The Cleveland Orchestra October 30, November 1&2 Concerts

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I N T R O D U C T I O N

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T H I S W E E K ’ S P R O G R A M

Ohlsson Plays Mozart

Franz Welser-Möst, conductor

P R O G R A M N O T E S : Permissions by Tyler Taylor • PA G E 1 0

Piano Concerto No. 23 in A major, K . 488 by Wolfgang Amadeus Mozart • PA G E 1 4

Symphony No. 3 in E-flat major, Op. 97, “Rhenish” by Robert Schumann • PA G E 1 7

Conductor & Artist Biographies • PA G E 2 3

P A G E 3 5

T C O S P O T L I G H T A Conversation with Robert Walters

P A G E 3 9

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

The community of supporters who bring the music to life

Create W here You Belong

U S UA L LY, C O N C E RT S E N T I C E U S through the desire to share in an artistic experience or hear a beloved piece of music. But sometimes the most special thing happening on stage is not the interplay of consonance and dissonance or the tapestry of soaring sonorities it is the unfolding of human relationships.

Garrick Ohlsson’s (above right) relationship with The Cleveland Orchestra has spanned 50 years and three music directors Since his first appearance in 1975, he has returned to Cleveland over 25 times as a treasured soloist. Music Director Franz Welser-Möst (above left) recalls, “When he played the last Mozart concerto with us a couple of years ago, it was just exquisite. … And besides that, Garrick is just a wonderful human being.” ( These performances were captured on The Cleveland Orchestra’s latest album, now streaming.) This week, Ohlsson shares his Mozart expertise once again, in the operatic Piano Concerto No 23

The opening piece on these concerts, Permissions, offers a window into the beginnings of a relationship that may prove similarly enduring. This is the first Cleveland Orchestra program featuring a work by Tyler Taylor, the Orchestra’s new Daniel R . Lewis Composer Fellow. Elsewhere this season, works by former Fellows Bernd Richard Deutsch (2018 – 21) and Jörg Widmann (2009 – 11) bear testament to the abiding relationships the Orchestra cultivates with these composers

In a roundabout way, Schumann’s Third Symphony also has a human story to tell. While the Orchestra has played this charming work three times during his 24-season tenure, Welser-Möst has never conducted it. “Sometimes it just happens that way,” he muses, “certain pieces escape you.” This is because, in addition to building trusting relationships with Orchestra musicians, guest soloists, and Composing Fellows, Welser-Möst has worked to mentor conductors: “When guest conductors come … you want them to succeed, [but] they have, maybe only a small list of pieces they can do.”

The result is that bookending this musical celebration of relationships old and new a piece written nearly two centuries ago may feel as fresh as the work of a new Composer Fellow. Ellen Sauer Tanyeri

Ellen Sauer Tanyeri is The Cleveland Orchestra’s archives & editorial assistant and is a PhD candidate in musicology at Case Western Reserve University

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Ohls son Plays Mozart

Thursday, October 30, 2025, at 7:30 PM

Saturday, November 1, 2025, at 7:30 PM

Sunday, November 2, 2025, at 3 PM

Franz Welser -Möst, conductor

Tyler Taylor (b. 1992)

Wolfgang Amadeus Mozart (1756 –1791)

Pre- Concert Performance and Q&A with Tyler Taylor and TCO musicians Reinberger Chamber Hall one hour prior to performance

Robert Schumann (1810 –1856)

Permissions 10 minutes

Piano Concerto No. 23 in A major, 25 minutes

K. 488

I. Allegro

II. Adagio

III. Allegro assai

Garrick Ohlsson, piano

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

Symphony No. 3 in E-flat major, 30 minutes Op. 97, “Rhenish”

I. Lebhaft

II. Scherzo: Sehr mässig

III. Nicht schnell

IV. Feierlich

V. Lebhaft

Total approximate running time: 1 hour 25 minutes

Garrick Ohlsson’s performance is generously provided by The Hershey Foundation.

Thursday evening’s concert is dedicated to Mr. & Mrs. Alfred M. Rankin, Jr. and Dee & Jimmy Haslam in recognition of their generous support of music.

Permis sions

by Tyler Taylor

D A N I E L R . L E W I S

B O R N : November 1992, in Louisville

▶ C O M P O S E D : 2020

▶ W O R L D P R E M I E R E : November 16, 2022 , with David Dzubay conducting the Indiana University Jacobs School of Music Symphony Orchestra

▶ These concerts mark the first Cleveland Orchestra performances of Tyler Taylor’s Permissions.

▶ O R C H E S T R AT I O N : 2 flutes (2nd doubling alto flute), piccolo, 2 oboes , English horn , 2 clarinets , bass clarinet , 2 bassoons , contrabassoon , 4 horns , trumpet , flugelhorn , 3 trombones , tuba , timpani, percussion (vibraphone, bass drum , tom-toms , cymbals , crotales , woodblocks , whip), piano, and strings (includes solo string quintet drawn from string section)

▶ D U R AT I O N : about 10 minutes

T H E O R C H E S T R A L C A N O N is rife with works by composers pushing back against the institutions and conventions that shaped their training, and Tyler Taylor’s Permissions continues this lineage Written as a dissertation while studying at Indiana University, the piece combines a contemporary voice with reflections on the Romantic orchestral tradition. At once a capstone academic statement and an artistic milestone, it situates Taylor within a tradition of early-career orchestral essays while codifying the evolving voice of a young composer.

Taylor frames Permissions as “a response to the current state of the American orchestral institution.” Its title reflects this intent in a myriad of contexts

Permissions breaks from the familiar model in which winds, brass, and percussion play a secondary role to the strings. Here, the winds and brass are, in the composer’s words, “granted a special kind of permission one that would give them the opportunity to be the leaders in this scenario.” This redistribution of power reshapes the role of the strings, whose writing becomes more varied and layered Drawing on his perspective as a horn player, Taylor foregrounds timbres he knows most intimately, creating a powerful interplay in which winds and brass influence and lead the

Alongside his appointment in Cleveland, Tyler Taylor has received commissions from the San Francisco Symphony, Louisville Orchestra , Chicago Composers Orchestra , and Indiana Bandmasters Association, among others

strings from behind, establishing a continual give-and-take between sectional groups and the whole ensemble.

The work is highly organized, built from four continuous lines or gestures that transform throughout the piece. These are introduced in the opening a clamor of competing ideas presented “urgently over each other in a manner that makes it impossible to discern any of them individually.” At times, these lines echo with resentment or sympathy; at others, they are met with apathy. Along the way, Taylor deploys percussive punctuations and rhythmic layering. This results in both a strict structure and moments of florid, perfumed counterpoint, juxtaposed with strident, glassy harmonies.

Permissions

is at once a technical statement , a metaphor for power and leadership, and a young composer’s gambit at subverting orchestral hierarchies . . .

The play of forces unfolds across 10 minutes, beginning with an eruption of plucked strings, pinging percussion, and trilling winds that heighten the tension Stacked brass dissonances and the rumble of timpani and bass drum set the stage for a striking contrast: a soaring solo violin in its highest register, expressive and operatic The violin’s passion

soon dissolves into glissandos that weave through the strings. Textures melt and re-form like a Dalí painting, flecked with pointillistic brass and sharp rhythmic interjections.

New episodes emerge in quick succession, and the climax arrives not with triumph but with interruption. “The progress of the lines is cut short,” the composer explains, “by the executive action of a trio of percussion. … Their ominous warnings freeze the action of all the ensembles except the strings, who, not understanding the severity of the situation, proceed without any input from the other ensembles except the percussion’s brutal hits. Left to their own devices, they slowly evaporate.” The piece ends not with resolution but with unpredictable blows from the percussion over slowly ascending pianissimo strings.

Permissions is at once a technical statement, a metaphor for power and leadership, and a young composer’s gambit at subverting orchestral hierarchies, embodying the push-and-pull of individuality, compromise, and conflict While it closes without optimism, Permissions affirms Taylor’s belief that each generation must redefine its relationship to tradition and that even the most venerable of institutions can be reimagined when new voices are permitted to lead.

Nicholas Landrum

Nicholas Landrum is a composer, performer, author, and educator who serves as director of music & liturgy at the Church of the Annunciation in Minneapolis . He contributes regularly to the Minnesota Orchestra’s pre- concert talks and writes program notes for many of America’s leading ensembles

Composer ’s Note

T H I S P I E C E I S A R E S P O N S E to the current state of the American orchestral institution one which is concerned mostly with music and musical practices from the 18th and 19th centuries . This preoccupation with the music from the past , nuanced as the situation may be, has led to the perpetuation of certain ideas and attitudes that I find highly problematic . My efforts to subvert these ideas led me to each decision I made about this piece .

Before I wrote a single note, I knew I wanted to write a piece that would grant the winds and brass a special kind of permission one that would give them the opportunity to be the leaders in this scenario. However, instead of using them as a single unit , they are separated into several “chamber” ensembles based on certain qualities . These qualities include timbre, range, and other instrumental connotations and characteristics . These ensembles create several blended “voices , ” each with their own specific musical profile that ache to be noticed, felt , heard, and acknowledged. Granting this special permission to the winds and brass inherently changes the way the strings participate the strings shadow and imitate what is happening around them . Without any strong sense of unifying identity, the tutti strings are torn between the various wind and brass ensembles , resulting in a musical profile that is varied and ambiguous . To heighten the drama of this treatment of the tutti strings , the principal players of each string section are removed from their traditional position of leadership and are divided amongst the wind and brass ensembles during portions of the piece . The members of this solo string quintet move fluidly between their roles as participants in the wind and brass ensembles , as a unified ensemble in and of itself, and as the only group sympathetic to the tutti strings . …

from a composer ’ s note by Tyler Taylor

Piano Concerto No . 23 in A major, K . 488

by Wolfgang Amadeus Mozart

B O R N : January 27, 1756, in Salzburg

D I E D : December 5, 1791 , in Vienna

▶ C O M P O S E D : 1786

▶ W O R L D P R E M I E R E : The exact premiere date is unknown , but it was likely first performed in March 1786 with the composer as soloist .

▶ 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 : March 7, 1929, with pianist Myra Hess and led by Music Director Nikolai Sokoloff

▶ O R C H E S T R AT I O N : flute, 2 clarinets , 2 bassoons , 2 horns , and strings , plus solo piano

▶ D U R AT I O N : about 25 minutes

W O L F G A N G A M A D E U S M O Z A RT had a way with the piano concerto, like no other composer before or after him Building upon the achievements of two of J.S. Bach’s sons, Carl Philipp Emanuel and Johann Christian, Mozart gave the word “concerto” a whole new meaning and set expectations not just in the minds of his own audiences, but for generations to come. He continued the idea of alternating orchestral and solo passages, but also completely expanded on the earlier form, making it both more complex and more flexible. In his hands, the piano concerto became capable of expressing diverse characters and feelings, from grandiose and festive to lyrical and intimate, with innumerable shadings in between.

Throughout the 1780s, Mozart wrote several concertos each season, which he

premiered to great acclaim. What we now know as Piano Concerto No. 23 the group was cataloged and numbered decades after Mozart’s death was written in 1786, the year Mozart completed his opera The Marriage of Figaro.

The first movement of this concerto does not open with a fanfare or powerful “curtain-raising” motive, as many other concertos do. It begins instead with a gentle melody, setting the stage for a movement with a unique blend of moods Here we experience a quiet serenity with occasional touches of wistfulness. In the orchestration, one notes the absence of oboes and the presence of clarinets, resulting in a special, darker-hued sound. Before long, the strings introduce a new theme that is immediately embellished by the piano and later elaborated upon by the orchestra.

For many of Mozart’s concertos, we do not have a solo cadenza written in the composer’s hand. Most often, he left this part of the score blank and improvised in performance. For the first movement of this concerto, however, an original cadenza by Mozart has survived. This cadenza tells us a great deal about Mozart the improviser. Besides virtuosic passages, it also contains expressive, singing music and expands upon the concerto’s thematic material in simple yet ingenious ways.

The Adagio movement is extraordinary even among the other slow movements of Mozart’s mature piano concertos. Its dominating sentiment in many ways

presages musical Romanticism. The melody moves in the quiet rhythm of the siciliano dance, but contains many wide, expressive leaps, emphasizing chromatic half-steps and melancholic chords. The key of F-sharp minor is extremely rare in Mozart’s music in fact, this is the only time it appears as a movement’s main key in the composer’s entire catalog. The unusual quality of the key gives the music a certain heightened poignancy that is easier to feel than to describe.

The third-movement finale, marked Allegro assai, is a playful romp with

a multitude of spirited melodies. It is an extended “sonata-rondo,” meaning that a recurring theme (rondo) alternates with a number of episodes but one of the episodes also returns, just as a second theme would in a sonata form’s recapitulation. The fusion of these two forms results in a structure that allows

the composer wrote that these were “compositions which I keep for myself or for a small circle of music-lovers and connoisseurs (who promise not to let them out of their hands).” He wanted the Prince to be assured that these compositions had not been circulating widely and did not hide his hopes for

The key of F-sharp minor is extremely rare in Mozart’s music in fact , this is the only time it appears as a movement’s main key in the composer’s entire catalog . a scores

us to enjoy the wonderful melodies several times, while the alternations and transformations of the melodies afford a seemingly inexhaustible diversity

Mozart was well aware of the exceptional richness of this concerto. It was one of a select group of works he sent to Prince Fürstenberg in Donaueschingen. In an accompanying letter to Sebastian Winter, a former servant of the Mozart family who later worked for the Prince,

future commissions. Mozart received a total of 143.5 florins for the scores he submitted (four symphonies, five concertos, and three chamber works), which covered approximately three months’ rent at his Vienna apartment. However, the additional commissions Mozart hoped for never materialized.

Peter Laki

Peter Laki is a musicologist and frequent lecturer on classical music . He is a visiting associate professor at Bard College

Continue your journey with Mozart on Adella .live, the digital home of The Cleveland Orchestra , with Ohlsson’s Mozart, a production featuring Garrick Ohlsson playing the composer’s Piano Concerto No. 27. Try it free by visiting adella .live/premium and using the promo code ADELLA30 at checkout .

Eager for more? The Orchestra’s latest audio recording featuring Ohlsson’s performance alongside Mozart’s Symphony No. 29, captured live at Severance Music Center is now available to stream and purchase on all major platforms .

Symphony No . 3 in E-flat major, Op . 97, “Rhenish”

by Robert Schumann

B O R N : June 8, 1810, in Zwickau , Saxony

D I E D : July 29, 1856, in Endenich , Germany

▶ C O M P O S E D : 1850

▶ W O R L D P R E M I E R E : February 6, 1851, in Düsseldorf, with the composer 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 : February 2 , 1939, led by Music Director Artur Rodziński

▶ O R C H E S T R AT I O N : 2 flutes , 2 oboes , 2 clarinets , 2 bassoons , 4 horns , 2 trumpets , 3 trombones , timpani, and strings

▶ D U R AT I O N : about 30 minutes

W H E N RO B E RT S C H U M A N N V I S I T E D

Beethoven’s grave in Vienna in 1838, he found there an old steel pen, which he kept for use on special occasions. It is no accident that Schumann chose to use it when he embarked on his first symphony two years later, for all his symphonies offer audible testimony to his profound respect for Beethoven as the father of the Romantic symphony. He was distressed to find that Vienna seemed to pay little respect to Beethoven’s memory or his music. One of Schumann’s crusading purposes as a critic and composer was to raise Beethoven to the level he deserved, and the most effective means at his disposal was to compose symphonies of his own that would demonstrate their lineage

In September 1850, Schumann and his wife, pianist-composer Clara Wieck Schumann, moved from Dresden, where they had lived for nearly six years, to Düsseldorf, a city on the Rhine whose musical reputation had risen in the three years that Mendelssohn was conductor there, and even more under his successor Ferdinand Hiller, an important and versatile musician with considerable influence in German musical circles When Hiller moved on to Cologne, he proposed his friend Schumann as successor. After much hesitation, Schumann accepted, little knowing that his years there would be plagued by declining health and growing controversy over his abilities as a conductor.

At the start, though, he was warmly

welcomed by the Düsseldorfers, especially when he presented them with a series of new works, including his fourth and final symphony (though published and known as No. 3). It was performed in February 1851 during his first season. Since his student days in Heidelberg, Schumann had always loved the Rhineland (the long expanse of land along the

Though largely inspired by the natural beauty of the Rhineland, Robert Schumann’s Third Symphony was also inspired by the grandeur of Cologne Cathedral, seen here under construction circa 1867.

Rhine River in central Germany), and the immediate inspiration for the symphony, along with its familiar nickname “Rhenish,” came, as Schumann himself explained, from his visit to Cologne Cathedral the previous September

Modern visitors to Cologne are inescapably impressed by the massive twin spires at the west end of the cathedral, but when Schumann was there, there were no spires the medieval structure had been left unfinished for over three centuries. But in 1842, the immense task of completion began, and the cathedral was finally finished in 1880. Schumann was able to see the work in progress and was perhaps as much impressed by the solemn occasion he

for an orchestra he did not yet know, and in this case, a policy of safety contributes to the solemnity.

The second-movement scherzo is not swift or jocular; the model is more Mendelssohn than Beethoven, especially in its middle section, where more rapid figures are passed back and forth.

The slow movement also has touches of Mendelssohn, but here we are closer to the world of Schumann’s songs. There is some beautiful writing for strings, and

Solemnity is clearly an element of the symphony, especially the extra movement , fourth of the five, which is marked feierlich (solemn) and introduces trombones to give breadth and grandeur. occasion

witnessed there the enthronement of Cardinal Archbishop Geissel as by the building itself. Solemnity is clearly an element of the symphony, especially the extra movement, fourth of the five, which is marked feierlich (solemn) and introduces trombones to give breadth and grandeur.

There is a similar weight and dignity to the opening of the first movement, when Schumann overcomes his tendency to think in short phrases and writes a splendid theme that launches the work with great panache The orchestration is rich and full, never featuring instruments on their own, even in a more reflective theme that suits the winds but is actually shared with the strings He was writing

even the woodwinds have no cause to complain When the movement introduces the steady tread of a solemn procession, Schumann’s private musings come to an end and the public ceremonial takes over, with echoes of J.S. Bach in the counterpoint and pre-echoes of Bruckner in its breadth.

The fourth movement’s strange, uncertain ending in the minor key is blown away by the positive vigor of the fifth-movement finale, as the shy, taciturn Schumann presents himself to the Düsseldorf public as a man of faultlessly extrovert temper.

Hugh Macdonald

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

The 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

L E R N E R G A L L E RY

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 .

Franz Welser -Möst, Music Director

N O W I N H I S 2 4 T H S E A S O N , Franz Welser-Möst continues to shape an unmistakable sound culture as Music Director of The Cleveland Orchestra. Under his leadership, the Orchestra has earned repeated international acclaim for its musical excellence, reaffirmed its strong commitment to new music, and brought opera back to the stage of Severance Music Center. In recent years, the Orchestra also launched its own streaming platform, Adella.live, and a recording label. Today, it boasts one of the youngest audiences in the United States.

In addition to residencies in the US and Europe, Welser-Möst and the Orchestra perform regularly at the world’s leading international festivals. Welser-Möst will remain Music Director until 2027, making him the longest-serving music director of The Cleveland Orchestra.

Welser-Möst enjoys a particularly close and productive artistic partnership with the Vienna Philharmonic. He regularly conducts the orchestra in subscription concerts at the Vienna Musikverein, at the Salzburg Festival, and on tour in Europe, Japan, China, and the US, and has appeared three times on the podium for their celebrated New Year’s Concert (2011, 2013, and 2023). At the Salzburg Festival, WelserMöst has set new standards in interpretation as an opera conductor, with a special focus on the operas of Richard Strauss.

Among Welser-Möst’s many honors and awards, he was named an Honorary Member of the Vienna Philharmonic in 2024, one of the orchestra’s highest distinctions.

In partnership with The Cleveland Orchestra and The Cleveland Museum of Art , the School of Music at Cleveland State University is marking Pierre Boulez’s centenary from November 13 to 16. Celebrate Boulez’s lasting impact on Cleveland with the following events at Severance Music Center:

▶ A N E X H I B I T I O N featuring manuscripts , letters , and photographs in the Bogomolny-Kozerefski Grand Foyer from November 13 –23

▶ F R E E PA N E L D I S C U S S I O N featuring Cleveland Orchestra musicians and former colleagues of Boulez’s in Reinberger Chamber Hall on November 15, 11:30 AM

This event is generously sponsored by the Paul Sacher Foundation Special thanks to Katy and Gary Brahler for sponsoring the exhibit .

Garrick Ohlsson piano

S I N C E H I S T R I U M P H A S W I N N E R of the 1970 Chopin International Piano Competition, pianist Garrick Ohlsson has established himself worldwide as a musician of magisterial interpretive and technical prowess. Although long regarded as one of the world’s leading exponents of the music of Frédéric Chopin, Ohlsson commands an enormous repertoire that ranges over the entire piano literature, encompassing more than 80 concertos.

For the first time in its history, the Chopin Competition invited an American to chair the jury, and Ohlsson assumed that role for the 19th incarnation in October 2025. He then returns as guest soloist to The Cleveland Orchestra and National Symphony Orchestra, followed in the winter by a duo tour with violist Richard O’Neill, which takes them from Los Angeles to Charlottesville, St. Paul, and New York’s 92nd Street Y. In solo recital, he can be heard in Vienna, London, Philadelphia, and Chicago.

Collaborations with the Cleveland, Emerson, Tokyo, and Takács string quartets have led to decades of touring and recordings. His solo recordings are available on the British label Hyperion and in the US on Bridge Records Both Brahms concertos and Tchaikovsky’s Second Piano Concerto have been released on live recordings with the Melbourne and Sydney symphonies on

their own labels, and Rachmaninoff’s Third Piano Concerto was recorded with the Atlanta Symphony Orchestra and Robert Spano

A native of White Plains, New York, Ohlsson began piano studies at age 8 at the Westchester Conservatory of Music, and at 13, he entered The Juilliard School He was awarded the Avery Fisher Prize in 1994 and the University Musical Society Distinguished Artist Award in Ann Arbor in 1998. He is the 2014 recipient of the Jean Gimbel Lane Prize in Piano Performance from the Northwestern University Bienen School of Music, and in August 2018, the Polish Deputy Culture Minister awarded him the Gloria Artis Gold Medal for cultural merit.

Ohlsson is a Steinway Artist and makes his home in San Francisco.

Meant to be Shared

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Tugan Sokhiev

SYMPHONY NO. 9 Conducted

Tuesday, December 16 , at 5:30 PM | Severance Music Center

Relish in a joyful cocktail reception with live music and wrap up your holiday shopping in the boutique marketplace filled with local artisanal goods . Then , enjoy a private holiday concert by your Cleveland Orchestra , followed by an exquisite three-course dinner in Severance’s iconic Bogomolny-Kozerefski Grand Foyer.

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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 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

Liyuan Xie

F I R S T A S S O C I AT E

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

Virginia M. Lindseth, PhD, 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

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

Zhan Shu

Youngji Kim

Paul and Lucille Jones Chair

Genevieve Smelser

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

Gawon Kim

V I O L A S

Wesley Collins*

Chaillé H and Richard B

Tullis Chair

Stanley Konopka2

Mark Jackobs

Jean Wall Bennett Chair

Lisa Boyko

Richard and Nancy Sneed Chair

Richard Waugh

Lembi Veskimets

The Morgan Sisters Chair

Eliesha Nelson^

Anthony and Diane

Wynshaw-Boris Chair

Joanna Patterson Zakany

William Bender

Thomas Lauria and Christopher Lauria Chair

Gareth Zehngut^

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

C E L L O S

Mark Kosower*

Louis D Beaumont Chair

Richard Weiss1

The GAR Foundation Chair

Charles Bernard2

Helen Weil Ross Chair

Bryan Dumm

Muriel and Noah Butkin Chair

Tanya Ell

Thomas J and Judith Fay

Gruber Chair

Ralph Curry

Brian Thornton

William P. Blair III Chair

David Alan Harrell

Martha Baldwin

Dane Johansen

Marguerite and James Rigby Chair

Paul Kushious

B A S S E S

Maximilian Dimoff*

Clarence T. Reinberger Chair

Charles Paul1

Mary E . and F. Joseph

Callahan Chair

Derek Zadinsky2

Mark Atherton

Thomas Sperl

Henry Peyrebrune

Charles Barr Memorial Chair

Charles Carleton

Scott Dixon

Brandon Mason

H A R P

Trina Struble*

Alice Chalifoux Chair

F LU T E S

Joshua Smith*

Elizabeth M. and William C.

Treuhaft Chair

Saeran St. Christopher

Jessica Sindell2^

Austin B and Ellen W Chinn Chair

Mary Kay Fink

P I C C O L O

Mary Kay Fink

Anne M and M Roger Clapp Chair

O B O E S

Frank Rosenwein*

Edith S Taplin Chair

Corbin Stair

Sharon and Yoash Wiener Chair

Jeffrey Rathbun2

Everett D. and Eugenia S .

McCurdy Chair

Robert Walters

E N G L I S H H O R N

Robert Walters

Samuel C and Bernette K

Jaffe Chair

C L A R I N E T S

Afendi Yusuf*

Robert Marcellus Chair

Robert Woolfrey

Victoire G and Alfred M

Rankin, Jr Chair

Daniel McKelway2

Robert R and Vilma L Kohn Chair

Amy Zoloto

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

Daniel McKelway

Stanley L and Eloise M

Morgan Chair

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

Amy Zoloto

Myrna and James Spira Chair

B A S S O O N S

John Clouser*

Louise Harkness Ingalls Chair

Gareth Thomas

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

Michael Miller

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

Mr and Mrs Richard K

Smucker Chair

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

Clara G and George P

Bickford Chair

Sandra L Haslinger Chair

Charles M and Janet G

Kimball Chair

Sunshine Chair

Rudolf Serkin Chair

Christoph von Dohnányi †

Taichi Fukumura A

Elizabeth Ring and William Gwinn Mather Chair

James Feddeck

Sidney and Doris Dworkin Chair

Lisa Wong

P and Chester C Bolton Chair * Principal

Associate Principal

First Assistant Principal

Assistant Principal ^ Alum of The Cleveland Orchestra Youth Orchestra † In Memoriam

A Conversation with Robert Walters Solo English Horn

S A M U E L C . A N D B E R N E T T E K . J A F F E C H A I R

In early November, the English horn receives the spotlight as The Cleveland Orchestra’s own Robert Walters performs the US premiere of Geoffrey Gordon’s Mad Song (November 13 – 15). We caught up with Walters to learn more about this fascinating concerto, the preparation involved, and what makes the English horn such a unique instrument .

T C O : How did you come across Geoffrey Gordon and his music? Why did you pick this concerto specifically?

RO B E RT : He actually came across me! He reached out and said, “I’ve got this new English horn concerto Would you be interested in giving the US premiere?” I had heard his name but didn’t know his music, so I said, “Sure, I’ll listen.” I was immediately struck by how well he writes not just for my instrument, but also for the orchestra. It’s masterful the way he uses every section. Usually, with new music, it takes me a while to form an opinion, but I was taken with this piece right away and knew I wanted to play it.

What has your preparation process looked like?

Preparation is very important to me. My family has a house in upstate New York, and I spent a lot of time this summer immersing myself in the music. The first stage is to learn the piece, but you also have to practice performing it. Gordon made me a piano reduction so I can play it in various settings and identify problem areas before the first rehearsals with the Orchestra.

Leading up to the Severance performances, I’ve played it for a Bard College masterclass, for my studio at Oberlin, and for several friends and colleagues. I even played it for my yoga studio. My daughter calls my yoga instructor my “breathing teacher.” She had me perform the concerto for the class so they could see my breath control. It was my yoga studio debut!

What makes the English horn stand out as an orchestral instrument and also as a solo voice?

The English horn is sort of the cello version of an oboe. One of the things I love about my job is that my seat on stage is almost part of the cello section. I have a lot of melodies in unison with the cellos; I watch their bows and the way they vibrate as my model

In Italian opera houses, an early version of the English horn was called voce umana the human voice. There is something very human and vocal about the instrument. In general, it’s used for slow, mournful melodies. My mother used to jokingly call it the “anguish horn” there’s a lot of pain and pathos that the English horn range is particularly good at expressing.

What I love about this concerto is that there are heartbreaking melodic gestures that are typical for English horn, but there’s also fleet, technical material that breaks out of our typecast

The construction of the work feels like the William Blake poem it’s based on (Mad Song). There are three stanzas in the poem and three movements in the piece, but it’s through-composed like a Wagner opera. It’s almost like a storyboard for a film there’s a real sense of narrative and journey

What are some of the other solo works you’ve played with the Orchestra?

You hear English horn solos a lot if you come to Severance, but you don’t hear it as a concerto instrument that often.

In Italian opera houses , an early version of the English horn was called voce umana — the human voice . There is something very human and vocal about the instrument .

What can audience members listen for in this work? How does it complement the rest of the program?

When I learned the concerto would be paired with Mahler’s Sixth Symphony, I was thrilled. Mahler is one of the undisputed masters of orchestration; his music is fantastic, gripping, and immediate. There’s a similarity with how Gordon writes for orchestra that I think the audience will really hear.

The first concerto I played in Cleveland was by Ned Rorem, and I did a beautiful concerto by Pēteris Vasks in 2011. Another career highlight occurred 10 years ago: Oberlin commissioned Bernard Rands to write a concerto for me on the occasion of the Conservatory’s 150th anniversary. I premiered it with The Cleveland Orchestra and then recorded it with the Oberlin Orchestra a few months afterward.

I love the chance to stand in front of the Orchestra, and the work I put into a concerto certainly raises the level of what I do when I sit inside the Orchestra. The week after this concerto, we’re performing Dvořák’s “New World” Symphony [November 20–23]. I’m sure playing that famous English horn solo is going to feel much better than usual, having just done the concerto.

Besides this concert, what other ones are you looking forward to this season?

Definitely Shostakovich’s Symphony No. 11 in Cleveland [January 8 – 10, 2026] and then at Carnegie Hall [January 21, 2026] There’s a huge English horn solo,

which is one of the great moments in the repertoire. And we’re also doing Sibelius’s The Swan of Tuonela in Miami [March 27 – 28, 2026]. It’s one of the biggest English horn solos there is, almost like a mini concerto It’s funny: When I joined The Cleveland Orchestra, I came from the Metropolitan Opera Orchestra. At that point, I hadn’t played in a symphony orchestra for a long time, and The Swan of Tuonela was on the first rehearsal of my first week on the job in Cleveland! I’m very excited to revisit it again.

Richard K . Smucker

Honored with 2025–26

Distinguished Service Award & Named Leadership Chair

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

to honor Richard K. Smucker, Chairman Emeritus of The J.M. Smucker Company, with the 2025 – 26 Distinguished Service Award, recognizing his extraordinary leadership as he concludes his tenure as Chairman of the Orchestra’s Board of Trustees. Established in 1996, the institution’s highest award celebrates individuals whose exceptional commitment and service have shaped the Orchestra’s success.

Smucker has served as a Trustee of The Cleveland Orchestra since 1989, contributing his expertise to numerous committees, including Finance, Blossom Board of Overseers, Personnel, Campaign Steering, Nominating and Governance, and Patron Experience. In 2017, he was elected the Orchestra’s 13th Board Chair, succeeding Dennis W. LaBarre, and has since worked in close partnership with the Board’s officers, Executive Committee, and Trustees to provide steady guidance and direction.

As he steps down as Board Chair following a remarkably successful nine-

As Richard K . Smucker concludes his tenure as Chairman of the Board of Trustees , The Cleveland Orchestra honors his decades of leadership and dedicated service with its Distinguished Service Award

year tenure, The Cleveland Orchestra also recognizes Smucker’s inspirational stewardship and generosity by creating the Richard K. Smucker President & CEO Chair, its first-ever permanently

P R E V I O U S R E C I P I E N T S

1996 – 97 Dorothy Humel Hovorka, trustee

1997 – 98 David Zauder, trumpet and Orchestra personnel manager

1998 – 99 Ward Smith, trustee

1999 – 2000 Christoph von Dohnányi, music director emeritus

2000 – 01 Gary Hanson, executive director

2001 – 02 John Mack, oboe

2002 – 03 Richard J. Bogomolny, trustee

2003 – 04 Thomas W. Morris, executive director

2004 – 05 Alex Machaskee, trustee

2005 – 06 Klaus G. Roy, program editor and annotator

2006 – 07 Amb. John D. Ong, trustee

2007 – 08 Gerald Hughes, chorus

2008 – 09 Louis Lane, assistant conductor

2009 – 10 Clara Taplin Rankin, trustee

2010 – 11 Robert Conrad, trustee and president of WCLV

2011 – 12 Richard Weiner, percussion

2012 – 13 Milton and Tamar Maltz, trustees

2013 – 14 Pierre Boulez, conductor

2014 – 15 James D Ireland III, trustee

2015 – 16 Rosemary Klena, assistant to the executive director

2016 – 17 Robert Vernon, viola

2017 – 18 Dennis W. LaBarre, trustee

2018 – 19 Franz Welser-Möst, music director

2019 – 20 The Cleveland Orchestra Chorus

2021 – 22 Joela Jones, keyboard

2022 – 23 Jane B Nord, philanthropist

2023 – 24 Robert P Madison, architect and entrepreneur

2024 – 25 Nancy McCann, cultural arts activist

named staff position. This endowed chair will forever associate the position of Cleveland Orchestra President & CEO, currently held by André Gremillet, with Smucker’s name and honor his remarkable service, philanthropy, and transformative impact on The Cleveland Orchestra.

“It has been a privilege to work alongside Richard. His passion for music and steadfast belief in the importance of The Cleveland Orchestra, both locally and internationally, have inspired us all He has guided this institution with wisdom, generosity, and a deep commitment to our musicians, our audiences, and our community Establishing this chair in his name in perpetuity is our

way of thanking him for his outstanding leadership and decades of support,” said Gremillet.

Smucker’s leadership and philanthropy have left a lasting impact on the Orchestra’s artistic excellence, financial strength, and deep connection to the community.

Katherine T. O’Neill, chair

Richard J Bogomolny

Helen Rankin Butler

David J. Hooker

Richard J Kramer

Dennis W. LaBarre

Nancy W. McCann

Meredith Smith Weil

I N M E M O R I A M : S . Lee Kohrman

S . L E E KO H R M A N , Honorary Trustee for Life of The Cleveland Orchestra, passed away on August 20, just shy of his 98th birthday.

Lee joined the Board of the Musical Arts Association in 2002 and offered guidance as a member of its Investment Committee (since 2003), Audit Committee (since 2005), and Finance Committee (since 2005). He was elected Trustee Emeritus in 2019 and named Honorary Trustee for Life in 2022.

Lee was not only a dedicated and trusted steward of this institution but also a cherished member of the Cleveland community. His integrity, wisdom, and leadership left lasting impressions on all who crossed his path. We extend our deepest condolences to Lee’s family and join them in celebrating his legacy

N OV 1 3 – 1 5

M A H LE R ’ S S I X T H

S Y M P H O N Y

Tugan Sokhiev, conductor

Robert Walters, English horn

G E O F F R E Y G O R D O N Mad Song

M A H L E R Symphony No 6, “ Tragic”

N OV 2 0 – 2 3

DVO Ř Á K ’ S N E W

W O R LD S Y M P H O N Y

Dalia Stasevska, conductor

R E V U E LTA S La Noche de los Mayas*

D V O Ř Á K Symphony No. 9, “From the New World”

N OV 2 8 – 3 0

Y U J A WA N G P L AY S

R AV E L

Petr Popelka, conductor

Yuja Wang, piano

R AV E L Piano Concerto for the Left Hand

L I G E T I Concerto for Piano and Orchestra

M U S S O R G S K Y/ R AV E L Pictures at an Exhibition

D E C 4 – 6

H A N D E L’ S M E S S I A H

Bernard Labadie, conductor

Liv Redpath, soprano

Tim Mead, countertenor

Andrew Haji, tenor

Philippe Sly, bass-baritone

The Cleveland Orchestra Chorus

H A N D E L Messiah

2 5 / 2 6 S E A S O N

W I N T E R

J A N 8 – 10

M O Z A RT ’ S J U P I T E R

S Y M P H O N Y

Franz Welser-Möst, conductor

M O Z A RT Symphony No. 41, “Jupiter”

S H O S TA KO V I C H Symphony No 11, “ The Year 1905”

J A N 1 5 , 1 7 & 1 8

V E R D I ’ S R E Q U I E M

Franz Welser-Möst, conductor

Asmik Grigorian, soprano

Deniz Uzun, mezzo-soprano

Joshua Guerrero, tenor

Tareq Nazmi, bass

The Cleveland Orchestra Chorus

V E R D I Requiem

F E B 5 – 7

H A D E LI C H P L AY S

M E N D E L S S O H N

Antonello Manacorda, conductor

Augustin Hadelich, violin

M E N D E L S S O H N Violin Concerto

S C H O E N B E R G Chamber Symphony No. 2

S C H U B E RT Symphony No. 8, “Unfinished”

F E B 1 2 & 14

H A N N I G A N C

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

clevelandorchestra . com

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 & M A R I A J OÃO P I R E S

I N R E C I TA L

Marc-André Hamelin, piano

Maria João Pires, piano

Program to be announced

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

A D O L P H U S H A I L S T O R K Epitaph for a Man Who Dreamed

B A C E W I C Z Symphony No. 4 J Ü R I R E I N V E R E Concerto for Violin, Harp, and Orchestra

D V O Ř Á K Hero’s Song

* Not performed on the Friday matinee concert

Individual Support

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

To learn more, visit clevelandorchestra .com/give

Adella Prentiss Hughes Society

Gifts of $1,000,000 & more

Mr. & Mrs . * Geoffrey Gund

Haslam 3 Foundation

Joan Y. Horvitz*

Anne H. & Tom H. Jenkins

Milton & Tamar Maltz

Mrs Jane B Nord

Mr & Mrs * Richard K Smucker

Gifts of $200,000 to $999,999

The Musicians of The Cleveland Orchestra (in-kind contribution for community programs and opportunities to secure funding)

Bruce* & Eleanor Kendrick

Dr.* & Mrs . Anthony T. Lauria

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Jan R . Lewis

Robert Lugibihl

Deborah L . Neale

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Jenny & Tim Smucker

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Gifts of $100,000 to $199,999

Art of Beauty Company, Inc.

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Rebecca Dunn

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Foundation

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Estate of Bernadette Norwood

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Anonymous (3)

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Gifts of $75,000 to $99,999

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Gifts of $50,000 to $74,999

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Astri Seidenfeld

The Seven Five Fund

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Mr. & Mrs . Franz Welser-Möst

Barbara & David Wolfort

Mrs . Jayne M. Zborowsky

Elisabeth DeWitt

Severance Society

Gifts of $25,000 to $49,999

Victor & Abby Alexander

Mr. & Mrs . A . Chace Anderson

Gerrie E . Berena

Dr. & Mrs . Wolfgang Berndt (Europe)

Robin Dunn Blossom

Mr. Richard J. Bogomolny & Ms . Patricia M. Kozerefski

Dr. Ben H. & Julia Brouhard

Jeanette Grasselli Brown* & Glenn R . Brown*

Dr. Robert Brown &

Mrs . Janet Gans Brown

J. C. & Helen Rankin Butler

Irad & Rebecca Carmi

Jim & Mary Conway

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Budd & Judy Dworkin

Mary Jo Eaton (Miami)

Drs Wolfgang & Gabi Eder (Europe)

Peter & Christina Gold (Miami)

David & Robin Gunning

Sondra & Steve Hardis

Iris & Tom Harvie

Mary & Jon* Heider (Cleveland, Miami)

Mrs . Lynn Heisler

Amy & Stephen Hoffman

David & Nancy Hooker

Richard Horvitz & Erica Hartman-Horvitz (Cleveland, Miami)

Mrs Marguerite B Humphrey*

Allan V Johnson

Mr & Mrs Joseph P Keithley

Rob & Laura Kochis

Jon A . & Virginia M. Lindseth, PhD

Mr. Stephen McHale

Loretta J. Mester & George J. Mailath

Randy & Christine Myeroff

Jennifer & Alexander Ogan

The Honorable John Doyle Ong

Mr. J. William & Dr. Suzanne* Palmer

Catherine & Hyun Park

Douglas & Noreen Powers

Mr & Mrs James A Ratner

James & Marguerite Rigby

Mark & Shelly Saltzman

The Ralph and Luci Schey Foundation

Mr. Eric A . Seed & Ms . Ellen Oglesby

Donna E . Shalala (Miami)

Dr. Elizabeth Swenson

Dr. Russell A . Trusso

Herbert Wainer & Jody Bernon-Wainer

Tom & Shirley* Waltermire

John & Deborah Warner

Anya Weaving & Tom Mihaljevic

Meredith & Michael Weil

Tony & Christine White

Anonymous (2)

Dudley S. Blossom Society

Gifts of $15,000 to $24,999

Mr & Mrs William Winfield Baker

Ms Viia R Beechler

Mr & Mrs Jules Belkin

Mel Berger & Jane Haylor

Mr. & Mrs . C. Perry Blossom

Mr. & Mrs . Charles P. Bolton

Dr. Christopher P. Brandt & Dr. Beth Sersig

Mr. D. McGregor Brandt , Jr.

Meghan & Trent Brown

Mr. & Mrs . Timothy J. Callahan

Ellen E . * & Victor J. Cohn

Kathleen A . Coleman

Ted & Donna Connolly

Mr & Mrs Kevin C Conway

Mrs Barbara Cook

Mr & Mrs Matthew V Crawford

Maureen A Doerner & Geoffrey T. White

Nancy & Richard Dotson

Peter & Sandy Earl

Dr. & Mrs . Robert Ehrlich (Europe)

Mr. Brian L . Ewart & Mr. William McHenry

Mr. & Mrs . Richard C. Fedorovich

Friends of The Cleveland Orchestra

Richard & Ann Gridley

Gary L . & Cari T. Gross

Mr. & Mrs . Harley I. Gross

Ms Marianne Gymer

Kathleen E Hancock

Jack Harley & Judy Ernest

Matthew & Elizabeth Horvitz

Gerald Hughes

Mr. & Mrs . Brinton L . Hyde

Sarah Liotta Johnston & Jeff Johnston

Eeva & Harri Kulovaara (Miami)

Mr. & Mrs . S. Ernest Kulp

Ms . Heather Lennox

In honor of Emma Skoff Lincoln

Linda Litton

Mr. Jeff Litwiller

Anne R . & Kenneth E . Love

Mr & Mrs Alex Machaskee

Mr & Mrs Robert W Malone

Alan Markowitz MD & Cathy Pollard

Mr. Fredrick W. Martin

Mr.* & Mrs . Arch J. McCartney

Miba AG and Dr. & Mrs . Peter Mitterbauer (Europe)

Ann Jones Morgan

Sally S. & John C. Morley*

Mr. & Mrs . Scott C. Mueller

Richard Organ & Jamie Nash

Mr. Winthrop Quigley & Ms . Bonnie Crusalis

Dr Isobel Rutherford

Rachel R Schneider

Dr & Mrs James L Sechler

Meredith M. Seikel

Hewitt & Paula Shaw

Robyn Shifrin

Roy Smith

Mr. & Mrs . Richard P. Stovsky

Kathryn & Duncan Stuart

Alan & Barbara Taylor

Bruce & Virginia Taylor

Philip & Sarah* Taylor

Mr. & Mrs . Alfred Umdasch (Europe)

Karen Walburn

Mr. Daniel & Mrs . Molly Walsh

Mr. & Mrs . Jeffery J. Weaver

Robert C. Weppler

Sandy* & Ted Wiese

Katie & Donald Woodcock

Max & Beverly Zupon

Anonymous (3)

Frank H. Ginn Society

Gifts of $10,000 to $14,999

Dr & Mrs D P Agamanolis

Mr & Mrs * Eugene J Beer

Deena & Jeff Bellman

Laura & Jon Bloomberg

Mrs . Catharina M. Caldwell

Mr. & Mrs . Chester F. Crone

Mr. & Mrs . Manohar Daga

Allan* & Connie Dechert

Gregory Dobbins

Michael Dunn

Dr.* & Mrs . Lloyd H. Ellis Jr.

Joan Alice Ford

Dr. Edward S. Godleski

André & Ginette Gremillet

Calvin & Sherry Griffith

Mr & Mrs Michael Gröller (Europe)

Alfredo & Luz Maria Gutierrez (Miami)

Robin Hitchcock Hatch

Dr. Robert T. Heath & Dr. Elizabeth L . Buchanan

Dr. Fred A . Heupler

Donald* & Joyce Ignatz

Donna Jackson

Barbara & Michael J. Kaplan

Jonathan & Tina Kislak (Miami)

John D. & Giuliana C. Koch

David C Lamb

Dr Edith Lerner

Dr David* & Janice Leshner

Drs Amy & James Merlino

Claudia Metz & Thomas Woodworth

John & Rebecca Minnillo

Mr. Bert & Dr. Marjorie Moyar

Brian & Cindy Murphy

Patricia Perry Nock

Mr. & Mrs . John Olejko

Mr. David A . Osage & Ms . Claudia C. Woods

Dr. Roland S. Philip & Dr. Linda M. Sandhaus

Julia & Larry Pollock

Ms . Rosella Puskas*

Beth & Clay Rankin

Mr. & Mrs . Roger F. Rankin

Mrs . Vicki Ann Resnick

Amy & Ken Rogat

Kim Russel & Dirk Brom

Dr. & Mrs . * Martin I. Saltzman

David M. & Betty Schneider

Gary Schwartz & Constance Young

Kenneth Shafer

Rev George Smiga

Sandra & Richey* Smith

Taras Szmagala & Helen Jarem

Joe & Marlene Toot

Dr. Gregory Videtic & Rev. Christopher McCann

Susanne Wamsler & Paul Singer (Europe)

Mr. & Mrs . Fred A . Watkins

Denise G. & Norman E . Wells , Jr.

Sandy Wile* & Sue Berlin

Anonymous (7)

The 1929 Society Gifts of $5,000 to $9,999

Ms Nancy A Adams

Mr. & Mrs . Todd C. Amsdell

Mr. James Babcock

Claudia Bacon

Robert & Dalia Baker

Thomas & Laura Barnard

Dr. James Bates

Fred G. & Mary W. Behm

Marilyn & Jeffrey Bilsky

Dr. & Mrs . Eugene H. Blackstone

Doug & Barbara* Bletcher

Laurel Blossom

Jeff & Elaine Bomberger

Mitchell & Caroline Borrow

Ms Kristina E Boykin

Mr. & Mrs . David* Briggs

James & Mary Bright

Dr. Thomas Brugger* & Dr. Sandra Russ

Frank & Leslie Buck

Mr. Gregory & Mrs . Susan Bulone

Douglas M. Bunker

James Burke

Michael & Linda Busta

Joseph & Susan Carney

William & Barbara Carson

Ms Maria Cashy

Victor A Ceicys MD & Mrs Kathleen Browning Ceicys

Mr & Mrs James B Chaney

Mr. & Mrs . Kerry Chelm

Ellen Chesler & Matthew Mallow (Miami)

Drs . Wuu-Shung & Amy Chuang

Drs . Mark Cohen & Miriam Vishny

Diane Lynn Collier & Robert J. Gura

Marjorie Dickard Comella

Mr * & Mrs Ralph Daugstrup

Ronald J Davis & Cheryl A Davis

Pete & Margaret Dobbins

Henry & Mary* Doll

Brian & Renae Durdle

Carl Falb

Regis & Gayle Falinski

Dagmar & Frederick Fellowes

Mr. & Mrs . Mark Filippell

Bruce* & Nancy Fisher

Jan & John Fitts

Ms . Nancy Flogge

Mr. & Ms . Dale Freygang

Barbara & Peter* Galvin

Joy E Garapic

Mr James S Gascoigne & Ms Cynthia Prior

Anne* & Walter Ginn

Brenda & David Goldberg

Mrs . Florence Goodman

Barbara H. Gordon

Nancy Hancock Griffith

Candy & Brent Grover

The Thomas J. and Judith Fay Gruber

Charitable Foundation

Nancy* & James Grunzweig

Agnes Gund

Graham* & Ann Gund (Miami)

Mr. Arthur C. Hall III

Mr Newman T Halvorson, Jr

Mr * & Mrs David P Handke, Jr

Gary Hanson & Barbara Klante

Clark Harvey & Holly Selvaggi

Mr. & Mrs . Jonathan Hatch

Barbara L . Hawley & David S. Goodman

Matthew D. Healy & Richard S. Agnes

Anita & William Heller

Ms . Susan K . Hemry

Malcolm & Vivian Henoch

Mr. & Mrs . Jerry Herschman

Mr. & Mrs . Martin R . Hoke

Dr Keith A & Mrs Kathleen M Hoover

James* & Claudia Hower

Elisabeth Hugh

Ms . Mary Joe Hughes

David & Dianne Hunt

Ms . Kimberly R . Irish

Dr. & Mrs . Paul C. Janicki

Richard & Jayne Janus

Robert & Linda Jenkins

Mr. David* & Mrs . Cheryl Jerome

Mr. Jeremy V. Johnson

Karmendot Fund

Andrew & Katherine Kartalis

Rod Keen & Denise Horstman

Mr & Mrs Kenneth H Kirtz*

Audrey Knight

Mr & Mrs S Lee Kohrman*

Dr Ronald H Krasney & Vicki Kennedy*

Douglas & Monica Kridler

Peter* & Cathy Kuhn

Dr. Jeanne Lackamp

Mr & Mrs * Arthur J Lafave, Jr

Dr & Mrs John R Lane

Kenneth M Lapine & Rose E Mills

John N.* & Edith K . Lauer

Charles & Josephine Robson Leamy*

Michael Lederman & Sharmon Sollitto

Joan & Young Sei Lee

Mr. & Mrs . Roger J. Lerch in Memory of Carl J. & Winifred J. Lerch

Judith & Morton Q . Levin

Dr. Stephen B. & Mrs . Lillian S. Levine

Dr. Alan & Mrs . Joni Lichtin

Drs Todd & Susan Locke

Eric Logan

David & Janice* Logsdon

Joan C Long

Caetano R . Lopes (Miami)

Neil & Susan Luria

Peter & Pamela Luria (Miami)

Dr. Kalle J. Lyytinen

David Mann & Bernadette Pudis

Janet A . Mann

Diann & Tom Mann

Mr. Ryan T. Marrie

Mr. & Mrs . Christopher J. McKenna

Ms . Nancy L . Meacham

Dr. & Mrs . Kevin Meany

Dr * & Mrs Dale Meers

James & Virginia Meil

Dr Susan M Merzweiler

Lynn & Mike Miller

Drs . Terry E . & Sara S. Miller

Mr. & Mrs . Andy Moock

Ms . Nancy C. Morgan

Amy & Marc Morgenstern

Elizabeth Morris

Eudice M. Morse

Mr. Raymond M. Murphy

Mr. & Mrs . Stephen Myers

Richard & Kathleen Nord

Mr. & Mrs . Forrest A . Norman III

Courtney & Michael Novak

Thury O’Connor

Richard* & Elizabeth Osborne

Mr & Mrs Peter R Osenar

Mr. Henry Ott-Hansen

Dale & Susan Phillip

Dr. Marc A . & Mrs . Carol Pohl

Dr. & Mrs . John N. Posch

Mr. Robert & Mrs . Susan Price

Sylvia Profenna

Pysht Fund

Lute & Lynn Quintrell

James* & Donna Reid

Mr. & Mrs . * Robert J. Reid

David J. Reimer & Raffaele DiLallo

Mr D Keith* &

Mrs Margaret B Robinson

Dr. & Mrs . Ronald Ross

Robert* & Margo Roth

Dr. Adel S. Saada

Dr. Vernon E . Sackman & Ms . Marguerite Patton*

Mr. & Mrs . Lowell Satre

Sandra Sauder

Bob & Ellie Scheuer

Ms Beverly J Schneider

John* & Barbara Schubert

Sally & Larry Sears

John Sedor & Geri Presti

Deborah Sesek

Mr.* & Mrs . Michael Shames

Mr. Philip & Mrs . Michelle Sharp

Elizabeth & Timothy Sheeler

Mr. John F. Shelley &

Ms . Karen P. Fleming

Paul & Betsy Shiverick (Miami)

Zachary & Shelby Siegal

Howard & Beth Simon

Mr James S Simon

The Shari Bierman Singer Family

Drs Charles Kent Smith & Patricia Moore Smith

Mrs . Gretchen D. Smith

Mr. & Mrs . William E . Spatz

Diane M. Stack

Maribeth & Christopher Stahl

George & Mary* Stark

Sue Starrett & Jerry Smith

Bill & Trish Steere

Ms . Lorraine S. Szabo

Robert & Carol Taller

Mr. John R . Thorne & Family

Bill & Jacky Thornton

Brian & Elizabeth Tierney

Mr & Mrs Gary B Tishkoff

Mr. Christopher Towe

Mr.* & Mrs . Robert N. Trombly

Steve & Christa Turnbull

Dr. & Mrs . Wulf H. Utian

Robert & Marti* Vagi

Bobbi & Peter* van Dijk

Mr*. & Mrs . Lee Vandenberg

Mr. & Mrs . Les C. Vinney

Kenneth Kirtz*

George & Barbara von Mehren

Mr. Randall Wagner

Randall E Wagner

Ron Wakser

John & Jeanette Walton

Greg & Lynn Weekley

Tilles-Weidenthal Foundation

Mr. & Mrs . Mark Allen Weigand

Paul & Nancy Wellener

Dr. Edward L . & Mrs . Suzanne Westbrook

Dr. Paul R . & Catherine Williams

Ms . Linda L . Wilmot

Bob & Kat Wollyung

Mr. Graham Wood

Anonymous (3)

Composer’s Circle

Gifts of $2, 500 to $4,999

Mr & Mrs Paul R Abbey

Mr. Leonard H. Abrams*

David & Sharon Anderson

Sarah May Anderson

Gabrielle Aryeetey

Jack & Darby Ashelman

Ronen Avinir (Miami)

Ms . Bonnie M. Baker

Don Baker*

Eric Barbato & Elisha Swindell

Lucy Battle

Kathryn & Gerald Berkshire

Mr Jeffrey & Dr Sheila Berlin

Margo & Tom Bertin

Zeda W Blau

Marilyn & Lawrence Blaustein

Ms . Pamela M. Blemaster

Blossom Friends of The Cleveland Orchestra

Howard & Arlyne Bochnek

Dr. & Mrs . Timothy Bohn

Mr. & Mrs . Richard H. Bole

David & Julie Borsani, in memory of Marissa I. Borsani

Dwight Bowden

Lisa & Ronald Boyko

William & AnnaMarie Brancovsky

Adam & Vikki Briggs

Matthew D Brocone

Mr & Mrs Dale R Brogan

Dale & Wendy Brott

Bennett Brown

Mrs . Nancy E . Brown

Mr. & Mrs . Henry G. Brownell

Mr. Felix Brueck &

Ms . Ann Kowal Smith

Mrs . Frances Buchholzer

William Busta & Joan Tomkins

Dr. & Mrs . William E . Cappaert

Peter & Joanna Carfagna

Mr.* & Mrs . John J. Carney

Dr Ronald Chapnick* & Mrs Sonia Chapnick

Gertrude Kalnow Chisholm & Homer D W Chisholm

Dr. Gary Chottiner & Anne Poirson

Mr. & Mrs . Edward A . Chuhna

Natalie Cipriano

Robert & Judy Ciulla

Pete Clapham & Anita Stoll

Mr. & Mrs . David Clark

Richard J. & Joanne Clark

Drs . John* & Mary Clough

Mary* & Bill Conway

Mr. John Couriel & Dr. Rebecca Toonkel (Miami)

Laura Cox

Jane Cronin

Dr Lucy Ann Dahlberg

Karen & Jim Dakin

Mrs Jane Dangler

Dr & Mrs Thomas M Daniel

Mrs . Lois Joan Davis

Jeffrey Dean and Barbara & Karen Claas

Prof. George & Mrs . Rebecca Dent

Michael & Amy Diamant

Dr. & Mrs . Howard Dickey-White

Ms . Marlene Dirksen

Do Unto Others Trust (Miami)

Carl Dodge

Jack & Elaine Drage

Ms . Mary Lynn Durham

Mr & Mrs Robert P Duvin

Mr & Mrs Ronald E Dziedzicki

Erich Eichhorn & Ursel Dougherty

Mr Mike S Eidson, Esq & Dr. Margaret Eidson (Miami)

S. Stuart Eilers

Peter & Kathryn Eloff

Louis* & Patricia Esposito

Andy & Leigh Fabens

Anne Ferguson & Peter Drench

Mr. William & Dr. Elizabeth Fesler

Joan & Philip Fracassa

Mr. & Mrs . Larry Frankel

Howard Freedman & Rita Montlack

Marvin Ross Friedman & Adrienne bon Haes (Miami)

Robert Friedman & Elizabeth MacGowan

Mr. William Gaskill & Ms . Kathleen Burke

Mr. & Mrs . Bengt Gerborg

Mr. & Mrs . M. Lee Gibson

Daniel & Kathleen Gisser

Holly & Fred Glock

Dr.* & Mrs

. Victor M. Goldberg

Lawrence Goodman & Stephanie Betts

Ms . Aggie Goss

Mr. Robert Goss

Dr & Mrs Ronald L Gould

Bob Graf & Mia Zaper

Mr James Graham & Mr David Dusek

Dr. Ruffin Graham

Robert K . Gudbranson & Joon-Li Kim

Mr. & Mrs . John E . Guinness

Mr. Davin & Mrs . Jo Ann Gustafson

Mr. Ian S. Haberman

Mary Louise Hahn

Dr. James O. Hall

Megan Hall & James Janning

Dr. Haifa & Dr. Michael A . Hanna

John Hannon

Mrs . Martha S. Harding

Mr. Samuel D. Harris

Thomas & Darlene Hawkins

Dr. Toby Helfand

In Memory of Hazel Helgesen

Drs Gene & Sharon Henderson

T K * & Faye A Heston

Eric & Karen Hillenbrand

Richard & Jean Hipple

Arnold & Janice Hirshon

Mr. & Mrs . Stephen J. Holler

Charles M. Hoppel & Marianne Karwowski Hoppel

Lois Krejci-Hornbostel & Roland Hornbostel

Xavier-Nichols Foundation / Robert & Karen Hostoffer

Phillip Huber

Dr. Diane Huey

Mr. Brooks G. Hull & Mr. Terry Gimmellie

Dr. & Mrs . Grant Hunsicker

Mrs . Laura Hunsicker

Mr.* & Mrs . J. David Hunter

Ms . Melanie Ingalls

Bruce & Debbie Jarosz

Dylan Jin

Eric & Susan Johnson

Joela Jones & Richard Weiss

Steven Jones

Dr Eric Kaler

Mr Donald J Katt & Mrs . Maribeth Filipic-Katt

Dr. Richard* & Roberta Katzman

The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis

Joanne Kim & Jim Nash

Mrs . Judith A . Kirsh

Steve & Beth Kish

Mr. & Mrs . Stuart F. Kline

Michael Kluger & Heidi Greene

Stewart Kohl

Mr Ronald & Mrs Kimberly Kolz

Ursula Korneitchouk

Margaret Kotz & Ed Covington

Dr. & Mrs . John P. Kristofco

Mr. & Mrs . David S. Kushner

Alfred & Carol Lambo

Mr. & Mrs . John J. Lane, Jr.

Dr.* & Mrs . Roger H. Langston

Mrs . Susan D. LaPine

Mr. & Mrs . Richard L . Larrabee

Mrs . Sandra S. Laurenson

Richard & Barbara Lederman

Mr. Elliot & Mrs . Christine Legow

Michael & Lois Lemr

Robert G Levy

Mr & Mrs * Thomas A Liederbach

Eva & Rudolf Linnebach

Mr Henry Lipian

Dr & Mrs Jack Lissauer

Dr George I Litman

Ms . Agnes Loeffler

Mary Lohman

Mr. & Mrs . Carlos Lopez- Cantera (Miami)

Virginia Lovejoy

Linda* & Saul Ludwig

Elsie* & Byron Lutman

Mr. & Mrs . * Robert P. Madison

Herbert L . & Ronda Marcus

Dr.* & Mrs . Sanford E . Marovitz

Ms . Dorene Marsh

Kevin Martin & Hansa Jacob-Martin

Ms Amanda Martinsek

Ms Judith E Matsko

Stephen & Christine McClure

Bruce & Karen McDiarmid

Mr. & Mrs . Sandy McMillan

Mr. James E . Menger

Leah Merritt-Mervine

Dr. Miloslava Mervart

Mr. & Mrs . Gerald A . Messerman

Mr. Glenn A . Metzdorf

David Michel & Lynne Killgore

Beth M. Mikes

Amy Miller & Nikhil Rao

Mr & Mrs David S Miller

Dr & Mrs Leon Miller

Mr Tom Millward

Anton & Laura Milo

Michael Milo

Jon Morrell

Mr. & Mrs . Thomas W. Morris

Ken & Sharon Mountcastle

Susan B. Murphy

Dave & Nancy Murray

Karen & Bernie Murray

Joan Katz Napoli & August Napoli

Dr. Anne & Mr. Peter Neff

Karen Nemec

Andrea Nobil (Miami)

Mark & Paula Nylander

Richard & Jolene O’Callaghan

Robert & Mary Ann Olive

Dr & Mrs Paul T Omelsky

Harvey* & Robin Oppmann

Dr. Douglas Orr &

Ms . Kimberley Barton

George Parras & Mary Spencer

Drs . James & Marian Patterson

Dr. Lewis E . & Janice B. Patterson

David Pavlich & Cherie Arnold

Matt Peart

Alan & Charlene Perkins

John Perko

Robert S Perry

Mark & Eve Pihl

Mr Richard W Pogue

Mr & Mrs Frank Porter

Patrick J. Holland

Drs . Raymond R . Rackley & Carmen M Fonseca

Dr James & Lynne Rambasek

Mr Todd J Reese

Dr Robert W Reynolds

David & Gloria Richards

Joan & Rick Rivitz

Mr. & Mrs . Jay F. Rockman

Michael & Jodi Rogoff

David & Mitsuko Rosinus (Miami)

Steven & Ellen Ross

Drs . Edward & Teresa Ruch

Nathan & Marie Rutherford

Anne Sagsveen

Ms . Patricia E . Say

Bryan & Jenna Scafidi

Don Schmitt & Jim Harmon

Richard B & Cheryl A Schmitz

Mr Don Schriver &

Mrs . Jane Schriver

Mr. James Schutte

Nicklaus Schwenk

Ms . Kathryn & Mr. Michael Seider

Mr. & Mrs . Joseph Selden

Dr. Judith Sewell & Mr. Donald Sewell

Caltha Seymour

Lee Shackelford

Donald Shafer & Katherine Stokes-Shafer

Steve & Marybeth Shamrock

Ginger & Larry Shane

Harry & Ilene Shapiro

Ms Frances L Sharp

Larry Oscar & Jeanne Shatten

Charitable Fund of the Jewish Federation

Dr. & Mrs . William C. Sheldon

Mr. Richard Shirey

MindCrafted Systems

Jim Simler & Dr. Amy Zhang

Dr. Edward & Mrs . Barbara Sivak

G. Michael & Kathy* Mead Skerritt

Bruce L . Smith

Mr. Christopher &

Mrs Michelle Smith

David Kane Smith

Mr Joshua Smith

Mr. Eugene Smolik

Drs . Nancy & Ronald Sobecks

Drs . Thomas & Terry Sosnowski

SPÄNGLER PRIVATSTIF T UNG

Edward R . & Jean Geis Stell

Foundation

Ryan & Melissa Stenger

Ronald & Lauren Sterbank

Janet Stern

Ms Natalie Stevens

Frederick & Elizabeth Stueber

Nancy & Patrick Sullivan

Mike & Wendy Summers

Mr Marc L Swartzbaugh

Mr Robert D Sweet

Mrs . Mary L . Sykora

Mr. & Mrs . Michael Taipale

Rebecca & Jeffrey Talbert

Eca & Richard Taylor

Dr. James Taylor & Ms . Susan Slugg

Jill & Jim Taylor

Caroline Theus

Ms . Aileen Thong-Dratler

Dr. & Mrs . Thomas* A . Timko

Dr. & Mrs . Michael B. Troner (Miami)

Drs . Anna* & Gilbert True

Ms Christeen Tuttle

Dr Doug Van Auken & Mr John Corlett

Mr & Mrs Steven M Venezia

Teresa Galang-Viñas & Joaquin Viñas (Miami)

Philip Volpe

Neha & Sanjay Vyas

Mr. & Mrs . Eric Wald

Jessica & James Warren

Margaret & Eric* Wayne

Mr. Peter & Mrs . Laurie Weinberger

Emily Westlake & Robertson Gilliland

Mr. & Mrs . John W. Wilhelm

John & Nancy Woelfl

Mr James M Wood Sr

Dale & Cynthia Woodling

Ms . Jennifer Wynn

Rad & Patty Yates

Ms . Carol A . Yellig

Dr. Rosemary Gornik & Dr. William Zelei

Mr. Paul Zraik

Mr. Kal Zucker & Dr. Mary Frances Haerr

John & Jane Zuzek

Anonymous (8)

Cheers! To Our Gala Supporters

We thank the following donors for their generous and continued support of The Cleveland Orchestra’s 2025 Gala .

D I A M O N D S P O N S O R

Mrs . Norma Lerner

Mr and Mrs Albert B Ratner

Mr. and Mrs . * Richard K . Smucker

G O L D S P O N S O R

Haslam 3 Foundation

KeyBank Foundation

Richard and Christine Kramer

Milton and Tamar Maltz

S I LV E R S P O N S O R

Randall and Virginia Barbato

J. C. and Helen Rankin Butler

Mr. and Mrs . Alexander M. Cutler

Dr. Michael Frank

Hyster-Yale Materials Handling , NACCO Industries , Inc

Richard and Michelle Jeschelnig

Park- Ohio Holdings

Parker Hannifin Foundation

R . Thomas and Meg Harris Stanton

Suzanne and Paul Westlake

B R O N Z E S P O N S O R

Meghan and Trent Brown

Calfee, Halter & Griswold LLP

Case Western Reserve University

Peter and Sandy Earl

Dr. Hiroyuki and Mrs . Mikiko Fujita

Matthew and Elizabeth Horvitz

Jones Day Foundation

Elizabeth B. Juliano

Mr. and Mrs . Douglas A . Kern

Nancy W. McCann

Mr and Mrs Scott C Mueller

Catherine and Hyun Park

Mr. and Mrs . Benjamin N. Pyne

Thompson Hine LLP

Astri Seidenfeld

Corporate, Foundation & Government Support

The Cleveland Orchestra extends heartfelt gratitude to these generous organizations and partners who bring concerts and educational programs to life for our community.

Learn more at clevelandorchestra .com/partners

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

Gifts of $300,000 & more

The Goodyear Tire & Rubber Company

Hyster-Yale, Inc

NACCO Industries , Inc

Gifts of $200,000 to $299,999

Jones Day Foundation

Ohio CAT

The J. M. Smucker Co.

Gifts of $100,000 to $199,999

KeyBank

White & Case (Miami)

Gifts of $50,000 to $99,999

FirstEnergy Foundation

NOPEC

Parker Hannifin Foundation

PNC

Quality Electrodynamics

Thompson Hine LLP

Anonymous

Gifts of $15,000 to $49,999

Acme Fresh Markets

Akron Children’s

BakerHostetler

Buyers Products Company

Calfee, Halter & Griswold LLP

Cuffs Clothing Company

Dealer Tire LLC

DLR Group | Westlake Reed Leskosky

Frantz Ward LLP

The Giant Eagle Foundation

Lake Effect Health

Miba AG (Europe)

Northern Haserot

Olympic Steel, Inc.

Park- Ohio Holdings

RPM International Inc.

RSM US LLP

Welty Enterprises

Westfield

Anonymous

Gifts of $2, 500 to $14,999

BDI

Berkadia

Blue Technologies, Inc.

BNY Wealth

Brothers Printing Company

The Cedarwood Companies

The Cleveland- Cliffs Foundation

Consolidated Solutions

Dickie, McCamey & Chilcote

Eaton

Evarts Tremaine

The Ewart- Ohlson Machine Company

GPD Group

Gross Residential

Hahn Loeser & Parks LLP

Hunsicker Family Dental

Jones Group Interiors Inc.

Karlie Newton II Insurance Agency

Kohrman Jackson & Krantz, LLP

KPMG LLP

The Lincoln Electric Foundation

MGM Resorts Foundation

Nordson Corporation Foundation

Northern Trust

Ohio Real Title

The Sherwin-Williams Company

Sikich

Ver Ploeg & Marino (Miami)

Warby Parker

Young Presidents’ Organization

Gifts of $1,000,000 & more

The Brown and Kunze Foundation

The Milton and Tamar Maltz Family Foundation

The Jack , Joseph and Morton Mandel Foundation

David and Inez Myers Foundation

State of Ohio

The Kelvin and Eleanor Smith Foundation

Richard & Emily Smucker Family Foundation

Timken Foundation of Canton

Gifts of $500,000 to $999,999

The William Bingham Foundation

Mary E . & F. Joseph Callahan Foundation

Cuyahoga County residents through Cuyahoga Arts & Culture

Ohio Arts Council

The Payne Fund

Gifts of $250,000 to $499,999

Kulas Foundation

John P Murphy Foundation

The Dr M Lee Pearce Foundation, Inc (Miami)

Gifts of $100,000 to $249,999

Paul M. Angell Family Foundation

The Louise H. and David S. Ingalls Foundation

Park Foundation

Wesley Family Foundation

Anonymous

Gifts of $50,000 to $99,999

The George W Codrington Charitable Foundation

The Jean, Harry and Brenda Fuchs

Family Foundation, in memory of Harry Fuchs

GAR Foundation

The George Gund Foundation

Martha Holden Jennings Foundation

Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation

Gifts of $15,000 to $49,999

The Abington Foundation

Akron Community Foundation

The Batchelor Foundation, Inc. (Miami)

The Bruening Foundation

The Mary S and David C Corbin Foundation

Mary and Dr. George L . Demetros Charitable Trust

The Sam J. Frankino Foundation

The Gerhard Foundation, Inc.

The Catherine L . & Edward A . Lozick Foundation

With the support of the Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners

The Nord Family Foundation

PWC Foundation

The Esther and Hyman Rapport Philanthropic Trust

The Reinberger Foundation

Albert G. & Olive H. Schlink Foundation

The Sisler McFawn Foundation

The Veale Foundation

The George Garretson Wade Charitable Trust

The Welty Family Foundation

The Thomas H White Foundation, a KeyBank Trust

Anonymous

Gifts of $2, 500 to $14,999

The Bernheimer Family Fund of the Cleveland Foundation

The C.R .E .W. Foundation

The Frances G. and Lewis Allen Davies Endowment

James Deering Danielson Foundation

Dorn Family Foundation

Fisher-Renkert Foundation

The Harry K . Fox and Emma R . Fox Charitable Foundation

The Hankins Foundation

The Muna & Basem Hishmeh Foundation

The Kirk Foundation (Miami)

The Laub Foundation

The Lehner Family Foundation

The Fred A . Lennon Charitable Trust

The G. R . Lincoln Family Foundation

Elizabeth Ring Mather and William Gwinn Mather Fund

The Eric & Jane Nord Family Fund

The M. G. O’Neil Foundation

The O’Neill Brothers Foundation

Paintstone Foundation

The Perkins Charitable Foundation

Charles E & Mabel M Ritchie Memorial Foundation

SCH Foundation

Lloyd L . and Louise K . Smith

Memorial Foundation

The South Waite Foundation

Sterling Chamber Players

Third Federal Foundation

Uvas Foundation

The Edward and Ruth Wilkof Foundation

The Wuliger Foundation

Anonymous (2)

The Cleveland Orchestra Board of Trustees

O F F I C E R S

Richard J. Kramer

Chair

André Gremillet

President & CEO

Richard K Smucker

Immediate Past Chair

Richard J. Bogomolny

Chair Emeritus

Dennis W. LaBarre

Chair Emeritus

Norma Lerner

Honorary Chair

David J. Hooker

Secretary

Victor Alexander

Treasurer

Victor Alexander

Robin Dunn Blossom

Yuval Brisker

Helen Rankin Butler

Nancy Slocum Callahan

Irad Carmi

Bill Clawson

Matthew V. Crawford

Lisa Fedorovich

Michael Frank , MD JD

Hiroyuki Fujita

Robert Glick

Arthur C Hall III

Iris Harvie

Dee Haslam

Stephen H. Hoffman

David J. Hooker

Michelle Shan Jeschelnig

Sarah Liotta Johnston

Elizabeth B. Juliano

Nancy F. Keithley

Douglas A . Kern

John D. Koch

Richard J. Kramer

Dennis W. LaBarre

Heather Lennox

Cathy Lincoln

Robert W Malone

Ben Mathews

Nancy W McCann

Stephen McHale

Scott C. Mueller

Christine Myeroff

Katherine T. O’Neill

Hyun Park

Alfred M. Rankin, Jr.

Charles A . Ratner

Zoya Reyzis

Richard K Smucker

James C Spira

R Thomas Stanton

Richard Stovsky

Russell A . Trusso

Daniel P. Walsh

Thomas A . Waltermire

Jes Warren

Jeffery J. Weaver

Anya Weaving

Meredith Smith Weil

Paul E . Westlake Jr.

David A . Wolfort

Anthony Wynshaw-Boris

Virginia Nord Barbato (NY)

Mary Jo Eaton (FL)

Michael J. Horvitz (FL)

Thomas E Lauria (FL)

Loretta Mester (PA)

Benjamin N Pyne (NY)

Geraldine B Warner (OH)

Tony White (OH)

Wolfgang C. Berndt (Austria)

Herbert Kloiber (Germany)

André Gremillet

Todd Diacon

Sarah Hutchins

Eric Kaler

Judith E . Matsko

Beverly J Schneider

Thomas F. McKee

Richard J. Bogomolny

Charles P Bolton

Robert D Conrad

Alexander M Cutler

Richard C Gridley

Norma Lerner

Virginia Lindseth

Alex Machaskee

Robert P. Madison

Milton S. Maltz

Beth E . Mooney

John D. Ong

Audrey Gilbert Ratner

Hewitt B. Shaw

Luci Schey Spring

L AT E S E AT I N G

As a courtesy to audience members and musicians , late-arriving patrons are asked to wait quietly until the first convenient break in the program. These seating breaks are at the discretion of the House Manager in consultation with the performing artists .

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

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

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

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

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

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

I N T H E E V E N T

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

Contact an usher or a member of house staff if you require medical assistance. Emergency exits are clearly marked throughout the building Ushers and house staff will provide instructions in the event of an emergency A G E G U I D E L I N E S

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

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

Official Mobile App of TCO

Explore upcoming concerts , purchase and access your tickets , receive performance updates , and more .

For more information and direct links to download, visit clevelandorchestra .com/tcoapp or scan the code with your smartphone camera to download the app for iPhone or Android.

Available for iOS and Android on Google Play and at the Apple App Store

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 Severance Music Center Only bottled water is permitted in the hall For Cleveland Orchestra apparel, recordings , and gift items , visit the Welcome Desk in Lerner Lobby.

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.

©2025 The Cleveland Orchestra and the Musical Arts Association Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members

E D I T O R I A L

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

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

D E S I G N

Elizabeth Eddins, Eddinsdesign eddinsdesign@gmail com

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