The Cleveland Orchestra September 19 & 22 Concerts

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Tchaikovsky’s Pathétique SEPTEMBER 19 & 22, 2024

E XPECT THE E XTRAORDINARY

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2024/2025 SEASON J A C K , J O S E P H A N D M O RTO N M A N D E L C O N C E RT H A L L AT S E V E R A N C E M U S I C C E N T E R

PAG E 3 A Message from André Gremillet, President & CEO of The Cleveland Orchestra

PAG E 7

INTRODUCTION PAG E 9

TH IS WE EK ’ S PROG R AM Tchaikovsky’s Pathétique Osmo Vänskä, conductor

Symphony No. 1, Op. 25, “Classical” (page 10)

by Sergei Prokofiev

Violin Concerto in D minor (page 13)

by Robert Schumann Frank Peter Zimmermann, violin

Symphony No. 6 in B minor, Op. 74, “Pathétique” (page 16)

by Pyotr Ilyich Tchaikovsky

Artist & conductor biographies (page 21) COVER: PHOTO BY COURTNEY PERRY/MINNEAPOLIS STAR TRIBUNE/ZUMA WIRE/ALAMY LIVE NEWS

PAG E 31

TCO SPOTLIG HT Feature articles, musician interviews & season calendar PAG E 43

I N THE N EWS Noteworthy happenings at The Cleveland Orchestra PAG E 5 0

SN APSHOTS Photo highlights from recent Cleveland Orchestra events PAG E 54

THA N K YOU The community that brings the music to life

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THE CLEVELAND ORCHESTRA

Thank you, music lovers!

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YOU believe in the power of music.

YOU make Cleveland a brighter place.

THANK YOU for sharing the joy of music with your community.

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PHOTO BY ROGER MASTROIANNI

FRO M TH E PRESID E N T & CEO ON BEHALF OF THE MUSICIANS , staff, board, and volunteers of The Cleveland Orchestra, I am thrilled to welcome you to our 2024–25 season at Severance Music Center!

After a successful and critically acclaimed European tour with Music Director Franz Welser-Möst and pianist Víkingur Ólafsson earlier this month, we return home invigorated and excited to embark on a new and extraordinary year of music-making with you.

This year’s programming promises to be both ambitious and eclectic. There’s truly something to captivate every taste, from cherished classics and groundbreaking premieres to unforgettable recitals, movie presentations, family concerts, and digital productions on Adella.live, our growing digital home. The season culminates with our third annual Jack, Joseph and Morton Mandel Opera & Humanities Festival, centered this year around Janáček’s Jenůfa.

We kick off the season in Mandel Concert Hall with Tchaikovsky’s Sixth Symphony, “Pathétique,” a poignant work the composer premiered shortly before his death.

Frank Peter Zimmermann also joins the Orchestra in Robert Schumann’s rarely performed Violin Concerto. As you may know, Franz is unfortunately unable to join us for this opening week, but I am pleased to share that he is recovering well following our recent tour. We are grateful to Osmo Vänskä for graciously stepping in to lead these performances.

We’re equally grateful to conductor Elim Chan for accepting to lead next week’s program as she joins Yefim Bronfman for four performances of Rachmaninoff’s beloved Third Piano Concerto, a work the composer himself performed at Severance in 1932, as well as his nostalgic Symphonic Dances.

As evidenced by some of these works, The Cleveland Orchestra’s stages have long been a bridge between the past, the present, and the future, where the world’s greatest artists have performed and where tomorrow’s legends continue to emerge and develop, creating history with every performance. We are both honored and delighted to be witnessing that history with you every single week here at Severance.

And as we celebrate the beginning of our 107th season with this special set of performances, our mission remains steadfast: to continue providing transformative musical experiences that inspire, enrich, and resonate deeply with our community and beyond. Whether at Severance, at Blossom, or on Adella, I hope you will join us frequently and share in the joy and wonder that each performance brings.

Thank you for being with us, and here’s to another season of making music, memories, and history together!

André Gremillet President & CEO The Cleveland Orchestra

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T H E A R T I S T R E C I TA L S E R I E S AT O B E R L I N

Takács Quartet with Julien Labro, bandoneónaccordion virtuoso

The Grammy-winning Takács Quartet joins bandoneón artist Julien Labro for an innovative program that features commissioned works by Bryce Dessner and Clarice Assad plus original compositions and arrangements by Labro, with the Ravel String Quartet.

“Classical music doesn’t get much more life-enhancing than this.” —The Guardian

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I N TRO DUC TI O N

PHOTO BY KATERINA SULOVA/CTK PHOTO/ALAMY LIVE NEWS (PRAGUE, 2023)

PYOTR ILYICH TCHAIKOVSKY didn’t intend for his Sixth Symphony to be a farewell.

In fact, when he was mapping out the work, he wrote, “The ultimate essence … of the symphony is LIFE.” But as fate would have it, nine days after conducting its premiere in 1893, Tchaikovsky suddenly passed away.

Much has been written about the work’s meaning, particularly its devastating finale, which arrives like a splash of cold water after the fiery exuberance of the third movement.

What was Tchaikovsky’s objective here? While he did note that the finale was supposed to represent death, commentators have posed various theories over the years, one of the most sensational — and now discredited ones — being that the work was the composer’s suicide note. However one might interpret it, the Sixth Symphony remains a powerful testament to Tchaikovky’s craft and one of the cornerstones of the orchestral repertoire.

This program, led by guest conductor Osmo Vänskä, includes another, perhaps unintentional, musical farewell. Robert Schumann’s Violin Concerto was one of his last symphonic works before his tragic final years spent in an asylum. Remarkably, it remained unperformed until 1938. (The story of its rediscovery is intriguing and well worth a read in the program notes on page 13.) Though played far less often than Schumann’s Piano Concerto, the Violin Concerto bursts with imagination, showcasing the composer’s innate gifts for melody and instrumental color. Guest soloist Frank Peter Zimmermann (above) takes the spotlight for this gem of a concerto.

Supplementing the program’s two “farewells,” we open, appropriately enough, with a symphonic “hello.” Sergei Prokofiev’s “Classical” Symphony was written when the composer was 25 years old, the first of his eventual seven contributions to the genre.

It also represents a creative turn from the brash, avant-garde works of his early years, instead looking back to the light and carefree wit of Classical-era composers such as Haydn and Mozart (though with a few of Prokofiev’s own tricks sprinkled in for good measure). — Kevin McBrien clevelandorchestra.com

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TH IS W EEK ’ S PRO G R AM

Tchaikovsky’s Pathétique Thursday, September 19, 2024, at 7:30 PM Sunday, September 22, 2024, at 3 PM

Concert Preview with Orchestra President & CEO André Gremillet and Cleveland Orchestra musicians Reinberger Chamber Hall one hour prior to performance

Osmo Vänskä, conductor Sergei Prokofiev (1891–1953)

Robert Schumann (1810–1856)

Symphony No. 1, Op. 25, “Classical”

15 minutes

I. Allegro II. Larghetto III. Gavotta: Non troppo allegro IV. Finale: Molto vivace

Violin Concerto in D minor

30 minutes

I. In kräftigem, nicht zu schnellem Tempo (At a vigorous, not too fast pace) II. Langsam (Slowly) — III. Lebhaft, doch nicht schnell (Lively, but not fast) Frank Peter Zimmermann, violin

FRANK PETER ZIMMERMANN, PHOTO BY HARALD-HOFFMANN | HÄNSSLER

Pyotr Ilyich Tchaikovsky (1840–1893)

I NTERMISSION

20 minutes

Symphony No. 6 in B minor, Op. 74, “Pathétique”

45 minutes

I. Adagio — Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Finale: Adagio lamentoso Total approximate running time: 1 hour 50 minutes

Thursday evening’s performance is dedicated to Beth Mooney in recognition of her generous support of music. clevelandorchestra.com

Thank you for silencing your electronic devices.

Sunday’s performance will be livestreamed on Adella.live, the digital home of The Cleveland Orchestra.

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TH E MUSI C

Symphony No. 1, Op. 25, “Classical”

by Sergei Prokofiev BORN : April 23, 1891, in Sontsovka, Ukraine DIED: March 5, 1953, in Moscow

▶ COMPOSED: 1916–17 ▶ WORLD PREMIERE: April 21, 1918, in Petrograd (now St. Petersburg), with the composer conducting ▶ CLEVELAND ORCHESTRA PREMIERE: December 14, 1933, led by Music Director Artur Rodziński ▶ ORCHESTRATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings ▶ DURATION: about 15 minutes

BY THE TIME HIS 10 YEARS as a student at the St. Petersburg Conservatory were over, Sergei Prokofiev had established a reputation for being a dangerous modernist as a composer. He was also known as a brash performer on piano, with a taste for violent, percussive sounds. His first two piano concertos, both performed in St. Petersburg, aroused the alarm of critics.

Prokofiev’s encounters with the ballet scores that Igor Stravinsky created for Sergei Diaghilev’s Ballets Russes — The Firebird, Pétrouchka, and The Rite of Spring — brought out even more modernistic tendencies. The ballet he wrote for Diaghilev in 1915, Chout (although it was not performed at the time), and his 1916 opera The Gambler

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reinforced this energetic, impulsive, and propulsive “bad boy” image.

Taking a summer break in 1916, Prokofiev decided to try writing in a style as different as he could imagine from that of his recent music. He worked with pencil and paper, rather than sitting at his piano as he was accustomed. Utilizing an orchestral ensemble similar in size to Joseph Haydn’s symphonies from more than a century previous, he came up with four short movements. The music’s harmony and rhythm are surprisingly Classical, a certain grace — hitherto missing in his music — predominant.

The “Classical” Symphony represents Sergei Prokofiev’s creative turn from his early, brash, modernist tendencies to a more refined neoclassical style.

PHOTO COURTESY OF THE GEORGE GRANTHAM BAIN C OLLECTION

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Prokofiev expected to be derided for “contaminating the pure classical pearls with horrible Prokofievish dissonances,” but also knew that his true admirers would see that the style of the symphony was “precisely Mozartian classicism.”

In the chaotic months after the October Revolution of 1917 in Russia, Prokofiev managed to put on a concert in what was then called Petrograd (and would soon be renamed Leningrad), in which he appeared as conductor for the first time. The new “Classical” Symphony was a great success. (Though when Prokofiev later conducted his symphony in New York, he was bewildered — as anyone might be — when critics complained that it lacked “grace and melody.”) A month later, Prokofiev traveled east across Russia to Japan and then to the United States, quite unaware that he would not go back to Russia for 18 years.

The instruments in the “Classical” Symphony may be the same as those Haydn used, but Prokofiev writes for them with much more freedom, for example, in his showcasing of the top range of the flute and in the intricate writing for strings.

The first movement is more or less obedient to Classical form, set in a tight sonata form, but musically, the Larghetto second movement reminds us of Borodin’s Nocturne when the violins enter with a soaring melody that Haydn and Mozart could not have dreamed of. On the other hand, the Gavotta third movement is a throwback 12 | 2024/2025 SEASON

to the Baroque era, though the gavotte as a dance was already obsolete by the time Haydn started writing symphonies.

(Listeners familiar with Prokofiev’s output will recognize that he later reused this short dance movement in Act I of his ballet Romeo and Juliet, when the guests are leaving the Capulet ball.)

The Finale is a virtuoso piece that taxes the most expert orchestras, especially at top speed — the tempo is marked Molto vivace — but it is hard to imagine that its scintillating exchanges between wind and strings could ever be seen as anything other than exhilarating.

Though his “Classical” Symphony was intended as a spoof and commentary, Prokofiev unwittingly unleashed a popular style of modern music that endured for half a century, now referred to as “neoclassicism” and spearheaded by Stravinsky once he had turned his back on the excesses of The Rite of Spring.

Not only did Prokofiev inspire others to invoke the discipline and moderation of the Classical style, he drew out of himself a vein of charm and simplicity that leavened many of his youthful, brutalist inclinations. Here, in prototype, he created a new idealism or personal voice, from which he would achieve a perfect balance of old and new in such works as his future ballets Cinderella and Romeo and Juliet.

— Hugh Macdonald Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin, as well as Music in 1853: The Biography of a Year.

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THE MUS I C

Violin Concerto in D minor

by Robert Schumann BORN : June 8, 1810, in Zwickau, Saxony DIED: July 29, 1856, in Bonn

▶ COMPOSED: 1853 ▶ WORLD PREMIERE: November 26, 1937, with violinist Georg Kulenkampff and the Berlin Philharmonic led by Karl Böhm ▶ CLEVELAND ORCHESTRA PREMIERE: October 13, 1994, with soloist Joshua Bell and Music Director Christoph von Dohnányi conducting ▶ ORCHESTRATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and solo violin ▶ DURATION: about 30 minutes

IN THE SUMMER OF 1853 , violinist Joseph Joachim, already a celebrity at age 22, asked his friend and mentor, the 43-year-old Robert Schumann, to write a violin concerto for him. Schumann immediately complied, composing not one work but two, a Fantasy in C major (for violin and orchestra), and the Violin Concerto in D minor. Both works were written during what proved to be the last productive year of Schumann’s life, before his attempted suicide and confinement to the Endenich asylum early in 1854.

Joachim duly received both works in 1853 (the Fantasy had taken the composer six days to complete, the concerto 13 days). The violinist took to the Fantasy immediately and performed it frequently over the years. The concerto, however, he never played, nor did he allow others

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to lay hands on the manuscript. He was of the opinion that the work should not be published because “it is not equal in rank with so many of [Schumann’s] glorious creations.” After the composer’s death, his widow Clara, the famous pianist and composer, was in agreement with Joachim, and so was Brahms, who edited Schumann’s works for Breitkopf & Härtel. The work was omitted from the “complete” edition, and the manuscript, bequeathed by Joachim to his eldest son, eventually ended up at the Prussian State Library in Berlin, with the proviso that it was not to be performed until 100 years after Schumann’s death (1956).

Then, however, a most remarkable thing happened.

Joachim had two great-nieces, Adila and Jelly d’Arányi, who were both violinists and lived in London between | 13

Robert Schumann’s Violin Concerto was slow to be accepted after its “rediscovery” in the early 20th century, but has recently become recognized as a late masterpiece.

the two world wars. Jelly, the younger of the sisters, had a strong interest in the occult and often participated in spiritualist séances where she communicated with spirits by moving an upturned glass in the center of a circle displaying the letters of the alphabet. (Oddly enough, Schumann himself indulged in this practice, similar to a Ouija board, exactly 14 | 2024/2025 SEASON

at the time when the violin concerto was written.) Jelly claimed that, during one such séance, she had received a message from an unknown sender urging her to find and perform an unpublished work of theirs for the violin. When asked the composer’s name, the tumbler spelled R-O-B-E-R-T S-C-H-U-M-A-N-N (or something close) on the table. The work was subsequently tracked down and performed, 19 years before the expiration of the 100-year proviso. (Jelly insisted

IMAGE COURTESY OF WIKIMEDIA COMMONS

THE MUS I C

but it is enough to set an intensely that she had no previous knowledge Sturm und Drang (storm and stress) tone of the concerto’s existence, even though that is a direct descendant of such works it had been in her family and was menas Mozart’s Piano Concerto No. 20. tioned several times in the Schumann The form is traditional, but the melodies literature.) are Schumann’s own. One particular The Nazi government insisted that passage around the middle of the the first performance be given in Berlin by a German violinist (so the event could movement, where the melodic material seems to completely disintegrate in a be described in the press under the quiet dialogue between orchestra and headline “By permission of the Führer ...

Robert Schumann has entered Valhalla”). soloist (the orchestra plays single chords answered by short arpeggios from the Therefore, the honor of premiering Schumann’s posthumous Violin Concerto solo violin), creates a moment of unusual suspense. went to Georg Kulenkampff. Jelly The melancholy melody of the second d’Arányi played the British premiere on February 16, 1938, with the BBC Symphony movement is certainly as beautiful as anything Schumann wrote. It closely resemunder the direction of Adrian Boult, bles one Schumann claimed was dictated and Yehudi Menuhin — who called the to him by Schubert and Beethoven. The concerto the “historically missing link” melody is first stated in B-flat major and between the Beethoven and the Brahms is later repeated, poignantly, in G minor. concertos — gave the United States After a short transition, the last movement, premiere shortly before. Since then, the a lively polonaise in D major, follows long-suppressed concerto has begun without a break. Schumann created a to appear on concert programs with subtle link between the second and third some frequency and several recordings movements towards the middle of the have been made. Yet the concerto has finale, where he brought back the synconot, to this day, found universal acceppated accompaniment figure of the slow tance. Opinions are still sharply divided as to the respective merits of the Fantasy movement. This episode casts a transient shadow on the otherwise cheerful and the concerto, quite aside from the movement, in keeping with Schumann’s fact that each work’s reputation has “autumnal” mood. But happily, the been harmed by a rather widespread concerto form demanded that this notion that Schumann’s creative powers moment of depression be relieved by were on the decline during the last years a brilliant and extroverted ending. of his career.

Schumann chose D minor as the — Peter Laki concerto’s main tonality, a key that since Peter Laki is a musicologist and frequent lecturer on Mozart has had tragic connotations. classical music. He is a visiting associate professor Only the first movement is in that key, of music at Bard College. clevelandorchestra.com

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THE MUS I C

Symphony No. 6 in B minor, Op. 74, “Pathétique”

by Pyotr Ilyich Tchaikovsky BORN : May 7, 1840, near Votkinsk, Russia DIED: November 6, 1893, St. Petersburg

▶ COMPOSED: 1893 ▶ WORLD PREMIERE: October 28, 1893, in St. Petersburg, with the composer conducting ▶ CLEVELAND ORCHESTRA PREMIERE: April 22, 1920, led by Music Director Nikolai Sokoloff ▶ ORCHESTRATION: 3 flutes (3rd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, tam-tam), and strings ▶ DURATION: about 45 minutes

ON THE 28TH OF OCTOBER , in 1893,

Tchaikovsky conducted the premiere of his Sixth Symphony in St. Petersburg.

Nine days later, he was dead. His death was sudden and unexpected, and in all probability due to the cholera epidemic that had broken out in St. Petersburg — the story that used to enjoy a certain currency in the music world, about a suicide forced upon the composer by his homosexuality, is now widely discounted.

Yet there is no mistaking the funereal character of this work, which bears witness to what Tchaikovsky biographer David Brown describes as the “deepening inner gloom” of the composer’s last years. Still, this was also the time when 16 | 2024/2025 SEASON

Tchaikovsky arrived at the zenith of his international fame — two years earlier, he had been feted throughout his trip to America, had participated in the opening of New York’s new Carnegie Hall, and had been hailed in the press in the New World as well as in the Old. At 53, he was at the height of his powers.

Tchaikovsky had been planning to write a new symphony since 1892, four years after the premiere of his Fifth.

He first sketched a symphony in E-flat major which was eventually transformed into the Piano Concerto No. 3 (also named Allegro brilliante) and immediately began thinking about a new one on life and death. The initial verbal outline read as follows:

IMAGE COURTESY OF GEORGIOS KOLLIDAS / ALAMY STOCK PHOTO

The ultimate essence of the plan of the symphony is LIFE. First movement — all impulsive passion, confidence, thirst for activity. Must be short. (Finale DEATH — result of collapse.) Second movement love; third disappointments; fourth ends dying away (also short).

The most striking idea that made it into the final version of the symphony was the ending that “dies away”; closing clevelandorchestra.com

Though this portrait of Tchaikovsky (taken around the time he wrote his Sixth Symphony) exhibits an air of melancholy, the composer was overjoyed to have finished the work, calling it “[my] very best.”

a symphony with an Adagio was certainly a major departure from traditional symphonic form. For the rest, the plan obviously underwent many transformations, since both the first and last movements are far from being “short” in their final forms. (The subtitle “Pathétique” | 17

THE MUS I C

was suggested by Tchaikovsky’s brother Modest a few days after the premiere; the composer liked the suggestion and wrote the subtitle on the score.)

Work on the symphony was interrupted by the composition of Tchaikovsky’s last songs and piano pieces, and by a trip to England where he received an honorary doctorate from Cambridge University.

Despite the gloomy tone of the symphony, Tchaikovsky had feelings of happiness and satisfaction at having completed what he called the “very best, and in particular the most sincere of all my compositions,” adding that “I love it as I have never loved any of my musical children.”

The “Pathétique” is not only the most intensely emotional of Tchaikovsky’s symphonies, it is also the one in which Tchaikovsky reached the pinnacle of his art in terms of compositional technique and sophistication. It is the combination of these two aspects that makes the “Pathétique” Tchaikovsky’s crowning masterpiece.

Technical devices, such as the re-use of the bassoon theme of the opening Adagio as the first theme of the faster main section, produce an immediate dramatic effect, enhanced by the brilliant orchestration. The gulf between this “active” first theme and the expansive, warmly melodic second idea is maximized by the separation of the two themes by a lengthy transition section, with a significantly slower tempo (Andante) for the second theme. The development section carries the tension to a high point before we hear an almost 18 | 2024/2025 SEASON

Mahlerian tragic march whose rumbling bass accompaniment is derived from the main theme. The full orchestral sonorities of the recapitulation change the character of the first theme from painful and languid to desperate and dramatic, with the return of the expansive second melody bringing much-needed solace.

However, a subdued morendo (dying away) ending casts a cloud over the proceedings, foreshadowing the fourth movement.

In between, there are two lighter movements: a graceful waltz with a limp (written in 5/4 time), and a lively march whose theme unfolds gradually and that seems, at least momentarily, to suggest triumph and happiness. (Many audiences have applauded after the third movement, reacting to the movement’s thrilling ending, only to be surprised that the Finale is yet to come.)

The respite brought by the two middle movements proves to be only temporary.

The Finale is one of the most heartrending adagios in the history of music.

Its doleful B-minor theme (whose notes are played alternately by first and second violins) is followed by a second idea that is no less sad in tone despite being in the major mode; Tchaikovsky marked this D-major theme con lenezza e devozione (softly and with devotion). Twice, the music grows to triple fortissimo in a state of utter despair, only to fall back each time to pianissimo in which the symphony finally dies away, true to Tchaikovsky’s original intentions.

— Peter Laki

ON VIEW AT

SEVERANCE MUSIC CENTER Standing the Test of Time: Composer-Conductors in Cleveland GREEN ROOM The Cleveland Orchestra has been inviting composer-conductors to Severance for decades — Maurice Ravel, Béla Bartók (right), and Igor Stravinsky among them. However, when they first came to Cleveland to present their own music, they ventured into “new and uncharted” territory and were met with some resistance from audiences and critics alike. Explore these famous figures and their early appearances with the Orchestra in this special exhibit.

TOP-BOTTOM: PHOTOS BY PERRY CRAGG – CLEVELAND NEWS, RUSSELL LEE, ROGER MASTROIANNI

Behind the Scenes of Severance Music Center LERNER GALLERY Take a photographic journey into the inner workings of Severance Music Center, including where musicians gather before concerts, where tour equipment is stored, and where the air for the organ comes from.

On the Record THE MAGICBOX outside the Grand Foyer Explore our latest audio recordings with Music Director Franz Welser-Möst.

The MagicBox offers a quick digital look at these releases and includes rehearsal footage from select recording sessions.

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TH E CO N DU C TOR

PHOTO BY LISA-MARIE MAZZUCCO

Osmo Vänskä OSMO VÄNSKÄ IS RECOGNIZED for his compelling interpretations of repertoire from all ages and his energetic presence on the podium. He is conductor laureate of the Minnesota Orchestra, where he held the music directorship for 19 years, and was music director of the Seoul Philharmonic Orchestra from 2020 to 2023.

Performances of Mahler’s Symphony No. 8 with the Minnesota Orchestra in June 2022 provided a fitting culmination for Vänskä’s tenure as music director.

Together, they undertook five major European tours, a historic trip to Cuba in 2015 — the first visit by an American orchestra since the two countries reestablished diplomatic relations — and a groundbreaking tour to South Africa in 2018 as part of worldwide celebrations of Nelson Mandela’s centenary. Vänskä and the orchestra also recorded the complete symphonies of Mahler, Beethoven, and Sibelius to critical acclaim, winning a Grammy Award for Best Orchestral Performance in 2014. In 2021, they were voted Gramophone’s Orchestra of the Year.

This season, Vänskä will conduct the symphony orchestras of Cleveland, Montreal, Pittsburgh, San Diego, Tokyo, and Bergen, and will also return to the Minnesota Orchestra, Iceland Symphony Orchestra, and Lahti Symphony Orchestra. He also continues to develop a visiting and touring relationship with the Curtis Symphony Orchestra, leading conducting seminars as well as tours in Europe, Asia, and the US.

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Vänskä studied conducting at Finland’s Sibelius Academy and was awarded first prize in the 1982 Besançon Competition.

He began his career as a clarinetist, occupying the co-principal chair of the Helsinki Philharmonic Orchestra, and still regularly performs chamber music, having been invited to La Jolla SummerFest, the Seattle Chamber Music Festival, and Music in Ruovesi, among others.

Vänskä is the recipient of a Royal Philharmonic Society Award, the Finlandia Foundation’s Arts and Letters Award, the 2010 Ditson Award from Columbia University, and the Pro Finlandia Medal.

He holds honorary doctorates from the Curtis Institute of Music and the universities of Glasgow and Minnesota and was named Musical America’s 2005 Conductor of the Year. | 21

Expect the

Extraordinary Whether escaping the bustle of daily life with a beloved classic or discovering new worlds with the less familiar, come share the extraordinary this season with The Cleveland Orchestra.

See page 40 for the full season calendar!

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TH E ARTIST

PHOTO BY IRÈNE-ZANDEL | HÄNSSLER

Frank Peter Zimmermann, Violin Frank Peter Zimmermann is widely regarded as one of the foremost violinists of his generation. He has performed with major orchestras worldwide for well over three decades, collaborating with the world’s most renowned conductors, and his many concert engagements take him to important concert venues and music festivals across Europe, the United States, Asia, South America, and Australia.

Highlights during the 2023–24 season included a tour with the Wiener Philharmoniker and Daniel Harding, recitals in Europe with pianists Martin Helmchen and Dmytro Choni, and appearances with the Royal Concertgebouw Orchestra, Swedish Radio Symphony Orchestra, London Philharmonic Orchestra, NDR Elbphilharmonie Orchester, Toronto Symphony Orchestra, and many other orchestras.

Zimmermann has given the world premieres of Magnus Lindberg’s Violin Concerto No. 2, Matthias Pintscher’s en sourdine, Brett Dean’s The Lost Art of Letter Writing, and Augusta Read Thomas’s Violin Concerto No. 3, “Juggler in Paradise.”

Over the years, Zimmermann has built up an impressive discography. He has recorded virtually all the major concerto repertoire, ranging from J.S. Bach to Ligeti, as well as recital works. Many of these recordings have received prestigious awards and prizes. His 2021 recording clevelandorchestra.com

with the Berliner Philharmoniker, featuring concertos by Bartók, Beethoven, and Berg, received the Gramophone Award and the Jahrespreis der Deutschen Schallplattenkritik.

Alongside this, Zimmermann has received many other special prizes and honors, including the Rheinischer Kulturpreis, the Musikpreis of Duisburg, and the Paul-Hindemith-Preis der Stadt Hanau.

In 2010, he founded Trio Zimmermann with violist Antoine Tamestit and cellist Christian Poltéra. The trio has performed in major music centers and festivals throughout Europe, and BIS Records has released their award-winning recordings of works by Mozart, Schubert, Schoenberg, and others.

Born in Duisburg, Germany, Zimmermann started playing the violin at age 5, giving his first concert with orchestra at age 10. He studied with Valery Gradov, Saschko Gawriloff, and Herman Krebbers.

Zimmermann plays on the 1711 Antonio Stradivari “Lady Inchiquin” violin, which is kindly provided by the Kunstsammlung Nordrhein-Westfalen, Düsseldorf, “Kunst im Landesbesitz.” | 23

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AB OU T THE CLE VEL AN D ORC HESTR A NOW FIRMLY IN ITS SECOND CENTURY , The Cleveland Orchestra, under the leadership of Franz Welser-Möst since 2002, is one of the most sought-after performing ensembles in the world.

Year after year, the ensemble exemplifies extraordinary artistic excellence, creative programming, and community engagement. In recent years, The New York Times has called Cleveland “the best in America” for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion.

Founded by Adella Prentiss Hughes, the Orchestra performed its inaugural concert in December 1918. By the middle of the century, decades of growth and sustained support had turned the ensemble into one of the most admired around the world.

The past decade has seen an increasing number of young people attending concerts, bringing fresh attention to The Cleveland Orchestra’s legendary sound and committed programming. More recently, the Orchestra launched several bold digital projects, including the streaming platform Adella.live and its own recording label. Together, they have captured the Orchestra’s unique artistry and the musical achievements of the Welser-Möst and Cleveland Orchestra partnership.

The 2024 – 25 season marks Franz Welser-Möst’s 23rd year as Music Director, a period in which The Cleveland

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Orchestra has earned unprecedented acclaim around the world, including a series of residencies at the Musikverein in Vienna, the first of its kind by an American orchestra, and a number of celebrated opera presentations.

Since 1918, seven music directors — Nikolai Sokoloff, Artur Rodziński, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst — have guided and shaped the ensemble’s growth and sound. Through concerts at home and on tour, broadcasts, and a catalog of acclaimed recordings, The Cleveland Orchestra is heard today by a growing group of fans around the world.

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| 25

TH E CLEV EL A N D ORCHESTR A

Franz Welser-Möst, Music Director KELVIN SMITH FAMILY CHAIR FIRST VIOLINS Liyuan Xie FIRST ASSOCIATE CONCERTMASTER

Virginia M. Lindseth, PhD, Chair Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Eli Matthews1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

Ralph Curry

ENGLISH HORN

Brian Thornton William P. Blair III Chair

Sonja Braaten Molloy

David Alan Harrell

Robert Walters Samuel C. and Bernette K. Jaffe Chair

Carolyn Gadiel Warner

Martha Baldwin

Elayna Duitman

Dane Johansen

Ioana Missits

Paul Kushious

Jeffrey Zehngut Sae Shiragami

BASSES

Stephen Tavani

Kathleen Collins

ASSISTANT CONCERTMASTER

Beth Woodside

Maximilian Dimoff* Clarence T. Reinberger Chair

Dr. Ronald H. Krasney Chair

Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair

Emma Shook Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Yun-Ting Lee

Kim Gomez Elizabeth and Leslie Kondorossy Chair

Jiah Chung Chapdelaine

Chul-In Park Harriet T. and David L. Simon Chair

Wesley Collins* Chaillé H. and Richard B. Tullis Chair

Miho Hashizume Theodore Rautenberg Chair

Stanley Konopka2

Jeanne Preucil Rose Larry J.B. and Barbara S. Robinson Chair Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair Yu Yuan Patty and John Collinson Chair Isabel Trautwein Trevor and Jennie Jones Chair

VIOLAS

Mark Jackobs Jean Wall Bennett Chair Lisa Boyko Richard and Nancy Sneed Chair Richard Waugh Lembi Veskimets The Morgan Sisters Chair Eliesha Nelson Anthony and Diane Wynshaw-Boris Chair Joanna Patterson Zakany

Derek Zadinsky2 Charles Paul1 Mary E. and F. Joseph Callahan Chair Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

CLARINETS Afendi Yusuf* Robert Marcellus Chair Robert Woolfrey Victoire G. and Alfred M. Rankin, Jr. Chair Daniel McKelway2 Robert R. and Vilma L. Kohn Chair Amy Zoloto

E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair

Charles Carleton

BASS CLARINET

Scott Dixon

Amy Zoloto Myrna and James Spira Chair

HARP Trina Struble* Alice Chalifoux Chair

BASSOONS John Clouser* Louise Harkness Ingalls Chair

FLUTES

Gareth Thomas

Joshua Smith* Elizabeth M. and William C. Treuhaft Chair

Jonathan Sherwin

Saeran St. Christopher

Jonathan Sherwin

Jessica Sindell2 Austin B. and Ellen W. Chinn Chair

HORNS

CONTRABASSOON

Mary Kay Fink

Nathaniel Silberschlag* George Szell Memorial Chair

Analisé Denise Kukelhan Gladys B. Goetz Chair

William Bender Thomas Lauria and Christopher Lauria Chair

PICCOLO

Michael Mayhew§ Knight Foundation Chair

Zhan Shu

Gareth Zehngut

Mary Kay Fink Anne M. and M. Roger Clapp Chair

Jesse McCormick Robert B. Benyo Chair

OBOES

Richard King

Frank Rosenwein* Edith S. Taplin Chair

Meghan Guegold Hege

Katherine Bormann

Youngji Kim Genevieve Smelser

SECOND VIOLINS Stephen Rose* Alfred M. and Clara T. Rankin Chair Jason Yu James and Donna Reid Chair 2

CELLOS Mark Kosower* Louis D. Beaumont Chair Richard Weiss The GAR Foundation Chair 1

Charles Bernard2 Helen Weil Ross Chair Bryan Dumm Muriel and Noah Butkin Chair Tanya Ell Thomas J. and Judith Fay Gruber Chair

26 | 2024/2025 SEASON

Corbin Stair Sharon and Yoash Wiener Chair Jeffrey Rathbun2 Everett D. and Eugenia S. McCurdy Chair Robert Walters

Hans Clebsch

FRO M TH E PRESID E N T & CEO

TRUMPETS

BASS TROMBONE

LIBRARIANS

CONDUCTORS

Michael Sachs* Robert and Eunice Podis Weiskopf Chair

Luke Sieve

Michael Ferraguto Joe and Marlene Toot Chair

Christoph von Dohnányi

EUPHONIUM & BASS TRUMPET

Donald Miller

Daniel Reith

Gabrielle Petek

ASSOCIATE CONDUCTOR

Jack Sutte Lyle Steelman2 James P. and Dolores D. Storer Chair

Richard Stout

Michael Miller

Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

CORNETS Michael Sachs* Mary Elizabeth and G. Robert Klein Chair

TIMPANI

Elizabeth Ring and William Gwinn Mather Chair Clara G. and George P. Bickford Chair

Michael Miller

PERCUSSION

Sandra L. Haslinger Chair

TROMBONES

Marc Damoulakis* Margaret Allen Ireland Chair

Richard Stout Alexander and Marianna C. McAfee Chair Shachar Israel

2

clevelandorchestra.com

Thomas Sherwood Tanner Tanyeri

KEYBOARD INSTRUMENTS Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

Sidney and Doris Dworkin Chair

Lisa Wong DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

Blossom-Lee Chair

vacant

Brian Wendel* Gilbert W. and Louise I. Humphrey Chair PHOTO BY ROGER MASTROIANNI

TUBA

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

MUSIC DIRECTOR LAUREATE

Paul and Lucille Jones Chair

* Principal § Associate Principal 1 First Assistant Principal 2 Assistant Principal

Charles M. and Janet G. Kimball Chair Sunshine Chair Otto G. and Corinne T. Voss Chair Mr. and Mrs. Richard K. Smucker Chair Rudolf Serkin Chair

This roster lists full-time members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed. Seating within the string sections rotates on a periodic basis.

| 27

Discover the latest releases by The Cleveland Orchestra and Franz Welser-Möst, recorded live at Severance Music Center.

BRUCKNER

BARTÓK

PROKOFIEV

TCHAIKOVSKY

Symphony No. 4

String Quartet No. 3

Symphony No. 6

Symphony No. 4

Suite from The Miraculous Mandarin

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30 | 2024/2025 SEASON

YEAR I N PREVIEW:

2024 –25 Season Highlights with Franz Welser-Möst Music Director KELVIN SMITH FAMILY CHAIR

As we embark on our 2024 – 25 season, Music Director Franz Welser-Möst is poised to lead a series of concerts that promise to captivate and inspire. We recently caught up with him to discuss the season’s most anticipated performances, his longstanding collaborations with renowned artists, and the stories and vision guiding his programming decisions this year.

Looking ahead to our 23rd season together is like being a kid in a candy store! Which program would you highlight as particularly special to you?

FRANZ : One program that stands out to me is the one where we perform Mahler’s Das Lied von der Erde [November 21–23]. The Orchestra and I haven’t played that piece in over 16 years — it’s been a long time coming. Mahler’s later works, especially this one, are profound and mind-boggling in their reflections on life and farewells. It’s a piece that has a special place in my heart.

PHOTO BY ROGER MASTROIANNI

Your choice of the tenor-baritone

FRANZ : It’s really strange — I think it’s a deeply personal choice. The male voice in this piece has always resonated with me on an emotional level. I think it has to do with my first exposure to Das Lied, which was through a recording of baritone Hermann Prey singing it. I listened to it often as a child, and that experience has stayed with me throughout my life. The tenor-baritone version brings a certain gravitas and intimacy that I find particularly compelling, and I’m looking forward to performing it with Limmie [Pulliam] and Iurii [Samoilov] this fall.

The Beethoven piano concerto cycle with Igor Levit is obviously another

version for Das Lied is interesting,

major highlight this season [November

especially since the tenor-alto

6–17]. How do you approach preparing

version is more commonly performed.

for such an extensive cycle compared

What drove that decision?

to your usual concert weeks? ▶ ▶ ▶

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FRANZ : The preparation isn’t very

different from my end, but it’s certainly a marathon for the soloist. For Igor, it’s more intense — each concerto demands a different mindset and emotional investment. But he’s one of the most exceptional pianists in the world today and is more than up to the challenge. For the Orchestra, it’s all about maintaining consistency and energy across multiple performances. Frankly, this cycle is going to be much more stressful for Igor than it will be for us!

You’ll also be performing a special program with Lithuanian soprano Asmik Grigorian [March 13 & 15, 2025] before we leave for Carnegie Hall. Can you tell us more about your collaboration with her and this unique program?

FRANZ : Asmik is an extraordinary artist,

one of those rare talents who appears maybe once every 50 years. I’m not exaggerating. We’ve worked together on several opera productions, and her intensity on stage is something to 32 | 2024/2025 SEASON

Pianist Igor Levit joins The Cleveland Orchestra and Franz Welser-Möst from November 6–17 for a much-anticipated Beethoven piano concerto cycle.

behold. I’ve heard some people say they haven’t experienced such intensity since Maria Callas.

Our concert with her will feature Richard Strauss’s Four Last Songs. Asmik has sung the Four Last Songs many times, and she brings a unique depth to them.

But I felt that wasn’t enough to truly showcase her talent, so I suggested we also perform the final scene from Puccini’s Suor Angelica, which is incredibly powerful and will leave the audience deeply moved. I seriously expect some weeping at the end of the program!

With such diverse repertoire, how do you navigate the demands of these works and the need to keep the performances engaging for both the musicians and the audience?

FRANZ : It’s about finding the right emotional balance and pacing. With works like Das Lied and the Four Last Songs, for example, there’s a need for

PHOTO BY FELIX BROEDE

▶▶▶

introspection and emotional depth.

But it’s equally important to ensure that each performance feels fresh and spontaneous. That’s where the relationship between conductor and orchestra becomes crucial. Our musicians and I have worked together for many years, and there’s a deep level of trust and understanding. This allows us to explore new nuances in the music, even in pieces we’ve performed many times before.

Speaking of long-standing relationships, you’ve worked with many great musicians throughout your career.

How does your approach differ when collaborating with a new artist compared to someone you’ve worked with for years?

PHOTO BY APA-PICTUREDESK / ALAMY STOCK PHOTO

FRANZ : The first time you work with

someone, there’s always an element of discovery. You’re learning about each other’s musical instincts and finding a common language. But when you’ve worked with someone over many years, there’s a deep, almost unspoken understanding that develops. It allows you to go further in your interpretations, to take risks, and to explore the music in new ways.

With Asmik, for example, we’ve developed a very close musical relationship over several years, starting with our collaboration on Salome in Salzburg in 2018. That production was a turning point for her career, and it was a

privilege to be part of that journey with her. When you have that kind of connection, it brings a special energy to the performance.

One last question: Which concerts this season, outside of the ones you are leading, are you most looking forward to as an audience member?

FRANZ : That’s always a tough one! But I’m particularly interested in the Tan Dun concert with Marc Damoulakis [October 31 & November 2]. Tan Dun’s music is incredibly innovative, and Marc is such a creative and skilled player. It’s going to be fascinating to see how they bring this unique Water Concerto to life.

I also think Thomas Adès’s program [February 20 & 22, 2025] is beautifully structured. America: A Prophecy is such a great piece. And there’s something about living composers conducting their own works that makes such programs very special.

Rising Lithuanian soprano Asmik Grigorian will perform works by Richard Strauss and Puccini in her Cleveland Orchestra debut on March 13 & 15, 2025.

clevelandorchestra.com

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BE T W EE N S CORE A N D PODI U M:

THE ARTS OF COMPOSING and conduct-

ing emphasize opposite ends of the personality spectrum: the former tends to be an intensely private activity associated with the solitude of the studio, while the latter relies on the extrovert’s affinity for communicating with the public. Yet both can converge in the same artist.

This season, The Cleveland Orchestra is showcasing three stellar exemplars of the phenomenon. Esa-Pekka Salonen ascends the podium on October 10, 12, and 13, while Tan Dun makes his Cleveland conducting debut a few weeks later, on October 31 and November 2.

And on February 20 and 22, 2025, Thomas Adès, returns to lead the Orchestra in a major new commission.

All three artists are leading figures in 34 | 2024/2025 SEASON

the international classical music scene.

Naturally, each brings unique “insider” knowledge when it comes to conducting their own music. But their insights into the creative process will likewise illuminate the works by other composers that they have selected for their respective programs.

Far from a novelty, the combination of composer-conductor roles was commonplace before the increasing complexity of professional musical life began to favor specialization. The Cleveland Orchestra’s own past includes numerous composer-conductors who made the trip to Cleveland to work with its fabled musicians. Maurice Ravel stopped by on his first American tour in 1928 — though Nikolai Sokoloff, the Orchestra’s first music director, complained that

PHOTO BY MINNA HATINEN | FINNISH NATIONAL OPERA AND BALLET

Three Leading Composer-Conductors Come to Cleveland

his conducting was “both messy and ghastly” — while Igor Stravinsky began his association with the Orchestra in 1925. After leading a program of his works in 1955, he declared: “I am really a happy man batoning this fine group.”

Esa-Pekka Salonen initially envisioned a life devoted wholeheartedly to composition. But in 1983, at age 25, he impressed the music world when he filled in at the last minute for Michael Tilson Thomas to conduct the Philharmonia Orchestra in Mahler’s Third Symphony. To his own surprise, he thereby launched one of the preeminent conducting careers of our era.

After a decade or so spent immersing himself in the music of others as a conductor, Salonen recalled, he came to understand that “there is more than one truth,” compositionally speaking: it was not monopolized by the avant-garde European language in which he had been trained. That epiphany led to a creative breakthrough and a new focus on his work as a composer.

Salonen, now 66, has channeled some of his most innovative ideas as a composer through the age-old concerto format.

Along with Ravel’s Le Tombeau de Couperin and Sibelius’s Fifth Symphony, Salonen’s Cleveland program will feature his expansive Cello Concerto, which was premiered in 2017. Originally written for Yo-Yo Ma, it will introduce Cleveland audiences to the remarkable young Finnish cellist Senja Rummukainen.

Yo-Yo Ma, as it happens, was featured on the soundtrack of Crouching Tiger, Hidden Dragon, the Ang Lee film from 2000, for which Tan Dun’s music won both an Oscar and a Grammy Award.

Born in a village in Hunan Province in 1957 and an émigré to New York, Tan Dun has become known for his imaginative fusions of Chinese and Western musical traditions.

PHOTO COURTESY OF TAN DUN

left: After a 21-year absence, Esa-Pekka Salonen returns to Cleveland to conduct his own Cello Concerto alongside works

by Ravel and Sibelius. right: Tan Dun’s Water Concerto, which calls for the percussion soloist to interact with translucent bowls filled with water, is the centerpiece of an elementallyinspired program.

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Among the world’s most acclaimed living composers, Thomas Adès will lead the Orchestra in a fascinating program, ranging from the sea-inspired Oltra Mar by Saariaho to his own America: A Prophecy, a meditation on the turn of the millennium.

The unique sound world that Tan Dun has developed gives him an unparalleled perspective on Britten’s Four Sea Interludes, which similarly originate from an opera, his landmark Peter Grimes. An early Stravinsky piece, Fireworks, will pay homage to still more elements as the concert’s dazzling opener.

Thomas Adès, born in London in 1971, made his conducting debut with The Cleveland Orchestra in spring 2023. For his return engagement, Adès has revised his millennial work America: A Prophecy.

An apocalyptic meditation setting Mayan poetry and other texts, this newly expanded version of the piece was co-commissioned by the Orchestra and features The Cleveland Orchestra Chorus alongside mezzo-soprano Kelley O’Connor. Adès will juxtapose his music with the infrequently played Orchestral Set No. 2 by Charles Ives and a pair of sea-related works by Sibelius and the late Kaija Saariaho.

When asked about performing the music of others, Adès responded, “The score is just a map of intentions. …

The music came before the score.

And the music is the thing behind the surface.” With this season’s stellar lineup of composer-conductors, we can fully expect each to illuminate the music beneath the score in the intriguing programs they have constructed.

— Thomas May Thomas May is a writer, critic, educator, and translator.

A regular contributor to The New York Times, The Seattle Times, Gramophone, and Strings magazine, he is the English-language editor for the Lucerne Festival.

36 | 2024/2025 SEASON

PHOTO BY MARCO BORGGREVE

A gripping theatricality and sense of ritual imbue many of Tan Dun’s works, which frequently incorporate musical ideas inspired by natural elements.

He will conduct two of his own compositions that manifest these traits. With his 1998 Water Concerto, which calls for the soloist — in this performance, Cleveland’s Principal Percussionist Marc Damoulakis — to manipulate basins filled with water, Tan Dun writes that he hopes to encourage the audience to “listen and rediscover life’s elements, things that are around us but we don’t notice.” His 2012 Concerto for Orchestra draws on his earlier opera, Marco Polo, about the legendary Italian traveler of the Silk Road.

Will this be your first solo venture with the Orchestra?

MARC : I performed John Corigliano’s Conjurer concerto during Covid, which was my first solo appearance with the Orchestra. We were distanced, since it’s for strings and percussion only, and it was recorded for Adella.

How did you come across Tan Dun’s Water Concerto? Have you known about it for a long time, or was this a recent discovery?

MARC : It was written for my teacher,

A Conversation with Marc Damoulakis Principal Percussion

PHOTO BY ROGER MASTROIANNI

MARGARET ALLEN IRELAND CHAIR

Later this fall, Severance Music Center will be filled with sounds quite unusual for a concert hall — that of water dripping, splashing, and bubbling. Rest assured, a pipe has not burst in the basement! Rather, these sounds will be an integral part of Tan Dun’s 1998 Water Concerto, conducted by the Academy– Award winning composer-conductor on October 31 and November 1. We recently sat down with Principal Percussionist Marc Damoulakis to learn about performing this unique work and the preparations involved. clevelandorchestra.com

Christopher Lamb, and commissioned by the New York Philharmonic. I heard him play it in Boston in 2001 while I was in the New World Symphony and was absolutely taken by it. As percussion concertos go, it’s a fascinating one and I thought it would be great to give it a shot someday.

Was this also your first exposure to Tan Dun’s music?

MARC : He wrote a concerto for cello and

percussion quartet that I played as a student, so I was familiar with him and his music. I didn’t realize he did film scores until Crouching Tiger, Hidden Dragon was released, which is probably the opposite for most people. I knew him first as a concert composer!

This is an incredibly unique piece in terms of the setup and instruments required. Describe a bit about what that entails. What does your preparation look like? ▶ ▶ ▶ | 37

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The intricate setup for Tan Dun’s Water Concerto includes two translucent bowls filled with water, chimes, gongs, bells, and a waterphone.

▶▶▶

MARC : Finding and sourcing this stuff

Looking through the score, it seems like there’s some flexibility to put your own spin on the work. Do you feel that when you’ve been preparing it?

MARC : Yes, I do! There’s room for creativity and improvisation as well.

The piece also has a theatrical element, but it comes honestly. It embodies the element of water. Tan Dun has taken something that’s so familiar to everybody and isolated it, putting it under a microscope. It’s an entirely original way to say something.

38 | 2024/2025 SEASON

How would you tell someone who’s not familiar with the piece or Tan Dun’s music what to listen for? How would you recommend they go into this experience?

MARC : I would say just enjoy the experience. It’s a unique piece and utterly different than anything else. On one level, it stays true to a lot of what we percussionists do, engineering sounds and playing grooves, yet here, these are displaced on instruments that are completely one-of-a-kind.

Should people in the front row bring a poncho? I’m sure you’ll be wearing something that can get splashed!

MARC : Oh gosh … Hopefully not! There are many interpretations of this piece, and some span the spectrum of how crazy they get. Tan Dun dedicated the concerto to Tōru Takemitsu, so in my mind, that evokes more of a quiet garden rather than wild splashing. But we’ll see what happens!

PHOTO BY MARC DAMOULAKIS

has taken tons and tons of hours. The soloist has two large acrylic hemispheres that are filled with water, miked, and placed on stands that are lit from beneath.

Each member of the percussion section also has one of these bowls. As far as sounds go, there’s water dripping, plucking, splashing, bubbling. There are wooden bowls that are flipped upside down, float on the surface, and act as drums, alongside other cylinders, cups, and tubes that manipulate the water.

Tan Dun calls for an instrument called the waterphone — this steel resonator that’s filled with water that can be bowed or drummed — which looks and sounds amazing. There are also some traditional instruments like gongs, bells, and vibraphone. So, it’s been really challenging to explore all these sounds. It’s like learning a completely different language.

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24 /25 SEASON

CALE N DAR FALL RECITAL SEP 24 KOLESNIKOV IN RECITAL Pavel Kolesnikov, piano J.S. BACH Goldberg Variations

SEP 26–29 BRONFMAN PLAYS RACHMANINOFF Elim Chan, conductor Yefim Bronfman, piano RACHMANINOFF Piano Concerto No. 3 RACHMANINOFF Symphonic Dances

OCT 3–5 HARDING CONDUCTS SCHUMANN Daniel Harding, conductor HAYDN Symphony No. 92, “Oxford” * WALKER Sinfonia No. 2 R . SCHUMANN Symphony No. 2

OCT 10, 12 & 13 SALONEN CONDUCTS SALONEN Esa-Pekka Salonen, conductor Senja Rummukainen, cello RAVEL Le Tombeau de Couperin ESA-PEKKA SALONEN Cello Concerto SIBELIUS Symphony No. 5

OCT 17–19 MAHLER’S THIRD SYMPHONY Klaus Mäkelä, conductor Jennifer Johnston, mezzo-soprano The Cleveland Orchestra Chorus The Cleveland Orchestra Children’s Chorus MAHLER Symphony No. 3

OCT 31 & NOV 2 TAN DUN CONDUCTS TAN DUN Tan Dun, conductor Marc Damoulakis, percussion STRAVINSKY Fireworks TAN DUN Water Concerto BRITTEN Four Sea Interludes from Peter Grimes TAN DUN Concerto for Orchestra

NOV 6 & 7 BEETHOVEN PIANO CONCERTO CYCLE PROGRAM 1 Franz Welser-Möst, conductor Igor Levit, piano Augustin Hadelich, violin Julia Hagen, cello BEETHOVEN Triple Concerto BEETHOVEN Piano Concerto No. 3

NOV 9 & 12 BEETHOVEN PIANO CONCERTO CYCLE PROGRAM 2 Franz Welser-Möst, conductor Igor Levit, piano BEETHOVEN Piano Concerto No. 2 BEETHOVEN Piano Concerto No. 4

NOV 15–17 BEETHOVEN PIANO CONCERTO CYCLE PROGRAM 3 Franz Welser-Möst, conductor Igor Levit, piano BEETHOVEN Piano Concerto No. 1 BEETHOVEN Piano Concerto No. 5, “Emperor”

NOV 21–23 MAHLER’S SONG OF THE EARTH Franz Welser-Möst, conductor Limmie Pulliam, tenor Iurii Samoilov, baritone The Cleveland Orchestra Chorus BERND RICHARD DEUTSCH Urworte MAHLER Das Lied von der Erde

NOV 29–DEC 1 RHAPSODY IN BLUE David Robertson, conductor Marc-André Hamelin, piano COPLAND Suite from Appalachian Spring GERSHWIN Rhapsody in Blue ELLINGTON New World A-Comin’ COPLAND Suite from The Tender Land

RECITAL DEC 4 GERSTEIN IN RECITAL Kirill Gerstein, piano R . SCHUMANN Carnaval FRANCISCO COLL Waltzes Toward Civilization RAVEL La valse (trans. for piano) LISZT Bénédiction de Dieu dans la solitude LISZT Piano Sonata in B minor

DEC 5–7 AX PLAYS MOZART Pablo Heras-Casado, conductor Emanuel Ax, piano MOZART Piano Concerto No. 20 SHOSTAKOVICH Symphony No. 10

WINTER JAN 9, 11 & 12 AN AMERICAN IN PARIS Stéphane Denève, conductor Steven Banks, saxophone MILHAUD La création du monde GUILLAUME CONNESSON A Kind of Trane POULENC Suite from Les biches GERSHWIN An American in Paris

JAN 16–18 HAHN PLAYS BRAHMS Elim Chan, conductor Hilary Hahn, violin BRAHMS Violin Concerto LUTOSŁAWSKI Concerto for Orchestra

For tickets & more information visit:

clevelandorchestra.com 40 | 2024/2025 SEASON

Generous support for the 2024–25 Recital Series provided by the Reyzis Family Foundation

FEB 7–9 ALSO SPRACH ZARATHUSTRA

MAR 6–9 TCHAIKOVSKY’S FOURTH SYMPHONY

RECITAL

Thomas Guggeis, conductor Mark Kosower, cello

Franz Welser-Möst, conductor Seong-Jin Cho, piano

Evgeny Kissin, piano

R . STRAUSS Also sprach Zarathustra DUTILLEUX Tout un monde lointain...

RAVEL La valse

RAVEL Rapsodie espagnole RAVEL Piano Concerto in G major TCHAIKOVSKY Symphony No. 4

FEB 13 & 15 BRUCKNER’S SEVENTH Fabio Luisi, conductor Tim Mead, countertenor SILVIA COLASANTI Time’s Cruel Hand BRUCKNER Symphony No. 7

FEB 20 & 22 ADÈS CONDUCTS ADÈS Thomas Adès, conductor Kelley O’Connor, mezzo-soprano The Cleveland Orchestra Chorus SIBELIUS The Oceanides SAARIAHO Oltra Mar THOMAS ADÈS America: A Prophecy IVES Orchestral Set No. 2

RECITAL FEB 23 ÓLAFSSON & WANG IN RECITAL Víkingur Ólafsson, piano Yuja Wang, piano BERIO Wasserklavier SCHUBERT Fantasie in F minor LIGETI Bewegung (Movement) from Three Pieces for Two Pianos BRUBECK Fugue from Points on Jazz NANCARROW Study No. 6 (arr. Adès) JOHN ADAMS Hallelujah Junction ARVO PÄRT Hymn to a Great City RACHMANINOFF Symphonic Dances

FEB 27–MAR 1 BEETHOVEN’S EROICA Alan Gilbert, conductor Leonidas Kavakos, violin SHOSTAKOVICH Violin Concerto No. 2 BEETHOVEN Symphony No. 3, “Eroica”

MAR 13 & 15 HAYDN & STRAUSS Franz Welser-Möst, conductor Asmik Grigorian, soprano HAYDN Symphony No. 52 R . STRAUSS Four Last Songs JANÁČEK Suite from From the House of the Dead PUCCINI Final Scene from Suor Angelica

MAR 14 PROKOFIEV’S FOURTH SYMPHONY Franz Welser-Möst, conductor HAYDN Symphony No. 52 PROKOFIEV Symphony No. 4

SPRING RECITAL MAR 27 ANDSNES IN RECITAL Leif Ove Andsnes, piano GRIEG Piano Sonata TVEITT Piano Sonata No. 29, “Sonata Etere” CHOPIN 24 Preludes

APR 17–19 BACH’S EASTER ORATORIO Bernard Labadie, conductor Joélle Harvey, soprano Adèle Charvet, mezzo-soprano Andrew Haji, tenor Gordon Bintner, bass-baritone The Cleveland Orchestra Chorus J.S. BACH Easter Oratorio J.S. BACH Sinfonia from Cantata No. 29 J.S. BACH Magnificat

APR 24–26 MOZART & ELGAR Kazuki Yamada, conductor Francesco Piemontesi, piano MOZART Piano Concerto No. 25 ELGAR Symphony No. 1

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MAY 7 KISSIN IN RECITAL BEETHOVEN Piano Sonata No. 7 CHOPIN Nocturne in G minor, Op. 15, No. 3 CHOPIN Nocturne in E-flat major, Op. 55, No. 2 CHOPIN Nocturne in E minor, Op. posth. 72, No. 1 CHOPIN Polonaise in A major, Op. 40, No. 1, “Military” SHOSTAKOVICH Piano Sonata No. 2 SHOSTAKOVICH Prelude and Fugue in F-sharp minor SHOSTAKOVICH Prelude and Fugue in D-flat major SHOSTAKOVICH Prelude and Fugue in D minor

MAY 8–10 MOZART’S SYMPHONY NO. 40 Franz Welser-Möst, conductor MOZART Symphony No. 40 ALLISON LOGGINS-HULL New Work PROKOFIEV Symphony No. 3 *

MAY 17, 22 & 25 JANÁČEK’S JENŮFA Franz Welser-Möst, conductor Latonia Moore, soprano Pavol Breslik, tenor Miles Mykkanen, tenor Nina Stemme, soprano The Cleveland Orchestra Chorus JANÁČEK Jenůfa Opera presentation sung in Czech with projected supertitles

MAY 23 & 24 VOX HUMANA Franz Welser-Möst, conductor Sarah Aristidou, soprano Tony Sias, narrator The Cleveland Orchestra Chorus POULENC La voix humaine J.S. BACH Concerto from Komm, Jesu, komm USTVOLSKAYA Symphony No. 5, “Amen” J.S. BACH Aria from Komm, Jesu, komm R . STRAUSS Symphonic Fantasy on Die Frau ohne Schatten

* Not performed on the Friday matinee concert

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I N THE N EWS

LEFT: PHOTO BY SAARA AUTERE | RIGHT: PHOTO BY KEVIN MCBRIEN

The Cleveland Orchestra Takes Europe

by Storm ON AUGUST 23 , The Cleveland Orchestra and Music Director Franz Welser-Möst departed on a two-week tour of Europe, featuring eight concerts in six venues across five countries. This occasion marked the Orchestra’s 80th international tour in its 107-year history.

Kicking off the tour was an ambitious concert at the Berlin Philharmonie. Presented as part of the genre-defying Berlin MusikFest, the Orchestra performed works by John Adams and Prokofiev alongside the European premiere of Can You See? by Daniel R. Lewis Composer Fellow Allison Loggins-Hull.

The second leg of the tour was particularly notable, marking The Cleveland Orchestra’s return to Finland for the first time since 1965. In the first of two concerts at Helsinki’s Musiikkitalo, pianist Víkingur Ólafsson joined the Orchestra for Schumann’s Piano Concerto. Enthusiastic ovations greeted the ensemble both nights, leading one critic to exclaim, “One hopes that [the Orche-

stra’s] next visit to Finland is to take place without another sixty-year hiatus.”

Three days later, Tchaikovsky’s Fifth Symphony — and the Liebestod from Wagner’s Tristan und Isolde as an encore — capped a program at the KKL during the Lucerne Festival, one of the Orchestra’s frequent and much-loved stopping places.

A concert on September 4 marked another special occasion: the 200th birthday of Anton Bruckner. To kick off Brucknerfest Linz 2024, the Orchestra performed the composer’s Fourth Symphony in his hometown of Ansfelden, mere steps away from where he was born — a truly once-in-a-lifetime opportunity.

Near the end of the tour, the Orchestra enjoyed a brief yet welcome excursion to Bratislava’s Reduta Hall — another city it had not performed in since 1965 — before two final concerts at Vienna’s Musikverein, where the Orchestra has enjoyed a regular residency since 2003.

Though the Orchestra has seen many international tours over the years, this one in particular — with its mix of destinations both familiar and less familiar — made it a tour to remember.

left: The Cleveland Orchestra, Franz Welser-Möst, and Víkingur Ólafsson perform at Helsinki’s stunning Musiikkitalo. right: While in Finland, the Blossom Quartet (comprising Orchestra members Stephen Tavani, Yun-Ting Lee, William Bender, and Dane Johansen) gave a short recital for some Cleveland Orchestra friends at Ainola, the home of Jean Sibelius.

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I N THE N EW S

New Audio Recording & Adella Concert Feature Bruckner’s Fourth Symphony

2024 IS A GREAT TIME to be a fan of Anton Bruckner. This year marks the 200th anniversary of the Austrian composer’s birth, and The Cleveland Orchestra has been commemorating the occasion in several ways.

On August 16, the Orchestra released a new audio recording of Bruckner’s Symphony No. 4, led by Music Director Franz Wesler-Möst. This marks The Cleveland Orchestra’s third audio release of 2024, following Sergei Prokofiev’s Symphony No. 6 and an album featuring works by Béla Bartók. The recording is available for digital streaming and download in spatial audio on all major platforms.

Several days later, a new video production of the symphony was released on the Orchestra’s digital streaming

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platform, Adella.live, featuring an interview with Welser-Möst. Both this and the audio recording were recorded live at Severance in March 2024.

These releases preceded the Orchestra’s recent tour of Europe with WelserMöst, which included two performances of Bruckner’s Fourth in Austria. The first was part of a concert given in Ansfelden, the composer’s hometown, on his birthday, September 4.

“Bruckner’s music was deeply rooted in the traditions of his homeland, but in many ways, his compositions were far ahead of his time,” Welser-Möst said before the tour. “This may be one of the reasons why his music has not lost its appeal. It inspires audiences through a profound listening experience.”

Visit clevelandorchestra.com/recordings and adella.live for more information.

Franz Welser-Möst discusses the artistry behind Bruckner’s Fourth Symphony preceding a performance of the work on Adella.live.

PHOTO BY KEVIN LIBEL

Barrick Stees Retires After 23 Years THIS SUMMER , Assistant Principal Bassoon Barrick Stees stepped down after 23 years of performances with The Cleveland Orchestra.

Alongside concerts at Severance, Blossom, and on tour, Stees frequently played chamber music with his Cleveland colleagues. He most recently appeared alongside Cleveland Orchestra flutist Mary Kay Fink and members of the New World Symphony in Dai Fujikura’s Cosmic Breath, part of a chamber concert given during the Orchestra’s South Florida Residency in November 2023.

Stees taught bassoon at the Cleveland Institute of Music, Kent Blossom Music Festival, Michigan State University, and

clevelandorchestra.com

Interlochen Center for the Arts, among others. Over the years, he played with the Hartford Symphony Orchestra (where he was previously principal bassoon), Pittsburgh Symphony Orchestra, and Los Angeles Philharmonic, and appeared at music festivals throughout North America, South America, and Europe. He was awarded the Presidential Scholar Teacher Recognition Award from the United States Secretary of Education.

Stees gave his final concert at Severance with The Cleveland Orchestra on July 25. After the performance of Dvořák’s Sixth Symphony, guest conductor Petr Popelka invited the bassoonist to the front of the stage for a solo bow, which was met with a rousing ovation from the audience and musicians.

Barrick Stees held the Sandra L. Haslinger Chair. above: Barrick Stees after the Orchestra’s second Summers at Severance concert on July 25.

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I N THE N EW S

Orchestra Receives Generous Gifts 2024 HAS SEEN A WAVE of generosity

from supporters of The Cleveland Orchestra, particularly through three major gifts from longtime patrons.

In August, the Orchestra announced a gift from the Kelvin and Eleanor Smith Foundation, funding the Kelvin Smith Family Chair currently held by Music Director Franz Welser-Möst for the rest of his tenure. The Foundation makes grants to nonprofit, charitable organizations around Cleveland that adhere to excellence in their missions, creativity in approach, fiscal responsibility, and dynamic leadership in their service to the community.

said, “I want to express my gratitude to the Smith Foundation for this gift. Now in the 23rd year of my partnership with The Cleveland Orchestra, I am astounded by the breadth and depth of what we have accomplished together.”

Earlier this year, longtime patrons and supporters Myrna and Jim Spira gave a special gift to support the Orchestra’s artistic programming, pension fund, and annual fund. The gift also endowed the Myrna and Jim Spira Bass Clarinet Chair, currently occupied by Amy Zoloto.

Jim Spira, a member of the Orchestra’s Board of Trustees since 2014, said, “It’s a privilege to be part of a community that has supported the development of an orchestra of this caliber in a city of this size. It’s a remarkable civic accomplishment.” President & CEO André Gremillet added to the sentiment: “This incredible gift is not only inspiring

It’s a privilege to be part of a community that has supported the development of an orchestra of this caliber in a city of this size.

It’s a remarkable civic accomplishment.

— Jim Spira, Cleveland Orchestra Trustee

“The Smith Foundation wishes to applaud Franz Welser-Möst’s impactful leadership with a meaningful gift honoring his longstanding commitment to Cleveland,” said Ellen Stirn Mavec, president and chairman of the Foundation and granddaughter of the late Kelvin and Eleanor Smith. In response, Welser-Möst 46 | 2024/2025 SEASON

but also essential in supporting our efforts to broaden and deepen relationships with Cleveland Orchestra audiences.

This meaningful support also helps to ensure our sustainability and legacy for future generations.”

Another recently endowed musician chair came thanks to the generosity of

PHOTO BY YEVHEN GULENKO–HUMAN ARTIST

Tony and Diane Wynshaw-Boris, who established the Anthony and Diane Wynshaw-Boris Chair, currently occupied by violist Eliesha Nelson.

At a reception ceremony, the couple reflected on their decision to endow a viola chair. “I played viola when I was young,” Tony said. “And we have had several opportunities to hear what a wonderful musician [Eliesha] is when she played in community chamber concerts.” Diane commented further: “We have witnessed the efforts made by clevelandorchestra.com

Tony and Diane Wynshaw-Boris (left, right) and Eliesha Nelson (center) celebrate the endowed chair at a reception in Mandel Concert Hall on March 5.

the Orchestra and musicians to reach out and engage the entire Cleveland community, from schools to neighborhoods. We greatly appreciate and are proud of those efforts. [Tony and I] are honored and privileged to be able to endow a viola chair for Eliesha and do our small part to ensure that The Cleveland Orchestra maintains its excellence far into the future.” | 47

Celebrat i ng OPER A C LU B Voice

Enjoy the best vocal artists of our time alongside fellow supporters.

Benefits come at a variety of levels and can include:

• Artist sponsorship opportunities with meet and greets • Exclusive invitations to parties and performances • Premium concert tickets and more!

C O N TA C T

Angela Mortellaro, Major Gift Officer 216-231-8014 | amortellaro@clevelandorchestra.com

BECOME A MEMBER TODAY! Opera Club membership starts with donations of $2,500 and higher.

2024 – 25 Featured Vocal Artists: • Limmie Pulliam • Asmik Grigorian • Latonia Moore • Nina Stemme

Winter A N EVE N I NG TO CHARM ALL YOUR SE NSE S!

Tuesday, December 17 at 5:30 PM | Severance Music Center Delight in a joyful cocktail reception with live music and wrap up your holiday shopping in the boutique marketplace filled with local artisanal goods. Then, enjoy a private holiday concert by your Cleveland Orchestra, followed by an exquisite three-course dinner in Severance’s iconic Bogomolny-Kozerefski Grand Foyer.

Tickets start at $200 per person

clevelandorchestra.com/winterspree

For You, By You County residents make this arts experience possible through a public grant from Cuyahoga Arts & Culture. cacgrants.org

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SN APSH OTS MANDEL OPERA & HUMANITIES FESTIVAL: POWER

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right: 1) The centerpiece of the 2024 Jack, Joseph and Morton Mandel Opera & Humanities Festival was an imaginative production of Mozart’s The Magic Flute.

Directed by Nikolaus Habjan and conducted

by Music Director Franz Welser-Möst, it featured the singers performing alongside larger-than-life puppets (including a dramatic Queen of the Night, dazzlingly sung by Kathryn Lewek).

Other festival highlights included: 2) a performance by jazz trumpeter and composer Terence Blanchard, 3) a kidfriendly introduction to the opera — complete with activities in Smith Lobby — and 4) a panel discussion on diversity in classical music, moderated by (l-r) Jeremy Johnson and featuring Jessica Lee, Aaron Flagg, and Liza Grossman.

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7

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2

3

4

BLOSSOM MUSIC FESTIVAL left: 5) Summertime in Northeast Ohio meant the start of the Blossom Music Festival and new opportunities to make memories with friends and family.

This season featured a fantastic lineup of classical gems, pops and Broadway favorites, and thrilling movies. 6) Superstar banjoist Béla Fleck jumpstarted Blossom’s classical concerts with his mesmerizing transcription of Gershwin’s Rhapsody in Blue, which turned 100 this year.

5

7) The season also featured two colla-

borations with the Blossom Festival Chorus: presentations of The Return of the King — the final film in Peter Jackson’s The Lord of the Rings trilogy — as well as a performance of Borodin’s Polovtsian Dances from Prince Igor, conducted by Domingo Hindoyan.

CLOCKWISE FROM TOP LEFT: PHOTOS BY ROGER MASTROIANNI, KEVIN LIBAL , JULIAN DUBE, YEVHEN GULENKO–HUMAN ARTIST, EXTRAORDINAIRE PHOTOS, ROGER MASTROIANNI, KEVIN LIBEL

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SN APSH OTS

1

2 EDUCATION EVENTS above: The Cleveland Orchestra’s Education & Community department stayed busy this summer with several events in and around Cleveland.

1) Instrument “petting zoos” delighted our youngest fans at local summer festivals such as PRIDE in the CLE and Parade the Circle. 2) At Blossom on July 13, Hispanic Family Night brought people together for great food and great camaraderie.

3) The Cleveland Orchestra Youth Orchestra (COYO) ended their 2023–24 season with a special exchange with the Toronto Symphony Youth Orchestra, beginning with a joint concert at Blossom followed by a trip to Toronto to perform together at Roy Thomson Hall.

SUMMERS AT SEVERANCE right: 4) After a brief hiatus, Summers at Severance returned with food and drinks on the front terrace followed by a concert in Mandel Concert Hall. The July 11 concert featured the Cleveland debut of conductor Oksana Lyniv and the Severance debut of pianist Inon Barnatan.

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3

4

BLOSSOM SUMMER SOIRÉE below: 5) July 21 marked the annual Blossom Summer Soirée. Attendees were treated to a pre-concert reception with food and drinks, followed by a spectacular concert with Leslie Odom, Jr. and The Cleveland Orchestra. 6) Dressed in their summer best, (l-r) Peggy Koblenzer, Anne Dunn, Laura Milo, Katie Orendorf, and Tatiana Harris enjoy the evening’s festivities. 7) Hyun and Cathy Park smile for the camera during the reception held at Knight Grove at Blossom Music Center.

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5 7

CLOCKWISE FROM TOP LEFT: PHOTOS BY TEAGAN WEBB, SCOTT ESTERLY PHOTOGRAPHY, (PHOTOS 5-7) YEHVEN GULENKO–HUMAN ARTIST, AIREONNA MCCALL-DUBE, ROGER MASTROIANNI

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THA N K YOU Behind every powerful performance is a community of supporters who bring the music to life.

We are deeply thankful for the generosity of every member of The Cleveland Orchestra family.

To learn more, visit clevelandorchestra.com/give INDIVIDUAL SUPPORT Adella Prentiss Hughes Society Gifts of $1,000,000 and more Mr. and Mrs.* Geoffrey Gund Joan Y. Horvitz* Anne H. and Tom H. Jenkins Milton and Tamar Maltz Mrs. Jane B. Nord Mr. and Mrs.* Richard K. Smucker Gifts of $200,000 to $999,999 The Musicians of The Cleveland Orchestra (in-kind contribution for community programs and opportunities to secure funding) Art of Beauty Company, Inc. Mary Freer Cannon* Iris and Tom Harvie Haslam 3 Foundation Dr. and Mrs. Anthony T. Lauria Mrs. Norma Lerner Jan R. Lewis Mr. and Mrs. Albert B. Ratner Jenny and Tim Smucker Anonymous Gifts of $100,000 to $199,999 Gay Cull Addicott* Mr. and Mrs.* Eugene J. Beer Mr. Yuval Brisker Rebecca Dunn Dr. Michael Frank and Patricia A.* Snyder Mr. and Mrs. Michael J. Horvitz The Walter and Jean Kalberer Foundation Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre Thomas E. Lauria (Miami) Ms. Beth E. Mooney Patrick and Milly Park Ilana and Chuck Horowitz Ratner James* and Donna Reid Jim and Myrna Spira Ms. Ginger Warner Mrs. Jayne M. Zborowsky

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Lillian Baldwin Society Gifts of $75,000 to $99,999 Mr. and Mrs. Alexander M. Cutler Dr. Hiroyuki and Mrs. Mikiko Fujita Richard and Michelle Jeschelnig Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Alfred M. Rankin, Jr. Anonymous George Szell Society Gifts of $50,000 to $74,999 Randall and Virginia Barbato Brenda and Marshall B. Brown Irad and Rebecca Carmi JoAnn and Robert Glick Ms. Alexandra Hanna Mr. and Mrs. Donald M. Jack, Jr.* Elizabeth B. Juliano Richard and Christine Kramer Nancy W. McCann The Oatey Foundation (Cleveland, Miami) William J. and Katherine T. O’Neill Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. James A. Ratner The Ralph and Luci Schey Foundation Astri Seidenfeld The Seven Five Fund Richard and Nancy Sneed Dr. Russell A. Trusso Mr. and Mrs. Franz Welser-Möst Paul and Suzanne Westlake Barbara and David Wolfort Tony and Diane Wynshaw-Boris Anonymous Elisabeth DeWitt Severance Society Gifts of $25,000 to $49,999 Victor and Abby Alexander Dr. and Mrs. Wolfgang Berndt (Europe) Mr. William P. Blair III* Robin Dunn Blossom Jeanette Grasselli Brown and Glenn R. Brown* Dr. Robert Brown and Mrs. Janet Gans Brown

Dr. Thomas Brugger* and Dr. Sandra Russ J. C. and Helen Rankin Butler Jim and Mary Conway Judith and George W. Diehl Elliot and Judith Dworkin Mary Jo Eaton (Miami) Mr.* and Mrs. Bernard H. Eckstein Drs. Wolfgang and Gabi Eder (Europe) Dr. and Mrs. Robert Ehrlich (Europe) Mrs. Connie M. Frankino Mr. and Mrs. Robert W. Gillespie David and Robin Gunning Sondra and Steve Hardis Mrs. Lynn Heisler Amy and Stephen Hoffman David and Nancy Hooker Richard Horvitz and Erica Hartman-Horvitz (Cleveland, Miami) Mrs. Marguerite B. Humphrey* Allan V. Johnson Mr. and Mrs. Joseph P. Keithley Cynthia Knight John D. and Giuliana C. Koch Ms. Cathy Lincoln Jon A. and Virginia M. Lindseth, PhD Mr. Jeff Litwiller Mr. and Mrs. Ben Mathews Mr. Stephen McHale Randy and Christine Myeroff The Honorable John Doyle Ong Catherine and Hyun Park Mr. and Mrs. Benjamin N. Pyne Mr. and Mrs. Ronald Ratner James and Marguerite Rigby Mr.* and Mrs. David A. Ruckman Mark and Shelly Saltzman Donna E. Shalala (Miami) Hewitt and Paula Shaw R. Thomas and Meg Harris Stanton Mr.* and Mrs. Donald W. Strang, Jr. Tom and Shirley* Waltermire Anya Weaving and Tom Mihaljevic Meredith and Michael Weil Anonymous (2) Dudley S. Blossom Society Gifts of $15,000 to $24,999 Mr. James Babcock Mr. and Mrs. Jules Belkin Mr. and Mrs. C. Perry Blossom Mr. and Mrs. Charles P. Bolton Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. D. McGregor Brandt, Jr. Dr. Ben H. and Julia Brouhard Meghan and Trent Brown Mr. and Mrs. Kevin C. Conway Mary* and Bill Conway Mrs. Barbara Cook Mrs. Anita Cosgrove

* DECEASED

Mr. and Mrs. Matthew V. Crawford Maureen A. Doerner and Geoffrey T. White Nancy and Richard Dotson Mr. Brian L. Ewart and Mr. William McHenry Mr. and Mrs. Richard C. Fedorovich Friends of The Cleveland Orchestra Richard and Ann Gridley Mr. Calvin Griffith Gary L. and Cari T. Gross Mr. and Mrs. Harley I. Gross Kathleen E. Hancock Jack Harley and Judy Ernest Gerald Hughes Mr. and Mrs. Brinton L. Hyde Sarah Liotta Johnston and Jeff Johnston Rob and Laura Kochis Eeva and Harri Kulovaara (Miami) Mr. and Mrs. S. Ernest Kulp Ms. Heather Lennox Daniel R. Lewis (Miami) In honor of Emma Skoff Lincoln Linda Litton Mr. and Mrs. Alex Machaskee Alan Markowitz M.D. and Cathy Pollard Ann Jones Morgan Sally S. and John C. Morley* Jennifer and Alexander Ogan Dr. Roland S. Philip and Dr. Linda M. Sandhaus Douglas and Noreen Powers Mr. Winthrop Quigley and Ms. Bonnie Crusalis Saul and Mary Sanders (Miami) Rachel R. Schneider Dr. and Mrs. James L. Sechler Meredith M. Seikel Robyn Shifrin Mr. and Mrs. Richard P. Stovsky Kathryn and Duncan Stuart Dr. Elizabeth Swenson Bruce and Virginia Taylor Philip and Sarah Taylor Mr. and Mrs. Alfred Umdasch (Europe) Karen Walburn Mr. Daniel and Mrs. Molly Walsh Mr. and Mrs. Jeffery J. Weaver Robert C. Weppler Max and Beverly Zupon Anonymous (3)

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Frank H. Ginn Society Gifts of $10,000 to $14,999 Dr. and Mrs. D. P. Agamanolis Mr. and Mrs. A. Chace Anderson Ms. Viia R. Beechler Laura and Jon Bloomberg Ted and Donna Connolly Mr. and Mrs. Chester F. Crone Mrs. Barbara Ann Davis Giles Debenham Dr.* and Mrs. Lloyd H. Ellis Jr. Joan Alice Ford Dr. Edward S. Godleski Mr. Robert Goldberg Mr. and Mrs. Michael Gröller (Europe) Alfredo and Luz Maria Gutierrez (Miami) Robin Hitchcock Hatch Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Dr. Fred A. Heupler Ms. Mary Joe Hughes Donna L. and Robert H. Jackson Barbara and Michael J. Kaplan Andrew and Katherine Kartalis Jonathan and Tina Kislak (Miami) David C. Lamb Charles and Josephine Robson Leamy* Dr. Edith Lerner Dr. David and Janice Leshner Mr. Fredrick W. Martin Mr.* and Mrs. Arch J. McCartney Drs. Amy and James Merlino Loretta J. Mester and George J. Mailath Claudia Metz and Thomas Woodworth Mr. William A. Minnich Brian and Cindy Murphy Deborah L. Neale Mr. David A. Osage and Ms. Claudia C. Woods Mr. J. William and Dr. Suzanne* Palmer Julia and Larry Pollock Ms. Rosella Puskas Mr. and Mrs. Roger F. Rankin Kim Russel and Dirk Brom Dr. Isobel Rutherford Dr. and Mrs.* Martin I. Saltzman Patricia J. Sawvel David M. and Betty Schneider Kenneth Shafer Rev. George Smiga Roy Smith Michalis and Alejandra Stavrinides Ryan and Melissa Stenger Mrs. Mary L. Sykora Taras Szmagala and Helen Jarem Dr. Gregory Videtic and Rev. Christopher McCann

Susanne Wamsler and Paul Singer (Europe) Mr. and Mrs. Fred A. Watkins Denise G. and Norman E. Wells, Jr. Sandy and Ted Wiese Sandy Wile and Sue Berlin Katie and Donald Woodcock Anonymous (6) The 1929 Society Gifts of $5,000 to $9,999 Mr. and Mrs. Todd C. Amsdell Claudia Bacon Robert and Dalia Baker Thomas and Laura Barnard Fred G. and Mary W. Behm Deena and Jeff Bellman Mel Berger and Jane Haylor Mr. and Mrs. Lawrence R. Beyer Marilyn and Jeffrey Bilsky Dr. and Mrs. Eugene H. Blackstone Doug and Barbara* Bletcher Laurel Blossom Jeff and Elaine Bomberger Ms. Kristina E. Boykin Mr. and Mrs. David* Briggs Frank and Leslie Buck William and Barbara Carson Ms. Maria Cashy Victor A. Ceicys M.D. and Mrs. Kathleen Browning Ceicys Mr. and Mrs. James B. Chaney Ellen Chesler and Matthew Mallow (Miami) Drs. Wuu-Shung and Amy Chuang Drs. Mark Cohen and Miriam Vishny Ellen E.* and Victor J. Cohn Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura Marjorie Dickard Comella Robert and Jean* Conrad Mr. and Mrs. Manohar Daga Mr.* and Mrs. Ralph Daugstrup Allan and Connie Dechert Pete and Margaret Dobbins Henry and Mary* Doll Michael Dunn Carl Falb Regis and Gayle Falinski Bruce* and Nancy Fisher Jan and John Fitts Ms. Nancy Flogge Mr. and Ms. Dale Freygang Barbara and Peter* Galvin Joy E. Garapic Mr. James S. Gascoigne and Ms. Cynthia Prior Anne* and Walter Ginn Brenda and David Goldberg Barbara H. Gordon André and Ginette Gremillet

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THA N K YOU Nancy Hancock Griffith Candy and Brent Grover The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy* and James Grunzweig Ms. Marianne Gymer Mr. Newman T. Halvorson, Jr. Gary Hanson and Barbara Klante Clark Harvey and Holly Selvaggi Mr. and Mrs. Jonathan Hatch Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes Dr. Toby Helfand Anita and William Heller Mr. and Mrs. Jerry Herschman Mr. and Mrs. Martin R. Hoke Dr. Keith A. and Mrs. Kathleen M. Hoover James* and Claudia Hower Phillip M. Hudson III (Miami) Elisabeth Hugh Mrs. Laura Hunsicker David and Dianne Hunt Richard and Jayne Janus Reuben Jeffery (Miami) Robert and Linda Jenkins Mr. David and Mrs. Cheryl Jerome Dr. Richard* and Roberta Katzman Rod Keen and Denise Horstman Howard and Michele Kessler Joanne Kim and Jim Nash Dr. and Mrs.* William S. Kiser Audrey Knight Mr. and Mrs.* S. Lee Kohrman Dr. Ronald H. Krasney and Vicki Kennedy* Douglas and Monica Kridler Peter* and Cathy Kuhn Mr. and Mrs.* Arthur J. Lafave, Jr. Dr. and Mrs. John R. Lane Dr.* and Mrs. Roger H. Langston Kenneth M. Lapine and Rose E. Mills John N.* and Edith K. Lauer Young Sei Lee Judith and Morton Q . Levin Dr. Stephen B. and Mrs. Lillian S. Levine Drs. Todd and Susan Locke David and Janice* Logsdon Joan C. Long Caetano R. Lopes (Miami) Anne R. and Kenneth E. Love Richard and Terry Lubman (Miami) Neil and Susan Luria David Mann and Bernadette Pudis Mr. Keith G. Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. and Mrs. Bruce V. Mavec James and Virginia Meil Dr. Susan M. Merzweiler

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Lynn and Mike Miller Drs. Terry E. and Sara S. Miller Curt and Sara Moll Amy and Marc Morgenstern Eudice M. Morse Mr. Bert and Dr. Marjorie Moyar Mr. and Mrs. Scott C. Mueller Mr. Raymond M. Murphy Mr. Christopher B. Nance and Ms. Jessica V. Colombi Richard and Kathleen Nord Mr. and Mrs. Forrest A. Norman III Malinda and Robert Och Thury O’Connor Harvey* and Robin Oppmann Richard Organ and Jamie Nash Mr. Henry Ott-Hansen Mr. and Mrs. Kenneth W. Outcalt Chris and Susan Pappas Eliot Pedrosa (Miami) Alan and Charlene Perkins Dr. Marc A. and Mrs. Carol Pohl Mr. and Mrs. Frank Porter Dr. and Mrs. John N. Posch Mr. Robert and Mrs. Susan Price Sylvia Profenna Pysht Fund Lute and Lynn Quintrell Beth and Clay Rankin Brian and Patricia Ratner Mr. and Mrs.* Robert J. Reid Ms. Julie Severance Robbins Lisa Robinson and Robert Hansel Amy and Ken Rogat Robert* and Margo Roth Dr. Adel S. Saada Dr. Vernon E. Sackman and Ms. Marguerite Patton* Mr. and Mrs.* James A. Saks Richard Salomon and Laura Landro Richard B. and Cheryl A. Schmitz Ms. Beverly J. Schneider Gary Schwartz and Constance Young Sally and Larry Sears Mr. Eric A. Seed and Ms. Ellen Oglesby Deborah Sesek Drs. Daniel and Ximena Sessler Mr.* and Mrs. Michael Shames Mr. Philip and Mrs. Michelle Sharp Howard and Beth Simon Mr. James S. Simon The Shari Bierman Singer Family Drs. Charles Kent Smith and Patricia Moore Smith Mrs. Gretchen D. Smith Sandra and Richey* Smith Mr. and Mrs. William E. Spatz George and Mary* Stark Howard Stark M.D. and Rene Rodriguez (Miami) Sue Starrett and Jerry Smith

AJ and Nancy Stokes Ms. Lorraine S. Szabo Robert and Carol Taller Alan and Barbara Taylor Mr. John R. Thorne and Family Mr. and Mrs. Gary B. Tishkoff Mr.* and Mrs. Robert N. Trombly Drs. Anna* and Gilbert True Steve and Christa Turnbull Robert and Marti* Vagi Bobbi and Peter* van Dijk Mr. and Mrs. Les C. Vinney Kenneth H. Kirtz* Mr. Randall Wagner Mr. and Mrs. Eric Wald John and Jeanette Walton Greg and Lynn Weekley Mr. and Mrs. Mark Allen Weigand Dr. Edward L. and Mrs. Suzanne Westbrook Stephen Whyte and Rebecca Ralston Dr. Paul R. and Catherine Williams Ms. Linda L. Wilmot Bob and Kat Wollyung Mr. Graham Wood Anonymous (3) Composer’s Circle Gifts of $2,500 to $4,999 Mr. Leonard H. Abrams* Ms. Nancy A. Adams Kristen and Matthew Alloway Sarah May Anderson Susan S. Angell Chris Ansbacher Ms. Bonnie M. Baker Eric Barbato and Elisha Swindell Ms. Katherine Barnes Dr. James Bates Mrs. Lois Robinson Beck Drs. Nathan A.* and Sosamma J. Berger Margo and Tom Bertin Mitch and Liz Blair Zeda W. Blau Marilyn and Lawrence Blaustein Ms. Pamela M. Blemaster Blossom Friends of The Cleveland Orchestra Mr. John and Mrs. Robyn Boebinger Dr. and Mrs. Timothy Bohn Mr. and Mrs. Richard H. Bole David and Julie Borsani Ms. Ellen Botnick Dr. David Bowers Lisa and Ronald Boyko Adam and Vikki Briggs Matthew D. Brocone Mr. and Mrs. Dale R. Brogan Dale and Wendy Brott Bennett Brown Mrs. Frances Buchholzer

* DECEASED

Mr. Gregory and Mrs. Susan Bulone James Burke Mr. and Mrs. Robert G. Busha Mr. and Mrs. William D. Buss II Mr. William Busta and Joan Tomkins Dr. and Mrs. William E. Cappaert Peter and Joanna Carfagna Mr. and Mrs. John J. Carney Dr. Ronald Chapnick* and Mrs. Sonia Chapnick Mr. and Mrs. Kerry Chelm Gregory and Kathrine Chemnitz Gertrude Kalnow Chisholm and Homer D.W. Chisholm Mr. and Mrs. Edward A. Chuhna Robert and Judy Ciulla Pete Clapham and Anita Stoll Jill and Paul Clark Richard J. and Joanne Clark Dr. William and Dottie Clark Drs. John and Mary Clough Mr. John Couriel and Dr. Rebecca Toonkel (Miami) Laura Cox Drs. Kenneth and Linda Cummings Karen and Jim Dakin Dr. and Mrs. Thomas M. Daniel Jeffrey Dean and Barbara and Karen Claas Mr. Douglas Dever Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White Mr. and Mrs. David C. Dillemuth Do Unto Others Trust (Miami) Carl Dodge Jack and Elaine Drage Mr. and Mrs. Robert Dreshfield Mr. Barry Dunaway and Mr. Peter McDermott Bill Durham (Miami) Ms. Mary Lynn Durham Mr. and Mrs. Robert P. Duvin Mr. and Mrs. Ronald E. Dziedzicki Peter and Sandy Earl Erich Eichhorn and Ursel Dougherty S. Stuart Eilers Peter and Kathryn Eloff Andy and Leigh Fabens Mr. and Mrs. Frederick A. Fellowes Anne Ferguson and Peter Drench Mr. William and Dr. Elizabeth Fesler Mr. and Mrs. Mark Filippell Nancy M. Fischer Mr. Dean Fisher Joan and Philip Fracassa Mr. and Mrs. Larry Frankel Howard Freedman and Rita Montlack Mr. William Gaskill and Ms. Kathleen Burke Mr. and Mrs. M. Lee Gibson Daniel and Kathleen Gisser Holly and Fred Glock

clevelandorchestra.com

Dr.* and Mrs. Victor M. Goldberg Pamela G. Goodell Ms. Aggie Goss Mr. Robert Goss Dr. and Mrs. Ronald L. Gould Bob Graf and Mia Zaper Mr. James Graham and Mr. David Dusek Drs. Erik and Ellen Gregorie Mr. Morgan Griffiths Mr. Davin and Mrs. Jo Ann Gustafson Mr. Ian S. Haberman Mary Louise Hahn Dr. James O. Hall Megan Hall and James Janning Mr. and Mrs. David P. Handke, Jr. Jane Hargraft and Elly Winer Mr. Samuel D. Harris Lilli and Seth* Harris In Memory of Hazel Helgesen Drs. Gene and Sharon Henderson T. K.* and Faye A. Heston Mr. and Mrs. Arnold Hirshon Mr. and Mrs. Stephen J. Holler Thomas and Mary Holmes Charles M. Hoppel and Marianne Karwowski Hoppel Lois Krejci-Hornbostel and Roland Hornbostel Xavier-Nichols Foundation/ Robert and Karen Hostoffer Phillip Huber Mr. Brooks G. Hull and Mr. Terry Gimmellie Dr. and Mrs. Grant Hunsicker Donald* and Joyce Ignatz Ruth F. Ihde* Ms. Melanie Ingalls Ms. Kimberly R. Irish Dr. and Mrs. Paul C. Janicki Dylan Jin Mr. Jeremy V. Johnson Joela Jones and Richard Weiss Dr. Eric Kaler Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt Milton and Donna* Katz Mr. Karl W. Keller The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce* and Eleanor Kendrick Mrs. Judith A. Kirsh Steve and Beth Kish Michael Kluger and Heidi Greene Mr. Ronald and Mrs. Kimberly Kolz Ursula Korneitchouk Dr. and Mrs. John P. Kristofco Dr. Christine A. Krol Dr. Jeanne Lackamp Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr.

Mr. and Mrs. Richard L. Larrabee Mrs. Sandra S. Laurenson Dr. and Mrs. Arthur Lavin Richard and Barbara Lederman Mr. Elliot and Mrs. Christine Legow Michael and Lois Lemr Robert G. Levy Mr. and Mrs.* Thomas A. Liederbach Eva and Rudolf Linnebach Mr. Henry Lipian Ms. Agnes Loeffler Mary Lohman Mr. and Mrs. Carlos Lopez-Cantera (Miami) Linda* and Saul Ludwig Peter and Pamela Luria Mr. and Mrs.* Robert P. Madison Robert M. Maloney and Laura Goyanes Janet A. Mann Herbert L. and Ronda Marcus Martin and Lois* Marcus Dr.* and Mrs. Sanford E. Marovitz Ms. Dorene Marsh Kevin Martin and Hansa Jacob-Martin Ms. Amanda Martinsek Mr. and Mrs. Sandy McMillan Ms. Nancy L. Meacham Dr. and Mrs. Kevin Meany Mr. James E. Menger Mr. and Mrs. Gerald A. Messerman Mr. Glenn A. Metzdorf Beth M. Mikes Amy Miller and Nikhil Rao Mr. and Mrs. David S. Miller Mary Ellen Miller Mr. Tom Millward Anton and Laura Milo Dr. Shana Miskovsky Mr. and Mrs. Thomas W. Morris Susan B. Murphy B Murray Dave and Nancy Murray Karen and Bernie Murray Mr. and Mrs. Stephen Myers Joan Katz Napoli and August Napoli Dr. Anne and Mr. Peter Neff Mark and Paula Nylander Richard and Jolene O’Callaghan Mr. and Mrs. John Olejko Dr. and Mrs. Paul T. Omelsky George Parras and Mary Spencer Drs. James and Marian Patterson Dr. Lewis E. and Janice B. Patterson David Pavlich and Cherie Arnold Robert S. Perry Dale and Susan Phillip Mr. Richard W. Pogue Donna L. Pratt* and Patrick J. Holland

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THA N K YOU Karen Pritzker Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. James and Lynne Rambasek Mr. Todd J. Reese David J. Reimer and Raffaele DiLallo Dr. Robert W. Reynolds Mr. Chris Rhodes David and Gloria Richards Joan and Rick Rivitz Mr. D. Keith* and Mrs. Margaret B. Robinson Mr. and Mrs. Jay F. Rockman Eric Rose (Miami) David and Mitsuko Rosinus (Miami) Dr. and Mrs. Ronald Ross Drs. Edward and Teresa Ruch Anne Sagsveen Michael and Deborah Salzberg Mr. and Mrs. Lowell Satre Ms. Patricia E. Say Bryan and Jenna Scafidi Mr. Paul H. Scarbrough Don Schmitt and Jim Harmon John and Barbara Schubert Mr. James Schutte Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn and Mr. Michael Seider Caltha Seymour Lee Shackelford Ginger and Larry Shane Harry and Ilene Shapiro Ms. Frances L. Sharp Larry Oscar & Jeanne Shatten Charitable Fund of the Jewish Federation Dr. and Mrs. William C. Sheldon Mr. John F. Shelley and Ms. Karen P. Fleming Mr. Richard Shirey Mr. and Mrs. Reginald Shiverick Michael Dylan Short Zachary and Shelby Siegal Jim Simler and Dr. Amy Zhang James Simon Sarah Sloboda and Oskar Bruening Bruce L. Smith David Kane Smith Mr. Joshua Smith Mr. Eugene Smolik Drs. Nancy and Ronald Sobecks Drs. Thomas and Terry Sosnowski Diane M. Stack Maribeth and Christopher Stahl Edward R. & Jean Geis Stell Foundation

58 | 2024/2025 SEASON

Ms. Natalie Stevens Frederick and Elizabeth Stueber Mike and Wendy Summers Mr. Marc L. Swartzbaugh Mr. Robert D. Sweet Eca and Richard Taylor Ms. Aileen Thong-Dratler Dr. and Mrs. Michael B. Troner (Miami) Dr. and Mrs. Wulf H. Utian Joan Venaleck Mr. and Mrs. Steven M. Venezia Teresa Galang-Viñas and Joaquin Viñas (Miami) George and Barbara von Mehren John and Deborah Warner Margaret and Eric* Wayne Tilles-Weidenthal Foundation Mr. Peter and Mrs. Laurie Weinberger Emily Westlake and Robertson Gilliland Ms. Jennifer Wynn Rad and Patty Yates Ms. Carol A. Yellig Ms. Helen Zakin Dr. Rosemary Gornik and Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr John and Jane Zuzek Anonymous (7)

CORPORATE SUPPORT

The Cleveland Orchestra extends heartfelt gratitude to these generous organizations and partners who bring concerts and educational programs to life for our community.

Learn more at cleveland orchestra.com/partners Gifts of $300,000 and more The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. Gifts of $200,000 to $299,999 Jones Day Foundation Ohio CAT The J. M. Smucker Co. Gifts of $100,000 to $199,999 CIBC KeyBank Gifts of $50,000 to $99,999 FirstEnergy Foundation NOPEC Parker Hannifin Foundation PNC Gifts of $15,000 to $49,999 Akron Children’s Hospital BakerHostetler Buyers Products Company Calfee, Halter & Griswold LLP Case Western Reserve University Cleveland Clinic DLR Group | Westlake Reed Leskosky Frantz Ward LLP The Giant Eagle Foundation Lake Effect Health Miba AG (Europe) Northern Haserot Northern Trust Olympic Steel, Inc. Park-Ohio Holdings RPM International Inc. RSM US LLP Thompson Hine LLP Westfield Insurance Anonymous

* DECEASED

Gifts of $2,500 to $14,999 BDI Blue Technologies, Inc. Brothers Printing Company BWX Technologies, Inc. Callahan Carpet The Cedarwood Companies Citymark Capital The Cleveland-Cliffs Foundation Eaton Evarts Tremaine The Ewart-Ohlson Machine Company Gross Residential Kohrman Jackson & Krantz, PLL The Lincoln Electric Foundation McKinley Strategies Nordson Corporation The Sherwin-Williams Company Solich Piano & Music Ver Ploeg & Marino (Miami) Margaret W. Wong & Associates LLC

FOUNDATION & GOVERNMENT SUPPORT Gifts of $1,000,000 and more The Brown and Kunze Foundation Mary E. & F. Joseph Callahan Foundation The Milton and Tamar Maltz Family Foundation The Jack, Joseph and Morton Mandel Foundation David and Inez Myers Foundation State of Ohio The Kelvin and Eleanor Smith Foundation Richard & Emily Smucker Family Foundation Timken Foundation of Canton Gifts of $500,000 to $999,999 The William Bingham Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Ohio Arts Council The Payne Fund

clevelandorchestra.com

Gifts of $250,000 to $499,999 The Dr. M. Lee Pearce Foundation, Inc. (Miami) Gifts of $100,000 to $249,999 Paul M. Angell Family Foundation Cleveland Browns Foundation The Cleveland Foundation Haslam 3 Foundation Jewish Federation of Cleveland Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation Kulas Foundation John P. Murphy Foundation Park Foundation Anonymous Gifts of $50,000 to $99,999 The George W. Codrington Charitable Foundation The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs GAR Foundation The George Gund Foundation Martha Holden Jennings Foundation The Oatey Foundation Wesley Family Foundation Gifts of $15,000 to $49,999 The Abington Foundation Akron Community Foundation The Batchelor Foundation, Inc. (Miami) The Bruening Foundation The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Sam J. Frankino Foundation The Gerhard Foundation, Inc. The Helen Wade Greene Charitable Trust The Catherine L. & Edward A. Lozick Foundation With the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners National Endowment for the Arts The Nord Family Foundation The PNC Charitable Trusts The Esther and Hyman Rapport Philanthropic Trust The Reinberger Foundation Albert G. & Olive H. Schlink Foundation The Sisler McFawn Foundation Third Federal Foundation

The Veale Foundation The George Garretson Wade Charitable Trust The Welty Family Foundation The Thomas H. White Foundation, a KeyBank Trust Anonymous Gifts of $2,500 to $14,999 The Ruth and Elmer Babin Foundation The Bernheimer Family Fund of the Cleveland Foundation Cleveland State University Foundation C.S. Craig Family Foundation Cuyahoga County Board of Developmental Disabilities James Deering Danielson Foundation Dorn Family Foundation Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The Hankins Foundation The Muna & Basem Hishmeh Foundation George M. and Pamela S. Humphrey Fund In His Step Foundation The Kirk Foundation (Miami) The Laub Foundation The Lehner Family Foundation The G. R. Lincoln Family Foundation Elizabeth Ring Mather and William Gwinn Mather Fund Ohio Humanities Council The M. G. O’Neil Foundation The O’Neill Brothers Foundation The Perkins Charitable Foundation Charles E. & Mabel M. Ritchie Memorial Foundation SCH Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation Stroud Family Trust Uvas Foundation The Edward and Ruth Wilkof Foundation The Wuliger Foundation Anonymous

Listing as of August 2024

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YOU R V IS IT LATE SEATING As a courtesy to the audience members and musicians in the hall, late-arriving patrons are asked to wait quietly until the first convenient break in the program. These seating breaks are at the discretion of the House Manager in consultation with the performing artists.

PAGERS, CELL PHONES & WRISTWATCH ALARMS As a courtesy to others, please silence all devices prior to the start of the concert.

PHOTOGRAPHY, VIDEOGRAPHY & RECORDING Audio recording, photography, and videography are prohibited during performances at Severance.

Photographs can only be taken when the performance is not in progress.

HEARING AIDS & OTHER HEALTH-ASSISTIVE DEVICES For the comfort of those around you, please reduce the volume on hearing aids and other devices that may produce a noise that would detract from the program. For Infrared Assistive-Listening Devices, please see the House Manager or Head Usher for more details.

IN THE EVENT OF AN EMERGENCY Contact an usher or a member of house staff if you require medical assistance. Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency.

AGE RESTRICTIONS Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Classical Season sub-

FREE MOBILE APP

TICKET WALLET Download today for instant, secure, and paperless access to your concert tickets.

For more information and direct links to download, visit clevelandorchestra.com/ticketwallet or scan the code with your smartphone camera to download the app for iPhone or Android.

Available for iOS and Android on Google Play and at the Apple App Store.

scription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including Music Explorers (for 3 to 6 years old) and Family Concerts (for ages 7 and older).

FOOD & MERCHANDISE Beverages and snacks are available at bars throughout Severance Music Center. For Cleveland Orchestra apparel, recordings, and gift items, visit the Welcome Desk in Lerner Lobby.

TELL US ABOUT YOUR EXPERIENCE We are so glad you joined us!

Want to share about your time at Severance? Send your feedback to cx@clevelandorchestra.com.

Hearing directly from you about what we are doing right and where we can improve will help us create the best experience possible.

The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: the State of Ohio and Ohio Arts Council and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.

The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio.

The Cleveland Orchestra is proud to have its home, Severance Music Center, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership. ©2024 The Cleveland Orchestra and the Musical Arts Association Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

EDI TORI AL

Cleveland Orchestra performances are broadcast as part of regular programming on ideastream/WCLV Classical 90.3 FM, Saturdays at 8 PM and Sundays at 4 PM.

Kevin McBrien, Publications Manager The Cleveland Orchestra kmcbrien@clevelandorchestra.com DE SIG N

Elizabeth Eddins, Eddinsdesign eddinsdesign@gmail.com ADV ERT ISI NG

Live Publishing Company, 216-721-1800

60 | 2024/2025 SEASON

“We are paving a path for our next chapter by establishing connections now. We can keep enjoying our wonderful skyline views and musical activities, knowing our plan is in place.”

Max Bunker and Tony Bianchi / Bratenahl

Membership

is Music to Our Ears!

As a Judson at Home member, you’ll have access to an engaging community, cultural programs, wellness activities and an array of dining venues. Most of all, you have all the services and amenities of a retirement community at your fingertips while living in your own home.

Become a Member Today!

(216) 791-2436 judsonsmartliving.org Read more about Max and Tony’s experience at judsonsmartliving.org/blog.