CSO POPS Fanfare Cincinnati - Apr/May 2024

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Welcome

WE BELIEVE MUSIC LIVES WITHIN US ALL

regardless of who we are or where we come from. We believe that music is a pathway to igniting our passions, discovering what moves us, deepening our curiosity and connecting us to our world and to each other.

DIVERSITY, EQUITY AND INCLUSION

The Cincinnati Symphony Orchestra and Cincinnati Pops Orchestra’s commitment to diversity, equity and inclusion is catalyzed by systemic injustice and inequality perpetuated by individuals and institutions. Our mission is to seek and share inspiration, and at its essence, the CSO exists to serve our community. Our entire community. Reflecting our community and the world around at every level—on stage, behind-thescenes, and in neighborhoods throughout the region—is essential to the CSO’s present and future and makes us a strong ensemble and institution.

LAND ACKNOWLEDGEMENT

The Cincinnati Symphony Orchestra and Cincinnati Pops acknowledges that Cincinnati Music Hall occupies land that has been the traditional land of the Hopewell, Adena, Myaamia (Miami), Shawandasse Tula (Shawanwaki/Shawnee), and Wahzhazhe Manzhan (Osage) peoples, who have continuously lived upon this land since time immemorial. We acknowledge that this land was unceded and stolen via methods of genocide and ethnic cleansing by colonizers.

We honor past, present and future Indigenous peoples.

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Part V, the last installment of our seasonlong focus on Louis Langrée and his CSO tenure, delves into the meaning behind Langrée’s programmatic choices for his final concerts and the message he hopes the music brings to our audience (plus a listing of his premieres, commissions and recordings), pp. 6–13. Louis’ final concerts as Music Director are May 10–12.

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Series “Spotlight on Winds and

| Apr. 26–27: CSO Dvořák Symphony No. 8 | Apr. 28: CSYO Concert Orchestra (2 pm) and Philharmonic Orchestra (7 pm)| May 3–4: CSO Beethoven 7 & Dessner Premieres | May 10–12: CSO

ON THE COVER: CSO Music Director Louis Langrée.

Top: Langrée conducting Leonard Bernstein’s Symphonic Suite from On the Waterfront(Credit: JP Leong). Middle: Langrée conducting the CSO during Lumenocity 2013 (Credit: Mark Lyons).

Bottom: Langrée conducts the CSO at the 2017 Open House for the newly renovated Music Hall (Credit: Mark Lyons)

“Each year, we strive to tell new and different stories, getting into the glorious details and nuanced connections that make the Black experience so meaningful to everyone,” says JMR of Classical Roots concerts With special guest producer/rapper Hi-Tek, the Classical Roots Community Choir and other artists with Cincinnati connections, this year’s concert offers a convergence of music and words—poetry, gospel, hip-hop, and orchestral and choral works, pp. 16–18.

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Sheku Kanneh-Mason, newly named the 2024 MAC Music Innovator, debuts with the CSO, along with rising young conductor Katharina Wincor. They share their thoughts on the program they’ll present, including Kanneh-Mason’s performance of Shostakovich’s Cello Concerto No. 1, pp. 20–21.

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Directors

Dorie Akers

Heather Apple

Michael P. Bergan

Evin Blomberg

Kate C. Brown

Ralph P. Brown, DVM

Trish Bryan*

Otto M. Budig, Jr.*

Andria Carter

Andrea Costa

Adrian Cunningham

Gabe Davis

Dr. Maria Espinola

Mrs. Charles Fleischmann III*

Lawrence Hamby

Delores Hargrove-Young

Francie S. Hiltz*

Joseph W. Hirschhorn*

Lisa Diane Kelly

Edna Keown

Florence Koetters

Jonathan Kregor

Peter E. Landgren

John Lanni

Shannon Lawson

Spencer Liles*

Will Lindner

Holly Mazzocca

James P. Minutolo

Laura Mitchell

Lisa Lennon Norman

Bradford E. Phillips, III

Aik Khai Pung

James B. Reynolds*

Jack Rouse*

Lisa M. Sampson

Patrick Schleker

Valarie Sheppard

Stephanie A. Smith

Albert Smitherman

David R. Valz

Randolph L. Wadsworth, Jr.*

*Director Emeritus

BOARD OF DIRECTORS DIVERSITY, EQUITY & INCLUSION (DE&I) COMMITTEE, COMMUNITY ADVISORY COUNCIL and MULTICULTURAL AWARENESS COUNCIL

In May 2020, the CSO created a 10-point DEI Action Plan to prioritize the Orchestra’s work to better represent and serve the entirety of the Cincinnati community. Action items included the continued amplification of BIPOC artists on stage and in education programs; a review of hiring and compensation practices; organization-wide implicit bias training; increased mentorship opportunities; and the creation of a standing CSO Community Advisory Council (CAC) to strengthen ties to the community. We thank our many partners on the CAC and on our standing DE&I committee who are helping us with this important work.

CSO Board of Directors

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Charla B. Weiss, Lead

Heather Apple

Ralph Brown

Andria Carter (MAC)

Adrian Cunningham

Maria Espinola

Delores Hargrove-Young

Lisa Kelly

David Kirk*

Gerron McKnight

Lisa Lennon Norman

Jack Rouse

Lisa Sampson

Stephanie Smith

*Community Volunteer

Primary Staff Liaison: Harold Brown

Other Staff: Kyle Wynk-Sivashankar

Community Advisory Council

Desiré Bennett, Design Impact

Daniel Betts, Cincinnati Recreation Commission

Jackie Taggart Boyd, Cincinnati Convention and Visitors Bureau/CincyUSA

Alexis Kidd, Seven Hills Neighborhood Houses

Candra Reeves, Urban League of Greater Southwestern Ohio

John P. Scott, Community Engagement

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Staff: Key Crooms

Multicultural Awareness Council

Holly Bates

Susan Carlson

Andria Carter

Piper Davis

Kori Hill

Alverna Jenkins

Beverley Lamb

Kick Lee

Quiera Levy-Smith

RaeNosa Onwumelu

Yemi Oyediran

Aurelia “Candie” Simmons

Nakia Smith

Daphney Thomas

Staff: Key Crooms

Dear Friends of Music,

We’re at a very special moment in the history of the CSO, where we celebrate our Music Director Louis Langrée as he concludes his extraordinary 11-year tenure with us and assumes the role of Music Director Laureate.

We’re at a very special moment in the history of the CSO, where we celebrate our Music Director Louis Langrée as he concludes his extraordinary 11-year tenure with us and assumes the role of Music Director Laureate.

Since taking the helm as the 13th Music Director in 2013, Louis has championed bold programming and initiatives that have activated the commissioning of new music and brought new experiences, community-wide participation opportunities and global attention. He has commissioned a total of 65 new works during his tenure—more than any other Music Director in the Orchestra’s history—and conducted 31 premieres, expanding the extensive commissioning and premiering legacy of the CSO. He has led the Orchestra on successful European and Asian tours, as well as an appearance at Lincoln Center as part of the Great Performers series, and garnered two Grammy Award nominations for Best Orchestral Performance. He has presided over the Orchestra’s move from Music Hall during its major renovation, and, during the Covid-19 pandemic, catalyzed the Orchestra’s return to the stage in the fall of 2020 with a series of digitally streamed concerts that have garnered more than two million views to date.

Perhaps the most enduring of Louis’ achievements is within the Orchestra itself. During his tenure, Louis has appointed more than 40% of our Orchestra—an astounding 35 musicians, many of them in key leadership roles—which will undoubtedly underscore the sound of the ensemble for decades to come.

His achievements with the CSO alone are cause for a big celebration, but we also want to take a moment to celebrate Louis, his passion for creating and sharing music with as many people as possible, his thoughtful and humble way of living life, and the transformative impact he has had on our Orchestra and our community. This Orchestra—and the entire community of people who help run it—is forever changed by Louis. Therefore, we plan to share our deep gratitude and appreciation for Louis in the best way we know how—through music.

In addition to concerts with Louis spanning the final weeks of the season— Hadelich & Holland on April 20 & 21, Beethoven 7 & Dessner Premieres on May 3 & 4, CSO Proof: Wires on May 3, and the aptly named Louis’ Grand Finale May 10–12—we are pleased to announce our latest Fanfare Cincinnati release called American Dreams, a collection of American music that speaks to CSO history and celebrates excellent music-making with Louis. The album will be available across all streaming platforms beginning May 3, and a limited run of vinyl will be available for in-person purchases during the May CSO concerts.

We also share more about Louis and our Orchestra in the stories within Fanfare Magazine. Ken Smith shares his final story in our Louis Langrée series. This installment delves into the meaning behind Langrée’s programmatic choices for his final concerts and the message he hopes the music brings to our audience. Hannah Edgar writes about our 2024 MAC Music Innovator Sheku Kanneh-Mason and what the residency entails, as well as his CSO debut. Dr. A. Kori Hill writes about this year’s Classical Roots program, highlighting Black voices in poetry, verse, rhyme and reason. Kit Gladieux talks with Associate Principal Trumpet Douglas Lindsay and cellist Theodore Nelson ahead of their retirements. And as we wrap up our season at Music Hall, we’re pleased to announce the dates and locations for this summer’s Brady Block Parties, a series of free community events anchored by outdoor CSO concerts in neighborhoods across the region.

Our mission has been, and continues to be, service to the community through music. It is through music that we seek and share inspiration, and it is through music that we make the most meaningful impact. Thank you for joining us. We are heartened by your attendance and ongoing support of our Orchestra, and we look forward to seeing you again soon.

Jonathan Martin

©Roger Mastroianni

Louis’ Grand Finale

by KEN SMITH

Photo: Claudia Hershner

Like anyone getting ready for a grand exit, Louis Langrée’s final weeks as Music Director of the Cincinnati Symphony Orchestra are filled with fond recollections and moments of looking ahead.

Langrée and the Orchestra have planned a final program to highlight a few fond recollections: Dukas’ The Sorcerer’s Apprentice, which the CSO performed with Langrée on tour in Hong Kong in 2017, and the second suite from Ravel’s ballet Daphnis et Chloé, which had been included in the CSO’s all-French program that reopened Music Hall in 2018, after its extensive renovation.

“Musically, I think this is actually a perfect condensation of what we’ve done together in Cincinnati,” he explains. “We’re performing a great ballet of the early 20th century and also the Dukas tone poem, which might be famous because of Fantasia but really comes from a poem by Goethe. Musically, however, its dimensions are much bigger. Just as Strauss’ Alpine Symphony is a transcendental journey and not some touristic view of the mountains, The Sorcerer’s Apprentice is more than Mickey Mouse with a broom. It’s one of the greatest orchestral

pieces ever written, a shimmering lava of sound that perfectly showcases our musicians both individually and collectively.”

Nothing looks ahead quite like new music, and on that front Langrée also looks back fondly at his years in Cincinnati, having conducted almost half of the 65 pieces commissioned by the CSO during his tenure. “I’m very proud of those achievements, whether they were world premieres, U.S. premieres or simply works new to Cincinnati,” he says. “I had many guides here who opened up wonderful worlds for me.”

One such guide was Bryce Dessner, a Cincinnati-born composer and member of the Grammy-winning rock band The National, who— perhaps not incidentally—now lives in France, dividing his time between Paris and the Basque Country. “I first met him in Brooklyn,” Langrée

Louis Langrée leads the Orchestra, with duo-pianists Katia and Marielle Labèque, in the U.S. premiere of Bryce Dessner’s Concerto for Two Pianos, September 2019. Credit: Lee Snow

smiles with a gleam of recognition. “Now he lives near where Ravel was born.”

That initial meeting proved quite fruitful for both sides. Since founding MusicNOW in 2006, Dessner had quickly made his recurring event a noted showcase for contemporary musicians from around the world. What MusicNOW soon gained, for several years, was a resident symphony orchestra.

In 2014, the CSO’s first MusicNOW appearance featured Dessner’s Murder Ballades with Eighth Blackbird and St. Carolyn by the Sea, a concerto for two electric guitars with Dessner performing with his twin brother Aaron, along with Scriabin’s The Poem of Ecstasy and the world premiere of Nico Muhly’s Pleasure Ground with baritone Nathan Wyatt. The next night featured both Penderecki’s Polymorphia and Johnny Greenwood’s 48 Responses to Polymorphia, as well as Prokofiev’s Scythian Suite and the world premiere of David Lang’s mountain

“Looking back now, I can’t imagine how we did it,” Langrée says. “How did we rehearse

LOUIS LANGRÉE,

At left, Louis Langrée leads the CSO and the band The National in a 2015 MusicNOW festival performance. Below: Aaron and Bryce Dessner, electric guitars, take center stage for Bryce’s St. Carolyn by the Sea, in the Orchestra’s first MusicNOW concerts (2014), Louis Langrée conducting. Credit: Mark Lyons

all these new pieces in a single week? The joy, the energy of mixing those various styles was simply fantastic. And in the audience, you had people who came only to hear the Dessner brothers and discovered Scriabin, and those who came only for Prokofiev and found David Lang.”

Dessner’s new Piano Concerto, which receives its U.S. premiere on May 2 and 3 with soloist Alice Sara Ott, is a natural— perhaps inevitable—followup to his Concerto for Two Pianos (which can be heard on May 3 as part of the CSO Proof concert, Wires), whose 2019 U.S. premiere Langrée also conducted with the CSO and soloists

new concerto he wrote specifically for Alice Sara Ott. This is when musicians become part of the creative process. They are not merely playing a piece, but have become the composer’s voice.”

“The joy, the energy of mixing those various styles was simply fantastic. And in the audience, you had people who came only to hear the Dessner brothers and discovered Scriabin, and those who came only for Prokofiev and found David Lang.”

—Louis Langrée

Katia and Marielle Labèque. “Bryce’s new piece, with its obsessive rhythm, is very much in the same musical language as the piece he wrote for the Labèque sisters,” he says.

Much of that connection, Langrée posits, comes from the composer writing for specific musicians he knows well. “Bryce is very close friends with Katia and Marielle, which is also why he now has a house in the country near them,” he says. “His

Perhaps even more directly, soprano Latonia Moore— Anthony Davis’ own choice as soloist—will also become his surrogate voice. And much like Dessner’s new concerto, which caps his relationship with the CSO, the world premiere of Davis’ song cycle evolved from a fruitful association with Langrée and the Orchestra.

Langrée first discovered Davis’ clarinet concerto You Have the Right to Remain Silent during the Covid pandemic. In terms of a Davis revival, the CSO’s virtual performance was arguably second only to the composer’s 1986 opera X: The Life and Times of Malcolm X (originally premiered at New York City Opera) finally making it to the Metropolitan Opera in 2023.

“It was during the pandemic that my assistant Tyler Secor brought me Anthony’s score and told me I should read the piece,” Langrée recalls. “In

Louis Langrée leads members of the Cincinnati Symphony Orchestra in a rehearsal for the virtual performance of Anthony Davis’ You Have the Right to Remain Silent, with clarinetist Anthony McGill.

the beginning I thought, well, it was Covid. We were all silent. I found it very philosophical: Is music a form of silence? Can silence be music? And Tyler said, ‘No, it’s not about that at all.’”

Rather, Davis’ 2010 piece recounts his experience in the 1970s being stopped by the police and held at gunpoint for 45 minutes because he matched the description of a robbery suspect. Davis immediately had a solo instrument and scenario in mind: “The idea is that the orchestra is interrogating the clarinet,” he explains. The piece later became the basis for the composer’s 2020 Pulitzer Prize-winning opera The Central Park Five

“I thought, this piece is so strong, so powerful. Why isn’t it performed more?” Langrée recalls. “I’m very proud that the New York Philharmonic has now programmed it, as has the Boston Symphony and several other orchestras. Through our presentation, the piece was given a second life.”

Much of the power in the CSO’s performance, Langrée claims, was due to the presence of former CSO musician Anthony McGill, now principal clarinetist of the New York Philharmonic. (“Anthony was still friends with the musicians, not a star soloist coming down from Olympus,”

he adds.) But Langrée gives even more credit to having the composer on hand during rehearsals.

“On a human level, Anthony is very generous and patient when something doesn’t work,” he says. “He’s also very pragmatic. Being a performer himself, he gives very simple and essential advice that brings you into his world with very few words. The Orchestra could respond to him both as a composer and jazz player. Let’s not forget that the CSO recorded an LP with Duke Ellington. One specific trait of this Orchestra is that they speak many musical languages fluently, without accent.”

CSO musicians and audiences look ahead with yet another new piece, with Langrée conducting former CSO resident composer Jonathan Bailey Holland’s Assemble on April 20 and 21, a week after he leads the piece’s world premiere with the Los Angeles Philharmonic. “Assemble is literally about assembling instrumental groups in the orchestra,” Langrée says, “starting with the percussion.”

Filling the program, though, is more unfinished business. After Schoenberg’s lush, post-Romantic Transfigured Night, the performance draws to a

LOUIS LANGRÉE, Part V

Louis Langrée with composer Jennifer Higdon (left) and members of Eighth Blackbird, after their performance of Higdon’s On a Wire.

close with Augustin Hadelich performing Brahms’ Violin Concerto. “Augustin has always been an ideal partner,” Langrée claims, “because he considers himself a colleague of the orchestra.”

Hadelich’s first collaboration with Langrée and the CSO was Berg’s Violin Concerto in 2016, followed by Barber’s Violin Concerto and Ravel’s Tzigane in 2019. The next year, the violinist returned with the Violin Concerto by Joseph Bologne, Chevalier de Saint-Georges. “So, after covering the 20th and 18th centuries, we finally get around to filling in the 19th,” Langrée adds.

Filling the gaps in other CSO lineups, though, is Beethoven, which Langrée defines in part as classical music’s default programming. “Beethoven is the root of any orchestral sound,” he says, “but given the German history here, it’s particularly the case in Cincinnati.”

The key question, though, is which Beethoven. To match Dessner’s Mari and Piano Concerto, Langrée has chosen the Seventh Symphony “mostly for its driving rhythms.” For his final concerts, Langrée will open the program with the Leonore Overture No. 2. “First of all, this is the overture to an opera, and I have wonderful memories of performing opera with the Orchestra, from Hamlet most recently to La bohème with

Cincinnati Opera in 2017,” he says. “Second, it is about this particular opera.”

Whether in its early incarnation as Leonore, which he led in Lausanne, or as Fidelio, which he conducted at Glyndebourne—or even alternating between the two, as he did at Paris’ Théâtre des Champs Élysées—Beethoven’s only opera has long been close to Langrée’s heart. “As either Leonore or Fidelio, the opera speaks about freedom and equality,” he says. “The mission of this Orchestra is not just to present beautiful music, but to give it meaning, to use music to bring people together. Beethoven uses music to address a humanistic message to the world.”

In that regard, he adds, Beethoven and Davis have much in common. “After so many decades, Anthony Davis’ music remains powerful because many of its social concerns are still valid,” he continues. “I would say the same about Beethoven. Great pieces stand the test of time because, even when the syntax changes, the message is still about the human condition. Beethoven’s music still speaks to us today because our problems are still the same.”

Violinist Augustin Hadelich, in his 2016 CSO debut, performing Berg’s Violin Concerto, Louis Langrée conducting. Credit: Lee Snow

Louis Langrée: A Legacy of Premieres, Commissions and Recordings

Louis Langrée-conducted World Premieres with the CSO

Nico MUHLY Pleasure Ground with Nathan Wyatt, baritone (March 2014)

David LANG mountain (March 2014)

André PREVIN Concerto for Violin, Cello and Orchestra with Jaime Laredo, violin and Sharon Robinson, cello (November 2014)

Caroline SHAW Lo with Caroline Shaw, violin (March 2015)

Daníel BJARNASON Collider (March 2015)

TJ COLE Elegy (November 2015)

Jonathan Bailey HOLLAND Equality (November 2015)

Kristin P. KUSTER Forgive (November 2015)

Sebastian CURRIER FLEX (November 2015)

Thierry ESCAICH Psalmos, Concerto for Orchestra with Thierry Escaich, organ (May 2016)

ZHOU Tian Concerto for Orchestra (May 2016)

Michael FIDAY Three for One (November 2016)

Jonathan Bailey HOLLAND Stories from Home (October 2017)

Emily COOLEY Abound (November 2017)

Pierre JALBERT Passage (April 2018)

Jonathan Bailey HOLLAND Ode (November 2018)

Christopher ROUSE Symphony No. 6 (October 2019)

William WINSTEAD Passages in Time (January 2020) with Cincinnati Symphony Youth Orchestra

Christopher CERRONE A Body, Moving (April 2021)

Sebastian CURRIER Track 8 (November 2021)

KINDS OF KINGS Nine Mothers (March 2022) with Eighth Blackbird

Julia ADOLPHE Paper Leaves on Fields of Clay (April 2022)

Guillaume CONNESSON Les belles heures, concerto pour hautbois et orchestra with Dwight Parry, oboe (May 2022)

Gabriela ORTIZ Tzam (May 2022)

Samuel ADAMS Variations (March 2023)

Courtney BRYAN House of Pianos with Courtney Bryan (May 2023)

Anthony DAVIS Broken in Parts with Latonia Moore (May 2024)

Louis Langrée-conducted US Premieres with the CSO

Bryce DESSNER Réponse Lutosławski (March 2016)

Bryce DESSNER Concerto for Two Pianos with Katia and Marielle Labèque, duo pianos (September 2019)

Anna MEREDITH Anno (October 2021) with Charles Morey, violin and Eleanor Meredith, visuals

Bryce DESSNER Piano Concerto with Alice Sara Ott, piano (May 2024)

CSO Music Director Louis Langrée with composer Jonathan Bailey Holland and commission underwriters Irwin and Melinda Simon following the October 2017 world premiere of Holland’s Stories from Home

Louis Langrée Commissions with the CSO

Orchestral Works:

Samuel ADAMS Variations

Julia ADOLPHE Equinox for Chorus with May Festival Chorus

Julia ADOLPHE Paper Leaves on Fields of Clay

Daníel BJARNASON Collider

Daníel BJARNASON I Want to Be Alive Trilogy for Orchestra

Courtney BRYAN House of Pianos (Courtney Bryan, piano)

Christopher CERRONE A Body, Moving

Enrico CHAPELA Radioaxial

Billy CHILDS Saxophone Concerto (Steven Banks, saxophone)

TJ COLE Elegy

Guillaume CONNESSON Les belles heures, concerto pour hautbois et orchestra (Dwight Parry, oboe)

Emily COOLEY Abound

Sebastian CURRIER FLEX

Sebastian CURRIER Track 8

Anthony DAVIS Broken in Parts (Latonia Moore, soprano)

Bryce DESSNER Piano Concerto (Alice Sara Ott, piano)

Thierry ESCAICH Psalmos, Concerto for Orchestra (Thierry Escaich, organ)

Michael FIDAY Three for One

Jennifer HIGDON On A Wire with Eighth Blackbird

Jonathan Bailey HOLLAND Equality

Jonathan Bailey HOLLAND Stories from Home

Jonathan Bailey HOLLAND Ode

Jonathan Bailey HOLLAND Assemble

Pierre JALBERT Passage

FLUTRONIX (Nathalie Joachim & Allison Loggins-Hull) Black Being (Nathalie Joachim & Allison Loggins-Hull, Flutronix)

KINDS OF KINGS Nine Mothers (Eighth Blackbird)

Kristin P. KUSTER Forgive

David LANG mountain

Wynton MARSALIS Herald, Holler and Hallelujah!

Missy MAZZOLI Violin Concerto (Procession) (Jennifer Koh, violin)

Nico MUHLY Pleasure Ground (Nathan Wyatt, baritone)

Shara NOVA Look Around

Gabriela ORTIZ Tzam

Matthias PINTSCHER Assonanza (Leila Josefowicz, violin)

André PREVIN Concerto for Violin, Cello and Orchestra (Jaime Laredo, violin and Sharon Robinson, cello)

Christopher ROUSE Symphony No. 6

Gunther SCHULLER Symphonic Triptych

Caroline SHAW Lo (Caroline Shaw, violin)

Caroline SHAW The Observatory

Mark SIMPSON Violin Concerto (Nicola Benedetti, violin)

Mark SIMPSON Piano Concerto

Gabriella SMITH f(x) = sin2x – 1/x

William WINSTEAD Passages in Time with Cincinnati Symphony Youth Orchestra

Julia WOLFE Fountain of Youth ZHOU Tian Concerto for Orchestra

Solo Fanfares:

Michael ABELS Salute in Solo (Christian Colberg, viola)

Samuel ADAMS No Solo (Owen Lee, bass & Samuel Adams, piano)

Marcos BALTER Evens (Michael Culligan, percussion)

Daníel BJARNASON Same Yet Different (Daníel Bjarnason, piano)

Peter BOYER Fanfare for Tomorrow (Elizabeth Freimuth, horn)

Courtney BRYAN Fanfare for Moments of Courage (Ixi Chen, clarinet)

Bryce DESSNER Pour les soignants (Ilya Finkelshteyn, cello)

Du YUN The Rest is Our World (Gillian Benet Sella, harp)

Rhiannon GIDDENS Viola Fanfare (Edna Pierce, viola)

Ted HEARNE The Luminous Road (Nathalie Joachim, piccolo)

Jonathan Bailey HOLLAND Trouble (Cristian Ganicenco, trombone)

Gabriel KAHANE kiivetä kotin (Pekka Kuusisto, violin)

Laura KARPMAN Front Lines: Fanfare for Solo Tuba (Christopher Olka, tuba)

Missy MAZZOLI Fanfare for the Unimpressed (Stefani Matsuo, violin)

Jeffery MUMFORD Let Us Breathe (Daniel Culnan, cello)

Matthias PINTSCHER Vitres (fragment…) (Dwight Parry, oboe)

Carlos Rafael RIVERA A Fanfare for Stories Lost (Douglas Lindsay, trumpet)

Caroline SHAW A Day at a Time (Charles Morey, violin)

Tyshawn SOREY For Peter Evans (Apologies for the Brevity) (Robert Sullivan, trumpet)

Georgia STITT Fanfare for the Ups and Downs (Christopher Pell, clarinet)

Louis Langrée Recordings with the CSO Albums:

Hallowed Ground released in 2014

The Music of Lumenocity 2013 released in 2016

The Music of Lumenocity 2014 released in 2016

Concertos for Orchestra released in 2016

Grammy-nominated for Best Orchestral Performance

Grammy-nominated for Best Contemporary Classical Composition for ZHOU Tian’s Concerto for Orchestra

Transatlantic released in 2019

Grammy-nominated for Best Orchestral Performance

Singles:

Beethoven Symphony No. 9 released online in 2013 as part of the One City, One Symphony Project

Tchaikovsky’s Symphony No. 4 released online in 2014 as part of the One City, One Symphony Project man made by David Lang released in 2023

Christopher Rouse: Symphony No. 6 released in 2023

stronger arts for a stronger region

We don’t make the music you’ll hear on stage, but for nearly 100 years, we’ve been the primary way Cincy’s arts are funded. Your gift to ArtsWave ripples out across our communities to create a more vibrant future for everyone.

With tens of thousands of gifts from people like you, ArtsWave is proud to support the Cincinnati Symphony Orchestra, plus over a hundred other artsorganizations and artists that make our region stronger.

Make your gift today at artswave.org

For the last three years, Cincinnati has placed in the Top 20 among 900 U.S. regions on SMU’s National Arts Vibrancy Index. One of the metrics behind their rankings is the dynamism and caliber of the artists contributing to a community’s cultural landscape.

Since 2013, Louis Langrée has served as Music Director of the Cincinnati Symphony Orchestra. There is no doubt that Mr. Langrée’s imprint on our region’s arts profile has been a factor in our placement on this venerable list. In fact, his tenure here realizes the vision of city founders in the late 18th and early 19th centuries that Cincinnati can, and should be, known as a world-class destination for the arts.

Often, we refer to an orchestra conductor as “Maestro.” Cincinnati felt comfortable addressing Langrée like any good friend, as simply “Louis.” When he was first introduced to the Queen City in 2012, Louis graciously joined me in a program for ArtsWave donors. He described his delight at discovering the people and places of Cincinnati, including Music Hall’s neighborhood of Overthe-Rhine. He said, “Growing up in Alsace, France, we could look ‘over the Rhine’ to Germany. I feel right at home already in Over-the-Rhine, Cincinnati.”

The way that Louis and his wife Aimée made their family home here over the last decade—investing themselves personally in their neighborhood and their kids’ schools—is testament to an orchestra that believes it is part of, not detached from, its community. It was during his tenure that the CSO reimagined its mission to “seek and share inspiration,” with a corresponding vision to be “the most relevant orchestra in America.”

As the CSO’s 13th Music Director, Louis Langrée’s impact will long be remembered. Numerous programming decisions and artistic embraces show Langrée pushing our historic orchestra confidently into the 21st century. Our global corporations regularly assert Cincinnati’s right-to-win in attracting and retaining top industry talent. Louis’ tenure with the Cincinnati Symphony Orchestra reminds us that our region is, indeed, able to attract the world’s top industry talent.

At the recent 2024 ArtsWave Community Campaign Kick-Off, local arts and business leaders paid tribute to Louis for his many artistic contributions to the region. In response, he challenged us to hold dear what is special about Cincinnati. “In many cities,” he said, “the most important building is the cathedral, the city hall, or the palace of justice. Here in Cincinnati, it is Music Hall. It is the temple of art.”

We all have our own favorite “Louis moments.” Mine were the two times he conducted Aaron Copland’s majestic Lincoln Portrait, a work which, incidentally, had its 1942 world premiere with the Cincinnati Symphony Orchestra. Under Louis’ baton, the inestimable Maya Angelou performed the role of Narrator—it was among her last public appearances. (Louis shared with me that this performance was a high point for him, as well.) Last year, endearing actor George Takei offered his interpretation. Both performances were emotional, exuberant examples of how music can focus—or refocus—our sights on the sacred ideals of democracy and justice for all.

Our very best wishes and thanks, Louis, for giving us so many inspiring, thoughtful, joyful moments of connection through music. We look forward to welcoming you back to Cincinnati very soon!

Alecia Kintner President & CEO, ArtsWave

Classical Roots: Poetry, Verse, Rhyme and Reason

by DR. A. KORI HILL

It’s easy to take Classical Roots for granted. Classical Roots was founded in 2001 with the leadership of Kathy Jorgensen-Finley, Anne CushingReid, John Morris Russell and community faith leaders to help diversify orchestral audiences, and bring music making to underserved and underrepresented areas in our region. Classical Roots is a yearly celebration of Black music and a Queen City institution. Since the concert’s move to Music Hall in 2011, the artists have been fairly constant—the Cincinnati Symphony Orchestra, John Morris Russell, the Classical Roots Community Choir (CRCC), members of the Nouveau Program and guest artists. But the programming continues to expand and grow more eclectic—a pointed reminder of the stylistic scope of Black culture.

“Classical Roots has always been about Black history, but it is too big a story to tell in a single concert, in the shortest month of the year,” John Morris Russell says. “We design our concerts to go deep. We can be really nerdy about the details we present, because this music, and this history,

Classical Roots Community Choir at the 2023 Classical Roots concert. Credit: JP Leong

John Morris Russell

Credit: Roger Mastroianni

is too important. The connections we create in each concert link us historically from one generation to the next, and represent a runway to the future. Each year, we strive to tell new and different stories, getting into the glorious details and nuanced connections that make the Black experience so meaningful to everyone.”

Classical Roots 2024’s “glorious detail” is the convergence of music and words—through poetry, through gospel, through hip-hop and through orchestral and choral works. Headlined by this year’s guest artist, the producer, emcee and Cincinnati son Hi-Tek, who closes a concert that mirrors the variety of early 20th-century classical music programs and pageants involving Black writers, musicians and intellectuals, all meant to educate through entertainment.

The first half of the program is dominated by classical and religious music, poetry and

a proclamation. There’s the rousing audience participation performance of the Black national anthem, “Lift Ev’ry Voice and Sing,” by brothers James Weldon and J. Rosamond Johnson; an excerpt from William Grant Still’s Symphony No. 1, Afro-American, and Danzas de Panama, and Samuel ColeridgeTaylor’s Othello Suite; Rosephanye Powell’s “The Word Was God”; “Joyful, Joyful We Adore Thee,” from Ludwig van Beethoven’s Ninth Symphony reimagined in the film Sister Act 2; Paul Laurence Dunbar’s “Ode to Ethiopia”; recitations by Cincinnati and Mercantile Library Poet Laureate Yalie Kamara and Cincinnati Youth Poet Laureate Gabrielle Walker; Langston Hughes’ poem “The Weary Blues” performed with a jazz sextet; and a reading of a speech by lawyer and Congressman John Mercer Langston.

Multiple layers of significance are represented in the program’s first half: Dunbar and Coleridge-Taylor were not just contemporaries; they met in person, leaving Coleridge-Taylor inspired by Dunbar’s embrace of Black literary, linguistic and storytelling forms. Still quoted four of Dunbar’s poems for each of the four movements of his “Afro-American” Symphony; the last movement, heard at this year’s concert, quotes a portion of Dunbar’s “Ode to Ethiopia.” Beethoven was inspired by Friedrich Schiller’s “Ode to Joy” to the extent he did something folks rarely do in a symphony: he added a choir to sing the words—which has been given a new life in the gospel/funk incarnation that will be performed. And, perhaps most touchingly, we celebrate John Mercer Langston—the greatuncle of poet Langston Hughes, first African American lawyer in Ohio, first Representative of color for the state of Virginia—who stood on the stage of Springer Auditorium in 1889 at the

Hi-Tek

Yalie Kamara

African American Republican Meeting, urging 5,000 men to exercise their unalienable right to vote. This was one year before Langston would win a seat in the House of Representatives (1890–1891). We will experience the power and timelessness of his oration, set to music of Coleridge-Taylor.

While there is weight to Classical Roots, there is also beauty, celebration and fierce dedication to the craft of music-making. The latter is clear to the Interim Resident Conductor of CRCC, Jason Alexander Holmes. When Holmes moved to Cincinnati in 2019, he immediately sought out a Black musical community. He was a CRCC member before he was their conductor. “From performer to conductor was a major shift, because if something doesn’t happen, it’s on you,”

Holmes shares.

“There is not necessarily a connection between the quality of music-making and whether you’re labeled a professional or an amateur,” Holmes adds. “Especially in Black music, in Black church music, we see a lot of the formal music training being done by ‘non-professionals.’” In Holmes’ experience, CRCC members see technical execution and communicative success as inseparable. “We’re going to be honest if something does not move us,” he continues. “That’s what I appreciate about the Classical Roots community. The feedback is real…people are coming at it with really in-depth knowledge, which creates a push to be better from both sides. Sometimes it’s me saying, ‘No it’s this way,’ and sometimes it’s the choir saying, ‘No, someone’s not doing this.’”

and mainstream. But regardless of categorization, his love of R&B and jazz-inflected lyricism, propulsive beats and evocative prose is clear.

“As a kid, I listened to a lot of soul music, and when I got to a point when I started making beats, I was inspired by a lot of New York producers who introduced me to sampling jazz,” he explains. “When I approach my beats, I’m always looking for something that touches your soul and sounds abstract, original and sonically different from your basic stock sounds.”

Classical Roots 2024 is also about the necessity of connection through collaboration, a necessity that courses through the repertoire and through how the performers see themselves—the tradition, the history, not only of Classical Roots but in Black musical practice, period.

As a producer, his work for major figures like 50 Cent, D12 (which featured Eminem), Common and Anderson .Paak required a balancing act: create songs that sound like the artist but also sound like himself. It’s a challenge that comes naturally. “In most cases, I’m already a fan of the artist before I work with them,” he explains, “so it’s only natural to try to create something that I think they would like. Sometimes an artist is just looking for me to be me, then they incorporate themselves into that, which becomes a beautiful mesh. As far as keeping my unique stamp on it, it’s something unexplainable to be honest. It’s a gift.”

This spirit of focus and collaboration is magnified in the second half of the concert. The CRCC opens the second half by performing Richard Smallwood’s Psalm 8, and the program closes with the rousing finale from The Color Purple musical by Brenda Russell, Allee Willis and Stephen Bray. In between, it is all Hi-Tek.

In a career that spans 30+ years, Hi-Tek has had every experience possible: he’s been a group member (Cincy-based Mood and Reflection

Classical Roots 2024 is also about the necessity of connection through collaboration, a necessity that courses through the repertoire and through how the performers see themselves—the tradition, the history, not only of Classical Roots but in Black musical practice, period. It impacts how Hi-Tek sees hip-hop, not as an isolated development but part of a centuries long tradition in Black communities of weaving words and music together. “It’s very important,” Hi-Tek says, “because hip-hop is a blend of all genres of music. Hip-hop is that rose that grew through the concrete…it has expanded into so many different styles.”

Collaboration and connection also are important to CRCC director Holmes, who notes, “In terms of the musical community, we are taking care of each other, and it continues to be part of the energy for Classical Roots.”

2024 Brady Block Parties

Join the CSO in neighborhoods around the city this summer

Thursday, June 6, 7:30pm: Pride Block Party

Location: ICON Festival Stage at Smale Park at The Andrew J. Brady Music Center®

Sunday, June 23, 7:30pm: West End Block Party

Location: Ezzard Charles Park

Sunday, July 14, 7:30pm: Price Hill Block Party

Location: Dunham Recreation Center

Friday, July 19, 7:30pm:

Avondale Block Party

Location: North Avondale Recreation Center

Thursday, August 1, 7:30pm:

Woodlawn/Lincoln Heights Block Party

Location: Woodlawn Community Center

For the most up-to-date information, visit cincinnatisymphony.org/BlockParties.

Conductor John Morris Russell leads the Cincinnati Symphony Orchestra at the 2023 Evanston/E. Walnut Hills Block Party in July 2023. Credit: JP Leong

Sheku Kanneh-Mason and Katharina Wincor: Young Blazing Careers

by HANNAH EDGAR

Sheku Kanneh-Mason’s Cincinnati Symphony Orchestra debut this month (Apr. 26 & 27) celebrates a major milestone for both the esteemed British cellist and the Orchestra: Kanneh-Mason’s appointment as the 2024 MAC

Music Innovator, an outreach initiative of the CSO’s Multicultural Awareness Council (MAC).

The year-long appointment is granted to Black leaders in classical music and encompasses not just public performances but educational projects. Kanneh-Mason will give local masterclasses in conjunction with his April CSO concerts, as well as a short solo performance and Q&A on Thursday, April 25.

For his spring CSO concerts, led by the Austrian conductor Katharina Wincor, KannehMason plays the concerto that won him the 2016 BBC Young Musician of the Year competition at age 17: Shostakovich’s First Cello Concerto. Lately, KannehMason has been concertizing on Shostakovich’s second concerto for the instrument; with that new perspective guiding his performances in Cincinnati, he says “it’s nice to come back” to the First after all that time away. He still keeps the first two pages of the concerto, bearing his markings, framed on the wall of his London flat .

“Things have changed so much over the years. My hand has changed, so now if I have old fingerings [written in my part], I find them distracting. With bowing, too: maybe I took a few extra slurs back then, as I wasn’t able to sustain them in the way I can now,” Kanneh-Mason says. “It’s easier to work things out from scratch.”

For Kanneh-Mason, “over the years” means something far different than it does for his peers on the international stage. The cellist turns 25 in April—a veritable

Sheku Kanneh-Mason

youngster in the more-saltthan-pepper classical music biz.

Having already been in the solo spotlight for nearly a decade, Kanneh-Mason is wise beyond his years and ready to mentor still-younger musicians. Kanneh-Mason recently became a visiting professor at his alma mater, the Royal Academy of Music, and has increasingly tied other touring opportunities to educational activities.

“I come out of the lessons with lots of things to think about. She pushes me a lot in every aspect of playing,”

Kanneh-Mason says.

“I love to teach. I suppose, even when I was younger, I would give lessons to my younger sisters, much more informally,” Kanneh-Mason says. (Kanneh-Mason is one of seven children, all of whom are pianists or string players who have passed through the prestigious Royal Academy of Music.) “I find I learn a lot from those experiences. You have to think not only about the repertoire that the student is playing, but how to explain aspects of their technique in the most helpful, supportive way.”

Cincinnati area students will certainly find a supportive teacher in Kanneh-Mason. Fiery onstage, in person he’s incredibly soft-spoken; in conversation, one instinctively leans in to better hear him. He tends to curl his head toward his shoulder when he’s deep in thought—like when he plays cello. Last fall, Kanneh-Mason visited Philadelphia public schools as part of an engagement with the Philadelphia Chamber Music Society; after smilingly harmonizing their scales, he relayed feedback to students, always in his gossamer-gentle voice.

Although there might seem to be a gulf separating Kanneh-Mason from the rookie string players he tutored in Philadelphia, he’s quick to point out that he’s still a student himself. Even as a globetrotting soloist, he carves out time for lessons with Hannah Roberts, his “wonderfully inspiring” teacher from his Royal Academy days, whenever he’s home in London.

He also constantly absorbs knowledge from other musicians while on the road. It’s not unusual for Kanneh-Mason to be the youngest person onstage when playing with major orchestras. These concerts in Cincinnati, in fact, are striking in that both soloist and conductor are under 30. (Wincor just turned 29.)

“When I’ve been performing in the profession, it’s usually with older musicians, because my career started relatively early. I’ve always loved trying to learn from people onstage and in rehearsal,” Kanneh-Mason says.

Wincor agrees with that sentiment. The conductor last worked with the CSO for the 2022 May Festival; since then, her career has continued to ascend. When she connected with Fanfare Magazine, she was preparing to conduct the BBC Symphony for the first time—the same orchestra Kanneh-Mason played alongside for the BBC Young Musician competition. Wincor’s CSO concerts mark her professional debuts on all the program’s repertoire, too—more significant firsts for a blazing career on the rise.

“Whenever I perform with an older soloist, I feel like I can learn something about tradition from them that I cannot get somewhere else. On the other hand, when [I work with] someone young, or someone who maybe hasn’t played a particular piece very often, we can try out this or that,” Wincor says.

“We’re both still searching for answers, and it’s fun to do that together.”

Save the Date: Sheku Kanneh-Mason and sister/ pianist Isata Kanneh-Mason with give a recital on Tuesday, December 10, 2024 at Memorial Hall as part of Chamber Music Cincinnati.

Katharina Wincor

CSO FEATURE: Kanneh-Mason and Wincor

Honoring Retiring Orchestra

Musicians

by KIT GLADIEUX

As we near the end of the 2023–24 season, the Cincinnati Symphony and Pops Orchestra congratulates two musicians on their retirements: Associate Principal Trumpet Douglas “Doug” Lindsay and cellist

Theodore “Ted” Nelson. They have served a combined 53 years within the Orchestra, performing in countless concerts, recordings and tours. These retirees shared memories from their time with the CSO and what they’ll be doing next. The CSO is grateful for the unparalleled musicianship and dedication that Doug and Ted brought to Music Hall.

Douglas Lindsay

Associate Principal Trumpet

Jackie & Roy Sweeney Family Chair

Doug Lindsay grew up in Cincinnati and takes great pride in having played the trumpet in his hometown orchestra. “It’s like a kid going to high school here and getting to play for the Reds,” he said.

Doug joined the CSO in 1991 after playing with the Orquesta Sinfónica Nacional de la República Dominicana, the Dayton Philharmonic and the Charlotte Symphony. Some of his career highlights as a member of the Orchestra include his first recording, of Bruckner’s Ninth Symphony with Jesús López Cobos in 1992, and the 2023 May Festival performance of Mahler’s Eighth Symphony, where he played principal trumpet. “James Conlon conducted, and it was a dream come true,” he reminisced.

In retirement, he plans to stay close to his family in Cincinnati. He will continue to teach as an adjunct professor at Miami University, where he helped start the Cincinnati Symphony Orchestra Brass Institute program. He’s looking forward to traveling with his wife, cycling, and hiking on the Appalachian Trail.

“I’m going to miss the great music, and some of my good friends,” said Doug. “This is a very rare brass section; we all get along so well. When we play the great repertoire, and we’ve had a lot of it this season, I say to myself, ‘I’m going to miss this.’”

Douglas Lindsay, Associate Principal Trumpet, Jackie & Roy Sweeney Family Chair

Theodore Nelson

Cello

Peter G. Courlas–Nicholas Tsimaras Chair

Cellist Ted Nelson joined the CSO in 2004 after playing with the Toledo Symphony and the Kansas City Symphony. One of the first things he did with the Orchestra was go on a European tour in the fall of 2004. “The first concert I played on tour was Mahler’s Fifth Symphony in Vienna, which almost made my head explode. It was so cool.”

His career highlights extend beyond performances, too. “A lot of the things that were most meaningful to me were the opportunities that I had to serve the organization in different ways—as chair of the Orchestra Committee for a long time, serving on the CSO Board, doing other types of work besides just playing the cello—although that was also incredibly rewarding.”

After 26 years of performing full time, 19 of them with the CSO, Ted is entering a new chapter of his career. “I say that I’m just stepping across the hallway,” he laughed. He will be shifting his focus from performing to administration in his role as the Vice President of Operations & Artistic Planning with the Dayton Performing Arts Alliance.

“I’m going to miss the people,” said Ted. “Working 19 years with any group of people is really special. It doesn’t happen in a lot of industries. I’ll miss my colleagues both onstage and offstage.” He will also miss the stage itself. “Music Hall is an incredible building. It’s an amazing space, and I feel really lucky to have spent 19 years working and playing there.”

Theodore Nelson, Cello, Peter G. Courlas–Nicholas Tsimaras Chair

Retiring Musicians

Why We Give

by KEN SMITH

From full concerts at Music Hall to small pop-up performances in local neighborhoods and everything in between, our generous and dedicated donors, sponsors and concertgoers make it all possible. This article shares a special story about one important aspect of our Orchestra’s programming: commissioning new works. Our donors and their inspiring stories will ensure that the unique sound of the Cincinnati Symphony Orchestra and Cincinnati Pops will always resound. You can join our family of donors online at cincinnatisymphony.org/donate or by contacting the Philanthropy Department at 513.744.3271. If you are interested in underwriting the commissioning of a new work, email development@cincinnatisymphony.org for more information.

with the Cincinnati Symphony Orchestra. After Langrée’s inaugural appearance as Music Director with the performance of Jennifer Higdon’s On a Wire (in November 2013), which Santen and her husband Harry had cocommissioned as part of a consortium, the conductor marks his final program at the helm with the world premiere of another Santen commission: an orchestral song cycle by Anthony Davis titled Broken in Parts

“It makes a nice bookend,” says the two-decade veteran head of WGUC-FM and stalwart champion of Cincinnati’s classical music scene. “I’d started a commissioning program at WGUC, and when I left the station in 1996 Harry and I just kept commissioning new works. After Louis came, it kind of got out of hand.”

ANN & HARRY SANTEN

When Ann Santen turned 50, Elliott Carter—then 80 years old—composed Enchanted Preludes for flute and cello in her honor. For her 80th birthday, she received Shimmer and Flow, a duet for clarinet and cello by the composer Pierre Jalbert, who had just turned 50.

By the end of his CSO tenure in May, Langrée will have conducted world premieres of 15 pieces commissioned by the Santens—a tally not counting the first part of Daníel Bjarnason’s tripartite symphony, which missed the original deadline and later appeared at the CSO under a different conductor, or Mark Simpson’s Piano Concerto, which still awaits its premiere. Even so, Davis’ song cycle duly celebrates Langrée’s remarkable relationship with Santen, who

Composer Pierre Jalbert (left) and CSO Music Director Louis Langrée are joined by Ann Santen after the April 14, 2018 world premiere performance of Jalbert’s Passage, which Santen underwrote.

Santen traces her fascination with new music to her teenage years in Northern Kentucky, when the Louisville Orchestra launched its pioneering commissioning program, which generated dozens of new compositions each year. “It was an extraordinary project,” she still recalls, “with every composer you’d ever heard of, and major pieces still being performed today.”

Years later, after marrying and relocating to Cincinnati, Santen and her husband first dipped their toes in the new-music pond in the late 1970s by co-commissioning Ned Rorem’s Double Concerto for piano and cello—later retitled Remembering Tommy—soon after Rorem won the Pulitzer Prize in 1976 for Air Music (which the CSO had premiered the year before). That initial splash became a full immersion once Santen came to WGUC as music director and general manager.

After Santen stepped down from WGUC in 1996, she and her husband continued the practice, initially on a smaller scale for the Linton Chamber Music Series. Their CSO relationship began with a piece by Jeffrey Mumford to celebrate their 50th wedding anniversary in 2008. Then came five fanfares by various composers marking both WGUC’s 50th anniversary and former CSO Music Director Paavo Järvi’s 10th anniversary season. When Santen introduced CSO administrators to Cincinnati’s then-fledgling MusicNOW festival, the couple wound up funding another four commissions: Nico Muhly’s Pleasure Ground and David Lang’s mountain in 2014, Caroline Shaw’s Lo and Daníel Bjarnason’s Collider in 2015.

Then came the CSO’s Concerto Project. “Early

sounding so good under you, let’s commission a concerto for orchestra,’” Santen recalls. “He said, ‘That’s a wonderful idea! Let’s do three.’” The resulting trilogy (Sebastian Currier’s FLEX, Thierry Escaich’s Psalmos and Zhou Tian’s Concerto for Orchestra), premiered and recorded during the 2015–16 season, resulted in Grammy nominations for Best Orchestral Performance and Best Contemporary Composition.

To date, Ann and Harry Santen have underwritten the commissioning of 24 new works for the CSO—most during Langrée’s tenure as Music Director. “The creation of new works for orchestra is at the heart of our mission to seek and share inspiration,” says Mary McFadden Lawson, the CSO’s Chief Philanthropy Officer. “Underwriting these new works provides donors, like Ann and Harry Santen, a unique opportunity: to see a new piece of music come to life. Ann and Harry’s steadfast support and championing of new music has had a ripple effect—it has nurtured composers and musicians, provided the Orchestra with new artistic endeavors, and encouraged other donors to underwrite future commissions. With donors like the Santens, the CSO will continue its long legacy of performing the music of our time.”

From left: CSO Concertmaster Stefani Matsuo, Ann & Harry Santen and CSO clarinetist Ixi Chen, March 2023. Credit: Claudia Hershner

LOUIS LANGRÉE, Music Director

Louise Dieterle Nippert & Louis Nippert Chair

JOHN MORRIS RUSSELL, Cincinnati Pops Conductor

Louise Dieterle Nippert & Louis Nippert Chair

Matthias Pintscher, CSO Creative Partner

Damon Gupton, Pops Principal Guest Conductor

Samuel Lee, Associate Conductor

Ashley and Barbara Ford Chair

Daniel Wiley, Assistant Conductor

Ashley and Barbara Ford Chair

FIRST VIOLINS

Stefani Matsuo

Concertmaster

Anna Sinton Taft Chair

Felicity James

Associate Concertmaster

Tom & Dee Stegman Chair

Philip Marten

First Assistant Concertmaster

James M. Ewell Chair++

Eric Bates

Second Assistant Concertmaster

Serge Shababian Chair

Kathryn Woolley

Nicholas Tsimaras–

Peter G. Courlas Chair++

Anna Reider

Dianne & J. David Rosenberg Chair

Mauricio Aguiar§

Anne G. & Robert W. Dorsey Chair

Minyoung Baik

Jo Ann & Paul Ward Chair

James Braid

Marc Bohlke Chair given by Katrin & Manfred Bohlke

Rebecca Kruger Fryxell

Clifford J. Goosmann & Andrea M. Wilson Chair

Gerald Itzkoff

Jean Ten Have Chair

Charles Morey†

Luo-Jia Wu

SECOND VIOLINS

Gabriel Pegis

Principal

Al Levinson Chair

Yang Liu*

Harold B. & Betty Justice Chair

Scott Mozlin**

Henry Meyer Chair

Kun Dong

Cheryl Benedict

Evin Blomberg§

Rachel Charbel

Ida Ringling North Chair

Chika Kinderman

Hyesun Park

Paul Patterson

Charles Gausmann Chair++

Stacey Woolley

Brenda & Ralph Taylor Chair++

VIOLAS

Christian Colberg

Principal

Louise D. & Louis Nippert Chair

Gabriel Napoli

Acting Associate Principal

Grace M. Allen Chair

Julian Wilkison**

Rebecca Barnes§

Christopher Fischer

Stephen Fryxell

Melinda & Irwin Simon Chair

Caterina Longhi

Denisse Rodriguez-Rivera

Dan Wang

Joanne Wojtowicz

CELLOS

Ilya Finkelshteyn

Principal

Irene & John J. Emery Chair

Daniel Kaler

Acting Associate Principal

Ona Hixson Dater Chair

Norman Johns**

Karl & Roberta Schlachter

Family Chair

Drew Dansby§

Nicholas Mariscal

Hiro Matsuo

Laura Kimble McLellan Chair++

Theodore Nelson‡

Peter G. Courlas–

Nicholas Tsimaras Chair++

Alan Rafferty

Ruth F. Rosevear Chair

[OPEN]

Marvin Kolodzik & Linda S. Gallaher Chair for Cello

BASSES

Owen Lee Principal

Mary Alice Heekin Burke Chair++

Luis Arturo Celis Avila*

Thomas Vanden Eynden Chair

Stephen Jones**

Trish & Rick Bryan Chair

Boris Astafiev§

Gerald Torres

Rick Vizachero

HARP

Gillian Benet Sella Principal

Cynthia & Frank Stewart Chair

FLUTES

Randolph Bowman

Principal

Charles Frederic Goss Chair

Henrik Heide*

Haley Bangs

Jane & David Ellis Chair

PICCOLO

Rebecca Pancner

Patricia Gross Linnemann Chair

OBOES

Dwight Parry

Principal

Josephine I. & David J. Joseph, Jr. Chair

Lon Bussell*

Stephen P. McKean Chair

Emily Beare

ENGLISH HORN

Christopher Philpotts

Principal

Alberta & Dr. Maurice Marsh Chair++

CLARINETS

Christopher Pell

Principal

Emma Margaret & Irving D.

Goldman Chair

Joseph Morris*

Associate Principal and E-flat Clarinet

Robert E. & Fay Boeh Chair++

Ixi Chen

Vicky & Rick Reynolds Chair in honor of William A. Friedlander

BASS CLARINET

Ronald Aufmann

BASSOONS

Christopher Sales

Principal

Emalee Schavel Chair++

Martin Garcia*

Hugh Michie

CONTRABASSOON

Jennifer Monroe

FRENCH HORNS

Elizabeth Freimuth

Principal

Mary M. & Charles F. Yeiser Chair [OPEN]*

Ellen A. & Richard C. Berghamer Chair

Molly Norcross**

Acting Associate Principal

Sweeney Family Chair in memory of Donald C. Sweeney

Lisa Conway

Susanne & Philip O. Geier, Jr. Chair

Duane Dugger

Mary & Joseph S. Stern, Jr. Chair

Charles Bell

Donald & Margaret Robinson Chair

TRUMPETS

Anthony Limoncelli Principal

Rawson Chair

Douglas Lindsay*

Jackie & Roy Sweeney Family Chair

Alexander Pride†

Otto M. Budig Family

Foundation Chair++

Christopher Kiradjieff

TROMBONES

Cristian Ganicenco Principal

Dorothy & John Hermanies Chair

Joseph Rodriguez** Second/Assistant Principal Trombone

Sallie Robinson Wadsworth & Randolph L. Wadsworth Jr. Chair

BASS TROMBONE

Noah Roper

TUBA

Christopher Olka Principal

Ashley & Barbara Ford Chair

TIMPANI

Patrick Schleker Principal

Matthew & Peg Woodside Chair

Joseph Bricker*

Morleen & Jack Rouse Chair

PERCUSSION

David Fishlock

Principal

Susan S. & William A. Friedlander Chair

Michael Culligan*

Joseph Bricker

Morleen & Jack Rouse Chair

Marc Wolfley+

KEYBOARDS

Michael Chertock

James P. Thornton Chair

Julie Spangler+

James P. Thornton Chair

CSO/CCM DIVERSITY

FELLOWS~

Lucas Braga, violin

Melissa Peraza, viola

Manuel Papale, cello

Caleb Edwards, double bass

Wendell Rosa, double bass

LIBRARIANS

Christina Eaton

Principal Librarian

Lois Klein Jolson Chair

Elizabeth Dunning

Associate Principal Librarian

Cara Benner

Interim Assistant Librarian

STAGE MANAGERS

Brian P. Schott

Phillip T. Sheridan

Daniel Schultz

Mike Ingram

Andrew Sheridan

§ Begins the alphabetical listing of players who participate in a system of rotated seating within the string section.

* Associate Principal

** Assistant Principal

† One-year appointment

‡ Leave of absence

+ Cincinnati Pops rhythm section

++ CSO endowment only

~ Funded by The Mellon Foundation

LOUIS LANGRÉE, Music Director

Louise Dieterle Nippert & Louis Nippert Chair

In the 2023-24 season, Louis Langrée celebrates his final season with the Cincinnati Symphony Orchestra, where he has been Music Director since 2013, and will become Music Director Laureate at the conclusion of this season. He continues as Director of Théâtre national de l’Opéra-Comique in Paris, an appointment that began in November 2021. Langrée ended his 20-year tenure as Music Director of the Mostly Mozart Festival at Lincoln Center in the summer of 2023. Two of his Cincinnati recordings were Grammy nominated for Best Orchestral Performance: Transatlantic, with works by Varèse, Gershwin and Stravinsky; and Concertos for Orchestra, featuring world premieres by Sebastian Currier, Thierry Escaich and Zhou Tian. On stage, his Pelléas et Mélisande trilogy contrasted settings by Fauré, Debussy and Schoenberg. A multiseason Beethoven [R]evolution cycle paired the symphonies with world premieres, as well as recreation of the legendary 1808 Akademie. During the Covid pandemic, Langrée was a catalyst for the Orchestra’s return to the stage in the fall of 2020 with a series of digitally streamed concerts.

Between the start of his tenure and the conclusion of the CSO’s 2023–24 season, Langrée and the CSO will have commissioned 45 new orchestral works and he will have conducted 31 premieres from a wide range of composers, including Julia Adolphe, Daníel Bjarnason, Jennifer Higdon, Jonathan Bailey Holland, Kinds of Kings, David Lang, Missy Mazzoli, Nico Muhly, André Previn, Caroline Shaw and Julia Wolfe, and the world premiere of Christopher Rouse’s Symphony No. 6, Rouse’s final opus.

He has guest conducted the Berlin Philharmonic, Vienna Philharmonic, London Philharmonic, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, Budapest Festival Orchestra, NHK Symphony, Orchestre National de France and Leipzig Gewandhaus, as well as Orchestre des Champs-Elysées and Freiburg Baroque. He frequently conducts at the leading opera houses, including more than 50 performances at The Metropolitan Opera, and engagements with Vienna Staatsoper, Teatro alla Scala, Royal Opera House Covent Garden, Lyric Opera of Chicago and Bavarian Staatsoper, and at festivals including Glyndebourne, Aix-enProvence, BBC Proms, Edinburgh International and Hong Kong Arts.

A native of Alsace, France, he is a Chevalier de la Légion d’Honneur and Officier des Arts et des Lettres, and he is an Honorary Member of the Confrérie Saint-Étienne d’Alsace, an Alsatian winemakers’ brotherhood dating to the 14th century.

JOHN MORRIS RUSSELL

Cincinnati Pops Conductor

Louise Dieterle Nippert & Louis Nippert Chair

John Morris Russell’s embrace of America’s unique voice and musical stories has transformed how orchestral performances can connect and engage with audiences everywhere. In his 13th year with the Cincinnati Pops Orchestra, the wide range and diversity of his work as a conductor, collaborator and educator invigorates the musical scene in Cincinnati and beyond. Russell is Music Director of the Hilton Head Symphony Orchestra and the Hilton Head International Piano Competition, and he serves as Principal Pops Conductor of the Buffalo Philharmonic Orchestra, following in the footsteps of Marvin Hamlisch and Doc Severinsen. He served as Music Director of Ontario’s Windsor Symphony Orchestra from 2001 to 2012.

A popular guest conductor, Russell has worked with the leading North American orchestras, including the Los Angeles Philharmonic, Cleveland Orchestra, Chicago Symphony, Toronto Symphony and New York Philharmonic, the Boston Pops and the National Symphony.

For more than a decade, Russell has regularly led the National Orchestral Institute and Festival in College Park, Maryland, one of the nation’s premier training orchestras. Dedicated to sharing the American musical experience with the newest generation of players, he helped develop and conducted the LinkUP! educational concert series at Carnegie Hall and has piloted educational programs with the symphony orchestras of Cincinnati, Windsor and Hilton Head.

For over two decades, he has led the Cincinnati Symphony Orchestra’s wildly successful Classical Roots initiative honoring and celebrating Black musical excellence, which has garnered recordbreaking in-person and online audiences.

Russell’s seven recordings with the Cincinnati Pops Orchestra include 2023’s holiday album JOY! and the landmark recordings in the “American Originals Project”: American Originals (the music of Stephen Foster) and the Grammy-nominated American Originals 1918 (a tribute to the dawn of the jazz age).

John Morris Russell earned degrees from the University of Southern California and Williams College and has studied at the Guildhall School of Music and Drama in London, the Cleveland Institute of Music, the Aspen Music Festival in Colorado and the Pierre Monteux School for Conductors in Hancock, Maine.

©Chris Lee 2021

CLASSICAL ROOTS APR 19

JOHN MORRIS RUSSELL, conductor

Turn to p. 27 for a biography of Cincinnati Pops

Conductor John Morris Russell.

HI-TEK, producer & rapper

Firmly entrenched as one of urban music’s most dynamic, respected and prolifi c producers, Hi-Tek was a 2022 inductee to the Cincinnati Black Music Walk of Fame, joining fellow honorees Bootsy Collins, Dr. Charles Fold, Otis Williams and the Charms, and the Isley Brothers. Hi-Tek is the fi rst and only hip-hop artist among these musical icons.

Hi-Tek has produced material for 50 Cent, Dr. Dre, Snoop Dogg and Anderson .Paak, among others. The Cincinnati-based maestro created the sound that catapulted the independent New York rap renaissance into the mainstream in the late 1990s through his work with Mos Def and Talib

Kweli as Black Star (“Definition,” “Respiration”) and with Talib Kweli as one-half of the group Reflection Eternal (Fortified Live, The Blast).

During this time, Hi-Tek also landed prime placements on the Lyricist Lounge compilations (Talib Kweli’s “The Manifesto”), and the Soundbombing series of albums (Common and Sadat X’s “1-9-9-9”) soon followed. In the midst of releasing a string of acclaimed Hi-Teknology solo albums throughout the next decade, the Ohioan crafted some of the most soulful yet bone-crushing work of Game (“Runnin’”), 50 Cent (“Best Friend”), G-Unit (“Eye for Eye,” “G-Unit”) and Snoop Dogg (“I Believe in You”), while also delivering innovative R&B material for Jonell (“Round and Round,” “Don’t Stop”), Dion and others.

In the midst of this work, Hi-Tek became a staff producer for Dr. Dre’s Aftermath Entertainment. As Hi-Tek’s work in the studio progressed with Aftermath and other big-named artists, his biggest hit came from his collaboration with emerging rapper-singer-drummer Anderson .Paak. Hi-Tek produced his breakthrough single “Come Down,” which went gold and propelled .Paak’s Malibu LP to gold status, too. Additional work with Snoop Dogg, Lloyd Banks, D12, Xzibit, 213, Syleena Johnson, De La Soul and others soon followed.

CLASSICAL ROOTS COMMUNITY CHOIR

Jason Alexander Holmes, interim resident conductor

Jason Alexander Holmes is a music educator and performer from Ridgeway, Virginia, and currently serves as the Artistic Director of the Cincinnati Boychoir, the director of Cincinnati’s MLK Chorale, and the Associate Musician for Children and Youth at Christ Church Cathedral in Cincinnati. Before coming to Cincinnati, he was Director of Educational Programming at the Boston Children’s Chorus. Prior to his time in Boston, Jason taught music at the elementary and secondary levels. He also led the University of Rochester Gospel Choir and the Eastman Young Children’s Chorus. Jason holds degrees from the Eastman School of Music and Ithaca College, where his mentors and teachers included Drs. Susan Wharton Conkling, William Weinert and Susan Avery.

Choirs under Jason’s direction are consistently praised for their energetic, unified tone and

engaging performances. He is known for innovative programming that celebrates the cultural context while encouraging singers and audiences alike to stretch their awareness by living in many different musical worlds. Pedagogically, Jason is committed to implementing culturally responsive practices in music education. He has given workshops and conference sessions on this topic at professional development seminars, schools and conferences.  At the core of Jason’s teaching and performing is the belief that we are all expressive and musical beings who deserve to witness and participate regularly in moments of truth and beauty.

Jason was recently named May Festival Associate Director of Choruses and Director of the Youth Chorus; his tenure begins this summer.

Classical Roots Community Choir. For two decades, Classical Roots has been a Cincinnati community staple, and what started as a small concert series in 2001 has grown into a diverse community of music lovers, united in celebration of the rich legacy of African American music and the African American experience. At its center is the all-volunteer Classical Roots Community Choir, led by Interim Resident Conductor Jason Alexander Holmes and made up of singers from

more than 50 churches who perform in concerts and other collaborations throughout the year.

Community Choir Leaders this season are Jason Alexander Holmes, Interim Resident Conductor; Geneva Woode, Quinn Chapel AME Church; Marcellene Winfrey, Allen Temple AME Church; David Fowler, Church of the Resurrection

CLASSICAL ROOTS COMMUNITY CHOIR

Anita Anderson

Archie Armstrong

Clemmie Armstrong

Patty Bachman

Peggy Bell-Lohr

Cornelia Binford

Donita Binford

Yvonne Brantley

Rev. David J. Brentley

Deanna Brown

Coeany Bryant

Carol Cargile

Tristan Cargile

Carolyn Carter

Janet Carter

Ron Carter

Timothy Carter

Lenora Castleberry

Maia Chess

Robert Chess

Alynn Chezem

Brenda Clark

Charles Collins

Frank Collins

Betty Connors

Joyce Cooper

Cynthia Cummins

Carol Dantley

Carol DeGreg

June Eddings

Keith Edmondson

Praise Ekeng

Faith Fallings

Carol Fiel

Cassandra Fowler

Mary Franklin

Bernadine Franklin-Stokes

Marqueta Freeman

Amanda Gast

Tony Gast

Eudora Gause

Levi Gause

Zach Gause

Joy Gazaway

Linda Gentry

Janet Gibson*

Amber Greer

Brandon Hare

Ciara Harper*

Sonia Harper*

Jeannette Harrison

Natalie Hayes

Charity Hinton

Rosemary Holder

Crystal Holliday

Margaret Irons

Dawann Jackson

Trudy Jackson

Catholic Church; Adrian Cunningham, New Jerusalem Baptist Church; and Ron Logan, Lincoln Heights Missionary Baptist Church.

ASL INTERPRETERS

Karen Arnold Laverne Rutledge

Yvette Jackson

Dora Jefferson-Gaynor

Jacqueline Johnson

Jerome Johnson

Dante Keeling

Kai Lattimore

Juls Lawrence

Hattie Lawson

Kathye Lewis Norman

Robert Lomax

Hycinthe Marshall

Christina Mayrhofer

Dav’e McCoy

D McGruder

Barbara McMullen

Brenda McMullen

Jamaal McMullen

Carolyn Mitchell-O’Bryant

Khala Moss

Dawn Mundy

Margaret O’Leary

Tim Oliver

Shari Palmer

Gloria Parker-Martin

Mary Patton*

Bridalveil Powell

Brian Reilly

Bonnie Richardson

Deborah Riley

Anna Russell

Sherry Scott

Della Scott

Calvin Singleton

Eric Smith

Janene Sonnega

Mildred Stallworth

Stephanie Starkey

Lesa Stricklen

Pamela Suttles

Nikita Taggart

Anjela Turnbow

Enairs Turnbow

Debra Tyus

Miriam Valley

Noël Walton*

Willie Watkins

Yvonne Watkins

Jan Weiler

Donna Welch

Esther Williams

Rita Winters*

Donte Woods

Debra Woolfolk

as of March 8, 2024

*soloists

Classical Roots Community Choir singers represent the following area churches and choirs:

Abundant Life Apostolic Church

Allen Temple AME

Bethel AME Church Lockland

Bethel Baptist Church

Black Family Reunion Choir

Brown Chapel AME

Calvary Missionary Baptist Church

Canaan Early Church of God in Christ

Charles and the Charles Fold Singers

Christ Emmanuel Christian Fellowship

Christ the King Church

Church of the Resurrection

Cincinnati Bible Way Church

Cincinnati BoyChoir

City Gate Church

Clifton United Methodist Church

College Hill Presbyterian Church

Corinthian Baptist Church

Crossroads Community Church

Dominion Center Church for All Nations

Every Nation Cincinnati

First Baptist Walnut Hills

First Church of Christ Scientist Anderson Township

Heritage Universalist Unitarian Church

Anderson Township

Holy Name Church Auburn Ave

House of Hope

House of Joy

Lee Chapel AME

Life Spring Christian Church

Lincoln Heights Missionary Baptist Church

May Festival Chorus

Miriam Vocal Ensemble

MLK Coalition Chorale

Mt. Carmel Missionary Baptist Church

Mt. Zion Missionary Baptist Church (Glendale)

MUSE

Musica Sacra

New Covenant Community Church

New Jerusalem Apostolic Temple

New Jerusalem Baptist Church

New Mission Baptist Church

New Nazarene Baptist Church

New Prospect Baptist Church

New Vision United Methodist Church

Ninth Street Baptist Church Covington KY

Overflow Ministries Covenant Church

Phillipian Missionary Baptist Church

Power and Faith Ministries

Quinn Chapel AME

Revelation Missionary Baptist Church Mt. Healthy

Revive City Church

Rockdale Baptist Church

St John Fisher Catholic Church

St. Andrews Episcopal Church

The Way Community Church

The Well

Union Baptist Church

Willing Spirit Baptist Church

Young Professionals Choral Collective

Zion Baptist Church

as of March 8, 2024

LAUREN EYLISE, vocalist

Lauren Eylise staked her spot in the music industry with the release of her debut EP Life/Death/Life in 2017; however, music has been this singersongwriter’s heart and soul for as long as she can remember. Her genredefying music can only be accurately categorized as eclectic-soul, as an array of influences make up her sound while each song is born from lessons of the soul.

Eylise has opened stages for artists such as Patti LaBelle, Erykah Badu, Jidenna, Tank and The Bangas, Yasiin Bey, Talib Kweli, Train, John Legend, Matt Kearney, Raheem DeVaughn, Tank and others, and she has appeared as a front woman for P&G’s Secret Deodorant #AllStrengthNoSweat campaign, collaborated with Adobe Design for a livestreaming concert and has also been featured on NPR for her standout Tiny Desk Contest performance of her original song “Peaks & Valleys” from her most recent album release, This is Personal Lauren Eylise is the recipient of awards including City Beat’s Musician of the Year (2021) and Golden Donut Award’s Album of the Year and Song of the Year (2020). She is also a voting member of The Recording Academy.  Her most recent Tiny Desk Contest submission of her upcoming single “Rose Days” has already snagged highlight coverage from NPR, and she intends to release new music this summer. laureneylise.com

NOAH HAWES, narrator/rapper

Noah Hawes is an emcee, music producer and visual artist based in Cincinnati. He began his journey as a musical artist in the 10th grade by becoming a member of Elementz Hip Hop Cultural Arts Center. Some of his accomplishments include releasing four studio albums, performing with the Cincinnati Chamber Orchestra, creating artwork for Procter & Gamble, hosting a podcast on NPR and opening for acclaimed drummer and composer Mark Lomax, II. Listen to Noah’s newest EP, Uneasy Lies The Head noahhawesraps.com

ALAN B. JONES, narrator

Alan Bomar Jones is the producing artistic director for Town Hall Theatre, acting class instructor at Wright State University, a SAG/AFTRA film actor and a professional international Equity Theatre stage actor. As an award-winning musical theatre director, Jones has helmed more than 75 productions. As an actor, he has appeared in more than 85 professional productions, including nine of August Wilson’s 10-play cycle and a variety of musicals, dramas and comedies. He is a recipient of the Blackburn Award of Excellence for Best Actor, three years nominated for best supporting actor in Tampa Bay, Florida, and a recipient of two Pittsburgh Onyx Awards for Best Equity Actor sponsored by the African American Council of the Arts. His recent film credits include Criminal Activities, White Boy Rick, Native Son and Extremely Wicked, Shockingly Evil and Vile. Jones has worked with movie greats such as John Travolta, Jackie Earle Haley, Matthew McConaughey, Ashton Sanders, Nick Robinson, Jim Parsons, Lily Collins, Bill Camp, Eddie Marsan and Zac Efron.

YALIE SAWEDA KAMARA, Poet Laureate of Cincinnati

Yalie Saweda Kamara, Ph.D. is a Sierra LeoneanAmerican writer, educator and researcher from Oakland, California and the 2022–23 Cincinnati and Mercantile Library Poet Laureate (two-year term). She joined the English Department of Xavier University as an assistant professor in the fall of 2023.

Winner of the 2022–23 Jake Adam York Prize, Kamara’s debut full-length poetry collection, Besaydoo, will be published by Milkweed Editions in 2024. She is also the editor of the anthology What You Need to Know About Me: Young Writers on Their Experiences of Immigration (The Hawkins Project, 2022) and the author of A Brief Biography of My Name (Akashic Books/African Poetry Book Fund, 2018), which is part of the New-Generation African Poets: A Chapbook Box Set (Tano), and When the Living Sing (Ledge Mule Press, 2017).

She has received fellowships from the Vermont Studio Center, the National Book Critics Circle

©JP Leong

Emerging Critics Fellow and Callaloo (poetry) and is the winner of the 2023 Meridians Journal

Elizabeth Alexander Award for Poetry

In addition to being a featured poet at the 2020 Geraldine R. Dodge Poetry Festival, Kamara’s poetry, fiction, interviews and translations have either appeared or are forthcoming in The Adroit Journal, Callaloo, A Journal of African Diaspora Arts and Letters, Furious Flower: Seeding the Future of African American Poetry, Black Camera: An International Journal, Puerto del Sol and elsewhere

A Taft Dissertation Completion Fellow and Philanthropic Educational Organization Named Scholar, she received her doctorate in Creative Writing (poetry) and English Literature at the University of Cincinnati, and she earned an MFA in Creative Writing (poetry) from Indiana University and an MA in French Culture and Civilization from Middlebury College. yaylala.com

J.PERIOD, DJ/producer

J.PERIOD’s resume boasts collaborations with Grammy winners The Roots, Nas, Mary J. Blige, Busta Rhymes, Queen Latifah, Q-Tip, Common, Lauryn Hill, comedian Dave Chappelle and Pulitzer Prize-winning playwright Lin-Manuel Miranda on the Billboard No. 1 album, The Hamilton Mixtape

These collaborations, combined with a visionary approach to musical storytelling, have earned J.PERIOD comparisons to both DJ Khaled and Ken Burns, and prestigious cultural appointments at The Kennedy Center and Smithsonian National Museum of African American History and Culture (NMAAHC).

As a performer, J.PERIOD’s acclaimed “Live Mixtape” series has been featured at The Roots Picnic, Lincoln Center, Blue Note Jazz Festival, The Kennedy Center, Smithsonian NMAAHC, Brooklyn Academy of Music and Sony Hall, recording one-of-a-kind mixtapes live on stage with hip-hop legends including Black Thought, Rakim, Mos Def, Queen Latifah, Busta Rhymes, Rick Ross and others.

For more information about our guest artists, please text PROGRAM to 513.845.3024*.

*By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

Tell (Chapter One), broke new ground with its “musical storybook” format. J.PERIOD Presents Story to Tell (Chapter Two) is available now. jperiod.com

GABRIELLE WALKER, Youth Poet Laureate of Cincinnati

Gabrielle Walker is the 2023–24 Youth Poet Laureate of Cincinnati, selected by WordPlay Cincy. A current senior at The Seven Hills School, Walker is the city’s second Youth Poet Laureate, succeeding Rimel Kamran of Mason, Ohio, a rising freshman at The Ohio State University. Walker was selected by a committee of experts in the sectors of creative youth leadership; library sciences; literary arts; secondary, post-secondary and graduate education; and community arts.

Much of Walker’s work examines identity pertaining to her Cameroonian-American heritage, as well as the intersections of race, gender, nationality, ethnicity and class.

As a producer, J.PERIOD’s debut album, Story to

book by Doug Wright lyrics by Amanda Green music by Trey Anastasio & Amanda Green

©Richard Bord

Previously, Walker has also received awards in the statewide speed writing competition, “Power of the Pen,” and the National Scholastic Art and Writing Awards. This past summer, she received a national gold medal for her essay “How to Make Ends Meet: Metamorphosis and Safeguarding Tradition in Jamaica Kincaid’s ‘Girl.’”

THE NOUVEAU PROGRAM

Marion Peraza, Artistic Advisor and Coach

The Nouveau Program supports increased participation in classical music by African American and Latine student musicians by providing equitable opportunities for music study and performance. The Nouveau Program includes several groups, and students must audition to participate. Nouveau members receive weekly chamber coaching, perform throughout the season, and participate in ageappropriate workshops and activities. Nouveau ensembles include Novice, Apprentice, Chamber Players and Winds. The Nouveau Program is supported by the D’Addario Foundation; the CSO’s Multicultural Awareness Council; Queen City (OH) Chapter of The Links, Incorporated; PricewaterhouseCoopers; and The Wohlgemuth Herschede Foundation

Violinist and Nouveau Program coach Marion Peraza began her musical career as a member of Venezuela’s Youth Orchestra System, El Sistema. As a member of the Simón Bolívar Symphony Orchestra, she toured Japan, France, Spain, Mexico, Colombia and Brazil, among others, and performed on seven recordings. She owns the Peraza Music Workshop (PMW), where she teaches private violin lessons, coaches awardwinning chamber ensembles and offers theory classes. The PMW is a Founding School of the Carnegie Hall Royal Conservatory Achievement Program. As a guest teacher/clinician, she has taught at the Western Springs Suzuki Talent Education and Elmhurst College in Chicago, the University of Vermont, University of Louisville, University of Southern Maine, Bermuda Music School, Conservatorio de Bogotá and Simón Bolívar Conservatory in Venezuela. Peraza is also the director and founder of the Encore Advanced Chamber Orchestra, a summer program at the University of Cincinnati College-Conservatory of

Music. Her principal teachers are José Francisco Del Castillo (Simón Bolívar Conservatory),

Margaret Pardee (Juilliard School), the Tokyo Quartet and the Vermeer Quartet. Peraza will join the string faculty at Miami University in 2023 teaching violin and viola.

MEMBERS OF THE NOUVEAU PROGRAM

Violin I

Nicole Heinz Urgilez

Aurora Henry-Jones

Alyssa Lehmann

Sarah Perpignan

Violin II

Carmen DeAtley-Rosales

Julia Lancman

Cecilia Lehmann

Grace Oyediran

Viola

Christina Lehmann

Trinity Thrasher

Kasinda Willingham

Cello Caleb Griffin

Shaylin King

Dominic Lehmann

Nathan Lehmann

John Opalinski

Jayden Thrasher

Kallea Willingham

Bass

Matteo Meli

CSO APR 20 & 21: Hadelich & Holland

LOUIS LANGRÉE, conductor

Turn to p. 27 for a biography of CSO Music Director Louis Langrée.

AUGUSTIN HADELICH, violin

Known for his phenomenal technique, insightful and persuasive interpretations, and ravishing tone, Augustin Hadelich opened the 2023–24 season with summer festival concerts at the BBC Proms, as well as in Aspen, La Jolla, Verbier, Tsinandali, Bucharest and Salzburg, and his residency at the Konzerthaus Berlin. Hadelich performed the German premiere of Donnacha Dennehy’s Violin Concerto, composed for him, together with the Konzerthausorchester Berlin as part of Musikfest Berlin. Other appearances this season include the Orchestre National de France and the Czech Philharmonic Orchestra; debuts with Staatskapelle Dresden, Orchestra dell’ Accademia Nazionale di Santa

Cecilia, Tonhalle-Orchester Zürich and the NDR Radiophilharmonie; and further appearances with prominent orchestras of Europe, North America and Asia. He also gives solo recitals in Italy, Germany and the U.S.

Hadelich’s catalogue of recordings covers a wide range of the violin literature. In 2016, he received a “Best Classical Instrumental Solo” Grammy for his recording of Dutilleux’s L’Arbre des songes. His recordings for Warner Classics, for

whom he is an exclusive artist, include Paganini’s 24 Caprices, the Brahms and Ligeti concertos, the Opus Klassik Award-winning Bohemian Tales with Dvořák’s violin concerto, the Grammy-nominated Bach’s Sonatas and Partitas, and his most recent album, Recuerdos, featuring works by Britten, Prokofiev and Sarasate.

A dual American-German citizen born in Italy to German parents, Hadelich studied with Joel Smirnoff at The Juilliard School. He achieved a major career breakthrough in 2006 by winning the International Violin Competition in Indianapolis. His accomplishments continued with the prestigious Avery Fisher Career Grant in 2009, a Borletti-Buitoni Trust Fellowship in 2011, an honorary doctorate from the University of Exeter (UK) in 2017, and being named Instrumentalist of the Year by Musical America in 2018.

In 2021, Augustin Hadelich was appointed Professor in the Practice of Violin to the faculty of the Yale School of Music. He plays a violin by Giuseppe Guarneri del Gesù from 1744, known as “Leduc, ex Szeryng,” on loan from the Tarisio Trust. augustinhadelich.com

CSO APR 26 & 27: Dvořák Symphony No. 8

KATHARINA WINCOR, conductor

Austrian conductor

Katharina Wincor is a force on the podium and quickly establishing an international reputation.

In the 2023–24 season, she returns to Museumsorchester Frankfurt, Dresdner Philharmonie, Cincinnati Symphony Orchestra, Klangforum Wien, Ensemble Reflektor and OFUNAM. Debuts include WDR Sinfonieorchester, Staatsorchester Darmstadt, NFM Wrocław Philharmonic, BBC Symphony, Tucson Symphony, Sarasota Orchestra, Queensland Symphony and Yomiuri Nippon Symphony.

Recent highlights include guest engagements with ensembles such as Deutsches SymphonieOrchester Berlin, Bruckner Orchester Linz, Grazer Philharmoniker, Seattle Symphony, Detroit Symphony, Vancouver Symphony, Naples Philharmonic, North Carolina Symphony and Utah Symphony.

Wincor’s early experiences with the Arnold Schoenberg Choir in Vienna make working with singers come naturally. Since leading

©Andrej Grilc

©Suxiao Yang

Bernstein’s Candide at the Cincinnati May Festival in 2022, she has conducted a production at the Salzburger Landestheater and a children’s opera at the Salzburg Festival.

Wincor attracted international attention as Assistant Conductor of the Dallas Symphony Orchestra, working with Music Director Fabio Luisi. In 2020, she was a prize winner at the Mahler Competition in Bamberg and invited to the Royal Concertgebouw Orchestra’s Ammodo masterclass with Iván Fischer, who subsequently brought her on as an assistant for several projects with the Budapest Festival Orchestra.

Having grown up in Upper Austria, Wincor studied conducting at the University of Music and Performing Arts Vienna and the Zurich University of the Arts. She has participated in masterclasses with Riccardo Muti, Jaap van Zweden, Robert Spano and David Zinman.

SHEKU KANNEH-MASON, cello 2024 MAC Music Innovator

After winning the BBC Young Musician competition in 2016, cellist Sheku KannehMason’s performance at the wedding of the Duke and Duchess of Sussex at Windsor Castle in 2018 was watched by two billion people worldwide.

Highlights of the 2023–24 season include the Last Night of the Proms with the BBC Symphony and Marin Alsop, as well as performances with the Los Angeles Philharmonic, Orchestre de Paris, Orquesta Nacional de España, National Symphony Orchestra of Ireland, Oslo Philharmonic, Chicago Symphony, Gävle Symphony, Royal Liverpool Philharmonic, Royal Philharmonic on tour in Germany, Cincinnati Symphony Orchestra, New York Philharmonic, Detroit Symphony and San Francisco Symphony. With his sister, Isata, he appears in recital in Japan, Singapore and South Korea, in addition to an extensive European recital tour. Kanneh-Mason will also perform a series of duo recitals with guitarist Plínio Fernandes, as well as continuing his solo cello recital tour in the U.S. and Canada. He returns to Antigua, where he has family connections, as an ambassador for the Antigua and Barbuda Youth Symphony Orchestra.

A Decca Classics recording artist, his 2022 album Song showcases his innately lyrical playing in a range of arrangements and collaborations. His 2020 album Elgar reached No. 8 in the overall Official UK Album Chart, making him the first-ever cellist to reach the UK Top 10.

Kanneh-Mason is a graduate of London’s Royal Academy of Music, where he studied with Hannah Roberts and, in 2022, was appointed as the Academy’s first Menuhin Visiting Professor of Performance Mentoring. He is an ambassador for the Juvenile Diabetes Research Foundation, Future Talent and Music Masters. Kanneh-Mason was appointed a Member of the Most Excellent Order of the British Empire (MBE) in the 2020 New Year’s Honours List.

Sheku Kanneh-Mason appears by arrangement with Enticott Music Management; he records exclusively for Decca Classics. He plays a Matteo Goffriller cello from 1700, which is on indefinite loan to him. shekukannehmason.com

CSYO APR 28: 2 pm, Concert Orchestra, “Walkabouts” | 7 pm, Philharmonic Orchestra, “Spartacus”

FELIPE MORALES-TORRES, CSYO Concert Orchestra conductor (2 pm)

Felipe Morales-Torres is an award-winning conductor and educator with a passion for inspiring the next generation of musicians. In addition to his role as Conductor of the CSYO Concert Orchestra, Morales is the Assistant Director and Program Manager with the Bornoff Foundation for the Advancement of String Education (FASE) and previously served as Orchestra Director for Anderson High School and Winton Woods City Schools. He is also an active guest conductor and clinician for student orchestras in the U.S. and Latin America, traveling to Costa Rica each summer to teach and conduct for the Foundation for the Advancement of Strings Education (FASE). He was a recent guest of the National Symphony Orchestra of Chile, where he conducted and studied alongside its director, Leonid Grin.

As a Latin-American teaching artist, Morales is driven to engage diverse student musicians and to make quality opportunities accessible to them. He has played a part in several community music programs, including the Louisville Youth Orchestra and the Dayton Philharmonic’s Q The Music, an El Sistema-inspired outreach program.

Morales started his musical life as a violist, and later pursued bassoon studies as an undergraduate at the University of Cincinnati College-Conservatory of Music. In 2019, he completed a master’s degree in Music Education and Orchestral Conducting, earning the University’s Excellence in Teaching Award for his work with undergraduate music education majors.

©Ollie Ali

SAMUEL LEE, conductor, CSYO Philharmonic Orchestra conductor (7 pm)

Samuel Lee, first prize winner of the BMI International Conducting Competition in Bucharest and the International Conducting Competition in Taipei, was appointed Assistant Conductor of the Cincinnati Symphony Orchestra, beginning in the 2022–23 season, and was promoted to Associate Conductor in August 2023.

In addition to several recent guest conducting engagements throughout Europe and Asia, Lee was also a Conducting Fellow with the Cabrillo Festival of Contemporary Music in 2021 and 2022, where he worked with conductors Cristian Măcelaru, Yannick Nézet-Séguin, Octavio MásArocas and Marin Alsop.

Since 2016 Samuel Lee has been the chief conductor of the C.P.E. Bach Musikgymnasium orchestra Berlin. He and the orchestra have been regularly invited to the Berlin Philharmonie and Konzerthaus Berlin for subscription concerts. He also served as a viola professor at Hochschule für

Musik und Theater “Felix Mendelssohn-Bartholdy” in Leipzig, Germany until 2022.

As a violist, Lee was invited to perform with orchestras throughout Europe and Asia. From 2009 until 2017, he was the violist of Novus String Quartet, and he was the second prize winner of the 61st International Music Competition of ARD Munich and first prize winner of the Salzburg International Mozart Competition.

Lee is an alumnus of Hochschule für Musik “Hanns Eisler” Berlin, where he studied viola with Prof. Tabea Zimmermann (BM, MM, Konzertexamen), and orchestral conducting with Prof. Christian Ehwald (BM, MM). Lee completed Konzertexamen in orchestral conducting from Hochschule für Musik und Theater Hamburg (Prof. Ulrich Windfuhr).

VIVIAN CHANG, violin

Vivian Chang, age 16, is a junior at William Mason High School. Since the age of four, she has been studying violin with Hong Cheng. Chang has served in the leadership roles of concertmaster, soloist and section principal in the Cincinnati Symphony Youth Orchestras, her school orchestra and in OMEA’s regional and all-state orchestras. In the summer of 2023, Chang joined Carnegie Hall’s National Youth Orchestra NYO2 and took part in NYO2’s international debut in the Dominican Republic.

Chang’s accomplishments in young artist and concerto competitions have earned featured soloist opportunities in public concerts with the Dayton Philharmonic, Louisville Orchestra, Blue Ash and Montgomery Symphony Orchestra, Mason Symphony Orchestra and Cincinnati Symphony Youth Orchestra. In the American Protégé International Concerto Competition, Chang won first place and the Judges’ Distinction Award. She is also the 2023 state winner of the MTNA Senior Strings competition, 2022 winner of the Senior Strings Division in the Fiorito International Music Festival, three-time state winner of the OMTA Buckeye Auditions, top prize winner of the 2022 Maestro of Tomorrow Competition by Cincinnati Public Radio, and 2021 winner of the Young Talent Search by Dayton Public Radio Discover Classical.

In 2023, for her achievement and services in bettering the community with her talent, Chang was recognized as a Congressional Award gold medalist, Congress’ highest honor for American youth.

CSO MAY 3 & 4: Beethoven 7 & Dessner Premieres

LOUIS LANGRÉE, conductor

Turn to p. 27 for a biography of CSO Music Director Louis Langrée.

ALICE SARA OTT, piano

One of classical music’s most creative minds, in the 2023–24 season Alice Sara Ott appears as Artistin-Residence at London’s Southbank Centre and Paris’ Radio France; gives the worldwide premieres of a new piano concerto composed for her by Bryce Dessner (with Tonhalle-Orchester Zürich, Philharmonia Orchestra, Orchestre Philharmonique de Radio France, Munich Philharmonic and Deutsches Sinfonieorchester Berlin, in addition to this weekend’s Cincinnati Symphony Orchestra concerts); embarks upon an extensive Asia tour with her project Echoes of Life; and releases two major new albums on Deutsche Grammophon (Beethoven and Echoes of Life Deluxe, a follow-up to Echoes of Life, Ott’s widely successful 10th album), for whom she is an exclusive recording artist.

2023–24 also sees Alice Sara Ott on tour with the London Symphony Orchestra and Sir Antonio Pappano and the City of Birmingham Symphony Orchestra and Kazuki Yamada. She debuts with the New York Philharmonic performing Ravel’s G Major Concerto with Karina Canellakis conducting.

Ott’s Echoes of Life project is built around Chopin’s Preludes, Op. 28 and features works from the likes of Chilly Gonzales, Francesco Tristano, Arvo Pärt and György Ligeti. A digital video installation accompanying the recital takes the audience on their own virtual journey to create a unique concert experience.

Her Beethoven album project, with Karina Canellakis and Netherlands Radio Philharmonic Orchestra, was born as a collaboration with Apple Music, with the album released exclusively upon launch of the new Apple Music Classical app.

Ott also expresses her creativity through design and brand partnerships beyond classical music. She was personally requested to design a line of high-end leather bags for JOST, has been global brand ambassador for Technics, and has collaborated with luxury brands Chaumet (part of LVMH group) and Wempe. alicesaraott.com

CSO MAY 10–12: Louis’ Grand Finale

LOUIS LANGRÉE, conductor

Turn to p. 27 for a biography of CSO Music Director Louis Langrée.

LATONIA MOORE, soprano

Considered one of the greatest sopranos in the world today, Latonia Moore opened the 2023–24 season of the Metropolitan Opera as Sister Rose in Dead Man Walking. During the 2023–24 season she sings Mefistofele at Teatro Lirico di Cagliari, reprises Billie in Fire Shut Up in My Bones at the Met and sings Verdi’s Requiem with BBC.

She opened the 2021–22 Metropolitan Opera season as Billie in the New York premiere of Terence Blanchard’s Fire Shut Up in My Bones, a role she reprised for her debut at Lyric Opera of Chicago.

Internationally acclaimed for her Aida, she performed this role for her debut with LA Opera. She performed Emelda Griffith in the New York premiere of Blanchard’s Champion. Additional operatic highlights include appearances as CioCio-San in Madama Butterfly at the Metropolitan Opera; Liù in Turandot at Royal Opera Covent Garden; the title role in Tosca and Elisabeth in Don Carlo with Opera Australia; Tosca with Washington National Opera; Cio-Cio-San and Mimi in La bohème with Semperoper Dresden; Cio-Cio-San at the Hamburg State Opera; Micaëla in Carmen; Liù, Elvira in Ernani and Lucrezia in I dueFoscari in Bilbao; Desdemona in Otello at Bergen National Opera; Serena in Porgy andBess at both English National Opera and Dutch National Opera; and an appearance on the 50th Anniversary Gala of the Metropolitan Opera.

Orchestral highlights include the role of Lady Macbeth in a recording of Macbeth with Edward Gardner (Chandos) and of Mahler’s Symphony No. 2with the Vienna Philharmonic and Gilbert Kaplan (Deutsche Grammophon), as well as performances as Vivetta in L’arlesiana and Fidelia in Edgar with the Opera Orchestra of New York at Carnegie Hall and as Bess in Porgy and Bess with the Berlin Philharmonic Orchestra conducted by Sir Simon Rattle.

FOR MORE INFORMATION about our guest artists, please text PROGRAM to 513.845.3024*.

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©Pascal Albandopulos

Support is always a good IDEA.

The Cincinnati Symphony Orchestra’s Fifth Third Foundation IDEA Series highlights three Orchestra initiatives that promote Inclusion, Diversity, Equity and Access.

We are proud to support the CSO in celebrating Black and African American artistry and creating programming with authentic representation.

CLASSICAL ROOTS | 2023–24 SEASON

FRI APR 19, 7:30 pm Music Hall

JOHN MORRIS RUSSELL, conductor

HI-TEK, producer & rapper

CLASSICAL ROOTS COMMUNITY CHOIR, Jason Alexander Holmes, interim resident conductor

VERONDA “VEE” GIBSON, CIARA HARPER, SONIA HARPER, MARY PATTON, NOËL WALTON and RITA WINTERS, chorus soloists

MEMBERS OF THE NOUVEAU PROGRAM, Marion Peraza, artistic advisor and coach

LAUREN EYLISE, vocalist

NOAH HAWES, narrator/rapper

ALAN B. JONES, narrator

YALIE SAWEDA KAMARA, Poet Laureate of Cincinnati

J.PERIOD, DJ/producer

GABRIELLE WALKER, Youth Poet Laureate of Cincinnati

Excerpt from Ode to Ethiopia

Finale from Symphony No. 1, Afro-American Symphony

Lift Ev’ry Voice and Sing (Text on p. 43)

Original Poem by the Poet Laureate of Cincinnati

The Word Was God

Paul Lawrence Dunbar

William Grant Still

James Weldon Johnson

Yalie Saweda Kamara

Rosephanye Powell

“Military March” from Othello Suite Samuel Coleridge-Taylor, text: John Mercer Langston

The Weary Blues

Original Poem by the Youth Poet Laureate of Cincinnati

“Cumbia y Congo” from Danzas de Panama

Joyful, Joyful We Adore Thee

INTERMISSION

Langston Hughes

Gabrielle Walker

William Grant Still

Ludwig van Beethoven

The CSO is grateful to IDEA Series Sponsor Fifth Third Foundation, Artist Series Sponsor The Lazarow Schwartz Family Fund and Performance Sponsor JRH Consultants Digital Access Partner: CVG Airport Authority

The Classical Roots concert was made possible by the National Endowment for the Arts and the Louise H. and David S. Ingalls Foundation, Inc.

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust

Steinway Pianos, courtesy of Willis Music, is the official piano of the Cincinnati Symphony Orchestra and Cincinnati Pops.

Listen to selections from this program on 90.9 WGUC June 16, 2024 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

The Lazarow Schwartz Family Fund JRH Consultants

Louise H. and David S. Ingalls Foundation, Inc.

Psalm 8

Selections with Hi-Tek:

Respiration/The Sun God/Round and Round Music for Life Move Something/The Blast/Come Down

“The Color Purple” from The Color Purple Revival *

Program subject to change

Richard Smallwood, arr. Panion

Various, orch. Derrick Hodge

NOTE: Portions of this performance include adult themes and language.

For more information about this program, please text PROGRAM to 513.845.3024*.

*By texting to this number, you may receive messages that pertain to the organization and its performances; msg & data rates may apply. Reply HELP to help, STOP to cancel.

Brenda Russell

*The Color Purple Revival is presented through special arrangement with and all authorized performance materials are supplied by Theatrical Rights Worldwide 1180 Avenue of the Americas, Suite 640, New York, NY 10036. www.theatricalrights.com

LIFT EV’RY VOICE AND SING

Lift ev’ry voice and sing, ‘Til earth and heaven ring,

Ring with the harmonies of Liberty;

Let our rejoicing rise

High as the listening skies,

Let it resound loud as the rolling sea.

Sing a song full of the faith that the dark past has taught us,

Sing a song full of the hope that the present has brought us;

Facing the rising sun of our new day begun,

Let us march on ‘til victory is won.

FORT WASHINGTON INVESTMENT ADVISORS PROUD PARTNER OF THE CINCINNATI SYMPHONY ORCHESTRA

Fort Washington Investment Advisors, Inc., a member of Western & Southern Financial Group, is honored to help advance the Cincinnati Symphony Orchestra’s mission to seek and share inspiration.

Learn how we can work together. fortwashington.com

HADELICH & HOLLAND | 2023–24 SEASON

SAT APR 20, 7:30 pm SUN APR 21, 2 pm Music Hall

LOUIS LANGRÉE, conductor AUGUSTIN HADELICH, violin

Jonathan Bailey

Assemble CSO CO-COMMISSION HOLLAND (b. 1974)

Arnold SCHOENBERG Verklärte Nacht (“Transfigured Night”), Op. 4 (1874–1951)

INTERMISSION

Johannes BRAHMS

Concerto in D Major for Violin and Orchestra, Op. 77 (1833–1897)

Allegro non troppo

Adagio

Allegro giocoso, ma non troppo vivace. Poco più presto

These performances are approximately 125 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group, Presenting Sponsor Cincinnati Symphony Club and Concert Sponsor

Johnson Investment Counsel

The Cincinnati Symphony Orchestra co-commissioned, CSO premiere of Assemble by Jonathan Bailey Holland is made possible by a generous gift from Melinda and Irwin Simon

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson

WGUC is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust

Listen to selections from this program on 90.9 WGUC May 19, 2024 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

Composed: 2024

Premiere: April 12–14, 2024, Louis Langrée conducting the Los Angeles Philharmonic (cocommissioner).

Instrumentation: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 3 bassoons (incl. contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, claves, quad toms, sandpaper blocks, snare drum, 2 suspended cymbals, tam-tam, vibraphone, wind chimes, wood block, harp, strings CSO notable performances: First: These are the first CSO performances of Assemble

Duration: approx. 13 minutes

JONATHAN BAILEY HOLLAND

Born: February 27, 1974, Flint, Michigan

Assemble CSO CO-COMMISSION

Assemble is composer Jonathan Bailey Holland’s seventh work commissioned by the Cincinnati Symphony Orchestra, where he served as composer-in-residence during the 2018–19 season. His commissions and performances have also included the orchestras of Atlanta, Baltimore, BBC, Detroit, Indianapolis, Kalamazoo, Los Angeles, Minnesota, Philadelphia, San Antonio and South Bend, and the New World Symphony, among others, as well as the Abeo Quartet, Da Capo Chamber Players, der/gelbe/klang, Left Coast Chamber Ensemble, Network for New Music, Present Music, Radius Ensemble, Plymouth Music Series and more.

He is currently the dean of the Henry and Leigh Bienen School of Music, as well as the Kay Davis Professor of Music, at Northwestern University. A recipient of a Guggenheim Foundation Fellowship, Holland has been awarded the Fromm Commission from the Fromm Foundation at Harvard University, a Massachusetts Cultural Council Artist Fellowship, a Brother Thomas Award and a Live Arts Boston grant from the Boston Foundation, among other honors and awards. His work can be heard on recordings by the Cincinnati Symphony Orchestra (American Portraits, Paavo Järvi conducting), University of Texas Trombone Choir, Radius Ensemble and Transient Canvas, as well as pianist Sarah Bob and flutist Christopher Chaffee.

Holland holds a Bachelor of Music degree from Curtis Institute of Music, where he studied composition with Ned Rorem, and a PhD from Harvard University, where he studied with Bernard Rands, Mario Davidovsky, Andrew Imbrie and Yehudi Wyner.

Holland writes the following about Assemble:

Rhythm, harmony and melody are basic musical building blocks. These elements are often interwoven to create a layered musical landscape. In this work, each of these elements is introduced individually, one emerging from the energy produced by the one before. By the end you will have heard the rhythm, harmony and melody separately, but you will have also heard the piece in its entirety through the presentation of the individual parts…which are, of course, interdependent, and not always easy to separate.

ARNOLD SCHOENBERG

Born: September 13, 1874, Vienna, Austria

Died: July 13, 1951, Brentwood, California

Verklärte Nacht (“Transfigured Night”), Op. 4

At the age of 16, in 1890, Arnold Schoenberg decided to become a professional musician, having already dabbled in composition, taught himself to play the violin and cello, and participated in some chamber music concerts with friends. His father’s death in 1889 had thrown him into rather serious financial distress, however, and he had to scratch out a livelihood after leaving school in 1891 by working in a bank and conducting local choruses and theater orchestras for a few schillings per performance. In 1893, he met Alexander Zemlinsky, who had already established a

Jonathan Bailey Holland

Viennese reputation as a composer, conductor and teacher though he was only two years Schoenberg’s senior. Schoenberg showed his new friend some of his manuscripts and Zemlinsky was so impressed with his talent that he offered to take him on as a counterpoint student (this instruction turned out to be Schoenberg’s only formal study) and secured him a position in the cello section of the Polyhymnia Orchestra to help earn a little money. Zemlinsky assumed the role of guardian to Schoenberg, introducing the young musician to his circle of professional colleagues and constantly offering advice and encouragement. In 1901, Schoenberg married Zemlinsky’s sister, Mathilde.

During the summer of 1899, Schoenberg and Zemlinsky were on holiday in the mountain village of Payerbach, south of Vienna, and it was there that Schoenberg began a work for string sextet based on a poem by Richard Dehmel: Verklärte Nacht (“Transfigured Night”), which had appeared three years earlier in a collection called Weib und Welt (“Woman and World”). (Schoenberg was familiar with Dehmel’s work by at least 1897, when he set several of the poet’s verses.) Dehmel was one of the most distinguished German poets of the day, whose verses bridged the sensuous Impressionism of the preceding generation and the intense spirituality of encroaching Expressionism. Verklärte Nacht matches well the Viennese fin-de-siècle temperament, when Sigmund Freud was intellectualizing sex with his systematic explorations into the subconscious and Gustav Klimt was painting full-length portraits of his female subjects as he imagined they would look totally nude before applying layers of elaborate, gold-flecked costumes to finish the canvas. The following translated excerpt from Dehmel’s poem appears in Schoenberg’s printed score:

Two people walk through the bare, cold woods; the moon runs along, they gaze at it. The moon runs over tall oaks, no cloudlet dulls the heavenly light into which the black peaks reach. A woman’s voice speaks:

“I bear a child, but not by you. I walk in sin alongside you. I sinned against myself mightily. I believed no longer in good fortune but still had mighty longing for a full life, mother’s joy and duty; then I grew shameless, then horror-stricken, I let my sex be taken by a stranger and even blessed myself for it. Now life has taken its revenge: Now I have met you, you.”

She walks with clumsy gait. She gazes upward; the moon runs along. Her somber glance drowns in the light. A man’s voice speaks:

“The child that you conceived be to your soul no burden. Oh look, how clear the universe glitters! There is a glory around All, you drift with me on a cold sea, but a peculiar warmth sparkles from you in me, from me in you. It will transfigure the strange child you will bear for me, from me; you brought the glory into me, you made myself into a child.”

He holds her around her strong hips. Their breath kisses in the air. Two people walk through the high, light night.

Schoenberg glossed this richly emotional poem with music influenced by Wagner’s lush Tristan chromaticism, the intellectual rigor of Brahms, and the intense expression of Romanticism to create a vast onemovement work for strings that is virtually a programmatic tone poem.

—Richard E. Rodda

Schoenberg

Composed: Written for string sextet in 1899; scored for string orchestra in 1917, revised in 1943.

Premiere: Sextet premiered March 15, 1902 in Vienna; orchestral version premiered on June 3, 1919 in Vienna, conducted by the composer.

Instrumentation: strings

CSO notable performances: First: March 1923, Fritz Reiner conducting. Most Recent: February 2013, Pinchas Zukerman conducting.

Duration: approx. 32 minutes

Arnold

JOHANNES BRAHMS

Born: May 7, 1833, Hamburg, Germany

Died: April 3, 1897, Vienna, Austria

Concerto in D Major for Violin and Orchestra, Op. 77

In retrospect, it seems inevitable that Johannes Brahms would compose and dedicate a violin concerto to his dear friend and colleague Joseph Joachim. Joachim was one of the most outstanding violinists of the 19th century, having first earned accolades from critics with performances of concertos under the baton of the famous composer Felix Mendelssohn.

Brahms began writing his Violin Concerto in the summer of 1878. By this time, he was one of the most important composers in Europe, having garnered considerable acclaim with his A German Requiem. Much of the history of the concerto, particularly details about the creation of its solo violin part, is documented by an unusually large number of detailed sources. These include letters between Brahms and Joachim, as well as Brahms’ manuscript of the score, which is now owned by the Library of Congress. This manuscript is mainly in Brahms’ handwriting, but it also includes suggestions by Joachim, some of which were written in a color of ink that differed from Brahms’ notations.

The solo violin part is known for its great technical difficulty. Brahms was very aware that it would challenge many players, and he asked Joachim to point out passages that were “difficult, awkward, impossible” to play. Joachim not only identified such phrases, he also wrote out alternate ones. Brahms incorporated some of these ideas into his work, but not all of them. It seems that he simply wanted to see options for specific passages and to reassure himself that his own ideas best suited the work. In addition to assisting Brahms with various matters in the main sections of each movement, Joachim created the cadenza that is performed toward the end of the first movement. This showpiece, which is usually played in performances today, perfectly matches the virtuosity of the rest of the movement and complements the movement’s formal features, including its development of the main themes.

Joachim pushed Brahms to finish the concerto in time to premiere it on January 1, 1879 with the Leipzig Gewandhaus Orchestra. He played the violin solo while Brahms conducted. But neither man gave his best performance, the audience was not impressed, and both men realized that the work needed further revisions. In particular, Brahms reduced the sound of the orchestra so that it did not overwhelm the soloist. Joachim immediately scheduled other performances, and by April 1879 he had presented the work in London, Vienna, Budapest and Cologne, thus establishing it as “his” concerto.

Although Brahms had thought of creating four movements for the concerto, he settled on the customary three. The first is characterized by numerous contrasting moods. For instance, the first section played by the orchestra opens with a soft, enchanting melody played by the horn and oboe, but it closes with bold march-like phrases. The violin then makes its first appearance, immediately establishing its dominance with furious crossing of the strings and fast, wide-ranging scales. One of the most beautiful, tender moments occurs toward the end of the movement, after the cadenza, when the solo violin and oboe quietly recall the first theme. The oboe also plays the opening melody of the

Composed: 1878

Premiere: January 1, 1879 in Leipzig, with the composer conducting and Joseph Joachim, violin

Instrumentation: solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, strings

CSO notable performances: First: January 1900, Frank Van der Stucken conducting; Leonora Jackson, violin. Most Recent: May 2018, Louis Langrée conducting; James Ehnes, violin.

Notable Violinists: Fritz Kreisler (1908, 1912, 1915, 1944), Jascha Heifetz (1930, 1934, 1938, 1947, 1956), Isaac Stern (1949, 1962, 1969), Midori (1989), Itzhak Perlman (1992), Jennifer Koh (1998), Joshua Bell (2002), Gil Shaham (2006, 2013), Christian Tetzlaff (2009).

Duration: approx. 38 minutes

Johannes Brahms

For more information about this program, please text PROGRAM to 513.845.3024*.

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slow second movement, but here it is accompanied by the horn and the other winds. Whereas the solo violin enters with an energetic solo in the first movement, in the second it takes up the oboe’s melody, gently ornamenting it in a lyrical, touching rhapsody. Despite the dazzling virtuosity of the outer movements, early commentators, including those who had heard the London premiere, drew attention to the beauty of this movement, suggesting it would be the most popular of the three.

The lively finale greatly pleased the first audience in Leipzig. Its fiery, dance-like Hungarian style is another homage to Joachim, whose family was Hungarian. Joachim used the same style in the finale to his Second Violin Concerto (1857), which he both dedicated to Brahms and played under Brahms’ baton. In contrast to many other 19th-century concertos that are characterized by shows of flashy but meaningless virtuosity, Brahms’ and Joachim’s concertos are characterized by a type of structural integrity and gravitas inspired by the piano and violin concertos of Beethoven, and it is this characteristic that has ensured the continued success of Brahms’ concerto.

—Heather Platt, Sursa Distinguished Professor of Fine Arts

WELCOME TO APR–MAY GROUPS! (as of February 23, 2024)

Classical Roots: Apr. 19

Baldwin Grove

Kennedy Heights Presbyterian Church

Lincoln Cincinnati Recreation Center

Lincoln Heights Missionary Baptist Church

Mt. Zion Baptist Church

New Jerusalem Baptist Church

New Vision United Methodist Church

Queen City (OH) Chapter of The Links, Incorporated

Ms. Rochelle Sandidge

The Greater New Hope Missionary Baptist Church

Thelma Thomas

Zion Baptist

CSO Hadelich & Holland: Apr. 21

Seasons Retirement Community

CSO Dvořák Symphony No. 8: Apr. 26–27

Alleghany High School

Central High School

EKU Model Laboratory Schools

Gahanna Lincoln High School

CSO Beethoven 7 & Dessner Premieres:

May 3–4

Alyssa Allen

Barrington of Oakley

Christian Village at Mason

Cincinnati Country Day School

Maple Knoll Village

George and Margaret McLane Foundation

Otterbein Retirement Community

Peebles High School

The Kenwood by Senior Star

The Knolls of Oxford

Twin Lakes at Montgomery

CSO Louis’ Grand Finale: May 10–12

Alliance Française

Charles Schwab

George Rogers Clark High School

Bob Rogers Travel

Seasons Retirement Community

ENJOY THE MUSIC, TOGETHER!

• Groups of 10+ save 20% on most concerts and seniors and students save even more!

• Curate your own event with a private reception, guided tour or meet and greet— the possibilities are endless.

Contact

CSO Group Sales: 513.744.3252 or wmarshall@cincinnatisymphony.org

cincinnatisymphony.org/groups

SPOTLIGHT ON WINDS & STRINGS | 2023–24 SEASON

THU APR 25, 7:30 pm

Harry T. Wilks Studio, Music Hall

Erwin SCHULHOFFConcertino for Flute, Viola and Contrabass (1894–1942)Andante con moto

Furiant: Allegro furioso

Andante

Rondino: Allegro gaio

Haley Bangs, flute

Rebecca Barnes, viola

Boris Astafiev, contrabass

Carl REINECKETrio in B-flat Major for Clarinet, Horn and Piano, Op. 274 (1824–1910)Allegro

Ein Märchen

Scherzo: Allegro

Finale: Allegro

Ronald Aufmann, clarinet

Molly Norcross, horn

Dror Biran, piano

Aram KHACHATURIANTrio for Clarinet, Violin and Piano (1903–1978)Andante con dolore, con molt’espressione

Allegro

Moderato

Christopher Pell, clarinet

Felicity James, violin

Anna Vinnitsky, piano

INTERMISSION

Robert SCHUMANNString Quartet in A Minor, Op. 41, No. 1 (1810–1856)Introduzione. Andante espressivo—Allegro

Scherzo. Presto

Adagio

Presto

Felicity James, violin

Rebecca Kruger Fryxell, violin

Caterina Longhi, viola

Nicholas Mariscal, cello

TIMING OK

Program notes for this concert will be on a printed insert available during the performance. This performance is approximately 120 minutes long, including intermission.

YOU’RE INVITED to greet the musicians after the concert.

The Winstead Chamber Series is endowed by a generous gift from the estate of former CSO musician WILLIAM WINSTEAD

FIVE FOR 95 — OUR 95 TH SEASON

Takács Quartet

“… one of the best available [Beethoven]

—Gramophone

Tuesday, September 24, 2024 • 7:30 p.m.

Cuarteto Casals

“The immediately striking thing is the sound

—Gramophone

Wednesday, November 13, 2024 • 7:30 p.m.

Sheku Kanneh-Mason, cello

Isata Kanneh-Mason, piano

“… the sort of lofty emotional peak you’d have

—Gramophone

Tuesday, December 10, 2024 • 7:30 p.m.

Isidore Quartet and Jeremy Denk

“Mr. Denk, clearly, is a pianist you want to hear,

—New York Times

“The Isidore’s total commitment to the piece,

—The Strad

Thursday, March 6, 2025 • 7:30 p.m.

Jerusalem Quartet

“Unity of sound and purpose is a given in any performance by the extraordinary

—New York Times

“The richness and weight of the Jerusalem Quartet’s sound spreads sensuality over

—Gramophone

Thursday, May 1, 2025 • 7:30 p.m.

Jerusalem Quartet

All concerts at Memorial Hall. Early Bird Subscriptions $125 on sale now at CincyChamber.org or call Memorial Hall at 513-977-8838. Single tickets on sale this summer. Students under 18 admitted free, 18 and over $10, if available, on the day of performance.

Next this season:

Randall Goosby

• Decca recording artist

• 2023 and 2025

•

• April 7 and 9

Cincinnati Symphony Soloist

"… Randall Goosby has everything …" —NPR

Sheku and Isata Kanneh-Mason

FRI APR 26, 7:30 pm SAT APR 27, 7:30 pm Music Hall

KATHARINA WINCOR, conductor

SHEKU KANNEH-MASON, cello

Dmitri SHOSTAKOVICH Festive Overture, Op. 96 (1906–1975)

Dmitri SHOSTAKOVICH Concerto No. 1 in E-flat Major for Cello and Orchestra, Op. 107

Allegretto Moderato

Cadenza

Allegro con moto

INTERMISSION

Antonín DVOŘÁK Symphony No. 8 in G Major, Op. 88 (1841–1904)

Allegro con brio

Adagio

Allegretto grazioso. Molto vivace

Allegro ma non troppo

These performances are approximately 110 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsor Western & Southern Financial Group, Encore Sponsor Taft Stettinius & Hollister LLP and IDEA Series Sponsor Fifth Third Foundation

The appearance of Sheku Kanneh-Mason is generously supported by the Janice W. and Gary R. Lubin Fund for Black Artists

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson

WGUC is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust

Listen to this program on 90.9 WGUC May 26, 2024 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

Janice W. and Gary R. Lubin Fund for Black Artists

Composed: 1954

Premiere: November 6, 1954 at the Bolshoi Theatre

Instrumentation: 2 flutes, piccolo, 3 oboes, 3 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, crash cymbals, snare drum, triangle, strings

CSO notable performances: First: September 1971 in Eden Park, Erich Kunzel conducting. First Subscription Concert: November 1983, Jorge Mester conducting. Most Recent: (Pops) January 2018, John Morris Russell conducting; (CSO Subscription) March 1993, Jesús López Cobos conducting. Recording: 1988 Symphonic Spectacular, Erich Kunzel conducting.

Duration: approx. 6 minutes

DMITRI SHOSTAKOVICH

Born: September 25, 1906, Saint Petersburg, Russia

Died: August 9, 1975, Moscow, Russia

Festive Overture, Op. 96

This delightful short work falls chronologically between two of Shostakovich’s most serious symphonies: the Tenth, which contains a diabolical scherzo reputed to be a “portrait of Stalin,” and the Eleventh, which commemorates the bloody events of the 1905 revolution. Shostakovich whipped it off, literally in one day, in response to Vassili Nebolsin, a conductor at the Bolshoi Theater in Moscow, who urgently needed a festive piece for November 7, the anniversary of the October Revolution of 1917.

“Shostakovich composed the Festive Overture before my very eyes,” recalled Shostakovich’s friend, musicologist Lev Lebedinsky, who happened to be in the composer’s apartment when a desperate Nebolsin arrived to announce an emergency. Lebedinsky watched as Shostakovich sat down to compose the overture.

This amazing effortlessness can be heard in the light and carefree tone of the music, yet the quality of the musical ideas and the craftsmanship with which they are presented never let us suppose that the composer had no time at all to plan or even think about the piece. What Shostakovich did here is as close to improvisation as a symphonic composer can ever come: the conception and the realization of the piece were virtually simultaneous.

Of course, Shostakovich had the classical sonata-form model to fall back on: after an introductory fanfare, he duly presents his two themes (the first consists mainly of rapid eighth-note passages, while the second has an expressive, singing character). The subsequent development, recapitulation and return of the opening fanfares as a concluding section were all part of the traditional framework that Shostakovich could well take for granted, like so many composers before him. But the freshness of the materials that fill in that framework, the brilliant orchestration and the effervescence of the whole piece are true signs of genius. They explain why the Festive Overture, originally written to help a colleague in a pinch, has entered the standard repertoire and held its place there for 70 years.

—Peter Laki

DMITRI SHOSTAKOVICH

Concerto No. 1 in E-flat Major for Cello and Orchestra, Op. 107

Shostakovich enjoyed a special friendship and artistic partnership with Mstislav Rostropovich for many years. The cellist was a teenager when he first met the composer, who was his senior by 21 years, in 1943. Enrolled at the Moscow Conservatory as a student of both cello and composition, Rostropovich took Shostakovich’s orchestration class. His admiration for his teacher knew no bounds, and after Shostakovich had heard the young man play, the admiration became mutual. During the 1950s, the two played Shostakovich’s Cello Sonata (1934) in concert tours all over Russia, and their friendship deepened. Throughout those years, Rostropovich was dreaming of a concerto Shostakovich might one day write for him, but the composer’s wife advised him never to bring it up in conversation.

Dmitri Shostakovich

Rostropovich followed this advice, however reluctantly. And then one day in 1959, the concerto suddenly materialized. The ecstatic cellist committed the entire piece to memory in just four days, astounding the composer when the two got together at Shostakovich’s summer home on August 6, 1959.

Rostropovich proceeded to play the work from memory with the pianist he had brought with him, to the utter delight of the composer and a small number of friends who had gathered in the music room. Afterward, they celebrated with a festive dinner. Everyone knew they had witnessed a historic moment.

The first public performance, two months later, was enthusiastically received and was soon followed by an international triumph, establishing the work as the most significant addition to the cello concerto literature in a long time. Shostakovich, inspired by an exceptional instrumentalist with whom he had bonded deeply, had written a work that combined immediacy of expression with formal perfection, and Romantic passion with Classical balance—a fusion of qualities we don’t find very often in the music of the 1950s. Nor had music ever communicated with an audience more directly or more sincerely.

Once you have heard the concerto’s opening motif, played by the cello, you are unlikely to ever forget this four-note theme. (It is immediately recognizable when quoted in Shostakovich’s Eighth String Quartet of 1960.) Varied, developed and taken into successively higher registers of the solo instrument, this little motif dominates the entire movement—and more. An insistent second theme appears a little later, and the music gradually gains in excitement and in technical virtuosity. The solo cello plays almost without intermission, although it is joined by the clarinet and especially by the horn as “assistant” soloists. The end of the movement returns to the opening theme in its original low register.

The remaining three movements are played without pause. First, we hear a slow movement (actually, the tempo is moderato), featuring—after a dreamy introduction—a very simple, folk-like melody. The introductory material is heard again, followed by a more passionate new idea, leading to a climax and a return of the folk-like theme in high-pitched cello harmonics.

The third movement is a lengthy, unaccompanied cadenza, beginning slowly and becoming faster and faster. Russian critic Lev Ginzburg aptly called it a “monologue-recitative.” The movement, although exceedingly hard to perform, is not a mere display of technical difficulties but, in Ginzburg’s words, a piece of “deep meditation, reaching philosophical heights.” It leads directly into the exuberant finale, which opens with a dance tune—not an ordinary dance tune, though, but one spiced with many chromatic half-steps that give it a striking, sarcastic overtone. The theme is introduced by the oboe and the clarinet, giving the soloist a respite after the exhausting cadenza. The solo cello soon re-enters, however, repeating the dance-tune, followed by a second dance. The latter unexpectedly morphs into the memorable opening theme from the first movement, providing the material for the energetic conclusion of the concerto.

As a kind of private joke, Shostakovich concealed in this movement some distorted fragments of a folksong from Georgia in the Caucasus, Stalin’s birthplace; the song, “Suliko,” had reportedly been the late dictator’s personal favorite. But even Rostropovich confessed: “I doubt if I would have detected this quote if Dmitri Dmitriyevich hadn’t pointed it out to me.”

—Peter Laki

Cello Concerto No. 1 in E-flat Major

Composed: 1959

Premiere: October 4, 1959 at the Leningrad Conservatory with the Leningrad Philharmonic Orchestra, Yevgeny Mravinsky conducting and Mstislav Rostropovich, cello

Instrumentation: solo cello, 2 flutes (incl. piccolo), 2 oboes, 2 clarinets, 2 bassoons (incl. contrabassoon), horn, timpani, celeste, strings

CSO notable performances: First: April 1982, Erich Bergel conducting with cellist Yo-Yo Ma. Most Recent: November 2017, Louis Langrée conducting with cellist Truls Mørk.

Duration: approx. 30 minutes

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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

Investing state and federal dollars, the Ohio Arts Council funds and supports quality arts experiences for all Ohioans to strengthen communities culturally, educationally, and economically.

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

ANTONÍN DVOŘÁK

Born: September 8, 1841, Nelahozeves, Bohemia

Died: May 1, 1904, Prague

Symphony No. 8 in G Major, Op. 88

“Gentlemen, in Bohemia the trumpets never call to battle— they always call to the dance!”

(Czech conductor Rafael Kubelik during a rehearsal of the trumpet fanfare opening the last movement of Dvořák’s Eighth Symphony)

Something remarkable happened in the history of music during the 19th century: composers of symphonic music increasingly turned away from happy or cheerful feelings in favor of dramatic or even tragic ones. Lightness was gradually pushed to the periphery of classical music and relegated to new popular genres (for instance, operetta), while large-scale symphonic works increasingly emphasized high passion and brooding melancholy.

There were two significant exceptions to this general trend: Mendelssohn in the first half of the century, and Dvořák in the second half. Both had the unusual gift of writing radiantly happy music in an era where such an approach was often taken for either conservatism or naïveté. It was neither; it was merely a sign of a different artistic personality.

Dvořák’s cheerfully optimistic Eighth opens with an expressive melody in G minor followed by a playful idea in G major first given to the solo flute. A dynamic sonata exposition soon gets underway. The development section works up quite a storm, but it subsides when the playful main theme returns.

The second movement (“Adagio”) begins with a simple melody in darker tonal regions (E-flat major/C minor) that soon reaches a bright C major, where it remains. The main theme spawns various episodes, in turn lyrical and passionate.

The third movement (“Allegretto grazioso”) begins with a languid waltz melody; its second, functioning as a “trio,” sounds more like a Bohemian folk dance. After the return of the waltz, Dvořák surprises us with a fast (“Molto vivace”) coda, consisting of the same notes as the “trio” melody, only in a faster tempo. (In the third movement of his Second Symphony, Brahms had transformed his “trio” theme in the same way.)

A resounding trumpet fanfare announces the fourth movement (“Allegro ma non troppo”), a complex theme-and-variations with a central episode that at fi rst sounds like contrasting material but is in fact derived from the main theme. The ending seems to be a long time coming, with an almost interminable series of closing fi gures. When the last chord fi nally arrives, it still sounds delightfully abrupt due to its unusual metric placement.

Composed: August 26–November 8, 1889

Premiere: February 2, 1890 in Prague, conducted by the composer

Instrumentation: 2 flutes (incl. piccolo), 2 oboes (incl. English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, strings

CSO notable performances: First: January 1933, Eugene Goossens conducting.

Most Recent: October 2014, Kazem Abdullah conducting. Recording: 1954, Thor Johnson conducting.

Other: Iván Fischer conducting, 1991 and 1993.

Duration: approx. 34 minutes

No. 8.

Antonín Dvořák

Dvořák’s summer residence, where he composed the Symphony

2023–24 SEASON

CSYO CONCERT ORCHESTRA

SUN APR 28, 2 pm, Music Hall WALKABOUTS

FELIPE MORALES-TORRES, conductor

Gabriela Lena FRANK Leyendas: An Andean Walkabout (b. 1972)

I. Toyos

IV. Chasqui

VI. Coqueteos

Aaron COPLAND An Outdoor Overture (1900–1990)

Michael MARKOWSKI City Trees (b. 1986)

Ferde GROFÉ Grand Canyon Suite (1892–1972)

Sunrise Sunset

The Painted Desert Cloudburst On the Trail

CSYO PHILHARMONIC

SUN APR 28, 7 pm, Music Hall SPARTACUS

SAMUEL LEE, conductor VIVIAN CHANG, violin

Aram KHACHATURIAN Spartacus Suite No. 2 (1903–1978)

Adagio of Spartacus and Phrygia

Entrance of Merchants, Dance of a Roman Courtesan, General Dance Entrance of Spartacus, Quarrel, Treachery of Harmodius Dance of the Pirates

Pablo SARASATE Carmen Fantasy (1844–1908)

INTERMISSION

Igor STRAVINSKY The Firebird Suite (1882–1971)

The Charles H. Dater Foundation

The Unnewehr Foundation For program notes, please visit our digital program by texting PROGRAM to 513.845.3024.

Introduction— Infernal Dance of King Katschei Variations of the Firebird Berceuse— Round of the Finale Princesses Khorovod Support provided by The Charles H. Dater Foundation and The Unnewehr Foundation

The Cincinnati Symphony Youth Orchestras is a program of the Cincinnati Symphony Orchestra and receives generous support in the form of rehearsal space from the University of Cincinnati College-Conservatory of Music and Walnut Hills High School.

CSYO CONCERT ORCHESTRA ROSTER 2023–24

FIRST VIOLIN

Tabitha Sabitelli, co-Concertmaster

Julia Lancman, co-Concertmaster

Grace Barnett, Assistant Principal

Carmen DeAtley-Rosales+

Lara Goodall

Allyson Kim

Joshua Koo

Cecilia Lehmann

Julia Li

Sarah Perpignan

Jubilee Shang

Alex Tran

Arjun Verma

Alexander Wang

Kenneth Wu

Raina Yang

Elizabeth Yeoh

Irene Zhang

SECOND VIOLIN

Clara Schmid, Principal

Will Oertel, Assistant Principal

Thanh-Tu Buchholz+

Youngwoo Choi

Levin Hobson

Nathan Lee

Jerry Li

Brianna Luo

Elaine Peng

Rain Qin

Sarang Srikanth

Mia Wang

Kevin Wen

Iris Xu

Joshua Yamaguchi

Clairette Yang

Angela Zhang

Jenna Zhang

VIOLA

Lainie Stautberg, Principal

Kasinda Willingham, Assistant Principal

Ethan Goehring+

Amber Huff

Adah Muck

Isabella Wang

Alina Zhang

CELLO

Sonya Moomaw, Principal

William Yeoh, Assistant Principal

Andrew Chung+

Sieun Ghim

Kevin Kim

Nathan Lehmann

Reign Matu

Vivian Niu

John Opalinski

Anish Patil

Kallea Willingham

Brandon Yang

BASS

Loki Wirman, Principal

Evan Butler+

Matteo Meli

FLUTE

Mona Allen

Francesca Harper3

Sam Waspe1

Sammi Wong2

OBOE

Sophia Cheng3

August Hagen

Simon Huth1,2

ENGLISH HORN

Simon Huth3

CLARINET

Christopher Larsen1,3

Jonathan Niese

Evelyn Shin

Liheng Wang

Katherine Wen2

BASS CLARINET

Evelyn Shin3

BASSOON

Isabella Loberg1

Zachary Pinnick2

Marian Rose3

HORN

Alisha Ankola1

Charles Healy3

Meghan McGuire2

Eden Proctor

Madelyn Ryan

Kristen Schutte

CSYO PHILHARMONIC ROSTER 2023–24

FIRST VIOLIN

Christy Kim, Concertmaster

Vivian Chang, Assistant Concertmaster

Hollis Chan+

Angelina Chen

Andrew Cheng

Anna Christos

Stephen Dorsey

Marley Feng

Julia Li

Paul Ku

Edward Li

Mara Seppala

Ian Shang

Isabelle Tardivon

Claire Wolford

Jillian Wu

Emily Zhao

SECOND VIOLIN

Madeline Dugan, Principal

Erica Nam, Assistant Principal

Julie Anderson+

Evelyn Gao

Yuhan Gu

Sophia Hamel

Hyori Han

Annie Li

Norika Oya

Santhosh Rajan

Angela Tang

Kyle Wang

Ethan Yao

Yeming Yu

Alisha Zhao

TRUMPET

Hunter Chermerly2,3

Wesley Dentinger

Samuel Goetz1,3

TROMBONE

Tvasta Gajjar1

Colin Van Niman2

Conner Perkins3

TUBA

Seth Dossa

Owen Kearney

HARP

Abel Mooney-Bullock

PIANO & CELESTE

Oliver Szabo

PERCUSSION

Adolphus McCullom II

John Troyer

+Begins the alphabetical listing of players who participate in a system of rotated seating within a string section.

All wind players are considered principals and rotate between pieces.

1 Copland

2 Markowski

3 Grofé

VIOLA

Grace Yu, Principal

Benedict Cecilio, Assistant Principal

James Bingcang+

Cuong Diep

Maeve Henderson

Noah Huber

Seth Israel

Christy Kim

Emma Zhao

Julia Zhu

CELLO

Paul Orth, Principal

Autumn Rinaldi, Assistant Principal

Lorelai Gartside+

Jayden Lu

Krish Subramanian

Shin-Yi Wang

Kate Wells

Howard Weng

Jihye Woo

BASS

Aaron Scott, Principal

Josiah Eriksen

Noah Hinton

FLUTE

Grace Kim1,2

Aperna Nambirajan3

Riya Tummala

Lance Zhang

Mingjia Zhang

PICCOLO

Riya Tummala

OBOE

Arjuna Lee

Joseph Mitchell1,2

Jill Peterson3

IsaacScott

ENGLISH HORN

Isaac Scott

CLARINET

Morgan Cloud3

Matthew Drasnin1,2

Hannah Huh

Jerry Xu

BASSOON

Lincoln Gully3

Emma Laude1,2

Gunnar Pellissier

HORN

Lucas Elmore

Ahan Prasad

Jordan Reid

Alex Riley1,2

Lily Wheatley3

TRUMPET

Katie Koziel3

Thomas Stricker1,2

Trent Stricker

TROMBONE

Zachary Bowden

Karna Gajjar1,2,3

Benjamin Kreitemeyer

TUBA

Gino Calipo

Matthew Lyons

HARP

Karma Fecher

Veronika Stanicha

PERCUSSION

Knox Dowell

Jonathan Kaseff

Justin Melvin

Benjamin Schuler

+Begins the alphabetical listing of players who participate in a system of rotated seating within a string section.

All wind players are considered principals and rotate between pieces.

1 Stravinsky

2 Khachaturian

3 Sarasate

The CSYO CCM Conducting Fellow for 2023–24 is Pablo Martinez Pegalajar

BEETHOVEN 7 & DESSNER PREMIERES | 2023–24 SEASON

FRI MAY 3, 11 am SAT MAY 4, 7:30 pm Music Hall

LOUIS LANGRÉE, conductor

ALICE SARA OTT, piano

Bryce DESSNER Mari (b. 1976)

Bryce DESSNER Piano Concerto CSO CO-COMMISSION, US PREMIERE

How to Dance

How to Breathe

How to Feel

INTERMISSION

Ludwig van Symphony No. 7 in A Major, Op. 92

BEETHOVEN Poco sostenuto—Vivace (1770–1827)

Allegretto

Presto

Allegro con brio

These performances are approximately 125 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsors Fort Washington Investment Advisors, Inc. and Western & Southern Financial Group

The Cincinnati Symphony Orchestra co-commissioned, U.S. premiere of Piano Concerto by Bryce Dessner is made possible by a generous gift from Kari and Jon Ullman

This concert is lovingly donated to the memory of Laura Gamble Thomson from the Thomson Family Foundation

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson

WGUC is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust

Listen to this program on 90.9 WGUC during the 2025 radio season.

Thomson Family Foundation

BRYCE DESSNER

Born: 1976, Cincinnati, Ohio

Mari

Bryce Dessner, a vital and rare force in new music, has won Grammy Awards as a classical composer and with the band The National, of which he is founding member, guitarist, arranger and co-principal songwriter. He is regularly commissioned to write for the world’s leading ensembles and is a high-profile presence in film score composition, with credits including The Revenant, for which he was Grammy- and Golden Globenominated, Fernando Meirelles’ The Two Popes, Mike Mills’ C’mon C’mon and Bardo by Alejandro González Iñárritu.

Dessner collaborates with some of today’s most creative and respected artists, including Philip Glass, Katia and Marielle Labèque, Paul Simon, Alejandro González Iñárritu, Sufjan Stevens, Fernando Meirelles, Thom Yorke, Bon Iver, Nico Muhly and Steve Reich, who named Dessner “a major voice of his generation.” Dessner’s orchestrations can be heard on the latest albums of Paul Simon, Bon Iver and Taylor Swift.

He has had works commissioned and premiered by today’s leading conductors, including Esa-Pekka Salonen, Gustavo Dudamel, Semyon Bychkov and Santtu-Matias Rouvali.

Dessner’s major works include Concerto for Two Pianos, premiered by Katia & Marielle Labèque and the London Philharmonic Orchestra; Violin Concerto, premiered and performed internationally by Pekka Kuusisto; Trombone Concerto for Jörgen van Rijen and commissioned by the Dallas Symphony and l’Orchestre National d’Île de France; Voy a dormir for mezzo-soprano Kelley O’Connor and Orchestra of Saint Luke’s and the Los Angeles Chamber Orchestra; Skrik Trio for Steve Reich and Carnegie Hall; the ballet No Tomorrow co-written with Ragnar Kjartansson; Wires for Ensemble intercontemporain; The Forest for large cello ensemble, Gautier Capuçon and Fondation Louis Vuitton; and Triptych(Eyes of One on Another), a major theatre piece integrating the photographs of Robert Mapplethorpe and premiered by the Los Angeles Philharmonic. Dessner also scored the music—involving full orchestra and a 200-member choir—for the Louis Vuitton show at the Louvre in Paris as part of Paris Fashion Week 2020.

Also active as a curator, Dessner is regularly requested to program festivals and residencies around the world. He co-founded and curates the festivals MusicNOW in Cincinnati, HAVEN in Copenhagen, Sounds from a Safe Harbour, and PEOPLE.

Dessner has written the following about Mari, which was commissioned and performed by Tonhalle-Orchester Zürich, Leipzig Gewandhaus Orchester, Czech Philharmonic, Oslo Philharmonic and the BBC Symphony Orchestra:

During the pandemic of 2019–2021, with most of the world shut down and concerts cancelled, I thought a lot about the impermanence of so many things that we imagine to be eternal. An orchestra can sometimes seem like the most lasting form of performance: every major city has an orchestra and the masterpieces they perform seem like eternal pillars of our culture. But what if those orchestras never played again? What if these great works of art become but mere echoes, gradually fading in our memory? These are the thoughts I had during this year when the orchestras fell silent and the musicians and audiences stayed home. At the outer reaches of our memory would the sounds of those works combine into a kind of woven tapestry of fragments and recollections? Could it all slow down into a beautiful

Composed: 2020

Premiere: February 3, 2021 at the Rudolfinum, Prague, Czech Republic by the Czech Philharmonic, Semyon Bychkov conducting

Instrumentation: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, cowbells, crotale, glockenspiel, light snare, low bells, marimba, snare drum, tam-tam, tom-tom, triangle, 2 vibraphones, xylophone, 2 harps, celeste, strings

CSO notable performances: These are the first CSO performances of Mari

Duration: approx. 18 minutes

Bryce Dessner

Dessner Piano Concerto

Composed: 2023, for Alice Sara Ott; cocommissioned by TonhalleGesellschaft Zürich AG, Orchestre Philharmonique de Radio France, Southbank Centre and Philharmonia Orchestra, Cincinnati Symphony Orchestra, Deutsches Symphonie Orchester Berlin, Philzuid Netherlands, Bozar, Brussels Philharmonic, Ars Musica and Munich Philharmonic Orchestra.

Premiere: January 18 & 19, 2024, Kent Nagano conducting the TonhalleOrchester Zürich; Alice Sara Ott, piano. These CSO performances are the work’s U.S. premiere.

Instrumentation: solo piano, 2 flutes (incl. piccolo), oboe, English horn, 2 clarinets, bass clarinet, bassoon, 4 horns, trumpet, 3 trombones, tuba, timpani, tom-tom, vibraphone, snare drum, bass drum, marimba, xylophone, gong, crotale, tam-tam, orchestra bells, harp, strings

CSO notable performances: These are the work’s first CSO performances

Duration: approx. 25 minutes

aquatic drone? I thought about how the act of composing, conjuring sounds from one’s mind or imagination, is very similar to this feeling. A kind of reverence for a world of music we have shared, how memories combine into something original, a spark of creativity or imagination or a dialogue with something that came before. Semyon Bychkov, for whom this piece is written and dedicated, lives just minutes from me on the Basque coast of France, but we did not see each other for several months during the pandemic. On many long walks through these beautiful forests and mountains, I imagined him reflecting on those great pieces in his own vast repertoire and how the sounds of the forest and the quiet of the beautiful natural world might intertwine with his own musical memories. My orchestral composition Mari is a reflection on the pastoral, and it weaves together several textures and fragments of material from historic works through a kind of abstraction and altered context to something new, most audibly a melody from the first movement of the New World Symphony by Dvořák and textures from the fourth movement of Mahler’s sublime Symphony No. 3. My work is named after the Basque goddess of the forest, Mari.

As a concert opener, it felt appropriate to let these notes pass through my fingers and open a new doorway through which my own voice could emerge. The music of Dvořák and Mahler feels timeless but also distinctly modern, especially now as we emerge again into a new world and listen for what comes next.

BRYCE DESSNER

Piano Concerto CSO CO-COMMISSION, US PREMIERE

I spent most of 2023 composing my new piano concerto for Alice Sara Ott. The piece is very much inspired by her beautiful playing, and I wanted to write something that would both challenge her and draw out her unique qualities as an artist. I am truly grateful to her for working so closely with me on the concerto. As I wrote the music I was also thinking of the sound of the Tonhalle-Orchester Zürich and the other wonderful orchestras who have commissioned the piece.

I composed and dedicated this work to my sister, Jessica Reese Dessner. My sister, who is an exceptional artist, has been my greatest inspiration since I was very young, and she has been a huge artistic influence on me and my brother, Aaron. For several years, she has been courageously battling cancer and has continued to inspire me as she confronts this health crisis with courage and grace. As a kid, I learned so much about art and music from her, and we have collaborated on many projects together over the years. Each movement of my piano concerto takes direct inspiration from my sister, her life and her artistic practice.

The three movements of the concerto each had a working title during the months I was composing, which reflect specific sources of inspiration I learned from my sister. The first movement is called HOW TO DANCE. So many of my early memories of orchestral music are from watching my sister dance in the Cincinnati Ballet as a child. Much of the music that I love was originally written to be danced to (Stravinsky, Tchaikovsky, Cage, Reich). Later, through her I discovered contemporary music through the vibrant dance scene of New York City, where I saw works by Merce Cunningham, William Forsythe, Pina Bausch and Anne Teresa de Keersmaeker. My sister, who had a long career as a choreographer and modern dancer, and I created several works together in the late 90s and early 2000s that would be fundamental to my development as a composer, and I believe that all of my written music is influenced by her choreographic sense.

The fluid motion and physicality of dance influences much of my music, and this first movement has a baroque dance feel throughout. The bass line that is the central melody of the first movement turns around like a baroque continuo, and the ostinato patterns in the right hand are light and floating, tracing the arc of a dancer’s motion.

The second movement is titled HOW TO BREATHE and it has a gentle quality and stillness in the music. In the relentless rush of life and career, my sister has always encouraged me to find calm and to breathe, and to take things slowly and re-connect to the fundamental beauty of making art. This music comes from a natural place, and gives a sensation of emerging from the sea or the forest. The notes are spare and then layered and fast, but always with a sense of breath. The orchestra provides various horizons, brass giving way to the winds and strings shifting perspectives. Moments of dissonance or interruption create a counterpoint to the soloist.

The third movement and finale, which I have called HOW TO FEEL, is the most varied of the three and also the most virtuosic. It returns to the dance-like motion of the first movement, but with more intensity. The material shifts between lyrical slower moments and then the intense joyful patterns of the faster sections. The music, as with the other movements, is deeply inspired by my sister, and the title says it all.

—Bryce Dessner

LUDWIG van BEETHOVEN

Born: December 16, 1770, Bonn, Germany

Died: March 26, 1827, Vienna, Austria

Symphony No. 7 in A Major, Op. 92

In the autumn of 1813, Johann Nepomuk Mälzel, the inventor of the metronome, approached Beethoven with the proposal that the two organize a concert to benefit the soldiers wounded at the recent Battle of Hanau—with, perhaps, two or three repetitions of the concert to benefit themselves. Beethoven was eager to have his as-yet-unheard A Major Symphony of the preceding year performed, and thought the financial reward worth the trouble, so he agreed. The concert consisted of this “Entirely New Symphony” by Beethoven, marches by Dussek and Pleyel performed on a “Mechanical Trumpeter” fabricated by Mälzel, and an orchestral arrangement of Wellington’s Victory, a piece Beethoven had concocted the previous summer for yet another of Mälzel’s musical machines, the clangorous “Panharmonicon.” The evening was such a success that Beethoven’s first biographer, Anton Schindler, reported, “All persons, however they had previously dissented from his music, now agreed to award him his laurels.”

The Seventh Symphony is a magnificent creation in which Beethoven displayed several technical innovations that were to have a profound influence on the music of the 19th century: he expanded the scope of symphonic structure through the use of more distant tonal areas, he brought an unprecedented richness and range to the orchestral palette, and he gave a new awareness of rhythm as the vitalizing force in music. It is the last of these characteristics that most immediately affects the listener, and to which commentators have consistently turned to explain the vibrant power of the work—Richard Wagner called the Seventh Symphony “the apotheosis of the Dance in its highest aspect...the loftiest deed of bodily motion incorporated in an ideal world of tone.”

A slow introduction, almost a movement in itself, opens the symphony. This initial section employs two themes: the first, majestic and unadorned, is passed down through the winds while being punctuated by long, rising scales in the strings; the second is a graceful melody for oboe. The

Composed: 1811–12

Premiere: December 8, 1813 in Vienna, under the composer’s direction

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings

CSO notable First:

December 1898, Frank Van der Stucken conducting.

Most Recent: May 2018, Louis Langrée conducting.

Duration: approx. 36 minutes

Ludwig van Beethoven

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transition to the main part of the first movement is accomplished by the superbly controlled reiteration of a single pitch. This device both connects the introduction with the exposition and also establishes the dactylic rhythm that dominates the movement.

The Allegretto scored such a success at its premiere that it was immediately encored, a phenomenon virtually unprecedented for a slow movement. In form, the movement is a series of variations on the heartbeat rhythm of its opening measures. In spirit, however, it is more closely allied to the austere chaconne of the Baroque era than to the light, figural variations of Classicism.

The third movement, a study in contrasts of sonority and dynamics, is built on the formal model of the scherzo, but expanded to include a repetition of the horn-dominated Trio (Scherzo–Trio–Scherzo–Trio–Scherzo).

In the sonata-form finale, Beethoven not only produced music of virtually unmatched rhythmic energy (“a triumph of Bacchic fury,” in the words of Sir Donald Tovey), but did it in such a manner as to exceed the climaxes of the earlier movements and make it the goal toward which they had all been aimed. So intoxicating is this music that some of Beethoven’s contemporaries were sure he had composed it in a drunken frenzy. An encounter with the Seventh Symphony is a heady experience. Klaus G. Roy, the former program annotator for The Cleveland Orchestra, wrote, “Many a listener has come away from a hearing of this symphony in a state of being punch-drunk. Yet it is an intoxication without a hangover, a dopelike exhilaration without decadence.” To which the composer’s own words may be added: “I am Bacchus incarnate,” boasted Beethoven, “appointed to give humanity wine to drown its sorrow.... He who divines the secret of my music is delivered from the misery that haunts the world.”

—Dr. Richard E. Rodda

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LOUIS’ GRAND FINALE | 2023–24 SEASON

FRI MAY 10, 7:30 pm SAT MAY 11, 7:30 pm SUN MAY 12, 2 pm Music Hall

LOUIS LANGRÉE, conductor LATONIA MOORE, soprano

Ludwig van BEETHOVEN Leonore Overture No. 2 in C Major, Op. 72a (1770–1827)

Anthony DAVIS Broken in Parts CSO COMMISSION, WORLD PREMIERE (b. 1951)

I. Words by Quincy Troupe II. III.

IV.

INTERMISSION

Paul DUKAS

The Sorcerer’s Apprentice (1865–1935)

Maurice RAVEL Daphnis et Chloé Suite No. 2 (1875–1937) Daybreak Pantomime General Dance

These performances are approximately 110 minutes long, including intermission.

The CSO is grateful to CSO Season Sponsors Fort Washington Investment Advisors, Inc. and Western & Southern Financial Group, Presenting Sponsor

HORAN Wealth, Encore Sponsor Messer Construction and Show Sponsor

Thompson Hine

The Cincinnati Symphony Orchestra world premiere commission, Broken in Parts by Anthony Davis, is made possible by a generous gift from Ann and Harry Santen

The Cincinnati Symphony Orchestra is grateful for the support of the Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation and the Nina Browne Parker Trust, and for the thousands of people who give generously to the ArtsWave Community Campaign, the region’s primary source for arts funding. This project was supported in part by the Ohio Arts Council, which receives support from the State of Ohio and the National Endowment for the Arts

Pre-Concert Talks are made possible by an endowed gift from Melody Sawyer Richardson

WGUC is the Media Partner for these concerts.

The Cincinnati Symphony Orchestra in-orchestra Steinway piano is made possible in part by the Jacob G. Schmidlapp Trust

Listen to this program on 90.9 WGUC June 9, 2024 at 8 pm, followed by 30 days of streaming at cincinnatisymphony.org/replay.

LUDWIG van BEETHOVEN

Born: December 16, 1770, Bonn, Germany

Died: March 26, 1827, Vienna, Austria

Leonore Overture No. 2 in C Major, Op. 72a

The decade (1804–14) that Beethoven devoted to his only opera, Fidelio, was an unprecedented amount of time to spend perfecting such a work during the early 19th century. Given the same 10 years, Rossini dispensed 31 (!) operas between 1810 and 1820, and Donizetti cranked out 35 (!!) specimens of the genre from 1827 to 1837. Even Mozart launched seven operas during his decade in Vienna. For Beethoven, however, Fidelio was more than just a mere theatrical diversion—it was his philosophy set to music. This story of the triumph of justice over tyranny, of love over inhumanity was a document of his faith. To present such grandiose beliefs in a work that would not fully serve them was unthinkable, and so Beethoven hammered and rewrote and changed until he was satisfied.

The most visible remnants of Beethoven’s extensive revisions are the quartet of overtures he composed for Fidelio. The first version of the opera, written between January 1804 and early autumn 1805, was initially titled Leonore after the heroine, who courageously rescues her husband from his wrongful incarceration. For that production, Beethoven wrote the Overture in C Major now known as the Leonore No. 1, incorporating themes from the opera. The composer’s friend and early biographer Anton Schindler recorded that Beethoven rejected this first attempt after hearing it privately performed at Prince Lichnowsky’s palace before the premiere. (Another theory, supported by recent detailed examination of the paper on which the sketches for the piece were made, holds that this work was written in 1806–07 for a projected performance of the opera in Prague that never took place, thus making Leonore No. 1 the third of the Fidelio overtures.) He composed a second C major overture, Leonore No. 2, and this piece was used at the first performance, on November 20, 1805. (The management of Vienna’s Theatre an der Wien, site of the premiere, insisted on changing the opera’s name from Leonore to Fidelio to avoid confusion with Ferdinando Paër’s Leonore.) The opera foundered. Not only was the audience (largely populated by French officers of Napoleon’s army, which had invaded Vienna exactly one week earlier) unsympathetic, but there were also problems in Fidelio’s dramatic structure. Beethoven was encouraged by his aristocratic supporters to rework the opera and present it again. That second version, for which the magnificent Leonore OvertureNo. 3 was written, was presented in Vienna on March 29, 1806, but met with only slightly more acclaim than its forerunner.

In 1814, some members of the Court Theater approached Beethoven, by then Europe’s most famous composer, about reviving Fidelio. The idealistic subject of the opera had never been far from his thoughts, and he agreed to the project. The libretto was revised yet again, and Beethoven rewrote all the numbers in the opera and changed their order to enhance the work’s dramatic impact. The new Fidelio Overture, the fourth he composed for his opera, was among the revisions.

Although they are similar in scale, thematic material, instrumentation and expressive intent, the Leonore Overture No. 2 has long been overshadowed by the Leonore No. 3, one of Beethoven’s best-known and most powerful utterances. Both distill the essential dramatic progression of the opera into purely musical terms: the triumph of good over evil; the movement from darkness to light, from subjugation to freedom. Both use Florestan’s Act II aria as the material for a slow introduction, and both create much of their musical substance from elaborations of the same

Composed: 1805

Premiere: November 20, 1805 in Vienna, conducted by Ignaz von Seyfried under the composer’s supervision

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, strings

CSO notable performances: First: December 1916, Ernst Kunwald conducting. Most Recent: November 2015, Louis Langrée conducting.

Duration: approx. 13 minutes

Ludwig van Beethoven

Composed: 2024

Premiere: These performances by the CSO are the work’s world premiere.

Instrumentation: soprano soloist, 2 flutes, oboe, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, 2 horns, 2 trumpets, trombone, bass trombone, timpani, drum set, marimba, vibraphone, xylophone, harp, strings

Duration: approx. 25 minutes

arch-shaped main theme. Both preview the joyous climax of the opera with the trumpet call that signals the overthrow of evil and a jubilant coda. They differ, however, in the proportions of their structures: the Leonore No. 2 has a longer introduction and plunges directly into the coda after its trumpet call rather than recapitulating its themes to create a full sonata form, as does the Leonore No. 3. There is also in the Leonore No. 3 a concentrated, driving, explosive force for which, in retrospect, Beethoven seems to have used the Leonore No. 2 as a testing ground. Even so, the Leonore No. 2 is an important document of Beethoven’s genius, evidence of his endless quest to perfect his art and a stirring musical essay in its own right.

—Dr. Richard E. Rodda

ANTHONY DAVIS, Words by Quincy Troupe

Born: February 20, 1951, Paterson, New Jersey

Broken in Parts CSO COMMISSION, WORLD PREMIERE

Anthony Davis is recognized internationally not only for his pioneering work in opera but also as a distinguished composer of symphonic, choral and chamber works. He has been on the cutting edge of improvised music and jazz for more than four decades and continues to explore new avenues of expression while retaining a distinctly original voice.

Davis has composed eight operas. X: The Life and Times of Malcolm X, with a libretto by Thulani Davis, was the first of a new American genre: opera on a contemporary political subject. A 1992 recording of the opera (Gramavision) earned a Grammy nomination for “Best Contemporary Classical Composition.” In May 2022, the Detroit Opera debuted a new production that traveled to the Metropolitan Opera in November 2023. Other operas include Under the Double Moon, Tania, Amistad, Wakonda’s Dream, Lilith and Lear on the 2nd Floor, along with The Central Park Five, for which he was awarded the Pulitzer Prize in Music in 2020.

In addition to his work in opera, Davis currently has two music theater works in development: Shimmer, with Sarah Schulman and Michael Korie, based on Schulman’s novel about an aspiring reporter who is lesbian and an aspiring playwright who is Black, trying to get ahead in the McCarthy Era, and Tupelo, based on the life of Elvis Presley, written with Arnold Weinstein.

Anthony Davis has composed numerous works for orchestra and chamber ensemble on commissions from the San Francisco Symphony, Pittsburgh Symphony Orchestra, Carnegie Hall, Brooklyn Philharmonic, Atlanta Symphony Orchestra, St. Luke’s Chamber Ensemble, Kansas City Symphony and the Massachusetts Institute of Technology. He also composed the music for the Broadway production of Tony Kushner’s Angels in America: Millennium Approaches, Part One, which premiered in May 1993, and for Kushner’s companion piece Part Two, Perestroika, which debuted in November 1993.

Davis’ catalogue also includes two choral works, Voyage Through Death to Life Upon These Shores, a harrowing tale about the slave trade and the fateful Middle Passage based on Robert Hayden’s poem “Middle Passage,” and Restless Mourning, an oratorio for mixed chorus and chamber ensemble with live electronics, which sets the poetry of Quincy Troupe and Allan Havis as well as the 102nd Psalm of David in a powerful evocation of the 9/11 tragedy.

Anthony Davis, ©Michele Zousmer

A 1975 graduate of Yale University, Davis is currently a distinguished professor of music at the University of California, San Diego. In 2008, he received the “Lift Every Voice” Legacy Award from the National Opera Association acknowledging his pioneering work in opera. In 2006, Davis was awarded a fellowship from the John Simon Guggenheim Foundation and has also been honored by the American Academy of Arts and Letters, the New York Foundation of the Arts, the National Endowment of the Arts, the Massachusetts Arts Council, the Carey Trust, Chamber Music America, Meet-the-Composer Wallace Fund, the MAP fund with the Rockefeller Foundation, and OPERA America. He was elected to the American Academy of Arts and Letters in 2020 and has been an artist fellow at the MacDowell Colony, Civitella Ranieri and at the Rockefeller Foundation’s Bellagio Center in Italy.

Anthony Davis’ music is published by Episteme Music and administered worldwide by Schott Music.

Davis has written the following about Broken in Parts, which he composed in collaboration with Quincy Troupe and structured in four untitled movements:

I first got to know Quincy Troupe when we were both colleagues at the University of California, San Diego. He had just completed the autobiography of Miles Davis and he was a charismatic figure in San Diego. We collaborated on a number of projects together, including live performances featuring his poetry with my improvisations and compositions for piano. I still hear his voice, relentless, an avalanche of images and metaphors, barely taking a breath as the power of his language was surreal and dramatic, with a rhythm like Elvin Jones performing with John Coltrane. I set several of his poems to music, including “Bells” and “Sound, Breaking Away,” both for bass-baritone and piano. On the evening after 9/11 my wife and I were invited for dinner at Quincy’s home. He was already feverishly writing an epic poem about the day, titled “9/11: Emergency Calls Coming into Manhattan.” Later that week, Tim Koch from the Carolina Chamber Chorale called me about writing a piece about 9/11. I immediately thought of Quincy, and his poem became the text for the first movement Blue and the third movement Things Will Never, Ever Be the Same. His harrowing and courageous text for the piece allowed me to explore 9/11 from wildly different points of view.

Broken in Parts is our most recent collaboration. The poem addresses the issues of language itself, the breakdown of communication and meaning. How do we reclaim our voice? Can our severed tongue be restored by summoning all our resources from the past, from our history, from the ancient and mystical. The poem presented many musical challenges. The images and metaphors, literally, never stop. There are no periods in the poem, every idea morphs into the next. I always came back to hearing Quincy’s voice, exploring a rhythmic language where the speech rhythms become more Thelonious Monk or Miles Davis with the jagged edge of syncopation and, yet, discovering how lyricism can peak through allowing the voice to soar. I am so excited to work with the wonderful soprano Latonia Moore, who is one of the great singers today. She always brings passion and a searing beauty to everything she does. It is also an honor to work with Louis Langrée again. His performance during the pandemic of my clarinet concerto You Have the Right to Remain Silent with Anthony McGill and Earl Howard was a remarkable ray of light in a dark time.

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TEXT: Broken in Parts: A Healing Song for Saxophone & Voice for Oliver Lake & Kwame Ture (Stokely Carmichael) 1941–1998

I. broken in parts, broken in parts, the earth fractured & fissured is broken in parts, voices censored, broken off in space, in their place the silent ooze of breathing, pulsating between worlds between place parts of syntax floating on surfaces of speech like islands floating in the middle of rivers, in the middle of nowhere & everywhere zigzagging omens waving flags of menace like flapping tongues, everything seemingly coming apart in a sea of wreckage, someone is drowning we don’t hear or see, threads suddenly gone, clues, beliefs suddenly torn asunder by sawblading teeth, hemorrhaging a life chewed up between jackhammering jaws, as a razor cuts through a living tongue & it is bleeding speech cannot form itself again around words, when language we once knew but now hear as garbled is broken in parts

II. what to do then, when men and women cannot speak, when meaning is sawed off clean & language becomes a chimney chute through which sound sweeps as ash coating everything with a sooty pallor, before syllables can form in the cave of the spirit that issues words, cadences, that used to roll out like musical notes off the sweetness tongues suddenly cut clean to blooming silence, dumb screams there now, oozing blood, where the silver steel flashed red underneath Halloween street lamps, flies swarming around a gaggle of slit throats & in the middle of it all a chewed up black pencil of a man, who stands holding his tongue between his hands, silence surrounding him like a mourning shawl, the tongue in his hands now was once a saxophone when whole, was a blur of fingers whooshing through golden keys of his voice belling like charlie parker burning riffs quick as michael johnson cruising solo, lickety-split his turbo-driven voice used to turn flips, somersaults, turn around in midair like great Olympic figure skaters, their bodies doing twists, the moment there alive, fused with magic, probed limits of the tongue, unpredictable as mystery, it once moved to recreate itself, again & again through improvisation, sought to push the edge of its creation out beyond boundaries of what anything would allow, the vocabulary flowing back & forth, like a mantra, before silence cut through its song, turned it into ripples on the surface of a river, gone after a rock dropped through its shimmering, wet skin, through a vortex, where the eye now catches a language of shadows, once lengthening, now they are breaking apart in waves of fragmentation

III. but we can speak with our eyes, can fashion them into a tongue, can turn that tongue into a living voice that conjures up song, conjures up spirits, the drumbeat of strong hearts goosing everything along, like a great drummer keeping time, evenly kept, pulsating breath, strong, sluicing through the tempo of the lungs, through death we can travel backward to ancestors through our spirits, through our mind’s juju, we can go down to the station of resurrection, wait for the underground train marked with vévés to arrive there, we can board that train, dream ourselves into magic through imagination, can walk inside history longside power sleeping deep down inside us, now, deeper still, deeper than the limits of fear ever allowed us to travel, because our black cat’s bone knows the mojo spirit is listening, knows the mojo bone can rest in our hands if we dream ourselves deeper, deep enough to dream ourselves into beauty, deeper still, go down deeper, so we can conjure up the power of that black mojo hand, deeper, so we can restore speech to a severed tongue cut off in a storm by buzz saw slivers of glass propelled through the dark, by the awesome power of a tornado’s wind, or cut off by evil, unhuman men, who think love is a gun, a bloody knife, we can conjure up the power of a black mojo hand, can reconnect flesh with flesh, expression, can beat human madness with our own magic, voodoo, can reconnect these islands of words floating through broken sentences, fractured and fissured, broken apart, words floating like drowned faces bloated after a sudden flood brought death,

we can reconnect these words & fashion a language out of silence and space, a language of fragments that can float in the air like chords, echoing the music of monk’s genius, we can feel it if we listen, can reconnect that pencil-thin black man’s tongue, once a saxophone’s voice, can stitch that voice back together again into song, into music again with a needle stitching love, can weave magic fashioned there out the bone of a mojo-hand, can put it all back together agin if we listen & feel love, sluicing poetry & voodoo out of a mojo hand, within the spirit of healing, magic & mystery, the song becoming beauty, so listen to beauty beating in your own human hearts, listen to the healing powers fashioned from bone of our own mojo hand

IV. & the music is jabber-walking across space & air & comes whispering a whispering comes carrying the burden of silence with it for so very long, beyond this whispering of echoes, is a wish to reconnect language, this tongue broken in parts, broken articulation, beliefs, clues, broken into islands of words, phrases, isolated beyond meaning, now silence breaking into sound that is guttural, blues seeded, inside timbre of the voice rising now to form some kind of language, it is reaching for beauty, trying to unify fragments into complete sentences, though broken apart it is trying to coalesce, come back together again, for love, for beauty, for family, so listen for words that float up from the abyss into recognizable sound that evokes familiar faces, that pulled out of a raging, flooded river, see recognition now in those blinking eyes, magic unfolding in language rising up from there, now guttural but pure, is reborn here as the tongue’s restored, reconnected, speech returned to voice inside the mouth & new words form that roll off the tongue, carry faces carved from history, faces that string themselves together to fashion a memory, a memory that is a necklace of love beads draped around our necks, imagine those faces as metaphors now, seeds for love songs whispering, tonguing now just outside your ear, imagine those words as possible healing powers, a healing love song, whispering now whispering, inside your ear

From the Collection: CHORUSES (1999) published by Coffee House Press. Quincy Troupe’s poem “Broken in Parts” reprinted by permission.

PAUL DUKAS

Born: October 1, 1865, Paris, France

Died: May 18, 1935, Paris, France

The Sorcerer’s Apprentice

Paul Dukas spent his entire life in Paris as a greatly respected teacher and composer. He showed his musical aptitude early, teaching himself to play piano, and entered the Conservatoire in 1882, where he proved to be an excellent student, winning the second Prix de Rome in 1888. Although he had to abandon his formal training for a time to serve in the army, he turned that period to good use by studying many of the classical works of music, the basis upon which he later built his own compositions. (He later edited several volumes of works by Rameau, Beethoven, Couperin and Scarlatti.) After his stint in the military, he completed the overture Polyeucte, his first work to be performed publicly. The Symphony in C Major followed in 1896, and he gained international recognition a year

Composed: 1897

Premiere: May 18, 1897 in Paris, conducted by the composer

Instrumentation: 2 flutes, piccolo, 2 oboes, 2 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, timpani, bass drum, crash cymbals, glockenspiel, suspended cymbals, triangle, harp, strings

CSO notable performances: First: March 1904, Frank Van der Stucken conducting. Most Recent: (Pops) October 2018, Damon Gupton conducting; (CSO Subscription) February 2007, Tito Muñoz conducting. Recording: (Pops) 1985 Orchestral Spectaculars, Erich Kunzel conducting and (CSO) 1999 Dukas: Sorcerer’s Apprentice, Symphony in C, La Péri, Jesús López Cobos conducting.

Duration: approx. 10 minutes

Paul Dukas

Composed: 1909–12

Premiere: June 8, 1912 in Paris, coducted by Pierre Monteux

Instrumentation: 2 flutes (incl. piccolo), piccolo, alto flute, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, bass drum, bells, castanets, crash cymbals, military drum, side drum, snare drum, suspended cymbals, tambour, tambourine, triangle, 2 harps, celeste, strings

CSO notable performances: First: (Tour) March 1906, Toronto, Canada, Fritz Reiner conducting; (CSO Subscription) November 1925, Fritz Reiner conducting. Most Recent: September 2018, Louis Langrée conducting.

Recording: 2004 Ravel: Suite No. 2 from Daphnis & Chloe, Pavane pour une infante défunte, La valse, Ma mère l’Oye, Bolero, Paavo Järvi conducting.

Duration: approx. 18 minutes

later with The Sorcerer’s Apprentice. Dukas held important positions throughout his life as an instructor at the Conservatoire and as a critic, and he was awarded the Legion of Honor in 1906. Stern self-criticism of his compositions led him to destroy all his unpublished manuscripts before his death, however, so his small musical legacy comprises only three overtures, a symphony, an opera (Ariane et Barbe-bleue), a ballet (La Péri), a half-dozen piano works (though one is a monumental, 45-minute sonata), a short Villanelle for horn, and The Sorcerer’s Apprentice

The Sorcerer’s Apprentice is based on Goethe’s 1796 ballad Der Zauberlehrling, which in turn was derived from the dialogues of the 2nd-century Greek satirist Lucian. The tale tells of a naive apprentice to a wizard, who overhears the magic incantation used by his master to animate the household broom into a water-carrier. In the sorcerer’s absence, the neophyte tries the spell on the broom, and—to his delight— it works. The broom marches smartly between well and water basin until the latter is full, then overflowing, then flooding—the apprentice never bothered to learn the magic words to stop his wooden servant! Not knowing what to do, he axes the broom in half, only making matters worse—now there are two water-carriers instead of one. More chopping produces more brooms. Just before the novice drowns in his own mischief, the sorcerer returns and, with a sweep of his hand and a muttered word, quiets the tumult.

Dukas captured perfectly the fantastic spirit of this poem in his colorful tone poem. The quiet, mysterious strains of the beginning depict the wizard and his incantations, while the apprentice scurries about to lively phrases in the woodwinds. When the door slams behind the departing sorcerer (a loud whack on the timpani), the tyro is left in silence. A rumble in the low instruments signals the first stirring of the enchanted broom. The rumble becomes a galumphing accompaniment, over which the bassoons give out the main theme of the work. This melody, combined with a quicker version of the incantation theme and brass fanfares, is used to suggest the aquatic havoc being wrought in the wizard’s absence. At the height of the confusion, the magician bursts through the door (the mysterious music of the opening returns to indicate his presence), and he orders the flood to subside. When peace has been restored, the apprentice receives a swift boxing of the ears to end this jovial musical tale.

—Dr. Richard E. Rodda

MAURICE RAVEL

Born: March 7, 1875, Ciboure, France

Died: December 28, 1937, Paris, France

Daphnis et Chloé Suite No. 2

The Ballet Russe descended on Paris in 1909 with an impact still reverberating through the worlds of art, music and dance. Its brilliant impresario, Sergei Diaghilev, went shopping among the artistic riches of the French capital, and soon had gathered together one of the most glittering arrays of creative talent ever assembled under a single banner: Falla, Picasso, Nijinsky, Fokine, Bakst, Monteux, Stravinsky, Massine, Debussy, Matisse, Prokofiev, Pavlova, Poulenc, Milhaud. Early in 1910, Diaghilev approached Maurice Ravel with a scenario by Fokine for a ballet based on a pastoral romance derived from the writings of the 5th-century Greek sophist Longus. In his 1928 autobiographical sketch, Ravel wrote:

I was commissioned by the director of the Russian Ballet to write Daphnis et Chloé, a choreographic symphony in three movements. My

Maurice Ravel

aim in writing it was to compose a vast musical fresco, and to be not so much careful about archaic details as loyal to my visionary Greece, which is fairly closely related to the Greece imagined and depicted by Watteau and other French painters at the end of the 18th century.

Daphnis had a lukewarm reception at its premiere at the Théâtre du Châtelet in Paris on June 8, 1912, but Ravel’s score was greeted with enthusiasm and immediately entered the repertory of the world’s orchestras.

Daphnis et Chloé opens in a meadow bordering a sacred wood on the island of Lesbos. Greek youths and maidens enter with wreaths and flowers to place at the altar of the Nymphs as the shepherd Daphnis descends from the hills. His lover, Chloé, crosses the meadow to meet him. The girls are attracted to the handsome Daphnis and dance seductively around him, inciting Chloé’s jealousy. Chloé, in her turn, becomes the object of the men’s advances, particularly a crude one from the clownish goatherd Dorcon. Daphnis’ jealousy is now aroused and he challenges Dorcon to a dancing contest, the prize to be a kiss from Chloé. Dorcon performs a grotesque dance and he is jeered by the onlookers. Daphnis easily wins Chloé’s kiss with his graceful performance. The crowd leads Chloé away, leaving Daphnis alone to lapse into languid ecstasy. Daphnis’ attention is suddenly drawn to the clanging of arms and shouts of alarm from the woods. Pirates have invaded and set upon the Greeks. Daphnis rushes off to protect Chloé, but she has been captured.

In Scene Two, set on a jagged seacoast, the brigands enter their hideaway laden with booty. Chloé, hands bound, is led in. She pleads for her release. When the chief refuses, the sky grows dark and the god Pan, arm extended threateningly, appears upon the nearby mountains. The frightened pirates flee, leaving Chloé alone.

Scene Three is again set amid the hills and meadows of the ballet’s first scene. It is sunrise. Herdsmen arrive and tell Daphnis that Chloé has been rescued. She appears and throws herself into Daphnis’ arms. The old shepherd Lammon explains to them that Pan has saved Chloé in remembrance of his love for the nymph Syrinx. In gratitude, Daphnis and Chloé re-enact the ancient tale, in which Syrinx is transformed into a reed by her sisters to save her from the lustful pursuit of Pan, who then made a flute from that selfsame reed—the pipes of Pan—upon which to play away his longing. Daphnis and Chloé embrace and join the joyous dance that ends the ballet.

From the complete ballet, Ravel extracted two suites comprising some two-thirds of the work’s length. The Second Suite parallels the action of the ballet’s final Scene: Daybreak, Pantomime of the adventure of Pan and Syrinx, and the concluding General Dance.

—Dr. Richard E. Rodda

Set design for Act I from Daphnis and Chloé, 1912. Harvard Theatre Collection, Houghton Library, Harvard University.

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Local and national foundations, businesses, and government agencies are integral to the Orchestra’s vibrant performances, community engagement work, and education activities. We are proud to partner with the following funders.

ANNUAL SUPPORT

SEASON AND SERIES SPONSORS

IDEA Series

PLATINUM BATON CIRCLE ($50,000+)

ArtsWave

Charles H. Dater Foundation

The Thomas J. Emery Memorial Trust

The Fifth Third Foundation

The Carol Ann and Ralph V. Haile, Jr. Foundation

David C. Herriman Fund of Greater Cincinnati Foundation

H.B., E.W., F.R. Luther Charitable Foundation

The Mellon Foundation

Dr. John & Louise Mulford Fund for the CSO

National Endowment for the Arts

Louise Dieterle Nippert Musical Arts Fund of the Greenacres Foundation

Ohio Arts Council

PNC Bank

Margaret McWilliams Rentschler Fund of Greater Cincinnati Foundation

Nina Browne Parker Trust

Harold C. Schott Foundation / Francie and Tom Hiltz, Trustees

The Unnewehr Foundation

The Louise Taft Semple Foundation

Western & Southern Financial Group

Anonymous

GOLD BATON CIRCLE ($25,000–$49,999)

The Cincinnati Symphony Club

Louise H. and David S. Ingalls Foundation Inc.

The Jewish Foundation of Cincinnati

George and Margaret McLane Foundation

Oliver Family Foundation

The Ladislas & Vilma Segoe Family Foundation

The Lazarow Schwartz Family Fund

United Dairy Farmers & Homemade Brand Ice Cream

The Wohlgemuth Herschede Foundation

SILVER BATON CIRCLE ($15,000–$24,999)

HORAN Wealth

Johnson Investment Counsel

Peter E. Landgren and Judith Schonbach Landgren

League of American Orchestras

The Procter & Gamble Company

The Rendigs Foundation

Scott and Charla Weiss

Wodecroft Foundation

2023 ARTSWAVE PARTNERS

CONDUCTOR’S CIRCLE ($10,000–$14,999)

Bartlett Wealth Management

Chemed Corporation

Cincinnati Children’s Hospital Medical Center

The Crosset Family Fund of Greater Cincinnati Foundation

CVG Airport Authority

Entrepreneurs’ Organization

Kelly Dehan and Rick Staudigel

Graeter’s Ice Cream

Messer Construction Co.

The Daniel & Susan Pfau Foundation

Taft Stettinius & Hollister LLP

CONCERTMASTER’S CIRCLE ($5,000–$9,999)

Interact for Health

JRH Consultants

Keating Muething & Klekamp PLL

The Willard & Jean Mulford Charitable Fund

Pyro-Technical Investigations, Inc.

Queen City (OH) Chapter of The Links, Incorporated

Thompson Hine LLP

YOT Full Circle Foundation

ARTIST’S CIRCLE ($2,500–$4,999)

D’Addario Foundation

d.e. Foxx and Associates, Inc.

Richard Freshwater

L. Timothy Giglio

Charles Scott Riley III Foundation

Visit Cincy

Kyle Wynk-Sivashankar and Siva Shankar

BUSINESS & FOUNDATION PARTNERS (up to $2,499)

African American Chamber of Commerce

Albert B. Cord Charitable Foundation

Clark Schaefer Hackett

Earthward Bound Foundation

Hixson Architecture Engineering Interiors

Journey Steel

Robert A. & Marian K. Kennedy Charitable Trust

The Kroger Co.

PricewaterhouseCoopers LLP

Frances L. P. Ricketts Sullivan Memorial Fund

The Voice of Your Customer

TriHealth

Toi and Jay Wagstaff

Join this distinguished group!

Contact Sean Baker at 513.744.3363 or sbaker@cincinnatisymphony.org to learn how you can become a supporter of the CSO and Pops. This list is updated quarterly.

The Cincinnati Symphony Orchestra and Cincinnati Pops acknowledge the following partner companies, foundations and their employees who generously participate in the Annual ArtsWave Community Campaign at the $100,000+ level.

$2 million+

P&G

$1 million to $1,999,999

Fifth Third Bank and Fifth Third Foundation

$500,000 to $999,999

altafiber

GE Aerospace

$250,000 to 499,999

Cincinnati Children’s Hospital Medical Center

The Cincinnati Insurance Companies

Western & Southern Financial Group

$100,000–$299,999

Carol Ann and Ralph V. Haile, Jr. Foundation

Cincinnati Business Courier

Cincinnati Reds

Duke Energy

The E.W. Scripps Company and Scripps Howard Foundation

The Enquirer | Cincinnati.com

Great American Insurance Group

Greater Cincinnati Foundation

The H.B., E.W. and F.R. Luther Charitable Foundation, Fifth Third Bank, N.A., Trustee

The Kroger Co.

Messer Construction Co.

PNC

U.S. Bank

PERMANENT ENDOWMENTS

Endowment gifts perpetuate your values and create a sustainable future for the Orchestra. We extend our deep gratitude to the donors who have provided permanent endowments in support of our programs that are important to them. For more information about endowment gifts, contact Kate Farinacci, Director of Special Campaigns & Legacy Giving, at 513.744.3202.

ENDOWED CHAIRS

Grace M. Allen Chair

Ellen A. & Richard C. Berghamer Chair

Robert E. & Fay Boeh Chair

The Marc Bohlke Chair given by Katrin & Manfred Bohlke

Trish & Rick Bryan Chair

Otto M. Budig Family Foundation Chair

Mary Alice Heekin Burke Chair

Michael L. Cioffi & Rachael Rowe— the Honorable Nathaniel R. Jones Chief Diversity & Inclusion Officer

Peter G. Courlas–

Nicholas Tsimaras Chair

Ona Hixson Dater Chair

The Anne G. & Robert W. Dorsey Chair+

Jane & David Ellis Chair

Irene & John J. Emery Chair

James M. Ewell Chair

Ashley & Barbara Ford Chair for Assistant Conductor

Ashley & Barbara Ford Chair for Assistant Conductor

Ashley & Barbara Ford Chair for Principal Tuba

Susan S. & William A. Friedlander Chair+

Charles Gausmann Chair

Susanne & Philip O. Geier, Jr. Chair+

Emma Margaret & Irving D. Goldman Chair

Clifford J. Goosmann & Andrea M. Wilson Chair

Charles Frederic Goss Chair

Jean Ten Have Chair

Dorothy & John Hermanies Chair

Lois Klein Jolson Chair

Josephine I. & David J. Joseph, Jr. Chair

Harold B. & Betty Justice Chair

Marvin Kolodzik & Linda S. Gallaher Chair+

Al Levinson Chair

Patricia Gross Linnemann Chair+

Alberta & Dr. Maurice Marsh Chair

Stephen P. McKean Chair

Laura Kimble McLellan Chair

The Henry Meyer Chair

The Louise Dieterle Nippert & Louis Nippert Chairs

Rawson Chair

The Vicky & Rick Reynolds Chair in honor of William A. Friedlander+

Ida Ringling North Chair

Donald & Margaret Robinson Chair

Dianne & J. David Rosenberg Chair+

Ruth F. Rosevear Chair

The Morleen & Jack Rouse Chair+

Emalee Schavel Chair

Karl & Roberta Schlachter Family Chair

Serge Shababian Chair

Melinda & Irwin Simon Chair+

Tom & Dee Stegman Chair+

Mary & Joseph S. Stern, Jr. Chair+

Cynthia & Frank Stewart Chair

The Jackie & Roy Sweeney Family Chair

The Sweeney Family Chair in memory of Donald C. Sweeney

Anna Sinton Taft Chair

Brenda & Ralph Taylor Chair

James P. Thornton Chair

Nicholas Tsimaras–

Peter G. Courlas Chair

Thomas Vanden Eynden Chair

Sallie Robinson Wadsworth & Randolph L. Wadsworth Jr. Chair

Jo Ann & Paul Ward Chair

Matthew & Peg Woodside Chair

Mary M. & Charles F. Yeiser Chair

ENDOWED PERFORMANCES & PROJECTS

Eleanora C. U. Alms Trust, Fifth Third Bank, Trustee

Rosemary and Frank Bloom Endowment Fund*+

Cincinnati Bell Foundation Inc.

Mr. & Mrs. Val Cook

Nancy & Steve Donovan*

Sue and Bill Friedlander Endowment Fund*+

Mrs. Charles Wm Anness*,

Mrs. Frederick D. Haffner, Mrs. Gerald Skidmore and the La Vaughn Scholl Garrison Fund

Fred L. & Katherine H. Groll Fund for Musical Excellence

Fred L. & Katherine H. Groll Fund for Great Artists

Fred L. & Katherine H. Groll Trust Pianist Fund

The Carol Ann and Ralph V. Haile, Jr. Foundation Endowment Fund

Anne Heldman Endowment Fund**

Mr. and Mrs. Lorrence T. Kellar+

Lawrence A. & Anne J. Leser*

Mr. & Mrs. Carl H. Lindner**

Janice W. & Gary R. Lubin Fund for Black Artists

PNC Financial Services Group

The Procter & Gamble Fund

Vicky & Rick Reynolds Fund for Diverse Artists+

Melody Sawyer Richardson*

Rosemary and Mark Schlachter Endowment Fund*+

The Harold C. Schott Foundation, Francie and Tom Hiltz Endowment Fund+

Peggy Selonick Fund for Great Artists

Dee and Tom Stegman Endowment Fund*+

Mr. & Mrs. Joseph S. Stern, Jr. Fund for Great Artists

U. S. Bank Foundation*

Sallie and Randolph Wadsworth Endowment Fund+

Educational Concerts

Rosemary & Frank Bloom *

Cincinnati Financial Corporation & The Cincinnati Insurance Companies

The Margaret Embshoff Educational Fund

Kate Foreman Young Peoples Fund

George & Anne Heldman+

Macy’s Foundation

Vicky & Rick Reynolds*+

William R. Schott Family**

Western-Southern Foundation, Inc.

Anonymous (3)+

GIFT OF MUSIC: January 4–February 20, 2024

OTHER NAMED FUNDS

Ruth Meacham Bell Memorial Fund

Frank & Mary Bergstein Fund for Musical Excellence+

Jean K. Bloch Music Library Fund

Cora Dow Endowment Fund

Corbett Educational Endowment**

Belmon U. Duvall Fund

Ewell Fund for Riverbend Maintenance

Linda & Harry Fath Endowment Fund

Ford Foundation Fund

Natalie Wurlitzer & William Ernest Griess Cello Fund

William Hurford and Lesley Gilbertson Family Fund for Guest Pianists

The Mary Ellyn Hutton Fund for Excellence in Music Education

Josephine I. & David J. Joseph, Jr. Scholarship Fund

Richard & Jean Jubelirer & Family Fund*

The Kosarko Family Innovation Fund

Elma Margaret Lapp Trust

Jésus López-Cobos Fund for Excellence

Mellon Foundation Fund

Nina Browne Parker Trust

Dorothy Robb Perin & Harold F. Poe Trust

Rieveschl Fund

Thomas Schippers Fund

Martha, Max & Alfred M. Stern

Ticket Fund

Mr. & Mrs. John R. Strauss

Student Ticket Fund

Anna Sinton & Charles P. Taft Fund

Lucien Wulsin Fund

Wurlitzer Season Ticket Fund

CSO Pooled Income Fund

CSO Musicians Emergency Fund

*Denotes support for Annual Music Program Fund

**Denotes support for the 2nd Century Campaign

+Denotes support for the Fund for Musical Excellence

The following people provided gifts to the Gift of Music Fund to celebrate an occasion, to mark a life of service to the Orchestra, or to commemorate a special date. Their contributions are added to the Orchestra’s endowment. For more information on how to contribute to this fund, please call 513.744.3271.

In honor of Larry Hamby

Kathryn Sullivan

In honor of

Mr. & Mrs. Robert Van Stone

Mary Moskal

In memory of Anne Heldman

Mr. Thomas Bergman

Jeff & Debbie Dalin

Stewart & Ellen Dunsker

The Greater Cincinnati Foundation

Joseph & Marilyn Hirschhorn

Brian Lofft

Dr. Douglas Magenheim, MD

Mrs. Sherri Tieger

Larry Goetz & Sherrie Rutherford

J. David & Dianne Rosenberg

Moe Rouse

Mrs. Ethel Zemsky

In memory of Lois Jolson

Dr. Richard Jolson

In memory of Betty Schulenberg

Mr. and Mrs. Wesley Rogers

In memory of Marguerite Stowe

John and Jane Mueller

HONOR ROLL OF CONTRIBUTORS

The Cincinnati Symphony Orchestra and Cincinnati Pops are grateful to the following individuals that support our efforts by making a gift to the Orchestra Fund. We extend our heartfelt thanks to each and every one and pay tribute to them here. You can join our family of donors online at cincinnatisymphony.org/donate or by contacting the Philanthropy Department at 513.744.3271.

PLATINUM BATON CIRCLE

Gifts of $50,000 and above

Robert W. Dorsey §

Healey Liddle Family Foundation, Mel & Bruce Healey

George L. and Anne P. Heldman Fund* § Harold C. Schott Foundation, Francie & Tom Hiltz

Florence Koetters

Jo Anne and Joe Orndorff

Marilyn J. and Jack D. Osborn §

In Memory of Laura Gamble Thompson

Vicky and Rick Reynolds

Ann and Harry Santen §

Irwin and Melinda Simon

Tom and Dee Stegman

Jackie and Roy Sweeney Family Fund*

Mr. Randolph L. Wadsworth Jr. §

Scott and Charla Weiss

Anonymous (1)

GOLD BATON CIRCLE

Gifts of $25,000–$49,999

Dr. and Mrs. John and Suzanne Bossert §

Mr. and Mrs. Frederick E. Bryan, III §

Robert and Debra Chavez

Michael L. Cioffi & Rachael Rowe

Sheila and Christopher C. Cole

Dr. and Mrs. Carl G. Fischer

Ashley and Bobbie Ford §

Dr. Lesley Gilbertson and Dr. William Hurford

Mr. and Mrs. Paul Isaacs

Dr. and Mrs. Stephen Joffe

Mrs. Andrea Kaplan

Edyth B. Lindner

Calvin and Patricia Linnemann

Mark and Tia Luegering

Mr. and Mrs. Timothy Maloney

Susan McPartlin & Michael Galbraith

G. Franklin Miller and Carolyn Baker Miller

Dianne and J. David Rosenberg

Moe and Jack Rouse §

Mark S. and Rosemary K. Schlachter §

Mrs. Theodore Striker

Mr. and Mrs. Jonathan Ullman

Nancy C. Wagner and Patricia M. Wagner §

Anonymous (1)

SILVER BATON CIRCLE

Gifts of $15,000–$24,999

Mr. and Mrs. Larry Brueshaber

Mr. Gregory D. Buckley and Ms. Susan Berry-Buckley

Stephen J Daush

Dianne Dunkelman and Clever Crazes for Kids

CCI Design, Molly and Tom Garber

Tom and Jan Hardy §

Mr. and Mrs. Joseph W. Hirschhorn §

Marvin P. Kolodzik and Linda S. Gallaher §

Mrs. Erich Kunzel

Peter E. Landgren and Judith Schonbach Landgren

Alan Margulies and Gale Snoddy

In memory of Bettie Rehfeld

Mr. and Mrs. Robert W. McDonald

Joseph A. and Susan E. Pichler Fund*

In memory of Mary and Joseph S. Stern, Jr

Mrs. Anne Drackett Thomas

Sarah Thorburn

DeeDee and Gary West §

Mrs. James W. Wilson, Jr.

Mr. and Mrs. James M. Zimmerman §

Anonymous (1)

CONDUCTOR’S CIRCLE

Gifts of $10,000–$14,999

Mr. and Mrs. Andrew Akers

Jan and Roger Ames

Joe and Patricia Baker

Michael P Bergan and Tiffany Hanisch

Ms. Melanie M. Chavez

Mrs. Thomas E. Davidson §

Kelly Dehan and Rick Staudigel

Dr. and Mrs. Alberto Espay

Mr. and Mrs. Tom Evans

Mrs. Charles Fleischmann

John B. and Judith O. Hansen

William and Jo Ann Harvey

John and Ramsey Lanni

Whitney and Phillip Long

Holly and Louis Mazzocca

Mr. Bradford Phillips III

Melody Sawyer Richardson §

Bill and Lisa Sampson

Martha and Lee Schimberg

Mr. Lawrence Schumacher

Dr. Jean and Mrs. Anne Steichen

Ralph C. Taylor §

Mr. and Mrs. JD Vance

In Loving Memory of Diane Zent

CONCERTMASTER’S CIRCLE

Gifts of $5,000–$9,999

Dr. Charles Abbottsmith

Mr. Nicholas Apanius

Heather Apple and Mary Kay Koehler

Thomas P. Atkins

Mrs. Thomas B. Avril

Kathleen and Michael Ball

Robert and Janet Banks

Louis D. Bilionis and Ann Hubbard

Robert L. and Debbie Bogenschutz

Thomas A. Braun, III §

The Otto M. Budig Family Foundation

Sally and Rick Coomes

K.M. Davis

Bedouin and Randall Dennison

Dennis W. and Cathy Dern

Laura Doerger-Roberts & Peter Roberts

Mrs. John C. Dupree

Mrs. Diana T. Dwight

Mr. and Mrs. Richard Fencl

Mr. and Mrs. James T. Fitzgerald

Marlena and Walter Frank

Dr. and Mrs. Harry F. Fry

L. Timothy Giglio

Thomas W. Gougeon

Kathy Grote in loving memory of Robert Howes §

Mr. and Mrs. Lawrence Hamby

Ms. Delores Hargrove-Young

Dr. Donald and Laura Harrison

Mr. and Mrs. Brian E. Heekin

Dr. James and Mrs. Susan Herman

Mr. and Mrs. Stephen Hicks

Karlee L. Hilliard §

Mr. and Mrs. Geoffrey Keenan

Mrs. Barbara Kellar in honor of Mr. Lorrence T. Kellar

Holly King

Mr. and Mrs. Richard Kovarsky

Michael and Marilyn Kremzar

Richard and Susan Lauf

Will and Lee Lindner

Adele Lippert

Mrs. Robert Lippert

Elizabeth and Brian Mannion

David L. Martin

Mr. Jonathan Martin

Mandare Foundation

Barbara and Kim McCracken §

Linda and James Miller

James and Margo Minutolo

Ms. Mary Lou Motl

Mr. Arthur Norman and Mrs. Lisa Lennon Norman

The Patel-Curran Family

Poul D. and JoAnne Pedersen

Alice Perlman

David and Jenny Powell

Ellen Rieveschl §

Elizabeth and Karl Ronn §

James and Mary Russell

Dr. E. Don Nelson and Ms. Julia Sawyer-Nelson

Mr. Dennis Schoff and Ms. Nina Sorensen

Mike and Digi Schueler

Brent & Valerie Sheppard

Sue and Glenn Showers §

Rennie and David Siebenhar

Mr. and Mrs. Gerald Skidmore §

Michael and Donnalyn Smith

Brett Stover §

Mr. and Mrs. David R. Valz

Christopher and Nancy Virgulak

Mrs. Ronald F. Walker

Mrs. Paul H. Ward §

Donna A. Welsch

Cathy S. Willis

Andrea K. Wiot

Irene A. Zigoris

Anonymous (4)

ARTIST’S CIRCLE

Gifts of $3,000–$4,999

Mr. and Mrs. Richard N. Adams

Mr. and Mrs. Gérard Baillely

Ms. Marianna Bettman

Glenn and Donna Boutilier

Peter and Kate Brown

Dr. Ralph P. Brown

Janet and Bruce Byrnes

Gordon Christenson

Susan and Burton Closson

Lois Cohen §

Peter G. Courlas §

Marjorie Craft

George Deepe and Kris Orsborn

Jim and Elizabeth Dodd

Connie and Buzz Dow

Dr. and Mrs. Stewart B. Dunsker

David and Kari Ellis Fund*

Ann A. Ellison

Hardy and Barbara Eshbaugh

Ms. Amy McDiffett

Yan Fridman

Frank and Tara Gardner

Dr. and Mrs. Ralph A. Giannella

Anne E. Mulder and Rebecca M. Gibbs

Lesha and Samuel Greengus

Dr. and Mrs. Jack Hahn

Mr. and Mrs. Robert R. Heidenreich

Donald and Susan Henson

Ruth C. Holthaus

In Memory of Benjamin C. Hubbard §

Mr. and Mrs. Bradley G. Hughes

Mr. and Mrs. Michael C. Hughes

Mr. Marshall C. Hunt, Jr.

Karolyn Johnsen

Dr. Richard and Lisa Kagan

Dr. Robert W. Keith and Ms. Kathleen Thornton

Don and Kathy King

Lynn Keniston Klahm

Marie and Sam Kocoshis

Mr. Frank P. Kromer

Mr. Shannon Lawson

Richard and Nancy Layding

Mrs. Jean E. Lemon §

Merlanne Louney

Larry and Mary Geren Lutz

Mr. and Mrs. Donald Marshall

Glen and Lynn Mayfield

Allen-McCarren

Becky Miars

Ms. Sue Miller

Mrs. Patricia Misrach

Mr. and Mrs. David E. Moccia §

George and Sarah Morrison III

David and Beth Muskopf

Phyllis Myers and Danny Gray

Mark and Kim Pomeroy

Drs. Marcia Kaplan and Michael Privitera

Mr. Aftab Pureval

Michael and Katherine Rademacher

Sandra Rivers

James Rubenstein and Bernadette Unger

Mr. & Mrs. Peter A. Schmid

Rev. Dr. David V. Schwab

Sandra and David Seiwert

Mr. Rick Sherrer and Dr. Lisa D. Kelly

Elizabeth C. B. Sittenfeld §

Doug and Laura Skidmore

William A. and Jane Smith

Elizabeth A. Stone

Peggy and Steven Story

Mr. and Mrs. J. Dwight Thompson

Mr. and Mrs. Ronald Tinklenberg

Neil Tollas and Janet Moore

Dr. Barbara R. Voelkel

Donors attending the CSO Open Rehearsal on Feb. 7. Credit: Claudia Hershner

Dr. and Mrs. Galen R. Warren

Jonathan and Janet Weaver

Jim and George Ann Wesner

Jo Ann Wieghaus

In Memory of Bruce R. Smith

Ronna and James Willis

Steve and Katie Wolnitzek

Carol and Don Wuebbling

Mr. and Mrs. Robert L. Zierolf

Anonymous (4)

SYMPHONY CIRCLE

Gifts of $1,500–$2,999

Jeff and Keiko Alexander §

Lisa Allgood

Judy Aronoff and Marshall Ruchman

Dr. Diane S. Babcock §

Beth and Bob Baer

Mrs. Gail Bain

William and Barbara Banks

Glenda and Malcolm Bernstein

David and Elaine Billmire

Neil Bortz

William & Mary Bramlage

Mrs. Jo Ann C. Brown

Ms. Jaqui Brumm

Rachelle Bruno and Stephen Bondurant

Chris and Tom Buchert

Dr. Leanne Budde

Daniel A. Burr

Ms. Deborah Campbell §

Ms. Barbara Caramanian

Tom Carpenter and Lynne Lancaster

Dr. Alan Chambers

Beverly Kinney and Edward Cloughessy

Carol C. Cole §

Randy K. and Nancy R. Cooper

Andrea D. Costa, Esq.

Mr. and Mrs. Charles E. Curran, III §

Mr. Louis M. Dauner and Ms. Geraldine N. Wu

Mrs. Shirley Duff

David and Linda Dugan

Mr. and Mrs. John G. Earls §

Barry and Judy Evans

Gail F. Forberg §

Dr. Charles E. Frank and Ms. Jan Goldstein

Mr. and Mrs. Joseph Fricke

Linda P. Fulton §

Dudley Fulton

Kathleen Gibboney

Mrs. Jay N. Gibbs

Louis and Deborah Ginocchio

Donn Goebel and Cathy McLeod

Dr. and Mrs. Glenn S. Gollobin

Drew Gores and George Warrington

Jim and Jann Greenberg

Bill and Christy Griesser

John and Elizabeth Grover

Esther B. Grubbs §

Mr. and Mrs. Byron Gustin

Ham and Ellie Hamilton

Mrs. Jackie Havenstein

Mr. Tom Helmick

Mr. Fred Heyse

Melissa Huber

Mr. Bradley Hunkler

Heidi Jark and Steve Kenat

Linda Busken and Andrew M. Jergens §

Barbara M. Johnson

Mr. and Mrs. Paul H. Johnson

Ms. Sylvia Johnson

Holly H. Keeler

Arleene Keller

Mr. and Mrs. Woodrow Keown, Jr.

John and Molly Kerman

Bill and Penny Kincaid

In Memory of Jeff Knoop

Juri Kolts

Carol Louise Kruse

Everett and Barbara Landen

Evelyn and Fred Lang

Charles and Jean Lauterbach

Mary Mc and Kevin Lawson

Mr. Peter F. Levin §

Elizabeth Lilly*

Dr. and Mrs. Lynn Y. Lin

Mr. and Mrs. Clement H. Luken, Jr.

Edmund D. Lyon

Mark Mandell-Brown, MD and Ann Hanson

Mr. Gerron McKnight

John and Roberta Michelman

Mr. and Mrs. David A. Millett

Terence G. Milligan

Susan E. Noelcke

Nan L. Oscherwitz

Rick Pescovitz and Kelly Mahan

Sandy Pike §

James W. Rauth §

Beverly and Dan Reigle

Stephen and Betty Robinson

Marianne Rowe §

Nancy Ruchhoft

Mr. Joseph A. Schilling

Frederick R. Schneider

James P. Schubert

Stephanie A. Smith

Albert and Liza Smitherman

Bill and Lee Steenken

Mrs. Donald C. Stouffer

Mr. and Mrs. Richard Stradling, Jr.

Susan and John Tew

Janet Todd

Mr. William Trach

Barbie Wagner

Michael L. Walton, Esq

Ted and Mary Ann Weiss

David F. and Sara K. Weston Fund

Virginia Wilhelm

Rev. Anne Warrington Wilson

Robert and Judy Wilson

Jeff Yang

David and Sharon Youmans

Ms. Nancy Zimpher

Anonymous (7)

CONCERTO CLUB Gifts of $500–$1,499

Hiro Adachi

Christine O. Adams

Romola N. Allen §

In memory of Carol Allgood & Ester Sievers

Mr. Thomas Alloy & Dr. Evaline Alessandrini

Paul and Dolores Anderson

Mr. and Mrs. Frank Andress

Dr. Victor and Dolores Angel

Nancy J. Apfel

Lynne & Keith Apple, Honoring our Family

Ms. Laura E. Atkinson

Mr. David H. Axt and Ms. Susan L. Wilkinson

Nate and Greta Bachhuber

Mrs. Mary M. Baer

Todd and Ann Bailey

Jerry and Martha Bain

Mr. and Mrs. Carroll R. Baker

Jack and Diane Baldwin

Peggy Barrett §

Mrs. Polly M. Bassett

Ms. Glenda Bates

Michael and Amy Battoclette

Drs. Carol and Leslie Benet

Fred Berger

Dr. Allen W. Bernard

Barbara and Milton Berner

Dr. David and Cheryl Bernstein

Ms. Henryka Bialkowska-Nagy

Sharon Ann Kerns and Mike Birck

Michael Bland

Milt and Berdie Blersch

Randal and Peter Bloch

Dr. and Mrs. Jeffrey Bloomer

Ms. Sandra Bolek

Ron and Betty Bollinger

Clay and Emily Bond

Mr. and Mrs. Kenneth Borisch

Dr. and Mrs. Kevin Bove

Dr. Carol Brandon

Marilyn and John Braun

Briggs Creative Services, LLC

Robert and Joan Broersma

Marian H. Brown

Jacklyn and Gary Bryson

Bob and Angela Buechner

Jack and Marti Butz

John Byrd

Mr. and Mrs. Christopher Canarie

Mr. and Mrs. Thomas Carothers

Susan L. Carson

Dr. Julia H. Carter

Mike and Shirley Chaney

Catharine W. Chapman §

Ichun Chiao

Dee and Frank Cianciolo Fund*

James Civille

James Clasper and Cheryl Albrecht

Mr. Robert Cohen and Ms. Amy J. Katz

Dr. George I. Colombel

Fred W. Colucci

Mr. and Mrs. Philip K. Cone

Marilyn Cones

Dr. Margaret Conradi

Thomas and Barbara Conroy

Janet Conway

Jack and Janice Cook §

Robin Cotton and Cindi Fitton

Dennis and Pat Coyne

Martha Crafts

Dr. James Creech

Tim and Katie Crowley

Susan and John Cummings

Adrian and Takiyah Cunningham

Jacqueline Cutshall

Mr. and Mrs. Henry F. Dabek, Jr.

Mr. Joseph and Mrs. Lori Dattilo

Mr. and Mrs. Jerry E. Davis

Loren and Polly DeFilippo

Stephen and Cynthia DeHoff

Rozelia Park and Christopher Dendy

Robert B. Dick, Ph.D.

Ms. Rhonda Dickerscheid

Jean and Rick Donaldson

George Dostie

Mrs. John Doviak

David and Kelley Downing

Meredith and Chuck Downton

Ms. Andrea Dubroff

Tom and Leslie Ducey

Tom and Dale Due

Amy Dunlea and Lois Mannon

Mr. Corwin R. Dunn

Michael D. and Carolyn Camillo Eagen

Mr. Daniel Epstein

Barbara Esposito-Ilacqua

Mr. Edward Ettin

Sally Eversole

Ms. Kate Farinacci

Dr. and Mrs. William J. Faulkner

Ms. Jean Feinberg

Ms. Barbara A. Feldmann

Richard and Elizabeth Findlay

Ilya Finkelshteyn and Evin Blomberg

Dr. and Mrs. Thomas Fischer

Anne and Alan Fleischer

Ms. Nancy B. Forbriger

Janice and Dr. Tom Forte

Mr. and Ms. Bernard Foster

Susan L. Fremont

Mr. Gregrick A. Frey

In memory of Eugene and Cavell Frey

Lynne Friedlander and Jay Crawford

Michael and Katherine Frisco

Mr. and Mrs. James Fryman

Marjorie Fryxell

Ms. Bianca Gallagher

Christophe Galopin

Melanie Garner and Michael Berry

Ms. Jane Garvey

Ms. Christina Gearhart

Drs. Michael and Janelle J. Gelfand

Mr. Henry Genther

Dr. and Mrs. Freidoon Ghazi

Ms. Kathryn Gibbons

Ann and Harry Santen at a Board of Directors event honoring Louis Langrée on NOV 8. Credit: Claudia Hershner

Guest artist Audra McDonald with Board member Adrian Cunningham and family. Credit: CSO Staff

David J. Gilner

Mr. and Mrs. James Gingrich

Dr. Jerome Glinka and Ms. Kathleen Blieszner

Dr. and Mrs. Charles J. Glueck

Dan Goetz

Dr. and Mrs. Richard Goetz

Mr. Ken Goldhoff

Mr. and Mrs. Jim Goldschmidt

Ms. Arlene Golembiewski

Robert and Cynthia Gray

Carl and Joyce Greber

Mary Grooms

Dr. Anthony and Ann Guanciale

Janet C. Haartz and Kenneth V. Smith

Alison and Charles Haas

Ms. Sarah Habib

Mary and Phil Hagner

Peter Hames

Walter and Karen Hand

In memory of Dr. Stuart Handwerger

Catherine K. Hart

Mariana Belvedere and Samer Hasan

Mr. John A. Headley

Amy and Dennis Healy

Kenneth and Rachel Heberling

Mrs. Betty H. Heldman §

Howard D. and Mary W. Helms

Mrs. E. J. Hengelbrok, Jr.

Mr. Jeff Herbert

Michelle and Don Hershey

Janet & Craig Higgins

Mr. and Mrs. Russell W. Hill

Mr. and Mrs. William A. Hillebrand

Kyle and Robert Hodgkins

Benjamin & Naomi Hoffman

Ms. Leslie M. Hoggatt

Tim and Connie Holmen

Richard and Marcia Holmes

Bob and Dolly Holzwarth

Stanley A. Hooker, III

Mr. Joe Hoskins

Sean and Katie Hubbard

Karen and David Huelsman

Mrs. Carol H. Huether

Dr. G. Edward & Sarah Hughes

Ms. Idit Isaacsohn

Dr. Maralyn M. Itzkowitz

Mrs. Charles H. Jackson, Jr.

Mr. and Mrs. Fred Jebens

Marcia Jelus

David & Penny Jester

Mrs. Marilyn P. Johnston

In Honor of Lois Jolson

Elizabeth A. Jones

Mrs. Martha Jones

Scott and Patricia Joseph

Jay and Shirley Joyce

Mr. and Mrs. Robert Judd

Ms. Mary Judge

Dr. James Kaya and Debra Grauel

Dr. and Mrs. Richard Kerstine

Mr. and Mrs. Dave Kitzmiller

Jack & Sharon Knapp

Pamela Koester-Hackman

Carol and Scott Kosarko

Mr. and Mrs. Robert H. Kraimer

Mr. and Mrs. Jonathan Kregor

Mr. and Mrs. Bruce A. Krone

Kathleen B. and Michael C. Krug Fund*

Pat and Randy Krumm §

Mark & Elisabeth Kuhlman

Mrs. John H. Kuhn §

Jo Ann and George Kurz

Pinky Laffoon & Family

Patricia Lambeck

Asher Lanier

Karen Larsen

Ms. Sally L. Larson

Mrs. Julie Laskey

Joe Law and Phil Wise

Mrs. Judith A. Leege in memory of Philip B. Leege

Dr. Carol P. Leslie

Mr. and Mrs. Lance A. Lewis

Mrs. Maxine F. Lewis

Mr. Arthur Lindsay

Paula and Nick Link

Mrs. Marianne Locke

Mr. Ajene Lomax

Steven Kent Loveless

Luke and Nita Lovell

David and Katja Lundgren

Mrs. Mary Reed Lyon

Marshall and Nancy Macks

Mr. and Mrs. Julian A. Magnus

Jenea Malarik

Ms. Cheryl Manning

Andrew and Jean Martin

Mr. and Mrs. Warren L. Mason

Mr. and Mrs. Dean Matz

Ms. Mary Jane Mayer

Dr. Janet P. McDaniel

Tim and Trish McDonald

Robert and Heather McGrath

Mark McKillip and Amira Beer

Art and Stephanie McMahon

Stephanie McNeill

Charles and JoAnn Mead

Ms. Nancy Menne

Ms. Mary Ann Meyer

Michael V. Middleton

Laura Milburn

Sonia R. Milrod

Dr. Stanley R. Milstein §

Ms. Laura Mitchell

Mr. Steven Monder

Eileen W. and James R. Moon

Regeana and Al Morgan

Mr. William J. Morgan

Mr. Scott Muhlhauser

Alan Flaherty and Patti Myers §

Mr. and Mrs. Norman Neal

Mr. Scott Nelson and Dr. Susan Kindel

Mr. Ted Nelson and Ms. Ixi Chen

Ms. Helen Neumann

Mr. and Mrs. Christopher Newcomer

Amy Paul and Jerry Newfarmer

Mrs. Alfred K. Nippert

Jane Oberschmidt §

Ms. Sylvia Osterday

Phyllis Overmann

John A. Pape

The Pavelka Family

Carol and Jim Pearce

Ann and Marty Pinales

Dr. Robert and Jackie Prichard

Mrs. Stewart Proctor

Dr. Aik Khai Pung

Marjorie and Louis Rauh

Ms. Mary Redington

Dr. and Mrs. Robert Reed

Dr. Robert Rhoad and Kitsa Tassian Rhoad

Stephanie Richardson

Mr. David Robertson

Laurie and Dan Roche

Mr. and Mrs. Ian Rodway

Dr. Anna Roetker

Ms. Jeanne C. Rolfes

Catherine Calko

Dr. and Mrs. Gary Roselle

Amy and John Rosenberg

Ellen and Louis Ross

Mr. and Mrs. G. Roger Ross

Dr. Deborah K. Rufner

J. Gregory and Judith B. Rust

Elizabeth and Kazuya

David and Judy Savage

Mr. Christian J. Schaefer

Cindy Scheets

Ms. Carol Schleker

Mr. and Mrs. Patrick Schleker

Jane and Wayne Schleutker

Dr. and Mrs. Michael Schmerler

Mrs. Donna Schnicke

George Palmer Schober

Tim and Jeannie Schoonover

Glenda C. Schorr Fund*

Carol J. Schroeder §

Mary D. Schweitzer

Dr. Joseph Segal and Ms. Debbie Friedman

Elaine Semancik

Ms. Joycee Simendinger

Kristin and David Skidmore

In Honor of Kenneth Skirtz

Ms. Martha Slager

Susan and David Smith

Ms. Margaret Smith

Mark M. Smith (In memory of Terri C. Smith)

Stephen and Lyle Smith

Phillip and Karen Sparkes

Paula Spitzmiller

In Honor of Melody Sawyer Richardson

Marian P. Stapleton

Mr. and Mrs. Timothy Stautberg

Ms. Ruth M. Stechschulte

Mark and Anne Stepaniak

Susan M. and Joseph Eric Stevens

Mr. Jason V. Stitt

Stephanie and Joseph Stitt

Nancy and Gary Strassel

Ms. Susan R. Strick

Mr. George Stricker, Jr.

Mr. Mark Stroud

Patricia Strunk §

Kathryn Sullivan

Dr. Alan and Shelley Tarshis

Maureen Taylor

Mr. Fred Tegarden

Carlos and Roberta Teran

Rich and Nancy Tereba

Linda and Nate Tetrick

Joyce and Howard Thompson

Mr. Stuart Tobin

Marcia and Bob Togneri

Torey and Tom Torre

Mrs. Esthela Urriquia

Dr. Ilse M. van der Bent

Mr. D. R. Van Lokeren

Dr. Judith Vermillion

Jim and Rachel Votaw §

Ms. Barbara Wagner

Mr. and Mrs. James L. Wainscott

Jane A. Walker

Sarella Walton

Herman & Margaret Wasserman

Music Fund*

Mrs. Louise Watts

Maryhelen West

Ms. Bonnie White

Mr. Donald White

Ms. Elizabeth White

Ms. Diana Willen

Marsha Williams

Mr. Dean Windgassen and Ms. Susan Stanton Windgassen §

Don and Karen Wolnik

Rebecca Seeman and David Wood

Mr. and Mrs. Robert Wylly III

Mr. John M. Yacher

Mrs. Darleen Young

Judy and Martin Young

Mr. David Youngblood and Ms. Ellen Rosenman

Cheryl Zalzal

Dr. and Mrs. Daryl Zeigler

Ms. Joan Zellner

Moritz and Barbara Ziegler

Mr. Richard K. Zinicola and Ms. Linda R. Holthaus

Anonymous (25)

List as of February 1, 2024

GIFTS IN-KIND

Mr. Michael Culligan

Graeter’s Ice Cream

Jones Day

The Voice of Your Customer

List as of February 21, 2024

* Denotes a fund of The Greater Cincinnati Foundation.

§ Denotes members of The Thomas Schippers Legacy Society. Individuals who have made a planned gift to the Cincinnati Symphony Orchestra

Mick and Nancy Shaughnessy

Jerry and Donna Shell

The Shepherd Chemical Company

Alfred and Carol Shikany

Jacqueline M. Mack and Dr. Edward B. Silberstein

THE THOMAS SCHIPPERS LEGACY SOCIETY

Mr. & Mrs. James R. Adams

Jeff & Keiko Alexander

Mrs. Robert H. Allen

Dr. Toni Alterman

Paul R. Anderson

Carole J. Arend

Donald C. Auberger, Jr.

Thomas Schippers was Music Director from 1970 to 1977. He left not only wonderful musical memories, but also a financial legacy with a personal bequest to the Orchestra. The Thomas Schippers Legacy Society recognizes those who contribute to the Orchestra with a planned gift. We thank these members for their foresight and generosity. For more information on leaving your own legacy, contact Kate Farinacci at 513.744.3202.

Mary J. Healy

Frank G. Heitker

Anne P. Heldman

Betty & John* Heldman

Ms. Roberta Hermesch*

Karlee L. Hilliard

Michael H. Hirsch

Mr. & Mrs. Joseph W. Hirschhorn

Daniel J. Hoffheimer

Kenneth L. Holford

Mr. George R. Hood

Dr. Diane Schwemlein Babcock

Henrietta Barlag

Peggy Barrett

Jane* & Ed Bavaria

David & Elaine Billmire

Walter Blair

Lucille* & Dutro Blocksom

Rosemary & Frank Bloom*

Dr. John & Suzanne Bossert

Dr. Mollie H. Bowers-Hollon

Ronald Bozicevich

Thomas A. Braun, III

Joseph Brinkmeyer

Mr. & Mrs. Frederick Bryan, III

Harold & Dorothy Byers

Deborah Campbell & Eunice M. Wolf

Myra Chabut*

Catharine W. Chapman

Michael L. Cioffi & Rachael Rowe

Mrs. Jackson L. Clagett III

Lois & Phil* Cohen

Leland M.* & Carol C. Cole

Grace A. Cook

Jack & Janice Cook

Mr. & Mrs. Charles Cordes

Andrea Costa

Peter G. Courlas & Nick Tsimaras*

Mr. & Mrs. Charles E. Curran III

Amy & Scott Darrah, Meredith & Will Darrah, & children

Caroline H. Davidson

Harrison R.T. Davis

Ms. Kelly M. Dehan

Amy & Trey Devey

Robert W. Dorsey

Jon & Susan Doucleff

Ms. Judith A. Doyle

Mr. & Mrs. John Earls

Barry & Judy Evans

Linda & Harry Fath

Alan Flaherty

Mrs. Richard A. Forberg*

Ashley & Barbara Ford

Guy & Marilyn Frederick

Rich Freshwater & Family

Susan Friedlander*

Mr. Nicholas L. Fry

Linda P. Fulton

H. Jane Gavin

Edward J. & Barbara C.* Givens

Kenneth A. Goode

Clifford J. Goosmann & Andrea M. Wilson

Mrs. Madeleine H. Gordon

J. Frederick & Cynthia Gossman

Kathy Grote

Esther B. Grubbs, Marci Bein & Mindi Hamby

William Hackman

Vincent C. Hand & Ann E. Hagerman

Tom & Jan Hardy

William L. Harmon

Mrs. Morton L. Harshman*

Mr. & Mrs. Terence L. Horan

Mrs. Benjamin C. Hubbard

Susan & Tom Hughes

Carolyn R. Hunt*

Dr. William Hurford & Dr. Lesley Gilbertson

Mr. & Mrs. Paul Isaacs

Julia M. F. B. Jackson

Michael & Kathleen Janson

Andrew MacAoidh Jergens

Jean C. Jett

Margaret H. Jung

Mace C. Justice

Karen Kapella

Dr. & Mrs.* Steven Katkin

Rachel Kirley & Joseph Jaquette

Carolyn Koehl

Marvin Kolodzik & Linda Gallaher

Carol & Scott Kosarko

Michael & Marilyn Kremzar

Randolph & Patricia Krumm

Theresa M. Kuhn

Warren & Patricia Lambeck

Peter E. Landgren & Judith Schonbach Landgren

Owen & Cici Lee

Steve Lee

M. Drue Lehmann*

Mrs. Jean E. Lemon

Mr. Peter F. Levin

George & Barbara Lott

Janice* & Gary Lubin

Mr.* & Mrs. Ronald Lyons

Marilyn J. Maag

Margot Marples

David L. Martin

Allen* & Judy Martin

David Mason

Mrs. Barbara Witte McCracken

Laura Kimble McLellan

Dr. Stanley R. Milstein

Mrs. William K. Minor

Mr. & Mrs. D. E. Moccia

Kristin & Stephen Mullin

Christopher & Susan Muth

Patti Myers

Susan & Kenneth Newmark

Dr. & Mrs. Theodore Nicholas

Jane Oberschmidt

Marja-Liisa Ogden

Julie & Dick* Okenfuss

Jack & Marilyn Osborn*

Dr. & Mrs. Richard E. Park, MD

Mr. & Mrs. Charles Pease

Poul D. & JoAnne Pedersen

Sandy & Larry* Pike

Mrs. Harold F. Poe

Anne M. Pohl

Irene & Daniel Randolph

James W. Rauth

Barbara S. Reckseit

Melody Sawyer Richardson

Ellen Rieveschl

Elizabeth & Karl Ronn

Moe & Jack Rouse

Marianne Rowe

Ann & Harry Santen

Rosemary & Mark Schlachter

Carol J. Schroeder

Mrs. William R. Seaman

Dr. Brian Sebastian

Mrs. Mildred J. Selonick*

Mrs. Robert B. Shott

Sue & Glenn Showers

Irwin & Melinda Simon

Betsy & Paul* Sittenfeld

Sarah Garrison Skidmore

Adrienne A. Smith

David & Sonja* Snyder

Marie Speziale

Mr. & Mrs. Christopher L. Sprenkle

Barry & Sharlyn Stare

Bill & Lee Steenken

Tom & Dee Stegman

Barry Steinberg

Nancy M. Steman

John & Helen Stevenson

Mary* & Bob Stewart

Brett Stover

Dr. Robert & Jill Strub

Patricia M. Strunk

Ralph & Brenda* Taylor

Conrad F. Thiede

Minda F. Thompson

Carrie & Peter Throm

Dr. & Mrs. Thomas Todd

Nydia Tranter

Dick & Jane Tuten

Thomas Vanden Eynden & Judith Beiting

Mr. & Mrs. Robert Varley

Mr. & Mrs. James K. Votaw

Mr. & Mrs.* Randolph L. Wadsworth Jr.

Jack K. & Mary V. Wagner*

Nancy C. Wagner

Patricia M. Wagner

Mr.* & Mrs. Paul Ward

Jo Anne & Fred Warren

Mr. Scott Weiss & Dr. Charla Weiss

Anne M. Werner

Gary & Diane West

Charles A. Wilkinson

Ms. Diana Willen

Susan Stanton Windgassen

Mrs. Joan R. Wood

Alison & Jim Zimmerman

* Deceased

New Schippers members are in bold

ADMINISTRATION

SHARED SERVICES & SUBSIDIARIES. The Cincinnati Symphony Orchestra’s business model is unique within the orchestral industry because it provides administrative services for other nonprofits and operates two subsidiary companies—Music & Event Management, Inc. and EVT Management LLC. With the consolidation of resources and expertise, sharing administrative services allows for all organizations within the model to thrive. Under this arrangement, the CSO produces hundreds of events in the Greater Cincinnati and Dayton regions and employs hundreds of people annually.

SENIOR MANAGEMENT TEAM

Jonathan Martin President & CEO

Harold Brown

The Honorable Nathaniel R. Jones Chief Diversity & Inclusion Officer

John Clapp Vice President of Orchestra & Production

Rich Freshwater Vice President & Chief Financial Officer

Michael Frisco

Vice President of Marketing

Felecia Tchen Kanney Vice President of Communications & Digital Media

Mary McFadden Lawson Chief Philanthropy Officer

Robert McGrath Chief Operating Officer

Anthony Paggett Acting Vice President of Artistic Planning

Kyle Wynk-Sivashankar Vice President of Human Resources

EXECUTIVE OFFICE

Jonathan Martin President & CEO

Laura Ruple Executive Assistant to the President & CEO

Robert McGrath

Chief Operating Officer

Shannon Faith Assistant to the Chief Operating Officer

ARTISTIC PLANNING

Anthony Paggett

Acting Vice President of Artistic Planning

Grace Kim Artistic Planning Intern

Theresa Lansberry

Artist Liaison

Shuta Maeno Assistant to the Music Director & Artistic Planning

Sam Strater

Senior Advisor for Cincinnati Pops Planning

COMMUNICATIONS & DIGITAL MEDIA

Felecia Tchen Kanney

Vice President of Communications & Digital Media

Charlie Balcom

Social Media Manager

KC Commander Director of Digital Content & Innovation

Maria Cordes Digital Media Coordinator

Kaitlyn Driesen Media & Label Services Manager

Kit Gladieux Communications Intern

Lauren Hall Digital Content Intern

Tyler Secor Director of Publications & Content Development

Lee Snow Digital Content Technology Manager

COMMUNITY ENGAGEMENT, DIVERSITY, EQUITY & INCLUSION

Harold Brown

The Honorable Nathaniel R. Jones Chief Diversity & Inclusion Officer

Key Crooms Director of Community Engagement

Vee Gibson Classical Roots Coordinator

Pamela Jayne Volunteer & Community Engagement Manager

Molly Rains Community Engagement Events Manager

FINANCE, IT & DATA SERVICES

Rich Freshwater Vice President & Chief Financial Officer

Deborah Benjamin Accounting Clerk

Julian Cann Accounting Clerk

Kathleen Curry Data Entry Clerk

Elizabeth Engwall Accounting Manager

Matt Grady Accounting Manager

Sharon Grayton Data Services Manager

Marijane Klug Accounting Manager

Shannon May Accounting Clerk

Kristina Pfeiffer Director of Finance

Elizabeth Salmons Accounting Clerk

Judy Simpson Director of Finance

Tara Williams Data Services Manager

HUMAN RESOURCES & PAYROLL

Kyle Wynk-Sivashankar Vice President of Human Resources

Megan Inderbitzin-Tsai Director of Payroll Services

Natalia Lerzundi Human Resources & Payroll Coordinator

Jenny Ryan Human Resources Manager

LEARNING

Carol Dary Dunevant Director of Learning

Hollie Greenwood Learning Coordinator

Kyle Lamb Learning Programs Manager

Maria Serrano CCM Arts Administration Graduate Assistant

Mason Stewart Education Programs Intern

MARKETING

Michael Frisco Vice President of Marketing

Leon Barton Website Manager

Jon Dellinger Copywriter & Marketing Manager

Carmen Granger Subscriptions & Loyalty Marketing Manager

Elaine Hudson Assistant Box Office Manager

Hannah Kaiser Assistant Box Office Manager

Abigail Karr Audience Engagement Manager

Stephanie Lazorchak Graphic Designer

Michelle Lewandowski Director of Marketing

Tina Marshall Director of Ticketing & Audience Services

Wendy Marshall

Group Sales Manager

Madelyn McArthur Marketing Intern

Amber Ostaszewski

Director of Audience Engagement

Alexis Shambley Email & Insight Marketing Manager

Patron Services Representatives

Ellison Blair, Lead

Drew Dolan, Lead

Lucas Maurer, Lead

Erik Nordstrom, Lead

Hannah Blanchette

Craig Doolin

Mary Duplantier

Ebony Jackson

Monica Lange

Talor Marren

Marian Mayen

Gregory Patterson

Matthew Wallenhorst

PHILANTHROPY

Mary McFadden Lawson Chief Philanthropy Officer

Laura Aldana Philanthropy Intern

Sean Baker Director of Institutional Giving

Bhavya Nayna Channan Corporate Giving Manager

Ashley Coffey Foundation & Grants Manager

Kate Farinacci Director of Special Campaigns & Legacy Giving

Penny Hamilton Philanthropy Assistant

Catherine Hann Assistant Director of Individual Giving

Rachel Hellebusch Institutional Giving Coordinator

Leslie Hoggatt Director of Individual Giving & Donor Services

Quinton Jefferson Research & Grants Administrator

D’Anté McNeal Special Projects Coordinator

Jenna Montes Individual Giving Manager

Emma Steward Donor Engagement Coordinator

PRODUCTION

John Clapp Vice President of Orchestra & Production

Laura Bordner Adams Director of Operations

Carlos Javier Production Manager

Alex Magg Production Manager

Isabella Prater Production Intern

Brenda Tullos Director of Orchestra Personnel

A NEW RECORDING BY LOUIS LANGRÉE CINCINNATI SYMPHONY ORCHESTRA

A limited run of vinyl will be sold exclusively at the following concerts:

MAY 3 & 4: Beethoven 7 & Dessner Premieres

MAY 3: CSO Proof: Wires

MAY 10-12: Louis’ Grand Finale

STREAMING ON ALL PLATFORMS MAY 3