Hannigan Conducts Gershwin
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Hannigan Conducts Gershwin
Barbara Hannigan, conductor
P R O G R A M N O T E S : A Haunted Landscape by George Crumb • PA G E 1 1 Sun-Treader by Carl Ruggles • PA G E 1 2
Knoxville: Summer of 1915, Op. 24 by Samuel Barber • PA G E 1 5
Porgy and Bess: A Symphonic Picture by George Gershwin • PA G E 1 6 The Sung Text • PA G E 1 8
Conductor & Artist Biographies • PA G E 2 3 P A G E 3 3 T C O S P O T L I G H T A History of John Adams & The Cleveland Orchestra P A G E 3 7
I N T H E N E W S Noteworthy happenings at The Cleveland Orchestra P A G E 4 4
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Hannigan Conducts Gershwin
Thursday, February 12, 2026, at 7:30 PM Saturday, February 14, 2026, at 7:30 PM
Barbara Hannigan, conductor
George Crumb (1929–2022)
Carl Ruggles (1876–1971)
Samuel Barber (1910–1981)
George Gershwin (1898–1937)
Knoxville: Summer of 1915, Op. 24
Johanna Wallroth, soprano
Porgy and Bess: A Symphonic Picture
(arr. Robert Russell Bennett)
Barbara Hannigan’s performance is generously sponsored by Tony and Diane Wynshaw-Boris.
Thursday’s performance is dedicated to Katherine and William O’Neill in recognition of their generous support of music.
The Many Threads of American Music
What makes music “American” ? This program demonstrates the many directions composers have taken when attempting to answer this question
A M E R I C A N C O M P O S E R S in the 20th century generally fell into two distinct schools: some were determined to forge new paths through musical innovation, while others, committed to more traditional compositional techniques, were inspired by popular and vernacular American music styles. While these approaches are not mutually exclusive, the four works on tonight’s program illustrate aspects of both tendencies.
[ There was] a growing interest among 20th- century composers in timbre — that is , tone color — as a musical element equal in importance to melody, harmony, and rhythm . aspects or strings
George Crumb was born in Charleston, West Virginia, and raised in a musical household. He counted Bartók, Debussy, and Mahler among his most important influences, but also drew upon the innovations of Henry Cowell, Edgard Varèse, and John Cage, each of whom contributed to a growing interest among 20th-century composers in timbre that is, tone color as a musical element equal in importance to melody, harmony, and rhythm
A Haunted Landscape, composed in 1984 for the New York Philharmonic, expresses Crumb’s feeling that “certain places on the planet Earth are imbued with an aura of mystery.” The strings provide a recurring sheen of generally quiet sound, punctuated by interjections from various instruments, some of which use extended techniques: the harp players occasionally tap their sound boards, for example, and the pianist frequently strums or taps the strings inside the instrument. The large percussion section plays a dizzying array of instruments from around the world, and a recurring five-note knocking motive serves as a unifying element. Underlying the entire work
In the 1940s , the unjust internment of Japanese Americans forced the nation to reconsider what it meant to be “American ” Even after this community reentered the workforce following World War II, this question persisted and remains just as relevant today
is a “cosmic drone,” played by two double basses with their lowest C strings tuned down to B-flats, which contributes to the feeling of unease and mystery.
The famously irascible Carl Ruggles was born to a whaling family in Massachusetts and educated at Harvard. He spent time in the Midwest and contributed to the New York avant-garde scene in the 1920s but eventually retreated to the relative isolation of rural Vermont, where he spent the rest of his life painting and endlessly writing, revising, and discarding his music In the end,
In the late-20th century, George Crumb (seen here in 1998) developed a distinctive, otherworldly musical style that has captivated both performances and listeners for decades .
he produced only 12 published works, leaving behind mounds of sketches and half-finished scores at his death.
The title of his most famous work is taken from a line by poet Robert Browning: “Sun-treader, life and light be thine for ever,” written as an homage to Percy Shelley. Ruggles probably had no interest in Shelley, but he was
A Haunted Landscape
by George Crumb
B O R N : October 24, 1929, in Charleston , West Virginia
D I E D : February 6, 2022, in Media , Pennsylvania
▶ C O M P O S E D : 1984
▶ W O R L D P R E M I E R E : June 7, 1984, with Arthur Weisberg conducting the New York Philharmonic
▶ 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 6, 1994, conducted by Vladimir Ashkenazy
▶ O R C H E S T R AT I O N : 3 flutes (3rd doubling piccolo), 3 oboes (3rd doubling English horn), 3 clarinets (3rd doubling E-flat clarinet), 3 bassoons (3rd doubling contrabassoon), 4 horns , 3 trumpets , 3 trombones , tuba , timpani, percussion (almglocken , bass drums , Cambodian angklungs , Caribbean steel drum , chimes , Chinese temple gongs , claves , crotales , cuíca , flexatone, glass wind chimes , glockenspiel, güiro, hammered dulcimer, kabuki blocks , maracas , marimba , rute, sand blocks , sleigh bells , snare drum , suspended cymbals , tambourine, tam-tams , temple blocks , tom-toms , vibraphone, xylophone), 2 harps , piano, and strings
▶ D U R AT I O N : about 20 minutes
A H AU N T E D L A N D S C A P E I S N O T P RO G R A M M AT I C I N A N Y S E N S E . The title reflects my feeling that certain places on the planet Earth are imbued with an aura of mystery. … Places can inspire feelings of reverence or brooding menace (like the deserted battlefields of ancient wars). Sometimes one feels an idyllic sense of time suspended. The contemplation of a landscape can induce complex psychological states and perhaps music is an ideal medium for delineating the tiny, subtle nuances of emotion and sensibility, which hover between the subliminal and the unconscious.
A Haunted Landscape is cast in a single, continuous movement. A unifying factor is provided by a very low B-flat, sustained throughout by two solo contrabassists. I had imagined that this low B-flat (60 cycles the frequency of alternating current) was an immutable law of nature and represented a kind of “cosmic drone.” But, alas, science defeats art a chemist friend informed me that alternating current is arbitrarily determined by man, and that B-flat is not even international, much less intergalactic! From a program note by George Crumb
Sun-Treader
by Carl Ruggles
B O R N : March 11 , 1876, in Marion , Massachusetts
D I E D : October 24, 1971 , in Bennington , Vermont
▶ C O M P O S E D : 1926 – 31
▶ W O R L D P R E M I E R E : February 25, 1932 , in Paris , with Nicolas Slominsky conducting
▶ 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 : September 25, 1986, led by Music Director Christoph von Dohnányi
▶ O R C H E S T R AT I O N : 5 flutes (4th and 5th doubling piccolo), 3 oboes , 2 English horns , 3 clarinets , E-flat clarinet , bass clarinet , 3 bassoons , contrabassoon , 6 horns , 5 trumpets , 5 trombones , tenor tuba , bass tuba , timpani, cymbals , 2 harps , and strings
▶ D U R AT I O N : about 15 minutes
S Y R L S I L B E R M A N O F W G B H-T V I N B O S T O N had worked on a film about [Carl Ruggles] and had become friendly with the [94-year-old] man. We drove up to the rest home where Mr. Ruggles, an old and, some said, senile man was living. … Syrl and I just walked into his room and said “Hello,” set up a tape recorder, put some light earphones on his old and shriveled head, cranked the volume up as high as possible, and started to play an air-check of the [Boston Symphony Orchestra’s recent] performance of Sun-Treader.
The first timpani stroke of the work hit the old man like a hammer. Suddenly, he was sitting bolt upright, his eyes wild and open, like an eagle, his breath coming in fast, hoarse grunts and growls and guttered noise. “Fine. Great. Damn, damn fine work!” He kept it up right through the whole piece. Sometimes singing or moaning along with the music until the end. He turned toward me, sitting at his bedside, and grabbed my hand in his, holding it in a viselike grip and just stared at me, saying nothing. We remained so awhile, then he settled back and began to talk, mostly about his friend Ives (“Charlie”), about Varèse, [artist] Thomas Hart Benton. And music, music, music:
“I don’t think much about that fellow Brahms Debussy a genius nothing wrong with him that a few weeks in the open air wouldn’t cure. … Oh, there are some fine works all right: the St. Matthe w Passion, Missa solemnis, The Ring, Tristan, and Sun-Treader. When I wrote Sun-Treader, I knew it was great. I knew it!”
Conductor Michael Tilson Thomas on his meeting with Carl Ruggles in 1970
certainly intrigued by the powerful imagery of that phrase. The music of Sun-Treader reminds one of the atonal style of Schoenberg and the thick
first notes of the work, and the music alternates between passages of pounding intensity and moments of quiet lyricism, culminating in an overwhelming climax.
Like Ives , Ruggles wrote music that was jagged , proud , and uncompromising . . .
textures of Ives, his friend and fellow New Englander. The impression of immense power is evident from the
Like Ives, Ruggles wrote music that was jagged, proud, and uncompromising, although it lacked the humanity and nostalgic patriotism found in so much of Ives’s music.
American painter Thomas Hart Benton created this portrait of his friend Carl Ruggles in the 1930s , titled The Sun Treader.
With Samuel Barber, the program turns to a different style of American music, one steeped in the sounds and images of small-town life. Barber, like Copland, wrote in an accessible, distinctly American style, with folk-like melodies and harmonies that are both fresh and richly expressive. Knoxville: Summer of 1915 is based on a passage of free poetry by James Agee recalling his Southern childhood. Although born in Pennsylvania, Barber readily identified with Agee’s picture of an early 20thcentury summer evening as seen through the eyes of a 5-year-old boy, noting that he and Agee were almost exact contemporaries. Along with the images of everyday life, the text speaks of the deep love and comfort the boy feels in
the presence of his family and is tinged with his preternatural recognition of life’s ultimate sorrow: “May God bless my people … remember them kindly in their time of trouble, and in the hour of their taking away ”
Barber’s score immediately establishes a wistful, nostalgic mood. A passing streetcar interrupts the boy’s reverie with a moment of noisy excitement before the tranquil music of the opening reappears. The work reaches its emotional climax as the boy marvels at his luck that “by some chance” his loved ones are “all on this earth” and ponders the reality that it will not always be so. The piece ends as the boy is lovingly ushered off to bed, but with the poignant recognition that for all their love, his family “will not ever tell me who I am.”
ever me am.” recognition
[Agee’s] text speaks of the deep love and comfort the boy feels in the presence of his family and is tinged with his preternatural recognition of life’s ultimate sorrow . . .
No composer did more to bring the worlds of classical and American popular music together than George Gershwin. Due to the popularity of his jazz-influenced orchestral works and his success on Broadway, he was considered by many, on both sides of the Atlantic, to be the greatest American composer. His opera
Composer Aaron Copland (left) converses with Samuel Barber (right) in 1945, two years before the latter composed Knoxville: Summer of 1915.
Knoxville: Summer of 1915, Op . 24
by Samuel Barber
B O R N : March 9, 1910, in West Chester, Pennsylvania
D I E D : January 23, 1981 , in New York City
▶ C O M P O S E D : 1947
▶ W O R L D P R E M I E R E : April 9, 1948 , with soprano Eleanor Steber and the Boston Symphony Orchestra conducted by Serge Koussevitzky
▶ 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 : February 22 , 1959, with tenor Glenn Schnittke, led by Louis Lane
▶ O R C H E S T R AT I O N : flute (doubling piccolo), oboe (doubling English horn), clarinet , bassoon , 2 horns , trumpet , triangle, harp , and strings , plus soprano (or tenor) soloist
▶ D U R AT I O N : about 15 minutes
See page 18 for the sung text .
I H A D A LWAY S A D M I R E D Mr. [James] Agee’s writing, and this prose-poem particularly struck me because the summer evening he describes in his native southern town reminded me so much of similar evenings when I was a child at home. I found out, after setting this, that Mr. Agee and I are the same age, and the year he described was 1915, when we were both 5. You see, it expresses a child’s feeling of loneliness, wonder, and lack of identity in that marginal world between twilight and sleep.
Samuel Barber, intervie wed by James Fasset on June 19, 1949
Porgy and Bes s: A Symphonic Picture
by George Gershwin
B O R N : September 26, 1898, in New York City
D I E D : July 11 , 1937, in Los Angeles
▶ C O M P O S E D : 1934 – 35; suite arranged by Robert Russell Bennett in 1942
▶ W O R L D P R E M I E R E : Bennett’s suite of music from Gershwin’ s opera premiered on February 5, 1943, with Fritz Reiner conducting the Pittsburgh 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 : October 19, 1943, with Music Director Erich Leinsdorf
▶ O R C H E S T R AT I O N : 2 flutes , piccolo, 2 oboes , English horn , 2 clarinets , bass clarinet , 2 alto saxophones , tenor saxophone, 2 bassoons , 4 horns , 3 trumpets , 3 trombones , tuba , timpani, percussion (bass drum , chimes , cymbals , sandpaper, snare drum , tom-toms , woodblock , xylophone), banjo, 2 harps , and strings
▶ D U R AT I O N : about 25 minutes
D R . [ F R I T Z ] R E I N E R S E L E C T E D T H E P O RT I O N S of the opera that he wanted to play and also set the sequence of the excerpts. He expressed his ideas as to instrumentation, wishing to make generous use of saxophones and banjo and to dispense with Gershwin’s pet instrument, the piano.
I proceeded not only to follow Dr Reiner’s ideas faithfully, but also to remain completely loyal to George’s harmonic and orchestral intentions. In other words, although carrying out Dr. Reiner’s approach, I have been careful to do what I knew after many years of association with Gershwin Gershwin would like as a symphonic version of his music.
Robert Russell Bennett, in the liner notes for the Pittsburgh Symphony O rchestra’s 1945 recording of the work
Porgy and Bess premiered to critical acclaim in 1935 and incorporated many facets of Black American music, from jazz to blues to spirituals.
After Gershwin’s sudden death in 1937 from a brain tumor, several conductors explored ways to bring the music of Porgy and Bess to the concert hall. Conductor Fritz Reiner commissioned Robert Russell Bennett, a close friend of Gershwin’s, to construct a “symphonic picture” from the opera score. Bennett, a skilled composer and orchestrator who, over the course of his career, arranged music for some 300 Broadway shows, including Show Boat, Oklahoma!, and The Sound of Music adapted Gershwin’s music into a 25-minute orchestral suite Although some of the
melodies will be familiar only to devotees of the opera, others, such as “Summertime” and “It Ain’t Necessarily So,” have long since entered the Great American Songbook. Bennett’s suite seamlessly links the various tunes, and the overall effect confirms the assessment that Gershwin was indeed one of America’s greatest composers.
Michael Strasser
Michael Strasser is professor emeritus of musicology at Baldwin Wallace University He has published numerous articles and reviews and presented papers at international conferences on fin- de-siècle France , Arnold Schoenberg , and colonial music in British North America and Mexico
Continue your journey with Barbara Hannigan on Adella .live, the digital home of The Cleveland Orchestra , with Hannigan’s Musical Community, a production featuring music by Haydn, Vivier, Ligeti, and R . Strauss Try it free by visiting adella .live and using the promo code ADELLA30 at checkout
The residents of Catfish Row gather onstage in a scene from the original 1935 production of Porgy and Bess.
Knoxville: Summer of 1915, Op . 24
by Samuel Barber
Text by James Agee
© 1949 by G. Schirmer, Inc.
[We are talking now of summer e venings in Knoxville Tennessee in the time that I lived there so successfully disguised to myself as a child.]
… It has become that time of evening when people sit on their porches, rocking gently and talking gently and watching the street and the standing up into their sphere of possession of the trees, of birds’ hung havens, hangars. People go by; things go by. A horse, drawing a buggy, breaking his hollow iron music on the asphalt: a loud auto: a quiet auto: people in pairs, not in a hurry, scuffling, switching their weight of aestival body, talking casually, the taste hovering over them of vanilla, strawberry, pasteboard, and starched milk, the image upon them of lovers and horsemen, squared with clowns in hueless amber. A streetcar raising its iron moan; stopping; belling and starting, stertorous; rousing and raising again its iron increasing moan and swimming its gold windows and straw seats on past and past and past, the bleak spark crackling and cursing above it like a small malignant spirit set to dog its tracks; the iron whine rises on rising speed; still risen, faints; halts; the faint stinging bell; rises again, still fainter; fainting, lifting, lifts, faints foregone: forgotten. Now is the night one blue dew.
Now is the night one blue dew, my father has drained, he has coiled the hose.
Low on the length of lawns, a frailing of fire who breathes ...
Parents on porches: rock and rock. From damp strings morning glories hang their ancient faces.
The dry and exalted noise of the locusts from all the air at once enchants my eardrums.
On the rough wet grass of the back yard my father and mother have spread quilts. We all lie there, my mother, my father, my uncle, my aunt, and I too am lying there. ... They are not talking much, and the talk is quiet, of nothing in particular, of nothing at all in particular, of nothing at all. The stars are wide and alive, they seem each like a smile of great sweetness, and they seem very near All my people are larger bodies than mine, ... with voices gentle and meaningless like the voices of sleeping birds. One is an artist, he is living at home. One is a musician, she is living at home. One is my mother who is good to me. One is my father who is good to me. By some chance, here they are, all on this earth; and who shall ever tell the sorrow of being on this earth, lying, on quilts, on the grass, in a summer evening, among the sounds of the night. May God bless my people, my uncle, my aunt, my mother, my good father, oh, remember them kindly in their time of trouble; and in the hour of their taking away.
After a little l am taken in and put to bed. Sleep, soft smiling, draws me unto her: and those receive me, who quietly treat me, as one familiar and well-beloved in that home: but will not, oh, will not, not now, not ever; but will not ever tell me who I am.
O N V I E W A T
S E V E R A N C E M U S I C C E N T E R
The Golden Age of Music Cover Art
PA M E L A H U M P H R E Y G R E E N R O O M
The early 19th century witnessed a global surge in sheet music production . Thanks to new printing technologies , many publishing houses took pride in creating elaborate covers adorned with whimsical designs , vibrant inks , and intricate illustrations . This season , see a variety of sheet music covers from several Orchestra collections in the Green Room .
From the Archives: Out of the Vault
Have you ever wondered what is stored in The Cleveland Orchestra’s Archives? Wonder no more! Check out the Lerner Gallery for photos , recordings , memorabilia , artifacts , and rarely seen treasures that have been released from “the vault . ”
Growing Up with The Cleveland Orchestra: Over 100 Years of Education Concerts
T H E M A G I C B O X outside the Grand Foyer
Centered around a 1945 Braille version of From the Land of Make-Believe, The Cleveland Orchestra’s educational study guide, this exhibit in the Magic Box showcases photos and videos from our Education Concerts throughout the decades .
Barbara Hannigan
E M B O DY I N G M U S I C with an unparalleled dramatic sensibility, soprano and conductor Barbara Hannigan is an artist at the forefront of creation. Over more than three decades, she has forged extraordinary artistic partnerships with the world’s foremost musicians, directors, and choreographers, including John Zorn, Simon Rattle, Sasha Waltz, Katie Mitchell, Esa-Pekka Salonen, and Kirill Petrenko. The late conductor and pianist Reinbert de Leeuw has been an extraordinary influence and inspiration on her development as a musician.
In the 2025 – 26 season, Hannigan returns to The Cleveland Orchestra, Royal Concertgebouw Orchestra, l’Orchestre de Chambre de Lausanne, Munich Philharmonic, and Iceland Symphony Orchestra (where her position as chief conductor and artistic director will begin in the 2026 – 27 season). She will make her New York Philharmonic conducting debut, performing her unique version of Poulenc’s La voix humaine, in which she both sings the role of Elle and conducts the orchestra Her recital tour with Bertrand Chamayou also continues, with performances in Lausanne, Amsterdam, Gothenburg, Brussels, Madrid, Vienna, Prague, and London, and she embarks on another European tour alongside the Quatuor Belcea, singing the soprano part in Schoenberg’s Second String Quartet. In addition,
Hannigan will give the world premiere of Laura Bowler’s The White Book for soprano and orchestra with the Gothenburg Symphony Orchestra, London Symphony Orchestra, and Copenhagen Philharmonic, conducted by Bar Avni Hannigan’s awards and honors include being named the 2025 Polar Music Prize Laureate, Musical America’s Artist of the Year in 2025, and an Accademico Onorario (Honorary Academician) at the Accademia di Santa Cecilia. Other honors include the Order of Canada, France’s Officier des Arts et des Lettres, Gramophone’s 2022 Artist of the Year, Germany’s Faust Award, Sweden’s Rolf Schock Prize for Musical Arts, the Stena Foundation’s 2021 Cultural Scholarship, the Dresdener Musikfestspiele Glashütte Award, Denmark’s Léonie Sonning Music Prize, and Canada’s De Hueck and Walford Career Achievement Award
Johanna Wallroth soprano
S O P R A N O Johanna Wallroth has swiftly risen to international acclaim, with standout appearances at the Wiener Staatsoper, Berliner Philharmonie, Wiener Musikverein, and Philharmonie de Paris. Following her celebrated debut in D on Giovanni with the Swedish Radio Symphony Orchestra under Daniel Harding, she was named Swedish Radio’s artist in residence for two consecutive seasons.
Wallroth’s 2025 – 26 season marks a series of important debuts, including as Pamina in Simon McBurney’s acclaimed production of The Magic Flute at Theater Basel, as the Governess in The Turn of the Scre w with Den Norske Opera, and as Fiordiligi in a concert version of Così fan tutte with the Swedish Chamber Orchestra. On the concert platform, she joins The Cleveland Orchestra under Barbara Hannigan to perform Knoxville: Summer of 1915 and the Swedish Radio Symphony Orchestra in a program of Mozart arias, conducted by Karina Canellakis.
Wallroth is also an accomplished recitalist and recently performed at Båstad’s historic Birgit Nilsson Hall with pianist Magnus Svensson. In collaboration with pianist Malcolm Martineau, she has performed at the Schubertiades in both Vilabertran and Cantabria, the Tivoli Festival, as part of the Grandi voci series at Gothenburg
Opera, and at Helsinki Seriös. She has also presented programs at London’s Wigmore Hall with Michael Pandya, at the Savonlinna Festival with Kristian Attila, and has recorded a number of lieder programs as a BBC Radio 3 New Generation Artist.
Wallroth’s artistic journey began at the Royal Swedish Ballet School, where she trained as a dancer before shifting her focus to voice, and she went on to graduate from Vienna’s Universität für Musik und darstellende Kunst (MDW ). She gained international attention when she secured first prize at the renowned Mirjam Helin International Singing Competition in 2019 Wallroth was also awarded the Birgit Nilsson Scholarship in 2021 and represented Sweden in the 2023 Cardiff Singer of the World Competition
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
Catherine Van Handel2
Sandra L Haslinger Chair
Gareth Thomas
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
“A N A D V E N T U R E O F T H E F I R S T O R D E R ” :
A History of John Adams & The Cleveland Orchestra
B E G I N N I N G I N 1 9 8 7 , The Cleveland Orchestra embarked on an artistic partnership with John Adams, an American composer and conductor widely renowned for his unique integration of classical and popular music traditions . Over the years , this harmonious collaboration has not only showcased the expansive breadth of Adams’s musical catalog but has also left a notable impact on the Orchestra’s musicians , artistic leadership, and audiences .
Adams’s partnership with The Cleveland Orchestra was heralded with the gentle call of stereophonic trumpets at a 1987 Blossom Music Festival concert conducted by David Zinman. The composition, Tromba Lontana, introduced Northeast Ohio audiences to Adams’s quasi-minimalistic style and reflected the artistic vision set forth by the late Christoph von Dohnányi. As the Orchestra’s sixth Music Director, Dohnányi wished to expose Cleveland audiences to contemporary music: “I don’t blame people who say, ‘I don’t like it.’ But I would blame them if they said it was not good music then they would have to prove it. … If we don’t play it, who will?” Under Dohnányi’s leadership, the
John Adams last conducted The Cleveland Orchestra in April 2024, highlighting works by Gabriella Smith and Debussy alongside his jazz-infused City Noir
Orchestra gave repeat performances of Adams’s 1989 composition, The Wound-D resser, at home and on tour. Adams’s conducting debut with The Cleveland Orchestra took place on April 25, 1991, during a “Composers of our Time” subscription concert. His innovative program featured two recent works of his own: Harmonielehre (1985) and Choruses from The D eath of Klinghoffer (1991) With Harmonielehre, Adams established his signature combination of the chugging rhythms of Minimalism, allusions to popular music, and lush orchestration The Choruses from The D eath of Klinghoffer were drawn from Adams’s second (and highly controversial) opera, produced by Peter Sellars. A month after the opera’s world premiere in Brussels, The Cleveland Orchestra and Chorus had the immense privilege of giving the US premiere of this music under the composer’s baton, no less.
These performances marked the successful inauguration of an artistic partnership that has flourished for nearly four decades.
The next milestone for Adams and the Orchestra occurred on September 25, 1997, with the world premiere of Century Rolls. Commissioned by the Orchestra, Adams wrote this piano concerto for his close friend Emanuel Ax In early correspondence, Adams revealed that he and “Manny” had agreed that the piano part must be “ferociously difficult” and called the opportunity to write for the musicians of The Cleveland Orchestra “an adventure of the first order.” Adams’s creative process was inspired by the growing tension between artisanal craftsmanship and advancing technology that developed over the course of the 20th century, specifically the “sensation
Konzerthaus, Cologne Philharmonie, and Blossom Music Center
During his numerous visits to Cleveland, Adams has collaborated with some of the Orchestra’s principal players and subsidiary ensembles. His February 1999 visit featured former Principal Clarinet Franklin Cohen in Gnarly Buttons, a virtuosic work for solo clarinet and chamber orchestra. As preparations for this concert were underway, Adams surprised The Cleveland Orchestra Youth Orchestra during their rehearsal of his work The Chairman D ances, providing the young musicians a special opportunity to work alongside a living composer-conductor.
Adams also assisted with the Bruckner (R)e volution series held during the Orchestra’s residency at the 2011 Lincoln Center Festival. For this event, Music
I’m excited and very honored to be writing a big piece for [ The] Cleveland Orchestra and Manny. This ought to be an adventure of the first order for me .
John Adams , 1996 letter to Thomas Morris (former Executive Director of The Cleveland Orchestra) hn A am 99 et o T M rris (fo e Exe ut v D ect r o he
of how music sounds when it’s played through the medium of the piano roll ” Indeed, Century Rolls blurs the distinction between human and machine by carefully balancing the technical and lyrical demands placed on its soloist
Since the concerto’s premiere, the Orchestra has released a commercial recording of the work and performed it at Carnegie Hall, the Vienna
Director Franz Welser-Möst revealed aesthetic similarities between the two composers by pairing three Adams compositions with four Bruckner symphonies.
After nearly two decades away, Adams returned to Severance in late 2018 as part of the Orchestra’s Centennial celebrations. He was joined on stage by violinist Leila Josefowicz one
In February 1999, Adams dropped in
The
of his long-time artistic collaborators in performances of Scheherazade.2, a dramatic symphony for violin and orchestra that reinterprets the titular legend for 21st-century audiences.
More recent visits have included the cheekily titled piano concerto Must the D e vil Have All the Good Tunes? with Jeremy Denk, Philip Glass’s Façades from Glassworks with Cleveland-based saxophonist Steven Banks, and a momentous concert production of Adams’s Nativity oratorio El Niño, featuring the combined talents of The Cleveland Orchestra and Chorus, The Cleveland Orchestra Children’s Chorus, and soloists
Now in its 2025–26 season, The Cleveland Orchestra welcomes Adams to the podium once again to direct his most recent orchestral work, Frenzy: a short symphony, alongside music by Ives, Timo Andres, and Piazzolla. In light of this artistic partnership approaching 40 years, the Orchestra eagerly awaits the next chapter of this brilliant composerconductor’s legacy.
Ina McCormack
Ina McCormack is the 2025 – 26 Archives Research Fellow The fellowship is an opportunity for PhD music students from Case Western Reserve University to work in The Cleveland Orchestra Archives
Scan the QR code to read an extended version of this feature on the Orchestra’s Content Hub
on
Cleveland Orchestra Youth Orchestra and led their rehearsal of his foxtrot for orchestra , The Chairman Dances.
2026 Mandel Opera & Humanities Festival: Courage
T H E F O U RT H A N N UA L Jack, Joseph and Morton Mandel Opera & Humanities Festival kicks off in May with a bold lineup of music, visual and spoken art, and conversations. Held at Severance Music Center and partner locations from May 15 to 24, this year’s festival explores the theme of Courage and is anchored by three performances of Beethoven’s only opera, Fidelio, led by Music Director Franz Welser-Möst (May 16, 21 & 24).
For the first time, the festival welcomes a guest curator trumpeter and composer Terence Blanchard, who is acclaimed for bridging classical music, jazz, and film Audiences can experience his genre-bending artistry firsthand at The World(s) of Terence Blanchard on May 15, a two-part evening that features music from his celebrated opera Fire Shut Up in My Bones, as well as a suite from his score for Spike Lee’s Malcolm X, with projections by Andrew F. Scott.
On May 18, renowned lawyer, advocate, and founder of the Equal Justice
Initiative Bryan Stevenson delivers the festival’s opening keynote address, reflecting on the meaning of courage in the pursuit of justice and his life’s work serving incarcerated individuals. The evening prior, May 17, Grammywinning spoken-word artist Tank Ball presents an intimate and uplifting evening of poetry and storytelling.
Throughout the festival, visitors to Severance can experience a special exhibition featuring an original series of works by visual artist Halim Flowers inspired by the festival’s theme. Imprisoned for a crime he didn’t commit, Flowers’s advocacy and artwork embody courage in the face of injustice.
Returning festival-favorite events include United in Song! on May 16, bringing together voices from across the Greater Cleveland area, and The Moth Mainstage (May 19), featuring unforgettable true stories told live from Mandel Concert Hall.
Additional festival events will be announced in March. Visit clevelandorchestra .com/ festival for details and ticketing information
The Moth Mainstage returns for the 2026 Mandel Opera & Humanities Festival after its triumphant Severance debut as part of the 2025 festival
Three Musician Appointments
T H E C L E V E L A N D O R C H E S T R A and Music
Director Franz Welser-Möst are pleased to announce three new musician appointments in the viola and bassoon sections. Gareth Zehngut (left), who has been a section violist with The Cleveland Orchestra since 2022, was appointed First Assistant Principal Viola and began the role in October He is the second alum of The Cleveland Orchestra Youth Orchestra to hold a titled chair in The Cleveland Orchestra.
Go Inside the Music
WA N T T O D E LV E D E E P E R into the music featured on The Cleveland Orchestra’s season? Check out our Music in Depth and Concert Preview series!
Hosted by a roster of music experts from the Cleveland area, both combine historical context, musical details, and audio examples to offer an exclusive window into each week’s Cleveland Orchestra performances.
The Orchestra also welcomes Catherine Van Handel (center) as Assistant Principal Bassoon. She previously served as principal bassoon of the Milwaukee Symphony Orchestra from 2017 to 2025, and held positions with the Toronto and Harrisburg symphony orchestras prior to that.
Finally, Sean Juhl (right) joins the Orchestra as a section violist in May 2026, after three seasons with the Pittsburgh Symphony Orchestra.
Music in Depth is a one-hour Zoom webinar series that meets on Mondays at 4 PM during concert weeks. Concert Previews take place in person at Severance Music Center one hour prior to each subscription concert. Both are free and open to the public.
Scan the QR code to read more about this season’s Music in Depth and Concert Preview speakers
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Plus, if you sign up to become a Stand Partner by February 15, your first year of monthly donations will be doubled by matching funds from fellow music lovers Herb and Jody Wainer. Visit clevelandorchestra .com/standpartner to become a champion for music today.
I N M E M O R I A M : Boris Chusid
T H E C L E V E L A N D O R C H E S T R A honors the passing of long-time Orchestra violinist Boris Chusid on December 12, 2025. He was 81 years old.
Born in the Soviet Union, Chusid emigrated to the United States in 1974 In 1979, he joined The Cleveland Orchestra under Music Director Lorin Maazel and remained a member until his retirement in 2008. During his three-decade tenure with the group, Chusid played under three music directors, toured around the world, and was featured in several chamber performances.
Boris will be remembered for his musicianship and collegiality. We extend our heartfelt condolences to his family, friends, and Orchestra colleagues, and join them in celebrating his life
O P E R A C L U B
Celebrating Voice
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Benefit s come at a variety of levels and can include :
• Opportunities to sponsor a vocal soloist or opera cast member
• Post-concert artist meet-and-greets for select concerts
• Exclusive invitations to parties , performances , and more!
C O N T A C T
Angela Mortellaro, Major Gift Officer 216 -231- 8 014 | amortellaro@clevelandorchestra .com
T O DAY !
Opera Club membership start s with donations of $2 ,500 and higher.
2025 – 26 Featured Vocal Artists:
• Asmik Grigorian
• Joélle Harvey
• Tim Mead
• Miles Mykkanen
• Limmie Pulliam
W I N T E R
R E C I TA L
F E B 1 7
M AO F U J I TA I N R E C I TA L
Mao Fujita, piano
Works by Beethoven, Wagner, Berg, Mendelssohn, and Brahms
F E B 1 9 – 2 1
F R E N Z I E D TA N G O
John Adams, conductor
Aaron Diehl, piano
I V E S From Greenland’s Icy Mountains*
T I M O A N D R E S Made of Tunes
J O H N A D A M S Frenzy: a short symphony
P I A Z Z O L L A La Mufa (arr Adams)*
P I A Z Z O L L A Oblivion (arr Adams)*
P I A Z Z O L L A Libertango (arr. Adams)
F E B 2 6 – 2 8
S T R AU S S ’ S D O N J UA N
Alain Altinoglu, conductor
Alisa Weilerstein, cello
U N S U K C H I N Cello Concerto
R . S T R A U S S Till Eulenspiegel’s Merry Pranks
R . S T R A U S S Don Juan
M A R 5 , 7 & 8
B R A H M S ’ S T H I R D
S Y M P H O N Y
Jakub Hrůša, conductor
B R A H M S Symphony No. 3
M A RT I N Ů Symphony No. 3
K A P R Á L O VÁ Military Sinfonietta
M A R 1 2 – 1 5
B E E T H OV E N ’ S
FAT E F U L F I F T H
Elim Chan, conductor
Michael Sachs, trumpet
S T R AV I N S K Y Suite from Pulcinella
H AY D N Trumpet Concerto
B E E T H O V E N Symphony No. 5
2 5 / 2 6 S E A S O N C A L E N D A R
R E C I TA L
M A R 1 7
T H E K A N N E H - M A S O N S
I N R E C I TA L
Sheku Kanneh-Mason, cello
Isata Kanneh-Mason, piano
Works by Mendelssohn, N. Boulanger, R. Schumann, and Clarke
M A R 1 9 – 2 1
C H A N C O N D U C T S
B A RTÓ K
Elim Chan, conductor
Patricia Kopatchinskaja, violin
D A N I E L K I D A N E Sun Poem*
B A RT Ó K Violin Concerto No. 1
B A RT Ó K Dance Suite*
S C R I A B I N The Poem of Ecstasy
S P R I N G
A P R 2 – 4
D E B U S S Y ’ S L A M E R
Daniele Rustioni, conductor
Paul Jacobs, organ
FA U R É Suite from Pelléas et Mélisande
P O U L E N C Concerto for Organ, Strings , and Timpani
C A S E L L A Italia
D E B U S S Y La mer
A P R 9 – 1 1
S C H U B E RT &
S H O S TA KOV I C H
Santtu-Matias Rouvali, conductor
Sol Gabetta, cello
S H O S TA KO V I C H Cello Concerto No 2
S C H U B E RT Symphony No. 9, “ The Great”
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
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 R G W I D M A N 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)
Martin Summer, 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
Epitaph for
Man
Dreamed
Violin, Harp, and Orchestra D V O Ř Á K Hero’s Song
Not performed on the Friday matinee concert
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The Cleveland Orchestra’s Stand Partner monthly donors keep the music playing through their ongoing generosity and dedication . Thank you, Stand Partners , for giving from the heart and for being invaluable advocates for music in our community.
To learn more about monthly giving and becoming a Stand Partner, visit clevelandorchestra .com/standpartner or call us at 216 -456 -8400.
Sabra Aaron
Maria Adamowicz-Hariasz
David Adams
Mr. & Mrs . Timothy L . Adams
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Mr. Mark D. Agrast & Mr. David M. Hollis
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Wayne Bartlett
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Dr. Benico & Mrs . Joan Barzilai
Stephanie Bass
Dr. Debbie Bates
Mike & Cynthia Bauman
Reverend Thomas & Dr Joan Baumgardner*
Michael & Mary Anne Baumgartner
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Kathy & Andrew Bemer
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Ms . Kathleen Collins & Mr. Jonathan Fields
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Dr Christine M &
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Joshua Curtis
Mr Robert & Mrs Susan Curtis
Sarah Curtis
Dr. Christine A Hudak & Mr. Marc F. Cymes
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Mary Kay DeGrandis & Edward Donnelly
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John & MaryAnn Doucette
Dr & Mrs Michael B Dowell
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L M Dunker
Mr & Mrs Kevin D Durham
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Dr Robert E Eckardt
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Bonnie Eggers
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Mr. & Mrs . Edward A . Eiskamp
Teresa Eland
Dr. Mark D. Elderbrock
Harald Ellers
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Gary English
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Ted Esborn
Ted Espenschied
Louis* & Patricia Esposito
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Jon & Mary Fancher
Ava & Michel Farivar
Lori Faust
Mr. Cole Fauver
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Dylan Findley
Mary Kay Fink & Nicholas Underhill
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Melissa & Eliana Fittante
Heather & Stewart Fitz Gibbon
Ms . Susan Flowers
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Marianne Frantz
John & Barbara Freshley
Chris Frey
Julie Frey
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Mousse Gallardo
Albert Gallo
Mike & Kay Galloway
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Mr. Stefan Ganobcik
Ms . Deborah A . Geier
Joseph & Margaret Geiger
Ms Lesley Geldart
Frank & Louise Gerlak
Hollie Geyer-Rasnick
Todd & Virginia Gibson
Gary & Anna Gilbert
Jennifer Gilles
Nairn’ Gillet
Patrick Giuffrida
Michael Goe
Pamela & Richard* Goetsch
Mrs . Heather Goldberg
Mr. Robert & Mrs . Lisa Goldberg
Mr. John Goodell
Andrew Gordon-Seifert
John Gorman
John & Ann Gosky
Angela & Jeffrey Gotthardt
Charlotte Gouveia
Dr Ruffin Graham
Heather Grant
Larraine Greeney
Lawrence Greksa
Ms . Sarah Gridley
Emily Griffin
Mr. & Mrs . Fred Grimm
James Grover
Dr. Ruth Gurd
Genevieve Gurnick
Matt Gurtatowski
Ann Guthrie
Mary Gutierrez
Judge James & Bonnie Gwin
The Adam & Loren Hackett Family
Adam Hackett
Meg Hackett
Eleanor Hagan
Karen Hale
Yoshinori & Yukiko Hamamura
Steven Hamilton
Mr. Ray Hamlin, Jr.
Amy Han
Yong & Alice Han
Shinya Handa
Rebecca Hanigosky
Karen Hanrahan
Jill Harbaugh
Delores Hargrove
Jared Harp
Shaun Harper
Betty Harrell
David Harrell
Brian Harris
Melody Joy Hart
Gerald Harvey
Scott Healy
Drs . John & Brittany Heffernan
Craig Heitger
Mr. & Mrs . Wade F. Helms
Candace & Jack Hendershot
Kevin & Pam Hendryx
Nathan Hensley
Robert Hermanowski
Eunice Hester
Patti Hester
James & Susan Hildebrandt
Mr.* & Mrs . Richard A . Hiles
Michael Hoffman
Mary Holland
Suzanne Holt
Jon Horvath
Xavier-Nichols Foundation/
Robert & Karen Hostoffer
Rebecca Hoyt
Phillip Huber
Bradley Hughes & Claire Sonneborn
Mr * & Mrs J David Hunter
Jesse & Rachel Hurst
Todd & Joy Hutchinson
Alex Hyla
Carmen Iozzia
Ms . Anna Marie Irwin
Todd & Shelley Ivary
Cori Jackson
Jasmine Lynn Jackson
Ms . Rebecca Jackson
David Jacob
Thomas K . & Crystal R . James
Scott James
Amy & Kerry Janke
Edward Janoch
Allison Janocha
Mr. Gary & Dr. Maita Jarkewicz
Ms . Abigail Jasper
Penny Jeffrey
Mr. Robert & Mrs . Patricia Jeffreys
Sandra Jensen
Jianhong Jin
Dane Johansen
Sandra John
Mr. & Mrs . David Johnson
Jalen Johnson
Jeffrey & Amy Johnson
Mr Jeremy V Johnson
Kimberly Johnson
Gennie S Johnston
Alex Jones
John Jones
Janet Jordan
Mr. Robert & Mrs . Mary V. Kahelin
Susan Kaiser
George & Valerie Kanieski
Kathleen Kash
David Keep
Rev. John S. Keller & Mr. Donald J. Jackson
Valerie Kelly
Joyce Kennedy
Ryan Kerfoot
Dr. Kristin A . Kerling
David Keymer
Amy Egle
Carol Lee Kinsler
Linda Kirkwood
Dr. Jacobo & Mrs . Joana Kirsch
Ms . Trudee Klautky
Mr. Thomas J. Kniesner & Mrs . Deborah A . Freund
Alicia Koelz & Christos Georgalis
Tim & Linda Koelz
James Koerner
Paul Kohanski
Mr. & Mrs . John C. Komperda
Keisi Kotobelli
Allison Kreiner
Robert Sebulsky & Margaret H. Kreiner, Esq.
David & Jarrett Krizan
Mrs . Kristi Krueger
Megan Krutsch
Thomas* & Barbara Kuby
Bill & Sue Kuczinski
Drs . Steven & Carolyn Kuerbitz
Tracy Kuhn
Susan Kuilder
Christopher & Chelsea Kulhanek
Robert & Brenda Kunkel
Kassandra Kuzma
Katarzyma Lach
Ms . Leslie Lahr
Mr.* & Mrs . Robert J. Landgraf
Dr. Richard S. Lang
Sarah Lang
Daniel Laskowski
Mr. & Mrs . Michael Lavelle
William & Lynn Lavezzi
Dr. William Lavigna
Mr & Mrs Brian A Lawler
Jonah Lawson
Ms Cynthia D Leach
Joshua Harris & Yun-Ting Lee
Don & Jane Lennon
Jasmine Lepir
Donna Levy
Juanita Lewis
Shien Liao
Ms . Kim E . Lindsey
Mrs . Kay B. Lingafelter
Mr. Jeff Litwiller
Gina Lloyd
Hannah Long
Nikki Long
Susana Lorenzo- Giguere
Robert Lovicz & Kimberly Johnson
Mike Lowden
Alice Luddington- Cantor
Phillip & Louise Luschek
Judith Lyon
Ms . Pamela MacWilliams
Audra Mahon
Margaret Mahoney
Iryna Maitta
Jeffrey Malashock
Elena Manoli
Jennifer Manthey
Dr. Kandice Marchant
Ashley Marchetta
Jeanette Marks
Gerald & Marilyn Martau
Douglas Martin
Ralph & Roberta Martin
Kathleen Masis
Robert & Gail Mastrangelo
Ms . Judith E . Matsko
Dr Lee Maxwell* &
Mr Michael M Prunty
John McBratney
Judge Alison McCarty
Mr. David L . McCombs
Kathryn McConnell
Mrs . Pamela J. McConnell
Caroline McCool
Linda McCorkle
Bruce & Karen McDiarmid
Tim McDonnell
Dr. Scott & Sonia McDonough
Melissa McGregor
Mary Ellen McLaughlin
Ms Luellen McMahon
Nancy McMillin
Paul & Elizabeth Meeker
Cacia Meeks
Anjali Mehta
Melissa Becker
Ms . Karen D. Melton
Matthew Menger
Ian Mercer
Dr. Susan M. Merzweiler
Dr. Michelle Messner
Mr. Dave Metlicka
Adam Meyers
Mr. Gene Milford
Amy Miller & Nikhil Rao
Deborah Miller
Duane Miller
Michael & Evelyn Miller
Sally Miller
Valerie Miller
Vickiey Milligan
Taylor Logan
Paula Mindes & George A . Gilliam
Mr. Timothy Minnis
Ioana Missits
Michael Monter
Kelsey Moore
Barbara Morrison
Angela Mortellaro & Michael Davies
Ms . Joanne Mortimer
Ronald & Mary Mortus
Anna Maria Motta
Ken & Sharon Mountcastle
Demari & Terra Muff
Nathan Mullen
John Myers
Melissa Nautiyal
Dr. Anne & Mr. Peter Neff
Ronald Neill & Ann Harlan
Joyce & Jay Nesbit
MaryAnne Nestor
David & Karen Nevergall
Nona Nichols
George Niinisto
Margaret Noll
Jeffrey & Beverly Norris
Jessica Norris
Greg Nosan & Brandon Ruud
Jo Manette Nousak
Matt & Valerie Nousak
Andres Nunez
Devin OBryan
David & Mary Jo Ockenga
Kathleen O’Connor
Mr Karl E Odenweller
Andrew O’Donnell
Christopher O’Donnell
Ms . Mary M. Ogden
Tonia Oglesby
Vicki Ohl
Thomas Okoben
Elizabeth Oresanya
Mia O’Riordan
Mrs . Krysia Orlowski &
Dr. Brian Harte
Dr. Douglas Orr &
Ms . Kimberley Barton
Richard* & Elizabeth Osborne
David Ottney
Randall & Ann Over
Robert Owen
Allison Paine
Stefanie Pallo
Clayton Papenfus
Jacqueline Pasek
Steven Pastor
Hilary Patriok
Denise Patterson
David Pavlich & Cherie Arnold
Ms . Sharon Pavlovich
Victoria Peacock
Jim & Barbara Pearce
Dan Pedrotty
Daniel Pendergast
Tamara & Alec Pendleton
Kyle Perisutti
Dr & Mrs Bernard Perla
Delores Perry
Charles & Sharon Pervo
Caleb Peters
Ms . Catherine Peters
Jennifer Petruzzi
Mitchell Phillips
Craig Piper
James & Cheryl Piper
Jonathan Pittman
Thomas Poje
Jane Pollis
Greg Polyak & Marcia Snavely
Polyak
Joyce Pope
Richard Popelmayer
Carol Porter
Sangeeta Prakash
Rich Pranzarone & Karen Lincicome
William & Millie Prebel
Joshua Prest
Christopher Przybycin
Dr. Laurine Purola
Katherine Rademacher
Rika Rall
Jeannine Ramsey
Mrs . Amy Raubenolt
Kristina Razek
Mrs . Bridget Rechin
Gary Reed
Rebecca Reed
Judy & Clifford Reeves Jr
Octavia Reid
Michael Resnick
Stephanie Resnick
Carmen Rey
Robert Rice
Craig Rich & Victoria Gray
Donna Richardson & Richard Burns
Matthew Richardson
Dr. & Mrs . Bradford Richmond
Miss Melissa Richmond
Albert Richner
Marin Ridgway
Cynthia Ries
Mr Kevin Roach
Mr D Keith* &
Mrs . Margaret B. Robinson
Debra Robinson
Janice & Roger Robinson
Jeffrey Rodachy
Michael & Laura Rogers
Mr. Hans J. Rohr
Dr. Bruce & Mrs . Jan Rose
Douglas H. &
Kasia Gustaw Rothenberg
Cristin Roush
Deborah Rowe
Drs Jordi & David Rowe
Jennifer Rozsa
Marlon Rucker
Roberta W. & Michael J. Rusek
Mrs Elisa J Russo
Mrs Shelley Sabga
Thomas Safford & Barbara Ague
Alexa Sandmann
Robert & Cathie Sankey
Rick Santich & Paula Smith
Erica Savage
Anchal Saxena
Bryan & Jenna Scafidi
Adelaide Schaaf
Charles Schaefer
Floyd Schanbacher
Susan Schapiro
Charles & Susan Schenkelberg
Mr. Matthew Schenz
Jennifer Schiavone
Henry Schilb
Conner Schliffka
John Schmoll
Kevin Schrecengost
Mr. Kim Schrock
Edward Schroeder
Dawn Schwartz
Rachel Hersh Schwarz
Tadd Schwarz
Deborah Scolaro
Barbara Scott
Paul & Sarah Scott
Tiffany Sedlacek
Dr W David Sedwick
June A Seech
Roslyn Seed
Mr Robert Sehein
Peter Selover
Caltha Seymour
Ms . Melanie Shakarian & Dr. Peter Kvidera
Ginger & Larry Shane
Ms . Marlene Sharak
Charles & Linda Shearouse
Sarah Sheehan
John & Myra Shen
Maredith Sheridan & Norman Graubart
Stuart & Gina Sheridan
Mr & Mrs Thomas Sherwood
Robert Shields
Erin Shipley
Toni Shreve
Connetta Shringarpurey
Christina Sibilla
Richard Sicha & Marcia Moll
Hassan Siddiki
Destinee Siebe
Abigail Siegfried
Ms . Barbara Sindyla
Annie & Andrew Singer
Daniel Singer-Sords
Timothy Singer
Robert Sisler
Michal Sittek
Jennifer Skinner
Tom & Eve Sliwinski
Molly Slota
Alex & Elizabeth Smilovich
Lauren Smit
Brad & Leslie Smith
Mr. Joshua Smith
Mr & Mrs Larry E Smith
Maurice Smith
Barb & Bill Snyder
James Snyder
Mr. Frank & Mrs . Nancy* Sobol
Mr. Scott Soeder & Mr. James Riggs
Patricia King Sommer
Nick Sondag
Cathy Soprano
Mary Southards
Stacey Souther
Ms . Kelli Souvey
James & Patricia Spayer
Kate Spector
Jill Spencer
Lilith Spencer
Tim & Marcia Splinter
Mr Michael Sprinker
John & Tina St . John
Deborah Stack
Eugene & Claire Stair
Barbara J. Stanford & Vincent T. Lombardo
Mr. Michael Star
Philip Star & Jane Peterson
Mr. & Mrs . Kent O. Starrett
Carol Stephens
Dr. William H. Stigelman, Jr.
Roger & Donna Stiller
Carol Stojkov
Melody Stolarsky
Mr & Mrs Gary V Stolcals
William Stolicny
Bethany Stone & Nicholas
Campagna
Mary Stone
Elinore Marsh Stormer
Mr. James D. Storry* & Mrs . Sidney Storry
Mr. & Mrs . Michael C. Strasser
Trina Struble & John Bourne
Kate Stuart
Bobbi Sundman
Viena Swierczek
Christopher Switzer
David Szabo
Mr David Szamborski
Keven Tag
Cameron Taylor
Jill & Jim Taylor
Kathryn Teng & Derek Abbott
Kevin Tennant
Sharon Tesar
Jenna Thomas
Dr. Roland Thomas
Dr. & Mrs . Ronald G. Thomas
Dr. Stefanie Thomas
Dustin Thompson
Matt Thompson
Jerry Thornburg
Brian Thornton, Jennifer Woda , Maddi Woda , and Maya Thornton
James & Joan Thwaite
Andrew Tian
Dr Jane Timmons-Mitchell & Mr. Robert Mitchell
Isabel Trautwein
Scott & Marguerite Tremelin
Joel Tscherne
Peter Turkson
Susan Tyler
Kevin Ubert
Anne Unverzagt
Marissa Utterberg
Dave Vacca
Kenneth Vail
Karen Valenti
Dorothy Valerian
Anthony & Connie Van Gilder
Ms . Susan D. Van Vorst
Kristina & Jason Vanderpool
Leah VanLear
Nick Vasko
Elayna Duitman
Ann VerWiebe
David Viglione
Kathryn Vine
David S. & Rebecca Vineyard
Mr. Gary & Mrs . Sandra Vinicky
Nancy Virkhaus
Wendy Voelker
Philip Volpe
Vincenzo Volpe
Erika Wagner
Tom Wagner & Melinda Smyth
David Waldron
Karen A . Waldron
Iva L . Walker
Leslie & Mark Walker
Veronika Walter
Jake Wang
Jessica Ward
Ginger & Bryan Ware
Kent & Brenda Warner
Mr. & Mrs . * Joseph F. Wasserbauer
Tim & Jo Watson
Jeffrey Webb
Teagan Webb
Dr. Leslie T. Webster, III, MD
Martha Webster
Mr & Mrs Charles E Weil
Mr & Mrs Chris Weinkamer
Kenneth & Celine Weiss
Dennis & Vicki Wert
Elizabeth Wertz
Julie West
Margaret Wetzler
Sarah Whalen- Cohen
Adam Whanger
Amy Wheeler
Mr. Ronald White
Patricia Whitson
Michael Widenmeyer
Pete Wieneke
Martha Wiersma
Carrie Wilcox
Eleanora Willauer
David & Janet Williams
Patricia Willkomm
Mr. Ronald Willner
John & Tory Willoughby
Richard Wills
Benjamin Winters
Susanne Wisor
Nancy Wittig
Lisa Wong
Shari Wong
Mr. Philip Woodcock & Ms Virginia Benjamin
Gayle Woodrow
Anita Woodward
Sandra Woolley
Christina Woskobojnik
Katherine Wulff
Mr. David & Mrs . Mary Alice Wyatt
Peijun Xu
Thomas & Elizabeth Yakubik
Simi Yogenthiran
Dr. Charles & Mrs . Jennifer Young
Ms . Libby M. Yunger
Mrs . Valerie Zahirsky
Denise Zakrajsek
John Zanghi
Gareth Zehngut
Mr Jeffrey A Zehngut
Rick Zhang
Charles & Lauren Zollinger
John & Jane Zuzek
Anonymous (14)
The Cleveland Orchestra Board of Trustees
O F F I C E R S
Richard J. Kramer
Chair
André Gremillet
President & CEO,
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
Investing state and federal dollars, the Ohio Arts Council funds and supports quality arts experiences for all Ohioans to strengthen communities culturally, educationally, and economically.
INVEST ENGAGE
Make bold, smart investments to help stabilize Ohio arts and culture.
Spark authentic dialogue about the unique strength and value of the arts.
INNOVATE LEAD
Drive Ohio’s arts community toward forward-looking and adaptable evolution.
Play an active leadership role in ensuring equity and resilience in Ohio’s arts and cultural sector. Image Credit: Art Central Foundation, Art Buffet
Learn more about our grant programs and resources, find your next arts experience, or connect: OAC.OHIO.
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 Opus 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
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