The Cleveland Orchestra October 10, 12 & 13 Concerts by Live Publishing

24 25 SEASON

Salonen Conducts Salonen

OCTOBER 10, 12 & 13, 2024

Your legacy helps create a healthier community.

At University Hospitals, we take our commitment to our community seriously and are grateful for your ongoing support in this rapidly changing world. Together, we’ll continue to treat patients like family, find new treatments and cures, and prepare the next generation of caregivers. Join others who are helping advance the science of health and the art of compassion by leaving their legacy.

To learn more, contact our Gift Planning Team: UHGiving.org/giftplanning | 216-983-2200

2024/2025 SEASON

2024/2025

SEASON

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

PAGE 5

INTRODUCTION

PAGE 5

INTRODUCTION

PAGE 7

THIS WEEK’S PROGRAM

Salonen Conducts Salonen

Esa-Pekka Salonen, conductor

Mahler’s Third Symphony

Esa-Pekka Salonen, conductor

Klaus Mäkelä, conductor

Le Tombeau de Couperin (page 8) by Maurice Ravel

Symphony No. 3 in D minor (page 8) by Gustav Mahler

Jennifer Johnston, mezzo-soprano

Cello Concerto (page 11) by Esa-Pekka Salonen

Senja Rummukainen, cello

The Cleveland Orchestra Chorus

The Cleveland Orchestra Children’s Chorus

Symphony No. 5 in E-flat major, Op. 82 (page 15) by Jean Sibelius

Sung texts (page 14)

Conductor & artist biography (page 21)

Conductor & artist biographies (page 19)

PAGE 31

PAGE 33

TCO SPOTLIGHT

Feature articles, musician interviews & season calendar

PAGE 45

PAGE 43

IN THE NEWS

Noteworthy happenings at The Cleveland Orchestra

PAGE 48

PAGE 50

SNAPSHOTS

Photo highlights from recent Cleveland Orchestra events

PAGE 54

THANK YOU

The community of supporters who bring the music to life

THE CONCEPT OF THE COMPOSERCONDUCTOR — as one who both creates and executes their art — may seem like a modern phenomenon but actually extends back to the Baroque era. One of the earliest examples of this double role was the French composer Jean-Baptiste Lully, who regularly led performances of his works in the court of Louis XIV. (He is also famous for his bizarrely premature death from gangrene, which he contracted after striking his foot with his conducting staff.) Since then, composer-conductors have switched to a far less dangerous tool — the baton — and counted among their ranks such notable figures as Beethoven, Mahler, Bernstein, and Nadia Boulanger, to name a few.

This weekend’s program is led by one of the foremost composer-conductors of our day, Esa-Pekka Salonen (above right), who pairs a work of his own with music by Maurice Ravel and Jean Sibelius (who, as luck would have it, were also two composers who conducted).

Musicologist Roger Nichols recalls that Ravels’s friends often joked about which activity the composer was worse at, playing the piano or conducting. Teasing aside, Ravel did not conduct regularly, but one of his engagements included an appearance at Severance in 1928. Appearing on that program — as well as this one — was his Le Tombeau de Couperin, a lighthearted yet poignant memorial to friends who perished during World War I.

Sibelius never made an appearance in Cleveland but is still a composer close to Salonen’s heart. The Fifth Symphony is one of Sibelius’s best-loved works, lauded for its formal invention, sweeping melodies, and imaginative ending — six massive chords separated by silence.

In between is Salonen’s Cello Concerto, written for Yo-Yo Ma and played here by Finnish cellist Senja Rummukainen. The work embodies a fascinatingly original soundworld and is a true showpiece for both soloist and orchestra. However, it is by no means virtuosic for virtuosity’s sake. As Salonen reflects in his program note, “A true virtuoso can … capture the beauty and expression in the quietest moments, to fill near-stasis with life through a musician’s imagination and ability to communicate.” — Kevin

McBrien

King Carl XVI Gustaf of Sweden (left) presenting Esa-Pekka Salonen with the Polar Music Prize in Stockholm on May 21, 2024.

Salonen Conducts Salonen

Thursday, October 10, 2024, at 7:30 PM

Saturday, October 12, 2024, at 8 PM

Sunday, October 13, 2024, at 3 PM

Esa-Pekka Salonen, conductor

Maurice Ravel (1875–1937)

Esa-Pekka Salonen (b. 1958)

Le Tombeau de Couperin

Prélude

Forlane Menuet Rigaudon Cello Concerto

II. —

III.

Senja Rummukainen, cello

INTERMISSION

Jean Sibelius (1865–1957)

Symphony No. 5 in E-flat major, Op. 82 30 minutes

I. Tempo molto moderato — Allegro moderato —

Presto

II. Andante mosso, quasi allegretto

III. Allegro molto — Misterioso — Un pochettino largamente

Total approximate running time: 1 hour 45 minutes

Thank you for silencing your electronic devices.

Sunday’s performance will be livestreamed on Adella.live and Medici.tv.

Concert Preview with Kevin McBrien Reinberger Chamber Hall one hour prior to performance

Le Tombeau de Couperin

by Maurice Ravel

BORN : March 7, 1875, in Ciboure, Basses-Pyrénées

DIED : December 28, 1937, in Paris

▶ COMPOSED: 1914 – 17 for piano; arranged for orchestra in 1919

▶ WORLD PREMIERE : The piano suite was premiered in Paris by Marguerite Long on April 11, 1919. The orchestral version premiered on February 28, 1920, with Rhené-Baton leading the Pasdeloup Orchestra.

▶ CLEVELAND ORCHESTRA PREMIERE : January 26, 1928, with the composer conducting

▶ ORCHESTRATION : 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets, 2 bassoons, 2 horns, trumpet, harp, and strings

▶ DURATION : about 20 minutes

COMPOSERS HAVE ALWAYS BEEN inspired by music of the past. But while in earlier days the most important impulses tended to come from the generation immediately preceding the time of writing, in the 19th and 20th centuries, many composers began to find ways to incorporate the more distant past into their works. When this occurs, we can no longer speak of a smooth and gradual transition from one musical style to another; rather, the source of inspiration and the new work remain two separate entities, juxtaposed and affecting each other but also quite distinct.

In many of his works, Maurice Ravel may be regarded as a precursor of neoclassicism, a movement that flourished after World War I, with Igor Stravinsky (who was a close friend

of Ravel’s) as one of its leaders. Ravel often wrote into his music features derived from the music of the 17th and 18th centuries, as did the “neoclassicals” coming after him. His early Menuet antique already showed this tendency, as did the Menuet sur le nom d’Haydn. But Ravel’s best-known homage to the past is his Le Tombeau de Couperin, in which he recreated several Baroque instrumental forms in a 20th-century idiom.

François Couperin (1668–1733) was one of the greatest masters of the French Baroque, called “Le Grand” in his own time. (He belonged to a dynasty of musicians that has often been compared to that of the Bach family.)

In March 1915, Ravel joined the Thirteenth Artillery Regiment as an ambulance driver. This photo (taken in 1916) shows the composer in uniform, complete with a furred overcoat.

As an exercise toward creating Le Tombeau de Couperin, Ravel prepared an arrangement of a dance by Couperin. The form of this was the Forlane, which Ravel then used as the basis for one of the movements of his new work. The work’s overall title is somewhat misleading, for Ravel said he did not mean to memorialize Couperin in particular — “tombeau” being the French word for “tomb”— but to pay homage to French Baroque musical sensibilities in general.

The original version of Le Tombeau de Couperin, completed in 1917, was for solo piano and featured six movements: Prélude, Fugue, Forlane, Rigaudon, Menuet, and Toccata. With the end of

in so many of J.S. Bach’s preludes. Similarly, the other movements follow the patterns of the Baroque dance types on which each is based. The formal designs, with repeats and recapitulations, are also those of the 18th century, but the melodies and harmonies are Ravel’s own. Note his beloved pentatonic scale (playable on the piano’s black keys) right at the beginning of the Prélude and the many exquisite chromatic modulations throughout the piece, especially in the delicate Forlane.

The Menuet was one of Ravel’s favorite dance forms. Ravel’s minuets are always soft and graceful, and this one (despite one loud fortissimo passage)

The work’s overall title is somewhat misleading, for Ravel said he did not mean to memorialize Couperin in particular ... but to pay homage to French Baroque musical sensibilities in general.

World War I, he dedicated each movement in memory of specific fallen comrades. (Ravel had served as a truck driver in the French army during the war.)

After the piano piece’s premiere in 1919, Ravel wrote an orchestral version, dispensing with the Fugue and the Toccata, and moving the Rigaudon to the end, thus creating a suite of three dance movements preceded by a prelude.

The Baroque inspiration in the suite can be seen especially in the rhythm. The even sixteenth notes of the Prélude are reminiscent of the steady motion found

is no exception. Finally, the Rigaudon consists of a dynamic opening section in C major that contrasts with a pastorale-like middle section in a slower tempo starting in C minor. In the orchestral version, this middle section features a series of lyrical woodwind solos (oboe, English horn, flute, clarinet), after which the exuberant C-major theme returns.

— Peter Laki

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

Cello Concerto

by Esa-Pekka Salonen

BORN : June 30, 1958, in Helsinki

▶ COMPOSED: 2016–17

▶ WORLD PREMIERE : March 9, 2017, with cellist Yo-Yo Ma and the Chicago Symphony Orchestra, conducted by the composer

▶ This weekend’s performances mark the first presentations of Esa-Pekka Salonen’s Cello Concerto by The Cleveland Orchestra.

▶ ORCHESTRATION : 2 flutes (2nd doubling alto flute), piccolo, 2 oboes, English horn, 2 clarinets, bass clarinet (doubling contrabass clarinet), 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 2 trombones, timpani, percussion (crotales, marimba, vibraphone, glockenspiel, tuned gongs, maracas, cabasa, claves, flexatone, bongos, congas), harp, piano (doubling celesta), electronics, and strings, plus solo cello

▶ DURATION : about 35 minutes

“A CONCERTO IS SIMPLY an orchestral work where one or several instruments have a more prominent role than the others,” conductor and composer Esa-Pekka Salonen asserted plainly in a 2017 essay he wrote about his own Cello Concerto. At face value, the statement seems harmless enough. But for some, the very term concerto signifies conflict, the pitting of one player or a few against a larger group symbolizing the struggle of the individual in society: distinctiveness versus conformity. Some view the concerto as a vehicle for technical display, others as a platform for philosophical rhetoric without words. In his essay, Salonen alluded to yet another kind of conflict: “I have never —

not even during the quite dogmatic and rigid modernist days of my youth — felt that the very idea of writing a solo concerto would in itself be burdened with some kind of dusty bourgeois tradition.” For modernists of the 20th century, whose works and thoughts Salonen knew well, musical constructs like the symphony and the concerto were dusty relics of the past, to be cast off and replaced by new works with titles like Structures or fragments of Mallarmé titles entirely in lowercase.

That’s not to say Salonen had no flair for imaginative titles. To the contrary, one source that nourished what would become his Cello Concerto was knock, breathe, shine, his own 2010 work for

THE MUSIC

unaccompanied cello, phrases from which Salonen used in the second and third movements of his concerto.

Symphony No. 6 in E-flat minor, Op. 111

Salonen also addressed the notion of technical display. “I also happen to like the concept of a virtuoso operating at the very limits of what is physically (and sometimes mentally) possible,” he wrote. “I have learned, however, that virtuosity doesn’t limit itself to the mechanics of playing an instrument. A true virtuoso can also capture the beauty and expression in the quietest moments, to fill near-stasis with life through a musician’s imagination and ability to communicate.”

By Sergei Prokofiev

BORN : April 23, 1891, in what is now Sontsivka, Ukraine

DIED : March 5, 1953, Moscow

playing grows more animated, other instruments start to encircle and trail behind: an effect Salonen likens to a comet’s tail. Now and then, some passing effect or touch reminiscent of Debussy, Mahler, or Lutosławski attests to Salonen’s mastery of the orchestral palette.

▶ COMPOSED: 1944–47

▶ WORLD PREMIERE: October 10, 1947, with Yevgeny Mravinsky leading the Leningrad Philharmonic

▶ CLEVELAND ORCHESTRA PREMIERE: March 17, 1977, led by guest conductor Gennady Rozhdestvensky

Which brings us to the soloist for whom Salonen wrote his Cello Concerto: Yo-Yo Ma, among the few bona fide household names in classical music, both for his prowess and musicality, and also for his tireless exploration, innovation, and advocacy. Knowing that he would be writing for a musician as utterly complete as Ma, Salonen could let his vivid imagination soar, confident in the knowledge that whatever he might conceive — however daunting, however poetic — his soloist could make it happen.

After a portentous opening, the second movement drifts, cloudlike and glinting with celestial light. The solo cello rumbles up from its lower register, then engages in a sequence of uncanny conversations: with itself, via recorded loops, and with an alto flute onstage. Reaching to the highest heights as its soliloquy continues, the solo cello becomes entwined with keening spectral doppelgängers.

▶ ORCHESTRATION: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, woodblock, tam-tam, tambourine, cymbals, triangle), piano, celesta, harp, and strings

▶ DURATION: about 45 minutes

ON JANUARY 13, 1945 , Sergei Prokofiev conducted the first performance of his Fifth Symphony in Moscow. The new work was well received and continues to be popular today, rivaled in frequency in the concert hall only by his First Symphony, which he had named the Classical Symphony.

The concerto’s first movement opens with a sonic notion Salonen titled “Chaos to line” in a sketchbook; shimmering and churning sounds coalesce gradually, like interstellar dust forming a cosmic cloud. Roughly two minutes in, the solo cello announces its presence with a theme both robust and inquisitive — an explorer setting out to map a boundless expanse. As the soloist’s

Composed during World War II, the Fifth might also be termed “classical” in its conventional form and in its abstract, non-storytelling qualities. It was and is, many people argue, what a symphony ought to be — the exploration of purely musical elements and their combination and relationships. In a sense, such pure

Sonorous gongs and stately brass introduce a knotty cadenza to announce the finale, an animated workout pitting the soloist against burbling bongos and congas. Shakers chitter, inviting a dance; instead, the soloist grows more and more feisty and combative, goading the orchestra into a riot punctuated with timpani, flexatone, and claves. In an extraordinary final gesture, the solo cellist ascends to a precariously high B flat — seized electronically and set aswirl like the stardust from which this uncanny concerto emerged.

Steve Smith

—

music could even be said to provide escapism in times of trouble. The Romantic age of the 19th has taught us, however, that a does not have to be confined to musical argument. It can also to human experience and directly reference our feelings and experiences. Beethoven’s Fifth is surely about something, even if no one can certain what that something is of its musical journey from darkness to triumph.

, Time Out New York, and NPR.

Shortly after composing his Sixth Symphony, Sergei Prokofiev was singled out by Soviet for writing “formalist” music.

Steve Smith is a journalist, critic, and editor based in New York City. He has written about music for The New York Times and The New Yorker, and served as an editor for the Boston Globe

Composer’s Note

SOME OF THE IDEAS for my Cello Concerto can be traced back by at least three decades, but the actual material for the piece was mostly developed in the summer of 2015 when I decided to spend a few months researching for new kinds of textures without a concrete plan how to use them. I decided to use some phrases from my 2010 solo cello work knock, breathe, shine in the second and third movements as I always felt that the music of the solo piece was almost orchestral in its scope and character, and would function well within an orchestral environment.

I have never — not even during the quite dogmatic and rigid modernist days of my youth — felt that the very idea of writing a solo concerto would in itself be burdened with some kind of dusty bourgeois tradition. A concerto is simply an orchestral work where one or several instruments have a more prominent role than the others. A concerto does not suggest a formal design the same way a symphony does. I also happen to like the concept of a virtuoso operating at the very limits of what is physically (and sometimes mentally) possible. In Nietzsche’s words: “You have made danger your vocation; there is nothing contemptible in that.” (No program note feels complete without a quotation from Thus Spake Zarathustra.)

I have never ... felt that the very idea of writing a solo concerto would in itself be burdened with some kind of dusty bourgeois tradition. A concerto is simply an orchestral work where one or several instruments have a more prominent role than the others.

I have learned, however, that virtuosity doesn’t limit itself to the mechanics of playing an instrument. A true virtuoso can also capture the beauty and expression in the quietest moments, to fill near-stasis with life through a musician’s imagination and ability to communicate. In my other life as a performer I witness that almost every day: how musicians can create meaning from a single note. The composer-me is humbled by it, but also deeply grateful. After all, all those symbols on paper mean nothing until somebody gives them life.

It has been a very great pleasure and honor to write a concerto for one of the most unique life-givers and communicators of our time, Yo-Yo Ma. It has been inspiring to know that his technique knows no limits. Perhaps more importantly: nor does his imagination. ▶ ▶ ▶

THE MUSIC

The first movement opens with what in my sketchbook had the title “Chaos to line.” Chaos here must be understood metaphorically, as a stylized version of the idea. I like the concept of a simple thought emerging out of a complex landscape. Almost like consciousness developing from clouds of dust.

This leads to the second semi-cosmological metaphor: a comet. I imagined the solo cello line as a trajectory of a moving object in space being followed and emulated by other lines/instruments/moving objects. A bit like a comet’s tail. In musical terms it could be described as a canon but not quite as the imitation is not always literal or precise. The gestus remains however almost identical every time. Sometimes the imitating cloud flies above the cello, sometimes in the very same register. It thins out to two lines and finally to one.

There are faster, more playful episodes alternating with the cloud, and finally the movement gains enough speed for the balance to tilt towards fast music. At the end a variation of the cloud returns.

The second movement is very simple in form, more complex in texture. It starts with a wedge-formed cloud [>] and ends with another [<], if one can imagine such a thing. The slow cello arches are looped to create harmony from single lines. Sometimes the loops are dispersed in space. The middle section is a playful duet between the solo cello and the alto flute.

Third movement starts with a slow, brooding cello solo under the residue of the second wedge-cloud. The expression quickly becomes more extroverted through a series of accelerandos. A rhythmic mantra starts to develop in the congas and bongos. It will appear often later in the course of the movement, mostly in the timpani. This music is often dance-like; sometimes gesticulating wildly, perhaps from the sheer joy of no longer having nothing to do with clouds and processes.

An acrobatic solo episode leads to a fast tutti section where I imagined the orchestra as some kind of gigantic lung, expanding and contracting first slowly, but accelerating to a point of mild hyperventilation which leads back to the dance-like material. Quixotic solo cello episodes lead to a joyful coda based on the “lung” music, but now with a solo cello line. Finally the kinetic energy burns itself out gently, the rapid movement slows down and the cello line climbs slowly up to a stratospherically high B flat, two centimeters to the left from the highest note of the piano.

— © Esa-Pekka Salonen

Symphony No. 5 in E-flat major, Op. 82

by Jean Sibelius

BORN : December 8, 1865, in Hämeenlinna, Finland

DIED : September 20, 1957, in Järvenpää, Finland

▶ COMPOSED: 1912 – 15, revised 1916 – 19

▶ WORLD PREMIERE : December 8, 1915, with the composer conducting the Helsinki Philharmonic Orchestra

▶ CLEVELAND ORCHESTRA PREMIERE : November 7, 1929, led by Music Director Nikolai Sokoloff

▶ ORCHESTRATION : 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, and strings

▶ DURATION : about 30 minutes

WE TEND TO THINK of Jean Sibelius primarily as a symphonist, yet he did not embark on his first symphony until he was well into his thirties. Much like Richard Strauss, who was only a year older, Sibelius had dabbled unsuccessfully in opera but was best known for his tone poems. While Strauss was soon to move definitively toward opera, Sibelius built a solid achievement in writing his seven symphonies, the last dating from 1924. The mythical Eighth, so keenly anticipated and so lavishly discussed, never appeared, even though Sibelius lived a full 30 years after apparently retiring from composition.

We could equally ponder a comparison of Sibelius with Beethoven, who also waited until he was 30 before

producing the first of his immortal nine symphonies. Comparing Sibelius with Beethoven was, in fact, a recurrent element of early 20th-century music criticism. Indeed, the English critic Cecil Gray roundly declared Sibelius to be “the greatest master of the symphony since the death of Beethoven.”

Every symphonist in the last 200 years has had to run that gauntlet, but Sibelius was, in his own mind, looking less to Beethoven than to Borodin, Tchaikovsky, and Bruckner, whose works impressed him deeply. Sibelius’s First Symphony appeared in 1899 — the same year as his Finlandia and Lemminkäinen Suite — and with it came international renown. He was invited to conduct his music in Stockholm, Paris,

Heidelberg, and Berlin. In Leipzig, Sibelius acquired a publisher, and met Dvořák in Prague. His fame and worth lauded abroad, he was awarded a Finnish state pension for life and was able to resign from his teaching post at Helsinki University.

There were to be dark times ahead, when poor health, money problems, and anxiety about his standing in contemporary music dogged him, but for the first

few years of the new century, Sibelius was riding high. The Second Symphony appeared in 1902, the Third in 1907, the Fourth in 1911. In 1914, he visited the United States, where he received an honorary degree from Yale and conducted The Oceanides at the Norfolk Festival in Connecticut. He was delighted by everything and would have returned for later concerts if World War I had not intervened.

During his visit to America, Sibelius’s thoughts turned to his next symphony, the Fifth, and he finished it in time for his fiftieth birthday, December 8, 1915, which also marked the occasion for a celebratory concert at Helsinki University, where he conducted its first performance.

The symphony gave him more trouble than usual, however, for he revised it the following year (the second version was premiered exactly one year after the first concert) — and then revised and

By the early 1910s, Sibelius had archived international renown. This photo of the composer was taken in 1912, just as he was about to embark on the composition of his Fifth Symphony.

premiered it a third time in 1919, after the war’s end and Finland’s independence from Russia. The Fifth has always been one of the most admired of all Sibelius’s symphonies, revealing his style in strong, positive colors, free of much of the mystification that clouds certain of his other works.

sive exploration of the opening material, the music takes on the animated character of a scherzo movement, fluttering away like a butterfly emerging from a chrysalis.

The Fifth has always been one of the most admired of all Sibelius’s symphonies, revealing his style in strong, positive colors, free of much of the mystification that clouds certain of his other works.

The most important of the revisions that the symphony underwent illustrates one of the central features of Sibelius’s style. He had always had a knack for relating different tempos to one another and for the smooth handling of the accelerations and decelerations his music naturally seems to generate. (This was to culminate in the Seventh Symphony, which incorporates music of all different tempos in one seamless movement.) In the Fifth Symphony, Sibelius originally planned a first movement of moderate tempo, to be followed by a swift scherzo in 3/4 time. In his revisions, these two movements were merged, so that as the opening movement proceeds, we gradually become aware of a quickening of pace. Almost unnoticed, after exten-

Thus, the Fifth Symphony that we know today has three movements, not four, although the range and variety of music are wide. There are rootless murmurings in the strings, fragmented calls in the winds, seemingly random entries of the timpani, and a great solidity in the brass transformed in the finale into a glorious hymn to the Nordic gods.

The central movement is a peaceful interlude, as charming as anything by Felix Mendelssohn, perhaps — although even here the music can more than once find itself hastening forward in a break out of energy before falling back to its previous state of calm. This middle movement is notable for its constant pairing of wind instruments in thirds (playing parallel lines constantly spaced a third apart on the melodic scale), a feature that recurs in the finale when the brass intone the great “swan” theme that drives it forward. Thus, in the last movement, the horns and trumpets are frequently paired in thirds, yet here their melody is not genteel and stepwise; it strides across wide intervals — inviting comparison with the giants that have been said to inhabit the great Scandinavian forests since time immemorial.

— 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

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.

Esa-Pekka Salonen

ESA-PEKKA SALONEN IS KNOWN as both a composer and conductor. He is the music director of the San Francisco Symphony, where he works alongside eight collaborative partners from a variety of disciplines, ranging from composers to roboticists. He is the conductor laureate for London’s Philharmonia Orchestra, the Los Angeles Philharmonic, and the Swedish Radio Symphony Orchestra. As a member of the faculty of Los Angeles’s Colburn School, he develops, leads, and directs the preprofessional Negaunee Conducting Program. Salonen co-founded, and from 2003 until 2018 served as the artistic director of, the annual Baltic Sea Festival. Recent conducting engagements include appearances with the Los Angeles Philharmonic, Finnish Radio Symphony Orchestra, New York Philharmonic, Chicago Symphony Orchestra, and Swedish Radio Symphony Orchestra, performances in London and Germany with the Philharmonia Orchestra, and an extended three-week engagement with the Orchestre de Paris.

Salonen has an extensive and varied recording career, both as a conductor and composer. With the San Francisco Symphony, he has released recordings of Bartók’s three piano concertos with Pierre-Laurent Aimard on Pentatone, as well as spatial audio recordings of Ligeti’s Clocks and Clouds, Lux Aeterna, and Ramifications on Apple Music Classical. His compositions appear

on releases from Sony, Deutsche Grammophon, and Decca; his Piano Concerto (with Yefim Bronfman), Violin Concerto (with Leila Josefowicz), and Cello Concerto (with Yo-Yo Ma) all appear on recordings conducted by Salonen himself.

Salonen is the recipient of many major awards, including the UNESCO Rostrum Prize, the Siena Prize, the Pro Finlandia Medal of the Order of the Lion of Finland, and the Helsinki Medal. Musical America named him its Musician of the Year in 2006, and in 2012, Salonen’s Violin Concerto won the Grawemeyer Award for Music Composition. In 2020, he was appointed an honorary Knight Commander of the Order of the British Empire (KBE) by Queen Elizabeth II. To date, he has received seven honorary doctorates in four different countries.

Senja Rummukainen

Cello

OVER THE PAST DECADE , cellist Senja Rummukainen has grown from a promising young cellist to one of the brightest stars among Finnish musicians. In 2014, she became famous on the Finnish stage after winning the Turku Cello Competition and, just a year later, she was named finalist for the Guilhermina Suggia Prize. In 2019, she reached the final round of the Tchaikovsky International Competition in Saint Petersburg.

Rummukainen’s performances with the BBC Symphony Orchestra, Helsinki Philharmonic Orchestra, Finnish Radio Symphony Orchestra, and Tapiola Sinfonietta have been praised by critics and audiences alike. These appearances have included working with conductors such as Sakari Oramo, Nicholas Collon, Leif Segerstam, and Jonathon Heyward.

As a chamber musician, Rummukainen has appeared at the Kuhmo Chamber Music Festival, Turku Music Festival, and Oulu Music Festival. Alongside Johannes Piirto, Kasmir Uusitupa, Tami Pohjola, and Riina Piirilä, she was the artistic director of the Helsinki Chamber Music Festival from 2017 to 2021. Other chamber music collaborations include appearances with Janine Jansen, Ilya Gringolts, and Augustin Hadelich.

In the 2023–24 season, Rummukainen made her debut as soloist with the Gothenburg and Iceland symphony

orchestras and returned to the Finnish Radio Symphony Orchestra, performing Brahms’s Double Concerto with Otto Antikainen. Rummukainen has also given masterclasses at Cellofest in Helsinki and the Porvoo String Academy, and was a member of the jury in the Porvoo Cello Competition in 2021.

Teachers have played an indispensable role in Rummukainen’s musical life. She started her studies in the classes of Taru Aarnio and Allar Kaasik. She has also worked with Marko Ylönen at the Sibelius Academy, Truls Mørk at the Norwegian School of Music, YoungChang Cho at the Folkwang University of Essen, and Jens Peter Maintz at the University of Music Berlin.

Rummukainen currently plays a Giovanni Grancino cello from 1698, owned by OP Art Foundation.

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 Handke

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

Gawon Kim

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

^ Alum of The Cleveland Orchestra Youth Orchestra

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.

“It’s

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 2. 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

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

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

clevelandorchestra.com

RECITAL

FEB 23

ÓLAFSSON & WANG IN RECITAL

Víkingur Ólafsson, piano

Yuja Wang, piano

BERIO Wasserklavier

SCHUBERT Fantasie in F minor

CAGE Experiences No. 1

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

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

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.

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 LEFT:

CLOCKWISE

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

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

Mrs. Jayne M. Zborowsky

Lillian Baldwin Society

Gifts of $75,000 to $99,999

Mr. and Mrs. Alexander M. Cutler

Dr. Hiroyuki and Mrs. Mikiko Fujita

Richard and Michelle Jeschelnig

Mr. and Mrs. Douglas A. Kern

Mr. and Mrs. Alfred M. Rankin, Jr. Anonymous

George Szell Society

Gifts of $50,000 to $74,999

Randall and Virginia Barbato

Brenda and Marshall B. Brown

Irad and Rebecca Carmi

JoAnn and Robert Glick

Ms. Alexandra Hanna

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

Elizabeth B. Juliano

Richard and Christine Kramer

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

Mrs. Lynn Heisler

Amy and Stephen Hoffman

David and Nancy Hooker

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

Mrs. Marguerite B. Humphrey*

Allan V. Johnson

Mr. and Mrs. Joseph P. Keithley

Cynthia Knight

John D. and Giuliana C. Koch

Ms. Cathy Lincoln

Jon A. and Virginia M. Lindseth, PhD

Mr. Jeff Litwiller

Mr. and Mrs. Ben Mathews

Mr. Stephen McHale

Randy and Christine Myeroff

The Honorable John Doyle Ong

Catherine and Hyun Park

Mr. and Mrs. Benjamin N. Pyne

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

Dr. and Mrs. James L. Sechler

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

Mr. and Mrs. Alfred Umdasch (Europe)

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

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

Dr. Susan M. Merzweiler

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

DESIGN

Elizabeth Eddins, Eddinsdesign eddinsdesign@gmail.com

ADVERTISING

Live Publishing Company, 216-721-1800