2014 Blossom Music Festival August 23

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saturday August 23

CARMINA BURANA The Cleveland Orchestra Andrew Grams, conductor Nadine Sierra, soprano Christopher Pfund, tenor Brian Mulligan, baritone Blossom Festival Chorus Cleveland Orchestra Children’s Chorus

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Waiting for the Peak of Perfection.

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2014 Blossom Festival

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BLOSSOM MUSIC FESTIVAL

Saturday evening, August 23, 2014, at 8:00 p.m.

THE CLEVEL AND ORCHESTRA A N D R E W G R A M S , conductor

JOHANN SEBASTIAN BACH (1685-1750)

FRANZ LISZT (1811-1886)

Toccata and Fugue in D minor

(transcribed for orchestra by Leopold Stokowski)

Hungarian Rhapsody No. 2 in C minor (transcribed for orchestra by Karl Müller-Berghaus)

INTERMISSION CARL ORFF (1895-1982)

Carmina Burana

Cantata for Solo Voices, Choruses, and Orchestra prologue Fortuna imperatrix mundi (“Fortune, Empress of the World”) Nos. 1-2 part one Primo vere (“Springtime”) Nos. 3-5 Uf dem Anger (“On the Lawn”) Nos. 6-10 part two In taberna (“In the Tavern”) Nos. 11-14 part three Cour d’Amours (“Court of Love”) Nos. 15 -23 Blanziflor et Helena (“Blanziflor and Helena”) No. 24 epilogue Fortuna imperatrix mundi No. 25 NADINE SIERRA, soprano CHRISTOPHER PFUND, tenor BRIAN MULLIGAN, baritone BLOSSOM FESTIVAL CHORUS Robert Porco, director CLEVELAND ORCHESTRA CHILDREN’S CHORUS Ann Usher, director

Blossom Music Festival

Program: August 23

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INTRODUCING THE CONCERT

Love, Fate& Fortune Beer & Roasted Swans

is a big piece of bold power and hard punch. Its music and rhythms and words range far and wide, from boisterous energy to velvety smoothness, from jerky spontaneity to harmonious delight. All in a wonderfully modern-ish exploration of a Medieval set of texts that prove, again and again, that however much times change, many aspects of life remain on the same circular path, ground by fortune’s wheel — the seasons of the year, the seasons of love, from birth to death, and on and on we go, spiraling through the universe. Here we find the big and the small, with everyday parts of life, from drinking to sexual longing, from food to passion, meaningful and meaningless. With Fate in constant, languorous pursuit, always catching us in the end, between the miseries and joys of every life.

To open this evening, guest conductor Andrew Grams has chosen two orchestral “interpretations” of classic keyboard works — for organ and then piano. Here, just as Orff transformed Medieval texts into a muscular modern masterpiece, works by Bach and Liszt are given a makeover of sonority and sound.

—Eric Sellen .

CARL ORFF’S CARMINA BURANA

This concert is sponsored by The J.M. Smucker Company, a Cleveland Orchestra Partner in Excellence, as part of the Orchestra’s Blossom Celebrations Series.

This concert is dedicated to Mr. and Mrs. Jeffrey Healy in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s 2013-14 Annual Fund.

Media Partners: WKSU 89.7 and The Plain Dealer

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About the Concert: August 23

Blossom Music Festival

Toccata and Fugue in D minor composed 1709, orchestrated by Leopold Stokowski, 1925 LEOPOLD STOKOWSKI,

by

Johann Sebastian

BACH

born March 21, 1685 Eisenach, Saxe-Eisenach, Germany died July 28, 1750 Leipzig

At a Glance This piece runs about 10 minutes in performance.

Stokowski’s orchestration calls for 4 flutes, 3 oboes (third doubling english horn), 3 clarinets (third doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 4 trumpets, 3 trombones, tuba, timpani, celesta, 2 harps, and strings.

as a young man, might well have compared himself to Bach, since although he was not a composer he was a brilliant organist. At the age when Bach was composing the Toccata and Fugue in D minor (and a great many other organ pieces), Stokowski was already a graduate of the Royal College of Organists in London with a bachelor’s degree from Oxford University. His first appointment was as organist and choirmaster at the Church of St. James’s in Piccadilly, one of the most prestigious positions in London. In 1905, he was appointed organist at St. Bartholomew’s in New York.

Just as, at the age of thirty, Bach’s main focus moved away from writing organ music, Stokowski’s career similarly led him to take up conducting. That was the age at which he was appointed to the podium of the Philadelphia Orchestra, a position he retained for twenty-five years, during which the celebrity of the orchestra and the unorthodox tastes of its conductor attracted wide, and usually admiring, attention. He was bold enough to give the world premieres and American premieres of an extraordinary number of pieces, and his recordings with the orchestra were sold in great numbers.

Among these was Stokowski’s transcription of the Bach Toccata and Fugue in D minor, recorded in 1927. At that time people cared less about disfiguring sacred originals than they do now (although, even now, isn’t this exactly what “popular” culture calls “covering” a song?), so voices raised in defense of Bach’s original were few. In any case, the purpose was not to transfer the sound of Bach’s organ to the orchestra but to create a vehicle for a large modern orchestra using the brilliant creativity of Bach’s invention.

Stokowski was fundamentally faithful to the notes themselves, although he treats tempo indications very freely (Bach’s “Vivace” near the end is ponderously slow) and inserts pauses to build up the grandiloquence of which he is not in the least ashamed. He also adds effective harmonic background where needed, for example at the opening of the Fugue, when the final chord of the Toccata is still heard receding into the distance.

—Hugh Macdonald © 2014

Blossom Festival 2014

About the Music

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Hungarian Rhapsody No. 2 in C minor composed 1847, orchestrated by Karl Müller-Berghaus, 1870s

from this piece are known to millions who might never be aware that the composer was Liszt, or that it was supposed to be Hungarian in character, or that it was a virtuoso piece for solo piano. They have entered the world of popular culture through cartoons, films, jingles, commercials, parodies, and ring-tones so that it is hard now to hear the music behind the familiarity. In its original form, it could never have become a familiar piece — because it is far too difficult for most pianists to play. In Liszt’s time, it was to be heard only when his students (and rarely Liszt himself) included it in a recital (which many did).

Composed in 1847 for piano solo, it was the second of what would eventually be nineteen Hungarian Rhapsodies, the last completed just before Liszt’s death. He had spent the fi rst ten years of his life in his Hungarian birthplace before moving to Vienna and then to Paris. His first language was German and his second language was French, which replaced German as his preferred language. Only in later life did he begin to learn the Hungarian language and to spend more time in Budapest — and to “take up the cause” of Hungary as a nation, a culture, and a people. He had, however, always been fascinated by the music that he took to be the music of Hungarian gypsies, and it appears in many forms in his compositions.

The Second Rhapsody is structured around the pairing of Lassan and Friska, the first being broad and statuesque, with a strong sense of plaintive gypsy emotion; the second is a faster movement, generating more speed as it goes along. In this case, it attains a wildness that can only be imagined, leaving everyone breathless and drained of energy. It is a brilliant display of musical dynamism, which also happens to be based on memorable snatches of melody. Any orchestral version inevitably lacks some of the sense of strain that most pianists would necessarily convey, but this one by Karl Müller-Berghaus has solo cadenzas for the clarinet and some brisk and feverish passages for winds and strings.

The remarkable Müller family of Braunschweig (Brunswick) produced a string quartet of four brothers who toured Europe in the 1840s and 1850s. A second Müller string quartet was again made up of four brothers, these all being the sons THE TUNES

by

Franz

LISZT born October 22, 1811 Doborján, Hungary (now Raiding, Austria) died July 31, 1886 Bayreuth, Germany

At a Glance This piece runs about 10 minutes in performance.

Müller-Berghaus’s orchestration calls for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (snare drum, triangle, bass drum, cymbals), harp, and strings.

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About the Music

Blossom Music Festival

of the first violinist of the first quartet. The leader of the second quartet, which was equally celebrated from Paris to St. Petersburg, was Karl Müller, who renamed himself MüllerBerghaus after marrying the singer Elvira Berghaus. Karl was also a composer of chamber and orchestral music; he arranged Beethoven’s C-sharp minor String Quartet, Opus 131, as that composer’s “Tenth Symphony.” His orchestration of the Liszt Hungarian Rhapsody employs the standard orchestra of the 1870s and transposes the music down a half-step from C-sharp minor to C minor, a more practical key for orchestral players.

With the help of Karl Doppler, a conductor and virtuoso flutist, Liszt created his own orchestral arrangement of the Second Rhapsody (transposing it up a half-step, not down), but Müller-Berghaus’s version has every claim to be better listening.

—Hugh Macdonald © 2014 Hugh Macdonald lives in England and is the Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis.

He s a noted authority on French music. He has written books on Beethoven, Berlioz, and Scriabin.

Blossom Music Festival

About the Music

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Carmina Burana composed 1935-36

that the Middle Ages began exerting a certain fascination on modern people.

Although the centuries between the fall of Rome and the Renaissance suffered no shortage of great scientists, artists, and philosophers, the young Romantic poets and painters saw in those middle times an alternative to the cool, rational spirit of the Enlightenment and the Industrial Revolution. They turned to the Gothic churches that stood all around them — many in a state of picturesque ruin — and conjured up an age of lusty monks and bawdy abbesses, a primitive “dark age” perhaps, but one unafraid to reach for both lofty ecstasies of the spirit and animal pleasures of the senses.

After those poets and painters came cooler heads, scholarly medievalists concerned with cataloging, describing, and publishing works of art from that earlier period. It is to one of these, Johann Andreas Schmeller, that we owe the publication in 1847 of an important collection of 12th-century Latin and Old German secular poems, preserved in manuscript in an abbey in Benediktbeuren, near Munich. Schmeller gave them the title “Songs of Beuren” — in Latin, Carmina Burana.

Today, the Middle Ages still conjure up vivid images. But to the fragrance of incense and wine, the 20th century has added the stench of warfare and pestilence. Chaucer gives way to Brueghel; our distant ancestors seem to have hungrily snatched their pleasures from the jaws of sickness and death. The musical expression of this idea crystallized suddenly in Frankfurt on June 8, 1937, at the first performance of Carmina Burana, a stunningly original setting of some of the poems from that manuscript, composed by a virtually unknown 41-year-old musician and teacher named Carl Orff. Subtitled Cantiones profanae, cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (“Worldly songs, performed by singers and chorus accompanied by instruments and magical representations”), this stage spectacle with dancing and music aimed to induce profound emotions in the listener by the simplest, most easily understood musical means.

How well it succeeded may be judged by three facts. Unlike many ground-breaking new works, Carmina Burana was cheered at its premiere. Since then, many sophisticated musi-

I T W A S E A R LY I N T H E 1 9 T H C E N T U R Y

by

Carl

ORFF born July 10, 1895 Munich died March 29, 1982 Munich

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About the Music

The Cleveland Orchestra

cians have denounced it as primitive and vulgar. And, lastly, Hollywood immediately seized Orff ’s new idiom as the musical accompaniment to scenes of barbaric hedonism and splendor — to the point where we must now remind ourselves that what we are hearing in Carmina Burana is not another product of the MGM editing room but the real thing, the original.

This is, of course, the same Carl Orff who forever altered the way music is taught to young children by inventing percussion instruments that they could play before they developed skill at the keyboard; more importantly, he insisted that music, dance, speech, and other modes of expression be taught together. (Which is to say that, perhaps, Carmina Burana should be staged more often as a theatrical work, and not left almost completely to the musical confines of concert halls and home stereos.) His medieval people are child-like in their whims and passions, and in their helplessness before powers greater than themselves. Percussion instruments, a prominent feature of both medieval music and the Orff classroom, loom large in the scoring of Carmina Burana as well.

Appropriately for a work inspired by the Middle Ages, Orff ’s spectacle-cantata forms a triptych — three scenes of medieval life: In Springtime, In the Tavern, and at the Court of Love — framed on each side by an ode to “Fortuna” or Fate, the capricious force that people in the pre-technological age knew and understood very well. The outburst of full orchestra and chorus that opens the work is steeped in terror and resignation. Orff uses repetition and driving rhythms — elements that repelled some of his first listeners, but that sound familiar enough in our age of musical minimalism (and maximalism) — to convey the inexorable grinding of Fortune’s wheel. The people “suffer” in the word’s original sense — they yield to the inevitable, they endure.

Their reward arrives “In Springtime,” here celebrated first with the undulating sensuality of Gregorian chant, anchored by single pedal notes in the orchestra, punctuated by taps of percussion. But then the chorus returns in a mood to celebrate, ushering in a giddy outdoor festival full of dancers, saucy and suggestive comments, and tunes more like German folksong than liturgical chant. At this party, each musical number is wilder and more abandoned than the previous one.

“In the Tavern,” however, the pictures are different — a medieval “angry young man,” alienated, rootless, living for vice; a beautiful bird roasted black for men’s hungry mouths; Blossom Music Festival

About the Music

At a Glance Orff composed Carmina Burana in 1935-36. The work was premiered on June 8, 1937, in a staged performance (with sets and costumes) at the Frankfurt Opera, conducted by Bertil Wetzelberger. The first performance in the United States took place on January 10, 1954, in San Francisco.

Carmina Burana runs about one hour in performance. Orff scored it for an orchestra of 3 flutes (second and third doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets (third doubling piccolo clarinet in E-flat), bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (3 glockenspiels, xylophone, castanets, ratchet, jingles, 2 antique cymbals, 4 cymbals, tamtam, 3 bells, tubular bells, tambourine, 2 side drums, bass drum), 2 pianos, celesta, and strings, plus soprano, tenor, and baritone soloists, children’s chorus, and mixed chorus.

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Medieval tarot cards cast fate and fortune by chance, echoing the wheel of fortune in Carmina Burana.

a smarmy hustler-Abbot, living on others’ misfortunes; and a chorus of desperate men drinking to forget. All singing in accents ranging from stark anguish to gloating and even a sarcastic parody of an operetta chorus.

What a relief to leave that bitter place for “The Court of Love”! Even here, though, some longings go unrequited, and dark orchestral colors conjure up the lonely corners where the solitary bemoan their fate. Gradually, however, the music grows in brightness and energy, culminating in the ecstatic musings of the maiden drawn toward love; here Orff seems to forget about the Middle Ages entirely, turning instead to Richard Strauss or even Sergei Rachmaninoff for a suitable, smooth, and sensuous musical idiom. (What is a children’s chorus doing amid such erotic goings-on? Teacher Orff invokes the spontaneity of children, and the childlike delight we so-called “adults” should take in love.)

Eventually, the love section’s closing hymn so melds the erotic and the divine that one can hardly tell which is which.

And then, amid all this joy, the fearsome memento mori stands once again at the door. The return of the chorus “O Fortuna” reminds us that, whatever our desires or pretensions, implacable Fate always awaits us.

—David Wright © 2014 David Wright lives and writes in Wellesley, Massachusetts. He previously served as program annotator for the New York Philharmonic.

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About the Music

The Cleveland Orchestra

CARMINA BURANA

(“SONGS FROM BENEDIKTBEUREN”)

by CARL ORFF [1895-1982] PROLOGUE

Fortuna Imperatrix Mundi (“Fortune, Empress of the World”) 1. Chorus O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem.

O Fortune! Like the moon ever-changing, rising first then declining; hateful life treats us badly then with kindness making sport with our desires, causing power and poverty alike to melt like ice.

Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.

Dread Destiny and empty fate, an ever-turning wheel, you make adversity and fickle health alike turn to nothing, in the dark and secretly you work against me; through your trickery my naked back is turned to you unarmed.

Sors salutis et virtutis michi nunc contraria est affectus et defectus semper in angaria.

Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

Good fortune and strength now are turned from me.

Affection and defeat are always on duty.

Come now, pluck the strings without delay; since fate strikes down the strong weep everyone with me.

2. Chorus Fortune plango vulnera stillantibus ocellis, quod sua michi munera subtrahit rebellis.

Verum est, quod legitur fronte capillata, sed plerumque sequitur occasio calvata.

I lament the wounds that Fortune deals with tear-filled eyes, for returning to the attack she takes her gifts from me.

Is it true as they say, the well-thatched pate may soonest lose its hair?

P L E A S E T U R N PA G E Q U I E T LY

Blossom Music Festival

Carmina Burana — Sung Text

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In Fortune solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui felix et beatus, nunc a summo corrui gloria privatus.

Once on Fortune’s throne I sat exalted, crowned with a wreath of Prosperity’s flowers.

But from my happy flower-decked paradise I was struck down and stripped of all my glory.

Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice — caveat ruinam!

Nam sub axe legimus Hecubam reginam.

The wheel of Fortune turns, dishonored I fall from grace and another is raised on high.

Raised to dizzy heights of power, The King sits in majesty but let him beware his downfall!

For beneath the axle of Fortune’s wheel behold Queen Hecuba.

PART ONE

Primo Vere (“Springtime”) 3. Small Chorus Veris leta facies mundo propinatur hiemalis acies victa iam fugatur, in vestitu vario Flora principatur, nemorum dulcisono qui cantu celebratur.

The joyous face of Spring is presented to the world.

Winter’s army is conquered and put to flight.

In colorful dress Flora is arrayed and the woods are sweet with birdsong in her praise.

Flore fusus gremio Phebus novo more risum dat, hoc vario iam stipata flore.

Zephyrus nectareo spirans in odore; certatim pro bravio curramus in amore.

Reclining in Flora’s lap Phoebus again laughs merrily, covered with many colored flowers.

Zephyr breathes around the scented fragrance; eagerly striving for the prize.

Let us compete in love.

Cytharizat cantico dulcis Philomena, flore rident vario prata iam serena, salit cetus avium silve per amena, chorus promit virginum iam gaudia millena.

Trilling her song sweet Philomel is heard, and smiling with flowers the peaceful meadows lie, a flock of wild birds rises from the woods; the chorus of maidens brings a thousand joys.

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Carmina Burana — Sung Text

2014 Blossom Festival

4. Baritone Solo Omnia Sol temperat purus et subtilis. nova mundo reserat facies Aprilis, ad Amorem properat animus herilis, et iocundis imperat deus puerilis.

All things are tempered by the Sun so pure and fine.

In a new world are revealed the beauties of April, to thoughts of love the mind of man is turned and in pleasure’s haunts the youthful God holds sway.

Rerum tanta novitas in solemni vere et veris auctoritas iubet nos gaudere, vias prebet solitas, et in tuo vere fides est et probitas tuum retinere.

Nature’s great renewal in solemn Spring and Spring’s example bid us rejoice; they charge us keep to well-worn paths, and in your Springtime there is virtue and honesty in being constant to your lover.

Ama me fideliter!

Fidem meam nota: de corde totaliter et ex mente tota sum presentialiter absens in remota, quisquis amat taliter volvitur in rota.

Love me truly!

Remember my constancy.

With all my heart and all my mind I am with you even when far away.

Whoever knows such love knows the torture of the wheel.

5. Chorus Ecce gratum et optatum Ver reducit gaudia, purpuratum floret pratum, Sol serenat omnia.

Behold the welcome and long-awaited Spring, which brings back pleasure; crimson flowers adorn the fields, The Sun brings peace to all around.

Iamiam cedant tristia!

Estas redit, nunc recedit Hyemis sevitia.

Away with sadness!

Summer returns, and now departs cruel winter.

Iam liquescit et decrescit grando, nix et cetera; bruma fugit et iam sugit Ver Estatis ubera;

Melt away and disappear hail, ice, and snow.

The mists flee and Spring is fed at Summer’s breast.

P L E A S E T U R N PA G E Q U I E T LY

The Cleveland Orchestra

Carmina Burana — Sung Text

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Illi mens est misera, qui nec vivit, nec lascivit sub Estatis dextera.

Wretched is the man who neither lives nor lusts under Summer’s spell.

Gloriantur et letantur in melle dulcedinis, qui conantur, ut utantur premio Cupidinis;

They taste delight and rejoice in honeyed sweetness, those who strive for, and gain, Cupid’s reward.

Simus jussu Cypridis gloriantes et letantes pares esse Paridis.

Let us submit to Venus’s rule, in delight and joy be equal to Paris.

Uf dem Anger (“On the Lawn”) 6. Orchestra: Dance 7. Chorus Floret silva nobilis floribus et foliis.

Ubi est antiquus meus amicus?

Hinc equitavit, eia, quis me amabit?

The noble forest is decked with flowers and leaves.

Where is my old lover?

He rode away on his horse.

Alas, who will love me now?

Floret silva undique.

Nah mime gesellen ist mir wê.

Gruonet der walt allenthalben, wâ ist min geselle alse lange?

Der ist geriten hinnen, o wî, wer sol mich minnen?

The forest all around is in flower.

I long for my lover.

The woods have turned green all over, why is my lover away so long?

He rode away on his horse.

Alas, who will love me now?

8. Soli (Sopranos) and Chorus Chramer, gip die varwe mir, die min wengel roete, da mit ich die jungen man an ir dank der minnenliebe noete.

Seht mich an, jungen man!

Lat mich iu gevallen!

Shopkeeper, give me colored paint to paint my cheeks so crimson red, that I may make these young men love me, whether they want to or not.

Look at me, you young men!

Am I not well pleasing?

Minnet, tugentliche man, minnecliche frouwen! minne tuot iu hoch gemuot unde lat iuch in hohen eren schouwen.

Seht mich an . . .

Love, all you right-thinking men, women worthy to be loved!

Love shall raise your spirits high and put a spring into your step.

Look at me . . .

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Carmina Burana — Sung Text

The Cleveland Orchestra

Wol dir, Werlt, daz du bist also freudenriche!

Ich will dir sin undertan durch din liebe immer sicherliche.

Seht mich an . . .

Hail to thee, o world that are in joy so rich and plenteous!

I will ever be in thy debt surely for thy goodness’ sake!

Look at me . . .

9. Orchestra — Chorus: Reie (“Round Dance”) Swaz hie gat umbe, daz sint alles megede, die wellent ân man alle disen sumer gan!

They who here go dancing round are young maidens all, who will go without a man this whole summer long!

Chume, chum, geselle min, ih enbite harte din, chume, chum, geselle min.

Come, come, dear heart of mine, I have waited long for you!

Come, come, dear heart of mine!

Suzer rosenvarwer munt, chum unde mache mich gesunt, suzer rosenvarwer munt.

Sweetest rosy-colored mouth, come and make me well again! sweetest rosy-colored mouth.

Swaz hie gat umbe, daz sint alles megede, die wellent ân man alle disen sumer gan!

They who here go dancing round are young maidens all, who will go without a man this whole summer long!

10. Chorus Were diu werlt alle min von deme mere unze an den Rin, des wolt ih mih darben, daz diu chünegin von Engellant lege an minen armen

If the whole world were mine from the sea right to the Rhine, gladly I’d pass it by if the Queen of England in my arms did lie.

P L E A S E T U R N PA G E Q U I E T LY

Blossom Music Festival

Carmina Burana — Sung Text

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2014 Blossom Festival

PART TWO

In Taberna (“In the Tavern”) 11. Baritone Estuans interius ira vehementi in amaritudine loquor mee menti: factus de materia, cinis elementi similis sum folio, de quo ludunt venti.

Seething inside with boiling rage in bitterness I talk to myself.

Made of matter risen from dust I am like a leaf tossed in play by the winds.

Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor fluvio labenti, sub eodem tramite nunquam permanenti.

But whereas it befits a wise man to build his house on a rock, I, poor fool, am like a meandering river, never keeping to the same path.

Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenent clavis, quero mihi similes, et adiungor pravis.

I drift along like a pilotless ship or like an aimless bird carried at random through the air; no chains hold me captive, no lock holds me fast, I am looking for those like me and I join the depraved.

Mihi cordis gravitas res videtur gravis; iocus est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, que nunquam in cordibus habitat ignavis.

The burdens of the heart seem to weigh me down; jesting is pleasant and sweeter than the honeycomb.

Whatever Venus commands is pleasant toil; she never dwells in craven hearts.

Via lata gradior more iuventutis, inplicor et vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis.

On the broad path I wend my way as is youth’s wont.

I am caught up in vice and forgetful of virtue, caring more for voluptuous pleasure than for my health; dead in spirit, I think only of my skin.

P L E A S E T U R N PA G E Q U I E T LY

The Cleveland Orchestra

Carmina Burana — Sung Text

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12. Tenor and Male Chorus Olim lacus colueram, olim pulcher extiteram, dum cignus ego fueram.

Miser, miser!

Modo niger et ustus fortiter!

Once in lakes I made my home, once I dwelt in beauty, that was when I was a swan.

Alas, poor me!

Now I am black and roasted to a turn!

Girat, regirat garcifer; me rogus urit fortiter, propinat me nunc dapifer.

Miser, miser . . .

On the spit I turn and turn; the fire roasts me through, now I am presented at the feast.

Alas, poor me . . .

Nunc in scutella iaceo, et volitare nequeo, dentes frendentes video: Miser, miser . . .

Now in a serving dish I lie and can no longer fly, gnashing teeth confront me.

Alas, poor me . . .

13. Baritone and Male Chorus Ego sum abbas Cucaniensis, et consilium meum est cum bibulis, et in secta Decii voluntas mea’st et qui mane me quesierit in taberna, post vesperam nudus egredietur, et sic denudatus veste clamabit: Wafna! Wafna!

Quid fecisti sors turpissima?

Nostre vite gaudia abstulisti omnia!

I am the abbot of Cockaigne and I like to drink with my friends, and I choose to be of the sect Decius, and whoever meets me in the morning at the tavern by evening has lost his clothes, and thus stripped of his clothes cries out: Wafna! Wafna!

What have you done, wicked Fate!?

You have taken away all the pleasures of this life!

14. Male Chorus In taberna quando sumus, non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus.

Quid agatur in taberna, ubi nummus est pincerna, hoc est opus ut queratur, sic quid loquar, audiatur.

When we are in the tavern we spare no thought for the grave, but rush to the gaming tables where we always sweat and strain.

What goes on in the tavern, where a coin gets you a drink, if this is what you would know then listen to what I have to say.

Quidam ludunt, quidam bibunt, quidam indiscrete vivunt.

Sed in ludo qui morantur, ex his quidam denudantur, quidam ibi vestiuntur, quidam saccis induuntur.

Some men gamble, some men drink, some indulge in indiscretions.

But of those who stay to gamble some lose their clothes, some win new clothes, while others put on sackcloth.

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Carmina Burana — Sung Text

2014 Blossom Festival

Ibi nullus timet mortem, sed pro Baccho mittunt sortem.

There is no one afraid of death, throwing dice for Bacchus.

Primo pro nummata vini, ex hac bibunt libertini; semel bibunt pro captivis, post hec bibunt ter pro vivis, quater pro Christianis cunctis, quinquies pro fidelibus defunctis, sexies pro sororibus vanis, septies pro militibus silvanis.

First, the dice are thrown for wine, this the libertines drink.

Once they drink to prisoners, then three times to the living, four times to all Christians, five to the faithful departed, six times to the dissolute sisters, seven to the bush-rangers.

Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus, undecies pro discortantibus, duodecies pro penitentibus tredecies pro iter agentibus.

Tam pro papa quam pro rege bibunt omnes sine lege.

Eight times to delinquent brothers, nine to the dispersed monks, ten times to the navigators, eleven to those who are fighting, twelve to the penitent, thirteen to the travelers.

They drink to the Pope and King alike, all drinking without restraint.

Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servus cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magus.

The mistress drinks, the master drinks, the soldier drinks, the clergyman drinks, this man drinks, this woman drinks, the manservant drinks with the serving maid, the quick man drinks, the sluggard drinks, the white man drinks, the black man drinks, the steady man drinks, the wanderer drinks, the simpleton drinks, the wise man drinks.

Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater, bibit ista, bibit ille, bibunt centum, bibunt mille.

The poor man drinks, the sick man drinks, the exile drinks and the unknown man drinks, the boy drinks, the old man drinks, the Bishop drinks, the Deacon drinks, sister drinks and brother drinks, the old crone drinks, the mother drinks, this one drinks, that one drinks, a hundred drink, a thousand drink.

Parum sexcente nummate durant cum immoderate bibunt omnes sine meta quamvis bibant mente leta; sic nos rodunt omnes gentes, et sic erimus egentes.

Qui nos rodunt confudantur et cum iustis non scribantur.

Six hundred coins are not enough for this immoderate and aimless drinking, although they drink cheerfully.

Many people censure us and we shall always be short of money.

May our critics be confounded and never be numbered among the just.

P L E A S E T U R N PA G E Q U I E T LY

The Cleveland Orchestra

Carmina Burana — Sung Text

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PART THREE

Cour d’Amours (“The Court of Love”) 15. Boys and Soprano Amor volat undique; captus est libidine.

Iuvenes, iuvencule coniunguntur merito.

Siqua sine socio, caret omni gaudio; tenet noctis infima sub intimo cordis in custodia: Fit res amarissima.

Love flies everywhere and is seized by desire, young men and women are matched together.

If a girl lacks a partner, she misses all the fun; in the depths of her heart all alone is darkest night — It is a bitter fate.

16. Baritone Dies, nox et omnia michi sunt contraria, virginum colloquia me fay planszer oy suvenz suspirer, plu me fay temer.

Day, night, and all the world are against me, the sound of maidens’ voices makes me weep.

I often hear sighing, and it makes me more afraid.

O sodales, ludite, vos qui scitis dicite, michi mesto parcite, grand ey dolur, attamen consulite per voster honur.

O friends, be merry, say what you will, but have mercy on me, a sad man, for great is my sorrow, yet give me counsel for the sake of your honor.

Tua pulchra facies, me fay planszer milies, pectus habet glacies, a remender statim vivus fierem per un baser.

Your lovely face makes me weep a thousand tears because your heart is of ice, but I would be restored at once to life by one single kiss.

17. Soprano Stetit puella rufa tunica; si quis eam tetigit, tunica crepuit. Eia.

There stood a young girl in a red tunic; if anyone touched her the tunic rustled. Heigh-ho.

Stetit puella tamquam rosula; facie splenduit, os eius floruit. Eia.

There stood a girl fair as a rose, her face was radiant, her mouth like a flower. Heigh-ho.

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Carmina Burana — Sung Text

2014 Blossom Festival

18. Baritone and Chorus Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere.

Manda liet, manda liet, min geselle chumet niet!

My breast is filled with sighing for your loveliness, and I suffer grievously.

Manda liet, manda liet, my sweetheart comes not.

Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris.

Manda liet . . .

Your eyes shine like sunlight, like the splendor of lightning in the night.

Manda liet . . .

Vellet deus, vellent dii, quod mente proposui: ut eius virginea reserassem vincula.

Manda liet, manda liet, min geselle chumet niet.

May God grant, may the Gods permit the plan I have in mind to undo the bonds of her virginity.

Manda liet, manda liet, my sweetheart comes not.

19. Six Solo Men If a boy and a girl are together in a little room, happy is their union; increasing love leaves tedious good sense far behind, and inexpressible pleasure fills their limbs, their arms, their lips.

Si puer cum puellula moraretur in cellula, Felix coniunctio.

Amore suscrescente, pariter e medio avulso procul tedio, fit ludus ineffabilis membris, lacertis, labiis.

20. Double Chorus Veni, veni, venias, ne me mori facias, hyrca, hyrca, nazaza, trillirivos!

Come, come, pray come, do not let me die, hyrca, hyrca, nazaza, trillirivos!

Pulchra tibi facies, oculorum acies, capillorum series, o quam clara species!

Lovely is your face, the glance of your eyes, the braids of your hair, oh how beautiful you are!

Rosa rubicundior, lilio candidior, omnibus formosior, semper in te glorior!

Redder than the rose, whiter than the lily, comelier than all the rest; always I shall glory in you.

P L E A S E T U R N PA G E Q U I E T LY

The Cleveland Orchestra

Carmina Burana — Sung Text

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21. Soprano In the scales of my wavering indecision physical love and chastity are weighed.

But I choose what I see.

I bow my head in submission and take on the yoke which is after all sweet.

In trutina mentis dubia fluctuant contraria lascivus amor et pudicitia.

Sed eligo quod video, collum iugo prebeo; ad iugum tamen suave transeo.

22. Baritone, Soprano, Boys, and Chorus Tempus est iocundum, o virgines, modo congaudete vos iuvenes.

Oh – oh – oh, totus floreo!

Iam amore virginali totus ardeo, novus, novus amor est, quo pereo.

Pleasant is the season, O maidens, now rejoice together young men.

Oh, oh, I blossom now with pure love I am on fire!

New, new love is what I perish for.

Mea me confortat promissio, mea me deportat negatio.

Oh – oh – oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo.

Complying soothes me, refusing casts me down.

Oh, oh, I blossom now with pure love I am on fire!

New, new love is what I die for.

Tempore brumali vir patiens, animo vernali lasciviens.

Oh – oh – oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo.

In Wintertime the man is lazy in Spring he will become merry.

Oh, oh, I blossom now with pure love I am on fire!

New, new love is what I am perishing for.

Mea mecum ludit virginitas, mea me detrudit simplicitas.

Oh – oh – oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo.

My chastity teases me but my innocence holds me back.

Oh, oh, I blossom now with pure love I am on fire!

New, new love is what I am dying for.

Veni, domicella, cum gaudio, veni, veni, pulchra, iam pereo.

Oh – oh – oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo.

Come my darling, come with joy, come my beauty, for already I die!

Oh, oh, I blossom now with pure love I am on fire!

New, new love is what I perish for.

23. Soprano Dulcissime, totam tibi subdo me!

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Sweetest boy, I give my all to you!

Carmina Burana — Sung Text

2014 Blossom Festival

Blanziflor and Helena 24. Chorus Ave formosissima, gemma pretiosa, ave decus virginum, virgo gloriosa, ave mundi luminar ave mundi rosa, Blanziflor et Helena, Venus generosa.

Hail to thee most loved, most precious jewel, hail, pride of virgins!

Most glorious virgin!

Hail, light of the world!

Hail, rose of the world!

Blanziflor and Helena!

Noble Venus, Hail.

EPILOGUE

Fortuna Imperatrix Mundi (“Fortune, Empress of the World�)

25. Chorus O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem.

O Fortune! Like the moon ever-changing, rising first then declining; hateful life treats us badly then with kindness making sport with our desires, causing power and poverty alike to melt like ice.

Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.

Dread Destiny and empty fate, an ever-turning wheel, you make adversity and fickle health alike turn to nothing, in the dark and secretly you work against me; through your trickery my naked back is turned to you unarmed.

Sors salutis et virtutis michi nunc contraria est affectus et defectus semper in angaria.

Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

Good fortune and strength now are turned from me.

Affection and defeat are always on duty.

Come now, pluck the strings without delay; since fate strikes down the strong weep everyone with me.

The Cleveland Orchestra

Carmina Burana — Sung Text

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Andrew Grams American conductor Andrew Grams has earned a reputation among classical music’s most promising young artists. He is music director of the Elgin Symphony Orchestra in Illinois and has appeared as a guest conductor with many of America’s leading orchestras, including those of Baltimore, Chicago, Cincinnati, Cleveland, Dallas, Detroit, Houston, New Jersey, Philadelphia, St. Louis, and Washington D.C. In the international arena, he has conducted the Toronto Symphony, Montreal Symphony, Vancouver Symphony, National Arts Centre Orchestra Ottawa, Orchestre National de France, Orchestre National de Lyon, Orchestra of the Beethovenhalle Bonn, BBC Symphony Orchestra, BBC Scottish Symphony Orchestra, Royal Scottish National Orchestra, City of Birmingham Symphony Orchestra, BBC National Orchestra of Wales, Sydney Symphony, Melbourne Symphony, New Zealand Symphony, Orchestra of Santa Cecilia Rome, Netherlands Radio Philharmonic, Residentie Orchestra of the Hague, Hamburg Symphony, Oslo Philharmonic, Bergen Philharmonic, Malmo Symphony, and the Hong Kong Philharmonic, among other ensembles.

A native of Maryland, Andrew Grams began conducting at 17, when he led the World Youth Symphony Orchestra at Interlochen Arts Camp in Michigan. Continuing his training in music, he received a bachelor’s degree in violin in 1999 from the Juilliard School, where he was a student of Stephen Clapp. In 2003, Mr. Grams earned a conducting degree from the Curtis Institute of Music, where he studied with Otto-Werner Mueller.

Andrew Grams served as assistant conductor of the Reading Symphony Orchestra in Pennsylvania, 2002-04. He also served as resident conductor of the Florida Orchestra. He spent the summer of 2003 studying with David Zinman, Murry Sidlin, and Michael Stern at the American Academy of Conducting at the Aspen Music Festival, and returned there for the 2004 season. He served as assistant conductor of The Cleveland Orchestra and music director of the Cleveland Orchestra Youth Orchestra, 2004-07. His most recent appearance as a guest conductor here was in July 2010 at Blossom.

Also an accomplished violinist, Mr. Grams was a member of the New York City Ballet Orchestra at Lincoln Center, 1998-2004, where he served as acting associate principal second violin in 2002 and again in 2004. He has performed with a number of ensembles, including the Brooklyn Philharmonic, New Jersey Symphony Orchestra, Orchestra of St. Luke’s, and the Orpheus Chamber Orchestra.

For more information, visit www.andrewgrams.com.

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Conductor

Blossom Music Festival

Nadine Sierra American soprano Nadine Sierra is the youngest winner of both the Marilyn Horne Foundation Vocal Competition and the Metropolitan Opera National Council Auditions (her winning is featured in Nick Romeo’s book Driven: Six Incredible Musical Journeys). Born in 1988 in Florida, Ms. Sierra made her professional debut as a teenager with the Palm Beach Opera. After graduating from the Mannes College of Music, she entered the Adler Fellowship Program at San Francisco Opera. Her recent and upcoming engagements include roles with Atlanta Opera, Boston Lyric Opera, Florida Grand Opera, San Francisco Opera, Italy’s Teatro di San Carlo, and Virginia Opera. She is also performing with the Oregon, San Antonio, and San Francisco symphonies and at the Glimmerglass Festival. In recital, Ms. Sierra has appeared at venues ranging from Carnegie Hall to the U.S. Supreme Court.

She won the Neue Stimmen, Montserrat Caballé, and Veronica Dunne International Singing competitions in 2013, Gerda Lissner International Vocal and Loren Zachary competitions in 2010, and the Richard Tucker Music Foundation’s Study and Career Grant. She is making her Cleveland Orchestra debut with this evening’s concert.

Christopher Pfund American tenor Christopher Pfund is widely acclaimed for his portrayal of the Roasting Swan in Orff ’s Carmina Burana with major orchestras across North America. He made his Cleveland Orchestra debut in May 2010 at Severance Hall.

The Colorado native graduated from the University of Northern Colorado and the Manhattan School of Music. He was an opera apprentice with the Chautauqua, Glimmerglass, and Santa Fe operas, and a 20th-century song recitalist at Canada’s Banff Centre. Mr. Pfund is also known for his oratorio work, particularly Handel’s Messiah, as well as performances of contemporary music. In repertoire by Haydn, Puccini, and Smetana, he has performed with El Paso Opera, Florentine Opera, Knoxville Opera, New Jersey State Opera, and New York City Opera, and with Elysium between Two Continents, Jacksonville Symphony Orchestra, and Orchestra of St. Luke’s. Among his honors and awards is the Richard F. Gold Career Grant from the Shoshana Foundation. Mr. Pfund has recorded Britten’s Albert Herring for Vox, Distant Playing Fields: Vocal Music of Amy Beach and William Maye for Newport Classics, and Carmina Burana.

Blossom Festival 2014

Guest Artists

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Brian Mulligan American baritone Brian Mulligan was born in New York, and studied at Yale University and the Juilliard School. His primary teacher is W. Stephen Smith. Among Mr. Mulligan’s honors are winning the 2006 International Hans Gabor Belvedere Vocal Competition and receiving a Richard Tucker Career Grant, Sara Tucker Study Grant, and the George London Prize. He made his Metropolitan Opera debut in 2003, while a Juilliard student. Since then, he has performed with the Canadian Opera Company, English National Opera, Houston Grand Opera, Lyric Opera of Chicago, Minnesota Opera, New York City Opera, Frankfurt Opera, Opernhaus Zurich, San Francisco Opera, Washington National Opera, and the Wexford Festival Opera. In recent seasons, Mr. Mulligan has appeared at the Aspen Music Festival, Ravinia Festival, Japan’s Saito Kinen Festival, and the Spoleto Festival USA. In concert, Brian Mulligan’s appearances have included engagements with the orchestras of Baltimore, Chicago, Houston, and Los Angeles. He made his Cleveland Orchestra debut in April 2008. He can be heard on a Deutsche Grammophon DVD of Mahler’s Symphony No. 8.

LIVING COVENANT, LLC A “Life Settlement” can convert your life insurance policy into a settlement amount and most often it’s greater than the cash surrender value.

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Guest Artists

The Cleveland Orchestra

Blossom Festival Chorus Robert Porco, Director Lisa Wong, Assistant Director

The Blossom Festival Chorus was created in 1968 for the inaugural set of concerts opening Blossom with Beethoven’s Symphony No. 9 (“Choral”). Members of this volunteer chorus are selected each spring from the Cleveland Orchestra Chorus and through open auditions of singers from throughout Northeast Ohio. The Blossom Festival Chorus has been featured in 150 concerts at Blossom in addition to select other summertime performances with The Cleveland Orchestra.

ORFF CARMINA BURANA SOPRANOS

Lou Albertson Kate Atherton Janis Augustine Amanda Baker Karen Bauer-Blazer Melissa Biltz Chelsea Braden Susan Cucuzza* Karla Cummins Anna K. Dendy Ashlee Dietrich Rosalyn M. Gaier Samantha Garner* Rebecca Gellott* Rosie Gellott Lou Goodwin Sandhya Gupta Josephine Gwinnell Becky Hall Lisa Hrusovsky* Kirsten Jaegersen Shannon Jakubczak Joleen Jeffery Kate Macy Angela Mitchell Julie Myers-Pruchenski* S. Mikhaila Noble-Pace Sarah Osburn* Lenore M. Pershing* Christine Piatak Joy M. Powell Nadia M. Robinson Cassandra E. Rondinella* Monica Schie* Sharon Shaffer Valerie Sibila Laurie Starner Sidney Storry Megan Tettau Shelby Wanen Kiko Weinroth* Anna White* Mary Krason Wiker

Blossom Music Festival

ALTOS

Jessica Bell Terry Boyarsky Kathy Chuparkoff Janet Crews* Nichole Criss Carolyn Dessin Brooke Emmel Marilyn Eppich Amanda Evans* Jessica L. Fain Angelica Fulop Diana Weber Gardner Jeri Geldenhuys Jenna C. Hall* Ann Marie Hardulak Laura Skelly Higgins Julie Evans Hoffman Gloria R. Homolak Karen Hunt Sarah N. Hutchins* Shannon Jakubczak Anney Jeandrevin* Judith Karberg Cynthia J. Kenepp Eunjoo Kim Lisa Leinweber Lucia Leszczuk Charlotte Linebaugh Karla McMullen* Peggy Norman Marta Perez-Stable* Beverly Riehl Marge Salopek Kathie Samuel Kathy Sands Rachael Schempp* Kellie Sonntag Melanie Tabak Gina Ventre* Dana Way

Chorus

TENORS

Luke Benko Robert Bordon Brent Chamberlin* Thomas Glynn William Hamilton* Donald E. Howdyshell Gary Kaplan Peter Kvidera* Steve Lawson* Alexander Looney Rohan Mandelia Paul March Tremaine Oatman* Bronson Peshlakai Robert Poorman Michael D. Powell Daniel Reiman Matt Rizer* Jarod Shamp* Devon Steve James Storry Charles Tobias Michael Ward* Steven Weems* Allen White Chester Willey

BASSES

Christopher Aldrich* Graham Ball Tim Birk Jack Blazey Peter Boylan* Nikola Budimir* Peter B. Clausen Nick Connavino David T. Contreras Thomas Cucuzza Chris Dewald Richard Falkenberg* Benjamin G. Heacox Martin Horning Bernard Hrusovsky Tom Hull Joshua Jones CJ Langmack Scott Markov* Tyler Mason Roger Mennell* Charlie Newell Keith Norman John Riehl* Steven Ross Robert Seaman* Steve Skaggs * designates chamber

choir in Carmina Burana

Joela Jones, Accompanist Alicja Basinska, Accompanist Jill Harbaugh, Manager of Choruses

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Robert Porco

Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra

Robert Porco became director of choruses for The Cleveland Orchestra in 1998. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco conducts the Orchestra’s annual series of Christmas concerts at Severance Hall and regularly conducts subscription concert programs both at Severance Hall and Blossom. He has also served as director of choruses for the Cincinnati May Festival since 1989.

In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of significant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana University 1980-98, and in recent years has taught doctoral-level conducting at the school. As teacher and mentor, Mr. Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, he has taught at Harvard University, Westminster Choir College, and the University of Miami Frost School of Music.

Lisa Wong

Assistant Director of Choruses

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season. In this capacity, she assists in preparing the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. With the 2012-13 season, she took on the added position of director of the Cleveland Orchestra Youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is a faculty member at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana, where she worked with the choral department of the Indiana University Jacobs School of Music (including directing the Chamber Choir of the Indiana University Children’s Choir). Active as a clinician, guest conductor, and adjudicator, Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

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Chorus

The Cleveland Orchestra

Cleveland Orchestra Children’s Chorus Ann Usher, Director

Suzanne Walters, Assistant Director Dianna White-Gould, Accompanist Created in 1967, the Cleveland Orchestra Children’s Chorus is an ensemble of children in grades 6-9 who perform annually with The Cleveland Orchestra. A Preparatory Chorus, comprised of children in grades 5-8, performs twice each year with the Children’s Chorus. The members of the Children’s Chorus and of the Children’s Preparatory Chorus rehearse weekly during the school year and are selected by audition with the director (held annually in May and June). A number of Children’s Chorus graduates have continued their association as members of the Youth Chorus or Youth Orchestra or have become adult members of the Cleveland Orchestra Chorus.

ORFF CARMINA BURANA Samantha Apanasewicz Emily Beal Leah Benko Célina Béthoux Ryan Burdick Katelyne Crouch Maksim Damljanovic Alex Dodd Megan Fowler Allison Fry Brigette Fuentes Mariana Gomez Athena Grass Elizabeth Heiner Adam Holthaus

Lexy Jensen Amelia Johnson Annalise Johnson Charlette Kukowski Daniel Lee Arthur Z. Li Jennifer Lutz David Malkin Annamarie Martin Eunice Min Nathan Niedzwiecki Justin Prindle Charlie Proctor Megan Qiang Laila Ramadan

Christina Randazzo David Ricci Bailey Ritter Emma Rosberil Drew Russell Kailee Shaver Eva Shepard Michael Stupecki Meridith Vandall Lauren Venesile Julia Venesile Casey Walters Eric Walters Olivia Zackary

Ann Usher

Director, Cleveland Orchestra Children’s Choruses

Ann Usher has served as director of the Cleveland Orchestra Children’s Choruses since 2000. She prepares the Children’s Chorus for their appearances as part of the annual Christmas concerts, community concerts, and in the Orchestra’s performances of operas and symphonic works that call for children’s voices. Ms. Usher is a professor at the University of Akron and director of the School of Music. She teaches graduate and undergraduate choral music education courses and previously served as interim director of the School of Dance, Theater, and Arts Administration. She previously taught choral music in the public schools, specializing in the middle school level. Active as a clinician and adjudicator, Ann Usher holds a bachelor of music education degree from the University of Northern Iowa, and a master of music degree in choral conducting and a doctorate in music education from Kent State University.

Blossom Music Festival

Cleveland Orchestra Children’s Chorus

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THE CLEVELAND ORCH

OrchestraNews M.U.S.I.C.I.A.N S.A.L.U.T.E

THE CLEVELAND ORCHESTRA

The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities. We are pleased to recognize these musicians, listed below, who have volunteered for such events and presentations during the 201213 and 2013-14 seasons.

Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton John Clouser Hans Clebsch Kathleen Collins Patrick Connolly Ralph Curry Alan DeMattia Maximilian Dimoff Elayna Duitman Bryan Dumm Tanya Ell Kim Gomez David Alan Harrell Miho Hashizume Shachar Israel Joela Jones Richard King Alicia Koelz Stanley Konopka Mark Kosower Paul Kushious Massimo La Rosa Jung-Min Amy Lee Mary Lynch Thomas Mansbacher Takako Masame Eli Matthews Jesse McCormick Daniel McKelway

THE CLEVELAND ORCHESTRA E CLEVELAND O30RCHESTRA A THE CLEVELAND ORCHE

News

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Sonja Braaten Molloy Eliesha Nelson Chul-In Park Joanna Patterson Zakany Alexandra Preucil William Preucil Lynne Ramsey Jeffrey Rathbun Jeanne Preucil Rose Stephen Rose Frank Rosenwein Michael Sachs Marisela Sager Jonathan Sherwin Sae Shiragami Emma Shook Joshua Smith Saeran St. Christopher Barrick Stees Richard Stout Jack Sutte Kevin Switalski Brian Thornton Isabel Trautwein Lembi Veskimets Robert Walters Carolyn Gadiel Warner Stephen Warner Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Derek Zadinsky Jeffrey Zehngut

Hail and Farewell Cellist Thomas Mansbacher will step into retirement at the end of August, after serving as a member of The Cleveland Orchestra for thirty-seven seasons. Please join in extending heartfelt thanks and congratulations to Tom.

Thomas Mansbacher Cello The Cleveland Orchestra

Thomas Mansbacher is retiring from his position as a cellist in The Cleveland Orchestra with the close of the Blossom Music Festival season at the end of August. Mr. Mansbacher has been a member of The Cleveland Orchestra since 1977. Prior to coming to Cleveland, he served as principal cello of the New Haven Symphony and the New Hampshire Sinfonietta. He received a bachelor’s degree from Washington University and a master of music degree from the Yale School of Music.

He studied with Elizabeth Fischer, Aldo Parisot, and George Neikrug. He has taught at Cleveland State University during his years in Cleveland.

In retirement, Tom plans to spend more time with his family. He has two daughters, Sarah and Jessica, and a granddaughter, Eleanor. In his free time, he enjoys reading mysteries, watching Korean films, going to the gym, bicycle touring, and doing yoga, and is a crossword puzzle addict.

“It has been such a privilege and pleasure to be part of this orchestra,” he says.

“Live music is needed in today’s society more than ever. It is a good and most uplifting influence in people’s lives, bringing people together and giving focus and inspiration.”

Orchestra News

Blossom Music Festival

HE CLEVELAND O30RCHESTRA RA THE CLEVELAND ORCHE

OrchestraNews

News

Welser-Möst leads special Vienna Philharmonic concert in Sarajevo to commemorate anniversary of World War I

Orchestra News

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THE CLEVELAND ORCH

Blossom Music Festival

Franz Welser-Möst led a commemorative concert of the Vienna Philharmonic in the atrium of Sarajevo’s rebuilt City Hall on June 28, 100 years after the assassinations of Archduke Ferdinand of Austria and his wife Sophie in that city began a series of events that resulted in the outbreak of World War I — and the start of a war-torn century for Sarajevo itself.

A giant screen was erected to broadcast the concert for a crowd gathered outside on the opposite side of the Miljacka River. Broadcasters for Eurovision relayed the concert to more than 40 countries across Europe.

“This is a very symbolic day in a very symbolic location,” said Clemens Hellsberg, the outgoing president of the Philharmonic. “We wanted it to be not a view back into history, but a view into the future, after the catastrophe of war.”

In choosing the Beethoven’s ‘Ode to Joy’ as part of the concert, Welser-Möst said, “we wished to express the hope that war should never happen on the soil of Europe again.”

Welser-Möst continued, saying that he and the Philharmonic saw themselves performing in this special concert a similar role of reconciliation that conductor Daniel Barenboim has sought with his West-Eastern Divan Orchestra, whose mixture of Israeli and Arab players also work to surmount the hatreds and divisions of the past.

THE CLEVELAND ORCHESTRA

Earlier this year, The Cleveland Orchestra announced a new group called The Circle, welcoming young professionals ages 21-40. The group is designed for those who share a love of music and an interest in supporting The Cleveland Orchestra in a new and dynamic way. The Circle provides members exclusive access to the Orchestra, with opportunities to meet musicians, and socialize at Severance Hall and at Blossom Music Festival events. Memberships include bi-monthly concert tickets along with opportunities to attend social gatherings to network with friends and cultural business leaders of Northeast Ohio. The objectives of The Circle are to increase engagement opportunities for young people ages 21-40 and to help develop future volunteer community leaders and arts advocates.

The Circle was launched at a Cleveland Orchestra concert in January, and is continuing to grow. Plans for future events are posted on the orchestra’s website, including concerts, get-togethers, and more.

Cost of membership in The Circle is $15 per month for one membership and $20 per month for two memberships and includes bi-monthly tickets. New members join for a minimum of six months.

For additional information, visit clevelandorchestra.com or send an email to thecircle@clevelandorchestra.com.

THE CLEVELAND ORCHESTRA

Cleveland Orchestra group for networking and socializing of dynamic young professionals continues to grow

EXPERIENCE MORE BLOSSOM! See a full listing of 2014 Blossom Music Festival concerts on pages 36-37 of the Festival Book.

August 24 Sunday

A Beatles Tribute of their arrival in the United States — it seems like just “yesterday” when the Fab Four first came to America. From the early hits through the solo years, relive the best of the Beatles with Classical Mystery Tour, the group that has been called “the most amazing Beatles tribute band ever.”

Don’t miss this one-night-only event!

C E LE BR ATING THE 50TH ANNIVE RSARY

August 30 Saturday

Family FunFest fun for the whole family! Bring the kids and share the magical experience of Blossom and live symphonic music. A fun-filled concert featuring tunes from The Little Mermaid, The Wizard of Oz, Frozen, and more. Featuring great familyfriendly activities and a post-concert fireworks show!

L ABOR DAY WE E KE ND

August 31 Sunday

Brahms & Franz A TOUR SE ND - OFF C E LE BR ATION! Franz Welser-MÖst leads The Cleveland Orchesta in two great symphonies by Johannes Brahms (Nos. 3 and 4) just before their 2014 European Tour (September 7-22).

Come join in the celebration of Northeast Ohio’s great hometown orchestra, as a send-off to the musical capitals of Europe. With post-concert fireworks show!