Rock and drum icon Stewart Copeland talks early influences and recent compositions — including Police Deranged, an orchestral survey of Copeland’s career and his many years with The Police.

Revered pianist Mitsuko Uchida reminisces with fondness on the familial nature of her decades-long relationship with The Cleveland Orchestra.

After several artist cancellations irrevocably altered plans to perform Haydn’s The Seasons, soprano Golda Schultz was the last soloist standing. Not only did the show go on, it became a defining moment.

In January 2018, The Cleveland Orchestra planned to perform Haydn’s choral masterpiece The Seasons. One soloist fell ill. Then another. What resulted is one of the most unusual and memorable performances in Cleveland Orchestra history.

Cellist Paul Kushious reflects on the works of Richard Strauss as he traces the composer’s path on an unforgettable and perfectly planned trip from Austria to Switzerland.

Bassoonist Jonathan Sherwin discusses the existential meaning behind Gustav Mahler's Second Symphony - Resurrection; “Why am I here, what am I doing, and what gives my life meaning…”

From music conductors to visiting artists to her own family ties, board member Clara Rankin thinks back on the people and performances that define The Cleveland Orchestra. (Interview conducted by André Gremillet, President & CEO of The Cleveland Orchestra.)

Pianist and Violinist Carolyn Gadiel Warner reflects on falling in love—with her husband of 40 years, Bruckner symphonies and her profession.

Principal Percussionist Marc Damoulakis talks about feeling the rhythm from an early age and what it means to keep time for The Cleveland Orchestra.

Director of Choruses Lisa Wong reflects on the healing power of John Adams’s On the Transmigration of Souls after 9/11 and the human voice as medicine for the soul.

Music Director Franz Welser-Möst recalls the automobile accident that would forever change his course, sparking a lifelong affinity for Franz Schubert in the process.

Principal Trumpet Michael Sachs reflects on his relationship with one of the most influential figures in modern classical music—and the lasting legacy of Boulez in Cleveland.

Clarinetist Robert Woolfrey talks about finding peace in Brahms’s German Requiem and its power to connect the past with the present.

Flutist and hometown girl Jessica Sindell reflects on her time with the Cleveland Orchestra Youth Orchestra, landing her dream job and the relentless pursuit of imperfection.

Long-tenured violinist Emilio Llinas reflects on his journey from Cuba to Cleveland and shares a perspective shaped by his 52 seasons.

Viola Player Eliesha Nelson finds strength in Anton Bruckner’s strongly-held belief that good conquers all—at a time when uncertainty troubles many.

Principal Flute Joshua Smith explains how performing Janáček’s Cunning Little Vixen left a lasting mark and why the dragonfly just may be his favorite insect.

Cellist Martha Baldwin talks about the restorative power of Beethoven’s Second Piano Concerto after a difficult diagnosis.

At age 21, in his second week with The Cleveland Orchestra, Principal Horn Nathaniel Silberschlag played Mahler’s 5th for a packed house, exceeding expectations. Even his own.

Violinist Katherine Bormann contemplates whether you can be in a long-term relationship with a composition and talks about why she’ll stick with Strauss's Rosenkavalier Suite until the end.

French Horn Player Richard King shares his earliest memories of hearing Beethoven’s "Eroica" on the family phonograph and how the disc ended up shaping his destiny.

Music Director Franz Welser-Möst recalls his conflicting emotions conducting The Cleveland Orchestra one last time before the Coronavirus pandemic silenced Severance Hall.

Every story has a soundtrack. Cleveland Orchestra Musicians and Music Director Franz Welser-Möst share stories about the music that has shaped their lives.