The CIM OrChesTra Carl TOpIlOw, conductor

Wednesday, September 21, 2011, 8:00 p.m.
Severance Hall
The CIM Orchestra
Carl Topilow, conductor
Natalie Lin, violin
MICHAEL TORKE
(b. 1961)
BENJAMIN BRITTEN
(1913-1976)
Bright Blue Music
Violin Concerto in D minor, Op. 15
Moderato con moto
Vivace
Passacaglia: Andante lento
Played without pause
INTERMISSION
MODEST MUSSORGSKY
(1839-1881)
arr. MAURICE RAVEL (1875-1937)
Pictures at an Exhibition
Promenade – The Gnome
Promenade – The Old Castle
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
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THE CLEVELAND INSTITUTE OF MUSIC
WELCOME!
A
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
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
ABOUT CIM
The 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.
THE CIM ORCHESTRA
VIOLIN I
Mason Yu, principal
Sung-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 II
Oriane Carcy, principal
Lisa Kim
Matthew Leslie
Andrea Daigle
Lauren Roth
Erin Reidhead
Thomas Rodgers
Erica Tursi
Jennifer Yamamoto
Tobiah Murphy
Alice Hong
Fahad Awan
Yeon Sun Huh
VIOLA
Cynthia 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
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CELLO
Fedor 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 BASS
Sean Casey, principal
Clinton OBrien
Antonio Escobedo
Richard Zydek
FLUTE
Jeiran Hasan
Mark Huskey *
Jacob Mende-Fridkis &
James Romeo #
PICCOLO
Mackenzie Danner
OBOE
Timothy Feil *
Gretchen Myers &
Kelly Mozeik #
Scott Wollett
ENGLISH HORN
Christopher Connors
CLARINET
Benjamin Chen *
Patricia Crispino &
Gunnar Hirthe #
Tianming Peng
BASS CLARINET
Drew Sullivan
ALTO SAXOPHONE
Alyssa Hoffert
BASSOON
Marian Graebert #
David Husby
Kevin Pfister *
Arleigh Savage &
THE CLEVELAND INSTITUTE OF MUSIC
CONTRABASSOON
Joseph Cannella
HORN
Zane Biddle
Samuel Hartman
Hee Chan Jung #
Amanda Lee
Liang Liu
Thomas Park
Emily Rapson *
Benjamin Reidhead &
Alexander Rise
Emily Schaefer
Olivia Sedlack
TRUMPET
Kyle Dobbeck #
Nina Dvora *
Dominic Favia
Leah Hodge &
Hayato Tanaka
Michael Terassi
TROMBONE
Whitney Clair *#
Christopher Graham &
Quinton Ho
James Trichilo
TUBA
John Caughman #
Doug Jones * &
PIANO/CELESTE
Samantha Biniker
HARP
Jennifer Ellis *&
Abby Klein #
TIMPANI
Dylan Moffitt
PERCUSSION
Jeffrey Deroche
Lara Hueter
Michael Jarrett
Evan Mitchell
David Newton
Mark Stein
Michael Stubbart
John Sullivan
* Principal on Torke
# Principal on Britten
& Principal on Mussorgsky
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 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 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 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.
THE CIM ORCHESTRA
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PROGRAM NOTES
By Richard E. Rodda
Bright Blue Music
Michael 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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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, 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. 15
Benjamin 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.)
THE CIM ORCHESTRA
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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 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.
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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
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THE CLEVELAND INSTITUTE OF MUSIC
UPCOMING CONCERTS AT CIM
SEPTEMBER
28 Wed. 7:30pm Kulas Hall
FACULTY RECITAL: FANTASIES AND
BALLADES
RICHARD STOUT, trombone
CHRISTINA DAHL, piano, guest artist
ROBERT 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 Hall
FACULTY RECITAL
WILLIAM PREUCIL, violin
MARK KOSOWER, cello
ANITA PONTREMOLI, piano
BEETHOVEN Violin Sonata No. 4 in A minor, Op. 23
FAURÉ Violin Sonata in A Major, Op. 13
BRAHMS Trio No. 2 in C Major, Op. 87
Presented in honor of Donley’s, Inc.
OCTOBER
2 Sun. 4pm Mixon Hall
FACULTY RECITAL
STEPHEN ROSE, violin
JEANNE PREUCIL ROSE, violin,
guest artist
STANLEY KONOPKA, viola
RICHARD WEISS, cello
JOELA JONES, piano
DE FALLA Suite Pouplair Espagnol
GRANADOS Intermezzo des “Goyescas”
TURINA Piano Trio No. 2 in B minor, Op. 76
ELGAR Piano Quintet in A minor, Op. 84
*Seating passes required
4 Tue. 7:30pm
Mixon Hall
PIANOFEST
Directed by Paul Schenly, PIANOFEST
combines CIM student & faculty performances
with lively commentary, bringing the great piano
literature to life. Reception follows
General admission $5 at the door / students
free with current ID
5 Wed. 7:30pm
Kulas Hall
CIM ORCHESTRA
SASHA MÄKILÄ, guest conductor
LEAH NELSON, violin
SMETANA Overture to The Bartered Bride
SHOSTAKOVICH Violin Concerto No. 1
in A minor, Op. 77
SIBELIUS Symphony No. 5 in E-flat Major, Op. 82
Presented in honor of Wyse Advertising
Broadcast by Audio-Technica on WCLV 104.9
FM airdate 10/12 Wed. 8pm
9 Sun.
Sammy’s Metropolitan
925 Euclid Avenue, Huntington Bldg.,
Suite 2100
MARTINIS AND MOONSHINE
A CIM Women’s Committeebenefit
Bluegrass 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 7pm
Tickets $85 / $125 patron; reservations required
Call 216.791.5000, ext. 311
9 Sun. 3pm
Kulas Hall
UNIVERSITY CIRCLE WIND ENSEMBLE
CWRU SYMPHONIC WINDS
DR. GARY M. CIEPLUCH, conductor
Music of Krumenauer, Gillingham, Bass,
Jenkins and Goto
10 Mon. 7:30pm
Kulas Hall
CWRU@CIM
CWRU/UNIVERSITY CIRCLE ORCHESTRA
DR. KATHLEEN HORVATH, conductor
ALYSSA HOFFERT, alto saxophone
GLAZUNOV 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
THE CIM ORCHESTRA
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12 Wed. 7:30pm Mixon Hall
16 Sun. 4pm
MIXON HALL MASTERS SERIES: RECITAL
HOMAGE TO J.S. BACH
GIDON.KREMER, violin
GIEDRE DIRVANAUSKAITE, cello
ANDRIUS ZLABYS, piano
VALENTYN 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 Piano
SHOSTAKOVICH Piano Trio No. 2 in E minor, Op. 67
Tickets $40 / $28.
216.791.5000, ext. 411 or cim.edu
For a complete list of upcoming
Cleveland Institute of Music events,
visit cim.edu.
Mixon Hall
FACULTY RECITAL
KATHERINE DEJONGH, flute
KYRA KESTER, flute
STEPHEN SIMS, violin
MELISSA KRAUT, cello
BRYAN DUMM, cello
SHUAI WANG, harpsichord
ERIC CHARNOFSKY, piano/conductor
J.S. BACH Trio Sonata in G Major, BWV 1039
JACQUES IBERT Deux Interludes
ROBERT MAGGIO Two Quartets
ROBERT BEASER Variations for Flute and Piano
19 Wed. 8pm
Severance Hall
CIM@SEVERANCE
CIM ORCHESTRA
CARL TOPILOW, conductor
EMILY NEBEL, violin
MICHAEL DAUGHERTY 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
Live broadcast by Audio-Technica on WCLV
104.9 FM
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
16
THE CLEVELAND INSTITUTE OF MUSIC
The Tower Club of Springfield
Helen Curtis Webster Award by the Fortnightly
Music Club
The Wuliger Foundation
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
18
THE CLEVELAND INSTITUTE OF MUSIC
Louise Ritchie +
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