The Cleveland Orchestra March 21, 23

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March 21, 23ALAN GILBERT CONDUCTS MAHLER’S SEVENTH

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Table of Contents4 The Cleveland Orchestra

1213SEASON

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

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

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GE

7 In the News

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

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

8 About the Orchestra

Spotlight: Photo of the Week . . . . . . . . . . . . . . . . . 8

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

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

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

Student Ticket Programs . . . . . . . . . . . . . . . . . . . . 59

Meet the Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Administrative Staff . . . . . . . . . . . . . . . . . . . . . . . . . 62

Education & Community . . . . . . . . . . . . . . . . . . . . 65

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

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

35 Concert —Week 16

Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Program: March 21, 23 . . . . . . . . . . . . . . . . . . . . . 35

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

RAVEL

Mother Goose (complete ballet score) . . . . . . . . . . . . . . . . . . . 39

MAHLER

Symphony No. 7 . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Conductor: Alan Gilbert . . . . . . . . . . . . . . . . . . . . . 57

48 Support

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

Endowed Funds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

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

Foundation / Government Annual Support . . . 75

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

90 Future Concerts

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

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

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

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

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

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

The 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 7Severance Hall 2012-13

March 2013

Many of you will have seen recent press coverage of this season’s

record-breaking sales revenues and the growing presence of young

audience members here at Severance Hall. The news is encourag-

ing for the Orchestra and all of Northeast Ohio. The Plain Dealer’s

front-page coverage in January noted that The Cleveland Orchestra

“is seeing attendance and ticket revenue skyrocket, mostly as a re-

sult of new programs aimed at children and students.” In an editorial, Crain’s Cleveland

Business wrote that the Orchestra “deserves bravos for the hard work it and its support-

ers have done to secure the future of this ensemble of skilled musicians, who together

remain the city’s most visible global ambassadors.”

These are important steps toward a bright future, and much of the credit belongs to the

staff who work tirelessly in the service of our patrons and artists. This team of dedicated

professionals works behind the scenes every day to ensure that what happens off stage

matches the unsurpassed excellence of the music-making onstage. Staff members (listed

on pages 62- 63 of this book) focus their energies to plan and produce, manage and mar-

ket hundreds of performances, educational programs, and patron events annually.

The planning begins years in advance. Every event — at home in Northeast Ohio and

on the road — involves scores of decisions and details that begin to take shape at least

three years in advance. In the past several weeks, we have announced the 2013 Blossom

Music Festival and 2013-14 season at Severance Hall, after completing months of prepa-

ration and fi nalizing details. At the same time, the programming for 2014-15 is being

discussed and decided, while conductors and soloists are being booked for 2015-16.

For every rehearsal, performance, program, and event, Severance Hall and Blossom

must be prepared to ensure an effi cient and comfortable experience for the artists on-

stage and for you in the audience. From cleaning and climate control to program books

and box offi ce, from fi nance and food service to payroll and parking, every detail is im-

portant. And these days, as we diversify our activities in Northeast Ohio, staff members

throughout the institution are coordinating an increasingly complex puzzle of program-

ming, people, and partnerships.

Fundraising is an essential part of the equation, requiring not only that we ask for your sup-

port, but that we earn your support, and that genuine and grateful thanks are extended to

each and every donor.

Simultaneously, the infrastructure of the institution must be attended to, including the

maintenance and management of Severance Hall’s physical plant, of the organization’s

computer systems, and the Orchestra’s array of equipment, instruments, and music library.

The success of this season — and of future seasons in the months and years to come

— is the result of hard work by many hands. I hope you will join me in expressing grati-

tude to all the dedicated staff members for everything they do, for helping to make The

Cleveland Orch estra the very best right here in Northeast Ohio.

Gary Hanson

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 artistic

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);

expansion of education and community programs in Northeast Ohio to

make music an integral and regular part of everyday life for more people; the

2012-13 season includes the launch of an annual Neighborhood Residency pro-

About the Orchestra8 The Cleveland Orchestra

IN JAPAN — May 1970, principal guest conductor Pierre Boulez and music

director George Szell discuss musical matters in Japan in a traditional tea

house setting during The Cleveland Orchestra’s tour to Japan and Korea.

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PHOTO OF THE WEEK follow the Orchestra on Facebook for more archival photos

gram that will bring Th e Cleveland Orchestra to neighborhoods across the region

for an intensive week of special activities and performances. First stop is the Gordon

Square Arts District in Cleveland’s Detroit/Shoreway neighborhood in May 2013;

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

involving an annual series of concerts and community activities, coupled with an

expansive set of educational presentations and collaborations (based on successful

educational programs pioneered at home in Cleveland);

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;

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

ances at Carnegie Hall;

regular concert tours to Europe and Asia;

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 con-

cert presentations of symphonies by Anton Bruckner;

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

Cleveland Orchestra concerts in Northeast Ohio, through research, targeted dis-

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

continuing and expanded educational partnerships with schools, colleges, and

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

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

ter Festival;

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 featured 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

*deceased

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

Claire Frattare, State Chair, Blossom Women’s Committee

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

Dr. Lester Lefton, President, Kent State University

Barbara R. Snyder, President, Case Western Reserve University

PAST PRESIDENTS D. Z. Norton 1915-21

John L. Severance 1921-36

Dudley S. Blossom 1936-38

Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55

Frank E. Taplin, Jr. 1955-57

Frank E. Joseph 1957-68

Alfred M. Rankin 1968-83

Ward Smith 1983-95

Richard J. Bogomolny 1995-2002, 2008-09

James D. Ireland III 2002-08

HONORARY TRUSTEES FOR LIFE Gay Cull Addicott 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 Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Robert P. Madison Milton S. Maltz Nancy W. McCann Thomas F. McKee Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. Oatey Katherine T. O’Neill

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

OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President

Richard J. Bogomolny, Chairman

The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair

Raymond T. Sawyer, Secretary

Beth E. Mooney, Treasurer

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

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

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

THE MUSICAL ARTS ASSOCIATION as of February 2013

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

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


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March 21, 23ALAN GILBERT CONDUCTS MAHLER’S SEVENTH

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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 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 conducted the New Year’s Day concert again at

the start of 2013 and also leads the Philharmonic in a series of concerts at New York’s

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

culminating 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 acous-

tically 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

“The Cleveland Orchestra proved

that they are still one of the world’s

great musical beasts. With Franz

Welser-Möst conducting, this music

. . . reverberated in the souls of the

audience.” —Wall Street Journal

“Cleveland’s reputation as one of the

world’s great ensembles is richly deserved.”

—The Guardian (London)

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

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

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Franz Welser-Möst and The Cleveland Orchestra,

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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

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 Principal1 First Assistant Principal2 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

William HestandBarrick Stees2

Sandra L. Haslinger Chair

Jonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSRichard King *

George Szell Memorial Chair

Michael Mayhew §

Knight Foundation Chair

Jesse McCormickHans ClebschAlan DeMattia

TRUMPETSMichael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack SutteLyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard StoutAlexander andMarianna C. McAfee Chair

Shachar Israel2

BASS TROSMBONEThomas 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

Karyn GarvinMANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIEDDr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

Sidney and Doris Dworkin Chair

Sunshine Chair

The Orchestra

CONDUCTORSChristoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,CLEVELAND ORCHESTRA MIAMI

James FeddeckASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

1213

SEASONO R C H E S T R A


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Cleveland Orchestra News

The Cleveland Orchestra has announced its

2013-14 season, with complete details and

renewal forms due to be mailed to all cur-

rent subscribers in the coming weeks. (For

the first time, series subscriptions can be re-

newed online through the Orchestra’s website

— complete instructions are included in each

subscriber’s mailed renewal package.)

Series packages for the season’s classical

concerts will be available through Severance

Hall Ticket Services beginning at the end of

March. Individual tickets to the season will

go on sale in late summer. Additional details

about the 2013-14 season — including Celeb-

rity Series, Family Concert Series, PNC Musical

Rainbows, Holiday Concerts, and special pre-

sentations — will be announced in the coming

months.

For the 2013-14 season, Franz Welser-Möst

introduces a Fall Festival, pairing symphonies

by Beethoven and Shostakovich, and an all-

Brahms weekend with two programs featuring

works by Brahms, and also leads semi-staged

performances of Janáček’s The Cunning Little

Vixen. Guest artists returning to Severance Hall

include Leon Fleisher, Mitsuko Uchida, Radu

Lupu, and conductors Christoph von Dohnányi,

Pierre Boulez, and Herbert Blomstedt. The Or-

chestra commemorates the 100th anniversary

of the birth of Benjamin Britten with perfor-

mances of three of his major works.

FRANZ WELSER-MÖST CONDUCTS

In his twelfth season as music director,

Franz Welser-Möst introduces a Fall Festival in

October, featuring symphonies by Beethoven

and Shostakovich in three programs.

Beethoven’s Symphonies Nos. 3, 4, and 5 are

paired with Shostakovich’s Nos. 6, 8, and 10. In

addition to conducting the performances at

Severance Hall, Welser-Möst will speak about

the program pairings in a special festival pre-

view. “The dream of freedom inspired the

founding of our society,” says Welser-Möst.

“Political and social freedom is presented so

emotionally and clearly in Beethoven’s music.

By listening to the music of Beethoven and

Shostakovich in juxtaposition, we can experi-

ence their ideas of freedom from different eras,

yet from today’s perspective.”

Franz Welser-Möst continues an emphasis

on operatic and choral repertoire in the 2013-

14 season, with the Cleveland premiere perfor-

mances of Janáček’s opera The Cunning Little

Vixen and performances of Beethoven’s Mass

in C major and Britten’s Spring Symphony. So-

prano Martina Janková returns to perform the

title role in The Cunning Little Vixen in May 2014.

The cast also includes bass-baritone Alan Held

and mezzo-sopranos Jennifer Johnson Cano

and Julie Boulianne.

The music of Brahms will be featured in

From the PresidentOrchestraNewsNews

2013-14 Season at Severance Hall announcedFranz Welser-Möst’s twelfth season of subscription concerts

features a Fall Festival of Beethoven and Shostakovich, a celebration

of English composer Benjamin Britten, and semi-staged opera


two programs led by Welser-Möst in January

2014. Each program features the Violin Con-

certo with guest soloist Julia Fischer, paired ei-

ther with Symphony No. 2 or Symphony No. 4.

FIVE BEETHOVEN PIANO CONCERTOS

Across the season, the Orchestra presents

all five of Beethoven’s piano concertos, per-

formed by varying artists and conductors.

Leon Fleisher, the Orchestra’s new art-

ist-in-residence for the 2013-14 season,

returns to appear with the Orchestra for the

first time since 2003, making his Severance

Hall conducting debut. He leads a program

including Beethoven’s Piano Concertos Nos.

2 and 3 with Mitsuko Uchida as soloist. Mr.

Fleisher has appeared with the Orchestra in 70

concerts, beginning with his Cleveland Or-

chestra debut in October 1946. He made his

conducting debut with the Orchestra in 1978.

Mr. Fleisher recorded the complete Beethoven

Piano Concerto cycle with George Szell and

The Cleveland Orchestra in the 1950s and ’60s.

As artist-in-residence, Mr. Fleisher will pres-

ent a piano masterclass during the 2013-14

season. The position of artist-in-residence is

made possible by the Malcolm E. Kenney Art-

ist-in-Residence Fund.

Mitsuko Uchida has appeared annually

with the Orchestra since 2002 (including a

term as artist-in-residence). Her 2009 re-

cording of Mozart’s Piano Concertos Nos. 23

and 24 with The Cleveland Orchestra won a

Grammy Award.

Radu Lupu performs Beethoven’s Piano

Concerto No. 4 under the direction of Franz

Welser-Möst in a program in January 2014.

In the opening concert program of the

season in September 2013, Hélène Grimaud

performs Beethoven’s Piano Concerto No. 5

(“Emperor”) under the direction of guest con-

ductor Fabio Luisi.

Beethoven’s First Piano Concerto is fea-

tured with soloist Imogen Cooper and guest

conductor Jane Glover in April 2014. The pro-

gram also includes Haydn’s Symphony No. 103

(“Drum Roll”).

BOULEZ, DOHNÁNYI, AND BLOMSTEDT

Pierre Boulez returns to conduct two

programs in February 2014. Schoenberg’s

Verklärte Nacht (“Transfigured Night”) opens

the first program, which also includes Bartók’s

Violin Concerto No. 2 with Nikolaj Znaider.

The second program features Debussy’s La

Mer (“The Sea”) and Prelude to the Afternoon

of a Faun.

Christoph von Dohnányi, the Orchestra’s

music director laureate, returns to conduct an

all Schumann program with Symphonies Nos.

2 and 4, in March 2014.

Herbert Blomstedt makes his sixth set of

appearances at Severance Hall in April 2014,

leading performances of Dvořák’s Cello Con-

certo with Cleveland Orchestra principal cello

Mark Kosower paired with Tchaikovsky’s Sym-

phony No. 6 (“Pathétique”).

BENJAMIN BRITTEN COMMEMORATION

During the 2013-14 season, The Cleveland

Orchestra will mark the 100th anniversary

commemoration of Benjamin Britten’s birth.

Born November 22, 1913, Britten is one of the

most celebrated and most performed British

composers. In March 2014, Franz Welser-Möst

conducts Britten’s Spring Symphony, a large

work with soloists and chorus that Britten

described as “a symphony not only dealing

with the Spring itself but with the progress of

Winter to Spring and the reawakening of the

earth and life which that means.”

In October 2013, Marek Janowski leads

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News

Blomstedt

Dohnányi

Boulez

27Severance Hall 2012-13 27Severance Hall 2012-13 Cleveland Orchestra News

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performances of Britten’s Serenade for Tenor,

Horn, and Strings with soloists Matthew Po-

lenzani and Cleveland Orchestra principal horn

Richard King. The Serenade is a song cycle

about night, sleep, and death, with texts by six

British poets. And in May 2014, Janine Jansen

performs Britten’s Violin Concerto under the

direction of Vladimir Jurowski.

GIANCARLO GUERRERO

Giancarlo Guerrero, principal guest con-

ductor of Cleveland Orchestra Miami, returns

to Severance Hall to lead a program featuring

guest artist Yuja Wang in Rachmaninoff’s Piano

Concerto No. 3. The program also includes

Prokofiev’s “Classical” Symphony and con-

cludes with Rimsky-Korsakov’s Scheherazade.

In his memoir, Rimsky-Korsakov called the

work inspired by the Arabian Nights folk tales

“a kaleidoscope of fairy-tale images.”

LEWIS YOUNG COMPOSER FELLOW

In September 2013, Ryan Wigglesworth

begins a two-year tenure as The Cleveland

Orchestra’s seventh Daniel R. Lewis Young

Composer Fellow. Wigglesworth has been

commissioned to create a new work to be

premiered by the Orchestra in the 2014-15

season. The United States premiere of his

Sternenfall will be conducted by Franz Welser-

Möst in March 2014. Wigglesworth will also

participate in rehearsals, masterclasses, and

educational activities serving the Northeast

Ohio community. The Daniel R. Lewis Young

Composer Fellow program began in 1998.

Works by the composers are commissioned by

The Cleveland Orchestra through the Young

Composers Endowment Fund, which was es-

tablished by a $1 million gift from Jan R. and

Daniel R. Lewis. Mr. Lewis is the chairman of

the Miami Music Association, which supports

Cleveland Orchestra Miami.

British composer Ryan Wigglesworth was

appointed composer-in-residence at English

National Opera in 2012. His orchestral song cy-

cle Augenlieder was awarded the vocal prize at

the 2010 British Composer Awards. His recent

Violin Concerto, written for Gordan Nikolic and

the Netherlands Chamber Orchestra, was pre-

miered in Amsterdam in 2012. Current projects

include a song cycle for tenor Mark Padmore,

an orchestral work to mark the centenary of

Benjamin Britten’s birth for the Aldeburgh Fes-

tival, and a full-scale opera for English National

Opera. Ryan Wigglesworth also devotes time

as a conductor, most recently leading perfor-

mances of Birtwistle’s The Minotaur at London’s

Royal Opera House and Tippett’s A Child of Our

Time with the London Philharmonic.

GLOBAL AMBASSADORS

Beyond the concert season at Severance

Hall, Franz Welser-Möst and The Cleveland Or-

chestra embark on their 13th international tour

together in November 2013. The tour launches

with a performance on the Great Performers

series at Lincoln Center in New York. In Europe,

the Orchestra will perform twelve concerts,

including a week-long residency at Vienna’s

Musikverein.

NewsNewsNewsNews

28 The Cleveland OrchestraCleveland Orchestra News

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The Cleveland Orchestra

Guide to Fine Schools

Other fine schools advertising in The Cleveland Orchestra’s Severance Hall programs include:

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OrchestraNewsNews

The George Gund Foundation awarded a

$3 million grant at its February board meeting

to support The Cleveland Orchestra’s Sound

for the Centennial Campaign. Pledged over six

years, the award honors the late George Gund

III, who was a trustee of the Musical Arts Asso-

ciation.

The Foundation’s commitment perma-

nently endows a new Fund for Artistic Excel-

lence in George Gund’s name, providing

immediate support for the Orchestra’s core

artistic programming for the community. “This

commitment to the Campaign not only cel-

ebrates George Gund’s legacy and leadership

at the Orchestra,” said David Abbott, the Foun-

dation’s executive director. “It also ensures that

one of our community’s most valuable assets

can continue to serve Northeast Ohio at the

George Gund Foundation supports The Cleveland Orchestra’s

“Sound for the Centennial Campaign” with $3 million gift

highest levels of artistic excellence.”

George Gund III was elected as an interna-

tional trustee in 1994 and served on the board

of the Musical Arts Association for 19 years. The

new gift is the largest gift made by the Gund

Foundation to The Cleveland Orchestra, and

ranks among the largest institutional leader-

ship commitments to the Sound for the Centen-

nial Campaign thus far, as well as among the

Foundation’s largest commitments to a cultural

organization in Northeast Ohio.

The Orchestra’s Sound for the Centennial

Campaign runs through the Orchestra’s centen-

nial in 2018 and will ensure that the Orchestra

can continue to thrive now and into the future

by building a significant endowment and pro-

viding immediate support for artistic excellence

and community and education programs.


Orchestra NewsNews

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The Cleveland Orchestra’s 2013 Blossom Music

Festival has been announced, with complete

details available on the Orchestra’s website. Sea-

son information and series renewals are being

mailed to subscribers to last year’s Festival, and

new series packages are available for purchase

now. Lawn Ticket Books are also for sale now.

Individual tickets for the entire season go on sale

on Tuesday, May 28.

For the 2013 Festival, the Orchestra pres-

ents 19 concerts at Blossom Music Center in

Cuyahoga Valley National Park from July 3 to

September 1. Continuing a 40-year tradition,

the Blossom season begins with “Salute to

America” concerts performed by the Blossom

Festival Band. The band programs on July 3 and

4 are under the direction of Loras John Schissel

and feature post-concert fi reworks.

Music Director Franz Welser-Möst conducts

The Cleveland Orchestra for the Festival’s offi cial

Opening Night on Friday, July 5, plus two ad-

ditional evenings. His programs feature Strauss’s

Four Last Songs, Beethoven’s “Eroica” Symphony,

and Liszt’s fi ery Totentanz, along with excerpts

from operas by Richard Wagner during this 200th

anni versary of the composer’s birthyear.

Highlights of the 2013 Festival season also

include The Joff rey Ballet’s return, on August

17 and 18, in a program celebrating the 100th

anniversary of the world premiere of The Rite of

Spring. Stravinsky’s daring score is matched to a

reconstruction of the work’s original choreogra-

phy by Vaslav Nijinsky and facsimiles of the origi-

nal costumes by Nicholas Roerich. Tito Muñoz

leads The Cleveland Orchestra for these ballet

performances, which also feature works choreo-

graphed by Jerome Robbins and Stanton Welch.

In additional to classical symphonic works,

a variety of popular music will be also featured

at Blossom Festival concerts this summer, rang-

ing from a program of the “Sounds of Simon

& Garfunkel” (July 14), under the direction of

Michael Krajewski, to an evening of show tunes

titled “Broadway’s Leading Men” (July 28), led by

Jack Everly. Cleveland Orchestra chorus direc-

tor Robert Porco conducts highlights from the

Gershwin opera Porgy and Bess (July 21), and

Bramwell Tovey leads an evening of the music of

popular song (August 25), including melodies by

Cole Porter, Jerome Kern, Richard Rodgers, and

Duke Ellington.

In a program sure to delight children of all

ages, the 2013 Festival will close with “Pixar in

Concert” on Labor Day Weekend, August 31 and

September 1. The Cleveland Orchestra performs

selections from thirteen Pixar fi lms, accompany-

ing movie clips projected on large screens. The

evening is led by Hollywood conductor Richard

Kaufman.

A program on July 27 features participants

from Kent/Blossom Music performing in a side-

by-side concert with The Cleveland Orchestra.

Twenty Cleveland Orchestra musicians serve on

the faculty at Kent/Blossom Music, and twenty

alumni of Kent/Blossom Music are now mem-

bers of The Cleveland Orchestra.

The family-friendly “Under 18s Free” ticket

program continues at Blossom, where over

26,000 young people have attended Festival

concerts during the past two summers. This

ground-breaking initiative is made possible

through The Cleveland Orchestra’s Center for Fu-

ture Audiences and additional generous funders.

Series subscriptions are now on sale. For

complete season details and schedule, visit

clevelandorchestra.com.

2013 Blossom Music Festival announcedFestival season features great orchestral works, a special ballet

anniversary, and programs of popular songs and fi lm music

30 The Cleveland OrchestraCleveland Orchestra News

j l 20 t 22

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OrchestraNewsNews

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

Upcoming local performances by members

of The Cleveland Orchestra include:

Cleveland Orchestra members Isabel

Trautwein (violin) and Tanya Ell (cello) join with

colleagues in a special program presented by

Heights Arts to honor the former Cleveland

Quartet and its original players. The program

on Sunday afternoon, March 24, beginning at

3:00 p.m. features the quartet’s original violin-

ists, Donald Weilerstein and Peter Salaff,

along with former students in Northeast

Ohio and the Cavani Quartet, to present

a program of Bartók’s Duos for Two Violins,

Dvořák’s Piano Quartet in E-flat major, and

Brahms’s Sextet in G major. Reservations

are required, $40 for Heights Arts members,

$50 non-members. For more information,

visit www.heightsarts.org/music.staff, or call

216-371-3457.

Cleveland Orchestra members Joshua

Smith (flute) and Jacob Nissly (percussion) join

together with pianist Tina Dahl in a program on

Sunday afternoon, March 24. The program, pre-

sented by Arts Renaissance Tremont, begins at

3:00 p.m. and includes works by Bach, Debussy,

Harrison, Kirchner, Kurtág, Pärt, Takemitsu,

and Xenakis. The performance is at Pilgrim

Congregational Church (2592 West 14th Street,

Cleveland). Admission is by freewill donation.

For additional information, visit www.artscon-

certs.com.

Family Concert seriesconcludes in May with

storytelling in “Fables, Fantasy, and Folklore”

The Cleveland

Orchestra’s season

of Family Concertsconcludes with“Fables, Fantasy, andFolklore” on Sundayafternoon, May 12, led byguest conductor Michael Butterman. The con-cert features such classics as Rimsky-Korsakov’sScheherazade (based on Tales from the Arabian Nights), Grieg’s In the Hall of the Mountain King,and Rossini’s William Tell Overture. Intendedfor children ages 7 and older, the series is de-signed to introduce young people to classicalmusic. In addition to each one-hour Orchestraconcert, the Family Concert series featuresfree, pre-concert activities, including an “In-strument Discovery” in which children can try

playing various instruments.For complete details about this concert,

visit clevelandorchestra.com.

THE CLEVELAND ORCHES TRA

F .A .M. I .L .Y N .E .W.S Please join in extending congratula-tions and warm wishes to: Kim Gomez (violin) and James Gomez,

whose baby girl, Christina Therese Gomez,

was born on February 5.


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Friday Morning concertgoers can enjoy free bus service courtesy of Women’s Committee

The Women’s Committee of The Cleve-

land Orchestra is again sponsoring free bus

service to each of the Orchestra’s Friday Morn-

ing concerts this season. The buses depart

from locations in Akron, Beachwood, Brecks-

ville, and Westlake. A bus pass is required, and

can be reserved along with concert tickets

through the Severance Hall Ticket Office in-

person or by calling 216-231-1111. (Donations

to help defray the cost of this bus service are

also welcome and can be given through the

ticket office).

The season’s final Friday Morning concert

is on May 3, with Ton Koopman leading a con-

cert of works by Haydn, Mozart, and Fischer,

and featuring Cleveland Orchestra principal

timpani Paul Yancich as soloist.

OrchestraNewsNews

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Special thanks to Cleve- land Orchestra musicians

The Board of Trustees extends special

thanks to the members of The Cleveland Or-

chestra for donating their services for several

concerts during the Orchestra’s weeks in resi-

dence in Miami this season. These donated

performances included daytime Education

Concerts at the Adrienne Arsht Center for

the Performing Arts of Miami-Dade County,

attended by thousands of school children,

as well as the Orchestra’s concert in Naples,

Florida.

“These and other donated services each

year are a meaningful demonstration of the

musicians’ commitment to this institution’s

future,” notes Gary Hanson, executive director.

“The members of The Cleveland Orchestra are

committed to serving the Orchestra’s commu-

nities and presenting music as an important

and vital part of life.”


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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.

March 21, 23“Music of the Night” with Rabbi Roger Klein, The Temple – Tifereth Israel

April 4, 5, 6 “Mozart: Master of the Concerto” with Pierre van der Westhuizen,

executive director, Cleveland

International Piano Competition

April 11, 12, 13, 14 “The Story of Carmina Burana” with David J. Rothenberg,

associate professor of musicology,

Case Western Reserve University

April 18, 20, 21 “Just Between Us Composers” Sean Shepherd, Lewis Young Composer Fellow,

in conversation with Keith Fitch, head of

composition, Cleveland Institute of Music

April 25, 26, 27 “Haydn’s The Seasons” with Francesca Brittan,

assistant professor of musicology,

Case Western Reserve University

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. The previews (see

listing at right) feature a variety of

speakers and guest artists speaking

or conversing about that weekend’s

program, and often include the op-

portunity for audience members to ask

questions.

Concert Previews

for finding your own rhythm.

Inspiring. Thought Provoking. PNC is proud to sponsor The Cleveland Orchestra. Because we appreciate all that goes into your work.

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35Severance Hall 2012-13 Concert Program — Week 16

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

With this Saturday’s concert, The Cleveland Orchestra gratefully

honors The Mandel Foundation for its generous support.

The concerts will end at approximately 10:10 p.m. each evening.

LIVE RADIO BROADCASTSaturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, April 28, at 4:00 p.m.

Severance HallThursday evening, March 21, 2013, at 8:00 p.m. Saturday evening, March 23, 2013, at 8:00 p.m.

Alan Gilbert, conductor

MAURICE RAVEL Mother Goose [Ma Mère l’Oye](1875-1937) (complete ballet music) 1. Prelude 2. Dance of the Spinning Wheel, and Scene 3. Pavane of Sleeping Beauty 4. Conversations between Beauty and the Beast 5. Tom Thumb 6. Laideronnette, Empress of the Pagodas 7. The Enchanted Garden

INTERMISSION

GUSTAV MAHLER Symphony No. 7(1860-1911) 1. Langsam [Slow] — Allegro risoluto, ma non troppo 2. Night Music I: Allegro moderato 3. Scherzo: Schattenhaft. Fliessend aber nicht schnell. [Shadowy, Vaguely. Flowing, but not fast.] 4. Night Music II: Andante amoroso 5. Rondo-Finale: Tempo I (Allegro ordinario) — Tempo II (Allegro moderato ma energico)

1213


37Severance Hall 2012-13 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

Tales for Day&NightT H I S W E E K ’ S P R O G R A M features two contrasting works from the first

decade of the 20th century.

Ravel’s Mother Goose was originally conceived as a set of piano

pieces, as a gift from the composer for the children of friends in Paris.

The pieces were too difficult for these youngsters to perform, however,

and the world premiere of the piano duet was played by two even younger

(but more musically gifted) children in 1910. The next year, Ravel ex-

panded and orchestrated the work as a ballet score, creating a storyline

based loosely on some of the widely-known and beloved fairytales pub-

lished under the rubric of Mother Goose. In this score, Ravel’s keen sense

of musicality and his intense abilities to color sounds as an orchestrator

shine through.

After intermission, the concert continues

with Mahler’s enigmatic Seventh Symphony.

This big, sprawling work features five con-

trasting movements built around two that the

composer titled Night Music I and II (move-

ments 2 and 4). In these, Mahler combines the

musical moods of a nocturne with a serenade.

Night Music II, feeling very much like a song,

features parts for two instruments unusual in

a symphony, guitar and mandolin. Through-

out, night and darkness are given as a sense of

power and life, rather than evil and forboding.

In the middle comes a Scherzo of shadows, and

at the end, catching many listeners by surprise,

is a joyful, anxious movement happily built in

the key of C major (and including allusions to

Offenbach’s “Can-Can” and Wagner’s Meister-

singer). All in all, an evening of musical won-

der and depth, simplicity and daring.

GUSTAV MAHLERSilhouette by Hans Schliessmann

Following the instructions of his doctors, Pierre Boulez reluctantly withdrew from

his scheduled appearances with The Cleveland Orchestra for this weekend. Alan Gilbert,

music director of the New York Philharmonic, has graciously agreed to step in to lead

these concerts. The musical selections remain as originally announced.

MusicBaldwin Wallace UniversityConservatory of Music

is proud to announce the new

For more information, contact: Conservatory Outreach Department440-826-2365 or [email protected] www.bw.edu/summer-music-programs

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Additional BW Summer Music Programs . . .

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for mature singers exploring the Wagnerian repertoire, July 17-27Cabaret Intensive,

for singers looking to expand their performing skills in a cabaret setting, July 28-August 1

39Severance Hall 2012-13

M A U R I C E R AV E L possessed a peculiar gift for evoking what

he called “the poetry of childhood.” Much as dance is a guid-

ing thread through several of his most important compositions,

themes involving childlike fantasy also recur again and again

across his musical works.

Both aspects — childhood and dance — converge in the

orchestral music inspired by selected fairy-tales from Ma Mère

l’Oye (“Mother Goose”). Ravel initially conceived this music

as a piano duet for Mimi and Jean Godebski, children he had

befriended. Th eir parents, a Polish couple who held salons that

attracted a remarkable array of Parisian artists, provided a kind

of alternative home for the composer.

Biographer Gerald Larner observes that the death of Rav-

el’s father in 1908 likely predisposed him to muse on his own

childhood as he entertained the Godebskis and “took refuge

in fairytale and the domesticity of the piano duet.” As a result,

adds Larner, “there is at least as much adult nostalgia as child-

ish joy . . . and far more Ravel” in these pieces.

Th e original piano duet version of Mother Goose, which

carries the subtitle “fi ve children’s pieces,” emanates a beguil-

ing intimacy and ravishing sense of color quite independent

of the later ballet version. Ravel wrote the piano duet as a pri-

vate gift for the Godebski children to play. For the fi rst public

performance, in 1910, however, the kids weren’t up to the task

— they complained it would require too much practice — and

it was premiered by another pair of prodigies.

Th e following year, Ravel orchestrated these pieces, rear-

ranging their order and adding interludes and a new opening

sequence to fashion a suite suitable for a ballet. For this, he

concocted a scenario linking the famous fairytale stories that

were the starting point of the piano pieces and which had been

drawn from multiple French sources. Th ese sources included

Charles Perrault’s anthology of 1697, subtitled Tales of Mother

Goose (for the fi rst two tales), as well as from versions by Per-

rault’s contemporary, Baroness d’Aulnoy, and by Jeanne-Marie

Le Prince de Beaumont. In Ravel’s scenario, the tale of Sleep-

ing Beauty serves as a framing device for the overall story.

Th e clarity and simplicity of presentation in this score

Mother Goose [Ma Mère l’Oye](complete ballet music)composed for piano duet 1908-10, expanded and orchestrated for a ballet 1911-12

by MauriceRAVELborn March 7, 1875

Ciboure,

Basses-Pyrénées

diedDecember 28, 1937Paris

About the Music

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ironically belie the subtleties of Ravel’s orchestration. Aft er a

Prelude sets the scene in the manner of a preview, Spinning

Wheel Dance and Scene [Danse du rouet et scène] depicts

Sleeping Beauty as she pricks her fi nger on the spindle of an

old woman’s spinning wheel; as a result, she is cast into a pro-

found slumber.

Sleeping Beauty’s Pavane [Pavane de la Belle au bois dor-

mant] ushers us along with the Princess into a state of dream-

like simplicity with its brief, stately processional and meltingly

beautiful writing for woodwinds (in the fi nal measures, their

melody is given over to the strings). Th e tales that follow are

enacted as she sleeps, dreamlike episodes that precede the mo-

ment of her awakening in the fi nal tableau. At the same time,

the Pavane’s sustained wistfulness hints at the ambivalence of

Ravel’s summoning of childhood — a past recaptured by the

knowing adult’s memory.

In Conversations of Beauty and the Beast [Les entretiens

de la Belle et de la Bête], Ravel details this unlikely love story

in three parts. Th ese chart the appearance of Beauty (clarinet)

in a Satie-like waltz, the gruff pleas of Beast (contrabassoon),

which emerge from the bass, and the mixture of both in a duet.

A glissando from the harp signals Beast’s transformation into a

About the Music

Jack’s mother came in,

And caught the goose soon,

And mounting its back,

Flew up to the moon.

From Mother Goose’s

Nursery Rhymes, published

by George Routledge & Sons,

London and New York, 1877.

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Ravel composed Ma Mère l’Oye

(“Mother Goose”) as a fi ve-move-

ment suite for piano duet in

1908-1910. He orchestrated the

suite in 1911, then expanded

it further as a ballet score in

1911-12. The original piano

duet was premiered in 1910

at a concert of the Société

Musicale Indépendante in Paris,

by Jeanne Leleu and Geneviève

Durony (six and seven years old,

respectively). The ballet version

was fi rst presented in January

1912, at the Théâtre des Arts

in Paris, conducted by Gabriel

Grovlez and with choreography

by Jeanne Hugard.

This work runs about 30

minutes in performance. Ravel

scored it for 2 fl utes, piccolo, 2

oboes, english horn, 2 clarinets,

2 bassoons, contrabassoon,

2 horns, timpani, percussion

(triangle, cymbals, bass drum,

tam-tam, xylophone, and jeu

de timbres), celesta, harp, and

strings.


has often played the fi ve-move-

ment suite from Mother Goose,

including a set of concerts in

1928 under the composer’s

direction. The complete ballet

music was most recently pre-

sented in November 2010, con-

ducted by Matthias Pintscher.

At a Glance

About the Music

handsome prince (now represented by violin in place of the

contrabassoon).

Tom Th umb [Petit Poucet] — also known as Hop-o’-

my-Th umb, one of the many folktale variants of this story

involving miniature people — recounts the episode in which

the poor woodcutter’s son tries to plan a way out of the woods

by dropping breadcrumbs, only to discover (like Hansel and

Gretel) that birds have eaten them. Tom Th umb (oboe) wan-

ders in confusion, trying to fi nd the path, while Ravel’s vivid

depiction of the birds near the end shows off his facility for

conjuring nature.

Little people also fi gure in Little Ugly, Empress of the

Pagodas [Laideronnette, impératrice des Pagodes]. Here, a

princess has been made the ugliest woman in the world by

a witch’s spell, but fi nds herself transported into a magical

kingdom where her miniature subjects, robed in gems, ser-

enade her with an orchestra whose instruments (the “pago-

das” in Ravel’s sense) are made of the shells of walnuts and

almonds. Th e nuanced touches from percussion enhance

Ravel’s enchanting use of pentatonic melody and evoke a

ready-made Asian gamelan ensemble.

For the concluding tale, Ravel introduces another hand-

some prince into his musical landscape. Prince Charming

arrives to awaken Sleeping Beauty, and the wood becomes

Th e Enchanted Garden [Le jardin féerique] — the very site

of imaginative fantasy. Perfectly judged, painterly touches

set the scene. A crescendo steadily builds, and the suite ends

with the triumphant sounds of wedding and coronation.

—Thomas May © 2013

Thomas May is a frequent contributor to Cleveland Orchestra pro-gram books and writes regularly about music and the arts. His books include The John Adams Reader and Decoding Wagner.

216.791.8000www.benrose.org

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nor seduced by

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—Gustav Mahler

‘‘‘‘

Mahler, in a photograph taken in 1909 in New York

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GUSTAV MAHLER 1860-1911

Gustav Mahler, at age fi ve (below left) in the

earliest known photograph; with beard at age twenty-one

in 1881; (right top) his wife, Alma, and their two daughters,

Maria and Anna, in 1906; at the coast (bottom right) of

the North Sea; and in a cartoon making fun of the unusual

instruments (including cowbell and forging hammer) he

orchestrated into his Sixth Symphony.

47Severance Hall 2012-13 47Severance Hall 2012-13 Gustav Mahler

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 March 1, 2013.

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.

Sound for the Centennial Campaign

Gay Cull Addicott Jeanette Grasselli Brown and Glenn R. BrownRobert and Jean* ConradRichard and Ann GridleyThe Louise H. and David S. Ingalls FoundationMr. and Mrs. Douglas A. KernMr. and Mrs. Jon A. Lindseth

Ms. Nancy W. McCannThe Honorable and Mrs. John Doyle OngThe Payne FundMr. and Mrs. Richard K. Smucker

Art of Beauty Company, Inc.BakerHostetlerMr. William P. Blair IIIMr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMrs. M. Roger ClappEaton CorporationFirstEnergy FoundationForest City Enterprises, Inc.The George Gund FoundationMr. and Mrs. Michael J. HorvitzThe Walter and Jean Kalberer FoundationMr. and Mrs. Joseph P. KeithleyKeyBankKulas FoundationMr. and Mrs. Dennis W. LaBarreMrs. Norma LernerThe Lubrizol Corporation

The Andrew W. Mellon FoundationDavid and Inez Myers FoundationMs. Beth E. MooneySally S. and John C. MorleyJohn P. Murphy FoundationNACCO Industries, Inc.Julia and Larry PollockMrs. Alfred M. Rankin, Sr.Mr. 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 TootAnonymous

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

49Severance Hall 2012-13 Sound for the Centennial Campaign

* deceased

Mr. and Mrs. George N. AronoffBen and Ingrid BowmanGeorge* and Becky DunnDr. and Mrs. Hiroyuki FujitaAlbert I. and Norma C. GellerIris and Tom HarvieMr. and Mrs. S. Lee KohrmanMrs. Emma S. LincolnMr. Gary A. OateyRPM International Inc.

Hewitt and Paula ShawNaomi G. and Edwin Z. SingerViriginia and Bruce TaylorMs. Ginger WarnerMr. Max W. WendelPaul and Suzanne WestlakeMr. Donald Woodcock

GIFTS OF $100,000 TO $250,000

Randall and Virginia BarbatoJohn P. Bergren* and Sarah M. EvansMr. and Mrs.* Harvey BuchananCliffs Natural ResourcesMr. and Mrs. Matthew V. CrawfordNancy and Richard DotsonSidney E. Frank FoundationDavid and Nancy HookerMrs. Marguerite B. HumphreyJames D. Ireland IIITrevor and Jennie JonesGiuliana C. and John D. KochDr. Vilma L. Kohn

Mr. Clarence E. Klaus, Jr.Mr. and Mrs. Alex MachaskeeMr. 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

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In tune with each other and committed to excellence in Northeast Ohio.

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51Severance Hall 2012-13 About the Music

J U S T A S M A H L E R P R E D I C T E D , the world took its time to

come to terms with much of his music. Th at delay persisted

still longer for several of his works — nowhere more so than in

the case of the Seventh Symphony. Even now, a century aft er

the composer’s death, the Seventh remains less familiar on the

whole than its symphonic siblings. Arguably no other score by

Mahler poses as many interpretive challenges or has prompt-

ed such contradictory evaluations. Th is essentially enigmatic

quality seems particularly fi tting for music whose kaleidoscopic

range so richly evokes the ambivalence of night.

Mahler himself experienced unusual diffi culty fi nding

his way into this music, although once he did, composition

proceeded with remarkable speed. Literally working from the

inside out, Mahler began with the second and fourth move-

ments (both designated “night music” pieces); these he wrote

during the summer of 1904, while also completing the Sixth

Symphony. Th e diffi culty came in the following summer when

he retreated at the end of the opera season to his “composer’s

hut” in the Austrian Alps, far from the stress of Vienna.

As Mahler sought to forge ahead with the Seventh, he

struggled with its larger scope. What was missing was that all-

important ingredient of spontaneous inspiration. He remained

blocked and was on the verge of giving up when he encountered

a sudden illumination that set the work in motion while being

ferried across one of the region’s lakes. “With the fi rst stroke

of the oars,” Mahler recalled several years later, “the theme (or

rather, the rhythm and style) of the introduction to the fi rst move-

ment came to me.” Within six or seven weeks, he managed to

sketch out the score’s three remaining movements.

Music lovers who revere Mahler as the poet laureate of

existential despair tend to be baffl ed by the sheer fantasy that

abounds in the Seventh Symphony. Th e “darkness” of its music

is altogether distinct, for example, from the fi ercely concentrated,

bleak, inescapably tragic vision that dominates the Sixth. Th e

contrast becomes all the more remarkable not simply because

at one point Mahler worked on both simultaneously. Th e Sev-

enth co-opts elements of its predecessor, only to defang them.

Typical of its rhetoric is the sense of evoking a lost past — in-

cluding a partial review of the composer’s own symphonic past.

Symphony No. 7composed 1904-05

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

diedMay 18, 1911Vienna


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

53Severance Hall 2012-13 About the Music

Yet at the same time, the Seventh ranks among Mahler’s most

forward-looking, innovative achievements, both in the kalei-

doscopic textures of its sound world and in its symmetrically

designed architecture.

Dramatically juxtaposed contrasts are a signature of Mah-

lerian style, yet the Seventh seems to exaggerate this to a new

extreme — another aspect of this symphony’s experimental

character. Homages to romanticism and classicism play a sig-

nifi cant role, but these are fi ltered through an ironic, distanc-

ing lens much more characteristic of modernism.

D A R K N E S S A N D L I G H T

Th e nighttime imagery so closely associated with this

music goes far beyond melancholy or introspective posturing.

Stylistically, it ranges from richly poetic dreamscapes to off -beat

parody and even boisterous humor, with a fi nale — the most

controversial part of the Seventh — that bursts on the scene

like a raucous, exuberant non-sequitur.

In fact, the Seventh’s unoffi cial nickname in English (“Song

of the Night”) can be misleading if it conjures images of night as

a negative force, a darkness that must simply be “transcended.”

One aspect of the Seventh that troubled its earliest critics was

the continually shift ing character of the music as it moves from

one mood to another seemingly without “motivation” — as if

mimicking the “irrational” processes of the unconscious mind.

Mahler’s disdain for programmatic descriptions by this point

in his career, together with his use of extreme contrasts, means

there is no easy “narrative” to orient the listener.

“Th ree night pieces; the fi nale, bright day. As foundation

for the whole, the fi rst movement” — such was the laconic out-

line Mahler did provide to one colleague. Yet this statement

hardly elucidates the issue of how these varieties of night are

related to each other and to the fi nale. Surely an account that

reductively insists on the paradigm of the “victory symphony”

— of darkness conquered by light — ignores much of the mu-

sical evidence. Far from a monolithic threat, the darkness of

the Seventh is shaped by Mahler’s prismatic imagination.

Alma Mahler suggested that her husband had wanted to

evoke the magic of the writers from the early 19th century he

so loved, such as Joseph Eichendorff (1788-1857). Th us the mid-

dle movements, she wrote, were shot through with “visions of

Eichendorff ’s poetry, rippling fountains, German Romanticism.”

The night-

time imagery

of this music

goes far

beyond

melancholy

or introspec-

tive posturing.

Stylistically,

it ranges from

richly poetic

dreamscapes to

off-beat parody

and even bois-

terous humor,

with a fi nale

— the most

controversial

part of the

Seventh — that

bursts on the

scene like

a raucous,

exuberant

non-sequitur.

54 The Cleveland OrchestraAbout the Music

Biographer Henry Louis de La Grange points to similarities in

atmosphere shared by Novalis’s Hymns to the Night, with their

“shadows of the past . . . vague yearnings, and deceived hopes”

and by Nietzsche’s philosopher-prophet Zarathustra (whose

pivotal “Midnight Song” Mahler had previously used in his

Th ird Symphony, which also casts a shadow over the Seventh).

Th e latter, writes La Grange, involves “a night of clairvoyance

and heightened lucidity whose revelation is more essential than

that of light.”

Conductor Willem Mengelberg, an early Mahler cham-

pion, spoke of the visual inspiration of Rembrandt’s Th e Night

Watch (referring to the fi rst “night music” comprising the sec-

ond movement), though his overliteral interpretation was clari-

fi ed by a colleague who suggested, more helpfully, that the real

model was the painter’s technique of shading and chiaroscuro

rather than his subject matter — an observation which can in-

deed be applied to the overall ambivalence of the Seventh.

Nature also forms an important element of Mahler’s

nightscapes. In general, La Grange aptly observes, the Seventh

“seems to welcome intrusions with a strange passivity, to mirror


the strange diversity of the twentieth-century man’s experience,

a diversity which has become impossible to synthesize . . . in a

disillusioned present which knows . . . that ambiguities can never

be solved.”

S Y M M E T R Y A N D M U S I C A L S H A D O W S

For all this ambiguity, the work’s fi ve movements are held

together by an impressively unifying symmetry. Th e fi rst and

fi ft h movements counterbalance each other in proportion; like-

wise the two “night music” movements, together with the central

Scherzo they fl ank, form an internal continuity roughly equal to

each of the outer movements. What results is a neatly balanced

arch shape (A-B-C-B-A), with the odd-numbered movements

modifying more conventional forms (sonata, scherzo with trio,

rondo fi nale), while the second and fourth movements are closer

to fantasias that reinterpret those romantic “character” pieces

known as the nocturne and serenade, respectively.

A shadowy mystique permeates the symphony’s opening

moments. Over a stuttering, funereal accompaniment of un-

stable harmony, Mahler superimposes the cry of a “tenor horn”

(normally associated with brass bands, its unusual sonority is

a clue to the work’s highly original orchestration). Th e fi rst

theme features a dotted, descending three-note pattern as well

as a long-short-short rhythm; both of these recur as unifying

devices throughout the work. With a fi erce charge, the intro-

duction accelerates into a fi ery Allegro, its music transformed

into a driving march that bears a close family resemblance to

the opening theme of Mahler’s Sixth Symphony. Th e lush,

yearningly lyrical second theme, given to the strings, serves as

the critical center of the movement’s arch during the develop-

ment, when it emerges like a full moon from a cloudbank and

reaches a swooning, visionary climax. Mahler then plummets

headlong into the introductory music again, beginning a highly

inventive and varied process of recapitulation.

Th e fi rst “night music” movement represents yet another

kind of march, one that slowly comes into focus amid echoes,

fl uttering sounds, and night calls before settling into a major-mi-

nor swagger that is Mahler’s musical equivalent of chiaroscuro.

Th e eff ect is enticingly ambiguous, while, as in Bartók’s night

music, bird calls and sensuous new colors (including cowbells)

emerge under cover of darkness. Th e Schubertian charm of the

contrasting melody is just one of the nostalgic evocations of the

About the Music

Mahler began work on his Sev-

enth Symphony with the two

“Night Music” movements (Nos.

2 and 4) during the summer

of 1904. He added the three

remaining movements a year

later. Mahler led the work’s

fi rst performance, on Septem-

ber 19, 1908, in Prague.

This symphony runs

between 70 and 85 minutes in

performance. Mahler scored

it for an orchestra of piccolo

and 4 fl utes (fourth doubling

second piccolo), 3 oboes and

english horn, 3 clarinets and

small clarinet in E-fl at, 3

bassoons and contrabassoon,

4 horns and tenor horn, 3

trumpets, 3 trombones, tuba,

timpani, percussion (bass

drum, tam-tam, tambourine,

triangle, cymbals, glockenspiel,

cowbells, low-pitched bells),

2 harps, strings, and (in the

fourth movement) guitar and

mandolin.


fi rst performed music from

this symphony in 1946, when

Erich Leinsdorf programmed

the two “Night Music” move-

ments on a weekend of con-

certs at Severance Hall. The

fi rst complete performances

were during the 1970-71

season, led by Louis Lane. The

most recent performances,

at Severance Hall, Blossom,

and on tour, were led by Franz

Welser-Möst in 2003 and 2004.

Pierre Boulez recorded the

Seventh Symphony with The

Cleveland Orchestra in 1994

for Deutsche Grammophon.

At a Glance


past that fi gure into the texture of these middle movements.

“Shadowy” (schattenhaft ) is Mahler’s marking for the cen-

tral scherzo, with its misplaced, tipsy accents — a spectral waltz

that both mocks and seems to outdo romantic grotesquerie.

Th e oboe’s cheerful tune in the trio comes back in a funhouse

distortion when played by trombones and tuba, while echoes

of the symphony’s opening theme heighten the symmetry by

recurring here at the center. Th e delicious, painterly details

of Mahler’s scoring abound here and in the ensuing fourth-

movement “night music,” an Andante amoroso that serves as a

gentle remake/parody of the lover’s serenade. Th is is also the

fi rst movement written from the start in the major (F). While

reducing his large orchestra to chamber dimensions, Mahler

colors it by adding amorous plucking on mandolin and guitar

to intensify the ironic nostalgia.

Th e fi ft h-movement fi nale has always been the Seventh’s

interpretive stumbling block. Pounding timpani set in motion

the brassy fanfare of the multipart rondo theme, one segment of

which resembles a drunken imitation of the pompously marching

cheer of Wagner’s Meistersinger Prelude. Indeed, the C-major

brightness of this music — which Mahler pointedly designates

Allegro ordinario — intrudes so unexpectedly aft er all that has

preceded that it seems to thumb its nose at the notion of “tri-

umph” over darkness, rather as Shostakovich (perhaps) intended

to do in his Fift h Symphony several decades later.

Amid the elaborate variations on the hyperactive rondo

music, which recurs seven times, the opening theme is trans-

formed from a remembered dream to a statement of clamorous

joy that closes the work — so forcefully that the ironic reading

by itself seems overly reductive. Bells ring out in a resounding

affi rmation of life. Affi rming all of it. Everything. Night and

day. And even including the next-to-last chord, whose harmony

introduces one fi nal ambiguous touch before the clear fi nish.

—Thomas May © 2013

About the Music

If the last note of your marriage has been played . . . call us.

216.363.1313 www.skirbuntlaw.com


Alan GilbertWhen New York Philharmonic music director Alan Gilbert

began his tenure in 2009, he became the first native New

Yorker to hold the post. He first led performances of The

Cleveland Orchestra while a conducting assistant here in

the 1990s, and most recently returned as a guest conductor

in November 2011.

Born to two New York Philharmonic violinists, Alan

Gilbert learned violin, viola, and piano as a youth. He

studied music at Harvard University, and conducting at the

Curtis Institute of Music and the Juilliard School. In 1994,

he won both the Georg Solti Prize and first prize in the In-

ternational Competition for Music Performance in Geneva.

He served as conducting assistant and then assistant conductor of The Cleve-

land Orchestra (1994-97), and received the Seaver/National Endowment for the

Arts Conductors Award in 1997. In 2010, Mr. Gilbert was awarded an honor-

ary doctor of music degree by the Curtis Institute of Music. The following year,

he became director of conducting and orchestral studies at the Juilliard School,

where he is the first holder of Juilliard’s William Schuman Chair in musical

studies.

Now conductor laureate of the Royal Stockholm Philharmonic Orches-

tra, Mr. Gilbert was the ensemble’s music director 2000-08. Since 2004, he has

been principal guest conductor of Hamburg’s NDR Orchestra. He regularly

leads major international orchestras, including Amsterdam’s Royal Concertge-

bouw Orchestra, the Berlin Philharmonic, Boston Symphony Orchestra, Mu-

nich Philharmonic, and San Francisco Symphony; this season’s appearances

include engagements with the Berlin Staatskapelle and Leipzig Gewandhaus

Orchestra.

After serving as assistant concertmaster of the Santa Fe Opera in 1993,

and making his conducting debut there in 2001, Alan Gilbert was named the

opera’s first music director in 2003. He made his Metropolitan Opera debut in

November 2008 leading John Adams’s Doctor Atomic; that recording received

a Grammy Award as best opera recording in its DVD release the next year. He

has also conducted performances at the Royal Swedish Opera, Vienna State

Opera, and Zurich Opera.

Alan Gilbert and his wife, Swedish cellist Kajsa William-Olsson, are the

parents of three children. Although his father has retired, Mr. Gilbert’s mother

continues to be a member of the New York Philharmonic.

For additional information, visit www.alangilbert.com.

Guest Conductor


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Student Ticket Programs “Under 18s Free,” Student Advantage membership,

and Student Frequent FanCard off er aff ordable access

to Cleveland Orchestra concerts all season long

Th e Cleveland Orchestra is committed to developing one of the youngest audiences

of any orchestra in the country. With the help of generous contributors, the Orch estra

has expanded its discounted ticket off erings through several new programs. In the

opening months of the current Severance Hall season, student attendance doubled from

last season, with nearly 20% of the audience being students experiencing Cleveland Or-

chestra concerts through these various programs and off ers.

STUDE NT ADVANTAGE PROGRAM

Th e Orchestra’s ongoing Student Advantage Program provides opportunities

for students to attend Orchestra concerts at Severance Hall through discounted

ticket off ers. Membership in the Student Advantage Program is free.

A new Student Frequent FanCard was introduced this season. Priced at $50,

the FanCard off ers students unlimited single tickets (one per FanCard holder) to

weekly Classical Subscription Concerts all season long.

“UNDE R 18s FRE E ” FOR FAMILIE S

Introduced for Blossom Music Festival concerts two summers ago, the “Un-

der 18s Free” for families program now includes select Cleveland Orchestra concerts

at Severance Hall each season. Th is program off ers free tickets (one per regular-

priced adult paid admission) to young people ages 7-17 to the Orchestra’s Fridays@7,

Friday Morning at 11, and Sunday Aft ernoon at 3 concerts.

All of these programs are supported by Th e Cleveland Orchestra’s Center for

Future Audiences and the Alexander and Sarah Cutler Fund for Student Audi-

ences. Th e Center for Future Audiences was created with a $20 million lead en-

dowment gift from the Maltz Family Foundation to develop new generations of

audiences for Cleveland Orchestra concerts in Northeast Ohio.

Student Ticket Programs


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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

Meet the Musicians

SCOTTHAIGHbass

BORN: Oak Park, Illinois

ROLE MODELS: My teacher. People with positive attitudes.

ON MY MP3 PLAYER: Don’t have one.

WHY A MUSICIAN: When I was a teenager, I couldn’t imagine doing anything else!

FREE TIME: Exercise and practice.

FAVORITE ORCHESTRAL WORK: I can’t decide. I like most of the orchestral repertoire.

DANIELMcKELWAYclarinet

BORN: Hanover, New Hampshire (but raised in Davidson, North Carolina)

ON MY MP3 PLAYER: sea shanties, The Beatles, clarinet chamber music with

my teacher Harold Wright, The Cleve- land Orchestra with George Szell.

ROLE MODELS: My teacher Robert Listokin is the most inspiring human I have ever encountered.

FREE TIME: Play with my son Rein, hang out and talk with my wife, Lembi, and enjoy our two twin daughters. Run, sail, hike, ski, climb mountains, work on my 1976 Toyota Celica, watch ACC basketball.

FRANKROSENWEINoboe

BORN: Evanston, Illinois

ROLE MODELS: John Mack and my mother.

CLEVELAND ORCHESTRA HIGHLIGHT: Playing in Vienna’s Musikverein.

FREE TIME: Read The New Yorker, and learn Korean.

ON MY MP3 PLAYER: These days I’m an old school vinyl and CD afi cionado.

WHY A MUSICIAN: To devote my life to understanding and being an ambassador for the greatest works of art.

FAVORITE ORCHESTRAL WORKS: Bach’s Saint Matthew Passion.


Administrative Staff as of March 20, 2013

EXECUTIVE OFFICEGary Hanson EXECUTIVE DIRECTOR

Rosemary Klena EXECUTIVE ASSISTANT

ORCHESTRA OPERATIONSCarol Lee Iott

ACTING GENERAL MANAGER

Cherilyn Byers ADMINISTRATIVE ASSISTANT

Julie Kim DIRECTOR OF OPERATIONS

Amy Gill ORCHESTRA OPERATIONS MANAGER

Artistic AdministrationMark Williams DIRECTOR, ARTISTIC PLANNING

Randy Elliot ASSISTANT ARTISTIC ADMINISTRATOR

Barb Bodemer DRIVER

Orchestra PersonnelCarol Lee Iott DIRECTOR

Karyn Garvin MANAGER

Marla Bentley ORCHESTRA PERSONNEL ASSISTANT

Stage Joe Short STAGE MANAGER

Gil GerityThomas HoldenJohn RileyDon Verba STAGEHANDS

ChorusJill Harbaugh MANAGER

Rachel Novak ASSISTANT TO THE MANAGER

Education & Community ProgramsJoan Katz Napoli DIRECTOR

Sandra Jones MANAGER, EDUCATION & FAMILY CONCERTS

Erika Richter EDUCATION & COMMUNITY PROGRAMS COORDINATOR

Ashley Smith MANAGER, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

CLEVELAND ORCHESTRA MIAMIHolly Hudak MANAGING DIRECTOR

Christina JocominoADMINISTRATIVE ASSISTANT

Montserrat Balseiro PATRON DEVELOPMENT & EDUCATION MANAGER

Pratima Raju ASSOCIATE DEVELOPMENT OFFICER

SALES & COMMUNICATIONSRoss Binnie CHIEF MARKETING OFFICER

SalesJulie Stapf DIRECTOR OF SALES

Ryan Buckley DIGITAL MARKETING & WEBSITE MANAGER

David SzekeresINTERIM PUBLICATIONS MANAGER

Timothy Parkinson COMMUNICATIONS ASSOCIATE

Jerry GolskiGROUP SALES MANAGER

ResearchAdriane Smith PATRON SYSTEMS MANAGER

Ticket OfficeTimothy Gaines TICKET OFFICE MANAGER

Joan Eppich ASSOCIATE MANAGER

Mary Ellen Campbell ASSISTANT MANAGER

Monica Berens SUBSCRIPTION REPRESENTATIVE

Patrick ColvinJoclyn MadeyCindy AdamsTraci ShillaceMary Ellen Snyder CUSTOMER SERVICE REPRESENTATIVES

CommunicationsAna Papakhian DIRECTOR

Christine Honolke MEDIA RELATIONS MANAGER

Deborah Hefling ARCHIVIST

Program Book Eric Sellen EDITOR

SEVERANCE HALLMary Ann Makee DIRECTOR OF FACILITIES MANAGEMENT & OPERATIONS

Laura Clelland ADMINISTRATIVE ASSISTANT

Building OperationsCharles László BUILDING OPERATIONS MANAGER

Janet Montagino ADMINISTRATIVE ASSISTANT

Steve Skunta SENIOR BUILDING ENGINEER

Scott MillerRobert NockChristopher DowneyMichael Evert BUILDING ENGINEERS

Shelia BaughGeorge FelderMichelle Williams DOOR PERSONS

Quinn Chambers HALL STAFF & CLEANING SUPERVISOR

Steven WashingtonPauletta Hughes HALL STAFF LEAD

Antonio AdamsonKervin HintonDwayne JohnsonJerome KelleyDarrell SimmonsDwayne Taylor HALL STAFF

Glynis SmithRenee Pettway CLEANING PERSONS

Facility SalesBob Bellamy FACILITY SALES MANAGER

Concerts & Special EventsErin Patton Graziani MANAGER

Jennifer Masters ASSOCIATE MANAGER

House ManagementJudith Diehl HOUSE MANAGER

Adam Clemens ASSOCIATE HOUSE MANAGER

RetailLarry Fox STORE MANAGER

Pauline KivachGretchen KolovichHelen Douglas SALES ASSOCIATES


Administrative Staff


PHILANTHROPY & ADVANCEMENTJon Limbacher CHIEF DEVELOPMENT OFFICER

Colleen Halpin SENIOR DEVELOPMENT ASSOCIATE

Leadership GivingTim Mann DIRECTOR, LEADERSHIP DEVELOPMENT

Ellen Bender LEADERSHIP GIVING OFFICER

Bryan de Boer LEADERSHIP GIVING OFFICER

Grace Sipusic MAJOR GIFTS OFFICER

Hayden Howland MANAGER, LEADERSHIP GIVING

Jessica Thomas INDIVIDUAL GIVING COORDINATOR

Bridget Mundy LEGACY GIVING OFFICER

Institutional GivingAnizia Karmazyn DIRECTOR OF DEVELOPMENT, INSTITUTIONAL GIVING

David Welshhans DEVELOPMENT OFFICER, CORPORATE & FOUNDATION RELATIONS

Erin Gay DEVELOPMENT OFFICER, FOUNDATION & CORPORATE RELATIONS

Leah HostetlerMANAGER, CORPORATE GIVING

Patricia Camacho Hughes DEVELOPMENT MANAGER, STEWARDSHIP

Development OperationsSuzanne Richardson de Roulet MANAGER, DEVELOPMENT COMMUNICATIONS

Emily Szy MANAGER, SPECIAL EVENTS & DONOR SERVICES

Lori Cohen COMMUNITY LEADERSHIP LIAISON

Jim Reynolds DEVELOPMENT DATABASE COORDINATOR

Severance Hall11001 Euclid AvenueCleveland, OH 44106

Administrative Offices216-231-7300

Ticket Office216-231-1111or 800-686-1141

Group Sales216-231-7493

Education &Community Programs216-231-7355

Media Relations216-231-7476

Archives216-231-7356

Individual Giving216-231-7562

Institutional Giving216-231-8011

Legacy Giving216-231-8006

Volunteers216-231-7557

Severance HallRental Office216-231-7421

Cleveland Orchestra Store216-231-7478

Administrative Staff

c l e ve l ando r c he s t r a . c o m

FINANCE & ADMINISTRATIONJames E. Menger CHIEF FINANCIAL OFFICER

Shirley Rundo ADMINISTRATIVE ASSISTANT

Faith Noble CONTROLLER

Barbara S. Snyder ACCOUNTING MANAGER

Carolann Oravec PAYROLL MANAGER

Heather Poston SENIOR ACCOUNTANT

Mary Stewart-McGovern ACCOUNTING ANALYST

Christina Dutkovic ACCOUNTING ASSOCIATE

Information TechnologyDavid Vivino DIRECTOR

Randy Conn DATABASE ANALYST

Theresa Henderson NETWORK ADMINISTRATOR

MailroomJim Hilton SUPERVISOR

Lomack Gray MAILROOM CLERK

Human ResourcesMichelle Vectirelis DIRECTOR

Charise Reid HUMAN RESOURCES COORDINATOR

Connie Pomeroy HUMAN RESOURCES ASSOCIATE


65Severance Hall 2012-13 Education & Community

The Cleveland Orchestra: Serving the Community Th e Cleveland Orchestra draws together traditional and new programs in music education and community involvement to deepen connections with audiences throughout Northeast Ohio

THE CLE VE L AND ORCHE STRA has a long and proud history of sharing

the value and joy of music with citizens throughout Northeast Ohio. Education

and community programs date to the Orchestra’s founding in 1918 and have re-

mained a central focus of the ensemble’s activities for over ninety years. Today,

with the support of many generous individual, foundation, corporate, and govern-

mental funding partners, the Orchestra’s educational and community programs

reach more than 70,000 young people and adults annually, helping to foster a love

of music and a lifetime of involvement with the musical arts. On these pages, we

share photo graphs from a sampling of these many programs. For additional in-

formation about these and other programs, visit us at clevelandorchestra.com

or contact the Education & Community Programs Offi ce by calling 216-231-7355.

Franz Welser-Möst leads a concert at John Adams High School. Through such In-School Performances

and Education Concerts at Severance Hall, The Cleveland Orchestra introduced more

than 4 million young people to symphonic music over the past nine decades.

PH

OT

OG

RA

PH

Y B

Y R

OG

ER

MA

ST

RO

IAN

NI



Education & Community

Cleveland Orchestra bassist Mark Atherton with classroom students at Cleveland’s Mayfair Elementary School, part of the Learning Through Music program that fosters the use of music and the arts to support general classroom learning.

Through the PNC Musical Rainbows series at Severance Hall, Cleveland Orchestra musicians introduce nearly 10,000 preschoolers each year to the instruments of the orchestra.

School buses delivering students to Severance Hall. More than four million schoolchildren have been introduced to symphonic music in nine decades of Cleveland Orchestra education concerts.


O R C H E S T R A

67Education & Community

Cleveland Orchestra fl utist Marisela Sager working with pre-school students as part of PNC Grow Up Great, a program utilizing music to support pre-literacy and school readiness skills.

T H A N K Y O UThe Cleveland Orchestra’s Education & Community programs are made

possible by many generous individuals and organizations, including:

PROGRAM FUNDERSThe Abington Foundation

The Eva L. and Joseph M. Bruening FoundationCleveland Clinic

The Cleveland FoundationConn-Selmer, Inc.

Cuyahoga Arts & CultureDominion Foundation

The Harry K. Fox and Emma R. Fox Charitable FoundationThe Giant Eagle Foundation

Muna & Basem Hishmeh FoundationInvacare Corporation

Martha Holden Jennings FoundationKeyBank

The Laub FoundationThe Lincoln Electric Foundation

The Lubrizol CorporationThe Nord Family Foundation

Ohio Arts CouncilOhio Savings Bank

PNCThe Reinberger Foundation

Albert G. & Olive H. Schlink FoundationThe Sherwin-Williams Foundation

The South Waite FoundationSurdna Foundation

Thomas H. White Foundation, a KeyBank TrustThe Edward & Ruth Wilkof Foundation

Women’s Committee of The Cleveland Orchestra

ENDOWMENT FUNDS AND FUNDERSHope and Stanley I. Adelstein

Kathleen L. BarberMr. Roger G. Berk

In memory of Anna B. BodyIsabelle and Ronald Brown

Dr. Jeanette Grasselli Brown and Dr. Glenn R. BrownRoberta R. Calderwood

Alice B. Cull Memorial FundMr. and Mrs. Charles B. Emrick, Jr.

Charles and Marguerite C. GalanieMr. David J. Golden

The George Gund FoundationDorothy Humel Hovorka

Mr. James J. HummerFrank and Margaret Hyncik

Walter and Jean Kalberer FoundationAlfred Lerner In-School Performance Fund

Mr. and Mrs. Stanley A. MeiselChristine Gitlin Miles

Mr. and Mrs. David T. MorganthalerMorley Fund for Pre-School Education

Pysht FundThe Ratner, Miller, and Shafran Families

and Forest City Enterprises, Inc.In memory of Georg Solti

The William N. Skirball EndowmentJules and Ruth Vinney Youth Orchestra Touring Fund

Anonymous

The Cleveland Orchestra helps celebrate the seasons and special events throughout the year. This past October, the season’s fi rst Family Concert featured the third annual “Halloween Spooktacular!” including costumes onstage and a special audience costume contest.


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.



Generous contributions to the endowment have been made to support specifi c

artistic initiatives, education and community programming and performances,

facilities maintenance costs, touring and residencies, and more. Named funds can

be established with new gift s of $250,000 or more. For information about making your

own endowment gift to the Orchestra, please call 216-231-7438.

Endowed Funds funds established as of March 2013

ARTISTIC endowed funds support a variety of programmatic initiatives ranging

from guest artists and radio broadcasts to the all-volunteer Cleveland Orchestra Chorus.

Artistic ExcellenceGeorge Gund III Fund

Artistic CollaborationKeithley Fund

Artist-in-ResidenceMalcolm E. Kenney

Young ComposersJan R. and Daniel R. Lewis

Friday Morning ConcertsMary E. and F. Joseph Callahan Foundation

International TouringFrances Elizabeth Wilkinson

Cleveland Orchestra Chorus Jerome and Shirley GroverMeacham Hitchcock and Family

Concert PreviewsDorothy Humel Hovorka

Radio BroadcastsRobert and Jean Conrad

UnrestrictedWilliam P. Blair III Fund for Orchestral ExcellenceJohn P. Bergren and Sarah S. EvansMargaret Fulton-Mueller FundVirginia M. and Jon A. Lindseth

American Conductors FundDouglas Peace HandysideHolsey Gates Handyside

Severance Hall Guest ConductorsRoger and Anne ClappJames and Donna Reid

Cleveland Orchestra SoloistsJulia and Larry Pollock Family Fund

Guest ArtistsThe Eleanore T. and Joseph E. Adams FundMrs. Warren H. CorningThe Gerhard FoundationMargaret R. Griffi ths TrustThe Virginia M. and Newman T. Halvorson FundThe Hershey FoundationThe Humel Hovorka FundKulas FoundationThe Payne FundElizabeth Dorothy RobsonDr. and Mrs. Sam I. SatoThe Julia Severance Millikin FundThe Sherwick FundMr. and Mrs. Michael SherwinSterling A. SpauldingMr. and Mrs. James P. StorerMrs. Paul D. Wurzburger

Endowed Funds

CENTER FOR FUTURE AUDIENCES — Th e Cleveland Orchestra’s Center for Future

Audiences, created with a lead gift from the Maltz Family Foundation, was established

to develop new generations of audiences for Th e Cleveland Orchestra.

Center for Future AudiencesMaltz Family Foundation

Student AudiencesAlexander and Sarah Cutler Fund


Endowed Funds listing continues


70 The Cleveland OrchestraEndowed Funds

SEVERANCE HALL endowed funds support maintenance of keyboard instruments

and the facilities of the Orchestra’s concert home, Severance Hall:

Keyboard MaintenanceWilliam R. DewThe Frederick W. and Janet P. Dorn FoundationMr. and Mrs. Richard A. ManuelVincent K. and Edith H. Smith Memorial Trust

OrganD. Robert and Kathleen L. BarberArlene and Arthur HoldenKulas FoundationDescendants of D.Z. NortonOglebay Norton Foundation

Severance Hall PreservationSeverance family and friends

EDUCATION AND COMMUNITY endowed funds help support programs that deepen con-

nections to symphonic music at every age and stage of life, including training, performances, and

classroom resources for thousands of students and adults each year.

Education ProgramsAnonymous, in memory of Georg SoltiHope and Stanley I. AdelsteinKathleen L. BarberIsabelle and Ronald BrownDr. Jeanette Grasselli Brown and Dr. Glenn R. BrownAlice B. Cull MemorialFrank and Margaret HyncikJunior Committee of The Cleveland OrchestraMr. and Mrs. David T. MorgenthalerJohn and Sally Morley Education FundThe William N. Skirball Endowment

Education Concerts WeekThe Max Ratner Education Fund, given by the Ratner, Miller, and Shafran

families and by Forest City Enterprises, Inc.

In-School PerformancesAlfred M. Lerner Fund

Classroom ResourcesCharles and Marguerite C. Galanie

Cleveland Orchestra Youth Orchestra The George Gund FoundationChristine Gitlin Miles, in honor of Jahja LingJules and Ruth Vinney Touring Fund

Musical RainbowsPysht Fund

Community ProgrammingMachaskee Fund

Endowed Funds continued from previous page


BLOSSOM MUSIC CENTER and BLOSSOM FESTIVAL endowed funds support the

Orchestra’s summer performances and maintenance of Blossom Music Center.

Blossom Festival Guest ArtistDr. and Mrs. Murray M. BettThe Hershey FoundationThe Payne FundMr. and Mrs. William C. Zekan

Blossom Festival Family ConcertsDavid E. and Jane J. Griffi ths

Landscaping and MaintenanceThe Bingham FoundationEmily Blossom family members and friendsThe GAR FoundationJohn S. and James L. Knight Foundation



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.Raiffeisenlandesbank

Oberösterreich (Europe) The J. M. Smucker Company

PARTNERS IN EXCELLENCE$200,000 TO $299,999

BakerHostetlerEaton CorporationFirstEnergy FoundationForest City Enterprises, Inc.PNC

PARTNERS IN EXCELLENCE$100,000 TO $199,999

The Cliffs FoundationGoogle, Inc.Medical Mutual of OhioParker Hannifin Corporation

$50,000 TO $99,999

Exile LLCJones DayQuality Electrodynamics (QED)Anonymous

$25,000 TO $49,999

Bank of AmericaDix & EatonThe Giant Eagle FoundationNorthern 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

AdCom CommunicationsAkron Tool & Die CompanyAkronLife MagazineAmerican Fireworks, Inc.American Greetings CorporationBDIBrouse McDowellEileen M. Burkhart & Co LLC

Buyers Products CompanyCedar Brook Financial Partners, LLCThe Cleveland Wire Cloth & Mfg. Co.Community Behavioral Health CenterConn-Selmer, Inc.Consolidated Graphics Group, Inc.Dealer Tire LLCDollar BankDominion FoundationErnst & Young LLPEvarts-Tremaine-Flicker CompanyFeldman Gale, P.A. (Miami)Ferro CorporationFirstMerit BankFrantz Ward LLPViktor Kendall, Friends of WLRNGallagher Benefit ServicesGreat Lakes Brewing CompanyGross BuildersHahn Loeser + Parks LLPHouck Anderson P.A. (Miami)Hunton & Williams, LLP (Miami)Hyland SoftwareThe Lincoln Electric FoundationLittler Mendelson, P.C.C. A. Litzler Co., Inc.Live Publishing CompanyMacy’sMaterion CorporationMiba AG (Europe)MTD Products, Inc.Nordson CorporationNorth Coast Container Corp.Northern HaserotOatey Co.Ohio CATOhio Savings Bank, A Division

of New York Community BankOlympic Steel, Inc.Oswald CompaniesPolyOne 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 EllisUlmer & Berne LLPUnited 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 February 25, 2013

Cumulative GivingJOHN L. SEVERANCESOCIETY

$5 MILLION AND MORE

KeyBank

$1 MILLION TO $5 MILLION

BakerHostetlerBank of AmericaEaton CorporationFirstEnergy FoundationForest City Enterprises, Inc.The Goodyear Tire

& Rubber CompanyThe Lubrizol Corporation /

The Lubrizol FoundationMerrill LynchNACCO Industries, Inc.Parker Hannifin CorporationThe Plain DealerPNCPolyOne CorporationRaiffeisenlandesbank

Oberösterreich (Europe) 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 February 2013.

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


CLEVELANDINSTITUTEMUSICOFCONCERT SERIES2012 | 2013

ORCHESTRACHAMBER MUSIC

ENSEMBLE

OPE

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ART

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KULAS

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C I M @ S E V E R A N C E

CIM@MOCA

cim.edu

CLEVELAND INSTITUTE OF MUSIC11021 East Boulevard Cleveland, OH 44106 | 216.791.5000 | cim.edu

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

Creativity, Passion, Accountability, and Integrity are our guiding principles.

Contact Jonathan Green • 216.593.0900 ext. 109 • www.jmgreencpa.com

Providing Controllership, CFO, Transaction Management,and Traditional Accounting Services to enterpreneurs

and not-for-profit organizations.


Foundation/Government Annual Support

$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

Cuyahoga Arts and CultureThe George Gund FoundationThe Andrew W. Mellon FoundationDavid and Inez Myers FoundationThe Kelvin and Eleanor

Smith Foundation

$250,000 TO $499,000

Kulas FoundationThe Miami Foundation,

from a fund established by the John S. and James L. Knight Foundation (Miami)

John P. Murphy FoundationOhio Arts Council

$100,000 TO $249,999

Sidney E. Frank FoundationGAR Foundation

$50,000 TO $99,999

The George W. Codrington Charitable Foundation

Martha Holden Jennings FoundationMyra Tuteur Kahn Memorial Fund

of The Cleveland FoundationJohn S. and James L. Knight FoundationThe Mandel FoundationElizabeth Ring Mather

and William Gwinn Mather FundNational Endowment for the ArtsDonald and Alice Noble Foundation, Inc. The Payne FundThe Sage Cleveland FoundationSurdna Foundation

$20,000 TO $49,999

Akron Community FoundationThe Helen C. Cole Charitable TrustThe Mary S. and David C.

Corbin FoundationThe Gerhard Foundation, Inc.Ann and Gordon Getty FoundationThe Helen Wade Greene Charitable TrustThe Margaret Clark Morgan FoundationThe Frederick and Julia Nonneman

FoundationThe Nord Family FoundationWilliam J. and Dorothy K. O’Neill FoundationPeacock Foundation, Inc. (Miami)The Reinberger FoundationThe Sisler McFawn Foundation

Annual Supportgifts of $2,000 or more during the past year, as of February 25, 2013

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

The Abington FoundationAyco Charitable FoundationThe Ruth and Elmer Babin FoundationThe Batchelor Foundation, Inc. (Miami)The Bernheimer Family Fund

of The Cleveland FoundationBicknell FundEva 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 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 FoundationMiami-Dade County Department

of Cultural Affairs (Miami)Paintstone FoundationThe Charles E. & Mabel M. Ritchie

Memorial FoundationThe Leighton A. Rosenthal

Family FoundationSCH FoundationAlbert G. & Olive H. Schlink FoundationHarold C. Schott FoundationJean C. Schroeder FoundationKenneth W. Scott 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


The George Gund FoundationThe Andrew W. Mellon Foundation

John P. Murphy Foundation


GAR FoundationAnn and Gordon Getty

FoundationThe Louise H. and David S.

Ingalls FoundationMartha Holden Jennings

FoundationKnight Foundation

(Cleveland, Miami)David and Inez

Myers FoundationNational Endowment for the ArtsThe Payne FundThe Reinberger FoundationThe Sage Cleveland Foundation

The Severance Society recognizes

generous contributors of $1 million

or more in cumulative giving

to The Cleveland Orchestra.

Listing as of February 2013.


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

Family Foundation (Miami) The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Susan Miller (Miami) Ms. Ginger Warner (Cleveland, Miami)


James D. Ireland III Mr. and Mrs. Joseph P. KeithleyDr. and Mrs. Herbert Kloiber (Europe)Peter B. Lewis and Janet Rosel (Miami)Mr.* and Mrs. Herbert McBride Mr. and Mrs. Albert B. Ratner Janet and Richard Yulman (Miami)


Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr.


Sheldon and Florence Anderson (Miami)Mr. William P. Blair III Mr. Richard J. Bogomolny

and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. CutlerHector D. Fortun (Miami) Mr. and Mrs. Michael J. HorvitzElizabeth B. Juliano (Cleveland, Miami) Mr. and Mrs. Dennis W. LaBarre R. Kirk Landon and Pamela Garrison (Miami) Toby Devan LewisMr. and Mrs. Edward A. LozickMs. Beth E. MooneyJames and Donna ReidBarbara S. Robinson

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

Mrs. Alfred M. Rankin, Sr.

Mr. and Mrs. Albert B. Ratner


Irma and Norman Braman (Miami) Mr. Francis J. CallahanMrs. M. Roger ClappMr. George Gund III*Francie and David Horvitz (Miami)Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre 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 February 2013.

Annual Supportgifts during the past year, as of February 25, 2013

Individual Annual Support76 The Cleveland Orchestra

Individual Annual Support

Mr. and Mrs. Richard K. Smucker Barbara and David Wolfort Anonymous


Mr. and Mrs. Daniel M. Bell (Miami)Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s CommitteeMr. and Mrs. Charles P. Bolton The Brown and Kunze FoundationJeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Do Unto Others Trust (Miami)Mr. and Mrs. Geoffrey Gund George Gund* Trevor and Jennie Jones Giuliana C. and John D. Koch (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.Charles and Ilana Horowitz Ratner Luci and Ralph* ScheyMary M. Spencer (Miami)Mr. and Mrs. Franz Welser-Möst


Dr. and Mrs. Hiroyuki Fujita Junior Committee of The Cleveland OrchestraDavid and Jan LeshnerMr. and Mrs. Jon A. LindsethMargaret Fulton-Mueller Mrs. Jane B. NordMr. and Mrs. James A. RatnerHewitt and Paula Shaw Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton Paul and Suzanne Westlake


Gay Cull AddicottMr. and Mrs. William W. Baker Jill and Paul Clark Mr. and Mrs. Matthew V. Crawford Bruce and Beth Dyer Esther L. and Alfred M. Eich, Jr. Jeffrey and Susan FeldmanDr. Edward S. Godleski Andrew and Judy Green Gary Hanson and Barbara Klante

Mr. and Mrs. Jack HoeschlerRichard and Erica Horvitz (Cleveland, Miami)Mrs. Marguerite B. Humphrey Joy P. and Thomas G. Murdough, Jr. (Miami)William J. and Katherine T. O’Neill 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 SethiMr. and Mrs. Donald Stelling (Europe)Mr. Gary L. Wasserman

and Mr. Charles A. Kashner (Miami)Women’s Committee of The Cleveland OrchestraAnonymous gift from Switzerland (Europe) Anonymous


Randall and Virginia Barbato

Jayusia and Alan Bernstein (Miami)listings continue

Gay Cull Addicott

William W. Baker

Ronald H. Bell

Henry C. Doll

Judy Ernest

Nicki Gudbranson

Jack Harley

Iris Harvie

Brinton L. Hyde

Randall N. Huff

David C. Lamb

Raymond T. Sawyer

Barbara Robinson, chair

Robert Gudbranson, vice chair

Ongoing annual support 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




Scott Chaikin and Mary Beth Cooper

Martha and Bruce Clinton (Miami)

Mr. and Mrs. Peter O. Dahlen

George* and Becky Dunn

Colleen and Richard Fain (Miami)

Mr. Allen H. Ford

Richard and Ann Gridley

Mrs. John A Hadden Jr.

Jack Harley and Judy Ernest

Mary and Jon Heider (Cleveland, Miami)

Tati and Ezra Katz (Miami)

Jonathan and Tina Kislak (Miami)

Robert M. Maloney and Laura Goyanes

Mr.* and Mrs. Arch J. McCartney

Mr. Thomas F. McKee

Miba AG (Europe)

Lucia S. Nash

Mr. Gary A. Oatey

Brian and Patricia Ratner

David and Harriet Simon

Mr. Joseph F. Tetlak

Rick, 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)

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 ClarkMr. and Mrs. William E. ConwayMrs. Barbara CookBruce Coppock and Lucia P. May (Miami)Mr. Peter and Mrs. Julie Cummings (Miami)Mr. and Mrs. Robert P. Duvin listings continue


Leadership Council The Leadership Council salutes those

extraordinary donors who have pledged to

sustain their annual giving at the highest level

for three years or more. Leadership Council

donors are recognized in these Annual Support

listings with the Leadership Council symbol

next to their name:

Mike 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. GillespieElaine Harris GreenRobert K. Gudbranson and Joon-Li KimJeffrey and Stacie HalpernSondra and Steve HardisDavid and Nancy Hooker Joan and Leonard HorvitzMr. and Mrs. Christopher Hyland Mr. and Mrs. Donald M. Jack, Jr.Allan V. Johnson Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Mr. Jeff LitwillerMr. and Mrs. Richard A. ManuelMr. 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 Dr. Tom D. Rose Mr. and Mrs. David A. RuckmanDr. Isobel RutherfordMr. Larry J. Santon Dr. E. Karl and Lisa SchneiderRachel R. Schneider Mr. and Mrs. Oliver E. SeikelKim Sherwin Mr. and Mrs. Steven SpilmanLois and Tom Stauffer Mrs. Blythe SundbergMrs. Jean H. TaberDr. Russell A. TrussoTom and Shirley Waltermire The Wells Family Foundation, Inc.Sandy and Ted Wiese 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 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. HaslingerAmy and Stephen Hoffman Pamela and Scott Isquick Joela Jones and Richard WeissJudith and Morton Q. Levin Mr. and Mrs.* Robert P. Madison Mrs. Robert H. Martindale

listings continued

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Mr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Mr. Raymond M. Murphy 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.Mrs. Marie S. StrawbridgeBruce and Virginia Taylor Anonymous (3)

INDIVIDUAL GIFTS OF $5,000 TO $7,499Susan S. AngellMr. and Mrs. Albert A. AugustusMr. and Mrs. Robert H. Baker Mr. and Mrs. Dean Barry Mr. Jon Batchelor (Miami)Fred G. and Mary W. BehmDrs. Nathan A. and Sosamma J. 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 Mr. and Mrs. Ralph DaugstrupMrs. 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)Joy E. GarapicMr. 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. HatchRobin Hitchcock HatchBarbara Hawley and David GoodmanJanet D. Heil*Anita and William HellerT. K. and Faye A. HestonBob 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. LambShirley and William Lehman (Miami) Mr.* and Mrs. Leo LeidenLarry and Christine LeveyMr. and Mrs. Adam Lewis (Miami)Mrs. Emma S. LincolnHeather and Irwin LowensteinMr. and Mrs. Alex Machaskee 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. RankinMs. Deborah ReadPaul A. and Anastacia L. RoseMr. and Mrs. Robert C. RuhlMrs. Florence Brewster Rutter David M. and Betty Schneider Linda B. SchneiderLarry and Sally Sears Dr. and Mrs. James L. SechlerCharles Seitz (Miami)Mr. Eric Sellen and Mr. Ron SeidmanMrs. 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)Ms. Lorraine S. Szabo 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 WinansFred and Marcia Zakrajsek Anonymous (6) listings continue


listings continued


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Dr. and Mrs. D. P. AgamanolisMs. Delphine BarrettMrs. Joanne M. 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 VishnyDiane Lynn CollierMarjorie Dickard ComellaPete and Margaret DobbinsPeter and Kathryn EloffMr. Brian L. Ewart

and Mr. William McHenryPeggy and David* FullmerMrs. Joan Getz (Miami)Robert N. and Nicki N. GudbransonMr. Robert D. HartMatthew D. Healy and Richard S. AgnesHazel Helgesen and Gary D. HelgesenMs. Rosina Horvath Mr. David and Mrs. Dianne HuntDr. and Mrs. Scott R. InkleyDonna L. and Robert H. Jackson

Mr. and Mrs. Richard A. JanusHelen and Erik JensenDr. Gilles and Mrs. Malvina KlopmanDr. James and Mrs. Margaret KreinerJudy and Donald Lefton (Miami)Ronald and Barbara LeirvikMr. and Mrs. Irvin A. LeonardDr. 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. MerzweilerBert and Marjorie MoyarRichard B. and Jane E. NashMr. 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. ReynoldsMrs. Charles Ritchie

Amy and Ken RogatFred Rzepka and Anne Rzepka

Family FoundationMr. Paul H. ScarbroughBob and Ellie ScheuerMs. Freda SeavertGinger and Larry ShaneMr. Richard ShireyHoward and Beth SimonDr. Marvin and Mimi SobelMr. and Mrs. William E. SpatzHoward Stark M.D.

and Rene Rodriguez (Miami)Mrs. Barbara Stiefel (Miami)Dr. Elizabeth SwensonMr. and Mrs. Leonard K. TowerMr. and Mrs. Lyman H. TreadwayRobert and Marti VagiMr. and Mrs. Mark Allen WeigandMr. Peter and Mrs. Laurie WeinbergerRobert C. WepplerRichard Wiedemer, Jr.Nancy V. and Robert L. Wilcox



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 and David Bianchi

(Cleveland, Miami)Carmen Bishopric (Miami)Bill* and Zeda BlauMr. Doug BletcherMadeline and Dennis A. BlockMr. and Mrs. Richard H. BoleJohn and Anne BourassaLisa and Ron BoykoMrs. Ezra BryanJ. C. and Helen Rankin ButlerMs. Mary R. Bynum

and Mr. J. Philip CalabreseMrs. Millie L. CarlsonMr. and Mrs. Frank H. CarpenterLeigh CarterMr. and Mrs. James B. ChaneyDr. and Mrs. Ronald ChapnickMs. Suzan ChengDr. and Mrs. Chris ChengelisMr. and Mrs. Homer D. W. Chisholm

Mr.* and Mrs. Robert A. ClarkMr. and Mrs. Stanley Cohen (Miami)Mr. 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. WhiteMr. 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. Randall and Mrs. Patrice FortinMr. Monte Friedkin (Miami)Marvin Ross Friedman

and Adrienne bon Haes (Miami)Arthur L. FullmerRichard L. FurryJeanne GallagherBarbara and Peter GalvinMrs. 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. Goldfinger

Dr. 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. HohertzPeter A. and Judith HolmesThomas and Mary HolmesDr. Keith A. and

Mrs. Kathleen M. HooverMark and Ruth Houck (Miami)Dr. Randal N. Huff

and Ms. Paulette BeechMs. Carole HughesMs. 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)


listings continue


listings continued



The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis

Bruce and Eleanor KendrickMr. James KishNatalie KittredgeFred and Judith KlotzmanJacqueline and Irwin Kott (Miami)Ellen Brad and Bart KovacDr. Ronald H. Krasney

and Ms. Sherry* LatimerMr. Donald N. KrosinMr. and Mrs. S. Ernest KulpMrs. Carolyn LamplMr. and Mrs. John J. LaneMr. and Mrs. Israel Lapciuc (Miami)Kenneth 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 MarshMr. and Mrs.* Duane J. MarshMrs. Meredith T. MarshallDr. Ernest and Mrs. Marian MarsolaisMr. Julien L. McCallJim and Diana McCoolWilliam and Eleanor McCoyMs. Nancy L. MeachamMr. James E. MengerStephen and Barbara MessnerMr. Stephen P. MetzlerMr. and Mrs. Roger Michelson (Miami)MindCrafted SystemsMs. Barbara A. MorrisonJoan Katz Napoli

and August Napoli

Mr. David and Mrs. Judith NewellMarshall I. Nurenberg and Joanne KleinMort 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. PattersonDrs. John Petrus and Sharon DiLauroDr. Roland S. Philip

and Dr. Linda M. SandhausMs. Maribel Piza (Miami)Dr. Marc and Mrs. Carol PohlMr. Richard and Mrs. Jenny ProeschelK. PudelskiDr. James and Lynne RambasekMs. 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 RusekDr. Harry S. and Rita K. RzepkaNathan N. and Esther Rzepka

Family Philanthropic FundBunnie Joan Sachs Family FoundationDr. and Mrs. Martin I. SaltzmanMs. Patricia E. SayMr. 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. SheldonDr. Howard* and Mrs. Judith SiegelMs. Linda M. SmithMr. and Mrs.* Jeffrey H. SmytheMrs. Virginia SnappMs. Barbara SnyderLucy and Dan SondlesMr. John C. Soper

and Dr. Judith S. BrennekeMr. John D. SpechtMr. and Mrs.* Lawrence E. StewartStroud Family Trust

Dr. Kenneth F. SwansonMr. Taras G. Szmagala Jr.Mr. and Mrs. William W. TaftMr. Nelson S. TalbottKen and Martha TaylorGreg and Suzanne ThaxtonMr. Karl and Mrs. Carol TheilParker D. Thomson Esq. (Miami)Dr. and Mrs. Thomas A. TimkoMr. and Mrs. Robert J. TomsichSteve and Christa TurnbullMiss Kathleen TurnerRobert A. ValenteBrenton Ver Ploeg (Miami)Mr. Gregory VideticMr. and Mrs. Joaquin Vinas (Miami)Mr. and Mrs. Les C. VinneyDr. Michael Vogelbaum

and Mrs. Judith RosmanRicky and 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 BoleDr. Paul R. and Mrs. Catherine WilliamsDr. and Mr. Ann WilliamsRichard and Mary Lynn WillsMichael H. Wolf

and Antonia Rivas-WolfMr. Robert Wolff

and Dr. Paula SilvermanTony and Diane Wynshaw-BorisRad and Patty YatesMr. Kal Zucker

and Dr. Mary Frances HaerrAnonymous (10)

member of the Leadership Council (see page 78)

* deceased

The Cleveland Orchestra is sustained through the support of thousands of generous patrons,

including members of the Crescrendo Patron Program listed on these pages. Listings of all

annual donors of $300 and more each year are published in the Orchestra’s Annual Report,

which can be viewed online at CLEVELANDORCHESTRA.COM

For information about how you can play a supporting role for The Cleveland Orchestra’s

ongoing artistic excellence, education programs, and community partnerships, please

contact our Philanthropy & Advancement Office by calling 216-231-7545.

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


listings continued

Cowan’s Auctions holds two Fine Jewelry & Timepieces auctions annually.

For information on how to bid, consign and receive free appraisals visit cowans.com

Accepting Exceptional Consignments

ContactBrad [email protected]

513.871.1670 x176270 Este Ave.Cincinnati, OH 45232


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


Visit the Cleveland Orchestra Store for

the latest and best Cleveland Orchestra

recordings and DVDs.

2 1 6 . 5 3 6 . 7 6 0 0 www.HeidiONeill.com [email protected]

Heidi O’NeillRegistered Landscape Architect


H A I L E D A S O N E O F the world’s most

beautiful concert halls, Severance Hall

has been home to Th e Cleveland Or-

chestra since its opening on February 5,

1931. Aft er that fi rst concert, a Cleve-

land newspaper editorial stated: “We

believe that Mr. Severance intended

to build a temple to music, and not a

temple to wealth; and we believe it is his

intention that all music lovers should be

welcome there.” John Long Severance

(president of the Musical Arts Associa-

tion, 1921-1936) and his wife, Elisabeth,

donated most of the funds necessary to

erect this magnifi cent building. De-

signed by Walker & Weeks, its elegant

Georgian exterior was constructed to

harmonize with the classical architec-

ture of other prominent buildings in

the University Circle area. Th e interior

of the building refl ects a combination

of design styles, including Art Deco,

Egyptian Revival, Classicism, and Mod-

ernism. An extensive renovation, resto-

ration, and expansion of the facility was

completed in January 2000. In addition

to serving as the home of Th e Cleveland

Orchestra for concerts and rehearsals,

the building is rented by a wide variety

of local organizations and private citi-

zens for performances, meetings, and

gala events each year.

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

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Severance Hall88 The Cleveland Orchestra


8233

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Estate PlanningFederal Estate Tax Appraisal

Turnkey Estate ServicesCharitable Donations

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Larchmere Boulevard is Cleveland’s premier arts and antiques district, featuring over 40 eclectic and independent shops & services.

Located one block north of Historic Shaker Square. www.Larchmere.com

Elegant ExtrasSpecializing in the restoration & conservationof fine & antique furniture.

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12736 Larchmere Boulevard, Cleveland, Ohio 44120216.721.6945 – [email protected]

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C O N C E R T C A L E N D A R


90 The Cleveland OrchestraConcert Calendar

S P R I N G S E A S O NThursday March 21 at 8:00 p.m.Saturday March 23 at 8:00 p.m.THE CLEVELAND ORCHESTRAAlan Gilbert, conductor

RAVEL Mother Goose (complete ballet music)MAHLER Symphony No. 7

Friday March 22 at 10:00 a.m.Saturday March 23 at 10:00 a.m.Saturday March 23 at 11:00 a.m.

PNC MUSICAL RAINBOWTHE FABULOUS FLUTE

Marisela Sager, fl ute30-minute programs for ages 3 to 6.

Thursday April 4 at 8:00 p.m.Friday April 5 at 8:00 p.m.Saturday April 6 at 8:00 p.m.THE CLEVELAND ORCHESTRAMitsuko Uchida, piano and conductor

MOZART Piano Concerto No. 17 MOZART Divertimento in B-fl at major MOZART Piano Concerto No. 25 Sponsor: Quality Electrodynamics (QED)

Thursday April 11 at 8:00 p.m.Friday April 12 at 8:00 p.m.Saturday April 13 at 8:00 p.m.Sunday April 14 at 3:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorRobert Walters, oboe d’amoreRebecca Nelsen, sopranoNicholas Phan, tenorStephen Powell, baritoneCleveland Orchestra ChorusCleveland Orchestra Children’s Chorus

BACH Concerto in A major, BWV1055ORFF Carmina Burana

Sponsor: KeyBank

Thursday April 18 at 8:00 p.m.Saturday April 20 at 8:00 p.m.Sunday April 21 at 3:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorFrank Peter Zimmermann, violin

SHEPHERD Tuolumne [WORLD PREMIERE]

SHOSTAKOVICH Violin Concerto No. 1DVOŘÁK Symphony No. 6

Thursday April 25 at 8:00 p.m.Friday April 26 at 8:00 p.m.Saturday April 27 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorMalin Hartelius, sopranoMaximilian Schmitt, tenorLuca Pisaroni, baritoneCleveland Orchestra Chorus

HAYDN The Seasons Sponsor: BakerHostetler

Friday April 26 at 10:00 a.m.Saturday April 27 at 10:00 a.m.Saturday April 27 at 11:00 a.m.

PNC MUSICAL RAINBOW THE VIRTUOSO VIOLIN Beth Woodside, violin

30-minute programs for ages 3 to 6.

Wednesday May 1 at 7:30 p.m.Friday May 3 at 7:30 p.m.THE CLEVELAND ORCHESTRAJames Feddeck, conductor AT THE CLEVELAND MUSEUM OF ART CALIFORNIA MASTERWORKS

Two special programs feature daring sounds of musical works that originated from composers living and writing in California during the 20th century — and welcomed into classical music a myriad of non-European infl uences. Funded in part through The Cleveland Orchestra’s Keithley Fund for Artistic Collaboration.

Friday May 3 at 11:00 a.m.*Saturday May 4 at 8:00 p.m.Sunday May 5 at 3:00 p.m.THE CLEVELAND ORCHESTRATon Koopman, conductorPaul Yancich, timpani

MOZART Symphony No. 1 FISCHER Symphony with Eight Timpani MOZART Symphony No. 17* REBEL Overture to The Elements* HAYDN Symphony No. 45 (“Farewell”) *not included on Friday Morning Matinee

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

O R C H E S T R A 1213SEASON


Thursday May 9 at 8:00 p.m.Friday May 10 at 8:00 p.m.THE CLEVELAND ORCHESTRATon Koopman, conductorJay Carter, countertenorSteven Soph, tenorKlaus Mertens, bassCleveland Orchestra Chamber Chorus

HANDEL Water Music, Suite No. 1 HANDEL Zadok the Priest HANDEL Dettingen Te Deum Sponsor: Thompson Hine LLP

Sunday May 12 at 2:00 p.m.THE CLEVELAND ORCHESTRAMichael Butterman, conductor

FAMILY CONCERT FABLES, FANTASY, AND FOLKLOREDiscover how music can bring characters and stories to life, then use your imagination to help create your own musical story with the help of The Cleveland Orchestra! This highly interactive concert includes such classics as Rimsky-Kor-sakov’s Scheherazade (based on Tales from the Arabian Nights), Grieg’s In the Hall of the Mountain King, Rossini’s William Tell Overture, and Berlioz’s Symphonie Fantastique. Bring your family, and your imagination for storytelling on the big stage.

Sponsor: The Giant Eagle Foundation

Sunday May 12 at 7:00 p.m.CLEVELAND ORCHESTRA YOUTH ORCHESTRAJames Feddeck, conductor

PROGRAM INCLUDES:BARBER Overture to “The School for Scandal”

SZYMANOWSKI Etude R. STRAUSS Death and Transfi guration

Saturday May 18 at 2:00 p.m.THE CLEVELAND ORCHESTRAJames Feddeck, conductorwith Patti Austin

CELEBRITY SERIES PATTI AUSTIN: MUSIC OF

ELLA AND ELLINGTONPop-jazz superstar Patti Austin began her career as a four-year-old, onstage with legend Dinah Washington. Since then, she has performed hit songs all over the world. In a tribute to jazz giants Ella Fitzgerald and Duke Ellington, Patti Austin joins The Cleveland Orchestra in a program of all-time favorites such as “Cottontail,” “I Got It Bad,” “Honey-suckle Rose,” “Mr. Paganini,” and more!

Concert Calendar

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

HANDEL’SWATER MUSICThursday May 9 at 8:00 p.m.Friday May 10 at 8:00 p.m.THE CLEVELAND ORCHESTRATon Koopman, conductorJay Carter, countertenorSteven Soph, tenorKlaus Mertens, bassCleveland Orchestra Chamber Chorus

In 1717, England’s King George was suf-

fering in the polls. His political advisors

suggested that he do something big to

get the people behind him. They came up

with the idea of a summer boating party

on the Thames, for which Handel wrote the

music. Arguably the most popular piece of

Baroque music today, Water Music makes

fashionable use of the dance forms popular

at the time, combining festivity and fi nesse.

Sponsor: Thompson Hine LLP

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 OPPORTUNITIES Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and confer-ences, pre- or post-concert dinners and receptions, weddings, and social events. Exclusive catering pro-vided 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 93Severance 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.

94

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


The Cleveland Orchestra94 The Cleveland Orchestra

MITSUKO UCHIDA’SMOZARTThursday April 4 at 8:00 p.m.Friday April 5 at 8:00 p.m.Saturday April 6 at 8:00 p.m.THE CLEVELAND ORCHESTRAMitsuko Uchida, piano and conductor

Mitsuko Uchida’s interpretations of Mozart

are renowned for their intelligence, elegance,

and sensitivity. She continues her acclaimed

collaboration with The Cleveland Orchestra,

which was recognized with a 2010 Grammy

Award, by performing and recording two more

of Mozart’s piano concertos, Nos. 17 and 25.

“Mitsuko Uchida’s Mozart playing is

stunningly sensitive, crystalline, and true.”

—Boston Globe

Sponsor: Quality Electrodynamics (QED)

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 . . .

Upcoming Concerts

CARMINA BURANAThursday April 11 at 8:00 p.m.Friday April 12 at 8:00 p.m.Saturday April 13 at 8:00 p.m.Sunday April 14 at 3:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorRobert Walters, oboe d’amoreRebecca Nelsen, sopranoNicholas Phan, tenorStephen Powell, baritoneCleveland Orchestra ChorusCleveland Orchestra Children’s Chorus

Carl Orff ’s joyous Carmina Burana bursts forth

like a boisterous street festival — fi lled with

great music, marvelous mayhem, and delightful

merriment. This modern-day Canterbury Tales

comes complete with lusty hymns to spring-

time, animated drinking songs, and a swan’s

anguishingly ironic farewell to life (on a barbe-

cue spit!). The evening opens with a concerto

by J.S. Bach, for oboe d’amore.

Sponsor: KeyBankNew!

If you want to changeYOUR COMMUNITY,

be that change.

Isabel Trautwein, Cleveland OrchestraFirst Violinist, Program Director, Dreamer& Doer, Local Hero.Longing to share the experience of making music with children who had never been to Severance Hall, Isabel launched a strings program at the Rainey Institute in the Hough neighborhood. Now there’s a waiting listto learn how to play classical music. You, too, can play a part in creating lasting change within the Cleveland community by making a donation to the Cleveland Foundation — dedicated to enhancing the lives of all Clevelanders now and for generations to come.

Support your passions.Give through the Cleveland Foundation.Please call our Advancement Team at 1.877.554.5054

ClevelandFoundation.org

Documents

The Cleveland Orchestra March 21, 23