The Cleveland Orchestra October 17-19 Concerts

SEASON

Mahler’s Third Symphony OCTOBER 17–19, 2024

E X PEC T T H E E X T R AOR DI NARY

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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 5

I N TRODUC TION PAG E 7

TH IS WE EK ’ S PROG R AM Mahler’s Third Symphony Klaus Mäkelä, conductor

Symphony No. 3 in D minor (page 8)

by Gustav Mahler Jennifer Johnston, mezzo-soprano The Cleveland Orchestra Chorus The Cleveland Orchestra Children’s Chorus

Sung texts (page 14) Conductor & artist biographies (page 19) PAG E 33

TCO SPOTLIG HT Feature articles, musician interviews & season calendar PAG E 4 5

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

SN APSHOTS

COVER: PHOTO BY MARCO BORGGREVE

Photo highlights from recent Cleveland Orchestra events PAG E 54

THA N K YOU The community of supporters who bring the music to life

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THE CLEVELAND ORCHESTRA

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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I N TRO DUC TI O N

PLACE YOURSELF IN THE SHOES OF A COMPOSER facing the premiere of a brand-new work. Other than rare exceptions, their untested endeavors will be on the first half of a program while an undisputed masterpiece lurks behind intermission, passed down and refined by generations of musicians. It’s a rite of passage for a composer to struggle to gain acceptance past the sheer marble wall that is the “classical canon.”

Richard Wagner even stated in 1849, with regard to Beethoven’s Ninth Symphony, that “the last symphony has already been written.” And yet, against all odds, predictions of the end of classical music history have thankfully fallen short.

We find an extraordinary exception to this anxiety of influence in the case of Gustav Mahler, who saw the canon as a vista rather than an obstacle. In this case, the standard was not set by Beethoven the century prior, but by his own first two symphonic efforts, written over the decade leading up to the premiere of the piece at hand — his Third Symphony, led tonight by guest conductor Klaus Mäkelä. Anyone who has heard these works will agree that he fulfilled his promise to compose symphonies that “embrace everything.”

How did Mahler surpass the high bar he had set for himself? One can warrant that his particular gift was the ability to recognize the looming proliferation of modernity that, in the words of the philosopher Friedrich Nietzsche (above), had generated a “magnificent tension of the spirit.” The full embrace of this unprecedented and unrepeatable zeitgeist meant that the only remaining task was to “merely” write down the notes of this symphonic mountain range. (You’ll hear the influence of Nietzsche throughout the evening, as well as in the Orchestra’s performances of Richard Strauss’s Also sprach Zarathustra in February 2025.)

After you have taken in the views, weathered the storms, and descended from the peaks of Mahler’s Third, you’ll have your own opportunity to capitalize on that “magnificent tension” this composer so effectively transubstantiated into music.

— Ian Mercer Ian Mercer is The Cleveland Orchestra’s production manager.

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TH IS W EEK ’ S PRO G R AM

Mahler’s Third Symphony Thursday, October 17, 2024, at 7:30 PM Friday, October 18, 2024, at 7:30 PM Saturday, October 19, 2024, at 8 PM Concert Preview with James Wilding Reinberger Chamber Hall one hour prior to performance

Klaus Mäkelä, conductor Gustav Mahler (1860–1911)

Symphony No. 3 in D minor

100 minutes

Part One: I. Kräftig; Entschieden. (Forceful; decisive.)

Part Two: II. Tempo di menuetto: Sehr mässig.

(In the tempo of a minuet: Very moderate.)

III. Comodo; Scherzando; ohne Hast.

(Comfortable; playful; without haste.)

IV. Sehr langsam; misterioso.

(Very slow; mysterious.) — V. Lustig im Tempo und keck im Ausdruck.

(Joyous in tempo and jaunty in expression.) — VI. Langsam; ruhevoll; empfunden.

(Slow; peaceful; deeply felt.)

Jennifer Johnston, mezzo-soprano The Cleveland Orchestra Chorus The Cleveland Orchestra Children’s Chorus

PHOTO OF KLAUS MÄKELÄ BY MARCO BORGGREVE

Tonight’s program will last approximately 1 hour 40 minutes and will be presented without intermission.

Thank you for silencing your electronic devices.

Thursday evening’s performance is dedicated to Dr. Michael Frank and Patricia A.* Snyder in recognition of their generous support of music.

Support for this concert is generously provided by Kalle and Pirjo-Riitta Lyytinen, and Dr. and Mrs. Edward and Barbara Sivak. clevelandorchestra.com

*deceased

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TH E MUSI C

Symphony No. 3 in D minor

by Gustav Mahler BORN : July 7, 1860, in Kalischt, Bohemia (present-day Czech Republic) DIED : May 18, 1911, in Vienna

▶ COMPOSED: 1895–96 ▶ WORLD PREMIERE : The second, third, and sixth movements received first performances in Berlin between 1896 and 1897. The complete symphony was premiered in Krefeld, Germany, on June 9, 1902, with the composer conducting the Orchestra of the General German Music Association. ▶ CLEVELAND ORCHESTRA PREMIERE : October 30, 1969, featuring contralto Linda Matousek and conducted by Louis Lane ▶ ORCHESTRATION : 4 flutes (all doubling piccolo), 4 oboes (4th doubling English horn), 3 clarinets (3rd doubling bass clarinet), 2 E-flat clarinets, 4 bassoons (4th doubling contrabassoon), 8 horns, 4 trumpets, posthorn, 4 trombones, tuba, timpani, percussion (glockenspiel, chimes, snare drums, triangle, tambourine, bass drum, cymbals, tam-tam, rute), 2 harps, strings, alto solo, soprano/alto chorus, and children’s chorus ▶ DURATION : about 100 minutes

ONE WONDERS whether it was pure coincidence that the two archrivals Gustav Mahler and Richard Strauss wrote works inspired (at least in part) by the 19th-century German philosopher Friedrich Nietzsche at the same time.

Strauss completed his tone poem Also sprach Zarathustra (Thus Spake Zarathustra) in August 1896. The very same month, Mahler put the finishing touches on his Third Symphony, whose fourth movement is a song with words from the “Midnight Song” from Nietzsche’s philosophical poem — an excerpt, moreover, that also is featured in Strauss’s work.

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Despite the great differences between Also sprach Zarathustra and Mahler’s Third, the reasons that caused both composers to turn to Nietzsche had something in common. Strauss found in Zarathustra a compelling image of human evolution through successive stages of spiritual development. Mahler, too, envisioned his work as some kind of evolution through successive stages.

However, in his book on Mahler’s symphonies, musicologist Constantin Floros concludes that the Third Symphony, although based in part on Nietzsche, is “diametrically opposed to Nietzsche’s philosophy.” Floros

IMAGE COURTESY OF WIKIMEDIA COMMONS / MAHLER FOUNDATION

Gustav Mahler was 32 years old when this photo was taken in 1892. Three years later, he would embark on writing his monumental Third Symphony.

contrasts Nietzsche’s anti-religious stance with Mahler’s affirmation of faith in the fifth movement, and he asserts that the message of love in the last movement is also antithetical to Nietzsche’s philosophy.

The planning of Mahler’s Third began with a series of tentative movement titles that probably preceded any substantial compositional work.

According to Alma Mahler’s account, the work originally was to consist of seven movements: clevelandorchestra.com

1. “Summer Marches In” (Fanfare and Merry March) 2. “What the Woods Tell Me” 3. “What Love Tells Me” (Adagio) 4. “What the Twilight Tells Me” 5. “What the Flowers in the Meadow Tell Me” 6. “What the Cuckoo Tells Me” (Scherzo) 7. “What the Child Tells Me” At this stage, the work seems to have existed in Mahler’s mind as a kind of “nature symphony,” with flowers and animals but no humans or angels; the addition of human voices and sung texts | 9

THE MUS I C

of this first movement. (Although the was not yet part of the scheme. Mahler stages often share the same thematic also thought of adopting the title of material, they can be readily distinguished another book by Nietzsche, Diefröhliche Wissenschaft (The Happy Science), as the by ear.) The first is the fanfare for eight overall title of his symphony, either in its horns with which the symphony opens. original form or changed to Meine fröhliche The second is a string of melodic fragments in a tragic mood in a low register, Wissenschaft (My Happy Science). By the initially dominated by the brass instrutime of the symphony’s publication in ments. The third is a series of folklike 1898, though, the work had solidified to themes of an ethereal quality, played six movements and Mahler had dropped mainly by woodwinds or solo violin. All all programmatic titles.

The last decision to be made involved moving the Adagio, the “Love” movement, It is the most carefree music I from third place to the end of the symhave ever written, as carefree as phony (a rather unusual choice, coming only flowers can be. It all sways only two years after Tchaikovsky’s and ripples like flowers on “Pathétique” Symphony, which also ended limber stems sway in the wind. with a slow movement). This decision — Gustav Mahler had important philosophical consequences. As Mahler himself explained: of these thematic materials are static “In the Adagio, everything is resolved in at first. Motion is introduced eventually, the calm of existence. The Ixion’s wheel as a monumental march — the fourth of appearances finally stops turning.” stage — develops, combining the “fanfare” (Ixion was a king in Greek mythology, and “folklike” material with lively punished by Zeus for his love for Hera by being bound on an eternally revolving rhythmic accompaniment. The first time, the march is unable to proceed for very wheel in the underworld.) long before being interrupted by the The first movement — which was three static groups of themes. The second actually written last — is, by size at least, time, however, as the music starts once almost a complete symphony in itself. more from silence as it has so often Some critics, including admirers of Mahler, have found this movement ramb- before, the march grows triumphantly ling and diffuse, with its sections discon- to the final climax.

The second movement had the title nected and incoherent. However, it is “Blumenstück” (Flower Piece) when it possible that the main idea behind the was performed separately — a holdover movement is precisely the creation of order out of chaos, the emergence of clear from Mahler’s original program. Mahler described this movement to his friend directions out of a state of aimlessness.

Natalie Bauer-Lechner: There are four stages in the unfolding 10 | 2024/2025 SEASON

It is the most carefree music I have ever written, as carefree as only flowers can be.

It all sways and ripples like flowers on limber stems sway in the wind. Today I realized to my surprise that the basses have nothing but pizzicato, not one firm stroke, and that the low, heavy percussion is not used at all.

On the other hand, the violins, again with a solo violin, have the most lively, flowing, and charming figures. … That this innocent flowery cheerfulness does not last but suddenly becomes serious and weighty, you can well imagine. A heavy storm sweeps across the meadow and shakes the flowers and leaves. They groan and whimper, as if pleading for redemption to a higher realm.

The movement is a (more or less) regular minuet with a highly irregular Trio section repeated twice. The grazioso tone of the minuet evokes the 18th century despite subtle touches in the orchestration (especially the harp writing) and in the phrase structures that betray the hand of a late Romantic composer. What makes the Trio so irregular is that it consists of three different sections, each in a different meter. In scholar Peter Franklin’s words: “Although [the Trio] ... cuts some odd capers and seems intent upon a developmental life of its own, the graceful minuet is prepared to surprise us with a coquettish smile when it returns.”

The third movement is based on one of Mahler’s early Wunderhorn songs, with the first line “Kuckuck hat sich zu Tode gefallen” (Cuckoo has fallen to its death).

The song ironically describes the cuckoo’s death with mock mourning, and then clevelandorchestra.com

goes on to celebrate the nightingale who will replace the cuckoo as the preferred singer in the forest. The scherzo expands on this song in much the same way the scherzo of the Second Symphony did on another Wunderhorn song, “St. Anthony of Padua’s Sermon to the Fishes.”

In the present work, the “cuckoo” song alternates between several contrasting episodes, including a memorable posthorn solo, which occurs twice in the movement. The posthorn, which used to announce the arrival of the mail in small Austrian towns, has its own literarymusical tradition from Schubert’s Winterreise (Winter Journey) to several poems by Nikolaus Lenau, a Romantic poet cherished by Mahler. At its return, the “cuckoo” scherzo evolves into a more boisterous section (“grob!” or “rude!” instructs the score). A second hearing of the posthorn solo and a brief but very eventful coda close the movement.

The fourth movement brings an abrupt change of mood with a setting of Nietzsche’s “Midnight Song” from Zarathustra, for alto (or mezzo-soprano) solo. Out of a mysterious background of muted strings, the soloist begins on a single repeated pitch. The vocal line gradually becomes more and more elaborate, but the harmonies remain static and the dynamics extremely soft.

The image of pain is emphasized by an expressive violin solo.

The fifth movement, which follows without a break, is another complete contrast in mood. The happy chiming of the bells, children’s voices singing | 11

THE MUS I C

ven’s last string quartet (Op. 135) but the continuation is more in the spirit of Bruckner — one of the few times that Bruckner’s and Mahler’s styles bear a close resemblance to one another. The manuscript bears the following inscription, adapted from Des Knaben Wunderhorn:

With its vast structure and musical musings on life, love, philosophy, and nature, Mahler’s Third Symphony evokes the work of German Romantic artist Caspar David Friedrich, such as his famous 1818 painting Wanderer Above the Sea of Fog.

“bimm, bamm” (ding, dong) provide the background to a cheerful, folklike chorus on a text from Des Knaben Wunderhorn.

This movement shares a characteristic motif with the song “The Heavenly Life,” which was originally meant to be included in the Third Symphony but ultimately became the last movement of Mahler’s Fourth. The choral interjections “Du sollst ja nicht weinen” (No, you mustn’t weep) are Mahler’s own addition to the folk text.

The sixth movement follows the fifth with no break. All previous contrasts seem to be resolved in the peaceful calm of this music, Mahler’s first great symphonic Adagio. The opening theme quotes the slow movement of Beetho12 | 2024/2025 SEASON

The movement is based on two themes: a simple and soft D-major chorale and a more intense and dramatic minor-mode theme. The two themes and their variations alternate — and their developments include subtle recalls of fragments from the first and fifth movements. All these conflicting impulses are finally united in the powerful closing section, where the dynamics rise to fortissimo (Mahler warns: “not with raw force but with a saturated, noble tone”) as the monumental symphony reaches its glorious and ecstatic conclusion.

— Peter Laki Peter Laki is a musicologist and frequent lecturer on classical music. He is a visiting associate professor of music at Bard College.

Continue your journey with Mahler on Adella.live, featuring productions of the Second Symphony with Franz Welser-Möst and the Fourth Symphony with Daniel Harding.

IMAGE COURTESY OF LEBRECHT MUSIC & ARTS / ALAMY STOCK PHOTO

Father, look upon my wounds, Let no creature be lost!

1078168_Cleveland Orchestra_Week5_single_sw

Vater, sieh an die Wunden mein!

Kein Wesen lass verloren sein!

TH E S U NG TE XTS

Symphony No. 3 in D minor

by Gustav Mahler FOURTH MOVEMENT

Text from Also sprach Zarathustra (“Midnight Song”) by Friedrich Nietzsche MEZZO-SOPRANO

MEZZO-SOPRANO

O Mensch! Gib Acht!

Was spricht die tiefe Mitternacht?

Ich schlief!

Aus tiefem Traum bin ich erwacht!

Die Welt ist tief!

Und tiefer, als der Tag gedacht!

O Mensch! Tief!

Tief ist ihr Weh! Lust tiefer noch als Herzeleid!

Weh spricht: Vergeh!

Doch alle Lust will Ewigkeit!

Will tiefe, tiefe Ewigkeit!

Oh human, give heed!

What does deep midnight say?

I slept!

From deepest dream I have awakened!

The world is deep!

And deeper than the day had thought!

Oh human! Deep!

Deep is its woe!

Joy deeper still than heartbreak!

Pain speaks: Vanish!

But all joy seeks eternity, Seeks deep, deep eternity.

FIFTH MOVEMENT

Text from Des Knaben Wunderhorn, collected and edited by Achim von Amim and Clemens Brentano CHILDREN’S CHORUS

CHILDREN’S CHORUS

Bimm, bamm, bimm, bamm.

Bimm, bamm, bimm, bamm.

Ding, dong, ding, dong.

Ding, dong, ding, dong.

SOPRANO/ALTO CHORUS

SOPRANO/ALTO CHORUS

Es sungen drei Engel einen süssen Gesang, Mit Freuden es selig in dem Himmel klang, Sie jauchzten fröhlich auch dabei, Daß Petrus sei von Sünden frei.

Three angels were singing a sweet song: With joy it resounded blissfully in heaven.

They happily shouted with joy all together, That Peter was absolved from sin.

Und als der Herr Jesus zu Tische sass, Mit seinen zwölf Jüngern das Abendmahl ass, Da sprach der Herr Jesus: “Was stehst du denn hier?

Wenn ich dich anseh’, so weinest du mir!”

For as Lord Jesus sat at the table.

With his twelve disciples to eat supper, So spoke Lord Jesus: “Why are you standing here?

When I look at you, you weep!”

▶▶▶

▶▶▶

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▶▶▶

▶▶▶

MEZZO-SOPRANO

MEZZO-SOPRANO

Und sollt ich nicht weinen, du gütiger Gott?

And should I not weep, you kind God?

SOPRANO/ALTO CHORUS

SOPRANO/ALTO CHORUS

Du sollst ja nicht weinen!

Sollst ja nicht weinen!

No, you mustn’t weep!

You must not weep!

MEZZO-SOPRANO

MEZZO-SOPRANO

Ich hab übertreten die zehn Gebot.

Ich gehe und weine ja bitterlich.

I have trespassed against the Ten Commandments.

I go and weep bitterly.

SOPRANO/ALTO CHORUS

SOPRANO/ALTO CHORUS

Du sollst ja nicht weinen!

Sollst ja nicht weinen!

No, you mustn’t weep!

You must not weep!

MEZZO-SOPRANO

MEZZO-SOPRANO

Ach komm und erbarme dich!

Ach komm und erbarme dich über mich!

Ah, come and have mercy!

Ah, come and have mercy upon me!

CHILDREN’S CHORUS

CHILDREN’S CHORUS

Bimm, bamm, bimm, bamm.

Bimm, bamm, bimm, bamm.

Ding, dong, ding, dong.

Ding, dong, ding, dong.

SOPRANO/ALTO CHORUS

SOPRANO/ALTO CHORUS

Hast du denn übertreten die zehen Gebot, So fall auf die Knie und bete zu Gott, Liebe nur Gott in alle Zeit So wirst du erlangen die himmlische Freud’.

If you have trespassed against the Ten Commandments, Then fall on your knees and pray to God, Love only God forever, And you will attain heavenly joy.

CHILDREN’S CHORUS

CHILDREN’S CHORUS

Liebe nur Gott!

Die himmlische Freud’ ist eine selige Stadt, Die himmlische Freud’, die kein Ende mehr hat.

Love only God! Heavenly joy is a blessed city, Heavenly joy that has no end.

SOPRANO/ALTO & CHILDREN’S CHORUSES

SOPRANO/ALTO & CHILDREN’S CHORUSES

Die himmlische Freud’ war Petro bereit’t Durch Jesum und Allen zur Seligkeit.

Heavenly joy was prepared for Peter

By Jesus and for the salvation of all.

Bimm, bamm, bimm, bamm …

Ding, dong, ding, dong …

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TH E CO N DU C TOR

PHOTO BY MARCO BORGGREVE

Klaus Mäkelä FINNISH CONDUCTOR Klaus Mäkelä has held the position of chief conductor of the Oslo Philharmonic since 2020 and music director of the Orchestre de Paris since September 2021. He assumes the title of chief conductor of the Royal Concertgebouw Orchestra in September 2027 and in the same season, commences as music director of the Chicago Symphony Orchestra. An exclusive Decca Classics artist, he has recorded ballets

by Stravinsky and Debussy with the Orchestre de Paris. With the Oslo Philharmonic, he has released the complete Sibelius symphonies and Sibelius’s and Prokofiev’s first violin concertos with Janine Jansen.

Coinciding with performances at the Salzburg Festival and Musikfest Berlin, Decca Classics released Mäkelä and the Oslo Philharmonic’s new recording of Shostakovich symphonies (Nos. 4, 5, and 6) in August 2024. Shostakovich continues as a main focus in Mäkelä’s fifth season in Oslo, interwoven with the music of Bartók. Additional program highlights include Andrew Norman’s Play, Anders Hillborg’s MAX Concerto with Emanuel Ax, and Sibelius’s Lemminkäinen Suite.

Mäkelä’s fourth season with the Orchestre de Paris pays tribute to the anniversaries of both Ravel and Boulez and features music by other French composers, including Berlioz, Poulenc, and Messiaen. New commissions see the premieres of Thierry Escaich’s Lux

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Aeterna and Charlotte Bray’s A Sky Too Small. In addition to the 10th anniversary celebrations at home in the Paris Philharmonie, they tour extensively, with summer performances at the BBC Proms and Lucerne Festival, and guest performances across Europe. They complete the season by returning to Asia in June 2025.

Guest conducting engagements in the 2024–25 season include performances with The Cleveland Orchestra, London Symphony Orchestra, and Berliner Philharmoniker. Mäkelä also makes his first appearance with the Wiener Philharmoniker in Vienna and on tour. This season he is a Focus Artist at the Vienna Musikverein and Portrait Artist at the Essen Philharmonie and Brussels Bozar.

As a cellist, Mäkelä partners with members of the Oslo Philharmonic and Orchestre de Paris for occasional programs, and each summer, he performs at the Verbier Festival. | 19

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TH E ARTIST

PHOTO BY GERARD COLLETT

Jennifer Johnston Mezzo-soprano ESTEEMED MEZZO-SOPRANO Jennifer Johnston is recognized as one of the most important voices of her generation and is celebrated for her performances of works by Mahler, Wagner, Britten, and Elgar, among others. She was awarded the Royal Philharmonic Society’s Singer Award in 2021 in recognition of her “commitment and emotional force” to both performance and education.

Johnston’s reputation as a preeminent interpreter of Mahler is reflected in her 2024–25 season. Among her Mahler performances, she sings the Eighth Symphony with the London Philharmonic Orchestra under Edward Gardner, the Third Symphony with The Cleveland Orchestra under Klaus Mäkelä, the Second Symphony with the Orchestre Philharmonique Royal de Liège under Gergely Madaras, and Das Lied von der Erde with the Yomiuri Nippon Symphony Orchestra under Juraj Valčuha. Other highlights include Haydn’s Nelson Mass with the BBC Symphony Orchestra, Beethoven’s Ninth Symphony with the City of Birmingham Symphony Orchestra, and Felix Mendelssohn’s Lobgesang with Sinfonieorchester Basel.

On the operatic stage, Johnston has enjoyed a close collaboration with the Bayerische Staatsoper and returns this season as Brigitta in Simon Stone’s production of Korngold’s Die tote Stadt under Lothar Koenigs. In Munich, Johnston has sung over 80 performances, including

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as Mrs. Sedley (Peter Grimes), Second Norn (Götterdämmerung), Roßweise (Die Walküre), and La Ciesca (Gianni Schicci).

Highlights elsewhere include performances with the English National Opera, Glyndebourne Festival Opera, Salzburg Festival, and Festival d’Aix-en-Provence.

In huge demand on the concert platform, Johnston has collaborated with many of the world’s leading orchestras and enjoys a special relationship with the orchestra of her hometown, the Royal Liverpool Philharmonic, where she has been Artist in Residence and with whom she made her first solo recording, A Love Letter to Liverpool (Rubicon Classics).

A former BBC New Generation Artist and a graduate of Cambridge University and the Royal College of Music, Johnston has an extensive discography including Vaughan Williams’s Four Last Songs (Albion Records), Stravinsky’s Oedipus rex (LSO Live), Wagner’s Die Walküre (Waltraute) with Sir Simon Rattle and the Bayerischer Rundfunk Orchester, and Die tote Stadt with the Bayerische Staatsoper (named Gramophone’s 2022 Recording of the Year). | 21

TH E CLEV EL A N D ORCHESTR A CHORUS

Lisa Wong, Director of Choruses FRANCES P. AND CHESTER C. BOLTON CHAIR

Lisa Wong was appointed director of choruses for The Cleveland Orchestra in May 2018, after serving as acting director throughout the 2017–18 season. She joined the choral staff of The Cleveland Orchestra as assistant director of choruses at the start of the 2010–11 season, helping to prepare The Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. In 2012, she took on added responsibilities as director of The Cleveland Orchestra Youth Chorus.

In addition to her duties at Severance,

Wong is a faculty member at The College of Wooster, where she conducts the awardwinning Wooster Chorus and teaches courses in conducting and music education. Choirs under her direction have performed at the Central Division conference of the American Choral Directors Association and the state conference of the Ohio Music Education Association.

Wong has served as the Repertoire and Resource Chair for World Music and Cultures for the Ohio Choral Directors Association, as well as on the editorial board regarding culturally responsive pedagogy for the Ohio Music Education Association. Her previous academic posts include positions in public and private schools in New York, Pennsylvania, and Indiana.

Active as a clinician, guest conductor, and adjudicator, Wong serves regularly as a music panelist for the National Endowment for the Arts and Chorus America.

She holds a Bachelor of Science degree in music education from West Chester University, as well as Master of Music and Doctor of Music degrees in choral conducting from Indiana University.

The Cleveland Orchestra Chorus Now in its 73rd season, The Cleveland Orchestra Chorus is one of the few allvolunteer, professionally led choruses affiliated with a major American orchestra.

Founded in 1952 at the request of George Szell, it received the 2019 – 20 Distinguished Service Award, recognizing extraordinary service to the Orchestra.

22 | 2024/2025 SEASON

SOPRANOS

Hope Klassen-Kay

ALTOS

Abigail Patton

Amy Foster Babinski

EvaCecilia Koh

Rachel Ader

Andrea Pintabona

Claudia Barriga

Kate Macy

Emily Austin

Ina Stanek-Michaelis

Jesse Bobbitt

Grace Mino

Laurel Babcock

Melanie Tabak

Emily Carlson

Clare Mitchell

Debbie Bates

Rachel Thibo

Signe Carlson

Julie Myers-Pruchenski

Riley Beistel

Kristen Tobey

Yu Ching Ruby Chen

S. Mikhaila Noble-Pace

Carla Cashman

Laure Wasserbauer

Amanda Cobes

Jennifer Heinert O’Leary

Barbara J. Clugh

Caroline Willoughby

Caitlin DiFranco

Katie Paskey

Olivia Culp

Leah Wilson

Maddie Dirrim

Ava Paul *

Carolyn Dessin

Jennifer R. Woda

Emily Engle

Victoria Peacock

Amber Dimoff

Debra Yasinow

Elisha Evanko

Elizabeth Stockton Perkins

Melody Bellora Edmondson

Lynne Leutenberg Yulish

Sarah Peterson

Brooke Emmel

* Shari Bierman Singer Fellow

Grace Prentice

Megan Fought

Jylian Purtee

Shawna Hill

Lisa M. Ramsey

Karen S. Hunt

Cara Rovella

Sarah Hutchins

Emma Russell

Maggie Keverline

Aanchal Saraf

Rebecca King

Martell Savage

Kristi Krueger-O’Grady

Ellie Smith

Zoe Kuhn

Megan Tettau

Taylor Mills Logan

Angel Victoria Tyler

Danielle S. McDonald

Meagan Ulery

Karla McMullen

Sharilee Walker

Holly Miller

Molly Falasco Lisa Fedorovich Samantha Garner Jennifer Gilles Jinle Glover Julia Halamek Rebecca S. Hall Sarah Henley Lisa Hrusovsky Rachel Imhoff PHOTOS BY ROGER MASTROIANNI

Amber Jackson Shannon R. Jakubczak Kiersten Johnson Sarah Jones-Gould Katie Kitchen *

Daniel J. Singer Assistant Director Daniel Overly Collaborative Pianist Jill Harbaugh Director, Choral Operations Lisa Fedorovich Chair, Operating Committee

Peggy A. Norman Dawn Ostrowski

clevelandorchestra.com

| 23

THE CLEVELAN D ORCHESTR A CHILDRE N ’ S CHORUS

Jennifer Rozsa, Director The Cleveland Orchestra Children’s Chorus Jennifer Rozsa earned her master’s and bachelor’s degrees in music education with an emphasis in the Kodály Philosophy from Capital University’s Conservatory of Music in Columbus, Ohio, and her Orff-Shulwerk certification from the San Francisco Orff Course. Previously, Rozsa taught K–8 general music and choir in public, private, and charter schools in Ohio, California, and Chicago.

She has presented general music sessions at the Ohio Music Education Association, Organization of American Kodály Educators, Cincinnati Orff Course, and at the Greater Cleveland Orff Chapter workshops. Rozsa performs as a mezzosoprano, sings with the Cleveland Chamber Choir, and teaches K–4 general music in Solon, Ohio.

The Cleveland Orchestra Children’s Chorus was formed in the spring of 1967 under the direction of Jane Barker Casey to provide a high-quality choral group for the many orchestral works written for children’s voices, and to offer choral training to school children in the Cleveland area. The Children’s Chorus performs annually with The Cleveland Orchestra and Cleveland Orchestra Chorus at Severance Music Center, including at the annual Holiday Concerts. Over the decades, their extensive performance history has included such major works as J.S. Bach’s St. Matthew Passion, Britten’s War Requiem, Berlioz’s Te Deum and Damnation of Faust, Orff’s Carmina Burana, and John Adams’s El Niño. The Chorus also performs regularly at community events and has sung the national anthem for Cleveland Guardians, Cleveland City Stars, and Cleveland Browns home games.

24 | 2024/2025 SEASON

PHOTO BY ROGER MASTROIANNI

The Cleveland Orchestra Children’s Chorus

Audrey Almeda

Liam Foy

Lena Rajdeva Malik

Wrenn Warren

Koen Antal

Ellis Freer

Willow Moran

Hamish Waters

Ellie Armstrong

Christina Gomez

Hollis Neimeister

Magdalene Whitaker

Freddie Averre

Olivia Marie Gordy

Zaria A. Nowlin

Cecilia Young

Marina Bendaly

Emerson Greene

Elias Oetama-Paul

Brina Yuan

Elise Breitzmann

Julia Hanna

Elizabeth Parashchak

Rose Brittan-Wille

Violet Hersh

Gianna Paternite

Macey Caraballo

Hannah W. Hitchcock

Dazzlyn Praveen

Emma Carroll

Todd Jiang

Caroline Reidhead

Madeleine Park Colman

Dianna Kerze

Reagan Robinson

Aven Crasto

Sabrina Kerze

Elena Schneider

Bryn Crasto

Eugene Kim

Corrina Schriver

Giuliana Del Re

Dimitri Kosteas

Arielle Simler

Lili Deosaran

Mina Krasney

Zofia Simpson

Dashiell Dye

Adalyn Kropinak

Liliana Stamm

Essa Eichhorn

Mirabelle Kwok

Savannah Stephan

Alisz Fabian

Libby Lutzko

Viola Strom

Reed Fleischhacker

Payton Lybbert

Sherie Sun

Evie Forman

Krisha Mahangare

Hollie Tennant

Lauren Malbasa

Julia Vitatoe

clevelandorchestra.com

Jacob Young Assistant Director Jacob Bernhardt Collaborative Pianist Angel Tyler Children’s Choruses Manager

| 25

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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

@ClevelandOrchestra

clevelandorchestra.com

@Cleveorch

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.

@CleveOrchestra

@clevelandorchestra

| 27

TH E CLEV EL A N D ORCHESTR A

Franz Welser-Möst, Music Director KELVIN SMITH FAMILY CHAIR FIRST VIOLINS

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

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Jeffrey Rathbun2 Everett D. and Eugenia S. McCurdy Chair

Sonja Braaten Molloy

Ralph Curry

Robert Walters

Carolyn Gadiel Warner Elayna Duitman

Brian Thornton William P. Blair III Chair

ENGLISH HORN

Ioana Missits

David Alan Harrell

Jeffrey Zehngut^

Martha Baldwin

Sae Shiragami

Dane Johansen

Stephen Tavani

Kathleen Collins

Paul Kushious

CLARINETS

ASSISTANT CONCERTMASTER

Beth Woodside

BASSES

Afendi Yusuf* Robert Marcellus Chair

Emma Shook Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

Maximilian Dimoff* Clarence T. Reinberger Chair

Liyuan Xie FIRST ASSOCIATE CONCERTMASTER

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

Gretchen D. and Ward Smith Chair

Dr. Ronald H. Krasney Chair

Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair Kim Gomez Elizabeth and Leslie Kondorossy Chair Chul-In Park Harriet T. and David L. Simon Chair Miho Hashizume Theodore Rautenberg Chair 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

Yun-Ting Lee Jiah Chung Chapdelaine Gawon Kim

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

Derek Zadinsky2 Charles Paul1 Mary E. and F. Joseph Callahan Chair Mark Atherton

Daniel McKelway Stanley L. and Eloise M. Morgan Chair

Scott Dixon

HARP Trina Struble* Alice Chalifoux Chair

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

Isabel Trautwein Trevor and Jennie Jones Chair

Eliesha Nelson^ Anthony and Diane Wynshaw-Boris Chair

Katherine Bormann

Joanna Patterson Zakany

Analisé Denise Handke Gladys B. Goetz Chair Zhan Shu

William Bender Thomas Lauria and Christopher Lauria Chair

Youngji Kim

Gareth Zehngut^

CELLOS

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

Genevieve Smelser

SECOND VIOLINS Stephen Rose* Alfred M. and Clara T. Rankin Chair Jason Yu2 James and Donna Reid Chair

Mark Kosower* Louis D. Beaumont Chair Richard Weiss1 The GAR Foundation Chair Charles Bernard2 Helen Weil Ross Chair Bryan Dumm Muriel and Noah Butkin Chair

28 | 2024/2025 SEASON

Amy Zoloto

E-FLAT CLARINET

Charles Carleton

Lembi Veskimets The Morgan Sisters Chair

Daniel McKelway2 Robert R. and Vilma L. Kohn Chair

Henry Peyrebrune Charles Barr Memorial Chair

Mark Jackobs Jean Wall Bennett Chair

Richard Waugh

Robert Woolfrey Victoire G. and Alfred M. Rankin, Jr. Chair

Thomas Sperl

Stanley Konopka2

Lisa Boyko Richard and Nancy Sneed Chair

Robert Walters Samuel C. and Bernette K. Jaffe Chair

BASS CLARINET Amy Zoloto Myrna and James Spira Chair

BASSOONS John Clouser* Louise Harkness Ingalls Chair Gareth Thomas Jonathan Sherwin

Saeran St. Christopher Jessica Sindell2^ Austin B. and Ellen W. Chinn Chair

CONTRABASSOON

Mary Kay Fink

HORNS

PICCOLO

Nathaniel Silberschlag* George Szell Memorial Chair

OBOES Frank Rosenwein* Edith S. Taplin Chair Corbin Stair Sharon and Yoash Wiener Chair

Jonathan Sherwin

Michael Mayhew§ Knight Foundation Chair Jesse McCormick Robert B. Benyo Chair Hans Clebsch Richard King Meghan Guegold Hege^

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 Charles M. and Janet G. Kimball Chair

* Principal § Associate Principal 1

First Assistant Principal

2 Assistant Principal

^ Alum of The Cleveland

Orchestra Youth Orchestra

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.

| 29

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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

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32 | 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 34 | 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 36 | 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.

38 | 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 2. 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? ▶ ▶ ▶ | 39

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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.

40 | 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.

Your Concert Getaway . . .

The Lotus Club Relax before concerts and during intermission in the comfort of the Lotus Club with a full-service bar, light snacks, and private restrooms.

You can unlock membership to the Lotus Club all season long with your donation of $600 or more, or just $50/month.

Give today! clevelandorchestra.com/give 216-456-8400 Find the benefits and giving level that are right for you at clevelandorchestra.com/benefits

24 /25 SEASON

CALE N DAR FALL

NOV 21–23 MAHLER’S SONG OF THE EARTH

WINTER

OCT 31 & NOV 2 TAN DUN CONDUCTS TAN DUN

Franz Welser-Möst, conductor Limmie Pulliam, tenor Iurii Samoilov, baritone

JAN 9, 11 & 12 AN AMERICAN IN PARIS

Tan Dun, conductor Marc Damoulakis, percussion

PROKOFIEV Symphony No. 7 MAHLER Das Lied von der Erde

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

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

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

FEB 7–9 ALSO SPRACH ZARATHUSTRA

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

Thomas Guggeis, conductor Mark Kosower, cello

DEC 5–7 AX PLAYS MOZART

FEB 13 & 15 BRUCKNER’S SEVENTH

Pablo Heras-Casado, conductor Emanuel Ax, piano

Fabio Luisi, conductor Tim Mead, countertenor

MOZART Piano Concerto No. 20 SHOSTAKOVICH Symphony No. 10

SILVIA COLASANTI Time’s Cruel Hand BRUCKNER Symphony No. 7

Franz Welser-Möst, conductor Igor Levit, piano BEETHOVEN Piano Concerto No. 1 BEETHOVEN Piano Concerto No. 5, “Emperor”

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

RAVEL La valse

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

For tickets & more information visit:

clevelandorchestra.com 42 | 2024/2025 SEASON

FEB 23 ÓLAFSSON & WANG IN RECITAL

SPRING

MAY 8–10 MOZART’S SYMPHONY NO. 40

RECITAL

Franz Welser-Möst, conductor

Víkingur Ólafsson, piano Yuja Wang, piano

MAR 27 ANDSNES IN RECITAL

MOZART Symphony No. 40 ALLISON LOGGINS-HULL New Work PROKOFIEV Symphony No. 3 *

RECITAL

BERIO Wasserklavier SCHUBERT Fantasie in F minor CAGE Experiences No. 1 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 6–9 TCHAIKOVSKY’S FOURTH SYMPHONY Franz Welser-Möst, conductor Seong-Jin Cho, piano RAVEL Rapsodie espagnole RAVEL Piano Concerto in G major TCHAIKOVSKY Symphony No. 4

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 HAYDN & STRAVINSKY Franz Welser-Möst, conductor HAYDN Symphony No. 52 STRAVINSKY Pétrouchka

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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

RECITAL MAY 7 KISSIN IN RECITAL

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

Evgeny Kissin, piano 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

* Not performed on the Friday matinee concert Generous support for the 2024–25 Recital Series provided by the Reyzis Family Foundation

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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

46 | 2024/2025 SEASON

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 48 | 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.” | 49

SN APSH OTS MANDEL OPERA & HUMANITIES FESTIVAL: POWER

1

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.

6

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.

52 | 2024/2025 SEASON

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 Catherine Park smile for the camera during the reception held at Knight Grove at Blossom Music Center.

6

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

56 | 2024/2025 SEASON

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.