the cleveland orchestra october 31, november 1, 2 concerts

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October 31, November 1, 2FRANZ WELSER-MÖST CONDUCTS BEETHOVEN AND MESSIAEN

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

4 The Cleveland OrchestraTable of Contents

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7 In the News

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

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

8 About the Orchestra

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

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

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

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

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

33 Concert — Week 6

Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Program: October 31, November 2 . . . . . . . . 33

Program: November 1 . . . . . . . . . . . . . . . . . . . . . 35

Introducing the Concerts . . . . . . . . . . . . . . . . . . . . 37

BEETHOVEN

Mass in C major . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Sung Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

BEETHOVEN

Grosse Fuge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

MESSIAEN

Three Small Liturgies of Divine Presence . . . 53 Sung Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

BEETHOVEN

“Leonore” Overture No. 3 . . . . . . . . . . . . . . . . . . 67

BEETHOVEN

Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . 15 Vocal Soloists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Instrumental Soloists . . . . . . . . . . . . . . . . . . . . . . . . . 63 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . 65

48 Support

Sound for the Centennial . . . . . . . . . . . . . . . . . . . . 48

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 6COVER 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.

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

The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.

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

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

NATIONAL ENDOWMENTFOR THE ARTS

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Hall from her apartment

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

—Hope Hungerford, Judson Manor resident since 2010

Perspectives from the Executive Director

7Severance Hall 2013-14 7Perspectives

October 2013

This month, we move the heart of the 2013-14 season, the twelfth

of Franz Welser-Möst’s tenure as music director. The artistic excel-

lence for which the Orchestra has long been famous is a core value

that has been enhanced under his leadership. 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.

Gary Hanson

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

PHOTO OF THE WEEK

NOVEMBER 1929 — Just two weeks after the Stock Market Crash, and still wearing a black armband in mourning for the death of his wife, Elisabeth, earlier in the year, John L. Severance breaks ground for the construction of Severance Hall.

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follow the Orchestra on Facebook for more archival photos

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, State Chair, Blossom Women’s Committee

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

Dr. Lester Lefton, President, Kent State University

Barbara R. Snyder, President, Case Western Reserve University

PAST PRESIDENTS D. Z. Norton 1915-21

John L. Severance 1921-36

Dudley S. Blossom 1936-38

Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55

Frank E. Taplin, Jr. 1955-57

Frank E. Joseph 1957-68

Alfred M. Rankin 1968-83

Ward Smith 1983-95

Richard J. Bogomolny 1995-2002, 2008-09

James D. Ireland III 2002-08

HONORARY TRUSTEES FOR LIFE Gay Cull Addicott 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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world-renowned Cleveland Orchestra, is perfect for business

meetings and conferences, pre-concert or post-concert dinners,

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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)

T H E C A M PA I G N F O R U N I V E R S I T Y H O S P I TA L S

Discover the Difference

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The difference is lifesaving.

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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

23Severance Hall 2013-14 23

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

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


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Cleveland Orchestra News

NewsNewsNews

Orchestra News

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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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 ex-

panded its “Under 18s Free” program for the

2013-14 season at Severance Hall — to include

forty-six concerts from September to May, an

increase from just fourteen “Under 18s Free”

concerts in the 2012-13 season. “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 Con-

cert Series, PNC Musical Rainbows, Cleveland

Orchestra Youth Orchestra and Youth Chorus

concerts, as well as The Cleveland Orchestra’s

Friday morning and evening concerts and Sun-

day 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; series pur-

chases for some series are available online.

<18s


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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

27Severance Hall 2013-14 27Cleveland Orchestra News

“When Kalhor performed, it sounded like a conversation among several instruments, with the

Three-time Grammy nominee Kayhan Kalhor is an internationally acclaimed virtuoso on the kamancheh (Persian spiked fiddle) who through his many musical collaborations has been instrumental in popularizing Persian music in the West and is a creative force in today’s music scene.

ClevelandArt.org/performingarts

Tickets on sale now

Come see amazing.

CMA Performing Arts Series

Kayhan KalhorWednesday, November 20, 7:30 p.m.

“When Kalhor performed, it sounded like a conversation among several instruments, with the varying timbres at times evoking the wailing pleas of disconsolate lovers.”—The New York Times

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NewsNewsNews

Orchestra NewsNew album being released by Orchestra musician; featuring trombone hits and transcriptions

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 op-

era Manon Lescaut.

The CD is avail-

able for purchase

through the Cleve-

land Orchestra

Store at Severance

Hall.

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 musical perfor-

mance 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


Orchestra announces “At Home” neighborhood residency in Lakewood for May 2014

The Cleveland Orches-

tra and Lakewood have an-

nounced a new partnership

to present the Orchestra’s

next “At Home” neighborhood residency in

May 2014. The centerpiece of this week of ac-

tivities, education programs, and public per-

formances will be a free Cleveland Orchestra

concert at the Civic Auditorium 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.

at home

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.

ur-

has

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29Severance Hall 2013-14 29Cleveland Orchestra News

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

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NewsNewsNews

Orchestra News

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.

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

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


Lunch • Dinner • Happy HoursSushi Bar • Patio 45

Private Parties Chef’s Table Gift Certificates

CALL FOR RESERVATIONS 216.707.4045

OR VISIT TBL45.COM9801 CARNEGIE AVENUE, CLEVELAND, OHIO 44106

Breakfast • Lunch • Dinner Cocktails • Desserts

Happy Hours • Private Parties Holidays • Celebrations

Gift Certificates

CALL FOR RESERVATIONS

216.707.4054OR VISIT C2RESTAURANT.COM8800 EUCLID AVENUE, CLEVELAND, OHIO 44106

Where people with disabilities thrive216.662.1880 ncch.org

440-473-1900 east 440-237-7111 west www.geromes.comVISIT OUR SHOWROOM 5656 Mayfield Road

The Cleveland Orchestra

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!

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


Concert Previews Cleveland Orchestra Concert Previews are

presented before every regular subscription con-

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

performance. Previews are designed to enrich the

concert-going experience for audience members

of all levels of musical knowledge through a vari-

ety of interviews and through talks by local and

national experts.

Concert Previews are made possible

by a generous endowment gift from

Dorothy Humel Hovorka.

October 31, November 2“Two Visions of the Divine” with Michael Strasser,

professor of musicology, Baldwin Wallace

University Conservatory of Music

November 1“Beethoven: Evolution of Genius” with Michael Strasser,

November 29, December 1“A Symphony Masquerading as a Concerto” with Pierre van der Westhuizen,

executive director of the

Cleveland International Piano Competition

December 5, 6, 7“Beethoven and the Piano Concerto” with David J. Rothenberg,

associate professor of musicology,

Case Western Reserve University

January 9, 10, 11, 12“Brahms: Tragic or Academic?” with David J. Rothenberg

LEARNING MORE ABOUT THE MUSIC

The Cleveland Orchestra off ers a vari-

ety of options for learning more about

the music before each concert begins.

For each concert, the program book

includes program notes commenting

on and providing background about

the composer and his or her work

being performed that week, along

with biographies of the guest artists

and other information. You can read

these before the concert, at intermis-

sion, or afterward. (Program notes

are also posted ahead of time online

at clevelandorchestra.com, usually by

the Monday directly preceding the

concert.)

The Orchestra’s Music Study

Groups also provide a way of explor-

ing the music in more depth. These

classes, professionally led by Dr. Rose

Breckenridge, meet weekly in locations

around Cleveland to explore the music

being played each week and the sto-

ries behind the composers’ lives.

Free Concert Previews are pre-

sented one hour before most subscrip-

tion concerts throughout the season

at Severance Hall. The previews (see

listing at right) feature a variety of

speakers and guest artists speaking

or conversing about that weekend’s

program, and often include the op-

portunity for audience members to ask

questions.

Concert Previews


There’s great beauty in

orchestrating the complex

in pursuit of harmony.

LMI is pleased to sponsor THE CLEVELAND ORCHESTRA

and FRANZ WELSER-MÖST.

TRANSFORMING INFORMATION, DELIVERING INSIGHT© www.lmiweb.com

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TRANSFORMING INFORMATION, DELIVERING INSIGHT© www.lmiweb.com


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

Concert Program — Week 6

Severance HallThursday evening, October 31, 2013, at 7:30 p.m.Saturday evening, November 2, 2013, at 8:00 p.m.

Franz Welser-Möst, conductor

LUDWIG VAN BEETHOVEN Mass in C major, Opus 86(1770-1827) 1. Kyrie: Andante con moto assai vivace 2. Gloria: Allegro con brio 3. Credo: Allegro con brio 4. Sanctus: Allegro 5. Agnus Dei: Poco Andante

LUBA ORGONÁŠOVÁ, soprano KELLEY O’CONNOR, mezzo-soprano HERBERT LIPPERT, tenor RUBEN DROLE, baritone CLEVELAND ORCHESTRA CHORUS Robert Porco, director

INTERMISSION BEETHOVEN Grosse Fuge in B-fl at major, Opus 133

OLIVIER MESSIAEN Three Small Liturgies (1908-1992) of the Divine Presence 1. Anthem for the Interior Conversation 2. Sequence of the Word, A Divine Canticle 3. Psalm of Ubiquity Through Love

JOELA JONES, piano CYNTHIA MILLAR, ondes martenot Women of the CLEVELAND ORCHESTRA CHORUS

Thursday’s concert is sponsored by Litigation Management, Inc.

Joela Jones’s solo appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s

Guest Artist Fund from Dr. and Mrs. Sam I. Sato.

With this weekend’s concerts, The Cleveland Orchestra gratefully

honors The Helen Wade Greene Charitable Trust for its generous support.

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

Act one begins

... 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

Beck Center for the Arts

35Severance Hall 2013-14

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

Concert Program — Week 6a

Severance HallFriday evening, November 1, 2013, at 8:00 p.m.

Franz Welser-Möst, conductor

LUDWIG VAN BEETHOVEN “Leonore” Overture No. 3, Opus 72b(1770-1827)

BEETHOVEN Grosse Fuge in B-fl at major, Opus 133 (for string orchestra)

INTERMISSION BEETHOVEN Symphony No. 5 in C minor, Opus 67 1. Allegro con brio 2. Andante con moto 3. Scherzo: Allegro — Trio — 4. Finale: Allegro

The concert will end at approximately 9:35 p.m.

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


T H U R S DAY A N D S AT U R DAY — Franz Welser-Möst leads a program

featuring two composers’ very diff erent takes on religious devotion

and meaning. Beethoven, who was not a regular churchgoer, believed

strongly in human knowledge and reason, balanced against a benign

divinity of grace and wisdom. His mass, written on commission, shines

with the godliness of music as an artform, transcending words and be-

lief. In contrast, Olivier Messiaen’s fervent and devout Catholicism was

one of the pillars of his life and of his musical compositions. In Th ree

Small Liturgies, his beliefs are not just in the musical sounds, but in the

poetic and mystical texts that he wrote.

F R I DAY — Friday’s concert off ers a full evening of Beethoven, with two

well-known Middle Period works — the energetic “Leonore” Over-

ture No. 3 and the ravishingly thrilling dark-to-light Fift h Symphony

— sharing the evening with a much later, but equally sensational piece.

Played here by full string orchestra, the Grosse Fuge was created in 1825

as the fi nal movement of Beethoven’s last string quartet. Early audiences

found it puzzlingly dense, while performers were put off by its challeng-

ing writing. Modern musicians (and audiences) have come to admire its

contours and fugue, and its ability to showcase the expert artistry it re-

quires. “All-Beethoven” is not too much of one thing — it is a fully

diverse off ering of monumental portions. —Eric Sellen

Introducing the Concerts

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

Human&Divine

LIVE RADIO BROADCAST Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, December 1, at 4:00 p.m.

Program Notes begin on page:

BEETHOVEN - Mass in C major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

BEETHOVEN - Grosse Fuge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

MESSIAEN - Th ree Small Liturgies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

BEETHOVEN - “Leonore” Overture No. 3 . . . . . . . . . . . . . . . . . . . . . . . 67

BEETHOVEN - Symphony No. 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69


T H E N A M E E S T E R H Á Z Y is well known to the world of mu-

sic from the family’s association with Haydn, who served four

Princes of that name and devoted over forty years of his life to

that employment. Th e last of the series was Prince Nikolaus,

who succeeded to the title in 1794 at the age of 28. Like his

grandfather Prince Nikolaus “the Magnifi cent,” the new Prince

was devoted to music, but unlike his grandfather his passion

was for sacred choral music rather than for the symphonies and

operas that Haydn had turned out in profusion. For the name-

day of his wife, Princess Maria, which fell on September 8, he

regularly commissioned Haydn to compose a Mass. Th ere are

thus six great Haydn Masses from the years 1796 to 1802, all

written for this celebration.

Haydn retired from the Prince’s service in 1804 at the age

of 72. He was quite the most celebrated musician in Vienna,

held in universal respect. Beethoven, whose relationship with

Haydn was never as close as one would expect, considering their

proximity in the same city, was already an extremely promi-

nent fi gure with a reputation for stepping audaciously outside

the norms of musical and social convention. It was just at this

period that he was composing the great heroic works that we

treasure today as the foundation stones of almost all 19th-cen-

tury symphonic music.

In 1807, Prince Nikolaus turned to Beethoven with the

commission for a September Mass. Beethoven had not com-

posed a Mass before. In fact, he had written relatively little

church or choral music of any kind, but he hated to turn down

paid work. He devoted the summer months, when he liked to

leave the city for the outlying villages, to this work, but was

distracted by a complicated but profi table deal with a London

publisher, and by squabbles with his brother that never seemed

to get resolved. Th e only solid information we have about the

composition of the Mass is found in a letter to the Prince on

July 26 in which Beethoven off ered these excuses for the late

delivery of his work, enclosing a doctor’s note to certify that he

had been ill. Th e composer concluded: “May I add that I shall

hand you the Mass with considerable apprehension, since you,

most excellent Prince, are accustomed to having the inimitable

masterpieces of the great Haydn performed for you.”

Mass in C major, Opus 86composed 1807

by Ludwig vanBEETHOVENborn December 16, 1770Bonn

diedMarch 26, 1827Vienna

THURSDAY AND SATURDAY

About the Music

39Severance Hall 2013-14 About the Music

In that year, September 8 fell on a Tuesday, so the Mass was

performed at the Esterházy hereditary castle at Eisenstadt, 25

miles from Vienna, on Sunday, September 13, instead. Beethoven

conducted. It was not the happiest occasion. Beethoven was

housed not in the castle itself but in an outlying building, and

the Prince made an unfortunate remark that implied that the

work was not original, suffi cient for the oft en temperamental

composer to feel humiliated and hurt. When the Mass was

published, the Prince did not receive the dedication, which

would have been normal if all had gone well.

Beethoven was certainly treading carefully in Haydn’s

footsteps when he composed this Mass. Th e array of soloists

and the division of the text into fi ve main movements follows

that precedent. But he was also — inevitably — reaching out

into bold forms of expression that leap out of almost every

movement. Th e Mass — again inevitably — hardly matches

the immensity of Beethoven’s Missa solemnis, composed more

than a decade and a half later, for which no precedent applied.

Following tradition, a number of passages in the Mass

in C major are set as choral fugues, always with considerable

vigor, while the more refl ective sections allowed Beethoven to

explore that gift for intense expression which he had already

displayed in his symphonies and quartets, not to mention the

opera Fidelio.

Th e range of expression is wide, with Beethoven more

than once giving way to high spirits, as when releasing a speedy

opening to the Gloria, or concluding the Credo with a brilliant

Amen. Exceptional in its beauty is the Benedictus section of the

Sanctus movement, and the closing Agnus Dei has a dramatic

solemnity that recalls musical moments written by Gluck or

Mozart. Prince Nikolaus lived until 1833, but he never again

commissioned so fi ne a Mass as this.

—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.

Beethoven wrote his Mass

in C major in 1807 at the

request of Prince Nikolaus

Esterházy, for the name day

of the prince’s wife, Maria.

The fi rst performance took

place on September 13 at

the prince’s country estate of

Eisenstadt, with Beethoven

conducting the court

orchestra.

This mass runs about

45 minutes in performance.

Beethoven scored it for an

orchestra of 2 fl utes, 2 oboes,

2 clarinets, 2 bassoons, 2

horns, 2 trumpets, timpani,

organ, and strings, plus four

vocal soloists and four-part

chorus.


has presented Beethoven’s

complete Mass in C major

on only one previous set of

concerts, in April 1982 at

Severance Hall conducted by

Colin Davis. In 1997, Leonard

Slatkin led a performance of

the fi rst two movements as

part of that summer’s Blos-

som Music Festival.

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I. Kyrie

Kyrie eleison.

Christe eleison.

Kyrie eleison.

II. Gloria

Gloria in excelsis Deo.

Et in terra pax hominibus bonae voluntatis.

Laudamus te. Benedicimus te.

Adoramus te. Glorifi camus te.

Gratias agimus tibi

propter magnam gloriam tuam.

Domine Deus, rex coelestis,

Deus pater omnipotens.

Domine Fili unigenite, Jesu Christe.

Domine Deus, Agnus Dei,

Filius Patris.

Qui tollis peccata mundi,

miserere nobis.

Qui tollis peccata mundi,

suscipe deprecationem nostram.

Qui sedes ad dexteram Patris,

miserere nobis.

Quoniam tu solus sanctus.

Tu solus Dominus.

Tu solus altissimus, Jesu Christe

Cum sancto spiritu

in gloria Dei Patris. Amen.

III. Credo

Credo in unum Deum.

Patrem omnipotentem,

factorem coeli et terrae,

visibilium omnium, et invisibilium.

In unum Dominum, Jesum Christum

Filium Dei unigenitum,

ex Patre natum ante omnia saecula.

Kyrie

Lord, have mercy upon us.

Christ, have mercy upon us.

Lord, have mercy upon us.

Gloria

Glory be to God on high.

And on earth, peace to men of good will.

We praise You. We bless You.

We adore You. We glorify You.

We give thanks to You

for Your great glory.

Lord God, Heavenly King,

God the Father Almighty.

Lord the only-begotten son, Jesus Christ.

Lord God, Lamb of God,

Son of the Father.

You who takes away the sins of the world,

have mercy upon us.

You who takes away the sins of the world,

receive our prayer.

You who sit at the right hand of the Father

have mercy upon us.

For you alone are holy.

You alone are the Lord.

You alone are the most high, Jesus Christ.

With the Holy Ghost

in the glory of God the Father. Amen.

Credo

I believe in one God,

Father Almighty

maker of heaven and earth,

and of all things visible, and invisible.

In one Lord, Jesus Christ,

the only-begotten Son of God,

born of the Father before all ages.

Mass in C major, Opus 86music by Ludwig van Beethoven

Sung Texts: Beethoven Mass in C major

TEXTS CONTINUE — PLEASE TURN PAGE QUIETLY


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43Severance Hall 2013-14 Sung Texts: Beethoven Mass in C major

TEXTS CONTINUE — PLEASE TURN PAGE QUIETLY

Deum de Deo, lumen de lumine,

Deum verum de Deo vero.

Genitum, non factum,

consubstantialem Patri;

per quem omnia facta sunt.

Qui propter nos homines,

et nostram salutem,

descendit de coelis.

Et incarnatus est

de Spiritu Sancto

ex Maria Virgine;

et homo factus est.

Crucifi xus etiam pro nobis:

sub Pontio Pilato,

passus, et sepultus est.

Et resurrexit tertia die,

secundum scripturas;

et ascendit in coelum;

sedet ad dexteram Patris.

Et iterum venturus est cum gloria,

judicare vivos et mortuos,

cujus regni non erit fi nis.

Et in Spiritum Sanctum,

Dominum, et vivifi cantem:

qui ex Patre

et Filio procedit,

qui cum Patre et Filio

simul adoratur et conglorifi catur;

qui locutus est per Prophetas,

Et unam sanctam catholicam

et apostolicam ecclesiam.

Confi teor unum baptisma

in remissionem peccatorum.

Et expecto resurrectionem mortuorum,

Et vitam venturi saeculi.

Amen.

God of God, light of light

True God of true God.

Begotten, not made,

of one substance with the Father;

by whom all things were made.

Who for us all,

and for our salvation,

came down from heaven.

And became incarnate

by the Holy Ghost

of the Virgin Mary;

and was made man.

And was crucifi ed also for us:

under Pontius Pilate,

suff ered and was buried.

And the third day he rose again,

according to the Scriptures,

and ascended into heaven;

and sits at the right hand of the Father.

And he shall come again in glory,

to judge the living and the dead,

whose kingdom shall have no end.

And in the Holy Ghost,

the Lord and life-giver;

who proceeds from the Father

and the Son,

who with the Father and the Son

together is adored and glorifi ed;

who spoke through the prophets,

And in one holy catholic church

and apostolic Church.

I acknowledge one baptism

for the remission of sins.

And I expect the resurrection of the dead.

And the life of the world to come.

Amen.


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IV. Sanctus

Sanctus, sanctus, sanctus,

Dominus Deus Saboath.

Pleni sunt coeli et terra gloria tua

Osanna in excelsis.

Benedictus

Benedictus qui venit

in nomine Domini.

Osanna

Osanna in excelsis

V. Agnus Dei

Agnus Dei,

qui tollis peccata mundi,

miserere nobis.

Agnus Dei,


miserere nobis.

Agnus Dei,


dona nobis pacem.

Sanctus

Holy, holy, holy,

Lord God of hosts.

Heaven and earth are full of Your glory.

Hosanna in the highest.

Benedictus

Blessed is He who comes

in the name of the Lord.

Hosanna

Hosanna in the highest.

Agnus Dei

Lamb of God,

who takes away the sins of the world,

have mercy upon us.

Lamb of God,


have mercy upon us.

Lamb of God,


give us peace.

F I N I

In appreciation of their support, The Cleveland Orchestra extends a special welcome to Park-Ohio Holdings Corporation, whose guests are enjoying a special evening at Severance Hall this weekend.


Sung Texts: Beethoven Mass in C major

RAVEL: INTIMATE MASTERPIECESYolanda Kondonassis, harp

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among today’s most sought-aft er lyric sopranos. She made her

Cleveland Orchestra debut this past summer at Blossom. She

studied piano and singing in her hometown before beginning

her career in Germany in 1983. Ms. Orgonášová joined the

Vienna Volksoper in 1988 and, since that time, has performed

with major opera houses and orchestras in Europe and the

United States, including engagements with Lyric Opera of

Chicago, London’s Royal Opera House, Barcelona Liceu, Vi-

enna State Opera, and Zurich Opera, as well as with the Berlin

Philharmonic, London Philharmonic, Chamber Orchestra

of Europe, English Baroque Soloists, Orchestra of the Age of

Enlightenment, Orchestre de la Suisse Romande, Amsterdam’s Royal Concertge-

bouw Orchestra, Vienna Philharmonic, and Zurich’s Tonhalle Orchestra. She has

also sung recitals throughout Europe in many of the continent’s leading venues.

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orchestral works by Beethoven, Britten, Handel, Rossini, Schubert, and Zemlinsky.

She has recorded for Archiv, Naxos Records, and Teldec.

Kelley O’ConnorAmerican mezzo-soprano Kelley O’Connor has emerged

among the most compelling performers of her generation.

She has sung with major orchestras across America and Eu-

rope, including engagements in Atlanta, Berlin, Chicago,

London, Los Angeles, New York, St. Louis, San Francisco,

Seattle, Toronto, and Zurich. She has also appeared with the

Canadian Opera Company, Lyric Opera of Chicago, Opera

Boston, Santa Fe Opera, and the Teatro Real Madrid. Ms.

O’Connor gained international acclaim for her portrayal of

Federico García Lorca in Golijov’s Ainadamar, in the opera’s

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Peter Lieberson, and Steven Stucky. Her discography on Deutsche Grammophon

includes the Grammy Award-winning Ainadamar, Beethoven’s Symphony No. 9

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Songs with the Atlanta Symphony Orchestra. Ms. O’Connor earned a bachelor

of music degree from the University of Southern California and a master’s degree

from UCLA, while studying with Nina Hinson. Since her Cleveland Orchestra

debut in 2005, she has performed with the Orchestra at home in Cleveland as well

as in Europe and Miami.

Soloists


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47Severance Hall 2013-14 Soloists

Herbert LippertAustrian tenor Herbert Lippert is making his Cleveland Or-

chestra debut with this weekend’s performances. As a boy,

he was a member of the Vienna Boys Choir. Early recogni-

tion of his vocal abilities came from Georg Solti and Wolf-

gang Sawallisch, with whom he worked on a number of

performances and recordings. He portrayed David in Solti’s

1997 Grammy Award-winning recording of Wagner’s Die

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Lippert has appeared in operas, concerts with the Vienna

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repertoire, recitals with Sawallisch and Maurizio Pollini,

and, more recently, with pianist Eduard Kutrowatz. Highlights of Mr. Lippert’s

current season include performances with Nikolaus Harnoncourt and Fabio Luisi,

as well as with Franz Welser-Möst at the Musikverein, London Proms, and Carne-

gie Hall. He is singing in works ranging from Beethoven’s Fidelio to Wagner’s Th e

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State Opera ensemble since 2010.

Ruben DroleSwiss baritone Ruben Drole was born to Spanish-Slovenian

parents. He studied voice at the Musikhochschule Zürich

with Jane Th orner Mengedoht, and is a prizewinner of the

Carl-Heinrich-Ernst, Friedl Wald, and the Pro Europa foun-

dation competitions. Aft er a season with the International

Opera Studio Zurich, he has been engaged by Zurich Opera

since 2005. In the Zurich cycle of Mozart/Da Ponte operas,

he sang in Così fan tutte and Th e Marriage of Figaro; in the

Severance Hall cycle of these Zurich productions, he also ap-

peared in Don Giovanni. He has also appeared as soloist in

concert with Th e Cleveland Orchestra at Severance Hall and

at Vienna’s Musikverein. His other engagements have in-

cluded performances with Amsterdam’s Royal Concertgebouw Orchestra and the

Zurich Chamber Orchestra, a tour of Japan with Nikolaus Harnoncourt and the

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festivals. His 2013-14 season includes performances at the Angers Nantes Opera

and Th eater an der Wien, and a recital in Ljubljana. Mr. Drole’s artistry can be

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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


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GIFTS OF $5 MILLION AND MORE

The Cleveland FoundationMr. and Mrs. Alexander M. Cutler

Maltz Family FoundationAnonymous

GIFTS OF $1 MILLION TO $5 MILLION

GIFTS OF $500,000 TO $1 MILLION

In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have embarked on the most ambitious fundraising campaign in its history. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash gifts and legacy commitments, while also securing broad-based and increas-ing annual support from across Northeast Ohio.

The generous individuals and organizations listed on these pages have made long-term commitments of annual and endowment support, and legacy declarations to the Campaign as of October 20, 2013. We gratefully recognize their extraordinary commitment toward the Orches-tra’s future success. Your participation can make a crucial diff erence in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact Jon Limbacher, Chief Development Offi cer, at 216-231-7520.

Sound for the Centennial Campaign


Mr. and Mrs. George N. AronoffBen and Ingrid BowmanDr. Christopher P. Brandt and Dr. Beth SersigGeorge* and Becky Dunn Mr. Allen H. FordDr. and Mrs. Hiroyuki FujitaAlbert I. and Norma C. GellerDr. Saul GenuthHahn Loeser + Parks LLPIris and Tom HarvieJeff and Julia HealyMr. Daniel R. High Mr. and Mrs. S. Lee KohrmanKenneth M. Lapine and Rose E. MillsMrs. Emma S. LincolnDr. and Mrs. Sanford E. MarovitzThe Nord Family Foundation

Mr. Gary A. OateyPolsky Fund of Akron Community FoundationHelen Rankin Butler and Clara Rankin WilliamsRPM International Inc.Mrs. David SeidenfeldNaomi G. and Edwin Z. SingerMs. Lorraine S. SzaboVirginia and Bruce TaylorMs. Ginger WarnerThe Denise G. and Norman E. Wells, Jr. Family FoundationMr. Max W. WendelPaul and Suzanne WestlakeMarilyn J. WhiteKatie and Donald WoodcockWilliam Wendling and Lynne Woodman

GIFTS OF $100,000 TO $250,000

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E V E N BY B E E T H OV E N ’ S S TA N DA R D S , the Grosse Fuge is

an extraordinary work. On its own, it has a puzzling intensity,

and in its original context as the fi nale of a long, complicated,

profound string quartet, it is even more mystifying.

Th at quartet, the Quartet in B-fl at major, Opus 130, is a

six-movement work that embodies all the richness and complex-

ity of Beethoven’s late years. Its fi ft h movement is the famous

Cavatina, a piece that leaves very few of us anywhere but in a

remote heaven of emotion. To follow it, Beethoven originally

conceived of an enormous fugue, far surpassing any fugue he

had ever written in its many-layered design — and in the tough

demands he makes on players and listeners alike.

Th e quartet was written rapidly between July and No-

vember 1825, at a time when Beethoven’s obsessively paternal

regard for his nephew Karl was leading inexorably to the point

of crisis. It was performed a few months later, when the public

and Beethoven’s publisher found the fi nale incomprehensible.

Th e composer was persuaded to detach it from the rest of the

work, publish it separately and put another, less ambitious fi -

nale in its place. He may have agreed to do so, not so much

because the quartet was disfi gured or overburdened by it, but

because it contains so many facets and contrasts that it makes

a remarkably whole and complete work on its own.

Th e fugue theme is drawn from the four notes that fea-

tured prominently in the previous Quartet in A minor, Opus

132. Th e chromatic contour becomes insistently familiar as the

fugue proceeds.

Several clearly separate sections can be identifi ed when

listening. Th e opening, headed Overtura, is a forceful unison

statement of the theme, followed by brief foretastes of sections

to come — like a table of contents in a book, or a movie pre-

view. Th e fi rst main section is furiously loud and emphatic for

an almost unendurable length, or so it seems. Th ere is no relief

until a complete change of key and character appears (marked

Meno mosso e moderato) like a central slow movement. Th is

moves directly into a brisk Allegro molto, much more tuneful

and exultant, although it passes through innumerable complex

corridors, with much trilling and erupting, before fi nally exor-

cising all memories, and closing with youthful gaiety — like a

Grosse Fuge in B-fl at major, Opus 133composed 1825



THURSDAY, FRIDAY, AND SATURDAY


return to the distant world of Beethoven’s earliest music. It was Hans von Bülow, a formidable pianist and cham-pion of Beethoven’s music, who fi rst arranged the Grosse Fuge for string orchestra, when he was serving as music director to the Duke of Meiningen from 1880 to 1885, introducing the weight of the double bass section to the original four instru-mental parts. He instilled such discipline in his orchestra that he had the entire string section playing the work from memory, standing up! Th ey performed it this way in Berlin soon aft er and caused a sensation. Many conductors have programmed the work in this form, including Furtwängler, Klemperer, and Toscanini — but allowing the players to use the music, and to sit down.


About the Music

Beethoven composed the Grosse Fuge as the last movement of his String Quartet in B-fl at major (Opus 130) in the late summer and early autumn of 1825. It was fi rst performed — with the preceding fi ve movements of that quartet — on March 21, 1826, by the Schuppansigh Quartet of Vienna. The publisher Artaria, however, requested a new fi nale for Opus 130, one that would be easier to perform. Beethoven wrote a new fi nale in November 1826; it was the last completed music that he wrote and was not performed until after his death in 1827. The Great Fugue was published separately in May 1827 and bears a dedication to the

Archduke Rudolph, Beethoven’s patron, pupil, and friend. This work runs nearly 20 minutes in performance. Beethoven’s original scoring for string quartet is enlarged and augmented in this weekend’s performances for string orchestra, including doubling of sections of the bass line by double basses. The Cleveland Orchestra fi rst pre-sented the Grosse Fuge in November 1964, conducted by Lukas Foss. The most recent performances were during the 2000-01 season at Severance Hall and on tour in Europe and the United States, conducted by Christoph von Dohnányi.

At a Glance

A drawing of Beethovenout walking, circa 1815,by Johann Theodor Lyser.


return to the distant world of Beethoven’s earliest music. It was Hans von Bülow, a formidable pianist and cham-pion of Beethoven’s music, who fi rst arranged the Grosse Fuge for string orchestra, when he was serving as music director to the Duke of Meiningen from 1880 to 1885, introducing the weight of the double bass section to the original four instru-mental parts. He instilled such discipline in his orchestra that he had the entire string section playing the work from memory, standing up! Th ey performed it this way in Berlin soon aft er and caused a sensation. Many conductors have programmed the work in this form, including Furtwängler, Klemperer, and Toscanini — but allowing the players to use the music, and to sit down.


About the Music

Beethoven composed the Grosse Fuge as the last movement of his String Quartet in B-fl at major (Opus 130) in the late summer and early autumn of 1825. It was fi rst performed — with the preceding fi ve movements of that quartet — on March 21, 1826, by the Schuppansigh Quartet of Vienna. The publisher Artaria, however, requested a new fi nale for Opus 130, one that would be easier to perform. Beethoven wrote a new fi nale in November 1826; it was the last completed music that he wrote and was not performed until after his death in 1827. The Great Fugue was published separately in May 1827 and bears a dedication to the

Archduke Rudolph, Beethoven’s patron, pupil, and friend. This work runs nearly 20 minutes in performance. Beethoven’s original scoring for string quartet is enlarged and augmented in this weekend’s performances for string orchestra, including doubling of sections of the bass line by double basses. The Cleveland Orchestra fi rst pre-sented the Grosse Fuge in November 1964, conducted by Lukas Foss. The most recent performances were during the 2000-01 season at Severance Hall and on tour in Europe and the United States, conducted by Christoph von Dohnányi.

At a Glance

A drawing of Beethovenout walking, circa 1815,by Johann Theodor Lyser.



Trois Petites Liturgies de la Présence Divine[Three Small Liturgies of the Divine Presence] composed 1943-44

A C R O S S M E S S I A E N ’ S VA S T O U T P U T of music, a number

of features and obsessions are regularly to be found. Th e pri-

macy of his religious faith is perhaps the most obvious, but his

music has extraordinary appeal even for those who have no

interest in religion or at least no taste for the elevated mystical

realms that he chose to return to again and again.

Th e Trois Petites Liturgies de la Présence Divine [Th ree

Small Liturgies of the Divine Presence], thrusts his faith fi rmly

forward in three poems that are, as the composer himself admit-

ted, surreal rather than orthodox in their imagery and language

— and tinged with echoes of the Bible and the writings of St.

Th omas Aquinas, which Messiaen had absorbed since child-

hood. Th eir purpose was not as part of church ritual, which a

liturgy implies, but to “transport a sort of offi ce, a sort of orga-

nized praise into the concert hall,” in the composer’s words.

Praise is the unmistakable tone of the women’s chorus en-

trusted with these three modern psalms. Unusually, the singers

(there are two versions of the score, calling for either 36 voices

or 18 voices) are required to sing in unison almost throughout,

resolving into pure triadic harmony only at the end of main

sections of the movements. For much of the third Liturgy, they

are called upon to speak their lines at least at a level that will

enable them to be heard over the orchestra, which, while actu-

ally not large, is capable of brilliance and density thanks to its

unusual make-up.

In this instrumental ensemble, there are strings, but no

wind instruments. Th e most prominent sounds come from the

solo piano and three ethereal-sounding instruments — celesta,

vibraphone, and ondes martenot. Th is last instrument was

invented in the 1920s by a French engineer whose electronic

method for managing pitch and sonority produced an instru-

ment that can sound like a celestial soprano (angelic voices

perhaps) with an enormous range. In addition, there are two

unpitched percussion: a pair of maracas (far from their Latin

American origins) and a tam-tam (gong).

Messiaen’s other signature concerns — birdsong, vivid

colors, and asymmetric rhythms — all have their place in this

work, but none with the emphasis that he places on the intensity

by OlivierMESSIAENborn December 10, 1908Avignon, France

diedApril 28, 1992Paris

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Strange Sounds: Ondes Martenot On April 20, 1928, the French musician and inventor Maurice Martenot unveiled his new

electronic instrument at the Paris Opera. The ondes martenot (“ondes” is the French word

for “waves”), as it came to be known, was quickly recognized as an important advance

over other electronic instruments of the time, particularly the theremin (popular in the

scores for horror fi lms), which essentially played only a single kind of sound.

The ondes martenot is played in two ways, either using a seven-octave key-

board, or au ruban, meaning that it is played sliding a metal ring along a

metallic ribbon. The fi rst method is similar

to playing the piano, except that

quarter-tones and wide vibrato are

both possible. The ribbon method

produces a continuous glissando

— a wailing sound of penetrating

potential, of varying sound colors

and sliding pitch. Messiaen remains

the most prominent composer to

have used the ondes martenot ex-

tensively in his music.

About the Music


of his belief in the Divine Presence. Th e musical structures are

relatively simple, for there is much repetition, and the chorus

repeats a number of phrases that linger readily in the mind. Th e

fi rst Liturgy, for example, has a beautiful prefatory invocation

“Mon Jésus,” then a series of four stanzas, before returning to

the opening in a full da capo (literally “from the head” or start-

ing again at the beginning).

Th e second Liturgy is more lively with a catchy recurrent

refrain “Il est parti.” Aft er a huge climax and a long silence,

the refrain takes on a broad chordal charac ter supported by

strings and ondes martenot alone, before a loud joyous ending

“Pour nous!”

Th e third Liturgy also includes an extensive repeat, and an

elegant phrase for “Posez-vous comme un sceau sur mon cœur”

(“Place yourself, like a seal, on my heart”) acts as a marker at

intervals.

Trois Liturgies was written during World War II. Messi-

aen was held prisoner in Germany for a while, but once released

he entered into an immensely productive period in which his

mature style took permanent shape. He wrote his dense and

diffi cult piano parts for one of his students, Yvonne Loriod,

who eventually became his second wife and who appeared in

most of the early performances of this work.

Th e fi rst performance of Trois Liturgies in 1945, just before

the end of the war, baffl ed many of the critics, who found the

text incomprehensible, the religious intensity oppressive, and

the musical style a disconcerting mixture of mayhem and sac-

charine sweetness. But Messiaen was above such complaints,

being always completely comfortable with his own style and

with his busy, productive life, passed in a kind of “hectic joy,” as

he called it, divided between teaching, composing, and organ-

playing — and fi rmly dedicated to a higher existence. Over all

the music lingers an aura of “exotic sensuality” (Paul Griffi ths’s

description) and a burning conviction that his music was part

of the divine order of things.


Messiaen composed his

Trois Petites Liturgies de

la Présence Divine (“Three

Small Liturgies of the

Divine Presence”) between

November 1943 and March

1944, to his own texts. The

fi rst performance took place

in Paris on April 21, 1945;

Roger Désormiere con-

ducted the Chorale Yvonne

Gouverné and the Orchestre

de la Société des Concerts du

Conservatoire. The piano so-

loist was Yvonne Loriod; the

ondes martenot was played

by Ginette Martenot (sister of

the instrument’s inventor).

This work in three move-

ments runs about 35 minutes

in performance. Following

the premiere, Messiaen chose

to off er two versions of the

performing score, one calling

for 32 string players and 36

women’s voices, the other

for 16 string players and 18

women’s voices, plus, in each

version, celesta, percussion

(vibraphone, maracas, Chi-

nese cymbals, tam-tam), and

the solo piano and solo ondes

martenot. Franz Welser-Möst

has chosen to use the scoring

for larger forces for this week-

end’s performances.


has presented this work on

only one previous occasion,

for a weekend of concerts at

Severance Hall in November

2002, conducted by George

Benjamin, with Joela Jones

and Cynthia Millar as the

soloists.

At a Glance

About the Music

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Trois Petites Liturgies de la Présence Divine[Three Small Liturgies of the Divine Prescence]

text and music by Olivier Messiaen

I. Antienne de la Conversation intérieure

(Dieu présent en nous . . . )

Mon Jésus, mon silence,

restez en moi.

Mon Jésus, mon royaume de silence,

parlez en moi.

Mon Jésus, nuit d’arc-en-ciel et de silence,

priez en moi.

Soleil de sang, d’oiseaux,

mon arc-en-ciel d’amour,

Désert d’amour.

Chantez, lancez l’auréole d’amour,

mon amour,

Mon Dieu.

Ce oui qui chante comme

un écho de lumière,

mélodie rouge et mauve

en louange du Père,

d’un baiser votre main

dépasse le tableau,

paysage divin, renverse-toi

dans l’eau.

Louange de la Gloire

à mes ailes de terre,

mon Dimanche, ma Paix,

mon Toujours de lumière,

que le ciel parle en moi,

rire, ange nouveau,

ne me réveillez pas:

c’est le temps de l’oiseau!

Ce oui qui chante comme

un écho de lumière . . . etc.

Mon Jésus, mon silence,

restez en moi . . . etc.

Anthem for the Interior Conversation

(God’s presence in us . . . )

My Jesus, my stillness,

remain within me.

My Jesus, my kingdom of stillness,

speak within me.

My Jesus, night of rainbow and silence,

pray within me.

Sun of blood, of birds,

my rainbow of love,

wilderness of love.

Sing, cast the halo of love,

my Love,

my God.

Th is “Yes” that sings

like an echo of light,

red and mauve melody

in praise of the Father,

by a kiss, your hand extends

beyond here and now,

divine landscape, spill your refl ection

onto the water.

Praise of Glory

my earthbound wings,

my Sunday, my Peace,

my Everlasting light,

let Heaven speak within me,

smile, new angel,

do not wake me:

it is the birds’ time!

Th is “Yes” that sings

like an echo of light . . . etc.

My Jesus, my stillness,

remain within me . . . etc.

PLEASE TURN PAGES QUIETLY FOR NE X T POEM

Sung Texts: Messiaen



II. Séquence du Verbe, Cantique Divin

(Dieu présent en lui-même . . . )

Il est parti, le Bien Aimé,

c’est pour nous!

Il est monté, le Bien Aimé,

c’est pour nous!

Il a prié, le Bien Aimé,

c’est pour nous!

Il a parlé, il a chanté,

le Verbe était en Dieu!


et le Verbe était Dieu!

Louange du Père,

substance du Père,

empreinte, rejaillissement toujours,

dans l’Amour, verbe d’Amour!

(refrain)

Il est parti, le Bien Aimé, . . . etc.

Par lui le Père dit: c’est moi,

Parole de mon sein!

Par lui le Père dit: c’est moi,

le Verbe est dans mon sein!

Le Verbe est la louange,

modèle en bleu pour anges,

trompette bleue qui prolonge le jour,

Par Amour, chant de l’Amour!

(refrain)


Il était riche et bienheureux,

il a donné son ciel!

Il était riche et bienheureux,

pour compléter son ciel!

Le Fils c’est la Présence,

l’Esprit c’est la Présence,

Les adoptes dans la grâce toujours,

pour l’Amour, enfants d’Amour!

(refrain)


Sequence of the Word, a Divine Canticle

(God’s presence within himself . . . )

He has departed, the Beloved,

It’s for us!

He has ascended, the Beloved,

It’s for us!

He has prayed, the Beloved,

It’s for us!

He has spoken, he has sung,

the Word was in God!


and the Word was God!

Praise of the Father,

substance of the Father,

impressed in memory, always rushing forth

in Love, the Word of Love!

(refrain)

He has departed, the Beloved, etc.

Th rough Him the Father says: It is Me,

word of my breast!

Th rough Him the Father says: It is Me,

the Word is in my heart!

Th e Word is praise,

a model for angels in the blue,

a blue trumpet that prolongs the day,

for Love, song of Love!

(refrain)


He was rich and blessed,

he gave away his heaven!

He was rich and blessed,

to complete his heaven!

Th e Son is the presence,

the Spirit is the presence!

Th ose held forever in grace,

through Love, children of Love!

(refrain)


Sung Texts: Messiaen


59Severance Hall 2013-14 Sung Texts: Messiaen


le Verbe était en Dieu!


et le Verbe était Dieu!

Louange du Père,

substance du Père,

empreinte, rejaillissement toujours,

dans l’Amour, verbe d’Amour!

(refrain)


Il est vivant, il est présent,

et Lui se dit en Lui!

Il est vivant, il est présent,

et Lui se voit en Lui!

Présent au sang de l’âme,

etoile aspirant l’âme,

présent partout, miroir ailé des jours,

par Amour, le Dieu d’Amour!

(refrain)


Il est monté, le Bien Aimé, . . . etc.

Il a prié, le Bien Aimé, . . . etc.

. . . pour nous!

Pour Nous! Pour Nous!


Th e Word was in God!


and the Word was God!

Praise of the Father,

substance of the Father,

hold in memory, always rushing forth

in Love, the Word of Love!

(refrain — very slowly)


He is living, he is present,

and He has spoken in Him!

He is living, he is present,

and He sees himself in Him!

Present to the blood of the soul,

star that draws the soul,

everywhere present, winged mirror of days,

through Love, the God of Love!

(refrain)


He has ascended, the Beloved, etc.

He has prayed, the Beloved, etc.

. . . for us!

For us! For us!

PLEASE TURN PAGES QUIETLY FOR NE X T POEM

III. Psalmodie de l’Ubiquité par amour

(Dieu présent en toutes choses . . . )

Tout entier, en tous lieux,

tout entier en chaque lieu,

eonnant l’être à chaque lieu,

à tout ce qui occupe un lieu,

le successif vous

est simultané,

dans ces espaces et ces temps

que vous avez créés,

satellites de votre Douceur.

posez-vous comme un sceau

sur mon coeur.

Psalm of Ubiquity Th rough Love

(God’s presence in all things . . . )

All encompassing in all places,

all encompassing in each place,

bestowing existence upon each place,

on all that occupies a place,

the sequence of time

for You is simultaneous,

in these spaces and times

that You created,

these satellites of your Gentleness.

Place yourself, like a seal,

on my heart.


60 The Cleveland OrchestraSung Texts: Messiaen

Temps de l’homme et de la planète,

temps de la montagne et de l’insecte,

bouquet de rire pour le merle

et l’alouette,

eventail de lune au fuschia,

à la balsamine, au begonia;

de la profondeur une ride surgit,

la montagne saute comme une brebis

et devient un grand océan.

Présent,Vous êtes présent.

imprimez votre nom dans mon sang.

Dans le mouvement d’Arcturus,

présent,

dans l’arc-en-ciel d’une aile après l’autre

(écharpe aveugle autour de Saturne),

dans la race cachée de mes cellules, présent

dans le sang qui répare ses rives,

dans vos Saints parla grace, présent,

(interpretations de votre Verbe,

pierres précieuses au mur de la Fraîcheur.)

posez-vous, comme un sceau,

sur mon coeur.

Un Coeur pur est votre repos,

lis en arc-en-ciel du troupeau,

vous vous cachez sous votre Hostie,

frère silencieux dans la Fleur-Eucharistie,

pour que je demeure en vous

comme une aile dans le soleil,

vers la résurrection du dernier jour.

il est plus fort que la mort, votre Amour.

Mettez votre caresse tout autour.

Violet-jaune, vision,

voile blanc, subtilité,

orange-bleu, force et joie,

fl êche-azur, agilité,

donnez-moi le rouge et le vert

de votre amour,

feuille-fl amme-or, clarté,

plus de langage, plus de mots,

plus de prophêtes ni de science.

(c’est l’Amen de l’espérance,

silence mélodieux de l’Éternité.)

Time of humanity and of the planet,

time of the mountain and of the insect,

burst of laughter for the blackbird

and the lark,

crescent fan of fuchsia,

of impatiens and begonia;

from the depths, a ripple rises,

the mountain skips like a lamb

and becomes a great ocean.

Now, always, you are present.

Inscribe your name in my blood.

In the movement of Arcturus,

you are present,

in the rainbow, with one wing aft er another,

(blindfold around Saturn),

in the hidden ancestry of my cells, present,

in the blood that repairs its banks,

through Grace, in your Saints, present.

(Interpretations of your Word,

gemstones in the wall of freshness.)

Place yourself, like a seal,

on my heart.

A pure heart is your repose,

rainbow-colored lily of the fl ock,

you hide within your host,

a silent brother in the Eucharist-fl ower,

that I may dwell within you

like a wing in the sun,

awaiting the resurrection at the last day.

It is stronger than death, your Love.

Enfold us all within your embrace.

Yellow-violet, vision,

veil-white, subtlety,

orange-blue, strength and joy,

arrow-blue, agility,

give me the red and green

of your love,

fl aming gold, clarity,

no more language, no more words,

no more prophets, nor science.

(It is the Amen of hope,

the melodious silence of Eternity.)


61Severance Hall 2013-14 61Sung Texts: Messiaen

Mais la robe lavée dans

le sang de l’Agneau,

mais la pierre de neige avec

un nom nouveau,

les éventails, la cloche

et l’ordre des claretés,

et l’échelle en arc-en-ciel de la Vérité,

mais la porte qui parle

et le soleil qui s’ouvre,

l’auréole tête de rechange qui délivre,

et l’encre d’or ineff aceable sur le livre;

mais le face à face et l’Amour.

Vous qui parlez en nous,

vous qui vous taisez en nous,

et gardez le silence dans votre Amour,

vous êtes près, vous êtes loin,

vous êtes près, vous êtes loin,

vous êtes la lumière et les ténèbres,

vous êtes si complique et simple,

vous êtes infi niment simple.

L’arc-en-ciel de l’Amour, c’est vous,

l’unique oiseau de l’Éternité, c’est vous!

Elles s’alignent lentement,

les cloches de la profondeur.

Posez-vous comme un sceau sur mon coeur.

Tout entier, en tous lieux, . . . etc.

Temps de l’homme et de la planète, . . . etc.

Dans le mouvement d’Arcturus,

présent, . . . etc.

Un Coeur pur est votre repos, . . . etc.

Violet-jaune, vision, . . . etc.

Mais la robe lavée dans

le sang de l’Agneau, . . . etc.

Vous qui parlez en nous,

vous qui vous taisez en nous,

et gardez le silence dans votre Amour,

enfoncez votre image

dans la durée de mes jours.

But the robe washed

in the blood of the Lamb,

but the snow-white stone

with a new name,

the cooling fans, the bells of time,

the order of light,

and the rainbow-ladder of Truth,

But the door that speaks

and the sun that opens,

the diff erence of a haloed face who redeems,

and the golden ink, indelible on the book;

but to see you face to face, and love.

You who speak within us,

you who stay silently within us,

and maintain your silence in your Love,

you are close, you are far away,

you are near, you are distant,

you are the light and the darkness,

you are so complex and simple,

you are infi nitely simple.

Th e rainbow of love, it is you!

Th e single bird of eternity, that is you!

Th ey align themselves slowly,

the bells sounding time’s eternal depth.

Place yourself, like a seal, on my heart.

All encompassing in all places, . . . etc.

Time of humanity and of the planet, . . . etc.

In the movement of Arcturus,

you are present, . . . etc.

A pure heart is your repose, . . . etc.

Yellow-violet, vision, . . . etc.

But the robe washed

in the blood of the Lamb, . . . etc.

You who speak within us,

you who stay silently within us,

and maintain your silence in your love,

implant your image

throughout the rest of my life.



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63Severance Hall 2013-14 63Soloists

Joela Jones Principal Keyboard Rudolf Serkin Endowed Chair The Cleveland Orchestra

An artist of exceptional versatility, Joela Jones plays piano,

organ, harpsichord, celesta, synthesizer, and accordion with

Th e Cleveland Orchestra. As soloist with the Orchestra, she

has performed more than fi ft y diff erent concertos across

more than 200 performances at Severance Hall and Blos-

som, as well as on tour in Europe and Asia. A native of

Miami, Florida, Joela Jones studied as a child with Ernst

von Dohnányi. Recognized as a prodigy, she made her

New York debut with Arthur Fiedler and the Metropolitan

Opera Orchestra. Ms. Jones has appeared as soloist with

orchestras across the United States and has performed extensively in solo and

chamber music recitals in Northeast Ohio and beyond. She teaches advanced

orchestral keyboard classes at the Cleveland Institute of Music, chairs collabora-

tive piano with the Kent/Blossom Music Festival, and is visiting coach for the

New World Symphony in Miami. As a soloist, she can be heard on a variety of

recordings with the London Symphony Orchestra and Th e Cleveland Orchestra,

as well as a number of chamber music albums.

Cynthia MillarCynthia Millar fi rst studied the ondes martenot with John

Morton in England and later with Jeanne Loriod. Since her

fi rst performance of Messiaen’s Turangalîla-Symphonie at

the BBC Proms with the National Youth Orchestra of Great

Britain, she has participated in more than 100 performanc-

es of the work with many of the world’s leading orchestras.

Cynthia Millar has appeared at the Aspen Festival, Lucerne

Festival, Maggio Musicale Fiorentino, and Oregon Bach Fes-

tival. Her recordings include Turangalîla with the Bergen

Symphony Orchestra for Hyperion, and Honegger’s Jeanne

d’Arc au Bûcher with the London Sinfonietta on the Virgin

Classics Label. Ms. Millar has played in more than 100 fi lm

and television scores, most notably for composer Elmer Bernstein, who encouraged

her to learn the ondes martenot and for whom she oft en recorded as piano soloist.

She performed the world premiere of his Ondine at the Cinema for his 80th birth-

day. Ms. Millar also composes for fi lm, television, and theater. She made her Cleve-

land Orchestra debut in March 2002, performing the ondes martenot in Messiaen’s

Turangalîla-Symphonie under Franz Welser-Möst’s direction.



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

Robert Porco became director of choruses for Th e Cleve-

land Orchestra in 1998. In addition to overseeing choral

activities and preparing the Cleveland Orchestra Chorus

and the Blossom Festival Chorus for a variety of concert

programs each season, Mr. Porco conducts the Orches-

tra’s annual series of Christmas concerts at Severance

Hall and regularly conducts subscription concert programs both at Severance Hall

and Blossom. He has also served as director of choruses for the Cincinnati May

Festival since 1989.

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

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

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

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

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

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

ductors, singers, or teachers. As a sought-aft er guest instructor and coach, he has

taught at Harvard University, Westminster Choir College, and the University of Mi-

ami Frost School of Music.

Lisa Wong Assistant Director of Choruses

Lisa Wong became assistant director of choruses for Th e

Cleveland Orchestra with the 2010-11 season. In this

capacity, she assists in preparing the Cleveland Orch-

estra Chorus and Blossom Festival Chorus for perfor-

mances each year. With the 2012-13 season, she took on

the added position of director of the Cleveland Orch-

estra Youth Chorus. In addition to her duties at Sever-

ance Hall, Ms. Wong is a faculty member at the College of Wooster, where she

conducts the Wooster Chorus and the Wooster Singers and teaches courses in

conducting and music education. She previously taught in public and private

schools in New York, Pennsylvania, and Indiana, where she worked with the cho-

ral department of the Indiana University Jacobs School of Music (including di-

recting the Chamber Choir of the Indiana University Children’s Choir). Active as

a clinician, guest conductor, and adjudicator, Ms. Wong holds a bachelor’s degree

in music education from West Chester University and master’s and doctoral de-

grees in choral conducting from Indiana University.

Cleveland Orchestra Chorus


65Severance Hall 2013-14 Cleveland Orchestra Chorus

SOPRANOS

Amy F. Babinski*Cathleen R. BohnEmily Bzdafka*Merissa Coleman*Susan Cucuzza*Carrie CulverEmily Engle*Lisa Rubin Falkenberg*Samantha Garner*Rosie Gellott*Danielle Greenway*Rebecca S. HallLisa Hrusovsky*Shannon R. Jakubczak*Sarah Jones*Hope Klassen-Kay*Kate Macy*Lisa Manning*Julie Myers-Pruchenski*Jennifer Heinert O’Leary*Sarah Osburn*Melissa PattonLenore M. Pershing*Joy Powell*Roberta Privette*Cassandra E. Rondinella*Jennifer R. Sauer*Monica Schie*Laura Schupbach*Sharon Shaff er*Samantha J. SmithSidney Storry*Jane Timmons-Mitchell*Sarah Tobias*Melissa Vandergriff *Sharilee Walker*Carole Weinhardt*Kiko Weinroth*Marilyn Wilson*Mary Wilson*Constance Wolfe*

ALTOSAlexandria L. AlbainyDani ArndtEmily AustinBeth BaileyMariann BjelicaKatherine BrownLydia ChamberlinBarbara J. ClughJanet CrewsCarolyn DessinMarilyn EppichAmanda EvansNancy GageDiana Weber GardnerAnn Marie HardulakBetty HuberKaren HuntSarah N. HutchinsJenna KirkLucia LeszczukGinger MateerDanielle S. McDonaldKarla McMullenMary-Francis MillerPeggy NormanMarta Perez-StableGinny RoedigBecky A. SeredickPeggy ShumateShari SingerShelley B. SobeyIna Stanek-MichaelisMartha Cochran TrubySarah B. TurellLaure WasserbauerMeredith Sorenson WhitneyFlo WorthDebra Yasinow

TENORSNathan BachofskyEric H. BerkoGerry C. BurdickRobert CannonBrent ChamberlinMist’a CraigThomas GlynnWilliam HamiltonMichael J. HivesDaniel M. KatzPeter KvideraTod LawrenceSteve LawsonRohan MandeliaJames NewbyTremaine OatmanRobert PoormanMatthew RizerJohn SabolLee ScantleburyJarod ShampJames StorryCharles TobiasWilliam VenableSteven WeemsChester F. Willey

BASSESChristopher AldrichCraig AstlerJack BlazeyNikola BudimirCharles CarrPeter B. ClausenDwyer ConklynChris DewaldSteve diLauroJeff rey DuberMatthew EnglehartThomas E. EvansRichard FalkenbergRobert HigginsKurtis B. Hoff manPaul HubbardThomas HullJoshua JonesJoel KincannonSam KitzlerJason LevyTim ManningScott MarkovShaun McGrathRoger MennellRobert MitchellTom MoormannKeith NormanGlenn ObergefellJohn RiehlSteven RossRobert SeamanMichael SeredickSteven SkaggsMatt SkitzkiJayme StayerS. David WorhatchCaleb A. WrightPaul Zeit

Carolyn Dessin, Chair,

Cleveland Orchestra Chorus Operating Committee

Jill Harbaugh, Manager of Choruses

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

Joela Jones, Principal Accompanist

Now in its seventh decade, the Cleveland Orchestra Chorus is one of the few professionally-

trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the re-

quest of George Szell in 1952 and following in the footsteps of a number of earlier community

choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at

Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from

nearly fi ft y Cleveland-area communities and together contribute over 15,000 volunteer hours to

the Orchestra’s music-making each year.

* singing in the Messiaen


The Cleveland Orchestra is an extraordinary engine of promotion and a justifiable source of great civic pride. Every year The Cleveland Orchestra draws a local, national and international audience to Severance Hall to hear

“the sound the world is talking about.”

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“Leonore” Overture No. 3, Opus 72bcomposed 1806

B E E T H O V E N ’ S O P E R A Fidelio brought him endless trouble

and frustration, yet he loved the work dearly and attached great

importance to its music and its message. Most composers of

the time wrote operas in profusion and rarely wrestled with

alternative versions. But Beethoven wrote only one, and he

produced at least three versions of the opera and four versions

of its overture. Even the opera’s title was changed, having been

Leonore in its fi rst two forms and Fidelio in the end.

To add to the confusion, the three Leonore overtures are

incorrectly numbered, misnumbered when they were published,

but not, as it turns out, in the order in which they were written.

No. 2 was the fi rst Beethoven wrote, No. 3 the second, and No.

1 the third, all to some extent sharing musical material. Th e

Fidelio Overture itself, quite diff erent from the others, came

last. (Th e exact dating and sequence of composition was fi -

nally determined by chemical analysis in the 20th century of

the diff ering papers on which they’d been written.)

By common consent, No. 3 is the fi nest as a self-supporting

concert work, although in the theater it is usually felt to dwarf

the opening act musically and pre-empt the fi nal act dramati-

cally. No doubt Beethoven felt the same, for his replacement for

it, No. 1, is shorter and much milder in tone. And the eventual

fi nal replacement, the Fidelio Overture, makes no reference to

the opera’s music and serves simply as a curtain-raiser.

In composing No. 3 in 1806 in anticipation of a revival

of the opera in Vienna, Beethoven was fl exing his symphonic

muscles, building on themes that had served in the original

overture in 1805, and expanding their reach and impact. Th e

resulting overture became a match for any of the mighty sym-

phonic movements that he composed in that same decade. Like

the fi rst movements of the fourth and seventh symphonies, this

overture has a slow introduction and a main Allegro section that

follows. In the slow section, Florestan’s aria from Act II of the

opera, when he lies in a dark subterranean dungeon in mortal

despair, is briefl y given out by clarinets and bassoons before

the music winds itself up for the transition to the Allegro.

In this restless, dynamic movement three passages stand

out. Th ese include the second main theme in the bright key of

E major, which is another version of Florestan’s aria sung by the

About the Music



FRIDAY


fl ute over the violins. Th en, in the middle of the action, every-

thing stands still as a trumpet call is heard from the distance.

Th is is the signal, in the opera, for the arrival of the Minister

who will intervene in time to stop Florestan’s murder at the

hand of the evil prison governor. Th e trumpet call is heard a

second time, confi rming the prisoner’s rescue and the joy of,

above all, his wife Leonore, who has contrived to get into the

dungeon disguised as a young man named Fidelio. Th e third

unforgettable moment in this thrilling overture is the rush of

the violins, like thoroughbreds out of the starting gate, then

gathering in the other strings in a headlong rush to the coda,

a celebration of triumph as brazen and positive as anything

Beethoven ever wrote. For him, it was ultimate affi rmation of

constancy, liberty, and human courage.


About the Music

At a Glance

Beethoven composed his

“Leonore” Overture No. 3

in 1806 for the revival of his

opera, Fidelio, which took

place at Vienna’s Theater-

an-der-Wien on March 29 of

that year. The fi rst known

performance of this overture

in the United States was

given on December 7, 1850,

at the Tremont Temple in

Boston by the Musical Fund

Society under George J.

Webb’s direction.

This overture runs about

15 minutes in performance.

Beethoven scored it for 2

fl utes, 2 oboes, 2 clarinets, 2

bassoons, 4 horns, 2 trum-

pets, 3 trombones, timpani,

and strings.


fi rst performed Beethoven’s

Third “Leonore” Overture

during the ensemble’s

inaugural season in 1918-

1919, with founding music

director Nikolai Sokoloff , in a

concert at Woodland Avenue

Presbyterian Church. The Or-

chestra’s most recent perfor-

mances were in January 2010

led by Franz Welser-Möst.

(Among the Orchestra’s

many performances of “Le-

onore” No. 3 over the years

was a rain-soaked rendition

in November 1929 during

groundbreaking ceremonies

for Severance Hall.)

THEATER AN DER WIEN: This concert hall in Vienna, built in 1801, is where Beethoven's opera Fidelio was fi rst presented — and where Beethoven lived for a time. Beethoven's Fifth and Sixth symphonies also received their premieres here.


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

FRIDAY

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




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.


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

about 35 minutes in perfor-

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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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

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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



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Foundation/Government Annual Support

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The Cleveland FoundationCuyahoga County residents through

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$250,000 TO $499,000

Kulas FoundationJohn P. Murphy FoundationThe Eric & Jane Nord Family FundOhio Arts Council

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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 $19,999

The 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


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Daniel R. and Jan R. Lewis (Miami) Peter B. Lewis and Janet Rosel (Miami) Mr. and Mrs. Albert B. Ratner

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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

There’s only one Rainbow.

216-UH4-KIDS (216-844-5437) | RainbowBabies.org

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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

PH

OT

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H B

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Severance Hall88 The Cleveland Orchestra


We believe in working for the greater good of all and

we are proud to support any organization that shares this value.

We thank The Cleveland Orchestra for its commitment to excellence!

Ken Lanci, Chairman & CEOConsolidated Solutions

The Cleveland Orchestra guide to

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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

90 The Cleveland OrchestraConcert Calendar90 The Cleveland OrchestraConcert Calendar

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 rst 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. 4 SHOSTAKOVICH Symphony No. 8Saturday 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!

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 major BEETHOVEN 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 Overture STRAVINSKY 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).

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

91Severance Hall 2013-14 91Concert Calendar

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.

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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 lm projected on a large screen above the Severance Hall stage.

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

H

.

92 The Cleveland Orchestra92 The Cleveland Orchestra

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

AT SEVERANCE HALLCONCERT DINING AND CONCESSION SERVICE Severance Restaurant at Severance Hall is open for pre-concert dining. For reservations, call 216-231-7373, or make your plans on-line by visit-ing 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 Information

9393Severance Hall 2013-14 93Guest Information

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

PHOTOGRAPHY, VIDEO, AND AUDIO RECORDING Audio recording, photography, and videogra-phy are strictly prohibited during performances at Severance Hall. As courtesy to others, please turn off any phone or device that makes noise or emits light.

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

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

SERVICES FOR PERSONS WITH DISABILITIES

Severance Hall provides special seating op-tions for mobility-impaired persons and their com-panions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheel-chairs to assist patrons in going to and from their seats. Patrons can arrange a loan by calling the House Manager at 216-231-7425 TTY line access is available at the public pay phone located in the Security Offi ce. Infrared As-sistive Listening Devices are available from a Head Usher or the House Manager for most performanc-

es. If you need assistance, please contact the House Manager at 216-231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Offi ce when purchasing tickets.

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

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

CHILDREN Regardless of age, each person must have a ticket and be able to sit quietly in a seat through-out the performance. Season subscription concerts are not recommended for children under the age of seven. However, Family Concerts and Musical Rainbow programs are designed for families with young children. Cleveland Orchestra Youth Orchestra performances are recommended for older children.

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

UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Offi ce so that those tickets can be resold. Because of the demand for tickets to Cleve land Orchestra perfor-mances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least 2 hours before the concert, the value of each ticket will be treated as a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each cal-endar year.

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


94 The Cleveland OrchestraUpcoming Concerts

AT SEVERANCE HALL . . .

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

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

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

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 31, november 1, 2 concerts

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