The Cleveland Orchestra January 16-18 Concerts

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Brahms’s Violin Concerto JANUARY 16 – 18, 2025

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PAG E 3 Introduction PAG E 7

TH IS WE EK ’ S PROG R AM Brahms’s Violin Concerto Elim Chan, conductor

Violin Concerto in D major, Op. 77 (page 8)

by Johannes Brahms Augustin Hadelich, violin

Concerto for Orchestra (page 12)

by Witold Lutosławski

Conductor & Artist Biographies (page 19) PAG E 31

TCO SPOTLIG HT Feature articles & musician interviews PAG E 41

I N THE N EWS Noteworthy happenings at The Cleveland Orchestra

COVER: PHOTO OF AUGUSTIN HADELICH BY SUXIAO YANG

PAG E 4 6

SN APSHOTS Photo highlights from recent Cleveland Orchestra events PAG E 4 8

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IN 1906, A YEAR BEFORE HIS DEATH , celebrated violinist Joseph Joachim reflected on the 19th-century German violin repertoire:

PHOTO BY SUXIAO YANG

The Germans have four violin concertos. The greatest, most uncompromising is Beethoven’s. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart’s jewel, is Mendelssohn’s.

Though he was intimately familiar with each, it is Brahms’s Violin Concerto with which Joachim is most closely associated. The two met in Hanover in 1853 and became fast friends (see page 9). Joachim persistently goaded the composer to write a violin concerto, but it wasn’t until 1878 — over 20 years later — that Brahms felt confident enough to embark on such a project, asking the violinist for feedback and advice along the way. The final work was premiered by — and is dedicated to — Joachim, who became the concerto’s first champion. (Tonight, we hear Augustin Hadelich (above), a modern-day advocate of the work, tackle the solo part.)

Though it indeed “vies … in seriousness” with Beethoven’s concerto, there is no shortage of tenderness and even levity in Brahms’s concerto, particularly in the boisterous third movement, which evokes a rustic Hungarian dance.

This program — led by guest conductor Elim Chan — is complemented by one of the most striking works of the mid-20th century: the Concerto for Orchestra

by Polish composer Witold Lutosławski. Like his musical peer Shostakovich, Lutosławski’s early career was marked by an almost constant battle between personal artistic fulfillment and appeasing the Soviet authorities. His Concerto for Orchestra marked a turning point in which the composer’s individual, more modernist voice began to shine through.

The work’s structure is a clear tip-of-the-hat to Bartók’s own Concerto for Orchestra, but its soundworld is entirely Lutosławski’s own, using Polish folk melodies as a groundwork for a fantastic journey that treats each section of the orchestra — and individual players — as soloists. Little wonder, then, that the US premiere of this work was given in 1958 by none other than The Cleveland Orchestra (see pages 16 – 17), an ensemble that the composer himself once called “magnificent.” — Kevin McBrien Kevin McBrien is The Cleveland Orchestra’s publications manager.

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TH E M USIC

Brahms’s Violin Concerto Thursday, January 16, 2025, at 7:30 PM Friday, January 17, 2025, at 7:30 PM Saturday, January 18, 2025, at 8 PM Concert Preview with Kevin McBrien Reinberger Chamber Hall one hour prior to performance

Elim Chan, conductor Johannes Brahms (1833–1897)

Violin Concerto in D major, Op. 77

40 minutes

I. Allegro non troppo II. Adagio III. Allegro giocoso, ma non troppo Augustin Hadelich, violin

Witold Lutosławski (1913–1994)

I NTERMISSION

20 minutes

Concerto for Orchestra

30 minutes

I. Intrada II. Capriccio, notturno e arioso III. Passacaglia, toccata e corale Total approximate running time: 1 hour 30 minutes

Thank you for silencing your electronic devices.

PHOTO OF ELIM CHAN BY ROGER MASTROIANNI

Hilary Hahn is unable to make her much-anticipated return to Cleveland as she continues to recover from last summer’s injury. She looks forward to performing with The Cleveland Orchestra again when she has fully recovered.

Augustin Hadelich’s performance is generously sponsored by Robin Dunn Blossom in loving memory of Jaymi Blossom Feeney.

Elim Chan’s performance is generously sponsored by Herb and Jody Wainer.

Thursday evening’s performance is dedicated to Mr. and Mrs. Alfred M. Rankin, Jr. in recognition of their generous support of music. clevelandorchestra.com

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THE MUS I C

Violin Concerto in D major, Op. 77

by Johannes Brahms BORN : May 7, 1833, in Hamburg DIED : April 3, 1897, in Vienna

▶ COMPOSED: 1878 ▶ WORLD PREMIERE : January 1, 1879, with soloist Joseph Joachim and the Leipzig Gewandhaus Orchestra, conducted by the composer ▶ CLEVELAND ORCHESTRA PREMIERE : November 4, 1920, featuring violinist Efrem Zimbalist and led by Music Director Nikolai Sokoloff ▶ ORCHESTRATION : 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings, plus solo violin ▶ DURATION : about 40 minutes

JOHANNES BRAHMS WAS A FORMIDABLE

pianist, but he would never have wanted to be identified with the many piano virtuosos who crisscrossed Europe in the 19th century and composed flashy variations and fantasias on popular tunes (including the greatest hits from Rossini and Verdi operas).

Brahms’s two piano concertos — premiered in 1859 and 1881, respectively — are stern and serious works. When it came to writing a violin concerto, his model was unquestionably going to be Beethoven, virtuosic yet meaningful, and not the more boastful concertos of Paganini or Vieuxtemps. Brahms made that doubly plain by choosing Beethoven’s key (D major) and by following the composer’s precedent with a long, lyrical first movement in 8 | 2024/2025 SEASON

Classical sonata form (which specifies when and how each theme is introduced, developed, repeated, and then brought to fulfillment in the movement’s conclusion).

Perhaps we should also be surprised that Brahms composed a violin concerto at all. Joseph Joachim, for whom it was written, was the first important musician Brahms met when he left his Hamburg home at age 20 to seek fame and fortune.

Joachim, almost the same age, was already an international star at that time, and the two struck up a firm friendship that lasted more than four decades.

Johannes Brahms (left (left) with violinist Joseph Joachim in 1867. The two fostered many years of friendship and collaboration, the artistic pinnacle of which was Brahms’s Violin Concerto, which the composer wrote for Joachim in 1878.

PHOTO BY J. REINER, COURTESY OF WIEN MUSEUM ONLINE SAMMLUNG

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THE MUS I C

For nearly 20 of those 40 years, Joachim implored Brahms to write him a concerto, yet Brahms hesitated, no doubt thinking that it was more important to embark on the challenge of writing symphonies before he attempted a concerto for an instrument he didn’t play. Eventually, in 1878, after the successful premiere of his Second Symphony, Brahms devoted a summer holiday in the Austrian Alps to composing the much-longed-for concerto.

The composer worked closely with Joachim in fashioning the solo part; he clearly intended the concerto to test the player’s technique and musicianship, but also to be free of pure spectacle.

Others, including the great Spanish violin virtuoso Pablo de Sarasate, felt it had no real tunes. “Would I stand there,” he said, “violin in hand, while the oboe plays the only melody in the whole work?!”

The concerto was first performed in Leipzig on New Year’s Day 1879 by Joachim, the dedicatee, who composed the cadenza that is still normally played today. Never fond of waste, Brahms presents his first movement’s main theme as a bare unison at the start of the work, based on a D-major triad. Eight measures later, the oboe offers something nearer to a scale; eight bars further on, the full orchestra dwells on leaping

The composer worked closely with [Joseph] Joachim in fashioning the solo part; he clearly intended the concerto to test the player’s technique and musician musicianship, but also to be free of pure spectacle.

Of course, spectacle is perfectly legitimate — even desirable — in a concerto, yet the serious Brahms believed that the soloist’s leaps, arpeggios, double stops, and passagework should be intrinsic to the work and not merely added for “interest.”

Although Brahms’s writing for the solo violin strikes us today as a model of good taste and sensitive musicianship, the work’s earliest critics were in some doubt, feeling that the composer had, in certain places, allowed the solo line to overheat the work’s focused direction.

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octaves. Gradually, the thematic material finds its place, some presented by the orchestra, more provided by the soloist after flexing their muscles (40-some measures of, yes, spectacle). Eventually, we reach a gloriously lyrical second subject, which seems to express the very soul of the violin. The finest moment is reserved for the coda (after the solo cadenza), when, following a sly reference to the Beethoven concerto, the soloist soars higher and higher in dreamy flight before a final resumption of the main tempo.

PHOTO COURTESY OF SCIENCE HISTORY IMAGES / ALAMY STOCK PHOTO

The slow movement, in F major, opens with a long, beautiful theme for the oboe with wind accompaniment.

When the soloist takes it up, the strings accompany, and the textures and harmonies become gradually more adventurous, only brought back to earth for the return of the main theme and the main key.

The third-movement finale’s boisterous lilt is a tribute to Joachim’s Hungarian birth. But, as with Joachim himself, who never returned to Hungary or sympathized with its nationalist movements, other themes of quite un-Hungarian character intervene, including a dynamic clevelandorchestra.com

Brahms (photographed here, c. 1895) was clean-shaven for most of his life, only growing his famous beard around the time of his Violin Concerto. He jokingly wrote to a friend in 1878, “I am coming with a large beard! Prepare your wife for a most awful sight.”

rising scale in octaves and a beautifully lyrical episode where the meter changes briefly from a stamping 2/4 to a gentle 3/4.

The final switch to a 6/8 pulse with heavy off-beats is one of Brahms’s stranger (yet still beautiful) inventions, and the dying decline of the last few measures is stranger still.

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

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THE MUS I C

Concerto for Orchestra

by Witold Lutosławski BORN : January 25, 1913, in Warsaw DIED : February 7, 1994, in Warsaw

▶ COMPOSED: 1950 – 54 the Warsaw Philharmonic ▶ CLEVELAND ORCHESTRA PREMIERE : December 4, 1958, led by Stanisław Skrowaczewski. This performance also marked the work’s US premiere. ▶ ORCHESTRATION : 3 flutes (2nd and 3rd doubling piccolo), 3 oboes (3rd doubling English horn), 3 clarinets (3rd doubling bass clarinet), 3 bassoons (3rd doubling contrabassoon), 4 horns, 4 trumpets, 4 trombones, tuba, timpani, percussion (snare drum, side drums, tenor drum, bass drum, cymbals, tam-tam, tambourine, xylophone, glockenspiel), 2 harps, piano, celesta, and strings ▶ DURATION : about 30 minutes

AS THE MISTS THAT BEFOGGED MUSIC

in the second half of the 20th century continue to clear, Witold Lutosławski emerges ever more forcefully as a composer whose music is serious and strong, free of the gimmickry and excess that has condemned much avant-garde music to the waste-heap of history. He was in his time, certainly, an avant-garde composer, but it is easier now to appreciate the real musicianship and soul that lay behind his long commitment to music of the highest quality.

Anyone born in Poland at the beginning of the last century was destined to face a lifetime of horror and suffering.

Lutosławski experienced his fair share, along with all his countrymen. His father 12 | 2024/2025 SEASON

was executed in Moscow by the Bolsheviks in 1918; his brother died in a Soviet gulag in 1940. As a soldier, Lutosławski was captured by the Germans in 1939.

He escaped but spent the grim war years in Warsaw and lost most of his possessions when the city was razed in 1944.

Further, he was banned from the Polish Composers’ Union in 1948. Only when the Soviet grip on Poland was relaxed in 1989 did Lutosławski enjoy full artistic freedom, and happily, he lived to see the new Poland that emerged at that time.

Witold Lutosławski (photographed here in 1946) gained international acclaim with works that are at once highly technical and emotionally rich. The Concerto for Orchestra was composed during his early career, which saw him turn to Polish folk idioms for inspiration.

1082214_Cleveland Orchestra_Week 14_single_sw

▶ WORLD PREMIERE : November 26, 1954, with Witold Rowicki conducting

PHOTO COURTESY OF PAP / ALAMY STOCK PHOTO

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THE MUS I C

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Alongside his productive composition career, Lutosławski (above, in Kraków, 1970) made frequent conducting appearances with orchestras around the world. One of these engagements was with The Cleveland Orchestra in March 1988 (see pages 16 – 17).

In 1950, the conductor Witold Rowicki suggested that Lutosławski write something for the newly founded Warsaw Philharmonic. The composer was interested but had to think carefully about how to satisfy his own artistic instincts without running afoul of the Polish Composers’ Union. The resulting Concerto for Orchestra was a major artistic statement and the first work to bring Lutosławski international recognition. Here, his individual techniques

PHOTO COURTESY OF FORUM / BRIDGEMAN IMAGES

For many years, Lutosławski had to play a complicated game of pleasing the authorities with music based on folksong for the popular market while at the same time working out new methods and ideas. His First Symphony was first heard in 1948, exactly when Soviet-inspired restrictions on music labeled anything that did not subscribe to the ideal of “socialist realism” as “formalist” — the catch-all charge that targeted music of any sophistication and originality, especially symphonic music without words. For a while thereafter, Lutosławski quietly wrote functional music for films and theater, and music for children.

and ideas shone through, giving him traction beyond the musical roots of his early folkloric works.

The Concerto for Orchestra took shape over a period of four years, and by the time it was first performed in November 1954, political tensions had eased a little. For one thing, Stalin was dead. For another, Polish audiences had never been as subservient to imposed

The second movement (Capriccio, notturno e arioso) is swift and brilliant, suggesting the same nocturnal whisperings that Bartók was fond of. The central section, called Arioso, is the very opposite — loud and coarse, with a tune blared out by trumpets. This dies down to the previous mysterious whisperings, eventually disappearing into almost inaudible rumbles and taps.

For many years, Lutosławski had to play a complicated game of pleasing the [Soviet] authorities with music based on folksong for the popular market while at the same time working out new methods and ideas. tastes as Soviet audiences, and they recognized the individuality and brilliance of the Concerto for Orchestra from the start. In any case, Lutosławski still included themes based on Polish folksong to help ease its acceptance in official circles.

To compose a Concerto for Orchestra invited inevitable comparison with Bartók, whose own Concerto for Orchestra of 1945 had quickly established itself as a modern masterpiece. Lutosławski calls for a large modern orchestra and writes for an ensemble of virtuosos, with many musicians having soloistic moments.

The first movement (Intrada) is built on strong contrasts, the central section containing a long, forceful melody with heavy accompaniment. The ending is a beautiful reshaping of the folklike opening, with a gorgeous string chord to close. clevelandorchestra.com

The last movement is the longest, divided into three sections. The first section is constructed on the Baroque principle of the Passacaglia, by which an eight-measure pattern (introduced surreptitiously by the harp and basses) is repeated 18 times, gradually introducing variations and developments that involve the whole orchestra, with the basic pattern emerging forcefully in the high brass. The Toccata section that follows has a jolly, playful character. Finally, a Chorale is heard, first on oboes and clarinets, then in the brass, then on muted strings. From there to the end, the music is a display of orchestral virtuosity, drawing together themes we have already heard and leaving no question of the orchestra’s capabilities or of the composer’s mastery of his craft.

— Hugh Macdonald

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THE MUS I C

Lutosławski in Cleveland

“With warmest thanks for the magnificent Cleveland Orchestra and its marvelous rendering of my music. Unforgettable experience!”

— Signed by Witold Lutosławski (March 1988)

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IN DECEMBER 1958 , The Cleveland Orchestra gave the US premiere of Witold Lutosławski’s Concerto for Orchestra, an occasion that also marked its first time playing the Polish composer’s music. Since then, the Orchestra has performed 15 of Lutosławski’s compositions across subscription concerts, education concerts, and tours, led by various conductors, including music directors Christoph von Dohnányi (who recorded the Concerto for Orchestra in 1989) and Franz Welser-Möst.

In March 1988, Lutosławski himself was invited to conduct The Cleveland Orchestra as part of its “Great Composers of Our Time” series. The program featured three of the composer’s works: Mi-parti, the Cello Concerto — played by Polish cellist Roman Jabłoński — and the Third Symphony, all of which were new to Cleveland audiences.

However, Lutosławski’s visit to the city encompassed much more than just these concerts. He visited with local university students, spoke at a luncheon hosted by the City Club Forum, and attended a rehearsal and performance of his Three Postludes for Orchestra with The Cleveland Orchestra Youth Orchestra. To top it all off, then-Mayor of Cleveland George Voinovich declared February 29 to March 6, 1988, as “Witold Lutosławski Week,” and the composer was presented with the Keys to the City at a special ceremony at The City Club. The mayor’s proclamation — which was printed in The Cleveland Orchestra’s program books — read in part:

PHOTO BY ROBERT KUNES, COURTSEY OF THE CLEVELAND ORCHESTRA ARCHIVES

We are truly fortunate to welcome Witold Lutosławski upon his visit to our city, conducting The Cleveland Orchestra in his own works. … A man of compelling and winning personality, an individual of great courage and integrity, Witold Lutosławski has won the love and respect not only of his Polish compatriots but of men and women everywhere.

The vision and humanity of his art transcend national, political, and cultural boundaries.

Before his time in Cleveland ended, Lutosławski gifted a signed photo to the Orchestra — a longstanding tradition — complete with a handwritten note expressing his gratitude to the musicians (see left).

Sadly, these 1988 concerts marked Lutosławski’s only conducting appearance with The Cleveland Orchestra. He was engaged to lead another concert of his works in March 1994, but poor health and his untimely death in February of that year prevented this. Instead, guest conductor Oliver Knussen took up the mantle of leading the all-Lutosławski program, which stood as a heartfelt tribute to this great 20th-century composer.

— Kevin McBrien

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TH E CO N DU C TOR

PHOTO BY SIMON PAULY

Elim Chan ONE OF THE MOST sought-after artists of her generation, Elim Chan epitomizes modern orchestral leadership through her crystalline precision and zeal. She was principal conductor of the Antwerp Symphony Orchestra from 2019 to 2024 and principal guest conductor of the Royal Scottish National Orchestra from 2018 to 2023.

Having made her highly acclaimed debut with the BBC Symphony Orchestra at the 2023 BBC Proms, Chan conducted the orchestra again at the First Night of the Proms in 2024.

Summer 2024 also saw her reunite with the Los Angeles Philharmonic at the Hollywood Bowl, appear with the Royal Scottish National Orchestra at the Edinburgh International Festival, and make her debuts with the Mozarteumorchester Salzburg at the Salzburg Festival and with the Kammerakademie Potsdam at the 2024 Beethovenfest Bonn.

Highlights of Chan’s 2024–25 season include touring projects with the Mahler Chamber Orchestra and MCO Academy, her highly anticipated return to the Hong Kong Philharmonic, and her debut with the Melbourne Symphony Orchestra.

Other engagements include debuts with the Orchestre Philharmonique de Radio France, Orchestre de la Suisse Romande, Pittsburgh Symphony Orchestra, and NDR Elbphilharmonie Orchester, and return appearances with the Royal Concertgebouw Orchestra, Finnish Radio Symphony Orchestra, The Cleveland

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Orchestra, and San Francisco Symphony.

A native of Hong Kong, Chan studied at Smith College and at the University of Michigan. In 2014, she was the first female winner of the Donatella Flick Conducting Competition, enabling her to spend the 2015–16 season as assistant conductor at the London Symphony Orchestra. The following season, Chan joined the Dudamel Fellowship program of the Los Angeles Philharmonic. She also owes much to the support and encouragement of Bernard Haitink, whose masterclasses she attended in Lucerne in 2015. | 19

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TH E ARTIST

PHOTO BY SUXIAO YANG

Augustin Hadelich Violin Augustin Hadelich is one of the great violinists of our time. Known for his phenomenal technique, insightful and persuasive interpretations, and ravishing tone, he appears extensively on the world’s foremost concert stages.

During the 2024 summer season, Hadelich performed at the Hollywood Bowl with the Los Angeles Philharmonic, the Tanglewood Music Festival with the Boston Symphony Orchestra, Bravo!

Vail with the New York Philharmonic, the Ravinia Festival with the Chicago Symphony Orchestra, and at the Aspen Music Festival and School.

Highlights of the 2024–25 season include performances with The Cleveland Orchestra, Berlin Philharmonic, Royal Concertgebouw Orchestra, Vienna Philharmonic, and London Philharmonic Orchestra, among others.

As artist-in-residence, he will perform with the Dresden Philharmonic Orchestra throughout the season and tour with the Mahler Chamber Orchestra, Mozarteum Orchestra Salzburg, and Academy of St Martin in the Fields.

He will perform solo recitals in London, Barcelona, Gothenburg, and Tallinn, as well as duo recitals with pianist Francesco Piemontesi. In summer 2025, he will perform extensively in Asia, including engagements with the Seoul Philharmonic Orchestra, Yomiuri Nippon Symphony Orchestra, and Hong Kong Philharmonic Orchestra. clevelandorchestra.com

Hadelich received a Grammy Award for Best Classical Instrumental Solo in 2016 for his recording of Dutilleux’s L’Arbre des songes with the Seattle Symphony and Ludovic Morlot. A Warner Classics Artist, his most recent album, American Road Trip — recorded with pianist Orion Weiss — was released in August 2024.

Hadelich rose to fame when he won the Gold Medal at the 2006 International Violin Competition of Indianapolis.

Further distinctions followed, including an Avery Fisher Career Grant (2009), the Borletti Buitoni Trust Fellowship (2011), and an honorary doctorate from the University of Exeter (2017). In 2018, he was named “Instrumentalist of the Year”

by Musical America. Hadelich holds an Artist Diploma from The Juilliard School, where he studied with Joel Smirnoff, and in 2021, was appointed to the faculty at Yale School of Music. He plays a 1744 violin by Giuseppe Guarneri del Gesù, known as “Leduc, ex Szeryng,” on loan from the Tarisio Trust. | 21

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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.

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

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

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

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

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

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

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

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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 WINTER FEB 7–9 ALSO SPRACH ZARATHUSTRA Thomas Guggeis, conductor Mark Kosower, cello R . STRAUSS Also sprach Zarathustra DUTILLEUX Tout un monde lointain...

RAVEL La valse

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

SPECIAL FEB 14 & 16 THE MUSIC OF JOHN WILLIAMS

RECITAL FEB 23 ÓLAFSSON & WANG IN RECITAL Víkingur Ólafsson, piano Yuja Wang, piano Works by Berio, Schubert, Cage, Nancarrow, John Adams, Arvo Pärt, and Rachmaninoff

FEB 27–MAR 1 BEETHOVEN’S EROICA

MAR 22 & 23 YUJA WANG PLAYS TCHAIKOVSKY Franz Welser-Möst, conductor Yuja Wang, piano

SHOSTAKOVICH Violin Concerto No. 2 BEETHOVEN Symphony No. 3, “Eroica”

SPRING

MAR 6–9 TCHAIKOVSKY’S FOURTH SYMPHONY Franz Welser-Möst, conductor Seong-Jin Cho, piano

Keith Lockhart, conductor

MAR 13 & 15 HAYDN & STRAUSS

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

HAYDN Symphony No. 52 STRAVINSKY Pétrouchka

TCHAIKOVSKY Piano Concerto No. 1 TCHAIKOVSKY Symphony No. 5

Selections from Jaws, Star Wars, Indiana Jones, E.T., Harry Potter, and more

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

Franz Welser-Möst, conductor

Alan Gilbert, conductor Leonidas Kavakos, violin

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

FEB 20 & 22 ADÈS CONDUCTS ADÈS

MAR 14 HAYDN & STRAVINSKY

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

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

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

For tickets & more information visit

clevelandorchestra.com 28 | 2024/2025 SEASON

APR 17–19 BACH’S EASTER ORATORIO

RECITAL

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

Evgeny Kissin, piano

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

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

MAY 7 KISSIN IN RECITAL Works by Beethoven, Chopin, and Shostakovich

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

MAY 17, 22 & 25 JANÁČEK’S JENŮFA

MAY 23 & 24 VOX HUMANA Franz Welser-Möst, conductor Sarah Aristidou, soprano Tony Sias, narrator The Cleveland Orchestra Chorus POULENC La voix humaine J.S. BACH Concerto from Komm, Jesu, komm USTVOLSKAYA Symphony No. 5, “Amen” J.S. BACH Aria from Komm, Jesu, komm R . STRAUSS Symphonic Fantasy on Die Frau ohne Schatten * Not performed on the Friday matinee concert

Franz Welser-Möst, conductor Latonia Moore, soprano Pavol Breslik, tenor Miles Mykkanen, tenor Nina Stemme, soprano The Cleveland Orchestra Chorus JANÁČEK Jenůfa Opera presentation sung in Czech with projected supertitles

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

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TCO SPOTLIG HT

A S CULP TOR OF S OU N D:

Celebrating Pierre Boulez’s 100th Birthday PIERRE B O ULE Z WAS A LU M I NARY OF 20TH-CE N T U RY M USIC , inspiring

generations of musicians and listeners as a composer, conductor, and pedagogue. He also spent a great deal of time with The Cleveland Orchestra, first as a guest conductor in the 1960s, then as musical advisor starting in 1970. The artistic relationship remained strong, with Boulez returning nearly annually to Cleveland to lead concerts and recording projects.

With 2025 marking the 100th anniversary of Boulez’s birth, we take a

PHOTO COURTESY OF THE CLEVELAND ORCHESTRA ARCHIVES

brief look at his five-decade relationship with The Cleveland Orchestra.

Boulez was born on March 26, 1925, in Montbrison, France. He entered the Paris Conservatoire in 1942 to study composition with Olivier Messiaen.

After graduating, Boulez quickly identified with a group of young firebrand composers who believed that music ought to capture the anxiety of the moment and was not afraid to criticize the old guard of modernists when they fell short of that mark. He also found opportunities to spread his influence as a conductor as well as a composer.

Boulez’s debut in Cleveland in 1965 was not his first time to appear in the United States, but it was his first time leading a major American orchestra.

Pierre Boulez fostered a remarkable five-decade relationship with The Cleveland Orchestra, which encompassed concerts at home, tours abroad, and numerous recording projects (five of which received Grammy Awards).

clevelandorchestra.com

Over dinner in 1963, then-Music Director George Szell invited the rising European star to guest conduct The Cleveland Orchestra, an offer which Boulez graciously accepted. That first program the composer-conductor led at Severance featured a collection of modernist works, including one of his own compositions — the US premiere of Figures — Doubles — Prismes.

The performance was a great success and Szell invited him back in 1967. That same season, Boulez entered a five-year guest conducting agreement with the Orchestra, and in February 1969, he was appointed its first-ever principal guest conductor. The press release quotes Szell: “I feel sure that our community of artistic purpose and our mutually complementing musical backgrounds will greatly benefit The Cleveland Orchestra and its audiences.” | 31

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On July 30, 1970, Boulez was conducting a concert at Blossom Music Center when word of Szell’s untimely passing reached the Orchestra. Assistant Conductor Louis Lane delivered the news to Boulez at intermission, who promised to tell the musicians only after the concert. Soon after, Boulez agreed to serve as musical advisor to The Cleveland Orchestra for the following two seasons, ushering the organization through the upheaval in the wake of Szell’s loss.

pieces. He led the Orchestra at Severance, Blossom Music Center, and on regional runouts, in addition to joining the Orchestra on international tours to Montreal and Japan.

Boulez took time off from guest conducting in 1977 to found the Institute de Recherche et de Coordination Acoutstique/Musique (IRCAM). But beginning in 1991, Boulez returned to Cleveland once or twice a season to lead projects and went on tour with the

I believe that Pierre Boulez has left his fingerprint on this Orchestra in a very strong way. ... He has widened the horizon of all the players individually but also as a collective.

— Franz Welser-Möst

It was during his stint as musical advisor that Boulez led a series of “Informal Evenings”— concerts of new music interspersed with lectures from the conductor. The musicians dressed in casual suits and the lights stayed up while Boulez walked the audience through seemingly inaccessible modernist pieces by Messiaen, Varèse, and others. Robert Finn of The Plain Dealer captured the crux of these experimental concerts: “While it did not sell many tickets, there is no question that it was an artistic triumph.”

In his years with an official appointment in Cleveland (1967 – 72), Boulez led the Orchestra in over 100 works spanning three centuries, including the Cleveland premieres of more than 30 32 | 2024/2025 SEASON

Orchestra in 1993 (Carnegie Hall), 1996 (Paris), and 1999 (Carnegie). Boulez remained active internationally into the early 2000s, when health concerns began to slow his musical activities.

Before Boulez’s passing in 2016, The Cleveland Orchestra held three major birthday celebrations for him — for his 80th in 2005, his 85th in 2010, and his 90th in 2015 — the first two of which he himself conducted. As a happy coincidence, these celebrations also corresponded with the 40th, 45th, and 50th anniversaries of Boulez’s first appearance with the Orchestra in March 1965. Each of these programs featured quintessentially Boulez selections celebrating 20th-century music, including his own compositions.

PHOTO COURTESY OF THE CLEVELAND ORCHESTRA ARCHIVES

To this day, Boulez holds the record for having the longest working relationship with The Cleveland Orchestra.

Since his first appearance in 1965, Boulez led the Orchestra in over 220 performances at home and on tour, and recorded more than 50 works with the Orchestra, winning five Grammy Awards.

The Musical Arts Association honored him with the 2013 – 14 Distinguished Service Award.

In a video produced for Boulez’s 90th birthday celebration in 2015, Music Director Franz Welser-Möst reflected on the lasting impact the conductor has had on the reputation and identity of The Cleveland Orchestra: clevelandorchestra.com

Music Director George Szell (right) first invited Boulez to conduct The Cleveland Orchestra in 1963.

His debut appearance in 1965 would ultimately lead the Frenchman to be named the Orchestra’s musical advisor after Szell’s death in 1970.

I believe that Pierre Boulez has left his fingerprint on this Orchestra in a very strong way. He has conducted this orchestra [for] over 40 years with his very calm style of teaching the Orchestra the most complex scores. He has widened the horizon of all the players individually but also as a collective. …

The Cleveland Orchestra in our day is known actually for playing the music from the last 70 years with an ease which is unmatched in our world, and I think that is very much thanks to him. | 33

TCO SPOTLI G HT

The Orchestra and its members had an equal impact on Boulez, which one can see in the collection of hand-written thank-you notes preserved in the Orchestra’s Archives. An undated photograph from the 1970s reads: “To the members of the Cleveland Orchestra with my deepest gratitude for the wonderful partnership we always had.”

More recently, the letter sent after his 85th birthday celebration reads: 34 | 2024/2025 SEASON

Since 45 years — yes, forty five! — I have the privilege to conduct the Cleveland Orchestra. To all of its members I want to express my sincere gratitude for the wonderful memories I spent working with them, great moments of joy and of accomplishment. Such a rewarding experience has been and still is an extremely precious part of my musical life. My warmest thanks to all of you and to each of you.

— Ellen Sauer Tanyeri Ellen Sauer Tanyeri is the 2024 –25 Cleveland Orchestra Archives research fellow and is working towards a PhD in musicology at Case Western Reserve University.

Visit clevelandorchestra.com/archives to read an extended version of this essay featuring audio and video clips.

PHOTO BY ROGER MASTROIANNI

February 2010 marked Boulez’s final appearance in Cleveland, where he led the Orchestra and pianist Pierre-Laurent Aimard in Ravel’s two piano concertos.

These performances were recorded and subsequently released by Deutsche Grammophon.

A Conversation with

Mark Kosower Principal Cello LOUIS D. BEAUMONT CHAIR TH E CLEVELA N D ORCHE STR A’ S 2024–25 SEA S ON has featured not one,

but two musicians stepping out from its ranks and into the solo spotlight.

In the fall, Principal Percussionist Marc Damoulakis took on Tan Dun’s mesmerizing Water Concerto. On February 7– 9, Principal Cellist Mark Kosower tackles an equally impressive concerto: Dutilleux’s Tout un monde lointain… (A whole distant world…) for cello and orchestra. We sat down with Kosower to find out more about this fascinating piece, his role as a principal string player, and his fleeting impressions of Pierre Boulez.

Talk a bit about the Dutilleux work.

Have you performed it before? What made you choose it?

MARK: It’s funny because the guest conductor for those concerts, Thomas Guggeis, actually requested it! I’ve never played it, but it just so happened to be one of those works I’ve always wanted to learn and perform.

It’s definitely different than your standard Romantic-era concerto. One of the most striking things is the role of the soloist. You’re sort of this voice of the cosmos instead of the “hero” that overcomes a struggle. The language is “atonal,” but it often doesn’t sound that way. The orchestration and colors are very much an outgrowth of the French tradition: Debussy, Ravel, Messiaen, and Boulez. It’s absolutely captivating.

clevelandorchestra.com

The first time I heard it, I thought, “Wow, I want to hear that again!” It just draws you in.

Plus, it fits nicely in that program with Ravel’s La valse and Richard Strauss’s Also sprach Zarathustra, which famously has the 2001: A Space Odyssey connection.

MARK: Absolutely! The perfect type of program for early February.

What is your preparation like for a work you’ve heard a lot but have never performed before?

MARK: It’s a very complex work, so it requires a lot of score study. I’ve also been listening to different recordings to gain some points of reference. And in addition to working on it by myself,

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TCO SPOTLI G HT

I’m practicing with a pianist because, harmonically, it’s very sophisticated.

A piece like this needs a lot of playing to make it feel “normal.” I try to work on things from many different angles; it gives you a fuller, complete kind of approach. But I’m so fortunate to get to sit in front of this amazing orchestra and play this piece.

A piece like [Dutilleux’s Tout un monde lointain...] needs a lot of playing to make it feel ‘normal.’ I try to work on things from many different angles; it gives you a fuller, complete kind of approach.

For those who may not know, what does your role typically look like as a principal string player?

MARK: There are several things. As

principal cello, you’re the leader of the bassline in most musical compositions.

You need to have a strong understanding of how the harmony works and develops in each piece. There are melodic places where the cello section is leading, but there are also places where you provide support. So, it’s all about interpreting your role in the music and setting the tone for the group.

Also, before the first rehearsal, I coordinate bowings with the other string sections. We do bowings before anything starts so they align with the other 36 | 2024/2025 SEASON

sections and our own musical style.

Some educated guessing is often required — since we don’t always know what the conductor’s interpretation will be — so we might tweak some things later during rehearsal to make it work better.

You mentioned Boulez earlier. Since 2025 marks the centennial of his birth, do you have a favorite memory or impression of working with him when he conducted the Orchestra?

MARK: Sadly, the first time I got to play

for him in 2012, he conducted half a rehearsal and then had to pull out due to health concerns. So, I didn’t really experience him, but he was such a gentleman and still stuck around to observe the rehearsals. This was the last we saw of him; he passed away a few years after that.

He was one of the greatest musical minds and had one of the greatest sets of ears. He could pick out anything, anywhere. One touching thing was in the Mahler 10 video recording he made with the Orchestra the year before I arrived in Cleveland: It was his birthday, and Franz [Welser–Möst] came on stage with a cake. And you can see in Franz’s eyes the admiration he had for that man. Boulez loved the Orchestra, and it seems like the Orchestra really loved him too.

It certainly does. One last question: Outside of your Dutilleux performance, what other concerts are you excited about in the remainder of the season?

PHOTO OF MARK KOSOWER BY ROGER MASTROIANNI

MARK: I’m really looking forward to working with Elim Chan again [January 16–18]. And the piece she’s bringing — Lutosławski’s Concerto for Orchestra — is outstanding. I first played it with Franz in 2012 and was so taken with it. It’s an amazing piece in the same vein as Bartók’s own Concerto for Orchestra.

Outside of that, I always enjoy

clevelandorchestra.com

returning to Carnegie Hall [March 18 & 19]. Other than Severance, it’s one of my absolute favorite halls in the world.

And I’m also excited for Janáček’s Jenůfa [May 17, 22 & 25]. When we did The Cunning Little Vixen several years back, it was so memorable. That composer has such a specific, individual voice, and I can’t wait to return to his music. | 37

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I N THE N EWS

New Events Announced for 2025 Mandel Opera & Humanities Festival Opera & Humanities Festival has quickly become an anticipated yearly highlight in The Cleveland Orchestra’s season.

Its third iteration — which takes place at Severance Music Center from May 16 to 25 — is no exception, centered around three concert performances of Janáček’s riveting opera Jenůfa, led by Music Director Franz Welser-Möst (May 17, 22 & 25). This year’s festival explores the theme of Reconciliation, highlighting its challenges, triumphs, and enduring relevance in a fractured world.

The award-winning Moth Mainstage comes to Severance on May 16 to kick off the festival. In this two-act evening, five masterful tellers share true, personal stories on the theme of reconciliation.

Honest and compelling, each story invites listeners into an intimate world of transformation and humanity, with brief musical interludes in between.

Acclaimed pianist Michelle Cann brings the legacy of Chicago’s Black Renaissance to life on May 19 in a recital that celebrates the music and stories of pioneering Black women composers.

With her signature artistry, Cann weaves spoken commentary and storytelling into the evening, offering insight into the fascinating lives of Florence Price, Margaret Bonds, Betty Jackson King, Nora Holt, and Irene Britton Smith.

Curious about opera? On May 18, you’ll have an opportunity to step behind the curtain and experience the art form through the world of Jenůfa, with a curated discussion and performance designed to enlighten and inspire.

This special event features members of the Jenůfa cast and is open to the public as part of The Cleveland Orchestra’s newly launched Opera Club.

Plus, on May 17, the audience-favorite United in Song! returns for its third year, highlighting the rich diversity of the Greater Cleveland choral community.

“Jenůfa is a rare gem of the operatic repertoire — emotionally raw, morally complex, and musically gripping,” said Welser-Möst. “Its profound exploration of sacrifice, forgiveness, and redemption makes it a uniquely compelling artistic journey that I look forward to sharing with our musicians, cast, chorus, and audiences in Cleveland this spring.”

The Moth Mainstage comes to Severance on May 16 for an evening of inspiring and intimate storytelling, interspersed with musical interludes.

More festival events will be announced in February. Visit clevelandorchestra.com/festival for details and ticketing information.

PHOTO BY ADETONA OMOKANYE

THE JACK, JOSEPH AND MORTON MANDEL

clevelandorchestra.com

| 41

2025 MLK Service in the Arts Award Winners THE CLEVELAND ORCHESTRA is proud

to announce the three recipients of the 2025 Dr. Martin Luther King, Jr. Service in the Arts Awards: Richard K. Levitz, Dr. David Thomas, and Splice-Cream Truck. This is the 21st year for the awards, which recognize individuals and organizations whose work has had a positive impact on music and the arts in the Cleveland community, reflecting the spirit, example, and teachings of Dr. Martin Luther King, Jr. An accomplished architect, planner, and urban designer, Richard K. Levitz has served on the Orchestra’s Community Engagement Committee for decades, passionately advocating for the inclusion 42 | 2024/2025 SEASON

of Hispanics/Latinos in the Cleveland Orchestra family. Levit has been responsible for establishing community concerts by Orchestra members, including the Hispanic Heritage Month concerts at Severance.

Dr. David Thomas is a celebrated performer, composer, arranger, and teacher, who serves as music director at Karamu House. His numerous compositions have been published by GIA Publications, Inc. and he co-authored A Child’s First Book of Spirituals, which received the Coretta Scott King Award.

Creator of the Splice-Cream Truck — an ice-cream-truck-meets-recordingstudio — Benjamin Smith is a composer, vintage electronics tinkerer, and aural/ visual artist. He uses and creates sometimes forgotten analog and acoustic musical devices to bring a hands-on approach to connecting with people through art and sound.

PHOTO BY ROGER MASTROIANNI

I N THE N EW S

Blossom Spotlights Favorite Movies & Star Singer This Summer

ABOVE: PHOTO BY MARK SELIGER | RIGHT: © DISNEY

celebrated its 30th anniversary in 2024 — comes to Blossom on August 29, 30, and 31, featuring Hans Zimmer’s Oscarwinning score and beloved songs by Elton John and Tim Rice.

But that’s not all! On July 27, Cynthia Erivo (left) — Grammy, Emmy, and Tony Award–winning actress, singer, producer, and recent star of the smash-hit film adaptation of Wicked — joins the Orchestra for a program of legendary voices. Erivo will perform hits from some of the greatest vocalists of all time, along with her own original songs.

Don’t miss out on these extraordinary performances!

IT ISN’T TOO EARLY to start anticipating warm summer nights at Blossom Music Center. Alongside a hearty lineup of classical and pops concerts, music lovers can look forward to three particularly special events at the 2025 Blossom Music Festival.

On July 5 and 6, The Cleveland Orchestra performs John Williams’s magical score to Harry Potter and the Sorcerer’s Stone accompanied by the film on the big screens. Follow Harry and his friends Ron and Hermoine as they begin their studies at Hogwarts, encountering all sorts of adventures and dangers along the way. Later, the 1994 animated classic The Lion King (right) — which

clevelandorchestra.com

The remainder of the 2025 Blossom Music Festival season will be announced in February.

Visit clevelandorchestra.com/blossom for tickets and more information.

Blossom Music Festival Movie Nights are presented by NOPEC

| 43

I N THE N EW S

TCO Releases New Digital Recording A NEW SPATIAL AUDIO RECORDING of

Hector Berlioz’s Symphonie fantastique, led by Music Director Franz WelserMöst, is the latest addition to The Cleveland Orchestra’s growing catalog.

Initially available as an Apple Music Classical exclusive, it is now available to stream and purchase on all major streaming platforms.

Recorded live at Severance Music Center in May 2024, Symphonie fantastique is an unforgettable orchestral showpiece, taking listeners through tender love scenes, a thrilling march to the scaffold, and concluding with an opium-induced nightmare.

This was The Cleveland Orchestra’s fourth digital release of 2024, a year that also marked the centennial of its firstever recording. Other recent recordings highlight the music of Bartók, Prokofiev’s Sixth Symphony, and Bruckner’s Fourth Symphony.

Visit clevelandorchestra.com/recordings for more information on the Orchestra’s latest releases.

THE CLEVELAND ORCHESTRA is pleased

to welcome two distinguished individuals, Arthur C. Hall III (left) and Tony White (right), to its Board of Trustees.

Hall is the firm administrative partner and partner-in-charge of the Cleveland office of Calfee, Halter & Griswold LLP. In 2021 and 2022, he was named in Cleveland Magazine’s “500” list and also 44 | 2024/2025 SEASON

serves on the boards of Great Lakes Theater, Business Volunteers Unlimited, and Cleveland Leadership Center.

White is the managing partner and chief executive officer at Thompson Hine. He also sits on the board for Greater Cleveland Partnership, and is a former board member for United Way of Central Ohio, The Ohio State University Hospital, and the Big Ten Conference Advisory Commission.

Elected to three-year terms as members of the Class of 2027, both bring a wealth of expertise and visionary leadership to further strengthen the Orchestra’s mission and board.

PHOTOS COURTSEY OF ARTHUR HALL III AND BUSINESS WIRE

Two New Trustees Join TCO Board

PNC Foundation Grant Helps Children “Grow Up Great” Through Music

PHOTO BY ROGER MASTROIANNI

THE CLEVELAND ORCHESTRA is proud

to announce an extension of the PNC Grow Up Great program through a PNC Foundation grant that will support our Music Explorers initiative for the 2024–25 season. Now in its 20th year, PNC’s $500 million, bilingual, signature philanthropic initiative is designed to help prepare children from birth through age 5 for success in school and life.

Through the PNC Foundation grant, Music Explorers supports early childhood learning through engaging 30-minute concerts that introduce children to the instruments of the orchestra, with the goal of sparking creativity and a love for learning and music. The series also incorporates essential school readiness skills and helps set foundational building blocks that connect children in our community with the music The Cleveland Orchestra creates.

“PNC Grow Up Great is built on the clevelandorchestra.com

knowledge that high-quality education is a powerful means for social and economic mobility,” said Pat Pastore, PNC regional president for Cleveland. “This is a fantastic opportunity for us to bring together two amazing organizations that are focused on early childhood education and exposing children to arts and culture.”

Thanks to PNC’s support, these concerts are provided at no cost to schools, and tickets for adults are kept at an affordable price, allowing guardians to bring their children through The Cleveland Orchestra’s Under 18s Free program.

In addition to supporting Music Explorers, PNC has helped establish additional collaborations, including PNC Fairfax Connection and the PBS Kids national resource database, further expanding access to The Cleveland Orchestra’s educational resources.

Support from the PNC Foundation enables us to reach future musicians and music lovers, helping them form vital memories and strong first impressions with live music. We are thankful to have PNC’s support in making these important moments happen for the young people in our community!

There’s still time to bring your little ones to a Music Explorers concert! Mark your calendar for Cheerful Cello with Cleveland Orchestra cellist Alan Harrell on March 7 and 8, and Totally Tuba with tubist Kenneth Heinlein on April 4 and 5.

Visit: clevelandorchestra.com/attend/ concerts-for-families

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END-OF-YEAR CONCERTS As temperatures outside dropped, Severance Music Center stayed toasty with a flurry of orchestra concerts, recitals, movies, and more. Here are some highlights from the end of the calendar year: 1) In late October, hundreds of 3rd, 4th, and 5th graders from around Cleveland learned about American music as the Orchestra performed a time-spanning program of music by a wide variety of American composers.

2) The sounds of water splashing, dripping, and bubbling filled Severance as Principal Percussionist Marc Damoulakis presented Tan Dun’s mesmerizing Water Concerto, conducted by the composer himself.

3) Associate Conductor Daniel Reith led the Orchestra through a cycle of Beethoven’s piano concertos, featuring five acclaimed pianists: Sir Stephen Hough, Yunchan Lim (pictured), Garrick Ohlsson, Minsoo Sohn, and Orion Weiss (who performed Beethoven’s Triple Concerto alongside violinist Augustin Hadelich and cellist Julia Hagen).

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2

4

3

5

HOLIDAYS AT SEVERANCE 4) Santa cracks a joke with guest conductor Sarah Hicks at one of The Cleveland Orchestra’s annual Holiday Concerts, a beloved community favorite.

5) Venera Foti and Mark Plush enjoy the festivities at the annual Winter Spree, an evening of music, merriment, and good cheer for the Orchestra’s family of supporters.

clevelandorchestra.com

CLOCKWISE FROM TOP LEFT: PHOTOS BY SCOTT ESTERLY, ROGER MASTROIANNI, YEVHEN GULENKO, YEVHEN GULENKO, ROGER MASTROIANNI

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THA N K YOU

The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which today symbolizes unrivaled quality and enduring community pride.

The donors recognized here represent today’s visionary leaders, who have each surpassed $1 million in cumulative gifts to The Cleveland Orchestra. Their generosity and support joins a long tradition of community-wide support, helping to ensure our mission to provide extraordinary musical experiences — today and for future generations.

Gay Cull Addicott* Art of Beauty Company, Inc. BakerHostetler Bank of America The William Bingham Foundation Mr. William P. Blair III* Blossom Friends of The Cleveland Orchestra Mr. Richard J. Bogomolny & Ms. Patricia M. Kozerefski Jeanette Grasselli Brown & Glenn R. Brown* Mary E. & F. Joseph Callahan Foundation Mary Freer Cannon* The Cleveland Foundation The George W. Codrington Charitable Foundation Robert & Jean* Conrad Mr. & Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts & Culture Mrs. Rebecca F. Dunn Eaton FirstEnergy Foundation Friends of The Cleveland Orchestra GAR Foundation The Gerhard Foundation, Inc. The Goodyear Tire & Rubber Company Geoffrey & Sarah* Gund The George Gund Foundation The Haslam 3 Foundation Mr. & Mrs. James A. Haslam III The Estate of Leonard & Joan Horvitz

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Mr. & Mrs. Michael J. Horvitz Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation The Jewish Community Federation of Cleveland Jones Day Foundation The Junior Committee of The Cleveland Orchestra Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation The Walter and Jean Kalberer Foundation Joseph and Nancy Keithley Foundation Mr. & Mrs. Joseph P. Keithley Mr. & Mrs. Douglas A. Kern KeyBank Dr. & Mrs. Herbert Kloiber The Estate of Giles & Malvina Klopman Kulas Foundation Mr. & Mrs. Dennis W. LaBarre Nancy Lerner & Randy Lerner Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis Jan R. Lewis Virginia M. & Jon A. Lindseth The Lubrizol Corporation Maltz Family Foundation The Milton and Tamar Maltz Family Foundation The Jack, Joseph and Morton Mandel Foundation Elizabeth Ring Mather and William Gwinn Mather Fund

Alexander & Marianna C. McAfee* Elizabeth F. McBride* Nancy W. McCann William C. McCoy* The Sisler McFawn Foundation Medical Mutual The Miami Foundation, from a fund established by John S. and James L. Knight Foundation The MJH Foundation Ms. Beth E. Mooney John C. Morley* John P. Murphy Foundation David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund Mrs. Jane B. Nord Ohio Department of Development State of Ohio Ohio Arts Council The Honorable John Doyle Ong Parker Hannifin Foundation The Payne Fund The Dr. M. Lee Pearce Foundation, Inc. PNC Julia & Larry Pollock Mr. & Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Mr. & Mrs. Albert B. Ratner Charles & Ilana Horowitz Ratner The James and Donna Reid Foundation James* & Donna Reid The Reinberger Foundation Barbara S. Robinson* The Ralph and Luci Schey Foundation The Seven Five Fund Mrs. Gretchen D. Smith The Kelvin and Eleanor Smith Foundation Richard & Emily Smucker Family Foundation The J. M. Smucker Co. Mr. & Mrs.* Richard K. Smucker Jenny & Tim Smucker Richard & Nancy Sneed Myrna & James Spira Lois & Tom Stauffer* Thompson Hine LLP Timken Foundation of Canton Joe & Marlene Toot Ms. Ginger Warner Robert C. Weppler Anonymous (7)

* DECEASED

LISTINGS AS OF DECEMBER 2024

Severance Society

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The Cleveland Orchestra Endowment For over a century, The Cleveland Orchestra has sought to inspire and unite people through the extraordinary power of music. The Cleveland Orchestra’s Endowment provides vital funds each season and is a long-term investment in the institution’s future.

We share our deepest gratitude to the following supporters who have established and contributed to a named fund in the Endowment. Their leadership support creates a legacy of music that will be shared for generations.

General Operating endowed funds provide foundational support for artistic initiatives, education and community programs, recordings, and more.

Gay Cull Addicott & Robert R. Cull Art of Beauty Company, Inc. Randall & Virginia Barbato John P. Bergren & Sarah S. Evans William P. Blair III Cynthia R. Boardman & Jane R. Horvitz Clarence E. Klaus Elizabeth Ring Mather & William Gwinn Mather Margaret Fulton-Mueller Virginia M. & Jon A. Lindseth The Jack, Joseph and Morton Mandel Foundation Nancy McCann MJH Foundation Harlan & Elizabeth Peterjohn Leighton A. Rosenthal Family Naomi G. & Edwin Z. Singer Artistic endowed funds support a variety of programmatic initiatives ranging from guest artists and radio broadcasts to the all-volunteer Cleveland Orchestra Chorus and the commissioning of new works.

Artistic Excellence George Gund III Artistic Collaboration Dr. Feite F. Hofman Joseph P. & Nancy F. Keithley Artistic Initiatives Barbara Robinson

Young Composers Daniel R. Lewis Friday Morning Concerts Mary E. and F. Joseph Callahan Foundation Radio Broadcasts Robert & Jean Conrad Dr. Frederick S. & Priscilla Cross The Cleveland Orchestra Chorus Jerome & Shirley Grover Meacham Hitchcock & Family American Conductors Fund Douglas Peace Handyside Holsey Gates Handyside

Severance Music Center endowed funds support maintenance of keyboard instruments and the facilities of the Orchestra’s concert home in Cleveland.

Keyboard Maintenance Mary Freer Cannon William R. Dew The Frederick W. and Janet P. Dorn Foundation Mr. & Mrs. Richard A. Manuel Vincent K. & Edith H. Smith Memorial Trust Organ D. Robert & Kathleen L. Barber Arlene & Arthur Holden Kulas Foundation Descendants of D.Z. Norton Oglebay Norton Foundation Severance Music Center Preservation Severance family and friends Blossom Music Center and Blossom Festival endowed funds support the Orchestra’s summer performances and maintenance of Blossom Music Center.

Severance Guest Conductors Roger & Anne Clapp James & Donna Reid

Blossom Festival Guest Artists Dr. & Mrs. Murray M. Bett The Hershey Foundation The Payne Fund Mr. & Mrs. William C. Zekan

Concert Previews Dorothy Humel Hovorka

Blossom Festival Family Concerts David E. & Jane J. Griffiths

Guest Artists Kulas Foundation The Payne Fund Julia & Larry Pollock Family James S. Reid Jr. Timothy J. & Jennifer C. Smucker

Landscaping and Maintenance The William Bingham Foundation Emily Blossom family members and friends The GAR Foundation John S. and James L. Knight Foundation

International Touring Frances Elizabeth Wilkinson Center for Future Audiences supports programs to develop new generations of audiences.

Center for Future Audiences Marguerite B. Humphrey Maltz Family Foundation Saul & Linda Ludwig Student Audiences Alexander & Sarah Cutler

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THA N K YOU Education and Community endowed funds support programs that deepen connections to symphonic music at every age and stage of life, including music instruction, performances, and classroom resources for thousands of students and adults each year.

Education Programs Hope & Stanley I. Adelstein Kathleen L. Barber Isabelle & Ronald Brown Dr. Jeanette Grasselli Brown & Dr. Glenn R. Brown The Brown and Kunze Foundation Frank & Margaret Hyncik Junior Committee of The Cleveland Orchestra Mr. & Mrs. David T. Morgenthaler John & Sally Morley Jane B. Nord & the Eric and Jane Nord Family Fund The William N. Skirball Endowment Family Concerts Stanley & Barbara Meisel and the Meisel and Pesses Foundation In-School Performances Alfred M. Lerner

Classroom Resources Charles & Marguerite C. Galanie Education Concerts Courtney & Marguerite Rankin Burton Malcolm E. Kenney Jane B. Nord & the Eric and Jane Nord Family Fund The Max Ratner Education Fund, given by the Ratner, Miller, and Shafran families and by Forest City Enterprises, Inc.

The Cleveland Orchestra Youth Orchestra William E. Dean Jr. & Gloria P. Dean Geoffrey & Sarah Gund The George Gund Foundation Christine Gitlin Miles, in honor of Jahja Ling Jules & Ruth Vinney Music Explorers Pysht Fund Community Programming Alex & Carol Machaskee

Make Music a Part of Your Legacy Your support for the Endowment creates a long-lasting connection to The Cleveland Orchestra. Whether you endow a chair or establish an endowed fund, your generosity is a powerful investment in classical music that will endure for years to come.

To learn more about ways to support The Cleveland Orchestra’s Endowment, contact: Katie Shames, JD, Sr. Major Gift and Planned Giving Officer

216-456-8400 | legacy@clevelandorchestra.com

The Cleveland Orchestra’s Stand Partner monthly donors keep the music playing through their ongoing generosity and dedication.

Thank you, Stand Partners, for giving from the heart — and for being invaluable advocates for music in our community.

Rena Abrams David Adams Mr. & Mrs. Timothy L. Adams Louis V. Adrean Mr. Mark D. Agrast & Mr. David M. Hollis Sharon Aitken Cheryl Allen Moses Allooh Benjamin Altose Susan Aluzri Mary Ellen Amos Gail Anderson

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Herb & Sheila Andre de la Porte Joseph Andrews John Anzevino Valerie Arbie-McClelland & Warren McClelland Ms. Jane Archer Michael Archiablee Dalia N. Armonas Catherine Armstrong Jean Armstrong-Mathews Helen Arnett Lowry & Linda Arnold Mr. & Mrs. Joseph Audino

Anthony E. Bacevice Mr. Charles Bacon Kelsey Baer Matthew Baker Mr. Kenneth & Mrs. Sharen Bakke Christine Banks-VanAllen Mrs. Borbala Banto, CPA Anemaria Iani & Thomas Barnard Christy Barnes James & Mary Barry Wayne Bartlett Aliza Bartunek Dr. Benico & Mrs. Joan Barzilai Stephanie Bass Dr. Debbie Bates Mike & Cynthia Bauman Reverend Thomas & Dr. Joan Baumgardner* Michael & Mary Anne Baumgartner Mr. Robert C. Beiter Lois Bell Kathy & Andrew Bemer Daniel Bennett

* DECEASED

LISTINGS AS OF DECEMBER 2024

Stand Partner Monthly Supporters

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David Benson Scott & Pamela Benson David Bercheck Jared Berg Molly Berger Thomas M. Berger Mr. Kurt Berglund Dr. & Mrs. Rolf S. Bergman Ms. Cornelia Bergmann Vincent & Sydney Bertei Ashley Best Brian Bialik & Rhonda Richardson Barb Birk Joanne Blanchard Nicholas Blasius Ryan Boehm Scott Boehnen Drs. Robert & Constance Bouchard Conda Boyd Ramone Boyd Lisa & Ronald Boyko Barbara Bradley Mr. Gary L. Brahler Dr. Eugene Brand Rick Breault Justin Brewer Matthew P. Brewer, MD Michael Brewer Constance Brewster Keith & April Brewster Sean Brewster Mr. Frank Brichacek & Mrs. Roseanna Lechner-Brichacek Claudia Brobst Mr. Richard Brockett Kathryn Brockway Linda L. Brown, PhD Mrs. Carole D. Brown Troy Brown Erik Bruder Gayle Brun Ms. Leslie Buck Ryan Buckley Mr. & Mrs. John Budnik Brian Bugay Ms. Mary Ann Bugno Christopher & Elizabeth Burdick Brian & Cyndee Burke James Burkholder Alicia Burkle Kathryn Button Lynn & Jeffrey Callahan Steve & Polly Canfield Robert Carlyon John Carter Mr. & Mrs. William S. Carter Theresa Cassara-Norvell John & Pamela Caulkins John & Linda Chae Angel Chan William & Jennifer Clawson Mr. & Mrs. Robert Claytor Ms. Sara Clem

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Candy Clemson Mr. & Mrs. George J. Clessuras Josh & Cinda Coldwell Abigail Coleman-Kemp Ms. Kathleen Collins & Mr. Jonathan Fields Mrs.Barbara F. Colombi Mr. Carlton J. Conrad Sheila Cooley John & Colleen Cooney Esther Cooper Craig Cope Renee Copfer Dr. Christine M. & Mr. Vincent A. Cortese Ella Corvin Joseph Cosentino Morgan Cotopolis Elizabeth Counsil Bridget Courtright Mr. & Mrs. Frederick H. Cowie Joann Toth & Lon Cseplo Jennifer Cullum William Curtin Mr. Robert & Mrs. Susan Curtis Dr. Christine A Hudak & Mr. Marc F. Cymes Mr. & Mrs. Paul Dahnke Carmen & Faye D’Amore Mr. James Damoulakis Ms. Barbara D’Angelo Jennifer Darling Holly Davies Jill Davis Ms. Marcia Davis Mr. Matthew Davis Randall De Alba Mr. Fred & Mrs. Mary Deblasis Charles & Marion DeBrosse Suzanne DeBrosse Anita Bertin Degreen James & Kathleen Deily Alec Deitz Teresa Del Moral (Miami) Joan Delahay Richard DeLoof Vincent DeLuca Elaine R. DeMore William Dempsey & Beverly Sater Dempsey L. Susan De Pould Roderick & Barbara Dibble Darlene Dimitrijevs Drs. Michael & Leslie Dingeldein Molly Dise Todd & Lynne Dixon Gregory Dobbins F. Paul & Nora C. Doerder Mrs. Linda Dolce Mary Kay DeGrandis & Edward Donnelly Dr. & Mrs. Michael B. Dowell Douglas & Amanda Droste

L. M. Dunker Mr. & Mrs. Kevin D. Durham Lisa Durkin Giselle Dutcher Clare Dyczkowski Adrienne Dziak Martha Eagleton Dr. Robert E. Eckardt Paul & Peggy Edenburn Carter Edman Bonnie Eggers Amy Egle Mr. & Mrs. Edward A. Eiskamp Teresa Eland Dr. Mark D. Elderbrock Harald Ellers Matthew Ellis Marlene & Jon Englander Gary English Marilyn Eppich Ted Espenschied Louis* & Patricia Esposito Sharon & Nicholas Ezzone Robert Fabien Joe & Stephanie Fagan Jon & Mary Fancher Ava & Michel Farivar Lori Faust Mr. Cole Fauver John Fazio Donald Ferfolia Tracy Ferguson Michael Ferraguto Dylan Findley Mary Kay Fink & Nicholas Underhill Joan Firmin Melissa & Eliana Fittante Ms. Susan Flowers Laura Fox Michael Fox Marianne Frantz John & Barbara Freshley Chris Frey Julie Frey Adam Fuller Katherine Funkner William Furfaro Alexandra Fushi Dennis Fyffe James Gaffney Nancy Galambush Mike & Kay Galloway Margaret Gambill Mr. Stefan Ganobcik Ms. Deborah A. Geier Joseph & Margaret Geiger Ms. Lesley Geldart Frank & Louise Gerlak Hollie Geyer-Rasnick Jennifer Gilles Nairn’ Gillet Terri Gilliam Patrick Giuffrida

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Dan & Lee Glover Pamela & Richard* Goetsch Mrs. Heather Goldberg Mr. Robert & Mrs. Lisa Goldberg Mr. John Goodell Andrew Gordon-Seifert Mr. & Mrs. Thomas F. Gorgas John & Ann Gosky Angela & Jeffrey Gotthardt Charlotte Gouveia Dr. Ruffin Graham Heather Grant Tyler Grasee Ms. Sarah Gridley Emily Griffin Patrick Grijak James Grover Dr. William K. & Mrs. Judith Guegold Dr. & Mrs. Alan Gurd Genevieve Gurnick Ann Guthrie Mary Gutierrez Judge James & Bonnie Gwin Adam Hackett The Adam & Loren Hackett Family Meg Hackett Eleanor Hagan Earl Hagey Karen Hale Alison Hall Megan Hall & James Janning Yoshinori & Yukiko Hamamura Mr. Ray Hamlin, Jr. Amy Han Karen Hanrahan Jill Harbaugh Delores Hargrove Gregory Harig Jared Harp Shaun Harper Betty Harrell Brian Harris Albert & Jean Harsar Melody Hart Gerald Harvey Mr. Robert Hawkes Scott Healy Drs. John & Brittany Heffernan Craig Heitger Mr. & Mrs. Wade F. Helms Abby Henderhan Candace & Jack Hendershot Kevin & Pam Hendryx Nathan Hensley Rob Hermanowski Rita Herrera Patti Hester James & Susan Hildebrandt Mr.* & Mrs. Richard A. Hiles Michael Hoffman Susan M. Biasella-Hohs Mary Holland Suzanne Holt

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Supensri Holzheimer Jim Hoover Mr. Herbert J. Hoppe Jr. Craig Horst Jon Horvath Xavier-Nichols Foundation/ Robert & Karen Hostoffer Rebecca Hoyt Katheryn Hrabik Phillip Huber Bradley Hughes & Claire Sonneborn Mr.* & Mrs. J. David Hunter Jesse & Rachel Hurst Todd & Joy Hutchinson Michael Iodice Ms. Anna Marie Irwin Margaret Irwin Todd & Shelley Ivary Cori Jackson Jasmine Lynn Jackson Ms. Rebecca Jackson Mr. John E. Jackson David Jacob Daniel Jacobs Thomas K. & Crystal R. James Scott James Amy & Kerry Janke Edward Janoch Dr. Maita & Mr. Gary Jarkewicz Ms. Abigail Jasper Penny Jeffrey Mr. Robert & Mrs. Patricia Jeffreys Sandra Jensen Amy & Jaren Jenyk Dylan Jin Dane Johansen Sandra John Jeffrey & Amy Johnson Mr. Jeremy V. Johnson Eric & Susan Johnson Kimberly Johnson Gennie S. Johnston Alex Jones John Jones Janet Jordan Mr. Robert & Mrs. Mary V. Kahelin Susan Kaiser Nozomu Kawashima David Keep Robert Keesecker Ellen Keffer Rev. John S. Keller & Mr. Donald J. Jackson Valerie Kelly Joyce Kennedy Ryan Kerfoot Dr. Kristin A. Kerling Mr. & Mrs. Donald Kest David Keymer Ms. Chere Kilbane Linda Kirkwood Dr. Jacobo & Mrs. Joana Kirsch Ms. Trudee Klautky

Michael & Lisa Knall Mr. Thomas J. Kniesner & Mrs. Deborah A. Freund Alicia Koelz & Christos Georgalis Tim & Linda Koelz James Koerner Mr. & Mrs. John C. Komperda Mr. Michael Komperda Keisi Kotobelli Allison Kreiner Robert Sebulsky & Margaret H. Kreiner, Esq. David & Jarrett Krizan Mrs. Kristi Krueger Megan Krutsch Thomas* & Barbara Kuby Bill & Sue Kuczinski Drs. Steven & Carolyn Kuerbitz Tracy Kuhn Susan Kuilder Christopher & Chelsea Kulhanek Robert & Brenda Kunkel Ms. Leslie Lahr Rachel Lamb Mr. & Mrs. Robert J. Landgraf Dr. Richard S. Lang Mr. & Mrs. Michael Lavelle William & Lynn Lavezzi Dr. William Lavigna Mr. & Mrs. Brian A. Lawler Ms. Cynthia D. Leach SeungHee Lee & EunGyoung Song Joshua Harris & Yun-Ting Lee Stephen Leiby Don & Jane Lennon Jasmine Lepir Melissa Lewis Shien Liao Michael & Valerie Libman Ms. Kim E. Lindsey Mrs. Kay B. Lingafelter Mr. Jeff Litwiller Janice Liu Gina Lloyd Hannah Long Nikki Long Susana Lorenzo-Giguere Robert Lovicz & Kimberly Johnson Phillip & Louise Luschek Judith Lyon Ms. Pamela MacWilliams Diana Maher Audra Mahon Margaret Mahoney Iryna Maitta Olietunja Mann Elena Manoli Jennifer Manthey Dr. Kandice Marchant Ashley Marchetta Jeanette Marks Gerald & Marilyn Martau Douglas Martin

* DECEASED

LISTINGS AS OF DECEMBER 2024

THA N K YOU

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Kathleen Masis Robert & Gail Mastrangelo Ms. Judith E. Matsko Dr. Lee Maxwell & Mr. Michael M. Prunty Marilyn Mazzei John McBratney Judge Alison McCarty Mr. David L. McCombs Mrs. Pamela J. McConnell Linda McCorkle Daniel McCroskey Tim McDonnell Dr. Scott & Sonia McDonough Ms. Tara McElroy Melissa McGregor Mary Ellen McLaughlin Terese McLeod Ms. Luellen McMahon Susan McMaster Nancy McMillin Paul & Elizabeth Meeker Ms. Karen D. Melton Matthew Menger Ian Mercer Dr. Susan M. Merzweiler Dr. Michelle Messner Mr. Dave Metlicka Dr. Richard & Mrs. Judith Meyer Mr. Gene Milford Amy Miller & Nikhil Rao Deborah Miller Michael & Evelyn Miller Sally Miller Taylor Mills Logan Samuel Milner Paula Mindes & George A. Gilliam Mr. Timothy Minnis Ioana Missits Michael Monter Derek Moore Julieanne Moore Elizabeth Morris Barbara Morrison Angela Mortellaro & Michael Davies Ms. Joanne Mortimer Ronald & Mary Mortus Anna Maria Motta Ken & Sharon Mountcastle Hannah Muzzi John Myers Joan Katz Napoli & August Napoli Melissa Nautiyal Dr. Anne & Mr. Peter Neff Ronald Neill & Ann Harlan Joyce & Jay Nesbit MaryAnne Nestor David & Karen Nevergall Sunny Nixon Margaret Noll Jeffrey & Beverly Norris Jessica Norris Greg Nosan & Brandon Ruud

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Matt & Valerie Nousak Andres Nunez Caitlin O’Brien David & Mary Jo Ockenga Kathleen O’Connor Mr. Karl E. Odenweller Andrew O’Donnell Christopher O’Donnell Ms. Mary M. Ogden Tonia Oglesby Dr. Cara Ogren Vicki Ohl Thomas Okoben Moira ONeill Mia O’Riordan Mrs. Krysia Orlowski & Dr. Brian Harte Douglas Orr & Kimberley Barton Richard* & Elizabeth Osborne David Ottney Randall & Ann Over Robert Owen Robert & Marian Page Allison Paine Clayton Papenfus Ian Park Jacqueline Pasek Steven Pastor Hilary Patriok David Pavlich & Cherie Arnold Victoria Peacock Jim & Barbara Pearce Dan Pedrotty Daniel Pendergast Tamara & Alec Pendleton Donald & Judith Penn John Perko Dr. & Mrs. Bernard Perla Delores Perry Charles & Sharon Pervo Ms. Catherine Peters Jennifer Petruzzi Mitchell Phillips Craig Piper Jonathan Pittman Jane Pollis Greg Polyak & Marcia Snavely Polyak Richard Popelmayer Carol Porter Sangeeta Prakash Rich Pranzarone & Karen Lincicome William & Millie Prebel Joshua Prest Christopher Przybycin Katherine Rademacher Rika Rall Jeannine Ramsey Mrs. Amy Raubenolt Mrs. Bridget Rechin Mr. Todd J. Reese Judy & Clifford Reeves Jr. Caeli Regan

Greg Reichwein Michael Resnick Stephanie Resnick Carmen Rey Robert Rice Craig Rich & Victoria Gray Donna Richardson Matthew Richardson Dr. & Mrs. Bradford Richmond Miss Melissa Richmond Marin Ridgway Cynthia Ries Mr. Kevin Roach Mr. D. Keith* & Mrs. Margaret B. Robinson Debra Robinson Janice & Roger Robinson Michael & Laura Rogers Mr. Hans J. Rohr Dr. Bruce & Mrs. Jan Rose Douglas H. & Kasia Gustaw Rothenberg Cristin Roush Deborah Rowe Drs. Jordi & David Rowe Jennifer Rozsa Marlon Rucker Roberta W. & Michael J. Rusek Mrs. Elisa J. Russo Mrs. Shelley Sabga Patricia Sadataki Thomas Safford Mr. & Mrs. Clinton Samuel Alexa Sandmann Robert & Cathie Sankey Rick Santich & Paula Smith Erica Savage Bryan & Jenna Scafidi Adelaide Schaaf Charles Schaefer Floyd Schanbacher Susan Schapiro Charles & Susan Schenkelberg Mr. Matthew Schenz Henry Schilb Conner Schliffka John Schmoll Ms. Beverly J. Schneider Mr. Kim Schrock Edward Schroeder Dawn Schwartz Rachel Hersh Schwarz Deborah Scolaro Barbara Scott Paul & Sarah Scott Tiffany Sedlacek Dr. W. David Sedwick June A. Seech Roslyn Seed Mr. Robert Sehein Peter Selover Caltha Seymour

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THA N K YOU

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Mr. & Mrs. Michael C. Strasser Fritz & Alison Streiff Mr. & Mrs. Martin Striegl Trina Struble & John Bourne Bobbi Sundman Christopher Switzer David Szabo Cameron Taylor Dr. Harris C. Taylor Jill & Jim Taylor Kathryn Teng & Derek Abbott Kevin Tennant Sharon Tesar Dr. Roland Thomas Dr. & Mrs. Ronald G. Thomas Dr. Stefanie Thomas Dustin Thompson Matt Thompson Jerry Thornburg Brian Thornton, Jennifer Woda, Maddi Woda & Maya Thornton Andrew Tian Dr. Jane Timmons-Mitchell & Mr. Robert Mitchell Isabel Trautwein Andrew Grace & Robert Troy Peter Turkson Susan Tyler Kevin Ubert Dr. Veronica Garcia & Dr. Ken Uchino Anne Unverzagt Dave Vacca Kenneth Vail Karen Valenti Dorothy Valerian Anthony & Connie Van Gilder George Vanderbilt Leah VanLear Ann VerWiebe David Viglione Adele Viguera Kathryn Vine David S. & Rebecca Vineyard Mr. Gary & Mrs. Sandra Vinicky Wendy Voelker Dr. Vincenzo G. Volpe Erika Wagner Tom Wagner & Melinda Smyth David Waldron Karen A. Waldron Iva L. Walker Leslie & Mark Walker Veronika Walter Jake Wang Jessica Ward

Ginger & Bryan Ware John & Deborah Warner Kent Warner Mr. & Mrs.* Joseph F. Wasserbauer Tim & Jo Watson Jeffrey Webb Teagan Webb Dr. Leslie T. Webster, III, MD Martha Webster Mr. & Mrs. Charles E. Weil Mr. & Mrs. Chris Weinkamer Kenneth & Celine Weiss Kathleen Weppelman Dennis & Vicki Wert Elizabeth Wertz Julie West Aaron & Vera Wester Suzanne Westlake Margaret Wetzler Sarah Whalen-Cohen Amy Wheeler Patricia Whitson Sharon & Michael Widenmeyer Mary Pat Wiegand Pete Wieneke Martha Wiersma David & Janet Williams Patricia Willkomm Mr. Ronald Willner John & Tory Willoughby Benjamin Winters Nancy Wittig Nancy L. Wolpe Lisa Wong Shari Wong Mr. Philip Woodcock & Ms. Virginia Benjamin Gayle Woodrow Anita Woodward Sandra Woolley Christina Woskobojnik Mr. David & Mrs. Mary Alice Wyatt Ryan Xie Peijun Xu Dr. Charles & Mrs. Jennifer Young Ms. Libby M. Yunger Mrs. Valerie Zahirsky John Zanghi Gareth Zehngut Mr. Jeffrey A. Zehngut Kristina Zerbe Rick Zhang Sandra Zieve John & Jane Zuzek Anonymous (19)

To learn more about monthly giving and becoming a Stand Partner, visit clevelandorchestra.com/standpartner or call us at 216-456-8400.

* DECEASED

LISTINGS AS OF DECEMBER 2024

Ms. Melanie Shakarian & Dr. Peter Kvidera Ginger & Larry Shane Ms. Marlene Sharak Lynn Shaw Charles & Linda Shearouse John & Myra Shen Maredith Sheridan & Norman Graubart Stuart & Gina Sheridan Mr. & Mrs. Thomas Sherwood Robert Shields Erin Shipley Toni Shreve Connetta Shringarpurey Christina Sibilla Richard Sicha & Marcia Moll Mrs. Susan M. Simenc Ms. Barbara Sindyla Annie & Andrew Singer Timothy Singer Robert Sisler Michal Sittek Jennifer Skinner Tom & Eve Sliwinski Molly Slota Alex & Elizabeth Smilovich Lauren Smit Brad & Leslie Smith Mr. Joshua Smith Barb & Bill Snyder Mr. Frank & Mrs. Nancy* Sobol John Sobolewski Mr. Scott Soeder & Mr. James Riggs Patricia King Sommer Nick Sondag Mary Southards Stacey Souther Ms. Kelli Souvey James & Patricia Spayer Kate Spector Lilith Spencer Mary Spencer Tom & Cindy Sperl Brenda J. Spicer Mr. Michael Sprinker Deborah Stack Maribeth & Christopher Stahl Claire Stair Barbara J. Stanford & Vincent T. Lombardo Mr. Michael Star Philip Star & Jane Peterson Mr. & Mrs. Kent O. Starrett Carol Stephens Dr. William H. Stigelman, Jr. Roger & Donna Stiller Mr. & Mrs. Gary V. Stolcals Bethany Stone & Nicholas Campagna Elinore Marsh Stormer Mr. James D. Storry* & Mrs. Sidney Storry

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The Cleveland Orchestra

Board of Trustees O FFIC ER S Richard K. Smucker Chair Richard J. Kramer Vice Chair & Treasurer André Gremillet President & CEO Dennis W. LaBarre Immediate Past Chair Richard J. Bogomolny Chair Emeritus Norma Lerner Honorary Chair David J. Hooker Secretary RES ID E N T TRUSTEES Victor Alexander Robin Dunn Blossom Yuval Brisker Helen Rankin Butler Irad Carmi Matthew V. Crawford Michael Frank, MD JD Hiroyuki Fujita Robert Glick Arthur C. Hall III Iris A. Harvie Dee Haslam Stephen H. Hoffman David J. Hooker Michelle Shan Jeschelnig Sarah Liotta Johnston Elizabeth B. Juliano Nancy F. Keithley Douglas A. Kern John D. Koch Richard J. Kramer Dennis W. LaBarre Heather Lennox Cathy Lincoln Robert W. Malone Ben Mathews

Nancy W. McCann Stephen McHale Beth E. Mooney Christine Myeroff Katherine T. O’Neill Hyun Park Alfred M. Rankin, Jr. Charles A. Ratner Zoya Reyzis Richard K. Smucker James C. Spira R. Thomas Stanton Richard Stovsky Russell A. Trusso Daniel P. Walsh Thomas A. Waltermire Jeffery J. Weaver Anya Weaving Meredith Smith Weil Paul E. Westlake Jr. David A. Wolfort Anthony Wynshaw-Boris NATI O NAL TRUSTEES Virginia Nord Barbato (NY) Mary Jo Eaton (FL) Michael J. Horvitz (FL) Thomas E Lauria (FL) Loretta Mester (PA) Benjamin N. Pyne (NY) Geraldine B. Warner (OH) Tony White (OH)

E X-O FFIC IO TRUSTEES André Gremillet (President & CEO, The Cleveland Orchestra) Todd Diacon Lisa Fedorovich Eric Kaler Judith E. Matsko Beverly J. Schneider TRUSTEE EMERITI Thomas F. McKee HON OR ARY TRUSTEES FO R LIFE Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Robert D. Conrad Alexander M. Cutler Robert W. Gillespie Richard C. Gridley S. Lee Kohrman Norma Lerner Virginia “Ginny” Lindseth Alex Machaskee Robert P. Madison Milton S. Maltz John D. Ong Clara T. Rankin Audrey Gilbert Ratner Hewitt B. Shaw Luci Schey Spring

I N TERNATI O NAL TRUSTEES Wolfgang C. Berndt (Austria) Herbert Kloiber (Germany)

Whatever greatness The Cleveland Orchestra has achieved is because of all the people here in this community, who believe in what the power of music can do.

— Franz Welser-Möst

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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. ©2025 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

56 | 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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is Music to Our Ears!

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