The Cleveland Orchestra December 5-7 Concerts

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2024/2025 SEASON

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

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Introduction

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THIS WEEK’S PROGRAM

Ax Plays Mozart

Pablo Heras-Casado, conductor

Piano Concerto No. 20 in D minor, K. 466 (page 8) by Wolfgang Amadeus Mozart

Emanuel Ax, piano

Symphony No. 10 in E minor, Op. 93 (page 12) by Dmitri Shostakovich

Conductor & Artist Biographies (page 23)

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TCO SPOTLIGHT

Feature articles & musician interviews

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IN THE NEWS

Noteworthy happenings at The Cleveland Orchestra

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SNAPSHOTS

Photo highlights from recent Cleveland Orchestra events

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THANK YOU

The community of supporters who bring the music to life

WOLFGANG AMADEUS

MOZART AND DMITRI

SHOSTAKOVICH (right) seem like an odd pairing on the surface. The two composers lived and worked in wildly different eras — one spent most of his adult life in Vienna amidst the flourishing of the late 18th century, while the other lived in the often-stifling creative environment of the Soviet Union. Their musical styles could also be put into opposite corners: Classicism versus 20th-century modernism. What could these two possibly have to say to each other?

Shostakovich, as it turns out, was an ardent admirer of Mozart. Friend and neighbor Flora Litvinova once wrote that, after hearing a recording of the “Jupiter” Symphony, Shostakovich remarked: “It is an amazing symphony — it has that absolute crystal clarity, whereby you hear the most complex polyphony, and all the themes weaving in and out in the last movement.” Impressed by his pupil’s own potential as a composer, Shostakovich’s teacher, Alexander Glazunov, even went so far as to declare in 1922, “Here is our Mozart!”

Perhaps the pairing does make sense on a deeper level. Both Mozart and Shostakovich composed an astonishing amount of music in almost every genre, including symphonies, concertos, string quartets, songs, and operas. (One can also add film music to Shostakovich’s output, a medium not yet available in Mozart’s time but one he surely would have embraced.) Further, the two had a remarkable knack for melody and balancing seriousness and humor — the earlier composer embracing a more brazenly cheeky approach, the latter favoring biting sarcasm.

Tonight’s program — conducted by Pablo-Heras Casado and featuring pianist Emanuel Ax — displays these traits in two remarkable works. Mozart’s D-minor Piano Concerto is one of only two concertos the composer wrote in a minor key. Despite the storminess of its opening, there is no lack of Mozartian beauty and grace, and the concerto ultimately ends up in the sunny pastures of D major.

Shostakovich’s Tenth Symphony also moves from a minor to major key throughout its four movements. The meaning behind this massive work, though, has long baffled listeners (see page 17). Is it a symphony of triumph — a victory lap in the wake of Stalin’s death — or one of belated grief, anger, and despair? You decide.  — Kevin McBrien

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

Ax Plays Mozart

Thursday, December 5, 2024, at 7:30 PM

Friday, December 6, 2024, at 7:30 PM

Saturday, December 7, 2024, at 8 PM

Pablo Heras-Casado, conductor

Wolfgang Amadeus Mozart (1756–1791)

Dmitri Shostakovich (1906–1975)

Piano Concerto No. 20 in D minor, 30 minutes K. 466

I. Allegro

II. Romance

III. Allegro assai

Emanuel Ax, piano

INTERMISSION 20 minutes

Symphony No. 10 in E minor, Op. 93 50 minutes

I. Moderato

II. Allegro

III. Allegretto

IV. Andante — Allegro

Total approximate running time: 1 hour 40 minutes

Thank you for silencing your electronic devices.

Emanuel Ax’s performance is generously sponsored by Jenny and Tim Smucker.

Thursday evening’s performance is dedicated to Mrs. Alfred M. Rankin, Sr. in recognition of her generous support of music.

Saturday evening’s performance is dedicated to an Anonymous donor in recognition of their generous support of music.

Concert Preview with Cicilia Yudha Reinberger Chamber Hall one hour prior to performance

Piano Concerto No. 20 in D minor, K. 466

by Wolfgang Amadeus Mozart

BORN : January 27, 1756, in Salzburg

DIED : December 5, 1791, in Vienna

▶ COMPOSED: 1784–85

▶ WORLD PREMIERE : February 11, 1785, in Vienna, with the composer as soloist

▶ CLEVELAND ORCHESTRA PREMIERE : November 9, 1923, featuring pianist Myra Hess and conducted by Music Director Nikolai Sokoloff

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

▶ DURATION : about 30 minutes

IN 1784 , Wolfgang Amadeus Mozart had numerous subscription concerts to plan. Enthusiasm for his performances was greater than ever, and a new concerto was always the bait that brought the public in.

That year saw the composition of six piano concertos, the last completed on December 11. With a concert planned for February 11 of the new year, yet another concerto took shape on his desk. It was a close call, with the composition finished, according to Mozart’s own catalog, on February 10. Indeed, it was perhaps not entirely finished even at that date, since Mozart would sometimes leave the solo figuration (clearly etched in his mind) to be filled in on paper later.

His father, Leopold, attended the

concert and wrote to his daughter, Nannerl: “We had a new and very fine concerto by Wolfgang, which the copyist was still copying when we arrived, and your brother did not even have time to play through the rondo, as he had to supervise the copying.”

Leopold had good reason to feel pride. Only a few days before, he had led a string quartet session in which three of Mozart’s quartets had been played. Franz Joseph Haydn, the leading composer of the day, was present and told him: “Before God, and as an honest man,

Mozart’s music is often upheld as the pinnacle of the Classical style, a perfect balance of clarity and expression. This famous portrait of the composer was painted by Austrian artist Barbara Krafft in 1819, 28 years after Mozart’s death.

I tell you that your son is the greatest composer known to me either in person or by name. He has taste and, what is more, the most profound knowledge of composition.”

Those quartets were published in due course with a dedication to Haydn, the “Father of the String Quartet,” as many saw him. In the field of piano concertos, on the other hand, Mozart had no competition, even from Haydn.

Each of Mozart’s concertos seems to be as rich in ideas and as resourceful in treatment as the last. Within the three-movement framework and the conventions that governed the forms

With a sinister opening — shifting syncopations over a gruff bass — it is some time before the first movement offers anything that might qualify as a theme. The winds make an attempt at announcing one, but even then, Mozart is thrifty with melody, preferring to bewitch us with the variety of his ideas and the subtlety of their interaction. All in all, this movement suggests drama, perhaps, but one that is not fully played out.

The remaining two movements have the task of settling the disturbances that still linger in the air. The secondmovement Romance (or Romanze in

Before God, and as an honest man, I tell you that [Mozart] is the greatest composer known to me either in person or by name. He has taste and, what is more, the most profound knowledge of composition.

— Franz Joseph Haydn

of each movement, Mozart devised endless conversations between piano and orchestra, never running out of something to say.

Concerto No. 20 is in the minor mode, which provides unique opportunities for chromatic color and for a certain darkness in the tone. (Further, it is only one of two concertos Mozart wrote in a minor key.) When the mode eventually turns to major at the end of the finale, it is as if the sun has broken through the clouds and brought the broadest of happy smiles to everyone beneath.

the original German) achieves this by harping continually on a simple and truly melodic theme. Yet it is not quite the only theme on offer in this movement, and it is interrupted by a contrasting section. The soloist throughout is quite active in company with the wind section.

The rondo finale begins with a “rocket,” the favorite gesture of the Mannheim school of composers that Mozart so admired, and it fizzes into the sky over and over again throughout the movement. A truly happy point arrives when

the woodwinds give out a catchy little tune, taken up at once by the piano. Yet the most miraculous moment of all comes at the end of the movement, when the music has finally made it into D major. This tune draws a neat little response from the trumpets, as if it is music they had been itching to play all along.

For this concerto, there are no existing written cadenzas by Mozart —  he clearly didn’t have the time or the need to write anything down for his

Vienna’s Burggarten (literally, “Castle garden”) is an idyllic retreat within the bustling city, famous for its gardens, greenhouse, and statues. One of these is a carving of Mozart, which was first unveiled in 1896 and relocated to the Burggarten in 1953.

own performances. There are some, however, by Beethoven, Brahms, Clara Schumann, and others, which later pianists have variously used in their own interpretations over the decades.    — Hugh Macdonald

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

Symphony No. 10 in E minor, Op. 93

by Dmitri Shostakovich

BORN : September 25, 1906, in St. Petersburg

DIED : August 9, 1975, in Moscow

▶ COMPOSED: 1948–53

▶ WORLD PREMIERE : December 17, 1953, with Yevgeny Mravinsky conducting the Leningrad Philharmonic Orchestra

▶ CLEVELAND ORCHESTRA PREMIERE : December 14, 1967, led by David Oistrakh

▶ ORCHESTRATION : 2 flutes (2nd doubling piccolo), piccolo, 3 oboes (3rd doubling English horn), 3 clarinets, 3 bassoons (3rd doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, cymbals, tam-tam, triangle, tambourine, xylophone), and strings

▶ DURATION : about 50 minutes

DMITRI SHOSTAKOVICH made it known publicly that he composed the great Tenth Symphony in the months following Stalin’s death, which took place on March 5, 1953 (the same day as Prokofiev’s death). It is clear to us now, however — and was probably clear to many of his friends then — that he had been working on the symphony for several years, under the shadow of events in January 1948, when Andrei Zhdanov, the politburo member who largely oversaw the arts, led a purge on Soviet musicians, with Shostakovich as a main target. An important group of composers, which included both

Shostakovich and Prokofiev, were singled out for their sins against the ideals of Soviet music and, in particular, for “formalism,” the recurrent catchall accusation that had been heard in official pronouncements throughout the Stalinist era.

In general, formalism was an insult lobbied against movements that championed art for art’s sake, which the Soviet state found to represent

Dmitri Shostakovich — photographed here at the 1950 Bach Festival in Leipzig — is one of the most celebrated and enigmatic composers of the 20th century. In his music, Shostakovich lived a double life, navigating the artistic demands of the Communist Party on one hand and fulfilling his own artistic impulses on the other.

bourgeois values incompatible to communism. The only accepted movement was Soviet Realism, which eschewed these capitalist elements in favor of music that was supportive of communism, strove for a better future, and embraced a popular aesthetic. Those who sought an alternative artistic path were open to condemnation, not simply for not supporting the official line but for subverting it.

At the moment when the purge occurred, Shostakovich was engaged in composing a violin concerto written in admiration of the playing of David Oistrakh. He continued writing the concerto, but only in secret, as it could

presented on December 17 by the Leningrad Philharmonic Orchestra under Shostakovich’s leading interpreter of the day, Yevgeny Mravinsky. The First Violin Concerto followed two years later, in 1955.

In the West, Shostakovich was recognized as a leading living composer, dating back to his First Symphony in 1925. When the Tenth Symphony was presented internationally, it was greeted as one of the composer’s major works, and Shostakovich’s standing in Europe and North America was reinforced through the 1950s and the last 20 years of his life. His writing was widely appreciated as a counterblast to the

Interpreting the Tenth Symphony, as with any work by Shostakovich, presents immense problems. From his many years grappling with the Soviet doctrine, he learned to dissemble and mask his true feelings about what he created.

not be performed. Shostakovich turned to film music and choral works instead, as his sole means of retaining recognition as a composer. In private, he was also working on string quartets and a successor to the Ninth Symphony of 1945.

With Stalin’s death in 1953, Shostakovich finally released the backlog of music that had been waiting to be brought out in public. The Fourth and Fifth string quartets were heard toward the end of 1953, along with the Tenth Symphony,

craze for serial and atonal music that gripped many young composers, especially in the United States.

Interpreting the Tenth Symphony, as with any work by Shostakovich, presents immense problems. From his many years grappling with the Soviet doctrine, he learned to dissemble and mask his true feelings about what he created. In addition, he was a very private, not to say inscrutable, individual.

All these circumstances allow us to adopt almost any view of his work,

but without any certainty that our views coincide with his. The layers of irony are deep. What seem to be depictions of misery or horror may be nothing of the kind. The hollow hymns of triumph may not be hollow. He was indeed a formalist composer in the sense that he was deeply concerned with the structure and shape of his music, always looking for new ways to insert contrast or its opposite, hinting at references that may be decoys, and extracting veins of gold from the traditional large orchestra.

Of the Tenth Symphony’s four movements, the first is the longest and perhaps the bleakest, giving prominence (as does the whole symphony) to the leading woodwinds. A clarinet, for example, is the first to join the strings’

opening meditations, and a low flute is the first to present an important new theme later. Two lonely piccolos are heard at the close. The music is in no hurry. Twice the music rises to fearsome climaxes, fed on the frightening rap of the snare drum and the weight of the full brass.

The raw energy of the second movement is unrivaled in 20th-century music, like a runaway train. Is it exultation or fury? It’s hard to say. Over the wild gambols of the rest, the brass occasionally stamp out what sounds like an Orthodox Russian chant. What can that mean?

In a rare moment of levity, Shostakovich is seen here in 1942 enjoying one of his favorite pastimes — watching football. His love for the sport was enshrined in his 1930 ballet The Golden Age

The relaxed air of the third movement is more than welcome, and it becomes more personal when Shostakovich gradually homes in on his personal signature, the D–S–C–H motif that permeated a number of his later works. This was created from the way his name is spelled in German —  Dmitri SCHostakowitsch — and the fact that in German, the note of E flat is “Es” (and thus S) and B natural is H, resulting in the four-note motif: D–E flat–C–B natural.

Another prominent tune that keeps recurring on the horn seems planets away from the tone and color of the movement. This, too, has been shown to have an explanation. The tune musically spells out ELMIRA, the first name of one of Shostakovich’s students with whom he fell in love — Elmira Nazirova. This

Australian-born and US-based artist Rachael Romero created this poster of Shostakovich as part of the San Francisco Poster Brigade, an organization she co-founded in 1975. Romero’s bold and striking style —  which has been featured in art museums around the world — lays bare issues surrounding social injustice and honors figures who stood against oppression.

is accomplished with the notes E natural, three solfège syllables (La, Mi, and Re), and the note A natural, which creates the five-note tune: E–L(a)–MI–R(e)–A.

The relaxed air of the third movement is more than welcome, and it becomes more personal when Shostakovich gradually homes in on his personal signature, the D–S–C–H motif that permeated a number of his later works.

As before, though, the significance of Elmira’s intrusion in the symphony is a mystery. The movement concludes with what sounds like a corny brass band playing loose with D–S–C–H, as if in mockery.

Before the true finale begins, there is a thoughtful introduction featuring oboe and bassoon, which casts a veil of mystery. This is dispelled in the exuberant fourth-movement Allegro, whose climax is a triumphant writingon-the-wall of the letters D–S–C–H. Triumph or cataclysm? It could be either. It is certainly an exhilarating musical experience whatever we read into its meaning. — Hugh Macdonald

The Mystery of Shostakovich’s Tenth

SHOSTAKOVICH ’S MUSIC IS AS POWERFUL as it is enigmatic. His Tenth Symphony is no exception, receiving countless interpretations and analyses over the years. Musicologist Elizabeth Wilson had the following to say about the work in Shostakovich: A Life Remembered, her impressive biography of the composer:

The Tenth Symphony is often read as the composer’s commentary on the recent Stalinist era. But as so often in Shostakovich’s art, the exposition of external events is counter-opposed to the private world of his innermost feelings. Shostakovich’s contemporaries will have been able to identify with his philosophical stance in the first movement (his stoicism in the face of tragedy), and with the inherent moral condemnation of gratuitous violence in the second. The private nature of the enigmatic third movement’s message was in notable contrast to the “public,” lifeaffirming force of the last movement. Specifically the finale’s “optimism” fulfilled the demands of socialist-realist ideology on one hand, while also celebrating personal victory, as the DSCH monogram (finally assuming a specific harmonic function as a dominant pedal) brings the symphony to a triumphant conclusion.

Marina Sabinina, musicologist and friend of the composer, had a different view of the composer’s use of his musical monogram in the symphony, particularly in the third movement:

… I was trying to get to the bottom of the idea of the second subject theme of the Allegretto in the Tenth Symphony, with its DSCH motif. This motif sounds strange and mechanical, lifeless but persistent, just as if the composer had, with terror and revulsion, seen himself as a puppet, a “doll on a string,” which is being arbitrarily manipulated in the merciless hands of the Puppeteer. …

Shostakovich himself had yet another interpretation. In Testimony, his memoirs purportedly dictated to Solomon Volkov — whose authenticity is still debated to this day — the composer said:

I did depict Stalin in my … Tenth. I wrote it right after Stalin’s death and no one has yet guessed what the symphony is about. It’s about Stalin and the Stalin years. The second part, the scherzo, is a musical portrait of Stalin, roughly speaking. Of course, there are many other things in it, but that’s the basis.

So, what does Shostakovich’s Tenth Symphony mean? Like most of his output —  and indeed, most music in general — the answer is up to the listener.

ON VIEW AT SEVERANCE MUSIC CENTER

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

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

On the Record

THE MAGICBOX outside the Grand Foyer

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

Behind the Scenes of Severance Music Center

LERNER GALLERY

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

Pablo Heras-Casado

IN GREAT DEMAND as a guest conductor, Pablo Heras-Casado regularly appears with the Philharmonia Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, NHK Symphony Orchestra, and many others. He has also worked with the symphony orchestras of Chicago, Cleveland, Philadelphia, and Los Angeles, the Berlin and Vienna philharmonics, Royal Concertgebouw Orchestra, Orchestre de Paris, and London Symphony Orchestra. Heras-Casado enjoys a long-term collaboration with Freiburger Barockorchester, featuring extensive touring and recording projects. In summer 2022, he commenced a partnership with Anima Eterna Brugge, touring and recording Bruckner’s symphonies on historical instruments.

Heras-Casado has established himself as one of the most significant Wagner conductors of his generation, following a triumphant debut at the Bayreuth Festival conducting Parsifal in 2023. He reprises Parsifal again in 2025 and will conduct a new production of the Ring cycle in 2028. Heras-Casado also enjoys a regular collaboration with the Wiener Staatsoper and, as principal guest conductor of the Teatro Real Madrid, recently conducted Wagner’s Die Meistersinger and completed a Ring cycle over four consecutive seasons.

Heras-Casado has an extensive discography for Harmonia Mundi, including a developing series entitled Die Neue

Romantik, featuring music by Bruckner, Mendelssohn, Schubert, and R. Schumann

A dedicated educator, Heras-Casado makes a personal commitment to work with young musicians all over the world, regularly leading youth ensembles and projects such as the Karajan Akademie der Berliner Philharmoniker, Juilliard Orchestra and Juilliard415 ensemble, Concertgebouw Orchestra Young, and Gustav Mahler Academy.

Among his many accolades, HerasCasado was named the 2024 Conductor of the Year by Opernwelt and 2021 Artist of the Year at the International Classical Music Awards. He also holds the Medalla de Honor of the Rodriguez Acosta Foundation and is an Honorary Citizen of the Province of Granada, his hometown. In 2018, he was granted the title Chevalier de l’Ordre des Arts et des Lettres of the French Republic.

Emanuel Ax Piano

BORN TO POLISH PARENTS in what is today Lviv, Ukraine, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. He made his New York debut in the Young Concert Artists Series and, in 1974, won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975, he won the Michaels Award of Young Concert Artists, followed four years later by the Avery Fisher Prize.

Ax’s 2024–25 season includes appearances with The Cleveland Orchestra, New York Philharmonic, and The Philadelphia Orchestra, alongside the National, San Diego, and Pittsburgh symphonies. A recital tour takes him to Toronto, Boston, San Francisco, and Seattle, among other cities, culminating in the spring in his annual Carnegie Hall appearance. The season also features a special project with clarinetist Anthony McGill and chamber music appearances with Itzhak Perlman and friends. An extensive European tour will include concerts in Paris, Oslo, Cologne, Hamburg, Berlin, Warsaw, and Israel.

Ax has been a Sony Classical exclusive recording artist since 1987. Following the success of recording the Brahms trios with Leonidas Kavakos and Yo-Yo Ma, the trio launched an ambitious, multiyear project to record all the Beethoven trios and symphonies arranged for trio, of which the first three discs have been

released. Ax received Grammy Awards for the second and third volumes of his Haydn piano sonata cycle and also made a series of Grammy-winning recordings with Yo-Yo Ma of the Beethoven and Brahms cello sonatas. In the 2004–05 season, Ax contributed to an International Emmy Award–winning BBC documentary commemorating the Holocaust, which aired on the 60th anniversary of the liberation of Auschwitz. In 2013, Ax’s recording Variations received the Echo Klassik Award for Solo Recording of the Year (19th-Century Music/Piano).

Ax is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Skidmore College, New England Conservatory of Music, Yale University, and Columbia University.

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.

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

SPECIAL

FEB 14 & 16

THE MUSIC OF JOHN WILLIAMS

Keith Lockhart, conductor

Selections from Jaws, Star Wars, Indiana Jones, E.T., Harry Potter, and more

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 *

MAY 17, 22 & 25

JANÁČEK’S JENŮFA

Franz Welser-Möst, conductor

Latonia Moore, soprano

Pavol Breslik, tenor

Miles Mykkanen, tenor

Nina Stemme, soprano

The Cleveland Orchestra Chorus

JANÁČEK Jenůfa

Opera presentation sung in Czech with projected supertitles

MAY 23 & 24

VOX HUMANA

Franz Welser-Möst, conductor

Sarah Aristidou, soprano

Tony Sias, narrator

The Cleveland Orchestra Chorus

POULENC La voix humaine

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

USTVOLSKAYA Symphony No. 5, “Amen”

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

R. STRAUSS Symphonic Fantasy on Die Frau ohne Schatten

* Not performed on the Friday matinee concert

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

POINTS

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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

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Concert Experiences

Experience on-demand concerts with exclusive interviews and behind-the-scenes features!

Now available: Open Space featuring conductor Barbara Hannigan and soprano Aphrodite Patoulidou.

Livestreamed Concerts

Enjoy six concerts broadcast live from Severance throughout the 2024–25 season.

COMING SOON

Archival Audio Recordings

By popular demand, stream exclusive recordings from The Cleveland Orchestra’s audio archives.

Educational Content

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Questions? Email adellahelp@clevelandorchestra.com or call 216-231-7300

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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