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2024/2025 SEASON
JACK, JOSEPH AND MORTON MANDEL CONCERT HALL AT SEVERANCE MUSIC CENTER
PAGE 3
Introduction
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THIS WEEK’S PROGRAM
Rhapsody in Blue
David Robertson, conductor
Suite from Appalachian Spring (page 8) by Aaron Copland
Rhapsody in Blue (page 11) by George Gershwin
Marc-André Hamelin, piano
New World A-Comin’ (page 14) by Duke Ellington
Marc-André Hamelin, piano
Suite from The Tender Land (page 18) by Aaron Copland
Conductor & Artist Biographies (page 23)
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TCO SPOTLIGHT
Feature articles & musician interviews
PAGE 45
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
THIS THANKSGIVING WEEKEND program features four works by three celebrated composers —
Aaron Copland, George Gershwin, and Duke Ellington. Beyond the fact that all three were born in America, each was a revolutionary in their own right. These works — some of which were marked by controversy — changed the way audiences listen to music in the concert hall. From a ballet that made waves across the genre to innovative fusions of classical music and jazz, each piece broadened and built upon the beloved “American” sound.
At its debut in 1944, Copland’s Appalachian Spring was a stunning success. A collaboration with eminent dancer and choreographer Martha Graham (above left), the ballet harkened back to 19th-century folk music styles to celebrate the pioneering American spirit. Its critical acclaim was so great, in fact, that it won Copland the third-ever Pulitzer Prize for Music. However, a decade later, his opera The Tender Land was an immediate flop and slow to regain acceptance. Nevertheless, when Copland turned selections from the opera into an orchestral suite in 1958, it earned the appreciation of critics and audiences alike.
It was only five weeks before its premiere in 1924 that Gershwin found out — from the New-York Tribune — that he was to write a new jazz concerto, which he had declined to write months prior. After being persuaded by bandleader Paul Whiteman, he hurriedly put together his Rhapsody in Blue, which garnered immediate acclaim for breaking the boundaries between classical and jazz. Even 100 years later, it has still not lost its luster.
Unfortunately, critics were not so kind to Duke Ellington upon his Carnegie Hall debut 20 years later, likely due to prejudice against him as a Black man. But his concert was so popular with audiences that he was invited back later that same year. At this performance, he premiered his New World A-Comin’, a virtuosic showpiece that, in the composer’s words, represents “a place in the distant future where there would be no war, no greed, [and] no categorization. …” — Noah Hertzman
Dancer and choreographer Martha Graham shakes hands with Aaron Copland at the first performance of Appalachian Spring in 1944.
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
Rhapsody in Blue
Friday, November 29, 2024, at 7:30 PM
Saturday, November 30, 2024, at 8 PM
Sunday, December 1, 2024, at 3 PM
one hour prior to performance
David Robertson, conductor
Aaron Copland (1900–1990)
George Gershwin (1898–1937)
Duke Ellington (1899–1974)
Aaron Copland
Marc-André Hamelin’s performance is generously sponsored by Dr. Michael Frank and Patricia A.* Snyder.
Saturday evening’s concert is sponsored by BakerHostetler.
Suite from Appalachian Spring 25 minutes (1945 orchestration)
Rhapsody in Blue 15 minutes (original jazz band version arr. by Ferde Grofé)
Marc-André Hamelin, piano
INTERMISSION 20 minutes
New World A-Comin’ 10 minutes (arr. Luther Henderson, ed. Jeff Tyzik and John Nyerges)
Marc-André Hamelin, piano
Suite from The Tender Land 20 minutes Introduction and Love Music Party Scene — Finale: The Promise of Living
Total approximate running time: 1 hour 30 minutes
Thank you for silencing your electronic devices.
Sunday’s performance will be livestreamed on Adella.live and DG Stage+
Concert Preview with James O’Leary Reinberger Chamber Hall
Suite from Appalachian Spring (1945 orchestration)
by Aaron Copland
BORN : November 14, 1900, in Brooklyn, New York
DIED : December 2, 1990, in Sleepy Hollow, New York
▶ COMPOSED: 1944 for chamber ensemble; arranged for orchestra in 1945
▶ WORLD PREMIERE : The ballet premiered on October 30, 1944, at the Library of Congress in Washington, DC, conducted by Louis Horst. The orchestral suite was first performed on October 4, 1945, with Artur Rodziński conducting the New York Philharmonic.
▶ CLEVELAND ORCHESTRA PREMIERE : October 11, 1945, led by Music Director Erich Leinsdorf
▶ ORCHESTRATION : 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, percussion (bass drum, snare drum, tabor, cymbals, triangle, woodblock, claves, xylophone, glockenspiel), piano, harp, and strings
▶ DURATION : about 25 minutes
AARON COPLAND ’S ORIGINAL TITLE for Appalachian Spring was Ballet for Martha. This “Martha” was Martha Graham, the grande dame of modern American dance theater. Composer and dancer had long been great admirers of each other’s work when Graham commissioned Copland to write the music for one of her new ballets. At the premiere in October 1944 — held at the Library of Congress in Washington, DC — Appalachian Spring was presented as part of a triple bill that also included ballets with music by Darius Milhaud and Paul Hindemith.
For her collaboration with Copland,
Graham had conceived a ballet taking place in rural Pennsylvania at the beginning of the 19th century. She had not found a title for this work until shortly before the premiere, when she came upon the long poem The Bridge by American poet — and former Cleveland resident — Hart Crane. In it, a section called “The Dance” includes the line “O Appalachian Spring!”
Copland later recalled Graham saying, “The title really has nothing to do with the ballet, I just liked it.” Nevertheless, it was an extremely well-chosen title. Copland wrote: “I can’t begin to tell you how often people have come up to me
and said, ‘Mr. Copland, when I hear your score, I can just see the Appalachians and feel spring!’”
By this point, Copland had already written two ballets on American themes — Billy the Kid and Rodeo. Appalachian Spring, however, is different from its predecessors in that its mood is gentle and lyrical from beginning to end, whereas the earlier works had included rough-and-tumble cowboy scenes.
The preface to the printed score provides a summary of the action, written by Edwin Denby:
The work concerns a pioneer celebration in spring around a newly built farmhouse in the Pennsylvania hills in the early part of the last century. The bride-to-be and the young farmer-husband enact the emotions, joyful and apprehensive, which their new domestic partnership invites. An older neighbor suggests, now and then, the rocky confidence of experience. A revivalist and his followers remind the new householders of the strange and terrible aspects of human fate. At the end, the couple are left quiet and strong in their new house.
Although the various musical sections are contrasted in tempo and character, a few recurrent melodic motifs run through the entire work, giving the score a remarkable sense of unity and a fundamental aura of peace and love. A crystallizing moment is the appearance of the Shaker melody “Simple Gifts,” which expresses the joy and contentment of the protagonists accepting the gift of life.
In 1945, Copland received the Pulitzer Prize for Music for Appalachian Spring. That same year, he condensed the original ballet music into a suite, “retaining all essential features but omitting those sections in which the interest is primarily choreographic,” as he himself explained. (He also adapted the music for full orchestra, expanding it from the ballet’s original chamber ensemble of 13 instruments.) In this form, Appalachian Spring started a life of its own away from the ballet stage and quickly became a universal concert favorite. As Copland wrote, “This piece had a great deal to do with bringing my name before a larger public.”
— Peter Laki
Peter Laki is a musicologist and frequent lecturer on classical music. He is a visiting associate professor of music at Bard College.
Aaron Copland once said of Martha Graham, “Nobody else seems quite like Martha: she’s so proud, so very much herself. And she’s unquestionably very American: there’s something prim and restrained, simple yet strong about her which one tends to think of as American.”
BY
PHOTO
Rhapsody in Blue (original jazz band version arr. by Ferde Grofé)
by George Gershwin
BORN : September 26, 1898, in Brooklyn, New York
DIED : July 11, 1937, in Los Angeles
▶ COMPOSED: 1924
▶ WORLD PREMIERE : February 12, 1924, with the composer as soloist and Paul Whiteman conducting his Palais Royal Orchestra
▶ CLEVELAND ORCHESTRA PREMIERE : July 22, 1939, featuring soloist Henry Pildner and conducted by Rudolph Ringwall
▶ ORCHESTRATION : oboe, clarinet, E-flat clarinet, bass clarinet, 3 saxophones, 2 horns, 2 trumpets, 2 trombones, tuba, banjo, timpani, percussion (drum set, glockenspiel, gong, triangle), piano, celesta, violins, and double bass, plus solo piano
▶ DURATION : about 15 minutes
THE 1924 PREMIERE of George Gershwin’s Rhapsody in Blue came with an agenda. The concert itself, led by bandleader Paul Whiteman, was provocatively called “An Experiment in Modern Music.” As the program booklet explained: American composers should be encouraged to not only maintain the present standard, but to strive for bigger and better things. Eventually there may evolve an American school which will equal those of foreign origin or at least provide a stepping-
stone which will make it very simple for the masses to understand and enjoy symphony and opera. That is the true purpose of the experiment.
A century on, we might say the experiment worked. Universally recognized as embodying a distinctively American spirit, Rhapsody in Blue is now one of the most enduring pieces of classical music ever written and continues to delight new generations of listeners around the world.
The score itself can help explain the success. Composer David Schiff has speculated that the work’s five easily recognizable themes — from the hopping
George Gershwin made waves in America for his seemingly effortless navigation between the worlds of popular and classical music.
THE MUSIC
1058864s1_Cleveland Orchestra_Week
Symphony No. 6 in E-flat minor, Op. 111
manipulations of time, and, especially, new instrumentation. (Gershwin’s orchestrator, Ferde Grofé, deserves much of the credit for this last quality.)
By Sergei Prokofiev
BORN : April 23, 1891, in what is now Sontsivka, Ukraine
DIED : March 5, 1953, Moscow
▶ COMPOSED: 1944–47
▶ WORLD PREMIERE: October 10, 1947, with Yevgeny Mravinsky leading the Leningrad Philharmonic
▶ CLEVELAND ORCHESTRA PREMIERE: March 17, 1977, led by guest conductor Gennady Rozhdestvensky
clarinet melody that spills out from the famous opening glissando to the lush, romantic tune travelers associate with United Airlines — likely began as “trunk songs,” or melodies a seasoned songwriter like Gershwin would idly sketch for use in the indefinite future. Melodic writing stands at the top of Gershwin’s musical gifts, so it would be unsurprising if he stitched the work together from his “keepers.”
▶ ORCHESTRATION: 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, E-flat clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, woodblock, tam-tam, tambourine, cymbals, triangle), piano, celesta, harp, and strings
▶ DURATION: about 45 minutes
The “American melting pot” metaphor is harder to assess. Schiff contends that the work contains a range of American musical “ingredients”: the effects of New Orleans jazz, a variety of piano styles from Harlem stride to vaudeville, and contemporary dance rhythms like the foxtrot. But a technical explanation of the music’s national essence can only go so far since the very definition of “American” is always a moving target. Reflecting on the Rhapsody’s centennial, jazz pianist Ethan Iverson argued that, despite its popularity and musical virtues, the piece has “clogged the arteries of American music” and “the promise of a true fusion on the concert stage basically begins and ends with it.” In other words, maybe the experiment failed.
Gershwin himself once observed, “I heard it as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our metropolitan madness.” The first of these heartwarming images is more than a mere metaphor. A rhapsody, by definition, contains limited melodic material repeatedly recast with fresh rhythmic underpinnings, improvisatory
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.
So, which is it?
The experiment’s stated purpose must be understood in its 1924 context. By that time, classical musicians in the United States had debated vigorously for decades about what qualities could make classical music sound uniquely American. The place of African-derived genres, from the Creole songs woven into the antebellum music of Louis Moreau Gottschalk to the spirituals famously championed by Antonín Dvořák in the 1890s, often stood at the center of these debates. As we can imagine, pervasive racist attitudes
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
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.
Shortly after composing his Sixth Symphony, Sergei Prokofiev was singled out by Soviet for writing “formalist” music.
Gershwin seen in a photo for Vanity Fair, taken three years after the roaring success of Rhapsody in Blue
I heard [Rhapsody in Blue] as a sort of musical kaleidoscope of America, of our vast melting pot, of our unduplicated national pep, of our metropolitan madness.
— George Gershwin
underpinned the entire discussion: Is African American musical expression “worthy” of incorporation into classical idioms? If so, would engaging with it make a new piece more American in character? Today, of course, the answer is a resounding “Yes!” But this was the Jim Crow era, after all.
At the time, the rhapsody genre was a central place for exploring ideas about the relationship between Black vernacular music (including jazz) and classical idioms. African American composer
Edmund Thornton Jenkins composed a short orchestral work called Charlestonia: A Folk Rhapsody (1917–19) that evokes the sounds of Black folk music and “gestures toward jazz” with a large clarinet solo presaging the opening of Rhapsody in Blue. Jenkins’s piece premiered in Belgium in 1925 and received positive press but never gained any further traction in performance. In contrast, John Powell’s Rhapsodie nègre (1918) introduces Black vernacular styles only to have them devolve into musical chaos, symbolizing Powell’s dehumanizing interest in eugenics. This work has since disappeared from the repertoire despite its early popularity. Whiteman’s experiment was meant, in part, to challenge the openly racist views of Powell and his ilk by showing that classical music and jazz could live comfortably together. On that front, the experiment was most certainly a success. But, as Iverson suggests, we can be mindful of the fact that many other composers with diverse artistic aims, from Duke Ellington to Florence Price, also created rhapsodic musical recipes that equally manifest a truly American spirit. Indeed, looking back on the last century — and listening — we can hear Rhapsody in Blue as a single but striking brushstroke in a beautiful and undeniably American musical portrait.
— Douglas W. Shadle
Douglas W. Shadle is an associate professor of musicology at Vanderbilt University and the author of two highly regarded books: Orchestrating the Nation and Antonín Dvořák’s New World Symphony. A leading authority on composer Florence B. Price, he sits on the board of the International Florence Price Festival.
The front cover of the first printed edition of Rhapsody in Blue, which celebrates its centennial in 2024.
New World A-Comin’
(arr. Luther Henderson, ed. Jeff Tyzik and John Nyerges)
by Duke Ellington
BORN : April 29, 1899, in Washington, DC
DIED : May 24, 1974, in New York City
▶ COMPOSED: 1943
▶ WORLD PREMIERE : December 11, 1943, at Carnegie Hall, with Duke Ellington and His Orchestra
▶ CLEVELAND ORCHESTRA PREMIERE : While these concerts mark the first presentations of the piano-orchestra version of New World A-Comin’ by The Cleveland Orchestra, the Orchestra performed a vocal arrangement with Ben Vereen and conductor Herman Jackson on December 20, 2011. Previously, Duke Ellington and His Orchestra performed the work at Cleveland’s Public Auditorium on July 25, 1956.
▶ ORCHESTRATION : 2 flutes, 2 oboes, English horn, 3 clarinets, bass clarinet, 2 bassoons, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, suspended cymbal, drum set), jazz bass, and strings, plus solo piano
▶ DURATION : about 10 minutes
DECADES INTO AN ILLUSTRIOUS CAREER that began in the New York nightclubs of the Roaring Twenties, Edward Kennedy “Duke” Ellington was trying to break beyond the borders of the genre that defined — and confined — him.
Despite Ellington’s unparalleled success as perhaps the definitive American jazz musician, critics and audiences alike were puzzled whenever he tried to branch out beyond the big band music he was known for. His piece New World A-Comin’ encapsulates this career-long
effort to challenge the assumptions and preconceptions of his career and what jazz could be.
Ellington wrote New World A-Comin’ for the second of his Carnegie Hall concerts on December 11, 1943. The first of these successful (if critically mixed) concerts was in January of that year, which was his first attempt to elevate
Often hailed as one of the greatest jazz musicians of all time, Duke Ellington helped bring the genre into the wider public sphere, thanks to decades of performances and recordings.
jazz in the eyes of the American public and saw the premiere of his similarly symphonic Black, Brown, and Beige. For New World A-Comin’, Ellington turned to Roi Ottley’s recent social history of Black America during the Second World War. Ellington was taken by the content of Ottley’s book, taking its title and postwar racial optimism as a programmatic basis for his piece. (Ironically, the book’s optimism was partially imagined, as Ellington later admitted that he never actually read the book.)
New World A-Comin’ was originally written for his big band, so while not technically symphonic, it was still ambitious in scope, a series of five contrasting sections connected by rhapsodic cadenzas in a manner akin to a 19th-century concerto.
cians to follow him to Carnegie. Carnegie Hall as a venue was a bit of a utopia for jazz after many decades of popularity and transformation. Ellington later remarked in his memoirs that “the annual Carnegie Hall concerts were really a series of social-significance thrusts … or so I and many other people came to regard them.” Biographer
John Edward Hasse has noted that “partly through the concerts given by Ellington, his musicians (and others, too) were enjoying an additional measure of respect within American society.”
New World A-Comin’ had begun as symphonic and grand in character, but the initial performance in 1943 was for big-band instrumentation. In 1955, Ellington revisited the piece, this time
New World A-Comin’ was originally written for [Ellington’s] big band, so while not technically symphonic, it was still ambitious in scope, a series of five contrasting sections connected by rhapsodic cadenzas in a manner akin to a 19th-century concerto.
The Carnegie concerts were a mixed success. While works like New World A-Comin’ would continue to be played by Ellington and his big band, the new compositions from these concerts did not break into the mainstream as his other pieces had. (Ellington remarked of Black, Brown, and Beige’s critical reception, “Well, I guess they just didn’t dig it.”) However, while Ellington’s status as a composer didn’t seem to rise, these concerts did succeed in paving the way for other non-classical musi-
orchestrating the work for big band, symphony orchestra, and soloist for a performance on another Carnegie Hall concert, this time featuring NBC’s Symphony of the Air. This version more closely resembles the version played by orchestras today. A longtime associate of Ellington, Donald Shirley, performed the piano solo at this first performance. Shirley was a close friend and champion of Ellington, but he was also an encapsulation of Ellington’s rejection from composers and performers of Western
art music. Despite collaborating with and performing his music, Shirley didn’t see Ellington as a “real” composer, once remarking, “It’s an insult to Johann Sebastian Bach if you’re going to call [my friend Duke Ellington] a composer.” The efforts of composers in the mid-20th century to bring vernacular music to the concert hall were typically dismissed as attempts to be populist or middlebrow, relegated to the background behind the ghosts of esteemed European composers.
New World A-Comin’ is an example of the ways that audiences can be fickle when it comes to genre. To this day, Ellington is considered one of the greatest jazz composers of all time, but still a “jazz composer.” Ellington himself rejected the genre’s boundaries, and
After the success of his first Carnegie Hall concert in January 1943, Duke Ellington and his big band performed a 25-week run at New York City’s Hurricane Club (above).
while he was perhaps overly simplistic in his approach, he famously remarked, “There are simply two kinds of music, good music and the other kind.” New World A-Comin’ is thus not an attempt to bring jazz to the concert hall or bring the concert hall to jazz. Instead, Ellington tried to use the prestige of the concert hall and the orchestra to legitimize his ultimate goal: to simply write music.
— Tanner Cassidy
Tanner Cassidy is operations manager for the Four Seasons Chamber Music Festival. He is a PhD candidate in music theory at the University of California, Santa Barbara, and has written program notes for the Music Academy of the West.
Suite from The Tender Land
by Aaron Copland
▶ COMPOSED: 1952–54; suite compiled in 1958
▶ WORLD PREMIERE : The opera premiered on April 1, 1954, at New York City Opera, with Thomas Schippers conducting. Conductor Fritz Reiner and the Chicago Symphony Orchestra premiered the suite on April 10, 1958.
▶ CLEVELAND ORCHESTRA PREMIERE : October 6, 1960, led by Music Director George Szell
▶ ORCHESTRATION : 2 flutes, piccolo, oboe, English horn, 2 clarinets (2nd doubling bass clarinet), 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (glockenspiel, triangle, snare drum, woodblock, xylophone, cymbals, rachet, bass drum, whip), harp, piano, celesta, and strings
▶ DURATION : about 20 minutes
THE 1950S WERE A TROUBLING TIME for Aaron Copland. Politically, he was imperiled by his early support of leftwing New Deal policies, which made him a target for having suspected Communist sympathies. In 1953, at the height of McCarthyism, he was called before the House Committee on Un-American Activities to explain some of his past political associations. Furthermore, the music he had written in the 1930s and ’40s — full of consonance, open chords, and folklike melodies — was not viewed as simple Americana anymore. Across the Atlantic, the Soviet Union strictly required its composers to write accessible, nationalistic music, so by proxy, Copland’s “populist” style came to be associated in some circles with Socialist Realism. During this time, possibly to
assuage people’s concerns, he began experimenting with more dissonant, atonal techniques.
However, Copland never fully abandoned his popular American style. In 1952, NBC commissioned him to write an opera for a live television performance. Copland — along with librettist Erik Johns (who wrote under the pseudonym Horace Everett) — responded with The Tender Land, a folk-music-filled opera about life on a Midwestern farm. The plot follows a young girl named Laurie, who falls in love with Martin, a wandering laborer, on her graduation night. Though they plan to elope, trouble caused by other out-of-towners leads Laurie’s family to kick out Martin and Top (his travel companion). The opera ends with Laurie deciding to venture out on her own.
Copland was frequently referred to as the “Dean of American Composers” for a modern, yet accessible style that evoked the American ethos.
Unfortunately for Copland, NBC canceled the TV performance of his opera — possibly due to his 1953 Senate appearance — and when it finally opened at New York City Opera in 1954, it was a flop. The work, built for the intimacy
of television, did not translate well to the stage, and neither did it conform to audience expectations of Copland’s past work. It was not until at least 30 years later that The Tender Land finally gained popularity. However, Copland did achieve success with a suite from the opera, which he compiled and published in 1958.
The suite’s Introduction opens with a brilliant fanfare, which soon subsides into pastoral melodies in the strings accompanied by bird calls in the woodwinds. Eventually, these simple melodies build into the Love Music, which includes the duet that Laurie and her lover, Martin, sing together in the opera’s second act. Themes come and go, much like several of the opera’s characters (including Martin), but undercurrents of hope and joy permeate the music. A few uneasy chords threaten to disturb the peace, but the movement finishes on a hopeful note.
young men conspire to get Laurie’s grandfather increasingly drunk, the trumpets play a lively melody. In the opera, one of the partygoers sings this tune to the following words:
Stomp your foot upon the floor. Throw the windows open. Take a breath of fresh June air And dance around the room.
[“The Promise of Living”] is a poignant hymn of camaraderie between people from all walks of life, from wandering laborers to farming families.
A playful cacophony launches us into the second-movement Party Scene, which corresponds to the opening of Act II, where the town is celebrating Laurie’s graduation. After the guests have arrived, they discuss men’s and women’s roles in the farming community, represented by plain, measured music in the woodwinds interjected by light, springy music in the high strings. Eventually, everyone gets up for a square dance. As two of the
The music continues, the party getting rowdier and rowdier, until the chaos reaches its peak and immediately segues into the last movement. The final movement is an orchestral arrangement of “The Promise of Living,” the harvest song that closes out Act I of the opera. A slow, uplifting introduction in the strings is followed by an English horn solo. The English horn intones the voice part, singing:
The promise of living
With hope and thanksgiving Is born of our loving Our friends and our labor.
The scene is a poignant hymn of camaraderie between people from all walks of life, from wandering laborers to farming families. In the opera, as individual characters begin to sing, more and more voices are added to the mix, and majestic, chorale-like brass join in as the entire community rejoices in the harvest.
— Noah Hertzman
Noah Hertzman was The Cleveland Orchestra’s content intern for summer 2024. He is a dual-degree student in composition at the Cleveland Institute of Music and history at Case Western Reserve University.
David Robertson
DAVID ROBERTSON — conductor, artist, composer, thinker, American musical visionary — occupies the most prominent podiums in orchestral and new music, and opera. He is a champion of contemporary composers and an ingenious and adventurous programmer.
Robertson has served in numerous artistic leadership positions, such as chief conductor and artistic director of the Sydney Symphony Orchestra, a transformative 13-year tenure as music director of the St. Louis Symphony Orchestra, with the Orchestre National de Lyon, the BBC Symphony Orchestra, and, as protégé of Pierre Boulez, the Ensemble intercontemporain.
In the 2024–25 season, Robertson celebrates the Boulez centennial with the New York Philharmonic, Juilliard Orchestra, Aspen Music Festival and School, and Lucerne Festival Contemporary Orchestra, and conducts the orchestras of Philadelphia, Cleveland, Seattle, San Francisco, Chicago, Seoul, and Leipzig, in addition to the NDR Elbphilharmonie Orchestra and Symphonieorchester des Bayerischen Rundfunks. He leads European tours with the Deutsches Symphonie-Orchester Berlin and the Australian Youth Orchestra and continues his three-year project as the inaugural creative partner of the Utah Symphony and Opera, where his guitar ensemble, Another Night on Earth, made its US debut.
Since his 1996 Metropolitan Opera debut, Robertson has conducted a breathtaking range of Met projects, including the 2019–20 season-opening production of Gershwin’s Porgy and Bess, for which he shared a Grammy Award for Best Opera Recording in March 2021. In 2022, he conducted the Met Opera revival of the production, in addition to making his Rome Opera debut conducting Janáček’s Káťa Kabanová.
Robertson is the director of conducting studies, distinguished visiting faculty of The Juilliard School in New York, and serves on the Tianjin Juilliard Advisory Council. He is also a Chevalier de l’Ordre des Arts et des Lettres of France and is the recipient of numerous artistic awards.
Discover more about Robertson at conductordavidrobertson.com and on Facebook, Instagram, Threads, and YouTube @conductordavidrobertson.
Marc-André Hamelin
Piano
PIANIST MARC-ANDRÉ HAMELIN , a “performer of near-superhuman technical prowess” (The New York Times), is known worldwide for his unrivaled blend of consummate musicianship and brilliant technique. He continues to amass praise for his interpretations of the great works of the repertoire and for his intrepid exploration of the rarities of the 19th, 20th, and 21st centuries.
Hamelin’s 2024–2025 season includes recitals in Asia and Europe, alongside orchestral appearances with the RTVE Symphony Orchestra, Bruckner Orchester Linz, and Prague Radio Symphony Orchestra. In North America, Hamelin returns to Carnegie Hall with the Orchestra of St. Luke’s, alongside performances with The Cleveland Orchestra and Atlanta Symphony Orchestra, and a complete Beethoven concerto cycle with the Edmonton Symphony Orchestra. He also tours with the Dover Quartet in a program that features his own Piano Quintet.
An exclusive recording artist for Hyperion Records, Hamelin has released 89 albums to date, featuring a broad range of solo, orchestral, and chamber repertoire. In October, Hamelin released his recording of Beethoven’s “Hammerklavier” Sonata, coupled with the Piano Sonata in C major (Op. 2, No. 3). In 2025, he releases MixTape, featuring 20thcentury music.
Hamelin has composed music throughout his career, most of which is
published by Edition Peters, including his Études and Toccata on L’homme armé, the latter commissioned by the Van Cliburn Foundation. Hamelin performed the Toccata along with music by C.P.E. Bach and William Bolcom in an NPR Tiny Desk Concert in 2023. Born in Montreal, Hamelin is the recipient of a Lifetime Achievement Award from the German Record Critics’ Association and over 20 of its quarterly awards. He has also received seven Juno Awards, 12 Grammy nominations, and the 2018 Jean Gimbel Lane Prize in Piano Performance from Northwestern University’s Bienen School of Music. In December 2020, he was awarded the Paul de Hueck and Norman Walford Career Achievement Award for Keyboard Artistry from the Ontario Arts Foundation. Hamelin is an Officer of the Order of Canada, a Chevalier de l’Ordre national du Québec, and a member of the Royal Society of Canada.
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
Analise 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.
CALENDAR
FALL
RECITAL
DEC 4
GERSTEIN IN RECITAL
Kirill Gerstein, piano
Works by R. Schumann, Francisco
Coll, Ravel, and Liszt
DEC 5–7
AX PLAYS MOZART
Pablo Heras-Casado, conductor
Emanuel Ax, piano
MOZART Piano Concerto No. 20
SHOSTAKOVICH Symphony No. 10
WINTER
JAN 9, 11 & 12
AN AMERICAN IN PARIS
Stéphane Denève, conductor
Steven Banks, saxophone
MILHAUD La création du monde
GUILLAUME CONNESSON A Kind of Trane
POULENC Suite from Les biches
GERSHWIN An American in Paris
JAN 16–18
HAHN PLAYS BRAHMS
Elim Chan, conductor
Hilary Hahn, violin
BRAHMS Violin Concerto
LUTOSŁAWSKI Concerto for Orchestra
FEB 7–9
ALSO SPRACH
ZARATHUSTRA
Thomas Guggeis, conductor
Mark Kosower, cello
R. STRAUSS Also sprach
Zarathustra
DUTILLEUX Tout un monde
lointain...
RAVEL La valse
FEB 13 & 15
BRUCKNER’S SEVENTH
Fabio Luisi, conductor
Tim Mead, countertenor
SILVIA COLASANTI Time’s Cruel Hand
BRUCKNER Symphony No. 7
FEB 20 & 22
ADÈS CONDUCTS ADÈS
Thomas Adès, conductor
Kelley O’Connor, mezzo-soprano
The Cleveland Orchestra Chorus
SIBELIUS The Oceanides
SAARIAHO Oltra Mar
THOMAS ADÈS America: A Prophecy IVES Orchestral Set No. 2
RECITAL
FEB 23
ÓLAFSSON & WANG IN RECITAL
Víkingur Ólafsson, piano
Yuja Wang, piano
Works by Berio, Schubert, Cage, Nancarrow, John Adams, Arvo Pärt, and Rachmaninoff
FEB 27–MAR 1
BEETHOVEN’S EROICA
Alan Gilbert, conductor
Leonidas Kavakos, violin
SHOSTAKOVICH Violin Concerto No. 2
BEETHOVEN Symphony No. 3, “Eroica”
MAR 6–9
TCHAIKOVSKY’S FOURTH SYMPHONY
Franz Welser-Möst, conductor
Seong-Jin Cho, piano
RAVEL Rapsodie espagnole
RAVEL Piano Concerto in G major
TCHAIKOVSKY Symphony No. 4
MAR 13 & 15
HAYDN & STRAUSS
Franz Welser-Möst, conductor
Asmik Grigorian, soprano
HAYDN Symphony No. 52
R. STRAUSS Four Last Songs
JANÁČEK Suite from From the House of the Dead
PUCCINI Final Scene from Suor Angelica
MAR 14
HAYDN & STRAVINSKY
Franz Welser-Möst, conductor
HAYDN Symphony No. 52
STRAVINSKY Pétrouchka
MAR 22 & 23
YUJA WANG PLAYS TCHAIKOVSKY
Franz Welser-Möst, conductor
Yuja Wang, piano
TCHAIKOVSKY Piano Concerto No. 1
TCHAIKOVSKY Symphony No. 5
SPRING RECITAL
MAR 27
ANDSNES IN RECITAL
Leif Ove Andsnes, piano
Works by Grieg, Tveitt, and Chopin
RECITAL
APR 8
IN THE FIDDLER’S HOUSE
Itzhak Perlman, violin
Hankus Netsky, music director, arranger, saxophone, piano
Andy Statman, clarinet, mandolin
Michael Alpert, vocals, violin
Lorin Sklamberg, vocals, accordion
Judy Bressler, vocals, percussion
Frank London, trumpet
Klezmer Conservatory Band
APR 17–19
BACH’S EASTER ORATORIO
Bernard Labadie, conductor
Joélle Harvey, soprano
Adèle Charvet, mezzo-soprano
Andrew Haji, tenor
Gordon Bintner, bass-baritone
The Cleveland Orchestra Chorus
J.S. BACH Easter Oratorio
J.S. BACH Sinfonia from Cantata No. 29
J.S. BACH Magnificat
APR 24–26
MOZART & ELGAR
Kazuki Yamada, conductor
Francesco Piemontesi, piano
MOZART Piano Concerto No. 25
ELGAR Symphony No. 1
RECITAL
MAY 7
KISSIN IN RECITAL
Evgeny Kissin, piano
Works by Beethoven, Chopin, and Shostakovich
MAY 8–10
MOZART’S SYMPHONY NO. 40
Franz Welser-Möst, conductor
MOZART Symphony No. 40
ALLISON LOGGINS-HULL New Work
PROKOFIEV Symphony No. 3 *
* Not performed on the Friday matinee concert
MAY 17, 22 & 25
JANÁČEK’S JENŮFA
Franz Welser-Möst, conductor
Latonia Moore, soprano
Pavol Breslik, tenor
Miles Mykkanen, tenor
Nina Stemme, soprano
The Cleveland Orchestra Chorus
JANÁČEK Jenůfa
Opera presentation sung in Czech with projected supertitles
MAY 23 & 24
VOX HUMANA
Franz Welser-Möst, conductor
Sarah Aristidou, soprano
Tony Sias, narrator
The Cleveland Orchestra Chorus
POULENC La voix humaine
J.S. BACH Concerto from Komm, Jesu, komm
USTVOLSKAYA Symphony No. 5, “Amen”
J.S. BACH Aria from Komm, Jesu, komm
R. STRAUSS Symphonic Fantasy on Die Frau ohne Schatten
Generous support for the 2024–25 Recital Series provided by the Reyzis Family Foundation
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
Celebrating VoiceOPERA CLUB
Angela Mortellaro, Major Gift Officer 216-231-8014 | amortellaro@clevelandorchestra.com
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
Sally and Larry Sears
Astri Seidenfeld
The Seven Five Fund
Richard and Nancy Sneed
Dr. Russell A. Trusso
Mr. and Mrs. Franz Welser-Möst
Paul and Suzanne Westlake
Barbara and David Wolfort
Tony and Diane Wynshaw-Boris
Anonymous
Elisabeth DeWitt
Severance Society
Gifts of $25,000 to $49,999
Victor and Abby Alexander
Dr. and Mrs. Wolfgang Berndt (Europe)
Mr. William P. Blair III*
Robin Dunn Blossom
Jeanette Grasselli Brown and Glenn R. Brown*
Dr. Robert Brown and
Mrs. Janet Gans Brown
Dr. Thomas Brugger* and Dr. Sandra Russ
J. C. and Helen Rankin Butler
Jim and Mary Conway
Judith and George W. Diehl
Elliot and Judith Dworkin
Mary Jo Eaton (Miami)
Mr.* and Mrs. Bernard H. Eckstein
Drs. Wolfgang and Gabi Eder (Europe)
Dr. and Mrs. Robert Ehrlich (Europe)
Mrs. Connie M. Frankino
Mr. and Mrs. Robert W. Gillespie
David and Robin Gunning
Sondra and Steve Hardis
Mrs. Lynn Heisler
Amy and Stephen Hoffman
David and Nancy Hooker
Richard Horvitz and Erica Hartman-Horvitz (Cleveland, Miami)
Mrs. Marguerite B. Humphrey*
Allan V. Johnson
Mr. and Mrs. Joseph P. Keithley
Cynthia Knight
John D. and Giuliana C. Koch
Ms. Cathy Lincoln
Jon A. and Virginia M. Lindseth, PhD
Mr. Jeff Litwiller
Mr. and Mrs. Ben Mathews
Mr. Stephen McHale
Randy and Christine Myeroff
The Honorable John Doyle Ong
Catherine and Hyun Park
Mr. and Mrs. Benjamin N. Pyne
Mr. and Mrs. Ronald Ratner
James and Marguerite Rigby
Mr.* and Mrs. David A. Ruckman
Mark and Shelly Saltzman
Donna E. Shalala (Miami)
Hewitt and Paula Shaw
R. Thomas and Meg Harris Stanton
Mr.* and Mrs. Donald W. Strang, Jr.
Tom and Shirley* Waltermire
Anya Weaving and Tom Mihaljevic
Meredith and Michael Weil
Anonymous (2)
Dudley S. Blossom Society
Gifts of $15,000 to $24,999
Mr. James Babcock
Mr. and Mrs. Jules Belkin
Mr. and Mrs. C. Perry Blossom
Mr. and Mrs. Charles P. Bolton
Dr. Christopher P. Brandt and Dr. Beth Sersig
Mr. D. McGregor Brandt, Jr.
Dr. Ben H. and Julia Brouhard
Meghan and Trent Brown
Mr. and Mrs. Kevin C. Conway
Mary* and Bill Conway
Mrs. Barbara Cook
Mrs. Anita Cosgrove
Mr. and Mrs. Matthew V. Crawford
Maureen A. Doerner and Geoffrey T. White
Nancy and Richard Dotson
Mr. Brian L. Ewart and Mr. William McHenry
Mr. and Mrs. Richard C. Fedorovich
Friends of The Cleveland Orchestra
Richard and Ann Gridley
Mr. Calvin Griffith
Gary L. and Cari T. Gross
Mr. and Mrs. Harley I. Gross
Kathleen E. Hancock
Jack Harley and Judy Ernest
Gerald Hughes
Mr. and Mrs. Brinton L. Hyde
Sarah Liotta Johnston and Jeff Johnston
Rob and Laura Kochis
Eeva and Harri Kulovaara (Miami)
Mr. and Mrs. S. Ernest Kulp
Ms. Heather Lennox
Daniel R. Lewis (Miami)
In honor of Emma Skoff Lincoln
Linda Litton
Mr. and Mrs. Alex Machaskee
Alan Markowitz M.D. and Cathy Pollard
Ann Jones Morgan
Sally S. and John C. Morley*
Jennifer and Alexander Ogan
Dr. Roland S. Philip and Dr. Linda M. Sandhaus
Douglas and Noreen Powers
Mr. Winthrop Quigley and Ms. Bonnie Crusalis
Saul and Mary Sanders (Miami)
Rachel R. Schneider
Dr. and Mrs. James L. Sechler
Meredith M. Seikel
Robyn Shifrin
Mr. and Mrs. Richard P. Stovsky
Kathryn and Duncan Stuart
Dr. Elizabeth Swenson
Bruce and Virginia Taylor
Philip and Sarah Taylor
Mr. and Mrs. Alfred Umdasch (Europe)
Karen Walburn
Mr. Daniel and Mrs. Molly Walsh
Mr. and Mrs. Jeffery J. Weaver
Robert C. Weppler
Max and Beverly Zupon
Anonymous (3)
Frank H. Ginn Society
Gifts of $10,000 to $14,999
Dr. and Mrs. D. P. Agamanolis
Mr. and Mrs. A. Chace Anderson
Ms. Viia R. Beechler
Laura and Jon Bloomberg
Ted and Donna Connolly
Mr. and Mrs. Chester F. Crone
Mrs. Barbara Ann Davis
Giles Debenham
Dr.* and Mrs. Lloyd H. Ellis Jr.
Joan Alice Ford
Dr. Edward S. Godleski
Mr. Robert Goldberg
Mr. and Mrs. Michael Gröller (Europe)
Alfredo and Luz Maria Gutierrez (Miami)
Robin Hitchcock Hatch
Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan
Dr. Fred A. Heupler
Ms. Mary Joe Hughes
Donna L. and Robert H. Jackson
Barbara and Michael J. Kaplan
Andrew and Katherine Kartalis
Jonathan and Tina Kislak (Miami)
David C. Lamb
Charles and Josephine Robson Leamy*
Dr. Edith Lerner
Dr. David and Janice Leshner
Mr. Fredrick W. Martin
Mr.* and Mrs. Arch J. McCartney
Drs. Amy and James Merlino
Loretta J. Mester and George J. Mailath
Claudia Metz and Thomas Woodworth
Mr. William A. Minnich
Brian and Cindy Murphy
Deborah L. Neale
Mr. David A. Osage and Ms. Claudia C. Woods
Mr. J. William and Dr. Suzanne* Palmer
Julia and Larry Pollock
Ms. Rosella Puskas
Mr. and Mrs. Roger F. Rankin
Kim Russel and Dirk Brom
Dr. Isobel Rutherford
Dr. and Mrs.* Martin I. Saltzman
Patricia J. Sawvel
David M. and Betty Schneider
Kenneth Shafer
Rev. George Smiga
Roy Smith
Michalis and Alejandra Stavrinides
Ryan and Melissa Stenger
Mrs. Mary L. Sykora
Taras Szmagala and Helen Jarem
Dr. Gregory Videtic and Rev. Christopher McCann
Susanne Wamsler and Paul Singer (Europe)
Mr. and Mrs. Fred A. Watkins
Denise G. and Norman E. Wells, Jr.
Sandy and Ted Wiese
Sandy Wile and Sue Berlin
Katie and Donald Woodcock
Anonymous (6)
The 1929 Society
Gifts of $5,000 to $9,999
Mr. and Mrs. Todd C. Amsdell
Claudia Bacon
Robert and Dalia Baker
Thomas and Laura Barnard
Fred G. and Mary W. Behm
Deena and Jeff Bellman
Mel Berger and Jane Haylor
Mr. and Mrs. Lawrence R. Beyer
Marilyn and Jeffrey Bilsky
Dr. and Mrs. Eugene H. Blackstone
Doug and Barbara* Bletcher
Laurel Blossom
Jeff and Elaine Bomberger
Ms. Kristina E. Boykin
Mr. and Mrs. David* Briggs
Frank and Leslie Buck
William and Barbara Carson
Ms. Maria Cashy
Victor A. Ceicys M.D. and Mrs. Kathleen Browning Ceicys
Mr. and Mrs. James B. Chaney
Ellen Chesler and Matthew Mallow (Miami)
Drs. Wuu-Shung and Amy Chuang
Drs. Mark Cohen and Miriam Vishny
Ellen E.* and Victor J. Cohn
Kathleen A. Coleman
Diane Lynn Collier and Robert J. Gura
Marjorie Dickard Comella
Robert and Jean* Conrad
Mr. and Mrs. Manohar Daga
Mr.* and Mrs. Ralph Daugstrup
Allan and Connie Dechert
Pete and Margaret Dobbins
Henry and Mary* Doll
Michael Dunn
Carl Falb
Regis and Gayle Falinski
Bruce* and Nancy Fisher
Jan and John Fitts
Ms. Nancy Flogge
Mr. and Ms. Dale Freygang
Barbara and Peter* Galvin
Joy E. Garapic
Mr. James S. Gascoigne and Ms. Cynthia Prior
Anne* and Walter Ginn
Brenda and David Goldberg
Barbara H. Gordon
André and Ginette Gremillet
Nancy Hancock Griffith
Candy and Brent Grover
The Thomas J. and Judith Fay Gruber
Charitable Foundation
Nancy* and James Grunzweig
Ms. Marianne Gymer
Mr. Newman T. Halvorson, Jr.
Gary Hanson and Barbara Klante
Clark Harvey and Holly Selvaggi
Mr. and Mrs. Jonathan Hatch
Barbara L. Hawley and David S. Goodman
Matthew D. Healy and Richard S. Agnes
Dr. Toby Helfand
Anita and William Heller
Mr. and Mrs. Jerry Herschman
Mr. and Mrs. Martin R. Hoke
Dr. Keith A. and Mrs. Kathleen M. Hoover
James* and Claudia Hower
Phillip M. Hudson III (Miami)
Elisabeth Hugh
Mrs. Laura Hunsicker
David and Dianne Hunt
Richard and Jayne Janus
Reuben Jeffery (Miami)
Robert and Linda Jenkins
Mr. David and Mrs. Cheryl Jerome
Dr. Richard* and Roberta Katzman
Rod Keen and Denise Horstman
Howard and Michele Kessler
Joanne Kim and Jim Nash
Dr. and Mrs.* William S. Kiser
Audrey Knight
Mr. and Mrs.* S. Lee Kohrman
Dr. Ronald H. Krasney and Vicki Kennedy*
Douglas and Monica Kridler
Peter* and Cathy Kuhn
Mr. and Mrs.* Arthur J. Lafave, Jr.
Dr. and Mrs. John R. Lane
Dr.* and Mrs. Roger H. Langston
Kenneth M. Lapine and Rose E. Mills
John N.* and Edith K. Lauer
Young Sei Lee
Judith and Morton Q. Levin
Dr. Stephen B. and Mrs. Lillian S. Levine
Drs. Todd and Susan Locke
David and Janice* Logsdon
Joan C. Long
Caetano R. Lopes (Miami)
Anne R. and Kenneth E. Love
Richard and Terry Lubman (Miami)
Neil and Susan Luria
David Mann and Bernadette Pudis
Mr. Keith G. Marsh
Dr. Ernest and Mrs. Marian Marsolais
Mr. and Mrs. Bruce V. Mavec
James and Virginia Meil
Dr. Susan M. Merzweiler
Lynn and Mike Miller
Drs. Terry E. and Sara S. Miller
Curt and Sara Moll
Amy and Marc Morgenstern
Eudice M. Morse
Mr. Bert and Dr. Marjorie Moyar
Mr. and Mrs. Scott C. Mueller
Mr. Raymond M. Murphy
Mr. Christopher B. Nance and Ms. Jessica V. Colombi
Richard and Kathleen Nord
Mr. and Mrs. Forrest A. Norman III
Malinda and Robert Och
Thury O’Connor
Harvey* and Robin Oppmann
Richard Organ and Jamie Nash
Mr. Henry Ott-Hansen
Mr. and Mrs. Kenneth W. Outcalt
Chris and Susan Pappas
Eliot Pedrosa (Miami)
Alan and Charlene Perkins
Dr. Marc A. and Mrs. Carol Pohl
Mr. and Mrs. Frank Porter
Dr. and Mrs. John N. Posch
Mr. Robert and Mrs. Susan Price
Sylvia Profenna
Pysht Fund
Lute and Lynn Quintrell
Beth and Clay Rankin
Brian and Patricia Ratner
Mr. and Mrs.* Robert J. Reid
Ms. Julie Severance Robbins
Lisa Robinson and Robert Hansel
Amy and Ken Rogat
Dr. and Mrs. Ronald Ross
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
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)
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
Kevin McBrien, Publications Manager The Cleveland Orchestra kmcbrien@clevelandorchestra.com
DESIGN
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