The Cleveland Orchestra April 2-4 Concerts

APRIL 2 – 4, 2026

E X PEC T T H E E X T R AORDI NARY

Debussy’s La Mer

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THIS WEEK ’S PROGRAM

Debussy’s La Mer Daniele Rustioni, conductor PRO GR AM NOTE S:

Suite from Pelléas et Mélisande, Op. 80 by Gabriel Fauré • PAGE 10

Concerto in G minor for Organ, Strings, and Timpani by Francis Poulenc • PAGE 13

Italia, Op. 11 by Alfredo Casella • PAGE 16

La mer by Claude Debussy • PAGE 19

Conductor & Artist Biographies • PAGE 25

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TCO S POT LIG HT

COVER: PHOTO OF DANIELE RUSTIONI BY ROGER MASTROIANNI

Getting to Know TCO’s New Musicians

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I N T HE N EWS Noteworthy happenings at The Cleveland Orchestra

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TH A N K YOU The community of supporters who bring the music to life

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I N TRO DUC TIO N

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THERE IS A REASON we have borrowed the term “avant garde” from the French. From

the 19th century onward, Paris was a hotbed of artistic experimentation, and many of the city’s leading artists of the day had been fringe radicals only a few years before. Gabriel Fauré, for example, was at first considered too revolutionary to teach at the Paris Conservatoire. But he later secured the post and, by 1905, was director of the institution. Perhaps because of his avant-garde reputation, he was invited to compose incidental music for an 1898 production of Maurice Maeterlinck’s symbolist play Pelléas et Mélisande. Among Fauré’s illustrious pupils at the Conservatoire was Italian composer Alfredo Casella, who discovered the impressionist music of Claude Debussy in Fauré’s composition classes. Casella’s 1909 tone poem Italia combines Neapolitan folk songs with French orchestration reminiscent of his classmate Ravel. Casella had already left the Conservatoire when, in 1902, the premiere of Debussy’s operatic setting of Pelléas et Mélisande rocked the musical landscape, troubling critics while inspiring young composers — including future members of a playfully disruptive group known as Les Six. One of the six, Francis Poulenc is considered Fauré’s clearest successor, despite never studying with him. Poulenc’s Concerto for Organ, Strings, and Timpani, however, puts aside impish insolence for the neoclassical religiosity of his mature style. All of these French pioneers collaborated with innovative writers, dancers, and visual artists during their respective careers. Debussy, too, was infatuated with the visual arts. A copy of Hokusai’s famous woodblock print Under the Wave off Kanagawa (above) hung in his study and perhaps inspired the many-layered waves of sound in his tone poem La mer. — Ellen Sauer Tanyeri You can see The Cleveland Orchestra’s rare first edition of La mer, featuring the iconic wave cover, on display in the Green Room on the Orchestra level. Ellen Sauer Tanyeri is The Cleveland Orchestra’s Archives & Editorial Assistant and is a PhD candidate in musicology at Case Western Reserve University.

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TH E MUSIC

Thank you for silencing your electronic devices.

Debussy’s La Mer Thursday, April 2, 2026, at 7:30 PM Friday, April 3, 2026, at 7:30 PM Saturday, April 4, 2026, at 7:30 PM

Concert Preview with Eric Charnofsky Reinberger Chamber Hall one hour prior to performance

Daniele Rustioni, conductor Gabriel Fauré (1845–1924)

Suite from Pelléas et Mélisande, Op. 80

15 minutes

I. Prélude II. Entr’acte: Fileuse (The Spinner) III. Sicilienne IV. The Death of Mélisande Francis Poulenc (1899–1963)

Concerto in G minor for Organ, Strings, and Timpani

20 minutes

Paul Jacobs, organ

Alfredo Casella (1883–1947) Claude Debussy (1862–1918)

I N TERM IS SI ON

20 minutes

Italia, Op. 11

20 minutes

La mer

25 minutes

I. De l’aube à midi sur la mer II. Jeux des vagues III. Dialogue du vent et de la mer

PHOTO OF PAUL JACOBS BY ROGER MASTROIANNI

This program will last approximately 1 hour 40 minutes

On April 3, immediately following the performance, join us in the Bogomolny-Kozerefski Grand Foyer for an opportunity to meet members of the Orchestra’s woodwind section.

This concert is sponsored by Olympic Steel, Inc. clevelandorchestra.com

Thursday’s performance is dedicated to Dr. Hiroyuki and Mrs. Mikiko Fujita in recognition of their generous support of music. | 9

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Suite from Pelléas et Mélisande, Op. 80 by Gabriel Fauré BORN : May 12, 1845, in Pamiers, France DIED : November 4, 1924, in Paris

▶ COMPOSED: 1898; suite compiled 1901 ▶ WORLD PREMIERE : June 21, 1898, at London’s Prince of Wales Theatre, conducted by the composer ▶ CLEVELAND ORCHESTRA PREMIERE : Music Director Nikolai Sokoloff conducted the first two movements on December 9, 1920. The suite wasn’t performed in full until December 26, 1947, under the direction of Charles Munch. ▶ ORCHESTRATION : 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, harp, and strings ▶ DURATION : about 15 minutes

WHEN THEATER MANAGERS AWOKE

to the novelty and subtle appeal of Maurice Maeterlinck’s 1893 play Pelléas et Mélisande, it was staged all over Europe — always with incidental music that joined together scenes or underscored moments of particular importance or tension. Few plays, in fact, were ever staged in the 19th century without musicians in the pit, and because Maeterlinck’s highly suggestive and atmospheric drama was perfect for musical illustration, several composers were called on to provide incidental music. Gabriel Fauré’s music — from which this suite was drawn — was commissioned in 1898 for a production in London, which was taken to New York soon after. In 1902, Debussy’s operatic treatment 10 | 2025/2026 SEASON

of Maeterlinck’s text — approved by the playwright himself — premiered in Paris to resounding acclaim. Composers outside France also created their own musical takes on the story in the following years. Sibelius’s incidental music for the play was first heard in 1905 in Helsinki. Schoenberg — then on the cusp of his experiments in atonality — composed a richly scored tone poem on the subject in 1903. All in all, it was a time of many musical views on the play’s subject and atmosphere. Fauré’s beautiful, wistful music is perfect for the drama. The play tells, in muted tones and against a dimly Gabriel Fauré was one of the leading French composers of his day and educated many young artists, including Ravel, Casella, and Nadia Boulanger.

IMAGE COURTESY OF WIKIMEDIA COMMONS

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medieval background, of Mélisande’s love for Pelléas, half-brother of her husband, Golaud. The latter is characterized by the second main theme of the

Fauré’s beautiful, wistful music is perfect for [Maeterlinck’s] drama. Prélude (in the woodwinds and cello) and, at the end, his horn call is heard in the depths of the forest. The movement has been described as “less a décor than a state of mind,” with some chordal string writing strongly reminiscent of Fauré’s well-known Requiem, written between 1887 and 1890. The second 12 | 2025/2026 SEASON

movement, Fileuse, follows a long tradition of spinningwheel pieces, and moves to the minor mode for a melody that is fully exploited in the last movement. The Sicilienne is perhaps the best-known movement of the suite, with its characteristic and charming melody and its suggestions of modal color. It had been composed earlier for a different purpose and has little connection with the play, but its charm is inescapable. The final movement, in contrast, is charged with the tragic emotions of the last act, when Mélisande dies under the remorseful gaze of Golaud and his household. When pressed for time, Fauré sometimes passed the orchestration of his works to his pupils. After his death it was disclosed that the orchestrator of this suite (and much of the entire full score of incidental music) was Charles Koechlin, who was Fauré’s biographer and himself a composer of unrecognized achievement. This suite was a task he undertook with exceptional skill. — 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.

IMAGE COURTESY OF WIKIMEDIA COMMONS

English painter Edmund Blair Leighton captured this tender scene from Pelléas et Mélisande in 1910.

Concerto in G minor for Organ, Strings, and Timpani by Francis Poulenc BORN : January 7, 1899, in Paris DIED : January 30, 1963, in Paris

▶ COMPOSED: 1934 – 38 ▶ WORLD PREMIERE : December 16, 1938, with Maurice Duruflé on organ and conducted by Nadia Boulanger ▶ CLEVELAND ORCHESTRA PREMIERE : October 20, 1963, featuring organist David Gooding and conducted by Robert Shaw ▶ ORCHESTRATION : organ, strings, and timpani ▶ DURATION : about 20 minutes

AS A COMPOSER , Francis Poulenc

habitually wrote dates at the end of his manuscript scores, and on the last page of the score of his Organ Concerto we read: “Noizay, April 1938–Anost, August 1938,” suggesting that this work occupied him for only four months. In fact, this concerto’s gestation was long and difficult, and the composer openly admitted that it was one of the hardest pieces he ever wrote. Part of the challenge came because he had never written for the organ before, and although there were a few works for organ and strings widely played (Handel’s concertos for example), the addition of timpani to the mix created a completely new ambience for which there was no precedent. The difficulty may also be attributed clevelandorchestra.com

in part to the shift in Poulenc’s worldview at the time. His earlier music earned him prodigious success in the period just following World War I and, as a member of the group of composers known as Les Six (The Six), he was the one who most clearly personified the spirit of clowning and frivolity for which they became quickly notorious. Later on, through his reattachment to the Catholic faith, a new strain of religious devotion blossomed in his music. He was aware that the Organ Concerto would probably be performed in churches, and its devotional tone likely belongs to that understanding. It was, likewise, in keeping with his quest for a deeper spiritual language that he set for himself certain obstacles of instrumentation and form. | 13

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Two remarkable women were at the heart of the concerto’s origin. The first was the Princess Edmond de Polignac (born Winnaretta Singer), heiress to the sewing-machine fortune. After her husband’s death in 1901, the Princess established a pattern of commissioning works by composers for performances at her home, including Satie, Stravinsky, Milhaud, and Tailleferre. At its height, between the wars, the Princess’s salon was where the most important new French music of any kind was to be heard.

performer. It premiered that December with celebrated composer and organist Maurice Duruflé playing the solo part, with Boulanger conducting. Still, the score is dedicated to the Princess and also acknowledges Duruflé’s help with the organ registrations (voicing the instrument in the appropriate octaves and timbres to be heard as distinct from the ensemble). The form of the single-movement work is perhaps best understood as an introduction and five principal sections

The other godmother to Poulenc’s concerto was composer and conductor Nadia Boulanger, who pioneered the revival of early music, taught several generations of young composers, and pushed for the acceptance of women conductors. She became a close friend of the Princess and, in 1933, started conducting concerts in the salon. The following year, the Princess suggested that Boulanger commission an organ concerto simple enough for her, Winnaretta, to play. The young composer Jean Françaix was initially asked but the task was soon passed to Poulenc. By the time that Poulenc completed the concerto in 1938, it was no longer intended for the Princess as its solo 14 | 2025/2026 SEASON

(respectively fast–slow–fast–slow–fast), with many suggestions of themes and figures borrowed from one section to another. The introduction offers an imperious statement in a solid G minor from the organ with a mild-mannered response. The strings suggest a lamentation, and the music remains tentative until a decisive Allegro offers a bright forward motion, signaling the first main section. This reaches a brilliant G-major ending that gives way to another Andante, in which the music flows modestly along, mostly subdued. This too rises to a brilliant ending, with huge A-minor and A-major chords on the organ. The third episode is speedy and agitated; the fourth is calm. The fifth is

PHOTO BY MAN RAY COURTESY OF ALBUM / ALAMY STOCK PHOTO / © MAN RAY TRUST

[This] concerto’s gestation was long and difficult, and the composer openly admitted that it was one of the hardest pieces he ever wrote.

American artist Man Ray snapped this photograph of Francis Poulenc in the mid-1920s, about 10 years before the composer began exploring more reflective, less radical musical paths.

a reworking of the first Allegro, followed by the return of the opening bars. The remainder is a sublimely peaceful coda clevelandorchestra.com

in which a viola and cello join the organ chords against a gently rocking figure in the rest of the strings and a long-held G from the organ’s foot pedals. — adapted from a note by Hugh Macdonald | 15

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Italia, Op. 11 by Alfredo Casella BORN : July 25, 1883, in Turin DIED : March 5, 1947, in Rome

▶ COMPOSED: 1909 ▶ WORLD PREMIERE : April 23, 1910, in Paris, with the composer conducting ▶ CLEVELAND ORCHESTRA PREMIERE : February 15, 1923, with the composer conducting ▶ ORCHESTRATION : 3 flutes (3rd doubling piccolo), 3 oboes (1st doubling English horn), 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, bell, cymbals, glockenspiel, snare drum, tambourine, tam-tam, triangle), 2 harps, and strings ▶ DURATION : about 20 minutes

BY THE CLOSE OF THE 19TH CENTURY , Italy had become the epicenter of the opera world. The staged sagas of Verdi and Puccini, teeming with volcanic drama and heart-melting melodies, had whisked audiences across time and place with gripping tales of kings, queens, and gods. Meanwhile, Mascagni and Leoncavallo hewed closer to home with their theatrical visions, contributing to the new verismo style of opera focused on stories of everyday life. But at the dawn of the 20th century, a new crop of composers emerged to take Italian music in a new direction. Or rather, an old direction. Known as the Generazione dell’ottana (Generation of the ’80s), these young composers made it their mission to recapture the full breadth of Italy’s musical traditions.

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Before opera began dominating our stages, they reminded their compatriots, instrumental music was revered as the pinnacle of Italian art. At the front lines of this movement stood Alfredo Casella. An artist of international pedigree — he studied under Fauré at the Paris Conservatoire and was mentored by Mahler — Casella devoted much of his early career to promoting the music of pre-19th-century Italy. He co-led a major revival of Vivaldi’s vast catalog and produced orchestral suites that paid homage to decorated composers of Italy’s past, including Scarlatti and Paganini. Casella’s breakthrough arrived in 1910 with the premiere of Italia, the 27-yearold’s sweeping, patriotic love letter to his homeland. Unlike works penned by

IMAGE COURTESY OF THE LIBRARY OF CONGRESS

Alfredo Casella’s music achieved great success worldwide, including the US, where he guest conducted on several occasions.

foreigners that captured Italy in pictureperfect musical postcards — such as Tchaikovsky’s Souvenir de Florence — Casella’s goal was to evoke the joys, sorrows, and passions of the Italian people. To accomplish this, he turned to Canti della terra e del mare di Sicilia (Songs of the Land and Sea of Sicily), a book clevelandorchestra.com

of regional folk songs that reflected the lives of the island’s working class. Similar to verismo opera, Casella aimed to probe deep into the Italian soul, using these source materials to shine light not on the gilded glory of the country’s cultural riches, but the workday songs and devotional prayers his countryfolk kept close to their hearts. “It was natural,” Casella later wrote in his memoir, Music in My Time, “that when I wished to create a national music, | 17

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I should look for a basis in the national folklore. It is a phase of nationalism which always characterizes the dawn of a new school or the first steps of a personality who is trying to create a national style.” The first of Italia’s four interconnected movements sets the scene with seismic drama. Unison strings invoke a song of Sicily’s Caltanissetta province, in which a man pronounces a curse on his mistress, as hammered chords from winds and brass slash through the texture like shrapnel. This fiery mood turns tender later in the movement as a new melody emerges, a moving lament sung by workers in the province’s sulfur mines, who recount their realities of hard labor and resilience.

It was natural that when I wished to create a national music, I should look for a basis in the national folklore. — Alfredo Casella

The chime of a distant bell, conjuring a mood of pastoral calm, marks the beginning of the second movement. Soaring above a bed of shimmering strings, the English horn sings a hymn of faith often heard during Good Friday processionals. The third movement returns us to the world of manual labor — this time a lively tune sung by women at 18 | 2025/2026 SEASON

work in the marble quarries of Trapani, tasked with striking ropes against freshly excavated marble blocks. Rest assured, Casella’s vision of Italy is not all workplace toil and religious solemnity. For the finale, he escorts us from shadowy sulfur mines to the sundrenched mountains of Naples, where we hear the jaunty opening strains of “Funiculì, Funiculà,” a popular Neapolitan song composed in 1880 by Luigi Denza. Written to celebrate the opening of the first funicular railway on Mount Vesuvius, the song generates an explosive energy in Casella’s wild orchestrations, as bright fanfares erupt in the brass, fleet-fingered flutes whip across the stage like galeforce winds, and pounding drums drive the music to its ecstatic conclusion. Casella took particular pride in using Denza’s beloved tune in his homegrown rhapsody. Twenty-five years earlier, Richard Strauss, believing “Funiculì, Funiculà” to be a traditional Italian folk song, had used the tune prominently in his tone poem Aus Italien, leading to a plagiarism lawsuit from Denza. Strauss lost the court case and was forced to pay royalty fees to the Italian. But when Casella approached Denza for the rights to use his tune in Italia, Denza was only too happy to personally sign off on Casella’s request. — Michael Cirigliano II Michael Cirigliano II is a freelance writer who has worked with The Cleveland Orchestra, Los Angeles Philharmonic, Dallas Symphony, Minnesota Orchestra, Lincoln Center, and the Metropolitan Museum of Art. His newsletter, Shades of Blue, explores the human stories behind classical music’s most melancholy moments as a means to cultivate calm, connection, and healing.

La mer by Claude Debussy BORN : August 22, 1862, in St. Germain-en-Laye, France DIED : March 25, 1918, in Paris

▶ COMPOSED: 1903 – 05 ▶ WORLD PREMIERE : October 15, 1905, with Camille Chevillard conducting Orchestre Lamoureux ▶ CLEVELAND ORCHESTRA PREMIERE : April 14, 1927, led by Music Director Nikolai Sokoloff ▶ ORCHESTRATION : 2 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 2 cornets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, glockenspiel, tam-tam, triangle), 2 harps, and strings ▶ DURATION : about 25 minutes

WHEN IT COMES TO ROOTS , origins, sources, and influences, Claude Debussy is one of the most complex of composers. He was so sensitive to experiences of all kinds — and so absorbent of images and ideas — that we may well envy his capacity to select and marshal artistic impressions of many kinds and then fashion them into new works of art. Both the outer and inner world contributed to this storehouse of expression, which implies, in the case of La mer (The Sea) that he was not only affected by his own image of the sea and his own contact with it, but that he was also stirred into creating this musical portrait by other artists, especially painters. His actual contact with the sea was no more varied than that of other reasonably well-to-do Frenchmen of his generation.

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He spent holidays in Cannes and Arcachon, and took advantage of a nearby seacoast during his time at the Villa Medici in Rome. In 1889, he suffered through an alarming voyage in a small boat off Saint-Lunaire, in Brittany. Visits to London in 1902 and 1903 not only involved Channel crossings, but they also allowed him to see a selection of paintings by J.M.W. Turner, whose work he knew and admired but only then was able to study in depth. That prompted Debussy to begin working on La mer in summer 1903, completing the work two years later. It was not only Turner whose vivid treatment of such subjects touched Debussy. The impressionists had always appealed profoundly to him, and his work is in many ways a musical counter| 19

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part to theirs, La mer especially. The Japanese artist Katsushika Hokusai, whose woodblocks inspired Monet, Degas, and Cassatt, also attracted the composer; the artist’s famous woodblock print, Under the Wave off Kanagawa, appeared on the cover of the full score at Debussy’s request (see page 7).

I have loved the ocean and listened to it passionately. — Claude Debussy

“I have loved the ocean and listened to it passionately,” Debussy wrote, as the music instantly confirms. The surge and flow of the sea, the tiniest drops of spray, and its whole broad sweep are vividly portrayed. At the same time the three movements, while only claiming to be symphonic “sketches,” add up to a more than passable imitation of a traditional symphony, the outer movements (themselves connected by cyclic recall of earlier themes) enclosing a brisk and breezy scherzo. The first movement, De l’aube à midi sur la mer (From Dawn to Noon on the Sea), evokes the sun rising to its full splendor over the ocean. It is the furthest from inherited ideas of formal rigor or musical structure, as it expands and progresses without ever going over its earlier material. Some striking ideas are heard many times, notably the abrupt 20 | 2025/2026 SEASON

Alongside his compatriot Ravel, composer Claude Debussy launched French music into new, unexpected, and colorful directions.

little rhythm of two notes with which the cellos begin, and the rising and falling melody played very early by the trumpet and English horn in octaves. As the movement gathers momentum, the wavelike phrases are more recognizable, and a striking episode for 16 cellos stands out. The second movement, Jeux des vagues (Play of the Waves), illustrates the intricate splashing and sloshing of waves. Debussy’s delicate orchestral skill is on full display, although there are episodes of disturbing force among the tracery of lighter textures. The third movement, Dialogue du vent et de la mer (Dialogue of Wind and Sea), portrays a discourse between the wind and the sea, with clear evocations of the first movement. A broad new theme, not unlike those written by Debussy’s compatriot César Franck, recurs in various guises; two cornets join the brass section, and the themes tumble over each other as the work reaches its shimmering conclusion. — Hugh Macdonald

Continue your journey with Debussy on Adella.live, the digital home of The Cleveland Orchestra, with Alan Gilbert’s Colorful Soundscape, a production featuring Alan Gilbert conducting La mer. Try it free by visiting adella.live and using the promo code ADELLA30 at checkout.

PHOTO BY BY ATELIER NADAR, COURTESY OF WIKIMEDIA COMMONS

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Sunday, July 26

Blossom Music Center An evening to benefit The Cleveland Orchestra’s summer home. TWO festive summer parties & a concert with Idina Menzel.

Blossom Summer Soirée

The Spritz

A dinner party complete with seasonal summer cocktails, parking & Pavilion tickets.

A cocktail party with hors d’oeuvres, unlimited spritzes, parking & Lawn tickets.

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Proud presenting sponsor of the Blossom Summer Soirée:

Presented in collaboration with:

Mr. Richard K. Smucker

Young Professionals of TCO

THE CON DUC TOR

PHOTO BY DAVIDE CERATI

Daniele Rustioni DANIELE RUSTIONI IS ONE of the most compelling conductors of his generation and a major presence with the world’s leading orchestras and opera houses. In September 2025, Rustioni became principal guest conductor of the Metropolitan Opera, only the third in the history of the legendary company. He also becomes principal guest conductor of the Tokyo Metropolitan Orchestra in April 2026. Rustioni received the prestigious “Best Conductor” award from the International Opera Awards in 2022. Rustioni is music director laureate of the Ulster Orchestra (2019–24) and conductor emeritus of the Orchestra della Toscana where he served as music director (2014–20). Highlights of the 2025–26 season include debuts with the Dallas Symphony Orchestra, Enescu Philharmonic, Orchestre National de France, San Francisco Symphony, Seattle Symphony, and Orchestra del Teatro del Maggio Musicale Fiorentino. He also makes his Cleveland Orchestra subscription debut and returns to the BBC Symphony Orchestra, Zurich Opera Orchestra, and Pittsburgh Symphony Orchestra. Rustioni has made many notable debuts in recent seasons including with the London Symphony Orchestra, Los Angeles Philharmonic, Met Orchestra at Carnegie Hall, New York Philharmonic, Orchestra dell’Accademia Nazionale di Santa Cecilia, and The Philadelphia Orchestra.

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Rustioni completed his eighth and final season as music director of Opéra National de Lyon in summer 2025, becoming Lyon’s first music director emeritus. He received the “Chevalier des Arts et Lettres” of the French Republic for his artistic contributions. From 2021–23, he served as the first principal guest conductor of the Bavarian State Opera. He will make his Vienna State Opera debut with a new production of Bizet’s The Pearl Fishers in May 2026 and returns to the Teatro alla Scala with a new production of Gounod’s Faust in October 2026. In 1993, Rustioni began his career as a member of Teatro alla Scala’s children’s chorus. He continued his studies at Milan’s Conservatorio Giuseppe Verdi, Siena’s Accademia Musicale Chigiana, and London’s Royal Academy of Music. | 25

COYO Plays Dvořák MAY 10 | SUN 3 PM at Severance Music Center tickets available online or at the box office starting at $18

THE ARTIST

Paul Jacobs organ

PHOTO BY PRISCILLA C. SCOTT

CELEBRATING 25 YEARS since he

performed J.S. Bach’s complete organ works in an 18-hour marathon concert, Paul Jacobs is today considered one of the most sought-after organists in the world. In fall 2025, to mark this auspicious anniversary, Jacobs performed two monumental Bach programs in New York City, The Art of Fugue and a recreation of the legendary Bach program given by Mendelssohn at Leipzig’s Thomaskirche in 1840. He also performed The Art of Fugue at the Oregon Bach Festival and at Walt Disney Concert Hall. The only organist ever to have won a Grammy Award, Jacobs has collaborated with many of the world’s leading conductors, including Franz WelserMöst, Gustavo Dudamel, Michael Tilson Thomas, Esa-Pekka Salonen, and Elim Chan, among others. He has performed to great critical acclaim on five continents and in each of the 50 United States, appearing regularly with The Cleveland Orchestra, Chicago Symphony Orchestra, Los Angeles Philharmonic, San Francisco Symphony, and many more. Jacobs is also the founding director of the Oregon Bach Festival Organ Institute, a position he assumed in 2014. A fierce advocate of new music, Jacobs has premiered works by Mason Bates, Bernd Richard Deutsch, Christopher clevelandorchestra.com

Rouse, and Christopher Theofanidis, among others. His recording of Michael Daugherty’s Once Upon a Castle with the Nashville Symphony and Giancarlo Guerrero received three Grammy Awards, including Best Classical Compendium. Jacobs studied at the Curtis Institute of Music and at Yale University. He joined the faculty of The Juilliard School in 2003 and was named chair of the organ department in 2004. In addition, Jacobs has appeared on American Public Media’s Performance Today, NPR’s Morning Edition, and BBC Radio 3. In 2021, he received the International Performer of the Year Award from the American Guild of Organists, and in 2017, Washington & Jefferson College bestowed him with an honorary doctorate. | 27

Conductor Bernard Labadie with The Cleveland Orchestra during an Open Rehearsal.

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AB OU T TH E CLEV EL AN D O RCH ESTR A

PHOTO BY YEVHEN GULENKO

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

@ClevelandOrchestra

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@cleveorch

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 2025 – 26 season marks Franz Welser-Möst’s 24th 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.

@CleveOrchestra

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| 29

THE CLEV EL AN D ORC HESTR A

Franz Welser-Möst, Music Director KELVIN SMITH FAMILY CHAIR FIRST VIOLINS

SECOND VIOLINS

CELLOS

PICCOLO

Joel Link

Stephen Rose* Alfred M. and Clara T. Rankin Chair

Mark Kosower* Louis D. Beaumont Chair

Mary Kay Fink Anne M. and M. Roger Clapp Chair

CONCERTMASTER

Blossom-Lee Chair Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair Zhan Shu ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford 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

Eli Matthews1 Patricia M. Kozerefski and Richard J. Bogomolny Chair Jason Yu2 James and Donna Reid Chair Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut^

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

Kathleen Collins

Brian Thornton William P. Blair III Chair

Beth Woodside

David Alan Harrell

Emma Shook Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

Martha Baldwin

Yun-Ting Lee Deborah L. Neale Chair

Dane Johansen Marguerite and James Rigby Chair

Robert Walters Samuel C. and Bernette K. Jaffe Chair

CLARINETS

Maximilian Dimoff* Clarence T. Reinberger Chair

Robert Woolfrey Victoire G. and Alfred M. Rankin, Jr. Chair

Charles Paul1 Mary E. and F. Joseph Callahan Chair

Daniel McKelway2 Robert R. and Vilma L. Kohn Chair

Derek Zadinsky2

Amy Zoloto

VIOLAS

Yu Yuan Patty and John Collinson Chair

Stanley Konopka2

Henry Peyrebrune Charles Barr Memorial Chair

Mark Jackobs Jean Wall Bennett Chair

Thomas Sperl

Charles Carleton

E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair

BASS CLARINET

Lisa Boyko Richard and Nancy Sneed Chair

Scott Dixon

Richard Waugh

HARP

Lembi Veskimets The Morgan Sisters Chair

Trina Struble* Alice Chalifoux Chair

Eliesha Nelson^ Anthony and Diane Wynshaw-Boris Chair

FLUTES

Gareth Thomas

Joshua Smith* Elizabeth M. and William C. Treuhaft Chair

Catherine Van Handel2 Sandra L. Haslinger Chair

Joanna Patterson Zakany This roster lists full-time members of The Cleveland Orchestra. The number and seating of musicians on stage varies depending on the piece being performed. Seating within the string sections rotates on a periodic basis.

ENGLISH HORN

BASSES

Mark Atherton

Genevieve Smelser

Robert Walters

Liyuan Xie

Gareth Zehngut1^ Charles M. and Janet G. Kimball Chair

Youngji Kim Paul and Lucille Jones Chair

Jeffrey Rathbun2 Everett D. and Eugenia S. McCurdy Chair

Gawon Kim

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Analise Handke Gladys B. Goetz Chair

Corbin Stair Sharon and Yoash Wiener Chair

Afendi Yusuf* Robert Marcellus Chair

Jiah Chung Chapdelaine

Wesley Collins* Chaillé H. and Richard B. Tullis Chair

Katherine Bormann

Frank Rosenwein* Edith S. Taplin Chair

Paul Kushious

Jeanne Preucil Rose Larry J.B. and Barbara S. Robinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

OBOES

William Bender Thomas Lauria and Christopher Lauria Chair

30 | 2025/2026 SEASON

Brandon Mason

Saeran St. Christopher Jessica Sindell2^ Austin B. and Ellen W. Chinn Chair Mary Kay Fink

Amy Zoloto Myrna and James Spira Chair

BASSOONS John Clouser* Louise Harkness Ingalls Chair

Jonathan Sherwin

CONTRABASSOON Jonathan Sherwin

HORNS

TROMBONES

PERCUSSION

CONDUCTORS

Nathaniel Silberschlag* George Szell Memorial Chair

Brian Wendel* Gilbert W. and Louise I. Humphrey Chair

Marc Damoulakis* Margaret Allen Ireland Chair

Christoph von Dohnányi †

Thomas Sherwood

Taichi Fukumura

Tanner Tanyeri

ASSISTANT CONDUCTOR

Jesse McCormick Robert B. Benyo Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Hans Clebsch

Shachar Israel2

Richard King

BASS TROMBONE

KEYBOARD INSTRUMENTS

Michael Mayhew§ Knight Foundation Chair

Meghan Guegold Hege^

Luke Sieve

TRUMPETS

EUPHONIUM & BASS TRUMPET

Michael Sachs* Robert and Eunice Podis Weiskopf Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

TIMPANI

Virginia M. Lindseth, PhD, Chair

Michael Miller

clevelandorchestra.com

Peter Nichols2 Mr. and Mrs. Richard K. Smucker Chair

Sidney and Doris Dworkin Chair DIRECTOR OF CHORUSES

Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

Michael Sachs* Mary Elizabeth and G. Robert Klein Chair

PRINCIPAL CONDUCTOR & MUSICAL ADVISOR OF THE CLEVELAND ORCHESTRA YOUTH ORCHESTRA

Lisa Wong

Lyle Steelman2^ James P. and Dolores D. Storer Chair

Zubin Hathi* Otto G. and Corinne T. Voss Chair

James Feddeck

Michael Ferraguto* Joe and Marlene Toot Chair

TUBA

CORNETS

Elizabeth Ring and William Gwinn Mather Chair

LIBRARIAN

Jack Sutte

Michael Miller

PHOTO BY YEVHEN GULENKO

Richard Stout

Peter Nichols

MUSIC DIRECTOR LAUREATE

Sunshine Chair Rudolf Serkin Chair

Frances P. and Chester C. Bolton Chair * Principal § Associate Principal 1

First Assistant Principal

2 Assistant Principal

^ Alum of The Cleveland

Orchestra Youth Orchestra

† In Memoriam

With sincere gratitude to the musicians of The Cleveland Orchestra for their in-kind contributions supporting community programs and securing funding opportunities.

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32 | 2025/2026 SEASON

PHOTO CREDITS XXXX

TCO SP OTLIG HT

GETTING TO KNOW

TCO’s New Musicians EAGLE-EYED CLEVELAND ORCHESTRA AUDIENCE MEMBERS might have spotted some new faces onstage at Severance this season. In recent months, four musicians have joined the ensemble: Second Violin Gawon Kim, Bass Brandon Mason, Assistant Principal Bassoon Catherine Van Handel (Sandra L. Haslinger Chair), and Assistant Principal Timpani/Percussion Peter Nichols (Mr. and Mrs. Richard K. Smucker Chair). We sat down with them to hear more about their musical journeys and Cleveland experiences so far.

Do you all remember the first time you heard The Cleveland Orchestra perform? GAWON: My mom used to play classical music on the radio when I was little, and I remember hearing The Cleveland Orchestra on there, conducted by George Szell. CATHERINE: I also grew up listening to The Cleveland Orchestra’s recordings, especially the Beethoven symphonies with Szell. The first time I heard the Orchestra live was at Blossom — I sat in the Pavilion taking it all in, and it was just such an incredible experience. PETER: The first time I heard the Orches-

PHOTO BY KEVIN McBRIEN

tra was through the Brahms cycle DVDs with Franz Welser-Möst. My percussion (clockwise from top left) Brandon Mason, Peter Nichols, Gawon Kim, and Catherine Van Handel huddle up before a conversation about their time so far with The Cleveland Orchestra.

clevelandorchestra.com

teacher in high school showed me those recordings, and I immediately noticed how special the sound was, particularly the timpani. BRANDON: When you listen to recordings or hear the Orchestra live, it sounds so effortless — like the sound never touches the ground and everybody’s instincts are in line. The first time I saw the Orchestra was in 2023, playing Mahler’s Seventh Symphony at Severance. I just remember the clarity of the performance being surreal. All these details of the score that I’d never noticed before were rising to the top, and it gave me chills.

Tell us a little bit about your background and training. What led you to where you are now? GAWON: My mom and aunt are both

musicians, so music was always around | 33

TCO SPOTLI G HT

me when I was growing up in Korea. I think it was in 2005 that they gave me a violin for Christmas, and that was my first experience playing music. From Korea, I moved to the US to study at the Curtis Institute of Music before I eventually auditioned here. PETER: My first instrument was the

electric bass. My brother and I would play bass and guitar together, and then we both took up the cello and would play duets. When I first heard the West Virginia Symphony and my

CATHERINE: I started on piano when I was 4 and picked up cello when I was 5, but didn’t find the bassoon until high school. The band teacher said I looked like a bassoon player, so I looked it up in the encyclopedia and found a recording of the “grandfather” theme from Peter and the Wolf. It was then that I fell in love with the bassoon. I studied at Juilliard Pre-College with Marc Goldberg and at the Curtis Institute of Music with Daniel Matsukawa. I’ve been working in the industry since 2015, specifically in the Toronto

When you listen to recordings or hear the Orchestra live, it sounds so effortless — like the sound never touches the ground and everybody’s instincts are in line. — Brandon Mason

teacher, Scott Christian, play timpani, I knew immediately that I wanted to do that. Cleveland has a very rich timpani tradition, so I followed in my teacher’s footsteps and went to the Cleveland Institute of Music, studying with both Mark Damoulakis and Paul Yancich. For grad school, I went to the University of Michigan, where I studied with Jeremy Epp and Thomas Sherwood, who plays percussion here. From there, I played principal timpani with the Toledo Symphony for two years before winning this position. 34 | 2025/2026 SEASON

and Milwaukee symphonies. Now, I’m so excited to be here in Cleveland. BRANDON: Growing up, I was always

surrounded by classical music. Whether it was Looney Tunes, my grandma playing the classical radio station, or my mom teaching flute lessons, it was always there. In fifth grade, I chose the bass because my brothers already played violin and cello. But it felt like the bass chose me in a way. I didn’t expect this to be my career, but I stayed fascinated with it, and still am. It’s brought me to a lot of amazing places, and I can’t believe it brought me here.

You all sit in very different parts of the Orchestra. What is it like playing in this group? PETER: As a percussionist and timpanist,

I’m always playing in the back. In some orchestras, you have to anticipate more, but here it feels like you’re playing chamber music. You can easily connect with everyone else and fit your sound into the ensemble.

PHOTO BY ROGER MASTROIANNI

GAWON: As a violinist, we rotate seats, so I can either sit in the middle of the section or in the back, where I can see all the musicians playing together. I love sharing this music with so many great colleagues. CATHERINE: I personally think that I have the best seat in the house. I get to sit right in the middle and absorb the entire orchestra from where I am. There are no words to describe the feeling

clevelandorchestra.com

Peter Nichols converses with his former teacher Thomas Sherwood (left) before a performance of Revueltas’s La Noche de los Mayas in November 2025.

when we’re all making music together. I don’t have to overthink; I can just jump on the train and go with everybody. It’s inspiring to make music at such a high level of artistry. BRANDON: Like Catherine says, it

doesn’t feel like you’re trying to play with something that’s perfect and you can’t mess it up — it just feels like you’re along for the ride. Hearing so many amazing colleagues of mine on stage every day is both humbling and inspiring. I feel like I’ve already grown as a musician in my short time here, which is exciting at this point in my career. Scan the QR code to read an extended version of this conversation on the Orchestra’s Content Hub.

| 35

I N THE N EWS

TCO Summer 2026 Season Announced SUMMER IS AROUND THE CORNER! The Cleveland Orchestra recently announced its 2026 summer season, anchored by two signature experiences: the Blossom Music Festival and Summers at Severance. Both series feature concerts led by Music Director Franz Welser-Möst as he enters his 25th and final season with The Cleveland Orchestra. He conducts a richly textured program of Wagner and Richard Strauss at Severance on August 27, before returning to Blossom on August 29 for a Viennese-inspired program with works by Mozart and the Strauss family.

PHOTO BY ROGER MASTROIANNI

BLOSSOM MUSIC FESTIVAL

The Cleveland Orchestra kicks off the 2026 Blossom Music Festival on July 3 with a celebration of America’s 250th anniversary, showcasing the breadth and brilliance of American music. Following this on July 4 is A Salute to America, a beloved summer tradition featuring the Blossom Festival Band. Then, on July 11 and 12, audiences can relive the magic of Harry Potter and the Chamber of Secrets on the big screen while The Cleveland Orchestra plays the score live. Classical programming at Blossom spotlights the Orchestra in a dazzling Music Director Franz Welser-Möst returns to both Blossom and Severance as part of TCO’s summer season.

clevelandorchestra.com

array of music alongside top artists, from Karen Gomyo performing Shostakovich (July 18) to Antonello Manacorda leading an all-French program (August 22). Pops programming brings further delights to the Blossom stage. Broadway powerhouse Idina Menzel joins the Orchestra on July 26 for a career-spanning evening of music. Capathia Jenkins and Ryan Shaw sing electrifying arrangements of hits by Aretha Franklin, Stevie Wonder, and more on August 8. Tony DeSare returns on August 23 for a stylish tribute to Cole Porter. Finally, the Orchestra and Sarah Hicks close out the Blossom season with selections from John Williams’s timeless film scores (September 4, 5, and 6). SUMMERS AT SEVERANCE

On July 16, conductor Semyon Bychkov and pianist Garrick Ohlsson team up for a richly Romantic program to begin Summers at Severance. On July 30, Kazuki Yamada conducts works by Haydn and Saint-Saëns, and Principal Trombone Brian Wendel presents Rota’s Trombone Concerto. Severance then goes to the opera on August 13, as awardwinning soprano Latonia Moore stars in a program of operatic highlights by Dvořák, Verdi, and more. Visit clevelandorchestra.com for tickets and more information.

| 37

I N THE N E WS

Several new musicians will join the Orchestra’s ranks in the coming months. (Top row from left) Elizabeth Fayette and Philip Marten were hired as First Associate Concertmaster and Associate Concertmaster, respectively, while Zhan Shu was promoted to Assistant Concertmaster in January. (Bottom row from left) Dustin Wilkes-Kim and Gabriel Napoli will join the Orchestra’s second violin and viola sections.

THE CLEVELAND ORCHESTRA is excited

to announce five new musician appointments to its violin and viola sections. Elizabeth Fayette joins the Orchestra as First Associate Concertmaster in May, and Philip Marten assumes the role of Associate Concertmaster in August. Zhan Shu, a first violinist with The Cleveland Orchestra since 2018, was appointed Assistant Concertmaster and began serving in the role in January. In May, Dustin Wilkes-Kim joins the second violin section, and Gabriel 38 | 2025/2026 SEASON

Napoli joins the viola section. Napoli, an alumnus of The Cleveland Orchestra Youth Orchestra, becomes the seventh former member of the ensemble to earn an appointment with The Cleveland Orchestra, underscoring the strength of the organization’s education programs. Now in his 24th year as Music Director, Franz Welser-Möst has appointed more than half of the musicians now performing with The Cleveland Orchestra.

CLOCKWISE FROM TOP LEFT: PHOTOS BY MARGEAUX MALONEY, SCOUT HERON, ROGER MASTROIANNI, DEVYN GLYSTA , CELESTE GOLDEN ANDREWS

Five Musician Appointments

PHOTO BY AIREONNA McCALL-DUBÉ

New Recording Highlights Allison Loggins-Hull

ON APRIL 17 , The Cleveland Orchestra and Music Director Franz Welser-Möst will release a new audio recording celebrating their creative partnership with composer and flutist Allison Loggins-Hull (above center). It will be available to stream and download on all major platforms. Recorded live at Severance Music Center, Allison Loggins-Hull: The Cleveland Residency features three works composed by Loggins-Hull during her three-year

clevelandorchestra.com

tenure as the Orchestra’s Daniel R. Lewis Composer Fellow: the string sextet Legacy, the orchestral version of Can You See?, and Grit. Grace. Glory., a musical narrative honoring Cleveland’s history, resilience, and civic spirit. This recording was produced by Elaine Martone, who won her fourth Grammy Award for Classical Producer of the Year and her seventh Grammy overall in February. It is The Cleveland Orchestra’s first release of 2026 and the 17th recording on the Orchestra’s own label since it launched in 2020. Visit clevelandorchestra.com/recordings for more information on the Orchestra’s latest releases.

| 39

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25 /26 SEAS ON

CALE N DAR SPRING

APR 30 & MAY 2 MENDELSSOHN’S REFORMATION SYMPHONY

APR 9 – 11 SCHUBERT & SHOSTAKOVICH

Jörg Widmann, conductor

Santtu-Matias Rouvali, conductor Sol Gabetta, cello SHOSTAKOVICH Cello Concerto No. 2 SCHUBERT Symphony No. 9, “The Great”

RECITAL APR 16 ALEXANDRE KANTOROW IN RECITAL Alexandre Kantorow, piano Works by J.S. Bach, Medtner, Chopin, Scriabin, and Beethoven

APR 23, 25 & 26 BRITTEN’S WAR REQUIEM Daniel Harding, conductor Tamara Wilson, soprano Andrew Staples, tenor Ludwig Mittelhammer, baritone The Cleveland Orchestra Chorus The Cleveland Orchestra Children’s Chorus

JÖRG WIDMANN Fanfare for Ten Brass Instruments JÖRG WIDMANN Con brio JÖRG WIDMANN Danse macabre MENDELSSOHN Symphony No. 5, “Reformation”

RECITAL MAY 5 MARC-ANDRÉ HAMELIN IN RECITAL Marc-André Hamelin, piano Works by Haydn, Beethoven, Weinberg, and Rachmaninoff

MAY 7 – 9 WAGNER’S GÖTTERDÄMMERUNG Franz Welser-Möst, conductor Jörg Widmann, clarinet PROKOFIEV Symphony No. 1, “Classical” OLGA NEUWIRTH Zones of Blue* WAGNER Excerpts from Götterdämmerung

MAY 16, 21 & 24 BEETHOVEN’S FIDELIO Franz Welser-Möst, conductor Malin Byström, soprano (Leonore) David Butt Philip, tenor (Florestan) Tomasz Konieczny, bass-baritone (Don Pizarro) Raymond Aceto, bass (Rocco) Dashon Burton, bass-baritone (Don Fernando) Ashley Emerson, soprano (Marzelline) Owen McCausland, tenor (Jaquino) The Cleveland Orchestra Chorus BEETHOVEN Fidelio Opera presentation sung in German with projected supertitles

MAY 22 HERO’S SONG Franz Welser-Möst, conductor Leila Josefowicz, violin Trina Struble, harp ADOLPHUS HAILSTORK Epitaph for a Man Who Dreamed BACEWICZ Symphony No. 4 JÜRI REINVERE Concerto for Violin, Harp, and Orchestra DVOŘÁK Hero’s Song

BRITTEN War Requiem * Not performed on the Friday matinee concert Generous support for the 2025 – 26 Recital Series provided by the Art of Beauty Company, Inc.

clevelandorchestra.com 42 | SEA SO N C ALE N DAR

COU R AG E A F E S T I VA L O F C O N C E RT S , C O N V E R S AT I O N S & I D E A S

MAY 15 –24 Join us for the fourth annual Jack, Joseph and Morton Mandel Opera & Humanities Festival, which delves into the many facets of Courage and how it shapes our hopes, our fears, and our actions.

APRIL 9 – MAY 24 Halim Flowers: It Takes Courage to Love All Unconditionally

SATURDAY, MAY 16 THURSDAY, MAY 21 SUNDAY, MAY 24 Beethoven’s Fidelio

In this special exhibit at Severance Music Center, celebrated artist Halim Flowers unveils a new body of work created in Cleveland expressly for the Mandel Opera & Humanities Festival, drawing its energy and vision from the festival’s central theme of Courage.

Franz Welser-Möst lifts The Cleveland Orchestra and an all-star cast of soloists to the life-affirming heights of Beethoven’s only opera, a testament to courage and human resilience.

FRIDAY, MAY 15 The World(s) of Terence Blanchard This genre-bending opening night of the festival features selections from Terence Blanchard’s groundbreaking opera Fire Shut Up in My Bones and a suite from his score for Spike Lee’s Malcolm X, paired with immersive projections.

IMAGE BY HALIM FLOWERS

SATURDAY, MAY 16 United in Song! A Community Choral Celebration An afternoon of joyous vocal performances representing the rich diversity of the Greater Cleveland choral community.

SUNDAY, MAY 17 Courage and Poetry: An Afternoon with Tank Ball Grammy-winning artist Tarriona “Tank” Ball shares her spellbinding blend of spoken word and poetry in a performance that digs deep into the meaning of courage, featuring music by Terence Blanchard.

TUESDAY, MAY 19 The Moth Mainstage: Live from Severance Five extraordinary storytellers share true stories inspired by the festival theme of Courage — tales of risk and resilience, of stepping into the unknown, and of finding courage amid fear.

FRIDAY, MAY 22 Hero’s Song Franz Welser-Möst leads The Cleveland Orchestra in a wideranging program inspired by the festival theme, featuring works by Adolphus Hailstork, Bacewicz, Jüri Reinvere, and Dvořák.

MONDAY, MAY 18 Bryan Stevenson on Courage In this keynote address, acclaimed civil rights leader, bestselling author, and founder of the Equal Justice Initiative Bryan Stevenson reflects on the meaning of courage: how we confront injustice, stay proximate to suffering, and choose to hope in the face of overwhelming odds.

SCAN QR FOR THE MOST UP-TO-DATE FESTIVAL DETAILS & INFORMATION

C L E V E L A N D O R C H E S T R A . C O M/ F E S T I VA L

To learn more, visit clevelandorchestra.com/give Adella Prentiss Hughes Society Gifts of $1,000,000 & more Mr. & Mrs.* Geoffrey Gund Haslam 3 Foundation Joan Y. Horvitz* Anne H. & Tom H. Jenkins Milton & Tamar Maltz Mrs. Jane B. Nord Mr. & 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) The Walter and Jean Kalberer Foundation Bruce* & Eleanor Kendrick Dr.* & Mrs. Anthony T. Lauria Mrs. Norma Lerner Jan R. Lewis Robert Lugibihl Deborah L. Neale Mr. & Mrs. Albert B. Ratner Jenny & Tim Smucker Richard & Nancy Sneed Roy C. Waas* Gifts of $100,000 to $199,999 Art of Beauty Company, Inc. Robert R. and Gay C. Cull Family Foundation Mr. Yuval Brisker Rebecca Dunn Dr. Michael Frank & Patricia A.* Snyder Dr. Hiroyuki & Mrs. Mikiko Fujita Peter & Christina Gold (Miami) Mr. & Mrs. Michael J. Horvitz Dr. & Mrs. Herbert Kloiber (Europe) Dennis & Camille LaBarre Thomas & Jessica Lauria (Miami) Daniel R. Lewis (Miami) Ms. Beth E. Mooney Estate of Bernadette Norwood The Oatey Foundation (Cleveland, Miami)

44 | 2025/2026 SEASON

Saul & Mary Sanders (Miami) Jim & Myrna* Spira The Estate of Donald W. Strang, Jr. and Karen Strang Ginger Warner Paul & Suzanne Westlake Tony & Diane Wynshaw-Boris Anonymous (3) Lillian Baldwin Society Gifts of $75,000 to $99,999 Mr. & Mrs. Alexander M. Cutler Mr.* & Mrs. Bernard H. Eckstein JoAnn & Robert Glick Mr. & Mrs. Douglas A. Kern Richard & Christine Kramer Ms. Cathy Lincoln Mr. & Mrs. Alfred M. Rankin, Jr. R. Thomas & Meg Harris Stanton George Szell Society Gifts of $50,000 to $74,999 Randall & Virginia Barbato Brenda & Marshall B. Brown Mr. & Mrs. Thomas H. Gale Mr.* & Mrs. Robert W. Gillespie Ms. Alexandra Hanna Richard & Michelle Jeschelnig Elizabeth B. Juliano Cynthia Knight Mr. & Mrs. Ben Mathews Nancy W. McCann Mr. & Mrs. Scott C. Mueller William J. & Katherine T. O’Neill Peter M. Padegimas, in memory of Beverly A. Padegimas Mr. & Mrs. Benjamin N. Pyne Mrs. Alfred M. Rankin, Sr.* Ilana & Chuck Horowitz Ratner Mark & Shelly Saltzman Astri Seidenfeld The Seven Five Fund Holly Strawbridge (Miami) Herb & Jody Wainer Mr. & Mrs. Franz Welser-Möst Barbara & David Wolfort Mrs. Jayne M. Zborowsky

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Behind every powerful performance is a community of supporters who bring the music to life. We are deeply thankful for the generosity of every member of The Cleveland Orchestra family.

Elisabeth DeWitt Severance Society Gifts of $25,000 to $49,999 Victor & Abby Alexander Mr. & Mrs. A. Chace Anderson Gerrie E. Berena Dr. & Mrs. Wolfgang Berndt (Europe) Robin Dunn Blossom Mr. Richard J. Bogomolny & Ms. Patricia M. Kozerefski Dr. Ben H. & Julia Brouhard Jeanette Grasselli Brown* & Glenn R. Brown* Dr. Robert Brown & Mrs. Janet Gans Brown J. C. & Helen Rankin Butler Irad & Rebecca Carmi Bill & Jennifer Clawson Jim & Mary Conway Judith & George W. Diehl Budd & Judy Dworkin Mary Jo Eaton (Miami) Drs. Wolfgang & Gabi Eder (Europe) David & Robin Gunning Sondra & Steve Hardis Iris & Tom Harvie Mary & Jon* Heider (Cleveland, Miami) Mrs. Lynn Heisler Amy & Stephen Hoffman David & Nancy Hooker Richard Horvitz & Erica Hartman-Horvitz (Cleveland, Miami) Mrs. Marguerite B. Humphrey* Allan V. Johnson Mr. & Mrs. Joseph P. Keithley Rob & Laura Kochis Eeva & Harri Kulovaara (Miami) Jon A. & Virginia M. Lindseth, PhD Mr. & Mrs. Robert W. Malone Mr. Stephen McHale Loretta J. Mester & George J. Mailath Randy & Christine Myeroff Jennifer & Alexander Ogan The Honorable John Doyle Ong Mr. J. William & Dr. Suzanne* Palmer Catherine & Hyun Park Douglas & Noreen Powers Mr. & Mrs. James A. Ratner James & Marguerite Rigby The Ralph and Luci Schey Foundation Mr. Eric A. Seed & Ms. Ellen Oglesby Donna E. Shalala (Miami) Kathryn & Duncan Stuart Dr. Elizabeth Swenson Dr. Russell A. Trusso Tom & Shirley* Waltermire John & Deborah Warner Anya Weaving & Tom Mihaljevic Meredith & Michael Weil Tony & Christine White Anonymous (2)

LISTING AS OF FEBRUARY 2026

Individual Support

* IN MEMORIAM

THAN K YOU

clevelandorchestra.com/give

Dudley S. Blossom Society Gifts of $15,000 to $24,999 Mr. & Mrs. William Winfield Baker Ms. Viia R. Beechler Mr. & Mrs. Jules Belkin Mel Berger & Jane Haylor Doug & Barbara* Bletcher Mr. & Mrs. C. Perry Blossom Mr. & Mrs. Charles P. Bolton Dr. Christopher P. Brandt & Dr. Beth Sersig Mr. D. McGregor Brandt, Jr. Meghan & Trent Brown Nancy & Tim Callahan Ellen E.* & Victor J. Cohn Kathleen A. Coleman Ted & Donna Connolly Mr. & Mrs. Kevin C. Conway Mrs. Barbara Cook Mr. & Mrs. Matthew V. Crawford Brian & Susan Dickie Maureen A. Doerner & Geoffrey T. White Henry & Mary* Doll Nancy & Richard* Dotson Peter & Sandy Earl Dr. & Mrs. Robert Ehrlich (Europe) Mr. Brian L. Ewart & Mr. William McHenry Richard C. & Lisa Fedorovich Friends of The Cleveland Orchestra Richard & Ann Gridley Gary L. & Cari T. Gross Mr. & Mrs. Harley I. Gross Alfredo & Luz Maria Gutierrez (Miami) Ms. Marianne Gymer Kathleen E. Hancock Jack Harley & Judy Ernest Matthew & Elizabeth Horvitz Gerald Hughes Mr. & Mrs. Brinton L. Hyde Sarah Liotta Johnston & Jeff Johnston S. Ernest & Patricia Kulp Heather Lennox & Douglas Krause In honor of Emma Skoff Lincoln Linda Litton Mr. Jeff Litwiller Anne R. & Kenneth E. Love Mr. & Mrs. Alex Machaskee Alan Markowitz M.D. & Cathy Pollard Mr. Fredrick W. Martin Mr.* & Mrs. Arch J. McCartney Miba AG and Dr. & Mrs. Peter Mitterbauer (Europe) Ann Jones Morgan Sally S. & John C. Morley* Rick & Jamie Organ Mr. Winthrop Quigley & Ms. Bonnie Crusalis

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Dr. Isobel Rutherford David M. & Betty Schneider Rachel R. Schneider Dr. & Mrs. James L. Sechler Meredith M. Seikel Hewitt & Paula Shaw Robyn Shifrin Roy Smith F. William & Patricia Steere Mr. & Mrs. Richard P. Stovsky Alan & Barbara Taylor Bruce & Virginia Taylor Philip & Sarah* Taylor Mr. & Mrs. Alfred Umdasch (Europe) Karen Walburn Mr. Daniel & Mrs. Molly Walsh Mr. & Mrs. Jeffery J. Weaver Robert C. Weppler Sandy* & Ted Wiese Katie & Donald Woodcock Max & Beverly Zupon Anonymous (4) Frank H. Ginn Society Gifts of $10,000 to $14,999 Dr. & Mrs. D. P. Agamanolis Mr. & Mrs.* Eugene J. Beer Deena & Jeff Bellman Laura & Jon Bloomberg Douglas M. Bunker James Burke Mrs. Catharina M. Caldwell Dr. & Mrs. William D. Carey Ms. Maria Cashy & Ms. Laura Cashy Mr. & Mrs. Edward A. Chuhna Mr. & Mrs. Chester F. Crone Mr. & Mrs. Manohar Daga Ronald J. Davis & Cheryl A. Davis Giles Debenham Allan* & Connie Dechert Gregory Dobbins Michael Dunn Brian & Renae Durdle Tamara Durn Dr.* & Mrs. Lloyd H. Ellis Jr. Joan Alice Ford Mr. James S. Gascoigne & Ms. Cynthia Prior Dr. Edward S. Godleski André & Ginette Gremillet Calvin & Sherry Griffith Mr. & Mrs. Michael Gröller (Europe) Candy & Brent Grover Mr. Arthur C. Hall III George Hanley (Miami) Robin Hitchcock Hatch Dr. Robert T. Heath & Dr. Elizabeth L. Buchanan Dr. Fred A. Heupler Ms. Mary Joe Hughes Donald* & Joyce Ignatz Donna & Robert* Jackson

Barbara & Michael J. Kaplan Jonathan & Tina Kislak (Miami) John D. & Giuliana C. Koch Dr. Ronald H. Krasney & Vicki Kennedy* Ms. Elizabeth A. Krew David C. Lamb Michael Lederman & Sharmon Sollitto Dr. Edith Lerner Nancy F. Lerner Dr. David* & Janice Leshner Judith & Morton Q . Levin Ms. Jane Mattlin Dr. & Mrs. Stephen McClure Drs. Amy & James Merlino Claudia Metz & Thomas Woodworth John & Rebecca Minnillo Mr. Bert & Dr. Marjorie Moyar Brian & Cindy Murphy Patricia Perry Nock Mr. & Mrs. John Olejko Mr. David A. Osage & Ms. Claudia C. Woods Dr. Roland S. Philip & Dr. Linda M. Sandhaus Julia & Larry Pollock Ms. Rosella Puskas* Beth & Clay Rankin Mr. & Mrs. Roger F. Rankin Mrs. Vicki Ann Resnick Amy & Ken Rogat Kim Russel & Dirk Brom Dr. & Mrs.* Martin I. Saltzman Richard B. & Cheryl A. Schmitz Ms. Beverly J. Schneider Gary Schwartz & Constance Young Kenneth Shafer Mr. John F. Shelley & Ms. Karen P. Fleming Rev. George Smiga Sandra & Richey* Smith Taras Szmagala & Helen Jarem Brian & Elizabeth Tierney Joe & Marlene Toot Mr. Christopher Towe Rich & Karen Turgeon Mr. & Mrs. Joshua Ungier Dr. Gregory Videtic & Rev. Christopher McCann Susanne Wamsler & Paul Singer (Europe) Mr. & Mrs.* Fred A. Watkins Denise G. & Norman E. Wells, Jr. Sandy Wile* & Sue Berlin Anonymous (7)

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46 | 2025/2026 SEASON

Peter & Pamela Luria (Miami) Dr. Kalle J. Lyytinen David Mann & Bernadette Pudis Janet A. Mann Diann & Tom Mann Daniel Mansoor Mr. Ryan T. Marrie Mr. & Mrs. Christopher J. McKenna Mr. & Mrs. Sandy McMillan Ms. Nancy L. Meacham Dr. & Mrs. Kevin Meany Dr.* & Mrs. Dale Meers James & Virginia Meil Dr. Susan M. Merzweiler Mary Ellen Miller Lynn & Mike Miller Drs. Terry E. & Sara S. Miller Mr. & Mrs. Roy D. Minoff Mr. & Mrs. Andy Moock Ms. Nancy C. Morgan Amy & Marc Morgenstern Elizabeth Morris Eudice M. Morse Mr. Raymond M. Murphy Mr. & Mrs. Stephen Myers Andrea Nobil (Miami) Richard & Kathleen Nord Mr. & Mrs. Forrest A. Norman III Courtney & Michael Novak Thury O’Connor Richard* & Elizabeth Osborne Mr. & Mrs. Peter R. Osenar Mr. Henry Ott-Hansen Dale & Susan Phillip Dr. Marc A. & Mrs. Carol Pohl Dr. & Mrs. John N. Posch Mr. Robert & Mrs. Susan Price Sylvia Profenna Pysht Fund Lute & Lynn Quintrell James* & Donna Reid Elizabeth & Robert J. Reid David J. Reimer & Raffaele DiLallo Mr. D. Keith* & Mrs. Margaret B. Robinson Lisa Robinson & Robert Hansel Dr. & Mrs. Ronald Ross Robert* & Margo Roth Dr. Adel S. Saada Dr. Vernon E. Sackman & Ms. Marguerite Patton* Mr. & Mrs. Lowell Satre Sandra Sauder Bob & Ellie Scheuer John* & Barbara Schubert Robert W. Scully (Miami) Sally & Larry Sears John Sedor & Geri Presti Deborah Sesek

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Nancy Hancock Griffith The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy* & James Grunzweig Andrea Guerreri (Miami) Agnes Gund* Graham* & Ann Gund (Miami) Mr. Newman T. Halvorson, Jr. Mr.* & Mrs. David P. Handke, Jr. Gary Hanson & Barbara Klante Clark Harvey & Holly Selvaggi Mr. & Mrs. Jonathan Hatch Barbara L. Hawley & David S. Goodman Matthew D. Healy & Richard S. Agnes Anita & William Heller Ms. Susan K. Hemry Malcolm & Vivian Henoch Mr. & Mrs. Jerry Herschman Mr. & Mrs. Martin R. Hoke Dr. Keith A. & Mrs. Kathleen M. Hoover James* & Claudia Hower Elisabeth Hugh David & Dianne Hunt Ms. Kimberly R. Irish Rudy Ivancic Dr. & Mrs. Paul C. Janicki Richard & Jayne Janus Robert Jenkins Mr. David* & Mrs. Cheryl Jerome Mr. Jeremy V. Johnson Karmendot Fund Andrew & Katherine Kartalis Rod Keen & Denise Horstman Mr. & Mrs. Kenneth H. Kirtz* Audrey Knight Mr. & Mrs. S. Lee Kohrman* Douglas & Monica Kridler Peter* & Cathy Kuhn Dr. Jeanne Lackamp Mr. & Mrs. Arthur J. Lafave, Jr.* Dr. & Mrs. John R. Lane Kenneth M. Lapine & Rose E. Mills John N.* & Edith K. Lauer Charles & Josephine Robson Leamy* Joan & Young Sei Lee William & Virginia Lennon Mr. and Mrs. Roger J. Lerch in Memory of Carl J. and Winifred J. Lerch Dr. Stephen B. & Mrs. Lillian S. Levine Dr. Alan & Mrs. Joni Lichtin Dr. & Mrs. Jack Lissauer Drs. Todd & Susan Locke Eric Logan David & Janice* Logsdon Joan C. Long Caetano R. Lopes (Miami) Neil & Susan Luria

LISTING AS OF FEBRUARY 2026

The 1929 Society Gifts of $5,000 to $9,999 Ms. Nancy A. Adams Mr. & Mrs. Todd C. Amsdell Mr. James Babcock Claudia Bacon Ms. Bonnie M. Baker Robert & Dalia Baker Thomas & Laura Barnard Dr. James Bates Fred G. & Mary W. Behm Marilyn & Jeffrey Bilsky Dr. & Mrs. Eugene H. Blackstone Barbara Blossom Laurel Blossom Jeff & Elaine Bomberger Mitchell & Caroline Borrow Ms. Kristina E. Boykin Mr. & Mrs. David* Briggs James & Mary Bright Sandy Brinn Dr. Thomas Brugger* & Dr. Sandra Russ Kim & Kenneth Burns Frank & Leslie Buck Mr. Gregory & Mrs. Susan Bulone Michael & Linda Busta Joseph & Susan Carney Michael & Mary Carpenter (Miami) William & Barbara Carson Victor A. Ceicys M.D. & Mrs. Kathleen Browning Ceicys Mr. & Mrs. James B. Chaney Reneé & Kerry Chelm Ellen Chesler & Matthew Mallow (Miami) Drs. Wuu-Shung & Amy Chuang Drs. Mark Cohen & Miriam Vishny Diane Lynn Collier & Robert J. Gura Marjorie Dickard Comella Mr.* & Mrs. Ralph Daugstrup Pete & Margaret Dobbins Ms. Mary Lynn Durham Carl Falb Regis & Gayle Falinski Dagmar & Frederick Fellowes Mr. William & Dr. Elizabeth Fesler Mr. & Mrs. Mark Filippell Bruce* & Nancy Fisher Jan & John Fitts Ms. Nancy Flogge Mr. & Ms. Dale Freygang Barbara & Peter* Galvin Joy E. Garapic Anne* & Walter Ginn Brenda & David Goldberg Mrs. Florence Goodman Barbara H. Gordon

* IN MEMORIAM

THAN K YOU

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Mr.* & Mrs. Michael Shames Mr. Philip & Mrs. Michelle Sharp Mr. Michael R. Shaughnessy Elizabeth & Timothy Sheeler Paul & Betsy Shiverick (Miami) Zachary & Shelby Siegal Howard & Beth Simon Mr. James S. Simon The Shari Bierman Singer Family Drs. Charles Kent Smith & Patricia Moore Smith Mrs. Gretchen D. Smith Mr. & Mrs. William E. Spatz Diane M. Stack Maribeth & Christopher Stahl George & Mary* Stark Sue Starrett & Jerry Smith Mr. Robert D. Sweet Ms. Lorraine S. Szabo Robert & Carol Taller Eca & Richard Taylor Mr. John R. Thorne and Family Bill & Jacky Thornton Mr. & Mrs. Gary B. Tishkoff Dr. & Mrs. James E. Triner Mr.* & Mrs. Robert N. Trombly Steve & Christa Turnbull Dr. & Mrs. Wulf H. Utian Robert & Marti* Vagi Bobbi & Peter* van Dijk Mr*. & Mrs. Lee Vandenberg Mr. & Mrs. Les C. Vinney Kenneth Kirtz* George & Barbara von Mehren Mr. Randall Wagner Randall E. Wagner Ron Wakser John & Jeanette Walton Greg & Lynn Weekley Tilles-Weidenthal Foundation Mr. & Mrs. Mark Allen Weigand Mr. Peter & Mrs. Laurie Weinberger Paul & Nancy Wellener Dr. Edward L. & Mrs. Suzanne* Westbrook Dr. Paul R. & Catherine Williams Ms. Linda L. Wilmot Bob & Kat Wollyung Mr. Graham Wood Anonymous (4)

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Composer’s Circle Gifts of $2,500 to $4,999 Mr. & Mrs. Paul R. Abbey Mr. Leonard H. Abrams* David & Sharon Anderson Sarah May Anderson Gabrielle Aryeetey Jack & Darby Ashelman Ronen Avinir (Miami) Don Baker* Brian Balogh & Kathy Craig Mr. Richard H. Bamberger Eric Barbato & Elisha Swindell Ms. Carol Barnak Lucy Battle Kathryn & Gerald Berkshire Margo & Tom Bertin Mr. & Mrs. Charles Bittenbender Zeda W. Blau Marilyn & Lawrence Blaustein Peter Blazunas Ms. Pamela M. Blemaster Blossom Friends of The Cleveland Orchestra Howard & Arlyne Bochnek Mr. John & Mrs. Robyn Boebinger Dr. & Mrs. Timothy Bohn Mr. & Mrs. Richard H. Bole David and Julie Borsani, in memory of Marissa I. Borsani Dwight Bowden Lisa & Ronald Boyko William & AnnaMarie Brancovsky Adam & Vikki Briggs Matthew D. Brocone Mr. & Mrs. Dale R. Brogan Dale & Wendy Brott Bennett Brown Mrs. Nancy E. Brown Mr. & Mrs. Henry G. Brownell Mr. Felix Brueck & Ms. Ann Kowal Smith Mrs. Frances Buchholzer Mr. & Mrs. William D. Buss II William Busta & Joan Tomkins Dr. & Mrs. William E. Cappaert Peter & Joanna Carfagna Mr.* & Mrs. John J. Carney Dr. Jeffrey Chaitoff & Ms. Margo Vinney Dr. Ronald Chapnick* & Mrs. Sonia Chapnick Gregory & Kathrine Chemnitz Gertrude Kalnow Chisholm & Homer D.W. Chisholm Dr. Gary Chottiner & Anne Poirson Natalie Cipriano Robert & Judy Ciulla Pete Clapham & Anita Stoll Mr. & Mrs. David Clark Jill & Paul Clark

Richard J. & Joanne Clark Drs. John* & Mary Clough Christopher Colaluca William & Ruth Coleman Mr. & Mrs. Robert Conrad Mary* & Bill Conway Mr. & Mrs. Thomas Cook The Honorable Colleen Conway Cooney & Mr. John Cooney Mr. John Couriel & Dr. Rebecca Toonkel (Miami) Dr. Dale & Susan Cowan Laura Cox Jane Cronin John Cunningham Dr. Lucy Ann Dahlberg Karen & Jim Dakin Mrs. Jane Dangler Dr. & Mrs. Thomas M. Daniel Karen & Neil Davies Gary Davis & Jane Cooper Mrs. Lois Joan Davis Jeffrey Dean and Barbara & Karen Claas Prof. George & Mrs. Rebecca Dent Michael & Amy Diamant Dr. & Mrs. Howard Dickey-White Ms. Marlene Dirksen Do Unto Others Trust (Miami) Carl Dodge Jack & Elaine Drage Mr. & Mrs. Robert Dreshfield Ms. Barbara Dunaway Mr. & Mrs. Robert P. Duvin Mr. & Mrs. Ronald E. Dziedzicki Erich Eichhorn & Ursel Dougherty Mr. Mike S. Eidson, Esq. & Dr. Margaret Eidson (Miami) S. Stuart Eilers Peter & Kathryn Eloff Louis* & Patricia Esposito Andy & Leigh Fabens Michelle Fay Anne Ferguson & Peter Drench Mr. Jonathon R. Forman Mr. & Mrs. Turney P. Berry Joan & Philip Fracassa Mr. & Mrs. Larry Frankel Howard Freedman & Rita Montlack Marvin Ross Friedman & Adrienne bon Haes (Miami) Robert Friedman & Elizabeth MacGowan Peggy A. Fullmer The Fung Family Timothy & Susan Gall Mr. Stephen H. Gariepy & Ms. Nancy Sin Pamela Garrison (Miami) Mr. William Gaskill & Ms. Kathleen Burke

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48 | 2025/2026 SEASON

MindCrafted Systems Jon Morrell Mr. & Mrs. Thomas W. Morris Ken & Sharon Mountcastle Susan B. Murphy Dave & Nancy Murray Karen & Bernie Murray Joan Katz Napoli & August Napoli Dr. Anne & Mr. Peter Neff Karen Nemec Mark & Paula Nylander Richard & Jolene O’Callaghan Robert & Mary Ann Olive Dr. & Mrs. Paul T. Omelsky Harvey* & Robin Oppmann Dr. Douglas Orr & Ms. Kimberley Barton Dr. Kata & Mr. Len Pagon Chris & Susan Pappas (Miami) George Parras & Mary Spencer Drs. James & Marian Patterson Dr. Lewis E. & Janice B. Patterson David Pavlich & Cherie Arnold Matt Peart Alan & Charlene Perkins John Perko Robert S. Perry Mark & Eve Pihl Barbara Pittman Mr. Richard W. Pogue Mr. & Mrs. Frank Porter Patrick J. Holland Drs. Raymond R. Rackley & Carmen M. Fonseca Dr. James & Lynne Rambasek Mr. Todd J. Reese Dr. Robert W. Reynolds David & Gloria Richards Joan & Rick Rivitz Mr. & Mrs. Jay F. Rockman Michael & Jodi Rogoff David & Mitsuko Rosinus (Miami) Steven & Ellen Ross Drs. Edward & Teresa Ruch Ms. Kathy E. Ruekberg Mr. & Mrs. Paul L. Rupert Nathan & Marie Rutherford Anne Sagsveen Richard & Mary Lou Sanders Ms. Patricia E. Say Bryan & Jenna Scafidi Don Schmitt & Jim Harmon Michael Schneidler Mr. Don Schriver & Mrs. Jane Schriver Mr. James Schutte Nicklaus Schwenk Ms. Kathryn & Mr. Michael Seider Mr. & Mrs. Joseph Selden

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Dr. Richard* & Roberta Katzman The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Joanne Kim & Jim Nash Mr. Thomas Kinsey & Ms. Lynn Slifer Mrs. Judith A. Kirsh Steve & Beth Kish Mr. & Mrs. Stuart F. Kline Michael Kluger & Heidi Greene Stewart Kohl Mr. Ronald & Mrs. Kimberly Kolz Ursula Korneitchouk Margaret Kotz & Ed Covington Dr. & Mrs. John P. Kristofco Mr. & Mrs. David S. Kushner Alfred & Carol Lambo Mr. & Mrs. John J. Lane, Jr. Dr.* & Mrs. Roger H. Langston Mrs. Susan D. LaPine Mr. & Mrs. Richard L. Larrabee Mrs. Sandra S. Laurenson Mr. & Mrs. Michael Lavelle Richard & Barbara Lederman Mr. Elliot & Mrs. Christine Legow Michael & Lois Lemr Robert G. Levy Mr. & Mrs.* Thomas A. Liederbach Eva & Rudolf Linnebach Mr. Henry Lipian Dr. George I. Litman Ms. Agnes Loeffler Mary Lohman Mr. & Mrs. Carlos Lopez-Cantera (Miami) Virginia Lovejoy Linda* & Saul Ludwig Elsie* & Byron Lutman Mr. & Mrs.* Robert P. Madison Herbert L. & Ronda Marcus Dr.* & Mrs. Sanford E. Marovitz Ms. Dorene Marsh Mr. John R. Martin Kevin Martin & Hansa Jacob-Martin Ms. Amanda Martinsek Ms. Judith E. Matsko Bruce & Karen McDiarmid Mr. James E. Menger Leah Merritt-Mervine Dr. Miloslava Mervart Mr. & Mrs. Gerald A. Messerman Mr. Glenn A. Metzdorf Mr. Stephen P. Metzler David Michel & Lynne Killgore Beth M. Mikes Amy Miller & Nikhil Rao Mr. & Mrs. David S. Miller Dr. & Mrs. Leon Miller Mr. Tom Millward Anton & Laura Milo Michael Milo

LISTING AS OF FEBRUARY 2026

Mr. & Mrs. Bengt Gerborg Mr. & Mrs. M. Lee Gibson Daniel & Kathleen Gisser Holly & Fred Glock Dr.* & Mrs. Victor M. Goldberg Enrique Gomez (Miami) Lawrence Goodman & Stephanie Betts Agnes Tartara Goss Mr. Robert Goss Dr. & Mrs. Ronald L. Gould Bob Graf & Mia Zaper Mr. James Graham & Mr. David Dusek Dr. Ruffin Graham Robert K. Gudbranson & Joon-Li Kim Mr. & Mrs. John E. Guinness Mr. Davin & Mrs. Jo Ann Gustafson Mr. Ian S. Haberman Mary Louise Hahn Dr. James O. Hall Megan Hall & James Janning Dr. Haifa & Dr. Michael A. Hanna John Hannon Mrs. Martha S. Harding Dr. Jared Harp Mr. Samuel D. Harris Thomas & Darlene Hawkins Dr. Toby Helfand In Memory of Hazel Helgesen Drs. Gene & Sharon Henderson T. K.* & Faye A. Heston Eric & Karen Hillenbrand Richard & Jean Hipple Arnold & Janice Hirshon Mr. & Mrs. Stephen J. Holler Charles M. Hoppel & Marianne Karwowski Hoppel Lois Krejci-Hornbostel & Roland Hornbostel Xavier-Nichols Foundation/ Robert and Karen Hostoffer Phillip Huber Dr. Diane Huey Mr. Brooks G. Hull & Mr. Terry Gimmellie Dr. & Mrs. Grant Hunsicker Mrs. Laura Hunsicker Mr.* & Mrs. J. David Hunter Ms. Melanie Ingalls Bruce & Debbie Jarosz Helen & Erik Jensen Dylan Jin Eric & Susan Johnson Joela Jones & Richard Weiss Steven Jones Dr. Eric Kaler Mr. Donald J. Katt & Mrs. Maribeth Filipic-Katt

* IN MEMORIAM

THAN K YOU

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Dr. Judith Sewell & Mr. Donald Sewell Caltha Seymour Lee Shackelford Donald Shafer & Katherine Stokes-Shafer Steve & Marybeth Shamrock Ginger & Larry Shane Harry* & Ilene Shapiro Ms. Frances L. Sharp Larry Oscar & Jeanne Shatten Charitable Fund of the Jewish Federation Lynn Shaw Dr. & Mrs. William C. Sheldon Mr. Richard Shirey Jim Simler & Dr. Amy Zhang Dr. Anne & Mr. Jay Singer Harry & Geri Singer Dr. Edward & Mrs. Barbara Sivak G. Michael & Kathy* Mead Skerritt Bruce L. Smith Mr. Christopher & Mrs. Michelle Smith David Kane Smith Mr. Joshua Smith Mr. Eugene Smolik Drs. Nancy & Ronald Sobecks Drs. Thomas & Terry Sosnowski SPÄNGLER PRIVATSTIFTUNG Mr. Michael Star

Edward R. and Jean Geis Stell Foundation Ryan & Melissa Stenger Ronald & Lauren Sterbank Janet Stern Ms. Natalie Stevens Nancy Stillwagon & Jon Stein Frederick & Elizabeth Stueber Mr. & Mrs. John* K. Sullivan Nancy & Patrick Sullivan Mike & Wendy Summers Mr. Marc L. Swartzbaugh Mrs. Mary L. Sykora Mr. & Mrs. Michael Taipale Rebecca & Jeffrey Talbert Dr. James Taylor & Ms. Susan Slugg Jill & Jim Taylor Mr. Robert Taylor Caroline Theus Ms. Aileen Thong-Dratler Dr. & Mrs. Thomas* A. Timko Dr. & Mrs. Michael B. Troner (Miami) Drs. Anna* & Gilbert True Ms. Christeen Tuttle Koen van Besien & Ok-Kyong Chaekal Dr. Doug Van Auken & Mr. John Corlett Michael & Jaclyn Vary Mr. & Mrs. Steven M. Venezia Teresa Galang-Viñas & Joaquin Viñas (Miami)

Philip Volpe Sarah & Jim Vosmik Neha & Sanjay Vyas Mr. & Mrs. Eric Wald Ms. Lois Walters Harriet Warm Jessica & James Warren Margaret & Eric* Wayne Mr. Paul Wehrmeister Emily Westlake & Robertson Gilliland Mr. Peter White Mr. & Mrs. John W. Wilhelm John & Nancy Woelfl Mr. James M. Wood Sr. Dale & Cynthia Woodling Ms. Jennifer Wynn Rad & Patty Yates Ms. Carol A. Yellig Ellen Zegarra Dr. Rosemary Gornik & Dr. William Zelei Mr. Paul Zraik Mr. Kal Zucker & Dr. Mary Frances Haerr John & Jane Zuzek Anonymous (8)

Whatever greatness The Cleveland Orchestra has achieved is because of all the people here in this community, who believe in what the power of music can do. — Franz Welser-Möst, TCO Music Director

clevelandorchestra.com

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THAN K YOU

Corporate, Foundation & Government 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 clevelandorchestra.com/partners

Gifts of $100,000 to $199,999 KeyBank White & Case (Miami) Gifts of $50,000 to $99,999 FirstEnergy Foundation NOPEC Parker Hannifin Foundation PNC Thompson Hine LLP Anonymous Gifts of $15,000 to $49,999 Acme Fresh Markets Akron Children’s BakerHostetler Buyers Products Company Calfee, Halter & Griswold LLP Cuffs Clothing Company Dealer Tire LLC DLR Group | Westlake Reed Leskosky Frantz Ward LLP The Giant Eagle Foundation Lake Effect Health Miba AG (Europe) Northern Haserot Olympic Steel, Inc. Park-Ohio Holdings RPM International Inc. RSM US LLP Welty Enterprises Westfield Anonymous

50 | 2025/2026 SEASON

FOUNDATION & GOVERNMENT SUPPORT Gifts of $1,000,000 & more The Brown and Kunze 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 $250,000 to $499,999 Kulas Foundation John P. Murphy Foundation The Dr. M. Lee Pearce Foundation, Inc. (Miami) Gifts of $100,000 to $249,999 Paul M. Angell Family Foundation The Louise H. and David S. Ingalls Foundation Wesley Family 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 William Randolph Hearst Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation Gifts of $15,000 to $49,999 The Abington Foundation Akron Community Foundation The Batchelor Foundation, Inc. (Miami) 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

* IN MEMORIAM

Gifts of $200,000 to $299,999 Jones Day Foundation Ohio CAT The J. M. Smucker Co.

Gifts of $500,000 to $999,999 The William Bingham Foundation Mary E. & F. Joseph Callahan Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Ohio Arts Council The Payne Fund

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Gifts of $300,000 & more The Goodyear Tire & Rubber Company Hyster-Yale, Inc. NACCO Industries, Inc.

Gifts of $2,500 to $14,999 BDI Berkadia Blue Technologies, Inc. BNY Wealth Brothers Printing Company The Cedarwood Companies The Cleveland-Cliffs Foundation Consolidated Solutions Dickie, McCamey & Chilcote Eaton Evarts Tremaine The Ewart-Ohlson Machine Company FirstEnergy Foundation GPD Group Gross Residential Hahn Loeser & Parks LLP Hunsicker Family Dental Jones Group Interiors Inc. Karlie Newton II Insurance Agency Kohrman Jackson & Krantz, LLP KPMG LLP The Lincoln Electric Foundation MGM Resorts Foundation Nordson Corporation Foundation Northern Trust Ohio Real Title Sikich Something’s Popping Ver Ploeg & Marino (Miami) Warby Parker Winslow Assets Margaret W. Wong & Associates LLC Young Presidents’ Organization

LISTING AS OF FEBRUARY 2026

CORPORATE SUPPORT

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The Nord Family Foundation PWC Foundation The Esther and Hyman Rapport Philanthropic Trust The Reinberger Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation The Sisler McFawn Foundation The Veale Foundation The George Garretson Wade Charitable Trust The Thomas H. White Foundation, a KeyBank Trust Anonymous

The Cleveland Orchestra Board of Trustees

Gifts of $2,500 to $14,999 The Ruth and Elmer Babin Foundation The Bernheimer Family Fund of the Cleveland Foundation The Cowles Charitable Trust (Miami) The C.R.E.W. Foundation The Frances G. and Lewis Allen Davies Endowment 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 The Kirk Foundation (Miami) The Laub Foundation The Lehner Family Foundation The Fred A. Lennon Charitable Trust The G. R. Lincoln Family Foundation Elizabeth Ring Mather and William Gwinn Mather Fund The Eric & Jane Nord Family Fund The M. G. O’Neil Foundation The O’Neill Brothers Foundation Ophthalmology Education Worldwide Paintstone Foundation The Perkins Charitable Foundation Charles E. & Mabel M. Ritchie Memorial Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation Sterling Chamber Players Third Federal Foundation Uvas Foundation The Welty Family Foundation The Edward and Ruth Wilkof Foundation The Wuliger Foundation Anonymous (2)

Dennis W. LaBarre Chair Emeritus

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O FFI CERS Richard J. Kramer Chair André Gremillet President & CEO, The Richard K. Smucker Chair Richard K. Smucker Immediate Past Chair Richard J. Bogomolny Chair Emeritus

Norma Lerner Honorary Chair David J. Hooker Secretary Victor Alexander Treasurer RESI DE N T TRUSTEES Victor Alexander Robin Dunn Blossom Yuval Brisker Helen Rankin Butler Nancy Slocum Callahan Irad Carmi Bill Clawson Matthew V. Crawford Lisa Fedorovich Michael Frank, MD JD Hiroyuki Fujita Robert Glick Arthur C. Hall III Iris Harvie Dee Haslam Stephen H. Hoffman David J. Hooker Michelle Shan Jeschelnig Sarah Liotta Johnston Elizabeth B. Juliano Nancy F. Keithley Douglas A. Kern John D. Koch Richard J. Kramer Dennis W. LaBarre Heather Lennox Cathy Lincoln Robert W. Malone Ben Mathews Nancy W. McCann Stephen McHale Scott C. Mueller Christine Myeroff Katherine T. O’Neill Hyun Park Alfred M. Rankin, Jr.

Charles A. Ratner Zoya Reyzis Richard K. Smucker James C. Spira R. Thomas Stanton Richard Stovsky Russell A. Trusso Daniel P. Walsh Thomas A. Waltermire Jes Warren Jeffery J. Weaver Anya Weaving Meredith Smith Weil Paul E. Westlake Jr. David A. Wolfort Anthony Wynshaw-Boris N ATIO N AL TRUSTEES Virginia Nord Barbato (NY) Mary Jo Eaton (FL) Michael J. Horvitz (FL) Thomas E Lauria (FL) Loretta Mester (PA) Benjamin N. Pyne (NY) Geraldine B. Warner (OH) Tony White (OH) I N TERN ATIO N AL TRUSTEES Wolfgang C. Berndt (Austria) Herbert Kloiber (Germany) E X-O FFIC IO TRUSTEES André Gremillet Todd Diacon Sarah Hutchins Eric Kaler Judith E. Matsko Beverly J. Schneider TRUSTEE EMERIT US Thomas F. McKee HO N O R ARY TRUSTEES FO R LI FE Richard J. Bogomolny Charles P. Bolton Robert D. Conrad Alexander M. Cutler Richard C. Gridley Norma Lerner Virginia Lindseth Alex Machaskee Robert P. Madison Milton S. Maltz Beth E. Mooney John D. Ong Audrey Gilbert Ratner Hewitt B. Shaw Luci Schey Spring

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YOU R V IS IT LATE SEATING As a courtesy to audience members and musicians, 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 To ensure a quiet and respectful listening environment, please silence all electronic devices.

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

HEARING AIDS & OTHER HEALTH-ASSISTIVE DEVICES In consideration of others, please reduce the volume on hearing aids and other health-assistive devices that may produce noise. For Infrared Assistive-Listening Devices, please see an usher. To request one in advance, email info@cleveland orchestra.com.

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 GUIDELINES Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the

THE CLEVELAND ORCHESTRA APP Official Mobile App of TCO

performance. Classical Season subscription concerts are not recommended for children under 8. However, there are several ageappropriate 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 the building and in the Lounge at Severance. Only bottled water is permitted in the hall. For Cleveland Orchestra apparel, recordings, and gift items, visit the Welcome Center.

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 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.

Explore upcoming concerts, purchase and access your tickets, receive performance updates, and more. For more information and direct links to download, visit

clevelandorchestra.com/visit/ tco-app or scan the QR code with your smartphone camera. Available for iOS and Android on Google Play and at the Apple App Store.

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. ©2026 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. EDI TORI AL

Kevin McBrien, Editorial & Publications Manager, The Cleveland Orchestra kmcbrien@clevelandorchestra.com

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.

Ellen Sauer Tanyeri, Archives & Editorial Assistant, The Cleveland Orchestra DE SIG N

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