The Cleveland Orchestra May 1-4 Concerts

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May 1, 3, 4MOZART’S REQUIEM

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

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

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7 In the News From the Executive Director . . . . . . . . . . . . . . . . . . 7 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

8 About the Orchestra About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . 8 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 11 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 22 Young Audiences . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

34 Concerts — Week 19 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Program: May 1, 3, 4 . . . . . . . . . . . . . . . . . . . . . . . 34 KeyBank Fridays@7: May 2 . . . . . . . . . . . . . . . . 35 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . 37 ROUSE Rapture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 FRANK Will-o’-the-Wisp . . . . . . . . . . . . . . . . . . . . . . . . . . 43 MOZART Requiem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Sung Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Conductor: David Robertson . . . . . . . . . . . . . . . . 36 Soloist: Mary Kay Fink . . . . . . . . . . . . . . . . . . . . . . . 47 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . . . 65 Fridays@7 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . 68

48 Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . 48 Corporate Annual Support . . . . . . . . . . . . . . . . . . . 73 Foundation / Government Annual Support . . . 75 Individual Annual Support . . . . . . . . . . . . . . . . . . 76

90 Future Concerts Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . 94

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

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

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

50%

WEEK 19COVER PHOTOGRAPHY BY ROGER MASTROIANNI

Copyright © 2014 by The Cleveland Orchestra and the Musical Arts Association

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

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

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

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

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

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

NATIONAL ENDOWMENT

FOR THE ARTS

4 The Cleveland OrchestraTable of Contents

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Judson Manor resident Jordan Perlman has amassed over 8,000 volunteer hours at Cleveland Clinic, greeting patients and guests. “I answer about 80 questions a day,” he says.

Jordan moved to Judson Manor because it was convenient to all the things important to him—his Clinic volunteer position and Cleveland’s cultural scene.

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Perspectives from the Executive Director

7Severance Hall 2013-14 7

Spring 2014

Two of this season’s major projects take place in May — following many months of planning and much preparation. The fi rst is the pre-miere here at Severance Hall of our brand-new, made-for-Cleveland production of Leoš Janáček’s opera The Cunning Little Vixen, with eve-ning performances on May 17, 20, and 22, and a special matinee on Saturday, May 24. At the same time, from May 17 to 24, the Orchestra

is celebrating a week of musicmaking in Lakewood during our second “At Home” neighbor-hood residency. Together, these two projects showcase our commitment to serving the community with diverse performances and collaborative partnerships.

Franz Welser-Möst is at the center of both projects. In addition to leading the performances of Vixen, he will conduct an Education Concert for Lakewood High School students on May 23 and the culminating free public concert of our “At Home” in Lakewood residency on Saturday evening, May 24, bringing to a close an action-packed week of music performances, commu-nity activities, and public musical get-togethers. Every day of that week, Cleveland Orchestra musicians are involved in exciting and sometimes unexpected ways to bring music to the streets and homes of Lakewood, and into the lives of its citizens. The week’s presentations and collaborations also bring to a close the residency’s special semester-long involvement with Lakewood’s music education programs.

Franz has also been instrumental in integrating opera into The Cleveland Orchestra’s annual schedule at Severance Hall. This season, with The Cunning Little Vixen, we are creating our own brand-new operatic production for the fi rst time since the mid-1980s. For this, we are jumping forward with technology, to create a presentation that compellingly combines live action with projected video animation. Working with director Yuval Sharon and the creative team at Ro-bot Studios in Los Angeles, we are building this innovative production from the ground up.

Because of the unique nature of this opera production for The Cleveland Orchestra and Northeast Ohio, we are using new ways to communicate the excitement of this undertaking. A series of video “Production Diaries” about The Making of The Cunning Little Vixen is unfold-ing online. These videos feature behind-the-scenes looks at the creative team and processes in motion. I hope that you will take a few minutes to see what’s in store for you at Severance Hall in May. Visit clevelandorchestra.com to view these using the homepage link.

It takes concentrated eff ort, many hands, and dedicated focus to do all of this. Not just from the Orchestra musicians, staff , trustees and other volunteers, but from the community surrounding us, supporting us, and collaborating with us. Our neighborhood residencies are created at the grassroots level. This year’s partnerships with businesses, schools, and organizations from across Lakewood have been stimulating and creative. The opera pro-duction is also possible only through the collaboration of many, with support from gener-ous donors, including The Andrew W. Mellon Foundation and a group of local donors who have responded to this Foundation’s matching gift challenge to support our ongoing opera presentations. Thank you to everyone involved.

Gary Hanson

I N P E R F O R M A N C E S A T H O M E and around the globe, Th e Cleveland Orch-estra remains Northeast Ohio’s most visible international ambassador and one of the most sought-aft er performing ensembles in the world. In concerts at its winter home at Severance Hall and at each summer’s Blossom Music Festival, in residencies from Miami to Vienna, and on tour around the world, Th e Cleveland Orchestra sets standards of artistic excellence, creative programming, and active community engagement. With the 2013-14 season, Franz Welser-Möst marks his twelft h year leading the ensemble, with a commitment extending to the Or-chestra’s centennial in 2018. Th is artistic partnership continues to move the en-semble forward through a series of new and ongoing initiatives, including: expansion of education and community programs in Northeast Ohio to fea-

ture music as an integral and regular part of everyday life for more people, in-cluding the launch in 2013 of an “At Home” neighborhood residency program that brings Th e Cleveland Orchestra to a single neighborhood or town for an intensive period of special activities and performances, as well as the broaden-

About the Orchestra8 The Cleveland Orchestra

Photo of the Week

SEVERANCE HALL 1974 — Composer Aaron Copland rehearsing The Cleveland Orchestra at Severance Hall in November 1974, one of fi ve times he came to Cleveland as guest conductor.

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ing of the Orchestra’s ongoing education and community engagement initiatives to include Make Music!, a program of active and participatory experience and learning;

the establishment of residencies around the world, fostering creative artistic growth and an expanded fi nancial base — including ongoing residencies at the

Vienna Musik verein (the fi rst of its kind by an American orchestra) and in Florida under the name Cleveland Orch estra Miami (featuring an annual series of con-certs and community activities, coupled with educational presentations and col-laborations based on programs pioneered at home in Cleveland);

creative new artistic collaborations with arts institutions in Northeast Ohio, including staged works, concerts, and chamber music performances; a concentrated and successful eff ort to develop future generations of audiences

for Cleveland Orchestra concerts in Northeast Ohio, through research, targeted discounts, social media promotion, and student ticket programs, with demonstrat-ed results at Severance Hall and Blossom;

a variety of new concert off erings (including staged opera and ballet, as well as KeyBank Fridays@7 and Celebrity Series at Severance Hall and movie, themed, and family presentations at Blossom) to play more music for more people;

continuing and expanded educational partnerships with schools, colleges, and universities across Northeast Ohio and beyond;

ongoing recording activities, including new releases under the direction of Franz Welser-Möst, Mitsuko Uchida, and Pierre Boulez, as well as a series of acclaimed DVD concert presentations of symphonies by Anton Bruckner led by Welser-Möst.

Th e Cleveland Orchestra was founded in 1918 by a group of local citizens intent on creating an ensemble worthy of joining America’s ranks of major symphony or-chestras. Over the ensuing decades, the Orchestra quickly grew from a fi ne regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Soko loff , 1918-33; Artur Rodzinski, 1933-43; Erich Leins dorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002. Th e opening in 1931 of Severance Hall as the Orches-tra’s permanent home, with later acoustic refi nements and remodeling of the hall un-der Szell’s guidance, 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. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confi rmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acous-tically admired outdoor concert facilities in the United States.

The Orchestra Today 9Severance Hall 2013-14

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

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TRUSTEES EX-OFFICIO Faye A. Heston, President, Volunteer Council of Th e Cleveland Orchestra Shirley B. Dawson, President, Women’s Committee of Th e Cleveland Orchestra Claire Frattare, President, Blossom Women’s Committee

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Dr. Lester Lefton, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

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

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

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

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

Robert W. GillespieDorothy Humel HovorkaRobert F. Meyerson

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

RESIDENT TRUSTEES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Scott Chaikin Paul G. Clark Owen M. Colligan Robert D. Conrad Matthew V. Crawford Alexander M. Cutler 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. Ong

Larry 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 ScheyHewitt B. Shaw, Jr. Richard K. SmuckerR. Thomas StantonDaniel P. WalshThomas 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 Hewitt B. Shaw, Jr., 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. RobinsonRaymond T. Sawyer

THE MUSICAL ARTS ASSOCIATION as of March 2014

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

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

Musical Arts Association 11Severance Hall 2013-14 11

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SEVERANCE HALL

May 17 . 20 . 22 . 24

A NEW PRODUCTION CREATED FOR CLEVELAND WITH

DIGITAL ANIMATION ON THREE GIANT 25-FOOT SCREENS

TOGETHER WITH LIVE ACTION AND SINGING

BY AN INTERNATIONALLY-ACCLAIMED CAST!

SUNG IN CZECH WITH ENGLISH SUPERTITLES

THE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst

Don’t miss this unique, made-for-Cleveland opera presentation! Staged at Severance Hall with an international cast and innovative, original animated projections. While plumbing the

depths of human experience, The Cunning Little Vixen tells a charmingly bittersweet tale of love, peril, freedom, and family. The opera’s title character, portrayed by Czech

soprano Martina Janková, wends her way through life’s cycles of learning and danger, love and happiness. Janáček’s score mixes lyrical symphonic writing

with the songful serenity and energetic pulse of Moravian folk music.

This Cleveland Orchestra opera presentation is supported in part by The Andrew W. Mellon Foundation

and by the National Endowment for the Arts

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A NEW PRODUCTION CREAT

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

T H E 2 01 3 -1 4 S E A S O N marks Franz Welser-Möst’s twelft h year as music director of Th e Cleveland Or-chestra, with a long-term commitment extending to the Orchestra’s centennial in 2018. Under his di-rection, the Orchestra is acclaimed for its continu-ing artistic excellence, is extending and enhancing its community programming at home in Northeast Ohio, is presented in a series of ongoing residencies in the United States and Europe, continues its his-toric championship of new composers through com-missions and premieres, and has re-established itself as an important operatic ensemble. Concurrently with his post in Cleveland, Mr. Welser-Möst is general music director of the Vienna State Opera. With a committed focus on music education in Northeast Ohio, Franz Welser-Möst has taken Th e Cleveland Orchestra back into public schools with per-formances in collaboration with the Cleveland Metropolitan School District. Mr. Welser-Möst’s championship of community music-making expands upon his active participation in educational programs and collaborative programming, including the Cleveland Orchestra Youth Orchestra and partnerships with music conservato-ries, universities, and other arts institutions across Northeast Ohio. Under Mr. Welser-Möst’s leadership, Th e Cleveland Orchestra has established an ongoing biennial residency in Vienna at the famed Musikverein concert hall and another at Switzerland’s Lucerne Festival. Together, they have appeared in residence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where a 2008 residency included fi ve sold-out performances of a staged production of Dvořák’s opera Rusalka. In the United States, Mr. Welser-Möst has established an annual multi-week Cleveland Orch estra residency in Florida under the name Cleveland Orchestra Miami and, in 2011, launched a regular new residency at New York’s Lincoln Center Festival. To the start of this season, Th e Cleveland Orchestra has performed fourteen world and fi ft een United States premieres under Franz Welser-Möst’s direction. Th rough the Roche Commissions project, he and the Orchestra have premiered works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, Toshio Hosokawa, and Matthias Pintscher in partnership with the Lucerne Festi-val and Carnegie Hall. In addition, the Daniel R. Lewis Young Composer Fellow program has brought new voices to the repertoire, including Pintscher, Marc-An-dré Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, Sean Shepherd, and Ryan Wigglesworth. Franz Welser-Möst has led a series of opera performances during his tenure

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Music Director 15Severance Hall 2013-14 15

Music Director

in Cleveland, re-establishing the Orchestra as an important oper-atic ensemble. Following six seasons of opera-in-concert presen-tations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the Mozart-Da Ponte operas. He led concert performances of Strauss’s Sa-lome at Severance Hall and at Carnegie Hall in May 2012 and in May 2014 leads an innovative made-for-Cleveland production of Leoš Janáček’s Th e Cunning Little Vixen at Severance Hall. Franz Welser-Möst became general music director of the Vienna State Opera in 2010. His long partnership with the com-pany has included acclaimed performances of Tristan and Isol-de, a new production of Wagner’s Ring cycle with stage director

Sven-Eric Bechtolf, and critically praised new productions of Hindemith’s Cardillac and Janáček’s Katya Kabanova and From the House of the Dead. During the 2013-14 season, his Vienna schedule includes a new production of Puccini’s Th e Girl of the Golden West, as well as performances of Tristan and Isolde, Verdi’s Don Carlo, Beethoven’s Fidelio, and Richard Strauss’s Ariadne auf Naxos and Der Rosenkavalier. Mr. Welser-Möst also maintains an ongoing relationship with the Vienna Phil-harmonic. Recent performances with the Philharmonic include appearances at New York’s Carnegie Hall, in concert at La Scala Milan, and in opera presentations at the Salzburg Festival. He also led the Philharmonic’s New Year’s Day concert, viewed by telecast in seventy countries worldwide in 2011 and again in 2013. Across a decade-long tenure with the Zurich Opera, culminating in three seasons as general music di-rector (2005-08), Mr. Welser-Möst led the company in more than 40 new productions. Franz Welser-Möst’s recordings and videos have won major awards, including the Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. With Th e Cleveland Orchestra, he has created DVD re-cordings of live performances of fi ve of Bruckner’s symphonies, presented in three acoustically distinctive venues (the Abbey of St. Florian in Austria, Vienna’s Musik-verein, and Severance Hall). With Cleveland, he has also released a recording of Beethoven’s Ninth Symphony as well as an all-Wagner album featuring soprano Measha Brueggergosman. DVD releases on the EMI label have included Mr. Wels-er-Möst leading Zurich Opera productions of Th e Marriage of Figaro, Così fan tutte, Don Giovanni, Der Rosenkavalier, Fierrabras, and Peter Grimes. For his talents and dedication, Mr. Welser-Möst has received honors that include recognition from the Western Law Center for Disability Rights, honor-ary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Gold Medal from the Upper Austrian government for his work as a cultural ambassador, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner So-ciety of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.

16 The Cleveland Orchestra

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

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee ChairYoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Alexandra PreucilASSISTANT CONCERTMASTER

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

Takako MasamePaul and Lucille Jones Chair

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

Kim GomezElizabeth and Leslie Kondorossy Chair

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

Miho HashizumeTh eodore Rautenberg Chair

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

Alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

Isabel TrautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

Katherine Bormann

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2

James and Donna Reid ChairEli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

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

Yun-Ting Lee

VIOLASRobert Vernon*

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2

Mark JackobsJean Wall Bennett Chair

Arthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSMark Kosower*

Louis D. Beaumont ChairRichard Weiss1

Th e GAR Foundation ChairCharles Bernard2

Helen Weil Ross ChairBryan Dumm

Muriel and Noah Butkin ChairTanya EllRalph CurryBrian ThorntonDavid Alan HarrellPaul KushiousMartha BaldwinThomas Mansbacher

BASSESMaximilian Dimoff *

Clarence T. Reinberger ChairKevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune S

Charles Barr Memorial ChairCharles CarletonScott DixonDerek Zadinsky

HARPTrina Struble*

Alice Chalifoux Chair

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

The Orchestra

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


FLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn ChairMary Kay Fink

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein*

Edith S. Taplin ChairMary 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 ChairRobert 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 ChairBarrick Stees2

Sandra L. Haslinger ChairJonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSRichard King *

George Szell Memorial ChairMichael Mayhew §

Knight Foundation ChairJesse McCormickHans ClebschAlan DeMattia

TRUMPETSMichael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack SutteLyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard StoutAlexander andMarianna C. McAfee Chair

Shachar Israel2

BASS TROMBONEThomas Klaber

EUPHONIUM AND BASS TRUMPETRichard Stout

TUBAYasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANIPaul Yancich*

Otto G. and Corinne T. Voss ChairTom Freer 2

PERCUSSIONMarc Damoulakis°

Margaret Allen Ireland ChairDonald MillerTom Freer

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin ChairCarolyn Gadiel Warner

Marjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’Brien

Joe and Marlene Toot ChairDonald Miller

ORCHESTRA PERSONNELKaryn GarvinDIRECTOR

Christine HonolkeMANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIEDSidney and Doris Dworkin ChairSunshine Chair

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

CONDUCTORSChristoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,CLEVELAND ORCHESTRA MIAMI

Brett MitchellASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

The Orchestra

O R C H E S T R A


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

“the sound the world is talking about.”

We invite you to be a part of this amazing experience by advertising in the Severance Hall printed programs. It’s a smart way to put yourself in front of 150,000+ of northeast Ohio’s most influential consumers and business

decision-makers.

Call 216-721-4300 or email [email protected]

WHY ISN’T YOUR AD HERE?ADVERTISE IN THE CLEVELAND ORCHESTRA SEVERANCE HALL PROGRAM BOOKS

PLACE YOUR AD:HERE,HERE,HERE,HERE,HERE,HERE,HERE,HERE,HERE,& HERE

photo: Roger Mastroianni


The Cleveland Orchestra and the Lakewood community are joining together to pres-ent “The Cleveland Orchestra at Home in Lakewood,” a neighborhood residency that features an intensive week of free public performances and events May 17-24. A se-ries of prepartory events in partnership with Lakewood schools began in February and continue through the public residency week. The centerpiece of the Orchestra’s ac-tivities in Lakewood will be a free Cleveland Orchestra concert led by Music Director Franz Welser-Möst at Lakewood Civic Au-ditorium on Saturday evening, May 24, at 7:30 p.m. Tickets were distributed at loca-tions throughout Lakewood beginning on Saturday, April 26. (A delayed telecast of the concert will be presented by WVIZ/PBS ideastream; the concert will be broadcast live on radio by WCLV 104.9 ideastream. The television broadcast will feature a compos-ite of community collaborations, musical performances, and joint events and activi-ties throughout Lakewood.) “Creating a ‘grass roots’ opportunity for Lakewood to experience perhaps the greatest orchestra in the world at a very personal level is a cultural experience that we will remember for years to come,” commented Michael P. Summers, Lakewood’s mayor, in announc-ing resdiency details. “Our increasingly vibrant commercial corridors and neighbor-hoods will be made ever-more-so by the music and the musicians.” Ian Andrews, executive director of LakewoodAlive, Lakewood’s non-profi t economic development organization, said, “We are ecstatic to have been chosen as The Cleveland Orchestra’s destination for immersion into a Northeast Ohio community.

Lakewood is known for its commitment to the arts. The Orchestra’s events will strengthen this commitment and showcase the city’s great quality of life, local organizations, restaurants, schools, and busi-nesses that make our community special.” The Cleveland Orchestra introduced neighborhood residencies in May 2013 in the Gordon Square community of Cleve-land. The activities, including a Cleveland Orchestra Concert at Saint Colman Catholic Church, were taped and aired by WVIZ/PBS ideastream. WCLV 104.9 also broadcast the concert on radio. The goals of the neighborhood resi-dencies are to bring increased visibility and vibrancy to greater Cleveland’s neighbor-hoods, build community through arts and culture in tandem with local partners, and off er more people the opportunity to en-gage with the music and the musicians of The Cleveland Orch estra. The culminating residency week of activities will include solo and chamber music performances in unique locations, educational programs at local schools, and new artistic collaborations with neighborhood arts and cultural organiza-tions — all in partnership with local busi-nesses and community groups. Complete “at Home in Lakewood” de-tails can be found at clevelandorchestra.com.

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Details of Orchestra’s “At Home” in Lakewood neighborhood residency announced for May 17-24Four months of education activities presented in partnership with Lakewood schools lead up to an intensive week of free public performances and events, including Orchestra concert on May 24

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Orchestra News


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A.R.O.U.N.D T .O .W.N Recitals and presentations Upcoming local performances by members of The Cleveland Orchestra include: Over twenty members of The Cleveland Orchestra will be playing chamber music at a special “Prelude to the Cure” event on Friday night, May 30, to benefi t the Michael J. Fox Foundation for Parkinson’s Research. The eve-ning at St. Paul’s Episcopal Church (2747 Fair-mount Blvd, Cleveland Heights) is presented by “Shaking With Laughter” and was orga-nized by Robert Walters, the Orchestra’s solo english horn player. For more details or to order tickets (including VIP tickets that include a light pre-concert dinner), call 216-932-0290 or www.visit shakingwithlaughter.org.

Next “Meet the Artist” luncheon on Friday, May 2, previews opera production of “Vixen” The Women’s Committee’s next “Meet the Artist” luncheon features a preview of behind-the-scene details of The Cleveland Orchestra’s new opera pro - duction in May. The May 2 preview event features Mark Williams, the Orchestra’s director of artistic planning, and Julie Kim, director of operations, discussing details of preparations and the creation of animated scenery, lighting, and costumes, plus other details for Leoš Janáček’s The Cunning Little Vixen, being performed at Severance Hall May 17 to 24. The luncheon takes place at Acacia Reservation on Cedar Road in Lyndhurst, and includes a reception beginning at 11:30, lunch at noon, and the presentation and discussion about the opera at 1:00 p.m. Reservations can be made through the Severance Hall Ticket Offi ce by calling 216-231-1111. $38 for the gen-eral public, and $35 for Women’s Committee members.

Orchestra NewsNews


The Musical Arts Association gratefully acknow ledges the artistry and dedication of all the musicians of The Cleveland Or-chestra. In addition to rehearsals and con-certs throughout the year, many musicians donate performance time in support of community engagement, fundraising, edu-cation, and audience development activi-ties. We are pleased to recognize these mu-sicians, listed below, who have volunteered for such events and presentations during the 2012-13 and 2013-14 seasons.

Mark AthertonMartha BaldwinCharles BernardKatherine BormannLisa BoykoCharles CarletonJohn ClouserKathleen CollinsPatrick ConnollyRalph CurryMaximilian Dimoff Bryan DummTanya EllKim GomezDavid Alan HarrellMiho HashizumeShachar IsraelJoela JonesAlicia KoelzStanley KonopkaMark KosowerPaul KushiousJung-Min Amy LeeMary LynchThomas MansbacherTakako MasameEli MatthewsJesse McCormickDaniel McKelwaySonja Braaten Molloy

Eliesha NelsonChul-In ParkJoanna Patterson ZakanyAlexandra PreucilWilliam PreucilLynne RamseyJeff rey RathbunJeanne Preucil RoseStephen RoseFrank RosenweinJonathan SherwinSae ShiragamiEmma ShookJoshua SmithSaeran St. ChristopherBarrick SteesJack SutteBrian ThorntonIsabel TrautweinLembi VeskimetsCarolyn Gadiel WarnerStephen WarnerRichard WeissBeth WoodsideRobert WoolfreyPaul YancichDerek ZadinskyJeff rey Zehngut

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

duction of “Vixen”’s

ew cene eveland

w opera pro -

27Severance Hall 2013-14 27Cleveland Orchestra News

May 16 and 17 mark the fi nal perfor-mances of this season’s PNC Musical Rainbows series, with a program titled “Heavenly Harps.”Sponsored by PNC Bank, Musical Rainbows concerts for pre-K to Grade 1 students take place in Reinberger Chamber Hall and intro-duce specifi c instruments and instrument families. With animated support from host Maryann Nagel, Cleveland Orchestra musi-cians bring their instruments, talk about them, and play short selections. Concerts feature a mix of serious pieces and age-appropriate mu-sic from “Old MacDonald” to the “Bingo” song. PNC Bank has provided more than $5 mil-lion in grants for local preschool education in recent years, including $2.5 million to support programs developed by The Cleveland Orch-estra, Cleveland Museum of Art, Playhouse-Square, and the Rock and Roll Hall of Fame and Museum.

Mahler, in a photograph taken in 1909 in New York

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Support from PNC Bank also enables the Orchestra to engage young children in music and learning, right from the start, with PNC Grow Up Great. This pre-school program uses music to help children develop basic skills like counting and following instructions — neces-sary for success in kindergarten and beyond. According to PNC Regional President Paul Clark, the results have been more than gratify-ing. “We have been so impressed with the positive results these programs have delivered for teachers, parents, and students,” he says. “Teachers report that they are more confi dent and creative in their ability to teach the arts, parents have become more likely to spend time engaging with their children and arts, and students who participate are receiving higher scores in music and imaginative play — with a positive impact on their cognitive, social, and academic development.”

PNC helps introduce children to music and more . . .

The Cleveland Carousel Society is bringing back the Grand Carousel from Euclid Beach

Park’s historic past for all to ride again.

Go to: www.clevelandcarousel.org

Or call: 216-752-1505

Part Emotion, Part Memory

All Magic

You can be a part of

this historic restoration by becoming a

member, naming donor or sponsor of the Carousel horses right

now.

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

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


Orchestra NewsNews

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I .N M.E .M.O.R. I .A .M The Cleveland Orchestra notes the death on March 11 of retired Orchestra horn player Albert Schmitter at the age of 81. He served

as a member of the Orchestra for 29 years, retiring in 1995. Schmitter was a graduate of J.F. Rhodes High School in Cleveland and of the United States Military Academy at West Point. He also attended Baldwin Wallace College. The entire Orchestra family ex-tends its condolences to his family and friends.

Special thanks to Cleveland Orchestra musicians The Board of Trustees extends specialthanks to the members of The Cleveland Orch estra for donating their services for four performances this season as part of the musi-cians’ ongoing commitment to provide ad-ditional revenue-generating opportunities to benefi t the institution. These four concerts in-clude the Severance Hall Gala with Itzhak Perl-man in September 2013 and a benefi t concert in Palm Beach, Florida, in January 2014, along with performances at New York’s Lincoln Cen-ter and in Cologne, Germany, as part of the Orchestra’s touring this past autumn. “These and other donated services eachyear are a meaningful demonstration of themusicians’ commitment to this institution’sfuture,” notes Gary Hanson, executive direc-tor. “The members of The Cleveland Or-chestra are committed to ensuring that the Orchestra can present music as an important and vital part of life.”

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

Donors make plans to endow Orchestra’s librarian chair The Cleveland Orchestra is pleased to announce the creation of the Joe and Marlene Toot Head Librarian Endowed Chair through a legacy gift to the Orchestra. “The Head Li-brarian is a critically essential member of the Orchestra — as integral to our musical success as any instrumentalist,” says Gary Hanson. “It is with deep gratitude that I thank Joe and Marlene Toot for making such a generous commitment through their estate.” The current head librarian, Robert O’Brien, is the ninth in that position since the Orchestra’s founding in 1918. He has served as head librarian since 2008. In this role, O’Brien ensures that each musician has the right music on the right music stand at the right time for every rehearsal and concert. He makes all scores available to every musician for individual practice, and ensures that every part and each marking matches the conduc-tor’s needs. He catalogs and maintains the Orchestra’s extensive collection of musical scores — those that are part of the Sever-ance Hall music library and those rented for particular performances. He daily works with tempo markings and musical scores in multi-ple languages, from German to French, Italian to English, and more. The gift from Joe and Marlene Toot will support the funding of The Cleveland Orchestra’s Head Librarian position in per-petuity. Thousands of generous individuals have made a commitment to the Orchestra through outright endowment gifts or legacy plans, through the annual fund and special project support. To learn more about includ-ing the Orchestra in your estate plans, please contact Bridget Mundy at 216-231-8006.

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


The Cleveland Orchestra has announced a new group called The Circle, welcoming young professionals ages 21-40. The group is designed for those who share a love of music and an interest in supporting The Cleveland Orchestra in a new and dynamic way. The Circle provides members exclusive access to the Orchestra, with opportunities to meet musicians, and socialize at Severance Hall and at Blossom Music Festival events. Member-ships include bi-monthly concert tickets along with opportunities to attend social gatherings to network with friends and cultural business leaders of Northeast Ohio. The objectives of The Circle are to increase engagement op-portunities for young people ages 21-40 and to help develop future volunteer community leaders and arts advocates. The Circle was launched at a Cleveland

Mahler, in a photograph taken in 1909 in New York

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Orchestra concert in January, and is continu-ing to grow. Plans for events throughout the spring are posted on the orchestra’s website, including concert receptions, a tour of Sever-ance Hall, and more. Cost of membership in The Circle is $15 per month for one membership and $20 per month for two memberships and includes bi-monthly tickets. New members join for a minimum of six months. For additional information, visit clevelandorchestra.com or send an email to [email protected].

Cleveland Orchestra launches new group for networking and socializing with dynamic young professionals


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

Kulas Series of Keyboard Conversations®

with Jeffrey Siegel26th Season 2013-2014

Masterly

Enthralling

Charming

Scintillating

Sunday, September 29, 2013The Miraculous Mozart

Sunday, December 15, 2013The Glory of Beethoven

Sunday, January 26, 2014 The Romantic Music of Chopin

Sunday, May 4, 2014Mistresses and Masterpieces

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

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


Indoors and Out,PlayhouseSquare

Tri-C JazzFest ClevelandJune 26-28, 2014

SPONSORS:

Alcoa | the Cleveland Foundation | Cuyahoga Arts & Culture | Dominion Resources

Great Lakes Brewing Co. | Mitchell’s Ice Cream | National Endowment for the Arts

Ohio Arts Council | RTA | Strassman Insurance Services, Inc. | Wyndham

Collecting for clients is music to our ears.

Call Alan Weinberg, Managing Partner, at 216-685-1100.Weltman, Weinberg & Reis Co., LPA

Call Scott Weltman, Managing Partner, at 216-685-1032. Weltman, Weinberg & Reis Co., LPA


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Chorus auditions announced for children,youth, and adult singers for Blossom and 2014-15 Spring audition dates for the choral groups sponsored by The Cleveland Orchestra have been announced. The auditions — for adults, youth, and children — are for membership in groups singing during the 2014 Blossom Music Festival and the 2014-15 Season at Severance Hall. Auditions will take place in May and June. The Cleveland Orchestra Choruses embody a long-standing commitment to choral music in which community members of all ages have the opportunity to participate. The Cleveland Orchestra Children’s Chorus is open to students in grades 6-8 and directed by Ann Usher, and the Cleveland Or-chestra Children’s Preparatory Chorus is open to students in grades 5-8 and directed by Suzanne Walters. Both groups are holding auditions on June 2, June 7, and June 14. The Children’s Cho-rus, formed in 1967, provides musical training in vocal production and choral performance skills. The Children’s Preparatory Chorus provides children with initial choral experiences to which younger singers may not have been exposed, while establishing a solid foundation in vocal production techniques. To audition, children must sing one verse of “America” (My Country, ’Tis of Thee) with piano ac-companiment in the key of his or her choice and one verse of “America the Beautiful” (Oh beauti-ful, for spacious skies) without accompaniment in the key of D. Singing scales and doing some rhythmic exercises may also be included in the audition, for which an accompanist is provided. Students in grades 9-12 are welcome to audition for the Cleveland Orchestra Youth Chorus, directed by Lisa Wong, on May 3, May 11, or June 11. Created in 1991, the Youth Chorus helps raise awareness of choral music-making in the schools of Northeast Ohio and encour-ages students to continue their choral activities through college and into adulthood. The Youth Chorus collaborates each season in performance with the Cleveland Orch estra Youth Orchestra. Youth Chorus audition requirements are to pre-pare a piece from the OMEA Solo & Ensemble list,

or an equivalent classical solo piece; Broadway or “pop” tunes are not acceptable. In addition to the prepared piece, students will be asked to sight-read and demonstrate their vocal range. An accompanist is provided at the audition. The Cleveland Orchestra Chorus is one of the few professionally trained, all-volunteer cho-ruses sponsored by a major American orchestra. Coming from nearly fi fty Northeast Ohio com-munities, members of the Chorus perform with The Cleveland Orchestra in subscription and Christmas concerts each year. Previous choral experience and sight-reading skills are required. The Blossom Festival Chorus includes many members of the Cleveland Orchestra Chorus and other Northeast Ohio choral groups. It has established itself as a permanent annual part of the summertime Blossom Festival and has sung in more than 100 concerts since its 1968 debut. Both groups are directed by Robert Porco. Auditions for the Cleveland Orchestra Cho-rus and Blossom Festival Chorus were held in mid-April. Those interested can inquire about future audition dates. Those auditioning are asked to prepare two pieces from the classical literature, one of which should be in a foreign language. Each piece should be approximately two minutes in length. Previous choral experi-ence and sight-reading skills are required. An accompanist is usually provided at the audition. To schedule an audition, call the Chorus Offi ce at 216-231-7374, or send an email to [email protected].

WCLV…now also heard on 90.3 WCPN HD2WCLV.org

Committed to classicalaround the clock.


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.

April 17, 19“Bittersweet Farewells” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

April 24, 26“Bach’s Son, Papa Haydn, and Beethoven” with Pierre van der Westhuizen, president and chief executive offi cer of the Cleveland International Piano Competition

May 1, 3, 4“Meet the Composer” with Gabriela Lena Frank in conversation with Jason Harris, followed by a talk about the entire concert:

“Mozart’s Requiem” with Jason Harris, assistant professor of choral conducting, Oberlin College Conservatory of Music

May 8, 10“Nordic Notions” with Jerry Wong, associate professor of piano, Kent State University

LEARNING MORE ABOUT THE MUSIC

The Cleveland Orchestra off ers a vari-ety of options for learning more about the music before each concert begins. For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermis-sion, or afterward. (Program notes are also posted ahead of time online at clevelandorchestra.com, usually by the Monday directly preceding the concert.) The Orchestra’s Music Study Groups also provide a way of explor-ing the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the sto-ries behind the composers’ lives. Free Concert Previews are pre-sented one hour before most subscrip-tion concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the op-portunity for audience members to ask questions.

Concert Previews


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

Concert Program — Week 19

Severance HallThursday evening, May 1, 2014, at 7:30 p.m. Saturday evening, May 3, 2014, at 8:00 p.m.Sunday afternoon, May 4, 2014, at 3:00 p.m.

David Robertson, conductor

christopher rouse Rapture(b. 1949)

gabriela lena frank Will-o’-the-Wisp(b. 1972)

Tone Poem for Piccolo and Orchestra world premiere performances

1. Humble Song, Song Humble 2. Will-o’-the-Wisp MARY KAY FINK, piccolo

INTERMISSION wolfgang amadè mozart Requiem, K626(1756-1791) 1. Introit 2. Kyrie 3. Sequence 4. Offertory 5. Sanctus 6. Benedictus 7. Agnus Dei 8. Communion JESSICA RIVERA, soprano ELIZABETH DeSHONG, mezzo-soprano GARRETT SORENSON, tenor JOHN RELYEA, bass-baritone CLEVELAND ORCHESTRA CHORUS Robert Porco, director

David Robertson’s appearance with The Cleveland Orchestrais made possible by a contribution to the Orchestra’s Guest Artist Fund from Roger and Anne Clapp.

Mary Kay Fink’s solo appearance with The Cleveland Orchestrais made possible by a contribution to the Orchestra’s Guest Artist Fund from The Sherwick Fund.

The concerts will end at about 9:45 p.m. on Thursday and 10:15 p.m. on Saturday.

35Severance Hall 2013-14

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

Concert Program — Friday Week 19

christopher rouse Rapture(b. 1949)

wolfgang amadè mozart Requiem, K626(1756-1791) 1. Introit 2. Kyrie 3. Sequence 4. Offertory 5. Sanctus 6. Benedictus 7. Agnus Dei 8. Communion JESSICA RIVERA, soprano ELIZABETH DeSHONG, mezzo-soprano GARRETT SORENSON, tenor JOHN RELYEA, bass-baritone CLEVELAND ORCHESTRA CHORUS Robert Porco, director

The Friday evening concert is performed without intermission and will end at about 8:10 p.m.

Additional information about the Fridays@7 evening can be found on page 39. > > >

7@FRIDAYS

Severance HallFriday evening, May 2, 2014, at 7:00 p.m.

David Robertson, conductor


David RobertsonAmerican conductor David Robertson is acclaimed across the globe for his artistry, programming, and musical insights. Th e 2013-14 season marks his ninth season as music direc-tor of the Saint Louis Symphony Orchestra. Highlights of his work this season with Saint Louis have included a return to Carnegie Hall on the centennial of Benjamin Britten’s birth to perform the opera Peter Grimes in concert. In January 2014, he became chief conductor of the Sydney Symphony Orches-tra. He fi rst conducted Th e Cleveland Orchestra in July 1998, and most recently appeared here in February 2012. Mr. Robertson appears as a guest conductor throughout the world. His regular engagements include performances with the orchestras of Boston, Chicago, Los Angeles, New York, and Philadelphia, along with the BBC Symphony Orchestra, Berlin Philharmonic, Dresden Staatska-pelle, and Hong Kong Philharmonic. He previously served as resident conductor of the Jerusalem Symphony Orchestra (1985-87), music director of the Ensemble Inter-contemporain (1992-2000), music director of the Orchestre National de Lyon (2000-04), and principal guest conductor of the BBC Symphony Orchestra (2005-12). Also active in opera, Mr. Robertson has led performances at many of the world’s major opera houses, including the Bavarian State Opera, Hamburg State Opera, Milan’s La Scala, New York’s Metropolitan Opera, Opéra de Lyon, Paris’s Th éâtre du Châtelet, San Francisco Opera, and Santa Fe Opera. David Robertson’s discography features a broad repertoire on the Adès, Atlan-tic/Erato, Deutsche Grammophon, EMI/Virgin Classics, Naïve, Naxos, Nonesuch, Nuema, Sony Classical, and Valois labels. Download-only performances through Live From Powell Hall recordings feature the Saint Louis Symphony Orchestra with works by Adams, Scriabin, and Szymanowski. Born in California, David Robertson attended London’s Royal Academy of Music, studying French horn and composition prior to conducting. His honors include the 1997 Seaver/National Endowment for the Arts Conductors Award and the 2006 Ditson Conductor’s Award. Musical America named him Conductor of the Year for 2000, and, along with the Saint Louis Symphony Orchestra, he received the 2005-2006 Morton Gould Award for Innovative Programming and 2008-2009 Award for Programming of Contemporary Music from ASCAP and the League of American Orchestras. He was granted the 2010 Excellence in the Arts award from the Saint Louis Arts and Education Council and in 2011, was made a Chevalier de l’Ordre des Arts et des Lettres of France. David Robertson and his wife, pianist Orli Shaham, are parents of twin boys; he also has two older sons.

Conductor


T H E C I R C U M S TA N C E S S U R R O U N D I N G the creation of Mozart’s Requiem have been fi ctionalized and sentimentalized and turned into high intrigue and mystery since the composer’s death in medias res

(literally “in the midst of things”) — including the overly dramatic (but entertaining) fi lm Amadeus. Th e facts are not quite as clear or exciting. Th e Requiem was anonymously commissioned by the somewhat self-absorbed Count Franz von Walsegg, who most likely intended to pass it off as his own composition. Mozart’s death left only the fi rst movement completely written out in score, as well as detailed sketches for several additional movements and sections. Constanze Mozart even-tually asked Franz Xaver Süssmayr, a colleague of

Wolfgang’s (and perhaps a sometime student) to complete the work in order to receive payment — the Mozarts’ fi nances were continually on the verge of bottoming out from the composer’s extravagant tastes and lack of care in counting. Süssmayr later claimed that he and Mo-zart had talked through the Requiem in Mozart’s fi nal days. Whether this is true or not, Süssmayr’s completion of the work soon became the accepted version of a “fi nal masterpiece.” Th ough Mozart might well have made it more so himself, had fate been diff erent, the Requiem is a powerful and aff ecting work. Our concerts this week with guest conductor David Robertson also include an orchestral piece about the power of rapture (religious or otherwise) by Christopher Rouse, and a new pic-colo concerto created by Gabriela Lena Frank for Cleveland Orch estra principal piccolo Mary Kay Fink. —Eric Sellen

Introducing the Concerts

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

Life, Death&Piccolo

7@

Program Notes begin on page:ROUSE - Rapture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40FRANK - Will-o’-the-Wisp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43MOZART - Requiem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51MOZART - Requiem Sung Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

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A Rich Inheritance

1083


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

6:00 p.m. the evening begins in the Founders Gallery overlooking the Bogomolny-Kozerefsky Grand Foyer: featuring the Paul Ferguson Brass Quintet — presenting jazz hits by Louis Armstrong, Duke Ellington, and Tommy Dorsey read about the performers on page 68 > > >

7:00 p.m. THE CLEVELAND ORCHESTRA conducted by David Robertson < < < biographical information on page 36

“Mozart’s Requiem” featuring works by Christopher Rouse and Wolfgang Amadè Mozart < < < musical selection details listed on page 35

read background and commentary about the music: < < < Introduction (page 37), Rouse (page 40), Mozart (page 51) > > >

after the concert ends, the evening continues . . . in the Bogomolny-Kozerefski Grand Foyer:

8:15 p.m. — performing inspiring and uplifting songs of gospel and soul . . . . Theresa Thomason with the Mt. Zion Congregational Church gospel choir bio information on page 69 > > > bars are open around the performance

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40 The Cleveland OrchestraAbout the Music

Rapturecomposed 1999-2000

Th e composer wrote the following comments about this work, which was premiered in 2000:

I C O M P L E T E D Rapture at my home in Pittsford, New York, on January 9, 2000. Commissioned by the Pittsburgh Symphony Orchestra, it is dedicated to Mariss Jansons, the orchestra’s music director at that time. It should be noted that the title of this score is not “Th e Rapture.” Th e piece is not connected to any specifi c religious source. Rather, I used the word “rapture” to convey a sense of spiritual bliss, religious or otherwise. With the exception of my Christmas work, Karolju, this is the most unabashedly tonal music I have composed to date. I wished to depict a progression to an ever more blinding ec-stasy, but the entire work inhabits a world devoid of darkness — hence the almost complete lack of sustained dissonance. Rapture also is an exercise in gradually increasing tempos. It begins quite slowly but, throughout its eleven-minute dura-tion proceeds to speed up incrementally until the breakneck tempo of the fi nal moments is reached. Although much of my music is associated with grief and despair, Rapture is one of a series of more recent scores — such as Compline (1996), Kabir Padavali (1997), and Concert de Gaudí (1998) — to look “towards the light.”

—Christopher Rouse

by ChristopherROUSEborn February 15, 1949Baltimore, Maryland

currently residesBaltimore

Rouse wrote Rapture in 1999-2000 on a commission from the Pittsburgh Symphony Orchestra. It received its world premiere on May 5, 2000, in Pittsburgh, conducted by Mariss Jan-sons, to whom the work is dedicated. This work runs just over 10 min-utes in performance. Rouse scored it for 3 fl utes, 3 oboes, 3 clarinets,

3 bassoons, 4 horns, 4 trumpets, 4 trombones, tuba, 2 sets of timpani, percussion (bass drum, tam-tam, crotales, chimes, cymbals, Chinese cymbals, triangle, glockenspiel), harp, and strings. The Cleveland Orchestra is per-forming this work for the fi rst time with this weekend’s concerts.

At a Glance

41Severance Hall 2013-14 Christopher Rouse

About the ComposerC H R I S T O P H E R RO U S E is one of America’s most prominent living composers of orchestral music. His works have won a Pulitzer Prize (for his Trombone Concerto) and a Grammy Award (for Concert de Gaudí), as well as election to the American Academy of Arts and Letters. Rouse has created a body of work perhaps un-equalled in its emotional intensity. Th e New York Times has called it “some of the most an-guished, most memorable music around.” Th e critic for the Baltimore Sun has stated: “When the music history of the late 20th century is written, I suspect the explosive and passionate music of Rouse will loom large.” Born in Baltimore in 1949, Rouse de-veloped an early interest in both classical and popular music. He graduated from Oberlin Conservatory and Cornell University, num-bering among his principal teachers George Crumb and Karel Husa. Rouse maintained a steady interest in popular music — at the Eastman School of Music, where he was professor of composition un-til 2002, he taught a course in the history of rock’n’roll for many years. Rouse is currently a member of the composition faculty at the Juilliard School in New York City. In 2012, he became composer-in-residence with the New York Phil-harmonic, a position that was recently extended for a third season. While Rouse’s catalog of compositions includes a number of acclaimed chamber and ensemble works, he is best known for his orchestral writing. His music has been played by every major orchestra in the United States, and nu-merous ensembles internationally, including the Berlin Philharmonic, City of Birmingham Symphony Orchestra, Sydney and Melbourne symphonies, London Symphony, Philharmonia Orchestra, BBC Symphony Orchestra, Amsterdam’s Royal Concertgebouw Orchestra, Stockholm Philharmonic, Zurich Tonhalle Or-chestra, Orchestre de Paris, Gulbenkian Orchestra of Lisbon, Vienna Symphony, Orchestre National de France, Moscow Symphony, Royal Scottish National Or-chestra, Bamberg Symphony, and the Orchestre Symphonique du Montreal, as well as radio orchestras of Helsinki, Frankfurt, Hamburg, Leipzig, Tokyo, Aus-tria, and Berlin. Two new works commissioned by the New York Philharmonic are Rouse’s Symphony No. 4, to premiere in June 2014, and Th understuck, to premiere in Oc-tober 2014. He is currently working on an organ concerto.

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Will-o’-the-WispTone Poem for Piccolo and Orchestracomposed 2013-14

Th e composer has written the following comments about the creation of this new work, which is receiving its world pre-miere performances this weekend:

A S A C H I L D , I loved classic fairytales as collected and told by the Brothers Grimm, Hans Christian Andersen, and oth-ers. Th ey confl ated easily with the stories my mother would tell me of beautiful Perú, her homeland, which seemed so wild and otherworldly to me as I grew up in urban northern Cali-fornia. It was thus that Cinderella was really a long-lost Inca princess, Rumpelstiltskin was actually an Andean fat-sucking giant known as a pistaqo, and the goose that laid a golden egg was a sullen llama of golden wool that also spat silver on un-suspecting yet lucky bypassers . . . As a composer, I’ve oft en enjoyed using some of my child-ish and fancifully personalized re-interpretations of myths to inspire pieces, with varying degrees of overt Latin American musical (especially indigenous Indian) infl uences. Will-o’-the-Wisp: Tone Poem for Piccolo and Orchestra, written for Mary Kay Fink and Th e Cleveland Orchestra, is one such piece. It stems from my vague recollection of a picture book from the public library about a benign yet enigmatic fl ickering light that danced to a simple “humble song, song humble” before entic-ing lost travellers ever deeper into a weirdly unsettling forest. Th is landscape was my youthful fantasy of what my mother’s homeland was like, and Will-o’-the-Wisp makes allusions to Peruvian fl ute music, albeit subtle.

—Gabriela Lena Frank

by Gabriela LenaFRANKborn September 26, 1972Berkeley, California

currently residesOakland, California

Frank created this new work on a commission from The Cleveland Orchestra to create a piccolo concerto to be premiered with Mary Kay Fink. This weekend’s performances are the work’s world premiere. Will-o’-the-Wisp runs about 15 minutes in performance. Frank

scored it for an orchestra of 2 fl utes (second doubling piccolo), 2 oboes, 2 clarinets, bass clari-net, 2 bassoons, timpani, percus-sion (marimbas, xylophone, suspended cymbal, triangle, woodblock, snare drum), harp, piano, celesta, and strings, plus the solo piccolo.

At a Glance

About the Music

THURSDAY, SATURDAY, SUNDAY


About the ComposerI D E N T I T Y has always been at the center of Gabriela Lena Frank’s music. Born in Berkeley, California, to a mother of mixed Peruvian-Chinese ancestry and a father of Lithuanian-Jewish descent, Frank explores her multicultural heritage most ardently through her compositions. Inspired by the works of Béla Bartók and Alberto Ginastera, Frank is something of a musical anthropolo-gist. She has travelled extensively through-out South America, and her pieces refl ect and refract her studies of Latin American folklore, incorporating poetry, mythology, and native musical styles into a western clas-sical framework that is uniquely her own. Moreover, she writes, “Th ere’s usually a story line behind my music; a scenario or character.” While enjoyment of her works can be obtained solely from her music, the composer’s program notes also enhance the listener’s experience, describing how a piano part mimics a marimba or pan-pipes, or how a movement is based on a particular type of folksong, where the singer is mockingly crying. Even a brief glance at the titles of her works evokes specifi c imagery: Leyendas: An Andean Walkabout, Cuatro Canciones Andinas, or La Llorona: Tone Poem for Viola and Orchestra. Frank’s compositions also refl ect her virtuosity as a pianist — when not composing, she is a sought-aft er performer, specializing in contemporary reper-toire. Gabriela is a recipient of the 2009 John Simon Guggenheim Memorial Foun-dation Fellowship, a 2010 USA Artist Fellowship given each year to fi ft y of the country’s fi nest artists, and a 2013 Medal of Excellence from the Sphinx Orga-nization for outstanding young Black and Latino leaders. A member of the Silk Road Ensemble, Frank has received commissions from Yo Yo Ma and the Kronos Quartet, and has also been championed by some of this country’s best orchestras, including those of Atlanta, Boston, Chicago, New York, Philadelphia, and San Francisco. In 2013, she became composer-in-residence with the Detroit Symphony Orchestra and conductor Leonard Slatkin, and, in 2014, begins a residency with the Houston Symphony and Andrés Orozco-Estrada. Frank’s recent premieres include Th e Singing Mountaineers for the Andean-indigenous band Huayucaltia and the Los Angeles Master Chorale, Saints for the Berkeley Symphony (with soprano Jessica Rivera, mezzo-soprano Rachel Calloway,

Gabriela Lena Frank

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and the San Francisco Girls Chorus, with conductor Joana Carneiro), La Centinela y la Paloma / “Th e Keeper and the Dove” (a song cycle for Dawn Upshaw and the Saint Paul Chamber Orchestra with words by Frank’s frequent collaborator Pu-litzer Prize-winning playwright Nilo Cruz), New Andean Songs for the Los Ange-les Philharmonic’s Green Umbrella new music series, Quijotadas for the Brentano String Quartet, and Jalapeño Blues for Chanticleer (based on the Spanglish poetry of renowned Chicano poet Trinidad Sánchez). Gabriela Lena Frank has been recognized by the Grammy Recording Acad-emy as both composer and pianist. Inca Dances with guitarist Manuel Barrueco and the Cuarteto Latinoamericano and released on the Tonar Music Label received a 2009 Latin Grammy for Best Classical Contemporary Composition. Ritmos An-chinos for the Silk Road Ensemble’s Off the Map album on the In A Circle Records label received a 2010 Grammy Award nomination for Best Classical Crossover Album. And Hilos, a Naxos label disc devoted exclusively to Frank’s works by the Alias Chamber Ensemble (with Frank playing), received a 2011 Grammy Award nomination for Best Small Ensemble Performance. Frank is the subject of several scholarly books, including the Th e Musics of Latin America (W.W. Norton), Women of Infl uence in Contemporary Music: Nine American Composers (Scarecrow Press), and In her Own Words (University of Il-linois Press). Frank is also the subject of two PBS documentaries: Peregrinos/Pil-grims: A Musical Journey, documenting her symphony inspired by interviews with Latino immigrants in Indianapolis, and Compadre Huashayo, documenting her work in Ecuador composing for the Orquesta de Instrumentos Andinos, com-prised entirely of native highland instruments. Gabriela Lena Frank attended Rice University in Houston, Texas, where she earned a B.A. (1994) and M.A. (1996). Th ere she studied composition with Sam Jones, and piano with Jeanne Kierman Fischer. At the University of Michigan, where she received a D.M.A. in composition in 2001, Frank studied with William Albright, William Bolcom, Leslie Bassett, and Michael Daugherty, and piano with Logan Skelton.


45Severance Hall 2013-14 About the Composer

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Mary Kay Fink Principal Piccolo Anne M. and M. Roger Clapp Endowed Chair The Cleveland Orchestra

Mary Kay Fink joined Th e Cleveland Orchestra’s fl ute section in 1990 and made her Cleveland Orchestra debut as piccolo soloist in Vivaldi’s Concerto in A minor (RV445) at the 1994 Blossom Music Festival. She has since performed as piccolo soloist with the Orchestra at Severance Hall and at Blossom. In May 1999, she was a fl ute soloist in Nicholas Underhill’s As-pirant Variations, alongside her colleagues in the Orchestra’s fl ute section. Her most recent solo appearance with Th e Cleve-land Orchestra was in April 2005, performing Bruce Brough-ton’s Piccolo Concerto. Born in Milwaukee, Wisconsin, Mary Kay Fink began playing piano at the age of six and fl ute at age ten. She holds a bachelor of music degree from the Oberlin Conservatory of Music, where she studied with Robert Willoughby, and a master of music degree from the Juilliard School, where she studied with Julius Baker and Pau-la Robison. Ms. Fink has studied the baroque fl ute and Chinese bamboo fl ute, and with avant-garde fl utist-composer Robert Dick. She was awarded fi rst prize in the 1986 National Flute Association Young Artist Competition. Th e following year, the Association sponsored her formal debut recital at Carnegie Hall’s Weill Recital Hall. Before coming to Cleveland, Mary Kay Fink was a member of the New Jersey Symphony Orchestra, Madison Symphony (where she was principal fl ute), and the New York Philharmonic (where she was acting piccolo). She has appeared with a vari-ety of ensembles and organizations, including the Bismarck Symphony, Concert Art-ists of Baltimore, Madison Symphony, Milwaukee Symphony Orchestra, New Jersey Symphony, and the Ohio Chamber Orchestra. During a recent sabbatical, Ms. Fink performed as a substitute player with the San Francisco Symphony, Minnesota Or-chestra, and the Milwaukee Symphony. In 2011, she was a member of the Saito-Kinen Festival Orchestra in Japan under Seiji Ozawa’s direction. Ms. Fink is regularly an invited performer at the National Flute Conventions on both fl ute and piccolo; she will make her sixth appearance in August 2014, performing Gabriela Frank’s Will-o’-the-Wisp in Chicago at the Convention’s closing Gala Orchestra Concert. Ms. Fink teaches fl ute and piccolo at the Cleveland Institute of Music and privately. She has presented piccolo masterclasses locally and at colleges and uni-versities across the country, and has been both a guest artist and full-time faculty member at the Allegheny Summer Music Festival in Pennsylvania. She is a member of the Cleveland Chamber Collective and performs in solo and chamber music recit-als throughout the Cleveland area, oft en with her husband, pianist and composer Nicolas Underhill. Ms. Fink and her husband have a daughter, Jane.

Soloist


Sound for the Centennial THE CAMPAIGN FOR THE CLEVELAND ORCHESTRA

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


Gay Cull AddicottClaudia BjerreJeanette Grasselli Brown and Glenn R. BrownRobert and Jean* ConradRichard and Ann GridleyThe Louise H. and David S. Ingalls FoundationMr. and Mrs. Douglas A. KernJames and Gay* KitsonVirginia M. and Jon A. Lindseth

Ms. Nancy W. McCannNordson Corporation FoundationThe Honorable and Mrs. John Doyle OngCharles and Ilana Horowitz RatnerSally and Larry SearsMr. and Mrs. Richard K. SmuckerThompson Hine LLPAnonymous (2)

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Maltz Family FoundationAnonymous

GIFTS OF $1 MILLION TO $5 MILLION

GIFTS OF $500,000 TO $1 MILLION

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

long-term commitments of annual and endowment support, and legacy declarations to the Campaign as of April 5, 2014. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial diff erence in helping to ensure that future genera-tions of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact Jon Limbacher, Chief Development Offi cer, at 216-231-7520.

* deceased

Sound for the Centennial Campaign


Mr. and Mrs. George N. AronoffJack L. BarnhartFred G. and Mary W. BehmBen and Ingrid BowmanDr. Christopher P. Brandt and Dr. Beth SersigGeorge* and Becky Dunn Mr. Allen H. FordDr. and Mrs. Hiroyuki FujitaAlbert I. and Norma C. GellerDr. Saul GenuthGAR FoundationHahn Loeser + Parks LLPIris and Tom HarvieJeff and Julia HealyMr. Daniel R. High Mr. and Mrs.* S. Lee KohrmanLinda and Saul LudwigKenneth M. Lapine and Rose E. MillsMrs. Emma S. LincolnDr. and Mrs. Sanford E. MarovitzMr. Thomas F. McKee

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Giuliana C. and John D. KochDr. Vilma L. KohnMr. and Mrs. Alex MachaskeeRobert M. Maloney and Laura GoyanesElizabeth Ring Mather and William Gwinn Mather FundMr. Donald W. MorrisonMargaret Fulton-MuellerWilliam J. and Katherine T. O’NeillParker Hannifi n Corporation Mr. and Mrs. James A. SaksHewitt and Paula ShawThe Skirball FoundationMr. and Mrs. Jules Vinney*David A. and Barbara Wolfort

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51Severance Hall 2013-14 About the Music

Requiem, K626composed 1791, completed posthumously by Franz Xaver Süssmayr

THE STORY OF Mozart’s Requiem is well known. In the fi nal year of his life, Mozart received a commission from an Austrian aristocrat (whose identity was not revealed to the composer) to write a Requiem in memory of the aristocrat’s wife. Mozart left the work unfi nished at the time of his death. Th e aristo-crat apparently intended to pass it off as his own creation, but eventually withdrew his claim. Th e Requiem was subsequently completed by Mozart’s student Franz Xaver Süssmayr, who may (or may not) have received some verbal instructions from Mozart prior to the composer’s death. How much of the Requiem, as we know it from the Süss-mayr version, is actually Mozart’s work? It is impossible to give a defi nitive answer to this question, as it is generally believed that Mozart may have played or sung some parts to his pupil — and these have not come down to us in the composer’s own handwriting. What we do have in Mozart’s handwriting is the fi rst-movement Introit, the vocal parts and bassline of the Kyrie fugue, most of the Sequence section (including the Dies irae, Tuba mirum, Rex tremendae, Recordare, and Confutatis, while the Lacrimosa breaks off aft er the eighth measure), as well as the Off ertory (Domine Deus and Hostias). From the Sanc-tus on, probably none of the music is by Mozart, except for the last movement. Th ere, in the Communion “Lux aeterna,” Süssmayr simply recycled music from the opening Introit and Kyrie movements, adapting them to a diff erent text. Although Mozart probably never intended the fi rst and last movements to be identical, Süssmayr’s decision has some merit, as it gives the work a well-rounded, unifi ed musical design. Th e most crucial part of a Requiem is the Sequence, which Mozart set as a cantata in six movements, with chorus and solo voices alternating. Aft er the powerful Dies irae, the wondrous sound of the trumpet on Judgement Day is represented by a solo trombone (one of the earliest great trombone solos in the classi-cal symphonic literature). Each of the four soloists then voices diff erent feelings about the Day of Wrath before joining together as a quartet. Th roughout the Sequence, the monumental aspect of the Judgement is expressed by the chorus, while the soloists give voice to the anguish of the individual soul. Th e Sequence

by Wolfgang Amadè MOZARTborn January 27, 1756Salzburg

diedDecember 5, 1791Vienna

52 The Cleveland OrchestraAbout the Music

culminates in the Lacrimosa, a gripping lament for humanity at the moment when its fate is about to be decided. In the Off ertory, Mozart paints the horrors of hell and the attainment of eternal light in equally vivid colors; the promise made to Abraham is represented by a magnifi cent choral fugue. In the subsequent “apocryphal” movements, Süssmayr did his best to prevent the intensity of the music from fl agging. He mostly succeeded, aside from a few awkward moments, which, from more than 200 years of the work’s performance history, have nevertheless become almost hallowed. (In the last few de-cades, several new editions have appeared, off ering alternative solutions, but Süssmayr’s is still chosen for many performances.) Mozart, who fell ill during the composition of the Requi-em, may have felt he was writing it for his own funeral. Yet at the same time the work was in many ways a new beginning. It contains many stylistic elements that Mozart would no doubt have developed further, had he not died just weeks before his thirty-sixth birthday. Baroque counterpoint meets an almost Romantic sensitivity here in a completely novel way, but it was left to others to draw the consequences and develop them into the future. —Peter Laki

Copyright © Musical Arts Association

Peter Laki is a musicologist and lecturer on classical music.

He is a visiting associate professor at Bard College.

Mozart began working on his Requiem in the summer of 1791; the work was left unfi n-ished at the time of his death that December. The score was completed by Mozart’s pupil Franz Xaver Süssmayr, who was born in Schwanenstadt in 1766 and died in Vienna in 1803. Süssmayr fi lled out various missing parts and also composed entire sections; he may (or may not) have met with Mozart prior to the com-poser’s death and received instructions about how to complete the work.

The Mozart-Süssmayr Requiem was premiered on January 2, 1793, at Vienna’s Jahn Hall in a performance sponsored by Mozart’s long-time patron and friend, Baron Gottfried van Swieten. The traditional Süssmayr version, which is being heard this weekend, runs just under one hour in performance. The score calls for 2 basset horns (lower-pitched mem-bers of the clarinet family), 2 bassoons, 2 trumpets, 3 trombones, timpani, organ, and strings, in addition to four

vocal soloists (soprano, alto, tenor, bass) and mixed chorus. The Cleveland Orchestra fi rst performed Mozart’s Requiem in November 1964 at Severance Hall, with soloists and the Cleveland Orchestra Chorus conducted by Robert Shaw. The most recent per-formance of the work by the Orchestra was led by Jahja Ling as part of the 2006 Blos-som Festival. The most recent performances by the Orches-tra at Severance Hall were in February 1998, conducted by Franz Welser-Möst.

SUNG TEXTbegins on page

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At a Glance

Orchestrating success.

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I. REQUIEM

Requiem aeternam dona eis, Domine,et lux perpetua luceat eis.Te decet hymnus, Deus in Sion,et tibi reddetur votum in Jerusalem.Exaudi orationem meam,ad te omnis caro veniet.Requiem aeternam dona eis, Domine,et lux perpetua luceat eis.

II. KYRIE

Kyrie eleison.Christe eleison.Kyrie eleison.

III. SEQUENCE

1. Dies irae

Dies irae, dies illa,solvet saeclum in favilla,teste David cum Sibylla.

Quantus tremor est futurus,quando judex est venturus,cuncta stricte discussurus.

2. Tuba mirum

Tuba mirum spargens sonum,per sepulchra regionum,coget omnes ante thronum.

Mors stupebit et natura,cum resurget creatura,judicanti responsura.

Liber scriptus proferetur,in quo totum continetur,unde mundus judicetur.

Give them eternal rest, o Lord,and let perpetual light shine upon them.A hymn, o God, becomes You in Zion, and a vow shall be paid to You in Jerusalem.Hear my prayer,all fl esh shall come to You.Give them eternal rest, o Lord,and let perpetual light shine upon them.

Lord, have mercy.Christ, have mercy.Lord, have mercy.

Th e day of wrath, that day,will dissolve the world in ashes,as prophesied by David and the Sibyl.

How great a trembling there shall bewhen the Judge shall appearand separate everything strictly.

Th e trumpet, sending its wondrous soundthroughout the tombs of every land,will summon everyone before the throne.

Death and Nature will be stupefi ed,when all creation rises againto answer Him who judges.

A book will be brought forthin which everything will be contained,by which the world will be judged.

REQUIEM by Wolfgang Amadè Mozart

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

Mozart: Requiem Text

A DAY AT THE COLLEGE

… for the love of learning

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For more information, visit www.cwru.edu/lifelonglearning or email [email protected]

Opera Today and TomorrowFriday, May 9, 201410:00 AM - 2:00 PMMandel JCC Stonehill Auditorium

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Judex ergo cum sedebit,quidquid latet apparebit,nil inultum remanebit.

Quid sum miser tunc dicturus?Quem patronum rogaturus,cum vix justus sit securus?

3. Rex tremendae

Rex tremendae majestatis,qui salvandos salvas gratis,salva me, fons pietatis.

4. Recordare

Recordare, Jesu pie,quod sum causa tuae viae,ne me perdas illa die.

Quaerens me sedisti lassus,redemisti crucem passus,tantus labor non sit cassus.

Juste judex ultionis,donum fac remissionis,ante diem rationis.

Ingemisco tanquam reus,culpa rubet vultus meus,supplicanti parce, Deus.

Qui Mariam absolvisti,et latronem exaudisti,mihi quoque spem dedisti.

Preces meae non sunt dignae,sed tu, bonus, fac benigne,ne perenni cremer igne.

Inter oves locum praesta,et ab hoedis me sequestra,statuens in parte dextra.

When the Judge takes His place,anything hidden will be revealed,nothing will remain unavenged.

What can a wretch like me say?What patron shall I ask for helpwhen the just are scarcely protected?

King of terrible majesty,who freely saves those worthy of redemption,save me, Source of Mercy!

Remember, sweet Jesus,that I am the cause of your suff ering,do not forsake me on that day.

Seeking me, you descended wearily,You redeemed me by suff ering on the cross,such great eff ort should not have been in vain.

Just Judge of Vengeance,grant the gift of remissionbefore the day of reckoning.

I groan like a criminal,my face blushes with guilt,God, spare a supplicant.

You who absolved Mary Magdalene and inclined your ear to the thief,have also given me hope.

My prayers are unworthy,but, Good One, have mercy,that I may not burn in everlasting fi re.

Grant me a place among the sheep,and separate me from the goats,keeping me at your right hand.


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


5. ConfutatisConfutatis maledictis,fl ammis acribus addictis,voca me cum benedictis.

Oro supplex et acclinis,cor contritum quasi cinis,gere curam mei fi nis.

6. LacrymosaLacrymosa dies illa,qua resurget ex favilla,judicandus homo reus.Huic ergo parce Deus,pie Jesu Dominedona eis requiem. Amen.

IV. OFFERTORY

1. Domine JeusDomine Jesu Christe, rex gloriae,libera animas omnium fi delium defunctorumde poenis inferni et de profundo lacu!Libera eas de ore leonis,ne absorbeat eas Tartarus,ne cadant in obscurum.Sed signifer sanctus Michael repraesentet easin lucem sanctam,quam olim Abrahae promisisti et semini ejus.

2. HostiasHostias et preces tibi, Domine, laudis off erimus.Tu suscipe pro animabus illis,quarum hodie memoriam facimus:fac eas, Domine, de morte transire ad vitam,quam olim Abrahae promisisti et semini ejus.

When the damned are dismayedand assigned to the burning fl ames,call me among the blessed.

I pray, suppliant and kneeling,my heart contrite as ashes,care for me when my time is at an end.

What weeping that day will bring,when from the ashes shall ariseall humanity to be judged.But spare me, God,gentle Lord Jesus,grant them eternal rest. Amen.

O Lord Jesus Christ, King of Glory,deliver the souls of all the faithful departedfrom the pains of hell and from the deep pit;deliver them from the lion’s mouthdon’t let them be swallowed by hell,don’t let them fall into darkness.But have the holy standard-bearer, Michael,lead them into the holy lightwhich you once promised to Abraham and his seed.

Sacrifi ces and prayers of praise,Lord, we off er to you.Receive them today for the soulsof those we commemorate this day;make them, o Lord, pass from death to the lifewhich you once promised to Abraham and his seed.



V. SANCTUS

Sanctus, Sanctus, Sanctus,Dominus Deus Sabaoth!Pleni sunt coeli et terra gloria tua!Osanna in excelsis!Benedictus qui venit in nomine Domini.Osanna in excelsis!

VI. BENEDICTUS

Benedictus qui venit in nomine Domini.Osanna in excelsis.

VII. AGNUS DEI

Agnus Dei, qui tollis peccata mundi,dona eis requiem.Agnus Dei, qui tollis peccata mundi,dona eis requiem sempiternam.

VIII. LUX AETERNA (COMMUNION)

Lux aeterna luceat eis, Domine,cum sanctis tuis in aeternum, quia pius es.Requiem aeternam dona eis, Domine,et lux perpetua luceat eiscum sanctis tuis in aeternum, quia pius es.

F I N I

Holy, holy, holy,Lord God of Hosts.Heaven and earth are full of your glory.Hosanna in the highest!Blessed is he who comes in the name of the Lord,Hosanna in the highest!

Blessed is he who is coming in the name of the Lord.Hosanna in the highest.

Lamb of God, you who take away the sins of the world,grant them rest.Lamb of God, you who take away the sins of the world,grant them eternal rest forever.

May eternal light shine upon them, o Lord,with your saints in eternity, for you are merciful.Give them eternal rest, o Lord,and let perpetual light shine upon themwith your saints for ever,for you are merciful.


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Jessica RiveraAmerican soprano Jessica Rivera is acclaimed for her per-formances on the operatic and concert stages. Well-known for operatic roles in new works by John Adams, Osvaldo Golijov, and Nico Muhly, she made her Cleveland Orches-tra debut in March 2011 and most recently appeared here in July 2013. Aft er graduating from Pepperdine University, Ms. Rivera earned a master’s degree in music from the Univer-sity of Southern California. She made her European operatic debut as Kitty Oppenheimer in Adams’s Doctor Atomic with the Netherlands Opera. She later performed the same role with Lyric Opera of Chicago and at the Metropolitan Opera, in concert with the Atlanta Symphony Orchestra, and in a BBC/Opus Arte DVD. She made her 2005 debut with Santa Fe Opera in the world premiere of the revised edition of Golijov’s Ainadamar, in which she can be heard on the 2007 Grammy Award-winning Deutsche Grammophon recording. Ms. Rivera has also performed in the world premieres of Muhly’s Th e Adulteress and Jonathan Leshnoff ’s Hope: An Oratorio. She has appeared with America’s major orchestras and in recital in Los Angeles, New York, San Francisco, and Santa Fe. For more information, visit www.jessicarivera.com.

Elizabeth DeShongAmerican mezzo-soprano Elizabeth DeShong’s perfor-mances in opera and in concert have been widely praised on both sides of the Atlantic. She is a graduate of the Ober-lin Conservatory of Music and Curtis Institute of Music, as well as the Ryan Opera Center at Lyric Opera of Chicago. Among her many honors are fi rst prize from the American Opera Society of Chicago and a Sullivan Foundation Award. In operatic repertoire ranging from Adams’s Th e Death of Klinghoff er and Dvořák’s Rusalka to Puccini’s Madama Butterfl y and Rossini’s La Cenerentola, she has performed with major companies around the world, including Canadi-an Opera Company, English National Opera, Glyndebourne Festival, Lyric Opera of Chicago, Metropolitan Opera, Opera Philadelphia, San Francisco Opera, Santa Fe Opera, and Japan’s Veroza Company. Ms. DeShong’s recent concert engage-ments include appearances with the Chamber Orchestra of Europe, Los Angeles Philharmonic, and Washington D.C.’s National Symphony Orchestra. She fi rst performed with Th e Cleveland Orchestra in February 2004, and sang here most recently in March 2013. For more information, visit www.elizabethdeshong.com.

Guest Artists

63Severance Hall 2013-14 63Guest Artists

Garrett SorensonAmerican tenor Garrett Sorenson has sung with major op-era companies across North America. He is a graduate of Texas Tech University, the Metropolitan Opera’s Lindemann Young Artist Development Program, and the Santa Fe Op-era Apprentice Program. His repertoire ranges across works by Bizet, Donizetti, Janáček, Mozart, Puccini, Schoenberg, Richard Strauss, Tchaikovsky, Verdi, and Wagner. Mr. Soren-son made his Broadway debut in 2010 in Terrance McNally’s Master Class. In concert, he has sung with the orchestras of Baltimore, Boston, Houston, New York, San Francisco, and Utah, and at the Verbier Festival. His operatic appearances have included engagements on the stages of Arizona, Boston, Chicago, Houston, Los Angeles, New Orleans, New York, San Francisco, Saint Louis, and Santa Fe, and at the Canadian Opera and West Australia Opera. He is a winner of the 2003 George London Foundation Competition, fi nalist in the Metropolitan Opera National Council Auditions, and recipient of a Sara Tucker Study Grant and Richard Tucker Foundation Career Grant. Mr. Sorenson made his Cleveland Or-chestra debut in May 2004, and sang here most recently in March 2013.

John RelyeaAmerican bass-baritone John Relyea has appeared in the world’s celebrated opera houses, including Lyric Opera of Chicago, New York’s Metropolitan Opera, Munich State Opera, Paris Opera, London’s Royal Opera House, Seat-tle Opera, Vienna State Opera, and San Francisco Opera, where he is an alumnus of the Merola Opera Program and a former Adler Fellow. He also sings in concert and recit-al, appearing with leading orchestras and festivals around the world, including with the Atlanta Symphony Orches-tra, Berlin Philharmonic, Boston Symphony Orchestra, Is-rael Philharmonic, Los Angeles Philharmonic, Minnesota Orchestra, Montreal Symphony, New York Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Scottish Chamber Orchestra, and the Swedish Radio Symphony Orchestra. Recent recital programs include performances in Ann Arbor, Chicago, London, and New York City. Mr. Relyea records for EMI, and can be seen on several Metropolitan Opera DVDs released by Deutsche Grammophon. John Relyea is winner of the 2009 Beverly Sills Award and the 2003 Richard Tucker Award. He made his Cleveland Orchestra debut in January 1998, and sang here most recently in December 2009. For more informa-tion, visit www.johnrelyea.com.


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65Severance Hall 2013-14 65Severance Hall 2013-14 Cleveland Orchestra Chorus

Cleveland Orchestra Chorus Robert Porco, Director Lisa Wong, Assistant Director Joela Jones, Principal Accompanist

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

SOPRANOSAmy F. BabinskiCathleen R. Bohn Emily BzdafkaMerissa ColemanSusan CucuzzaCarrie CulverEmily EngleLisa Rubin Falkenberg Samantha GarnerRosie Gellott Danielle GreenwayRebecca S. HallLisa Hrusovsky Shannon R. JakubczakSarah JonesHope Klassen-Kay Kate Macy Lisa ManningJulie Myers-PruchenskiJennifer Heinert O’LearySarah OsburnMelissa PattonLenore M. PershingJoy PowellRoberta PrivetteCassandra E. RondinellaJennifer R. SauerMonica SchieLaura SchupbachSharon Shaff erSamantha J. SmithSidney Storry Jane Timmons-Mitchell Sarah TobiasMelissa Vandergriff Sharilee Walker Carole WeinhardtKiko WeinrothMarilyn Wilson Mary Wilson Constance Wolfe

ALTOSAlexandria L. AlbainyEmily Austin Beth BaileyMariann BjelicaKatherine BrownJulie CajigasLydia ChamberlinBarbara J. ClughJanet CrewsCarolyn Dessin Marilyn Eppich Amanda EvansNancy Gage Diana Weber GardnerAnn Marie Hardulak Betty Huber Karen HuntSarah N. HutchinsJenna KirkLucia Leszczuk Ginger Mateer Danielle S. McDonaldKarla McMullenMary-Francis MillerPeggy Norman Marta Perez-StableGinny RoedigBecky A. Seredick Peggy Shumate Shari Singer Shelley B. SobeyIna Stanek-Michaelis Martha Cochran TrubySarah B. TurellLaure Wasserbauer Meredith S. WhitneyFlo Worth Debra Yasinow

TENORSNathan BachofskyEric H. BerkoGerry C. Burdick Robert CannonBrent ChamberlinThomas GlynnWilliam HamiltonDaniel M. Katz Peter KvideraTod LawrenceSteve LawsonRohan MandeliaJames Newby Tremaine Oatman Robert Poorman Matthew RizerJohn SabolLee ScantleburyJarod ShampJames Storry Charles Tobias William VenableSteven Weems

BASSESChristopher AldrichCraig AstlerAlex BerkoJack BlazeyNikola BudimirCharles Carr Peter B. ClausenDwyer ConklynChris DewaldSteve diLauro Jeff rey DuberMatthew EnglehartThomas E. Evans Richard Falkenberg Robert Higgins Kurtis B. Hoff manPaul HubbardThomas HullJoshua JonesJoel KincannonSam KitzlerJason LevyTim ManningScott Markov Roger Mennell Robert MitchellTom MoormannKeith Norman Glenn ObergefellJohn Riehl Steven RossRobert SeamanMichael Seredick Steven SkaggsMatt SkitzkiJayme StayerS. David WorhatchPaul Zeit

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating CommitteeJill Harbaugh, Manager of Choruses

Service Recognition 15-24 years 25-34 years 35-44 years 45+ years


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

Robert Porco became director of choruses for Th e Cleve-land Orchestra in 1998. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco conducts the Orches-tra’s annual series of Christmas concerts at Severance

Hall and regularly conducts subscription concert programs both at Severance Hall and Blossom. He has also served as director of choruses for the Cincinnati May Festival since 1989. In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of signifi cant contributions to the professional choral art. Th e Ohio native served as chairman of the choral department at Indiana University 1980-98, and in recent years has taught doctoral-level conducting at the school. As teacher and mentor, Mr. Porco has guided and infl uenced the develop-ment of hundreds of musicians, many of whom are now active as professional con-ductors, singers, or teachers. As a sought-aft er guest instructor and coach, he has taught at Harvard University, Westminster Choir College, and the University of Mi-ami Frost School of Music.

Lisa Wong Assistant Director of Choruses

Lisa Wong became assistant director of choruses for Th e Cleveland Orchestra with the 2010-11 season. In this capacity, she assists in preparing the Cleveland Orch-estra Chorus and Blossom Festival Chorus for perfor-mances each year. With the 2012-13 season, she took on the added position of director of the Cleveland Orch-estra Youth Chorus. In addition to her duties at Sever-

ance Hall, Ms. Wong is a faculty member at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana, where she worked with the cho-ral department of the Indiana University Jacobs School of Music (including di-recting the Chamber Choir of the Indiana University Children’s Choir). Active as a clinician, guest conductor, and adjudicator, Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral de-grees in choral conducting from Indiana University.

Cleveland Orchestra Chorus


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Scott Johnston, trumpet Jack Brndiar, trumpet Bill Hoyt, horn Paul Ferguson, trombone Doug Jones, tuba

PRE-CONCERT st@rters

THE

CLEVELAN D

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May 2

Jamey Haddad has curated and planned the world music performances for Th e Cleveland Orchestra’s Fridays@7 concerts since the series began in 2009. Born in Cleveland, Ohio, he holds a unique position in the world of jazz and contemporary music, with his musical voice transcending styles and trends. Regarded as one of the foremost world music and jazz percussionists in the United States, Mr. Haddad is an associate professor at the Cleveland Institute of Music, Oberlin Conservatory of Music, Boston’s Berklee College of Music, and the New England Con-

servatory. To learn more, visit www.jameyhaddadmusic.com.

66 p.m.

Guest Artists — Fridays@7

Paul Ferguson Quintet

Paul Ferguson is associate artistic director of the Cleveland Jazz Orchestra and prin-cipal trombone and arranger for the Cleve-land Pops. He has performed as an extra trombonist with Th e Cleveland Orchestra many times, including performances under the direction of Christoph von Dohnányi, Pierre Boulez, and the late Robert Shaw. Considered among the leading jazz arranger-composers of his generation, his latest recording is Rays of Light. In 2012, he was the only American invited to the ART-EZ jazz composition competition in Enschede, Holland. A graduate of the Eastman School of Music, he performed for several years with the Tommy Dorsey and Glenn Miller orchestras. He has been director of jazz studies at Case Western Reserve University since 1988.

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Theresa ThomasonTh eresa Th omason’s vocal talent began to emerge as she grew up singing in church. Jazz, pop, and R&B followed later on. Her winning performance at the world-famous Apollo Th eater was a stimulus to love the stage. She has had a succession of soldout concerts across the United States, as well as in over 170 Europe-an cities. Her career has spanned two decades of performanc-es and recordings with eight-time Grammy Award-winner Paul Winter. Several performances have aired on NBC and PBS. She is featured on several recordings, including one of her own. A new release is forthcoming. Ms. Th omason appeared on Broadway in the musical Hot Feet, featuring the music of Earth, Wind & Fire, di-rected by Maurice Hines. Returning to the famous Apollo Th e-ater in 2012, she performed for the Harlem Jazz Shrines “Jazz A La Carte” with Wycliff e Gordon, Savion Glover, and Maurice Hines. Ms. Th oma-son seeks to share various styles of music worldwide, focusing on commu-nity-minded events and developing productive expression through the arts.

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Mt. Zion Congregational Church Choir Rev. Paul Hobson Sadler, pastor Drene Ivy, choir director

Founded in 1864, Mt. Zion Congregational Church was the fi rst Congrega-tional church organized by and for African Americans east of the Mississippi.

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Cleveland Business League. Th e singers of the con-gregation are grouped into several ensembles that can assemble for worship services and community perfor-

mances.


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Building Audiences for the Future . . . Today!Th e Cleveland Orchestra is committed to developing interest in classical music among young people. In fact, we are building the youngest audience of any orchestra in the country. With the help of generous contributors, the Orch estra has expanded discounted ticket off erings through several new programs. In the opening months of the current Sev-erance Hall season, student attendance doubled from a year ago, with 20% of audiences now made up of students enthusiastic for experiencing the best orchestra anywhere.

“UNDE R 18s FRE E ” FOR FAMILIE S Introduced for Blossom Music Festival concerts in 2011, our “Under 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 Classical Concerts.

STUDE NT TICKE T PROGRAMS

During Th e Cleveland Orchestra’s 2013-14 season, the Student Advantage and Frequent Fan Card programs, Student Ambassadors, and off ers for student groups attending together have been responsible for bringing more high school and college age students to Severance Hall than ever before. Th e Orchestra’s ongoing Student Advantage Program provides opportunities for students to attend concerts at Severance Hall and Blossom through discount-ed ticket off ers. Membership is free and rewards members with discounted ticket purchases. For this season, a record 6,000 students have joined. Th e Student Frequent Fan Card was introduced a year ago with great success, and continues to grow. Priced at $50, the Fan Card off ers students single tickets (one per Fan Card holder per week) to weekly Classical Concerts all season long. All of these programs are supported by Th e Cleveland Orchestra’s Center for Future Audiences, including support from the Center’s Alexander and Sarah Cut-ler Fund for Student Audiences. Th e Center for Future Audiences was created with a $20 million lead endowment gift from the Maltz Family Foundation to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.

Student Ticket Programs


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Jones DayQuality Electrodynamics (QED)voestalpine AG (Europe)Anonymous

$25,000 TO $49,999Charter OneDix & EatonThe Giant Eagle FoundationGreenberg Traurig (Miami)Litigation Management, Inc.Northern Trust Bank of Florida (Miami)Park-Ohio Holdings Corp.The Plain DealerRPM International Inc.Squire Sanders (US) LLP

$2,500 TO $24,999AdCom CommunicationsAkron Tool & Die CompanyAkronLife MagazineAmerican Fireworks, Inc.American Greetings CorporationBank of AmericaBDIBrothers Printing Co., Inc.Brouse McDowellEileen M. Burkhart & Co LLCBuyers Products CompanyCalfee, Halter & Griswold LLPCleveland ClinicThe Cleveland Wire Cloth & Mfg. Co.Cohen & Company, CPAsCommunity Behavioral Health CenterConn-Selmer, Inc.Consolidated SolutionsDollar BankDominion FoundationErnst & Young LLPEvarts TremaineFeldman Gale, P.A. (Miami)Ferro CorporationFirstMerit BankFrantz Ward LLPVictor Kendall, Friends of WLRNGallagher Benefi t ServicesGreat Lakes Brewing CompanyGross BuildersHahn Loeser + Parks LLPHyland SoftwareThe Lincoln Electric FoundationLittler Mendelson, P.C.C. A. Litzler Co., Inc.Live Publishing CompanyMacy’sMaterion CorporationMiba AG (Europe)MTD Products, Inc.North Coast Container Corp.Northern HaserotOatey Co.Ohio CATOhio Savings Bank, A Division of New York Community BankOlympic Steel, Inc.Oswald CompaniesPolyOne CorporationPricewaterhouse Coopers LLPThe Prince & Izant CompanyThe Sherwin-Williams CompanyStern Advertising AgencySwagelok CompanyTucker EllisUlmer & Berne LLPUniversity HospitalsVer Ploeg & Lumpkin, P.A. (Miami)WCLV Foundation Westlake Reed LeskoskyAnonymous (2)

Annual Supportgifts of $2,500 or more during the past year, as of March 20, 2014

Cumulative GivingJOHN L. SEVERANCE SOCIETY$5 MILLION AND MORE

KeyBankPNC Bank

$1 MILLION TO $5 MILLION

BakerHostetlerBank of AmericaEatonFirstEnergy FoundationForest City Enterprises, Inc.The Goodyear Tire & Rubber CompanyHyster-Yale Materials HandlingNACCO Industries, Inc.The Lubrizol Corporation / The Lubrizol FoundationMerrill LynchParker Hannifi n CorporationThe Plain DealerPolyOne CorporationRaiff eisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company

Th e Severance Society recognizes generous contributors of $1 million or more in cumulative giving to Th e Cleveland Orchestra. Listing as of March 2014.

Corporate Annual Support

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

Corporate Support



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Foundation/Government Annual Support

$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

Cuyahoga Arts & CultureThe Andrew W. Mellon FoundationThe Kelvin and Eleanor Smith Foundation

$500,000 TO $999,000The George Gund Foundation

$250,000 TO $499,000Kulas FoundationJohn P. Murphy FoundationThe Eric & Jane Nord Family FundOhio Arts Council

$100,000 TO $249,999The George W. Codrington Charitable FoundationSidney E. Frank FoundationGAR FoundationElizabeth Ring Mather and William Gwinn Mather FundDavid and Inez Myers Foundation

$50,000 TO $99,999Ann and Gordon Getty FoundationThe Hearst FoundationsMartha Holden Jennings FoundationMyra Tuteur Kahn Memorial Fund of The Cleveland FoundationMarlboro 2465 FoundationMiami-Dade County Department of Cultural Aff airs (Miami)Donald and Alice Noble Foundation, Inc. The Nord Family FoundationThe Payne FundThe Sage Cleveland FoundationSurdna Foundation

$20,000 TO $49,999The Helen C. Cole Charitable TrustThe Mary S. and David C. Corbin FoundationThe Gerhard Foundation, Inc.The Helen Wade Greene Charitable TrustJohn S. and James L. Knight FoundationThe Margaret Clark Morgan FoundationNational Endowment for the ArtsThe Frederick and Julia Nonneman FoundationWilliam J. and Dorothy K. O’Neill FoundationPeacock Foundation, Inc. (Miami)Polsky Fund of Akron Community FoundationThe Reinberger FoundationThe Sisler McFawn Foundation

Annual Support gifts of $2,000 or more during the past year, as of March 20, 2014

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

$2,000 TO $19,999The Abington FoundationAyco Charitable Foundation The Ruth and Elmer Babin FoundationThe Batchelor Foundation, Inc. (Miami)Dr. NE & JZ Berman FoundationThe Bernheimer Family Fund of the Cleveland FoundationBicknell FundEva L. and Joseph M. Bruening FoundationThe Conway Family FoundationMary and Dr. George L. Demetros Charitable TrustThe Fogelson FoundationThe Harry K. Fox and Emma R. Fox Charitable FoundationThe William O. and Gertrude Lewis Frohring FoundationFunding Arts Network (Miami)The Hankins FoundationThe Muna & Basem Hishmeh FoundationRichard H. Holzer Memorial FoundationThe Jean Thomas Lambert FoundationThe Laub FoundationVictor C. Laughlin, M.D. Memorial Foundation TrustThe G. R. Lincoln Family FoundationThe Mandel Foundation The McGregor FoundationBessie Benner Metzenbaum FoundationM.G. O’Neil FoundationPaintstone 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 Veale FoundationThe George Garretson Wade Charitable TrustThe S. K. Wellman FoundationThe Welty Family FoundationThomas H. White Foundation, a KeyBank TrustThe Edward and Ruth Wilkof FoundationThe Wuliger FoundationAnonymous (2)

Cumulative GivingJOHN L. SEVERANCE SOCIETY$10 MILLION AND MORE

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


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


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

Th e Severance Society recognizes generous contributors of $1 million or more in cumulative giving to Th e Cleveland Orchestra. Listing as of March 2014.


Foundation & Government Support


INDIVIDUAL GIFTS OF $500,000 AND MORE

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

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

Irma and Norman Braman (Miami) David and Francie Horvitz Family Foundation (Miami) The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Susan Miller (Miami)


James D. Ireland III Mr. and Mrs. Joseph P. KeithleyDr. and Mrs. Herbert Kloiber (Europe)Mrs. Elizabeth R. Koch Mrs. Emma S. LincolnElizabeth F. McBride Ms. Ginger Warner (Cleveland, Miami) Mr. and Mrs. Franz Welser-Möst Janet* and Richard Yulman (Miami)


Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Mary M. Spencer (Miami)


Sheldon and Florence Anderson (Miami) Mr. William P. Blair III Mr. Allen H. FordHector D. Fortun (Miami) Mr. and Mrs. Michael J. HorvitzElizabeth B. Juliano (Cleveland, Miami) R. Kirk Landon and Pamela Garrison (Miami) Toby Devan Lewis

Individual Support

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


Lifetime Giving JOHN L. SEVERANCE SOCIETY

$10 MILLION AND MORE

Daniel R. and Jan R. Lewis (Miami, Cleveland)


Mr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMr. and Mrs. Alexander M. CutlerMrs. Norma Lerner and The Lerner FoundationMrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner


Irma and Norman Braman (Miami) Mr. Francis J. Callahan*Mrs. M. Roger ClappMr. George Gund III*Francie and David Horvitz (Miami)Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre 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 The Ralph and Luci Schey FoundationMr.* and Mrs. Ward SmithAnonymous (2)

Th e Severance Society recognizes generous contributors of $1 million or more in lifetime giving to Th e Cleveland Orchestra. As of March 2014.

Annual Supportgifts during the past year, as of March 20, 2014

Individual Annual Support76 The Cleveland Orchestra

Individual Annual Support

Mr. and Mrs. Edward A. LozickRobert M. Maloney and Laura Goyanes Ms. Beth E. Mooney Mr. Patrick Park (Miami)Mrs. Alfred M. Rankin, Sr.Charles and Ilana Horowitz Ratner James and Donna ReidBarbara S. Robinson Sally and Larry Sears Hewitt and Paula Shaw 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 Judith and George W. Diehl Mr. and Mrs. Geoff rey Gund George Gund*Trevor and Jennie Jones Giuliana C. and John D. KochDr. Vilma L. KohnCharlotte R. KramerVirginia M. and Jon A. LindsethMs. Nancy W. McCann Sally S. and John C. Morley Mrs. Jane B. NordLuci and Ralph* Schey Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton


Martha and Bruce Clinton (Miami)Robert and Jean* Conrad Mr. and Mrs. Gerald A. ConwayDo Unto Others Trust (Miami)George* and Becky DunnDr. and Mrs. Hiroyuki Fujita Gary Hanson and Barbara Klante Mr. and Mrs. Jeff rey Healy Mrs. Marguerite B. Humphrey Junior Committee of The Cleveland OrchestraDr. David and Janice LeshnerMilton and Tamar MaltzMargaret Fulton-Mueller William J. and Katherine T. O’Neill Julia and Larry Pollock

Mr. and Mrs. James A. RatnerMr. and Mrs. James A. Saks Paul and Suzanne Westlake


Gay Cull Addicott Mr. and Mrs. William W. Baker Randall and Virginia BarbatoMr. and Mrs. Matthew V. Crawford Esther L. and Alfred M. Eich, Jr. Jeff rey and Susan Feldman (Miami)Dr. Edward S. Godleski Andrew and Judy Green Mr. and Mrs. Jack HoeschlerRichard and Erica Horvitz (Cleveland, Miami)Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Joy P. and Thomas G. Murdough, Jr. (Miami)Marc and Rennie SaltzbergRaymond T. and Katherine S. SawyerMr. and Mrs. Donald Stelling (Europe)Mr. Joseph F. TetlakTom and Shirley Waltermire Mr. Gary L. Wasserman and Mr. Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Women’s Committee of The Cleveland OrchestraAnonymous gift from Switzerland (Europe)


Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. and Mrs. David J. Carpenter Scott Chaikin and Mary Beth Cooper Jill and Paul Clark Mr. Peter and Mrs. Julie Cummings (Miami)Mr. and Mrs. Peter O. DahlenColleen and Richard Fain (Miami) Joyce and Ab* GlickmanRichard and Ann Gridley Mrs. John A Hadden Jr.Jack Harley and Judy ErnestMary and Jon Heider (Cleveland, Miami)David and Nancy Hooker Mr. and Mrs. Donald M. Jack, Jr.

listings continue

Leadership Council Th e Leadership Council salutes those extraordinary donors who have pledged to sustain their annual giving at the highest level for three years or more. Leadership Council donors are recognized in these Annual Support listings with the Leadership Council symbol next to their name:




Andrew and Katherine KartalisTati and Ezra Katz (Miami) Mr.* and Mrs. Arch J. McCartneyMr. Thomas F. McKee Mr. and Mrs. Stanley A. MeiselLucia S. NashMr. Gary A. Oatey (Cleveland, Miami) Claudia and Steven Perles (Miami)Steven and Ellen Ross Mr. and Mrs. David A. RuckmanMrs. David Seidenfeld Dr. and Mrs. Neil SethiDavid and Harriet SimonRick, Margarita and Steven Tonkinson (Miami) Mr. and Mrs. Jeff rey M. Weiss Anonymous


Mr. and Mrs. William E. Conway Ms. Dawn M. FullRobert K. Gudbranson and Joon-Li Kim Tim and Linda Koelz Mr.* and Mrs. Richard A. ManuelMr. Larry J. Santon Mr. and Mrs. Oliver E. SeikelKim Sherwin Mr. and Mrs. Alfred Umdasch (Europe)

listings continue


INDIVIDUAL GIFTS OF $10,000 TO $12,499 Mr. and Mrs. George N. Aronoff Jayusia and Alan Bernstein (Miami) Marsha and Brian Bilzin (Miami) Mr. and Mrs. Richard L. BowenMr. D. McGregor Brandt, Jr.Paul and Marilyn* BrentlingerAugustine* and Grace CaliguireRichard J. and Joanne ClarkMrs. Barbara CookMrs. Barbara Ann Davis Mr. and Mrs. Robert P. Duvin Mike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr.Mr. Neil FlanzraichMr. Monte Friedkin (Miami) Francisco A. Garcia and Elizabeth Pearson (Miami)Mr. and Mrs. Richard T. GarrettAlbert I. and Norma C. Geller Mr. and Mrs. Robert W. GillespieMr. David J. GoldenElaine Harris GreenSondra and Steve HardisMichael L. HardyMr. and Mrs. James A. Haslam IIMr. and Mrs. James A. Haslam IIIT. K. and Faye A. Heston Joan and Leonard HorvitzPamela and Scott Isquick Allan V. Johnson Janet and Gerald Kelfer (Miami) Mr. Jeff LitwillerMr. and Mrs. Thomas B. McGowanEdith and Ted* MillerMr. Donald W. Morrison Elisabeth and Karlheinz Muhr (Europe)Brian and Cindy MurphyMr. Raymond M. Murphy Donald and Alice Noble Foundation, Inc.Mr. and Mrs. William M. Osborne, Jr. Brian and Patricia RatnerAudra and George Rose Dr. Tom D. Rose Dr. and Mrs. Ronald J. Ross Dr. Isobel RutherfordCarol* and Albert SchuppDr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer FoundationMrs. Gretchen D. SmithJim and Myrna SpiraLois and Tom Stauff er Charles B. and Rosalyn Stuzin (Miami) Mrs. Jean H. TaberDr. Russell A. TrussoSandy and Ted Wiese Anonymous (4)*

INDIVIDUAL GIFTS OF $7,500 TO $9,999 Mr. and Mrs. Dean Barry Mr. William BergerLaurel Blossom Mr. Robert W. BriggsDr. and Mrs. Jerald S. BrodkeyDr. Ben H. and Julia Brouhard

listings continued

Gay Cull AddicottWilliam W. BakerRonald H. BellHenry C. DollJudy ErnestNicki Gudbranson

Jack Harley Iris HarvieBrinton L. HydeRandall N. Huff David C. LambRaymond T. Sawyer

Barbara Robinson, chairRobert Gudbranson, vice chair

Ongoing annual support gift s are a critical compo-nent toward sustaining Th e Cleveland Orchestra’s eco nomic health. Ticket revenues pro vide only a small portion of the funding needed to support the Orchestra’s outstanding perform ances, education ac-tivities, and community projects.

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

Leadership Annual Campaign Patrons

Gifts to University Hospitals

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Ellen E. & Victor J. Cohn Supporting Foundation Henry and Mary Doll Nancy and Richard DotsonHarry and Joyce Graham Mr. Paul Greig Kathleen E. HancockMary Jane Hartwell Iris and Tom Harvie Mrs. Sandra L. HaslingerAmy and Stephen Hoff man Joela Jones and Richard Weiss Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs.* Robert P. Madison Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Douglas and Noreen PowersPaul A. and Anastacia L. Rose Rosskamm Family TrustPatricia J. Sawvel Drs. Daniel and Ximena Sessler Naomi G. and Edwin Z. Singer Family Fund Dr. and Mrs. Frank J. StaubMr. and Mrs. Donald W. Strang, Jr.Mrs. Marie S. Strawbridge*Bruce and Virginia Taylor Dr. Gregory Videtic Anonymous (2)

INDIVIDUAL GIFTS OF $5,000 TO $7,499 Norman and Helen Allison Susan S. AngellMr.* and Mrs. Albert A. AugustusMr. and Mrs. Robert H. Baker Stephen Barrow and Janis Manley (Miami) Fred G. and Mary W. BehmDr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Dr. and Mrs. Eugene H. BlackstoneFrank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William and Dottie Clark Mrs. Lester E. Coleman Mr. Owen ColliganMarjorie Dickard ComellaCorinne L. Dodero Foundation for the Arts and Sciences Mr. and Mrs. Ralph DaugstrupMr. and Mrs. Edward B. DavisMr. and Mrs. Thomas S. DavisPete and Margaret Dobbins Mr. and Mrs. Terry C. Z. EggerDr. and Mrs. Robert ElstonMary and Oliver Emerson Mr. and Mrs. Alex Espenkotter (Miami)Dr. D. Roy and Diane A. FergusonChristopher Findlater (Miami)Barbara and Peter GalvinJoy E. GarapicBrenda and David GoldbergMr. and Mrs. Henry J. GoodmanMr. and Mrs. Randall J. GordonRobert N. and Nicki N. Gudbranson David and Robin Gunning

Clark Harvey and Holly SelvaggiHenry R. Hatch Robin Hitchcock Hatch Barbara Hawley and David GoodmanJanet D. Heil*Anita and William HellerThomas and Mary Holmes Mr. and Mrs. John Hudak (Miami)Bob and Edith Hudson (Miami)Ms. Charlotte L. HughesMr. James J. Hummer Mr. and Mrs. Brinton L. HydeMr. and Mrs. Christopher Hyland Donna L. and Robert H. JacksonMr. and Mrs. Richard A. JanusRudolf D. and Joan T. KamperMilton and Donna* Katz Dr. Richard and Roberta KatzmanDr. and Mrs. William S. KiserMr. and Mrs.* S. Lee KohrmanMrs. Justin Krent Mr. Donald N. KrosinMr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr.Mr. Brian J. LambDavid C. Lamb Shirley and William Lehman (Miami) Mr. Lawrence B. and Christine H. LeveyMr. and Mrs. Adam LewisMr. Dylan Hale Lewis (Miami)Ms. Marley Blue Lewis (Miami)Mr. Jon E. Limbacher and Patricia J. LimbacherElsie and Byron LutmanMr. and Mrs. Alex Machaskee Ms. Jennifer R. MalkinMr. and Mrs. Morton L. MandelAlan Markowitz M.D. and Cathy PollardAlexander and Marianna C.* McAfee Ms. Maureen M. McLaughlin (Miami)James and Virginia Meil Claudia Metz and Thomas Woodworth Mr. and Mrs. Abraham C. Miller (Miami)Drs. Terry E. and Sara S. MillerDavid and Leslee MiraldiMr. and Mrs. William A. MitchellAnn Jones MorganRichard and Kathleen NordMr. Henry Ott-HansenNan and Bob Pfeifer Mr. and Mrs. John S. Piety Dr. and Mrs. John N. Posch William and Gwen PreucilLois S.* and Stanley M. ProctorMr. and Mrs. Thomas A. QuintrellDrs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. RankinMs. Deborah ReadMr. William J. RossMr. and Mrs. Robert C. RuhlMrs. Florence Brewster Rutter Mr. and Mrs. David R. SawyierBob and Ellie Scheuer David M. and Betty SchneiderLinda B. SchneiderDr. and Mrs. James L. SechlerLee G. and Jane SeidmanCharles Seitz (Miami) listings continue


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Ms. Nancy A. Adams Dr. and Mrs. D. P. AgamanolisMrs. Joanne M. Bearss Mr. and Mrs. Jules BelkinHoward R. and Barbara Kaye BesserSuzanne and Jim BlaserMs. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert Mrs. Millie L. CarlsonMr. and Mrs. Frank H. CarpenterMr.* and Mrs. Robert A. ClarkDrs. Mark Cohen and Miriam Vishny Diane Lynn Collier Thomas and Dianne CoscarelliMs. Maureen A. Doerner and Mr.

Geoff rey T. WhitePeter and Kathryn Eloff Mr. Brian L. Ewart and Mr. William McHenryDavid and Margaret EwartMr. and Mrs. John R. FraylickPeggy and David* FullmerDr. and Mrs. Ronald L. Gould Nancy and James GrunzweigMr. Robert D. HartHazel Helgesen* and Gary D. Helgesen

Mr. David and Mrs. Dianne Hunt Dr. and Mrs. Scott R. InkleyHelen and Erik JensenBarbara and Michael J. KaplanMr. James and Mrs. Gay* Kitson Dr. Gilles and Mrs. Malvina KlopmanMr. Thomas and Mrs. Deborah KniesnerCynthia Knight (Miami)Mr. and Ms. James KoenigMarion KonstantynovichJudy and Donald Lefton (Miami) Ronald and Barbara Leirvik Mr. and Mrs. Irvin A. Leonard Dr. Alan and Mrs. Joni Lichtin Anne R. and Kenneth E. LoveRobert and LaVerne* LugibihlJoel and Mary Ann MakeeMartin and Lois MarcusWilliam and Eleanor* McCoyDr. Susan M. MerzweilerBert and Marjorie MoyarRichard B. and Jane E. Nash Mr. and Mrs. Peter R. OsenarDr. Lewis and Janice B. PattersonMr. Robert S. PerryMr. and Mrs. Richard W. Pogue In memory of Henry Pollak

Dr. Robert W. ReynoldsMrs. Charles RitchieAmy and Ken Rogat Carol Rolf and Steven AdlerFred Rzepka and Anne Rzepka Family FoundationDr. and Mrs. Martin I. Saltzman Mr. Paul H. ScarbroughGinger and Larry ShaneMs. Frances L. SharpMr. Richard Shirey Howard and Beth SimonMr. and Mrs. William E. Spatz Mr. Taras G. Szmagala, Jr.Mr. Karl and Mrs. Carol TheilMr. and Mrs. Lyman H. TreadwayDrs. Anna* and Gilbert TrueMiss Kathleen Turner Mr. and Mrs. Mark Allen Weigand Richard Wiedemer, Jr. Nancy V. and Robert L. Wilcox Mr. and Dr. Ann WilliamsTony and Diane Wynshaw-BorisAnonymous

Mr. Eric Sellen and Mr. Ron SeidmanMrs. Frances G. ShoolroyMarjorie B. Shorrock David Kane Smith Dr. Marvin and Mimi Sobel George and Mary Stark Howard Stark M.D. and Rene Rodriguez (Miami)Stroud Family TrustDr. Elizabeth Swenson Ms. Lorraine S. Szabo Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly

Robert and Marti Vagi Don and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami)Mr. and Mrs. Fred A. Watkins Robert C. Weppler Dr. Edward L. and Mrs. Suzanne WestbrookTom and Betsy WheelerSandy Wile and Susan NamenFred* and Marcia Zakrajsek Anonymous (4)



Mr. and Mrs. Charles Abookire, Jr. Nancy L. Adams, PhD Stanley I. and Hope S. AdelsteinMr. and Mrs. Monte AhujaMr. and Mrs. Robert J. AmsdellMr. and Mrs. Jeff rey R. AppelbaumDr. Mayda AriasMr. and Mrs. James B. Aronoff Agnes ArmstrongGeraldine and Joseph BabinMs. Delphine BarrettEllen and Howard BenderMr. Roger G. BerkKerrin and Peter Bermont (Miami)Barbara and Sheldon BernsMargo and Tom BertinJulia and David Bianchi (Cleveland, Miami) Carmen Bishopric (Miami)Bill* and Zeda Blau

Doug and Barbara BletcherDennis and Madeline BlockMr. and Mrs. Richard H. BoleJohn and Anne BourassaLisa and Ron BoykoMr. and Mrs. David BriggsMrs. Ezra BryanJ. C. and Helen Rankin ButlerLeigh CarterMr. and Mrs. James B. ChaneyDr. and Mrs. Ronald ChapnickMs. Mary E. ChilcoteMr. and Mrs. Homer D. W. ChisholmDaniel D. Clark and Janet A. Long Mr. and Mrs. Stanley Cohen (Miami)Dr. Dale and Susan Cowan Mr. and Mrs. Manohar DagaMrs. Frederick F. DannemillerCharles and Fanny Dascal (Miami)Jeff rey and Eileen Davis

Mrs. Lois Joan DavisDr. and Mrs. Richard C. DistadDr. M. Meredith Dobyns Mr. George and Mrs. Beth DownesHarry and Ann FarmerDr. Aaron Feldman and Mrs. Margo HarwoodMs. Karen FethCarl and Amy FischerMr. Isaac FisherScott Foerster, Foerster and BohnertJoan Alice FordMrs. Amasa B. FordMr. Randall and Mrs. Patrice FortinMarvin Ross Friedman and Adrienne bon Haes (Miami)Arthur L. FullmerJeanne GallagherMarilee L. Gallagher


listings continue


listings continued

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



Mrs. Georgia T. GarnerLoren and Michael GarrutoMr. Wilbert C. Geiss, Sr.Anne and Walter GinnMr. and Mrs. David A. Goldfi nger Mr. and Mrs. Robert T. GrafThe Thomas J. and Judith Fay Gruber

Charitable Foundation Mr. Davin and Mrs. Jo Ann GustafsonDr. Phillip M. and Mrs. Mary HallNorman C. and Donna L. Harbert Mr. and Mrs. Donald F. Hastings Sally and Oliver HenkelMr. and Mrs. Jerry HerschmanMr. Robert T. HexterDr. and Mrs. Robert L. HinnesDr. Feite F. Hofman*Dr.* and Mrs. George H. HokePeter A. and Judith HolmesDr. Keith A. and Mrs. Kathleen M. HooverDr. Randal N. Huff and Ms. Paulette Beech Ms. Carole HughesMs. Luan K. Hutchinson Ruth F. Ihde Ms. LaVerne JacobsonDr. Michael and Mrs. Deborah JoyceRev. William C. Keene Angela Kelsey and Michael Zealy (Miami)The Kendis Family Trust: Hilary & Robert Kendis and Susan & James KendisBruce and Eleanor KendrickFred and Judith KlotzmanMr. Ronald and Mrs. Kimberly KolzJacqueline and Irwin Kott (Miami)Ellen Brad and Bart KovacDr. Ronald H. Krasney and Ms.* Sherry Latimer Marcia Kraus Mr. James Krohngold Mr. and Mrs. S. Ernest KulpMrs. Carolyn LamplMr. and Mrs. John J. LaneAnthony T. and Patricia A. Lauria Mr. Jin-Woo LeeIvonete Leite (Miami)Michael and Lois A. LemrDr. Edith LernerDr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Mr. Rudolf and Mrs. Eva LinnebachMartha Klein LottmanMs. Mary Beth LoudHerbert L. and Rhonda MarcusDr. and Mrs. Sanford E. Marovitz David* and Elizabeth MarshDr. Ernest and Mrs. Marian MarsolaisMr. Julien L. McCallMs. Nancy L. MeachamMr. James E. Menger

Stephen and Barbara Messner Ms. Betteann MeyersonMr. and Mrs. Roger Michelson (Miami)Curt and Sara MollSusan B. MurphyJoan Katz Napoli and August NapoliMr. David and Mrs. Judith NewellMarshall I. Nurenberg and Joanne KleinRichard and Jolene O’Callaghan Harvey and Robin OppmannNedra and Mark Oren (Miami)Mr. and Mrs. Robert D. PaddockMr. and Mrs. Christopher I. Page Deborah and Zachary ParisMr. Thomas and Mrs. Tommie PattonMrs. Ingrid PetrusDrs. John Petrus and Sharon DiLauroDr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan PhillipMs. Maribel Piza (Miami)Dr. Marc and Mrs. Carol PohlMs. Carolyn PriemerMr. Richard and Mrs. Jenny Proeschel Kathleen PudelskiMs. Rosella PuskasDr. James and Lynne Rambasek Ms. C. A. ReaganAlfonso Conrado Rey (Miami)David and Gloria RichardsMichael Forde RipichMs. Linda M. RocchiRobert and Margo RothMiss Marjorie A. RottMichael and Roberta RusekDr. Lori RusterholtzDr. Harry S. and Rita K. Rzepka Ms. Patricia E. SayMr. James Schutte Ms. Adrian L. ScottDr. John Sedor and Ms. Geralyn PrestiHarry and Ilene ShapiroMs. Marlene SharakNorine W. SharpDr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick, Jr. Grover Short Laura and Alvin A. SiegalRobert and Barbara SlaninaMs. Donna-Rae SmithMr. and Mrs. Richey SmithMr. and Mrs.* Jeff rey H. SmytheMrs. Virginia SnappMs. Barbara SnyderLucy and Dan SondlesMr. John C. Soper* and Dr. Judith S. Brenneke Mr. John D. SpechtMr.* and Mrs.* Lawrence E. StewartMr. Joseph StroudKen and Martha Taylor

Greg and Suzanne ThaxtonDr. and Mrs. Thomas A. TimkoSteve and Christa TurnbullMrs. H. Lansing Vail, Jr.Robert A. ValenteBrenton Ver Ploeg (Miami)Mr. and Mrs. Joaquin Vinas (Miami)Mr. and Mrs. Les C. Vinney Dr. Michael Vogelbaum and Mrs. Judith RosmanMs. Laure A. WasserbauerPhilip and Peggy WasserstromEric* and Margaret WayneMr. and Mrs. Jerome A. WeinbergerDr. Paul R. and Catherine WilliamsRichard and Mary Lynn WillsMichael H. Wolf and Antonia Rivas-WolfMr. Robert Wolff and Dr. Paula SilvermanKatie and Donald WoodcockKay and Rod WoolseyElizabeth B. Wright Rad and Patty YatesDr. William ZeleiMr. Kal Zucker and Dr. Mary Frances HaerrAnonymous (7) *

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


listings continued

member of the Leadership Council (see page 77)

* deceased

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

For information about how you can play a supporting role with Th e Cleveland Orch estra, please contact our Philanthropy & Advancement Offi ce by calling 216-231-7545.


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We believe in working for the greater good of all and

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

We thank The Cleveland Orchestra for its commitment to excellence!

Ken Lanci, Chairman & CEOConsolidated Solutions

For a complete list of CIM concerts and events, visit cim.edu/calendar.

11021 East Boulevard | Cleveland, OH 44106

SPRING AT CIMPianist and student Daniil Trifonov will premiere his first original concerto at a benefit concert at CIM, April 23 at 8pm. Tickets at: cim.edu or call 216.795.3211.

SUMMER AT CIMAlumni will present their Lunch & Listen concert series this July in Mixon Hall. Join us Tuesdays in July for these free, one-hour recitals, starting at 12:30pm.

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Your Role . . . in The Cleveland Orchestra’s Future Genera ons of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its educa on programs, celebrated im-portant events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends. Ticket sales cover less than half the cost of presen ng The Cleveland Orchestra’s season each year. To sustain its ac vi es here in Northeast Ohio, the Orchestra has undertaken the most ambi ous fundraising campaign in our history: the Sound for the Centennial Cam-paign. By making a dona on, you can make a crucial diff erence in helping to ensure that future genera ons will con nue to enjoy the Orchestra’s performances, educa on pro-grams, and community ac vi es and partnerships. To make a gi to The Cleveland Orches-tra, please visit us online, or call 216-231-7562.

clevelandorchestra.com

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.

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Severance Hall88 The Cleveland Orchestra

Situated on a 32-acre private estate, with views of Lake Erie and walk-out gardens,

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

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

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

90 The Cleveland OrchestraConcert Calendar

Cleveland OrchestraYouth OrchestraFriday May 9 at 8:00 p.m. <18s

CLEVELAND ORCHESTRA YOUTH ORCHESTRABrett Mitchell, conductorAnn Yu, violin

TORKE Bright Blue Music PROKOFIEV Violin Concerto No. 2 BERLIOZ Symphonie fantastique

Friday May 16 at 10:00 a.m. <18s

Saturday May 17 at 10:00 a.m. <18s

Saturday May 17 at 11:00 a.m. <18s

PNC MUSICAL RAINBOW HEAVENLY HARPS

30-minute programs for ages 3 to 6.

Family Concert — The Composer Is DeadFriday May 16 at 7:30 p.m. <18s

THE CLEVELAND ORCHESTRABrett Mitchell, conductorNathaniel Stookey, narrator

There’s dreadful news from Severance Hall — the composer is dead! The musicians are most certainly guilty of some-thing. Where were the violins on the night in question? Did anyone see the harp? Is the trumpet protesting a bit too boisterously? Everyone seems to have a motive, everyone has an alibi, and nearly everyone is a musical instrument. Join the Inspector as he interrogates all the unusual sus-pects in a concert based on the book by Lemony Snicket with the music of Nathaniel Stookey.

Sponsor: The Giant Eagle Foundation

The Cleveland Orchestra at Home in LakewoodMay 17-24

The Cleveland Orchestra, in partnership with businesses, schools, and organizations of Lakewood, puts a spotlight on this near westside community and its excellent music education programs, culminating in a week of residency May 17 through May 24. Highlights of this neighborhood residency are three free Orchestra concerts — one for the public led by the Orchestra’s music director Franz Welser-Möst on Saturday, May 24, at 7:30 p.m., and two for school students. Visit clevelandorchestra.com for complete details.

S P R I N G S E A S O NBeethoven’s First Piano ConcertoThursday April 24 at 7:30 p.m.Saturday April 26 at 8:00 p.m.THE CLEVELAND ORCHESTRAJane Glover, conductorImogen Cooper, piano

C.P.E. BACH Sinfonia No. 2 BEETHOVEN Piano Concerto No. 1 VANHAL Sinfonia in G minor HAYDN Symphony No. 103 (“Drum Roll”)

Mozart’s RequiemThursday May 1 at 7:30 p.m.Friday May 2 at 7:00 p.m. <18s

Saturday May 3 at 8:00 p.m.Sunday May 4 at 3:00 p.m. <18s

THE CLEVELAND ORCHESTRADavid Robertson, conductorMary Kay Fink, piccolo*Jessica Rivera, sopranoElizabeth DeShong, mezzo-sopranoGarrett Sorenson, tenorJohn Relyea, bass-baritoneCleveland Orchestra Chorus

ROUSE Rapture FRANK Will-o’-the-Wisp: Tone Poem for Piccolo and Orchestra* MOZART Requiem * not part of KeyBank Fridays@7 concert

Ohlsson Plays GriegThursday May 8 at 7:30 p.m.Saturday May 10 at 8:00 p.m.THE CLEVELAND ORCHESTRAOsmo Vänskä, conductorGarrick Ohlsson, piano

SALLINEN Symphony No. 1 GRIEG Piano Concerto SIBELIUS Symphony No. 5 Sponsor: Jones Day

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

O R C H E S T R A

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

91Severance Hall 2013-14 91Concert Calendar

FAMILY CONCERTThe Composer Is DeadFriday May 16 at 7:30 p.m.THE CLEVELAND ORCHESTRABrett Mitchell, conductorNathaniel Stookey, narrator

Oh, dear! There’s dreadful news from Severance Hall — the composer is dead! The musicians are most certainly guilty of something. Where were the violins on the night in question? Everyone seems to have a motive, everyone has an alibi, and nearly everyone is a musical instrument. Join the Inspector as he interrogates all the unusual suspects in a concert based on the book by Lemony Snicket and with music by Nathan-iel Stookey.

Sponsor: The Giant Eagle Foundation

Leoš Janáček’sTHE CUNNING LITTLE VIXENSaturday May 17 at 8:00 p.m.Tuesday May 20 at 7:30 p.m. <18s

Thursday May 22 at 7:30 p.m.Saturday May 24 at 2:00 p.m. <18s

Martina Janková, sopranoAlan Held, bass-baritoneJennifer Johnson Cano, mezzo-sopranoRaymond Aceto, bassJulie Boulianne, sopranoDashon Burton, bass-baritoneDavid Cangelosi, tenorand theCleveland Orchestra ChorusCleveland Orchestra Children’s ChoruswithTHE CLEVELAND ORCHESTRA conducted by Franz Welser-Möst

Don’t miss the opera event of the season! With this brand-new, made-for-Cleveland production of Leoš Janáček’s The Cunning Little Vixen. Presented with innovative and original animation, this world premiere production places a new perspective on the opera, plumbing the depths of human experience in a charming tale of love, peril, freedom, and family. On the surface, the story is about childish things, but underneath, human emotions boil over and burst apart between the “animals of the forest” and their human interlocutors. (Opera sung in Czech with projected English supertitles.) Directed by Yuval Sharon. Animation by Bill Barminski and Christopher Louie — Walter Robot Studios.Projection and lighting design by Jason Thompson. Cos-tumes and makeup by Ann Closs-Farley.

Presented with support from The Andrew W. Mellon Foundation and the National Endowment for the Arts.

<18sUnder 18s Free FOR FAMILIES

Concerts with this symbol are eligible for "Under 18s Free" ticketing. The Cleveland Orchestra is committed to developing the youngest audience of any orchestra in the United States. Our "Under 18s Free" program off ers free tickets for young people attending with their families (one per paid adult admission).

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

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92 The Cleveland Orchestra92 The Cleveland Orchestra

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

AT SEVERANCE HALLCONCERT DINING AND CONCESSION SERVICE Severance Restaurant at Severance Hall is open for pre-concert dining. For reservations, call 216-231-7373, or make your plans on-line by visit-ing clevelandorchestra.com. Concert concession service of beverages and light refreshments is available before most concerts and at intermissions in the Smith Lobby on the street level, in the Bogomolny-Kozerefski Grand Foyer, and in the Dress Circle Lobby.

FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall this season are on October 13, December 1, January 12, February 16, March 30, and May 4. For more information or to make a reserva-tion for these tours, please call the Severance Hall Ticket Offi ce at 216-231-1111. Private tours can be arranged for a fee by calling 216-231-7421.

THE CLEVELAND ORCHESTRA STORE A wide variety of items relating to The Cleve-land Orchestra — including logo apparel, compact disc recordings, and gifts — are available for pur-chase at the Cleveland Orchestra Store before and after concerts and during intermission. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Cleveland Orchestra subscribers receive a 10% discount on most items purchased. Call 216-231-7478 for more information, or visit the Store online at clevelandorchestra.com

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

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

RENTAL OPPORTUNITIES Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and confer-ences, pre- or post-concert dinners and receptions, weddings, and social events. Catering provided by Marigold Catering. Premium dates are available. Call the Facility Sales Offi ce at 216-231-7420 or email to [email protected]

BEFORE THE CONCERTGARAGE PARKING AND PATRON ACCESS Pre-paid parking for the Campus Center Ga-rage can be purchased in advance through the Tick-et Offi ce for $15 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order pre-paid parking, call the Severance Hall Ticket Offi ce at 216-231-1111. Parking can be purchased for the at-door price of $11 per vehicle when space in the Campus Cen-ter Garage permits. However, the garage often fi lls up well before concert time; only ticket holders who purchase pre-paid parking passes are ensured a parking space. Overfl ow parking is available in CWRU Lot 1 off Euclid Avenue, across from Sever-ance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.

FRIDAY MATINEE PARKING Due to limited parking availability for Friday Matinee performances, patrons are strongly en-couraged to take advantage of convenient off-site parking and round-trip shuttle services available from Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10 per car.

CONCERT PREVIEWS Concert Previews at Severance Hall are present-ed in Reinberger Chamber Hall on the ground fl oor (street level), except when noted, beginning one hour before most Cleveland Orchestra concerts.

Guest Information

9393Severance Hall 2013-14 93Guest Information

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

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

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

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

SERVICES FOR PERSONS WITH DISABILITIES

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

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

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

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

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

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

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

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


CLEVELANDORCHESTRAYOUTH ORCHESTRAFriday May 9 at 7:30 p.m. <18s

THE CLEVELAND ORCHESTRABrett Mitchell, conductorAnn Yu, violin

Now in its 28th season, the Cleveland Orch-estra Youth Orchestra is a full symphony orchestra comprised of some of Northeast Ohio’s best and brightest young musicians. Each season, this acclaimed training ensemble presents concerts of traditional and newer works, fi lled with an enthusiasm and interest that can rival that of their teachers and men-tors. “A gripping performance,” commented the Cleveland Plain Dealer of a recent concert, “one that would have been the envy of an adult ensemble.”

See also the concert calendar listing on pages 90-91, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Cleveland Orchestra concerts.

TICKETS 216-231-1111 clevelandorchestra.com

AT SEVERANCE HALL . . .

94 The Cleveland OrchestraUpcoming Concerts

PROKOFIEV’SCINDERELLAThursday May 29 at 7:30 p.m.Friday May 30 at 11:00 a.m.* <18s

Saturday May 31 at 8:00 p.m.THE CLEVELAND ORCHESTRAVladimir Jurowski, conductorJanine Jansen, violin*

Prokofi ev’s Cinderella is a fairytale score, delicate and charming. But like all fairytales, a dark undercurrent runs beneath. In this score, the chiming of a clock can sound like a thunderous battlefi eld, while the waltzes and love scenes sing. Benjamin Britten’s charming Violin Concerto* and Stravinsky’s explosive Scherzo fantastique round out this weekend’s season-ending concerts with guest conductor Vladimir Jurowski and violinst Janine Jansen.

Sponsor: Baker Hostetler

* Not part of the Friday Morning concert.

Vladimir Jurowski

Documents

The Cleveland Orchestra May 1-4 Concerts