November & December 2024 Fanfare Magazine

FANFARE MAGAZINE

CINCINNATISYMPHONY.ORG

NOV / DEC 2024

NOV / DEC 2024

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“Brother and Sister Triumph at Carnegie Hall” — New York Times

Cincinnati Duet Debut — Tuesday, December 10, 2024 Sheku Kanneh-Mason, cello

Enters Britain’s Royal Academy of Music at 10 (2006)

Enters Britain’s Royal Academy of Music at 10 (2009)

First concerto performed by an orchestra (2007)

Britain’s Got Talent with five siblings (2015)

Performs with Elton John at Hollywood Bowl (2013)

Winner, UK Young Musician competition (2016)

Britain’s Got Talent with five siblings (2015)

Soloist, Royal Wedding telecast to 2 billion (2018)

Debut album #1 on UK classical charts (2019)

Debut album reaches UK pop charts Top 20 (2018)

Carnegie Hall debut with Sheku Kanneh-Mason (2019)

Carnegie Hall debut with Isata Kanneh-Mason (2019)

Artist-in-Residence, Royal Philharmonic (2022–23)

London Symphony debut with Sir Simon Rattle (2020)

Soloist, First Night of the Proms, 2024

Soloist, Last Night of the Proms 2023

Carnegie Hall return, December 15, 2024

Carnegie Hall return, December 15, 2024

Photo: Chris O’Donovan

Photo: Karolina Wielocha

Isata Kanneh-Mason, piano

Tuesday, December 10, 2024 • 7:30 p.m.

Mendelssohn • Fauré • Poulenc • Two North American Premieres Program also to be performed at Carnegie Hall, December 15.

Memorial Hall

1225 Elm Street on Washington Park

Tickets and information at

CincyChamber.org

or call Memorial Hall at 513-977-8838.

Tickets: $40. Students under 18 admitted free, 18 and over $10, if available, on the day of performance.

NOVEMBER/ NOVEMBER/ DECEMBER DECEMBER2024 2024

CONTENTS CONTENTS 3 3 Spotlight: Spotlight: CSO CSO Brass Brass Players Players Answer Answer “What’s “What’s OnOn Your Your Playlist?”

Playlist?”

5 5 Welcome Welcome 6 6 Directors Directors & Advisors & Advisors 7 7 Cover Cover Story: Story: What What Makes Makes Cincinnati Cincinnati Home Home forfor JMR? JMR? 1313 Feature: Feature: Getting Getting toto Know Know Cristian Cristian Măcelaru, Măcelaru, Part Part I I 17 17 Spotlight: Spotlight: Singing Singing in in the the City: City: Meet Meet Matthew Matthew Swanson Swanson 2323 Inside Inside the the Orchestra: Orchestra: Musical Musical Chairs Chairs 2525 Upcoming Upcoming Concerts Concerts 2626 Orchestra Orchestra Roster Roster 2727 Artistic Artistic Leadership: Leadership: Cristian Cristian Măcelaru, Măcelaru, John John Morris Morris Russell Russell 2828 Concerts Concerts in in this this Issue: Issue: • NOV • NOV 5: 5: Harmonic Harmonic Explorations Explorations (Winstead (Winstead Chamber Chamber Series) Series) • NOV • NOV 8& 8& 9: 9: Mozart Mozart && Bruckner Bruckner (CSO) (CSO) • NOV • NOV 13:13: Bobby Bobby Weir Weir && Wolf Wolf Bros Bros (Pops) (Pops) • NOV • NOV 1616 && 17:17: Bernstein Bernstein && Shostakovich Shostakovich (CSO) (CSO) • NOV • NOV 2222 && 23:23: The The Three-Cornered Three-Cornered Hat Hat (CSO) (CSO) • NOV • NOV 3030 && DEC DEC 1: Home 1: Home Alone: Alone: Film Film in in Concert Concert (Pops) (Pops) • DEC • DEC 6& 6& 7: 7: Bach’s Bach’s Christmas Christmas Oratorio Oratorio (CSO) (CSO) • DEC • DEC 8& 8& 15:15: Cincinnati Cincinnati Symphony Symphony Youth Youth Orchestras Orchestras (Dec. (Dec. 8 Philharmonic, 8 Philharmonic, Dec. Dec. 15 15 Concert Concert Orchestra) Orchestra) • DEC • DEC 13–15: 13–15: Holiday Holiday Pops Pops

7 7

“Having “Having lived lived in in nearly nearly every every corner corner of of the the continent, continent, this this place place just just feels feels right,” right,” confesses confesses Cincinnati Cincinnati Pops Pops Conductor Conductor John John Morris Morris Russell, Russell, who, who, with with hishis wife, wife, Thea Thea Tjepkema, Tjepkema, and and their their two two children, children, calls calls Cincinnati Cincinnati home. home.

Find Find out out more more about about hishis love love of of the the city’s city’s history, history, itsits musical musical legacy legacy and and nightlife…and nightlife…and great great food…on food…on pp.pp.

7–10.

7–10.

1313

The The first first installment installment of of Fanfare Fanfare Magazine’s Magazine’s multi-part multi-part introduction introduction of of Music Music Director Director Designate Designate Cristian Cristian Mӑcelaru Mӑcelaru recalls recalls hishis childhood childhood in in Romania Romania and and journey journey to to America, America, a story a story fullfull of of twists twists and and turns. turns.

Read Read more more onon pp.pp.

13–16.

13–16.

17 17

5353 OfOf Note: Note: Randall Randall Goosby Goosby is the is the 2025 2025 MAC MAC Music Music Innovator Innovator 5959 Financial Financial Support Support 6464 Administration Administration ON ON THE THE COVER: COVER: Cincinnati Cincinnati Pops Pops Conductor Conductor John John Morris Morris Russell.

Russell.

Credit: Credit: Mark Mark Lyons Lyons AllAll contents contents © 2024–25. © 2024–25.

Contents Contents cannot cannot be be reproduced reproduced in any in any manner, manner, whole whole or or in part, in part, without without written written permission permission from from thethe Cincinnati Cincinnati Symphony Symphony Orchestra Orchestra and and Cincinnati Cincinnati Pops.

Pops.

2 | 22024–25 | 2024–25 SEASON SEASON

Matthew Matthew Swanson Swanson has has been been a a fixture fixture of of the the Chorus Chorus since since hehe joined joined the the ensemble ensemble in in 2012 2012 asas a a tenor. tenor.

From From Conducting Conducting Fellow Fellow and and Associate Associate Director Director of of Choruses Choruses to to today, today, asas the the May May Festival’s Festival’s new new Director Director of of Choruses, Choruses, Swanson Swanson has has been been singing singing in in the the city city forfor more more than than a decade a decade and and now now prepares prepares the the Chorus Chorus forfor itsits performances performances of of Bernstein’s Bernstein’s Chichester Chichester Psalms Psalms and and Bach’s Bach’s Christmas Christmas Oratorio.

Oratorio.

Learn Learn more more about about Matthew Matthew onon pp.pp.

17–21.

17–21.

SPOTLIGHT

CSO Brass Players Answer ‘What’s on Your Playlist?’

Music is central at the CSO, but we all have eclectic tastes. Fanfare Magazine asked the Orchestra’s brass section, “What’s on your playlist?”

Christopher Kiradjieff

Duane Dugger

Trumpet

Horn Mary & Joseph S. Stern, Jr. Chair

Miles Davis: Kind of Blue and Birth of the Cool

Elizabeth Freimuth Principal Horn Mary M. & Charles F. Yeiser Chair When I’m not working, I don’t spend a lot of time alone, so my playlist is strongly influenced by my 10- and 12-year-old daughters or whatever I feel like exercising to—Taylor Swift, the soundtracks to the Broadway musicals Wicked and Six, or anything from the 80s that takes me back in time to high school dances!!

Alexander Pride Trumpet Otto M. Budig Family Foundation Chair A little bit of everything! A taste of my favorite composers, artists and songs, as well as some music from some of our upcoming Listen to Alex’s concerts.

Apple Music

playlist:

Johnny Cash: “Hurt”; Brandon Lake: “Gratitude”; Rush: “Tom Sawyer” and ”Limelight”; Triumph: “Fight the Good Fight” and “Lay It on the Line”; John Williams: “Dorinda Solo Flight” from Always (played by the Cincinnati Pops); Respighi: Pines of Rome; Billy Joel: “Just the Way You Are,” “She’s Always a Woman to Me” and “She’s Got a Way”; Rod Stewart: You’re in My Heart and “Tonight’s the Night”; Christina Perri: “A Thousand Years”; Davis Leonard: “Light a Fire”; Led Zeppelin: “Stairway to Heaven”; and Hillsong UNITED: “Oceans.”

Joseph Rodriguez Second/Assistant Principal Trombone Sallie Robinson Wadsworth & Randolph L. Wadsworth Jr. Chair German Brass, Chicago Trombone Consort, Berlin Philharmonic, Strauss: Alpine Symphony, Wagner: Ring Cycle, Jimmy Bosch, Eva Cassidy and Norah Jones.

Fanfare Magazine | 3

Welcome

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

DIVERSITY, EQUITY AND INCLUSION

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

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

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

© Eric Johnson

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

We honor past, present and future Indigenous peoples.

WELCOME to the November/December issue of Fanfare Magazine.

n n n

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

FOLLOW US on social media for the latest updates!

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

*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.

As family and friends gather and New Year’s resolutions are set, the holiday season is a time of reflection—remembering the good times and the moments of struggle, creating wishes for the future, and forming memories that will last a lifetime. Sharing his reflections—on what makes Cincinnati home for him and his family—is Cincinnati Pops Conductor John Morris Russell (pp. 7–10).

At the Cincinnati Symphony Orchestra and the May Festival, there is a buzz of “new.” New musicians of the Orchestra, new artistic leaders and new concert experiences are shaping the CSO’s wishes for the future.

In his first installment of a multi-part series introducing Music Director Designate Cristian Mӑcelaru to Fanfare Magazine readers, writer James M. Keller delves into Mӑcelaru’s childhood and journey to America, a story full of twists and turns (pp. 13–16). Sprinkled throughout this issue you will encounter Q&A’s with the new musicians of the Orchestra and two in-depth profiles on new artistic leaders. On pp. 17–21, Hannah Edgar dives into the life of Matthew Swanson, the newly appointed Director of Choruses of the May Festival, who has prepared the May Festival Chorus for Leonard Bernstein’s Chichester Psalms (NOV 16 & 17) and J.S. Bach’s Christmas Oratorio (DEC 6 & 7).

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

Unlike a print magazine, this digital platform is compatible with all smartphone accessibility features such as resizing font, reader mode, “listen to this page,” color filters and more. 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.* Bookmark the digital program on your smart phone, laptop or computer for quick and easy access.

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 have a happy holiday season!

Fanfare Magazine | 5

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

FANFARE MAGAZINE STAFF:

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, DVM Trish Bryan* Otto M. Budig, Jr.* Andrea Costa

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

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

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

6 | 2024–25 SEASON

n 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

Multicultural Awareness Council

Charla B. Weiss, Lead Heather Apple Ralph Brown Adrian Cunningham Maria Espinola Kori Hill (MAC) Lisa Kelly Gerron McKnight Lisa Lennon Norman Jack Rouse Stephanie Smith

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

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

Staff: Key Crooms

COVER STORY

What Makes Cincinnati HOME for JMR?

by ERICA REID

Fanfare Magazine | 7

COVER STORY

Although John Morris Russell (known around town as JMR) travels widely for guest conducting engagements, Cincinnati is truly home for him and his family, which includes historic preservationist Thea Tjepkema and their two children, both of whom were born in the Queen City. “Having lived in nearly every corner of the continent, this place just feels right,” confesses John.

“Since our very first day here, in the fall of 1995 when John began work as assistant conductor, the Orchestra has been like family,” says Thea. “We knew no one here, but all of a sudden we had 90 new family members.”

“They helped look after the kids,” laughs John. Several Orchestra members brought meals when the Russell children were born and remain good friends with the family to this day.

“It goes beyond the Orchestra,” John continues. “Some of our best friends work for the Opera, Ballet, Playhouse in the Park, Art JMR, Thea Tjepkema, JMR’s mother Janet and brother Eric in the rotunda at Museum…. Across our entire arts Cincinnati Union Terminal. community, everyone is always so supportive and fun to be with. There’s this sense that we’re all on the same team—that the pursuit of beauty and excellence is enhanced by our mutual experience.”

Beyond Cincinnati’s collaborative arts scene, what makes Cincinnati feel like home to JMR? If you’ve attended any of his Pops concerts, it may not surprise you that his first answers revolve around history.

“You can actually see Cincinnati’s history in the buildings around us, an extraordinary timeline of American architecture, and of course Music Hall is the crown jewel,” he says. “I get teary-eyed when I see the Museum Center at Union Terminal—the extraordinary workmanship and design inside and out.” John also appreciates the details in the Mercantile Library, the Cincinnati Art Museum and the Italianate brownstones throughout the Over-the-Rhine neighborhood. “The fact that so much of it is gorgeously preserved—it gives us a unique sense of place,” he adds.

His interest spans beyond Cincinnati’s most famous attractions, as well.

Previous page: John Morris Russell “It’s really cool to be in Eden Park and see the vestiges of the old water and Thea Tjepkema in front of Cincinnati Music Hall. plant, with these huge chunks of limestone that have been repurposed from a reservoir into a park.” John loves the “thousands of stairs that cover

8 | 2024–25 SEASON

COVER STORY

all of our hills” and the footings of the old inclines in Price Hill and Mount Adams, “hidden and subsumed by nature, but still there.”

That sense of history informs Cincinnati’s music, of course—and Cincinnati has few citizens as passionate as JMR about its musical history.

“Why the Pops in Cincinnati? We are at the crossroads of musical culture in the USA,” he explains. “The first settlers came down the Ohio River from Appalachia, and later riverboats brought coal to stoke the flames of the Industrial Revolution in our burgeoning city. Those boats also brought Appalachian music, much of which had Celtic roots, that settled in the Ohio Valley and morphed into bluegrass and country.”

Cincinnati’s riverboats also connected the city to the deep south, from ports such as New Orleans, where they picked up more than cargo: they ferried Black musical culture, including African folk songs, blues, jazz and gospel traditions. German immigrants in the mid-19th century would add another layer to that musical history, bringing orchestral instruments and musical traditions along with them—forming orchestras and singing ensembles that would eventually spawn the May Festival, Cincinnati Symphony Orchestra and so much more.

JMR is just as fascinated by Cincinnati’s current music scene as he is by its history. A few of his and Thea’s favorite spots for live music—outside of Music Hall—are The Comet in Northside, Caffè Vivace in Walnut Hills and Schwartz’s Point Jazz & Acoustic Club in Over-the-Rhine.

“Although we adore fine dining when we have the opportunity (and there are plenty of options here), we really like ‘mom-and-pop joints,’” explains JMR. “We lived in Windsor [Ontario] for 11 years before moving back to Cincinnati, and one of the things we loved there was the incredible international cuisine,” he says, noting that their favorites were often family-owned restaurants with authentic cuisines from China or Iraq. The Russells had a harder time finding those great off-the-beaten-path restaurants when they moved to Cincinnati, until their children took up the challenge. “Both Alma and Jack started

finding really interesting places with their high school friends (mostly in the ‘burbs). Now we know a bunch of spots to have fantastic dim sum or an exceptional shawarma.”

When visitors come to town, the Russells show them Cincinnati-iconic places, starting with Graeter’s Ice Cream in Hyde Park Square.

“That’s always a gotta-do: eating an ice cream cone while sitting by the Kilgour Fountain,”



At right, from top: John Morris Russell with FC Cincinnati mascot Gary. JMR with Chip Graeter (left) and Bob Graeter on a recent tour of the Graeter’s factory to see the production of JMR’s Holiday Pops ice cream (peppermint stick chocolate chip flavor).

JMR, Thea Tjepkema and composer Eric Whitacre at The Alcove.

Fanfare Magazine | 9

COVER STORY

At the end of the day, it is the people who make a place a home, and the Russells have found a richly diverse community of, as he likes to say, “really groovy people.”

“It comes down to the people who really love this place and all of the quirky, wonderful things about it,” he says. “All those folks who come to our concerts, who sing in our choruses, who make music together in dozens of community ensembles—it defines us. We are neighborly, supportive and empathetic, John Morris Russell and Thea Tjepkema with the sparkling lights of the Roebling Bridge and, yes, a little geeky— in the background. that’s Midwestern chill.”

“In Cincinnati, people stay because they’re says John. Guests can count on one of Thea’s always looking out for each other,” he adds. amazing tours of Music Hall, and other visits “They invest in their community—their treasure, may include exploring the American Sign their time, their talents. They keep it here. I think Museum, wandering around Over-the-Rhine, any that’s what we really love most, that everyone is number of amazing parks, or grabbing a coffee invested in this place and in one another.”  at Lookout Joe. Ready for a beer or a bite? Zip’s Cafe in Mt. Lookout Square, City View Tavern in Mt. Adams, Rhinegeist in Overthe-Rhine, Scotti’s Italian Restaurant in downtown Cincy and New Riff Distillery in Bellevue are always on the list. Oh, and, naturally, guests will be invited to try Cincinnati-style chili—but the Russells are likely to choose Price Hill Chili over Skyline or Gold Star: “It’s the spiciest!” John declares.

To JMR and his family, the city they call home is a diverse blend of history, art, flavor and fascination. They find it walkable and family-friendly, and they adore the robust system of public parks. “There are so many things here that are unique and cherished, and so beautifully maintained and woven together,” John says.

10 | 2024–25 SEASON

John Morris Russell and Thea Tjepkema at Great American Ballpark for a Cincinnati Reds game.

INVEST ENGAGE INNOVATE LEAD

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.

Grantee Spotlight:

INSPIRATION STUDIOS, INC.

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

Image courtesy of the organziation

A proud sponsor of the musical arts

MĂCELARU: PART I

Getting to Know Ge Cristian Măcelaru Cri

by JAMES M. KELLER

d e s

Music Director Music Designate Director Cristian Designate Cristian MăcelaruMăcelaru will be introduced will be introduced to CSO audiences to CSO in aaudiences series of in a series of articles in articles Fanfare Magazine. in Fanfare Magazine.

Follow along Follow as the story along of the as the story of the CSO’s 14thCSO’s Music Director 14thunfolds.

Music Director unfolds.

Fanfare Magazine | 13

W MĂCELARU: PART I

When Cristian Măcelaru was named the Cincinnati Symphony Orchestra’s Music Director last April, his calendar for the 2024–25 season was already bursting at the seams. That was to be expected with a fast-rising star conductor who already serves as music director of the Orchestre National de France (ONF), is in his final year as chief conductor of the WDR Sinfonieorchester and oversees the Cabrillo Festival of Contemporary Music in California as well as the George Enescu Festival and Competition in his native Romania— and is in demand as a guest conductor for leading orchestras everywhere.

Nonetheless, as Music Director Designate this season, Măcelaru (you may call him “Cristi”) will be introduced to CSO audiences when he conducts the Orchestra for a week in February, as well as through a series of articles in Fanfare Magazine.

When Fanfare Magazine spoke with Cristi for this first installment, in early August, he was shuttling between orchestra rehearsals and masterclasses at Cabrillo. A week earlier, he had led the ONF at the opening ceremonies of the Paris Olympics, and he was gratified to recently learn that his newest recording with that orchestra (on Deutsche Grammophon) had just been named Orchestral Choice of the Month by BBC Music Magazine.

How did this 44-year-old conductor get to where he is? Talent, of course, and hard work, but also an origin story so astonishing that a Hollywood producer ought to snap it up.

It starts in 1980 in Timișoara, a good-sized city in the Banat region of western Romania.

“The Banat region is a beautiful representation of the multicultural, diverse experience,” Cristi says. “Three distinct ethnicities have co-existed there over hundreds of years: a strong Hungarian presence, a strong German presence and the Romanian presence. They have found a way to maintain peace and respect for each other. If you go to Timișoara, there is the Romanian National Theatre, there’s the German National Theatre and there’s the Hungarian National Theatre. Each is independently administered, and each has its separate entrance—three sets of doors. But once you step through the door, it’s the same hallway, the same lobby. The separate doors are literally just a façade. That impression is significant for me. I grew up with all these people, and then Previous page: Cristian Mӑcelaru overlooking Green Lake at Interlochen Center for the Arts. Credit: Tyler Secor

14 | 2024–25 SEASON

people from smaller ethnicities—Russian, Serbian, Croatian—so it is an unbelievable melting pot.”

This spirit of diversity became central to his outlook. Today, his children attend a school in Paris that was founded on the idea that multicultural exposure promotes world peace.

It admits only students of broad cultural backgrounds—from families like his. “I’m Romanian (now a naturalized American citizen), my wife is American, we’ve lived in Germany and the U.S. and now in France, we’ve been immigrants, we speak a few languages. All of this led to a deeper understanding of how peace can come about.”

Romania in the 1980s was grim. Nicolae Ceaușescu wielded iron-fisted power as General Secretary of the Romanian Communist Party until he was executed in 1989. People were imprisoned on whims. The economy was in shambles. Cristi was young enough to be shielded from much of the unpleasantness. “I do remember many aspects of those years, though not the pain and difficulty.

Cristian Mӑcelaru conducting the Orchestre National de France during the 2024 Paris Olympics. Credit: Orchestre National de France.

MĂCELARU: PART I

My strongest decreed that general memory adoptive families is that absolutely would have to anything you spend two or would need to three weeks get done—going in Romania to the grocery to absorb store, to the something of the motor vehicles culture before department, heading home, anything—you and usually these had to wait in people stayed an insanely long with Romanian line. The line to families. buy bread would Cristi, who was be three hours; obsessed with you had to plan speaking English, A frame from a December 1992 home movie of Cristian Mӑcelaru, age 12, recorded in his parents’ home in Timișoara, Romania. your entire day loved having around it.”

Americans He knew first-hand about that, because constantly around the Mӑcelaru home. In 1996, buying bread was often his job within the a family from Grand Rapids, Michigan stayed family—and it was a large family since he is the with the Mӑcelarus. “They were adopting a son youngest of 10 children. who was 16, exactly my age. This is a pretty Music reigned at home. His father had studied significant challenge, to adopt someone at the accordion and also played piano. His mother, age of 16!” Before they left, they told Cristi about a trained flutist, taught music theory. All the a famous music camp in Michigan—Interlochen— kids learned instruments. “In order from oldest and volunteered that if he could get admitted, to youngest, we played cello, violin, trombone, they would pay for his airfare, which would French horn, violin, flute, violin, viola, violin, and have exceeded his family’s resources by an then I played violin. We had seven rooms in which unimaginable degree. we could practice. We’re not talking bedrooms, They had Interlochen send him materials and an but rather seven places where you could close the application. “I devoured this magazine,” he said. door, including bathrooms, hallways, the kitchen.

“I looked at the pictures and thought this must We had a schedule on the fridge.” be the greatest place on the planet. Every kid At night, his father, having worked multiple jobs looked so happy and it was in a beautiful setting.” during the day, would write arrangements for the He filled out the attached application, assembled family to play in their daily concerts. Cristi learned the required transcripts and recommendations, to read and write musical notes a year before he and made an audition videotape, borrowing what learned the alphabet. “I say my first language was seemed to be the only American-compatible VCR music, because it really was.” machine in town.

He was admitted to the city’s specialized He heard nothing. Then in December, a letter music school, where he skipped classes to arrived from Interlochen offering him a full hide in the auditorium when the Banatul scholarship to attend “the academy.” Confused, Philharmonic rehearsed there. “I remember he asked his Grand Rapids friends about it, and listening to Dvořák’s Ninth [which Cristi will they discovered that he had sent in the wrong conduct in his CSO debut as Music Director application. Instead of applying to the summer Designate Feb. 8–9] from underneath a chair. I camp, which admits 3,000 young musicians, he was completely blown away by the finale and had applied to Interlochen’s year-round boardingthought this must surely be school program, which accepts the greatest thing ever written. only 250.

Keep an eye on the CSO's Well, I wasn’t very wrong.”

His parents said they would let YouTube channel to watch In the 1990s, Romania gained him go if he could get a visa, but the upcoming multi-part international notoriety for the they knew full well that getting a docuseries about Cristi. deplorable condition of its visa would be almost impossible. orphanages, which led to a “I got up at 5:00 in the surge in adoptions by families morning and waited in line at the  @CincySymphony overseas. The government Fanfare Magazine | 15

MĂCELARU: PART I

embassy for the doors to open at 9,” he recalls. espagnol. He didn’t tell them that he had just “I had my letter of admission, all the documents. played it at Interlochen and knew it by heart. It But even though my expenses would be covered, turned out that the orchestra’s concertmaster I had to show proof that I had personal assets that had unexpectedly died the week before, and they could cover that amount, which I certainly didn’t. offered him the job. He took it, becoming, at age My parents didn’t even have a bank account.”

19, the orchestra’s youngest-ever concertmaster.

He went to his interview all the same, and was After college he headed to Rice University processed by an older woman who reviewed his in Houston for a master’s degree in violin. At materials but, as expected, pointed out that his Interlochen he had met conductor Larry Rachleff, family could not show that they could support who taught conducting at Rice, and Rachleff him while he was in the United States. “She referred him to violinist Sergiu Luca. They both looked at me and she became formative smiled, and she said, mentors to Cristi.

‘You know, my kids One thing led to went to Interlochen. another. He received I know this place, the prestigious Solti and I know what it is.

Conducting Award What you have here in 2014, and the is not enough to give same year he was you a visa, but I will named conductoroverlook it—and she in-residence at gave me the visa, The Philadelphia which she shouldn’t Orchestra. He have. So that first conducted September I arrived the Cincinnati at Interlochen. As Symphony Orchestra soon as I arrived, I in 2015, the WDR sent applications Sinfonieorchester in to all my friends.

2017 and the ONF in About 15 of them 2019—and now he applied and many is music director of of them received them all. full scholarships to When he became come—but when artistic director of they went to the the Enescu Music embassy, they were Festival in 2023, all denied visas.” he decided on a One year at theme for his first Interlochen turned year’s programming: into two. He was Generosity Through primarily a violin Music. “If I were to student, but at start listing all the Cristian Mӑcelaru outside the cabin where he had his first conducting class at Interlochen Arts Academy. Credit: Tyler Secor some point he took mentors who gave so a conducting class, much of themselves reputed to be “an easy credit.” He asked the to put me on the right path, it would be a very directors of Interlochen’s orchestra and band for long list of people,” he says. “For that 2023 pointers and ended up conducting the orchestra festival, I used a quotation from Enescu himself, in Tchaikovsky’s Marche slave (“my symphonic which was ‘In the area of the arts, nothing can debut,” he notes) and the wind ensemble in truly be yours if you don’t give it away’—the Holst’s Suite in E-flat. idea that in the process of sharing the music Then he was off to the University of Miami for you create the art, that it requires sharing for college as a violin major. On his first day there the art to be created.” n he responded to an ad for substitute players at James M. Keller, in his 25th season as program annotator the Miami Symphony Orchestra. At his audition of the San Francisco Symphony, was formerly program he played the Sibelius Violin Concerto and annotator of the New York Philharmonic and is the author of Chamber Music: A Listener’s Guide (Oxford some Bach, after which the committee asked University Press). him to sight-read Rimsky-Korsakov’s Capriccio 16 | 2024–25 SEASON

FEATURE

Singing in the City: Meet Matthew Swanson, the May Festival’s New Director of Choruses

by HANNAH EDGAR

Above: Director of Choruses Matthew Swanson conducts the May Festival Chamber Choir during a performance at Westwood First Presbyterian Church, October 2024.

Credit: Charlie Balcom

Matthew Swanson, 35, has been a fixture of the May Festival Chorus since 2012, when he joined the ensemble as a tenor. In the intervening years, he’s worked for the organization at multiple levels: in the box office for two years, as a Festival Conducting Fellow in 2015, and as Associate Director of Choruses, leading the Festival’s special projects and conducting the May Festival Youth Chorus.

All that experience flows easily into the concerts Swanson is preparing this fall. Chichester Psalms, with Marin Alsop? He’s already an old hand at all things Leonard Bernstein, having been instrumental in the Festival’s performances of MASS (2018) and Candide (2022). Bach’s Christmas Oratorio, with Richard Egarr? Although the May Festival hasn’t programmed the Oratorio in more than a century, Matthew has sung it at Knox Church in Cincinnati and knows Egarr from his grad school days in Cambridge, England to boot.

The seeds for such rich experiences need to take root somewhere. For Swanson, it was rural southeast Iowa. His family runs a farm with corn, soybean and alfalfa fields and a herd of about 80 Sim-Angus cattle. The nearest incorporated town, Ollie, has a population of 200.

At an early age, Swanson began his journey into music by taking piano lessons from Kay Evans, who also taught elementary music and led the choir at the high school.



Fanfare Magazine | 17

FEATURE: Swanson

From left: Matthew Swanson at age 4, playing the piano at home. Swanson at age 10, as a new member of the GOVAP Children’s Choir.

Swanson at age 17, after playing in the Iowa All-State Band.

Both his parents played instruments in their youth, and his mother sang in the church choir before he was born. Swanson followed in her footsteps in their church’s youth program, where an attentive instructor noticed Swanson’s zeal for singing. She recommended that Swanson audition for the Greater Ottumwa Vocal Arts Project, or GOVAP, a regional choir serving kids from fifth through seventh grades.

The program was “transformative,” says Swanson. He experienced all his first choral milestones through GOVAP: his first time singing in parts, his first time singing a non-English language and his first time singing with an orchestra. He also encountered core repertoire, even if he didn’t understand what that meant at the time.

“I remember working on Vaughan Williams’ Songs of Travel with an orchestra, and the conductor said, at some point, ‘You know, you’re going to sing and hear these songs for the rest of your life.’ I thought, ‘What? How is that possible?’

“He was absolutely correct. I learned ‘The Vagabond,’ ‘The Roadside Fire,’ and all these other great songs from that cycle when I was 10.

And sure enough, they have followed me around my whole life.”

In parallel with his years in GOVAP, Swanson had been Matthew Swanson and Daniel Stowe, conductor of the University of Notre Dame Glee Club and Symphony Orchestra, following the Glee Club’s 2011 Commencement Concert.

18 | 2024–25 SEASON

introduced to the trumpet through his school music program and excelled at that, too. When he enrolled at Notre Dame for college, he declared a trumpet performance major and assumed his singing days were over.

Fate had other plans. Turns out the director of Notre Dame’s symphony orchestra, Daniel Stowe, also directed its Glee Club. After he learned that Swanson sang, too, Stowe staged an “intervention, or invitation”—per Swanson— for him to join that ensemble, too. The Glee Club embarked on a 10-day Southeast tour shortly after Swanson joined.

It wasn’t Swanson’s first concert tour.

Nonetheless, that experience became “the best week of [his] life” thus far.

“I thought we were singing such interesting repertoire: Gregorian chant, Renaissance motets, barbershop and close harmony songs, folk songs and weighty Romantic works. It was almost everything that you could pack into a concert,” Swanson remembers. “Taking a band on tour, it’s almost more stuff than people. There was something magical about the fact that the singers themselves were the instruments….

Singing is a sonic act, a physical act, an emotional, communal and spiritual act all at the same time.”

When the time came for him to apply to grad school, Swanson was at another crossroads: Should he apply to programs in

FEATURE: Swanson

Director of Choruses Matthew Swanson conducts the May Festival Chamber Choir during a performance at Westwood First Presbyterian Church, October 2024. Credit: Charlie Balcom

trumpet performance or pursue his interest in choral conducting? He opted for the latter, which brought him to the University of Cincinnati College-Conservatory of Music (CCM)—and, by extension, to the May Festival Chorus. He’d encountered the choral–orchestral repertoire occasionally at Notre Dame, and the May Festival offered an opportunity to delve deeper.

“When I saw the list of repertoire they were doing all in one season”—Carmina Burana, the

Duruflé Requiem, the Stabat Mater and Te Deum of Verdi, Russian opera choruses, Poulenc’s Gloria, and the Brahms Requiem—“I thought, ‘Oh, I’ve just got to get down there,’” Swanson recalls.

Thanks to his experience in the May Festival, by now Swanson has sung most of the choral– orchestral biggies—essential to him now as a director, “because I can have some sympathy for what the singers might be going through.” He also got to observe Director of Choruses Robert Porco’s leadership, which left a deep impression.

“That was a huge education for me, to [work with] someone of such vast experience and high standards of excellence. He has a deep commitment to the art and ideals of volunteer singing and what that can mean for a community of people,” Swanson says.

But Swanson’s education wasn’t yet complete.

Between his degrees at CCM, he applied to a master’s degree program in choral studies at the University of Cambridge, somewhat on a whim. To his surprise, he got in—and to his delight, his application to King’s College, home to the prestigious choir of the same name, was also accepted. When he wasn’t busy singing around the university, he got to sit in on the group’s rehearsals.

In the end, Swanson’s biggest takeaway from that experience wasn’t technical or musical. Nor



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FEATURE: Swanson

was it leadership skills, per se. Instead, it was witnessing, in live-time, that even the world’s most prestigious choirs never rest on their laurels.

“I think it’s easy to look at any institution that’s achieving at a high level and take it for granted. But any institution which is achieving— by whatever definition of success you wish to apply—is doing so not because of one instance of hard work and effort, but consistent instances of hard work and effort over long, long spans of time,” he says. “None of that happens in a vacuum; none of it happens automatically. It’s the process of truly daily work.”

The same could be said of his path toward helming the May Festival Chorus. Swanson didn’t just work for the organization at every level: As director of the May Festival Youth Chorus, he inaugurated an annual commissioning project for the ensemble, which gave choristers the experience—many for the first time—of performing a piece from scratch. The roster of commissioned composers has been impressive, too. BrazilianAmerican composer Clarice Assad kicked off the program in 2019 with Cantos da Terra, a “charming, inventive and jazz-inflected” riff on Brazilian Christmas songs. Eminences like Gwyneth Walker and James Lee III have followed. To celebrate the 150th anniversary, the Youth Chorus joined the May

Festival Chorus for the world premieres of James MacMillan’s Timotheus, Bacchus and Cecilia, which went on to be performed at this year’s BBC Proms, and James Lee III’s Breaths of Universal Longings, which included texts inspired by members of the Youth Chorus.

“I think it’s important that people are writing for young voices and that our students have the opportunity to understand what it means to be a composer and what a commission is…. In many cases, we were able to bring the composer here for them to meet,” Swanson says.

Young performers clearly stand to learn a lot from experienced composers. But what about young composers? They stand to learn a lot by working with performers, too—and they rarely get the chance to do so before heading off to college. So, Swanson also steered last year’s “25 for 25: A New Time for Choral Music,” the May Festival’s massive commissioning process undertaken in partnership with the New Yorkbased Luna Composition Lab and 25 community ensembles. The initiative matched local choirs with talented teenage composers who would write a new work for them. In the process, the tide raised all ships: The choirs got to premiere a work specially made for them, and the young Luna Lab composers—all of whom are

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FEATURE: Swanson

girls or nonbinary— Suffice to say, Swanson would get a valuable is already spinning lots of professional clip they plates. But, every once in could present to college a while, when he has the composition programs. time, Swanson still busts 25 for 25 augmented out his trumpet, mostly the work started by to check on his chops. former May Festival Otherwise, in his spare principal conductor time, he jokes that he’s Juanjo Mena, who “trying very hard to be a established the May tenor,” though he’ll take Festival Community singing in a choir over Chorus, a non-auditioned singing a solo any day. He ensemble drawn from hasn’t found anything that other Cincinnati-area beats that feeling. choruses. In 2018, the “I used to talk to the year of its inception, May Festival Youth Chorus Swanson became its de about the idea of magic. facto chorus manager.

I think, for me, the best Swanson sees promoting evidence of magic in the “the breadth and the world is when a choir starts depth of the choral to sing really, really well in ecosystem in Cincinnati” tune and, all of a sudden, Matthew Swanson leads a May Festival Youth Chorus as a core part of the May rehearsal in April 2022 at the Cathedral Basilica of the these overtones are Assumption.

Festival’s mission. happening—these notes “The May Festival, throughout its history, has that no one is singing, but that are produced been a celebration of singing in the city and tangibly and sonically in the world by the across the region,” Swanson says. combination of us as a whole.

“That’s the closest thing to magic I know.” n

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Fanfare Magazine | 21

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INSIDE THE ORCHESTRA: Musical Chairs

by TYLER M. SECOR

Where instruments and instrument families sit on stage is as varied as the pieces played and the venues in which those pieces are performed.

Diagrams and drawn pictures from Europe depicting orchestra “Inside the Orchestra” seating can be found seeks to demystify the as far back as the latemany routines or rituals 17th century, but those that are often part of any early depictions show orchestra concert. From smaller ensembles, the modern perspective, scenes at parties, or these routines seem ensembles in theatre fixed, but historical pits or balconies context demonstrates accompanying operas that the typical “orchestra concert” has rapidly and or plays. The simile significantly changed. of the modern-day orchestra began to emerge in the 18th century, but the average size of the orchestra varied from locale to locale and so did the space to house the orchestra.

In the 19th century, composers began to write pieces for bigger and bigger orchestras, creating the need for larger stages and houses and requiring changes to orchestra seating and arrangements of instruments. In the 19th and 20th century, composers entered the orchestra seating fray and began to specify the seating for their works within the scores. For example, the unique seating of Olivier Messiaen’s Des canyons aux étoiles…. is clearly spelled out in the score. Moreover, evolving instrument design and technological advances played a role in where members of the orchestra sat, not to mention the acoustics of the hall and the acoustics of the instruments themselves.

So, answering the question “why does the orchestra sit like that?” is complicated. However, there are some widely accepted answers, even in scores that do not include a clearly drawn seating chart. The modern-day orchestra has generally accepted two standard models: antiphonal and non-antiphonal seating. Perhaps the most common in the U.S. is non-antiphonal, which has violin I, violin II, cello and viola placed left to right in front of the conductor. Within this configuration, there are variations; for example, the cello and viola may swap places. Antiphonal seating has violin I, viola, cello and violin II placed left to right in front of the conductor. Antiphonal also has its variations, sometimes swapping the placement of the violas and cellos.

Who sits where for each concert is a complex formula of history, acoustics, composer/

conductor preferences and stage design, but the goal is the same: the best expression of the music for the audience.  Percussion

Brass

Horn

Woodwinds

Bass

Violin II Cello

Viola

Violin I Conductor

Non-antiphonal seating

Percussion

Brass

Horn

Woodwinds

Bass

Viola

Cello

Violin I

Violin II Conductor

Antiphonal seating

Above: The CSO pictured in non-antiphonal seating (Credit: Mark Lyons). Below: Creative Partner Matthias Pintscher conducting Olivier Messiaen’s Des canyons aux étoiles… for CSO Proof in March 2024 (Credit: JP Leong).

Fanfare Magazine | 23

WELCOME TO NOV–DEC GROUPS! (as of October 16, 2024)

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COMING UP at Music Hall

JAN 2025 RACHMANINOFF & COPLAND JAN 11 & 12 SAT 7:30 PM; SUN 2 PM Matthias Pintscher conductor; George Li piano Unsuk CHIN subito con forza RACHMANINOFF Piano Concerto No. 3 COPLAND Symphony No. 3

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MOZART Overture to The Magic Flute Jimmy LÓPEZ BELLIDO Symphony No. 5, Fantastica (World Premiere, CSO Co-commission) SAINT-SAËNS Cello Concerto No. 1 PROKOFIEV Symphony No. 7

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JAN 31 & FEB 1 FRI & SAT 7:30 PM Jun Märkl conductor; Elizabeth Freimuth horn R. STRAUSS Till Eulenspiegel’s Merry Pranks R. STRAUSS Horn Concerto No. 1 DEBUSSY Images

FEB 2025 DVOŘÁK NEW WORLD SYMPHONY FEB 8 & 9 SAT 7:30 PM; SUN 2 PM

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VISIT CINCINNATISYMPHONY.ORG Fanfare Fanfare Magazine Magazine || 25 25

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

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

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

Daniel Daniel Wiley, Wiley, Assistant Assistant Conductor Conductor Ashley Ashley and and Barbara Barbara Ford Ford Chair Chair

FIRST FIRST VIOLINS VIOLINS Stefani Stefani Matsuo Matsuo

CELLOS CELLOS Ilya Ilya Finkelshteyn Finkelshteyn

Felicity Felicity James James

Lachezar Lachezar Kostov Kostov * *

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

Philip Philip Marten Marten

First First Assistant Assistant Concertmaster Concertmaster James James M. Ewell M. Ewell Chair++ Chair++

Principal Principal Irene Irene & John & John J. Emery J. Emery Chair Chair

David David Fishlock Fishlock

BASS BASS CLARINET CLARINET Ronald Ronald Aufmann Aufmann

Michael Michael Culligan* Culligan* Joseph Joseph Bricker Bricker

Kathryn Kathryn Woolley Woolley

Nicholas Nicholas Mariscal Mariscal

Morleen Morleen & Jack & Jack Rouse Rouse Chair Chair Associate Associate Principal Principal andand E-flat E-flat Clarinet Clarinet Robert Robert E. &E.Fay & Fay Boeh Boeh Chair++ Chair++ PERCUSSION PERCUSSION Vicky Vicky & Rick & Rick Reynolds Reynolds Chair Chair Principal Principal in honor in honor of William of William A. Friedlander A. Friedlander Susan Susan S. &S.William & William A. A. Friedlander Friedlander Chair Chair

Marvin Marvin Kolodzik Kolodzik & Linda & Linda S. Gallaher S. Gallaher Chair Chair forfor Cello Cello BASSOONS BASSOONS

Anna Anna Reider Reider

Hiro Hiro Matsuo Matsuo

Mauricio Mauricio Aguiar§ Aguiar§

Alan Alan Rafferty Rafferty

Laura Laura Kimble Kimble McLellan McLellan Chair++ Chair++ Ruth Ruth F. Rosevear F. Rosevear Chair Chair

Christopher Christopher Sales Sales

Principal Principal Emalee Emalee Schavel Schavel Chair++ Chair++

Minyoung Minyoung Baik Baik

Tianlu Tianlu (Jerry) (Jerry) XuXu

Martin Martin Garcia* Garcia* Hugh Hugh Michie Michie

James James Braid Braid

BASSES BASSES Owen Owen Lee Lee

CONTRABASSOON CONTRABASSOON Jennifer Jennifer Monroe Monroe

Jo Jo Ann Ann & Paul & Paul Ward Ward Chair Chair Marc Marc Bohlke Bohlke Chair Chair given given by by Katrin Katrin & Manfred & Manfred Bohlke Bohlke

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

Elizabeth Elizabeth Furuta Furuta Gerald Gerald Itzkoff Itzkoff

Jean Jean TenTen Have Have Chair Chair

Joseph Joseph Ohkubo Ohkubo Luo-Jia Luo-Jia Wu Wu Jonathan Jonathan Yi Yi

SECOND SECOND VIOLINS VIOLINS Gabriel Gabriel Pegis Pegis Principal Principal Al Levinson Al Levinson Chair Chair

Yang Yang Liu* Liu*

Principal Principal Mary Mary Alice Alice Heekin Heekin Burke Burke Chair++ Chair++

Luis Luis Celis* Celis*

Thomas Thomas Vanden Vanden Eynden Eynden Chair Chair

Stephen Stephen Jones** Jones**

Trish Trish & Rick & Rick Bryan Bryan Chair Chair

Boris Boris Astafiev§ Astafiev§ Gerald Gerald Torres Torres Rick Rick Vizachero Vizachero

HARP HARP Gillian Gillian Benet Benet Sella Sella

Principal Principal Cynthia Cynthia & Frank & Frank Stewart Stewart Chair Chair

Scott Scott Mozlin** Mozlin**

FLUTES FLUTES Randolph Randolph Bowman Bowman

Kun Kun Dong Dong Cheryl Cheryl Benedict Benedict Evin Evin Blomberg§ Blomberg§

Henrik Henrik Heide* Heide* Haley Haley Bangs Bangs

Harold Harold B. &B.Betty & Betty Justice Justice Chair Chair Henry Henry Meyer Meyer Chair Chair

Sheila Sheila andand Christopher Christopher Cole Cole Chair Chair

Rose Rose Brown Brown Rachel Rachel Charbel Charbel

IdaIda Ringling Ringling North North Chair Chair

Chika Chika Kinderman Kinderman Charles Charles Morey Morey Hyesun Hyesun Park Park Paul Paul Patterson Patterson

Charles Charles Gausmann Gausmann Chair++ Chair++

Stacey Stacey Woolley Woolley

Brenda Brenda & Ralph & Ralph Taylor Taylor Chair++ Chair++

VIOLAS VIOLAS Christian Christian Colberg Colberg

Principal Principal Louise Louise D. & D.Louis & Louis Nippert Nippert Chair Chair

Gabriel Gabriel Napoli Napoli

Acting Acting Associate Associate Principal Principal Grace Grace M. Allen M. Allen Chair Chair

Julian Julian Wilkison** Wilkison** Rebecca Rebecca Barnes§ Barnes§ Christopher Christopher Fischer Fischer Stephen Stephen Fryxell Fryxell

Melinda Melinda & Irwin & Irwin Simon Simon Chair Chair

Caterina Caterina Longhi Longhi Denisse Denisse Rodriguez-Rivera Rodriguez-Rivera Dan Dan Wang Wang Joanne Joanne Wojtowicz Wojtowicz 2626 | 2024–25 | 2024–25 SEASON SEASON

Joseph Joseph Bricker* Bricker*

IxiIxi Chen Chen

Peter Peter G. Courlas– G. Courlas– Nicholas Nicholas Tsimaras Tsimaras Chair++ Chair++

Anne Anne G. & G.Robert & Robert W. W. Dorsey Dorsey Chair Chair

Principal Principal Matthew Matthew & Peg & Peg Woodside Woodside Chair Chair

KarlKarl & Roberta & Roberta Schlachter Schlachter Family Family Chair Chair

Norman Norman Johns** Johns**

Dianne Dianne & J.&David J. David Rosenberg Rosenberg Chair Chair

TIMPANI TIMPANI Patrick Patrick Schleker Schleker

Joseph Joseph Morris* Morris*

Eric Eric Bates Bates

Nicholas Nicholas Tsimaras– Tsimaras– Peter Peter G. Courlas G. Courlas Chair++ Chair++

Principal Principal Emma Emma Margaret Margaret & Irving & Irving D. D. Goldman Goldman Chair Chair

Ona Ona Hixson Hixson Dater Dater Chair Chair

Drew Drew Dansby§ Dansby§ Daniel Daniel Kaler Kaler

Second Second Assistant Assistant Concertmaster Concertmaster Serge Serge Shababian Shababian Chair Chair

CLARINETS CLARINETS Christopher Christopher Pell Pell

Principal Principal Charles Charles Frederic Frederic Goss Goss Chair Chair Jane Jane & David & David EllisEllis Chair Chair

PICCOLO PICCOLO Rebecca Rebecca Pancner Pancner

Patricia Patricia Gross Gross Linnemann Linnemann Chair Chair

Morleen Morleen & Jack & Jack Rouse Rouse Chair Chair

Marc Marc Wolfley+ Wolfley+

KEYBOARDS KEYBOARDS Michael Michael Chertock Chertock

James James P. Thornton P. Thornton Chair Chair

Julie Julie Spangler+ Spangler+

James James P. Thornton P. Thornton Chair Chair

CSO/CCM CSO/CCM DIVERSITY DIVERSITY FELLOWS~ FELLOWS~ Lucas Lucas Ferreira Ferreira Braga, Braga, violin violin HORNS HORNS Melissa Melissa Peraza, Peraza, viola viola Elizabeth Elizabeth Freimuth Freimuth Principal Principal Manuel Manuel Papale, Papale, cello cello Mary Mary M. & M.Charles & Charles F. Yeiser F. Yeiser Chair Chair Caleb Caleb Edwards, Edwards, double double bass bass David David Alexander Alexander Wendell Wendell Rodrigues Rodrigues dada Rosa, Rosa, Acting Acting Associate Associate Principal Principal double double bass bass Ellen Ellen A. & A.Richard & Richard C. Berghamer C. Berghamer Chair Chair

Molly Molly Norcross** Norcross** ‡ ‡

Sweeney Sweeney Family Family Chair Chair in in memory memory of Donald of Donald C. Sweeney C. Sweeney

Lisa Lisa Conway Conway

Susanne Susanne & Philip & Philip O. Geier, O. Geier, Jr. Chair Jr. Chair

Duane Duane Dugger Dugger

Mary Mary & Joseph & Joseph S. Stern, S. Stern, Jr. Jr. Chair Chair

Charles Charles Bell Bell

Donald Donald & Margaret & Margaret Robinson Robinson Chair Chair

TRUMPETS TRUMPETS Anthony Anthony Limoncelli Limoncelli Principal Principal Rawson Rawson Chair Chair

[OPEN] [OPEN]

Jackie Jackie & Roy & Roy Sweeney Sweeney Family Family Chair Chair

LIBRARIANS LIBRARIANS Christina Christina Eaton Eaton

Principal Principal Librarian Librarian LoisLois Klein Klein Jolson Jolson Chair Chair

Elizabeth Elizabeth Dunning Dunning

Associate Associate Principal Principal Librarian Librarian

Cara Cara Benner Benner

Assistant Assistant Librarian Librarian

STAGE STAGE MANAGERS MANAGERS Brian Brian P. P. Schott Schott Phillip Phillip T. T. Sheridan Sheridan Daniel Daniel Schultz Schultz Mike Mike Ingram Ingram Andrew Andrew Sheridan Sheridan

§ §Begins Begins thethe alphabetical alphabetical listing listing of of players players who who participate participate in a in a system system of of rotated rotated seating seating within within Otto Otto M. Budig M. Budig Family Family OBOES OBOES the the string string section. section.

Foundation Foundation Chair++ Chair++ Dwight Dwight Parry Parry * *Associate Associate Principal Principal Christopher Christopher Kiradjieff Kiradjieff Principal Principal ** ** Assistant Assistant Principal Principal Josephine Josephine I. &I.David & David J. Joseph, J. Joseph, Jr. Jr. † †One-year One-year appointment appointment Chair Chair TROMBONES TROMBONES ‡ ‡Leave Leave of of absence absence Lon Lon Bussell* Bussell* Cristian Cristian Ganicenco Ganicenco + +Cincinnati Cincinnati Pops Pops rhythm rhythm Principal Principal Stephen Stephen P. McKean P. McKean Chair Chair section section Dorothy Dorothy & John & John Hermanies Hermanies ++++ CSO CSO endowment endowment only only Emily Emily Beare Beare ~ ~Funded Funded byby The The Mellon Mellon Chair Chair Foundation Foundation Joseph Joseph Rodriguez** Rodriguez** ENGLISH ENGLISH HORN HORN Second/Assistant Second/Assistant Principal Principal Trombone Trombone Christopher Christopher Philpotts Philpotts Sallie Sallie Robinson Robinson Wadsworth Wadsworth & & Principal Principal Randolph Randolph L. Wadsworth L. Wadsworth Jr. Jr. Chair Chair Alberta Alberta & Dr. & Dr. Maurice Maurice Marsh Marsh Chair++ Chair++

Alexander Alexander Pride† Pride†

BASS BASS TROMBONE TROMBONE Noah Noah Roper Roper TUBA TUBA Christopher Christopher Olka Olka

Principal Principal Ashley Ashley & Barbara & Barbara Ford Ford Chair Chair

AND AND

ARTISTIC ARTISTIC LEADERSHIP LEADERSHIP

CRISTIAN CRISTIAN MĂCELARU MĂCELARU Music Music Director Director Designate Designate Louise Louise Dieterle Dieterle Nippert Nippert & Louis & Louis Nippert Nippert Chair Chair

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

John John Morris Morris Russell’s Russell’s (JMR) (JMR) Grammy-winning Grammy-winning conductor conductor embrace embrace of America’s of America’s Cristian Cristian Măcelaru Măcelaru is the is the unique unique voice voice andand musical musical Music Music Director Director Designate Designate stories stories has has transformed transformed how how of the of the Cincinnati Cincinnati Symphony Symphony orchestral orchestral performances performances Orchestra, Orchestra, artistic artistic director director connect connect andand engage engage with with of the of the George George Enescu Enescu audiences. audiences.

As As conductor conductor of of Festival Festival andand Competition, Competition, the the Cincinnati Cincinnati Pops Pops since since music music director director of the of the 2011, 2011, thethe wide wide range range andand Orchestre Orchestre national national de de diversity diversity of his of his work work as aas a France, France, artistic artistic director director Mark Mark LyonsLyons Adriane Adriane WhiteWhite musical musical leader, leader, collaborator collaborator andand principal principal conductor conductor andand educator educator continues continues to reinvigorate to reinvigorate thethe of the of the Interlochen Interlochen Center Center for for thethe Arts’ Arts’ World World musical musical scene scene throughout throughout Cincinnati Cincinnati and and across across Youth Youth Symphony Symphony Orchestra, Orchestra, music music director director the the continent. continent.

As As Music Music Director Director of the of the Hilton Hilton andand conductor conductor of the of the Cabrillo Cabrillo Festival Festival of of Head Symphony Symphony Orchestra Orchestra in South in South Carolina, Carolina, Contemporary Contemporary Music Music andand chief chief conductor conductor of the of the Head JMR JMR conducts conducts the the classical classical series series as well as well as as WDR WDR Sinfonieorchester Sinfonieorchester in Cologne, in Cologne, where where he will he will the the prestigious prestigious Hilton Hilton Head Head International International Piano Piano serve serve through through thethe 2024–25 2024–25 season season andand continue continue Competition.

Competition. as artistic as artistic partner partner for for thethe 2025–26 2025–26 season. season.

A Grammy-nominated A Grammy-nominated artist, artist, JMR JMR hashas worked worked Măcelaru Măcelaru recently recently appeared appeared at the at the Paris Paris with with leading leading performers performers from from across across a variety a variety 2024 2024 Olympics Olympics Opening Opening Ceremony, Ceremony, which which waswas of musical of musical genres, genres, including including Aretha Aretha Franklin, Franklin, broadcast broadcast to 1.5 to billion 1.5 billion viewers viewers worldwide. worldwide.

He He Emanuel Emanuel Ax, Ax, Amy Amy Grant Grant and and Vince Vince Gill, Gill, Garrick Garrick ledled thethe Orchestre Orchestre national national de de France France andand Chœur Chœur Ohlsson, Ohlsson, Rhiannon Rhiannon Giddens, Giddens, Hilary Hilary Hahn, Hahn, Brian Brian de de Radio Radio France France in the in the performance performance of the of the Stokes Stokes Mitchell, Mitchell, Cynthia Cynthia Erivo, Erivo, Sutton Sutton Foster, Foster, Olympic Olympic Anthem Anthem as the as the Olympic Olympic Flag Flag waswas raised raised George Takei, Takei, Steve Steve Martin, Martin, Brian Brian Wilson, Wilson, Leslie Leslie at the at the foot foot of the of the Eiffel Eiffel Tower.

Tower.

Măcelaru Măcelaru andand thethe George Odom, Odom, Jr., Jr., Lea Lea Salonga Salonga and and Mandy Mandy Gonzalez.

Gonzalez.

Orchestre Orchestre national national de de France France continue continue their their 2024– 2024– over over twotwo decades, decades, JMR JMR hashas ledled thethe 25 season 25 season with with tours tours throughout throughout France, France, Germany, Germany, ForFor Cincinnati Cincinnati Symphony Symphony Orchestra’s Orchestra’s wildly wildly successful successful South South Korea Korea andand China.

China.

Guest Guest appearances appearances Classical Classical Roots Roots initiative initiative honoring honoring and and celebrating celebrating include include his his debuts debuts with with thethe Oslo Oslo Philharmonic Philharmonic andand Black musical musical excellence. excellence.

Guest Guest artists artists have have RAIRAI National National Symphony Symphony Orchestra Orchestra in Turin in Turin as well as well Black included included Marvin Marvin Winans, Winans, Alton Alton White, White, George George as returns as returns with with thethe Wiener Wiener Symphoniker, Symphoniker, Leipzig Leipzig Shirley, Common Common andand Hi-Tek. Hi-Tek. Gewandhaus Gewandhaus Orchestra, Orchestra, Swedish Swedish Radio Radio Symphony Symphony Shirley, JMR JMR has has contributed contributed seven seven albums albums to the to the Orchestra, Orchestra, Deutsches Deutsches Symphonie-Orchester Symphonie-Orchester Cincinnati Cincinnati Pops Pops discography, discography, including including 2023’s 2023’s Berlin Berlin andand Tonhalle-Orchester Tonhalle-Orchester Zürich Zürich in Europe. in Europe. holiday holiday album album JOY!.

JOY!.

In 2015, In 2015, he created he created the the In North In North America, America, Măcelaru Măcelaru leads leads thethe Pittsburgh Pittsburgh “American “American Originals Originals Project,” Project,” which which has has won won both both Symphony, Symphony, Baltimore Baltimore Symphony, Symphony, Minnesota Minnesota critical critical and and popular popular acclaim acclaim and and features features two two Orchestra Orchestra andand St. St. Louis Louis Symphony Symphony Orchestra.

Orchestra. landmark landmark recordings: recordings: American American Originals Originals (the(the Măcelaru’s Măcelaru’s previous previous seasons seasons include include European European music music of Stephen of Stephen Foster) Foster) and and the the GrammyGrammyengagements engagements with with thethe Philharmonia, Philharmonia, London London nominated nominated American American Originals Originals 19181918 (a tribute (a tribute to to Philharmonic Philharmonic Orchestra, Orchestra, NDR NDR Elbphilharmonie, Elbphilharmonie, the the dawn dawn of the of the jazz jazz age). age).

The The 2020 2020 “American “American Concertgebouworkest, Concertgebouworkest, Symphonieorchester Symphonieorchester desdes Originals” concert concert King King Records Records andand thethe Cincinnati Cincinnati Bayerischen Bayerischen Rundfunks, Rundfunks, Staatskapelle Staatskapelle Berlin Berlin andand Originals” Sound Sound with with Late Late Show Show pianist pianist Paul Paul Shaffer Shaffer Budapest Budapest Festival Festival Orchestra.

Orchestra.

In North In North America, America, he he honored honored legendary legendary recording recording artists artists associated associated hashas led led thethe New New York York Philharmonic, Philharmonic, LosLos Angeles Angeles with with the the Queen Queen City.

City.

In the In the 2024–25 2024–25 season season Philharmonic, Philharmonic, National National Symphony Symphony Orchestra, Orchestra, JMR takes takes on on thethe next next installment installment of the of the project, project, Chicago Chicago Symphony Symphony Orchestra, Orchestra, Boston Boston Symphony Symphony JMR offering offering a concert a concert and and recording recording celebrating celebrating thethe Orchestra, Orchestra, SanSan Francisco Francisco Symphony, Symphony, TheThe Cleveland Cleveland legacy legacy of the of the Harlem Harlem Renaissance, Renaissance, and and presents presents a a Orchestra Orchestra andand TheThe Philadelphia Philadelphia Orchestra.

Orchestra. national national PBS PBS broadcast broadcast of Rick of Rick Steves Steves Europe: Europe: A A In 2020, In 2020, he received he received a Grammy a Grammy Award Award for for Symphonic Symphonic Journey.

Journey.

JMR’s JMR’s American American Soundscapes Soundscapes conducting conducting thethe Decca Decca Classics Classics recording recording of of video video series series with with thethe Pops Pops andand Cincinnati’s Cincinnati’s CET CET Wynton Wynton Marsalis’ Marsalis’ Violin Violin Concerto Concerto with with Nicola Nicola public public television television station, station, has has surpassed surpassed one one million million Benedetti Benedetti andand TheThe Philadelphia Philadelphia Orchestra.

Orchestra.

His His most most views views on on YouTube YouTube since since its launch its launch in 2016. in 2016. recent recent release release is ofisEnescu of Enescu symphonies symphonies andand twotwo Romanian Romanian Rhapsodies Rhapsodies with with thethe Orchestre Orchestre national national de France, de France, released released on Deutsche on Deutsche Grammophon.

Grammophon. ©

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Fanfare Fanfare Magazine Magazine | 27| 27

WINSTEAD CHAMBER WINSTEAD SERIES CHAMBER | 2024–25 SERIES | 2024–25 SEASON SEASON TUE NOV TUE NOV 5, 7:30 5, 7:30 PM PM MusicMusic Hall Hall Ballroom Ballroom

i

GyörgySix Ligeti Bagatelles for SixWoodwind Bagatelles for Quintet Woodwind Quintet (1923–2006) Allegro con spiritoAllegro con spirito Rubato. Lamentoso Rubato. Lamentoso Allegro grazioso Allegro grazioso Presto ruvido Presto ruvido Béla Bartók In Memoriam: Béla Bartók Adagio.

In Memoriam: Mesto Adagio. Mesto Molto vivace. Capriccioso Molto vivace. Capriccioso Rebecca Pancner, flute Rebecca Pancner, flute Lon Bussell, oboe Lon Bussell, oboe Joseph Morris, clarinet Joseph Morris, clarinet Martin Garcia, bassoon Martin Garcia, bassoon Lisa Conway, horn Lisa Conway, horn

OFIEV

Sergei PROKOFIEV Quintet in G Minor, Quintet Op.in39 G Minor, Op. 39 (1891–1953)Moderato Moderato Andante energico Andante energico Allegro sostenuto, ma Allegro con sostenuto, brio ma con brio Adagio pesante Adagio pesante Allegro precipitato,Allegro ma non precipitato, troppoma presto non troppo presto Andantino Andantino Dwight Parry, oboe Dwight Parry, oboe Joseph Morris, clarinet Joseph Morris, clarinet Felicity James, violin Felicity James, violin Rebecca Barnes, viola Rebecca Barnes, viola Boris Astafiev, contrabass Boris Astafiev, contrabass

INTERMISSIONINTERMISSION

BERT

Franz SCHUBERT String Quartet No. String 13 Quartet in A Minor, No. 13 in D.A804, Minor,Op. D. 804, 29,Op. Rosamunde 29, Rosamunde

usive uch as program d artist s, please RAM to 3024*.

to this ay receive pertain to on and its msg & data Reply HELP to cancel.

(1797–1828)Allegro ma non troppo Allegro ma non troppo Andante Andante Menuetto: Allegretto Menuetto: Allegretto Allegro moderato Allegro moderato

For exclusive Eric Bates, Eric Bates, violin content, such as violin Cheryl Benedict, violin Cheryl Benedict, violin full-length program Rebecca Barnes, viola Rebecca Barnes, viola notes and artist Nicholas Mariscal, cello Nicholas Mariscal, cello biographies, please text PROGRAM to 513.845.3024*.

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This performance is approximately This performance 105 is approximately minutes long, 105 including minutes long, intermission. including intermission.

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

ASON

The Winstead Chamber The Series Winstead is endowed Chamber Series by is a endowed generous by agift generous fromgift from the estate of former CSO the estate musician of former WILLIAM CSO musician WINSTEAD. WILLIAM WINSTEAD. 28 | 2024–25 SEASON

CONCERT PREVIEW GYÖRGY LIGETI: Six Bagatelles for Woodwind Quintet  Composed: 1953  Premiere: Movements 1–5 premiered in 1956, Budapest; complete work premiered October 6, 1968, Södertälje, Sweden  Duration: approx. 12 minutes

György Ligeti, one of music’s greatest modern masters, studied composition at the conservatory in his boyhood home of Kolozsvár during the early years of World War II. In 1944, however, Ligeti, with many other Jews, was pressed by the Nazis into forced labor in dangerous situations, including working in a munitions dump just in front of the Russian advance. After the war, Ligeti continued his studies at the Budapest Academy of Music, briefly pursued field research in Romanian folk music following his graduation in 1949 and returned to the Budapest Academy a year later, when he was appointed professor of harmony, counterpoint and analysis. He fled Hungary in the wake of the Russian occupation of 1956 and settled in Vienna, and, in 1957, he was invited to work at the West German Radio in Cologne, where he again took up several modernistic compositions in daring idioms that he had to put aside because of the repressive political situation in Hungary. He achieved his first wide recognition in 1960, when his Apparitions was performed at the International Society for Contemporary Music Festival in Cologne.

In 1953, when Ligeti arranged a half-dozen numbers from his Musica ricercata for Piano (1951–53) as the Six Bagatelles for Woodwind Quintet, he was teaching at the Budapest Conservatory and largely cut off from musical developments in the West, so Béla Bartók (whose style Ligeti emulated early in his career) became for him a strong influence—“the big genius” in Ligeti’s words. The Bagatelles provide a virtual catalog of Bartókian techniques.

—Dr. Richard E. Rodda

György Ligeti 1989. ©SchottPromotion/Peter Andersen

Born: May 28, 1923, Dicsőszentmárton, Hungary Died: June 12, 2006, Vienna, Austria

SERGEI PROKOFIEV: Quintet in G Minor, Op. 39  Composed: 1924  Premiere: March 6, 1927, Moscow  Duration: approx. 21 minutes

After Russian émigré conductor Sergei Koussevitzky had successfully premiered Sergei Prokofiev’s Violin Concerto No. 1 at his Parisian concert of October 18, 1923, the composer thought the time had come for him to end his residency in America (and, briefly, Germany) and settle in the French capital.

Given the French proclivity for modernity, Prokofiev thought that Paris was a good place to try a new symphony, his second, which he determined was “to be made of iron and steel.” Koussevitzky commissioned the Symphony No. 2 from him early in 1924, and Prokofiev worked on the score as much as his busy piano performance schedule and the birth of his first child, Sviatoslav, allowed.

“In order to earn some money while writing the Symphony,” he recalled, “I accepted a commission [in July 1924] to compose a ballet for a roving dance troupe which wished to present a program of several short pieces accompanied by an ensemble of five instruments. I proposed a quintet consisting of oboe, clarinet, violin, viola and double bass. The simple plot, based on circus life, was titled Trapeze.” The little ballet company was headed by Boris Romanov, a Russian émigré who had studied under Fokine and worked for a time at the Mariinsky Theatre in St. Petersburg; there, Romanov had assisted with the choreography for Prokofiev’s ill-fated 1915 ballet, Ala and Lolly, whose music was diverted into the thunderous Scythian Suite. Romanov toured Trapeze through Germany and Italy during 1925, after which the ballet was forgotten, though Prokofiev reworked the music into a six-movement concert suite for the original instrumentation. The Quintet, Op. 39 was premiered in 1927 in Moscow, during one of Prokofiev’s visits to his homeland in the years preceding his permanent return there in 1933.

—Dr. Richard E. Rodda

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

Fanfare Magazine | 29

CONCERT PREVIEW

FRANZ SCHUBERT: String Quartet No. 13 in A Minor, D. 804, Op. 29, Rosamunde  Composed: 1824  Premiere: March 14, 1824 in Vienna, by the Schuppanzigh Quartet  Duration: approx. 34 minutes

Born: January 31, 1797, Vienna, Austria Died: November 19, 1828, Vienna

When Helmina von Chézy’s play Rosamunde, with extensive incidental music

by Franz Schubert, was hooted off the stage at its premiere in Vienna on December 20, 1823, the 27-year-old composer decided to turn his efforts away from the theater, where he had found only frustration, and devote more attention to his purely instrumental music. The major works of 1823—the operas Fierrabras and Der häusliche Krieg (“The Household War”), the song cycle Die schöne Müllerin (“The Beautiful Maid of the Mill”) and Rosamunde—gave way to the 1824 string quartets in D minor (Death and the Maiden) and A minor, the A minor cello sonata (Arpeggione), several sets of variations and German dances, and the Octet.

The A minor String Quartet dates from February and March 1824. It had been more than three years since Schubert had written in the genre, and that earlier example, the so-called Quartetsatz (“Quartet Movement”) in C minor (D. 703), was abandoned with only a single movement completed. Schubert’s 11 previous specimens of the form had all been written as Hausmusik for the family quartet (his two brothers on violin, his father playing cello and Franz as violist), so the A minor Quartet therefore stands as the gateway to the incomparable chamber music of his maturity.

—Dr. Richard E. Rodda

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SPOTLIGHT: NEW MUSICIANS OF THE ORCHESTRA 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 first four of those new players.

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

It was actually picked for me. My parents are both string players, and they started me on the instrument when I was four. I kind of bailed out on it, and then I started again when I was eight. I was pretty reluctant about it until I was in middle school, and then something clicked and I got really interested in it. Being musicians, my parents picked up on that and were like, “Uh-oh. Here we go.”

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

I do! Jonathan Yi (violin) and I are both from Louisville. We actually had the same first violin teacher, and his lesson was right after mine. We ended up going to high school together, too. I think we’ve shared three teachers in total over the years.

It’s crazy that we both ended up here at exactly the same time, in the same section.

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

It would probably be to avoid getting sucked into the routine of it all, to the point where the career becomes mundane. I think one of the things that’s great about an orchestral career is the consistency you have. You play with the same people. You have the stability, and you have this large group of people who really learn to work with each other. I think it helps to remember why that’s so special.

Find the other three New Musician Q&A’s for this issue on the following pages: Rose Brown, violin, p. 40; Elizabeth Furuta, p. 47; Noah Roper, bass trombone, p. 53

What is your post-concert routine?

I need a few hours to decompress afterwards. Usually, I just want to go home and watch a movie to bring the energy down a bit. I like to hang out with my dogs. They’re both mutts with big floppy ears. Love them.

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

I’m splitting my time at the moment—my wife lives in Indianapolis, so I’m trying to spend as much of my free time with her there as I can. I also love to run, and I’ll occasionally do a half marathon. I’d really like to run the Flying Pig sometime!

What is one Cincinnati staple that you’re excited to experience?

There’s a Japanese fusion restaurant here called Cafe Mochiko that sells ramen, and they have this Cincinnati Chili ramen. I just can’t help but feel curious about it.

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

Probably cello. My parents play violin and cello, and my brother plays cello, too, so I would hear it all the time growing up. I love the sound. It never gets shrill, you know what I mean? It’s more sonorous, more warm. I don’t love the idea of having to travel with it, though. You have to buy it its own seat on airplanes.

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MOZART & BRUCKNER | 2024–25 SEASON

MO FRI NOV 8, 7:30 PM SAT NOV 9, 7:30 PM Music Hall

MAREK JANOWSKI conductor Wolfgang Amadeus Wolfgang Symphony No. 39 in E-flat Amadeus Major, K. 543 MOZART MOZART Adagio—Allegro (1756–1791)

(1756–1791) Andante con moto Menuetto: Allegretto Allegro

INTERMISSION

Anton BRUCKNER Anton Symphony No. BRUCKNER 9 in D Minor (1824–1896)

(1824–1896) Feierlich, misterioso Scherzo: Bewegt, lebhaft Adagio: Langsam, feierlich

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These performances are approximately 125 minutes long, including These intermission. performa The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group and Presenting Sponsor Peter E. Landgren and Judith Schonbach Landgren.

Peter E. Landgren and Judith Schonbach Landgren

The Pres

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 Peter E. Landgren and the ArtsWave Community Campaign, the region’s primary source for arts funding. This Judith Schonbach Landgren 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 Loui Nina the A proje State

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

Pre-C

WGUC is the Media Partner for these concerts.

WGU

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

The by th

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

Liste follo

Fanfare Magazine | 33

CONCERT PREVIEW WOLFGANG AMADEUS MOZART: Symphony No. 39 in E-flat Major, K. 543 n Composed: 1788 n Premiere: Unknown n Instrumentation: flute, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings n Duration: approx. 29 minutes

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

Mozart’s final three symphonies are remarkable both for the incredible speed with which they were written and their forward-thinking boldness. Over the course of six weeks in the summer of 1788, he completed symphonies nos. 39, 40 and 41 (known as the Jupiter) while struggling to stay afloat financially and remain popular in the public eye.

The Symphony No. 39 is unusual from the very beginning. Mozart opens it with a slow, declamatory introduction that sets the stage for the grandeur and contrasts to come. Resounding chords alternate with delicate scales in the strings, and the continuous dotted rhythms recall the elegant style of baroque overtures. This is Mozart’s only symphony to not use oboes, and their absence allows the clarinets to be in the foreground, adding a rich, mellow tone to the ensemble.

The second movement begins sweetly with strings alone playing a charming theme in A-flat major. Dotted rhythms are again prominent, and a short foray into a minor mode hints at darkness.

The third-movement minuet is stately and upbeat, and the final movement displays Mozart’s wit and love of surprise. The entire movement is based on the opening theme, a jubilant and mischievous melody first heard in the violins.

—Catherine Case

P R E S E NTI N G S P O N SO R S O F M OZ A R T & B R U C K N E R Peter E. Landgren and Judith Schonbach Landgren are excited to welcome a new era with

Music Director CRISTIAN MӐCELARU. 34 | 2024–25 SEASON

CONCERT PREVIEW

ANTON BRUCKNER: Symphony No. 9 in D Minor n Composed: unfinished at the time of his death n Premiere: April 1932, Munich, Siegmund von Hausegger conducting n Instrumentation: 3 flutes, 3 oboes, 3 clarinets, 3 bassoons, 8 horns (incl. 4 Wagner tubas), 3 trumpets, 3 trombones, tuba, timpani, strings n Duration: approx. 63 minutes

In the 1850s, when Anton Bruckner first came to Vienna, the strong-willed and opinionated critics and audiences of the city were divided between the adherents of the traditional style of Johannes Brahms and the modernity of Richard Wagner. Bruckner admired Wagner but did not see himself as a devoted disciple by any means. The powerful music critic Eduard Hanslick, a staunch supporter of Brahms, widely scorned Bruckner’s ideas on the future of the symphony and used his influence to block Bruckner from gaining traction in his career. After years of effort, Bruckner reached a turning point with the premiere of his Seventh Symphony in 1884, which enjoyed immediate success with the public—a welcome relief for the beleaguered composer.

As he worked on his Ninth Symphony, Bruckner humbly accepted a new level of fame and, in 1886, was honored by the Emperor with the Order of Franz Joseph. Work on his final symphony continued for seven years until his death in 1896 left it unfinished. He was in poor health, suffering from a heart condition, progressive liver failure and mental decline. Knowing the Ninth would be his last symphony, he told a visitor that this would be his masterpiece, saying, “I just ask God that he’ll let me live until it’s done.” He completed three movements and was at work on the finale on the day he died, when, after sitting at his piano all morning, he took tea and went to bed complaining of a cold. He passed away peacefully in his sleep.

—Catherine Case

Born: September 4, 1824, Ansfelden, Austria Died: October 11, 1896, Vienna, Austria

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BOBBY WEIR & WOLF BROS | 2024–25 SEASON WED NOV 13, 7:30 PM Music Hall

BOBBY WEIR & WOLF BROS JOHN MORRIS RUSSELL conductor

A founding member of the Grateful Dead, Bobby Weir is one of rock’s finest and most distinctive guitarists. In a career that has spanned six decades, Weir has become a rock music icon who continues to write new music, perform, and find ways to reinvent the timeless material of the Grateful Dead.

Formed in 2018 by Weir, Grammy-winning producer and bassist Don Was, and drummer Jay Lane, Bobby Weir & Wolf Bros. will perform selections from the expansive Grateful Dead catalogue, Bobby’s solo albums, and beloved covers with original orchestration by Stanford professor and composer Dr. Giancarlo Aquilanti.

There will be one 20-minute intermission.

Please do not record the concert.

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

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

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

Fanfare Magazine | 37

H | 2024–25 SEASON BERNSTEIN & SHOSTAKOVICH | 2024–25 SEASON SAT NOV 16, 7:30 SATPM NOV 16, 7:30 PM SUN NOV 17, 2 SUN PM NOV 17, 2 PM Music Hall Music Hall

nductor MARIN ALSOP conductor oy soprano ELESSAR DeHOFF boy soprano w Swanson, conductor MAY FESTIVAL CHORUS Matthew Swanson, conductor

e Betsy & Alex C. Young The May Festival Chair Chorus is endowed by the Betsy & Alex C. Young Chair

Leonard BERNSTEIN

Chichester Psalms

00 (Maestoso (1918–1990) ma energico; Psalm 108:2 Allegro and Psalm 100 (Maestoso molto) ma energico; Allegro molto) 4 (Andante con moto, ma Psalm 23 tranquillo; and Psalm 2:1–4 (Andante con moto, ma tranquillo; ome prima) Allegro feroce; Meno come prima) ostenuto molto; Peacefully Psalm 131,flowing; Psalm 133:1 (Sostenuto molto; Peacefully flowing; Lento possibile)

ON

INTERMISSION

Major, Op. Dmitri SHOSTAKOVICH 60, Leningrad Symphony No. 7 in C Major, Op. 60, Leningrad (1906–1975)

tto

Allegretto Moderato—poco allegretto Adagio Allegro non troppo

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.

nutes long, including These performances intermission. are approximately 120 minutes long, including intermission.

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

al Chorus is made possible The appearance by of the aMay generous Festival Chorus is made gift possible from by a generous gift from d for Chorus and Orchestra. the Nancy & Steve Donovan Fund for Chorus and Orchestra.

ra is grateful for the support The Cincinnati Symphony of the Orchestra Louise is grateful forDieterle the support of the Louise Dieterle Greenacres Foundation Nippert and Musical Arts the Fund Nina of the Greenacres Browne Foundation and the Nina Browne ds of people who giveParker generously Trust, and for the thousands to the of people ArtsWave who give generously to the ArtsWave ’s primary source for Community arts funding.

Campaign, the region’s This primary project source for arts was funding. This project was s Council, which receives supportedsupport in part by the Ohiofrom Arts Council, the which receives State support of from the State of nt for the Arts.

Ohio and the National Endowment for the Arts.

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

ese concerts.

WGUC is the Media Partner for these concerts.

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

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

38 | 2024–25 SEASON

CONCERT PREVIEW LEONARD BERNSTEIN: Chichester Psalms n Composed: February–June 1965 n Premiere: World premiere: July 15, 1965, New York Philharmonic Hall, Bernstein conducting the New York Philharmonic and Camerata Singers. Original version with an all-male chorus and the treble parts being performed by boys: July 31, 1965, Chichester Cathedral with the combined choirs of Winchester, Salisbury and Chichester cathedrals. Dedication: Cyril Solomon n Instrumentation: boy soprano solo, SATB chorus, 3 trumpets, 3 trombones, timpani, bass drum, bongo drums, chime, crash cymbals, glockenspiel, rasping stick, slapstick, snare drum, suspended cymbals, tambourine, temple blocks, triangle, whip, wood block, xylophone, 2 harps, strings n Duration: approx. 19 minutes

Leonard Bernstein’s Chichester Psalms begins exuberantly with an arresting choral exhortation in Hebrew on the text of Psalm 108: “Awake, psaltery and harp: I will rouse the dawn!” The singers continue with more verve, singing Psalm 100, “Make a joyful noise unto the Lord all ye lands.” These opening strains introduce one of Bernstein’s most cherished and frequently performed works, reflecting the composer’s own words: “It is quite popular in feeling… and it has an old-fashioned sweetness along with its more violent moments.”

Indeed, Bernstein’s description applies just as well to the music as it does to the text, in which the composer couches the sacred texts in a wide range of musical atmospheres and effects to shepherd the audience through the Psalms’ nuanced and personal sensitivities. The Psalms’ themes speak to the circumstances under which Bernstein composed the work: personally, in the midst of a frenetically paced decade at the helm of the New York Philharmonic and, broadly, during decades of social and cultural upheaval around the country. Although his compositional productivity flagged during these years, the piece stands as a clear encapsulation of the composer’s musical powers and his flair for assembling musical, literary and dramatic elements into thrilling and emotionally moving experiences.

—Jacques Dupuis

Born: August 25, 1918, Lawrence, Massachusetts Died: October 14, 1990, New York, NY

DMITRI SHOSTAKOVICH: Symphony No. 7 in C Major, Op. 60, Leningrad n Composed: 1941 n Premiere: March 5, 1942 by Samuil Samosud and the orchestra of Moscow’s Bolshoi Theatre n Instrumentation: 3 flutes (incl. alto flute and piccolo), 2 oboes, English horn, 3 clarinets (incl. E-flat clarinet), bass clarinet, 2 bassoons, contrabassoon, 8 horns, 6 trumpets, 6 trombones, tuba, timpani, bass drum, crash cymbals, snare drums, suspended cymbals, tam-tam, tambourine, triangle, xylophone, 2 harps, piano, strings n Duration: approx. 70 minutes

Dmitri Shostakovich had long been recognized as one of the foremost composers of his country by the time he began work on his Symphony No. 7, shortly after Nazi Germany invaded the Soviet Union. The symphony became known as the Leningrad, the Soviet-era name of Shostakovich’s native city of St. Petersburg. The historic city was under blockade from September 8, 1941 until January 27, 1944, that is, for a full 872 days, during which an estimated 1.5 million people died of disease and starvation. Shostakovich and his family were evacuated from the city at the end of September 1941, so they were spared the worst. Yet Leningrad was constantly on the composer’s mind, and when the work was performed in the besieged city, it became an international sensation as a symbol of Russian resistance and heroism. The most famous part of the 80-minute, four-movement work is a roughly 10-minute segment in the first movement. It consists of a single melody, starting softly and repeated louder and louder until it explodes in a dramatic climax. This inexorable crescendo is most frequently interpreted as a representation of the advancing Nazi army.

Movements 2–4, which initially bore the working titles “Reminiscences,” “The Vast Expanses of Our Country,” and “Victory,” add notes of lament, hope and triumph, rounding out one of the most gripping artworks ever created on the topic of war.

—Peter Laki

Born: September 25, 1906, Saint Petersburg, Russia Died: August 9, 1975, Moscow, Russia

Fanfare Magazine | 39

SPOTLIGHT: NEW MUSICIANS OF THE ORCHESTRA 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 first four of those new players.

Rose Brown Hometown: Ann Arbor, Michigan Instrument: Violin How did you get involved with playing violin?

I started when I was three years old. My mom very much put the violin in my (and my twin brother’s) hands. We started with the Suzuki method, and she would take both of us into lessons. My brother may not have stuck with it, but I did, and now here we are!

What is one Cincinnati staple you’ve had a chance to try?

Oh, I ran both the Flying Pig half marathon and the Queen Bee half marathon, and those were easily some of the most fun races I’ve done. The energy from the city was amazing.

What is one thing you can’t live without in rehearsal?

Well, I bring about a hundred pencils because I’m very paranoid that I won’t be able to mark something very important into my music. Beyond that, I’ve become the designated Altoid person backstage. I always have a box of Altoids, and it’s always gone within a week because everyone knows to come to me for those.

What piece of advice helped you the most when auditioning for the CSO?

Find the other three New Musician Q&A’s for this issue on the following pages: Joseph Ohkubo, violin, p. 31; Elizabeth Furuta, p. 47; Noah Roper, bass trombone, p. 53

To trust my own ideas, my own sound and my own choices when preparing music for an audition. When I was auditioning constantly, I was changing everything about how I played based on what I thought the individual panels wanted, and it made the process more stressful. When I prepared for my CSO audition, I stopped playing for other people and started just recording myself and listening to my own playing. It completely changed how I played and how I felt going into the audition.

What musicians are you currently listening to?

I think my listening habits are pretty focused on what we’re playing this season. So today it’s Mahler; next week, it’ll be Florence Price. Outside of preparing for work, my brother’s in this really great band in Nashville called The War and Treaty, and I listen to them a lot.

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

I’m a big runner. I also do a lot of knitting. I just learned how to crochet, and I do a lot of reading. I’m typically reading like four or five books at a time. I like Emily St. John Mandel, Murakami, Truman Capote—the list goes on.

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

This is a very specific answer, and it only applies to certain pieces, but there’s this giant sheet of metal that the percussionists will use to make, like, wind sounds by wiggling it back and forth.

CONCERT PREVIEW

MAY FESTIVAL CHORUS

James Conlon conducting the Chorus and CSO at Carnegie Hall was released to critical acclaim in 2016 on Bridge Records, and, in 2017, the Chorus re-released its popular a cappella holiday recording Christmas with the May Festival Chorus on the Fanfare Cincinnati label. The Chorus is also featured on several Pops recordings, which have sold more than 10 million copies worldwide.

The May Festival Chorus is endowed by the Betsy & Alex C. Young Chair

MATTHEW SWANSON, Director of Choruses Jason Alexander Holmes, Associate Director of Choruses & Youth Chorus Director Heather MacPhail, Accompanist Andrew Miller, Conducting Fellow Sarah Farwell, Chorus Manager Kathleen Moran, Chorus Librarian

Credit: Krista DeVaul

The May Festival Chorus has earned national and international acclaim for its musicality and command of repertoire. Consisting of 135 avocational singers who collectively devote more than 45,000 hours in rehearsals and performances annually, the Chorus is the core artistic element of the Cincinnati May Festival and the official chorus of the Cincinnati Symphony Orchestra (CSO) and Cincinnati Pops. The premier choral ensemble in Cincinnati, the May Festival Chorus has garnered national and international attention through numerous PBS broadcasts and award-winning recordings, many in collaboration with the CSO and Pops. Most recently, a live recording of Robert Nathaniel Dett’s The Ordering of Moses featuring Music Director Laureate

MATTHEW SWANSON Director of Choruses Matthew Swanson is Director of Choruses for the Cincinnati May Festival, a cornerstone of the Cincinnati arts community since its founding in 1873.

He is the artistic leader of the May Festival’s choral ensembles—the May Festival Chorus, the May Festival Chamber Choir, the May Festival Youth Chorus and the Cincinnati Boychoir— and collaborates with the annually appointed Festival Director to craft programming for the May Festival. He conducts and prepares the May Festival Chorus—the core artistic element of the

MAY FESTIVAL & CINCINNATI BOYCHOIR

All Together Togeth Toget h Now

TICKETS $10 adult $5 student

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.

Fanfare Magazine | 41

Donate to the CSO by buying yourself a new piano.* STRIVE FOR EXCELLENCE For over 120 years, Willis Music and Cincinnati Symphony Orchestra have been serving the greater Cincinnati area with music, culture, and music education.

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Willis Music Kenwood Galleria

8118 Montgomery Road Cincinnati, Oh 45236 (859) 396-4485 pianos@willismusic.com *Willis Music will give a donation to the Cincinnati Symphony Orchestra for every piano that a Cincinnati Symphony Orchestra patron purchases.

CONCERT PREVIEW

Cincinnati May Festival and the official Chorus of the Cincinnati Symphony Orchestra (CSO) and Cincinnati Pops—for their performances at historic Music Hall and beyond. As Director of Choruses, he also leads the May Festival Conducting Fellowship, a collaboration of the May Festival and the Choral Studies Program at the University of Cincinnati College-Conservatory of Music (CCM).

Previously, Matthew Swanson was the Associate Director of Choruses, Youth Chorus Director and Director of Special Projects for the May Festival. Beyond the May Festival, he

has been affiliated with Lincoln Center (New York), CCM and Xavier University, along with other educational and cultural institutions. He is frequently engaged as a host and presenter of lectures, concerts and broadcasts in Cincinnati, New York and elsewhere.

Swanson is a native of southeast Iowa and was educated at the University of Notre Dame, CCM and King’s College, Cambridge. He held the May Festival Conducting Fellowship in 2015.

Prior to his fellowship appointment, he sang in the May Festival Chorus and worked in the CSO Box Office.

MAY FESTIVAL CHORUS SOPRANO Tracy Bailey Cassandra Bailey-Langjahr Karen Bastress Laurel Boisclair Ellsworth Dawn Bruestle Sage Bushstone Caitlyn Byers Renee Cifuentes Rachel Curran Kathy Dietrich Jennifer Dobson Bethany Dorsel Donna Dunlap Erin Focke Ella Giesler Joelle Graham Anita Marie Greer Grace Guthrie Melissa Haas Dana Harms Mary Wynn Haupt Carolyn Hill Alexandra Kesman Lisa Koressel Judith C. LaChance Hilary Landwehr Jennifer Leone Julia Marchese Audrey Markovich Noelle Marousis Justine Merritt Mary Patton* Alison Peeno Regina Rancourt Kristi C. Reed Beth Roberts Hannah Schafer Julia H. Schieve

Amanda Schwarz Rosenzweig Amanda Seifert Yvon F. Shore Katherine Sullivan Taraneh R. Wilkinson ALTO Caitlin Ahmann-Miller Hannah Bachmann Deborah Barnett Emily Benoit Robin Bierschenk Jennifer Blair Margaret Eilert Sarah Fall Lindsey Fitch Amanda Gast Bella Gullia Emma Hage Sally Vickery Harper Grace Ho Spence B. Ingerson Amy Jackson Karolyn L. Johnsen Sarah Keeling Horseman Jenifer Klostermeier Julie Laskey Emma Lawrence Megan Lawson Katherine Loomis Alexx Lujan Elaine P. Lustig Kathy Mank Melissa A. Martin Teri McKibben Jennifer Moak Amy M. Perry Christy Roediger

Ann Schwentker Karen Scott-Vosseberg Molly Scruta Emily Seedle* Sarah Stoutamire Kristie Stricker Nikki Tayidi Megan Weaver Robin Rae Wiley Patricia Wilkens Meg Zeller TENOR Avery Bargasse* Ryan Block David Bower Scott C. Osgood Timothy Carnahan Brian Donaldson Douglas Easterling Andrew Kneer Fansheng Kong Kevin Leahy Matthew Leonard Robert Lomax Austin M. Schafer Andrew Miller Jason Ramler Larry Reiring H Scott Nesbitt Adam Shoaff Gary Wendt Stephen West Evan Young Barry Zaslow

BASS Mark Barnes Richard Becker Nathan Bettenhausen Kenny Bierschenk Andrew L. Bowers Scott Brody Douglas J. Bruestle Darren Bryant Christopher Canarie Steven L. Dauterman David Dugan Benjamin Flanders* Steve France Mark Hockenberry Jason Alexander Holmes Kim P. Icsman Takuya Konishi Alex Kress Jim Laskey John McKibben Salvador Miranda James Murray James V. Racster Brian Reilly Joshua Wallace Mark Weaver Paul Wessendarp Tommy Wessendarp *Chichester Psalms solo quartet

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!

Fanfare Magazine | 43

CORNERED HAT | 2024–25 THE THREE-CORNERED SEASON HAT | 2024–25 SEASON FRI NOV 22, FRI 11 NOV AM 22, 11 AM SAT NOV 23, SAT 7:30 NOV 23, PM 7:30 PM Music Hall Music Hall

OS MIGUEL PRIETO conductor CARLOS MIGUEL PRIETO conductor ANCESO PIEMONTESI piano FRANCESO PIEMONTESI piano LINA CUERVO mezzo-soprano CATALINA CUERVO mezzo-soprano

ek—Invenciones Gabriela ORTIZ de Territorio Téenek—Invenciones de Territorio (b. 1964)

erto No. Ludwig 4 in G vanMajor BEETHOVEN for Piano Concertoand No. 4 inOrchestra, G Major for Piano Op. and Orchestra, 58 Op. 58

gro moderato (1770–1827) dante con moto ndo: Vivace

INTERMISSION

Allegro moderato Andante con moto Rondo: Vivace

INTERMISSION

mbrero de Manuel tres de picos FALLA (“The El Three-Cornered sombrero de tres picos (“TheHat”) Three-Cornered Hat”)

oduction (1876–1946) Introduction RT I: PART I: ternoon Afternoon nce of the Miller’s Wife (Fandango) Dance of the Miller’s Wife (Fandango) For exclusive e Grapes The Grapes content, such as RT II: PART II: full-length program e Neighbor’s Dance (Seguidillas)The Neighbor’s Dance (Seguidillas) notes and artist e Miller’s Dance The Miller’s Dance biographies, please e Corregidor’s Dance to The Corregidor’s Dance text PROGRAM e Final Dance513.845.3024*.

The Final Dance *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.

pproximately 130 minutes These performances long, are including approximatelyintermission.

130 minutes long, including intermission.

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

Financial Group.

s are endowed by Martha Anness, These concerts Priscilla are endowedHaffner

by Martha Anness, & Sally PriscillaSkidmore Haffner & Sally Skidmore ory of their mother, LaVaughn in loving Scholl memory of Garrison, their mother, LaVaughn a long-time Scholl Garrison, patron a long-time ofpatron of the Orchestra.

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

lks are made possible by an Pre-Concert endowed Talksgift are made from possible Melody by an endowed Sawyer gift fromRichardson.

Melody Sawyer Richardson.

Media Partner for these concerts.

WGUC is the Media Partner for these concerts.

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

rogram on 90.9 WGUC February Listen to this 23, program 2025 on 90.9 at WGUC 8 pm, February followed 23, 2025 at by 8 pm, 30 followed days by 30 ofdays of ncinnatisymphony.org/replay. streaming at cincinnatisymphony.org/replay.

44 | 2024–25 SEASON

CONCERT PREVIEW GABRIELA ORTIZ: Téenek—Invenciones de Territorio n Composed: 2017 n Premiere: October 12, 2017, Walt Disney Concert Hall, Los Angeles, Gustavo Dudamel conducting n Instrumentation: 2 flutes, 2 piccolos (incl. alto flute), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, bass drum, bongos, claves, cowbells, crotales, crash cymbals, glockenspiel, gong, güiro, jawbone, maracas, marimba, snare drum, suspended cymbals, tam-tam, timbales, triangle, tubular bells, vibraphone, xylophone, celeste, piano, strings n Duration: approx. 16 minutes

Téenek is the language spoken in the Huasteca region, which encompasses the states of Veracruz, Tamaulipas, San Luis Potosí, Hidalgo, Puebla and Querétaro in Mexico. Téenek means “local man,” in reference to all the men and women who belong to a place whose mere existence determines their destinations in time and space—their territories. Indeed, in any region of the world, human beings from any given era determine a way of BEING that transcends through time and defines their relationship with their surroundings, no matter their race, skin color, political borders or socio-economic condition.

Téenek is a sonorous metaphor of our transcendence, a strength that alludes to a future where there are no borders, but rather, a recognition of the actual particularities and differences between us that propitiate our development, while at the same time enriching and uplifting us. Through the plain and simple idea of fitting in, of not dividing but rather recognizing otherness, Téenek reflects on the importance of reaffirming identities through fragmentation.

It is precisely because of this that Téenek is composed of a series of apparently dissimilar inventions, which find their strength in their differences, enrichment and musical development.

—Alejandro Escuer

Born: 1964, Mexico City, Mexico

LUDWIG VAN BEETHOVEN: Concerto No. 4 in G Major for Piano and Orchestra, Op. 58 n Composed: 1804–06 n Premiere: March 5, 1807 at the palace of Prince Franz Joseph von Lobkowitz in Vienna, with the composer as soloist n Instrumentation: solo piano, flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings n Duration: approx. 34 minutes

The first Napoleonic occupation of Vienna began on November 13, 1805, less than a month after the Austrian armies had been soundly trounced by the French legions at the Battle of Ulm on October 20.

Such soul-troubling times would seem to be antithetical to the production of great art, yet for Beethoven, those years were the most productive of his life, yielding Fidelio; the music for Egmont; the “Appassionata” Piano Sonata; the violin concerto; the fourth and fifth piano concertos; the Leonore Overture No. 3 and Coriolan Overture, the fourth, fifth and sixth symphonies and several more works.

The mood of the Fourth Concerto is established immediately by a hushed, prefatory phrase for the soloist. The form of the movement, vast yet intimate, begins to unfold with the ensuing orchestral introduction. The soloist re-enters to decorate the themes with elaborate figurations, and the return of the themes allows an opportunity for a cadenza (Beethoven composed two for this movement) before a glistening coda closes the movement.

The second movement starkly opposes two musical forces—the stern, unison summons of the strings and the gentle, touching replies of the piano. The strings are eventually subdued by the entreaties of the piano, which then gives forth a wistful little song filled with quivering trills. After only the briefest pause, a high-spirited and long-limbed rondo-finale is launched by the strings to bring the concerto to a stirring close.

—Dr. Richard E. Rodda

Born: December 16, 1770, Bonn, Germany Died: March 26, 1827, Vienna, Austria

Fanfare Magazine | 45

CONCERT PREVIEW

MANUEL DE FALLA: El sombrero de tres picos (“The Three-Cornered Hat”) n Composed: 1917 and 1919 n Premiere: July 22, 1919 in London, Ernest Ansermet conducting n Instrumentation: soprano solo, 3 flutes (incl. 2 piccolos), 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, castanets, crash cymbals, glockenspiel, side drum, suspended cymbals, tam-tam, triangle, xylophone, harp, celeste, piano, strings n Duration: approx. 34 minutes

Born: November 23, 1876, Cádiz, Spain Died: November 14, 1946, Alta Gracia, Argentina

The dazzling Parisian success of Sergei Diaghilev’s Ballet Russe that began in 1909 came to a jarring halt when the Guns of August tore across Belgium and France to begin World War I in 1914. Diaghilev, Léonide Massine and some of the company took refuge in Switzerland and Spain, while Nijinsky and others fled to America. Diaghilev arranged a season in Spain for 1917 and took the opportunity to look up a musician Igor Stravinsky had met in Paris in 1910: Manuel de Falla.

Falla had completed only a few works by 1917—most notably Nights in the Gardens of Spain, the opera La vida breve and the ballet El amor brujo—and was little known outside of his homeland. When Diaghilev and Massine presented themselves to him in Barcelona, he took them to see a pantomime for which he had composed the music, El corregidor y la molinera (“The Corregidor and the Miller’s Wife”). Massine and Diaghilev proposed that Falla expand the work into a full-length ballet. Falla accepted the proposal, but with the provision that he be allowed enough time to study Spanish folk music and dance styles to assure the correct atmosphere for the finished work.

Falla’s ballet The Three-Cornered Hat concerns a village miller and his pretty wife. The Corregidor (mayor) is attracted to the miller’s wife and makes his advances, using his power to arrest the miller and keep him away from home so that he can pursue the miller’s wife. Falla’s masterful score captures both the dramatic action of the story and the colorful milieu of its setting.

—Dr. Richard E. Rodda

MAC FILM SERIES at Wilks Studio in Music Hall

Voice of Freedom is a documentary that explores Marian Anderson’s remarkable life, while exploring fundamental questions of talent, race, fame, democracy and the American soul.

IMMERSE IN A 20 MINUTE PERFORMANCE before the documentary screening and a moderated Q&A by DR. KORI HILL. Soprano Dr. Louise Toppin will perform works that were touched by Anderson’s life and will join Dr. Hill for the Q&A.

APR 4 | 6 PM

46 | 2024–25 SEASON

SPOTLIGHT: NEW MUSICIANS OF THE ORCHESTRA 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 first four of those new players.

Elizabeth Furuta Hometown: College Station, Texas Instrument: Violin How did you get involved with playing violin?

When I was about three years old, I was watching Sesame Street and the Letter of the Day was ‘V.’ They were featuring the violin and had a whole segment with the Tokyo String Quartet. I decided that playing violin was what I needed to do, so I went to my parents and told them I needed a violin, and they thought I was crazy (because I was three years old). I kept bugging them for a year, and finally got a violin for Christmas.

What has been your favorite experience with the CSO so far?

I played a couple of the CSO in Your Neighborhood concerts, and it’s always so much fun to see everyone from those neighborhoods coming out and enjoying the music, the good food, the atmosphere. I mean, the community is really supportive of the symphony, and I love that.

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

Yes! Joseph Ohkubo (violin) and I went to summer camp together 10 or 15 years ago. Then we were at Kent Blossom Music Festival together in college. It was funny to run into him at the audition and end up playing in the same orchestra together!

Find the other three

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

New Musician Q&A’s

I like to play video games. My favorite game right now is “Dead by Daylight.”

I also like to read and go for walks, and I like to knit. I’ve been knitting for like eight years now.

for this issue on the following pages: Joseph Ohkubo, violin, p. 31; Rose Brown, violin, p. 40; Noah Roper, bass trombone, p. 53

What’s your post-concert routine?

Typically, I just go home, chill on the couch, talk to my mom, generally just take it easy. I’m also really into foam rolling, and I try to keep enough of an exercise and stretching routine to keep my muscles strong enough to do the things they need to do, but not too tight or overworked.

What is one Cincinnati staple you’re excited to experience?

I’ve been in Cincinnati for a few years, playing on a short-term contract with the CSO, but I still haven’t tried Cincinnati chili! I feel like I should, but I’m kind of scared to try it. Mixed reviews from everyone I know, but I’m still curious.

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

I’ve always thought that oboe would be fun. It’s a beautiful instrument and it sounds gorgeous. I also think that making reeds would be right up my alley, because I love to craft. Hand-making reeds sounds like something I’d really enjoy.

HOME ALONE IN CONCERT | 2024–25 SEASON SAT NOV 30, 7:30 PM SUN DEC 1, 2 PM Music Hall

DAMON GUPTON conductor MEMBERS OF THE MAY FESTIVAL CHORUS AND MAY FESTIVAL YOUTH CHORUS, prepared by Andrew Miller, May Festival Conducting Fellow

TWENTIETH CENTURY FOX Presents A JOHN HUGHES Production A CHRIS COLUMBUS Film

HOME ALONE MACAULAY CULKIN JOE PESCI DANIEL STERN JOHN HEARD and CATHERINE O’HARA Music by JOHN WILLIAMS Film Editor RAJA GOSNELL Production Designer JOHN MUTO Director of Photography JULIO MACAT

Executive Producers MARK LEVINSON & SCOTT ROSENFELT and TARQUIN GOTCH Written and Produced by JOHN HUGHES Directed by CHRIS COLUMBUS

Soundtrack Album Available on CBS Records, Cassettes and Compact Discs

Color by DELUXE®

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

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

48 | 2024–25 SEASON

HOME ALONE HOME ALONE

Tonight’s Tonight’s program program is aispresentation a presentation of of thethe complete complete film film Home Home Alone Alone with with a a livelive performance performance of of thethe film’s film’s entire entire score, score, including including music music played played by by thethe orchestra orchestra during during thethe end end credits. credits.

Out Out of of respect respect forfor thethe musicians musicians and and your your fellow fellow audience audience members, members, please please remain remain seated seated until until thethe conclusion conclusion of of thethe credits. credits.

Film Film screening screening of of Home Home Alone Alone courtesy courtesy of of Twentieth Twentieth Century Century Fox. Fox. © 1990 © 1990 Twentieth Twentieth Century Century Fox Fox Film Film Corporation.

Corporation.

AllAll Rights Rights Reserved.

Reserved.

PRODUCTION PRODUCTION CREDITS CREDITS Home Home Alone Alone in Concert in Concert produced produced by by Film Film Concerts Concerts Live!, Live!, a joint a joint venture venture of of IMG IMG Artists, Artists, LLC LLC and and The The Gorfaine/Schwartz Gorfaine/Schwartz Agency, Agency, Inc.Inc. Producers: Producers: Steven Steven A. A. Linder Linder and and Jamie Jamie Richardson Richardson Director Director of of Operations: Operations: Rob Rob Stogsdill Stogsdill Production Production Manager: Manager: Sophie Sophie Greaves Greaves Production Production Assistant: Assistant: Katherine Katherine Miron Miron Worldwide Worldwide Representation: Representation: IMG IMG Artists, Artists, LLC LLC Supervising Supervising Technical Technical Director: Director: Mike Mike Runice Runice Technical Technical Director: Director: Matthew Matthew Yelton Yelton Music Music Composed Composed by by John John Williams Williams Music Music Preparation: Preparation: Jo Jo Ann Ann Kane Kane Music Music Service Service Film Film Preparation Preparation forfor Concert Concert Performance: Performance: Ramiro Ramiro Belgardt Belgardt Technical Technical Consultant: Consultant: Laura Laura Gibson Gibson Sound Sound Remixing Remixing forfor Concert Concert Performance: Performance: Chace Chace Audio Audio by by Deluxe Deluxe The The score score forfor Home Home Alone Alone hashas been been adapted adapted forfor livelive concert concert performance. performance.

With With special special thanks thanks to:to: Twentieth Twentieth Century Century Fox, Fox, Chris Chris Columbus, Columbus, David David Newman, Newman, John John Kulback, Kulback, Julian Julian Levin, Levin, Mark Mark Graham Graham and and thethe musicians musicians and and staff staff of of thethe Cincinnati Cincinnati Pops Pops Orchestra.

Orchestra.

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

513.845.3024*. *By texting *By texting to this to number, this number, you you maymay receive receive messages messages that that pertain pertain to the to the organization organization and and its performances; its performances; msgmsg & & datadata ratesrates maymay apply. apply.

Reply Reply HELP HELP to help, to help, STOP STOP to cancel. to cancel.

YouYou areare welcome welcome to take to take thisthis copy copy of of Fanfare Fanfare Magazine Magazine home home with with youyou as aas a souvenir souvenir of your of your concert concert experience. experience.

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

Thank Thank you! you!

Fanfare Fanfare Magazine Magazine | 49| 49

STMAS ORATORIO BACH’S | 2024–25 CHRISTMAS ORATORIO SEASON | 2024–25 SEASON FRI DEC 6, FRI 7:30 DEC 6, PM 7:30 PM SAT DEC 7,SAT 7:30 DEC 7, PM 7:30 PM Music Hall Music Hall

RICHARD EGARR conductor RICHARD EGARR conductor JOÉLLE HARVEY soprano JOÉLLE HARVEY soprano R JOHNSON CANO mezzo-soprano JENNIFER JOHNSON CANO mezzo-soprano PAUL GROVES tenor PAUL GROVES tenor OHN RELYEA bass-baritone JOHN RELYEA bass-baritone AL CHORUS Matthew MAY Swanson, FESTIVAL CHORUS director* Matthew Swanson, director*

nachtsoratorium Johann Sebastian (“Christmas BACH Weihnachtsoratorium Oratorio”), (“Christmas BWVOratorio”), 248 BWV 248

tata 1: Am(1685–1750) 1 Weihnachtstag (“On Cantata the 1: Am 1st 1Day Weihnachtstag of Christmas”). (“On the 1st Day ofJauchzet, Christmas”). Jauchzet, ohlocket! Auf, preiset die Tage (“Shout frohlocket! Auf, forpreiset Joy, dieExult, Tage (“Shout Rise for Up, Joy, Exult, Rise Up, orify the Day”) Glorify the Day”) rus: Shout for joy, exult, rise up,Chorus: glorify Shout the for joy, day exult, rise up, glorify the day t: It happened at that time— Recit: It happened at that time— t: Now my dearest bridegroom Recit: Now my dearest bridegroom : Make yourself ready, Zion, with Aria: tender Make yourself desires ready, Zion, with tender desires rale: How should I receive you Chorale: How should I receive you t: And she gave birth to her first Recit: son— And she gave birth to her first son— rale: He has come on earth in poverty— Chorale: He has come on earth in poverty— t: Who will rightly extol the love Recit: Who will rightly extol the love : Great Lord, O mighty King Aria: Great Lord, O mighty King rale: Ah, little Jesus, dear to my Chorale: heart!

Ah, little Jesus, dear to my heart!

of Christmas”).

Christmas”). Herrscher tata 3: Am 3 Weihnachtstag (“On Cantata the 3: Am 3rd3 Day Weihnachtstag (“On the 3rd Day ofHerrscher s Himmels, erhöre das Lallen (“Ruler des Himmels, of Heaven, erhöre das Lallen Hear (“Ruler Our of Heaven, Hear Our For exclusive articulate Speech”) Inarticulate Speech”) content, suchhear as rus: Ruler of Heaven, our inarticulate Chorus: Ruler of Heaven, speech hear our inarticulate speech full-length program t: And as the Angels went fromRecit: them And to as the Heaven— Angels went from them to Heaven— notes and artist rus: Let us now go to Bethlehem— Chorus: Let us now go to Bethlehem— biographies, please t: He has consoled His people Recit: He has consoled His people text PROGRAM to for us Chorale: All this He has done for us rale: All this He has done 513.845.3024*. t: Lord, your compassion, your mercy Duet: Lord, your compassion, your mercy *By texting this t: And they came intohaste and found Recit: Andboth, they came Mary in hasteand and found Joseph both, Mary and Joseph number, you may receive : Enclose, mymessages heart, this wonder Enclose, my heart, this blessed wonder that pertain to blessedAria: the organization its keep t: Yes, Yes! My heart and will Recit: Yes, Yes! My heart will keep performances; msg & data rale: I shall diligently keep you in Chorale: mind I shall diligently keep you in mind rates may apply. Reply HELP to help, STOP to cancel. t: And the Shepherds went back Recit: again And the Shepherds went back again rale: Meanwhile, be joyful Chorale: Meanwhile, be joyful rus da capo: Ruler of Heaven, hear Chorus our da capo: inarticulate Ruler of Heaven,speech hear our inarticulate speech

INTERMISSION

INTERMISSION

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

Financial Group.

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

National Endowment for the Arts.

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

Sawyer Richardson.

e Media Partner for these concerts.

WGUC is the Media Partner for these concerts.

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

ections from this program on Listen 90.9 to selections WGUC fromMarch this program 2,on 2025 90.9 WGUC at 8 March pm, 2, 2025 followed at 8 pm, followed of streaming at cincinnatisymphony.org/replay. by 30 days of streaming at cincinnatisymphony.org/replay.

50 | 2024–25 SEASON

BACH BACH

“Air” “Air” for for String String Orchestra Orchestra from from Orchestral Orchestral Suite Suite No.No. 3 3

BACH BACH

Weihnachtsoratorium Weihnachtsoratorium (“Christmas (“Christmas Oratorio”), Oratorio”), BWV BWV 248248 Cantata Cantata 6: Epiphaniasfest 6: Epiphaniasfest (“Feast (“Feast of Epiphany”). of Epiphany”).

Herr, Herr, wenn wenn die stolzen die stolzen Feinde Feinde schnauben schnauben (“Lord, (“Lord, When When OurOur Arrogant Arrogant Enemies Enemies Snort Snort withwith Rage”) Rage”) Chorus: Chorus: Lord, Lord, when when our our arrogant arrogant enemies enemies snort snort withwith ragerage Recit: Recit: Then Then Herod Herod summoned summoned the the Wise Wise MenMen secretly... secretly...

Go there Go there andand inquire inquire about about the the littlelittle child child Recit: Recit: YouYou cheat, cheat, youyou onlyonly seekseek the the LordLord to bring to bring himhim down down Aria:Aria: JustJust a wave a wave of your of your hand— hand— Recit: Recit: AndAnd when when theythey hadhad heard heard the the kingking theythey went went away away Chorale: Chorale: I stand I stand by your by your cribcrib herehere Recit: Recit: AndAnd GodGod ordered ordered them them in a in dream— a dream— Recit: Recit: Go then!

Go then!

It is Itenough is enough thatthat my my treasure treasure does does not not depart depart from from herehere Aria:Aria: Now, Now, youyou arrogant arrogant enemies, enemies, maymay try to tryscare to scare me me Recit: Recit: What What will will the the terror terror of hell of hell do now do now Chorale: Chorale: NowNow youyou are are wellwell avenged avenged

These These performances performances are are approximately approximately 120 120 minutes minutes long, long, including including intermission. intermission. *Biographies *Biographies andand a roster a roster for the for the MayMay Festival Festival Chorus Chorus are are on pp. on pp.

41–43.

41–43.

YouYou are are welcome welcome to take to take this this copy copy of of Fanfare Fanfare Magazine Magazine home home withwith youyou as aas a souvenir souvenir of your of your concert concert experience. experience.

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

Thank Thank you!you!

Love Lovemusic musicand andlike liketotosing? sing?

This This isis for for you. you.

Register Register toto audition audition forfor the the May May Festival Festival choruses! choruses!

mayfestival.com/join mayfestival.com/join Fanfare Fanfare Magazine Magazine | 51 | 51

SPOTLIGHT: NEW MUSICIANS OF THE ORCHESTRA 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 first four of those new players.

Noah Roper Hometown: Aledo, Texas Instrument: Bass Trombone How did you get involved with playing bass trombone?

I started like most Texas band students do—in middle school. I started on the euphonium, which is essentially a mini tuba.

It’s funny because I went to a band fair, where you try the different instruments to find out what would fit you the best.

I went in hoping to play clarinet because of Squidward from SpongeBob SquarePants. Anyhow, euphonium was one of my lowest-scoring instruments, but I felt drawn to it anyway and trusted my gut. I ended up switching to bass trombone in high school because I wanted to join the jazz band, and the bass trombone position was open. From there, it stuck.

Trombone makes my brain buzz in a way that I can’t replicate with euphonium.

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

In November, we’ll be doing Shostakovich’s 7th Symphony, which involves a ton of trombone players. That will be really great. We’re also doing a week-long residency at Indiana University, which is my alma mater. It’s such full-circle moment.

What is your post-concert routine?

Find the other three New Musician Q&A’s for this issue on the following pages: Joseph Ohkubo, violin, p. 31; Rose Brown, violin, p. 40; Elizabeth Furuta, violin, p. 47

I like to calm down with more ambient music on the drive home. For some reason, I’m really drawn to Brian Eno’s Music for Airports. It’s very meditative. Once I’m home, I like to give myself space from the instrument and bring myself back up energy-wise—usually by hanging out with my cats, Toby and Remy.

What is one Cincinnati staple you’ve experienced?

I’m a huge, huge baseball fan, so going to the Reds’ stadium was amazing.

I’ve been to 20 of the 30 Major League Baseball stadiums (Cincinnati was my 20th)! I do also love the chili, so getting Skyline at the Reds’ stadium is like having two of my great loves together in one place.

What musicians are you currently listening to?

I’m a big Bon Iver fan. I also like the band Beach House. Last year, I think I was one of their top 15 listeners. I like them a lot. If I’m listening to classical, lately it’s been James Markey. He’s an incredible trombonist.

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

I’ve always wanted to play contrabassoon. I don’t know why, but I’ve just always been drawn to the sound, which is great, because they literally sit right in front of me in the orchestra.

CONCERT PREVIEW JOHANN SEBASTIAN BACH Weihnachtsoratorium (“Christmas Oratorio”), BWV 248 n Composed: 1734 n Premiere: Leipzig, Christmas 1734–Epiphany 1735 n Instrumentation: SATB soloists, SATB chorus, 2 flutes, 2 oboes (incl. 2 oboes d’amore), bassoon, 3 trumpets, timpani, harpsichord, organ, strings n Duration: approx. 85 minutes

“Air” for String Orchestra from Orchestral Suite No. 3 n Composed: c. 1730 n Premiere: Unknown n Instrumentation: strings n Duration: approx. 4 minutes

No music-loving Lutheran in Leipzig would have wanted to miss church during the Christmas season of 1734–35, when Johann Sebastian Bach, the city’s music director, unveiled the six cantatas of his Christmas Oratorio, each on a different occasion from Christmas Day to Epiphany. His schedule was already full with overseeing weekly music for services at the city’s principal churches and tending to the students at the choir school, but he had a head start: he could repurpose some movements from secular cantatas he had recently written for the town’s civic celebrations, retrofitting new texts and scattering them amid entirely original material.

The cantatas trace the complete Christmas story through a succession of solo arias (many of which are duets for the singer and an instrumental soloist), vocal ensembles, large-scale choruses and traditional chorales (hymns that churchgoers would have recognized from services). The whole is bound together by verses from the Gospels of Luke and Matthew sung in recitative style by the tenor Evangelist. At these concerts we hear the first, third and sixth of the cantatas; these three are all set in D major and use festive scoring that includes trumpets and timpani, which are absent from the other three. The first cantata relates the Nativity of Jesus, the third involves the adoration of the shepherds and rejoicing of the angels, and the sixth recounts the villainy of Herod and the journey of the wise men.

As a prelude to the sixth, we hear in this concert the famous Air from Bach’s Orchestral Suite No. 3, probably written around 1730. Although orchestral suites were extremely popular in Bach’s Germany, he composed only four—or at least that is how many have survived. In this poised movement, a “walking bass line” keeps the momentum from being slowed by the subtle interweaving of inner lines.

—James M. Keller

Born: March 31, 1685, Eisenach, Germany Died: July 28, 1750, Leipzig, Germany

Fanfare Magazine | 53

©

Randall Goosby is the 2025 MAC Music Innovator, a designation that amplifies Black leaders of classical music who embody artistic innovation and a passion for community engagement and education. With support from the Multicultural Awareness Council (MAC), Goosby will collaborate with the CSO’s Community Engagement, Diversity, Equity and Inclusion (DE&I) and Learning departments to create a distinctive residency that includes educational and community engagement programs.

“It is a special honor to receive the 2025 MAC Innovator Award from my friends at the Cincinnati Symphony Orchestra,” said Goosby. “No matter where I go, or what I play, building community and sharing the transformative power of music with young people is at the center of what I do. I look forward to the exchange of ideas, perspectives and experiences, which I hope will inspire and motivate students to embrace music for all its wonders!”

Goosby will return February 8 and 9, 2025 to perform Florence Price’s Violin Concerto No. 2 and Ernest Chausson’s Poème with the Orchestra under the direction of CSO Music Director Designate Cristian Măcelaru. Additional public appearances will be announced soon.

Ollie Ali

OF NOTE

2024–25 SEASON

CSYO PHILHARMONIC SUN DEC 8, 2 PM, Music Hall INVITATION TO THE DANCE SAMUEL LEE, conductor Emmanuel CHABRIER

España

Nikolai RIMSKY-KORSAKOV

Capriccio espagnol, Op. 34

Arturo MÁRQUEZ

Danzón No. 2

(1841–1894)

(1844–1908)

(b. 1950)

INTERMISSION

Piotr Ilyich TCHAIKOVSKY

Pas de Deux from The Nutcracker

Maurice RAVEL

La valse

(1840–1893)

(1875–1937)

CSYO CONCERT ORCHESTRA SUN DEC 15, 7 pm, Corbett Auditorium, CCM SLAVONIC LEGENDS FELIPE MORALES-TORRES, conductor Alexander BORODIN

Symphony No. 2

Jean SIBELIUS

Valse Triste, Op. 44, No. 1

Nikolai RIMSKY-KORSAKOV

Mlada Suite

(1833–1887)

I. Allegro

(1865–1957)

(1844–1908)

Lithuanian Dance Procession of the Nobles

INTERMISSION

Igor STRAVINSKY (1882–1971)

Firebird Suite

Introduction The Firebird The Princesses’ Round Dance Infernal Dance of King Kastchei Berceuse Finale

For program notes, please visit our digital program by texting PROGRAM to 513.845.3024.

Ellen and Richard Berghamer Foundation

Support provided by the Ellen and Richard Berghamer Foundation, The Charles H. Dater Foundation and The Unnewehr Foundation.

The Charles H. Dater Foundation

The Cincinnati Symphony Youth Orchestras is a program of the Cincinnati Symphony Orchestra and receives generous support in the form of rehearsal space from the University of Cincinnati College-Conservatory of Music and Walnut Hills High School.

The Unnewehr Foundation

54 | 2024–25 SEASON

ISTMAS ORATORIO BACH’S | 2024–25 CHRISTMAS ORATORIO SEASON | 2024–25 SEASON FRI DEC 6,FRI 7:30 DEC 6, PM 7:30 PM SAT DEC 7,SAT 7:30 DEC 7, PM 7:30 PM Music Hall Music Hall

RICHARD EGARR conductor RICHARD EGARR conductor JOÉLLE HARVEY soprano JOÉLLE HARVEY soprano ER JOHNSON CANO mezzo-soprano JENNIFER JOHNSON CANO mezzo-soprano PAUL GROVES tenor PAUL GROVES tenor JOHN RELYEA bass-baritone JOHN RELYEA bass-baritone VAL CHORUS Matthew MAYSwanson, FESTIVAL CHORUS director* Matthew Swanson, director*

hnachtsoratorium Johann Sebastian (“Christmas BACH Weihnachtsoratorium Oratorio”), (“Christmas BWVOratorio”), 248 BWV 248

ntata 1: Am (1685–1750) 1 Weihnachtstag (“On Cantata the 1: Am 1st1 Weihnachtstag Day of Christmas”). (“On the 1st Day ofJauchzet, Christmas”). Jauchzet, ohlocket! Auf, preiset die Tage (“Shout frohlocket! Auf, for preiset Joy, dieExult, Tage (“Shout Rise for Joy, Up, Exult, Rise Up, lorify the Day”) Glorify the Day”) orus: Shout for joy, exult, rise up, Chorus: glorify Shoutthe for joy, day exult, rise up, glorify the day cit: It happened at that time— Recit: It happened at that time— cit: Now my dearest bridegroomRecit: Now my dearest bridegroom a: Make yourself ready, Zion, with Aria: tender Make yourself desires ready, Zion, with tender desires orale: How should I receive you Chorale: How should I receive you cit: And she gave birth to her first Recit: son— And she gave birth to her first son— orale: He has come on earth in poverty— Chorale: He has come on earth in poverty— cit: Who will rightly extol the love Recit: Who will rightly extol the love a: Great Lord, O mighty King Aria: Great Lord, O mighty King orale: Ah, little Jesus, dear to myChorale: heart!

Ah, little Jesus, dear to my heart!

Day of Christmas”).

Christmas”). Herrscher ntata 3: Am 3 Weihnachtstag (“On Cantata the 3: Am 3rd 3 Weihnachtstag (“On the 3rd Day ofHerrscher es Himmels, erhöre das Lallen (“Ruler des Himmels, of erhöre Heaven, das Lallen Hear (“Ruler Our of Heaven, Hear Our For exclusive narticulate Speech”) Inarticulate Speech”) such hear as orus: Ruler of content, Heaven, our inarticulate Chorus: Ruler of Heaven, speech hear our inarticulate speech full-length program cit: And as the Angels went from Recit: them And as to theHeaven— Angels went from them to Heaven— notesgo andto artist orus: Let us now Bethlehem— Chorus: Let us now go to Bethlehem— biographies,His please cit: He has consoled people Recit: He has consoled His people to for usChorale: All this He has done for us orale: All thistext HePROGRAM has done 513.845.3024*. et: Lord, your compassion, your Duet: mercy Lord, your compassion, your mercy *By texting to this cit: And they came in haste and Recit: found And both, they came Mary in hasteand and found Joseph both, Mary and Joseph number, you may receive a: Enclose, my heart, this Aria: wonder Enclose, my heart, this blessed wonder messages that pertain to blessed the organization its cit: Yes, Yes! My heartandwill keep Recit: Yes, Yes! My heart will keep performances; msg & data orale: I shall rates diligently keep you in Chorale: mind I shall diligently keep you in mind may apply. Reply HELP to help, STOP to cancel. cit: And the Shepherds went back Recit: again And the Shepherds went back again orale: Meanwhile, be joyful Chorale: Meanwhile, be joyful orus da capo: Ruler of Heaven, hear Chorusour da capo: inarticulate Ruler of Heaven,speech hear our inarticulate speech

INTERMISSION

INTERMISSION

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

Financial Group.

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

National Endowment for the Arts.

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

Sawyer Richardson.

he Media Partner for these concerts.

WGUC is the Media Partner for these concerts.

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

lections from this program on Listen 90.9 to selections WGUC from this March program 2,on2025 90.9 WGUC at 8 March pm, 2, 2025 followed at 8 pm, followed of streaming at cincinnatisymphony.org/replay. by 30 days of streaming at cincinnatisymphony.org/replay.

50 | 2024–25 SEASON

Celebrating the magic that art brings to life.

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

©2024 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC

HOLIDAY POPS | 2024–25 SEASON FRI DEC 13, 11 AM & 7:30 PM SAT DEC 14, 2 PM & 7:30 PM SUN DEC 15, 2 PM & 7 PM Music Hall

JOHN MORRIS RUSSELL conductor NORM LEWIS vocalist THE STUDIO FOR DANCE MAY FESTIVAL YOUTH CHORUS SCHOOL FOR CREATIVE AND PERFORMING ARTS CHORALE SYCAMORE HIGH SCHOOL CHORUS On Christmas Day

Steven Amundson

Angels We Have Heard on High

Traditional

Silver Bells

Jay Livingston/Ray Evans

Little Drummer Boy

Katherine Kennicott Davis

Dance of the Floreadores from The Nutcracker Suite (for Orchestra)

Piotr IlyichTchaikovsky; arranged by Edward ‘Duke’ Ellington and Billy Strayhorn; arranged and adapted by Jeff Tyzik.

Presented under license by Music Sales Corporation o/b/o Itself, Tempo Music, Inc. and Sony/ATV Harmony, copyright owners

“Fairy Dreams” Concertino for Celesta

Michael Kurek

March of the Toys

Victor Herbert

“Yes, Virginia, There is a Santa Claus” with “Nimrod” from Enigma Variations

Edward Elgar

I Believe

Wesley Whatley/William Schermerhorn

Joy to the World

Traditional

INTERMISSION Of Nights and Lights: A Chanukah Celebration

Darin Kelly

Patapan

Hershey Kay

Santa Does the Mambo

John Greer

Glow

Eric Whitacre

Ave Maria/Oh Holy Night

Franz Schubert/Adolphe Adam

Holiday Sing-Along

Various

Jingle Bells • Santa Claus is Coming to Town • Up On the Housetop Rudolph the Red-Nosed Reindeer • White Christmas

We Wish You a Merry Christmas

Traditional

Program subject to change.

The Cincinnati Pops Orchestra is grateful to Pops Season Presenter PNC, Concert Sponsor Graeter’s Ice Cream and Digital Access Partner CVG Airport Authority.

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding.

This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts.

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

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

Fanfare Magazine | 57

HOLIDAY POPS

HOLIDAY POPS ENSEMBLES THE STUDIO FOR DANCE

Shari Poff, director; Della Lehane, choreographer

Santa Does the Mambo Lily Bingcang Lucy Brockman Sophia Brockman Maria Colas Doris Du Declan Dyer Mia Goodlett Cassie Guthrie Chana Horewitz Sophia Lauterbur Fiona Lehane Winifred Lehane Livia Leonard Caroline Reinke Lucy Salters Molly Salters Anna Wonderling Ellie Wonderling Abby Zender Sara Zink Dance of the Floreadores Mia Goodlett Chana Horewitz Sophia Lauterbur Lucy Salters Abby Zender

March of the Toys Mika Baum Victoria Colas Harper Davis Nika Kartashov Meredith Koppenhoefer Chelsea Mora-McCardle MAY FESTIVAL YOUTH CHORUS

Jason Alexander Holmes, Director Ava Altenau Seth Barry Hope Bowden Lenora Braukman Sam Bringle Anna Burkhart Cameron Carnahan Jaana Christian Sophia Clever Thanh Dao Lucy Dixon Mary Hollon Natalie Hoover Vris Hossain Genevieve Howard Naomi Jackson Aiden Jin Madeleine Kasman Seava Sierra King

Preston Koeninger Claire Kruckeberg Nick Kruckeberg Talula Lane Emily Lewis Zachary Li Adelaide Linser Kelly Lonneman Grace Manning Sylvie Martin Ella Martin Adriana Mayfield Runako Muvirimi Charles Rahner Pearl Ramstetter Norah Shadwell Nathan Share Jenavieve Southcombe Oliver Wagner Eden Walker Emily Wendt Adelynn Woodward Sam Wright Maggie Zink

SCPA

Sterling Finkbine, Director of Choirs Eden Duebber Aledriana Duett AnnaClaire Dunn Mariam Elwafi Aspen Fecher Heru Finnell

Parker Flautt Jorge Garay Abigail Glacken Palmer Goodman Mabel Hodson Evelyn Huey Skylar Jones Donovan Kesler Cora Koltak Riley Lawrence Ethan Leonard Kelly Lonneman Morgan Lumpkins Zack Parrette Madison Perkins Christian Rauen Ezra Reidel Luna Roberts Heather Sherwood Carson Smedley Jenny Smith Jenavieve Southcombe Olive Stewart Margaret Todd Lydia Trout Abby Turner Athena Updike Gemariah Washington Espen Wells-Jordan Charles-Michael Williams Abigail Woltz

SYCAMORE HIGH SCHOOL

Ken Holdt, Director of Choral Activities Hannah Alex Carter Allen Jaedyn Amos Scarlet Bales Colin Battson Yajath Birru Sam Bringle Sophia Brown Samuel Broxterman Lucas Calabrese Katherine Christenson Eliana Clayton Baden Danner Hannah Donnellan Aidan Finn Emma Garcia Cassiaha Gibson Evan Gonzalez Grace Howard Andy Lee Rohan Mathew Emma Powell Jai’Den Pritchett Clarissa Ramirez Madison Rick Chloe Robinson Alexander Ruff Maevry Sams Anya Sawnani Noah Song Sadie Whalen Hadley Wick

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58 | 2024–25 SEASON

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

ANNUAL SUPPORT

SEASON AND SERIES SPONSORS Pops Season Presenter

IDEA Series Title Sponsor

Lollipops Series Sponsor

CSO Season Sponsor

PLATINUM BATON CIRCLE ($50,000+)

Anonymous ArtsWave Ellen and Richard Berghamer Foundation Charles H. Dater Foundation Dr. John & Louise Mulford Fund for the CSO 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 Unnewehr Foundation Western & Southern Financial Group GOLD BATON CIRCLE ($25,000–$49,999)

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

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

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 The Daniel & Susan Pfau Foundation 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 Thompson Hine LLP

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

BUSINESS & FOUNDATION PARTNERS (up to $2,499) African American Chamber of Commerce Albert B. Cord Charitable Foundation The Blue Book of Cincinnati Clark Schaefer Hackett William G. and Mary Jane Helms Charitable Foundation 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 Kroger Co. The Voice of Your Customer

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

Fanfare Magazine | 59

FINANCIAL SUPPORT

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

ENDOWED CHAIRS

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

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

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

ENDOWED PERFORMANCES & PROJECTS

Educational Concerts

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

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

OTHER NAMED FUNDS

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

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

GIFT OF MUSIC: July 2–August 27, 2024 The following people provided gifts to the Gift of Music Fund to celebrate an occasion, to mark a life of service to the Orchestra, or to commemorate a special date. Their contributions are added to the Orchestra’s endowment. For more information on how to contribute to this fund, please call 513.744.3271.

In honor of Rennie and David Siebenhar Marte Siebenhar In memory of Charles Blades Hardtke Karen Hardtke

60 | 2024–25 SEASON

FINANCIAL SUPPORT

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

PLATINUM BATON CIRCLE

Gifts of $50,000 and above

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

GOLD BATON CIRCLE

Gifts of $25,000–$49,999

Joe and Patricia Baker Dr. and Mrs. John and Suzanne Bossert § Robert and Debra Chavez Sheila and Christopher C. Cole Stephen J Daush Kelly Dehan and Rick Staudigel Dr. and Mrs. Carl G. Fischer Ashley and Bobbie Ford § Dr. and Mrs. Stephen Joffe Mrs. Andrea Kaplan Calvin and Patricia Linnemann 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 In Loving Memory of Diane Harrison Zent 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 § Marvin P. Kolodzik and Linda S. Gallaher § Mrs. Erich Kunzel Peter E. Landgren and Judith Schonbach Landgren § Will and Lee Lindner Adele Lippert

Mark and Tia Luegering Mr. and Mrs. Timothy Maloney Alan Margulies and Gale Snoddy Mr. and Mrs. Robert W. McDonald Susan McPartlin & Michael Galbraith 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 § 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 Whitney and Phillip Long Holly and Louis Mazzocca In memory of Bettie Rehfeld James and Margo Minutolo Melody Sawyer Richardson Bill and Lisa Sampson Martha and Lee Schimberg Mr. Lawrence Schumacher Dr. Jean and Mrs. Anne Steichen Ralph C. Taylor § Nancy C. Wagner and Patricia M. Wagner § Anonymous (2)

CONCERTMASTER’S CIRCLE

Gifts of $5,000–$9,999

Mr. Nicholas Apanius 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 Mrs. Diana T. Dwight Dr. and Mrs. Alberto Espay Mr. and Mrs. James T. Fitzgerald Mrs. Charles Fleischmann Marlena and Walter Frank

Andrea Kaplan and Paul Isaacs at the Conductor’s Circle Dinner in April 2024. Credit: Claudia Hershner

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 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 Elizabeth and Brian Mannion David L. Martin § Mr. Jonathan Martin Mandare Foundation Barbara and Kim McCracken § Linda and James Miller George and Sarah Morrison III Mr. and Mrs. David W. Motch 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 § Mr. and Mrs. James E. Russell Dr. E. Don Nelson and Ms. Julia Sawyer-Nelson 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 (5)

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 Peter G. Courlas § Jim and Elizabeth Dodd Dr. and Mrs. Stewart B. Dunsker Ann A. Ellison Hardy and Barbara Eshbaugh 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 Anne E. Mulder and Rebecca M. Gibbs Lesha and Samuel Greengus Esther B. Grubbs § Dr. and Mrs. Jack Hahn Mr. and Mrs. Robert R. Heidenreich 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 Mr. Frank P. Kromer Carol Louise Kruse Mr. Shannon Lawson

Richard and Nancy Layding Mrs. Robert Lippert Merlanne Louney Luke and Nita Lovell Larry and Mary Geren Lutz Mr. and Mrs. Donald Marshall Glen and Lynn Mayfield Allen-McCarren Becky Miars Ms. Sue Miller Mr. and Mrs. David E. Moccia § Phyllis Myers and Danny Gray Alice Perlman Mark and Kim Pomeroy 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 Emily Terwilliger 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 Carol and Don Wuebbling Anonymous (3)

SYMPHONY CIRCLE

Gifts of $1,500–$2,999

Jeff and Keiko Alexander § 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 Ms. Deborah Campbell § Tom Carpenter and Lynne Lancaster Dr. Alan Chambers Gordon Christenson Carol C. Cole § Mr. and Mrs. Philip K. Cone Randy K. and Nancy R. Cooper Andrea D. Costa, Esq. § 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 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 Mr. and Mrs. Byron Gustin Catherine K. Hart Mrs. Jackie Havenstein Mr. John A. Headley Mr. Fred Heyse Linda Busken and Andrew M. Jergens § 

Fanfare Magazine | 61

FINANCIAL SUPPORT

Charla Weiss with Music Director Designate Cristian Măcelaru. Credit: Tyler Secor The Marvin Jester Family Barbara M. Johnson 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 Mark & Elisabeth Kuhlman Everett and Barbara Landen Evelyn and Fred Lang 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 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 § James W. Rauth § Beverly and Dan Reigle Stephen and Betty Robinson Marianne Rowe § Frederick R. Schneider Tim and Jeannie Schoonover Stephanie A. Smith Albert and Liza Smitherman Bill and Lee Steenken § Mrs. Donald C. Stouffer Mr. and Mrs. Richard Stradling, Jr. Mr. Mark Stroud Susan and John Tew 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 Drs. Marissa S. Liang and Y. Jeffrey Yang David and Sharon Youmans Anonymous (7)

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 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 Todd and Ann Bailey Jack and Diane Baldwin Peggy Barrett § Michael and Amy Battoclette Fred Berger Dr. Allen W. Bernard Glenda and Malcolm Bernstein Ms. Henryka Bialkowska-Nagy Sharon Ann Kerns and Mike Birck Milt and Berdie Blersch

62 | 2024–25 SEASON

Principal Clarinet Christopher Pell and Rob McDonald. Credit: Claudia Hershner

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 Dr. Carol Brandon Briggs Creative Services, LLC Robert and Joan Broersma Jacklyn and Gary Bryson Gay Bullock Angie & Gary Butterbaugh Jack and Marti Butz John & Terri Byczkowski Ms. Cindy Callicoat Mike and Shirley Chaney Dee and Frank Cianciolo Fund* James Civille 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 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 Ms. Andrea Dubroff Tom and Dale Due 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. James Fryman Marjorie Fryxell Mark S. Gay Drs. Michael and Janelle J. Gelfand Kathleen Gibboney Dr. and Mrs. Charles J. Glueck Dan Goetz Robert and Cynthia Gray Mary Grooms Janet C. Haartz and Kenneth V. Smith Alison and Charles Haas Mary and Phil Hagner Peter Hames Ham and Ellie Hamilton Roberta Handwerger, in memory of Dr. Stuart Handwerger Dr. Donald and Laura Harrison Mariana Belvedere and Samer Hasan 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 Ms. Leslie M. Hoggatt Tim and Connie Holmen Richard and Marcia Holmes Mr. Joe Hoskins Ms. Sandra L. Houck Melissa Huber Dr. G. Edward & Sarah Hughes Caroline Isaacs Dr. Maralyn M. Itzkowitz Mrs. Charles H. Jackson, Jr. 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 Mr. and Mrs. Dave Kitzmiller Mr. and Mrs. Jonathan Kregor Kathleen B. and Michael C. Krug Fund* Pat and Randy Krumm § Mrs. John H. Kuhn § Pinky Laffoon & Family Asher Lanier Janet R. Schultz Mrs. Julie Laskey Joe Law and Phil Wise Dr. Carol P. Leslie Mr. and Mrs. Lance A. Lewis Mrs. Maxine F. Lewis Mr. Arthur Lindsay Mr. and Mrs. James A. Link 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 Ms. Cheryl Manning Andrew and Jean Martin Mr. and Mrs. Dean Matz Ms. Mary Jane Mayer Dr. Janet P. McDaniel Tim and Trish McDonald Robert and Heather McGrath Mark McKillip and Amira Beer Art and Stephanie McMahon Stephanie McNeill Charles and JoAnn Mead Ms. Nancy Menne Michael V. Middleton Laura Milburn Rachel and Charlie Miller Sonia R. Milrod Ms. Laura Mitchell Mr. Steven Monder 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. and Mrs. Paul Piazza Dr. Robert and Jackie Prichard Mrs. Stewart Proctor Dr. Aik Khai Pung 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 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 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 Mick and Nancy Shaughnessy The Shepherd Chemical Company Alfred and Carol Shikany Stanley and Jane Shulman 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) Stephen and Lyle 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 Kathryn Stieler Stephanie and Joseph Stitt Nancy and Gary Strassel Ms. Susan R. Strick Mr. George Stricker, Jr. Kathryn Sullivan Thomas and Keri Tami Dr. Alan and Shelley Tarshis Maureen Taylor Mr. Fred Tegarden Carlos and Roberta Teran Rich and Nancy Tereba Linda and Nate Tetrick Greg Tiao and Lisa Kuan Marcia and Bob Togneri Mr. D. R. Van Lokeren Jim and Rachel Votaw § Ms. Barbara Wagner Mr. and Mrs. James L. Wainscott Jane A. Walker Sarella Walton Herman & Margaret Wasserman Music Fund* Mary Webster Maryhelen West Ms. Elizabeth White Ms. Diana Willen § Marsha Williams Mr. Dean Windgassen and Ms. Susan Stanton Windgassen Donald and Karen Wolnik Rebecca Seeman and David Wood Judith R Workman Mr. and Mrs. Robert Wylly III Mr. John M. Yacher Mrs. Darleen Young Judy and Martin Young Mr. David Youngblood and Ms. Ellen Rosenman Cheryl Zalzal Dr. and Mrs. Daryl Zeigler Mr. and Mrs. John Zeller Moritz and Barbara Ziegler Mr. and Mrs. Robert L. Zierolf Mr. Richard K. Zinicola and Ms. Linda R. Holthaus Anonymous (19) List as of September 4, 2024

GIFTS IN-KIND

Mr. Michael Culligan Jones Day Paul and Anna Isaacs List as of September 4, 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.

FINANCIAL SUPPORT

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

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

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

Fanfare Magazine | 63

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 Harold Brown The Honorable Nathaniel R. Jones Chief Diversity & Inclusion Officer John Clapp Vice President of Orchestra & Production Rich Freshwater Vice President & Chief Financial Officer Felecia Tchen Kanney Vice President of Marketing, Communications & Digital Media Mary McFadden Lawson Chief Philanthropy Officer Robert McGrath Chief Operating Officer Anthony Paggett Vice President of Artistic Planning Kyle Wynk-Sivashankar Vice President of Human Resources EXECUTIVE OFFICE Laura Ruple Executive Assistant to the President & CEO Shannon Faith Assistant to the Chief Operating Officer 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 COMMUNICATIONS & DIGITAL MEDIA Charlie Balcom Social Media Manager KC Commander Director of Digital Content & Innovation Maria Cordes Digital Media Coordinator Kaitlyn Driesen Digital Media & Label Services Manager

Mya Gibson Communications Intern Noah Moore Digital Content Intern Tyler Secor Director of Publications & Content Development Lee Snow Digital Content Technology Manager COMMUNITY ENGAGEMENT, DIVERSITY, EQUITY & INCLUSION Key Crooms Director of Community Engagement Pamela Jayne Volunteer & Community Engagement Manager Tiago Nunez Community Engagement Intern Molly Rains Community Engagement Events 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 Leon Barton Website Manager

Patron Services Representatives Ellisen Blair, Lead Hannah Blanchette, Lead Talor Marren, Lead Lucas Maurer, Lead Malone Blaich Craig Doolin Mary Duplantier Summer Feldt Ebony Jackson Monica Lange Marian Mayen Gregory Patterson Matthew Wallenhorst PHILANTHROPY Sean Baker Director of Institutional Giving Bhavya Nayna Channan Corporate Giving Manager Ashley Coffey Foundation & Grants Manager Kate Farinacci Director of Special Campaigns & Legacy Giving

FINANCE, IT & DATA SERVICES Deborah Benjamin Accounting Clerk

Jon Dellinger Copywriter & Marketing Manager

Catherine Hann Assistant Director of Individual Giving

Drew Dolan Box Office Manager

Rachel Hellebusch Institutional Giving Coordinator

Julian Cann Accounting Clerk

Carmen Granger Subscriptions & Loyalty Marketing Manager

Leslie Hoggatt Director of Individual Giving & Donor Services

Stephanie Lazorchak Graphic Designer

Quinton Jefferson Research & Grants Administrator

Daniel Lees Assistant Box Office Manager

Ethan Mann Philanthropy Intern

Michelle Lewandowski Director of Marketing

D’Anté McNeal Special Projects Coordinator

Marijane Klug Accounting Manager

Tina Marshall Director of Ticketing & Audience Services

Jenna Montes Individual Giving Manager

Shannon May Accounting Clerk

Wendy Marshall Group Sales Manager

Kristina Pfeiffer Director of Finance

Madelyn McArthur Audience Engagement Manager

Elizabeth Salmons Accounting Clerk

Amber Ostaszewski Director of Audience Engagement

Kathleen Curry Data Entry Clerk Elizabeth Engwall Accounting Manager Matt Grady Accounting Manager Sharon Grayton Data Services Manager

Judy Simpson Director of Finance Tara Williams Data Services Manager

Alexis Shambley Email & Insight Marketing Manager

Emma Steward Leadership Giving Manager PRODUCTION John Clapp Vice President of Orchestra & 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

64 | 2024–25 SEASON

HOLIDAY ALBUM FROM THE POPS John Morris Russell conducts a retro-dance mix of your favorite Holiday tunes.

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