2016 Blossom Music Festival July 2, 3, 4 & 9 Concerts by Live Publishing

2O16 BLOSSOM MUSIC FESTIVAL

SUMMER HOME OF

THE CLEVELAND ORCHESTRA

P R E S E N T E D BY

2O16 BLOSSOM BOOK NO. 1 INSIDE . . .

July 2-3 — 1812 Overture . . . . page 23 July 4 — Salute to America . . . . page 33 July 9 — Beethoven’s Heroic Symphony . . . . page 71 See complete Table of Contents on page 4

CLEVE L ANDORCHESTR A .COM

A SEASON OF INSPIRING CELEBRATIONS 100 YEARS IN THE MAKING Ohio City Stages Global music on a neighborhood stage Wednesday evenings in July Centennial Loans Renowned artworks from around the world, loaned for CMAâ&#x20AC;&#x2122;s 100th birthday Art and Stories from Mughal India Exhibition opens July 31 Portraits of Clevelanders Create and share unique portraits on Instagram @PortraitsofClevelanders #CMAportraits Through October #100YearsofCMA clevelandart.org/centennial

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THE

2O16 BLOSSOM

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

MUSIC FESTIVAL t a b l e

o f

p r e s e n t e d by

c o n t e n t s

2016 Blossom Music Festival Book No. 1

Share your memories of tonight and join in the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra

instagram: @CleveOrch

Welcome to Our Summer Home . . . . . . . . . . . . . . . . . . . 7 2016 Festival Calendar. . . . . . . . . . . . . . . . . . . . . . . . . . 8 -9 About Blossom. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-14 Cuyahoga Valley National Park . . . . . . . . . . . . . . . . 15-16 Blossom Committee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Blossom Friends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Blossom by the Numbers . . . . . . . . . . . . . . . . . . . . . . . . 31

23 .

#CleOrchBlossom

33 .

Program books for Cleveland Orchestra concerts are produced by the Marketing & Communications Department and distributed free of charge to attending audience members.

Program book advertising is sold through LIVE Publishing Company phone: 216 -721-1800

The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support: National Endowment for the Arts, State of Ohio and the Ohio Arts Council, and the residents of Cuyahoga County through Cuyahoga Arts and Culture.

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.

44 61

concert 1 — July 2-3 1812 Overture About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 -27 Conductor: Johannes Debus . . . . . . . . . . . . . . . . . . . . . 29 concert 2 — July 4 A Salute to America Introducing the Concert. . . . . . . . . . . . . . . . . . . . . . . . . . 35 Blossom Festival Band . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Conductor: Loras John Schissel. . . . . . . . . . . . . . . . . . 37 concert 3 — July 9 Beethoven’s Heroic Symphony Introducing the Concert. . . . . . . . . . . . . . . . . . . . . . . . . . 73 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74-84 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . 68-69

Supporting the Orchestra Sound for the Centennial. . . . . . . . . . . . . . . . . . . . . 44 - 45 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48-59

About the Orchestra

Board of Trustees. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Get Involved — Volunteering, Making Music, and More . . . . . . . . . . . . . . . . . . . 39-43 About the Orchestra. . . . . . . . . . . . . . . . . . . . . . . . . . 61-63 By the Numbers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 66- 67

About Blossom

Learn More Gourmet Matinees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 News: Star-Spangled Spectacular . . . . . . . . . . . . . . . . 87 Blossom Information and Policies . . . . . . . . . . . . . 89-94 Blossom Grounds Map . . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Buying Tickets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Festival Book Table of Contents

Blossom Music Festival

con•certo noun \k n-'cher-(.)to\ ˉ a composition for one or more principal instruments, with orchestral accompaniment e

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Welcome to Our Summer Home! I am extraordinarily pleased to welcome you to The Cleveland Orchestra’s annual summer Festival here at Blossom Music Center in the heart of Summit County. In my first year as executive director, I am learning so much — and enjoying getting to know all of you. Part of what intrigued me about accepting this job was, in fact, the people of Northeast Ohio, who created this great Orchestra and have sustained it for the past century. Not only have you supported a remarkable group of musicians, you have also built two of America’s most beautiful and acoustically acclaimed concert halls — Severance Hall in Cleveland, and this extraordinary summer home here at Blossom. Indeed, I am amazed at the incredible treasure that The Cleveland Orchestra and the people of this region have in Blossom Music Center, with its natural beauty perfectly paired with the acoustically and aesthetically stunning Pavilion designed by local architect Peter van Dijk. While the summer homes of many American orchestras are shoehorned into urban locations, or far removed from their home cities, Cleveland’s is idyllically situated in the center of Northeast Ohio between two major metropolitan areas, Cleveland and Akron. Surrounded by Ohio’s own Cuyahoga Valley National Park, Blossom offers the best of all worlds, proximity and escape, ideal acoustics and natural splendor, with superb symphonic performances in a family-friendly setting. Having Cuyahoga Valley National Park as our next-door neighbor has also created a special opportunity and lasting relationship, helping us to safeguard the unique qualities of the Orchestra’s summer home for future generations. The combined experiences offered in this Valley allow Ohioans to enjoy summertime to the fullest — with hiking, birdwatching, and biking during the day complemented with evening picnics set to splendid music at night. Half a million people attend musical performances at Blossom each summer, underlining just how meaningful music is to young and old alike. As we approach the 50th anniversary of Blossom Music Center in 2018, it is remarkable to reflect on how Blossom has become an essential part of what the Orchestra does in and for Northeast Ohio. Our vision of having the youngest audience of any orchestra started at Blossom when we launched the “Under 18s Free” program on the Lawn five years ago. Today, over 40,000 young people each year have the chance to fall in love with The Cleveland Orchestra year-round through this program, which subsidizes the cost of tickets through the vision and generosity of the Maltz Family Foundation through the Orchestra’s endowment fund. Whether this is your first Blossom season or your fortieth, I am looking forward to experiencing with you this summer’s unique offerings — of symphonic hits, Broadway and movie classics, from Sousa and Sibelius, from Thomas Adès to Led Zeppelin — of magical summer twilights punctuated by fireworks and fireflies. With special thanks to the Festival’s presenting sponsor, The J.M. Smucker Company. Welcome and enjoy!

André Gremillet Blossom Festival 2016

Welcome: From the Executive Director

MUSIC FESTIVAL

SUMMER HOME OF

THE CLEVELAND ORCHESTRA

JUL

1812 OVERTURE

DEBUS

S AT U R D AY

The Cleveland Orchestra Johannes Debus, conductor

M O N D AY

JUL

A SALUTE TO AMERICA Blossom Festival Band Loras John Schissel, conductor

SCHISSEL

2O16 BLOSSOM

FOU RTH - OF -J

P R E S E N T E D BY

facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch #CleOrchBlossom

TICKETS:

800-686-1141

BEETHOVEN’S HEROIC SYMPHONY

WELSER-MÖST

JUL

The Cleveland Orchestra Franz Welser-Möst, conductor

JUL

16 8

MOZART UNDER THE STARS The Cleveland Orchestra Michael Francis, conductor David Fung, piano

JUL

23 8

THIBAUDET PLAYS GRIEG The Cleveland Orchestra Jahja Ling, conductor Jean-Yves Thibaudet, piano

JUL

30 7

TCHAIKOVSKY’S PATHÉTIQUE

THIBAUDET

Share your memories of tonight and join in the conversation online . . .

S AT U R D AY

ZUKERMAN

Blossom Music Center has provided an inviting and gracious summer home for The Cleveland Orchestra since it opened in 1968. Located just north of Akron, Ohio, and about 25 miles south of Cleveland, Blossom is situated on 200 acres of rolling hills surrounded by the Cuyahoga Valley National Park. Its beautiful outdoor setting is an integral part of the Blossom experience — and unrivaled among America’s summer music festival parks for the clear sightlines from across Blossom’s expansive Lawn and the superb acoustics and architectural beauty of the famed Blossom Pavilion. Come early to savor the summer weather. Bring your own picnic, or purchase from a variety of onsite options available, including a wide selection of wines, spirits, and beers.

The Cleveland Orchestra Hans Graf, conductor Pinchas Zukerman, violin

with Kent/Blossom Chamber Orchestra

= includes fireworks, weather permitting

AUGUST

U LY - W E E K E N D

JUL

1812 OVERTURE

DEBUS

S U N D AY

S AT U R D AY

The Cleveland Orchestra Johannes Debus, conductor

S U N D AY

AUG

MENDELSSOHN’S SCOTTISH The Cleveland Orchestra Nicholas McGegan, conductor Jeffrey Rathbun, oboe

AUG

13 8

SILK ROAD ENSEMBLE with YO-YO MA Silk Road Ensemble Yo-Yo Ma, cello

AUG S U N D AY

20 8

LED ZEPPELIN: A ROCK SYMPHONY Windborne’s Music of Led Zeppelin Blossom Festival Orchestra Brent Havens, conductor Randy Jackson, vocalist

AUG

27 8

BACH’S BRANDENBURG CONCERTOS Orpheus Chamber Orchestra

JUL

177

AN AMERICAN IN PARIS The Cleveland Orchestra Bramwell Tovey, conductor Javier Perianes, piano

JUL

24 7

SEPTEMBER

MAGIC OF THE MOVIES

The Cleveland Orchestra Michael Krajewski, conductor Capathia Jenkins, vocalist Blossom Festival Chorus

317

MICHAEL FEINSTEIN’S BROADWAY

FEINSTEIN

JUL

S AT U R D AY

The Cleveland Orchestra Jack Everly, conductor Michael Feinstein, vocalist

TICKETS:

SEP

3 8:30

S U N D AY

SEP

4 8:30

MOVIE NIGHT

The Cleveland Orchestra Brett Mitchell, conductor

RAIDERS OF THE LOST ARK

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Waiting for the Peak of Perfection.

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2016 Blossom Festival

Blossom Summer Home of

The Cleveland Orchestra OPENED IN 1968 as the summer home of

The Cleveland Orchestra, Blossom Music Center is located just north of Akron, Ohio, and about 25 miles south of Cleveland. Blossom is situated on rolling hills surrounded by the Cuyahoga Valley National Park, which protects 33,000 acres along the Cuyahoga River between Akron and Cleveland. Blossom lies within the city limits of Cuyahoga Falls, an Ohio community founded two-hundred years ago. Blossom was planned and built between 1966 and 1968 by the Musical Arts Association (the non-profit parent organization of The Cleveland Orchestra) at a total cost of approximately $8 million. The Centerâ&#x20AC;&#x2122;s name honors the Dudley S. Blossom family, major supporters of The Cleveland Orchestra throughout its history. (Mr. Blossom served as president of the Musical Arts Association 1936-38. His son, Dudley Jr., served as a trustee 1946-61.) In 2002, Blossom Music Center underwent the first major capital improvements project in the history of the facility, which serves 400,000 visitors each summer. The Blossom Redevelopment Project featured a major renovation of the facility and enhancement of patron amenities, and was completed prior to the beginning of the 2003 Blossom Festival. Additional upgrading has continued since that time, including major accessibility work within an ongoing Americans with Disabilities Act project generously funded by the State of Ohio. With initial phases completed in 2013, this has included the construction of new restÂrooms and walkways, and the introduction of new trams. The first Blossom season in 1968 consisted of six weeks of performances by The Cleveland Orchestra, gaining enthusiastic reviews for the Orchestra and its new summer home from critics throughout the country. The schedule expanded in subsequent seasons to feature the Blossom Music Festival of orchestral and band music from the Fourth of July to Labor Day weekend alongside a summer-long season of concerts devoted to rock, jazz, country, and other Blossom Music Festival

About Blossom

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Summa Health ÂŠ 2016

popular music presentations. Live Nation operates Blossom, and books and promotes each season’s non-orchestral attractions. The Blossom Grounds

photograph by peter hastings

At the heart of Blossom is the Blossom Pavilion, situated at the base of a natural bowl. The design architect for this award-winning structure, widely celebrated for its distinctive architecture and superb acoustical qualities, was Peter van Dijk, who also served as At the Blossom groundbreaking on July 2, 1967, from left architect for the Blossom Redevelopin foreground are Frank Joseph (then president of the ment Project in 2002-03 and continues Musical Arts Association), Elizabeth Bingham Blossom (Mrs. Dudley Sr.), Benjamin Gale (Blossom grandson), to help direct Blossom upgrades and Betsy Blossom (youngest Blossom grandchild),and changes. The seating capacity of the Charles Bingham Blossom (Blossom grandson). Pavilion is now 5,470 — and another 13,500 patrons can be accommodated on the expansive hillside lawn seating area. Surrounding the Pavilion, the Blossom grounds encompass a number of other unique facilities. Near the Main Entrance from Steels Corners Road is Porthouse Theatre. Here summer theatrical productions are presented by the Porthouse Theatre Company, a professional repertory company affiliated with Kent State University under the Kent/Blossom Theatre program. In addition to the Blossom Pavilion, the main grounds include the Band wagon Gift Shop, the Blossom Grille (open before and after each Festival concert), the Knight Grove (a party center accommodating groups of 25 to 450), and Eells Gallery, which is used by the Kent/Blossom Art program to exhibit works by regional and national artists. Three landscaped gardens also are located on the main grounds. The Frank E. Joseph Garden was named in honor of the president of the Musical Arts Association at the time of Blossom’s construction and opening. Emily’s Garden was opened in 1992 to commemorate Emily (Mrs. Dudley S. Jr.) Blossom’s many contributions to Blossom Music Center. New in 2003 was the addition of the Herbert E. Strawbridge Garden, named in memory of Musical Arts Association trustee and civic leader Herb Strawbridge. The Blossom Redevelopment Project redesign of Emily’s Garden, as well as the design of the Herbert E. Strawbridge Garden, are by Michael Van Valkenburgh. PARTNERING WITH CUYAHOGA VALLEY NATIONAL PARK and the Trust for Public Land

Following the construction and opening of Blossom Music Center in 1968, additional ideas for redeveloping the Cuyahoga Valley spurred the creation of

Blossom Festival 2016

About Blossom

Cuyahoga Valley National Park to help preserve the natural beauty of the area chosen as The Cleveland Orchestra’s permanent summer home. Created as a recreational preserve in 1974, the land was designated as a National Park in 2000. In the past decade, The Cleveland Orchestra worked with the Trust for Public Land (TPL) to conserve more than 500 acres of Blossom Music Center land into Cuyahoga Valley National Park through a sale funded by the federal Land and Water Conservation Fund. This transfer helps protect the park experience for concertgoers at Blossom, conserves the land for preservation, and provided one-time funding for the Orchestra. This sale of Blossom Music Center land now connects over 5,000 acres of forest ecosystems within the park. Read more about the Park and nearby attractions on the following pages, or visit www.nps.gov/cuva to learn more.

Blossom Contact Numbers Orchestra Schedule & Ticket Information (216) 231-1111

or 800-686-1141 toll-free outside local calling areas or online at clevelandorchestra.com The Cleveland Orchestra Severance Hall Administrative Offices (216) 231-7300 Blossom Music Center is owned by the Musical Arts Association, the nonprofit parent organization of The Cleveland Orchestra. Live Nation has been contracted to operate Blossom and to book and promote the summer’s non-orchestral attractions.

on demand YOU R C ONSTA N T C OM PA N ION

WC LV.ORG

Blossom Administrative Offices (330) 920-8040 Blossom Grille (330) 916-6063 Group Sales and Knight Grove Reservations (216) 231-7493 Bandwagon Gift Shop (330) 916-6090 Eells Art Gallery (330) 672-7853 Porthouse Theatre (330) 929-4416

Cleveland Classic Jazz Party September 15 – 18, 2016 InterContinental Hotel Cleveland, Ohio 29 World-Class Musicians from all over the country on one stage!

www.alleghenyjazz.org ● 216-956-0886

About Blossom

Blossom Music Festival

National Park Service celebrates 100 years of natural beauty, conservation, and public access . . . Theodore Roosevelt and John Muir at Yosemite National Park in 1903.

t h e d r e a m and reality of a system of outdoor parks for the people of the nation is being celebrated across the country this summer with the 100th Anniversary of the creation of the National Park Service in 1916. Although the first National Park — Yellowstone — was created by Congress in 1872, and a few more were designated over the next several decades, the founding of the National Park Service in 1916 brought management of all the National Parks together under one agency, as well as codifying the purpose and aim of the National Park System to conserve parkland for the enjoyment and benefit of the nation’s people and for future generations. Today, NPS embraces over 450 natural, historical, recreational, and cultural areas throughout the United States, with sites designated in every state.

Northeast Ohio’s own: Cuyahoga Valley National Park Recreational development and restoration of the Cuyahoga Valley took on new meaning with the opening of Blossom Music Center in 1968 as The Cleveland Orchestra’s summer home. And Cuyahoga Valley National Park soon followed, established in 1974 as recreational preserve and nextdoor neighbor to Blossom. Though a short distance from the urban areas of Cleveland and Akron, these 30,000 acres seem worlds Blossom Festival 2016

Cuyahoga Valley National Park

away. Designated as a National Park in 2000, the land serves as a refuge for native plants and wildlife, and provides routes of discovery, recreation, and enjoyment for all ages. Across its land, the winding Cuyahoga River gives way to deep forests, rolling hills, and open farmlands.

Conservancy for C.V.N.P. The Conservancy for Cuyahoga Valley National Park works in partnership with the National Park Service to engage the Northeast Ohio community and visitors in enjoying and supporting the park and its programs — with the Conservancy’s advocacy and passion aimed at helping C.V.N.P. rise to its full potential. For more information about volunteering or donating time or money, contact 330-657-2909 or visit www.conservancyforcvnp.org.

way, you may catch a glimpse of whitetailed deer, wild turkey, bald eagles, blue heron, and much more. The train operates year-round, with seasonal schedules. For more information, visit www.cvsr.com.

Ohio & Erie Canalway The Ohio & Erie Canalway is a National Heritage Area — designated by Congress in 1996 — to help preserve and celebrate the rails, trails, landscapes, towns, and sites that grew up along the first 110 miles of the canal that helped Ohio and our nation grow. The Towpath offers over 80 miles of hiking, biking, birding, and exquisite scenery. For more information and hours, please visit www.ohioanderiecanalway.com. Hale Farm & Village

Along with attending concerts at Blossom Music Center, explores these attractions to experience Cuyahoga Valley National Park to the fullest:

CUYAHOGA VALLEY SCENIC RAILROAD

All Aboard! for a fascinating and fun way to experience the beauty of Cuyahoga Valley National Park. Enjoy the trip between the Rockside Station in Independence and the Akron Northside Station. Along the

This one-of-a-kind family experience is an outdoor living history museum set in the Cuyahoga Valley. At Hale Farm & Village, everyday life from the era of Abraham Lincoln is depicted through 32 historic structures, farm activities and animals, heritage gardens, cooking, and early American craft and trade demonstrations. Café dining and museum store shopping on location. The Farm is located at 2686 Oak Hill Road, in Bath, Ohio. For more information, visit www.halefarm.org, or call 330-666-3711.

Cuyahoga Valley National Park

2016 Blossom Festival

IT TAKES REGULAR DOCTOR VISITS TO STAY OUT OF THE DOCTOR’S OFFICE.

It’s time to change the way you think about your health. Regular checkups and screenings when you’re feeling fine are the best way to stay that way. Form your healthiest relationship today with your MetroHealth doctor who will listen as long as it takes to turn your good health into great. metrohealth.org/doctor

CHANGE IS HEALTHY

Blossom Committee of The Cleveland Orchestra The Blossom Committee of The Cleveland Orchestra is an advisory group created to support the development and prioritization of initiatives to connect The Cleveland Orchestra in new and meaningful ways with the Blossom community. The Committee is comprised of business and community leaders from Cuyahoga, Portage, Stark, and Summit Counties. (Listing as of June 10, 2016.) Paul A. Rose, Co-Chair Iris Harvie, Co-Chair Thomas Waltermire, Vice Chair Ronald H. Bell Carolyn Bialosky William P. Blair III Laurel Blossom Daniel C. Colantone Joanne Dannemiller Helen Dix* Barbara Dietrich Barbara Feld John Fickes Claire Frattare Linda Gaines Barbara Gravengaard

C. Thomas Harvie Faye A. Heston Laura Hunsicker Mary Ann Jackson Michael J. Kaplan Philip S. Kaufmann Phyllis Knauf

Janice R. Leshner Mary Ann Makee John McBride Margaret Morgan* Sandra R. Smith Paul E. Westlake Jr. *Honorary Member for Life

Ex-Officio

Dennis W. LaBarre, President, Musical Arts Association Richard J. Bogomolny, Chairman, Musical Arts Association André Gremillet, Executive Director, The Cleveland Orchestra Carol Lee Iott, Director, Strategy and Special Initiatives, The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra Peter van Dijk, Westlake Reed Leskosky

Summer is here! It’s time to enjoy family, friends, and the sounds of the season! Cleveland Hearing & Speech Center has been the premier provider of audiology services for over 95 years. We provide comprehensive hearing evaluations, state-of-the-art device fittings and a financial assistance program for those who qualify.

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Blossom Committee

2016 Blossom Festival

Blossom Friends of The Cleveland Orchestra This state-wide volunteer organization is dedicated to promoting and financially supporting The Cleveland Orchestra’s summer home and annual summer Music Festival at Blossom. Established as a womens’ volunteer committee with the opening of Blossom Music Center in 1968, the group was recently renamed Blossom Friends of The Cleveland Orchestra and is today open to women and men of all ages. A series of fundraising, learning, and social events are presented each year to promote the Friends’ ongoing work devoted to sustaining the beauty of Blossom and the magic of great summertime music under the stars. For additional information about joining Blossom Friends of The Cleveland Orchestra or attending the group’s year-round fundraising and promotional events, please contact Lori Cohen, Community Leadership Liaison at 216-231-7557 or lcohen@clevelandorchestra.com

EXECUTIVE COMMITTEE Elisabeth Hugh, President Elizabeth McCormick, Vice President Mary Walker Sprunt, Recording Secretary JoAnn Greiner, Corresponding Secretary Patricia Rice, Treasurer Claire Frattare, Ex-officio, Past President

AREA CHAIRS — Jean Mathews — Sue Kenney canton / stark county — Elizabeth McCormick, Donna Paola, Faye Heston hudson — Robert Valente kent — Sylvia Armstrong, Donna DiBiase northeast — Nancy Cruikshank Each year, Blossom Friends presents a range members-at- large — Connie van Gilder akron

aurora

of events, including (at far left) an introduction of new Cleveland Orchestra executive director André Gremillet (interviewed by WCLV announcer Robert Conrad) hosted by the Hudson Chapter in April 2016, and a summer series of Gourmet Matinee Luncheons showcasing the artistry and stories of musicians of The Cleveland Orchestra.

Blossom Festival 2016

Blossom Friends

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T H E M u sica l Arts Association

as of June 2016

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival

O f f i c er s a nd e xec ut ive c ommit t ee Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair Hewitt B. Shaw, Secretary Beth E. Mooney, Treasurer

Jeanette Grasselli Brown Matthew V. Crawford Alexander M. Cutler David J. Hooker Michael J. Horvitz

Douglas A. Kern Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley

Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner Barbara S. Robinson

r esiden t tr u s tees George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Yuval Brisker Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Betsy Juliano Jean C. Kalberer

Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer TE Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Milton S. Maltz Nancy W. McCann Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. Oatey TE Katherine T. O’Neill The Honorable John D. Ong Rich Paul Larry Pollock Alfred M. Rankin, Jr.

Clara T. Rankin Audrey Gilbert Ratner Charles A. Ratner Zoya Reyzis Barbara S. Robinson Paul Rose Steven M. Ross Raymond T. Sawyer Luci Schey Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Joseph F. Toot, Jr. Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

N on - r esiden t tr uS t ees Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

Richard C. Gridley (SC) Loren W. Hershey (DC)

t r u s tees e x- o f f ic io Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Dr. Patricia Moore Smith, President, Women’s Committee of The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra

Herbert Kloiber (Germany)

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Beverly J. Warren, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

hono r a ry tr u s tees for l ife Dorothy Humel Hovorka Gay Cull Addicott Robert P. Madison Allen H. Ford Robert F. Meyerson Robert W. Gillespie pa s t p r esiden t s D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

TE Trustee Emeritus

Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

James S. Reid, Jr.

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Blossom Music Festival

André Gremillet, Executive Director

Musical Arts Association

Ralph Waldo Emerson

Thanks Cleveland’scultural cultural Thankstotothe therichness richness of of Cleveland’s heritage and the excellence of The Cleveland Orchestra, heritage and the excellence of The Cleveland Orchestra, literally millions of men, women, and children literally millions of men, women and children have experienced such a adawn . . .and andititisisunforgettable. unforgettable. have experienced such dawn… NACCO Industries, Inc. NACCO Industries, Inc. We are: The North American Coal Corporation;

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2OI6BLOSSOM MUSIC FESTIVAL

Saturday evening, July 2, 2016, at 8:00 p.m. Sunday evening, July 3, 2016, at 8:00 p.m.

THE CLEVEL AND ORCHESTRA johannes debus , conductor

nikolai rimsky-korsakov

Scheherazade, Opus 35 (Symphonic Suite after The Thousand-and-One Nights)

(1844-1908)

1. The Sea and Sinbad’s Ship

2. 3. 4.

The Story of the Kalandar Prince The Young Prince and the Young Princess Festival at Baghdad — The Sea — The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior — Conclusion

Solo Violin: peter otto

i n t e r m i ss i o n

dmitri shostakovich (1906-1975)

Suite No. 1 for Variety Stage Orchestra

March — Dance No. 1 — Dance No. 2 — Little Polka — Lyric Waltz — Waltz No. 1 — Waltz No. 2 — Finale

pyotr ilyich tchaikovsky (1840-1893)

Festival Overture: The Year 1812

A fireworks display by American Fireworks Company will take place immediately following the concert, weather permitting.

The Sunday night concert is sponsored by Hyster-Yale Materials Handling, Inc., a Cleveland Orchestra Partner in Excellence.

The 201 6 B lossom M usic Festival is presented by The J . M . S m ucker Com pa ny

Blossom Music Festival

Concert Program: July 2-3

Scheherazade, Opus 35

by Nikolai Rimsky-Korsakov (1844-1908) composed 1888

Nikolai

RimskyKORSAKOV

dat in g f r o m the summer of 1888, Nikolai Rimsky-Korsakov’s Scheherazade is a symphonic suite of exotic inspiration, deriving its ideas from the evocative Arabian tales of The Thousand and One Nights. Ancient Arabic stories from an oral tradition, including the adventures of Sinbad and Ali Baba, became widely known in Europe during the 1800s, thanks in part to the popular translations of Sir Richard Burton. A genius of orchestral nuance, the Russian composer Rimsky-Korsakov recognized in these stories a perfect canvas for his art. “A kaleidoscope of fairy-tale images,” he called it and, in an introductory note to this work, recalled how the Sultana Scheherazade enchants the cruel Sultan Schahriar with fascinating stories, delaying her death sentence night after night and thereby saving her own life. Each of the four movements has its own sequence of subtitles derived from the original stories, yet Rimsky-Korsakov always insisted that his music was not intended as any actual portrayal of the physical action. Beyond the sinuous violin solo, which is meant as the shadow of Scheherazade herself, there are no character motifs and no themes specific to the imagery of the storyline for each movement. As far as the composer was concerned, this is not music to which one might read the stories aloud in perfect synchronization. “In composing Scheherazade,“ Rimsky-Korsakov wrote in his memoirs, “I meant these hints to direct but slightly the hearer’s fancy on the path that my own fancy had traveled, and to leave more minute and particular conceptions to the will and mood of each listener.“ This is indeed music that can unleash our own imaginations to tall tales of love and daring, of natural forces and beguiling beauty, deftly told as great musical entertainment. Rimsky-Korsakov was a great practitioner and artist of orchestration (he taught Glazunov and Stravinsky, among many others) — and here he stitches together an array of beguilingly beautiful sounds, soothing and searching, smiling and scaling the heights of wonder.

July 2-3: About the Music

Blossom Music Festival

Suite No. 1 for Variety Orchestra by Dmitri Shostakovich (1906-1975) composed late 1950s

t h is f u n wo r k is a set of mostly dance-style pieces of the

kind that might be performed by a café band as light “background music” for an evening, perhaps before a featured soloist’s set of numbers. The name comes from the makeup of the ensemble it was written for, typical of a 20th-century theater or “house” (or radio station) orchestra that was well able to play a wide “variety” of works — dance, symphonic, popular, swing, jazz, ethnic genres, and so forth. Here Shostakovich’s scoring features several saxophones, giving the suite a decidedly jaunty and non-symphonic flavor. Many of the movements borrow musical ideas from some of the composer’s previous film and ballet scores — recycling ideas in new forms is a constant refrain of musical creation, and one that allows ideas to shine in new ways and contexts. Some listeners will find some of this music familiar. The sensuously slinky “Waltz No. 2” appeared in the Stanley Kubrick film Eyes Wide Shut, as well as in an episode of the A&E television series Nero Wolfe. Others may be certain that this is actually the music of one of Shostakovich’s so-called Jazz Suites. Indeed, a number of recordings were made of this music under the title “Jazz Suite No. 2.” Since those recordings appeared, however, new evidence has revealed the confusion of titles. Shostakovich himself thought of this piece as his “Suite No. 1“ for variety orchestra. After World War II, the score that he called his Jazz Suite No. 2 was lost to history — until 1999, when a piano score surfaced, clearly showing that tonight’s score was not what many of us had thought it was. And so, step by step, this music got its original name back, for all to enjoy just the same.

Dmitri

SHOSTAKOVICH

The “BBC Scottish Variety Orchestra” performing a radio show in 1942.

Blossom Music Festival

July 2-3: About the Music

Festival Overture: The Year 1812, Opus 49 by Pyotr Ilyich Tchaikovsky (1840-1893) composed 1880

“ I T W I LL B E L O U D .” With these words, Tchaikovsky summed

up what he was intending to write in his 1812 Overture. His musical commemoration of the victory of Russian forces over Napoleon at the gates of Moscow — defeated as much by the Russian winter as by the Russian artillery — was written in the autumn of 1880, although its premiere was delayed until August 20, 1882, on the 70th anniversary of the battle. The first performance was part of an outdoor festival held in one of Moscow’s great squares. Because the square was ringed by historic churches that had largely survived the victory battle, Tchaikovsky decided to incorporate church bells at dramatic moments in the composiby tion, just as in wartime church bells might ring out to announce Pyotr Ilyich an important victory. Tchaikovsky Tchaikovsky’s score quotes several pre-existing melodies, at least some of which would have been familiar to his listeners at the time. These include the sacred hymn “Spasi, Gospodi, lyudi Tvoya” [God, Preserve Thy People] intoned at the opening by low strings, the folk dance “U vorot” [By the Gates] often performed around army campfires, and the Tsar’s anthem “Bozhe, tsarya khrani” [God, Save the Tsar] declaimed by brass — and optional chorus — at the closing. The latter tune was not written until after Napoleon’s defeat, but Tchaikovsky was writing for his audience, not for historical authenticity. Thinking ahead to other occasions, the composer doubled the chorus lines with orchestral parts, so that his “Festival Overture” could be performed without a vocal ensemble. Similarly, to depict the French forces, Tchaikovsky used phrases from La Marseillaise, which did not, in fact, gain official status as the French national anthem until after Napoleon’s time. In the closing pages, this tune is quite thoroughly blasted away by thunderous cannon fire. (As above Napoleon retreating from Moscow the original performance was to be outdoors, after the Battle of Borodino in 1812, Tchaikovsky requested actual cannons, not just in a painting by Adolf Northern pounding percussion.) from the mid-19th century. So what does this have to do with American Independence? Nothing at all, really. We had our

July 2-3: About the Music

Blossom Music Festival

own “War of 1812,” distantly related to the larger conflict in Europe, but Russia vs. France was decidedly unrelated to America’s Revolutionary War won a generation or two earlier. Nevertheless, with or without chorus — but with cannon and fireworks and much noise and heart-thumping excitement — the 1812 Overture has become a traditional staple of Fourth-of-July concerts across the United States and makes for a magnificent conclusion to any program on this most patriotic of holiday weekends. —program notes by Betsy Schwarm © 2016 Betsy Schwarm spent twenty years as a classical radio announcer and producer. She teaches music at Metropolitan State College of Denver, and has served as recording engineer for Colorado’s Central City Opera.

2O16 BLOSSOM MUSIC FESTIVAL

In Thanks

The Cleveland Orchestra gratefully acknowledges the generous organizations listed here whose support is recognized in connection with this summer’s Blossom Music Festival:

The J.M. Smucker Company — 2016 Blossom Festival Presenting Sponsor Akron Community Foundation BakerHostetler The William Bingham Foundation Blossom Friends of The Cleveland Orchestra The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust Eaton FirstEnergy Foundation Forest City GAR Foundation Ann and Gordon Getty Foundation The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. KeyBank

Victor C. Laughlin M.D. Memorial Foundation Trust The Lehner Family Foundation Littler Mendelson, P.C. The Lubrizol Corporation Medical Mutual of Ohio The Margaret Clark Morgan Foundation The M.G. O’Neil Foundation PNC Bank The Charles E. and Mabel M. Ritchie Memorial Foundation The Sisler McFawn Foundation Lloyd L. and Louise K. Smith Memorial Foundation Timken Foundation of Canton The Welty Family Foundation

2016 Blossom Media Partner: cleveland.com

Blossom Music Festival

July 2-3: About the Music

COME THE NEXT NEXT COME HEAR HEAR THE GENERATION OF GENERATION OF CLASSICAL MUSICIANS CLASSICAL MUSICIANS

TheCleveland ClevelandInstitute Instituteof ofMusic Music isis dedicated dedicated to The to the the education educationofofthe thecomplete complete musician of the 21st century. Join us this fall for our 2016-17 concert musician of the 21st century. Join us this fall for our 2016-17 concertseason seasonand and enjoy performances by our professional-level conservatory student musicians. enjoy performances by our professional-level conservatory student musicians. receiveour ourConcert ConcertGuide, Guide,visit visit cim.edu/concertguide cim.edu/concertguide ToToreceive

Johannes Debus German-born conductor Johannes Debus has served as music director of the Canadian Opera Company since 2009. In opera and symphonic programs around the world, he leads music spanning from the Baroque to contemporary. He made his Cleveland Orchestra debut in August 2012 and most recently appeared here in August 2014. Born in southwest Germany, Johannes Debus joined the Heidelberg Cathedral choir at the age of four, and later took piano, organ, and violin lessons. He obtained his formal music education at the Hamburg Hochschule für Musik und Theater, and subsequently was engaged at Oper Frankfurt, first as rehearsal pianist (répétiteur) and then as Kapellmeister and principal conductor. During his ten-year tenure there, he built an extensive repertoire of operas by composers including Thomas Adès, Mozart, Verdi, and Wagner. Mr. Debus made his Canadian Opera Company debut in 2008 and was named its music director in 2009; his contract recently was extended through to 2021. To showcase the Canadian Opera Company musicians, Mr. Debus created a chamber music festival in 2012 and has also established the COC Orchestra Academy in collaboration with the Glenn Gould School at the Royal Conservatory of Music and the University of Toronto, offering student musicians professional insight and experience in an opera orchestra. As guest conductor, Johannes Debus has led productions at the Bavarian State Opera, English National Opera, Berlin State Opera and Komische Oper, Opéra Nation-

Blossom Music Festival

al de Lyon, and the San Francisco Opera, among other companies. An advocate of new music, Johannes Debus has conducted a wide range of world premieres and works by 20th and 21st century composers. These include Luciano Berio’s Un re in ascolto, Barbara Monk Feldman’s Pyramus and Thisbe, and Salvatore Sciarrino’s Macbeth. Mr. Debus has also led performances with the Ensemble Intercontemporain, Ensemble Modern, Klangforum Wien, and Musikfabrik. As a guest conductor, Johannes Debus has led orchestras and appeared on both sides of the Atlantic and in Asia, including engagements with the Boston Symphony Orchestra, Nashville Symphony, New Jersey Symphony Orchestra, Montreal Symphony Orchestra, Ottawa’s National Arts Centre Orchestra, San Diego Symphony, and Toronto Symphony Orchestra, and with the Heidelberg Orchestra, London’s Philharmonia Orchestra, and the Orchestra della Toscana. His festival performances have included concerts at the BBC Proms, Biennale di Venezia, Bregenz Festival, Festival d’Automne in Paris, Lincoln Center Festival, Luminato Festival, Ruhrtriennale, Schwetzinger Festival, Spoleto Festival, and the Suntory Summer Festival.

July 2-3: Guest Conductor

2016-17 season SEPTEMBER 27, 2016

JANUARY 25, 2017

Celebrating their 40th anniversary with a world premiere in Akron!

MARCH 1, 2017

Emerson String Quartet OCTOBER 15, 2016

SŌ Percussion with the Akron Symphony

Imani Winds St. Petersburg Philharmonic with

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Escher String Quartet

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2016 Blossom Festival

5470

Blossom Music Center opened on July 19, 1968, with a concert that featured Beethoven’s Ninth Symphony under the direction of George Szell.

20%

OVER

B L O S S O M M us i c C enter

1968

seats

and under

The portion of young people at Cleveland Orchestra concerts at Blossom has increased to 20% over the past five years, via an array of programs funded through the Orchestra’s Center for Future Audiences for students and families.

Blossom’s Pavilion, designed by Cleveland architect Peter van Dijk, can seat 5,470 people, including positions for wheelchair seating. (Another 13,500 can sit on the Lawn.) The Pavilion is famed for the clarity of its acoustics and for its distinctive design.

BY THE NUMBERS

19.5 million ADMISSIONS

Blossom Music Center has welcomed more than 19,600,000 people to concerts and events since 1968 — including the Orchestra’s annual Festival concerts, plus special attractions featuring rock, country, jazz, and other popular acts.

1,000+

The Cleveland Orchestra has performed just over 1,000 concerts at Blossom since 1968. The 1000th performance took place during the summer of 2014.

1250 tons of steel

12,000 cubic yards concrete 4 acres of sodded lawn

The creation of Blossom in 1966-68 was a major construction project involving many hands and much material, made possible by many generous donors.

Blossom’s 50th Anniversary Season in 2018 will bring to a close the Orchestra’s 100th Season celebrations during 2017-18, and mark the beginning of The Cleveland Orchestra’s second century serving Northeast Ohio.

2018

The arts enrich all our lives.

A community is more than a collection of homes and businesses. It’s also the institutions that improve our lives through art, music, dance, and theater. KeyBank supports a wide range of arts organizations, because we know that a vibrant cultural scene is vital to bringing the people of our communities closer through their shared appreciation of the diverse talents they provide. That’s why KeyBank is a proud sponsor of The Cleveland Orchestra and the 2016 Blossom Music Festival. KeyBank helps people and businesses thrive. Learn more. Contact KeyBank at key.com/community.

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Blossom Music Festival

2OI6BLOSSOM MUSIC FESTIVAL

Monday evening, July 4, 2016, at 8:00 p.m.

b l ossom f est i v a l ban d loras john sc hisse l , conductor

A SAlUtE TO AMeRicA

f o u r t h - o f - j u ly b a nd c onCe r t

Additional selections during the evening and/or encores will be announced from the stage.

The Star-Spangled Banner

words by francis scott key (1779-1843) to the tune of the â&#x20AC;&#x153;Anacreontic Songâ&#x20AC;? by John Stafford Smith (arranged for band by Loras John Schissel) the audience is invited to join in singing.

Resplendent Glory

by rossano

galante (b. 1967)

Irish Tune from County Derry

setting by percy

aldridge grainger (1882-1961)

March: Jack Tar

by john

philip sousa (1854-1932)

Adventures on Earth from E.T. The Extra Terrestrial by john williams (b. 1932) arranged for band by Paul Lavender

i n t e r m i ss i o n program listing continues

Blossom Music Festival

A Salute to America: July 4

program listing continued from previous page

Sea Songs

by thomas knox (1937-2004) created to commemorate the 350th anniversary of the founding of the city of Boston in 1630

Tone Poem on Taps

by douglas f. hedwig (b. 1952) created in honor of the 150th anniversary of the bugle call â&#x20AC;&#x153;Tapsâ&#x20AC;? during the American Civil War

March-Past of the U.S. Armed Forces traditional arranged for band by Thomas Knox Performed in tribute to the men and women, past and present, of the United States Army, Navy, Marine Corps, Coast Guard, and Air Force

Overture: The Year 1812

by pyotr

ilyich tchaikovsky

(1840-1893)

A fireworks display by American Fireworks Company will take place immediately following the concert, weather permitting.

This concert is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence.

The 201 6 B lossom M usic Festival is presented by The J . M . S m ucker Com pa ny

A Salute to America: July 4

Blossom Music Festival

A SAlUtE TO AMeRicA f o u r t h - o f - j u ly b a nd c onCe r t

si n ce 1 9 6 9 , each Blossom Music Festival has featured a concert band performance to help celebrate the creation of the United States and the Fourth-of-July holiday weekend. Whether filled with Sousa marches, folksong Americana, or newer wind serenades, such concerts echo earlier hometown performances that sounded across the nation, bringing together neighbors and friends in towns small and large to reflect on the blessing of freedom that this country bestows, and the sacrifice of those gone before us who have secured or defended that freedom. Both the celebration and the defense of liberty — and the sacrifice for it or because of it — continue to the present day. The Founding Fathers could not have foreseen the big “parties for a nation” that we have turned the Fourth-of-July into, although John Adams (the second President, not today’s living composer of the same name) did imagine fireworks to mark this annual occasion. Not unlike the personal taking-stock that occurs each New Year with resolutions for change and betterment, the Fourth-of-July has become a regular reassessment of our own democracy, of its costs and hard-won benefits, and its demands of each of us to participate and work together to improve the old and embrace the new. As for Tchaikovsky’s 1812 Overture, now a traditional part of this day, it of course has nothing whatsoever to do with it. But Americans know a good thing when they see (or hear) it, and are talented at repeating things for effect — sometimes to excess. But today is not about a Russian victory over the French in 1812. It is a celebration of a people taking their fate into their own hands, and responsibly forging a nation together, through thick and thin, through understanding and disagreement, deference and compromise, companionship and community. Let freedom unite us, rather than become a divide. —Eric Sellen

Blossom Music Festival

July 4: Introducing the Concert

Blossom Festival Band C o n si d ere d o n e of the fi n est ensembles of its kind in the nation, the Blossom Festival Band performs each summer in Northeast Ohio, continuing a long and wellloved tradition of outdoor band concerts in the United States. The ensemble has its roots in historic American band music and some of its legendary leaders. Band music has been a part of each summer’s musical offerings at Blossom since 1969. That year, a Fourth-of-July band concert was presented as part of the second annual Blossom Music Festival. From 1969 to 1973, these band concerts were conducted by Meredith Willson (composer of Broadway’s The Music Man), who at age 17 had toured with the Sousa Band as a flutist. Based on the success of these concerts, a genuine symphonic band and concert program was organized under the direction of Leonard B. Smith, another of this country’s most respected band directors (he was music director of the nationally known Detroit Concert Band for many years and a widely acclaimed cornet soloist). Mr. Smith made his Blossom debut conducting “The Golden Symphonic Band of Blossom Music Center” in “A Salute to Labor Day” on September 4, 1972. The success of that concert provided the impetus to schedule a series of concerts during the 1973 summer season, with a newly selected band of 65 instrumentalists from the Cleveland area. David Zauder (1928-2013), a former student of Smith and a longtime member of The Cleveland Orchestra’s trumpet and cornet section, served as a guiding spirit for the Band and regularly performed as cornet soloist with the ensemble. Leonard B. Smith served as director from 1972 until his retirement in 1997. Since 1998, the Blossom Festival Band has been conducted by Loras John Schissel.

2016 Blossom Festival Band flute / piccolo

cornet

timpani

Lyle Steelman

Dylan Moffitt

John Rautenberg Madeline Lucas Sally Sherwin

e-flat alto clarinet

Heather Zweifel Michael Mergen John Brndiar

oboe

Lisa Antoniou

trumpet

bassoon

principal

Terry Orcutt

principal

David Adamson bass clarinet

principal

percussion

Bruce Golden

principal

trombone

harp

saxophone

James Albrecht

Jody Guinn

principal

b-flat clarinet

Howie Smith

Kent Engelhardt John Perrine George Shernit

Thomas Reed Alix Reinhardt Stanislav Golovin James Kalyn Blair Hotz Lindsay Charnofsky Denise Soulsby Heidi Aufdenkamp Peck Joseph Minocchi

Todd Jelen

english horn

principal

Loren Toplitz

Mark DeMio

Kristina Belisle Jones

Frank Del Piano Jack DiIanni Matthew Larson Thomas Morris

Thomas Moore Thomas Moore

e-flat clarinet

Dennis Nygren

George Pope

principal

horn

Hans Clebsch

principal

Robert Rearden Meghan Guegold David Brockett Kent Larmee

Mark Maliniak principal

principal

Paul Ferguson Martin Gelwasser Edward Zadrozny euphonium

Travis Scott

principal

Rebecca Ciabattari

principal

string bass

Terry Rowell

principal

piano / celesta

Luwen Chen

principal

librarian tuba

Kenneth Heinlein

principal

Yasuhito Sugiyama J.c. Sherman William Ciabattari

Blossom Festival Band

Gabrielle Petek personnel

Rebecca Vineyard Allison Richards

Blossom Music Festival

Loras John Schissel Conductor Blossom Festival Band

l oras joh n schisse l has served as conductor of the Blossom Festival Band since 1998. He also regularly conducts the Blossom Festival Orchestra and, this summer, he leads The Cleveland Orchestra’s free annual community concert in down town Cleveland for the fourth time, on the newly-renovated Public Square on Friday, July 29th. Mr. Schissel has travelled throughout the United States, Europe, and Asia conducting orchestras, bands, and choral ensembles in a broad range of musical styles and varied programs. A native of New Hampton, Iowa, Loras John Schissel studied brass instruments and conducting with Carlton Stewart, Frederick Fennell, and John Paynter. In the years following his studies at the University of Northern Iowa, Mr. Schissel has distinguished himself as a prominent conductor, orchestrator, and musicologist. Loras John Schissel recently complet ed his 21st season as founding music director of the Arlington-based Virginia Grand Military Band, an ensemble comprised of current and former members of the four major U.S. service bands. In 2005, he was elected to membership in the prestigious American Bandmasters Association. As a composer and orchestrator, Mr. Schissel has created an extensive cata-

Blossom Music Festival

Band Conductor

logue of over 500 works for orchestra, symphonic wind band, and jazz ensemble, published exclusively by Ludwig/ Masters Music. His musical score for Bill Moyers: America’s First River, The Hudson received much acclaim. He has also created musical scores for two films for the Franklin D. Roosevelt Home in Hyde Park, New York. As a recording artist, he has amassed a large discography with a wide variety of ensembles and musical genres. Loras John Schissel is a senior musicologist at the Library of Congress and a leading authority on the music of Percy Aldridge Grainger, Aaron Copland, Leonard Bernstein, and Boston Symphony Orchestra conductor Serge Koussevitzky. Schissel and John Philip Sousa IV (greatgrandson of the composer) have co-authored a book titled John Philip Sousa’s America: A Patriot’s Life in Images and Words. 20th Century Fox reissued the Clifton Webb classic The Stars and Stripes Forever in conjunction with the SousaSchissel book. Mr. Schissel is currently working on a study of the famed impresario Sergei Diaghilev. Deeply committed to young musicians, Loras John Schissel has appeared as conductor of All-State music festivals and of festival bands and orchestras in more than thirty states. He has led many local and community bands here in Northeast Ohio, and has appeared regularly as conductor of the Summer Band Camp at Baldwin Wallace University. In July 2008, Mr. Schissel made his debut with “Pershing’s Own,” the United States Army Band, on the steps of the U.S. Capitol. An online masterclass with the Army Band was viewed in more than 30 countries.

B R E A K I N G T H E

MOLD WORLD

M E A N S T H E

S H A P I N G

At Kent State University, we have one of the largest systems in the nation and one of the closest families in the world. Here you’re comfortable being yourself yet empowered to discover what more you can become. Here a strong acceptance by our community leads to a powerful impact in all directions. Here it’s OK to be undecided but unacceptable to not have purpose. Because when you’re not expected to fit a certain mold, you develop exceptional abilities to achieve amazing things.

WWW.KENT.EDU KENT STATE UNIVERSITY, KENT STATE AND KSU ARE REGISTERED TRADEMARKS AND MAY NOT BE USED WITHOUT PERMISSION. KENT STATE UNIVERSITY, AN EQUAL OPPORTUNITY, AFFIRMATIVE ACTION EMPLOYER, IS COMMITTED TO ATTAINING EXCELLENCE THROUGH THE RECRUITMENT AND RETENTION OF A DIVERSE WORKFORCE. 16-UR-00309-251

THE

CLEVELAND

CONCERTS

ORCHESTRA

Each year, thousands of Northeast Ohioans experience The Cleveland Orchestra for the first time. Whether you are a seasoned concertgoer or a first-timer, these pages give you ways to learn more or get involved with the Orchestra and to explore the joys of music further. Created to serve Northeast Ohio, The Cleveland Orchestra has a long and proud history of sharing the value and joy of music. To learn more, visit clevelandorchestra.com

The Cleveland Orchestra performs all varieties of music, gathering family and friends together in celebration of the power of music. The Orchestra’s music marks major milestones and honors special moments, helping to provide the soundtrack to each day and bringing your hopes and joys to life. From free community concerts at Severance Hall and in downtown Cleveland . . . to picnics on warm summer evenings at Blossom Music Center . . . From performances for crowds of students, in classrooms and auditoriums . . . to opera and ballet with the world’s best singers and dancers . . . From holiday gatherings with favorite songs . . . to the wonder of new compositions performed by music’s rising stars . . . Music inspires. It fortifies minds and electrifies spirits. It brings people together in mind, body, and soul.

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Blossom Festival 2016

Celebrating Life & Music

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THE CLEVELAN D ORCHESTRA

excellence

Ambassador to the World

A Focus on Young People

Changing Lives The Cleveland Orchestra is building the youngest orchestra audience in the country. Over the past five years, the number of young people attending Cleveland Orchestra concerts at Blossom and Severance Hall has more than doubled, and now makes up 20% of the audience! • Under 18s Free, the flagship program of the Orchestra’s Center for Future Audiences (created with a lead endowment gift from the Maltz Family Foundation), makes attending Orchestra concerts affordable for families. • Student Advantage and Frequent FanCard programs offer great deals for students.

The Cleveland Orchestra is one of the world’s most acclaimed and sought-after performing arts ensembles. Whether performing at home or around the world, the musicians carry Northeast Ohio’s commitment to excellence and strong sense of community with them everywhere the Orchestra performs. The ensemble’s ties to this region run deep and strong: • Two acoustically-renowned venues — Severance Hall and Blossom — anchor the Orchestra’s performance calendar and continue to shape the artistic style of the ensemble. • More than 60,000 local students participate in the Orchestra’s education programs each year. • Over 350,000 people attend Orchestra concerts in Northeast Ohio annually. • The Cleveland Orchestra serves as Cleveland’s ambassador to the world — through concerts, recordings, and broadcasts — proudly bearing the name of its hometown across the globe.

• The Circle, our new membership program for ages 21 to 40, enables young professionals to enjoy Orchestra concerts and social and networking events. • The Orchestra’s casual Friday evening concert series (Fridays@7 and Summers @Severance) draw new crowds to Severance Hall to experience the Orch estra in a context of friends and musical explorations.

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THE CLEVELAN D ORCHESTRA

YOUR ORCHESTRA

Building Community The Cleveland Orchestra exists for and because of the vision, generosity, and dreams of the Northeast Ohio community. Each year, we seek new ways to meaningfully impact Cleveland’s citizens.

EDUCATION

Inspiring Minds Education has been at the heart of The Cleveland Orchestra’s community offerings since the ensemble’s founding in 1918. The arts are a core subject of school learning, vital to realizing each child’s full potential. A child’s education is incomplete unless it includes the arts, and students of all ages can experience the joy of music through the Orchestra’s varied education programs. The Orchestra’s offerings impact . . . . . . the very young, with programs including PNC Musical Rainbows and PNC Grow Up Great. . . . grade school and high school students, with programs including Learning Through Music, Family Concerts, Education Concerts, and In-School Performances.

• Convening people at free community concerts each year in celebration of our country, our city, our culture, and our shared love of music. • Immersing the Orchestra in local communities with special performances in local businesses and hotspots during our annual “At Home” neighborhood residencies. • Collaborating with celebrated arts institutions — from the Cleveland Museum of Art and PlayhouseSquare to Chicago’s Joffrey Ballet — to bring inspirational performances to the people of Northeast Ohio. • Actively partnering with local schools, neighborhoods, businesses, and state and local government to engage and serve new corners of the community through neighborhood residencies, education offerings, and free public events.

. . . college students and beyond, with programs including musician-led masterclasses, in-depth explorations of musical repertoire, pre-concert musician interviews, and public discussion groups.

Blossom Festival 2016

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THE CLEVELAN D ORCHESTRA

A GENEROUS COMMUNITY

Supporting Excellence

The Cleveland Orchestra is in the midst of the Sound for the Centennial Campaign, a ten-year initiative that seeks to sustain the musical excellence and community engagement that sets this ensemble apart from every other orchestra in the world.

VolunteerING

Get Involved The Cleveland Orchestra has been supported by many dedicated volunteers since its founding in 1918. You can make an immediate impact by getting involved. • Over 100,000 friends of The Cleveland Orchestra participate online in our news, concerts, and performances through Facebook and Twitter. • The Women’s Committee of The Cleveland Orchestra and the Blossom Friends of The Cleveland Orchestra support the Orchestra through service and fundraising. For further information, please call 216-231-7557.

Ticket sales cover less than half the cost of The Cleveland Orchestra’s concerts, education presentations, and community programs. Each year, thousands of generous people make donations large and small to sustain the Orchestra for today and for future generations. Every dollar donated enables The Cleveland Orchestra to play the world’s finest music, bringing meaningful experiences to people throughout our community — and acclaim and admiration to Northeast Ohio. To learn more, visit clevelandorchestra.com/donate

• Over 400 volunteers assist concertgoers each season, as Ushers for Orchestra concerts at Severance Hall, or as Tour Guides and as Store Volunteers. For more info, please call 216-231-7425. • 300 professional and amateur vocalists volunteer their time and artistry as part of the professionally-trained Cleveland Orchestra Chorus and Blossom Festival Chorus each year. To learn more, please call 216-231-7372.

Get Involved

Blossom Music Festival

THE CLEVELAN D ORCHESTRA

get involved

Learn More To learn more about how you can play an active role as a member of The Cleveland Orchestra family, visit us at Blossom or Severance Hall, attend a musical performance, or contact a member of our staff.

Visit

ACTIVE participation

Making Music The Cleveland Orchestra passionately believes in the value of active musicmaking, which teaches life lessons in teamwork, listening, collaboration, and self expression. Music is an activity to participate in directly, with your hands, voice, and spirit. • You can participate in ensembles for musicians of all ages — including the Cleveland Orchestra Chorus, Children’s Chorus, Youth Chorus, and Blossom Festival Chorus, and the Cleveland Orchestra Youth Orchestra. • Each year, the Orchestra brings people together in celebration of music and events, giving voice to music at community singalongs and during holiday performances. • We partner with local schools and businesses to teach and perform, in ensembles and as soloists, encouraging music-making across Northeast Ohio. Music has the power to inspire, to transform, to change lives. Make music part of your life, and support your school’s music programs.

Blossom Music Festival

Get Involved

Severance Hall

11001 Euclid Avenue Cleveland, OH 44106

Blossom Music Center

1145 West Steels Corners Road Cuyahoga Falls, OH 44223

Administrative Offices: 216-231-7300 Ticket Services: 216-231-1111 or 800-686-1141 or clevelandorchestra.com Group Sales: 216-231-7493 email groupsales@clevelandorchestra.com Education & Community Programs: phone 216-231-7355 email education@clevelandorchestra.com Orchestra Archives: 216-231-7356 email archives@clevelandorchestra.com Choruses: 216-231-7372 email chorus@clevelandorchestra.com Volunteers: 216-231-7557 email lcohen@clevelandorchestra.com Individual Giving: 216-231-7556 email bdeeds@clevelandorchestra.com Legacy Giving: 216-231-8006 email legacygiving@clevelandorchestra.com Corporate & Foundation Giving: phone 216-231-7523 email eezell@clevelandorchestra.com Severance Hall Rental Office: phone 216-231-7421 email ebookings@clevelandorchestra.com

Sound for the Centennial TH E C A M PAI G N fo r The C levelan d O rchestr a

Dennis W. LaBarre, President, Musical Arts Association Richard J. Bogomolny, MAA Chairman and Fundraising Chair Nancy W. McCann, Fundraising Vice Chair Alexander M. Cutler, Special Fundraising Beth E. Mooney, Pension Fundraising John C. Morley, Legacy Giving Hewitt B. Shaw, Annual Fund

In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have embarked on an ambitious fundraising campaign. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash gifts and legacy commitments, THE while also securing broad-based and increasing annual support from across Northeast CLEVELAND ORCHESTRA Ohio. The generous individuals and organizations listed on these pages have made longterm commitments of annual support, endowment funds, and legacy declarations to the Campaign. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial difference in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact the Orchestra’s Philanthropy & Advancement Office at 216-231-7558. Listing as of June 15, 2016. gifts of $5 million and more

The Cleveland Foundation Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Nancy Fisher and Randy Lerner in loving recognition of their mother, Norma Lerner

Maltz Family Foundation Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner Anonymous

gifts of $1 million to $5 million

Art of Beauty Company, Inc. BakerHostetler Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mrs. M. Roger Clapp* Eaton FirstEnergy Foundation Forest City The George Gund Foundation Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley KeyBank Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Mrs. Norma Lerner The Lubrizol Corporation The Andrew W. Mellon Foundation

Ms. Beth E. Mooney John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund Ohio Arts Council The Honorable and Mrs. John Doyle Ong The Payne Fund PNC Bank Julia and Larry Pollock Mr. and Mrs. Alfred M. Rankin, Jr. James and Donna Reid Barbara S. Robinson The Leighton A. Rosenthal Family Foundation The Sage Cleveland Foundation The Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation Mr. and Mrs. Richard K. Smucker The J. M. Smucker Company Joe and Marlene Toot Anonymous (3)

Sound for the Centennial Campaign

The Cleveland Orchestra

gifts of $500,000 to $1 million

Gay Cull Addicott American Greetings Corporation Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Dr. and Mrs. Hiroyuki Fujita GAR Foundation Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Mr. and Mrs. Douglas A. Kern James and Gay* Kitson

Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann Medical Mutual of Ohio Nordson Corporation Foundation Parker Hannifin Foundation Charles and Ilana Horowitz Ratner Sally and Larry Sears Squire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of Canton Ms. Ginger Warner Anonymous (4)

gifts of $250,000 to $500,000

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Blossom Friends of The Cleveland Orchestra Mr. and Mrs. Harvey Buchanan* Cliffs Natural Resources The George W. Codrington Charitable Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa Nancy and Richard Dotson George* and Becky Dunn Patricia Esposito

Sidney E. Frank Foundation Albert I. and Norma C. Geller The Gerhard Foundation Mary Jane Hartwell David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III* Trevor and Jennie Jones Elizabeth B. Juliano Mr. Clarence E. Klaus, Jr. Giuliana C. and John D. Koch Dr. Vilma L. Kohn* Mrs. Emma S. Lincoln Mr. and Mrs. Alex Machaskee Robert M. Maloney and Laura Goyanes

Elizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. Morrison Margaret Fulton-Mueller National Endowment for the Arts Roseanne and Gary Oatey William J. and Katherine T. O’Neill Quality Electrodynamics (QED) Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation Richard and Nancy Sneed R. Thomas and Meg Harris Stanton Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort Women’s Committee of The Cleveland Orchestra

gifts of $100,000 to $250,000

The Abington Foundation Akron Community Foundation Mr. and Mrs. George N. Aronoff Jack L. Barnhart Fred G. and Mary W. Behm Madeline & Dennis Block Trust Fund Ben and Ingrid Bowman Dr. Christopher P. Brandt and Dr. Beth Sersig Buyers Products Company Mr. and Mrs. David J. Carpenter Mary Kay DeGrandis and Edward J. Donnelly Judith and George W. Diehl Ernst & Young LLP Mr. Allen H. Ford Frantz Ward LLP Dr. Saul Genuth The Giant Eagle Foundation JoAnn and Robert Glick Hahn Loeser & Parks LLP Iris and Tom Harvie Jeff and Julia Healy The Hershey Foundation Mr. Daniel R. High Mr. and Mrs. Donald M. Jack, Jr. Bernie and Nancy Karr

Blossom Music Festival

Mr. and Mrs.* S. Lee Kohrman Kenneth M. Lapine and Rose E. Mills Dr. David and Janice Leshner Litigation Management, Inc. Jeffrey Litwiller Linda and Saul Ludwig Dr. and Mrs. Sanford E. Marovitz Mr. Thomas F. McKee The Miller Family: Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern The Margaret Clark Morgan Foundation The Nord Family Foundation Olympic Steel, Inc. Park-Ohio Holdings Corp. Helen Rankin Butler and Clara Rankin Williams The Reinberger Foundation Amy and Ken Rogat Audra* and George Rose RPM International Inc. Mr. Larry J. Santon Raymond T. and Katherine S. Sawyer

Sound for the Centennial Campaign

Mrs. David Seidenfeld David Shank Naomi G. and Edwin Z. Singer Drs. Charles Kent Smith and Patricia Moore Smith Sandra and Richey Smith George R. and Mary B. Stark Ms. Lorraine S. Szabo Virginia and Bruce Taylor Tucker Ellis Dorothy Ann Turick The Denise G. and Norman E. Wells, Jr. Family Foundation Mr. Max W. Wendel Paul and Suzanne Westlake Marilyn J. White The Edward and Ruth Wilkof Foundation Katie and Donald Woodcock William Wendling and Lynne Woodman Anonymous (3)

* deceased

cultivating a family tradition . . .

“Hearing an extraordinary performance by The Cleveland Orchestra at Blossom is unforgettable — and even more special when you share it with others.” For half a century, The Cleveland Orchestra has given Dr. Arthur Lavin many of his most treasured memories. His parents became subscribers in the 1940s, driving up from Canton to attend Orchestra concerts as part of their social routine — and included their son from an early age — instilling in him a lifelong love of symphonic music and The Cleveland Orchestra. Today, Arthur fondly recalls going to Blossom as a youth with his best friends, lying on the lawn and watching the stars, mesmerized by the extraordinary music. In turn, Arthur and his wife, Diane, introduced their three children to the singular beauty of being entranced by The Cleveland Orchestra on summer evenings at Blossom — where the music sounds almost supernatural, the dark forest flashes with fireflies, and the night air feels like velvet. Arthur vividly remembers one night when a thunderstorm burst over the Lawn during the tempestuous Presto section of the fourth movement of Beethoven’s Ninth Symphony. The Lavins scrambled for cover amid musical dissonance and natural fury. “And then, when the Ode to Joy itself began, I will never forget our kids dancing with all the other children in the sort of joy I think Beethoven hoped would animate all who hear this music.” THE

CLEVELAND ORCHESTRA

Share the power of music and your love for The Cleveland Orchestra by sharing memorable photos from your own unforgettable evenings at Blossom. Instagram: @cleveorch

instagram: @cleveorch

#CleOrchBlossom

Gourmet Matinees are a series of summertime meetthe-artist luncheons showcasing the individual stories and artistry of musicians of The Cleveland Orchestra. Each event features a lively discussion session with a small group of musicians, including a musical performance. Lunch is included, reservations are required. Presented at Knight Grove at Blossom Music Center by Blossom Friends of The Cleveland Orchestra.

Intro copy on this inside pan mentioning the musician and d

2O16

Gourmet Matinees

July 12 — Tuesday at 12 noon Cleveland Bluegrass Orchestra The Cleveland Bluegrass Orchestra — starring Trina Struble (fiddle), Mark Dumm (banjo), Jeffrey Zehngut (mandolin), Henry Peyrebrune (guitar), and Derek Zadinsky (bass) — opens the 2016 Gourmet Matinee series with music that is guaranteed to make your toes tap and put a smile on your face.

August 3 — Wednesday at 12 noon Trombone and Cello Duo Enjoy the melodious tones of two favorite instruments, with musical selections performed by Shachar Israel (trombone) and David Alan Harrell (cello). This will be a duo performance that stirs your soul and sparks your imagination.

September 1 — Thursday at 12 noon Cleveland Trumpeter The 2016 Gourmet Matinee series ends on a delightful note with Cleveland native Michael Miller. Revel in the brilliant and bold sound of the trumpet as Michael presents a lively program to close the season. For more information or to make reservations, please call Nancy Cruikshank at 440-354-8603 or visit clevelandorchestra.com/GourmetMatinee. presented by

Blossom Friends of The Cleveland Orchestra

Blossom Music Festival

2016 Gourmet Matinee Luncheons

THE CLEVELAN D ORCHESTRA

Individual Annual Support The Cleveland Orchestra gratefully recognizes the individuals listed here, who have provided generous gifts of cash or pledges of $2,500 or more to the Annual Fund, benefit events, tours and residencies, and special annual donations.

Lifetime Giving

Giving Societies

$10 MILLION and more

In celebration of the critical role individuals play in supporting The Cleveland Orchestra each year, donors of $2,500 and more are recognized as members of special Leadership Giving Societies. These societies are named to honor important and inspirational leaders in the Orchestra’s history. The Adella Prentiss Hughes Society honors the Orchestra’s founder and first manager, who from 1918 envisioned an ensemble dedicated to community service, music education, and performing excellence. The George Szell Society is named after the Orchestra’s fourth music director, who served for twenty-four seasons (1946-70) while refining the ensemble’s international reputation for clarity of sound and unsurpassed musical excellence. The Elisabeth DeWitt Severance Society honors not only the woman in whose memory Severance Hall was built, but her selfless sharing, including her insistence on nurturing an orchestra not just for the wealthy but for everyone. The Dudley S. Blossom Society honors one of the Orchestra’s early and most generous benefactors, whose dedication and charm rallied thousands to support and nurture a hometown orchestra toward greatness. The Frank H. Ginn Society honors the man whose judicious management of Severance Hall’s finances and construction created a beautiful and welcoming home for Cleveland’s Orchestra. The 1929 Society honors the vibrant community spirit that propelled 3,000 volunteers and donors to raise over $2 million in a nine-day campaign in April 1929 to meet and match John and Elisabeth Severance’s challenge gift toward the building of the Orchestra’s new concert hall.

JOHN L. SEVERANCE SOCIETY Daniel R. Lewis (Miami, Cleveland) Jan R. Lewis (Miami, Cleveland) Mrs. Alfred M. Rankin, Sr. $5 MILLION to $10 MILLION

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Mrs. Norma Lerner and The Lerner Foundation Mr. and Mrs. Albert B. Ratner $1 MILLION to $5 MILLION

Irma and Norman Braman (Miami) Mr. Francis J. Callahan* Mrs. M. Roger Clapp* Mr. George Gund III * Francie and David Horvitz (Miami) Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III * The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Sue Miller (Miami) Sally S.* and John C. Morley The Family of D. Z. Norton The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson Peter B. Lewis* and Janet Rosel Lewis (Miami) The Ralph and Luci Schey Foundation Mr.* and Mrs. Ward Smith Mr. and Mrs. Richard K. Smucker Anonymous (2) The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which stands today as an emblem of unrivalled quality and community pride. Lifetime giving listing as of June 2016.

84 48

gifts during the past year, as of June 10, 2016

Individual Annual Support

The Cleveland Orchestra

Leadership Council Adella Prentiss Hughes Society gifts of $100,000 and more INDIVIDUAL GIFTS OF $500,000 AND MORE

Mr. and Mrs. Albert B. Ratner Mr. and Mrs. Richard K. Smucker INDIVIDUAL GIFTS OF $200,000 TO $499,999

Irma and Norman Braman (Miami) Mr. and Mrs. James A. Haslam III The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis (Miami) Jan R. Lewis (Miami) Peter B. Lewis* and Janet Rosel Lewis (Miami) Sue Miller (Miami) James and Donna Reid INDIVIDUAL GIFTS OF $100,000 TO $199,999

George* and Becky Dunn Dr. and Mrs. Hiroyuki Fujita David and Francie Horvitz Family Foundation (Miami) James D. Ireland III* Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre Mrs. Emma S. Lincoln Milton and Tamar Maltz Elizabeth F. McBride Mary M. Spencer (Miami) Ms. Ginger Warner (Cleveland, Miami) Mr. and Mrs. Franz Welser-MĂśst Janet* and Richard Yulman (Miami)

The Leadership Council salutes those extraordinary donors who have pledged to sustain their annual giving at the highest level for three years or more. Leadership Council donors are recognized in these Annual Support listings with the Leadership Council symbol next to their name:

INDIVIDUAL GIFTS OF $50,000 TO $74,999

Sheldon and Florence Anderson (Miami) Blossom Friends of The Cleveland Orchestra Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler Hector D. Fortun (Miami) T. K. and Faye A. Heston Giuliana C. and John D. Koch Dr.* and Mrs. Jerome Kowal Toby Devan Lewis Robert M. Maloney and Laura Goyanes Ms. Nancy W. McCann Sally S.* and John C. Morley Margaret Fulton-Mueller Roseanne and Gary Oatey (Cleveland, Miami) The Claudia and Steven Perles Family Foundation (Miami) Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner Sally and Larry Sears Hewitt and Paula Shaw Barbara and David Wolfort (Cleveland, Miami) Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra Anonymous (4)

Elisabeth DeWitt Severance Society gifts of $25,000 and more

George Szell Society

INDIVIDUAL GIFTS OF $30,000 TO $49,999

gifts of $50,000 and more INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern Ms. Beth E. Mooney The Honorable and Mrs. John Doyle Ong Mr. Patrick Park (Miami) Mr. and Mrs. Alfred M. Rankin, Jr. Barbara S. Robinson (Cleveland, Miami)

Daniel and Trish Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Mr. and Mrs. David J. Carpenter Robert and Jean* Conrad Mr. and Mrs. Geoffrey Gund Mrs. John A. Hadden, Jr. Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable Foundation Virginia M. and Jon A. Lindseth Julia and Larry Pollock The Ralph and Luci Schey Foundation Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton The Denise G. and Norman E. Wells, Jr. Family Foundation listings continue

Blossom Festival 2016

Individual Annual Support

85 49

THE CLEVELAN D ORCHESTRA

LEADERSHIP PATRON PROGRAM Barbara Robinson, chair Robert Gudbranson, vice chair

listings continued INDIVIDUAL GIFTS OF $25,000 TO $29,999

Ronald H. Bell Henry C. Doll Judy Ernest Nicki Gudbranson Jack Harley Iris Harvie

Mr. and Mrs. William W. Baker Marsha and Brian Bilzin (Miami) In dedication to Donald Carlin (Miami) Martha and Bruce Clinton (Miami) Mr.* and Mrs. Gerald A. Conway Judith and George W. Diehl JoAnn and Robert Glick Mr. Loren W. Hershey Mrs. Marguerite B. Humphrey Mr. and Mrs. Donald M. Jack, Jr. Junior Committee of The Cleveland Orchestra Thomas E Lauria (Miami) Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan Mrs. Jane B. Nord William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Mr. Larry J. Santon Jim and Myrna Spira Paul and Suzanne Westlake Anonymous (2)

The Leadership Patron Program recognizes generous donors of $2,500 or more to the Orchestraâ&#x20AC;&#x2122;s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Elizabeth Arnett, Manager, Leadership Giving, by calling 216-231-7522.

Dudley S. Blossom Society gifts of $15,000 and more INDIVIDUAL GIFTS OF $20,000 TO $24,999

Gay Cull Addicott Randall and Virginia Barbato Mr. Yuval Brisker Mr. and Mrs. Matthew V. Crawford Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami) Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Mary and Jon Heider (Cleveland, Miami) Allan V. Johnson Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Mr. and Mrs. Moshe Meidar (Miami) The Miller Family Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Kim Sherwin Mr. and Mrs. Donald Stelling (Europe) Rick, Margarita, and Steven Tonkinson (Miami) Gary L. Wasserman and Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe) INDIVIDUAL GIFTS OF $15,000 TO $19,999

William Appert and Christopher Wallace (Miami) Art of Beauty Company, Inc. Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi

Faye A. Heston Brinton L. Hyde David C. Lamb Larry J. Santon Raymond T. Sawyer

Jill and Paul Clark Mr. and Mrs. William E. Conway Mrs. Barbara Cook Peter D. and Julie F. Cummings (Miami) Do Unto Others Trust (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Mr. Allen H. Ford Ms. Dawn M. Full Richard and Ann Gridley Kathleen E. Hancock Gary Hanson and Barbara Klante Sondra and Steve Hardis Jack Harley and Judy Ernest David and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami) Trevor and Jennie Jones Tati and Ezra Katz (Miami) Mr. Jeff Litwiller Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Edith and Ted* Miller Lucia S. Nash Mrs. David Seidenfeld Mr. and Mrs. Oliver E. Seikel Howard Stark M.D. and Rene Rodriguez (Miami) Joe and Marlene Toot Mr. and Mrs. Daniel P. Walsh Tom and Shirley Waltermire Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Jeffrey J. Weaver Mr. and Mrs. Jeffrey M. Weiss Florence and Robert Werner (Miami)

Frank H. Ginn Society gifts of $10,000 and more INDIVIDUAL GIFTS OF $12,500 TO $14,999

Mrs. Barbara Ann Davis Robert K. Gudbranson and Joon-Li Kim Eeva and Harri Kulovaara (Miami) Mr. and Mrs. Richard A. Manuel* James and Virginia Meil Mr. and Mrs. Stephen Myers Paul A. and Anastacia L. Rose Joseph and Gail Serota (Miami) Mr. and Mrs. Alfred Umdasch (Europe) Margaret and Eric* Wayne Sandy and Ted Wiese listings continue

50 86

Individual Annual Support

2016 The Cleveland BlossomOrchestra Festival

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the the

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SEASONSSCPONSNOONSALEVEALOSSOS    -   

* SAT., 11/12/16 - 8PM - SEVERANCE HALL 

 SUN.,11/27/16 - 2PM - CONNOR PALACE 



SAT., 12/31/16 - 9PM - SEVERANCE HALL 

*

FRI.. 1/21/17- 8PM - SEVERANCE HALL 

*  S .75.777

SAT., 3/25/17 - 8PM - SEVERANCE HALL 

*

FRI., 4/21/17 - 8PM - SEVERANCE HALL 

*

FRI., 5/19/17 - 8PM - SEVERANCE HALL 

CLEVELANDPOPS.COM VEALOSSOS-75-777S7 Blossom Festival 2016

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $10,000 TO $12,499

Mr. and Mrs. George N. Aronoff Mr. and Mrs. Dean Barry Drs. Nathan A. and Sosamma J. Berger Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. and Mrs. Richard L. Bowen Mr. D. McGregor Brandt, Jr. Paul and Marilyn Brentlinger* Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler Scott Chaikin and Mary Beth Cooper Drs. Wuu-Shung and Amy Chuang Richard J. and Joanne Clark Jim and Karen Dakin Henry and Mary* Doll Mr. and Mrs. Paul Doman Nancy and Richard Dotson Mr. and Mrs. Robert P. Duvin Mary Jo Eaton (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Nelly and Mike Farra (Miami) Mr. Isaac Fisher (Miami) Kira and Neil Flanzraich (Miami) Sheree and Monte Friedkin (Miami) Mr. and Mrs. Richard T. Garrett

Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie Mr. David J. Golden Patti Gordon (Miami) Mary Jane Hartwell Mr. and Mrs. James A. Haslam II Thomas H. and Virginia J. Horner Fund Joan and Leonard Horvitz Ruth and Pedro Jimenez (Miami) Cherie and Michael Joblove (Miami) Andrew and Katherine Kartalis Alan Kluger and Amy Dean (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Stewart and Donna Kohl Shirley and William Lehman (Miami) Dr. David and Janice Leshner Elsie and Byron Lutman Mr.* and Mrs. Arch J. McCartney Mr. Donald W. Morrison Joy P. and Thomas G. Murdough, Jr. (Miami) Brian and Cindy Murphy Mr. Raymond M. Murphy Dr. Anne and Mr. Peter Neff Mrs. Milly Nyman (Miami) Mr. and Mrs. William M. Osborne, Jr.

Douglas and Noreen Powers AndrĂŠs Rivero (Miami) Audra* and George Rose Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Michael and Chandra Rudd (Miami) Dr. Isobel Rutherford Dr. and Mrs.* Martin I. Saltzman Drs. Michael and Judith Samuels (Miami) Raymond T. and Katherine S. Sawyer Carol* and Albert Schupp Seven Five Fund David* and Harriet Simon Dr. Marvin* and Mimi Sobel Richard and Penny Stair Lois and Tom Stauffer Bruce and Virginia Taylor Mr. Joseph F. Tetlak Dr. Russell A. Trusso Anonymous (5)

The 1929 Society gifts of $2,500 to $9,999 INDIVIDUAL GIFTS OF $7,500 TO $9,999

Robert and Alyssa Lenhoff-Briggs Mr. and Mrs. Stanley Cohen (Miami) Ellen E. & Victor J. Cohn Supporting Foundation Marjorie Dickard Comella Mrs. Lois Joan Davis Mr. and Mrs. Thomas S. Davis Bob and Linnet Fritz Linda and Lawrence D. Goodman (Miami) Harry and Joyce Graham Mr. Paul Greig AndrĂŠ and Ginette Gremillet Iris and Tom Harvie Mrs. Sandra L. Haslinger Henry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman

Elisabeth Hugh Mr. David and Mrs. Dianne Hunt Mr. and Mrs. Brinton L. Hyde Pamela and Scott Isquick Richard and Michelle Jeschelnig Joela Jones and Richard Weiss James and Gay* Kitson Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Georgia and Carlos Noble (Miami) Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Nan and Bob Pfeifer Dr. and Mrs. Michael Rosenberg (Miami) Rosskamm Family Trust

Mrs. Florence Brewster Rutter Patricia J. Sawvel Dr. and Mrs. James L. Sechler Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer Foundation Drs. Daniel and Ximena Sessler Bill* and Marjorie B. Shorrock Mrs. Gretchen D. Smith Dr. Gregory Videtic Robert C. Weppler Dr. and Mr. Ann Williams Anonymous (2)

Frank and Leslie Buck Mr. and Mrs. William C. Butler Augustine* and Grace Caliguire Ms. Maria Cashy Dr. William and Dottie Clark Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura Maureen and George Collins (Miami) Corinne L. Dodero Foundation for the Arts and Sciences Mr. Kamal-Neil Dass and Mrs. Teresa Larsen Mr. and Mrs. Ralph Daugstrup Pete and Margaret Dobbins Mr. and Mrs. Bernard H. Eckstein Dr. and Mrs. Robert Elston

Mary and Oliver* Emerson William R. and Karen W. Feth Joseph Z. and Betty Fleming (Miami) Scott A. Foerster Joan Alice Ford Barbara and Peter Galvin Joy E. Garapic Dr. and Mrs. Adi Gazdar Joyce and Ab* Glickman Brenda and David Goldberg Mr. Albert C. Goldsmith Mr. and Mrs. Henry J. Goodman Mr. and Mrs. Randall J. Gordon Robert N. and Nicki N. Gudbranson David and Robin Gunning

INDIVIDUAL GIFTS OF $5,000 TO $7,499

Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App Agnes Armstrong Mrs. Elizabeth H. Augustus Mr. and Mrs. Robert H. Baker Montserrat Balseiro (Miami) Jennifer Barlament and Ken Potsic Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Mr. William Berger Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Dr.* and Mrs. Jerald S. Brodkey Dr. Thomas Brugger and Dr. Sandra Russ

listings continue

88 52

Individual Annual Support

The Cleveland 2016 BlossomOrchestra Festival

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $5,000 TO $7,499 CONTINUED

Alfredo and Luz Gutierrez (Miami) Douglas M. and Amy Halsey (Miami) Clark Harvey and Holly Selvaggi Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Janet D. Heil* Anita and William Heller Thomas and Mary Holmes Ms. Carole Hughes Ms. Charlotte L. Hughes Mr. and Mrs. Christopher Hyland Donna L. and Robert H. Jackson Carol S. and William G. E. Jacobs Mr. and Mrs. Richard A. Janus David and Gloria Kahan Rudolf D. and Joan T. Kamper Milton and Donna* Katz Dr. Richard and Roberta Katzman Mr. John and Mrs. Linda Kelly Mr. and Mrs. Michael T. Kestner Dr. and Mrs. William S. Kiser Jacqueline and Irwin* Kott (Miami) Mr. and Mrs.* S. Lee Kohrman Mr. Clayton R. Koppes Mr. James Krohngold Mr. and Mrs. Peter A. Kuhn Dr. and Mrs. Stephen A. Kushnick Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb Mrs. Sandra S. Laurenson Anthony T. and Patricia A. Lauria Ivonete Leite (Miami) Irvin and Elin Leonard Mr. Lawrence B. and Christine H. Levey Dr. Alan and Mrs. Joni Lichtin Mr. and Mrs.* Thomas A. Liederbach Ms. Grace Lim Mr. Jon E. Limbacher and Patricia J. Limbacher Mr. Rudolf and Mrs. Eva Linnebach

Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Mr. and Mrs.* Robert P. Madison Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel Dr. and Mrs. Eberhard Meinecke Ms. Betteann Meyerson Mr. Robert Miller Mr. and Mrs. William A. Mitchell Curt and Sara Moll Dr. R. Morgan and Dr. S. Weirich (Miami) David and Gayle Noble Richard and Kathleen Nord Mr. Thury O’Connor Mr. Henry Ott-Hansen Jay Pelham (Miami) Mr. and Mrs. John S. Piety Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Martin R. Pollock and Susan A. Gifford Dr. and Mrs. John N. Posch Ms. Rosella Puskas Mr.* and Mrs. Thomas A. Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. James and Lynne Rambasek Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Ms. Deborah Read Mr. and Mrs. Robert J. Reid Mrs. Charles Ritchie Amy and Ken Rogat Robert and Margo Roth Mr. and Mrs. Robert C. Ruhl David M. and Betty Schneider Linda B. Schneider Ms. Adrian L. Scott Lee and Jane Seidman Mr. Eric Sellen and Mr. Ron Seidman

Ms. Marlene Sharak Mrs. Frances G. Shoolroy* Naomi G. and Edwin Z. Singer Family Fund Bruce Smith Drs. Charles Kent Smith and Patricia Moore Smith David Kane Smith Mr. and Mrs. William E. Spatz George and Mary Stark Dr. and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Jr. Stroud Family Trust Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Mrs. Jean H. Taber Robert and Carol Taller Kathy* and Sidney Taurel (Miami) Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Miss Kathleen Turner Robert and Marti Vagi Don and Mary Louise VanDyke Teresa Galang-Viñas and Joaquin Viñas (Miami) Mr. and Mrs. Mark Allen Weigand Mr. and Mrs. Michael R. Weil, Jr. Mr. and Mrs. Ronald E. Weinberg Charles and Lucy Weller Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Nancy V. and Robert L. Wilcox Sandy Wile and Susan Namen Bob and Kat Wollyung Katie and Donald Woodcock Tony and Diane Wynshaw-Boris Anonymous (4)

Lilli and Seth Harris Mr. Robert D. Hart Mary S. Hastings In Memory of Hazel Helgesen Mr. and Mrs. Jerry Herschman Dr. Fred A. Heupler Mr. Robert T. Hexter Vernon and Gwen Higaki David Hollander (Miami) Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. Inkley Robert and Linda Jenkins Barbara and Michael J. Kaplan Dr. and Mrs. Richard S. Kaufman Mrs. Natalie D. Kittredge Dr. Gilles* and Mrs. Malvina Klopman Mr. Donald N. Krosin Charles and Josephine Robson Leamy Ronald and Barbara Leirvik Dr. Edith Lerner Mary Lohman Mrs. Idarose S. Luntz Herbert L. and Rhonda Marcus Martin and Lois Marcus Ms. Nancy L. Meacham Dr. Susan M. Merzweiler Bert and Marjorie Moyar Susan B. Murphy Richard B. and Jane E. Nash

David and Judith Newell Mr. and Mrs. Peter R. Osenar Dr. Lewis and Janice B. Patterson Dr. and Mrs. Gosta Pettersson Maribel A. Piza (Miami) Mr. Carl Podwoski Dr. Marc A. and Mrs. Carol Pohl Alfonso Rey and Sheryl Latchu (Miami) Dr. Robert W. Reynolds Carol Rolf and Steven Adler Fred Rzepka and Anne Rzepka Family Foundation Mr. Paul H. Scarbrough Ginger and Larry Shane Harry and Ilene Shapiro Mr. Richard Shirey Mr. Robert Sieck Howard and Beth Simon Ms. Ellen J. Skinner Mr. Taras G. Szmagala, Jr. Mr. Karl and Mrs. Carol Theil Erik Trimble Drs. Anna* and Gilbert True Mr. and Mrs. Les C. Vinney Richard Wiedemer, Jr. Mrs. Henietta Zabner (Miami) Marcia and Fred* Zakrajsek Max and Beverly Zupon

INDIVIDUAL GIFTS OF $3,500 TO $4,999 Ms. Nancy A. Adams Mr. and Mrs. Robert J. Amsdell Dr. Ronald and Diane Bell Margo and Tom Bertin Howard R. and Barbara Kaye Besser Mr. and Mrs. David Bialosky Carmen Bishopric (Miami) Lisa and Ronald Boyko Mr. and Mrs. Robert R. Broadbent Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert John Carleton (Cleveland, Miami) Mr. and Mrs. Frank H. Carpenter Drs. Mark Cohen and Miriam Vishny Mr. Owen Colligan Mr. and Mrs. David G. de Roulet Mrs. April C. Deming Erich Eichhorn and Ursel Dougherty Peter and Kathryn Eloff Mr. William and Dr. Elizabeth Fesler Richard J. Frey Peggy and David* Fullmer Loren and Michael Garruto Dr. and Mrs. Edward C. Gelber (Miami) Dr. and Mrs. Ronald L. Gould The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig

listings continue

The 90 Cleveland Orchestra

Individual Support Individual AnnualAnnual Support

The Cleveland Orchestra 53

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $2,500 TO $3,499 Mr. and Mrs. Charles Abookire, Jr. Dr. Jacqueline Acho and Mr. John LeMay Stanley I. and Hope S. Adelstein* Mr. and Mrs.* Norman Adler Mr. and Mrs. Monte Ahuja Mr. and Mrs. James B. Aronoff Joseph Babin Mr. Mark O. Bagnall (Miami) Ms. Delphine Barrett Mr. and Mrs. Belkin Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns John and Laura Bertsch Jaime A. Bianchi and Paige A. Harper (Miami) Ms. Deborah A. Blades Bill* and Zeda Blau Doug and Barbara Bletcher Dr. Charles Tannenbaum and Ms. Sharon Bodine Mr. and Mrs. Richard H. Bole Mrs. Loretta Borstein Ms. Andrea L. Boyd Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Laurie Burman Rev. Joan Campbell Mrs. Millie L. Carlson Leigh Carter Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Ronald Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm Michael and Lorena Clark (Miami) Mrs. Robert A. Clark Drs. John and Mary Clough Kenneth S. and Deborah G. Cohen Mr. and Mrs. Mark Corrado Dr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller The Dascal Family (Miami) Dr. Eleanor Davidson Mr. and Mrs. Edward B. Davis Jeffrey and Eileen Davis Carol Denninson and Jacques Girouard Dr. and Mrs. Howard Dickey-White Dr. and Mrs. Richard C. Distad William Dorsky and Cornelia Hodgson Mr. George and Mrs. Beth Downes Mr. and Mrs. Robert Dreshfield Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki Esther L. and Alfred M. Eich, Jr. Drs. Heidi Elliot and Yuri Novitsky David* and Margaret Ewart Harry and Ann Farmer Mr. Paul C. Forsgren Michael Frank & Patricia A. Snyder Mr. William Gaskill and Ms. Kathleen Burke Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Dr. and Mrs. Victor M. Goldberg Mr. and Mrs. David A. Goldfinger Mr. Davin and Mrs. Jo Ann Gustafson Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green Mr. and Mrs. Donald F. Hastings Matthew D. Healy and Richard S. Agnes Mr. and Mrs. Robert D. Hertzberg (Miami) Dr. and Mrs. Robert L. Hinnes Mr. Larry Holstein Bob* and Edith Hudson (Miami) Dr. Randal N. Huff and Ms. Paulette Beech Ms. Luan K. Hutchinson Ruth F. Ihde

54 92

Pamela Jacobson Mrs. Carol Lee and Mr. James Iott Mr. Norman E. Jackson (Miami) Ms. LaVerne Jacobson Dr. Michael and Mrs. Deborah Joyce Mr. Peter and Mrs. Mary Joyce Mr. Stephen Judson Rev. William C. Keene Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary and Robert Kendis and Susan and James Kendis Bruce and Eleanor Kendrick Mr. James Kish Fred* and Judith Klotzman Marion Konstantynovich Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Vicki Kennedy Dr. Michael E. Lamm Mr. and Mrs. John J. Lane, Jr. Michael Lederman Judy and Donald Lefton (Miami) Mr. Gary Leidich Michael and Lois A. Lemr Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Ms. Mary Beth Loud Janet A. Mann Mr. and Mrs. Raul Marmol (Miami) Dr. and Mrs. Sanford E. Marovitz Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick Martin Ms. Amanda Martinsek Mr. Julien L. McCall William C. McCoy Mr. and Mrs. James E. Menger Stephen and Barbara Messner Loretta J. Mester and George J. Mailath Mr. Michael and Mrs. Lynn Miller Drs. Terry E. and Sara S. Miller Jim and Laura Moll Steven and Kimberly Myers Deborah L. Neale Marshall I. Nurenberg and Joanne Klein Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan Dr. Guilherme Oliveira James P. Ostryniec (Miami) Mr. Robert D. Paddock Dr. Dean and Mrs. Kathy Pahr George Parras Mr. Thomas and Mrs. Tommie Patton Henry Peyrebrune and Tracy Rowell Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Mr. Robert Pinkert* (Miami) Mrs. Elinor G. Polster Mr. Robert and Mrs. Susan Price Kathleen Pudelski Ms. C. A. Reagan David and Gloria Richards Michael Forde Ripich Mr. and Mrs. James N. Robinson II (Miami) Mr. Timothy D. Robson Ms. Linda M. Rocchi Dr. Robert and Mrs. Lauryn Ronis Miss Marjorie A. Rott* Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo Dr. Harry S. and Rita K. Rzepka Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton Fr. Robert J. Sanson Ms. Patricia E. Say Mr. James Schutte

Individual Annual Support

Mr. and Mrs. Alexander C. Scovil Dr. John Sedor and Ms. Geralyn Presti Don Schmitt and Jim Harmon Ms. Kathryn Seider Charles Seitz (Miami) Mr. and Mrs. Thomas W. Seitz Ms. Frances L. Sharp Larry Oscar and Jeanne Shatten Dr. Donald S. Sheldon Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Grover Short Laura and Alvin A. Siegal Lois H. Siegel (Miami) Dr. and Mrs. Conrad Simpfendorfer The Shari Bierman Singer Family Grace Katherine Sipusic Robert and Barbara Slanina Roy Smith Sandra and Richey Smith Ms. Barbara Snyder Mr. Jorge Solano (Miami) Lucy and Dan Sondles Mr. Louis Stellato Mr. and Mrs. Joseph D. Sullivan Ken and Martha Taylor Dr. and Mrs. Thomas A. Timko Steve and Christa Turnbull Mrs. H. Lansing Vail, Jr. Robert A. Valente Brenton Ver Ploeg (Miami) Dr. Michael Vogelbaum and Mrs. Judith Rosman Barbara and George von Mehren Alice & Leslie T. Webster, Jr. Mr. and Mrs.* Jerome A. Weinberger Mr. Peter and Mrs. Laurie Weinberger Richard and Mary Lynn Wills Mr. Martin Wiseman Michael H. Wolf and Antonia Rivas-Wolf Elizabeth B. Wright Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (5)

member of the Leadership Council (see information box earlier in this section)

* deceased

THE

CLEVELAND ORCHESTRA

The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Leadership Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestraâ&#x20AC;&#x2122;s Annual Report, which can be viewed online at clevelandorchestra .com

Blossom The Cleveland MusicOrchestra Festival

Your legacy helps create a healthier community. Leave your legacy. Remember University Hospitals in your estate plans.

Gifts to University Hospitals continue the legacy of giving from generation to generation – by enabling us to live our mission every day:

To Heal. Enhancing patient care, experience and access To Teach. Training future generations of physicians and scientists To Discover. Accelerating medical innovations and clinical research And with your support, we’ll continue to provide the same high-quality care that we have for 150 years. Join the many who are making a difference.

To learn more, contact our gift planning team at 216-983-2200 or visit UHGiving.org.

July 22-23 Firestone Park

August 5-6

Glendale Cemetery

July 29-30 Hardesty Park

August 12-13 Goodyear Metro Park

Performances at 8:45 P.M. www.akrondancefestival.org Interactive childrenâ&#x20AC;&#x2122;s programs by The University of Akron Dance Institute at 7:45 P.M. FREE ADMISSION Enjoy The Akron Symphony on Sunday July 24 at Firestone Park, Sunday July 31 at Hardesty Park, Sunday August 7 at Glendale Cemetery and Sunday August 14 at Goodyear Metro Park. Concerts start at 7:30 P.M. FREE ADMISSION

HP_2.625X8_BLOSSOM.indd 1

6/20/16 11:39 AM

2016 Blossom Festival

THE CLEVELAN D ORCHESTRA

Corporate Support

The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

JOHN L. SEVERANCE SOCIETY $5 MILLION and more

KeyBank PNC Bank $1 MILLION to $5 MILLION

BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual of Ohio Parker Hannifin Foundation The Plain Dealer PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company UBS The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of June 2016.

Annual Support

gifts of $2,500 or more during the past year, as of June 10, 2016 The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to musical excellence at the highest level. PARTNERS IN EXCELLENCE $300,000 and more

Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company PARTNERS IN EXCELLENCE $200,000 to $299,999

BakerHostetler Eaton FirstEnergy Foundation Jones Day PNC Bank PARTNERS IN EXCELLENCE $100,000 to $199,999

American Greetings Corporation Forest City The Lincoln Electric Foundation Medical Mutual of Ohio Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP White & Case (Miami) $50,000 to $99,999

Dollar Bank Foundation Parker Hannifin Foundation Quality Electrodynamics (QED) voestalpine AG (Europe) Anonymous $25,000 to $49,999 Buyers Products Company FirstMerit Bank Adam Foslid / Greenberg Traurig (Miami) Litigation Management, Inc. The Lubrizol Corporation Olympic Steel, Inc. RPM International Inc.

Blossom Festival 2016

Corporate Annual Support

$2,500 to $24,999 Akron Tool & Die Company American Fireworks, Inc. ArtsMarketing Services Inc. Bank of America BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co. LLC Calfee, Halter & Griswold LLP Carlton Fields (Miami) The Cedarwood Companies Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Consolidated Solutions Dominion Foundation Ernst & Young LLP Evarts Tremaine The Ewart-Ohlson Machine Company Feldman Gale, P.A. (Miami) Ferro Corporation Frantz Ward LLP Arthur J. Gallagher & Co. The Giant Eagle Foundation Great Lakes Brewing Company Gross Builders Hahn Loeser & Parks LLP Huntington National Bank KPMG LLP Lakewood Supply Co. Littler Mendelson, P.C. Live Publishing Company Macy’s Materion Corporation Miba AG (Europe) MTD Products, Inc. North Coast Container Corp. Northern Haserot Oatey Ohio CAT Ohio Savings Bank, A Division of New York Community Bank OMNOVA Solutions Oswald Companies Park-Ohio Holdings Corp. The Plain Dealer PolyOne Corporation The Prince & Izant Company The Sherwin-Williams Company Southern Wine and Spirits (Miami) Stern Advertising Agency Struktol Company of America Swagelok Company Tucker Ellis UBS United Automobile Insurance (Miami) University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) WCLV Foundation Westlake Reed Leskosky Margaret W. Wong & Assoc. Co., LLC Anonymous (2)

81 57

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Your guide to living, working and playing in Summit, Portage & Medina counties. Featuring

NEW EDIT ION COM IN SEPT G IN EMB ER!

75 Reasons We Love Greater Akron Our Social Media platforms engage target audiences year-round. Available at the Greater Akron Chamber 330.376.5550, Toll Free 800.621.8001, Online at greaterakronchamber.org, at Community Libraries & Your Favorite Hot Spots Advertising contact: Gail Kerzner cell 216.272.1111, office 330.882.8500 gkerzner@livepub.com 58

2016 Blossom Festival

THE CLEVELAN D ORCHESTRA

Foundation & Government Support The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

JOHN L. SEVERANCE SOCIETY $10 MILLION and more

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Kulas Foundation Maltz Family Foundation State of Ohio Ohio Arts Council The Kelvin and Eleanor Smith Foundation $5 MILLION to $10 MILLION

Annual Support

gifts of $2,500 or more during the past year, as of June 10, 2016 $1 MILLION and more

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture The Andrew W. Mellon Foundation $500,000 to $999,999

The George Gund Foundation Ohio Arts Council Timken Foundation of Canton $250,000 to $499,999

Knight Foundation (Miami) Kulas Foundation John P. Murphy Foundation The Eric & Jane Nord Family Fund $100,000 to $249,999

The George Gund Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon Foundation John P. Murphy Foundation

GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation

$1 MILLION to $5 MILLION

$50,000 to $99,999

The William Bingham Foundation The George W. Codrington Charitable Foundation GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of June 2016.

Blossom Festival 2016

Paul M. Angell Family Foundation The George W. Codrington Charitable Foundation Florida Division of Cultural Affairs (Miami) The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Nord Family Foundation The Payne Fund The Sage Cleveland Foundation

$20,000 to $49,999 Akron Community Foundation The Batchelor Foundation, Inc. (Miami) Eva L. and Joseph M. Bruening Foundation Mary E. and F. Joseph Callahan Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Helen Wade Greene Charitable Trust National Endowment for the Arts The Char and Chuck Fowler Family Foundation The Frederick and Julia Nonneman Foundation Peacock Foundation, Inc. (Miami) The Reinberger Foundation Sandor Foundation Harold C. Schott Foundation The Sisler McFawn Foundation The Veale Foundation

$2,500 to $19,999 The Abington Foundation The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of The Cleveland Foundation Elisha-Bolton Foundation The Conway Family Foundation The Cowles Charitable Trust (Miami) The Harry K. Fox and Emma R. Fox Charitable Foundation Funding Arts Network (Miami) The Hankins Foundation The William Randolph Hearst Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family Foundation Bessie Benner Metzenbaum Foundation The Margaret Clark Morgan Foundation The M. G. O’Neil Foundation Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wuliger Foundation Anonymous (2)

Foundation and Government Annual Support

83 59

DISCOVERY STARTS HERE THE CENTENNIAL CAMPAIGN FOR THE CLEVELAND MUSEUM OF NATURAL HISTORY A bold and innovative transformation is coming to the Cleveland Museum of Natural Historyâ&#x20AC;&#x2122;s campus, bringing science and nature to life for visitors of all ages. For nearly 100 years, we have been recognized as a global leader in scientific research, education and conservation. Our vision for our centennial anniversary in 2020 is to fully integrate our world-renowned collections and the research of our curators into the visitor experience. With new discoveries at every turn, our Museum will spark visitorsâ&#x20AC;&#x2122; curiosity and a passion to learn more about science and the natural world around us. Help us create the transformational museum experience of tomorrow. Your involvement can make a great impact on science education for generations to come. Join the campaign at www.cmnh.org/centennialhome or call Sheryl Hoffman, Leadership Giving, 216-231-3310.

of its founding in 2018, The Cleveland Orch estra is undergoing a new transformation and renaissance. Under the leadership of Franz Welser-Möst, entering his fifteenth year as the ensemble’s music director with the upcoming 2016-17 season, The Cleveland Orchestra is acknowledged among the world’s very best orchestras. With Welser-Möst, the ensemble’s musicians, board of directors, staff, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence, to renew its focus on fully serving the communities where it performs through concerts, engagement, and music education, to develop the youngest audience of any orchestra, to build on its tradition of community support and financial strength, and to move forward into the Orchestra’s next century with an unshakeable commitment to innovation and a fearless pursuit of success. The Cleveland Orchestra divides its time each year across concert seasons at home in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and to a series of innovative and intensive performance residencies. These include an annual set of concerts and education programs and partnerships in Miami, Florida, a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s Lincoln Center Festival, and at Indiana University. Each year since 1989, The Cleveland Orchestra Musical Excellence. The Cleveland Orchestra has presented a free concert in downtown Cleveland. The 27th free performance down has long been committed to the pursuit of musical town takes place this summer on Friday eveexcellence in everything that it does. The Orchesning, July 29, in partnership with Cuyahoga tra’s ongoing collaboration with Welser-Möst is Arts & Culture, and celebrates the reopening of a redesigned and renovated Public Square. widely-acknowledged among the best orchestraconductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and radio and internet broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences experience music as a living language that grows and evolves with each new generation. Performances with Baroque specialists, recording projects of varying repertoire and in different locations, fruitful re-examinations and juxtapositions of the standard repertoire, photo by Roger Mastroianni

a s i t ne a r s t h e c en t enni a l

Blossom Festival 2016

The Cleveland Orchestra

and acclaimed collaborations in 20thand 21st-century masterworks together help finetune and enable The Cleveland Orchestra’s ability to give musical performances second to none in the world. Serving the Community. Programs for students and community engagement activities have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities, and have more recently been extended to its touring and residencies. All are being created to connect people Franz Welser-Möst to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique “At Home” neighborhood residency program, designed to bring the Orchestra and Northeast Ohio together in new ways. Additionally, a new Make Music! initiative is underway, championed by Franz Welser-Möst in advocacy for the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing

work to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest — with 20% of attendees now comprised of concertgoers age 25 and under. Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences — including popular Friday night concerts (mixing onstage symphonic works with post-concert entertainment), film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding. An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s concerts. Hundreds of thousands have learned to love music through its education programs and celebrated important events with its music. While strong ticket sales cover just under half of each season’s costs, it is the

The Cleveland Orchestra

2016 Blossom Festival

generosity of thousands each year that drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the Orchestra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 1933-43; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002. The opening in 1931 of Severance Hall as the Orchestra’s permanent home, with later acoustic refinements and remodeling of the hall under Szell’s guidance, brought a special pride to the ensemble and its hometown, as well as providing an enviable and intimate acoustic environment in which to develop and refine the Orchestra’s artistry. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States. Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world. Blossom Festival 2016

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1918

Seven music directors have led the Orchestra, including George Szell, Christoph von Dohnányi, and Franz Welser-Möst.

15th

1l1l 11l1 l1l1

The 2016-17 season will mark Franz Welser-Möst’s 15th year as music director.

Severance Hall, “America’s most beautiful concert hall,” opened in 1931 as the Orchestra’s permanent home.

40,000

each year

Over 40,000 young people attend Cleveland Orchestra concerts each year via programs funded by the Center for Future Audiences, through student programs and Under 18s Free ticketing — making up 20% of audiences.

52%

Over half of The Cleveland Orchestra’s funding each year comes from thousands of generous donors and sponsors, who together make possible our concert presentations, community programs, and education initiatives.

4million

Likes on Facebook (as of June 15, 2016)

The Cleveland Orchestra has introduced over 4.1 million children in Northeast Ohio to symphonic music through concerts for children since 1918.

121,873

1931

150

concerts each year.

The Orchestra was founded in 1918 and performed its first concert on December 11.

The Cleveland Orchestra performs over

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

2 O 1 6

B lossom

M u s i c

F e s t i v a l

Fran z W e l ser - M ö st M u s i c D i re c t o R

Kelvin Smith Family Chair

FIRST VIOLINS William Preucil concertmaster

Blossom-Lee Chair

Peter Otto

First associate concertmaster

Jung-Min Amy Lee

Associate concertmaster

Gretchen D. and Ward Smith Chair

Takako Masame

Paul and Lucille Jones 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

Dr. 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

Mark Dumm

Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan

SECOND VIOLINS Stephen Rose *

Alfred M. and Clara T. Rankin Chair

cellos Mark Kosower*

Louis D. Beaumont Chair

Richard Weiss 1

The GAR Foundation Chair

Emilio Llinas 2

Charles Bernard 2

Eli Matthews 1

Bryan Dumm

James and Donna Reid Chair Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook Yun-Ting Lee VIOLAS Robert Vernon *

Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey 1

Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs

Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Cleveland Orchestra

Helen Weil Ross Chair 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 Paul Kushious BASSES Maximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1

Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune

Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble *

Alice Chalifoux Chair

This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

Blossom Music Festival

FLUTES Joshua Smith *

Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

horns Michael Mayhew §

Knight Foundation Chair

Jesse McCormick

Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia TRUMPETS Michael Sachs *

Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2

James P. and Dolores D. Storer Chair

percussion Marc Damoulakis*

Margaret Allen Ireland Chair

Donald Miller Tom Freer Thomas Sherwood keyboard instruments Joela Jones * Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

librarians Robert O’Brien

Corbin Stair Jeffrey Rathbun 2

Michael Miller

Donald Miller

Robert Walters

CORNETs Michael Sachs *

english horn Robert Walters

Michael Miller

Sidney and Doris Dworkin Chair Clara G. and George P. Bickford Chair Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sunshine Chair Robert Marcellus Chair George Szell Memorial Chair

Everett D. and Eugenia S. McCurdy Chair

Samuel C. and Bernette K. Jaffe Chair

clarinets Robert Woolfrey Daniel McKelway 2 Robert R. and Vilma L. Kohn Chair

Mary Elizabeth and G. Robert Klein Chair

TROMBONES Massimo La Rosa*

Gilbert W. and Louise I. Humphrey Chair

Richard Stout

Alexander and Marianna C. McAfee Chair

Linnea Nereim

Shachar Israel 2

E-flat clarinet Daniel McKelway

bass trombone Thomas Klaber

Stanley L. and Eloise M. Morgan Chair

bass clarINEt Linnea Nereim bassoons John Clouser *

Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2 *

Sandra L. Haslinger Chair

Jonathan Sherwin contrabassoon Jonathan Sherwin

Blossom Music Festival

euphonium and bass trumpet Richard Stout tuba Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

timpani Paul Yancich *

Otto G. and Corinne T. Voss Chair

Tom Freer

Mr. and Mrs. Richard K. Smucker Chair

The Cleveland Orchestra

Joe and Marlene Toot Chair

Endowed chairs currently unoccupied

* Principal § Associate Principal 1 2

First Assistant Principal Assistant Principal on sabbatical leave

conductors Christoph von Dohnányi music director laureate

Brett Mitchell

associate conductor

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

director of choruses

Frances P. and Chester C. Bolton Chair

Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra

P H OTO BY jennifer tay lor

Franz Welser-Möst is among today’s most distinguished conductors. The upcoming 2016-17 season marks his fifteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. Under his direction, the New York Times has declared Cleveland to be the “best American orchestra“ due to its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. The Cleveland Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its recent success in semi-staged and staged opera productions. In addition to an unprecedented annual residency in Miami, Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals, including the Salzburg Festival and the Lucerne Festival. The Cleveland Orchestra has been hugely successful in building up a new and, notably, a young audience through its groundbreaking programs involving students and by working closely with universities. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014 and Beethoven’s Fidelio in 2015) and a tour of Scandinavia, as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. This past season, he led the Vienna Philharmonic in two weeks of subscription concerts, and will conduct a new production of Strauss’s Die Liebe der Danae with them this summer at the 2016 Salzburg Festival. Mr. Welser-Möst also maintains relationships with a number of other European orchestras, and the 2015-16 season includes return engagements to Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra. In December, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm and conducted the Filarmonica of La Scala Milan in a televised Christmas concert. This past season, he also made his long-anticipated debut with Amsterdam’s Royal Concertgebouw Orchestra for two weeks of concerts. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the

July 9: Conductor

Blossom Music Festival

Zurich Opera across a decade-long tenure, conducting more than forty new productions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. The Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik 2015 for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a recently-released multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. at left

Franz Welser-Möst was invited to lead the prestigious Nobel Prize Concert with the Stockholm Philharmonic in December 2015. Other recent accolades include being singled out in a year-end review of notable performers and performances in 2015 by Deutschland Radio.

“Right now The Cleveland Orchestra may be, as some have argued, the finest in America. . . . The ovations for Mr. Welser-Möst and this remarkable orchestra were ecstatic.” —New York Times “Franz Welser-Möst has managed something radical with The Cleveland Orch estra — making them play as one seamless unit. . . . The music flickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.” —London Times “There were times when the sheer splendor of the orchestra’s playing made you sit upright in awestruck appreciation. . . . The music was a miracle of expressive grandeur, which Welser-Möst paced with weight and fluidity.” —San Francisco Chronicle Blossom Music Festival

Conductor: July 9

BLOSSOM Friends

of The Cleveland Orchestra Blossom Friends of The Cleveland Orchestra is a volunteer organization dedicated to promoting and financially supporting The Cleveland Orchestra’s summer home and annual Music Festival at Blossom. Created in 1968 as a women’s volunteer committee, membership today is open to women and men of all ages. Each year, we present a trio of Gourmet Matinee luncheons at Blossom in Knight Grove. We invite you to attend this special series of meet-the-artist afternoon luncheons, featuring performances by Cleveland Orchestra musicians. Please call 440-354-8603 for reservations and more information. Year round, we promote Blossom Music Center through a series of fundraising, learning, and social events to highlight the beauty of Blossom and the magic of great summertime music under the stars. We are proud to support this evening’s concert featuring Franz Welser-Möst and The Cleveland Orchestra, and wish you a special evening filled with the joy of music.

executive committee Elisabeth Hugh, President Elizabeth McCormick, Vice President Mary Walker Sprunt, Recording Secretary JoAnn Greiner, Corresponding Secretary Patricia Rice, Treasurer Claire Frattare, Ex-Officio, Past President

2OI6BLOSSOM MUSIC FESTIVAL

Saturday evening, July 9, 2016, at 8:00 p.m.

THE CLEVEL AND ORCHESTRA franz welser-mÖs t , conductor

Overture, Waltz, and Finale from Powder Her Face

thomas adès

(b. 1971)

Music for Strings, Percussion, and Celesta

béla bartók (1881-1945)

1. 2. 3. 4.

Andante tranquillo Allegro Adagio Allegro molto

i n t e r m i ss i o n

ludwig van beethoven

(1770-1827)

Symphony No. 3 (“Eroica”) in E-flat major, Opus 55

1. 2. 3. 4.

Allegro con brio Marcia funebre: Adagio assai Scherzo: Allegro vivace — Trio — Coda Finale: Allegro molto — Poco andante — Presto

A fireworks display by American Fireworks Company will take place immediately following the concert, weather permitting.

This concert is sponsored by Blossom Friends of The Cleveland Orchestra. With this concert, The Cleveland Orchestra gratefully honors The William Bingham Foundation for its generous support.

The 201 6 B lossom M usic Festival is presented by The J . M . S m ucker Com pa ny

Blossom Festival 2016

Concert Program: July 9

#2 in the nation “Top 10 Colleges for Musical Theatre Majors” Conservatory of Music

– Music School Central

#4 in the nation “The Top 10 Liberal Arts Colleges for Music in the U.S.” – College Magazine

www.bw.edu/conservatory

in t r od u c in g t h e C O N C E RT

Immortality vs. Morality

this co n cert brings together three works that touch on mortality and, in two of them, on morality, as well as on changing reputations — each composer’s, and also within the storylines as to what each work is “about.” To begin the evening, Franz Welser-Möst has chosen a suite from a late 20th-century opera that helped catapult a young English composer’s career forward. Thomas Adès’s Powder Her Face, premiered in 1995, tells the peculiar story of an eccentric duchess, whose sexcapades and life of privilege were splattered publicly through court proceedings and helped mark Great Britain’s changing mid-century sense of morals and the boundaries for public behavior. The musical suite, premiered in 2007, updated the original chamber orchestra scoring to large orchestra, giving Adès new depth in his modern musical canvas. The concert continues with Béla Bartók’s Music for Strings, Percussion, and Celesta. Franz believes that this work is Bartók’s greatest masterpiece. Written in 1936, this uniquely titled composition calls for a specific group of instruments (divided and seated onstage into specific groupings). Here, the composer followed careful patterns and relationships of musical keys and chords — casting movements in traditional forms of fugue, rondo (variations), etc. — to derive a piece of perfected proportions. It offers intriguing soundscapes and interplays, and an unusual but very satisfying experience for players and audience alike. The evening closes with one of Beethoven’s biggest battle-works, the Third Symphony, nicknamed “Heroic.” This mighty piece, born from alternating thoughts of admiration and disgust for Napoleon Bonaparte, and conceived simultaneously as the composer wrestled fate’s choice of stealing his hearing away to deafness, did much to launch Beethoven’s greatness for posterity — and solidified his own resolve to “fight for good” through his music. Here politics and philosophy, heroics and will, might and right, are blended together into one of the greatest symphonies ever written. This is music filled with joy and heartache, fun and confrontation — and pure genius. —Eric Sellen “Napoleon Crossing the Alps” — a painting from 1805 by Jacques-Louis David, portraying Napoleon as a fearless and heroic leader.

above:

Blossom Festival 2016

July 9: Introducing the Concert

Overture, Waltz, and Finale from the opera Powder Her Face suite created in 2007 from the opera composed in 1995

in t h e 1 9 9 0 s , a particularly exciting phenomenon for fol-

Thomas

adès

born March 1, 1971 London currently living in London

lowers of new music was the emergence of British composer Thomas Adès. Here was an artist who transcended all the ideological hang-ups at the end of the millennium, astounding with the dazzling ferocity of his imagination. The extravagant praise heaped on this enfant terrible back then might have squelched a composer of lesser gifts. But Adès has gone on to fulfill expectations in the new century with such artistic triumphs as his Shakespeare-inspired opera The Tempest (revived at London’s Royal Opera House, which originally commissioned it, and presented by New York’s Metropolitan Opera) and several instrumental works — including his violin concerto Concentric Paths, which The Cleveland Orchestra encored this past spring at Severance Hall with soloist Leila Josefowicz. The suite we are hearing on this evening’s program offers a fascinating opportunity to hear the Adès of today confronting his younger self. His debut theater work was the 1995 chamber opera Powder Her Face. Its occasionally sleazy aspects — appropriate for an opera satirizing our culture’s insatiable greed for sensationalism — sent the composer’s fame soaring. When he was searching for a topic for his first opera, Adès originally turned to Lolita before he and librettist Philip Hensher settled on the fall from grace of Margaret, Duchess of Argyll (she had just died in 1993, at the age of 80). The so-called “Dirty Duchess” had once had it all (she was the inspiration for Cole Porter’s “You’re the Top”), but a scandalous divorce trial in 1963 publicized her sexual adventures and led to her downfall. Powder Her Face thus becomes an ironic morality tale — in the tradition of Weill and Brecht — of sex, hypocrisy, class privilege, and the tabloid media. For his concert suite, Adès has retooled parts of his chamber score for the full resources of a large orchestra. The original was conceived as a chamber opera calling for a cast of three (in addition to the Duchess), who play multiple roles, and a 15-piece band with a signature sound of accordion and saxophone. Adès’s economical scoring was a tour de force in its inventiveness. Yet the music itself amply sustains the amplification to its fuller orJuly 9: About the Music

The Cleveland Orchestra

chestral garb in this latest iteration, premiered in 2007. The Overture immediately springs to life with the composer’s Nabokovian delight in the fluid possibilities of his allusive musical language. It sets up the opera’s overall framework of flashbacks to a bygone era’s glitz, recalled from the Duchess’s degraded circumstances as a has-been, in which she nevertheless manages to maintain an oddly alluring sense of dignity. Adès works this contrast out with musical juxtapositions of a rhythmically punchy foxtrot against a leitmotif of mocking laughter (prominent in the swooping clarinets). These spiky, acerbic strains give way to the Waltz (taken from one of the Duchess’s flashbacks — of her wedding, where her maid, in a moment of her own, imagines herself enjoying such a life of luxury in the aria “Fancy, fancy being rich”). Echoes of Adès’s delicately nuanced orchestration for The Tempest abound in this fresh take on the waltz, with its Mahlerian kaleidoscope of restlessly dancing sonorities. The Finale brings back the caustic world of the Overture, rife with even more intriguing distortions. After the Duchess has been booted out of her hotel refuge for failure to pay the bill, the “help” remain for the final say in an epilogue interspersed with addled, taunting tango rhythms.

Margaret, Duchess of Argyll, with one of her dogs in 1975.

Blossom Festival 2016

July 9: About the Music

At a Glance

Adès composed his opera Powder Her Face in 1995. He extracted and reorchestrated this suite, titled “Overture, Waltz, and Finale,” from its music in 2007 as a co-commission from the Aldeburgh Festival, the Philharmonia Orchestra, and The Cleveland Orchestra. It was first performed on June 17, 2007, at the Aldeburgh Festival, conducted by the composer. It was next performed later that summer by the Philharmonia Orchestra conducted by Christoph von Dohnányi as part of the 2007 BBC Proms season. The Cleveland Orchestra presented the United States premiere of this suite in January 2008 at Severance Hall. This suite runs about 15 minutes in performance. Adès scored it for 3 flutes (third doubling piccolo), 3 oboes, 3 clarinets (third doubling bass clarinet), 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, a large percussion battery (divided among 3 players), harp, piano, and strings.

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Music for Strings, Percussion, and Celesta composed 1936

b a r t Ó k is often portrayed as a major composer and pianist

Béla

BARTóK born March 25, 1881 Nagyszentmiklós, Hungary died September 26, 1945 New York

Blossom Festival 2016

who was also interested in folk music. This is misleading — for his pursuit of folksong was an obsession that gripped him all his life. Years were entirely devoted to the collection and recording of folk music in various countries of eastern Europe, not to mention Turkey and northern Africa. He was thus a nationalist both in his standing as Hungary’s leading composer and also as an authority on Hungarian national music. (He was equally drawn to related traditions in other countries, and published books on music from Romania, Serbo-Croatia, and Slovakia, among others.) During the years when he was regularly touring Europe and America as a performer, he held a position as teacher at the Budapest Academy of Music. He did not, however, enjoy teaching — neither composition nor the piano — and he was greatly relieved when, in 1934, he was employed as ethnographer by the Hungarian Academy of Sciences and could devote himself fulltime to his musical research. He arranged a collection of 2,500 Romanian folksongs, traveled to Turkey and Anatolia, and gave lectures on his findings. He was also, piece by piece, composing his collection Mikrokosmos, a set of graduated piano pieces begun when his young son Peter began to learn the piano. That Bartók had little self-urge to compose “serious” music at this time is borne out by the fact that all the major compositions of this period were written in response to commissions. The Fifth String Quartet (1934) was composed for Elizabeth Sprague Coolidge, the Sonata for Two Pianos and Percussion (1937) for the Basel ISCM, and the Violin Concerto No. 2 (1938) for the violinist Zoltán Székely. Music for Strings, Percussion, and Celesta (1936) and the Divertimento for string orchestra (1939) were commissioned by the Swiss conductor Paul Sacher. Sacher was a leading arts patron of the period, who devoted millions of dollars to commissioning works from all the prominent composers of the time and to establishing an archive in Basel which is today a major center for the study of 20th-century music. (Sacher’s money came through his marriage to Maja Stehlin, a widow whose first husband, Emannuel Hoffmann, had inherited shares in the Hoffmann-La Roche pharmaceutical companies; following World War II, Sacher captured a majority stake in the firm, eventually July 9: About the Music

This is a work from the height of Bartók’s maturity, in which his full genius is on display. Many musicians would describe it as his masterpiece, flawless in proportions and structure, in its creativity and contrasts, and utterly secure in its uniqueness.

becoming one of the wealthiest men in the world.) The somewhat awkwardly titled Music for Strings, Percussion, and Celesta could perhaps have been titled a symphony. Its four parts fit the symphonic model of contrasting movements reasonably well, but for Bartók the word “Music” was a suitably abstract title and the fact that no wind instruments are involved is at least implied in the name. Even without winds, the palette of colors in this piece is remarkably rich, in part because the percussion includes a xylophone and the strings include a harp, and the overall ensemble includes a piano, which can be classed as either strings or percussion. The strings themselves are divided into two full bodies in five parts each. Bartók specified that the two string orchestras should be positioned respectively at the left and right sides of the platform, with the percussion in between and the double basses at the back. t h e m u si c

This is a work from the height of Bartók’s maturity in which his full genius is on display. Many musicians would describe it as his masterpiece, flawless in proportions and structure, in its creativity and contrasts, and utterly secure in its uniqueness. Bartók would have seen it more simply as a tribute to the nameless inhabitants of central Europe who had inspired him with their playing, singing, stamping, shouting, and dancing. The natural rhythms and common intervals of folksong are evident throughout the work. Bartók’s grafting of these materials on to traditional procedures of classical music — including fugue, canon, and variation — is masterly, and the resulting musical language has a truly modern flavor. The first and third movements are slow, the second and fourth fast. The first movement opens with a Bach-like fugue on a tight, angular theme that generates a marvelously atmospheric cloud of sound. Percussion is introduced in light touches; the theme is inverted, the entries get closer together, and the ending is a perfect resolution of the argument. The division of two string orchestras is important in the brusque second movement. Piano and timpani are important too, the latter exploiting the glissando effect obtained from pedal timpani. The strings have “snap” pizzicatos from time to time. The tempo changes constantly without losing the high energy created by bracing rhythms of every kind. July 9: About the Music

The Cleveland Orchestra

The slow third movement is a superb example of the kind of “night music” style that Bartók adopted on several occasions. He was a passionate lover of nature and could sometimes be found absorbed in studying the wings of a butterfly or a single blade of grass. In this music, the eerie sounds of nature are captured over an intense dialogue of the strings. When celesta, harp, and piano all set up a whirring sound, Bartók’s brilliance as an orchestral painter is at its peak. The movement leads to a climax and finally back to the lonely music of the night. How much can be made from a simple scale descending then ascending is revealed in the vigorous finale, with its strumming and stamping on jerky lop-sided rhythms, recalling the peasant dances Bartók had studied, recorded, and participated in all his life. In this case, he is mixing together folksong ideas from different nationalities, creating a truly new mix.

At a Glance

Bartók wrote his Music for Stringed Instruments, Percussion, and Celesta in 1936, on a commission from Swiss conductor Paul Sacher, to celebrate the tenth anniversary of the Basel Chamber Orchestra. The premiere was given by that orchestra, under Sacher’s direction, in Basel on January 21, 1937. This work runs about 30 minutes in performance. Bartók scored it for strings (divided in two groups), piano, harp, timpani, percussion (snare drum, side drum, cymbals, tam-tam, bass drum, xylophone), and celesta.

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FRIDAY, SEPTEMBER 9, 2016 Academic Symposium Featuring recipient Peter Eigen and distinguished panelists Brian Gran and Katherine Marshall 12:30 p.m., Severance Hall These events are FREE and open to the public. Learn more at case.edu/inamori.

Blossom Music Festival

July 9: About the Music

Symphony No. 3 (“Eroica”) in E-flat major, Opus 55 composed 1802-04

E U R O P E H A S B E E N C H A N G I N G remarkably over the past

Ludwig van

BEETHOVEN born December 16, 1770 Bonn died March 26, 1827 Vienna

forty years. The reality of a united continent has had some notable setbacks in the past decade, including this summer’s nailbitingly close Brexit vote for Britain to leave the European Union. Still, it is amazing to consider just how far this disparate group of nations has come — a single currency (with a few notable holdouts, and perhaps some new question marks) and an extensive list of common regulations and cross-border agreements. All of this accomplished quietly, almost behind the scenes, largely by a group of new bureaucrats focussed on common goals and the common good. Whether the “people” can come to understand and embrace the long-term value of such shared commonality remains to be seen, with the Brexit vote now pushing the entire continent toward uncharted and untested paths forward. In 1803, things were swinging in different directions, too. Europe was intoxicated by ideas — or at least its artists and intellectuals were — and of a raucous kind. The interest then was Revolution, the Rights of Man, and the importance of the individual. Their central myth was that of Prometheus, a solitary man who defiantly brought fire (“power”) to the people. Real life is not so tidy as myth, and Napoleon Bonaparte was no Prometheus. Yet even as observers at the time suspected that Napoleon had hijacked the French Revolution and turned it into a war of global conquest, they were fascinated by his inexorable rise. What better emblem for the worth of the individual than this “little corporal” who bestrode the world? “He put me under a spell, as a snake does a bird,” the Austrian playwright and patriot Grillparzer recalled later. In 1806, the philosopher Hegel called Napoleon “a soul of worldwide significance.” Long after the general’s death, Goethe drew a musical analogy: “Napoleon played the world as Hummel his piano; both achievements appear miraculous . . . [yet] the whole is done before our eyes.” It is another musical analogy that we associate with Napoleon today, however — Beethoven’s Symphony No. 3 in E-flat major, or Sinfonia eroica, per festiggiare il sovvenire d’un gran’ uomo [“Heroic symphony, to celebrate the memory of a great man”], as the composer ultimately called it. The famous anecdote about Beethoven tearing up the title page dedicated to Napoleon, which eloquently expresses both Beethoven’s atJuly 9: About the Music

The Cleveland Orchestra

traction to power and defiance of tyranny, is nevertheless only one chapter in the historical and personal saga that led to this revolutionary work of music, an “achievement” more “miraculous” than anything any of his contemporaries even imagined. c on f r on t a t ion a nd c r isis

“I am not satisfied with my works up to the present time,” Beethoven confided to his friend Krumpholz in 1802. “From today I mean to take a new path.” That path necessarily led away from his teacher Haydn (whom Beethoven even began to avoid socially), away from such popular successes as the First and Second Symphonies and the Septet — away, in fact, from the entire musical old order. Like the policies of French First Consul Napoleon (who was just a year older than the composer), Beethoven’s path led toward confrontation and crisis. Beethoven’s feelings of isolation were deepened at this time by the first signs of advancing deafness. At a doctor’s suggestion, he escaped the stress of city life for six months in the bucolic village of Heiligenstadt. In October 1802, near the end of his stay there, Beethoven poured his despondent thoughts into an extraordinary confessional document, found among his papers after his death and now known as the Heiligenstadt Testament. This rambling discourse on his malady, ostensibly addressed to the composer’s two brothers, reads like a suicide note (“Farewell, and do not wholly forget me when I am dead”) yet rejects that solution (“I would have ended my life — it was only my art that held me back.”), yearning instead for “but one day of pure joy” in the life remaining to him. “Beethoven here enacted his own death in order that he might live again,” writes the astute biographer and psychoanalyst Maynard Solomon. “He re-created himself in a new guise, self-sufficient and heroic.” Death was a preoccupation of those times. Art, literature, and music were full of the deaths . . . of Mirabeau, Marat, Danton, and other heroes, from which the Revolution flamed up more brightly than ever. (In fact, death was nearly a prerequisite for enshrinement as a hero, which may explain why “Napoleon’s funeral” takes place less than halfway through Beethoven’s symphony for him, composed when the real-life Napoleon was alive and kicking and considering an invasion of Austria. In 1821, when Beethoven was told that Napoleon had died on the island of St. Helena, he said, “I have already composed the proper music for that catastrophe.”) Blossom Festival 2016

July 9: About the Music

“From today I mean to take a new path,” wrote Beethoven in 1803. The path would have to lead away from his teacher Haydn, away from such popular successes as the First and Second Symphonies — away, in fact, from the entire musical old order. Like the policies of Napoleon (who was just a year older than the composer), Beethoven’s path led toward confrontation and crisis.

above and below — Differing accounts of Beethoven’s outrage at Napoleon.

The story tells of him tearing the paper in two. The manuscript (at top) shows a physical, maybe violent attempt to erase the word “Buonaparte.”

Bonaparte out, “Heroic” in “In this symphony, Beethoven had Buonaparte in mind, but as he was when he was First Consul. Beethoven esteemed him greatly at the time and likened him to the greatest Roman consuls. I as well as several of his more intimate friends saw a copy of the score lying upon his table with the word ‘Buonaparte’ at the extreme top of the title page, and at the extreme bottom ‘Luigi van Beethoven,’ but not another word. Whether and with what the space between was to be filled out, I do not know. I was the first to bring him the intelligence that Buonaparte had proclaimed himself emperor, whereupon he flew into a rage and cried out: ‘Is he then, too, nothing more than an ordinary human being? Now he, too, will trample on all the rights of man and indulge only his ambition. He will exalt himself above all others to become a tyrant!’ Beethoven went to the table, took hold of the title page by the top, tore it in two, and threw it on the floor. The page had to be rewritten, and only then did the symphony receive the title ‘Sinfonia eroica’.” — from Recollections of Ferdinand Ries

Beethoven’s Third Symphony

The Cleveland Orchestra

Certainly Beethoven was aflame with ambitious new ideas on his return to Vienna. Two works in particular from 1803 vastly expand their polite Classical genres: the “Kreutzer” Sonata for violin and piano, Opus 47, and the new symphony that Beethoven was already calling “Buonaparte.” By the end of the year, he was at work on the opera Fidelio. And still more heroic overtures, named for their protagonists, would follow — Egmont, Coriolan, King Stephen, and finally a very noisy ode (full of canon and battle clash) to Napoleon’s nemesis, Wellington’s Victory. Beethoven had come through the crisis, and was striding purposefully along his “new path.” The Heiligenstadt Testament, as Maynard Solomon writes, had proved to be “the literary prototype of the Eroica Symphony, a portrait of the artist as hero . . . a daydream compounded of heroism, death, and rebirth.” Solomon’s description is echoed in a newspaper review of the symphony’s first public performance, which took place in the Theater-an-der-Wien on April 7, 1805, with the composer conducting: “This long composition, extremely difficult to perform, is in reality a tremendously expanded, daring, and wild fantasia.” The review continues, less flatteringly, “It lacks nothing in the way of startling and beautiful passages, in which the energetic and talented composer must be recognized; but often it loses itself in anarchy.” Beethoven’s pupil Carl Czerny recalled a self-appointed critic at the premiere who expressed himself succinctly from the gallery: “I’ll give another kreutzer if only the thing will stop!” These reactions were normal enough on first hearing a symphony that was twice as long as any previous work in the genre. In any case, the dissatisfaction that evening was mutual. “The public,” wrote another journalist, “thought the symphony too difficult, too long, and [Beethoven] too discourteous, for he did not deign to give even a nod to the part of the audience that was applauding. Beethoven, on the contrary, did not find the applause sufficiently enthusiastic.” And so was confirmed what Beethoven already knew — his new path would be a lonely one.

At a Glance Beethoven composed his Third Symphony between 1802 and 1804. He conducted the first performance at a private concert in the home of Prince Lobkowitz, to whom the work is dedicated, in December 1804. The first public performance took place at the Theater-ander-Wien on April 7, 1805, again with the composer conducting. This symphony runs about 50 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 2 trumpets, timpani, and strings.

u l t i m a t e ly , the Symphony No. 3 needs no subtitle, no Na-

poleon, no Prometheus, no Heiligenstadt Testament. Even the proverbial person from Mars could not fail to be moved (or horrified, like some of those first hearers) by the organic force of the notes themselves. May familiarity never dull our awareness of the daring masterstrokes in the opening movement — the two mighty opening chords, like cosmic ticks of a god’s metronome, Blossom Festival 2016

July 9: About the Music

19th-century lithograph of Beethoven as a “gentleman.”

In 1803, Europe was intoxicated by ideas of a raucous kind. The interest then was Revolution, the Rights of Man, and the importance of the individual. Their central myth was that of Prometheus, a solitary man who defiantly brought fire (“power”) to the people. As a composer, Beethoven was aflame with ambitious new ideas himself — musical and political.

setting the pace for all that follows; the first theme, which seems placidly to affirm E-flat major, until it slides down to C sharp, opening a window onto a vast harmonic landscape; the graceful, wholly new theme that appears in the development in the remote key of E minor; the horn, unable to stand the suspense any longer, jumping the gun at the start of the recapitulation and seeming to come in four bars “early”; and the monumental architecture of this entire 691‑bar first movement, in which the tiniest musical motifs are linked to form themes, then groups of themes, then sections, and finally a single great edifice. Like other great buildings, it is easy — and a pleasure — to get lost in this. The second-movement Marcia funebre [“Funeral March”], on the other hand, tells its story vividly and directly. One can almost picture the formal gait of the marchers, the drums that gently urge them on, the reveries of happier times in the major-key middle section, the bugle corps that snaps us back to reality with its dire fanfare. The “disintegration” of the theme in the coda section nearer the end is a metaphor for death that Beethoven had used before, in his Joseph Cantata. And what could be a greater contrast to all this than the jolly chase of the third-movement Scherzo?! Impressions of a chaotic hunting scene (or the exhilaration of battle?), full of cries and exclamations near and far, are reinforced by the bold horn calls (literally a “trio”) at mid‑movement. Beethoven opens the fourth-movement finale, just as he did the first movement, with a proclamation of important events to come. Then, humorously, a barely audible bass line peeks around the corner. A countermelody is added, and finally the dance tune itself, which we now realize begins with the same notes as the opening theme of the first movement. Again, something is being built, the other foundation structure of the symphony’s triumphal arch, this time based on variation form, but with superimposed features such as a sonata-style development and rondo-like episodes. Near the end, there is a period of repose, marked with the tempo Poco andante, in which the hero — plainly Beethoven himself now — can survey his accomplishments at a distance, but even here the anxieties of the present intrude, and the symphony closes with a fresh burst of energy and determination. —David Wright © 2016 David Wright lives and writes in Wellesley, Massachusetts. He previously served as program annotator of the New York Philharmonic.

July 9: About the Music

The Cleveland Orchestra

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2016 Blossom Festival

orchestra news

the cleveland orchestra

Cleveland Orchestra returns to Public Square for annual free Cleveland event on July 29; concert features American music and fireworks The Cleveland Orchestra returns to Cleveland’s Public Square this summer for its 27th annual free downtown community concert, taking place on Friday evening, July 29. This year’s Star-Spangled Spectacular is brought to you by Cuyahoga Arts & Culture, and sponsored by KeyBank. The concert celebrates the completion of renovations of Public Square and is the first large-scale public event being held in the new space. Led by guest conductor Loras John Schissel, The Cleveland Orchestra’s program features patriotic works and American favorites including works by John Philip Sousa, Rodgers & Hammerstein, and George Gershwin, and features guest soloist baritone Norman Garrett. The performance is capped off with a special fireworks display. As part of the Orchestra’s ongoing partnership with ideastream toward providing greater access to music and culture of the region, the Star-Spangled Spectacular performance will be broadcast live on radio stations WCPN (90.3 fm) and WCLV Classical (104.9 FM). “The Orchestra is greatly looking forward to sharing the annual Star-Spangled Spectacular concert with Northeast Ohio,” says André Gremillet, executive director of The Cleveland Orchestra. “This celebration is one of Cleveland’s great annual traditions, and is extra-special with this year’s reopening of the newly renovated and redesigned Public Square. We are grateful to the people of Cuyahoga County, who make this event possible through Cuyahoga Arts & Culture, and to sponsor KeyBank and our other producing partners who make this event possible, including the City of Cleveland for their collaborative effort in hosting this special concert. We are excited to bring Northeast Ohio together with music to celebrate this great city.” “We’re proud to be in our tenth year of supporting The Cleveland Orchestra’s annual free downtown concert,” says Karen Gahl-Mills, CEO and executive director of Cuyahoga Arts & Culture. “As we celebrate the tremendous redesign of Public Square, we hope this event will serve

Blossom Festival 2016

Star-Spangled Spectacular brought to you by Cuyahoga Arts & Culture

as a reminder of the thousands of free events supported by Cuyahoga Arts & Culture that are available for the community each year.” About Cuyahoga Arts & Culture Cuyahoga Arts & Culture’s mission is to inspire and strengthen the community by investing in arts and culture. Cuyahoga County residents created Cuyahoga Arts & Culture in 2006 when they approved a tax on cigarettes to support arts and culture in our community. In 2015, the community affirmed its commitment to arts and culture by extending the tax through 2027. Cuyahoga Arts & Culture has invested more than $140 million in more than 300 organizations to support thousands of enriching arts and culture experiences in every corner of the county. For more information, visit cacgrants.org. Concert Start and Pre-Concert The concert begins at 9:00 p.m., with preconcert activities starting at 6:00 p.m. Admission is free, with special transportation options offered through RTA. Fireworks follow the concert, weather permitting.

Cleveland Orchestra News

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2015 Blossom Blossom Festival Festival 2016

BLOSSOM MUSIC FESTIVAL

About Your Evening If you have questions about your evening at Blossom, feel free to ask an usher or staff member. In addition, Information Centers are staffed by volunteers of Blossom Friends of The Cleveland Orchestra to answer your questions in person. Please visit clevelandorchestra.com for additional information. You can also call The Cleveland Orchestra’s administrative offices during weekday business hours at 216-231-7300 or send email to info@clevelandorchestra.com. Blossom Music Center Blossom grounds and facilities are operated for The Cleveland Orchestra by Live Nation. Administrative Offices at Blossom are open during regular weekday business hours, but access to the grounds is not available to the public. For information, please call 330-920-8040. The Blossom Box Office is open on Saturdays and Sundays during the summer, from 1 p.m. to 5 p.m., and from1 p.m. through intermission on days with concerts at Blossom. Information CenterS Questions? Members of Blossom Friends of The Cleveland Orchestra staff two Information Centers, located outside the Main Gate across from the Lawn Ticket Booth and inside the Main Gate on Smith Plaza next to the Joseph Garden. grounds open Gates to the Blossom grounds are open to the public 2½ hours before Festival concerts. PARKING Free parking is available with your ticket to any Festival concert. Access to paved parking requires a printed and dated hang-tag, which must be displayed in your vehicle. Cars without dated parking hang-tags are usually directed to non-paved parking. Free hang-tags for Lots C-D-E are available with Pavilion tickets purchased at least ten days in advance of a Festival concert. Paved Lots A and B are reserved for subscribers (Lot B) and Box Seat holders (Lot A). Anyone can upgrade to Lot A parking in advance, subject to availability, for $20 per vehicle per concert. Parking spaces for patrons with disabilities and special needs are in Lots B and E. A

Blossom Festival 2016

valid disability parking permit is required and must be displayed. A limited number of ADA parking spaces are also available in Lot A for $20 per vehicle per concert, with advance purchase. For further information, please contact Guest Services at 330-916-6068 on concert days (or 330-920-8040 on weekdays). Free TRAM Service Free transportation throughout the grounds is available to all patrons for Blossom Music Festival concerts. Tram service from parking lots to Smith Plaza and to the Pavilion is available on a continuous basis before and after each concert. Picnics Festival patrons are always welcome to bring your own picnics, packed with everything needed to make your experience a special and relaxing event — or let us cook for you (see the sections on concessions and the Blossom Grille). Blossom has plentiful picnic areas, including the Woods Picnic Area adjacent to Parking Lot B. Picnic areas cannot be reserved in advance and are available on a first-come, first-served basis. The Lawn is a favorite picnic spot. In the interest of safety, open-flame grilling is not permitted anywhere on the Blossom grounds or parking areas. Also, sparklers and fireworks are strictly prohibited. Picnic Drop-Off Patrons with parking access to any paved lot can drop off a passenger or picnic near the tram stop in your parking lot. For safety reasons, there is no picnic/passenger drop-off at the Main Gate. Concessions Blossom offers a variety of food and beverage concessions throughout the grounds. Some of the items available include individual pizzas, grilled hot dogs, jumbo soft pretzels, drinks, coffees, ice cream novelties, and a selection of alcoholic beverages featuring domestic and imported beers as well as summer cocktails. Wines by the bottle can be purchased at the Wine Store, at the top of the Lawn (see grounds map). Blossom Grille This open-air restaurant located at the top of the Lawn seating area is the perfect place to start or end your evening. The full-service restaurant

Patron Information

continued

and bar offers a variety of freshly prepared appetizers, salads, entrees, and desserts, plus wines, spirits, and beers. The Blossom Grille is open for dinner 2½ hours prior to all Blossom Music Festival concerts and is also open for Afterglow — coffee, spirits, and desserts for 1 hour after each concert. For more information or to make reservations, please call 330-916-6063. catering and group EVENTS With a welcoming natural setting, gracious gardens, and a summer full of music, Blossom is a great place to host a party. Our party pavilions at Knight Grove accommodate 25 to 450 people. Bring a few dozen friends, your favorite clients, or your whole company to a concert and let Blossom’s exclusive caterer help you create a memorable pre-concert event. From casual barbecues and informal receptions to elegant sit-down dinners, you can select a menu from our catering guide or request a unique menu for your event. Please note that arrangements must be made in advance. To request a catering menu, please call 330-916-6063. For information regarding group ticket packages for concerts, please call The Cleveland Orchestra’s Group Sales Office at 216-231-7493. Smith Plaza Patrons enter Blossom through Smith Plaza. The Plaza offers merchandise sales, ticket services, guest services, First Aid stations, gardens, Eells Art Gallery, ATM, and an Information Center staffed by Blossom Friends volunteers. Kulas Plaza Kulas Plaza is open to serve Cleveland Orch estra donors, series subscribers, and Box Seat holders at Festival concerts. Kulas Plaza guests have access to dedicated restrooms, concessions, and tables for pre-concert dining and intermission refreshments. First Aid First Aid is available at every performance. Contact the nearest usher or go to Smith Plaza. Lost and Found Visitors seeking to retrieve lost articles can inquire at Guest Services at the Smith Plaza.

Bandwagon Gift Shop At Blossom Music Festival concerts, the Bandwagon Gift Shop offers Blossom signature merchandise as well as Cleveland Orchestra clothing, gift items, and music CDs. The shop is open 2½ hours before the concert, through intermission, and for post-concert shopping. For more information, call 330-916-6090. Cameras and video recorders Cameras can be brought onto the Blossom grounds for Festival performances to take pictures of your family and friends, which you are welcome and encouraged to share through social media such as Facebook and Twitter. However, in accordance with contractual agreements with the performers, the taking of pictures inside the Pavilion during performances is not permitted. Noise, TEXTING, and Other Distractions Please keep in mind that a night at Blossom is a shared experience. Think about the comfort and safety of people around you while you are enjoying your own Blossom evening. Throughout the grounds, please silence or turn off your cell phone or pager. Please do not use your cell phone in a way that disturbs those around you from enjoying the musical performance or quiet darkness of twilight. During the performance, patrons are requested to refrain from talking or participating in activities that might interrupt others’ enjoyment. In the interests of ensuring a safe audience setting for all, the swinging of bats or the tossing hard objects (such as baseballs and footballs) is prohibited, as is playing soccer and kickball. Parents should supervise their children at all times. A free Blossom Young Person’s Guide is available to help our youngest listeners learn about music, with some suggested activities. NO Smoking All Blossom events are presented in a smoke-free environment. Smoking tobacco or e-cigarettes is not allowed anywhere on the grounds or in buildings once you have entered through the ticket gates. With required fire and safety precautions, limited smoking areas are sometimes designated outside the gates, closer to paved parking areas.

Patron Information

2016 Blossom Festival

2O16

Knight Grove

blossom grounds

ATM

Concessions Picnic Tables

Family Restroom

ATM

Hood Meyerson Suite

Concessions Family Restroom

Backstage Lot

awn ating

Pavilion

Hood Meyerson Suite Backstage Lot

ATM

Kulas Plaza Blossom Grille

Concessions

Lawn Seating

Lawn Terrace

Pavilion Kulas Plaza

Concessions

ATM

Herbert E. Strawbridge Garden Emily’s Garden Smith Plaza

ATM

Wine Store Information Center*

Frank E. Joseph Garden ATM

Herbert E. Strawbridge Garden

Special Eells Art Gallery Events Center Bandwagon Gift Shop Main Gate

Box Office

Guest Services and First Aid Pedestrian Bridge FirstEnergy Lawn Ticket LotBooth (PAY LOT)

ods Picnic Area

ber

ATM

Emily’s Garden Smith Plaza

Lot A Gate

Main Gate

Pedestrian Bridge Lawn Ticket Booth

Lot

Woods Picnic Area Subscriber

*Information Centers are staffed by members of Blossom Friends of The Cleveland Orchestra

Special Events Center

Box Office

Information Center*

Lot

Information Center*

Lot

Tram Stops

Blossom Festival 2016

Grass Lots 1, 2, 3 & 4, Porthouse Theatre, and Steels Corners Road Entrance to Blossom

Patron Information

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Lawn chairs and rentals Guests on the Lawn enjoy different kinds of seating and sitting — but please keep in mind that how you sit can obstruct others’ views. Many patrons prefer lying back on a blanket and listening to music under the big summer sky, while others prefer to bring chairs to watch the evening’s activities. Short-legged beachstyle chairs make good neighbors. Suitable rental chairs are available at the top of the hill for a rental fee of $5 per evening. Tents or other structures are strictly prohibited. IN Case of Rain Blossom Music Festival concerts are performed rain or shine. In the event of rain, Lawn/ General Admission tickets will allow you access to the general admission sections of the Pavilion, available on a first-come, first-served basis. Curtain Time Every effort is made to begin concerts on time. On occasion, traffic or other conditions may force a delay of five to ten minutes. The dimming of lights in the Blossom Pavilion and the entrance of the Concertmaster onto the stage for the tuning of the Orchestra usually signal the imminent start of each concert. arriving late, leaving early If you have tickets for Pavilion seating and you arrive after the performance has begun, you will be asked to wait quietly until the first break between musical selections in the performance, when ushers will guide you to your seats. Lawn patrons can find a spot on the Lawn at any time. However, please be courteous to fellow patrons who are already enjoying the concert,

and try not to create unnecessary disturbance. If you need to leave before the concert ends, please do so only between pieces in order not to disturb the performers or other patrons. Intermissions Intermissions are expected to run 20 minutes. The ringing of a bell and the flashing of lights are used to signal the impending start of the second half of a concert. Gardens The area surrounding Smith Plaza boasts three beautiful gardens dedicated to the memory of individuals who were influential in the creation of Blossom: Emily Blossom, Frank E. Joseph, and Herbert E. Strawbridge. Eells Art Gallery Eells Art Gallery exhibits works by regional and national artists, curated by the Kent/Blossom Art program. Porthouse Theatre Located just inside Blossom’s main road entrance, Porthouse Theatre offers a summer season of theatrical productions presented by the Porthouse Theatre Company, a professional regional repertory company affiliated with Kent State University. The theater’s Box Office opens 1½ hours prior to showtime. For further information or to make reservations, please call 330-929-4416, or visit porthousetheatre.com.

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Patron Information

2016 Blossom Festival

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Buying Tickets By Telephone

Call the Severance Hall Ticket Office at 216-231-1111 or 800-686-1141, open weekdays 9 a.m. to 5 p.m.

IN PERSON

At the Severance Hall Ticket Office Blossom Music Festival tickets can be purchased at the Severance Hall Ticket Office, located at 11001 Euclid Avenue (the corner of Euclid Avenue and East Boulevard) in Cleveland. Open weekdays 9 a.m. to 6 p.m. Closed Saturdays, Sundays, and holidays. At Blossom Music Center Tickets for Blossom Music Festival concerts can be purchased at the Blossom Box Office, open Saturdays and Sundays from 1 p.m. to 5 p.m. and from 1 p.m. through intermission on Festival concert dates.

ONLINE clevelandorchestra.com Individual concert tickets are available online at clevelandorchestra.com — featuring select-your-own seats and print-at-home tickets.

S eating C hart SEATING CHART

RESERVED SEATING AREAS

RESERVED SEATING AREAS (Pavilion) (PAVILION) Box Box Seats Area 1 SeatsArea 2 Area 3 Area 1

Area 2

Area 3

OPEN SEATING AREAS OPEN SEATING AREAS Lawn /GeneralAdmission Admission Area Lawn/General Areas

Free Lawn Tickets are available for young people ages 17 and younger. Two Under 18s Free Lawn Passes can be requested with each paid admission. Under 18s must have a pass for entry and must be accompanied by an adult. Passes can be requested through the Ticket Office or online. The Under 18s Free Lawn Pass also permits FOR FAMILIES seating in the General Admission sections of the Pavilion. Seating in the General Admission sections of the Pavilion is available on a first-come, first-served basis. Pavilion seating may not be appropriate for very young children if they are unable to sit quietly and enjoy the concert without disturbing those around them. Under 18s Free is a program for families, supported by The Cleveland Orchestra’s Center for Future Audiences. The Center, created with a lead endowment gift from the Maltz Family Foundation, was established to fund programs to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.

pavilion general admission areas Certain areas of the Pavilion are designated for general admission seating on a first-come, firstserved basis (beginning two hours before each concert). Lawn Tickets and Under 18s Free Lawn Passes grant access to this area. Each person regardless of age must have a ticket to sit in this area. group discounts Groups of 10 or more qualify for specially discounted tickets to most Festival concerts. Whether you are planning for your company picnic, a club or social group outing, or this year’s family reunion, Blossom offers a special setting. Call our Group Sales Office at 216-231-7493. Guaranteed Complimentary Paved Lot Parking When you purchase Pavilion tickets to Festival concerts in advance, you receive a 2016 parking pass that guarantees you space in J U LY one of Blossom’s paved parking lots and access to these lots via the “Parking Pass” lane. To receive a parking pass, purchase C-D-E tickets in person or online at least ten days prior to the concert. BLOSSO

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wheelchair access Accessible seating locations are available across all seating price levels. If assistance is needed, uniformed staff can help.

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2016 Blossom Festival

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