The Cleveland Orchestra October 2&5 Concerts

Mahler ’s Song of the Earth

E X P E C T T H E E X T R A O R D I N A R Y

PUTTING CARE FIRST

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For Every Care in the World

2 0 2 5 – 2 0 2 6 S E A S O N

P A G E 3

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

P A G E 5

A R E M E M B R A N C E The Life & Career of Christoph von Dohnányi

P A G E 1 1

I N T R O D U C T I O N

PAG E 13

T H I S W E E K ’ S P R O G R A M

Mahler’s Song of the Earth

Franz Welser-Möst, conductor

P R O G R A M N O T E S :

Symphony No. 3, “Symphonie liturgique” by Arthur Honegger • PA G E 1 4

Das Lied von der Erde (The Song of the Earth) by Gustav Mahler • PA G E 1 8

Sung Texts • PA G E 2 4

Conductor & Artist Biographies • PA G E 3 5

P A G E 4 5

T C O S P O T L I G H T

A Conversation with Limmie Pulliam

P A G E 4 8

I N T H E N E W S

Noteworthy happenings at The Cleveland Orchestra

P A G E 5 3

T H A N K Y O U

The community of supporters who bring the music to life

O N B E H A L F O F T H E musicians, board, staff, and volunteers of The Cleveland Orchestra, I am honored to welcome you to our 2025 – 26 Season at Severance Music Center! As the Orchestra steps into its 108th season, we remain as committed as ever to expanding the repertoire, reaching new and younger audiences, and meeting people where they are whether in the concert hall, across our community, or through our digital home, Adella.live.

To start off the season, we are thrilled to welcome back Music Director Franz Welser-Möst for the second of 10 extraordinary programs this year. Among these will be the culmination of his eight-year project to record all of Prokofiev’s symphonies, with performances of the Seventh in October and the First in May.

Also in October, we introduce our new Daniel R . Lewis Composer Fellow, Tyler Taylor, while continuing relationships with past fellows Bernd Richard Deutsch, whose Urworte opened the season, and the multitalented Jörg Widmann, who returns twice in the spring.

Throughout the season, we reunite with international stars like Garrick Ohlsson, Augustin Hadelich, Barbara Hannigan, John Adams, and Cleveland-native Alisa Weilerstein, while featuring our very own musicians as soloists English Horn Robert Walters in November, Principal Trumpet Michael Sachs in March, and Principal Harp Trina Struble in May

The Orchestra is also joined by our beloved Cleveland Orchestra Chorus for six programs, including tours to New York and Miami with Verdi’s Requiem, performances of Handel’s Messiah and Britten’s War Requiem, and a season-capping performance of Beethoven’s only opera, Fidelio, at the fourth annual Mandel Opera & Humanities Festival, which promises to unite a rich tapestry of artists and thinkers to reflect on a timely theme: Courage.

As we look ahead with anticipation, we also pause to honor the exceptional legacy of Music Director Laureate Christoph von Dohnányi, who passed away on September 6 at the age of 95. His visionary leadership and artistic brilliance left an indelible mark on The Cleveland Orchestra and the world of classical music. I invite you to read the memorial tribute on pages 5 – 7 as we remember and celebrate a remarkable artist, colleague, and friend.

Together with Family and Education Concerts, movie presentations, and our annual Holiday Concerts, this season truly offers a welcoming home for all. Whether you are a lifetime subscriber or attending your first concert, whether you join us in person or online, you are a vital part of the Cleveland Orchestra community, and I thank you for making us a central part of yours

André Gremillet President & CEO, The Cleveland Orchestra

I N M E M O R I A M : Christoph von Dohnányi

T H E C L E V E L A N D O R C H E S T R A M O U R N S T H E PA S S I N G

of Music Director Laureate

Christoph von Dohnányi, who led the Orchestra with distinction from September 1984 to August 2002. Dohnányi passed away on September 6 at the age of 95, leaving behind a profound legacy of musical excellence, visionary leadership, and international acclaim .

“Christoph von Dohnányi was a superb conductor and Music Director, respected the world over. His storied family history gave him a unique musical perspective, and The Cleveland Orchestra was fortunate to have him in Cleveland for such a significant part of its history Maestro Dohnányi’s artistry and dedication led to a deep mutual respect with our musicians, which was felt sincerely by our audiences who had an enormous appreciation for him. We send condolences to his family and friends, and to all he touched with his music in Cleveland and beyond,” said André Gremillet, President & CEO of The Cleveland Orchestra.

Dohnányi’s relationship with The Cleveland Orchestra began on December 3, 1981, when he stepped onto the podium as a guest conductor. In just three short months, he was announced as the Orchestra’s sixth Music Director. During his remarkable 18-year tenure, Dohnányi propelled The Cleveland Orchestra to new artistic heights. He

Christoph von Dohnányi’s remarkable family lineage included Hungarian composer Ernő Dohnányi (his grandfather) and theologian Dietrich Bonhoeffer (his uncle and godfather)

led the Orchestra in more than a thousand concerts, including regular tours of the United States, Europe (most notably establishing a long-standing and cherished residency at the Salzburg Festival in 1992), and Asia (including the first concert appearance by The Cleveland Orchestra in mainland China). In 1985, he presented the first fully staged opera at Blossom Music Center, the Orchestra’s summer home, with a production of Mozart’s The Magic Flute

Dohnányi’s tenure also marked a prolific era of recording for The Cleveland Orchestra. He recorded 109 works with the ensemble, contributing significantly to its international profile and documented artistry. This included the complete symphonies of Beethoven, Brahms, and Robert Schumann; selected symphonies by Bruckner, Dvořák, Mahler, Mozart, Schubert, and Tchaikovsky; works by John Adams, Bartók, Berlioz, Birtwistle, Busoni, Ives, Ravel, Richard Strauss, Varèse, and Webern; and two operas from Wagner’s Ring cycle (D as Rheingold and D ie Walküre). In December 2001,

The Cleveland Orchestra released the Christoph von D ohnányi Compact D isc Edition, a 10-CD retrospective featuring live performances with the Orchestra from 1984 through 2001. Dohnányi’s recording work was recognized with two Grammy Award nominations, further cementing his reputation as a conductor of exceptional musical insight.

In 1994, Time magazine honored The Cleveland Orchestra as “the best band in the land,” a testament to Dohnányi’s standards. Two of his most enduring contributions were overseeing the comprehensive renovation of Severance Hall beginning in 1998 transforming the historic venue into a state-of-the-art concert hall while preserving its architectural grandeur and founding The Cleveland Orchestra Youth Orchestra and Youth Chorus.

Outside Cleveland, Dohnányi’s appointments included opera directorships in Frankfurt and Hamburg and orchestral conducting posts in England, Germany, and Paris. He enjoyed a long and productive partnership with the Philharmonia Orchestra, where he served as principal conductor and artistic adviser for 10 years before becoming Honorary Conductor for Life Dohnányi led that ensemble on tour across Europe and the United States, and in a series of acclaimed opera presentations in Paris. In September 2015, he led the Philhar-

monia Orchestra’s gala concert in London, celebrating the ensemble’s 70th anniversary.

Dohnányi was a frequent guest conductor in concert with the Vienna Philharmonic and at the Vienna State Opera. Herbert von Karajan and his successor, Gerard Mortier, invited him regularly to participate in the Salzburg Festival. There he led the Vienna Philharmonic in productions of Richard Strauss’s D er Rosenkavalier and Salome, Bartók’s Bluebeard’s Castle, Mozart’s Così fan tutte and The Magic Flute, and in the world premieres of Henze’s The Bassarids and Cerha’s Baal. With the orchestra, Dohnányi recorded works by Dvořák, Philip Glass, Mendelssohn, Schnittke, and Tchaikovsky, and several operas including Beethoven’s Fidelio, Berg’s Wozzeck and Lulu, Schoenberg’s Erwartung, and Wagner’s The Flying D utchman.

Under Dohnányi’s direction, The Cleveland Orchestra performed and recorded a vast array of works , ranging from beloved classics by Beethoven and Mahler to new works by John Adams and Birtwistle to hidden gems by Crawford Seeger and Ruggles

After the end of his tenure in Cleveland, Dohnányi appeared as a frequent guest conductor with the Boston Symphony Orchestra, New York Philharmonic, Philadelphia Orchestra, Pittsburgh Symphony Orchestra, Chicago Symphony Orchestra, and Los Angeles Philharmonic, alongside returning for regular engagements in Cleveland. Other notable appearances included concerts with the Israel Philharmonic, Leipzig Gewandhaus Orchestra, Orchestre de Paris, and Sydney Symphony Orchestra. Dohnányi also led productions at the world’s great opera houses, including London’s Royal Opera House, Milan’s La Scala, and in Berlin and Paris. He also regularly appeared with the Zurich Opera, Lyric Opera of Chicago, San Francisco Opera, and Metropolitan Opera.

Born in Berlin, Dohnányi began as a law student at the University of Munich, but soon chose to pursue his music studies full-time. After winning the Richard Strauss Prize of Munich for conducting, he spent time studying with his grandfather, Ernő Dohnányi,

at Florida State University. He started his career as assistant to Georg Solti in Frankfurt and, in 1957, became the youngest general music director in Germany

Dohnányi’s many accolades include honorary doctorates of music from the Eastman School of Music, Oberlin Conservatory of Music, Cleveland Institute of Music, Kent State University, Case Western Reserve University, and London’s Royal Academy of Music, as well as an honorary doctorate in humane letters from the Hebrew Union College/ Jewish Institute of Religion and the AntiDefamation League’s Torch of Freedom Award. He is the recipient of the Bartók Medal in Hungary and a member of the Order of Arts and Letters of France. In addition, he received the Verdienstkreuz of the Republic of Austria and the Bundesverdienstkreuz of the German Republic

We are deeply grateful for Christoph von Dohnányi’s extraordinary contributions to The Cleveland Orchestra and to the broader classical music world

The Cleveland Orchestra rehearsing at the 1996 Salzburg Festival under Dohnányi’s direction.

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T R AU M AT I C E V E N T S H AV E O F T E N S E RV E D as the inspiration for great art, a truism that is confirmed by the works of this weekend’s program, led by Music Director Franz Welser-Möst. Each was written in response to a shattering, life-changing tragedy.

For Arthur Honegger, that event was World War II (above). In his Third Symphony, he expressed his anger and sorrow over the unimaginable destruction that resulted from the conflict. The dissonant first movement vividly conveys the horrific violence of war, while the quiet, reflective second movement is, in the composer’s words, “a grieving meditation.” The last movement begins with a sinister march, representing the “collective stupidity” that allows barbarism to overwhelm civilization. However, the work ends with hope of a new, more peaceful world.

Gustav Mahler’s trauma was much more personal. In summer 1907, his beloved 4-year-old daughter, Maria, died suddenly after contracting diphtheria. Shortly after this unfathomable loss, the composer received the devastating news of his severe heart condition, one that would ultimately be fatal. In his grief and despair, Mahler sought solace in a collection of ancient Chinese poems that had been translated into German. These texts provided the basis for what he later described as his “most personal work,” D as Lied von der Erde ( The Song of the Earth).

The six movements of this “song symphony” sung here by tenor Limmie Pulliam (see also page 45) and baritone Iurii Samoilov explore the swirling emotions unleashed by Mahler’s recent encounters with death. There is bitterness, quiet melancholy, wistful memories of carefree youth and young love, drunken indifference, and, finally, the deep sadness that comes with the realization that one will soon leave this world and all its beauty. In D as Lied von der Erde, Mahler reminds us that life is fleeting and that it is all the more precious because of that reality. Michael Strasser

Michael Strasser is professor emeritus of musicology at Baldwin Wallace University He has published numerous articles and reviews and presented papers at international conferences on fin-de-siècle France , Arnold Schoenberg , and colonial music in British North America and Mexico .

Thank you for silencing your electronic devices.

Mahler ’s Song of the Earth

Thursday, October 2, 2025, at 8 PM

Sunday, October 5, 2025, at 3 PM

Franz Welser -Möst, conductor

Arthur Honegger (1892–1955)

Gustav Mahler (1860–1911)

Symphony No. 3, 30 minutes “Symphonie liturgique”

I. Dies irae: Allegro marcato

II. De profundis clamavi: Adagio

III. Dona nobis pacem: Andante

I N T E R M I S S I O N 20 minutes

D as Lied von der Erde 50 minutes ( The Song of the Earth)

I. D as Trinklied vom Jammer der Erde ( The Drinking Song of Earth’s Sorrow)

II. D er Einsame in Herbst ( The Lonely One in Autumn)

III. Von der Jugend (Of Youth)

IV. Von der Schönheit (Of Beauty)

V. D er Trunkene im Frühling ( The Drunken One in Springtime)

VI. D er Abschied ( The Farewell)

Limmie Pulliam, tenor Iurii Samoilov, baritone

Total approximate running time: 1 hour 40 minutes

Concert Preview with Michael Strasser Reinberger Chamber Hall one hour prior to performance This concert is sponsored by Northern Haserot.

Symphony No . 3, “ Symphonie liturg ique”

by Arthur Honegger

B O R N : March 10, 1892, in Le Havre , France

D I E D : November 27, 1955, in Paris

▶ C O M P O S E D : 1945 – 46

▶ W O R L D P R E M I E R E : August 17, 1946, with Charles Munch conducting the Zurich Tonhalle Orchestra

▶ C L E V E L A N D O R C H E S T R A P R E M I E R E : October 19, 1961, led by Music Director George Szell

▶ O R C H E S T R AT I O N : 3 flutes (3rd doubling piccolo), 2 oboes , English horn , 2 clarinets , bass clarinet , 2 bassoons , contrabassoon , 4 horns , 3 trumpets , 3 trombones , tuba , timpani, percussion (bass drum , snare drum , cymbals , tam-tam , triangle), piano, and strings

▶ D U R AT I O N : about 30 minutes

T H RO U G H O U T H I S C A R E E R , Arthur Honegger consistently explored themes of a religious, philosophical, or moral nature in his works This could be partially ascribed to his family background. Born and raised in France to a German-speaking Swiss family, Honegger was unique among 20th-century composers in uniting the French and German artistic approaches, which had historically been considered antithetical. For this reason alone, he always felt uncomfortable about being included in the French composer group “Les Six,” which rebelled against the serious, Germanic tradition that Honegger always held dear

Honegger composed a series of large-scale vocal works early in his career including the oratorios King D avid and Joan of Arc at the Stake but later turned increasingly to symphonic music, a genre which had never been at the center of his interests. Once he began composing his Third Symphony in the aftermath of World War II, he wrote an extended commentary to accompany it, the longest discussion he ever devoted to any of his works. In it, he made his intentions explicit to prevent any misunderstandings:

Arthur Honegger (seen here in 1950) cultivated a distinct style that combined the irreverent approaches of “Les Six” with the weightiness of Germanic traditions

My intention in this work was to symbolize the reaction of modern man against the morass of barbarism, stupidity, suffering, machine-mindedness, and bureaucrac y that has been besieging us for some years now. I have reproduced in musical terms the combat that is joined in man’s heart between yielding to the blind forces that enclose him and his instinct for happiness, his love of peace, his apprehension of a divine refuge. My symphony is, if you like, a drama played out between three characters, whether real or symbolic: misery, happiness, and man. These are e verlasting themes. I have tried to give them ne w life.

My

intention in

In the Dies irae, I was concerned with depicting human terror in the face of divine anger, with expressing the brutal, unchanging feelings of oppressed peoples, delivered to the whims of fate and seeking in vain to escape the cruel snares of destiny. … The violent themes crowd in on one another without leaving the listener a moment’s respite. … Then finally, at the end of the movement, a bird makes its appearance De profundis clamavi: The sorrowful meditation of humankind abandoned by God; a meditation that is already a prayer. What tribulation this movement cost me! [How] hard it is too, to put a prayer

this work was to symbolize the reaction of modern man against the morass of barbarism , stupidity, suffering , machine-mindedness , and bureaucracy that has been besieging us for some years now.

Arthur Honegger them life.

To express this universal struggle, Honegger chose liturgical mottos for each of the three movements. The first movement is D ies irae (“Day of wrath,” from the Requiem Mass), the second D e profundis clamavi (“Out of the depths I cry to you,” from Psalm 130), and the third D ona nobis pacem (“Give us peace,” from the Ordinary of the Mass). All three movements have themes to which the respective Latin words could be sung, although the composer did not write them into the score.

Honegger’s commentary continues:

of

without hope into human mouths. … Toward the end of this movement, I have repeated the bird theme more obviously … the promise of peace … amid disaster. Dona nobis pacem: … There is nothing so stupid as barbarism unleashed on a civilization. What I wanted to express at the beginning of the third movement was precisely this increase in collective stupidity. It’s the march of the robots against the bodies and souls of men. … But now a feeling of rebellion surfaces among the victims. The re volt takes shape and grows. Suddenly, an immense clamor escapes from the

lungs of the oppressed: Dona nobis pacem! And then, as though the cup of suffering were full … [the] clouds part and, amid the glory of the rising sun, for the last time the bird sings. In this way, the bird hovers over the symphony, just as once the dove hovered over the immensity of the waters.

What are the musical means by which Honegger expressed this artistic vision of good versus evil?

The D ies irae is evoked in the first movement. This performance instruction calls for the notes to be played marcato, or sharply accented We hear march-like, angular rhythms and melodies with wide leaps and dissonant sonorities. But Honegger’s movement later takes a softer turn as he introduces the voice of happiness, expressed by long-breathed melodies played legato (with the notes smoothly connected to one another). These characteristics are strongest in the melody Honegger referred to as the “bird theme,” which appears at the very end of the movement, played by flutes, English horn, trombones, and tuba.

The D e profundis second movement, which was so hard for Honegger to write, is the longest of the three. It presents the third, and most important, character in the symphonic drama: after misfortune and happiness, it is humankind itself that speaks. The musical language is lyrical, similar to the first movement’s “bird theme,” and the numerous solos of wind instruments help create an atmosphere of intimacy.

The third movement intones the D ona nobis pacem very differently from the way

it traditionally appears. As the conclusion of the entire Mass, it is usually sung to a quiet, lyrical melody But Honegger turns his version into a desperate cry, making it the center of the revolt against barbarism. Rather than praying for peace, humankind demands it, having suffered the terrors of war for far too long. The outcry is preceded by a group of themes that again embody the duality of misfortune and happiness. At the end, the tempo suddenly slows down to a solemn Adagio, the strings play a soothing chorale, and “for the last time the bird sings.” Impersonated in turn by the flute and piccolo, the bird “hovers” above the hymnlike music of the strings as the symphony ends in a mood of peaceful contemplation.

adapted from a note by Peter Laki

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

The devastation of an earlier global conflict , World War I, saw an outpouring of artistic expression, including this 1916 lithograph by German artist Ernst Barlach titled Dona Nobis Pacem! (Grant Us Peace!).

Das Lied von der Erde (The Song of the Earth)

by Gustav Mahler

B O R N : July 7, 1860, in Kalischt , Bohemia (present- day Czech Republic)

D I E D : May 18, 1911 , in Vienna

▶ C O M P O S E D : 1908

▶ W O R L D P R E M I E R E : November 10, 1911, conducted by Bruno Walter and featuring soloists Sarah Charles Cahier and William Miller

▶ C L E V E L A N D O R C H E S T R A P R E M I E R E : November 7, 1940, with Music Director Artur Rodziński conducting and Enid Szantho and Charles Kullman as soloists

▶ O R C H E S T R AT I O N : 3 flutes , piccolo, 3 oboes , English horn , 4 clarinets , bass clarinet , 3 bassoons (3rd doubling contrabassoon), 4 horns , 3 trumpets , 3 trombones , tuba , timpani, percussion (glockenspiel, triangle, cymbals , tam-tam , tambourine, bass drum), 2 harps , mandolin , celesta , and strings , plus tenor and baritone (or alto) soloists

▶ D U R AT I O N : about 50 minutes

“T H E S O N G O F T H E E A RT H ” is a somewhat misleading translation of Gustav Mahler’s great symphonic song cycle

D as Lied von der Erde Rephrasing it as “Song About the Earth” might be more precise. The Earth doesn’t do the singing here; rather, it is humans who sing of what it feels like to live on this beautiful but deeply troubled planet. Ultimately, however, this piece does become a “song of the earth” in the sense that it strives to sum up the entire terrestrial experience of being human, of our existence as individuals and in relationship to our families, communities, and nature.

D as Lied von der Erde unfolds in a succession of six movements, each

of which concentrates on one particular aspect of life on earth. The first and last of these constitute, in the words of scholar Donald Mitchell, a “majestic frame surrounding a group of movements of diverse character and tempos.” This “majestic frame” consists of D as Trinklied vom Jammer der Erde ( The Drinking Song of Earth’s Sorrow), in which the dramatic poles of celebration and tragedy are established, and D er Abschied ( The Farewell), which is filled with resignation The intervening

This famous photograph of Gustav Mahler was taken around 1909, the year following the completion of Das Lied von der Erde and two years after the tragic loss of his daughter, which influenced the dark , existential themes of this song symphony

movements evoking the changing seasons and the transience of youth and beauty represent a full life cycle, thus depicting all the things to which we will have to say farewell at the end of our lives.

While the work was technically Mahler’s ninth symphony, he had a superstitious fear of that number. Since the premiere of Beethoven’s own gigantic Ninth Symphony, this number could not be taken lightly; few composers after Beethoven had been able to complete more than nine symphonies before their death. According to the oft-repeated story (whose truth is now questioned), Mahler tried to “fool Fate” by making D as Lied von der Erde a song symphony before composing his next “real” symphony, the Ninth But Fate would

not be fooled. Mahler’s Tenth Symphony remained incomplete when the composer died on May 18, 1911.

Certainly, if anyone had a reason to fear death in 1908, it was Mahler. The previous year, he had seen his oldest daughter die at age 4, and he himself was diagnosed with potentially fatal heart disease. 1907 was also the year Mahler resigned as director of the Vienna Court Opera a post he had held for a decade to quell the mounting hostility toward him and his work there.

It was during this traumatic period that a friend presented him with a

The vastness and loneliness of nature fascinated the German Romantics and was captured by numerous artists , such as Johann Wilhelm Schirmer in his 1830s watercolor Mountainous Landscape with a River.

volume of poetry by Hans Bethge titled D ie chinesische Flöte ( The Chinese Flute)

This was a book of free renderings into German of classic Chinese poems or perhaps more accurately, a collection of German poems loosely based on Chinese originals. Mahler introduced his own changes and, with a real stroke of genius, built a large-scale symphonic structure out of the short poems he selected from the book.

The six movements run as follows:

1) D as Trinklied vom Jammer der Erde ( The Drinking Song of Earth’s Sorrow) is probably one of the few toasts that says “to death” instead of “to life.” Before we can enjoy our wine, we are reminded of the misery of our existence, the brevity of life, and the horrors of the world (symbolized by the howling ape). It is a most unsettling world that appears in this music, only to be brushed aside when it is finally time to drink. The movement exudes high energy and defiance; the only quiet moments are the three utterances of the line D unkel ist das Leben, ist der Tod (Dark is life … is death), each repeated a half-step higher than the previous one.

2) D er Einsame im Herbst ( The Lonely One in Autumn): The long oboe solo that opens this movement sets a plaintive tone for the baritone soloist, who sings of chilly winds and a weary heart. The lethargic feelings know almost no respite throughout the movement, except at the end, at the brief mention of the Sonne der Liebe (sun of love).

3) Von der Jugend (Of Youth) is the

happiest movement in the work. The subject of this peaceful idyll prompted Mahler to use the pentatonic scale (playable on the black keys of the piano), which stereotypically holds associations with the music of China and other East Asian cultures. This is the only movement where he resorted to this kind of “local color”; it is, therefore, ironic to find that the “porcelain pavilion” the recurrent, dominant image of the poem never existed in the Chinese original. It arose from a misinterpretation of a Chinese character by Judith Gautier, one of the French translators whose work was used by Bethge.

The Earth doesn’t do the singing here; rather, it is humans who sing of what it feels like to live on this beautiful but deeply troubled planet . the

Von it this troubled

4) Von der Schönheit (Of Beauty) tells of a fleeting encounter between a group of young girls and some handsome horsemen riding by. The heart of one of the girls begins to beat faster at the sight of one of the young lads, but she is ultimately left with nothing but memories. The movement contains two instrumental interludes in a march tempo, marking the arrival and the departure of the horsemen. At the end, the excitement subsides and the main theme is broken into small fragments as the happy vision fades

5) D er Trunkene im Frühling ( The Drunken One in Springtime): A last glimmer of hope is offered by a small bird singing in a tree, heard by a man who is determined to drink himself into oblivion. The man, who has long since given up on life, hears the bird promise a new spring, but it is too late. He asks: “What do I care about the spring?” and the innocent voice of the bird represented by a violin solo is silenced by the coarse drinking song.

is leaving forever share the same sadness and nostalgia, but in Mahler’s musical setting, they seem to merge into one person.

The movement takes us from a lugubrious opening (with its ominous tam-tam strokes) to a gradually unfolding vision of the whole world going peacefully to sleep. The music soon grows more passionate before, in an extensive orchestral interlude, Mahler reiterates some of the melodic material

The [final] movement takes us from a lugubrious opening (with its ominous tam- tam strokes) to a gradually unfolding vision of the whole world going peacefully to sleep.

6) D er Abschied ( The Farewell), the final movement, lasts about half an hour (about as long as the other five movements put together). Here we enter a world that is completely different from what we have heard previously. On a structural level, the clear symmetrical forms of the earlier movements are abandoned in favor of a freer, more rhapsodic unfolding of the music Sometimes Mahler even dispenses with barlines and allows the vocal and instrumental lines to evolve free from any metrical constraints

The text combines two separate Bethge poems, offering a vague hint at a storyline. Two characters one who is waiting and one who announces that he

of the first section It is a funeral march of massive proportions, where marchlike features are combined with melodies of high lyrical intensity.

Once the baritone re-enters, the most significant event is the switch from the tragic C-minor tonality, which has prevailed since the beginning of the movement, to a bright and soothing C major At this final farewell, the text speaks of flowers, springtime, and eternal blossoming. The well-known e wig, e wig (forever, forever) that ends Mahler’s work conjures up a vision of timeless, unspeakable beauty, which is the last thing the traveler beholds before leaving this earth forever.

Peter Laki

O N V I E W A T

S E V E R A N C E M U S I C C E N T E R

The Golden Age of Music Cover Art

PA M E L A H U M P H R E Y G R E E N R O O M

The early 19th century witnessed a global surge in sheet music production . Thanks to new printing technologies , many publishing houses took pride in creating elaborate covers adorned with whimsical designs , vibrant inks , and intricate illustrations . This season , see a variety of sheet music covers from several Orchestra collections in the Green Room .

From the Archives: Out of the Vault

L E R N E R G A L L E RY

Have you ever wondered what is stored in The Cleveland Orchestra’s Archives? Wonder no more! Check out the Lerner Gallery for photos , recordings , memorabilia , artifacts , and rarely seen treasures that have been released from “the vault . ”

Growing Up with The Cleveland Orchestra: Over 100 Years of Education Concerts

T H E M A G I C B O X outside the Grand Foyer

Centered around a 1945 Braille version of From the Land of Make-Believe, The Cleveland Orchestra’s educational study guide, this exhibit in the Magic Box showcases photos and videos from our Education Concerts throughout the decades .

Das Lied von der Erde (The Song of the Earth)

by Gustav Mahler

German texts by Hans Bethge, based on original Chinese poems

Adapted and edited by Mahler

English translation by Eric Sellen and Peter Laki

I . D as Trinklied vom Jammer der Erde ( The Drinking Song of Earth’s Sorrow) after Li T’ai-po

T E N O R

Schon winkt der Wein im gold’nen Pokale, D och trinkt noch nicht, erst sing’ ich euch ein Lied!

D as Lied vom Kummer

Soll auflachend in die Seele euch klingen.

Wenn der Kummer naht, Liegen wüst die Gärten der Seele, Welkt hin und stirbt die Freude, der Gesang.

D unkel ist das Leben, ist der Tod

Herr dieses Hauses!

D ein Keller birgt die Fülle des goldenen Weins!

Hier, diese Laute nenn’ ich mein!

D ie Laute schlagen und die Gläser leeren,

D as sind die D inge, die zusammen passen.

Ein voller Becher Weins zur rechten Zeit

Ist mehr wert, als alle Reiche dieser Erde!

D unkel ist das Leben, ist der Tod.

D as Firmament blaut e wig und die Erde

Wird lange fest steh’n und aufblüh’n im Lenz.

D u aber, Mensch, wie lang lebst denn du?

Nicht hundert Jahre darfst du dich ergötzen

An all dem morschen Tande dieser Erde!

Wine already sparkles in the golden goblet, But do not drink yet; first I will sing you a song!

The Song of Misery,

To laughingly echo in your soul.

When Misery draws near,

The gardens of the soul lie wasted, Killing and diminishing all joy, all singing

Dark is life … is death.

Master of this house!

Your cellar holds an abundance of golden wine!

Here, this lute I call my own!

To play the lute and empty the glasses, These are the things that go well together. A full cup of wine at the right time

Is worth more than all the kingdoms of this world!

Dark is life is death

The sky will always be blue, and the earth Will long be firm and blossom forth in spring.

But you, human, how long will you live?

Not a hundred years can you delight

In all the rotten trash of this world!

Seht dort hinab! Im Mondschein auf den Gräbern

Hockt eine wild-gespenstische Gestalt

Ein Aff’ ist’s! Hört ihr, wie sein Heulen

Hinausgellt in den süssen D uft des Lebens!

Jetzt nehmt den Wein!

Jetzt ist es Zeit, Genossen!

Leert eure gold’nen Becher zu Grund!

D unkel ist das Leben, ist der Tod!

Look over there! In the moonlight on the graves

Squats a wild ghostly form

It is an ape! Hear how its howling Rings out against life’s sweet fragrance!

Now take the wine!

Now it is time, comrades!

Empty your golden cups to the dregs! Dark is life … is death!

I I . D er Einsame im Herbst ( The Lonely One in Autumn) after Chang Tsi

B A R I T O N E

Herbstnebel wallen bläulich überm See;

Vom Reif bezogen stehen alle Gräser; Man meint, ein Künstler habe Staub von Jade

Über die feinen Blüten ausgestreut.

D er süsse D uft der Blumen ist verflogen;

Ein kalter Wind beugt ihre Stengel nieder Bald werden die verwelkten, gold’nen Blätter

D er Lotosblüten auf dem Wasser zieh’n

Mein Herz ist müde. Meine kleine Lampe Erlosch mit Knistern, es gemahnt mich an den Schlaf.

Ich komm’ zu dir, traute Ruhestätte!

Ja, gib mir Ruh’, ich hab’ Erquickung not!

Ich weine viel in meinen Einsamkeiten.

D er Herbst in meinem Herzen währt zu lange.

Sonne der Liebe willst du nie mehr scheinen, Um meine bittern Tränen mild aufzutrocknen?

Autumn mists drift blue over the lake; All the grasses are covered with hoar frost; One might think that an artist had taken jade dust

And sprinkled it over the delicate flowers.

The flowers’ sweet fragrance has evaporated; A cold wind bends their stems down.

Soon will the withered, golden leaves

Of the lotus blossoms drift upon the water.

My heart is weary. My small lamp

Has gone out with a sputter, urging me to fall asleep

I come to you, beloved resting place!

Yes, give me peace, I need to be refreshed!

I cry often in my loneliness.

The autumn in my heart lasts too long

Sun of love, will you no longer shine

On my bitter tears to tenderly wipe them away?

I I I . Von der Jugend (Of Youth) after Li T’ai-po

T E N O R

Mitten in dem kleinen Teiche

Steht ein Pavillon aus grünem

Und aus weissem Porzellan.

Wie der Rücken eines Tigers

Wölbt die Brücke sich aus Jade

Zu dem Pavillon hinüber

In the middle of the little pond

Stands a pavilion of green And white porcelain.

Like the back of a tiger, The bridge of jade arches Across to the pavilion.

In dem Häuschen sitzen Freunde, Schön gekleidet, trinken, plaudern.

Manche schreiben Verse nieder

Ihre seidnen Ärmel gleiten

Rückwärts, ihre seidnen Mützen

Hocken lustig tief im Nacken.

Auf des kleinen Teiches stiller

Wasserfläche zeigt sich alles Wunderlich im Spiegelbilde.

Alles auf dem Kopfe stehend

In dem Pavillon aus grünem

Und aus weissem Porzellan

Wie ein Halbmond steht die Brücke, Umgekehrt der Bogen. Freunde, Schön gekleidet, trinken, plaudern.

In the little house sit friends, Beautifully dressed, drinking and chatting

Some are writing verses.

Their silken sleeves fall Backwards, their silken caps

Sit roguishly against their necks.

On the pond’s still

Surface, everything is reflected

Wondrously in mirror image.

Everything stands on its head

In the pavilion of green

And white porcelain.

Like a half-moon stands the bridge, The arch upside down. Friends, Handsomely dressed, drink and chat

I V. Von der Schönheit (Of Beauty) after Li T’ai-po

B A R I T O N E

Junge Mädchen pflücken Blumen, Pflücken Lotosblumen an dem Uferrande

Zwischen Büschen und Blättern sitzen sie, Sammeln Blüten in den Schoss und rufen

Sich einander Neckereien zu.

Gold’ne Sonne webt um die Gestalten, Spiegelt sie im blanken Wasser wider, Sonne spiegelt ihre schlanken Glieder, Ihre süssen Augen wider,

Und der Zephir hebt mit Schmeichel kosen

D as Ge webe ihrer Ärmel auf, führt den Zauber

Ihrer Wohlgerüche durch die Luft.

O sieh, was tummeln sich für schöne Knaben

D ort an dem Uferrand auf mut’gen Rossen?

Weithin Glänzend wie die Sonnenstrahlen; Schon zwischen D em Geäst der grünen

Weiden

Trabt das jungfrische Volk einher!

Young maidens are picking flowers, Plucking lotus blossoms on the riverbank. Among bushes and leaves they sit, Gathering flowers in their laps and calling out Teasingly to one another.

Golden sunlight envelops the figures, Reflecting them in the bright water, Sunshine mirrors their slender limbs, Their charming eyes,

And the breeze, with tender caresses, lifts

The fabric of their sleeves, carrying the magic Of their perfumes through the air.

Oh see, what handsome youths romp there

Near the bank on lively horses?

In the distance they gleam like the sunbeams; Through the branches of the green willows,

The sporting youths trot along!

D as Ross des einen wiehert fröhlich auf Und scheut Und saust dahin, Über Blumen, Gräser, wanken hin D ie Hufe, Sie zerstampfen jäh im Sturm die Hingesunk’nen Blüten

Hei! Wie flattern im Taumel Seine Mähnen, D ampfen heiss die Nüstern!

Gold’ne Sonne webt um die Gestalten, Spiegelt sie im blanken Wasser wider Und die schönste von den Jungfrau’n sendet Lange Blicke ihm der Sehnsucht Nach. Ihre stolze Haltung ist nur Verstellung.

In dem Funkeln ihrer grossen Augen, In dem D unkel ihres heissen Blicks

Schwingt klagend noch die Erregung ihres Herzens nach

The horse of one neighs merrily, Hesitates, and then gallops off, Over flowers, grasses, its hooves stagger, Trampling like a storm, crashing over the fallen flowers.

Ho! How its mane tosses in a frenzy, Steam blowing from its nostrils!

Golden sunlight envelops the figures, Reflecting them in the bright water.

And the loveliest of the young women casts Long glances of desire after him.

Her proud demeanor is only pretense.

In the flashing of her large eyes, In the depths of her fiery glance

The excitement of her heart still reverberates.

V. D er Trunkene im Frühling ( The Drunken One in Springtime) after Li T’ai-po

T E N O R

Wenn nur ein Traum das Leben ist, Warum denn Müh’ und Plag’!?

Ich trinke, bis ich nicht mehr kann, D en ganzen, lieben Tag!

Und wenn ich nicht mehr trinken kann,

Weil Kehl’ und Seele voll, So tauml’ ich bis zu meiner Tür Und schlafe wundervoll!

Was hör’ ich beim Erwachen? Horch!

Ein Vogel singt im Baum. Ich frag’ihn, ob schon Frühling sei, Mir ist als wie im Traum

D er Vogel zwitschert: Ja!

D er Lenz ist da, sei kommen über Nacht! Aus tiefstem Schauen lauscht’ ich auf,

D er Vogel singt und lacht!

If life is merely a dream, Why then trouble and care!?

I drink until I can drink no more The whole day long!

And when I can drink no more, Because throat and soul are full, Then I stagger to my door And sleep blissfully!

What do I hear upon waking? Hark!

A bird sings in the tree.

I ask him whether spring has arrived, Feeling as though I am in a dream.

The bird twitters: “Yes!

Spring is here, it came overnight!”

I awaken from deep contemplation; The bird sings and laughs!

Ich fülle mir den Becher neu

Und leer’ ihn bis zum Grund

Und singe, bis der Mond erglänzt A m schwarzen Firmament!

Und wenn ich nicht mehr singen kann, So schlaf’ ich wieder ein.

Was geht mich denn der Frühling an?

Lasst mich betrunken sein!

I fill my cup once more And empty it to the dregs And sing until the moon gleams Against the black sky!

And when I can sing no more, Then will I fall asleep again. What do I care about the spring?

Let me remain drunk!

V I . D er Abschied ( The Farewell) after Meng Kao-yen and Wang Wei

B A R I T O N E

D ie Sonne scheidet hinter dem Gebirge.

In alle Täler steigt der Abend nieder

Mit seinen Schatten, die voll Kühlung sind.

O sieh! Wie eine Silberbarke schwebt

D er Mond am blauen Himmelssee herauf

Ich spüre eines feinen Windes Weh’n

Hinter den dunklen Fichten!

D er Bach singt voller Wohllaut durch das D unkel

D ie Blumen blassen im D ämmerschein.

D ie Erde atmet voll von Ruh’ und Schlaf

Alle Sehnsucht will nun träumen,

D ie müden Menschen geh’n heimwärts,

Um im Schlaf vergess’nes Glück

Und Jugend neu zu lernen!

D ie Vögel hocken still in ihren Zweigen

D ie Welt schläft ein!

Es wehet kühl im Schatten meiner Fichten.

Ich stehe hier und harre meines Freundes; Ich harre sein zum letzten Lebe wohl.

Ich sehne mich, o Freund, an deiner Seite

D ie Schönheit dieses Abends zu geniessen.

Wo bleibst du? D u lässt mich lang allein!

Ich wandle auf und nieder mit meiner Laute

The sun sinks behind the mountains. Across all the valleys evening descends With its shadows, filled with cool air.

Oh see! Like a silver boat, The moon floats upward on the heavenly blue lake.

I feel a soft wind blowing Beyond the dark pines.

The brook sings melodiously through the darkness.

The flowers grow pale in the twilight The earth breathes, full of rest and sleep. All longing turns to dreaming, Weary people head homeward, to forget happiness in sleep and to recall their youth!

Birds perch quietly on their branches.

The world falls asleep!

A cool breeze blows in the shadow of my pines.

I stand here and wait for my friend; I wait to bid him a final farewell I long, my friend, at your side to enjoy the beauty of this evening. Where are you? You leave me alone for so long!

I walk up and down with my lute

Auf Wegen, die vom weichen Grase schwellen.

O Schönheit! O e wigen Liebens Lebens trunk’ne Welt!

Er stieg vom Pferd und reichte ihm den Trunk

D es Abschieds dar.

Er fragte ihn, wohin er führe

Und auch warum es müsste sein.

Er sprach, seine Stimme war umflort:

D u, mein Freund,

Mir war auf dieser Welt das Glück nicht hold!

Wohin ich geh’? Ich geh’, ich wand’re in die Berge.

Ich suche Ruhe für mein einsam Herz.

Ich wandle nach der Heimat, meiner Stätte.

Ich werde niemals in die Ferne schweifen

Still ist mein Herz und harret seiner Stunde!

D ie liebe Erde allüberall

Blüht auf im Lenz und grünt Aufs neu!

Allüberall und e wig blauen licht die Fernen!

Ewig … e wig …

On paths that swell with soft grass. Oh beauty! Oh eternal love life drunken world!

He alighted from his horse and offered a drink

Of farewell.

He asked him where he was going

And why it had to be

He spoke, his voice soft:

“Oh, my friend, I have not had much luck in this world!

Where am I going? I go, I wander in the mountains.

I seek peace for my lonely heart.

I go to my native land, my home

I shall never roam in distant lands. My heart is quiet and awaiting its hour!

The beloved earth everywhere

Blossoms forth in spring and greens anew! Everywhere and forever the horizon grows blue!

Forever forever ”

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Franz Welser -Möst, Music Director

N O W I N H I S 2 4 T H S E A S O N , Franz Welser-Möst continues to shape an unmistakable sound culture as Music Director of The Cleveland Orchestra. Under his leadership, the Orchestra has earned repeated international acclaim for its musical excellence, reaffirmed its strong commitment to new music, and brought opera back to the stage of Severance Music Center. In recent years, the Orchestra also launched its own streaming platform, Adella.live, and a recording label. Today, it boasts one of the youngest audiences in the United States.

In addition to residencies in the US and Europe, Welser-Möst and the Orchestra perform regularly at the world’s leading international festivals. Welser-Möst will remain Music Director until 2027, making him the longest-serving music director of The Cleveland Orchestra.

Welser-Möst enjoys a particularly close and productive artistic partnership with the Vienna Philharmonic. He regularly conducts the orchestra in subscription concerts at the Vienna Musikverein, at the Salzburg Festival, and on tour in Europe, Japan, China, and the US, and has appeared three times on the podium for their celebrated New Year’s Concert (2011, 2013, and 2023). At the Salzburg Festival, WelserMöst has set new standards in interpretation as an opera conductor, with a special focus on the operas of Richard Strauss.

Among Welser-Möst’s many honors and awards, he was named an Honorary Member of the Vienna Philharmonic in 2024, one of the orchestra’s highest distinctions.

Limmie Pulliam, tenor

R I S I N G D R A M AT I C T E N O R Limmie Pulliam has thrilled audiences with his captivating stage presence and “stentorian, yet beautiful” sound.

The 2025 – 26 season features a combination of exciting debuts and returns for Pulliam, including his role debut as Florestan in Fidelio with Utah Opera. The tenor returns to The Cleveland Orchestra for Mahler’s D as Lied von der Erde with Franz Welser-Möst and makes his debut with the Dallas Symphony Orchestra for Mahler’s Eighth Symphony under the baton of Fabio Luisi. His recital engagements include appearances with the Exeter Academy, Baltimore Community Concerts, Manchester UMC, and the Dorothy Cotton Jubilee Singers. In concert, he joins the Jacksonville Symphony, sings Verdi’s Requiem with the Memphis Symphony Orchestra, and appears at the Festival International de Musique Saint-Georges for excerpts from Pagliacci.

Last season, Pulliam made an anticipated role debut as Calaf in Turandot for a special benefit concert for University of Houston’s Moore School of Music, followed by further performances with the Minnesota Orchestra. He debuted with the Baltimore Symphony Orchestra as Radamès in Aida, led by Jonathan Heyward, and collaborated with Yannick Nézét-Seguin in his debut with the Orchestre Métropolitain for Bruckner’s Te D eum. In addition, he appeared as Samson in Samson et D alila

with New Orleans Opera and returned to Oberlin Conservatory for special performances of Rhiannon Giddens’s O mar.

An in-demand artist, Pulliam has appeared with many renowned orchestras and opera companies over the years, including the Gewandhaus Orchester, New World Symphony, Metropolitan Opera, San Diego Symphony, Los Angeles Opera, The Philadelphia Orchestra, and Lyric Opera of Kansas City. He has also been featured in numerous appearances with the internationally renowned chorale Gloriae Dei Cantores.

The Missouri native trained with the late, renowned pedagogue Richard Miller. He is a former participant in the young artist programs of Cleveland Opera, Opera Delaware, and Opera Memphis. Additionally, Pulliam was the 2012 Artist Division Winner of the National Opera Association’s Vocal Competition and, in 2013, was a winner in the 3rd Annual Concorso Internazionale di Canto della Fondazione Marcello Giordano in Catania, Sicily.

Iurii Samoilov, baritone

U K R A I N I A N B A R I T O N E Iurii Samoilov has recently been praised for his “warm tone and emotional expressivity” (El País), his convincing character portrayals (O peraWire), and his “effortless technique” (Houston Press).

The 2025 – 26 season opens with Samoilov returning to The Cleveland Orchestra for Mahler’s D as Lied von der Erde, conducted by Franz Welser-Möst. He will then make his role debut as Sharpless in Madama Butterfly at Irish National Opera. Following that, Samoilov returns to the Metropolitan Opera as Schaunard in La bohème and appears at Houston Grand Opera in a new production of Kevin Puts’s Silent Night as Lieutenant Audebert. Additionally, he returns to the Gran Teatre del Liceu to perform Manon Lescaut and makes his role debut as Robert in Iolanta at Finnish National Opera.

Recent operatic highlights include engagements at Houston Grand Opera, the Salzburg Festival, Teatro Real Madrid, Opéra National de Paris, and Dutch National Opera. On the concert platform, Samoilov has appeared with the TonhalleOrchester Zürich, Nordwestdeutsche Philharmonie, Orchestre de Paris, BBC National Orchestra of Wales, and numerous other orchestras. He also appeared on the 2023 New Year’s Eve Concert at the Staatskapelle Dresden under Franz Welser-Möst.

Samoilov grew up in Yuzhne, Ukraine. He graduated from the National Music

Academy in Kyiv, where he studied vocal performance with Roman Mayboroda He also pursued postgraduate studies at the Dutch National Opera Academy and became a member of the Dutch National Opera Studio At the beginning of his career, Samoilov participated in numerous academies and projects for young artists, including the Solti Academy, Accademia Rossiniana (Pesaro), Mozart Academy (Aix-en-Provence), and the Young Singers Project (Salzburg). From 2012 to 2022, he was a member of the Oper Frankfurt ensemble, where he performed iconic baritone roles in The Barber of Se ville, The Magic Flute, Eugene O negin, D on Giovanni, and Peter Grimes, among others.

Samoilov was a finalist at the 2017 BBC Cardiff Singer of the World competition and a recipient of the Päsel Foundation Award.

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N O W F I R M LY I N I T S S E C O N D C E N T U RY ,

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 Ne w 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 2025 – 26 season marks Franz Welser-Möst’s 24th year as Music Director, a period in which The Cleveland

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.

Franz Welser -Möst, Music Director

K E LV I N S M I T H FA M I LY C H A I R

F I R S T V I O L I N S

Joel Link

C O N C E RT M A S T E R

Blossom-Lee Chair

Liyuan Xie

F I R S T A S S O C I AT E

C O N C E RT M A S T E R

Virginia M. Lindseth, PhD, Chair

Jung-Min Amy Lee

A S S O C I AT E

C O N C E RT M A S T E R

Gretchen D. and Ward Smith Chair

Stephen Tavani

A S S I S TA N T

C O N C E RT M A S T E R

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

Isabel Trautwein

Trevor and Jennie Jones Chair

Katherine Bormann

Analise Handke

Gladys B Goetz Chair

Zhan Shu

Youngji Kim

Paul and Lucille Jones Chair

Genevieve Smelser

S E C O N D V I O L I N S

Stephen Rose*

Alfred M and Clara T Rankin Chair

Eli Matthews1

Patricia M. Kozerefski and Richard J Bogomolny Chair

Jason Yu2

James and Donna Reid Chair

Sonja Braaten Molloy

Carolyn Gadiel Warner

Elayna Duitman

Ioana Missits

Jeffrey Zehngut^

Kathleen Collins

Beth Woodside

Emma Shook

Dr Jeanette Grasselli Brown and Dr Glenn R Brown Chair

Yun-Ting Lee

Deborah L . Neale Chair

Jiah Chung Chapdelaine

Gawon Kim

V I O L A S

Wesley Collins*

Chaillé H and Richard B

Tullis Chair

Stanley Konopka2

Mark Jackobs

Jean Wall Bennett Chair

Lisa Boyko

Richard and Nancy Sneed Chair

Richard Waugh

Lembi Veskimets

The Morgan Sisters Chair

Eliesha Nelson^

Anthony and Diane

Wynshaw-Boris Chair

Joanna Patterson Zakany

William Bender

Thomas Lauria and Christopher Lauria Chair

Gareth Zehngut^

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

C E L L O S

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

Tanya Ell

Thomas J and Judith Fay

Gruber Chair

Ralph Curry

Brian Thornton

William P. Blair III Chair

David Alan Harrell

Martha Baldwin

Dane Johansen

Marguerite and James Rigby Chair

Paul Kushious

B A S S E S

Maximilian Dimoff*

Clarence T. Reinberger Chair

Charles Paul1

Mary E . and F. Joseph

Callahan Chair

Derek Zadinsky2

Mark Atherton

Thomas Sperl

Henry Peyrebrune

Charles Barr Memorial Chair

Charles Carleton

Scott Dixon

Brandon Mason

H A R P

Trina Struble*

Alice Chalifoux Chair

F LU T E S

Joshua Smith*

Elizabeth M. and William C.

Treuhaft Chair

Saeran St. Christopher

Jessica Sindell2^

Austin B and Ellen W Chinn Chair

Mary Kay Fink

P I C C O L O

Mary Kay Fink

Anne M and M Roger Clapp Chair

O B O E S

Frank Rosenwein*

Edith S Taplin Chair

Corbin Stair

Sharon and Yoash Wiener Chair

Jeffrey Rathbun2

Everett D. and Eugenia S .

McCurdy Chair

Robert Walters

E N G L I S H H O R N

Robert Walters

Samuel C and Bernette K

Jaffe Chair

C L A R I N E T S

Afendi Yusuf*

Robert Marcellus Chair

Robert Woolfrey

Victoire G and Alfred M

Rankin, Jr Chair

Daniel McKelway2

Robert R and Vilma L Kohn Chair

Amy Zoloto

E-F L AT C L A R I N E T

Daniel McKelway

Stanley L and Eloise M

Morgan Chair

B A S S C L A R I N E T

Amy Zoloto

Myrna and James Spira Chair

B A S S O O N S

John Clouser*

Louise Harkness Ingalls Chair

Gareth Thomas

Jonathan Sherwin

C O N T R A B A S S O O N

Jonathan Sherwin

H O R N S

Nathaniel Silberschlag*

George Szell Memorial Chair

Michael Mayhew§ Knight Foundation Chair

Jesse McCormick

Robert B. Benyo Chair

Hans Clebsch

Richard King

Meghan Guegold Hege^

T RU M P E T S

Michael Sachs*

Robert and Eunice Podis

Weiskopf Chair

Jack Sutte

Lyle Steelman2^

James P and Dolores D Storer Chair

Michael Miller

C O R N E T S

Michael Sachs*

Mary Elizabeth and G Robert Klein Chair

Michael Miller

T RO M B O N E S

Brian Wendel*

Gilbert W and Louise I

Humphrey Chair

Richard Stout

Alexander and Marianna C .

McAfee Chair

Shachar Israel2

B A S S T RO M B O N E

Luke Sieve

E U P H O N I U M &

B A S S T RU M P E T

Richard Stout

T U B A

Yasuhito Sugiyama*

Nathalie C Spence and Nathalie S Boswell Chair

T I M PA N I

Zubin Hathi*

Otto G. and Corinne T. Voss Chair

Peter Nichols2

Mr and Mrs Richard K

Smucker Chair

P E RC U S S I O N

Marc Damoulakis*

Margaret Allen Ireland Chair

Thomas Sherwood

Tanner Tanyeri

Peter Nichols

K E Y B OA R D

I N S T RU M E N T S

Carolyn Gadiel Warner

Marjory and Marc L

Swartzbaugh Chair

L I B R A R I A N

Michael Ferraguto*

Joe and Marlene Toot Chair

E N D O W E D C H A I R S

C U R R E N T LY

U N O C C U P I E D

Clara G and George P

Bickford Chair

Sandra L Haslinger Chair

Charles M and Janet G

Kimball Chair

Sunshine Chair

Rudolf Serkin Chair

Christoph von Dohnányi †

Taichi Fukumura A

Elizabeth Ring and William Gwinn Mather Chair

James Feddeck

Sidney and Doris Dworkin Chair

Lisa Wong

P and Chester C Bolton Chair * Principal

Associate Principal

First Assistant Principal

Assistant Principal ^ Alum of The Cleveland Orchestra Youth Orchestra † In Memoriam

A Conversation with Limmie Pulliam

I N E A R LY S E P T E M B E R , we had a chance to sit down with tenor Limmie Pulliam, who joins the Orchestra for Mahler’s Das Lied von der Erde (The Song of the Earth) on October 2 & 5. He shared stories from his long relationship with The Cleveland Orchestra , insights into his preparation process , and thoughts on Mahler.

T C O : We’re so excited to welcome you back to Cleveland! What was your first experience with The Cleveland Orchestra, and what has it been like singing with them?

L I M M I E : Each opportunity I’ve had to perform in Cleveland has been an unforgettable, moving experience. To call it a dream come true would still be an understatement. My first exposure to The Cleveland Orchestra was as an undergrad on Oberlin’s campus, and I still remember the first time I saw them in Severance it was in 1996 and featured Frederica von Stade singing Berlioz’s Les Nuits d’été.

But my first time singing with The Cleveland Orchestra actually came the year before that, when the Oberlin College Choir had the opportunity to perform Mahler’s Eighth Symphony with the Orchestra and the great

In March 2022, the San Francisco Chronicle praised Limmie Pulliam’s “full-throated vocal power and intimate lyricism ” Later that spring, he made his debut with The Cleveland Orchestra in the title role of Verdi’s Otello

Robert Shaw conducting (see next page) After performances with The Cleveland Orchestra Chorus at Severance, we joined the Atlanta Symphony Orchestra Chorus, Cincinnati May Festival Chorus, and American Boychoir for a performance at Carnegie Hall. It truly was a “Symphony of a Thousand.” To this day, that is still my most moving musical experience. My friends from Oberlin and I still reminisce about it.

What was your first experience with D as Lied von der Erde? When did you first perform it?

My first exposure to D as Lied von der Erde was in college. I remember listening to a recording with Fritz Wunderlich singing the tenor part. It was thrilling to hear a voice like his, especially in the first movement.

My first opportunity to sing it was supposed to be last season with The Cleveland Orchestra, but it was postponed to this season. So, these concerts will mark my official debut in this work.

To have the privilege of singing with this orchestra on multiple occasions has been one of the greatest joys of my life . Each time I return , it feels like coming home . . . .

I’m looking forward to reuniting with this great orchestra under the direction of Franz Welser-Möst.

Is there anything unique to your preparation for this piece, as opposed to an opera role?

My preparation is very similar to many of the operas I sing, in that the roles for my voice type often call for two different tenors. There is the tenor that has enough weight and heft to cut through the orchestra and deliver those loud, dramatic moments, but there is also the lyrical tenor for those softer and more fluid moments.

Both types of singing exist in D as Lied. It’s a wonderful challenge to keep the voice flexible and moving for that duality the drama as well as the lyricism.

Do you have a favorite movement to sing, or a particular moment that really sticks out to you?

The first movement is like jumping into the deep end there’s no time to warm up, you’d better be ready! When I found out I was doing this piece, I reached out to a colleague who has sung it quite a bit. His advice was: “In the first orchestra rehearsal, don’t sing as loud as you can Just sing it comfortably That way, the orchestra enters at a reasonable level.” Everyone is going to be excited, and the adrenaline is going to be pumping, but my job is not to feed into it by trying to compete with them.

The entire work is a joy to sing. I love the way Mahler uses orchestral colors to create dynamics, going from a fortississimo to a pianississimo and everything in between. I have to say my favorite part is singing the word Lebens (life) in the first movement I start on a long, high B-flat and then “melt” down. It’s absolutely thrilling.

In April 1995, Robert Shaw led The Cleveland Orchestra in a performance of Mahler’s mammoth Eighth Symphony. Among the many choristers was Limmie Pulliam, then a student at Oberlin.

For those who may not be familiar with Mahler’s music or with this piece, can you offer some things to listen for?

D as Lied is so special because it combines a symphony with a song cycle I often wonder what Mahler would have created if he had written an opera, since he wrote so well for the voice, and this may be as close as we get. I would say enjoy the lush orchestration, but also listen for how Mahler uses the voice.

There’s also a recurring word: e wig (forever). It comes up throughout, and the whole piece ends with the baritone repeating e wig, e wig, as the music fades out. At the time, Mahler was dealing with deep personal losses and facing his own mortality, so he took translations

of Chinese poems and created what he thought was the most personal piece he had ever written

Any final thoughts?

I’m just excited to reunite with friends and Iurii Samoilov, and to have two wonderful evenings of music with the Cleveland audience. To have the privilege of singing with this orchestra on multiple occasions has been one of the greatest joys of my life. Each time I return, it feels like coming home, and I hope to be able to continue this relationship for many years to come.

Limmie Pulliam last appeared at Severance in 2023, as bandit Dick Johnson in a concert production of Puccini’s The Girl of the Golden West, featuring The Cleveland Orchestra led by Music Director Franz Welser-Möst.

Adella Season Launches with 14 Digital Events

S U P P L E M E N T I N G L I V E C O N C E RT S at Severance, there is an ever-growing repository of exciting content to discover this season on Adella.live, the digital home of The Cleveland Orchestra

Beginning with the season opener (Ravel’s Boléro), six concerts from the 2025 – 26 season will be available as Live from Se verance broadcasts, streamed in real-time from Mandel Concert Hall. Celebrate Thanksgiving early with Dalia Stasevska leading Dvořák’s famous “New World” Symphony on November 23, or ring in the New Year with Music Director Franz Welser-Möst and the Orchestra in a January performance of Mozart’s “Jupiter” Symphony. At the peak of Cleveland winter, composer and conductor John Adams and pianist Aaron Diehl join the Orchestra for a celebration of North and South American music sure to warm both body and soul

The live broadcasts conclude with a March concert highlighting guest conductor Elim Chan and the music of Bartók, and an April performance of Benjamin Britten’s powerful War Requiem, led by Daniel Harding. In addition, eight Adella Premieres will be released through July 2026, comprising recent digital concerts with exclusive behind-the-scenes content and interviews with guest artists and TCO musicians. These productions include Welser-Möst and other guests on the podium, including Esa-Pekka Salonen, David Robertson, and Osmo Vänskä. This season’s features run the gamut from the timelessness of Beethoven’s Fifth Symphony to the frenetic energy of Gershwin’s Rhapsody in Blue, with a bonus deep-dive into the Orchestra’s annual Martin Luther King, Jr. Celebration Concert premiering January 18. One particularly notable production drops on May 26, 2026, featuring Welser-Möst leading the Orchestra in works by Beethoven and Janáček, a thrilling program The Ne w York Times praised as “invigorating and full of ravishing playing.” Likewise, performances of the Symphonic Fantasy on D ie Frau ohne Schatten in the Richard Strauss double-header scheduled for July 21 gained praise from the Times: “[ The Orchestra’s] clarity … lets every instrument shine in a super-dense score.”

Visit clevelandorchestra .com/adella for more information. Try Adella for free by visiting stream. adella .live/subscribe and using the code ADELLA30 at checkout .

I N M E M O R I A M : Jeanette Gras selli Brown

D R . J E A N E T T E G R A S S E L L I B RO W N , Trustee for Life, passed away on July 15 at the age of 96.

Brown was a pioneering scientist, civic leader, and lifelong advocate for education, the arts, and the advancement of women in science. Her groundbreaking work in analytical chemistry and leadership at BP America set a precedent for generations to come.

As a Trustee since 1991 and Chair of the Education Committee for 22 years, Brown served The Cleveland Orchestra with the same integrity, thoughtfulness, and intellectual rigor that she brought to her scientific career Her enduring legacy includes the Dr. Jeanette Grasselli Brown and Dr. Glenn R . Brown Chair, currently held by Second Violinist Emma Shook,

which Brown and her late husband established in 1996

We remember Brown’s extraordinary life and send our heartfelt condolences to her family and loved ones.

New Audio Recording Featuring Mozart

O R C H E S T R A and Music Director

Franz WelserMöst’s latest audio recording is a brilliant celebration of Mozart: his contemplative Piano Concerto No. 27, featuring pianist Garrick Ohlsson, paired with the youthful energy of Symphony No. 29.

Captured live at Severance Music Center, this digital-only recording was produced by Elaine Martone, who

Visit clevelandorchestra .com/discover/ recordings for more information on the Orchestra’s latest releases . T H E C L E V E L

earned her sixth Grammy this year, and marks the Orchestra’s second audio release of 2025.

Prepare for Ohlsson’s performances of Mozart’s Piano Concerto No. 23 this fall (October 30, November 1 & 2) by checking out this new recording which is available to stream and purchase on all major platforms or by discovering these works on Adella.live, the Orchestra’s digital home.

L

O C T 9 – 1 1

T R I F O N OV P L AY S

B R A H M S

Franz Welser-Möst, conductor

Daniil Trifonov, piano

P RO KO F I E V Symphony No 7

B R A H M S Piano Concerto No. 2

O C T 2 3 – 2 6

B E E T H OV E N ’ S

O D E TO J OY

Franz Welser-Möst, conductor

Joélle Harvey, soprano

Taylor Raven, mezzo-soprano

Miles Mykkanen, tenor

Dashon Burton, bass-baritone

The Cleveland Orchestra Chorus

S I B E L I U S Tapiola

B E E T H O V E N Symphony No. 9, “Choral”

R E C I TA L

O C T 2 9

B E AT R I C E R A N A

I N R E C I TA L

Beatrice Rana, piano

Works by Prokofiev, Debussy, and Tchaikovsky

O C T 3 0 & N OV 1 – 2

O H L S S O N P L AY S

M O Z A RT

Franz Welser-Möst, conductor

Garrick Ohlsson, piano

T Y L E R TAY L O R Permissions

M O Z A RT Piano Concerto No. 23

R . S C H U M A N N Symphony No. 3, “Rhenish”

N OV 1 3 – 1 5

M A H LE R ’ S S I X T H

S Y M P H O N Y

Tugan Sokhiev, conductor

Robert Walters, English horn

G E O F F R E Y G O R D O N Mad Song

M A H L E R Symphony No. 6, “ Tragic”

N OV 2 0 – 2 3

DVO Ř Á K ’ S N E W

W O R LD S Y M P H O N Y

Dalia Stasevska, conductor

R E V U E LTA S La Noche de los Mayas*

D V O Ř Á K Symphony No 9, “From the New World”

N OV 2 8 – 3 0

Y U J A WA N G P L AY S

R AV E L

Petr Popelka, conductor

Yuja Wang, piano

R AV E L Piano Concerto for the Left Hand

L I G E T I Concerto for Piano and Orchestra

M U S S O R G S K Y/ R AV E L Pictures at an Exhibition

D E C 4 – 6

H A N D E L’ S M E S S I A H

Bernard Labadie, conductor

Liv Redpath, soprano

Tim Mead, countertenor

Andrew Haji, tenor

Philippe Sly, bass-baritone

The Cleveland Orchestra Chorus

H A N D E L Messiah

W I N T E R

J A N 8 – 10

M O Z A RT ’ S J U P I T E R

S Y M P H O N Y

Franz Welser-Möst, conductor

M O Z A RT Symphony No. 41, “Jupiter”

S H O S TA KO V I C H Symphony No. 11, “ The Year 1905”

J A N 1 5 , 1 7 & 1 8

V E R D I ’ S R E Q U I E M

Franz Welser-Möst, conductor

Asmik Grigorian, soprano

Deniz Uzun, mezzo-soprano

Joshua Guerrero, tenor

Tareq Nazmi, bass

The Cleveland Orchestra Chorus

V E R D I Requiem

F E B 5 – 7

H A D E LI C H P L AY S

M E N D E L S S O H N

Antonello Manacorda, conductor

Augustin Hadelich, violin

M E N D E L S S O H N Violin Concerto

S C H O E N B E R G Chamber

Symphony No. 2

S C H U B E RT Symphony No 8, “Unfinished”

F E B 1 2 & 14

H A N N I G A N C O N D U C T S

G E R S H W I N

Barbara Hannigan, conductor

Johanna Wallroth, soprano

C R U M B A Haunted Landscape

R U G G L E S Sun-Treader

B A R B E R Knoxville: Summer of 1915

G E R S H W I N Porgy and Bess: A Symphonic Picture (arr. Bennett)

R E C I TA L

F E B 1 7

M AO F U J I TA I N R E C I TA L

Mao Fujita, piano

Works by Beethoven, Wagner, Berg, Mendelssohn, and Brahms

F E B 1 9 – 2 1

F R E N Z I E D TA N G O

John Adams, conductor

Aaron Diehl, piano

I V E S From Greenland’s Icy Mountains*

T I M O A N D R E S Made of Tunes

J O H N A D A M S Frenzy: a short symphony

P I A Z Z O L L A La Mufa (arr. Adams)*

P I A Z Z O L L A Oblivion (arr. Adams)*

P I A Z Z O L L A Libertango (arr Adams)

F E B 2 6 – 2 8

S T R AU S S ’ S D O N J UA N

Alain Altinoglu, conductor

Alisa Weilerstein, cello

U N S U K C H I N Cello Concerto

R . S T R A U S S Till Eulenspiegel’s

Merry Pranks

R . S T R A U S S Don Juan

M A R 5 , 7 & 8

B R A H M S ’ S T H I R D

S Y M P H O N Y

Jakub Hrůša, conductor

B R A H M S Symphony No. 3

M A RT I N Ů Symphony No. 3

K A P R Á L O VÁ Military Sinfonietta

M A R 1 2 – 1 5

B E E T H OV E N ’ S

FAT E F U L F I F T H

Elim Chan, conductor

Michael Sachs, trumpet

S T R AV I N S K Y Suite from Pulcinella

H AY D N Trumpet Concerto

B E E T H O V E N Symphony No. 5

R E C I TA L

M A R 1 7

T H E K A N N E H - M A S O N S

I N R E C I TA L

Sheku Kanneh-Mason, cello

Isata Kanneh-Mason, piano

Works by Mendelssohn, N. Boulanger, R. Schumann, and Clarke

M A R 1 9 – 2 1

C H A N C O N D U C T S

B A RTÓ K

Elim Chan, conductor

Patricia Kopatchinskaja, violin

D A N I E L K I D A N E Sun Poem*

B A RT Ó K Violin Concerto No. 1

B A RT Ó K Dance Suite*

S C R I A B I N The Poem of Ecstasy

S P R I N G

A P R 2 – 4

D E B U S S Y ’ S L A M E R

Daniele Rustioni, conductor

Paul Jacobs, organ

FA U R É Suite from Pelléas et Mélisande

P O U L E N C Concerto for Organ, Strings , and Timpani

C A S E L L A Italia

D E B U S S Y La mer

A P R 9 – 1 1

S C H U B E RT &

S H O S TA KOV I C H

Santtu-Matias Rouvali, conductor

Sol Gabetta, cello

S H O S TA KO V I C H Cello Concerto No. 2

S C H U B E RT Symphony No. 9, “ The Great”

R E C I TA L

A P R 1 6

A LE X A N D R E

K A N TO RO W I N R E C I TA L

Alexandre Kantorow, piano

Works by J.S. Bach, Medtner, Chopin, Scriabin, and Beethoven

A P R 2 3 , 2 5 & 2 6

B R I T T E N ’ S WA R

R E Q U I E M

Daniel Harding, conductor

Tamara Wilson, soprano

Andrew Staples, tenor

Ludwig Mittelhammer, baritone

The Cleveland Orchestra Chorus

The Cleveland Orchestra Children’s Chorus

B R I T T E N War Requiem

A P R 3 0 & M AY 2

M E N D E L S S O H N ’ S

R E F O R M AT I O N

S Y M P H O N Y

Jörg Widmann, conductor

J Ö R G W I D M A N N Fanfare for Ten Brass Instruments

J Ö R G W I D M A N N Con brio

J Ö R G W I D M A N N Danse macabre

M E N D E L S S O H N Symphony No. 5, “Reformation”

R E C I TA L

M AY 5

M A RC - A N D R É H A M E LI N & M A R I A J OÃO P I R E S I N R E C I TA L

Marc-André Hamelin, piano

Maria João Pires, piano

Program to be announced

M AY 7 – 9

WAG N E R ’ S

G ÖT T E R DÄ M M E RU N G

Franz Welser-Möst, conductor

Jörg Widmann, clarinet

P RO KO F I E V Symphony No. 1, “Classical”

O L G A N E U W I RT H Zones of Blue* WA G N E R Excerpts from Götterdämmerung

M AY 1 6 , 2 1 & 24

B E E T H OV E N ’ S F I

Franz Welser-Möst, conductor

Malin Byström, soprano (Leonore)

David Butt Philip, tenor (Florestan)

Tomasz Konieczny, bass-baritone (Don Pizarro)

Martin Summer, bass (Rocco)

Dashon Burton, bass-baritone (Don Fernando)

Ashley Emerson, soprano (Marzelline)

Owen McCausland, tenor (Jaquino)

The Cleveland Orchestra Chorus

B E E T H O V E N Fidelio Opera presentation sung in German with projected supertitles

M AY 2 2

H E RO ’ S S O N G

Franz Welser-Möst, conductor

Leila Josefowicz, violin

Trina Struble, harp

A D O L P H U S H A I L S T O R K Epitaph for a Man Who Dreamed

B A C E W I C Z Symphony No. 4

J Ü R I R E I N V E R E Concerto for Violin, Harp, and Orchestra

D V O Ř Á K Hero’s Song

* Not performed on the Friday matinee concert

Generous support for the 2025 – 26 Recital Series provided by the Art of Beauty Company, Inc.

Individual Support

Behind every powerful performance is a community of supporters who bring the music to life . We are deeply thankful for the generosity of every member of The Cleveland Orchestra family.

To learn more, visit clevelandorchestra .com/give

Adella Prentiss Hughes Society

Gifts of $1,000,000 & more

Mr. & Mrs . * Geoffrey Gund

Haslam 3 Foundation

Joan Y. Horvitz*

Anne H. & Tom H. Jenkins

Milton & Tamar Maltz

Mrs Jane B Nord

Mr & Mrs * Richard K Smucker

Gifts of $200,000 to $999,999

The Musicians of The Cleveland Orchestra (in-kind contribution for community programs and opportunities to secure funding)

Bruce* & Eleanor Kendrick

Dr.* & Mrs . Anthony T. Lauria

Mrs . Norma Lerner

Jan R . Lewis

Robert Lugibihl

Deborah L . Neale

Mr & Mrs Albert B Ratner

Jenny & Tim Smucker

Richard & Nancy Sneed

Roy C Waas*

Gifts of $100,000 to $199,999

Art of Beauty Company, Inc.

Mr. Yuval Brisker

Rebecca Dunn

Dr. Michael Frank & Patricia A . * Snyder

Dr. Hiroyuki & Mrs . Mikiko Fujita

Mr. & Mrs . Michael J. Horvitz

The Walter and Jean Kalberer

Foundation

Dr & Mrs Herbert Kloiber (Europe)

Thomas & Jessica Lauria (Miami)

Ms Beth E Mooney

Estate of Bernadette Norwood

Jim & Myrna Spira

Mr.* & Mrs . Donald W. Strang, Jr.

Ms . Ginger Warner

Paul & Suzanne Westlake

Tony & Diane Wynshaw-Boris

Anonymous (3)

Lillian Baldwin Society

Gifts of $75,000 to $99,999

Mr. & Mrs . Alexander M. Cutler

Mr.* & Mrs . Bernard H. Eckstein

JoAnn & Robert Glick

Mr. & Mrs . Douglas A . Kern

Richard & Christine Kramer

Mr. & Mrs . Dennis W. LaBarre

Ms Cathy Lincoln

Mr & Mrs Alfred M Rankin, Jr

George Szell Society

Gifts of $50,000 to $74,999

Randall & Virginia Barbato

Brenda & Marshall B. Brown

Mr.* & Mrs . Robert W. Gillespie

Ms . Alexandra Hanna

Richard & Michelle Jeschelnig

Elizabeth B. Juliano

Cynthia Knight

Mr. & Mrs . Ben Mathews

Nancy W. McCann

The Oatey Foundation (Cleveland, Miami)

William J & Katherine T O’Neill

Mr & Mrs Benjamin N Pyne

Mrs Alfred M Rankin, Sr *

Ilana & Chuck Horowitz Ratner

Saul & Mary Sanders (Miami)

Astri Seidenfeld

The Seven Five Fund

R . Thomas & Meg Harris Stanton

Holly Strawbridge (Miami)

Mr. & Mrs . Franz Welser-Möst

Barbara & David Wolfort

Mrs . Jayne M. Zborowsky

Elisabeth DeWitt

Severance Society

Gifts of $25,000 to $49,999

Victor & Abby Alexander

Mr. & Mrs . A . Chace Anderson

Gerrie E . Berena

Dr. & Mrs . Wolfgang Berndt (Europe)

Robin Dunn Blossom

Mr. Richard J. Bogomolny & Ms . Patricia M. Kozerefski

Dr. Ben H. & Julia Brouhard

Jeanette Grasselli Brown* &

Glenn R . Brown*

Dr. Robert Brown &

Mrs . Janet Gans Brown

J. C. & Helen Rankin Butler

Irad & Rebecca Carmi

Jim & Mary Conway

Judith & George W. Diehl

Budd & Judy Dworkin

Mary Jo Eaton (Miami)

Drs Wolfgang & Gabi Eder (Europe)

Peter & Christina Gold (Miami)

David & Robin Gunning

Sondra & Steve Hardis

Iris & Tom Harvie

Mary & Jon* Heider (Cleveland, Miami)

Mrs . Lynn Heisler

Amy & Stephen Hoffman

David & Nancy Hooker

Richard Horvitz & Erica Hartman-Horvitz (Cleveland, Miami)

Mrs Marguerite B Humphrey*

Allan V Johnson

Mr & Mrs Joseph P Keithley

Rob & Laura Kochis

Jon A . & Virginia M. Lindseth, PhD

Mr. Stephen McHale

Loretta J. Mester & George J. Mailath

Randy & Christine Myeroff

Jennifer & Alexander Ogan

The Honorable John Doyle Ong

Mr. J. William & Dr. Suzanne* Palmer

Catherine & Hyun Park

Douglas & Noreen Powers

Mr & Mrs James A Ratner

James & Marguerite Rigby

Mark & Shelly Saltzman

The Ralph and Luci Schey Foundation

Mr. Eric A . Seed & Ms . Ellen Oglesby

Donna E . Shalala (Miami)

Dr. Elizabeth Swenson

Dr. Russell A . Trusso

Herbert Wainer & Jody Bernon-Wainer

Tom & Shirley* Waltermire

John & Deborah Warner

Anya Weaving & Tom Mihaljevic

Meredith & Michael Weil

Tony & Christine White

Anonymous (2)

Dudley S. Blossom Society

Gifts of $15,000 to $24,999

Mr & Mrs William Winfield Baker

Ms . Viia R . Beechler

Mr. & Mrs . Jules Belkin

Mel Berger & Jane Haylor

Mr. & Mrs . C. Perry Blossom

Mr. & Mrs . Charles P. Bolton

Dr. Christopher P. Brandt & Dr. Beth Sersig

Mr. D. McGregor Brandt , Jr.

Meghan & Trent Brown

Mr. & Mrs . Timothy J. Callahan

Ellen E . * & Victor J. Cohn

Kathleen A Coleman

Ted & Donna Connolly

Mr & Mrs Kevin C Conway

Mrs Barbara Cook

Mr. & Mrs . Matthew V. Crawford

Maureen A . Doerner & Geoffrey T. White

Nancy & Richard Dotson

Peter & Sandy Earl

Dr. & Mrs . Robert Ehrlich (Europe)

Mr. Brian L . Ewart & Mr. William McHenry

Mr. & Mrs . Richard C. Fedorovich

Friends of The Cleveland Orchestra

Richard & Ann Gridley

Gary L & Cari T Gross

Mr & Mrs Harley I Gross

Ms Marianne Gymer

Kathleen E . Hancock

Jack Harley & Judy Ernest

Matthew & Elizabeth Horvitz

Gerald Hughes

Mr. & Mrs . Brinton L . Hyde

Sarah Liotta Johnston & Jeff Johnston

Eeva & Harri Kulovaara (Miami)

Mr. & Mrs . S. Ernest Kulp

Ms . Heather Lennox

In honor of Emma Skoff Lincoln

Linda Litton

Mr Jeff Litwiller

Anne R & Kenneth E Love

Mr & Mrs Alex Machaskee

Mr. & Mrs . Robert W. Malone

Alan Markowitz MD & Cathy Pollard

Mr. Fredrick W. Martin

Mr.* & Mrs . Arch J. McCartney

Miba AG and Dr. & Mrs . Peter Mitterbauer (Europe)

Ann Jones Morgan

Sally S. & John C. Morley*

Mr. & Mrs . Scott C. Mueller

Richard Organ & Jamie Nash

Mr Winthrop Quigley &

Ms Bonnie Crusalis

Dr Isobel Rutherford

Rachel R Schneider

Dr. & Mrs . James L . Sechler

Meredith M. Seikel

Hewitt & Paula Shaw

Robyn Shifrin

Roy Smith

Mr & Mrs Richard P Stovsky

Kathryn & Duncan Stuart

Alan & Barbara Taylor

Bruce & Virginia Taylor

Philip & Sarah* Taylor

Mr. & Mrs . Alfred Umdasch (Europe)

Karen Walburn

Mr. Daniel & Mrs . Molly Walsh

Mr. & Mrs . Jeffery J. Weaver

Robert C. Weppler

Sandy* & Ted Wiese

Katie & Donald Woodcock

Max & Beverly Zupon

Anonymous (3)

Frank H. Ginn Society

Gifts of $10,000 to $14,999

Dr. & Mrs . D. P. Agamanolis

Mr. & Mrs . * Eugene J. Beer

Deena & Jeff Bellman

Laura & Jon Bloomberg

Mrs . Catharina M. Caldwell

Mr. & Mrs . Chester F. Crone

Mr. & Mrs . Manohar Daga

Allan* & Connie Dechert

Gregory Dobbins

Michael Dunn

Dr * & Mrs Lloyd H Ellis Jr

Joan Alice Ford

Dr Edward S Godleski

André & Ginette Gremillet

Calvin & Sherry Griffith

Mr. & Mrs . Michael Gröller (Europe)

Alfredo & Luz Maria Gutierrez (Miami)

Robin Hitchcock Hatch

Dr. Robert T. Heath &

Dr. Elizabeth L . Buchanan

Dr. Fred A . Heupler

Donald* & Joyce Ignatz

Donna Jackson

Barbara & Michael J Kaplan

Jonathan & Tina Kislak (Miami)

John D & Giuliana C Koch

David C Lamb

Dr. Edith Lerner

Dr. David* & Janice Leshner

Drs . Amy & James Merlino

Claudia Metz & Thomas Woodworth

John & Rebecca Minnillo

Mr. Bert & Dr. Marjorie Moyar

Brian & Cindy Murphy

Patricia Perry Nock

Mr. & Mrs . John Olejko

Mr. David A . Osage &

Ms . Claudia C. Woods

Dr Roland S Philip &

Dr Linda M Sandhaus

Julia & Larry Pollock

Ms . Rosella Puskas*

Beth & Clay Rankin

Mr. & Mrs . Roger F. Rankin

Mrs . Vicki Ann Resnick

Amy & Ken Rogat

Kim Russel & Dirk Brom

Dr & Mrs * Martin I Saltzman

David M & Betty Schneider

Gary Schwartz & Constance Young

Kenneth Shafer

Rev. George Smiga

Sandra & Richey* Smith

Taras Szmagala & Helen Jarem

Joe & Marlene Toot

Dr. Gregory Videtic & Rev. Christopher McCann

Susanne Wamsler & Paul Singer (Europe)

Mr. & Mrs . Fred A . Watkins

Denise G & Norman E Wells , Jr

Sandy Wile* & Sue Berlin

Anonymous (7)

The 1929 Society Gifts of $5,000 to $9,999

Ms . Nancy A . Adams

Mr. & Mrs . Todd C. Amsdell

Mr. James Babcock

Claudia Bacon

Robert & Dalia Baker

Thomas & Laura Barnard

Dr. James Bates

Fred G. & Mary W. Behm

Marilyn & Jeffrey Bilsky

Dr & Mrs Eugene H Blackstone

Doug & Barbara* Bletcher

Laurel Blossom

Jeff & Elaine Bomberger

Mitchell & Caroline Borrow

Ms . Kristina E . Boykin

Mr. & Mrs . David* Briggs

James & Mary Bright

Dr. Thomas Brugger* & Dr. Sandra Russ

Frank & Leslie Buck

Mr. Gregory & Mrs . Susan Bulone

James Burke

Michael & Linda Busta

Joseph & Susan Carney

William & Barbara Carson

Ms Maria Cashy

Victor A Ceicys MD & Mrs . Kathleen Browning Ceicys

Mr. & Mrs . James B. Chaney

Mr. & Mrs . Kerry Chelm

Ellen Chesler & Matthew Mallow (Miami)

Drs . Wuu-Shung & Amy Chuang

Drs . Mark Cohen & Miriam Vishny

Diane Lynn Collier & Robert J. Gura

Marjorie Dickard Comella

Mr.* & Mrs . Ralph Daugstrup

Ronald J Davis & Cheryl A Davis

Pete & Margaret Dobbins

Henry & Mary* Doll

Brian & Renae Durdle

Carl Falb

Regis & Gayle Falinski

Dagmar & Frederick Fellowes

Mr. & Mrs . Mark Filippell

Bruce* & Nancy Fisher

Jan & John Fitts

Ms . Nancy Flogge

Mr. & Ms . Dale Freygang

Barbara & Peter* Galvin

Joy E . Garapic

Mr James S Gascoigne & Ms Cynthia Prior

Anne* & Walter Ginn

Brenda & David Goldberg

Mrs . Florence Goodman

Barbara H. Gordon

Nancy Hancock Griffith

Candy & Brent Grover

The Thomas J. and Judith Fay Gruber

Charitable Foundation

Nancy* & James Grunzweig

Agnes Gund

Graham* & Ann Gund (Miami)

Mr. Arthur C. Hall III

Mr. Newman T. Halvorson, Jr.

Mr * & Mrs David P Handke, Jr

Gary Hanson & Barbara Klante

Clark Harvey & Holly Selvaggi

Mr. & Mrs . Jonathan Hatch

Barbara L . Hawley &

David S. Goodman

Matthew D. Healy & Richard S. Agnes

Anita & William Heller

Ms . Susan K . Hemry

Malcolm & Vivian Henoch

Mr. & Mrs . Jerry Herschman

Mr. & Mrs . Martin R . Hoke

Dr. Keith A . & Mrs Kathleen M Hoover

James* & Claudia Hower

Elisabeth Hugh

Ms Mary Joe Hughes

David & Dianne Hunt

Ms . Kimberly R . Irish

Dr. & Mrs . Paul C. Janicki

Richard & Jayne Janus

Robert & Linda Jenkins

Mr. David* & Mrs . Cheryl Jerome

Mr. Jeremy V. Johnson

Karmendot Fund

Andrew & Katherine Kartalis

Rod Keen & Denise Horstman

Mr. & Mrs . Kenneth H. Kirtz*

Audrey Knight

Mr & Mrs S Lee Kohrman*

Dr Ronald H Krasney & Vicki Kennedy*

Douglas & Monica Kridler

Peter* & Cathy Kuhn

Dr. Jeanne Lackamp

Mr. & Mrs . * Arthur J. Lafave, Jr.

Dr & Mrs John R Lane

Kenneth M Lapine & Rose E Mills

John N * & Edith K Lauer

Charles & Josephine Robson Leamy*

Michael Lederman & Sharmon Sollitto

Joan & Young Sei Lee

Mr. & Mrs . Roger J. Lerch in Memory of Carl J. & Winifred J. Lerch

Judith & Morton Q . Levin

Dr. Stephen B. & Mrs . Lillian S. Levine

Dr. Alan & Mrs . Joni Lichtin

Drs . Todd & Susan Locke

Eric Logan

David & Janice* Logsdon

Joan C Long

Caetano R Lopes (Miami)

Neil & Susan Luria

Peter & Pamela Luria (Miami)

Dr. Kalle J. Lyytinen

David Mann & Bernadette Pudis

Janet A . Mann

Diann & Tom Mann

Mr. Ryan T. Marrie

Mr. & Mrs . Christopher J. McKenna

Ms . Nancy L . Meacham

Dr. & Mrs . Kevin Meany

Dr.* & Mrs . Dale Meers

James & Virginia Meil

Dr Susan M Merzweiler

Lynn & Mike Miller

Drs . Terry E . & Sara S. Miller

Mr. & Mrs . Andy Moock

Ms . Nancy C. Morgan

Amy & Marc Morgenstern

Elizabeth Morris

Eudice M. Morse

Mr. Raymond M. Murphy

Mr. & Mrs . Stephen Myers

Richard & Kathleen Nord

Mr. & Mrs . Forrest A . Norman III

Courtney & Michael Novak

Thury O’Connor

Richard* & Elizabeth Osborne

Mr & Mrs Peter R Osenar

Mr Henry Ott-Hansen

Dale & Susan Phillip

Dr. Marc A . & Mrs . Carol Pohl

Dr. & Mrs . John N. Posch

Mr. Robert & Mrs . Susan Price

Sylvia Profenna

Pysht Fund

Lute & Lynn Quintrell

James* & Donna Reid

Mr. & Mrs . * Robert J. Reid

David J. Reimer & Raffaele DiLallo

Mr. D. Keith* &

Mrs Margaret B Robinson

Dr & Mrs Ronald Ross

Robert* & Margo Roth

Dr. Adel S. Saada

Dr. Vernon E . Sackman & Ms . Marguerite Patton*

Mr. & Mrs . Lowell Satre

Sandra Sauder

Bob & Ellie Scheuer

Ms Beverly J Schneider

John* & Barbara Schubert

Sally & Larry Sears

John Sedor & Geri Presti

Deborah Sesek

Mr.* & Mrs . Michael Shames

Mr. Philip & Mrs . Michelle Sharp

Elizabeth & Timothy Sheeler

Mr. John F. Shelley & Ms . Karen P. Fleming

Paul & Betsy Shiverick (Miami)

Zachary & Shelby Siegal

Howard & Beth Simon

Mr James S Simon

The Shari Bierman Singer Family

Drs Charles Kent Smith & Patricia Moore Smith

Mrs . Gretchen D. Smith

Mr. & Mrs . William E . Spatz

Diane M. Stack

Maribeth & Christopher Stahl

George & Mary* Stark

Sue Starrett & Jerry Smith

Bill & Trish Steere

Ms . Lorraine S. Szabo

Robert & Carol Taller

Mr. John R . Thorne & Family

Bill & Jacky Thornton

Brian & Elizabeth Tierney

Mr & Mrs Gary B Tishkoff

Mr Christopher Towe

Mr.* & Mrs . Robert N. Trombly

Steve & Christa Turnbull

Dr. & Mrs . Wulf H. Utian

Robert & Marti* Vagi

Bobbi & Peter* van Dijk

Mr*. & Mrs . Lee Vandenberg

Mr. & Mrs . Les C. Vinney

Kenneth Kirtz*

George & Barbara von Mehren

Mr. Randall Wagner

Randall E . Wagner

Ron Wakser

John & Jeanette Walton

Greg & Lynn Weekley

Tilles-Weidenthal Foundation

Mr. & Mrs . Mark Allen Weigand

Paul & Nancy Wellener

Dr. Edward L . & Mrs . Suzanne Westbrook

Dr. Paul R . & Catherine Williams

Ms . Linda L . Wilmot

Bob & Kat Wollyung

Mr. Graham Wood

Anonymous (3)

Composer’s Circle

Gifts of $2, 500 to $4,999

Mr & Mrs Paul R Abbey

Mr. Leonard H. Abrams*

David & Sharon Anderson

Sarah May Anderson

Gabrielle Aryeetey

Jack & Darby Ashelman

Ronen Avinir (Miami)

Ms . Bonnie M. Baker

Don Baker*

Eric Barbato & Elisha Swindell

Lucy Battle

Kathryn & Gerald Berkshire

Mr Jeffrey & Dr Sheila Berlin

Margo & Tom Bertin

Zeda W Blau

Marilyn & Lawrence Blaustein

Ms . Pamela M. Blemaster

Blossom Friends of The Cleveland

Orchestra

Howard & Arlyne Bochnek

Dr. & Mrs . Timothy Bohn

Mr. & Mrs . Richard H. Bole

David & Julie Borsani, in memory of Marissa I. Borsani

Dwight Bowden

Lisa & Ronald Boyko

William & AnnaMarie Brancovsky

Adam & Vikki Briggs

Matthew D Brocone

Mr & Mrs Dale R Brogan

Dale & Wendy Brott

Bennett Brown

Mrs . Nancy E . Brown

Mr. & Mrs . Henry G. Brownell

Mr. Felix Brueck & Ms . Ann Kowal Smith

Mrs . Frances Buchholzer

Douglas M. Bunker

William Busta & Joan Tomkins

Dr. & Mrs . William E . Cappaert

Peter & Joanna Carfagna

Mr * & Mrs John J Carney

Dr Ronald Chapnick* & Mrs Sonia Chapnick

Gertrude Kalnow Chisholm & Homer D.W. Chisholm

Dr. Gary Chottiner & Anne Poirson

Mr. & Mrs . Edward A . Chuhna

Natalie Cipriano

Robert & Judy Ciulla

Pete Clapham & Anita Stoll

Mr. & Mrs . David Clark

Richard J. & Joanne Clark

Drs . John* & Mary Clough

Mary* & Bill Conway

Mr John Couriel & Dr Rebecca Toonkel (Miami)

Laura Cox

Jane Cronin

Dr Lucy Ann Dahlberg

Karen & Jim Dakin

Mrs Jane Dangler

Dr & Mrs Thomas M Daniel

Mrs . Lois Joan Davis

Jeffrey Dean and Barbara & Karen Claas

Prof. George & Mrs . Rebecca Dent

Michael & Amy Diamant

Dr. & Mrs . Howard Dickey-White

Ms . Marlene Dirksen

Do Unto Others Trust (Miami)

Carl Dodge

Jack & Elaine Drage

Ms Mary Lynn Durham

Mr & Mrs Robert P Duvin

Mr & Mrs Ronald E Dziedzicki

Erich Eichhorn & Ursel Dougherty

Mr. Mike S. Eidson, Esq. & Dr. Margaret Eidson (Miami)

S. Stuart Eilers

Peter & Kathryn Eloff

Louis* & Patricia Esposito

Andy & Leigh Fabens

Anne Ferguson & Peter Drench

Mr. William & Dr. Elizabeth Fesler

Joan & Philip Fracassa

Mr. & Mrs . Larry Frankel

Howard Freedman & Rita Montlack

Marvin Ross Friedman & Adrienne bon Haes (Miami)

Robert Friedman & Elizabeth MacGowan

Mr. William Gaskill & Ms . Kathleen Burke

Mr. & Mrs . Bengt Gerborg

Mr. & Mrs . M. Lee Gibson

Daniel & Kathleen Gisser

Holly & Fred Glock

Dr.* & Mrs . Victor M. Goldberg

Lawrence Goodman & Stephanie Betts

Ms . Aggie Goss

Mr. Robert Goss

Dr & Mrs Ronald L Gould

Bob Graf & Mia Zaper

Mr James Graham & Mr. David Dusek

Dr. Ruffin Graham

Robert K . Gudbranson & Joon-Li Kim

Mr. & Mrs . John E . Guinness

Mr. Davin & Mrs . Jo Ann Gustafson

Mr. Ian S. Haberman

Mary Louise Hahn

Dr. James O. Hall

Megan Hall & James Janning

Dr. Haifa & Dr. Michael A . Hanna John Hannon

Mrs . Martha S. Harding

Mr. Samuel D. Harris

Thomas & Darlene Hawkins

Dr. Toby Helfand

In Memory of Hazel Helgesen

Drs Gene & Sharon Henderson

T K * & Faye A Heston

Eric & Karen Hillenbrand

Richard & Jean Hipple

Arnold & Janice Hirshon

Mr. & Mrs . Stephen J. Holler

Charles M. Hoppel & Marianne Karwowski Hoppel

Lois Krejci-Hornbostel & Roland Hornbostel

Xavier-Nichols Foundation / Robert & Karen Hostoffer

Phillip Huber

Dr. Diane Huey

Mr. Brooks G. Hull & Mr. Terry Gimmellie

Dr. & Mrs . Grant Hunsicker

Mrs . Laura Hunsicker

Mr.* & Mrs . J. David Hunter

Ms . Melanie Ingalls

Bruce & Debbie Jarosz

Dylan Jin

Eric & Susan Johnson

Joela Jones & Richard Weiss

Steven Jones

Dr Eric Kaler

Mr. Donald J. Katt & Mrs . Maribeth Filipic-Katt

Dr. Richard* & Roberta Katzman

The Kendis Family Trust:

Hilary & Robert Kendis and Susan & James Kendis

Joanne Kim & Jim Nash

Mrs . Judith A . Kirsh

Steve & Beth Kish

Mr. & Mrs . Stuart F. Kline

Michael Kluger & Heidi Greene

Stewart Kohl

Mr Ronald & Mrs Kimberly Kolz

Ursula Korneitchouk

Margaret Kotz & Ed Covington

Dr. & Mrs . John P. Kristofco

Mr. & Mrs . David S. Kushner

Alfred & Carol Lambo

Mr. & Mrs . John J. Lane, Jr.

Dr.* & Mrs . Roger H. Langston

Mrs . Susan D. LaPine

Mr. & Mrs . Richard L . Larrabee

Mrs . Sandra S. Laurenson

Richard & Barbara Lederman

Mr. Elliot & Mrs . Christine Legow

Michael & Lois Lemr

Robert G Levy

Mr & Mrs * Thomas A Liederbach

Eva & Rudolf Linnebach

Mr Henry Lipian

Dr & Mrs Jack Lissauer

Dr George I Litman

Ms . Agnes Loeffler

Mary Lohman

Mr. & Mrs . Carlos Lopez- Cantera (Miami)

Virginia Lovejoy

Linda* & Saul Ludwig

Elsie* & Byron Lutman

Mr. & Mrs . * Robert P. Madison

Herbert L . & Ronda Marcus

Dr.* & Mrs . Sanford E . Marovitz

Ms . Dorene Marsh

Kevin Martin & Hansa Jacob-Martin

Ms Amanda Martinsek

Ms Judith E Matsko

Stephen & Christine McClure

Bruce & Karen McDiarmid

Mr. & Mrs . Sandy McMillan

Mr. James E . Menger

Leah Merritt-Mervine

Dr. Miloslava Mervart

Mr. & Mrs . Gerald A . Messerman

Mr. Glenn A . Metzdorf

David Michel & Lynne Killgore

Beth M. Mikes

Amy Miller & Nikhil Rao

Mr & Mrs David S Miller

Dr & Mrs Leon Miller

Mr Tom Millward

Anton & Laura Milo

Michael Milo

Jon Morrell

Mr. & Mrs . Thomas W. Morris

Ken & Sharon Mountcastle

Susan B. Murphy

Dave & Nancy Murray

Karen & Bernie Murray

Joan Katz Napoli & August Napoli

Dr. Anne & Mr. Peter Neff

Karen Nemec

Andrea Nobil (Miami)

Mark & Paula Nylander

Richard & Jolene O’Callaghan

Robert & Mary Ann Olive

Dr & Mrs Paul T Omelsky

Harvey* & Robin Oppmann

Dr. Douglas Orr &

Ms . Kimberley Barton

George Parras & Mary Spencer

Drs . James & Marian Patterson

Dr. Lewis E . & Janice B. Patterson

David Pavlich & Cherie Arnold

Matt Peart

Alan & Charlene Perkins

John Perko

Robert S. Perry

Mark & Eve Pihl

Mr Richard W Pogue

Mr & Mrs Frank Porter

Patrick J. Holland

Drs . Raymond R . Rackley & Carmen M Fonseca

Dr James & Lynne Rambasek

Mr Todd J Reese

Dr Robert W Reynolds

David & Gloria Richards

Joan & Rick Rivitz

Mr. & Mrs . Jay F. Rockman

Michael & Jodi Rogoff

David & Mitsuko Rosinus (Miami)

Steven & Ellen Ross

Drs . Edward & Teresa Ruch

Nathan & Marie Rutherford

Anne Sagsveen

Ms . Patricia E . Say

Bryan & Jenna Scafidi

Don Schmitt & Jim Harmon

Richard B & Cheryl A Schmitz

Mr Don Schriver &

Mrs . Jane Schriver

Mr. James Schutte

Nicklaus Schwenk

Ms . Kathryn & Mr. Michael Seider

Mr. & Mrs . Joseph Selden

Dr. Judith Sewell & Mr. Donald Sewell

Caltha Seymour

Lee Shackelford

Donald Shafer & Katherine Stokes-Shafer

Steve & Marybeth Shamrock

Ginger & Larry Shane

Harry & Ilene Shapiro

Ms Frances L Sharp

Larry Oscar & Jeanne Shatten

Charitable Fund of the Jewish Federation

Dr. & Mrs . William C. Sheldon

Mr. Richard Shirey

MindCrafted Systems

Jim Simler & Dr. Amy Zhang

Dr. Edward & Mrs . Barbara Sivak

G. Michael & Kathy* Mead Skerritt

Bruce L . Smith

Mr. Christopher &

Mrs Michelle Smith

David Kane Smith

Mr Joshua Smith

Mr Eugene Smolik

Drs . Nancy & Ronald Sobecks

Drs . Thomas & Terry Sosnowski

SPÄNGLER PRIVATSTIF T UNG

Edward R . & Jean Geis Stell Foundation

Ryan & Melissa Stenger

Ronald & Lauren Sterbank

Janet Stern

Ms Natalie Stevens

Frederick & Elizabeth Stueber

Nancy & Patrick Sullivan

Mike & Wendy Summers

Mr Marc L Swartzbaugh

Mr Robert D Sweet

Mrs . Mary L . Sykora

Mr. & Mrs . Michael Taipale

Rebecca & Jeffrey Talbert

Eca & Richard Taylor

Dr. James Taylor & Ms . Susan Slugg

Jill & Jim Taylor

Caroline Theus

Ms . Aileen Thong-Dratler

Dr. & Mrs . Thomas* A . Timko

Dr. & Mrs . Michael B. Troner (Miami)

Drs . Anna* & Gilbert True

Ms Christeen Tuttle

Dr Doug Van Auken & Mr John Corlett

Mr & Mrs Steven M Venezia

Teresa Galang-Viñas & Joaquin Viñas (Miami)

Philip Volpe

Neha & Sanjay Vyas

Mr. & Mrs . Eric Wald

Jessica & James Warren

Margaret & Eric* Wayne

Mr. Peter & Mrs . Laurie Weinberger

Emily Westlake & Robertson Gilliland

Mr. & Mrs . John W. Wilhelm

John & Nancy Woelfl

Mr James M Wood Sr

Dale & Cynthia Woodling

Ms . Jennifer Wynn

Rad & Patty Yates

Ms . Carol A . Yellig

Dr. Rosemary Gornik & Dr. William Zelei

Mr. Paul Zraik

Mr. Kal Zucker & Dr. Mary Frances Haerr

John & Jane Zuzek

Anonymous (8)

Corporate, Foundation & Government Support

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

Learn more at clevelandorchestra .com/partners

C O R P O R AT E S U P P O RT

Gifts of $300,000 & more

The Goodyear Tire & Rubber Company

Hyster-Yale, Inc

NACCO Industries , Inc

Gifts of $200,000 to $299,999

Jones Day Foundation

Ohio CAT

The J. M. Smucker Co.

Gifts of $100,000 to $199,999

KeyBank

White & Case (Miami)

Gifts of $50,000 to $99,999

FirstEnergy Foundation

NOPEC

Parker Hannifin Foundation

PNC

Quality Electrodynamics

Thompson Hine LLP

Anonymous

Gifts of $15,000 to $49,999

Acme Fresh Markets

Akron Children’s

BakerHostetler

Buyers Products Company

Calfee, Halter & Griswold LLP

Cuffs Clothing Company

Dealer Tire LLC

DLR Group | Westlake Reed Leskosky

Frantz Ward LLP

The Giant Eagle Foundation

Lake Effect Health

Miba AG (Europe)

Northern Haserot

Olympic Steel, Inc.

Park- Ohio Holdings

RPM International Inc.

RSM US LLP

Welty Enterprises

Westfield

Anonymous

Gifts of $2, 500 to $14,999

BDI

Berkadia

Blue Technologies, Inc.

BNY Wealth

Brothers Printing Company

The Cedarwood Companies

The Cleveland- Cliffs Foundation

Consolidated Solutions

Dickie, McCamey & Chilcote

Eaton

Evarts Tremaine

The Ewart- Ohlson Machine Company

GPD Group

Gross Residential

Hahn Loeser & Parks LLP

Hunsicker Family Dental

Jones Group Interiors Inc.

Karlie Newton II Insurance Agency

Kohrman Jackson & Krantz, LLP

KPMG LLP

The Lincoln Electric Foundation

MGM Resorts Foundation

Nordson Corporation Foundation

Northern Trust

Ohio Real Title

The Sherwin-Williams Company

Sikich

Ver Ploeg & Marino (Miami)

Warby Parker

Young Presidents’ Organization

Gifts of $1,000,000 & more

The Brown and Kunze Foundation

The Milton and Tamar Maltz Family Foundation

The Jack , Joseph and Morton Mandel Foundation

David and Inez Myers Foundation

State of Ohio

The Kelvin and Eleanor Smith Foundation

Richard & Emily Smucker Family Foundation

Timken Foundation of Canton

Gifts of $500,000 to $999,999

The William Bingham Foundation

Mary E . & F. Joseph Callahan Foundation

Cuyahoga County residents through Cuyahoga Arts & Culture

Ohio Arts Council

The Payne Fund

Gifts of $250,000 to $499,999

Kulas Foundation

John P Murphy Foundation

The Dr M Lee Pearce Foundation, Inc (Miami)

Gifts of $100,000 to $249,999

Paul M. Angell Family Foundation

The Louise H. and David S. Ingalls Foundation

Park Foundation

Wesley Family Foundation

Anonymous

Gifts of $50,000 to $99,999

The George W Codrington Charitable Foundation

The Jean, Harry and Brenda Fuchs

Family Foundation, in memory of Harry Fuchs

GAR Foundation

The George Gund Foundation

Martha Holden Jennings Foundation

Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation

Gifts of $15,000 to $49,999

The Abington Foundation

Akron Community Foundation

The Batchelor Foundation, Inc. (Miami)

The Bruening Foundation

The Mary S and David C Corbin Foundation

Mary and Dr. George L . Demetros Charitable Trust

The Sam J. Frankino Foundation

The Gerhard Foundation, Inc.

The Catherine L . & Edward A . Lozick Foundation

With the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners

The Nord Family Foundation

PWC Foundation

The Esther and Hyman Rapport

Philanthropic Trust

The Reinberger Foundation

Albert G. & Olive H. Schlink Foundation

The Sisler McFawn Foundation

The Veale Foundation

The George Garretson Wade Charitable Trust

The Welty Family Foundation

The Thomas H White Foundation, a KeyBank Trust

Anonymous

Gifts of $2, 500 to $14,999

The Bernheimer Family Fund of the Cleveland Foundation

The C.R .E .W. Foundation

The Frances G. and Lewis Allen Davies Endowment

James Deering Danielson Foundation

Dorn Family Foundation

Fisher-Renkert Foundation

The Harry K . Fox and Emma R . Fox Charitable Foundation

The Hankins Foundation

The Muna & Basem Hishmeh Foundation

The Kirk Foundation (Miami)

The Laub Foundation

The Lehner Family Foundation

The Fred A . Lennon Charitable Trust

The G. R . Lincoln Family Foundation

Elizabeth Ring Mather and William Gwinn Mather Fund

The Eric & Jane Nord Family Fund

The M. G. O’Neil Foundation

The O’Neill Brothers Foundation

Paintstone Foundation

The Perkins Charitable Foundation

Charles E & Mabel M Ritchie Memorial Foundation

SCH Foundation

Lloyd L . and Louise K . Smith

Memorial Foundation

The South Waite Foundation

Sterling Chamber Players

Third Federal Foundation

Uvas Foundation

The Edward and Ruth Wilkof Foundation

The Wuliger Foundation

Anonymous (2)

The Cleveland Orchestra Board of Trustees

O F F I C E R 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 R E S I D E N T T R U S T E E S

Victor Alexander

Robin Dunn Blossom

Yuval Brisker

Helen Rankin Butler

Nancy Slocum Callahan

Irad Carmi

Matthew V. Crawford

Michael Frank , MD JD

Hiroyuki Fujita

Robert Glick

Arthur C Hall III

Iris 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

Scott C. Mueller

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

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)

Wolfgang C. Berndt (Austria)

Herbert Kloiber (Germany)

André Gremillet

Todd Diacon

Lisa Fedorovich

Eric Kaler

Judith E . Matsko

Beverly J. Schneider

Thomas F. McKee

Richard J. Bogomolny

Charles P Bolton

Robert D Conrad

Alexander M Cutler

Richard C Gridley

Norma Lerner

Virginia Lindseth

Alex Machaskee

Robert P. Madison

John D. Ong

Milton S. Maltz

Audrey Gilbert Ratner

Hewitt B. Shaw

Luci Schey Spring

Y

L AT E S E AT I N G

As a courtesy to audience members and musicians , 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 .

C E L L P H O N E S , WAT C H E S &

O T H E R D E V I C E S

To ensure a quiet and respectful listening environment , please silence all electronic devices .

P H O T O G R A P H Y, V I D E O G R A P H Y & R E C O R D I N G

Audio recording, photography, and videography are not allowed during performances at Severance Photographs can only be taken when the performance is not in progress .

N E W !

In consideration of others , please reduce the volume on hearing aids and other health-assistive devices that may produce noise. For Infrared Assistive-Listening Devices , please see an usher. To request one in advance, email info@cleveland orchestra .com.

I N T H E E V E N T

O F A N E M E RG E N C Y

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 A G E G U I D E L I N E S

Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the

T H E C L E V E L A N D

O R C H E S T R A A P P Official Mobile App of TCO

Explore upcoming concerts , purchase and access your tickets , receive performance updates , and more .

For more information and direct links to download, visit clevelandorchestra .com/tcoapp 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 .

performance. Classical Season subscription concerts are not recommended for children under 8. However, there are several ageappropriate series designed specifically for children and youth, including Music Explorers (for 3 to 6 years old) and Family Concerts (for ages 7 and older) F O O D & M E RC H A N D I S E

Beverages and snacks are available at bars throughout Severance Music Center Only bottled water is permitted in the hall For Cleveland Orchestra apparel, recordings , and gift items , visit the Welcome Desk in Lerner Lobby.

T E L L U S A B O U T YO U R

E X P E R I E N C E

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 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

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.

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

E D I T O R I A L

Kevin McBrien, Editorial & Publications Manager, The Cleveland Orchestra kmcbrien@clevelandorchestra .com

Ellen Sauer Tanyeri, Archives & Editorial Assistant, The Cleveland Orchestra

D E S I G N

Elizabeth Eddins, Eddinsdesign eddinsdesign@gmail com

A D V E R T I S I N G Live Publishing Company, 216-721-1800