The Cleveland Orchestra May 3, 4, 5, 9, 10 Concerts

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Table of Contents4 The Cleveland Orchestra

1213SEASON

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

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

PA

GE

7 In the News

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

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

8 About the Orchestra

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

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

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

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

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

36 Concert — Week 21

Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Program: May 3, 4, 5 . . . . . . . . . . . . . . . . . . . . . . . 36

Introducing the Program . . . . . . . . . . . . . . . . . . . . 39

MOZART

Symphony No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Symphony No. 17 . . . . . . . . . . . . . . . . . . . . . . . . . 45

FISCHER

Symphony with Eight Timpani . . . . . . . . . . . . 43

REBEL

Chaos, from The Elements . . . . . . . . . . . . . . . . . 47

HAYDN

Symphony No. 45 (“Farewell”) . . . . . . . . . . . . . 49

Program: May 9, 10 . . . . . . . . . . . . . . . . . . . . . . . . 37

Introducing the Program . . . . . . . . . . . . . . . . . . . . 55

HANDEL

Water Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Zadok the Priest . . . . . . . . . . . . . . . . . . . . . . . . . . 61

“Dettingen” Te Deum . . . . . . . . . . . . . . . . . . . . . . 63

Conductor: Ton Koopman . . . . . . . . . . . . . . . . . . . 67

Soloist: Paul Yancich . . . . . . . . . . . . . . . . . . . . . . . . . 69

Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Cleveland Orchestra Chamber Chorus . . . . . . . . . 72

52 Support

Sound for the Centennial . . . . . . . . . . . . . . . . . . . . 52

Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . 72-B

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

Foundation / Government Annual Support . . . 75

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

90 Future Concerts

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

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

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

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

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

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

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

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

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

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

50%

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Perspectives from the Executive Director

7Severance Hall 2012-13 7Severance Hall 2012-13

April-May 2013

At the end of March, The Cleveland Orchestra received a $10 million,

fi ve-year grant from The Cleveland Foundation — the largest such

commitment to an arts organization in the Foundation’s history and

one of the largest gifts ever received by the Orchestra. We are deep-

ly grateful for this exceptional grant and for the confi dence in the

Orchestra’s strategic direction that it represents. Over the past year,

the Foundation’s staff and board have rigorously assessed the Orchestra’s ongoing trans-

formation, and we sincerely appreciate their generous support of this important work.

The Cleveland Foundation grant is a testament to much more than the Orchestra’s

historical ranking among the world’s best — it is an extraordinary commitment to our

programming innovations and our active community engagement. Sweeping changes

at The Cleveland Orchestra have taken root in recent years and are starting to bear fruit.

These include our eff orts to foster future audiences, to shape and focus our education

programs, and our work to build strong and meaningful working partnerships across the

Northeast Ohio community.

We are on target for a record-breaking season in ticket sales here at Severance Hall, in-

cluding a signifi cant increase in the number of young people eagerly enjoying and ener-

gizing our regular classical concerts. These numbers are the direct result of strong mar-

keting programs (such as Student Advantage and Under18s Free) for our core symphonic

concerts and innovative programming changes (including the KeyBank Fridays@7 and

Celebrity series).

Our education and community programs are also scoring strong successes. Our long -

standing commitment to education was celebrated in March, including a unique

showcase concert featuring all our youth ensembles performing together with The

Cleveland Orchestra for the fi rst time — a special event that was telecast on WVIZ. In

addition, we believe that the introduction of “Make Music!” as a focus and catalyst for

our ongoing work in music education will bring new understanding and energy to

these programs. New initiatives in the community include the Orchestra’s inaugural

neighborhood residency, “At Home in Gordon Square,” which unleashes a week fi lled

with free events and performances, May 11-17, as part of the vibrant renaissance of this

westside neighborhood.

Good news about The Cleveland Orchestra and Northeast Ohio will continue. The initial

stages of our Sound for the Centennial Campaign’s endowment and special fundraising

phases have been strong, as evidenced by The Cleveland Foundation’s generous gift

and by commitments from additional forward-looking organizations and individuals

(see pages 52-53). This Campaign spans the decade up to the Orchestra’s hundredth

birthday in 2018, and comprises all our fundraising eff orts across the next fi ve years.

With your support and enthusiasm, there will be more good news ahead — for The

Cleveland Orchestra and the entire Northeast Ohio community.

Gary Hanson

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

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

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

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

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

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

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

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

with a series of new and ongoing initiatives, including:

the establishment of residencies around the world, fostering creative artistic

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

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

expansion of education and community programs in Northeast Ohio to

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

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

About the Orchestra8 The Cleveland Orchestra

follow the Orchestra on Facebook for more archival photos

Robert Shaw rehearsing The Cleveland Orchestra Chorus for performances of Beethoven’s Missa

Solemnis in December 1963, in what was then the chorus rehearsal room at Severance Hall. The all-

volunteer Chorus is celebrating the 60th anniversary of its founding throughout the 2012-13 season.

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

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

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

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

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

expansive set of educational presentations and collaborations (based on successful

educational programs pioneered at home in Cleveland);

creative new artistic collaborations, including staged works and chamber music

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

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

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

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

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

ances at Carnegie Hall;

regular concert tours to Europe and Asia;

ongoing recording activities, including new releases under the direction of Franz

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

cert presentations of symphonies by Anton Bruckner;

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

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

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

continuing and expanded educational partnerships with schools, colleges, and

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

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

ter Festival;

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

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

fully staged performances of Tchaikovsky’s Th e Nutcracker.

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

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

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

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

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

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

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

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

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

concert facilities in the United States.

The Orchestra Today 9Severance Hall 2012-13

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Musical Arts Association

*deceased

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

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

Herbert Kloiber (Germany)Ludwig Scharinger (Austria)

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

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

Claire Frattare, State Chair, Blossom Women’s Committee

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

Dr. Lester Lefton, President, Kent State University

Barbara R. Snyder, President, Case Western Reserve University

PAST PRESIDENTS D. Z. Norton 1915-21

John L. Severance 1921-36

Dudley S. Blossom 1936-38

Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55

Frank E. Taplin, Jr. 1955-57

Frank E. Joseph 1957-68

Alfred M. Rankin 1968-83

Ward Smith 1983-95

Richard J. Bogomolny 1995-2002, 2008-09

James D. Ireland III 2002-08

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

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

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

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

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

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

OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President

Richard J. Bogomolny, Chairman

The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair

Raymond T. Sawyer, Secretary

Beth E. Mooney, Treasurer

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

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

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

THE MUSICAL ARTS ASSOCIATION as of February 2013

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

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


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

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

eleventh year as music director of Th e Cleveland

Orchestra, with a long-term commitment extend-

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

direction, the Orchestra is acclaimed for its continu-

ing artistic excellence, is enlarging and enhancing its

community programming at home, is presented in a

series of ongoing residencies in the United States and

Europe, continues its historic championship of new

composers through commissions and premieres, and

has re-established itself as an important operatic en-

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

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

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

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

performances in collaboration with the Cleveland Metropolitan School District.

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

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

tra Youth Orchestra and partnerships with music conservatories and universities

across Northeast Ohio.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

and Sean Shepherd.

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

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Music Director 15Severance Hall 2012-13 15Severance Hall 2012-13

Music Director

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

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

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

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

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

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

Franz Welser-Möst became general music director of the

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

pany has included acclaimed performances of Tristan and Isolde,

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

Eric Bechtolf, and critically praised new productions of Hin-

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

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

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

and Berg’s Wozzeck.

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

harmonic. Recent performances with the Philharmonic include appearances at the

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

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

in seventy countries worldwide; he conducted the New Year’s Day concert again at

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

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

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

led the company in more than 40 new productions and numerous revivals.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

published in a German edition in 2007.

16 The Cleveland Orchestra

“The Cleveland Orchestra proved

that they are still one of the world’s

great musical beasts. With Franz

Welser-Möst conducting, this music

. . . reverberated in the souls of the

audience.” —Wall Street Journal

“Cleveland’s reputation as one of the

world’s great ensembles is richly deserved.”

—The Guardian (London)

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

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

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Franz Welser-Möst and The Cleveland Orchestra,

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FIRST VIOLINSWilliam PreucilCONCERTMASTER

Blossom-Lee Chair

Yoko MooreASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Peter OttoFIRST ASSOCIATE CONCERTMASTER

Jung-Min Amy LeeASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Takako MasamePaul and Lucille Jones Chair

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

Kim GomezElizabeth and Leslie Kondorossy Chair

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

Miho HashizumeTh eodore Rautenberg Chair

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

Alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

Isabel TrautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

Alexandra PreucilKatherine BormannYing Fu

SECOND VIOLINSStephen Rose*

Alfred M. and Clara T. Rankin Chair

Emilio Llinas 2

James and Donna Reid Chair

Eli Matthews 1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

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

VIOLASRobert Vernon*

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2

Mark JackobsJean Wall Bennett Chair

Arthur KlimaRichard WaughLisa BoykoLembi VeskimetsEliesha NelsonJoanna Patterson ZakanyPatrick Connolly

CELLOSMark Kosower*

Louis D. Beaumont Chair

Richard Weiss1

Th e GAR Foundation Chair

Charles Bernard2

Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya EllRalph CurryBrian ThorntonDavid Alan HarrellPaul KushiousMartha BaldwinThomas Mansbacher

BASSESMaximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2

Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark AthertonThomas SperlHenry Peyrebrune

Charles Barr Memorial Chair

Charles CarletonScott DixonDerek Zadinsky

HARPTrina Struble*

Alice Chalifoux Chair

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

The Orchestra

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


* Principal§ Associate Principal1 First Assistant Principal2 Assistant Principal

FLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein*

Edith S. Taplin Chair

Mary LynchJeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaff e Chair

CLARINETSFranklin Cohen*

Robert Marcellus Chair

Robert WoolfreyDaniel McKelway 2

Robert R. and Vilma L. Kohn Chair

Linnea Nereim

E-FLAT CLARINETDaniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINETLinnea Nereim

BASSOONSJohn Clouser *

Louise Harkness Ingalls Chair

William HestandBarrick Stees2

Sandra L. Haslinger Chair

Jonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSRichard King *

George Szell Memorial Chair

Michael Mayhew §

Knight Foundation Chair

Jesse McCormickHans ClebschAlan DeMattia

TRUMPETSMichael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack SutteLyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard StoutAlexander andMarianna C. McAfee Chair

Shachar Israel2

BASS TROSMBONEThomas Klaber

EUPHONIUM AND BASS TRUMPETRichard Stout

TUBAYasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANIPaul Yancich*

Otto G. and Corinne T. Voss Chair

Tom Freer 2

PERCUSSIONJacob Nissly*

Margaret Allen Ireland Chair

Donald MillerTom FreerMarc Damoulakis

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin Chair

Carolyn Gadiel WarnerMarjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’BrienDonald Miller

ORCHESTRA PERSONNELCarol Lee IottDIRECTOR

Karyn GarvinMANAGER

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

Sidney and Doris Dworkin Chair

Sunshine Chair

The Orchestra

CONDUCTORSChristoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,CLEVELAND ORCHESTRA MIAMI

James FeddeckASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

1213

SEASONO R C H E S T R A


W E

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W A YTo new beginnings

and healthier tomorrows

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

SistersofChar it yHea lth.org / JoinUs

A Ministry of the Sisters of Charity of St. AugustineCanton, Ohio Cleveland, Ohio Columbia, South Carolina

*Joint ventures with partners


Orchestra News

On March 28, The Cleveland Foundation an-

nounced the awarding of a fi ve-year, $10 million

grant to The Cleveland Orchestra in support of

the Orchestra’s recent and ongoing eff orts to

attract a new, broader audience and to trans-

form itself for the future. Given as part of the

Orchestra’s Sound for the Centennial Campaign,

this unprecedented grant is the largest single

grant to an arts organization in the Foundation’s

99-year history.

“We are deeply grateful for the Cleveland

Foundation’s extraordinary grant and the con-

fi dence in the Orchestra’s strategic direction

that it represents,” says Gary Hanson, executive

director of The Cleveland Orchestra. “Over the

past year, the foundation’s staff and board have

rigorously assessed the Orchestra’s ongoing

transformation and we sincerely appreciate their

generous commitment to our work.”

“Through the years, the Cleveland Foun-

dation has stepped up to provide signifi cant

support to major Northeast Ohio institutions

at pivotal times,” remarked Ronald B. Richard,

president and chief executive offi cer of the Foun-

dation. “We intend that this grant will catalyze

additional leadership funding for the Orchestra’s

creative eff orts in the community to make this

world-class institution accessible and enjoyable

to all of Greater Cleveland for years to come.”

The grant to the Orchestra was part of a

record $26.6 million in grants in the fi rst quarter

of 2013 authorized by the Foundation’s board

of directors, including grants in support of core

neighborhood and youth initiatives, educa-

tional institutions, and eff orts to create a vibrant

downtown. Established in 1914, the Cleveland

Foundation is the world’s fi rst community foun-

dation and one of the largest today. Through the

generosity of donors, the foundation improves

the lives of Greater Clevelanders by building

community endowment, addressing needs

through grantmaking, and providing leadership

on vital issues.

Cleveland Foundation grants Orchestra $10 million Largest gift to an arts organization in Foundation’s history

is vote of confi dence in Th e Cleveland Orchestra’s programming

innovations and community engagement across Northeast Ohio

“The Cleveland Foundation’s just-announced

$10 million grant to The Cleveland Orchestra —

the largest arts grant in the foundation’s history

— is a ringing vote of confi dence in the future of

this treasured local institution and its pacesetting

innovations. . . . The grant is a welcome affi rma-

tion that The Cleveland Orchestra will be making

beautiful music for another 100 years.”

—Cleveland Plain Dealer, March 28

The Cleveland Foundation has awarded The

Cleveland Orchestra a $10 million grant to

support its ongoing eff orts to cultivate new

and broader audiences and to build a strong

endowment to sustain the nearly century-old

institution. The grant . . . is a demonstration of

the grantmaking organization’s confi dence in

the strategic direction the orchestra is taking,

said Robert Eckardt, The Cleveland Foundation’s

executive vice president. . . . “It was time to step

up and provide a signifi cant commitment to the

Orchestra as they work through the challenging

environment they fi nd themselves in,” Mr. Eckardt

said. . . . “They are an important part of Cleve-

land’s brand, and it’s diffi cult to imagine Cleve-

land without a world-class orchestra.” . . . Gary

Hanson, the orchestra’s executive director, stated

that The Cleveland Foundation’s commitment . . .

adds “meaningful momentum” to the Orchestra’s

Sound for the Centennial fundraising campaign,

which runs through 2018 — the orchestra’s

100-year anniversary.

—Crain’s Cleveland Business, March 28

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Cleveland Orchestra News

News


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News

Orchestra NewsLongterm generosity and new commitments by Kulas Foundation

and John P. Murphy Foundation recognized through the naming

of Severance Hall’s upper lobby and dress circle seating

Two important parts of Severance Hall

— the dress circle seating area of the Concert

Hall, and the adjoining dress circle lobby — have

been named in recognition of longterm support

for The Cleveland Orchestra by two extraordi-

nary local organizations: the John P. Murphy

Foundation and the Kulas Foundation. Both

have long historical relationships with the Or-

chestra and have made generous new funding

commitments to the Sound for the Centennial

Campaign, which spans the decade leading to

the Orchestra’s 100th anniversary in 2018.

“These two foundations represent a special

kind of strong, ongoing commitment to the

Orchestra — and to the entire Northeast Ohio

community,” said Gary Hanson, executive direc-

tor of The Cleveland Orchestra, in announcing

the named spaces. “We are humbled by their

generosity and by their faith in the Orchestra’s

eff orts to transform itself and to harness the pas-

sion and power of music to serve more people

across the region.”

The John P. Murphy Foundation is now

permanently honored at Severance Hall with

the naming of the John P. Murphy Dress Circle

Lobby. The Foundation and its trustees and

offi cers have been generous supporters of The

Cleveland Orchestra since 1970, contributing

more than $7.5 million. John P. Murphy began

serving on the Musical Arts Association board of

trustees in 1953 and continued as a trustee until

1968. The Foundation has made a ten-year com-

mitment of funding to The Cleveland Orchestra

as part of the comprehensive Sound for the Cen-

tennial Campaign.

“The John P. Murphy Foundation has long

understood the tremendous value that The

Cleveland Orchestra holds for all of Northeast

Ohio,” says Nancy W. McCann, president of the

Foundation’s board of trustees. “Our $3 million

commitment to the Sound for the Centennial

Campaign is an investment in this community

that will help the Orchestra sustain its world-re-

nowned level of artistic excellence while engag-

ing more local residents through transformative

and innovative musical programming.”

With the naming of the Kulas Dress Circle,

the Orchestra permanently honors the Kulas

Foundation, which has generously supported

The Cleveland Orchestra for three-quarters of

a century. With their lifelong passion of music,

Elroy J. Kulas and his wife, Fynette, began sup-

porting the Orchestra in 1919, long before they

established the Kulas Foundation in 1937. Both

later served as active members of the Musical

Arts Association board of trustees. In the past

three decades, the Kulas Foundation has con-

tributed more than $10 million to The Cleveland

Orchestra. Their generosity has helped support

education programs as well as the construction

and naming of Kulas Plaza at Blossom Music

Center to provide updated services for donors.

They recently committed $3 million for the

Sound for the Centennial Campaign.

“We are extraordinarily grateful to Kulas

Foundation trustees Richard W. Pogue, Patrick

F. McCartan, and Nancy W. McCann for their

leadership in working to support The Cleveland

Orchestra,” said Gary Hanson.

“The Cleveland Orchestra is among North-

east Ohio’s top cultural gems,” continued Nancy

McCann. “With our commitment to this Cam-

paign, the Kulas Foundation honors the ensem-

ble’s 100th anniversary and looks forward to the

Orchestra’s ongoing role as a strong and vibrant

part of this community’s future.”

Committed to Accessibility

Severance Hall is committed to making

performances and facilities accessible to all

patrons. For information about accessibility

or for assistance, call the House

Manager at 216 231-7425.


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NewsNewsNews

Orchestra will be “at home” in Gordon Square Inaugural neighborhood residency will bring an intensive week

of performances, activities, and concerts on west side, May 11-17

Orchestra News

In May, The Cleveland Orchestra launches

its “At Home” neighborhood residency pro-

gram with an intensive week of performances

and activities in the Gordon Square Arts District

on Cleveland’s west side. All of the events, May

11-17, will be free and open to the public. Lead-

ers and representatives from Gordon Square

businesses and associations have partnered

with the Orchestra to plan and host the week’s

activities.

These new “At Home” residencies are be-

ing designed to immerse the Orchestra in local

neighborhoods through a festival-like week of

performances and presentations, in order to

bring the Orchestra’s musicians in closer con-

text, contact, and connection with the North-

east Ohio community.

“The citizens of this region created The

Cleveland Orchestra,” says executive director

Gary Hanson, “and continue to support the

Orchestra’s music-making and its education

programs at a higher level than any other met-

ropolitan area in the country. In thanks for that

faithful support, as a way to give back to the

community, and as part of our ongoing com-

mitment to Northeast Ohio, we are working

to create a real-life everyday connection with

neighborhoods throughout the region.”

The Cleveland Orchestra’s “At Home”

neighborhood residency program is supported

in part by the Machaskee Fund for Community

Programming, a fund created by a generous en-

dowment gift from Alex and Carol Machaskee.

The centerpiece of the “At Home” in Gor-

don Square week of over a dozen free music

presentations will be a Thursday night concert

by The Cleveland Orchestra at Saint Colman

Catholic Church. Seating for this is limited and

tickets are required. Tickets can be obtained

from a variety of Gordon Square businesses and

organizations beginning on Saturday, April 27.

Complete details of all the free performanc-

es and activities for “At Home” in Gordon Square

— including family-friendly programs for all age

groups — can be found on the Orchestra’s web-

site at clevelandorchestra.com/athome.

A new neighborhood or town will be cho-

sen each season to partner with The Cleveland

Orchestra in creating a unique and intensive

week-long festival of musical activities, perfor-

mances, exploration, and everyday fun.

Empowering the lives of over 16,000 children and families each year.

www.GuidestoneOhio.org440-473-1900 east440-473-1900 east 440-237-7111 west440-237-7111 west www.geromes.comwww.geromes.com

Great chefs need great kitchens.Great chefs need great kitchens.Great kitchens need great design. Great kitchens need great design.

28 The Cleveland OrchestraCleveland Orchestra News

Subscribe to the 2013-14 Artist Recital Series

Save about 33% offsingle ticket prices

Free admission tobonus events

Priority seating

Advance notice ofupcoming events

Visit www.oberlin.edu/arseries or call 800-371-0178

11/5/13 Ravel: Intimate MasterpiecesYolanda Kondonassis and friends

11/20/13 Yo-Yo Ma, celloKathryn Scott, piano

12/3/13 The Cleveland Orchestra

2/9/14 Imani Winds withGilbert Kalish, piano

3/1/14 George Li, piano

4/6/14 Susan Graham, mezzo-soprano

4/13/14 Takacs String Quartet

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OrchestraNewsNews

Family Concert seriesconcludes in May with

storytelling in “Fables, Fantasy, and Folklore”The Cleveland

Orchestra’s season

of Family Concerts concludes with “Fables, Fantasy, and Folklore” on Sunday afternoon, May 12, led by guest conductor Michael Butterman. The con-cert features such classics as Rimsky-Korsakov’s Scheherazade (based on Tales from the Arabian Nights), Grieg’s In the Hall of the Mountain King,and Rossini’s William Tell Overture. Intended for children ages 7 and older, the series is de-signed to introduce young people to classical music. In addition to each one-hour Orchestra concert, the Family Concert series features free, pre-concert activities, including an “In-strument Discovery” in which children can try

playing various instruments. For complete details about this concert,

visit clevelandorchestra.com.

Silence is golden As a courtesy to everyone around you,

patrons are reminded to turn off cell phones

and to disengage electronic watch alarms

prior to each concert.

Orchestra violinist promoted and new musician hired . . . Music Director Franz Welser-Möst and

The Cleveland Orchestra have announced the

appointment of a new assistant

concertmaster and a new mem-

ber of the second violin section.

Both appointments began at the

end of April.

Alexandra Preucil, a mem-

ber of the violin section since

2008, moves forward in the first

violins to hold the Dr. Jeanette

Grasselli Brown and Dr. Glenn R. Brown

Assistant Concertmaster Endowed Chair.

She graduated from the Cleveland Institute

of Music with a bachelor’s degree in music

and a minor in dance. While in school, Ms.

Preucil was assistant concertmaster with the

Akron and Canton symphonies, and was a

member of the Svanito Quartet.

Yun-Ting Lee joins The Cleveland Or-

chestra as a member of the sec-

ond violin section. Prior to his

appointment, he was a member

of Canton Symphony Orchestra

and CityMusic Cleveland, and

performed as a substitute violin-

ist with the Cincinnati Symphony

Orchestra. Most recently, he won

a position with the Minnesota

Orchestra. A native of Taiwan, Mr. Lee grew up

in Arizona, and holds bachelor’s and master’s

degrees from the Cleveland Institute of Music.


Orchestra NewsNews

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Collaboration with Cleveland Museum of Art continues with “California Masterworks” concerts on May 1 and 3

The Cleveland Orchestra and the Cleve-

land Museum of Art renew their collaborative

work together in May with “California Mas-

terworks,” featuring two Cleveland Orchestra

concerts of works by groundbreaking compos-

ers associated with California. James Feddeck,

Cleveland Orchestra assistant conductor, con-

ducts two diff erent programs, Wednesday, May

1, and Friday, May 3, at the Museum’s Gartner

Auditorium. The programs feature works by

John Adams, Henry Cowell, Lou Harrison, Terry

Riley, James Tenney, and, in a posthumous

world premiere, Dane Rudhyar.

In addition to the concerts, “California

Masterworks” will also include the showing of

three fi lms highlighting California composers

(Crossroads and Music with Balls on April 26, and

Lou Harrison: A World of Music on April 29), plus

Concert Previews talks with Case Western Re-

serve University professor Henry Adams (speak-

ing about modern and 20th-century California

art), and concludes with a special performance

of John Cage’s large-scale multi-media work

HPSCHD in the Museum’s Ames Family Atrium

on the evening of May 3, from 9 to 11 p.m.

The Orchestra and Museum presented

their fi rst similar collaboration in 2011, with a

series of in-gallery chamber orchestra perfor-

mances titled “Italian Masterworks.”

These Cleveland Orchestra performances

are made possible in part by the Keithley Fund

for Artistic Collaboration, created through a

generous gift to the Orchestra’s endowment.

Additional support is provided through en-

dowed funds at the Cleveland Museum of Art.

For more information or to purchase

tickets to “California Masterworks,” visit the

Museum’s website at clevelandart.org.

The Cleveland Orchestra

Guide to Fine Schools

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

Consistently ranked among“Best Communities for

Music Education” in the Nation!

216-898-8300www.berea.k12.oh.us

Cleveland Institute of Music216-791-5000

Cleveland State UniversityKulas Series of Keyboard Conversations

with Jeffrey Siegel216-687-5018

Lake Erie College1-855-GO-STORM

The Oberlin Conservatory of Music440-775-8413

Award-Winning Modern American Fare.

Luxurious Lodging.

Fresh, Local & Seasonal.

2203 Cornell RoaDCleveland, OH 44106

216.791.6500washingtonplacelittleitaly.com


Children’s Choruses present spring concert on May 13

The Cleveland Orchestra Children’s Cho-

rus — along with the group’s Preparatory

Chorus — present their annual spring concert

on Monday evening, May 13. The program of

choral works begins at 7:30 p.m. at University

Circle United Methodist Church (1919 East

107th, Cleveland). The concert is free and

open to the public.

Blossom Women’s Committee spring membership luncheon to be held on May 8

The Blossom Women’s Committee is

holding their spring membership luncheon

on Wednesday, May 8, in Pepper Pike. The pro-

gram includes a performance by retired assis-

tant principal cello Diane Mather together with

clarinetist Joseph Fried and pianist Nina Fried.

The event includes a pre-lunch reception, lun-

cheon, and the musical performance. Tickets

are $38 and can be ordered through May 1.

The luncheon takes place at the Country Club

(2825 Lander Road). The public is welcome.

For additional information, send an email

to Lis Hugh at [email protected].

Comings and goings

As a courtesy to the performers onstage

and the entire audience, late-arriving patrons

cannot be seated until the fi rst break in the

musical program.

Mellon Foundation grants $2.5 million to Cleveland Orchestra for artistic initiatives

The Andrew W. Mellon Foundation has

awarded a new $2.5 million grant to The Cleve-

land Orchestra to support artistically ambitious

programming with special emphasis on opera

and ballet. The gift — the largest to the Or-

chestra in the Foundation’s history — supports

the type of programming and partnerships that

challenge and expand the Orchestra and help

distinguish the ensemble from its peers.

“We are grateful to the Andrew W. Mellon

Foundation for supporting artistic initiatives as

part of our ongoing transformation,” said Gary

Hanson, the Orchestra’s executive director, in

making the announcement. “Of national phil-

anthropic foundations, the Mellon Foundation

is among the most important in the support of

symphony orchestras. We deeply appreciate

their recognition and endorsement of the work

of The Cleveland Orchestra.”

The Mellon Foundation award will support

opera performances in the next three seasons

at Severance Hall, beginning with semi-staged

performances of Janáček’s The Cunning Little

Vixen in May 2014, led by music director Franz

Welser-Möst. In addition, the grant also sup-

ports world-renowned guest artists in longterm

collaborations with The Cleveland Orchestra,

such as conductor Ton Koopman, pianist Mit-

suko Uchida, and music director laureate Chris-

toph von Dohnányi.

The New York-based Andrew W. Mellon

Foundation has a long history of supporting The

Cleveland Orchestra and of funding eff orts to

reach new listeners. Its fi rst gift to the ensemble

was in 1977, and a grant of $800,000 in 2009

supported the then-new “Fridays@7”series as

well as performances of opera, chamber music,

and collaborations with Chicago’s Joff rey Ballet.

The new Mellon gift and its challenge com-

ponent through June 2016 add momentum to

current fundraising eff orts, which include com-

prehensive commitments to annual giving and

legacy gifts to the Orchestra’s endowment.

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Orchestra News



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NewsNewsNews

OrchestraNews


I .N M.E .M.O.R. I .A .MThe Cleveland Orchestra notes the death

on the morning of April 16 of retired Orchestra

trumpeter David Zauder, in Colorado sur-

rounded by his family.

David was hired by

George Szell in 1958, join-

ing the trumpet section of

The Cleveland Orchestra.

He served until the close of

the 1996-97 season, taking

on the concurrent role of

principal cornet and retir-

ing after 39 years — longer

than any other trumpeter in the Orchestra’s

history. Equal in importance to his service as a

member of the Orchestra was David’s extraor-

dinary tenure as the Orchestra’s personnel

manager, a post he held for 25 seasons. He

had earlier served as assistant personnel man-

ager, 1960-71.

While much of David’s work was out of

the spotlight, he stepped forward as a soloist

with the Orchestra on several occasions. His fi-

nal solo appearance was for the opening night

gala concert in 1996. He was also the featured

soloist in twenty concerts with the Blossom

Festival Concert Band, an organization for

which he was the guiding spirit from its incep-

tion in Blossom’s second season in 1969. In

recognition of his extraordinary service, David

Zauder was the recipient of the Orchestra’s

Distinguished Service Award in 1997.

His great humanity and his love of life

were shaped by his personal history as a Ho-

locaust survivor. David Zauder was born in

Krakow, Poland, in 1928 or 1931 — his birth

year is uncertain as his birth certificate was

destroyed during the war. As a youth, he was

interned in the Auschwitz, Flossenburg, and

Sachsenhausen concentration camps. David

survived and began his new life in America on

May 20, 1946. His story has been told in the

published work of his daughter, Karen Brass.

A special memorial service will be held

to honor David Zauder in Severance Hall’s Rein-

berger Chamber Hall on Sunday morning,

May 26, beginning at 10:30 a.m.

Read and learn about events across Northeast Ohio at

ClevelandClassical.com Founded in 2008 to enhance the informa-

tion available about classical music across

Northeast Ohio, ClevelandClassical.com pub-

lishes a comprehensive calendar each Tuesday

of upcoming concert listings and previews,

plus features and reviews of concerts and per-

formances throughout

the region — includ-

ing previews and

reviews of Cleveland

Orchestra concerts.

Visit their website

to sign up for a free

weekly email.

Composer Sean Shepherd met with students in

April at Shaker Heights High School (above), Bald-

win Wallace University, Cleveland School of the

Arts, and the Cleveland Institute of Music as part

of his work as the Daniel R. Lewis Young Composer

Fellow. Shepherd was in town for the world pre-

miere performances of his new work, Tuolumne,

created as part of his two-year fellowship with The

Cleveland Orchestra. The Plain Dealer wrote of his

new work: “Inspired by three photographs by Ansel

Adams, the colorful piece readily achieved its goal,

evoking the harsh environment of the Sierra Ne-

vada and the tug-of-war between black and white

that defines the pictures.”

Education & Community


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Orchestra NewsNews


The George Gund Foundation awarded a

$3 million grant at its February board meeting

to support The Cleveland Orchestra’s Sound

for the Centennial Campaign. Pledged over six

years, the award honors the late George Gund

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

ciation.

The Foundation’s commitment perma-

nently endows a new Fund for Artistic Excel-

lence in George Gund’s name, providing

immediate support for the Orchestra’s core

artistic programming for the community. “This

commitment to the Campaign not only cel-

ebrates George Gund’s legacy and leadership

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

dation’s executive director. “It also ensures that

one of our community’s most valuable assets

can continue to serve Northeast Ohio at the

George Gund Foundation supports Th e Cleveland Orchestra’s

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

highest levels of artistic excellence.”

George Gund III was elected as an interna-

tional trustee in 1994 and served on the board

of the Musical Arts Association for 19 years. The

new gift is the largest gift made by the Gund

Foundation to The Cleveland Orchestra, and

ranks among the largest institutional leader-

ship commitments to the Sound for the Centen-

nial Campaign thus far, as well as among the

Foundation’s largest commitments to a cultural

organization in Northeast Ohio.

The Orchestra’s Sound for the Centennial

Campaign runs through the Orchestra’s centen-

nial in 2018 and will ensure that the Orchestra

can continue to thrive now and into the future

by building a signifi cant endowment and pro-

viding immediate support for artistic excellence

and community and education programs.

33Severance Hall 2012-13 33Severance Hall 2012-13 Cleveland Orchestra News

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Chorus auditions announced for children,youth, and adult singers for Blossom and 2013-14 Spring audition dates for the choral groups

sponsored by The Cleveland Orchestra have

been announced. The auditions — for adults,

youth, and children — are for membership in

groups singing during the 2013 Blossom Music

Festival and the 2013-14 Season at Severance

Hall. Auditions will take place in May and June.

The Cleveland Orchestra Choruses embody a

long-standing commitment to choral music in

which community members of all ages have the

opportunity to participate.

The Cleveland Orchestra Children’s

Chorus is open to students in grades 6-8 and

directed by Ann Usher, and the Cleveland Or-

chestra Children’s Preparatory Chorus is open to

students in grades 5-8 and directed by Suzanne

Walters. Both groups are holding auditions on

May 20, June 3, and June 8. The Children’s Cho-

rus, formed in 1967, provides musical training in

vocal production and choral performance skills.

The Children’s Preparatory Chorus provides

children with initial choral experiences to which

younger singers may not have been exposed,

while establishing a solid foundation in vocal

production techniques.

To audition, children are asked to sing one

verse of “America” (My Country, ’Tis of Thee) with

piano accompaniment in the key of his or her

choice and one verse of “America the Beautiful”

(Oh beautiful, for spacious skies) without accom-

paniment in the key of D. Singing scales and

doing some rhythmic exercises may also be in-

cluded in the audition, for which an accompanist

is provided.

Students in grades 9-12 are welcome to

audition for the Cleveland Orchestra Youth

Chorus, directed by Lisa Wong, on May 4, June

1, or June 2. Created in 1991, the Youth Chorus

helps raise awareness of choral music-making

in the schools of Northeast Ohio and encour-

ages students to continue their choral activities

through college and into adulthood. The Youth

Chorus collaborates each season in performance

with the Cleveland Orch estra Youth Orchestra.

Youth Chorus audition requirements are to pre-

pare a piece from the OMEA Solo & Ensemble list,

or an equivalent classical solo piece; Broadway

or “pop” tunes are not acceptable. In addition

to the prepared piece, students will be asked to

sight-read and demonstrate their vocal range.

An accompanist is provided at the audition.

The Cleveland Orchestra Chorus is one of

the few professionally trained, all-volunteer cho-

ruses sponsored by a major American orchestra.

Coming from nearly fi fty Northeast Ohio com-

munities, members of the Chorus perform with

The Cleveland Orchestra in subscription and

Christmas concerts each year. Previous choral

experience and sight-reading skills are required.

The Blossom Festival Chorus includes many

members of the Cleveland Orchestra Chorus

and other Northeast Ohio choral groups. It has

established itself as a permanent annual part of

the summertime Blossom Festival and has sung

in more than 100 concerts since its 1968 debut.

Both groups are directed by Robert Porco.

Auditions for the Cleveland Orchestra

Chorus and Blossom Festival Chorus will be held

May 20 and 21, by appointment only. Those

auditioning are asked to prepare two pieces

from the classical literature, one of which should

be in a foreign language. Each piece should be

approximately two minutes in length. Previous

choral experience and sight-reading skills are

required. An accompanist is provided at the

audition.

To schedule an audition, call the Chorus

Offi ce at 216-231-7374, or send an email to

[email protected].

Orchestra News


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Concert Previews Cleveland Orchestra Concert Previews are

presented before every regular subscription con-

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

performance. Previews are designed to enrich the

concert-going experience for audience members

of all levels of musical knowledge through a vari-

ety of interviews and through talks by local and

national experts.

Concert Previews are made possible

by a generous endowment gift from

Dorothy Humel Hovorka.

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

assistant professor of musicology,

Case Western Reserve University

May 3, 4, 5“Drama from Start to Finish” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

May 9, 10“Handel and George I and George II” with David J. Rothenberg,

associate professor of musicology,

Case Western Reserve University

May 23, 25 “Fate and Tchaikovsky’s Fifth” with Michael Strasser,

professor of musicology, Baldwin Wallace

University Conservatory of Music

1213 SEASON

For Concert Preview details, visit clevelandorchestra.com

LEARNING MORE ABOUT THE MUSIC

The Cleveland Orchestra off ers a vari-

ety of options for learning more about

the music before each concert begins.

For each concert, the program book

includes program notes commenting

on and providing background about

the composer and his or her work

being performed that week, along

with biographies of the guest artists

and other information. You can read

these before the concert, at intermis-

sion, or afterward. (Program notes

are also posted ahead of time online

at clevelandorchestra.com, usually by

the Monday directly preceding the

concert.)

The Orchestra’s Music Study

Groups also provide a way of explor-

ing the music in more depth. These

classes, professionally led by Dr. Rose

Breckenridge, meet weekly in loca-

tions around Cleveland to explore the

music being played each week and the

stories behind the composers’ lives.

Free Concert Previews are pre-

sented one hour before most subscrip-

tion concerts throughout the season

at Severance Hall. The previews (see

listing at right) feature a variety of

speakers and guest artists speaking

or conversing about that weekend’s

program, and often include the op-

portunity for audience members to ask

questions.

Concert Previews


w.a. mozart Symphony No. 1 in E-fl at major, K16(1756-1791) 1. Molto allegro 2. Andante 3. Presto johann c. c. fischer Symphony with Eight Obbligato Timpani(1752 - 1807) 1. Moderato 2. Adagio 3. Allegretto

PAUL YANCICH, timpani

w.a. mozart Symphony No. 17 in G major, K129 NOT PERFORMED AT FRIDAY MORNING CONCERT * 1. Allegro 2. Andante 3. Allegro

INTERMISSION *

jean-féry rebel Overture: Chaos, from Les Élémens(1666-1747) NOT PERFORMED AT FRIDAY MORNING CONCERT *

f. joseph haydn Symphony No. 45 (“Farewell”) in F-sharp minor(1732-1809) 1. Allegro assai 2. Adagio 3. Menuet: Allegretto 4. Finale: Presto — Adagio

(Program notes for these concerts begin on page 39.)

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 HallFriday morning, May 3, 2013, at 11:00 a.m. *Saturday evening, May 4, 2013, at 8:00 p.m. Sunday afternoon, May 5, 2013, at 3:00 p.m.

Ton Koopman, conductor

Paul Yancich’s solo appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from Mr. and Mrs. James P. Storer.

The Cleveland Orchestra’s Friday Morning Concert Series is endowed by the Mary E. and F. Joseph Callahan Foundation.

The Saturday concert will end at approximately 9:45 p.m. and Sunday’s at about 4:45 p.m.

* The Friday morning concert is performed without intermission and features Mozart’s First Symphony, the Symphony with Timpani, and Haydn’s “Farewell.” The performance will end at approximately 12:05 p.m.

Concert Program — Week 21-A

37Severance Hall 2012-13 Concert Program — Week 21-B

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

The May 9 and 10 concerts are sponsored by Thompson Hine LLP.

Klaus Mertens’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s

Guest Artist Fund from The Eleanore T. and Joseph E. Adams Fund.

The Thursday evening concert is dedicated to Mr. and Mrs. Alfred M. Rankin, Jr.

in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s 2011-12 Annual Fund.

The Friday evening concert is dedicated to James D. Ireland III

in recognition of his extraordinary generosity in support of The Cleveland Orchestra’s 2011-12 Annual Fund. The Thursday and Friday evening concerts will end at approximately 9:50 p.m.

Severance HallThursday evening, May 9, 2013, at 8:00 p.m. Friday evening, May 10, 2013, at 8:00 p.m.

Ton Koopman, conductor

1213

SEASON

george frideric handel (1685-1759)

Water Music, Suite No. 1 in F major 1. Overture 2. Adagio e staccato 3. [without tempo indication] 4. Andante 5. [without tempo indication] 6. Air 7. Minuet 8. Bourrée 9. Hornpipe 10. [without tempo indication]

Zadok the Priest, Coronation Anthem No. 1 CLEVELAND ORCHESTRA CHAMBER CHORUS

INTERMISSION

Te Deum (“Dettingen”) in D major JAY CARTER, countertenor STEVEN SOPH, tenor KLAUS MERTENS, bass-baritone CLEVELAND ORCHESTRA CHAMBER CHORUS Robert Porco, director

(Program notes for these concerts begin on page 55.)

3838

Thompson Hine LLP | www.ThompsonHine.com

ATLANTA | CINCINNATI | CLEVELAND | COLUMBUS | DAYTON | NEW YORK | WASHINGTON, D.C.

Proud to sponsor those who bring the arts to life

39Severance Hall 2012-13 39Severance Hall 2012-13 Introducing the Program — May 3, 4, 5

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

Mozart, Haydn&MoreT H E S E C O N D H A L F O F the 18th century, which we now know as

music’s “Classical” period, bestowed a wealth of compositions to the

orchestral literature. Many of these are masterpieces that are well-

known to much of the musical public, notably the mature sympho-

nies of Haydn and Mozart and most of the latter composer’s piano

concertos. But the great quantity of music written during the Classi-

cal period guarantees that some worthy and fascinating pieces remain

little known and seldom performed.

This weekend’s Cleveland Orchestra program samples some

of these neglected works. It includes two symphonies by Mozart,

neither of them among the half-dozen or so that have become fa-

miliar concert fare. We begin with a piece that is the first sym-

phony Mozart composed (he wrote it at just eight years of age).

Later, the concerts on Saturday and Sunday feature a more ma-

ture symphony from the composer’s prolific adolescence.

With these symphonies come some true oddities. The first

is a concerto in all but name, one that is singular in its use of

timpani as the solo instrument. And, on Saturday and Sunday,

we also hear a quite unusual piece of program music, one written

to represent nothing less than the creation of material order out

of elemental chaos.

The concert concludes with the only piece on the program

that is widely known — Franz Joseph Haydn’s “Farewell” Sympho-

ny. This work is famous for its finale, which embodies both a slen-

der drama and a message from the composer to his employer. But

the rest of the symphony is just as remarkable for its agitated themes

and lacerating harmonies, qualities that make this one of the most ar-

resting symphonies of its era. —Paul Schiavo

Ton Koopman is serving in his third and final year as The Cleveland Orchestra’s artist-in-residence, a position made possible by the Malcolm E. Kenney Artist-in-Residence Fund.

LIVE RADIO BROADCASTSaturday evening’s concert is being broadcast live on WCLV (104.9 FM). The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, June 16, at 4:00 p.m.

Join us for the 2013 NAE Topical Meeting

Host & Co-sponsor:

Co-Sponsors and Contributors:

Sponsored by:

The topics to be explored include:

Register at: www.naeshalegas.com

41Severance Hall 2012-13 About the Music — May 3, 4, 5

M O Z A R T ’ S W O R K as a symphonist spanned very nearly his

entire career. Between his eighth and thirty-second years, he

produced over fi ft y compositions in this form, more than three

dozen of which are now recognized as original symphonies in

the accepted canon of his works. (Th e others are symphonic

pieces the composer derived second-hand from his serenades

and opera overtures.) Th e last of these compositions is the

magnifi cent “Jupiter” Symphony, a pillar of the symphonic lit-

erature and one of the crown jewels of Mozart’s output. Th e

fi rst is the Symphony in E-fl at major, cataloged as K16 in the

chronological numbering done by Ludwig Ritter von Köchel

in the middle of the 19th century.

Mozart composed the E-fl at symphony, K16, in 1764, in

London, when he was all of eight years old. He had come to the

English capital in the company of his family during his “grand

tour” as a child prodigy.

In a memoir written aft er the composer’s death, Mozart’s

sister, Maria Anna (or “Nannerl,” as she was known familiarly),

recalled that in August 1764, while the family was staying in

London, their father, Leopold Mozart, fell seriously ill. Until

he recovered, Nannerl and Wolfgang were forbidden to touch

the keyboard. Th e son therefore composed his fi rst symphony

directly onto paper, his sister copying the music as he did so.

It is not certain that the work Nannerl referred to is, in

fact, K16. Some Mozart scholars have hypothesized an even

earlier eff ort. No such work, however, has been uncovered by

researchers, and Georges de Saint-Foix, author of the classic

study Th e Symphonies of Mozart, declared himself convinced

that this E-fl at symphony was indeed Mozart’s initial foray into

symphonic writing.

Whether or not K16 actually represents Mozart’s fi rst

symphonic essay, it forecasts his mature style to a remarkable

degree. Indeed, Mozart’s earliest extant symphony presages his

last one almost uncannily, even though it is, understandably,

far less mature and intricately wrought.

Th e work’s initial phrase presents a strong unison state-

ment followed at once by a more lyrical one, thus establishing

two poles of expression in its very fi rst moments. Th is would

remain a favorite Mozartean device; we fi nd a notable instance

Symphony No. 1 in E-fl at major, K16composed 1764

by Wolfgang Amadè

MOZARTborn January 27, 1756Salzburg

diedDecember 5, 1791Vienna


of it again at the outset of his final symphony.

An even more tangible connection between K16 and Sym-

phony No. 41 from 1788 occurs in the second movement. Here,

after the opening phrase, the horns give out a figure whose first

four notes are the celebrated “Jupiter motif,” the one Mozart

would develop so brilliantly in the finale of his last symphonic

essay.

For all this, K16 is not merely a precursor of glories to

come. Rather, it has charms quite its own, not the least being

the abundant energy of its opening movement. If the Andante

second movement is uncharacteristically lacking in melodic

interest, its harmonies are nevertheless expressive and deftly

controlled. And the ensuing third-movement Presto shows

Mozart already cognizant of the 18th-century “hunting finale”

tradition. —Paul Schiavo © 2013

Paul Schiavo is program annotator for the Saint Louis Symphony Orch-estra and Seattle Symphony, as well as a frequent contributor to the program magazines of Lincoln Center, Carnegie Hall, and other organizations. He has lectured on musical subjects at festivals across the United States.

Mozart probably wrote this

symphony in 1764 in London.

The occasion of its first per-

formance is unknown.

This symphony runs

about 10 minutes in perfor-

mance. Mozart’s score speci-

fies an orchestra of 2 oboes,

2 horns, and strings.


first played this symphony

at concerts in October 1976,

conducted by Lorin Maazel. It

was most recently performed

in March 2003, conducted by

Michael Stern.

At a Glance

May 3, 4, 5 — About the Music

FAMILY PORTRAIT

A later engraving based

on a favorite Mozart

family portrait painted

in 1780-81. Wolfgang

and his sister, Nannerl,

are sitting at the forte-

piano, father Leopold

stands with his violin,

and mother Anna

(who died in 1778)

is represented in the

portrait on the wall.

43Severance Hall 2012-13

T H E O F T E N A R D U O U S , rarely glamorous but nevertheless

important task of musical scholarship has restored to us many

lost compositions of the 18th century, including works by such

important fi gures as Bach, Vivaldi, Haydn, and Mozart. Occa-

sionally, however, musicological research turns up unsuspected

curiosities by more obscure composers.

Th ese works may not be masterpieces, but they neverthe-

less help to expand out our understanding of music from the

Baroque and Classical periods, and enliven our present-day con-

cert life. Such a composition is the Symphony in C major with

Eight Obbligato Timpani by Johann Carl Christian Fischer.

Fischer was one of the thousands of unsung musicians

whose creditable if unspectacular talents contributed to the rich

fabric of musical life in central Europe during the 18th centu-

ry. Of the very few biographical details known about him, the

fi rst that should be mentioned is that he is not the well-known

same-named oboist-composer Johann Christian Fischer (1733-

1800), a contemporary of Haydn’s whose concertos still fi gure

in the oboe repertory. (Understandably, these two musicians

are frequently confused, or their biographies merged together

as one, in online entries and databases.)

According to research done by Harrison Powley, profes-

sor of music at Brigham Young University (and an early teacher

at the Eastman School of Music of this weekend’s soloist, Paul

Yancich), the Fischer who concerns us here was an obscure north

German music copyist, composer, and theater director at the

ducal court in Schwerin, one of the many small principalities,

duchies, baronies, and other provincial entities that made up

what would eventually become the nation-state of Germany.

Among other duties, Fischer was responsible for the cer-

emonial pageantry at the palace of Duke Friedrich Franz I. He

probably composed his symphony with timpani for some august

court function, though what remains unknown. In any event,

it was almost certainly written before 1792, the year Fischer

retired from the employ of Friedrich Franz I.

For many years this piece was attributed to another com-

poser, Johann Wilhelm Hertel, but recent research has ascer-

Symphony in C majorwith Eight Obbligato Timpanicomposed circa 1780s

by Johann Carl ChristianFISCHERborn circa 1752unknown

diedcirca 1807Scherwin,near Berlin

* no portrait of Fischer is known to exist

[ * ]

About the Music — May 3, 4, 5


tained Fischer’s authorship.

Despite its title, this work is not really a symphony but

a concerto for timpani, including a fully notated cadenza at

the end of the fi rst movement. Th e eight drums called for are

tuned to the notes of a C major scale running from G to the G

an octave above.

Th rough much of the piece, particularly those passages

utilizing the full orchestra, Fischer employs the timpani in the

conventional manner — that is, to support the bass line by play-

ing a few fundamental pitches that give rhythmic and textural

emphasis to changes of harmony. But in the most interesting

episodes, he exploits the timpani battery’s ability to articulate

melodic lines or more sophisticated accompanying fi gures such

as we might fi nd in late 18th-century keyboard music.

Th e work follows the usual three-movement design of a

Classical-period concerto. Th e initial movement begins with a

concerted orchestral passage, the standard opening for a con-

certo in the 18th century. Near the conclusion of this move-

ment comes a cadenza solo written out by Fischer (to which

Yancich has added some personal embellishments, as a soloist

in the original era might well have done).

Th e Adagio second movement provides a brief transition

to the rondo-form fi nale. Th e third movement’s several sec-

tions entail changes of tempo. Th e brief cadenza that revisits

the principal theme following an adagio interlude has been

written by Yancich.

20th-century composers have occasionally turned to per-

cussion instruments as a concerto resource, and percussionists

now can appear as soloists in works by Darius Milhaud, Joseph

Schwantner, James Oliverio, and other composers. Whatever

other virtues it may possess, Fischer’s piece stands as perhaps

the fi rst concerto to use drums as the solo instrument. Even

the enterprising Antonio Vivaldi, whose nearly 450 extant con-

certos employ nearly every other instrument known during the

18th century, never ventured anything like it.

—Paul Schiavo © 2013

May 3, 4, 5 — About the Music

We do not know when Fischer

composed this Symphony with

Eight Obbligato Timpani, al-

though it was probably before

his retirement from Friedrich

Franz I’s service in 1792. The

work’s fi rst performance is

also unknown.

This work runs about

15 minutes in performance.

The score calls for 2 oboes,

2 trumpets, and strings, plus

for eight timpani.

The Cleveland Orches-

tra is presenting this piece

for the fi rst time with this

weekend’s concerts.

At a Glance

j l 20 t 22

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THE FLYING DUTCHMAN


M O Z A R T W A S A N E X T R A O R D I N A R Y child prodigy, as

demonstrated by having composed his fi rst symphony before

his ninth birthday. But it was during his adolescence that he

fi rst matured as a composer of orchestral music. In 1772, the

year he turned sixteen, Mozart completed seven symphonies,

and they show a markedly increased assurance in his handling

of all facets of the genre.

Among these works is a symphony in the key of G major,

written in May of that year, which the great 19th-century mu-

sicologist Ludwig Köchel eventually entered as work No. 129

in his pioneering catalog of Mozart’s compositions.

In this work, Mozart dispenses with the minuet, which

would later become a standard feature of the Classical-period

symphony, thereby limiting the piece to three movements. Th e

fi rst begins with a sonorous chord that seems to propel the ini-

tial theme forward. Both this subject and the second, which

follows in due course, feature a Lombard rhythm — two-note

fi gures, the fi rst note played very quickly — and Mozart makes

dramatic use of that rhythmic motif during the brief develop-

ment episode at the center of the movement.

Th ere follows a melodious slow movement with a contra-

puntal development passage. And then the third movement

begins with a fanfare that recalls once more the hunting-fi nale

tradition, which Mozart had acknowledged in his very fi rst

symphony. Th e music that follows races along in rollicking

triplet rhythms, almost creating the impression of a jig.


Symphony No. 17 in G major, K129composed 1772

by Wolfgang Amadè

MOZARTborn January 27, 1756Salzburg

diedDecember 5, 1791Vienna

Mozart’s autograph score for

this symphony bears the date

May 1772, but there is no re-

cord of its fi rst performance.

This symphony runs about


Mozart scored it for 2 oboes, 2

horns, and strings.


previously performed this

symphony as part of the 2002

Blossom Festival, when Steven

Smith led a performance in

July that year.

At a Glance


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T H E M O S T C E L E B R A T E D member of a family of French

composers and instrumentalists, Jean-Féry Rebel enjoyed a

successful career as violinist, composer, and conductor in Par-

is. Musically capable and politically astute, he succeeded to a

series of increasingly prestigious positions within the Acadé-

mie de Musique (forerunner of the Paris Opéra) and the royal

court. Among these posts was court chamber composer, in

which capacity Rebel wrote vocal music and works for small

instrumental ensembles.

Rebel’s most notable compositions, however, took the form

of “symphonies” conceived for choreography by leading dancers

of the day. (Ballet enjoyed considerable favor in Paris during

the 17th and 18th centuries, when Louis XIV’s enthusiasm for

terpsichorean entertainment resulted in the creation of lavish

dance productions.) Rebel’s crowning work of this kind was his

score for a spectacle entitled Les Élémens (or “Th e Elements”).

Written in 1737 — Rebel was then over 70, and this was

his fi nal composition — Les Élémens purported to “depict by

dance and by music,” the composer explained in the preface to

his score, the “distinctive characters of the elements,” meaning

the four classical forms of matter — earth, air, fi re, and water.

Rebel suggests each of them through picturesque musical fi gu-

ration: fl owing melodies on the fl ute for water, lively passage-

work in the violins for fi re, and so forth.

Rebel called Les Élémens a “Simphonie,” though neither

its compositional design nor its musical details suggest any-

thing we would today call a symphony. Rather, they present

unmistakably a dance suite. Th e most substantial, and by far

the most remarkable, of its nine movements is the overture.

Th is, Rebel asserted in his preface, depicts “Chaos itself,

that confusion which reigned among the elements before the in-

stant in which, according to inviolable laws, they took the places

prescribed to them in the order of nature.” Its opening moment

seems chaotic indeed, for the initial sound is a harsh chord

encompassing all seven pitches of a D minor scale. Over the

course of the fi rst several measures, this dissonance gradually

resolves to a single pitch, thus providing a graphic representa-

Overture: Chaos, from the symphony Les Élémenscomposed 1737

by Jean-FéryREBELbaptized April 18, 1666Paris

diedJanuary 2, 1747Paris


48 The Cleveland OrchestraMay 3, 4, 5 — About the Music

tion of chaos giving way to order.

Rebel then goes on to weave musical images of the four

elements into a somewhat diverse movement. Th e whole piece

is one of the more striking examples of pictorial music from the

Baroque period and anticipates by three-quarters of a century

the “Representation of Chaos” that opens Haydn’s oratorio Th e

Creation. —Paul Schiavo © 2013

Rebel wrote his dance suite Les

Élémens (“The Elements”) in 1737.

It was performed for the fi rst

time on September 27, 1737, in

Paris.

The overture, Le cahos

(“Chaos”), from Les Élémens runs

about 5 minutes in performance.

The score calls for 2 fl utes, 2

oboes, bassoon, 2 horns, 2 trum-

pets, timpani, harpsichord, and

strings.

The Cleveland Orchestra is

performing this work for the fi rst

time with these concerts.

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H AY D N ’ S “ FA R E W E L L” S Y M P H O N Y , known as No. 45 in

the standard listing of his output, is one of the composer’s most

famous works. Certainly it deserves its renown — but not just

for its unusual fi nale and the remarkable anecdote attached to

it. By any measure, this is one of the most expressive and keenly

original symphonies of the eighteenth century. Each of its four

movements off ers unconventional developments, and the whole

is marked by a startling intensity of feeling.

But fi rst, the story of the fi nale. By 1772, the year he wrote

the “Farewell” Symphony, Haydn had served a full decade as

Kapellmeister — conductor and resident composer — of the

musical establishment maintained by Nikolaus, Prince Ester-

házy, one of the most powerful and wealthy peers of the Haps-

burg empire. Among Haydn’s duties in this post was to write

several symphonies each year for the court orchestra.

In the mid-1760s, Prince Nikolaus began to build a splen-

did rural estate about fi ft y miles from Vienna. He soon es-

tablished the habit of moving his court there for the summer

season, initially for a few months but gradually for greater and

greater periods. While “Esterháza” was under construction, it

could not accommodate the Prince’s full entourage, and the

court musicians consequently had to sojourn there without

the company of their wives. Th is, of course, did not sit well

with the players, and their frustration grew acute during the

autumn of 1772, when Prince Nikolaus tarried far longer than

usual at his country retreat.

Haydn felt it incumbent upon himself to petition the prince

on behalf of the orchestra, but this mission had to be carried out

delicately. Although admired as one of the outstanding compos-

ers of his day, he was still essentially a servant to the Esterházy

family, a status that did not allow him to make demands upon

his employer. Finally, however, he hit on an ingenious solu-

tion. When Prince Nikolaus attended the performance of the

composer’s latest symphony, he was surprised to fi nd the piece

gradually winding down, as one player aft er another concluded

his part, blew out his candle, and left the hall. At last only two

violinists remained. To his credit, the Prince reportedly not

only perceived the message intended by this scene but ordered

his court to depart for Vienna the following day.

Symphony No. 45 (“Farewell”) in F-sharp minorcomposed 1772

by F. JosephHAYDNborn March 31, 1732Rohrau, Austria

diedMay 31, 1809Vienna


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Haydn wrote his “Farewell”

Symphony in the autumn of

1772. It was fi rst performed

at Esterháza, a palatial estate

east of Vienna, near the pres-

ent-day border of Austria and

Hungary.

This symphony runs

about 25 minutes in perfor-

mance. Haydn scored it for 2

oboes, bassoon, 2 horns, and

strings.


fi rst played Haydn’s “Fare-

well” Symphony during the

ensemble’s 1925-26 season.

It has been infrequently

performed since then, most

recently at Severance Hall

in 1964, conducted by Louis

Lane, and at Blossom in 1977,

led by Erich Kunzel.

Its unique fi nale alone would distinguish the “Farewell”

Symphony, but even apart from this the composition commands

our attention and admiration. In the music he composed around

1770, Haydn achieved an unprecedented degree of original-

ity and sense of passion, and this symphony represents one of

his most daring essays of this period. We can hardly mistake

the searing emotions of the symphony’s opening movement,

whose agitated rhythms and piercing harmonies convey a sense

of desperate crisis, one that even a dulcet melody introduced

midway through cannot long dispel.

Th ough more relaxed, the second movement maintains

musical tension through unexpected turns of line and harmo-

ny. Harmonic surprises enliven the ensuing third-movement

minuet also — indeed, we do not pass the third measure be-

fore encountering a startling “wrong” chord (“wrong” except

for Haydn’s convincing use of it).

Th e fourth-movement fi nale begins with a vigorous Pres-

to section that unfolds much as we might expect the closing

movement of a Haydn symphony to do. Having run its course,

it gives way unexpectedly to the “Farewell” Adagio. Even de-

prived of its original purpose and context, the slight drama of

the orchestra’s players quitting the proceedings one or several

at a time remains curiously aff ecting.



At a Glance

In appreciation of their support, The Cleveland Orchestra and Musical Arts Association

extend a special welcome to Tucker Ellis LLP, whose guests are enjoying a special evening at Severance Hall this weekend.

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

Sound for the Centennial


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

As the Orchestra approaches its centennial celebration in 2018, the individuals and organiza-tions listed on these pages have made longterm commitments to secure the fi nancial stability of our great Orchestra. This listing represents multi-year commitments of annual and endow-ment support, and legacy gift declarations, as of April 15, 2013.

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

Sound for the Centennial Campaign

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

Mr. and Mrs. Jon A. LindsethMs. Nancy W. McCannThe Honorable and Mrs. John Doyle OngThe Payne FundMr. and Mrs. Richard K. Smucker

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

David and Inez Myers FoundationMs. Beth E. MooneySally S. and John C. MorleyJohn P. Murphy FoundationNACCO Industries, Inc.Julia and Larry PollockMrs. Alfred M. Rankin, Sr.Mr. and Mrs. Alfred M. Rankin, Jr.Mr. and Mrs. Albert B. RatnerJames and Donna ReidBarbara S. RobinsonThe Sage Cleveland FoundationRalph and Luci Schey FoundationThe Kelvin and Eleanor Smith FoundationThe J. M. Smucker CompanyJoe and Marlene TootAnonymous

GIFTS OF $5 MILLION AND MORE

The Cleveland FoundationMr. and Mrs. Alexander M. Cutler

Maltz Family FoundationAnonymous

GIFTS OF $1 MILLION TO $5 MILLION

GIFTS OF $500,000 TO $1 MILLION

53Severance Hall 2012-13 Sound for the Centennial Campaign

* deceased

Mr. and Mrs. George N. AronoffBen and Ingrid BowmanGeorge* and Becky DunnDr. and Mrs. Hiroyuki FujitaAlbert I. and Norma C. GellerHahn Loeser & Parks LLPIris and Tom HarvieJeff and Julia HealyMr. and Mrs. S. Lee KohrmanMrs. Emma S. LincolnMr. Gary A. OateyRPM International Inc.Helen Rankin Butler and Clara Rankin Williams

Hewitt and Paula ShawNaomi G. and Edwin Z. SingerVirginia and Bruce TaylorMs. Ginger WarnerDenise G. and Norman E. Wells, Jr. Family FoundationMr. Max W. WendelPaul and Suzanne WestlakeMarilyn J. WhiteKatie and Donald Woodcock

GIFTS OF $100,000 TO $250,000

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

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

GIFTS OF $250,000 TO $500,000

tuckerellis.com

The Cleveland Orchestra. Tucker Ellis.

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

perfectharmony

CLEVELAND COLUMBUS DENVER LOS ANGELES SAN FRANCISCO

55Severance Hall 2012-13 Introducing the Program — May 9, 10

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

Handel&The KingsG E O R G E F R I D E R I C H A N D E L was born in Germany, apprenticed in

Italy, but pursued his career mostly in England. The success he achieved

there was such that he became not just the most celebrated but the essen-

tial English musician. For some four decades, beginning in about 1715,

hardly any important public occasion was complete without music by

Handel. Moreover, the composer enjoyed close ties with three successive

English monarchs. Their patronage was an

important aspect of his high standing with

the public, and his music served to amplify

their glory and regal status.

Each of the three compositions by Han-

del that comprise this week’s Cleveland Or-

chestra program is connected with England’s

royal rulers. The first, the first suite from the

popular Water Music, originally served as en-

tertainment for King George I and a party of

his aristocratic guests during an evening ex-

cursion by barge down the Thames.

We then hear two works written to honor

that monarch’s son and successor, King George II. Handel composed the

choral anthem Zadok the Priest for the ceremonies attending the corona-

tion of George II. Both its biblical text and the music itself convey a jubi-

lant tone suitable to the occasion.

We find much the same qualities in the “Dettingen” Te Deum. Han-

del wrote this work to celebrate the victory by the English army, led by

George II himself, over French forces at the battle of Dettingen, in 1743 (the

king is portrayed on horseback at the battle in the painting above by John

Wootton). The King must have been pleased with Handel’s musical tribute.

—Paul Schiavo

Ton Koopman is serving in his third and final year as The Cleveland Orchestra’s artist-in-residence, a position made possible by the Malcolm E. Kenney Artist-in-Residence Fund.

With this weekend’s concerts, The Cleveland Orchestra gratefully

honors The Lubrizol Foundation for its generous support.

That’s why last year, the Jewish Federation of Cleveland raised and allocated nearly $127 million to social service, educational and humanitarian organizations that support Cleveland’s Jewish and general communities, as well as those in more than 70 countries around the world. Through the generosity of our donors, the Jewish Federation of Cleveland is Ohio’s largest grantmaking organization.

Together, we do extraordinary things.

For more information, please contact Alan D. Gross at 216.593.2818or [email protected].

Mandel Building · 25701 Science Park DriveCleveland, Ohio 44122 216.593.2900

www.jewishcleveland.org

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OF CLEVELANDJewish Federation


E X C E P T I N G O N LY T H E P E R E N N I A L oratorio Messiah,

Handel’s Water Music is his most familiar composition. It

was created for a truly royal entertainment — an excursion by

barge on the Th ames hosted by England’s King George I. Al-

though Handel was born in Halle, in what is now east-central

Germany, he had emigrated to England and quickly established

himself as the pre-eminent composer in London during the

second decade of the 18th century. He found particular favor

with the royal family, whose patronage made him something

of a national institution.

But events surrounding the succession of the English

crown soon threatened to upset this happy situation, events

that entailed consequences Handel probably could not have

anticipated when he moved to London. At the time he took up

residence in England, in 1712, the composer already held the

post of Kapellmeister, or music director, at the court of Georg

Ludwig, Elector of Hanover. He had obtained leave to visit Lon-

don with the understanding that he would return to Hanover

within a reasonable time. But his rising fortunes in England

gave Handel little incentive to leave, and his stay in London

became a matter not of weeks or months but of years.

We do not know whether the truant Kapellmeister ignored

calls to return to Hanover or, indeed, what the state of his rela-

tionship with Georg Ludwig was at this time. If, in fact, it was

strained, Handel may well have felt some apprehension when,

in August 1714, England’s Queen Anne died without leaving

an heir and the English crown passed to the House of Hanover.

In September, his nominal employer arrived in London as King

George I.

Handel’s earliest biographers proposed that the composer

was in disfavor with the new monarch until the composition of

the Water Music restored him to His Majesty’s graces. Although

this story has acquired the force of legend, there is little evidence

to support it and a good deal to contradict it. George I certainly

had more important concerns than holding a grudge against a

mere composer. Moreover, he attended performances of Handel’s

works shortly aft er arriving in England and readily renewed the

stipend Queen Anne had granted Handel before her death.

Some biographers detail a barge trip in 1715, for which there

Water Music, Suite No. 1 in F majorcomposed 1717

by George FridericHANDELborn February 23, 1685Halle, Prussia

diedApril 14, 1759London

About the Music — May 9, 10


A 2005 documentary by BBC Television worked to recreate the “water party”

on the River Thames in 1717 that featured the premiere of Handel’s Water

Music. The barge of musicians is pictured here in front of the modern Palace

of Westminster. In 1717, a royal fl otilla of barges sailed on the river with King

George I accompanied by a performance of the new music led by Handel.

May 9, 10 — About the Music


is little real evidence. In any case, most of Handel’s Water Music

was probably written for and fi rst heard during a second river trip,

on the evening of July 17, 1717. Th is occasion was amply docu-

mented in contemporary newspapers and letters. One report off ers

these details: “Next to the King’s barge was that of the musicians,

about fi ft y in number, who played on all kinds of instruments. . . .

Th e music had been composed specially by the famous Mr. Handel

. . . [and] His Majesty approved of it so greatly that he caused it

to be repeated three times in all.”

Precisely how Handel grouped the movements that com-

prised his aquatic serenade, and in what order, is not known,

for the work was published in bits and pieces over the course

of the next half century. Various factors suggest an arrange-

ment of three suites, and this has become the accepted form

for presenting the music. Th e fi rst suite, written in the key of

F major, is sometimes called the “horn suite” for its prominent

use of a pair of that instrument.

Th e Water Music consists mostly of movements based on

popular court and ballroom dances of the day. Th ese pieces

provide a variety of tunes and sonorities, but Handel further

enriches the complexion of the work through overtures, fan-

fare-like numbers, and instrumental airs.

Th e F-major suite begins with a stirring overture, which

follows Handel’s typical pattern of a ceremonious introduc-

tion in slow tempo leading to a contrapuntal Allegro. Th is was

not Handel’s invention, but represents the form of the “French

overture,” one of the most common compositional designs in

use during the Baroque period.

Th is suite also includes several particularly fi ne examples

of the Handelian instrumental aria. Th e fi rst, which follows the

overture, features the oboe. Here and in the “Air” that follows

later, the music’s melodic lines and harmonies combine dignity

and tenderness in equal measure, a singularly Handelian trait.

Between these two gentle movements comes a variegated

movement with brilliantly robust Allegro passages framing a

poignant central Andante. Th e dances feature the characteristic

rhythms of the minuet, bourrée, and others well known to the

aristocratic guests aboard King George’s barge. Most of the mu-

sic is ideally suited for outdoor performance, and one delights in

imagining how it must have sounded to its fi rst audience, fl oat-

ing on the Th ames on that warm summer evening in 1717.


Handel most likely wrote his

Water Music in 1717. The fi rst

documented performance

took place during a “water

party” for King George I

on the Thames River, near

London, on July 17, 1717.

Handel probably directed the

musicians, who sat together

on a river barge.

The full Water Music

runs about 45 minutes in

performance. Handel’s score

is usually interpreted for a

modern orchestra of 1 or 2

fl utes (sometimes with one

player doubling on piccolo),

2 oboes, bassoon, 2 horns,

2 trumpets, harpsichord,

and strings. Some related

wind instruments, such as

recorders, were probably

used in performances during

Handel’s lifetime.


fi rst presented selections

from Handel’s Water Music

during the 1926-27 season.

A number of performances

have taken place since that

time, most recently at Sever-

ance Hall in spring 2010,

when Bernard Labadie led

performances of all three

suites, and as part of the

2008 Blossom Festival, when

Nicholas McGegan led a selec-

tion of movements from the

second and third suites.

At a Glance


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W H E T H E R B E C A U S E T H E K I N G took pleasure in the Water

Music or for some other reason, Handel enjoyed an unusually

good relationship with George I for a decade aft er 1717. Among

other things, the monarch gave generous fi nancial support to

the opera company in which Handel served as music director

and for which he composed his most ambitious works during

his fi rst fi ft een years in London. But in 1727, King George sud-

denly and unexpectedly died, and his son, George II, succeeded

to the English throne.

Like the original Hanover Succession, in 1714, this situ-

ation may have posed diffi culties for Handel. Th e younger

George’s relationship with his father was strained and oft en

quarrelsome, and the favor the elder king had shown Handel

might well have guaranteed the new ruler’s hostility.

We do not know what diplomatic skills and maneuvering

Handel used to place himself in the second George’s grace, but

they were certainly eff ective. Early in September 1727, a news-

paper reported that “Mr. Hendel [sic], the famous Composer to

the Opera, is appointed by the King to compose the Anthem

at the Coronation which is to be sung in Westminster Abbey

at the Grand Ceremony.”

That “Grand Ceremony” was nothing less than King

George II’s coronation, which took place on October 11, with

all the pomp and ceremony befi tting the event. For the occa-

sion, Handel wrote not one but four diff erent anthems, a term

that here describes choral settings of biblical verses.

Th ese four works were performed at diff erent times dur-

ing the elaborate proceedings. Th e composer scored them for

full chorus and orchestra, and he clearly conceived them with

sonic splendor in mind. Th eir melodic lines and harmonies

are generally of a majestic character, and they use larger vocal

and instrumental forces than Handel had employed in any of

his previous church compositions.

For the performance, Handel was able to amass an ex-

ceptionally large ensemble. Once again, the London press pro-

vides valuable information. One newspaper, reporting on the

public rehearsal of the coronation music in Westminster Ab-

bey, observed that the orchestra numbered “about 160 Violins,

Trumpets, Hautboys, Kettle-Drums, and Bass’s proportionable;

Zadok the Priest, Coronation Anthem No. 1composed 1727





besides an Organ, which was erected behind the Altar: And both

the Musick and the Performers, were the Admiration of all the

Audience.”

Of Handel’s four Coronation Anthems, the fi rst, “Zadok

the Priest,” is the most outwardly brilliant. It was sung during

the ceremonial crowning of George II, and it has been performed

at the coronation of every English monarch since 1727.

Handel took its text from the fi rst Book of Kings, in the

King James version of the Bible. Th e verses describe the anoint-

ing of King Solomon and the consequent rejoicing of the Is raelite

people, a narrative eminently appropriate to the occasion for

which the composer was writing.

By the time he wrote the anthems for the coronation of

George II, Handel had made composing operas his principal

endeavor for nearly twenty years. It is not surprising, then, that

he drew on his dramatic experience to make sure Zadok the

Priest created a stirring eff ect. Th e work’s opening moments,

in which the music of the orchestral introduction builds inexo-

rably to the entrance of the chorus, is particularly imposing,

but the whole composition creates a magnifi cent impression.


Sung Text Zadok the Priest, and Nathan the Prophet anointed Solomon King.

And all the people rejoic’d, and said:

God save the King! Long live the King!

May the King live for ever,

Amen, Allelujah. —aft er I Kings, 1:38-40

Handel wrote this and three

additional “Coronation

Anthems” in 1727 for the

coronation of King George II

of England. It was fi rst per-

formed on October 11, 1727,

at Westminster Abbey.

This work runs about


Handel scored it for 2 oboes,

2 bassoons, 2 horns, 3 trum-

pets, timpani, organ, strings,

and continuo, plus seven-part

chorus.


fi rst performed the “Zadok

the Priest” Coronation

Anthem in July 1985. It was

most recently presented as

part of the 2011 Blossom Fes-

tival, conducted by Nicholas

McGegan.

At a Glance


13th Annual13th Annual

Salute to ourSalute to ourArmed ForcesArmed Forces

Friday, May 17th ~ 8:00 P.M.Featuring the Cleveland POPS Chorus,

The Mutual Gifts Gospel Choir Austin Carr (Mr. Cavalier) narrates

Copland’s “Lincoln Portrait,” Gates Keystone Police Club Pipes & Drums

“1821 Overture” with POPS Chorus

Severance Hall


I N O C T O B E R 174 0 , Charles VI, Holy Roman Emperor and

Archduke of Austria, died without leaving a male heir. He

was succeeded on the Austrian throne by his daughter, Maria

Th eresa. Th is gave pretext to a series of tangled international

confl icts known as the War of the Austrian Succession, which

eventually engulfed most of the European nations. France,

Prussia, Bavaria, and Spain allied themselves against Austria.

England, ever the enemy of France, joined Holland and several

German principalities in coming to Austria’s aid.

Th e fi ghting would rage over much of the continent for

eight years, ending inconclusively in 1748. From time to time,

however, one side or another seemed to gain an advantage.

Such an occasion occurred late in June 1743, when an army of

English and allied soldiers under King George II of England

met a French force near the town of Dettingen, on the Main

River. Despite superior fi eld position, the French suff ered heavy

losses and a thorough defeat.

George II, who had personally led his troops into the fi ght,

emerged as the hero of the day, and his return to England was

planned as a triumphal event. Handel, who by this time held

the offi cial post of Composer of the Musick to the Chapel Royal,

was commissioned to write a pair of pieces for the occasion.

One was a short anthem, in the manner of Zadok the Priest.

Th e other was a setting of the Te Deum, a hymn of praise and

thanksgiving whose words mirrored the prevailing mood in

England. (Handel used the English translation of the text in

Th e Book of Common Prayer.) Th e music was performed at the

Chapel Royal of Saint James’s Palace, then the principal resi-

dence of the British monarchy, on November 27, 1743.

Owing to other commitments, Handel completed what

has come to be known as the “Dettingen” Te Deum over the

course of less than two weeks. Th e speed with which he had

to work prompted him to “borrow” from a Te Deum setting

by another musician, an obscure Italian monk and composer

named Francesco Antonio Urio.

Th is was not the fi rst time Handel had availed himself of

melodies by one of his colleagues, and his music was similarly

used by other composers. While this seems, by present-day

standards, a dubious practice bordering on plagiarism, it was

Te Deum in D major (“Dettingen”)composed 1743





common and widely accepted in the early 18th century. And

in Handel’s case, his gleanings from fellow composers nearly

always resulted in a noticeable improvement on their original

ideas. In the “Dettingen” Te Deum, as in other works with pas-

sages based on extant material, Handel so thoroughly absorbed

and transformed Urio’s music that there is nothing about the

composition that does not sound authentically Handelian.

Th e work begins with a concerted passage whose celebra-

tory character carries distinct martial overtones, courtesy of

Handel’s vigorous writing for trumpets and timpani. Th ereaf-

ter, the tone becomes more varied, as the text alternates among

the vocal soloists (singing individually and together) and the

chorus. Handel’s setting includes several winsome vocal arias,

and another with a stirring trumpet solo.

Th e character of the music turns somber at several points,

most notably late in the composition, at the bass aria “Vouch-

safe, O Lord, to Keep us Th is Day.” But the fi nal chorus builds

to a brilliant conclusion in which any hint of darkness vanishes

before the brilliant sonority of trumpets and the entire ensemble

united in bright D-major harmonies.


Paul Schiavo is program annotator for the Saint Louis Symphony Orch- estra and Seattle Symphony, as well as a frequent contributor to the program magazines of Lincoln Center, Carnegie Hall, and other organizations. He has lectured on musical subjects at festivals across the United States.

Handel wrote this work in

November 1743 for a special

commemoration of the Eng-

lish victory over the French

on June 27, 1743, at the Battle

of Dettingen. It was fi rst

performed on November 27,

1743, in the Chapel Royal at

St. James’s Palace in London.

This setting of the Te

Deum runs about 50 minutes

in performance. Handel

scored it for 2 oboes, bas-

soon, 3 trumpets, timpani,

organ, strings, and continuo,

plus four-part chorus. Ton

Koopman is utilizing the Peter

Edition of this work.

The Cleveland Orches-

tra is performing this work

for the fi rst time with this

weekend’s concerts.

At a Glance



sinfonia and chorus — We praise thee, O God, We acknowledge thee to be the Lord.

alto solo and bass, and chorus — All the earth doth worship thee the Father everlasting.

chorus — To thee all Angels cry aloud the Heavens, and all the Powers therein.

chorus — To thee Cherubim and Seraphim continually do cry, Holy, Holy, Holy, Lord God of Sabaoth; Heaven and earth are full of the Majesty of thy glory.

chorus — Th e glorious company of the Apostles praise thee. Th e goodly fellowship of the Prophets praise thee. Th e noble army of Martyrs praise thee. Th e holy Church throughout all the world doth acknowledge thee; Th e Father of an infi nite Majesty; Th ine honourable, true and only Son; Also the Holy Ghost the Comforter.

bass solo and chorus — Th ou art the King of Glory, O Christ. Th ou art the everlasting Son of the Father.

bass aria — When thou tookest upon thee to deliver man thou didst not abhor the Virgin’s womb.

chorus — When thou hadst overcome the sharpness of death thou didst open the Kingdom of Heaven to all believers.

trio — Th ou sittest at the right hand of God in the glory of the Father.We believe that thou shalt come to be our Judge.

sinfonia

chorus — We therefore pray thee, help thy servants whom thou hast redeemed with thy precious blood.

chorus — Make them to be numbered with thy Saints in glory everlasting. O Lord, save thy people and bless thine heritage. Govern them and lift them up for ever.

chorus — Day by day we magnify thee; And we worship thy Name ever world without end.

bass aria — Vouchsafe, O Lord to keep us this day without sin. O Lord, have mercy upon us, have mercy upon us. O Lord, let thy mercy lighten upon us as our trust is in thee.

alto solo and chorus — O Lord, in thee have I trusted, let me never be confounded.

T E D E U M music by George Frideric Handel (1685-1759)

written to commemorate the victory of the English at the Battle of Dettingen, 1743

Te Deum — Sung Text


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Ton KoopmanDutch conductor Ton Koopman is founding music director

and conductor of the Amsterdam Baroque Orchestra and

Choir. He is in his third and fi nal year as artist-in-residence

with Th e Cleveland Orchestra. He has led two weeks of con-

certs each season. Th e position is made possible by the Malcolm

E. Kenney Artist-in-Residence Fund, created through a gener-

ous endowment gift to Th e Cleveland Orchestra. Mr. Koopman

fi rst conducted the Orchestra in February 2008.

Born in Zwolle, Th e Netherlands, in 1944, Ton Koop-

man has enjoyed a lifelong fascination with authentic instru-

ments and a scholarship-based performance style. Aft er a

classical education, he studied musicology, organ, and harpsi-

chord in Amsterdam and received the Prix d’excellence for both instruments.

During his career, Mr. Koopman has appeared at the world’s most important

concert halls and festivals, and has performed on Europe’s prestigious historical in-

struments. He founded the Amsterdam Baroque Orchestra in 1979, and the Amster-

dam Baroque Choir in 1992. As harpsichordist and conductor of these ensembles, he

has been a regular guest across Europe and the United States.

Ton Koopman has appeared as a guest conductor with the Berlin Philharmonic,

Boston Symphony Orchestra, Chicago Symphony Orchestra, New York Philharmon-

ic, Royal Concertgebouw Orchestra, San Francisco Symphony, Zurich Tonhalle Or-

chestra, and the Vienna Symphony, among others.

As soloist, accompanist, and conductor, Ton Koopman has recorded for DG,

Erato, Philips, Sony, and Teldec. In 2003, he founded his own record label, Antoine

Marchand. Between 1994 and 2004, he led the Amsterdam Baroque Orchestra and

Choir in recordings of Bach’s secular and sacred cantatas. Th ese albums received the

2008 BBC Award, Deutsche Schallplattenpreis Echo Klassik, and the Prix Hector Ber-

lioz. Mr. Koopman currently is recording the complete works of Dietrich Buxtehude.

To date, works for organ and harpsichord, along with vocal and chamber composi-

tions, have been released.

Also active as an editor, Ton Koopman is reviewing the complete Handel organ

concertos for Breitkopf & Härtel. Carus Verlag recently published his new editions

of Handel’s Messiah and Buxtehude’s Das Jüngste Gericht. In addition to leading the

harpsichord class at the Royal Conservatory in Th e Hague, Mr. Koopman is a profes-

sor at the University in Leiden and an honorary member of London’s Royal Academy

of Music. He serves as artistic director of the Itinéraire Baroque and as president of

the International Dietrich Buxtehude Society. In 2012, he received the Buxtehude-

Preisträger der Stadt Lübeck and the Bach-Preisträger der Stadt Leipzig.

Mr. Koopman is married to harpsichordist Tini Mathot.

Conductor


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Paul Yancich Principal Timpani Otto G. and Corinne T. Voss Endowed Chair The Cleveland Orchestra

Appointed principal timpani of Th e Cleveland Orchestra by Lorin Maazel in 1981, Paul

Yancich fi rst appeared as soloist with the Orchestra in May 1990, performing the world

premiere of James Oliverio’s Timpani Concerto No. 1. In June 2011, he performed the

world premiere of Oliverio’s Double Dynasty timpani concerto with his brother, Mark

Yancich, with the Atlanta Symphony Orchestra, and played it

again in September that year with Th e Cleveland Orchestra.

A native of Rochester, New York, Paul Yancich comes

from a long line of professional musicians on both sides of his

family, including renowned cornetist Bohumir Kryl, conduc-

tor and composer Paul White, horn playing parents and uncle,

and brother timpanist. He began weekly snare drum lessons

at age nine with William Street, professor of percussion at the

Eastman School of Music. Studies continued with a list of

Who’s Who of the percussion world, including William Cahn

of the Rochester Philharmonic and Saul Goodman, timpanist

of the New York Philharmonic. As a high school student, he

participated in the Rochester Philharmonic Youth Orchestra,

Monroe High School’s orchestras and bands, and the school’s

swim, soccer, and golf teams. Mr. Yancich earned a bachelor of arts degree from Case

Western Reserve University and a bachelor of music from the Cleveland Institute of

Music, where he was a student of Cloyd Duff and Richard Weiner, principal timpani

and principal percussion of Th e Cleveland Orchestra, respectively.

Upon graduation, Paul Yancich joined the Atlanta Symphony Orchestra under

Robert Shaw’s direction and became a timpani instructor at Georgia State University.

He currently co-chairs the Cleveland Institute of Music’s percussion department and

serves as director of the CIM Percussion Ensemble. His timpani and percussion stu-

dents perform in more than forty orchestras in the U.S. and abroad. Mr. Yancich is a

regular clinician at leading conservatories and with the New World Symphony, and

teaches as a faculty member of the Aspen Music Festival.

Mr. Yancich suggested the work by Johann Carl Christian Fischer for this week-

end’s performances because it is the fi rst known timpani concerto and has never been

performed in the Cleveland area.

Soloist — May 3, 4, 5

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Jay CarterAmerican countertenor Jay Carter is praised for his inter-

pretations of Bach, Bernstein, Handel, and Purcell, as well as

Brahms, Britten, Hahn, and Quilter. He has performed with

the Choral Arts Society of Washington, Houston Symphony

Orchestra, Louisville Bach Society, and Musica Sacra. He is

making his Cleveland Orchestra debut with this weekend’s

concerts. Mr. Carter has appeared in Purcell’s Th e Faerie

Queene and Cavalli’s Giasone, and is in demand as a guest

lecturer on countertenor technique and repertory. His discog-

raphy includes works by Bach, Caldara, Handel, and Mendels-

sohn, along with an album of Italian madrigals. Jay Carter

earned a master’s degree from the Yale School of Music and

Institute of Sacred Music, where he worked with Simon Carrington, Judith Malafron-

te, and James Taylor, and was awarded the Louise E. McClain scholarship. At Wil-

liam Jewel College, he studied voice with Arnold Epley and received his undergraduate

degree. Jay Carter was a 2008 regional fi nalist in the Metropolitan Opera National

Council Auditions. He lives in Missouri with his wife and children, and serves as art-

ist-in-residence at William Jewell College.

Guest Artists — May 9, 10

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71Severance Hall 2012-13 Guest Artists — May 9, 10

Steven SophAmerican tenor Steven Soph is an active performer in cham-

ber music and oratorio. He sings with Blue Heron, Boston Se-

cession, Church of the Advent Choir, Cut Circle, Exsultemus,

Philovox, and Schola Cantorum in Boston. While studying

at the University of North Texas with Julie McCoy and David

Sundquist, he performed with the Chancel Choir of the Epis-

copal Church of the Incarnation, Dallas Bach Society, Helios

Ensemble, Orchestra of New Spain, Orpheus Chamber Sing-

ers, Paradigm Singers, and the Texas Choral Artists. Mr. Soph

can be heard on recordings on the Arsis, Edition Lilac, and Pro

Organo labels. His recent solo engagements include Bach’s St.

John Passion with New Trinity Baroque of Atlanta and Musi-

kanten Montana, Schütz’s Musikalische Exequien with the Providence Singers, and

Bach’s cantatas BWV148 and BWV76 with Musica Maris. Mr. Soph earned his master

of music degree from Yale University. When not singing, he restores electro-pneumatic

organs for Spencer Organ Company in Waltham, Massachusetts. Steven Soph is mak-

ing his Cleveland Orchestra debut with this weekend’s concerts.

Klaus MertensGerman bass-baritone Klaus Mertens received his fi rst sing-

ing lessons when still at school. Aft er graduation, he worked

as a teacher before deciding on a singing career, for which

he studied with Else Bischof-Bornes, Peter Massmann, and

Jakob Stämpfl i. Since then, Mr. Mertens has worked with re-

nowned early music specialists and conductors of the classical

repertoire. His collaborations have included performances

with the Amsterdam Baroque Orchestra, Berlin Philhar-

monic, Chicago Symphony Orchestra, Dresden Philhar-

monic, Jerusalem Symphony Orchestra, Leipzig Gewandhaus

Orchestra, Saint Louis Symphony Orchestra, and the Tokyo

Metropolitan Symphony Orchestra. He is also a regular guest

at international festivals, including the BBC Proms, Lucerne,

Mostly Mozart, and Salzburg. Mr. Mertens has a discography of more than 120 al-

bums, including the complete cantatas of J.S. Bach with the Amsterdam Baroque Or-

chestra conducted by Ton Koopman. Th e fi rst and only singer to have performed all

of J.S. Bach’s vocal works on recordings and in concert, Mr. Mertens also sings songs

and lieder from early to modern times. Th is weekend’s concerts mark his Cleveland

Orchestra debut.

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

Robert Porco is in his fift eenth year as di-

rector of choruses for Th e Cleveland Orch -

estra. In addition to overseeing choral activities and prepar-

ing the Cleveland Orchestra Chorus and the Blossom Fes-

tival Chorus for a variety of concert programs each season,

Mr. Porco conducts the Orchestra’s annual series of Christ-

mas concerts at Severance Hall and regularly conducts subscription concert programs

both at Severance Hall and Blossom. He has also served as director of choruses for the

Cincinnati May Festival since 1989.

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

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

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

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

school. As a teacher and mentor, Mr. Porco has guided and infl uenced the develop-

ment of hundreds of musicians, many of whom are now active as professional conduc-

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

work has included programs at Harvard University, Westminster Choir College, and

the University of Miami Frost School of Music.

Lisa Wong Assistant Director of Choruses

Lisa Wong became assistant director of choruses for Th e Cleveland Orchestra

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

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

the 2012-13 season, she has taken on the added position of director of the Cleveland

Orch estra Youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is a

faculty member at the College of Wooster, where she conducts the Wooster Chorus

and the Wooster Singers and teaches courses in conducting and music education.

She previously taught in public and private schools in New York, Pennsylvania, and

Indiana. Active as a clinician, guest conductor, and adjudicator, Ms. Wong holds

a bachelor’s degree in music education from West Chester University and master’s

and doctoral degrees in choral conducting from Indiana University.

ANNIVERSARYSEASON

60TH

CLEVELANDORCHESTRACHORUS

Cleveland Orchestra Chorus

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Cleveland Orchestra Chorus

SOPRANOSEmily BzdafkaMary Jane CarlinSusan CucuzzaRosie GellottDanielle GreenwayDebbie GutowskiLisa HrusovskyShannon R. JakubczakJulie Myers-PruchenskiSarah OsburnMelissa PattonLenore M. PershingCassandra E. RondinellaJennifer R. SauerMonica SchieSamantha J. SmithCarole Weinhardt

ALTOSJulie A. CajigasCarolyn DessinBetty HuberJenna KirkGinger MateerDanielle S. McDonaldKarla McMullenShanely Rae NiemiMarta Perez-StableCindy PiteraIna Stanek-MichaelisMartha Cochran TrubySarah B. Turell

TENORSBrent ChamberlinPeter KvideraTod LawrenceSteve LawsonTremaine OatmanMatthew RizerLee ScantleburyJames Storry William VenableChester F. Willey

BASSESCraig AstlerPaul HubbardJoel KincannonJason LevyShaun McGrathRoger MennellCorey RubinRobert SeamanDaniel J. SingerSteven Skaggs

Carolyn Dessin, Chair,

Cleveland Orchestra Chorus Operating Committee

Jill Harbaugh, Manager of Choruses

Rachel Novak, Assistant to the Manager of Choruses

Cleveland Orchestra Chorus Robert Porco, Director

Lisa Wong, Assistant Director

Joela Jones, Principal Accompanist

Celebrating its 60th anniversary throughout the 2012-13 season, the Cleveland

Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a

major American orchestra. Founded at the request of George Szell in 1952 and following in the

footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung

in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a

dozen recordings. Its members hail from nearly fi ft y Cleveland-area communities and together

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

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

ANNIVERSARYSEASON

60TH

CLEVELANDORCHESTRACHORUS

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3099MAYFIELD ROADCLEVELAND HEIGHTS, OH

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Severance Hall 2012-13 72-A

Legacy Giving

Lois A. AaronLeonard AbramsShuree Abrams*Gay Cull AddicottStanley and Hope AdelsteinSylvia K. AdlerGerald O. AllenNorman and Marjorie* AllisonGeorge N. Aronoff Herbert Ascherman, Jr.Jack and Darby AshelmanMr. and Mrs. William W. BakerRuth Balombin*Mrs. Louis W. Barany*D. Robert* and Kathleen L. BarberJack BarnhartMargaret B. and Henry T.* BarrattNorma E. Battes*Rev. Thomas T. Baumgardner

and Dr. Joan BaumgardnerFred G. and Mary W. BehmBertram H. Behrens*Dr. Ronald and Diane BellBob BellamyJoseph P. BennettIla M. BerryHoward R. and Barbara Kaye BesserDr.* and Mrs. Murray M. BettDr. Marie BielefeldRaymond J. Billy (Biello)Dr. and Mrs. Harold B. Bilsky*Robert E. and Jean Bingham*Claudia BjerreMr. William P. Blair IIIMrs. Flora BlumenthalMr. Richard J. Bogomolny and Ms. Patricia M. KozerefskiMr. and Mrs. Charles P. BoltonKathryn Bondy*Loretta and Jerome* BorsteinMr. and Mrs.* Otis H. Bowden IIRuth Turvy Bowman*Drs. Christopher P. Brandt and Beth Brandt SersigMr. D. McGregor Brandt, Jr.David and Denise BrewsterRichard F. Brezic*Robert W. BriggsDr. Jeanette Grasselli Brown and Dr. Glenn R. BrownRonald and Isabelle Brown*Mr. and Mrs. Clark E. Bruner*Mr. and Mrs.* Harvey Buchanan

Rita W. Buchanan*Joan and Gene* BuehlerGretchen L. BurmeisterStanley and Honnie* BuschMilan and Jeanne* BustaMrs. Noah L. Butkin*Mr. and Mrs. William C. ButlerMinna S. Buxbaum*Gregory and Karen CadaRoberta R. Calderwood*Jean S. Calhoun*Harry and Marjorie M. CarlsonJanice L. CarlsonDr. and Mrs. Roland D. CarlsonMr. and Mrs. George P. Carmer*Barbara A. Chambers, D. Ed.Arthur L. Charni*Ellen Wade Chinn*NancyBell CoeKenneth S. and Deborah G. CohenRalph M. and Mardy R. CohenVictor J. and Ellen E. CohnRobert and Jean* ConradMr. and Mrs. Gerald A. ConwayJames P. and Catherine E. Conway*Rudolph R. CookThe Honorable Colleen Conway CooneyJohn D. and Mary D.* CorryDr.* and Mrs. Frederick S. CrossMartha Wood CubberleyDr. William S. Cumming*In Memory of Walter C. and Marion J. CurtisMr. and Mrs. William W. CushwaHoward CutsonMr. and Mrs. Don C. DanglerMr. and Mrs. Howard J. DanzingerBarbara Ann DavisCarol J. DavisCharles and Mary Ann DavisWilliam E. and Gloria P. Dean, Jr.Mary Kay DeGrandis and Edward J. DonnellyNeeltje-Anne DeKosterCarolyn L. DessinWilliam R. DewMrs. Armand J. DiLellioJames A. Dingus, Jr.Dr. and Mrs. Richard C. DistadMaureen A. Doerner and Geoff rey T. WhiteHenry and Mary DollGerald and Ruth Dombcik

Mr.* and Mrs. Roland W. DonnemNancy E. and Richard M. DotsonMrs. John DrollingerDrs. Paul M.* and Renate H. DuchesneauGeorge* and Becky DunnWarren and Zoann Dusenbury*Mr. and Mrs. Robert DuvinPaul and Peggy EdenburnRobert and Anne EibenMr. and Mrs. Alfred M. Eich, Jr.Mr. and Mrs. Ramon Elias*Roger B. EllsworthOliver and Mary EmersonLois Marsh EppPatricia EspositoMargaret S. Estill*Dr. Wilma McVey Evans*C. Gordon and Kathleen A.* EwersPatricia J. FactorSusan L. Faulder*Dr. and Mrs. Frederick Fennell*Mrs. Mildred FieningGloria and Irving B. FineJules and Lena Flock*Joan Alice FordDr. and Mrs. William E. Forsythe*Mr.* and Mrs. Ralph E. FountainGil and Elle FreyArthur and Deanna FriedmanMr.* and Mrs. Edward H. FrostDawn FullHenry S. FusnerDr. Stephen and Nancy GageCharles and Marguerite C. Galanie*Barbara and Peter GalvinMr. and Mrs. Steven B. GarfunkelDonald* and Lois GaynorBarbara P. Geismer*Albert I. and Norma C. GellerCarl E. Gennett*John H.* and Ellen P. GerberFrank and Louise GerlakDr. James E. GibbsIn Memory of Roger N. Giff ordDr. Anita P. Gilger*S. Bradley GillaughMr. and Mrs. Robert M. GinnFred and Holly GlockRonald* and Carol GodesWilliam H. Goff Mr. and Mrs. Henry J. GoodmanJohn and Ann GoskyMrs. Joseph B. Govan*

Th e Heritage Society honors donors who support the Orchestra through their

wills, life income gift s, or other types of deferred giving. Th e following listing of

members is current as of March 2013. Th e Cleveland Orchestra and Musical

Arts Association thank those members below in bold who have declared to us

their specifi c estate intentions. For more infor ma tion, please call Bridget Mundy,

Legacy Giving Offi cer, at 216-231-8006.


H E R I T A G E S O C I E T Y

Legacy & Planned GivingLegacy & Planned Giving

The Cleveland Orchestra72-B

Legacy Giving

Elaine Harris GreenRichard and Ann GridleyNancy Hancock Griffi thDavid E.* and Jane J. Griffi thsDavid G. Griffi ths*Ms. Hetty Griffi thsMargaret R. Griffi ths*Bev and Bob GrimmJudd and Zetta Gross*Candy and Brent GroverMrs. Jerome E. Grover*Thomas J.* and Judith Fay GruberMr. and Mrs. David H. GunningMr. and Mrs. William E. GuntonJoseph E. Guttman*Mrs. John A Hadden Jr.Richard and Mary Louise HahnJames J. HamiltonKathleen E. HancockDouglas Peace Handyside*Holsey Gates HandysideNorman C. and Donna L. HarbertMary Jane HartwellWilliam L.* and Lucille L. HasslerPeter and Gloria Hastings*Mrs. Henry Hatch (Robin Hitchcock)Virginia and George HavensGary D. HelgesenClyde J. Henry, Jr.Ms. M. Diane HenryWayne and Prudence HeritageRice Hershey*T. K. and Faye A. HestonGretchen L. HickokMr. and Mrs.* Daniel R. HighEdwin R. and Mary C. Hill*Ruth Hirshman-von Baeyer*Mr.* and Mrs. D. Craig HitchcockBruce F. HodgsonGoldie Grace Hoff man*Mary V. Hoff manFeite F. Hofman MDMrs. Barthold M. HoldsteinLeonard* and Lee Ann HolsteinDavid and Nancy HookerGertrude S. Hornung*Patience Cameron HoskinsElizabeth HosmerDorothy Humel HovorkaDr. Christine A. Hudak and Mr. Marc F. CymesDr. Randal N. Huff Mrs. Marguerite B. HumphreyAdria D. Humphreys*Ann E. Humphreys and Jayne E. SissonKaren S. HuntRuth F. IhdeMr. and Mrs. Jonathan E. IngersollPamela and Scott IsquickMr. and Mrs.* Cliff ord J. Isroff Mr. and Mrs. Donald M. Jack, Jr.Carol S. Jacobs

Milton* and Jodith JanesAlyce M. Jarr*Jerry and Martha* JarrettMerritt JohnquestAllan V. JohnsonE. Anne JohnsonNancy Kurfess Johnson, M.D.Paul and Lucille Jones*Mrs. R. Stanley Jones*William R. Joseph*David and Gloria KahanJulian and Etole KahanDrs. Julian* and Aileen KassenMilton and Donna* KatzPatricia and Walter* KelleyBruce and Eleanor KendrickMalcolm E. KenneyNancy H. KieferCharles M. and Janet G. Kimball*James and Gay KitsonMr. Clarence E. Klaus, Jr.Mary Elizabeth and G. Robert Klein*Julian H. and Emily W. Klein*Thea Klestadt*Paul and Cynthia KlugMartha D. KnightMr. and Mrs. Robert KochDr. Vilma L. KohnElizabeth Davis Kondorossy*Mr. and Mrs. James G. Kotapish, Sr.LaVeda Kovar*Margery A. KowalskiBruce G. Kriete*Mr. and Mrs. Gregory G. KruszkaThomas and Barbara KubyEleanor and Stephen KushnickMr. and Mrs. Dennis W. LaBarreJames I. LaderMr. and Mrs. David A. LambrosDr. Joan P. Lambros*Mrs. Carolyn LamplMarjorie M. LamportLouis LaneAnthony T. and Patricia LauriaCharles K. László and Maureen O’Neill-LászlóCharles and Josephine Robson Leamy FundTeela C. LelyveldMr. and Mrs. Roger J. LerchGerda LevineDr. and Mrs. Howard LevineBracy E. LewisMr. and Mrs. Thomas A. LiederbachRollin and Ledda LindermanRuth S. LinkDr. and Mrs. William K. LittmanJeff and Maggie LoveDr. Alan and Mrs. Min Cha LubinAnn B. and Robert R. Lucas*Kate LunsfordMr. and Mrs. Thomas E. Lynch*Patricia MacDonaldAlex and Carol Machaskee

Jerry MaddoxMrs. H. Stephen MadsenAlice D. MaloneMr. and Mrs. Donald Malpass, Jr.Lucille Harris MannMr. and Mrs. Richard A. ManuelClement P. MarionMr. Wilbur J. Markstrom*Dr. and Mrs. Sanford E. MarovitzDavid C. and Elizabeth F. MarshDuane and Joan* MarshFlorence Marsh, Ph.D.*Mr. and Mrs. Anthony M. MartincicKathryn A. MatesDr. Lee Maxwell and Michael M. PruntyAlexander and Marianna* McAfeeNancy B. McCormackMr. William C. McCoyMarguerite H. McGrath*Dorothy R. McLeanJim* and Alice MecredyJames and Virginia MeilMr. and Mrs.* Robert F. MeyersonBrenda Clark MikotaChristine Gitlin MilesChuck and Chris MillerEdith and Ted* MillerLeo Minter, Jr.Mr. and Mrs. William A. MitchellRobert L. MoncriefMs. Beth E. MooneyBeryl and Irv MooreAnn Jones MorganMr. and Mrs. Stanley L. Morgan*George and Carole MorrisMr. and Mrs. Thomas W. MorrisMr. and Mrs.* Donald W. MorrisonJoan R. Mortimer, PhDFlorence B. MossSusan B. MurphyDr. and Mrs. Clyde L. Nash, JrDeborah L. NealeDavid and Judith NewellDr.* and Mrs. S. Thomas NiccollsRussell H. Nyland*Katherine T. O’NeillMr. and Mrs. John D. OngAurel Fowler-Ostendorf*Mr. J. William and Dr. Suzanne PalmerR. Neil Fisher and Ronald J. ParksNancy and W. Stuver ParryMrs. John G. Pegg*Dr. and Mrs. Donald PensieroMary Charlotte PetersMr. and Mrs. Peter Pfouts*Janet K. Phillips*Florence KZ PollackJulia and Larry PollockVictor and Louise PreslanMrs. Robert E. Price*Lois S.* and Stanley M. ProctorMr. David C. Prugh


H E R I T A G E S O C I E T Y


LISTING CONTINUES

Severance Hall 2012-13 72-C

Leonard and Heddy RabeM. Neal RainsMr. George B. RamsayerJoe L. and Alice* RandlesMrs. Alfred M. Rankin, Sr.Mrs. Theodore H. Rautenberg*James and Donna ReidMrs. Hyatt Reitman*Mrs. Louise Nash Robbins*Dr. Larry J.B.* and Barbara S. RobinsonDwight W. RobinsonMargaret B. Babyak* and Phillip J. RoscoeDr. Eugene and Mrs. Jacqueline RossHelen Weil Ross*Robert and Margo RothMarjorie A. RottHoward and Laurel RowenProfessor Alan Miles Ruben and Judge Betty Willis RubenFlorence Brewster RutterMr. James L. Ryhal, Jr.Renee SabreenScott SabreenMarjorie Bell SachsVernon SackmanSue SahliMr. and Mrs. James A. SaksMr. and Mrs. Sam J. SanFilipo*Larry J. SantonStanford and Jean B. SarlsonSanford Saul FamilyJames Dalton SaundersPatricia J. SawvelRay and Kit SawyerRichard Saxton*Alice R. SayreIn Memory of Hyman and Becky SchandlerRobert ScherrerSandra J. SchlubMs. Marian SchluembachRobert and Betty SchmiermundMr.* and Mrs. Richard M. SchneiderLynn A. Schreiber*Jeanette L. SchroederMr. Frank SchultzCarol* and Albert SchuppRoslyn S. and Ralph M. SeedNancy F. SeeleyEdward SeelyOliver E. and Meredith M. SeikelRussell Seitz*Eric SellenAndrea E. SenichThomas and Ann SepúlvedaElsa Shackleton*B. Kathleen ShampJill Semko Shane

David ShankDr. and Mrs. Daniel J. ShapiroNorine W. SharpNorma Gudin ShawElizabeth Carroll ShearerDr. and Mrs. William C. SheldonFrank* and Mary Ann SherankoKim SherwinMr. and Mrs. Michael SherwinReverend and Mrs. Malcolm K. ShieldsRosalyn and George SievilaMr. and Mrs. David L. SimonDr.* and Mrs. John A. SimsNaomi G. and Edwin Z. SingerLauretta SinkoskyH. Scott Sippel and Clark T. KurtzEllen J. SkinnerRalph* and Phyllis SkufcaJanet Hickok SladeAlden D. and Ellen D.* SmithMr.* and Mrs. Ward SmithM. Isabel Smith*Nathan Snader*Sterling A.* and Verdabelle SpauldingBarbara J. Stanford and Vincent T. LombardoSue Starrett and Jerry SmithLois and Tom Stauff erWillard D. Steck*Merle SternDr. Myron Bud and Helene* SternMr. and Mrs. John M. StickneyNora and Harrison Stine*Mr. and Mrs. Stanley M. StoneMr.* and Mrs. James P. StorerRalph E. and Barbara N. StringThe Irving Sunshine FamilyVernette M. Super*Mr. and Mrs. Herbert J. Swanson*In Memory of Marjory SwartzbaughLewis Swingley*Lorraine S. SzaboNorman V. TagliaferriSusan* and Andrew TaltonFrank E. Taplin, Jr.*Charles H. Teare and Cliff ord K.* KernMr. Ronald E. TearePauline Thesmacher*Dr. and Mrs. Friedrich ThielMrs. William D. Tibbetts*Mr. and Mrs. William M. Toneff Alleyne C. ToppinJanice and Leonard TowerDorothy Ann TurickMr. and Mrs. Robert A. UrbanRobert and Marti VagiRobert A. ValenteJ. Paxton Van SweringenMary Louise and Don VanDykeElliot Veinerman*

Nicholas J. Velloney*Steven VivarrondaHon. William F.B. VodreyPat and Walt* WahlenMrs. Clare R. WalkerJohn and Deborah WarnerMr. and Mrs. Russell WarrenCharles D. Waters*Etta Ruth WeiglLucile WeingartnerEunice Podis Weiskopf*Max W. WendelWilliam Wendling and Lynne WoodmanMarilyn J. WhiteRobert and Marjorie Widmer*Mr. Yoash and Mrs. Sharon WienerAlan H. and Marilyn M. WildeElizabeth L. Wilkinson*Helen Sue* and Meredith WilliamsCarter and Genevieve* WilmotMiriam L. and Tyrus W.* WilsonMr. Milton Wolfson* and Mrs. Miriam Shuler-WolfsonNancy L. WolpeMrs. Alfred C. WoodcockMr. and Mrs.* Donald WoodcockDr. and Mrs. Henry F. Woodruff Marilyn L. WozniakNancy R. WurzelMichael and Diane WyattMary YeeEmma Jane Yoho, M.D.Libby M. YungerDr. Norman ZaworskiWilliam L. and Joan H. ZieglerCarmela Catalano Zoltoski*Roy J. Zook*Anonymous (101)


H E R I T A G E S O C I E T YBe forever a part of what the world is talking about!


LISTING CONTINUED

Th e lotus blossom is the

symbol of the Heritage Society.

It represents eternal life and

recognizes the permanent benefi ts

of legacy gift s to Th e Cleveland

Orchestra’s endowment.

Said to be Elisabeth Severance’s

favorite fl ower, the lotus is found as

a decorative motif in nearly every

public area of Severance Hall.

*deceased

Legacy Giving The Cleveland Orchestra72-D

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

artistic initiatives, education and community programming and performances,

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

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

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

Endowed Funds funds established as of March 2013

ARTISTIC endowed funds support a variety of programmatic initiatives ranging

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

Artistic ExcellenceGeorge Gund III Fund

Artistic CollaborationKeithley Fund

Artist-in-ResidenceMalcolm E. Kenney

Young ComposersJan R. and Daniel R. Lewis

Friday Morning ConcertsMary E. and F. Joseph Callahan Foundation

International TouringFrances Elizabeth Wilkinson

Cleveland Orchestra Chorus Jerome and Shirley GroverMeacham Hitchcock and Family

Concert PreviewsDorothy Humel Hovorka

Radio BroadcastsRobert and Jean Conrad

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

American Conductors FundDouglas Peace HandysideHolsey Gates Handyside

Severance Hall Guest ConductorsRoger and Anne ClappJames and Donna Reid

Cleveland Orchestra SoloistsJulia and Larry Pollock Family Fund

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

Endowed Funds

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

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

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

Center for Future AudiencesMaltz Family Foundation

Student AudiencesAlexander and Sarah Cutler Fund


Endowed Funds listing continues


Severance Hall 2012-13 72-E

Endowed Funds

SEVERANCE HALL endowed funds support maintenance of keyboard instruments

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

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

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

Severance Hall PreservationSeverance family and friends

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

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

classroom resources for thousands of students and adults each year.

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

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

families and by Forest City Enterprises, Inc.

In-School PerformancesAlfred M. Lerner Fund

Classroom ResourcesCharles and Marguerite C. Galanie

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

Musical RainbowsPysht Fund

Community ProgrammingMachaskee Fund

Endowed Funds continued from previous page


BLOSSOM MUSIC CENTER and BLOSSOM FESTIVAL endowed funds support the

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

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

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

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

The Cleveland Orchestra72-F

8233

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The Partners in Excellence program

salutes companies with annual contri-

butions of $100,000 and more, exem-

plifying leadership and commitment to

artistic excellence at the highest level.

PARTNERS IN EXCELLENCE$300,000 AND MORE

KeyBankThe Lubrizol CorporationNACCO Industries, Inc.Raiffeisenlandesbank

Oberösterreich (Europe) The J. M. Smucker Company

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

BakerHostetlerEaton CorporationFirstEnergy FoundationForest City Enterprises, Inc.PNC

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

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

$50,000 TO $99,999

Exile LLCJones DayQuality Electrodynamics (QED)Anonymous

$25,000 TO $49,999

Bank of AmericaDix & EatonThe Giant Eagle FoundationNorthern Trust Bank of Florida (Miami)Park-Ohio Holdings Corp.The Plain DealerRPM International Inc.Squire, Sanders & Dempsey (US) LLPThompson Hine LLP

$2,500 TO $24,999

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

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

of New York Community BankOlympic Steel, Inc.Oswald CompaniesPolyOne CorporationThe Prince & Izant CompanyRichey Industries, Inc.Satch Logistics LLCSEMAG Holding GmbH (Europe)The Sherwin-Williams CompanyStern Advertising AgencySwagelok CompanyTriMark S.S. KempTrionix Research Laboratory, Inc.Tucker EllisUlmer & Berne LLPUnited Automobile Insurance

Company (Miami)Ver Ploeg & Lumpkin, P.A. (Miami)Ricky & Sarit Warman —

Papa John’s Pizza (Miami)WCLV FoundationWestlake Reed LeskoskyThe Avedis Zildjian CompanyAnonymous (3)

Annual Supportgifts of $2,500 or more during the past year, as of February 25, 2013

Cumulative GivingJOHN L. SEVERANCESOCIETY

$5 MILLION AND MORE

KeyBank

$1 MILLION TO $5 MILLION

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

& Rubber CompanyThe Lubrizol Corporation /

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

Oberösterreich (Europe) The J. M. Smucker Company

The Severance Society recognizes

generous contributors of $1 million

or more in cumulative giving

to The Cleveland Orchestra.

Listing as of February 2013.

Corporate Annual Support

The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support

toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.


Corporate Support


CLEVELANDINSTITUTEMUSICOFCONCERT SERIES2012 | 2013

ORCHESTRACHAMBER MUSIC

ENSEMBLE

OPE

RA

ART

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CU

LTU

RE

NEW

MU

SICCREATION

CELEBRATION

KULAS

SON

ATA

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

CIM@MOCA

cim.edu

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

We believe in working for the greater good of all and

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

We thank The Cleveland Orchestra for its commitment to excellence!

Ken Lanci, Chairman & CEOConsolidated Companies

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

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

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

and not-for-profit organizations.

The Cleveland Orchestra74

Foundation/Government Annual Support

$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

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

Smith Foundation

$250,000 TO $499,000

Kulas FoundationThe Miami Foundation,

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

John P. Murphy FoundationOhio Arts Council

$100,000 TO $249,999

Sidney E. Frank FoundationGAR Foundation

$50,000 TO $99,999

The George W. Codrington Charitable Foundation

Martha Holden Jennings FoundationMyra Tuteur Kahn Memorial Fund

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

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

$20,000 TO $49,999

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

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

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

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

The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their

generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

$2,000 TO $19,999

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

of The Cleveland FoundationBicknell FundEva L. and Joseph M. Bruening FoundationThe Collacott FoundationMary and Dr. George L. Demetros

Charitable TrustElisha-Bolton FoundationFisher-Renkert FoundationThe Harry K. Fox and Emma R. Fox

Charitable FoundationFunding Arts Network (Miami)The Hankins FoundationThe Muna and Basem Hishmeh FoundationRichard H. Holzer Memorial FoundationThe Kangesser FoundationThe Kridler Family Fund

of The Columbus FoundationThe Jean Thomas Lambert FoundationThe Laub FoundationVictor C. Laughlin, M.D.

Memorial Foundation TrustThe G. R. Lincoln Family FoundationMiami-Dade County Department

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

Memorial FoundationThe Leighton A. Rosenthal

Family FoundationSCH FoundationAlbert G. & Olive H. Schlink FoundationHarold C. Schott FoundationJean C. Schroeder FoundationKenneth W. Scott FoundationThe Sherwick FundLloyd L. and Louise K. Smith

Memorial FoundationThe South Waite FoundationThe Taylor-Winfield FoundationThe George Garretson Wade Charitable TrustThe S. K. Wellman FoundationThe Welty Family FoundationThomas H. White Foundation,

a KeyBank TrustThe Edward & Ruth Wilkof FoundationThe Wuliger FoundationAnonymous (2)

Cumulative GivingJOHN L. SEVERANCESOCIETY

$10 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents

through Cuyahoga Arts & Culture

Kulas FoundationMaltz Family FoundationState of OhioOhio Arts CouncilThe Kelvin and Eleanor

Smith Foundation


The George Gund FoundationThe Andrew W. Mellon Foundation

John P. Murphy Foundation


GAR FoundationAnn and Gordon Getty

FoundationThe Louise H. and David S.

Ingalls FoundationMartha Holden Jennings

FoundationKnight Foundation

(Cleveland, Miami)David and Inez

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

The Severance Society recognizes

generous contributors of $1 million

or more in cumulative giving

to The Cleveland Orchestra.

Listing as of February 2013.


Foundation & Government Support


INDIVIDUAL GIFTS OF $500,000 AND MORE

Daniel R. and Jan R. Lewis (Miami)

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

Irma and Norman Braman (Miami) Francie and David Horvitz

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


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


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


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

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

Individual Support

The Cleveland Orchestra and Musical Arts Association gratefully recognize the individuals

listed here, who have provided generous gifts of cash or pledges of $2,500 or more to the

Annual Fund, benefit events, tours and residencies, and special annual donations.


Lifetime GivingJOHN L. SEVERANCE SOCIETY

$10 MILLION AND MORE

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


Mr. Richard J. Bogomolny

and Ms. Patricia M. Kozerefski

Mr. and Mrs. Alexander M. Cutler

Mrs. Norma Lerner and The Lerner Foundation

Mrs. Alfred M. Rankin, Sr.

Mr. and Mrs. Albert B. Ratner


Irma and Norman Braman (Miami) Mr. Francis J. CallahanMrs. M. Roger ClappMr. George Gund III*Francie and David Horvitz (Miami)Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Susan Miller (Miami) Sally S. and John C. Morley The Family of D. Z. NortonThe Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr.Charles and Ilana Horowitz RatnerJames and Donna Reid Barbara S. Robinson Anonymous (2)

The Severance Society recognizes generous contributors

of $1 million or more in lifetime giving to The Cleve-

land Orchestra. As of February 2013.

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

Individual Annual Support76 The Cleveland Orchestra

Individual Annual Support

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


Mr. and Mrs. Daniel M. Bell (Miami)Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s CommitteeMr. and Mrs. Charles P. Bolton The Brown and Kunze FoundationJeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Do Unto Others Trust (Miami)Mr. and Mrs. Geoffrey Gund George Gund* Trevor and Jennie Jones Giuliana C. and John D. Koch (Cleveland, Miami) Dr. Vilma L. KohnMr. and Mrs. S. Lee Kohrman Charlotte R. KramerMs. Nancy W. McCann Sally S. and John C. Morley Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr.Charles and Ilana Horowitz Ratner Luci and Ralph* ScheyMary M. Spencer (Miami)Mr. and Mrs. Franz Welser-Möst


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


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

Mr. and Mrs. Jack HoeschlerRichard and Erica Horvitz (Cleveland, Miami)Mrs. Marguerite B. Humphrey Joy P. and Thomas G. Murdough, Jr. (Miami)William J. and Katherine T. O’Neill Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Mr. and Mrs. James A. SaksMarc and Rennie SaltzbergRaymond T. and Katherine S. SawyerDr. and Mrs. Neil SethiMr. and Mrs. Donald Stelling (Europe)Mr. Gary L. Wasserman

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


Randall and Virginia Barbato

Jayusia and Alan Bernstein (Miami)listings continue

Gay Cull Addicott

William W. Baker

Ronald H. Bell

Henry C. Doll

Judy Ernest

Nicki Gudbranson

Jack Harley

Iris Harvie

Brinton L. Hyde

Randall N. Huff

David C. Lamb

Raymond T. Sawyer

Barbara Robinson, chair

Robert Gudbranson, vice chair

Ongoing annual support gifts are a critical compo-

nent toward sustaining The Cleveland Orchestra’s

economic health. Ticket revenues provide only a

small portion of the funding needed to support

the Orchestra’s outstanding performances, educa-

tional activities, and community projects.

The Crescendo Patron Program recognizes gener-

ous donors of $2,500 or more to the Orchestra’s

Annual Campaign. For more information on the

benefits of playing a supporting role each year,

please contact Hayden Howland, Manager of

Leadership Giving, by calling 216-231-7545.

Crescendo Annual Campaign Patrons




Scott Chaikin and Mary Beth Cooper

Martha and Bruce Clinton (Miami)

Mr. and Mrs. Peter O. Dahlen

George* and Becky Dunn

Colleen and Richard Fain (Miami)

Mr. Allen H. Ford

Richard and Ann Gridley

Mrs. John A Hadden Jr.

Jack Harley and Judy Ernest

Mary and Jon Heider (Cleveland, Miami)

Tati and Ezra Katz (Miami)

Jonathan and Tina Kislak (Miami)

Robert M. Maloney and Laura Goyanes

Mr.* and Mrs. Arch J. McCartney

Mr. Thomas F. McKee

Miba AG (Europe)

Lucia S. Nash

Mr. Gary A. Oatey

Brian and Patricia Ratner

David and Harriet Simon

Mr. Joseph F. Tetlak

Rick, Margarita and Steven Tonkinson (Miami)

LNE Group – Lee Weingart (Europe)

Anonymous


Mr. and Mrs. David J. Carpenter Judith and George W. Diehl Joyce and Ab* GlickmanMr. and Mrs. Jeffrey Healy Mrs. David Seidenfeld Mr. and Mrs. Alfred Umdasch (Europe)

INDIVIDUAL GIFTS OF $10,000 TO $12,499Mr. and Mrs. George N. Aronoff Marsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. D. McGregor Brandt, Jr.Augustine* and Grace CaliguireMr. and Mrs. R. Bruce CampbellRichard J. and Joanne ClarkMr. and Mrs. William E. ConwayMrs. Barbara CookBruce Coppock and Lucia P. May (Miami)Mr. Peter and Mrs. Julie Cummings (Miami)Mr. and Mrs. Robert P. Duvin listings continue


Leadership Council The Leadership Council salutes those

extraordinary donors who have pledged to

sustain their annual giving at the highest level

for three years or more. Leadership Council

donors are recognized in these Annual Support

listings with the Leadership Council symbol

next to their name:

Mike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr.Ms. Dawn M. FullFrancisco A. Garcia and Elizabeth Pearson (Miami)Mr. and Mrs. Richard T. GarrettAlbert I. and Norma C. Geller Mr. and Mrs. Robert W. GillespieElaine Harris GreenRobert K. Gudbranson and Joon-Li KimJeffrey and Stacie HalpernSondra and Steve HardisDavid and Nancy Hooker Joan and Leonard HorvitzMr. and Mrs. Christopher Hyland Mr. and Mrs. Donald M. Jack, Jr.Allan V. Johnson Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Mr. Jeff LitwillerMr. and Mrs. Richard A. ManuelMr. and Mrs. Stanley A. MeiselEdith and Ted* MillerMrs. Sydell L. MillerThe Estate of Walter N. MirapaulElisabeth and Karlheinz Muhr (Europe)Brian and Cindy MurphyMr. and Mrs. William M. Osborne, Jr. Mr. and Mrs. George M. Rose Dr. Tom D. Rose Mr. and Mrs. David A. RuckmanDr. Isobel RutherfordMr. Larry J. Santon Dr. E. Karl and Lisa SchneiderRachel R. Schneider Mr. and Mrs. Oliver E. SeikelKim Sherwin Mr. and Mrs. Steven SpilmanLois and Tom Stauffer Mrs. Blythe SundbergMrs. Jean H. TaberDr. Russell A. TrussoTom and Shirley Waltermire The Wells Family Foundation, Inc.Sandy and Ted Wiese Anonymous*

INDIVIDUAL GIFTS OF $7,500 TO $9,999Laurel Blossom Dr. and Mrs. Jerald S. BrodkeyDr. Thomas Brugger and Dr. Sandra RussEllen E. & Victor J. Cohn Supporting Foundation Mr. Owen ColliganMr. and Mrs. Edward B. Davis Henry and Mary Doll Nancy and Richard DotsonKathleen E. HancockMary Jane Hartwell Iris and Tom Harvie Mrs. Sandra L. HaslingerAmy and Stephen Hoffman Pamela and Scott Isquick Joela Jones and Richard WeissJudith and Morton Q. Levin Mr. and Mrs.* Robert P. Madison Mrs. Robert H. Martindale

listings continued

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Severance Hall 2012-13Severance Hall 2012-13 79


Mr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Mr. Raymond M. Murphy Pannonius Foundation Douglas and Noreen PowersRosskamm Family TrustPatricia J. Sawvel Carol* and Albert SchuppDr. Gerard and Phyllis SeltzerNaomi G. and Edwin Z. Singer Family Fund Mrs. Gretchen D. SmithMr. and Mrs. Donald W. Strang, Jr.Mrs. Marie S. StrawbridgeBruce and Virginia Taylor Anonymous (3)

INDIVIDUAL GIFTS OF $5,000 TO $7,499Susan S. AngellMr. and Mrs. Albert A. AugustusMr. and Mrs. Robert H. Baker Mr. and Mrs. Dean Barry Mr. Jon Batchelor (Miami)Fred G. and Mary W. BehmDrs. Nathan A. and Sosamma J. Berger Mr. William BergerDr.* and Mrs.* Norman E. Berman Dr. and Mrs. Eugene H. BlackstonePaul and Marilyn* BrentlingerMr. Robert W. BriggsFrank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William & Dottie Clark Mrs. Lester E. Coleman Mr. and Mrs. Gerald A. ConwayCorinne L. Dodero Foundation

for the Arts and Sciences Mr. and Mrs. Ralph DaugstrupMrs. Barbara Ann Davis Ms. Nancy J. Davis (Miami)Mr. and Mrs. Thomas S. DavisMr. and Mrs. Terry C. Z. EggerDr. and Mrs. Robert ElstonMary and Oliver Emerson Dr. D. Roy and Diane A. FergusonChristopher Findlater (Miami)Joy E. GarapicMr. David J. GoldenMr. and Mrs. Henry J. GoodmanMr. and Mrs. Randall J. GordonHarry and Joyce Graham Mr. Paul Greig David and Robin GunningClark Harvey and Holly SelvaggiIn memory of Philip J. HastingsHenry R. HatchRobin Hitchcock HatchBarbara Hawley and David GoodmanJanet D. Heil*Anita and William HellerT. K. and Faye A. HestonBob and Edith Hudson (Miami)Mr. James J. Hummer Mr. and Mrs. Brinton L. HydeRudolf D. and Joan T. Kamper

Andrew and Katherine KartalisMilton and Donna* Katz Dr. and Mrs. William S. KiserMrs. Justin Krent Mr. James and Mrs. Patricia KrohngoldMr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr.David C. LambShirley and William Lehman (Miami) Mr.* and Mrs. Leo LeidenLarry and Christine LeveyMr. and Mrs. Adam Lewis (Miami)Mrs. Emma S. LincolnHeather and Irwin LowensteinMr. and Mrs. Alex Machaskee Ms. Jennifer R. MalkinMr. and Mrs. Morton L. MandelAlan Markowitz M.D. and Cathy PollardAlexander and Marianna C.* McAfee Claudia Metz and Thomas Woodworth Drs. Terry E. and Sara S. MillerMr. and Mrs. William A. Mitchell Ann Jones MorganRobert Moss (Miami)Mr. and Mrs. Stephen E. MyersMr. and Mrs. Herbert Newman Richard and Kathleen NordMr. Henry Ott-HansenMr. J. William and Dr. Suzanne PalmerClaudia and Steven Perles (Miami)Nan and Bob Pfeifer Dr. and Mrs. John N. Posch Lois S.* and Stanley M. ProctorMs. Rosella PuskasMr. and Mrs. Thomas A. QuintrellDrs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. RankinMs. Deborah ReadPaul A. and Anastacia L. RoseMr. and Mrs. Robert C. RuhlMrs. Florence Brewster Rutter David M. and Betty Schneider Linda B. SchneiderLarry and Sally Sears Dr. and Mrs. James L. SechlerCharles Seitz (Miami)Mr. Eric Sellen and Mr. Ron SeidmanMrs. Frances G. ShoolroyMarjorie B. Shorrock Laura and Alvin A. SiegalDavid Kane Smith Jim and Myrna SpiraGeorge and Mary Stark Charles B. and Rosalyn Stuzin (Miami)Ms. Lorraine S. Szabo Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. TromblyDon and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami)Mr. and Mrs. Fred A. Watkins Dr. and Mrs. Leslie T. Webster, Jr.Dr. Edward L. and Mrs. Suzanne WestbrookTom and Betsy WheelerCharles WinansFred and Marcia Zakrajsek Anonymous (6) listings continue


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Dr. and Mrs. D. P. AgamanolisMs. Delphine BarrettMrs. Joanne M. BearssMr. and Mrs. Jules BelkinDr. Ronald and Diane BellSuzanne and Jim BlaserDr. Ben H. and Julia BrouhardDr. and Mrs. William E. CappaertMs. Mary E. ChilcoteDrs. Mark Cohen and Miriam VishnyDiane Lynn CollierMarjorie Dickard ComellaPete and Margaret DobbinsPeter and Kathryn EloffMr. Brian L. Ewart

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

Mr. and Mrs. Richard A. JanusHelen and Erik JensenDr. Gilles and Mrs. Malvina KlopmanDr. James and Mrs. Margaret KreinerJudy and Donald Lefton (Miami)Ronald and Barbara LeirvikMr. and Mrs. Irvin A. LeonardDr. Alan and Mrs. Joni LichtinAnne R. and Kenneth E. LoveRobert and LaVerne* LugibihlElsie and Byron LutmanJoel and Mary Ann MakeeMartin and Lois MarcusSusan and Reimer MellinDr.* and Mrs. Hermann Menges, Jr.Dr. Susan M. MerzweilerBert and Marjorie MoyarRichard B. and Jane E. NashMr. and Mrs. Peter R. OsenarMrs. Ingrid PetrusMr. and Mrs. John S. PietyMr. and Mrs. Richard W. PogueIn memory of Henry PollakWilliam and Gwen PreucilDr. Robert W. ReynoldsMrs. Charles Ritchie

Amy and Ken RogatFred Rzepka and Anne Rzepka

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

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



Ms. Nancy A. AdamsStanley I. and Hope S. AdelsteinNorman and Rosalyn Adler

Family Philanthropic FundMr. Gerald O. AllenNorman and Helen AllisonMr. and Mrs. Robert J. AmsdellRev. Dr. and Mrs. Kenneth J. AndersonMr. and Mrs. Jeffrey R. AppelbaumMr. and Mrs. Stanley H. Arkin (Miami)Geraldine and Joseph BabinMr. Roger G. BerkKerrin and Peter Bermont (Miami)Barbara and Sheldon BernsJulia and David Bianchi

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

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

Mr.* and Mrs. Robert A. ClarkMr. and Mrs. Stanley Cohen (Miami)Mr. and Mrs. David J. CookDr. Dale and Susan CowanMrs. Frederick F. DannemillerCharles and Fanny Dascal (Miami)Jeffrey and Eileen DavisMrs. Lois Joan DavisDr. and Mrs. Richard C. DistadMs. Maureen A. Doerner

and Mr. Geoffrey T. WhiteMr. George and Mrs. Beth DownesMs. Mary Lynn DurhamGeorge* and Mary EatonDavid and Margaret EwartHarry and Ann FarmerCarl and Amy FischerScott Foerster, Foerster and BohnertJoan Alice FordMrs. Amasa B. FordMr. Randall and Mrs. Patrice FortinMr. Monte Friedkin (Miami)Marvin Ross Friedman

and Adrienne bon Haes (Miami)Arthur L. FullmerRichard L. FurryJeanne GallagherBarbara and Peter GalvinMrs. Georgia T. GarnerBarbara P. Geismer*Mr. Wilbert C. Geiss, Sr.Dr. Kevin and Angela GeraciAnne and Walter GinnMr. and Mrs. David GoldbergMr. and Mrs. David A. Goldfinger

Dr. and Mrs. Ronald L. GouldMr. and Mrs. Robert T. GrafNancy Green (Miami)Mr. and Mrs. Brent R. GroverThe Thomas J. and Judith Fay Gruber

Charitable FoundationNancy and James GrunzweigMr. Davin and Mrs. Jo Ann GustafsonDr. Phillip M. and Mrs. Mary HallNorman C. and Donna L. HarbertMr. and Mrs. George B. P. HaskellMr. and Mrs. Jerry HerschmanMr. Robert T. HexterDr. and Mrs. Robert L. HinnesMr. and Mrs. Edmond H. HohertzPeter A. and Judith HolmesThomas and Mary HolmesDr. Keith A. and

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

and Ms. Paulette BeechMs. Carole HughesMs. Charlotte L. HughesMs. Luan K. HutchinsonRuth F. IhdeDr. Michael and Mrs. Deborah JoyceBarbara and Michael J. KaplanDr. and Mrs. Richard S. KaufmanRev. William C. KeeneMr. Karl W. KellerElizabeth KelleyAngela Kelsey

and Michael Zealy (Miami)


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

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

and Ms. Sherry* LatimerMr. Donald N. KrosinMr. and Mrs. S. Ernest KulpMrs. Carolyn LamplMr. and Mrs. John J. LaneMr. and Mrs. Israel Lapciuc (Miami)Kenneth M. LapineAnthony T. and Patricia A. LauriaMr. Jin-Woo LeeMichael and Lois A. LemrDr. Edith LernerDr. Stephen B. and

Mrs. Lillian S. LevineRobert G. LevyMr. Jon E. Limbacher

and Patricia J. LimbacherIsabelle and Sidney* LobeHolly and Donald LoftusMartha Klein LottmanMary LoudMarianne Luedeking (Miami)Herbert L. and Rhonda MarcusDr. and Mrs. Sanford E. MarovitzDavid and Elizabeth MarshMr. and Mrs.* Duane J. MarshMrs. Meredith T. MarshallDr. Ernest and Mrs. Marian MarsolaisMr. Julien L. McCallJim and Diana McCoolWilliam and Eleanor McCoyMs. Nancy L. MeachamMr. James E. MengerStephen and Barbara MessnerMr. Stephen P. MetzlerMr. and Mrs. Roger Michelson (Miami)MindCrafted SystemsMs. Barbara A. MorrisonJoan Katz Napoli

and August Napoli

Mr. David and Mrs. Judith NewellMarshall I. Nurenberg and Joanne KleinMort and Milly Nyman (Miami)Richard and Jolene O’CallaghanNedra and Mark Oren (Miami)James P. Ostryniec (Miami)Mr. and Mrs. Robert D. PaddockDeborah and Zachary ParisDr. Lewis and Janice B. PattersonDrs. John Petrus and Sharon DiLauroDr. Roland S. Philip

and Dr. Linda M. SandhausMs. Maribel Piza (Miami)Dr. Marc and Mrs. Carol PohlMr. Richard and Mrs. Jenny ProeschelK. PudelskiDr. James and Lynne RambasekMs. C. A. ReaganAlfonso Conrado Rey (Miami)David and Gloria RichardsMichael Forde RipichDr. Barbara RisiusCarol Rolf and Steven AdlerDr. and Mrs. Michael Rosenberg (Miami)Michael and Roberta RusekDr. Harry S. and Rita K. RzepkaNathan N. and Esther Rzepka

Family Philanthropic FundBunnie Joan Sachs Family FoundationDr. and Mrs. Martin I. SaltzmanMs. Patricia E. SayMr. James SchutteDr. John Sedor and Ms. Geralyn PrestiLee G. and Jane SeidmanDrs. Daniel and Ximena SesslerHarry and Ilene ShapiroNorine W. SharpDr. and Mrs. William C. SheldonDr. Howard* and Mrs. Judith SiegelMs. Linda M. SmithMr. and Mrs.* Jeffrey H. SmytheMrs. Virginia SnappMs. Barbara SnyderLucy and Dan SondlesMr. John C. Soper

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

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

and Mrs. Judith RosmanRicky and Sarit Warman

– Papa John’s Pizza (Miami)Mr. and Mrs. Joseph F. WasserbauerMs. Laure A. WasserbauerPhilip and Peggy WasserstromEric* and Margaret WayneMr. and Mrs. Jerome A. WeinbergerMrs. Mary Wick BoleDr. Paul R. and Mrs. Catherine WilliamsDr. and Mr. Ann WilliamsRichard and Mary Lynn WillsMichael H. Wolf

and Antonia Rivas-WolfMr. Robert Wolff

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

and Dr. Mary Frances HaerrAnonymous (10)

member of the Leadership Council (see page 78)

* deceased

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

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

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

which can be viewed online at CLEVELANDORCHESTRA.COM

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

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

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

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


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

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

Accepting Exceptional Consignments

ContactBrad [email protected]

513.871.1670 x176270 Este Ave.Cincinnati, OH 45232


The Cleveland Orchestra’s catalog of recordings

continues to grow. The newest DVD features Bruckner’s

Eighth Symphony recorded live at Severance Hall under

the direction of Music Director Franz Welser-Möst in 2010

and released in May 2011. And, released in

2012, Dvořák’s opera Rusalka on CD, recorded

live at the Salzburg Festival. Writing of the

Rusalka performances, the reviewer for

London’s Sunday Times praised the perform -

ance as “the most spellbinding account

of Dvořák’s miraculous score I have ever

heard, either in the theatre or on record.

. . . I doubt this music can be better played than by the

Clevelanders, the most ‘European’ of the American or-

chestras, with wind and brass soloists to die for and a

string sound of superlative warmth and sensitivity.”

Other recordings released in recent years

include two under the baton of Pierre Boulez

and a third album of Mozart piano concertos

with Mitsuko Uchida, whose fi rst Cleveland

Orchestra Mozart album won a Grammy Award

in 2011.

R E C O R D I N G Sg r e a t g i f t i d e a s


Visit the Cleveland Orchestra Store for

the latest and best Cleveland Orchestra

recordings and DVDs.

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

Heidi O’NeillRegistered Landscape Architect


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

beautiful concert halls, Severance Hall

has been home to Th e Cleveland Or-

chestra since its opening on February 5,

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

land newspaper editorial stated: “We

believe that Mr. Severance intended

to build a temple to music, and not a

temple to wealth; and we believe it is his

intention that all music lovers should be

welcome there.” John Long Severance

(president of the Musical Arts Associa-

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

donated most of the funds necessary to

erect this magnifi cent building. De-

signed by Walker & Weeks, its elegant

Georgian exterior was constructed to

harmonize with the classical architec-

ture of other prominent buildings in

the University Circle area. Th e interior

of the building refl ects a combination

of design styles, including Art Deco,

Egyptian Revival, Classicism, and Mod-

ernism. An extensive renovation, resto-

ration, and expansion of the facility was

completed in January 2000. In addition

to serving as the home of Th e Cleveland

Orchestra for concerts and rehearsals,

the building is rented by a wide variety

of local organizations and private citi-

zens for performances, meetings, and

gala events each year.

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

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Severance Hall The Cleveland Orchestra88

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

and Student Frequent FanCard off er aff ordable access

to Cleveland Orchestra concerts all season long

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

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

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

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

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

chestra concerts through these various programs and off ers.

STUDE NT ADVANTAGE PROGRAM

Th e Orchestra’s ongoing Student Advantage Program provides opportunities

for students to attend Orchestra concerts at Severance Hall through discounted

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

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

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

weekly Classical Subscription Concerts all season long.

“UNDE R 18s FRE E ” FOR FAMILIE S

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

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

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

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

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

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

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

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

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

audiences for Cleveland Orchestra concerts in Northeast Ohio.

Student Ticket ProgramsSeverance Hall 2012-13Severance Hall 2012-13 89

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

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

Concert Calendar

S P R I N G S E A S O NThursday April 11 at 8:00 p.m.Friday April 12 at 8:00 p.m.Saturday April 13 at 8:00 p.m.Sunday April 14 at 3:00 p.m.THE CLEVELAND ORCHESTRAJames Feddeck, conductorRobert Walters, oboe d’amoreRebecca Nelsen, sopranoNicholas Phan, tenorStephen Powell, baritoneCleveland Orchestra ChorusCleveland Orchestra Children’s Chorus

BACH Concerto in A major, BWV1055ORFF Carmina Burana

Sponsor: KeyBank

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

SHEPHERD Tuolumne [WORLD PREMIERE]

SHOSTAKOVICH Violin Concerto No. 1DVOŘÁK Symphony No. 6

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

HAYDN The Seasons Sponsor: BakerHostetler

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

PNC MUSICAL RAINBOWSPECTACULAR STRINGS

Alexandra Preucil, violin David Alan Harrell, cello

30-minute programs for ages 3 to 6.

Wednesday May 1 at 7:30 p.m.Friday May 3 at 7:30 p.m.THE CLEVELAND ORCHESTRAJames Feddeck, conductor

AT THE CLEVELAND MUSEUM OF ART CALIFORNIA MASTERWORKS

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

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

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

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

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

Sunday May 12 at 2:00 p.m.THE CLEVELAND ORCHESTRAMichael Butterman, conductor FAMILY CONCERT FABLES, FANTASY, AND FOLKLORE

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

Sponsor: The Giant Eagle Foundation

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

The Cleveland Orchestra90

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

O R C H E S T R A 1213SEASON

Concert CalendarSeverance Hall 2012-13Severance Hall 2012-13 91

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

TCHAIKOVSKY’SFIFTHThursday May 23 at 8:00 p.m.Friday May 24 at 7:00 p.m.*Saturday May 25 at 8:00 p.m.Sunday May 26 at 3:00 p.m.THE CLEVELAND ORCHESTRAManfred Honeck, conductorLars Vogt, piano *

Tchaikovsky is often considered the most

Romantic of composers. His Fifth Symphony

has been an audience favorite since its pre-

miere in 1888. Here, Tchaikovsky wrestled

with his musical Fate, creating soaring,

memorable melodies and a deeply pas-

sionate journey to a triumphant ending.

Manfred Honeck, music director of the

Pittsburgh Symphony, makes his Cleveland

Orchestra debut.

*not included on KeyBank Fridays@7

Thurs/Sat Sponsor: Baker Hostetler

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

BARBER Overture to The School for ScandalDVOŘÁK Cello ConcertoSZYMANOWSKI EtudeR. STRAUSS Death and Transfiguration

May 11 to 17THE CLEVELAND ORCHESTRA

NORTHEAST OHIO NEIGHBORHOOD RESIDENCYTHE CLEVELAND ORCHESTRA

AT HOME IN GORDON SQUAREThe Cleveland Orchestra presents its inaugural neighbor-hood residency in Northeast Ohio May 11-17 in Cleveland’s Gordon Square Arts District. During this first residency, the Orchestra offers more than fifteen events for the commu-nity throughout the week, including performances by Cleve-land Orchestra musicians, ensembles from the Cleveland Orchestra Youth Orchestra and Youth Chorus, a Cleveland Orchestra concert preview, and educational programs for local students. All of the events will be free and open to the public. For details, visit clevelandorchestra.com.

Saturday May 18 at 8:00 p.m.THE CLEVELAND ORCHESTRAJames Feddeck, conductorwith Patti Austin

CELEBRITY SERIESPATTI AUSTIN: MUSIC OF

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

Thursday May 23 at 8:00 p.m.Friday May 24 at 7:00 p.m.*Saturday May 25 at 8:00 p.m.Sunday May 26 at 3:00 p.m.THE CLEVELAND ORCHESTRAManfred Honeck, conductorLars Vogt, piano*

MARTINSSON Open MindBEETHOVEN Piano Concerto No. 3*TCHAIKOVSKY Symphony No. 5

*not included on KeyBank Fridays@7Thursday/Saturday Sponsor: BakerHostetler

Manfred Honeck


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

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

FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall are being offered this season on October 14, November 25, February 10 and 24, and May 5 and 26. For additional information or to re-serve you place for these tours, please call the Sever-ance Hall Ticket Offi ce at 216-231-1111. Private tours can be arranged for a fee by calling 216-231-7421.

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

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

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

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

BEFORE THE CONCERTGARAGE PARKING AND PATRON ACCESS Pre-paid parking for the Campus Center Ga-rage can be purchased in advance through the Tick-et Offi ce for $14 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order pre-paid parking, call the Severance Hall Ticket Offi ce at 216-231-1111. Parking can be purchased for the at-door price of $10 per vehicle when space in the Campus Cen-ter Garage permits. However, the garage often fi lls up well before concert time; only ticket holders who purchase pre-paid parking passes are ensured a parking space. Overfl ow parking is available in CWRU Lot 1 off Euclid Avenue, across from Sever-ance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.

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

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

Guest Information The Cleveland Orchestra92

Guest Information

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

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

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

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

SERVICES FOR PERSONS WITH DISABILITIES

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

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

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

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

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

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

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


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



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

TICKETS 216-231-1111 clevelandorchestra.com

At Severance Hall . . .

Upcoming Concerts

PATTI AUSTIN Music of Ella and EllingtonSaturday May 18 at 8:00 p.m.THE CLEVELAND ORCHESTRAJames Feddeck, conductorwithPatti Austin, vocalist

Pop-jazz superstar Patti Austin began her

career as a four-year-old, onstage with the leg-

endary Dinah Washington. Since then, she has

performed hit songs all over the world — and

is considered one of the most stunning inter-

preters of song onstage today. In a tribute to

jazz giants Ella Fitzgerald and Duke Ellington.

She joins with The Cleveland Orchestra for this

program featuring songs from Austin’s Grammy-

nominated album For Ella, including such favor-

ites as “I’ve Got You Under My Skin,” “I Only Have

Eyes For You,” “Mack the Knife,” and more!

FABLES, FANTASY, AND FOLKLORESunday May 12 at 2:00 p.m.THE CLEVELAND ORCHESTRAMichael Butterman, conductor

The Cleveland Orch estra’s season of Family

Concerts concludes with a program of musical

storytelling led by guest conductor Michael

Butterman. The concert features such classics

as Rimsky-Korsakov’s Scheherazade (based on

Tales from the Arabian Nights), Grieg’s In the

Hall of the Mountain King, and Rossini’s William

Tell Overture. Intended for children ages 7

and older, the series is designed to introduce

young people to classical music. In addition

to the one-hour Orchestra concert, each Fam-

ily Concert features free, pre-concert activities,

including an “Instrument Discovery” in which

children fi nd their inner musicians with hands-

on experience.

Sponsor: The Giant Eagle FoundationNew!

94

If you want to changeYOUR COMMUNITY,

be that change.

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

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

ClevelandFoundation.org

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The Cleveland Orchestra May 3, 4, 5, 9, 10 Concerts

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