The Cleveland Orchestra November 21-23 Concerts

SEASON

Tchaikovsky & Sibelius NOVEMBER 21–23, 2024

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

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PAG E 3 Introduction PAG E 7

TH IS WE EK ’ S PROG R AM Tchaikovsky & Sibelius Santtu-Matias Rouvali, conductor

Overture to Maskarade (page 8)

by Carl Nielsen

Violin Concerto in D major, Op. 35 (page 11)

by Pyotr Ilyich Tchaikovsky Stefan Jackiw, violin

Symphony No. 1 in E minor, Op. 39 (page 14)

by Jean Sibelius

Conductor & Artist Biographies (page 21) PAG E 33

TCO SPOTLIG HT Feature articles & musician interviews 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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I N TRO DUC TI O N “THE RUSSIAN COMPOSER Tchaikovsky is surely not an ordinary talent, but rather an inflated one, with a genius-obsession without discrimination or taste.” So opens the review the influential critic Eduard Hanslick wrote after the Vienna premiere of Tchaikovsky’s Violin Concerto in December 1881. Though tinged with more than a hint of passive-aggressiveness, Hanslick quickly let his true feelings of Tchaikovsky’s work be known. The rest of the review — which is worth quoting at length — reads as follows:

PHOTO BY CAMILLA GREENWELL

Such is also his latest, long and pretentious Violin Concerto. For a while it moves soberly, musically, and not without spirit. But soon vulgarity gains the upper hand, and asserts itself to the end of the first movement. The violin is no longer played; it is pulled, torn, drubbed.

The Adagio is again on its best behavior, to pacify and to win us. But it soon breaks off to make way for a finale that transfers us to a brutal and wretched jollity of a Russian holiday.

We see plainly the savage vulgar faces, we hear curses, we smell vodka. Friedrich Vischer once observed, speaking of obscene pictures, that they stink to the eye. Tchaikovsky’s Violin Concerto gives us for the first time the hideous notion that there can be music that stinks to the ear.

Tchaikovsky would ultimately have the last laugh, as his Violin Concerto has gone on to become one of the most performed and beloved of all instrumental concertos, a spectacular vehicle for violinists everywhere (including tonight’s soloist, Stefan Jackiw).

This weekend’s concerts — led by guest conductor Santtu-Matias Rouvali (above) in his Cleveland Orchestra debut — feature two other works that, as luck would have it for their composers, were met with immediate acceptance from the general public.

Jean Sibelius was hailed as a major musical figure upon the premiere of his First Symphony in 1899. Perhaps even more remarkable is that, from its stark opening bars, the work reveals the voice of an already mature composer, who would soon go on to help redefine the symphony for the 20th century.

Danish composer Carl Nielsen would also pen a series of groundbreaking symphonies during his career. Opening this concert, though, is the light and frothy overture to his 1906 opera Maskarade, a work that remains an enduring favorite in his home country. — Kevin McBrien

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TH E M USIC

Tchaikovsky & Sibelius Thursday, November 21, at 7:30 PM Friday, November 22, at 7:30 PM Saturday, November 23, at 8 PM

Concert Preview featuring a conversation with violinist Stefan Jackiw Reinberger Chamber Hall one hour prior to performance

Santtu-Matias Rouvali, conductor Carl Nielsen (1865–1931)

Overture to Maskarade

5 minutes

Pyotr Ilyich Tchaikovsky (1840–1893)

Violin Concerto in D major, Op. 35

35 minutes

Jean Sibelius (1865–1957)

I. Allegro moderato II. Canzonetta: Andante — III. Finale: Allegro vivacissimo Stefan Jackiw, violin I NTERMISSION

20 minutes

Symphony No. 1 in E minor, Op. 39

40 minutes

I. Andante, ma non troppo — Allegro energico II. Andante, ma non troppo lento III. Scherzo: Allegro — Lento (ma non troppo) — Tempo I IV. Finale (Quasi una Fantasia): Andante — Allegro molto Total approximate running time: 1 hour 40 minutes

PHOTO OF STEFAN JACKIW BY SOPHIE ZHAI

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The works originally scheduled for this program — Prokofiev’s Seventh Symphony and Mahler’s Das Lied von der Erde, featuring tenor Limmie Pulliam and baritone Iurii Samoilov — will now be performed in the 2025–26 season. We appreciate your understanding and look forward to sharing these performances with you soon.

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THE MUS I C

Overture to Maskarade

by Carl Nielsen BORN : June 9, 1865, in Sortelung, Denmark DIED : October 3, 1931, in Copenhagen

▶ COMPOSED: 1906 ▶ WORLD PREMIERE: November 11, 1906, with the composer conducting ▶ CLEVELAND ORCHESTRA PREMIERE : November 25, 1966, led by Max Rudolf ▶ ORCHESTRATION : 3 flutes (3rd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals), and strings ▶ DURATION : about 5 minutes

CARL NIELSEN’S HIGHLY PERSONAL

amalgam of traditional and modern styles is evident in his comic opera Maskarade, which is a perennial hit in Denmark, though scarcely known to the rest of the world. It is a supremely funny and entertaining work, based on a classic of Scandinavian literature, Ludvig Holberg’s 1724 comedy of the same name. (Holberg, claimed by both Danes and Norwegians as a major literary figure, was memorialized by Grieg in his popular Holberg Suite.)

The plot of the opera has been aptly summarized by Steven Ledbetter, former program annotator of the Boston Symphony Orchestra: Two fathers have arranged for the son of one to marry the daughter of the other.

But their children (who have never set eyes on each other) have other plans. Both of them have been out celebrating the 8 | 2024/2025 SEASON

carnival season in the required costume and mask, and both have fallen in love with a stranger. The two fathers are distressed; the two young people are steadfast in their determination not to bow to the parental will. Of course, as the audience will have guessed from the first scene, they have actually managed to fall in love with the mates proposed by their parents, though it takes a good deal of confusion and much-mistaken identity on the part of the maskers to bring about this resolution.

In addition to mistaken identities, the masquerade obliterates all social differences: one doesn’t know who is a nobleman and who is a servant.

And — even more importantly for an opera — the masquerade allows for lots of song and dance, which is what the overture evokes. The melodies are simple and catchy, though they are worked out with a great deal of sophisti-

IMAGE COURTESY OF WIKIMEDIA COMMONS

Carl Nielsen (photographed here in 1908) achieved fame for a distinctive body of work that merged modern and folk styles.

cation, with busy contrapuntal activity and extremely colorful orchestral writing.

One may distinguish three sections: the overture opens and closes with a theme announcing the masquerade (it also is clevelandorchestra.com

used later in the opera); in between, the dancers take center stage, their performance starting out tender and lyrical and becoming furioso towards the end.

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

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IMAGE COURTESY OF WIKIMEDIA COMMONS

THE MUS I C

Violin Concerto in D major, Op. 35

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

▶ COMPOSED: 1878 ▶ WORLD PREMIERE: December 4, 1881, with Adolph Brodsky as soloist and Hans Richter conducting the Vienna Philharmonic Orchestra ▶ CLEVELAND ORCHESTRA PREMIERE: February 13, 1921, at the New York Hippodrome, conducted by Music Director Nikolai Sokoloff and featuring soloist Mishel Piastro ▶ ORCHESTRATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings, plus solo violin ▶ DURATION: about 35 minutes

opinions about what a violin concerto ought to be. great masterpieces that met with negaThe great violinist and teacher tive criticism at their premiere, but few Leopold Auer, for whom Tchaikovsky have fared worse than Tchaikovsky’s had written the concerto, rejected it.

Violin Concerto. This may sound surprising, since this work — now one of the And the Viennese critic Eduard Hanslick, most popular of all concertos — is devoid a friend of Brahms and a fierce opponent of the revolutionary spirit of Stravinsky’s of Wagner, uttered the immortal phrase after the 1881 premiere that the concerto riot-inciting The Rite of Spring, Wagner’s “stank to the ear.” The harshness and enraging Ring of the Nibelung operas, vulgarity of these opinions could not or Beethoven’s unprecedented Third Symphony, to name just three works that help but exacerbate Tchaikovsky’s depressive tendencies, which were rarely generated heated controversies at their unveilings. Yet, at the time of its premiere, far from the surface. The composer never forgot Hanslick’s caustic remarks.

Tchaikovsky’s work clashed with the Why such unusually strong resistance expectations of people who had strong to a work that did not attempt to challenge the existing world order but Pyotr Ilyich Tchaikovsky helped usher the Russian classical tradition into the 20th simply aspired to be a brilliant and century, paving the way for later figures such beautiful violin concerto? as Stravinsky and Shostakovich.

THERE IS CERTAINLY NO SHORTAGE of

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Heifetz, and Efrem Zimbalist.

Tchaikovsky wrote his Violin Concerto in the spring of 1878. In order to recover from the recent trauma of his ill-fated and short-lived marriage to Antonina Milyukova, the composer retreated to the Swiss village of Clarens, on the shores of Lake Geneva, accompanied by his brother Modest and a 22-year-old violinist named Yosif Kotek, who assisted him in matters of violin technique.

The composition progressed so effortlessly that the whole concerto was written in only three weeks, with an

Lyrical and dramatic, robustly folklike and tenderly sentimental moments follow one another without the slightest incongruity, just as a variety of elements had in [Tchaikovsky’s] First Piano Concerto, written three years earlier.

As for Auer, the novel technical demands of the piece may have seemed out of place to him. He was later quoted as feeling that certain passages were “not in keeping with the demeanor of the violin,” as he knew the instrument. To his credit, once others introduced the concerto, Auer became a great advocate for it — although, he modified passages to conform to his view of how they should have been written. As one of the great violin teachers of his era, Auer taught the work to many of his star pupils, including Mischa Elman, Jascha 12 | 2024/2025 SEASON

extra week taken up by the orchestration.

During this time, Tchaikovsky wrote not only the three concerto movements that we know, but a fourth one as well. The initial second movement, Méditation, was rejected at an early run-through and replaced with the present Canzonetta, written in a single day. Due to Auer’s initial unfavorable reaction, it took three years for a violinist to agree to perform the work. The premiere fell to Adolph Brodsky, a 30-year-old Russian-born virtuoso living in Vienna, about to make his Vienna Philharmonic debut.

IMAGE COURTESY OF WIKIMEDIA COMMONS

In Hanslick’s case, the answer may lie in the critic’s inability to accept symphonic music outside of Germanic traditions. The first great violin concerto to come from Russia, Tchaikovsky’s work struck a chord that was disconcertingly foreign in Vienna. (While Hanslick thought of Tchaikovsky as a Russian barbarian, ironically in Russia, the composer was considered a “Westernizer” whose music was not as truly Russian as that exemplified by the work of the group of composers known as the “Mighty Five.”)

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THE MUS I C

One of the things that makes this concerto so great is the ease with which Tchaikovsky moves from one mood to the next. Lyrical and dramatic, robustly folklike and tenderly sentimental moments follow one another without the slightest incongruity, just as a variety of elements had in the First Piano This charming statue of Tchaikovsky can be found in Klin, Russia, close to the house where the composer lived from 1892 until his death in 1893.

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Concerto, written three years earlier.

Another remarkable feature is the combination of virtuosity with emotional depth. Although the technical difficulties of the solo part are tremendous, every note exudes a poignancy beyond virtuosic fireworks. All in all, it is one of the greatest violin concertos ever written, and no critic after Hanslick has ever challenged its status again or smelled anything unpleasant in the work!

— Peter Laki

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THE MUS I C

Symphony No. 1 in E minor, Op. 39

by Jean Sibelius BORN : December 8, 1865, in Hämeenlinna, Finland DIED : September 20, 1957, in Järvenpää, Finland

▶ COMPOSED: 1898–99 ▶ WORLD PREMIERE : April 26, 1899, with the composer conducting the Helsinki Philharmonic ▶ CLEVELAND ORCHESTRA PREMIERE : January 6, 1921, led by Music Director Nikolai Sokoloff ▶ ORCHESTRATION : 2 flutes (both doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, triangle), harp, and strings ▶ DURATION : about 40 minutes

MANY OF US THINK OF Jean Sibelius primarily as a symphonist, yet he did not embark on his First Symphony until he was well into his thirties. Like Richard Strauss, who was only a year older, he had dabbled unsuccessfully in opera but was best known for a series of tone poems — in Sibelius’s case, tone poems with Finnish subjects. Strauss soon renewed his efforts in opera, to great success. Sibelius, instead, built a solid and lasting achievement in his seven symphonies, the last dating from 1924.

We could equally compare Sibelius to Beethoven, who also waited until he was 30 before producing the first of his immortal nine symphonies.

Sibelius first studied law in Helsinki before shifting to music, taking courses in Berlin and Vienna. His home country,

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Finland, was aflame with patriotic sentiment in reaction to Russia’s repressive control, so in response, his early orchestral works were based on the Finnish national epic, the Kalevala.

His stirring overture Finlandia brought him wide support and celebrity.

Sibelius knew, however, that a reputation beyond the borders of his country would depend on music with a broader international appeal. He had always shown a capacity for thinking on a large scale, and this suggested that the symphony might be the sphere in which he would excel.

Jean Sibelius sparked a sense of national pride with his early works, which evoked Finnish legends and folktales, before moving on to composing symphonies.

IMAGE COURTESY OF THE LIBRARY OF CONGRESS

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THE MUS I C

But Sibelius was at first thinking not so much in terms of Beethoven’s symphonies as those of Borodin, Tchaikovsky, and Bruckner, whose works impressed him deeply. During a stay in Berlin in 1898, he also heard Berlioz’s Symphonie fantastique and noted in his sketchbook: “O holy inspiration! O holy goddess!”

Sibelius began work on his First Symphony soon after. The work was completed in 1899, and with it came international renown. Sibelius was invited to conduct his music in Stockholm, Paris, Heidelberg, and Berlin. He acquired a publisher in Leipzig (German publishers were then

down European prejudices about composers from remote parts.

For the first half of the 20th century, Sibelius’s reputation in Britain and the United States was at the level where Mahler’s is now — his creations were deemed the pinnacle of the modern symphony. The English critic Cecil Gray roundly declared Sibelius to be “the greatest master of the symphony since the death of Beethoven.” His more measured colleague Ernest Newman said of the First Symphony: “The impression it makes is that here we have a man really saying things that have never been said in music before. Every page of it breathes of another manner of thought,

The impression [Sibelius’s symphony] makes is that here we have a man really saying things that have never been said in music before.

Every page of it breathes of another manner of thought, another way of living, even another landscape and seascape than ours.

— Ernest Newman

considered the most prestigious) and met Dvořák in Prague. All of this pushed his acclaim at home to such a level that he was awarded a Finnish state pension for life and was able to resign from his teaching post at Helsinki University.

There were to be dark times ahead, when poor health, money problems, too much drinking, and anxiety about his standing in contemporary music dogged him, but for the first few years of the 20th century, Sibelius was riding high. For a period of years, he produced important works regularly, breaking 16 | 2024/2025 SEASON

another way of living, even another landscape and seascape than ours.”

For many today, the First Symphony will most readily be compared to the last two from Tchaikovsky. Like Tchaikovsky’s Fifth, it is in the key of E minor and the opening movement begins with an important theme laid out by the clarinet. It also concludes with a grandioso reprise of the Finale’s second theme. Some of Bruckner’s breadth will be observed too, as Sibelius presents long, unhurried “paragraphs” of music, scored without fussiness.

PHOTO BY FREDRIK GEORG RUNEBERG, COURTESY OF FINNA .FI

Jean Sibelius sitting on the grounds of his beloved home, Ainola (named after his wife Aino), in 1939. By this time, he had retired from composition, even though he would live another 18 years before his death in 1957.

The clarinet’s theme is not heard again until the last movement, but it supplies hints of some of the themes to come. It is immediately followed by the opening movement’s Allegro section, in which a succession of distinct themes are heard, one of them using the stirring scoring of violins and cellos in octaves. The first climax is reached

by Tchaikovsky’s method of pushing the top notes ever higher and the bottom notes ever lower.

One telling characteristic of Sibelius’s writing is his habit of allowing the music to change tempo, sometimes almost unnoticed, speeding up over a long repetitive passage and then either arriving at a new faster tempo or reverting to the earlier slower tempo. Over these mild disturbances, the first movement leaves an impression of powerful organic growth all the way to the final thunder on the timpani.

The second movement has the flavor of a lament, which eventually begins to grow in strength and speed. The pace at length reaches double the original tempo, allowing the original theme to return underneath the scurrying texture and bring back the sense of calm and serenity with which it started. This is an example of Sibelius’s craft at its best.

The timpani suggests the theme of the speedy Scherzo third movement, which involves some clever dialogue between winds and strings. The movement’s Trio clevelandorchestra.com

section is a little slower, echoing material from the previous two movements.

It is a full-blooded reprise of the clarinet’s original theme that opens the Finale fourth movement, which is accompanied by the Beethovenian expressive marking Quasi una Fantasia (In the style of a fantasia). Now on full strings, this gives way almost at once to a section in Allegro tempo, with a restless first theme and broad second theme laid out by all the violins in their lowest register, destined to become a grand statement that will bring this symphony to an equally grand conclusion.

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

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TH E CO N DU C TOR

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Santtu-Matias Rouvali THE 2024–25 SEASON is Santtu-Matias Rouvali’s final as chief conductor of the Gothenburg Symphony Orchestra following a successful eight-year tenure.

He continues as principal conductor of the Philharmonia Orchestra and honorary conductor of the Tampere Philharmonic Orchestra.

Throughout this season and last, he continues his relationships with toplevel orchestras and soloists across Europe, including the Berliner Philharmoniker, Orchestre Philharmonique de Radio France, Orchestra dell’Accademia Nazionale di Santa Cecilia, Royal Concertgebouw Orchestra, TonhalleOrchester Zürich, and returns to North America for concerts with New York Philharmonic and Chicago Symphony Orchestra. This season, he also makes his debut with The Cleveland Orchestra.

Continuing their strong touring tradition, Rouvali and the Philharmonia Orchestra toured Finland and Estonia in fall 2024 and will be joined by Javier Perianes for a tour of Spain in spring 2025. In January 2025, they embark on an extensive tour to Japan, with concerts in cities including Tokyo, Osaka, and Fukuoka.

The end of Rouvali’s tenure with the Gothenburg Symphony Orchestra is marked by a tour to Germany and the Czech Republic, followed by a celebration concert in Gothenburg. He completes his Sibelius symphony cycle recording with Alpha Classics, the previous releases of

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which have been highly acclaimed with awards, including the Gramophone Editor’s Choice Award, the Choc de Classica, a prize from the German Record Critics, the prestigious Diapason d’Or, and Radio Classique’s Trophée.

Philharmonia Records’ first release — the double album Santtu Conducts Strauss — was released in March 2023 following recent releases of Tchaikovsky’s Swan Lake and Prokofiev’s Fifth Symphony. Santtu Conducts Mahler — the second album from Philharmonia Records, featuring Mahler’s Second Symphony — was released in September 2023 followed by Santtu Conducts Stravinsky on the same label in March 2024.

Another prominent album — featuring Beethoven’s Triple Concerto with Benjamin Grosvenor, Nicola Benedetti, and Sheku Kanneh-Mason — was released on Decca in May 2024. | 21

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TH E ARTIST

PHOTO BY SOPHIE ZHAI

Stefan Jackiw, Violin STEFAN JACKIW IS ONE OF America’s foremost violinists, captivating audiences with playing that combines poetry and purity with impeccable technique. Hailed for playing of “uncommon musical substance” that is “striking for its intelligence and sensitivity” (Boston Globe), Jackiw has appeared as a soloist with the orchestras of Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco, among others.

Jackiw’s 2024–25 season is studded with performances in the United States, Europe, and Asia. He will join the National Symphony Orchestra of Ireland under Hans Graf’s baton, perform Sibelius’s Violin Concerto with the Erie Philharmonic and Jacksonville Symphony, join the Pasadena Symphony for Mozart’s Fifth Violin Concerto, and appear with The Florida Orchestra in Korngold’s Violin Concerto. Jackiw will also hold residence at the San Francisco Conservatory of Music in winter 2025, where he will lead performances and masterclasses.

Jackiw tours frequently with his musical partners, pianist Conrad Tao and cellist Jay Campbell, as part of the Junction Trio. He also enjoys collaborating with pianist Jeremy Denk, with whom he has toured the complete Ives violin sonatas, a recording of which was released on Nonesuch Records in October. In 2019, he recorded Beethoven’s Triple Concerto with Inon Barnatan, Alisa Weilerstein, Alan Gilbert, and the Academy of St Martin in the Fields.

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Jackiw has performed in numerous major festivals and concert halls around the world, including the Aspen Music Festival and School, Ravinia Festival, Caramoor International Music Festival, Schleswig-Holstein Music Festival, New York’s Mostly Mozart Festival, Celebrity Series of Boston, and Washington Performing Arts Society.

Born to physicist parents of Korean and Ukrainian descent, Jackiw began playing the violin at age 4. His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. He holds a Bachelor of Arts degree from Harvard University, as well as an artist diploma from the New England Conservatory, and is the recipient of a prestigious Avery Fisher Career Grant. Jackiw plays a violin made in 1705 by Vincenzo Ruggieri. He lives in New York City. | 23

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

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

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

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

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

@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

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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

Analise 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

26 | 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.

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24 /25 SEASON

CALE N DAR FALL

FEB 7–9 ALSO SPRACH ZARATHUSTRA

MAR 6–9 TCHAIKOVSKY’S FOURTH SYMPHONY

NOV 29–DEC 1 RHAPSODY IN BLUE

Thomas Guggeis, conductor Mark Kosower, cello

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

David Robertson, conductor Marc-André Hamelin, piano

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

RAVEL La valse

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

COPLAND Suite from Appalachian Spring GERSHWIN Rhapsody in Blue ELLINGTON New World A-Comin’ COPLAND Suite from The Tender Land

FEB 13 & 15 BRUCKNER’S SEVENTH

RECITAL

Fabio Luisi, conductor Tim Mead, countertenor

DEC 4 GERSTEIN IN RECITAL Kirill Gerstein, piano

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

Works by R. Schumann, Francisco Coll, Ravel, and Liszt

FEB 20 & 22 ADÈS CONDUCTS ADÈS

DEC 5–7 AX PLAYS MOZART

Thomas Adès, conductor Kelley O’Connor, mezzo-soprano The Cleveland Orchestra Chorus

Pablo Heras-Casado, conductor Emanuel Ax, piano MOZART Piano Concerto No. 20 SHOSTAKOVICH Symphony No. 10

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

JAN 16–18 HAHN PLAYS BRAHMS Elim Chan, conductor Hilary Hahn, violin

SIBELIUS The Oceanides SAARIAHO Oltra Mar THOMAS ADÈS America: A Prophecy IVES Orchestral Set No. 2

RECITAL FEB 23 ÓLAFSSON & WANG IN RECITAL Víkingur Ólafsson, piano Yuja Wang, piano

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

MAR 22 & 23 YUJA WANG PLAYS TCHAIKOVSKY Franz Welser-Möst, conductor Yuja Wang, piano TCHAIKOVSKY Piano Concerto No. 1 TCHAIKOVSKY Symphony No. 5

Works by Berio, Schubert, Cage, Nancarrow, John Adams, Arvo Pärt, and Rachmaninoff

SPRING

FEB 27–MAR 1 BEETHOVEN’S EROICA

RECITAL

Alan Gilbert, conductor Leonidas Kavakos, violin SHOSTAKOVICH Violin Concerto No. 2 BEETHOVEN Symphony No. 3, “Eroica”

MAR 27 ANDSNES IN RECITAL Leif Ove Andsnes, piano Works by Grieg, Tveitt, and Chopin

BRAHMS Violin Concerto LUTOSŁAWSKI Concerto for Orchestra

For tickets & more information visit

clevelandorchestra.com 28 | 2024/2025 SEASON

RECITAL APR 8 IN THE FIDDLER’S HOUSE Itzhak Perlman, violin Hankus Netsky, music director, arranger, saxophone, piano Andy Statman, clarinet, mandolin Michael Alpert, vocals, violin Lorin Sklamberg, vocals, accordion Judy Bressler, vocals, percussion Frank London, trumpet Klezmer Conservatory Band

APR 24–26 MOZART & ELGAR

MAY 17, 22 & 25 JANÁČEK’S JENŮFA

Kazuki Yamada, conductor Francesco Piemontesi, piano

Franz Welser-Möst, conductor Latonia Moore, soprano Pavol Breslik, tenor Miles Mykkanen, tenor Nina Stemme, soprano The Cleveland Orchestra Chorus

MOZART Piano Concerto No. 25 ELGAR Symphony No. 1

RECITAL

JANÁČEK Jenůfa

MAY 7 KISSIN IN RECITAL

Opera presentation sung in Czech with projected supertitles

Evgeny Kissin, piano Works by Beethoven, Chopin, and Shostakovich

MAY 23 & 24 VOX HUMANA

APR 17–19 BACH’S EASTER ORATORIO

MAY 8–10 MOZART’S SYMPHONY NO. 40

Franz Welser-Möst, conductor Sarah Aristidou, soprano Tony Sias, narrator The Cleveland Orchestra Chorus

Bernard Labadie, conductor Joélle Harvey, soprano Adèle Charvet, mezzo-soprano Andrew Haji, tenor Gordon Bintner, bass-baritone The Cleveland Orchestra Chorus

Franz Welser-Möst, conductor

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

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

J.S. BACH Easter Oratorio J.S. BACH Sinfonia from Cantata No. 29 J.S. BACH Magnificat

* 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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ON VIEW AT

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

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

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

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

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

clevelandorchestra.com

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REW I N D:

100 Years of Cleveland Orchestra Recordings TH IS YEAR MARK ED a special occasion in Cleveland Orchestra history:

PHOTOS COURTESY OF THE CLEVELAND ORCHESTRA ARCHIVES

100 years since the Orchestra made its first recording in 1924. Since then, the Orchestra has released hundreds of recordings, introducing the iconic “Cleveland Sound” to millions of listeners worldwide. As 2024 comes to a close, we take a brief look back at the Orchestra’s recorded legacy, which encompasses everything from 78s to digital releases.

On January 23, 1924, several dozen Cleveland Orchestra musicians and Music Director Nikolai Sokoloff arrived at the Brunswick Records recording studio in Midtown Manhattan. The night before, the Orchestra had performed a program at Carnegie Hall and were now preparing to inscribe a shortened, 4-minute-15-second-long version of Tchaikovsky’s 1812 Overture onto wax.

Sokoloff gives the following account in his unpublished memoir:

immense effort, we got the sound balanced — more or less — and started to record. Three hours of struggle, corrections, errors and retakes later, we finally had a good “take” going for slightly over four minutes and victory was in sight. With ten seconds to go (that was six bars from the end of the piece), a large packing case suddenly collapsed, felling our first trumpeter (unhurt, thank heaven) with a thunderous crash. Thus ended the first recording session of the Cleveland Orchestra!!

... The [recording] horn was set up and the musicians were grouped behind it on tables, risers, packing boxes, books, even two stepladders, in addition to tall stools. After

Music Director Nikolai Sokoloff and our founder Adella Prentiss Hughes (left) admire The Cleveland Orchestra’s first record in 1924. Since then, the Orchestra has released hundreds of recordings, nine of which appear along the bottom of this feature.

clevelandorchestra.com

| 33

George Szell listens to a recording playback session at Severance, circa 1960.

The cartoonish scenario of the first recording session did not deter Sokoloff and the young Orchestra from continuing to explore this new aural medium both in New York and back at Cleveland’s Masonic Auditorium. One of the biggest opportunities came in 1928 when Cleveland became the first orchestra to record Rachmaninoff’s Second Symphony. The composer trimmed the symphony especially for the recording project, but 34 | 2024/2025 SEASON

it was an arduous task. As Sokoloff admitted, “Even with the cuts, it took us four hours of almost every morning of a week in New York to record it!”

Though this would be the final recording of the Sokoloff era, his tenure also brought about the construction of Severance Hall in 1931, which came with a radio broadcast studio that could accommodate up to 125 musicians.

In 1933, Music Director Artur Rodziński arrived in Cleveland in the wake of the Great Depression, which

PHOTOS COURTESY OF THE CLEVELAND ORCHESTRA ARCHIVES

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George Szell’s arrival in Cleveland in took its toll on the recording industry, 1946 opportunely coincided with a golden but by 1935, interest began to stir again.

Several years later, in 1938, the Orchestra age for classical recordings. Even when signed a contract with Columbia Records considering another recording stoppage

by Petrillo from 1947–48, Szell’s first and would go on to record a total of 28 decade was surprisingly underrepresented works under Rodziński’s baton, a wideon LP; only 14 works were recorded in ranging collection that includes music

by Beethoven, Mendelssohn, Weinberg, his first nine seasons at Severance.

This changed in 1954 when the Orcheand Jerome Kern. Notable also is the stra signed a contract with Columbia first recording of Berg’s Violin Concerto subsidiary, Epic Records. Over the remainwith soloist Louis Krasner, who perforing 16 years of Szell’s tenure, the Orchemed the work’s world premiere in 1936. stra would produce definitive recordings Rodziński’s recorded legacy in of works by Beethoven, Brahms, Mozart, Cleveland stopped short in 1942 when Haydn, and many others. (Szell and the James C. Petrillo, president of the Orchestra were also the first to record American Federation of Musicians, Walton’s Second Symphony and banned all musicians from participating Hindemith’s Symphonic Metamorphosis in recording activities as part of his of Themes by Carl Maria von Weber.) campaign against “canned” music. The Overall, the Szell era produced more ban would last more than two years. than 100 recordings, many of which Erich Leinsdorf was over a year into would serve as a calling card for the his tenure as music director when Petrillo lifted his recording ban. However, Orchestra and win fans across the world.

Following the unexpected death of Leinsdorf recorded relatively little in his three years with the Orchestra — military Szell in the summer of 1970, the appointment of Lorin Maazel as music director service and a contractual disagreement ushered in a new opportunity with Lonwith Columbia being the main factors — don-based Decca Records. After recording but he still managed to capture works the complete ballet score of Prokofiev’s

by Dvořák, Rimsky-Korsakov, Robert Romeo and Juliet, the Orchestra signed Schumann, and others.

clevelandorchestra.com

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a three-year, 13-record contract with Decca, which would include the first in-stereo release of Gershwin’s opera Porgy and Bess. The recording won the 1976 Grammy for Best Opera Recording.

At the same time, Cleveland-based Advent Records, which would evolve into Telarc, was pioneering a new “direct-to-

Since [2020], the Orchestra has issued 13 recordings of 27 works, including its first digital-only releases. disc” technology that produced enhanced, high-fidelity recordings. Cleveland embraced this new technology, and its LP of Maazel conducting works by Berlioz, Bizet, Falla, and Tchaikovsky was the first classical direct-to-disc LP when it was released in 1977.

Eight years earlier, in 1969, the French composer and conductor Pierre Boulez was appointed principal guest conductor and would soon begin releasing his own recordings with the Orchestra. The first was a compilation of works by Debussy, which received the Orchestra’s first Gram-

36 | 2024/2025 SEASON

my Award for Best Classical Performance, followed by Stravinsky’s The Rite of Spring, which received the same award the following year. In all, Boulez won five Grammy Awards with the Orchestra.

(Other guest conductors, including Vladimir Ashkenazy and Oliver Knussen, also made notable recordings with the Orchestra.)

Like Maazel, Christoph von Dohnányi also had an established relationship with Decca when he arrived in Cleveland, and by his second season as music director, the Orchestra had deals with three companies: the European recording company Teldec, Decca/London, and Telarc. In the early 1990s, Dohnányi embarked on one of the Orchestra’s most ambitious recording projects yet: all four operas of Wagner’s Ring Cycle. Due to the project’s complexity and external pressures on the recording industry, only the first two installments, Das Rheingold and Die Walküre, were released.

Dohnányi would record 109 works with the Orchestra, including the complete Beethoven symphonies and music

by Mahler, Schoenberg, Lutosławski, and John Adams. One of the final recordings of his tenure, featuring works

PHOTO BY ROGER MASTROIANNI

Music Director Franz Welser-Möst leads a distanced ensemble of Cleveland Orchestra string players in an arrangement of Beethoven’s String Quartet No. 10 in October 2020, which was recorded and subsequently released on Adella.live.

by Ives and Ruggles, won the Orchestra’s eighth Grammy, this one for Best Orchestral Performance.

Franz Welser-Möst stepped into the role of Cleveland Orchestra music director at an inauspicious time for the recording industry. Turning this challenge into an opportunity, the Orchestra not only pursued audio recordings but also ventured into video recordings. Five of Bruckner’s symphonies were released on video, including two recorded in Austria’s St. Florian Monastery, where the composer was a choirboy and organist, and is now buried.

In 2020, the Orchestra launched its own recording label with the box set A New Century, featuring Welser-Möst conducting six works spanning three centuries, from Beethoven to commissions from two of the Orchestra’s Daniel R. Lewis Young Composer Fellows: clevelandorchestra.com

Johannes Maria Staud and Bernd Richard Deutsch. Since then, the Orchestra has issued 13 recordings of 27 works, including its first digital-only releases.

At the same time, the streaming platform Adella.live, also launched in 2020, has offered a fascinating window into the Orchestra through behind-the-scenes features, pre-filmed interviews, and video broadcasts of live performances.

Since 1924, The Cleveland Orchestra has released 833 commercial recordings.

With its recent leap into the world of digital and streaming, one can only imagine what the Orchestra’s recordings will look like 100 years from now. But if its track record is any indication, The Cleveland Orchestra will venture into new territory with an innovative mindset and continue to capture musical excellence for future listeners, no matter the medium.

— Amanda Angel and Kevin McBrien, with research by Andria Hoy (Cleveland Orchestra Archivist) | 37

38 | 2024/2025 SEASON

PHOTO BY ROGER MASTROIANNI

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A Conversation with

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

TH E CLEVELA N D ORCHE STR A CHORUS is a beloved part of the

larger Cleveland Orchestra community. Since 1952, this all-volunteer ensemble has provided a robust choral sound for hundreds of concerts at Severance; in the 2024 – 25 season specifically, they appear alongside the Orchestra in six wildly contrasting programs. What does it take to prepare the Chorus for such an ambitious season? We sat down with Director of Choruses Lisa Wong to find out more about her role and the unique challenges and opportunities it presents.

What does a typical Cleveland Orchestra Chorus rehearsal look like?

LISA: We rehearse at Severance most

Monday evenings, and it’s terrific to be able to rehearse in the space where we’ll perform. Not only is there a great piano and the hall’s beautiful acoustics, but it’s just inspiring to be in this environment.

It’s really helped develop the sound of the group.

The Chorus always knows in advance what we’ll be rehearsing, and we try to give them as many tools as possible to help them prepare at home. Rehearsals can move quickly because we cover a lot of repertoire throughout the season. Even now in the fall, we’re preparing some of what we’ll do in the spring! But I like having multiple projects. Each piece has clevelandorchestra.com

its own unique challenges, and I think it’s good to be working on many things at once.

How do you approach preparing a canonic work — like a Bach cantata or Mahler symphony — compared to a newer piece?

LISA: When we work on canonic repertoire, there are usually lots of resources available and it’s interesting to see what other conductors have done. For example, I really admire the Bach Collegium Japan, so in preparing for our all-Bach program [April 17 – 19, 2025], I’ve been using their recordings as a resource for our singers, having them listen to the style and the sound. Even though they’re a very different chorus from us, it can still be informative in so many ways. ▶ ▶ ▶

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Lisa Wong shares an ovation with conductor Klaus Mäkelä (left) and baritone Thomas Hampson (right) after a high-octane performance of Walton’s Belshazzar’s Feast with The Cleveland Orchestra and Chorus in April 2024.

▶▶▶

40 | 2024/2025 SEASON

You’ve collaborated with Music Director Franz Welser-Möst on many different projects with the Chorus.

What is his approach to working with singers? Is there a lot of discussion about interpretation or do you tend to align on things?

LISA: There’s actually very little discussion in advance! He’s really open, which is wonderful. But I also think it’s important for us to come into our first rehearsal with Franz with lots of musical

PHOTO BY ROGER MASTROIANNI

With newer works, like those we’ll perform by Saariaho and Thomas Adès [February 20 & 22, 2025], there are few — or, in some cases, no — recordings or writings for us to reference. But that can be very freeing in a way, because then you put all your creative input into figuring out what is possible and how we can bring the performance to life. It’s so exciting to perform new music, and I love working on pieces that we’ve never done before.

ideas. If he likes them, he can take them and go even further. Or if he wants to go in a completely different direction, that’s fine too! He’s worked with many singers throughout his career, so he knows what to ask for and how to ask for it. That’s really, really helpful.

We have lots of people who have careers in music and we also have lots of people who do something else in their professional lives, but the common aspect is that we all love to sing.

What are some of your favorite aspects of working with an allvolunteer ensemble like The Cleveland Orchestra Chorus, where members come from all different backgrounds?

LISA: My favorite thing is that everyone

is there because they love to sing, and they’ve dedicated a huge portion of their lives to singing. We have somebody, for example, who’s been in the Chorus for 50 seasons! And everyone brings something different. We have lots of people who have careers in music and we also have lots of people who do something else in their professional lives, but the common aspect is that we all love to sing. I find that very inspiring.

The Children’s Choruses are also made up of a robust group of young singers. What is going on in their world right now? clevelandorchestra.com

LISA: We always look forward to December because that’s when The Cleveland Orchestra Chorus joins with our Children’s Choruses for the Holiday Concerts [December 11–15 & 20–22]. Some of the performances this year will also feature a chamber ensemble from our Youth Chorus.

We’re also really excited that this year, not only are all of our youth and children’s choruses tuition-free — thanks to a generous gift from Mr. and Mrs. Kenneth W. Outcalt — but we’ve opened up our Children’s Preparatory Chorus to fourthgrade students without audition. We’re actually in discussions about how to fit everyone on stage! We have so many kids coming to us. It’s a wonderful predicament to be in!

It definitely is! With all of the music the Chorus is preparing this season, is there one concert you’re particularly looking forward to?

LISA: I love it all! I love both the new repertoire and the classics, but I’m really glad that we’re ending the season with Janáček’s Jenůfa [May 17, 22 & 25, 2025].

Opera, whether it’s staged or a concert performance like this season, brings everything together. There’s beautiful singing, of course, but there’s also language, acting, and a shared sense of community that comes with this art form. It’s very much a culmination of everything we’ve been working on throughout the season.

Visit cochorus.com for more information on The Cleveland Orchestra Chorus and auditions.

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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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Livestreamed Concerts Enjoy six concerts broadcast live from Severance throughout the 2024–25 season.

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I N THE N EWS

Nancy McCann Receives 2024 –25 Distinguished Service Award

PHOTO BY EXTRAORDINAIRE PHOTOS

THE CLEVELAND ORCHESTRA is proud

to honor Nancy McCann as the 2024 –25 recipient of the Distinguished Service Award, recognizing extraordinary service to the Orchestra.

Nancy McCann is president and treasurer of the John P. Murphy Foundation, which sponsors arts and culture in northeast Ohio, and the Kulas Foundation, a leading organization for funding music therapy research. She was instrumental in creating the Kent State Fashion Museum with Jerry Silverman and Shannon Rodgers and led the successful scholarship campaign, Radiance, for Cleveland State University. McCann also developed a successful marketing career with Higbee’s and Forest City Enterprises, where she gained a national reputation for innovative marketing.

With The Cleveland Orchestra, McCann has served on the Board of Trustees since 2001, was Gala Co-chair from 2015 to 2018 and Gala Chair from 2019 to 2022, and is part of the Campaign Cabinet and the Executive Committee.

In addition, she conceived the Orchestra’s annual “Star-Spangled Spectacular,” a free community concert held in downtown Cleveland from 1990 to 2019.

“Nancy McCann’s contributions and dedication to The Cleveland Orchestra Cultural arts activist Nancy McCann, recipient of the 2024 – 25 Distinguished Service Award, at The Cleveland Orchestra’s 2024 Gala in September.

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and Greater Cleveland exemplify the spirit of excellence and service, making her a truly deserving recipient of the Distinguished Service Award,” said André Gremillet, The Cleveland Orchestra’s President & CEO. “This award is not just in recognition of her past achievements, but also a celebration of the lasting impact she continues to make. We are incredibly fortunate to have Nancy as part of The Cleveland Orchestra family.”

PREVIOUS RECIPIENTS 1996 – 97

Dorothy Humel Hovorka, trustee

1997 – 98

David Zauder, trumpet and Orchestra personnel manager

1998 – 99

Ward Smith, trustee

1999 – 2000 Christoph von Dohnányi, music director emeritus 2000 – 01

Gary Hanson, executive director

2001 – 02

John Mack, oboe

2002 – 03

Richard J. Bogomolny, trustee

2003 – 04

Thomas W. Morris, executive director

2004 – 05

Alex Machaskee, trustee

2005 – 06

Klaus G. Roy, program editor and annotator

2006 – 07

Amb. John D. Ong, trustee

2007 – 08

Gerald Hughes, chorus

2008 – 09

Louis Lane, assistant conductor

2009 – 10

Clara Taplin Rankin, trustee

2010 – 11

Robert Conrad, trustee and president of WCLV

2011 – 12

Richard Weiner, percussion

2012 – 13

Milton and Tamar Maltz, trustees

2013 – 14

Pierre Boulez, conductor

2014 – 15

James D. Ireland III, trustee

2015 – 16

Rosemary Klena, assistant to the executive director

2016 – 17

Robert Vernon, viola

2017 – 18

Dennis W. LaBarre, trustee

2018 – 19

Franz Welser-Möst, music director

2019 – 20

The Cleveland Orchestra Chorus

2021 – 22

Joela Jones, keyboard

2022 – 23

Jane B. Nord, philanthropist

2023 – 24

Robert P. Madison, architect and entrepreneur

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I N THE N EW S

“I’m deeply honored to receive The Cleveland Orchestra’s Distinguished Service Award,” McCann said. “Throughout my journey with America’s finest orchestra, I have been inspired by the incredible musicians, staff, and community members who share a passion for the arts. I look forward to continuing our incredible work together.”

The Cleveland Orchestra’s Distinguished Service Award was established in 1996 by the Musical Arts Association, the non-profit organization overseeing the

Orchestra’s operations, to recognize ongoing and extraordinary commitment and service to the Orchestra. Recipients are chosen from written nominations reviewed by a committee currently chaired by Cleveland Orchestra Trustee Katherine T. O’Neill.

DISTINGUISHED SERVICE AWARD COMMITTEE Katherine T. O’Neill, chair Richard J. Bogomolny Dennis LaBarre Robert P. Madison

Amb. John D. Ong Clara Taplin Rankin Richard Smucker Meredith Weil

Adella Digital Season Continues with New Productions ALONGSIDE IN-PERSON CONCERTS at

Severance, there is plenty of exciting content to discover this season on Adella.live, the digital home of The Cleveland Orchestra.

Four more Live from Severance concerts, streamed in real-time from Mandel Concert Hall, are planned for the rest of the 2024 – 25 season. December 1 will feature pianist Marc-André Hamelin playing Gershwin’s timeless Rhapsody in Blue.

Franz Welser-Möst leads the Orchestra and rising Lithuanian soprano Asmik Grigorian in works by Richard Strauss and Puccini on March 15. The Mandel Opera & Humanities Festival concert on May 24 showcases a dizzying variety of music from J.S. Bach to Ustvolskaya. And don’t miss the annual Martin Luther King, Jr. Celebration Concert on January 19.

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In addition, seven digital premieres will be released through July 2025, featuring recent concerts, exclusive behind-the-scenes features, and interviews with guest artists. A special Christmas presentation appears on December 23, followed in succeeding months by concerts with conductors Franz Welser-Möst and Thomas Adès and guest artists Pekka Kuusisto and Garrick Ohlsson. One particularly notable production drops on June 17, 2025, featuring Welser-Möst leading the Orchestra and baritone Simon Keenlyside in works by Mahler — a concert that was recorded during the Orchestra’s Vienna tour in fall 2023.

Visit clevelandorchestra.com/adella for more information. Use code ADELLA30 for a 30-day free trial to Adella.

TCO Trumpet Section Celebrates Record 16 Seasons

PHOTO BY ROGER MASTROIANNI

THE CLEVELAND ORCHESTRA trumpets

are celebrating an exciting milestone.

With the start of the 2024 – 25 season, the current trumpet section — comprising (l-r above) Michael Miller, Assistant Principal Lyle Steelman, Jack Sutte, and Principal Michael Sachs — is now in their 16th season of playing together, making them the longestserving four-person trumpet section in the Orchestra’s history.

Previously, the record was held by Cleveland Orchestra trumpeters Bernard Adelstein, David Zauder, clevelandorchestra.com

Allan Couch, and James Darling, who collectively played together for 15 seasons (1973–74 to 1987–88). Zauder, who passed away in 2013, is currently the longestserving trumpet player with the Orchestra (at 40 years), with Sachs a close second at 37 years.

Reflecting upon this landmark moment, Sachs stated, “I cannot imagine a more wonderful and inspiring group of colleagues, musicians, collaborators, and dear friends to be lucky enough to be in the same section with for the past 16 years. This kind of stability in any orchestra section is rare and has given us the unique opportunity to craft a particular sound, style, and blend together within The Cleveland Orchestra. I can only hope that we have the chance to continue this partnership for many more years to come!” | 47

I N THE N EW S

Fuchs Foundation Supports TCO Soloists THE CLEVELAND ORCHESTRA has a long

tradition of bringing its own musicians to the forefront as solo artists. In the first part of the 2024–25 season, Principal Percussionist Marc Damoulakis (Margaret Allen Ireland Chair) took the stage to perform Tan Dun’s Water Concerto.

Later on, Principal Cellist Mark Kosower (Louis D. Beaumont Chair) will present Dutilleux’s cello concerto Tout un monde lointain… [February 7 – 9, 2025].

and assistant principal cello from 1949 until his retirement in 1979.

During his time at The Cleveland Orchestra, Fuchs was a featured soloist on several occasions and was an early member of The Cleveland Orchestra String Quartet. Fuchs also made substantial contributions to music education in Cleveland, teaching at the Cleveland Institute of Music and The Music Settlement.

The Fuchs Family Foundation is honored to continue Fuchs’s love for The Cleveland Orchestra and further the legacy that the Orchestra provides the entire Cleveland community.

For the past 11 years, featured solo performances by musicians of The Cleveland Orchestra have been supported by the Jean, Harry, and Brenda Fuchs Family Foundation — in tribute to longtime Cleveland Orchestra cellist Harry Fuchs (right).

Fuchs was a member of The Cleveland Orchestra for 40 years, joining the orchestra in 1937 under the baton of Music Director Artur Rodziński, and continuing to work under five different music directors during his tenure. He served as principal cello between 1943–47, 48 | 2024/2025 SEASON

The Fuchs Family Foundation is honored to continue Fuchs’s love for The Cleveland Orchestra and further the legacy that the Orchestra provides the entire Cleveland community.

Their support enables us to celebrate the Orchestra’s musicians, who, like Fuchs, bring an immense amount of pride to Cleveland through their extraordinary artistry. We are honored to have our legacy tied to that of the entire Fuchs family and are grateful for the Fuchs Family Foundation’s generous gift.

PHOTO COURTESY OF THE CLEVELAND ORCHESTRA ARCHIVES

clevelandorchestra.com

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SN APSH OTS FALL CONCERTS The 2024 – 25 season started off with a bang in September, featuring an exciting lineup of guest conductors, stellar soloists, and incredible music.

1) Guest conductor Elim Chan led an exhilarating all-Rachmaninoff program, featuring the composer’s Symphonic Dances and Third Piano Concerto (played by Yefim Bronfman).

2) Esa-Pekka Salonen returned to Severance for the first time in 21 years, bringing colorful works by Ravel and Sibelius. The concert also spotlighted Salonen’s own Cello Concerto, with Finnish cellist Senja Rummukainen in the challenging solo role.

3) The stage of Severance was packed to the brim in October when Klaus Mäkelä (below) led a performance of Mahler’s world-embracing

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Third Symphony, which included vocal contributions from mezzo-soprano Jennifer Johnston alongside The Cleveland Orchestra Chorus and Children’s Chorus.

4) Earlier in the season, the sounds of Latin jazz, salsa, and mariachi filled the hall during the Orchestra’s second Hispanic Heritage Month Concert. Attendees danced the night away to music provided by Las Sirenas and Sammy DeLeon y su Orquesta.

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6 2024 GALA 5) The Cleveland Orchestra’s 2024 Gala brought a touch of elegance to Severance with an evening of food, drinks, and an all-French program performed by the Orchestra.

6) l-r: President & CEO André Gremillet, Gala Co-chairs Helen Rankin Butler and Michelle Shan Jescheling, and Board Chair Richard K. Smucker take in the festivities.

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CLOCKWISE FROM TOP LEFT: PHOTOS BY KEVIN LIBAL , ROGER MASTROIANNI, EXTRAORDINAIRE PHOTOS, EXTRAORDINAIRE PHOTOS, SCOTT ESTERLY, ROGER MASTROIANNI

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@OHIOARTSCOUNCIL | #ARTSOHIO | OAC.OHIO.GOV

State and federal dollars through the Ohio Arts Council supported your arts experience today.

WHERE WILL THE ARTS TAKE YOU NEXT ?

VISIT ARTSINOHIO.COM

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Benefits come at a variety of levels and can include: • Artist sponsorship opportunities with meet and greets • Exclusive invitations to parties and performances • Premium concert tickets and more!

2024 – 25 Season featured vocal artists: Latonia Moore, Tim Mead, Asmik Grigorian, Nina Stemme

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

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 Sally and Larry Sears 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

* DECEASED

Mary* and Bill Conway Mrs. Barbara Cook Mrs. Anita Cosgrove 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 Nancy Hancock Griffith

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THA N K YOU 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 Lynn and Mike Miller

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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 Dr. and Mrs. Ronald Ross 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 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 Mr. Gregory and Mrs. Susan Bulone

* DECEASED

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 Dr.* and Mrs. Victor M. Goldberg

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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) 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.

CELL PHONES, WATCHES & OTHER DEVICES As a courtesy to others, please silence all electronic 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

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