the cleveland orchestra sept. 24-26, oct. 1-2 concerts

2015-16 SEASON

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September 24, 25, 26 AN ALPINE SYMPHONY — page 31

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

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

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

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

2015-16 SEASON

WEEKS 1 AND 2

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Upfront From the Executive Director . . . . . . . . . . . . . . . . . . . . 7 Explorations with Franz Welser-Möst . . . . . . . . . . . 8 Distinguished Service Award . . . . . . . . . . . . . . . . . . 10

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

WEEK 1 AN ALPINE SYMPHONY Program: September 24, 25, 26 . . . . . . . . . . . . . 31 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 33 MOZART Symphony No. 41 (“Jupiter”) . . . . . . . . . . . . . . . . . 35 STRAUSS An Alpine Symphony . . . . . . . . . . . . . . . . . . . . . . . 39

NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . . . . 46 Emeritus Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Violins of Hope Cleveland . . . . . . . . . . . . . . . . . . . . . 54 WEEK 2 MAHLER’S THIRD SYMPHONY Program: October 1, 2 . . . . . . . . . . . . . . . . . . . . . . . 61 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . 63 MAHLER Symphony No. 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Guest Artist: Kelley O’Connor . . . . . . . . . . . . . . . . . . . 72 Choruses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . . 56 Corporate Annual Support . . . . . . . . . . . . . . . . . . . . . 81 Foundation/Government Annual Support . . . . . 83 Individual Annual Support . . . . . . . . . . . . . . . . . . . . 84

Upcoming Concerts Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . . 110

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

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

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

50%

COVER PHOTOGRAPHY BY ROGER MASTROIANNI

Copyright © 2015 by The Cleveland Orchestra and the Musical Arts Association

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

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

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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Living at the Manor, she appreciates its proximity to the best culture in Cleveland. “I love walking to the museum and nearby shops and restaurants in the Circle’s new Uptown district,” says Hope. “The neighborhood is vibrant and safe. It’s amazing how things have changed.”

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Perspectives from the Executive Director

7Severance Hall 2015-16 7

Autumn 2015

It was a terrific summer for The Cleveland Orchestra.

Kicking Off the Fourth of July Downtown. We launched the summer with thousands of community members joining together for our annual Star-Spangled Spectacular performance on July 1. Due to active construction on Public Square, this year’s concert was held

on “Mall B,” with a new view of the Cleveland skyline for music and glorious fireworks.

Record Attendance at Blossom. Throughout the summer, big crowds took advantage of the varied programming, a beautiful setting, and superb weather to enjoy music at Blos-som Music Center. The Orchestra’s annual Festival opened in July with a stirring perfor-mance by Franz and the Orchestra of Beethoven’s Ninth Symphony, and concluded with over 28,000 people enjoying the music of John Williams on Labor Day Weekend. The 2015 Festival broke last year’s record, hitting a new high average of 7,125 patrons per concert.

Acclaimed as the Best Orchestra in America. July featured the Orchestra’s exciting and successful Lincoln Center Festival residency. Four concerts included Richard Strauss’s op-era Daphne plus two orchestral programs with works by Dvořák, Messiaen, Beethoven, and Strauss. The New York Times proclaimed that “Welser-Möst and this remarkable orchestra” are today “the finest in America” and exemplify “the finest kind of effortless virtuosity.”

Summers@Severance Attracting New Audiences. Our new summer concert series in University Circle enjoyed a great second season, welcoming many first-time patrons to Severance Hall. Concertgoers filled the building’s Front Terrace before and after the con-certs, relaxing and enjoying the weather and refreshments. ClevelandClassical.com noted: “These Friday evening summer concerts are meant to attract a younger crowd to Sever-ance, and that seems to work,” with many patrons under forty enjoying classical music.

After a great summer, thank you so much for joining us this evening as we begin this new season here in our University Circle home.

P.S. Cleveland’s arts community continues to be vibrant and strong thanks in part to ongo-ing funding from residents of Cuyahoga County through Cuyahoga Arts & Culture (CAC). Established by voters in 2007, CAC has provided more than $125 million in public funding to more than 300 organizations based in our county. Cleveland Orchestra audiences have benefited from more than $15 million in support for performances, education programs, and free concerts like the annual Star-Spangled Spectacular downtown. Please join with the Arts & Culture Action Committee in supporting this incredible community asset when we vote to renew the Arts & Culture levy in November. Your vote for Issue 8 will help renew a tax on cigarettes, and continue critical support for local arts and cultural groups for another ten years. To learn more, visit www.acac2015.org.

Gary Hanson

From the Executive Director

8 The Cleveland Orchestra

t h e P r o g r a m m i n g I have chosen for this season’s opening weeks addresses the metaphysical aspect of nature — and a set of distinctive approaches to this topic by three unique and perceptive composers. What is existence? Where, how, and what is humanity’s reason to be here? What is our relationship with nature and the world around us? In particular, we look at these questions through Gustav Mahler’s Third Symphony (1896), Richard Strauss’s An Alpine Symphony (1915), and Thus Spake Zarathustra (1895), and works by Olivier Messiaen including Chronochro-mie (1960), pieces that were composed over a range of sixty-plus years. Mahler is closer to nature in his Third Symphony than in all of his other major works. Born and raised in the Jewish faith, he was in a phase of spiritual transition at the close of the 19th century, leading to a new experience of faith that he ultimate-ly found in the mystical form of Catholi-cism. Often quoted for his statement that ”the only obligation of man before God is beauty,“ Mahler developed a belief and connection to nature that was directly reflected in the symphony and which substitutes his personal belief in God for an emphatic description of nature — and here he represented Nature as a grand

metaphysical (which is to say, philosophi-cal) event. This is perhaps best illustrated in Mahler’s original movement titles for this symphony, which he later removed from the score: ”Pan Awakes. Summer Marches In,“ ”What the Flowers in the Meadow Tell Me,“ ”What the Animals in the Forest Tell Me,“ ”What Humanity Tells Me,” ”What the Angels Tell Me,“ ”What Love Tells Me.“ In the fourth movement, we find a text by Friedrich Nietzsche, the “Night Wanderer’s Song” from Thus Spake Zara-thustra, which explores a philosophical interpretation of natural life somewhere between sorrow and pleasure, and which is closely linked to the idea of eternity. That Richard Strauss refers to Nietzsche in his symphonic tone poem of the same name indicates the great influence of this philosopher’s work on artists creating works in the 1890s. This can also be said of Nietzsche’s work The Antichrist, which Strauss originally wanted to add as part of the title to his symphonic poem An Alpine Symphony. (Strauss’s idea for expanding the title of this work can best be described not as specifically anti-Christian, but as celebrating Nature instead of humanity — bringing a direct connection with Mahler’s own grand-scale Third Symphony.)

Interpreting NAtuRe through MuSiC

In the opening weeks of the 2015-16 Season, Franz Welser-Möst and The Cleveland Orchestra

explore the metaphysical relationship between humanity and the natural world

Nature and Music

F r o m t h e m u s i c d i r e c t o r


Strauss, who was an atheist, and once described himself as a ”Greek Ger-man” (connecting himself with the learned, ancient civilization of Greece), does not deny the metaphysical aspect of nature in Thus Spake Zarathustra (1895) and An Alpine Symphony. On the contrary, at the beginning of An Alpine Symphony in the descending melodic line, the soft, majestic sound of the trombones can be viewed as representing an element in itself that transcends idyllic Nature. This large musical work literally depicts the ascent of the terrain ahead — from the dewdrops in the morning meadow (in which Eos, the goddess of the dawn is re-flected), to the many small flowers in the valley meadow, to mention only two of many examples describing nature — be-fore reaching the peak of the mountain, which creates a transcendent feeling. In prior decades, transcendence was a term that played a significant role as the unat-tainable and un-measurable. One of the most beautiful and mov-ing moments in An Alpine Symphony by Richard Strauss, who had a passion and understanding for Greek mythology, is the sunset. The goddess Dysis, represent-ing the sunset, appears in a grand fash-ion, creating the context for the literal and mystical end of the day. At the same time,

the god Apollo plucks the strings on his lyre, the instrument with which he gently carries people into the afterlife. In this sunset, death is submerged in the apol-linic sensuality of the music’s depictions. In almost all of his music, Messiaen expressed his deep Catholic faith. In his artistic development from L’Ascension (1932) to Chronochromie (1960), his faith is also connected with a strengthening dedi-cation to nature. In his studies of bird calls from all over the world, and in considering Saint Francis of Assisi as a witness of the existence of God, he incorporated inter-pretations of these sounds in his compo-sitional sound fabric. He imitates a wide variety of bird calls with the instruments of the 20th-century orchestra — utilizing the xylophone, marimba, and woodwind instruments. Messiaen was also fascinated by the culture and music of India and the sounds of the Gamelan orchestra, which also influ-enced fellow composers Claude Debussy and Igor Stravinsky. Even numerology and Gregorian chant found a place in Messi-aen’s musical language. Indeed, for this composer, the concepts of God and Nature are merged to the point where they are no longer separate entities. As a result of his deep faith, Messiaen realized success in his works despite the difficult circumstances of creating music in the 20th century. The music he created was cheerful, optimistic, and of naïve faith inspired by mysticism — and in the soft and at times ecstatic sounds, Messiaen explores not just the metaphysical but also his own longing for the presence of God.

—Franz Welser-Möst

Nature and Music

10 The Cleveland OrchestraDistinguished Service Award

Distinguished Service Award Committee

Marguerite B. Humphrey, Chair

Ambassador John D. Ong, Vice Chair

Richard J. Bogomolny

Dr. Jeanette Grasselli Brown

Robert Conrad

Gary Hanson

Carol Lee Iott

Dennis W. LaBarre

Robert P. Madison

Clara Taplin Rankin

PREVIOUS RECIPIENTS

James D. Ireland III 2014-15

Pierre Boulez 2013-14

Milton and Tamar Maltz 2012-13

Richard Weiner 2011-12

Robert Conrad 2010-11

Clara Taplin Rankin 2009-10

Louis Lane 2008-09

Gerald Hughes 2007-08

John D. Ong 2006-07

Klaus G. Roy 2005-06

Alex Machaskee 2004-05

Thomas W. Morris 2003-04

Richard J. Bogomolny 2002-03

John Mack 2001-02

Gary Hanson 2000-01

Christoph von Dohnányi 1999-2000

Ward Smith 1998-99

David Zauder 1997-98

Dorothy Humel Hovorka 1996-97

The Cleveland Orchestra

DistinguishedService AwardThe Musical Arts Association is proud to honor Rosemary Klena as the 2015-16 recipient of the Distinguished Service Award, recognizing extraordinary service to The Cleveland Orchestra.


Presented to Rosemary Klena Presented by Dennis W. LaBarre at the concert of September 24, 2015

Excellence, commitment, dedication, hard work — ROSE MARY KLE NA embodies these at the high standards and quality that help defi ne The Cleveland Orchestra’s staff and volunteers. Across three decades, Rosemary has been an essential presence, serving as Executive Assistant for three administrative leaders. She was engaged in 1984 as Secretary to the General Manager, serving under Kenneth Haas for two years. In 1986, she took on the role of Executive Assistant, and then worked in that capacity for Thomas W. Morris for sixteen years. From 2004 to her retirement this past summer, she served as Executive Assistant for Gary Hanson. During her tenure, Rosemary has not only managed the varied administrative activities of the offi ce, but has also developed and maintained valuable and produc-tive relationships with a vast range of professionals important to the institution, from Cleveland Orchestra musicians to the leaders of the international orchestra industry. Rosemary is devoted to The Cleveland Orchestra and its smooth operation — and after retiring from her fulltime role earlier this year, she continues to work part time with and for the institution assisting and off ering her experience and knowledge. She is an expert at balancing competing needs and priorities, and at seamlessly handling important and confi dential information among diff ering constituencies. She has been a selfl ess caretaker of the organization’s needs, changing her own schedule to work evenings and weekends when required. She acts as mentor to new staff members, helping them to understand and navigate the complexity of the organization, and as a partner to longterm colleagues in service of the Orchestra’s success. Her institution-al knowledge and effi ciency are matched only by her warmth and good humor. On top of her day-to-day duties, Rosemary has also served as an offi cer of the Musical Arts Association (the non-profi t governing body of The Cleveland Orchestra) since 1988. In her role as Assistant Secretary, she has reliably undertaken innumerable Board-related activities. Equally important has been her constant and caring atten-tion to the individual needs of trustees. A decade ago, Rosemary also took on signifi cant additional responsibilities as the personal assistant to Franz Welser-Möst. No one in the institution has worked on a wider range of tasks and duties to ensure the smooth functioning of the music direc-tor’s institutional, community, and social commitments. Thirty-one years of exemplary service represent Rosemary’s immeasurable day-to-day contributions to The Cleveland Orchestra. Few people have served the Orchestra in more ways, over a longer period of time, and with greater dedication than Rosemary Klena. She has been a vital, indispensable member of The Cleveland Orchestra team, and, in recognition of her unfailing and extraordinary service to the institution, the Musical Arts Association is delighted to present her with its highest award for distinguished service.

Distinguished Service Award

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

All Concerts take place at 3:00 pm at Cleveland State University’sWaetjen Auditorium, Euclid Ave. & E. 21st St.Call (216) 687.5018 or visit www.csuohio.edu/music/caifor more information.

Kulas Series of Keyboard Conversations®with Jeffrey Siegel at Cleveland State University’s Center for Arts and Innovation

2009 - 2010Celebrating Chopin!

October 4, 2009Chopin for LoversEvery work on the program is inspired by adifferent woman in the composer’s love life!

December 6, 2009Chopin the PatriotThe heroic Polonaises, the poignant and bouyantMazurkas, and the vivacious Waltzes.

March 14, 2010Chopin the StorytellerEpic poems and short stories in tone. Ballades ofChopin and Brahms, Novelettes of Schumann.

April 25, 2010Chopin and the FutureWorks of Chopin that caress the ear and point tothe future.

“An Afternoon of entertaining talkand exhilarating music”

- The Washington Post

Masterly

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Scintillating

Kulas Series of Keyboard Conversations®

with Jeffrey Siegel28th Season 2015-2016

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

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

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

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

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

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


Musical Arts Association 13Severance Hall 2015-16 13

non-resident trustees Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria) Laurel Blossom (SC)

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

Ludwig Scharinger (Austria)

trustees ex-oFFicio Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Dr. Patricia Moore Smith, President, Women’s Committee of The Cleveland Orchestra Claire Frattare, President, Blossom Women’s Committee

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

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

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

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

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

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

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

oFFicers and executive committee Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President

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

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

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

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

THE Musical arts AssociATion as of September 2015

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival

THE clEVElaND oRcHEsTRA Franz Welser-Möst, Music Director Gary Hanson, Executive Director

honorary trustees For liFe Gay Cull Addicott Oliver F. Emerson Allen H. Ford

Robert W. Gillespie Dorothy Humel Hovorka Robert P. Madison

Robert F. MeyersonJames S. Reid, Jr.

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OCT 15-18 Splendor of Venice: An Orchestral Extravaganza

NOV 13-17 Beowulf: The Medieval Legend

DEC 12-13 Sacrum Mysterium: A Celtic Christmas

DEC 17-20 Christmas Vespers: Music of Michael Prætorius

FEB 4-7 Sephardic Journey: Wanderings of the Spanish Jews

MAR 3-6 Bach: St. John Passion

APR 7-10 A Harlequin Romance

photo: Hilary Scott

“Apollo’s Fire under the direction of Sorrell has put Cleveland firmly on the period-performance map.”

– THE NEW YORK TIMES

THE 2015-16 SEASON

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Do we encouragethis love of the arts?Will that help her learn and grow?

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BALDWIN WALLACE UNIVERSITYCONSERVATORY OF MUSIC

proudly recognizes members of our music faculty pictured above (l to r): Yasuhito Sugiyama, tuba; Charles Carleton, double bass; Daniel McKelway, clarinet; Jack Sutte, trumpet; Jesse McCormick, horn; Richard Stout, trombone; Jonathan Sherwin, bassoon; Jeffrey Rathbun, oboe; and Lembi Veskimets, viola.

TRADITION + INNOVATIONJoin the unique synergy of our

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Audition Dates for Fall 2016November 21February 13-14February 20-21February 27-28

Don’t miss the opportunity to hear:n BW Symphony Orchestra September 25, 7:00 pmn Symphonic Wind Ensemble October 2, 7:00 pmn ALL-STEINWAY Celebration October 8, 3:10 pmn BACH HAUS October 9, 8:00 pmn Elysian Trio October 10, 7:00 pm

Members of THE CLEVELAND ORCHESTRA in front of beautiful Severance Hall

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

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

18 The Cleveland OrchestraAbout the Orchestra

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

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

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

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19Severance Hall 2015-16 19About the Orchestra

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

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

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

20 The Cleveland OrchestraAbout the Orchestra

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F L Â N E U R F O R E V E R

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

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

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Music Director 23Severance Hall 2015-16 23

Music Director

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

annual New Year’s Day concert twice, viewed by millions worldwide. Mr. Welser-Möst also maintains relationships with a number of other European orchestras, and the 2015-16 season includes return engagements to Munich’s Bavar-ian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. He makes his long-anticipated debut with Amsterdam’s Royal Concertgebouw Orchestra for two weeks of concerts this season, and conducts the Filarmonica of La Scala Milan in a televised Christmas concert. He will also conduct the Vienna Philharmonic in two weeks of subscription concerts, lead the Royal Stockholm Philharmonic in the Nobel Prize con-cert in Stockholm, and conduct a new production of Strauss’s Die Liebe der Danae at the 2016 Salzburg Festival. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, leading more than forty new pro-ductions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Gram-my nominations. The Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik 2015 for “best opera recording.“ With The Cleveland Orchestra, he has created DVD recordings of live performances of five of Bruckner’s symphonies, and is in the midst of a new project recording major works by Brahms. For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appoint-ment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.

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The Orchestra

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee ChairYoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min amy leeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

takako MasamePaul and Lucille Jones Chair

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

Kim GomezElizabeth and Leslie Kondorossy Chair

chul-in ParkHarriet T. and David L.Simon Chair

Miho HashizumeTheodore Rautenberg Chair

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

alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

isabel trautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

alexandra PreucilKatherine Bormannanalisé Denise Kukelhan

SECOND VIOLINSstephen rose*

Alfred M. and Clara T. Rankin Chair

Emilio llinas 2

James and Donna Reid ChairEli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

sonja Braaten Molloycarolyn Gadiel Warnerstephen Warnerioana MissitsJeffrey Zehngut

Vladimir Deninzonsae shiragamiscott WeberKathleen collinsBeth WoodsideEmma shookElayna DuitmanYun-ting lee

VIOLASrobert Vernon*

Chaillé H. and Richard B. Tullis Chair

lynne ramsey1

Charles M. and Janet G. Kimball Chair

stanley Konopka 2

Mark JackobsJean Wall Bennett Chair

arthur Klimarichard Waughlisa Boykolembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick connolly

CELLOSMark Kosower*

Louis D. Beaumont Chairrichard Weiss1

The GAR Foundation Chaircharles Bernard2

Helen Weil Ross ChairBryan Dumm

Muriel and Noah Butkin Chairtanya Ell

Thomas J. and Judith Fay Gruber Chair

ralph curryBrian thornton

William P. Blair III ChairDavid alan HarrellPaul KushiousMartha Baldwin

BASSESMaximilian Dimoff *

Clarence T. Reinberger ChairKevin switalski 2

scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark athertonthomas sperlHenry Peyrebrune

Charles Barr Memorial Chaircharles carletonscott DixonDerek Zadinsky

HARPtrina struble*

Alice Chalifoux Chair

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

F R A N z W E l S E R - M ö S T M U s i c D i R E c T o R Kelvin Smith Family Chair

T H E c l E V E l a N D o R c H E s T R A


The Orchestra

FLUTESJoshua smith*

Elizabeth M. andWilliam C. Treuhaft Chair

saeran st. christopherMarisela sager 2

Austin B. and Ellen W. Chinn ChairMary Kay Fink

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank rosenwein*

Edith S. Taplin Chaircorbin stairJeffrey rathbun 2

Everett D. and Eugenia S. McCurdy Chair

robert Walters

ENgLISH HORNrobert Walters

Samuel C. and Bernette K. Jaffe Chair

CLARINETSrobert WoolfreyDaniel McKelway 2

Robert R. and Vilma L. Kohn Chair

linnea Nereim

E-FLAT CLARINETDaniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINETlinnea Nereim

BASSOONSJohn clouser *

Louise Harkness Ingalls ChairGareth thomasBarrick stees2

Sandra L. Haslinger ChairJonathan sherwin

CONTRABASSOONJonathan sherwin

HORNSMichael Mayhew §

Knight Foundation ChairJesse Mccormick

Robert B. Benyo ChairHans clebschrichard Kingalan DeMattia

TRUMPETSMichael sachs*

Robert and Eunice Podis Weiskopf Chair

Jack suttelyle steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo la rosa*

Gilbert W. and Louise I. Humphrey Chair

richard stoutAlexander andMarianna C. McAfee Chair

shachar israel2

BASS TROMBONEthomas Klaber

EUPHONIUM AND BASS TRUMPETrichard stout

TUBAYasuhito sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANIPaul Yancich*

Otto G. and Corinne T. Voss Chairtom Freer 2

Mr. and Mrs. Richard K. Smucker Chair

PERCUSSIONMarc Damoulakis*

Margaret Allen Ireland ChairDonald Millertom Freerthomas sherwood

kEyBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin Chaircarolyn Gadiel Warner

Marjory and Marc L. Swartzbaugh Chair

LIBRARIANSrobert O’Brien

Joe and Marlene Toot ChairDonald Miller

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

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

CONDUCTORSchristoph von DohnányiMuSIC DIRECTOR LAuREATE

Giancarlo GuerreroPRINCIPAL GuEST CONDuCTOR,CLEVELAND ORCHESTRA MIAMI

Brett MitchellASSOCIATE CONDuCTOR

Elizabeth Ring and William Gwinn Mather Chair

robert PorcoDIRECTOR OF CHORuSES

Frances P. and Chester C. Bolton Chair

T H E c l E V E l a N D o R c H E s T R A


2015-16 SEASON

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Franz Welser-Möst and The Cleveland Orchestra, performing Bruckner’s Fourth Symphony in concert at Severance Hall in April 2012.

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31Severance Hall 2015-16

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 1

Severance HallThursday evening, September 24, 2015, at 7:30 p.m.Friday evening, September 25, 2015, at 8:00 p.m. Saturday evening, September 26, 2015, at 8:00 p.m.

Franz Welser-möst, conductor

These concerts are sponsored by thompson Hine LLP, a Cleveland Orchestra Partner in Excellence.

The concert will end on Thursday at about 9:25 p.m., and on Friday and Saturday at approximately 9:50 p.m.

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, November 1, at 4:00 p.m.

wolfgang amadè mozart symphony no. 41 (“Jupiter”) (1756-1791) in C major, K551 1. Allegro vivace 2. Andante cantabile 3. Menuetto: Allegro — Trio 4. Molto allegro

i n t e r M i s s i o n

richard strauss an alpine symphony, Opus 64 (1864-1949)

D I S T I N G U I S H E D S E R V I C E AWA R DThe Cleveland Orchestra’s Distinguished Service Award will be presented to Rosemary Klena prior tothe Thursday night concert. (see pages 10-11)

2015-16 SEASON

33Severance Hall 2015-16 Introducing the Concert

T H E T WO G R E AT WO R K S on this program are fi nal statements by each composer in a type of piece each was well known for. In each of these sympho-nies, Mozart and Strauss reached new heights, meta-phorically and musically. Both composers continued writing in other genres — Mozart for just two more years before his early death at age 35, and Strauss for three more decades toward aging to be a wise and wistful old man. Mozart’s Symphony No. 41, known by the nick-name “Jupiter,” was his last-completed symphony. Here, in four magnifi cent movements, Mozart shows what his idea of an ideal symphonic piece — without a storyline — could be, fi lled with power, variation, and contrast, and ending in a mighty fugal move-ment of unsurpassed force and beauty. Richard Strauss’s An Alpine Symphony was his last orchestral tone poem, a form that helped bring him world-wide fame as a young man, and in which he continued to create a string of masterpieces well into middle age. That he actually called this one a “symphony” (and at fi rst intended to create it as a four-movement work) does not take away from its masterful depiction of a day-long hike to the top of a mountain — complete with feelings of elation on the summit and contented accomplishment at the end of a full day. That he infused the music with additional layers of meaning and metaphor — about life’s strug-gles and rewards, about natural beauty in contrast to human endeavor — gives it added depth in listening and experience. —Eric Sellen

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

Magnifi cent Mountains &Godly Fugue

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35Severance Hall 2015-16 About the Music

t h e r e h a s b e e n a l o t of speculation over the years as to precisely what went wrong in Mozart’s life between 1785, the apex of his “golden years,” and the summer of 1788, when the last three symphonies were written. By 1788, the concert se-ries where Mozart had presented his great piano concertos had been discontinued for a variety of reasons. Mozart had lost the audience support he had previously enjoyed. In 1786-87, he had an immense success in Prague with his operas The Marriage of Figaro and Don Giovanni (the latter was written specifically for that city), but back home in Vienna, things were going downhill financially. Mozart’s appointment to the relatively minor posi-tion of “Kammer-Kompositeur” at the imperial court did little to improve matters. Mozart’s family life was also extremely difficult. Four of his children died in infancy, three of them between 1786 and 1788. (This left Mozart and his wife, Constanze, with only one surviving child, Karl Thomas, born in 1784; a second son, Franz Xaver Wolfgang, who would become a composer, was born in 1791, the last year of Mozart’s life.) Among the further reasons that may have contributed to the deterioration of Mozart’s situation, researchers have cited the composer’s gambling habit, household mismanagement by

Mozart finished the score of this work, his last completed symphony, on August 10, 1788. The location and date of its first performance are not known. The nickname “Jupiter” (used largely in English-speaking countries) most likely comes from Johann Peter Salomon (1745-1815), the German-born violinist and impresario who brought Haydn to London (and wanted to invite Mozart as well). This symphony runs about 35 minutes in performance. Mozart scored it for flute, 2 oboes, 2 bas-soons, 2 horns, 2 trumpets, timpani,

and strings. The Cleveland Orchestra first performed Mozart’s “Jupiter” Sym-phony during the 1922-23 season under founding music director Niko-lai Sokoloff. It has been performed quite frequently since then, most recently at Severance Hall earlier this year, in January 2015, conducted by Franz Welser-Möst. The Cleveland Orchestra recorded this symphony in 1955 (mono) and again in 1963 (stereo) with George Szell, and in 1990 with Christoph von Dohnányi.

About the Music

At a Glance

symphony no. 41 (“Jupiter”) in C major, K551composed 1788

by Wolfgang amadè mozartborn January 27, 1756Salzburg

diedDecember 5, 1791Vienna

36 The Cleveland OrchestraAbout the Music

Constanze, and a general tendency of the Mozarts to live beyond their means. What is certain is that during the summer of 1788 Mozart start-ed writing heart-rending letters to his friend and fellow Freemason, Michael Puchberg, imploring him for rather large sums of money. In one of these, he was asking Puchberg for “a hundred gulden until next week, when my concerts in the Casino are to begin.” Since the letter was written at the time Mozart was working on what would prove to be his last three symphonies, there is reason to believe that he intended them for concerts “in the Casino.” We don’t know exactly where “the Casino” was, but Mozart had previously played some of

his piano concertos there. The performances of Symphonies Nos. 39-41 may or may not have taken place in the fall of 1788. Because there are no known records of performances, it used to be believed that these symphonies were never heard in concert dur-ing the composer’s lifetime. Recently, experts have become more careful and we no longer rule out a contemporary performance on the basis of missing evidence. There were in fact several opportunities for Mozart to present these symphonies both in Vienna and in Germany, where he journeyed in 1789 and again in 1790. We may not know when or where the first performance took place, but one thing is

certain: by the early 1800s the C-major symphony, the last of the three, was universally recognized as one of the greatest ever com-posed. It came to be known as the “Jupiter,” a nickname probably invented by Johann Peter Salomon, the famous London impresa-rio. As musicologist Elaine Sisman writes in a book devoted to this work, most responses ranged “from admiring to adulatory, a gamut from A to A.” (For Mozart, who died in 1791, the praise unfortunately came too late.)

t h e m u s i c The most widely admired aspect of the work, besides its mag-nificent proportions and general mood of majestic serenity, was, and still is, the fugal finale — in Germany, the symphony is known under the nickname mit der Schlussfuge (“with the final fugue”). The fact that the finale should be the crown of the entire work is in itself unusual since most earlier symphonies placed the greatest empha-

By the early 1800s,

Mozart’s C-major

symphony, the last of

his final three, was

universally recognized

as one of the greatest

ever composed. For the

composer, who died

in 1791, the praise

came too late.


sis on the opening movement. But the symphony is revolutionary in more ways than we often realize — all four movements signifi-cantly transcend the traditional movement types from which they originated. In his seminal book on Mozart’s symphonies, Neal Zas law in-vokes the world of opera for an explanation of the “Jupiter” Sym-phony’s first movement. In Zaslaw’s interpretation, the relationship between the opening fanfares and the closing theme is like that be-tween a serious operatic character and a figure from comic opera. Throughout the movement, Mozart moves between “high-brow” and popular musical styles with as-tonishing ease and without the slightest incongruity. Shortly after a great dramatic outburst (with a suspenseful general rest and an unexpected foray into the minor mode), we hear a beguilingly simple folk-like closing theme. Mozart borrowed this theme from an aria for bass that he had written just a few months earlier, in May 1788. The words were possibly by Lorenzo Da Ponte, with whom Mozart collaborated on three of his greatest operas. The aria “Un bacio di mano” (“A Hand-Kiss”), K541, was intended as an extra number for a comic opera by Pasquale Anfossi (1727-1797). The text of the aria passage Mozart used in the “Jupiter” Symphony runs as follows: “Voi siete un po’ tondo, mio caro Pompeo, le usanze del mondo andate a studiar” (“You are a bit naïve, my dear Pompeo, go study the ways of the world”). In the development section, this theme becomes the starting point for a whole series of transformations, as if the simple melody were indeed “studying the ways of the world.” The second-movement Andante cantabile opens with muted strings playing a simple musical question-and-answer phrase. We will hear the first of these phrases (the question part) again, but not the second part, which will become completely submerged under a cascade of thirty-second notes. In fact, after the simple opening, Mozart soon piles up harmonic and rhythmic complexities in what is one of his most personal and profound musical statements. Then the complexities disappear, and the Andante ends as simply and re-assuringly as it began. The third-movement minuet starts with another question-and-

We don’t know what

went wrong in Mozart’s life

between 1785, the apex of

his “golden years,” and

the summer of 1788, when

the last three symphonies

were written. Mozart had

lost the audience support

he had previously enjoyed

— and his personal

economic situation was

increasingly precarious.


answer; however, this time the structure remains simple throughout. Mozart plays a fascinating game in the trio, which begins with a closing gesture, in a move that has been described as “putting the cart before the horse.” Within only a few measures, this closing gesture undergoes an astonishing number of changes as it is inverted, transposed, and harmonized in different ways. For a moment, it is even made to anticipate the four-note motif of the finale to follow. It then returns in its original form, leading into the recapitulation of the minuet. The celebrated four-note motif of the fourth-movement finale was commonplace in 18th-century contrapuntal studies, probably derived from the Gregorian hymn Lucis creator (“The Creator of Light”). It may be found in several of Mozart’s earlier works, from as early as his Symphony No. 1 written at the age of eight, or the “Credo” movement of his Missa brevis in F major (K192) written ten years later. In the “Jupiter” Symphony, Mozart used this motif to create a movement whose perfection may be part of the reason why Mozart did not write another symphony in the remaining three years of his life. The four-note motif is first presented in a simple form by the first vio-lins, accompanied only by the seconds. A fugal elaboration soon begins, and the motif is joined by several counter-subjects. At one point, no fewer than five different motifs are heard simultaneously. To make matters even more complicated, Mozart embedded his fugue within a sonata structure. This means that there are several fugal sections, arranged in an order that follows the usual exposition-development-recapitulation scheme of sonata form. In other words, two worlds meet in this magnificent finale: the strict contrapuntal technique inherited from the Baroque and the freer, “galant” idiom of the Classical era. The seamless synthesis of those two worlds was an achievement unmatched even by Mozart. Music has never been closer to what 18th-century philosophers called the “sublime,” a term defining an experience at once powerful, uplifting, and transcendent. It is, no doubt, this sublime quality that invited the association with Jupiter, the chief of the gods in Roman mythology.

—Peter Laki Copyright © Musical Arts Association

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

About the Music

39Severance Hall 2015-16 About the MusicAbout the Music

t h e i d e a F o r a piece of music about a hike in the Alps dates to Strauss’s childhood. After taking part in a particularly adven-turous day out hiking and getting lost and drenched in rain, the aspiring composer even banged out some thoughts for it on the piano. So far as we know, none of that early work sur-vives in what the far more experienced composer wrote in An Alpine Symphony four decades later — except for the sense of adventure and some very precise details of how the day went. In today’s world, when hundreds of tourists climb Mt. Ever-est each year, and some trails in the Rocky Mountains see daily summer traffic more like an interstate highway at rush hour, it is important to remember the excitement that the idea of moun-tain climbing had for a boy of Strauss’s era. Indeed, mountain climbing was a relatively new sport in the 19th century. The Matterhorn and several other famous Alpine peaks were only first climbed in the decade surrounding Strauss’s birth in 1864. These were often accomplished with great rivalry between na-tional expeditions and with enormous international press cover-age of each success (and of each gruesome or tragic failure). In the Bavarian Alps just south of Strauss’s hometown of Munich, some peaks remained without known ascents, easily fueling and

by richardstraussborn June 11, 1864Munich

diedSeptember 8, 1949Garmisch-Partenkirchen, Bavaria

an alpine symphony, Opus 64composed 1911-15

Strauss contemplated writing a “mountain symphony” for many years, and drafted a plan for the work’s program as early as 1899. Some aspects of this draft evolved into An Alpine Symphony, which he began sketching in 1911. He wrote most of the work in the winter of 1914-15, after the outbreak of World War I forced him to “retire” to his country home in Garmisch, Bavaria. The completed symphony was pre-miered on October 28, 1915, by the Dresden Royal Orchestra conducted by the composer. This work runs about 50 minutes in performance. Strauss scored it for

4 flutes, 2 piccolos, 3 oboes, english horn, 4 bassoons, contrabassoon, 8 horns (four doubling tenor tubas), 4 trumpets, 4 trombones, 2 bass tubas, timpani (2 players), percussion (wind machine, thunder machine, glocken-spiel, cymbals, bass drum, snare drum, triangle, cowbells, tam-tams), celesta, 2 harps (doubled if possible), and strings, plus an offstage brass group. The Cleveland Orchestra first performed Strauss’s An Alpine Symphony during the 1972 Blossom Music Festival. It has been presented a few times since then, most recently at concerts in January 2009 led by Franz Welser-Möst.

About the Music

At a Glance

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shaping a boy’s imagination with vivid ideas for later recall. An Alpine Symphony turned out to be Strauss’s final orches-tral tone poem, the genre in which he had experienced his first great successes as a composer. Although Franz Liszt had evolved the idea into its own genre, it was Strauss who raised the idea to high symphonic art. He created half a dozen masterpieces, each of which can be held up as a definitive example of the tone poem genre, including Death and Transfiguration (1889), Till Eu-lenspiegel (1895), Also sprach Zarathustra (1896), Ein Heldenleben (1898), and An Alpine Symphony (1915). In each, his exceptional abilities as an orchestrator allowed him to master-fully color, depict, and portray an astonishingly wide range of topics, ideas, and dramatic action. Strauss labeled An Alpine Symphony as a sym-phony, in part because it grew out of a four-move-ment idea he sketched between 1899 and 1902. At that time, the mountain hike idea was merely the first movement, with more philosophical views of nature filling out the other three (and was, in part, a reaction by Strauss to Mahler’s massive Third Symphony, about humanity’s relationship with nature). When he completed An Alpine Symphony more than a decade later, however, the expedition to the summit and back grew to be the entire work — and very likely for Strauss came to represent not just one day’s hike, but a metaphoric lifetime of successive work, achievement, and adventure. An Alpine Symphony is written for an enormous orchestra, the largest that Strauss ever specified, amounting to 120 players or more. It is one continu-ous piece of music, divided into twenty-two parts, but without breaks between sections. As such, it is even more straightforward than his earlier tone poems, and the succession of scenes in An Alpine Symphony was clearly influenced by Strauss’s work writing operas during the previous decade — and by his keen interest in the brand-new art of cinematography and the fluid storytelling possible in motion pictures. The tone poem begins and ends with night, starting in the darkness of pre-dawn, waiting in bed for the expedition to be-gin, and then ending, after a full day of hiking adventure, with the quietude of night, the hikers back home, resting from the

For Strauss, this

work very likely came

to represent not just

one day’s hike, but a

metaphoric lifetime

of successive work,

achievement, and

adventure. Musical-

ly, it was clearly in-

fluenced by Strauss’s

work writing operas

during the previous

decade and by his

interest in the brand

new art of cinema-

tography and the fluid

storytelling possible

in motion pictures.


day’s exertions, contemplating everything they’ve seen. Strauss labelled the varying sections within the score:

1. Night 2. Sunrise 3. The Ascent Begins 4. Entering the Woods 5. Walking Along the Brook 6. At the Waterfall 7. Apparition 8. On Flowery Meadows 9. In the Mountain Pasture 10. Wrong Path through the Thicket 11. On the Glacier 12. Dangerous Moments 13. At the Summit 14. Vision 15. The Fog Rises 16. The Sun is Gradually Obscured 17. Elegy 18. Calm before the Storm 19. Thunder and Storm, Descent 20. Sunset 21. Journey’s End, Quieting 22. Night

It is well worth identifying the various sections as you listen to Strauss’s daylong adventure (supertitles of the title of each section are being projected for this weekend’s Cleveland Orchestra concerts), to enjoy the composer’s abil-ity to clearly portray so many details, as well as listening for his deft execution of the transitions between sections — the brightening as night turns to day to sunrise (as sunlight slowly hits one rock and another, then lifts above the ho-rizon and suddenly bathes the entire scene), the clattering of far-off cowbells, the horn calls of a hunting party in the distance, the thunderstorm’s approach, the ensuing wind and rain, etc., all the way back into introspective night. The sections vary in length, from several minutes to no more than twenty seconds. The transitions between are sometimes challenging to discern. But, like stop-ping and resting on the hike itself, it is easy to find your way again with sounds that seem more familiar. (Strauss replays some of the musical motifs as we hurry down from the mountain, drenched by the afternoon thunderstorm, clearly indicating that we are once more passing by the waterfall, the pasture, etc.) A marching or walking theme is introduced early on, which helps get us

Typical 19th-century mountain climbing attire, as shown in Edward Wympher’s The As-cent of the Matterhorn.


Illustrations by Gustave Doré (1832-1883) showing two episodes from The Ascent of the Matterhorn in 1865. Mountain climbing was still a new sport in the 19th century, with many Alpine peaks recording their first successful climbs in the decades surrounding Richard Strauss’s birth in 1864. Such adventures fueled the young composer’s imagination — and eventually resulted in his Alpine Symphony five decades later. above left Edward Wympher’s party are the first climbers to reach the summit of the Matterhorn, on July 15, 1865. above right Tragedy strikes later in the day, as a rope breaks and four climbers fall to their deaths during the descent.

About the Music

up the mountain. Later on, Strauss turns this theme upside down during the descent from the mountain, reminding us that walking downhill is a different sort of exercise, requiring an altered set of steps. The Apparition (No. 7) is of an other-worldly kind, of something seen through or within the splashing water of the Waterfall (No. 6), and is based on timeless Alpine lore of watergoblins or other forest-mountain entities appearing in the mists or shadows — enhanced, of course, by a young boy’s vivid imagination (and the older Strauss’s sense of youthful wonder and merriment). The Dangerous Moments of No. 12 are clearly spelled out in the mu-sic, as slippery steps and near missteps carry us across some ice around the glacier toward the final summit. (The glacier theme music is, fittingly, a variation of the earlier Waterfall music — water in differing forms, flow-


ing, then frozen.) The Vision (No. 14) has been the cause of much commentary and discussion over the years. Strauss stated that the preceding Summit music (No. 13) portrays the hiker’s elation and joy at reaching the top, with its exhilarating view of the surrounding valleys and peaks. The music of No. 14 transcends this, transforming the music toward very personal thoughts of tranquility and majesty. This is almost certainly a reference to events from the first successful climb to the top of the Matterhorn in 1865 — popularized through Edward Wympher’s book The Ascent of the Matterhorn, published in 1880 when Strauss was just 16 years old. The book featured illustrations based on a set of draw-ings by Gustave Doré that had already popularized details of the climb. Tragedy struck that famous expedition on the way down from the summit, when a rope broke and four climbers fell to their deaths. Other members of the party reported that they saw a vision of a special grouping of lines (some thought it a series of Christian crosses, which is how Doré portrayed it) within changing clouds above the mountain. In Strauss’s Alpine Symphony, the Vision at the summit takes in all of this, commenting musically on the inherent cost of any great human endeavor — whether climbing a mountain or composing a big work for symphony orchestra. Before the return of Night (No. 22) comes a section titled Aus-klang in German. Difficult to translate, but meaning the vanishing of sound, or the sublimation of sound, this long section includes some additional recap or recollection of the day’s events musically, together with some organ music (perhaps from services at the village church). Blending this effortlessly into the returning night music, Strauss ably demonstrates his magical ability to portray changing mental states in music — from contemplating the day’s adventures and achievements through weariness and on into satisfying and well-deserved sleep. We are tired, yes, but today’s hiking achievements have been fully ab-sorbed into our lives and personality, and we are ready for whatever tomorrow may bring.

—Eric Sellen © 2015

Eric Sellen grew up hiking to the tops of mountains in Colorado. He currently serves as program editor for The Cleveland Orchestra and has previously held administrative positions with the symphony orchestras of Cleveland, Phoenix, and Philadelphia.

About the Music

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New York acclaims Cleveland Orchestra at Lincoln Center Festival residency


In July, Franz Welser-Möst led The Cleveland Orchestra in four performances at New York’s Lin-coln Center Festival 2015. The concerts included two opera-in-concert presentations of Richard Strauss’s opera Daphne, plus two orchestral concerts featuring music by Beethoven, Strauss, and Messiaen. The fol-lowing excerpts from reviews and commentary represent the outpouring of acclaim that these performances engendered:

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

Cleveland Orchestra News

“… right now The Cleveland Orchestra may be, as some have argued, the fi nest in America. . . . At the end of the opera, the ovations for Ms. Hangler, Mr. Schager and especially Mr. Welser-Möst and this remarkable orchestra were ecstatic.” —New York Times, July 16, 2015

“This is a score that thunders and roars, and the Clevelanders absolutely nailed it … ensemble playing was perfectly judged. The sheer musicality of the players’ work was a wonder.” —Musical America.com, July 17, 2015

“. . . the opera poses plenty of challenges for the orchestra and the principal singers, which were handily surmounted in The Cleveland Orchestra.”

—Wall Street Journal, July 20, 2015

“. . . The Cleveland Orchestra exemplifi es the fi nest kind of eff ortless virtuosity, as it demonstrated on Friday night at Avery Fisher Hall during the last of three eagerly anticipated programs for this summer’s Lincoln Center Festival.”

—New York Times, July 20, 2015

“The Cleveland Orchestra sounded absolutely radiant from the wispiest pianissimo to the most thundering fortissimo, and even in the iff y acoustic of Avery Fisher Hall, there was a sumptuous bloom in the tone.”

—New York Observer, July 22, 2015


Cuyahoga Arts & Culture funding up for renewal in November electionOn Election Day, November 3, voters have the opportunity to vote yes on Issue 8, renewing a penny-and-a-half tax per cigarette to provide public support for arts and culture organizations throughout Cuyahoga County. Approved in 2006, Issue 8 has proved to be one of the most successful initiatives in our re-gion’s history: — The levy has contributed over $15 million each year directly to our Arts & Culture sector, pro-viding competitive grants for operating and project support to The Cleveland Orchestra, museums and cultural institutions, small community theaters, gal-leries, nature centers, and many more. — In 2013 alone, levy-funded organizations, including The Cleveland Orchestra, provided over 1.4 million education experiences for kids, including more than 18,000 fi eldtrips. — Since 2007, the levy has invested more than $125 million into our community, through more than 1,000 grants, awarded to more than 300 arts, cul-ture, educational, and community organizations do-ing work in more than 2,300 locations countywide. —Nearly half of all events by levy-funded Arts & Cultural organizations are FREE. Among Cleveland Orch estra events supported by this tax is the annual “Star-Spangled Spectacular” concert in downtown Cleveland. Tens of thousands of commu-nity members enjoy this free event each summer. Issue 8 doesn’t raise taxes or increase prices; it simply continues the current tax on cigarettes, and continues providing critical support for the arts and culture sector for another 10 years. Any individual or organization can help raise awareness about Issue 8 by putting up yard signs or making phone calls, encouraging friends and neighbors to register to vote early, posting on social media, endorsing Issue 8, or making a donation. For more details and to get involved, please visit www.acac2015.org. Cuyahoga County’s Arts & Culture sector enriches education, stimulates the economy, strengthens local neighborhoods, and contrib-utes to Cleveland’s world-class reputation. You can help to secure continued support by voting yes on Issue 8.

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

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

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

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

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

Cleveland Orchestra News

Our world-renowned arts & culture assets were at risk – until residents voted in 2006 to provide the first significant public funding.

Since then, our arts & culture sector has thrived, enhancing education, providing thousands of jobs, making our neighborhoods stronger, and helping lead our resurgence.

Issue 8, a renewal of the penny-and-a-half per cigarette arts & culture levy, will continue millions in funding annually to arts & culture projects and organizations in Cuyahoga County.

Our public investment has benefited all of Cuyahoga County: • More opportunity for arts education and

experiences for children• A stronger Arts & Culture sector that is helping

improve our economy • Stronger neighborhoods anchored by

successful arts & culture organizations• Northeast Ohio’s cultural treasures are

protected for future generations

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Our world-renowned arts & culture assets were at risk – until residents voted in 2006 to provide the first significant public funding.

Since then, our arts & culture sector has thrived, enhancing education, providing thousands of jobs, making our neighborhoods stronger, and helping lead our resurgence.

Issue 8, a renewal of the penny-and-a-half per cigarette arts & culture levy, will continue millions in funding annually to arts & culture projects and organizations in Cuyahoga County.

Our public investment has benefited all of Cuyahoga County: • More opportunity for arts education and

experiences for children• A stronger Arts & Culture sector that is helping

improve our economy • Stronger neighborhoods anchored by

successful arts & culture organizations• Northeast Ohio’s cultural treasures are

protected for future generations

VoteForIssue8.org

Arts & Culture Works!

forvote

Not a tax increase.

Paid for by the Arts & Culture Action Committee, Mary Grace Staph, Treasurer, 812 Huron Rd., East, Suite 890, Cleveland, OH 44115

49Severance Hall 2015-16 49Cleveland Orchestra News

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

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

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

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

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

Committed to Accessibility Severance Hall is committed to making performances and facilities accessible to all patrons. For information about accessibility or for assistance, call the House Manager at 216-231-7425.

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


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The Circle was created to off er young professionals who love music a new way to enjoy and engage with The Cleveland Orchestra.

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

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

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



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

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

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



FIRST VIOLINKeiko Furiyoshi 2005 — 34 yearsAlvaro de Granda 2 2006 — 44 yearsErich Eichhorn 2008 — 41 yearsBoris Chusid 2008 — 34 yearsGary Tishkoff 2009 — 34 yearsLev Polyakin 2 2013 — 31 years SECOND VIOLINRichard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 21 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 years VIOLALucien Joel 2000 — 31 yearsYarden Faden 2006 — 40 years CELLOMartin Simon 1995 — 48 years Diane Mather 2 2001 — 38 yearsStephen Geber * 2003 — 30 yearsHarvey Wolfe 2004 — 37 yearsCatharina Meints 2006 — 35 yearsThomas Mansbacher 2014 — 37 years BASSLawrence Angell * 1995 — 40 yearsHarry Barnoff 1997 — 45 years Thomas Sepulveda 2001 — 30 yearsMartin Flowerman 2011 — 44 years HARPLisa Wellbaum * 2007 — 33 years FLUTE/PICCOLOWilliam Hebert 1988 — 41 yearsJohn Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years

OBOERobert Zupnik 1977 — 31 years Elizabeth Camus 2011 — 32 years CLARINETTheodore Johnson 1995 — 36 yearsThomas Peterson 2 1995 — 32 years Franklin Cohen ** 2015 — 39 years BASSOONPhillip Austin 2011 — 30 yearsRonald Phillips 2 2012 — 41 years HORNMyron Bloom * 1977 — 23 years Richard Solis * 2012 — 41 years TRUMPET/CORNETBernard Adelstein * 1983— 28 years Charles Couch 2 2002 — 30 years James Darling 2 2005 — 32 years TROMBONEEdwin Anderson 1985 — 21 yearsAllen Kofsky 2000 — 39 yearsJames De Sano 2003 — 32 years PERCUSSIONJoseph Adato 2006 — 44 yearsRichard Weiner * 2011 — 48 years LIBRARIANRonald Whitaker * 2008 — 33 years

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

Appreciation

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

Listed here are the living members of The Cleveland Orchestra who served more than twenty years. Appointed by and playing under four music directors, these 44 musicians collectively completed a total of 1560 years of service — representing the Orchestra’s ongoing service to music and to the greater Northeast Ohio community.

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

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

Musicians Emeritus of

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

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

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

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

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

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

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

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


CIM Violins of Hope ad

Meet the Artist Luncheonon October 9 features chorus director Robert Porco The Women’s Committee’s annual series of Meet the Artist luncheons begins the 2015-16 season on Friday, October 9. The day’s guest artist is Robert Porco, direc-tor of choruses for The Cleveland Orches-tra. He will discuss his career and the cho-rus’s acclaimed history with Randy Elliot, assistant artistic administrator, and perform a short program during the event. This Meet the Artist luncheon takes place at The Country Club (2825 Lander Road, Pepper Pike). A reception begins at 11:30 a.m., with lunch following at noon, and then the program with Porco at 1 p.m. The cost is $40 for Women’s Committee members; $50 for non-members. Reserva-tions are suggested. Please call Cleveland Orchestra Ticket Services at 216-231-1111.

A.R.O.U.N.D T .O .W.N Recitals and presentations Upcoming local performances by current and re-tired members of The Cleveland Orchestra include: Retired Cleveland Orchestra musician Franklin

Cohen (clarinet), assisted by pianist Zsolt Bognár, performs a faculty recital at the Cleveland Institute of Music’s Kulas Hall on Wednesday evening, October 21. The pro-

gram begins at 8 p.m. and features works by Schubert, Schumann, Weinberg, Gershwin,

Poulenc, and Mendelssohn. The recital is free and open to the public.

On Sunday afternoon, October 25, Frank-lin Cohen performs in a concert of Arts Renais-sance Tremont with pianists Sergei Babayan

and Zsolt Bognár, and violist Kirsten Docter, in a program of works by Mozart and Schubert, and a new work written expressly for Cohen by David Conte. A freewill off ering will be taken at the

door at Pilgrim Congregational Church (2952 West 14th Street, Cleveland).

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CIM Violins of Hope ad

Meet the Artist Luncheonon October 9 features chorus director Robert Porco The Women’s Committee’s annual series of Meet the Artist luncheons begins the 2015-16 season on Friday, October 9. The day’s guest artist is Robert Porco, direc-tor of choruses for The Cleveland Orches-tra. He will discuss his career and the cho-rus’s acclaimed history with Randy Elliot, assistant artistic administrator, and perform a short program during the event. This Meet the Artist luncheon takes place at The Country Club (2825 Lander Road, Pepper Pike). A reception begins at 11:30 a.m., with lunch following at noon, and then the program with Porco at 1 p.m. The cost is $40 for Women’s Committee members; $50 for non-members. Reserva-tions are suggested. Please call Cleveland Orchestra Ticket Services at 216-231-1111.

A.R.O.U.N.D T .O .W.N Recitals and presentations Upcoming local performances by current and re-tired members of The Cleveland Orchestra include: Retired Cleveland Orchestra musician Franklin

Cohen (clarinet), assisted by pianist Zsolt Bognár, performs a faculty recital at the Cleveland Institute of Music’s Kulas Hall on Wednesday evening, October 21. The pro-

gram begins at 8 p.m. and features works by Schubert, Schumann, Weinberg, Gershwin,

Poulenc, and Mendelssohn. The recital is free and open to the public.

On Sunday afternoon, October 25, Frank-lin Cohen performs in a concert of Arts Renais-sance Tremont with pianists Sergei Babayan

and Zsolt Bognár, and violist Kirsten Docter, in a program of works by Mozart and Schubert, and a new work written expressly for Cohen by David Conte. A freewill off ering will be taken at the

door at Pilgrim Congregational Church (2952 West 14th Street, Cleveland).

Pa

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andproga neC



T h e C l e v e l a n d O r C h e s T r a is among more than a half-dozen organizations from across Northeast Ohio who are partnering together this fall to present a collaborative series of events, exhibitions, education presentations and workshops, and musical performances. The program, titled Violins of Hope Cleveland, centers around a unique group of violins that bore witness to humanity’s strength in the face of incomprehensible darkness and despair during the Holocaust in Nazi Germany. Noted Israeli master violinmaker Amnon Weinstein has restored and col-lected a group of invaluable instruments, which will be in residence in Cleveland in fall 2015 to provide a series of unprecedented community-led educational, cultural, and personal experiences. Played before and during the Holocaust, the instruments have been painstakingly restored and serve as testaments to the re-silience of the human spirit and the power of music to lift hearts in even the most horrific of circumstances. The full collection includes more than 45 Holocaust-era violins, some with the Star of David on the back and others with names and dates inscribed within the instrument. The violins have been played in concerts around the world, most recently by the Berlin Philharmonic earlier this year. “The opportunity to bring these extraordinary instruments to greater Cleveland immediately united organizations and individuals across the region,” says Richard Bogomolny, Chairman of the Musical Arts Association (the non-profit organization

Violins of HopeA U T U M N 2 0 1 5

A remarkable collection of instruments comes to Cleveland — witnesses to history, they sound again with resilience and hope . . .

Violins of Hope Cleveland


that operates The Cleveland Orchestra) and one of the leaders of the Violins of Hope Cleveland effort. “A profound per-sonal story lives within each violin, and to-gether they possess the potential to leave an indelible impact on every person who sees and hears them.” Among highlights of Violins of Hope performances and activities in Cleveland are two special concerts. On Sunday, September 27, a unique perfor-mance and live telecast takes place with The Cleveland Orchestra under the direc-tion of music director Franz Welser-Möst, and featuring violinist Shlomo Mintz as soloist, with some of the Violins of Hope instruments being played. This special event marks the rededication of the new-ly-renovated Silver Hall, part of Case West-ern Reserve’s new Milton and Tamar Maltz Performing Arts Center at The Temple-Tifereth Israel. This Opening Concert on Septem-ber 27 is being telecast live at 3:00 p.m. by ideastream WVIZ/PBS and simulcast on WCLV radio (104.9 FM). ideastream is also developing a half-hour documentary highlighting Northeast Ohio’s experiences with the project to be aired in February. The Opening Concert telecast will be re-broadcast on October 2 and 4. And on October 14, 2015, the Cleve-land Institute of Music Orchestra presents a free community concert at Severance Hall invoking the power of music to in-spire new generations and bring people together in peace. Throughout the autumn, the instru-ments of Violins of Hope will be featured in a major exhibition at the Maltz Museum of Jewish Heritage, running from October

1 through January 3, 2016. A wide variety of education projects for students and the community are also planned. The Cleveland Orchestra’s fall ed-ucation concerts for students will be cen-tered around the Violins of Hope theme in partnership with the non-profit group Fac-ing History and Ourselves, who will lead a broad education and engagement effort for grades 7-12 throughout the autumn in the Cleveland Metropolitan School Dis-trict, the schools of the Catholic Diocese of Cleveland, and in suburban districts and private schools across Northeast Ohio. Programs, lectures, films, adult learn-ing sessions, and performances involving faculty and students from Case Western Reserve University and the Cleveland Insti-tute of Music are also scheduled, with ad-ditional events sponsored by a variety of community arts and cultural organizations. Thanks to the vision and generous support of a group of committed com-munity spon-sors, Violins of Hope Cleve-land is being presented as a landmark proj-ect. This will be only the second time that the violins have been to North Ameri-ca, and the first time that they will be the centerpiece for such a broad spectrum of programming, reaching audiences throughout Northeast Ohio and beyond. For more details about the Violins of Hope project and associated activities and performances, please visit the web-site violinsofhopecle.org.

Violins of Hope Cleveland

A U T U M N 2 0 1 5

A remarkable collection of instruments comes to Cleveland — witnesses to history, they sound again with resilience and hope . . .

v i O l i N S o f H O p E C L E V E L A N D


Sound for the Centennial THE CAMPAIGN FOR THE CLEVELAND ORCHESTRA


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

Campaign. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial diff erence in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact Jon Limbacher, Chief Development Offi cer, at 216-231-7520. Listing as of September 10, 2015.

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

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

GIFTS OF $5 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through Cuyahoga Arts and CultureMr. and Mrs. Alexander M. CutlerNancy Fisher and Randy Lerner in loving recognition of their mother, Norma Lerner

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

GIFTS OF $1 MILLION TO $5 MILLION

Sound for the Centennial Campaign

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


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

Virginia M. and Jon A. LindsethMs. Nancy W. McCannMedical Mutual of OhioNordson Corporation FoundationParker Hannifi n CorporationCharles and Ilana Horowitz RatnerSally and Larry SearsSquire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of CantonMs. Ginger Warner Anonymous (2)

GIFTS OF $500,000 TO $1 MILLION

The Abington FoundationAkron Community FoundationAmerican Greetings CorporationMr. and Mrs. George N. Aronoff Jack L. BarnhartFred G. and Mary W. BehmBen and Ingrid BowmanDr. Christopher P. Brandt and Dr. Beth SersigBuyers Products CompanyMary Kay DeGrandis and Edward J. DonnellyJudith and George W. DiehlGeorge* and Becky Dunn Ernst & Young LLPMr. Allen H. FordFrantz Ward LLPDr. Saul GenuthThe Giant Eagle FoundationJoAnn and Robert GlickHahn Loeser & Parks LLPIris and Tom HarvieJeff and Julia HealyThe Hershey FoundationMr. Daniel R. HighMr. and Mrs. Donald M. Jack, Jr.Bernie and Nancy Karr

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

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

GIFTS OF $100,000 TO $250,000

Randall and Virginia BarbatoJohn P. Bergren* and Sarah S. EvansThe William Bingham FoundationMr. and Mrs.* Harvey BuchananCliff s Natural ResourcesThe George W. Codrington Charitable FoundationThe Helen C. Cole Charitable TrustThe Mary S. and David C. Corbin

FoundationMr. and Mrs. Matthew V. CrawfordWilliam and Anna Jean CushwaNancy and Richard DotsonPatricia EspositoSidney E. Frank FoundationAlbert I. and Norma C. Geller

The Gerhard FoundationMary Jane HartwellDavid and Nancy HookerMrs. Marguerite B. HumphreyJames D. Ireland III*Trevor and Jennie JonesElizabeth B. JulianoMr. Clarence E. Klaus, Jr.Giuliana C. and John D. KochDr. Vilma L. Kohn*Mrs. Emma S. LincolnMr. and Mrs. Alex MachaskeeRobert M. Maloney and Laura GoyanesElizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. Morrison

Margaret Fulton-MuellerNational Endowment for the ArtsWilliam J. and Katherine T. O’NeillQuality Electrodynamics (QED)Mr. and Mrs. James A. SaksHewitt and Paula ShawThe Skirball FoundationRichard and Nancy SneedR. Thomas and Meg Harris StantonMr. and Mrs. Jules Vinney*David A. and Barbara Wolfort

GIFTS OF $250,000 TO $500,000

* deceased

Sound for the Centennial Campaign

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

September 24, 25, 26 “Season Overview” with Franz Welser-Möst in conversation with Mark Williams, director of artistic planning for The Cleveland Orchestra

October 1, 2“Mahler’s Third and the Natural World” with Rose Breckenridge administrator and lecturer, Cleveland Orchestra Music Study Groups

October 8, 9, 10“Godly Talk: Strauss, Messiaen, and Verdi” with Rose Breckenridge administrator and lecturer, Cleveland Orchestra Music Study Groups

November 6 FRIDAY MORNING CONCERT

“Russian Melody, Soviet Harmony” with Rose Breckenridge

November 7, 8“Shostakovich and Rachmaninoff ” with Timothy Cutler, music faculty, Cleveland Institute of Music

November 19, 20, 21“New Works and Tunes” with Brett Mitchell, associate conductor of The Cleveland Orchestra

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

Student Appreciation October 1-2Student attendance continues to grow at Severance Hall

As The Cleveland Orchestra’s 2015-16 season gets underway, more Student Ad-vantage Members, Frequent Fan Card holders, Student Ambassadors, and student groups are contributing to the continued success of these programs. The Orchestra’s ongoing Student Advantage Program provides opportunities for students to attend concerts at Severance Hall and Blossom through discounted ticket off ers. Membership is free to join and rewards members with discounted ticket purchases. Thousands of students have already joined for this season. The Student Frequent Fan Card was introduced four years ago with great success — and continues to grow, with the number of Frequent Fan Card holders more than quadrupling since the program’s inaugural year. Priced at $50, the Fan Card off ers students unlimited single tickets (one ticket per card holder) to weekly classical subscription concerts all season long. The Student Ambassador program is also growing. These young volunteers help to promote the Orchestra’s concert off erings and student programs directly on campuses across Northeast Ohio. (Call Rayna Davis at 216-231-7561 to learn more about becoming a Student Ambassador.) Also this year, a group of Student Marketing Advisors was formed to help the Orchestra incorporate student feedback and insight to programs, and give lo-cal marketing majors a chance to work closely with the Orchestra’s sales team. In addition, attendance through Student Group sales are also bringing in more and more young people to Cleveland Orchestra concerts. From as far as To-ronto and Nashville, these groups make up an integral part of the overall success toward generating participation and interest among young people. All of these programs are supported by The Cleveland Orchestra’s Center for Future Audiences, through the Alexander and Sarah Cutler Fund for Student Audiences. The Center for Future Audiences was created with a $20 million lead endowment gift from the Maltz Family Foundation to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.

The Cleveland Orchestra extends a special welcometo members of the Student Advantage Program.


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 2

Severance HallThursday evening, October 1, 2015, at 7:30 p.m.Friday evening, October 2, 2015, at 8:00 p.m.

Franz Welser-Möst, conductor

GUSTAV MAHLER Symphony No. 3 (1860-1911) Part One. 1. Kräftig, entschieden. [Forceful, decisive.]

Part Two. 2. Tempo di Menuetto. Sehr mässig. [Very moderate.] 3. Comodo. Scherzando. Ohne Hast. [Without haste.] 4. Sehr langsam [Very slow], misterioso — 5. Lustig im Tempo und keck im Ausdruck — [Joyous in tempo and jaunty in expression.] 6. Langsam, ruhevoll, empfunden. [Slow, peaceful, deeply felt.]

KELLEY O’CONNOR, mezzo-soprano

Women of the CLEVELAND ORCHESTRA CHORUS Robert Porco, director

CLEVELAND ORCHESTRA CHILDREN’S CHORUS Ann Usher, director

Thursday’s concert is sponsored by FirstMerit Bank.

Kelley O’Connor’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Eleanore T. and Joseph E. Adams.

The October 1st performance is dedicated to The Honorable and Mrs. John Doyle Ong in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

The program is performed without intermission and will end on Thursday at about 9:15 p.m., and on Friday at approximately 9:45 p.m.

RADIO BROADCAST These concerts are being recorded for broadcast on WCLV (104.9 FM). The performance can be heard as part of regular weekly programming on WCLV on Sunday, November 15, at 4:00 p.m.

2015-16 SEASON

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OCTOBER 11–JANUARY 5

PAINTING THE MODERN GARDEN

MONET TO MATISSE

ClevelandArt.org

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

Media Sponsor:

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

The Michelle and Richard Jeschelnig Exhibitions & Special Projects Fund

Presenting Sponsors:

COMING EXCLUSIVELY TO CLEVELAND AND LONDON.

CMA-0004-Monet_ClevelandOrchestra_6.375x9.375_Aug31_v4.indd 1 8/28/15 11:51 AM

63Severance Hall 2015-16 Introducing the Program

i n t r o d u c i n g t h e P r o g r a m

A Brief Look at a Long Symphony

F r o m i t s h u m b l e b e g i n n i n g s as an instrumental appetizer for an opera or an oratorio, the musical genre called symphony grew in expres-

sive and philosophical capacity through the works of Haydn, Mozart, Beethoven, Brahms, Bruckner, and Tchai-kovsky (to name a few of the form’s master architects). Most historians would agree that this trend reached its zenith in the symphonies of Gustav Mahler, with their multiplicity of movements and vastness of instrumental (and often vocal) forces. Mahler’s Third Symphony holds the distinction of being the longest of this composer’s nine symphonies, or indeed of any piece by that title in the standard rep-ertoire. Present-day audiences, accustomed to sitting through a movie for an hour and a half, generally have no problem with the Third’s similar duration, especially

since the composer has filled the work’s six movements with a wonderful variety of instrumental color and emotional expression. Composed during Mahler’s summer holidays at Lake Attersee in 1895 and 1896, the Third Symphony is rooted in that region’s spectacular Alpine scenery, which provided the inspiration for a mode of expression that strives constantly upward. As the composer succinctly put it, over the course of the work he “imagined the constantly increasing articulation of feeling, from the brooding, rigid, elementary forces of nature, to the tender creations of the human heart, which in turn reach out beyond themselves, pointing the way to God.” Mahler once summarized the first movement as “Summer marches in,” and indeed two march themes (a Mahler favorite rhythm) contend for dominance, one dirge-like, the other full of hope. In keeping with the char-acter of this symphony, hope wins out in the end. Relief from this mighty symphonic battle comes with a delicate sec-ond movement in minuet tempo, whose piquant instrumental colors were (the composer suggested) inspired by Alpine wildflowers. The third movement is a bustle of human activity with interludes featuring a posthorn, an instrument with rustic and nostalgic connotations for an Austrian audience circa 1900, much as a train whistle would have for many Americans today.

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We are constantly striving to make a better program book for you. Your comments and suggestions are welcome. Can you find what you are looking for? Does the com-mentary about the music help you enjoy the performance? Are the layout and type readable? What else would you like to know about The Cleveland Orchestra?

T H E c l E V E l a N D O R C H E S T R A

Please send your comments to Eric Sellen, Program Book Editor, by email to [email protected]


Continuing to turn his gaze upward, Mahler closes the symphony with three linked movements that call the listener to spiritual realms. A mysterious setting of a nocturnal poem by Friedrich Nietzsche gives way to sparkling sunshine and the sound of children’s voices pro-claiming salvation in a text derived from Austrian folk poetry. The closing adagio movement evokes what the composer called the “higher form of ‘quiet being’,” by transforming the symphony’s vigorous opening theme into one of those achingly tender, endless Mahler melodies that lift the listener upward and upward, through one circle after another of harmonic and orchestral color.

—David Wright

symphony no. 3 in D minorcomposed 1895-96

by gustavmahlerborn July 7, 1860Kalischt, Bohemia(now Kalištì inthe Czech Republic)

diedMay 18, 1911Vienna

Mahler wrote his Third Symphony over the course of two summers; movements 2 through 6 were writ-ten in 1895, the first movement in 1896. However, as early as 1893, he had sketched two musical themes that eventually found their way into the first movement. In addition, the song “Ablösung im Sommer” (“Relief in Summer”), on which the third movement was based, was written about 1890. Although movements from this symphony were performed at concerts in 1896 (movement 2) and 1897 (mvts. 2, 3, and 6), the composer conducted the premiere of the com-plete work on June 9, 1902, at Krefeld. This symphony runs about 95 minutes, without intermission, in performance. Mahler scored it for 4

flutes (2 doubling piccolos), 4 oboes (one doubling english horn), 3 clarinets (one doubling bass clarinet), 2 high clarinets in E flat, 4 bassoons (one doubling contrabas-soon), 8 horns, 4 trumpets, posthorn, 4 trombones, contrabass tuba, tim-pani, percussion (glockenspiel, snare drum, triangle, tambourine, bass drum, suspended cymbals, cymbal attached to the bass drum, tam-tam, birch brush), 2 harps, strings, contralto solo, women’s chorus, and children’s chorus. The Cleveland Orchestra, Chorus, and Children’s Chorus first performed Mahler’s Third Symphony in October 1969, under the direc-tion of Louis Lane. The most recent performances were led by Franz Welser-Möst in 2012.

About the Music

At a Glance

i n a u g u s t 1 8 9 6 , the young conductor Bruno Walter visited Gustav Mahler in the Carinthian Alps, shortly after the composer had completed his Third Symphony. As he later recalled, Walter


stood gaping at the spectacular mountain scenery, and Mahler said to him, “No need to look! I have already composed it all!” Mahler’s eagerness to embrace in his music everything in nature, in heaven, in hell, and in the human heart can be seen as the last fling of Romantic idealism. But perhaps, given the irony and “relativity” that Mahler also keenly felt — one might even

say suffered from — his artistic goals were an Einstein-like effort to make sense of the seemingly anomalous, to find a unified theory of everything. That would make Mahler very much a citizen of the 20th century. There were no jokes about the scenery a few hours later in Walter’s visit, when the composer sat at the piano to play his new symphony for his guest. (We might think it impossible for anyone, even the composer himself, to re-produce the sound of a hundred-piece orchestra and chorus with just ten fingers on a keyboard; but Mahler’s clear, lean orchestral style, with its open counterpoint and sparing use of instrumental colors, actually translates well to the piano.) As Walter recalled forty years later in his book on Mahler, he felt an aura of greatness in the room: “Thanks to our talks, full of the overflow of the creative frenzy of his morning’s work, I was familiar with the spiritual atmosphere of the Symphony long before I knew its musical content. Yet it was a shattering experience to hear him play it at the piano. . . . This music made me feel I recognized him for the first time; his whole being seemed to breathe a mysterious affinity with the forces of nature. I had already guessed its depths, its elemental quality; now, in the range of his creativity, I felt it directly. . . . I saw him as Pan. At the same time, however — this in the last three movements — I was in contact with the longing of the human spirit to pass be-yond its earthly and temporal bonds. Light streamed from him onto his work, and from his work onto him.” Unfortunately for Mahler, not all ears were as attuned to his music then as Walter’s were. In his zeal to be under-stood — it was, after all, the age of Richard Strauss’s very explicit program music — Mahler made several attempts to

offer literary metaphors as movement titles for this symphony, both in print and in conversations with friends. The music is quite understandable without them, and in fact Mahler sup-pressed them at the time of the premiere of the full symphony, which he conducted in the Rhineland town of Krefeld on June 9, 1902. (Individual movements, particularly the second, had

When ques-

tioned why

he ended

this sympho-

ny with a slow

movement

instead of the

more usual fast

finale, Mahler

responded that

“in fast move-

ments . . .

everything

is motion,

change, flow,”

while a slow

movement rep-

resents the

“higher form of

‘quiet being’.”

About the Music


been performed previously in Berlin, Leipzig, and Budapest, to mixed re-ception.) Like many composers, Mahler did not have much patience with explanations. Later that year, he wrote to another conductor: “I have now given up for good any further commentating, analyzing, or providing any lis-tener’s aid whatever!” Nonetheless, if we agree not to take them too literally, Mahler’s titles can give us some clues to the expressive progress of the symphony, and its philosophical underpinnings. While writing it, he used the working title Die fröhliche Wissenschaft (“The Joyful Knowledge”), after Nietzsche’s book of the same name, and added the Shakespearean subtitle “A Sum-mer Morning’s Dream.” Individually, Mahler referred to the movements by various titles at dif-ferent times; his last version, published in the program for a performance of the second movement in Berlin on November 9, 1896, reads as follows:

The symphony consists of the following six movements: Introduction: “Pan awakes.” No. 1. “Summer marches in.” (Bacchic procession.) No. 2. “What the flowers in the meadow tell me.” (Minuet.) No. 3. “What the animals in the forest tell me.” (Rondeau.) No. 4. “What man tells me.” (Alto solo.) No. 5. “What the angels tell me.” (Women’s chorus with alto solo.) No. 6 (Finale). “What love tells me.” (Adagio.)

As this scheme suggests, and the music confirms, Mahler has composed a fundamentally optimistic work, pointing ever upward. In an impatient let-ter trying to describe the work to a friend, he said that his titles offer “some suggestion of how I imagined the constantly increasing articulation of feeling, from the brooding, rigid, elementary forces of nature, to the tender creations of the human heart, which in turn reach out beyond themselves, pointing the way to God.” And who would begrudge Mahler an hour and a half to cover that much ground? Although this is the longest symphony in the standard repertoire — and today this is not such a test of attention as it used to be, since many movies are longer than this piece — Mahler keeps it interest-ing by creating six strongly characterized movements and, within each of them, much variety of expression and orchestral color. The first movement is based on two march themes, one funereal, one optimistic. Mahler was particularly attracted to marches, and to their various meanings and functions in daily life. This extensive movement comes off as a titanic, even cinematic struggle between dark and light, the former represented by a piercingly dissonant short phrase that strikes again and again in D minor and the latter by a buoyant march tune announced at the top of the movement, inhibited at first but then blossoming, and

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69Severance Hall 2015-16 69About the Music

subjected to remarkable variations at mid-movement, in place of a more conventional development section. Mahler’s mastery of razor-sharp modern orchestration is everywhere in evidence; it is just a few steps down the road from this music to Shostakovich’s mordant wit and fury. The dirge-like D-minor theme, with its dire trombones and muffled drums, is recapitulated right where it should be in classic sonata form; the effect in this case is to suppress the lively, imaginative spirit of the development. But the irrepressible march theme sprouts again, quietly, from the cold ground, then swells inexorably, almost frighteningly, to the move-ment’s sudden, fierce conclusion. The first movement by itself constitutes Part I of the symphony, after which Mahler’s score requests a long pause. The remaining five movements make up Part II. The delicate second movement, marked Tempo di Menuetto, starts out very much like the corresponding move-ment of Brahms’s Second Symphony, but ventures off into exotically colored variations à la Borodin or Rimsky-Korsakov. When the texture dwindles to just a few string or wind in-struments, we are especially aware of those telling touches of percussion that are Mahler’s hallmark. The third movement is also in a moderate tempo be-tween slow movement and scherzo, but closer to the lat-ter. Mahler uses a “developing variation” technique with his dainty theme that stems from Brahms, but with his own repertoire of orchestral sounds and harmonic twists. The variation-interlude for a valved posthorn (a regular trumpet is occasionally substituted), repeated later in the movement, serves the purpose of a trio section for this quasi-scherzo. For a turn-of-the-century Austrian audience, the posthorn, which announced the daily arrival of the mail coach, recalled both bygone times and economic expansion, much as a train whistle does for Americans of a certain age today. Mahler’s posthorn casts a mood of nostalgia over the end of the move-ment, but another fierce coda for the full orchestra strongly marks the end of the first section of Part II. The concluding three movements are a poetic cycle in themselves, performed without a break. (In an earlier version of his metaphorical titles, Mahler digressed from his evolution-ary plan to explore psychic and spiritual states of human beings, calling the fourth movement “What night tells me” and the fifth

In the Third

Symphony,

Mahler said

he “imagined

the constantly

increasing

articulation of

feeling, from

the brooding,

rigid, elemen-

tary forces

of nature,

to the tender

creations of the

human heart,

which in turn

reach out

beyond them-

selves, point-

ing the way

to God.”


“What the morning bells tell me.”) With this change come actual words in the music — a nightsong from Nietzsche’s Also sprach Zarathustra, set in dark hues for a low female voice, and a cheerful song about angels from Des Knaben Wunderhorn (“The Youth’s Magic Horn”), a classic collection of folk poetry that was Mahler’s touchstone for composition during these same years. The com-poser’s tempo indication of “Very slow, mysterious” describes the fourth movement’s rapt, hovering feeling; the music is also touched with those unexpected moments of sudden tender emotion that are another Mahler hallmark. The euphonious horns, a link to the previous movement, seem to lift the singer up, against a background of shimmering strings. More horns and strings, joined by a glockenspiel that glints like the rising sun, evoke dawn in the fifth movement. Its jaunty rhythm and bright colors of children’s and women’s voices bring a message of salva-tion that is all the happier because it overcomes moments of doubt and fear at mid-movement. The closing sixth-movement adagio (marked “Slow, peaceful, with feel-ing”) transforms the symphony’s vigorous opening theme into one of those achingly tender, endless Mahler melodies that lift the listener through one circle after another of harmonic and orchestral color. As the opening bars suggest, Beethoven is the model for adagios on this immense scale, although Mahler has a sense of dramatic timing and orchestral space that is entirely his own. Critics, of course, demanded to know why he ended his symphony with a slow movement instead of a fast finale (as if Tchaikovsky hadn’t just done so, to profound effect, in his Sixth Symphony). Mahler responded that “in fast movements . . . everything is motion, change, flow,” while a slow move-ment represents the “higher form of ‘quiet being’.” Although this quiet is interrupted now and then by emotions recalled from earlier movements (but not by the actual themes from those move-ments), all is carried upward in the rising spiral of affirmation toward a D-major conclusion that is as peaceful, in the inward sense, as it is fortissimo for the full orchestra.

—David Wright © 2015

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

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LAKE ERIECOLLEGE

The point is not to take the world’s opinion as a guiding star, but to go one’s way in life and to work unfalteringly, neither depressed by failure nor seduced by applause.

—Gustav Mahler

Mahler, in a photograph taken in 1909 in New York

72 Severance Hall 2015-16About the Soloist

Kelley o’connorAmerican mezzo-soprano Kelley O’Connor is considered among the most compelling performers of her generation. Since her Cleveland Orchestra debut in September 2005, she has performed with the Orches-tra and Franz Welser-Möst at the 2006 Lu-cerne Festival, in Miami, and most recently at Severance Hall in October 2013. Ms. O’Connor has sung with major orchestras throughout North America and Europe, including those of Atlanta, Chi-cago, Los Angeles, New York, Philadelphia, St. Louis, St. Paul, San Francisco, Seattle, Toronto, and Washington D.C., and in Ber-lin, Hong Kong, London, and Zurich. She has performed at the BBC Proms, and the Berlin, Edinburgh, and Mostly Mozart festi-vals, and has appeared in recital at Carn-egie Hall in New York. Kelley O’Connor has performed with the Boston Lyric Opera, Canadian Opera Company, Cincinnati Opera, Lyric Opera Chicago, Opera Boston, Santa Fe Opera, and the Teatro Real Madrid. She earned international acclaim for her role as Fed-erico García Lorca in Golijov’s Ainadamar, in the world premiere in 2003 and subse-quent performances, including the world premiere of the revised edition in 2005. John Adams wrote the title role of The Gospel According to the Other Mary for Ms. O’Connor, and she has sung in the opera on international stages and in concert. Other contemporary composers whose

works she performs include John Harbi-son, Peter Lieberson, and Steven Stucky. Ms. O’Connor’s operatic repertoire also includes Berlioz’s Béatrice and Bénédict, Janáček’s The Cunning Little Vixen, Puccini’s Madama Butterfly, Britten’s A Midsummer Night’s Dream, and Verdi’s Falstaff. Kelly O’Connor’s dis-cography on Deutsche Gram-mophon includes the Grammy Award-winning Ainadamar with the Atlanta Sym-phony Orchestra, The Gospel Accord-ing to the Other Mary with the Los Angeles Philharmonic, Beethoven’s Symphony No. 9 with Franz Welser-Möst and The Cleveland Orchestra, and Lieberson’s Neruda Songs with the At-lanta Symphony Orchestra. A California native, Kelley O’Connor earned a bachelor of music degree from the University of Southern California and a master’s degree from the University of Cal-ifornia Los Angeles, while studying with Nina Hinson. For more information, please visit www.kelleyoconnor.com.

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73Severance Hall 2015-16 73Mahler Three — Sung Text

IV. Fourth MoveMent

“Midnight Song” text from Also sprach Zarathustraby Friedrich Nietzsche (1844-1900) alt solo

O Mensch! Gib acht!Was spricht die tiefe Mitternacht?Ich schlief!Aus tiefem Traum bin ich erwacht!Die Welt ist tief!Und tiefer, als der Tag gedacht!O Mensch! Tief!Tief ist ihr Weh!Lust tiefer noch als Herzeleid!Weh spricht: Vergeh!Doch alle Lust will Ewigkeit!Will tiefe, tiefe Ewigkeit!

V. FiFth MoveMent

Text from Des Knaben Wunderhorn poems edited by Clemens Brentano (1778-1842) and Ludwig Achim van Amim (1781-1832)

knabenchor

Bimm, bamm, bimm, bamm.

frauenchor

Es sungen drei Engel einen süssen Gesang,Mit Freuden es selig in dem Himmel klang,Sie jauchzten fröhlich auch dabei,Dass Petrus sei von Sünden frei.

Und als der Herr Jesus zu Tische sass,Mit seinen zwölf Jüngern das Abendmahl ass,Da sprach der Herr Jesus:

alto solo Oh human, give heed!What does deep midnight say?I slept!From deepest dream I have awakened!The world is deep!And deeper than the day had thought!Oh human! Deep!Deep is its woe!Joy deeper still than heartbreak!Pain speaks: Vanish!But all joy seeks eternity,Seeks deep, deep eternity.

children’s choir Ding, dong, ding, dong.

women’s choir Three angels were singing a sweet song;With joy it resounded blissfully in heaven.They happily shouted with joy all together,That Peter was absolved from sin.

For as Lord Jesus sat at table,With his twelve disciples to eat supper,So spoke Lord Jesus:

symphony no. 3 by Gustav Mahler

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


“Was stehst du denn hier?Wenn ich dich anseh, so weinest du mir!“

alt solo

Und sollt ich nicht weinen, du gütiger Gott?

frauenchor

Du sollst ja nicht weinen!

alt solo

Ich hab übertreten die zehn Gebot.Ich gehe und weine ja bitterlich.

frauenchor

Du sollst ja nicht weinen!

alt solo

Ach komm und erbarme dich über mich!

knabenchor und frauenchor

Bimm, bamm, bimm, bamm.

frauenchor

Hast du denn übertreten die zehn Gebot,So fall auf die Knie und bete zu Gott,Liebe nur Gott in alle Zeit,So wirst du erlangen die himmlische Freud’.

knabenchor

Liebe nur Gott! Die himmlische Freud’ ist eine selige Stadt,Die himmlische Freud’, die kein Ende mehr hat,

knabenchor und frauenchor

Die himmlische Freud’ war Petro bereit’tDurch Jesum und Allen zur Seligkeit.

Bimm, bamm, bimm, bamm . . .

“Why are you standing here?When I look at you, you weep!”

alto solo

And should I not weep, you kind God?

women’s choir

No, you mustn’t weep!

alto solo

I have trespassed against the Ten Commandments.I go and weep bitterly.

women’s choir

No, you mustn’t weep!

alto solo

Ah, come and have mercy upon me!

children’s and women’s choirs

Ding, dong, ding, dong.

women’s choir

If you have trespassed against the Ten Commandments,Then fall on your knees and pray to God,Love only God forever,And you will attain heavenly joy.

children’s choir

Love only God!Heavenly joy is a blessed city,Heavenly joy that has no end.

children’s and women’s choirs

Heavenly joy was prepared for PeterBy Jesus and for the salvation of all.

Ding, dong, ding, dong . . .

Mahler Three — Sung Text

75Severance Hall 2015-16 75Cleveland Orchestra Chorus

Alexandria AlbainyEmily AustinAmy Foster BabinskiKimberly BrenstuhlLydia ChamberlinYu-Ching Ruby ChenBrianna CliffordBarbara J. ClughSusan CucuzzaAnna K. DendyCarolyn DessinEmily EngleMarilyn EppichAmanda EvansLisa Rubin FalkenbergSarah GaitherKathy Jo GutgsellRebecca S. Hall

Ann Marie HardulakLisa HrusovskyBetty HuberKaren HuntSarah N. HutchinsShannon R. JakubczakSarah J. JonesHope Klassen-KayAdrienne LeskaLucia LeszczukKate MacyLisa ManningDiana MartinDanielle S. McDonaldKarla McMullenMegan MeyerMary-Francis MillerAngela Mitchell

Julie Myers-PruchenskiS. Mikhaila Noble-PacePeggy A. NormanJennifer Heinert O’LearySarah Henley OsburnMelissa B. PattonMarta Perez-StableLenore M. PershingJoy M. PowellRoberta PrivetteCassandra E. RondinellaMeghan SchattMonica SchieAlanna M. ShadrakeIna Stanek-MichaelisRachel ThiboJane Timmons-MitchellMartha Cochran Truby

Melissa VandergriffGina VentreSharilee WalkerLaure WasserbauerKiko WeinrothMeredith Sorenson

WhitneyMary WilsonConstance WolfeDebra YasinowLynne Leutenberg Yulish

carolyn dessin, Chair, Cleveland Orchestra Chorus Operating CommitteeJill harbaugh, Manager of ChorusesJulie Weiner, Manager of Youth Choruses

cleveland orchestra chorus robert Porco, Director lisa Wong, Assistant Director Joela Jones, Principal Accompanist

The Cleveland Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute over 15,000 volunteer hours to the Orchestra’s music-making each year.

WomEn’S choruS — mahLEr SymPhony no. 3

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76 The Cleveland OrchestraCleveland Orchestra Chorus

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

Robert Porco became director of choruses for The 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 significant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana Univer-sity 1980-98, and in recent years has taught doctoral-level conducting at the school. As teacher and mentor, Mr. Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, he has taught at Harvard University, Westminster Choir College, and the University of Miami Frost School of Music.

lisa Wong Assistant Director of Choruses

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season. In this capacity, she assists in preparing the Cleveland Orch estra Chorus and Blossom Festival Chorus for per-formances 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

Severance Hall, Ms. Wong is a faculty member at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana, where she worked with the choral department of the Indiana University Jacobs School of Music (including directing 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 degrees in cho-ral conducting from Indiana University.


ann usher Director, Cleveland Orchestra Children’s Choruses

Ann Usher has served as director of the Cleveland Or-chestra Children’s Choruses since 2000. She prepares the Children’s Chorus for their appearances as part of the an-nual Christmas concerts, community concerts, and in the Orchestra’s performances of operas and symphonic works that call for children’s voices. Ms. Usher is director of the School of Music and a professor of music at the University

of Akron, where she teaches graduate and undergraduate choral music education courses. Prior to her appointment as director, she also supervised student teachers and directed the University Singers. She previously taught choral music in the pub-lic schools, specializing in the middle school level. She has served on adjudicated committees for the Ohio Music Education Association (OMEA) and in 2014 served as director of OMEA’s inaugural All-State Children’s Chorus for fourth and fifth graders. Active as a clinician and adjudicator, Ann Usher holds a bachelor of music education degree from the University of Northern Iowa, and a master of music degree in choral conducting and a doctorate in music education from Kent State University.

Cleveland Orchestra Children’s Chorus

Yasmin AhujaSamantha ApanasewiczSydney BallLeah BenkoCélina BéthouxColin Blades-ThomasDaniel BlumAnna BuescherBrendan BurdickAlexandra DoddTaniya DsouzaBaileigh EdelmanAidan Elliot

Megan FowlerBrigette FuentesAlana GoldschmidtMariana GomezZoe HartzCelia J. HawkMaria HiseyAdam HolthausAnnalise JohnsonRachel KovatichMolly LargentBridget LeeDaniel Lee

Narayah B. LylesCatherine Eileen MartinIsabella MartinGenesis L. MerrittGrace MinoNathan NiedzwieckiAmanda OstroskeAlexandra PetroCharlie ProctorVictoria RasnickGraham Richard Simon RichardEmma Violet Rosberil

Jennifer RowanAmanda SachsSomiya SchirokauerEva ShepardTaylor SobolAnna StengerMichael StupeckiChristina TroyerMeridith VandallCharles C. Williams IV

cleveland orchestra children’s chorus ann usher, Director suzanne Walters, Assistant Director dianna White-gould, Accompanist

Created in 1967, the Cleveland Orchestra Children’s Chorus is an ensemble of children in grades 6-9 who perform annually with The Cleveland Orchestra. A Preparatory Chorus, comprised of children in grades 5-8, performs twice each year with the Children’s Chorus. The members of the Children’s Chorus and of the Children’s Preparatory Chorus rehearse weekly during the school year and are selected by audition with the director (held annually in May and June). A number of Children’s Chorus graduates have continued their association as members of the Youth Chorus or Youth Orchestra or have become adult members of the Cleveland Orchestra Chorus.

chILDrEn’S choruS — mahLEr SymPhony no. 3

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

Corporate Annual Support

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Ken ludwig’s






Mr. WOlfApr 2 – 24, 2016






sponsored by

Ken ludwig’s






Mr. WOlfApr 2 – 24, 2016

216.241.6000 | clevelandplayhouse.comFoundation and Government Annual Support

$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

Cuyahoga Arts & CultureThe Andrew W. Mellon Foundation

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

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

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

$50,000 TO $99,999Paul M. Angell Family FoundationThe George W. Codrington Charitable FoundationThe Gerhard Foundation, Inc.Ann and Gordon Getty FoundationThe William Randolph Hearst FoundationMartha Holden Jennings FoundationMyra Tuteur Kahn Memorial Fund of The Cleveland FoundationMarlboro 2465 FoundationMiami-Dade County Department of Cultural Aff airs (Miami)The Nord Family FoundationThe Payne FundThe Sage Cleveland Foundation

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

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

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

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

Cumulative GivingJOHN L. SEVERANCE SOCIETY$10 MILLION AND MORE

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


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


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

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


Foundation & Government Support


Individual Annual Support

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


Lifetime Giving JOHN L. SEVERANCE SOCIETY

$10 MILLION AND MORE

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


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


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

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

Lifetime giving listing as of September 2015.

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


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



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


Lifetime Giving JOHN L. SEVERANCE SOCIETY

$10 MILLION AND MORE

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


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


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

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

Lifetime giving listing as of September 2015.

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


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

84 The Cleveland Orchestra Individual Annual Support

Adella Prentiss Hughes Society

gifts of $100,000 and more

INDIVIDUAL GIFTS OF $500,000 AND MORE

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

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

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


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

George Szell Society



Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Dr. Wolfgang Eder Mr. and Mrs. Michael J. Horvitz Elizabeth B. JulianoMr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Franz Welser-Möst


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

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

Elisabeth DeWitt Severance Society



Daniel and Trish Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton The Brown and Kunze FoundationJudith and George W. DiehlMr. and Mrs. Geoff rey Gund Mr. and Mrs. Jeff rey Healy Milton A. and Charlotte R. Kramer Charitable FoundationVirginia M. and Jon A. LindsethJulia and Larry Pollock The Ralph and Luci Schey Foundation

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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:



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


Art of Beauty Company, Inc.Marsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia BrouhardJill and Paul ClarkMr. and Mrs. William E. Conway Mrs. Barbara CookPeter D. and Julia Fisher Cummings (Miami)Do Unto Others Trust (Miami)Dr. and Mrs. Robert Ehrlich (Europe)Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami)Colleen and Richard Fain (Miami) Mr. Allen H. FordMs. Dawn M. FullRichard and Ann Gridley Gary Hanson and Barbara Klante Jack Harley and Judy ErnestSondra and Steve HardisDavid and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami)Allan V. Johnson Trevor and Jennie Jones Tati and Ezra Katz (Miami) Mr. Jeff LitwillerMr. and Mrs. Thomas B. McGowanMr. Thomas F. McKee Mr. and Mrs. Stanley A. MeiselEdith and Ted* Miller Lucia S. NashMr. Gary A. Oatey (Cleveland, Miami) Mrs. David Seidenfeld Mr. and Mrs. Oliver E. SeikelKim Sherwin Rick, Margarita, and Steven Tonkinson (Miami) Mr. and Mrs. Daniel P. WalshTom and Shirley Waltermire Mr. and Mrs. Jeff rey J. WeaverMr. and Mrs. Jeff rey M. Weiss

Frank H. Ginn Society


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

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


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

Dudley S. Blossom Society



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


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

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

Barbara Robinson, chairRobert Gudbranson, vice chair

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

LEADERSHIP PATRON PROGRAM

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featuring over 40 eclectic and independent shops & services.

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Serving Clevelanders since the 1930s.216-621-7227 | www.nicola.com



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listings continued


The 1929 Society

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

Dr. and Mrs. D. P. AgamanolisSusan S. AngellAgnes ArmstrongMrs. Elizabeth H. AugustusMr. and Mrs. Robert H. Baker Jennifer Barlament and Ken PotsicStephen Barrow and Janis Manley (Miami) Fred G. and Mary W. BehmMr. and Mrs. Jules BelkinMr. William BergerDr. and Mrs. Eugene H. BlackstoneSuzanne and Jim BlaserDr.* and Mrs. Jerald S. BrodkeyFrank and Leslie Buck Mr. and Mrs. William C. ButlerMs. Maria Cashy Dr. William and Dottie ClarkKathleen A. Coleman

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

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


Robert and Alyssa Lenhoff -BriggsMr. and Mrs. Stanley Cohen (Miami) Ellen E. & Victor J. Cohn Supporting Foundation Henry and Mary Doll Linda and Lawrence D. Goodman (Miami)Harry and Joyce GrahamMr. Paul GreigIris and Tom Harvie Mrs. Sandra L. HaslingerHenry R. Hatch Robin Hitchcock Hatch

Amy and Stephen Hoff man Mr. and Mrs. Brinton L. HydePamela and Scott Isquick Ms. Elizabeth JamesRichard and Michelle JeschelnigJoela Jones and Richard Weiss Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Nan and Bob Pfeifer

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

INDIVIDUAL GIFTS OF $10,000 TO $12,499William Appert and Christopher Wallace (Miami)Mr. and Mrs. George N. Aronoff Mr. and Mrs. Dean Barry Drs. Nathan A. and Sosamma J. Berger Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. and Mrs. Richard L. BowenMr. D. McGregor Brandt, Jr.Paul and Marilyn Brentlinger*Mr. and Mrs. Marshall BrownJ. C. and Helen Rankin Butler Scott Chaikin and Mary Beth Cooper Drs. Wuu-Shung and Amy Chuang Richard J. and Joanne ClarkJim and Karen Dakin Mr. and Mrs. Paul DomanNancy and Richard DotsonMr. and Mrs. Robert P. Duvin Mary Jo Eaton (Miami)Dr. and Mrs. Lloyd H. Ellis Jr.Mr. Brian L. Ewart and Mr. William McHenry Nelly and Mike Farra (Miami)Mr. Isaac Fisher (Miami)Kira and Neil Flanzraich (Miami)

Sheree and Monte Friedkin (Miami) Mr. and Mrs. Richard T. GarrettAlbert I. and Norma C. Geller Mr. and Mrs. Robert W. GillespieMr. David J. GoldenKathleen E. HancockMichael L. HardyMary Jane Hartwell Mr. and Mrs. James A. Haslam IIJoan and Leonard HorvitzRuth and Pedro Jimenez (Miami)Cherie and Michael Joblove (Miami)Mrs. Elizabeth R. Koch Tim and Linda Koelz Stewart and Donna KohlDr. David and Janice LeshnerMr.* and Mrs. Arch. J. McCartneyMr. Donald W. Morrison Joy P. and Thomas G. Murdough, Jr. (Miami) Brian and Cindy MurphyMr. Raymond M. Murphy Dr. Anne and Mr. Peter Neff Mr. and Mrs. William M. Osborne, Jr. Douglas and Noreen PowersAudra and George Rose

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

28480 Chagrin Blvd., Woodmere Village, OH

Mon. - Fri. 10am - 5:30pm Sat. ’til 5pm

216.839.6100

23500 Mercantile Rd., Suite E

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Fine Antiques, Decorative Arts, Jewelry and Accessories for over 60 years.

Come visit our galleries.

Always interested in purchasing quality antiques.

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CC

AUG

14

A very Surprising Place

Fine Antiques, Decorative Arts, Jewelry and Accessories

for over 60 years. Come visit our galleries

Always interested in purchasingquality antiques

23500 Mercantile Rd Suite E Beachwood,MON-SAT 10-5:00

216.595.0555

28480 Chagrin Blvd Woodmere Village

MON-FRI 10-5:30 SAT til 5 216.839.6100

greenwaldantiques.com

Join us for dinner before or after the orchestra.

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In the heart of Little Italy!

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Nora Ristorante & Wine BarJoin us for dinner before or after the orchestra.

2181 Murray Hill Road

Tuesday – Thursday & Sunday 5-10pmFriday & Saturday 5-11pm

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Live music!Wednesday – Italian mandolin | Friday – solo jazz



Ms. Nancy A. AdamsMr. and Mrs. Robert J. AmsdellDr. Ronald and Diane Bell Margo and Tom BertinHoward R. and Barbara Kaye BesserMr. and Mrs. David BialoskyCarmen Bishopric (Miami)Mr. and Mrs. Henry G. BrownellMs. Mary R. Bynum and Mr. J. Philip CalabreseDr. and Mrs. William E. CappaertJohn Carleton (Cleveland, Miami)Mr. and Mrs. Frank H. CarpenterMr. Owen ColliganDrs. Mark Cohen and Miriam Vishny Mr. and Mrs. David G. de RouletMrs. April C. DemingPeter and Kathryn Eloff Peggy and David* FullmerLoren and Michael GarrutoDr. and Mrs. Edward C. Gelber (Miami)Dr. and Mrs. Ronald L. GouldNancy and James GrunzweigMr. Robert D. HartMary S. HastingsHazel Helgesen* and Gary D. Helgesen

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

Ms. Sylvia ProfernnaMr.* and Mrs. Thomas A. QuintrellAlfonso Rey and Sheryl Latchu (Miami)Dr. Robert W. ReynoldsCarol Rolf and Steven AdlerRobert and Margo RothFred Rzepka and Anne Rzepka Family FoundationDr. and Mrs. Martin I. Saltzman Mr. Paul H. Scarbrough Ginger and Larry ShaneHarry and Ilene ShapiroMr. Richard Shirey Howard and Beth SimonMs. Ellen J. SkinnerMr. Richard C. StairMr. Taras G. Szmagala, Jr.Mr. Karl and Mrs. Carol TheilErik TrimbleDrs. Anna* and Gilbert TrueMargaret and Eric* WayneRichard Wiedemer, Jr. Tony and Diane Wynshaw-BorisMarcia and Fred* Zakrajsek


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

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

Mr. Roger G. BerkKerrin and Peter Bermont (Miami)Barbara and Sheldon BernsJohn and Laura BertschMs. Deborah A. Blades



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

Ms. Carole HughesMs. Charlotte L. HughesMr. David and Mrs. Dianne Hunt Mr. and Mrs. Christopher Hyland Donna L. and Robert H. JacksonRudolf D. and Joan T. KamperAndrew and Katherine KartalisMilton and Donna* KatzDr. Richard and Roberta KatzmanMr. John and Mrs. Linda KellyDr. and Mrs. William S. KiserMr. and Mrs.* S. Lee KohrmanMr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr.David C. Lamb Anthony T. and Patricia A. Lauria Ivonete Leite (Miami)Irvin and Elin Leonard Mr. Lawrence B. and Christine H. LeveyDr. Alan and Mrs. Joni Lichtin Mr. and Mrs.* Thomas A. LiederbachMr. Jon E. Limbacher and Patricia J. LimbacherMr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. LoveRobert and LaVerne* LugibihlElsie and Byron LutmanMr. and Mrs.* Robert P. Madison Ms. Jennifer R. MalkinMr. and Mrs. Morton L. MandelAlan Markowitz M.D. and Cathy PollardMr. and Mrs. E. Timothy McDonelJames and Virginia Meil

Mr. and Mrs. William A. Mitchell Curt and Sara MollGeorgia and Carlos Noble (Miami) Richard and Kathleen NordMr. Thury O’ConnorMr. Henry Ott-HansenMr. and Mrs. Christopher I. Page Mr. and Mrs. John S. PietyMr. Robert Pinkert (Miami)Mr. and Mrs. Richard W. Pogue In memory of Henry PollakMartin R. Pollock and Susan A. Giff ordDr. and Mrs. John N. Posch Ms. Rosella PuskasDrs. Raymond R. Rackley and Carmen M. FonsecaDr. James and Lynne Rambasek Mr. and Mrs. Roger F. RankinBrian and Patricia RatnerMs. Deborah ReadMr. and Mrs. Robert J. ReidMrs. Charles Ritchie Amy and Ken RogatDr. and Mrs. Michael Rosenberg (Miami)Mr. and Mrs. Robert C. RuhlMrs. Florence Brewster Rutter Bob and Ellie ScheuerDavid M. and Betty SchneiderLinda B. SchneiderDr. and Mrs. James L. SechlerLee and Jane SeidmanMr. Eric Sellen and Mr. Ron SeidmanSeven Five Fund

Ms. Marlene Sharak Mrs. Frances G. ShoolroyNaomi G. and Edwin Z. Singer Family Fund Bruce SmithDrs. Charles Kent Smith and Patricia Moore Smith David Kane Smith Dr. Marvin* and Mimi Sobel Mr. and Mrs. William E. Spatz George and Mary Stark Dr. and Mrs. Frank J. StaubMr. and Mrs. Donald W. Strang, Jr.Stroud Family TrustDr. Elizabeth Swenson Ms. Lorraine S. Szabo Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. TromblyMiss Kathleen Turner Robert and Marti Vagi Don and Mary Louise VanDykeTeresa Galang-Viñas and Joaquin Viñas (Miami)Mr. and Mrs. Mark Allen Weigand Mr. and Mrs. Michael R. Weil, Jr.Mr. and Mrs. Ronald E. WeinbergDr. R. Morgan and Dr. S. Weirich (Miami)Tom and Betsy WheelerNancy V. and Robert L. Wilcox Bob and Kat WollyungAnonymous (3)

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Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated im-portant events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends. Ticket sales cover less than half the cost of presenting The Cleveland Orchestra’s season each year. To sustain its activities here in Northeast Ohio, the Orchestra has undertaken the most ambitious fundraising campaign in our history: the Sound for the Centennial Cam-paign. By making a donation, you can make a crucial difference in helping to ensure that future generations will continue to enjoy the Orchestra’s performances, education pro-grams, and community activities and partnerships. To make a gift to The Cleveland Orches-tra, please visit us online, or call 216-231-7562.

clevelandorchestra.com


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

Charitable Foundation Mr. Davin and Mrs. Jo Ann GustafsonDr. Phillip M. and Mrs. Mary HallMr. and Mrs. David P. Handke, Jr.Elaine Harris GreenMr. and Mrs. Donald F. Hastings Matthew D. Healy and Richard S. AgnesMr. Loren W. HersheyMr. and Mrs. Robert D. Hertzberg (Miami)Dr. and Mrs. Robert L. HinnesMr. Larry HolsteinDr. Randal N. Huff and Ms. Paulette Beech Ms. Luan K. Hutchinson Ruth F. IhdeMrs. Carol Lee and Mr. James IottRobert and Linda JenkinsDr. Michael and Mrs. Deborah JoyceMr. Peter and Mrs. Mary JoyceMr. Stephen JudsonRev. William C. KeeneAngela Kelsey and Michael Zealy (Miami)The Kendis Family Trust: Hilary and Robert Kendis and Susan and James KendisBruce and Eleanor KendrickMr. James KishFred* and Judith KlotzmanJacqueline and Irwin* Kott (Miami)Ellen Brad and Bart KovacDr. Ronald H. Krasney and Vicki Kennedy Mr. Donald N. Krosin

Eeva and Harri Kulovaara (Miami)Mr. and Mrs. John J. Lane, Jr. Mr. Gary LeidichMichael and Lois A. LemrDr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Ms. Grace LimMrs. Idarose S. LuntzJanet A. MannMr. and Mrs. Raul Marmol (Miami)Dr. and Mrs. Sanford E. Marovitz Ms. Dorene MarshDr. Ernest and Mrs. Marian MarsolaisMr. Fredrick MartinMs. Amanda MartinsekMr. Julien L. McCallWilliam C. McCoyMr. James E. MengerStephen and Barbara Messner Ms. Betteann MeyersonDrs. Terry E. and Sara S. Miller Jim and Laura MollSteven and Kimberly MyersDeborah L. NealeMarshall I. Nurenberg and Joanne KleinRichard and Jolene O’Callaghan Dr. Guilherme OliveiraMr. and Mrs. Robert D. PaddockGeorge Parras Dr. and Mrs. Gosta PetterssonHenry Peyrebrune and Tracy RowellDr. Roland S. Philip and Dr. Linda M. Sandhaus Ms. Maribel Piza (Miami)Dr. Marc and Mrs. Carol PohlMrs. Elinor G. PolsterKathleen PudelskiDavid and Gloria RichardsMichael Forde RipichMr. and Mrs. James N. Robinson II (Miami)Mr. Timothy D. Robson Ms. Linda M. RocchiMiss Marjorie A. RottMr. Kevin Russell (Miami)Mrs. Elisa J. Russo Dr. Harry S. and Rita K. RzepkaPeter and Aliki RzepkaDr. Vernon E. Sackman and Ms. Marguerite PattonRev. Robert J. SansonMs. Patricia E. Say Mr. James Schutte Dr. John Sedor and Ms. Geralyn PrestiMs. Kathryn SeiderCharles Seitz (Miami)Mr. and Mrs. Thomas W. Seitz Ms. Frances L. SharpMs. Jeanne ShattenDr. Donald S. SheldonDr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Robert SieckMs. Lois H. Siegel (Miami)David* and Harriet SimonDr. and Mrs. Conrad SimpfendorferThe Shari Bierman Singer FamilyGrace Katherine SipusicRobert and Barbara SlaninaSandra and Richey Smith Roy SmithMs. Barbara Snyder

Lucy and Dan SondlesMs. Sharmon SollittoMichalis and Alejandra Stavrinides (Miami)Mr. Louis StellatoMr. and Mrs. Joseph D. SullivanRobert and Carol TallerKen and Martha TaylorDr. and Mrs. Thomas A. TimkoSteve and Christa Turnbull Mrs. H. Lansing Vail, Jr.Robert A. ValenteBrenton Ver Ploeg (Miami)Mr. and Mrs. Les C. VinneyDr. Michael Vogelbaum and Mrs. Judith RosmanBarbara and George von MehrenAlice & Leslie T. Webster, Jr.Mr. and Mrs.* Jerome A. WeinbergerMr. Peter and Mrs. Laurie WeinbergerRichard and Mary Lynn WillsMr. Martin WisemanMichael H. Wolf and Antonia Rivas-WolfKatie and Donald WoodcockElizabeth B. Wright Rad and Patty YatesDr. William ZeleiMr. Kal Zucker and Dr. Mary Frances HaerrMr. Max F. ZuponAnonymous (5)

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


listings continued


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

* deceased

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

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


Absolute bAroque Apollo’s Fire QuArtet

rene schiffer, Karina schmitz,Kathie stewart, Joseph Gascho

September 27, 2015

JAzz After dArk Jack schantz and Friends

October 18, 2015

clAssicAl And beyondGreg Banaszak,

Katherine DeJongh, sungeun KimNovember 8, 2015

second to noneFActory seconDs BrAss trio

Jack sutte, richard stout, Jesse MccormickFebruary 21, 2016

feAtured young ArtistJinjoo cho ~ violin

March 13, 2016

one piAno, four hAndswesthuizen Duo

sophié & pierre van der westhuizenApril 10, 2016

33 rd season

ViSit MFtwr.Org FOr MOre iNFOrMAtiON.

Join us in our journey as we begin our 2015–16 concert season.

concerts begin at 5:00 pm at christ church episcopal, 21 Aurora street in hudson.

ticket price of $18 includes post concert reception. students admitted free. tickets may be purchased at the door on concert night.

www.chsc.org

CHSC is a provider of Phonak Hearing Aids l Discreet, attractive, smallest-ever designsl Most advanced technologyl Water-resistant

Call today for more information.216-231-8787

Cleveland Hearing & Speech Center is the premier provider of audiology products and

services. From hearing screenings, evaluations, and device fittings, to follow up and support,

CHSC will ensure you never miss a note!

Join the millions of people who enjoy all the sounds of life!

Nevermiss a

note.

WE BELIEVE IN

Find out more at ideastream.org/support

“We love ideastream because we can enjoy great cultural presentations.”

– Rev. Otis Moss, Jr. & Edwina Moss




Administrative Staff as of September 2015

EXECUTIVE OFFICEGary Hanson EXECUTIVE DIRECTOR

Deanne Dixon INTERIM EXECUTIVE ASSISTANT

ORCHESTRA OPERATIONSJennifer Barlament GENERAL MANAGER

Cherilyn Byers ADMINISTRATIVE ASSISTANT

Julie Kim DIRECTOR OF OPERATIONS

Amy Gill ORCHESTRA OPERATIONS MANAGER

Andrew Shebest OPERATIONS COORDINATOR

Orchestra PersonnelRebecca Vineyard INTERIM DIRECTOR

Nishi Badhwar DIRECTOR (beginning September 28)

Christine Honolke MANAGER

Marla Bentley ORCHESTRA PERSONNEL ASSISTANT

Stage Joe Short STAGE MANAGER

Gil GerityThomas HoldenJohn RileyDon Verba STAGEHANDS

ARTISTIC ADMINISTRATIONMark Williams DIRECTOR, ARTISTIC PLANNING

Randy Elliot ASSISTANT ARTISTIC ADMINISTRATOR

Norbrian Ronase ARTISTIC COORDINATOR

Barb Bodemer DRIVER

ChorusesJill Harbaugh MANAGER

Julie Weiner MANAGER, YOUTH CHORUSES

CLEVELANDORCHESTRA MIAMIMontserrat Balseiro MANAGING DIRECTOR

Pratima Raju ASSOCIATE DEVELOPMENT OFFICER

Catalina Briola MIAMI MARKETING MANAGER

Bernice Mena ADMINISTRATIVE ASSISTANT

STRATEGIC PLANNING& COMMUNITY PARTNERSHIPSCarol Lee Iott DIRECTOR, STRATEGY AND SPECIAL INITIATIVES

Education & Community ProgramsJoan Katz Napoli DIRECTOR

Sandra Jones MANAGER, EDUCATION & FAMILY CONCERTS

Rachel Novak MANAGER, LEARNING PROGRAMS & COMMUNITY ENGAGEMENT

Sarah Lamb EDUCATION & COMMUNITY PROGRAMS COORDINATOR

Lauren Generette MANAGER, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

FINANCE & ADMINISTRATIONJames E. Menger CHIEF FINANCIAL OFFICER

Shirley Rundo ADMINISTRATIVE ASSISTANT

Faith Noble CONTROLLER

Barbara S. Snyder ACCOUNTING MANAGER

Carolann Oravec PAYROLL MANAGER

Heather Walters SENIOR ACCOUNTANT

Mary Stewart-McGovern ACCOUNTING ANALYST

Christina Dutkovic ACCOUNTING ASSOCIATE

Information TechnologyDavid Vivino DIRECTOR

Randy Conn DATABASE ANALYST

Theresa Henderson NETWORK ADMINISTRATOR

Janet Montagino TECHNICAL SUPPORT ANALYST

MailroomJim Hilton SUPERVISOR

Andrea Bernatowicz MAILROOM CLERK

Human ResourcesMichelle Vectirelis DIRECTOR

Ruth Mercer HUMAN RESOURCES MANAGER

Kim Svenson HUMAN RESOURCES ASSOCIATE

SEVERANCE HALLCharles László INTERIM DIRECTOR, FACILITIES MANAGEMENT

Laura Clelland ADMINISTRATIVE ASSISTANT

Building OperationsNina Hose ASSISTANT MANAGER

Steve Skunta LEAD BUILDING ENGINEER

Scott MillerRobert NockChristopher DowneyMichael Evert BUILDING ENGINEERS

Shelia BaughGeorge FelderMichelle Williams DOOR PERSONS

Quinn Chambers HALL STAFF & CLEANING SUPERVISOR

Steven WashingtonPauletta Hughes HALL STAFF LEADS

Antonio AdamsonKervin HintonDwayne JohnsonJerome KelleyDarrell SimmonsDwayne Taylor HALL STAFF

Glynis SmithRenee Pettway CLEANING PERSONS

Rolland Allen GROUNDSKEEPER

Facility SalesBob Bellamy ACTING MANAGER, FACILITY SALES & HOSPITALITY

Concerts & Special EventsSean Lewis ACTING MANAGER, EVENT OPERATIONS

Jessica Norris ASSOCIATE MANAGER

House ManagementAdam Clemens HOUSE MANAGER

Patricia Fernberg ASSOCIATE HOUSE MANAGER

RetailLarry Fox STORE MANAGER

Jennifer Orbash SALES ASSOCIATE

Administrative Staff


SALES & COMMUNICATIONSRoss Binnie CHIEF MARKETING OFFICER

Sales & MarketingJulie Stapf DIRECTOR

Jim Sector ASSISTANT DIRECTOR, PATRON LOYALTY

Jerry Golski SALES MANAGER

Rayna Davis MANAGER, ADVERTISING

Ryan Buckley MANAGER, DIGITAL MARKETING & WEBSITE

David Szekeres PUBLICATIONS MANAGER

Brett Della Santina GRAPHIC DESIGN & MARKETING COORDINATOR

Ticket ServicesTim Gaines TICKET SERVICES MANAGER

Joan Eppich ASSOCIATE MANAGER

Mary Ellen Campbell ASSISTANT MANAGER

Cindy AdamsMonica BerensLarry ParsonsRandy Yost CUSTOMER SERVICE REPRESENTATIVES

Sharon MatovichTraci ShillaceMary Ellen Snyder TICKETING SERVICE REPRESENTATIVES

Public RelationsJustin Holden DIRECTOR

Kathy Pahr MEDIA RELATIONS MANAGER

Timothy Parkinson COMMUNICATIONS ASSOCIATE

ArchivesDeborah Hefl ing ARCHIVIST

Andria Hoy ARCHIVES ASSISTANT

Program BookEric Sellen EDITOR

Severance Hall11001 Euclid AvenueCleveland, OH 44106

Administrative Offi ces216-231-7300Ticket Offi ce216-231-1111or 800-686-1141

Group Sales216-231-7493

Education &Community Programs216-231-7355

Media & Public Relations216-231-7476

Archives216-231-7356

Individual Giving216-231-7556

Corporate/Foundation Giving216-231-7523

Legacy Giving216-231-8006

Volunteers216-231-7557

Severance HallRental Offi ce216-231-7421

Cleveland Orchestra Store216-231-7478

Administrative Staff

c l e ve l ando r c he s t r a . c om

PHILANTHROPY & ADVANCEMENTJon Limbacher CHIEF DEVELOPMENT OFFICER

Margaret Gautier SENIOR DEVELOPMENT ASSOCIATE

Individual Giving & Annual FundGrace Sipusic DIRECTOR, INDIVIDUAL GIVING & MIAMI FUNDRAISING

Elizabeth Arnett MANAGER, LEADERSHIP & INDIVIDUAL GIVING

Brian Deeds INDIVIDUAL GIVING COORDINATOR

Sarah Jessie DEVELOPMENT ASSOCIATE, LEADERSHIP GIVING AND DONOR SERVICES

Cayce Felber DEVELOPMENT ASSOCIATE, TRUSTEE GIVING

Lisa Brown DIRECTOR, DEVELOPMENT OPERATIONS

Eric Fenske DEVELOPMENT DATABASE COORDINATOR

Jessica Albright DEVELOPMENT ASSOCIATE, OPERATIONS

Leadership Giving

Laurie Burman DEVELOPMENT OFFICER, LEADERSHIP

Henry Peyrebrune DEVELOPMENT OFFICER, LEADERSHIP

Legacy Giving Bridget Mundy LEGACY GIVING OFFICER

Jill Robinson STEWARDSHIP MANAGER

Institutional Giving — Corporate, Foundation,and Government SupportErin Gay DIRECTOR, INSTITUTIONAL GIVING

Corinne Finefrock MANAGER, CORPORATE GIVING

Dan Coleman GRANTS MANAGER

Em Ezell DEVELOPMENT ASSOCIATE, INSTITUTIONAL GIVING

Development Communications Bryan de Boer DEVELOPMENT OFFICER, COMMUNICATIONS

Suzanne Richardson de Roulet MANAGER, DEVELOPMENT & STRATEGIC COMMUNICATIONS

Lori Cohen COMMUNITY LEADERSHIP LIAISON

4600_OAC_Ad_5x8 7/18/08 8:52 AM Page 1

4600_OAC_Ad_5x8 7/18/08 8:52 AM Page 1

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get Involved

T H E c l E V E l a N D O R C H E S T R A

CONCERTS

Celebrating Life & Music The Cleveland Orchestra performs all varieties of music, gathering family and friends together in celebration of the power of music. The Orchestra’s music marks major milestones and honors special moments, helping to provide the soundtrack to each day and bringing your hopes and joys to life.

From free community concerts at Severance Hall and in downtown Cleveland . . . to picnics on warm summer evenings at Blossom Music Center . . .

From performances for crowds of students, in classrooms and auditoriums . . . to opera and ballet with the world’s best singers and dancers . . .

From holiday gatherings with favorite songs . . . to the wonder of new compositions performed by music’s rising stars . . .

Music inspires. It fortifies minds and electrifies spirits. It brings people together in mind, body, and soul.

Each year, thousandsof Northeast Ohioans experience The ClevelandOrchestra for the first time.Whether you are a seasoned concertgoer or a first-timer,these pages give you waysto learn more or get involvedwith the Orchestra and to explore the joys of music further.

Created to serve Northeast Ohio, The Cleveland Orchestra has a long and proud history of sharing the value and joy of music.

To learn more, visit clevelandorchestra.com

PHOTOgrAPHy By rOger MASTrOiANNi


get Involved

ExCEllENCE

Ambassador to the WorldThe Cleveland Orchestra is one of the world’s most acclaimed and sought-after performing arts ensembles. Whether performing at home or around the world, the musicians carry Northeast Ohio’s commitment to excellence and strong sense of community with them everywhere the Orchestra performs. The ensemble’s ties to this region run deep and strong:

• Two acoustically-renowned venues — Severance Hall and Blossom — anchor the Orchestra’s performance calendar and continue to shape the artistic style of the ensemble.

• More than 60,000 local students participate in the Orchestra’s education programs each year.

• Over 350,000 people attend Orchestra concerts in Northeast Ohio annually.

• The Cleveland Orchestra serves as Cleveland’s ambassador to the world — through concerts, recordings, and broadcasts — proudly bearing the name of its hometown across the globe.

A FOCuS ON YOuNG PEOPlE

Changing LivesThe Cleveland Orchestra is building the youngest orchestra audience in the country. Over the past five years, the number of young people attending Cleveland Orchestra concerts at Blossom and Severance Hall has more than doubled, and now makes up 20% of the audience!

• Under 18s Free, the flagship program of the Orchestra’s Center for Future Audiences (created with a lead endowment gift from the Maltz Family Foundation), makes attending Orchestra concerts affordable for families.

• Student Advantage and Frequent FanCard programs offer great deals for students.

• The Circle, our new membership program for ages 21 to 40, enables young professionals to enjoy Orchestra concerts and social and networking events.

• The Orchestra’s casual Friday evening concert series (Fridays@7 and Summers @Severance) draw new crowds to Severance Hall to experience the Orch-estra in a context of friends and musical explorations.

T H E C L E V E L A N D O R C H E S T R A 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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99get Involved


EDuCATION

Inspiring MindsEducation has been at the heart of The Cleve land Orchestra’s community offerings since the ensemble’s founding in 1918. The arts are a core subject of school learning, vital to realizing each child’s full potential. A child’s education is incomplete unless it includes the arts, and students of all ages can experience the joy of music through the Orchestra’s varied education programs.

The Orchestra’s offerings impact . . .

. . . the very young, with programs including PNC Musical rainbows and PNC grow Up great.

. . . grade school and high school students, with programs including Learning Through Music, Family Concerts, Education Concerts, and in-School Performances.

. . . college students and beyond, with programs including musician-led master classes, in-depth explorations of musical repertoire, pre-concert musician interviews, and public discussion groups.

YOuR ORCHESTRA

Building CommunityThe Cleveland Orchestra exists for and because of the vision, generosity, and dreams of the Northeast Ohio commun-ity. Each year, we seek new ways to meaningfully impact Cleveland’s citizens.

• Convening people at free community concerts each year in celebration of our country, our city, our culture, and our shared love of music.

• Immersing the Orchestra in local commun ities with special performances in local businesses and hotspots during our annual “At Home” neighborhood residencies.

• Collaborating with celebrated arts institutions — from the Cleveland Museum of Art and PlayhouseSquare to Chicago’s Joffrey Ballet — to bring inspirational performances to the people of Northeast Ohio.

• Actively partnering with local schools, neighborhoods, businesses, and state and local government to engage and serve new corners of the community through neighborhood residencies, education offerings, and free public events.



get Involved

VOluNTEERING

Get InvolvedThe Cleveland Orchestra has been supported by many dedicated volunteers since its founding in 1918. You can make an immediate impact by getting involved.

• Over 100,000 friends of The Cleveland Orchestra participate online in our news, concerts, and performances through Facebook and Twitter.

• The Women’s Committee of The Cleveland Orchestra and the Blossom Women’s Committee support the Orchestra through service and fundraising. For further information, please call 216-231-7557.

• Over 400 volunteers assist concertgoers each season, as Ushers for Orchestra concerts at Severance Hall, or as Tour Guides and as Store Volunteers. For more info, please call 216-231-7425.

• 300 professional and amateur vocalists volunteer their time and artistry as part of the professionally-trained Cleveland Orchestra Chorus and Blossom Festival Chorus each year. To learn more, please call 216-231-7372.

A GENEROuS COMMuNITY

Supporting ExcellenceThe Cleveland Orchestra is in the midst of the Sound for the Centennial Campaign, a ten-year initiative that seeks to sustain the musical excellence and community engagement that sets this ensemble apart from every other orchestra in the world.

Ticket sales cover less than half the cost of The Cleveland Orchestra’s concerts, education presentations, and community programs. Each year, thousands of generous people make donations large and small to sustain the Orchestra for today and for future generations.

Every dollar donated enables The Cleveland Orchestra to play the world’s finest music, bringing meaningful experiences to people throughout our community — and acclaim and admiration to Northeast Ohio.

To learn more, visit clevelandorchestra.com/donate



get Involved

A GENEROuS COMMuNITY

Supporting Excellence


GET INVOlVED

Learn MoreTo learn more about how you can play an active role as a member of The Cleveland Orchestra family, visit us at Blossom or Severance Hall, attend a musical performance, or contact a member of our staff.

VISIT Severance Hall 11001 Euclid Avenue Cleveland, OH 44106

Blossom Music Center 1145 West Steels Corners Road Cuyahoga Falls, OH 44223

CONTACT USAdministrative Offices: 216-231-7300

Ticket Services: 216-231-1111 or 800-686-1141 or clevelandorchestra.comGroup Sales: 216-231-7493 email [email protected]

Education & Community Programs: phone 216-231-7355 email [email protected] Orchestra Archives: 216-231-7356 email [email protected]: 216-231-7372 email [email protected]: 216-231-7557 email [email protected]

Individual Giving: 216-231-7562 email [email protected] Giving: 216-231-8006 email [email protected] & Foundation Giving: phone 216-231-7523 email [email protected]

Severance Hall Rental Office: phone 216-231-7421 email [email protected]

ACTIVE PARTICIPATION

Making MusicThe Cleveland Orchestra passionately believes in the value of active music-making, which teaches life lessons in teamwork, listening, collaboration, and self expression. Music is an activity to participate in directly, with your hands, voice, and spirit.

• You can participate in ensembles for musicians of all ages — including the Cleveland Orchestra Chorus, Children’s Chorus, Youth Chorus, and Blossom Festival Chorus, and the Cleveland Orchestra Youth Orchestra.

• Each year, the Orchestra brings people together in celebration of music and events, giving voice to music at community singalongs and during holiday performances.

• We partner with local schools and businesses to teach and perform, in ensembles and as soloists, encouraging music-making across Northeast Ohio.

Music has the power to inspire, to transform, to change lives. Make music part of your life, and support your school’s music programs.



The Cleveland Orchestra guide to

Fine Shops & Services

Michael Hauser DMD MDImplants and Oral Surgery

For Music LoversBeachwood 216-464-1200

www.drhauser.com

216-952-9801 www.rbschwarzinc.com

Exacting craftsmanship and meticulous attention to every detail, every job.

25th ANNIVERSARY SEASON!

The Autana Trio 3pm, Sunday, October 4, 2015

Presented at Pilgrim Congregational Church, 2592 W. 14th St.Visit artconcerts.org for program and season listing.

BEETHOVEN: B flat Major Trio, Op. 97, “Archduke” | SHOSTAKOVICH: E Minor Trio No. 2, Op. 67

Yuri Noh, piano / Rubén Rengel, violin / Anna Hurt, cello

World-class performances.World-class audiences.Advertise among friends in The Cleveland Orchestra programs.

contact John Moore216.721.4300

[email protected]

Let’s talk.

www.livepub.com

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


building audiences for the Future . . . today!The Cleveland Orchestra is committed to developing interest in classical music among young people. To demonstrate our suc-cess, we are working to have the youngest audience of any orchestra. With the help of generous contributors, the Orch estra has expanded its discounted ticket offerings through several new programs. In recent years, student attendance has nearly dou-bled, now representing over 20% of those at Cleveland Orchestra concerts. Since inaugu-rating these programs in 2011, over 155,000 young people have participated.

under 18s Fre e For Familie s Introduced for Blossom Music Fes-tival concerts in 2011, our Under 18s Free program for families now includes select Cleveland Orchestra concerts at Sever-ance Hall each season. This program of-fers free tickets (one per regular-priced adult paid admission) to young people ages 7-17 on the Lawn at Blossom and to the Orchestra’s Fridays@7, Friday Morning at 11, and Sunday Afternoon at 3 concerts at Severance.

student ticKe t Programs In the past four seasons, The Cleve-land Orchestra’s Student Advantage Mem-

bers, Frequent Fan Card holders, Student Ambassadors, and special offers for stu-dent groups attending together have been responsible for bringing more high school and college age students to Sever-ance Hall and Blossom than ever before. The Orchestra’s ongoing Student Advantage Program provides oppor-tunities for students to attend concerts at Severance Hall and Blossom through discounted ticket offers. Membership is free to join and rewards members with discounted ticket purchases. A record 7,500 students joined in the past year. A new Student Frequent Fan Card is avail-able in conjunction with Student Advan-tage membership, offering unlimited single tickets (one per Fan Card holder) all season long. All of these programs are support-ed by The Cleveland Orchestra’s Center for Future Audiences and the Alexander and Sarah Cutler Fund for Student Audi-ences. The Center for Future Audienc-es was created with a $20 million lead endowment gift from the Maltz Family Foundation to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.

Building Future Audiences

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

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

11001 euclid avenueCleveland, ohio 44106c l E V E l a N D O r c H E s t r a . c O M

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Severance Hall104 The Cleveland Orchestra

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


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

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

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

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

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

tra, is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and social events. Catering provided by Marigold Catering. Premium dates are available. Call the Facility Sales Of 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 Of ce for $15 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order pre-paid parking, call the Ticket Of ce at 216-231-1111. Parking can be purchased (cash only) for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. However, the ga-rage often lls up and only ticket holders with pre-paid parking passes are ensured a parking space. Parking is also available in several lots within 1-2 blocks of Severance Hall. Visit the Orchestra’s web-site for more information and details.

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

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

Guest Information

106 The Cleveland OrchestraGuest Information

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

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

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

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

SERVICES FOR PERSONS WITH DISABILITIES

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

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

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

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

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

TICKET SERVICESTICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a dif-ferent performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to ve days prior to a performance. There will be no service charge for the 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 Of ce so that those tickets can be resold. Because of the demand for tickets to Cleve land Orchestra perfor-mances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least two hours before the concert, the value of each ticket can be a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

premium dates still available . . . Call the Manager of Facility Sales

at 216-231-7421 or email [email protected]

The elegance of Severance

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Circle, the ambiance of

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landmarks will provide you

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Marigold’s professional

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


A U T U M N S E A S O NAn Alpine SymphonySeptember 24 — Thursday at 7:30 p.m.September 25 — Friday at 7:00 p.m. <18s September 26 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductor

MOZART Symphony No. 41 (“Jupiter”)STRAUSS An Alpine Symphony

Sponsor: Thompson Hine LLP

Mahler’s Third SymphonyOctober 1 — Thursday at 7:30 p.m.October 2 — Friday at 8:00 p.m. <18s

THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorKelley O’Connor, mezzo-sopranoWomen of the Cleveland Orchestra ChorusCleveland Orchestra Children’s Chorus

MAHLER Symphony No. 3

A Gala Evening with Renée FlemingOctober 3 — Saturday at 7:00 p.m. THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorRenée Fleming, soprano

A once-in-a-lifetime opportunity to hear the world’s most celebrated soprano with The Cleveland Orchestra. A fre-quent performer on the world's grandest stages, interna-tional opera superstar Renée Fleming captivates audiences with her sumptuous voice, consummate artistry, and com-pelling stage presence. The evening’s program is lled with Viennese air, including selections from Richard Strauss’s Capriccio, as well as waltzes and songs by Johann Strauss Jr. and Franz Lehár.Diamond Sponsors: The Lerner Foundation, KeyBank, The Milton and Tamar Maltz Family Foundation, Dee and Jimmy Haslam

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

Concert Calendar

Also Sprach ZarathustraOctober 8 — Thursday at 7:30 p.m.October 10 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorJoela Jones, pianoCleveland Orchestra Chorus

MESSIAEN L’Ascension THURSDAY ONLY MESSIAEN Couleurs de la cité céleste STRAUSS Also Sprach Zarathustra VERDI Stabat Mater and Te Deum (from Sacred Pieces) SATURDAY ONLY

Sponsor: Squire Patton Boggs (US) LLP

Verdi Sacred PiecesOctober 9 — Friday at 7:00 p.m. <18s

THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorJoela Jones, pianoCleveland Orchestra Chorus

MESSIAEN Chronochromie MESSIAEN Couleurs de la cité céleste VERDI Stabat Mater and Te Deum (from Sacred Pieces) Sponsor: Squire Patton Boggs (US) LLP

PNC MUSICAL RAINBOWPowerful PercussionOctober 23 — Friday at 10:00 a.m. <18s

October 24 — Saturday at 10:00 & 11:00 a.m. <18s

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

Sponsor: PNC Bank

FAMILY CONCERTHalloween Spooktacular!October 25 — Sunday at 3:00 p.m. <18s

CLEVELAND INSTITUTE OF MUSIC ORCHESTRACarl Topilow, conductor

Come dressed in your Halloween best for a program lled with magic tricks and musical treats! An afternoon of deliciously frightening fun and terrifying tales featuring the spooky sounds of orchestral favorites Saint-Saëns’s Danse macabre and Dukas’s The Sorcerer’s Apprentice, plus favorites by John Williams from Star Wars, Superman, and Harry Potter. Supported by The Giant Eagle Foundation

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

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

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

109Severance Hall 2015-16 109Concert Calendar

Live TelecastVIOLINS OF HOPECLEVELANDSunday September 27Live broadcast begins at 3:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorShlomo Mintz, violinThomas Hampson, baritoneCleveland Orchestra Chorus

A special and unique concert marking the opening of the fi rst phase of the Milton and Tamar Maltz Performing Arts Center at The Temple–Tifereth Israel, presented as the Opening Concert of a unique com-munity collaboration titled Violins of Hope Cleveland. The concert showcases the newly-renovated Silver Hall and includes performances on a select set of extraordi-nary instruments. Presented by Case Western Reserve University.

The concert will be rebroadcast on: Friday, October 2 beginning at 9 p.m. Sunday, October 4 beginning at 3 p.m.

AT THE MOVIESThe Hunchback of Notre DameOctober 30 — Friday at 8:00 p.m. Todd Wilson, organ

Celebrate Halloween with this classic silent lm from 1923 . . . with the accompaniment played live by acclaimed organist Todd Wilson. Quasimodo (Lon Chaney Sr.), the deformed bell ringer of the Cathedral of Notre Dame in Paris, sacri ces his life to save Esmeralda (Patsy Ruth Miller), a Gypsy girl who once befriended him, from the hunchback’s evil master. The fully-improvised accom-paniment features the magni cent sound of Severance Hall’s mighty Norton Memorial Organ.

Sponsor: PNC Bank

Symphonic DancesNovember 6 — Friday at 11:00 a.m. <18s *November 7 — Saturday at 8:00 p.m. November 8 — Sunday at 3:00 p.m. <18s

THE CLEVELAND ORCHESTRAGianandrea Noseda, conductorLeonida Kavakos, violin

PETRASSI Partita* SHOSTAKOVICH Violin Concerto No. 1 RACHMANINOFF Symphonic Dances * not part of Friday Morning Concert

Sponsor: BakerHostetler

Israel Philharmonic OrchestraNovember 16 — Monday at 7:30 p.m. ISRAEL PHILHARMONIC ORCHESTRAZubin Mehta, conductor

BARDANASHVILI A Journey to the End of the Millennium SHOSTAKOVICH La Valse [The Waltz] DVOŘÁK Symphony No. 9 (“From the New World”) Presented by The Cleveland Orchestra in collaboration with the American Friends of the Israel Philharmonic Orchestra.

<18sUnder 18s Free FOR FAMILIES

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

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

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

THE ISRAEL PHILHARMONICSPECIAL EVENT PRESENTATIONMonday November 16 at 8:00 p.m.ISRAEL PHILHARMONIC ORCHESTRAZubin Mehta, conductor

One of Israel’s oldest and most infl uential cultural institutions, the Israel Philharmonic was founded on the eve of World War II, when the Polish star violinist Bronislaw Huberman auditioned leading Jewish musicians across Europe and procured them lifesaving jobs. When the nation of Israel was founded in 1948, the Palestine Symphony became the Israel Philharmonic Orchestra, the country’s national orchestra. Today, this ensemble is an eloquent voice for peace, as well as Israel’s cultural ambassador. Don’t miss this highly-anticipated Severance Hall performance.

Presented by The Cleveland Orchestra and Musical Arts Association in partnership with the American Friends of the Israel Philharmonic Orchestra.

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

TICKETS 216-231-1111 clevelandorchestra.com

110 The Cleveland OrchestraUpcoming Concerts

AT SEVERANCE HALL . . .

CLEVELAND ORCHESTRA GALAAn Evening withRENÉE FLEMINGSaturday October 3 at 7:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorRenée Fleming, soprano

A once-in-a-lifetime opportunity to hear the world’s most celebrated soprano with The Cleveland Orchestra. International opera superstar Renée Fleming captivates audi-ences with her sumptuous voice, consummate artistry, and compelling stage presence. Con-ducted by Music Director Franz Welser-Möst for this special Severance Hall concert, the evening’s program is fi lled with Viennese fl air, including selections from Richard Strauss’s Capriccio, as well as waltzes and songs by Jo-hann Strauss Jr. and Franz Lehár.

Diamond Sponsors: The Lerner Foundation, KeyBank, The Milton and Tamar Maltz Family Foundation, Dee and Jimmy Haslam

the cleveland orchestra sept. 24-26, oct. 1-2 concerts

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