Hadelich Plays Mendels sohn
F E B R U A RY 5 – 7, 2 0 2 6
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A G E 7
G E 9 T H I S W E E K ’ S P R O G R A M
Hadelich Plays Mendelssohn
Antonello Manacorda, conductor
P R O G R A M N O T E S :
Violin Concerto in E minor, Op. 64 by Felix Mendelssohn • PA G E 1 0
Chamber Symphony No. 2, Op. 38 by Arnold Schoenberg • PA G E 1 3
Symphony No. 8 in B minor, D. 759, “Unfinished” by Franz Schubert • PA G E 1 6
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
T H A N K Y O U
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Linda May Han Oh
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Thursday, March 19
Richard Goode
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W H E N I S A P I E C E O F M U S I C actually finished? Is it when the composer jots down the final notes and christens the manuscript with a double bar, two vertical slashes that signifythe end of the piece the musical equivalent of a period? Or, is it once the work receives its first live performance? This weekend’s concerts led by guest conductor Antonello Manacorda and featuring violinist Augustin Hadelich (right) explore this question from various angles.
One of the great mysteries of classical music pertains to Franz Schubert’s Eighth Symphony, the so-called “Unfinished.” No one quite knows why the composer suddenly halted work on the piece after completing two movements in 1822. Various theories have circulated over the years, ranging from illness to Schubert’s desire to explore bigger ideas (as in his “Great” Ninth Symphony, which The Cleveland Orchestra will perform April 9 – 11). Whatever the case, the work has been a bona fide classic from the moment it premiered in 1865, 43 years after the composer “finished” it.
Arnold Schoenberg’s Second Chamber Symphony presents another intriguing case. After finishing his First Chamber Symphony in 1906, the composer almost immediately began writing a second. However, Schoenberg was in the midst of exploring an entirely new musical language, and inspiration came in fits and starts. By the time of the work’s premiere in 1940 34 years later the composer was exiled in Los Angeles, one of thousands of émigrés who had fled the rise of fascism in Europe. Though this music teeters on the edge of tonality, the Second Chamber Symphony largely represents a sentimental, untroubled look back at a bygone era.
Of the three works on the program, Felix Mendelssohn’s Violin Concerto in E minor has perhaps the most straightforward composition history, though it was not without hiccups. It was conceived in 1838 for a friend of the composer, but various other projects prevented Mendelssohn from completing the work right away. In this concerto, Mendelssohn links all three movements with brief passages of musical “tissue,” which helped prevent the era’s customary applause between movements at its 1845 premiere. Instead, this structure offers a cohesive musical journey that when it finally concludes invites enthusiastic ovations to this day.
Ke vin McBrien
Kevin McBrien is The Cleveland Orchestra’s Editorial & Publications Manager.
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Hadelich Plays Mendels sohn
Thursday, February 5, 2026, at 7:30 PM
Friday, February 6, 2026, at 7:30 PM
Saturday, February 7, 2026, at 7:30 PM
Antonello Manacorda, conductor
Felix Mendelssohn (1809–1847)
Concert Preview with James O’Leary Reinberger Chamber Hall one hour prior to performance
Arnold Schoenberg (1874–1951)
Franz Schubert (1797–1828)
Violin Concerto in E minor, Op. 64 25 minutes
I. Allegro molto appassionato
II. Andante
III. Allegretto non troppo Allegro
Augustin Hadelich, violin
I N T E R M I S S I O N 20 minutes
Chamber Symphony No. 2, Op. 38 20 minutes
I. Adagio
II. Con fuoco
Symphony No. 8 in B minor, D. 759, 25 minutes “Unfinished”
I. Allegro moderato
II. Andante con moto
This program will last approximately 1 hour 30 minutes
On February 6, immediately following the performance, join us in the Bogomolny-Kozerefski Grand Foyer for an opportunity to meet members of the Orchestra’s violin section.
Augustin Hadelich’s performance is generously sponsored by Robin Dunn Blossom and Barbara Blossom in memory of Jaymi Blossom Feeney
Saturday’s performance is dedicated to Paul and Suzanne Westlake in recognition of their generous support of music.
Violin Concerto in E minor, Op . 64
by Felix Mendelssohn
B O R N : February 3, 1809, in Hamburg
D I E D : November 4, 1847, in Leipzig
▶ C O M P O S E D : 1838 – 44
▶ W O R L D P R E M I E R E : March 13, 1845, with Ferdinand David as soloist and Niels Gade 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 : November 20, 1919, featuring soloist Toscha Seidel and 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 , timpani, and strings , plus solo violin
▶ D U R AT I O N : about 25 minutes
AT A G E 3 5 , Felix Mendelssohn could already look back on an international career of a decade and a half. He was happily married and, by 1844, the father of four His first name, Felix (Latin for “happy”), appeared to be a good omen for his life. No one could then have predicted Mendelssohn’s tragic death only three years later.
His Violin Concerto in E minor was a gift of friendship to a musician particularly close to his heart. Mendelssohn had known Ferdinand David (1810–73) since boyhood, and shortly after the composer took over the directorship of the Leipzig Gewandhaus Orchestra, he invited the violinist to be his concertmaster David held this position for 37 years, serving long after Mendelssohn’s untimely death. The composer’s fondness for David can be seen in this passage from an 1838 letter to the
violinist: “I realize that there are not many musicians who pursue such a straight road in art undeviatingly as you do, or in whose active course I could feel the same intense delight that I do in yours.”
Mendelssohn penned this tender tribute the same year he created his first sketches of the E-minor Violin Concerto. Other commitments, however, prevented him from completing the work until 1844. The concerto would be one of his last symphonic compositions, followed only by the oratorio Elijah
The concerto seems to perfectly reflect the composer’s sunny disposition. In this work, as elsewhere in Mendelssohn’s music, Romantic passion is always tempered by Classical restraint, tender
This oil portrait of Felix Mendelssohn was painted in 1846 by the German artist Eduard Magnus, one year before the composer’s untimely death
and lyrical feelings are balanced by light, even humorous moments, and depth of expression goes hand in hand with virtuosity.
One of Mendelssohn’s most innovative touches happens at the very beginning of the concerto, where he dispenses with the usual orchestral exposition and introduces the solo instrument right away with a soaring melody. The violin remains the center of attention throughout the entire work, with only a few tutti sections for the entire orchestra where the soloist doesn’t play.
latter passage, scored for solo violin and string orchestra, is halfway between the preceding slow and subsequent fast tempos. The various moods and sentiments those of the passionate first movement, the lyrical second, and the graceful third all flow directly from one another, instead of existing as separate entities.
depth expression
In this work , as elsewhere in Mendelssohn’s music, Romantic passion is always tempered by Classical restraint … and depth of expression goes hand in hand with virtuosity.
In another striking departure from convention, the three movements of the concerto are played without pause. It wasn’t the only time Mendelssohn eliminated movement breaks in his larger works he had done the same in his “Scottish” Symphony but in this concerto, he takes it a step further by inserting short connecting passages between the movements. After the first movement, a single note held by a solo bassoon provides a link to the beautiful Andante, and a brief melodic passage serves as a bridge between the second and third movements The speed of this
The written-out cadenza of the first movement (which may be in part by David) is also more strongly integrated into the movement than was the case in earlier concertos. Mendelssohn moved it from its traditional place at the end of the movement to the middle, allowing it to grow organically out of the development section and naturally resolve in the recapitulation But the cadenza does not end when the orchestra reenters; it continues while the flute, oboe, and first violins play the main theme another example of the seamless transitions that were so important to Mendelssohn.
The triumph of this work may have been best expressed by the great violinist Joseph Joachim in 1906: “The Germans have four violin concertos. The greatest and the one that makes the fewest concessions is Beethoven’s. Brahms’s is the closest to Beethoven’s in seriousness Bruch’s [First] is the richest and the most enchanting. But the dearest of all the heart’s jewel is Mendelssohn’s.”
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
Chamber Symphony No . 2, Op . 38
by Arnold Schoenberg
B O R N : September 13, 1874, in Vienna
D I E D : July 13, 1951 , in Los Angeles
▶ C O M P O S E D : 1906 – 16; revised 1939
▶ W O R L D P R E M I E R E : December 15, 1940, in New York City, with Fritz Stiedry conducting the New Friends of Music 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 : May 18 , 2006, led by Andrew Grams
▶ O R C H E S T R AT I O N : 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets , 2 bassoons , 2 horns , 2 trumpets , and strings
▶ D U R AT I O N : about 20 minutes
A R N O L D S C H O E N B E RG ’ S T R A N S I T I O N from a tonal composer in his twenties to inventing Serialism in his forties was a long, difficult, and painful process. He always insisted that he was driven by some invisible force, that something urged him to forge a new musical language even though he had clearly mastered the late Romantic style of the late-19th and early-20th centuries. This style was, in fact, one to which he often longed to return.
Gradually, he moved into more chromatic territory, abandoning tonality bit by bit and then fully “emancipating” dissonance by allowing chords to be made up of any of the 12 notes of the chromatic scale His ears and eventually ours got used to more harmonic chaos, to a more colorful world, filled with a brand-new notion of what music could be (Schoenberg was by no means the
only force pushing to upend tradition, but he is the one who pushed fastest in full public view and with the clearest sense of creating a new “system.”) The final step Schoenberg took was to systematize this new language, in which all 12 tones were set in equal balance. Evidence that the process was painful is provided by the Second Chamber Symphony, which he began to compose in 1906, immediately after finishing the First Chamber Symphony. In the earlier work, Schoenberg held on to tonality but no longer relied on it to guide the musical structure, as it had for generations. But immediately upon starting the Second Chamber Symphony, Schoenberg felt that he could no longer continue in the same furrow. His next step would have to be the complete abandonment of tonality but this new work, he realized, was not going to be the one to
move him that far forward, to carry the burden of voicing that new future.
So, he left the work as a series of sketches, its two movements far from complete. He came back to it in 1911 and again in 1916, but without success. In 1938, he was asked by conductor Fritz Stiedry, a fellow German émigré who had known Schoenberg in Vienna, for a work for his group, the New York–based New Friends of Music Orchestra.
The avant-garde artist Man Ray snapped this famous photograph of Arnold Schoenberg in 1927 At the time, the composer had set aside work on his Second Chamber Symphony, but would pick it back up in 1939
provide excellent opportunities to hear Schoenberg’s gift for discovering new instrumental combinations. The size of the orchestra (a small wind section plus strings) also plays a crucial role, preventing the texture from ever becoming too thick.
When listening to Schoenberg’s 12- tone works , one often has the impression of two pieces of music being played simultaneously in different rooms … [but] in this work , the various musics blend together in happy unity.
This prompted Schoenberg to once again revisit the incomplete Chamber Symphony. Having at last a more detached view of style in the intervening years, he had worked out his own 12-tone system and also ably orchestrated a number of other, tonal works Schoenberg was able to complete the work in the style always intended for it. The final work is set in two movements one slow, one fast (At one point, Schoenberg planned a third movement but later abandoned the idea, although he incorporated some of its ideas into the completed second movement ) Stiedry ultimately led the work’s world premiere in December 1940.
The second movement is longer than the first, but both movements
When listening to Schoenberg’s 12-tone works, one often has the impression of two pieces of music being played simultaneously in different rooms. Though that sense of simultaneous “conversations” is present on occasion, in this work, the various musics blend together in happy unity.
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.
Continue your journey on Adella .live with Franz in Vienna, a production featuring Music Director Franz Welser-Möst conducting Schoenberg’s Variations for Orchestra Try it free by visiting adella .live/premium and using the promo code ADELLA30 at checkout
Symphony No . 8 in B minor, D. 759, “Unfinished”
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 : 1822
▶ W O R L D P R E M I E R E : December 17, 1865, in Vienna , with Johann von Herbeck 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 : January 28 , 1919, 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 25 minutes
B E H I N D T H E F I R S T P U Z Z L E posed by the “Unfinished” Symphony why didn’t Franz Schubert finish it? there is a second and even greater enigma. Schubert’s first six symphonies, written between 1813 and 1818, showed him completely at ease with all aspects of the form. But a few years later, he was leaving fragment after fragment, as if he no longer felt up to the challenge. The B-minor Symphony is not Schubert’s only “Unfinished.” Other projected symphonies were abandoned even earlier in the compositional process, and several have since been completed and performed in “realizations.” (One of these a fairly complete sketch of a symphony in E major was even played by The Cleveland Orchestra in 1928 )
All these “failed” projects point to Schubert’s growing dissatisfaction with the symphonic form as he had been practicing it and suggest that he was striving for something on a far larger scale than his previous efforts. Both stimulated and discouraged by Beethoven’s formidable examples, he once exclaimed: “Who can do anything after him?!” Thus, it seems clear, Schubert was searching for his own artistic response to Beethoven’s symphonies a response that would match Beethoven in scope and dramatic energy yet be free from any direct stylistic influence Schubert eventually rose to the challenge in his
Austrian painter Wilhelm August Rieder created this oil portrait of Franz Schubert in 1875, based on an 1825 watercolor sketch of the composer
“Great” C-major Symphony, completed in 1825, but it was a daunting task, accomplished only after several attempts. With the “Unfinished” Symphony, Schubert came very close to a solution. As Brian Newbould, a specialist on Schubert’s symphonies, has put it, this work is not so much an unfinished symphony as a “finished half-symphony.” It is the only one of the uncompleted “fragments” with two movements that are fully written out and orchestrated, requiring no editing in order to be performed
performed.
The second movement combines a peaceful, ethereal melody with a more majestic theme featuring trumpets, trombones, and timpani. A new melody is introduced in a different key (C-sharp minor), again with a dramatic extension. These contrasts in mood persist until the end of the movement, where E major is finally reestablished after an exacting tonal journey through several different keys.
The manuscript score of the “Unfinished” Symphony was long in the possession of the composer
As Brian Newbould , a specialist on Schubert’s symphonies , has put it , this work is not so much an unfinished symphony as a “ finished half -symphony.”
a “
While Beethoven tended to construct his symphonic movements from extremely short melodic or rhythmic gestures, Schubert often started with full-fledged melodic statements that unfold like songs. In this first movement, song quickly turns into drama when the second theme is interrupted by a measure of silence, followed by a few moments of orchestral turbulence, after which the previous idyll is restored. One particular harmonic turn in the development section even uncannily anticipates the music of Wagner’s groundbreaking opera Tristan und Isolde (1857 – 59).
s ch n
Hüttenbrenner, friend
Anselm Hüttenbrenner, a friend of Schubert For decades, though, Hüttenbrenner denied anyone access to the work, for reasons that remain unclear. Finally, as the story goes, conductor Johann von Herbeck, who directed the concerts of the Gesellschaft der Musikfreunde (Society of the Friends of Music), bribed the stingy composer by offering to perform the “Unfinished” alongside one of Hüttenbrenner’s own works. Now finally released, the “Unfinished” Symphony was premiered in 1865 37 years after the composer’s death and was quickly recognized as one of Schubert’s masterworks.
Peter Laki
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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
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Antonello Manacorda
A N I TA L I A N W I T H A S T RO N G A F F I N I T Y for the German repertoire, Antonello Manacorda is a true orchestral practitioner whose artistic creativity is combined with a collaborative approach to music-making. Born in Turin to an Italian French family, educated in Amsterdam, and now living in Berlin, Manacorda was a founding member and long-time concertmaster of the Mahler Chamber Orchestra before studying conducting with the legendary Finnish teacher Jorma Panula.
At the end of the 2024 – 25 season, Manacorda stepped down as artistic director and principal conductor of the Kammerakademie Potsdam. With this ensemble, he produced a series of award-winning recordings and will remain associated with the orchestra as honorary conductor.
In the 2025 – 26 season, opera productions take Manacorda to the Opéra National de Paris (The Marriage of Figaro), Deutsche Oper Berlin (Zar und Zimmermann), and The Metropolitan Opera (La traviata). He also undertakes an international concert tour with Les Siècles and Isabelle Faust and conducts subscription weeks with The Cleveland Orchestra, Oslo Philharmonic, Munich Philharmonic, and Danish National Symphony Orchestra, among others
In recent seasons, Manacorda has worked with the Bavarian Radio Symphony Orchestra, Orchestra dell’Accademia Nazionale di Santa Cecilia, Berlin
Philharmonic, Leipzig Gewandhaus Orchestra, and Royal Philharmonic Orchestra, among others. He enjoyed great success with a new production of Weber’s D er Freischütz by Dmitri Tcherniakov at the Bavarian State Opera, his debut at the Semperoper Dresden, and a new production of Debussy’s Pelléas et Melisande at the Opéra National de Paris.
With the Kammerakademie Potsdam, Manacorda has recorded Mendelssohn and Schubert cycles for Sony Classical, the latter of which received the Orchestra of the Year prize at the 2015 ECHO Klassik Awards. In October 2022, Manacorda and Potsdam received the OPUS Klassik Award in the same category for their recording of Mozart’s final symphonies. A recording of Beethoven’s complete symphonies was released in May 2024; the recording of his Fifth and Sixth symphonies, previously released in October 2023, was awarded the OPUS Klassik in the Best Symphonic Recording category
Augustin Hadelich violin
A U G U S T I N H A D E L I C H I S O N E O F T H E great violinists of our time. Known for his phenomenal technique, insightful and persuasive interpretations, and ravishing tone, he appears extensively on the world’s foremost concert stages. Hadelich has performed with all the major American orchestras as well as the Berlin Philharmonic, Vienna Philharmonic, Royal Concertgebouw Orchestra, Bavarian Radio Symphony Orchestra, and many other eminent ensembles.
In the 2025 – 26 season, Hadelich serves as artist in residence with the Boston Symphony Orchestra, where he is featured in concerto, chamber music, and recital formats. He also appears with The Cleveland Orchestra, Chicago Symphony Orchestra, New York Philharmonic, The Philadelphia Orchestra, and San Diego Symphony. Further invitations bring him to the Leipizig Gewandhaus Orchestra, BBC Philharmonic, Czech Philharmonic, Finnish Radio Symphony Orchestra, NCPA Orchestra Beijing, and São Paulo Symphony, among others. In April 2026, he will be in residence at the Tongyeong International Music Festival in South Korea. Recitals take him to New York, Boston, San Francisco, Seattle, Warsaw, Copenhagen, Graz, Heidelberg, Cremona, and Taipei.
Hadelich’s discography reflects his stylistic versatility and encompasses much of the violin repertoire. In 2016,
he received a Grammy Award for his recording of Dutilleux’s L’Arbre des songes with the Seattle Symphony and Ludovic Morlot. A Warner Classics Artist, his most recent album, American Road Trip with pianist Orion Weiss, was awarded an Opus Klassik in 2025 for Chamber Music Recording of the Year.
Hadelich, a dual American-German citizen born in Italy to German parents, rose to fame after winning the Gold Medal at the 2006 International Violin Competition of Indianapolis. Further distinctions followed, including an Avery Fisher Career Grant, the UK’s BorlettiBuitoni Trust Fellowship, and an honorary doctorate from the University of Exeter. In 2018, he was named Instrumentalist of the Year by Musical America. Hadelich holds an Artist Diploma from The Juilliard School, where he studied with Joel Smirnoff, and in 2021, was appointed to the violin faculty at the Yale School of Music. He plays a 1744 violin by Giuseppe Guarneri del Gesù, known as “Leduc, ex Szeryng,” on loan from the Tarisio Trust
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
2 5 / 2 6 S E A S O N
W
I N T E R
F E B 1 2 & 14
H A N N I G A N C O N D U C T S
G E R S H W I N
Barbara Hannigan, conductor
Johanna Wallroth, soprano
C R U M B A Haunted Landscape
R U G G L E S Sun-Treader
B A R B E R Knoxville: Summer of 1915
G E R S H W I N Porgy and Bess:
A Symphonic Picture (arr Bennett)
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
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
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 * Not performed on the Friday matinee concert
Generous support for the 2025 – 26 Recital Series provided by the Art of Beauty Company, Inc.
Stand Partner Monthly Supporters
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 & Mrs Robert Claytor
Ms Sara Clem
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Josh & Cinda Coldwell
Abigail Coleman-Kemp
Ms . Kathleen Collins & Mr. Jonathan Fields
Mrs . Barbara F. Colombi
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Jessica Conrad
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Ms . Judith Coolidge
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Dr Christine M &
Mr. Vincent A . Cortese
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Joshua Curtis
Mr Robert & Mrs Susan Curtis
Sarah Curtis
Dr. Christine A Hudak & Mr. Marc F. Cymes
Mr. & Mrs . Paul Dahnke
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Mr. James Damoulakis
Ms . Barbara D’Angelo
Jennifer Darling
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Jill Davis
Ms . Marcia Davis
Mr. Matthew Davis
Paul Davis
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James & Kathleen Deily
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Austin Densmore
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Geoffrey Doering
Mary Kay DeGrandis & Edward Donnelly
James D’Orazio
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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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Teresa Eland
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Harald Ellers
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Marlene & Jon Englander
Gary English
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Ted Esborn
Ted Espenschied
Louis* & Patricia Esposito
Sharon & Nicholas Ezzone
Robert Fabien
Joe & Stephanie Fagan
Conchy Fajardo-Hopkins & William Hopkins
Jon & Mary Fancher
Ava & Michel Farivar
Lori Faust
Mr. Cole Fauver
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Melissa & Eliana Fittante
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Ms . Susan Flowers
Elizabeth Floyd
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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
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Ms Lesley Geldart
Frank & Louise Gerlak
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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
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Ms . Sarah Gridley
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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
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Ellen Sauer Tanyeri, Archives & Editorial Assistant, The Cleveland Orchestra
D E S I G N
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