The Cleveland Orchestra Jan. 12-14 Concert Program

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

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Table of Contents4 The Cleveland Orchestra

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

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WEEK 7

9 About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . 9

Music Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Conductors and Musicians . . . . . . . . . . . . . . . . . . 17

Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Severance Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 92

WEEK 8

9 About the Orchestra Musical Arts Association . . . . . . . . . . . . . . . . . . . . . . 9

Music Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 18

Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Severance Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

About The Cleveland Orchestra . . . . . . . . . . . . . . 92

21 In the News

Perspectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

In Focus: A Look Back . . . . . . . . . . . . . . . . . . . . . . . 93

35 Concert —Week 8 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Introducing the Program:

Classical & Romantic Brahms . . . . . . . . . . . . . . 36

BRAHMS

Violin Concerto . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

SAARIAHO

Orion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

SMETANA

Má Vlast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . 13

Soloist: Julian Rachlin . . . . . . . . . . . . . . . . . . . . . . . 53

48 Future Concerts Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

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

66 Support Endowment Funds . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Education and Community . . . . . . . . . . . . . . . . . . 69

Corporate Honor Roll . . . . . . . . . . . . . . . . . . . . . . . . 77

Foundation / Government Honor Roll . . . . . . . . 79

Patron Listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Copyright © 2012 by The Cleveland Orchestra and the Musical Arts Association

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

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

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

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

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

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

This program book isprinted on paper thatincludes 10% recycled post-consumer content.All unused books are recycled as part of theOrchestra’s regular busi-ness recycling program.

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OUR INDEPENDENCEIS YOUR PEACE OF MIND

Musical Arts Association

THE MUSICAL ARTS ASSOCIATION operating The Cleveland Orchestra, Severance Hall, and Blossom Festival

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)

Mrs. Gilbert W. Humphrey (FL)Herbert Kloiber (Germany)Ludwig Scharinger (Austria)

TRUSTEES EX-OFFICIO Iris Harvie, President, Volunteer Council of The Cleveland Orchestra

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

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

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

Dr. Lester Lefton, President, Kent State University

Barbara R. Snyder, President, Case Western Reserve University

PAST PRESIDENTS D. Z. Norton 1915-21

John L. Severance 1921-36

Dudley S. Blossom 1936-38

Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55

Frank E. Taplin, Jr. 1955-57

Frank E. Joseph 1957-68

Alfred M. Rankin 1968-83

Ward Smith 1983-95

Richard J. Bogomolny1995-2002, 2008-09

James D. Ireland III 2002-08

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

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 Bruce P. Dyer Terrance C. Z. Egger Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey

David P. Hunt Christopher Hyland James D. Ireland III Trevor O. Jones Betsy Juliano Jean C. Kalberer Nancy F. Keithley Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Robert P. Madison Nancy W. McCann Thomas F. McKee Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. Oatey

Katherine T. O’NeillThe Honorable John D. OngLarry PollockAlfred M. Rankin, Jr.Clara T. RankinAudrey Gilbert RatnerCharles A. RatnerJames S. Reid, Jr.Barbara S. RobinsonPaul RoseSteven M. RossRaymond T. SawyerLuci ScheyNeil SethiHewitt B. Shaw, Jr.Richard K. SmuckerR. Thomas StantonThomas A. WaltermireGeraldine B. WarnerPaul E. Westlake Jr.David A. Wolfort

OFFICERS AND EXECUTIVE COMMITTEE Dennis W. LaBarre, President

Richard J. Bogomolny, Chairman

The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair

Raymond T. Sawyer, Secretary

Beth E. Mooney, Treasurer

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

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

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

9Severance Hall 2011-12

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, just released,

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 the past year

include two under the baton of Pierre Boulez

and a second album of Mozart piano concertos

with Mitsuko Uchida, whose first Cleveland

Orchestra Mozart album won a Grammy Award

this past year.

R E C O R D I N G Sg r e a t g i f t i d e a s


New!

New!

Visit the Cleveland Orchestra Store for

the latest and best Cleveland Orchestra

recordings and DVDs.

© 2011 University Hospitals RBC 00438

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

THE 2011-1 2 SEASON marks Franz Welser-Möst’s

tenth year as Music Director of The Cleveland Or-

chestra, with a long-term commitment extending to

the Orchestra’s centennial in 2018. Under his direc-

tion, the Orchestra is acclaimed for its continuing

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 pre-

mieres, and has re-established itself as an important

operatic ensemble. 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 The Cleveland Orchestra back into public schools with

performances in collaboration with the Cleveland Metropolitan School District.

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

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

chestra Youth Orchestra and partnerships with music conservatories and universi-

ties across Northeast Ohio.

Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has estab-

lished an ongoing biennial residency in Vienna at the famed Musikverein con-

cert hall and at the Lucerne Festival in Switzerland. Together, they have appeared

in residence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where

a 2008 residency included five 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 Orchestra Miami Residency in Florida and

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

Under Franz Welser-Möst’s direction, The Cleveland Orchestra has per-

formed thirteen world and fifteen United States premieres. Through the Roche

Commissions project, he and the Orchestra have premiered works by Harrison

Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, and Toshio Hosokawa

in partnership with the Lucerne Festival and Carnegie Hall. In addition, the Dan-

iel R. Lewis Young Composer Fellow program has brought new voices to the rep-

ertoire, including Marc-André Dalbavie, Matthias Pintscher, Susan Botti, Julian

Anderson, Johannes Maria Staud, Jörg Widmann, and Sean Shepherd.

Franz Welser-Möst has led opera performances each season during his

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Music Director 13Severance Hall 2011-12

tenure in Cleveland, re-establishing the Orchestra as an im-

portant operatic ensemble. Following six opera-in-concert

presentations, 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 leads concert performances

of Strauss’s Salome at Severance Hall and at Carnegie Hall dur-

ing the 2011-12 season.

Franz Welser-Möst became General Music Director of

the Vienna State Opera with the 2010-11 season. His long

partnership with the company has included acclaimed perfor-

mances of Tristan and Isolde, a new production of Wagner’s Ring cycle with stage

director Sven-Eric Bechtolf, and, in his first season in the post, critically praised

new productions of Hindemith’s Cardillac and Janáček’s Katya Kabanova. During

the 2011-12 season, he continues his survey of the operas of Janáček with a

new production of From the House of the Dead and also leads a new production

of Verdi’s Don Carlo.

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. 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 The Cleveland Orchestra, he has created DVD

recordings of live performances of four Bruckner symphonies, presented in three

accoustically distinctive venues: Symphony No. 5 in the Abbey of St. Florian in

Austria, Symphony No. 9 in Vienna’s Musikverein, and Symphonies Nos. 7 and 8

at 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 Brueg-

gergosman. DVD releases on the EMI label have included Mr. Welser-Möst leading

Zurich Opera productions of The Marriage of Figaro, Così fan tutte, Don Giovanni,

Der Rosenkavalier, La Bohème, 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, honorary

membership in the Vienna Singverein, appointment as an Academician of the Euro-

pean Academy of Yuste, a Gold Medal from the Upper Austrian government for his

work as a cultural ambassador, and the Kilenyi Medal from the Bruckner Society of

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

lished in a German edition in 2007.

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Music Director14 The Cleveland Orchestra

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

Kelvin Smith Family Chair

Christoph von DohnányiMUSIC DIRECTOR LAUREATE

Giancarlo GuerreroPRINCIPAL GUEST CONDUCTOR,

CLEVELAND ORCHESTRA MIAMI

James FeddeckASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

MUSIC DIRECTOR, CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Sasha MäkiläASSISTANT CONDUCTOR

Sidney and Doris Dworkin Chair

Robert PorcoDIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

Lisa WongASSISTANT DIRECTOR OF CHORUSES

Ann UsherDIRECTOR, CLEVELAND ORCHESTRA CHILDREN’S CHORUS

Frank BianchiDIRECTOR, CLEVELAND ORCHESTRA YOUTH CHORUS

Lisa ManningASSISTANT DIRECTOR, CLEVELAND ORCHESTRA YOUTH CHORUS

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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

Lev PolyakinASSISTANT CONCERTMASTER

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

Takako MasamePaul and Lucille Jones Chair

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

Kim GomezElizabeth and Leslie Kondorossy Chair

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

Miho HashizumeTh eodore Rautenberg Chair

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

Alicia KoelzOswald and Phyllis Lerner Gilroy Chair

Yu YuanPatty and John Collinson Chair

Isabel TrautweinTrevor and Jennie Jones Chair

Mark DummGladys B. Goetz Chair

Alexandra Preucil Katherine 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 Dixon

HARPTrina Struble*

Alice Chalifoux Chair

FLUTESJoshua Smith*

Elizabeth M. andWilliam C. Treuhaft Chair

Saeran St. ChristopherMarisela Sager 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink

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

18 The Cleveland Orchestra

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

PICCOLOMary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOESFrank Rosenwein*

Edith S. Taplin Chair

Jeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORNRobert Walters

Samuel C. and Bernette K. Jaff e Chair

CLARINETSFranklin Cohen*

Robert Marcellus Chair

Robert WoolfreyDaniel McKelway 2

Robert R. and Vilma L. Kohn Chair

Linnea Nereim

E-FLAT CLARINETDaniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINETLinnea Nereim

BASSOONSJohn Clouser *

Louise Harkness Ingalls Chair

Barrick Stees2

Sandra L. Haslinger Chair

Jonathan Sherwin

CONTRABASSOONJonathan Sherwin

HORNSRichard King *

George Szell Memorial Chair

Michael Mayhew §

Knight Foundation Chair

Jesse McCormickHans ClebschRichard SolisAlan DeMattia

TRUMPETSMichael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack SutteLyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETSMichael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONESMassimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard StoutAlexander andMarianna C. McAfee Chair

Shachar Israel2

BASS TROMBONEThomas Klaber

EUPHONIUM AND BASS TRUMPETRichard Stout

TUBAYasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANIPaul Yancich*

Otto G. and Corinne T. Voss Chair

Tom Freer 2

PERCUSSIONJacob Nissly*

Margaret Allen Ireland Chair

Donald MillerTom FreerMarc Damoulakis

KEYBOARD INSTRUMENTSJoela Jones*

Rudolf Serkin Chair

Carolyn Gadiel WarnerMarjory and Marc L. Swartzbaugh Chair

LIBRARIANSRobert O’BrienDonald Miller

ORCHESTRA PERSONNELCarol Lee IottDIRECTOR

Rebecca VineyardMANAGER

ENDOWED CHAIRS CURRENTLY UNOCCUPIEDASSISTANT PRINCIPAL HARP

Sunshine Chair

The Orchestra


O R C H E S T R A


C C C

CENTER1 TER C C TER C

C E C RE C EPH’ H M

H C MM C C MM C 2

H 3 R H C PHY


Happy New Year and welcome to the opening weeks in our winter

season of concerts here at Severance Hall.

Late last year, at the Annual Meeting of the Musical Arts Association,

Board President Dennis LaBarre and I reported on The Cleveland

Orchestra’s 2010/11 activities and fi nances. Dennis captured the

glories of the season in his remarks, including:

“This year has demonstrated the extraordinary global artistic preeminence of our

Orchestra. From New York’s Lincoln Center Festival to Tokyo’s Suntory Hall and

the Musikverein in Vienna, the Orchestra has received critical and public praise.

I’ve had the pleasure and privilege to hear patrons everywhere expressing their

astonishment at The Cleveland Orchestra sound.

“The Orchestra carries the name of Cleveland and raises Cleveland’s stature

around the world with its excellence. Our greatest passion remains our steadfast

commitment to preserving the Orchestra’s place as an essential community asset

here in Northeast Ohio.“

The Cleveland Orchestra’s artistic success in 2011 stands in stark contrast to the bad news

that reached us from orchestras in other cities around the country last year. In my re-

marks at the Annual Meeting, I acknowledged the situation and its impact on fi nances.

“Why do orchestras from Philadelphia to Honolulu fi nd themselves on varying de-

grees of life support? Because changes in American society have eroded the value

proposition of orchestras’ traditional business model. And for us in Cleveland, the

regional economy increases the challenge.

“But we in Cleveland have done more than any other orchestra in the country

toward overcoming the external pressures. We’re fi ghting back with orchestral

excellence that has no equal. We’re fi ghting back with successful innovation and a

greater commitment to education and the community. And we are fi ghting back

with increased fi nancial rigor and ongoing, prudent cost control.”

If you are an Annual Fund donor of $2500 or more, you will receive a copy of the Annual

Report in the mail. Others can access the Report on our website beginning January 12.

I hope you will take a moment to review the state of the institution we all care so

deeply about.

You will see in the Annual Report that our year-end Endowment value was $130 million.

As Dennis noted at the meeting, for us to be fi nancially healthy today would require

a $300 million endowment. Without it, we have an unsustainable structural defi cit that

threatens the Orchestra’s survival.

Building The Cleveland Orchestra’s endowment to that level will require nothing

less than extraordinary philanthropy. We are in the quiet phase of a major endowment

campaign and we are committed to being worthy of your generosity. Thank you for

your patronage.

Perspectives from the Executive Director

Gary Hanson

22 The Cleveland OrchestraCleveland Orchestra News

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PERFORMANCES & ACTIVITIES

Doors open at 11:30 a.m. All artists and performances are subject to change.

PERFORMANCES IN THE CONCERT HALL

12:15-1:00 pm

Cleveland Orchestra Youth ChorusFrank Bianchi, director

The Youth Chorus will perform music from a variety of musical traditions, including French, African-American, Haitian, and Spanish, as well as a preview of their March 11 performance of Poulenc’s Gloria.The Youth Chorus is supported by the Edward and Ruth Wilkof Foundation.

1:15-1:45 pm African Soul InternationalSista Jewel Jackson, artistic director

2:00-2:30 pm The Oberlin Ebony ConnectionDianna White-Gould (piano), Norris Kelly (tenor), Lisa Whitfi eld (viola)

2:45-3:15 pm Roots of American Music: “Freedom Calling”

3:30-4:00 pmEl Sistema@Rainy Symphonywith Cleveland Orchestra Musicians and FriendsRaphael Jimenez, conductor

4:15-5:15 pm

Cleveland Orchestra Youth OrchestraJames Feddeck, conductor

The Youth Orchestra will perform works by Elgar and William Grant Still, as well as a movement from Dvo ák’s Cello Concerto with Youth Orchestra member Hannah Moses as soloist. The Youth Orchestra is supported by a generous grant from the Martha Holden Jennings Foundation and Surdna Foundation, and by many other donors. Endowment support is provided by The George Gund Foundation, Jules and Ruth Vinney, and Christine Gitlin Miles.

ONGOING ACTIVITIES

“I Have a Dream” Wall and “Picture Yourself at Severance Hall”Smith Lobby on Ground Floor

between concert hall performances and throughout the day:“Terry Macklin Sounds of Entertainment” DJ and Line Dancing

Bogomolny-Kozerefski Grand Foyer

The Cleveland Orchestra Store is open from 11:30 a.m. to 6:00 p.m.Light refreshments are available for purchase in the Smith Lobby.

Community Open House Sponsor:

the exclusive health insurer of The Cleveland Orchestra

With additional support fromThe Call & Post , Macy’s and:


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Martin Luther King Jr. Day Community Open House at Severance Hall features free performances and activities

Severance Hall holds its twelfth an-nual Martin Luther King Jr. Day Com-munity Open House on Monday, January 16, from 12 noon to 5 p.m. The day of

free activities and perfor-mances celebrates the

legacy of Dr. King and features perfor-mances by a variety of Northeast Ohio

community perform-ing arts groups, including

the Cleveland Orchestra Youth Orchestra and the Cleveland Orchestra Youth Cho-rus, as well as African Soul International, Oberlin Ebony Connection, El Sistema@Rainey Symphony, and Roots of Ameri-can Music. (A complete schedule can be found at clevelandorchestra.com or on the page opposite.) The 2012 Com-munity Open House is sponsored by Medi-cal Mutual of Ohio, with additional sup-port from Macy’s, Cuyahoga Arts & Culture, and the Ohio Arts Council. Family activities throughout the afternoon include the “I Have a Dream” Wall where children and adults can post their dreams for our community, the “Picture Yourself at Sever-ance Hall” photo activity, and popular DJ Terry Macklin’s Sounds of Entertainment.

Committed to Accessibility

Severance Hall is committed to mak-ing performances and facilities accessible to all patrons. For information about ac-cessibility or for assistance, call the House Manager at (216) 231-7425.

Cleveland Orchestrajoins in national fooddrive January 14-16

The Cleveland Orchestra is holding a food drive January 14-16 to collect goods to be donated to the Cleveland Foodbank. The event is part of Orches-tras Feeding America, a national food drive held by America’s symphony orchestras. Last season, over 250 orchestras representing all 50 states collected more than 300,000 pounds of food for their communities. The project was the single largest orchestra project organized at a national level, uniting musicians, staff, volunteers, and audiences to help alleviate hunger. Unexpired food donations will be col-lected surrounding performances during the Martin Luther King weekend, Saturday through Monday, January 14-16, at Sever-ance Hall. Food items will be collected at Cleveland Orchestra concerts on Saturday and Sunday evenings, and throughout the Martin Luther King Jr. Community Open House on Monday afternoon, January 16. Marked bins will be available in the lobby to collect donations before each concert and throughout the open house (12 noon to 5 p.m.). For this food drive, the most want-ed items include: beef stew, canned soups, canned vegetables, cereal, peanut butter, and tuna fi sh. All items must be unopened and non-perishible in a box, can, or plastic container. Glass jars or bottles and homemade items cannot be accepted.

Silence is golden

As a courtesy to the performers on-stage and the audience around you, all patrons are reminded to turn off cell phones and to disengage electron-ic watch alarms prior to each concert.

Cleveland Orchestra News

Orchestra NewsNews

2012


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OrchestraNewsCleveland Orchestra and partner Conn-Selmer provide violins to El Sistema@Rainey

Thirty very excited students receivedbrand-new violins at a special event in Oc-tober as part of the inaugural year of ElSistema@Rainey, a comprehensive after-school orchestral music program launchedby the Rainey Institute and ClevelandOrchestra violinist Isabel Trautweinwith the 2011-12 school year. TheCleveland Orchestra with its partnerConn-Selmer are the official provid-ers of Scherl & Roth violins for theEl Sistema@Rainey program. In its first year, El Sistema@Rainey is providing ten hours of weeklygroup violin instruction and education-al support to 30 children in Clevelandin grades 1-4, with plans to expand tomore students in future years. Youngmusicians will also have opportunitiesto perform onstage at Severance Halland participate in masterclasses withCleveland Orchestra musicians. IsabelTrautwein, who serves as the artisticdirector of El Sistema@Rainey, wasgranted a year-long leave of absencefrom The Cleveland Orchestra last sea-son to participate in a formal trainingprogram to study the methods of ElSistema (“the system”) in Venezuelaand Boston, with the goal of buildingan El Sistema “nucleo” in Cleveland.El Sistema was founded more than35 years ago in Venezuela by econo-mist, musician, and social reformerDr. José Antonio Abreu. Today, theprogram serves more than 350,000children through neighborhood-baseddaily music instruction. El Sistema@Rainey joins El Sistemaprograms worldwide, including thosebased in Atlanta, Baltimore, Boston,Chicago, Los Angeles, and Philadelphia.

Chamber music recitalon February 5 featuresYefim Bronfman and Orchestra principals in works by Brahms

Pianist Yefim Bronfman appears in a special all-Brahms program of chambermusic in Severance Hall’s Reinberger

Chamber Hall on Sunday,February 5, at 2 p.m. Theprogram features fourprincipal string players ofThe Cleveland Orchestraperforming with Bronfman. The recital opens withBrahms’s Piano Sonata No.3 in F minor, Opus 5, fol-lowed by the Violin SonataNo. 3 in D minor, Opus 108,performed by Bronfman

and concertmaster William Preucil. Af-ter intermission, the afternoon presen-tation concludes with Brahms’s PianoQuintet in F minor, Opus 34, in whichBronfman will be joined by Preucil, prin-cipal second violin Stephen Rose, prin-cipal viola Robert Vernon, and principalcello Mark Kosower.

The February 5 concert concludes athree-week series of Cleveland Orchestraconcerts conducted by Franz Welser-Möstfeaturing the three solo concertos ofBrahms, with Bronfman as soloist in bothpiano concertos. Bronfman is devotingfour weeks to performances with TheCleveland Orchestra between Januaryand May, including the two weeks inCleveland, plus a week in January in Mi-ami and a performance of the BrahmsSecond Concerto in May at Carnegie Hall.

Comings and goings

As a courtesy to the performerson stage and the entire audience, late-arriving patrons cannot be seated untilthe first break in the musical program.

News


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

Upcoming performances by members of The Cleveland Orchestra in Northeast Ohio include:

A unique world-wide performance event is being held on Saturday, Janu-ary 14, with local participation involv-ing a “Percussion Beat-Down” at 3 p.m. at the Cleveland Institute of Music. Si-multaneous performances are being pre-sented in locations around the globe to focus attention and encourage people to take action to help alleviate world hunger. Led locally by Cleveland Orches-tra musicians Richard Weiner (percussion, retired) and Paul Yan-cich (timpani), co-chairs of CIM’s percussion department, the event will feature over 25 performers, including CIM students and other faculty members including percus-sionist Jamey Haddad, who curates the world music performances surround-ing The Cleveland Orchestra’s KeyBank Fridays@7 concerts. This Cleveland per-formance at CIM’s Kulas Hall is free and open to the public.

Cleveland Orchestra musician Caro-lyn Gadiel Warner (violin, keyboard) celebrates her 25th year as a faculty member at the Cleveland Insitute of Music with a special recital event on Sunday afternoon, January 22 titled “Carolyn Warner and Friends.” The free performance at 4 p.m. at CIM features Cleveland Orchestra colleagues Steven Warner (violin) and Mark Kosower (cello), as well as CIM students. Music selections include works by Milhaud, Martinů, Piazzolla, and Brahms. For more information, visit cim.edu.

Youth Orchestra announcesplans for first international tour to Europe this summer with help from new Touring Fund

Plans have been announced for the Cleveland Orchestra Youth Orchestra to make its first international tour in 2012. The tour to Europe June 13-21 includes con-certs in Prague, Vienna, and Salzburg.

The Youth Orchestra will be conducted by its music director, James Feddeck, who is in his third and final season with the Youth Orchestra and as assistant conductor of The Cleveland Orchestra. The repertoire includes Dvořák’s Symphony No. 8, Elgar’s “Enigma” Variations, and music from Wag-ner’s Tristan and Isolde. In addition to con-certs, tour activities for the Youth Orchestra members include guided historic sightsee-ing tours featuring visits to the Vienna Musikverein and Vienna’s Zentralfriedhof (Central Cemetery, where many famous composers are buried, including Beethoven, Brahms, Schubert, and Johann Strauss Jr.).

The Cleveland Orchestra Youth Orches-tra tour is made possible in part through the generosity of the Vinney family. In April 2011 the Jules and Ruth Vinney Cleve-land Orchestra Youth Orchestra Touring Fund was established to help cover costs of the Youth Orchestra tour and to provide scholarships to eligible Youth Orchestra members. An endowment gift from the Jules and Ruth Vinney Philanthropic Fund, advised by their children Les Vinney, Margo Vinney, and Karen Jacobs, established this generous Touring Fund, which will provide perpetual support for the Youth Orches-tra’s touring program.

Members of the Youth Orchestra are also participating in fundraisers through-out the 2011-12 season to help cover the cost of the tour. They are also available for solo and chamber music performances, in order to earn funds to support their trip.Contact the Youth Orchestra manager at 216-231-7352 for more details.

News

OrchestraNewsNews


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Franz Welser-Möst and Orchestra receive accolades throughout European Tour and Vienna Residency Music Director Franz Welser-Möst and The Cleveland Orchestra returned home on November 6 from their eleventh international tour together, including the Orchestra’s fi fth biennial residency at Vienna’s historic Musikverein concert hall. Throughout the tour, press reviews — excerpted on these pages — extended praise and accolades to the Orchestra for its precision and musicality. In addition to the Vienna Musikverein Residency, the tour fea-tured two concerts in Madrid, Paris, and Luxembourg, and single concerts in Valencia, Cologne, and Linz. During the four-concert Musikverein Residency, the Orchestra gave two performances of Mozart’s “Great” Mass in C minor, featuring soprano Malin Hartelius, soprano Juliane Banse, tenor Martin Mitterrutzner, baritone Ruben Drole, and the Vienna Singverein. Cellist Truls Mørk was soloist with the Orchestra in Luxembourg. The thirteen-concert, seven-city tour began with per-formances in Madrid, Spain, on October 20 and 21 and ended in Vienna on November 5. Tour sponsors included Raiffeisenlandesbank Oberösterreich, Tele München Group, Jones Day, LNE Group / Lee Weingart, Miba AG, and SEMAG GmbH, with additional support from a group of generous individuals.

“And in fact, the music sounded fabulous — with the weapons that Welser-Möst handles so scrupulously: precision, rhythmic control, a certain highly effective mini-malism. All that, plus the assurance of having an orchestra like Cleveland at his com-mand: compact, secure, even luminous.”

—El Pais, October 22, 2011

“Welser-Möst was restrained in Mendelssohn, dominating in Stravinsky, and brilliant in Ravel. His gestures are sober, his movements a bit mechanical; his image ranges from timid to robot-like, from subtle to introverted. The analytic part takes prece-dence over the expressive. The artistic results are overwhelmingly effective. It is the art of perfection, pure and simple. No excessive emphases, no special effects, none of those ‘strokes of genius’ that are so often arbitrary. He even smiled in the Ravel, completely won over by the work’s rhythmic and timbral richness. All sections of the orchestra responded homogeneously and with great class.”

—El Pais, October 22, 2011

“We were immediately won over by the agility of the strings, the warmly stream-ing sound of the woodwind, the unshakable security of the brass. The true miracle, then, occurred in the two major works on the program, Tchaikovsky’s Fourth Sym-phony and, before intermission, the Doctor Atomic Symphony by John Adams.”

—KlassikInfo.de, October 30, 2011

News

Orchestra News


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“Franz Welser-Möst navigated his orchestra, which cannot be called anything but fantastic, with a secure sense of control and great restraint. At no time did he give in to sensationalism in this music, which is so rich in contrasts between pandemonic eruptions and soothing major-mode consonance. Some members of the orchestra distinguished themselves with impressive solos; above all, trumpeter Michael Sachs knocked our socks off with his sovereign technique.”

—KlassikInfo.de, October 30, 2011

“In concerts Tuesday and Wednesday at Salle Pleyel, an historic hall near L’Arc de Triomphe, the orchestra and music director Franz Welser-Möst more than proved themselves worthy of a long-term presence here, dazzling two nearly sold-out crowds and leaving audiences eager for more. Both nights, in fact, they were re-galed with multiple rounds of synchronized clapping.”

—Zachary Lewis, The Plain Dealer, October 27, 2011

“This pure-bred elegance is transmitted to all sections; the brilliance of the winds is inspired by the transparencey of the strings, though their sound is never overpow-ering. Are American orchestras too fl ashy, too thundering? Cleveland is the dream antidote to this persistent cliché. Here is the most refi ned of orchestras, where the supernatural cohesion of the attacks never turns into a power show by an advanc-ing army.” —Le Figaro, October 28, 2011

“The triumph of the evening, marked by a prolonged acclaim, was due to Mozart’s great C-minor Mass (K. 427). Here Welser-Möst gradually unveiled an overall plan that was as comprehensive as it was successful, dashing and radiant, expressive and stylish.” —Vienna Kurier, November 2, 2011

“Yet for all the technical craftsmanship, one can also bring out the eloquence of this music, if one lets true emotions resonate. Franz Welser-Möst has succeeded in doing just that, since he has the fi nest string playing to build upon and is thus able to turn a breathtakingly beautiful study in sound into a moving, expressive musical statement without forcing the interpretation in the least.”

—Die Presse, November 1, 2011


p h o n e 216.241.6000 o n l i n e CLEVELANDPLAYHOUSE.COM

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OPENING PRODUCTIONIN THE NEW SECOND STAGE!


Franz Welser-Möst and Cleveland Orchestrato continue recording Bruckner with Sym. No. 4

The Cleveland Orchestra and Music Director Franz Welser-Möst have announced that they will record performances ofBruckner’s Symphony No. 4 at the Abbey of St. Florian nearLinz, Austria, in August 2012. The recording will be releasedon DVD and adds to the Orchestra’s series of four Brucknersymphonies (Nos. 5, 7, 8, and 9) already recorded with gener-ous support from Raiffeisenlandesbank Oberösterreich andClasart production company. Welser-Möst and the Orchestraare presenting the Fourth Symphony in performances at Sever-ance Hall later this spring, April 26-28. In announcing the next recording, Dr. Ludwig Scharinger, CEO of Raiffeisenlan-desbank Oberösterreich, commented, “We are proud to support Franz Welser-Möstand The Cleveland Orchestra in their deep commitment to recording Bruckner’smasterpiece symphonies and sharing them with the world.” RaiffeisenlandesbankOberösterreich has sponsored Cleveland Orchestra performances in both Austria andGermany, and supported the 2011 Cleveland Orchestra Residency at the Musikvereinin Vienna. In addition, Raiffeisenlandesbank Oberösterreich has organized ClevelandOrchestra performances at the Brucknerhaus in Linz as well as at the Abbey of St.Florian, the church where Bruckner is entombed. The bank is committed to enrichingAustria’s culture through the arts. Dr. Herbert Kloiber, chairman of The Cleveland Orchestra’s European AdvisoryBoard, said, “Franz Welser-Möst and The Cleveland Orchestra’s recordings of Bruck-ner’s symphonies create a legacy and a benchmark for years to come. It is incredibleto witness these historic recordings come to life in the remarkable venues at St. Flo-rian, the Musikverein, and at Severance Hall in Cleveland.”


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OrchestraNewsNews

IN THE SCHOOLSThe Cleveland Orchestra has performed concerts in two area high schools this sea-son. Franz Welser-Möst led the Orchestra in a presenta-tion at Saint Ignatius High School (left) that featured John Adams’s “Doctor Atomic Symphony” on October 14, and Sasha Mäkilä led a perfor-mance at the Cleveland School of the Arts titled “American Journey” on November 16. These performances marked the Orchestra’s third season of Cleveland Orchestra con-certs in high schools, launched in 2009 by Welser-Möst.

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Symphony No. 8was released last year.


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Cleveland Orchestra now available as an app for mobile phones

The Cleveland Orchestra’s websiteis now available in a streamlined formatas an application for cell phones. The“app” can be downloaded in versions foriPhone or Android phones, and many ofits features also display on other web-ready mobile phones.

The new app offersfans a convenient andstreamlined way to pur-chase tickets, listen toCleveland Orchestra ra-dio broadcasts, and con-nect to the Orchestra’ssocial media. Createdin partnership withInstantEncore.com, aleading performing artsdigital platform, theapp connects fans to TheCleveland Orchestra Blog,Facebook, YouTube, andinformation about theOrchestra (including musicians’ photosand biographies) and venues. The appalso allows on-demand, streaming broad-casts from WCLV of performances by TheCleveland Orchestra and Cleveland Or-chestra Youth Orchestra.

This latest tech innovation is an ad-dition to the Orchestra’s ongoing socialmedia platforms and website, includingThe Cleveland Orchestra Blog (viewedby readers in all 50 states and more than100 countries), Facebook, Twitter, Flickr,and YouTube. The Cleveland Orchestra’swebsite offers convenient online seatselection and print-at-home ticketing.Additional features to the mobile appwill be added in the coming months.

The app can be downloaded freefrom the iTunes Stores or Android Mar-ketplace. Links for downloading can alsobe found on the Orchestra’s homepage.

New Cleveland Orchestrarecording features live performance of “Rusalka”from Salzburg Festival

The Cleveland Orchestra’s newestrecording is a live audio recording ofDvořák’s opera Rusalka, performed under

Franz Welser-Möst’s direc-tion as part of the 2008Salzburg Festival. Thealbum on the Orfeo la-bel was released at theend of September andcomes in CD format or asa music download. The August 2008performances of Rusalka

marked the first time that The Cleveland Orchestra played from the orchestrapit for an opera production at the Salz-burg Festival. The five sold-out Rusalkaperformances were part of a FestivalResidency that also included Welser-Möstconducting the Orchestra in three differ-ent concert programs. Prior to the stagedSalzburg performances, Welser-Möst andthe Orchestra presented in-concert per-formances of Rusalka in Cleveland.

Martin Luther King Jr. Celebration Concert on January 15 broadcastlive on local radio

The Cleveland Orchestra performsits 32nd annual concert on Sunday eve-ning, January 15, celebrating the spiritof Dr. King’s life, leadership, and visionin music, song, and community recogni-tion. Tickets to this free event were soldout within an hour after going on saleon January 3. The performance, led byguest conductor Chelsea Tipton II andfeaturing the specially assembled volun-teer Martin Luther King Jr. CelebrationChorus, is being broadcast live locallyon radio stations WCLV (104.9 FM) andWCPN (90.3 FM).

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Concert Previews Cleveland Orchestra Concert Previews

are presented before every regular subscrip-

tion concert, and are free to all ticketholders

to that day’s performance. Previews are de-

signed to enrich the concert-going experience

for audience members of all levels of musical

knowledge through a variety of interviews and

through talks by local and national experts.

Concert Previews are made possible

by a generous endowment gift from

Dorothy Humel Hovorka.

January 12, 13, and 14“Beloved Favorites” with Rose Breckenridge,

Cleveland Orchestra Music Study Groups

administrator and lecturer

January 19, 20, and 21“A Conversation Between Composers” with composer Sean Shepherd

in conversation with Keith Fitch,

head of composition at the

Cleveland Institute of Music

February 2, 3, and 4“Back to the Future: Mozart, Brahms, and the Idea of Progress” with speaker Francesca Brittan,

assistant professor of music,

Case Western Reserve University

February 9, 11, and 12“Music of the Night” with Rabbi Roger Klein,

The Temple – Tifereth Israel

February 16, 17, and 18“Symphonies of Sounds” with Michael Strasser, professor of musicology,

Baldwin-Wallace College Conservatory of Music

For future 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 oppor-

tunity for audience members to ask

questions.

Concert Previews

Performance excellence.

Imaginative programs.

World class talent.

These are just a few of the reasons why Eaton Corporation is proud to sponsor The Cleveland Orchestra and its tradition of excellence.

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35Severance Hall 2011-12 Concert Program — Week 8

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

Severance HallThursday evening, January 12, 2012, at 8:00 p.m. Friday morning, January 13, 2012, at 11:00 a.m. *Saturday evening, January 14, 2012, at 8:00 p.m.

Franz Welser-Möst, conductor

JOHANNES BRAHMS Violin Concerto in D major, Opus 77(1833-1897) 1. Allegro non troppo 2. Adagio 3. Allegro giocoso, ma non troppo vivace

JULIAN RACHLIN, violin

INTERMISSION *

KAIJA SAARIAHO Orion(b. 1952) 1. Memento mori 2. Winter Sky 3. Hunter

BEDRICH SMETANA Three Symphonic Poems (1824-1884) from Má Vlast [My Country] No. 1: Vyšehrad, The Mighty Fortress No. 2: The Moldau [Vltava] No. 3: Šárka, The Warrior Maid

These concerts are sponsored by Eaton Corporation, a Cleveland Orchestra Partner in Excellence.

Julian Rachlin’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 Mrs. Norma Lerner

in recognition of her extraordinary generosity in support of The Cleveland Orchestra’s 2010-11 Annual Fund.

The Saturday evening concert is dedicated to Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski

in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s 2010-11 Annual Fund.

The evening concerts will end at about 9:55 p.m.

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

* The Friday morning concert is performed without intermission and features Saariaho’s Orion followed by the Brahms concerto. The concert will end at about 12:10 p.m.


36 The Cleveland Orchestra36 The Cleveland Orchestra

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

Johannes Brahms Purely Classical &Clearly Romantic

I N H I S L I F E T I M E , the image of Johannes Brahms, for both his admirers and

his enemies, was as a backward-looking musician who upheld the old Vien-

nese-Classical forms as a bastion against the aesthetic and social agenda of

progressive composers. How one felt about Brahms in the later 19th century

had much to do with how one felt about those progressives, whose most cel-

ebrated fi gures and leading propagandists were Richard Wagner and Franz

Liszt. Under the banner “Music of the Future,” they wrote works based on sto-

ries, literature, ideas — Wagner’s music dramas, Liszt’s tone poems. Brahms,

declared Liszt, belonged to “the posthumous party” in music. When Brahms

died, Wagnerite critics dismissed him as an artist who lacked a “world-histori-

cal” vision. His music, said one critic, amounted to nothing more than “the

private thoughts and private meanings of a clever man.”

Not all these attitudes toward Brahms were wrong. But none of them

encompassed the reality. One reality was that in his art Brahms was neither

revolutionary nor conservative; he belonged to no party at all. “I must go my

own way and in peace,” Brahms said. He refrained from public politicking or

polemics. In private, he expressed great admiration for Wagner’s music, as dis-

From now through early February, Franz

Welser-Most is leading Th e Cleveland Or-

chestra in a mini-festival of performances

of the three solo concertos by Johannes

Brahms, one concerto per week. Th e focus

on Brahms concludes on Sunday, February

5, with a special chamber music recital fea-

turing pianist Yefi m Bronfman (soloist in the

two piano concertos) performing with four of

the Orchestra’s principal string players. Each

week’s concerto is paired with varying music,

including three recent works from the past de-

cade. On the following pages, Brahms scholar

Jan Swaff ord discusses the composer’s place

in musical history and modernism.

About the Music

37Severance Hall 2011-12 Johannes Brahms

tinct from Wagner the polemicist and the man. (For his part, Wagner had nothing

but contempt for Brahms.)

Like all geniuses, Brahms was not a simple artist or person. His work en-

compasses large, paradoxical territories. He was trained in Hamburg and imbued

with the doctrine of Haydn, Mozart, and Beethoven. His mentors taught him that

the forms of music used by those giants — sonata form, above all — were eter-

nal and incorruptible models. Along with that doctrine came a sense of awe. “As

much as we men are above the creeping things of the earth,” Brahms told his dis-

ciple Georg Henschel (later the fi rst conductor of the Boston Symphony), “so these

gods are above us.” He meant this literally. He predicated his career on working in

the shadow of giants. As far as Brahms was concerned, the job of a composer was

to master the forms and genres of the past. So he did master them, patiently and

painstakingly, one aft er another — piano sonata, theme and variations, scherzo,

concerto, piano trio and quartet, string quintet and sextet, string quartet, and fi -

nally symphony. (Despite years of trying, he produced no opera.) It was exactly

those genres, in their traditional forms, that Wagner and Liszt had declared dead

and buried.

En route, Brahms destroyed more music than he released. He claimed that

before publishing his First String Quartet, he threw out twenty quartets. He spent

over fi ft een years working, off and on, at his First Symphony (then wrote the next

two in a summer each). Th e world never saw a second violin concerto or second

double concerto, and who knows how many other works he draft ed. He liked to

tear up the pages of rejected pieces and throw them in the nearest river, so he could

watch them disappear downstream.

But if Brahms was the hero of musical conservatives in the 19th century, that

was not his doing. He took it for granted that he would bring something new and

personal to the tradition he worshipped. Th at, too, was part of how he conceived

his job. He was one of the few composers of his time who understood how freely

the old masters handled their forms; he handled them more freely still. Some of his

restless harmonies were shocking to the ears of his day. His innovations in rhythm

in some ways anticipated jazz and Stravinsky. His involvement with popular mu-

sic, especially what was called “Hungarian” (a.k.a. “Gypsy”) style, gave some of his

work an exotic and popularistic cast. He invented unprecedented kinds of pieces.

His German Requiem is not a cantata or an oratorio but something unique, and one

of the few large choral works of the time not dominated by echoes of Handel. Th e

Haydn Variations are the fi rst freestanding variations for orchestra. For the end of

the Fourth Symphony, he made the old Baroque idea of a chaconne, a piece based

on a repeating bass line, into a singular and searing fi nale. Th ere, in a nutshell, is

Brahms’s highly personal melding of tradition and innovation.

From his own time to the present, it has been said of Brahms that he joined

the Classical forms of the 18th century to Romantic emotionalism. Th at is true as

far as it goes, but it does not go far enough. He fashioned his music from infl uenc-

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es stretching back through Schubert, Schumann, and the Viennese Classicists,

through Bach, Handel, and beyond, all the way back to the Renaissance contra-

puntalists. In other words, Brahms was an utter eclectic. At the same time, no

composer ever had a more individual voice. From early on, he wrote few if any

pages that could be mistaken for anybody else. It remained for one of his great-

est admirers of the 20th century, Arnold Schoenberg, to remake Brahms’s repu-

tation. In a famous article called “Brahms the Progressive,” Schoenberg showed

how much of Brahms’s singular handling of musical mate-

rial (such as saturating the music with continuously-evolving

motifs) prophesied Modernism.

Scholar Malcolm MacDonald compares Brahms to the

ancient two-faced god Janus, a fi gure who looks backward

and forward at once. Brahms was an artist fi lled with the

past who helped inspire the future. In temperament, he was

in many ways a pedant, but he was a pedant of genius who

never took up a rule or a genre without making it his own.

His admirers proclaimed his work as the epitome of “ab-

stract,” “pure” instrumental music, free of programmatic or

autobiographical elements. But Brahms himself never pro-

claimed any such ideal. In private he made it clear that his

music came from his life and his heart. Aft er a bitter roman-

tic disappointment, he called the threatening despair of the

Alto Rhapsody his “bridal song.” In relation to his C-mi-

nor Piano Quartet, he compared himself to Goethe’s tragic hero Werther, who

killed himself over love of another man’s betrothed. In the notes of a lilting and

lovely theme, the G-major String Sextet names a woman Brahms loved and left .

Th e German Requiem and the Four Serious Songs rose from deep-lying losses

— his mother, and Robert and Clara Schumann.

One of the signs of genius in a creator is one who succeeds in putting

together things assumed to be antithetical — such as Classic and Romantic.

Brahms’s fascinating paradoxes are very much on display in his two Piano Con-

certos and Violin Concerto. Written for himself in his twenties, the First Piano

Concerto in D minor was a fi asco in its second performance because it contra-

dicted nearly everything the time thought a concerto should be: relatively light

and lively, popularistic, virtuosic. Nevertheless, the next two concertos fol-

lowed suit.

Th e overriding idea is that Brahms’s conception of a concerto was sym-

phonic, on the grandest of scales. All the pieces are supremely demanding on

the soloist, but the piano concertos have little conventional virtuosic showing-

off . Nor is the soloist always the center of attention. Asked why he had never

played the Brahms, virtuoso Pablo de Sarasate said, “Does anyone imagine that

I’m going to stand, violin in hand, and listen to the oboe play the only tune in the

Johannes Brahms, 1874.

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adagio?” In fact, the soloist never does get to play that tune, and that’s not the

only such instance in the concertos.

Instead, in Brahms’s concertos the soloist is a participant in a dialogue

— a spotlighted and nearly nonstop participant, but still part of a dialogue that

is fundamentally symphonic. In the two piano concertos, the keyboard style is

grand and two-fi sted, orchestral in itself. Th is approach is set in the fi rst pages

of the First Concerto. It is massive, dramatic, its sound and its juxtaposition

of D minor and B-fl at major echoing Beethoven’s Ninth. Th e First Concerto

amounts to the First Symphony that Brahms wanted to write, but could not

pull together for another eighteen years.

Here is a fi nal paradox: As man and musician, Brahms was at once a loner

and absolutely part of the musical mainstream. As far as he was concerned, his

work was directed primarily to the music-loving middle class; if that class re-

jected his work, then he was a failure and deserved to be. At the same time, as the

concertos show, he was fearless in issuing challenges to his public and his per-

formers. His independence is shown in the fact that he never accepted a commis-

sion for a work, something that would have been incomprehensible to most earlier

composers. He emulated and worshipped the past, but in the end he recognized

only one way to do things — his way. And unlike Wagner, he did not consid-

er it the artist’s job to save the world, no matter how much the Germanic world

around him, with its mounting militarism and anti-Semitism, needed to be saved.

So his critics were again partly right; Brahms had no world-historical

agenda. For him, music was a language spoken from the heart that goes to the

heart of each listener. It is in those terms that this intensely private man, who

loved few and was himself hard to love, is entering his second century as one of

the most beloved of composers. —Jan Swafford

Jan Swaff ord is an award-winning composer and author whose books include biographies of Johannes Brahms and Charles Ives, and “Th e Vintage Guide to Classical Music.” A graduate of Tanglewood Music Center, where he studied composition, he teaches at the Boston Conservatory and is currently working on a biography of Beethoven for Houghton Miffl in.

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43Severance Hall 2011-12 About the Music

I N T H E S U M M E R of 1878, the great violinist Joseph Joachim

received a note from his old friend Johannes Brahms, saying

“a few violin passages” would be forthcoming. At the time, it

may or may not have occurred to Joachim that Johannes was

apt to be most fl ippant when he was most serious. One can

imagine Joachim’s surprise, delight, and trepidation when the

mail brought him the solo part of a huge concerto movement

in D major, the fi rst of a planned four movements. It was an

invitation for a collaboration, and Joachim was ready to oblige.

He knew, aft er all, that this concerto was essentially being writ-

ten for his violin, his sound, his style.

Th eir collaboration was nothing new. Joachim met Brahms

when they were both in their early twenties. Before that, Joachim

had been a stupendous prodigy, enjoying his fi rst triumph at age

12 with the Beethoven Violin Concerto, which he helped establish

in the repertoire. (Joachim later made a historic revival of the

Bach solo suites.) When Brahms emerged from his hometown

of Hamburg in 1853 on a small concert tour, Joachim was one

of the fi rst important musicians he met, and Joachim was one of

the fi rst to be stunned and ravished by the music this youth had

written. Th ey quickly became close friends and collaborators.

Joachim advised Brahms on the scoring of his fi rst major

orchestral work, the D-minor Piano Concerto. Joachim also

stood by Johannes in the years of emotional chaos that stretched

from his discovery by Robert and Clara Schumann, to Robert’s

breakdown and Johannes’s passion for Clara, to the denoue-

ment of Robert’s death and Brahms’s fl ight from Clara.

As Brahms reached maturity as a composer, he continued

to rely on his friend for advice and criticism; he oft en sent his

chamber music to Joachim to edit the string parts. So by the

time of the Violin Concerto, they had a great deal of history

between them, both personal and musical.

Joachim was also an accomplished composer. His Hun-

garian Concerto was part of his repertoire and a piece Brahms

admired. When they began working on the new concerto,

Joachim was determined to help his friend fashion the solo

part in a more playable and idiomatic way than Johannes could

manage on his own. Brahms, for all his devotion to craft sman-

ship, had always been impatient with strings and bows and other

Violin Concerto in D major, Opus 77composed 1878

by JohannesBRAHMSborn May 7, 1833Hamburg

died April 3, 1897Vienna


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matters of the musical kitchen. He always said he was never fully

comfortable with any instrument outside his own, the piano.

So that, in theory, he was all for the idea of working on the solo

part with Joachim. Th e practice was another matter.

Th ey set to work, swatches of music going back and forth,

sometimes in the mail and sometimes in person, Joachim with

violin in hand to try out passages. It was clear that Brahms

wanted a solo part much like the one in the First Piano Concerto

— continuous, intense, part of a basically orchestral dialogue,

but this time including more forthrightly bravura passages.

With Brahms’s encouragement, Joachim made extensive sug-

gestions and rewrote pages of virtuoso fi guration, only to fi nd

Brahms ignoring the suggestions even as he demanded more.

Oft en as not, Brahms would draft a passage, Joachim would

revise it, then Brahms would produce a third version, some-

times again awkward to play. Th e violinist was exasperated,

but exasperation was nothing new in their relations (on both

sides). Joseph kept at Johannes with dogged patience.

Joachim was pressing for the piece to be fi nished for a gala

concert in Leipzig on New Year’s Day 1879, when word came

from Brahms that “the middle movements are bust — naturally

they were the best ones! I’m writing a wretched adagio instead.”

(One of the rejected movements, a massive scherzo, went into

the Second Piano Concerto.)

When the now three-movement piece was nearly done,

Brahms paid Joachim a great and characteristic compliment

— for the single cadenza in the piece, he asked the violinist to

write his own. (Joachim’s cadenzas for both the Brahms and

Beethoven Concertos are still the most familiar ones; Julian

Rachlin is performing Joachim’s in this weekend’s performances

with Th e Cleveland Orchestra.) While the manuscript of the

concerto still has passages in Joachim’s hand, the fi nal solo part

was not as idiomatic as he surely had hoped.

Another headache was the problem of balance. Brahms

wanted a big, full-throated orchestral sound, as in the First Piano

Concerto. But a violin cannot make as much noise as a piano.

During the rehearsals for the fi rst performances, Brahms had to

spend more time than usual revising the orchestration, paring

away at the textures to allow the soloist to be heard. Meanwhile

the violinist and composer kept tinkering with the solo part.

Th e premiere actually did take place in Leipzig on New

Year’s Day 1879, but Joachim was fl ummoxed by the last-min-

At a Glance

Brahms composed his

Violin Concerto in 1878 and

conducted its premiere at

the Leipzig Gewandhaus on

January 1, 1879, with Joseph

Joachim as soloist. The score

was published in 1879 with a

dedication to Joachim.

This concerto runs about

40 minutes in performance.

Brahms scored it for 2 fl utes,

2 oboes, 2 clarinets, 2 bas-

soons, 4 horns, 2 trumpets,

timpani, and strings, plus

solo violin.

The Cleveland Orchestra

fi rst played Brahms’s Violin

Concerto in November 1920,

at subscription concerts

conducted by music direc-

tor Nikolai Sokoloff, with

Efrem Zimbalist as soloist.

Since then, the Orchestra

has presented the concerto

frequently, with many of the

world’s greatest violinists.

The most recent Severance

Hall subscription performanc-

es were given in February

2009, with Nikolaj Znaider

as soloist under the direction

of Pinchas Steinberg, who

together also performed

the concerto in Miami two

months later. Violinist Frank

Peter Zimmermann gave the

most recent Blossom Festival

performance, in 2001 with

conductor Jahja Ling.

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ute revisions and Brahms tense on the podium. Th e response was chilly. Bos-

ton composer George Whitefi eld Chadwick, studying in Leipzig at the time,

reported in a letter that, late at night aft er the performance,

he encountered Brahms, Joachim, and Edvard Grieg tum-

bling out of a tavern “in an advanced state of merriment.”

Th eir laughter refl ected probably more relief than celebra-

tion. Aft er revisions, the Vienna premiere was received with

great applause. Yet somehow, this manifestly gorgeous work

never caught on in Brahms’s lifetime. Incredible as it sounds

today, many listeners of the time found his orchestral music

dry, intellectual, and unmelodious.

T H E M U S I C

Th e Violin Concerto begins soft ly in D major with a

theme in winds and low strings that evokes a distant horn-

call — a high-Romantic musical landscape. An oboe enters

on a delicately lyrical theme in a sudden and breathtaking

C major, over pulsating strings. Th e form of the opening

movement is nominally the usual concerto pattern going

back to Mozart and beyond — an orchestral exposition

setting out the main themes, then the entry of the soloist,

who oft en presents, as here, new material to begin a second

exposition. But if Brahms adhered to traditional forms, he

did not follow them mechanically. Th e fi rst exposition is

short and largely gentle. Th e entrance of the soloist is in

D minor, bold and dramatic, like a furioso cadenza. From

the entrance of the solo violin, the fi rst movement becomes a dialectic between

peace and fury. Even though the key is D major, the total eff ect has a darker,

more minorish cast.

Much of the time the violin plays rippling garlands of notes behind the

orchestra’s themes. But none of those themes are very sustained until near the

end of the exposition, when a lyric melody of surpassing beauty breaks out in

the violin, echoed by the orchestra. Here, as in some other of his works, Brahms

departs from tradition in placing his most developed and striking theme toward

the end of the exposition. Th ese themes seem to gather up threads from earlier

ideas and place them in an unforgettable form.

Th e fi rst movement’s development works up to a new tranquillo idea (laid

over a previous theme) in the solo, appropriate because the piece has already

been developing its ideas steadily from the beginning. As part of the dialogue

between tranquil and intense, this new theme transforms into a passage of

searing intensity. (Th emes transforming in character is another central idea

here, as in much other Brahms.) Aft er the solo cadenza, the orchestra returns

Johannes Brahms and Joseph

Joachim in 1857, early in a long

friendship that helped create

Brahms’s Violin Concerto and

Double Concerto.

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


48 The Cleveland OrchestraConcert Calendar48 The Cleveland Orchestra

W I N T E R S E A S O NThursday January 12 at 8:00 p.m.Friday January 13 at 11:00 a.m.Saturday January 14 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorJulian Rachlin, violin

BRAHMS Violin Concerto SAARIAHO Orion SMETANA from Má Vlast [“My Homeland”] — Vysehrad, The Moldau, and Sárka* *not included on Friday Morning Matinee Concert Sponsor: Eaton Corporation

Sunday January 15 at 7:00 p.m.THE CLEVELAND ORCHESTRAChelsea Tipton II, conductorCentral State University ChorusMartin Luther King Jr. Celebration Chorus

MARTIN LUTHER KING JR. CELEBRATION CONCERT The Cleveland Orchestra’s 32nd annual concert celebrating the spirit of Dr. King’s life, leadership, and vision. Presented in collaboration with the City of Cleveland.

SOLDOUT: This concert is sold out. LIVE RADIO BROADCAST: The concert is being broadcast live on radio stations WCLV (104.9 FM) and WCPN (90.3 FM). Concert Sponsor: KeyBank

Monday January 16 noon to 5:00 p.m.

MARTIN LUTHER KING JR. COMMUNITY OPEN HOUSE Severance Hall joins in a city-wide celebration of Martin

Luther King Jr’s life and achievements with a free public open house featuring musical performances by the Cleve-land Orchestra Youth Orchestra, Cleveland Orchestra Youth Chorus, and more! Watch for complete details.

Sponsored by Medical Mutual of Ohio, the exclusive health insurer of The Cleveland Orchestra

Thursday January 19 at 8:00 p.m.Friday January 20 at 8:00 p.m.Saturday January 21 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorYefi m Bronfman, piano

BRAHMS Piano Concerto No. 2 SHEPHERD Wanderlust SHOSTAKOVICH Symphony No. 6 Concert Sponsor: FirstMerit Bank

Thursday February 2 at 8:00 p.m.Friday February 3 at 8:00 p.m.Saturday February 4 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorYefi m Bronfman, piano

SAARIAHO Laterna Magica MOZART Symphony No. 39 BRAHMS Piano Concerto No. 1 Sponsor: Baker Hostetler

Sunday February 5 at 2:00 p.m.Yefi m Bronfman, pianoWilliam Preucil, violinStephen Rose, pianoRobert Vernon, violaMark Kosower, cello

BRAHMS Piano Sonata No. 3, Opus 5 BRAHMS Violin Sonata No. 3, Opus 108 BRAHMS Piano Quintet, Opus 34

Thursday February 9 at 8:00 p.m.Saturday February 11 at 8:00 p.m.Sunday February 12 at 3:00 p.m.THE CLEVELAND ORCHESTRAPierre Boulez, conductorMen of the Cleveland Orchestra Chorus

SCHUBERT Hymn to the Holy Spirit SCHUBERT Night Song in the Forest SCHUBERT Song of the Spirits over the Waters MAHLER Symphony No. 7 Concert Sponsor: Baker Hostetler

Friday February 10 at 10:00 a.m.Saturday February 11 at 10:00 a.m.Saturday February 11 at 11:00 a.m.

PNC MUSICAL RAINBOW: Spectacular Strings30-minute programs for ages 3 to 6.

Thursday February 16 at 8:00 p.m.Friday February 17 at 8:00 p.m.Saturday February 18 at 8:00 p.m.THE CLEVELAND ORCHESTRAPierre Boulez, conductorPierre-Laurent Aimard, pianoCleveland Orchestra Chorus

STRAVINSKY Symphonies of Wind Instruments BARTÓK Piano Concerto No. 1 SCHOENBERG Chamber Symphony No. 1 STRAVINSKY Symphony of Psalms Concert Sponsor: Forest City Enterprises

O R C H E S T R A 1112 clevelandorchestra.com

CLEVELAND ORCHESTRA TICKETS PHONE (216) 231-1111 800-686-1141

clevelandorchestra.com

49Severance Hall 2011-12 Concert Calendar

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

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

Cleveland Orchestra Radio Broadcasts: Radio broadcasts of current and past concert performances by The Cleveland Orchestra can be heard as part of regular weekly programming on WCLV (104.9 FM), with programs broadcast on Saturday at 8:00 p.m. and Sunday at 4:00 p.m.

Thursday February 23 at 8:00 p.m.Friday February 24 at 11:00 a.m.Saturday February 25 at 8:00 p.m.THE CLEVELAND ORCHESTRAMarek Janowski, conductorArabella Steinbacher, violin

WEBER Overture: The Ruler of the Spirits MENDELSSOHN Violin Concerto* SCHUBERT Symphony in C major (“The Great”) *not included on Friday Morning Matinee

Thursday March 8 at 8:00 p.m.Friday March 9 at 8:00 p.m.Saturday March 10 at 8:00 p.m.Sunday March 11 at 3:00 p.m.THE CLEVELAND ORCHESTRAChristoph von Dohnányi, conductorMeagan Miller, sopranoTamara Mumford, mezzo-sopranoEric Cutler, tenorIain Paterson, bassCleveland Orchestra Chorus

LIGETI Atmosphères WAGNER Prelude to Act I of Lohengrin BEETHOVEN Symphony No. 9 (“Choral”) Concert Sponsor: KeyBank

Sunday March 11 at 7:30 p.m.CLEVELAND ORCHESTRA YOUTH ORCHESTRAJames Feddeck, conductorCLEVELAND ORCHESTRA YOUTH CHORUSFrank Bianchi, director

LIADOV Ballade ELGAR Enigma Variations FAURÉ Cantique de Jean Racine POULENC Gloria

Friday March 16 at 10:00 a.m.Saturday March 17 at 10:00 a.m.Saturday March 17 at 11:00 a.m.

PNC MUSICAL RAINBOW: The Cool Clarinet30-minute programs for ages 3 to 6.

MARTIN LUTHERKING JR.CELEBRATIONCONCERTSunday January 15 at 7:00 p.m.THE CLEVELAND ORCHESTRAChelsea Tipton II, conductorCentral State University ChorusMartin Luther King Jr. Celebration Chorus

The Cleveland Orchestra’s 32nd annual

concert celebrating the spirit of Dr. King’s

life, leadership, and vision. Presented in

collaboration with the City of Cleveland.

SOLDOUT: This concert is sold out.

Listen to the live broadcast on radio stations

WCLV (104.9 FM) and WCPN (90.3 FM).

Concert Sponsor: KeyBank

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pianissimo, but works up to a full-throated fi nish.

Th e “wretched adagio” that Brahms inserted in place of the two rejected

middle movements is, of course, a lovely outing. It begins with a hymnlike

theme scored lushly in the winds. Th e soloist enters not on the theme plain,

but rather a variation of it (the whole concerto varies ideas more than repeat-

ing them). In the middle part of a simple A-B-A form, the violin plays elegant

garlands of notes that largely continue to the end.

Th e third-movement fi nale is the most overtly Gypsy/Hungarian of all

Brahms concerto fi nales, starting with a lusty theme presented by the violin.

Th e movement is laid out more or less in the traditional sonata-rondo form. Th e

“B” section strongly recalls one of the furioso themes in the fi rst movement, but

now the fury is gone. Th e fi nale is largely about delight, all the way to a racing,

breathtaking coda.

B R A H M S : M U S I C I A N A N D M A N

Brahms was considered in his time and since an exponent of “pure,” “ab-

stract” form. He never claimed such a thing himself, and in private he made

it clear that his music rose from his life, his loves, his feelings. Without read-

ing too much into the Violin Concerto, one notes the almost violent contrasts

of material in the fi rst movement, the tenderness of the second movement,

the high-Hungarian style of the fi nale. Joseph Joachim was Hungarian-born,

wrote a Hungarian Concerto, and was in personality mercurial, capable of

great warmth and wit, but with a dark side. Brilliant, incomparably talented,

supremely successful, he was also a troubled man capable of vindictive rage —

for example, toward his fi rst wife. (Brahms and his old friend were estranged

for some years when Brahms took the side of Joachim’s wife in their divorce.)

Perhaps the Violin Concerto refl ects not just Joachim’s playing and collabora-

tion but also amounts to a portrait of the man, whom Brahms admired and

loved but always kept at a certain cautious distance.

On the other hand, Brahms kept everybody at some degree of distance.

When he and Joachim fi rst met, Johannes was tiny, blonde, beardless, and deli-

cately handsome, though also strong and athletic. By the time he fi nished the

Violin Concerto at age 45, Brahms was settled into the gruff and sardonic per-

sona behind which he hid his feelings — though he was also exquisitely funny

and a practical joker. He had meanwhile developed a middle-aged paunch.

Around the time he completed the Violin Concerto in 1878, he completed the

picture by growing his third and fi nal beard. It changed his features so much

that sometimes friends didn’t recognize him. He was delighted with the eff ect.

He took to changing his voice and introducing himself as “Kapellmeister Mül-

ler from Braunschweig,” and seeing how long it took people to catch on. Th e

bearish-old-patriarch disguise was complete at last.

—Jan Swafford © 2012

Contact John Moore | 216-721-4300 | [email protected]

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The Cleveland Orchestra programs in 2012.

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“The mediumis the message.”

— Marshall McLuhan, 1911-1980 pho

to:

Ro

ger

Mas

troi

anni


Julian RachlinViolinist Julian Rachlin has been captivating audiences around the world for more

than two decades. Always eager to expand his musical horizons, Mr. Rachlin also

performs as a viola player and, most recently, as a conductor. Th is year marks the

eleventh anniversary of the “Julian Rachlin & Friends” festival, a platform for cre-

ative projects with today’s leading musicians and actors held annually in Dubrovnik,

Croatia. Mr. Rachlin is making his Cleveland Orchestra de-

but with this weekend’s performances.

Highlights of the current season include the opening of

the Philadelphia Orchestra’s season, as well as performances

with the Israel Philharmonic, Orchestra Filharmonica della

Scala and the Gewandhaus Leipzig. Julian will also appear

with the Detroit Symphony Orchestra, Orchestre National

de France, and the Rotterdam Philharmonic Orchestra. He

will play and conduct this season in collaboration with the

Camerata Salzburg, Moscow Virtuosi, Taipei Symphony Or-

chestra, and Deutsche Kammerphilharmonie Bremen. Mr.

Rachlin’s recordings can be heard on Sony Classical, Warner

Classics, and Deutsche Grammophon — including his re-

cording of the Brahms concerto with Mariss Jansons.

Later this year, Julian Rachlin will premiere a new Double Concerto written

for him by Krzysztof Penderecki; the premiere at the Vienna Musik verein will fea-

ture the Bavarian Radio Symphony Orchestra conducted by Mariss Jansons. Mr.

Rachlin is also performing a series of recitals with his regular duo partner, pianist

Itamar Golan, including a Brahms Sonatas cycle in New York, Amsterdam, and

Vienna.

Born in Lithuania, Julian immigrated to Vienna in 1978 at the age of four.

He studied with Boris Kuschnir at the Vienna Conservatory and took private les-

sons with Pinchas Zukerman. He fi rst gained international acclaim in 1988 by

winning Eurovision’s “Young Musician of the Year” Award. He then became the

youngest soloist ever to play with the Vienna Philharmonic.

Since September 1999, Julian Rachlin has been a member of the faculty at the

Vienna Conservatory Private University. Beyond his musical performances, he

has also received recognition for his charity work as a UNICEF Goodwill Ambas-

sador and through educational outreach activities.

Julian Rachlin plays the 1704 “ex Liebig” Stradivari, on loan to him courtesy

of the Dkfm. Angelika Prokopp Privatstift ung.

For more information, visit www.julianrachlin.com.

Guest Soloist

Violinist Lisa Batiashvili, who was originally scheduled to perform at this weekend’s concerts, has regretfully been obliged to cancel her Cleveland appearance due to illness. Julian Rachlin has kindly agreed to replace Ms. Batiashvili for these performances.

PAGE 1112 - 2nd

54 Ohio Light Opera Color Quarters Vertical

THE OHIO LIGHT OPERA PREMIERE

GUYS AND DOLLS(1950)

Music & Lyrics by Frank Loesser Book by Abe Burrows and Jo Swerling

June 16, 20, 23, 26, 30, July 5, 12, 15, 21, 24, 27, 29, 31,

August 5, 11

At The Ohio Light Opera, Loesser is more – “a bushel and a peck” more! No American musical has garnered more unanimously glowing accolades than Frank Loesser and Abe Burrows’ 1950 musical fable Guys and Dolls.Based on the stories and characters of famed writer Damon Runyon, the music, lyrics, and book bristle with the seedy street life of New York City. The show’s characters have assumed legendary recognition: gambler Sky Masterson has fallen hard for Save-A-Soul Mission reformer Sarah Brown; bookie Nathan Detroit has been engaged for 14 years to nightclub chanteuse Miss Adelaide, who laments her psychosomatic cold that has lasted just as long; and horseplayer Nicely-Nicely Johnson provides a revivalist confession (“Sit down, you’re rockin’ the boat”) when forced to give testimony at the Mission. Song hits include: “Luck be a lady,” “If I were a bell,” “I’ve never been in love before,” and “My time of day.”


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

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

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

moods of genius!

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

Sunday, March 4, 2012Rochmaninoff and Tchaikovsky

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

Masterly

Enthralling

Charming

Scintillating

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

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


moods of genius!


Sunday, March 4, 2012Rochmaninoff and Tchaikovsky


series/kc

a


moods of genius!



moods of genius!


y 6, 2012

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

Kulas Series of Keyboard Conversations®with Jeffrey Siegel24th Season 2011-2012

MasterlyB

EnthrallingB

CharmingB

Scintillating

Sunday, March 4, 2012Rachmaninoff and Tchaikovsky

Sunday, May 6, 2012A Musical Love Triangle: Robert, Clara and Johannes!“An afternoon of entertaining talk and

exhilarating music.”–The Washington Post

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

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

or visit www.csuohio.edu/concertseries/kc

THE OHIO LIGHT OPERA PREMIERE

GUYS AND DOLLS(1950)

Music & Lyrics by Frank Loesser Book by Abe Burrows and Jo Swerling

June 16, 20, 23, 26, 30, July 5, 12, 15, 21, 24, 27, 29, 31,

August 5, 11

At The Ohio Light Opera, Loesser is more – “a bushel and a peck” more! No American musical has garnered more unanimously glowing accolades than Frank Loesser and Abe Burrows’ 1950 musical fable Guys and Dolls.Based on the stories and characters of famed writer Damon Runyon, the music, lyrics, and book bristle with the seedy street life of New York City. The show’s characters have assumed legendary recognition: gambler Sky Masterson has fallen hard for Save-A-Soul Mission reformer Sarah Brown; bookie Nathan Detroit has been engaged for 14 years to nightclub chanteuse Miss Adelaide, who laments her psychosomatic cold that has lasted just as long; and horseplayer Nicely-Nicely Johnson provides a revivalist confession (“Sit down, you’re rockin’ the boat”) when forced to give testimony at the Mission. Song hits include: “Luck be a lady,” “If I were a bell,” “I’ve never been in love before,” and “My time of day.”


W H AT I S M U S I C ? What sounds are musical, and which are

just noise? Th ese questions have always caused debate. Yet

the role of the composer has always been to create something

new. Why limit oneself to the obvious instruments sitting in

front of you?

Mozart and Beethoven added clarinets and trombones

(unheard of!) to their symphonies for impact. Even the tini-

est cymbal crash was given thumbs-down by some critics as

the 19th-century orchestra took on new voices. First Berlioz

and then Richard Strauss added more instruments and arrays

of noise-makers — and were decried for the cacophony of per-

cussion and the “howling” sections of brass.

And if Beethoven could imitate a birdcall in his Sixth Sym-

phony, why not include actual birds (or recordings of them)?

And as technology advanced, why not amplify and manipulate

the music (or the instrument) for new sounds that a fl ute or

piano could never make on its own?

Th e 20th century saw a grand experiment in and expan-

sion of what music is — from the mildest idea (Gershwin’s in-

cluding a taxi-cab horn in An American in Paris) to electronic

soundwaves and samplings of sounds reversed, refabricated,

and manipulated through tape recordings, to today’s wildest

digital mixing. Everybody’s noise is music to someone else’s

ears. Someone’s music (even Beethoven) is unlistenable trash

to minds raised on diff ering soundscapes.

Kaija Saariaho, born in Finland just past the middle of

the last century, grew up amidst and embraced the experi-

mentation. She studied with several of Finland’s leading avant

garde composers, eventually landing at IRCAM in Paris, the

institute directed for many years by Pierre Boulez as a leading

center for modernist music. Saariaho pursued several paths

of computer-assisted composition, working both in electronic

studios and among those who were working to bring the elec-

tronic sounds into direct, live performance. In France, she also

became involved with that country’s “spectralist” composers,

who use computers to analyze and extend or balance the notes

created by individual instruments.

Yet Saariaho was not choosing one thing over another,

electronic over traditional. Instead, she was looking to expand

Orioncomposed 2001-02

by KaijaSAARIAHOborn October 14, 1952Helsinki

living inParis


At a Glance

Saariaho wrote Orion in

2001-02 on commission from

The Cleveland Orchestra.

The world premiere perfor-

mances were given January

23-25, 2003, at Severance

Hall under the direction of

Franz Welser-Möst.

This work runs just over

20 minutes in performance.

Saariaho orchestrated it

for 4 fl utes (third doubling

alto fl ute and piccolo, fourth

doubling piccolo), 4 oboes

(fourth doubling english

horn), 4 clarinets, 4 bassoons

(fourth doubling contrabas-

soon), 6 horns, 4 trumpets,

3 trombones, tuba, timpani,

percussion (crotales, glocken-

spiel, vibraphone, marimba,

xylophone, triangle, small

bell, tubular bells, shell

chimes, bell chimes, glass

chimes, tam-tam, 4 tom-toms,

bass drum, 2 bowl gongs,

suspended cymbals, 2 Chi-

nese cymbals, thunderstick),

2 harps, piano, organ, and

strings.

After performing the

world premiere in Janu-

ary 2003, The Cleveland

Orchestra presented Orion in

performances later that year

on tour to the eastern United

States and in Vienna, and

on tour in Europe in 2006.

Franz Welser-Möst will lead

the Orchestra in additional

performances this spring dur-

ing the ensemble’s upcoming

West Coast Tour.

her tool box of sounds from which to assemble her own style

of music. “I don’t want to write music through negations. Ev-

erything is permissible as long as it’s done with good taste,”

she has said, particularly of her willingness to embrace melody

and harmony, and live performance outside the confi nes of an

electronic studio. All of this was to be in the pursuit of her

own focus toward infusing music with a strong set of ideas,

emotions, and images.

Th us, for those who have wondered what comes aft er

electronic music, Saariaho’s music is part of the answer — the

exploration of sound patterns that technology has off ered, but

with and through and on traditional instruments. Some of

Saariaho’s works involve electronic sounds, while others — es-

pecially more recently — merely call upon traditional instru-

ments to make sounds that Saariaho heard from (or within)

electronic sources.

None of this should be surprising. Technology has always

cycled back, with invention trying to capture reality. What are

motion pictures but projections (literally) of reality? What are

3D movies but a technologically possible version of something

everyday and very real? Music and sounds have always been

a driving force across the arts and business. Th e combining

together of individual performers (into an orchestra, a theater

ensemble, or ballet troupe) is an artifi cial combination, but

one that fascinates us as we watch and listen to synchronized

reality. Saariaho’s recreation, really translation, of the larger

sound world of electronic and spectralist music into a live per-

formance makes our ears listen with increased interest and

sensation.

Saariaho’s orchestra does not sound like Beethoven’s, or

Mahler’s (each of whom “added” new instruments to the usual

symphonic mix). Yet, with the addition of more percussion

instruments and with new techniques for playing notes on

regular instruments, Saariaho’s scores can be heard very much

as descendants from the great names of classical music’s past.

In works like Orion — given its world premiere performances

by Th e Cleveland Orchestra and Franz Welser-Möst nearly a

decade ago — she explores the areas of our sound world where

traditional music touches that created by technology. Here is,

perhaps, a cotton candy of sounds, spun out to incredible lengths,

or a cyclone of ideas swirling around a harmonic core.

Orion was Saariaho’s largest purely orchestral piece up

About the Music


to that point. Much of her work in the past decade has been fo-

cused on the creation of even larger works, such as three operas

(premiered in Santa Fe and Paris) and the oratorio La Passion

de Simone. She served as composer-in-residence for New York’s

Mostly Mozart Festival in 2008. Her honors include such popular

acclaim as a 2011 Grammy Award for her opera L’amour de loin in

the best opera recording category. Next month at Severance Hall,

Welser-Möst and Th e Cleveland Orchestra present another of her

recent works, Laterna Magica, which brings yet more unexpected

sounds and ideas into the everyday concert hall world.

A B O U T T H E M U S I C

Th e title Orion was not chosen randomly. From it, we can

well believe that, like that mythic hunter of the night sky, Saariaho’s

music is hunting across a nocturnal soundscape. Here, her painting

through music is, moment by moment, strong, distant, cold, heart-

felt, quiet, furious, tinged — caught in a larger universe of today’s

musical world . . . somewhere before dawn and tomorrow night.

Th e work’s three movements contrast activity and movement

with stillness and quietude, perhaps mirroring Orion’s origins (as

an adventurous mortal hunter) with the slowly moving constellation

of stars in which Zeus memorialized him upon his death. Listen

(and watch) which instruments are “making music” at any given time

— where and how the sounds are being created. Th is visual move-

ment is part of the music’s fabric.

Aft er a beginning movement fi lled with many instruments and

lines of music all occurring at once, the second movement is much

more subdued and features several lone instrumental voices, with

twinkling accents in the percussion.

Th e third movement combines aspects of the fi rst two: many

musical lines at once, but they are more distinct from one another

(where the opening movement was a haze or blur of related sounds,

here the soundscape erupts in energy (like the fl ares erupting off

the engulfi ng, enfl amed surface of the sun).

—Eric Sellen © 2012

Jewish Federation


S M E TA N A W R O T E the six parts of his symphonic cycle Má

Vlast (“My Country” or “My Homeland”) just as he reached

the age of fi ft y, when fame and fortune were knocking regu-

larly on his door. And just when sudden deafness created a

nearly irreconcilable gulf between himself and the everyday

world around him. Th ese tone poems were, perhaps in part, a

way for the composer to recapture and hold onto the sounds

of the world around him — encapsulating in music the joy and

emotion in life and living.

Smetana originally conceived the cycle as a four-part

symphony that would extol the glories of his native Bohemia

and its Czech people. Only aft er the initial success of its open-

ing movements, each premiered separately, did he decide to

“complete” the work by adding two fi nal sections. Th e entire

series was fi rst performed together as a cycle on November 5,

1882. Since 1952, it has been the traditional opening concert

for the “Prague Spring Festival,” performed annually on the

anniversary of Smetana’s death each May 12th.

Despite being a cycle of connected and intertwined sym-

phonic poems, several of these well-craft ed works are frequently

performed alone, especially Th e Moldau. And the opening

three movements being presented as a group at Th e Cleveland

Orchestra’s evening concerts this weekend provide a well-fo-

cused view of Smetana’s original idea for creating a “symphony”

on Czech themes.

Part One: VYŠEHRAD, THE MIGHTY FORTRESS

Th e site of Vyšehrad overlooks Prague at one of the most

picturesque turns of the River Moldau, south of Prague Castle.

Today, the ancient hillside includes one of the Czech Republic’s

most revered cemeteries (both Smetana and Dvořák were laid

to rest there). But over the past millennium, fortress walls have

been built and come to ruin on this dramatic outcropping.

Fittingly and quite unexpectedly, Smetana opens his sym-

phonic ode with a simple series of harp chords and glissandos

(borrowing a castle theme associated with Vyšehrad in his opera

Libuše). Here, in an exchange between two harps, the chords

Three Symphonic Poemsfrom Má Vlast [My Country]composed 1873-1880

by BedřichSMETANAborn March 2, 1824Litomyšl, Bohemia

diedMay 12, 1884Prague

About the Music


and glissandos are intended to conjure up the singing narra-

tives of legendary Czech troubadours, who over the centuries

had recounted the nation’s stories of glory, conquest, and fate.

Smetana explained the cycle’s fi rst symphonic poem in

1879 with these brief words: “Th e harp of a balladeer begins; the

balladeer sings of the events that have taken place on Vyšehrad,

of the glory, splendor, tournaments, and battles — and fi nally

its decay and ruin. Th e composition ends on an elegiac note.”

Th e musical shape (outlined in A-B-A form) of the tone

poem is easy to follow, and mirrors the hillside’s own history

from natural monument through glorious battles and battle-

ments, through a period of decay and nostalgic neglect that re-

turns it to something like its original natural serenity, layered

with memories of the past.

Part Two: THE MOLDAU [Vltava]

Th e main musical theme of Th e Moldau is today a popu-

lar Czech folksong. It was not, however, a Czech song when

Smetana borrowed it. Smetana had, in fact, oft en voiced vio-

lent opposition to the idea of adopting true folksong melodies

into the national musical language he was trying to create.

His borrowing, in this case, reached quite far geographically,

when he adapted (perhaps subconsciously) a folk melody he

had heard while teaching for a number of years in Sweden as

a young man. (Dvořák crossed much the same path and con-

troversy with some of the adapted borrowings within his “New

World” Symphony.)

Smetana’s words about this tone poem clearly lay out the

river’s migration from mountain spring through Bohemia to-

ward the sea: “Two springs pour forth in the shade of the Bohe-

mian Forest, one warm and gushing, the other cold and peaceful.

Th eir waves fl ow quickly over rocky beds, joining together and

glistening in the morning sun. Th e forest brook, hastening on,

becomes the river Moldau. Coursing through Bohemia’s valleys,

it grows into a mighty stream. Th rough thick woods it fl ows,

as the triumphant sounds of the hunt and the notes of hunters’

horns are heard ever nearer. It fl ows through grass-grown pas-

tures and lowlands where a wedding feast is being celebrated in

song and dance. At night, wood and water nymphs revel in its

sparkling waves. Refl ected on its surface are fortresses and castles

— witnesses to bygone days of knightly splendor and the van-

ished glory of fi ghting times. At the St. John Rapids, the stream

About the Music

Smetana wrote

the beginning

movements

of Má Vlast

just as deaf-

ness separated

him from the

everyday world

he had known.

And these tone

poems were,

perhaps in

part, a way

to recapture

and hold onto

the sounds

of the world

around him —

encapsulating

in music the

joy and emo-

tion in life

and living.


races ahead, winding through the cataracts, hewing out a path with its foam-

ing waves through the rocky chasm into the broad riverbed — fi nally, fl owing

on in majestic peace toward Prague and welcomed by the time-honored castle

Vyšehrad [Smetana encores the castle’s musical motif from the fi rst tone poem

of the cycle]. Th en it vanishes beyond our gaze.”

A personal note: I have vivid memories from childhood of waking on

Sunday mornings to hear the swift -running current of the River Moldau fl ow-

ing mightily past my bedroom door. It was Smetana’s music, of course, from

an oft -played recording (by Th e Cleveland Orchestra) cherished by my father.

He oft en chose to wake us on Sundays by playing music — of a vastly eclectic

range. But the watery sounds of the Moldau were among my favorite, both

for the realism of the river itself and for the long, over-arching crescendo that

turns little stream (barely awake) into mighty river (time for breakfast).

Part Three: ŠÁRKA, THE WARRIOR MAID

Rather than painting another landscape, Smetana took a story from

Czech history for the third section of Má Vlast. Th e composer wrote: “Th is

tone poem does not depict a landscape, but a story — the saga of the maid

Šárka. Deceived in love, she swears revenge against all men. From the distance

comes the sounds of arms. It is Ctirad with his knights, marching to overcome

and chastise the warlike maiden. From afar, he hears the wails of a maid and

sees Šárka bound to a tree. He is enfl amed with passion and frees her. With

a prepared drink, Šárka intoxicates Ctirad and his knights, who then fall into

a deep slumber. At a horn signal, repeated from afar, Šárka’s female compan-

ions swarm from the forest and a blood bath ensues. Th e piece is closed by a

gruesome slaughter and the blind rage of Šárka slaking her lust for revenge.”

Th e programmatic writing and larger-than-life nature of Šárka’s story

make this tone poem feel like ancient Greek drama (or modern-day suspense

fi lm). It opens big with overwrought outbursts, then lulls us unsuspectingly

with sentimental feelings and lilting dance steps. We are then jolted awake by

Šárka’s trickery and the resulting blood-mad slaughter, bringing these three

movements to a forceful ending.

POSTSCRIPT: A SYMPHONIC CYCLE

Like Verdi and Wagner, Smetana devoted a majority of his creative en-

ergies to writing opera. Like them, too, he was pioneering the art form both

as music and as an expression of his country’s nationhood. While none of

them wrote much in the way of purely orchestral work, Smetana is best known

today — outside his homeland — for the handful of orchestral works that

comprise Má Vlast. And the original four parts of this cycle of tone poems

remain closer to a traditional symphony in form and function than Smetana

cared to admit — or Wagner and Verdi ever achieved.

About the Music


Like Carl Maria von Weber before him and Mahler

aft erward, Smetana worked tirelessly as a conductor and

as an admired operahouse administrator. (All three spent

admired if frustrating stints in Prague.) Smetana did much

to raise the standards of musical performance in Prague,

but the energy expended maneuvering through the diffi cult

day-to-day politics of operatic bureaucracy kept him from

writing more music. Nevertheless, Smetana was blessed

by a life of timely coincidence — of being in the right place

at the right time. And equally cursed by fate — with bad

timing (political and seasonal), misunderstanding of his

creative gift s, and the cold veil of deafness.

As with Beethoven, Smetana’s deafness did not end

his creative eff orts — most of Má Vlast was penned in

newfound silence. But whereas Beethoven’s hearing faded

gradually over a number of years, and left him with small

amounts of aural sensation, Smetana’s came on later in

life, very suddenly, and quite completely. Deafness, in

fact, removed him so quickly and entirely from the world

he thought he knew that only music kept him sane — and

only for a while. His deafness was caused by untreated

syphilis. Later compounded by stroke, Smetana’s mind

shredded more than almost any other composer’s — end-

ing his life like Robert Schumann, who had also died in

an asylum three decades earlier.

Smetana never really knew what to call Má Vlast

— the overall title was probably suggested by his pub-

lisher. Nor was he quite certain what he was writing — a

symphony? a series of tone poems? memories in music,

of what his world sounded like outside his head? In a

matter of weeks, from mid-summer into September 1874,

Smetana’s hearing gave way suddenly and completely. Of

necessity, he was forced to resign his administrative and

conducting duties at the opera.

And perhaps largely to confront his rushing deafness,

Smetana began heated work on the symphonic poems he

had been contemplating, completing fi rst the sketches for

Vyšehrad he had created two years earlier and then compos-

ing all of Th e Moldau during three weeks in November.

In January 1875, he continued with Šárka, which

he fi nished by the end of February. He intended, at this

point, to create a four-part cycle of poems not unlike a

About the Music

Smetana fi rst talked about writing

a musical work depicting the river

Moldau in 1867. Five years later,

he made some sketches related to

two “symphonic poems,” one about

the river and one about the fortress

Vyšehrad. He completed these two

in 1874, after suffering profound

hearing loss that summer. He wrote

Šárka in early 1875, and the fourth

poem, From Bohemia’s Forests

and Fields, later that year. Each

piece was premiered separately in

Prague: Vyšehrad on March 14,

1875, and The Moldau three weeks

later on April 4. The premiere

of Forests and Fields followed in

December 1876, and Šárka in March

1877. Smetana wrote the fi nal two

movements of the cycle in 1878-79;

they were then premiered in 1880.

The entire cycle was fi rst performed

together on November 5, 1882.

The fi rst three tone poems of

Má Vlast together run just over 30

minutes. Smetana scored them for

an orchestra of 3 fl utes (third dou-

bling piccolo), 2 oboes, 2 clarinets,

2 bassoons, 4 horns, 2 trumpets,

3 trombones, tuba, timpani,

percussion (triangle, cymbals, bass

drum), 2 harps, and strings.

The Cleveland Orchestra fi rst

presented music from Má Vlast

during the 1923-24 season, and

has frequently performed the

cycle’s second movement, The

Moldau. The Orchestra has played

the entire six-movement cycle on

only two occasions: in 1924 for

a special concert marking the

centennial of Smetana’s birth, and

in December 1976, conducted by

Rafael Kubelik at a weekend of

concerts at Severance Hall.

At a Glance


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

clevelandorchestra.com

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traditional four-movement symphony, with the fourth depicting “Czech life in

song and dance.” Th is became From Bohemia’s Forests and Fields [“Z českých

luhů a hájů” in the original Czech]. Here, aft er painting portraits in the fi rst

movements of the country’s greatest fortress, its national river, and one of its

fi ercest historical heroes, Smetana wrote a musical ode to the common coun-

tryside fi lled with average villages, verdant greenery, and everyday beauty.

Of this music, Smetana wrote: “Th is symphonic poem broadly charac-

terizes the thoughts and feelings that well within us as we survey the Bohemian

landscape. From every direction, fervent song comes to our ears; every grove and

all the fl owered meadows sing their melodies, both cheerful and melancholy. All

have something to say: the deep, dark forests (horn solos) and the sunny, fertile

plains along the Elbe River, and all the other parts of the rich and beautiful land

of Bohemia.” While not as specifi cally programmatic as other parts of the cycle,

this fi nely-etched tone painting evokes some of the feelings that nature can in-

spire and, like Beethoven’s Sixth Symphony, is diffi cult to resist in its at times

gentle sincerity.

Two years later, Smetana began work on writing additional movements.

Or perhaps, as reported in one newspaper, he was contemplating an entire new

set of Czech tone poems. As it turned out, he wrote two more symphonic po-

ems for Má Vlast, but based on only one thematic element (both musically and

historically), portraying the national will, martyred glory, and patriotic hero-

ics of a group of 15th-century Czech warriors dedicated to the teachings of Jan

Hus, a renowned Protestant reformer. Th e religious fervency of the Hussite

cause was legendary and served Smetana well in creating a two-part coda for

his larger symphonic cycle.

Th e whole of Má Vlast was fi rst performed as a cycle in November 1882,

to great acclaim and rejoicing. Eight years into his deafness, Smetana heard

none of it, of course, but appears to have understood — before his death two

years later — that he had fi nally been anointed the musical saint of his strug-

gling Czech homeland.—Eric Sellen © 2012

About the Music


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Meet Nancy DotsonCleveland Orchestra Heritage Society member,

former State Chair of the Blossom Women’s Committee, and Heritage Society radio ambassador on WCLV

When did you begin attending Cleveland Orchestra concerts?Dick and I have lived in the area for 33 years and have

been attending concerts for most of those years.

What is your favorite concert experiencewith The Cleveland Orchestra?

Without a doubt, we will never forget the concert at Sever-

ance Hall several years ago with Sir Colin Davis and Mit-

suko Uchida and the Mozart Piano Concerto. Sitting in the

dress circle and seeing the interaction of these two icons and

The Cleveland Orchestra is something I will never forget.

What is your favorite memory of The Cleve-land Orchestra or Blossom Festival?

Dick and I have so many wonderful memories of Blossom

and Severance Hall. Living in Hudson and only 20 minutes from Blossom,

our summer revolves around the lyrical weekend evenings at Blossom. Sitting on

the Lawn with a glass of wine under the stars is our idea of a perfect date! Meeting

various members of The Cleveland Orchestra at the summer Gourmet Matinee

Luncheons or the Orchestra Picnic sponsored by the Blossom Women’s Committee

have also been special treats.

What reason do you suggest when extending an invitation to join the Heritage Society?

It is a very special privilege to have The Cleveland Orchestra so readily accessible

and convenient to attend. It is for these reasons that we made a decision to include

the Orchestra in our estate planning several years ago. Leaving a legacy for future

generations to enjoy this music and for the musicians to carry on the music is some-

thing we are happy we can do.

For information on membership in the Heritage Society,

contact Jim Kozel, Director of Legacy and Planned Giving,

by calling 216-231-7549 or via email at [email protected]

or go to clevelandorchestra.com and click on Support, then Heritage Society


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


Generous contributions to the endowment have been made to support specifi c artistic initiatives,

ensembles, educational programming and performances, facilities maintenance costs, touring and

residencies, and more. Th ese funding opportunities currently represent new gift s of $250,000 or more.

For information about making your own endowment gift to the Orchestra, please call (216) 231-7549.

Endowed Funds funds established as of June 2011

ARTISTIC endowed funds support a variety of programmatic initiatives ranging from guest

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

EDUCATION endowed funds help support programs that deepen connections to symphonic

music at every age and stage of life, including training, performances, and classroom resources

for thousands of students and adults each year.

American Conductors FundDouglas Peace HandysideHolsey Gates Handyside

Artist-in-ResidenceMalcolm E. Kenney

Artistic CollaborationThe Keithley Fund

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

Guest ArtistThe 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

Radio BroadcastsRobert and Jean Conrad

UnrestrictedJohn P. Bergren and Sarah S. Evans

EducationAnonymous, 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. Morgenthaler

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

families and by Forest City Enterprises, Inc.

Education ProgramsThe William N. Skirball Endowment

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

Classroom ResourcesCharles and Marguerite C. Galanie

Musical RainbowsPysht Fund

Endowed Funds

67Severance Hall 2011-12 Endowed Funds

Supporting The Cleveland OrchestraSupporting The Cleveland OrchestraT H E C L E V E L A N D O R C H E S T R A

SEVERANCE HALL endowed funds support performance initiatives for the Orchestra’s

winter season in Cleveland and maintenance of Severance Hall:

BLOSSOM MUSIC CENTER and BLOSSOM FESTIVAL endowed funds support the

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

Severance Guest ConductorRoger and Anne ClappJames and Donna Reid

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

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

CENTER FOR FUTURE AUDIENCES — Announced in October 2010, the Center for Future

Audiences will transform the way Th e Cleveland Orchestra attracts and welcomes audiences to

Severance Hall, throughout Northeast Ohio, and around the world. Th e Center was created with

a generous naming lead gift of $20 million from the Maltz Family Foundation providing one-

third of the $60 million endowment that will eventually help fully fund these activities.


C E N T E R F O R F U T U R E A U D I E N C E SE n d o w e d b y t h e M a l t z F a m i l y F o u n d a t i o n



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

Education & Community

The Cleveland Orchestra: Serving the Community Th e Cleveland Orchestra’s Education and Community programs provide shared musical experiences that engage, inspire, support, and deepen connections with audiences throughout Northeast Ohio

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

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

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

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

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

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

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

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

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

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

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

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70 The Cleveland OrchestraEducation & Community

Music Study Groups provide a way of exploring the Orchestra’s music in depth. These professionally led classes meet weekly to explore the music being played each week and the stories behind the composers’ lives.

The Cleveland Orchestra helps celebrate the seasons and special events throughout the year. On October 30, the season’s fi rst Family Concert featured the second annual “Halloween Spookatcular!” including a special audience costume contest.

A Family Concert featuring Stravinsky’s Firebird Suite brought audiences up close for a thrilling performance by Academy Trainees of the Joff rey Ballet and performers from the Cleveland School of Dance. The Joff rey Academy returned on December 2 to Severance Hall for the season’s second Family Concert, “Scenes from Tchaikovsky’s Nutcracker.”


O R C H E S T R A

71Severance Hall 2011-12 Education & Community

More than 1,000 talented young musicians have performed as members of the Cleve- land Orchestra Youth Orchestra in the 25 years since its founding in 1986.

Cleveland Orchestra clarinetist Robert Woolfrey leads a Learning Through Music program at H. Barbara Booker School in Cleveland.

The Cleveland Orchestra is creating “Musical Neigh- borhoods” in Cleveland preschools as part of PNC Grow Up Great, using music to support pre-literacy and school readiness skills.

T H A N K Y O UThe Cleveland Orchestra’s Education and Community programs

are made possible by many generous individuals,foundations, and corporations, including:

The Abington FoundationThe Eva L. and Joseph M. Bruening Foundation

Chubb Group of Insurance CompaniesCleveland Clinic

The Cleveland FoundationConn-Selmer, Inc.

Cuyahoga Arts & CultureDominion Foundation

The Harry K. Fox and Emma R. Fox Charitable FoundationGiant Eagle

Muna & Basem Hishmeh FoundationMartha Holden Jennings Foundation

JPMorgan Chase FoundationKeyBank

The Laub FoundationThe Lincoln Electric Foundation

The Lubrizol CorporationMedical Mutual of Ohio

The Nord Family FoundationOhio Arts CouncilOhio Savings Bank

PNCThe Reinberger Foundation

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

The South Waite FoundationSurdna Foundation

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

Women’s Committee of The Cleveland Orchestra


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

FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall are being offered this season on November 27, February 12, March 18, and May 13.For additional information or to book for one of these tours, please call the Cleveland Orchestra 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, on the ground fl oor across from the Cleveland Orchestra Store.

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

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

BEFORE THE CONCERTGARAGE PARKING AND PATRON ACCESS Parking can be purchased for $10 per vehicle when space in the Campus Center 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 Eu-clid Avenue, across from Severance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden. 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 Cleveland Orchestra Ticket Offi ce at (216) 231-1111.

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 the Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10.

CONCERT PREVIEWS Concert Previews at Severance Hall are pre-sented in Reinberger Chamber Hall on the ground fl oor, except when noted, beginning one hour be-fore the start of most subscription concerts.

Guest Information

74 The Cleveland OrchestraGuest Information

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

PHOTOGRAPHY, VIDEO, AND AUDIO RECORDING For the safety of guests and performers, pho-tography and videography are strictly prohibited during performances at Severance Hall.

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 staff are experienced in assist-ing patrons to fi nd seats that meet their needs. Wheelchair seating is available on the Orchestra Level, Box Level, and Dress Circle, and in Reinberger Chamber Hall at a variety of prices. For patrons who prefer to transfer from a wheelchair, seats with removable arms are available on the Orches-tra Level in the Concert Hall. ADA seats are held for those with special needs until 48 hours prior to the performance, unless sell-out conditions exist before that time. Severance Hall features seating locations for people with mobility impairments and offers wheelchair transport for all performances. To discuss your seating requirements, please call the Ticket Offi ce at (216) 231-1111. TTY line access is available at the public pay telephone located in the Security Offi ce. Infrared Assistive Listening Devices are available from a

Head Usher or the House Manager for all perfor-mances. 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 Contact an usher or a member of the house staff if you require medical assistance. Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.

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 eight. 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 can be used as a tax-deductible contribution. Pa-trons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.


CUYAHOGA ARTS & CULTURE IS PROUD TO SUPPORT

WWW.CACGRANTS.ORG 216 515 8303

APOLLO'S FIRE BAYARTS BECK CENTER FOR THE ARTS CLEVELAND BOTANICAL GARDEN

CLEVELAND INTERNATIONAL FILM FESTIVAL CLEVELAND MUSEUM OF ART CLEVELAND MUSEUM

OF NATURAL HISTORY THE CLEVELAND ORCHESTRA CLEVELAND PLAY HOUSE CLEVELAND PUBLIC

THEATRE DANCECLEVELAND GREAT LAKES SCIENCE CENTER GREAT LAKES THEATER FESTIVAL

GROUNDWORKS DANCETHEATER HEIGHTS YOUTH THEATRE IDEASTREAM KARAMU HOUSE MALTZ

MUSEUM OF JEWISH HERITAGE MUSEUM OF CONTEMPORARY ART CLEVELAND NATURE CENTER AT

SHAKER LAKES OPERA CLEVELAND ROCK AND ROLL HALL OF FAME AND MUSEUM SPACES

WESTERN RESERVE HISTORICAL SOCIETY & MANY OTHERS

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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.PNCRaiffeisenlandesbank

Oberösterreich (Europe)

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

Baker HostetlerEaton CorporationForest City Enterprises, Inc.The Plain Dealer

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

The J. M. Smucker CompanyMedical Mutual of Ohio

$50,000 TO $99,999

FirstMerit BankThe Goodyear Tire & Rubber Company Jones DayParker Hannifin CorporationThe Sage Cleveland FoundationTele München Group (Europe)

$25,000 TO $49,999

Conn-Selmer, Inc.Giant EagleJPMorgan Chase FoundationNorthern Trust Bank

of Florida (Miami)Quality Electrodynamics (QED)Richard L. Bowen & Associates, Inc.Squire, Sanders & Dempsey (US) LLPThompson Hine LLP

$2,500 TO $24,999

Akron Tool & Die CompanyAmerican Fireworks, Inc.American Greetings CorporationArnstein & Lehr LLP (Miami)Bank of AmericaBDIBrouse McDowellEileen M. Burkhart & Co. LLC

Buyers Products CompanyCalfee, Halter & Griswold LLPThe Cleveland Wire Cloth & Mfg. Co.The Cliffs FoundationCommunity Behavioral Health CenterConsolidated Graphics Group, Inc.Dealer Tire LLCDollar BankDominion FoundationErnst & Young LLPEvarts-Tremaine-Flicker CompanyFeldman Gale, P.A. (Miami)Ferro CorporationFifth Third BankFrantz Ward LLPGallagher Benefit ServicesGenovese Vanderhoof & AssociatesGreat Lakes Brewing CompanyGross BuildersHahn Loeser + Parks LLPHiger Lichter & Givner LLP (Miami)Houck Anderson P.A. (Miami)Hunton & Williams, LLP (Miami)Hyland Software, Inc.Keithley FoundationThe Lincoln Electric FoundationC. A. Litzler Co., Inc.Live Publishing CompanyLNE Group / Lee Weingart (Europe)Macy’sMiba AG (Europe)MindCrafted SystemsMTD Products, Inc.Nordson CorporationNorth Coast Container Corp.Northern HaserotOatey Co.Octavia PressOhio CATOhio Savings Bank, A Division

of New York Community BankOlympic Steel, Inc.Park-Ohio Holdings Corp.PolyOne CorporationThe Prince & Izant CompanyRichey Industries, Inc.RPM International Inc.SEMAG GmbH (Europe)The Sherwin-Williams CompanyStearns Weaver Miller Weissler Alha (Miami)Stern Advertising AgencySumma Health SystemSwagelok CompanyTowers WatsonTriMark S.S. KempTrionix Research Laboratory, Inc.Tucker Ellis & West LLPUlmer & Berne LLPUnited Automobile Insurance Co. (Miami)Ver Ploeg & Lumpkin, P.A.Westlake Reed LeskoskyAnonymous (3)

Annual Supportgifts of $2,500 or more during the past year, as of December 15, 2011

Cumulative GivingJOHN L. SEVERANCESOCIETY

$5 MILLION AND MORE

KeyBank

$1 MILLION TO $5 MILLION

Baker Hostetler

Bank of America

Eaton Corporation

FirstEnergy Foundation

Forest City Enterprises, Inc.

The Goodyear Tire

& Rubber Company

The Lubrizol Corporation /

The Lubrizol Foundation

Merrill Lynch

NACCO Industries, Inc.

Parker Hannifin Corporation

The Plain Dealer

PNC Bank

PolyOne Corporation

The J. M. Smucker Company

The Severance Society recognizes

generous contributors of $1 million

or more in lifetime giving to The

Cleveland Orchestra. Listing

as of September 2011.

Corporate Support

The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward

the Orchestra’s Endowment, Annual Fund, Special Projects, and/or Programs. Additional legacy gifts from these

organizations and others are recognized through The Cleveland Orchestra Heritage Society.


Corporate Support

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79Severance Hall 2011-12 Foundation/Government Support

$1 MILLION AND MORE

The Cleveland FoundationCuyahoga County residents through

Cuyahoga Arts and CultureMaltz Family FoundationThe Kelvin and Eleanor

Smith Foundation

$500,000 TO $999,999

The Louise H. and David S. Ingalls Foundation

The Payne Fund

$250,000 TO $499,000

Andrew W. Mellon Foundation

David and Inez Myers Foundation

Ohio Arts CouncilThe Skirball Foundation

$100,000 TO $249,999

Sidney E. Frank FoundationThe GAR FoundationThe George Gund

FoundationMartha Holden Jennings FoundationJohn S. and James L.

Knight Foundation Kulas FoundationThe Mandel FoundationThe Miami Foundation,

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

John P. Murphy FoundationSurdna Foundation

$50,000 TO $99,999

The George W. Codrington Charitable Foundation

Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation

National Endowment for the ArtsThe Reinberger Foundation

$20,000 TO $49,999

The Abington FoundationAkron Community FoundationThe Helen C. Cole Charitable TrustThe Mary S. and David C.

Corbin Foundation

Annual Supportgifts of $2,000 or more during the past year, as of December 15, 2011

The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their

generous support toward the Orchestra’s Endowment, Annual Fund, Special Projects, and/or Programs. Additional

legacy gifts from these organizations and others are recognized through The Cleveland Orchestra Heritage Society.

The Gerhard Foundation, Inc.Ann and Gordon Getty FoundationElizabeth Ring Mather and

William Gwinn Mather FundThe Nonneman Family FoundationThe Esther and Hyman Rapport

Philanthropic TrustThe Sisler McFawn Foundation

$2,000 TO $19,999

Ayco Charitable FoundationThe Ruth and Elmer Babin FoundationBicknell FundThe Eva L. and Joseph M. Bruening

FoundationThe Collacott FoundationThe Frances G. and Lewis Allen Davies

Endowment FundMary and Dr. George L. Demetros

Charitable TrustElisha-Bolton FoundationFisher-Renkert FoundationThe Harry K. Fox and Emma R. Fox

Charitable Foundation Funding Arts Network (Miami)The Helen Wade Greene Charitable TrustThe Hankins FoundationMuna & Basem Hishmeh FoundationRichard H. Holzer Memorial FoundationThe Kangesser FoundationThe Laub FoundationVictor C. Laughlin, M.D.

Memorial Foundation TrustThe G. R. Lincoln Family FoundationMargaret Clark Morgan FoundationMiami-Dade County Department

of Cultural Affairs (Miami)Laura R. & Lucian Q. Moffitt FoundationThe Nord Family FoundationPaintstone FoundationThe Charles E. & Mabel M. Ritchie

Memorial FoundationThe Leighton A. Rosenthal Family FoundationSCH FoundationAlbert G. & Olive H. Schlink FoundationThe Sherwick FundLloyd L. and Louise K. Smith

Memorial FoundationThe South Waite FoundationJean C. Shroeder FoundationThe Taylor-Winfield FoundationThe George Garretson Wade

Charitable Trust The S. K. Wellman FoundationThe Wells Family Foundation, Inc.Thomas H. White Foundation, a KeyBank TrustThe Edward & Ruth Wilkof FoundationWright FoundationThe Wuliger FoundationAnonymous (2)

Cumulative GivingJOHN L. SEVERANCESOCIETY

$10 MILLION AND MORE

The Cleveland Foundation

Maltz Family Foundation

State of Ohio

Ohio Arts Council

The Kelvin and Eleanor

Smith Foundation


Cuyahoga County residents

through Cuyahoga

Arts & Culture

Kulas Foundation


Ann and Gordon Getty

Foundation

The GAR Foundation

The George Gund Foundation

The Louise H. and David S.

Ingalls Foundation

Martha Holden Jennings

Foundation

John S. and James L.

Knight Foundation (Miami)

Andrew W. Mellon Foundation

John P. Murphy Foundation

David and Inez

Myers Foundation

National Endowment

for the Arts

The Payne Fund

The Reinberger Foundation

The Severance Society recognizes

generous contributors of $1 million

or more in lifetime giving to The

Cleveland Orchestra. Listing

as of September 2011.


Foundation & Government Support

80 Severance Hall 2011-12

INDIVIDUAL GIFTS OF $500,000 AND MORE

Mr. and Mrs. Alexander M. Cutler Daniel R. and Jan R. Lewis (Miami)

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

Irma and Norman Braman (Miami) The Walter and Jean Kalberer Foundation Susan Miller (Miami) Mr. and Mrs. Albert B. Ratner James and Donna Reid


Ben and Ingrid Bowman Francie and David Horvitz (Miami) Mr. and Mrs. Michael J. Horvitz Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe)Mrs. Norma Lerner Mr. and Mrs. Herbert McBride Sally S. and John C. Morley Ms. Ginger Warner (Cleveland, Miami) Janet and Richard Yulman (Miami)


Robert and Jean* Conrad Trevor and Jennie Jones Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre The Honorable and Mrs. John Doyle Ong Julia and Larry Pollock Barbara S. Robinson

Leadership Council The Leadership Council salutes those extraor-

dinary donors who have pledged to sustain their

annual giving at the highest level for three years or

more. Leadership Council donors are recognized in

these Annual Support listings with the Leadership

Council symbol next to their name:

Individual Support

The Cleveland Orchestra and Musical Arts Association gratefully recognize the individuals

listed here, who have provided generous gifts of cash or pledges of $2,500 or more

in annual operating, endowment, special project, or benefit event support.


Lifetime GivingJOHN L. SEVERANCE SOCIETY

$10 MILLION AND MORE

Daniel R. and Jan R. Lewis (Miami)


Mr. Richard J. Bogomolny

and Ms. Patricia M. Kozerefski

Mr. and Mrs. Alexander M. Cutler

Mrs. Norma Lerner

and The Lerner Foundation

Mr. and Mrs. Albert B. Ratner

Anonymous


Irma and Norman Braman (Miami)

Mr. and Mrs. Francis J. Callahan

Mrs. Anne M. Clapp

Mr. George Gund III

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. Norton

The Honorable and Mrs. John Doyle Ong

Mr. and Mrs. Alfred M. Rankin, Jr.

Charles and Ilana Horowitz Ratner

James 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 December 2011.

Annual Supportgifts during the past year, as of December 15, 2011

Individual Donors

81Severance Hall 2011-12 Individual Donors


John P. Bergren* and Sarah M. Evans Mr. William P. Blair III Mr. Richard J. Bogomolny

and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Hector D. Fortun (Miami) James D. Ireland III R. Kirk Landon

and Pamela Garrison (Miami) Peter B. Lewis and Janet Rosel (Miami)Toby Devan LewisMrs. Emma S. LincolnMs. Nancy W. McCann Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Richard K. Smucker David A. and Barbara Wolfort Anonymous


Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s CommitteeThe Brown and Kunze FoundationJeanette Grasselli Brown and Glenn R. Brown Mrs. Gerald N. CannonMr. and Mrs. Matthew V. Crawford Mr. and Mrs. Geoffrey Gund George GundMrs. Marguerite B. Humphrey Giuliana C. and John D. Koch Foundation

(Cleveland, Miami) Dr. Vilma L. KohnCharlotte R. KramerMr. and Mrs. Jon A. Lindseth Ms. Beth E. Mooney Mrs. Alfred M. Rankin, Sr.Brian and Patricia RatnerCharles and Ilana Horowitz Ratner Luci and Ralph* ScheyMr. and Mrs. Franz Welser-Möst Women’s Committee

of The Cleveland OrchestraAnonymous


Sheldon and Florence Anderson (Miami)Mr. and Mrs. Gerald A. ConwayTati and Ezra Katz (Miami) Mr. and Mrs. S. Lee Kohrman Dr. and Mrs. David LeshnerMr. and Mrs. Alex Machaskee Mrs. Jane B. NordMr. and Mrs. James A. Ratner

Hewitt and Paula Shaw Richard and Nancy Sneed R. Thomas and Meg Harris Stanton Rick, Margarita and Steven Tonkinson (Miami)Judy and Sherwood Weiser (Miami)


Gay Cull Addicott Mr. and Mrs. Daniel M. Bell (Miami)Dr. Ben H. and Julia Brouhard Martha and Bruce Clinton (Miami)Bruce and Beth Dyer Albert I. and Norma C. Geller Dr. Edward S. GodleskiAndrew and Judy GreenMargaret Fulton-Mueller and Scott Mueller William J. and Katherine T. O’Neill Dr. and Mrs. Ronald J. Ross Mr. and Mrs. James A. SaksMarc and Rennie SaltzbergRaymond T. and Katherine S. SawyerDr. and Mrs. Neil Sethi Paul and Suzanne Westlake Anonymous gift from Switzerland (Europe) Anonymous


Mr. and Mrs. William W. Baker Randall and Virginia BarbatoJayusia and Alan Bernstein (Miami) Scott Chaikin and Mary Beth CooperDo Unto Others Trust (Miami)George* and Becky DunnColleen and Richard Fain (Miami) Mr. Allen H. FordRichard and Ann GridleyMrs. John A Hadden Jr.Gary Hanson and Barbara Klante Jack Harley and Judy ErnestIris and Tom Harvie Joan and Leonard HorvitzRichard and Erica Horvitz (Cleveland, Miami)Elizabeth B. Juliano Robert M. Maloney and Laura Goyanes Mr. Thomas F. McKee Mrs. Stanley L. Morgan*Lucia S. NashMr. Gary A. Oatey Nancy and Neil Schaffel (Miami)David and Harriet SimonMary M. Spencer (Miami)Dr. and Mrs. William P. Steffee Dr. Kenneth F. SwansonMr. Joseph F. TetlakAnonymous

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82 Severance Hall 2011-12


Mr. and Mrs. George M. Aronoff Mr. and Mrs. David J. Carpenter Mrs. David Seidenfeld Mrs. Jean H. TaberMr. and Mrs. Alfred Umdasch (Europe)Anonymous

INDIVIDUAL GIFTS OF $10,000 TO $12,499Fred G. and Mary W. BehmMarsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. D. McGregor Brandt, Jr.Mr. and Mrs. Eugene A. BuehlerJ. C. and Helen Rankin ButlerAugustine* and Grace CaliguireRichard J. and Joanne ClarkMrs. Barbara CookBruce Coppock and Lucia P. May (Miami)Judith and George W. Diehl Mr. and Mrs. Robert P. DuvinMike S. and Margaret Eidson (Miami)Dr. and Mrs. Lloyd H. Ellis Jr.Mr. and Mrs.* David K. FordMs. Dawn M. FullFrancisco A. Garcia and Elizabeth Pearson (Miami)Mr. and Mrs. Richard T. GarrettMr. and Mrs. Robert W. GillespieJeffrey and Stacy Halpern

Sondra and Steve HardisRobin Hitchcock HatchMr. and Mrs. Jeffrey Healy Mary and Jon Heider (Cleveland, Miami)David and Nancy Hooker Mr. and Mrs. Christopher Hyland Mr. and Mrs. Donald M. Jack, Jr.Mr. and Mrs. Richard A. JanusMr. and Mrs. Ferdinand JerebJanet and Gerald Kelfer (Miami) Jonathan and Tina Kislak (Miami)Mrs. Elizabeth R. Koch Tim and Linda Koelz Mr. and Mrs. Edward A. LozickMr. and Mrs. Richard A. ManuelMrs. Robert H. MartindaleMr. and Mrs. Arch J. McCartneyWilliam and Eleanor McCoyMr. and Mrs. Stanley A. MeiselMr. Walter N. Mirapaul*Elisabeth and Karlheinz Muhr (Europe)Brian and Cindy MurphyMr. and Mrs. William M. Osborne, Jr. Mr. and Mrs. George M. Rose Mr. and Mrs. David A. RuckmanDavid M. and Betty Schneider Rachel R. Schneider, PhD Mr. and Mrs. Oliver E. SeikelKim Sherwin Lois and Tom Stauffer Mrs. Blythe SundbergDr. Russell A. Trusso Dr. Paul J. Vignos, Jr.*Tom and Shirley Waltermire Clara and David Williams

INDIVIDUAL GIFTS OF $7,500 TO $9,999Mr. William BergerLaurel Blossom Dr. and Mrs. Jerald S. Brodkey Dr. Thomas Brugger and Dr. Sandra RussEllen E. & Victor J. Cohn Supporting Foundation Mr. and Mrs. William E. ConwayMr. and Mrs. Edward B. Davis Henry and Mary Doll Nancy and Richard DotsonMr. and Mrs. Terry C. Z. EggerMr. David J. GoldenRobert K. Gudbranson and Joon-Li KimKathleen E. HancockMary Jane Hartwell Mrs. Sandra L. HaslingerIn memory of Philip J. HastingsAmy and Stephen Hoffman Pamela and Scott Isquick Allan V. Johnson Joela Jones and Richard WeissMrs. Carolyn LamplMr. Lawrence B. and Christine H. LeveyJudith and Morton Q. Levin Mr. Jeff LitwillerMr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Mr. and Mrs. Stephen E. MyersPannonius Foundation Rosskamm Family TrustMr. Larry J. Santon

Individual Donors


Gay Cull Addicott

William W. Baker

Ronald H. Bell

Henry C. Doll

Judy Ernest

Nicki Gudbranson

Jack Harley

Iris Harvie

Brinton L. Hyde

Randall N. Huff

Elizabeth Kelley

David C. Lamb

Raymond T. Sawyer

Barbara Robinson, chair

Robert Gudbranson, vice chair

Ongoing annual support gifts are a critical compo-

nent toward sustaining The Cleveland Orchestra’s

economic health. Ticket revenues provide only a

small portion of the funding needed to support

the Orchestra’s outstanding performances, educa-

tional activities, and community projects.

The Crescendo Patron Program recognizes gener-

ous donors of $2,500 or more to the Orchestra’s

Annual Campaign. For more information on the

benefits of playing a supporting role each year,

please contact Hayden Howland, Manager of

Leadership Giving, by calling (216) 231-7545.

Crescendo Annual Campaign Patrons

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

S E V E R A N C E H A L LM A Y 1 9 . M A Y 2 6

C L E V E L A N D O R C H E S T R A . C O MT I C K E T O F F I C E 2 1 6 - 2 3 1 - 1 1 1 1

NINA RUDOLF JANE ERIC GARRETT FRANZ STEMME SCHASCHING HENSCHEL OWENS SORENSON WELSER-MÖST

as as as as asSALOME HEROD HERODIAS JOCHANAAN NARRABOTH

R I C H A R D S T R A U S S

S A L O M EA F T E R T H E P L A Y B Y O S C A R W I L D E

O P E R A I N C O N C E R TS U N G I N G E R M A N W I T H E N G L I S H S U P E R T I T L E S


Patricia J. Sawvel Carol and Albert SchuppNaomi G. and Edwin Z. Singer Family Fund Mrs. Gretchen D. SmithMr. and Mrs. Donald W. Strang, Jr.Bruce and Virginia Taylor Sandy and Ted Wiese Anonymous (2)

INDIVIDUAL GIFTS OF $5,000 TO $7,499Dr. Jacqueline Acho and Mr. John LeMayMr. and Mrs. Monte AhujaSusan S. AngellAgnes ArmstrongMr. and Mrs. Albert A. AugustusMs. Jody BaconMr. and Mrs. Dean Barry Mr. Jon Batchelor (Miami)James and Reita BaymanDr. and Mrs. Nathan A. Berger Dr. and Mrs. Eugene H. BlackstoneIn memory of Claude M. BlairMrs. Flora BlumenthalBrennan Family FoundationPaul and Marilyn* BrentlingerMr. Robert W. BriggsMr. and Mrs. William C. Butler Mr. and Mrs. R. Bruce CampbellMs. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William & Dottie Clark Mrs. Lester E. Coleman Corinne L. Dodero Trust for the Arts and Sciences Mr. and Mrs. Evan R. CornsMr. Peter and Mrs. Julie Cummings (Miami)Mrs. Barbara Ann Davis Mr. and Mrs. Thomas S. DavisPeter and Kathryn Eloff Dr. and Mrs. Robert ElstonMary and Oliver Emerson Mr. and Mrs. Charles R. Emrick, Jr.Mr. and Mrs. Henry J. GoodmanMr. and Mrs. Randall J. GordonHarry and Joyce Graham Mr. Paul GreigMr.* and Mrs. David E. GriffithsDavid and Robin GunningClark Harvey and Holly SelvaggiT. K. and Faye A. HestonMr. Clifford HillAmy and Stephen Hoffman Mr. and Mrs. Brinton L. HydeMs. Martha Ingram (Miami)Judith* and Clifford IsroffRudolf D. and Joan T. Kamper Andrew and Katherine KartalisMilton and Donna* Katz Dr. and Mrs. William S. KiserCynthia Knight (Miami)Julius and Doris KramerMrs. Justin KrentMr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr.Michael and Ruth* LammRobert and Judie Lasser

Judy and Donald Lefton (Miami) Shirley and William Lehman (Miami) Mr.* and Mrs. Leo LeidenMr. and Mrs. Robert P. MadisonMs. Jennifer R. MalkinMr. and Mrs. Morton L. MandelAlan Markowitz M.D. and Cathy PollardMrs. Kay MarshallAlexander and Marianna C. McAfee Claudia Metz and Thomas Woodworth Edith and Ted* MillerDrs. Terry E. and Sara S. MillerMr. and Mrs. William A. Mitchell Robert Moss (Miami)Mr. and Mrs. Herbert Newman Richard and Kathleen NordJohn and Margi O’BrienMr. Michael G. OraveczMr. Henry Ott-HansenMr. J. William and Dr. Suzanne PalmerClaudia and Steven Perles (Miami)Nancy and Robert Pfeifer Dr. and Mrs. John N. Posch Douglas and Noreen PowersLois S.* and Stanley M. ProctorMs. Rosella PuskasDrs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. RankinMrs. Nancy L. ReymannMr. and Mrs. James E. RohrCarol Rolf and Steven AdlerDr. Tom D. RoseSteven and Ellen Ross Mr. Christopher RoyMr. Klaus G. Roy* and Mrs. Gene J. RoyMr. and Mrs. Robert C. RuhlDrs. Michael and Judith Samuels (Miami)David M. and Betty Schneider+Linda B. SchneiderLarry and Sally Sears Dr. and Mrs. James L. SechlerMr. Eric Sellen and Mr. Ron SeidmanDr. Gerard and Phyllis SeltzerDrs. Daniel and Ximena Sessler Mrs. Frances G. ShoolroyMrs. William I. ShorrockLaura and Alvin A. SiegalDavid Kane Smith Jim and Myrna SpiraGeorge and Mary Stark Mrs. Marie S. StrawbridgeCharles B. and Rosalyn Stuzin (Miami)Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr. Brian ThorntonMr. and Mrs. Lyman H. TreadwayMr.* and Mrs. Robert N. TromblyRobert A. ValenteDon and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami)Dr. Edward L. and Mrs. Susan WestbrookTom and Betsy WheelerMr. Roy WodaMrs. Janet A. WrightMr. David ZauderAnonymous (7)

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Individual Donors

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Dr. and Mrs. D. P. AgamanolisMr. and Mrs. Quentin AlexanderMr. and Mrs. Robert H. BakerMs. Delphine BarrettMr.* and Mrs. Russell BearssMr. and Mrs. Jules BelkinDr. Ronald and Diane BellDr. Robert BenyoSuzanne and Jim BlaserMr. and Mrs. Dennis A. BlockMs. Elizabeth E. BrumbaughFrank and Leslie BuckDr. and Mrs. William E. CappaertMrs. Millie L. CarlsonMs. Mary E. ChilcoteDrs. Mark Cohen and Miriam VishnyDiane Lynn Collier+Marjorie Dickard ComellaMr. and Mrs. David J. CookPete and Margaret DobbinsMr.* and Mrs. Sidney DworkinMr. Brian L. Ewart

and Mr. William McHenryMr. J. Gilbert and Mrs. Eleanor FreyMrs. Cora C. GigaxJoyce and Ab* GlickmanRobert N. and Nicki N. Gudbranson

John and Virginia HansenMr. Robert D. HartBarbara Hawley and David GoodmanMatthew D. Healy and Richard S. AgnesMs. Mary Beth HedlundHazel Helgesen and Gary D. HelgesenAnita and William HellerBob and Edith Hudson (Miami)Mr. James J. HummerDr. and Mrs. Scott R. InkleyDonna L. and Robert H. JacksonDr. and Mrs. Richard S. KaufmanMrs. Rita G. KellyMr. and Mrs. Robert M. KochRonald and Barbara LeirvikMr. and Mrs. Irvin A. LeonardMr. and Mrs. Robert C. LoeschAnne R. and Kenneth E. LoveRobert and LaVerne LugibihlElsie and Byron LutmanJoel and Mary Ann MakeeMartin and Lois MarcusDr. Susan M. MerzweilerAnn Jones MorganDr. Joan R. MortimerMr. and Mrs. Peter R. OsenarMr. and Mrs. John S. Piety

Mr. and Mrs. Richard W. PogueIn memory of Henry PollakDr. Laurine PurolaDr. Robert W. ReynoldsAmy and Ken RogatBob and Ellie ScheuerMs. Freda SeavertGinger and Larry ShaneDr. Marvin and Mimi SobelMr. and Mrs. William E. SpatzDr. Elizabeth SwensonMs. Lorraine S. SzaboMr. and Mrs. Leonard K. TowerRobert J. and Marti J. VagiMr. and Mrs. Fred A. WatkinsMr. and Mrs. Mark Allen WeigandMr. Peter and Mrs. Laurie WeinbergerRobert C. WepplerNancy V. and Robert L. WilcoxMs. Judith H. WrightAnonymous (3)



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. William BaldwinReverend Thomas and

Dr. Joan BaumgardnerMr. and Mrs. Mike BelkinMs. Pamela D. BelknapMr. Roger G. BerkKerrin and Peter Bermont (Miami)Barbara and Sheldon BernsJulia & David Bianchi

(Cleveland, Miami)John A. Biek and Christina J. NortonCarmen and Karl* Bishopric (Miami)Bill and Zeda BlauMr. Doug BletcherJohn and Anne BourassaMs. Barbara E. BoyleBetty Madigan BrandtDavid M. and Carol M. BriggsMrs. Ezra BryanMs. Mary R. Bynum

and Mr. J. Philip CalabreseMr. and Mrs. Frank H. Carpenter

Leigh and Mary* CarterMr. and Mrs. James B. ChaneyDr. and Mrs. Ronald ChapnickDr. Christopher and

Mrs. Maryann ChengelisMr. and Mrs. Homer D. W. ChisholmMr. and Mrs. Robert A. ClarkDr. Dale and Susan CowanMrs. Frederick F. DannemillerCharles and Fanny Dascal (Miami)Jeffrey and Eileen DavisMrs. Lois Joan DavisMs. Nancy J. Davis (Miami)Scott and Laura DesmondDr. and Mrs. Richard C. DistadMs. Maureen A. Doerner

and Mr. Geoffrey T. WhiteMr. George and Mrs. Beth DownesDavid Jack and Elaine DrageMs. Mary Lynn DurhamMrs. Mary S. EatonEsther L. and Alfred M. Eich, Jr.Erich Eichhorn and Ursel DoughertyMrs. Margaret Estill*David and Margaret EwartHarry and Ann FarmerScott Foerster, Forester and BohnertJoan Alice FordMrs. Amasa B. FordMr. Randall and Mrs. Patrice FortinMr. Monte Friedkin (Miami)Marvin Ross Friedman

and Adrienne bon Haes (Miami)

Peggy and David* FullmerRichard L. FurryJeanne GallagherMarilee L. GallagherBarbara and Peter GalvinJoy E. GarapicMrs. Georgia T. GarnerMr. Wilbert C. Geiss, Sr.Mrs. Joan Getz (Miami)Herman and Blanche GilbertAnne and Walter GinnMr. and Mrs. David A. GoldfingerDr. and Mrs. Ronald L. GouldMr. and Mrs. Robert T. GrafCynthia and David GreenbergMr. and Mrs. Brent R. GroverThe Thomas J. and Judith Fay Gruber

Charitable FoundationNancy and James GrunzweigDr. Phillip M. and Mrs. Mary HallRonald M. and Sallie M. Hall (Miami)Mr. Holsey G. HandysideMr. George P. HaskellVirginia and George HavensOliver and Sally HenkelMr. and Mrs. Jerry HerschmanMr. Robert T. HexterDr. and Mrs. John D. HinesDr. and Mrs. Robert L. HinnesDr. Feite F. HofmanMr. and Mrs. Edmond H. HohertzPeter A. and Judith Holmes


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Individual Donors

HARNESSESTHE POWER OF THE ARTS

PNC supports those who make the world a more beautiful place. That’s why we’re proud to sponsor the Cleveland Orchestra. Because we know that achievement is an art form all its own.

©2011 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC.ACHIEVEMENT is a registered mark of The PNC Financial Services Group, Inc.

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Thomas and Mary HolmesDr. Keith A. and

Mrs. Kathleen M. HooverXavier-Nichols Foundation /

Robert and Karen HostofferMark and Ruth Houck (Miami)Dr. Randal N. Huff

and Ms. Paulette BeechMs. Charlotte L. HughesMr. David and Mrs. Dianne HuntMs. Luan K. HutchinsonMr. and Ms. Charles S. HyleRuth F. IhdeCarol Lee and James IottHelen and Erik JensenMr. Peter and Mrs. Mary JoyceMr. Daniel KamionkowskiMr. William and Mrs. Mary Jo KannenBarbara and Michael J. KaplanDr. and Mrs. Richard S. KaufmanRev. William C. KeeneElizabeth KelleyAngela Kelsey and

Michael Zealy (Miami)The Kendis Family Trust:

Hilary & Robert Kendisand Susan & James Kendis

Bruce and Eleanor KendrickMr. James KishFred and Judith KlotzmanJacqueline and Irwin Kott (Miami)Dr. Ronald H. Krasney

and Ms. Sherry Latimer*Dr. James and Mrs. Margaret KreinerMr. James and Mrs. Patricia KrohngoldMr. Donald N. KrosinDavid C. LambKenneth M. LapineAnthony T. and Patricia A. LauriaMr. and Mrs. Leon LazarevJeffrey and Ellen LeavittDr. Hasoon LeeDr. and Mrs. Jai H. LeeMichael and Lois A. LemrDr. Edith LernerDr. Stephen B. and Mrs. Lillian S. LevineRobert G. LevyDr. Alan and Mrs. Joni LichtinIsabelle and Sidney* LobeHolly and Donald LoftusDrs. Alex and Marilyn LotasMartha Klein LottmanSandi M. A. Macdonald

and Henry J. Grzes (Miami)Herbert L. and Rhonda MarcusDr. and Mrs. Sanford E. MarovitzMr. and Mrs.* Duane J. MarshMrs. Meredith T. MarshallDr. Ernest and Mrs. Marian MarsolaisMr. Julien L. McCallMrs. Alice MecredySusan and Reimer MellinDr.* and Mrs. Hermann Menges, Jr.Stephen and Barbara Messner

Donald D. MillerMindCrafted SystemsBert and Marjorie MoyarMr. Raymond M. MurphyRichard B. and Jane E. NashMarshall I. Nurenberg and Joanne KleinRichard and Jolene O’CallaghanNedra and Mark Oren (Miami)James P. Ostryniec (Miami)Mr. and Mrs. Christopher I. PageDeborah and Zachary ParisDr. Lewis and Janice B. PattersonMr. Thomas F. Peterson, Jr.Mrs. Ingrid PetrusDr. Roland S. Philip

and Dr. Linda M. SandhausDale and Susan PhillipDr. Marc and Mrs. Carol PohlWilliam and Gwen PreucilMr. Richard and Mrs. Jenny ProeschelK. PudelskiMr. Lute and Mrs. Lynn QuintrellMr. and Mrs. Thomas A. QuintrellMs. C. A. ReaganDavid and Gloria RichardsMrs. Florence Brewster RutterFred Rzepka and Anne Rzepka

Family FoundationDr. Harry S. and Rita K. RzepkaNathan N. and Esther Rzepka Family

Philanthropic Fund of the Jewish CoDr. and Mrs. Martin I. SaltzmanMs. Patricia E. SayMr. Paul H. ScarbroughMr. James SchutteDr. John Sedor and Ms. Geralyn PrestiLee G. and Jane SeidmanCharles Seitz (Miami)Harry and Ilene ShapiroNorine W. SharpDr. and Mrs. William C. SheldonMr. Richard ShireyDr. Howard and Mrs. Judith SiegelDonald Singer and Helene LoveMr. and Mrs.* Jeffrey H. SmythePete and Linda SmytheMrs. Virginia SnappJay and Ellen Solowksy (Miami)Mr. John C. Soper

and Dr. Judith S. BrennekeMr. John D. SpechtHoward Stark M.D.

and Rene Rodriguez (Miami)Mr. and Mrs.* Lawrence E. StewartMrs. Barbara Stiefel (Miami)Ms. Evelyn H. StroudMr. and Mrs. G. W. StuelpeMr. and Mrs. Daniel C. SussenMr. Nelson S. TalbottMr. Karl and Mrs. Carol TheilColin Blades ThomasDr. and Mrs. Thomas A. TimkoMr. and Mrs. Robert J. TomsichMr. Erik Trimble

Drs. Anna* and Gilbert TrueMiss Kathleen TurnerMrs. H. Lansing Vail, Jr.Mr. and Mrs. Joaquin Vinas (Miami)Mr. and Mrs. Les C. VinneyMr. and Mrs. Joseph F. WasserbauerMs. Laure A. WasserbauerPhilip and Peggy WasserstromMr. and Mrs. Jerome A. WeinbergerMrs. Mary Wick BoleRichard Wiedemer, Jr.Helen Sue* and Meredith WilliamsMr. Peter and Mrs. Ann WilliamsRichard and Mary Lynn WillsCharles WinansMichael H. Wolf and Antonia Rivas-WolfDrs. Nancy Wolf and Aric GreenfieldMr. Robert Wolff

and Dr. Paula SilvermanKay and Rod WoolseyRad and Patty YatesFred and Marcia ZakrajsekMr. Kal Zucker

and Mrs. Mary Frances HaerrAnonymous (11)

member of the Leadership Council (see page 80)

* deceased

The Cleveland Orchestra is

sustained through the annual

support of thousands of

generous patrons, including

members of the Crescrendo

Patron Program listed on these

pages. Listings of all donors of

$300 and more each year are pub-

lished 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 ar-

tistic excellence and community

partnerships, please contact our

Philanthropy & Advancement

Office by calling (216) 231-7545.


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world-renowned Cleveland Orchestra, is perfect for business

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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 91Severance Hall 2011-12

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

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

ensembles in the world. In concerts at its winter home at Severance Hall

and at each summer’s Blossom Festival, in residencies from Miami to Vien-

na, and on tour around the world, Th e Cleveland Orchestra sets standards

of artistic excellence, creative programming, and community engagement.

Th e partnership with Franz Welser-Möst, now in its tenth season, and with

a commitment to the Orchestra’s centennial in 2018, has moved the ensem-

ble 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 Ameri-

can orchestra);

an annual Miami Residency involving three weeks of concerts, commu-

nity activities, and educational presentations and collaborations;

concert tours from coast to coast in the United States, including regular

appearances at Carnegie Hall;

regular concert tours to Europe (including biennial residencies at the

Lucerne Festival) and Asia (including a residency at Tokyo’s Suntory Hall

in the autumn 2010);

ongoing recording activities, including new releases under the direction

of Franz Welser-Möst and Pierre Boulez as well as a series of DVD con-

cert presentations of four of Bruckner’s symphonies;

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

coln Center Festival;

an expanded off ering of education and community programs with a

comprehensive approach designed to make music an integral and regular

part of everyday life in Northeast Ohio;

continuing and expanded educational partnerships with schools, col-

leges, and universities from across Northeast Ohio and in the Miami-Dade

community;

creative new artistic collaborations, including staged works and cham-

ber music performances, with arts institutions in Northeast Ohio and

across the Miami-Dade community;

the return of staged opera to Severance Hall with the presentation of ac-

claimed Zurich Opera productions of the three Mozart /Da Ponte operas;

The Orchestra Today92 The Cleveland Orchestra

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 Blos-

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

the return of ballet to Blossom, with performances by Th e Joff rey Ballet.

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

zens intent on creating an ensemble worthy of joining America’s ranks of major

symphony 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 of Severance Hall as the Orchestra’s home

in 1931 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 Cleveland Orchestra 93Severance Hall 2011-12

SATURDAY INSTRUMENTAL SCHOOL. Music students line up for a photograph in April 1929 at East

Technical High School. The students were part of a program in which Cleveland Orchestra musicians

taught instrument lessons on Saturdays throughout the school year — nearly 3,000 students took part

during the late 1920s and early ’30s. The Orchestra has a long and successful history as an education

partner with schools, colleges, and universities throughout Northeast Ohio.

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Upcoming Concerts94 The Cleveland Orchestra

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


See also the concert calendar listing on pages 48-49, 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 . . .

PIERRE BOULEZCONDUCTS MAHLERAND SCHUBERTThursday February 9 at 8:00 p.m.Saturday February 11 at 8:00 p.m.Sunday February 12 at 3:00 p.m.THE CLEVELAND ORCHESTRAPierre Boulez, conductorMen of the Cleveland Orchestra Chorus

Former Cleveland Orchestra principal guest

conductor Pierre Boulez returns to continue

his exploration of the music of Gustav Mahler.

The Seventh Symphony begins with the shad-

ow sounds of a boat rowing across a lake late

at night, in this far-reaching symphony nick-

named “Song of the Night.” The men of the

Cleveland Orchestra Chorus joins in for three

lesser-known night songs by Franz Schubert,

leading us from the translucent richness of

twilight to transcendent darkness and peace.

Concert Sponsor: Baker Hostetler

YEFIM BRONFMANPLAYS BRAHMSThursday January 19 at 8:00 p.m.Friday January 20 at 8:00 p.m.Saturday January 21 at 8:00 p.m.Thursday February 2 at 8:00 p.m.Friday February 3 at 8:00 p.m.Saturday February 4 at 8:00 p.m.THE CLEVELAND ORCHESTRAFranz Welser-Möst, conductorYefi m Bronfman, piano

Hailed by the New York Times as a virtuoso

“defying comparison,” Yefi m Bronfman per-

forms Brahms’s two piano concertos across

two weekends in the new year. The Second,

in January, is Brahms at the full height of his

creative maturity. The First, in February, brings

the swagger and daring of youth, bristling

with passion and ambition.

January Concert Sponsor: FirstMerit BankFebruary Concert Sponsor: Baker Hostetler

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Documents

The Cleveland Orchestra Jan. 12-14 Concert Program