THE CIM ORCHESTRA 1

Wednesday, September 21, 2011, 8:00 p.m.

Severance Hall

The CIM OrChesTraCarl TOpIlOw, conductor

NaTalIe lIN, violin

MICHAEL TORKE Bright Blue Music (b. 1961)

BENJAMIN BRITTEN Violin Concerto in D minor, Op. 15 (1913-1976) Moderato con moto Vivace Passacaglia: Andante lento Played without pause

INTERMISSION

MODEST MUSSORGSKY Pictures at an Exhibition (1839-1881) Promenade – The Gnome arr. MAURICE RAVEL Promenade – The Old Castle (1875-1937) Promenade – Tuileries Bydlo Promenade – Ballet of the Chicks in Their Shells Samuel Goldenberg and Schmuyle The Marketplace at Limoges – Catacombs, Roman Tombs Cum Mortuis in Lingua Mortua The Hut on Fowl’s Legs – The Great Gate of Kiev

Broadcast live on WCLV 104.9 FM with support from Audio-Technica

2 THE CLEVELAND INSTITUTE OF MUSIC

aBOUT CIMThe Cleveland Institute of Music, founded in 1920, is one of only eight independent conservatories of music in the United States. Each year, CIM attracts more than 1000 applicants for 130 openings during a very competitive audition process. As an educational and performance resource for the community, CIM works in close association with The Cleveland Orchestra, Case Western Reserve University, the Cleveland School of the Arts, University Circle Inc. and other cultural and educational organizations.

Degree programs attract a geographically and culturally diverse student body with approximately 25% international students, 15% from Ohio and 60% from the remaining areas of the U.S. The CIM Orchestra provides students an invaluable experience to learn repertoire and perform major concerts on a regular basis. Both graduate and undergraduate students participate in this demanding program. Coaching sessions and master classes with world-renowned conductors and visiting artists, in addition to studies with CIM’s stellar faculty, offer an unparalleled opportunity for CIM students to work with some of the world’s foremost orchestra musicians. Currently, hundreds of CIM graduates perform in premier orchestras around the globe. Over half of the members of The Cleveland Orchestra are connected to CIM, either as members of the faculty or as alumni.

as we move further into the 21st Century, relevance to the greater community is more and more prominent in our thinking at CIM. Our students can only succeed as artists if they can find their audience and make their performance relevant to the world around them. We hope, this

year, to bring our young students’ accomplishments into the community in new and imaginative ways while bringing the community’s culture into our own midst.

On behalf of all of us at the Cleveland Institute of Music, I welcome you to the first of five appearances of the CIM Orchestra in Severance Hall for the 2011-12 season. Highlights of the coming season include a special appearance by artist-faculty member Vinson Cole, world-renowned tenor, performing alongside Jeffrey Kahane, the conductor of the Denver Symphony. On April 18, the chorus of Cleveland School of the Arts under the direction of Dr. William Woods and instrumentalists from the school will join our Orchestra on the stage to present Gustav Mahler’s momentous Symphony No. 2, “Resurrection.” This concert will combine the rich musical resources of CSA and CIM, celebrating Dr. Woods’ many years of inspired work as choral director through one of the greatest masterworks for chorus and orchestra.

Cultural diversity within our country and our city enriches all of our lives. An appreciation of the culture of others is actually part of the responsibility of the artist, as he or she must draw on the community in order to speak to them persuasively. Nearly all concerts at Cleveland Institute of Music are free and we invite the community into our home to enjoy the accomplishments of our amazing young artists.

And, finally, we are proud to welcome and share this evening’s performance with the the Ear, Nose & Throat Institute of University Hospitals and University Hospital’s Cochlear Implant Experts and patients. Along with them, we call this evening “A Celebration of Hearing with An Evening of Music,” celebrating this important arm of UH and its glorious work, making it possible for the patients to again find meaning in the beauty and deep message of the music we will hear tonight. Bravo!

Joel Smirnoff President of the Cleveland Institute of Music

welCOMe!

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The CIM OrChesTraVIOLIN IMason Yu, principalSung-Sil Ro Janet Carpenter Sho Neriki Koko Watanabe Hector Chemelle Boson Mo Michelle Black Emily Nebel Lydia Barnette Laura Ha Nicole Sauder Ben Odhner Julie Beistline Eva Dove Megan Shung Patrick Yim Graham Jones

VIOLIN IIOriane Carcy, principalLisa Kim Matthew Leslie Andrea Daigle Lauren Roth Erin Reidhead Thomas Rodgers Erica Tursi Jennifer Yamamoto Tobiah Murphy Alice Hong Fahad Awan Yeon Sun Huh

VIOLACynthia Black, principal Zsche Chuang Rimbo Wong Daniel Urbanowicz Tegen Davidge Annalisa Boerner Stephanie Price Joseph Locicero Rebecca Glass Addie Deppa Audrey Alessi Farrah OShea Esther Nahm Sheila Bernhoft Derek Goad

CELLOFedor Amosov, principal Sung-Hyun Ro Thomas Carpenter Hyunjin Cho Mikala Schmitz Samuel Ericsson James Jaffe Alexander Cox Eun Hie Lim Anna Rosenstone Pall Kalmansson Matt Zucker Schuyler Perry

DOUBLE BASSSean Casey, principal Clinton OBrien Antonio EscobedoRichard Zydek

FLUTEJeiran Hasan Mark Huskey * Jacob Mende-Fridkis &James Romeo #

PICCOLOMackenzie Danner

OBOETimothy Feil *Gretchen Myers &Kelly Mozeik #Scott Wollett

ENGLISH HORNChristopher Connors

CLARINETBenjamin Chen *Patricia Crispino &Gunnar Hirthe #Tianming Peng

BASS CLARINET Drew Sullivan

ALTO SAXOPHONE Alyssa Hoffert

BASSOONMarian Graebert #David HusbyKevin Pfister *Arleigh Savage &

CONTRABASSOONJoseph Cannella

HORN Zane BiddleSamuel HartmanHee Chan Jung #Amanda LeeLiang LiuThomas ParkEmily Rapson *Benjamin Reidhead &Alexander RiseEmily SchaeferOlivia Sedlack

TRUMPETKyle Dobbeck #Nina Dvora *Dominic FaviaLeah Hodge &Hayato TanakaMichael Terassi

TROMBONEWhitney Clair *#Christopher Graham &Quinton HoJames Trichilo

TUBAJohn Caughman #Doug Jones * &

PIANO/CELESTESamantha Biniker

HARPJennifer Ellis *&Abby Klein #

TIMPANIDylan Moffitt

PERCUSSIONJeffrey DerocheLara HueterMichael JarrettEvan MitchellDavid NewtonMark SteinMichael StubbartJohn Sullivan

* Principal on Torke# Principal on Britten& Principal on Mussorgsky

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aBOUT The arTIsTs

Carl TOpIlOwCarl Topilow is director of the CIM orchestral program and primary instructor for the master’s degree program in orchestral conducting. In addition, he is music director and conductor of the Cleveland Pops Orchestra, the National Repertory Orchestra, a summer music festival based in Breckenridge, Colorado, and the Firelands Symphony Orchestra in Sandusky, Ohio. Founding conductor of the Summit Brass, Mr. Topilow has also served as principal pops conductor of the Toledo and Southwest Florida Symphonies. He received Bachelor and Master of Music degrees from the Manhattan School of Music, and began his career as Exxon/Arts Endowment Conductor with the Denver Symphony Orchestra. He served as a conducting fellow of the National Orchestral Association from 1972 until 1976, with Leon Barzin; he was also a conducting fellow at Aspen School of Music in 1976, with Jorge Mester and John Nelson. He was first-place winner of the Baltimore Symphony Young Conductor’s Competition in 1976. A frequent guest conductor both in the U.S. and abroad, Mr. Topilow appears this season with the Akron Symphony, Philharmonic, Elgin Symphony, Hamilton Symphony, Hong Kong Philharmonic, Orquesta Sinfonica Nacional de Venezuela and Youngstown Symphony. He has served as guest conductor for 100 orchestras in 30 states and 11 foreign countries. His wife Shirley is president and CEO of the Cleveland Pops Orchestra and director of Morgenstern Dance Studio. Daughter Emily is a student in the Beachwood Schools, and enjoys her violin studies through the CIM Preparatory Program. Daughter Jenny, a CIM alumna, is a violinist with the Charlotte Symphony.

NaTalIe lINBorn in Auckland, New Zealand, violinist Natalie Lin has performed as a soloist with orchestras including the New Zealand Symphony, Auckland Philharmonia and the Taichung City Symphony (Taiwan). She has been featured on Houston Public Radio’s program “The Front Row,” as well as on Radio New Zealand’s Concert FM. Since moving to the USA in 2007, she has won the Concerto Competition at both CIM and the Moores School of Music (University of Houston), receiving subsequent concerto performances with orchestra at both institutions. In 2009, she also received 1st prize in the Strings division and the Audience Choice award at the Young Texas Artist Competition. Most recently, she was runner-up at the 2011 Aspen Music Festival Violin Concerto Competition. Beginning her violin studies at age four with Suzuki method, in 2004 Ms. Lin was recognized as the “Auckland Philharmonia Young Performer of the Year.” Throughout high school, she cultivated a love for chamber music, winning the acclaimed New Zealand Chamber Music Contest with her piano quartet in 2005, and directing her high school chamber orchestra from the concertmaster chair in 2006. As a chamber musician she has collaborated with Paul Kantor, Jeffrey Irvine and Kyung Sun Lee as well as her sister, violinist Christabel Lin. Ms. Lin is currently completing her master’s degree with Paul Kantor at CIM and was his teaching assistant at the Aspen Music Festival this summer. Her other interests include music pedagogy and theory, art collaboration, photography and swimming.

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prOGraM NOTesBy Richard E. Rodda

Bright Blue MusicMichael Torke (born in 1961)

Composed in 1985.Premiered on November 23, 1985 in New York City, conducted by David Alan Miller.

Composers since the age of the Renaissance have incorporated popular songs and styles into works of elevated purpose: students of music history will recall the profusion of Masses erected upon the 15th-century French ditty L’Homme armé (“The Armed Man”); Bach wove two popular melodies of the day (Long Have I Been Away from Thee and Cabbage and Turnips) into the contrapuntal complexities of the Goldberg Variations; Chopin’s peerless piano creations are rooted in the dance patterns and melodic gestures of his native Poland; jazz and the blues have served as a wellspring for American composers ever since Copland returned from France in 1924. For all of their creative hybridization, however, these earlier attempts at stylistic interpenetration recognized distinct boundaries among the various types of music – the Rhapsody in Blue is clearly intended for the concert hall and not the jazz club. However, as this new millennium begins the conventional distinctions among musical idioms have blurred. The world is now so suffused with music – rock, pop, rap, punk, folk, metal, hip-hop, jazz, new age, soul and even the venerable forms of symphony, opera and ballet – that the old melting pot has become a veritable cauldron of trans-stylistic musical immersion. Many of today’s young composers and performers are not only inevitably exposed to this invigorating universe of musics, but can move comfortably and creatively from one to another, drawing from them a cross-fertilized inspiration that defies traditional categorization. Michael Torke is among the lead guides along this musical pathway into the new century.

Michael Torke (TOR-kee) was born in Milwaukee on September 22, 1961. His parents enjoyed music, but they were not trained in the field, so they entrusted Michael to a local piano teacher when he early showed musical talent. He soon started making up his own pieces, and by age nine he was taking formal composition lessons. His skills as a pianist and composer blossomed while he was in high school, and he chose to take his professional training at the Eastman School in Rochester, where he studied with Joseph Schwantner and Christopher Rouse. Though he had surprisingly little familiarity with popular idioms before entering Eastman in 1980, Torke absorbed all manners of music from the students and faculty at the school, coming to realize that he could make pop, rock and jazz coexist with the “classical” idioms in his music. His distinctive style was already well formed in Vanada, which he composed for a student ensemble at Eastman in 1984, his last year at the school. He spent a year at the Yale School of Music as a student of Jacob Druckman before moving to New York City, where his practice of submitting scores to every available competition had already made his name known to a number of contemporary music buffs. (He has won the American Prix de Rome and grants and prizes from the Koussevitzky Foundation, ASCAP, BMI and the American Academy & Institute of Arts and Letters.) A commission from the Brooklyn Philharmonic in 1985 resulted in Ecstatic Orange, his first orchestral score and one of his many works influenced by his drawing relations between color and sound. That same year his music was taken on by the prestigious publishing firm of Boosey & Hawkes, who introduced him to Peter Martins, director of the New York City Ballet. Martins was immediately struck by the freshness and vitality of Torke’s work, and choreographed Ecstatic Orange in 1987; the company has since commissioned and premiered Purple (1987), Black & White (1988), Slate (1989), Mass (1990) and Ash (1991).

In 1990, Torke received a first-refusal contract for all of his compositions from Decca/London Records, the first such agreement that that company had offered since its association with Benjamin Britten; in 2003, he launched his own label, Ecstatic Records. Torke now has more requests for commissions than he can accept, and he is one of only a handful of American composers supporting themselves entirely through the income from their compositions. He writes mainly for orchestra, sometimes with an added soloist or concertante group, and the list of ensembles that have performed his music includes the orchestras of Philadelphia, Atlanta, Baltimore, Chicago, Pittsburgh

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and New York, Danish Radio Symphony, Munich Philharmonic, London Sinfonietta and Ensemble InterContemporain. In 1997, Torke was appointed the first Associate Composer of the Royal Scottish National Orchestra, in which capacity he has advised on programming and educational activities and composed Rapture, a concerto for Scottish percussionist Colin Currie, and the tone poem An American Abroad. In 1999, Torke premiered two large-scale, high-profile pieces: Strawberry Fields, a one-act opera jointly commissioned by Glimmerglass Opera, New York City Opera and WNET’s “Great Performances” television program (PBS), made its debut at Glimmerglass in Cooperstown, New York; and Four Seasons, a 62-minute symphonic oratorio for vocal soloists, two choruses and large orchestra commissioned by the Disney Company in celebration of the new millennium, was introduced by Kurt Masur and the New York Philharmonic. His new ballet inspired by Eugène-Marin Labiche’s classic 1851 farce The Italian Straw Hat was introduced by the National Ballet of Canada in May 2005. Torke’s current projects include a joint commission from the Metropolitan Opera/Lincoln Center Theater and English National Opera about Formula-1 racing legend Ayrton Senna and a rock version of Monteverdi’s The Coronation of Poppea for the Châtelet Theater in Paris.

Bright Blue Music, like Torke’s other compositions, depends on his fine craftsmanship and carefully honed skills to create music that seems effortless and inevitable. There is youthful excitement and joy of life here, a sense of discovery and renewal and energy and even fun that invigorate the listener and stay laser-etched in the memory, qualities which may have come to permeate the work, in part, in response to the source of its commission – the New York Youth Symphony, which gave its premiere at Carnegie Hall under conductor David Alan Miller on November 23, 1985. The piece is firmly and consonantly rooted throughout in the key of D, which Torke claims to have associated with the color blue since he was five years old, and achieves a spaciousness and extroversion that may evoke vast expanses of cloudless sky.

Violin Concerto in D minor, Op. 15Benjamin Britten (1913-1976)

Composed in 1938-1939.Premiered on March 28, 1940 in New York City, conducted by John Barbirolli with Antonio Brosa as soloist.

Benjamin Britten was 26 in 1939, and much unsettled about his life. Though he had already produced fourteen works important enough to be given opus numbers and a large additional amount of songs, chamber music, choral works and film and theater scores, he felt his career was stymied both by an innate conservatism among the British music public and by the increasingly assured threat of war in Europe. Additionally troubling was his proclaimed pacificism in a nation girding itself for battle. In January 1939, his friends poet W.H. Auden and novelist Christopher Isherwood left for America in search of creative stimulation and freedom from what Auden called the English artist’s feeling of being “essentially lonely, twisted in dying roots.” With the promise of a performance of his Variations on a Theme of Frank Bridge by the New York Philharmonic in August and the prospect (never realized) of writing a score for a Hollywood film about King Arthur, Britten decided to follow Auden, and in May he left England with his life-long companion, the tenor Peter Pears, intent on becoming a citizen of the United States.

Since Britten and Pears planned on taking up a permanent working status, they skirted immigration regulations by entering the United States through Canada, where they became “legal British immigrants” and spent several pleasant weeks in Toronto establishing contact with the representatives in that city of the composer’s publisher, Boosey & Hawkes. (In December 1939, Britten composed the lighthearted Canadian Carnival for orchestra as a souvenir of his visit.) They arrived in New York in late June, and were invited “for a weekend” by William and Elizabeth Mayer to their home in Amityville, Long Island – except for short trips away and a brief, rowdy period with a houseful of artists headed by Auden in Brooklyn, it was to be their principal residence until they returned to England almost three years later. Despite frequent bouts of depression and ill health, Britten composed freely in America, producing such important scores as the Violin Concerto, Les Illuminations, the Michelangelo Sonnets, the Sinfonia da Requiem, the Ceremony of Carols and the operetta Paul Bunyan. (The Hollywood film project never materialized.)

8 THE CLEVELAND INSTITUTE OF MUSIC

In August 1938, several months before he left for America, Britten appeared as soloist in the premiere of his Piano Concerto at a Promenade Concert in London. The venture went well enough that he began a concerto for violin three months later, and carried the sketches with him when he sailed for Canada in May 1939. He worked on the Violin Concerto in Toronto over the next several weeks and at his home on Long Island during the summer, and finished it while vacationing in the Quebec town of St. Jovite in September. He submitted the score for consideration to Jascha Heifetz, who was then preparing for the December premiere in Cleveland of the Violin Concerto that William Walton had just written for him, but the famed violinist rejected Britten’s Concerto as unplayable (though without specifying whether his judgment arose from musical, technical, contractual or political considerations). Britten then contacted the Spanish virtuoso Antonio Brosa, an old friend and fellow student of the English composer Frank Bridge with whom he had given the premiere of his Suite for Violin and Piano (Op. 6) on a BBC broadcast in March 1936. Brosa, like Britten, had settled in the United States with war looming in Europe, and he agreed to give the Concerto’s premiere on March 28, 1940 with the New York Philharmonic and its music director, John Barbirolli, another English musician then working in America. The reviews of the premiere were mixed – “pretty violent: either pro or con,” Britten remembered – but among those who heard a distinctive voice in this music was the American composer Elliott Carter, who wrote that “nobody could fail to be impressed by the remarkable gifts of the composer, the size and ambition of his talent.”

The Concerto’s broad, darkly noble first movement begins with a succinct, open-interval motive in the timpani that recurs throughout as a motto. Above the bassoon’s muttering repetitions of the motto, the solo violin presents the main theme, a melody made from a series of short, smooth, mostly descending phrases. The orchestra takes over the main theme to provide a transition to the second subject, which is constructed from extensive elaborations of the rhythms and intervals inherent in the motto. A climax is built from this material in the development section before the recapitulation begins with roles reversed from the exposition: the upper strings play the main theme while the soloist hammers out aggressive permutations of the motto. The second subject is omitted in the recapitulation, but the violin reclaims the main theme in the coda, intoning it musingly above a sparse accompaniment of timpani, harp and plucked strings.

The second movement is a driving, virtuosic, slightly sinister scherzo for which the more relaxed central section provides formal and expressive contrast. A brilliant cadenza that recalls the timpani motto and the main theme from the first movement serves as a bridge to the finale.

The somber closing movement is a passacaglia, a formal technique using a series of variations on a short, recurring melody that was highly favored by Baroque composers but which fell into disuse with the changed requirements of the music of the Classical era. Britten fitted this passacaglia with nine variations on a stern scalar melody, and gave the music a serious emotional cast that seems to have reflected his sorrow over the horrors of the Spanish Civil War, which reached its bloody climax when he was completing the Concerto. “It is at times like these,” he said, “that work is so important – so that people can think of other things than blowing each other up! ... I try not to listen to the radio more than I can help.” Though Benjamin Britten was only 27 when he composed his Violin Concerto, the work shows that he had already become a master of reflecting the human condition in music of technical mastery and emotional depth.

pictures at an exhibitionModest Mussorgsky (1839-1881)

Transcribed for Orchestra by Maurice Ravel (1875-1937)Composed in 1874; transcribed in 1923.Orchestral version premiered on May 3, 1923 in Paris, conducted by Sergei Koussevitzky.

In the years around 1850, with the spirit of nationalism sweeping through Europe, several young Russian artists banded together to rid their native art of foreign influences in order to establish a distinctive character for their works. At the front of this movement was a group of composers known as “The Five,” whose members included Mussorgsky, Rimsky-Korsakov, Borodin, César Cui and Mily Balakirev. Among the allies that The Five found in other fields was the artist and architect Victor Hartmann, with whom Mussorgsky became close personal friends. Hartmann’s premature death at 39 stunned the composer and the entire Russian artistic community. The noted critic Vladimir Stassov organized a memorial exhibit of Hartmann’s work in February 1874, and it was under the inspiration of that showing of his late friend’s works that Mussorgsky conceived his Pictures at an Exhibition for piano. Maurice Ravel made his masterful orchestration of the score for Sergei Koussevitzky’s Paris concerts in 1923.

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Promenade. According to Stassov, this recurring section depicts Mussorgsky “roving through the exhibition, now leisurely, now briskly, and, at times sadly, thinking of his friend.” The Gnome. Hartmann’s drawing is for a fantastic wooden nutcracker representing a gnome who gives off savage shrieks while he waddles about. Promenade – The Old Castle. A troubadour sings a doleful lament before a foreboding, ruined ancient fortress. Promenade – Tuileries. Hartmann’s picture shows a corner of the famous Parisian garden filled with nursemaids and their youthful charges. Bydlo. Hartmann’s painting depicts a rugged wagon drawn by oxen. The peasant driver sings a plaintive melody (solo tuba) heard first from afar, then close-by, before the cart passes away into the distance. Promenade – Ballet of the Chicks in Their Shells. Hartmann’s costume design for the 1871 fantasy ballet Trilby shows dancers enclosed in enormous egg shells. Samuel Goldenberg and Schmuyle was inspired by a pair of pictures depicting two residents of the Warsaw ghetto, one rich and pompous (a weighty unison for strings and winds), the other poor and complaining (muted trumpet). Mussorgsky based both themes on incantations he had heard on visits to Jewish synagogues. The Marketplace at Limoges. A lively sketch of a bustling market. Catacombs, Roman Tombs. Cum Mortuis in Lingua Mortua. Hartmann’s drawing shows him being led by a guide with a lantern through cavernous underground tombs. The movement’s second section, titled “With the Dead in a Dead Language,” is a mysterious transformation of the Promenade theme. The Hut on Fowl’s Legs. Hartmann’s sketch is a design for an elaborate clock suggested by Baba Yaga, a fearsome witch of Russian folklore who flies through the air. Mussorgsky’s music suggests a wild, midnight ride. The Great Gate of Kiev was inspired by Hartmann’s plan for a gateway for the city of Kiev in the massive old Russian style crowned with a cupola in the shape of a Slavic warrior’s helmet. The majestic music suggests both the imposing bulk of the edifice (never built, incidentally) and a brilliant procession passing through its arches.

©2011 Dr. Richard E. Rodda

10 THE CLEVELAND INSTITUTE OF MUSIC

THE CIM ORCHESTRA 11

UpCOMING CONCerTs aT CIM

sepTeMBer28 Wed. 7:30pm Kulas HallFACULTY RECITAL: FANTASIES AND BALLADES RICHARD STOUT, trombone CHRISTINA DAHL, piano, guest artistROBERT SCHUMANN Fantasy Pieces SIGISMOND STOJOWSKI Fantasie EUGINE BOZZA Ballade ROBERT BOUTRY Fantasia CALEB BURHANS Phantasie (world premiere) FRANK MARTIN Ballade

30 Fri. 7:30pm Kulas HallFACULTY RECITAL WILLIAM PREUCIL, violin MARK KOSOWER, cello ANITA PONTREMOLI, pianoBEETHOVEN Violin Sonata No. 4 in A minor, Op. 23FAURÉ Violin Sonata in A Major, Op. 13BRAHMS Trio No. 2 in C Major, Op. 87Presented in honor of Donley’s, Inc.

OCTOBer2 Sun. 4pm Mixon HallFACULTY RECITAL STEPHEN ROSE, violin JEANNE PREUCIL ROSE, violin, guest artist STANLEY KONOPKA, viola RICHARD WEISS, cello JOELA JONES, pianoDE FALLA Suite Pouplair EspagnolGRANADOS Intermezzo des “Goyescas”TURINA Piano Trio No. 2 in B minor, Op. 76ELGAR Piano Quintet in A minor, Op. 84*Seating passes required

4 Tue. 7:30pm Mixon HallPIANOFESTDirected by Paul Schenly, PIANOFEST combines CIM student & faculty performances with lively commentary, bringing the great piano literature to life. Reception followsGeneral admission $5 at the door / students free with current ID

5 Wed. 7:30pm Kulas HallCIM ORCHESTRA SASHA MÄKILÄ, guest conductor LEAH NELSON, violinSMETANA Overture to The Bartered BrideSHOSTAKOVICH Violin Concerto No. 1 in A minor, Op. 77SIBELIUS Symphony No. 5 in E-flat Major, Op. 82Presented in honor of Wyse AdvertisingBroadcast by Audio-Technica on WCLV 104.9 FM airdate 10/12 Wed. 8pm

9 Sun. Sammy’s Metropolitan925 Euclid Avenue, Huntington Bldg., Suite 2100MARTINIS AND MOONSHINEA CIM Women’s CommitteebenefitBluegrass and blues music will fill the Metropolitan Ballroom when Cleveland Orchestra members, MAXIMILIAN DIMOFF, TRINA STRUBLE, MARK DUMM and HENRY PEYREBRUNE share the fun of a different style of music making. Cocktails 5pm, Performance 6pm, Dinner 7pmTickets $85 / $125 patron; reservations requiredCall 216.791.5000, ext. 311

9 Sun. 3pm Kulas HallUNIVERSITY CIRCLE WIND ENSEMBLECWRU SYMPHONIC WINDSDR. GARY M. CIEPLUCH, conductorMusic of Krumenauer, Gillingham, Bass, Jenkins and Goto

10 Mon. 7:30pm Kulas HallCWRU@CIMCWRU/UNIVERSITY CIRCLE ORCHESTRA DR. KATHLEEN HORVATH, conductor ALYSSA HOFFERT, alto saxophoneGLAZUNOV Saxophone Concerto in E-flat Major, Op. 109 TCHAIKOVSKY Symphony No. 2 in C minor, Op. 17, ’Little Russian’For information, call the CWRU Music Department: 216.368.2400

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12 Wed. 7:30pm Mixon HallMIXON HALL MASTERS SERIES: RECITALHOMAGE TO J.S. BACH GIDON KREMER, violin GIEDRE DIRVANAUSKAITE, cello ANDRIUS ZLABYS, pianoVALENTYN SILVESTROV Dedication to J.S. Bach for Violin and Piano (quasi echo)J.S. BACH Chaconne for Solo Violin SOFIA GUBAIDULINA Sonata for Violin and Cello, “Rejoice”SOFIA GUBAIDULINA Chaconne for PianoSHOSTAKOVICH Piano Trio No. 2 in E minor, Op. 67Tickets $40 / $28. 216.791.5000, ext. 411 or cim.edu

16 Sun. 4pm Mixon HallFACULTY RECITAL KATHERINE DEJONGH, flute KYRA KESTER, flute STEPHEN SIMS, violin MELISSA KRAUT, cello BRYAN DUMM, cello SHUAI WANG, harpsichord ERIC CHARNOFSKY, piano/conductorJ.S. BACH Trio Sonata in G Major, BWV 1039JACQUES IBERT Deux Interludes ROBERT MAGGIO Two QuartetsROBERT BEASER Variations for Flute and Piano

19 Wed. 8pm Severance HallCIM@SEVERANCE CIM ORCHESTRA CARL TOPILOW, conductor EMILY NEBEL, violinMICHAEL DAUGHERTY Red Cape Tango (1988-93)STRAVINSKY Violin Concerto in D MajorRAVEL Daphnis et Chloé Suites Nos. 1 and 2Presented in honor of KeyBank FoundationLive broadcast by Audio-Technica on WCLV 104.9 FMFree, but tickets required. Call the Severance Hall Box Office: 216.231.1111

For a complete list of upcoming Cleveland Institute of Music events,

visit cim.edu.

CIM welcomes and applauds members of

University Hospital’sEar, Nose & Throat Institute

in celebration of their work with cochlear implants.

Tonight’s event commemorates their 600th cochlear implant, allowing recipients to hear, understand and enjoy the beauty of music.

Bravo!

.

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Anonymous (6)

Gay Cull Addicott and Edward Addicott

Hope S. and Stanley I. Adelstein

Mr. and Mrs. A. Chace Anderson

Mrs. D. Robert Barber

Mrs. Henry T. Barratt

Mrs. Norman E. Berman

Mr. and Mrs. Charles A. Bittenbender

Mr. and Mrs. Charles P. Bolton

Mr. and Mrs. John M. Bourne

Eric (MM ’82) and Karen Bower

Margo and Tom Brackett

Mr. D. McGregor Brandt, Jr.

Mr. and Mrs. John G. Breen

Mr. Jim Brickman

Mr. and Mrs. Peter J. Brodhead

Mr. David Brooks

Brent M. Buckley

Mr. and Mrs. Alfred J. Buescher, Jr.

Mrs. Harry Cagin

Ann and Hugh Calkins

Mr. and Mrs. David J. Carpenter

David P. (HDMA 2009) and Linda S. Cerone

Mr. Thomas W. Coffey and Ms. Melodie Grable

Robert (HDMA ’98) and Jean Conrad

Janet S. Curry and Richard E. Rodda

Mr. and Mrs. Pitt A. Curtiss

Ms. Barbara A. Davis

Mr. and Mrs. Jeffrey M. Davis

Mr. and Mrs. David B. Deioma

Elise and Laura Demitrack

Peggy A. Demitrack

Hank and Mary Doll

Terry and Shirley Donley

Dr. and Mrs. Nicholas Drakos

(Margo Tatgenhorst Drakos-’95)

Mrs. Rebecca F. Dunn

Dr. and Mrs. Lloyd H. Ellis

Mr. and Mrs. Lawrence Fridkis

Dr. Henry S. Fusner

Bob and Ann Gillespie

Deane A. and John D. Gilliam

Mr. Larry Gogolick

Sally Good

Mr. and Mrs. Christopher M. Gorman

Mr. and Mrs. Jeffrey P. Gotschall

Megan and Pete Granson

Mr. and Mrs. Jerome R. Gratry

Cynthia and David Greenberg

Mr. and Mrs. Robert D. Gries

Dr. Francis R. Gross and

Dr. Jane Sembric Gross

Mr. and Mrs. William J. Harper

Iris and Tom Harvie

Eleanor Maxine Hayes

John Alburn Hellman

Dr. Donald K. Herman

Mr. and Mrs. Richard J. Hipple

Mr. and Mrs. Michael Hoffmann

Mr. Richard A. Horvitz

Miss Lilliam L. Hudimac

Mr. James D. Ireland III

As we share the accomplishments of CIM students and faculty this evening, we would like to take this opportunity to acknowledge those individuals, foundations and corporations that help to maintain CIM’s status as a leading international conservatory. As CIM strives to reach ever higher standards of excellence, philanthropic support becomes ever more important. Contributions support CIM’s concert series, scholarships for talented students, educational outreach to children and adults in our community and the development of a world-class facility where musicians of all ages can thrive. Please consider joining our friends who help make this possible. We invite you to call CIM’s Development Director, Megan Bush Granson, at 216.795.3196.

sUppOrTers OF CIM

BLOCH SOCIETY

The Bloch Society was formed in 1980 and named in honor of CIM’s first director, Ernest Bloch. Membership in the Bloch Society is extended to those individuals who contribute $1,500 or more to CIM’s Annual Fund and endowment funds. We thank them for their exemplary support.

14 THE CLEVELAND INSTITUTE OF MUSIC

Jeffrey Irvine and Lynne Ramsey

Carl M. Jenks

Mrs. Brooks M. Jones

Mrs. Sidney D. Josephs

Mr. and Mrs. Daryl A. Kearns

Pam and Steve Keefe

Ok-Sim Nam Kim (AD ’87) and Dr. Chin-Tai Kim

Dr. Vilma L. Kohn

Mr. and Mrs. Arthur J. Lafave, Jr.

Fredrick S. Lamb

Mr. William C. Laufer

Mrs. Jack W. Lampl, Jr.

Mr. and Mrs. Edward A. Lozick

Mrs. Elliot L. Ludvigsen+

Mrs. Sheldon S. MacLeod+

Milton and Tamar Maltz

Mr. and Mrs. James M. Malz

Mr. and Mrs. Richard A. Manuel

Mrs. Leonard Marshall

Charles and Susan Marston

Mr. and Mrs. Alexander McAfee

Elizabeth F. McBride

Nancy W. McCann

Mr. and Mrs. Patrick F. McCartan

Douglas and Charlotte McGregor

June and Robert McInnes

Mr. and Mrs. Stanley A. Meisel

Mrs. Edith D. Miller

A. Grace Lee Mims

Barbara and Mal Mixon

Dr. Joan R. Mortimer

Mr. Bert and Dr. Marjorie Moyar

Ray and Mary Murphy

Dr. and Mrs. Dieter H. Myers

Robert D. and Janet E. Neary

Mr. and Mrs. Raymond P. Park

Mr. and Mrs. Richard W. Pogue

(Richard – HDMA 2006)

Lois S.+ and Stanley M. Proctor

Mrs. Alfred M. Rankin

Mr. and Mrs. Albert B. Ratner

Mr. and Mrs. Shawn M. Riley

Barbara S. Robinson (HDMA 2006)

Mr. Tom Rose

Drs. Melvin S. and Miriam B. Rosenthal

Dr. Ellen N. Rothchild

Susan A. Rothmann, Ph.D. and

Philip Paul, Ph.D.

Prof. Alan M. Ruben

Mr. and Mrs. James A. Saks

Mr. and Mrs. Sanford Saul

Mr. Paul Schenly (BM ’69, MM ’71)

Mr. and Mrs. Elliott L. Schlang

Mrs. Henry Schoenewald

Mr. and Mrs. John Sciarappa

Mrs. David A. Seidenfeld

Holly Selvaggi and Clark Harvey

John F. Shelley and Patricia Burgess

Jean M. Shenk+ and Wilbur Shenk

Ms. Kim Sherwin

Mr. and Mrs. David L. Simon

Joel Smirnoff and Joan Kwuon (PS ’95)

James A. and Sally Smith

Marv and Judy Solganik

Mrs. Mervyn D. Sopher

R. Thomas and Meg Harris Stanton

Karin Stone

Mrs. Marie S. Strawbridge

Mr. and Mrs. Christopher J. Swift

Mr. and Mrs. Joseph H. Thomas

Mr. and Mrs. Robert W. Vernon

Mr. Oscar Villarreal

Dr. Susan Reed Waller (DMA ’77)

Dr. Katharine Warne (DMA ’75)

Joy and Jerry Weinberger

Georgeanna K. Whistler (BM ’49, MM ’51)

Dr.+ and Mrs. Richard Allen Wiant

Sonali Bustamante Wilson, Esq.

Rose Wong

Mr. Charles T. Young

THE CIM ORCHESTRA 15

ENDOWMENT

CORPORATIONS AND FOUNDATIONS

We thank the following corporations, foundations and organizations for their continued commitment to CIM and for their generous financial support.

Anonymous

Mr. and Mrs. Leif Ancker

Dan and Bev Baker & Family

David and Karen Baker & Family

Ruth Baker and Martin Sternbach

Mr. Scott L. Baker

John, Peg and Julia Barber

Mrs. D. Robert Barber

Mrs. Pauline Cole Bushman

Ann and Hugh Calkins

Mrs. David J. Cavell

CIM Women’s Committee

Mr. Neil Anyon Collie

Mr. and Mrs. William V. Corcoran

Mr. and Mrs. Brian Curtiss

Ms. Susan Dicriscio

Ms. Cecilia Dolgan

Hank and Mary Doll

Deane A. and John D. Gilliam

Mr. Larry Gogolick

Gregg Henegar (’75)

Mr. and Mrs. Ronald Isaacs

Mr. Mark J. Jackobs (’90)

Mr. Sanford Kadish

Ms. Amy C. Kaplan and Mr. Steve Steinreich

KeyBank Foundation

Mr. and Mrs. Eric Klieber

Ms. Elin Koko

Mrs. Jack W. Lampl, Jr.

William D. (MM ’74, DMA ’77) and

Cynthia M. (BM ’73, MM ’73) Lawing

Mr. and Mrs. Steven E. LeBrun

Mr. and Mrs. John F. Lewis

Mr. Herbert Lubick

Mr. and Mrs. Herbert L. Marcus

Kimberly Meier-Sims and Stephen Sims

Antoinette S. Miller

Dr. James C. Mobberley (DMA ’82) and

Mrs. Laura S. Moore

Ms. Kathleen A. Parker

Ms. Carla Rautenberg

Roger E. Rehm (BM ’75, MM ’75)

Mrs. Evelyn Freeman Roberts (BM ’41)

Drs. Melvin S. and Miriam B. Rosenthal

Mr. and Mrs. Kim P. Sebaly

Siemens Corporation

Mr. and Mrs. Herbert A. Sihler, Jr.

Mr. and Mrs. John C. Sihler

Mr. and Mrs. Edwin Z. Singer

James A. and Sally Smith

Martha and Edward Towns

Dr. Susan Reed Waller (DMA ’77)

Ms. Katharine Warne

Dr. Katharine Warne (DMA ’75)

Mrs. Marvin L. Whitman

Mr. Earl Reddish Yowell

CORPORATE DONORS

Aetna Foundation, Inc.

Amica Companies

Applied Industrial Technologies

AT&T Foundation

AVI Foodsystems, Inc.

Baker Hostetler

Bank of America

Caterpillar Foundation

CBiz Inc.

The Cliffs Foundation

Dickenson and Associates

Donley’s, Inc.

Eaton Corporation

Eli Lilly and Company

The Giant Eagle Foundation

Grainger, Inc.

Great Lakes Publishing Company

High Temperature Technologies

Howard, Wershable & Company

HWH Architects Engineers Planners, Inc.

IBM Corporation

16 THE CLEVELAND INSTITUTE OF MUSIC

The Invacare Corporation

KeyCorp

The Lubrizol Foundation

Majestic Steel USA

Materion Brush Performance Alloys Inc.

McCarthy, Lebit, Crystal & Liffman Foundation

NACCO Industries, Inc.

Ohio CAT

Ohio Commerce Bank

Preformed Line Products

The Plain Dealer

PNC

Progressive Insurance Foundation

Rockwell Automation

Salibello & Broder

The Sherwin-Williams Company

Siemens Corporation

SIFCO Industries, Inc.

Squire, Sanders & Dempsey L.L.P.

Tucker Ellis & West LLP

UBS Financial Services Inc.

US Bank, NE Ohio

Vulcan Materials Company

Wells Fargo

Western Reserve Partners LLC

Westlake Reed Leskosky Architects

Wyse Advertising, Inc.

The Avedis Zildjian Company

FOUNDATION DONORS AND OTHER

ORGANIZATIONS

Access to the Arts

Actors’ Equity Association

AFTRA Cleveland Local

AFTRA Nashville Local

AFTRA New York Local

AFTRA Phoenix Local

Alliance of Motion Picture & Television

Producers

Vitya Vronsky Babin Foundation

The Cecilian Musical Club

CIM Alumni Association

CIM Women’s Committee

The George W. Codrington Charitable

Foundation

Cohen, Weiss and Simon LLP

The Collacott Foundation

Fairmount Temple

Fortnightly Musical Club

William O. & Gertrude Lewis Frohring

Foundation

The Ann and Gordon Getty Foundation

Gries Family Foundation

Group Benefit Associates

The Dorothea Wright Hamilton Fund

The Hankins Foundation

George M. and Pamela S. Humphrey Fund

Italian American Cultural Foundation

The Martha Holden Jennings Foundation

The Thomas Hoyt & Katharine Brooks Jones

Foundation

Kulas Foundation

Lampl Family Foundation

Phillip Lattin Family Charitable Private

Foundation

The Laub Foundation

Victor C. Laughlin, M.D. Memorial Foundation

Trust

The Maltz Museum of Jewish Heritage

Elizabeth Ring Mather and

William Gwinn Mather Fund

The Amanda Ford Morris CLT #1

The Murch Foundation

John P. Murphy Foundation

The Music and Drama Club of Cleveland

David and Inez Myers Foundation

Northern Ohio Opera League

Notre Dame College

Ohio Federation of Music Clubs

Park Synagogue Senior Adults &

the B’nai Jeshurun Hazak Group

The Payne Fund

The Presser Foundation

Harold C. Schott Foundation

The Segal Company

SoundExchange

Dorothy Richard Starling Foundation

The Temple-Tifereth Israel

Three Village Condominium Association

The Tower Club of Springfield

THE CIM ORCHESTRA 17

Helen Curtis Webster Award by the Fortnightly

Music Club

The S. K. Wellman Foundation

The Wuliger Foundation

The Farny R. Wurlitzer Foundation

LEGACY SOCIETY

The Legacy Society has been established to celebrate donors who have remembered CIM in their financial and estate plans. Their planned gift of a bequest, trust, insurance or life income arrangement will create a legacy to benefit future generations of talented students. We are deeply grateful for their vision and commitment to CIM’s song of excellence.

Anonymous (5)

Joseph Adams +

Hope S. and Stanley I. Adelstein

Mr. John E. Allen

John H. Baird +

Dr. Larry A. Baker (MM ’73, DMA ’84)

Mrs. Samuel B. Baker

Mr. and Mrs. James J. Balaguer

Marguerite A. Barany +

D. Robert Barber+ and Kathleen L. Barber

Alfred B. Barksdale +

Margaret B. and Henry T. + Barratt

Ruth Beckelman +

John + and Ruth + Bemis

Mignon J. Bennett + (BM ’35)

Eleanor H. Biggs +

Dorothy F. H. Bodurtha +

Eugene Bondy +

Margaret K. + and John J. + Braham

Sally and Ted Brown

Helen C. Brown +

Helen E. Brown +

John + and Inez + Budd

Ann and Alfred J. Buescher

Elna Burns +

Mrs. Pauline C. Bushman

Frances J. Buxton + (BM ’37)

Marjorie L. Byers +

Ann C. and Hugh Calkins

David P. (HDMA 2009) and Linda S. Cerone

Elizabeth N. Chamberlain

Evelyn Chernikoff

Frederick M. Clarke

Regina Clarke +

Sylvia Coben +

Gay C. and Robert R. + Cull

Jan Curry and Richard E. Rodda

Mr. and Mrs. Pitt A. Curtiss

Martha + and George Dalton

Mrs. Emil Danenberg +

Barbara A. Davis

Elizabeth M. Day

Marjorie I. Day

Edward H. deConingh +

Ann Dick +

Dr. and Mrs. M. S. Dixon, Jr.

Hank and Mary Doll

William F. Dollard

Robert Doolittle +

Mrs. John Drollinger

Tom and Cindy Einhouse

Roger B. Ellsworth

Edith V. Enkler +

Mr. and Mrs. William Esplandiu

Dr. Wilma M. Evans +

Patricia J. Factor

Betty Farnsworth +

Alice S. Feiman + (BM ’32, MM ’36)

Herman C. Froelich +

Priscilla Fullerton (BM ’64)

Dr. Henry S. Fusner

Mr. Joseph A. Gabalski (MM ’97)

Robert D. Gilbert +

Rocco Gioia +

Marianne Gogolick +

Lucille Goldsmith +

Mr. Gerald Goodman

Barbara Griesinger +

Dr. Marshall G. Griffith (BM ’75, MM ’77)

Ronald F. Grinage + (MM ’82)

Henry S. Grossman +

Graham L. Grund

18 THE CLEVELAND INSTITUTE OF MUSIC

Mr. and Mrs. Stanley P. Gulick

Norma Gurland +

Marvin G. Halber +

Marcia G. Handke +

Homer C. Hartzell +

Adel Heinrich

Donald K. Herman, M.D.

Elizabeth D. Hicks +

June and Paul B. + High

Ruth Hirshman von Baeyer +

Dorothy L. Hofrichter +

Gertrude S. Hornung +

Patience Cameron Hoskins

Phillip T. Hummel +

Adria D. Humphreys +

Frank H. Hurley +

John C. Jackson +

Hazel A. Johnson + (BS ’31)

Nancy Kurfess Johnson, M.D.

Sandrea Johnson +

The Family of Martha and Frank Joseph

Mort + and Emilie Kadish

David D. and Gloria D. Kahan

Etole and Julian Kahan

Dr. Timothy Michael Kalil (BM ’74, MM ’76)

Helen Kearns

Janet G. Kimball +

Carter Kissell +

Jay Robert Klein +

R. Robert Koch +

Dr. Vilma L. Kohn

James A. Kozel

Donald Krahn + (’68)

Ed and Jan Kulback

Mina N. Kulber +

Nicholas H. Kusevich Family +

Helen A. + and Frederick S. Lamb

Carolyn C. Lampl

Louis G. Lane (HDMA ’95)

Marie Lapick + (TC ’26)

Phillip Lattin +

Mrs. Fay A. LeFevre +

Carmel P. + and Paul R. + Leon

Mrs. Bennett Levine and children –

Barbara, Janice, Frederic

Sharon Levine

Yetta Levine +

Norma Levy +

Drs. Carole and Daniel Litt

Arthur Loesser +

Rae Lowe +

Laurie S. Lubick + (BM ’90, MM ’91)

Mrs. Elliot L. Ludvigsen +

H. Stephen and Carol O. Madsen Charitable Fund

Mr. and Mrs. Richard A. Manuel

Marianne M. Mastics (BM ’40, AD ’42)

Mr. and Mrs. Alexander McAfee

Joseph B. McClelland +

Helen M. and David R. McDermott

Bruce G. McInnes

William D. McLaughlin +

Christine Gitlin Miles

Nadine Miles +

Edith and Ted + Miller

Robert and Sally Miller

Barbara and Mal Mixon

Mary B. Moon +

Judith Morrison +

Joan Rothwell Mortimer, Ph.D.

Deborah L. Neale

Alice M. Nilges

Alice Q. Osborne +

Leonard + and Virginia + Parks

C. K. “ Pat” Patrick + and Nancy Patrick

Mrs. John G. Pegg +

James F. Petras

Charles J. Petrovic

Peter Pfouts +

Eunice Podis-Weiskopf +

Mr. and Mrs. Richard W. Pogue

Ada Polster +

Jane Kottler Post +

Paul A. Primeau

Lois S. + and Stanley M. Proctor

Mrs. Alfred M. Rankin

Mary Williams Rautenberg + (BM ’33, AD ’33)

Ruth E. Rea +

David A. Reed +

Carole A. Rieck

Louise Ritchie +

THE CIM ORCHESTRA 19

Barbara S. Robinson

Phyllis Rosenthal +

Dr. Eugene and Jacqueline Ross

Bruce + and Lola Rothmann

Martin Rubin

Ruth G. + and Sam H. + Sampliner

Martha Bell Sanders +

Susanna M. Sands +

Mr. and Mrs. Joseph F. Satava III

Sanford Saul +

Lynn A. Schreiber +

Mr. and Mrs. Elliott L. Schlang

Wynell Schweitzer +

Holly Selvaggi

Dr. and Mrs. Daniel J. Shapiro

Susie W. Sharp

Kim Sherwin

Mr. and Mrs. David L. Simon

Edith H. Smith +

Frank E. Taplin, Jr. +

Pauline Thesmacher + (BM ’34)

Mr. and Mrs. Joseph H. Thomas

Elizabeth M. Treuhaft +

Frank T. Troha +

Dorothy Ann Turick

Elliot Veinerman +

Dorothy C. Vogelin +

Ms. Clare R. Walker

Dr. Susan Reed Waller (DMA ’77)

Mr. and Mrs. Russell J. Warren

Joy and Jerry Weinberger

Alvaretta West + (MM ’50)

Phyllis Edith West +

Georgeanna K. Whistler (BM ’49, MM ’51)

Dr. and Mrs. Alan H. Wilde

Mr. Meredith Williams

Annette E. Willis +

Elaine V. Wunderlich + (TC ’32, BM ’33)

Jane Zimring

Ruth Zuback +

Frances S. Zverina +

Sylvia Zverina +

+ deceased

20 THE CLEVELAND INSTITUTE OF MUSIC

mixon hall

MASTERS SERIESTickets are now available for 2011-2012

Coming Soon:Daniil Trifonov, piano (November 30)Emanuel Ax, piano (February 14)

Tickets $28 and $40 • Call 216.791.5000, ext. 411 or buy online at cim.edu

Next ConcertOctober 12Gidon Kremer, violinGiedrė Dirvanauskaite, celloAndrius Zlabys, piano