the cleveland orchestra

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Table of Contents4 The Cleveland Orchestra

1213SEASON

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

WEEK 3

7 In the News

Perspectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Spotlight Photo: A Look Back . . . . . . . . . . . . . . . . 8

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

Distinguished Service Award . . . . . . . . . . . . . . . . 32

8 About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 11

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

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

Meet the Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 71

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

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

34 Concerts —Week 3 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Program: October 4, 5, 6 . . . . . . . . . . . . . . . . . . 34

Introducing the Program . . . . . . . . . . . . . . . . . . . . 37

KeyBank Fridays@7 . . . . . . . . . . . . . . . . . . . . . . . . . 39

MENDELSSOHN

A Midsummer Night’s Dream . . . . . . . . . . . . . . 41

MOZART

Bassoon Concerto . . . . . . . . . . . . . . . . . . . . . . . . 45

BERLIOZ

Love Scene, Romeo and Juliet . . . . . . . . . . . . . . 51

RAVEL

Daphnis and Chloé, Suite No. 2 . . . . . . . . . . . . 54

Evolution: Rock’n’Roll to Classical . . . . . . . . . 58

COPELAND

Gamelan D’Drum . . . . . . . . . . . . . . . . . . . . . . . . . 61

Conductor: James Feddeck . . . . . . . . . . . . . . . . . . 38

Soloist: John Clouser . . . . . . . . . . . . . . . . . . . . . . . . 47

Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . 57

Soloists: D’Drum . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

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

Center for Future Audiences . . . . . . . . . . . . . . . . . 72

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

Foundation / Government Annual Support . . . 75

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

90 Future Concerts Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

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

Copyright © 2012 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 Musical Arts Association 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.

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

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

These books are printed with EcoSmart certified 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%

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Perspectives from the Executive Director

7Severance Hall 2012-13

Autumn 2012

Welcome to the new season — Franz Welser-Möst’s eleventh year

as music director. The months ahead promise exciting music and

creative innovation, alongside our continuing dedication to artistic

excellence and community service.

The Cleveland Orchestra and Franz have just returned from this

summer’s European Festivals tour. Once again, their performances

were lauded and applauded from Scotland to Salzburg and from Lucerne to Linz.

Many music critics, in the midst of praising the Orchestra’s overall artistry, focused on

the extraordinary string section — including this quote from Südwest Presse: “This

string section can clearly do anything perfectly, and Welser-Möst was able to demon-

strate that fact with brio.” Additional excerpts of reviews from the European Festivals

tour can be found on page 25 of this program book.

The Cleveland Orchestra is devoted to nourishing hearts and minds — through musi-

cal performances and education programs. We are devoted to economic vitality — as

Ohio’s most visible international ambassador, proudly carrying the name of our great

city everywhere we go. And we are devoted to community service. The Orchestra is

in the midst of a renaissance of spirit, as we commit ourselves to being ever more rel-

evant to our hometown in a modern and changing world.

Over the summer, we announced a series of new and innovative programs for the com-

ing season. These include the Orchestra’s fi rst fully staged performances of Tchaikovsky’s

The Nutcracker, presented with The Joff rey Ballet the week after Thanksgiving at Playhouse-

Square. We’re also continuing our return to the public schools, with a fourth year of per-

formances at area high schools. And we’re introducing the expansion of “Under 18s Free”

to select concert series here at Severance Hall. Next spring, we continue our collaborative

partnership performing at the Cleveland Museum of Art, and we launch the Orchestra’s

fi rst Neighborhood Residency in Cleveland’s Gordon Square Arts District. Details of these

and other programs can be found beginning on page 26 of this program book.

We owe a debt of gratitude to the generous donors and sponsors who are funding

these new activities alongside our core programming. And we invite you, our loyal

friends, to consider your own investment in the continuation of these initiatives. Please

be counted among the many who ensure the success of this great orchestra, through

your participation and fi nancial support.

P.S.

Included in this fall’s elections is an operating levy for the Cleveland Metropolitan

School District. Promoted as the “Right Plan, Right Now,” the success of this funding

initiative for education will make a critical diff erence for Northeast Ohio’s future —

and I urge everyone to learn more, to volunteer, and to support the campaign

by visiting www.rightplanrightnow.com.

Gary Hanson

Perspectives

U N D E R T H E L E A D E R S H I P of Music Director Franz Welser-Möst, Th e Cleve-

land Orchestra has become one of the most sought-aft er performing ensem-

bles in the world. In concerts at its winter home at Severance Hall and at each

summer’s Blossom Festival, in residencies from Miami to Vienna, and on tour

around the world, Th e Cleveland Orchestra sets standards of artistic excel-

lence, creative programming, and community engagement. Th e partnership

with Franz Welser-Möst, now in its eleventh season — and with a commit-

ment to the Orchestra’s centennial in 2018 — has moved the ensemble forward

with a series of new and ongoing initiatives, including:

the establishment of residencies around the world, fostering creative artis-

tic growth and an expanded fi nancial base, including an ongoing residency

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

an ongoing residency in Florida, under the name Cleveland Orch estra Mi-

ami, involving an annual series of concerts and community activities, cou-

pled with an expansive set of educational presentations and collaborations

About the Orchestra8 The Cleveland Orchestra

The Cleveland Orchestra Chorus on its way to sing Bach’s St. John Passion at the

Casals Festival in Puerto Rico in June 1962. The all-volunteer Chorus is celebrating

the 60th anniversary of its founding throughout the 2012-13 season.

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(based on successful educational programs pioneered over the past nine decades

at home in Cleveland);

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

ances at Carnegie Hall;

regular concert tours to Europe (including biennial residencies at the Lucerne

Festival) and Asia (including a residency at Tokyo’s Suntory Hall in 2010);

ongoing recording activities, including new releases under the direction of

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

DVD concert presentations of symphonies by Anton Bruckner;

additional new residencies at Indiana University and at New York’s Lincoln

Center Festival;

an expanded off ering of education and community programs in Northeast

Ohio, designed to make music an integral and regular part of everyday life; the

2012-13 season includes a new neighborhood residency program that will feature a

week of activities and performances in Cleveland’s Gordon Square Arts District;

creative new artistic collaborations, including staged works and chamber music

performances, with arts institutions in Northeast Ohio and in Miami;

an array of new concert off erings (including Fridays@7 and Celebrity Series at

Severance Hall as well as movie, themed, and family presentations at Blossom) to

make a wider variety of concerts more available and aff ordable;

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

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

discounts, social media off ers and promotion, and student ticket programs;

continuing and expanded educational partnerships with schools, colleges, and

universities from across Northeast Ohio and in the Miami-Dade community;

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

performances by Th e Joff rey Ballet; the 2012-13 season includes the Orchestra’s

fi rst fully staged performances of Tchaikovsky’s Th e Nutcracker.

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

tent on creating an ensemble worthy of joining America’s ranks of major sympho-

ny orchestras. Over the ensuing decades, the Orchestra quickly grew from a fi ne

regional organization to being one of the most admired symphony orchestras in

the world. Th e opening in 1931 of Severance Hall as the Orchestra’s home brought

a special pride to the ensemble and its hometown, as well as providing an enviable

and intimate acoustic environment in which to develop and refi ne the Orchestra’s

artistry. Year-round performances became a reality in 1968 with the opening of

Blossom Music Center, one of the most beautiful and acoustically admired outdoor

concert facilities in the United States.

The Orchestra Today 9Severance Hall 2012-13

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Musical Arts Association

THE MUSICAL ARTS ASSOCIATION as of June 2012

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

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

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

Richard C. Gridley (SC) George Gund III (CA) Loren W. Hershey (DC)

Herbert Kloiber (Germany)Ludwig Scharinger (Austria)

TRUSTEES EX-OFFICIO Faye A. Heston, President, Volunteer Council of Th e Cleveland Orchestra

Beth Schreibman Gehring, President, Women’s Committee of Th e Cleveland Orchestra

Ruth Ann Krutz, State Chair, Blossom Women’s Committee

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

Dr. Lester Lefton, President, Kent State University

Barbara R. Snyder, President, Case Western Reserve University

PAST PRESIDENTS D. Z. Norton 1915-21

John L. Severance 1921-36

Dudley S. Blossom 1936-38

Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55

Frank E. Taplin, Jr. 1955-57

Frank E. Joseph 1957-68

Alfred M. Rankin 1968-83

Ward Smith 1983-95

Richard J. Bogomolny 1995-2002, 2008-09

James D. Ireland III 2002-08

HONORARY TRUSTEES FOR LIFE Gay Cull Addicott Francis J. Callahan Mrs. Webb Chamberlain Oliver F. Emerson

Allen H. FordRobert W. GillespieDorothy Humel HovorkaRobert F. Meyerson

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

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

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

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

OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President

Richard J. Bogomolny, Chairman

The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair

Raymond T. Sawyer, Secretary

Beth E. Mooney, Treasurer

Jeanette Grasselli Brown Alexander M. Cutler Matthew V. Crawford Michael J. Horvitz Douglas A. Kern

Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley Larry Pollock

Alfred M. Rankin, Jr.Audrey Gilbert RatnerBarbara S. Robinson


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

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

eleventh year as music director of Th e Cleveland

Orchestra, with a long-term commitment extend-

ing to the Orchestra’s centennial in 2018. Under his

direction, the Orchestra is acclaimed for its continu-

ing artistic excellence, is enlarging and enhancing its

community programming at home, is presented in a

series of ongoing residencies in the United States and

Europe, continues its historic championship of new

composers through commissions and premieres, and

has re-established itself as an important operatic en-

semble. Concurrently with his post in Cleveland, Mr. Welser-Möst became

general music director of the Vienna State Opera in September 2010.

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

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

performances in collaboration with the Cleveland Metropolitan School District.

Th e initiative continues and expands upon Mr. Welser-Möst’s active participation

in community concerts and educational programs, including the Cleveland Orches-

tra Youth Orchestra and partnerships with music conservatories and universities

across Northeast Ohio.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

and Sean Shepherd.

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

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Music Director 15Severance Hall 2012-13

Music Director

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

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

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

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

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

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

Franz Welser-Möst became general music director of the

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

pany has included acclaimed performances of Tristan and Isolde,

a new production of Wagner’s Ring cycle with stage director Sven-

Eric Bechtolf, and critically praised new productions of Hin-

demith’s Cardillac and Janáček’s Katya Kabanova and From the

House of the Dead. During the 2012-13 season, his Vienna performances include

Wagner’s Parsifal, Strauss’s Arabella and Ariadne auf Naxos, Puccini’s La Bohème,

and Berg’s Wozzeck.

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

harmonic. Recent performances with the Philharmonic include appearances at the

Lucerne Festival and Salzburg Festival, in Tokyo, and in concert at La Scala Milan,

as well as leading the Philharmonic’s 2011 New Year’s Day concert, viewed by telecast

in seventy countries worldwide; he will conduct the New Year’s Day concert again in

2013 and will also lead the Philharmonic in a series of concerts at New York’s Carne-

gie Hall in March 2013. Across a decade-long tenure with the Zurich Opera, culmi-

nating in three seasons as general music director (2005-08), Mr. Welser-Möst led the

company in more than 40 new productions and numerous revivals.

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

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

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

recordings of live performances of Bruckner symphonies, presented in three ac-

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

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

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

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

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

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

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

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

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

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

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

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

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

published in a German edition in 2007.

16 The Cleveland Orchestra

W EL I G H T

T H EW A Y

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

T H EC L E V E L A N DO R C H E S T R AFranz Welser-Möst M U S I C D I R E C T O R Kelvin Smith Family Chair

Christoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,

CLEVELAND ORCHESTRA MIAMI

James FeddeckASSISTANT CONDUCTOR Elizabeth Ring and William Gwinn Mather Chair

MUSIC DIRECTOR, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

Lisa WongASSISTANT DIRECTOR OF CHORUSES

DIRECTOR, CLEVELAND ORCHESTRA YOUTH CHORUS

Ann UsherDIRECTOR, CLEVELAND ORCHESTRA CHILDREN’S CHORUSES

Daniel SingerASSISTANT DIRECTOR,

CLEVELAND ORCHESTRA YOUTH CHORUS

Suzanne WaltersASSISTANT DIRECTOR,

CLEVELAND ORCHESTRA CHILDREN’S CHORUSES

1213

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Franz Welser-Möst and The Cleveland Orchestra,

performing Bruckner’s Fourth Symphony in concert

at Severance Hall in April 2012.

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee Chair

Yoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Lev PolyakinASSISTANT CONCERTMASTER

Dr. Jeanette Grasselli Brownand Dr. Glenn R. Brown Chair

Takako MasamePaul and Lucille Jones Chair

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

Kim GomezElizabeth and Leslie Kondorossy Chair

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

Miho HashizumeTh eodore Rautenberg Chair

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

Alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

Isabel TrautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

Alexandra PreucilKatherine BormannYing Fu

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2

James and Donna Reid Chair

Eli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

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

VIOLASRobert Vernon*

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2

Mark JackobsJean Wall Bennett Chair

Arthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSMark Kosower*

Louis D. Beaumont Chair

Richard Weiss1

Th e GAR Foundation Chair

Charles Bernard2

Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya EllRalph CurryBrian ThorntonDavid Alan HarrellPaul KushiousMartha BaldwinThomas Mansbacher

BASSESMaximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune

Charles Barr Memorial Chair

Charles CarletonScott DixonDerek Zadinsky

HARPTrina Struble*

Alice Chalifoux Chair

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

The Orchestra

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


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

FLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein*

Edith S. Taplin Chair

Mary LynchJeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaff e Chair

CLARINETSFranklin Cohen*

Robert Marcellus Chair

Robert WoolfreyDaniel McKelway 2

Robert R. and Vilma L. Kohn Chair

Linnea Nereim

E-FLAT CLARINETDaniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINETLinnea Nereim

BASSOONSJohn Clouser *

Louise Harkness Ingalls Chair

Barrick Stees2

Sandra L. Haslinger Chair

Jonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSRichard King *

George Szell Memorial Chair

Michael Mayhew §

Knight Foundation Chair

Jesse McCormickHans ClebschRichard SolisAlan DeMattia

TRUMPETSMichael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack SutteLyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard StoutAlexander andMarianna C. McAfee Chair

Shachar Israel2

BASS TROMBONEThomas Klaber

EUPHONIUM AND BASS TRUMPETRichard Stout

TUBAYasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANIPaul Yancich*

Otto G. and Corinne T. Voss Chair

Tom Freer 2

PERCUSSIONJacob Nissly*

Margaret Allen Ireland Chair

Donald MillerTom FreerMarc Damoulakis

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin Chair

Carolyn Gadiel WarnerMarjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’BrienDonald Miller

ORCHESTRA PERSONNELCarol Lee IottDIRECTOR

ENDOWED CHAIRS CURRENTLY UNOCCUPIEDASSISTANT PRINCIPAL HARP

Sunshine Chair

The Orchestra

1213

SEASONO R C H E S T R A


With its convenient proximity to downtown, Burke Lakefront Airport is a vital destination forthe corporations, executives, and health care systems that are growing their businesses here.Which should be music to all of our ears.

www.burkeairport.com

Business takes flight when it’s well conducted.


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2012 European Festivals Tour draws praise for Welser-Möst and Cleveland Orchestra The following are excerpted from press reviews of the Orchestra’s performances

during its European Festivals Tour August 18 to September 3:

“If the strings are the heart and soul of the symphony orchestra, then The Cleve-

land Orchestra is essentially in terrifi c shape. . . . It was the full-bodied attack of

the strings in the gutsy opening bars, and their brilliantly delicate and muted

virtuosity in the second movement, that were the icing on the cake.”

—The Scotsman, August 22, 2012

“The Cleveland Orchestra is often described as the aristocrat among American

orchestras. If ‘aristocratic’ means spellbinding fi nesse in sound and style, then their fi rst Ed-

inburgh Festival concert certainly came up trumps. . . . The music we heard gave a lot of pleasure,

largely because it was shrewdly chosen to show off the Clevelanders’ fabulous sheen and warmth.

—Telegraph, August 22, 2012

“In this one heard a courageous Bruckner, unafraid of dissonances, magnifi cently brought alive

by Franz Welser-Möst and his Cleveland Orchestra.”

—Deutschland Radio, August 25, 2012

“Representing the ruins of a demolished tower of concrete and lead, Matthias

Pintscher orchestrates a catastrophic destruction in his Chute d’Étoiles (‘Falling

Stars’). Metallic explosions of sound run into the calm of a post-apocalyptic ‘sea of

lead,’ and it is left to two solo trumpets to drive this cycle of destruction and new

creation forward. . . . Michael Sachs and Jack Sutte performed with great verve

and in a mirage-like whisper, using idioms not far removed from free jazz; they

gradually soar to a state of golden splendor.”

—Die Südotschweiz, August 27, 2012

“The host of strings (eight double basses, an unusual complement of twelve violas

seated on the conductor’s right, etc.) was amazing — a sound mass with a lot of

fi ghting power. . . . This string section can clearly do anything perfectly, and Welser-

Möst was able to demonstrate that fact with brio.”

—Südwest Presse, August 29, 2012

“[In Smetana’s Má Vlast] Welser-Möst had the harpist touch the strings with great subtlety, and

the wiry immediacy of the strings (with William Preucil as concertmaster) was striking.”

—Stuttgart Nachrichten, August 29, 2012

“[In Smetana’s The Moldau] the coloring was precise, almost pointillistic, the tempo fl owing and

animated, with furious explosive power and dramatic brio in the passage of the cataracts, and with

silky sparkle in the violins for the scene of the mermaids in the silvery moonlight. The conductor

thoroughly cleansed this earworm from all the patina of spa concerts. The familiar sounded excit-

ingly new — this was defi nitely worth listening to carefully.”

—Esslinger Zeitung, August 29, 2012

Orchestra NewsNews

Cleveland Orchestra News


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ENewsNews

In the 2012-13 season, The Cleveland Or-

chestra continues its innovations in program-

ming and community engagement, seeking to

build on the success of recent initiatives. The

coming season’s innovations include new pro-

gram and audience development activities at

Severance Hall, alongside expanded activities

outside the concert hall.

The Orchestra will venture even farther

outside its University Circle home with new

programs downtown and on Cleveland’s West

Side. At PlayhouseSquare, the Orchestra will col-

laborate with The Joff rey Ballet, while the orga-

nization’s ground-breaking residency program,

developed and refi ned by the Orchestra in cities

including Vienna and Miami, will come home

to Northeast Ohio with the launch of a new

program of Neighborhood Residencies. The

fi rst annual Cleveland Orchestra Neighborhood

Residency will take place in Gordon Square the

week of May 13-19, 2013. Also this season, the ini-

tiative that brought the full Orchestra back into

the schools in 2009 will continue and become a

permanent part of the annual schedule thanks

to a newly-created endowment fund, and a new

partnership with Breakthrough Charter Schools

begins in October 2012.

Meanwhile, “Under 18s Free,” a program

fi rst established for the 2011 Blossom Festival,

will come inside Severance Hall for selected con-

certs, and as the unique Fridays@7 Series enters

its fourth season, a bold repertoire move sees

world music migrating from the @fter-party en-

tertainment to the main-stage concert with the

Orchestra. The KeyBank Fridays@7 series open-

ing on October 5 features the music of Stewart

Copeland, founder and drummer of The Police,

and a collaboration with the Rock and Roll Hall

of Fame & Museum.

In announcing the new initiatives in Au-

gust, Gary Hanson, executive director of The

Cleveland Orchestra, said, “We want to build on

the success of our many recent community en-

gagement initiatives, and in the coming season

we are further diversifying our schedule and

programs. Our goal is to be even more relevant

to our community.”

CLEVELAND ORCHESTRA NEIGHBORHOOD RESIDENCY

The Cleveland Orchestra Neighborhood

Residency is a new program to immerse the

Orchestra in local communities with an intense

schedule of performances and activities. The

fi rst of these annual residencies in Northeast Ohio

takes place the week of May 13-19, 2013, in Gor-

don Square. The centerpieces of the Residency

will be free Cleveland Orchestra concerts at St.

Colman Church for neighborhood residents and

students, and musicians will perform as soloists

and in ensembles in non-traditional locations and

in local schools. The Cleveland Orchestra Neigh-

borhood Residency at Gordon Square is funded

in part by the Machaskee Fund for Community

Programming, an endowed fund created by Alex

and Carol Machaskee.

Sean Watterson, co-owner of the Happy Dog

bar, restaurant, and music venue in Gordon Square,

said, “We’re incredibly enthusiastic about the Or-

chestra coming to Gordon Square. We’re thrilled

that people in our community will be able to expe-

rience their world-class performances at a series of

events for all ages throughout the neighborhood.

We’re proud to welcome the world to Gordon

Square to join us for this unique experience.”

HIGH SCHOOL PERFORMANCES PERMANENTLY ENDOWED

The Cleveland Orchestra returned to per-

forming in Cleveland high schools in 2009, after

an absence of more than three decades. On

Thursday, October 11, 2012, the Orchestra’s per-

formance at Shaker Heights High School will be

the fi rst to be supported by a newly established

fund that permanently endows annual Cleveland

Orchestra performances in area high schools.

The Alfred Lerner In-School Performance Fund, a

gift of $1 million from Mrs. Norma Lerner and The

Lerner Foundation, will support concerts in high

schools in perpetuity. Performances are being


Cleveland Orchestra continues innovations in programming and community engagement New programs and expansion include neighborhood residency, ballet, free tickets, and school partnerships and performances


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Orchestra NewsNews


News

Orchestra NewsNews

planned for Cleveland Metropolitan School Dis-

trict High Schools in 2013 and 2014.

NEW PARTNERSHIP WITH BREAKTHROUGH CHARTER SCHOOLS

The Cleveland Orchestra begins an educa-

tional partnership with Breakthrough Charter

Schools in October 2012. All of the students

from participating schools will attend a Cleve-

land Orchestra concert at Severance Hall, and

their teachers will participate in professional de-

velopment workshops and concert preparation.

The Orchestra’s award-winning Learning Through

Music program includes ongoing visits from

Cleveland Orchestra musicians in the schools.

The pilot partnership will eventually expand to

incorporate all nine Breakthrough Schools.

The Cleveland Orchestra partnership with

Breakthrough Schools is funded in part by

Cliff s Natural Resources. Breakthrough Charter

Schools are a nationally-recognized network of

high-performing, free, public charter schools

operating in partnership with the Cleveland

Metropolitan School District.

“UNDER 18s FREE” EXPANDSFROM BLOSSOM TO SEVERANCE HALL

The Cleveland Orchestra’s “Under 18s Free”

at Blossom program is expanding to Severance

Hall. This follows the unprecedented success

of the program for Blossom Festival concerts,

where, since its inception in 2011, more than

23,000 young people have attended Cleveland

Orchestra concerts. “Under 18s Free” at Sever-

ance Hall tickets are available for all KeyBank

Fridays@7 concerts, as well as for the Orchestra’s

two regular matinee series: Friday Mornings at

11 and Sundays at 3. Free tickets are off ered for

young people ages 7-17

on a one-for-one basis

with paid adult admis-

sions. “Under 18s Free”

tickets are available by

contacting the Severance

Hall Ticket Offi ce.

“Under 18s Free” is

supported in part by The

Cleveland Orchestra’s

Center for Future Audi-

ences. The Center, created

with a lead endowment

gift from the Maltz Family

Foundation, was estab-

lished to fund programs to

develop new generations

of audiences for Cleveland

Orch estra concerts in

Northeast Ohio.

The Joff rey Ballet performs

The Nutcracker with The

Cleveland Orchestra No-

vember 29-December 2.

Read more on page 68.

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28 The Cleveland OrchestraCleveland Orchestra News

Kulas Series of Keyboard Conversations® with Jeffrey Siegel 24th Season 2011-2012

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

Sunday, October 2, 2011A Beethoven Bonanza! The many

moods of genius!

Sunday, November 20, 2011The Romantic Music of Franz Liszt

Sunday, March 4, 2012Rochmaninoff and Tchaikovsky

Sunday, March 6, 2012A musical love triangle: Robert, Claraand Johannes!

Masterly

Enthralling

Charming

Scintillating

All concerts begin at 3:00 pm at Cleveland State University’s Waetjen Auditorium, Euclid Ave. and E. 21st St. For more information call 216.687.5018 or visit www.csuohio.edu/concert series/kc

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


moods of genius!


Sunday, March 4, 2012Rochmaninoff and Tchaikovsky


series/kc

a


moods of genius!



moods of genius!


y 6, 2012

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

Kulas Series of Keyboard Conversations®with Jeffrey Siegel

25th Anniversary Season 2012-2013

MasterlyB

EnthrallingB

CharmingB

Scintillating

“An afternoon of entertaining talk and exhilarating music.”

–The Washington Post

All concerts begin at 3:00 pm at Cleveland State University’s Waetjen

Auditorium, Euclid Ave. and E. 21st St.For more information call 216.687.5018

or visit www.csuohio.edu/concertseries/kc

Sunday, October 14, 2012Spellbinding Bach

Sunday, November 11, 2012Free Family Concert!Music for the Young and Young at Heart presented in honor of Mr. Siegel’s 25th anniversary at Cleveland State University

Sunday, January 27, 2013Claude Debussy: Clair de lune, Fireworks and Beyond!

Sunday, March 24, 2013Schubert in the Age of the Sound Bite

Sunday, April 28, 2013Bach and the Romantics

The Cleveland Orchestra is hosting its

second annual Student Appreciation Week

with this weekend’s concerts, October 4- 6.

Through the Orchestra’s ongoing Student

Advantage Program, student tickets, which are

usually $10, are being offered for just $5 to this

weekend’s concerts. Membership in the Stu-

dent Advantage Program is free.

In addition, a new Student Frequent Fan-

Card has been introduced this week. Priced

at $50, the FanCard offers students unlimited

single tickets (one per FanCard holder) to Clas-

sical Subscription concerts all season long.

Also with this week’s KeyBank Fridays@7

concert, the Orchestra’s “Under 18s Free” pro-

gram comes to Severance Hall after two suc-

cessful summer seasons at Blossom. This pro-

gram offers free tickets (one per regular-priced

adult paid admission) to young people ages

7-17 to the Orchestra’s Fridays@7, Friday Morn-

ing at 11, and Sunday Afternoon at 3 concerts.

These programs are supported by The

Cleveland Orchestra’s Center for Future Audi-

ences and 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 gen-

erations of audiences for Cleveland Orchestra

concerts in Northeast Ohio.

Student Ambassadors are helping answer

questions and promote all of these programs

at each of this weekend’s concerts. To learn

more about the Student Ambassadors pro-

gram, please call 216-231-7472.

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OrchestraNewsNews

October 4-6: Student Appreciation Week offers $5 ticketsto students and introduces new $50 Frequent FanCard

Student AdvantageThe Cleveland OrchestraStudent Ambassadors

29Severance Hall 2012-13 Cleveland Orchestra News

Orchestra NewsNews

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A.R.O.U.N.D T .O .W.N Recitals and presentations featuring Orchestra musicians

Upcoming performances by members

of The Cleveland Orchestra locally include:

Cleveland Orchestra musician Mark

Kosower (principal cello) performs a re-

cital with pianist Jeewon Oh on Sunday

afternoon, October 7, at the Music Settle-

ment (11125 Magnolia Drive in University

Circle). Presented by the Cleveland

Cello Society, the performance

begins at 3:00 p.m. and features

works by Beethoven, Britten, Ginastera,

Bartók, and Brahms. Tickets are $25 (or

$10 at the door for students) and can be

purchased in advance at 216-921-3480 or

www.clevelandcello.com.

Cleveland Orchestra musicians Emma

Shook (violin), Lisa Boyko (viola), and Carolyn

Warner (piano) join with former Orchestra

cellist Diane Mather for a recital on Sunday

afternoon, October 7, at Rocky River Presby-

terian Church (2174 Detroit Road, Rocky River).

The free concert begins at

4:00 p.m. and features Fauré’s

Piano Quartet in E minor and

Dohnányi’s Serenade for String

Trio. For more information,

visit www.riverpres.org.

THE CLEVELAND ORCHES TRA

F .A .M. I .L .Y N .E .W.S Please join in extending congratula-tions and warm wishes to: Frank Rosenwein (oboe) and Jung-Min

Amy Lee (violin), who were married June 10.

Martha Baldwin (cello) and Micah Lei-

bowitz, whose baby daughter, Zoe Kathleen,

was born on August 14.

Robert Woolfrey (clarinet) and Tanya Ell

(cello), who were married on September 8.


New album with ClevelandOrchestra and Mitsuko Uchida is now available . . .

The third of Mitsuko Uchida’s albums of

Mozart concertos with The Cleveland Orches-

tra has been released — and is now avail-

able for purchase at the Cleveland Orchestra

Store at Severance Hall. The album features

Piano Concertos Nos. 9 and 21,

recorded in live performances at

Severance Hall. One of the previ-

ous discs from this collaboration

received a Grammy Award in

2011.

Reviews of this new album

include these comments from

Audio Audition: “Conducting

Mozart concertos from the piano

has a long and honored tradi-

tion, originating with the composer himself.

. . . Uchida performs on a new Hamburg

Steinway whose action remains uniformly

light and resonant, especially as Uchida does

not mince her dynamics. . . . We need only

audition this fi ne collaboration to enjoy the

scintillating energy of the outer movements

[of Concerto No. 9] and the internal rigors of

the Andantino movement. The last move-

ment virtually bubbles with infectious wit

and digital confi dence. . . . The give-and-take

response between Uchida and The Cleve-

land strings and winds attractively beguiles

us. Then, her seamless runs and arpeggios

move inexorably to a bravura cadenza almost

early Beethoven in

its briefl y pearly wit

that rushes to a coda

spread over three

octaves. Superb!”

Comings and goings

As a courtesy to the performers

on stage and the entire audience, late-

arriving patrons cannot be seated until the

fi rst break in the musical program.


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Concert Previews Cleveland Orchestra Concert Previews are

presented before every regular subscription con-

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

performance. Previews are designed to enrich the

concert-going experience for audience members

of all levels of musical knowledge through a vari-

ety of interviews and through talks by local and

national experts.

Concert Previews are made possible

by a generous endowment gift from

Dorothy Humel Hovorka.

October 4 and 6“Under the Looking Glass:

Fairies, Elves, and Musical Enchantment” with Francesca Brittan, assistant professor

of musicology, Case Western Reserve Univ.

October 11, 13, 14 “Meet the Composer” composer Stephen Paulus with conductor Giancarlo Guerrero

October 18, 19, 20“Russian Passions” with Jason Harris, assistant professor

of choral conducting, Oberlin College

October 25, 26, 27“Mood and Melody” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

1213 SEASON

For Concert Preview details, visit clevelandorchestra.com

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 loca-

tions around Cleveland to explore the

music being played each week and the

stories behind the composers’ lives.

Free Concert Previews are pre-

sented one hour before most subscrip-

tion concerts throughout the season at

Severance Hall.

Concert Previews

32 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

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 Milton and Tamar Maltz as the 2012-13 recipients of the Distinguished Service Award, recognizing extraordinary service to The Cleveland Orchestra.


Presented to Milton and Tamar Maltz at the concert of October 6, 2012

MILTON AND TAMAR MALTZ believe in creating a better world. Th is conviction

has ignited decades of inspirational and transformative philanthropy. Great music

of many kinds has a permanent place in Milton and Tamar’s vision. Th eir devotion

to music has ranged from helping develop the Rock and Roll Hall of Fame and Mu-

seum to supporting the success and growth of Th e Cleveland Orchestra.

Th e couple have been Cleveland Orchestra subscribers across four decades and

are devoted to the Orchestra’s Blossom Festival. Th ey have been generous contribu-

tors to the Orchestra’s Annual Fund and to special projects such as the renovation

of Severance Hall. In 2010, their visionary leadership helped launch the Orchestra’s

Center for Future Audiences with a $20 million lead endowment gift . Th e Center

was established to create and fund programs to develop new generations of audienc-

es for Cleveland Orchestra concerts. Th ese programs include the Orchestra’s “Un-

der 18s Free” program, which has to date granted free Blossom admission to over

26,000 young people.

Milton began his career as a child actor in radio dramas. He majored in

journalism at the University of Illinois and served our country as a code breaker

in the U.S. Navy before founding Malrite Communications Group in 1956. Dur-

ing Milton’s tenure as chairman and CEO, Malrite became one of the country’s top

broadcasting companies, boasting radio and television stations from coast to coast.

Milton’s successes include receiving the Dively Award for Entrepreneurship, and be-

ing inducted into the Cleveland Business Hall of Fame.

Tamar earned her education degree from Chicago’s Roosevelt University, and

then taught in Maryland, Michigan, and Ohio. She met her husband during a radio

audition, and later loaned him $6,000 to start Malrite. She serves on the board of di-

rectors of the Brain & Behavior Research Foundation and works to create social and

recreational opportunities for people suff ering from mental illness, for which she re-

ceived the “Trailblazer of the Year” award from the Planned Life Assistance Network.

Together with their children, Milton and Tamar created the Maltz Family

Foundation to channel their success into a greater Northeast Ohio. Th e Founda-

tion has supported programs in everything from the arts to medicine, including the

Cleveland Museum of Art, Cleveland Play House, Cleveland Clinic Foundation, and

Case Western Reserve University. Th e Foundation also launched Th e Maltz Mu-

seum of Jewish Heritage, which sponsors an annual “Stop the Hate” essay contest,

awarding $100,000 in scholarships and prizes to the winners.

Milton and Tamar believe that music is an essential part of life. Th eir exceptional

philanthropy helps ensure that great music performed by Th e Cleveland Orch estra can

continue to inspire everyone, forever. For their enduring commitment to the Orches-

tra, for their exemplary generosity in strengthening the Northeast Ohio community,

and for their unwavering devotion to music, the Musical Arts Association is pleased to

present Milton and Tamar Maltz with its highest award for distinguished service.

Distinguished Service Award


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

Severance HallThursday evening, October 4, 2012, at 8:00 p.m. Saturday evening, October 6, 2012, at 8:00 p.m.

James Feddeck, conductor

felix mendelssohn Four Entr’actes from(1809-1847) A Midsummer Night’s Dream, Opus 61 1. Scherzo 2. Intermezzo 3. Nocturne 4. Wedding March

w.a. mozart Bassoon Concerto in B-fl at major, K191(1756-1791) 1. Allegro 2. Andante ma adagio 3. Rondo: Tempo di menuetto

JOHN CLOUSER, bassoon

INTERMISSION

hector berlioz Love Scene from Romeo and Juliet, Opus 17(1803-1869)

maurice ravel Daphnis and Chloé, Suite No. 2(1875-1937) 1. Daybreak — 2. Pantomime — 3. General Dance

CLEVELAND ORCHESTRA CHORUS Robert Porco, director

John Clouser’s solo appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from the late Dr. Frank Hovorka

in honor of Dorothy Humel Hovorka. The concerts will end at approximately 9:40 on Thursday and at 9:50 on Saturday.

Concert Program — Week 3

DISTINGUISHED SERVICE AWARDThe Cleveland Orchestra’s Distinguished Service Award will be presented to Milton and Tamar Maltz onstage before the Saturday night concert. (See pages 32-33)

35Severance Hall 2012-13 Concert Program — Week 3 Friday

1213Friday evening, October 5, 2012, at 7:00 p.m.

James Feddeck, conductor

felix mendelssohn Four Entr’actes from(1809-1847) A Midsummer Night’s Dream, Opus 61 1. Scherzo 2. Intermezzo 3. Nocturne 4. Wedding March

maurice ravel Daphnis and Chloé, Suite No. 2(1875-1937) 1. Daybreak — 2. Pantomime — 3. General Dance

CLEVELAND ORCHESTRA CHORUS Robert Porco, director

INTERMISSION

stewart copeland Gamelan D’Drum(b. 1952) 1. Klentong 2. Taksu 3. Lesung

D’DRUM, world percussion

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

Fridays@7 Media Partner: The Plain Dealer

The concert includes an intermission and will end at about 8:50 p.m.

Information about the Fridays@7 pre-concert performers and the @fterparty music can be found on page 39.

> > >

This concert is presented with an extended intermission to allow for the percussion required for Gamelan D’Drum to be set up onstage.Audience members are encouraged to watch this process taking place, or to spend time in the lobbies socializing with friends and enjoying cash-bar refreshments before returning to your seats in the Concert Hall.

7@FRIDAYS

36 The Cleveland Orchestra36 The Cleveland Orchestra36 The Cleveland Orchestra36

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37Severance Hall 2012-13 Introducing the Program

I N T R O D U C I N G T H E P R O G R A M

Mozart, Love &Rock’n’RollPA I R S O F YO U N G L OV E R S inhabit several of the musical works

throughout this weekend’s concerts.

Th e most famous of these, Romeo and Juliet, are represented in

Berlioz’s symphony of that name. Th e Love Scene — performed on

Th ursday and Saturday nights — is the central movement of seven, and

the emotional core of the work. It was the scene that left the strongest

impression on Berlioz when he fi rst saw Shakespeare’s play.

Mendelssohn’s music for A Midsummer Night’s Dream alludes

to no less than three pairs of lovers: the four lovers whose misunder-

standings and entanglements form the center of the story, and the

king and queen whose nuptials are celebrated by the famous Wedding

March. Th e four entr’actes presented feature music craft ed to portray

— among other emotions — peaceful quiet, uncertainty, and joy.

Daphnis and Chloé are less familiar lovers, but their devotion in a

classical pastoral setting was perfect for the world Ravel wanted to ren-

der in his famous ballet from 1912. Th e wordless voices — sung by the

Cleveland Orchestra Chorus — add a special depth to Ravel’s detailed

and mesmerizing sound world.

Also featured on Th ursday and Saturday evenings, the Orchestra’s

principal bassoon, John Clouser, steps to center stage to play Mozart’s

lyrical Bassoon Concerto, written when the composer was just eighteen

years old.

On Friday night, conductor James Feddeck leads the

fi rst KeyBank Fridays@7 concert of the season, including

the Cleveland premiere of an unusual concerto for world

percussion, created by composer Stewart Copeland espe-

cially for the fi ve-man ensemble D’Drum. Th is requires

some change from our usual Fridays@7 format, introducing

an intermission so that the fascinatingly large battery of percussion in-

struments can be set up onstage. Th e evening surrounding the concert

begins with world music of a diff erent sort and ends with the usual

@ft erparty, this week featuring Jamey Haddad, who not only curates

the pre- and post-concert aff airs, but is an agile and gift ed performer.

7@@CLEVELAND ORCHESTRA RADIO BROADCASTS Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM), Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m. This week’s Thursday/Saturday program will be broadcast on Sunday, November 18, at 4:00 p.m.

38 The Cleveland OrchestraConductor

James Feddeck Assistant Conductor Elizabeth Ring and William Gwinn Mather Endowed Chair The Cleveland Orchestra

Th e 2012-13 season marks James Feddeck’s fourth year as assistant conductor of Th e

Cleveland Orchestra and music director of the Cleveland Orchestra Youth Orches-

tra. He made his Cleveland Orchestra debut in August 2009.

He assists Franz Welser-Möst in the preparation of Cleveland

Orchestra performances, opera productions, recording proj-

ects, and tours. In March 2011, he replaced Welser-Möst at the

last minute in the Zurich Opera production of Mozart’s Don

Giovanni performed at Severance Hall. He has led a number

of new community initiatives, including Cleveland Orchestra

collaborative performances with the Cleveland Museum of Art

and Cleveland Play House. Th is past summer, he led the Youth

Orchestra on its fi rst international tour, with performances in

the Czech Republic and Austria.

In the United States, Mr. Feddeck has guest conducted

the orchestras of Atlanta, Charleston, Charlotte (with soloist

Yo-Yo Ma), Grand Rapids, Memphis, Omaha, St. Louis, San

Diego, and Toledo as well as performances with the Kennedy Center Opera Orches-

tra (Ballet Across America Festival) and Aspen Music Festival. In April 2010, he

made his European debut with the Tonhalle-Orchester Zürich. He makes his Cana-

dian debut in 2013 with the Orchestre Symphonique de Québec.

Before his appointment in Cleveland, Mr. Feddeck was assistant conductor of

the Memphis Symphony Orchestra for two seasons. He was a conducting fellow for

three summers at the Aspen Music Festival, as a protégé of David Zinman, where

he received the Robert J. Harth Conductor Prize and the Aspen Conducting Prize

and later served as assistant conductor. He was the unanimous winner of the Sixth

Vakhtang Jordania International Conducting Competition as the youngest partici-

pant (at age twenty-two). Th e Georg Solti Foundation U.S. awarded him a Career

Assistance Grant, a new prize for young conductors in the United States.

An accomplished organist, James Feddeck has performed recitals throughout

North America and Europe and has been featured on the North American radio

program Pipedreams. As an oboist, he has a special interest in new music and has

commissioned works including Daniel Pinkham’s Oboe Quartet. With his interest

in early music, he regularly leads orchestras from the keyboard.

Mr. Feddeck’s musical training is unusually diverse. He was admitted to the

Oberlin Conservatory of Music in four areas: piano, oboe, organ, and conduct-

ing. At Oberlin, he led his fi rst operatic production, of Mozart’s Così fan tutte. In

September 2010, Oberlin College awarded him its fi rst Outstanding Young Alumni

Award for professional achievement and contributions to society, the college’s high-

est distinction to alumni of his generation.

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5:00 p.m. doors open, snacks and drinks available

6:00 p.m. Concert Prelude in Reinberger Chamber Hall: featuring Alon Yavnai, jazz pianist

with the Cleveland Institute of Music Improvisational Ensemble

read about the performer on page 66 > > >

7:00 p.m. THE CLEVELAND ORCHESTRA conducted by James Feddeck

< < < biographical information on opposite page

with D’Drum, world percussion Ron Snider, John Bryant, Doug Howard, Ed Smith, and Josh Jennings

biographical information on page 64 > > >

“Percussion D’Drum”featuring works by Mendelssohn, Ravel, and Stewart Copeland

< < < musical selection details listed on page 35

read commentary about the music: Mendelssohn (page 41), Ravel (page 54), Copeland (page 61) > > >

after the concert ends, the evening continues . . .

in Bogomolny-Kozerefski Grand Foyer:

9:00 p.m. Jamey Haddad Quartet featuring Jamey Haddad, Alon Yavnai, Jay Ashby, Kip Reed, and Dylan Moffitt

information on page 67 > > >

bars are open around the performance

KeyBank Fridays@7 — October 5

7@FRIDAYS

October 5 friday evening SEVERANCE HALL

pre-concert st@rters

clevel@nd orchestra concert

@fterparty

THE

CLEVELAND

ORCHESTRA

7@


Four Orchestral Entr’actes from Incidental Music to A Midsummer Night’s Dream, Opus 61composed 1842

About the Music

M E N D E L S S O H N was only seventeen when he and his sister

Fanny saw a production of Shakespeare’s A Midsummer Night’s

Dream in Berlin. He immediately wrote a piece for piano duet

for them to play together, depicting the characters and extraor-

dinary events in the play. He had no thought of it being an

overture to anything such as an opera or a performance of the

play — but he orchestrated it soon thereaft er and called it an

Overture, thus making an entirely novel contribution to the

19th century’s wealth of program music.

Fift een years later, he was invited by the King of Prussia

to compose incidental music for the play itself, appending new

music to the Overture for a production in the King’s palace at

Potsdam, near Berlin. Some of the music was played during

the action of the play, but the main pieces, apart from the Over-

ture, were the four entr’actes, performed between each of the

fi ve acts, that we hear in sequence at this weekend’s concerts.

Th e Scherzo anticipates the fairies’ scene in the forest at the

start of Act II. Having already proved himself to be a master of

gossamer fairy music in the Octet, the Violin Concerto, and in

many other pieces, Mendelssohn produced yet another sample

of orchestral wizardry for this scene, rarely rising above piano

and showing off the fi ne skills of both strings and winds, espe-

cially the fl ute, whose long fairy dance at the end trips lightly

off the scene and into silence.

Th e Intermezzo is in two parts. At the end of Act II, Her-

mia has woken in the forest to fi nd her lover Lysander gone.

She runs off in desperation: “Either death or you I’ll fi nd im-

mediately.” Th e music perfectly conveys her distress as she gets

lost in the woods, the themes darting from one instrument to

another in the minor mode with no settled cadence. Her agita-

tion is shown in the shuddering middle strings. As she is lost

to sight, we see Bottom and Quince arriving (portrayed by two

bassoons) for a gathering of the mechanicals. In a short while

they are all assembled, ready for the rehearsal of their play.

At the end of Act III, the four lovers have all been ma-

neuvered into lying down to sleep in the same clearing in the

woods. Puck arrives to squeeze the juice in Lysander’s eyes

that will make him return to his love, Hermia. Th e music is a

by FelixMENDELSSOHNborn February 3, 1809Hamburg

diedNovember 4, 1847Leipzig

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43Severance Hall 2012-13 About the Music

sublime Nocturne while the four of them sleep. A solo horn,

supported by two bassoons, leads off with a shapely theme that

fi lls a paragraph. Th e violins are then a little agitated in charac-

ter, and the music spreads into what might have been the slow

movement of a symphony, the horns being prominent as the

true symbols of the Romantic night, especially in Germany.

Th e end fades into silence.

Th e Wedding March celebrates the coming nuptials of

Th eseus and Hippolyta. It also embraces the happy resolution

of all the misunderstandings and quarrels that have beset the

two pairs of lovers, Lysander and Hermia, and Demetrius and

Helena. For as long as anyone can remember, this music has

blessed the weddings of countless couples the world over, many

of whom, heading for the daylight and the photographer, will

have left the church long before the music reaches its broad and

melodious subsidiary themes. Here’s a chance fi nally to hear

the music in all its glorious fullness.

—Hugh Macdonald © 2012

Mendelssohn wrote his inci-

dental music to Shakespeare’s

A Midsummer Night’s Dream

in 1842 at the request of

Friedrich Wilhelm IV, King of

Prussia. Combined with the

composer’s overture written

in 1826, the music for the

play was fi rst performed

on October 14, 1843, in the

Royal Theater of the New

Palace in Potsdam.

The four orchestral

entr’actes presented at this

concert run about 20 minutes

in performance. Mendels-

sohn’s score calls for 2 fl utes,

2 oboes, 2 clarinets, 2 bas-

soons, 2 horns, 3 trumpets, 3

trombones, ophicleide (a now-

obsolete brass instrument

replaced in orchestras by the

tuba), timpani, percussion

(cymbals), and strings.


has played selections from

Mendelssohn’s A Midsummer

Night’s Dream music on many

occasions, with the most re-

cent performance being part

of the 2011 Blossom Festival,

when Bramwell Tovey led a

selection of numbers from the

complete score.

At a Glance

The British artist Arthur Rackham (1867-1939)

created illustrations for an acclaimed Edwardian

edition of Shakespeare’s A Midsummer Night’s

Dream published in 1908, including these fairies

of the forest and love.

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45Severance Hall 2012-13 About the Music

Bassoon Concerto in B-fl at major, K191composed 1774

T H E AU T O G R A P H S C O R E of this concerto, though long lost,

was said to be dated “Salzburg, 4 June 1774.” Th at may well be

correct, but there is nothing else to tell us who it was written

for, or for what occasion. Mozart is said to have written four

concertos for a keen amateur bassoonist, Baron Th addeus von

Dürnitz, but, because there is no trace of any others, this may

not be one of them. Th ere is a sonata, for cello and bassoon

(K292), which was probably written for the baron to play with

a cellist friend.

It was an uneventful period in Mozart’s life. Aged eigh-

teen, he spent almost the full year in Salzburg at his unreward-

ing duties in the Archbishop’s service, writing a considerable

quantity of music of all kinds — masses, symphonies, sonatas,

and two unusual concertos: a “concertone” for two violins

(K190) and this bassoon concerto.

Th e concerto is straightforward in style and content, and

shows Mozart’s craft smanship, tirelessly making good points

out of quite ordinary material. Th e bassoon’s capacity for wide

leaps, rapid tonguing, and intricate passage-work in the up-

per register is well displayed. In the slow movement, Mozart

even makes the bassoon chant melodiously in dialogue with

the ensemble’s two oboes. Th e fi nale is a rondo in a fi rm triple

time that seems too stately for a real minuet, and, unlike in the

fi rst two movements, there is no space for a solo cadenza.

Bassoonists agree that Mozart is one of the fi nest com-

posers for their instrument, although they might not point im-

mediately to this concerto to demonstrate that. It may make

us more aware of the noble role that this composer allots to

the bassoon in his orchestral music and his operas. For, more

oft en, the bassoon, not the cello, carries the true tenor voice in

Mozart’s orchestra.—Hugh Macdonald © 2012

by Wolfgang Amadè

MOZARTborn January 27, 1756Salzburg

diedDecember 5, 1791Vienna

THURSDAY AND SATURDAY

It is thought that Mozart wrote this concerto in late

spring 1774. Details of its premiere are unknown.

This concerto runs about 20 minutes in perfor-

mance. Mozart scored it for 2 oboes, 2 horns, strings,

and solo bassoon. John Clouser is performing caden-

zas written by Bernard Garfi eld.

The Cleveland Orchestra fi rst performed this

concerto in March 1981, when Lorin Maazel led per-

formances with principal bassoon George Goslee. The

most recent performance was part of the 1999 Blos-

som Festival, with conductor Jahja Ling and principal

bassoon John Clouser.

At a Glance

47Severance Hall 2012-13 Soloist

We believe in working for the greater good of all and

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

We thank The Cleveland Orchestra for its commitment to excellence!

Ken Lanci, Chairman & CEOConsolidated Companies

John Clouser Principal Bassoon Louise Harkness Ingalls Endowed Chair The Cleveland Orchestra

John Clouser joined The Cleveland Orchestra as principal bas-

soon with the start of the 1997-98 season. His solo appear-

ances with the Orchestra at Severance Hall and Blossom have

included Mozart’s Bassoon Concerto and Sinfonia concertante

(for oboe, clarinet, bassoon, and horn), Haydn’s Sinfonia con-

certante (for violin, cello, oboe, and bassoon), and Richard

Strauss’s Duet Concertino (for clarinet and bassoon). He has

also appeared in chamber music presentations at Severance

Hall, performing alongside his colleagues and with pianists in-

cluding Emanuel Ax, Mitsuko Uchida, and Leif Ove Andsnes.

Mr. Clouser serves as head of the bassoon department

at the Cleveland Institute of Music and is a faculty member of the Kent/Blossom

professional training program. He has taught and performed at festivals around

North America, including the National Orchestral Institute, Round Top, and Do-

maine Forget in Quebec, and has worked regularly with young artists at the New

World Symphony in Miami. He is a frequent clinician and guest artist at universi-

ties and schools of music, leading masterclasses and performing in recitals.

Born in Boston, John Clouser studied at Gordon College, College of New Jer-

sey, where he was a philosophy major, and at Temple University, where he worked

with his principal teacher, Bernard Garfield (principal bassoon of the Philadelphia

Orchestra 1957-2000). Mr. Clouser performs on his teacher’s instrument, which

Garfield passed to him in 2006. His recent recording with pianist Elizabeth De-

Mio of bassoon and piano music by Garfield has received critical acclaim. Prior

to coming to Cleveland, Mr. Clouser served as associate principal bassoon of the

Montreal Symphony Orchestra and principal bassoon of the Memphis Symphony

Orchestra, and was adjunct instructor of bassoon at McGill University, Rhodes

College, and Haverford College.


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

Sound for the Centennial


The Cleveland Orchestra’s artistic health and fi nancial well-being depend on the dedicated and ongoing support of music-lovers throughout Northeast Ohio. The Orchestra’s continued excel-lence in community service and musical performance can only be ensured through ongoing annual support coupled with increased giving to the Endowment and special fundraising.

As the Orchestra approaches its centennial celebration in 2018, the individuals and organiza-tions listed on these pages have made longterm commitments to secure the fi nancial stability of our great Orchestra. This listing represents multi-year commitments of annual and endow-ment support, and legacy gift declarations, as of September 2012.

The Cleveland Orchestra and Musical Arts Association gratefully recognize the transforma-tional support and extraordinary commitment of these individuals, corporations, and founda-tions toward the Orchestra’s future. To join your name to these visionary contributors, please contact Jon Limbacher, Chief Development Offi cer, at 216-231-7520.

Gay Cull Addicott Jeanette Grasselli Brown and Glenn R. BrownThe Louise H. and David S. Ingalls FoundationMr. and Mrs. Douglas A. KernMr. and Mrs. Jon A. LindsethMs. Nancy W. McCann

David and Inez Myers Foundation The Honorable and Mrs. John Doyle OngThe Payne FundMr. and Mrs. Richard K. Smucker

Baker HostetlerMr. William P. Blair IIIMr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMr. and Mrs. Charles P. BoltonMrs. M. Roger ClappEaton CorporationForest City Enterprises, Inc.Mr. and Mrs. Michael J. HorvitzThe Walter and Jean Kalberer FoundationMr. and Mrs. Joseph P. KeithleyKeyBankKulas FoundationMr. and Mrs. Dennis W. LaBarreMrs. Norma Lerner

The Lubrizol CorporationSally S. and John C. MorleyJohn P. Murphy FoundationNACCO Industries, Inc.Julia and Larry PollockMr. and Mrs. Alfred M. Rankin, Jr.Mr. and Mrs. Albert B. RatnerJames and Donna ReidBarbara S. RobinsonThe Sage Cleveland FoundationThe Kelvin and Eleanor Smith FoundationThe J. M. Smucker CompanyJoe and Marlene Toot

GIFTS OF $5 MILLION AND MORE

Mr. and Mrs. Alexander M. CutlerMaltz Family FoundationAnonymous

GIFTS OF $1 MILLION TO $5 MILLION

GIFTS OF $500,000 TO $1 MILLION

Sound for the Centennial Campaign


Mr. and Mrs. George N. AronoffBen and Ingrid BowmanGeorge* and Becky DunnDr. and Mrs. Hiroyuki FujitaAlbert I. and Norma C. GellerIris and Tom HarvieGiuliana C. and John D. Koch FoundationMr. and Mrs. S. Lee KohrmanMr. Gary A. OateyRPM International Inc.

Hewitt and Paula ShawMs. Ginger WarnerMr. Max W. WendelPaul and Suzanne WestlakeMr. Donald Woodcock

GIFTS OF $100,000 TO $250,000

Sound for the Centennial Campaign

* deceased

John P. Bergren* and Sarah M. EvansMr. and Mrs.* Harvey BuchananRobert and Jean* ConradMr. and Mrs. Matthew V. CrawfordNancy and Richard DotsonSidney E. Frank FoundationDavid and Nancy HookerJames D. Ireland IIITrevor and Jennie JonesDr. Vilma L. KohnMr. and Mrs. Alex Machaskee

Mr. Donald W. MorrisonMargaret Fulton-MuellerWilliam J. and Katherine T. O’NeillParker Hannifi n CorporationCharles and Ilana Horowitz RatnerMr. and Mrs. James A. SaksThe Skirball FoundationMr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

GIFTS OF $250,000 TO $500,000

“THE

MEDIUM IS THE MESSAGE.” – Marshall McLuhan, 1911-1980

PUT YOUR AD IN A WORLD-CLASS SETTING& REACH NORTHEAST OHIO’S MOST AFFLUENT, WELL-EDUCATED AND

INFLUENTIAL AUDIENCE

ADVERTISE INTHE CLEVELAND ORCHESTRA PROGRAM BOOK

John Moore 216-721-4300 [email protected]

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B E R L I O Z ’ S F I R S T SY M P H O N Y was the Symphonie fantas-

tique (1830), an autobiographical drama taking Beethoven’s

concept of the symphony far into the realm of passion and per-

sonal confession. His second symphony, Harold in Italy (1834),

was also personal, part reminiscence of Berlioz’s own travels

in Italy, part exploration of the Byronic spleen from which the

whole Romantic generation loved to suff er. For his third sym-

phony, Roméo et Juliette (1839), Berlioz turned to his greatest

literary passion, Shakespeare, drawing once again on his own

most fervent experiences.

His discovery of Shakespeare in 1827 had been overwhelm-

ing, not only for the dramatic force of the poetry and drama

(instinctively grasped even though Berlioz knew no English),

but also because the leading actress of the company, Harriet

Smithson, immediately won his heart. She became for him the

personifi cation of Ophelia in Hamlet or of Juliet, and it is very

probable that his immediate response was to set certain scenes

from the play, perhaps as instrumental music without voices.

Th ere seems to be a lost work, perhaps titled “Four Scenes from

Romeo and Juliet,” which was soon set aside and absorbed into

various works written during the period 1828-1830.

In 1830, Berlioz decided to compose a drama that featured

not the role of Juliet, which Harriet Smithson had played in 1827,

but Harriet herself. Th e fi rst movement of the Symphonie fantas-

tique depicts the artist’s burning passion, a passion undirected

and without any object until the beloved walks into his life. Th is

is exactly the scenario of the fi rst scenes of Romeo and Juliet in

the version that Berlioz saw. Th e Symphonie fantastique’s sec-

ond movement depicts a ball, just as in Act I of the play.

At all events, the idea of a musical setting of the play un-

derwent a long fermentation in his creative storehouse; Berlioz

was waiting for an opportunity to compose such a work — and

for a binding idea that would give it external form. Th e op-

portunity came with Paganini’s famous gift to the composer

of 20,000 francs at the end of 1838, and the formal shape came,

indirectly, from Beethoven’s Ninth Symphony. Like the Ninth,

Berlioz’s new symphony was also to be a full-length choral

symphony, but in seven movements, using a double chorus to

represent the two warring families and solo voices as second-

Love Scene from Romeo and Julietcomposed 1839

by HectorBERLIOZborn December 11, 1803La Côte-Saint-André,Isère, France

diedMarch 8, 1869Paris

About the Music



ary characters (Mercutio and Friar Laurence, with the contralto

soloist as commentator). Th e two lovers themselves were to be

represented purely by the orchestra. Th e symphony does not

enact the drama in detail and many episodes are omitted, but

the resources of voices and orchestra allowed Berlioz to com-

bine the dramatic immediacy of sung words with the infi nite

expressive power of instrumental music.

Th e Scène d’amour, or Love Scene, is one of the movements

that call for no voices. Berlioz felt it was necessary to explain why

he did not set the famous balcony scene as a love duet, perhaps for

soprano and tenor soloists. His reasons were threefold. First, this

is a symphony and not an opera; second, love duets already exist in

profusion, while programmatic symphonic movements were new;

and third, words are too precise to express the very sublimity of

this love — only music can attempt to paint its true intensity. Th is

last reason embodies the essence of Berlioz’s own aesthetics, for he

always felt and heard things more vividly in his imagination than

with his ears and eyes. Rather than have his lovers sing and risk

banality, he entrusts their feelings and poetry to the orchestra, the

instrument of which he was the complete master.

In the autograph manuscript, Berlioz noted the date of

completion, September 8, 1839. By the composer’s side, per-

haps contributing her own understanding of Shakespeare, was

Harriet Smithson, who had become his wife six years before.

Berlioz had only ever seen the play that fi rst and only time in

1827, but he had forgotten nothing of that experience and had

read and re-read the play a thousand times.

Th e Scène d’amour is also the central movement in a sequence

of three, broadly equivalent to fi rst movement, slow movement, and

scherzo of a traditional symphony. Various attempts have been

made to show how the music parallels the text of Shakespeare’s

balcony scene, although it is diffi cult to be more precise than to

hear the cellos (and other tenor instruments) as the ardent Romeo,

while the upper woodwinds, especially the clarinet, represent Ju-

liet. At the end of the movement, we hear the falling accents of

“Adieu!”/“Farewell” repeated as the lovers part.

Th e symphony was given its fi rst three performances at the

Paris Conservatoire at the end of 1839, with Berlioz conduct-

ing. It was a pinnacle of French Romanticism and a brilliant

example of Berlioz’s orchestral mastery, as many then present

were aware. —Hugh Macdonald © 2012

Berlioz planned a musical

work based on Shakespeare’s

Romeo and Juliet beginning

as early as 1829; the evening-

long dramatic symphony was

written a decade later, in

1839, using words by Émile

Deschamps, a translator

of Shakespeare. The fi rst

performance took place on

November 24, 1839, in Paris,

under the composer’s direc-

tion. Berlioz revised the work

over the next seven years,

and the fi nal version was

published, with a dedication

to Paganini, in 1847.

The Love Scene from

Berlioz’s Romeo and Juliet

runs not quite 20 minutes in

performance. Berlioz scored

this movement for 2 fl utes, 2

oboes (second doubling eng-

lish horn), 2 clarinets, 4 bas-

soons, 4 horns, and strings.

In the complete symphony,

this movement includes a

brief passage for off-stage

male chorus, which is usually

omitted when this Love Scene

is extracted by itself.


fi rst performed music from

Romeo and Juliet during the

1935-36 concert season. The

most recent performance

of excerpts was at the 2010

Blossom Festival, when

Stéphane Denève conducted

the Love Scene. The complete

symphony was presented in

May 2000, with the Orches-

tra, Cleveland Orchestra

Chorus, and soloists under

the direction of Pierre Boulez.

At a Glance

About the Music

Berlioz, painted in Rome in 1832, probably by Emile Signol.

Love cannot express the

idea of music, while music

may give an idea of love.

—Hector Berlioz

‘‘ ‘‘

54 The Cleveland OrchestraAbout the Music

U N L I K E M A N Y famous love stories — such as Tristan and

Isolde, Shanbo and Yingtai, or Romeo and Juliet — the tale of

Daphnis and Chloé has a happy ending. It is a celebration of

sensual love and beauty set in an imaginary world of ancient

Greek shepherds. Many a secret dream, many an amorous

fantasy is embodied in this luxuriant ballet score.

Th e story came from a pastoral romance by the Greek author

Longus (3rd century, A.D.). Th e romance tells about the awaken-

ing of love between two young people, both abandoned as children

and now tending their herds together. Aft er various adventures

— amorous rivalries, abductions by pirates, and other intrigues

— it turns out that both are children of aristocratic families and

they have a grand wedding, living happily ever aft er.

Ravel’s ballet on this subject was written on a commis-

sion from Sergei Diaghilev, the brilliant Russian impresario and

founder of the Ballets Russes. Ravel received the commission in

1909, but the score was not completed until 1912. By the time

the long-awaited score was fi nished, much had happened in the

realms of Parisian ballet and music. Indeed, the fast-moving

Diaghilev had initiated so many new projects that Ravel’s ef-

fort, when fi nally presented, was somewhat overshadowed by

other productions, including a very controversial adaptation of

Debussy’s Prelude to the Aft ernoon of a Faun, which opened just

two weeks before Daphnis and Chloé. In addition, Stravinsky’s

Firebird and Pétrouchka has received their premieres in 1910

and 1911, respectively. And Debussy’s Jeux and Stravinsky’s

Rite of Spring were already in the making. Even the Greek topic

had been “stolen” from Ravel with the ballet Narcisse, another

Fokine production with Nijinsky in the title role, premiered in

1911 with music by Nikolai Tcherepnin. In the end, Daphnis

and Chloé was presented on June 8, 1912, two days before the

end of the ballet season, and played only twice before the com-

pany went on summer break.

“My intention,” Ravel said, “was to compose a vast mu-

sical fresco in which I was less concerned with archaism than

with faithfully reproducing the Greece of my dreams, which is

very similar to that imagined and painted by the French artists

at the end of the 18th century.” Diaghilev and his choreogra-

pher, along with the set and costume designers, had hoped

Daphnis and Chloé, Suite No. 2composed 1909-12

by MauriceRAVELborn March 7, 1875

Ciboure,

Basses-Pyrénées

diedDecember 28, 1937Paris


Ravel composed the ballet

Daphnis and Chloé (in one

act, divided into three scenes)

between 1909 and 1912. It

was premiered by Sergei

Diaghilev’s Ballets Russes on

June 8, 1912, at the Théâtre

du Châtelet in Paris. Vaslav

Nijinsky and Tamara Kar-

savina danced the title roles;

Pierre Monteux conducted.

Ravel drew two suites of

orchestral excerpts from the

ballet, of which the second

has especially gained wide ac-

ceptance in the concert hall.

Suite No. 2 runs about

15 minutes in performance.

Ravel’s score calls for piccolo,

2 fl utes, alto fl ute, 2 oboes,

english horn, 3 clarinets, bass

clarinet, 3 bassoons, contra-

bassoon, 4 horns, 4 trumpets,

3 trombones, tuba, 2 harps,

celesta, timpani, percussion

(bass drum, 2 side drums,

cymbals, triangle, tambou-

rine, castanets, glockenspiel),

and strings, plus an optional

mixed chorus (singing without

words).

The Second Suite from

Daphnis and Chloé has been

a staple of The Cleveland

Orchestra’s repertoire since

Nikolai Sokoloff conducted

it in April 1925. The most

recent performances were in

February and March 2008,

when Ilan Volkov led concerts

featuring both suites and

Jayce Ogren led a perfor-

mance of Suite No. 2 side-

by-side with the Cleveland

Orchestra Youth Orchestra.

At a Glance

for something more authentically historical. But, ultimately,

Ravel’s music sweeps away all questions of Greek facts and faces

to evoke a wonderfully Romantic world of pastoral landscapes

and the triumph of love.

Th e music of Daphnis and Chloé was more quickly suc-

cessful in the concert hall, mainly in the form of the two suites

that Ravel extracted from the score soon aft er the ballet music

was completed. Th e second suite, presented at this weekend’s

concerts, features three sections: Lever du jour (“Daybreak”),

Pantomime, and Danse générale (“General Dance”), which form

the complete fi nal part of the ballet in order.

Th e suite begins with a wonderful and famous represen-

tation of sunrise. Against a texture of lush fi gurations in fl utes,

clarinets, harps, and celesta, the basses and cellos begin a majestic

tune, gradually taken over by violas and violins. Th e fi rst shepherd

crossing the stage is portrayed by the piccolo, the second by the

equally high-pitched E-fl at clarinet (both musicians were on the

stage in the original ballet version). Th e embrace of Daphnis and

Chloé is marked by an orchestral climax where the violins reach

their highest register. Th e music calms down as the old shepherd

Lammon tells his story about Pan and Syrinx (oboe solo), which

Daphnis and Chloé proceed to enact in a pantomime. When the

god creates his fl ute — the panpipe — from reed-stalks, we hear

one of the most enchanting fl ute solos in the entire orchestral

literature. (Actually, the melody is divided between the fl utes,

to give the musicians a chance to breathe!)

Daphnis and Chloé embrace one more time, and then

the ecstatic Danse générale gets underway. Rather unusually

for a ballet, large stretches of this dance were written in the

asymmetrical meter of 5/4, to which dancers and musicians in

1912 were unaccustomed. (It is said that they had to scan the

words “Ser-gei Dia-ghi-lev, Ser-gei Dia-ghi-lev” until they got

the rhythm right.) Th is asymmetry and the use of ostinatos

(repeated rhythmic fi gure or short melodic motif) throughout

this fi nal section remind us that Stravinsky’s Rite of Spring is

less than a year away. Both Daphnis and Chloé and Th e Rite

of Spring end with similar eff ects — short rhythmic units re-

peated, varied, and stirred up to a paroxysm; and the fact that

Stravinsky was to carry this eff ect even further takes nothing

away from the brilliance and excitement of Ravel’s fi nale.

—Peter Laki © 2012

About the Music


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

Robert Porco became director of choruses for Th e Cleveland

Orchestra in 1998. In addition to overseeing choral activi-

ties and preparing the Cleveland Orchestra Chorus and the

Blossom Festival Chorus for a variety of concert programs

each season, Mr. Porco conducts the Orchestra’s annual se-

ries of Christmas concerts at Severance Hall and regularly

conducts subscription concert programs both at Severance Hall and Blossom. He has

also served as director of choruses for the Cincinnati May Festival since 1989.

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

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

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

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

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

of hundreds of musicians, many of whom are now active as professional conductors,

singers, or teachers. As a sought-aft er guest instructor and coach, his teaching work

has included programs 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 Th e Cleveland Orchestra

with the 2010-11 season. In this capacity, she assists in preparing the Cleveland

Orch estra Chorus and Blossom Festival Chorus for performances each year. With

the 2012-13 season, she takes 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. 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 choral conducting from Indiana University.

Cleveland Orchestra Chorus

lec.edu1.855.GO.STORM

57Severance Hall 2012-13 Cleveland Orchestra Chorus

SOPRANOSCathleen R. BohnEmily BzdafkaMary Jane CarlinSusan CucuzzaCarrie CulverLisa Rubin FalkenbergRosie GellottDanielle GreenwayDebbie GutowskiRebecca S. HallLisa HrusovskyShannon R. JakubczakSarah JonesHope Klassen-KayKate MacyJulie Myers-PruchenskiNoreen NorkaJennifer Heinert O’LearySarah OsburnMelissa PattonLenore M. PershingJoy PowellRoberta PrivetteCassandra E. RondinellaMonica SchieSharon Shaff erSamantha J. SmithSidney StorryJane Timmons-MitchellSarah TobiasMelissa Vandergriff Sharilee WalkerCarole WeinhardtMarilyn WilsonMary Wilson

ALTOSAlexandria AlbainyEmily AustinBeth BaileyKatherine BrownJulie A. CajigasBarbara J. ClughJanet CrewsCarolyn DessinMarilyn EppichAmanda EvansNancy GageDiana Weber GardnerAnn Marie HardulakBetty HuberKaren HuntJenna KirkLucia LeszczukDiana MartinGinger MateerDanielle S. McDonaldKarla McMullenShanely Rae NiemiPeggy NormanMarta Perez-StableCindy PiteraGinny RoedigBecky A. SeredickPeggy ShumateShari SingerShelley SobeyIna Stanek-MichaelisMartha Cochran TrubySarah B. TurellLaure WasserbauerMeredith S. WhitneyFlo WorthDebra Yasinow

TENORSEric H. BerkoPaul C. BrysonGerry C. BurdickThomas GinsburgThomas GlynnDaniel M. KatzPeter KvideraTod LawrenceSteve LawsonRohan MandeliaJames NewbyTremaine OatmanRobert PoormanMichael D. PowellJoselín E. RamírezMatthew RizerJohn SabolLee ScantleburyJames StorryCharles TobiasWilliam VenableChester F. Willey

BASSESCraig AstlerJack BlazeyCharles CarrPeter B. ClausenDwyer ConklynSteve diLauroJeff rey DuberMatthew EnglehartThomas E. EvansRichard FalkenbergRobert HigginsKurtis B. Hoff manPaul HubbardThomas HullJoshua JonesJoel KincannonJason LevyScott MarkovTyler MasonDaniel May, Jr.Shaun McGrathRoger MennellRobert MitchellTom MoormannKeith NormanJohn RiehlCorey RubinRobert SeamanMichael SeredickDaniel J. SingerDavid A. WelshhansS. David WorhatchPaul Zeit

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

Jill Harbaugh, Manager of Choruses

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

Joela Jones, Principal Accompanist

Th e 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 fi ft y Cleveland-area communities

and together contribute over 15,000 volunteer hours to the Orchestra’s music-making each year.

RAVEL DAPHNIS AND CHLOÉ


I N 1 9 5 6 , C H U C K B E R R Y H I T T H E C H A R T S

with “Roll Over Beethoven,” a song that defi ned the

sound and spirit of rock and roll. Th e genesis of the

song came from Berry’s eff orts to steal some time

on the family piano from his sister, who was play-

ing classical music. But in its fi nal form it created

a lasting image of rock and roll as a revolution-

ary force: “My temperature’s risin’ / Th e jukebox’s

blowin’ a fuse / My heart’s beatin’ rhythm / And my

soul keeps a-singin’ the blues / Roll over Beethoven

and tell Tchaikovsky the news.” Rock and roll music

asked its listeners to pay more attention to rhythm

and timbre than to the movement of the harmonic

progression. Th e songs of the fi rst wave of rock and

roll blasted forth with an unrestrained enthusiasm,

ready to take on the bastions of tradition.

Th e ideal of tradition is oft en at the center of

the division between classical and popular mu-

sic. Tradition underlies our notions of complex-

ity, authenticity, meaning, and even performance

etiquette. We fi nd much of this debate contained

in the words of cultural critic Th eodor W. Adorno

in his 1941 article “On Popular Music.” Adorno

claims that popular music, by its very nature, can

never attain the heights and complexities of classi-

cal music — because popular song is written with

a standardized goal in mind: the leisure time of

the listener. Adorno was referencing the music of

Musical Evolutionfrom ROCK’n’ROLL to CLASSICAL by Lauren Onkey and Jason Hanley

Rock’n’Roll

The Cleveland

premiere of

Stewart Copeland’s

Gamelan D’Drum

mixes artists and audi-

ences from across the

musical spectrum — and

around the world.


dancehalls and Broadway, hot jazz and radio tunes. By the time rock

and roll entered the scene in the early 1950s, the world was primed

for a change — rock and roll would take up the challenge.

Like most art forms, rock and roll soon developed its own

sense of tradition, along with young bands bent on breaking it.

Inspired by the musical experiments of the Beatles, British bands

like Procol Harum, King Crimson, the Moody Blues, and Yes cre-

ated sounds that valued European classical music more than the

American rhythm-and-blues roots of rock-and-roll. Th ese musicians

blended the song sensibilities of popular music with some of the syntax

and structures of art music. Th ey wrote long form suites, performed

with orchestras, and valued technical skill and virtuosity. Th e entire

musical style was later named art rock, or progressive rock, to signify

the manner in which the two musical traditions found a space to interact.

Classical music was not oblivious to the trend of crossing infl uences,

and was never really as exclusive as rock and roll fans sometimes make it out

to be. In fact the interaction between popular and classical music has been an

important part of the concert music for much of history. In the 20th century

alone, jazz music infl uenced many composers of the concert hall, including

Stravinsky, Satie, and Weill; composer Luciano Berio expressed admiration

for the Beatles; popular music played a formative role in the evolution of

minimalist music; and composers like Phillip Glass and Michael Torke took

musical melodies and harmonies directly from David Bowie and Madonna.

Rock and Roll Hall of Fame inductee Frank Zappa might be the

most intriguing artist who mixed rock with classical music. He claimed

the music of Howlin’ Wolf and Edgard Varèse as two of his most impor-

tant infl uences. During his lifetime, Zappa composed music for

fi lm, rock band, orchestra, synthesizer, jazz quartet, and al-

most any other combination he could imagine. At one point,

Zappa’s orchestral music was conducted and recorded by none other

than Pierre Boulez (who has oft en conducted Th e Cleveland Orches-

tra here at Severance Hall). Zappa insisted that he would never be

limited by tradition, and would always fi ght for music made for the

pure sake of music.

Sounds will mingle, music will evolve, and traditions will

cross and dissolve. We should preserve the music we love, but

we should also let it roam and experiment — it’s okay to go and

knock on the door of the person across the street and say, “hey,

what do you have on that iPod, and can I take a listen?”

Lauren Onkey serves as vice president of education and public programs, and Jason Hanley as director of education, at the Rock and Roll Hall of Fame and Museum.

Rock’n’Roll


About the InstrumentsStewart Copeland’s Gamelan D’Drum utilizes a large battery of percussion instru-

ments, many of which originate in the Javanese and Balinese gamelan ensemble.

Many are metallophones (pitched metal instruments).

Amadinda — from Uganda, a large wooden xylophone played by 2 or 3 musicians;

originally the royal music played for the king in Uganda.

Bonang — from Java, small bronze pot gongs on horizontal frame.

Ceng-ceng — from Bali, hand cymbals used in ceremonial and parade music.

Cimbalom — from Hungary, a large classical dulcimer, a trapezoid string instru-

ment on legs, played with mallets.

Doumbek — from the Middle East, a single-headed, goblet-shaped drum.

Gambang — from Java, wooden xylophone with trough resonator.

Gender — from Bali and Java, a set of bronze tuned metal bars (a kind of metal xy-

lophone), played with a mallet, usually played in pairs tuned slightly out of tune

with each other to create a “wow” eff ect; a special pair of western-tuned diaton-

ic gender were custom made to be played in Gamelan D’Drum.

Gendhing — from Java, a large double-sided barrel drum.

Gongs — from Bali and Java, large vertically hung tuned gongs with raised boss in

center.

Kendang — from Bali, a double-headed drum played with both hands and/or a

beater (pagul).

Kendang (Sudan/Java) — a set of 3 double-headed drums (1 large and 2 small)

played while sitting; the pitch of the large drum is controlled with the heel of

the left foot.

Kendang Tambor — from Java, a very large 2-headed drum played by 2 people.

Lesung — from Bali, large hollowed log (for pounding rice using heavy poles) with

3 to 5 people pounding interlocking rhythms known as kotekan.

Marimba — from the United States, tuned wooden bars suspended over resonators.

Reyong —from Bali, small bronze pot gongs, either set on horizontal frames or

hand held; a special set of 2-octave western-tuned chromatic reyong were cus-

tom made for the performance of Gamelan D’Drum.

Richik — from Bali, small, thick cymbals mounted on a wooden turtle base.

Riq — from the Middle East, frame drum with large jingles.

Trans-Cultural Kit — an American-styled drumset utilizing the Ewe barrel drums,

Gon Gon, and caxixi of West Africa, Turkish cymbals, and Arabic frame drum.

Vibraphone — from the United States, metal bars suspended over metal tube reso-

nators with a pedal used to attain dampening, sustained, and tremelo eff ects.

About the Percussion Instruments


D E A R R E A D E R : Those attending this Friday evening perfor-

mance of Stewart Copeland’s concerto for orchestra and world

percussion are likely to be of two camps — those very much

aware of Copeland’s career as a rock-n-roll drummer and those,

especially of a very classical music bent, who are still wonder-

ing “Stewart who?” Fortunately, there is plenty for everyone

— to experience, to learn, to be amazed with sounds familiar

and new, and together to embrace music as a very far-ranging

artform, filled with variety and imagination, and with much

overlap, continuity, and . . . pleasure.

Stewart Copeland’s considerable achievements and fame

as a rock’n’roll musician and performer are amply clear from

his biography (see page 63). And were confirmed with his in-

duction into the Rock and Roll Hall of Fame in 2003.

His second career as a “serious composer” may be less

well-known, although his film scores have been prolific and

have included some high profile movies, including Wall Street

and Talk Radio. He has also written several ballets and operas,

including the opera Holy Blood and Crescent Moon, commis-

sioned and premiered by Cleveland Opera in 1989, to a libretto

by British playwright Susan Shirwen.

The concerto Gamelan D’Drum traces its origins to a Dal-

las Symphony Orchestra gala in 2007. The percussion ensemble

D’Drum, including two Dallas Symphony members, was featured

on the concert, and the Symphony’s executive director wanted

to commission a new work for them. Composer Stewart Cope-

land was chosen, and the sound world of Indonesian gamelan

“orchestras” became a central idea for a concerto.

Copeland and D’Drum are not the first Western classical

musicians to become intrigued by Indonesian gamelan. Ben-

jamin Britten was fascinated by the sound, a sense of which he

incorporated into his orchestral vocabulary and into certain

scores in particular (his ballet score The Prince of the Pagodas,

for example). Francis Poulenc and Olivier Messiaen were also

influenced by the sounds and culture of Indonesia.

As befitting a symphonic concerto — and history’s many

examples of virtuoso soloists who both inspired and advised

composers, from Mozart to Brahms to Tchaikovsky — the

D’Drum soloists became an integral part of the composition

Gamelan D’Drum (concerto for world percussion)composed 2009-10

byStewartCOPELANDborn July 16, 1952Alexandria, Virginia

now residesLos Angeles,California

About the Music

62 The Cleveland OrchestraAbout the Music

process. “It was an equal collaboration,” says D’Drum’s John

Bryant. “We made suggestions about how to ‘bend’ Stewart’s

ideas to suit our instruments. We’re not playing these instru-

ments — they’re playing us!”

For the world premiere in 2011, Dallas Symphony program

annotator Laurie Shulman provided the following overview:

“Gamelan D’Drum consists of three movements that are

arranged fast-slow-fast. Resemblance to traditional concertos

stops there. The piece allows some improvisation for Bryant,

[Jennings], and Smith . . . but the cimbalom and marimba parts

(Snider and Howard) are notated throughout.

“The movement titles come from the instruments them-

selves and the vocabulary of gamelan culture. Klentong is a

gong; Taksu refers to the spirit, the gentle rhythmic beauty that

is the soul of Balinese aesthetics. Lesung is a rice trough, used

for pounding rice with heavy sticks or logs. Copeland’s music

takes each term as his point of departure.

“The piece begins with offstage percussion, playing march-

ing instruments. ‘It’s like what you might hear in a Balinese pro-

cessional to temple,’ explains percussionist Ed Smith. ‘Even the

rice farmers are musicians.’ Copeland’s music is occasionally

idiomatic to what one might hear in Bali, but the gamelan vo-

cabulary is stretched by his own harmonic sensibilities. Textures

are complex. He uses bell tree, snare drum and other unpitched

drums for punctuation.

“In the first movement, cimbalom and marimba often play

as a duet. As in other large orchestral works, the background

tends to fulfill a harmonic function and the foreground a me-

lodic function, but there are stretches where the solo percussion

ensemble virtually eclipses the orchestra, coloring foreground

and background differently. . . . Copeland’s roots as a drummer

surface in rhythmic patterns and overlays that provide an un-

derpinning to the music.”

Throughout the piece, the soloists move about the stage,

from instrument to instrument — sometimes converging on a

single one that they play on together. While this can be absorb-

ing to watch, it can be equally stimulating to, at times, close

your eyes and take in this unusual soundscape without visual

reference, as traditional orchestral instruments mix and match

against a panoply of world percussion. Enjoy!

—Eric Sellen

Copeland wrote Gamelan

D’Drum on a commission

from the Dallas Symphony

Orchestra for a concerto for

the world percussion group

D’Drum (which is based in

Dallas and includes two

Dallas Symphony musicians

among its five members).

The work was premiered on

February 5, 2011, in Dallas,

under the direction of Jaap

van Zweden.

This concerto runs

between 35 and 40 minutes

in performance. In addition

to the large battery of world

percussion instruments

played by the soloists, it is

scored for an orchestra of

2 flutes, piccolo, 2 oboes,

english horn, 2 clarinets, bass

clarinet, 2 bassoons, 2 horns,

2 trumpets, 2 trombones, and

strings.

The Cleveland Orches-

tra is performing music by

Stewart Copeland for the

first time with this evening’s

concert.

At a Glance


About the ComposerAft er rising to international stardom as drummer and percussionist for the Eng-

lish rock band Th e Police, Stewart Copeland has spent the past three decades as a

composer, creating a prolifi c series of fi lm scores, operas, and ballets.

Copeland was born in Virginia, but spent his formative years in the Mid-

dle East, where his father was a CIA offi cer and his mother was an archeologist.

He attended college in California before moving to England in 1975 and playing

drums with the progressive rock unit Curved Air. Following the group’s dissolu-

tion, he founded Th e Police with singer/bassist

Sting and guitarist Henri Padovani (soon replaced

by Andy Summers). Beginning with their fi rst hit,

1979’s “Roxanne,” the trio emerged as one of the

most popular and innovative bands of the post-

punk era, drawing upon reggae, funk, and world

music. Together they created an infectious yet

cerebral brand of pop music, giving birth to a se-

ries of hit singles that included “Every Little Th ing

She Does Is Magic,” “Every Breath You Take,” and

“King of Pain.” While with Th e Police, Copeland

earned wide critical acclaim for his intricate, tex-

tured drumwork, while also writing many of the

group’s songs. His unique and at times unpre-

dictable style of drumming has greatly infl uenced

generations of drummers since the 1970s.

At the peak of their success, Th e Police disbanded aft er touring with the

1983 blockbuster Synchronicity. By that time, Copeland was already established

as a fi lm composer, earning a Golden Globe nomination for his score to Francis

Ford Coppola’s Rumble Fish. In 1985, he released the album Th e Rhythmatist, the

product of his musical pilgrimage to Africa, followed by an ever-increasing num-

ber of fi lm scores, including a pair of Oliver Stone features, Wall Street and Talk

Radio. Other movie projects included Ken Loach’s Raining Stones, Four Days in

September, and West Beirut. Copeland also spent time as a member of the pop-fu-

sion trio Animal Logic, while pursuing other avenues for composition including

the scores for San Francisco Ballet’s King Lear, Cleveland Opera’s Holy Blood and

Crescent Moon, and Ballet Oklahoma’s Prey.

Copeland was inducted into the Rock and Roll Hall of Fame in 2003. In

2007, he reunited with Th e Police to celebrate the band’s 30th anniversary with a

worldwide tour. Copeland currently lives in Los Angeles with his family. His au-

tobiography, Strange Th ings Happen: A Life with Th e Police, Polo, and Pygmies, was

published by Harper Collins in 2009.

Stewart Copeland


D’Drum world percussion

D’Drum is a world music percussion group based in Dallas, Texas. Th e group has

performed and recorded extensively, and is featured in an Emmy Award-winning

PBS short fi lm documenting their travels and observations as related to world

percussion. D’Drum is also heard in the National Geographic fi lm Lions of Dark-

ness, in addition to the hit PBS series Wishbone. As in their live performances,

their recorded albums feature music

derived from traditional cultures of

Bali, Africa, Persia, and other locales

that are blended with the infl uences

of Western Classical and Jazz forms.

All of the instruments featured are

acoustic, and of traditional and con-

temporary design. D’Drum was

named Best Percussion Ensemble in

Drum! Magazine’s 2010 Readers Poll.

More information can be found by

visiting www.pureddrum.com.

Ron Snider D’Drum group leader Ron Snider serves as assistant principal percussion

with the Dallas Symphony Orchestra. As cimbalom soloist, Mr. Snider has re-

corded Kodály’s Háry János with the Dallas and Milwaukee Symphonies and ap-

peared with the orchestras of Philadelphia, Cleveland, Los Angeles, San Francisco,

St. Louis, Houston, Toronto, and Mexico City, among others. He has played on

hundreds of recordings for television and fi lm, and performs on the RCA, War-

ner Brothers, Epic, Delos, Dorian, Telarc, Pro-Arte, and Hungaroton record labels.

Ron Snider studied at the University of North Texas, and in Bali with Ketut Madri

and Raka Swastika. He has designed and collected hundreds of instruments.

John Bryant John Bryant is a percussionist, music producer, and composer. He has com-

posed the musical scores for a number of award-winning documentary fi lms,

as well as three dance works commissioned by the Dallas Black Dance Th eatre.

Originally from Virginia, Mr. Bryant majored in percussion at the University of

North Texas, where he played and recorded with the One O’Clock Lab Band. He

has performed and/or recorded with many artists, including Ray Charles, Don

Henley, Gary Burton, Joe Walsh, and the Dallas Symphony Orchestra. He is cur-

rently a member of the faculty at Southern Methodist University as an adjunct

lecturer of music production and drumset studies.

Guest Artists


Doug Howard Doug Howard serves as principal percussion and associate principal tim-

pani of the Dallas Symphony Orchestra. Since 1982, he has been a member of the

artist faculty at the Aspen Music Festival and School. He has also been a featured

clinician at the International Percussive Arts Society conventions. Mr. Howard

has been the subject of a cover story that appeared in Modern Percussionist maga-

zine. He is currently an adjunct professor of percussion at Southern Methodist

University in Dallas, and has taught at the Oberlin Percussion Institute and the

Ludwig Percussion Symposium. He has served on the board of directors for the

Percussive Arts Society, Greater Dallas Youth Orchestra, and the Dallas Sympho-

ny Orchestra.

Ed Smith Ed Smith’s music career as a jazz vibraphonist spans more than three de-

cades, having performed with such distinguished artists as John Cage, Phil

Wilson, Louie Bellson, Johnny Mathis, Glen Velez, Trichy Sankaran, and many

others. He has performed concerts and masterclasses across America, Asia, Mex-

ico, and Europe. Mr. Smith began traveling to Bali, Indonesia, in 1995 to study

the music of wayang kulit (shadow puppet play) on gender wayang, and in 1998 he

was awarded the high honor of performing on the gender wayang with his teach-

er, Ketut Madri, in a temple celebration. Since 2002, he has been studying the

repertoire of the large Balinese gamelan, gong kebyar. Mr. Smith is a member of

the percussion faculty at the University of North Texas, teaching vibraphone and

Balinese gamelan. He also teaches at Southern Methodist University and Cedar

Valley College. Mr. Smith is a Malletech Vibe Artist.

Josh Jennings As a guest with D’Drum, Josh Jennings brings musical experience from

concert halls to marching fi elds to Tokyo jazz clubs and everything in between.

While completing his degrees at the University of North Texas, his experience

with the Latin Jazz, Steel Drum, Afro-Cuban, Brazilian, and Gamelan ensembles

led him to his musical and cultural exploration of Brazil, Japan, Tahiti, Taiwan,

and Th ailand. He has been a featured soloist at the Midwest Band and Orches-

tra Conference, and the Texas Music Educators Association and Percussive Arts

Society conventions. Mr. Jennings presents clinics worldwide, and is an active

member of the PAS World Music Committee. He endorses Cadeson drums, Con-

temporânea Brazilian instruments, and Pro-Mark drumsticks and mallets.

Guest Artists

66 The Cleveland OrchestraGuest Artists

j l 20 t 22

CAMELOT KING FORA DAY

PASSIONS a double bill

july 13-august 23 july 21-august 24 july 20-august 22

2013july 06-august 24

THE FLYING DUTCHMAN

Alon YavnaiPianist and composer Alon Yavnai,

currently an associate professor at Berklee

College of Music in Boston, was born in 1969 in

Israel, where he was raised and had his formal music studies.

He started performing professionally at an early age. Since moving to the

United States in 1993, Mr. Yavnai has toured worldwide, performing and re-

cording with a diverse range of artists, including Paquito D’Rivera, Yo-Yo Ma,

Nancy Wilson, and Freddie Hubbard, among others. In addition to record-

ing with an eclectic array of artists in different genres, he has released three

albums of his own. He recorded with the Zurich Tonhalle Orchestra and

performed as a soloist with the Colón Theater Philharmonic in Buenos Aires.

Other engagements include Carnegie Hall, and the Library of Congress and

Kennedy Center in Washington D.C., as well as festivals and jazz clubs around

the world, including the Blue Note and Birdland in New York. Mr. Yavnai

taught at the Hebrew University in Jerusalem, Israel, and started his masters

in composition alongside with his performing career. In March 2012, he re-

leased his first big band album, featuring his original compositions and ar-

rangements. The album was recorded in Hamburg with the renowned NDR

Bigband. Mr. Yavnai currently lives in New York. To learn more, visit www.

alonyavnai.com.

PRE-CONCERTst@rters

7@FRIDAYS

THE

CLEVELAND

ORCHESTRA

October 5

67Severance Hall 2012-13 Guest Artists

Call Alan Weinberg, Managing Partner, at 216-685-1100.

Weltman, Weinberg & Reis Co., LPA

POST-CONCERT@fterparty

Jamey HaddadBorn in Cleveland, Ohio, percussionist Jamey Haddad holds a

unique position in the world of jazz and contemporary music,

with his musical voice transcending styles and trends. Regarded

as one of the foremost world music and jazz percussionists in

the United States, Mr. Haddad is an associate professor at the

Cleveland Institute of Music, Oberlin Conservatory of Music,

Boston’s Berklee College of Music, and the New England Con-

servatory. Mr. Haddad has curated and planned the world music performances

for The Cleveland Orchestra’s Fridays@7 concerts since the series began in 2009.

He performs frequently around the world and here in Northeast Ohio, bringing

together an eclectic mix of artists from a range of musical genres and styles. He

performed with Paul Simon (he has been a member of Simon’s band for more

than a decade) when Simon was the recipient of the first annual Library of Con-

gress Gershwin Prize for Popular Song. To learn more, visit www.jameyhaddad-

music.com.

Jamey Haddad, Alon Yavnai, piano Kip Reed, bass

drums, percussion Jay Ashby, trombone Dylan Moffitt, percussion


Tickets are now on sale for the holiday event of

the season, as Th e Cleveland Orchestra presents Th e

Joff rey Ballet’s complete silver anniversary produc-

tion of Tchaikovsky’s Th e Nutcracker. Five perfor-

mances will be presented at Playhouse Square’s State

Th eatre November 29 thru December 2. Th e produc-

tion will be conducted by Tito Muñoz and mark the

fi rst time Th e Cleveland Orchestra has performed

Tchaikovsky’s Th e Nutcracker in a fully-staged pre-

sentation.

Conceived and originally directed in 1987 by

Robert Joff rey, with choreographic contributions

from Gerald Arpino, this production of Th e Nut-

cracker features more than 40 company dancers, 200

brilliant costumes, and larger-than-life scenery. Th e

Chicago Sun-Times called the Joff rey’s Nutcracker “a

grand showcase of classical technique that spotlights

the particular talents of many of the company’s en-

semble dancers,” the Chicagoist calls it “a fi rst-class

celebration of one of the greatest holiday productions

ever,” and the Washington Post praised it as “a theat-

rical event of irresistible power.”

Th e Cleveland cast of Th e Nutcracker will include sixty Northeast Ohio young

dancers, who will be selected by audition, dancing side-by-side with the Joff rey compa-

ny. Th e Cleveland Orchestra Children’s Chorus, comprised of fi ft y members, also joins

the performances to sing in the beautiful “Snow Scene.”

“Our company looks forward to once again joining Th e Cleveland Orchestra” says

Joff rey Ballet artistic director Ashley Wheater, “and in extending our wonderful part-

nership into a complete production. Our previous performances together at Blossom

have included elements of a full ballet, but this time we’ll have all the sets, costumes,

lighting, and the magnifi cent choreography of our founder Robert Joff rey.”

The Cleveland Orchestra performs Tchaikovsky’s “The Nutcracker” with The Joffrey Ballet at PlayhouseSquare Five performances Nov 29 thru Dec 2

TICKETS On-sale now! 216-241-6000 or playhousesquare.org


Orchestra News


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Orchestra News


Welcome to new musician!

The Cleveland Orchestra welcomes oboe

Mary Lynch, who was appointed last February

and began playing with the Orchestra in Au-

gust. Born in Washington D.C., Ms. Lynch com-

pleted her master of music degree earlier this

year at the Juilliard School, where she studied

with Elaine Douvas and Nathan Hughes. She

also holds a bachelor of music

degree from the New England

Conservatory, where she stud-

ied with John Ferrillo, and was

a student of Daniel Stolper at

the Interlochen Arts Academy.

She was principal oboe of the

New York String Orchestra in

2009 and 2010. While a stu-

dent in Boston, she performed as co-principal

oboe of the Discovery Ensemble (2008-10) and

as a frequent substitute with the Boston Phil-

harmonic Orchestra. For her longer biography,

visit clevelandorchestra.com.

Meet the Artist luncheonscontinue on October 12with composer Stephen Paulus

The Meet the Artist Series, presented

each year by the Women’s Committee of The

Cleveland Orchestra, continues with a Friday

luncheon program on October 12. Com-

poser Stephen Paulus will discuss his music

and his new concerto being premiered that

week. He will be interviewed by assistant

artistic administrator Randy Elliot.

Paulus’s Violin Concerto No. 3 is being

given its world premiere October 11-14 by The

Cleveland Orchestra, with concertmaster Wil-

liam Preucil as soloist. The work was written

for Preucil. Giancarlo Guerrero conducts. The

luncheon takes place at the Mayfi eld Sand

Ridge Club in South Euclid. A reception at

11:30 a.m. and luncheon precede the program.

Tickets ($40 public, or $38 for WCCO mem-

bers) can be reserved by calling 216-231-1111.

News


Guide to Fine Schools

Other fine schools advertising in The Cleveland Orchestra’s Severance Hall programs include:

Consistently ranked among“Best Communities for

Music Education” in the Nation!

216-898-8300www.berea.k12.oh.us

Baldwin Wallace University Conservatory of Music

440-826-2369Cleveland Institute of Music

216-791-5000Cleveland State University

Kulas Series of Keyboard Conversations with Jeffrey Siegel

216-687-5018Lake Erie College1-855-GO-STORM

fresh, local + playful comfort foodchef’s whim private dining

lunch + dinner + baroutdoor dining


The Cleveland Orchestra guide to

Fine Shops & Services

World-class performances.World-class audiences.

Advertise among friends in

The Cleveland Orchestra programs.

LPCpublishing.com

contact John Moore216.721.4300

[email protected]

Let’s talk.

The World’s Finest Chamber Music The Jerusalem Quartet 9 October 2012The Tokyo String Quartet 30 October 2012

Plymouth Church, UCC, 2860 Coventry Rd.Shaker Heights, OH 44120

VISIT OUR NEW SHOWROOM

on Chagrin Blvd.,across from Eton.

A very special place

VISIT OUR NEW SHOWROOM

on Chagrin Blvd.,across from Eton

A Very Surprising Place

EXQUISITE PIECES IN A SURPRISING

SETTING

on Chagrin Blvd.,across from Eton

28480 Chagrin Blvd., Woodmere Village216.839.6100

Michael Hauser DMD MDImplants and Oral Surgery

For Music LoversBeachwood 216-464-1200

www.drhauser.com

l AttorneysEnvironmental l Toxic Tort l Litigation

The Caxton Building l Suite 650812 Huron Road l Cleveland, OH 44115

www.mdllp.net l 216.621.1312

216-952-9801 www.rbschwarzinc.com

Cleveland School of DanceOffi cial School of

The Cleveland BalletQuality Training in Ballet

and Related Arts

New studio location:23030 Miles Rd. Bedford Heights

Seconds from Interstates 271 and 480

216-320-9000www.clevelandschoolofdance.org

Residential ~ Corporate ~ Travel/Tourism ~ Transportation

Roberta Dusek, Owner

Tying Up Loose Ends ~A Concierge Company

Cleveland Akron 216-299-2967 330-801-2187

www.tule4u.com Insured & Bonded ~



Meet the MusiciansCleveland Orchestra musicians parti-

cipate in a variety of community and

education activities beyond the weekly

orchestral concerts at Severance Hall.

These activities include masterclasses

and recitals, PNC Musical Rainbows, the

Learning Through Music school partner-

ship program, and coaching the Cleve-

land Orchestra Youth Orchestra.

PHOTOGRAPHS BY ROGER MASTROIANNI

SHACHAR ISRAELtrombone

BORN: Nahariya, Israel

ROLE MODEL: My family and my past teachers.

CLEVELAND ORCHESTRA HIGHLIGHT: Vienna residencies.

FREE TIME: Play with my dog, exercise.

FAVORITE CLEVELAND: Running or biking around the Shaker Lakes.

WHY A MUSICIAN: I knew I would be going to work with a smile my whole life.

FAVORITE ORCHESTRAL WORK: Mahler Symphony No. 2.

Meet the Musicians

JUNG-MINAMY LEEviolin

BORN: Seoul, Korea

ON MY MP3 PLAYER: Beethoven string quartets, Freakonomics Radio podcasts.

CLEVELAND ORCHESTRA HIGHLIGHT: There are so many . . . including Rusalka in

Salzburg, Brahms Requiem in Vienna.

FREE TIME: Run, cook, play with my dog.

WHY A MUSICIAN: I’d have to write a book to really answer this question!

BORN: Elmhurst, Illinois

WHY A MUSICIAN: I really love music, and I wanted my children (I have 2 now) to have a dad who loves what he does for a living.

ROLE MODELS: My viola teachers: David Holland, Milton Preves, Robert Vernon.

FAVORITE CLEVELAND ACTIVITY: Going to Mass at my church.

FREE TIME: Outings with my family.

ON MY MP3 PLAYER: Messiaen, Pärt, Bartók, Gabrieli, OK Go (my younger brother’s band).

FAVORITE ORCHESTRAL WORK: Bartók’s Music for Strings, Percussion, and Celesta.

STANLEYKONOPKAviola


The Cleveland OrchestraCenter for Future AudiencesTHE CLE VE L AND ORCHE STRA’s Center for Future Audiences was estab-

lished to fund programs to develop new generations of audiences for Cleve-

land Orch estra concerts in Northeast Ohio. Th e Center was created in 2010

with a $20 million lead endowment gift from the Maltz Family Foundation.

Center-funded programs focus on addressing economic and geographic bar-

riers to attending Cleveland Orch estra concerts at Severance Hall and Blos-

som Music Center. Programs include

research, introductory off ers, targeted

discounts, student ticket programs,

and integrated use of new technolo-

gies. Th e goal is to create one of the

youngest audiences of any symphony

orchestra in the country. For addition-

al information about these plans and

programs, call us at 216-231-7464.

Center for Future Audiences

ENDOWED FUNDS

Maltz Family Foundation

Mr. and Mrs. Alexander M. Cutler

THANK YOU for helping develop tomorrow’s audiences today.

For information about contributing to this major endowment initiative,

please contact the Orchestra’s Philanthropy & Advancement Department

by calling Jon Limbacher, Chief Development Offi cer, at 216-231-7520.

The Partners in Excellence program

salutes companies with annual contri-

butions of $100,000 and more, exem-

plifying leadership and commitment to

artistic excellence at the highest level.

PARTNERS IN EXCELLENCE$300,000 AND MORE

KeyBankThe Lubrizol CorporationNACCO Industries, Inc.The J. M. Smucker Company

PARTNERS IN EXCELLENCE$200,000 TO $299,999

Baker HostetlerEaton CorporationForest City Enterprises, Inc.PNC

PARTNERS IN EXCELLENCE$100,000 TO $199,999

Google, Inc.Medical Mutual of OhioParker Hannifin Corporation

$50,000 TO $99,999

Exile LLCJones DayQuality Electrodynamics (QED)Raiffeisenlandesbank

Oberösterreich (Europe) The Sage Cleveland Foundation

$25,000 TO $49,999

Bank of AmericaDix & EatonGiant EagleNorthern Trust Bank of Florida (Miami)Park-Ohio Holdings Corp.The Plain DealerRPM International Inc.Squire, Sanders & Dempsey (US) LLPThompson Hine LLP

$2,500 TO $24,999

Akron Tool & Die CompanyAkronLife MagazineAmerican Fireworks, Inc.American Greetings CorporationBDIBrouse McDowellConn-Selmer, Inc.Eileen M. Burkhart & Co LLCBuyers Products CompanyCedar Brook Financial Partners, LLCThe Cleveland Wire Cloth & Mfg. Co.

The Cliffs FoundationCommunity Behavioral Health CenterConsolidated Graphics Group, Inc.Dealer Tire LLCDollar BankDominion FoundationErnst & Young LLPEvarts-Tremaine-Flicker CompanyFeldman Gale, P.A. (Miami)Ferro CorporationFirstMerit BankFrantz Ward LLPGallagher Benefit ServicesGenovese Vanderhoof & AssociatesThe Goodyear Tire & Rubber CompanyGreat Lakes Brewing CompanyGross BuildersHahn Loeser + Parks LLPHouck Anderson P.A. (Miami)Hunton & Williams, LLP (Miami)The Lincoln Electric FoundationLittler Mendelson, P.C.C. A. Litzler Co., Inc.Live Publishing CompanyMacy’sMiba AG (Europe)MTD Products, Inc.Nordson CorporationNorth Coast Container Corp.Northern HaserotOatey Co.Ohio CATOlympic Steel, Inc.Oswald CompaniesPolyOne CorporationThe Prince & Izant CompanyRichey Industries, Inc.Satch Logistics LLCSEMAG Holding GmbH (Europe)The Sherwin-Williams CompanyStern Advertising AgencySwagelok CompanyTriMark S.S. KempTrionix Research Laboratory, Inc.Tucker EllisUnited Automobile Insurance

Company (Miami)Ver Ploeg & Lumpkin, P.A. (Miami)Ricky & Sarit Warman —

Papa John’s Pizza (Miami)WCLV FoundationWestlake Reed LeskoskyThe Avedis Zildjian CompanyAnonymous (3)

Annual Supportgifts of $2,500 or more during the past year, as of September 10, 2012

Cumulative GivingJOHN L. SEVERANCESOCIETY

$5 MILLION AND MORE

KeyBank

$1 MILLION TO $5 MILLION

Baker HostetlerBank of AmericaEaton CorporationFirstEnergy FoundationForest City Enterprises, Inc.The Goodyear Tire

& Rubber CompanyThe Lubrizol Corporation /

The Lubrizol FoundationMerrill LynchNACCO Industries, Inc.Parker Hannifin CorporationThe Plain DealerPNC BankPolyOne CorporationRaiffeisenlandesbank

Oberösterreich (Europe) The Sage Cleveland Foundation

The J. M. Smucker Company

The Severance Society recognizes

generous contributors of $1 million

or more in cumulative giving

to The Cleveland Orchestra.

Listing as of September 2012.

Corporate Annual Support

The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support

toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.


Corporate Support


Live Publishing provides comprehensive communications and marketing services to a who’s who roster of clients, including the world-renowned Cleveland Orchestra.

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all in the most cost-effective manner. We’re easy to do business with, and our experienced crew has handled every kind of project – from large to small, print to web.

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Your Guide to: the orchestra the facilities the concerts the people

2012

F E S T I V A L B O O K

2 012 -2 013 C O N C E RT S E R I E S

Autumn 2012

STATIONBREAK

Fall Forecast Arts and Culture In

Northeast Ohio page 5

Election 2012 Complete Coverage

page 17

Inside WKSU Regina Brett

page 14

Introducing QNew Programs &

New Schedule on WKSU

page 14

NE Ohio Cultural Milestones

page 4

FOLK FEST PREVIEW46th Folk Festival Program Guide page 21

=

Foundation/Government Annual Support

$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

Cuyahoga Arts and CultureThe Kelvin and Eleanor

Smith Foundation

$250,000 TO $499,000

Kulas FoundationAndrew W. Mellon FoundationThe Miami Foundation,

from a fund established by the John S. and James L. Knight Foundation (Miami)

John P. Murphy FoundationDavid and Inez Myers FoundationOhio Arts Council

$100,000 TO $249,999

Sidney E. Frank FoundationGAR FoundationThe George Gund FoundationJohn S. and James L. Knight Foundation

$50,000 TO $99,999

The George W. Codrington Charitable Foundation

Martha Holden Jennings FoundationThe Mandel FoundationMyra Tuteur Kahn Memorial Fund

of The Cleveland FoundationElizabeth Ring Mather

and William Gwinn Mather FundThe Payne FundSurdna Foundation

$20,000 TO $49,999

The Abington FoundationAkron Community FoundationThe Helen C. Cole Charitable TrustThe Mary S. and David C.

Corbin FoundationThe Gerhard Foundation, Inc.Ann and Gordon Getty FoundationThe Margaret Clark Morgan FoundationThe Nonneman Family FoundationThe Nord Family FoundationPeacock Foundation, Inc. (Miami)The Sisler McFawn Foundation

Annual Supportgifts of $2,000 or more during the past year, as of September 10, 2012

The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their

generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

$2,000 TO $19,999

Ayco Charitable FoundationThe Ruth and Elmer Babin FoundationThe Bernheimer Family Fund

of the Cleveland FoundationBicknell FundThe Eva L. and Joseph M. Bruening

FoundationThe Collacott FoundationMary and Dr. George L. Demetros

Charitable TrustElisha-Bolton FoundationFisher-Renkert FoundationThe Harry K. Fox and Emma R. Fox

Charitable FoundationFunding Arts Network (Miami)The Helen Wade Greene Charitable TrustThe Hankins FoundationThe Muna and Basem Hishmeh FoundationRichard H. Holzer Memorial FoundationThe Kangesser FoundationThe Kridler Family Fund

of The Columbus FoundationThe Jean Thomas Lambert FoundationThe Laub FoundationVictor C. Laughlin, M.D.

Memorial Foundation TrustThe G. R. Lincoln Family FoundationLaura R. & Lucian Q. Moffitt FoundationNational Endowment for the ArtsPaintstone FoundationThe Charles E. & Mabel M. Ritchie

Memorial FoundationThe Leighton A. Rosenthal

Family FoundationSCH FoundationAlbert G. & Olive H. Schlink FoundationJean C. Schroeder FoundationThe Sherwick FundLloyd L. and Louise K. Smith

Memorial FoundationThe South Waite FoundationThe Taylor-Winfield FoundationThe George Garretson Wade Charitable TrustThe S. K. Wellman FoundationThe Welty Family FoundationThomas H. White Foundation,

a KeyBank TrustThe Edward & Ruth Wilkof FoundationThe Wuliger FoundationAnonymous (2)

Cumulative GivingJOHN L. SEVERANCESOCIETY

$10 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents

through Cuyahoga Arts & Culture

Kulas FoundationMaltz Family FoundationState of OhioOhio Arts CouncilThe Kelvin and Eleanor

Smith Foundation


John P. Murphy Foundation


Ann and Gordon Getty Foundation

GAR FoundationThe George Gund FoundationThe Louise H. and David S.

Ingalls FoundationMartha Holden Jennings

FoundationKnight Foundation

(Cleveland, Miami)Andrew W. Mellon FoundationDavid and Inez

Myers FoundationNational Endowment for the ArtsThe Payne FundThe Reinberger Foundation

The Severance Society recognizes

generous contributors of $1 million

or more in cumulative giving

to The Cleveland Orchestra.

Listing as of September 2012.


Foundation & Government Support


INDIVIDUAL GIFTS OF $500,000 AND MORE

Daniel R. and Jan R. Lewis (Miami)

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

Irma and Norman Braman (Miami) Francie and David Horvitz (Miami) The Walter and Jean Kalberer Foundation Susan Miller (Miami) Ms. Ginger Warner (Cleveland, Miami)


Mr. and Mrs. Joseph P. KeithleyDr. and Mrs. Herbert Kloiber (Europe)Mrs. Norma Lerner Peter B. Lewis and Janet Rosel (Miami)Mr.* and Mrs. Herbert McBride Mr. and Mrs. Albert B. Ratner


Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Janet and Richard Yulman (Miami)


Sheldon and Florence Anderson (Miami)Mr. Richard J. Bogomolny

and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. CutlerHector D. Fortun (Miami) Mr. and Mrs. Michael J. HorvitzJames D. Ireland III Mr. and Mrs. Dennis W. LaBarre

Leadership Council The Leadership Council salutes those extraor-

dinary 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:

Individual Support

The Cleveland Orchestra and Musical Arts Association gratefully recognize the individuals

listed here, who have provided generous gifts of cash or pledges of $2,500 or more to the

Annual Fund, benefit events, tours and residencies, and special annual donations.


Lifetime GivingJOHN L. SEVERANCE SOCIETY

$10 MILLION AND MORE

Daniel R. and Jan R. Lewis (Miami, Cleveland)


Mr. Richard J. Bogomolny

and Ms. Patricia M. Kozerefski

Mr. and Mrs. Alexander M. Cutler

Mrs. Norma Lerner

and The Lerner Foundation

Mr. and Mrs. Albert B. Ratner

Anonymous


Irma and Norman Braman (Miami) Mr. and Mrs. Francis J. CallahanMrs. Anne M. ClappMr. George Gund IIIFrancie and David Horvitz (Miami)Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Susan Miller (Miami) Sally S. and John C. Morley The Family of D. Z. 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 Anonymous (2)

The Severance Society recognizes generous contributors

of $1 million or more in lifetime giving to The Cleve-

land Orchestra. As of September 2012.

Annual Supportgifts during the past year, as of September 10, 2012

Individual Annual Support76 The Cleveland Orchestra

Individual Annual Support

R. Kirk Landon and Pamela Garrison (Miami) Mr. Randy LernerToby Devan LewisMs. Beth E. MooneyMr. and Mrs. Alfred M. Rankin, Jr. James and Donna ReidBarbara S. Robinson David A. and Barbara Wolfort Anonymous


Mr. and Mrs. Daniel M. Bell (Miami)Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s CommitteeMr. and Mrs. Charles P. Bolton The Brown and Kunze FoundationJeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Do Unto Others Trust (Miami)Mr. and Mrs. Geoffrey Gund George Gund Trevor and Jennie Jones Giuliana C. and John D. Koch Foundation

(Cleveland, Miami) Dr. Vilma L. KohnMr. and Mrs. S. Lee Kohrman Charlotte R. KramerMs. Nancy W. McCann Sally S. and John C. Morley Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr.Brian and Patricia RatnerCharles and Ilana Horowitz Ratner Luci and Ralph* ScheyMary M. Spencer (Miami)Mr. and Mrs. Franz Welser-Möst


Mr. William P. Blair III Margaret Fulton-Mueller Dr. and Mrs. Hiroyuki Fujita Elizabeth B. Juliano Dr. and Mrs. David LeshnerMr. and Mrs. Jon A. LindsethMr. and Mrs. Edward A. LozickMrs. Jane B. NordMr. and Mrs. James A. RatnerHewitt and Paula Shaw Richard and Nancy Sneed Junior Committee

of The Cleveland OrchestraPaul and Suzanne Westlake


Gay Cull AddicottMr. and Mrs. William W. Baker Jill and Paul Clark Bruce and Beth Dyer Esther L. and Alfred M. Eich, Jr. Andrew and Judy Green Gary Hanson and Barbara Klante Mr. and Mrs. Jack HoeschlerRichard and Erica Horvitz (Cleveland, Miami)Mrs. Marguerite B. Humphrey William J. and Katherine T. O’Neil Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Mr. and Mrs. James A. SaksMarc and Rennie SaltzbergRaymond T. and Katherine S. SawyerDr. and Mrs. Neil SethiR. Thomas and Meg Harris Stanton Mr. and Mrs. Donald Stelling (Europe)Anonymous gift from Switzerland (Europe) Anonymous


Randall and Virginia BarbatoJayusia and Alan Bernstein (Miami) Scott Chaikin and Mary Beth CooperMr. and Mrs. Peter O. DahlenGeorge* and Becky DunnColleen and Richard Fain (Miami) Jeffrey and Susan FeldmanMr. Allen H. FordRichard and Ann GridleyMrs. John A Hadden Jr.Jack Harley and Judy ErnestMary and Jon Heider (Cleveland, Miami)Tati and Ezra Katz (Miami) Jonathan and Tina Kislak (Miami)Robert M. Maloney and Laura Goyanes Mr. Thomas F. McKee Miba AG (Europe)Lucia S. NashMr. Gary A. Oatey Brian and Patricia RatnerDavid and Harriet SimonMr. Joseph F. TetlakRick, Margarita and Steven Tonkinson (Miami)LNE Group — Lee Weingart (Europe)Anonymous


Mr. and Mrs. David J. Carpenter Judith and George W. Diehl Joyce and Ab* GlickmanMr. and Mrs. Jeffrey Healy Mrs. David Seidenfeld Mr. and Mrs. Alfred Umdasch (Europe)

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INDIVIDUAL GIFTS OF $10,000 TO $12,499Mr. and Mrs. George N. Aronoff Marsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. D. McGregor Brandt, Jr.Augustine* and Grace CaliguireMr. and Mrs. R. Bruce CampbellRichard J. and Joanne ClarkMartha and Bruce Clinton (Miami)Mr. and Mrs. William E. ConwayMrs. Barbara CookBruce Coppock and Lucia P. May (Miami)Mr. and Mrs. Matthew V. Crawford Mr. Peter and Mrs. Julie Cummings (Miami)Mr. and Mrs. Robert P. DuvinMike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr.Ms. Dawn M. FullFrancisco A. Garcia and Elizabeth Pearson (Miami)Mr. and Mrs. Richard T. GarrettAlbert I. and Norma C. Geller Mr. and Mrs. Robert W. GillespieRobert K. Gudbranson and Joon-Li KimJeffrey and Stacie HalpernSondra and Steve HardisDavid and Nancy Hooker Mr. and Mrs. Christopher Hyland Mr. and Mrs. Donald M. Jack, Jr.Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch

Tim and Linda Koelz Mr. and Mrs. Richard A. ManuelMr. and Mrs. Arch J. McCartneyMr. and Mrs. Stanley A. MeiselEdith and Ted* MillerMrs. Sydell L. MillerThe Estate of Walter N. MirapaulElisabeth and Karlheinz Muhr (Europe)Brian and Cindy MurphyMr. and Mrs. William M. Osborne, Jr. Mr. and Mrs. George M. Rose Mr. and Mrs. David A. RuckmanMr. Larry J. Santon Dr. E. Karl and Lisa SchneiderRachel R. Schneider Mr. and Mrs. Oliver E. SeikelMr. Eric Sellen and Mr. Ron SeidmanKim Sherwin Mr. and Mrs. Steven SpilmanLois and Tom Stauffer Mrs. Blythe SundbergDr. Russell A. TrussoTom and Shirley Waltermire Mr. Gary L. Wasserman and Mr. Charles A. Kashner (Miami)The Wells Family Foundation, Inc.Anonymous

INDIVIDUAL GIFTS OF $7,500 TO $9,999Laurel Blossom Dr. and Mrs. Jerald S. BrodkeyDr. Thomas Brugger and Dr. Sandra RussEllen E. & Victor J. Cohn Supporting Foundation Mr. Owen and Mrs. Victoria ColliganMr. and Mrs. Edward B. Davis Henry and Mary Doll Nancy and Richard DotsonKathleen E. HancockMary Jane Hartwell Iris and Tom Harvie Mrs. Sandra L. HaslingerPamela and Scott Isquick Allan V. Johnson Judith and Morton Q. Levin Mr. Jeff LitwillerMrs. Robert H. MartindaleMr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Pannonius Foundation Douglas and Noreen PowersRosskamm Family TrustPatricia J. Sawvel Carol and Albert SchuppDr. Gerard and Phyllis SeltzerNaomi G. and Edwin Z. Singer Family Fund Mrs. Gretchen D. SmithMr. and Mrs. Donald W. Strang, Jr.Bruce and Virginia Taylor Sandy and Ted Wiese Anonymous (2)

INDIVIDUAL GIFTS OF $5,000 TO $7,499Susan S. AngellMr. and Mrs. Albert A. AugustusMr. and Mrs. Dean Barry Mr. Jon Batchelor (Miami)

Gay Cull Addicott

William W. Baker

Ronald H. Bell

Henry C. Doll

Judy Ernest

Nicki Gudbranson

Jack Harley

Iris Harvie

Brinton L. Hyde

Randall N. Huff

Elizabeth Kelley

David C. Lamb

Raymond T. Sawyer

Barbara Robinson, chair

Robert Gudbranson, vice chair

Ongoing annual support gifts are a critical compo-

nent toward sustaining The Cleveland Orchestra’s

economic health. Ticket revenues provide only a

small portion of the funding needed to support

the Orchestra’s outstanding performances, educa-

tional activities, and community projects.

The Crescendo Patron Program recognizes gener-

ous donors of $2,500 or more to the Orchestra’s

Annual Campaign. For more information on the

benefits of playing a supporting role each year,

please contact Hayden Howland, Manager of

Leadership Giving, by calling 216-231-7545.

Crescendo Annual Campaign Patrons

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Fred G. and Mary W. BehmDr. and Mrs. Nathan A. Berger Mr. William BergerDr.* and Mrs.* Norman E. Berman Dr. and Mrs. Eugene H. BlackstonePaul and Marilyn* BrentlingerMr. Robert W. BriggsFrank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William & Dottie Clark Mrs. Lester E. Coleman Mr. and Mrs. Gerald A. ConwayCorinne L. Dodero Foundation

for the Arts and Sciences Mrs. Barbara Ann Davis Ms. Nancy J. Davis (Miami)Mr. and Mrs. Thomas S. DavisMr. and Mrs. Terry C. Z. EggerDr. and Mrs. Robert ElstonMary and Oliver Emerson Dr. D. Roy and Diane A. FergusonChristopher Findlater (Miami)Mr. David J. GoldenMr. and Mrs. Henry J. GoodmanMr. and Mrs. Randall J. GordonHarry and Joyce Graham Mr. Paul Greig David and Robin GunningClark Harvey and Holly SelvaggiIn memory of Philip J. HastingsHenry R. Hatch and Robin Hitchcock HatchRobin Hitchcock HatchBarbara Hawley and David GoodmanJanet D. Heil*Anita and William HellerT. K. and Faye A. HestonAmy and Stephen Hoffman Joan and Leonard HorvitzBob and Edith Hudson (Miami)Mr. James J. Hummer Mr. and Mrs. Brinton L. HydeRudolf D. and Joan T. Kamper Andrew and Katherine KartalisMilton and Donna* Katz Dr. and Mrs. William S. KiserMrs. Justin Krent Mr. James and Mrs. Patricia KrohngoldMr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr.David C. Lamb

Shirley and William Lehman (Miami) Mr.* and Mrs. Leo LeidenMrs. Emma S. LincolnHeather and Irwin LowensteinMr. and Mrs. Alex Machaskee Mr. and Mrs.* Robert P. Madison Ms. Jennifer R. MalkinMr. and Mrs. Morton L. MandelAlan Markowitz M.D. and Cathy PollardAlexander and Marianna C.* McAfee Claudia Metz and Thomas Woodworth Drs. Terry E. and Sara S. MillerMr. and Mrs. William A. Mitchell Ann Jones MorganRobert Moss (Miami)Mr. and Mrs. Stephen E. MyersMr. and Mrs. Herbert Newman Richard and Kathleen NordMr. Henry Ott-HansenMr. J. William and Dr. Suzanne PalmerClaudia and Steven Perles (Miami)Nan and Bob Pfeifer Dr. and Mrs. John N. Posch Lois S.* and Stanley M. ProctorMs. Rosella PuskasMr. and Mrs. Thomas A. QuintrellDrs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. RankinPaul A. and Anastacia L. RoseDr. Tom D. Rose Mr. and Mrs. Robert C. RuhlDavid M. and Betty Schneider Linda B. SchneiderLarry and Sally Sears Mrs. Frances G. ShoolroyMarjorie B. Shorrock Laura and Alvin A. SiegalDavid Kane Smith Jim and Myrna SpiraGeorge and Mary Stark Charles B. and Rosalyn Stuzin (Miami)Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. TromblyDon and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami)Mr. and Mrs. Fred A. Watkins Dr. and Mrs. Leslie T. Webster, Jr.Dr. Edward L. and Mrs. Suzanne WestbrookTom and Betsy WheelerCharles WinansAnonymous (7)

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Dr. and Mrs. D. P. AgamanolisMr. and Mrs. Robert H. BakerMs. Delphine BarrettMr.* and Mrs. Russell BearssMr. and Mrs. Jules BelkinDr. Ronald and Diane BellSuzanne and Jim BlaserDr. Ben H. and Julia BrouhardDr. and Mrs. William E. CappaertMs. Mary E. ChilcoteDrs. Mark Cohen and Miriam Vishny

Diane Lynn CollierMarjorie Dickard ComellaPete and Margaret DobbinsPeter and Kathryn EloffMr. Brian L. Ewart

and Mr. William McHenryMrs. Joan Getz (Miami)Robert N. and Nicki N. GudbransonMr. Robert D. HartMatthew D. Healy and Richard S. AgnesHazel Helgesen and Gary D. Helgesen

Mr. David and Mrs. Dianne HuntDr. and Mrs. Scott R. InkleyDonna L. and Robert H. JacksonMr. and Mrs. Richard A. JanusHelen and Erik JensenJoela Jones and Richard WeissDr. Gilles and Mrs. Malvina KlopmanDr. James and Mrs. Margaret KreinerRonald and Barbara LeirvikMr. and Mrs. Irvin A. Leonard



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CLEVELAND PLAY HOUSE CLEVELAND PUBLIC THEATRE DANCECLEVELAND GREAT LAKES SCIENCE

CENTER GREAT LAKES THEATER GROUNDWORKS DANCETHEATER HEIGHTS YOUTH THEATRE IDEASTREAM

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Mr. Lawrence B. and Christine H. LeveyDr. Alan and Mrs. Joni LichtinAnne R. and Kenneth E. LoveRobert and LaVerne LugibihlElsie and Byron LutmanJoel and Mary Ann MakeeMartin and Lois MarcusSusan and Reimer MellinDr.* and Mrs. Hermann Menges, Jr.Dr. Susan M. MerzweilerMr. and Mrs. Peter R. OsenarMrs. Ingrid PetrusMr. and Mrs. John S. PietyMr. and Mrs. Richard W. PogueIn memory of Henry PollakWilliam and Gwen PreucilDr. Robert W. Reynolds

Mrs. Charles RitchieAmy and Ken RogatFred Rzepka and Anne Rzepka

Family FoundationBob and Ellie ScheuerMs. Freda SeavertCharles Seitz (Miami)Ginger and Larry ShaneMr. Richard ShireyDr. Marvin and Mimi SobelMr. and Mrs. William E. SpatzHoward Stark M.D.

and Rene Rodriguez (Miami)Mrs. Barbara Stiefel (Miami)Dr. Elizabeth SwensonMs. Lorraine S. SzaboMr. and Mrs. Leonard K. Tower

Robert and Marti VagiMr. and Mrs. Mark Allen WeigandMr. Peter and Mrs. Laurie WeinbergerRobert C. WepplerNancy V. and Robert L. WilcoxMs. Rosina Horvath

INDIVIDUAL GIFTS OF $3,500 TO $4,999 CONTINUED


Ms. Nancy A. AdamsStanley I. and Hope S. AdelsteinNorman and Rosalyn Adler Family

Philanthropic FundMr. Gerald O. AllenNorman and Helen AllisonMr. and Mrs. Robert J. AmsdellRev. Dr. and Mrs. Kenneth J. AndersonMr. and Mrs. Jeffrey R. AppelbaumMr. and Mrs. Stanley H. Arkin (Miami)Geraldine and Joseph BabinMr. Roger G. BerkKerrin and Peter Bermont (Miami)Barbara and Sheldon BernsJulia & David Bianchi

(Cleveland, Miami)Carmen Bishopric (Miami)Bill and Zeda BlauMr. Doug BletcherMr. and Mrs. Dennis A. BlockJohn and Anne BourassaLisa and Ron BoykoMrs. Ezra BryanMs. Mary R. Bynum

and Mr. J. Philip CalabreseMrs. Millie L. CarlsonMr. and Mrs. Frank H. CarpenterLeigh and Mary* CarterMr. and Mrs. James B. ChaneyDr. and Mrs. Ronald ChapnickMs. Suzan ChengDr. and Mrs. Chris ChengelisMr. and Mrs. Homer D. W. ChisholmMr. and Mrs. Robert A. ClarkMr. and Mrs. David J. CookDr. Dale and Susan CowanMrs. Frederick F. DannemillerCharles and Fanny Dascal (Miami)Jeffrey and Eileen DavisMrs. Lois Joan DavisDr. and Mrs. Richard C. DistadMs. Maureen A. Doerner

and Mr. Geoffrey T. White

Mr. George and Mrs. Beth DownesMs. Mary Lynn DurhamGeorge* and Mary EatonDavid and Margaret EwartHarry and Ann FarmerCarl and Amy FischerScott Foerster, Foerster and BohnertJoan Alice FordMrs. Amasa B. FordMr. Monte Friedkin (Miami)Marvin Ross Friedman and Adrienne

bon Haes (Miami)Arthur L. FullmerPeggy and David* FullmerRichard L. FurryJeanne GallagherBarbara and Peter GalvinJoy E. GarapicMrs. Georgia T. GarnerBarbara P. Geismer*Mr. Wilbert C. Geiss, Sr.Dr. Kevin and Angela GeraciAnne and Walter GinnMr. and Mrs. David GoldbergMr. and Mrs. David A. GoldfingerDr. and Mrs. Ronald L. GouldMr. and Mrs. Robert T. GrafNancy Green (Miami)Mr. and Mrs. Brent R. GroverThe Thomas J. and Judith Fay Gruber

Charitable FoundationNancy and James GrunzweigMr. Davin and Mrs. Jo Ann GustafsonDr. Phillip M. and Mrs. Mary HallNorman C. and Donna L. HarbertMr. and Mrs. George B. P. HaskellMr. and Mrs. Jerry HerschmanMr. Robert T. HexterDr. and Mrs. Robert L. HinnesMr. and Mrs. Edmond H. HohertzThomas and Mary HolmesDr. Keith A. and Mrs. Kathleen M. HooverMark and Ruth Houck (Miami)

Dr. Randal N. Huff and Ms. Paulette Beech

Ms. Charlotte L. HughesMs. Luan K. HutchinsonRuth F. IhdeDr. Michael and Mrs. Deborah JoyceBarbara and Michael J. KaplanDr. and Mrs. Richard S. KaufmanRev. William C. KeeneMr. Karl W. KellerElizabeth KelleyAngela Kelsey

and Michael Zealy (Miami)The Kendis Family TrustBruce and Eleanor KendrickMr. James KishNatalie KittredgeFred and Judith KlotzmanEllen Brad and Bart KovacDr. Ronald H. Krasney

and Ms. Sherry* LatimerMr. Donald N. KrosinMr. and Mrs. S. Ernest KulpMrs. Carolyn LamplMr. and Mrs. Israel LapciucKenneth M. LapineAnthony T. and Patricia A. LauriaMr. Jin-Woo LeeMichael and Lois A. LemrDr. Edith LernerDr. Stephen B. and Mrs. Lillian S. LevineRobert G. LevyMr. Jon E. Limbacher

and Patricia J. LimbacherIsabelle and Sidney* LobeHolly and Donald LoftusMartha Klein LottmanMary LoudMarianne Luedeking (Miami)Herbert L. and Rhonda MarcusDr. and Mrs. Sanford E. MarovitzDavid and Elizabeth Marsh


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Mr. and Mrs.* Duane J. MarshMrs. Meredith T. MarshallDr. Ernest and Mrs. Marian MarsolaisMr. Julien L. McCallJim and Diana McCoolWilliam and Eleanor McCoyStephen and Barbara MessnerMr. Stephen P. MetzlerMr. and Mrs. Roger Michelson (Miami)MindCrafted SystemsMr. Raymond M. MurphyJoan Katz Napoli

and August NapoliRichard B. and Jane E. NashMr. David and Mrs. Judith NewellMort and Milly Nyman (Miami)Richard and Jolene O’CallaghanNedra and Mark Oren (Miami)James P. Ostryniec (Miami)Mr. and Mrs. Robert D. PaddockDeborah and Zachary ParisDr. Lewis and Janice B. PattersonDr. Roland S. Philip

and Dr. Linda M. SandhausDr. Marc and Mrs. Carol PohlMr. Richard and Mrs. Jenny ProeschelK. PudelskiMs. C. A. ReaganAlfonso Conrado Rey (Miami)David and Gloria RichardsMichael Forde RipichDr. Barbara RisiusCarol Rolf and Steven AdlerDr. and Mrs. Michael Rosenberg (Miami)Michael and Roberta RusekMrs. Florence Brewster RutterDr. Harry S. and Rita K. RzepkaNathan N. and Esther Rzepka Family

Philanthropic FundDr. and Mrs. Martin I. SaltzmanMs. Patricia E. SayMr. Paul H. ScarbroughMr. James SchutteDr. John Sedor and Ms. Geralyn PrestiLee G. and Jane SeidmanDrs. Daniel and Ximena SesslerHarry and Ilene ShapiroNorine W. SharpDr. and Mrs. William C. SheldonMs. Linda M. SmithMr. and Mrs.* Jeffrey H. SmytheMrs. Virginia SnappMs. Barbara SnyderMr. John C. Soper

and Dr. Judith S. BrennekeMr. John D. SpechtMr. and Mrs.* Lawrence E. StewartMs. Evelyn H. Stroud

Dr. Kenneth F. SwansonMr. Taras G. Szmagala Jr.Mr. Nelson S. TalbottMs. Suzanne ThaxtonMr. Karl and Mrs. Carol TheilParker D. Thomson Esq. (Miami)Mr. and Mrs. Robert J. TomsichMr. and Mrs. Lyman H. TreadwaySteve and Christa TurnbullMiss Kathleen TurnerRobert A. ValenteBrenton Ver Ploeg (Miami)Mr. and Mrs. Joaquin Vinas (Miami)Mr. and Mrs. Les C. VinneyRicky & Sarit Warman

— Papa John’s Pizza (Miami)Mr. and Mrs. Joseph F. WasserbauerMs. Laure A. WasserbauerPhilip and Peggy WasserstromEric* and Margaret WayneMr. and Mrs. Jerome A. WeinbergerMrs. Mary Wick BoleRichard Wiedemer, Jr.Dr. Paul R. and Mrs. Catherine WilliamsMr. and Dr. Ann WilliamsRichard and Mary Lynn WillsMichael H. Wolf and Antonia Rivas-WolfMr. Robert Wolff

and Dr. Paula SilvermanRad and Patty YatesFred and Marcia ZakrajsekMr. Kal Zucker

and Mrs. Mary Frances HaerrAnonymous (10)

member of the Leadership Council (see page 76)

* deceased

The Cleveland Orchestra is sustained through the annual

support of thousands of generous patrons, including

members of the Crescrendo Patron Program listed on these

pages. Listings of all 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 for The Cleveland Orchestra’s artistic excellence and

community partnerships, please contact our Philanthro-

py & Advancement Office by calling 216-231-7545.

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

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The Cleveland Orchestra’s catalog of recordings

continues to grow. The newest DVD features Bruckner’s

Eighth Symphony recorded live at Severance Hall under

the direction of Music Director Franz Welser-Möst in 2010

and released in May 2011. And, released in

2012, Dvořák’s opera Rusalka on CD, recorded

live at the Salzburg Festival. Writing of the

Rusalka performances, the reviewer for

London’s Sunday Times praised the perform -

ance as “the most spellbinding account

of Dvořák’s miraculous score I have ever

heard, either in the theatre or on record.

. . . I doubt this music can be better played than by the

Clevelanders, the most ‘European’ of the American or-

chestras, with wind and brass soloists to die for and a

string sound of superlative warmth and sensitivity.”

Other recordings released in recent years

include two under the baton of Pierre Boulez

and a third album of Mozart piano concertos

with Mitsuko Uchida, whose fi rst Cleveland

Orchestra Mozart album won a Grammy Award

in 2011.

R E C O R D I N G Sg r e a t g i f t i d e a s


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land newspaper editorial stated: “We

believe that Mr. Severance intended

to build a temple to music, and not a

temple to wealth; and we believe it is his

intention that all music lovers should be

welcome there.” John Long Severance

(president of the Musical Arts Associa-

tion, 1921-1936) and his wife, Elisabeth,

donated most of the funds necessary to

erect this magnifi cent building. De-

signed by Walker & Weeks, its elegant

Georgian exterior was constructed to

harmonize with the classical architec-

ture of other prominent buildings in

the University Circle area. Th e interior

of the building refl ects a combination

of design styles, including Art Deco,

Egyptian Revival, Classicism, and Mod-

ernism. An extensive renovation, resto-

ration, and expansion of the facility was

completed in January 2000. In addition

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zens for performances, meetings, and

gala events each year.

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C O N C E R T C A L E N D A R

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

90 The Cleveland OrchestraConcert Calendar

F A L L S E A S O NThursday October 4 at 8:00 p.m.Saturday October 6 at 8:00 p.m.THE CLEVELAND ORCHESTRAJames Feddeck, conductorJohn Clouser, bassoonCleveland Orchestra Chorus

MENDELSSOHN Orchestral Music from A Midsummer Night’s Dream

MOZART Bassoon ConcertoBERLIOZ Love Scene

from Romeo and JulietRAVEL Daphnis and Chloé Suite No. 2

Friday October 5 at 7:00 p.m.THE CLEVELAND ORCHESTRAJames Feddeck, conductorCleveland Orchestra ChorusD’Drum, world percussion

KEYBANK FRIDAYS@7RAVEL Daphnis and Chloé Suite No. 2S. COPELAND Gamelan D’DrumSponsor: KeyBank

Thursday October 11 at 8:00 p.m.Saturday October 13 at 8:00 p.m.Sunday October 14 at 3:00 p.m.THE CLEVELAND ORCHESTRAGiancarlo Guerrero, conductorWilliam Preucil, violin

STRAVINSKY PétrouchkaPAULUS Violin Concerto No. 3RAVEL Rapsodie espagnole

Thursday October 18 at 8:00 p.m.Friday October 19 at 8:00 p.m.Saturday October 20 at 8:00 p.m.THE CLEVELAND ORCHESTRAPinchas Steinberg, conductorSasha Cooke, mezzo-sopranoCleveland Orchestra Chorus

RIMSKY-KORSAKOV Suite from Le Coq d’OrTCHAIKOVSKY Francesca da RiminiPROKOFIEV Alexander Nevsky

Thursday October 25 at 8:00 p.m.Friday October 26 at 11:00 a.m.Saturday October 27 at 8:00 p.m.THE CLEVELAND ORCHESTRARobin Ticciati, conductorSimon Trpčeski, piano

LIADOV The Enchanted Lake *RACHMANINOFF Piano Concerto No. 2SIBELIUS Symphony No. 2

*not part of Friday Morning concert

Sponsor: Baker Hostetler

Sunday October 28 at 2:00 p.m.THE CLEVELAND ORCHESTRAKelly Corcoran, conductor

FAMILY CONCERT Spooktacular IIIBack by popular demand for a third year! Join The Cleveland Orchestra for an afternoon of terrifying tales and friendly fun in this (ghost)story-based program of Halloween favorites, including Night on Bald Mountain and Danse Macabre.

Sponsor: The Giant Eagle Foundation

Saturday November 3 at 7:00 p.m.THE CLEVELAND ORCHESTRACarlos Miguel Prieto, conductorYo-Yo Ma, cello

GALA CONCERT Yo-Yo MaA special night of celebration and music brings internation-ally renowned cellist Yo-Yo Ma to Severance Hall to perform

Dvořák’s famed Cello Concerto with The Cleveland Orch-estra. A limited number of concert-only tickets are available

by calling the Severance Hall Ticket Office at 216-231-7547or online at clevelandorchestra.com.

.

Thursday November 8 at 8:00 p.m.Friday November 9 at 11:00 a.m.Saturday November 10 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorMichael Sachs, trumpet *Jack Sutte, trumpet *

BEETHOVEN Symphony No. 4BEETHOVEN Grosse FugePINTSCHER Chute d’Étoiles *

(for two trumpets)SCRIABIN The Poem of Ecstasy *not part of Friday Morning concert

Sponsor: NACCO Industries, Inc.

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

O R C H E S T R A 1213SEASON


Sunday November 11 at 7:00 p.m.CLEVELAND ORCHESTRA YOUTH ORCHESTRAJames Feddeck, conductor

DVORÁK Carnival OverturePROKOFIEV Lieutenant Kijé SuiteHANSON Symphony No. 2 (“Romantic”)

Friday November 23 at 8:00 p.m.Saturday November 24 at 8:00 p.m.Sunday November 25 at 3:00 p.m.THE CLEVELAND ORCHESTRAJaap van Zweden, conductorLouis Lortie, piano

CHOPIN Piano Concerto No. 2RACHMANINOFF Symphony No. 2

Thursday November 29 at 7:00 p.m.Friday November 30 at 7:00 p.m.Saturday December 1 at 2:00 p.m.Saturday December 1 at 7:00 p.m.Sunday December 2 at 2:00 p.m.THE JOFFREY BALLETandTHE CLEVELAND ORCHESTRAconducted by Tito Muñoz

The NutcrackerA holiday must-see, full of magic and marvels and featuring Tchaikovsky’s beloved score performed by The Cleveland Orchestra. The Joffrey Ballet’s production has been cap-tivating audiences for a quarter century with brilliant cos-tumes, larger-than-life scenery, entrancing storytelling, and breathtaking dancing.

Presented at PlayhouseSquare in downtown Cleveland.Tickets: 216-241-6000 or www.playhousesquare.org

Concert Calendar

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

Cleveland OrchestraCHRISTMASFriday December 14 at 8 p.m.Saturday December 15 at 3 & 8 p.m.Sunday December 16 at 3 p.m.Friday December 21 at 8 p.m.Saturday December 22 at 3 & 8 p.m.Sunday December 23 at 3 & 7 p.m.THE CLEVELAND ORCHESTRARobert Porco, conductorCleveland Orchestra ChorusCleveland Orchestra Children’s Chorus

Celebrate the holiday season with a

favorite Cleveland tradition — with The

Cleveland Orchestra and Chorus in these

annual offerings of music for the Christmas

Season. Including sing-alongs and holiday

cheer, all in the festive yuletide splendor

of Severance Hall.

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

Cleveland Orchestra Radio Broadcasts:Radio broadcasts of current and past concert performances

by The Cleveland Orchestra can be heard as part of regular weekly programming on WCLV (104.9 FM), with programs broadcast on Saturday at 8:00 p.m. and Sunday at 4:00 p.m.

Program Notes for each regular concert are usuallyposted in advance online at clevelandorchestra.com.

92 The Cleveland Orchestra92 The Cleveland Orchestra

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

AT SEVERANCE HALLCONCERT DINING AND CONCESSION SERVICE Severance Restaurant at Severance Hall is open for pre-concert dining. For reservations, call 216-231-7373, or make your plans on-line by visit-ing opentable.com. Concert concession service of beverages and light refreshments is available before most concerts and at intermissions in the Smith Lobby on the street level, in the Bogomolny-Kozerefski Grand Foyer, and in the Dress Circle Lobby.

FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall are being offered this season on October 14, November 25, February 10 and 24, and May 5 and 26. For additional information or to re-serve you place for these tours, please call the Sever-ance Hall Ticket Offi ce at 216-231-1111. Private tours can be arranged for a fee by calling 216-231-7421.

THE CLEVELAND ORCHESTRA STORE A wide variety of items relating to The Cleve-land Orchestra — including logo apparel, compact disc recordings, and gifts — are available for pur-chase at the Cleveland Orchestra Store before and after concerts and during intermission. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Cleveland Orchestra subscribers receive a 10% discount on most items purchased. Call 216-231-7478 for more information, or visit the Store online at clevelandorchestra.com

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

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

RENTAL OPPORTUNITIESSeverance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and confer-ences, pre- or post-concert dinners and receptions, weddings, and social events. Exclusive catering provided by Sammy’s. Premium dates are available. Call the Facility Sales Offi ce at 216-231-7420 or email to [email protected]

BEFORE THE CONCERTGARAGE PARKING AND PATRON ACCESS Pre-paid parking for the Campus Center Ga-rage can be purchased in advance through the Tick-et Offi ce for $14 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order pre-paid parking, call the Severance Hall Ticket Offi ce at 216-231-1111. Parking can be purchased for the at-door price of $10 per vehicle when space in the Campus Cen-ter Garage permits. However, the garage often fi lls up well before concert time; only ticket holders who purchase pre-paid parking passes are ensured a parking space. Overfl ow parking is available in CWRU Lot 1 off Euclid Avenue, across from Sever-ance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.

FRIDAY MATINEE PARKING Due to limited parking availability for Friday Matinee performances, patrons are strongly en-couraged to take advantage of convenient off-site parking and round-trip shuttle services available from Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10 per car.

CONCERT PREVIEWS Concert Previews at Severance Hall are present-ed in Reinberger Chamber Hall on the ground fl oor (street level), except when noted, beginning one hour before most Cleveland Orchestra concerts.

Guest Information

9393Severance Hall 2012-13 Guest Information

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

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

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

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

SERVICES FOR PERSONS WITH DISABILITIES

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

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

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

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

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

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

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


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



See also the concert calendar listing on pages 90-91, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Severance Hall concerts.

TICKETS 216-231-1111 clevelandorchestra.com

At Severance Hall . . .

YO-YO MAPLAYS DVOŘÁKSaturday November 3 at 7:00 p.m.THE CLEVELAND ORCHESTRACarlos Miguel Prieto, conductorYo-Yo Ma, cello

Internationally-acclaimed cellist Yo-Yo Ma

joins The Cleveland Orchestra for one spe-

cial evening, performing Antonin Dvořák’s

magnifi cently majestic Cello Concerto. The

program under guest conductor Carlos Miguel

Prieto also includes Copland’s rollicking El

Salón México, and Revueltas’s dark and dis-

turbing Sensemayá. Ma also partners with the

Orchestra for John Williams’s tranquil Elegy,

built upon fragments from the score to the

movie Seven Years in Tibet. Tickets are on sale

now for this special gala event of the season,

raising funds to support the Orchestra’s edu-

cation and community programs.

Yo-Yo Ma

STRAVINSKY’SPÉTROUCHKAThursday October 11 at 8:00 p.m.Saturday October 13 at 8:00 p.m.Sunday October 14 at 3:00 p.m.THE CLEVELAND ORCHESTRAGiancarlo Guerrero, conductorWilliam Preucil, violin

A great ballet score and the world premiere

of a new violin concerto — this program fea-

tures musical works from across the past cen-

tury, led by guest conductor Giancarlo Guerre-

ro. The concert begins with Stravinsky’s lively

ballet score Pétrouchka, in which a puppet

tries to fi nd true love. Here, Stravinsky draws

a riveting portrait of townsfolk and human

longings in brilliant rhythms and memorable

melody. Plus, concertmaster William Preucil

premieres a brand-new concerto. The concert

ends with the Frenchman Ravel’s exquisite

portrait of Spanish tastes.

William Preucil

Upcoming Concerts

216.861.3810 877.554.5054www.ClevelandFoundation.org

Leave your mark on your community by partnering with the Cleveland Foundation. We are the largest grantmaker in Northeast Ohio, giving about $80 million annually in grants to worthy causes here. You can give to all of your favorite causes through the Cleveland Foundation. For nearly 100 years, we have helped people like you give back in memorable ways. Join us and experience the satisfaction of knowing your gift will keep giving forever.

If you want to be remembered,

do something memorableSM.

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