The Cleveland Orchestra April 9-11 Concerts

Schubert & Shostakovich

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Schubert & Shostakovich

Santtu-Matias Rouvali, conductor

P R O G R A M N O T E S : Cello Concerto No. 2, Op. 126 by Dmitri Shostakovich • PA G E 1 0

Symphony No. 9 in C major, D. 944, “ The Great” by Franz Schubert • PA G E 1 4

Conductor & Artist Biographies • PA G E 2 1

Getting to Know TCO’s New Musicians

W S Noteworthy happenings at The Cleveland Orchestra

A G E 4

T H A N K Y O U The community of supporters who bring the music to life

Create W here You Belong

O N M A R C H 2 8 , 1 9 5 9 , Leonard Bernstein stepped onto the podium to lead the New York Philharmonic in one of his Young People’s Concerts. During the program, Bernstein introduced the young listeners to the wonderful world of concertos, parsing out some definitions along the way:

All kinds of different musical forms used to be called concertos, e ven though the y weren’t pieces that we would call concertos today. You see, names can be used very loosely. For instance, all sorts of different pieces used to be called symphonies, too, or sonatas.

Those were just general words to describe the same pieces the word concerto described: “symphony,” for instance, also meant musical sounds being made together; and “sonata” meant simply anything that sounded, nothing more.

Bernstein went on to say that, over the years, the names of these forms solidified into what we know them as today. He humorously connected the dots:

A sonata for a whole orchestra is called a symphony; isn’t that simple? And a symphony that features a soloist, or a little group of soloists, separate from the big orchestra group, is called a concerto. And there you have it.

This weekend’s program features, by Bernstein’s definitions, “a symphony that features a soloist” (a concerto) and “a sonata for a whole orchestra” (a symphony), albeit ones stemming from two very different times and places.

Dmitri Shostakovich wrote his Second Cello Concerto in 1966. Though Stalin had been dead for 13 years by that point, the work was still composed under the watchful gaze of the Soviet Union, and many officials were more than eager to catch artists falling out of line. “Symphony that features a soloist” is a surprisingly apt metaphor for this work, as the first movement initially started its life as a new symphony before it morphed into a concerto. The final product harbors a devilishly tricky role for the solo cellist within its sweeping, symphonic scope.

Franz Schubert’s Ninth Symphony emerges from an entirely different world Dubbed “The Great” following its premiere in 1839, this work by turns dramatic, playful, and tender has since been elevated as one of the leading examples of the Romantic symphony. Funnily enough, all four of its movements are in some version of sonata form, so it is indeed “a sonata for a whole orchestra.” Go figure!

Ke vin McBrien

Kevin McBrien is The Cleveland Orchestra’s Editorial & Publications Manager.

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Schubert & Shostakovich

Thursday, April 9, 2026, at 7:30 PM

Friday, April 10, 2026, at 7:30 PM

Saturday, April 11, 2026, at 7:30 PM

Santtu-Matias Rouvali, conductor

Dmitri Shostakovich (1906–1975)

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

Franz Schubert (1797–1828)

Cello Concerto No. 2, Op. 126 35 minutes

I. Largo

II. Allegretto

III. Allegretto

Sol Gabetta, cello

I N T E R M I S S I O N 20 minutes

Symphony No. 9 in C major, 50 minutes D. 944, “The Great”

I. Andante Allegro, ma non troppo

II. Andante con moto

III. Scherzo: Allegro vivace

IV. Allegro vivace

This program will last approximately 1 hour 45 minutes

This concert is generously sponsored by Rebecca Dunn. Thursday evening’s performance is dedicated to Tony and Diane Wynshaw-Boris in recognition of their generous support of music.

Cello Concerto No . 2, Op . 126

by Dmitri Shostakovich

B O R N : September 25, 1906, in St Petersburg

D I E D : August 9, 1975, in Moscow

▶ C O M P O S E D : 1966

▶ W O R L D P R E M I E R E : September 25, 1966, with Mstislav Rostropovich as soloist and Yevgeny Svetlanov conducting the USSR State Symphony Orchestra

▶ C L E V E L A N D O R C H E S T R A P R E M I E R E : December 2 , 1999, with cellist Truls Mørk and led by Hans Graf

▶ O R C H E S T R AT I O N : flute, piccolo, 2 oboes , 2 clarinets , 3 bassoons (3rd doubling contrabassoon), 2 horns , timpani, percussion (bass drum , snare drum , tambourine, tom-tom , whip , woodblock , xylophone), 2 harps , and strings , plus solo cello

▶ D U R AT I O N : about 35 minutes

C O N C E RT O S A R E O F T E N D E S C R I B E D as musical depictions of a relationship between an individual (the soloist) and society at large (the orchestra). This relationship can take many forms, from friendly agreement to bitter rivalry. Such an approach is particularly fruitful when it comes to the concertos of Dmitri Shostakovich. After all, the communist regime, under which he spent all but the first decade of his life, made a great deal of the relationship between the individual and society. But in this case, the needs of the individual were almost always subordinated to those of society, a state of affairs that only music the most abstract of the arts could afford to question openly. At the beginning of Shostakovich’s Second Cello Concerto, the soloist plays

a slow, sad melody without accompaniment. The “community” enters only gradually: lower strings and harps first, the rest of the orchestra much later in the movement. Instead of a traditional exposition, where the orchestra gets a chance to flex its collective muscles, we are treated to a solitary meditation. The tragic soliloquy of the cello is eventually (but only temporarily) relieved by the entrance of the woodwinds and xylophone For the first time, the orchestra gives the soloist a real response and, for a while, it seems that a meaningful interaction can develop between the two. But this proves to be an illusion, and the dark mood of the piece returns.

The second movement is one of those Shostakovich scherzos where the boundary between lighthearted humor and biting sarcasm is completely blurred. Its principal melody, as Shostakovich himself acknowledged in a letter to his friend Isaak Glikman, is very similar to a street song from Odesa: “Kupite bubliki” (Buy donuts). “I cannot explain the reason why,” he added. Whatever the reason, this innocent little ditty is soon

subjected to a series of extraordinary transformations, its playfulness gradually giving way to a sense of utter despair. Without pause, the scherzo is soon followed by the third movement, which begins with a menacing horn fanfare. Responding to the challenge of the “outside world,” the soloist takes over the fanfare theme for the ensuing cadenza, presenting some highly virtuosic elaborations that eventually calm down with an idyllic figure that seems to emerge from some distant world. The entire movement is in some way based on the fanfare material, yet whatever

harmony has been reached is mercilessly destroyed by a wild irruption of the “bubliki” theme now sounding positively tragic in the entire orchestra. What is left is the cello’s wistful recapitulation of earlier themes (including the beginning of the first movement) and a coda featuring the mysterious ticking of the woodblock, tom-tom, and tambourine.

composer’s Symphony No. 13 in 1962, which was based on Yevgeny Yevtushenko’s poem about the Nazi massacre of Jews in the Ukrainian village of Babi Yar during World War II. In 1966, Mravinsky likewise cancelled plans to conduct the premiere of the Second Cello Concerto on Shostakovich’s 60th birthday. (It was ultimately led by conductor Yevgeny

It is clear to anyone who listens to this music that the “individual” and the “society ” in the Second Cello Concerto do not form one big happy family, as communist teachings about the new classless society would have it . the Second Concerto as communist

Shostakovich’s Second Cello Concerto is a very different kind of piece than the First, both written for Mstislav Rostropovich During the seven years separating the two works, Shostakovich’s health had deteriorated seriously and a sense of deep pessimism had begun to take hold of him. The late 1950s were known as a period of “thaw” following Stalin’s death; by the 1960s, the Brezhnev era was bringing a new “freeze.” At age 60, Shostakovich was a man broken by decades of changing political fortunes, during which he received high praise from the Communist Party one day and feared for his life the next.

Even now, his political troubles were far from being over. Yevgeny Mravinsky, the conductor who had led many of Shostakovich’s works since the 1930s, refused to conduct the premiere of the

Svetlanov ) According to the official record, he hadn’t had time to learn the score. It is more likely, however, that he had grasped it only too well, and this music was always potentially “dangerous,” even without a controversial poem making those dangers explicit.

It is clear to anyone who listens to this music that the “individual” and the “society” in the Second Cello Concerto do not form one big happy family, as communist teachings about the new classless society would have it. Instead, their relationship is deeply troubled and remains unresolved at the end of the piece.

adapted from a note by Peter Laki

Peter Laki is a musicologist and frequent lecturer on classical music . He is a visiting associate professor of music , emeritus , at Bard College and was The Cleveland Orchestra’s program annotator from 1990 to 2007

Symphony No . 9 in C major, D. 944, “ The Great”

by Franz Schubert

B O R N : January 31 , 1797, in Vienna

D I E D : November 19, 1828, in Vienna

▶ C O M P O S E D : 1825 – 26

▶ W O R L D P R E M I E R E : March 21, 1839, with Felix Mendelssohn conducting the Leipzig Gewandhaus Orchestra

▶ C L E V E L A N D O R C H E S T R A P R E M I E R E : January 20, 1921, led by Music Director Nikolai Sokoloff

▶ O R C H E S T R AT I O N : 2 flutes , 2 oboes , 2 clarinets , 2 bassoons , 2 horns , 2 trumpets , 3 trombones , timpani, and strings

▶ D U R AT I O N : about 50 minutes

D U R I N G H I S L I F E , Franz Schubert composed, or at least started, a dozen symphonies, several of which he left unfinished. What we now know as his “Unfinished” Symphony, ironically, was almost certainly completed, even though the partial autograph score reveals only two movements.

The origins of Schubert’s “Great” C-major Symphony, often given the designation as his Ninth, were for many years equally problematic, despite the fact that the score for this big work was in the hands of Vienna’s Gesellschaft der Musikfreunde (more commonly known today as the Musikverein) during the composer’s lifetime.

At the top of the manuscript is a date that looks like “March 1828,” which led English lexicographer George Grove

(famous in music circles as editor of Grove’s D ictionary of Music and Musicians) to argue that the date was when Schubert started composing the work. However, more recent examinations of the score have revealed that the pages were trimmed so that the last “8” of the inscribed date could instead be a “5” or “6 ” This would suggest that this is the symphony that Schubert’s friends said he composed while on holiday in summer 1825 and was long considered lost

That summer, Schubert traveled with his friend, the singer Johann Michael Vogl, in the mountains of Upper Austria for five months. In the city of Linz, they stayed with Anton Ottenwalt, who wrote to another of their friends:

Alongside his major symphonic works , Franz Schubert penned over 600 art songs during his short life

“By the way, he worked on a symphony in Gmunden, which is to be performed in Vienna this winter.” Such a work was not performed that winter, but in 1826 the Gesellschaft der Musikfreunde, having learned that Schubert was writing a symphony for them, voted a gift of 100 crowns to him in acknowledgement. A set of parts was made and the autograph score delivered The work was tried out in rehearsal but found to be too difficult, so it was returned to the shelf.

This nickname was first given to the work to help distinguish it from Schubert’s earlier, shorter symphony in C major (No. 6), now known as the “Little” C-major Symphony.

As Haydn did in almost all his symphonies, and Beethoven did occasionally, Schubert begins his first movement with a slow introductory section, marked Andante, which crescendos into the start of the movement proper, marked Allegro. It was Haydn’s “Drumroll” Symphony

One would be hard pressed to name examples of happier music than the third-movement Scherzo, which seems to have descended from a cloudless sky. Sc

More than a decade later, long after Schubert’s death, Robert Schumann called on Schubert’s brother Ferdinand in Vienna in 1839 and was amazed to find an enormous collection of unknown music, including the Symphony in C major, which no one had ever heard. He immediately arranged a performance in Leipzig, where Felix Mendelssohn oversaw the city’s Gewandhaus Orchestra. Other orchestras, however, still refused to rehearse it because the relentless stream of notes in the string parts, especially in the last movement, were considered too difficult and exhausting

No doubt about it, this is a big symphony. The nickname “The Great” is a translation of the German word “Grosse,” which means large or expansive

(No. 103) that gave Schubert the idea of bringing back the broad theme of the introduction (originally stated by two unaccompanied horns) at the conclusion of the movement, first in the winds, then in the strings.

Schubert’s slow movement is a unique creation, with a nod toward the second movement of Beethoven’s Seventh Symphony and its jog-trot tempo. Schubert was sometimes inclined to allow the development of his music, especially in slow movements, to generate tension, defused at the last minute by a return to his main theme. But in this movement, the process loses control Angry dotted figures in the strings are goaded by repetitive brass figures in a terrifying escalation, to the point where the music

The Cleveland Orchestra and Franz Welser-Möst rehearsing Schubert’s Ninth Symphony at Vienna’s Musikverein in September 2022. This famed institution holds the work’s mansucript score in its archives .

completely collapses A bar and a half of silence is needed before the music can resume, wounded but alive.

One would be hard pressed to name examples of happier music than the third-movement Scherzo, which seems to have descended from a cloudless sky. Its Trio section, too, is a glimpse of paradise, with a long melody given to the winds as a group.

The finale is another matter altogether. The unflagging pace, the sense of machinery switched to “full power,” and the dotted rhythms in the strings all

suggest that this music cannot and will not be stopped. The famous second subject, with its four repeated notes, compounds the pulse and provides the drive that reaches the end of a “Great” symphony that few have matched.

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

The Cleveland Orchestra’s 2020 audio recording of Schubert’s Ninth Symphony conducted by Music Director Franz Welser-Möst is available to stream and purchase on all major platforms

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Santtu-Matias Rouvali

T H E 2 0 2 5 –2 6 S E A S O N continues SanttuMatias Rouvali’s tenures as principal conductor of the Philharmonia Orchestra and honorary conductor of the Tampere Philharmonic Orchestra, close to his home in Finland.

Throughout the current and previous seasons, he continues his relationships with top-level orchestras and soloists across Europe, including the Berliner Philharmoniker, Orchestre Philharmonique de Radio France, Orchestra dell’Accademia Nazionale di Santa Cecilia, and Royal Concertgebouw Orchestra He also returns to North America for concerts with The Cleveland Orchestra, New York Philharmonic, and The Philadelphia Orchestra.

Continuing their strong touring tradition, Rouvali and the Philharmonia Orchestra toured the United States in October 2025 and were joined by Clara-Yumi Kang for a tour of Korea in December 2025. In January 2026, they embarked on an extensive tour of Europe with concerts in Brussels, Frankfurt, Munich, and Vienna, among others.

The 2024–25 season marked the conclusion of Rouvali’s tenure as chief conductor of the Gothenburg Symphony Orchestra after a successful eight years. It was marked by a tour to Germany and the Czech Republic, followed by a celebration concert in Gothenburg. He completed his Sibelius symphony cycle recording with Alpha Classics, the

previous releases of which have been highly acclaimed, receiving the Gramophone Editor’s Choice Award, Les Chocs de Classica, a prize from the German Record Critics, the prestigious French Diapason d’Or Découverte, and Radio Classique’s

TROPHÉE

Philharmonia Records’s first recording, the double CD album Santtu Conducts Strauss, was released in March 2023 following recent releases of Tchaikovsky’s Swan Lake and Prokofiev’s Fifth Symphony. Santtu Conducts Mahler the second album from Philharmonia Records, featuring Mahler’s Second Symphony was released in September 2023 followed by Santtu Conducts Stravinsky on the same label in March 2024. Another prominent recording featuring Beethoven’s Triple Concerto with Benjamin Grosvenor, Nicola Benedetti, and Sheku Kanneh-Mason was released on Decca in May 2024

C OYO Plays Dvořák

M AY 1 0 | S U N 3 PM at Severance Music Center ticket s available online or at the box office starting at $18

Sol Gabetta cello

Following her triumphant return to the United States in the 2023–24 season, Sol Gabetta reunited with the New York Philharmonic in 2025 for a guest performance at the Bravo! Vail Festival in Colorado. At the heart of her 2025–26 season is a musical journey in honor of the 19thcentury cello virtuoso Lise Cristiani, one of the first women to conquer the cello stage. In this program, Gabetta revives the spirit of Cristiani’s legacy at major European venues, including the Konzerthaus Berlin, Elbphilharmonie Hamburg, KKL Luzern, and Konzerthaus Dortmund.

with the Wiener Philharmoniker and Franz Welser-Möst, the Mahler Chamber Orchestra, and London Philharmonic Orchestra. She continues drawing inspiration from a wide circle of collaborators and musical encounters at the Solsberg Festival, which flourishes under her committed artistic direction.

Following a residency at the Wiener Konzerthaus, Gabetta’s season also includes residencies with the TonhalleOrchester Zürich and at BOZAR Brussels, a tour with the Czech Philharmonic and Semyon Bychkov, and returns to The Cleveland Orchestra, Philharmonia Orchestra, Warsaw Philharmonic, and Gewandhaus Orchestra Leipzig. A committed advocate for contemporary music, Gabetta also continues to champion the cello concerto written for her by Francisco Coll, which she recently performed at Radio France and the BBC Proms.

A sought-after guest at leading festivals, Gabetta was Artiste étoile at the Lucerne Festival where she appeared

In recognition of her exceptional artistic achievements, Gabetta was honored with the European Culture Prize in 2022. She also received the Herbert von Karajan Prize in 2018 and was awarded the first OPUS Klassik Award as Instrumentalist of the Year in 2019. She continues to build her extensive discography with SONY Classical, which includes a live recording of the cello concertos of Elgar and Martinů with the Berliner Philharmoniker, conducted by Simon Rattle and Krzysztof Urbański. Gabetta performs on several early 18th-century instruments by Italian masters, including a cello by Matteo Goffriller from 1730, Venice, provided to her by Atelier Cels Paris. She has taught at the Basel Music Academy since 2005

N O W F I R M LY I N I T S S E C O N D C E N T U RY , 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 Ne w 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

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.

Franz Welser -Möst, Music Director

K E LV I N S M I T H FA M I LY C H A I R

F I R S T V I O L I N S

Joel Link

C O N C E RT M A S T E R

Blossom-Lee Chair

Jung-Min Amy Lee

A S S O C I AT E

C O N C E RT M A S T E R

Gretchen D. and Ward Smith Chair

Zhan Shu

A S S I S TA N T

C O N C E RT M A S T E R

Clara G. and George P. Bickford Chair

Stephen Tavani

A S S I S TA N T

C O N C E RT M A S T E R

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

Youngji Kim

Paul and Lucille Jones Chair

Genevieve Smelser

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

S E C O N D V I O L I N S

Stephen Rose*

Alfred M and Clara T Rankin 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^

Kathleen Collins

Beth Woodside

Emma Shook

Dr Jeanette Grasselli Brown and Dr Glenn R Brown Chair

Yun-Ting Lee

Deborah L . Neale Chair

Jiah Chung Chapdelaine

Liyuan Xie

Gawon Kim

V I O L A S

Wesley Collins*

Chaillé H and Richard B Tullis Chair

Gareth Zehngut1^

Charles M. and Janet G.

Kimball 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

C E L L O S

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

Marguerite and James Rigby Chair

Paul Kushious

B A S S E S

Maximilian Dimoff*

Clarence T. Reinberger Chair

Charles Paul1

Mary E . and F. Joseph

Callahan Chair

Derek Zadinsky2

Mark Atherton

Thomas Sperl

Henry Peyrebrune

Charles Barr Memorial Chair

Charles Carleton

Scott Dixon

Brandon Mason

H A R P

Trina Struble*

Alice Chalifoux Chair

F LU T E S

Joshua Smith*

Elizabeth M. and William C.

Treuhaft Chair

Saeran St. Christopher

Jessica Sindell2^

Austin B and Ellen W Chinn Chair

Mary Kay Fink

P I C C O L O

Mary Kay Fink

Anne M and M Roger Clapp Chair

O B O E S

Frank Rosenwein*

Edith S Taplin Chair

Corbin Stair

Sharon and Yoash Wiener Chair

Jeffrey Rathbun2

Everett D. and Eugenia S . McCurdy Chair

Robert Walters

E N G L I S H H O R N

Robert Walters

Samuel C and Bernette K

Jaffe Chair

C L A R I N E T S

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-F L AT C L A R I N E T

Daniel McKelway

Stanley L and Eloise M

Morgan Chair

B A S S C L A R I N E T

Amy Zoloto

Myrna and James Spira Chair

B A S S O O N S

John Clouser*

Louise Harkness Ingalls Chair

Gareth Thomas

Catherine Van Handel2

Sandra L Haslinger Chair

Jonathan Sherwin

C O N T R A B A S S O O N

Jonathan Sherwin

H O R N S

Nathaniel Silberschlag*

George Szell Memorial Chair

Michael Mayhew§

Knight Foundation Chair

Jesse McCormick

Robert B Benyo Chair

Hans Clebsch

Richard King

Meghan Guegold Hege^

T RU M P E T S

Michael Sachs*

Robert and Eunice Podis

Weiskopf Chair

Jack Sutte

Lyle Steelman2^

James P. and Dolores D.

Storer Chair

Michael Miller

C O R N E T S

Michael Sachs*

Mary Elizabeth and G Robert Klein Chair

T RO M B O N E S

Brian Wendel*

Gilbert W and Louise I

Humphrey Chair

Richard Stout

Alexander and Marianna C McAfee Chair

Shachar Israel2

B A S S T RO M B O N E

Luke Sieve

E U P H O N I U M &

B A S S T RU M P E T

Richard Stout

T U B A

Yasuhito Sugiyama*

Nathalie C Spence and Nathalie S Boswell Chair

T I M PA N I

Zubin Hathi*

Otto G. and Corinne T. Voss Chair

Peter Nichols2

P E RC U S S I O N

Marc Damoulakis*

Margaret Allen Ireland Chair

Thomas Sherwood

Tanner Tanyeri

Peter Nichols

K E Y B OA R D I N S T RU M E N T S

Carolyn Gadiel Warner

Marjory and Marc L Swartzbaugh Chair

L I B R A R I A N

Michael Ferraguto*

Joe and Marlene Toot Chair

E N D O W E D C H A I R S

C U R R E N T LY

U N O C C U P I E D

Virginia M. Lindseth, PhD, Chair

Sunshine Chair

Rudolf Serkin Chair

Michael Miller C

Mr and Mrs Richard K

Smucker Chair

Christoph von Dohnányi †

Taichi Fukumura

Elizabeth Ring and William Gwinn Mather Chair

James Feddeck

Sidney and Doris Dworkin Chair

Lisa Wong

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

G E T T I N G T O K N O W TCO’s New Musicians

S 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?

G AW O N : 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.

C AT H E R I N E : 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.

P E T E R : The first time I heard the Orchestra 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

teacher in high school showed me those recordings, and I immediately noticed how special the sound was, particularly the timpani.

B R A N D O N : 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?

G AW O N : My mom and aunt are both musicians, so music was always around

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.

P E T E R : 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

C AT H E R I N E : 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

and Milwaukee symphonies. Now, I’m so excited to be here in Cleveland.

B R A N D O N : Growing up, I was always surrounded by classical music. Whether it was Loone y 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?

P E T E R : 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.

G AW O N : 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.

C AT H E R I N E : 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

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.

B R A N D O N : 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.

TCO Summer 2026 Season Announced

S U M M E R I S A RO U N D T H E C O R N E R ! 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.

B L O S S O M M U S I C F E S T I VA L

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

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).

S U M M E R S AT S E V E R A N C E

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 .

Five Musician Appointments

T H E C L E V E L A N D O R C H E S T R A 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

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 .

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

New Recording Highlights

Allison

Loggins -Hull

O N A P R I L 1 7 , 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 Residenc y features three works composed by Loggins-Hull during her three-year

tenure as the Orchestra’s Daniel R . Lewis Composer Fellow: the string sextet Legac y, 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 .

S P R I N G

R E C I TA L

A P R 1 6

A LE X A N D R E

K A N TO RO W I N R E C I TA L

Alexandre Kantorow, piano

Works by J.S. Bach, Medtner, Chopin, Scriabin, and Beethoven

A P R 2 3 , 2 5 & 2 6

B R I T T E N ’ S WA R

R E Q U I E M

Daniel Harding, conductor

Tamara Wilson, soprano

Andrew Staples, tenor

Ludwig Mittelhammer, baritone

The Cleveland Orchestra Chorus

The Cleveland Orchestra Children’s Chorus

B R I T T E N 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.

A L E N D A R

A P R 3 0 & M AY 2

M E N D E L S S O H N ’ S

R E F O R M AT I O N

S Y M P H O N Y

Jörg Widmann, conductor

J Ö R G W I D M A N N Fanfare for Ten Brass Instruments J Ö R G W I D M A N N Con brio J Ö

N Danse macabre

M E N D E L S S O H N Symphony No. 5, “Reformation”

R E C I TA L

M AY 5

M A RC - A N D R É H A M E LI N

I N R E C I TA L

Marc-André Hamelin, piano

Works by Haydn, Beethoven, Weinberg, and Rachmaninoff

M AY 7 – 9

WAG N E R ’ S

G ÖT T E R DÄ M M E RU N G

Franz Welser-Möst, conductor

Jörg Widmann, clarinet

P RO KO F I E V Symphony No. 1, “Classical”

O L G A N E U W I RT H Zones of Blue* WA G N E R Excerpts from Götterdämmerung

M AY 1 6 , 2 1 & 24

B E E T H OV E N ’ S F I D E LI O

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

B E E T H O V E N Fidelio

Opera presentation sung in German with projected supertitles

M AY 2 2

H E RO ’ S S O N G

Franz Welser-Möst, conductor

Leila Josefowicz, violin

Trina Struble, harp

A D O L P H U S H A I L S T O R K

Epitaph for a Man Who Dreamed

B A C E W I C Z Symphony No 4

J Ü R I R E I N V E R E Concerto for Violin, Harp, and Orchestra D V O Ř Á K Hero’s Song

E A R N P O I N T S

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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 .

A P R I L 9 – MAY 24

Halim Flowers: It Takes Courage to Love All Unconditionally

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

F R I DAY, 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

S AT U R DAY, MAY 1 6

United in Song! A Community Choral Celebration

An afternoon of joyous vocal performances representing the rich diversity of the Greater Cleveland choral community

S AT U R DAY, MAY 1 6

T H U R S DAY, MAY 2 1

S U N DAY, MAY 24

Beethoven’s Fidelio 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

S U N DAY, MAY 1 7

Courage and Poetry: An Af ternoon 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.

M O N DAY, MAY 1 8

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

T U E S DAY, MAY 1 9

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

F R I DAY, MAY 2 2

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

Individual Support

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.

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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

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)

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

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

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

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

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 PRIVATSTIF T UNG

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

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

C O R P O R AT E S U P P O RT

Gifts of $300,000 & more

The Goodyear Tire & Rubber Company

Hyster-Yale, 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

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

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

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

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

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

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

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

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)

The Cleveland Orchestra Board of Trustees

O F F I C E R S

Richard J. Kramer

Chair

André Gremillet

President & CEO,

The Richard K Smucker Chair

Richard K . Smucker

Immediate Past Chair

Richard J. Bogomolny

Chair Emeritus

Dennis W LaBarre

Chair Emeritus

Norma Lerner

Honorary Chair

David J. Hooker

Secretary

Victor Alexander

Treasurer

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

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)

Wolfgang C. Berndt (Austria)

Herbert Kloiber (Germany)

André Gremillet

Todd Diacon

Sarah Hutchins

Eric Kaler

Judith E . Matsko

Beverly J. Schneider

Thomas F. McKee

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

L AT E S E AT I N G

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 .

C E L L P H O N E S , WAT C H E S &

O T H E R D E V I C E S

To ensure a quiet and respectful listening environment , please silence all electronic devices .

P H O T O G R A P H Y, V I D E O G R A P H Y & R E C O R D I N G

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

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.

I N T H E E V E N T

O F A N E M E RG E N C Y

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 A G E G U I D E L I N E S

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

T H E C L E V E L A N D O R C H E S T R A A P P

Official Mobile App of TCO

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

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) F O O D & M E RC H A N D I S E

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.

T E L L U S A B O U T YO U R

E X P E R I E N C E

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

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.

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

E D I T O R I A L

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

Ellen Sauer Tanyeri, Archives & Editorial Assistant, The Cleveland Orchestra

D E S I G N

Elizabeth Eddins, Eddinsdesign eddinsdesign@gmail com

A D V E R T I S I N G Live Publishing Company, 216-721-1800