A New Cleveland Without Borders Plain Dealer/NEOMG January 25, 2004

A REGION DIVIDED / Is there a better way?

Welcome to the city of Metro Cleveland. We’re new, but we suspect you’ve heard of us.

We’re the largest city in Ohio, by far. With 1.3 million residents, we’re the sixth-largest city in America. Right back in the Top 10.

Our freshly consolidated city covers 459 square miles on the Lake Erie shore. Our economic development authority – enriched through regional cooperation – wields the power to borrow a whopping $500 million.

So, yes, America, we have a few plans.

How do you like us now?

Merging Cleveland and Cuyahoga County into a single super-city is only one example of “new regionalism” being discussed across the country. In fact, it illustrates one of the most aggressive and seldom-used strategies to revive a metropolitan area by eliminating duplicated services, sharing tax dollars across political boundaries and planning with a regional view.

At the other end of the spectrum stand places like present-day Cleveland – a tired city with rigid boundaries watching helplessly as its wealth and jobs drain away.

In between are dozens of regions where city and suburbs agreed to plan new industries, or began sharing taxes, or staked out “green lines” to slow sprawl and encourage investment in urban areas – cooperative strategies aimed at lifting the whole region.

Some dreams came true and others did not. Regional government does not solve every problem or achieve overnight success, experts caution. But the evidence suggests it allows cities like Cleveland to do something not dared here in a long time. It allows them to dream.

Dream big.

“Regional government would let Cleveland compete in the new economy,” said Bruce Katz, a specialist in metropolitan planning for the Brookings Institution.

“Overnight, we’d become a national player,” said Mark Rosentraub, dean of the College of Urban Affairs at Cleveland State University.

“These ideas are not crazy,” insists Myron Orfield, a Minnesota state senator and one of the nation’s best-known proponents of regional planning. “Regionalism is centrist. It’s happening. Ohio is one of the few industrialized states that has not done anything.”

Orfield is often credited with popularizing new regionalism through his 1997 book, “Metropolitics.” It details regional partnerships he fostered in the Minneapolis-St. Paul metro area, strategies like tax sharing.

In 1969, the seven counties surrounding the Twin Cities began sharing taxes from new business and industry, pooling the money and giving it to the communities that needed it most.

Designed to revive the cities, the plan worked so well that Minneapolis now sends taxes to its suburbs.

(SEE CORRECTION NOTE) These days, a newer model of regionalism is drawing policy planners and mayors to northern Kentucky. Louisville merged with its home county last year to form the Louisville/Jefferson County Metro Government, becoming America’s 23rd-largest city as Cleveland slipped to 34th.

Much of the messy work of merging city and county departments remains, but Louisville Mayor Jerry E. Abramson said his community is already enjoying cost savings and something more – rising self-esteem.

Louisville residents had brooded as civic rivals Nashville and Indianapolis used regional cooperation to lure jobs, people and major-league sports teams. Fearful of being left forever behind, voters approved a dramatic merger that had been rejected twice before.

“I think people saw that those cities were moving ahead more quickly,” Abramson said. “We decided we would do better speaking with one voice for economic growth.”

History suggests such unity would not come easy to Northeast Ohio. Look at a detailed map of Ohio’s most populous county, Cuyahoga, and you’ll see a kaleidoscope of governments: one county, 38 cities, 19 villages, two townships, 33 school districts, and dozens of single-minded taxing authorities.

The idea of huddling them behind a single quarterback is not new. At least six times since 1917, voters rejected plans for regional government, spurning the most recent reform plan in 1980.

“You know why? People like small-town atmosphere,” said Faith Corrigan, a Willoughby historian who raised her family in Cleveland Heights. “It’s been said Cleveland is the largest collection of small towns in the world.”

Any effort at civic consensus in Northeast Ohio also means bridging a racial divide, which helped to defeat the last three reform efforts. Black civic leaders suspected a larger, whiter city would dilute their hard-won influence and political power. Those sentiments remain.

“Yes, we’re fearful of less representation,” said Sabra Pierce Scott, a Cleveland City councilwoman who represents the Glenville neighborhood, which is mostly black. “It’s taken us a long time to get here.”

Meanwhile, residents of wealthy suburbs may see little to gain by sharing taxes with Cleveland, let alone giving up the village council.

“I think it’s almost a fool’s dream to think you could even accomplish it,” said Medina County Commissioner Steve Hambley.

Yet opposition to regional government is softening. Recently, Urban League director Myron Robinson told his board members that regional cooperation could give black children access to better schools and should be discussed.

Mayors of older suburbs, facing their own budget woes, are questioning the wisdom of paying for services that might be efficiently shared, like fire protection and trash collection.

And Cleveland business leaders, many of whom live in the suburbs, are emerging as some of the strongest supporters of regional sharing and planning. They say a strong city is essential to the region’s prosperity and that Cleveland cannot rise alone.

For models of what might work, they look to any one of a dozen metropolitan areas that forged regional partnerships in recent decades – and to a few impassioned local believers.

“If I were God for a day,” CSU’s Rosentraub declares, he would simply merge the city and county bonding powers behind aplanning agency with teeth. He would create a $500 million revolving development fund, big enough to launch the kinds of projects that change skylines.

That kind of cooperation, Rosentraub said, would also send a message across the land. We’re big. We’re regional. We’re working together.

BOX:

13 municipal Courts

33 school districts

59 municipalities

72 police departments*

110 fire stations

479 elected mayors, trustees, city and village council members

1,413 school buses

*Includes hospital, college and other small police departments recognized by Ohio attorney general’s office.

 

The Cleveland Orchestra History (from Telarc)

Another brief history of the Cleveland Orchestra from Telarc, long a recording company for the Cleveland Orchestra

Cleveland Orchestra

Long considered one of this country’s best symphony orchestras, The Cleveland Orchestra celebrated its 75th anniversary during the 1993-94 season. Under the leadership of its music director, Christoph von Dohnanyi, it has won unanimous acclaim from music lovers and critics throughout the world. Its performances at home, on tour, and on recordings continually demonstrate the orchestra’s ranking among the handful of great international orchestras. In its artistic, educational and community programming, The Cleveland Orchestra consistently shows its commitment to the people of the city for which it is named.

Among the last of America’s major symphony orchestras to be created, The Cleveland Orchestra was founded in 1918 by Cleveland music patron Adella Prentiss Hughes. The new orchestra soon became the primary concern of the Musical Arts Association, a non-profit community organization that had been incorporated three years earlier to help facilitate the ongoing presentation of concerts by visiting ensembles.

The orchestra’s first concerts were given at Grays’ Armory in downtown Cleveland during the opening 1918-19 season, after which they were moved to Cleveland’s Masonic Auditorium. In 1931, Severance Hall opened as The Cleveland Orchestra’s permanent concert home. Located five miles east of downtown in Cleveland’s “University Circle” area, Severance Hall was built for the orchestra by industrialist/philanthropist John Long Severance. It is today considered one of the world’s finer music halls.

Russian-American Nikolai Sokoloff served as The Cleveland Orchestra’s first conductor and music director. During his tenure, Sokoloff initiated an extensive domestic touring schedule that included annual trips throughout the Midwest and special tours to Canada and Cuba. In January 1922, Sokoloff and the orchestra made their first concert appearance at New York’s Carnegie Hall. Over the following decade, they appeared together annually there in the nation’s music capital, garnering favorable press for themselves and for their hometown of Cleveland.

Among early mandates handed to Sokoloff from Mrs. Hughes was the creation of a series of educational concerts for young people. These matinee concerts have continued up to the present day as an integral part of the orchestra’s music-making each season, and, to date, have helped to introduce nearly 3 million children to classical orchestral music.

Sokoloff also led the orchestra’s first commercial disc recording of Tchaikovsky’s “1812” Overture and first radio broadcasts. By 1930, the orchestra’s recordings, radio broadcasts and tours were carrying the name of the city of Cleveland throughout the United States and Canada.

In 1933, Sokoloff was succeeded by Artur Rodzinski. Rodzinski remained with the orchestra for ten seasons and, amid many recordings and radio broadcasts, polished Sokoloff’s ensemble into one of America’s best symphony orchestras. Among highlights of his tenure was the presentation of 15 fully-staged opera productions at Severance Hall. Erich Leinsdorf served as music director from 1943 to 1946 although largely in absentia while serving in the United State armed forces during World War II.

In 1946, George Szell was named the orchestra’s fourth music director. Under Szell, the orchestra entered a new period of dramatic and sustained growth. The orchestra’s personnel was enlarged, eventually reaching 105 members, and the length of the season gradually grew from 30 to 52 weeks.

In 1948 Szell reinstituted annual Cleveland Orchestra performances at New York’s Carnegie Hall and, in 1958, inaugurated the orchestra’s own yearly subscription series there. These annual appearances quickly helped to establish and then to confirm the ensemble’s place at the forefront of the musical world.

With Szell, the orchestra made its first international tours – to Europe (1957, 1965, 1967), and to Eastern Asia (1970) – and was widely acknowledged to be not only among America’s best but – for the first time – to be among the world’s handful of top orchestral ensembles. New series were also inaugurated or expanded to meet audience demand, and popular family programs and summer pops concerts were produced. In addition, the orchestra and Szell made numerous recordings of both classic and contemporary repertoire – recordings that today are regarded as “classic” of the LP era.

In 1952, Szell founded The Cleveland Orchestra Chorus to serve as the orchestra’s performing companion for choral works. This 170-voice volunteer choir was brought to early brilliance by Robert Shaw, the orchestra’s associate conductor from 1956-67, and has continued to join the orchestra in critically acclaimed concerts at home in Cleveland, on recordings and on tour.

The expansion of The Cleveland Orchestra’s performing schedule to a 52-week, year-round season was made possible in 1968 with the opening of Blossom Music Center. Located 25 miles south of Cleveland on 800 acres in Cuyahoga Falls, Ohio, Blossom was conceived as both a summer home for the orchestra and as a regional performing arts center. Presentations at Blossom have included fully-staged ballet, musical and opera productions, as well as concerts by rock, pop and jazz artists.

Following George Szell’s death in 1970, French composer and conductor Pierre Boulez was appointed the orchestra’s musical advisor, a post he held through the end of the 1971-72 season. He and the orchestra made several prize-winning recordings during this time. In the fall of 1971, Lorin Maazel was appointed the orchestra’s fifth music director. His tenure began at the start of the 1972-73 season. Maazel continued The Cleveland Orchestra’s tradition of regular domestic and international touring, as well as recording activities with CBS, Decca/London and Telarc Records. Following a decade of achievement with The Cleveland Orchestra, Maazel resigned to accept the post of general manager and artistic director of the Vienna State Opera.

In March 1982, Christoph von Dohnanyi was named music director-designate and subsequently assumed his full-time duties with The Cleveland orchestra with the 1984-85 season. His contract was recently extended through the 1999-2000 season.

At home and on tour in the United States and abroad, the orchestra and Dohnanyi are today widely hailed as one of the world’s premier orchestra-conductor partnerships. Under Dohnanyi, The Cleveland Orchestra has become the most recorded orchestra in America.

The orchestra and Dohnanyi have made three concert tours to Eastern Asia (1987, 1990 and 1993) and four to Europe (1986, 1989, 1990 and 1992). The last two included performances at Austria’s prestigious Salzburg Festival, to which they returned in 1994 and will again in 1995. Their most recent Asian tour included performances of all nine Beethoven symphonies at Tokyo’s Suntory Hall.

 

Teaching Cleveland Digital