-14Severance Hall 2013-14

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72-O

The Cleveland Orchestra72-P

Th e Partners in Excellence program

salutes companies with annual contri-

butions of $100,000 and more, exem-

plifying leadership and commitment to

artistic excellence at the highest level.

PARTNERS IN EXCELLENCE$300,000 AND MORE

Hyster-Yale Materials HandlingNACCO Industries, Inc.KeyBankThe Lubrizol CorporationRaiff eisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company

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

PARTNERS IN EXCELLENCE$100,000 TO $199,999The Cliff s FoundationGoogle, Inc.Medical Mutual of OhioParker Hannifi n Corporation

$50,000 TO $99,999

Jones DayQuality Electrodynamics (QED)voestalpine AG (Europe)Anonymous

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

$2,500 TO $24,999AdCom CommunicationsAkron Tool & Die CompanyAkronLife MagazineAmerican Fireworks, Inc.

American Greetings CorporationBDIBank of AmericaBrouse McDowellEileen M. Burkhart & Co LLCBuyers Products CompanyCleveland ClinicThe Cleveland Wire Cloth & Mfg. Co.Cohen & Company, CPAsCommunity Behavioral Health CenterConn-Selmer, Inc.Consolidated Graphics Group, Inc.Dollar BankDominion FoundationErnst & Young LLPEvarts-Tremaine-Flicker CompanyFeldman Gale, P.A. (Miami)Ferro CorporationFirstMerit BankFrantz Ward LLPVictor Kendall, Friends of WLRNGallagher Benefi t ServicesGreat Lakes Brewing CompanyGross BuildersHahn Loeser + Parks LLPHyland SoftwareThe Lincoln Electric FoundationLittler Mendelson, P.C.C. A. Litzler Co., Inc.Live Publishing CompanyMaterion CorporationMiba AG (Europe)MTD Products, Inc.Nordson CorporationNorth Coast Container Corp.Northern HaserotOatey Co.Ohio CATOhio Savings Bank, A Division of New York Community BankOlympic Steel, Inc.Oswald CompaniesPolyOne CorporationPricewaterhouse Coopers LLPThe Prince & Izant CompanyRichey Industries, Inc.The Sherwin-Williams CompanyStern Advertising AgencySwagelok CompanyTriMark S.S. KempTucker EllisUlmer & Berne LLPUniversity HospitalsVer Ploeg & Lumpkin, P.A. (Miami)WCLV Foundation Westlake Reed LeskoskyAnonymous (2)

Annual Supportgifts of $2,500 or more during the past year, as of September 5, 2013

Cumulative GivingJOHN L. SEVERANCE SOCIETY$5 MILLION AND MORE

KeyBank

PNC

$1 MILLION TO $5 MILLION

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

Th e Severance Society recognizes

generous contributors of $1 million

or more in cumulative giving

to Th e Cleveland Orchestra.

Listing as of September 2013.

Corporate Annual Support

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



216.241.6000 | clevelandplayhouse.com

GROUPS OF 10 OR MORE SAVE UP TO 40% BY CALLING 216.400.7027

2013-14SEASONWOODY SEZ: THE LIFE & MUSIC OF WOODY GUTHRIE September 13 – October 6, 2013 Experience the life of America’s greatest

folk singer through riveting stories and

over 25 of his legendary songs.

VENUS IN FUR November 1–24, 2013 Blurring the line between fantasy and

reality, this electrifying and seductive

comedy was lauded by The New York Times as “seriously smart and very funny.”

A CHRISTMAS STORY November 29 – December 22, 2013 An all-new production in honor of the

30th anniversary of the beloved film. The

perfect holiday treat for the entire family.

YENTL January 10 – February 2, 2014 A startlingly modern love story and a magical

comedy that will win your heart.

BREATH AND IMAGINATION February 14 – March 9, 2014 This musical tale of faith, hope, and family

traces African-American tenor Roland Hayes’

remarkable journey from rural Georgia to

Carnegie Hall and Buckingham Palace.

CLYBOURNE PARK March 21 – April 13, 2014 A ferociously smart and pulverizingly funny

satire that reveals the lives in one house through

50 years of societal changes.

INFORMED CONSENT April 23 – May 18, 2014 This world premiere takes us into the personal

and national debate about science vs. belief and

whether our DNA is our destiny.

MAURICE HINES IS

TAPPIN’ THRU LIFE May 30 – June 22, 2014 A celebration of Mr. Hines’ life and showbiz

forerunners, including Frank Sinatra, Duke

Ellington, and Nat King Cole. This feel-good show

will have you tappin’ through the night.

Foundation/Government Annual Support

$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

Cuyahoga Arts & CultureThe George Gund FoundationThe Andrew W. Mellon FoundationThe Kelvin and Eleanor Smith Foundation

$250,000 TO $499,000Kulas FoundationJohn P. Murphy FoundationThe Eric & Jane Nord Family FundOhio Arts Council

$100,000 TO $249,999Sidney E. Frank FoundationGAR FoundationElizabeth Ring Mather and William Gwinn Mather FundDavid and Inez Myers Foundation

$50,000 TO $99,999The George W. Codrington Charitable FoundationMartha Holden Jennings FoundationMyra Tuteur Kahn Memorial Fund of The Cleveland FoundationThe Mandel FoundationNational Endowment for the ArtsDonald and Alice Noble Foundation, Inc. The Nord Family FoundationThe Payne FundThe Sage Cleveland FoundationSurdna Foundation

$20,000 TO $49,999The Helen C. Cole Charitable TrustThe Mary S. and David C. Corbin FoundationThe Gerhard Foundation, Inc.Ann and Gordon Getty FoundationThe Helen Wade Greene Charitable TrustJohn S. and James L. Knight FoundationThe Margaret Clark Morgan FoundationThe Frederick and Julia Nonneman FoundationWilliam J. and Dorothy K. O’Neill FoundationPeacock Foundation, Inc. (Miami)Polsky Fund of Akron Community FoundationThe Reinberger FoundationThe Sisler McFawn Foundation

Annual Supportgifts of $2,000 or more during the past year, as of September 5, 2013

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.

$2,000 TO $19,999The Abington FoundationAyco Charitable Foundation The Ruth and Elmer Babin FoundationThe Batchelor Foundation, Inc. (Miami)The Bernheimer Family Fund of the Cleveland FoundationBicknell FundEva L. and Joseph M. Bruening FoundationMary and Dr. George L. Demetros Charitable TrustFisher-Renkert FoundationThe Harry K. Fox and Emma R. Fox Charitable FoundationThe William O. and Gertrude Lewis Frohring FoundationFunding Arts Network (Miami)The Hankins FoundationThe Muna & Basem Hishmeh FoundationRichard H. Holzer Memorial FoundationThe Jean Thomas Lambert FoundationThe Laub FoundationVictor C. Laughlin, M.D. Memorial Foundation TrustThe G. R. Lincoln Family FoundationMiami-Dade County Department of Cultural Aff airs (Miami)Paintstone FoundationThe Charles E. & Mabel M. Ritchie Memorial FoundationThe Leighton A. Rosenthal Family FoundationSCH FoundationAlbert G. & Olive H. Schlink FoundationHarold C. Schott FoundationKenneth W. Scott FoundationThe Sherwick FundLloyd 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 Foundation

Cuyahoga County residents

through Cuyahoga

Arts & Culture

Kulas Foundation

Maltz Family Foundation

State of Ohio

Ohio Arts Council

The Kelvin and Eleanor

Smith Foundation


The George Gund Foundation

Knight Foundation

(Cleveland, Miami)

The Andrew W. Mellon Foundation

John P. Murphy Foundation


The William Bingham Foundation

The George W. Codrington

Charitable Foundation

GAR Foundation

Ann and Gordon Getty Foundation

The Louise H. and David S.

Ingalls Foundation

Martha Holden Jennings

Foundation

David and Inez Myers Foundation

National Endowment for the Arts

The Eric & Jane Nord Family Fund

The Payne Fund

The Reinberger Foundation

The Sage Cleveland Foundation

Th e Severance Society recognizes

generous contributors of $1 million

or more in cumulative giving

to Th e Cleveland Orchestra.

Listing as of September 2013.


Foundation & Government Support


INDIVIDUAL GIFTS OF $500,000 AND MORE

Daniel R. and Jan R. Lewis (Miami) Peter B. Lewis and Janet Rosel (Miami) Mr. and Mrs. Albert B. Ratner

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

Irma and Norman Braman (Miami) Francie and David Horvitz Family Foundation (Miami) The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Susan Miller (Miami) Ms. Ginger Warner (Cleveland, Miami)


James D. Ireland III Mr. and Mrs. Joseph P. KeithleyDr. and Mrs. Herbert Kloiber (Europe)Mrs. Emma S. LincolnElizabeth F. McBride Mr. and Mrs. Franz Welser-Möst Janet and Richard Yulman (Miami)


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


Sheldon and Florence Anderson (Miami) Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. CutlerMr. Allen H. FordHector D. Fortun (Miami) Mr. and Mrs. Michael J. HorvitzElizabeth B. Juliano (Cleveland, Miami) R. Kirk Landon and Pamela Garrison (Miami) Toby Devan LewisMr. and Mrs. Edward A. Lozick

Individual Support

Th e Cleveland Orchestra and Musical Arts Association gratefully recognize 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

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


Mr. Richard J. Bogomolny

and Ms. Patricia M. Kozerefski

Mr. and Mrs. Alexander M. Cutler

Mrs. Norma Lerner and The Lerner Foundation

Mrs. Alfred M. Rankin, Sr.

Mr. and Mrs. Albert B. Ratner


Irma and Norman Braman (Miami)

Mr. Francis J. Callahan*

Mrs. M. Roger Clapp

Mr. George Gund III*

Francie and David Horvitz (Miami)

Mr. and Mrs. Michael J. Horvitz

Mr. James D. Ireland III

The Walter and Jean Kalberer Foundation

Mr. and Mrs. Joseph P. Keithley

Mr. and Mrs. Dennis W. LaBarre

Susan Miller (Miami)

Sally S. and John C. Morley

The Family of D. Z. Norton

The Honorable and Mrs. John Doyle Ong

Mr. and Mrs. Alfred M. Rankin, Jr.

Charles and Ilana Horowitz Ratner

James and Donna Reid

Barbara S. Robinson

The Ralph and Luci Schey Foundation

Anonymous (3)

Th e Severance Society recognizes generous

contributors of $1 million or more in lifetime

giving to Th e Cleveland Orchestra.

As of September 2013.

Annual Supportgifts during the past year, as of September 5, 2013

Individual Annual Support76 The Cleveland Orchestra

Individual Annual Support

Robert M. Maloney and Laura Goyanes Ms. Beth E. Mooney Mr. Patrick Park (Miami)Charles and Ilana Horowitz Ratner James and Donna ReidBarbara S. Robinson Mr. and Mrs. Lawrence M. Sears Hewitt and Paula Shaw Mr. and Mrs. Richard K. Smucker Mary M. Spencer (Miami) Barbara and David Wolfort Anonymous


Mr. and Mrs. Daniel M. Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s CommitteeMr. and Mrs. Charles P. Bolton The Brown and Kunze FoundationJeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Judith and George W. Diehl Mr. and Mrs. Geoff rey Gund George Gund* Trevor and Jennie Jones Giuliana C. and John D. KochDr. Vilma L. KohnCharlotte R. KramerMs. Nancy W. McCann Sally S. and John C. Morley Mrs. Jane B. NordJulia and Larry Pollock Mrs. Alfred M. Rankin, Sr.Luci and Ralph* Schey

R. Thomas and Meg Harris Stanton


Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. Jeff rey Healy Mrs. Marguerite B. Humphrey Junior Committee of The Cleveland OrchestraDr. David and Janice LeshnerMr. and Mrs. Jon A. LindsethMaltz Family FoundationMargaret Fulton-Mueller Mr. and Mrs. James A. RatnerRichard and Nancy Sneed (Cleveland, Miami) Paul and Suzanne Westlake


Gay Cull Addicott Mr. and Mrs. William W. Baker Randall and Virginia BarbatoJill and Paul Clark Mr. and Mrs. Matthew V. Crawford Do Unto Others Trust (Miami)Esther L. and Alfred M. Eich, Jr. Jeff rey and Susan Feldman (Miami)Dr. Edward S. Godleski Andrew and Judy Green Gary Hanson and Barbara Klante Mr. and Mrs. Jack HoeschlerRichard and Erica Horvitz (Cleveland, Miami)Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Joy P. and Thomas G. Murdough, Jr. (Miami)William J. and Katherine T. O’Neill Mr. and Mrs. James A. SaksMarc and Rennie SaltzbergRaymond T. and Katherine S. SawyerMr. and Mrs. Donald Stelling (Europe)Mr. Joseph F. TetlakTom and Shirley Waltermire Mr. Gary L. Wasserman and Mr. Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Women’s Committee of The Cleveland OrchestraAnonymous gift from Switzerland (Europe)


Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. and Mrs. David J. Carpenter Scott Chaikin and Mary Beth Cooper Martha and Bruce Clinton (Miami)Mr. Peter and Mrs. Julie Cummings (Miami)Mr. and Mrs. Peter O. DahlenGeorge* and Becky DunnColleen and Richard Fain (Miami) Joyce and Ab* GlickmanRichard and Ann Gridley Mrs. John A Hadden Jr.Jack Harley and Judy Ernest

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:




Mary and Jon Heider (Cleveland, Miami)David and Nancy Hooker Tati and Ezra Katz (Miami) Mr.* and Mrs. Arch J. McCartneyMr. Thomas F. McKee Mr. and Mrs. Stanley A. MeiselMiba AG (Europe)Lucia S. NashMr. Gary A. Oatey (Cleveland, Miami) Claudia and Steven Perles (Miami)Steven and Ellen Ross Mr. and Mrs. David A. RuckmanMrs. David Seidenfeld Dr. and Mrs. Neil SethiDavid and Harriet SimonRick, Margarita and Steven Tonkinson (Miami) Mr. and Mrs. Jeff rey M. Weiss Anonymous


Mr. and Mrs. William E. Conway Tim and Linda Koelz Mr. and Mrs. Richard A. ManuelRachel R. Schneider Kim Sherwin Mr. and Mrs. Alfred Umdasch (Europe)

listings continue


INDIVIDUAL GIFTS OF $10,000 TO $12,499 Mr. and Mrs. George N. Aronoff Mr. William BergerJayusia and Alan Bernstein (Miami) Marsha and Brian Bilzin (Miami) Mr. D. McGregor Brandt, Jr.Augustine* and Grace CaliguireMr.* and Mrs. R. Bruce CampbellRichard J. and Joanne ClarkMrs. Barbara CookMr. and Mrs. Robert P. DuvinMike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr.Ms. Dawn M. FullFrancisco A. Garcia and Elizabeth Pearson (Miami)Mr. and Mrs. Richard T. GarrettAlbert I. and Norma C. Geller Mr. and Mrs. Robert W. GillespieMr. David J. GoldenElaine Harris GreenRobert K. Gudbranson and Joon-Li KimSondra and Steve HardisT. K. and Faye A. Heston Joan and Leonard HorvitzPamela and Scott Isquick Mr. and Mrs. Donald M. Jack, Jr.Allan V. Johnson Andrew and Katherine KartalisJanet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Mr. Jeff LitwillerEdith and Ted* MillerMr. Donald W. Morrison Elisabeth and Karlheinz Muhr (Europe)Brian and Cindy MurphyDonald and Alice Noble Foundation, Inc.Mr. and Mrs. William M. Osborne, Jr. Brian and Patricia RatnerAudra and George Rose Dr. Tom D. Rose Dr. and Mrs. Ronald J. Ross Dr. Isobel RutherfordMr. Larry J. Santon Dr. E. Karl and Lisa SchneiderMr. and Mrs. Oliver E. SeikelDr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer FoundationMrs. Gretchen D. SmithJim and Myrna SpiraLois and Tom Stauff er Charles and Rosalyn Stuzin (Miami) Mrs. Blythe SundbergMrs. Jean H. TaberDr. Russell A. TrussoSandy and Ted Wiese Anonymous (3)*

INDIVIDUAL GIFTS OF $7,500 TO $9,999 Mr. and Mrs. Dean Barry Laurel Blossom Mr. and Mrs. Richard L. BowenMr. Robert W. BriggsEllen E. & Victor J. Cohn Supporting Foundation Mrs. Barbara Ann Davis Henry and Mary Doll

listings continued

Gay Cull Addicott

William W. Baker

Ronald H. Bell

Henry C. Doll

Judy Ernest

Nicki Gudbranson

Jack Harley

Iris Harvie

Brinton L. Hyde

Randall N. Huff

David C. Lamb

Raymond T. Sawyer

Barbara Robinson, chair

Robert Gudbranson, vice chair

Ongoing annual support gift s are a critical compo-

nent toward sustaining Th e Cleveland Orchestra’s

eco nomic health. Ticket revenues pro vide only a

small portion of the funding needed to support

the Orchestra’s outstanding perform ances, educa-

tional activities, and community projects.

Th e Crescendo Patron Program recognizes gener-

ous 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, Lead-

ership Giving, by calling 216-231-7522.

Crescendo Annual Campaign Patrons

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Nancy and Richard DotsonMr. Paul Greig Kathleen E. HancockMary Jane Hartwell Iris and Tom Harvie Mrs. Sandra L. HaslingerAmy and Stephen Hoff man Joela Jones and Richard WeissJudith and Morton Q. Levin Mr. and Mrs.* Robert P. Madison Mr. and Mrs. Thomas B. McGowanMr. Raymond M. MurphyPannonius Foundation Douglas and Noreen PowersPaul A. and Anastacia L. Rose Rosskamm Family TrustPatricia J. Sawvel Carol* and Albert SchuppMr. Eric Sellen and Mr. Ron SeidmanNaomi G. and Edwin Z. Singer Family Fund Mr. and Mrs. Donald W. Strang, Jr.Mrs. Marie S. Strawbridge*Bruce and Virginia Taylor Anonymous (2)

INDIVIDUAL GIFTS OF $5,000 TO $7,499 Norman and Helen Allison Susan S. AngellMr. and Mrs. Albert A. AugustusMr. and Mrs. Robert H. Baker Stephen Barrow and Janis Manley (Miami) Fred G. and Mary W. BehmDr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Dr. and Mrs. Eugene H. BlackstonePaul and Marilyn* BrentlingerDr. and Mrs. Jerald S. BrodkeyDr. Ben H. and Julia Brouhard Frank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William & Dottie Clark Mrs. Lester E. Coleman Mr. Owen ColliganMarjorie Dickard ComellaMr. and Mrs. Gerald A. ConwayCorinne L. Dodero Foundation for the Arts and Sciences Mr. and Mrs. Ralph DaugstrupMr. and Mrs. Edward B. DavisPete and Margaret Dobbins Mr. and Mrs. Terry C. Z. EggerDr. and Mrs. Robert ElstonMary and Oliver Emerson Mr. and Mrs. Alex EspenkotterDr. D. Roy and Diane A. FergusonChristopher Findlater (Miami)Joy E. GarapicMr. and Mrs. David GoldbergMr. and Mrs. Henry J. GoodmanMr. and Mrs. Randall J. GordonHarry and Joyce Graham David and Robin GunningClark Harvey and Holly SelvaggiHenry R. Hatch Robin Hitchcock Hatch

Barbara Hawley and David GoodmanJanet D. Heil*Anita and William HellerThomas and Mary HolmesBob and Edith Hudson (Miami)Ms. Charlotte L. HughesMr. James J. Hummer Mr. and Mrs. Brinton L. HydeMr. and Mrs. Christopher Hyland Donna L. and Robert H. JacksonMr. and Mrs. Richard A. JanusRudolf D. and Joan T. KamperMilton and Donna* Katz Dr. and Mrs. William S. KiserMr. and Mrs. S. Lee KohrmanMrs. Justin Krent Mr. Donald N. KrosinMr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr.David C. LambShirley and William Lehman (Miami) Mr. Lawrence B. and Christine H. LeveyMr. and Mrs. Adam LewisMr. Dylan Hale LewisMs. Marley Blue LewisMr. Jon E. Limbacher and Patricia J. LimbacherMr. and Mrs. Alex Machaskee Ms. Jennifer R. MalkinMr. and Mrs. Morton L. MandelAlan Markowitz M.D. and Cathy PollardAlexander and Marianna C.* McAfee Mr. and Mrs. James MeilClaudia Metz and Thomas Woodworth Mr. and Mrs. Abraham C. Miller (Miami)Drs. Terry E. and Sara S. MillerMr. and Mrs. William A. MitchellAnn Jones MorganRichard and Kathleen NordMr. Henry Ott-HansenMr. J. William and Dr. Suzanne PalmerNan and Bob Pfeifer Mr. and Mrs. John S. Piety Dr. and Mrs. John N. Posch William and Gwen PreucilLois S.* and Stanley M. ProctorMr. and Mrs. Thomas A. QuintrellDrs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. RankinMs. Deborah ReadMr. William J. RossMr. and Mrs. Robert C. RuhlMrs. Florence Brewster Rutter Mr. and Mrs. David R. SawyierBob and Ellie Scheuer David M. and Betty Schneider Linda B. SchneiderDr. and Mrs. James L. SechlerLee G. and Jane SeidmanCharles Seitz (Miami)Mrs. Frances G. ShoolroyMarjorie B. Shorrock David Kane Smith George and Mary Stark Howard Stark M.D. and Rene Rodriguez (Miami)Stroud Family TrustMs. Lorraine S. Szabo Mr. and Mrs. Paul A. Teel, Jr. listings continue


listings continued


© 2013 University Hospitals RBC 00717

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Ms. Nancy A. Adams

Dr. and Mrs. D. P. AgamanolisMrs. Joanne M. Bearss

Mr. and Mrs. Jules BelkinSuzanne and Jim BlaserMs. Mary R. Bynum and Mr. J. Philip Calabrese

Dr. and Mrs. William E. Cappaert

Mrs. Millie L. CarlsonDrs. Mark Cohen and Miriam Vishny

Diane Lynn Collier

Ms. Maureen A. Doerner and Mr. Geoff rey T. WhitePeter and Kathryn Eloff Mr. Brian L. Ewart and Mr. William McHenryPeggy and David* FullmerRobert N. and Nicki N. Gudbranson

Mr. Robert D. HartHazel Helgesen and Gary D. HelgesenMr. David and Mrs. Dianne Hunt

Dr. and Mrs. Scott R. InkleyHelen and Erik JensenBarbara and Michael J. KaplanMr. James and Mrs. Gay* Kitson

Dr. Gilles and Mrs. Malvina KlopmanMr. Thomas and Mrs. Deborah Kniesner

Cynthia Knight (Miami)Marion KonstantynovichJudy and Donald Lefton (Miami) Ronald and Barbara Leirvik

Mr. and Mrs. Irvin A. Leonard

Dr. Alan and Mrs. Joni Lichtin

Anne R. and Kenneth E. LoveRobert and LaVerne* LugibihlJoel and Mary Ann MakeeMartin and Lois MarcusWilliam and Eleanor McCoyDr. Susan M. MerzweilerBert and Marjorie MoyarRichard B. and Jane E. Nash

Mr. and Mrs. Peter R. OsenarMr. Robert S. PerryMr. and Mrs. Richard W. Pogue

In memory of Henry PollakDr. Robert W. ReynoldsMrs. Charles RitchieAmy and Ken Rogat

Fred Rzepka and Anne Rzepka Family FoundationMr. Paul H. ScarbroughGinger and Larry ShaneMs. Frances L. SharpMr. Richard Shirey

Howard and Beth SimonDr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz

Dr. Elizabeth Swenson

Mr. Karl and Mrs. Carol TheilMr. and Mrs. Lyman H. TreadwayMiss Kathleen Turner

Mr. and Mrs. Mark Allen Weigand

Robert C. Weppler

Richard Wiedemer, Jr.Nancy V. and Robert L. Wilcox

Mr. and Dr. Ann WilliamsAnonymous



Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams

Nancy L. Adams, PhD Stanley I. and Hope S. AdelsteinMr. and Mrs. Robert J. AmsdellMr. and Mrs. Jeff rey R. AppelbaumDr. Mayda AriasAgnes ArmstrongMs. Delphine BarrettEllen and Howard BenderMr. Roger G. BerkKerrin and Peter Bermont (Miami)Barbara and Sheldon BernsMrs. Marguerite S. BertinJulia and David Bianchi (Cleveland, Miami) Bill* and Zeda BlauMr. Doug BletcherDennis and Madeline BlockMr. and Mrs. Richard H. BoleJohn and Anne BourassaLisa and Ron BoykoMrs. Ezra BryanJ. C. and Helen Rankin ButlerMr. and Mrs. Frank H. CarpenterLeigh CarterMr. and Mrs. James B. ChaneyDr. and Mrs. Ronald Chapnick

Ms. Mary E. ChilcoteMr. and Mrs. Homer D. W. ChisholmMr. and Mrs. Stanley Cohen (Miami)Dr. Dale and Susan Cowan

Mr. and Mrs. Manohar DagaMrs. Frederick F. DannemillerCharles and Fanny Dascal (Miami)Jeff rey and Eileen DavisMrs. Lois Joan DavisDr. and Mrs. Richard C. DistadDr. M. Meredith Dobyns

Mr. George and Mrs. Beth DownesDavid and Margaret EwartHarry and Ann FarmerDr. Aaron Feldman and Mrs. Margo HarwoodCarl and Amy FischerMr. Isaac FisherScott Foerster, Foerster and BohnertJoan Alice FordMrs. Amasa B. FordMr. Randall and Mrs. Patrice FortinMr. and Mrs. John R. FraylickMarvin Ross Friedman and Adrienne bon Haes (Miami)Arthur L. FullmerJeanne GallagherMarilee L. Gallagher

Barbara and Peter GalvinMrs. Georgia T. GarnerMr. Wilbert C. Geiss, Sr.Anne and Walter GinnMr. and Mrs. David A. Goldfi nger

Dr. and Mrs. Ronald L. Gould

Mr. and Mrs. Robert T. GrafThe Thomas J. and Judith Fay Gruber

Charitable Foundation

Nancy and James GrunzweigMr. Davin and Mrs. Jo Ann GustafsonDr. Phillip M. and Mrs. Mary HallNorman C. and Donna L. Harbert

Mr. and Mrs. Donald F. Hastings

Mr. and Mrs. Jerry HerschmanMr. Robert T. HexterDr. and Mrs. Robert L. HinnesDr. Feite F. HofmanDr.* and Mrs. George H. HokePeter A. and Judith HolmesDr. Keith A. and Mrs. Kathleen M. HooverDr. Randal N. Huff and Ms. Paulette Beech

Ms. Carole HughesMs. Luan K. Hutchinson

Ruth F. Ihde

Ms. LaVerne Jacobson


listings continue


listings continued

Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. TromblyRobert and Marti Vagi Don and Mary Louise Van Dyke Mr. Gregory VideticBill Appert and Chris Wallace (Miami)

Mr. and Mrs. Fred A. Watkins Dr. Edward L. and Mrs. Suzanne WestbrookTom and Betsy WheelerFred and Marcia Zakrajsek Anonymous (3)

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

CONCERT SERIES

216.791.5000 | 11021 East Boulevard | Cleveland, OH 44106

Find out first. Visit cim.edu to join our mailing list.




Dr. Michael and Mrs. Deborah JoyceRev. William C. Keene

Angela Kelsey and Michael Zealy (Miami)The Kendis Family Trust: Hilary & Robert Kendis and Susan & James KendisBruce and Eleanor KendrickFred and Judith KlotzmanMr. Ronald and Mrs. Kimberly KolzEllen Brad and Bart KovacDr. Ronald H. Krasney and Ms.* Sherry Latimer

Mr. James KrohngoldMr. and Mrs. S. Ernest KulpMrs. Carolyn LamplMr. and Mrs. John J. LaneKenneth M. Lapine

Anthony T. and Patricia A. Lauria

Mr. Jin-Woo LeeMichael and Lois A. LemrDr. Edith LernerDr. Stephen B. and Mrs. Lillian S. LevineRobert G. LevyMr. Rudolf and Mrs. Eva LinnebachMartha Klein Lottman

Herbert L. and Rhonda MarcusDr. and Mrs. Sanford E. MarovitzDavid and Elizabeth MarshDr. Ernest and Mrs. Marian MarsolaisMr. Julien L. McCallMs. Nancy L. MeachamMr. James E. MengerStephen and Barbara Messner

Bessie Benner Metzenbaum FoundationMs. Betteann MeyersonMr. and Mrs. Roger Michelson (Miami)Curt and Sara MollJoan Katz Napoli and August NapoliMr. David and Mrs. Judith NewellMarshall I. Nurenberg and Joanne KleinRichard and Jolene O’Callaghan

Mr. and Mrs. Robert D. PaddockDeborah and Zachary ParisDr. Lewis and Janice B. Patterson

Mr. Thomas and Mrs. Tommie PattonMrs. Ingrid PetrusDrs. John Petrus and Sharon DiLauroDr. Roland S. Philip and Dr. Linda M. Sandhaus

Dale and Susan PhillipMs. Maribel Piza (Miami)Dr. Marc and Mrs. Carol PohlMr. Richard and Mrs. Jenny Proeschel Kathleen PudelskiMs. Rosella Puskas

Dr. James and Lynne Rambasek

Ms. C. A. ReaganAlfonso Conrado Rey (Miami)David and Gloria Richards

Carol Rolf and Steven AdlerRobert and Margo RothMiss Marjorie A. RottMichael and Roberta RusekDr. Harry S. and Rita K. Rzepka

Dr. and Mrs. Martin I. Saltzman

Ms. Patricia E. SayMr. James Schutte

Ms. Adrian L. ScottDr. John Sedor and Ms. Geralyn PrestiDrs. Daniel and Ximena Sessler

Harry and Ilene ShapiroNorine W. SharpDr. and Mrs. William C. Sheldon

Laura and Alvin A. SiegalRobert and Barbara SlaninaMs. Donna-Rae SmithMr. and Mrs.* Jeff rey H. SmytheMrs. Virginia SnappMs. Barbara SnyderLucy and Dan SondlesMr. John C. Soper and Dr. Judith S. Brenneke

Mr. John D. SpechtMr. and Mrs.* Lawrence E. StewartMr. Taras G. Szmagala, Jr.Ken and Martha TaylorGreg and Suzanne ThaxtonDr. and Mrs. Thomas A. TimkoSteve and Christa TurnbullRobert A. ValenteBrenton Ver Ploeg (Miami)Mr. and Mrs. Joaquin Viñas (Miami)Mr. and Mrs. Les C. Vinney

Dr. Michael Vogelbaum and Mrs. Judith RosmanMs. Laure A. WasserbauerPhilip and Peggy WasserstromMr. and Mrs. Jerome A. WeinbergerDr. Paul R. and Mrs. Catherine WilliamsMichael H. Wolf and Antonia Rivas-WolfMr. Robert Wolff and Dr. Paula SilvermanKay and Rod WoolseyTony and Diane Wynshaw-BorisRad and Patty YatesMr. Kal Zucker and Dr. Mary Frances HaerrAnonymous (7) *

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


listings continued

member of the Leadership Council (see page 77)

* deceased

Th e Cleveland Orchestra is

sustained through the support

of thousands of generous patrons,

including members of the

Crescrendo Patron Program

listed on these pages. Listings

of all annual donors of $300 and

more each year are published in

the Orchestra’s Annual Report,

which can be viewed online at

CLEVELANDORCHESTRA.COM

For information about how

you can play a supporting

role with Th e Cleveland

Orch estra, please contact

our Philanthropy &

Advancement Offi ce

by calling 216-231-7545.


The Cleveland Orchestra’s catalog of recordings

continues to grow. The newest DVD features Bruckner’s

Fourth Symphony recorded live in the Abbey of St. Flo-

rian in Austria under the direction of Music Director Franz

Welser-Möst in 2012 and released in May 2013.

“A great orchestra, a Bruckner expert. . . . Five

out of fi ve stars,” declared Austria’s Kurier

newspaper. Released in 2012, Dvořák’s opera

Rusalka on CD, recorded live at the Salzburg

Festival, elicited the reviewer for London’s

Sunday Times to praise the perform ance as

“the most spellbinding account of Dvořák’s

miraculous score I have ever heard, either in the the-

atre or on record. . . . I doubt this music can be better

played than by the Clevelanders, the most ‘European’

of the American orchestras, with wind and brass solo-

ists to die for and a string sound of superlative

warmth and sensitivity.” Other recordings

released in recent years include two under the

baton of Pierre Boulez and a third album of

Mozart piano concertos with Mitsuko Uchida,

whose fi rst Cleveland Orchestra Mozart album

won a Grammy Award in 2011.

Visit the Cleveland Orchestra Store for

the latest and best Cleveland Orchestra

recordings and DVDs.

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H A I L E D A S O N E O F the world’s most

beautiful concert halls, Severance Hall

has been home to Th e Cleveland Or-

chestra since its opening on February 5,

1931. Aft er that fi rst concert, a Cleve-

land newspaper editorial stated: “We

believe that Mr. Severance intended

to build a temple to music, and not a

temple to wealth; and we believe it is his

intention that all music lovers should be

welcome there.” John Long Severance

(president of the Musical Arts Associa-

tion, 1921-1936) and his wife, Elisabeth,

donated most of the funds necessary to

erect this magnifi cent building. De-

signed by Walker & Weeks, its elegant

Georgian exterior was constructed to

harmonize with the classical architec-

ture of other prominent buildings in

the University Circle area. Th e interior

of the building refl ects a combination

of design styles, including Art Deco,

Egyptian Revival, Classicism, and Mod-

ernism. An extensive renovation, resto-

ration, and expansion of the facility was

completed in January 2000. In addition

to serving as the home of Th e Cleveland

Orchestra for concerts and rehearsals,

the building is rented by a wide variety

of local organizations and private citi-

zens for performances, meetings, and

gala events each year.

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

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Severance Hall The Cleveland Orchestra88

Severance Hall 2013-14Severance Hall 2013-14

Fine Diningmere minutes from Severance Hall.

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In the heart of Little Italy!

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Elegant Extras

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Larchmere Boulevard is Cleveland’s premier arts and

antiques district, featuring over 40 eclectic and independent

shops & services.

www.Larchmere.comLocated one block north of Historic Shaker Square.

89

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

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


Tuesday October 22 at 7:00 p.m.FILM: A CLOCKWORK ORANGEat the Cleveland Institute of Art Cinematheque

As part of The Cleveland Orchestra’s “Fate and Freedom” fes-tival, this screening of the movie A Clockwork Orange (1971), directed by Stanley Kubrick, includes introductory remarks by John Ewing.

Wednesday October 23 at 6:30 p.m.FILM: THE NEW BABYLONat the Cleveland Museum of Art

As part of The Cleveland Orchestra’s “Fate and Freedom” festival, this screening of The New Babylon (1929) features Shostakovich’s fi rst fi lm score. Preceded by a discussion between Frank J. Oteri and John Ewing with James Krukones.

FATE AND FREEDOM:MUSIC OF BEETHOVEN AND SHOSTAKOVICHTHE CLEVELAND ORCHESTRAFranz Welser-Möst, conductor

Thursday October 24 at 7:30 p.m. BEETHOVEN Symphony No. 3 (“Eroica”)

SHOSTAKOVICH Symphony No. 6Friday October 25 at 8:00 p.m. <18s

BEETHOVEN Symphony No. 4SHOSTAKOVICH Symphony No. 8

Saturday October 26 at 8:00 p.m. BEETHOVEN Symphony No. 5

SHOSTAKOVICH Symphony No. 10Sponsor: PNC

Celebrity Concert:Preservation Hall Jazz BandSunday October 27 at 7:00 p.m.PRESERVATION HALL JAZZ BAND

This lauded ensemble derives its name from the venerable music venue located in the heart of the French Quarter of New Orleans. The band brings new life to hot rhythms, cool chords, and sultry Southern sounds. Don’t miss this special concert just in time for Halloween and All Souls’ Day!

Concert Calendar

Beethoven’s Mass in C majorThursday October 31 at 7:30 p.m.Saturday November 2 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorLuba Orgonášová, sopranoKelley O’Connor, mezzo-sopranoHerbert Lippert, tenorRuben Drole, baritoneJoela Jones, pianoCynthia Millar, ondes martenotCleveland Orchestra Chorus

BEETHOVEN Mass in C majorBEETHOVEN Grosse Fuge

MESSIAEN Three Small Liturgies of the Divine Presence Sponsor: Litigation Management, Inc.

Welser-Möst: All-BeethovenFriday November 1 at 8:00 p.m. <18s

THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductor

BEETHOVEN “Leonore” Overture No. 3 BEETHOVEN Grosse Fuge BEETHOVEN Symphony No. 5

Cleveland OrchestraYouth OrchestraSunday November 3 at 3:00 p.m. <18s

CLEVELAND ORCHESTRA YOUTH ORCHESTRABrett Mitchell, conductor

SHOSTAKOVICH Festive OvertureSTRAVINSKY Symphonies of Winds

KILAR Orawa MUSSORGSKY Pictures at an Exhibition (orchestrated by Maurice Ravel)

Barber, Copland, and the Common ManFriday November 29 at 8:00 p.m. <18s

Saturday November 30 at 8:00 p.m.Sunday December 1 at 3:00 p.m. <18s

THE CLEVELAND ORCHESTRAMarin Alsop, conductorDavid Fray, piano

BARBER Essay No. 2 SCHUMANN Piano Concerto COPLAND Symphony No. 3

<18s

Under 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 in the United States. Our "Under 18s Free" program off ers free tickets for young people attending with their families (one per paid adult admission).

90

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

O R C H E S T R A

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

Severance Hall 2013-14Severance Hall 2013-14 Concert Calendar

Beethoven, Uchida and FleisherThursday December 5 at 7:30 p.m.Friday December 6 at 8:00 p.m. <18s

Saturday December 7 at 8:00 p.m.THE CLEVELAND ORCHESTRALeon Fleisher, conductorMitsuko Uchida, piano

MENDELSSOHN Overture: The Hebrides BEETHOVEN Piano Concerto No. 2

BEETHOVEN Piano Concerto No. 3 Sponsor: Hyster-Yale Materials Handling

PNC Musical Rainbowsfor the Holidays

for young people and their familiesSunday December 1 at 12:30 p.m.at The Temple-Tifereth Israel

MUSIC OF CHANUKAH Friday December 13 at 10 a.m.Saturday December 14 at 11 a.m.at Severance Hall

CHRISTMAS BRASS QUINTET

Celebrity Concert:Natalie ColeWednesday December 11 at 8:00 p.m.THE CLEVELAND ORCHESTRAwith Natalie Cole

Nine-time Grammy-winner Natalie Cole joins The Cleve- land Orchestra for a magical and memorable one-night- only performance. For her Severance Hall concert, she performs audience favorites in an evening of sultry and sophisticated classics — plus hits for the holiday season.

Celebrity Concert:Home AloneWednesday December 18 at 7:30 p.m.THE CLEVELAND ORCHESTRADavid Newman, conductor

A true holiday favorite, this heart-warming classic comedy comes to Severance Hall for one night only — with composer John Williams’s delightful musical score performed live by The Cleveland Orchestra. With the fi lm projected on a large screen above the Severance Hall stage.

Cleveland OrchestraCHRISTMASFriday Dec 13 at 7:30 p.m.Saturday Dec 14 at 2:30 & 7:30 p.m.Sunday Dec 15 at 2:30 p.m.Thursday Dec 19 at 7:30 p.m.Friday Dec 20 at 7:30 p.m.Saturday Dec 21 at 2:30 & 7:30 p.m.Sunday Dec 22 at 2:30 & 7:30 p.m.THE CLEVELAND ORCHESTRARobert Porco, conductorCleveland Orchestra Chorus and 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 more.

p.m.

a

he

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

HH

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91

The Cleveland OrchestraThe Cleveland Orchestra

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

AT SEVERANCE HALLCONCERT DINING AND CONCESSION SERVICE Severance Restaurant at Severance Hall is open for pre-concert dining. For reservations, call 216-231-7373, or make your plans on-line by visit-ing clevelandorchestra.com. Concert concession service of beverages and light refreshments is available before most concerts and at intermissions in the Smith Lobby on the street level, in the Bogomolny-Kozerefski Grand Foyer, and in the Dress Circle Lobby.

FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall this season are on October 13, December 1, January 12, February 16, March 30, and May 4. For more information or to make a reserva-tion for these tours, please call the Severance Hall Ticket Offi ce at 216-231-1111. Private tours can be arranged for a fee by calling 216-231-7421.

THE CLEVELAND ORCHESTRA STORE A wide variety of items relating to The Cleve-land Orchestra — including logo apparel, compact disc recordings, and gifts — are available for pur-chase at the Cleveland Orchestra Store before and after concerts and during intermission. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Cleveland Orchestra subscribers receive a 10% discount on most items purchased. Call 216-231-7478 for more information, or visit the Store online at clevelandorchestra.com

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

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

RENTAL OPPORTUNITIES Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and confer-ences, pre- or post-concert dinners and receptions, weddings, and social events. 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 Severance Hall Ticket Offi ce at 216-231-1111. Parking can be purchased for the at-door price of $11 per vehicle when space in the Campus Cen-ter Garage permits. However, the garage often fi lls up well before concert time; only ticket holders who purchase pre-paid parking passes are ensured a parking space. Overfl ow parking is available in CWRU Lot 1 off Euclid Avenue, across from Sever-ance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.

FRIDAY MATINEE PARKING Due to limited parking availability for Friday Matinee performances, patrons are strongly en-couraged to take advantage of convenient off-site parking and round-trip shuttle services available from Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10 per car.

CONCERT PREVIEWS Concert Previews at Severance Hall are present-ed in Reinberger Chamber Hall on the ground fl oor (street level), except when noted, beginning one hour before most Cleveland Orchestra concerts.

Guest Information92

Severance Hall 2013-14Severance Hall 2013-14 Guest Information

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

PHOTOGRAPHY, VIDEO, AND AUDIO RECORDING Audio recording, photography, and videogra-phy are strictly prohibited during performances at Severance Hall. As courtesy to others, please turn off any phone or device that makes noise or emits light.

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

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

SERVICES FOR PERSONS WITH DISABILITIES

Severance Hall provides special seating op-tions for mobility-impaired persons and their com-panions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheel-chairs to assist patrons in going to and from their seats. Patrons can arrange a loan by calling the House Manager at 216-231-7425 TTY line access is available at the public pay phone located in the Security Offi ce. Infrared As-sistive Listening Devices are available from a Head Usher or the House Manager for most performanc-

es. If you need assistance, please contact the House Manager at 216-231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Offi ce when purchasing tickets.

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

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

CHILDREN Regardless of age, each person must have a ticket and be able to sit quietly in a seat through-out the performance. Season subscription concerts are not recommended for children under the age of seven. However, Family Concerts and Musical Rainbow programs are designed for families with young children. Cleveland Orchestra Youth Orchestra performances are recommended for older children.

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

UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Offi ce so that those tickets can be resold. Because of the demand for tickets to Cleve land Orchestra perfor-mances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least 2 hours before the concert, the value of each ticket will be treated as a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each cal-endar year.

93

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


BEETHOVEN,UCHIDA & FLEISHERThursday December 5 at 7:30 p.m.Friday December 6 at 8:00 p.m.Saturday December 7 at 8:00 p.m.THE CLEVELAND ORCHESTRALeon Fleisher, conductorMitsuko Uchida, piano

In the 1960s, Leon Fleisher performed in

what are regarded among the fi nest record-

ings of the Beethoven piano concertos —

with The Cleveland Orchestra under the

baton of George Szell. Now, for these one-

of-a-kind concerts in Cleveland, Fleisher

returns as conductor with a remarkable pia-

nist and Cleveland favorite, Mitsuko Uchida,

for not-to-be-missed performances of two of

Beethoven’s towering concertos.

Sponsor: Hyster-Yale Materials HandlingNew!

Mitsuko Uchida

See also the concert calendar listing on pages 90-91, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Cleveland Orchestra concerts.

TICKETS 216-231-1111 clevelandorchestra.com

AT SEVERANCE HALL . . .

The Cleveland OrchestraUpcoming Concerts

JULIA FISCHERPLAYS BRAHMSThursday January 9 at 7:30 p.m.Friday January 10 at 8:00 p.m.Saturday January 11 at 8:00 p.m.Sunday January 12 at 3:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorJulia Fischer, violin

Franz Welser-Möst begins the new year

with a special weekend of Brahms sympho-

nies, overtures, and the Violin Concerto with

guest soloist Julia Fischer. Two diff erent

programs (Thursday and Friday, Saturday and

Sunday) present Brahms’s Second and Fouth

Symphonies paired with either his Tragic

or Academic Festival Overture. Plus the

beauty of one of the greatest concertos ever

written — expansive, melodious, bright-eyed,

and magnifi cent.

Sponsor: Medical Mutual of OhioN

Julia Fischer

94

If you want to changeYOUR COMMUNITY,

be that change.

Isabel Trautwein, Cleveland Orchestra First Violinist, Program Director, Dreamer & Doer, Local Hero.Longing to share the experience of making music with children who had never been to Severance Hall, Isabel launched a strings program at the Rainey Institute in the Hough neighborhood. Now there’s a waiting list to learn how to play classical music. You, too, can play a part in creating lasting change within the Cleveland community by making a donation to the Cleveland Foundation — dedicated to enhancing the lives of all Clevelanders now and for generations to come.

Support your passions.Give through the Cleveland Foundation.Please call our Advancement Team at 1.877.554.5054

ClevelandFoundation.org

Dreams can come true

... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE

Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.

Visit cacgrants.org/impact to learn more.

Your Investment: Strengthening Community

Cleveland Public Theatre’s STEP Education Program

Photo by Steve Wagner

If you want to changeYOUR COMMUNITY,

be that change.

Isabel Trautwein, Cleveland Orchestra First Violinist, Program Director, Dreamer & Doer, Local Hero.Longing to share the experience of making music with children who had never been to Severance Hall, Isabel launched a strings program at the Rainey Institute in the Hough neighborhood. Now there’s a waiting list to learn how to play classical music. You, too, can play a part in creating lasting change within the Cleveland community by making a donation to the Cleveland Foundation — dedicated to enhancing the lives of all Clevelanders now and for generations to come.

Support your passions.Give through the Cleveland Foundation.Please call our Advancement Team at 1.877.554.5054

ClevelandFoundation.org

the cleveland orchestra october 22-26 concerts

Documents

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cleveland orchestra

music of beethoven

beethoven symphony