Cleveland Orchestra

The Cleveland Orchestra was founded in 1918 by music-aficionado Adella Prentiss Hughes, businessman John L. Severance, Father John Powers, music critic Archie Bell, and Russian-American violinist and conductor Nikolai Sokoloff,{{Cite book|last=Rosenberg|first=Donald|title=The Cleveland Orchestra Story: Second to None|publisher=Gray & Company|year=2000|location=Cleveland|pages=43}} who became the orchestra’s first music director. A former pianist, Hughes served as a local music promoter and sponsored a series of “Symphony Orchestra Concerts” designed to bring top-notch orchestral music to Cleveland.{{Cite book|last=Rosenberg|first=Donald|title=The Cleveland Orchestra Story: Second to None|pages=36}} In 1915, she helped found the Musical Arts Association,{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=40}} which presented Cleveland performances of the Ballets Russes in 1916 and Richard Wagner’s Siegfried at the Cleveland Indians’ League Park a few months later{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=40–41}} After a great deal of planning and fundraising, The Cleveland Orchestra’s inaugural concert was performed on December 11, 1918, at Grays Armory.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=55}}

Three events occurred in 1921 that proved significant in the orchestra's early development:

• The ensemble presented its inaugural children’s concert, which began a long-standing tradition of performing for young people from local schools.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=77–78}}
• The Women's Committee of The Cleveland Orchestra was founded, a group which focused largely on internal affairs,{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=77}} including organization and branding; the Women's Committee was also the driving force behind the creation of the orchestra’s education-oriented Key Concerts series decades later.
• The orchestra performed its first concert in New York City that year, at the Hippodrome Theatre, a demonstration that the orchestra was committed to embarking on major activities from early in its existence.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=71}}

In 1922, the orchestra again traveled to New York for its first concert at Carnegie Hall.{{Cite web|title=A Century of Excellence|url=https://www.clevelandorchestra.com/from-the-archives/soundwave/|website=The Cleveland Orchestra}} Later that year, the orchestra performed its first radio broadcast{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=82}} and, in 1924, issued its first recording — a shortened version of Tchaikovsky’s 1812 Overture for the Brunswick label under Sokoloff’s direction.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=84}}

Image:Severance Hall.jpg

By the end of the 1920s, the Musical Arts Association began planning for a permanent concert hall for the orchestra. Board president John L. Severance and his wife, Elisabeth, pledged $1 million({{Inflation|US|1000000|1928|fmt=eq|r=-3}}) toward the construction of a new hall,{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=99}} and the groundbreaking ceremony took place in November 1929, a few months after Mrs. Severance’s death.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=104; 110}} On February 5, 1931, the orchestra performed its inaugural concert at Severance Hall.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=115}} Also that year, Lillian Baldwin created what became known as the “Cleveland Plan,” an initiative designed to build upon the orchestra’s earlier children's concerts and create a program that taught classical music to young people before experiencing live performances.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=119–120}}

In 1933, Sokoloff stood down as the orchestra’s music director, succeeded by Artur Rodziński.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=128; 134–135}} During his decade-long Cleveland tenure, Rodzinski advocated for the inclusion of staged opera at Severance Hall.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=135}} The first of these productions was featured during the 1933–34 season, when the orchestra performed Wagner’s Tristan und Isolde.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=135; 138}} In 1935, the orchestra presented the United States’ premiere of Dmitri Shostakovich's Lady Macbeth of the Mtsensk District at Severance Hall{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=149–152}} and, later in the season, took the production to New York’s Metropolitan Opera. Four years later, in 1939, the orchestra established the Cleveland Summer Orchestra and began to perform 'pops' concerts at Cleveland’s Public Hall. On December 11, 1939, The Cleveland Orchestra celebrated the anniversary of its founding by releasing its first recording on the Columbia label.

Rodzinski departed Cleveland in 1943, succeeded by Erich Leinsdorf.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=201}} However, Leinsdorf's Cleveland tenure was brief, as he was drafted into the United States Armed Forces shortly after his appointment, which diminished his artistic control.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=205; 207; 209}} Although Leinsdorf was honorably discharged from the military in September 1944, his time away from the podium had required the Musical Arts Association to employ a number of guest conductors from 1943 until 1945,{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=213}} including George Szell, who had impressed audiences at Severance Hall during two weeks of performances.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=214}} Leinsdorf lost much of his public support and, though still under contract, submitted his resignation in December 1945.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=226}}

In 1946, Szell was appointed as the orchestra’s fourth music director.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=227–229}} From the start of his tenure, Szell's intention was to transform the orchestra into “America’s finest” symphonic ensemble and developing an orchestra that was “second to none.”{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=229}} He spent much of his early time in Cleveland changing personnel in an effort to find musicians who were capable of creating his ideal orchestral sound.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=229–230}}{{cite magazine|date=February 22, 1963|title=The Glorious Instrument|magazine=Time|url=http://www.time.com/time/magazine/article/0,9171,828034,00.html|archive-url=https://web.archive.org/web/20070930035047/http://www.time.com/time/magazine/article/0,9171,828034,00.html|url-status=dead|archive-date=September 30, 2007|access-date=July 15, 2007}} Szell’s stringent standards and expectations for musical precision were reflected in his contract with the Musical Arts Association, which gave him complete artistic control over programming, scheduling, personnel, and recording.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=227}}

In the 1950s and 1960s, Szell was instrumental in the achievement of several orchestra milestones:

• He led the orchestra on its first European tour, in 1957, across Europe and behind the Iron Curtain.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=291–294}}
• Szell pushed to change Severance Hall's acoustic properties, which he considered to be too “dry.” Major renovations were made during the 1958–59 season, including the construction of the “Szell Shell”, which was designed to project the orchestra's sound in a manner that created better balance among musicians and a clearer string section.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=299–302}}

A second European tour took place in 1965, and included a significant tour of the Soviet Union, with performances in Moscow, Kiev, Tbilisi, Yerevan, Sochi, and Leningrad.{{cite encyclopedia|last=Shakarian|first=Pietro A.|title=Cleveland Orchestra Tour of the USSR|encyclopedia=The Encyclopedia of Cleveland History|publisher=Case Western Reserve University|url=https://case.edu/ech/articles/c/cleveland-orchestra-tour-ussr|date=August 8, 2022|access-date=May 7, 2023}} Two years later, the orchestra became the first American orchestra to be invited to three premiere festivals, in Salzburg, Lucerne, and Edinburgh, in the same summer.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=372–375}} Szell also oversaw the opening of the orchestra's summer home, Blossom Music Center, in 1968, which provided the ensemble’s musicians with year-round employment.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=347–360}} In 1970, after a tenure of 24 years, shortly after a tour of the Far East during the spring of 1970, which included stops in Japan, Korea, and Alaska,{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=392–393}} Szell died.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=397–398}}

Two days after Szell’s death, the orchestra played its scheduled program at Blossom Music Center with Aaron Copland taking the podium as guest conductor.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=402–403}} Louis Lane, one of Szell’s assistant conductors, was appointed resident conductor. Pierre Boulez, who had been named the orchestra's principal guest conductor in 1969, was appointed musical advisor.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=377; 402}}

The board selected Lorin Maazel as the orchestra’s fifth music director. His tenure began in 1972.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=415–419}} Maazel had first conducted the orchestra at age 13 in 1943, in a concert at Public Hall. During Maazel's tenure, many critics were initially unimpressed with his musical interpretations, which they believed were too emotionally charged to follow Szell’s razor-crisp style.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=428–431}} But soon Maazel was lifted by an endorsement from Philadelphia Orchestra conductor Eugene Ormandy{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=432}} and the promise of a new collaboration with Decca Records on Prokofiev’s Romeo and Juliet, which proved to be the spark Maazel needed to jumpstart his Cleveland Orchestra career.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=435–437}} During the 1973–74 season, Maazel led the orchestra on a tour of Australia and New Zealand,{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=439–441}} joined by guest conductors Stanislaw Skrowaczewski and Erich Leinsdorf.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=439}} The orchestra also played a series of concerts in Japan.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=445–446}} During the following season, the orchestra released its first commercial recording of an opera, George Gershwin’s Porgy and Bess, which was also Decca’s first opera recording in the United States.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=451}} Maazel left the orchestra after the 1981–82 season, to take over the directorship of the Vienna State Opera.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=473–475}} Before his departure, however, Maazel helped to introduce the orchestra’s landmark Martin Luther King Jr. Celebration Concerts in January 1980, which remain an annual tradition to this day.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=476–477}} On May 15, 1982, Maazel conducted his final performance at Severance Hall followed by a short tour of New York and New Haven, where he led concerts featuring Giuseppe Verdi’s Requiem, which had been his debut piece with the orchestra in 1972.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=489}}

Christoph von Dohnányi first guest-conducted the orchestra in December 1981.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=483–484}} In 1982, the orchestra named Dohnányi its music director-designate in 1982. He officially became music director in 1984.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=484; Pl. 83}} During the pair of seasons between Maazel and Dohnányi, various guest conductors conducted the orchestra, including Erich Leinsdorf, who labeled himself the “bridge between the regimes.”{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=491–493}}

Because of Dohnányi’s connections with Teldec, Decca/London, and Telarc, his Cleveland Orchestra tenure began with the promise of more recording projects.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=497; 507–508}} He also staged a large production of Mozart’s The Magic Flute at Blossom Music Center in 1985, which was lauded as “the Ohio musical event of the summer” by The Columbus Dispatch.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=499}} In addition, Dohnányi oversaw the hiring of Jahja Ling, who would lead the newly established Cleveland Orchestra Youth Orchestra.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=505}} International touring continued under Dohnányi with visits to Asia and Europe, including the development of a long-standing relationship with the Salzburg Festival beginning in 1990.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=518; 523}}

To celebrate The Cleveland Orchestra’s 75th anniversary, Dohnányi led performances of Wagner’s Der Ring des Nibelungen at Severance Hall across the 1992–93 and 1993–94 seasons,{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=524–525}} and a subsequent recording project of Wagner’s Das Rheingold and Die Walküre.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=534–535}} The orchestra also began a fundraising campaign for the renovation of Severance Hall, which included the removal of the “Szell Shell,” a return of the ensemble's E.M. Skinner organ to the stage, and a facilities expansion designed to enhance the experience of concertgoers.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=537–538}} During these renovations, the orchestra performed concerts for its hometown audiences at the Allen Theatre in Cleveland’s Playhouse Square.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=544}} On January 8, 2000, Dohnányi led a gala concert celebrating the re-opening of Severance Hall that was broadcast live on local television by Cleveland’s WVIZ.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=545}}

At the conclusion of Dohnányi’s contract, in 2002, he took the title of music director laureate.{{Cite book|last=Rosenberg|title=The Cleveland Orchestra Story: Second to None|pages=548}}

Franz Welser-Möst became the orchestra's seventh music director in 2002. Welser-Möst and the Musical Arts Association have extended his contract several times, with his most recent contract keeping him on the podium until 2027, which will make him the orchestra's longest-serving music director.{{cite press release|url=https://www.clevelandorchestra.com/News-and-Updates/News-Releases/2019-releases/2019-09-21-fwm-2027/r|title=The Cleveland Orchestra and Music Director Franz Welser-Möst extend acclaimed partnership to 2027|publisher=The Cleveland Orchestra|date=September 21, 2019|access-date=September 29, 2019}}{{cite web |title=Franz Welser-Most To Stay With Cleveland Orchestra Until 2027 |url=https://www.ideastream.org/arts-culture/2019-09-22/franz-welser-most-to-stay-with-cleveland-orchestra-until-2027 |website=Ideastream Public Media |language=en |date=22 September 2019}} During his tenure, Welser-Möst has overseen many of the orchestra's residencies, outreach programs, and expansion activities. He leads the orchestra's ongoing residencies at the Musikverein in Vienna and at the Lucerne Festival, both of which began with Welser-Möst's first European tour in 2003. In addition, Welser-Möst and the orchestra began an annual residency at Miami's Carnival Center for the Performing Arts (later renamed the Adrienne Arsht Center for the Performing Arts) in 2007. The orchestra has continued to present operas and a selection of film screenings with live musical accompaniment. On September 29, 2018, Welser-Möst led the ensemble in a gala concert at Severance Hall celebrating the orchestra’s 100th anniversary, a concert later featured on the American arts television series Great Performances during an exclusive U.S. broadcast on PBS.

In early 2020, the orchestra suspended a planned tour of Europe and Abu Dhabi, and live concerts at Severance Hall and Blossom Music Center due to the COVID-19 pandemic.{{Cite web|url=https://www.cleveland.com/news/2020/03/cleveland-orchestra-cancels-severance-hall-concerts-march-12-14.html|title = Cleveland Orchestra cancels Severance Hall concerts March 12-14|date = March 12, 2020}} That October, the orchestra launched the Adella App, a streaming service including historical and newly created content. Access to the service was free to season subscribers and $35 per month for non-subscribers. {{Cite web|url=https://www.cleveland.com/arts/2020/09/cleveland-orchestra-plans-return-to-music-making-in-october-announces-concert-streaming-app.html|title=Cleveland Orchestra plans return to music-making in October, announces new streaming app|date=September 3, 2020}} In 2020, The Cleveland Orchestra announced they had started their own recording label, self-titled as The Cleveland Orchestra.{{Cite web |title=2020-03-13 A New Century |url=https://www.clevelandorchestra.com/press-resources/press-releases/2020-releases/2020-03-13-A-New-Century/ |access-date=2024-01-11 |website=www.clevelandorchestra.com}} A limited in-person return to concerts was announced for Blossom Music Center for the Summer of 2021, with a return to Severance Hall planned for October.v In September 2021, the orchestra announced the planned donation of USD $50M by the Jack, Joseph and Morton Mandel Foundation, as a result of which Severance Hall was renamed the Jack, Joseph and Morton Mandel Concert Hall, and the overall performance space was renamed Severance Music Center.{{cite press release | url=https://www.clevelandorchestra.com/press-resources/press-releases/2021-releases/2021-09-30-mandel-foundation-historic-grant/ | title=Jack, Joseph and Morton Mandel Foundation Gives Historic $50 Million Grant to The Cleveland Orchestra | publisher=The Cleveland Orchestra | date=30 September 2021 | access-date=2025-03-06}}

In October 2023, Welser-Möst underwent surgery for the removal of a cancerous tumor, and announced curtailment of his performances during the remainder of 2023.{{cite web |title=Cleveland Orchestra's Franz Welser-Möst to miss concerts for medical treatment |url=https://www.wvxu.org/2023-09-08/cleveland-orchestras-franz-welser-most-to-miss-concerts-for-medical-treatment |website=WVXU |language=en |date=8 September 2023}} In January 2024, the orchestra announced that Welser-Möst is to conclude his tenure as its music director at the close of the 2026-2027 season.{{cite press release | url=https://www.clevelandorchestra.com/globalassets/editorial/press-releases/2024/2024fwmannouncement.pdf | title=Franz Welser-Möst announces the conclusion of his tenure as Music Director of The Cleveland Orchestra in 2027 after 25 years of artistic innovation, deep-rooted community engagement, and international acclaim | publisher=The Cleveland Orchestra | date=11 January 2024 | access-date=2024-01-13}}{{cite news | title='Everything Has a Time': Cleveland's Longest-Serving Conductor Plans His Departure | url=https://www.nytimes.com/2024/01/11/arts/music/franz-welser-most-cleveland-orchestra.html | work=The New York Times | author=Joshua Barone | date=2024-01-11 | access-date=2024-01-12}}

In addition to a vast catalog of recordings created with the ensemble's music directors, the orchestra has made many recordings with guest conductors Vladimir Ashkenazy, Oliver Knussen, Kurt Sanderling, Yoel Levi, Riccardo Chailly, George Benjamin, Roberto Carnevale, Riccardo Muti, Michael Tilson Thomas, and Louis Lane (the orchestra's longtime Associate Conductor). Past assistant conductors of the Cleveland Orchestra include Matthias Bamert, James Levine, Alan Gilbert, James Judd and Michael Stern.

• Nikolai Sokoloff (1918–1933)
• Artur Rodziński (1933–1943)
• Erich Leinsdorf (1943–1946)
• George Szell (1946–1970)
• Lorin Maazel (1972–1982)
• Christoph von Dohnányi (1984–2002)
• Franz Welser-Möst (2002–present)

• Marc-André Dalbavie (1999–2000)
• Matthias Pintscher (2001–2003)
• Susan Botti (2003–2005)
• Julian Anderson (2005–2007)
• Johannes Maria Staud (2007–2009)
• Jörg Widmann (2009–2011)
• Sean Shepherd (2011–2013)
• Ryan Wigglesworth (2013–2015)
• Anthony Cheung{{cite web|title=The Cleveland Orchestra to give world premiere performances of Topos by Anthony Cheung at May 18 and 20 concerts|url=https://www.clevelandorchestra.com/News-and-Updates/News-Releases/2017-releases/2017-05-09-Cheung-World-Premiere/|access-date=February 8, 2018}} (2015–2017)
• {{ill|Bernd Richard Deutsch|de}}{{cite web|title=The Cleveland Orchestra announces 101st Season for 2018–2019|url=https://www.clevelandorchestra.com/News-and-Updates/News-Releases/2018-releases/2018-03-11-season-announcement/|access-date=April 16, 2018}} (2018–2020)
• Allison Loggins-Hull{{Cite web |date=March 19, 2023 |title=The Cleveland Orchestra Announces 106th season |url=https://www.clevelandorchestra.com/globalassets/editorial/press-releases/2023/news-release-2023-24-severance-classical-season-and-recital-series_final-9ebcc18d.pdf |access-date=April 21, 2023}} (2021–present)

Grammy Award for Best Orchestral Performance:

• 1970 Boulez: Debussy: Images Pour Orchestre{{Cite web |title=Grammy Award Ceremony 1970 - Grammy Award Winners 1970 |url=https://www.awardsandshows.com/features/grammy-awards-1970-219.html |access-date=2024-01-11 |website=www.awardsandshows.com}}
• 1971 Boulez: Stravinsky: Le Sacre Du Printemps{{Cite web |title=Grammy Award Nominees 1971 - Grammy Award Winners 1971 |url=https://www.awardsandshows.com/features/grammy-awards-1971-220.html |access-date=2024-01-11 |website=www.awardsandshows.com}}
• 1996 Boulez: Debussy: La Mer (Debussy){{Cite web |title=Nominees for 38th annual Grammy Awards - UPI Archives |url=https://www.upi.com/Archives/1996/01/04/Nominees-for-38th-annual-Grammy-Awards/5749820731600/ |access-date=2024-01-11 |website=UPI |language=en}}
• 1998 Boulez: Berlioz: Symphonie Fantastique; Tristia{{Cite web |title=40th Annual Grammy Award Nominations Coverage (1998) {{!}} DigitalHit.com |url=https://www.digitalhit.com/grammy/40/nominees.shtml |access-date=2024-01-11 |website=www.digitalhit.com}}

Grammy Award for Best Classical Album :

• 1996 Boulez: Debussy: La Mer; Nocturnes; Jeux Etc.{{Cite web |title=Nominees for 38th annual Grammy Awards - UPI Archives |url=https://www.upi.com/Archives/1996/01/04/Nominees-for-38th-annual-Grammy-Awards/5749820731600/ |access-date=2024-01-11 |website=UPI |language=en}}

Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra):

• 2011 Uchida: Mozart: Piano Concerto No. 23 (Mozart) & Piano Concerto No. 24 (Mozart){{Cite web |title=53rd Annual Grammy® Award Nominees (2011 Grammys) Coverage {{!}} DigitalHit.com |url=https://www.digitalhit.com/grammy/53/nominees.shtml |access-date=2024-01-11 |website=www.digitalhit.com}}

Grammy Award for Best Engineered Album, Classical:

• 1971 Boulez: Stravinsky: Le Sacre du Printemps{{Cite web |title=Grammy Award Nominees 1971 - Grammy Award Winners 1971 |url=https://www.awardsandshows.com/features/grammy-awards-1971-220.html |access-date=2024-01-11 |website=www.awardsandshows.com}}

• Cleveland Orchestra discography
• Cleveland Orchestra Youth Orchestra
• Cleveland Philharmonic Orchestra
• Cleveland Women's Orchestra
• Cleveland Chamber Symphony
• CityMusic Cleveland
• Red (an orchestra)
• The Contemporary Youth Orchestra

{{reflist}}

• {{cite book | last=Rosenberg | first=Donald | title=The Cleveland Orchestra Story | location=Cleveland | publisher=Gray & Company | year=2000 | isbn=978-1-886228-24-5}}

{{commons category}}

• [http://www.clevelandorchestra.com/ The Cleveland Orchestra Official website]
• {{webarchive |url=https://web.archive.org/web/20080317181747/http://www.telarc.com/biography/bios.asp?aid=18 |date=March 17, 2008 |title=Cleveland Orchestra history }} from the Telarc website.

{{Big Five (orchestras)}}

{{Cleveland Orchestra conductors}}

{{Cleveland}}

{{Authority control}}

Category:American symphony orchestras

Category:Musical groups from Cleveland

Category:Musical groups established in 1918

Category:Tourist attractions in Cleveland

Category:Music of Cleveland

Category:1918 establishments in Ohio

Category:Orchestras based in Ohio