January & February 2025 Fanfare Magazine by Cincinnati Symphony Orchestra

Cristian Măcelaru

Music Director Designate

Lawrence Brownlee TENOR

March 9, 2025

“… 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

Martin James Bartlett PIANO

April 6, 2025

“… 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

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

JANUARY/ FEBRUARY 2025

Part II of Fanfare Magazine’s series “Getting to Know Cristian Măcelaru” (pp. 9–12) focuses on his early conducting career, starting with The Philadelphia Orchestra, where, as assistant conductor, he stepped in to lead 20 programs while the orchestra was on strike: “Those are make-or-break times for a young conductor…. You have to really know the music.”

17 In January, two longtime CSO principal players step to the front of the Music Hall stage—Elizabeth Freimuth and Ilya Finkelshteyn.

29 Concerts in this Issue:

• JAN 3–5: A Night at Hogwarts: The Music of Harry Potter (Pops)

• JAN 11 & 12: Rachmaninoff & Copland (CSO)

• JAN 17–19: Simply the Best: The Music of Tina Turner (Pops)

• JAN 24 & 25: The Magic Cello (CSO)

• JAN 28: Folk Traditions (Winstead Chamber Series)

Although both have played their featured concertos with other orchestras, they each feel a distinct thrill in repeating that experience in Cincinnati. Read more on pp. 17–19

• JAN 31 & FEB 1: Strauss & Debussy (CSO)

• FEB 1: Lost in Space! (Lollipops)

In January, two longtime CSO principal players step to the front of the Music Hall stage—Elizabeth Freimuth and Ilya Finkelshteyn. Although both have played their featured concertos with other orchestras, they each feel a distinct thrill in repeating that experience in Cincinnati. Read more on pp. 17–19

The Andrew J. Brady Internship Program provides aspiring arts 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)

70 Financial Support

75 Opus 50 & 25 Subscribers

80 Administration

ON THE COVER: Cristian Măcelaru, Music Director Designate of the Cincinnati Symphony Orchestra. Credit: Claudia Hershner

The Andrew J. Brady Internship Program provides aspiring arts administrators with unparalleled

hands-on experience, mentorships and direct exposure to every facet of arts administration. Article author and 24–25 season intern Mya Gibson says the internship “…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,’” pp. 21–23.

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

WE BELIEVE MUSIC LIVES WITHIN US ALL Welcome

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,

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.

© Eric Johnson

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

WELCOME

to the January & February issue of Fanfare Magazine

For many of us, the New Year marks the beginning of a new chapter. It is no di erent 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 sta (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).

Facebook: @CincySymphony

@CincinnatiPops

Instagram: @CincySymphony

YouTube: @CincySymphony

TikTok: @cincysymphony

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 o er 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.

*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.

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!

CINCINNATI SYMPHONY

ORCHESTRA & CINCINNATI POPS

Music Hall, 1241 Elm Street, Cincinnati, OH 45202

Box Office: 513.381.3300

hello@cincinnatisymphony.org

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groupsales@cincinnatisymphony.org

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cincinnatisymphony.org cincinnatipops.org

 BOARD OF DIRECTORS

O cers

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

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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!

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



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 Sta Liaison: Harold Brown

Other Sta : 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

Sta : Key Crooms

Dear Friends of Music,

Happy New Year from the Cincinnati Symphony Orchestra and Cincinnati Pops!

Dear Friends of Music, Happy New Year from the Cincinnati Symphony Orchestra and Cincinnati Pops!

As the calendar turns to 2025, I am at the beginning of a new chapter of my life, as I plan to retire on February 16, 2025 after seven years as President and CEO of the Cincinnati Symphony Orchestra.

This period of leading the CSO, a community that loves and nurtures the performing arts, has been unquestionably the highlight of my 45 years in the American orchestra field.

Together we have celebrated the Orchestra’s 125th anniversary season, found new ways of connecting during the Covid-19 pandemic, honored the legacy of Louis Langrée and found inspiration in the appointment of our new Music Director Cristian Mӑcelaru. What we have accomplished together is nothing short of extraordinary.

When I began at the CSO in 2017, the organization embarked on developing a new long-term strategic plan. The result was a plan to innovate the ways in which we present and experience classical music for 21st century audiences. This plan inspired the creation of the CSO Proof series. CSO Proof is an incubator for pioneering new concert formats and experiences, which launched in 2019. Since then, the CSO has presented 10 CSO Proof concerts with experiences ranging from vogue ballroom culture in Singulis et Simul (2020), multimedia in ANNO (2021), an immersive Havana night club experience in Surrealist El Tropical (2023) to participatory tango in the upcoming Tango Lab (March 27, 2025).

Our strategic initiatives also led the organization to amplify and recommit to inclusion at all levels while focusing on strategies to address systemic underrepresentation of BIPOC people in orchestra music, both on and off the stage. The CSO became one of the first American orchestras to create, and the first to endow, a Chief Diversity & Inclusion Officer position on its administrative team, ensuring that best practices are present in every facet of the organization. To bring music beyond the walls of Music Hall and create community, the CSO created the Brady Block Party series. These free outdoor concerts take place in neighborhood parks across the City of Cincinnati, bringing communities together around music.

I am proud of the strength of our entire institution, which includes Music and Event Management, Inc (MEMI), and its broadened service to our community. While my decision to retire is bittersweet for me personally, it was made less so by knowing that the CSO is a strong, stable organization with fabulous musicians, an extraordinarily talented Music Director Designate, a dedicated Board of Directors and an administrative staff that is the envy of the orchestra industry.

As I look toward retirement and spending time with my family, I will forever cherish the memories we have created together and the music we have heard together, but most of all I will remember the sheer love this community has for its Orchestra. Thank you to the musicians of the Orchestra, our artistic leaders, Board of Directors, technical crew, administrative staff, donors and to you, our dedicated audience members, for making the last seven years of my career so special and meaningful. It has been an honor to serve the community with the Cincinnati Symphony Orchestra.

With a thankful heart,

Jonathan Martin

©Roger Mastroianni

A proud sponsor of the musical ar ts

Music Director Designate Cristian Măcelaru will be introduced to CSO audiences in a series of articles in Fanfare Magazine. Follow along as the story of the CSO’s 14th Music Director unfolds.

Getting to Know Cristian Măcelaru

by JAMES M. KELLER

RReaders of the November/December edition of Fanfare Magazine learned about the early years of Cristian (“Cristi”) Măcelaru, the Music Director Designate of the Cincinnati Symphony Orchestra—his upbringing in Romania and the lucky breaks that led to his growth as a violinist and conductor at Interlochen Arts Academy in Michigan, the University of Miami in Florida and Rice University in Texas. (Read Part 1 at cincinnatisymphony.org/CristianMacelaru.)

Through his work as a concertmaster and his early experiences on the podium he absorbed the subtleties of how an orchestra makes magic. He came within range of the big-time spotlight when he was appointed assistant conductor of The Philadelphia Orchestra in 2011 and then was promoted to associate conductor the next year and to conductor-in-residence from 2014 to 2016.

call week after week, always ready to step in, always ready to give meaningful feedback. Those are make-or-break times for a young conductor, when you get the call and someone says, ‘Hey, how’s your Petrouchka? You’re going on in two hours.’ You have to really know the music.”

His relationship with The Philadelphia Orchestra began even before he received his o cial appointment, when the orchestra invited him to cover a program being led by its chief conductor, Charles Dutoit. It included Richard Strauss’ tone poem Don Juan, a touchstone of orchestral virtuosity; in fact, most of the string players in any top-tier orchestra probably played its opening page at their audition.

“I remember sitting down and hearing The Philadelphia Orchestra begin to play Don Juan and thinking to myself, ‘Oh, my God, this is perfect,’” he says. “What would be the process 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.”

Concertgoers naturally focus on an orchestra’s music director and the guest conductors who lead subscription concerts week after week. Less visible, under normal circumstances, are the journeyman conductors who labor behind the scenes, but they play an important role in the smooth functioning of an ensemble. “An assistant conductor,” says Cristi, “can end up working more in the organization than even the music director, because the assistant conductor is always on

As the assistant conductor, he anticipated being one of several conductors watching from the wings. The Philadelphia Orchestra traditionally had an assistant conductor and an associate conductor on sta , and also a couple of conductors-in-training from the League of American Orchestras, plus extra conductors who might assist on speciﬁc projects. The place o ered conducting stimulation at every turn. The position of assistant conductor was, for Cristi, a dream come true. But then…

“The morning after I got o ered the job, they ﬁled for bankruptcy.” It sent shock waves through the music world, and it took more 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, as the assistant conductor, it led to a unique circumstance. They cut every position that was

Previous page: Cristian Mӑcelaru inside the Kölner Philharmonie in Cologne as Chief Conductor of the WDR Sinfonieorchester. Credit: Peter Adamik

Cristian Măcelaru as The Philadelphia Orchestra’s Assistant Conductor. Credit: Pete Checchia

not absolutely essential—no associate conductor, no conducting fellows. So I was literally the only conductor on sta . In that ﬁrst season as assistant conductor, I conducted 20 programs, which was unheard of. Any assistant conductor would be glad to do two or three. It was as if someone was paying for my room and board to study at the greatest private training academy.”

my manager Charlotte to seize many opportunities for me. But I didn’t just sit on the couch expecting her to do it all. I made contacts, too, and then directed them to her to work out the details.”

One thing led to another.

Not for the ﬁrst time in his life, Cristi had found himself at the right place at the right time.

“In my experience,” he says, “musicians are excited to be able to call their friends at other orchestras and say, ‘We just had a concert last night with this young conductor who did a great job.’ That’s how careers are made.” As word circulated, o ers started to arrive— debuts with the Chicago Symphony, the New York Philharmonic, major orchestras in Europe. He didn’t have to negotiate this alone. When he began at The Philadelphia Orchestra, he also signed on with a professional manager, Charlotte Lee, who still represents him to this day. “The relationship between a conductor and a manager is something like that between a conductor and a soloist in a concert. People ask me, ‘Who is leading, you or the soloist?…and the answer is ‘Yes.’”

His calendar started to ﬁll up, and when The Philadelphia Orchestra elevated him to conductor-in-residence, it arranged things so he could accept more engagements elsewhere. Cancellations are also a godsend to rising conductors, at least to those who have a vast repertoire of pieces that can be moved to the front burner at a moment’s notice. “I hadn’t conducted everything that was likely to come up on an orchestral program, but I had studied all of it and really could conduct it if I was called on,” says Cristi. “This allowed

The ﬁrst time he appeared with the DSO Berlin (German Symphony Orchestra Berlin), the executive director of the WDR Sinfonieorchester (Cologne) happened to be in the audience. Jukka-Pekka Saraste had just stepped down as Cologne’s conductor. “They invited me to conduct a week—Stravinsky’s Rite of Spring and a two-piano concerto by Avner Dorman. I did it and returned home to Philadelphia, where I had just sat down to dinner when the phone rang. Alan Gilbert had cancelled in Cologne. Could I substitute? I was in Philadelphia for exactly four hours before I returned and conducted Tchaikovsky’s Fourth and Mozart’s D minor Piano Concerto with Rudolf Buchbinder, and at the end of the week they o ered me the position of chief conductor— so we moved to Europe.” At the end of the 2024–25 season, he will relinquish that podium, just in time to pivot to Cincinnati.

Something similar happened in Paris: his debut there stirred up enough excitement for the Orchestre National de France (ONF) to schedule him for guest appearances in 2018 and 2019. In November 2019, it announced that he would be their next music director, beginning with the 2021–22 season. But when the orchestra’s music director, Emmanuel Krivine, resigned unexpectedly, he consented to start a year early, and now he’s under contract through 2026–27.

Subscribe to the CSO's YouTube channel and watch the three-part docuseries: Introducing Cristian Măcelaru

You may be thinking that things have an uncanny way of falling into place for Cristi, that he is the sort of guy you ought to take along when you buy a lottery ticket. You would not be

Cristian Măcelaru leading the Orchestre National de France on tour at the Elbphilharmonie in Hamburg, Germany. Credit: Orchestre National de France

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

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

Steve Hackman in his studio.

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

her

Beyoncé, from the promo for

halftime performance on Christmas Day 2024 during the Baltimore Ravens vs. Houston Texans game, part of Netflix’s first-ever NFL Christmas Gameday.

Steve Hackman leading the Cincinnati Pops in the January 2024 Resurrection Mixtape performance. 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. 

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

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.

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.

SPOTLIGHT

CSO Musicians Take Center Stage

by KEN SMITH

FFFor more than a century, the Cincinnati Symphony Orchestra has graciously hosted the most famous concerto soloists from around the world. Sometimes, though, the right player for the job is a little closer to home.

For more than a century, the Cincinnati Symphony Orchestra has graciously hosted the most famous concerto soloists from around the world. Sometimes, though, the right player for the job is a little closer to home.

In late January, two longtime CSO principal players step to the front of the Music Hall stage— Ilya Finkelshteyn to perform Camille Saint-Saëns’ Cello Concerto No. 1 and Elizabeth Freimuth to play Richard Strauss’ Horn Concerto No. 1. Both trace their relationship with their respective pieces back to their student days. And although both have played those particular concertos with other orchestras, they each feel a distinct thrill in repeating that experience in Cincinnati.

In late January, two longtime CSO principal players step to the front of the Music Hall stage— Ilya Finkelshteyn to perform Camille Saint-Saëns’ Cello Concerto No. 1 and Elizabeth Freimuth play Richard Strauss’ Horn Concerto No. 1. Both trace their relationship with their respective pieces back to their student days. And although both have played those particular concertos with other orchestras, they each feel a distinct thrill in repeating that experience in Cincinnati.

Finkelshteyn, who performs the SaintSaëns concerto on January 24 and 25, initially encountered the piece “in fifth or sixth grade,” recalls. He first played the piece in public while

Finkelshteyn, who performs the SaintSaëns concerto on January 24 and 25, initially encountered the piece “in fifth or sixth grade,” he recalls. He first played the piece in public while

touring France in the Juilliard Orchestra when the slated soloist (“who was supposed to play maybe 10 times”) had a schedule conflict. “Teachers often give this piece to young cellists to develop certain technical skills,” he says, “so I still cross paths with this work all the time with my own students and in masterclasses.”

Freimuth, for her part, can’t even remember the first time she discovered the Strauss, which she performs on January 31 and February 1. “It must have been in high school,” she says. “Any young horn player who’s at all serious about the instrument learns Strauss’ First Horn Concerto in high school. The first movement often comes up in competitions and honor band solos, and it’s a pretty standard work for auditions, both in college and in the professional world.”

Although she had played excerpts from the concerto in “countless auditions,” her

CSO Principal Horn Elizabeth Freimuth, December 2023 (Credit: Charlie Balcom) and CSO Principal Cello Ilya Finkelshteyn, January 2020 (Credit: Mark Lyons).

ﬁrst public performance was with the Kansas City Symphony two decades ago during her tenure as the orchestra’s principal horn. After performing it again as a guest soloist with an orchestra in Tennessee 12 years ago, Freimuth has long been eager to reprise the work with her Cincinnati colleagues (earlier plans were postponed when she was sidelined from the CSO during physical therapy for a pinched nerve). “Whenever I’ve played in the orchestra when my colleagues are soloing, I know the feeling is entirely di erent,” she says. “You already know them better than any visiting soloist. So this time I’m not just the soloist, I’ll be playing with friends— even extensions of my family—who also happen to be some of the ﬁnest musicians in the world.”

“To play with an orchestra like the CSO is a pleasure in any capacity, but being a soloist here is very special because the musicians already know how I think,” Finkelshteyn concurs. “Playing other places, you actually have less freedom because you always have to adjust to the group, to what they can or can’t do. Here I feel totally free. There’s more responsibility, but also much more love both on and o the stage.”

experience with playing extended solos from his regular chair (as he did in Strauss’ tone poem Don Quixote with the CSO in 2018), he adds, “Being a concerto soloist is not much di erent from playing a solo while sitting in the section, when you suddenly have to create a moment. The only di erence is that, sitting up front, your moment lasts a little longer.”

In Cincinnati, though, musicians often ﬁnd another dynamic, as both Finkelshteyn and Freimuth are quick to point out: Strauss and Saint-Saëns are two among the many musical ﬁgures who have graced the Music Hall stage, and whose spirit often echoes in the CSO ranks. “It can be a bit spooky to play music by a composer who was on this stage a hundred years ago,” Finkelshteyn admits. “In Cincinnati, the ‘six degrees of separation’ between you and the composer is often more like two.”

Freimuth sees it a bit di erently. “Strauss wrote this piece in Munich, so it’s not like Fanfare for the Common Man, which Aaron Copland wrote speciﬁcally for this orchestra,” she says. “Even though the CSO has 100% di erent personnel now, the music still feels very personal. A composer like Strauss is more of a distant cousin.”

Finkelshteyn and Freimuth may be getting their turn in the spotlight, but they agree that the di erence is less a matter of deﬁnition than degree. “As a soloist, you obviously have a di erent relationship in presenting your musical ideas,” Finkelshteyn explains, “but the collaboration—listening, responding, interacting—is still similar no matter where you’re sitting. It’s like chamber music. The only real di erence between the CSO and a string quartet is that there are more people.” Comparing this

Not to say the composer’s work is entirely free of a family dynamic. “Strauss’ music for the horn was very personal,” she continues. “His father was a virtuoso player, so even as a boy he heard the instrument being played at a very high level. He knew what the horn could do, and how to make it sound best. Strauss wrote his ﬁrst concerto when he was only 18, so if you discover the piece when you’re around that age, you’re on a parallel plane with the composer. There’s something you really connect with.”

CSO Principal Horn Elizabeth Freimuth. Credit: Roger Mastroianni

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 di erent 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 di erent orchestras under di erent conductors.”

The main di erence 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 di erence, 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 di erent,” 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 di erent 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

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 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.

Mya Gibson, Brady intern and author of this article

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

The program’s structure owes much of its success to the e orts 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 intern from every Brady intern class we have had, which is something 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

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 di erent 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

Kyle Wynk-Sivashankar (Credit: Roger Mastroianni) and Natalia Lerzundi (Credit: Mark Lyons) oversee the 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 co ee 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, o ering 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

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

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!

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

Joanne Wojtowicz

Viola

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

Bender Mountain

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

Rose Brown

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.

Hyesun Park

Second Violin

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.

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.

Rick Vizachero

Stanbery Park in Mt. Washington

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!

Stanbery is a beautiful park with walking trails, walking track and areas for children and adults to picnic and play.

FIRST VIOLINS

Stefani Matsuo

Concertmaster

Anna Sinton Taft Chair

Felicity James

Associate Concertmaster

Tom & Dee Stegman Chair

Philip Marten

First Assistant Concertmaster

James M. Ewell Chair++

Eric Bates

Second Assistant Concertmaster

Serge Shababian Chair

Kathryn Woolley

Nicholas Tsimaras–

Peter G. Courlas Chair++

Anna Reider

Dianne & J. David Rosenberg Chair

Mauricio Aguiar§

Anne G. & Robert W. Dorsey Chair

Minyoung Baik

Jo Ann & Paul Ward Chair

James Braid

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*

Harold B. & Betty Justice Chair

Scott Mozlin**

Henry Meyer Chair

Kun Dong

Cheryl Benedict

Evin Blomberg§

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

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

CELLOS

Ilya Finkelshteyn

Principal

Irene & John J. Emery Chair

Lachezar Kostov *

Ona Hixson Dater Chair

Norman Johns**

Karl & Roberta Schlachter

Family Chair

Drew Dansby§

Daniel Kaler

Peter G. Courlas–

Nicholas Tsimaras Chair++

Nicholas Mariscal

Marvin Kolodzik & Linda S. Gallaher Chair for Cello

Hiro Matsuo

Laura Kimble McLellan Chair++

Alan Rafferty

Ruth F. Rosevear Chair

Tianlu (Jerry) Xu

BASSES

Owen Lee

Principal

Mary Alice Heekin Burke Chair++

Luis Celis*

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

FLUTES

Randolph Bowman

Principal

Charles Frederic Goss Chair

Henrik Heide*

Haley Bangs

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++

CLARINETS

Christopher Pell

Principal

Emma Margaret & Irving D.

Goldman Chair

Joseph Morris*

Associate Principal and E-flat Clarinet

Robert E. & Fay Boeh Chair++

Ixi Chen

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

BASS CLARINET

Ronald Aufmann

BASSOONS

Christopher Sales

Principal

Emalee Schavel Chair++

Martin Garcia*

Hugh Michie

CONTRABASSOON

Jennifer Monroe

HORNS

Elizabeth Freimuth

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

CRISTIAN MĂCELARU

Music Director Designate

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 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

Cincinnati Pops Conductor

Louise Dieterle Nippert & Louis Nippert Chair

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 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.

©Adriane White

©Mark Lyons

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.

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

“Diagon Alley” from Harry Potter and the Sorcerer’s Stone

John Williams

John Williams Children’s Suite for Orchestra

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

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

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

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

Concert Suite from Harry Potter and the Goblet of Fire

John Williams

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

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 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

James Newton Howard

For exclusive content, such as full-length artist biographies, please text PROGRAM to 513.845.3024*.

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The Rendigs Foundation

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

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

Concerto No. 3 in D Minor for Piano and Orchestra, Op. 30 (1873–1943)

Allegro ma non tanto

Intermezzo

Finale

INTERMISSION

Aaron COPLAND

Symphony No. 3 (1900–1990)

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*.

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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 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.

The Blue Book of Cincinnati

n ARTIST BIOGRAPHIES

Matthias Pintscher, conductor & CSO Creative Partner

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

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

©Felix Broede

©Simon Fowler

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

Born: July 14, 1961, Seoul, South Korea

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

Born: April 1, 1873, Oneg (near Novgorod), Russia

Died: March 28, 1943, Beverly Hills, California

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

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

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

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 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 &

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.

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artsstronger for strongera region

ttogether

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

CHRISTIAN REIF conductor ILYA FINKELSHTEYN cello

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

Sergei PROKOFIEV

INTERMISSION

Symphony No. 7 in C-sharp Minor, Op. 131 (1891–1953)

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Moderato

Allegretto

Andante espressivo

Vivace FRI JAN 24, 11 AM SAT JAN 25, 7:30 PM Music Hall

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

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.

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

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.

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

©Gävle Symphony Orchestra

©Devyn Glista

Born: October 9, 1835, Paris

Died: December 16, 1921, Algiers

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 o beat 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

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

Together Now h

SUN FEB 16

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.

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.

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

Born: 1978, Lima, Peru

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.

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

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?

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.

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

SPOTLIGHT: NEW MUSICIANS OF THE ORCHESTRA

by DiDi TURLEY

Find the other three New Musician Q&A’s for this issue on the following pages: David Alexander, acting associate principal horn, p. 42; Jonathan Yi, violin, p. 55; Tianlu (Jerry) Xu, cello, p. 60

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?

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.

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

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!

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.

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)

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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

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

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.

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 24, 1947, Detroit, Michigan

Died: April 29, 2024, Jerusalem, Israel

Born: January 22, 1921, Yerevan, Armenia

Died: November 11, 1983, Moscow

Born: June 15, 1843, Bergen, Norway

Died: September 4, 1907, Bergen, Norway

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

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

by Theresa Rebeck

Photo: 1888 by Elliot and Fry

cincinnatisymphony.org/harmonypass

FRI JAN 31, 7:30 PM

SAT FEB 1, 7:30 PM Music Hall

JUN MÄRKL conductor

ELIZABETH FREIMUTH horn

Richard STRAUSS Till Eulenspiegels lustige Streiche (“Till Eulenspiegel’s (1864–1949) 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”)

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These performances are approximately 105 minutes long, including intermission.

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

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.

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

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

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 di culties, 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 di cult 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 a air.

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

Born: August 22, 1862, Saint-Germainen-Laye, France

Died: March 25, 1918, Paris, France

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!

credit: Atelier Nadar

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.

SPOTLIGHT: NEW MUSICIANS OF THE ORCHESTRA

by DiDi TURLEY

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

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?

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.

SAT FEB 1, 10:30 am

Music Hall

Lost in Space (1967 Season 3 Theme)

Clair de lune from Suite bergamasque

Theme from Star Trek: Deep Space Nine

Starburst

John Williams

Claude Debussy

Dennis McCarthy

Jessie Montgomery “Jupiter, the Bringer of Jollity” from The Planets

“The Promise of Living” from The Tender Land Suite

Gustav Holst

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

JASON SEBER conductor

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 Symphony No. 9 in E Minor, Op. 95, From the New World (1841–1904)

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

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.

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

©Kaupo Kikkas

SPOTLIGHT: NEW MUSICIANS OF THE ORCHESTRA

by DiDi TURLEY

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.

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.

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

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.

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

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.”

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: 1961, New Orleans, Louisiana

Born: January 20, 1855, Paris, France

Died: Jun 10, 1899, Limay, France

courtesy of the Japan Art Association

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

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

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

World, Celebrating

Arts!

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

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.

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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)

Movement I, Poco sostenuto—Vivace

Interlude I

Movement II, Allegretto

Interlude II

BEYONCÉ

Various Works (2003–2024)

Run the World (Girls) Cuff It

Break My Soul

Déjà Vu

Halo

Daddy Lessons

INTERMISSION

Movement III, Presto—Assai meno presto

Movement IV, Allegro con brio

Hold Up Love On Top

Single Ladies

Texas Hold ‘Em Love Drought

Formation

Sorry Crazy in Love

The Cincinnati Pops Orchestra is grateful to Pops Season Presenter PNC

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.

Victoria POLEVÁ

GIL SHAHAM PLAYS DVOŘÁK | 2024–25

FRI FEB 14, 11 AM SAT FEB 15, 7:30 PM Music Hall

JOHN STORGÅRDS conductor

GIL SHAHAM violin

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.

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.

n ARTIST BIOGRAPHIES

John Storgårds, conductor

Chief conductor of the BBC Philharmonic Orchestra and Turku Philharmonic Orchestra, and principal guest conductor of Canada’s National Arts Centre Orchestra Ottawa, John Storgårds has a dual career as a conductor and violin virtuoso and is widely recognized for his creative flair for programming, as well as his rousing yet refined performances. As artistic director of the Lapland Chamber Orchestra, a title he has held for more than 25 years, Storgårds earns global critical acclaim for the ensemble’s adventurous performances and award-winning recordings.

Highlights of Storgårds’ 2024–25 season include two appearances at the BBC Proms with the BBC Philharmonic and return engagements with, among others, Bamberger Symphoniker and Tampere Philharmonic Orchestra, and in North America with the Cincinnati Symphony Orchestra, St. Louis Symphony, Dallas Symphony Orchestra and Orchestre symphonique de Montréal. In May 2025, Storgårds serves as jury chair for the XIII International Jean Sibelius Violin Competition in Helsinki. johnstorgards.com

Gil Shaham, violin

Gil Shaham is one of the foremost violinists of our time; his flawless technique combined with his inimitable warmth and generosity of spirit have solidified his renown as an American master. The Grammy Award and Avery Fisher Prize winner, also named Musical America’s “Instrumentalist of the Year,” is sought after throughout the world for concerto appearances with leading orchestras and conductors, and he regularly gives recitals and appears with ensembles on the world’s great concert stages and at the most prestigious festivals.

Highlights of recent years include the acclaimed recording and performances of J.S. Bach’s complete sonatas and partitas for solo violin. In the coming seasons, in addition to championing these solo works, he will join his long-time duo partner pianist Akira Eguchi in recitals throughout North America, Europe and Asia.

Appearances with orchestra regularly include the Berlin Philharmonic, Boston Symphony, Chicago Symphony, Israel Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Orchestre de Paris and Francisco Symphony, as well as multi-year residencies with the orchestras of Montreal, Stuttgart and Singapore. With orchestra, Shaham continues his exploration of “Violin Concertos of the 1930s,” including the works of Barber, Bartók, Berg, Korngold and Prokofiev, among many others.

Appearances with orchestra regularly include the Berlin Philharmonic, Boston Symphony, Chicago Symphony, Israel Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Orchestre de Paris and San Francisco Symphony, as well as multi-year residencies with the orchestras of Montreal, Stuttgart and Singapore. With orchestra, Shaham continues his exploration of “Violin Concertos of the 1930s,” including the works of Barber, Bartók, Berg, Korngold and Prokofiev, among many others.

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

n PROGRAM NOTES

Victoria Polevá: Symphony No. 3, White Interment

n Composed: 2002 for oboe and strings; revised for orchestra in 2003 as Symphony No. 3

n Premiere: 2009 by the Rivne [Ukraine] Chamber Orchestra, Petro Tovstukha conducting

n Instrumentation: 4 flutes (incl. piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, glockenspiel, harp, piano, strings

n Duration: approx. 14 minutes

Viktoria Polevá, one of the most prominent of Ukraine’s many gifted contemporary composers, was born in Kyiv in 1962 and received her early training in music from her father, himself a composer. Polevá continued her education at the Shchedryk Children’s Choir Studio, Glière Kyiv State Higher Music School and Kyiv State Conservatory, where her principal composition

Born: September 11, 1962, Kyiv, Ukraine

Born: September 11, 1962, Kyiv, Ukraine

©Chris Lee

Born: September 8, 1841, Nelahozeves, Czechia

Died: May 1, 1904, Prague, Czechia

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

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.

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

n Composed: 1884–85

No. 4 in E Minor, Op. 98

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

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

PLATINUM BATON CIRCLE ($50,000+)

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

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

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Scott and Charla Weiss

Wodecroft Foundation

CONDUCTOR’S CIRCLE ($10,000–$14,999)

Bartlett Wealth Management

Graeter’s Ice Cream

Chemed Corporation

CVG Airport Authority

Kelly Dehan and Rick Staudigel

Messer Construction Co.

Taft Stettinius & Hollister LLP

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YOT Full Circle 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

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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

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

Lollipops

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 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

ENDOWED

PERFORMANCES & PROJECTS

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

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+

Educational Concerts

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)+

GIFT OF MUSIC: August 28–October 21, 2024

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

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

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

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

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

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

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

Pops Conductor John Morris Russel and guest artist Rick Steves with donors Nancy and Patty Wagner. Credit: CSO Staff

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

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

THE THOMAS SCHIPPERS LEGACY SOCIETY

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.

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.

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.

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

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

Opus

50 & 25

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.*

List as of November 14, 2024

*If we have inadvertently left your name o 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.

Subscribers of 50 years or more:

Mr. and Mrs. Richard N. Adams

Mr. Gordon Allen

Nancy J. Apfel

Mrs. Marvin Arono

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

Cli ord 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

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 Jo e

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 La oon

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 Schaumlo el

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. Stou er

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. Je Barnes

Mr. Je 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. Je rey 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

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

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

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

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 Sha er

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 Ste en

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 Sha er

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. Cli ord 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

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. Je rey 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 Woodru

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. Geo rey Wyght

Mr. and Mrs. Wayne C. Wyko

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 Rachmanino & 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 O cer

John Clapp

Vice President of Orchestra & Production

Rich Freshwater

Vice President & Chief Financial O cer

Felecia Tchen Kanney

Vice President of Marketing, Communications & Digital Media

Mary McFadden Lawson

Chief Philanthropy O cer

Anthony Paggett

Vice President of Artistic Planning

Kyle Wynk-Sivashankar

Vice President of Human Resources

EXECUTIVE OFFICE

Shannon Faith

Assistant to the Chief Operating O cer

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

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 Pfei er 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 O ce Manager

Stephanie Lazorchak

Graphic Designer

Daniel Lees

Assistant Box O ce Manager

Michelle Lewandowski Director of Marketing

Tina Marshall Director of Ticketing & Audience Services

Wendy Marshall Group Sales Manager

Madelyn McArthur Audience Engagement Manager

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

PHILANTHROPY

Sean Baker

Director of Institutional Giving

Bhavya Nayna Channan Corporate Giving Manager

Ashley Co ey Foundation & Grants Manager

Kate Farinacci

Director of Special Campaigns & Legacy Giving

Catherine Hann Assistant Director of Individual Giving

Rachel Hellebusch

Institutional Giving Coordinator

Leslie Hoggatt

Director of Individual Giving & Donor Services

Quinton Je erson 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