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

Severance Hall

The CIM Orchestra Carl 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

THE CIM ORCHESTRA 1 2 THE CLEVELAND INSTITUTE OF MUSIC WELCOME!

s 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 Atheir 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

ABOUT CIM The Cleveland Institute of Music, founded in 1920, is one of only eight independent conservatories of music in the . 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.

THE CIM ORCHESTRA

VIOLIN I CELLO CONTRABASSOON Mason Yu, principal Fedor Amosov, principal Joseph Cannella Sung-Sil Ro Sung-Hyun Ro HORN Janet Carpenter Thomas Carpenter Zane Biddle Sho Neriki Hyunjin Cho Samuel Hartman Koko Watanabe Mikala Schmitz Hee Chan Jung # Hector Chemelle Samuel Ericsson Amanda Lee Boson Mo James Jaffe Liang Liu Michelle Black Alexander Cox Thomas Park Emily Nebel Eun Hie Lim Emily Rapson * Lydia Barnette Anna Rosenstone Benjamin Reidhead & Laura Ha Pall Kalmansson Alexander Rise Nicole Sauder Matt Zucker Emily Schaefer Ben Odhner Schuyler Perry Olivia Sedlack Julie Beistline DOUBLE BASS Eva Dove TRUMPET Sean Casey, principal Megan Shung Kyle Dobbeck # Clinton OBrien Patrick Yim Nina Dvora * Antonio Escobedo Graham Jones Dominic Favia Richard Zydek Leah Hodge & VIOLIN II FLUTE Hayato Tanaka Oriane Carcy, principal Jeiran Hasan Michael Terassi Lisa Kim Mark Huskey * Matthew Leslie TROMBONE Jacob Mende-Fridkis & Andrea Daigle Whitney Clair *# James Romeo # Lauren Roth Christopher Graham & Erin Reidhead PICCOLO Quinton Ho Thomas Rodgers Mackenzie Danner James Trichilo Erica Tursi OBOE TUBA Jennifer Yamamoto Timothy Feil * John Caughman # Tobiah Murphy Gretchen Myers & Doug Jones * & Alice Hong Kelly Mozeik # /CELESTE Fahad Awan Scott Wollett Yeon Sun Huh Samantha Biniker ENGLISH HORN HARP VIOLA Christopher Connors Cynthia Black, principal Jennifer Ellis *& Zsche Chuang Rimbo Wong CLARINET Abby Klein # Benjamin Chen * Daniel Urbanowicz TIMPANI Patricia Crispino & Tegen Davidge Dylan Moffitt Annalisa Boerner Gunnar Hirthe # Stephanie Price Tianming Peng PERCUSSION Jeffrey Deroche Joseph Locicero BASS CLARINET Lara Hueter Rebecca Glass Drew Sullivan Addie Deppa Michael Jarrett Audrey Alessi ALTO SAXOPHONE Evan Mitchell Farrah OShea Alyssa Hoffert David Newton Mark Stein Esther Nahm BASSOON Michael Stubbart Sheila Bernhoft Marian Graebert # John Sullivan Derek Goad David Husby Kevin Pfister * * Principal on Torke Arleigh Savage & # Principal on Britten & Principal on Mussorgsky

4 THE CLEVELAND INSTITUTE OF MUSIC ABOUT THE ARTISTS

CARL TOPILOW Carl Topilow is director of the CIM orchestral program and primary instructor for the master’s degree program in orchestral . 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 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 LIN Born 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 , 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.

THE CIM ORCHESTRA 5 PROGRAM NOTES By Richard E. Rodda

Bright Blue Music (born in 1961) Composed in 1985. Premiered on November 23, 1985 in , conducted by . 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 , which he composed for a student ensemble at Eastman in 1984, his last year at the school. He spent a year at the as a student of 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 , 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 . 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 (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 ; 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

6 THE CLEVELAND INSTITUTE OF MUSIC 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, 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 . 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 , which gave its premiere at 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. 15 Benjamin Britten (1913-1976) Composed in 1938-1939. Premiered on March 28, 1940 in New York City, conducted by 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.)

THE CIM ORCHESTRA 7 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 , who was then preparing for the December premiere in Cleveland of the Violin Concerto that 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 Exhibition Modest 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.

8 THE CLEVELAND INSTITUTE OF MUSIC 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

THE CIM ORCHESTRA 9 10 THE CLEVELAND INSTITUTE OF MUSIC UPCOMING CONCERTS AT CIM

SEPTEMBER 5 Wed. 7:30pm Kulas Hall CIM ORCHESTRA 28 Wed. 7:30pm Kulas Hall SASHA MÄKILÄ, guest conductor FACULTY RECITAL: FANTASIES AND LEAH NELSON, violin BALLADES SMETANA Overture to The Bartered Bride RICHARD STOUT, trombone SHOSTAKOVICH Violin Concerto No. 1 CHRISTINA DAHL, piano, guest artist in A minor, Op. 77 ROBERT SCHUMANN Fantasy Pieces SIBELIUS Symphony No. 5 in E-flat Major, SIGISMOND STOJOWSKI Fantasie Op. 82 EUGINE BOZZA Ballade Presented in honor of Wyse Advertising ROBERT BOUTRY Fantasia Broadcast by Audio-Technica on WCLV 104.9 CALEB BURHANS Phantasie FM airdate 10/12 Wed. 8pm (world premiere) FRANK MARTIN Ballade 9 Sun. Sammy’s Metropolitan 925 Euclid Avenue, Huntington Bldg., 30 Fri. 7:30pm Kulas Hall Suite 2100 FACULTY RECITAL MARTINIS AND MOONSHINE WILLIAM PREUCIL, violin A CIM Women’s Committeebenefit MARK KOSOWER, cello Bluegrass and blues music will fill the ANITA PONTREMOLI, piano Metropolitan Ballroom when Cleveland BEETHOVEN Violin Sonata No. 4 in A minor, Orchestra members, MAXIMILIAN DIMOFF, Op. 23 TRINA STRUBLE, MARK DUMM and HENRY FAURÉ Violin Sonata in A Major, Op. 13 PEYREBRUNE share the fun of a different style BRAHMS Trio No. 2 in C Major, Op. 87 of music making. Presented in honor of Donley’s, Inc. Cocktails 5pm, Performance 6pm, Dinner 7pm OCTOBER Tickets $85 / $125 patron; reservations required Call 216.791.5000, ext. 311 2 Sun. 4pm Mixon Hall FACULTY RECITAL 9 Sun. 3pm Kulas Hall STEPHEN ROSE, violin UNIVERSITY CIRCLE WIND ENSEMBLE JEANNE PREUCIL ROSE, violin, CWRU SYMPHONIC WINDS guest artist DR. GARY M. CIEPLUCH, conductor STANLEY KONOPKA, viola Music of Krumenauer, Gillingham, Bass, RICHARD WEISS, cello Jenkins and Goto JOELA JONES, piano 10 Mon. 7:30pm Kulas Hall DE FALLA Suite Pouplair Espagnol CWRU@CIM GRANADOS Intermezzo des “Goyescas” CWRU/UNIVERSITY CIRCLE ORCHESTRA TURINA Piano Trio No. 2 in B minor, Op. 76 DR. KATHLEEN HORVATH, conductor ELGAR Piano Quintet in A minor, Op. 84 ALYSSA HOFFERT, alto saxophone *Seating passes required GLAZUNOV Saxophone Concerto 4 Tue. 7:30pm Mixon Hall in E-flat Major, Op. 109 PIANOFEST TCHAIKOVSKY Symphony No. 2 in C minor, Directed by Paul Schenly, PIANOFEST Op. 17, ’Little Russian’ combines CIM student & faculty performances For information, call the CWRU Music with lively commentary, bringing the great piano Department: 216.368.2400 literature to life. Reception follows General admission $5 at the door / students free with current ID

THE CIM ORCHESTRA 11 12 Wed. 7:30pm Mixon Hall 16 Sun. 4pm Mixon Hall MIXON HALL MASTERS SERIES: RECITAL FACULTY RECITAL HOMAGE TO J.S. BACH KATHERINE DEJONGH, flute GIDON .KREMER, violin KYRA KESTER, flute GIEDRE DIRVANAUSKAITE, cello STEPHEN SIMS, violin ANDRIUS ZLABYS, piano MELISSA KRAUT, cello VALENTYN SILVESTROV Dedication to J.S. BRYAN DUMM, cello Bach for Violin and Piano (quasi ) SHUAI WANG, harpsichord J.S. BACH Chaconne for Solo Violin ERIC CHARNOFSKY, piano/conductor SOFIA GUBAIDULINA Sonata for Violin and J.S. BACH Trio Sonata in G Major, BWV 1039 Cello, “Rejoice” JACQUES IBERT Deux Interludes SOFIA GUBAIDULINA Chaconne for Piano ROBERT MAGGIO Two Quartets SHOSTAKOVICH Piano Trio No. 2 in E minor, Variations for Flute and Op. 67 Piano Tickets $40 / $28. 19 Wed. 8pm Severance Hall 216.791.5000, ext. 411 or cim.edu CIM@SEVERANCE CIM ORCHESTRA CARL TOPILOW, conductor EMILY NEBEL, violin Red Cape Tango (1988-93) STRAVINSKY Violin Concerto in D Major RAVEL Daphnis et Chloé Suites Nos. 1 and 2 Presented in honor of KeyBank Foundation For a complete list of upcoming Live broadcast by Audio-Technica on WCLV Cleveland Institute of Music events, 104.9 FM visit cim.edu. Free, but tickets required. Call the Severance Hall Box Office: 216.231.1111

CIM welcomes and applauds members of University Hospital’s Ear, 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!

12 THE CLEVELAND INSTITUTE OF MUSIC SUPPORTERS OF CIM

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.

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.

Anonymous (6) Peggy A. Demitrack Gay Cull Addicott and Edward Addicott Hank and Mary Doll Hope S. and Stanley I. Adelstein Terry and Shirley Donley Mr. and Mrs. A. Chace Anderson Dr. and Mrs. Nicholas Drakos Mrs. D. Robert Barber (Margo Tatgenhorst Drakos-’95) Mrs. Henry T. Barratt Mrs. Rebecca F. Dunn Mrs. Norman E. Berman Dr. and Mrs. Lloyd H. Ellis Mr. and Mrs. Charles A. Bittenbender Mr. and Mrs. Lawrence Fridkis Mr. and Mrs. Charles P. Bolton Dr. Henry S. Fusner Mr. and Mrs. John M. Bourne Bob and Ann Gillespie Eric (MM ’82) and Karen Bower Deane A. and John D. Gilliam Margo and Tom Brackett Mr. Larry Gogolick Mr. D. McGregor Brandt, Jr. Sally Good Mr. and Mrs. John G. Breen Mr. and Mrs. Christopher M. Gorman Mr. Jim Brickman Mr. and Mrs. Jeffrey P. Gotschall Mr. and Mrs. Peter J. Brodhead Megan and Pete Granson Mr. David Brooks Mr. and Mrs. Jerome R. Gratry Brent M. Buckley Cynthia and David Greenberg Mr. and Mrs. Alfred J. Buescher, Jr. Mr. and Mrs. Robert D. Gries Mrs. Harry Cagin Dr. Francis R. Gross and Ann and Hugh Calkins Dr. Jane Sembric Gross Mr. and Mrs. David J. Carpenter Mr. and Mrs. William J. Harper David P. (HDMA 2009) and Linda S. Cerone Iris and Tom Harvie Mr. Thomas W. Coffey and Ms. Melodie Grable Eleanor Maxine Hayes Robert (HDMA ’98) and Jean Conrad John Alburn Hellman Janet S. Curry and Richard E. Rodda Dr. Donald K. Herman Mr. and Mrs. Pitt A. Curtiss Mr. and Mrs. Richard J. Hipple Ms. Barbara A. Davis Mr. and Mrs. Michael Hoffmann Mr. and Mrs. Jeffrey M. Davis Mr. Richard A. Horvitz Mr. and Mrs. David B. Deioma Miss Lilliam L. Hudimac Elise and Laura Demitrack Mr. James D. Ireland III

THE CIM ORCHESTRA 13 Jeffrey Irvine and Lynne Ramsey Mr. and Mrs. Albert B. Ratner Carl M. Jenks Mr. and Mrs. Shawn M. Riley Mrs. Brooks M. Jones Barbara S. Robinson (HDMA 2006) Mrs. Sidney D. Josephs Mr. Tom Rose Mr. and Mrs. Daryl A. Kearns Drs. Melvin S. and Miriam B. Rosenthal Pam and Steve Keefe Dr. Ellen N. Rothchild Ok-Sim Nam Kim (AD ’87) and Dr. Chin-Tai Kim Susan A. Rothmann, Ph.D. and Dr. Vilma L. Kohn Philip Paul, Ph.D. Mr. and Mrs. Arthur J. Lafave, Jr. Prof. Alan M. Ruben Fredrick S. Lamb Mr. and Mrs. James A. Saks Mr. William C. Laufer Mr. and Mrs. Sanford Saul Mrs. Jack W. Lampl, Jr. Mr. Paul Schenly (BM ’69, MM ’71) Mr. and Mrs. Edward A. Lozick Mr. and Mrs. Elliott L. Schlang Mrs. Elliot L. Ludvigsen+ Mrs. Henry Schoenewald Mrs. Sheldon S. MacLeod+ Mr. and Mrs. John Sciarappa Milton and Tamar Maltz Mrs. David A. Seidenfeld Mr. and Mrs. James M. Malz Holly Selvaggi and Clark Harvey Mr. and Mrs. Richard A. Manuel John F. Shelley and Patricia Burgess Mrs. Leonard Marshall Jean M. Shenk+ and Wilbur Shenk Charles and Susan Marston Ms. Kim Sherwin Mr. and Mrs. Alexander McAfee Mr. and Mrs. David L. Simon Elizabeth F. McBride Joel Smirnoff and Joan Kwuon (PS ’95) Nancy W. McCann James A. and Sally Smith Mr. and Mrs. Patrick F. McCartan Marv and Judy Solganik Douglas and Charlotte McGregor Mrs. Mervyn D. Sopher June and Robert McInnes R. Thomas and Meg Harris Stanton Mr. and Mrs. Stanley A. Meisel Karin Stone Mrs. Edith D. Miller Mrs. Marie S. Strawbridge A. Grace Lee Mims Mr. and Mrs. Christopher J. Swift Barbara and Mal Mixon Mr. and Mrs. Joseph H. Thomas Dr. Joan R. Mortimer Mr. and Mrs. Robert W. Vernon Mr. Bert and Dr. Marjorie Moyar Mr. Oscar Villarreal Ray and Mary Murphy Dr. Susan Reed Waller (DMA ’77) Dr. and Mrs. Dieter H. Myers Dr. Katharine Warne (DMA ’75) Robert D. and Janet E. Neary Joy and Jerry Weinberger Mr. and Mrs. Raymond P. Park Georgeanna K. Whistler (BM ’49, MM ’51) Mr. and Mrs. Richard W. Pogue Dr.+ and Mrs. Richard Allen Wiant (Richard – HDMA 2006) Sonali Bustamante Wilson, Esq. Lois S.+ and Stanley M. Proctor Rose Wong Mrs. Alfred M. Rankin Mr. Charles T. Young

14 THE CLEVELAND INSTITUTE OF MUSIC ENDOWMENT

Anonymous Mrs. Jack W. Lampl, Jr. Mr. and Mrs. Leif Ancker William D. (MM ’74, DMA ’77) and Dan and Bev Baker & Family Cynthia M. (BM ’73, MM ’73) Lawing David and Karen Baker & Family Mr. and Mrs. Steven E. LeBrun Ruth Baker and Martin Sternbach Mr. and Mrs. John F. Lewis Mr. Scott L. Baker Mr. Herbert Lubick John, Peg and Julia Barber Mr. and Mrs. Herbert L. Marcus Mrs. D. Robert Barber Kimberly Meier-Sims and Stephen Sims Mrs. Pauline Cole Bushman Antoinette S. Miller Ann and Hugh Calkins Dr. James C. Mobberley (DMA ’82) and Mrs. David J. Cavell Mrs. Laura S. Moore CIM Women’s Committee Ms. Kathleen A. Parker Mr. Neil Anyon Collie Ms. Carla Rautenberg Mr. and Mrs. William V. Corcoran Roger E. Rehm (BM ’75, MM ’75) Mr. and Mrs. Brian Curtiss Mrs. Evelyn Freeman Roberts (BM ’41) Ms. Susan Dicriscio Drs. Melvin S. and Miriam B. Rosenthal Ms. Cecilia Dolgan Mr. and Mrs. Kim P. Sebaly Hank and Mary Doll Siemens Corporation Deane A. and John D. Gilliam Mr. and Mrs. Herbert A. Sihler, Jr. Mr. Larry Gogolick Mr. and Mrs. John C. Sihler Gregg Henegar (’75) Mr. and Mrs. Edwin Z. Singer Mr. and Mrs. Ronald Isaacs James A. and Sally Smith Mr. Mark J. Jackobs (’90) Martha and Edward Towns Mr. Sanford Kadish Dr. Susan Reed Waller (DMA ’77) Ms. Amy C. Kaplan and Mr. Steve Steinreich Ms. Katharine Warne KeyBank Foundation Dr. Katharine Warne (DMA ’75) Mr. and Mrs. Eric Klieber Mrs. Marvin L. Whitman Ms. Elin Koko Mr. Earl Reddish Yowell

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

CORPORATE DONORS Dickenson and Associates Aetna Foundation, Inc. Donley’s, Inc. Amica Companies Eaton Corporation Applied Industrial Technologies Eli Lilly and Company AT&T Foundation The Giant Eagle Foundation AVI Foodsystems, Inc. Grainger, Inc. Baker Hostetler Great Lakes Publishing Company Bank of America High Temperature Technologies Caterpillar Foundation Howard, Wershable & Company CBiz Inc. HWH Architects Engineers Planners, Inc. The Cliffs Foundation IBM Corporation

THE CIM ORCHESTRA 15 The Invacare Corporation Cohen, Weiss and Simon LLP KeyCorp The Collacott Foundation The Lubrizol Foundation Fairmount Temple Majestic Steel USA Fortnightly Musical Club Materion Brush Performance Alloys Inc. William O. & Gertrude Lewis Frohring McCarthy, Lebit, Crystal & Liffman Foundation Foundation NACCO Industries, Inc. The Ann and Gordon Getty Foundation Ohio CAT Gries Family Foundation Ohio Commerce Bank Group Benefit Associates Preformed Line Products The Dorothea Wright Hamilton Fund The Plain Dealer The Hankins Foundation PNC George M. and Pamela S. Humphrey Fund Progressive Insurance Foundation Italian American Cultural Foundation Rockwell Automation The Martha Holden Jennings Foundation Salibello & Broder The Thomas Hoyt & Katharine Brooks Jones The Sherwin-Williams Company Foundation Siemens Corporation Kulas Foundation SIFCO Industries, Inc. Lampl Family Foundation Squire, Sanders & Dempsey L.L.P. Phillip Lattin Family Charitable Private Tucker Ellis & West LLP Foundation UBS Financial Services Inc. The Laub Foundation US Bank, NE Ohio Victor C. Laughlin, M.D. Memorial Foundation Vulcan Materials Company Trust Wells Fargo The Maltz Museum of Jewish Heritage Western Reserve Partners LLC Elizabeth Ring Mather and Westlake Reed Leskosky Architects William Gwinn Mather Fund Wyse Advertising, Inc. The Amanda Ford Morris CLT #1 The Avedis Zildjian Company The Murch Foundation John P. Murphy Foundation FOUNDATION DONORS AND OTHER The Music and Drama Club of Cleveland ORGANIZATIONS David and Inez Myers Foundation Access to the Arts Northern Ohio Opera League Actors’ Equity Association Notre Dame College AFTRA Cleveland Local Ohio Federation of Music Clubs AFTRA Nashville Local Park Synagogue Senior Adults & AFTRA New York Local the B’nai Jeshurun Hazak Group AFTRA Phoenix Local The Payne Fund Alliance of Motion Picture & Television The Presser Foundation Producers Harold C. Schott Foundation Vitya Vronsky Babin Foundation The Segal Company The Cecilian Musical Club SoundExchange CIM Alumni Association Dorothy Richard Starling Foundation CIM Women’s Committee The Temple-Tifereth Israel The George W. Codrington Charitable Three Village Condominium Association Foundation The Tower Club of Springfield

16 THE CLEVELAND INSTITUTE OF MUSIC Helen Curtis Webster Award by the Fortnightly The Wuliger Foundation Music Club The Farny R. Wurlitzer Foundation The S. K. Wellman 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) Jan Curry and Richard E. Rodda Joseph Adams + Mr. and Mrs. Pitt A. Curtiss Hope S. and Stanley I. Adelstein Martha + and George Dalton Mr. John E. Allen Mrs. Emil Danenberg + John H. Baird + Barbara A. Davis Dr. Larry A. Baker (MM ’73, DMA ’84) Elizabeth M. Day Mrs. Samuel B. Baker Marjorie I. Day Mr. and Mrs. James J. Balaguer Edward H. deConingh + Marguerite A. Barany + Ann Dick + D. Robert Barber+ and Kathleen L. Barber Dr. and Mrs. M. S. Dixon, Jr. Alfred B. Barksdale + Hank and Mary Doll Margaret B. and Henry T. + Barratt William F. Dollard Ruth Beckelman + Robert Doolittle + John + and Ruth + Bemis Mrs. John Drollinger Mignon J. Bennett + (BM ’35) Tom and Cindy Einhouse Eleanor H. Biggs + Roger B. Ellsworth Dorothy F. H. Bodurtha + Edith V. Enkler + Eugene Bondy + Mr. and Mrs. William Esplandiu Margaret K. + and John J. + Braham Dr. Wilma M. Evans + Sally and Ted Brown Patricia J. Factor Helen C. Brown + Betty Farnsworth + Helen E. Brown + Alice S. Feiman + (BM ’32, MM ’36) John + and Inez + Budd Herman C. Froelich + Ann and Alfred J. Buescher Priscilla Fullerton (BM ’64) Elna Burns + Dr. Henry S. Fusner Mrs. Pauline C. Bushman Mr. Joseph A. Gabalski (MM ’97) Frances J. Buxton + (BM ’37) Robert D. Gilbert + Marjorie L. Byers + Rocco Gioia + Ann C. and Hugh Calkins Marianne Gogolick + David P. (HDMA 2009) and Linda S. Cerone Lucille Goldsmith + Elizabeth N. Chamberlain Mr. Gerald Goodman Evelyn Chernikoff Barbara Griesinger + Frederick M. Clarke Dr. Marshall G. Griffith (BM ’75, MM ’77) Regina Clarke + Ronald F. Grinage + (MM ’82) Sylvia Coben + Henry S. Grossman + Gay C. and Robert R. + Cull Graham L. Grund

THE CIM ORCHESTRA 17 Mr. and Mrs. Stanley P. Gulick Sharon Levine Norma Gurland + Yetta Levine + Marvin G. Halber + Norma Levy + Marcia G. Handke + Drs. Carole and Daniel Litt Homer C. Hartzell + Arthur Loesser + Adel Heinrich Rae Lowe + Donald K. Herman, M.D. Laurie S. Lubick + (BM ’90, MM ’91) Elizabeth D. Hicks + Mrs. Elliot L. Ludvigsen + June and Paul B. + High H. Stephen and Carol O. Madsen Charitable Fund Ruth Hirshman von Baeyer + Mr. and Mrs. Richard A. Manuel Dorothy L. Hofrichter + Marianne M. Mastics (BM ’40, AD ’42) Gertrude S. Hornung + Mr. and Mrs. Alexander McAfee Patience Cameron Hoskins Joseph B. McClelland + Phillip T. Hummel + Helen M. and David R. McDermott Adria D. Humphreys + Bruce G. McInnes Frank H. Hurley + William D. McLaughlin + John C. Jackson + Christine Gitlin Miles Hazel A. Johnson + (BS ’31) Nadine Miles + Nancy Kurfess Johnson, M.D. Edith and Ted + Miller Sandrea Johnson + Robert and Sally Miller The Family of Martha and Frank Joseph Barbara and Mal Mixon Mort + and Emilie Kadish Mary B. Moon + David D. and Gloria D. Kahan Judith Morrison + Etole and Julian Kahan Joan Rothwell Mortimer, Ph.D. Dr. Timothy Michael Kalil (BM ’74, MM ’76) Deborah L. Neale Helen Kearns Alice M. Nilges Janet G. Kimball + Alice Q. Osborne + Carter Kissell + Leonard + and Virginia + Parks Jay Robert Klein + C. K. “ Pat” Patrick + and Nancy Patrick R. Robert Koch + Mrs. John G. Pegg + Dr. Vilma L. Kohn James F. Petras James A. Kozel Charles J. Petrovic Donald Krahn + (’68) Peter Pfouts + Ed and Jan Kulback Eunice Podis‑Weiskopf + Mina N. Kulber + Mr. and Mrs. Richard W. Pogue Nicholas H. Kusevich Family + Ada Polster + Helen A. + and Frederick S. Lamb Jane Kottler Post + Carolyn C. Lampl Paul A. Primeau Louis G. Lane (HDMA ’95) Lois S. + and Stanley M. Proctor Marie Lapick + (TC ’26) Mrs. Alfred M. Rankin Phillip Lattin + Mary Williams Rautenberg + (BM ’33, AD ’33) Mrs. Fay A. LeFevre + Ruth E. Rea + Carmel P. + and Paul R. + Leon David A. Reed + Mrs. Bennett Levine and children – Carole A. Rieck Barbara, Janice, Frederic Louise Ritchie +

18 THE CLEVELAND INSTITUTE OF MUSIC Barbara S. Robinson Elizabeth M. Treuhaft + Phyllis Rosenthal + Frank T. Troha + Dr. Eugene and Jacqueline Ross Dorothy Ann Turick Bruce + and Lola Rothmann Elliot Veinerman + Martin Rubin Dorothy C. Vogelin + Ruth G. + and Sam H. + Sampliner Ms. Clare R. Walker Martha Bell Sanders + Dr. Susan Reed Waller (DMA ’77) Susanna M. Sands + Mr. and Mrs. Russell J. Warren Mr. and Mrs. Joseph F. Satava III Joy and Jerry Weinberger Sanford Saul + Alvaretta West + (MM ’50) Lynn A. Schreiber + Phyllis Edith West + Mr. and Mrs. Elliott L. Schlang Georgeanna K. Whistler (BM ’49, MM ’51) Wynell Schweitzer + Dr. and Mrs. Alan H. Wilde Holly Selvaggi Mr. Meredith Williams Dr. and Mrs. Daniel J. Shapiro Annette E. Willis + Susie W. Sharp Elaine V. Wunderlich + (TC ’32, BM ’33) Kim Sherwin Jane Zimring Mr. and Mrs. David L. Simon Ruth Zuback + Edith H. Smith + Frances S. Zverina + Frank E. Taplin, Jr. + Sylvia Zverina + Pauline Thesmacher + (BM ’34) Mr. and Mrs. Joseph H. Thomas + deceased

THE CIM ORCHESTRA 19 mixon hall MASTERS SERIES Tickets are now available for 2011-2012

Next Concert October 12

Gidon Kremer, violin Giedrė Dirvanauskaite, cello Andrius Zlabys, piano

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

20 THE CLEVELAND INSTITUTE OF MUSIC