The Cleveland Orchestra February 4-6/11-13 Concerts

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Concert Program: February 4, 5, 6

RAVEL AND DEBUSSY — page 26 including Fridays@7: French Impressions (February 5)

Concert Program: February 11, 12, 13

MITSUKO UCHIDA’S MOZART — page 57

INTRODUCING ANDRÉ GREMILLET— page 7

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

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

2015-16 SEASON

Upfront Introducing André Gremillet . . . . . . . . . . . . . . . . . . . . 7

About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . . 13 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . . . 17 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 About Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . 88 Patron Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

WEEK 10 RAVEL AND DEBUSSY Program: January 4, 5, 6 . . . . . . . . . . . . . . . . . . 26-27 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 29 DALBAVIE La Source d’un Regard . . . . . . . . . . . . . . . . . . . . . . 31 RAVEL Piano Concerto in G major . . . . . . . . . . . . . . . . . . 35 DEBUSSY Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Conductor: Vladimir Jurowski . . . . . . . . . . . . . . . . . . 46 Guest Soloist: Jean-Effl am Bavouzet . . . . . . . . . . . 47

NEWS Cleveland Orchestra News . . . . . . . . . . . . . . . . . . . . . 50

WEEK 11 MITSUKO UCHIDA’S MOZART Program: February 11, 12, 13 . . . . . . . . . . . . . . . 57 Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . . 59 MOZART Piano Concerto No. 17 . . . . . . . . . . . . . . . . . . . . . . 63 Symphony No. 34 . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Piano Concerto No. 25 . . . . . . . . . . . . . . . . . . . . . . 69

Guest Artist: Mitsuko Uchida . . . . . . . . . . . . . . . . . . . 61

Support Extraordinary Support . . . . . . . . . . . . . . . . . . . . . . . . 11 Sound for the Centennial . . . . . . . . . . . . . . . . . . 48-49 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73-84

Concerts & Calendars Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

WEEKS 10 AND 11

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

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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.

4 The Cleveland OrchestraTable of Contents

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An Exotic & Alluring Encounter

Q&A Introducing André Gremillet

Meet the Executive Director 7Severance Hall 2015-16 7

What are your fi rst impressions of Cleveland and Northeast Ohio? Very positive! Everyone is making me feel really welcome and I am eager to learn more about the city and all of Northeast Ohio. As the one who is new here, I believe it is up to me to reach out, listen and learn, so that I truly un-derstand what is important to this com-munity and what makes it such a unique place. I think it is an intriguing city and region, very refi ned culturally, and clearly ambitious for the future and new oppor-tunities. It feels like it is an exciting time to be here.

What are you going to miss most about Melbourne? I think I will miss the food scene the most, especially the Asian off erings. And I will miss the outdoor olympic-size swim-ming pool that I would swim in all year round — because you can do that in Mel-bourne, swim outdoors, even in the mid-dle of winter. Having said that, I did miss cross-country skiing while in Melbourne, which I now plan on resuming.

How did you meet your wife? My wife is Ginette. She has a French fi rst name, but she is very much an Amer-ican. In fact, both our fathers were immi-grants from France to North America.

We met in New Jersey, when I was the head of the New Jersey Symphony, and we have a son Olivier who was born in Australia, and who just turned three in December. Ginette was seven months pregnant when we moved to Australia, which tells you a little something about the great partner she is. She is looking forward to moving here in a few weeks, and to getting involved in her new community. She has also been very im-pressed by how welcoming Clevelanders have been with her during her two visits here. Professionally, Ginette has worked as an event producer, for both for-profi t and non-profi t organizations.

Have you chosen where you’re going to live in Northeast Ohio? Not yet. There are a lot of great neighborhoods to choose from. We are, perhaps, leaning towards the Heights. Somewhere close to Severance Hall, be-cause I intend to spend a lot of time at Severance Hall, and it would be nice not to spend very much time commuting. You’ve worked in commercial business, in the non-profi t world, and you’re a musician. How do all those fi t together? I can’t imagine for myself doing this job without either the artistic or the business training. Understanding the

With the new year, The Cleveland Orchestra welcomes new exec-

utive director André Gremillet, who most recently headed the

Melbourne Symphony in Australia. Prior to that, he had led the

New Jersey Symphony Orchestra and the Casavant Frères organ

company in Québec, Canada. He is a conservatory-trained pianist, holding a master's

degree from Mannes College of Music and an MBA from McGill University.

Meet the Executive Director8 The Cleveland Orchestra

delicate balance between the artistic goals and the business imperatives is crucial and is one of the aspects that makes this job both exciting and challenging. I didn’t go to business school to work in the for-profi t world. My goal was always to run a great orchestra, or music festival. But the business discipline that I acquired running a for-profi t company I fi nd invaluable. When you are managing a shareholder's or owner's money, you learn quickly about the impact of your de-cisions on the bottomline, and about the importance of being fi scally responsible in order to achieve your goals. And I think that has served me really well, now that I have to make these decisions for a much greater purpose and goal, acting as stew-ard of an invaluable asset for the overall community.

When and why did you fi rst fall in love with classical music? I remember as a child hearing a record-ing of Beethoven’s Third Piano Concerto with Wilhelm Kempff , and I believe with the conductor Ferdinand Leitner, an old Deutsche Grammophon recording with the Berlin Philharmonic. And during the slow movement of that C-minor concerto, I remember thinking “this is it, this is what I love.”

What was your fi rst memory or awareness of The Cleveland Orch estra? As a really young kid, I remember hearing Cleveland's weekly broadcasts, carried by the CBC. I have a more recent memory, when I studied in New York with pianist Grant Johannesen after he had been president of the Cleveland Institute of Mu-sic. I remember him lending me a private recording of a rehearsal with Robert Casa-desus and George Szell, of a Mozart piano concerto. And it gave such a vivid sense of

what this orchestra was capable of, and of its incredible work ethic. Having said that, I believe this orchestra has only gotten better since that time, and the artistic partnership between the Orchestra and Franz Welser-Möst is unique in the world.

Please talk about your time with the New Jersey Symphony Orchestra . . . New Jersey was my fi rst orchestra, so it was a big learning experience for me. It is a good example of where my for-profi t and business training was crucial. When I came onboard, the New Jersey Symphony was in a very diffi cult position fi nancially. What made it possible for the orchestra to be in much better shape when I left fi ve years later? First, we were all united, working as a board, staff , and musicians on solving the issues together. That unity of purpose really made the diff erence. Second, we were al-ways focused on the mission of the orches-tra, and made decisions accordingly. And the third thing, New Jersey is where I discovered that this — running an orchestra — was right for me. And I loved every part of it, whether on the artistic side, or the fundraising side, or working with the community. You often may want to do something, and you think you are going to like it, obviously that’s why I got into this business, but until you’ve actually done it, you don’t know.

And about running an organ company . . . The pipe organ world is a very small world, but a very dynamic one. First off , I had the pleasure of discovering the organ music repertoire itself — which I did not really know. On the administrative side, this was my fi rst company. I trained with the outgoing president one-on-one for two years, basically in the same way that the artisans were trained in the shop, in the ap-prenticeship system that goes back all the

Meet the Executive Director 9Severance Hall 2015-16 9

way to medieval times. This is how organ builders have been trained throughout his-tory. There was an incredible sense of his-tory at the company, not unlike what I know is the case with The Cleveland Orchestra. It is always interesting to be part of a company with a very proud past, and to dis-cover how to use that past not to hold you back, but to help you look forward. Times change, and change must be embraced, but there are also lessons to learn from the past. What we need are the best ideas — new ideas, or old ideas whose time has come.

Favorite composer? Or piece? My answer really changes from month to month, often based on what I am listen-ing to professionally. Most recently, it has been Mahler Three — following the incred-ible performance I heard in Vienna in No-vember with Franz and The Cleveland Orch-estra. As someone who plays the piano, other favorites include Albéniz’s Iberia and works by Chopin and Debussy.

As someone new to town, talk about what you see as The Cleveland Orchestra’s greatest opportunities and challenges? I think there is no doubt that Cleve-land's biggest strength is the people of this community. This is one of the most gener-

ous and supportive communities anywhere, across the entire world. The people here built this great orchestra and have kept it going because it matters. Great music and quality community programming and music education, all these matter to this commu-nity. The Cleveland Orchestra is one of the best orchestras anywhere. With that great-ness, the next steps forward are to ensure the Orchestra’s sustainability and stability and fi nancial strength, which involves turn-ing vision and dreams into reality, both artis-tically and in terms of the funding required.

How will you know you’re doing the right things for The Cleveland Orchestra? That the Orchestra continues to grow artistically. That we talk about the things that really matter. That what we do as an orchestra matters to the community. That we continue having an impact on people — on more people, and on young people.

Hobbies? Interests outside of music? I love history, reading in general, good food, and I love travelling. Also, exercising is important to me. I am a runner, and I like to swim.

Favorite foods? French food, which is no surprise given my heritage — as well as Asian food, Thai in particular. I also have a sweet tooth, having grown up with good pastries. My father is a pastry chef.

What books are on your nightstand? I’m just fi nishing Margaret MacMillan’s The War that Ended Peace: The Road to 1914, about the run-up to the First World War.

Favorite television/streaming indulgence? House of Cards — talk about indul-gence! And Homeland.

André and Ginette

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

Th e generous individuals, corporations, foundations, and government agencies listed here made extraordinary cash contributions of $100,000 or more to Th e Cleveland Orchestra’s annual fund, benefi t events, or special annual donations during the 2014-15 season. Th e Cleveland Orch estra gratefully recognizes the crucial role these funders play in supporting the Orchestra’s ongoing ability to share the world’s fi nest classical music with the greater Northeast Ohio commu-nity. For information about making your own gift to Th e Cleveland Orchestra, please call 216-231-7558.

BakerHostetlerThe Cleveland FoundationCuyahoga County residents through Cuyahoga Arts & CultureGeorge* and Becky DunnEatonFirstEnergy FoundationForest City Enterprises, Inc.GAR FoundationThe George Gund FoundationHyster-Yale Materials HandlingNACCO Industries, Inc.Jones DayThe Walter and Jean Kalberer FoundationMr. and Mrs. Joseph P. KeithleyKeyBankKulas FoundationMr. and Mrs. Dennis W. LaBarreMrs. Norma Lerner and The Lerner Foundation

Mrs. Emma S. LincolnMilton and Tamar MaltzElizabeth F. McBrideMedical Mutual of OhioThe Andrew W. Mellon FoundationJohn P. Murphy FoundationDavid and Inez Myers FoundationThe Eric & Jane Nord Family FundNordson Corporation FoundationOhio Arts CouncilPNC BankMr. and Mrs. Albert B. RatnerJames and Donna ReidThe Kelvin and Eleanor Smith FoundationMr. and Mrs. Richard K. SmuckerThe J. M. Smucker CompanySquire Patton Boggs (US) LLPThompson Hine LLPMs. Ginger Warner

Extraordinary Thanks to each of these supporters

Extraordinary Operating Support giving of $100,000 or more during the 2014-15 season

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

11Severance Hall 2015-16 11

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Musical Arts Association

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

Richard C. Gridley (SC) Loren W. Hershey (DC)

Herbert Kloiber (Germany)

TRUSTEES EX-OFFICIO Faye A. Heston, President, Volunteer Council of Th e Cleveland Orchestra Dr. Patricia Moore Smith, President, Women’s Committee of Th e Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of Th e Cleveland Orchestra

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

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

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

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

RESIDENT TRUSTEES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Betsy Juliano Jean C. Kalberer Nancy F. Keithley

Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. KramerTE

Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Milton S. Maltz Nancy W. McCann Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. OateyTE

Katherine T. O’Neill The Honorable John D. Ong Rich Paul Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin

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

OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President

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

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

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

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

THE MUSICAL ARTS ASSOCIATION as of January 2016

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

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director André Gremillet, Executive Director

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

Robert W. Gillespie Dorothy Humel Hovorka Robert P. Madison

Robert F. MeyersonJames S. Reid, Jr.

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2015-16 SEASON

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Concert Program: January 7, 8, 9

ALL-BEETHOVEN— page 31

Concert Program: January 14, 15

SHOSTAKOVICH FOURTH SYMPHONY — page 63

INTRODUCING ANDRÉ GREMILLET— page 7

FROM THE PRESIDENT— page 10

HERMÈS BY NATURE

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

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

17Severance Hall 2015-16 17About the Orchestra

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B Y T H E N U M B E R S

The Orchestra was founded in 1918 and performed its

fi rst concert on December 11.

Seven music directors have led the Orchestra, including George Szell,Christoph von Dohnányi, and Franz Welser-Möst.

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The 2015-16 season will mark Franz Welser-Möst’s 14th

year as music director.

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Over 40,000 young people attend Cleveland Orch estra concerts each year via programs funded by the Center for Future Audiences, through student programs and

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comes from thousands of generous donors and spon-

sors, who together make possible our concert presenta-

tions, community programs, and education initiatives.

SEVERANCE HALL, “America’s most beautiful concert hall,” opened in 1931

as the Orchestra’s permanent home.

each year

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

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

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

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19Severance Hall 2015-16 19About the Orchestra

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

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

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

20 The Cleveland OrchestraAbout the Orchestra

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Orchestra Roster

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee ChairYoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Takako MasamePaul and Lucille Jones Chair

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

Kim GomezElizabeth and Leslie Kondorossy Chair

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

Miho HashizumeTh eodore Rautenberg Chair

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

Alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

Isabel TrautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

Alexandra PreucilKatherine BormannAnalisé Denise Kukelhan

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2

James and Donna Reid ChairEli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten MolloyCarolyn Gadiel WarnerStephen WarnerIoana MissitsJeffrey Zehngut

Vladimir DeninzonSae ShiragamiScott WeberKathleen CollinsBeth WoodsideEmma ShookElayna DuitmanYun-Ting Lee

VIOLASRobert Vernon*

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2

Mark JackobsJean Wall Bennett Chair

Arthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSMark Kosower*

Louis D. Beaumont ChairRichard Weiss1

Th e GAR Foundation ChairCharles Bernard2

Helen Weil Ross ChairBryan Dumm

Muriel and Noah Butkin ChairTanya Ell

Th omas J. and Judith Fay Gruber Chair

Ralph CurryBrian Thornton

William P. Blair III ChairDavid Alan HarrellPaul KushiousMartha Baldwin

BASSESMaximilian Dimoff *

Clarence T. Reinberger ChairKevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune

Charles Barr Memorial ChairCharles CarletonScott DixonDerek Zadinsky

HARPTrina Struble*

Alice Chalifoux Chair

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

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

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

Orchestra Roster

FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee ChairYoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Takako MasamePaul and Lucille Jones Chair

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

Kim GomezElizabeth and Leslie Kondorossy Chair

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

Miho HashizumeTheodore Rautenberg Chair

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

Alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

Isabel TrautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

Alexandra PreucilKatherine BormannAnalisé Denise Kukelhan

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2

James and Donna Reid ChairEli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten MolloyCarolyn Gadiel WarnerIoana MissitsJeffrey Zehngut

Vladimir DeninzonSae ShiragamiScott WeberKathleen CollinsBeth WoodsideEmma ShookElayna DuitmanYun-Ting Lee

VIOLASRobert Vernon*

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2

Mark JackobsJean Wall Bennett Chair

Arthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSMark Kosower*

Louis D. Beaumont ChairRichard Weiss1

The GAR Foundation ChairCharles Bernard2

Helen Weil Ross ChairBryan Dumm

Muriel and Noah Butkin ChairTanya Ell

Thomas J. and Judith Fay Gruber Chair

Ralph CurryBrian Thornton

William P. Blair III ChairDavid Alan HarrellPaul KushiousMartha Baldwin

BASSESMaximilian Dimoff *

Clarence T. Reinberger ChairKevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune

Charles Barr Memorial ChairCharles CarletonScott DixonDerek Zadinsky

HARPTrina Struble*

Alice Chalifoux Chair

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

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

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

22 The Cleveland Orchestra

Orchestra Roster

FLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn ChairMary Kay Fink

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein*

Edith S. Taplin ChairCorbin StairJeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaff e Chair

CLARINETSRobert WoolfreyDaniel McKelway 2

Robert R. and Vilma L. Kohn Chair

Linnea Nereim

E-FLAT CLARINETDaniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINETLinnea Nereim

BASSOONSJohn Clouser *

Louise Harkness Ingalls ChairGareth ThomasBarrick Stees2 *

Sandra L. Haslinger ChairJonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSMichael Mayhew §

Knight Foundation ChairJesse McCormick

Robert B. Benyo ChairHans ClebschRichard KingAlan DeMattia

TRUMPETSMichael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack SutteLyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard StoutAlexander andMarianna C. McAfee Chair

Shachar Israel2

BASS TROMBONEThomas Klaber

EUPHONIUM AND BASS TRUMPETRichard Stout

TUBAYasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANIPaul Yancich*

Otto G. and Corinne T. Voss ChairTom Freer 2

Mr. and Mrs. Richard K. Smucker Chair

PERCUSSIONMarc Damoulakis*

Margaret Allen Ireland ChairDonald MillerTom FreerThomas Sherwood

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin ChairCarolyn Gadiel Warner

Marjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’Brien

Joe and Marlene Toot ChairDonald Miller

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

* Principal § Associate Principal 1 First Assistant Principal 2 Assistant Principal * on sabbatical leave

CONDUCTORSChristoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,CLEVELAND ORCHESTRA MIAMI

Brett MitchellASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

O R C H E S T R A


2015-16 SEASON

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

Kulas Series of Keyboard Conversations®

with Jeffrey Siegel28th Season 2015-2016

Masterly

Enthralling

Charming

Scintillating

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

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

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

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

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

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


25Severance Hall 2015-16

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.

February 4, 6“Images from France” (Musical works by Ravel, Debussy, & Dalbavie) with guest speaker Eric Charnofsky, instructor, department of music Case Western Reserve University

February 11, 12, 13“Magnificent Mozart” with guest speaker Donna Lee, professor of piano, Kent State University

February 18, 19, 20“Let’s Talk About Music” (Musical works by Berwald and Dvořák) a discussion between Brett Mitchell, associate conductor and Mark WIlliams, director of artistic planning

March 3, 5, 6“Duels, Deceptions, and Dvořák’s Neglected Piano Concerto” (Musical works by Schumann, Dvořák, Nielsen) with guest speaker Timothy Cutler, professor of music theory, Cleveland Institute of Music

March 24, 26“Revisions and Second Thoughts” (Musical works by Kurtág, Schumann, Bruckner) with Rose Breckenridge administrator and lecturer, Cleveland Orchestra Music Study Groups

LEARNING MORE ABOUT THE MUSIC

The Cleveland Orchestra offers 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


These concerts are sponsored by Hyster-Yale Materials Handling, Inc., a Cleveland Orchestra Partner in Excellence.

Jean-Efflam Bavouzet’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Julia Severance Millikin Fund.

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

Concert Program — Week 10

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

Severance HallThursday evening, February 4, 2016, at 7:30 p.m.Saturday evening, February 6, 2016, at 8:00 p.m.

Vladimir Jurowski, conductor

MARC-ANDRÉ DALBAVIE La Source d’un Regard (b. 1961)

MAURICE RAVEL Piano Concerto in G major (1875-1937) 1. Allegramente 2. Adagio assai 3. Presto JEAN-EFFLAM BAVOUZET, piano

I N T E R M I S S I O N

CLAUDE DEBUSSY Images for orchestra (1862-1918) III. Gigues III. Rondes de printemps [Round Dances of Spring] III. Ibéria 1. In the Streets and Byways 2. The Fragrances of the Night — 3. The Morning of a Festival Day


Severance HallKeyBank Fridays@7 ConcertFriday evening, February 5, 2016, at 7:00 p.m.

Vladimir Jurowski, conductor 2015-16 SEASON

Concert Program — Week 10F

MAURICE RAVEL Piano Concerto in G major(1875-1937)

1. Allegramente 2. Adagio assai 3. Presto

JEAN-EFFLAM BAVOUZET, piano

CLAUDE DEBUSSY Images for orchestra(1862-1918)

III. Gigues III. Rondes de printemps

[Round Dances of Spring] III. Ibéria

1. In the Streets and Byways2. The Fragrances of the Night —3. The Morning of a Festival Day

7@FRIDAYS

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

The Friday evening concert is performed without intermission and will end at about 8:05 p.m.

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


KeyBank Fridays@7: Next Concerts

April 15 — All-Mozart Jane Glover (conductor), Joshua Smith (flute), Yolanda Kondonassis (harp)

May 6 — Stravinsky’s Firebird Andrés Orozco-Estrada (conductor), Kirill Gerstein (piano)

February 5 — French Impressions The Cleveland Orchestra’s popular Fridays@7 concert series fea-tures a unique twist on a musical night out. The Plain Dealer calls it “the place to be on Friday night.” It’s an exciting and relaxed way to enjoy a night filled with incredible music and more. It’s an hour-long concert with The Cleveland Orchestra, coupled with a casual @fter-Party featuring more music, and great opportunities for socializing and being with great friends and new acquaintances.

6 p.m. Pre-Concert St@rters . . . Arrive early for a pre-concert happy hour with French-themed drinks and appetizers.

7 p.m. KeyBank Fridays@7: The Cleveland Orchestra . . . This week, enjoy works by two masters of French Impressionist music: Maurice Ravel and Claude Debussy

8 p.m. @fter-Party in the Grand Foyer and more . . . Severance Hall stays open for the evening, with DJ Brad Petty (www.mehimher.com) spinning soft French pop and house music.

Mix and mingle, in the Bogomolny-Kozerefski Grand Foyer, or in the more intimate Smith Lobby — and enjoy a showcase of local artwork presented in partnership with 78th Street Studios.

Or . . . head to Severance Restaurant for post-concert dessert and drinks, with live music by Luca Mundaca (www.lucamundaca.com).

7@FRIDAYS

Great music, great drinks.

And great company.

A fresh approach to Friday nights!

7@FRIDAYS

Fridays@7: February 5

FRIDAY


T H I S W E E K E N D ’ S C O N C E R T S present styles of French-themed symphonic “new mu-sic” from across the past century. On Thursday and Saturday, the evening begins with a work from 2007 by Marc-André Dalbavie. La Source d’un Regard is an intriguing work by this composer, who served as a Lewis Young Composer Fellow here with The Cleve-land Orch estra a decade ago. This piece shows off the continuing interest of French composers in orchestral colors — bringing forward not just the idea of musical notes as a composition, but as something that only comes alive in perfor-mance, sounding out and building itself in the moment of its making . . . each time. The concerts on all three evenings feature two big works by two major French composers from a century ago: Maurice Ravel and Claude

Debussy. In his Piano Concerto in G major from 1931, Ravel infused an old format with new colorings and syncopation, including the “new” music of jazz. The slow middle movement harkens back to an earlier age, sounding as though Mozart himself had wandered into a 20th-century Paris cafe on a dark night, and played away with good wine and plenty of introspective emotion . . . a modern Mozart filled with French panache. Pianist Jean-Efflam Bavouzet takes up the solo role in this modern masterpiece. To close the program, guest conductor Vladimir Jurowski has chosen Deubssy’s great orchestral showpiece Images, from the first decade of the 20th century. In truth, this is made up of three different works brought together almost as an afterthought. Each puts forth extraordinary audible impressions, clearly painting in a musical language that hints at some things, and fully states others — capturing the vibrancy of Debussy’s sonic visions . . . in sights and sound, and even in taste and fragrance. Vive la France!

—Eric Sellen

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

French Inspirations

Introducing the Concert

Claude Monet’s “Rue Montorgueil

with Flags” from 1886 — an early

work of painterly Impressionism

and of resurgent French patriotism.

THURSDAY — FRIDAY — SATURDAY

Thanks to the richness of Cleveland’s culturalheritage and the excellence of The Cleveland Orchestra,

literally millions of men, women, and childrenphave experienced such a dawn . . . and it is g unforgettable.

Ralph Waldo Emerson

Hyster-Yale Materials Handling, Inc.We are: Hyster, Yale, and Utilev lift trucks;

and Nuvera fuel cells and hydrogen generators

NACCO Industries, Inc.We are: The North American Coal Corporation;

Hamilton Beach Brands small electric appliances;and The Kitchen Collection retail stores


S E V E R A N C E H A L L A U D I E N C E S have familiarity with Marc-André Dalbavie’s music from his time as composer-in-residence with The Cleveland Orchestra, serving as the fi rst Daniel R. Lewis Young Composer Fellow for two seasons, 1998-2000. Several works were heard at that time, including the world premiere of Concertate il suono, commissioned by the Orchestra as culmina-tion of his Lewis fellowship. This was followed with Rock under the water and Tactus in 2003, and the United States premiere of his Piano Concerto in 2006, as well as encore performances of Concertate il suono (in 2004 and again in 2010). La Source d’un Regard is a work from 2007, commissioned jointly by Amsterdam’s Royal Concertgebouw Orchestra and the Philadelphia Orchestra to mark the centenary of the birth of composer Olivier Messiaen in 2008. Conceptually, it fi ts per-fectly as part of this week’s Cleveland Orchestra concerts — on the surface with its Frenchness, through the music itself in its sounding out of newer threads of French musical expression, and in the way it links together the entire evening via connec-tions with Pierre Boulez, who was among Dalbavie’s teachers and who was acclaimed for his performances of Ravel and Debussy (and Dalbavie) with Cleveland. For Dalbavie’s music, live performance matters. Part of his awakening as a composer involved studying within the French musique spectrale, which came to the fore in the 1970s and made

Dalbavie wrote La Source d’un Regard in 2006-07 on a joint com-mission from Amsterdam’s Royal Concertgebouw Orchestra and the Philadelphia Orchestra to mark the centennial of Olivier Messiaen (1908-1992). It was fi rst performed during the 2007-08 season, in Amsterdam in November 2007, conducted by George Benjamin, and in Philadel-phia in May 2008 conducted by Christoph Eschenbach. This work runs just over 15

minutes in performance. Dalbavie scored it for 4 fl utes, 2 oboes, english horn, 4 clarinets, 2 bassoons, con-trabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percus-sion (bass drum, cymbals, glock-enspiel, gong, suspended cymbal, tam-tam, tubular bells, vibraphone, xylophone), harp, and strings. The Cleveland Orchestra is per-forming this work for the fi rst time with this week’s concerts.

About the Music

At a Glance

La Source d’un Regard (for orchestra)composed 2006-07

by Marc-AndréDALBAVIEborn February 10, 1961Neuilly-Sur-Seine,France

lives inParis

About the Music

THURSDAY AND SATURDAY

32 The Cleveland OrchestraAbout the Music

Dalbavie’s music is about

space and color — the

same note sounds very dif-

ferently when played by

differing instruments, and

the same note from the

same instrument sounds

different at varying dis-

tances or combined with

other instruments. Mean-

ing that orchestration is his

primary palette, even be-

fore melody and structure.

the “spectrum” of sound as important as — sometimes more important than — the traditional elements of rhythm (includ-ing duration) and pitch. Where you sit in relation to the musi-cians, where each musician (or subgroup) sits in relation to one another, and the acoustics of the performance space all become important factors in Dalbavie’s pieces. His work is about space and color — the same note sounds very diff erent when played by diff ering instruments, and the same note from the same in-strument sounds diff erent at varying distances or combined with other instruments. Reverberation, refl ection, overtones, and echo are among his strongest tools. Meaning that orches-

tration is Dalbavie’s primary palette, even be-fore melody and structure. Dalbavie fi rst studied in Italy, but then went to Paris to be a researcher at IRCAM, the revolutionary new-music Institute for Research and Coordination of Acoustics and Music founded by Pierre Boulez and opened in 1977. There Dalbavie learned intensely about both electronic music and traditional instruments; he also studied conducting with Boulez. And at least some of Dalbavie’s impetus as a com-poser can be heard as attempting to recreate or imitate or transform or mirror aspects of ma-nipulations available through electronics, but in live, unplugged performance. What happens to a note after it fi rst sounds is as important and interesting to him as the initial note itself. In all this, Dalbavie follows naturally in

the footsteps of Debussy, whose daring leadership into musical impressionism infl uenced so many later composers, and also of Olivier Messiaen, whose introduction of non-Western musical sounds (the Indonesian gamelan, the literal or imitated songs of birds, the angst-fi lled whooshes from early electronic instru-ments) and general sense of style and sound also fi nd echoes in Dalbavie’s work. The title La Source d’un Regard is itself a phrase of varying resonances, which can be translated in several diff erent direc-tions — or, as Dalbavie might wish, can be heard in several dif-ferent ways, depending on your mindset. In English, it might be rendered as straightforwardly as “The Source of a Glance” or “The Start of a Look” or “The Way to Begin Looking,” or farther

33Severance Hall 2015-16 About the Music

off to something not unlike “What are you looking at?” — or, perhaps, listening to, or thinking about — or metaphorically “Where do these sounds come from?” And in this there is a direct connection with Mes-siaen, for Dalbavie’s piece was built, at least initially, on several chords from Messiaen’s Vingt Regards sur L’Enfant-Jésus [“Twenty Views (or con-templations) on the Infant Jesus”]. There is inherent in all of this, the fact that for each musician, as they play, there is a source, a slice of time, a moment, when each sound is fi rst created. And, in our experiencing, the piece is not just a blending together, in sequence and in refl ecting echoes of sounds, but also a series of moments captured in sequence by our brains as we listen. We are contemplating the sounds as we ex-perience them together as they change and evolve. La Source d’un Regard runs about 15 minutes in performance. For some, it may come across as a bit unfocussed, as a sonicscape of interesting but mixed musical sounds — good moments that don’t quite connect. Dalbavie may not be your “cup of tea.” For many others, with open ears and a willingness to take in both its subtlety and quick-fi re moments, and the way this piece builds from within and across the stage, mixing sounds together in progression, building vertically in depth and longitudinally across time — and almost viscerally in vibration — it can become an extraordinarily absorbing and riveting journey, both caressing the mind and agitating it, turn by turn and simultaneously. This mix of spices and ingredients, this “musical tea” will quench your thirst, as you let it pour over you. The music of La Source d’un Regard has clear lines of melody and motion, and exquisite stylings of chords and orchestral coloring. The opening motif returns several times, bringing a sense of continuity be-tween fl atter sections of elongated soundings. Brass calls and jagged chords add moments reminiscent of Stravinsky’s ballet scores, as well as combinations of chording quite like Messiaen’s musical language. It is not imitative, however, but cumulative in how it progresses. The piece’s energy for “sailing” forward is replenished with reiterative gath-ering up of sounds (like diff erent breaths of wind rising), which then gently relax before taking us forward again. Leading, appropriately, to a climax and then to a dying away toward silence.

—Eric Sellen © 2016

lec.edu1.855.GO.STORM

LAKE ERIECOLLEGE


I T WA S R AV E L’ S original plan to write a concerto for his own use. In his public appearances as a concert pianist, he had pre-ferred mostly to play easier pieces like the Sonatine he’d written in 1903-05 and was all too conscious that his technique was not up to the more demanding works he’d created, such as Gaspard de la nuit from 1908. But, as he began creating the new work for piano and or-chestra, rather than write a piece within his own capacity, he decided to write a concerto of proper diffi culty — and simply acquire the technique to play it himself. Thus his composition hours, already long and arduous compared with his earlier facil-ity (by the end of the 1920s he was aware of the failing brain ac-tivity that cruelly silenced his last years), were interspersed with hours devoted to practicing the études of Czerny and Chopin in an unavailing attempt, at the age of 55, to perfect his digital skills (a.k.a. piano keyboard fi ngering, not the computer variety we think of as “digital skills” today). It was only once the work was fi nished, late in 1931, with a première not many weeks away, that Ravel abandoned his aspirations and turned to Marguerite Long to give the fi rst performance instead. This she did on Janu-ary 14, 1932, in the Salle Pleyel, Paris, with Ravel conducting. Gustave Samazeuilh recounted that in 1911 he and Ravel spent a holiday in the Basque region of Spain (where both of them had been born) and that Ravel sketched a “Basque Con-

Ravel composed both of his piano concertos in 1929-31. The G-major Concerto’s fi rst performance was on January 14, 1932, at a Ravel Festival concert at the Salle Pleyel in Paris, with the composer conducting the Lamoureux Orchestra; the soloist was Marguerite Long, to whom the con-certo was dedicated. The concerto’s fi rst performances in North America were given concurrently on April 22, 1932, by the Boston Symphony Orches-tra (conducted by Serge Koussevitzky

and with pianist Jesús María Sanromá) and the Philadelphia Orchestra (with conductor Leopold Stokowski and pianist Sylvan Levin). This concerto runs about 20 minutes in performance. Ravel scored it for fl ute, piccolo, oboe, english horn, E-fl at (high) and B-fl at (regular) clarinet, 2 bassoons, 2 horns, trumpet, trombone, timpani, percussion (bass drum, snare drum, cymbals, triangle, whip, tamtam, woodblock), harp, and strings.

About the Music

At a Glance

Piano Concerto in G majorcomposed 1929-31, incorporating some ideas from as early as 1911

by MauriceRAVELborn March 7, 1875Ciboure, Basses-Pyrénées

diedDecember 28, 1937Paris

About the Music


certo” for piano and orchestra. Without the right idea for a central linking movement, Ravel abandoned the work, only to bring parts of it back to life twenty years later within the G-major Concerto. This at least suggests a Basque origin for some of the themes, although it is easier, without any general familiarity with Basque music, to recognize that the livelier themes emerge from Ravel’s preoccupation with the brilliant percussive qualities of the piano itself, and that the languorous melodies betray his gift for giving a peculiarly sophisticated edge to the “new” language of jazz. It is striking that the sound of this concerto diff ers markedly from that of its sibling, the concerto for left hand, composed at the same time, not just in having ten fi ngers at work instead of fi ve. Here Ravel concen-trated the fi ngers’ activity in the upper reaches of the keyboard and also utilized a small orchestra, more an ensemble of soloists than a grand tutti full orchestra. Ravel asserted that he composed the G-major Concerto in the spirit of Mozart and Saint-Saëns, two composers of impeccably classical pedigree. The three movements are accordingly laid out on the classical plan, with two quick movements embracing a slow middle one. The fi rst move-ment in its turn off ers both quick and slow sections, the latter being the occasion for some virtuoso melodic fl ights for solo instruments, notably the bassoon in the fi rst half, the harp and the horn in the second, while the piano is often required to be sweet in one hand and pungent in the other at the same time. (Gershwin’s fl attened scale, generally in the mi-nor, is much in evidence.) Ravel spoke of writing the slow middle movement “one bar at a time” (which is nothing if not cryptic, and certainly not very enlightening), and also referred to Mozart’s Clarinet Quintet as a basis (which is scarcely more helpful, except that of course the idea of melody-with-accompani-ment is prominent in both works). The style is pure, both in the simplicity of the piano style and the absence of chromatics, but it also has a constant suggestion of wrong notes in the manner of Erik Satie, the wrongness in Ravel’s case being supremely calculated and . . . exactly right. Simplicity gives way to complexity and the melody returns on the english horn as the piano’s exquisite tracery continues to the end. The last movement is an unstoppable cascade, with the orchestra again tested to the limit, not just the soloist. The movement is neatly framed, with its opening clustered discords returning as a signing-off at the end. —Hugh Macdonald © 2016

Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books

on Beethoven, Berlioz, Bizet, and Scriabin.

Guest Artist

The only love aff air I have

ever had was with music.

—Maurice Ravel

ClevelandArt.org/Centennial

Presenting Centennial sponsor:

1916–2016


The composition of the three Im-ages for orchestra occupied Debussy from 1905 to 1912. Ibéria and Rondes de printemps [“Spring Rounds”] were each begun around 1905 (originally planned as works for two pianos); Ibéria was completed late in 1908 and Rondes in the following year. Ibéria was premiered on February 20, 1910, with Gabriel Pierné conducting, and Rondes a few days later, on March 2, under the direction of the composer. Gigues, begun in 1909, was finished (with some assistance in the orchestration by André Caplet) in 1912. It was first performed on January 26, 1913, under Caplet’s baton. The first American performances of Rondes and Ibéria were given by Gustav Mahler and the New York Philharmonic Society on November 15, 1910, and January 3, 1911, respectively. Gigues was first heard in the United States at a concert of the Chicago Symphony Orchestra, conducted by Frederick Stock, on November 13, 1914. Together, the three Images run about 35 minutes in performance. Debussy’s scorings are as follows: Gigues: 2 piccolos, 2 flutes, 2 oboes, oboe d’amore, english horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets,

3 trombones, tuba, timpani, percus-sion (cymbals, side drum, xylophone), celesta, 2 harps, and strings. Rondes de printemps: 3 flutes (third doubling piccolo), 2 oboes, english horn, 3 clarinets, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, timpani, percussion (tri-angle, tambourine, cymbals), celesta, 2 harps, and strings. Ibéria: piccolo, 3 flutes (third doubling second piccolo), 2 oboes, english horn, 3 clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (tambourine, side drum, castanets, xylophone, 3 bells), celesta, 2 harps, and strings. The three parts of Images have been played separately and as a group by The Cleveland Orchestra. Ibéria, by far the most popular of the three pieces, has been a staple of The Cleveland Orchestra’s repertoire since Nikolai Sokoloff first conducted it in January 1921. Rondes de printemps was not played by The Cleveland Orchestra until 1937, and Gigues was first played by the Orchestra in 1951. The most recent presentation of the three Images as a group was in November 2003, conducted by Vladi-mir Ashkenazy.

About the Music

At a Glance

Images (for orchestra)composed 1905-12

About the Music

T H E A S S O C I AT I O N O F M U S I C and images is one of the most fundamental characteristics of Claude Debussy’s music. In addition to the many specific images on which he based compositions — from the ocean in La Mer to all kinds of land-scapes and portraits in the two books of piano preludes — the word Images as a title appeared in an early set of piano pieces (1894) and in two better-known sets for piano (1905-08), even before the set of orchestral Images (completed in 1912) being

by ClaudeDEBUSSYborn August 22, 1862St. Germain-en-Laye,France

died March 25, 1918Paris


presented at this weekend’s concerts. It is significant that each of these sets (including La Mer) features three movements — and the orchestral image Ibéria itself has a three-part structure. Three was a natural and important number for the composer in structuring material. It was natural for Debussy to think in musical “images.” He was a great lover of art and counted many painters among his friends. But the artistic inspiration never meant a mere musical representation of a subject treated in a painting. For Debussy, the relationship was less direct — these are “images,” seen or

dreamed by the mind’s eye, and then realized in sound rather than in color. In the case of the orchestral Images, the visions are primarily about motion, and com-bine the senses of sight, hearing, and even smell (as in the middle section of Ibéria). As Charles Baudelaire, one of Debussy’s favorite poets, put it: “Les parfums, les couleurs et les sons se répondent . . .” [“The fragrances, the colors, and the sounds answer one another . . .”]

G IGUES Debussy originally planned to call this piece Gigues tristes [“Sad gigues”], according to a letter to his publisher Durand written in 1905. No doubt, the idea of turning a cheer-ful dance-tune into a melancholy melody was already present in his mind years before the

composition was actually written. The melody itself is derived from an English country dance or jig, related to but different from the Baroque gigue. Debussy had visited England on many occasions, and it may be that he came across this melody on one of his trips, or he may have bor-rowed it from the song “Dansons la gigue” [“Let’s dance the jig”] by his contemporary Charles Bordes (1863-1909). After a brief introduction that sets the tone with a typi-cally Debussyan combintion of harp, celesta, and woodwinds, the jig melody is played by the unaccompanied oboe d’amore (a double-reed instrument whose range of pitch lies between those of the oboe and the english horn). The other woodwinds and the horns play a faster rhythmic variant of this tune while the oboe d’amore keeps repeating its own, more soulful version

It was natural for Debussy

to think in musical “imag-

es.” He was a great lover

of art and counted many

painters among his friends.

But the artistic inspiration

never meant a mere mu-

sical representation of a

subject treated in a paint-

ing. The relationship was

less direct — more like a

picture realized in sound

rather than in color.

About the Music


of it. The music gets more and more agitated as the rhythmic pattern of the faster-moving material is developed in a power-ful orchestral crescendo that suddenly breaks off. The sad jig tune returns; the tempo gradually slows down, the music gets ever softer, and finally fades into silence. André Caplet, who collaborated with Debussy on the score of Gigues, wrote about the work in 1923: “Gigues” . . . Sad Gigues . . . tragic Gigues . . . The portrait of a soul . . . a soul in pain, uttering its slow, lingering lamentation on the reed of an oboe d’amore. A wounded soul, so reticent that it dreads and shuns all lyrical effusion, and quickly hides its sobs behind the mask and the angular gestures of a grotesque marionette. Again, it suddenly wraps itself in a mantle of the most phleg-matic indifference. The ever-changing moods, the rapidity with which they merge, clash, and separate to unite once more, make the interpretation of the work very difficult. . . . Underneath the convulsive shudderings, the sudden efforts at restraint, the piti-ful grimaces, which serve as a kind of disguise, we recognize the very soul of our dear, great Claude Debussy. We find there the spirit of sadness, infinite sadness, lying stretched as in the bed of a river whose flow, constantly augmented from new sources, increases inevitably, mercilessly.

R O N D E S D E P R I N T E M P S[R O U N D D A N C E S O F S P R I N G ] This is one of the rare instances Debussy quoted an actual French folksong in one of his works. He seems to have had a special fondness for “Nous n’irons plus au bois” [“We won’t go to the woods any more”], a melody to which he had also alluded in his piano piece “Jardins sous la pluie” [“Gardens in the Rain”], from the cycle Estampes. In Rondes de prin temps, this melodic fragment is transformed in various ways, some derived from the Baroque contrapuntal techniques known as stretto and augmentation. Although the work is based on the French folksong, De-bussy also quotes — in words — from an Italian traditional song, “La Maggiolata,” or “Welcoming the month of May,” on the first page of the score. The lines, which appear in French translation, read: “Vive le Mai, bienvenu soit le Mai avec son gonfalon sauvage” [“Long live May, May be welcome with its wild banner”]. This is also the only movement of Images to bear a dedication, to De-bussy’s second wife, Emma.

The Cleveland Orchestra

and Pierre Boulez have

recorded Debussy’s Images

twice: in 1967 and in 1991,

with both recordings win-

ning Grammy Awards.

About the Music


Zsolt BognárZsolt BognárSunday, Feb. 7, 2016 | 2 p.m.Cleveland Museum of ArtGartner Auditorium

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The French folksong is preceded by an introduction that evokes the spring by airy woodwind passages accompanied by harp glissandos. This melody itself is presented in an asymmetrical meter of five beats (written as 15/8 as each beat is subdivided in three). The general atmosphere is one of warmth and serenity, though at the 1910 premiere, according to Debussy biographer Léon Vallas, “the very high pitch of the violins, the sudden gusts of thirds in the wind instruments, the rough sonorities of certain passages, suggested to some people icy blasts rather than the gentle breezes of spring.” After undergoing various rhythmic transformations, the folksong is played in long and strongly accented notes by the clarinets and the english horn, only to crumble away to tiny motifs, suddenly cut short by a powerful harp-celesta glis-sando that brings the piece to a close.

I BÉR IA French musicians had often been inspired by the rhythms of Spanish music, since even before the time of Bizet’s opera Carmen in 1875. Two composers from the generation preceding Debussy in particu-lar owed their fame to their “Spanish” compositions — Édouard Lalo’s Symphonie espagnole (1875) and Emmanuel Chabrier’s España (1883) must have been well-known to the young Debussy, who himself wrote the piano piece La soirée dans Grenade [“Evening in Grenada”] in 1903. It is interesting to note that, aside from one short trip across the border, Debussy never visited Spain. He did, however, know the music of some of his Spanish colleagues, such as Manuel de Falla and Isaac Albéniz. (The latter used the title “Iberia” in a magnificent suite for piano published in four volumes between 1906 and 1908.) Falla had warm words of praise for Debussy’s Ibéria, which he claimed had “a consider-able and decisive influence on young Spanish composers.” The first section of Ibéria, entitled “Par les rues et par les chemins” [“In the Streets and Byways”] immediately creates a Spanish atmosphere with the sound of the castanets. A whole town is out in the streets on a warm summer evening. People are walking, talking, singing, and dancing. The clarinets play a dance tune marked by the composer as “elegant and rhythmic” and harmonized with parallel chords (one of Debussy’s recur-

About the Music

It is interesting to

note that Debussy spent

almost no time in Spain.

He did, however, know

several Spanish musi-

cians, such as Manuel

de Falla, who had warm

words of praise for

Debussy’s Ibéria, which

he claimed had “a consid-

erable and decisive

influence on young

Spanish composers.”


rent techniques). Later, an equally cheerful second theme is heard on the horns and clarinets, soon combined with a third melody which, in contrast, is more lyrical and expressive in character. The first theme with the casta-net accompanment finally returns (now played by the oboes instead of the clarinets). At last, the noisy parade is over; the people go home and the section quiets down to end pianissimo. The second section is called “Les parfums de la nuit” [“The Fragrances of the Night”]. Falla perceived here “the intoxicating spell of Andalusian nights,” and he must have known since he was born in that province of Spain. There are several factors that contribute to the magic of this move-ment, including a virtuosic orchestration that makes a sophisticated use of divided strings. (At one point, the first violins are split into seven different groups, all playing with special techniques such as glissandos and harmon-ics.) The celesta part is every bit as “celestial” as the instrument’s name. The chords are again “parallel,” with every part moving by the same interval regardless of keys; as a result, we get the so-called “whole-tone scale” (C, D, E, F-sharp, G-sharp, A-sharp) in which each of the six steps is a whole-step higher than the preceding one (with no half-steps to give a more “normal” tone row). This scale is incompatible with the traditional major-minor sys-tem because its degrees are equidistant, they are all equally important, and any note may serve as a temporary or permanent resting-point. This is why the music seems to be hovering in the air, never touching the ground or reaching a clear closure. The third section of Ibéria, “Le matin d’un jour de fête” [“The Morn-ing of a Festival Day”] follows upon the night without interruption. As the day begins to break, we hear the distant sound of a drum with some soft plucked string pizzicatos. The night music returns for a moment in the form of a three-measure flute solo. The violins and violas imitate the sound of guitars; Debussy instructs half the players to hold their instruments like guitars. The clarinets play their solo “very cheerfully, exaggerating the ac-cents.” The violin solo, full of double stops, must be “free and whimsical” [libre et fantasque]; the oboe and english horn parts are marked “merry and whimsical” [gai et fantasque]. According to the composer’s correspondence with his publisher, De-bussy had some difficulty choosing from three different ways of ending the piece. “Shall I toss up between them,” he wrote, “or try to find a fourth solution?” He finally opted for a big crescendo, “brisk and vigorous” [vif et nerveux]; the last word belongs to the trombones, which cap the piece with a stupendous three-part sliding glissando. —Peter Laki © 2016

Copyright © Musical Arts Association

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

About the Music

Some people wish above

all to conform to the rules. I wish

only to render what I can hear.

There is no theory, you have only

to listen. Pleasure is the law. . . .

Works of art make rules; rules do

not make works of art.

—Claude Debussy


Vladimir JurowskiRussian conductor Vladimir Jurowski holds prestigious leadership positions as prin-cipal conductor of the London Philhar-monic Orchestra, principal artist with the Orchestra of the Age of Enlightenment, and artistic director of the Russian State Academic Symphony Orchestra. He was named chief conductor and artistic direc-

tor of the Berlin Radio Symphony Orchestra this past autumn and will take up the position with the 2017-18 season. He will also serve as artistic director of the 2017 En-escu International Festival in Bucha-rest. He made his Cleveland Orches-

tra debut in February 2011. His most re-cent appearances here were in May 2014. Born in Moscow, Vladimir Jurowski began his musical studies at Moscow Uni-versity’s Music College. After he relocated with his family to Germany, he attended the music high schools of Dresden and Berlin, studying conducting with Rolf Reuter and vocal coaching with Semion Skigin. Mr. Jurowski made his internation-al debut at the Wexford Festival in 1995 conducting Rimsky-Korsakov’s May Night, and the same year saw his debut at Lon-don’s Royal Opera House leading Verdi’s Nabucco. He subsequently served as fi rst kapellmeister of the Komische Oper Berlin (1997-2000), principal guest conductor of the Teatro Comunale di Bologna (2000-03),

principal guest conductor of the Rus-sian National Orchestra (2005-09), and music director of Glyndebourne Festi-val Opera (2001-13). He has led operas at the Edinburgh Festival, Maggio Musicale, Metropolitan Opera, Paris Opéra Bastille, Semperoper Dresden, Teatro La Fenice, and the Théâtre Royal de la Monnaie. Vladimir Jurowski has appeared with many of the top orchestras across Europe and North America. Regular engage-ments include concerts with the Berlin Philharmonic, Boston Symphony Orches-tra, Chamber Orchestra of Europe, Dres-den Staatskapelle, Leipzig Gewandhaus Orchestra, New York Philharmonic, Phila-delphia Orchestra, Royal Concertgebouw Orchestra, Tonhalle Orchestra, and the Vi-enna Philharmonic. Mr. Jurowski’s recent operatic ap-pearances include Berg’s Wozzeck and Wagner’s Parsifal with Welsh National Op-era, Schoenberg’s Moses and Aron at Ko-mische Oper Berlin, Strauss’s Die Frau ohne Schatten at the Metropolitan Opera, and Glinka’s Ruslan and Ludmila at the Bolshoi Theatre. Upcoming engagements include debuts at the Bavarian State Opera and the Salzburg Festival, along with a return to Glyndebourne to lead the world pre-miere of Brett Dean’s Hamlet. Mr. Jurowski’s discography includes albums on BMG, ECM, and Naxos-Marco Polo, as well as the London Philharmonic Orchestra’s and Glyndebourne Opera’s pri-vate labels. He also records for PentaTone with the Russian National Orchestra, and his artistry can be witnessed on DVDs re-leased by Glyndebourne, the London Phil-harmonic Orchestra, and the Metropolitan Opera, as well as by Medici Arts.

Guest Conductor


Jean-Effl am BavouzetFrench pianist Jean-Effl am Bavouzet en-joys a prolifi c recording and international concert career, performing repertoire ranging from Beethoven, Haydn, Bartók, and Prokofi ev, to contemporary compos-ers including Bruno Mantovani and Jörg Widmann. He made his Cleveland Or-chestra debut in March 2010.

After study-ing with Pierre Sancan at the Paris Conser-vatoire, Mr. Bavouzet was invited by Georg Solti to make his debut with the Orchestre de Paris in 1995. He also developed a close relation-ship with Pierre

Boulez, with whom he fi rst performed in 1998. Highlights of Mr. Bavouzet’s 2015-16 season include debuts with Zurich Op-era Orchestra under Gianandrea Noseda’s direction, appearances with the Swedish Chamber Orchestra and Orquestra Sim-fònica de Barcelona, and concerts with the Gothenburg Symphony, where he per-forms both of Ravel’s piano concertos in one program. He also returns to Orchestre National de Belgique, Manchester Cam-erata, Haydn Orchestra of Bolzano, and Orchestra della Svizzera Italiana in Lugano. In North America this season, in ad-dition to this weekend’s performances in Cleveland, he plays with the San Francisco

Symphony and Seattle Symphony. In recital, Mr. Bavouzet regularly per-forms at such venues as the Louvre in Paris and London’s Wigmore Hall. In addition to his return to London’s International Piano Series, his current schedule includes recit-als in Santa Barbara and Denver, as well as in Singapore. Mr. Bavouzet’s transcription for two pianos of Debussy’s Jeux has been pub-lished by Durand with a foreword by Boulez. Mr. Bavouzet served as profes-sor of piano at the Hochschule für Musik in Detmold, Germany, and is currently the artistic director of the Lofoten Piano Festival in Norway. His concert cycle of Beethoven’s complete sonatas in Beijing’s Forbidden City Concert Hall garnered the Classical Elites instrumental recital of the year award for Beijing. An exclusive Chandos artist, Jean-Effl am Bavouzet has won multiple honors for his recordings of Debussy’s complete works for solo piano, culminating with the 2009 BBC Music Magazine award. In 2008, this project also received the Choc de l’année from Le Monde de la Musique magazine and Diapason d’Or. His recent release of Prokofi ev’s complete piano concertos with the BBC Philharmonic won the concerto category of the 2014 Gramo-phone Awards. Mr. Bavouzet’s Haydn re-cordings for Harmonic Records are among Le Monde de la Musique’s “150 best ever piano recordings.” His ongoing projects include Beethoven and Haydn piano so-nata cycles. For additional information, visit www.bavouzet.com.

Guest Soloist


Sound for the Centennial THE CAMPAIGN FOR THE CLEVELAND ORCHESTRA


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

Campaign. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial diff erence in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact the Orchestra’s Philanthropy & Advancement Offi ce at 216-231-7558. Listing as of January 20, 2016.

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

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

GIFTS OF $5 MILLION AND MORE

The Cleveland FoundationMr. and Mrs. Alexander M. CutlerCuyahoga County residents through Cuyahoga Arts and CultureNancy Fisher and Randy Lerner in loving recognition of their mother, Norma Lerner

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

GIFTS OF $1 MILLION TO $5 MILLION

Sound for the Centennial Campaign

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


Gay Cull AddicottAmerican Greetings CorporationJeanette Grasselli Brown and Glenn R. Brown Robert and Jean* ConradDr. and Mrs. Hiroyuki Fujita GAR FoundationRichard and Ann GridleyThe Louise H. and David S. Ingalls FoundationMartha Holden Jennings FoundationMyra Tuteur Kahn Memorial Fund of The Cleveland FoundationMr. and Mrs. Douglas A. KernJames and Gay* KitsonVirginia M. and Jon A. Lindseth

Ms. Nancy W. McCannMedical Mutual of OhioNordson Corporation FoundationParker Hannifi n FoundationCharles and Ilana Horowitz RatnerSally and Larry SearsSquire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of CantonMs. Ginger Warner Anonymous (4)

GIFTS OF $500,000 TO $1 MILLION

The Abington FoundationAkron Community FoundationMr. and Mrs. George N. AronoffJack L. BarnhartFred G. and Mary W. BehmMadeline & Dennis Block Trust FundBen and Ingrid BowmanDr. Christopher P. Brandt and Dr. Beth SersigBuyers Products CompanyMr. and Mrs. David J. CarpenterMary Kay DeGrandis and Edward J. DonnellyJudith and George W. DiehlGeorge* and Becky Dunn Ernst & Young LLPMr. Allen H. FordFrantz Ward LLPDr. Saul GenuthThe Giant Eagle FoundationJoAnn and Robert GlickHahn Loeser & Parks LLPIris and Tom HarvieJeff and Julia HealyThe Hershey FoundationMr. Daniel R. HighMr. and Mrs. Donald M. Jack, Jr.

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

Raymond T. and Katherine S. SawyerMrs. David SeidenfeldDavid ShankNaomi G. and Edwin Z. SingerDrs. Charles Kent Smith and Patricia Moore SmithSandra and Richey SmithGeorge R. and Mary B. StarkMs. Lorraine S. SzaboVirginia and Bruce TaylorTucker EllisDorothy Ann TurickThe Denise G. and Norman E. Wells, Jr. Family FoundationMr. Max W. WendelPaul and Suzanne WestlakeMarilyn J. WhiteThe Edward and Ruth Wilkof FoundationKatie and Donald WoodcockWilliam Wendling and Lynne WoodmanAnonymous (3)

GIFTS OF $100,000 TO $250,000

Randall and Virginia BarbatoJohn P. Bergren* and Sarah S. EvansThe William Bingham FoundationBlossom Friends of The Cleveland OrchestraMr. and Mrs.* Harvey BuchananCliffs Natural ResourcesThe George W. Codrington Charitable FoundationThe Helen C. Cole Charitable TrustThe Mary S. and David C. Corbin

FoundationMr. and Mrs. Matthew V. CrawfordWilliam and Anna Jean CushwaNancy and Richard DotsonPatricia Esposito

Sidney E. Frank FoundationAlbert I. and Norma C. GellerThe Gerhard FoundationMary Jane HartwellDavid and Nancy HookerMrs. Marguerite B. HumphreyJames D. Ireland III*Trevor and Jennie JonesElizabeth B. JulianoMr. Clarence E. Klaus, Jr.Giuliana C. and John D. KochDr. Vilma L. Kohn*Mrs. Emma S. LincolnMr. and Mrs. Alex MachaskeeRobert M. Maloney and Laura Goyanes

Elizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. MorrisonMargaret Fulton-MuellerNational Endowment for the ArtsRoseanne and Gary OateyWilliam J. and Katherine T. O’NeillQuality Electrodynamics (QED)Mr. and Mrs. James A. SaksHewitt and Paula ShawThe Skirball FoundationRichard and Nancy SneedR. Thomas and Meg Harris StantonMr. and Mrs. Jules Vinney*David A. and Barbara Wolfort

GIFTS OF $250,000 TO $500,000

* deceased

Sound for the Centennial Campaign


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

In Remembrance

I N M E M O R I A M

PIERRE BOULEZMarch 26, 1925 to January 5, 2016

The Cleveland Orchestra mourns the loss of our dear friend, Pierre Boulez. As a conductor, teacher, composer, and friend, his relationship with this Orchestra was unique and extra ordinary. Over a period of nearly fifty years — longer than any other conductor has actively worked with this ensemble — he established a rap-port and maintained a collaborative understanding of special significance. He led The Cleveland Orchestra in over 220 performances at home and on tour. In half a century of service to Cleveland, he created a peerless legacy of great music, new music, and unrivaled music-making. As Franz Welser-Möst says, “Pierre Boulez left his fingerprint” on this Orchestra, in the way Cleveland’s musicians collectively ap-proach their work on stage. Pierre Boulez first led The Cleveland Orchestra in 1965 at the invitation of music director George Szell, making his American professional conducting debut at Severance Hall. He was appointed the Orchestra’s first principal guest conduc-tor in 1969, and served as musical advisor during the two seasons following Szell’s death. He returned regularly to lead performances with the Orchestra, and in five decades of concerts here presented works spanning six centuries — by compos-ers as varied as Gabrieli, Rameau, J. S. Bach, and Schubert to Mahler, Debussy, Rav-el, Janáček, Dalbavie, and Kyburz. Pierre Boulez’s recordings with The Cleveland Orchestra present a brilliant and clearly focused vision of his role as a conductor and won five Grammy Awards (with works by Berlioz, Debussy, and Stravinsky). In 2014, Pierre Boulez was the recipient of The Cleveland Orchestra’s Distinguished Service Award, the institution’s highest honor, for his service, col-laborative music-making, and eternal friendship.



Cleveland Orchestra News

Meet-the-Artist series continues with luncheon on Feb 19 and special dinner fundraiser on March 4

The Women’s Committee’s annual series of Meet the Artist luncheons for the 2015-16 season continues with a program this month featuring guest conduc-tor Herbert Blomstedt on Friday, February 19 at Shaker Heights Country Club. Blomstedt will be interviewed by The Cleve-land Orchestra’s artistic administrator, Ilya Gidalevich. The luncheon begins at noon, and then the program with Blomstedt at 1 p.m. The cost is $40 for Women’s Committee members, $50 for non-members. A special $100 ticket includes a patron reception with Blomstedt at 11:30 a.m. Reservations are required; please contact Pat Sommer 440-338-3369, or send email to [email protected].

And on Friday evening, March 4,

the Women’s Com-mittee holds a special benefit

evening of music and conversation with Cleveland Orchestra members Michael Sachs (principal trumpet)

and Massimo La Rosa (principal trombone). The evening features a cock-tail hour and silent auction at 6 p.m., performances and conversation with Sachs and La Rosa (moderated by Ilya Gidalevich) at 7:15, and dinner at 8:15. The evening takes place at Executive

Caterers at Landerhaven in Mayfield Heights. Tickets are $150, $250, or $500, with proceeds benefiting The Cleveland Orchestra. For more information, call Patricia Moore Smith at 216-789-1788. Reservations can be made thru the Severance Hall Ticket Office.

The Women’s Committee of The Cleveland Orchestra was founded in 1921 to support the Orchestra’s education mission. Now open to men as well as women, the Women’s Com-mittee continues its support of the Orchestra through volunteer service and fundraising.

evethe Wo

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WVIZ/PBS ideastream documentary “Violins of Hope: Strings of the Holocaust” premieres on February 8 A new WVIZ/PBS ideastream production titled Violins of Hope: Strings of the Holocaust will premiere on Tuesday evening, Febru-ary 8 at 9 p.m. on WVIZ. The documentary chronicles Violins of Hope Cleveland, an unprec-edented community project that included per-formances by The Cleveland Orchestra, a major exhibition at the Maltz Museum of Jewish Heri-tage, education events throughout Northeast Ohio, and more. The documentary features Israeli violin-maker Amnon Weinstein and his efforts across several decades to restore violins recovered from the Holocaust — and bringing the instru-ments back to life as musical voices from the past. The story includes Weinstein’s journey from Tel Aviv to Cleveland, accompanied by several of the Violins of Hope instruments, which members of The Cleveland Orchestra played at the Violins of Hope Cleveland opening concert this past September. Some of the restored Violins of Hope were originally played by Jewish prisoners in concentration camps; others belonged to the Klezmer musical culture, which was all but destroyed by the Nazis. The inspiration for this one-hour documentary came from the amaz-ing stories of these violins and Weinstein’s mission to collect and restore the instruments. The program is narrated by Adrien Brody.

On WVIZ/PBS ideastream —Premiere: Monday, February 8, at 9 p.m.Encore airings: Friday, February 12, at 10 p.m. Sunday, February 14, at 3 a.m. Sunday, February 14, at 3 p.m. Wednesday, February 17, at 5 a.m.

listing as of January 2016


FIRST VIOLINKeiko Furiyoshi 2005 — 34 yearsAlvaro de Granda 2 2006 — 40 yearsErich Eichhorn 2008 — 41 yearsBoris Chusid 2008 — 34 yearsGary Tishkoff 2009 — 43 yearsLev Polyakin 2 2012 — 31 years SECOND VIOLINRichard Voldrich 2001 — 34 years Stephen Majeske * 2001 — 22 years Judy Berman 2008 — 27 years Vaclav Benkovic 2009 — 34 yearsStphen Warner 2016 — 37 years VIOLALucien Joel 2000 — 31 yearsYarden Faden 2006 — 40 years CELLOMartin Simon 1995 — 48 years Diane Mather 2 2001 — 38 yearsStephen Geber * 2003 — 30 yearsHarvey Wolfe 2004 — 37 yearsCatharina Meints 2006 — 35 yearsThomas Mansbacher 2014 — 37 years BASSLawrence Angell * 1995 — 40 yearsHarry Barnoff 1997 — 45 years Thomas Sepulveda 2001 — 30 yearsMartin Flowerman 2011 — 44 years HARPLisa Wellbaum * 2007 — 33 years FLUTE/PICCOLOWilliam Hebert 1988 — 41 yearsJohn Rautenberg § 2005 — 44 years Martha Aarons 2 2006 — 25 years

OBOERobert Zupnik 1977 — 31 years Elizabeth Camus 2011 — 32 years CLARINETTheodore Johnson 1995 — 36 yearsThomas Peterson 2 1995 — 32 years Franklin Cohen ** 2015 — 39 years BASSOONPhillip Austin 2011 — 30 yearsRonald Phillips 2 2001 — 38 years HORNMyron Bloom * 1977 — 23 years Richard Solis * 2012 — 41 years TRUMPET/CORNETBernard Adelstein * 1988 — 28 years Charles Couch 2 2002 — 30 years James Darling 2 2005 — 32 years TROMBONEEdwin Anderson 1985 — 21 yearsAllen Kofsky 2000 — 39 yearsJames De Sano 2003 — 33 years PERCUSSIONJoseph Adato 2006 — 44 yearsRichard Weiner * 2011 — 48 years LIBRARIANRonald Whitaker * 2008 — 33 years

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

Appreciation

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

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

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


Musicians Emeritus of


New DVD Brahms cyclereleased and available at Severance HallFollowing their critically-acclaimed releases of Anton Bruckner symphonies with Clasart, Franz Welser-Möst and The Cleveland Orch estra have released an all-Brahms DVD box set. The set features all four symphonies, Piano Concer-tos Nos. 1 and 2 with Yefim Bronfman and the Violin Concerto with Julia Fischer, and selected other orchestral works. The set was released in Europe in October and is now in general release worldwide. All performances were recorded live — at Severance Hall, during a BBC Proms concert at Royal Albert Hall in London, and in Vienna’s Musikverein.

The set was specially available for purchase at the Cleveland Orchestra Store in December, prior to the general U.S. release.

Silence is goldenAs a courtesy to the performers onstage and

the audience around you, all patrons are reminded to turn off cell phones and to dis-engage electronic watch alarms prior to each concert.

Committed to AccessibilitySeverance 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.

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

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

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

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


Cleveland Orchestra News

Immigration Services for Corporations & IndividualsH-1B Green Card Permanent Residency EB-5 Immigrant Investor

DACA Deportation Asylum BIA Appeals Federal Litigation EB-21 NIWCitizenship & Naturalization EB-2 Extraordinary Ability Work Authorization

www.imwong.com ♦ [email protected] ♦ 216-566-9908�


Cleveland Orchestra choruses benefit concert to be held on Saturday, March 19

A special benefit concert in appreciation and support of the Cleveland Orchestra choruses is being presented at Severance Hall on Saturday evening, March 19. All proceeds will go toward the Chorus Fund, which helps support educational and touring activities of the Cleveland Orchestra Chorus, Cleveland Orchestra Children’s Chorus, and Cleveland Orchestra Youth Chorus. All three ensembles will perform with their directors, with musical selections ranging across a wide spectrum of works and styles. The evening concludes with the Cleveland Orchestra Chorus and Youth Chorus Chamber Ensemble joining together under the direction of Robert Porco (Cleveland Orchestra director of choruses) to perform Maurice Duruflé’s Requiem with organist Todd Wilson performing on Severance Hall’s acclaimed Norton Memorial Or-gan.

Tickets — ranging from $15 to $100 reserved seats — are available thru the Severance Hall Ticket Office, or by calling 216-231-1111, or online at clevelandorchestra.com.

A.R.O.U.N.D T .O .W.N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include:

This season’s Cleveland Cello Society’s cello ensemble extravaganza “I Cellisti” takes place on Sunday evening, Febru-ary 28, and will be a celebration to honor cellist Stephen Geber, who served as The Cleveland Orchestra’s principal cello from 1973 to 2003 and is now serving as president emeritus of the Cleveland Cello Society.

The evening’s perform-ers include Cleveland Orches-tra cellists Mark Kosower and Richard Weiss, each perform-ing with a group of their students, along with cellists from the Cleveland Orches-tra Youth Orchestra, a local cello group called Pizzicato 4, and guest soprano Natasha Ospina and Cleveland Orchestra associate conductor Brett Mitchell.

Midway through the evening, Kosower and Weiss will hold an onstage conversation with Stephen Geber, who will share anecdotes from his years with The Cleveland Orchestra. The evening concludes with a cello choir performance of Randall Thompson’s Alleluia featuring all 32 of the participating cellists.

Proceeds from ticket sales go to the Cleveland Cello Society Scholarship Fund. Tickets are $20 (suggested donation) and $50 for a limited number of reserved frontrow seats. For reservations, call 216-921-3480. For additional information, please visitwww.clevelandcello.com.

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54 The Cleveland OrchestraCleveland Orchestra News

55Severance Hall 2015-16 55Cleveland Orchestra News


Retired principal clarinetist Franklin Cohen performs in Indonesia this month Franklin Cohen, principal clarinet emeri-tus, is in Asia this month performing Mozart’s Clarinet Concerto under the direction of Jahja Ling in Jakarta, Indonesia, at the Aula Simfonia Jakarta on February 13. He is also giving mas-terclasses and working with local musicians. Enroute to Indonesia, he is presenting a series of masterclasses and recitals in the San Fran-cisco Bay area.

Cleveland Orchestra offers gift ideas all year 'round . . . Music and gift-giving are a perfect match. The Cleveland Orchestra Store offers a host of musical treats every day of the year, including the Orchestra’s latest DVDs and CDs, as well as releases by Orchestra musicians. Musical gifts for children of all ages, and Cleveland Orchestra logo apparel are also on sale at the Store. In addition, Cleveland Orchestra Gift Certificates and Blossom Lawn Ticket Books for the Orchestra’s 2016 Blossom Music Festival are available at the Severance Hall Ticket Office by calling 216-231-1111 or 800-686-1141, or at clevelandorchestra.com.

New album features Cleveland Orchestra brass playing Gabrieli

A new album released in October features the National Brass Ensemble paying homage to an earlier Grammy Award-winning album, The Antiphonal Music of Gabrieli. The new album, titled simply Gabrieli, showcases principal brass and percussion musicians from ten of the na-tion’s top orchestras across the country — in-cluding several players from The Cleve-land Orchestra — performing works by Giovanni Gabri-eli. It features new arrangements of Gabrieli’s landmark collection, Sacrae Symphoniae from 1597 created by Tim Higgins. The new album also features the world premiere of John Williams’s “Music for Brass,” a tribute to the great tradition of versatility and artistic prominence of Ameri-can brass playing.

In 1968, Antiphonal Music of Gabrieli set the bar for American brass-playing excellence and featured that generation’s premier brass musicians from the orchestras of Chicago, Phila-delphia, and Cleveland. “Every player of our generation and since has a story about the first time we listened to it, and how we were awe-struck by what we heard,” says Michael Sachs, principal trumpet for The Cleveland Orchestra, who was a driving force in creating the new recording.

The National Brass Ensemble was born more than four decades ago and features brass and percussion players from seven major orchestras across the country, with the members of the Na-tional Brass Ensemble holding principal positions in the Boston Symphony, Chicago Symphony, Cleveland Orchestra, Detroit Symphony, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, and the San Francisco Symphony, Opera, and Ballet orchestras.

The album is available through the Cleve-land Orchestra Store at Severance Hall.

Blossom Music Festival 2016 Dates and programming for the 2016 Blossom season are being announced on Sunday, February 7. Look for details in the newspaper, online, and . . . in your mailbox.



2015-16 SEASON

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

Severance HallThursday evening, February 11, 2016, at 7:30 p.m. Friday evening, February 12, 2016, at 8:00 p.m. Saturday evening, February 13, 2016, at 8:00 p.m.

Mitsuko Uchida, piano and conductor

WOLFGANG AMADÈ MOZART (1756-1791)

Piano Concerto No. 17 in G major, K453 1. Allegro 2. Andante 3. Allegretto — Finale: Presto

Symphony No. 34 in C major, K338 1. Allegro vivace 2. Andante di molto 3. Allegro vivace

led by concertmaster WILLIAM PREUCIL

INTERMISSION

Piano Concerto No. 25 in C major, K503 1. Allegro maestoso 2. Andante 3. [Allegretto]

Concert Program — Week 11

These concerts are sponsored by Quality Electrodynamics (QED).

Mitsuko Uchida’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Gerhard Foundation, Inc.

William Preucil’s appearance this week with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Dr. and Mrs. Sam I. Sato.

The concert will end on Thursday evening at about 9:15 p.m., and on Friday and Saturday at approximately 9:45 p.m.

P L E A S E N O T E that these performances are being recorded for future release. Please remember to disarm electronic alarms on watches and to turn off your cell phones prior to the start of the concert.

OF CLEVELANDJewish Federation

Caring for those in need never goes out of style. Whether we are feeding the hungry, comforting the sick, or caring for the elderly, our Jewish values have always inspired us to act. Those same values teach us to care for the next generation. By making a legacy gift, you leave your children and grandchildren a precious inheritance and a lasting testimony to your values.

Find out how you can become a member of the Jewish Federation of Cleveland’s Legacy Society by contacting Carol F. Wolf for a confidential conversation at 216-593-2805 or [email protected].

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L’dor V’dor. From Generation to Generation. Create Your Jewish Legacy


B E T W E E N T H E B E G I N N I N G O F 17 8 4 and the end of 1786, with-in a span of three years, Mozart composed a dozen piano concertos. There could be no clearer indication of his high standing as a concert soloist in those years, nor of his intensely rich creativity in a form that was somewhat narrowly circumscribed in terms of length and design but which he crafted with an endless variety of detail. He was happy to keep writing new works in the same genre, usually for himself to play, and his invention showed no sign whatever of going stale. One concerto from the beginning of this period and one con-certo from the end make ideal choices for Mitsuko Uchida’s perfor-mances this week (in Cleveland and on Sunday afternoon at Carnegie Hall in New York) with The Cleveland Orchestra, with whom she has a long-standing and close relationship. She was artist-in-residence here from 2002 to 2007 and has regularly appeared as soloist with the Orchestra before and after that time. She is now engaged in a project recording many of the Mozart piano concertos with The Cleveland Orchestra, leading from the keyboard. Four albums have been released to date, and this week’s concerts are being recorded in preparation for future release. Between the concertos, Mozart’s Symphony No. 34 from 1780 is presented, with William Preucil acting as leader from his position as concertmaster. —Hugh Macdonald

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

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Introducing the Concert


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Mitsuko UchidaMitsuko Uchida is a performer who brings deep insight into the music she plays through her own search for truth and beauty. She is particularly noted for her interpretations of Mozart, Beethoven, and Schubert, both in the concert hall and on recordings, but has also illuminated the music of Berg, Schoenberg, Webern, and Boulez for a new generation of listeners.

Ms. Uchida made her Cleve-land Orchestra debut in Febru-ary 1990, and since that time has performed with the Orches-tra at Severance Hall, at Blossom, and on tour in Europe and Ja-pan. She made her Cleveland

Orchestra conducting debut in 1998, and subsequently led performances from the keyboard of all of Mozart’s solo piano concertos as artist-in-residence across fi ve seasons (2002-07). She is currently in the midst of an ongoing recording project with the Orchestra and Decca, revisiting select Mozart concertos. Mitsuko Uchida performs throughout the world with many diff erent partners. In addition to concerts with The Cleveland Orchestra, recent and future engagements include appearances at the Edinburgh International Festival, at the BBC Proms with the London Philharmonic Orchestra, a recital tour of Japan, and performances across Europe with soprano Magdalena

Kožená and with the Ebène Quartet. 2016 began with a series of concerts led from the keyboard with the Mahler Chamber Orchestra. Mitsuko Uchida records exclusively for Decca. In April 2008, BBC Music Maga-zine presented its Instrumentalist of the Year and Disc of the Year awards to Ms. Uchida. Her recording of Schoenberg’s Piano Concerto with Pierre Boulez and The Cleveland Orchestra won four awards, including one from Gramophone for best concerto recording. Four of her most re-cent recordings were recorded live at Sev-erance Hall with The Cleveland Orchestra and feature eight of Mozart’s piano concer-tos. The album featuring concertos Nos. 23 and 24 received a Grammy Award for “best instrumental soloist with an orchestra.” Ms. Uchida’s discography ranges widely, from Mozart to Debussy, and Beethoven to Berg. Albums include the complete Mozart piano sonatas and piano concertos (with the English Cham-ber Orchestra), the complete Schubert piano sonatas, Debussy’s Études, the fi ve Beethoven piano concertos with the Royal Concertgebouw Orchestra, an album of Mozart violin sonatas with Mark Steinberg, the song cycle Die schöne Müllerin with Ian Bostridge for EMI, the fi nal fi ve Beethoven piano sonatas, and a recording of Berg’s Chamber Concerto with the Ensemble In-tercontemporain. Mitsuko Uchida has demonstrated a long-standing commitment to aiding the development of young musicians and is a trustee of the Borletti-Buitoni Trust. She is also co-director, with Richard Goode, of the Marlboro Music Festival in Vermont. In June 2009, she was made a Dame Commander of the Order of the British Empire.

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I N T H E M I D -178 0 S , most Viennese thought of Mozart as a star pianist rather than as a composer, for writing and playing piano concertos was then his main occupation. We have to imagine his ever boyish personality delighting in the public attention he received when conducting and playing his concertos, admired by audience and orchestra, and clearly mining depths of feeling in the music that belied the superfi cial features of his behavior. Of course, he was always ahead of his audience, wishing they understood the music more profoundly, thinking about his next work, and longing for offi cial recognition that might ease the uncertainties of the musician’s life. A few of his concertos were written for others, in each case young women. This concerto, later cataloged as No. 17, and an earlier one, No. 14 in E-fl at major, were written for Barbara Ployer, the daughter of a Salzburg offi cial working in Vienna who paid Mozart “handsomely” for the commission. She performed this concerto in Döbling, just outside of Vienna where her father re-sided, on June 13th. In the same concert, she partnered Mozart in a performance of his Sonata for two pianos. He proudly took the famous composer Paisiello with him so that Paisiello could hear both Mozart’s music and the playing of his pupil. The concerto displays a delightful open-air breeziness, clearly expressed in the opening theme of the work’s fi rst movement and in the elegant passagework that the piano eagerly off ers as soon as it enters. Notice the bold absence of accompaniment in the fi rst bar: the melody has started in the violins, but the

Mozart composed this piano concerto in G major (later cataloged as K453 and designated as No. 17) in the spring of 1784, completing it on April 12. It was performed on June 13 of that year, by Mozart’s pupil Babette Ployer; it may have been played ear-lier that year, at a concert in late April, with Mozart as soloist and conductor. This concerto runs about 30 min-utes in performance. Mozart scored it

for fl ute, 2 oboes, 2 bassoons, 2 horns, strings, and solo piano. Mitsuko Uchida is performing Mozart’s own cadenzas in this concerto. The Cleveland Orchestra fi rst performed this concerto in April 1948, with George Szell conducting and Rudolf Serkin as soloist. The most re-cent performances were with Mitsuko Uchida in April 2013.

At a Glance

Piano Concerto No. 17 in G major, K453composed 1784

About the Music

About the Music

by Wolfgang Amadè MOZARTborn January 27, 1756Salzburg

diedDecember 5, 1791Vienna


other instruments are obliged to hold back. However simple a theme may be at its fi rst appearance, it will always lead to a parade of glittering fi ngerwork as it approaches a big cadence with its obligatory trill, as it has to do at least twice in an open-ing movement of this kind. When Mozart played his concertos himself, he usually did not bother, or did not have time, or consciously chose not to write out cadenzas. In fact, he preferred to improvise them in performance. When others played the solo part, however,

he would often write out cadenzas for them (which is how we know what sort of length and content he expected in a cadenza). For this concerto, we have a cadenza in his own hand for the fi rst movement. A second cadenza for this movement and two alternative cadenzas for the slow movement have come down to us, but without any certain authentication. Perhaps Barbara Ployer contributed a pair of cadenzas herself. The elegant second movement puts the wind instruments on display, as if in rivalry with the piano, and the fi nale third movement opens as a series of variations on a nicely-balanced, playful theme. The fi rst three variations get more elaborate one by one; the fourth is tortuous and chromatic, in the minor mode, with, in compensation, a jubilant varia-tion to follow, which seems to call out for the trumpets and drums that this concerto does not employ. Rather than pursue his variations to the end, Mozart closes with something akin

to a presto-like scene from a comic opera, as if in anticipation of The Marriage of Figaro, although he allows the theme of the variations to make a teasing reappearance at the end.

—Hugh Macdonald © 2016

Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books

on Beethoven, Berlioz, Bizet, and Scriabin.

About the Music

In the mid-1780s, most

Viennese thought of Mo-

zart as a star pianist rath-

er than as a composer, for

writing and playing pia-

no concertos was then his

main occupation. We have

to imagine his ever boy-

ish personality delighting

in the public attention he

received when conducting

and playing his concertos,

admired by audience and

orchestra, and clearly

mining the depths of

feeling in the music.


Symphony No. 34 in C major, K338composed 1780



T H I S I S T H E L A S T S Y M P H O N Y Mozart composed in Salz-burg — before escaping from the Archbishop Colloredo’s op-pressive service and moving to Vienna. It is dated 29 August 1780 and was perhaps performed in Salzburg that autumn. It may be this symphony that he played at a Widows’ Benefi t concert in Vienna the following April, an occasion of particular interest because it reveals Mozart’s delight in large orchestral numbers: “The symphony was magnifi que,” he wrote to his father, “and had a great success. Forty violins played, the winds were dou-bled, there were ten violas, ten double basses, eight cellos, and six bassoons.” Any performance of a Mozart symphony with such enormous forces today would bring a rasp of disapproval from critics and purists, but the composer was, it seems, quite happy to experiment with larger or smaller forces, depending on what was available. Mozart played this symphony again in a concert he gave in Vienna’s Palais Augarten on May 26, 1782, but this time he would have had an orchestra of smaller size because the event was organized by an amateur named Martin. An Archduke, a Baron, and three Countesses were in the audience. Mozart’s preoccupation at that time was the fi rst performance of his op-era The Abduction from the Seraglio, so that the attendance of several aristocratic admirers would have been, as always, a great encouragement toward future successes. There are only three movements to the symphony, although a Minuet in C major (later cataloged as K409) is thought by some to have been intended for the performances of the symphony in Vienna. There are no parts for fl utes or clarinets, although

Mozart completed this Symphony in C major on August 29, 1780, in Salzburg, where it was probably performed during the fi rst days of September. This symphony runs about 20 minutes in performance. Mozart scored it for 2 oboes, 2 bassoons,

2 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra fi rst performed Mozart’s Symphony No. 34 in December 1950, under the direction of William Steinberg. The most recent performances were in April 2015, led by concertmaster William Preucil.

At a Glance

About the Music

About the Music


trumpets and drums are required and, in the outer movements, given some prominence. The fi rst movement takes a little while to break out of rather normal conventions of symphonic style, and it is not until the sec-ond subject is reached, with a striking chromatic descent from the bassoon, that Mozart’s more intimate manner is heard. There is no repeat of the exposition, and the development is concerned with new matter over a pizzicato bass. To compensate for the plainness (for Mozart) of this fi rst move-ment, the two other movements are of much higher quality. The slow middle movement is an idyllic piece for strings alone in fi ve parts, the violas being divided as in a string quintet (bassoon parts were later added, though they contribute very little of their own). This is intimate music that must have sounded uncommonly rough in 1781 if indeed all sixty-eight strings were utilized for this move-ment. The fi nale third movement is full of the spirit of comedy and features the two oboes in some intriguing passages in thirds. The pulse is unstoppable and the wealth of Mozart’s invention unlimited.


About the Music

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COME HEAR THE NEXT GENERATION OF CLASSICAL MUSICIANS

William Preucil Concertmaster Blossom-Lee Endowed Chair The Cleveland Orchestra

William Preucil became the twelfth con-certmaster of The Cleveland Orchestra in April 1995 and has appeared over 100 times as soloist with the Orchestra in con-certo performances. Prior to joining The Cleveland Orch-estra, Mr. Preucil served for seven seasons as first violinist of the Grammy-winning Cleveland Quartet. During that time, Te-larc International recorded the Cleveland Quartet performing the complete cycle of Beethoven’s 17 string quartets, as well as a variety of chamber works by Haydn, Mo-zart, Schubert, and Brahms. He previously served as concertmaster of the Atlanta Symphony Orchestra (1982-89), after also

holding the same position with the or-chestras of Utah and Nashville. Mr. Preucil regularly performs cham-ber music, as a guest soloist with other orchestras, and at summer music festivals. His North American festival performances have included Santa Fe, Sarasota, Seattle, and Sitka, with international appearanc-es in France, Germany, and Switzerland. Each summer, he serves as concertmaster and violin soloist with the Mainly Mozart Festival Orchestra in San Diego. Mr. Preu-cil also continues to perform as a member of the Lanier Trio. Actively involved as an educator, Mr. Preucil serves as Distinguished Profes-sor of Violin at the Cleveland Institute of Music and at Furman University.

67Severance Hall 2015-16 Concertmaster


Piano Concerto No. 25 in C major, K503composed 1786



T H I S I S T H E F I N A L C O N C E R T O of the series Mozart wrote between 1784 and 1786. Numbered No. 25 after Mozart’s death, it is in the key of C major. It was completed on December 4, 1786. Only two days later, he completed a new symphony in D major. We do not know whether Mozart had a particular occasion in mind for the performance of these works, but that same week the Vienna correspondent of a Hamburg newspaper reported that “the famous composer Herr Mozart” was preparing to travel in the coming New Year to London. “He will go by way of Paris.” Such a trip (which never took place) would certainly require new works in his luggage, to be doled out with unknown melodies and new surprises. In fact, he went neither to London nor to Paris (his aging father Leopold refused to help babysit while he was away), but instead he traveled to present his opera The Marriage of Figaro to the citizens of Prague, who so loved the opera that they im-mediately commissioned another masterpiece, which turned out to be Don Giovanni. While Mozart was in Prague, the new symphony was played on January 19, 1787, and so it has come to be known as the “Prague” Symphony. When — or even if — the new piano concerto was played is not known. The two works, concerto and symphony, had probably taken

Mozart completed this C-major concerto in Vienna on Decem -ber 4, 1786, in time for the winter concert season, during which it was most likely fi rst performed, with the composer as soloist. An exact date has not been established. This concerto runs about 30 min-utes in performance. Mozart scored it for fl ute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus the solo piano. Mitsuko Uchida is performing her own cadenzas in this concerto. The Cleveland Orchestra fi rst

performed Mozart’s Piano Concerto No. 25 in February 1951, when Rudolf Serkin played the piano under George Szell’s direction. (Szell played a role in re-establishing this concerto into the general repertoire, from which it had lapsed in the 19th century. In 1934, Szell led what appears to have been the fi rst performance of this concerto in Vienna since the composer’s death, with soloist Artur Schnabel.) The Cleveland Orchestra’s most recent performances were in April 2013 with Mitsuko Uchida leading from the keyboard.

At a Glance

About the Music

About the Music


shape on Mozart’s desk side by side. From his exhaustive study of Mozart’s manuscripts, the British scholar Alan Tyson was able to show that the fi rst six leaves (out of 55) of the manuscript of the concerto were set down in the winter of 1784-85, nearly two years before the date of completion. So, having buried his third child on November 17, 1786, and having completed a piano trio one day later, Mozart must have worked at incredible speed to complete the piano concerto as well as a brand new symphony within a couple of weeks.

T H E M U S I C Firm, heroic C-major chords proclaim a majestic tone for the fi rst movement, not un-like that of the symphony heard earlier on this concert. Mozart’s previous piano concerto had been in C minor, with a somber and earnest tone that needed to be dispelled from his mind in brighter major-key colors. So here the sun seems to shine and the invention reposes on solid chords and scales, with not too much of that expressive chromaticism that Mozart could always turn to when he wished to plumb the depths of feeling. The second principal tune, as simple as a nursery song, switches playfully

from minor to major. By convention, the soloist would next review the orchestra’s themes, but Mozart here replaces the nursery tune with two new themes of much greater sophistication. For that transgression, the development section — usually a potpourri of tunes heard earlier — is confi ned entirely to the nursery theme, heard in ev-ery possible key and every possible combination and leading to the kind of marvelous fl owing woodwind entries that Mozart particularly favored in his piano concertos. The movement’s recapitulation section dutifully presents all the themes, with no favorites. Mozart, expecting to play the solo part himself, wrote down no cadenza. (Ms. Uchida is performing her own for per-formances this week with The Cleveland Orchestra.) The Andante middle movement’s melody is elegantly shared by violins, fl ute, and the other winds. The piano enters with the same melody, and a mood of unhurried serenity takes over. Some wide leaps in the right hand are the only possible disturbances of this quiet mood, never straying far from the

Having buried his third

child on November 17,

1786, and having complet-

ed a piano trio one day

later, Mozart must have

worked at incredible speed

to complete the piano

concerto as well as a brand

new symphony within the

next couple of weeks.


What’s his name?! Mozart was baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart. His first two baptismal names, Johannes Chrysostomus, represent his saints’ names, following the custom of the Roman Catholic Church at the time. In practice, his family called him Wolfgang. Theophilus comes from Greek and can be rendered as “lover of God” or “loved by God.” Amadeus is a Latin version of this same name. Mozart most often signed his name as “Wolfgang Amadè Mozart,” saving Amadeus only as an occasional joke. At the time of his death, scholars in all fields of learning were quite enamored of Latin naming and conventions (this is the period of the classification and cataloging of life on earth into kingdom, phylum, class, order, family, genus, species, etc.), and successfully “changed” his name to Amadeus. Only in recent years have we started remembering the Amadè middle name he preferred.

main key and the main melody. The finale third movement is a rondo — with a main section re-peated between variations — of the playful type that Mozart favored in these concertos. The soloist repeatedly introduces sprightly new ideas; the orchestra regularly brings back the rondo theme. In one episode the piano leads off, then hands the tune to the oboe, then to the flute, then to oboe and bassoon, and the woodwinds draw each other in as if to a gathering of like-minded friends. It is no wonder that wind play-ers have such a fondness for Mozart’s piano concertos. The solo part is full of virtuoso figuration, and it keeps pressing up against the high F that was the top note on the piano of Mozart’s day — yet there is never any sense that Mozart was fighting against the resources he had available to him; instead, he matches means to ends in a balance that few composers have ever equaled.


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PARTNERS IN EXCELLENCE$300,000 AND MORE

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PARTNERS IN EXCELLENCE$200,000 TO $299,999BakerHostetlerEatonFirstEnergy FoundationJones DayPNC Bank

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Annual Supportgifts of $2,500 or more during the past year, as of January 20, 2016

Cumulative GivingJOHN L. SEVERANCE

SOCIETY

$5 MILLION AND MORE

KeyBankPNC Bank

$1 MILLION TO $5 MILLION

BakerHostetlerBank of AmericaEatonFirstEnergy FoundationForest City The Goodyear Tire & Rubber CompanyHyster-Yale Materials HandlingNACCO Industries, Inc.Jones DayThe Lubrizol Corporation / The Lubrizol FoundationMedical Mutual of OhioParker Hannifin FoundationThe Plain DealerPolyOne CorporationRaiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker CompanyUBS

The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of January 2016.

The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Corporate Support


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$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

Cuyahoga Arts & CultureThe Andrew W. Mellon Foundation

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

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

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

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

Annual Support gifts of $2,500 or more during the past year, as of January 20, 2016

The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

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

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

Cumulative GivingJOHN L. SEVERANCE

SOCIETY

$10 MILLION AND MORE

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


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


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

The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of January 2016.


Foundation & Government Support

75Severance Hall 2015-16 75Foundation and Government Annual Support

Individual Annual Support

The Cleveland Orchestra gratefully recognizes the individuals listed here, who have provided generous gifts of cash or pledges of $2,500 or more to the Annual Fund, benefit events, tours and residencies, and special annual donations.


Lifetime Giving JOHN L. SEVERANCE SOCIETY

$10 MILLION AND MORE

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


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


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

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

Lifetime giving listing as of January 2016.

Giving Societiesgifts during the past year, as of January 20, 2016

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

76 The Cleveland OrchestraIndividual Annual Support

Adella Prentiss Hughes Society

gifts of $100,000 and more

INDIVIDUAL GIFTS OF $500,000 AND MORE

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

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

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


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

George Szell Society



Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. Patrick Park (Miami)Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Franz Welser-Möst


Sheldon and Florence Anderson (Miami) Blossom Friends of The Cleveland Orchestra

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

Elisabeth DeWitt Severance Society



Daniel and Trish Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton The Brown and Kunze FoundationMr. and Mrs. David J. Carpenter Robert and Jean* Conrad Mr. and Mrs. Geoffrey Gund Mrs. John A. Hadden, Jr.Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable FoundationVirginia M. and Jon A. LindsethJulia and Larry Pollock The Ralph and Luci Schey Foundation Rachel R. Schneider listings continue

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

77Severance Hall 2015-16 77Individual Annual Support

listings continue

Allan V. JohnsonMr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Mr. and Mrs. Moshe Meidar (Miami)The Miller Family Sydell Miller Lauren and Steve Spilman Stacie and Jeff HalpernKim Sherwin Mr. and Mrs. Donald Stelling (Europe)Rick, Margarita, and Steven Tonkinson (Miami) Gary L. Wasserman and Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe)


Art of Beauty Company, Inc.Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia BrouhardIrad and Rebecca CarmiJill and Paul Clark Mr. and Mrs. William E. Conway Mrs. Barbara CookPeter D. and Julie F. Cummings (Miami)Do Unto Others Trust (Miami)Dr. and Mrs. Robert Ehrlich (Europe)Mr. Allen H. FordMs. Dawn M. FullRichard and Ann Gridley Gary Hanson and Barbara Klante Sondra and Steve HardisJack Harley and Judy ErnestDavid and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami)Trevor and Jennie Jones Tati and Ezra Katz (Miami) Mr. Jeff LitwillerMr. and Mrs. Thomas B. McGowanMr. Thomas F. McKee Mr. and Mrs. Stanley A. MeiselEdith and Ted* Miller Lucia S. NashMrs. David Seidenfeld Mr. and Mrs. Oliver E. SeikelJoe and Marlene TootMr. and Mrs. Daniel P. WalshTom and Shirley Waltermire Mr. and Mrs. Jeffrey J. WeaverMr. and Mrs. Jeffrey M. Weiss

Frank H. Ginn Society


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

listings continued

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


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

Dudley S. Blossom Society



Gay Cull Addicott Mr. and Mrs. William W. BakerRandall and Virginia BarbatoMr. Yuval BriskerMr. and Mrs. Matthew V. Crawford Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami)Jeffrey and Susan Feldman (Miami)Dr. Edward S. Godleski Mary and Jon Heider (Cleveland, Miami)


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

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

Barbara Robinson, chairRobert Gudbranson, vice chair

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

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The 1929 Society

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

Dr. and Mrs. D. P. AgamanolisSusan S. AngellMr. William AppAgnes ArmstrongMrs. Elizabeth H. AugustusMr. and Mrs. Robert H. Baker Jennifer Barlament and Ken PotsicFred G. and Mary W. BehmMr. and Mrs. Jules BelkinMr. William BergerDr. and Mrs. Eugene H. BlackstoneSuzanne and Jim BlaserDr.* and Mrs. Jerald S. BrodkeyDr. Thomas Brugger and Dr. Sandra RussFrank and Leslie Buck Mr. and Mrs. William C. ButlerAugustine* and Grace Caliguire

Ms. Maria Cashy Dr. William and Dottie ClarkKathleen A. Coleman Diane Lynn Collier and Robert J. Gura Marjorie Dickard ComellaCorinne L. Dodero Foundation for the Arts and Sciences Mr. Kamal-Neil Dass and Ms. Teresa LarsenMr. and Mrs. Ralph DaugstrupMr. and Mrs. Thomas S. DavisPete and Margaret Dobbins Mr. and Mrs. Bernard H. EcksteinDr. and Mrs. Robert ElstonMary and Oliver Emerson* Ms. Karen FethJoseph Z. and Betty Fleming (Miami)Scott A. Foerster

Joan Alice FordBarbara and Peter GalvinJoy E. GarapicDr. and Mrs. Adi GazdarBrenda and David GoldbergMr. Albert C. GoldsmithMr. and Mrs. Henry J. GoodmanPatti Gordon (Miami)Mr. and Mrs. Randall J. Gordon Robert N. and Nicki N. Gudbranson David and Robin GunningAlfredo and Luz Gutierrez (Miami)Douglas M. and Amy Halsey (Miami)Clark Harvey and Holly Selvaggi Dr. Robert T. Heath and Dr. Elizabeth L. BuchananJanet D. Heil*


Robert and Alyssa Lenhoff-BriggsMr. and Mrs. Stanley Cohen (Miami) Ellen E. & Victor J. Cohn Supporting Foundation Bob and Linnet FritzLinda and Lawrence D. Goodman (Miami)Harry and Joyce GrahamMr. Paul GreigIris and Tom Harvie Mrs. Sandra L. HaslingerHenry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman Mr. and Mrs. Brinton L. Hyde

Pamela and Scott Isquick Ms. Elizabeth JamesRichard and Michelle JeschelnigJoela Jones and Richard Weiss James and Gay* Kitson Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Georgia and Carlos Noble (Miami) Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Nan and Bob Pfeifer Rosskamm Family Trust

Mrs. Florence Brewster Rutter Patricia J. Sawvel Dr. and Mrs. James L. SechlerDr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer FoundationDrs. Daniel and Ximena Sessler Bill* and Marjorie B. Shorrock Mrs. Gretchen D. SmithDr. Gregory Videtic Robert C. Weppler Dr. and Mr. Ann WilliamsAnonymous (3)

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

Sheree and Monte Friedkin (Miami) Mr. and Mrs. Richard T. GarrettAlbert I. and Norma C. GellerMr. and Mrs. Robert W. GillespieMr. David J. GoldenKathleen E. HancockMary Jane Hartwell Mr. and Mrs. James A. Haslam IIJoan and Leonard HorvitzRuth and Pedro Jimenez (Miami)Cherie and Michael Joblove (Miami)Alan Kluger and Amy Dean (Miami)Mrs. Elizabeth R. Koch Tim and Linda Koelz Stewart and Donna KohlEeva and Harri Kulovaara (Miami)Shirley and William Lehman (Miami)Dr. David and Janice LeshnerElsie and Byron LutmanMr.* and Mrs. Arch J. McCartneyMr. Donald W. Morrison Joy P. and Thomas G. Murdough, Jr. (Miami) Brian and Cindy MurphyMr. Raymond M. Murphy Dr. Anne and Mr. Peter NeffMrs. Milly Nyman (Miami)

Mr. and Mrs. William M. Osborne, Jr. Douglas and Noreen PowersAndres Rivero (Miami)Audra and George Rose Dr. and Mrs. Ronald J. RossSteven and Ellen RossDr. Isobel RutherfordDrs. Michael and Judith Samuels (Miami)Raymond T. and Katherine S. SawyerCarol* and Albert SchuppMr. and Mrs. Joseph H. Serota (Miami)Seven Five FundDr. Marvin* and Mimi Sobel Howard Stark M.D. and Rene Rodriguez (Miami)Lois and Tom StaufferCharles B. and Rosalyn Stuzin (Miami) Mrs. Jean H. TaberBruce and Virginia Taylor Mr. Joseph F. TetlakDr. Russell A. TrussoMr. and Mrs. Fred A. Watkins Florence and Robert Werner (Miami)Anonymous (4)


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Cicilia Yudha, piano

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Ms. Nancy A. AdamsMr. and Mrs. Robert J. AmsdellDr. Ronald and Diane Bell Margo and Tom BertinHoward R. and Barbara Kaye BesserMr. and Mrs. David BialoskyCarmen Bishopric (Miami)Mr. and Mrs. Robert R. BroadbentMs. Mary R. Bynum and Mr. J. Philip CalabreseDr. and Mrs. William E. CappaertJohn Carleton (Cleveland, Miami)Mr. and Mrs. Frank H. CarpenterDrs. Mark Cohen and Miriam Vishny Mr. Owen ColliganMr. and Mrs. David G. de RouletMrs. April C. DemingPeter and Kathryn Eloff Mr. William and Dr. Elizabeth FeslerRichard J. FreyPeggy and David* FullmerLoren and Michael GarrutoDr. and Mrs. Edward C. Gelber (Miami)Dr. and Mrs. Ronald L. GouldNancy and James GrunzweigLilli and Seth Harris

Mr. Robert D. HartMary S. HastingsIn Memory of Hazel HelgesenMr. and Mrs. Jerry HerschmanDr. Fred A. HeuplerMr. Robert T. HexterDavid Hollander (Miami)Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. InkleyMr. and Mrs. Richard A. JanusBarbara and Michael J. KaplanDr. and Mrs. Richard S. KaufmanMrs. Natalie D. KittredgeDr. Gilles* and Mrs. Malvina Klopman Ronald and Barbara Leirvik Dr. Edith LernerMs. Grace LimMary LohmanMrs. Idarose S. LuntzHerbert L. and Rhonda MarcusMartin and Lois MarcusMs. Nancy L. MeachamDr. Susan M. MerzweilerBert and Marjorie MoyarSusan B. MurphyRichard B. and Jane E. Nash

David and Judith NewellMr. and Mrs. Peter R. OsenarDr. Lewis and Janice B. PattersonMr. Carl PodwoskiAlfonso Rey and Sheryl Latchu (Miami)Dr. Robert W. ReynoldsCarol Rolf and Steven AdlerFred Rzepka and Anne Rzepka Family FoundationDr. and Mrs. Martin I. Saltzman Mr. Paul H. Scarbrough Ginger and Larry ShaneHarry and Ilene ShapiroMr. Richard Shirey Howard and Beth SimonMs. Ellen J. SkinnerMr. Richard C. StairMr. Taras G. Szmagala, Jr.Kathy* and Sidney Taurel (Miami)Mr. Karl and Mrs. Carol TheilErik TrimbleDrs. Anna* and Gilbert TrueRichard Wiedemer, Jr. Mrs. Henietta Zabner (Miami)Marcia and Fred* Zakrajsek Max and Beverly Zupon


Mr. and Mrs. Charles Abookire, Jr. Dr. Jacqueline Acho and Mr. John LeMayStanley I.* and Hope S. Adelstein

Mr. and Mrs.* Norman Adler Mr. and Mrs. Monte AhujaMr. and Mrs. James B. Aronoff

Joseph BabinMr. Mark O. Bagnall (Miami)Ms. Delphine Barrett


listings continued

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

Anita and William Heller Thomas and Mary Holmes Elisabeth Hugh Ms. Carole HughesMs. Charlotte L. HughesMr. David and Mrs. Dianne Hunt Mr. and Mrs. Christopher Hyland Donna L. and Robert H. JacksonDavid and Gloria KahanRudolf D. and Joan T. KamperAndrew and Katherine KartalisMilton and Donna* KatzDr. Richard and Roberta KatzmanMr. John and Mrs. Linda KellyMr. and Mrs. Michael T. KestnerDr. and Mrs. William S. KiserMr. and Mrs.* S. Lee KohrmanMr. Clayton R. KoppesMr. James Krohngold Mr. and Mrs. Peter A. Kuhn Dr. and Mrs. Stephen A. KushnickMr. and Mrs. Arthur J. Lafave, Jr.David C. Lamb Mrs. Sandra S. LaurensonAnthony T. and Patricia A. Lauria Ivonete Leite (Miami)Irvin and Elin Leonard Mr. Lawrence B. and Christine H. LeveyDr. Alan and Mrs. Joni Lichtin Mr. and Mrs.* Thomas A. LiederbachMr. Jon E. Limbacher and Patricia J. LimbacherMr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. LoveRobert and LaVerne* Lugibihl

Mr. and Mrs.* Robert P. Madison Ms. Jennifer R. MalkinMr. and Mrs. Morton L. MandelAlan Markowitz M.D. and Cathy PollardMr. and Mrs. E. Timothy McDonelJames and Virginia Meil Dr. and Mrs. Eberhard MeineckeMs. Betteann Meyerson Mr. and Mrs. William A. Mitchell Curt and Sara MollDr. R. Morgan and Dr. S. Weirich (Miami)Richard and Kathleen NordMr. Thury O’ConnorMr. Henry Ott-HansenJay Pelham (Miami)Mr. and Mrs. John S. PietyMr. Robert Pinkert (Miami)Mr. and Mrs. Richard W. Pogue In memory of Henry PollakMartin R. Pollock and Susan A. GiffordDr. and Mrs. John N. Posch Ms. Rosella PuskasMr.* and Mrs. Thomas A. QuintrellDrs. Raymond R. Rackley and Carmen M. FonsecaDr. James and Lynne Rambasek Mr. and Mrs. Roger F. RankinBrian and Patricia RatnerMs. Deborah ReadMr. and Mrs. Robert J. ReidMrs. Charles Ritchie Amy and Ken RogatDr. and Mrs. Michael Rosenberg (Miami)Robert and Margo Roth Mr. and Mrs. Robert C. Ruhl

David M. and Betty SchneiderLinda B. SchneiderLee and Jane SeidmanMr. Eric Sellen and Mr. Ron SeidmanMs. Marlene Sharak Mrs. Frances G. Shoolroy*Naomi G. and Edwin Z. Singer Family Fund Bruce SmithDavid Kane Smith Mr. and Mrs. William E. Spatz George and Mary Stark Dr. and Mrs. Frank J. StaubMr. and Mrs. Donald W. Strang, Jr.Stroud Family TrustDr. Elizabeth Swenson Ms. Lorraine S. Szabo Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. TromblyMiss Kathleen Turner Robert and Marti Vagi Don and Mary Louise VanDykeTeresa Galang-Viñas and Joaquin Viñas (Miami)Mr. and Mrs. Mark Allen Weigand Mr. and Mrs. Michael R. Weil, Jr.Charles and Lucy WellerMr. and Mrs. Ronald E. WeinbergTom and Betsy WheelerNancy V. and Robert L. Wilcox Sandy Wile and Susan NamenBob and Kat WollyungKatie and Donald WoodcockTony and Diane Wynshaw-BorisAnonymous (2)

listings continue



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Mr. and Mrs. BelkinMr. Roger G. BerkKerrin and Peter Bermont (Miami)Barbara and Sheldon BernsJohn and Laura BertschJaime A. Bianchi and Paige A. Harper (Miami)Ms. Deborah A. BladesBill* and Zeda BlauDoug and Barbara BletcherDr. Charles Tannenbaum and Ms. Sharon BodineMr. and Mrs. Richard H. BoleMrs. Loretta BorsteinMs. Andrea L. BoydLisa and Ron BoykoMr. and Mrs. David BriggsLaurie BurmanRev. Joan CampbellMrs. Millie L. CarlsonLeigh CarterMr. and Mrs. James B. ChaneyDr.* and Mrs. Ronald ChapnickMr. Gregory R. ChemnitzMr. and Mrs. Homer D. W. ChisholmMrs. Robert A. ClarkDr. John and Mrs. Mary CloughKenneth S. and Deborah G. CohenMr. and Mrs. Mark CorradoDr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. DannemillerDr. Eleanor DavidsonMr. and Mrs. Edward B. DavisJeffrey and Eileen DavisMrs. Lois Joan DavisDr. and Mrs. Richard C. DistadWilliam Dorsky and Cornelia HodgsonMr. George and Mrs. Beth Downes Mr. and Mrs. Robert DreshfieldMs. Mary Lynn Durham Mr. and Mrs. Ronald E. DziedzickiEsther L. and Alfred M. Eich, Jr. Erich Eichhorn and Ursel DoughertyDrs. Heidi Elliot and Yuri NovitskyHarry and Ann FarmerMr. Paul C. ForsgrenMichael Frank & Patricia A. SnyderMr. William Gaskill and Ms. Kathleen BurkeMr. Wilbert C. Geiss, Sr.Anne and Walter GinnDr. and Mrs. Victor M. GoldbergMr. and Mrs. David A. Goldfinger The Thomas J. and Judith Fay Gruber

Charitable Foundation Mr. Davin and Mrs. Jo Ann GustafsonDr. Phillip M. and Mrs. Mary HallMr. and Mrs. David P. Handke, Jr.Elaine Harris Green Mr. and Mrs. Donald F. Hastings Matthew D. Healy and Richard S. AgnesMr. and Mrs. Robert D. Hertzberg (Miami)Dr. and Mrs. Robert L. HinnesMr. Larry HolsteinBob* and Edith Hudson (Miami)Dr. Randal N. Huff and Ms. Paulette Beech Ms. Luan K. Hutchinson Ruth F. IhdeMrs. Carol Lee and Mr. James IottMr. Norman E. Jackson (Miami)Ms. LaVerne JacobsonRobert and Linda JenkinsDr. Michael and Mrs. Deborah JoyceMr. Peter and Mrs. Mary Joyce

Mr. Stephen JudsonRev. William C. KeeneAngela Kelsey and Michael Zealy (Miami)The Kendis Family Trust: Hilary and Robert Kendis and Susan and James KendisBruce and Eleanor KendrickMr. James KishFred* and Judith KlotzmanJacqueline and Irwin* Kott (Miami)Ellen Brad and Bart KovacDr. Ronald H. Krasney and Vicki Kennedy Mr. Donald N. KrosinDr. Michael E. LammMr. and Mrs. John J. Lane, Jr. Michael LedermanJudy and Donald Lefton (Miami)Mr. Gary LeidichMichael and Lois A. LemrDr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Ms. Mary Beth LoudJanet A. MannMr. and Mrs. Raul Marmol (Miami)Dr. and Mrs. Sanford E. Marovitz Ms. Dorene MarshDr. Ernest and Mrs. Marian MarsolaisMr. Fredrick MartinMs. Amanda MartinsekMr. Julien L. McCallWilliam C. McCoyMr. and Mrs. James E. MengerStephen and Barbara Messner Mr. Michael and Mrs. Lynn MillerDrs. Terry E. and Sara S. Miller Jim and Laura MollSteven and Kimberly MyersDeborah L. NealeMarshall I. Nurenberg and Joanne KleinRichard and Jolene O’Callaghan Dr. Guilherme OliveiraMr. Robert D. PaddockGeorge Parras Mr. Thomas and Mrs. Tommie PattonDr. and Mrs. Gosta PetterssonHenry Peyrebrune and Tracy RowellDr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan PhillipMs. Maribel Piza (Miami)Dr. Marc and Mrs. Carol PohlMrs. Elinor G. PolsterMr. Robert and Mrs. Susan PriceKathleen PudelskiMs. C. A. ReaganDavid and Gloria RichardsMichael Forde RipichMr. and Mrs. James N. Robinson II (Miami)Mr. Timothy D. Robson Ms. Linda M. RocchiMiss Marjorie A. Rott*Michael and Chandra Rudd (Miami)Mr. Kevin Russell (Miami)Mrs. Elisa J. Russo Dr. Harry S. and Rita K. RzepkaPeter and Aliki RzepkaDr. Vernon E. Sackman and Ms. Marguerite PattonRev. Robert J. SansonMs. Patricia E. Say Mr. James Schutte Ms. Adrian L. ScottMr. and Mrs. Alexander C. ScovilDr. John Sedor and Ms. Geralyn Presti

Ms. Kathryn SeiderCharles Seitz (Miami)Mr. and Mrs. Thomas W. Seitz Ms. Frances L. SharpMs. Jeanne ShattenDr. Donald S. SheldonDr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Robert SieckLois H. Siegel (Miami)David* and Harriet SimonDr. and Mrs. Conrad SimpfendorferThe Shari Bierman Singer FamilyGrace Katherine SipusicRobert and Barbara SlaninaDrs. Charles Kent Smith and Patricia Moore Smith Roy SmithSandra and Richey Smith Ms. Barbara SnyderLucy and Dan SondlesMr. Louis StellatoMr. and Mrs. Joseph D. SullivanRobert and Carol TallerKen and Martha TaylorDr. and Mrs. Thomas A. TimkoSteve and Christa Turnbull Mrs. H. Lansing Vail, Jr.Robert A. ValenteBrenton Ver Ploeg (Miami)Mr. and Mrs. Les C. VinneyDr. Michael Vogelbaum and Mrs. Judith RosmanBarbara and George von MehrenAlice & Leslie T. Webster, Jr.Mr. and Mrs.* Jerome A. WeinbergerMr. Peter and Mrs. Laurie WeinbergerRichard and Mary Lynn WillsMr. Martin WisemanMichael H. Wolf and Antonia Rivas-WolfElizabeth B. Wright Rad and Patty YatesDr. William ZeleiMr. Kal Zucker and Dr. Mary Frances HaerrAnonymous (6)

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

listings continued


member of the Leadership Council (see first page of Annual Support listings)

* deceased

The 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



Located one block north of

Historic Shaker Square,

Larchmere Boulevard is Cleveland’s

premier arts and antiques district,

featuring over 40 eclectic and

independent shops & services.

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Join us for dinner before or after the orchestra.

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In the heart of Little Italy!

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... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE

Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.

Visit cacgrants.org/impact to learn more.

Your Investment: Strengthening Community

Cleveland Public Theatre’s STEP Education Program

Photo by Steve Wagner


A Place to Be Remembered . . . The Cleveland Orchestra is entering the public phase of a major fund-raising eff ort, the Sound for the Centennial Campaign. The campaign is focused on adding more value to our community by securing fi nancial strength for the Orchestra’s second century. The campaign is building the Orch estra’s endowment through cash gi s and legacy commitments, while also securing broad-based and increasing annual support from across Northeast Ohio. Campaign supporters are eligible for special and unique recogni on. From concert dedica ons and program book recogni on to limited-term or permanent naming opportuni es of musician chairs. Plus unique op ons to name spaces and seats in Severance Hall or Blossom Music Center. All available only by suppor ng The Cleveland Orchestra.

You too can play a cri cal part in securing The Cleveland Or ch estra’s role in making the Northeast Ohio community great. To learn more about receiving special recogni on through the Sound for the Centennial Campaign, please contact the Philanthropy & Advancement Department by calling 216-231-7558.

clevelandorchestra.com/100campaign

H A I L E D A S O N E O F the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Or-chestra since its opening on February 5, 1931. After that fi rst concert, a Cleve-land newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a tem-ple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Associa-tion, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this 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. The interior of the building refl ects a combination of design styles, including Art Deco, Egyp-tian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was com-pleted in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citi-zens for performances, meetings, and special events each year.

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

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Severance Hall88 The Cleveland Orchestra

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


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

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

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

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

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

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

Guest Information

90 The Cleveland OrchestraGuest Information

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

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

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

LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the comfort and listening pleasure of the audience, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the 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 make arrangement by calling the House Manager in advance at 216-231-7425. Infrared Assistive Listening Devices are avail-able from a Head Usher or the House Manager for most performances. If you need assistance, please

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

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

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

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

TICKET SERVICESTICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a dif-ferent performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to 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 two hours before the concert, the value of each ticket can be a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

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

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


W I N T E R S E A S O N

Ravel and DebussyFebruary 4 — Thursday at 7:30 p.m.February 5 — Friday at 7:00 p.m. <18s February 6 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAVladimir Jurowski, conductor

, piano

La Source d’un Regard*RAVEL Piano Concerto in G major

Images * not part of Fridays@7 concert

Sponsors: Hyster-Yale Materials Handling, Inc.Sponsors: KeyBank (Fridays@7)

Mitsuko Uchida’s MozartFebruary 11 — Thursday at 7:30 p.m.February 12 — Friday at 8:00 p.m. <18s February 13 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA

, piano and conductor, concertmaster and leader

MOZART Piano Concerto No. 17MOZART Symphony No. 34MOZART Piano Concerto No. 25Sponsor: Quality Electrodynamics (QED)

FAMILY CONCERTGotta Dance!February 26 — Friday at 7:30 p.m. <18s THE CLEVELAND ORCHESTRA

, conductorwith special guests and

Put on your dancing shoes, grab your partner, and join The Cleveland Orchestra for a concert of history’s most toe-tapping music. With selections including a habanera dance from Bizet’s Carmen, a wild square dance from Copland’s Rodeobe able to stop your feet from tapping.Free pre-concert activities begin one hour before start time.Supported by The Giant Eagle Foundation

February 18 — Thursday at 7:30 p.m.February 19 — Friday at 8:00 p.m. <18s February 20 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRA

, conductor

Symphony No. 3 (“Sinfonie singulière”)

DVO K Symphony No. 7

March 3 — Thursday at 7:30 p.m.March 5 — Saturday at 8:00 p.m.March 6 — Sunday at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA

, conductor, piano

Overture to ManfredDVO K Piano Concerto

Symphony No. 4 (“The Inextinguishable”)

Cleveland OrchestraYouth Orchestraand Youth ChorusMarch 4 — Friday at 8:00 p.m. <18s

CLEVELAND ORCHESTRA , conductor

CLEVELAND ORCHESTRA , director

PétrouchkaSong of Destiny [Schicksalslied]

COPLAND Canticle of FreedomA free Prelude Concert begins at 7:00 p.m. featuring mem-bers of the two Youth ensembles performing chamber music.

March 10 — Thursday at 7:30 p.m.Maria João Pires, piano

, pianoMaria João Pires appears for a one-night-only presentation at Severance Hall, playing a program of four Beethoven piano sonatas. Acclaimed for her artistic style and in-tensity, she appears with young pianist Julien Brocal — to present Sonatas Nos. 13, 14, 31, and 32.

<18sUnder 18s Free FOR FAMILIES

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

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

D O R C H E S T R A

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


2015-16 SEASON

Concert Calendar

Welser-Möst Conducts BrucknerMarch 24 — Thursday at 7:30 p.m.March 26 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorTruls Mørk, piano

KURTÁG Petite musique solennelle — Homage to Pierre Boulez at 90 SCHUMANN Cello Concerto BRUCKNER Symphony No. 6

Wagner’s GötterdämmerungMarch 31 — Thursday at 7:30 p.m.April 1 — Friday at 11:00 a.m. <18s

April 2 — Saturday at 8:00 p.m. THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorLeila Josefowicz, violin

CHEUNG Lyra* ADÉS Violin Concerto: Concentric Paths WAGNER Orchestral Excerpts from Götterdämmerung — Dawn and Sieg- fried’s Rhine Journey, Siegfried’s Death and Funeral Music, Immolation Scene * not part of Friday Morning Concert

Sponsor: BakerHostetler

BARTÓK ON STAGE: The Miraculous Mandarin and Bluebeard’s Castle April 7 — Thursday at 7:30 p.m.April 8 — Friday at 8:00 p.m. <18s

April 9 — Saturday at 8:00 p.m. April 10 — Sunday at 3:00 p.m. <18s THE JOFFREY BALLETAshley Wheater, artistic directorand featuring choreography and stage direction by Yuri Possokhovset, lighting, projection design by Alexander V. NicholsMikhail Petrenko, bassKatarina Dalayman, soprano and members of the Cleveland Orchestra ChorusTHE CLEVELAND ORCHESTRAconducted by Franz Welser-Möst

The opera event of the season, with two of Bartók’s mas-terful stage works as a doublebill — exploring love and lust, deception and revelation, death and murder! A world pre-miere collaboration with Chicago’s renowned Joffrey Ballet.

Supported with funding from The Andrew W. Mellon Foundation and the National Endowment for the Arts.

FAMILY CONCERTGOTTA DANCE!Friday February 26 at 7:30 p.m.THE CLEVELAND ORCHESTRABrett Mitchell, conductorCleveland Balletand Csárdás Dance Company

Put on your dancing shoes, grab your partner, and join The Cleveland Orchestra and a team of local dancers for a concert of history’s most toe-tapping Classical music. With musical selections including a waltz from Tchaikovsky’s Sleeping Beauty, a habanera from Bizet’s Carmen, a wild square dance from Copland’s Rodeo, and rousing Slavonic Dances by Dvořák, you won’t be able to stop your feet from tapping!

An hour of free pre-concert activities begins at 6:30 p.m. Supported by The Giant Eagle Foundation

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

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

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

TICKETS 216-231-1111 clevelandorchestra.com

94 The Cleveland OrchestraUpcoming Concerts

AT SEVERANCE HALL . . .

BARTÓK ON STAGEThe Miraculous Mandarin andBluebeard’s CastleThursday April 7 at 7:30 p.m.Friday April 8 at 8:00 p.m. <18s

Saturday April 9 at 8:00 p.m.Sunday April 10 at 3:00 p.m. <18s

THE JOFFREY BALLETAshley Wheater, artistic director

and featuringchoreography and stage direction by Yuri Possokhovset, lighting, projection by Alexander V. Nichols

THE CLEVELAND ORCHESTRAconducted by Franz Welser-Möst

The opera event of the season! With two of Bartók’s masterful stage works presented as a doublebill — exploring love and lust, de-ception and revelation, death and murder! A world premiere new production in collabora-tion with Chicago’s renowned Joffrey Ballet.

Supported with funding from The Andrew W. Mellon Foundation and a grant from the National Endowment for the Arts.

WELSER-MÖSTCONDUCTSBRUCKNERThursday March 24 at 7:30 p.m.Saturday March 26 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorTruls Mørk, cello

Franz Welser-Möst continues his exami-nation of Bruckner’s symphonies with The Cleveland Orchestra, presenting the mighty music and soul-stirring movements of the Sixth Symphony. The program also features Robert Schumann’s rarely-heard melodic Cello Concerto with soloist Truls Mørk, and begins with a recent work written by Hungar-ian composer György Kurtág as an homage for the 90th birthday of Pierre Boulez, The Cleveland Orchestra’s first principal guest con-ductor who died earlier this year just shy of the age of 91.

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The Cleveland Orchestra February 4-6/11-13 Concerts

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