January & February 2025 Fanfare Magazine

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Cristian Măcelaru

Music Director Designate

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O ur Exc e p ti o n a l th R e c i t a l S e a s o n 11 1 Co n tin ue s !

CINCINNATI DEBUT

Lawrence Brownlee

Martin James Bartlett

March 9, 2025

April 6, 2025

TENOR

PIANO

“… one of the most in-demand opera singers in the world today.”

— NPR

• A fixture at leading international opera houses and major orchestra halls • Named “Male Singer of the Year” by both the International Opera Awards (2017) and Bachtrack

“… not only a prodigy of the piano but an accomplished artist who counts among the greats of his generation.”

— Nice Matin

• Plays with a maturity and elegance far beyond his years • Known for his fearless technique, he is the recipient of numerous awards

Meet-the-artists receptions after each recital!

Both recitals are on Sundays at 5 PM at Memorial Hall, OTR Tickets: Single tickets $15–$35 · Students $10. Call the Memorial Hall Box Office at 513-977-8838 (Tuesday–Friday, 1–6 p.m.) or visit MatineeMusicaleCincinnati.org.

Visit us on Facebook.

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Part II of Fanfare Magazine’s Part II of Fanfare Magazine’s CONTENTS series “Getting to Know Cristian series “Getting to Know Cristian Măcelaru” (pp. 9–12) focuses Măcelaru” on (pp.his 9–12) focuses on his 3 Upcoming Concerts early conducting early conducting 5 Welcome career, starting career, starting with The with The 6 Directors & Advisors Philadelphia Philadelphia Orchestra, where, Orchestra, where, 7 A Letter from Jonathan Martin, CSO President & CEO as assistant as assistant conductor, he conductor, he 9 Cover Story: Getting to Know Cristian Măcelaru, Part II stepped in to stepped in to lead 20 programs lead 20 programs 13 Spotlight: Visionary Producer and Composer while the Blurs orchestra was on while strike: the orchestra was on strike: Steve Hackman Lines “Those are make-or-break times “Those are make-or-break for times for Spotlight: CSOconductor….

Musicians Take Center Stage a 17 young You have a young conductor…. to You have to really know the music.” really know the music.”

21 17

Spotlight: Building Careers Through Harmony: The Andrew J. Brady Internship Program

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In January, In January, 24 Spotlight: CSO String Players Answer “What’s Your two two longtime longtime Favorite Cincinnati-Area Park or Outdoor Space?”

CSO CSO 26 Orchestra Roster principal principal players players 27 Artistic Leadership: Cristian Măcelaru, John Morris Russell step to step to the front the front 29 Concerts in this Issue: of the Music Hall stage—Elizabeth of the Music Hall stage—Elizabeth • JAN 3–5: A Night at Hogwarts: Freimuth and Ilya Finkelshteyn.

Freimuth and Ilya Finkelshteyn.

The Music of Harry Potter (Pops) Although both have playedAlthough their both have played their • JAN 11 & 12: Rachmaninoff & Copland (CSO) featured concertos with other featured concertos with other orchestras, they each feel aorchestras, distinct they each feel a distinct • JAN 17–19: Simply the Best: thrillThe in repeating that experience thrill in repeating that inexperience in Music of Tina Turner (Pops) Cincinnati. Read more on pp.

Cincinnati.

17–19 Read more on pp. 17–19

• JAN 24 & 25: The Magic Cello (CSO) • JAN 28: Folk Traditions (Winstead Chamber Series) 21 21 • JAN 31 & FEB 1: Strauss & Debussy (CSO) The Andrew J. Brady Internship The Andrew J. Brady Internship • FEB 1: Lost inprovides Space! (Lollipops) Program aspiring arts Program provides aspiring arts administrators with unparalleled administrators with unparalleled • FEB 8 & 9: Dvořák New World Symphony (CSO) • FEB 11: Beethoven X Beyoncé (Pops) • FEB 14 & 15: Gil Shaham Plays Dvořák (CSO)

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Financial Support

75

Opus 50 & 25 Subscribers

80 Administration

hands-on experience, mentorships hands-on experience, mentorships and direct exposure to every and direct exposure to every ON THE COVER: Cristian Măcelaru, Music Director Designate of facet of arts administration.facet Article of arts administration. Article the Cincinnati Symphony Orchestra. Credit: Claudia Hershner author and 24–25 season intern author and 24–25 Mya season intern Mya Gibson says the internship Gibson says the internship All contents © 2024–25. Contents cannot be reproduced in any manner, whole “…not only builds valuable “…not only builds valuable or in part, without written permission from the Cincinnati Symphony Orchestra and Cincinnati Pops. experience but allows the interns experience but allows the interns to play an active role in the to play an active role in the organization, aligning seamlessly organization, aligning seamlessly with the Orchestra’s mission with to the Orchestra’s ‘seek mission to ‘seek and share inspiration,’” pp. 21–23. and share inspiration,’” pp. 21–23.

2 | 2024–25 SEASON

COMING UP at Music Hall

JANUARY/ JANUARY/ FEBRUARY 2025 FEBRUARY 2025

COMING UP at Music Hall

MAR 2025 CSO Recital Series

CONRAD TAO

MAR 5 WED 7:30 PM Conrad Tao piano

DEBUSSY Études, Book I ARLEN (arr. TATUM) Over the Rainbow (trans. Conrad Tao) Conrad TAO Keyed In SCHUMANN Auf einer Burg (arr. Conrad Tao) DEBUSSY Études Book II

FOUNTAINS & PINES OF ROME MAR 8 & 9 SAT 7:30 PM; SUN 2 PM

Giancarlo Guerrero conductor; Masabane Cecilia Rangwanasha soprano PERRY A Short Piece for Orchestra STRAUSS Four Last Songs RESPIGHI Fountains of Rome RESPIGHI Pines of Rome

CLASSICAL ROOTS MAR 15 SAT 7:30 PM

John Morris Russell conductor Classical Roots Community Choir

AMERICAN ORIGINALS: Harlem Renaissance

MAR 21-23 FRI & SAT 7:30 PM; SUN 2 PM John Morris Russell conductor

SHEHERAZADE

MAR 28 & 29 FRI & SAT 7:30 PM

Keitaro Harada conductor; Anne Akiko Meyers violin TOYAMA Rhapsody for Orchestra Arturo MÁRQUEZ Fandango RIMSKY-KORSAKOV Sheherazade

APR 2025 Chamber Series

ROMANTIC STRINGS APR 1 TUE 7:30 PM

BEN FOLDS live with the Cincinnati Pops Orchestra APR 15 TUE 7:30 PM

Ben Folds singer-songwriter/pianist

FOR A FULL LIST OF UPCOMING EVENTS AND ADDITIONAL INFO

VISIT CINCINNATISYMPHONY.ORG

Welcome

WE BELIEVE MUSIC LIVES WITHIN US ALL regardless of who we are or where we come from. We believe that music is a pathway to igniting our passions, discovering what moves us, deepening our curiosity and connecting us to our world and to each other.

DIVERSITY, EQUITY AND INCLUSION

The Cincinnati Symphony Orchestra and Cincinnati Pops’ commitment to diversity, equity and inclusion is catalyzed by systemic injustice and inequality perpetuated by individuals and institutions.

Our mission is to seek and share inspiration, and at its essence, the CSO exists to serve our community. Our entire community. Reflecting our community and the world around at every level— on stage, behind-the-scenes, and in neighborhoods throughout the region—is essential to the CSO’s present and future and makes us a strong ensemble and institution.

LAND ACKNOWLEDGEMENT The Cincinnati Symphony Orchestra and Cincinnati Pops acknowledge that Cincinnati Music Hall occupies land that has been the traditional land of the Hopewell,

© Eric Johnson

Adena, Myaamia (Miami), Shawandasse Tula (Shawanwaki/Shawnee), and Wahzhazhe Manzhan (Osage) peoples, who have continuously lived upon this land since time immemorial.

We honor past, present and future Indigenous peoples.

WELCOME to the January & February issue of Fanfare Magazine.

  

Along with the online version of Fanfare Magazine, the CSO has developed a digital platform to deliver concertspecific content to audiences.

FOLLOW US on social media for the latest updates!

Facebook: @CincySymphony @CincinnatiPops Instagram: @CincySymphony YouTube: @CincySymphony TikTok: @cincysymphony

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For many of us, the New Year marks the beginning of a new chapter. It is no different for the CSO. In February, the CSO begins a new chapter as the Orchestra welcomes back Cristian Mӑcelaru, Music Director Designate, for the first time since his appointment in April 2024. Fanfare Magazine continues its ongoing series of getting to know Mӑcelaru (p. 9). Also, follow along on the CSO’s YouTube Channel (@CincySymphony) for the threepart video series Introducing Cristian Mӑcelaru.

Continuing with the “new” theme, Q&A profiles of the remaining four of eight new musicians of the Orchestra are sprinkled throughout this issue. Mya Gibson, the Orchestra’s current Brady Internship Program intern, expounds the program and interviews three program alumni who have found their first job in the orchestra industry within the CSO’s administrative staff (p. 21). After the success of “The Resurrection Mixtape” in January 2024, conductor and creator Steve Hackman is back with an imaginary musical festival of his dreams, Beethoven x Beyoncé; writer Mildred Fallen discusses with Hackman the inspiration behind this new venture (p. 13).

Ken Smith speaks with principals Elizabeth Freimuth and Ilya Finkelshteyn, who move from their chairs within the Orchestra to center stage as concerto soloists in January (p. 17).

President & CEO Jonathan Martin is poised for a new chapter as he retires on February 16 after leading the CSO for seven years. On p. 7, Martin writes his final letter to CSO audiences.

Please enjoy these stories that have been curated for you in Fanfare Magazine, but also know that the Fanfare Magazine experience is not limited to a print publication available only at Music Hall concerts. You can always explore Fanfare Magazine at any time via our website at cincinnatisymphony.org/fanfare-magazine.

Along with the online version of Fanfare Magazine, the CSO has developed a digital platform to deliver concert-specific content to concert audiences. To meet the CSO’s ongoing commitment to digital storytelling, innovation and accessibility, in the 2024– 25 season this digital platform has expanded to offer early access to exclusive concert-specific content: full-length program notes, artist biographies, feature stories, up-to-the-minute information and much more! As a bonus, program notes and artist biographies for the entire season will be available on this digital platform in advance of the seasonopening concerts, allowing you to engage with all the content before you arrive at Music Hall.

Unlike a print magazine, this digital platform is compatible with all smartphone accessibility features. The CSO’s digital platform is easily accessible—no app to download or subscription to manage. To explore our digital content, visit cincinnatisymphony.org/ DigitalProgram or text the word PROGRAM to 513.845.3024.* The CSO hopes you find inspiration within these pages and within the music—past, present and future—that reverberates at Music Hall and in the community. Thank you for being with us, and Happy New Year!

Fanfare Magazine | 5

 BOARD OF DIRECTORS Officers CINCINNATI SYMPHONY ORCHESTRA & CINCINNATI POPS Music Hall, 1241 Elm Street, Cincinnati, OH 45202 Box Office: 513.381.3300 hello@cincinnatisymphony.org Group Sales: 513.864.0196 groupsales@cincinnatisymphony.org TTY/TDD: Use TTY/TDD Relay Service 7-1-1 cincinnatisymphony.org cincinnatipops.org

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Dianne Rosenberg, Chair Robert W. McDonald, Immediate Past Chair Sue McPartlin, Treasurer and Vice-Chair of Finance Gerron McKnight, Esq., Secretary Kari Ullman, Vice-Chair of Volunteerism Anne E. Mulder, Vice-Chair of Community Engagement Charla B. Weiss, Chair Elect, Vice-Chair of Institutional Advancement Melanie Healey, Vice-Chair of Leadership Development

Directors

Dorie Akers Heather Apple Michael P. Bergan Evin Blomberg Kate C. Brown Ralph P. Brown Trish Bryan* Otto M. Budig, Jr.* Andrea Costa

Adrian Cunningham Gabe Davis Maria Espinola Mrs. Charles Fleischmann III* Kori Hill Francie S. Hiltz* Joseph W. Hirschhorn* Lisa Diane Kelly Edna Keown Florence Koetters John Lanni Shannon Lawson Spencer Liles* Will Lindner James P. Minutolo Laura Mitchell Aik Khai Pung James B. Reynolds* Jack Rouse* Patrick Schleker Valarie Sheppard Stephanie A. Smith Albert Smitherman Randolph L. Wadsworth, Jr.* *Director Emeritus

Managing Editor Tyler Secor Senior Editor/Layout Teri McKibben Graphic Design Stephanie Lazorchak CINCINNATI MAGAZINE: Advertising and Publishing Partners for Fanfare Magazine Publisher Ivy Bayer Production Director & IT Systems Administrator Vu Luong Advertising Designer Sophie Kallis Account Representatives Laura Bowling, Maggie Wint Goecke, Chris Ohmer, Julie Poyer, Joe Hoffecker Operations Director Missy Beiting Business Coordinator Erica Birkle Advertising and Business Offices 1818 Race Street, Suite 301 Cincinnati, OH 45202 | 513.421.4300 Subscriptions: 1.800.846.4333 cincinnatimagazine.com You are welcome to take this copy of Fanfare Magazine home with you as a souvenir of your concert experience.

Alternatively, please share it with a friend or leave it with an usher for recycling. Thank you!

6 | 2024–25 SEASON

 BOARD OF DIRECTORS DIVERSITY, EQUITY & INCLUSION (DE&I) COMMITTEE and MULTICULTURAL AWARENESS COUNCIL In May 2020, the CSO created a 10-point DEI Action Plan to prioritize the Orchestra’s work to better represent and serve the entirety of the Cincinnati community. Action items included the continued amplification of BIPOC artists on stage and in education programs, a review of hiring and compensation practices, organization-wide implicit bias training and increased mentorship opportunities. We thank our many partners who are helping us with this important work.

CSO Board of Directors DE&I Committee Charla B. Weiss, Lead Heather Apple Ralph Brown Adrian Cunningham Maria Espinola Kori Hill (MAC) Lisa Kelly Gerron McKnight Jack Rouse Stephanie Smith

Primary Staff Liaison: Harold Brown Other Staff: Kyle Wynk-Sivashankar

Multicultural Awareness Council Holly Bates Susan Carlson Andria Carter Piper Davis Kori Hill Alverna Jenkins Beverley Lamb Kick Lee Quiera Levy-Smith RaeNosa Onwumelu Yemi Oyediran Aurelia “Candie” Simmons Daphney Thomas Staff: Key Crooms

A LETTER A LETTER FROM FROM JONATHAN JONATHAN MARTIN MARTIN

OurOur strategic strategic initiatives initiatives alsoalso led led the the Dear Dear Friends Friends of Music, of Music, organization to amplify to amplify andand recommit recommit to inclusion to inclusion Happy Happy NewNew YearYear from from the the Cincinnati Cincinnati Symphony Symphony organization at all atlevels all levels while while focusing focusing on strategies on strategies to to Orchestra Orchestra andand Cincinnati Cincinnati Pops!

Pops! address address systemic systemic underrepresentation underrepresentation of BIPOC of BIPOC As the As the calendar calendar turns turns to 2025, to 2025, I amI am at the at the people in orchestra in orchestra music, music, both both on and on and off the off the beginning beginning of aof new a new chapter chapter of my of my life, life, as I as plan I plan to to people stage.

TheThe CSOCSO became became oneone of the of the firstfirst American American retire retire on February on February 16, 2025 16, 2025 after after seven seven years years as as stage. orchestras to create, to create, andand the the firstfirst to endow, to endow, a a President President andand CEOCEO orchestras Chief Chief Diversity Diversity & Inclusion & Inclusion Officer Officer position position on its on its of the of the Cincinnati Cincinnati administrative team, team, ensuring ensuring thatthat bestbest practices practices Symphony Symphony Orchestra.

Orchestra. administrative are are present present in every in every facet facet of the of the organization. organization.

To To ThisThis period period of of bring bring music music beyond beyond the the walls walls of Music of Music HallHall andand leading leading the the CSO, CSO, create create community, community, the the CSOCSO created created the the Brady Brady a community a community thatthat Block Party Party series. series.

These These freefree outdoor outdoor concerts concerts loves loves andand nurtures nurtures Block taketake place place in neighborhood in neighborhood parks parks across across the the CityCity the the performing performing of Cincinnati, of Cincinnati, bringing bringing communities communities together together arts,arts, has has been been around around music. music. unquestionably unquestionably I amI am proud proud of the of the strength strength of our of our entire entire the the highlight highlight of of institution, institution, which which includes includes Music Music andand Event Event my my 45 years 45 years in in Management, Management, Inc (MEMI), Inc (MEMI), andand its broadened its broadened the the American American Roger Roger Mastroianni Mastroianni service service to our to our community. community.

While While my my decision decision orchestra orchestra field. field. to retire to retire is bittersweet is bittersweet for me for me personally, personally, it was it was Together Together we we have have celebrated celebrated the the Orchestra’s Orchestra’s th anniversary anniversary season, season, found found newnew ways ways of of made made lessless so by so knowing by knowing thatthat the the CSOCSO is a is strong, a strong, 125th125 connecting connecting during during the the Covid-19 Covid-19 pandemic, pandemic, stable stable organization organization withwith fabulous fabulous musicians, musicians, honored honored the the legacy legacy of Louis of Louis Langrée Langrée andand an extraordinarily an extraordinarily talented talented Music Music Director Director found found inspiration inspiration in the in the appointment appointment of our of our Designate, Designate, a dedicated a dedicated Board Board of Directors of Directors andand newnew Music Music Director Director Cristian Cristian Mӑcelaru.

Mӑcelaru.

What What we we an administrative an administrative staffstaff thatthat is the is the envy envy of the of the have have accomplished accomplished together together is nothing is nothing short short of of orchestra orchestra industry. industry. extraordinary. extraordinary.

As IAs look I look toward toward retirement retirement andand spending spending When When I began I began at the at the CSOCSO in 2017, in 2017, the the timetime withwith my my family, family, I willI will forever forever cherish cherish the the organization organization embarked embarked on developing on developing a new a new memories memories we have we have created created together together andand the the long-term long-term strategic strategic plan. plan.

TheThe result result waswas a a music music we have we have heard heard together, together, but but most most of all of all planplan to innovate to innovate the the ways ways in which in which we we present present I willI will remember remember the the sheer sheer lovelove thisthis community community st century century has has andand experience experience classical classical music music for 21 forst 21 for its forOrchestra. its Orchestra.

Thank Thank youyou to the to the musicians musicians audiences. audiences.

ThisThis planplan inspired inspired the the creation creation of of of the of the Orchestra, Orchestra, our our artistic artistic leaders, leaders, Board Board of of the the CSOCSO Proof Proof series. series.

CSOCSO Proof Proof is an is incubator an incubator Directors, Directors, technical technical crew, crew, administrative administrative staff, staff, for pioneering for pioneering newnew concert concert formats formats andand donors donors andand to you, to you, our our dedicated dedicated audience audience experiences, experiences, which which launched launched in 2019. in 2019.

Since Since then, then,members, members, for making for making the the lastlast seven seven years years of of the the CSOCSO has has presented presented 10 CSO 10 CSO Proof Proof concerts concerts my my career career so special so special andand meaningful. meaningful.

It has It has withwith experiences experiences ranging ranging from from vogue vogue ballroom ballroom been been an honor an honor to serve to serve the the community community withwith the the culture culture in Singulis in Singulis et Simul et Simul (2020), (2020), multimedia multimedia Cincinnati Cincinnati Symphony Symphony Orchestra.

Orchestra. in ANNO in ANNO (2021), (2021), an immersive an immersive Havana Havana night night With a thankful a thankful heart, heart, clubclub experience experience in Surrealist in Surrealist El Tropical El Tropical (2023) (2023) With

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to participatory to participatory tango tango in the in the upcoming upcoming Tango Tango LabLab (March (March 27, 27, 2025).

2025).

Jonathan Jonathan Martin Martin

Fanfare Fanfare Magazine Magazine |7 |7

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MĂCELARU: PART II

Getting to Know Cristian Măcelaru

by JAMES M. KELLER

Music Director Designate Cristian Măcelaru will be introduced Music Director Designate Cristian to CSO audiences in a series of Măcelaru will be introduced articles in Fanfare Magazine. to CSO audiences in a series of Follow along as the story of the articles in Fanfare Magazine.

CSO’s 14th Music Director unfolds.

Follow along as the story of the CSO’s 14th Music Director unfolds.

Fanfare Magazine | 9

R MĂCELARU: PART II

call week after week, always ready to step in, always ready to give meaningful feedback. Those Readers of the November/December edition are make-or-break times for a young conductor, of Fanfare Magazine learned about the early when you get the call and someone says, ‘Hey, years of Cristian (“Cristi”) Măcelaru, the Music how’s your Petrouchka? You’re going on in two Director Designate of the Cincinnati Symphony hours.’ You have to really know the music.”

Orchestra—his upbringing in Romania and the His relationship with The Philadelphia Orchestra lucky breaks that led to his growth as a violinist began even before he received his official and conductor at Interlochen Arts Academy appointment, when the orchestra invited him to in Michigan, the University of Miami in Florida cover a program being led by its chief conductor, and Rice University in Texas. (Read Part 1 at Charles Dutoit. It included Richard Strauss’ tone cincinnatisymphony.org/CristianMacelaru.) poem Don Juan, a touchstone of orchestral Through his work as a concertmaster and his virtuosity; in fact, most of the string players in any early experiences on the podium he absorbed top-tier orchestra probably played its opening the subtleties of how an orchestra makes magic. page at their audition.

He came within range of the big-time spotlight “I remember sitting down and hearing The when he was appointed assistant conductor of Philadelphia Orchestra begin to play Don Juan The Philadelphia Orchestra in 2011 and then was and thinking to myself, ‘Oh, my God, this is promoted to associate conductor the next year perfect,’” he says. “What would be the process and to conductor-in-residence from 2014 to 2016. of taking a Philadelphia Orchestra from the first rehearsal to the concert? And let me tell you, The Philadelphia Orchestra, like the Cincinnati Symphony Orchestra, like most major American orchestras, they do not sound bad on day one. It’s already pretty close to a really beautiful performance.

So then what does a conductor do to create an interpretation that has their own stamp, their own identity? I saw this as an unbelievable opportunity to have real-life training lessons.”

As the assistant conductor, he anticipated being one of several conductors watching from the wings. The Philadelphia Orchestra traditionally had an assistant Cristian Măcelaru as The Philadelphia Orchestra’s Assistant Conductor. conductor and an associate Credit: Pete Checchia conductor on staff, and also a Concertgoers naturally focus on an orchestra’s couple of conductors-in-training from the League music director and the guest conductors who of American Orchestras, plus extra conductors lead subscription concerts week after week. who might assist on specific projects. The place Less visible, under normal circumstances, are the offered conducting stimulation at every turn. The journeyman conductors who labor behind the position of assistant conductor was, for Cristi, a scenes, but they play an important role in the dream come true. But then… smooth functioning of an ensemble. “An assistant “The morning after I got offered the job, conductor,” says Cristi, “can end up working more they filed for bankruptcy.” It sent shock waves in the organization than even the music director, through the music world, and it took more because the assistant conductor is always on than a year for the orchestra to get back on a sustainable track. “Really, it was a traumatic experience for them,” he says. “But for me, Previous page: Cristian Mӑcelaru inside the Kölner Philharmonie as the assistant conductor, it led to a unique in Cologne as Chief Conductor of the WDR Sinfonieorchester.

Credit: Peter Adamik circumstance. They cut every position that was 10 | 2024–25 SEASON

MĂCELARU: PART II

my manager not absolutely Charlotte to essential—no seize many associate opportunities for conductor, no me. But I didn’t conducting just sit on the fellows. So I couch expecting was literally the her to do it all. I only conductor made contacts, on staff. In that too, and then first season directed them to as assistant her to work out conductor, I the details.” conducted 20 One thing programs, which led to another. was unheard of.

The first time Any assistant he appeared conductor would with the DSO be glad to do Cristian Măcelaru leading the Orchestre National de France on tour at the Berlin (German two or three.

Elbphilharmonie in Hamburg, Germany. Credit: Orchestre National de France Symphony It was as if Orchestra Berlin), the executive director of the someone was paying for my room and board to WDR Sinfonieorchester (Cologne) happened to study at the greatest private training academy.” be in the audience. Jukka-Pekka Saraste had just Not for the first time in his life, Cristi had found stepped down as Cologne’s conductor. “They himself at the right place at the right time. invited me to conduct a week—Stravinsky’s “In my experience,” he says, “musicians are Rite of Spring and a two-piano concerto by excited to be able to call their friends at other Avner Dorman. I did it and returned home orchestras and say, ‘We just had a concert to Philadelphia, where I had just sat down to last night with this young conductor who did dinner when the phone rang. Alan Gilbert had a great job.’ That’s how careers are made.” cancelled in Cologne. Could I substitute? I was As word circulated, offers started to arrive— in Philadelphia for exactly four hours before I debuts with the Chicago Symphony, the New returned and conducted Tchaikovsky’s Fourth York Philharmonic, major orchestras in Europe. and Mozart’s D minor Piano Concerto with He didn’t have to negotiate this alone. When Rudolf Buchbinder, and at the end of the week he began at The Philadelphia Orchestra, he they offered me the position of chief conductor— also signed on with a professional manager, so we moved to Europe.” At the end of the Charlotte Lee, who still represents him to this 2024–25 season, he will relinquish that podium, day. “The relationship between a conductor just in time to pivot to Cincinnati. and a manager is something like that between a Something similar happened in Paris: his debut conductor and a soloist in a concert. People ask there stirred up enough excitement for the me, ‘Who is leading, you or the soloist?…and the Orchestre National de France (ONF) to schedule answer is ‘Yes.’” him for guest appearances in 2018 and 2019.

His calendar started to fill up, and when In November 2019, it announced that he would The Philadelphia Orchestra elevated him to be their next music director, beginning with conductor-in-residence, it arranged things so the 2021–22 season. But when the orchestra’s he could accept more engagements elsewhere. music director, Emmanuel Krivine, resigned Cancellations are also a godsend to rising unexpectedly, he consented to start a year early, conductors, at least to those who have a vast and now he’s under contract repertoire of pieces that can through 2026–27. be moved to the front burner Subscribe to the CSO's You may be thinking that at a moment’s notice. “I hadn’t YouTube channel and watch things have an uncanny way of conducted everything that the three-part docuseries: falling into place for Cristi, that was likely to come up on an Introducing Cristian Măcelaru. he is the sort of guy you ought orchestral program, but I had to take along when you buy a studied all of it and really lottery ticket. You would not be could conduct it if I was called  @CincySymphony on,” says Cristi. “This allowed Fanfare Magazine | 11

MĂCELARU: PART II

wrong, but it is also true that opportunities tend to arise for people who are prepared to make good on them.

Being a music director, he finds, is very different from being a guest conductor. As a guest conductor, he strives to wipe away preconceptions about how a piece must be played, erase assumptions that have accumulated, and build an interpretation that honors the details of what the composer actually wrote in the score.

A music director, on the other hand, can address the ongoing attributes of an ensemble.

He set different goals with his orchestras in Cologne and Paris. “In Cologne,” he explains, “I somewhat changed the sound concept. It’s an extremely flexible orchestra, with an incredible palette of colors and dynamics, especially at soft volumes. It was a very good orchestra when I began, and I feel it is a truly extraordinary one now. In Paris, we focused on consistency and on balance, on the sense of playing together in a profound way, with the musicians listening to each other intently. Now they play as if these things were never an issue.”

Cristi arrives in Cincinnati with a lot of experience under his belt, enough to have developed a philosophy of conducting that he shares when teaching the next generation. It consists of seven “action steps”: Discover, Familiarize, Comprehend, Absorb, Retain, Develop and Give.

He elaborates: “Discover refers to constant curiosity, to searching for the next thing.

Familiarize is just to have a first pass at things.

After you discover something, you familiarize and decide whether you want to go further. Then Comprehend, to really understand the music—you spend a lot of time on this plateau. Absorb is to allow it, through time and repetition, to become part of your psyche, part of your outlook. Then Retain—this is the step where I tell my students they must do whatever is necessary to memorize a piece, to try to put it in their minds so they don’t have to think about it anymore. Develop is where you have a bit of fun by bringing, only at this point, your own take on things, your own interpretation, which has to do with fluctuations of tempo and intensity, finding subtle things that you can add to the piece without changing what the composer has written. That is a lifelong process that develops. And Give is the necessity of all art to be shared, so that it actually becomes art, so it is not just in our heads or something selfishly kept, but rather something that connects people through the sharing.” n James M. Keller, in his 25th season as program annotator of the San Francisco Symphony, was formerly program annotator of the New York Philharmonic and is the author of Chamber Music: A Listener’s Guide (Oxford University Press).

Cristian Măcelaru, Orchestre National de France Concert de Paris. Credit: Christophe Abramowitz

12 | 2024–25 SEASON

Steve Hackman in his studio.

SPOTLIGHT

Visionary Producer and Composer Steve Hackman Blurs Lines

by MILDRED C. FALLEN

In his 2016 Ted Talk, Beethoven X Beyonce: Who’s Violating Whom, multidisciplined conductor, arranger and composer Steven Hackman said a great teacher once told him, “If you’re not controversial, you’re not much.” Lauded for his reimagined compositions of symphonic masterpieces, Hackman dares to break barriers between classical and popular music. For more than a decade, the 44-year-old’s catalog of millennial-focused fusion productions, SYMPHONYFUSE, have connected audiences across the aisle. His mission? To introduce the symphony orchestra to its future audience and make its repertoire more welcoming for everyone.

So why is this kind of work so important to Hackman? “In my work as a professional classical musician, advocacy is integral to what we do; otherwise, we’re not going to do it anymore,” he explains. “It’s always occurred to me that there are so many lovers of different genres of music that just haven’t had the exposure to classical yet, but if they were played the right thing, if they were delivered the right message, extended the right olive branch, they could become passionate about what we do.”

Even at a young age, Hackman always cared about bridging gaps.

Having an equal affinity for popular and classical music, he says, “I was that 10-year-old who was trying to get my friends to listen to Fanfare Magazine | 13

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STEVE HACKMAN

Steve Hackman leading the Cincinnati Pops in the January 2024 Resurrection Mixtape performance. Credit: Charlie Balcom

Chopin and Mozart and Beethoven.” Native to Cincinnati and raised in suburban Chicago, Hackman became immersed in the diversity of the public schools he attended and his father’s record collection. “I really didn’t get professional musical training until I got to college,” says Hackman, who has an undergraduate degree in piano performance from the University of Illinois at Urbana-Champaign and studied conducting at the American Academy of Conducting at Aspen Academy. “But that was a blessing in a

way because I grew up loving all types of music.

I grew up being friends with all sorts of people— from the sports people to the musical theater people, to the drama people, to the grunge people—and I think that really shaped how I am, what my musical tastes are and the openness.”

His 13 orchestral fusions pair genres that would seem disparate, such as IGOR DAMN STRAVINSKY, his synthesis of Stravinsky’s Petrouchka with Kendrick Lamar’s Pulitzer Prizewinning album DAMN, and The Resurrection Mixtape, which combines Mahler’s Second Symphony with music from Notorious B.I.G. and Tupac Shakur. Yet, in his productions, he pinpoints when to interpolate from popular music while keeping the classical piece intact. These curatorial elements are why he prefers the term fusion instead of mashups.

In 2024, Hackman premiered SYMPHONYFUSE’S Beethoven X Beyoncé, which uses Beethoven’s Seventh Symphony as the structural outline for the “Renaissance” singer’s music. For Hackman, Beyoncé and Beethoven are “the queen and the king” of their respective eras and genres, and the production’s premise is like a duet between the two icons.

“Beethoven is like Zeus sitting atop a Mount Olympus of composers,” Hackman says. “You could argue, but I think a lot of people feel like that’s who Beethoven is within the classical music canon. And then Beyoncé, I mean, the longevity, the reimagination of her identity, the way she takes on a new persona with each Beyoncé, from the promo for her halftime performance on Christmas Day 2024 during the Baltimore Ravens vs. Houston Texans game, part of Netflix’s first-ever NFL Christmas Gameday.

14 | 2024–25 SEASON

STEVE HACKMAN

The crowd swaying with phone flashlights on to a fusion of Mahler, Notorious B.I.G. and Tupac Shakur at January 2024’s Resurrection Mixtape with the Cincinnati Pops. Credit: Charlie Balcom

album, and just the quality, I just think she’s such a singular figure.”

A signature technique of Hackman’s is demonstrating how classical compositional techniques like counterpoint (creating music lines and aligning them with existing ones) are also used in all music genres. “A lot of the techniques that I use to create orchestral fusions overlap with that of a DJ,” Hackman observes.

Interestingly, the DJ mixes he heard on the radio as a child also fed his curiosity for experimentation. “Being in Chicago, I was listening to [WBBM-FM] B-96 on the weekends.

I was like 11 years old,” Hackman recalls. “I was taping the DJ sets that those DJs were doing, and I would listen to it on the bus all through the week. Those DJs were mashing things up; it was like they were crossing genre boundaries. It didn’t matter if it was a theme from a TV show or a new disco record, a new rap record, R&B or a house beat, they were matching it all together, which was so cool.”

As his musical fluency developed in high school, it was as though he already was a musical director, because he tried to get his friends to appreciate the juxtaposition between classical compositions and bands like Phish, Beastie Boys, Radiohead and Pearl Jam. “It was always my mission to say, ‘Hey, if you like that, you might like Stravinsky because of this,’” Hackman says.

These kinds of conversations helped Hackman manifest his first orchestral fusion, Brahms X Radiohead, where he leaned heavily on the counterpoint, improvisation, arranging and composition skills he’d perfected during his graduate studies at Philadelphia’s Curtis Institute

of Music. Since, he has reimagined the music of some of popular music’s most recognized artists, including The Beatles, Queen, Coldplay, Drake and Björk, which set the stage for him adding a classical dimension to live performances for Charlie Puth, Steve Lacy and Doja Cat. In 2019, Hackman collaborated with Kanye West and the Sunday Service Choir’s production of the opera Mary, for which he conducted, arranged and composed music. Hackman has also written numerous original scores and compositions.

He was part of the writing team for the 2024 Academy Awards. Additionally, he co-arranged the “In Memoriam” segment for the 2004 Emmy Awards along with Puth, The War and Treaty, and legendary music director Rickey Minor.

Hackman hopes audiences enjoy Beethoven X Beyoncé’s celebration of dance, which he says includes three powerhouse female soloists.

He has also added a guest drummer, guitarist/ keyboardist and bassist to the orchestra.

“This one was so much fun to write, I chose Beethoven’s Seventh Symphony because that piece was famously dubbed by Richard Wagner as ‘the apotheosis of the dance,’” Hackman says.

“It’s Beethoven infusing all the dance rhythms of the time into this symphony, and I think that that’s a perfect backdrop for Beyoncé’s music, which of course is not all dance, but it has heavy dance influences as she’s evolved.”

Beethoven X Beyoncé comes to the Cincinnati Pops Orchestra on February 11, 2025, at 7:30 p.m. 

Fanfare Magazine | 15

INVEST ENGAGE INNOVATE LEAD

Grantee Spotlight:

INSPIRATION STUDIOS, INC.

Inspiration Studios, Inc., and Sonny Spot Too are two Southwest Ohio organizations serving people with developmental disabilities. In 2023, they collaborated to create a new mural for Sonny Spot’s computer and technology room.

Image courtesy of the organziation

Investing state and federal dollars, the Ohio Arts Council funds and supports quality arts experiences for all Ohioans to strengthen communities culturally, educationally, and economically.

Learn more about our grant programs and resources, find your next arts experience, or connect: OAC.OHIO.GOV.

F

es

CSO CSO Principal Principal Horn HornElizabeth ElizabethFreimuth, Freimuth,December December 2023 2023 (Credit: Charlie Charlie Balcom) Balcom)and andCSO CSOPrincipal PrincipalCello Cello Ilya Ilya Finkelshteyn, Finkelshteyn, January January 2020 2020 (Credit: (Credit: Mark MarkLyons).

Lyons).

SPOTLIGHT SPOTLIGHT

CSO CSO Musicians Musicians Take Center Center Stage Stage

F

byby KEN KENSMITH SMITH

For For more morethan thanaacentury, century,the theCincinnati Cincinnati Symphony SymphonyOrchestra Orchestrahas hasgraciously graciously hosted hosted the most mostfamous famousconcerto concertosoloists soloistsfrom from around around the world. world.Sometimes, Sometimes,though, though,the theright right player player for the job job isisa alittle littlecloser closerto tohome. home.

InIn late lateJanuary, January,two twolongtime longtimeCSO CSO principal principal players playersstep steptotothe thefront frontof ofthe theMusic Music Hall Hall stage— Ilya Ilya Finkelshteyn Finkelshteynto toperform performCamille Camille Saint-Saëns’ Saint-Saëns’ Cello CelloConcerto ConcertoNo. No.1 1and andElizabeth Elizabeth Freimuth Freimuth to play play Richard RichardStrauss’ Strauss’Horn HornConcerto Concerto No. No. 1.

1. Both trace tracetheir theirrelationship relationshipwith withtheir their respective respective pieces piecesback backtototheir theirstudent studentdays. days. And And although although both bothhave haveplayed playedthose thoseparticular particular concertos concertos with other otherorchestras, orchestras,they theyeach eachfeel feelaa distinct distinct thrill in repeating repeatingthat thatexperience experiencein inCincinnati.

Cincinnati.

Finkelshteyn, Finkelshteyn,who whoperforms performsthe the SaintSaintSaëns Saënsconcerto concertoon onJanuary January24 24and and 25, 25, initially initially encountered encounteredthe thepiece piece“in “infifth fifthor or sixth sixth grade,” grade,” he recalls. recalls.He Hefirst firstplayed playedthe thepiece piecein in public public while

touring touringFrance Franceininthe theJuilliard JuilliardOrchestra Orchestra when when the the slated slatedsoloist soloist(“who (“whowas wassupposed supposed toto play play maybe maybe 10 10 times”) times”)had hadaaschedule scheduleconflict. conflict.“Teachers “Teachers often often give givethis thispiece pieceto toyoung youngcellists cellists toto develop develop certain certaintechnical technicalskills,” skills,”he hesays, says,“so “so I still I still cross cross paths paths with withthis thiswork workall allthe thetime timewith with my my own own students studentsand andininmasterclasses.” masterclasses.”

Freimuth, Freimuth,for forher herpart, part,can’t can’teven even remember remember the the first firsttime timeshe shediscovered discoveredthe theStrauss, Strauss, which which she she performs performson onJanuary January3131and andFebruary February 1. “It 1. “It must must have havebeen beenininhigh highschool,” school,”she she says. says.

“Any “Any young younghorn hornplayer playerwho’s who’satatallallserious serious about about the the instrument instrumentlearns learnsStrauss’ Strauss’First FirstHorn Horn Concerto Concerto in in high high school. school.The Thefirst firstmovement movementoften often comes comes upup in in competitions competitionsand andhonor honorband bandsolos, solos, and and it’sit’s a a pretty prettystandard standardwork workfor forauditions, auditions, both both in in college college and and in inthe theprofessional professionalworld.” world.”

Although Althoughshe shehad hadplayed playedexcerpts excerpts from from the the concerto concertoinin“countless “countlessauditions,” auditions,” her her

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Fanfare Fanfare Magazine Magazine | 17| 17

CSO SOLOISTS

experience with playing extended solos from his first public performance was with the Kansas regular chair (as he did in Strauss’ tone poem City Symphony two decades ago during her Don Quixote with the CSO in 2018), he adds, tenure as the orchestra’s principal horn. After “Being a concerto soloist is not much different performing it again as a guest soloist with an from playing a solo while sitting in the section, orchestra in Tennessee 12 years ago, Freimuth when you suddenly have to create a moment. has long been eager to reprise the work with her The only difference is Cincinnati colleagues that, sitting up front, (earlier plans were your moment lasts a postponed when little longer.” she was sidelined In Cincinnati, from the CSO during though, musicians physical therapy often find another for a pinched dynamic, as both nerve). “Whenever Finkelshteyn and I’ve played in the Freimuth are quick orchestra when to point out: Strauss my colleagues are and Saint-Saëns are soloing, I know the two among the many feeling is entirely musical figures who different,” she says. have graced the “You already know Music Hall stage, and them better than whose spirit often any visiting soloist. echoes in the CSO So this time I’m not ranks. “It can be a bit just the soloist, I’ll be spooky to play music playing with friends— by a composer who even extensions of was on this stage a my family—who also hundred years ago,” happen to be some of Finkelshteyn admits. the finest musicians “In Cincinnati, the ‘six in the world.” degrees of separation’ “To play with an between you and the orchestra like the composer is often CSO is a pleasure more like two.” in any capacity, CSO Principal Horn Elizabeth Freimuth. Credit: Roger Mastroianni Freimuth sees but being a soloist it a bit differently. here is very special “Strauss wrote this piece in Munich, so it’s not because the musicians already know how I think,” like Fanfare for the Common Man, which Aaron Finkelshteyn concurs. “Playing other places, you Copland wrote specifically for this orchestra,” actually have less freedom because you always she says. “Even though the CSO has 100% have to adjust to the group, to what they can different personnel now, the music still feels very or can’t do. Here I feel totally free. There’s more personal. A composer like Strauss is more of a responsibility, but also much more love both on distant cousin.” and off the stage.”

Not to say the composer’s work is entirely free Finkelshteyn and Freimuth may be getting of a family dynamic. “Strauss’ music for the horn their turn in the spotlight, but they agree that was very personal,” she continues. “His father was the difference is less a matter of definition a virtuoso player, so even as a boy he heard the than degree. “As a soloist, you obviously instrument being played at a very high level. He have a different relationship in presenting knew what the horn could do, and how to make it your musical ideas,” Finkelshteyn explains, sound best. Strauss wrote his first concerto when “but the collaboration—listening, responding, he was only 18, so if you discover the piece when interacting—is still similar no matter where you’re you’re around that age, you’re on a parallel plane sitting. It’s like chamber music. The only real with the composer. There’s something you really difference between the CSO and a string quartet connect with.” is that there are more people.” Comparing this 18 | 2024–25 SEASON

CSO SOLOISTS

No two performances of any work are ever the same, however, and both Finkelshteyn and Freimuth look forward to a fresh take on an old piece, reflecting not just a new collaboration but also a different vantage point. “It’s probably impossible to play any other way, since as we grow older and more experienced our perspective changes,” Finkelshteyn says. “When I was young, it was all about figuring out the technical challenges. Musically, I just didn’t have the understanding of life or imagery or stories.

Now the technique is second nature, and I have a much fuller understanding of the music, partly from playing other works by Saint-Saëns and partly from years of playing a huge range of musical styles in different orchestras under different conductors.”

The main difference in Cincinnati, he adds, is that he will be playing the concerto for the first time on his current instrument, a 1730 cello built by Venetian luthier Domenico Montagnana previously played by Carlo Alfredo Piatti (1822– 1901) and May Mukle (1880–1963). “This will make a tremendous difference, both in terms of the scope of colors and the character of what the instrument can do—or rather, what it makes me do,” Finkelshteyn says. “I feel that this cello knows

a lot of the repertoire intimately already, but it’s gracious enough to let me do what I want.”

“The last time I played Strauss’ first concerto was in Tennessee when I was seven months pregnant, so this experience will be completely different,” says Freimuth, laughing. “The piece is full of youthful energy, so coming to it again years later I’ll be reminiscing. I mean, I still think I have a lot of youth left in me, but it’s not the same thing.”

Some 60 years passed before Strauss wrote his Second Horn Concerto, one of his final pieces, which is “filled with a completely different wisdom of life,” she says. “I’ve always thought of the first concerto as a tone poem and the second as an opera. Even at 18, Strauss wrote music that was very character-driven, with real storylines.”

This time around, Freimuth feels a fuller connection to the first concerto’s more reflective second movement, as well as having a more mature take on the finale. “The ending of this concerto really burns, and back when I was performing this piece 20 years ago, I was…well, you know what they say about young brass players: louder, faster, higher,” she says. “It’s not that I can’t play that fast anymore, but it feels like there’s a lot more in the music to explore.” 

CSO Principal Cello Ilya Finkelshteyn, Cincinnati Pops’ December 2024 Home Alone concerts. Credit: Charlie Balcom

Fanfare Magazine | 19

Join Barbara Kellar as she showcases artists and cultural leaders from the Greater Cincinnati community.

SATURDAY 6:30PM CET SUNDAY 8:30PM CET ARTS

www.CETconnect.org Emmy Award Winner Regional - Interview/Discussion Program

Showcase Emmy NEW Barbara photo-02.indd 1

7/12/2023 10:57:35 AM

SPOTLIGHT

Building Careers Through Harmony: The Andrew J. Brady Internship Program

by MYA GIBSON, 2024–25 Communications Intern

“In order to be successful, I think you have to have an internship that will broaden your mind to what else is out there—not only within the department you are interested in, but in the field itself.”

—D’Anté McNeal, 2021–22 Brady Intern Behind the grandeur of the Cincinnati Symphony Orchestra lies a vibrant engine of young talent and ambition: The Andrew J. Brady Internship Program.

Named in honor of a beloved Cincinnati Mya Gibson, Brady intern and author of this article music educator, this season-long paid internship provides aspiring arts administrators with unparalleled handson experience in the world of the performing arts. The program is designed to foster the next generation of industry leaders, offering interns direct exposure to every facet of arts administration. At the heart of the internship is a mentorship initiative that pairs each intern with a member of the senior management team, providing valuable insight from experienced leaders within the organization. The interns have regular oneon-one career development sessions that cover essentials such as workplace etiquette, resume reviews and mock interviews.

They also have the unique opportunity to work closely with their managers on projects and assignments that contribute directly to their teams’ success. This hands-on approach not only builds valuable experience but allows the interns to play an active role in the organization, aligning

seamlessly with the Orchestra’s mission to “seek and share inspiration.”

Diversity within the orchestra field remains a work in progress. According to a report by the League of American Orchestras covering orchestras in the U.S. over the last decade from 2013 to 2023, the representation of historically underrepresented groups in orchestral music has only seen modest growth. This includes roles such as board members, top executives, staff members, music directors, conductors and musicians. The Andrew J. Brady Internship, now in its fourth year, is making strides to address this disparity by encouraging applicants from historically underrepresented groups in orchestra music.

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2024–25 Brady interns, from left: Kit Gladieux, Madelyn McArthur, Lauren Hall, Isabella Prater, Laura Aldana, Mason Stewart and Grace Kim.

Fanfare Magazine | 21

BRADY INTERNSHIP PROGRAM

The program’s structure owes much of its success to the efforts of Kyle WynkSivashankar, Vice President of Human Resources, and Natalia Lerzundi, Human Resources & Payroll Coordinator. They have shaped the program into the robust initiative it is today. As Wynk explains, one of the program’s key goals is to “make our interns the most qualified people for any entry-level position.”

Obtaining qualifications like this is invaluable for someone looking for a job in the competitive performing arts field.

Lerzundi adds, “We have hired at least one Kyle Wynk-Sivashankar intern from every Brady (Credit: Roger Mastroianni) and Natalia Lerzundi (Credit: intern class we have Mark Lyons) oversee the had, which is something Brady Internship Program. we are really proud of.”

The journey from internship to employment inspires participants, showing them that a fulfilling career in arts administration is within their reach. The success of the Brady Internship Program is evident in the stories of its alumni.

Three current CSO employees began their careers as Brady interns.

MADELYN McARTHUR, Audience Engagement Manager When Madelyn McArthur applied for the internship in 2023, she had no idea this would be her future full-time job. McArthur served as the marketing intern for the 2023–24 season.

“The internship gave me a lot of confidence,” remarked McArthur. “As an intern at the CSO, I felt like I was fully part of the team, not just a one-on-one experience with my supervisor. That team mentality really motivated me to integrate within the entire organization.” McArthur’s background is in the visual arts and her work as an intern was clearly visible to concertgoers.

Those attending the March 2024 Proof concert, “From the Canyons to the Stars,” would have seen McArthur’s exhibit that “was inspired by the sounds and the bird calls present in the piece and native to Utah’s Bryce Canyon and Zion National

22 | 2024–25 SEASON

Park.” For the 2024 May Festival, McArthur collaborated with local artists to create a zine, which contained artwork based on the themes of the Festival.

SHUTA MAENO, Assistant to the Music Director & Artistic Planning Shuta Maeno was part of the 2022–23 season cohort as the artistic planning intern. Maeno had held previous internships at smaller nonprofits “where I did a bit of everything,” adding that “I wanted an internship that was more focused on one area and where I could be close to music.”

Maeno holds a dual degree from the University of Cincinnati in clarinet performance and philosophy, so artistic planning is a good fit. Maeno credits relationship-building as a key component of the internship. “As an intern, I had two great mentors in my supervisor Anthony Paggett and my senior management mentor Robert McGrath.

Both imparted their broad knowledge about the industry and helped develop the skillset I use today. Working alongside my mentors at an orchestra whose mission and vision align with my own philosophy really solidified my desire to continue to work here. So, when a position opened up the fall after I completed my internship, I jumped at the opportunity.”

D’ANTÉ McNEAL, Special Projects Coordinator D’Anté McNeal was part of the inaugural Brady Internship class in the 2021–22 season and served as the philanthropy intern. McNeal’s long-term goal is clear: “My ultimate goal is be an executive director of an orchestra and use music to connect and heal communities.” McNeal’s background is in production and operations, and he knew he had to broaden his experiences to achieve his goal. “During the philanthropy internship, I learned how to interact with people through our mission to create a better relationship between the organization’s vision and the donor’s needs.”

For McNeal, what makes the Brady Internship different from other internships is the dedicated focus on learning and tailoring the experience to meet each intern’s needs. “My intern supervisor, Kate Farinacci, had a set of skills she wanted me to learn, and she gave me the ability to learn outside of these areas. For me, the attitude was ‘bring what you want to learn and we’ll make it happen.’”

MYA GIBSON, 2024–25 Communications Intern As a current Brady intern [and author of this article], I can personally attest to the program’s value. I recently earned my bachelor’s degree in music in 2023 and am now a student at the University of Cincinnati College-Conservatory of

BRADY INTERNSHIP PROGRAM

Music working on a Master of Arts Administration degree. I have only been with the CSO for a short time, but the experience has been nothing less than enriching. I know that, after the season is over, I will have so much knowledge to apply for any job.

While interviewing the alumni of the program, I asked each of them a final question: “What advice would you give current or future interns?” Building professional relationships emerged as a key piece of advice. McArthur encouraged me to “reach out to your colleagues and make the most of your experience as an intern at the CSO.” McNeal reflected, “These are the people that make everything happen—both seen and unseen. They’ve got the experience, so invite them to coffee or lunch to learn as much as you can from them.” There is a shared culture of knowledge and support within the walls of Music Hall, which reinforces the Cincinnati Symphony Orchestra’s mission of fostering innovation and inspiration. Maeno pointed out, “What we do here is very special, it is unique, and the goals we strive for are something we believe the entire industry should aim for.”

The dedication to high standards, representation and visibility drives the dedicated team at the Orchestra to create inclusive and impactful work.

For some, the Andrew J. Brady Internship marks the beginning of a promising career, a launching pad to absorb knowledge and pave the way to

their dream roles in or out of music. For others, it represents the culmination of their aspirations, offering fulfillment and purpose right here within the organization. For students and young professionals passionate or curious about arts administration, this program is a must.

Another strength of the program is its openness; applicants do not need a background in music to apply. Diverse perspectives and talents are not only welcomed but celebrated. It is a vibrant community learning experience and a steppingstone for an aspiring arts professional.

For more information about the Andrew J. Brady Internship, visit cincinnatisymphony.org/intern.

Brady Internship Program alumni, clockwise from right, Shuta Maeno, Madelyn McArthur and D’Anté McNeal

Fanfare Magazine | 23

SPOTLIGHT

CSO String Players Answer ‘What’s Your Favorite Cincinnati-Area Park or Outdoor Space?’

In the cold, wintery months of January and February, we all dream of the spring sunshine and to once again walk around in the area’s best outdoor spaces. For a little bit of spring in the winter, we asked our string players about their favorite parks or outdoor spaces.

Caterina Longhi

Joanne Wojtowicz

Viola

Viola

Pioneer Park in Montgomery I walk to this neighborhood park every day with my dog, and we both love seeing all the different trees and wildflowers and listening to the sound of the creek. In the fall it’s a beautiful place to see the leaves change, and we always love sitting on the swings by the pond!

Lebanon Bike Park The Lebanon Bike Park is a car-free zone to ride mountain bike trails, a large pump track and a tiny one for beginner riders.

There are features to test your balance and a rock garden to test your bravery. An easy gravel track circles the park while tougher cyclocross trails crisscross through. The wildflowers and crickets can be enjoyed from the picnic shelter while the kids explore the dirt jumps.

We love this park!

Rachel Charbel Second Violin Ida Ringling North Chair

Background: The Gazebo at Eden Park, looking toward Mirror Lake

24 | 2024–25 SEASON

Bender Mountain I love the trail system and the spectacular views of the Ohio River (especially during fall).

Rose Brown

Hyesun Park

Second Violin

Second Violin

Ault Park Ault Park is a great park for a picnic or to lie on a blanket in the grass and read a book for a while.

Philip Marten First Assistant Concertmaster James M. Ewell Chair Ault Park I love to get lost on the trails here, because, somehow, I always find my way back without having to worry about getting too far into the woods.

Ault Park I love Ault Park for many different reasons—the view from the top of the pavilion, the hiking trails, the flower gardens, the workout area and, last but not least, the beautiful cherry blossom trees that bloom every spring.

Felicity James Associate Concertmaster Tom & Dee Stegman Chair Eden Park Eden Park is just beautiful. I take my dog for walks there every day and we love looking at all the trees, plants, wildlife and the gorgeous views. As a bonus, in the winter you can even ice skate on Mirror Lake!

Rick Vizachero Bass Stanbery Park in Mt. Washington Stanbery is a beautiful park with walking trails, walking track and areas for children and adults to picnic and play.

Fanfare Magazine | 25

CRISTIAN MӐCELARU, Music Director Designate Louise Dieterle Nippert & Louis Nippert Chair

JOHN MORRIS RUSSELL, Cincinnati Pops Conductor Louise Dieterle Nippert & Louis Nippert Chair

Matthias Pintscher, CSO Creative Partner Damon Gupton, Pops Principal Guest Conductor Louis Langrée, Music Director Laureate Samuel Lee, Associate Conductor Ashley and Barbara Ford Chair

Daniel Wiley, Assistant Conductor Ashley and Barbara Ford Chair

FIRST VIOLINS Stefani Matsuo

CELLOS Ilya Finkelshteyn

Felicity James

Lachezar Kostov *

Concertmaster Anna Sinton Taft Chair Associate Concertmaster Tom & Dee Stegman Chair

Philip Marten

First Assistant Concertmaster James M. Ewell Chair++

Principal Irene & John J. Emery Chair

CLARINETS Christopher Pell

Principal Emma Margaret & Irving D. Goldman Chair

Ona Hixson Dater Chair

Joseph Morris*

Karl & Roberta Schlachter Family Chair

Ixi Chen

Norman Johns**

Associate Principal and E-flat Clarinet Robert E. & Fay Boeh Chair++

Eric Bates

Drew Dansby§ Daniel Kaler

Kathryn Woolley

Nicholas Mariscal

BASS CLARINET Ronald Aufmann

Anna Reider

Hiro Matsuo

BASSOONS Christopher Sales

Mauricio Aguiar§

Alan Rafferty

Second Assistant Concertmaster Serge Shababian Chair Nicholas Tsimaras– Peter G. Courlas Chair++ Dianne & J. David Rosenberg Chair Anne G. & Robert W. Dorsey Chair

Peter G. Courlas– Nicholas Tsimaras Chair++ Marvin Kolodzik & Linda S. Gallaher Chair for Cello Laura Kimble McLellan Chair++ Ruth F. Rosevear Chair

Vicky & Rick Reynolds Chair in honor of William A. Friedlander

Principal Emalee Schavel Chair++

Minyoung Baik

Tianlu (Jerry) Xu

Martin Garcia* Hugh Michie

James Braid

BASSES Owen Lee

CONTRABASSOON Jennifer Monroe

Luis Celis*

HORNS Elizabeth Freimuth

Jo Ann & Paul Ward Chair Marc Bohlke Chair given

by Katrin & Manfred Bohlke

Rebecca Kruger Fryxell Clifford J. Goosmann & Andrea M. Wilson Chair

Elizabeth Furuta Gerald Itzkoff

Jean Ten Have Chair

Joseph Ohkubo Luo-Jia Wu Jonathan Yi

SECOND VIOLINS Gabriel Pegis Principal Al Levinson Chair

Yang Liu*

Principal Mary Alice Heekin Burke Chair++ Thomas Vanden Eynden Chair

Stephen Jones**

Trish & Rick Bryan Chair

Boris Astafiev§ Gerald Torres Rick Vizachero

HARP Gillian Benet Sella

Principal Cynthia & Frank Stewart Chair

Scott Mozlin**

FLUTES Randolph Bowman

Kun Dong Cheryl Benedict Evin Blomberg§

Henrik Heide* Haley Bangs

Harold B. & Betty Justice Chair Henry Meyer Chair

Sheila and Christopher Cole Chair

Rose Brown Rachel Charbel

Ida Ringling North Chair

Chika Kinderman Charles Morey Hyesun Park Paul Patterson

Charles Gausmann Chair++

Stacey Woolley

Brenda & Ralph Taylor Chair++

VIOLAS Christian Colberg

Principal Louise D. & Louis Nippert Chair

Gabriel Napoli

Acting Associate Principal Grace M. Allen Chair

Julian Wilkison** Rebecca Barnes§ Christopher Fischer Stephen Fryxell

Melinda & Irwin Simon Chair

Caterina Longhi Denisse Rodriguez-Rivera Dan Wang Joanne Wojtowicz 26 | 2024–25 SEASON

Principal Charles Frederic Goss Chair Jane & David Ellis Chair

PICCOLO Rebecca Pancner

Patricia Gross Linnemann Chair

OBOES Dwight Parry

Principal Josephine I. & David J. Joseph, Jr. Chair

Lon Bussell*

Stephen P. McKean Chair

Emily Beare

ENGLISH HORN Christopher Philpotts

Principal Alberta & Dr. Maurice Marsh Chair++

Principal Mary M. & Charles F. Yeiser Chair

David Alexander

Acting Associate Principal Ellen A. & Richard C. Berghamer Chair

Molly Norcross** ‡

Sweeney Family Chair in memory of Donald C. Sweeney

Lisa Conway

Susanne & Philip O. Geier, Jr. Chair

Duane Dugger

Mary & Joseph S. Stern, Jr. Chair

Charles Bell

Donald & Margaret Robinson Chair

TRUMPETS Anthony Limoncelli Principal Rawson Chair

[OPEN]

Jackie & Roy Sweeney Family Chair

Alexander Pride†

Otto M. Budig Family Foundation Chair++

Christopher Kiradjieff TROMBONES Cristian Ganicenco

Principal Dorothy & John Hermanies Chair

Joseph Rodriguez**

Second/Assistant Principal Trombone Sallie Robinson Wadsworth & Randolph L. Wadsworth Jr. Chair

BASS TROMBONE Noah Roper TUBA Christopher Olka

Principal Ashley & Barbara Ford Chair

TIMPANI Patrick Schleker

Principal Matthew & Peg Woodside Chair

Joseph Bricker*

Morleen & Jack Rouse Chair

PERCUSSION David Fishlock

Principal Susan S. & William A. Friedlander Chair

Michael Culligan* Joseph Bricker

Morleen & Jack Rouse Chair

Marc Wolfley+

KEYBOARDS Michael Chertock

James P. Thornton Chair

Julie Spangler+

James P. Thornton Chair

CSO/CCM DIVERSITY FELLOWS~ Lucas Ferreira Braga, violin Melissa Peraza, viola Manuel Papale, cello Caleb Edwards, double bass Wendell Rodrigues da Rosa, double bass LIBRARIANS Christina Eaton

Principal Librarian Lois Klein Jolson Chair

Elizabeth Dunning

Associate Principal Librarian

Cara Benner

Assistant Librarian

STAGE MANAGERS Brian P. Schott Phillip T. Sheridan Daniel Schultz Mike Ingram Andrew Sheridan § Begins the alphabetical listing of players who participate in a system of rotated seating within the string section. * Associate Principal ** Assistant Principal † One-year appointment ‡ Leave of absence + Cincinnati Pops rhythm section ++ CSO endowment only ~ Funded by The Mellon Foundation

AND

ARTISTIC LEADERSHIP

CRISTIAN MĂCELARU Music Director Designate

JOHN MORRIS RUSSELL Cincinnati Pops Conductor

Louise Dieterle Nippert & Louis Nippert Chair

Louise Dieterle Nippert & Louis Nippert Chair

Grammy-winning conductor Cristian Măcelaru is the Music Director Designate of the Cincinnati Symphony Orchestra, artistic director of the George Enescu Festival and Competition, music director of the Orchestre national de France, artistic director Adriane White and principal conductor of the Interlochen Center for the Arts’ World Youth Symphony Orchestra, music director and conductor of the Cabrillo Festival of Contemporary Music and chief conductor of the WDR Sinfonieorchester in Cologne, where he will serve through the 2024–25 season and continue as artistic partner for the 2025–26 season.

Măcelaru recently appeared at the Paris 2024 Olympics Opening Ceremony, which was broadcast to 1.5 billion viewers worldwide. He led the Orchestre national de France and Chœur de Radio France in the performance of the Olympic Anthem as the Olympic Flag was raised at the foot of the Eiffel Tower. Măcelaru and the Orchestre national de France continue their 2024– 25 season with tours throughout France, Germany, South Korea and China. Guest appearances include his debuts with the Oslo Philharmonic and RAI National Symphony Orchestra in Turin as well as returns with the Wiener Symphoniker, Leipzig Gewandhaus Orchestra, Swedish Radio Symphony Orchestra, Deutsches Symphonie-Orchester Berlin and Tonhalle-Orchester Zürich in Europe.

In North America, Măcelaru leads the Pittsburgh Symphony, Baltimore Symphony, Minnesota Orchestra and St. Louis Symphony Orchestra.

Măcelaru’s previous seasons include European engagements with the Philharmonia, London Philharmonic Orchestra, NDR Elbphilharmonie, Concertgebouworkest, Symphonieorchester des Bayerischen Rundfunks, Staatskapelle Berlin and Budapest Festival Orchestra. In North America, he has led the New York Philharmonic, Los Angeles Philharmonic, National Symphony Orchestra, Chicago Symphony Orchestra, Boston Symphony Orchestra, San Francisco Symphony, The Cleveland Orchestra and The Philadelphia Orchestra.

In 2020, he received a Grammy Award for conducting the Decca Classics recording of Wynton Marsalis’ Violin Concerto with Nicola Benedetti and The Philadelphia Orchestra. His most recent release is of Enescu symphonies and two Romanian Rhapsodies with the Orchestre national de France, released on Deutsche Grammophon.

John Morris Russell’s (JMR) embrace of America’s unique voice and musical stories has transformed how orchestral performances connect and engage with audiences. As conductor of the Cincinnati Pops since 2011, the wide range and diversity of his work as a Mark Lyons musical leader, collaborator and educator continues to reinvigorate the musical scene throughout Cincinnati and across the continent. As Music Director of the Hilton Head Symphony Orchestra in South Carolina, JMR conducts the classical series as well as the prestigious Hilton Head International Piano Competition.

A Grammy-nominated artist, JMR has worked with leading performers from across a variety of musical genres, including Aretha Franklin, Emanuel Ax, Amy Grant and Vince Gill, Garrick Ohlsson, Rhiannon Giddens, Hilary Hahn, Brian Stokes Mitchell, Cynthia Erivo, Sutton Foster, George Takei, Steve Martin, Brian Wilson, Leslie Odom, Jr., Lea Salonga and Mandy Gonzalez.

For over two decades, JMR has led the Cincinnati Symphony Orchestra’s wildly successful Classical Roots initiative honoring and celebrating Black musical excellence. Guest artists have included Marvin Winans, Alton White, George Shirley, Common and Hi-Tek. JMR has contributed seven albums to the Cincinnati Pops discography, including 2023’s holiday album JOY!. In 2015, he created the “American Originals Project,” which has won both critical and popular acclaim and features two landmark recordings: American Originals (the music of Stephen Foster) and the Grammynominated American Originals 1918 (a tribute to the dawn of the jazz age). The 2020 “American Originals” concert King Records and the Cincinnati Sound with Late Show pianist Paul Shaffer honored legendary recording artists associated with the Queen City. In the 2024–25 season JMR takes on the next installment of the project, offering a concert and recording celebrating the legacy of the Harlem Renaissance, and presents a national PBS broadcast of Rick Steves Europe: A Symphonic Journey. JMR’s American Soundscapes video series with the Pops and Cincinnati’s CET public television station, has surpassed one million views on YouTube since its launch in 2016.

©

©

Fanfare Magazine | 27

Celebrating the magic that art brings to life.

PNC is proud to be the Pops Season Presenter and to support the Cincinnati Symphony Orchestra and Cincinnati Pops. Thank you for mastering the art of making Greater Cincinnati a more beautiful place.

©2024 PNC Financial Services Group, Inc. All rights reserved. PNC Bank, 28 | The 2024–25 SEASON National Association. Member FDIC

AN EVENING AT HOGWARTS | 2024–25 SEASON FRI JAN 3, 7:30 PM SAT JAN 4, 7:30 PM SUN JAN 5, 2 PM Music Hall

AN EVENING AT HOGWARTS: Music from Harry Potter DANIEL WILEY conductor “Hedwig’s Theme” from Harry Potter and the Sorcerer’s Stone

John Williams

“Diagon Alley” from Harry Potter and the Sorcerer’s Stone Children’s Suite for Orchestra

John Williams

“Harry’s Wondrous World” from Harry Potter and the Sorcerer’s Stone

John Williams

“The Chamber of Secrets” from Harry Potter and the Chamber of Secrets

John Williams

“Witches, Wands and Wizards” from Harry Potter and the Prisoner of Azkaban

John Williams

“Buckbeak’s Flight” from Harry Potter and the Prisoner of Azkaban

John Williams

Concert Suite from Harry Potter and the Goblet of Fire

Patrick Doyle

Voldemort!/Hedwig’s Theme The Quidditch World Cup (The Irish) Foreign Visitors Arrive Potter Waltz Voldemort!

Hedwig’s Theme/Hogwarts’ Hymn

“Fireworks” from Harry Potter and the Order of the Phoenix

Nicholas Hooper

Selections from Harry Potter Symphonic Suite

Various

“Flight of the Order of the Phoenix” from Harry Potter and the Order of the Phoenix “Harry and Hermione” from Harry Potter and the Half-Blood Prince “Obliviate” from Harry Potter and the Deathly Hallows, Part 1 “Lily’s Theme” from Harry Potter and the Deathly Hallows, Part 2 “Courtyard Apocalypse” from Harry Potter and the Deathly Hallows, Part 2 “Harry’s Wondrous World” from Harry Potter and the Sorcerer’s Stone

Fantastic Beasts and Where to Find Them

James Newton Howard

Program subject to change.

There is no intermission.

The Cincinnati Pops Orchestra is grateful to Pops Season Presenter PNC and Presenting Sponsor The Rendigs Foundation.

The Rendigs Foundation

The Cincinnati S\ymphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

For exclusive content, such as full-length artist biographies, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

Fanfare Magazine | 29

FORT WASHINGTON INVESTMENT ADVISORS PROUD PARTNER OF THE

CINCINNATI SYMPHONY ORCHESTRA

Bradley J. Hunkler Senior Vice President, Chief Financial Officer, Western & Southern Financial Group

Kate C. Brown, CFP® Managing Director, Fort Washington, CSO Board Member

John F. Barrett Chairman, President & CEO, Western & Southern Financial Group

Maribeth S. Rahe President & CEO, Fort Washington

Tracey M. Stofa Managing Director, Head of Private Client Group, Fort Washington

Fort Washington Investment Advisors, Inc., a member of Western & Southern Financial Group, is honored to help advance the Cincinnati Symphony Orchestra’s mission to seek and share inspiration.

Learn how we can work together. fortwashington.com

RACHMANINOFF & COPLAND | 2024–25 SEASON SAT JAN 11, 7:30 PM SUN JAN 12, 2 PM Music Hall

MATTHIAS PINTSCHER conductor GEORGE LI piano Unsuk CHIN

subito con forza (“Suddenly, with Power”)

(b. 1961)

Sergei RACHMANINOFF (1873–1943)

Concerto No. 3 in D Minor for Piano and Orchestra, Op. 30 Allegro ma non tanto Intermezzo Finale

INTERMISSION

Aaron COPLAND (1900–1990)

Symphony No. 3 Molto moderato, with simple expression Allegro molto Andantino quasi allegretto Molto deliberato—Allegro risoluto

For exclusive content, such as full-length program notes and artist biographies, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

These performances are approximately 130 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group and Fort Washington Investment Advisors, Presenting Sponsor Johnson Investment Counsel and Supporter Sponsor The Blue Book of Cincinnati.

These concerts are endowed by Martha Anness, Priscilla Haffner & Sally Skidmore in loving memory of their mother, LaVaughn Scholl Garrison, a long-time patron of the Orchestra.

The Blue Book of Cincinnati

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

Listen to selections from this program on 90.9 WGUC March 9, 2025 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

Fanfare Magazine | 31

CONCERT PREVIEW n ARTIST BIOGRAPHIES

Matthias Pintscher, conductor & CSO Creative Partner

Felix Broede

©

Matthias Pintscher is the newly appointed Music Director of the Kansas City Symphony (KCS), effective from the 2024–25 season. He launched his tenure with the KCS with a highly successful tour to Europe in August.

The 2024–25 season sees Pintscher in his fifth year as Creative Partner at the Cincinnati Symphony Orchestra. As guest conductor, he returns to the New York Philharmonic, Houston Symphony, San Diego Symphony, Los Angeles Chamber Orchestra, Royal Concertgebouw Orchestra, Berlin Radio Symphony Orchestra, Gürzenich Orchestra Cologne, Oslo Philharmonic, BBC Scottish Symphony, Barcelona Symphony, Orquesta Nacional de España, Orchestre National de Radio France and the Boulez Ensemble.

Pintscher recently concluded a decade-long tenure as the Music Director of the Ensemble intercontemporain, the iconic Parisian contemporary ensemble founded by Pierre Boulez. He has held several titled positions, including as BBC Scottish Symphony Orchestra’s artist-in-association, music director for the 2020 Ojai Festival, and as season creative chair with the Tonhalle-Orchester Zürich and artist-in-residence at the Los Angeles Chamber Orchestra, principal conductor of the Lucerne Festival Academy Orchestra, and director of the Heidelberger Atelier, among others.

Pintscher is also well known as a composer, and his works appear frequently on the programs of major symphony orchestras throughout the world. He has been on the composition faculty of The Juilliard School since 2014.

Matthias Pintscher is published exclusively by Bärenreiter, and recordings of his works can be found on Kairos, EMI, Teldec, Wergo and Winter & Winter. matthiaspintscher.com

George Li, piano

Simon Fowler

©

32 | 2024–25 SEASON

Since winning the Silver Medal at the 2015 International Tchaikovsky Competition, George Li has rapidly established a major international reputation and performs regularly with some of the world’s leading orchestras and conductors.

In the 2024–25 season, Li debuts with The Philadelphia Orchestra at SPAC, the Minnesota and Belgian National orchestras, in a season opening chamber recital with the Orchestra of St. Luke’s at Carnegie Hall, with the Hohhot Philharmonic and Xi’an Symphony orchestras in China, as well as with the Charleston and Des Moines symphony orchestras. Further engagements include returns to the Los Angeles Philharmonic; Symphony Tacoma; the Cincinnati, Indianapolis and Pacific symphony orchestras; and the Nordic Chamber Orchestra in Sweden. In recital, Li will appear in Montreal, Singapore, Shanghai and Guangzhou.

Li is an exclusive Warner Classics recording artist; his third and most recent album, Movements (summer 2024), includes solo pieces by Schumann, Ravel and Stravinsky.

Li gave his first public performance at Boston’s Steinway Hall at age 10, and in 2011 he performed for President Obama at the White House in an evening honoring Chancellor Angela Merkel. Li received the 2016 Avery Fisher Career Grant and the 2012 Gilmore Young Artist Award and was first prize winner of the 2010 Young Concert Artists International Auditions. He is currently pursuing an Artist Diploma at the New England Conservatory, continuing to work with Wha Kyung Byun. georgelipianist.com

CONCERT PREVIEW

n PROGRAM NOTES

Unsuk Chin: subito con forza (“Suddenly, with Power”) n Composed: 2020 n Premiere: September 24, 2020, Amsterdam, by the Royal Concertgebouw Orchestra, Klaus Mäkelä conducting n Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, crotales, crash cymbals, gongs, güiro, marimba, snare drums, tam-tam, tambour de Basque, triangle, tubular bells, vibraphone, whip, xylphone, piano, strings n Duration: approx. 5 minutes

Unsuk Chin, born in 1961 into the family of a Presbyterian minister in Seoul, South Korea, had little formal musical instruction when she was young, but she taught herself piano by playing in her father’s church and composing by copying scores of well-known composers. Chin was admitted as a composition student to Seoul National University on her third try, and there she became familiar with the leading contemporary European composers. A piece of hers was played at the 1984 ISCM World Music Days in Canada, the following year she won an award from the Gaudeamus Foundation in Amsterdam and, in 1985, she received a German government grant to study in Hamburg with György Ligeti. Ligeti’s influence proved decisive in forming her own creative personality. Chin moved to Berlin in 1988 to compose and work at the Electronic Music Studio of the Technical University and has since made that city her home. She began to build her international reputation when Die Troerinnen (“The Trojan Women”) for orchestra and women’s voices was premiered in Bergen in 1990, and she was soon having her works performed and commissioned by leading orchestras, ensembles and soloists around the world; her growing acclaim was validated when she received the prestigious Grawemeyer Award for Music Composition from the University of Louisville in 2004 for her Violin Concerto. In 2022, she started a five-year tenure as Artistic

Born: July 14, 1961, Seoul, South Korea

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Providing financial peace of mind Fanfare Magazine | 33

CONCERT PREVIEW

Director of the Tongyeong International Festival in South Korea and Artistic Directorship of the Weiwuying International Music Festival in Taiwan.

Chin composed subito con forza (“Suddenly, with Power”) in 2020 “on the occasion of the 250th anniversary of Beethoven’s birth,” as she inscribed in the score. The work was premiered on September 24, 2020 in Amsterdam by the Royal Concertgebouw Orchestra and since performed widely; the first United States performance was given by the Minnesota Orchestra in October 2021. subito con forza has several references to Beethoven’s music, most immediately the stern chords borrowed from the Coriolan Overture that open the work, but British critic Simon Cummings wrote that “the piece is less about quotation than celebrating, and mirroring, the indomitable attitude of one of music’s truly great innovators. Chin has sought to embody one of the key defining characteristics of Beethoven’s music: the restless, relentless fire and energy that propels his music with seemingly unstoppable force. This is articulated, as the title implies, via a connected sequence of sudden shifts.” Chin confirmed Cummings’ description: “What particularly appeals to me are the enormous contrasts: from volcanic eruptions to extreme serenity.”

—Dr. Richard E. Rodda

Sergei Rachmaninoff: Concerto No. 3 in D Minor for Piano and Orchestra, Op. 30 n Composed: 1909 n Premiere: November 28, 1909, New York, with the composer as soloist and Walter Damrosch conducting n Instrumentation: solo piano, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, crash cymbals, snare drum, suspended cymbals, strings n Duration: approx. 39 minutes

Born: April 1, 1873, Oneg (near Novgorod), Russia Died: March 28, 1943, Beverly Hills, California

34 | 2024–25 SEASON

The impresario Henry Wolfson of New York arranged a 30-concert tour for the 1909–10 season for Rachmaninoff so he could play and conduct his own works in a number of American cities. Rachmaninoff was at first hesitant about leaving his family and home for such an extended overseas trip, but the generous financial remuneration was too tempting to resist. With a few tour details still left unsettled, Wolfson died suddenly in the spring of 1909, and the composer was much relieved that the journey would probably be cancelled. Wolfson’s agency had a contract with Rachmaninoff, however, and during the summer finished the arrangements for his appearances so that the composer–pianist– conductor was obliged to leave for New York as scheduled. It was for the American tour that Rachmaninoff composed his Third Piano Concerto.

The concerto consists of three large movements. The first is a modified sonata-allegro form that begins with a theme recalled in the later movements.

The espressivo second theme is presented by the pianist, whose part has, by this point, abundantly demonstrated the staggering technical challenge this piece offers to the soloist, a characteristic Rachmaninoff had disguised by the simplicity of the opening.

The second movement, subtitled Intermezzo, which Dr. Otto Kinkleday described in his notes for the New York premiere as “tender and melancholy, yet not tearful,” is a set of free variations with an inserted episode.

“One of the most dashing and exciting pieces of music ever composed for piano and orchestra” is how Patrick Piggott described the finale. It is music that employs virtually every sonorous possibility of the modern grand piano, making it a dazzling showpiece for the master performer.

—Dr. Richard E. Rodda

CONCERT PREVIEW

Aaron Copland: Symphony No. 3 n Composed: 1944–46 n Premiere: October 18, 1946, Serge Koussevitzky conducting the Boston Symphony Orchestra n Instrumentation: 3 flutes (incl. 2 piccolos), 3 oboes (incl. English horn), 2 clarinets, bass clarinet, E-flat clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, anvil, bass drum, chimes, claves, crash cymbals, glockenspiel, ratchet, slapstick, snare drum, suspended cymbals, tam-tam, tenor drum, triangle, wood block, xylophone, 2 harps, celeste, piano, strings n Duration: approx. 43 minutes

American composer Aaron Copland’s Third Symphony may be best known today for its incorporation of the iconic Fanfare for the Common Man (a piece commissioned by the CSO) at the beginning of its finale, but the piece represented more for the composer. During the waning months of World War II, Copland began the Third Symphony as a way to give musical voice to the burgeoning optimism of his country as Allied forces overtook the Axis and the tides of the war were clearly turning. Copland completed the work two years later, bringing together elements of his signature musical styles, from the jazzinflections of his early works and austere abstractions of works like his Piano Sonata to the iconic sounds of his “populist” works from the 1930s and 40s, such as the ballets Appalachian Spring and Rodeo. Suffusing all these materials into his most extensive orchestral work, Copland was able to synthesize feelings carried over from geopolitical struggles and create a work that mirrored triumphs in Europe as they were seen from American soil. Snippets of melodies and rhythms that become recognizable across the work come together in the thrilling Fanfare finale—a reflection of the prowess of a composer well versed in narrative and drama, one uniquely capable of translating those art forms into instrumental idioms to make a grand statement through the 20th-century symphony.

—Jacques Dupuis

Born: November 14, 1900, New York City Died: December 2, 1990, North Tarrytown, New York

Fanfare Magazine | 35

SIMPLY THE BEST | 2024–25 SEASON FRI JAN 17, 7:30 PM SAT JAN 18, 7:30 PM SUN JAN 19, 2 PM Music Hall

SIMPLY THE BEST: THE MUSIC OF TINA TURNER DAMON GUPTON conductor SHALEAH ADKISSON vocalist TAMIKA LAWRENCE vocalist SCOTT COULTER vocalist JOHN BOSWELL piano

All hail the “Queen of Rock ‘n’ Roll.” Tina Turner’s singular voice provided the soundtrack of a generation and her story inspired hearts and minds around the world. With a career including 12 Grammy wins and more than 100 million records sold worldwide, she was simply “better than all the rest.” Join the Pops for a tour of Turner’s iconic musical legacy, featuring hits like “Proud Mary,” “What’s Love Got to Do with It,” “Disco Inferno” and more!

There will be one 20-minute intermission.

The Cincinnati Pops Orchestra is grateful to Pops Season Presenter PNC and Presenting Sponsor ArtsWave Flow.

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

36 | 2024–25 SEASON

For exclusive content, such as full-length artist biographies, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg &

CONCERT PREVIEW n ARTIST BIOGRAPHY

Damon Gupton, Pops Principal Guest Conductor Damon Gupton is the Principal Guest Conductor of the Cincinnati Pops. A native of Detroit, he served as American Conducting Fellow of the Houston Symphony and held the post of assistant conductor of the Kansas City Symphony. His conducting appearances include the Philadelphia Orchestra, Orchestra of St. Luke’s, Detroit Symphony, Boston Pops, National Symphony Orchestra, San Francisco Symphony, Atlanta Symphony, Baltimore Symphony, St. Louis Symphony Orchestra, Toledo Symphony, Fort Worth Symphony, Florida Orchestra, San Diego Symphony, Long Beach Symphony, San Antonio Symphony, Princeton Symphony, Orchestre Philharmonique de Monte Carlo, Chineke!, NHK Orchestra of Tokyo, Orquesta Filarmonica de UNAM, Charlottesville Symphony, Brass Band of Battle Creek, Brevard Music Center, and Sphinx Symphony as part of the 12th annual Sphinx Competition. He led the Sphinx Chamber Orchestra on two national tours with performances at Carnegie Hall, and conducted the finals of the Seventh Cliburn International Amateur Piano Competition and the 2021 Classic FM Live at Royal Albert Hall with Chineke!.

Gupton received his Bachelor of Music Education degree from the University of Michigan. He studied conducting with David Zinman and Murry Sidlin at the Aspen Music Festival and with Leonard Slatkin at the National Conducting Institute in Washington, D.C. An accomplished actor, Gupton is a graduate of the Drama Division of The Juilliard School. He has had a number of roles in television and film, including in the upcoming Paramount+ series Happy Face and the film Lear Rex with Al Pacino, as well as on stage.

He is represented by Harden Curtis Kirsten Riley Agency (HCKR), SMS Talent and Brookside Artist Management.

o r c s e i d eth g totogether

stronge arts for ar stronge r region

Since 1927, ArtsWave has been the primary way to fund Cincy’s arts. Gifts from ArtsWave Members are invested in nearly every neighborhood and town across the Cincinnati region, supporting arts organizations like the Cincinnati Symphony Orchestra that create a vibrant economy and a connected community.

Become a member today and discover what we can do, together Fanfare Magazine | 37

THE MAGIC CELLO | 2024–25 SEASON FRI JAN 24, 11 AM SAT JAN 25, 7:30 PM Music Hall

CHRISTIAN REIF conductor ILYA FINKELSHTEYN cello Wolfgang Amadeus MOZART

Overture to Die Zauberflöte (“The Magic Flute”), K. 620

(1756–1791)

Camille SAINT-SAËNS

Concerto No. 1 in A Minor for Cello and Orchestra, Op. 33

(1835–1921) Allegro non troppo Allegretto con moto Allegro non troppo; un peu moins vite

Jimmy LÓPEZ

Symphony No. 5, Fantastica world premiere, cso co-commission

(b. 1978) The Book of Books Atreyu’s Great Quest Moon Child Bastian the Savior AURYN

INTERMISSION

Sergei PROKOFIEV

Symphony No. 7 in C-sharp Minor, Op. 131

(1891–1953) Moderato Allegretto Andante espressivo Vivace

For exclusive content, such as full-length program notes and artist biographies, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

These performances are approximately 125 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group and Fort Washington Investment Advisors.

The appearance of Ilya Finkelshteyn is made possible by a generous gift from Linda and James Miller.

The Cincinnati Symphony Orchestra’s world premiere commission of Symphony No. 5, Fantastica by Jimmy López is made possible by a generous gift from Kari and Jon Ullman.

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

Listen to this program on 90.9 WGUC March 16, 2025 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

38 | 2024–25 SEASON

CONCERT PREVIEW n ARTIST BIOGRAPHIES

Christian Reif, conductor Chief Conductor of the Gävle Symphony Orchestra, Christian Reif has established a reputation for his natural musicality, innovative programming and technical command. Since 2022, Reif has also served as Music Director of the Lakes Area Music Festival (MN).

Highlights of Reif’s 2024–25 season include debut performances with the Los Angeles Philharmonic at the Hollywood Bowl, Phoenix Symphony, Detroit Symphony, Canada’s National Arts Centre Orchestra, SWR Symphony Orchestra and Royal Northern Sinfonia. He conducted his own arrangement of John Adams’ El Niño with the Münchner Rundfunkorchester, Gävle Symphony and the American Modern Opera Company in December 2024. Reif and his wife, soprano Julia Bullock, also bring Bullock’s original program History’s Persistent Voice to performances at Lincoln Center and Yale University’s Schwarzman Center in February 2025.

In 2024, Reif won a Grammy for the Nonesuch Records album Walking in the Dark, Bullock’s debut solo album. In 2020 during the pandemic, Reif and Bullock recorded a series of at-home virtual “Songs of Comfort.” christianreif.eu

Gävle Symphony Orchestra

©

Ilya Finkelshteyn, cello Ilya Finkelshteyn is Principal Cello of the Cincinnati Symphony Orchestra and Cincinnati Pops and the Festival Orchestra of Lincoln Center. He has performed throughout the United States, Canada, Europe and Asia, and he continues to perform a variety of solo and chamber music engagements throughout the year.

Finkelshteyn started his education at the Special Music School at the St. Petersburg Conservatory under Sergei Chernyadiev. After immigrating to the United States, he studied with Tanya Remenikova for one year at the University of Minnesota School of Music and then went on to study at The Juilliard School with Harvey Shapiro.

He has appeared as a soloist with the Cincinnati Symphony Orchestra, Baltimore Symphony Orchestra, St. Louis Symphony Orchestra, Mostly Mozart Festival Orchestra and National Repertory Orchestra, among others. His skillful playing has led to prizes in the Brahms International Competition, Concertino Praga, Russian Cello Competition and the WAMSO International Competition.

Finkelshteyn is on faculty at the University of Cincinnati College-Conservatory of Music (CCM) and also teaches through the CSO/CCM Diversity Fellowship Program as well as a small number of private lessons.

He plays on a 1730 Domenico Montagnana cello.

Devyn Glista

©

n PROGRAM NOTES

Wolfgang Amadeus Mozart: Overture to Die Zauberflöte (“The Magic Flute”) n Composed: 1791 n Premiere: September 30, 1791, Theater auf der Wieden, Vienna, Mozart conducting n Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, strings n Duration: approx. 6 minutes

Wolfgang Amadeus Mozart finished his last opera, The Magic Flute, during the summer of 1791 and conducted the premiere in September of that year. Just three months later, gravely ill and bedridden, Mozart died at the age of 35.

Mozart was incredibly productive before his illness took hold, composing a final piano concerto, his beautiful Clarinet Concerto and the unfinished Requiem, in addition to The Magic Flute.

The plot takes place in a mythical land and revolves around the heroic Prince Tamino and his companion Papageno, a creature who is half-man and half-bird.

They are sent on a quest to rescue the Queen of the Night’s daughter, Pamina, who has been captured by the evil Sarastro.

Born: January 27, 1756, Salzburg, Austria Died: December 5, 1791, Vienna, Austria

Fanfare Magazine | 39

CONCERT PREVIEW

The opera’s overture opens with three declamatory chords (taken from Act I of the opera) and a slow, somber introduction. Then, seamlessly, Mozart delves into the fast Allegro section and a joyful fugal passage full of offbeat accents and dynamic contrasts. The fugue is not taken directly from the opera but the infectious spirit in the music reflects the exuberance and humor of the opera’s hero and sidekick.

—Catherine Case

Camille Saint-Saëns: Concerto No. 1 in A Minor for Cello and Orchestra, Op. 33  Composed: 1872  Premiere: January 19, 1873 at the Paris Conservatoire, Auguste Tolbecque (for whom the work was written), cello  Instrumentation: solo cello, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings  Duration: approx. 19 minutes

Born: October 9, 1835, Paris Died: December 16, 1921, Algiers

Saint-Saëns wrote his First Cello Concerto in 1872, at age 37, for his close friend Auguste Tolbecque, who premiered the work. A review of the performance appeared in the Revue et gazette musicale de Paris the following day, noting that “the Cello Concerto seems to us to be a beautiful and good work of excellent sentiment and perfect cohesiveness, and as usual the form is of greatest interest.” Reports also praised the significant role of the orchestra as not merely an accompaniment to the soloist but an integral part of the work.

The overall charm and vitality of this concerto led to its widespread popularity and helped to establish Saint-Saëns within the revered musical circles of Paris.

Although the overall form is a standard three-movement fast-slow-fast structure, Saint-Saëns weaves each section together without breaks to create a

MAY FESTIVAL & CINCINNATI BOYCHOIR

All Together Togeth Toget h Now

SUN FEB 16

TICKETS $10 adult $5 student

Music Hall | 5 pm

May Festival Chorus

Matthew Swanson, conductor Andrew Miller, conducting fellow

Cincinnati Boychoir Lisa Peters, conductor

May Festival Youth Chorus

Jason Alexander Holmes, conductor

Hundreds of singers take the stage at Music Hall to celebrate a new alliance between the May Festival and the Cincinnati Boychoir! Featured performances by the Cincinnati Boychoir, May Festival Youth Chorus and May Festival Chorus culminate in the world premiere of a new work by Cincinnati's own Howard Helvey, commissioned for the occasion.

This concert is sponsored by Rozy Park and Chris Dendy.

40 | 2024–25 SEASON

CONCERT PREVIEW

work of seamless continuity. After a forceful and shocking opening chord from the orchestra, the cello enters immediately with a rush of notes cascading down to the lowest register of the instrument. A second theme, introduced by the soloist, offers a contrast with its yearning, sustained melody accompanied by chordal strings in the orchestra.

For the middle section, Saint-Saëns travels back in time with a muted minuet that recalls an 18th-century ballroom with its courtly rituals.

After a closing phrase from the cello marks the conclusion of the middle movement, the oboe enters quietly, beginning the final movement with the return of the concerto’s very first motive. The cello introduces a new lamenting theme made up of elements from the minuet. The somber tone soon transforms into one of virtuosic energy and quick passagework. The concerto ends in a powerful finale reminiscent of the opening movement, with brilliant flourishes from the soloist.

—Catherine Case

Jimmy López: Symphony No. 5, Fantastica world premiere, cso co-commission

n Composed: 2024, co-commissioned by the Cincinnati Symphony Orchestra, Detroit Symphony, Gävle Symphony and Südwestdeutsche Philharmonie Konstanz.

It is dedicated to Christian Reif and to his son, John Lukas. n Premiere: These CSO performances are the work’s world premiere. n Instrumentation: 2 flutes (incl. piccolo), 2 oboes (incl. English horn), 2 clarinets (incl. E-flat clarinet), 2 bassoons (incl. contrabassoon), 4 horns, 2 trumpets, 3 trombones, tuba, timpani, whip, vibraslap, mark tree, glockenspiel, tom-toms, suspended cymbals, tam-tam, crash cymbals, tambourine, paper bag, snare drum, vibraphone, tubular bells, ratchet, harp, strings n Duration: approx. 25 minutes

Jimmy López’s works have been performed by leading orchestras around the world. His violin concerto Aurora was nominated for a 2022 Latin Grammy. Fiesta!, one of his most famous works, has received more than 150 performances worldwide. Dreamers, an oratorio he wrote in collaboration with Pulitzer Prize-winning playwright Nilo Cruz, was premiered in 2019. Bel Canto, a full-length opera commissioned by Lyric Opera of Chicago as part of the Renée Fleming initiative and based on Ann Patchett’s bestselling novel, premiered in December 2015 to wide critical acclaim and was broadcast nationwide on PBS’ Great Performances. Highlights of the 2024–25 seaon include performances by the orchestras of Toronto, Melbourne, Tampere, Naples, Oregon and Sarasota.

A native of Lima, Peru, Jimmy López studied at the city’s National Conservatory of Music before graduating with a Master of Music degree from the Sibelius Academy in Helsinki and with a Ph.D. from the University of California, Berkeley. jimmylopez.com Lopez has written an extensive statement about his Symphony No. 5, Fantastica, which is based on the novel The Neverending Story. The full version of Lopez’s statement can be read on the digital program (cincinnatisymphony.org/DigitalProgram), and an excerpt is below.

Born: 1978, Lima, Peru

There is something truly special about Michael Ende’s 1979 novel The Neverending Story, something that I can’t quite pinpoint, even after having written a whole symphony inspired by it. Perhaps, like all great masterworks, it refuses to give away all its mysteries at once, therefore begging for repeated readings—just like the great masterpieces of music require repeated listening, over decades and centuries, to be fully understood.

Across its many chapters one is met with oracles, centaurs, flying dragons, and a host of fantastical creatures that seem to pour incessantly from an endless fountain of creativity. Much is demanded from the reader, for one cannot sit on the sidelines while our main protagonist, Bastian, is inevitably drawn to this magical world not by his own will, but by the irresistible and magnetic power of Fantastica, a realm where everything that the mind can Fanfare Magazine | 41

SPOTLIGHT: NEW MUSICIANS OF THE ORCHESTRA

by DiDi TURLEY

This season, audiences will see eight new faces on Music Hall’s stage: four violinists, two cellists, a horn player and a bass trombonist bring their talents to the CSO. Woven within this issue of Fanfare Magazine are Q&A’s with the remaining four of those new players.

David Alexander Hometown: Houston, Texas Instrument: Horn How did you get involved with playing horn?

When I was in elementary school, my best friend and I would play Rock Band and Guitar Hero. We’d put on little concerts for our parents where we’d wear leather jackets and gel our hair back. When I got to middle school, I had to take an arts elective. I saw band as an option and I thought, “Yeah, I want to play in a band!” I wanted to play drums, but my band director convinced me that my big head would be perfect for the horn because it would help the sound project or something like that. He really just needed horn players, but the rest is history.

What’s one Cincinnati staple you’ve tried and loved?

I accidentally tried goetta while I was here for my audition, actually! I was at my hotel the night before the audition and saw goetta sliders on the menu. I had never heard of goetta before, so I was just expecting regular burger meat. That first bite was a surprise, but it was really good!

What are you currently listening to?

Honestly, I don’t listen to music that much. I feel like my life’s pretty saturated with music. I’ll listen to repertoire that I have coming up, and I love all types of music. I just don’t really put it on in the background, you know?

Do you have any rehearsal or performance must-haves?

Find the other three New Musician Q&A’s for this issue on the following pages: Lachezar Kostov, associate principal cello, p. 45; Jonathan Yi, violin, p. 55; Tianlu (Jerry) Xu, cello, p. 60

My water bottle is definitely my best friend when I’m on stage. Especially if I’m nervous, I tend to get dry mouth. I think it’s more psychological than anything—when nerves kick in, that little discomfort can become so noticeable.

So, if you see me taking some extra sips, there might be a big horn moment coming up.

What’s something audience members may not know about your instrument?

There are dozens of different notes you can play with one fingering on the horn, to the point that you could play a whole scale without changing fingers.

That’s why we tell everyone that it’s so easy to play wrong notes on the horn, but the flip side is that even if you throw down the wrong fingering you might still hit the right note! I’ve definitely flubbed my fingerings in critical moments and gotten away with it because of this.

If you had to play an instrument besides horn, what would you pick and why?

I would love to be able to play piano well. I took piano lessons as a kid, but I quit when my little brother got better than me. With horn, I can only play one note at a time but on piano, you can play harmony. It’s also a nice little party trick to sit down and play something at the piano. No one is super excited when someone pulls out a horn at a party.

CONCERT PREVIEW

conjure up seems possible. By the time I had reached the middle of the book, I felt as if the walls between reality and fiction had been completely obliterated, and I found myself questioning whether I was also a part of this story, and whether Ende had found a way for our minds to move across dimensions in ways that our bodies are not yet capable of.

The music flowed. It flowed from within me and beyond me. There were times it felt as if I was taking dictation rather than composing, where I felt like a mere scribe rather than the author of the music. The characters lived and thrived within me and each one of them seemed to claim their own musical realm.…

Divided into five movements, this symphony is an adventure on its own.

Rather than narrating the events in detail, I have chosen to follow the grand arch of the novel and focus on its main protagonists.…

The Symphony No. 5 will be premiered by its commissioners, the Cincinnati (world premiere), Detroit and Gävle symphony orchestras.

Sergei Prokofiev: Symphony No. 7 in C-sharp Minor, Op. 131 n Composed: completed in 1952 n Premiere: October 11, 1952 Samuil Samosud conducting the All-Union Radio Orchestra at Trade Union Hall of Columns in Moscow n Instrumentation: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, crash cymbals, glockenspiel, snare drum, suspended cymbals, tambour de Basque, triangle, wood block, xylophone, harp, piano, strings n Duration: approx. 31 minutes

Sergei Prokofiev’s last major work, the Seventh Symphony, was premiered just a few months before the composer’s death at age 61. Originally written for a radio program intended for young people, the symphony is a nostalgic look at youth by a man broken by ill health and political attacks. The composer made a major effort to follow the strict aesthetic guidelines imposed by the Soviet Communist Party, and it is a tribute to his unique genius that he was able to meet those demands without compromising his artistic integrity. In four movements, the symphony abounds in lyrical melodies, jaunty, dance-like themes and upbeat dance tunes, all gorgeously orchestrated and unified by a well-balanced symphonic structure that reveals the hand of a master. The symphony originally ended with a change of mood: the previous cheerfulness suddenly gave way to a solemn and mysterious tone. Prokofiev was put under pressure to write a more upbeat conclusion for the work, which he did; however, he made it clear to his trusted friend, the great cellist Mstislav Rostropovich, that he considered the first ending as the only valid one. That ending, which gets gradually slower and slower, was certainly unusual in a symphony, but there is no doubt that it was more in keeping with how the composer felt at the time.

—Peter Laki

Born: April 23, 1891, Sontsovka, Ukraine (then part of the Russian Empire) Died: March 5, 1953, Moscow

Fanfare Magazine | 43

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SPOTLIGHT: NEW MUSICIANS OF THE ORCHESTRA

by DiDi TURLEY

This season, audiences will see eight new faces on Music Hall’s stage: four violinists, two cellists, a horn player and a bass trombonist bring their talents to the CSO. Woven within this issue of Fanfare Magazine are Q&A’s with the remaining four of those new players.

Lachezar Kostov Hometown: Plovdiv, Bulgaria Instrument: Cello How did you get involved with playing cello?

I was five years old, and in Bulgaria we would have certain testing done for musical aptitudes. I learned I was too old to start on a violin or piano—in Bulgaria at that time it was customary for students to start piano at age three and violin at age four. So the next best thing was cello. I decided to pursue it professionally around age 10, after giving my first recital.

Everyone gave an enthusiastic ovation, which I now understand is customary for any children’s recital, regardless of how good they are. Regardless, that was the moment I knew it was the best thing I could ever do.

Were your parents supportive of your choice to pursue music?

Yes! My parents are both engineers, but my mother started learning cello with me so she could help me with my lessons. As a child, there’s only so much you can learn at once. Any parent can help their child with math, geography, but not every parent can help their child with music. So my mother learned to play.

What are you currently listening to?

Find the other three New Musician Q&A’s

Actually, if it’s not directly connected with my work at the CSO, I don’t listen to music at all. I do listen to a lot of audiobooks, though. I recently finished a book called Nexus: A Brief History of Information Networks from the Stone Age to AI by Israeli writer Yuval Noah Harari. I have a very eclectic taste in books, but not in music.

for this issue on the

What’s one Cincinnati staple you’ve tried and loved?

following pages:

One thing I found very exciting was going to Jungle Jim’s. Everybody had said that it’s exceptional, but I think everybody undersold it. I travel a lot—all over the world—and I’ve never seen anything like that, anywhere. There were even things from my home country, Bulgaria!

David Alexander, acting associate principal horn, p. 42; Jonathan Yi, violin, p. 55; Tianlu (Jerry) Xu, cello, p. 60

What are your rehearsal must-haves?

On my cello, I have something called posture pegs. If your string gets detuned, you have to use a special key-like tool on the peg to fix it. I make sure that I always have one on me. There was only one concert where I didn’t have one. I was playing principal cello with the Baltimore Symphony and one of my strings got loose. When I couldn’t fix it, I had to ask one of the last cellists in the section if I could borrow their cello and send them home.

What are you most excited about in the CSO’s 2024–25 season?

I’m sort of excited by every program, whether it’s something I’ve played a million times or something new, because the Cincinnati Symphony Orchestra is new to me. It’s really interesting and exciting to see how each piece is shaped by my colleagues, with myself included in that equation.

If you had to play an instrument besides cello, what would you pick and why?

I just bought a trumpet, actually, so that would be my choice! I really wanted to get my hands on a wind instrument, and I know colleagues from each instrument, so I’ve spoken to them about which I should try to learn. With oboe, you spend an exorbitant amount of time just dealing with reeds. Horn can be finicky. So, I bought a cheap trumpet.

Fanfare Magazine | 45

WINSTEAD CHAMBER SERIES | 2024–25 SEASON TUE JAN 28, 7:30 PM Music Hall Ballroom

Paul Schoenfield

Trio for Clarinet, Violin and Piano

(1947–2024) Freylakh March Nigun Kozatske

Christopher Pell, clarinet Felicity James, violin Anna Vinnitsky, piano

Arno BABAJANIAN

Piano Trio

(1921–1983) Largo—Allegro espressivo Andante Allegro vivace

Rachel Charbel, violin Nicholas Mariscal, cello Garret Ross, piano

INTERMISSION

Edvard GRIEG

String Quartet No. 1 in G Minor, Op. 27

(1843–1907)

Un poco andante—Allegro molto ed agitato Romanze: Andantino—Allegro agitato Intermezzo: Allegro molto marcato—Allegro agitato Finale: Lento—Presto al saltarello

Kun Dong, violin Rebecca Kruger Fryxell, violin Dan Wang, viola Lachezar Kostov, cello

For exclusive content, such as full-length program notes and artist biographies, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

This performance is approximately 110 minutes long, including intermission.

YOU’RE INVITED to greet the musicians after the concert.

The Winstead Chamber Series is endowed by a generous gift from the estate of former CSO musician WILLIAM WINSTEAD. 46 | 2024–25 SEASON

CONCERT PREVIEW n PROGRAM NOTES

Paul Schoenfield: Trio for Clarinet, Violin and Piano n Composed: 1990–91 n Premiere: July 15, 1991, Portland, Oregon by David Shifrin (clarinet), Ik-Hwan Bae (violin) and the composer (piano) n Duration: approx. 19 minutes

Writing in the third person, the composer noted: Paul Schoenfield is one of an increasing number of contemporary composers whose works are inspired by the whole range of musical experience—popular styles (both American and international) and vernacular folk traditions, as well as the established forms and idioms of cultivated music-making (which are often treated with sly twists). Schoenfield frequently mixes within a single piece ideas that emerged from entirely different musical worlds, making them “talk” to each other, so to speak, and delighting in the surprises that their interaction elicits.

Born: January 24, 1947, Detroit, Michigan Died: April 29, 2024, Jerusalem, Israel

Of his Trio for Clarinet, Violin and Piano, Schoenfield wrote: It was in 1986 that clarinetist David Shifrin first asked me to write a chamber work for violin, clarinet and piano, but it was not until the summer of 1990 that I was able to begin the project. In addition to my primary goal of composing a work for David, the Trio realizes a long-standing desire to create entertaining music that could be played at Chassidic gatherings as well as in the concert hall.… Each of the movements is based partly on an East European Chassidic melody. The exact source of many Chassidic melodies is unknown. Frequently they were composed by the Tzadikim of the 18th and 19th centuries, but as often as not they appear to have been borrowed from regional folk songs, Cossack dances and military marches. In their Chassidic versions, however, the melodies and texts were completely reworked, since the borrowed tunes which originated in a completely different milieu could not satisfactorily express the Chassidic ideal that regarded the exuberant expression of joy as a religious duty.

—Dr. Richard E. Rodda

Arno Babajanian: Piano Trio n Composed: 1952 n Premiere: unknown n Duration: approx. 22 minutes

Among the national cultures that have become better known in the West since the dissolution of the Soviet Union in 1991 is that of Armenia, Turkey’s eastern neighbor, and one of that country’s leading 20th-century musical figures was Arno Babajanian. Babajanian was born in 1921 into the family of an accomplished folk musician in Yerevan; he showed such musical promise that he was admitted to the Yerevan Conservatory at the age of seven, and he premiered his Symphony No. 1 six years later. He trained not only in the Western classics but also in the folk and concert traditions of Armenia, and the interaction of those influences provided the foundation of Babajanian’s musical style. Babajanian entered the Moscow Conservatory in 1948 to study piano, composition and ethnomusicology, and two years later he returned to Armenia to join the faculty of the Yerevan Conservatory.

He quickly established a reputation among the country’s leading composers, pianists and teachers, writing works in a folk-inflected style for orchestra, chamber ensembles, piano, voice and jazz band; performing throughout the Soviet Union and Europe; receiving the Stalin State Prize, Armenia State Prize and Order of the Red Banner of Labor; and being recognized as a People’s Artist of the Armenian SSR and the Soviet Union.

Babajanian’s Piano Trio of 1952 is reminiscent of the style, sonority and scale of Rachmaninoff’s works but with a distinctly nationalist tone and spirit.

—Dr. Richard E. Rodda

Born: January 22, 1921, Yerevan, Armenia Died: November 11, 1983, Moscow

Fanfare Magazine | 47

CONCERT PREVIEW

Edvard Grieg: String Quartet No. 1 in G Minor, Op. 27  Composed: 1877–88  Premiere: October 1878, Cologne, by the Heckmann Quartet  Duration: approx. 35 minutes

Photo: 1888 by Elliot and Fry

Born: June 15, 1843, Bergen, Norway Died: September 4, 1907, Bergen, Norway

By 1877, Grieg had established his reputation as a composer with the piano concerto, the incidental music for Ibsen’s Peer Gynt and a growing body of well-received songs and piano miniatures, and he felt the need to find a quiet place away from his increasingly frequent concert tours and conducting responsibilities to carry on his creative work. He settled on a summer retreat in the village of Børve, perched atop the scenic Sørfjord east of his hometown and professional base, Bergen.

Before he left Børve at the end of summer 1877, he had begun sketching out a string quartet into which he would incorporate the distinctive but essentially simple gestures of Norwegian folk song. For the motto theme that was to be woven throughout the quartet, he chose one of his own songs—Spillmaend (“Minstrels,” Op. 25, No. 1)—with a text by Ibsen that tells of the Hulder, the spirit of the Norwegian waterfall who can reveal the deepest secrets of the art to musicians, but only against the chance that the minstrel might lose his happiness and peace of mind in exchange. Grieg worked on the quartet throughout the winter, regularly soliciting technical advice on string writing from violinist Robert Heckmann, who had agreed to give the premiere with his ensemble and accept the dedication of the score; the piece was finished at Børve in July 1878 and introduced by Heckmann in Cologne four months later.

—Dr. Richard E. Rodda

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WED MAR 5 7:30 PM

STRAUSS & DEBUSSY | 2024–25 SEASON FRI JAN 31, 7:30 PM SAT FEB 1, 7:30 PM Music Hall

JUN MÄRKL conductor ELIZABETH FREIMUTH horn Richard STRAUSS (1864–1949)

Till Eulenspiegels lustige Streiche (“Till Eulenspiegel’s Merry Pranks”), Op. 28

Richard STRAUSS

Concerto No. 1 in E-flat Major for Horn and Orchestra, Op. 11

Allegro Andante Allegro

INTERMISSION

Claude DEBUSSY

Images pour orchestre

(1862–1918) I. Gigues III. Rondes de printemps (“Spring Rounds”) II. Ibéria: 1. Par les rues et par les chemins (“Through Streets and Lanes”) Ibéria: 2. Les parfums de la nuit (“The Fragrances of the Night”) Ibéria: 3. Le matin d’un jour de fête (“Morning of a Feast-Day”)

For exclusive content, such as full-length program notes and artist biographies, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

These performances are approximately 105 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group.

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

Listen to this program on 90.9 WGUC March 30, 2025 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

50 | 2024–25 SEASON

CONCERT PREVIEW n ARTIST BIOGRAPHIES

Jun Märkl, conductor Jun Märkl is a highly respected interpreter of core Germanic repertoire and has become renowned for his refined and idiomatic explorations of the French Impressionists. He currently serves as Music Director of the Taiwan National Symphony Orchestra, Music Director of the Indianapolis Symphony Orchestra and is the newly appointed Chief Conductor of the Residentie Orchestra of The Hague, Netherlands. He serves as Principal Guest Conductor of the Oregon Symphony.

Märkl has an extensive discography—among the more than 55 albums he has recorded are the complete Schumann symphonies with the NHK Symphony Orchestra, Mendelssohn and Wagner with the MDR Leipzig Radio Symphony Orchestra, and works by Ravel, Messiaen and a highly acclaimed Debussy series with the Orchestre National de Lyon. He is currently working on a cycle of works by Camille Saint-Saëns, Richard Strauss and Toshio Hosokawa.

Elizabeth Freimuth, horn Elizabeth Freimuth is Principal Horn of the Cincinnati Symphony Orchestra and Cincinnati Pops. Her chair is endowed by the late Charles and Mary Yeiser. Before joining the CSO in 2006, Freimuth was principal horn of the San Francisco Ballet Orchestra (2005–06), principal horn of the Kansas City Symphony (2000–05) and assistant principal/utility horn of the Colorado Symphony (1998–2000).

Freimuth has performed as the featured soloist with the Cincinnati Symphony Orchestra, Kansas City Symphony, Butler County Symphony (PA), Johnson City Symphony Orchestra (TN), Overland Park Symphony (KS) and the Lakewood Symphony (CO), along with several appearances as a guest principal horn with the New York Philharmonic, Chicago Symphony, San Francisco Symphony, Philadelphia Orchestra, Pittsburgh Symphony, Minnesota Orchestra, KBS Symphony (Korea), St. Paul Chamber Orchestra and the Saint Louis Symphony.

Freimuth is a graduate and recipient of the coveted Performer’s Certificate of the Eastman School of Music (B.M. Horn Performance and B.M. Instrumental Music Education). She is also a graduate of Rice University Shepherd School of Music (M.M.).

n PROGRAM NOTES

Richard Strauss: Till Eulenspiegels lustige Streiche (“Till Eulenspiegel’s Merry Pranks”), Op. 28 n Composed: 1894-95 n Premiere: November 5, 1895, Gürzenich Orchestra, Cologne, Franz Wüllner conducting n Instrumentation: 3 flutes, piccolo, 3 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, contrabassoon, 8 horns, 6 trumpets, 3 trombones, tuba, timpani, bass drum, crash cymbals, ratchet, tenor drums, triangle, strings n Duration: approx. 15 minutes

After the deaths of Wagner and Brahms at the close of the 19th century, Richard Strauss emerged as one of the most important living German composers. Strauss composed in nearly all musical genres throughout his lengthy artistic career, but he is particularly well known for his orchestral tone poems. He embraced the genre of the programmatic tone poem as a creative and innovative musical expression of ideas.

Strauss wrote his tone poems in two compositional phases, beginning with Macbeth, Don Juan and Tod und Verklärung (“Death and Transfiguration”) in 1886–89. He then tried his hand at composing an opera, Guntram, but it was poorly received. Upset by the failure of his opera, Strauss channeled his energy into Till Eulenspiegel. He initially conceived of his Till project as a one-act opera, but he soon shifted gears, and Till Eulenspiegel became the first of his second

Born: June 11, 1864, Munich, Germany Died: September 8, 1949, GarmischPartenkirchen, Germany

Fanfare Magazine | 51

CONCERT PREVIEW

set of tone poems. Till Eulenspiegel was followed by Also sprach Zarathustra (1896), Don Quixote (1897) and Ein Heldenleben (“A Hero’s Life”) (1898).

Strauss’ Till Eulenspiegel musically recounts the legends of the medieval German trickster. The folkloric stories introduce the character of Till Eulenspiegel, a mischievous prankster who mocks society through his various exploits.

—Dr. Rebecca Schreiber

Richard Strauss: Concerto No. 1 in E-flat Major for Horn and Orchestra, Op. 11 n Composed: 1882–83 n Premiere: March 4, 1885 in Meiningen, conducted by Hans von Bülow with Gustav Leinhos as soloist n Instrumentation: solo horn, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings n Duration: approx. 15 minutes

Franz Strauss, Richard’s father, was one of the outstanding instrumentalists of his day. For more than 40 years as principal horn he was a chief adornment of the Munich Court Orchestra, a post he held until the age of 69; he was especially renowned for the power and artistry of his solos in Mozart’s concertos, Beethoven’s symphonies and Wagner’s operas. The eminent pianist and conductor Hans von Bülow dubbed him “the Joachim of the horn” (Brahms wrote his Violin Concerto for Joseph Joachim), and Wagner, whose personality and music Franz detested, grudgingly admitted, “Strauss is an unbearable fellow, but when he plays his horn, one cannot be cross with him.” Franz was also a composer, mainly of horn music, as well as the conductor of an amateur orchestra and a capable player of guitar and viola.

The sound of Franz’s horn-playing was a fixture in the Strauss household: it is said that Richard as a baby would coo and smile when he heard the horn, but cry at the sound of a violin. It is hardly surprising, then, that the boy wrote for the horn when his talent began to blossom. Two such early works are a song called Alphorn with horn obbligato and the Introduction, Theme and Variations for horn and piano, both with writing difficult enough to give the young composer’s virtuoso father pause. Late in 1882, while he was a student at Munich University, Richard began a concerto for the horn and completed it early the next year. Franz played through the work and found it filled with such difficulties that he refused to perform it in public, though he occasionally tackled the piece for family concerts. The public premiere was given in 1885 by conductor Hans von Bülow and the principal horn of his Meiningen Orchestra, Gustav Leinhos. The First Horn Concerto was soon taken up by other performers and remains the earliest of Strauss’ works in the orchestral repertory.

Father Franz saw that Richard was trained strictly in the classical style of Mozart, Beethoven and Mendelssohn, with Wagner and Liszt treated more like anathema than mere composers. During the time of the First Horn Concerto, Richard shared his father’s reactionary tastes (this changed radically after 1885, when the young musician left home) and the piece is in Strauss’ most untroubled classical vein.

—Dr. Richard E. Rodda

52 | 2024–25 SEASON

CONCERT PREVIEW

Claude Debussy: Images pour orchestre  Composed: 1905–1912  Premiere: Gigues was premiered in Paris, January 26, 1913, Gabriel Pierné conducting; Ibéria was premiered in Paris, February 20, 1910, Pierné conducting; Rondes de Printemps was premiered in Paris, March 2, 1910, the composer conducting.  Instrumentation: 3 flutes (incl. 2 piccolos), 2 oboes, English horn, oboe d’amore, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, castanets, chimes, crash cymbals, snare drum, tambour de Basque, tambourin provençal, triangle, xylophone, 2 harps, celeste, strings  Duration: approx. 36 minutes

The last decade and a half of Debussy’s life were marked by several difficulties, including overwhelming public notoriety resulting from the success of his 1902 opera Pelléas et Mélisande and heavy creative obligations from his ambitious agreement with the publisher Jacques Durand, not to mention familial and financial problems. That such brilliant music as the Images could arise out of such difficult circumstances is a tribute to Debussy’s artistic spirit and creative diligence.

Although it was the last to be completed, Debussy placed Gigues as the first of the Images in the published edition, followed by Ibéria and Rondes de Printemps. Edward Downes noted that its original title, Gigues tristes (“Sad Jig”), was “a typically Debussian paradox, for the gigue (the French form of the English-Scottish-Irish jig) was traditionally a high-spirited, often wild dance in triple meter.” The music’s immediate inspiration seems to have been a poem, given the English title “Streets,” that Paul Verlaine wrote on a visit to London in 1890 in which he ironically juxtaposed the merriment of the jig with a soured love affair.

Rondes de Printemps (“Spring Rounds”), dedicated to the composer’s second wife, Emma, is headed with the legend, “Welcome to the May, with its sylvan banner,” a verse Debussy found in a 1908 book on Dante by the French author Pierre Gauthiez. The original poem was by the 15th-century Tuscan humanist and poet Angelo Poliziano (whose Orfeo was one of the earliest plays in the Italian language) and was used by Gauthiez to preface his description of a medieval May Day festival.

Ibéria is a remarkable evocation of the land across the Pyrenees, considering that Debussy spent only a single afternoon in Spain during his entire life—to attend a bull fight in San Sebastian. Manuel de Falla, Spain’s great composer, wrote admiringly of Ibéria, “The entire piece down to the smallest detail makes one feel the character of Spain.”

—Dr. Richard E. Rodda

credit: Atelier Nadar

Born: August 22, 1862, Saint-Germainen-Laye, France Died: March 25, 1918, Paris, France

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Fanfare Magazine | 53

Be a part of the music.

Essentially French January 26/27 CSO principal musicians and the Ariel String Quartet perform colorful works for harp, flute, clarinet, and strings, including music

by Debussy and Ravel.

American Sketches February 16 Violin virtuoso Kristin Lee makes her Linton debut with Cincinnati’s own Michael Chertock in a program celebrating the brilliance of American composers.

Souvenir de Florence March 16/17 The rich sonority of strings portrays Tchaikovsky’s fond memories of Italy in this program which also includes an inspired quartet by Arensky, written as a tribute to Tchaikovsky.

New York’s Finest April 13/14 The New York Philharmonic String Quartet performs music featuring the charm of Haydn, romantic sensibility of Florence Price, and graceful lyricism of Dvořák.

Musical Café May 11/12 CSO guest pianist Michelle Cann joins Tommy Mesa and Stefani Matsuo to perform Paul Schoenfield’s dazzling Café Music alongside the music of Debussy, Winton Marsalis, and Clara Schumann.

Sunday afternoons in Avondale | Monday evenings in Loveland

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SPOTLIGHT: NEW MUSICIANS OF THE ORCHESTRA

by DiDi TURLEY

This season, audiences will see eight new faces on Music Hall’s stage: four violinists, two cellists, a horn player and a bass trombonist bring their talents to the CSO. Woven within this issue of Fanfare Magazine are Q&A’s with the remaining four of those new players.

Jonathan Yi Hometown: Louisville, Kentucky Instrument: Violin How did you get involved with playing violin?

I started playing the violin when I was five. My mom grew up loving the piano, but my parents were both immigrants, so they didn’t start with a lot of money. We couldn’t afford a piano, but we could afford to rent a violin. I started taking lessons and it all went from there.

Did you know any of your fellow new CSO musicians before winning your position?

I had the same teacher as Joseph Okubo, another one of our violinists, which is crazy. When we were kids, we would have back-to-back lessons at our teacher’s house. We’ve had the same teacher three times now, and we went to high school together. We were stand partners for two years! Now that we’re adults, Joseph and I have seen each other at, like, every audition on the circuit. It’s just crazy that, for both of us, this orchestra was the one that stuck. It is magical. Our high school teacher was thrilled.

What is your post-concert routine?

Find the other three New Musician Q&A’s for this issue on the following pages: David Alexander, acting associate principal horn, p. 42; Lachezar Kostov, associate principal cello, p. 45; Tianlu (Jerry) Xu, cello, p. 60

I really enjoy my ride home. I get to sit in my car and reflect on things that I thought went well and what I could have done better. No matter how good a musician you are, there’s always room to improve. I’ll earmark a couple things mentally and ask myself, “Why didn’t that go well? Did I not practice this well enough? Why did this go a certain way?”

What is the best piece of advice you’ve received from a musical mentor?

One of my teachers told me to never allow fear to control my actions or decisions. I think that has gone further than any other advice I have received.

It comes up when I’m on stage and I have to hit a really high note I want to shy away from, and it comes up in auditions. I’m always reminding myself not to let my doubt and insecurities get in the way of the hard work I’ve put in. I work really hard, but it’s not, you know, open heart surgery. It’s okay to play or live without fear.

What are your rehearsal must-haves?

I always make it a point to carry a tin of Altoids to share with people! It’s one of those simple things, right? Sharing is one of those things that brings a good energy to the room.

What is one Cincinnati staple you’ve experienced?

Every time I’ve had the chance, I’ve gone over to the Skyline Chili near Music Hall. When I went for the first time, I was like, “Oh, my God. What is this?” My mind was blown. I couldn’t believe it. I really, really enjoy Skyline Chili.

If you had to play an instrument besides violin, what would you pick and why?

If my musician friends see this, they’re never going to let me live it down, but I think I would love to play the cello. I love the sound of the Cincinnati Symphony Orchestra’s cello section, and, over the past couple of years, it just happened that all my best friends were cellists. I think cello is just such a gorgeous and versatile instrument.

CHERRY CORDIAL

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LOST IN SPACE! | 2024–25 SEASON SAT FEB 1, 10:30 am Music Hall

JASON SEBER conductor Lost in Space (1967 Season 3 Theme)

John Williams

Clair de lune from Suite bergamasque

Claude Debussy

Theme from Star Trek: Deep Space Nine

Dennis McCarthy

Starburst

Jessie Montgomery

“Jupiter, the Bringer of Jollity” from The Planets

Gustav Holst

“The Promise of Living” from The Tender Land Suite

Aaron Copland

“Flying Theme” from E.T. the Extra-Terrestrial

John Williams

The Cincinnati Pops is grateful to Series Sponsor UDF & Homemade Brand Ice Cream and Concert Sponsor Cincinnati Symphony Club.

Lollipops Family Concerts are supported in part through the George & Anne Heldman Endowment Fund and the Vicki & Rick Reynolds Endowment Fund.

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Fanfare Magazine | 57

DVOŘÁK NEW WORLD SYMPHONY | 2024–25 SEASON SAT FEB 8, 7:30 PM SUN FEB 9, 2 PM Music Hall

CRISTIAN MĂCELARU CSO Music Director Designate RANDALL GOOSBY violin Wynton MARSALIS

Mvt. IV, Southwestern Shakedown, from Blues Symphony

(b. 1961)

Ernest CHAUSSON

Poème for Violin and Orchestra, Op. 25

(1855–1899)

Florence PRICE

Concerto No. 2 for Violin and Orchestra

(1888–1953)

INTERMISSION

Antonín DVOŘÁK (1841–1904)

Symphony No. 9 in E Minor, Op. 95, From the New World Adagio. Allegro molto Largo Molto vivace Allegro con fuoco

For exclusive content, such as full-length program notes and artist biographies, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

These performances are approximately 125 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group and Fort Washington Investment Advisors, Digital Access Partner CVG Airport Authority and Presenting Sponsor Cincinnati Symphony Club.

The appearance of Randall Goosby is made possible by the Janice W. & Gary R. Lubin Fund for Black Artists.

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

Listen to selections from this program on 90.9 WGUC June 22, 2025 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

58 | 2024–25 SEASON

CONCERT PREVIEW n ARTIST BIOGRAPHIES

Cristian Măcelaru, CSO Music Director Designate A biography for Cristian Măcelaru is on p. 27. Explore our ongoing series of content dedicated to getting to know Cristian Măcelaru by visiting cincinnatisymphony.org/CristianMacelaru.

Randall Goosby, violin Signed exclusively to Decca Classics in 2020 at the age of 24, American violinist Randall Goosby is acclaimed for the sensitivity and intensity of his musicianship alongside his determination to make music more inclusive and accessible, as well as bringing the music of underrepresented composers to light.

Highlights of Randall Goosby’s 2024–25 season include debut performances with the Chicago Symphony/Sir Mark Elder, the Minnesota Orchestra/Thomas Søndergård, National Arts Centre Orchestra/Alexander Shelley, Montreal Symphony Orchestra/Dalia Stasevska and Netherlands Radio Philharmonic/ Michele Mariotti. He joins the London Philharmonic Orchestra on their U.S. tour led by Edward Gardner.

Goosby returns to the Los Angeles Philharmonic, Philadelphia Orchestra, Cincinnati Symphony Orchestra, Detroit Symphony and Utah Symphony. He appears in recital across North America and Europe as soloist, as well as with the Renaissance Quartet.

Goosby plays the Antonio Stradivarius, Cremona, “ex-Strauss,” 1708 on generous loan from the Samsung Foundation of Culture. randallgoosby.com

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Fanfare Magazine | 59

SPOTLIGHT: NEW MUSICIANS OF THE ORCHESTRA

by DiDi TURLEY

This season, audiences will see eight new faces on Music Hall’s stage: four violinists, two cellists, a horn player and a bass trombonist bring their talents to the CSO. Woven within this issue of Fanfare Magazine are Q&A’s with the remaining four of those new players.

Jerry Xu Hometown: Changzhou, China Instrument: Cello How did you get involved with playing cello?

I actually started on the violin at age three. And then at age seven, I injured my hand, so I had to take a two-month break.

When it was time to start playing again, my dad was like, “Oh, cello is so much cooler, because it just sounds like a human voice.” So, I switched to cello.

What is the best piece of advice you’ve received from a musical mentor?

As a student, it’s so important to note the details that orchestral players must pay attention to. When we study to play as soloists, we don’t always put our energy into mastering the different kinds of articulations and sound color that an orchestra member would focus on. When you’re focused on playing solo repertory, you have so much freedom, but taking the time to notice those details can really make or break an orchestra’s sound.

What do you do when you aren’t playing music?

Besides playing basketball and being a Golden State Warriors fan, I play video games quite a lot. My favorite at the moment is either Counter-Strike 2 or Battlefield. I find that playing games, especially with a mouse and keyboard, helps with my coordination, which helps me play better! Having the ability to visualize where you want your arm or hand to go without having to stop and think about it is incredibly helpful with playing the cello.

Find the other three New Musician Q&A’s for this issue on the following pages: David Alexander,

What are you currently listening to?

I love film scores, so I listen to a lot of Jerry Goldsmith’s work. The writing just brings out a lot of emotions; plus, it’s some of the only modern orchestral music that is truly familiar to the general public. I think film scores are the first place that a lot of people hear an orchestra’s sound.

acting associate

From where do you draw the most inspiration when you’re playing?

principal horn, p. 42;

I love to listen to opera for inspiration. Right now, Pavarotti is my favorite.

I also love Cecilia Bartoli. Their vibrato is spot on for how I’d like my playing to sound.

Lachezar Kostov, associate principal cello, p. 45; Jonathan

If you had to play an instrument besides cello, what would you pick and why?

Yi, violin, p. 55

I would pick either horn or trumpet. They both have such heroic sounds while sharing an emotional depth and brilliance. Many of my favorite composers write the best lines for them!

CONCERT PREVIEW

n PROGRAM NOTES

Wynton Marsalis: Blues Symphony: Southwestern Shakedown n Composed: 2009 n Premiere: Movement 4: January 14, 2021 by the Atlanta Symphony Orchestra, Robert Spano conducting; complete Blues Symphony: February 4, 2015 by the Shenandoah Conservatory Symphony Orchestra, Jan Wagner conducting. Cristian Măcelaru led The Philadelphia Orchestra in the first recording of the work, released in 2021. n Instrumentation: 2 flutes, piccolo, 3 oboes (incl. English horn), 3 clarinets (incl. bass clarinet), 3 bassoons (incl. contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, anvil, concert bass drum, cabasa, high hat, low tom-tom, ride cymbal, small bass drum, snare drum, suspended cymbals, temple blocks, tubular bells, xylophone, strings n Duration: approx. 8 minutes

Wynton Marsalis, a world-renowned trumpeter, bandleader and composer, and a leading advocate of American culture, wrote of his Blues Symphony (for these performances, the Orchestra will play only the work’s fourth movement): The Blues Symphony is a seven-movement work that gives a symphonic identity to the form and feeling of the blues. It utilizes the language and form of the blues across regions and genres regionally to convey the basic attitude of the blues as music: “Tragic circumstances accepted, better times should be pursued and can always be found.”

courtesy of the Japan Art Association

Born: 1961, New Orleans, Louisiana

This piece is intended to further the legacy of Gershwin, James P. Johnson, Bernstein, John Lewis, and others who were determined to add the innovations of jazz to the vocabulary of the symphonic orchestra. I believe there is an organic and real connection between all Western traditions regardless of instrumentation and that the symphonic orchestra can and will swing, play the blues, and feature melodic improvisation.…

The fourth movement [“Southwestern Shakedown”] begins with the free call and response of the Devotional opening of the Afro-American Baptist Church. It features instruments high and low in a Sunday morning pastoral moan. This turns into Saturday night with the straight-up dance shuffle.… We then demonstrate E pluribus unum [which also is represented in the symphony’s first movement] in reverse by investigating different regional takes on this single rhythmic constant from “cowboy” to “train” to “sanctified” to “boogie-woogie” and once again visit the holiness of the American Negro Spiritual briefly before returning to that old locomotive motive. We end with the Charleston rhythm over modern 4/4 swing and, when present, improvising soloists.

Ernest Chausson: Poème for Violin and Orchestra, Op. 25 n Composed: 1896 n Premiere: December 1896 in Nancy, Eugène Ysaÿe, violin n Instrumentation: solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, harp, strings n Duration: approx. 16 minutes

The Poème for Violin and Orchestra is one of Chausson’s most successful works, and the touching story of its publication is worth recounting. Isaac Albéniz, the Spanish composer, had been unhappy and bewildered during his student days in Paris. Chausson befriended, encouraged and supported him at the time, and Albéniz was determined to repay the favor. After Chausson finished Poème in 1896, he had some difficulty in having it accepted for publication. While touring Germany in the spring of the following year, Albéniz presented himself, with the manuscript of the still un-issued Poème tucked under his arm, to a representative of the eminent music publishing firm of Breitkopf und Härtel in Leipzig. Breitkopf refused to publish the score unless Albéniz offered to underwrite the cost of the venture, which he gladly did.

In addition, Albéniz provided 300 marks that Breitkopf was to pass on to his mentor as a royalty. Chausson never discovered the scheme. Chausson, who had never been treated kindly by publishers, was overwhelmed when Albéniz informed him of his good fortune.

—Dr. Richard E. Rodda

Born: January 20, 1855, Paris, France Died: Jun 10, 1899, Limay, France

Fanfare Magazine | 61

CONCERT PREVIEW

Florence Price: Concerto No. 2 for Violin and Orchestra  Composed: 1952  Premiere: 1953, in recital in Chicago, by its dedicatee Minnie Cedargreen Jernberg, violin  Instrumentation: solo violin, 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, snare drum, cymbals, triangle, harp, celeste, strings  Duration: approx. 16 minutes

Born: April 9, 1888, Little Rock, Arkansas Died: June 3, 1953, Chicago, Illinois

Of the two violin concertos composed by Florence Price, it is her Violin Concerto No. 2 that we know the most about. We know it was cocommissioned by the Illinois Federation of Music Clubs, the Chicago Club of Women Musicians, the Lake View Musical Society and Mu Phi Epsilon. We know it was completed in 1952 and performed several times by its dedicatee, Minnie Cedargreen Jernberg: first in 1953, then in 1955 as part of a Musicians Club of Women recital in Chicago’s Fine Arts Building, room 833. The third time was in 1964, as part of the ceremony to dedicate Florence B. Price Elementary, an addition to the Chicago Public School system that shuttered in 2011.

But from 1964 until 2009, the Violin Concerto No. 2 and its older counterpart languished. The scores and parts were MIA; scholars considered both works to be lost. Then Vicki and Darrell Gatwood purchased Price’s former summer home in 2009, recognized the importance of the water-damaged materials in the damaged house and contacted archivists at the University of ArkansasFayetteville. From that collection, the archivists recovered Price’s violin concertos. And nine years later, Fayetteville university professor Er-Gene Kahng released the debut recording of Price’s violin concertos with the Janáček Philharmonic, thrusting the works back into the public sphere. Melissa White, Randall Goosby, Rachel Barton Pine and others have since incorporated these

Connecting the World, Celebrating the Arts!

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Feel the excitement crescendo.

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62 | 2024–25 SEASON

CONCERT PREVIEW

works into their repertoire, providing more opportunities to hear a range of interpretations, the beginning of a performance practice.

Price’s Concerto No. 2 is not in the typical three or four movements, or sections. While Price is not the first composer to do this, the form she uses— double variation—indicates her integration of Black music practices. The work is divided into two large sections with two subsections and a coda, each subsection connected by an interlude. The concerto features three main themes: a martial theme, a primary theme and a secondary theme, each of which reappears in the four subsections and coda. Price re-introduces the themes in different keys, instrumentations and textures, procedures common in styles like Negro spirituals, jazz, gospel and blues. The martial theme, introduced by the orchestra, serves as the signal of the start of a new section.

—Dr. A. Kori Hill

Antonín Dvořák: Symphony No. 9 in E Minor, Op. 95, From the New World n Composed: 1892–93 n Premiere: December 16, 1893 at Carnegie Hall by the New York Philharmonic, Anton Seidl conducting n Instrumentation: 2 flutes (incl. piccolo), 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, crash cymbals, triangle, strings n Duration: approx. 40 minutes

There would not have been a “New World” Symphony without Mrs. Jeanette Thurber, one of America’s most ardent and effective supporters of the arts during the decades around the turn of the 20th century. Aided by the fortune of her husband, Francis Beatty Thurber, a wealthy grocery wholesaler, she obtained a state charter in 1885 to establish a National Conservatory of Music in New York City, which she intended not just as a school for training the country’s most talented musicians but also as a radically progressive social institution, admitting women, Blacks, Native Americans and even handicapped students on an equal basis. In 1891, the school was incorporated by a special act of Congress and authorized to grant diplomas and confer honorary degrees.

To direct the National Conservatory, Mrs. Thurber turned in 1892 to a composer and educator of international renown—Antonín Dvořák, who was already well known in New York through his chamber and piano compositions (the Slavonic Dances of 1878 and 1886 were an international hit) as well as the symphonies and shorter orchestral works that the New York Philharmonic had programmed a dozen times during the previous decade.

It was precisely Mrs. Thurber’s liberal admission policies that motivated the “New World” Symphony in the person of Henry Thacker Burleigh, a gifted Black singer, pianist and songwriter from Erie, Pennsylvania who won a scholarship to the National Conservatory in 1892 and became a student of Dvořák’s. Burleigh sang many of the traditional melodies for his teacher, who recognized in them some similarities in expression and construction to the folk music of his Czech homeland.

Inspired by Henry Burleigh’s songs, heritage and personality, Dvořák began the Symphony “From the New World” in December 1892 and completed it in May (its sobriquet may have been suggested by Mrs. Thurber). “I should never have written the Symphony as I have,” he said, “if I hadn’t seen America.”

The work triumphed at its premiere, and immediately earned a place in the orchestral repertory that has never diminished.

—Dr. Richard E. Rodda

Born: September 8, 1841, Nelahozeves, Czechia Died: May 1, 1904, Prague, Czechia

Fanfare Magazine | 63

C

M

Y

CM

MY

CY

CMY

K

stronger arts for a stronger region We don’t make the music you’ll hear on stage, but for nearly 100 years, we’ve been the primary way Cincy’s arts are funded. Your gift to ArtsWave ripples out across our communities to create a more vibrant future for everyone.

With tens of thousands of gifts from people like you, ArtsWave is proud to support the Cincinnati Symphony Orchestra, plus over a hundred other arts organizations and artists that make our region stronger.

Make your gift today at artswave.org

BEETHOVEN X BEYONCÉ | 2024–25 SEASON TUE FEB 11, 7:30 PM Music Hall

STEVE HACKMAN conductor BRAYLA COOK vocalist MALIA CIVETZ vocalist KAYLAH SHARVE’ vocalist TaRON LOCKETT drums MAX TOWNSLEY guitar/keyboard NICK CLARK electric bass Ludwig van BEETHOVEN Symphony No. 7 (1812)

BEYONCÉ Various Works (2003–2024)

Movement I, Poco sostenuto—Vivace

Run the World (Girls) Cuff It Break My Soul

Interlude I

Déjà Vu

Movement II, Allegretto

Halo Daddy Lessons INTERMISSION

Interlude II

Hold Up Love On Top

Movement III, Presto—Assai meno presto

Single Ladies Texas Hold ‘Em Love Drought

Movement IV, Allegro con brio

Formation Sorry Crazy in Love

The Cincinnati Pops Orchestra is grateful to Pops Season Presenter PNC. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

For exclusive content, such as full-length artist biographies, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

Fanfare Magazine | 65

GIL SHAHAM PLAYS DVOŘÁK | 2024–25 SEASON FRI FEB 14, 11 AM SAT FEB 15, 7:30 PM Music Hall

JOHN STORGÅRDS conductor GIL SHAHAM violin Victoria POLEVÁ

Symphony No. 3, White Interment

(b. 1962)

Antonín DVOŘÁK

Concerto in A Minor for Violin and Orchestra, Op. 53

(1841–1904)

Allegro ma non troppo— Adagio ma non troppo Allegro giocoso, ma non troppo

INTERMISSION

Johannes BRAHMS

Symphony No. 4 in E Minor, Op. 98

(1833–1897)

Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

For exclusive content, such as full-length program notes and artist biographies, please text PROGRAM to 513.845.3024*. *By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

These performances are approximately 125 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group.

The appearance of Gil Shaham is made possible by an endowed gift to the Fund for Great Artists by Mr. and Mrs. Joseph S. Stern, Jr. The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson.

WGUC is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust.

Listen to this program on 90.9 WGUC May 4, 2025 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

66 | 2024–25 SEASON

CONCERT CONCERT PREVIEW PREVIEW n ARTIST n ARTIST BIOGRAPHIES BIOGRAPHIES

John John Storgårds, Storgårds, conductor conductor ChiefChief conductor conductor of the of BBC the BBC Philharmonic Philharmonic Orchestra Orchestra and and Turku Turku Philharmonic Philharmonic Orchestra, Orchestra, and and principal principal guest guest conductor conductor of Canada’s of Canada’s National National Arts Arts Centre Centre Orchestra Orchestra Ottawa, Ottawa, JohnJohn Storgårds Storgårds has ahas dual a dual career career as a as conductor a conductor and and violinviolin virtuoso virtuoso and and is widely is widely recognized recognized for his forcreative his creative flair flair for programming, for programming, as as well well as his asrousing his rousing yet refined yet refined performances. performances.

As artistic As artistic director director of the of Lapland the Lapland Chamber Chamber Orchestra, Orchestra, a title a title he has he held has held for more for more thanthan 25 years, 25 years, Storgårds Storgårds earns earns global global critical critical acclaim acclaim for the for ensemble’s the ensemble’s adventurous adventurous performances performances and and award-winning award-winning recordings. recordings.

Highlights Highlights of Storgårds’ of Storgårds’ 2024–25 2024–25 season season include include two two appearances appearances at the at the BBCBBC Proms Proms withwith the BBC the BBC Philharmonic Philharmonic and and return return engagements engagements with,with, among among others, others, Bamberger Bamberger Symphoniker Symphoniker and and Tampere Tampere Philharmonic Philharmonic Orchestra, Orchestra, and and in in North North America America withwith the Cincinnati the Cincinnati Symphony Symphony Orchestra, Orchestra, St. Louis St. Louis Symphony, Symphony, Dallas Dallas Symphony Symphony Orchestra Orchestra and and Orchestre Orchestre symphonique symphonique de Montréal. de Montréal.

In May In May 2025, 2025, Storgårds Storgårds serves serves as jury as jury chairchair for the for XIII theInternational XIII International JeanJean Sibelius Sibelius Violin Violin Competition Competition in Helsinki. in Helsinki. johnstorgards.com johnstorgards.com

Gil Shaham, Gil Shaham, violin violin Gil Shaham Gil Shaham is one is of one the of foremost the foremost violinists violinists of our of time; our time; his flawless his flawless technique technique combined combined withwith his inimitable his inimitable warmth warmth and and generosity generosity of spirit of spirit havehave solidified solidified his renown his renown as anasAmerican an American master. master.

The Grammy The Grammy Award Award and and Avery Avery Fisher Fisher PrizePrize winner, winner, also also named named Musical Musical America’s America’s “Instrumentalist “Instrumentalist of the of Year,” the Year,” is sought is sought afterafter throughout throughout the world the world for concerto for concerto appearances appearances withwith leading leading orchestras orchestras and and conductors, conductors, and and he regularly he regularly givesgives recitals recitals and and appears appears withwith ensembles ensembles on on the world’s the world’s greatgreat concert concert stages stages and and at the at most the most prestigious prestigious festivals. festivals.

Highlights Highlights of recent of recent years years include include the acclaimed the acclaimed recording recording and and performances performances of J.S. of Bach’s J.S. Bach’s complete complete sonatas sonatas and and partitas partitas for solo for solo violin. violin.

In the In coming the coming seasons, seasons, in addition in addition to championing to championing these these solo solo works, works, he will he join will his joinlong-time his long-time duo duo partner partner pianist pianist AkiraAkira Eguchi Eguchi in recitals in recitals throughout throughout North North America, America, Europe Europe Chris Lee Chris Lee and and Asia.Asia.

Appearances Appearances withwith orchestra orchestra regularly regularly include include the Berlin the Berlin Philharmonic, Philharmonic, Boston Boston Symphony, Symphony, Chicago Chicago Symphony, Symphony, IsraelIsrael Philharmonic, Philharmonic, Los Angeles Los Angeles Philharmonic, Philharmonic, NewNew YorkYork Philharmonic, Philharmonic, Orchestre Orchestre de Paris de Paris and and San Francisco San Francisco Symphony, Symphony, as well as well as multi-year as multi-year residencies residencies withwith the orchestras the orchestras of Montreal, of Montreal, Stuttgart Stuttgart and and Singapore.

Singapore.

WithWith orchestra, orchestra, Shaham Shaham continues continues his exploration his exploration of “Violin of “Violin Concertos Concertos of the of 1930s,” the 1930s,” including including the works the works of Barber, of Barber, Bartók, Bartók, Berg,Berg, Korngold Korngold and and Prokofiev, Prokofiev, among among many many others. others.

Gil Shaham Gil Shaham playsplays the 1699 the 1699 “Countess “Countess Polignac” Polignac” Stradivarius Stradivarius and and performs performs on on an Antonio an Antonio Stradivari Stradivari violin, violin, Cremona Cremona c. 1719, c. 1719, withwith the assistance the assistance of Rare of Rare Violins Violins in Consortium, in Consortium, Artists Artists and and Benefactors Benefactors Collaborative.

Collaborative. gilshaham.com gilshaham.com ©

©

n PROGRAM n PROGRAM NOTES NOTES

Victoria Victoria Polevá: Polevá: Symphony Symphony No. No. 3, White 3, White Interment Interment n Composed: n Composed: 20022002 for oboe for oboe and strings; and strings; revised revised for orchestra for orchestra in 2003 in 2003 as Symphony as Symphony No. 3No. 3 n Premiere: n Premiere: 20092009 by the byRivne the Rivne [Ukraine] [Ukraine] Chamber Chamber Orchestra, Orchestra, PetroPetro Tovstukha Tovstukha conducting conducting n Instrumentation: n Instrumentation: 4 flutes 4 flutes (incl.(incl. piccolo), piccolo), 2 oboes, 2 oboes, 2 clarinets, 2 clarinets, 2 bassoons, 2 bassoons, 4 horns, 4 horns, 2 trumpets, 2 trumpets, 3 trombones, 3 trombones, tuba,tuba, timpani, timpani, glockenspiel, glockenspiel, harp,harp, piano, piano, strings strings n Duration: n Duration: approx. approx.

14 minutes 14 minutes

Viktoria Viktoria Polevá, Polevá, one of one the of most the most prominent prominent of Ukraine’s of Ukraine’s many many gifted gifted contemporary contemporary composers, composers, was was bornborn in Kyiv in Kyiv in 1962 in 1962 and and received received her early her early training training in music in music fromfrom her father, her father, himself himself a composer. a composer.

Polevá Polevá continued continued her her education education at the at Shchedryk the Shchedryk Children’s Children’s Choir Choir Studio, Studio, Glière Glière KyivKyiv StateState Higher Higher Music Music School School and and KyivKyiv StateState Conservatory, Conservatory, where where her principal her principal composition composition

Born:Born: September September 11, 11, 1962,1962, Kyiv,Kyiv, Ukraine Ukraine Fanfare Fanfare Magazine Magazine | 67 | 67

CONCERT PREVIEW

teacher was Ivan Karabyts. She taught at the Conservatory following her graduation in 1989, and when it was reorganized in 1995 as the Ukrainian National Tchaikovsky Academy of Music Poleva was awarded a graduate teaching fellowship, teaching composition at the school until 1998, when she took over the school’s Music Information Technologies Department. Polevá left academia in 2005 to devote herself to composing. Since then, she has created an extensive catalog encompassing operas; ballets; accompanied and a cappella choral and vocal works set to folk, classical and sacred texts; and pieces for orchestra, chamber ensembles and piano with referential aspects, many in a so-called “sacred minimalist” style that has also found wide acceptance in the works of Arvo Pärt, Henryk Górecki, John Tavener and others. Polevá’s works have been performed internationally by leading conductors, soloists, chamber ensembles and orchestras and recognized with numerous honors, including the Shevchenko National Prize of Ukraine, Kyiv Art Prize, Boris Lyatoshinsky Prize and Levko Revutsky Prize, first prizes in the International Spherical Music Competition and All-Ukrainian Composers’ Competition, and residencies at new music festivals in Ukraine, Sweden, Finland, Switzerland, Italy, Poland, United Arab Emirates, Peru and Chile.

The title, character and form of Polevá’s White Interment are indebted to the grim poem “Teper’ Vsegda Snega” (“Now Always Snow”) by Russian avantgardist Gennady Aygi (1934–2006), which opens “Like snow the Lord is all there is/When all there is is snow/When the soul is all there is/The snows the soul and light/But still just this/That there are those/Like death is all there is…”

—Dr. Richard E. Rodda

Antonín Dvořák: Concerto in A Minor for Violin and Orchestra, Op. 53 n Composed: 1879 n Premiere: October 14, 1883 by violinist František Ondříček n Instrumentation: solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings n Duration: approx. 32 minutes

Born: September 8, 1841, Nelahozeves, Czechia Died: May 1, 1904, Prague, Czechia

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Dvořák’s Concerto for Violin and Orchestra, Op. 53 is both melodic and adventurous, filled with folk-like tunes and strong rhythms. Its structure departs from the norm: the first movement, Allegro ma non troppo, is cut short, which led early critics to criticize its lack of symmetry. But sacrificing form in favor of substance is a worthwhile trade-off: the concerto grabs the ear from its first notes and holds the listener captive throughout. Furthermore, Dvořák’s insistence on eliding the first movement into the second was a brilliant choice: without the release of tension that a decisive ending would have provided, it is the audience, not the soloist, who does the work of carrying the emotional intensity of the first movement over into the second.

The themes of the first movement establish the work’s Bohemian pedigree from the opening fanfare by means of strong dance rhythms. Dvořák tempers those with occasional touches that invoke the spirit of Brahms, such as the displaced ties across bar lines. The transition into the middle movement, Adagio ma non troppo, is accomplished through gentle motion as the flute and oboe settle down into a major key.

This middle movement again summons Brahms in its calm motion and its heightened expressivity. Long, lyrical countermelodies in the woodwinds complement the soloist as the harmonies shift in unexpected ways, sprinkled with exquisite touches of contrapuntal filigree. The movement builds to a full, rich, soaring string tune in parallel thirds—Brahms again!—before closing with another image from the Bohemian countryside.

CONCERT PREVIEW

The finale, Allegro giocoso, ma non troppo, represents Dvořák at his finest. He opens with a furiant, a quick Bohemian dance with sharp, shifting syncopations that trick the ear into hearing 2/4 time, even though the music is truly in triple meter. Three longer episodes interrupt the main theme, and here, too, Dvořák invokes his homeland with drums and bagpipe drones. The centerpiece of the movement, however, is the sudden lapse into a dumka, a plaintive Slavic lament in moderate 2/4 that eventually returns to the main theme and leads to a rousing finish.

Dvořák’s concerto was championed by generations of violinists, including Josef Suk, Salvatore Accardo and David Oistrakh and has become one of the cornerstones of the violin repertoire. As for Joseph Joachim (who was to give the premiere of the concerto but rejected the work after several revisions), he soon came to appreciate the artistry of the work, but he never did get to perform it in public. Yet, to this day, it is Joachim’s own fingerings and bowings that grace the Urtext edition of the work, a testament to his high regard for its charm and beauty.

—Dr. Scot Buzza

Johannes Brahms: Symphony No. 4 in E Minor, Op. 98 n Composed: 1884–85 n Premiere: October 17, 1885, Meiningen, Germany, Johannes Brahms conducting n Instrumentation: 2 flutes (incl. piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, strings n Duration: approx. 39 minutes

Johannes Brahms wrote his fourth and final symphony during the summers of 1884 and 1885. The work was premiered by one of Europe’s leading orchestras in Meiningen, Germany in October 1885, and numerous performances throughout Europe, as well as in Boston and New York, quickly followed.

Brahms’ friends, music critics and, later, historians warmly praised the richness of the work, particularly the continuous development of the main motives in the powerful first movement. The stunning beauty of the melodies in the second movement, particularly the second main melody introduced by the cellos, attracted even warmer praise. Elisabeth von Herzogenberg, one of Brahms’ closest friends and an extremely astute musician, described this theme as a “long drawn-out song breathing of summer!” and congratulated Brahms on the “delicious” harmonies. The lyricism of this movement, which is tinged by a gentle nostalgia, contrasts with the bristling energy of the third movement, which resembles a raucous carnival. Brahms himself described it as “fairly noisy” because it included noise makers such as three timpani, a triangle and piccolo. The fourth movement, however, is one of Brahms’ greatest technical accomplishments. Drawing on the compositional techniques of Bach and Beethoven, it features one main theme that is varied and transformed 30 times. Despite the recurring theme, the movement never becomes boring because Brahms combined the theme with new ideas and harmonies, and created contrasting orchestral colors. Quiet passages, including a gently wafting flute solo and solemn, chorale-like phrases intoned by the trombones and bassoon, contrast with the orchestra’s dramatic and, at times, anguished phrases. This spectacular finale has been accorded many accolades, with Max Kalbeck, a leading Viennese music critic, labeling it as “the crown of all Brahms variation movements.”

—Heather Platt, Sursa Distinguished Professor of Fine Arts and Professor of Music

Born: May 7, 1833, Hamburg, Germany Died: April 3, 1897, Vienna, Austria

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2024–25 FINANCIAL SUPPORT INSTITUTIONAL SUPPORT Local and national foundations, businesses, and government agencies are integral to the Orchestra’s vibrant performances, community engagement work, and education activities. We are proud to partner with the following funders.

ANNUAL SUPPORT

SEASON AND SERIES SPONSORS Pops Season Presenter

IDEA Series Title Sponsor

Lollipops Series Sponsor

CSO Season Sponsor

PLATINUM BATON CIRCLE ($50,000+)

CONDUCTOR’S CIRCLE ($10,000–$14,999)

Anonymous ArtsWave Charles H. Dater Foundation Dr. John & Louise Mulford Fund for the CSO Ellen and Richard Berghamer Foundation Harold C. Schott Foundation / Francie and Tom Hiltz, Trustees H.B., E.W., F.R. Luther Charitable Foundation Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation Margaret McWilliams Rentschler Fund of Greater Cincinnati Foundation National Endowment for the Arts Nina Browne Parker Trust Ohio Arts Council PNC Bank Robert H. Reakirt Foundation Equities The Carol Ann and Ralph V. Haile, Jr. Foundation The Fifth Third Foundation The Mellon Foundation The Thomas J. Emery Memorial The Unnewehr Foundation Western & Southern Financial Group

Bartlett Wealth Management Graeter’s Ice Cream Chemed Corporation CVG Airport Authority Kelly Dehan and Rick Staudigel Messer Construction Co. Taft Stettinius & Hollister LLP The Daniel & Susan Pfau Foundation YOT Full Circle Foundation

GOLD BATON CIRCLE ($25,000–$49,999)

George and Margaret McLane Foundation HORAN Wealth Louis H. and David S. Ingalls Foundation Inc. Oliver Family Foundation The Cincinnati Symphony Club The Ladislas & Vilma Segoe Family Foundation The Wohlgemuth Herschede Foundation United Dairy Farmers & Homemade Brand Ice Cream SILVER BATON CIRCLE ($15,000–$24,999)

Johnson Investment Counsel Peter E. Landgren and Judith Schonbach Landgren The Procter & Gamble Company The Rendigs Foundation Scott and Charla Weiss Wodecroft Foundation

CONCERTMASTER’S CIRCLE ($5,000–$9,999) Duke Energy Interact For Health JRH Consultants Keating Muething & Klekamp PLL Pyro-Technical Investigations, Inc. Queen City (OH) Chapter of The Links, Incorporated SORTA/Go Metro The Willard & Jean Mulford Charitable Fund Thompson Hine LLP

ARTIST’S CIRCLE ($2,500–$4,999) Charles Scott Riley III Foundation d.e. Foxx and Associates, Inc. Huntington Bank Learning Links Fund of Greater Cincinnati Foundation Visit Cincy

BUSINESS & FOUNDATION PARTNERS (up to $2,499) African American Chamber of Commerce Albert B. Cord Charitable Foundation American Red Cross, Greater Cincinnati-Dayton Region Earthward Bound Foundation Frances L. P. Ricketts Sullivan Memorial Fund Hixson Architecture Engineering Interiors Journey Steel League of American Orchestras Robert A. & Marian K. Kennedy Charitable Trust The Blue Book of Cincinnati The Kroger Co. The Voice of Your Customer William G. and Mary Jane Helms Charitable Foundation

Join this distinguished group!

Contact Sean Baker at 513.744.3363 or sbaker@ cincinnatisymphony.org to learn how you can become a supporter of the CSO and Pops. This list is updated quarterly.

2025 ARTSWAVE PARTNERS

The Cincinnati Symphony Orchestra and Cincinnati Pops acknowledge the following partner companies, foundations and their employees who generously participate in the Annual ArtsWave Community Campaign at the $100,000+ level. Thank you! $2 million+ P&G $1 million to $1,999,999 Fifth Third Bank and Fifth Third Foundation $500,000 to $999,999 GE Aerospace $250,000 to 499,999 altafiber Cincinnati Children’s Hospital Medical Center The Cincinnati Insurance Companies Great American Insurance Group

70 | 2024–25 SEASON

The H.B., E.W. and F.R. Luther Charitable Foundation, Fifth Third Bank, N.A., Trustee Western & Southern Financial Group $100,000–$299,999 Cincinnati Open Cincinnati Reds Dinsmore & Shohl LLP Duke Energy The E.W. Scripps Company and Scripps Howard Foundation The Enquirer | Cincinnati.com Greater Cincinnati Foundation The Kroger Co. Messer Construction Co. National Endowment for the Arts

FINANCIAL SUPPORT

PERMANENT ENDOWMENTS Endowment gifts perpetuate your values and create a sustainable future for the Orchestra. We extend our deep gratitude to the donors who have provided permanent endowments in support of our programs that are important to them. For more information about endowment gifts, contact Kate Farinacci, Director of Special Campaigns & Legacy Giving, at 513.744.3202.

ENDOWED CHAIRS

Grace M. Allen Chair Ellen A. & Richard C. Berghamer Chair Robert E. & Fay Boeh Chair The Marc Bohlke Chair given by Katrin & Manfred Bohlke Trish & Rick Bryan Chair Otto M. Budig Family Foundation Chair Mary Alice Heekin Burke Chair Michael L. Cioffi & Rachael Rowe— the Honorable Nathaniel R. Jones Chief Diversity & Inclusion Officer Sheila and Christopher Cole Chair Peter G. Courlas– Nicholas Tsimaras Chair Ona Hixson Dater Chair The Anne G. & Robert W. Dorsey Chair+ Jane & David Ellis Chair Irene & John J. Emery Chair James M. Ewell Chair Ashley & Barbara Ford Chair for Assistant Conductor Ashley & Barbara Ford Chair for Assistant Conductor Ashley & Barbara Ford Chair for Principal Tuba Susan S. & William A. Friedlander Chair+ Charles Gausmann Chair Susanne & Philip O. Geier, Jr. Chair+ Emma Margaret & Irving D. Goldman Chair Clifford J. Goosmann & Andrea M. Wilson Chair Charles Frederic Goss Chair Jean Ten Have Chair Dorothy & John Hermanies Chair Lois Klein Jolson Chair Josephine I. & David J. Joseph, Jr. Chair Harold B. & Betty Justice Chair Marvin Kolodzik & Linda S. Gallaher Chair+ Al Levinson Chair Patricia Gross Linnemann Chair+ Alberta & Dr. Maurice Marsh Chair Stephen P. McKean Chair Laura Kimble McLellan Chair The Henry Meyer Chair

The Louise Dieterle Nippert & Louis Nippert Chairs Rawson Chair The Vicky & Rick Reynolds Chair in honor of William A. Friedlander+ Ida Ringling North Chair Donald & Margaret Robinson Chair Dianne & J. David Rosenberg Chair+ Ruth F. Rosevear Chair The Morleen & Jack Rouse Chair+ Emalee Schavel Chair Karl & Roberta Schlachter Family Chair Serge Shababian Chair Melinda & Irwin Simon Chair+ Tom & Dee Stegman Chair+ Mary & Joseph S. Stern, Jr. Chair+ Cynthia & Frank Stewart Chair The Jackie & Roy Sweeney Family Chair The Sweeney Family Chair in memory of Donald C. Sweeney Anna Sinton Taft Chair Brenda & Ralph Taylor Chair James P. Thornton Chair Nicholas Tsimaras– Peter G. Courlas Chair Thomas Vanden Eynden Chair Sallie Robinson Wadsworth & Randolph L. Wadsworth Jr. Chair Jo Ann & Paul Ward Chair Matthew & Peg Woodside Chair Mary M. & Charles F. Yeiser Chair

Fred L. & Katherine H. Groll Fund for Musical Excellence Fred L. & Katherine H. Groll Fund for Great Artists Fred L. & Katherine H. Groll Trust Pianist Fund The Carol Ann and Ralph V. Haile, Jr. Foundation Endowment Fund Anne Heldman Endowment Fund** Mr. and Mrs. Lorrence T. Kellar+ Lawrence A. & Anne J. Leser* Mr. & Mrs. Carl H. Lindner** Janice W. & Gary R. Lubin Fund for Black Artists PNC Financial Services Group The Procter & Gamble Fund Vicky & Rick Reynolds Fund for Diverse Artists+ Melody Sawyer Richardson* Rosemary and Mark Schlachter Endowment Fund*+ The Harold C. Schott Foundation, Francie and Tom Hiltz Endowment Fund+ Peggy Selonick Fund for Great Artists Dee and Tom Stegman Endowment Fund*+ Mr. & Mrs. Joseph S. Stern, Jr. Fund for Great Artists U. S. Bank Foundation* Sallie and Randolph Wadsworth Endowment Fund+

ENDOWED PERFORMANCES & PROJECTS

Educational Concerts

Eleanora C. U. Alms Trust, Fifth Third Bank, Trustee Rosemary and Frank Bloom Endowment Fund*+ Cincinnati Bell Foundation Inc. Mr. & Mrs. Val Cook Nancy & Steve Donovan* Sue and Bill Friedlander Endowment Fund*+ Mrs. Charles Wm Anness*, Mrs. Frederick D. Haffner, Mrs. Gerald Skidmore and the La Vaughn Scholl Garrison Fund

Rosemary & Frank Bloom * Cincinnati Financial Corporation & The Cincinnati Insurance Companies The Margaret Embshoff Educational Fund Kate Foreman Young Peoples Fund George & Anne Heldman+ Macy’s Foundation Vicky & Rick Reynolds*+ William R. Schott Family** Western-Southern Foundation, Inc. Anonymous (3)+

OTHER NAMED FUNDS

Ruth Meacham Bell Memorial Fund Frank & Mary Bergstein Fund for Musical Excellence+ Jean K. Bloch Music Library Fund Cora Dow Endowment Fund Corbett Educational Endowment** Belmon U. Duvall Fund Ewell Fund for Riverbend Maintenance Linda & Harry Fath Endowment Fund Ford Foundation Fund Natalie Wurlitzer & William Ernest Griess Cello Fund William Hurford and Lesley Gilbertson Family Fund for Guest Pianists The Mary Ellyn Hutton Fund for Excellence in Music Education Josephine I. & David J. Joseph, Jr. Scholarship Fund Richard & Jean Jubelirer & Family Fund* Anne C. and Robert P. Judd Fund for Musical Access The Kosarko Family Innovation Fund Elma Margaret Lapp Trust Jésus López-Cobos Fund for Excellence Mellon Foundation Fund Nina Browne Parker Trust Dorothy Robb Perin & Harold F. Poe Trust Rieveschl Fund Thomas Schippers Fund Martha, Max & Alfred M. Stern Ticket Fund Mr. & Mrs. John R. Strauss Student Ticket Fund Anna Sinton & Charles P. Taft Fund Lucien Wulsin Fund Wurlitzer Season Ticket Fund CSO Pooled Income Fund CSO Musicians Emergency Fund

*Denotes support for Annual Music Program Fund **Denotes support for the 2nd Century Campaign +Denotes support for the Fund for Musical Excellence

GIFT OF MUSIC: August 28–October 21, 2024 The following people provided gifts to the Gift of Music Fund to celebrate an occasion, to mark a life of service to the Orchestra, or to commemorate a special date. Their contributions are added to the Orchestra’s endowment. For more information on how to contribute to this fund, please call 513.744.3271.

In memory of Jan Denton Eleanor McCombe Anne Oscherwitz

Fanfare Magazine | 71

FINANCIAL SUPPORT

HONOR ROLL OF CONTRIBUTORS The Cincinnati Symphony Orchestra and Cincinnati Pops are grateful to the following individuals that support our efforts by making a gift to the Orchestra Fund. We extend our heartfelt thanks to each and every one and pay tribute to them here. You can join our family of donors online at cincinnatisymphony.org/donate or by contacting the Philanthropy Department at 513.744.3271.

PLATINUM BATON CIRCLE

Gifts of $50,000 and above

Mr. and Mrs. Frederick E. Bryan, III § Robert W. Dorsey § Kathy Grote in loving memory of Robert Howes § Healey Liddle Family Foundation, Mel & Bruce Healey Harold C. Schott Foundation, Francie & Tom Hiltz Florence Koetters Jo Anne and Joe Orndorff Vicky and Rick Reynolds Irwin and Melinda Simon § Tom and Dee Stegman § Jackie and Roy Sweeney Family Fund* Mr. Randolph L. Wadsworth Jr. § Ginger Warner Scott and Charla Weiss §

GOLD BATON CIRCLE

Gifts of $25,000–$49,999

Joe and Patricia Baker Dr. and Mrs. John and Suzanne Bossert § Robert and Debra Chavez Sheila and Christopher C. Cole § Stephen J Daush Dr. and Mrs. Carl G. Fischer Ashley and Bobbie Ford § George and Margaret McLane Foundation Dr. and Mrs. Stephen Joffe Mrs. Andrea Kaplan Marvin P. Kolodzik and Linda S. Gallaher § Calvin and Patricia Linnemann Susan McPartlin & Michael Galbraith G. Franklin Miller and Carolyn Baker Miller Dianne and J. David Rosenberg Moe and Jack Rouse § Mark S. and Rosemary K. Schlachter § Mr. and Mrs. Jonathan Ullman Mrs. James W. Wilson, Jr. § Anonymous (1)

SILVER BATON CIRCLE Gifts of $15,000–$24,999

Mr. and Mrs. Larry Brueshaber Mr. Gregory D. Buckley and Ms. Susan Berry-Buckley Mr. and Mrs. Tom Evans The Garber Family Tom and Jan Hardy § Mr. and Mrs. Joseph W. Hirschhorn § Dr. Lesley Gilbertson and Dr. William Hurford § Mrs. Erich Kunzel Peter E. Landgren and Judith Schonbach Landgren § Will and Lee Lindner

Mark and Tia Luegering Mr. and Mrs. Timothy Maloney Alan Margulies and Gale Snoddy Mr. and Mrs. Robert W. McDonald Joseph A. and Susan E. Pichler Fund* Ann and Harry Santen § In memory of Mary and Joseph S. Stern, Jr Mrs. Theodore Striker Sarah Thorburn DeeDee and Gary West § In Loving Memory of Diane Zent Mr. and Mrs. James M. Zimmerman §

CONDUCTOR’S CIRCLE Gifts of $10,000–$14,999

Mr. and Mrs. Andrew Akers Jan and Roger Ames Ms. Melanie M. Chavez Michael L. Cioffi & Rachael Rowe § Mrs. Thomas E. Davidson § K.M. Davis Dianne Dunkelman and Clever Crazes for Kids Emory P. Zimmer Insurance Agency Lynne Friedlander and Jay Crawford John B. and Judith O. Hansen Patti and Fred Heldman John and Ramsey Lanni Adele Lippert Whitney and Phillip Long Holly and Louis Mazzocca In memory of Bettie Rehfeld James and Margo Minutolo Melody Sawyer Richardson § Martha and Lee Schimberg Mr. Lawrence Schumacher Dr. Jean and Mrs. Anne Steichen Ralph C. Taylor § Nancy C. Wagner and Patricia M. Wagner § Anonymous (3)

CONCERTMASTER’S CIRCLE

Gifts of $5,000–$9,999

Heather Apple and Mary Kay Koehler Thomas P. Atkins Mrs. Thomas B. Avril Kathleen and Michael Ball Robert and Janet Banks Michael P Bergan and Tiffany Hanisch Louis D. Bilionis and Ann Hubbard Robert L. and Debbie Bogenschutz Thomas A. Braun, III § Sally and Rick Coomes George Deepe and Kris Orsborn Bedouin and Randall Dennison Dennis W. and Cathy Dern Dr. and Mrs. Alberto Espay Mr. and Mrs. James T. Fitzgerald Mrs. Charles Fleischmann Marlena and Walter Frank

Principal Harp Gillian Benet Sella with donors Ann Santen, Manisha Patel and Michael Curran at Cocktails with Cristi & Cheryl on OCT 5.

Credit: Claudia Hershner

72 | 2024–25 SEASON

Dr. and Mrs. Harry F. Fry L. Timothy Giglio Thomas W. Gougeon Mr. and Mrs. Lawrence Hamby Ms. Delores Hargrove-Young William and Jo Ann Harvey Dr. James and Mrs. Susan Herman Barbara M. Johnson Mr. and Mrs. Geoffrey Keenan Mrs. Barbara Kellar in honor of Mr. Lorrence T. Kellar Holly King Michael and Marilyn Kremzar§ Richard and Susan Lauf The Lewis and Marjorie Daniel Foundation Mrs. Robert Lippert Elizabeth and Brian Mannion David L. Martin § Mr. Jonathan Martin Mandare Foundation Barbara and Kim McCracken § Linda and James Miller Ms. Mary Lou Motl § Mr. Arthur Norman and Mrs. Lisa Lennon Norman Poul D. and JoAnne Pedersen § David and Jenny Powell Ellen Rieveschl § Elizabeth and Karl Ronn § James and Mary Russell Bill and Lisa Sampson Dr. E. Don Nelson and Ms. Julia Sawyer-Nelson Dr. and Mrs. Michael Scheffler Mike and Digi Schueler Brent & Valerie Sheppard Rennie and David Siebenhar Mr. and Mrs. Gerald Skidmore § Michael and Donnalyn Smith Brett Stover § Mr. and Mrs. David R. Valz Christopher and Nancy Virgulak Mrs. Paul H. Ward § Donna A. Welsch Cathy S. Willis Andrea K. Wiot Irene A. Zigoris Anonymous (4)

ARTIST’S CIRCLE

Gifts of $3,000–$4,999

Dr. Charles Abbottsmith Mr. and Mrs. Gérard Baillely Ms. Marianna Bettman Glenn and Donna Boutilier Peter and Kate Brown Dr. Ralph P. Brown Chris and Tom Buchert The Otto M. Budig Family Foundation Daniel A. Burr Janet and Bruce Byrnes Andrea D. Costa, Esq. § Peter G. Courlas § Marjorie Craft Jim and Elizabeth Dodd Dr. and Mrs. Stewart B. Dunsker Mrs. Diana T. Dwight Ann A. Ellison Hardy and Barbara Eshbaugh Estate of E.J. and Jean Krabacher Mr. and Mrs. Richard Fencl Mrs. Amy Forte Yan Fridman Linda P. Fulton § Frank and Tara Gardner Naomi T. Gerwin Dr. and Mrs. Ralph A. Giannella Lesha and Samuel Greengus Esther B. Grubbs § Dr. and Mrs. Jack Hahn Donald and Susan Henson Mr. and Mrs. Stephen Hicks Karlee L. Hilliard § Ruth C. Holthaus In Memory of Benjamin C. Hubbard § Mr. and Mrs. Bradley G. Hughes Mr. and Mrs. Michael C. Hughes Karolyn Johnsen Dr. Richard and Lisa Kagan Dr. Robert W. Keith and Ms. Kathleen Thornton

Don and Kathy King Lynn Keniston Klahm Marie and Sam Kocoshis Frank and Ann Kromer Carol Louise Kruse Mr. Shannon Lawson Richard and Nancy Layding Merlanne Louney Luke and Nita Lovell Mr. and Mrs. Donald Marshall Glen and Lynn Mayfield The Allen-McCarren Trust Becky Miars Ms. Sue Miller Mr. and Mrs. David E. Moccia § George and Sarah Morrison III Phyllis Myers and Danny Gray Alice Perlman Drs. Marcia Kaplan and Michael Privitera Michael and Katherine Rademacher Sandra Rivers James Rubenstein and Bernadette Unger Mr. & Mrs. Peter A. Schmid Sandra and David Seiwert Mr. Rick Sherrer and Dr. Lisa D. Kelly Sue and Glenn Showers § Elizabeth C. B. Sittenfeld § William A. and Jane Smith Nancy Steman Dierckes § Elizabeth A. Stone Peggy and Steven Story Mr. and Mrs. J. Dwight Thompson Mr. and Mrs. Ronald Tinklenberg Neil Tollas and Janet Moore Dr. Barbara R. Voelkel Dr. and Mrs. Galen R. Warren Jonathan and Janet Weaver Jim and George Ann Wesner Stephen and Amy Whitlatch Jo Ann Wieghaus In Memory of Bruce R. Smith Ronna and James Willis Steve and Katie Wolnitzek Anonymous (3)

SYMPHONY CIRCLE

Gifts of $1,500–$2,999

Jeff and Keiko Alexander § Mr. Nicholas Apanius Judy Aronoff and Marshall Ruchman Dr. Diane S. Babcock § Beth and Bob Baer Mrs. Gail Bain David and Elaine Billmire § Neil Bortz William & Mary Bramlage Ms. Jaqui Brumm Rachelle Bruno and Stephen Bondurant Dr. Leanne Budde Bob and Angela Buechner Barbie Wagner Ms. Deborah Campbell § Tom Carpenter and Lynne Lancaster Dr. Alan Chambers Susan and Burton Closson Carol C. Cole § Mr. and Mrs. Philip K. Cone Randy K. and Nancy R. Cooper Mr. and Mrs. Charles E. Curran, III § Mr. Louis M. Dauner and Ms. Geraldine N. Wu Tom and Leslie Ducey David and Linda Dugan Amy Dunlea and Lois Mannon Mr. and Mrs. John G. Earls § Barry and Judy Evans § Dr. and Mrs. William J. Faulkner Janice and Dr. Tom Forte Richard Freshwater § Dudley Fulton Anne E. Mulder and Rebecca M. Gibbs Louis and Deborah Ginocchio Mr. Mark W. Glogowski Donn Goebel and Cathy McLeod Dr. and Mrs. Glenn S. Gollobin Drew Gores and George Warrington Jim and Jann Greenberg Bill and Christy Griesser John and Elizabeth Grover

FINANCIAL SUPPORT

Pops Conductor John Morris Russel and guest artist Rick Steves with donors Nancy and Patty Wagner. Credit: CSO Staff Mr. and Mrs. Byron Gustin Catherine K. Hart Mrs. Jackie Havenstein Mr. John A. Headley Mr. and Mrs. Robert R. Heidenreich Mr. Fred Heyse Heidi Jark and Steve Kenat Andrew MacAoidh & Linda Busken Jergens § The Marvin Jester Family Mr. and Mrs. Paul H. Johnson Ms. Sylvia Johnson Holly H. Keeler Mr. and Mrs. Woodrow Keown, Jr. John and Molly Kerman Bill and Penny Kincaid Mr. and Mrs. Richard Kovarsky Mark & Elisabeth Kuhlman Everett and Barbara Landen Evelyn and Fred Lang Charles and Jean Lauterbach Mary Mc and Kevin Lawson Mrs. Jean E. Lemon § Andi Levenson Young and Scott Young Mr. Peter F. Levin § Paula and Nick Link Mr. and Mrs. Clement H. Luken, Jr. Edmund D. Lyon Mark Mandell-Brown, MD and Ann Hanson Robert and Heather McGrath Mr. Gerron McKnight John and Roberta Michelman Mr. and Mrs. David A. Millett Eileen W. and James R. Moon Mrs. Sally A. More Nan L. Oscherwitz Sandy Pike § Mark and Kim Pomeroy Dr. Aik Khai Pung James W. Rauth § Beverly and Dan Reigle Stephen and Betty Robinson Marianne Rowe § Frederick R. Schneider Tim and Jeannie Schoonover Rev. Dr. David V. Schwab Stanley and Jane Shulman Stephanie A. Smith Stephen and Lyle Smith Albert and Liza Smitherman Bill and Lee Steenken § Mrs. Donald C. Stouffer Mr. and Mrs. Richard Stradling, Jr. Susan and John Tew In Memory of Mr. William T. Bahlman, Jr. Dr. Judith Vermillion Michael L. Walton, Esq Ted and Mary Ann Weiss Mr. Donald White Virginia Wilhelm Rev. Anne Warrington Wilson Robert and Judy Wilson Carol and Don Wuebbling Drs. Marissa S. Liang and Y. Jeffrey Yang Anonymous (6)

CONCERTO CLUB

Gifts of $500–$1,499

Christine O. Adams Dr. Mary Albers In memory of Carol Allgood & Ester Sievers Lisa Allgood

Mr. Thomas Alloy & Dr. Evaline Alessandrini Patricia A. Anderson Paul and Dolores Anderson § Dr. Victor and Dolores Angel Nancy J. Apfel Lynne & Keith Apple, Honoring our Family Ms. Laura E. Atkinson Mr. David H. Axt and Ms. Susan L. Wilkinson Mrs. Mary M. Baer Todd and Ann Bailey Jack and Diane Baldwin Peggy Barrett § Michael and Amy Battoclette N. Lorraine Becker Dr. and Mrs. Thomas E. Bell Drs. Carol and Leslie Benet Fred Berger Dr. Allen W. Bernard Glenda and Malcolm Bernstein Aggie Nichols and Jeff Berry Ms. Henryka Bialkowska-Nagy Sharon Ann Kerns and Mike Birck Michael Bland Milt and Berdie Blersch Randal and Peter Bloch Dr. and Mrs. Jeffrey Bloomer Ms. Sandra Bolek Ron and Betty Bollinger Clay and Emily Bond Dr. and Mrs. Kevin Bove David & Madonna Bowman Dr. Carol Brandon David A. Brashear Briggs Creative Services, LLC Robert and Joan Broersma Ms. Kathryn Brokaw Harold and Gwen Brown Jacklyn and Gary Bryson Gay Bullock Angie & Gary Butterbaugh Jack and Marti Butz John & Terri Byczkowski Dorothy and Harold Byers § Ms. Cindy Callicoat Karen and Steve Carr The Castellini Company Mike and Shirley Chaney Gordon Christenson Dee and Frank Cianciolo Fund* James Civille Mr. and Mrs. John Clapp James Clasper and Cheryl Albrecht Mr. Robert Cohen and Ms. Amy J. Katz Dr. George I. Colombel Fred W. Colucci Marilyn Cones Dr. Margaret Conradi Janet Conway Robin Cotton and Cindi Fitton Dennis and Pat Coyne Martha Crafts Tim and Katie Crowley Susan and John Cummings Adrian and Takiyah Cunningham Jacqueline Cutshall Mr. and Mrs. Henry F. Dabek, Jr. Diane and Wayne Dawson Loren and Polly DeFilippo Stephen and Cynthia DeHoff Rozelia Park and Christopher Dendy Robert B. Dick, Ph.D. Ms. Rhonda Dickerscheid Roger and Julie Doughty Ms. Andrea Dubroff

Board members Charla Weiss (Board Chair Elect and ViceChair of Institutional Advancement) and Kori Hill (Chair of the Multicultural Awareness Council) at the Cocktails with Cristi & Cheryl event. Credit: Claudia Hershner Tom and Dale Due Mrs. Shirley Duff Edgar J. and Elaine J. Mack Fund Dale & Kathy Elifrits Sally Eversole Ms. Kate Farinacci Ms. Jean Feinberg Ilya Finkelshteyn and Evin Blomberg Dr. and Mrs. Thomas Fischer Anne and Alan Fleischer Mr. and Mrs. James Foreman Mr. and Ms. Bernard Foster Dr. Charles E. Frank and Ms. Jan Goldstein Susan L. Fremont In memory of Eugene and Cavell Frey Mr. and Mrs. Joseph Fricke Mr. and Mrs. James Fryman Marjorie Fryxell Mark S. Gay Drs. Michael and Janelle J. Gelfand Kathleen Gibboney Dr. Jerome Glinka and Ms. Kathleen Blieszner Dr. and Mrs. Charles J. Glueck Dan Goetz Dr. and Mrs. Richard Goetz Mr. William J. Gracie, Jr. Robert and Cynthia Gray Carl and Joyce Greber Mary Grooms Janet C. Haartz and Kenneth V. Smith Alison and Charles Haas Mrs. R. C. Haberstroh Mary Elizabeth Huey and Daniel Hadley Mary and Phil Hagner Peter Hames Ham and Ellie Hamilton Walter and Karen Hand Roberta Handwerger, in memory of Dr. Stuart Handwerger Mr. and Mrs. William Hardie Dr. Donald and Laura Harrison Mariana Belvedere and Samer Hasan Angie Heiman Mr. A. M. Heister Mrs. Betty H. Heldman § Howard D. and Mary W. Helms Mrs. E. J. Hengelbrok, Jr. Mr. Jeff Herbert Michelle and Don Hershey Janet & Craig Higgins The Rev. Canon and Mrs. George A. Hill III Mr. and Mrs. William A. Hillebrand Kyle and Robert Hodgkins Susan and Jon Hoffheimer Ms. Leslie M. Hoggatt Tim and Connie Holmen Richard and Marcia Holmes Mr. Joe Hoskins Ms. Sandra L. Houck Melissa Huber Dr. Edward & Sarah Hughes Nada Christine Huron Caroline Isaacs Dr. Maralyn M. Itzkowitz Mrs. Charles H. Jackson, Jr. Joan and Richard Jackson Marcia Jelus Robert Johnson Mrs. Marilyn P. Johnston Jay and Shirley Joyce Mr. and Mrs. Robert Judd § Christopher and Felecia Kanney Dr. James Kaya and Debra Grauel

Dr. and Mrs. Richard Kerstine Mr. and Mrs. Dave Kitzmiller In Memory of Jeff Knoop Paul and Carita Kollman Carol and Scott Kosarko § Mr. and Mrs. Jonathan Kregor Kathleen B. and Michael C. Krug Fund* Pat and Randy Krumm § Mrs. John H. Kuhn § Pinky Laffoon Asher Lanier Janet R. Schultz Mrs. Julie Laskey Joe Law and Phil Wise Mrs. James R. Leo Dr. Carol P. Leslie Mr. and Mrs. Lance A. Lewis Mrs. Maxine F. Lewis Mr. Arthur Lindsay Mr. and Mrs. James A. Link Mitchel and Carol Livingston Mrs. Marianne Locke Steven Kent Loveless JP and Footie Lund Larry and Mary Geren Lutz Mrs. Mary Reed Lyon Marshall and Nancy Macks Mr. and Mrs. Julian A. Magnus Jenea Malarik Ms. Cheryl Manning Andrew and Jean Martin Mr. and Mrs. Dean Matz Ms. Mary Jane Mayer Dr. Janet P. McDaniel Tim and Trish McDonald Mark McKillip and Amira Beer Stephanie & Arthur McMahon Art and Stephanie McMahon Stephanie McNeill Charles and JoAnn Mead Ms. Nancy Menne Lee Meyer Michael V. Middleton Midland Company Laura Milburn Rachel and Charlie Miller Sonia R. Milrod Ms. Laura Mitchell Mr. Steven Monder Mr. and Mrs. Fred Moore Regeana and Al Morgan Mr. Scott Muhlhauser Alan Flaherty and Patti Myers § Hochwalt Naumann Fund Mr. and Mrs. Norman Neal Mrs. Sara Nemeth Amy Paul and Jerry Newfarmer Susan E. Noelcke Jane Oberschmidt § Mr. Gerardo Orta Mr. Joseph A. Pauley Mr. and Mrs. Paul Piazza Anne M. Pohl § Dr. Robert and Jackie Prichard Mrs. Stewart Proctor Mr. Robert Przygoda Jerry Rape Dr. and Mrs. Robert Reed Dr. Robert Rhoad and Kitsa Tassian Rhoad Stephanie Richardson Mr. David Robertson Laurie and Dan Roche Mr. and Mrs. Samuel A. Rodner Dr. Anna Roetker

Fanfare Magazine | 73



FINANCIAL SUPPORT Ms. Jeanne C. Rolfes Dr. and Mrs. Gary Roselle Amy and John Rosenberg Ellen and Louis Ross Mr. and Mrs. G. Roger Ross Dr. Deborah K. Rufner J. Gregory and Judith B. Rust Mr. Christian J. Schaefer Cindy Scheets Ms. Carol Schleker Mr. and Mrs. Patrick Schleker Dr. and Mrs. Michael Schmerler George Palmer Schober Glenda C. Schorr Fund* Carol J. Schroeder § James P. Schubert Mary D. Schweitzer Dr. Joseph Segal and Ms. Debbie Friedman Elaine Semancik Mick and Nancy Shaughnessy The Shepherd Chemical Company Alfred and Carol Shikany Jacqueline M. Mack and Dr. Edward B. Silberstein Ms. Joycee Simendinger Doug and Laura Skidmore In Honor of Kenneth Skirtz Ms. Martha Slager

Susan and David Smith Mark M. Smith (In memory of Terri C. Smith) Phillip and Karen Sparkes In Honor of Melody Sawyer Richardson Marian P. Stapleton Mr. and Mrs. Timothy Stautberg Ms. Ruth M. Stechschulte Mr. John Stein Mary M. Stein Christopher and Meghan Stevens Mr. Jason V. Stitt Stephanie and Joseph Stitt Nancy and Gary Strassel Ms. Susan R. Strick Mr. George Stricker, Jr. Mr. Mark Stroud Kathryn Sullivan Thomas and Keri Tami Dr. Alan and Shelley Tarshis Maureen Taylor Mr. Fred Tegarden Carlos and Roberta Teran Rich and Nancy Tereba Emily Terwilliger Linda and Nate Tetrick Greg Tiao and Lisa Kuan Marcia and Bob Togneri Dr. Nicolette van der Klaauw

Mr. D. R. Van Lokeren Jim and Rachel Votaw § Ms. Barbara Wagner Mr. and Mrs. James L. Wainscott Jane A. Walker Sarella Walton Ping Wang Chad and Betsy Warwick Herman & Margaret Wasserman Music Fund* Mary Webster Michael and Terry Welch Maryhelen West Elizabeth White Angela and Jack Willard Ms. Diana Willen § Marsha Williams Mr. Dean Windgassen and Ms. Susan Stanton Windgassen Craig and Barbara Wolf Donald and Karen Wolnik Rebecca Seeman and David Wood Judith R Workman Mr. and Mrs. Robert Wylly III Mr. John M. Yacher David and Sharon Youmans Mrs. Darleen Young Judy and Martin Young Mr. David Youngblood and Ms. Ellen Rosenman

Cheryl Zalzal Dr. and Mrs. Daryl Zeigler Mr. and Mrs. John Zeller Moritz and Barbara Ziegler Mr. and Mrs. Robert L. Zierolf Mr. Richard K. Zinicola and Ms. Linda R. Holthaus Mrs. Beth Zwergel Anonymous (22) List as of October 28, 2024

GIFTS IN-KIND

Mr. Michael Culligan Jones Day David and Carol Dunevant Paul and Anna Isaacs List as of October 30, 2024 * Denotes a fund of The Greater Cincinnati Foundation. § Denotes members of The Thomas Schippers Legacy Society.

Individuals who have made a planned gift to the Cincinnati Symphony Orchestra and Pops Orchestra are eligible for membership in the Society. For more information, please contact Kate Farinacci at 513.744.3202.

THE THOMAS SCHIPPERS LEGACY SOCIETY Thomas Schippers was Music Director from 1970 to 1977. He left not only wonderful musical memories, but also a financial legacy with a personal bequest to the Orchestra.

The Thomas Schippers Legacy Society recognizes those who contribute to the Orchestra with a planned gift. We thank these members for their foresight and generosity. For more information on leaving your own legacy, contact Kate Farinacci at 513.744.3202.

Mr. & Mrs. James R. Adams Jeff & Keiko Alexander Mrs. Robert H. Allen Dr. Toni Alterman Paul R. Anderson Carole J. Arend Donald C. Auberger, Jr. Dr. Diane Schwemlein Babcock Henrietta Barlag Peggy Barrett Jane* & Ed Bavaria David & Elaine Billmire Walter Blair Lucille* & Dutro Blocksom Dr. John & Suzanne Bossert Dr. Mollie H. Bowers-Hollon Ronald Bozicevich Thomas A. Braun, III Joseph Brinkmeyer Mr. & Mrs. Frederick Bryan, III Harold & Dorothy Byers Deborah Campbell & Eunice M. Wolf Catharine W. Chapman Michael L. Cioffi & Rachael Rowe Mrs. Jackson L. Clagett III Lois & Phil* Cohen Leland M.* & Carol C. Cole Sheila & Christopher Cole Grace A. Cook* Jack & Janice Cook Mr. & Mrs. Charles Cordes Ms. Andrea Costa Peter G. Courlas & Nick Tsimaras* Mr. & Mrs. Charles E Curran III Amy & Scott Darrah, Meredith & Will Darrah & children Caroline H. Davidson Harrison R.T. Davis Ms. Kelly M. Dehan Janice Denton* Amy & Trey Devey Robert W. Dorsey Jon & Susan Doucleff Ms. Judith A. Doyle Mr. & Mrs. John Earls Mr. & Mrs. Barry C. Evans Linda & Harry Fath Alan Flaherty Mrs. Richard A. Forberg

74 | 2024–25 SEASON

Ashley & Barbara Ford Guy & Marilyn Frederick Rich Freshwater & Family Mr. Nicholas L. Fry Linda P. Fulton H. Jane Gavin Edward J. & Barbara C.* Givens Kenneth A. Goode Clifford J. Goosmann & Andrea M. Wilson Mrs. Madeleine H. Gordon J. Frederick & Cynthia Gossman Kathy Grote Esther B. Grubbs, Marci Bein & Mindi Hamby William Hackman Vincent C. Hand & Ann E. Hagerman Tom & Jan Hardy William L. Harmon Mary J. Healy Frank G. Heitker Anne P. Heldman* Betty & John* Heldman Karlee L. Hilliard Michael H. Hirsch Mr. & Mrs. Joseph W. Hirschhorn Daniel J. Hoffheimer Kenneth L. Holford George R. Hood Mr. & Mrs. Terence L. Horan Mrs. Benjamin C. Hubbard Susan & Tom Hughes Dr. Lesley Gilbertson & Dr. William Hurford Mr. & Mrs. Paul Isaacs Julia M. F. B. Jackson Michael & Kathleen Janson Andrew MacAoidh Jergens Jean C. Jett Anne C. & Robert P. Judd Margaret H. Jung Mace C. Justice Karen Kapella Dr. & Mrs.* Steven Katkin Rachel Kirley & Joseph Jaquette Carolyn Koehl Marvin Kolodzik & Linda Gallaher Carol & Scott Kosarko Marilyn & Michael Kremzar

Randolph & Patricia Krumm Theresa M. Kuhn Warren & Patricia Lambeck Peter E. Landgren & Judith Schonbach Landgren Owen & Cici Lee Steve Lee Mrs. Jean E. Lemon Mr. Peter F. Levin George & Barbara Lott Janice W.* & Gary R. Lubin Mr.* & Mrs. Ronald Lyons Marilyn J. Maag Margot Marples David L. Martin Allen* & Judy Martin David Mason Barbara & Kim McCracken Laura Kimble McLellan Dr. Stanley R. Milstein Mrs. William K. Minor Mr. & Mrs. D. E. Moccia Mary Lou Motl Kristin & Stephen Mullin Christopher & Susan Muth Patti Myers Susan & Kenneth Newmark Dr. & Mrs. Theodore Nicholas Jane Oberschmidt Marja-Liisa Ogden Julie & Dick* Okenfuss Dr. & Mrs. Richard E. Park, MD Charlie & Tara Pease Poul D. & JoAnne Pedersen Sandy & Larry* Pike Mrs. Harold F. Poe Anne M. Pohl Irene & Daniel Randolph James W. Rauth Barbara S. Reckseit Melody Sawyer Richardson Ellen Rieveschl Elizabeth & Karl Ronn Moe & Jack Rouse Marianne Rowe Ann & Harry Santen Rosemary & Mark Schlachter Carol J. Schroeder Mrs. William R. Seaman

Dr. Brian Sebastian Mrs. Robert B. Shott Sue & Glenn Showers Irwin & Melinda Simon Betsy & Paul* Sittenfeld Sarah Garrison Skidmore* Adrienne A. Smith David & Sonja* Snyder Marie Speziale Mr. & Mrs. Christopher L. Sprenkle Barry & Sharlyn Stare Bill & Lee Steenken Tom and Dee Stegman Barry Steinberg Nancy M. Steman John & Helen Stevenson Mary* & Bob Stewart Brett Stover Dr. Robert & Jill Strub Patricia M. Strunk Ralph & Brenda* Taylor Conrad F. Thiede Minda F. Thompson Carrie & Peter Throm Dr. & Mrs. Thomas Todd Nydia Tranter Dick & Jane Tuten Thomas Vanden Eynden & Judith Beiting Mr. & Mrs. James K. Votaw Mr. & Mrs.* Randolph L. Wadsworth Jr. Nancy C. Wagner Patricia M. Wagner Mr.* & Mrs. Paul Ward Jo Anne & Fred Warren Mr. Scott Weiss & Dr. Charla Weiss Anne M. Werner Gary & Diane West Charles A. Wilkinson Ms. Diana Willen Joan R. Wilson Susan Stanton Windgassen Mrs. Joan R. Wood Alison & Jim Zimmerman * Deceased New Schippers members are in bold

We APPLAUD Our Loyal CSO and Pops Subscribers We thank every subscriber whose investment in the Cincinnati Symphony Orchestra and Cincinnati Pops makes these concerts possible. We would not be on stage without you! Thank you especially to the following subscribers whose loyalty and support has extended 25–50 years or more.*

Opus 50 & 25 Subscribers of 50 years or more: Mr. and Mrs. Richard N. Adams Mr. Gordon Allen Nancy J. Apfel Mrs. Marvin Aronoff Kathy and Ken Baier Mr. and Mrs. Franchot Ballinger Michael A. Battersby Mr. and Mrs. Herbert J. Beigel Glenda and Malcolm Bernstein Hon. Marianna Brown Bettman Mr. Walter B. Blair Mr. and Mrs. Peter M. Bloch Bill and Mary Bonansinga Eleanor A. Botts Mr. Thomas H. Brown Mr. and Mrs. R. Richard Broxon William Bryan Chris and Tom Buchert Donald L. and Kathleen Field Burns Jim and Nina Campbell Mr. Timothy Clarke Carol C. Cole Mr. David S. Collins and Ms. Sandra M. Gans Dr. C. J. and Carolyn Condorodis Sally and Rick Coomes Robin T. Cotton and Cynthia Fitton Peter G. Courlas Nancy Creaghead Lynne Curtiss Mrs. Jacqueline L. Cutshall Mrs. Lilian Estevez. de Pagani Sally H. Dessauer Mrs. Rupert A. Doan Mrs. Mel B. Dreyfoos Mr. and Mrs. C. Thomas Dupuis Mr. John Eddingfield Mr. and Mrs. James T. Fitzgerald Dr. David Flaspohler and Dr. Cynthia Crown Mr. and Mrs. Ashley L. Ford Marlena and Walter Frank Harriet A. and William M. Freedman Carol S. Friel Mrs. Nancy Gard Dr. and Mrs. Wayne E. Gardiner Mr. and Mrs. James K. Gehring Dr. and Mrs. Charles J. Glueck Sharon L. Goodcase Clifford J. Goosmann & Andrea M. Wilson Mr. David Greulich Esther Grubbs and Karen Dennis Dr. Janet C. Haartz William P. Hackman Mary and Phil Hagner Dr. and Mrs. Edward Hake Ham and Ellie Hamilton

List as of November 14, 2024

*If we have inadvertently left your name off this subscribers-only list or if we need to make corrections to your listed name, please call us at 513.381.3800 or email us at hello@cincinnatisymphony.org.

We are also grateful to those who have been loyal subscribers for 10–24 years, whose names we are unable to include here due to space limitations.

Mrs. Joan D. Hauser Mr. and Mrs. Stanley Hedeen Mr. and Mrs. Wayne Hinaman Mr. and Mrs. Joseph W. Hirschhorn Mrs. Robert S. Holzman Mrs. Benjamin C. Hubbard Mr. and Mrs. Marshall C. Hunt, Jr. Charles and Doris Jackson Rev. & Mrs. Andrew MacAoidh Jergens Ruth and Frederick Joffe Dr. J. O’Neal Johnston Dr. and Mrs. Earl Kisker Paul and Carita Kollman Mr. and Mrs. Ronald Krieg Mr. and Mrs. W. C. Kuhnell Susan Laffoon Mr. Gus Lewin Mr. and Mrs. H. Spencer Liles Mrs. Linda Linker Judy and Donald Lomax Mr. and Mrs. Phillip C. Long Dr. and Mrs. Joseph T. Luttmer Peter and Angela Madden Mr. Carl G. Marquette, Jr. Tom and Nancy Matthew Mr. Howard Mayers Barbara and Kim McCracken Mr. and Mrs. John S. McCullough Ted and Barb Mechley Mr. and Mrs. G. Franklin Miller Ms. Lynn Miller Mrs. Murray S. Monroe Mr. and Mrs. David W. Motch Mrs. Mary Lou Mueller Michael and Linda Myers Janet J. Nailor Mr. and Mrs. Raymond D. Neusch Mr. and Mrs. John Niehaus Dr. and Mrs. Melvyn M. Nizny Dr. Cora Ogle Dr. and Mrs. Thomas W. Osborn, III Alice Perlman Mr. and Mrs. Paul Piazza Mrs. Stewart Proctor Mr. Joseph W. Raterman Mr. and Mrs. Joseph H. Rohling Joseph N. Ross Mr. and Mrs. Eric Schaumloffel Lee and Martha Schimberg Mr. and Mrs. Frederick R. Schneider Mrs. William Schwerin Dr. and Mrs. Rees W. Sheppard Alfred and Carol Shikany Jacqueline M. Mack and Dr. Edward B. Silberstein John and Janet Simpkinson Mr. and Mrs. Kenneth Skirtz Mr. and Mrs. David Lee Smith Mr. and Mrs. John Spiess Mrs. Henry R. Stefanik Tom and Dee Stegman Dr. Jean and Mrs. Anne Steichen Nancy Steman Dierckes Mr. and Mrs. Laurence G. Stillpass

Mrs. Lowella M. Stoerker Elizabeth A. Stone Mrs. Joan C. Stouffer Mrs. Theodore Striker Dr. and Mrs. Suranyi Mrs. George Tassian Susan and John Tew Dorothy and Lowell Orr, Jr. Mr. and Mrs. J. Dwight Thompson Dr. and Mrs. Samuel P. Todd, Jr. Mrs. Henry P. Trounstine Mr. Robert Lindner, Sr. Dr. Ilse M. van der Bent Mr. Randolph L. Wadsworth Jr. Paul and Jo Ann Ward Dr. and Mrs. Galen R. Warren Mr. and Mrs. Richard Wayman Mrs. William N. Weed Dr. and Mrs. Daniel L. Weinstein Maryhelen West Shirley Gershuny-Korelitz Dr. and Mrs. James B. Willis Louise Wolf William and Ellen Wyler Carol J. Yungbluth Ms. Anita L. Ziegelmeyer John and Jean Zoller

Subscribers of 25 to 49 years: Terri and Tom Abare Ms. Carol A. Abbott Mrs. Christine O. Adams Mr. David Adams Mr. and Mrs. Greg Adams Mrs. Patricia Adams Richard and Mary Aft Dr. and Mrs. Khosrow Alamin Mr. and Mrs. John G. Anderson Ms. Lynn R. Anderson R. Bruce and Patricia A. Anderson Paul and Dolores Anderson Theresa M. Anderson Ms. Christine M. Andrew Mr. and Mrs. John B. Anthony Mr. Jimmy E. Antia and Ms. Pheruza P. Tarapore Brent and Kim Arter Mr. Thomas P. Atkins Ms. Laura E. Atkinson Mr. and Mrs. Philippe Audax Mrs. Connie Ault Dr. Cindy J. Bachurski Mrs. Mary M. Baer Beth and Bob Baer Mr. Joseph Baker Mr. and Mrs. Jack W. Baldwin Mr. and Mrs. Michael E. Ball Mr. and Mrs. Dale Bardes Ms. Henrietta Barlag Mr. and Mrs. Chris Barnes Mr. Jeff Barnes

Mr. Jeff Miller Mrs. Polly M. Bassett Mr. M. Bates and Ms. L. Bowen Michael and Amy Battoclette Mr. and Mrs. Michael C. Becker Mr. and Mrs. Wayne Beimesch Dr. and Mrs Thomas E. Bell Ms. Peggy Bell-Lohr Mr. John A. Belperio Ms. Jean M. Bens Mr. William S. Bentley and Mrs. Susan Bentley Mr. Bill Berger and Ms. Janet Landen Mr. Robert D. Bergstein Rev. Milton T. Berner Mrs. Karen M. Berno Mr. and Mrs. Hal Bernstein Nancy Bertaux and Kaleel Skeirik Mr. and Mrs. John D. Bever Henryka Nagy Mr. and Mrs. David R. Biddle Mr. and Mrs. Steven A. Biedenbach Mr. and Mrs. Douglas Bierer Mr. and Mrs. John C. Bierman David and Elaine Billmire Mr. and Mrs. Charles Birkenhauer Glen W. and Linda C. Bischof Mr. and Mrs. Thomas B. Bishop Dr. Stuart Blersch Ann Blocksom Dr. Jeffrey B. Bloomer Ms. Mary Lou Blount Mr. and Mrs. Donald R. Blum Mr. and Mrs. William Boardman Ms. Beverly Bodin Dr. Christiane Boehr Ms. Traci L. Boeing Mr. and Mrs. Richard L. Bohne Mr. and Mrs. Wallace Bolduc Mr. and Mrs. Laurence Bonhaus Mr. and Mrs. Robert E. Borgmann Mr. Neil K Bortz Mr. and Mrs. Gaetano T. Bosco Glenn and Donna Boutilier Dr. and Mrs. Kevin E. Bove Bruce Bowdon & Robin Bratt Ann Boylan Mr. and Mrs. George R. Bradley III Ms. Linda F. Brainard Dr. and Mrs. William Bramlage Thomas A. Braun, III Ms. Mary Breighner Mr. and Mrs. Mark Breitenstein Mr. and Mrs. Stephen D. Bretz Mr. and Ms. Tony Brewer Virginia Brezinski Ms. Elizabeth Brice Mr. and Mrs. Mark O. Bricker Mrs. Kathy J. Bright Ms. Maria Britto Mr. and Mrs. Robert Brodbeck Dr. and Mrs. Robert J. Broersma Ms. Kathryn L. Brokaw Mr. Don H. Brown

Fanfare Magazine | 75

Opus 50 & 25 SUBSCRIBERS Mr. and Mrs. Jeffrey Brown Ms. Marinell Brown Mr. and Mrs. Bart A. Brown , Jr. Mr. and Mrs. Michael O. Brown Dr. and Mrs. Ralph P. Brown Mrs. Roger E. Brown Mr. and Mrs. Timothy Brown Mr. and Mrs. James P. Bruckmann Mr. and Mrs. Ralph F. Brueggemann Mr. and Mrs. Larry J. Brueshaber Mr. and Mrs. William T. Brungs Mrs. Hermine Brunner Ms. Rachelle Bruno and Mr. Stephen Bondurant Mr. and Mrs. Frederick E. Bryan, III Mr. and Mrs. Otto M. Budig, Jr. Mr. and Mrs. Richard E. Wagner , Jr. Mr. and Mrs. Jeff Bullock Mr. and Mrs. Thomas W. Burdin Mrs. Faye P. Nobis Mr. James Burger Ms. Barbara B. Burke Mr. and Mrs. William R. Burleigh Mr. and Mrs. Fred Burnett Mr. and Mrs. Robert W. Burns Daniel Burr Mr. and Ms. John Busam Mr. and Mrs. John B. Busche Mr. and Mrs. Lawrence Busse Mrs. Bruce L. Byrnes Mr. James Cadigan Mr. Alan B. Cady Mr. and Mrs. Cary R. Cain Ms. Susan E. Cannon Mr. and Mrs. Vincent N. Capasso Mr. and Mrs. Peter E. Carels Mr. R. P. Carey Mr. William Carey Ms. Susan Carlson and Mr. Philip Berne Dr. and Mrs. Gary G. Carothers Stephen and Karen Carr Mr. and Mrs. Robert E. Carroll Mrs. Maria I. Carver Ms. Sandra Case Mr. and Mrs. Peter L. Cassady Mr. and Mrs. Frank D. Chaiken Ms. Rosalind Chaiken Mr. Edward Chamberlin and Ms. Coletta Hughes Mr. and Mrs. Robert Chavez Mr. Eric J. Cheney Ms. Karen C. Cheyne Mr. David P. Cho Mr. Edmund M. Choi Gordon and Favienne Christenson Ms. Karen T. Cianciolo Cincinnati Financial Corporation Michael L. Cioffi & Rachael Rowe Mrs. and Mr. Ruth Claypoole Ms. Susan Cline Mr. Edward Cloughessy and Ms. Beverly Kinney Mr. and Mrs. James Coates Dr. and Mrs. John S. Cohen Sheila and Christopher Cole Marc & Julie Colegrove Mrs. Lucille F. Collins Ms. Ricki L. Collins William J. Hahn Mr. F. W. Colucci Mrs. Thomas Cones Mrs. Jacqueline L. Conner Mr. and Mrs. William V. Coombs Mr. and Mrs. Randy K. Cooper II Mr. and Mrs. Thomas M. Copanas Mr. and Mrs. James Cox Ms. Melissa Cox Mr. and Mrs. Dennis P. Coyne Mr. and Mrs. David D. Crane Kim and Jeff Crawford

76 | 2024–25 SEASON

Mr. Timothy Crowley Mrs. Carol A. Schradin James and Susan Crumpler Mr. and Mrs. William S. Culp Mr. and Mrs. Thomas L. Cuni Mr. and Mrs. Henry F. Dabek, Jr. Donald and Victoria Daiker Mrs. Micha Daoud Mr. and Mrs. Robert Darby Mr. and Mrs. Thomas A. Darner Dr. and Mrs. Michael Daun Mr. Louis M. Dauner Mr. and Mrs. Thomas A. Dauwe April and Harry Davidow Mr. Frank B. Davis Mr. Jeff Davis Ms. Linda Sue Davis Ms. Yvonne M. Davis Ms. Margaret R. Dawson Dr. and Mrs. Rank O. Dawson, Jr. Dr. George S. Deepe Mr. and Mrs. Alan P. DeJarnette Mr. and Mrs. Daniel Dell Bedouin and Randall Dennison Mr. and Mrs. Dennis W. Dern Dr. and Mrs. Edward Desatnik Mr. Noel J. Dickson Ms. Mary C. Diersing Ms. Marion DiFalco Ms. Linda J. Diller Mr. and Mrs. Warren Dillon The David J. Joseph Co. Mr. and Mrs. Bill Doll Mr. and Mrs. Robert J. Donlan Dr. Robert Donovan Mr. and Mrs. Stephen P. Donovan, Jr. Mr. Robert W. Dorsey Jon and Susan Doucleff Mr. and Mrs. Roger Doughty Mr. Claude Drouet Tom and Leslie Ducey Anne Dulle Mrs. Doris A. Dunathan Mr. and Mrs. William L. Dunavant Mr. and Mrs. David L. Dunevant Mrs. Dianne Dunkelman Mr. and Mrs. Corwin R. Dunn Mr. and Mrs. Kenneth Dunn Mr. Craig Duston Mrs. Diana T. Dwight Mr. and Mrs. Michael D. Eagen Mr. and Mrs. John Earls Mrs. Victoria Eaton Mr. and Mrs. Harold K. Eberenz Mr. and Mrs. Lynn Ebersole Mrs. J. Kay Eby Dave and Kathy Eby Mr. David G. Edmundson Mr. and Ms. Edward R. Ratterman Mr. and Mrs. Charles D. Edwards Mr. Dale B. Elliott Mr. John Ellmore Mr. and Mrs. Robert Ernst Eric and Catherine Estill Ms. Cathy C. Eubanks Mr. and Mrs. Allan W. Evans Mr. and Mrs. Barry C. Evans Ms. Judith A. Evans Ms. Jane Eyler Mrs. Mary Ann Fagel Ms. Julie W. Fairbanks Dr. Douglas K. Fairobent and Dr. Paulette M. Gillig Dr. and Mrs. Horacio Falciglia Dr. and Mrs. William J. Faulkner Ms. Carol H. Fencl John and Barbara Fillion Ms. Gwendoline M. Finegan Mr. and Mrs. Harry J. FinkeIV Mr. and Mrs. Milton C. Finkes Dr. and Mrs. Carl G. Fischer

Ms. Carol M. Fisher Ms. Elizabeth C. Fisher-Smith Mr. and Mrs. Barry A. Fittes Mr. and Mrs. Robert R. Fitzpatrick , Jr. Mr. David B. Fleming Mr. and Mrs. Russell D. Flick Mr. and Mrs. Winston E. Folkers Ms. Judy Foreman Mrs. Amy Forte Dr. and Mrs. Thomas Forte Mr. Byron Fowler Ms. Marjorie Fox Dr. Alan Frager Dr. Charles E. Frank and Ms. Jan Goldstein Mr. and Mrs. Guy Frederick Mr. and Mrs. John Freeman Mr. Michael Friedman Mrs. Peggy Frondorf Dr. and Mrs. Harry F. Fry Mr. Kelly Fulmer Mrs. John M. Gallagher Frank and Tara Gardner Ms. Martha J. Gardner Ms. Madeleine Garvin Mr. Joseph Gaudio Mark S. Gay GE Aviation Mr. and Mrs. Michael F. Gehrig Dr. Sheila Gelman and Dr. David Greenblatt Ms. Annette v. Georgin Ms. Shelly Shor Gerson Dr. and Mrs. Freidoon Ghazi Dr. and Mrs. Ralph Giannella Mr. L. Timothy Giglio Mr. and Mrs. Fred E. Gilliam Mr. and Mrs. Louis A. Ginocchio, Jr. Dr. and Mrs. Daniel H. Gist Mr. and Mrs. Edward J. Givens Dr. and Mrs. Seymour I. Glick Dr. Jerome Glinka and Dr. Kathleen Blieszner Mark and Renee Glogowski Ms. Karen L. Glover Mr. and Mrs. Haynes Goddard Mr. Paul Godfrey Ms. Edna M. Godsey Mr. Donn J. Goebel Mr. and Mrs. Robert A. Goering Mr. and Mrs. Elden Dale Golden Mr. and Mrs. Stewart Goldman Steven and Shelley Goldstein Mr. and Mrs. Cecil Good David and Mary Beth Goodale Mr. and Mrs. Harry Gotoff Mr. and Mrs. Karl R. Graham Ms. Moira Grainger Mr. Tom W. Graler Mrs. Carolyn Grant Mrs. Mary E. Gray Robert and Cynthia Gray Dr. & Mrs. Samuel Greengus Mr. Gary Gregory Dr. Sandra M. Grether Jack and Linda Griffin Ms. Joan Griggs Ms. Margaret Groeber Mary Grooms Ms. Kathleen M. Grote Dr. and Mrs. John E. Grover Mr. Richard L. Gruber Mr. and Mrs. Thomas J. Gruber Mrs. Andi Guess Mrs. Leo A. Haas Ms. Wendy C. Haas Dr. and Mrs. Jack A. Hahn Mr. and Mrs. Richard A. Hall Mr. and Mrs. David E. Haller Mr. and Mrs. David E. Halstead Dr. and Mrs. Robert Hamilton

Mr. Vincent C. Hand Dr. and Mrs. Stuart Handwerger Ms. Julie H. Hanley Ms. Jane F. Hansley Mrs. Roslyn Harkavy Mary Pat Key and Wayne Harner Mr. Edward G. Harness , Jr. Mr. and Mrs. Steven Harper Mr. and Mrs. James Harper Mr. David Harpring Ms. Betty J. Harris Ms. Ellen A. Harrison Mr. and Mrs. Michael Hartle Mr. and Mrs. William Hartmann Mr. and Mrs. William Harvey Dr. Deborah Hauger Mr. Gene Hawkins and Mrs. Margaret Tuxford-Hawkins Mr. and Mrs. Richard E. Haynes Mr. John A. Headley Mr. and Mrs. Robert R. Heidenreich Diane M. Heilmann Mr. and Mrs. Eric W. Heineke Mr. Stephen W. Heinzman and Ms. Sharon Bergman Mrs. Nadine Hellings Mr. & Mrs. David G. Hemminger Mr. and Mrs. Donald L. Henson Mr. and Mrs. John Hepfinger Ms. Lynn M. Hericks Mrs. Cheryl Hern-Janovic Mr. Bruce Herren Sister Carren Herring Mr. and Mrs. William Herring Dr. and Mrs. Edward B. Herzig Mr. and Mrs. Todd Herzog Mrs. Jane A. Heskamp Mr. and Mrs. Rick Hibbard Mr. and Mrs. Frederick T. Hicks Mr. and Mrs. William C. Hill Mr. George M. Hillenbrand, II Ms. Karlee L. Hilliard Mr. Michael H. Hirsch Mr. and Mrs. Randy C. Hirtzel Laura A. Hobson Mrs. Wilma Hochstrasser Emily M. Hodges Mr. and Mrs. Timothy L. Hoerst Daniel J. Hoffheimer Mr. and Mrs. Jon Hoffheimer Mr. Ronald J. Hoffman and Ms. Barbara Gomes Mr. and Mrs. Don Hoffmann Irene A. Hofmann Mr. and Mrs. Timothy A. Holmen Ms. Ruth C. Holthaus Mr. William Hopple The HORAN Family Mr. and Mrs. Donald B. Hordes Mr. Douglas A. Horn Mr. and Mrs. Orson Hornsby Bonnie and Carl Hosea Mr. Thomas Hotek Mr. and Ms. Robert H. Howard William and Ruth Hoyt Mr. Henry Huber Mr. and Mrs. Michael C. Hughes Mr. and Mrs. Thomas Humphrey Ms. Judythe A. Huston Mr. and Mrs. Kevin Imfeld Mr. and Mrs. Paul L. Inderhees Ms. Sue T. Ingraham Mr. and Mrs. Raymond Jackson Skip and Joan Jackson Mrs. Mary B. Jasany John M. Jeep and Lynda Hoffman-Jeep Mrs. Marcia Jelus Ms. Laura Jenkins Ms. Louise K. Jenks Mrs. Barbara A. Jennings

Opus 50 & 25 SUBSCRIBERS Dr. and Mrs. Stephen Joffe John & Thomas Schiff & Co. Mr. and Mrs. James G. Johnson Mr. and Mrs. Randy Johnson Mr. and Mrs. Charles A. Johnston Mr. and Mrs. Robert E. Jones Mr. and Mrs. Robert M. Jones Mr. Robert P. Judd Ms. Susan L. Judis Mr. and Mrs. Donald J. Junker Mr. and Mrs. Carl Kalota Mr. Larry Kavanagh and Ms. Kelly Kusch Dr. and Mrs. James Kaya Ms. Holly Keeler Mr. and Mrs. Geoffrey Keenan Mrs. Karen G. Keller Mr. and Mrs. Michael A. Kelley Dr. and Mrs. Richard S. Kerstine Ms. Carol Kessler and Mr. Lawrence R. Becker Ms. Susan S. Kies Mr. and Mrs. James L. Kimble Bill and Penny Kincaid Mr. and Mrs. John Kindel Mr. and Mrs. Donald W. King Dr. Harry R. Kinlaw Mr. and Mrs. Bruce A. Kintner Mr. James Klein Mr. and Mrs. Fred Kleiser Jay and Diana Klenk Ms. Andrea and Mr. David Knarr Mrs. Carol A. Grasha and Mr. Christopher B. Knoop Mr. and Mrs. Jeffrey L. Knoop Mr. and Mrs. Edward F. Knox Mr. and Dr. Randy Lee Kobman Mr. and Mrs. William Koch Mrs. Carolyn W. Koehl Mrs. Pamela Koester-Hackman Marvin P. Kolodzik and Linda S. Gallaher Mrs. Arlene Koon Mr. and Mrs. Richard Kovarsky Mr. and Mrs. Robert H. Kraimer Mr. and Mrs. Kenneth J. Kramer Mr. Stephen Kramrech Mr. and Mrs. Howard J. Krauss Mr. & Mrs. M. H. Kremzar Mrs. Kathleen Krug Mr. and Mrs. Randolph L. Krumm Carol Louise Kruse Mrs. Phyllis M. Kugler Mrs. Theresa M. Kuhn Mr. David M. Kundrat Ms. Marianne Kunnen-Jones Dr. and Mrs. Daniel Kuy Mr. and Mrs. Robert F. LaChance Mr. and Mrs. Paul Laemmle Mr. and Mrs. Robert Lamb Ms. Robin G. Lambert Mrs. Barbara G. Landen Diane McKay Landi Ms. Margaret A. Landwehr Ms. Kathryn S. Lang Teresa T. Lange Mr. Walter E. Langsam Ms. Karen E. Larsen Ms. Sally L. Larson Mr. and Mrs. Charles W. Lauterbach Mr. Joe K. Law and Mr. Phil Wise The Lazarus Family Mrs. Deborah L. Lease Ms. Elaine B. Lee Mr. and Mrs. Terry W. Lee Dr. Donald W. Leedy Dr. and Mrs. Howard Leftwich Mr. Michael Lenz Mrs. Diane M. Collins and Mr. Jack W. Levi

Ms. Jane Lewin Mr. Robert E. Lewis Mr. and Mrs. Michael A. Lieberman Dr. and Mrs. Calvin C. Linnemann Mr. and Mrs. Thomas J. Lippert Mrs. Robert R. Lippert Mr. Steven J. Lippert Mr. and Mrs. Jonathan R. Lippincott Mr. and Mrs. Joseph A. Listermann Mr. Earl Litton Ms. Ellen A. Litton Mrs. Betty L. Long Bill and Julie Lonneman Dr. G. Franklin Lowe Mr. and Mrs. Gary Lubin Mr. and Mrs. David S. Lucas Ms. Mary W. Lund Mr. and Mrs. David C. Lundgren Mr. and Mrs. Ron Lyons Mr. and Mrs. Douglas MacCurdy Ms. Carol A. MacGregor Dr. and Mrs. Bryan L. Madison Mr. Scott Maier Mr. and Mrs. George S. Maley Mr. and Mrs. Barry C. Malinowski Kathy and Brad Mank Donn and Pamela Manker Dr. and Mrs. Brian A. Mannion Mrs. Morita Marmo Ms. Dianne H. Marn Mr. and Mrs. Dan Marquardt Mr. and Mrs. Donald I. Marshall Mr. David L. Martin Mrs. Judith Martin Mr. and Mrs. William C. Martin Mr. and Mrs. Warren L. Mason Mrs. Mary E. Mathers Mr. John A. Matulaitis and Dr. Siga M. Lenkauskas Mr. and Mrs. Robert Mayer Mr. and Mrs. John Mays Mr. and Mrs. Merrick F. McCarthy III Mr. and Mrs. Thomas M. McClurg Mr. Martin P. McConnell and Ms. Patricia Stockman Ms. Tawny McCormick David and Leslie McCracken Dr. Janet P. McDaniel Ms. Janet McGrath Mr. Mark E. McKillip and Ms. Amira Beer Mr. Douglas J. McKimm Mr. and Mrs. Michael C. McKinney Mr. and Mrs. Terry McMillen Ms. Nancy McNeal Mr. and Mrs. Charles C. McOsker Mr. Paul Medin and Ms. Carol Ray Lynn Meloy and Lyle Cain Lon Mendelsohn Mr. and Mrs. Gary A. Metzger Mr. and Mrs. Dennis J. Meyer Lee Meyer Mrs. Nancy L. Meyers James and Sarah Michael Mrs. Ann Michaels Ms. Darlene Miller Dr. and Mrs. E. Huxley Miller Mr. and Mrs. James L. Miller Mr. James M. Miller Ms. Sue Miller Mr. and Mrs. Richard T. Miller Drs. Robert and Elaine Miller Mr. and Mrs. Robert P. Miller Dr. and Mrs. Theodore H. Miller Mr. and Mrs. David A. Millett Terence G. Milligan Mr. and Mrs. Donald D. Mills Ms. Sonia R. Milrod Ms. Kathy S. Molony

Ms. Susanne E. Monteith Mr. and Mrs. Jesse F. Montgomery III Eileen W. and James R. Moon Mr. Michael T. Moore, Jr. Mr. and Mrs. Russ Morrison Ms. Carol T. Moses Mr. and Mrs. Kevin R. Mosher Mr. and Mrs. Ira Moskowitz Mr. and Mrs. Gates Moss Mr. and Mrs. Edward J. Mottola Ms. Joyce A. Mueller Mrs. Kathleen Mueller Ms. Jane Mueninghoff Mr. and Mrs. James E. Muething Kevin and Lane Muth Ms. Phyllis A. Myers Mr. and Mrs. James S. Nash Mr. and Mrs. Robert S. Nawalaniec Larry Neuman Mr. and Mrs. Christopher Newcomer Mr. Gerald Newfarmer and Ms. Amy Paul Mr. and Mrs. George W. Newman Mr. Robert B. Newman and Ms. Mary Asbury Mrs. Christine E. Neyer Mr. John C. Noelcke Ms. Kathleen E. Noonan Ms. Barbara Norris Ms. Julie B. Northrop Mr. and Mrs. Randolph G. Nunn , Jr. Mr. and Mrs. Bruce F. Nutley Ms. Sylvia Imes O’Bannon Mrs. Deborah Oberlag Mr. and Mrs. Daniel B. O’Brien Mr. and Mrs. Michael J. O’Brien Bill and Mary Carol O’Brien Mr. Edward A. O’Connell and Ms. Susan Dreibelbis Ms. Katherine O’Connor Dr. and Mrs. Alan E. Oestreich Ms. Erna Olafson Mr. R. Lee Oliver Mr. and Mrs. Robert W. Olson Mr. Gary S. Oppito Mr. Fred C. Orth III and Ms. Marlene Miner Dr. Nan L. Oscherwitz Mr. and Mrs. James Osterburg Prof. and Mrs. Daniel E. Otero Mrs. Carol A. O’Toole Dr. and Mrs. Carl L. Parrott , Jr. Mr. and Mrs. Milton Partridge Mr. and Mrs. Graham Paxton Charlie and Tara Pease Poul D. and JoAnne Pedersen Dr. and Mrs. Alter Peerless Mrs. Sue C. Pepple Mr. James S. Petera and Ms. Lora S. Johnson Mr. and Mrs. Richard Peterson Rev. Dr. David V. Schwab Mr. and Mrs. Ken P. Petrus Carol A. and Edwin A. Pfetzing Mr. and Mrs. David C. Phillips Mr. Stephen L. Phillips Mr. and Mrs. Joseph A. Pichler Mr. Harley V. Piltingsrud Mr. and Mrs. Martin Pinales Anne M. Pohl Dr. and Mrs. Timothy L. Pohlman Mark and Kim Pomeroy Dr. and Mrs. Martin Popp Chef Bill Porter Michael Potticary and Tellervo Juula-Potticary Dr. and Mrs. Peter S. Poulos Ms. Nancy M. Powell Mr. and Mrs. Richard K. Powers

Mr. and Mrs. Richard H. Pratt Drs. Marcia Kaplan and Michael Privitera Ms. Priscilla J. Prouty Mr. and Mrs. Art Provenzano Gordon and Diana Queen Mr. and Mrs. Glenn Rainey Ms. Mary Lou Rakel Mr. and Mrs. Paul C. Rapien Mr. and Mrs. Thomas J. Raptis Ms. Constance S. Rave Mr. and Mrs. J. Kent Rawlings Mr. and Mrs. Mark Reckman Dr. and Mrs. Robert L. Reed Mr. and Mrs. Allan T. Reeves Mr. William D. Reid and Mrs. Anne Cushing-Reid Mr. and Mrs. Daniel H. Reigle Mrs. Hera Reines Mr. and Mrs. Kenneth A. Reis Mr. Michael Rench Mr. and Mrs. Kenneth M. Revelson Ken Rex and Patricia Wade Mr. Frank Reynolds Vicky and Rick Reynolds William and Linda Rhoads Mr. Jerry Rice Ms. Pamela S. Rice Becky and Ted Richards Mrs. Kathy F. Richardson Mr. and Mrs. Robert H. Riesenbeck Mr. and Mrs. Thomas M. Riga Mr. and Mrs. J. Timothy Riker Ms. Janice Ring Karen and Mark RingswaldEgan Ms. Sandra Rivers Mr. and Mrs. Richard S. Roberts Mr. and Mrs. Fred C. Robertshaw Mr. Douglas Robinson Mr. and Mrs. Stephen E. Robinson Ms. Susan Robinson Suzanne and Craig Robinson Mr. and Mrs. Samuel A. Rodner Mr. Tom Rolfes Ms. Maria Romagnoli Mr. and Mrs. J. G. Rosborough Mr. and Mrs. J. David Rosenberg Mrs. Bettina Ross Mrs. Monique Rothschild Mr. and Mrs. Jack Rouse James Rubenstein and Bernadette Unger Ms. Judy Ruehl Dr. Deborah K. Rufner Ms. Lois Runden Mr. Nick Ruotolo Ms. Lisa Russell Mr. and Mrs. Raymond Rybolt Mr. Gregory R. Saelens Mrs. Iris M. Sageser Mr. and Mrs. Alan Sakalas Ms. Cheryl A. Sallwasser Ms. Nancy L. Sanchez Mr. and Mrs. Charles K. Sanders Mrs. Germaine L. Santos Dr. Richard S. Sarason and Anne S. Arenstein Ms. Jill H. Sauter Mr. and Mrs. David J. Savage , Jr. Dr. and Mrs. E. Don Nelson Mr. and Mrs. M. J. Scharfenberger Mr. and Mrs. David Schieve Mark S. and Rosemary K. Schlachter Mr. Wayne S. Schleutker David and Nancy Schlothauer Dr. and Mrs. Michael Schmerler Mr. and Mrs. Michael Schmidt Mrs. and Mr. Philip Schmidt

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Opus 50 & 25 SUBSCRIBERS

Ms. Kate M. Schmitt Mr. C. Robert Schmuelling and Ms. Susan Cohen Mr. and Mrs. Charles W. Schneider Mr. and Mrs. Paul Schneider Mr. and Mrs. Daniel J. Schnell Mr. and Mrs. Timothy H. Schoonover Ms. Carol J. Schroeder Dr.and Mrs. Fritz L. Schuermeyer Mr. Arthur K. Schuler Kenneth Schonberg and Deborah Schultz Mr. Steven R. Schultz Ms. Christine Schumacher Mr. Mark Silbersack Mr. Alan Schwartz Dr. and Mrs. David B. Schwartz Ms. Carol J. Schweitzer Mr. and Mrs. David Schwieterman Ms. Julia Scofield Ms. L. Susan Pace Mrs. Thomas P. Semancik Ms. Jean Sens Ms. Stephanie Sepate Mr. and Mrs. Bruce Settell Ms. Janice F. Seymour Mr. and Mrs. Timothy Shaffer Ms. Martha Sharts Drs. Mick and Nancy Shaughnessy Mr. and Mrs. Fred Shaw Mr. and Mrs. Bruce M. Sherwood Mr. and Mrs. Laurence A. Shiplett Sue and Glenn Showers Stanley and Jane Shulman Mr. Eli E. Shupe, Jr. Mr. and Mrs. David C. Siebenhar Mr. and Mrs. Jay Sien Lise and Kevin Sigward Deborah Silverman, M.D. Dr. and Mrs. Barry J. Simon Mr. and Mrs. Irwin B. Simon Ms. Kathleen Simon Mrs. Linda Simon Mr. Tim Sisson Mr. and Mrs. Doug S. Skidmore Mrs. Heidi M. Smakula Mr. and Mrs. Gary A. Smith J. K. and Vicki Smith Ms. Michele A. Smith Dr. Jennifer S. Smith Mr. and Mrs. Richard C. Smith , Jr. Mr. Richard K. Smith Mr. and Mrs. Robert Smith

Mr. and Mrs. Robert H. Specter Mr. and Mrs. Andrew P. Speno Mr. Matthew J. Spiro Ms. Paula A. Spitzmiller Mr. and Mrs. Richard R. Sprigg Mr. and Mrs. Joseph L. Staneck Mr. James D. Stapleton and Ms. Elizabeth Shaughnessy Mr. and Mrs. William G. Steenken Ms. Rose Ann Steffen Mrs. Trista K. Stegman Mr. and Mrs. Jacob K. Stein Mr. and Mrs. Charles J. Stenken Ms. Julia C. Stephen Mr. and Mrs. Frank E. Stephenson Ms. Marjorie A. Stephenson Mr. Richard Sternberg Mr. and Mrs. Joseph E. Stevens Mr. and Mrs. Francis H. Stewart Miss Judy Stockmeier and Mr. Raymond Dick Mr. and Mrs. Gary E. Stoelting Ms. Margaret M. Story Mr. Victor Shaffer Mr. Brett A. Stover Mr. and Mrs. Richard F. Stradling Mr. and Mrs. Gary L. Strassel Dr. Joseph Stratman Mrs. Gerri Strauss Ms. Judith A. Stubenrauch Mr. and Mrs. Robert Sugerman Mr. and Mrs. Andrew E. Sweeny, Jr. Mr. and Mrs. Francis R. Szecskay Mr. and Mrs. Thomas Tami Ms. Reiko Tanaka Mr. Ralph C. Taylor , Jr. Mr. and Mrs. Fred Tegarden Kathy Teipen Mr. and Mrs. Peter W. Teitelman Mr. and Mrs. John A. Tensing Tom and Sue Terwilliger Mr. Michael Ramundo and Ms. Beverly Thomas Mr. and Mrs. Stephen R. Thomas James L. Thompson Mr. and Mrs. William P. Thurman Dr. Gregory Tiao Mrs. Helga Tillinghast Mr. and Mrs. William Tipkemper Mr. and Mrs. Stuart Tobin Mr. Michael R. Toensmeyer Mr. and Mrs. Robert C. Togneri

Gloria and Peter Toot Mr. and Mrs. Ed Topmiller Mr. Dennis Trchka Paul and Diana Trenkamp Mr. Timothy E. Troendle Ms. Debbie Bogenschutz and Mr. Harold Tucker Mr. and Ms. Robert H. Turner , Jr. Mr. and Ms. Clifford J. Turrell Ms. Mary M. Uhlenbrock Mr. and Mrs. Alan J. Ullman Mr. and Mrs. Johnnie W. Vance Mr. and Mrs. David VanSice Mr. and Mrs. Richard C. Veid Mr. and Mrs. Todd W. Veigel Ms. Mary U. Vicario Mr. and Mrs. Miguel Villalba Mrs. Mary Ellen H. Villalobos Mr. and Mrs. Christopher F. Virgulak Mr. and Mrs. Paul R. Vollbracht Ms. Molly A. Vollmer Mr. and Mrs. James K. Votaw Nancy Wagner and Patricia Wagner Mr. and Mrs. James A. Waldfogle Robert and Joan Wallace Dr. and Dr. Mark Wallingford Dr. Ingrid M. Wallner-Ritschel Mr. and Mrs. Denis F. Walsh Ms. Lesly Sue H. Walters Mr. Michael L. Walton Ms. Sarella M. Walton Dr. Robert J. Warden Mr. and Mrs. Michael W. Ware Mr. and Mrs. Howard P. Warner Dr. and Mrs. Jerry Warner Claude and Camilla Warren Frederick and Jo Anne Warren Mr. and Mrs. Chad Warwick Mrs. Louise Watts Dr. and Mrs. Barry W. Webb Ms. Karen Webb Mr. and Mrs. Terry N. Webb Mr. and Mrs. Richard Webster Dr. and Mrs. Warren A. Webster Ms. Marilyn J. Wehri Mr. Gerald Weigle, Jr. Ms. Anne M. Werner Mr. and Mrs. James E. Wesner DeeDee and Gary West Mr. and Mrs. John David West Mr. John H. Westenkirchner Mr. and Mrs. Howard Wetzler

THANK YOU, LOYAL SUBSCRIBERS!

78 | 2024–25 SEASON

Mrs. Margaret L. Whalen Dr. and Mrs. Stephen P. Whitlatch Mr. and Mrs. Daniel Whittenburg Mrs. Ann Wicks Mrs. Constance C. Widmer Glay and Nancy Wiegand Janice T. Wieland Mr. and Mrs. Garth Wiley Mr. and Mrs. Robert H. Wilhelm Mr. and Mrs. James A. Williams Dr. Jeffrey C. Williams Ms. Catherine S. Willis Mr. and Mrs. Robert Willis Mrs. James W. Wilson, Jr. Mr. and Mrs. Stephen Winter Mr. and Mrs. John W. Wintz Mr. and Mrs. Richard B. Wissel Ms. Barbara J. Witte Mr. and Mrs. Craig V. Wolf Gary and Cindy Mr. and Mrs. Donald Wolnik Steve and Katie Wolnitzek Regina and Joseph Wolterman Mr. and Mrs. Charles Wood Mr. and Mrs. David H. Wood Mr. and Mrs. Carl Woodrow Mr. Tom Woodruff Dr. and Mrs. Mark Workman Mr. and Mrs. William A. Wortman Charles Wright Mr. and Mrs. Jerry Wuestefeld Mr. Alvin Wulfekuhl Ms. Susan Mineer-Wulsin Mr. and Mrs. Geoffrey Wyght Mr. and Mrs. Wayne C. Wykoff Mr. and Mrs. Robert L. Wylly John M. Yacher Emel Yakali Mr. Won-Bin Yim Mr. and Mrs. David C. Youmans Mr. Jim Young Mr. Richard Young Mr. and Mrs. John E. Zeller Mr. and Mrs. Robert R. Ziek , Jr. Mr. and Mrs. Robert L. Zierolf Mrs. Irene Zigoris Mr. and Mrs. James M. Zimmerman Ms. Sue Zimmerman Dr. and Mrs. David C. Zink Ms. Judith P. Zinsser Mr. and Mrs. Jon Zipperstein Ms. Mary L. Zubelik

WELCOME TO JAN–FEB GROUPS! (as of November 13, 2024)

Pops Music of Harry Potter: Jan 3–5 Ann Henrich and Friends & Family Connie Powers and Friends & Family Alicia Beever and Friends & Family Nathan Gilbert and Friends & Family CSO Rachmaninoff & Copland: Jan. 11 & 12 AMHEA Home School Seasons Retirement Community Pops Simply the Best: Jan. 17–19 ArtsWave Avonworth High School DePaul Cristo Rey High School Bayley at Green Township Berkeley Square Maple Knoll Village Seasons Retirement Community CSO The Magic Cello: Jan. 24 & 25 Barrington of Oakley Christian Village at Mason Maple Knoll Village Otterbein Retirement Community Twin Lakes at Montgomery The Kenwood Seasons Retirement Community Findlay High School The Knolls of Oxford

Lollipops Lost in Space: Feb. 1 Kathie Turner and Friends & Family CSO Dvořák New World Symphony: Feb. 8 & 9 Norwood Middle School Seasons Retirement Community Pops Beethoven X Beyoncé: Feb. 11 Batavia High School Kayla Ritter and Friends & Family DePaul Cristo Rey High School CSO Gil Shaham Plays Dvořák: Feb. 14 & 15 Barrington of Oakley Bellevue High School Christian Village of Mason Maple Knoll Village Otterbein Retirement Community Twin Lakes at Montgomery The Kenwood Seasons Retirement Community Creekside Middle School The Knolls of Oxford

ENJOY THE MUSIC, TOGETHER! • Groups of 10+ save 20% on most concerts and seniors and students save even more!

• Curate your own event with a private reception, guided tour or meet and greet—the possibilities are endless.

Contact CSO Group Sales: 513.744.3252 or wmarshall@cincinnatisymphony.org cincinnatisymphony.org/groups

ADMINISTRATION SHARED SERVICES & SUBSIDIARIES. The Cincinnati Symphony Orchestra’s business model is unique within the orchestral industry because it provides administrative services for other nonprofits and operates two subsidiary companies—Music & Event Management, Inc. and EVT Management LLC. With the consolidation of resources and expertise, sharing administrative services allows for all organizations within the model to thrive. Under this arrangement, the CSO produces hundreds of events in the Greater Cincinnati and Dayton regions and employs hundreds of people annually.

SENIOR MANAGEMENT TEAM Jonathan Martin President & CEO Robert McGrath Acting President & CEO Harold Brown The Honorable Nathaniel R. Jones Chief Diversity & Inclusion Officer John Clapp Vice President of Orchestra & Production Rich Freshwater Vice President & Chief Financial Officer Felecia Tchen Kanney Vice President of Marketing, Communications & Digital Media Mary McFadden Lawson Chief Philanthropy Officer Anthony Paggett Vice President of Artistic Planning Kyle Wynk-Sivashankar Vice President of Human Resources EXECUTIVE OFFICE Shannon Faith Assistant to the Chief Operating Officer Laura Ruple Executive Assistant to the President & CEO ARTISTIC PLANNING Maddie Choi Artistic Planning Intern Theresa Lansberry Artist Liaison Shuta Maeno Assistant to the Music Director & Artistic Planning Sam Strater Senior Advisor for Cincinnati Pops Planning COMMUNITY ENGAGEMENT, DIVERSITY, EQUITY & INCLUSION Key Crooms Director of Community Engagement Vee Gibson Classical Roots Coordinator Pamela Jayne Volunteer & Community Engagement Manager Tiago Nunez Community Engagement Intern Molly Rains Community Engagement Events Manager

80 | 2024–25 SEASON

FINANCE, IT & DATA SERVICES Deborah Benjamin Accounting Clerk Julian Cann Accounting Clerk Kathleen Curry Data Entry Clerk Elizabeth Engwall Accounting Manager Matt Grady Accounting Manager Sharon Grayton Data Services Manager Marijane Klug Accounting Manager Shannon May Accounting Clerk Kristina Pfeiffer Director of Finance Elizabeth Salmons Accounting Clerk Judy Simpson Director of Finance Tara Williams Data Services Manager HUMAN RESOURCES & PAYROLL Megan Inderbitzin-Tsai Director of Payroll Services Natalia Lerzundi Human Resources & Payroll Coordinator Jenny Ryan Human Resources Manager LEARNING Carol Dary Dunevant Director of Learning Hollie Greenwood Learning Coordinator Kyle Lamb Learning Programs Manager Anja Ormiston Education Programs Intern MARKETING JoVahn Allen Marketing Intern Jon Dellinger Growth Marketing Manager Drew Dolan Box Office Manager Stephanie Lazorchak Graphic Designer Daniel Lees Assistant Box Office Manager

Michelle Lewandowski Director of Marketing Tina Marshall Director of Ticketing & Audience Services

PHILANTHROPY Sean Baker Director of Institutional Giving Bhavya Nayna Channan Corporate Giving Manager

Wendy Marshall Group Sales Manager

Ashley Coffey Foundation & Grants Manager

Madelyn McArthur Audience Engagement Manager

Kate Farinacci Director of Special Campaigns & Legacy Giving

Amber Ostaszewski Director of Audience Engagement Alexis Shambley Audience Development Marketing Manager Patron Services Representatives Ellisen Blair, Lead Hannah Blanchette, Lead Talor Marren, Lead Lucas Maurer, Lead Marian Mayen, Lead Matthew Wallenhorst, Lead Malone Blaich Andy Demczuk Craig Doolin Mary Duplantier Summer Feldt Ebony Jackson Monica Lange Gregory Patterson Kathleen Riemenschneider Cathryn Schehr COMMUNICATIONS Charlie Balcom Social Media Manager Leon Barton Website Manager Mya Gibson Communications Intern Tyler Secor Director of Communications & Content Development DIGITAL MEDIA KC Commander Director of Digital Content & Innovation Maria Cordes Digital Media Coordinator Kaitlyn Driesen Digital Media & Label Services Manager Noah Moore Digital Content Intern Lee Snow Digital Content Technology Manager

Catherine Hann Assistant Director of Individual Giving Rachel Hellebusch Institutional Giving Coordinator Leslie Hoggatt Director of Individual Giving & Donor Services Quinton Jefferson Research & Grants Administrator Ethan Mann Donor Engagement Coordinator D’Anté McNeal Special Projects Coordinator Jenna Montes Individual Giving Manager Emma Steward Leadership Giving Manager PRODUCTION Laura Bordner Adams Director of Operations Michelle Camargo Production Intern Carlos Javier Production Manager Alex Magg Production Manager Brenda Tullos Director of Orchestra Personnel Rachel Vondra Assistant Orchestra Personnel Manager

Renée Fleming 2025 Festival Director MAY 16-24 | Music Hall Subscribe today for guaranteed best seats to the May Festival!

Individual tickets on sale MAR 4 mayfestival.com

Friends when she needs them most.