Past Meetup

Cleveland Orchestra - Beethoven & Shostakovich / Washington Place Bistro



The Cleveland Orchestra at Severance Hall

Saturday, OCTOBER 26 at 8 p.m.
Franz Welser-Möst, conductor

BEETHOVEN Symphony No. 5
SHOSTAKOVICH Symphony No. 10

The Cleveland Orchestra @ Severance Hall

Saturday, October 26th at 8 p.m.

Franz Welser-Möst conducting BEETHOVEN - Symphony No. 5 and SHOSTAKOVICH - Symphony No. 10

Single Concert tickets are available NOW! The Members-Only VIP DISCOUNT code will be available in the RSVP system.

And, we are excited to offer a Members-Only 20-percent discount on tickets in all sections of the hall. Opt to purchase Box Seats that list for $162 and pay just $129.60. A little to rich for you? Then choose Balcony seating with a published price of $49, and you’ll pay just $39.20. Or try $63 Orchestra seats for $50.40 Just some of the great values of being a member.

But remember that these lower-priced seats sell first so don't tarry!

Music Cleveland! A 20-percent discount for Members of Music Cleveland!

Cleveland Orchestra Box Office (click here) ( or call[masked] and toll free at[masked] from Monday – Friday from 9 a.m. – 6 p.m. or Email: [masked]

WHO: The Cleveland Orchestra

CONDUCTOR: Franz Welser-Möst

WHAT: BEETHOVEN - Symphony No. 5 and SHOSTAKOVICH - Symphony No. 10

WHEN: Saturday, October 26 @ 8 p.m.

WHERE: Severance Hall in University Circle

WITH: Music Cleveland! and Friends

DINNER: 5 p.m. at Washington Place Bistro (click here) ( 2203 Cornell Road corner of Murray Hill in Little Italy,[masked]. They have complementary valet parking on site.

Map and Directions (click here) (,+Cleveland,+OH+44106&sll=37.0625,-95.677068&sspn=70.814691,66.445312&ie=UTF8&hq=&hnear=2203+Cornell+Rd,+Cleveland,+Cuyahoga,+Ohio+44106&t=h&ll=41.51629,-81.600523&spn=0.016067,0.036478&z=14&vpsrc=6&iwloc=A&daddr=2203+Cornell+Rd,+Cleveland,+OH+44106)

* Your RSVP - REQUIRED – As always we will ask you a series of questions in the process – direct email and phone number – that we will consider private and confidential. One of the options will present your Members-Only code. You may purchase as many tickets as you like but please do not share this code with non-members. If you don’t see these questions, please email the event host for assistance.

After your ticket purchase, please return to the Music Cleveland! event page and update your RSVP, answering the questions regarding ticket purchase, number of guests and plans for the after-concert party.

Members Note: Please don’t forget your annual Membership Fees. You may use the PayPal link in the upper left margin of the home page or pay the Organizer/Host in cash at your next event. Your dues help cover the costs of being on and related administrative costs. Organizers are not compensated and do this for their love of music, fine wine and food, and, of course, friendship. And, our sincere thanks to those members who are current with their dues!

We are expecting limited seats for dinner (around 10) so an early RSVP is suggested. We will not incorporate a waiting list for dinner, first RSVPs get the seats. There is no limit for the concert or Post Concert at Nighttown.

POST CONCERT: Nighttown, 12387 Cedar Road, Cleveland Heights[masked]. Municipal parking lot in rear (enter off Cedar west of club. Bring plenty of quarters).

*Parking Information at bottom of post.


BEETHOVEN - Symphony No. 5
1 First movement: Allegro con brio
2 Second movement: Andante con moto (click: 7:28 (
3 Third movement: Scherzo. Allegro (click: 17:25 (
4 Fourth movement: Allegro (click: 22:48 (

The Symphony No. 5 in C minor, Op. 67, was written by Ludwig van Beethoven in 1804--1808. This symphony is one of the most popular and best-known compositions in all of classical music, and one of the most often played symphonies.[1] It comprises four movements: an opening sonata, an andante, and a fast scherzo which leads attacca to the finale. First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterwards. E. T. A. Hoffmann described the symphony as "one of the most important works of the time".

"Don't only practise your art, but force your way into its secrets; art deserves that, for it and knowledge can raise man to the Divine."

Listen to Beethoven’s Symphony No. 5 (click here) (

Seems that Beethoven even has a FaceBook page! (click here) (

Symphony No. 10 (Shostakovich)

Pre-Concert Information

Here's an interesting article by Frank Kuznik (used with permission - THANKS!) that discusses the Fall Festival events including tonight's concert:


When it comes to pairings of great composers, Beethoven and Shostakovich are not the first names that come to mind. The former redefined 18th-century classicism, while the latter embodied the political turbulence of the 20th century. But both men dealt in grand themes and wrestled with similar questions at pivotal points in history, offering insights that take on even deeper resonance in juxtaposition.

Cleveland Orchestra Music Director Franz Welser-Möst has chosen one of those themes – freedom – as the focal point of a fall Festival that will offer audiences three nights of thought-provoking symphonic music and much more. Talks, films, and a chamber music performance will help elucidate the composers’ meditations on freedom, and what they have to say to us today.

The core of the Festival is an unusual triptych of symphony pairings: Beethoven No. 3 with Shostakovich No. 6, Beethoven No. 4 with Shostakovich No. 8, and Beethoven No. 5 with Shostakovich No. 10.

“Those are the most political symphonies that Beethoven wrote, and he talks a lot in them about individual freedom and getting rid of suppression,” Welser-Möst says. “Shostakovich lived under a very suppressive regime, so unlike Beethoven, he didn’t go outward. He chose the path of going inward. That’s why I thought it would be fantastic to pair these pieces. Listening to them side by side will make the impact of each one stronger.”

It will also offer listeners a fresh approach to familiar material.

“It’s a move away from the traditional programming of overture, concerto, symphony,” says Mark Williams, director of artistic planning. “This gives our audience an opportunity to really focus in on this repertoire and this subject. And it’s a big subject.”

Franz Welser-Möst discussing tonight's music (

Beethoven No. 3, “Eroica,” is a natural opener, with its heroic themes originally intended to honor Napoleon Bonaparte and the achievements of the French Revolution. “It was Beethoven’s first big musical and philosophical statement about what freedom can mean, individually and collectively,” says Welser-Möst. By contrast, the revolution in Shostakovich No. 6 is mostly in style and structure. “It’s one of the most introverted pieces he wrote,” Welser-Möst says. “It seems to be totally lost in space in the first movement, then there’s some very bizarre humor in the second and third movements – the total opposite of what Beethoven does.”

Beethoven No. 4 is considered a comparatively lightweight effort, which Welser-Möst feels is a misconception. “That would be true if it were not for the second movement, which has some secret musical signals that refer to the Freemason movement,” he says. “It also has a lot of humor, which, with Beethoven, is always a sign of depth and wisdom. Shostakovich No. 8, on the other hand, has a total lack of humor, and ends in despair.”

Beethoven No. 5, with its famous opening four-note motif, is one of the most popular pieces in all of classical music. “It’s thesymphonic statement of what mankind can achieve,” Welser-Möst says. “Beethoven describes the way of the phoenix – per aspera ad astra, through the fire to the stars.” Shostakovich, meanwhile, continues his journey inward. “No. 10 is the most personal symphony he wrote,” Welser-Möst says. “He’s basically saying, ʻThere are no stars for me to reach; the only thing I have is fire.’”

Any one of those programs would be a lot for an audience to absorb. Being presented on three consecutive evenings, they pose a considerable challenge that Orchestra managers considered and decided they were willing to take on.

“We think that the strength of the artistic idea will prevail,” says Williams. “These are not museum pieces. They are very much alive, asking exactly the same questions that these two composers dealt with 120 years apart, and we’re still asking today.”

As for the concentrated presentation, Williams adds, “It’s part of our job to keep pushing the envelope and trying new things. The core of what we do remains the same – presenting great music at the very highest level. How we go about doing that is always evolving.”

The envelope is really being stretched in the supporting program, starting with two films: Stanley Kubrick’s A Clockwork Orange, andThe New Babylon (image at left), a 1929 silent with a score by Shostakovich, the first of many he wrote for Soviet films. Babylontells the story of the ill-fated 1871 Paris Commune, paralleling the disillusionment Beethoven felt with the rise and betrayal of the French ideals of liberté, égalité, fraternité.The notorious Clockwork Orange employs Beethoven’s music in a perverse plot twist that turns the traditional notion of free will on its head, and raises larger questions about freedom in modern society.

Frank J. Oteri (photo below), the composer, writer, and lecturer who helped introduce the programs at The Cleveland Orchestra’s “California Masterworks” series at the Cleveland Museum of Art in May, will return for a conversation about music and politics with CMA Curator of Film John Ewing before a screening of The New Babylon. Oteri will also present a pre-concert talk with Russian/Soviet historian Rebecca Mitchell to create context for the middle symphonic concert.

Welser-Möst himself will set the stage for all three symphony performances with a pre-concert talk on the first night. And listeners who want to dive even deeper into Beethoven and Shostakovich’s music will have an opportunity to hear chamber works by the composers in a special Prelude Concert in Reinberger Chamber Hall, featuring members of The Cleveland Orchestra, before the final symphonic performance.

The idea behind packing all this multimedia programming into five days is to create a whole that is more than the sum of its parts.

“It’s like putting together a regular orchestra program in the sense that each piece of music should heighten the other pieces, and change the experience,” says Williams. “It’s the same reason you eat certain food while drinking certain wine. This is a perfect opportunity to do that on a larger scale.

“It’s an experiment, so we hope people will be open to trying something new,” he adds. “We have a fantastic audience, very sophisticated and clever. I think they’ll enjoy delving into the meaning behind the music and pondering these questions.”

by Frank Kuznik

Frank Kuznik is a longtime journalist and culture writer covering Northeast Ohio's vibrant arts and entertainment scene. Born and raised in Cleveland, Frank has worked extensively throughout the U.S. and Europe, most recently in Prague as the editor-in-chief and culture editor of The Prague Post. He also writes about music on

Fate and Freedom – Music of Beethoven and Shostakovich
Cleveland Orchestra Festival October 22-26

Tuesday, October 22, 2013 at 7 p.m.
Cleveland Institute of Art Cinematheque
11141 East Boulevard
Cleveland, OH 44106

Film: A Clockwork Orange
Stanley Kubrick, writer and director
based on the novel by Anthony Burgess

Remarks prior to the film by John Ewing, Cinematheque co-founder director and curator of film at the Cleveland Museum of Art.
Tickets (at the Cinematheque box office, day of show only) $9; Cinematheque members $7; ages 25 and under $6. Cash or check only.

Wednesday, October 23, 2013 at 6:30 p.m.
Cleveland Museum of Art
11150 East Boulevard
Cleveland, OH 44106

Film: The New Babylon
Grigori Kozintsev ( and Leonid Trauberg (, writers and directors

Dr. James Krukones, associate professor of history and associate academic vice president, John Carroll University, will moderate a pre-screening talk with Frank J. Oteri, New Music USA's composer advocate and the senior editor ofNewMusicBox, a multimedia publication, and John Ewing, Cinematheque co-founder and director and curator of film at the Cleveland Museum of Art, about the film, the politics of the time, and the music.

Tickets $9; CMA members, seniors 65 and over, students, $7. Advance tickets at, or by calling[masked].

Thursday, OCTOBER 24 at 7:30 p.m.
Severance Hall
The Cleveland Orchestra
Franz Welser-Möst, conductor

BEETHOVEN Symphony No. 3 (“Eroica”)

Franz Welser-Möst will be interviewed at 6:30 p.m. on the stage at Severance Hall.

Friday, OCTOBER 25 at 8 p.m.
Severance Hall
The Cleveland Orchestra
Franz Welser-Möst, conductor

BEETHOVEN Symphony No. 4

Guest speaker Frank J. Oteri, New Music USA's composer advocate and the senior editor of NewMusicBox, a multimedia publication, presents a pre-concert talk with Rebecca Mitchell, visiting assistant professor of Russian/Soviet history, Oberlin College, in Reinberger Chamber Hall at Severance Hall at 7 p.m.

Saturday, OCTOBER 26 at 8 p.m.
Severance Hall
The Cleveland Orchestra
Franz Welser-Möst, conductor

BEETHOVEN Symphony No. 5
SHOSTAKOVICH Symphony No. 10

Cleveland Orchestra musicians perform chamber music works of Beethoven and Shostakovich at 7 p.m. in Reinberger Chamber Hall at Severance Hall.

The Symphony No. 10 in E minor (Op. 93) by Dmitri Shostakovich ( was premiered by the Leningrad Philharmonic Orchestra ( under Yevgeny Mravinsky ( on 17 December 1953, following the death of Joseph Stalin ( in March of that year. It is not clear when it was written: according to the composer's letters composition was between July and October 1953, but Tatiana Nikolayeva ( stated that it was completed in 1951. Sketches for some of the material date from 1946.[1] (

Dmitri Shostakovich

Dmitri Dmitriyevich Shostakovich (Russian (

Read much, much more on Wikipedia: (click here)


If members are so inclined, we’ll head up Cedar Hill for a nightcap or late snack at Nighttown, 12387 Cedar Road, Cleveland Heights[masked]. Lets meet after the concert at the Grand Staircase East in the Lobby or text the organizers.

Members Note: Please don’t forget your annual Membership Fees. You may use the PayPal link in the upper left margin of the home page or pay the Organizer/Host in cash at your next event. Your dues help cover the costs of being on and related administrative costs. Organizers are not compensated and do this for their love of music, fine wine and food, and, of course, friendship. And, our sincere thanks to those members who are current with their dues!

You may join Music Cleveland! and pay the annual fee of $10 and your dues for Ciné Arts will be waived – two groups for the price of one. But, you must have paid the membership fee before CAC dues can be waived.

“Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend.” L.V. Beethoven


A variety of parking options are available for concerts at Severance Hall, including guaranteed pre-paid parking passes (purchased through the Ticket Office or via this website).

CAMPUS CENTER GARAGE - The Case Western Reserve University Campus Center Garage is located directly adjacent to Severance Hall (parking entrance is off East Boulevard), with stair and elevator access to Severance Hall. Event parking in the Campus Center Garage can be purchased for $11 per vehicle when space permits. However, the garage often fills up well before concert time and only patrons who purchase pre-paid parking passes are ensured a parking space.

Pre-Paid Parkingfor the Campus Center Garage can be purchased in advance for $15 per concert by calling the Ticket Office or through this website. Pre-paid parking guarantees you a space, but availability of pre-paid parking passes is limited.

HOW TO BUY PARKINGIf you are purchasing your tickets via this website, there is an opportunity after you have put seats into the checkout cart when you can select the “Find Parking” button.

Alternatively, if you have already purchased tickets, you can purchase pre-paid parking online through the concert Event Calendar ( Above the calendar, check the box “for ticket holders who wish to purchase tickets only” under Select a Type of Event. The calendar will then show available parking.

Parking can also be purchased through the Ticket Office by calling[masked].

Limited additional event parking is available in the Case Western Reserve University Lot 1 off Euclid Avenue across from Severance Hall, or at the University Circle Lot 13A on Adelbert Road, and at the Cleveland Botanical Garden parking garage on East Boulevard. Space at these lots may be particularly limited during weekday daytime hours. Some on-street parking is also available, but often fills up well before curtain time.

PARKING MAP - For a printable map of parking areas surrounding Severance Hall,
click here (

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