The Cleveland Orchestra October 30 & 31, November 5, 7 & 8 Concerts

A S O

Mahler’s Fifth Symphony OCTOBER 30 & 31, NOVEMBER 1, 2026

Brahms’s Requiem NOVEMBER 5, 7 & 8, 2026

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PAG E 5

MAH LER’ S FIF T H SY M PH ON Y Petr Popelka, conductor CONCERT INTRODUCTION • PAGE 7

Symphony No. 80 by Franz Joseph Haydn • PAGE 8 Symphony No. 5 by Gustav Mahler • PAGE 11 PAG E 19

B R A H M S ’ S REQ UI E M Petr Popelka, conductor CONCERT INTRODUCTION • PAGE 21

Distant Lands by Adolphus Hailstork • PAGE 22 Ein deutsches Requiem by Johannes Brahms • PAGE 25 THE SUNG TEXTS • PAGE 30

PAG E 37

CON DU C TOR & ARTI S TS B IOG R APHIE S PAG E 51

TCO SP OTLIG H T A Conversation with Frank Rosenwein PAG E 55

I N T HE N EW S COVER: PHOTO OF PETR POPELKA BY VOJTECH BRTNICKY

Noteworthy happenings at The Cleveland Orchestra PAG E 6 0

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Royal Illuminations NOV 12, 14 & 15

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AUGUSTIN HADELICH

Tchaikovsky’s Swan Lake NOV 27, 28 & 29

Hadelich Plays Bartók DEC 3, 4 & 5

See page 58 for the 2026–27 Season Calendar! THE CLEVELAND ORCHESTRA CHORUS

Beethoven’s Missa Solemnis JAN 14 & 16

TH E MUS IC

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Mahler’s Fifth Symphony Friday, October 30, 2026, at 7:30 PM Saturday, October 31, 2026, at 7:30 PM Sunday, November 1, 2026, at 3 PM

Inside the Music with Roger Klein Reinberger Chamber Hall one hour prior to performance

Petr Popelka, conductor Franz Joseph Haydn (1732–1809)

Gustav Mahler (1860–1911)

Symphony No. 80 in D minor

20 minutes

I. Allegro spiritoso II. Adagio III. Menuetto IV. Presto I N TERM IS SI ON

20 minutes

Symphony No. 5 in C-sharp minor

70 minutes

Part I: I. Trauermarsch II. Stürmisch bewegt, mit grösster Vehemenz Part II: III. Scherzo: Kräftig, nicht zu schnell Part III: IV. Adagietto: Sehr langsam V. Rondo-Finale: Allegro

PHOTO OF PETR POPELKA BY YEVHEN GULENKO

This program will last approximately 1 hour 50 minutes

This concert is sponsored by Arthur J. Gallagher & Co. Saturday’s performance is dedicated to Mr. and Mrs. Ben Mathews in recognition of their generous support of music. clevelandorchestra.com

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A LEGACY PRES S ED I N VI NYL Personally curated by Franz Welser-Möst, this limited-edition 15-LP collection celebrates his extraordinary 25-year partnership with The Cleveland Orchestra and the distinctive sound they shaped together.

O R D E R Y O U R S TO D AY: C L E V E L A N D O R C H E S T R A . C O M/ V I N Y L

MAHLER’ S FI F TH SY M PHO N Y

I NTRODU CTION

IMAGE COURTESY OF WIKIMEDIA COMMONS

THE EXPRESSION “every-

thing but the kitchen sink” seems tailor-made for Gustav Mahler. Mahler’s symphonies push the envelope of the form in every way. These nine concert-length works require enormous performing forces and vacillate between a dizzying range of moods and styles in contemplation of philosophical and poetic themes. Over a century earlier, Franz Joseph Haydn’s 106 symphonies codified the symphony into its standard form. Haydn’s music is the epitome of Classical-era refinement — most of his symphonies use around 35 musicians and last between 25 and 30 minutes. These compact parcels display a keen sensitivity towards melody, harmony, and clarity (with a touch of good humor). Mahler saw his work as a natural extension of the past masters. In 1893, he wrote: “The more music evolves, the more complex the apparatus becomes. … Just try comparing the orchestra that Haydn uses in his symphonies … with the orchestra that Beethoven requires for his Ninth. … We moderns need such a great apparatus in order to express our ideas.” Mahler’s own apparatus expanded over time. After composing his so-called “Symphony of a Thousand” in 1906 (see photo of the American premiere above), he joked to his wife, Alma, that his earlier Third Symphony “seems to me like a symphony of Haydn.” Though it contains no chorus or vocal soloists, Mahler’s Fifth Symphony still takes the model established by his forebear and casts it onto a monumental canvas. Over its five movements, Mahler whisks listeners away on a fantastic journey, opening with a stark funeral march and passing many breathtaking sights along the way, including a jovial Scherzo — starring a solo horn — and an achingly gorgeous Adagietto. Conversely, Haydn’s Symphony No. 80 is set in a much smaller, yet no less impressive musical world. The symphony opens in the gloominess of D minor, yet the clouds break through by the end, revealing the warm sun of D major — much as in Mahler’s Fifth. While Haydn put the symphonic genre on the map, Mahler pushed it to its furthest limits. Separated by over a century, these works reveal an innate craft and affinity for the symphony shared by two masters of the form. — Kevin McBrien Kevin McBrien is The Cleveland Orchestra’s Editorial & Publications Manager.

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MAHLER’ S FI F TH SY M PHO N Y

Symphony No. 80 in D minor by Franz Joseph Haydn BORN : March 31, 1732, in Rohrau, Austria DIED : May 31, 1809, in Vienna

▶ COMPOSED: 1784 ▶ WORLD PREMIERE : Likely in March 1785, though the exact date is unknown ▶ CLEVELAND ORCHESTRA PREMIERE : July 27, 1990, at Blossom, with Michael Stern conducting ▶ ORCHESTRATION : flute, 2 oboes, 2 bassoons, 2 horns, and strings ▶ DURATION : about 20 minutes

WHY IS IT THAT WE KNOW so few of Franz Joseph Haydn’s symphonies? Could it simply be that he wrote so many that we struggle to get to know more than the handful that we regularly hear? Where do we start in an output of over 100 symphonies that represents such a large part of the Viennese classical world? The 80th is one of Haydn’s lesserplayed symphonies, but it quickly reminds us, despite (or because of ) its relative obscurity, that ingenuity and invention rarely failed this composer. The more one dips a toe away from familiar waters and instead ventures into the less-frequently traversed parts of his symphonic output, the more we can find in which to delight — and the more Haydn’s mastery is revealed to us. From the time he was 29 in 1761 until his death 48 years later, Haydn served at the Court of Esterházy, for the richest aristocratic family in the Austrian Empire.

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For the second half of his time there, Haydn was increasingly involved in opera, which had become “all the rage” at court. Beginning in 1776, there was a regular operatic season at the Esterházy estate, and Haydn had to act as Kappellmeister for the operas in addition to writing his own works. It has been suggested that Haydn’s operatic work between 1775 and 1784, both as conductor and composer, put such a strain on him that the concert music he wrote during this period fails to display the distinctive stamp of his inventive personality. It may be, however, that he was searching for new life to breathe into the symphonic and quartet forms. Symphony No. 80, written in 1784, certainly shows no signs of fatigue on Haydn’s part. Indeed, by 1786–87, when English artist John Hoppner created this portrait of Haydn around 1791, a few years after the composer wrote his Symphony No. 80.

IMAGE COURTESY OF THE ROYAL COLLECTION, UK / WIKIMEDIA COMMONS

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MAHLER’ S FI F TH SY M PHO N Y

he composed the well-known “Paris” symphonies (Nos. 82–87), Haydn had gained a revitalized compositional voice with a remarkable diversity of form and expression. In retrospect, Haydn’s operatic experience should perhaps be seen as an integral part of his symphonic development. As pianist and music critic Charles Rosen has written about this period in Haydn’s career: “The application of dramatic technique and structure to

London. No. 80, the middle work of the set, while in a traditional four-movement structure, is an excellent example of Haydn’s personal mix of symphonic and dramatic. The effects it contains are astonishing and arresting, yet always contained within strict Classical devices. And, as in so much of Haydn’s music, uneven phrase lengths and curious syncopations heighten the drama while also playing a part in the symphonic scheme of the whole work.

The effects [Haydn’s symphony] contains are astonishing and arresting, yet always contained within strict Classical devices. ‘absolute’ music was … the outcome of an age which saw the development of the symphonic concert as a public event. The symphony was forced to become a dramatic performance, and it accordingly developed not only something like a plot, but a unity of tone, character, and action it had only partially reached before.” From 1782 onward, Haydn wrote his symphonies in groups of three or six. This was no doubt due to pressure from the publishing houses who preferred to issue works as sets. (The most famous of Haydn’s sets are his “London” symphonies: Nos. 93–98 and 99–104.) Musically, the groupings also allowed Haydn to vary the mood and key of the symphonies. The three symphonies Haydn wrote in 1784 (Nos. 79–81) were for his syndicated group of publishers in Vienna, Paris, and 10 | 2026–27 SEASON

The ferocious beginning leads us to anticipate a movement of epic proportions, but its jokey second theme quickly dispels such expectations. Emotional contrast pervades all the movements. The slow second movement is warm and serene, while the Menuetto that follows it is more angular. The Finale is a high-spirited romp. The off-beat rhythms at its start throw us continually off balance and never let the music settle. The whole movement is a delightful and brilliant close to an extraordinary symphony that incorporates Classical and forward-looking Romantic ideals with energy, wit, and refinement. — Roger Wright Roger Wright previously served as Artistic Administrator of The Cleveland Orchestra.

Symphony No. 5 in C-sharp minor by Gustav Mahler BORN : July 7, 1860, in Kalischt, Bohemia (now Kalištì in the Czech Republic) DIED : May 18, 1911, in Vienna

▶ COMPOSED: 1901 – 02 ▶ WORLD PREMIERE : October 18, 1904, with the composer conducting the Gürzenich Orchestra Cologne ▶ CLEVELAND ORCHESTRA PREMIERE : December 18, 1952, led by William Steinberg ▶ ORCHESTRATION : 4 flutes (3rd and 4th doubling piccolo), 3 oboes (3rd doubling English horn), 3 clarinets (3rd doubling bass clarinet), 3 bassoons (3rd doubling contrabassoon), 6 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, snare drum, tam-tam, triangle, whip), harp, and strings ▶ DURATION : about 70 minutes

GUSTAV MAHLER ARGUABLY DID MORE

to liberate symphonic form than any other composer in history. Before Mahler, the symphony was largely tied to the formal traditions of the dance suites that preceded it. Voices were rarely used, and few had dared push the length of a symphony past 30 to 50 minutes. After Mahler, a symphony could be virtually anything the composer deemed it should be, at any length, using any resources at the composer’s disposal. Mahler shifted the symphony’s focus away from motivic development and toward the juxtaposition of disparate elements for dramatic statement. “A symphony should be like the world,” Mahler once declared. “It should embrace everything.” clevelandorchestra.com

The son of a distillery and tavern owner and his cultured wife, Mahler’s childhood was a wrenching combination of joviality and despair. Behind the bustling business, the family witnessed a procession of tragedy — seven of Gustav’s 13 siblings died before they reached 3 years old. It’s little wonder that, throughout his life as a composer, Mahler eerily juxtaposed cheery folk tunes and funeral dirges. Young Gustav showed promise in his piano lessons and entered the Vienna Conservatory at age 15. He received a diploma three years later. Unable to win public recognition for his own music, Mahler turned to conducting. Over a remarkable career, he ascended the podium of Europe’s great opera houses and concert halls and led two | 11

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IMAGE COURTESY OF MAHLERFOUNDATION.ORG

MAHLER’ S FI F TH SY M PHO N Y

of New York’s premier musical organizations: the Metropolitan Opera and the New York Philharmonic. But success with a baton meant Mahler did most of his composing in the offseason, alone in a summer cottage, intensely trying to distill his musical thoughts of an entire year on paper.

on the border between life and death, I wondered whether it would not be better to have done with it at once, since everyone must come to that in the end.” Mahler started sketching the symphony in the summer of 1901, after he had just turned 41. He was lucky to be alive, and felt inclined to meditate on the

The symphony opens with a funeral march, then proceeds ... to major episodes in the dead man’s life, ending in a triumphant finale that represents the protagonist’s optimistic (perhaps falsely so) outlook on the cusp of life. Mahler’s first four symphonies reflect the composer’s love of song and are shot through with references to his own settings of poetry from Des Knaben Wunderhorn (The Youth’s Magic Horn). In the First Symphony, these references are merely orchestral, while the next three symphonies adapt the poetry into lyrics for soloists or chorus. With the Fifth Symphony, Mahler entered a new period where structural and instrumental considerations became paramount. Words were left behind for pure feeling. The human voice is not heard again in a Mahler symphony until his Eighth. The genesis of the Fifth Symphony can almost certainly be dated to February 24, 1901, when the composer suffered an intestinal hemorrhage and nearly died. Mahler later wrote: “While I was hovering Austrian photographer Moritz Nähr captured a series of now-iconic photographs of Mahler in the early 20th century, including this one in 1907.

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meaning of a life that had nearly ended months before. The symphony opens with a funeral march, then proceeds — in reverse chronology — to major episodes in the dead man’s life, ending in a triumphant finale that represents the protagonist’s optimistic (perhaps falsely so) outlook on the cusp of life. The symphony is five movements long, though the composer indicated that it is split into three separate sections. Part I contains the first two movements, the lengthy Scherzo stands alone as Part II, while Part III comprises the Adagietto and concluding Rondo. Mahler’s Fifth is sometimes listed as being in C-sharp minor, but the work does not dwell in a single key, and the tonal journeys for each movement support this, modulating from C-sharp minor to A minor to D major to F major and back to D major. While working on this score, Mahler concurrently composed his first songs based on the texts of the Kindertotenlieder | 13

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(Songs on the Death of Children); some of those songs find echoes in the symphony. It was also while writing and scoring the Fifth that Mahler met, wooed, and wed Alma Schindler.

Mahler may have intended [the Adagietto] as a musical love letter to Alma, but one can still melt into this glorious music without knowing its exact inspiration.

strings reiterate a variant of the lament from the first movement. As the funeral fanfare in that movement was repeatedly interrupted by the lament, so will the violent outbursts of this movement alternate with slower meditations, until the woodwinds eventually turn the theme into a bright march. Near the end, the brass latch onto a subject that becomes a triumphant chorale in D major. That key becomes the new “home key” as the symphony wends its way back to a happy origin.

PART I

PART II

In the opening Trauermarsch (Funeral March), a solo trumpet announces death with a stark, C-sharp-minor fanfare. The orchestra takes up the cry, which leads to a lament intoned by the strings. At length, the trumpet, with its distinctive triplet figure, reasserts itself, and again the song of lamentation ensues, varied this time and expanded into something more personal than merely ritual. A third time the trumpet sounds the funeral call, but this time the orchestra takes off in an anguished cry of despair and outrage. Throughout the rest of the movement, the trumpet fanfare alternates with variations on the lament, from shock and anger to fond memories and, ultimately, resignation. The opening bars of the second movement, marked “Stormily, with greatest vehemence,” seem to capture the tortuous defeat and rage that dominated the last years of the protagonist’s life. And then, a surprise: the

The Scherzo, in bright and confident D major, is a folkish Ländler (country dance), dominated by a solo obbligato horn. Mahler tosses around many related themes in masterful counterpoint. While there are quiet and reflective passages in the Scherzo, the overall mood is of vitality and adventure. The protagonist is at the peak of his life, and even the thought of death is distant.

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PART III

The famous Adagietto for strings and harp is one of the most beautiful, romantic outpourings in Mahler’s output. Mahler may have intended it as a musical love letter to Alma, but one can still melt into this glorious music without knowing its exact inspiration. Its tempo is also a matter of great controversy. Mahler indicated a “very slow” tempo in both German and Italian, yet recordings of this movement by his contemporaries clock in at under 8 minutes, far less than

At optatus, odit labores eum nim aliqui unt dolectur ra sequia cum voluptatur molupis eris aut aspero que voles nuste necepe et doloris atur atestion nam eos

IMAGE COURTESY OF MAHLERFOUNDATION.ORG

Alma and Gustav Mahler gaze out over Basel in 1903, one year after their marriage. The Adagietto of the Fifth Symphony is believed to have been Gustav’s musical love letter to his beloved Alma.

the 10-to-12-minute Adagiettos presented over the past 50 years. The horn, which heralds death in the opening movement then joy in the Scherzo, announces the blossoming of the protagonist’s youth. Mahler displays the polyphonic knowledge he acquired in his study of J.S. Bach, and as the melodies pick up increasing energy and pile on top of one another, a picture emerges of a new life progressing from birth through childhood to young manhood. The Adagietto theme is recalled, a portent of the protagonist’s love life. Amazingly, we hear at the very end the great D-major chorale from the second movement, the logic of its earlier clevelandorchestra.com

appearance now made clear. Here in the Finale, it is the young protagonist’s assertion of newfound power in the world; in the second movement, it was a last grasp at the past, a farewell to the life force that had once been his. The symphony ends with the protagonist on the cusp of his maturity, unaware of the tragedy that will befall him — optimistic for the life that awaits him. — Kenneth LaFave Kenneth LaFave composes and writes about music. His program notes have appeared in the program books of The Philadelphia Orchestra and New York Philharmonic, and at Lincoln Center.

Continue your journey with Mahler on Adella.live, the digital home of The Cleveland Orchestra, with productions featuring the composer’s Second, Fourth, and Seventh symphonies and the Adagio from the Tenth Symphony. Enjoy 50% off your first year by visiting adella.live and using promo code ADELLA50 at checkout.

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SEVERANCE MUSIC CENTER Celebrating a Unique Partnership: 25 Years with Music Director Franz Welser-Möst

TOP: PHOTO BY YEVHEN GULENKO, MIDDLE : PHOTOS BY YEVHEN GULENKO & ROGER MASTROIANNI, BOTTOM: IMAGE COURTESY OF THE CLEVELAND ORCHESTRA ARCHIVES

LERNER GALLERY An homage to The Cleveland Orchestra’s longest-serving Music Director, this exhibit celebrates Franz Welser-Möst’s commitment to community programming, recording projects, global touring, and staged opera. See photos, albums, and even one of Franz’s batons!

Celebrating 75 Years of COC & 40 Years of COYO PAMELA HUMPHREY GREEN ROOM Dive into the history of The Cleveland Orchestra’s longest-standing supporting ensembles. From past directors to tour photos, get a glimpse behind the scenes at The Cleveland Orchestra Chorus and The Cleveland Orchestra Youth Orchestra.

The Cleveland Orchestra on Tour THE MAGICBOX outside the Grand Foyer Travel across the globe through The Cleveland Orchestra’s extensive touring history. This interactive display showcases videos and fascinating artifacts from the Orchestra’s visits across five continents, such as a travel bag from Qantas made especially for the Orchestra’s Australian tour.

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TH E MUSIC

Thank you for silencing your electronic devices.

Brahms’s Requiem Thursday, November 5, 2026, at 7:30 PM Saturday, November 7, 2026, at 7:30 PM Sunday, November 8, 2026, at 3 PM

Inside the Music with James Wilding Reinberger Chamber Hall one hour prior to performance

Petr Popelka, conductor Adolphus Hailstork (b. 1941)

Distant Lands

20 minutes

Triptych for Oboe and Strings I. Adagietto II. Dolce e teneramente III. Andante Frank Rosenwein, oboe World Premiere; Commissioned by The Cleveland Orchestra

Johannes Brahms (1833–1897)

I N TERM IS SI ON

20 minutes

Ein deutsches Requiem, Op. 45

70 minutes

I. Selig sind die da Leid tragen II. Denn alles Fleisch es ist wie Gras III. Herr, lehre doch mich IV. Wie lieblich sind deine Wohnungen V. Ihr habt nun Traurigkeit VI. Denn wir haben hie VII. Selig sind die Toten Julia Kleiter, soprano Lucas Meachem, baritone The Cleveland Orchestra Chorus This program will last approximately 1 hour 50 minutes

PHOTO BY ROGER MASTROIANNI

Frank Rosenwein’s performance is generously supported by The Jean, Harry, and Brenda Fuchs Family Foundation. Sunday’s performance will be livestreamed on Adella.live and available to watch on demand for 14 days.

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Support for The Cleveland Orchestra Chorus is provided by The Shari Bierman Singer Family, Charles M. Hoppel & Marianne Karwowski Hoppel, Robert & Linda Jenkins, and the Wesley Family Foundation. | 19

HONORI NG

Franz Welser-Möst & the Chorus During his tenure as Music Director, Franz has been a champion for The Cleveland Orchestra Chorus, featuring the ensemble in programs at home and on tour. We invite you to celebrate the Chorus — and Franz’s 25th and final season — with your gift to the Franz Welser-Möst Legacy Fund today. Your gift will directly support opera and vocal programs here at the Orchestra. For more voices, more music, and more joy.

SHOW YOUR APPRECIATION TODAY:

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BR AH MS ’ S REQ U I EM

I NTRODU CTION “ AS YOU ARE GETTING THIS LETTER of mine from Hamburg, I can hardly seek to try to inform you gently and gradually of what has befallen us.” Johannes Brahms was writing to his dear friend, pianist and composer Clara Schumann, on February 6, 1865, days after tragedy had touched his family. On February 2, Brahms’s mother, Christiane (right), suffered a stroke and died at age 76. Though Brahms was summoned from Vienna by his brother, he had arrived too late to say one last goodbye to his mother. His letter continues:

IMAGE COURTESY OF WORLD HISTORY ARCHIVE / ALAMY

She was quite unchanged and looked as kind and gentle as in life. Everything that can be consoling in the face of such a loss was done for us … and a great many young musicians escorted my mother on her last journey. Many were the flowers and wreaths that adorned her coffin, and in spite of the grim weather, music provided the last farewell. Three years later, in April 1868, music would provide another poignant farewell for Christiane Brahms with the premiere of her son’s Ein deutsches Requiem (A German Requiem). Brahms began composing this work for chorus and orchestra shortly after his mother’s death, drawing upon various scriptures from Martin Luther’s translation of the Bible to create a moving musical reflection on the earthly reality of death and the hope of eternal life. Though the Christian core of the Requiem is at times ambivalent — early critics noted its overt lack of references to Christ’s death and resurrection — Brahms’s intentions were much broader, noting that he had considered calling the work “A Human Requiem.” Complementing Brahms’s choral masterpiece on this program is a work that casts its inspiration outward rather than inward (or upward). To American composer Adolphus Hailstork, the mysterious, sinewy sound of the oboe evokes the sound of far-away places. He composed his oboe concerto, Distant Lands, for Cleveland Orchestra Principal Oboe Frank Rosenwein (see page 51), who will bring it to vivid life for the first time at these concerts. From the vibrant soundscapes of Hailstork’s concerto to Brahms’s musical contemplation of loss, this concert offers space for calm, reflection, and comfort. — Kevin McBrien Kevin McBrien is The Cleveland Orchestra’s Editorial & Publications Manager.

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Distant Lands Triptych for Oboe and Strings by Adolphus Hailstork BORN : April 17, 1941, in Rochester, New York

▶ COMPOSED: 2024 ▶ These concerts mark both the world premiere and first Cleveland Orchestra performance of Adolphus Hailstork’s Distant Lands, which was commissioned by The Cleveland Orchestra. ▶ ORCHESTRATION : solo oboe and string orchestra ▶ DURATION : about 20 minutes

after Mozart’s great Oboe Concerto THE OBOE : underdog or superstar? of 1777. Nostalgia for times past might Based on the available evidence, the account for its 20th century resurgence correct answer might be “both.” The in works for oboe and orchestra by voice of this slender double-reed Vaughan Williams (1943–44) and woodwind instrument, plaintive and Richard Strauss (1945). Decades later, penetrating, is usually the first sound John Corigliano unleashed wilder you’ll hear at any orchestral concert, possibilities in his fantastical Oboe the source of the clear concert “A” to Concerto of 1975. which the entire ensemble tunes. In a But even when it isn’t the headline 1695 treatise titled The Sprightly Companattraction, the oboe seldom strays far ion, the English music publisher and from the spotlight, portraying diverse bookseller Henry Playford wrote of the characters from Handel’s regal Queen oboe: “For besides its Inimitable of Sheba (in Solomon) to a panoply of charming Sweetness of Sound (when well play’d upon) it is also Majestical and birds: the modest quail of Beethoven’s Stately ... the greatest Heros of the Age ... “Pastoral” Symphony, the titular fowl of Tchaikovsky’s Swan Lake, the whimare infinitely pleased with This for its sical duck in Prokofiev’s Peter and the brave and sprightly Tone.” Wolf. Descended from such rustic horns Enormously prominent during the as the Greek aulos, the Eurasian and Baroque period, when influential comMiddle Eastern surnāy, and the Indian posers like Vivaldi, Marcello, Handel, and J.S. Bach wrote concerti for the Over a 60+ year career, Adolphus Hailstork has instrument, the oboe seemed to dip in composed symphonies, concertos, operas, a wide popularity as a featured solo instrument variety of chamber music, and many more works. 22 | 2026–27 SEASON

IMAGE COURTESY OF ADOLPHUS HAILSTORK

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BR AHMS ’ S REQ U IEM

nāgasvaram, the modern oboe has also proved ideally suited to conjuring visions of faraway lands: recall the serpentine coils of the famous Bacchanale from Saint-Saëns’s opera Samson and Delilah, or the seductive storyteller of “The Story of the Kalender Prince” in RimskyKorsakov’s orchestral spectacular Scheherazade.

song which may call to mind a lullaby possibly sung by a new mother in a nomadic tribe. Finally, the full exoticism of the oboe sings forth like a ceremonial dance in a foreign land reaching back, perhaps, to times of the early Ottomans.

Notions of stories and travels evoked in sound come naturally to Hailstork, a versatile, prolific composer who For me, the oboe is an exquisite studied with some of the 20th century’s lyrical instrument with a tone most distinguished musical pedagogues, that evokes a sense of some-time including Vittorio Giannini, David and some-where far away. Diamond, H. Owen Reed, and Nadia — Adolphus Hailstork Boulanger. Of African American, Native American, and European ancestry, The oboe’s capacities for evocative Hailstork has developed a highly personal fantasy and tone painting were precisely style that incorporates elements of jazz, what the distinguished American the blues, gospel music, and spirituals. composer Adolphus Hailstork had in That those modes of music are rooted mind when he composed Distant Lands, in song is not incidental; in a 2022 BBC commissioned by The Cleveland Orchestra for Principal Oboe Frank Rosenwein interview, he ascribed his affinity for writing choral works to having sung in (see page 51). Like Marcello and Vaughan an Episcopal cathedral in his youth. Williams before him, Hailstork eschews A fundamentally lyrical composer, the full orchestra, designating his more Hailstork asserted in the same interview, intimate composition a “Triptych for Oboe and Strings.” In a note included in “A succession of sounds is not the same as a progression of music.” That the published score, he writes: predilection was evident in his potent First Piano Concerto, commissioned in For me, the oboe is an exquisite lyrical 1992 by a consortium of five orchestras, instrument with a tone that evokes and his buoyant Saxophone Concerto, a sense of some-time and some-where composed in 2024 for soloist Timothy far away. These three pieces are written McAllister — and it pertains as well to to bring to mind exotic excursions to this newest instrumental adventure. lands seldom or even never visited by Westerners­—­the Middle East mainly. —­Steve Smith The first movement has a touch of humor Steve Smith is a writer and editor based in New York City. He has written about music for The New York Times and and whimsy typical of the comic use The New Yorker, and served as an editor for the Boston of the oboe. The second evokes a cradle Globe, Time Out New York, and NPR. 24 | 2026–27 SEASON

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

▶ COMPOSED: 1865 – 68 ▶ WORLD PREMIERE : The full work premiered on February 18, 1869, with Carl Reinecke conducting the Gewandhaus Orchestra and Chorus, and soloists Emilie Bellingrath-Wagner and Franz Krückl. ▶ CLEVELAND ORCHESTRA PREMIERE : November 26, 1925, with Music Director Nikolai Sokoloff leading the Mendelssohn Choir of Pittsburgh and soloists Grace Kerns and Thomas Denijs ▶ ORCHESTRATION : 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, harp, organ, and strings, plus soprano and baritone soloists and chorus ▶ DURATION : about 70 minutes See page 30 for the sung texts.

JOHANNES BRAHMS WAS BROUGHT UP

in the north German Lutheran tradition with a solid knowledge of the Bible, which remained with him all his life. Faith, however, was more elusive. Like Beethoven, he came to devise his own personal view of ethics and spirituality, which in his case tended towards an ever-deepening pessimism and a focus on the mystery of death. “Such a great man!” exclaimed Dvořák, “Such a great soul! And he believes in nothing.” But Brahms was not quite a nihilist. He armed himself with a stoicism that protected him from the worst vicissitudes of life but did not prevent him from dwelling on death as the end of all things. Ein deutsches Requiem (A German Requiem) belongs to a period in Brahms’s clevelandorchestra.com

life when his fame as a composer was already widespread and would soon be enhanced by the acclaim that greeted this work. The death of his mother in 1865 seems to have prompted him to think deeply about a composition that had probably been lurking in the back of his mind for 10 years — at least since the death of Robert Schumann, who played an important role in Brahms’s early steps as a composer. At the time of Schumann’s death, Brahms had sketched a “funeral march” in 3/4 time, which seems to have been planned as part of a symphony in D minor, the first movement of which eventually took shape as the first movement of the First Piano Concerto. It is widely assumed that the sketched march | 25

26 | 2026–27 SEASON

IMAGE COURTESY OF WIKIMEDIA COMMONS

BR AHMS ’ S REQ U IEM

is the origin of the second movement of the Requiem, “Denn alles Fleisch es ist wie Gras” (For all flesh is like grass), with its solemn, striding 3/4 pulse. The rest of the Requiem took shape in 1866 and 1867 and was publicly performed bit by bit. Although the fifth movement was still not composed, the performance in Bremen Cathedral on Good Friday 1868 was treated as the first full performance, and it was attended by all of Brahms’s keenest supporters and friends — Clara Schumann Schumann, Joseph

all over Germany, in the Catholic south as well as in the Protestant north. Requiems usually use prescribed Latin texts, designed for use in formal worship services. But Brahms appropriated the title “Requiem” for a choral work that meditated on comforting the living in the face of an all-consuming death. Like Handel when composing Messiah, Brahms chose the texts with care, sometimes combining verses from different books of the Bible to form a single movement. Only the fourth and

The Requiem has taken hold of me as no sacred music ever did before. As I saw Johannes standing there, baton in hand, I could not help thinking of my dear Robert’s prophecy — ‘let him grasp the magic wand and write a work with orchestra and chorus’ — which is fulfilled today. — Clara Schumann

Joachim, Albert Dietrich, and Brahms’s final movements treat a single biblical text. Isaiah, the Psalms, various New father. Clara wrote soon afterwards: Testament scriptures, and the Apocrypha “The Requiem has taken hold of me as no are all drawn upon. There is no reference sacred music ever did before. As I saw to vengeance or Christ’s sacrifice in Johannes standing there, baton in hand, Brahms’s texts. The emotional theme is I could not help thinking of my dear more focused on the transience of life, Robert’s prophecy — ‘let him grasp the magic wand and write a work with orche- the need for comfort, the reward for stra and chorus’ — which is fulfilled today.” effort, and the hope of a happy resolution. For a composer who had written little In memory of his mother, Brahms for chorus before this time, the Requiem then composed the fifth movement, is astonishingly assured and rewarding, “Ihr habt nun Traurigkeit” (So you have as choral singers will attest. The orchepain now) to round out the sevenstration is equally assured. Leaving the movement plan. The complete work was violins quiet in the first movement allows premiered in 1869 and quickly spread the divided violas and cellos to glow and German painter and lithographer Georg Engelbach made at the same time announces the seriousthis photograph of Brahms in 1865, the year of his mother’s ness of Brahms’s enterprise. (This rich passing and the year he began work on his Requiem. clevelandorchestra.com

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BR AHMS ’ S REQ U IEM

This movement beautifully illustrates sound comes back in support of the the tender side of Brahms’s genius. baritone solo in the third movement.) The fifth movement features the Unusual for Brahms is the inclusion of harp, which adds color at the beginning soprano soloist for the first and only time in the work. It is designed like one and the end of the work and is part of of J.S. Bach’s arias, where the chorus the distinctive sonority of the second intones a chorale between the soloist’s movement. Here the timpani emphasize phrases. By the end of the movement, the march while the melody is outlined the chorus has moved into full support by high strings blending with high of the soprano and they conclude woodwinds. The entry of the chorus together in a quiet mood of consolation. completes this complex picture, whose The sixth movement is more dramatic, most memorable moment is the colossal crescendo that prepares the return of the for the rather solemn phrases from the combined march and chorale. The music chorus give little warning of what is to come. The words do indeed threaten eventually abandons triple meter and “Wir werden verwandelt werden” (We strides forward with the positive statewill all be changed) but not until the ment from the basses “Die Erlöseten des Herrn werden wiederkommen” (And sound of “der letzten Posaune” (the last trumpet) does the music bring in the the ransomed of the Lord). This is soon clamorous victory of death, crowned followed by the unmistakably happy with a long elaborate fugue on the phrase tone of “Freude und Wonne” (Joy and “Herr, Du bist würdig” (You are worthy, gladness) from the sopranos, so that our Lord and God). the movement concludes in high — but After the extraordinary climax of the calm — spirits. preceding music, the seventh movement The third movement similarly resumes a more solemn spirit, returning consists of multiple sections, as Brahms gradually to the mood and the key of shifts characters and performing forces the opening movement, and ending with according to the meaning of the text. the same quiet cadence. When the baritone soloist and chorus have finished conversing, the movement — Hugh Macdonald ends with an instrumental fugue. The Hugh Macdonald is Avis H. Blewett Professor Emeritus of fourth movement, for chorus, adopts the Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin, as well as waltz rhythm of which Brahms was always Music in 1853: The Biography of a Year. fond, and it is no accident that the woodwinds’ first phrase is answered by the Continue your journey with The Cleveland Orchestra Chorus chorus as an exact inversion of the melon Adella.live with productions ody, nor that the most prominent word featuring works by Mozart, Mahler, and John Adams. in the German text is “lieblich” (lovely), Enjoy 50% off your first year by visiting adella.live and precisely describing the music itself. using promo code ADELLA50 at checkout. 28 | 2026–27 SEASON

Principal Oboe Frank Rosenwein, Edith S. Taplin Chair, performs in Reinberger Chamber Hall for a Meet the Artist donor recital

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BR AHMS ’ S REQ U IEM

THE S U NG TE XTS

Ein deutsches Requiem by Johannes Brahms Text adapted by Brahms from Martin Luther’s translation of the Bible English translation from the New Revised Standard Version, Updated Edition

I. Selig sind die da Leid tragen C H ORUS

Selig sind, die da Leid tragen, denn sie sollen getröstet werden.

Blessed are those who mourn, for they will be comforted.

Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.

May those who sow in tears reap with shouts of joy. Those who go out weeping, bearing the seed for sowing, shall come home with shouts of joy, carrying their sheaves.

— MATTHEW 5:4; PSALM 126: 5–6

II. Denn alles Fleisch es ist wie Gras C H ORUS

Denn alles Fleisch es ist wie Gras, und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen.

For all flesh is like grass and all its glory like the flower of the grass. The grass withers, and the flower falls.

So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und ist geduldig darüber, bis er empfahe den Morgenregen und Abendregen.* So seid geduldig.

Be patient, therefore, brothers and sisters, until the coming of the Lord. The farmer waits for the precious crop from the earth, being patient with it until it receives the early and the late rains. You also must be patient.

Denn alles Fleisch es ist wie Gras ...

For all flesh is like grass ...

30 | 2026–27 SEASON

Aber des Herrn Wort bleibet in Ewigkeit.

But the word of the Lord endures forever.

Die Erlöseten des Herrn werden wiederkommen, und gen Zion kommen mit Jauchzen; Freude, ewig Freude, wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen, und Schmerz und Seufzen wird weg müssen.

And the ransomed of the Lord shall return and come to Zion with singing; everlasting joy shall be upon their heads; they shall obtain joy and gladness, and sorrow and sighing shall flee away.

— 1 PETER 1:24; JAMES 5:7–8; 1 PETER 1:24–25; ISAIAH 35:10

*Luther’s original translation reads “bis er empfange den Frühregen und den Spätregen.” Brahms tweaked

this line to “bis er empfahe den Morgenregen und Abendregen” to more specifically evoke the “morning rain” and “evening rain.”

III. Herr, lehre doch mich BARITO N E & CH O RUS

Herr, lehre doch mich, daß ein Ende mit mir haben muß, und mein Leben ein Ziel hat und ich davon muß. Siehe, meine Tage sind einer Hand breit vor dir, und mein Leben ist wie nichts vor dir.

Lord, let me know my end, and what is the measure of my days; Let me know how fleeting my life is. You have made my days a few handbreadths, and my lifetime is nothing in your sight.

Ach, wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht, wer es kriegen wird. Nun, Herr, wes soll ich mich trösten? Ich hoffe auf dich.

Surely everyone stands as a mere breath. Surely everyone goes out like a shadow. Surely for nothing they are in turmoil; they heap up and do not know who will gather. And now, O Lord, what do I wait for? My hope is in you.

Der Gerechten Seelen sind in Gottes Hand und keine Qual rühret sie an.

But the souls of the righteous are in the hand of God, and no torment will ever touch them.

— PSALM 39:4–7; WISDOM OF SOLOMON 3:1

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CONTINUED ON NEXT PAGE ▶ ▶ ▶

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BR AHMS ’ S REQ U IEM

IV. Wie lieblich sind deine Wohnungen C H ORUS

Wie lieblich sind deine Wohnungen, Herr Zebaoth! Meine Seele verlanget und sehnet sich nach den Vorhäfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.

How lovely is your dwelling place, O Lord of hosts! My soul longs, indeed it faints, for the courts of the Lord; my heart and my flesh sing for joy to the living God. Happy are those who live in your house, ever singing your praise.

— PSALM 84:1–2, 4

V. Ihr habt nun Traurigkeit S OPR AN O & CH ORUS

Ihr habt nun Traurigkeit; aber ich will euch wiedersehen, und euer Herz soll sich freuen, und eure Freude soll niemand von euch nehmen.

So you have pain now, but I will see you again, and your heart will rejoice, and no one will take your joy from you.

Ich will euch trösten, wie einen seine Mutter tröstet.

As a mother comforts her child, so I will comfort you.

Sehet mich an: Ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe großen Trost funden.

See with your own eyes that I have labored but little and found for myself much serenity.

— JOHN 16:22; ISAIAH 66:12–13; ECCLESIASTICUS 51:27

32 | 2026–27 SEASON

VI. Denn wir haben hie BARITON E & CHORUS

Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir.

For here we have no lasting city, but we are looking for the city that is to come.

Siehe, ich sage euch ein Geheimnis: Wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune. Denn es wird die Posaune schallen und die Toten werden auferstehen unverweslich; und wir werden verwandelt werden.

Look, I will tell you a mystery! We will not all die, but we will all be changed, in a moment, in the twinkling of an eye, at the last trumpet. For the trumpet will sound, and the dead will be raised imperishable, and we will be changed.

Dann wird erfüllet werden das Wort, das geschrieben steht: Der Tod ist verschlungen in den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg?

Then the saying that is written will be fulfilled: Death has been swallowed up in victory. Where, O death, is your victory? Where, O death, is your sting?

Herr, du bist würdig, zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge geschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen.

You are worthy, our Lord and God, to receive glory and honor and power, for you created all things, and by your will they existed and were created.

— HEBREWS 13:14; 1 CORINTHIANS 15:51–52, 54–55; REVELATION 4:11

VII. Selig sind die Toten CHORUS

Selig sind die Toten, die in dem Herren sterben, von nun an. Ja, der Geist spricht, daß sie ruhen von ihrer Arbeit, denn ihre Werke folgen ihnen nach.

Blessed are the dead who from now on die in the Lord. Yes, says the Spirit, they will rest from their labors, for their deeds follow them.

— REVELATION 14:13

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THE CON DUC TOR

Petr Popelka

PHOTO BY SUSANNE HASSLER-SMITH

ACCLAIMED FOR HIS SCINTILLATING ,

authentic, and inclusive approach to conducting, Petr Popelka is general music director designate of the Bayerische Staatsoper, starting from the 2029 – 30 season. Since the 2024 – 25 season, he has served as chief conductor of the Wiener Symphoniker. In addition to concerts and tours with the Wiener Symphoniker, highlights of the 2026 – 27 season include his debuts with the Royal Concertgebouw Orchestra, As a celebrated opera conductor, he has Los Angeles Philharmonic, and Orchestre made guest appearances at the Bayerische National de France, as well as at the Staatsoper (Káťa Kabanová and Rusalka), Salzburg Festival. He will also return to Staatsoper Unter den Linden (Tosca), The Cleveland Orchestra, Chicago SymDeutsche Oper Berlin (Tristan und Isolde), phony Orchestra, Pittsburgh Symphony Semperoper Dresden (The Nose), Theater Orchestra, Gewandhaus Orchestra, an der Wien (Schwanda the Bagpiper and Staatskapelle Berlin, Sächsische StaatskaDie Fledermaus), Zurich Opera House pelle Dresden, Bamberg Symphony (Don Giovanni), Norwegian Opera in Oslo Orchestra, Swedish Radio Symphony (Elektra), and Prague’s National Theatre Orchestra, Danish National Symphony (Rusalka, Carmen, and The Marriage Orchestra, and Zurich Opera House of Figaro). (for Verdi’s Don Carlo). Popelka began his conducting career Previous debuts have taken him to the Berlin Philharmonic, Munich Philharmonic, during the 2019–20 season after serving as deputy principal double bassist at the Tonhalle Orchestra Zurich, Orchestra Staatskapelle Dresden from 2010 to 2019. dell’Accademia Nazionale di Santa Cecilia, Shortly thereafter, he was appointed as and NHK Symphony Orchestra, among chief conductor at the Norwegian Radio others. In previous seasons, he featured Orchestra in Oslo (2020 – 23) and subsein prestigious televised galas such as the quently led the Prague Radio Symphony Czech Philharmonic’s Velvet Revolution Orchestra (2022 – 26). Popelka received concert, the opening of the Prague Spring his musical training in his hometown Festival, and the Nobel Prize Concert of Prague and in Freiburg. He is also active with the Royal Stockholm Philharmonic as a composer. Orchestra. clevelandorchestra.com

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Frank Rosenwein oboe

Julia Kleiter soprano

Frank Rosenwein joined The Cleveland Orchestra as Principal Oboe (Edith S. Taplin Chair) at the beginning of the 2005–06 season. Since then, he has appeared many times as soloist, including Richard Strauss’s Oboe Concerto in 2012 and Vaughan Williams’s Oboe Concerto in 2017. Since 2006, Rosenwein has served as head of the oboe department at the Cleveland Institute of Music. He also teaches at the Kent Blossom Music Festival and has performed at the Marlboro Music Festival, Mainly Mozart Festival, Philadelphia Chamber Music Society, and Seattle Chamber Music Society. Born in Evanston, Illinois, Rosenwein holds a Bachelor of Music degree from the Cleveland Institute of Music and a Master of Music degree from The Juilliard School. Prior to coming to Cleveland, he served as principal oboe of the San Diego Symphony and San Diego Opera. Rosenwein is married to Jung-Min Amy Lee, former Associate Concertmaster of The Cleveland Orchestra. They live in Beachwood with their three sons, Joshua, Julian, and Benjamin, and their dog, Rosie.

Julia Kleiter is one of the leading lyric sopranos of her generation. Since her debut as Pamina at Opéra Bastille, she has been a regular guest at major international venues including the Bavarian State Opera, Teatro alla Scala Milan, Semperoper Dresden, Metropolitan Opera, and Salzburg Festival. Her repertoire includes roles such as the Contessa in The Marriage of Figaro, Donna Anna in Don Giovanni, Eva in Die Meistersinger, Agathe in Der Freischütz, and the Marschallin in Der Rosenkavalier. Kleiter’s 2026–27 season is marked by the music of Beethoven, including his Missa solemnis, Ninth Symphony, a concert tour of Fidelio with Pablo Heras-Casado, and the original version of Leonore at the Theater an der Wien. Further highlights include Brahms’s Ein deutsches Requiem in Cleveland, Mendelssohn’s Lobgesang at the Rheingau Music Festival, and Rosalinde in Die Fledermaus at the Vienna State Opera. A celebrated recitalist, Kleiter regularly appears at venues and festivals including Wigmore Hall, the Heidelberg Spring Festival, Schloss Elmau, and Pierre Boulez Saal.

See also page 51 for an interview with the artist. 38 | 2026–27 SEASON

ABOVE: PHOTOS BY ROGER MASTROIANNI AND FRANK SCHEMMANN, ABOVE RIGHT: PHOTO BY SIMON PAULY

THE ARTISTS

Lucas Meachem baritone Grammy Award– winning baritone Lucas Meachem is renowned for his mastery of a wide variety of leading operatic roles, as well as the creation of new ones. In the 2026–27 season, Meachem returns to Madrid’s Teatro Real for his role debut as Lescaut in Manon Lescaut before joining The Cleveland Orchestra for Brahms’s Ein deutsches Requiem. He makes appearances at the Metropolitan

Opera, Houston Grand Opera, Opera di Roma, and Los Angeles Opera, among others, and also joins Renée Fleming and the London Philharmonic Orchestra for Jake Heggie’s The Brightness of Light. Beyond the stage, Meachem is deeply committed to nurturing the next generation of artists through masterclasses and mentorship. Current initiatives include an online competition that uses social media to raise awareness for new compositions, and a series of masterclass giveaway events throughout the United States. Born in North Carolina, Meachem studied music at Appalachian State University, the Eastman School of Music, and Yale University before becoming an Adler Fellow with San Francisco Opera.

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Sara Jakubiak performs the heroic role of Leonore in Beethoven’s Fidelio, May 2026

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THE CHO RUS DIREC TOR

Lisa Wong, Director of Choruses

PHOTO BY ROGER MASTROIANNI

FRANCES P. AND CHESTER C. BOLTON CHAIR

Wong served for 16 years as the Olive Williams Kettering Professor of Music at The College of Wooster. As director of the award-winning Wooster Chorus, she elevated the ensemble to national prominence through annual tours, performances at state and regional conferences, and the premieres of 15 new works. Her expertise in music education is informed by 32 years of classroom experience and extensive work as a clinician, adjudicator, and guest conductor. Wong has served numerous times as a grant panelist for the National Endowment for the Arts and Chorus America and presented at state and national conLISA WONG, A DISTINGUISHED CHORAL ferences on varied topics. She is presidentCONDUCTOR AND EDUCATOR , serves as elect of the Ohio Choral Directors Director of Choruses for The Cleveland Association and served as the Repertoire Orchestra, where she has prepared The Cleveland Orchestra Chorus and Blossom and Resource Chair for World Music and Cultures and on the Committee Festival Chorus for acclaimed performances under conductors Franz Welser- for Diversity, Equity, and Inclusion for the Ohio Music Education Association. Möst, Klaus Mäkelä, John Adams, With degrees from West Chester Jane Glover, Susanna Mälkki, Eric Whitacre, and many others. In 2026, she University and the Indiana University founded and led the inaugural Cleveland Jacobs School of Music, Wong’s academic foundation is complemented by a rich Orchestra Summer Choral Institute, career dedicated to inspiring and nurturwelcoming music students from across the nation and abroad to Severance Music ing musicians of all ages. Her contributions to both the professional and academic Center. In addition, she has prepared spheres have significantly impacted the the Tanglewood Festival Chorus for performances with the Boston Symphony choral landscape. Orchestra and conductors Herbert Blomstedt and Andris Nelsons.

clevelandorchestra.com

| 41

THE CLEV EL AN D ORC HESTR A C HO RUS

The Cleveland Orchestra Chorus Now in its 75th season, The Cleveland Orchestra Chorus is celebrated for its versatility and refined musicianship, appearing regularly with The Cleveland Orchestra at Severance and Blossom music centers. As one of the few all-volunteer, professionally trained choruses affiliated with a major American orchestra, it received the 2019 – 20 Distinguished Service Award, recognizing extraordinary service to the Orchestra.

SOPRANOS

Rebecca S. Hall

Jennifer Heinert O’Leary

ALTOS

Claudia Barriga

Sarah Henley

Victoria Peacock

Emily Austin

Jesse Bobbitt

Katie Holbert

Sarah Peterson

Amy Foster Babinski

Emily Carlson

Lisa Hrusovsky

Stephanie Popik

Debbie Bates

Signe Carlson

Rachel Imhoff

Grace Prentice

Riley Beistel

Ruby Chen

Shannon R. Jakubczak

Leah Puorro

Kristina Bodnar

Caitlin DiFranco

Sarah Jones-Gould

Jylian Purtee

Carla Cashman

Maryssa Duncan

Katie Kitchen

Lisa M. Ramsey

Barbara J. Clugh

Emily Engle

Hope Klassen-Kay

Mandi Rice

Amber Dimoff

Molly Falasco

Brianna Knapp

Emma Russell

Shannon Dunning*

Lisa Fedorovich

EvaCecilia Koh

Ellie Kleber Smith

Brooke Emmel

Brianna Gibson

Alannah Lopez

Emma Stamper

Colleen Endrizzi

Jennifer Gilles

Kate Macy

Megan Tettau

Hope Ezell

Julia Halamek

Sophia Marshall

Meagan Ulery

Shawna Hill

Gracie Mino

Sharilee Walker

Karen S. Hunt

Julie Myers-Pruchenski

Chelsey Webb

Sarah Hutchins

42 | 2026–27 SEASON

PHOTO BY JULIAN DUBE

Visit cochorus.com for more information on the Chorus and auditions.

Lizzie Kaboski

TENORS

BASSES

Robert Seaman

Maggie Keverline

Christian Bush

Lucas Buhrman*

Gavin Slate

Rebecca King

Rong Chen

Nicholas Campagna

Alexander Truver

Elise Leitzel

David Erlandson

Eric Coffelt

Matt Turell

Victoria Marquard-Schultz

Michael Heid

Nick Connavino

Nicolas Turnberrez

Danielle S. McDonald

Daniel M. Katz

Ronnie Dailey

Bob Winters

Karla McMullen

Adam Kilo

Manzili Denis

Ryan Yonek

Brianna Mosley

Peter Kvidera

Christopher Dewald

Martin Young

Shanely Niemi

Adam Landry

Davis Fischer*

Philip Zielinski

Laura Obergefell

Gabriel Lawrence

Thomas Flowers

Paul Zito

Dawn Ostrowski

Lorenzo Lopez

Andrew Fowler

Ina Stanek-Michaelis

David McCallum

Jeffrey D. Gershman

Melanie Tabak

Matt Rizer

Richard Hall

Rachel Thibo

Jacob Rumelfanger

Kurtis B. Hoffman

Kristen Tobey

Nathan A. Russell

Kim Jacoby

Laure Wasserbauer

Lee Scantlebury

James Johnston

Haley Wheeler

Greg Smith

Jason Levy

Maggie Fairman Williams

Andrew Stamp

Tyler Mason

Caroline Willoughby

J.R. Tomkinson

Glenn Obergefell

Jennifer R. Woda

Yung Wang*

John Philipps

Debra Yasinow

Trevor Pollack

Lynne Leutenberg Yulish

Francisco Prado Brandon Randall

* Shari Bierman Singer Fellow

Daniel J. Singer Assistant Director Daniel Overly Collaborative Pianist Jill Harbaugh Director of Choral Operations Victoria Peacock Chorus Coordinator Sarah Hutchins Chair, Operating Committee

The Cleveland Opera

Cleveland Women’s Orchestra & Cleveland Ballet Theatre present

La bohème by Giacomo Puccini

Sunday, Nov. 8, 2026 at 4:00 pm • Monday, Nov. 9, 2026 at 7:00 pm The Tudor Arms Hotel Grand Ballroom • 10660 Carnegie Avenue • Cleveland OH 44106

Scan for tickets or additional information or call 216-816-1411 or visit theclevelandopera.org

THE PL AC E FOR FAN S OF TH E C LEVEL AN D ORC HESTR A

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EARN POINTS • Attend concerts • Watch videos • Take quizzes • Give feedback

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THE CLEV EL AN D ORC HESTR A

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

SECOND VIOLINS

CELLOS

PICCOLO

Joel Link

Stephen Rose* Alfred M. and Clara T. Rankin Chair

Mark Kosower* Louis D. Beaumont Chair

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

CONCERTMASTER

Blossom-Lee Chair Elizabeth Fayette FIRST ASSOCIATE CONCERTMASTER

Virginia M. Lindseth, PhD, Chair Philip Marten ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair Zhan Shu ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Stephen Tavani ASSISTANT CONCERTMASTER

Dr. Ronald H. Krasney Chair

Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair Kim Gomez Elizabeth and Leslie Kondorossy 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

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

OBOES Frank Rosenwein* Edith S. Taplin Chair Corbin Stair Sharon and Yoash Wiener Chair Jeffrey Rathbun2 Everett D. and Eugenia S. McCurdy Chair

Jeffrey Zehngut^

Brian Thornton William P. Blair III Chair

Kathleen Collins

David Alan Harrell

Beth Woodside

Martha Baldwin

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

Dane Johansen Marguerite and James Rigby Chair

Yun-Ting Lee Deborah L. Neale Chair

Paul Kushious

CLARINETS

Jiah Chung Chapdelaine

BASSES

Afendi Yusuf* Robert Marcellus Chair

Liyuan Xie

Maximilian Dimoff* Clarence T. Reinberger Chair

Gawon Kim Dustin Wilkes-Kim

Charles Paul1 Mary E. and F. Joseph Callahan Chair

Robert Walters

ENGLISH HORN Robert Walters Samuel C. and Bernette K. Jaffe Chair

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

Derek Zadinsky2

Miho Hashizume Theodore Rautenberg Chair

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

Daniel McKelway2 Robert R. and Vilma L. Kohn Chair

Mark Atherton

Amy Zoloto

Jeanne Preucil Rose Larry J.B. and Barbara S. Robinson Chair

Gareth Zehngut1^ Charles M. and Janet G. Kimball Chair

Henry Peyrebrune Charles Barr Memorial Chair

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Stanley Konopka2

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

Yu Yuan Patty and John Collinson Chair Isabel Trautwein Trevor and Jennie Jones Chair Katherine Bormann Paul and Lucille Jones Chair

VIOLAS

Lisa Boyko Richard and Nancy Sneed Chair Lembi Veskimets The Morgan Sisters Chair Eliesha Nelson^ Anthony and Diane Wynshaw-Boris Chair

Thomas Sperl

Charles Carleton Scott Dixon Brandon Mason

HARP Trina Struble* Alice Chalifoux Chair

FLUTES

Analise Handke Gladys B. Goetz Chair

William Bender Thomas Lauria and Christopher Lauria Chair

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

Genevieve Smelser

Sean Juhl

Saeran St. Christopher

Gabriel Napoli^

Jessica Sindell2^ Austin B. and Ellen W. Chinn Chair

With sincere gratitude to the musicians of The Cleveland Orchestra for their in-kind contributions supporting community programs and securing funding opportunities.

44 | 2026–27 SEASON

Mary Kay Fink

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

BASS CLARINET Amy Zoloto Myrna and James Spira Chair

BASSOONS John Clouser* Louise Harkness Ingalls Chair Gareth Thomas Catherine Van Handel2 Sandra L. Haslinger Chair

CONTRABASSOON vacant

HORNS

TROMBONES

PERCUSSION

CONDUCTORS

Nathaniel Silberschlag* George Szell Memorial Chair

Brian Wendel* Gilbert W. and Louise I. Humphrey Chair

Marc Damoulakis* Margaret Allen Ireland Chair

Christoph von Dohnányi †

Thomas Sherwood

Taichi Fukumura

Tanner Tanyeri

ASSISTANT CONDUCTOR

Jesse McCormick-Stepp Robert B. Benyo Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Hans Clebsch

Shachar Israel2

Richard King

BASS TROMBONE

KEYBOARD INSTRUMENTS

Michael Mayhew§ Knight Foundation Chair

Meghan Guegold Hege^ Gay Cull Addicott and Robert R. Cull Chair

TRUMPETS Michael Sachs* Robert and Eunice Podis Weiskopf Chair Jack Sutte Lyle Steelman2^ James P. and Dolores D. Storer Chair Michael Miller

PHOTO BY YEVHEN GULENKO

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

Luke Sieve

EUPHONIUM & BASS TRUMPET Richard Stout

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

TIMPANI Peter Nichols2 Mr. and Mrs. Richard K. Smucker Chair

Peter Nichols

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

MUSIC DIRECTOR LAUREATE

Elizabeth Ring and William Gwinn Mather Chair

James Feddeck PRINCIPAL CONDUCTOR & MUSICAL ADVISOR OF THE CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Sidney and Doris Dworkin Chair

LIBRARIANS

Lisa Wong

Michael Ferraguto* Joe and Marlene Toot Chair

DIRECTOR OF CHORUSES

Donald Miller

2

Gabrielle Petek

Frances P. and Chester C. Bolton Chair * Principal § Associate Principal

ENDOWED CHAIRS CURRENTLY UNOCCUPIED Jean Wall Bennett Chair Sunshine Chair

1

First Assistant Principal

2 Assistant Principal

^ Alum of The Cleveland

Orchestra Youth Orchestra

† In Memoriam

Otto G. and Corinne T. Voss Chair Rudolf Serkin Chair

Michael Miller 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.

clevelandorchestra.com

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NOV 9

The Cleveland Orchestra Youth & Children’s Choruses Fall Concert APR 4

The Cleveland Orchestra Youth Chorus Honor Choir Concert APR 16

The Cleveland Orchestra Children’s Choruses Spring Concert

Visit clevelandorchestra.com for tickets and more information.

THE CLEV EL AN D ORC HESTR A

PHOTO BY YEVHEN GULENKO

THE CLEVELAND ORCHESTRA , under the

leadership of Franz Welser-Möst since 2002, is widely recognized as one of the world’s leading ensembles. Praised by The New York Times as “America’s Finest,” the Orchestra is renowned for its virtuosity, elegance of sound, and chamber-like musical flexibility. In his 25th and final season as Music Director, Welser-Möst concludes a transformative partnership that has been marked by exceptional artistic ambition, growing international recognition, and deep community connection. During his tenure, the Orchestra has achieved major institutional milestones, including groundbreaking residencies at the Musikverein in Vienna — the first by an American orchestra — and at the Adrienne Arsht Center in Miami. In 2023, The Cleveland Orchestra launched the annual Jack, Joseph and Morton Mandel Opera & Humanities Festival, presenting acclaimed opera productions alongside art exhibits, community events, and civic conversations. Through concerts, broadcasts, recordings, tours, and digital initiatives, The Cleveland Orchestra reaches an ever-growing audience around the world. Its in-house recording label and streaming platform, Adella.live, capture and share performances from the Welser-Möst era while introducing new generations of fans to the Orchestra’s artistry. Founded by Adella Prentiss Hughes, The Cleveland Orchestra gave its @ClevelandOrchestra

clevelandorchestra.com

@cleveorch

inaugural concert in December 1918. Over more than a century, it has grown into a treasured community institution, enriching lives through music, education, and a deep commitment to Northeast Ohio. Today, more than 400,000 people attend Cleveland Orchestra concerts each year. From its year-round home at Severance Music Center to its summer season at Blossom Music Center in Cuyahoga Valley National Park, the Orchestra continues to serve audiences across the region. Seven Music Directors — Nikolai Sokoloff, Artur Rodziński, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst — have shaped the ensemble’s distinctive musical identity and celebrated “Cleveland sound.” Welser-Möst’s tenure as the longestserving Music Director in Cleveland Orchestra history stands as a defining chapter in that evolution. @CleveOrchestra

@clevelandorchestra

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INVEST ENGAGE INNOVATE LEAD Learn more about our grant programs and resources, find your next arts experience, or connect: OAC.OHIO.GOV.

Program Spotlight: POETRY OUT LOUD Ohio Poetry Out Loud State Champion Hiba Loukssi of Xenia High School (Greene County) reciting a poem at the 2023 state finals. She competed at the national finals in Washington, D.C. Image credit: Terry Gilliam

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

A

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Ho

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AC-

f u n d e d sin ce 20 0 8

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TCO SPOTLIG HT

A CONVERSATION WITH

Frank Rosenwein ON NOVEMBER 5, 7 & 8 , the oboe gets a chance to shine when Principal

Oboe Frank Rosenwein (Edith S. Taplin Chair) steps into the spotlight for the world premiere of Distant Lands, a concerto for oboe and strings by the eminent American composer Adolphus Hailstork. We caught up with Frank to hear his thoughts about the genesis of the work and his process of getting it ready for its debut. TCO: How did this concerto commis-

sion come about? Did the composer approach you, or vice versa?

PHOTO BY YEVHEN GULENKO

FRANK ROSENWEIN: I’m always interested in seeing where we can go with oboe concertos. Too often, new concertos are “one and done,” so I was really looking for something that would have legs and live on. My idea was to approach a composer who I thought of as the inheritor of the lyricism of Copland or Barber, and Adolphus Hailstork came to mind as someone who fits into that lineage. I met with Hailstork over Zoom and we had a wonderful conversation. He is a composer who I think exemplifies the idea of putting new wine into old bottles. For example, he uses Baroque rhythms throughout, which harken back to an older, more nostalgic time. So, I really think oboists are going to want to play this concerto and audiences are going to want to hear it. Principal Oboe Frank Rosenwein looks over a portion of Adolphus Hailstork’s Distant Lands in preparation for its world premiere in November.

clevelandorchestra.com

What should people listen for musically? The first movement is dominated by what we call the siciliano rhythm — which is a dotted eighth note followed by a 16th note followed by an eighth note — and usually set in either a 6/8 or a 12/8 time signature. We hear this rhythm a lot in older music, particularly of the Baroque era, but Stravinsky also used it in Pulcinella. There’s a calming, kind of rolling quality to that rhythm that feels nostalgic. I really think oboists are going to want to play this concerto and audiences are going to want to hear it. Hailstork described the second movement as a lullaby, perhaps sung by a mother to her child. The strings play an ostinato rhythm throughout, while the oboe floats on top. The third movement might sound vaguely “Middle Eastern” because there are a lot of augmented seconds and flourishes that could evoke music from that part of the world. | 51

TCO SPOTLI G HT

Is preparing a brand-new piece different from a standard concerto? The main thing about playing a piece you don’t know is trying to figure out how it will feel when you get on stage with the orchestra. You generally don’t get that much time to rehearse, so you have to ensure you’re as prepared as possible. I have a piano score, but I have to imagine, “What if this were strings instead of a piano? What would that sound like?” And I’m also trying to reconcile the fact that there’s going to be a conductor beating time and cueing tempo and dynamic changes. So, it’s all about imagining yourself in performance. 52 | 2026–27 SEASON

Rosenwein carefully prepares an oboe reed at his desk. Each reed he makes has to balance both efficiency and control.

Will you practice at home in your performance clothes? I will not be wearing my tuxedo at home with my concert shoes! That part I can imagine, but I will definitely be practicing in the hall at the front of the stage since that is one of the things that’s unusual about a concerto. I’m very comfortable being in the middle of the orchestra and this upends my usual location, so getting used to the idea of being the sole focus is something that I want to practice. I’ll also probably play it through for my students, which I usually like to do. Overall, it’s really exciting; I feel like the captain on a maiden voyage! Scan the QR code to read an extended version of this conversation on the Orchestra’s Content Hub.

PHOTO BY YEVHEN GULENKO

Overall, I think Hailstork took the notion and sound of the oboe and created a kind of imagined fairy tale. The concerto is called Distant Lands, so it captures the beauty and nostalgia of faraway places that the oboe might represent.

Severance in R E C I TA L JAN 26 | TUE 7:30PM STEPHEN HOUGH

MAR 16 | TUE 7:30PM GARRICK OHLSSON

APR 20 | TUE 7:30PM NOBUYUKI TSUJII

Works by Schubert, Brahms, Schoenberg, Stockhausen, Beethoven, R. Schumann, and Sherman

Works by Chopin

Works by Grieg, Debussy, Ravel, and Kapustin

Tickets and more information at clevelandorchestra.com

I N THE N EWS

PHOTO BY YEVHEN GULENKO

New Digital Season on Adella THE 2026–27 DIGITAL SEASON on Adella, The Cleveland Orchestra’s digital home, brings audiences an exciting array of performances broadcast live from Severance Music Center and available for streaming afterward. It also features six new Adella Premieres, which pair a recent concert recording with exclusive behind-the-scenes features and conversations with Orchestra musicians and guest artists. This season, the Live from Severance series includes Brahms’s Ein deutsches Requiem with Petr Popelka, preceded by a world-premiere commission from Adolphus Hailstork; Richard Strauss’s Ein Heldenleben with Santtu-Matias Rouvali and Concertmaster Joel Link; and Beethoven’s Missa solemnis with Franz Welser-Möst, marking the 200th anniversary of the composer’s death. The live broadcasts continue with the annual Martin Luther King, Jr. Celebration Concert; an all-Tchaikovsky program with Kazuki Yamada and pianist Beatrice Rana; and the seasonclosing concert The Last Waltz, celebrating Welser-Möst’s extraordinary 25-year tenure and featuring a world premiere by Stephan Koncz.

Adella Premieres throughout the season include Dalia Stasevska conducting Dvořák’s “New World” Symphony and Revueltas’s La Noche de los Mayas, accompanied by a special feature filmed in Mexico City; Bernd Richard Deutsch’s magisterial Urworte with The Cleveland Orchestra Chorus and an interview with Director of Choruses Lisa Wong; Elim Chan and violinist Patricia Kopatchinskaja in conversation and in works by Bartók, Scriabin, and Daniel Kidane; Ravel’s Boléro paired with Mozart’s “Jupiter” Symphony; Shostakovich’s Symphony No. 11; and John Adams conducting his own arrangements of tangos by Astor Piazzolla. Subscribers can also continue to enjoy Adella’s growing library of digital concerts, fresh audio recordings, documentaries, educational videos, and archival treasures from the Orchestra’s rich history.

A video control room in the basement of Severance Music Center acts as the “nerve center” for The Cleveland Orchestra’s livestreams on Adella.

Enjoy 50% off your first year by visiting adella.live and using promo code ADELLA50 at checkout.

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I N THE N E WS

New Recording Highlights Deutsch

The Cleveland Orchestra and Music Director Franz Welser-Möst will release a new spatial audio recording that highlights the music of Bernd Richard Deutsch. Recorded live at Severance Music Center in September 2025, the album captures the North American premiere of Deutsch’s hour-long Urworte, a sweeping meditation on Johann Wolfgang von Goethe’s “primal words.” The work explores themes of fate, love, necessity, chance, and hope, featuring the combined forces of The Cleveland Orchestra and The Cleveland Orchestra Chorus. Urworte — a TCO co-commission — continues a significant artistic partnership between The Cleveland Orchestra and 56 | 2026–27 SEASON

Franz Welser-Möst leads the North American premiere of Bernd Richard Deutsch’s Urworte in September 2025.

Deutsch, who served as the Orchestra’s 10th Daniel R. Lewis Composer Fellow from 2018 to 2021. Their collaboration previously produced Okeanos and Intensity, which appears on Signature Welser-Möst, a limited edition, 15-disc vinyl box set celebrating the conductor’s 25th and final season as the Orchestra’s Music Director (see page 6). This recording is produced by seven-time Grammy Award–winning producer Elaine Martone and is the 21st release on The Cleveland Orchestra’s own recording label since its launch in 2020. Visit clevelandorchestra.com/ recordings or scan the QR code to view the Orchestra’s full catalog of digital releases.

PHOTO BY JULIAN DUBÉ

ON NOVEMBER 13 ,

Go Inside the Music WANT TO DELVE

deeper into the music featured on The Cleveland Orchestra’s season? Check out our Inside the Music series! Hosted by a roster of music experts from the Cleveland area, Inside the Music combines crucial historical context, fascinating musical details, and immersive audio examples to offer an exclusive window into each week’s Cleveland Orchestra performances. These preview talks are held in Reinberger Chamber Hall on the street

level of Severance starting one hour before most Cleveland Orchestra concerts. (Talks for Friday Matinees and for concerts involving The Cleveland Orchestra Chorus take place upstairs in the Jack, Joseph and Morton Mandel Concert Hall.) Prefer to learn about the music from the comfort of your own home? A virtual version of these talks meets on Zoom on Mondays at 4 PM during concert weeks. Both series are free and open to the public! Scan the QR code to meet this season’s speakers.

Chef’s Grazing Table A little savory. A little sweet. Plenty to enjoy. Savor delicious flatbreads, charcuterie and artisan cheeses, a rotating selection of chef’s favorites, and tempting desserts. Located on the first floor between Lerner and Smith lobbies

26 – 27 SEAS ON

CALE N DAR FALL

WINTER

NOV 12, 14 & 15 ROYAL ILLUMINATIONS

JAN 14 & 16 BEETHOVEN’S MISSA SOLEMNIS

FEB 18 & 20 HUANG PLAYS BARBER

Franz Welser-Möst, conductor Golda Schultz, soprano Taylor Raven, mezzo-soprano Julian Prégardien, tenor Anthony Schneider, bass The Cleveland Orchestra Chorus

BENT SØRENSEN Evening Land BARBER Violin Concerto NIELSEN Symphony No. 4, “The Inextinguishable”

Jane Glover, conductor Julia Bullock, soprano HANDEL Suites Nos. 2 and 3 from Water Music BRITTEN Les Illuminations STACY GARROP Spectacle of Light HANDEL Music for the Royal Fireworks

BEETHOVEN Missa solemnis

NOV 19–22 ROUVALI CONDUCTS STRAUSS

JAN 15 WELSER-MÖST CONDUCTS STRAUSS

Santtu-Matias Rouvali, conductor Steven Banks, saxophone

Franz Welser-Möst, conductor

BILLY CHILDS Diaspora: Concerto for Saxophone* R . STRAUSS Ein Heldenleben

R . STRAUSS Introduction and Finale from Daphne R . STRAUSS Metamorphosen R . STRAUSS Symphonia domestica

NOV 27–29 TCHAIKOVSKY’S SWAN LAKE

FEB 4–7 HOLST’S THE PLANETS

Elim Chan, conductor Veronika Eberle, violin

Thomas Adès, conductor The Cleveland Orchestra Chorus

GUBAIDULINA Fairytale Poem BRUCH Violin Concerto No. 1 TCHAIKOVSKY Suite from Swan Lake

THOMAS ADÈS Inferno Suite FRANCISCO COLL Lilith HOLST The Planets

DEC 3–5 HADELICH PLAYS BARTÓK Alan Gilbert, conductor Augustin Hadelich, violin DALIT WARSHAW Responses BARTÓK Violin Concerto No. 2 DEBUSSY Images

Fabio Luisi, conductor Paul Huang, violin

FEB 25–27 CHO PLAYS CHOPIN Santtu-Matias Rouvali, conductor Seong-Jin Cho, piano CHOPIN Piano Concerto No. 1 SHOSTAKOVICH Symphony No. 15

MAR 4–7 RACHMANINOFF’S RHAPSODY Semyon Bychkov, conductor Alexandre Kantorow, piano BRITTEN The Young Person’s Guide to the Orchestra RACHMANINOFF Rhapsody on a Theme of Paganini ELGAR Enigma Variations

FEB 11–14 ALL TCHAIKOVSKY Kazuki Yamada, conductor Beatrice Rana, piano TCHAIKOVSKY Piano Concerto No. 1 TCHAIKOVSKY Symphony No. 6, “Pathétique”

clevelandorchestra.com 58 | 2026–27 SEASON

SPRING APR 15, 17 & 18 LIM PLAYS RACHMANINOFF Esa-Pekka Salonen, conductor Yunchan Lim, piano ESA-PEKKA SALONEN NYX RACHMANINOFF Piano Concerto No. 4 BERLIOZ Suite from Roméo et Juliette

APR 22–24 ADAMS & TAO John Adams, conductor Conrad Tao, piano WEILL Suite from The Threepenny Opera COPLAND Piano Concerto HARRIS Symphony No. 3* JOHN ADAMS Slonimsky’s Earbox

APR 29, MAY 1 & 2 MAHLER’S NINTH Franz Welser-Möst, conductor MAHLER Symphony No. 9

* Not performed on the Friday matinee concert

MAY 6 & 7 STRAVINSKY & SIBELIUS Franz Welser-Möst, conductor STRAVINSKY Orpheus SIBELIUS Four Legends from the Kalevala

MAY 27 HAYDN’S CREATION Franz Welser-Möst, conductor Joélle Harvey, soprano Kai Kluge, tenor Ludwig Mittelhammer, baritone The Cleveland Orchestra Chorus HAYDN The Creation

MAY 16, 19 & 22 DIE FRAU OHNE SCHATTEN Franz Welser-Möst, conductor Frederic Wake-Walker, director David Butt Philip, tenor (The Emperor) Sara Jakubiak, soprano (The Empress) Jennifer Johnson Cano, mezzosoprano (The Nurse) Roman Burdenko, baritone (Barak) Ambur Braid, soprano (The Dyer’s Wife) The Cleveland Orchestra Chorus The Cleveland Orchestra Children’s Chorus R . STRAUSS Die Frau ohne Schatten Opera presentation sung in German

MAY 28 STRAUSS’S ALPINE SYMPHONY

MAY 29 THE LAST WALTZ

Franz Welser-Möst, conductor

A spirited concert of Viennese dances and overtures, celebrating Franz Welser-Möst and capping his 25 transformative years as Music Director of The Cleveland Orchestra.

BERND RICHARD DEUTSCH Intensity EASTMAN Symphony No. 2 R . STRAUSS An Alpine Symphony

Franz Welser-Möst, conductor

| 59

To learn more, visit clevelandorchestra.com/give Adella Prentiss Hughes Society Gifts of $1,000,000 & more Mr. & Mrs.* Geoffrey Gund Haslam 3 Foundation Anne H. & Tom H.* Jenkins The Walter and Jean Kalberer Foundation Milton & Tamar Maltz 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 Richard & Christine Kramer Dr.* & Mrs. Anthony T. Lauria Mrs. Norma Lerner Jan R. Lewis Deborah L. Neale Mr. & Mrs. Alfred M. Rankin, Jr. Mr. & Mrs. Albert B. Ratner Jenny & Tim Smucker Richard & Nancy Sneed Anonymous Gifts of $100,000 to $199,999 Mr. Yuval Brisker Rebecca Dunn Joan Alice Ford* Dr. Michael Frank & Patricia A. Snyder* Dr. Hiroyuki & Mrs. Mikiko Fujita Peter & Christina Gold (Miami) Mr. & Mrs. Michael J. Horvitz Dr. & Mrs. Herbert Kloiber (Europe) Dennis & Camille LaBarre Thomas & Jessica Lauria (Miami) Nancy W. McCann Ms. Beth E. Mooney Mrs. Jane B. Nord The Oatey Foundation (Cleveland, Miami) James* & Donna Reid Saul & Mary Sanders (Miami) Jim & Myrna* Spira Ginger Warner Paul & Suzanne Westlake Tony & Diane Wynshaw-Boris Anonymous (3)

60 | 2026–27 SEASON

Lillian Baldwin Society Gifts of $75,000 to $99,999 Mr. & Mrs. Alexander M. Cutler Mr.* & Mrs. Bernard H. Eckstein JoAnn & Robert Glick Michael Hudson in memory of Susan Hudson Elizabeth B. Juliano Mr. & Mrs. Douglas A. Kern Astri Seidenfeld The Seven Five Fund R. Thomas & Meg Harris Stanton Herb & Jody Wainer George Szell Society Gifts of $50,000 to $74,999 Randall & Virginia Barbato Brenda & Marshall B. Brown Mr. & Mrs. Thomas H. Gale Mr.* & Mrs. Robert W. Gillespie Ms. Alexandra Hanna Richard & Michelle Jeschelnig Cynthia Knight Mr. & Mrs. Ben Mathews Mr. & Mrs. Scott C. Mueller William J.* & Katherine T. O’Neill Mr. & Mrs. Benjamin N. Pyne Mrs. Alfred M. Rankin, Sr.* Ilana & Chuck Horowitz Ratner Mark & Shelly Saltzman Donna E. Shalala (Miami) Holly Strawbridge (Miami) Dr. Russell A. Trusso Mr. & Mrs. Franz Welser-Möst Barbara & David Wolfort Elisabeth DeWitt Severance Society Gifts of $25,000 to $49,999 Victor & Abby Alexander Mr. & Mrs. A. Chace Anderson Art of Beauty Company, Inc. Mel Berger & Jane Haylor 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*

|

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.

Meghan & Trent Brown Dr. Robert Brown & Mrs. Janet Gans Brown Douglas M. Bunker J. C. & Helen Rankin Butler Nancy & Tim Callahan Irad & Rebecca Carmi Bill & Jennifer Clawson Ted & Donna Connolly Judith & George W. Diehl Budd & Judy Dworkin Mary Jo Eaton (Miami) Drs. Wolfgang & Gabi Eder (Europe) Richard C. & Lisa Fedorovich David & Robin Gunning Alfredo & Luz Maria Gutierrez (Miami) Sondra & Steve Hardis Iris & Tom Harvie Mrs. Lynn Heisler Amy & Stephen Hoffman David & Nancy Hooker Allan V. Johnson Mr. & Mrs. Joseph P. Keithley Norma Kerlin Jonathan & Tina Kislak (Miami) Eeva & Harri Kulovaara (Miami) Ms. Cathy Lincoln Jon A. & Virginia M. Lindseth, PhD* Mr. & Mrs. Robert W. Malone Mr. Stephen McHale Loretta J. Mester & George J. Mailath Ann Jones Morgan Jennifer & Alexander Ogan The Honorable John Doyle Ong* Peter M. Padegimas, in memory of Beverly A. Padegimas Mr. J. William & Dr. Suzanne* Palmer Catherine & Hyun Park Douglas & Noreen Powers Mr. & Mrs. James A. Ratner James & Marguerite Rigby The Ralph and Luci Schey Foundation Mr. Eric A. Seed & Ms. Ellen Oglesby Kathryn & Duncan Stuart Dr. Elizabeth Swenson Tom & Shirley* Waltermire John & Deborah Warner Anya Weaving & Tom Mihaljevic Meredith & Michael Weil Tony & Christine White Mrs. Jayne M. Zborowsky Anonymous (2)

LISTING AS OF SEPTEMBER 2026

Individual Support

* IN MEMORIAM

THAN K YOU

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Dudley S. Blossom Society Gifts of $15,000 to $24,999 Mr. & Mrs. William Winfield Baker Ms. Viia R. Beechler Mr. & Mrs. Jules Belkin Doug & Barbara* Bletcher Mr. & Mrs. C. Perry Blossom Mr. & Mrs. Charles P. Bolton Dr. Christopher P. Brandt & Dr. Beth Sersig Mr. D. McGregor Brandt, Jr. James Burke Kathleen A. Coleman Mrs. Barbara Cook Mr. & Mrs. Matthew V. Crawford Brian & Susan Dickie Maureen A. Doerner & Geoffrey T. White Henry & Mary* Doll Nancy & Richard* Dotson Peter & Sandy Earl Mr. Brian L. Ewart & Mr. William McHenry Mr. James S. Gascoigne & Ms. Cynthia Prior Richard & Ann Gridley Calvin & Sherry Griffith Gary L. & Cari T. Gross Mr. & Mrs. Harley I. Gross Ms. Marianne Gymer Kathleen E. Hancock Jack Harley & Judy Ernest Ms. Susan K. Hemry Matthew & Elizabeth Horvitz Richard Horvitz & Erica Hartman-Horvitz (Cleveland, Miami) Gerald Hughes Mr. & Mrs. Brinton L. Hyde Sarah Liotta Johnston & Jeff Johnston John D. & Giuliana C. Koch Rob & Laura Kochis S. Ernest & Patricia Kulp Heather Lennox & Douglas Krause Dr. David* & Janice Leshner In honor of Emma Skoff Lincoln Linda Litton Mr. Jeff Litwiller Mr. & Mrs. Alex Machaskee Mr. Daniel Mansoor Alan Markowitz M.D. & Cathy Pollard Mr. Fredrick W. Martin Mr.* & Mrs. Arch J. McCartney John & Rebecca Minnillo Miba AG & Dr. & Mrs. Peter Mitterbauer (Europe) Sally S. & John C. Morley* Randy & Christine Myeroff Rick & Jamie Organ Mr. David A. Osage & Ms. Claudia C. Woods

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Mr. Winthrop Quigley & Ms. Bonnie Crusalis Dr. Isobel Rutherford David M. & Betty Schneider Robert W. Scully (Miami) Dr. & Mrs. James L. Sechler Meredith M. Seikel Hewitt & Paula Shaw Roy Smith F. William & Patricia Steere Mr. & Mrs. Richard P. Stovsky Alan & Barbara Taylor Bruce & Virginia Taylor Philip & Sarah* Taylor Mr. & Mrs. Alfred Umdasch (Europe) 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. James Babcock Dr. James Bates Mr. & Mrs.* Eugene J. Beer Deena & Jeff Bellman Carol Bergman Laura & Jon Bloomberg Dale & Wendy Brott Laurie & Larry Brown Ms. Deborah R. Bryan Catharina Meints Caldwell Dr. & Mrs. William D. Carey Ms. Maria Cashy & Ms. Laura Cashy Mr. & Mrs. Edward A. Chuhna Ellen E.* & Victor J. Cohn Marjorie Dickard Comella Mrs. Anita Cosgrove Mr. & Mrs. Chester F. Crone Mr. & Mrs. Manohar Daga Ronald J. Davis & Cheryl A. Davis Allan* & Connie Dechert Gregory Dobbins Michael Dunn Brian & Renae Durdle Tamara Durn Dr. & Mrs. Robert Ehrlich (Europe) Dr.* & Mrs. Lloyd H. Ellis Jr. Dagmar & Ted Fellowes Bruce* & Nancy Fisher Friends of The Cleveland Orchestra Dr. Edward S. Godleski André & Ginette Gremillet Mr. & Mrs. Michael Gröller (Europe) Candy & Brent Grover Mr. Arthur C. Hall III George Hanley (Miami) Gary Hanson & Barbara Klante

Dr. Robert T. Heath & Dr. Elizabeth L. Buchanan Dr. Fred A. Heupler Ms. Mary Joe Hughes Donald* & Joyce Ignatz Mr. Fredrick Immormino Donna & Robert* Jackson Richard & Jayne Janus Robert & Linda Jenkins Barbara & Michael J. Kaplan Dr. Ronald H. Krasney & Vicki Kennedy* Ms. Elizabeth A. Krew David C. Lamb Michael Lederman & Sharmon Sollitto Dr. Edith Lerner Nancy F. Lerner Judith & Morton Q . Levin Ms. Jane Mattlin Dr. & Mrs. Stephen McClure Drs. Amy & James Merlino Claudia Metz & Thomas Woodworth Mr. Bert & Dr. Marjorie Moyar Brian & Cindy Murphy Patricia Perry Nock William & Alyce Norman Mark & Paula Nylander Mr. & Mrs. John Olejko Dr. Roland S. Philip & Dr. Linda M. Sandhaus Julia & Larry Pollock Beth & Clay Rankin David J. Reimer & Raffaele DiLallo Amy & Ken Rogat Kim Russel & Dirk Brom Dr. & Mrs.* Martin I. Saltzman Richard B. & Cheryl A. Schmitz Ms. Beverly J. Schneider John* & Barbara Schubert Gary Schwartz & Constance Young Kenneth Shafer Mr. John F. Shelley & Ms. Karen P. Fleming Howard & Beth Simon Rev. George Smiga Sandra & Richey* Smith Taras Szmagala & Helen Jarem Brian & Elizabeth Tierney Joe & Marlene Toot Mr. Christopher Towe Rich & Karen Turgeon Mr. & Mrs. Joshua Ungier Dr. Gregory Videtic & Rev. Christopher McCann Karen Walburn Susanne Wamsler & Paul Singer (Europe) Jessica & James Warren Mr. & Mrs.* Fred A. Watkins Greg & Lynn Weekley Anonymous (9)

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62 | 2026–27 SEASON

James & Virginia Meil Dr. Susan M. Merzweiler Mary Ellen Miller Lynn & Mike Miller Drs. Terry E.* & Sara S. Miller Roy Minoff Ms. Nancy C. Morgan Amy & Marc Morgenstern Elizabeth Morris Eudice M. Morse Mr. Raymond M. Murphy Mr. & Mrs. Stephen Myers Andrea Nobil (Miami) Richard & Kathleen Nord Mr. & Mrs. Forrest A. Norman III Courtney & Michael Novak Thury O’Connor Ms. Kathleen Ode Peter & Sue Osenar Mr. Henry Ott-Hansen Chris & Susan Pappas (Miami) John Perko 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 Dr. James & Lynne Rambasek Elizabeth & Robert J. Reid Mickey & Angie Remen Mrs. Vicki Ann Resnick Mrs. Georgianna T. Roberts Lisa Robinson & Robert Hansel Robert* & Margo Roth Ms. Kathy E. Ruekberg Dr. Vernon E. Sackman & Ms. Marguerite Patton* Mr. & Mrs. Lowell Satre Sandra Sauder & Jack Brunner Bob & Ellie Scheuer Sally & Larry Sears John Sedor & Geri Presti Deborah Sesek Katie & Michael* Shames Mr. Philip & Mrs. Michelle Sharp Mr. Michael R. Shaughnessy Elizabeth & Timothy Sheeler Robyn Shifrin Zachary & Shelby Siegal 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 Mr. Marc L. Swartzbaugh Mr. Robert D. Sweet Ms. Lorraine S. Szabo

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Mr. James Graham & Mr. David Dusek Mr. Lou Grasso Nancy Hancock Griffith Nancy* & James Grunzweig Andrea Guerreri (Miami) Mr. Newman T. Halvorson, Jr. Mr.* & Mrs. David P. Handke, Jr. Clark Harvey & Holly Selvaggi Mr. & Mrs. Jonathan Hatch Barbara L. Hawley & David S. Goodman Matthew D. Healy & Richard S. Agnes Anita & William Heller Malcolm & Vivian Henoch Mr. & Mrs. Jerry Herschman Mr. & Mrs. Martin R. Hoke Dr. Keith A. & Mrs. Kathleen M. Hoover James* & Claudia Hower Elisabeth Hugh David & Dianne Hunt Ms. Kimberly R. Irish Rudy Ivancic Mr. David* & Mrs. Cheryl Jerome Karmendot Fund Andrew & Katherine Kartalis Rod Keen & Denise Horstman Joanne Kim & Jim Nash Dr. Shuzo Kobayashi Douglas & Monica Kridler Peter* & Cathy Kuhn Dr. Jeanne Lackamp Mr. & Mrs. Arthur J. Lafave, Jr.* Dr. & Mrs. John R. Lane Kenneth M. Lapine John N.* & Edith K. Lauer Charles & Josephine Robson Leamy* Joan & Young Sei Lee William & Virginia Lennon Mr. & Mrs. Roger J. Lerch in Memory of Carl J. & Winifred J. Lerch Dr. Stephen B. & Mrs. Lillian S. Levine Dr. Alan & Mrs. Joni Lichtin Dr. & Mrs. Jack Lissauer Drs. Todd & Susan Locke Logsdon Family Foundation Joan C. Long Caetano R. Lopes (Miami) Mr. & Mrs. Carlos Lopez-Cantera (Miami) Neil & Susan Luria Peter & Pamela Luria (Miami) Diann & Tom Mann Mr. Ryan T. Marrie Mr. David C. McAlister Mr. & Mrs. Christopher J. McKenna Mr. & Mrs. Sandy McMillan Ms. Nancy L. Meacham Dr. & Mrs. Kevin Meany Dr.* & Mrs. Dale Meers

LISTING AS OF SEPTEMBER 2026

The 1929 Society Gifts of $5,000 to $9,999 Ms. Nancy A. Adams Gabrielle Aryeetey Claudia Bacon Ms. Bonnie M. Baker Robert & Dalia Baker Thomas & Laura Barnard Fred G. & Mary W. Behm Marilyn & Jeffrey Bilsky Dr. & Mrs. Eugene H. Blackstone Barbara Blossom Laurel Blossom Jeff & Elaine Bomberger Whitney Bower (Miami) Elizabeth & Christopher Brauser (Miami) Adam & Vikki Briggs Mr. & Mrs. David* Briggs James & Mary Bright Sandy Brinn Bennett Brown Mrs. Frances Buchholzer Frank & Leslie Buck Mr. Gregory & Mrs. Susan Bulone Kim & Kenneth Burkins Mr. & Mrs. William D. Buss II Michael & Linda Busta Michael & Mary Carpenter (Miami) William & Barbara Carson Victor A. Ceicys MD & Mrs. Kathleen Browning Ceicys Mr. & Mrs. James B. Chaney Reneé & Kerry Chelm Ellen Chesler & Matthew Mallow (Miami) Dr. Gary Chottiner & Anne Poirson Drs. Wuu-Shung & Amy Chuang Drs. Mark Cohen & Miriam Vishny Diane Lynn Collier & Robert J. Gura Dr. Dale & Susan Cowan Mr.* & Mrs. Ralph Daugstrup Pete & Margaret Dobbins Carl Dodge Ms. Mary Lynn Durham Mr. & Mrs. Ronald E. Dziedzicki Regis & Gayle Falinski Michelle Fay Mr. William & Dr. Elizabeth Fesler Mr. & Mrs. Mark Filippell Jan & John Fitts Ms. Nancy Flogge Mr. & Ms. Dale Freygang Brian Gale & Elle Carolan Barbara & Peter* Galvin Joy E. Garapic Anne* & Walter Ginn Daniel & Kathleen Gisser Brenda & David Goldberg Mrs. Florence Goodman Barbara H. Gordon Harry & Joyce Graham

* IN MEMORIAM

THAN K YOU

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Robert & Carol Taller Eca & Richard Taylor Dr. James Taylor & Ms. Susan Slugg Caroline Theus Mr. John R. Thorne & Family Bill & Jacky Thornton Mr. & Mrs. Gary B. Tishkoff Dr. & Mrs. James E. Triner Mr.* & Mrs. Robert N. Trombly Dr. & Mrs. Michael B. Troner (Miami) Steve & Christa Turnbull Dr. & Mrs. Wulf H. Utian Robert & Marti* Vagi Mr. & Mrs. Steven M. Venezia Teresa Galang-Viñas & Joaquin Viñas (Miami) Mr. & Mrs. Les C. Vinney George & Barbara von Mehren Randall E. Wagner Ron Wakser John & Jeanette Walton Tilles-Weidenthal Foundation Mr. & Mrs. Mark Allen Weigand Mr. Peter & Mrs. Laurie Weinberger Paul & Nancy Wellener Dr. Edward L. & Mrs. Suzanne* Westbrook Dr. Paul R. & Catherine Williams Ms. Linda L. Wilmot Bob & Kat Wollyung Mr. Graham Wood Mr. Kal Zucker & Dr. Mary Frances Haerr Anonymous (4) 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 Jack & Darby Ashelman Ronen & Susan Avinir (Miami) Brian Balogh & Kathy Craig Mr. Richard H. Bamberger Ms. Carol Barnak Ms. Kimberley Barton Lucy Battle Kathryn & Gerald Berkshire Margo & Tom Bertin Mr. & Mrs. Charles Bittenbender Zeda W. Blau Marilyn & Lawrence Blaustein Peter Blazunas Ms. Pamela M. Blemaster Blossom Friends of The Cleveland Orchestra Mr. John & Mrs. Robyn Boebinger Dr. & Mrs. Timothy Bohn Mr. & Mrs. Richard H. Bole Mitchell & Caroline Borrow David & Julie Borsani, in memory of Marissa I. Borsani

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Ms. Ellen Botnick Lisa & Ronald Boyko Matthew D. Brocone Mr. & Mrs. Dale R. Brogan Mr. & Mrs. Barrett Brown Mrs. Nancy E. Brown Mr. Felix Brueck & Ms. Ann Kowal Smith William Busta & Joan Tomkins Robert & Beverly Cameron Dr. & Mrs. William E. Cappaert Mrs. Tana N. Carney Dr. Jeffrey Chaitoff & Ms. Margo Vinney Dr. Ronald Chapnick* & Mrs. Sonia Chapnick Gregory & Kathrine Chemnitz Natalie Cipriano Robert & Judy Ciulla Pete Clapham & Anita Stoll Mr. & Mrs. David Clark Jill & Paul Clark Richard J. & Joanne Clark Drs. John* & Mary Clough Ms. NancyBell Coe Christopher Colaluca Jeffrey Cole & Trisha O’Brien (Miami) William & Ruth Coleman Mr. & Mrs. Robert Conrad Jim & Mary Conway Mr. & Mrs. Thomas Cook The Honorable Colleen Conway Cooney & Mr. John Cooney Mr. Ed Covington Jane Cronin John Cunningham Dr. Lucy Ann Dahlberg Karen & Jim Dakin Mrs. Jane Dangler Dr. & Mrs. Thomas M. Daniel Carol Darnall (Miami) Karen & Neil Davies Gary Davis & Jane Cooper Jeffrey Dean and Barbara and Karen Claas Prof. George & Mrs. Rebecca Dent Michael & Amy Diamant Dr. & Mrs. Howard Dickey-White Ms. Marlene Dirksen Mr. & Mrs. David E. Dix Jack & Elaine Drage Mrs. Rhonda Drakulich Mr. & Mrs. Robert Dreshfield Ms. Barbara Dunaway S. Stuart Eilers Peter & Kathryn Eloff Louis* & Patricia Esposito Andy & Leigh Fabens Anne Ferguson & Peter Drench Holly Fluty Dempsey Mr. Jonathon R. Forman Mr. & Mrs. Turney P. Berry

Mr. & Mrs. Larry Frankel Howard Freedman & Rita Montlack Marvin Ross Friedman & Adrienne bon Haes (Miami) Peggy A. Fullmer The Fung Family Timothy & Susan Gall Mr. Stephen H. Gariepy & Ms. Nancy Sin Pamela Garrison (Miami) Mr. William Gaskill & Ms. Kathleen Burke Mr. & Mrs. M. Lee Gibson Edward & Delphenia Gilbert Holly & Fred Glock Dr.* & Mrs. Victor M. Goldberg Enrique Gomez (Miami) Agnes Tartara Goss Mr. Robert Goss Dr. & Mrs. Ronald L. Gould Bob Graf & Mia Zaper 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 John Hannon Dr. Jared Harp Mr. Samuel D. Harris Lilli & Seth* 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 Xavier-Nichols Foundation/ Robert & Karen Hostoffer Phillip Huber Phillip M. Hudson III (Miami) Mrs. Laura Hunsicker Mr.* & Mrs. J. David Hunter Ms. Melanie Ingalls Dr. & Mrs. Paul C. Janicki Helen & Erik Jensen Dylan Jin Mr. Jeremy V. Johnson Eric & Susan Johnson Joela Jones & Richard Weiss Steven Jones Dr. Eric Kaler Mr. David G. Kanzeg Mr. Donald J. Katt & Mrs. Maribeth Filipic-Katt Dr. Richard* & Roberta Katzman

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64 | 2026–27 SEASON

Mr. James S. Simon Dr. Anne & Mr. Jay Singer Harry & Geri Singer Dr. Edward & Mrs. Barbara Sivak G. Michael & Kathy* Mead Skerritt Bruce L. Smith David Kane Smith Mr. Joshua Smith Mr. Eugene Smolik Mrs. Linda C. Smythe Drs. Nancy & Ronald Sobecks Drs. Thomas & Terry Sosnowski SPÄNGLER PRIVATSTIFTUNG Mr. David M. Spencer Mr. Michael Star Edward R. & Jean Geis Stell Foundation Ronald & Lauren Sterbank Janet Stern Nancy Stillwagon & Jon Stein AJ & Nancy Stokes Frederick & Elizabeth Stueber Mr. & Mrs. John* K. Sullivan Nancy & Patrick Sullivan Mike & Wendy Summers Mr. & Mrs. Michael Taipale Rebecca & Jeffrey Talbert Dennis J Taylor Mr. Robert Taylor Ms. Aileen Thong-Dratler Dr. & Mrs. Thomas* A. Timko Ms. Christeen Tuttle Koen van Besien & Ok-Kyong Chaekal Dr. Doug Van Auken & Mr. John Corlett Michael & Jaclyn Vary W. Joseph Vogel Sarah & Jim Vosmik Neha & Sanjay Vyas Mr. & Mrs. Eric Wald Ms. Lois Walters Harriet Warm Margaret & Eric* Wayne Edward & Ellen Weber Mr. Paul Wehrmeister Marilyn Wells Emily Westlake & Robertson Gilliland Mr. Peter White Mr. & Mrs. John W. Wilhelm John & Nancy Woelfl Dale & Cynthia Woodling Ladonna Woods Ms. Jennifer Wynn Rad & Patty Yates Ellen Zegarra Dr. Rosemary Gornik & Dr. William Zelei John & Jane Zuzek Anonymous (12)

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Joan Katz Napoli & August Napoli Dr. Anne & Mr. Peter Neff Karen Nemec Richard & Jolene O’Callaghan Robert & Mary Ann Olive Harvey* & Robin Oppmann Richard* & Elizabeth Osborne Dr. Kata & Mr. Len Pagon George Parras & Mary Spencer Drs. James & Marian Patterson Dr. Lewis E. & Janice B. Patterson David Pavlich & Cherie Arnold Matt Peart Alan & Charlene Perkins Robert S. Perry Mark & Eve Pihl Barbara Pittman Mr. Richard W. Pogue Mr. & Mrs. Frank Porter Patrick J. Holland Drs. Raymond R. Rackley & Carmen M. Fonseca Dr. Robert W. Reynolds Michael & Lydia Ridenour Mr. D. Keith* & Mrs. Margaret B. Robinson Mr. & Mrs. Jay F. Rockman Michael & Jodi Rogoff David & Mitsuko Rosinus (Miami) Dr. & Mrs. Ronald Ross Drs. Edward & Teresa Ruch Mr. & Mrs. Paul L. Rupert Nathan & Marie Rutherford Mr. & Mrs. Peter J. Ryerson Otmar & Rotraud Sackerlotzky Richard & Mary Lou Sanders Scott Savage & Denise Ruthenburg Ms. Patricia E. Say Bryan & Jenna Scafidi Mr. John Schambach Don Schmitt & Jim Harmon Michael Schneidler Mr. Don Schriver & Mrs. Jane Schriver Mr. James Schutte Nicklaus Schwenk Paul Secunde Ms. Kathryn & Mr. Michael Seider Mr. & Mrs. Joseph Selden Dr. Judith Sewell & Mr. Donald Sewell 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 Lynn Shaw Mr. Richard Shirey Jim Simler & Dr. Amy Zhang

LISTING AS OF SEPTEMBER 2026

The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Mr. Thomas Kinsey & Ms. Lynn Slifer Mrs. Judith A. Kirsh Steve & Beth Kish Mr. & Mrs. Stuart F. Kline Mr. Ronald & Mrs. Kimberly Kolz Drs. Jill Korbin & Lawrence Greksa Ursula Korneitchouk Dr. & Mrs. John P. Kristofco Mr. Andrew Kurman & Ms. Sharon Shapiro Mr. & Mrs. David S. Kushner Alfred & Carol Lambo Mr.* & Mrs. Robert J. Landgraf Mr. & Mrs. John J. Lane, Jr. Dr.* & Mrs. Roger H. Langston Mrs. Susan D. LaPine Mr. & Mrs. Richard L. Larrabee Mrs. Sandra S. Laurenson Mr. & Mrs. Michael Lavelle 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. George I. Litman Mary Lohman Virginia Lovejoy Linda* & Saul Ludwig Elsie* & Byron Lutman Dr. Kalle J. Lyytinen Janet A. Mann Herbert L. & Ronda Marcus Dr.* & Mrs. Sanford E. Marovitz Ms. Dorene Marsh Mr. John R. Martin Kevin Martin & Hansa Jacob-Martin Ms. Judith E. Matsko Mark & Barbara Mazzone Bruce & Karen McDiarmid Mr. & Mrs. Thomas B. McGowan Mr. James E. Menger Mrs. Nathaniel C. Merritt-Mervine Dr. Miloslava Mervart & Dr. Terence Kilroy Mr. & Mrs. Gerald A. Messerman Mr. Glenn A. Metzdorf Mr. Stephen P. Metzler Beth M. Mikes Amy Miller & Nikhil Rao Mr. & Mrs. David S. Miller Dr. & Mrs. Leon Miller Mr. Tom Millward Anton & Laura Milo Michael Milo MindCrafted Systems Patti & Hadley Morgenstern-Clarren Mr. & Mrs. Thomas W. Morris Karen & Bernie Murray

* IN MEMORIAM

THAN K YOU

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Thank You, Franz Donations to the Franz Welser-Möst Legacy Fund honor Franz’s lasting impact on The Cleveland Orchestra. This fund sustains the artistic priorities that have defined his tenure — especially his commitment to opera and vocal music — while supporting key initiatives in his final season and beyond. Our sincerest thanks to donors who have ensured Franz’s vision continues to shape the Orchestra’s future on the global stage. To learn more, visit clevelandorchestra.com/gratitude Audrey & Albert Ratner Ms. Cathy Lincoln Mr. & Mrs.* Richard K. Smucker Mary E. & F. Joseph Callahan Foundation Kulas Foundation Jan R. Lewis Alan Markowitz M.D. & Cathy Pollard John P. Murphy Foundation Valerie Dillon & Daniel R. Lewis Paul & Suzanne Westlake Joanne & Blake Avenmarg Mr. & Mrs. Jules Belkin Ms. Alexandra Hanna Mr. Jeff Litwiller Richard & Janet Wile Ms. Maria Cashy & Ms. Laura Cashy Dr. Hiroyuki & Mrs. Mikiko Fujita Ronald J. Davis & Cheryl A. Davis Richard C. & Lisa Fedorovich David & Nancy Hooker Ms. Nancy C. Morgan Ms. Nancy A. Adams S. Ernest & Patricia Kulp Robert S. Perry

Drs. Todd & Susan Locke Joan C. Long John* & Barbara Schubert Mr.* & Mrs. Robert N. Trombly Philip Star & Jane Peterson Linda Cekada Mr. & Mrs. Byron Jackson Mr. John H. Forsgren Ms. Nancy L. Meacham Patricia Biesiadny Samuel & Leigh Ann Kerns Florin Muscutariu Michelle Epps Leo & Beth Hyland Atsuro Negishi B.F. St. Angelo Eugene Colombo Mrs. Eloise A. Coxe Megan Hall & James Janning Gabriel & Roxana Stanescu Mr. Ihor Kowalysko Dr.* & Mrs. Sanford E. Marovitz Heather Millar Mr. & Mrs. Lauren R. Pacini Mr. Darryl Russ Elizabeth Sullivan Mr. Stuart H. Theis

Lorraine Riebel Carrie Goga Dr. Ruth Gurd Nathan Hensley Helen Popritkin Mr. & Mrs.* Russell J. Warren Ms. Marianne Brager Ms. Susan E. Burke Mrs. Barbara Coy Sandra DaMert Susan Halamek Samuel & Eva Horwitz Lauri Stevenson James Braun Patrick Giuffrida Michael LaMalfa Ann M. Cassidy Anonymous

This institution carries a tremendous legacy, thanks to the steadfast support of music lovers like you. It is my great honor to share in that legacy. — Franz Welser-Möst, TCO Music Director

clevelandorchestra.com

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THAN K YOU

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

Gifts of $100,000 to $199,999 Akron Children’s KeyBank Quality Electrodynamics White & Case (Miami) Gifts of $50,000 to $99,999 Dealer Tire LLC FirstEnergy Foundation NOPEC Parker Hannifin Foundation PNC Thompson Hine LLP Gifts of $15,000 to $49,999 Acme Fresh Market Foundation BakerHostetler BlueBridge Buyers Products Company Calfee, Halter & Griswold LLP DLR Group | Westlake Reed Leskosky Frantz Ward LLP Arthur J. Gallagher & Co. The Giant Eagle Foundation Goldman Sachs & Co. LLC Lake Effect Health Miba AG (Europe) Northern Haserot Olympic Steel, Inc. Park-Ohio Holdings RPM International Inc. RSM US LLP Westfield Anonymous

66 | 2026–27 SEASON

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

Gifts of $100,000 to $249,999 Paul M. Angell Family 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 William Randolph Hearst 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 Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Sam J. Frankino Foundation Dawn M. Full Revocable Trust The Gerhard Foundation, Inc. The Helen Wade Greene Charitable Trust The Catherine L. & Edward A. Lozick Foundation The Nord Family Foundation Edwin D. Northrup II Fund The Reinberger Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation The Sisler McFawn Foundation The Veale Foundation The George Garretson Wade Charitable Trust The Thomas H. White Foundation, a KeyBank Trust Anonymous

* IN MEMORIAM

Gifts of $200,000 to $299,999 Jones Day Foundation The J. M. Smucker Co.

Gifts of $250,000 to $499,999 Kulas Foundation John P. Murphy Foundation The Dr. M. Lee Pearce Foundation, Inc. (Miami)

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Gifts of $300,000 & more The Goodyear Tire & Rubber Company Hyster-Yale, Inc. NACCO Industries, Inc.

Gifts of $2,500 to $14,999 Blue Technologies, Inc. BNY Wealth Brothers Printing Company The Cedarwood Companies The Cleveland-Cliffs Foundation Dominion Energy Charitable Foundation Evarts Tremaine GPD Foundation GPD Group Gross Residential Hahn Loeser & Parks LLP Kohrman Jackson & Krantz, LLP Nordson Corporation Foundation Northern Trust Sikich Something’s Popping Ver Ploeg & Marino (Miami) Warby Parker Welty Enterprises Winslow Assets

LISTING AS OF SEPTEMBER 2026

CORPORATE SUPPORT

clevelandorchestra.com/give

Gifts of $2,500 to $14,999 The Ruth and Elmer Babin Foundation The Bernheimer Family Fund of the Cleveland Foundation The Cowles Charitable Trust (Miami) James Deering Danielson Foundation Dorn Family Foundation Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The Hankins Foundation George M. and Pamela S. Humphrey Fund 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 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 M. G. O’Neil Foundation The O’Neill Brothers Foundation Ophthalmology Education Worldwide Paintstone Foundation The Perkins Charitable Foundation Charles E. & Mabel M. Ritchie Memorial Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation Third Federal Foundation Uvas Foundation The Welty Family Foundation The Edward and Ruth Wilkof Foundation The Wulwiger Foundation Anonymous

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The Cleveland Orchestra Board of Trustees O FFI CERS Richard J. Kramer Chair David J. Hooker Secretary Victor Alexander Treasurer André Gremillet President & CEO, The Richard K. Smucker Chair Richard K. Smucker Immediate Past Chair Richard J. Bogomolny Chair Emeritus Dennis W. LaBarre Chair Emeritus Norma Lerner Honorary Chair RESI DE N T TRUSTEES Victor Alexander Robin Dunn Blossom Yuval Brisker Helen Rankin Butler Nancy Slocum Callahan Irad Carmi Bill Clawson Matthew V. Crawford Lisa Fedorovich 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 Scott C. Mueller Katherine T. O’Neill Hyun Park Alfred M. Rankin, Jr. Zoya Reyzis

Richard K. Smucker James C. Spira R. Thomas Stanton Richard Stovsky Russell A. Trusso Robert Walker Daniel P. Walsh Thomas A. Waltermire Jes Warren Jeffery J. Weaver Anya Weaving Meredith Smith Weil Paul E. Westlake Jr. David A. Wolfort Anthony Wynshaw-Boris N ATI ON AL TRUSTEES Virginia Nord Barbato (NY) Mary Jo Eaton (FL) Christina A. Gold (FL) Michael J. Horvitz (FL) Thomas E Lauria (FL) Loretta Mester (PA) Benjamin N. Pyne (NY) Geraldine B. Warner (OH) Tony White (OH) I N TERN ATIO N AL TRUSTEES Wolfgang C. Berndt (Austria) Herbert Kloiber (Germany) E X-O FFI C IO TRUSTEES André Gremillet Todd Diacon Denise Horstman Sarah Hutchins Eric Kaler Beverly J. Schneider H O N OR ARY TRUSTEES FO R LIFE Richard J. Bogomolny Charles P. Bolton Robert D. Conrad Alexander M. Cutler Richard C. Gridley Norma Lerner Alex Machaskee Robert P. Madison Milton S. Maltz Beth E. Mooney Audrey Gilbert Ratner Charles A. Ratner Hewitt B. Shaw Luci Schey Spring

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YOU R V IS IT LATE SEATING 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.

CELL PHONES, WATCHES & OTHER DEVICES To ensure a quiet and respectful listening environment, please silence all electronic devices.

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

HEARING AIDS & OTHER HEALTH-ASSISTIVE DEVICES 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.

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

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

THE CLEVELAND ORCHESTRA APP 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

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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 (ages 3 to 6) and Family Concerts (ages 7 and older).

FOOD & MERCHANDISE Beverages and snacks are available at bars throughout the building and in the Lounge at Severance. Only bottled water is permitted in the hall. For Cleveland Orchestra apparel, recordings, and gift items, visit the Welcome Center.

TELL US ABOUT YOUR EXPERIENCE We are so glad you joined us! Want to share about your time at Severance? Send your feedback to cx@clevelandorchestra.com. Hearing directly from you will help us create the best experience possible.

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

The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio. The Cleveland Orchestra is proud to have its home, Severance Music Center, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

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©2026 The Cleveland Orchestra and the Musical Arts Association

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

Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. EDI TORI AL

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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.

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