The Cleveland Orchestra September 19 & 22 Concerts

SEPTEMBER 19 & 22, 2024 24 25

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2024/2025 SEASON

JACK, JOSEPH AND MORTON MANDEL CONCERT HALL AT SEVERANCE MUSIC CENTER

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

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INTRODUCTION

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THIS WEEK’S PROGRAM Tchaikovsky’s Pathétique

Osmo Vänskä, conductor

Symphony No. 1, Op. 25, “Classical” (page 10) by Sergei Prokofiev

Violin Concerto in D minor (page 13) by Robert Schumann Frank Peter Zimmermann, violin

Symphony No. 6 in B minor, Op. 74, “Pathétique” (page 16) by Pyotr Ilyich Tchaikovsky

Artist & conductor biographies (page 21)

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TCO SPOTLIGHT

Feature articles, musician interviews & season calendar

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IN THE NEWS

Noteworthy happenings at The Cleveland Orchestra

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SNAPSHOTS

Photo highlights from recent Cleveland Orchestra events

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THANK YOU

The community that brings the music to life

ON BEHALF OF THE MUSICIANS , staff, board, and volunteers of The Cleveland Orchestra, I am thrilled to welcome you to our 2024–25 season at Severance Music Center!

After a successful and critically acclaimed European tour with Music Director Franz Welser-Möst and pianist Víkingur Ólafsson earlier this month, we return home invigorated and excited to embark on a new and extraordinary year of music-making with you.

This year’s programming promises to be both ambitious and eclectic. There’s truly something to captivate every taste, from cherished classics and groundbreaking premieres to unforgettable recitals, movie presentations, family concerts, and digital productions on Adella.live, our growing digital home. The season culminates with our third annual Jack, Joseph and Morton Mandel Opera & Humanities Festival, centered this year around Janáček’s Jenůfa.

We kick off the season in Mandel Concert Hall with Tchaikovsky’s Sixth Symphony, “Pathétique,” a poignant work the composer premiered shortly before his death. Frank Peter Zimmermann also joins the Orchestra in Robert Schumann’s rarely performed Violin Concerto. As you may know, Franz is unfortunately unable to join us for this opening week, but I am pleased to share that he is recovering well following our recent tour. We are grateful to Osmo Vänskä for graciously stepping in to lead these performances.

We’re equally grateful to conductor Elim Chan for accepting to lead next week’s program as she joins Yefim Bronfman for four performances of Rachmaninoff’s beloved Third Piano Concerto, a work the composer himself performed at Severance in 1932, as well as his nostalgic Symphonic Dances.

As evidenced by some of these works, The Cleveland Orchestra’s stages have long been a bridge between the past, the present, and the future, where the world’s greatest artists have performed and where tomorrow’s legends continue to emerge and develop, creating history with every performance. We are both honored and delighted to be witnessing that history with you every single week here at Severance. And as we celebrate the beginning of our 107th season with this special set of performances, our mission remains steadfast: to continue providing transformative musical experiences that inspire, enrich, and resonate deeply with our community and beyond. Whether at Severance, at Blossom, or on Adella, I hope you will join us frequently and share in the joy and wonder that each performance brings. Thank you for being with us, and here’s to another season of making music, memories, and history together!

André Gremillet President & CEO

The Cleveland Orchestra

Takács Quartet

with Julien Labro, bandoneónaccordion virtuoso

The Grammy-winning Takács Quartet joins bandoneón artist Julien Labro for an innovative program that features commissioned works by Bryce Dessner and Clarice Assad plus original compositions and arrangements by Labro, with the Ravel String Quartet.

“Classical music doesn’t get much more life-enhancing than this.” —The Guardian

Saturday, September 28 | 4:30 PM

Finney Chapel | Oberlin, Ohio

RESERVE YOUR 2024–25 TICKETS TODAY!

Single tickets, Full Season, and Pick 3 packages available now.

Purchase online at oberlin.edu/artsguide

Learn more and purchase tickets:

PYOTR ILYICH TCHAIKOVSKY didn’t intend for his Sixth Symphony to be a farewell. In fact, when he was mapping out the work, he wrote, “The ultimate essence … of the symphony is LIFE.” But as fate would have it, nine days after conducting its premiere in 1893, Tchaikovsky suddenly passed away.

Much has been written about the work’s meaning, particularly its devastating finale, which arrives like a splash of cold water after the fiery exuberance of the third movement. What was Tchaikovsky’s objective here? While he did note that the finale was supposed to represent death, commentators have posed various theories over the years, one of the most sensational — and now discredited ones — being that the work was the composer’s suicide note. However one might interpret it, the Sixth Symphony remains a powerful testament to Tchaikovky’s craft and one of the cornerstones of the orchestral repertoire. This program, led by guest conductor Osmo Vänskä, includes another, perhaps unintentional, musical farewell. Robert Schumann’s Violin Concerto was one of his last symphonic works before his tragic final years spent in an asylum. Remarkably, it remained unperformed until 1938. (The story of its rediscovery is intriguing and well worth a read in the program notes on page 13.) Though played far less often than Schumann’s Piano Concerto, the Violin Concerto bursts with imagination, showcasing the composer’s innate gifts for melody and instrumental color. Guest soloist Frank Peter Zimmermann (above) takes the spotlight for this gem of a concerto.

Supplementing the program’s two “farewells,” we open, appropriately enough, with a symphonic “hello.” Sergei Prokofiev’s “Classical” Symphony was written when the composer was 25 years old, the first of his eventual seven contributions to the genre. It also represents a creative turn from the brash, avant-garde works of his early years, instead looking back to the light and carefree wit of Classical-era composers such as Haydn and Mozart (though with a few of Prokofiev’s own tricks sprinkled in for good measure). — Kevin McBrien

Tchaikovsky’s Pathétique

Thursday, September 19, 2024, at 7:30 PM

Sunday, September 22, 2024, at 3 PM

Osmo Vänskä, conductor

Sergei Prokofiev (1891–1953)

Robert Schumann (1810–1856)

Pyotr Ilyich Tchaikovsky (1840–1893)

Thursday evening’s performance is dedicated to Beth Mooney in recognition of her generous support of music.

Concert Preview with Orchestra President & CEO

André Gremillet and Cleveland Orchestra musicians

Reinberger Chamber Hall one hour prior to performance

Symphony No. 1, Op. 25, “Classical” 15 minutes

I. Allegro

II. Larghetto

III. Gavotta: Non troppo allegro

IV. Finale: Molto vivace

Violin Concerto in D minor 30 minutes

I. In kräftigem, nicht zu schnellem Tempo (At a vigorous, not too fast pace)

II. Langsam (Slowly) —

III. Lebhaft, doch nicht schnell (Lively, but not fast)

Frank Peter Zimmermann, violin

INTERMISSION 20 minutes

Symphony No. 6 in B minor, 45 minutes Op. 74, “Pathétique”

I. Adagio — Allegro non troppo

II. Allegro con grazia

III. Allegro molto vivace

IV. Finale: Adagio lamentoso

Total approximate running time: 1 hour 50 minutes

Thank you for silencing your electronic devices.

Sunday’s performance will be livestreamed on Adella.live, the digital home of The Cleveland Orchestra.

Symphony No. 1, Op. 25, “Classical”

by Sergei Prokofiev

BORN : April 23, 1891, in Sontsovka, Ukraine

DIED: March 5, 1953, in Moscow

▶ COMPOSED: 1916–17

▶ WORLD PREMIERE: April 21, 1918, in Petrograd (now St. Petersburg), with the composer conducting

▶ CLEVELAND ORCHESTRA PREMIERE: December 14, 1933, led by Music Director Artur Rodziński

▶ ORCHESTRATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings

▶ DURATION: about 15 minutes

BY THE TIME HIS 10 YEARS as a student at the St. Petersburg Conservatory were over, Sergei Prokofiev had established a reputation for being a dangerous modernist as a composer. He was also known as a brash performer on piano, with a taste for violent, percussive sounds. His first two piano concertos, both performed in St. Petersburg, aroused the alarm of critics.

Prokofiev’s encounters with the ballet scores that Igor Stravinsky created for Sergei Diaghilev’s Ballets Russes —  The Firebird, Pétrouchka, and The Rite of Spring — brought out even more modernistic tendencies. The ballet he wrote for Diaghilev in 1915, Chout (although it was not performed at the time), and his 1916 opera The Gambler

reinforced this energetic, impulsive, and propulsive “bad boy” image.

Taking a summer break in 1916, Prokofiev decided to try writing in a style as different as he could imagine from that of his recent music. He worked with pencil and paper, rather than sitting at his piano as he was accustomed. Utilizing an orchestral ensemble similar in size to Joseph Haydn’s symphonies from more than a century previous, he came up with four short movements. The music’s harmony and rhythm are surprisingly Classical, a certain grace — hitherto missing in his music — predominant.

The “Classical” Symphony represents Sergei Prokofiev’s creative turn from his early, brash, modernist tendencies to a more refined neoclassical style.

Prokofiev expected to be derided for “contaminating the pure classical pearls with horrible Prokofievish dissonances,” but also knew that his true admirers would see that the style of the symphony was “precisely Mozartian classicism.”

In the chaotic months after the October Revolution of 1917 in Russia, Prokofiev managed to put on a concert in what was then called Petrograd (and would soon be renamed Leningrad), in which he appeared as conductor for the first time. The new “Classical” Symphony was a great success. (Though when Prokofiev later conducted his symphony in New York, he was bewildered —  as anyone might be — when critics complained that it lacked “grace and melody.”) A month later, Prokofiev traveled east across Russia to Japan and then to the United States, quite unaware that he would not go back to Russia for 18 years.

The instruments in the “Classical” Symphony may be the same as those Haydn used, but Prokofiev writes for them with much more freedom, for example, in his showcasing of the top range of the flute and in the intricate writing for strings.

The first movement is more or less obedient to Classical form, set in a tight sonata form, but musically, the Larghetto second movement reminds us of Borodin’s Nocturne when the violins enter with a soaring melody that Haydn and Mozart could not have dreamed of. On the other hand, the Gavotta third movement is a throwback

to the Baroque era, though the gavotte as a dance was already obsolete by the time Haydn started writing symphonies. (Listeners familiar with Prokofiev’s output will recognize that he later reused this short dance movement in Act I of his ballet Romeo and Juliet, when the guests are leaving the Capulet ball.)

The Finale is a virtuoso piece that taxes the most expert orchestras, especially at top speed — the tempo is marked Molto vivace — but it is hard to imagine that its scintillating exchanges between wind and strings could ever be seen as anything other than exhilarating.

Though his “Classical” Symphony was intended as a spoof and commentary, Prokofiev unwittingly unleashed a popular style of modern music that endured for half a century, now referred to as “neoclassicism” and spearheaded by Stravinsky once he had turned his back on the excesses of The Rite of Spring. Not only did Prokofiev inspire others to invoke the discipline and moderation of the Classical style, he drew out of himself a vein of charm and simplicity that leavened many of his youthful, brutalist inclinations. Here, in prototype, he created a new idealism or personal voice, from which he would achieve a perfect balance of old and new in such works as his future ballets Cinderella and Romeo and Juliet.

— Hugh Macdonald

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

Violin Concerto in D minor

by Robert Schumann

BORN : June 8, 1810, in Zwickau, Saxony

DIED: July 29, 1856, in Bonn

▶ COMPOSED: 1853

▶ WORLD PREMIERE: November 26, 1937, with violinist Georg Kulenkampff and the Berlin Philharmonic led by Karl Böhm

▶ CLEVELAND ORCHESTRA PREMIERE: October 13, 1994, with soloist

Joshua Bell and Music Director Christoph von Dohnányi conducting

▶ ORCHESTRATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and solo violin

▶ DURATION: about 30 minutes

IN THE SUMMER OF 1853 , violinist Joseph Joachim, already a celebrity at age 22, asked his friend and mentor, the 43-year-old Robert Schumann, to write a violin concerto for him. Schumann immediately complied, composing not one work but two, a Fantasy in C major (for violin and orchestra), and the Violin Concerto in D minor. Both works were written during what proved to be the last productive year of Schumann’s life, before his attempted suicide and confinement to the Endenich asylum early in 1854.

Joachim duly received both works in 1853 (the Fantasy had taken the composer six days to complete, the concerto 13 days). The violinist took to the Fantasy immediately and performed it frequently over the years. The concerto, however, he never played, nor did he allow others

to lay hands on the manuscript. He was of the opinion that the work should not be published because “it is not equal in rank with so many of [Schumann’s] glorious creations.” After the composer’s death, his widow Clara, the famous pianist and composer, was in agreement with Joachim, and so was Brahms, who edited Schumann’s works for Breitkopf & Härtel. The work was omitted from the “complete” edition, and the manuscript, bequeathed by Joachim to his eldest son, eventually ended up at the Prussian State Library in Berlin, with the proviso that it was not to be performed until 100 years after Schumann’s death (1956). Then, however, a most remarkable thing happened.

Joachim had two great-nieces, Adila and Jelly d’Arányi, who were both violinists and lived in London between

the two world wars. Jelly, the younger of the sisters, had a strong interest in the occult and often participated in spiritualist séances where she communicated with spirits by moving an upturned glass in the center of a circle displaying the letters of the alphabet. (Oddly enough, Schumann himself indulged in this practice, similar to a Ouija board, exactly

at the time when the violin concerto was written.) Jelly claimed that, during one such séance, she had received a message from an unknown sender urging her to find and perform an unpublished work of theirs for the violin. When asked the composer’s name, the tumbler spelled R-O-B-E-R-T S-C-H-U-M-A-N-N (or something close) on the table. The work was subsequently tracked down and performed, 19 years before the expiration of the 100-year proviso. (Jelly insisted

Robert Schumann’s Violin Concerto was slow to be accepted after its “rediscovery” in the early 20th century, but has recently become recognized as a late masterpiece.

that she had no previous knowledge of the concerto’s existence, even though it had been in her family and was mentioned several times in the Schumann literature.)

The Nazi government insisted that the first performance be given in Berlin by a German violinist (so the event could be described in the press under the headline “By permission of the Führer ... Robert Schumann has entered Valhalla”). Therefore, the honor of premiering Schumann’s posthumous Violin Concerto went to Georg Kulenkampff. Jelly d’Arányi played the British premiere on February 16, 1938, with the BBC Symphony under the direction of Adrian Boult, and Yehudi Menuhin — who called the concerto the “historically missing link” between the Beethoven and the Brahms concertos — gave the United States premiere shortly before. Since then, the long-suppressed concerto has begun to appear on concert programs with some frequency and several recordings have been made. Yet the concerto has not, to this day, found universal acceptance. Opinions are still sharply divided as to the respective merits of the Fantasy and the concerto, quite aside from the fact that each work’s reputation has been harmed by a rather widespread notion that Schumann’s creative powers were on the decline during the last years of his career.

Schumann chose D minor as the concerto’s main tonality, a key that since Mozart has had tragic connotations. Only the first movement is in that key,

but it is enough to set an intensely Sturm und Drang (storm and stress) tone that is a direct descendant of such works as Mozart’s Piano Concerto No. 20.

The form is traditional, but the melodies are Schumann’s own. One particular passage around the middle of the movement, where the melodic material seems to completely disintegrate in a quiet dialogue between orchestra and soloist (the orchestra plays single chords answered by short arpeggios from the solo violin), creates a moment of unusual suspense.

The melancholy melody of the second movement is certainly as beautiful as anything Schumann wrote. It closely resembles one Schumann claimed was dictated to him by Schubert and Beethoven. The melody is first stated in B-flat major and is later repeated, poignantly, in G minor. After a short transition, the last movement, a lively polonaise in D major, follows without a break. Schumann created a subtle link between the second and third movements towards the middle of the finale, where he brought back the syncopated accompaniment figure of the slow movement. This episode casts a transient shadow on the otherwise cheerful movement, in keeping with Schumann’s “autumnal” mood. But happily, the concerto form demanded that this moment of depression be relieved by a brilliant and extroverted ending.

— Peter Laki

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

Symphony No. 6 in B minor, Op. 74, “Pathétique”

by Pyotr Ilyich Tchaikovsky

BORN : May 7, 1840, near Votkinsk, Russia

DIED: November 6, 1893, St. Petersburg

▶ COMPOSED: 1893

▶ WORLD PREMIERE: October 28, 1893, in St. Petersburg, with the composer conducting

▶ CLEVELAND ORCHESTRA PREMIERE: April 22, 1920, led by Music Director Nikolai Sokoloff

▶ ORCHESTRATION: 3 flutes (3rd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, tam-tam), and strings

▶ DURATION: about 45 minutes

ON THE 28TH OF OCTOBER , in 1893, Tchaikovsky conducted the premiere of his Sixth Symphony in St. Petersburg. Nine days later, he was dead. His death was sudden and unexpected, and in all probability due to the cholera epidemic that had broken out in St. Petersburg —  the story that used to enjoy a certain currency in the music world, about a suicide forced upon the composer by his homosexuality, is now widely discounted.

Yet there is no mistaking the funereal character of this work, which bears witness to what Tchaikovsky biographer David Brown describes as the “deepening inner gloom” of the composer’s last years. Still, this was also the time when

Tchaikovsky arrived at the zenith of his international fame — two years earlier, he had been feted throughout his trip to America, had participated in the opening of New York’s new Carnegie Hall, and had been hailed in the press in the New World as well as in the Old. At 53, he was at the height of his powers.

Tchaikovsky had been planning to write a new symphony since 1892, four years after the premiere of his Fifth. He first sketched a symphony in E-flat major which was eventually transformed into the Piano Concerto No. 3 (also named Allegro brilliante) and immediately began thinking about a new one on life and death. The initial verbal outline read as follows:

The ultimate essence of the plan of the symphony is LIFE. First movement — all impulsive passion, confidence, thirst for activity. Must be short. (Finale DEATH — result of collapse.) Second movement love; third disappointments; fourth ends dying away (also short).

The most striking idea that made it into the final version of the symphony was the ending that “dies away”; closing

a symphony with an Adagio was certainly a major departure from traditional symphonic form. For the rest, the plan obviously underwent many transformations, since both the first and last movements are far from being “short” in their final forms. (The subtitle “Pathétique”

Though this portrait of Tchaikovsky (taken around the time he wrote his Sixth Symphony) exhibits an air of melancholy, the composer was overjoyed to have finished the work, calling it “[my] very best.”

was suggested by Tchaikovsky’s brother Modest a few days after the premiere; the composer liked the suggestion and wrote the subtitle on the score.)

Work on the symphony was interrupted by the composition of Tchaikovsky’s last songs and piano pieces, and by a trip to England where he received an honorary doctorate from Cambridge University. Despite the gloomy tone of the symphony, Tchaikovsky had feelings of happiness and satisfaction at having completed what he called the “very best, and in particular the most sincere of all my compositions,” adding that “I love it as I have never loved any of my musical children.”

The “Pathétique” is not only the most intensely emotional of Tchaikovsky’s symphonies, it is also the one in which Tchaikovsky reached the pinnacle of his art in terms of compositional technique and sophistication. It is the combination of these two aspects that makes the “Pathétique” Tchaikovsky’s crowning masterpiece.

Technical devices, such as the re-use of the bassoon theme of the opening Adagio as the first theme of the faster main section, produce an immediate dramatic effect, enhanced by the brilliant orchestration. The gulf between this “active” first theme and the expansive, warmly melodic second idea is maximized by the separation of the two themes by a lengthy transition section, with a significantly slower tempo (Andante) for the second theme. The development section carries the tension to a high point before we hear an almost

Mahlerian tragic march whose rumbling bass accompaniment is derived from the main theme. The full orchestral sonorities of the recapitulation change the character of the first theme from painful and languid to desperate and dramatic, with the return of the expansive second melody bringing much-needed solace. However, a subdued morendo (dying away) ending casts a cloud over the proceedings, foreshadowing the fourth movement.

In between, there are two lighter movements: a graceful waltz with a limp (written in 5/4 time), and a lively march whose theme unfolds gradually and that seems, at least momentarily, to suggest triumph and happiness. (Many audiences have applauded after the third movement, reacting to the movement’s thrilling ending, only to be surprised that the Finale is yet to come.)

The respite brought by the two middle movements proves to be only temporary. The Finale is one of the most heartrending adagios in the history of music. Its doleful B-minor theme (whose notes are played alternately by first and second violins) is followed by a second idea that is no less sad in tone despite being in the major mode; Tchaikovsky marked this D-major theme con lenezza e devozione (softly and with devotion). Twice, the music grows to triple fortissimo in a state of utter despair, only to fall back each time to pianissimo in which the symphony finally dies away, true to Tchaikovsky’s original intentions.

— Peter Laki

ON VIEW AT SEVERANCE MUSIC CENTER

Standing the Test of Time: Composer-Conductors in Cleveland GREEN ROOM

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

On the Record

THE MAGICBOX outside the Grand Foyer

Explore our latest audio recordings with Music Director Franz Welser-Möst. The MagicBox offers a quick digital look at these releases and includes rehearsal footage from select recording sessions.

Behind the Scenes of Severance Music Center

LERNER GALLERY

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

Osmo Vänskä

OSMO VÄNSKÄ IS RECOGNIZED for his compelling interpretations of repertoire from all ages and his energetic presence on the podium. He is conductor laureate of the Minnesota Orchestra, where he held the music directorship for 19 years, and was music director of the Seoul Philharmonic Orchestra from 2020 to 2023.

Performances of Mahler’s Symphony No. 8 with the Minnesota Orchestra in June 2022 provided a fitting culmination for Vänskä’s tenure as music director. Together, they undertook five major European tours, a historic trip to Cuba in 2015 — the first visit by an American orchestra since the two countries reestablished diplomatic relations — and a groundbreaking tour to South Africa in 2018 as part of worldwide celebrations of Nelson Mandela’s centenary. Vänskä and the orchestra also recorded the complete symphonies of Mahler, Beethoven, and Sibelius to critical acclaim, winning a Grammy Award for Best Orchestral Performance in 2014. In 2021, they were voted Gramophone’s Orchestra of the Year.

This season, Vänskä will conduct the symphony orchestras of Cleveland, Montreal, Pittsburgh, San Diego, Tokyo, and Bergen, and will also return to the Minnesota Orchestra, Iceland Symphony Orchestra, and Lahti Symphony Orchestra. He also continues to develop a visiting and touring relationship with the Curtis Symphony Orchestra, leading conducting seminars as well as tours in Europe, Asia, and the US.

Vänskä studied conducting at Finland’s Sibelius Academy and was awarded first prize in the 1982 Besançon Competition. He began his career as a clarinetist, occupying the co-principal chair of the Helsinki Philharmonic Orchestra, and still regularly performs chamber music, having been invited to La Jolla SummerFest, the Seattle Chamber Music Festival, and Music in Ruovesi, among others.

Vänskä is the recipient of a Royal Philharmonic Society Award, the Finlandia Foundation’s Arts and Letters Award, the 2010 Ditson Award from Columbia University, and the Pro Finlandia Medal. He holds honorary doctorates from the Curtis Institute of Music and the universities of Glasgow and Minnesota and was named Musical America’s 2005 Conductor of the Year.

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Frank Peter Zimmermann, Violin

Frank Peter Zimmermann is widely regarded as one of the foremost violinists of his generation. He has performed with major orchestras worldwide for well over three decades, collaborating with the world’s most renowned conductors, and his many concert engagements take him to important concert venues and music festivals across Europe, the United States, Asia, South America, and Australia.

Highlights during the 2023–24 season included a tour with the Wiener Philharmoniker and Daniel Harding, recitals in Europe with pianists Martin Helmchen and Dmytro Choni, and appearances with the Royal Concertgebouw Orchestra, Swedish Radio Symphony Orchestra, London Philharmonic Orchestra, NDR Elbphilharmonie Orchester, Toronto Symphony Orchestra, and many other orchestras.

Zimmermann has given the world premieres of Magnus Lindberg’s Violin Concerto No. 2, Matthias Pintscher’s en sourdine, Brett Dean’s The Lost Art of Letter Writing, and Augusta Read Thomas’s Violin Concerto No. 3, “Juggler in Paradise.”

Over the years, Zimmermann has built up an impressive discography. He has recorded virtually all the major concerto repertoire, ranging from J.S. Bach to Ligeti, as well as recital works. Many of these recordings have received prestigious awards and prizes. His 2021 recording

with the Berliner Philharmoniker, featuring concertos by Bartók, Beethoven, and Berg, received the Gramophone Award and the Jahrespreis der Deutschen Schallplattenkritik.

Alongside this, Zimmermann has received many other special prizes and honors, including the Rheinischer Kulturpreis, the Musikpreis of Duisburg, and the Paul-Hindemith-Preis der Stadt Hanau.

In 2010, he founded Trio Zimmermann with violist Antoine Tamestit and cellist Christian Poltéra. The trio has performed in major music centers and festivals throughout Europe, and BIS Records has released their award-winning recordings of works by Mozart, Schubert, Schoenberg, and others.

Born in Duisburg, Germany, Zimmermann started playing the violin at age 5, giving his first concert with orchestra at age 10. He studied with Valery Gradov, Saschko Gawriloff, and Herman Krebbers. Zimmermann plays on the 1711 Antonio Stradivari “Lady Inchiquin” violin, which is kindly provided by the Kunstsammlung Nordrhein-Westfalen, Düsseldorf, “Kunst im Landesbesitz.”

“It’s

NOW FIRMLY IN ITS SECOND CENTURY , The Cleveland Orchestra, under the leadership of Franz Welser-Möst since 2002, is one of the most sought-after performing ensembles in the world. Year after year, the ensemble exemplifies extraordinary artistic excellence, creative programming, and community engagement. In recent years, The New York Times has called Cleveland “the best in America” for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion.

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

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

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

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

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

Franz Welser-Möst, Music Director

KELVIN SMITH FAMILY CHAIR

FIRST VIOLINS

Liyuan Xie

FIRST ASSOCIATE CONCERTMASTER

Virginia M. Lindseth, PhD, Chair

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Stephen Tavani

ASSISTANT CONCERTMASTER

Dr. Ronald H. Krasney Chair

Wei-Fang Gu

Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez

Elizabeth and Leslie Kondorossy Chair

Chul-In Park

Harriet T. and David L. Simon Chair

Miho Hashizume

Theodore Rautenberg Chair

Jeanne Preucil Rose

Larry J.B. and Barbara S.

Robinson Chair

Alicia Koelz

Oswald and Phyllis Lerner

Gilroy Chair

Yu Yuan

Patty and John Collinson Chair

Isabel Trautwein

Trevor and Jennie Jones Chair

Katherine Bormann

Analisé Denise Kukelhan

Gladys B. Goetz Chair

Zhan Shu

Youngji Kim

Genevieve Smelser

SECOND VIOLINS

Stephen Rose*

Alfred M. and Clara T. Rankin Chair

Jason Yu2

James and Donna Reid Chair

Eli Matthews1

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten Molloy

Carolyn Gadiel Warner

Elayna Duitman

Ioana Missits

Jeffrey Zehngut

Sae Shiragami

Kathleen Collins

Beth Woodside

Emma Shook

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

Yun-Ting Lee

Jiah Chung Chapdelaine

VIOLAS

Wesley Collins*

Chaillé H. and Richard B. Tullis Chair

Stanley Konopka2

Mark Jackobs

Jean Wall Bennett Chair

Lisa Boyko

Richard and Nancy

Sneed Chair

Richard Waugh

Lembi Veskimets

The Morgan Sisters Chair

Eliesha Nelson

Anthony and Diane

Wynshaw-Boris Chair

Joanna Patterson Zakany

William Bender

Thomas Lauria and Christopher Lauria Chair

Gareth Zehngut

CELLOS

Mark Kosower*

Louis D. Beaumont Chair

Richard Weiss1

The GAR Foundation Chair

Charles Bernard2

Helen Weil Ross Chair

Bryan Dumm

Muriel and Noah Butkin Chair

Tanya Ell

Thomas J. and Judith Fay

Gruber Chair

Ralph Curry

Brian Thornton

William P. Blair III Chair

David Alan Harrell

Martha Baldwin

Dane Johansen

Paul Kushious

BASSES

Maximilian Dimoff*

Clarence T. Reinberger Chair

Derek Zadinsky2

Charles Paul1

Mary E. and F. Joseph Callahan Chair

Mark Atherton

Thomas Sperl

Henry Peyrebrune

Charles Barr Memorial Chair

Charles Carleton

Scott Dixon

HARP

Trina Struble*

Alice Chalifoux Chair

FLUTES

Joshua Smith*

Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher

Jessica Sindell2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink

PICCOLO

Mary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOES

Frank Rosenwein*

Edith S. Taplin Chair

Corbin Stair

Sharon and Yoash Wiener Chair

Jeffrey Rathbun2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters

ENGLISH HORN

Robert Walters

Samuel C. and Bernette K.

Jaffe Chair

CLARINETS

Afendi Yusuf*

Robert Marcellus Chair

Robert Woolfrey

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

Daniel McKelway2

Robert R. and Vilma L. Kohn Chair

Amy Zoloto

E-FLAT CLARINET

Daniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINET

Amy Zoloto

Myrna and James Spira Chair

BASSOONS

John Clouser*

Louise Harkness Ingalls Chair

Gareth Thomas

Jonathan Sherwin

CONTRABASSOON

Jonathan Sherwin

HORNS

Nathaniel Silberschlag*

George Szell Memorial Chair

Michael Mayhew§

Knight Foundation Chair

Jesse McCormick

Robert B. Benyo Chair

Hans Clebsch

Richard King

Meghan Guegold Hege

TRUMPETS

Michael Sachs*

Robert and Eunice Podis

Weiskopf Chair

Jack Sutte

Lyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller

CORNETS

Michael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

TROMBONES

Brian Wendel*

Gilbert W. and Louise I. Humphrey Chair

Richard Stout

Alexander and Marianna C. McAfee Chair

Shachar Israel2

BASS TROMBONE

Luke Sieve

EUPHONIUM & BASS TRUMPET

Richard Stout

TUBA

Yasuhito Sugiyama*

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANI vacant

PERCUSSION

Marc Damoulakis*

Margaret Allen Ireland Chair

Thomas Sherwood

Tanner Tanyeri

KEYBOARD INSTRUMENTS

Carolyn Gadiel Warner

Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS

Michael Ferraguto

Joe and Marlene Toot Chair

Donald Miller

Gabrielle Petek

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

Elizabeth Ring and William Gwinn Mather Chair

Blossom-Lee Chair

Clara G. and George P. Bickford Chair

Sandra L. Haslinger Chair

Paul and Lucille Jones Chair

Charles M. and Janet G. Kimball Chair

Sunshine Chair

Otto G. and Corinne T. Voss Chair

Mr. and Mrs. Richard K. Smucker Chair

Rudolf Serkin Chair

CONDUCTORS

Christoph von Dohnányi

MUSIC DIRECTOR LAUREATE

Daniel Reith

ASSOCIATE CONDUCTOR

Sidney and Doris Dworkin Chair

Lisa Wong

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

* Principal

§ Associate Principal

1 First Assistant Principal

2 Assistant Principal

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

YEAR IN PREVIEW:

2024 – 25 Season Highlights with Franz Welser-Möst

Music Director

KELVIN SMITH FAMILY CHAIR

As we embark on our 2024 – 25 season, Music Director Franz Welser-Möst is poised to lead a series of concerts that promise to captivate and inspire. We recently caught up with him to discuss the season’s most anticipated performances, his longstanding collaborations with renowned artists, and the stories and vision guiding his programming decisions this year.

Looking ahead to our 23rd season together is like being a kid in a candy store! Which program would you highlight as particularly special to you?

FRANZ :  One program that stands out to me is the one where we perform Mahler’s Das Lied von der Erde [November 21–23]. The Orchestra and I haven’t played that piece in over 16 years — it’s been a long time coming. Mahler’s later works, especially this one, are profound and mind-boggling in their reflections on life and farewells. It’s a piece that has a special place in my heart.

Your choice of the tenor-baritone version for Das Lied is interesting, especially since the tenor-alto version is more commonly performed. What drove that decision?

FRANZ :  It’s really strange — I think it’s a deeply personal choice. The male voice in this piece has always resonated with me on an emotional level. I think it has to do with my first exposure to Das Lied, which was through a recording of baritone Hermann Prey singing it. I listened to it often as a child, and that experience has stayed with me throughout my life. The tenor-baritone version brings a certain gravitas and intimacy that I find particularly compelling, and I’m looking forward to performing it with Limmie [Pulliam] and Iurii [Samoilov] this fall.

The Beethoven piano concerto cycle with Igor Levit is obviously another major highlight this season [November 6–17]. How do you approach preparing for such an extensive cycle compared to your usual concert weeks? ▶ ▶ ▶

▶

FRANZ :  The preparation isn’t very different from my end, but it’s certainly a marathon for the soloist. For Igor, it’s more intense — each concerto demands a different mindset and emotional investment. But he’s one of the most exceptional pianists in the world today and is more than up to the challenge. For the Orchestra, it’s all about maintaining consistency and energy across multiple performances. Frankly, this cycle is going to be much more stressful for Igor than it will be for us!

You’ll also be performing a special program with Lithuanian soprano

Asmik Grigorian [March 13 & 15, 2025] before we leave for Carnegie Hall. Can you tell us more about your collaboration with her and this unique program?

FRANZ :  Asmik is an extraordinary artist, one of those rare talents who appears maybe once every 50 years. I’m not exaggerating. We’ve worked together on several opera productions, and her intensity on stage is something to

behold. I’ve heard some people say they haven’t experienced such intensity since Maria Callas. Our concert with her will feature Richard Strauss’s Four Last Songs. Asmik has sung the Four Last Songs many times, and she brings a unique depth to them. But I felt that wasn’t enough to truly showcase her talent, so I suggested we also perform the final scene from Puccini’s Suor Angelica, which is incredibly powerful and will leave the audience deeply moved. I seriously expect some weeping at the end of the program!

With such diverse repertoire, how do you navigate the demands of these works and the need to keep the performances engaging for both the musicians and the audience?

FRANZ :  It’s about finding the right emotional balance and pacing. With works like Das Lied and the Four Last Songs, for example, there’s a need for

Pianist Igor Levit joins The Cleveland Orchestra and Franz Welser-Möst from November 6–17 for a much-anticipated Beethoven piano concerto cycle.

PHOTO BY FELIX BROEDE

introspection and emotional depth. But it’s equally important to ensure that each performance feels fresh and spontaneous. That’s where the relationship between conductor and orchestra becomes crucial. Our musicians and I have worked together for many years, and there’s a deep level of trust and understanding. This allows us to explore new nuances in the music, even in pieces we’ve performed many times before.

Speaking of long-standing relationships, you’ve worked with many great musicians throughout your career. How does your approach differ when collaborating with a new artist compared to someone you’ve worked with for years?

FRANZ :  The first time you work with someone, there’s always an element of discovery. You’re learning about each other’s musical instincts and finding a common language. But when you’ve worked with someone over many years, there’s a deep, almost unspoken understanding that develops. It allows you to go further in your interpretations, to take risks, and to explore the music in new ways.

With Asmik, for example, we’ve developed a very close musical relationship over several years, starting with our collaboration on Salome in Salzburg in 2018. That production was a turning point for her career, and it was a

privilege to be part of that journey with her. When you have that kind of connection, it brings a special energy to the performance.

One last question: Which concerts this season, outside of the ones you are leading, are you most looking forward to as an audience member?

FRANZ :  That’s always a tough one! But I’m particularly interested in the Tan Dun concert with Marc Damoulakis [October 31 & November 2]. Tan Dun’s music is incredibly innovative, and Marc is such a creative and skilled player. It’s going to be fascinating to see how they bring this unique Water Concerto to life.

I also think Thomas Adès’s program [February 20 & 22, 2025] is beautifully structured. America: A Prophecy is such a great piece. And there’s something about living composers conducting their own works that makes such programs very special.

Rising Lithuanian soprano Asmik Grigorian will perform works by Richard Strauss and Puccini in her Cleveland Orchestra debut on March 13 & 15, 2025.

BETWEEN SCORE AND PODIUM:

Three Leading Composer-Conductors Come to Cleveland

THE ARTS OF COMPOSING and conducting emphasize opposite ends of the personality spectrum: the former tends to be an intensely private activity associated with the solitude of the studio, while the latter relies on the extrovert’s affinity for communicating with the public. Yet both can converge in the same artist.

This season, The Cleveland Orchestra is showcasing three stellar exemplars of the phenomenon. Esa-Pekka Salonen ascends the podium on October 10, 12, and 13, while Tan Dun makes his Cleveland conducting debut a few weeks later, on October 31 and November 2. And on February 20 and 22, 2025, Thomas Adès, returns to lead the Orchestra in a major new commission.

All three artists are leading figures in

the international classical music scene. Naturally, each brings unique “insider” knowledge when it comes to conducting their own music. But their insights into the creative process will likewise illuminate the works by other composers that they have selected for their respective programs.

Far from a novelty, the combination of composer-conductor roles was commonplace before the increasing complexity of professional musical life began to favor specialization. The Cleveland Orchestra’s own past includes numerous composer-conductors who made the trip to Cleveland to work with its fabled musicians. Maurice Ravel stopped by on his first American tour in 1928 —  though Nikolai Sokoloff, the Orchestra’s first music director, complained that

his conducting was “both messy and ghastly” — while Igor Stravinsky began his association with the Orchestra in 1925. After leading a program of his works in 1955, he declared: “I am really a happy man batoning this fine group.”

Esa-Pekka Salonen initially envisioned a life devoted wholeheartedly to composition. But in 1983, at age 25, he impressed the music world when he filled in at the last minute for Michael Tilson Thomas to conduct the Philharmonia Orchestra in Mahler’s Third Symphony. To his own surprise, he thereby launched one of the preeminent conducting careers of our era.

After a decade or so spent immersing himself in the music of others as a conductor, Salonen recalled, he came to understand that “there is more than one truth,” compositionally speaking: it was not monopolized by the avant-garde European language in which he had been trained. That epiphany led to a creative breakthrough and a new focus on his work as a composer.

Salonen, now 66, has channeled some of his most innovative ideas as a composer through the age-old concerto format. Along with Ravel’s Le Tombeau de Couperin and Sibelius’s Fifth Symphony, Salonen’s Cleveland program will feature his expansive Cello Concerto, which was premiered in 2017. Originally written for Yo-Yo Ma, it will introduce Cleveland audiences to the remarkable young Finnish cellist Senja Rummukainen.

Yo-Yo Ma, as it happens, was featured on the soundtrack of Crouching Tiger, Hidden Dragon, the Ang Lee film from 2000, for which Tan Dun’s music won both an Oscar and a Grammy Award. Born in a village in Hunan Province in 1957 and an émigré to New York, Tan Dun has become known for his imaginative fusions of Chinese and Western musical traditions.

left: After a 21-year absence, Esa-Pekka Salonen returns to Cleveland to conduct his own Cello Concerto alongside works by Ravel and Sibelius.

right: Tan Dun’s Water Concerto, which calls for the percussion soloist to interact with translucent bowls filled with water, is the centerpiece of an elementallyinspired program.

A gripping theatricality and sense of ritual imbue many of Tan Dun’s works, which frequently incorporate musical ideas inspired by natural elements. He will conduct two of his own compositions that manifest these traits. With his 1998 Water Concerto, which calls for the soloist — in this performance, Cleveland’s Principal Percussionist Marc Damoulakis — to manipulate basins filled with water, Tan Dun writes that he hopes to encourage the audience to “listen and rediscover life’s elements, things that are around us but we don’t notice.” His 2012 Concerto for Orchestra draws on his earlier opera, Marco Polo, about the legendary Italian traveler of the Silk Road.

The unique sound world that Tan Dun has developed gives him an unparalleled perspective on Britten’s Four Sea Interludes, which similarly originate from an opera, his landmark Peter Grimes. An early Stravinsky piece, Fireworks, will pay homage to still more elements as the concert’s dazzling opener.

Thomas Adès, born in London in 1971, made his conducting debut with The Cleveland Orchestra in spring 2023. For his return engagement, Adès has revised his millennial work America: A Prophecy. An apocalyptic meditation setting Mayan poetry and other texts, this newly expanded version of the piece was co-commissioned by the Orchestra and features The Cleveland Orchestra Chorus alongside mezzo-soprano Kelley O’Connor. Adès will juxtapose his music with the infrequently played Orchestral Set No. 2 by Charles Ives and a pair of sea-related works by Sibelius and the late Kaija Saariaho. When asked about performing the music of others, Adès responded, “The score is just a map of intentions. …  The music came before the score. And the music is the thing behind the surface.” With this season’s stellar lineup of composer-conductors, we can fully expect each to illuminate the music beneath the score in the intriguing programs they have constructed.   — Thomas May

Thomas May is a writer, critic, educator, and translator. A regular contributor to The New York Times, The Seattle Times, Gramophone, and Strings magazine, he is the English-language editor for the Lucerne Festival.

Among the world’s most acclaimed living composers, Thomas Adès will lead the Orchestra in a fascinating program, ranging from the sea-inspired Oltra Mar by Saariaho to his own America: A Prophecy, a meditation on the turn of the millennium.

A Conversation with Marc Damoulakis

Principal Percussion

MARGARET ALLEN IRELAND CHAIR

Later this fall, Severance Music Center will be filled with sounds quite unusual for a concert hall — that of water dripping, splashing, and bubbling. Rest assured, a pipe has not burst in the basement! Rather, these sounds will be an integral part of Tan Dun’s 1998 Water Concerto, conducted by the Academy–Award winning composer-conductor on October 31 and November 1. We recently sat down with Principal Percussionist Marc Damoulakis to learn about performing this unique work and the preparations involved.

Will this be your first solo venture with the Orchestra?

MARC :  I performed John Corigliano’s Conjurer concerto during Covid, which was my first solo appearance with the Orchestra. We were distanced, since it’s for strings and percussion only, and it was recorded for Adella.

How did you come across Tan Dun’s Water Concerto? Have you known about it for a long time, or was this a recent discovery?

MARC :  It was written for my teacher, Christopher Lamb, and commissioned by the New York Philharmonic. I heard him play it in Boston in 2001 while I was in the New World Symphony and was absolutely taken by it. As percussion concertos go, it’s a fascinating one and I thought it would be great to give it a shot someday.

Was this also your first exposure to Tan Dun’s music?

MARC :  He wrote a concerto for cello and percussion quartet that I played as a student, so I was familiar with him and his music. I didn’t realize he did film scores until Crouching Tiger, Hidden Dragon was released, which is probably the opposite for most people. I knew him first as a concert composer!

This is an incredibly unique piece in terms of the setup and instruments required. Describe a bit about what that entails. What does your preparation look like? ▶ ▶ ▶

MARC :  Finding and sourcing this stuff has taken tons and tons of hours. The soloist has two large acrylic hemispheres that are filled with water, miked, and placed on stands that are lit from beneath. Each member of the percussion section also has one of these bowls. As far as sounds go, there’s water dripping, plucking, splashing, bubbling. There are wooden bowls that are flipped upside down, float on the surface, and act as drums, alongside other cylinders, cups, and tubes that manipulate the water. Tan Dun calls for an instrument called the waterphone — this steel resonator that’s filled with water that can be bowed or drummed — which looks and sounds amazing. There are also some traditional instruments like gongs, bells, and vibraphone. So, it’s been really challenging to explore all these sounds. It’s like learning a completely different language.

Looking through the score, it seems like there’s some flexibility to put your own spin on the work. Do you feel that when you’ve been preparing it?

MARC :  Yes, I do! There’s room for creativity and improvisation as well. The piece also has a theatrical element, but it comes honestly. It embodies the element of water. Tan Dun has taken something that’s so familiar to everybody and isolated it, putting it under a microscope. It’s an entirely original way to say something.

How would you tell someone who’s not familiar with the piece or Tan Dun’s music what to listen for? How would you recommend they go into this experience?

MARC :  I would say just enjoy the experience. It’s a unique piece and utterly different than anything else. On one level, it stays true to a lot of what we percussionists do, engineering sounds and playing grooves, yet here, these are displaced on instruments that are completely one-of-a-kind.

Should people in the front row bring a poncho? I’m sure you’ll be wearing something that can get splashed!

MARC : Oh gosh … Hopefully not! There are many interpretations of this piece, and some span the spectrum of how crazy they get. Tan Dun dedicated the concerto to Tōru Takemitsu, so in my mind, that evokes more of a quiet garden rather than wild splashing. But we’ll see what happens!

The intricate setup for Tan Dun’s Water Concerto includes two translucent bowls filled with water, chimes, gongs, bells, and a waterphone.

PHOTO

FALL

RECITAL

SEP 24

KOLESNIKOV IN RECITAL

Pavel Kolesnikov, piano

J.S. BACH Goldberg Variations

SEP 26–29

BRONFMAN PLAYS RACHMANINOFF

Elim Chan, conductor

Yefim Bronfman, piano

RACHMANINOFF Piano Concerto No. 3

RACHMANINOFF Symphonic Dances

OCT 3–5

HARDING CONDUCTS SCHUMANN

Daniel Harding, conductor

HAYDN Symphony No. 92, “Oxford” *

WALKER Sinfonia No. 2

R. SCHUMANN Symphony No. 2

OCT 10, 12 & 13

SALONEN CONDUCTS SALONEN

Esa-Pekka Salonen, conductor

Senja Rummukainen, cello

RAVEL Le Tombeau de Couperin

ESA-PEKKA SALONEN Cello Concerto

SIBELIUS Symphony No. 5

OCT 17–19

MAHLER’S THIRD SYMPHONY

Klaus Mäkelä, conductor

Jennifer Johnston, mezzo-soprano

The Cleveland Orchestra Chorus

The Cleveland Orchestra Children’s Chorus

MAHLER Symphony No. 3

OCT 31 & NOV 2

TAN DUN CONDUCTS

TAN DUN

Tan Dun, conductor

Marc Damoulakis, percussion

STRAVINSKY Fireworks

TAN DUN Water Concerto

BRITTEN Four Sea Interludes from Peter Grimes

TAN DUN Concerto for Orchestra

NOV 6 & 7

BEETHOVEN PIANO CONCERTO CYCLE PROGRAM 1

Franz Welser-Möst, conductor

Igor Levit, piano

Augustin Hadelich, violin

Julia Hagen, cello

BEETHOVEN Triple Concerto

BEETHOVEN Piano Concerto No. 3

NOV 9 & 12

BEETHOVEN PIANO CONCERTO CYCLE PROGRAM 2

Franz Welser-Möst, conductor

Igor Levit, piano

BEETHOVEN Piano Concerto No. 2

BEETHOVEN Piano Concerto No. 4

NOV 15–17

BEETHOVEN PIANO CONCERTO CYCLE PROGRAM 3

Franz Welser-Möst, conductor

Igor Levit, piano

BEETHOVEN Piano Concerto No. 1

BEETHOVEN Piano Concerto No. 5, “Emperor”

NOV 21–23

MAHLER’S SONG OF THE EARTH

Franz Welser-Möst, conductor

Limmie Pulliam, tenor

Iurii Samoilov, baritone

The Cleveland Orchestra Chorus

BERND RICHARD DEUTSCH Urworte

MAHLER Das Lied von der Erde

tickets & more information visit:

NOV 29–DEC 1

RHAPSODY IN BLUE

David Robertson, conductor

Marc-André Hamelin, piano

COPLAND Suite from Appalachian

Spring

GERSHWIN Rhapsody in Blue

ELLINGTON New World A-Comin’

COPLAND Suite from The Tender Land

RECITAL

DEC 4

GERSTEIN IN RECITAL

Kirill Gerstein, piano

R. SCHUMANN Carnaval

FRANCISCO COLL Waltzes Toward

Civilization

RAVEL La valse (trans. for piano)

LISZT Bénédiction de Dieu dans la solitude

LISZT Piano Sonata in B minor

DEC 5–7

AX PLAYS MOZART

Pablo Heras-Casado, conductor

Emanuel Ax, piano

MOZART Piano Concerto No. 20

SHOSTAKOVICH Symphony No. 10

WINTER

JAN 9, 11 & 12

AN AMERICAN IN PARIS

Stéphane Denève, conductor

Steven Banks, saxophone

MILHAUD La création du monde

GUILLAUME CONNESSON A Kind of Trane

POULENC Suite from Les biches

GERSHWIN An American in Paris

JAN 16–18

HAHN PLAYS BRAHMS

Elim Chan, conductor

Hilary Hahn, violin

BRAHMS Violin Concerto

LUTOSŁAWSKI Concerto for Orchestra

FEB 7–9

ALSO SPRACH

ZARATHUSTRA

Thomas Guggeis, conductor

Mark Kosower, cello

R. STRAUSS Also sprach Zarathustra

DUTILLEUX Tout un monde

lointain...

RAVEL La valse

FEB 13 & 15

BRUCKNER’S SEVENTH

Fabio Luisi, conductor

Tim Mead, countertenor

SILVIA COLASANTI Time’s Cruel Hand

BRUCKNER Symphony No. 7

FEB 20 & 22

ADÈS CONDUCTS ADÈS

Thomas Adès, conductor

Kelley O’Connor, mezzo-soprano

The Cleveland Orchestra Chorus

SIBELIUS The Oceanides

SAARIAHO Oltra Mar

THOMAS ADÈS America: A Prophecy IVES Orchestral Set No. 2

RECITAL

FEB 23

ÓLAFSSON & WANG IN RECITAL

Víkingur Ólafsson, piano

Yuja Wang, piano

BERIO Wasserklavier

SCHUBERT Fantasie in F minor

LIGETI Bewegung (Movement) from Three Pieces for Two Pianos

BRUBECK Fugue from Points on Jazz

NANCARROW Study No. 6 (arr. Adès)

JOHN ADAMS Hallelujah Junction

ARVO PÄRT Hymn to a Great City RACHMANINOFF Symphonic Dances

FEB 27–MAR 1

BEETHOVEN’S EROICA

Alan Gilbert, conductor

Leonidas Kavakos, violin

SHOSTAKOVICH Violin Concerto No. 2

BEETHOVEN Symphony No. 3, “Eroica”

MAR 6–9

TCHAIKOVSKY’S FOURTH SYMPHONY

Franz Welser-Möst, conductor

Seong-Jin Cho, piano

RAVEL Rapsodie espagnole

RAVEL Piano Concerto in G major

TCHAIKOVSKY Symphony No. 4

MAR 13 & 15

HAYDN & STRAUSS

Franz Welser-Möst, conductor

Asmik Grigorian, soprano

HAYDN Symphony No. 52

R. STRAUSS Four Last Songs

JANÁČEK Suite from From the House of the Dead

PUCCINI Final Scene from Suor Angelica

MAR 14

PROKOFIEV’S FOURTH SYMPHONY

Franz Welser-Möst, conductor

HAYDN Symphony No. 52

PROKOFIEV Symphony No. 4

SPRING

RECITAL

MAR 27

ANDSNES IN RECITAL

Leif Ove Andsnes, piano

GRIEG Piano Sonata

TVEITT Piano Sonata No. 29, “Sonata Etere”

CHOPIN 24 Preludes

APR 17–19

BACH’S EASTER ORATORIO

Bernard Labadie, conductor

Joélle Harvey, soprano

Adèle Charvet, mezzo-soprano

Andrew Haji, tenor

Gordon Bintner, bass-baritone

The Cleveland Orchestra Chorus

J.S. BACH Easter Oratorio

J.S. BACH Sinfonia from Cantata No. 29

J.S. BACH Magnificat

APR 24–26

MOZART & ELGAR

Kazuki Yamada, conductor

Francesco Piemontesi, piano

MOZART Piano Concerto No. 25

ELGAR Symphony No. 1

RECITAL

MAY 7

KISSIN IN RECITAL

Evgeny Kissin, piano

BEETHOVEN Piano Sonata No. 7

CHOPIN Nocturne in G minor, Op. 15, No. 3

CHOPIN Nocturne in E-flat major, Op. 55, No. 2

CHOPIN Nocturne in E minor, Op. posth. 72, No. 1

CHOPIN Polonaise in A major, Op. 40, No. 1, “Military”

SHOSTAKOVICH Piano Sonata No. 2

SHOSTAKOVICH Prelude and Fugue in F-sharp minor

SHOSTAKOVICH Prelude and Fugue in D-flat major

SHOSTAKOVICH Prelude and Fugue in D minor

MAY 8–10

MOZART’S SYMPHONY NO. 40

Franz Welser-Möst, conductor

MOZART Symphony No. 40

ALLISON LOGGINS-HULL New Work

PROKOFIEV Symphony No. 3 *

MAY 17, 22 & 25

JANÁČEK’S JENŮFA

Franz Welser-Möst, conductor

Latonia Moore, soprano

Pavol Breslik, tenor

Miles Mykkanen, tenor

Nina Stemme, soprano

The Cleveland Orchestra Chorus JANÁČEK Jenůfa

Opera presentation sung in Czech with projected supertitles

MAY 23 & 24

VOX HUMANA

Franz Welser-Möst, conductor

Sarah Aristidou, soprano

Tony Sias, narrator

The Cleveland Orchestra Chorus POULENC La voix humaine

J.S. BACH Concerto from Komm, Jesu, komm

USTVOLSKAYA Symphony No. 5, “Amen”

J.S. BACH Aria from Komm, Jesu, komm

R. STRAUSS Symphonic Fantasy on Die Frau ohne Schatten

* Not performed on the Friday     matinee concert

The Cleveland Orchestra Takes Europe by Storm

ON AUGUST 23 , The Cleveland Orchestra and Music Director Franz Welser-Möst departed on a two-week tour of Europe, featuring eight concerts in six venues across five countries. This occasion marked the Orchestra’s 80th international tour in its 107-year history.

Kicking off the tour was an ambitious concert at the Berlin Philharmonie. Presented as part of the genre-defying Berlin MusikFest, the Orchestra performed works by John Adams and Prokofiev alongside the European premiere of Can You See? by Daniel R. Lewis Composer Fellow Allison Loggins-Hull.

The second leg of the tour was particularly notable, marking The Cleveland Orchestra’s return to Finland for the first time since 1965. In the first of two concerts at Helsinki’s Musiikkitalo, pianist Víkingur Ólafsson joined the Orchestra for Schumann’s Piano Concerto. Enthusiastic ovations greeted the ensemble both nights, leading one critic to exclaim, “One hopes that [the Orche-

stra’s] next visit to Finland is to take place without another sixty-year hiatus.”

Three days later, Tchaikovsky’s Fifth Symphony — and the Liebestod from Wagner’s Tristan und Isolde as an encore —  capped a program at the KKL during the Lucerne Festival, one of the Orchestra’s frequent and much-loved stopping places.

A concert on September 4 marked another special occasion: the 200th birthday of Anton Bruckner. To kick off Brucknerfest Linz 2024, the Orchestra performed the composer’s Fourth Symphony in his hometown of Ansfelden, mere steps away from where he was born —  a truly once-in-a-lifetime opportunity.

Near the end of the tour, the Orchestra enjoyed a brief yet welcome excursion to Bratislava’s Reduta Hall — another city it had not performed in since 1965 —  before two final concerts at Vienna’s Musikverein, where the Orchestra has enjoyed a regular residency since 2003.

Though the Orchestra has seen many international tours over the years, this one in particular — with its mix of destinations both familiar and less familiar — made it a tour to remember.

left: The Cleveland Orchestra, Franz Welser-Möst, and Víkingur Ólafsson perform at Helsinki’s stunning Musiikkitalo.

right: While in Finland, the Blossom Quartet (comprising Orchestra members Stephen Tavani, Yun-Ting Lee, William Bender, and Dane Johansen) gave a short recital for some Cleveland Orchestra friends at Ainola, the home of Jean Sibelius.

New Audio Recording & Adella Concert Feature Bruckner’s Fourth Symphony

2024 IS A GREAT TIME to be a fan of Anton Bruckner. This year marks the 200th anniversary of the Austrian composer’s birth, and The Cleveland Orchestra has been commemorating the occasion in several ways.

On August 16, the Orchestra released a new audio recording of Bruckner’s Symphony No. 4, led by Music Director Franz Wesler-Möst. This marks The Cleveland Orchestra’s third audio release of 2024, following Sergei Prokofiev’s Symphony No. 6 and an album featuring works by Béla Bartók. The recording is available for digital streaming and download in spatial audio on all major platforms.

Several days later, a new video production of the symphony was released on the Orchestra’s digital streaming

platform, Adella.live, featuring an interview with Welser-Möst. Both this and the audio recording were recorded live at Severance in March 2024.

These releases preceded the Orchestra’s recent tour of Europe with WelserMöst, which included two performances of Bruckner’s Fourth in Austria. The first was part of a concert given in Ansfelden, the composer’s hometown, on his birthday, September 4.

“Bruckner’s music was deeply rooted in the traditions of his homeland, but in many ways, his compositions were far ahead of his time,” Welser-Möst said before the tour. “This may be one of the reasons why his music has not lost its appeal. It inspires audiences through a profound listening experience.”

Visit clevelandorchestra.com/recordings and adella.live for more information.

Franz Welser-Möst discusses the artistry behind Bruckner’s Fourth Symphony preceding a performance of the work on Adella.live.

Barrick Stees Retires After 23 Years

THIS SUMMER , Assistant Principal Bassoon Barrick Stees stepped down after 23 years of performances with The Cleveland Orchestra.

Alongside concerts at Severance, Blossom, and on tour, Stees frequently played chamber music with his Cleveland colleagues. He most recently appeared alongside Cleveland Orchestra flutist Mary Kay Fink and members of the New World Symphony in Dai Fujikura’s Cosmic Breath, part of a chamber concert given during the Orchestra’s South Florida Residency in November 2023.

Stees taught bassoon at the Cleveland Institute of Music, Kent Blossom Music Festival, Michigan State University, and

Interlochen Center for the Arts, among others. Over the years, he played with the Hartford Symphony Orchestra (where he was previously principal bassoon), Pittsburgh Symphony Orchestra, and Los Angeles Philharmonic, and appeared at music festivals throughout North America, South America, and Europe. He was awarded the Presidential Scholar Teacher Recognition Award from the United States Secretary of Education.

Stees gave his final concert at Severance with The Cleveland Orchestra on July 25. After the performance of Dvořák’s Sixth Symphony, guest conductor Petr Popelka invited the bassoonist to the front of the stage for a solo bow, which was met with a rousing ovation from the audience and musicians.

Barrick Stees held the Sandra L. Haslinger Chair.

above: Barrick Stees after the Orchestra’s second Summers at Severance concert on July 25.

Orchestra Receives Generous Gifts

2024 HAS SEEN A WAVE of generosity from supporters of The Cleveland Orchestra, particularly through three major gifts from longtime patrons.

In August, the Orchestra announced a gift from the Kelvin and Eleanor Smith Foundation, funding the Kelvin Smith Family Chair currently held by Music Director Franz Welser-Möst for the rest of his tenure. The Foundation makes grants to nonprofit, charitable organizations around Cleveland that adhere to excellence in their missions, creativity in approach, fiscal responsibility, and dynamic leadership in their service to the community.

said, “I want to express my gratitude to the Smith Foundation for this gift. Now in the 23rd year of my partnership with The Cleveland Orchestra, I am astounded by the breadth and depth of what we have accomplished together.”

Earlier this year, longtime patrons and supporters Myrna and Jim Spira gave a special gift to support the Orchestra’s artistic programming, pension fund, and annual fund. The gift also endowed the Myrna and Jim Spira Bass Clarinet Chair, currently occupied by Amy Zoloto.

Jim Spira, a member of the Orchestra’s Board of Trustees since 2014, said, “It’s a privilege to be part of a community that has supported the development of an orchestra of this caliber in a city of this size. It’s a remarkable civic accomplishment.” President & CEO André Gremillet added to the sentiment: “This incredible gift is not only inspiring

It’s a privilege to be part of a community that has supported the development of an orchestra of this caliber in a city of this size. It’s a remarkable civic accomplishment.

— Jim Spira, Cleveland Orchestra Trustee

“The Smith Foundation wishes to applaud Franz Welser-Möst’s impactful leadership with a meaningful gift honoring his longstanding commitment to Cleveland,” said Ellen Stirn Mavec, president and chairman of the Foundation and granddaughter of the late Kelvin and Eleanor Smith. In response, Welser-Möst

but also essential in supporting our efforts to broaden and deepen relationships with Cleveland Orchestra audiences. This meaningful support also helps to ensure our sustainability and legacy for future generations.”

Another recently endowed musician chair came thanks to the generosity of

Tony and Diane Wynshaw-Boris, who established the Anthony and Diane Wynshaw-Boris Chair, currently occupied by violist Eliesha Nelson.

At a reception ceremony, the couple reflected on their decision to endow a viola chair. “I played viola when I was young,” Tony said. “And we have had several opportunities to hear what a wonderful musician [Eliesha] is when she played in community chamber concerts.” Diane commented further: “We have witnessed the efforts made by

the Orchestra and musicians to reach out and engage the entire Cleveland community, from schools to neighborhoods. We greatly appreciate and are proud of those efforts. [Tony and I] are honored and privileged to be able to endow a viola chair for Eliesha and do our small part to ensure that The Cleveland Orchestra maintains its excellence far into the future.”

Tony and Diane Wynshaw-Boris (left, right) and Eliesha Nelson (center) celebrate the endowed chair at a reception in Mandel Concert Hall on March 5.

Celebrating VoiceOPERA CLUB

Enjoy the best vocal artists of our time alongside fellow supporters.

Benefits come at a variety of levels and can include:

• Artist sponsorship opportunities with meet and greets

• Exclusive invitations to parties and performances

• Premium concert tickets and more!

CONTACT

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

BECOME A MEMBER TODAY!

Opera Club membership starts with donations of $2,500 and higher.

2024 – 25 Featured Vocal Artists:

• Limmie Pulliam

• Asmik Grigorian

• Latonia Moore

• Nina Stemme

Winter

AN EVENING TO CHARM ALL YOUR SENSES!

Tuesday, December 17 at 5:30 PM | Severance Music Center

Delight in a joyful cocktail reception with live music and wrap up your holiday shopping in the boutique marketplace filled with local artisanal goods. Then, enjoy a private holiday concert by your Cleveland Orchestra, followed by an exquisite three-course dinner in Severance’s iconic Bogomolny-Kozerefski Grand Foyer.

Tickets start at $200 per person clevelandorchestra.com/winterspree

SNAPSHOTS

MANDEL OPERA & HUMANITIES FESTIVAL: POWER

right: 1) The centerpiece of the 2024 Jack, Joseph and Morton Mandel Opera & Humanities Festival was an imaginative production of Mozart’s The Magic Flute. Directed by Nikolaus Habjan and conducted by Music Director Franz Welser-Möst, it featured the singers performing alongside larger-than-life puppets (including a dramatic Queen of the Night, dazzlingly sung by Kathryn Lewek).

Other festival highlights included:   2) a performance by jazz trumpeter and composer Terence Blanchard, 3) a kidfriendly introduction to the opera —  complete with activities in Smith Lobby —  and 4) a panel discussion on diversity in classical music, moderated by (l-r) Jeremy Johnson and featuring Jessica Lee, Aaron Flagg, and Liza Grossman.

left: 5) Summertime in Northeast Ohio meant the start of the Blossom Music Festival and new opportunities to make memories with friends and family.

This season featured a fantastic lineup of classical gems, pops and Broadway favorites, and thrilling movies.  6) Superstar banjoist Béla Fleck jumpstarted Blossom’s classical concerts with his mesmerizing transcription of Gershwin’s Rhapsody in Blue, which turned 100 this year.

7) The season also featured two collaborations with the Blossom Festival Chorus: presentations of The Return of the King — the final film in Peter Jackson’s The Lord of the Rings trilogy — as well as a performance of Borodin’s Polovtsian Dances from Prince Igor, conducted by Domingo Hindoyan

FROM TOP

CLOCKWISE

LEFT: PHOTOS BY ROGER MASTROIANNI, KEVIN LIBAL, JULIAN DUBE, YEVHEN GULENKO–HUMAN ARTIST, EXTRAORDINAIRE PHOTOS, ROGER MASTROIANNI, KEVIN LIBEL

EDUCATION EVENTS

above: The Cleveland Orchestra’s Education & Community department stayed busy this summer with several events in and around Cleveland.

1) Instrument “petting zoos” delighted our youngest fans at local summer festivals such as PRIDE in the CLE and Parade the Circle.  2) At Blossom on July 13, Hispanic Family Night brought people together for great food and great camaraderie.

3) The Cleveland Orchestra Youth Orchestra (COYO) ended their 2023–24 season with a special exchange with the Toronto Symphony Youth Orchestra, beginning with a joint concert at Blossom followed by a trip to Toronto to perform together at Roy Thomson Hall.

SUMMERS AT SEVERANCE

right: 4) After a brief hiatus, Summers at Severance returned with food and drinks on the front terrace followed by a concert in Mandel Concert Hall. The July 11 concert featured the Cleveland debut of conductor Oksana Lyniv and the Severance debut of pianist Inon Barnatan

BLOSSOM SUMMER SOIRÉE

below: 5) July 21 marked the annual Blossom Summer Soirée. Attendees were treated to a pre-concert reception with food and drinks, followed by a spectacular concert with Leslie Odom, Jr. and The Cleveland Orchestra.  6) Dressed in their summer best, (l-r) Peggy Koblenzer, Anne Dunn, Laura Milo, Katie Orendorf, and Tatiana Harris enjoy the evening’s festivities. 7) Hyun and Cathy Park smile for the camera during the reception held at Knight Grove at Blossom Music Center.

CLOCKWISE FROM TOP LEFT: PHOTOS BY TEAGAN WEBB, SCOTT ESTERLY PHOTOGRAPHY, (PHOTOS 5-7) YEHVEN GULENKO–HUMAN ARTIST, AIREONNA MCCALL-DUBE, ROGER MASTROIANNI

THANK YOU

Behind every powerful performance is a community of supporters who bring the music to life.

We are deeply thankful for the generosity of every member of The Cleveland Orchestra family.

To learn more, visit clevelandorchestra.com/give

INDIVIDUAL

SUPPORT

Adella Prentiss Hughes Society

Gifts of $1,000,000 and more

Mr. and Mrs.* Geoffrey Gund

Joan Y. Horvitz*

Anne H. and Tom H. Jenkins

Milton and Tamar Maltz

Mrs. Jane B. Nord

Mr. and Mrs.* Richard K. Smucker

Gifts of $200,000 to $999,999

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

Art of Beauty Company, Inc.

Mary Freer Cannon*

Iris and Tom Harvie

Haslam 3 Foundation

Dr. and Mrs. Anthony T. Lauria

Mrs. Norma Lerner

Jan R. Lewis

Mr. and Mrs. Albert B. Ratner

Jenny and Tim Smucker Anonymous

Gifts of $100,000 to $199,999

Gay Cull Addicott*

Mr. and Mrs.* Eugene J. Beer

Mr. Yuval Brisker

Rebecca Dunn

Dr. Michael Frank and Patricia A.* Snyder

Mr. and Mrs. Michael J. Horvitz

The Walter and Jean Kalberer Foundation

Dr. and Mrs. Herbert Kloiber (Europe)

Mr. and Mrs. Dennis W. LaBarre

Thomas E. Lauria (Miami)

Ms. Beth E. Mooney

Patrick and Milly Park

Ilana and Chuck Horowitz Ratner

James* and Donna Reid

Jim and Myrna Spira

Ms. Ginger Warner

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Lillian Baldwin Society

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George Szell Society

Gifts of $50,000 to $74,999

Randall and Virginia Barbato

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JoAnn and Robert Glick

Ms. Alexandra Hanna

Mr. and Mrs. Donald M. Jack, Jr.*

Elizabeth B. Juliano

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Nancy W. McCann

The Oatey Foundation (Cleveland, Miami)

William J. and Katherine T. O’Neill

Mrs. Alfred M. Rankin, Sr.

Mr. and Mrs. James A. Ratner

The Ralph and Luci Schey

Foundation

Astri Seidenfeld

The Seven Five Fund

Richard and Nancy Sneed

Dr. Russell A. Trusso

Mr. and Mrs. Franz Welser-Möst

Paul and Suzanne Westlake

Barbara and David Wolfort

Tony and Diane Wynshaw-Boris

Anonymous

Elisabeth DeWitt

Severance Society

Gifts of $25,000 to $49,999

Victor and Abby Alexander

Dr. and Mrs. Wolfgang Berndt (Europe)

Mr. William P. Blair III*

Robin Dunn Blossom

Jeanette Grasselli Brown and Glenn R. Brown*

Dr. Robert Brown and

Mrs. Janet Gans Brown

Dr. Thomas Brugger* and Dr. Sandra Russ

J. C. and Helen Rankin Butler

Jim and Mary Conway

Judith and George W. Diehl

Elliot and Judith Dworkin

Mary Jo Eaton (Miami)

Mr.* and Mrs. Bernard H. Eckstein

Drs. Wolfgang and Gabi Eder (Europe)

Dr. and Mrs. Robert Ehrlich (Europe)

Mrs. Connie M. Frankino

Mr. and Mrs. Robert W. Gillespie

David and Robin Gunning

Sondra and Steve Hardis

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

Mrs. Marguerite B. Humphrey*

Allan V. Johnson

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Cynthia Knight

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Ms. Cathy Lincoln

Jon A. and Virginia M. Lindseth, PhD

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Randy and Christine Myeroff

The Honorable John Doyle Ong

Catherine and Hyun Park

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Mr. and Mrs. Ronald Ratner

James and Marguerite Rigby

Mr.* and Mrs. David A. Ruckman

Mark and Shelly Saltzman

Donna E. Shalala (Miami)

Hewitt and Paula Shaw

R. Thomas and Meg Harris Stanton

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

Tom and Shirley* Waltermire

Anya Weaving and Tom Mihaljevic

Meredith and Michael Weil

Anonymous (2)

Dudley S. Blossom Society

Gifts of $15,000 to $24,999

Mr. James Babcock

Mr. and Mrs. Jules Belkin

Mr. and Mrs. C. Perry Blossom

Mr. and Mrs. Charles P. Bolton

Dr. Christopher P. Brandt and Dr. Beth Sersig

Mr. D. McGregor Brandt, Jr.

Dr. Ben H. and Julia Brouhard

Meghan and Trent Brown

Mr. and Mrs. Kevin C. Conway

Mary* and Bill Conway

Mrs. Barbara Cook

Mrs. Anita Cosgrove

Mr. and Mrs. Matthew V. Crawford

Maureen A. Doerner and Geoffrey T. White

Nancy and Richard Dotson

Mr. Brian L. Ewart and Mr. William McHenry

Mr. and Mrs. Richard C. Fedorovich

Friends of The Cleveland Orchestra

Richard and Ann Gridley

Mr. Calvin Griffith

Gary L. and Cari T. Gross

Mr. and Mrs. Harley I. Gross

Kathleen E. Hancock

Jack Harley and Judy Ernest

Gerald Hughes

Mr. and Mrs. Brinton L. Hyde

Sarah Liotta Johnston and Jeff Johnston

Rob and Laura Kochis

Eeva and Harri Kulovaara (Miami)

Mr. and Mrs. S. Ernest Kulp

Ms. Heather Lennox

Daniel R. Lewis (Miami)

In honor of Emma Skoff Lincoln

Linda Litton

Mr. and Mrs. Alex Machaskee

Alan Markowitz M.D. and Cathy Pollard

Ann Jones Morgan

Sally S. and John C. Morley*

Jennifer and Alexander Ogan

Dr. Roland S. Philip and Dr. Linda M. Sandhaus

Douglas and Noreen Powers

Mr. Winthrop Quigley and Ms. Bonnie Crusalis

Saul and Mary Sanders (Miami)

Rachel R. Schneider

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Meredith M. Seikel

Robyn Shifrin

Mr. and Mrs. Richard P. Stovsky

Kathryn and Duncan Stuart

Dr. Elizabeth Swenson

Bruce and Virginia Taylor

Philip and Sarah Taylor

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Karen Walburn

Mr. Daniel and Mrs. Molly Walsh

Mr. and Mrs. Jeffery J. Weaver

Robert C. Weppler

Max and Beverly Zupon

Anonymous (3)

Frank H. Ginn Society

Gifts of $10,000 to $14,999

Dr. and Mrs. D. P. Agamanolis

Mr. and Mrs. A. Chace Anderson

Ms. Viia R. Beechler

Laura and Jon Bloomberg

Ted and Donna Connolly

Mr. and Mrs. Chester F. Crone

Mrs. Barbara Ann Davis

Giles Debenham

Dr.* and Mrs. Lloyd H. Ellis Jr.

Joan Alice Ford

Dr. Edward S. Godleski

Mr. Robert Goldberg

Mr. and Mrs. Michael Gröller (Europe)

Alfredo and Luz Maria Gutierrez (Miami)

Robin Hitchcock Hatch

Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan

Dr. Fred A. Heupler

Ms. Mary Joe Hughes

Donna L. and Robert H. Jackson

Barbara and Michael J. Kaplan

Andrew and Katherine Kartalis

Jonathan and Tina Kislak (Miami)

David C. Lamb

Charles and

Josephine Robson Leamy*

Dr. Edith Lerner

Dr. David and Janice Leshner

Mr. Fredrick W. Martin

Mr.* and Mrs. Arch J. McCartney

Drs. Amy and James Merlino

Loretta J. Mester and George J. Mailath

Claudia Metz and Thomas Woodworth

Mr. William A. Minnich

Brian and Cindy Murphy

Deborah L. Neale

Mr. David A. Osage and Ms. Claudia C. Woods

Mr. J. William and Dr. Suzanne* Palmer

Julia and Larry Pollock

Ms. Rosella Puskas

Mr. and Mrs. Roger F. Rankin

Kim Russel and Dirk Brom

Dr. Isobel Rutherford

Dr. and Mrs.* Martin I. Saltzman

Patricia J. Sawvel

David M. and Betty Schneider

Kenneth Shafer

Rev. George Smiga

Roy Smith

Michalis and Alejandra Stavrinides

Ryan and Melissa Stenger

Mrs. Mary L. Sykora

Taras Szmagala and Helen Jarem

Dr. Gregory Videtic and Rev. Christopher McCann

Susanne Wamsler and Paul Singer (Europe)

Mr. and Mrs. Fred A. Watkins

Denise G. and Norman E. Wells, Jr.

Sandy and Ted Wiese

Sandy Wile and Sue Berlin

Katie and Donald Woodcock

Anonymous (6)

The 1929 Society

Gifts of $5,000 to $9,999

Mr. and Mrs. Todd C. Amsdell

Claudia Bacon

Robert and Dalia Baker

Thomas and Laura Barnard

Fred G. and Mary W. Behm

Deena and Jeff Bellman

Mel Berger and Jane Haylor

Mr. and Mrs. Lawrence R. Beyer

Marilyn and Jeffrey Bilsky

Dr. and Mrs. Eugene H. Blackstone

Doug and Barbara* Bletcher

Laurel Blossom

Jeff and Elaine Bomberger

Ms. Kristina E. Boykin

Mr. and Mrs. David* Briggs

Frank and Leslie Buck

William and Barbara Carson

Ms. Maria Cashy

Victor A. Ceicys M.D. and Mrs. Kathleen Browning Ceicys

Mr. and Mrs. James B. Chaney

Ellen Chesler and Matthew Mallow (Miami)

Drs. Wuu-Shung and Amy Chuang

Drs. Mark Cohen and Miriam Vishny

Ellen E.* and Victor J. Cohn

Kathleen A. Coleman

Diane Lynn Collier and Robert J. Gura

Marjorie Dickard Comella

Robert and Jean* Conrad

Mr. and Mrs. Manohar Daga

Mr.* and Mrs. Ralph Daugstrup

Allan and Connie Dechert

Pete and Margaret Dobbins

Henry and Mary* Doll

Michael Dunn

Carl Falb

Regis and Gayle Falinski

Bruce* and Nancy Fisher

Jan and John Fitts

Ms. Nancy Flogge

Mr. and Ms. Dale Freygang

Barbara and Peter* Galvin

Joy E. Garapic

Mr. James S. Gascoigne and Ms. Cynthia Prior

Anne* and Walter Ginn

Brenda and David Goldberg

Barbara H. Gordon

André and Ginette Gremillet

THANK YOU

Nancy Hancock Griffith

Candy and Brent Grover

The Thomas J. and Judith Fay Gruber

Charitable Foundation

Nancy* and James Grunzweig

Ms. Marianne Gymer

Mr. Newman T. Halvorson, Jr.

Gary Hanson and Barbara Klante

Clark Harvey and Holly Selvaggi

Mr. and Mrs. Jonathan Hatch

Barbara L. Hawley and David S. Goodman

Matthew D. Healy and Richard S. Agnes

Dr. Toby Helfand

Anita and William Heller

Mr. and Mrs. Jerry Herschman

Mr. and Mrs. Martin R. Hoke

Dr. Keith A. and Mrs. Kathleen M. Hoover

James* and Claudia Hower

Phillip M. Hudson III (Miami)

Elisabeth Hugh

Mrs. Laura Hunsicker

David and Dianne Hunt

Richard and Jayne Janus

Reuben Jeffery (Miami)

Robert and Linda Jenkins

Mr. David and Mrs. Cheryl Jerome

Dr. Richard* and Roberta Katzman

Rod Keen and Denise Horstman

Howard and Michele Kessler

Joanne Kim and Jim Nash

Dr. and Mrs.* William S. Kiser

Audrey Knight

Mr. and Mrs.* S. Lee Kohrman

Dr. Ronald H. Krasney and Vicki Kennedy*

Douglas and Monica Kridler

Peter* and Cathy Kuhn

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

Dr. and Mrs. John R. Lane

Dr.* and Mrs. Roger H. Langston

Kenneth M. Lapine and Rose E. Mills

John N.* and Edith K. Lauer

Young Sei Lee

Judith and Morton Q. Levin

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

Drs. Todd and Susan Locke

David and Janice* Logsdon

Joan C. Long

Caetano R. Lopes (Miami)

Anne R. and Kenneth E. Love

Richard and Terry Lubman (Miami)

Neil and Susan Luria

David Mann and Bernadette Pudis

Mr. Keith G. Marsh

Dr. Ernest and Mrs. Marian Marsolais

Mr. and Mrs. Bruce V. Mavec

James and Virginia Meil

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Lynn and Mike Miller

Drs. Terry E. and Sara S. Miller

Curt and Sara Moll

Amy and Marc Morgenstern

Eudice M. Morse

Mr. Bert and Dr. Marjorie Moyar

Mr. and Mrs. Scott C. Mueller

Mr. Raymond M. Murphy

Mr. Christopher B. Nance and Ms. Jessica V. Colombi

Richard and Kathleen Nord

Mr. and Mrs. Forrest A. Norman III

Malinda and Robert Och

Thury O’Connor

Harvey* and Robin Oppmann

Richard Organ and Jamie Nash

Mr. Henry Ott-Hansen

Mr. and Mrs. Kenneth W. Outcalt

Chris and Susan Pappas

Eliot Pedrosa (Miami)

Alan and Charlene Perkins

Dr. Marc A. and Mrs. Carol Pohl

Mr. and Mrs. Frank Porter

Dr. and Mrs. John N. Posch

Mr. Robert and Mrs. Susan Price

Sylvia Profenna

Pysht Fund

Lute and Lynn Quintrell

Beth and Clay Rankin

Brian and Patricia Ratner

Mr. and Mrs.* Robert J. Reid

Ms. Julie Severance Robbins

Lisa Robinson and Robert Hansel

Amy and Ken Rogat

Robert* and Margo Roth

Dr. Adel S. Saada

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

Mr. and Mrs.* James A. Saks

Richard Salomon and Laura Landro

Richard B. and Cheryl A. Schmitz

Ms. Beverly J. Schneider

Gary Schwartz and Constance Young

Sally and Larry Sears

Mr. Eric A. Seed and Ms. Ellen Oglesby

Deborah Sesek

Drs. Daniel and Ximena Sessler

Mr.* and Mrs. Michael Shames

Mr. Philip and Mrs. Michelle Sharp

Howard and Beth Simon

Mr. James S. Simon

The Shari Bierman Singer Family

Drs. Charles Kent Smith and Patricia Moore Smith

Mrs. Gretchen D. Smith

Sandra and Richey* Smith

Mr. and Mrs. William E. Spatz

George and Mary* Stark

Howard Stark M.D. and Rene Rodriguez (Miami)

Sue Starrett and Jerry Smith

AJ and Nancy Stokes

Ms. Lorraine S. Szabo

Robert and Carol Taller

Alan and Barbara Taylor

Mr. John R. Thorne and Family

Mr. and Mrs. Gary B. Tishkoff

Mr.* and Mrs. Robert N. Trombly

Drs. Anna* and Gilbert True

Steve and Christa Turnbull

Robert and Marti* Vagi

Bobbi and Peter* van Dijk

Mr. and Mrs. Les C. Vinney

Kenneth H. Kirtz*

Mr. Randall Wagner

Mr. and Mrs. Eric Wald

John and Jeanette Walton

Greg and Lynn Weekley

Mr. and Mrs. Mark Allen Weigand

Dr. Edward L. and Mrs. Suzanne Westbrook

Stephen Whyte and Rebecca Ralston

Dr. Paul R. and Catherine Williams

Ms. Linda L. Wilmot

Bob and Kat Wollyung

Mr. Graham Wood

Anonymous (3)

Composer’s Circle

Gifts of $2,500 to $4,999

Mr. Leonard H. Abrams*

Ms. Nancy A. Adams

Kristen and Matthew Alloway

Sarah May Anderson

Susan S. Angell

Chris Ansbacher

Ms. Bonnie M. Baker

Eric Barbato and Elisha Swindell

Ms. Katherine Barnes

Dr. James Bates

Mrs. Lois Robinson Beck

Drs. Nathan A.* and Sosamma J. Berger

Margo and Tom Bertin

Mitch and Liz Blair

Zeda W. Blau

Marilyn and Lawrence Blaustein

Ms. Pamela M. Blemaster

Blossom Friends of The Cleveland Orchestra

Mr. John and Mrs. Robyn Boebinger

Dr. and Mrs. Timothy Bohn

Mr. and Mrs. Richard H. Bole

David and Julie Borsani

Ms. Ellen Botnick

Dr. David Bowers

Lisa and Ronald Boyko

Adam and Vikki Briggs

Matthew D. Brocone

Mr. and Mrs. Dale R. Brogan

Dale and Wendy Brott

Bennett Brown

Mrs. Frances Buchholzer

Mr. Gregory and Mrs. Susan Bulone

James Burke

Mr. and Mrs. Robert G. Busha

Mr. and Mrs. William D. Buss II

Mr. William Busta and Joan Tomkins

Dr. and Mrs. William E. Cappaert

Peter and Joanna Carfagna

Mr. and Mrs. John J. Carney

Dr. Ronald Chapnick* and Mrs. Sonia Chapnick

Mr. and Mrs. Kerry Chelm

Gregory and Kathrine Chemnitz

Gertrude Kalnow Chisholm and Homer D.W. Chisholm

Mr. and Mrs. Edward A. Chuhna

Robert and Judy Ciulla

Pete Clapham and Anita Stoll

Jill and Paul Clark

Richard J. and Joanne Clark

Dr. William and Dottie Clark

Drs. John and Mary Clough

Mr. John Couriel and Dr. Rebecca Toonkel (Miami)

Laura Cox

Drs. Kenneth and Linda Cummings

Karen and Jim Dakin

Dr. and Mrs. Thomas M. Daniel

Jeffrey Dean and Barbara and Karen Claas

Mr. Douglas Dever

Michael and Amy Diamant

Dr. and Mrs. Howard Dickey-White

Mr. and Mrs. David C. Dillemuth

Do Unto Others Trust (Miami)

Carl Dodge

Jack and Elaine Drage

Mr. and Mrs. Robert Dreshfield

Mr. Barry Dunaway and Mr. Peter McDermott

Bill Durham (Miami)

Ms. Mary Lynn Durham

Mr. and Mrs. Robert P. Duvin

Mr. and Mrs. Ronald E. Dziedzicki

Peter and Sandy Earl

Erich Eichhorn and Ursel Dougherty

S. Stuart Eilers

Peter and Kathryn Eloff

Andy and Leigh Fabens

Mr. and Mrs. Frederick A. Fellowes

Anne Ferguson and Peter Drench

Mr. William and Dr. Elizabeth Fesler

Mr. and Mrs. Mark Filippell

Nancy M. Fischer

Mr. Dean Fisher

Joan and Philip Fracassa

Mr. and Mrs. Larry Frankel

Howard Freedman and Rita Montlack

Mr. William Gaskill and Ms. Kathleen Burke

Mr. and Mrs. M. Lee Gibson

Daniel and Kathleen Gisser

Holly and Fred Glock

Dr.* and Mrs. Victor M. Goldberg

Pamela G. Goodell

Ms. Aggie Goss

Mr. Robert Goss

Dr. and Mrs. Ronald L. Gould

Bob Graf and Mia Zaper

Mr. James Graham and Mr. David Dusek

Drs. Erik and Ellen Gregorie

Mr. Morgan Griffiths

Mr. Davin and Mrs. Jo Ann Gustafson

Mr. Ian S. Haberman

Mary Louise Hahn

Dr. James O. Hall

Megan Hall and James Janning

Mr. and Mrs. David P. Handke, Jr.

Jane Hargraft and Elly Winer

Mr. Samuel D. Harris

Lilli and Seth* Harris

In Memory of Hazel Helgesen

Drs. Gene and Sharon Henderson

T. K.* and Faye A. Heston

Mr. and Mrs. Arnold Hirshon

Mr. and Mrs. Stephen J. Holler

Thomas and Mary Holmes

Charles M. Hoppel and Marianne Karwowski Hoppel

Lois Krejci-Hornbostel and Roland Hornbostel

Xavier-Nichols Foundation/ Robert and Karen Hostoffer

Phillip Huber

Mr. Brooks G. Hull and Mr. Terry Gimmellie

Dr. and Mrs. Grant Hunsicker

Donald* and Joyce Ignatz

Ruth F. Ihde*

Ms. Melanie Ingalls

Ms. Kimberly R. Irish

Dr. and Mrs. Paul C. Janicki

Dylan Jin

Mr. Jeremy V. Johnson

Joela Jones and Richard Weiss

Dr. Eric Kaler

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

Milton and Donna* Katz

Mr. Karl W. Keller

The Kendis Family Trust:

Hilary & Robert Kendis and Susan & James Kendis

Bruce* and Eleanor Kendrick

Mrs. Judith A. Kirsh

Steve and Beth Kish

Michael Kluger and Heidi Greene

Mr. Ronald and Mrs. Kimberly Kolz

Ursula Korneitchouk

Dr. and Mrs. John P. Kristofco

Dr. Christine A. Krol

Dr. Jeanne Lackamp

Alfred and Carol Lambo

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

Mr. and Mrs. Richard L. Larrabee

Mrs. Sandra S. Laurenson

Dr. and Mrs. Arthur Lavin

Richard and Barbara Lederman

Mr. Elliot and Mrs. Christine Legow

Michael and Lois Lemr

Robert G. Levy

Mr. and Mrs.* Thomas A. Liederbach

Eva and Rudolf Linnebach

Mr. Henry Lipian

Ms. Agnes Loeffler

Mary Lohman

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

Linda* and Saul Ludwig

Peter and Pamela Luria

Mr. and Mrs.* Robert P. Madison

Robert M. Maloney and Laura Goyanes

Janet A. Mann

Herbert L. and Ronda Marcus

Martin and Lois* Marcus

Dr.* and Mrs. Sanford E. Marovitz

Ms. Dorene Marsh

Kevin Martin and

Hansa Jacob-Martin

Ms. Amanda Martinsek

Mr. and Mrs. Sandy McMillan

Ms. Nancy L. Meacham

Dr. and Mrs. Kevin Meany

Mr. James E. Menger

Mr. and Mrs. Gerald A. Messerman

Mr. Glenn A. Metzdorf

Beth M. Mikes

Amy Miller and Nikhil Rao

Mr. and Mrs. David S. Miller

Mary Ellen Miller

Mr. Tom Millward

Anton and Laura Milo

Dr. Shana Miskovsky

Mr. and Mrs. Thomas W. Morris

Susan B. Murphy

B Murray

Dave and Nancy Murray

Karen and Bernie Murray

Mr. and Mrs. Stephen Myers

Joan Katz Napoli and August Napoli

Dr. Anne and Mr. Peter Neff

Mark and Paula Nylander

Richard and Jolene O’Callaghan

Mr. and Mrs. John Olejko

Dr. and Mrs. Paul T. Omelsky

George Parras and Mary Spencer

Drs. James and Marian Patterson

Dr. Lewis E. and Janice B. Patterson

David Pavlich and Cherie Arnold

Robert S. Perry

Dale and Susan Phillip

Mr. Richard W. Pogue

Donna L. Pratt* and

Patrick J. Holland

Karen Pritzker

Drs. Raymond R. Rackley and Carmen M. Fonseca

Dr. James and Lynne Rambasek

Mr. Todd J. Reese

David J. Reimer and Raffaele DiLallo

Dr. Robert W. Reynolds

Mr. Chris Rhodes

David and Gloria Richards

Joan and Rick Rivitz

Mr. D. Keith* and Mrs. Margaret B. Robinson

Mr. and Mrs. Jay F. Rockman

Eric Rose (Miami)

David and Mitsuko Rosinus (Miami)

Dr. and Mrs. Ronald Ross

Drs. Edward and Teresa Ruch

Anne Sagsveen

Michael and Deborah Salzberg

Mr. and Mrs. Lowell Satre

Ms. Patricia E. Say

Bryan and Jenna Scafidi

Mr. Paul H. Scarbrough

Don Schmitt and Jim Harmon

John and Barbara Schubert

Mr. James Schutte

Dr. John Sedor and Ms. Geralyn Presti

Ms. Kathryn and Mr. Michael Seider

Caltha Seymour

Lee Shackelford

Ginger and Larry Shane

Harry and Ilene Shapiro

Ms. Frances L. Sharp

Larry Oscar & Jeanne Shatten

Charitable Fund of the Jewish Federation

Dr. and Mrs. William C. Sheldon

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

Mr. Richard Shirey

Mr. and Mrs. Reginald Shiverick

Michael Dylan Short

Zachary and Shelby Siegal

Jim Simler and Dr. Amy Zhang

James Simon

Sarah Sloboda and Oskar Bruening

Bruce L. Smith

David Kane Smith

Mr. Joshua Smith

Mr. Eugene Smolik

Drs. Nancy and Ronald Sobecks

Drs. Thomas and Terry Sosnowski

Diane M. Stack

Maribeth and Christopher Stahl

Edward R. & Jean Geis Stell Foundation

Ms. Natalie Stevens

Frederick and Elizabeth Stueber

Mike and Wendy Summers

Mr. Marc L. Swartzbaugh

Mr. Robert D. Sweet

Eca and Richard Taylor

Ms. Aileen Thong-Dratler

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

Dr. and Mrs. Wulf H. Utian

Joan Venaleck

Mr. and Mrs. Steven M. Venezia

Teresa Galang-Viñas and Joaquin Viñas (Miami)

George and Barbara von Mehren

John and Deborah Warner

Margaret and Eric* Wayne

Tilles-Weidenthal Foundation

Mr. Peter and Mrs. Laurie Weinberger

Emily Westlake and Robertson Gilliland

Ms. Jennifer Wynn

Rad and Patty Yates

Ms. Carol A. Yellig

Ms. Helen Zakin

Dr. Rosemary Gornik and Dr. William Zelei

Mr. Kal Zucker and Dr. Mary Frances Haerr

John and Jane Zuzek

Anonymous (7)

CORPORATE SUPPORT

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

Learn more at cleveland orchestra.com/partners

Gifts of $300,000 and more

The Goodyear Tire & Rubber Company

Hyster-Yale Materials Handling, Inc.

NACCO Industries, Inc.

Gifts of $200,000 to $299,999

Jones Day Foundation

Ohio CAT

The J. M. Smucker Co.

Gifts of $100,000 to $199,999

CIBC

KeyBank

Gifts of $50,000 to $99,999

FirstEnergy Foundation NOPEC

Parker Hannifin Foundation

PNC

Gifts of $15,000 to $49,999

Akron Children’s Hospital

BakerHostetler

Buyers Products Company

Calfee, Halter & Griswold LLP

Case Western Reserve University

Cleveland Clinic

DLR Group | Westlake Reed Leskosky

Frantz Ward LLP

The Giant Eagle Foundation

Lake Effect Health

Miba AG (Europe)

Northern Haserot

Northern Trust

Olympic Steel, Inc.

Park-Ohio Holdings

RPM International Inc.

RSM US LLP

Thompson Hine LLP

Westfield Insurance

Anonymous

Gifts of $2,500 to $14,999

BDI

Blue Technologies, Inc.

Brothers Printing Company

BWX Technologies, Inc.

Callahan Carpet

The Cedarwood Companies

Citymark Capital

The Cleveland-Cliffs Foundation

Eaton

Evarts Tremaine

The Ewart-Ohlson Machine Company

Gross Residential

Kohrman Jackson & Krantz, PLL

The Lincoln Electric Foundation

McKinley Strategies

Nordson Corporation

The Sherwin-Williams Company

Solich Piano & Music

Ver Ploeg & Marino (Miami)

Margaret W. Wong & Associates LLC

FOUNDATION & GOVERNMENT SUPPORT

Gifts of $1,000,000 and more

The Brown and Kunze Foundation

Mary E. & F. Joseph Callahan Foundation

The Milton and Tamar Maltz Family Foundation

The Jack, Joseph and Morton Mandel Foundation

David and Inez Myers Foundation

State of Ohio

The Kelvin and Eleanor Smith Foundation

Richard & Emily Smucker Family Foundation

Timken Foundation of Canton

Gifts of $500,000 to $999,999

The William Bingham Foundation

Cuyahoga County residents through Cuyahoga Arts & Culture

Ohio Arts Council

The Payne Fund

Gifts of $250,000 to $499,999

The Dr. M. Lee Pearce Foundation, Inc. (Miami)

Gifts of $100,000 to $249,999

Paul M. Angell Family Foundation

Cleveland Browns Foundation

The Cleveland Foundation

Haslam 3 Foundation

Jewish Federation of Cleveland

Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation

Kulas Foundation

John P. Murphy Foundation

Park Foundation

Anonymous

Gifts of $50,000 to $99,999

The George W. Codrington Charitable Foundation

The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs

GAR Foundation

The George Gund Foundation

Martha Holden Jennings Foundation

The Oatey Foundation

Wesley Family Foundation

Gifts of $15,000 to $49,999

The Abington Foundation

Akron Community Foundation

The Batchelor Foundation, Inc. (Miami)

The Bruening Foundation

The Mary S. and David C. Corbin Foundation

Mary and Dr. George L. Demetros Charitable Trust

The Sam J. Frankino Foundation

The Gerhard Foundation, Inc.

The Helen Wade Greene Charitable Trust

The Catherine L. & Edward A. Lozick Foundation

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

National Endowment for the Arts

The Nord Family Foundation

The PNC Charitable Trusts

The Esther and Hyman Rapport Philanthropic Trust

The Reinberger Foundation

Albert G. & Olive H. Schlink Foundation

The Sisler McFawn Foundation

Third Federal Foundation

The Veale Foundation

The George Garretson Wade Charitable Trust

The Welty Family Foundation

The Thomas H. White Foundation, a KeyBank Trust

Anonymous

Gifts of $2,500 to $14,999

The Ruth and Elmer Babin Foundation

The Bernheimer Family Fund of the Cleveland Foundation

Cleveland State University Foundation

C.S. Craig Family Foundation

Cuyahoga County Board of Developmental Disabilities

James Deering Danielson Foundation

Dorn Family Foundation

Fisher-Renkert Foundation

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

The Hankins Foundation

The Muna & Basem Hishmeh Foundation

George M. and Pamela S. Humphrey Fund

In His Step Foundation

The Kirk Foundation (Miami)

The Laub Foundation

The Lehner Family Foundation

The G. R. Lincoln Family Foundation

Elizabeth Ring Mather and William Gwinn Mather Fund

Ohio Humanities Council

The M. G. O’Neil Foundation

The O’Neill Brothers Foundation

The Perkins Charitable Foundation

Charles E. & Mabel M. Ritchie

Memorial Foundation

SCH Foundation

Lloyd L. and Louise K. Smith

Memorial Foundation

The South Waite Foundation

Stroud Family Trust

Uvas Foundation

The Edward and Ruth Wilkof Foundation

The Wuliger Foundation

Anonymous

Listing as of August 2024

YOUR VISIT

LATE SEATING

As a courtesy to the audience members and musicians in the hall, late-arriving patrons are asked to wait quietly until the first convenient break in the program. These seating breaks are at the discretion of the House Manager in consultation with the performing artists.

PAGERS, CELL PHONES & WRISTWATCH ALARMS

As a courtesy to others, please silence all devices prior to the start of the concert.

PHOTOGRAPHY, VIDEOGRAPHY & RECORDING

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

HEARING AIDS & OTHER HEALTH-ASSISTIVE DEVICES

For the comfort of those around you, please reduce the volume on hearing aids and other devices that may produce a noise that would detract from the program. For Infrared Assistive-Listening Devices, please see the House Manager or Head Usher for more details.

IN THE EVENT OF AN EMERGENCY

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

AGE RESTRICTIONS

Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Classical Season sub-

FREE MOBILE APP TICKET WALLET

Download today for instant, secure, and paperless access to your concert tickets.

For more information and direct links to download, visit clevelandorchestra.com/ticketwallet or scan the code with your smartphone camera to download the app for iPhone or Android.

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

Cleveland Orchestra performances are broadcast as part of regular programming on ideastream/WCLV Classical 90.3 FM, Saturdays at 8 PM and Sundays at 4 PM.

scription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including Music Explorers (for 3 to 6 years old) and Family Concerts (for ages 7 and older).

FOOD & MERCHANDISE

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

TELL US ABOUT YOUR EXPERIENCE

We are so glad you joined us! Want to share about your time at Severance? Send your feedback to cx@clevelandorchestra.com Hearing directly from you about what we are doing right and where we can improve will help us create the best experience possible.

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

The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio.

The Cleveland Orchestra is proud to have its home, Severance Music Center, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

© 2024 The Cleveland Orchestra and the Musical Arts Association Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

EDITORIAL

Kevin McBrien, Publications Manager

The Cleveland Orchestra kmcbrien@clevelandorchestra.com

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