The Cleveland Orchestra October 17-19 Concerts

OCTOBER 17–19, 2024 24 25 SEASON

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

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INTRODUCTION

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THIS WEEK’S PROGRAM

Mahler’s Third Symphony

Klaus Mäkelä, conductor

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

Jennifer Johnston, mezzo-soprano

The Cleveland Orchestra Chorus The Cleveland Orchestra Children’s Chorus

Sung texts (page 14)

Conductor & artist biographies (page 19)

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TCO SPOTLIGHT

Feature articles, musician interviews & season calendar

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IN THE NEWS

Noteworthy happenings at The Cleveland Orchestra

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SNAPSHOTS

Photo highlights from recent Cleveland Orchestra events

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THANK YOU

The community of supporters who bring the music to life

PLACE YOURSELF IN THE SHOES OF A COMPOSER facing the premiere of a brand-new work. Other than rare exceptions, their untested endeavors will be on the first half of a program while an undisputed masterpiece lurks behind intermission, passed down and refined by generations of musicians. It’s a rite of passage for a composer to struggle to gain acceptance past the sheer marble wall that is the “classical canon.” Richard Wagner even stated in 1849, with regard to Beethoven’s Ninth Symphony, that “the last symphony has already been written.” And yet, against all odds, predictions of the end of classical music history have thankfully fallen short.

We find an extraordinary exception to this anxiety of influence in the case of Gustav Mahler, who saw the canon as a vista rather than an obstacle. In this case, the standard was not set by Beethoven the century prior, but by his own first two symphonic efforts, written over the decade leading up to the premiere of the piece at hand — his Third Symphony, led tonight by guest conductor Klaus Mäkelä. Anyone who has heard these works will agree that he fulfilled his promise to compose symphonies that “embrace everything.”

How did Mahler surpass the high bar he had set for himself? One can warrant that his particular gift was the ability to recognize the looming proliferation of modernity that, in the words of the philosopher Friedrich Nietzsche (above), had generated a “magnificent tension of the spirit.” The full embrace of this unprecedented and unrepeatable zeitgeist meant that the only remaining task was to “merely” write down the notes of this symphonic mountain range. (You’ll hear the influence of Nietzsche throughout the evening, as well as in the Orchestra’s performances of Richard Strauss’s Also sprach Zarathustra in February 2025.)

After you have taken in the views, weathered the storms, and descended from the peaks of Mahler’s Third, you’ll have your own opportunity to capitalize on that “magnificent tension” this composer so effectively transubstantiated into music.

— Ian Mercer

Ian

Mercer

is The Cleveland Orchestra’s production manager.

Mahler’s Third Symphony

Thursday, October 17, 2024, at 7:30 PM

Friday, October 18, 2024, at 7:30 PM

Saturday, October 19, 2024, at 8 PM

Klaus Mäkelä, conductor

Gustav Mahler (1860–1911)

Symphony No. 3 in D minor 100 minutes

Part One:

I. Kräftig; Entschieden. (Forceful; decisive.)

Part Two:

II. Tempo di menuetto: Sehr mässig. (In the tempo of a minuet: Very moderate.)

III. Comodo; Scherzando; ohne Hast. (Comfortable; playful; without haste.)

IV. Sehr langsam; misterioso. (Very slow; mysterious.) —

V. Lustig im Tempo und keck im Ausdruck. (Joyous in tempo and jaunty in expression.) —

VI. Langsam; ruhevoll; empfunden. (Slow; peaceful; deeply felt.)

Jennifer Johnston, mezzo-soprano

The Cleveland Orchestra Chorus

The Cleveland Orchestra Children’s Chorus

Tonight’s program will last approximately 1 hour 40 minutes and will be presented without intermission.

Thank you for silencing your electronic devices.

Thursday evening’s performance is dedicated to Dr. Michael Frank and Patricia A.* Snyder in recognition of their generous support of music.

Support for this concert is generously provided by Kalle and Pirjo-Riitta Lyytinen, and Dr. and Mrs. Edward and Barbara Sivak. *deceased

Concert Preview with James Wilding Reinberger Chamber Hall one hour prior to performance

Symphony No. 3 in D minor

by Gustav Mahler

BORN : July 7, 1860, in Kalischt, Bohemia (present-day Czech Republic)

DIED : May 18, 1911, in Vienna

▶ COMPOSED: 1895–96

▶ WORLD PREMIERE : The second, third, and sixth movements received first performances in Berlin between 1896 and 1897. The complete symphony was premiered in Krefeld, Germany, on June 9, 1902, with the composer conducting the Orchestra of the General German Music Association.

▶ CLEVELAND ORCHESTRA PREMIERE : October 30, 1969, featuring contralto Linda Matousek and conducted by Louis Lane

▶ ORCHESTRATION : 4 flutes (all doubling piccolo), 4 oboes (4th doubling English horn), 3 clarinets (3rd doubling bass clarinet), 2 E-flat clarinets, 4 bassoons (4th doubling contrabassoon), 8 horns, 4 trumpets, posthorn, 4 trombones, tuba, timpani, percussion (glockenspiel, chimes, snare drums, triangle, tambourine, bass drum, cymbals, tam-tam, rute), 2 harps, strings, alto solo, soprano/alto chorus, and children’s chorus

▶ DURATION : about 100 minutes

ONE WONDERS whether it was pure coincidence that the two archrivals

Gustav Mahler and Richard Strauss wrote works inspired (at least in part) by the 19th-century German philosopher Friedrich Nietzsche at the same time. Strauss completed his tone poem Also sprach Zarathustra (Thus Spake Zarathustra) in August 1896. The very same month, Mahler put the finishing touches on his Third Symphony, whose fourth movement is a song with words from the “Midnight Song” from Nietzsche’s philosophical poem —  an excerpt, moreover, that also is featured in Strauss’s work.

Despite the great differences between Also sprach Zarathustra and Mahler’s Third, the reasons that caused both composers to turn to Nietzsche had something in common. Strauss found in Zarathustra a compelling image of human evolution through successive stages of spiritual development. Mahler, too, envisioned his work as some kind of evolution through successive stages. However, in his book on Mahler’s symphonies, musicologist Constantin Floros concludes that the Third Symphony, although based in part on Nietzsche, is “diametrically opposed to Nietzsche’s philosophy.” Floros

1. “Summer Marches In” (Fanfare and Merry March)

2. “What the Woods Tell Me”

contrasts Nietzsche’s anti-religious stance with Mahler’s affirmation of faith in the fifth movement, and he asserts that the message of love in the last movement is also antithetical to Nietzsche’s philosophy.

The planning of Mahler’s Third began with a series of tentative movement titles that probably preceded any substantial compositional work. According to Alma Mahler’s account, the work originally was to consist of seven movements:

3. “What Love Tells Me” (Adagio)

4. “What the Twilight Tells Me”

5. “What the Flowers in the Meadow Tell Me”

6. “What the Cuckoo Tells Me” (Scherzo)

7. “What the Child Tells Me”

At this stage, the work seems to have existed in Mahler’s mind as a kind of “nature symphony,” with flowers and animals but no humans or angels; the addition of human voices and sung texts

Gustav Mahler was 32 years old when this photo was taken in 1892. Three years later, he would embark on writing his monumental Third Symphony.

was not yet part of the scheme. Mahler also thought of adopting the title of another book by Nietzsche, Diefröhliche Wissenschaft (The Happy Science), as the overall title of his symphony, either in its original form or changed to Meine fröhliche Wissenschaft (My Happy Science). By the time of the symphony’s publication in 1898, though, the work had solidified to six movements and Mahler had dropped all programmatic titles.

The last decision to be made involved moving the Adagio, the “Love” movement, from third place to the end of the symphony (a rather unusual choice, coming only two years after Tchaikovsky’s “Pathétique” Symphony, which also ended with a slow movement). This decision had important philosophical consequences. As Mahler himself explained: “In the Adagio, everything is resolved in the calm of existence. The Ixion’s wheel of appearances finally stops turning.” (Ixion was a king in Greek mythology, punished by Zeus for his love for Hera by being bound on an eternally revolving wheel in the underworld.)

The first movement — which was actually written last — is, by size at least, almost a complete symphony in itself. Some critics, including admirers of Mahler, have found this movement rambling and diffuse, with its sections disconnected and incoherent. However, it is possible that the main idea behind the movement is precisely the creation of order out of chaos, the emergence of clear directions out of a state of aimlessness.

There are four stages in the unfolding

of this first movement. (Although the stages often share the same thematic material, they can be readily distinguished by ear.) The first is the fanfare for eight horns with which the symphony opens. The second is a string of melodic fragments in a tragic mood in a low register, initially dominated by the brass instruments. The third is a series of folklike themes of an ethereal quality, played mainly by woodwinds or solo violin. All

It is the most carefree music I have ever written, as carefree as only flowers can be. It all sways and ripples like flowers on limber stems sway in the wind.  — Gustav Mahler

of these thematic materials are static at first. Motion is introduced eventually, as a monumental march — the fourth stage — develops, combining the “fanfare” and “folklike” material with lively rhythmic accompaniment. The first time, the march is unable to proceed for very long before being interrupted by the three static groups of themes. The second time, however, as the music starts once more from silence as it has so often before, the march grows triumphantly to the final climax.

The second movement had the title “Blumenstück” (Flower Piece) when it was performed separately — a holdover from Mahler’s original program. Mahler described this movement to his friend Natalie Bauer-Lechner:

It is the most carefree music I have ever written, as carefree as only flowers can be. It all sways and ripples like flowers on limber stems sway in the wind. Today I realized to my surprise that the basses have nothing but pizzicato, not one firm stroke, and that the low, heavy percussion is not used at all. On the other hand, the violins, again with a solo violin, have the most lively, flowing, and charming figures. … That this innocent flowery cheerfulness does not last but suddenly becomes serious and weighty, you can well imagine. A heavy storm sweeps across the meadow and shakes the flowers and leaves. They groan and whimper, as if pleading for redemption to a higher realm.

The movement is a (more or less) regular minuet with a highly irregular Trio section repeated twice. The grazioso tone of the minuet evokes the 18th century despite subtle touches in the orchestration (especially the harp writing) and in the phrase structures that betray the hand of a late Romantic composer. What makes the Trio so irregular is that it consists of three different sections, each in a different meter. In scholar Peter Franklin’s words: “Although [the Trio] ... cuts some odd capers and seems intent upon a developmental life of its own, the graceful minuet is prepared to surprise us with a coquettish smile when it returns.”

The third movement is based on one of Mahler’s early Wunderhorn songs, with the first line “Kuckuck hat sich zu Tode gefallen” (Cuckoo has fallen to its death). The song ironically describes the cuckoo’s death with mock mourning, and then

goes on to celebrate the nightingale who will replace the cuckoo as the preferred singer in the forest. The scherzo expands on this song in much the same way the scherzo of the Second Symphony did on another Wunderhorn song, “St. Anthony of Padua’s Sermon to the Fishes.”

In the present work, the “cuckoo” song alternates between several contrasting episodes, including a memorable posthorn solo, which occurs twice in the movement. The posthorn, which used to announce the arrival of the mail in small Austrian towns, has its own literarymusical tradition from Schubert’s Winterreise (Winter Journey) to several poems by Nikolaus Lenau, a Romantic poet cherished by Mahler. At its return, the “cuckoo” scherzo evolves into a more boisterous section (“grob!” or “rude!” instructs the score). A second hearing of the posthorn solo and a brief but very eventful coda close the movement.

The fourth movement brings an abrupt change of mood with a setting of Nietzsche’s “Midnight Song” from Zarathustra, for alto (or mezzo-soprano) solo. Out of a mysterious background of muted strings, the soloist begins on a single repeated pitch. The vocal line gradually becomes more and more elaborate, but the harmonies remain static and the dynamics extremely soft. The image of pain is emphasized by an expressive violin solo.

The fifth movement, which follows without a break, is another complete contrast in mood. The happy chiming of the bells, children’s voices singing

ven’s last string quartet (Op. 135) but the continuation is more in the spirit of Bruckner — one of the few times that Bruckner’s and Mahler’s styles bear a close resemblance to one another. The manuscript bears the following inscription, adapted from Des Knaben Wunderhorn:

Vater, sieh an die Wunden mein!

Kein Wesen lass verloren sein!

Father, look upon my wounds, Let no creature be lost!

“bimm, bamm” (ding, dong) provide the background to a cheerful, folklike chorus on a text from Des Knaben Wunderhorn. This movement shares a characteristic motif with the song “The Heavenly Life,” which was originally meant to be included in the Third Symphony but ultimately became the last movement of Mahler’s Fourth. The choral interjections “Du sollst ja nicht weinen” (No, you mustn’t weep) are Mahler’s own addition to the folk text.

The sixth movement follows the fifth with no break. All previous contrasts seem to be resolved in the peaceful calm of this music, Mahler’s first great symphonic Adagio. The opening theme quotes the slow movement of Beetho-

The movement is based on two themes: a simple and soft D-major chorale and a more intense and dramatic minor-mode theme. The two themes and their variations alternate — and their developments include subtle recalls of fragments from the first and fifth movements. All these conflicting impulses are finally united in the powerful closing section, where the dynamics rise to fortissimo (Mahler warns: “not with raw force but with a saturated, noble tone”) as the monumental symphony reaches its glorious and ecstatic conclusion

— Peter Laki

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

Continue your journey with Mahler on Adella.live, featuring productions of the Second Symphony with Franz Welser-Möst and the Fourth Symphony with Daniel Harding

With its vast structure and musical musings on life, love, philosophy, and nature, Mahler’s Third Symphony evokes the work of German Romantic artist Caspar David Friedrich, such as his famous 1818 painting Wanderer Above the Sea of Fog.

Symphony No. 3 in D minor

by Gustav Mahler

FOURTH MOVEMENT

Text from Also sprach Zarathustra (“Midnight Song”) by Friedrich Nietzsche

MEZZO-SOPRANO

O Mensch! Gib Acht!

Was spricht die tiefe Mitternacht?

Ich schlief!

Aus tiefem Traum bin ich erwacht!

Die Welt ist tief!

Und tiefer, als der Tag gedacht!

O Mensch! Tief!

Tief ist ihr Weh!

Lust tiefer noch als Herzeleid!

Weh spricht: Vergeh!

Doch alle Lust will Ewigkeit!

Will tiefe, tiefe Ewigkeit!

FIFTH MOVEMENT

MEZZO-SOPRANO

Oh human, give heed!

What does deep midnight say?

I slept!

From deepest dream I have awakened!

The world is deep!

And deeper than the day had thought!

Oh human! Deep!

Deep is its woe!

Joy deeper still than heartbreak!

Pain speaks: Vanish!

But all joy seeks eternity,

Seeks deep, deep eternity.

Text from Des Knaben Wunderhorn, collected and edited by Achim von Amim and Clemens Brentano

CHILDREN’S CHORUS

Bimm, bamm, bimm, bamm. Bimm, bamm, bimm, bamm.

SOPRANO/ALTO CHORUS

Es sungen drei Engel einen süssen Gesang, Mit Freuden es selig in dem Himmel klang, Sie jauchzten fröhlich auch dabei, Daß Petrus sei von Sünden frei.

Und als der Herr Jesus zu Tische sass, Mit seinen zwölf Jüngern das Abendmahl ass, Da sprach der Herr Jesus:

“Was stehst du denn hier? Wenn ich dich anseh’, so weinest du mir!”

CHILDREN’S CHORUS

Ding, dong, ding, dong. Ding, dong, ding, dong.

SOPRANO/ALTO CHORUS

Three angels were singing a sweet song: With joy it resounded blissfully in heaven. They happily shouted with joy all together, That Peter was absolved from sin.

For as Lord Jesus sat at the table. With his twelve disciples to eat supper, So spoke Lord Jesus:

“Why are you standing here? When I look at you, you weep!”

MEZZO-SOPRANO

Und sollt ich nicht weinen, du gütiger Gott?

SOPRANO/ALTO CHORUS

Du sollst ja nicht weinen!

Sollst ja nicht weinen!

MEZZO-SOPRANO

Ich hab übertreten die zehn Gebot. Ich gehe und weine ja bitterlich.

SOPRANO/ALTO CHORUS

Du sollst ja nicht weinen!

Sollst ja nicht weinen!

MEZZO-SOPRANO

Ach komm und erbarme dich!

Ach komm und erbarme dich über mich!

CHILDREN’S CHORUS

Bimm, bamm, bimm, bamm. Bimm, bamm, bimm, bamm.

SOPRANO/ALTO CHORUS

Hast du denn übertreten die zehen Gebot,

So fall auf die Knie und bete zu Gott, Liebe nur Gott in alle Zeit

So wirst du erlangen die himmlische Freud’.

CHILDREN’S CHORUS

Liebe nur Gott!

Die himmlische Freud’ ist eine selige Stadt, Die himmlische Freud’, die kein Ende mehr hat.

SOPRANO/ALTO & CHILDREN’S CHORUSES

Die himmlische Freud’ war Petro bereit’t Durch Jesum und Allen zur Seligkeit.

Bimm, bamm, bimm, bamm …

MEZZO-SOPRANO

And should I not weep, you kind God?

SOPRANO/ALTO CHORUS

No, you mustn’t weep! You must not weep!

MEZZO-SOPRANO

I have trespassed against the Ten Commandments. I go and weep bitterly.

SOPRANO/ALTO CHORUS

No, you mustn’t weep! You must not weep!

MEZZO-SOPRANO

Ah, come and have mercy! Ah, come and have mercy upon me!

CHILDREN’S CHORUS

Ding, dong, ding, dong. Ding, dong, ding, dong.

SOPRANO/ALTO CHORUS

If you have trespassed against the Ten Commandments, Then fall on your knees and pray to God, Love only God forever, And you will attain heavenly joy.

CHILDREN’S CHORUS

Love only God!

Heavenly joy is a blessed city, Heavenly joy that has no end.

SOPRANO/ALTO & CHILDREN’S CHORUSES

Heavenly joy was prepared for Peter By Jesus and for the salvation of all.

Ding, dong, ding, dong …

Klaus Mäkelä

FINNISH CONDUCTOR Klaus Mäkelä has held the position of chief conductor of the Oslo Philharmonic since 2020 and music director of the Orchestre de Paris since September 2021. He assumes the title of chief conductor of the Royal Concertgebouw Orchestra in September 2027 and in the same season, commences as music director of the Chicago Symphony Orchestra. An exclusive Decca Classics artist, he has recorded ballets by Stravinsky and Debussy with the Orchestre de Paris. With the Oslo Philharmonic, he has released the complete Sibelius symphonies and Sibelius’s and Prokofiev’s first violin concertos with Janine Jansen.

Coinciding with performances at the Salzburg Festival and Musikfest Berlin, Decca Classics released Mäkelä and the Oslo Philharmonic’s new recording of Shostakovich symphonies (Nos. 4, 5, and 6) in August 2024. Shostakovich continues as a main focus in Mäkelä’s fifth season in Oslo, interwoven with the music of Bartók. Additional program highlights include Andrew Norman’s Play, Anders Hillborg’s MAX Concerto with Emanuel Ax, and Sibelius’s Lemminkäinen Suite.

Mäkelä’s fourth season with the Orchestre de Paris pays tribute to the anniversaries of both Ravel and Boulez and features music by other French composers, including Berlioz, Poulenc, and Messiaen. New commissions see the premieres of Thierry Escaich’s Lux

Aeterna and Charlotte Bray’s A Sky Too Small. In addition to the 10th anniversary celebrations at home in the Paris Philharmonie, they tour extensively, with summer performances at the BBC Proms and Lucerne Festival, and guest performances across Europe. They complete the season by returning to Asia in June 2025.

Guest conducting engagements in the 2024–25 season include performances with The Cleveland Orchestra, London Symphony Orchestra, and Berliner Philharmoniker. Mäkelä also makes his first appearance with the Wiener Philharmoniker in Vienna and on tour. This season he is a Focus Artist at the Vienna Musikverein and Portrait Artist at the Essen Philharmonie and Brussels Bozar.

As a cellist, Mäkelä partners with members of the Oslo Philharmonic and Orchestre de Paris for occasional programs, and each summer, he performs at the Verbier Festival.

Jennifer Johnston

Mezzo-soprano

ESTEEMED MEZZO-SOPRANO Jennifer

Johnston is recognized as one of the most important voices of her generation and is celebrated for her performances of works by Mahler, Wagner, Britten, and Elgar, among others. She was awarded the Royal Philharmonic Society’s Singer Award in 2021 in recognition of her “commitment and emotional force” to both performance and education.

Johnston’s reputation as a preeminent interpreter of Mahler is reflected in her 2024–25 season. Among her Mahler performances, she sings the Eighth Symphony with the London Philharmonic Orchestra under Edward Gardner, the Third Symphony with The Cleveland Orchestra under Klaus Mäkelä, the Second Symphony with the Orchestre Philharmonique Royal de Liège under Gergely Madaras, and Das Lied von der Erde with the Yomiuri Nippon Symphony Orchestra under Juraj Valčuha. Other highlights include Haydn’s Nelson Mass with the BBC Symphony Orchestra, Beethoven’s Ninth Symphony with the City of Birmingham Symphony Orchestra, and Felix Mendelssohn’s Lobgesang with Sinfonieorchester Basel.

On the operatic stage, Johnston has enjoyed a close collaboration with the Bayerische Staatsoper and returns this season as Brigitta in Simon Stone’s production of Korngold’s Die tote Stadt under Lothar Koenigs. In Munich, Johnston has sung over 80 performances, including

as Mrs. Sedley (Peter Grimes), Second Norn (Götterdämmerung), Roßweise (Die Walküre), and La Ciesca (Gianni Schicci). Highlights elsewhere include performances with the English National Opera, Glyndebourne Festival Opera, Salzburg Festival, and Festival d’Aix-en-Provence.

In huge demand on the concert platform, Johnston has collaborated with many of the world’s leading orchestras and enjoys a special relationship with the orchestra of her hometown, the Royal Liverpool Philharmonic, where she has been Artist in Residence and with whom she made her first solo recording, A Love Letter to Liverpool (Rubicon Classics).

A former BBC New Generation Artist and a graduate of Cambridge University and the Royal College of Music, Johnston has an extensive discography including Vaughan Williams’s Four Last Songs (Albion Records), Stravinsky’s Oedipus rex (LSO Live), Wagner’s Die Walküre (Waltraute) with Sir Simon Rattle and the Bayerischer Rundfunk Orchester, and Die tote Stadt with the Bayerische Staatsoper (named Gramophone’s 2022 Recording of the Year).

Lisa Wong, Director of Choruses

FRANCES P. AND CHESTER C. BOLTON CHAIR

Lisa Wong was appointed director of choruses for The Cleveland Orchestra in May 2018, after serving as acting director throughout the 2017–18 season. She joined the choral staff of The Cleveland Orchestra as assistant director of choruses at the start of the 2010–11 season, helping to prepare The Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. In 2012, she took on added responsibilities as director of The Cleveland Orchestra Youth Chorus. In addition to her duties at Severance,

Wong is a faculty member at The College of Wooster, where she conducts the awardwinning Wooster Chorus and teaches courses in conducting and music education. Choirs under her direction have performed at the Central Division conference of the American Choral Directors Association and the state conference of the Ohio Music Education Association. Wong has served as the Repertoire and Resource Chair for World Music and Cultures for the Ohio Choral Directors Association, as well as on the editorial board regarding culturally responsive pedagogy for the Ohio Music Education Association. Her previous academic posts include positions in public and private schools in New York, Pennsylvania, and Indiana.

Active as a clinician, guest conductor, and adjudicator, Wong serves regularly as a music panelist for the National Endowment for the Arts and Chorus America. She holds a Bachelor of Science degree in music education from West Chester University, as well as Master of Music and Doctor of Music degrees in choral conducting from Indiana University.

The Cleveland Orchestra Chorus

Now in its 73rd season, The Cleveland Orchestra Chorus is one of the few allvolunteer, professionally led choruses affiliated with a major American orchestra. Founded in 1952 at the request of George Szell, it received the 2019 – 20 Distinguished Service Award, recognizing extraordinary service to the Orchestra.

SOPRANOS

Amy Foster Babinski

Claudia Barriga

Jesse Bobbitt

Emily Carlson

Signe Carlson

Yu Ching Ruby Chen

Amanda Cobes

Caitlin DiFranco

Maddie Dirrim

Emily Engle

Elisha Evanko

Molly Falasco

Lisa Fedorovich

Samantha Garner

Jennifer Gilles

Jinle Glover

Julia Halamek

Rebecca S. Hall

Sarah Henley

Lisa Hrusovsky

Rachel Imhoff

Amber Jackson

Shannon R. Jakubczak

Kiersten Johnson

Sarah Jones-Gould

Katie Kitchen *

Hope Klassen-Kay

EvaCecilia Koh

Kate Macy

Grace Mino

Clare Mitchell

Julie Myers-Pruchenski

S. Mikhaila Noble-Pace

Jennifer Heinert O’Leary

Katie Paskey

Ava Paul *

Victoria Peacock

Elizabeth Stockton

Perkins

Sarah Peterson

Grace Prentice

Jylian Purtee

Lisa M. Ramsey

Cara Rovella

Emma Russell

Aanchal Saraf

Martell Savage

Ellie Smith

Megan Tettau

Angel Victoria Tyler

Meagan Ulery

Sharilee Walker

ALTOS

Rachel Ader

Emily Austin

Laurel Babcock

Debbie Bates

Riley Beistel

Carla Cashman

Barbara J. Clugh

Olivia Culp

Carolyn Dessin

Amber Dimoff

Melody Bellora

Edmondson

Brooke Emmel

Megan Fought

Shawna Hill

Karen S. Hunt

Sarah Hutchins

Maggie Keverline

Rebecca King

Kristi Krueger-O’Grady

Zoe Kuhn

Taylor Mills Logan

Danielle S. McDonald

Karla McMullen

Holly Miller

Peggy A. Norman

Dawn Ostrowski

Abigail Patton

Andrea Pintabona

Ina Stanek-Michaelis

Melanie Tabak

Rachel Thibo

Kristen Tobey

Laure Wasserbauer

Caroline Willoughby

Leah Wilson

Jennifer R. Woda

Debra Yasinow

Lynne Leutenberg Yulish * Shari Bierman Singer Fellow

Daniel J. Singer

Assistant Director

Daniel Overly

Collaborative Pianist

Jill Harbaugh Director, Choral Operations

Lisa Fedorovich Chair, Operating Committee

Jennifer Rozsa, Director

The Cleveland Orchestra Children’s Chorus

Jennifer Rozsa earned her master’s and bachelor’s degrees in music education with an emphasis in the Kodály Philosophy from Capital University’s Conservatory of Music in Columbus, Ohio, and her Orff-Shulwerk certification from the San Francisco Orff Course. Previously, Rozsa taught K–8 general music and choir in public, private, and charter schools in Ohio, California, and Chicago. She has presented general music sessions at the Ohio Music Education Association, Organization of American Kodály Educators, Cincinnati Orff Course, and at the Greater Cleveland Orff Chapter workshops. Rozsa performs as a mezzosoprano, sings with the Cleveland Chamber Choir, and teaches K–4 general music in Solon, Ohio.

The Cleveland Orchestra Children’s Chorus

The Cleveland Orchestra Children’s Chorus was formed in the spring of 1967 under the direction of Jane Barker Casey to provide a high-quality choral group for the many orchestral works written for children’s voices, and to offer choral training to school children in the Cleveland area. The Children’s Chorus performs annually with The Cleveland Orchestra and Cleveland Orchestra Chorus at Severance Music Center, including at the annual Holiday Concerts. Over the decades, their extensive performance history has included such major works as J.S. Bach’s St. Matthew Passion, Britten’s War Requiem, Berlioz’s Te Deum and Damnation of Faust, Orff’s Carmina Burana, and John Adams’s El Niño. The Chorus also performs regularly at community events and has sung the national anthem for Cleveland Guardians, Cleveland City Stars, and Cleveland Browns home games.

Audrey Almeda

Koen Antal

Ellie Armstrong

Freddie Averre

Marina Bendaly

Elise Breitzmann

Rose Brittan-Wille

Macey Caraballo

Emma Carroll

Madeleine Park Colman

Aven Crasto

Bryn Crasto

Giuliana Del Re

Lili Deosaran

Dashiell Dye

Essa Eichhorn

Alisz Fabian

Reed Fleischhacker

Evie Forman

Liam Foy

Ellis Freer

Christina Gomez

Olivia Marie Gordy

Emerson Greene

Julia Hanna

Violet Hersh

Hannah W. Hitchcock

Todd Jiang

Dianna Kerze

Sabrina Kerze

Eugene Kim

Dimitri Kosteas

Mina Krasney

Adalyn Kropinak

Mirabelle Kwok

Libby Lutzko

Payton Lybbert

Krisha Mahangare

Lauren Malbasa

Lena Rajdeva Malik

Willow Moran

Hollis Neimeister

Zaria A. Nowlin

Elias Oetama-Paul

Elizabeth Parashchak

Gianna Paternite

Dazzlyn Praveen

Caroline Reidhead

Reagan Robinson

Elena Schneider

Corrina Schriver

Arielle Simler

Zofia Simpson

Liliana Stamm

Savannah Stephan

Viola Strom

Sherie Sun

Hollie Tennant

Julia Vitatoe

Wrenn Warren

Hamish Waters

Magdalene Whitaker

Cecilia Young

Brina Yuan

Jacob Young

Assistant Director

Jacob Bernhardt

Collaborative Pianist

Angel Tyler

Children’s Choruses Manager

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.

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 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

PROKOFIEV Symphony No. 7

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

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

HAYDN & STRAVINSKY

Franz Welser-Möst, conductor

HAYDN Symphony No. 52

STRAVINSKY Pétrouchka

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

CLOCKWISE

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

EDUCATION EVENTS

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

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

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

SUMMERS AT SEVERANCE

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

BLOSSOM SUMMER SOIRÉE

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

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In honor of Emma Skoff Lincoln

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Dr. and Mrs. Thomas M. Daniel

Jeffrey Dean and Barbara and Karen Claas

Mr. Douglas Dever

Michael and Amy Diamant

Dr. and Mrs. Howard Dickey-White

Mr. and Mrs. David C. Dillemuth

Do Unto Others Trust (Miami)

Carl Dodge

Jack and Elaine Drage

Mr. and Mrs. Robert Dreshfield

Mr. Barry Dunaway and Mr. Peter McDermott

Bill Durham (Miami)

Ms. Mary Lynn Durham

Mr. and Mrs. Robert P. Duvin

Mr. and Mrs. Ronald E. Dziedzicki

Peter and Sandy Earl

Erich Eichhorn and Ursel Dougherty

S. Stuart Eilers

Peter and Kathryn Eloff

Andy and Leigh Fabens

Mr. and Mrs. Frederick A. Fellowes

Anne Ferguson and Peter Drench

Mr. William and Dr. Elizabeth Fesler

Mr. and Mrs. Mark Filippell

Nancy M. Fischer

Mr. Dean Fisher

Joan and Philip Fracassa

Mr. and Mrs. Larry Frankel

Howard Freedman and Rita Montlack

Mr. William Gaskill and Ms. Kathleen Burke

Mr. and Mrs. M. Lee Gibson

Daniel and Kathleen Gisser

Holly and Fred Glock

Dr.* and Mrs. Victor M. Goldberg

Pamela G. Goodell

Ms. Aggie Goss

Mr. Robert Goss

Dr. and Mrs. Ronald L. Gould

Bob Graf and Mia Zaper

Mr. James Graham and Mr. David Dusek

Drs. Erik and Ellen Gregorie

Mr. Morgan Griffiths

Mr. Davin and Mrs. Jo Ann Gustafson

Mr. Ian S. Haberman

Mary Louise Hahn

Dr. James O. Hall

Megan Hall and James Janning

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

Jane Hargraft and Elly Winer

Mr. Samuel D. Harris

Lilli and Seth* Harris

In Memory of Hazel Helgesen

Drs. Gene and Sharon Henderson

T. K.* and Faye A. Heston

Mr. and Mrs. Arnold Hirshon

Mr. and Mrs. Stephen J. Holler

Thomas and Mary Holmes

Charles M. Hoppel and Marianne Karwowski Hoppel

Lois Krejci-Hornbostel and Roland Hornbostel

Xavier-Nichols Foundation/ Robert and Karen Hostoffer

Phillip Huber

Mr. Brooks G. Hull and Mr. Terry Gimmellie

Dr. and Mrs. Grant Hunsicker

Donald* and Joyce Ignatz

Ruth F. Ihde*

Ms. Melanie Ingalls

Ms. Kimberly R. Irish

Dr. and Mrs. Paul C. Janicki

Dylan Jin

Mr. Jeremy V. Johnson

Joela Jones and Richard Weiss

Dr. Eric Kaler

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

Milton and Donna* Katz

Mr. Karl W. Keller

The Kendis Family Trust:

Hilary & Robert Kendis and Susan & James Kendis

Bruce* and Eleanor Kendrick

Mrs. Judith A. Kirsh

Steve and Beth Kish

Michael Kluger and Heidi Greene

Mr. Ronald and Mrs. Kimberly Kolz

Ursula Korneitchouk

Dr. and Mrs. John P. Kristofco

Dr. Christine A. Krol

Dr. Jeanne Lackamp

Alfred and Carol Lambo

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

Mr. and Mrs. Richard L. Larrabee

Mrs. Sandra S. Laurenson

Dr. and Mrs. Arthur Lavin

Richard and Barbara Lederman

Mr. Elliot and Mrs. Christine Legow

Michael and Lois Lemr

Robert G. Levy

Mr. and Mrs.* Thomas A. Liederbach

Eva and Rudolf Linnebach

Mr. Henry Lipian

Ms. Agnes Loeffler

Mary Lohman

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

Linda* and Saul Ludwig

Peter and Pamela Luria

Mr. and Mrs.* Robert P. Madison

Robert M. Maloney and Laura Goyanes

Janet A. Mann

Herbert L. and Ronda Marcus

Martin and Lois* Marcus

Dr.* and Mrs. Sanford E. Marovitz

Ms. Dorene Marsh

Kevin Martin and

Hansa Jacob-Martin

Ms. Amanda Martinsek

Mr. and Mrs. Sandy McMillan

Ms. Nancy L. Meacham

Dr. and Mrs. Kevin Meany

Mr. James E. Menger

Mr. and Mrs. Gerald A. Messerman

Mr. Glenn A. Metzdorf

Beth M. Mikes

Amy Miller and Nikhil Rao

Mr. and Mrs. David S. Miller

Mary Ellen Miller

Mr. Tom Millward

Anton and Laura Milo

Dr. Shana Miskovsky

Mr. and Mrs. Thomas W. Morris

Susan B. Murphy

B Murray

Dave and Nancy Murray

Karen and Bernie Murray

Mr. and Mrs. Stephen Myers

Joan Katz Napoli and August Napoli

Dr. Anne and Mr. Peter Neff

Mark and Paula Nylander

Richard and Jolene O’Callaghan

Mr. and Mrs. John Olejko

Dr. and Mrs. Paul T. Omelsky

George Parras and Mary Spencer

Drs. James and Marian Patterson

Dr. Lewis E. and Janice B. Patterson

David Pavlich and Cherie Arnold

Robert S. Perry

Dale and Susan Phillip

Mr. Richard W. Pogue

Donna L. Pratt* and

Patrick J. Holland

Karen Pritzker

Drs. Raymond R. Rackley and Carmen M. Fonseca

Dr. James and Lynne Rambasek

Mr. Todd J. Reese

David J. Reimer and Raffaele DiLallo

Dr. Robert W. Reynolds

Mr. Chris Rhodes

David and Gloria Richards

Joan and Rick Rivitz

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

Mr. and Mrs. Jay F. Rockman

Eric Rose (Miami)

David and Mitsuko Rosinus (Miami)

Dr. and Mrs. Ronald Ross

Drs. Edward and Teresa Ruch

Anne Sagsveen

Michael and Deborah Salzberg

Mr. and Mrs. Lowell Satre

Ms. Patricia E. Say

Bryan and Jenna Scafidi

Mr. Paul H. Scarbrough

Don Schmitt and Jim Harmon

John and Barbara Schubert

Mr. James Schutte

Dr. John Sedor and Ms. Geralyn Presti

Ms. Kathryn and Mr. Michael Seider

Caltha Seymour

Lee Shackelford

Ginger and Larry Shane

Harry and Ilene Shapiro

Ms. Frances L. Sharp

Larry Oscar & Jeanne Shatten

Charitable Fund of the Jewish Federation

Dr. and Mrs. William C. Sheldon

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

Mr. Richard Shirey

Mr. and Mrs. Reginald Shiverick

Michael Dylan Short

Zachary and Shelby Siegal

Jim Simler and Dr. Amy Zhang

James Simon

Sarah Sloboda and Oskar Bruening

Bruce L. Smith

David Kane Smith

Mr. Joshua Smith

Mr. Eugene Smolik

Drs. Nancy and Ronald Sobecks

Drs. Thomas and Terry Sosnowski

Diane M. Stack

Maribeth and Christopher Stahl

Edward R. & Jean Geis Stell Foundation

Ms. Natalie Stevens

Frederick and Elizabeth Stueber

Mike and Wendy Summers

Mr. Marc L. Swartzbaugh

Mr. Robert D. Sweet

Eca and Richard Taylor

Ms. Aileen Thong-Dratler

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

Dr. and Mrs. Wulf H. Utian

Joan Venaleck

Mr. and Mrs. Steven M. Venezia

Teresa Galang-Viñas and Joaquin Viñas (Miami)

George and Barbara von Mehren

John and Deborah Warner

Margaret and Eric* Wayne

Tilles-Weidenthal Foundation

Mr. Peter and Mrs. Laurie Weinberger

Emily Westlake and Robertson Gilliland

Ms. Jennifer Wynn

Rad and Patty Yates

Ms. Carol A. Yellig

Ms. Helen Zakin

Dr. Rosemary Gornik and Dr. William Zelei

Mr. Kal Zucker and Dr. Mary Frances Haerr

John and Jane Zuzek

Anonymous (7)

CORPORATE SUPPORT

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

Learn more at cleveland orchestra.com/partners

Gifts of $300,000 and more

The Goodyear Tire & Rubber Company

Hyster-Yale Materials Handling, Inc.

NACCO Industries, Inc.

Gifts of $200,000 to $299,999

Jones Day Foundation

Ohio CAT

The J. M. Smucker Co.

Gifts of $100,000 to $199,999

CIBC

KeyBank

Gifts of $50,000 to $99,999

FirstEnergy Foundation NOPEC

Parker Hannifin Foundation

PNC

Gifts of $15,000 to $49,999

Akron Children’s Hospital

BakerHostetler

Buyers Products Company

Calfee, Halter & Griswold LLP

Case Western Reserve University

Cleveland Clinic

DLR Group | Westlake Reed Leskosky

Frantz Ward LLP

The Giant Eagle Foundation

Lake Effect Health

Miba AG (Europe)

Northern Haserot

Northern Trust

Olympic Steel, Inc.

Park-Ohio Holdings

RPM International Inc.

RSM US LLP

Thompson Hine LLP

Westfield Insurance

Anonymous

Gifts of $2,500 to $14,999

BDI

Blue Technologies, Inc.

Brothers Printing Company

BWX Technologies, Inc.

Callahan Carpet

The Cedarwood Companies

Citymark Capital

The Cleveland-Cliffs Foundation

Eaton

Evarts Tremaine

The Ewart-Ohlson Machine Company

Gross Residential

Kohrman Jackson & Krantz, PLL

The Lincoln Electric Foundation

McKinley Strategies

Nordson Corporation

The Sherwin-Williams Company

Solich Piano & Music

Ver Ploeg & Marino (Miami)

Margaret W. Wong & Associates LLC

FOUNDATION & GOVERNMENT SUPPORT

Gifts of $1,000,000 and more

The Brown and Kunze Foundation

Mary E. & F. Joseph Callahan Foundation

The Milton and Tamar Maltz Family Foundation

The Jack, Joseph and Morton Mandel Foundation

David and Inez Myers Foundation

State of Ohio

The Kelvin and Eleanor Smith Foundation

Richard & Emily Smucker Family Foundation

Timken Foundation of Canton

Gifts of $500,000 to $999,999

The William Bingham Foundation

Cuyahoga County residents through Cuyahoga Arts & Culture

Ohio Arts Council

The Payne Fund

Gifts of $250,000 to $499,999

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

Gifts of $100,000 to $249,999

Paul M. Angell Family Foundation

Cleveland Browns Foundation

The Cleveland Foundation

Haslam 3 Foundation

Jewish Federation of Cleveland

Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation

Kulas Foundation

John P. Murphy Foundation

Park Foundation

Anonymous

Gifts of $50,000 to $99,999

The George W. Codrington Charitable Foundation

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

GAR Foundation

The George Gund Foundation

Martha Holden Jennings Foundation

The Oatey Foundation

Wesley Family Foundation

Gifts of $15,000 to $49,999

The Abington Foundation

Akron Community Foundation

The Batchelor Foundation, Inc. (Miami)

The Bruening Foundation

The Mary S. and David C. Corbin Foundation

Mary and Dr. George L. Demetros Charitable Trust

The Sam J. Frankino Foundation

The Gerhard Foundation, Inc.

The Helen Wade Greene Charitable Trust

The Catherine L. & Edward A. Lozick Foundation

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

National Endowment for the Arts

The Nord Family Foundation

The PNC Charitable Trusts

The Esther and Hyman Rapport Philanthropic Trust

The Reinberger Foundation

Albert G. & Olive H. Schlink Foundation

The Sisler McFawn Foundation

Third Federal Foundation

The Veale Foundation

The George Garretson Wade Charitable Trust

The Welty Family Foundation

The Thomas H. White Foundation, a KeyBank Trust

Anonymous

Gifts of $2,500 to $14,999

The Ruth and Elmer Babin Foundation

The Bernheimer Family Fund of the Cleveland Foundation

Cleveland State University Foundation

C.S. Craig Family Foundation

Cuyahoga County Board of Developmental Disabilities

James Deering Danielson Foundation

Dorn Family Foundation

Fisher-Renkert Foundation

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

The Hankins Foundation

The Muna & Basem Hishmeh Foundation

George M. and Pamela S. Humphrey Fund

In His Step Foundation

The Kirk Foundation (Miami)

The Laub Foundation

The Lehner Family Foundation

The G. R. Lincoln Family Foundation

Elizabeth Ring Mather and William Gwinn Mather Fund

Ohio Humanities Council

The M. G. O’Neil Foundation

The O’Neill Brothers Foundation

The Perkins Charitable Foundation

Charles E. & Mabel M. Ritchie

Memorial Foundation

SCH Foundation

Lloyd L. and Louise K. Smith

Memorial Foundation

The South Waite Foundation

Stroud Family Trust

Uvas Foundation

The Edward and Ruth Wilkof Foundation

The Wuliger Foundation

Anonymous

Listing as of August 2024

YOUR VISIT

LATE SEATING

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

PAGERS, CELL PHONES & WRISTWATCH ALARMS

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

PHOTOGRAPHY, VIDEOGRAPHY & RECORDING

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

HEARING AIDS & OTHER HEALTH-ASSISTIVE DEVICES

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

IN THE EVENT OF AN EMERGENCY

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

AGE RESTRICTIONS

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

FREE MOBILE APP TICKET WALLET

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

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

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

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

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

FOOD & MERCHANDISE

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

TELL US ABOUT YOUR EXPERIENCE

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

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

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

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

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

EDITORIAL

Kevin McBrien, Publications Manager

The Cleveland Orchestra kmcbrien@clevelandorchestra.com

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