The Cleveland Orchestra November 6-17 Concerts

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Introduction

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Beethoven: A Timeline (1787 – 1809)

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BEETHOVEN PIANO CONCERTO CYCLE

Program 1: November 6 & 7 (page 11)

Triple Concerto in C major, Op. 56

Piano Concerto No. 3 in C minor, Op. 37

Program 2: November 9 & 12 (page 17)

Piano Concerto No. 2 in B-flat major, Op. 19

Piano Concerto No. 4 in G major, Op. 58

Program 3: November 15 – 17 (page 23)

Piano Concerto No. 1 in C major, Op. 15

Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor”

Conductor & Artist Biographies (page 31)

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TCO SPOTLIGHT

Feature articles & musician interviews

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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

FROM NOVEMBER 6 TO 17 , The Cleveland Orchestra, Associate Conductor Daniel Reith, and five celebrated pianists — Orion Weiss, Sir Stephen Hough, Garrick Ohlsson, Minsoo Sohn, and Yunchan Lim — present six major works encompassing Ludwig van Beethoven’s complete oeuvre for piano and orchestra: five piano concertos and one “triple concerto” for violin, cello, and piano.

Cleveland has a rich and storied history with these works. In the Orchestra’s early decades, Beethoven’s Fourth and Fifth piano concertos were programmed about once a season, with only occasional performances of the Third. None of the first three music directors programmed all five concertos during their tenure. With George Szell, however, these pieces became firmly ensconced in the Orchestra’s repertoire. Since Szell took the podium in 1946, The Cleveland Orchestra has released three recordings of the five Beethoven piano concertos and performed all five with six different pianists, including Leon Fleisher (above left with Szell), Arthur Rubinstein, Emil Gilels, and Vladimir Ashkenazy.

When Emanuel Ax joined Music Director Christoph von Dohnányi and the Orchestra for a Beethoven festival in 2001, he became the first soloist to play all five piano concertos and the Triple Concerto in one subscription season. In fact, these November 2024 performances mark only the third time that the Triple Concerto has been presented alongside the other five concertos by the Orchestra, and only the 12th program to feature this piece in the Orchestra’s history.

The most recent time all five Beethoven piano concertos were performed in Cleveland was in Franz Welser-Möst’s third season as music director. In January 2005, Radu Lupu joined the Orchestra for performances in Cleveland before taking the programs to Carnegie Hall.

The opportunity to hear these works in such close proximity — let alone played by an orchestra of this caliber, which was never available during Beethoven’s lifetime —  is still a rare and precious way to appreciate this music.  — Ellen Sauer Tanyeri

Ellen Sauer Tanyeri is the 2024–25 Cleveland Orchestra Archives research fellow and is working towards a PhD in musicology at Case Western Reserve University.

A CLOSER LOOK: Beethoven’s Piano Concertos

Between 1787 and 1809, Ludwig van Beethoven composed his five piano concertos and the Triple Concerto, works of staggering musicality and originality. Here is a brief look into what else was going on in the world at the time — in music, art, literature, and politics.

1788

The United States Constitution is ratified.

1787

Beethoven starts drafting material that would eventually become his Piano Concerto in B-flat major (which, though written first, was published as his Second Concerto). That same year, he visits Vienna in hopes of studying with Mozart, though it is uncertain if they ever met.

1791

Mozart dies in Vienna.

1792

Beethoven moves to Vienna.

1789 The French Revolution begins.

1793

Niccolò Paganini makes his public debut as a soloist.

1796

Mary Wollstonecraft publishes A Vindication of the Rights of Woman.

Jacques-Louis David paints The Death of Marat.

The city of Cleveland is founded.

George Washington dies.

1795

The Second Piano Concerto’s likely premiere in Vienna, with Beethoven as soloist. That same year, Beethoven begins composing a piano concerto in C major (confusingly published as his First in 1801).

1797

Franz Schubert is born.

1798

Beethoven premieres his First Piano Concerto in Prague (though some evidence suggests that it was premiered in 1795).

1799

At a summer performance of Mozart’s C-minor Piano Concerto, Beethoven remarks to his friend Johann Baptist Cramer, “We will never be able to do anything like that!” A year later, he begins work on his own piano concerto (the Third) in C minor.

The voltaic pile battery is invented.

1800

Beethoven begins taking lessons with Antonio Salieri (below).

1802

Increasing deafness spurs Beethoven to pen his Heligenstadt Testament.

Napoleon declares himself emperor.

1803

Beethoven starts writing the Triple Concerto. The Third Piano Concerto in C minor is also premiered that year with the composer as soloist.

Hector Berlioz is born.

right: Theater an der Wien in Vienna, where Beethoven’s Third and Fourth piano concertos were premiered in 1803 and 1808, respectively.

1806

“Twinkle, Twinkle, Little Star” is first published as a poem.

1805

Beethoven begins composing the Fourth Piano Concerto in G major.

Fanny Mendelssohn is born.

Britain outlaws the slave trade.

1808

The Triple Concerto receives its first public performance in the summer. In December, the Fourth Piano Concerto is premiered at an auspicious all-Beethoven concert at Vienna’s Theater an der Wien, which also sees the premieres of the Fifth and Sixth symphonies and the Choral Fantasy.

1808

Johann Wolfgang von Goethe’s Faust is published.

1809

Beethoven begins writing his Fifth Piano Concerto in E-flat major (below). (It would premiere in 1811 with soloist Friedrich Schneider and conductor Johann Philipp Christian Schulz.)

Abraham Lincoln and Edgar Allen Poe are born.

Felix Mendelssohn is born.

orchestrating innovations.

Cleveland has always embraced new ideas. Organizations like Sherwin-Williams, Cleveland Clinic, Lubrizol, NASA’s Glenn Research Center, and many more are inventing the future here.

THE MUSIC

PROGRAM

Beethoven Piano Concerto Cycle

TRIPLE CONCERTO & THIRD CONCERTO

Wednesday, November 6, 2024, at 7:30 PM

Thursday, November 7, 2024, at 7:30 PM

Daniel

Reith, conductor

Concert Preview with David Rothenberg Reinberger Chamber Hall one hour prior to performance

The Cleveland Orchestra’s Distinguished Service Award will be presented to Nancy McCann during Thursday’s concert (see page 55).

Ludwig van Beethoven (1770–1827)

Orion Weiss and Sir Stephen Hough’s performances are generously sponsored by Mr. Yuval Brisker.

Triple Concerto in C major, Op. 56 35 minutes

I. Allegro

II. Largo —

III. Rondo alla polacca

Orion Weiss, piano

Augustin Hadelich, violin

Julia Hagen, cello INTERMISSION

Piano Concerto No. 3 35 minutes in C minor, Op. 37

I. Allegro con brio

II. Largo

III. Rondo: Allegro

Sir Stephen Hough, piano

Total approximate running time: 1 hour 30 minutes

Thank you for silencing your electronic devices.

Augustin Hadelich’s performance is generously sponsored by The Hershey Foundation.

Thursday evening’s performance is dedicated to Mrs. Norma Lerner in recognition of her generous support of music.

Triple Concerto in C major, Op. 56

by Ludwig van Beethoven

BORN : December 16, 1770, in Bonn

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

DIED : March 26, 1827, in Vienna

By Sergei Prokofiev

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

▶ COMPOSED: 1803 – 04

DIED : March 5, 1953, Moscow

▶ WORLD PREMIERE : A private performance of the work likely took place in spring 1804 at the home of Prince Joseph Franz von Lobkowitz. The work’s first public performance was given in Vienna’s Augarten in May 1808, with soloists Carl August Seidler (violin), Anton Kraft (cello), and Marie Bigot (piano).

▶ COMPOSED: 1944–47

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

▶ CLEVELAND ORCHESTRA PREMIERE : January 5, 1928, featuring violinist Joseph Fuchs, cellist Victor de Gomez, and pianist Harold Samuel, led by Music Director Nikolai Sokoloff

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

▶ ORCHESTRATION : flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus solo violin, cello, and piano

▶ DURATION : about 35 minutes

▶ 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

HISTORIANS AND MUSICOLOGISTS have searched far and wide and have not found another concerto for piano, violin, and cello (not counting a few recent examples written precisely because of Beethoven’s groundbreaking model). Concertos for multiple solo instruments usually featured winds and string instruments. Adding the piano was unusual, because the keyboard — with its harmonic possibilities and wide range — seemed in most cases to be self-sufficient.

▶ DURATION: about 45 minutes

did not play in the first performance. The technical demands of the piano part are much lighter than those of Beethoven’s solo piano concertos.

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.

Was it that the Archduke Rudolph, Beethoven’s talented pupil and one of his most ardent supporters, was not quite ready to take on a solo concerto? It has long been thought that the Triple Concerto may have been written with his participation in mind, even though he

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

The Triple Concerto came on the heels of Beethoven’s “Eroica” Symphony (No. 3) and stylistically belongs to his “middle” period. And yet it doesn’t conform to the image of Beethoven as the heaven-storming hero that was to become so dear to critics from the Romantic era up to the present day. The unusual instrumentation and the deceptively “unproblematic” nature of the music have caused some critics to regard the Triple Concerto as a lesser work, yet the quality of the writing is worthy of Beethoven in every bar.

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.

The beginning of the work is unique, with its unaccompanied cello-and-bass

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

melody. After the orchestra has succinctly presented the first movement’s thematic material, the solo section begins. The cello part, written for the prominent virtuoso Anton Kraft, remains the leader much of the time, often playing in a high register so that it is never overshadowed by the other soloists or the orchestra. (This also causes the solo violin to play in its extreme high register, to keep the two timbres separate.) Mozart and Haydn had written “collective cadenzas” in their respective symphonies concertantes (another concerto-like work for multiple solo instruments); Beethoven did not do so, but instead provides plenty of virtuoso opportunities for his players throughout the opening movement. The cello begins the second move-

ment, marked Largo (broadly, stately). The key is A-flat major, rather distant from the main key of C major, but Beethoven provides a subtle link by emphasizing the note C, which also plays an important part in A-flat major. As in the C-major “Waldstein” Sonata (Op. 53), written around the same time, the slow movement is relatively short and functions as a transition to the third-movement finale, here a dazzling Rondo alla polacca. The rhythm of the “polacca” (polonaise) dance dominates the entire movement, ensuring its lighthearted nature. Before the end, the meter unexpectedly changes to 2/4, and the “polacca” melody briefly takes on the character of a wild chase between the three soloists. The stately polacca is restored, however, to conclude the piece.

— Peter Laki

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

Augustin Hadelich last performed with The Cleveland Orchestra in November 2023, bringing with him Tchaikovsky’s Violin Concerto.

Piano Concerto No. 3 in C minor, Op. 37

by Ludwig van Beethoven

▶ COMPOSED: 1800 – 03

▶ WORLD PREMIERE: April 5, 1803, in Vienna, with the composer as soloist

▶ CLEVELAND ORCHESTRA PREMIERE : January 4, 1923, with pianist Mischa Levitzki and conducted by Music Director Nikolai Sokoloff

▶ ORCHESTRATION : 2 flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus solo piano

▶ DURATION : about 35 minutes

BEETHOVEN’S EARLY FAME rested more on his piano playing than on his compositions. Having arrived in Vienna in 1792, he caught the attention of the public —  and, more importantly, of the nobility —  by displaying his formidable powers in private salons and later in public halls. By composing piano concertos for himself to play, he achieved the double objective of attracting attention as a player and a composer. The first three piano concertos all belong to this phase of his life, before deafness began to threaten his career as a performer and his ability to communicate with others. The Third Piano Concerto was begun at about the same time as the Second Symphony and the six string quartets of Op. 18, and although it reveals some of Beethoven’s latent force, it is essentially part of his brilliant first phase as a composer, when melodiousness and high

craftsmanship were his chief claims to preeminence. The key of C minor nevertheless foreshadows the stormy world of the Fifth Symphony, the 32 Variations for piano, and a number of other pieces. The concerto was first performed in 1803 in a concert that included the First and Second symphonies and the first performance of the oratorio Christ on the Mount of Olives

The opening theme of the first movement is formulaic and plainly stated (by the strings and then select winds and brass, without accompaniment); most striking is the drum-tap figure that pervades the movement. The second subject, in contrast, is one of Beethoven’s warmest melodies, especially radiant when it later returns in C major. A surprise occurs at the end when, after the cadenza, the soloist does not sit back contented, as had always been the

normal practice, but dialogues with the timpani and accompanies the full orchestra in its closing gestures.

After the dark C minor of the first movement, the remote chord in E major that opens the middle slow movement was intended by Beethoven to transport his listeners to another world. Once the orchestra has replied to the soloist’s opening theme, the piano part is allowed to blossom gloriously in runs, arpeggios, and cascades that never disturb the stately pace of the movement.

The main theme returns and the elaborations continue until a cadenza

and a pair of horns allow the movement to settle into a calm close. This is disturbed by a shocking return to C minor for the final movement, a lively Rondo with recurring variations. Each return of the theme is affected by a surging scale that accentuates the melody’s awkward intervals and compulsive rhythm. The clarinet’s contrasting theme is a suave reminder that Beethoven had not left the divine melodiousness of the second movement — or his youth —  behind. The final section abandons both the 2/4 rhythm and the minor key, and gives us a happy close in 6/8, as if that was the objective of this dark-hued work all along.

— 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

In 1799, Beethoven and his friend Johann Baptist Cramer were walking through Vienna’s Augarten (the entrance of which can be seen in this 1794 print) and encountered a performance of Mozart’s C-minor Piano Concerto (No. 24, K. 491). The experience supposedly inspired Beethoven to compose his own piano concerto in C minor —  the Third.

THE MUSIC

PROGRAM 2 : NOVEMBER 9 & 12

Beethoven Piano Concerto Cycle

SECOND & FOURTH CONCERTOS

Saturday, November 9, 2024, at 8 PM

Tuesday, November 12, 2024, at 7:30 PM

Daniel Reith, conductor Garrick Ohlsson, piano

Ludwig van Beethoven (1770–1827)

Concert Preview with David Rothenberg Reinberger Chamber Hall one hour prior to performance

Piano Concerto No. 2

30 minutes in B-flat major, Op. 19

I. Allegro con brio

II. Adagio

III. Rondo: Molto allegro

INTERMISSION 20 minutes

Piano Concerto No. 4

35 minutes in G major, Op. 58

I. Allegro moderato

II. Andante con moto —

III. Rondo: Vivace

Total approximate running time: 1 hour 25 minutes

Thank you for silencing your electronic devices.

Garrick Ohlsson’s performance is generously sponsored by Mr. Yuval Brisker.

Piano Concerto No. 2 in B-flat major, Op. 19

by Ludwig van Beethoven

BORN : December 16, 1770, in Bonn

DIED : March 26, 1827, in Vienna

▶ COMPOSED: 1790 – 1801

▶ WORLD PREMIERE : Possibly March 29, 1795, in Vienna, with the composer as soloist

▶ CLEVELAND ORCHESTRA PREMIERE : April 1, 1954, with pianist Leon Fleisher and conducted by Music Director George Szell

▶ ORCHESTRATION : flute, 2 oboes, 2 bassoons, 2 horns, and strings, plus solo piano

▶ DURATION : about 30 minutes

THE FAMILIAR NUMBERING of Beethoven’s five piano concertos is misleading in that both the number and the numbering are wrong. There are seven in all, of which the present concerto, No. 2, is indeed the second, while No. 1 (in C major) is actually the third. After No. 4 (which was really the Fifth), Beethoven published an arrangement of his Violin Concerto as a piano concerto, thus “No. 6” — with No. 5 as the Seventh. Beethoven first cut his concerto teeth on a work in E-flat major when he was 13 — cataloged as “No. 0” — though only the solo piano part survives.

The Concerto in B-flat major, ultimately published as No. 2, was probably begun in Bonn while the composer was

in his late teens, although it was not completed until 1795, following the curiously silent spell when Beethoven seems to have been overawed by his teacher Haydn. It emerged around the same time as the astonishing group of works that bear his lowest opus numbers — the three piano trios (Op. 1) and the three piano sonatas (Op. 2).

In the Burgtheater on March 29, 1795, having already made a name for himself in the private salons of the Vienna aristocracy, Beethoven made his first public appearance as a virtuoso and likely played the Second Concerto as part of the event (though the evidence is not conclusive). A doctor friend from his Bonn days, Franz Wegeler, tells a vivid tale of how the concerto was finished:

Not until the afternoon of the second day before the concert did he write the Rondo, and then while suffering from a pretty severe colic, which frequently afflicted him. … In the anteroom sat four copyists to whom he handed sheet after sheet as soon as it was finished. At the rehearsal, which took place the next day in Beethoven’s room, the pianoforte was found to be a half step lower than the wind instruments. Without a moment’s delay Beethoven played his part a half step higher.

The work was revised for a concert in Prague in 1798 (by which time “No. 1” had been composed) and it was published in Leipzig in 1801 (by which time “No. 3” had been composed). Conscious of tremendous advances in his music, Beethoven was able to dismiss the Second Concerto, in a letter to his publisher as “not one of my best concertos.” He even sold it for half the price he asked for adjacent works, such as the Septet, the First Symphony, and the B-flat major Piano Sonata (Op. 22).

Beethoven’s evaluation may seem reasonable for the first movement, but scarcely so for the other two. There is a certain squareness and predictability in the first movement. The first four bars, for example, are exactly balanced by the second four, and the contrasts of rhythm and character are also in exact equilibrium. Once the solo piano has entered, the music blossoms in new, livelier directions, with a suave

second subject and a surge of sixteenth notes as the exposition approaches its close. The cadenza is by Beethoven himself.

The slow movement breaks new ground in both feeling and form. One expects a flow of sustained melody from a Beethoven Adagio, but here the theme is never fully stated, despite its frequent recurrence. A development takes it through darker keys, then a reprise gives it to the oboe above piano arpeggios. The most moving passage comes at the end where a long coda gives place not to a cadenza but to a series of melodic fragments, unsupported by harmony, offered like hesitant speech and ending on a half-close, agonizingly incomplete. The rousing third-movement Rondo makes play of spiky cross-rhythms in its main theme, although the soloist’s main concern is with trills, grace notes, wide leaps, and the whole virtuoso toolbox. A middle episode gives the spiky rhythm a new, lumbering character, like a folk dance. Towards the end, there are two touches of humor. One is the ironing out of the spiky rhythm by the soloist in the coda in a surprising key, with the key and the rhythm immediately corrected by the whole orchestra. The other is the series of sweet nothings that prolong the close long after the musical argument has ended.

— 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

Piano Concerto No. 4 in G major, Op. 58

by Ludwig van Beethoven

▶ COMPOSED: 1805 – 06

▶ WORLD PREMIERE : The work was first performed in March 1807, during a private concert at the home of Prince Joseph Franz von Lobkowitz. The public premiere was given on December 22, 1808, at Vienna’s Theater an der Wien, with the composer as soloist.

▶ CLEVELAND ORCHESTRA PREMIERE : November 1, 1923, with pianist Josef Hofmann and conducted by Music Director Nikolai Sokoloff

▶ ORCHESTRATION : flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus solo piano

▶ DURATION : about 35 minutes

LIKE MANY COMPOSERS before (and after), Beethoven wrote his piano concertos as vehicles for displaying his own dazzle as a performer. In those times —  when public concerts were less frequent than today — new music was all the rage. Composing your own ensured that you had fresh material to perform. Your biggest hits were meanwhile quickly appropriated by others through copied scores, with the best tunes arranged for street organ grinders and local wind ensembles. It is little wonder, then, that Mozart kept some scores under lock and key, and left the cadenzas for many of his concertos blank so that only he could fill them in.

Beethoven moved to Vienna in 1792 at age 22. He’d hoped to get to Europe’s

musical capital sooner to study with Mozart, but family circumstances had kept him at home in Bonn, helping raise his two younger brothers (while tempering the boys’ alcoholic father). It was as a performer that Beethoven forged his reputation in the city, and within a year he was widely known as a red-hot piano virtuoso.

While Mozart, over the course of 30 or more works for solo piano or violin, had developed the concerto into a sublime product, Beethoven strived to return to a more individual and handmade form. Mozart created the molds and set the standards; Beethoven at first worked within those earlier definitions, but the thrust of his musical creativity eventually shattered tradition.

The Fourth Piano Concerto begins unexpectedly, with piano alone. While today we recognize this as unusual, it is difficult for us to understand how shocking it must have been for audiences at the premiere. Even though Mozart’s concertos had crystallized the form only 20 years earlier, listeners of the time knew that a concerto always started with an orchestral introduction. Here, the soloist is instead placed fully in charge of the form. Thus was the heroic 19thcentury concerto born, in which the soloist became the protagonist rather than a mere dialogue partner.

While today we recognize [the opening] as unusual, it is difficult for us to understand how shocking it must have been for audiences at the premiere.

Not only does the piano begin the concerto, but it starts with unusual gentleness and grace, and “warms up” only gradually. Indeed, the entire concerto seems much more of a personal statement from Beethoven than any of his preceding concertos. The opening movement continues at length — at 20 minutes, it is at least a third longer than any that Mozart or Beethoven had

previously created — alternating between a deceptive, gentle playfulness and a more robust outlook.

Then in the second movement, the orchestra and soloist almost seem to be wandering around in different concertos. The orchestra offers forceful stabs of sound, to which the piano repeatedly responds with introspective musings, as if thinking about something else entirely. Once the bewildered orchestra backs off, however, Beethoven allows the piano to be more or less alone onstage, as if deep in thought. Some sublimely heartwrenching solo piano passages follow, including a cadenza for right hand alone, before the movement withers to silence. Without pause, we are suddenly in the third-movement finale. Here, at last, the orchestra and soloist are ready to play together, and this joyful movement is a delightful Rondo of invention and variation built around a short march tune. Beethoven carefully varies the lengths of each statement and its response, building up a wonderfully vibrant sense of fun and excitement. A brief cadenza allows a momentary spotlight on the soloist, and then, just as at the beginning of the concerto, Beethoven breaks convention again, with the solo part written through to the final chord in the final bar. Traditionally, the orchestra would have closed out the piece without the soloist, or with the soloist merely playing along with the tune at the end.

— Eric

Sellen

Eric Sellen is The Cleveland Orchestra’s editor emeritus. He previously was program book editor for 28 seasons.

THE MUSIC

Beethoven Piano Concerto Cycle

FIRST & FIFTH CONCERTOS

Friday, November 15, 2024, at 7:30 PM

Saturday, November 16, 2024, at 8 PM

Sunday, November 17, 2024, at 3 PM

Daniel Reith, conductor

Ludwig van Beethoven (1770–1827)

Minsoo Sohn and Yunchan Lim’s performances are generously sponsored by Mr. Yuval Brisker.

Piano Concerto No. 1

35 minutes in C major, Op. 15

I. Allegro con brio

II. Largo

III. Rondo: Allegro

Minsoo Sohn, piano

INTERMISSION 20 minutes

Piano Concerto No. 5

40 minutes in E-flat major, Op. 73, “Emperor”

I. Allegro

II. Adagio un poco mosso —

III. Rondo: Allegro

Yunchan Lim, piano

Total approximate running time: 1 hour 35 minutes

Thank you for silencing your electronic devices.

Friday evening’s performance is dedicated to JoAnn and Robert Glick in recognition of their generous support of music.

Saturday evening’s performance is dedicated to Suzanne and Paul Westlake in recognition of their generous support of music.

Concert Preview with Caroline Oltmanns Reinberger Chamber Hall one hour prior to performance

Piano Concerto No. 1 in C major, Op. 15

by Ludwig van Beethoven

BORN : December 16, 1770, in Bonn

DIED : March 26, 1827, in Vienna

▶ COMPOSED: 1795 – 97

▶ WORLD PREMIERE : Either March 29, 1795, in Vienna, or March 1798, in Prague, with the composer as soloist

▶ CLEVELAND ORCHESTRA PREMIERE : March 2, 1941, with soloist Sergei Rachmaninoff and conducted by Music Director Artur Rodziński

▶ ORCHESTRATION : flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus solo piano

▶ DURATION : about 35 minutes

IN THE YEAR 1798 , the Czech composer

Václav Tomášek was a young law student at Prague University when Beethoven visited the city. At 27, Beethoven was already a celebrated pianist — and his concerts in the city confirmed Tomášek in his ambition to become a composer himself. We do not know quite when the visit took place, nor who arranged it, but Beethoven already had good contacts in Vienna with the Austrian and Bohemian nobility and had already played in front of the King of Prussia in Berlin. No signs of deafness had yet afflicted him, and he was far from being the gruff, lonely figure of later years.

Some scholars believe the First Piano Concerto premiered in Vienna in March 1795, although it may have had its first public performance during Beethoven’s

Prague visit in 1798. Regardless, the concerto was not actually Beethoven’s first piano concerto. There is a teenage work in E-flat major, which he never completed, and what we know as the Second Concerto in fact preceded the First by several years. The incorrect numbering arose from the reversed order of publication, the “First” appearing in 1801 as Op. 15 and the “Second” later in the same year as Op. 19. The First was dedicated to one of Beethoven’s students, a Hungarian Countess named Babette de Keglevich. It was a happy patronage, for she also received the dedications of a piano sonata and two sets of piano variations — such were the circles in which Beethoven liked to move.

The First Concerto is full of positive affirmation, a byproduct of its home key,

C major, and the presence of trumpets and timpani in the orchestra. These instruments may be responsible for the martial character of the opening theme, although Beethoven displays great shrewdness in starting the movement pianissimo and keeping his louder and more forthright declarations for the next full statement of the musical theme.

Another mark of the composer’s originality is his handling of the second

middle movement the character of chamber music, with the clarinets and bassoons elegantly prominent. This is a movement of marvelous warmth, no longer so close to the model of Mozart but leaning towards a more romantic mode of expression.

The third-movement finale is a Rondo (built on variations) of irrepressibly lively character. Among its many catchy tunes, one is supported by a rollicking

The First Concerto is full of positive affirmation, a byproduct of its home key, C major, and the presence of trumpets and timpani in the orchestra.

theme. Although its key is carefully prepared, it arrives in the “wrong” key before being immediately corrected, only to still sound wrong. A second correction produces the correct key, but in the minor mode. As this theme illustrates, Beethoven had a fluent melodic gift in his early years, which was later submerged in his “heroic period,” when dramatic gestures and profound argument came to dominate his musical language.

Beethoven wrote three different cadenzas for the first movement, the last two in later years when the piano as an instrument had acquired some extra notes in its upper range. Although we do not have details of later performances, these cadenzas are enough to confirm that the concerto was always popular, whether played by Beethoven himself or another soloist.

By resting the flute, oboes, trumpets, and timpani, Beethoven gives the slow

left-hand figure, half-Turkish, half-Hungarian in character. Was Beethoven’s tongue in his cheek? We as listeners are nevertheless delighted.

Many years later, in 1814, Tomášek was visiting Vienna, where he attended a concert given by a very different Beethoven. The program included the Seventh Symphony, which Tomášek did not like at all. As he recalls in his memoirs:

Michael Umlauf conducted. Beethoven stood next to him, conducting also, but owing to the fact that he was deaf he frequently beat incorrectly. This did not obstruct the orchestra for they kept their eyes on Umlauf’s baton. I was happy to get out, being completely deafened by the torrent of sound.

— 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

Piano Concerto No. 5 in E-flat major, Op. 73, “Emperor”

by Ludwig van Beethoven

▶ COMPOSED: 1809

▶ WORLD PREMIERE : November 28, 1811, with Friedrich Schneider as soloist and Johann Philipp Christian Schulz leading the Gewandhaus Orchestra

▶ CLEVELAND ORCHESTRA PREMIERE : January 19, 1922, with pianist Josef Hofmann and conducted by Music Director Nikolai Sokoloff

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

▶ DURATION : about 40 minutes

IT IS IRONIC that the last and grandest of Beethoven’s piano concertos has acquired the title “Emperor,” for we can be sure he would not have called it this himself. The nickname is used exclusively in English-speaking countries and we don’t really know when or why it came into use. The irony comes from Beethoven’s fury on hearing that Napoleon had crowned himself Emperor, betraying the higher ideals of universal brotherhood and liberty that Beethoven so strongly believed in. Emperors, in Beethoven’s experience, were not to be admired. Nevertheless, the title is unarguably appropriate, at least for the grandeur that differentiates this concerto from its siblings.

Beethoven had already composed a piano concerto in E-flat major in his youth, a work that could be classified

as his “Concerto No. 0” in a canon of six (or seven if we want to also include the arrangement for solo piano of the Violin Concerto). However, a great gulf of almost 25 years separates that early work from the “Emperor” Concerto, and a three-year gap separates the “Emperor,” composed in 1809, from the Fourth Piano Concerto and the Violin Concerto, both finished in 1806.

The composer never played this last concerto himself in public. By the time of its premiere, his deafness made coordination with the orchestra too difficult. His last public appearance as a pianist was in the solo piano part in the Choral Fantasy in 1808, a work which nevertheless seems to have helped prompt him to embark on this his last concerto.

As in his Choral Fantasy, Beethoven commences the “Emperor” Concerto

with a resplendent cadenza displaying scales, arpeggios, trills, octaves, and all the armory of the virtuoso pianist, but no actual musical themes. Beethoven writes an enormously long first movement —  by allowing both orchestra and soloist to work their way through a full exposition each, and by allowing his themes (once introduced) to expand freely and his keys to range in all directions.

The first theme is a strong statement, unmistakably positive and muscular, but the second, first heard in the minor in hesitant fragments and then in the major on a pair of horns, seems much emptier. Yet for Beethoven, this kind of theme is not plain. Rather, it was exactly the kind of challenge he needed, for his ingenuity and imagination.

For the slow second movement, the key moves to the remote landscape of B major — a key rarely explored in Beethoven’s era — and the solemn hymnlike tones of the strings’ opening pervade the movement, a high point of serenity. Beethoven makes special capital out of the top octave on the piano, a novelty that could be found on only the latest pianos of his day. Delicate piano arpeggios accompany the winds’ statement of the theme.

The music eventually comes to rest, for with the plain intention of welding his musical thinking into a larger unified sequence, Beethoven repeats the effect so well managed in the Triple Concerto

and the Fifth Symphony, with the music running — here, perhaps leaping! —  directly into the third movement. In this transition, he goes a step further than those earlier works and actually traces the outline of the coming Rondo theme while the mood of the Adagio is still hanging in the air. The foreshadowing is superbly calculated and effective.

With its high trills and striding left-hand figures, the finale bursts with vigor and energy. There is not much room for harmonic subtlety, least of all in the theme itself, but the vital aim of generating a new source of musical energy is amply achieved. The idea of a piano concerto was thereafter never the same again. The Romantic era had truly arrived, earnest and strong.    — Hugh Macdonald

This stoic sculpture of Beethoven appears alongside statues of Haydn and Mozart, all three of which are part of a memorial located in Berlin’s Tiergarten.

Daniel Reith, Associate Conductor

SIDNEY AND DORIS DWORKIN CHAIR

DANIEL REITH WAS APPOINTED assistant conductor of The Cleveland Orchestra and music director of The Cleveland Orchestra Youth Orchestra (COYO) starting in the 2022–23 season, being promoted to associate conductor in June 2024. As COYO’s music director, Reith oversees the ensemble’s artistic planning, selects personnel for the ensemble, and leads rehearsals and performances of the Youth Orchestra. He’s also actively involved with the Orchestra’s education programs and community performances, and provides assistance for the Orchestra’s Severance and Blossom Music Festival seasons.

Reith was the 2019 winner of Opptakt, Talent Norway’s program for fostering young conductors, and has since performed with the Bergen Philharmonic Orchestra, Norwegian Radio Orchestra, Stavanger Symphony Orchestra, Trondheim Symphony Orchestra, and the Norwegian Armed Forces. In 2022, Reith made his debuts with the Kristiansand Symphony Orchestra and Oslo Philharmonic Orchestra. He also served as assistant conductor for the Norwegian Opera production of Orpheus in the Underworld. In addition to his conducting work, Reith is a talented pianist and chamber musician, having performed in concerts and competitions throughout Germany, Norway, and other countries. Reith has

been awarded several scholarships in Germany, where he’s worked with orchestras such as the Hamburg Philharmonic and Neubrandenburg Philharmonic.

Reith grew up in Bühl, Germany, and studied music in his home country as well as Norway. He received bachelor’s degrees in piano from Freiburg’s Academy of Music and the Norwegian Academy of Music. He also received a bachelor’s degree in music theory at Freiburg’s Academy of Music, followed by a bachelor’s degree in conducting at Frankfurt University of Music and Performing Arts. In 2021, he received his master’s degree in conducting at the Norwegian Academy of Music.

Orion Weiss Piano

ONE OF THE MOST SOUGHT-AFTER soloists and chamber music collaborators today, Orion Weiss is a “brilliant pianist” (The New York Times) with “powerful technique and exceptional insight” (The Washington Post). He has dazzled audiences worldwide and performed with all of the major North American orchestras, including The Cleveland Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic, and New York Philharmonic.

In February 2025, Weiss will release Arc III, the final album in his Arc recital trilogy (First Hand Records). His live performance schedule this season includes his David Geffen Hall debut with the American Symphony Orchestra, recitals at the Santa Fe Chamber Music Festival and Italy’s Teatro Marrucino Biglietteria, and a tour with the Chamber Music Society of Lincoln Center. Over the last year, he made his return to the Chicago Symphony Orchestra, led by Michael Tilson Thomas, debuted with the National Symphony Orchestra, and appeared at the Kennedy Center, Lincoln Center, and Carnegie Hall’s Zankel Hall.

Known for his affinity for chamber music, Weiss performs at venues and festivals around the United States with such artists as violinists Augustin Hadelich, William Hagen, and James Ehnes, pianists Michael Brown and Shai Wosner, cellist Julie Albers, and The Ariel, Parker, and Pacifica quartets.

A native of Ohio, Weiss attended the Cleveland Institute of Music and made his Cleveland Orchestra debut in 1999 performing Liszt’s First Piano Concerto. That same year, with less than 24 hours’ notice, Weiss stepped in to replace André Watts for a performance of Shostakovich’s Second Piano Concerto with the Baltimore Symphony Orchestra. Weiss’s awards include the Classical Recording Foundation’s Young Artist of the Year, the Gilmore Young Artist Award, an Avery Fisher Career Grant, and more. His teachers include Paul Schenly, Jerome Lowenthal, and Sergei Babayan. In 2004, he graduated from The Juilliard School, where he studied with Emanuel Ax.

Augustin Hadelich

Violin

Augustin Hadelich is one of the great violinists of our time. Known for his phenomenal technique, insightful and persuasive interpretations, and ravishing tone, he appears extensively on the world’s foremost concert stages.

During the 2024 summer season, Hadelich performed at the Hollywood Bowl with the Los Angeles Philharmonic, the Tanglewood Music Festival with the Boston Symphony Orchestra, Bravo! Vail with the New York Philharmonic, the Ravinia Festival with the Chicago Symphony Orchestra, and at the Aspen Music Festival and School.

Highlights of the 2024–25 season include performances with The Cleveland Orchestra, Berlin Philharmonic, Royal Concertgebouw Orchestra, Vienna Philharmonic, and London Philharmonic Orchestra, among others. As artist-in-residence, he will perform with the Dresden Philharmonic Orchestra throughout the season and tour with the Mahler Chamber Orchestra, Mozarteum Orchestra Salzburg, and Academy of St Martin in the Fields. He will perform solo recitals in London, Barcelona, Gothenburg, and Tallinn, as well as duo recitals with pianist Francesco Piemontesi. In summer 2025, he will perform extensively in Asia, including engagements with the Seoul Philharmonic Orchestra, Yomiuri Nippon Symphony Orchestra, and Hong Kong Philharmonic Orchestra.

Hadelich received a Grammy Award for Best Classical Instrumental Solo in 2016 for his recording of Dutilleux’s L’Arbre des songes with the Seattle Symphony and Ludovic Morlot. A Warner Classics Artist, his most recent album, American Road Trip — recorded with pianist Orion Weiss — was released in August 2024.

Hadelich rose to fame when he won the Gold Medal at the 2006 International Violin Competition of Indianapolis. Further distinctions followed, including an Avery Fisher Career Grant (2009), the Borletti Buitoni Trust Fellowship (2011), and an honorary doctorate from the University of Exeter (2017). In 2018, he was named “Instrumentalist of the Year” by Musical America. Hadelich holds an Artist Diploma from The Juilliard School, where he studied with Joel Smirnoff, and in 2021, was appointed to the faculty at Yale School of Music. He plays a 1744 violin by Giuseppe Guarneri del Gesù, known as “Leduc, ex Szeryng,” on loan from the Tarisio Trust.

PHOTO BY SUXIAO YANG

Julia Hagen

Cello

Naturalness, warmth, vitality, and the courage to take risks: These qualities are often used to describe Julia Hagen’s playing. The 29-year-old, who now lives in Vienna, combines technical mastery with high artistic standards and a direct, communicative approach to music-making.

Hagen is the winner of the 2024 UBS Young Artist Award, which includes a concert with the Vienna Philharmonic Orchestra under the baton of Christian Thielemann at the Lucerne Festival.

Highlights of her 2024–25 season include concerts with the Chamber Orchestra of Europe, Frankfurt Radio Symphony, Deutsche Kammerphilharmonie Bremen, and the Orquestra Simfònica de Barcelona. Of particular note is her US debut with The Cleveland Orchestra. She also returns to the Mozarteum Orchestra Salzburg, the ORF Vienna Radio Symphony Orchestra, and the Orchestre Philharmonique de Radio France. In Dortmund, Hagen is one of the “Junge Wilden,” young upand-coming soloists who demonstrate their versatility over three seasons.

Among Hagen’s many chamber music activities are a trio concert with Igor Levit and Renaud Capuçon in the Berlin Philharmonie and a chamber music tour through Germany and Italy with a program of Schoenberg and Brahms. She also continues to perform with Anneleen Lenaerts and Lukas Sternath.

Hagen began playing the cello at age 5, followed by studies with Enrico Bronzi, Reinhard Latzko, Heinrich Schiff, and Jens Peter Maintz. As a Kronberg Academy scholarship recipient, she also studied with Wolfgang Emanuel Schmidt. Hagen was a prize winner of the Liezen International Cello Competition and the Mazzacurati Cello Competition and was awarded the Hajek-Boss-Wagner Culture Prize and the Nicolas Firmenich Prize of the Verbier Festival Academy.

In 2019, Hagen released her first album on Hänssler Classic alongside pianist Annika Treutler, which features the two cello sonatas of Brahms. Hagen plays an instrument by Francesco Ruggieri (Cremona, 1684), which is privately on loan to her.

Sir Stephen Hough

Piano

NAMED BY THE ECONOMIST as one of Twenty Living Polymaths, Sir Stephen Hough combines a distinguished career as a concert pianist with those of a composer and writer. In recognition of his contribution to cultural life, he became the first classical performer to be given a MacArthur Fellowship and was awarded a Knighthood for Services to Music in the Queen’s Birthday Honours 2022.

In a career spanning over 40 years, Hough has played with most of the world’s leading orchestras, recital series, and festivals. His 2024–25 season features over 80 concerts on four continents, including a performance with the Philharmonia Orchestra, a recital at the Barbican Centre, and the world premiere of his Piano Quintet at Lincoln Center.

Hough’s discography of 70 recordings has garnered awards including the Diapason d’Or, several Grammy nominations, and eight Gramophone Awards, including Record of the Year and the Gold Disc. For Hyperion, he has recorded the complete piano concertos of Beethoven, Brahms, Rachmaninoff, and Tchaikovsky, as well as works by Chopin, R. Schumann, Schubert, Debussy, and Mompou. Upcoming releases include a Liszt album, a recital of encores, and Hough’s own Piano Concerto.

As a composer, Hough’s Fanfare Toccata was commissioned for the 2022

Van Cliburn International Piano Competition and performed by all 30 competitors. His 2021 String Quartet No. 1, “Les Six rencontres,” was written for and recorded by the Takács Quartet for Hyperion Records. His music is published by Josef Weinberger Ltd.

Hough’s memoir, Enough: Scenes from Childhood, was published by Faber & Faber in spring 2023. It follows his 2019 collection of essays, Rough Ideas: Reflections on Music and More, and his 2018 novel, The Final Retreat. He has also written for The New York Times, The Telegraph, The Times, The Guardian, and the Evening Standard.

Hough is an Honorary Bencher of the Middle Temple, an Honorary Member of the Royal Philharmonic Society, an Honorary Fellow of Cambridge University’s Girton College, the International Chair of Piano Studies, and a Companion of the Royal Northern College of Music. He is on the faculty of The Juilliard School in New York.

PHOTO BY JIYANG CHEN

Garrick Ohlsson

Piano

SINCE HIS TRIUMPH as winner of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Although long regarded as one of the world’s leading exponents of the music of Frédéric Chopin, Ohlsson commands an enormous repertoire that ranges over the entire piano literature, encompassing more than 80 concertos.

With the Orpheus Chamber Orchestra, Ohlsson returned to Carnegie Hall in September and throughout the 2024–25 season, he can be heard with orchestras in Portland, Madison, Kalamazoo, Palm Beach, and Fort Worth. In recital programs — including works from Beethoven, Schubert, and Chopin to Barber and Scriabin — he will appear in Santa Barbara, Orange County, Aspen, Warsaw, and London.

Collaborations with the Cleveland, Emerson, Tokyo, and Takács string quartets have led to decades of touring and recordings. His solo recordings are available on the British label Hyperion and in the US on Bridge Records. Both Brahms concertos and Tchaikovsky’s Second Piano Concerto have been released on live recordings with the Melbourne and Sydney symphonies, and Rachmaninoff’s Third Piano Concerto with the Atlanta Symphony Orchestra and Robert Spano, all on their own labels.

A native of White Plains, New York, Ohlsson began piano studies at age 8 at the Westchester Conservatory of Music, and at 13, he entered The Juilliard School in New York. He was awarded the Avery Fisher Prize in 1994 and the University Musical Society Distinguished Artist Award in Ann Arbor, Michigan, in 1998. Ohlsson is the 2014 recipient of the Jean Gimbel Lane Prize in Piano Performance from the Northwestern University Bienen School of Music, and in August 2018, the Polish Deputy Culture Minister awarded him the Gloria Artis Gold Medal for cultural merit. He is a Steinway Artist and makes his home in San Francisco.

Minsoo Sohn

PIANIST MINSOO SOHN is known for his musical intelligence and masterful virtuosity. Described by The New York Times as “a genuine artist, with a thoughtful and poetic interpretation,” and by The Boston Globe as a performer “born to play the piano,” Sohn continues to expand his reputation as one of the foremost pianists of his day. He has toured extensively throughout North and South America, Europe, Israel, and Korea, appearing at important venues and festivals.

Sohn is particularly noted for his interpretation of J.S. Bach’s Goldberg Variations. The New York Times praised his Honens label recording of the work as a “beautifully articulated, radiant interpretation,” placing it as one of the top classical recordings of 2011. His recordings have also received critical acclaim from The New Yorker, The Plain Dealer, Gramophone, Calgary Herald, and Toronto Star, among others.

In 2020, coinciding with the 250th anniversary of Beethoven’s birth, Sohn concluded his four-year immersion in the composer’s music, which included a concert series, recordings, and writings. Over the course of his Beethoven project, Sohn performed and recorded the composer’s 32 piano sonatas in a series of recitals at the Seoul Arts Center and

recording sessions at Tongyeong Concert Hall. The recital series also included Beethoven’s monumental Diabelli Variations and bagatelles. Sony Classical released the highly anticipated ninealbum set of the Complete Beethoven Piano Sonatas in fall 2020.

Sohn has held positions at Michigan State University and the Korean National University of Arts before joining his alma mater, the New England Conservatory of Music, in fall 2023.

Sohn is indebted to Russell Sherman and Wha Kyung Byun for guiding him to follow his bliss.

BY

PHOTO

SHIN JOONG KIM

Yunchan Lim Piano

SINCE BECOMING THE YOUNGEST person to ever win gold at the Van Cliburn International Piano Competition at age 18 in 2022, Yunchan Lim’s ascent to international stardom has been meteoric. His performances showcase a “magical ability” and a “natural, instinctive quality” (La Scena) that astound listeners around the world. Marin Alsop expressed: “Yunchan is that rare artist who brings profound musicality and prodigious technique organically together”.

In the years following his Cliburn win, Lim made successful orchestral debuts with the New York, Los Angeles, Munich, and Seoul philharmonics, as well as the Chicago, Lucerne, BBC, Boston, and Tokyo symphony orchestras, among others. Recital appearances include performances at Carnegie Hall, the Verbier Festival, Wigmore Hall, the Concertgebouw, and Suntory Hall, among other major stages.

Lim’s 2024–25 season highlights include orchestral debuts with The Cleveland Orchestra, National Symphony Orchestra, London Symphony Orchestra, Royal Philharmonic Orchestra, Vienna Radio Symphony Orchestra, Berlin Radio Symphony Orchestra, and WDR Symphony Orchestra, as well as returns to the New York Philharmonic, Lucerne Symphony Orchestra, and Orchestre de Paris. This season will also see his recital debut at the Kennedy Center and a return to Carnegie Hall.

As an exclusive Decca Classics

recording artist, Lim’s acclaimed debut studio album, featuring Chopin’s Études Opp. 10 & 25, has gone double platinum in South Korea and topped the classical charts around the world. His previous releases include Liszt’s Transcendental Études (Steinway & Sons), Beethoven’s Fifth Piano Concerto, “Emperor” (Universal Music Group), and an album featuring his appearance on KBS’s 2020 Young Musicians of Korea. Since January 2024, Yunchan has been an Apple Music Classical Global Ambassador.

Born in Siheung, South Korea, Lim began piano lessons at age 7. He was accepted into the Korea National Institute for the Gifted in Arts at age 13, where he met his teacher and mentor, Minsoo Sohn. In 2019, at age 15, he became the youngest person to win Korea’s IsangYun International Competition. Following two years at the Korea National University of Arts, Lim is currently studying at the New England Conservatory of Music with Sohn.

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.

REWIND: 100 Years of Cleveland Orchestra Recordings

THIS YEAR MARKED a special occasion in Cleveland Orchestra history: 100 years since the Orchestra made its first recording in 1924. Since then, the Orchestra has released hundreds of recordings, introducing the iconic “Cleveland Sound” to millions of listeners worldwide. As 2024 comes to a close, we take a brief look back at the Orchestra’s recorded legacy, which encompasses everything from 78s to digital releases.

On January 23, 1924, several dozen Cleveland Orchestra musicians and Music Director Nikolai Sokoloff arrived at the Brunswick Records recording studio in Midtown Manhattan. The night before, the Orchestra had performed a program at Carnegie Hall and were now preparing to inscribe a shortened, 4-minute-15-second-long version of Tchaikovsky’s 1812 Overture onto wax. Sokoloff gives the following account in his unpublished memoir:

... The [recording] horn was set up and the musicians were grouped behind it on tables, risers, packing boxes, books, even two stepladders, in addition to tall stools. After

immense effort, we got the sound balanced —  more or less — and started to record. Three hours of struggle, corrections, errors and retakes later, we finally had a good “take” going for slightly over four minutes and victory was in sight. With ten seconds to go (that was six bars from the end of the piece), a large packing case suddenly collapsed, felling our first trumpeter (unhurt, thank heaven) with a thunderous crash. Thus ended the first recording session of the Cleveland Orchestra!!

Music Director Nikolai Sokoloff and our founder Adella Prentiss Hughes (left) admire The Cleveland Orchestra’s first record in 1924. Since then, the Orchestra has released hundreds of recordings, nine of which appear along the bottom of this feature.

The cartoonish scenario of the first recording session did not deter Sokoloff and the young Orchestra from continuing to explore this new aural medium both in New York and back at Cleveland’s Masonic Auditorium. One of the biggest opportunities came in 1928 when Cleveland became the first orchestra to record Rachmaninoff’s Second Symphony. The composer trimmed the symphony especially for the recording project, but

it was an arduous task. As Sokoloff admitted, “Even with the cuts, it took us four hours of almost every morning of a week in New York to record it!”

Though this would be the final recording of the Sokoloff era, his tenure also brought about the construction of Severance Hall in 1931, which came with a radio broadcast studio that could accommodate up to 125 musicians.

In 1933, Music Director Artur Rodziński arrived in Cleveland in the wake of the Great Depression, which

George Szell listens to a recording playback session at Severance, circa 1960.

took its toll on the recording industry, but by 1935, interest began to stir again. Several years later, in 1938, the Orchestra signed a contract with Columbia Records and would go on to record a total of 28 works under Rodziński’s baton, a wideranging collection that includes music by Beethoven, Mendelssohn, Weinberg, and Jerome Kern. Notable also is the first recording of Berg’s Violin Concerto with soloist Louis Krasner, who performed the work’s world premiere in 1936.

Rodziński’s recorded legacy in Cleveland stopped short in 1942 when James C. Petrillo, president of the American Federation of Musicians, banned all musicians from participating in recording activities as part of his campaign against “canned” music. The ban would last more than two years.

Erich Leinsdorf was over a year into his tenure as music director when Petrillo lifted his recording ban. However, Leinsdorf recorded relatively little in his three years with the Orchestra — military service and a contractual disagreement with Columbia being the main factors —  but he still managed to capture works by Dvořák, Rimsky-Korsakov, Robert Schumann, and others.

George Szell’s arrival in Cleveland in 1946 opportunely coincided with a golden age for classical recordings. Even when considering another recording stoppage by Petrillo from 1947–48, Szell’s first decade was surprisingly underrepresented on LP; only 14 works were recorded in his first nine seasons at Severance.

This changed in 1954 when the Orchestra signed a contract with Columbia subsidiary, Epic Records. Over the remaining 16 years of Szell’s tenure, the Orchestra would produce definitive recordings of works by Beethoven, Brahms, Mozart, Haydn, and many others. (Szell and the Orchestra were also the first to record Walton’s Second Symphony and Hindemith’s Symphonic Metamorphosis of Themes by Carl Maria von Weber.) Overall, the Szell era produced more than 100 recordings, many of which would serve as a calling card for the Orchestra and win fans across the world.

Following the unexpected death of Szell in the summer of 1970, the appointment of Lorin Maazel as music director ushered in a new opportunity with London-based Decca Records. After recording the complete ballet score of Prokofiev’s Romeo and Juliet, the Orchestra signed

a three-year, 13-record contract with Decca, which would include the first in-stereo release of Gershwin’s opera Porgy and Bess. The recording won the 1976 Grammy for Best Opera Recording.

At the same time, Cleveland-based Advent Records, which would evolve into Telarc, was pioneering a new “direct-to-

Since [2020], the Orchestra has issued 13 recordings of 27 works, including its first digital-only releases.

disc” technology that produced enhanced, high-fidelity recordings. Cleveland embraced this new technology, and its LP of Maazel conducting works by Berlioz, Bizet, Falla, and Tchaikovsky was the first classical direct-to-disc LP when it was released in 1977.

Eight years earlier, in 1969, the French composer and conductor Pierre Boulez was appointed principal guest conductor and would soon begin releasing his own recordings with the Orchestra. The first was a compilation of works by Debussy, which received the Orchestra’s first Gram-

my Award for Best Classical Performance, followed by Stravinsky’s The Rite of Spring, which received the same award the following year. In all, Boulez won five Grammy Awards with the Orchestra. (Other guest conductors, including Vladimir Ashkenazy and Oliver Knussen, also made notable recordings with the Orchestra.)

Like Maazel, Christoph von Dohnányi also had an established relationship with Decca when he arrived in Cleveland, and by his second season as music director, the Orchestra had deals with three companies: the European recording company Teldec, Decca/London, and Telarc. In the early 1990s, Dohnányi embarked on one of the Orchestra’s most ambitious recording projects yet: all four operas of Wagner’s Ring Cycle. Due to the project’s complexity and external pressures on the recording industry, only the first two installments, Das Rheingold and Die Walküre, were released.

Dohnányi would record 109 works with the Orchestra, including the complete Beethoven symphonies and music by Mahler, Schoenberg, Lutosławski, and John Adams. One of the final recordings of his tenure, featuring works

by Ives and Ruggles, won the Orchestra’s eighth Grammy, this one for Best Orchestral Performance.

Franz Welser-Möst stepped into the role of Cleveland Orchestra music director at an inauspicious time for the recording industry. Turning this challenge into an opportunity, the Orchestra not only pursued audio recordings but also ventured into video recordings. Five of Bruckner’s symphonies were released on video, including two recorded in Austria’s St. Florian Monastery, where the composer was a choirboy and organist, and is now buried.

In 2020, the Orchestra launched its own recording label with the box set

A New Century, featuring Welser-Möst conducting six works spanning three centuries, from Beethoven to commissions from two of the Orchestra’s Daniel R. Lewis Young Composer Fellows:

Johannes Maria Staud and Bernd Richard Deutsch. Since then, the Orchestra has issued 13 recordings of 27 works, including its first digital-only releases. At the same time, the streaming platform Adella.live, also launched in 2020, has offered a fascinating window into the Orchestra through behind-the-scenes features, pre-filmed interviews, and video broadcasts of live performances.

Since 1924, The Cleveland Orchestra has released 833 commercial recordings. With its recent leap into the world of digital and streaming, one can only imagine what the Orchestra’s recordings will look like 100 years from now. But if its track record is any indication, The Cleveland Orchestra will venture into new territory with an innovative mindset and continue to capture musical excellence for future listeners, no matter the medium.

— Amanda Angel and Kevin McBrien, with research by Andria Hoy (Cleveland Orchestra Archivist)

Music Director Franz Welser-Möst leads a distanced ensemble of Cleveland Orchestra string players in an arrangement of Beethoven’s String Quartet No. 10 in October 2020, which was recorded and subsequently released on Adella.live.

BY

PHOTO

ROGER MASTROIANNI

A Conversation with Lisa Wong

Director of Choruses

FRANCES P. AND CHESTER C. BOLTON CHAIR

THE CLEVELAND ORCHESTRA CHORUS is a beloved part of the larger Cleveland Orchestra community. Since 1952, this all-volunteer ensemble has provided a robust choral sound for hundreds of concerts at Severance; in the 2024 – 25 season specifically, they appear alongside the Orchestra in six wildly contrasting programs. What does it take to prepare the Chorus for such an ambitious season? We sat down with Director of Choruses Lisa Wong to find out more about her role and the unique challenges and opportunities it presents.

What does a typical Cleveland Orchestra Chorus rehearsal look like?

LISA: We rehearse at Severance most Monday evenings, and it’s terrific to be able to rehearse in the space where we’ll perform. Not only is there a great piano and the hall’s beautiful acoustics, but it’s just inspiring to be in this environment. It’s really helped develop the sound of the group.

The Chorus always knows in advance what we’ll be rehearsing, and we try to give them as many tools as possible to help them prepare at home. Rehearsals can move quickly because we cover a lot of repertoire throughout the season. Even now in the fall, we’re preparing some of what we’ll do in the spring! But I like having multiple projects. Each piece has

its own unique challenges, and I think it’s good to be working on many things at once.

How do you approach preparing a canonic work — like a Bach cantata or Mahler symphony — compared to a newer piece?

LISA: When we work on canonic repertoire, there are usually lots of resources available and it’s interesting to see what other conductors have done. For example, I really admire the Bach Collegium Japan, so in preparing for our all-Bach program [April 17 – 19, 2025], I’ve been using their recordings as a resource for our singers, having them listen to the style and the sound. Even though they’re a very different chorus from us, it can still be informative in so many ways. ▶ ▶ ▶

With newer works, like those we’ll perform by Saariaho and Thomas Adès [February 20 & 22, 2025], there are few — or, in some cases, no — recordings or writings for us to reference. But that can be very freeing in a way, because then you put all your creative input into figuring out what is possible and how we can bring the performance to life. It’s so exciting to perform new music, and I love working on pieces that we’ve never done before.

You’ve collaborated with Music Director Franz Welser-Möst on many different projects with the Chorus. What is his approach to working with singers? Is there a lot of discussion about interpretation or do you tend to align on things?

LISA: There’s actually very little discussion in advance! He’s really open, which is wonderful. But I also think it’s important for us to come into our first rehearsal with Franz with lots of musical

BY

Lisa Wong shares an ovation with conductor Klaus Mäkelä (left) and baritone Thomas Hampson (right) after a high-octane performance of Walton’s Belshazzar’s Feast with The Cleveland Orchestra and Chorus in April 2024.

PHOTO

ROGER MASTROIANNI

ideas. If he likes them, he can take them and go even further. Or if he wants to go in a completely different direction, that’s fine too! He’s worked with many singers throughout his career, so he knows what to ask for and how to ask for it. That’s really, really helpful.

We have lots of people who have careers in music and we also have lots of people who do something else in their professional lives, but the common aspect is that we all love to sing.

What are some of your favorite aspects of working with an allvolunteer ensemble like The Cleveland Orchestra Chorus, where members come from all different backgrounds?

Lisa: My favorite thing is that everyone is there because they love to sing, and they’ve dedicated a huge portion of their lives to singing. We have somebody, for example, who’s been in the Chorus for 50 seasons! And everyone brings something different. We have lots of people who have careers in music and we also have lots of people who do something else in their professional lives, but the common aspect is that we all love to sing. I find that very inspiring.

The Children’s Choruses are also made up of a robust group of young singers. What is going on in their world right now?

LISA: We always look forward to December because that’s when The Cleveland Orchestra Chorus joins with our Children’s Choruses for the Holiday Concerts [December 11–15 & 20–22]. Some of the performances this year will also feature a chamber ensemble from our Youth Chorus. We’re also really excited that this year, not only are all of our youth and children’s choruses tuition-free — thanks to a generous gift from Mr. and Mrs. Kenneth W. Outcalt — but we’ve opened up our Children’s Preparatory Chorus to fourthgrade students without audition. We’re actually in discussions about how to fit everyone on stage! We have so many kids coming to us. It’s a wonderful predicament to be in!

It definitely is! With all of the music the Chorus is preparing this season, is there one concert you’re particularly looking forward to?

LISA: I love it all! I love both the new repertoire and the classics, but I’m really glad that we’re ending the season with Janáček’s Jenůfa [May 17, 22 & 25, 2025]. Opera, whether it’s staged or a concert performance like this season, brings everything together. There’s beautiful singing, of course, but there’s also language, acting, and a shared sense of community that comes with this art form. It’s very much a culmination of everything we’ve been working on throughout the season.

Nancy McCann Receives 2024 – 25

Distinguished

Service Award

THE CLEVELAND ORCHESTRA is proud to honor Nancy McCann as the 2024 –25 recipient of the Distinguished Service Award, recognizing extraordinary service to the Orchestra.

Nancy McCann is president and treasurer of the John P. Murphy Foundation, which sponsors arts and culture in northeast Ohio, and the Kulas Foundation, a leading organization for funding music therapy research. She was instrumental in creating the Kent State Fashion Museum with Jerry Silverman and Shannon Rodgers and led the successful scholarship campaign, Radiance, for Cleveland State University. McCann also developed a successful marketing career with Higbee’s and Forest City Enterprises, where she gained a national reputation for innovative marketing.

With The Cleveland Orchestra, McCann has served on the Board of Trustees since 2001, was Gala Co-chair from 2015 to 2018 and Gala Chair from 2019 to 2022, and is part of the Campaign Cabinet and the Executive Committee. In addition, she conceived the Orchestra’s annual “Star-Spangled Spectacular,” a free community concert held in downtown Cleveland from 1990 to 2019.

“Nancy McCann’s contributions and dedication to The Cleveland Orchestra

Cultural arts activist Nancy McCann, recipient of the 2024 – 25 Distinguished Service Award, at The Cleveland Orchestra’s 2024 Gala in September.

and Greater Cleveland exemplify the spirit of excellence and service, making her a truly deserving recipient of the Distinguished Service Award,” said André Gremillet, The Cleveland Orchestra’s President & CEO. “This award is not just in recognition of her past achievements, but also a celebration of the lasting impact she continues to make. We are incredibly fortunate to have Nancy as part of The Cleveland Orchestra family.”

PREVIOUS RECIPIENTS

1996 – 97 Dorothy Humel Hovorka, trustee

1997 – 98 David Zauder, trumpet and Orchestra personnel manager

1998 – 99 Ward Smith, trustee

1999 – 2000 Christoph von Dohnányi, music director emeritus

2000 – 01 Gary Hanson, executive director

2001 – 02 John Mack, oboe

2002 – 03 Richard J. Bogomolny, trustee

2003 – 04 Thomas W. Morris, executive director

2004 – 05 Alex Machaskee, trustee

2005 – 06 Klaus G. Roy, program editor and annotator

2006 – 07 Amb. John D. Ong, trustee

2007 – 08 Gerald Hughes, chorus

2008 – 09 Louis Lane, assistant conductor

2009 – 10 Clara Taplin Rankin, trustee

2010 – 11 Robert Conrad, trustee and president of WCLV

2011 – 12 Richard Weiner, percussion

2012 – 13 Milton and Tamar Maltz, trustees

2013 – 14 Pierre Boulez, conductor

2014 – 15 James D. Ireland III, trustee

2015 – 16 Rosemary Klena, assistant to the executive director

2016 – 17 Robert Vernon, viola

2017 – 18 Dennis W. LaBarre, trustee

2018 – 19 Franz Welser-Möst, music director

2019 – 20 The Cleveland Orchestra Chorus

2021 – 22 Joela Jones, keyboard

2022 – 23 Jane B. Nord, philanthropist

2023 – 24

Robert P. Madison, architect and entrepreneur

“I’m deeply honored to receive The Cleveland Orchestra’s Distinguished Service Award,” McCann said. “Throughout my journey with America’s finest orchestra, I have been inspired by the incredible musicians, staff, and community members who share a passion for the arts. I look forward to continuing our incredible work together.”

The Cleveland Orchestra’s Distinguished Service Award was established in 1996 by the Musical Arts Association, the non-profit organization overseeing the

Orchestra’s operations, to recognize ongoing and extraordinary commitment and service to the Orchestra. Recipients are chosen from written nominations reviewed by a committee currently chaired by Cleveland Orchestra Trustee

Katherine T. O’Neill.

DISTINGUISHED SERVICE AWARD COMMITTEE

Katherine T. O’Neill, chair

Richard J. Bogomolny

Dennis LaBarre

Robert P. Madison

Amb. John D. Ong

Clara Taplin Rankin

Richard Smucker

Meredith Weil

Adella Digital Season Continues with New Productions

ALONGSIDE IN-PERSON CONCERTS at Severance, there is plenty of exciting content to discover this season on Adella.live, the digital home of The Cleveland Orchestra.

Four more Live from Severance concerts, streamed in real-time from Mandel Concert Hall, are planned for the rest of the 2024 – 25 season. December 1 will feature pianist Marc-André Hamelin playing Gershwin’s timeless Rhapsody in Blue Franz Welser-Möst leads the Orchestra and rising Lithuanian soprano Asmik Grigorian in works by Richard Strauss and Puccini on March 15. The Mandel Opera & Humanities Festival concert on May 24 showcases a dizzying variety of music from J.S. Bach to Ustvolskaya. And don’t miss the annual Martin Luther King, Jr. Celebration Concert on January 19.

In addition, seven digital premieres will be released through July 2025, featuring recent concerts, exclusive behind-the-scenes features, and interviews with guest artists. A special Christmas presentation appears on December 23, followed in succeeding months by concerts with conductors Franz Welser-Möst and Thomas Adès and guest artists Pekka Kuusisto and Garrick Ohlsson. One particularly notable production drops on June 17, 2025, featuring Welser-Möst leading the Orchestra and baritone Simon Keenlyside in works by Mahler — a concert that was recorded during the Orchestra’s Vienna tour in fall 2023.

Visit clevelandorchestra.com/adella for more information. Use code ADELLA30 for a 30-day free trial to Adella.

TCO Trumpet Section Celebrates Record 16 Seasons

THE CLEVELAND ORCHESTRA trumpets are celebrating an exciting milestone. With the start of the 2024 – 25 season, the current trumpet section — comprising (l-r above) Michael Miller, Assistant Principal Lyle Steelman, Jack Sutte, and Principal Michael Sachs —  is now in their 16th season of playing together, making them the longestserving four-person trumpet section in the Orchestra’s history. Previously, the record was held by Cleveland Orchestra trumpeters Bernard Adelstein, David Zauder,

Allan Couch, and James Darling, who collectively played together for 15 seasons (1973–74 to 1987–88). Zauder, who passed away in 2013, is currently the longestserving trumpet player with the Orchestra (at 40 years), with Sachs a close second at 37 years.

Reflecting upon this landmark moment, Sachs stated, “I cannot imagine a more wonderful and inspiring group of colleagues, musicians, collaborators, and dear friends to be lucky enough to be in the same section with for the past 16 years. This kind of stability in any orchestra section is rare and has given us the unique opportunity to craft a particular sound, style, and blend together within The Cleveland Orchestra. I can only hope that we have the chance to continue this partnership for many more years to come!”

Fuchs Foundation Supports TCO Soloists

THE CLEVELAND ORCHESTRA has a long tradition of bringing its own musicians to the forefront as solo artists. In the first part of the 2024–25 season, Principal Percussionist Marc Damoulakis (Margaret Allen Ireland Chair) took the stage to perform Tan Dun’s Water Concerto. Later on, Principal Cellist Mark Kosower (Louis D. Beaumont Chair) will present Dutilleux’s cello concerto Tout un monde lointain… [February 7 – 9, 2025].

and assistant principal cello from 1949 until his retirement in 1979.

During his time at The Cleveland Orchestra, Fuchs was a featured soloist on several occasions and was an early member of The Cleveland Orchestra String Quartet. Fuchs also made substantial contributions to music education in Cleveland, teaching at the Cleveland Institute of Music and The Music Settlement.

The Fuchs Family Foundation is honored to continue Fuchs’s love for The Cleveland Orchestra and further the legacy that the Orchestra provides the entire Cleveland community.

For the past 11 years, featured solo performances by musicians of The Cleveland Orchestra have been supported by the Jean, Harry, and Brenda Fuchs Family Foundation — in tribute to longtime Cleveland Orchestra cellist Harry Fuchs (right).

Fuchs was a member of The Cleveland Orchestra for 40 years, joining the orchestra in 1937 under the baton of Music Director Artur Rodziński, and continuing to work under five different music directors during his tenure. He served as principal cello between 1943–47,

The Fuchs Family Foundation is honored to continue Fuchs’s love for The Cleveland Orchestra and further the legacy that the Orchestra provides the entire Cleveland community. Their support enables us to celebrate the Orchestra’s musicians, who, like Fuchs, bring an immense amount of pride to Cleveland through their extraordinary artistry. We are honored to have our legacy tied to that of the entire Fuchs family and are grateful for the Fuchs Family Foundation’s generous gift.

SNAPSHOTS

FALL CONCERTS

The 2024 – 25 season started off with a bang in September, featuring an exciting lineup of guest conductors, stellar soloists, and incredible music.

1) Guest conductor Elim Chan led an exhilarating all-Rachmaninoff program, featuring the composer’s Symphonic Dances and Third Piano Concerto (played by Yefim Bronfman).

2) Esa-Pekka Salonen returned to Severance for the first time in 21 years, bringing colorful works by Ravel and Sibelius. The concert also spotlighted Salonen’s own Cello Concerto, with Finnish cellist Senja Rummukainen in the challenging solo role.

3) The stage of Severance was packed to the brim in October when Klaus Mäkelä (below) led a performance of Mahler’s world-embracing 4 3 1

Third Symphony, which included vocal contributions from mezzo-soprano Jennifer Johnston alongside The Cleveland Orchestra Chorus and Children’s Chorus.

4) Earlier in the season, the sounds of Latin jazz, salsa, and mariachi filled the hall during the Orchestra’s second Hispanic Heritage Month Concert. Attendees danced the night away to music provided by Las Sirenas and Sammy DeLeon y su Orquesta.

2024 GALA

5) The Cleveland Orchestra’s 2024 Gala brought a touch of elegance to Severance with an evening of food, drinks, and an all-French program performed by the Orchestra.

6) l-r: President & CEO André Gremillet, Gala Co-chairs Helen Rankin Butler and Michelle Shan Jescheling, and Board Chair Richard K. Smucker take in the festivities.

CLOCKWISE FROM TOP LEFT: PHOTOS BY KEVIN LIBAL, ROGER MASTROIANNI, EXTRAORDINAIRE PHOTOS, EXTRAORDINAIRE PHOTOS, SCOTT ESTERLY, 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

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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

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Cynthia Knight

John D. and Giuliana C. Koch

Ms. Cathy Lincoln

Jon A. and Virginia M. Lindseth, PhD

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Randy and Christine Myeroff

The Honorable John Doyle Ong

Catherine and Hyun Park

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James and Marguerite Rigby

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Mark and Shelly Saltzman

Donna E. Shalala (Miami)

Hewitt and Paula Shaw

R. Thomas and Meg Harris Stanton

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

Tom and Shirley* Waltermire

Anya Weaving and Tom Mihaljevic

Meredith and Michael Weil

Anonymous (2)

Dudley S. Blossom Society

Gifts of $15,000 to $24,999

Mr. James Babcock

Mr. and Mrs. Jules Belkin

Mr. and Mrs. C. Perry Blossom

Mr. and Mrs. Charles P. Bolton

Dr. Christopher P. Brandt and Dr. Beth Sersig

Mr. D. McGregor Brandt, Jr.

Dr. Ben H. and Julia Brouhard

Meghan and Trent Brown

Mr. and Mrs. Kevin C. Conway

Mary* and Bill Conway

Mrs. Barbara Cook

Mrs. Anita Cosgrove

Mr. and Mrs. Matthew V. Crawford

Maureen A. Doerner and Geoffrey T. White

Nancy and Richard Dotson

Mr. Brian L. Ewart and Mr. William McHenry

Mr. and Mrs. Richard C. Fedorovich

Friends of The Cleveland Orchestra

Richard and Ann Gridley

Mr. Calvin Griffith

Gary L. and Cari T. Gross

Mr. and Mrs. Harley I. Gross

Kathleen E. Hancock

Jack Harley and Judy Ernest

Gerald Hughes

Mr. and Mrs. Brinton L. Hyde

Sarah Liotta Johnston and Jeff Johnston

Rob and Laura Kochis

Eeva and Harri Kulovaara (Miami)

Mr. and Mrs. S. Ernest Kulp

Ms. Heather Lennox

Daniel R. Lewis (Miami)

In honor of Emma Skoff Lincoln

Linda Litton

Mr. and Mrs. Alex Machaskee

Alan Markowitz M.D. and Cathy Pollard

Ann Jones Morgan

Sally S. and John C. Morley*

Jennifer and Alexander Ogan

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

Douglas and Noreen Powers

Mr. Winthrop Quigley and Ms. Bonnie Crusalis

Saul and Mary Sanders (Miami)

Rachel R. Schneider

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Meredith M. Seikel

Robyn Shifrin

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Bruce and Virginia Taylor

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Karen Walburn

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Robert C. Weppler

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Anonymous (3)

Frank H. Ginn Society

Gifts of $10,000 to $14,999

Dr. and Mrs. D. P. Agamanolis

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Ms. Viia R. Beechler

Laura and Jon Bloomberg

Ted and Donna Connolly

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Giles Debenham

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

Joan Alice Ford

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Mr. and Mrs. Michael Gröller (Europe)

Alfredo and Luz Maria Gutierrez (Miami)

Robin Hitchcock Hatch

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

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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*

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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.

CELL PHONES, WATCHES & OTHER DEVICES

As a courtesy to others, please silence all electronic 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

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