Last year the Cleveland Orchestra raised almost $25m; it has managed more than $20m for the past five years
Cleveland Orchestra moved into Severance Hall in 1931, the state-of-the-art design let well-heeled patrons call their cars from their boxes and be whisked home without having to linger in the cold midwestern air. By 1963 its music director, George Szell, was on the cover ofand its albums were bestsellers. But after the imperious Szell died in 1970, the orchestra, now in its centennial season, came to lack a distinct identity.
The trajectory reflected the decline of the city itself. Once the fifth-largest in America, a steelmaking hub and sports powerhouse, Cleveland for decades was known mostly for losing games, money and people—shedding half its population in a generation. What is now the 51st-largest city in the country is an unlikely home for a top-tier orchestra. In the late 20th century Cleveland was more associated with rock’n’roll .
Absolute precision has been the orchestra’s hallmark since Szell. Mr Welser-Möst prefers a lighter touch. “You can’t have total control,” he says. “Szell would tell the English horn player which optician to go to. That doesn’t work any more.” Now the music breathes more. Before his current job he endured a rocky stint with the London Philharmonic Orchestra, but in Cleveland he is well-liked by both his players and the wider community.
More Clevelanders are indeed getting to know him: subscriptions and attendance are rising. The audience is the youngest for any American orchestra, with more than a fifth of classical concert-goers aged 25 or under. Just as important, the patrons are charitable.
That is a handsome haul for any arts organisation, especially one in a mid-tier city. Concert-goers seem to take pride in the underdog character of their musicians. “It’s not a huge population here, but it’s a very generous community,” says André Gremillet, the orchestra’s executive director. “They’re proud that north-east Ohio can produce great American culture.”"Steel and strings"
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