2016 Blossom Music Festival July 16, 17, 23 & 24 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. 2 INSIDE . . .

July 16 — Mozart Under the Stars . . . . . . . . . . . . . page 23 July 17 — An American in Paris . . . . . . . . . . . . . . . . . page 37 July 23 — Thibaudet Plays Grieg . . . . . . . . . . . . . . . page 73 July 24 — Magic of the Movies . . . . . . . . . . . . . . . . . page 85

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

CLEVELAND ORCHESTRA

2O16 BLOSSOM

FRANZ WELSER-MÖST

P R E S E N T E D BY

MUSIC FESTIVAL T A B L E

O F

C O N T E N T S

2016 BLOSSOM MUSIC FESTIVAL Book No. 2 7

About Blossom 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 . . . . . . . . . . . . . . . . . . . . . . . . 35

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

CONCERT — July 16 Mozart Under the Stars About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25-33 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22, 26

CONCERT — July 17 An American in Paris About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39-44 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

CONCERT — July 23 Thibaudet Plays Grieg About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75-83 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

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

CONCERT — July 24 Magic of the Movies About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89-91

Program book advertising is sold through LIVE PUBLISHING COMPANY phone: 216 -721-1800

instagram: @CleveOrch #CleOrchBlossom .

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.

Supporting the Orchestra Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . 56-57 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60-71

97 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.

About the Orchestra Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . 49-51 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 52-53 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Learn More Gourmet Matinees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93-95 Blossom Information and Policies . . . . . . . . . . . 97-102 Blossom Grounds Map . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Buying Tickets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

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

FOU RTH - OF -J

MUSIC FESTIVAL

SUMMER HOME OF

THE CLEVELAND ORCHESTRA TH

1812 OVERTURE

DEBUS

JUL

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

S AT U R D AY

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

U LY - W E E K E N D

AUGUST

JUL

DEBUS

S U N D AY

1812 OVERTURE

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

20 8

LED ZEPPELIN: A ROCK SYMPHONY

S U N D AY

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

MOVIE NIGHT

S U N D AY

SEP

4 8:30

MOVIE NIGHT

RAIDERS OF THE LOST ARK

The Cleveland Orchestra Brett Mitchell, conductor

clevelandorchestra.com

Waiting for the Peak of Perfection.

PAG E 2 O 1 5

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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 restrooms 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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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 Bandwagon 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 V 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.

YOU R C ONSTA N T C OM PA N ION

on demand 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, explore 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.

ItIt’s ’s tim imee to cha hang ngee the ng thhe wa wayy yo youu thhin inkk abou abbou outt yo your ur hea ealtltlth. h. Reg egul ular ul ar che heck ckkup upss an andd sc scre reen re enin en ings in gs 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 h 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 AndrĂŠ 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

2016 INAMORI ETHICS PRIZE

PETER EIGEN Founder of Transparency International and pioneer of the global fight against corruption C A S E W E S T E R N R E S E RV E U N I V E R S Join us in celebrating the Inamori Ethics Prize, which honors outstanding international leaders whose actions and influences have greatly improved the conditions of humankind. THURSDAY, SEPTEMBER 8, 2016 Inamori Ethics Prize Ceremony and Recipient Lecture by Peter Eigen 6 p.m., Milton and Tamar Maltz Performing Arts Center at The Temple-Tifereth Israel

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 Committee

2016 Blossom Festival

Blossom Friends of The Cleveland O Orchestra h t 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 S I C AL ARTS ASSOCIATION

as of June 2016

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival O F F I C E R S A ND E XEC UT I VE C O MMIT T E E Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President Jeanette Grasselli Brown Matthew V. Crawford Alexander M. Cutler David J. Hooker Michael J. Horvitz

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

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 E S I D E NT TR U S TE ES 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 O N- R E S I D E NT TR US T E E S Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

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

Herbert Kloiber (Germany)

T R U S TE E S E X- O F F IC I O 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

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

HO NO R A RY TR U S TE E S FO R L I FE Dorothy Humel Hovorka Gay Cull Addicott Robert P. Madison Allen H. Ford Robert F. Meyerson Robert W. Gillespie PA S T PR E S I D E NT 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

Michael Francis

David Fung

British conductor Michael Francis is music director of the Florida Orchestra and San Diego’s Mainly Mozart Festival, and also serves as chief conductor and artistic advisor to Sweden’s Norrköping Symphony Orchestra. He is making his Cleveland Orchestra debut with this evening’s concert. As a guest conductor, Mr. Francis has led the orchestras of Cincinnati, Houston, Indianapolis, New York, Oregon, Pittsburgh, Seattle, Toronto, and Vancouver, as well as the New World Symphony. In Europe, he has appeared with orchestras in Germany, Helsinki, Ireland, Madrid, and the United Kingdom; in Asia, he has led Tokyo’s NHK Symphony and regularly appears with the Malaysian and Seoul philharmonics. Mr. Francis was a member of the European Union Youth Orchestra, graduated from the Cardiff University School of Music, and was a bass player with the London Symphony Orchestra before turning his career toward conducting. He has recorded several albums, the most recent of which features Rachmaninoff’s piano concertos with Valentina Lisitsa and the London Symphony Orchestra for Decca Records. For further information, visit www.michaelfrancisconductor.com.

Australian pianist David Fung is a top prizewinner in two of the big five international piano competitions. Since 2009, he has been artistic director of Italy’s Bari International Music Festival. As a soloist and guest artist, he has performed in Asia, Australia, Europe, Israel, and across North America. In the United States, he has appeared with orchestras in Los Angeles, Saint Paul, San Diego, and San Francisco, and at the Ravinia Festival. In recitals and chamber concerts, he has performed at the Aspen Music, Edinburgh International, Hong Kong Arts, Musicora, and Northern Lights festivals, among others. Mr. Fung’s recent and upcoming schedule includes a solo recital tour of China, and performances in New York, Paris, and Washington D.C. He is also collaborating with Cleveland violinist Chad Hoopes, and performing chamber music in France, Italy, and the U.S. Mr. Fung earned a bachelor’s degree and artist diploma from the Coburn School of Music, and master’s and doctorate degrees from the Yale School of Music. He is making his Cleveland Orchestra debut with this evening’s concert. Visit www.davidfung.com for more information.

July 16: Guest Artists

2016 Blossom Festival

2OI6BLOSSOM MUSIC FESTIVAL

Saturday evening, July 16, 2016, at 8:00 p.m.

THE CLEVEL AND ORCHESTRA MIC HAEL FRANC IS , conductor

EDWARD ELGAR (1857-1934)

Introduction and Allegro, Opus 47 (for string quartet and string orchestra) SOLO QUARTET: WILLIAM PREUCIL, violin ELI MATTHEWS, violin ROBERT VERNON, viola RICHARD WEISS, cello

WOLFGANG AMADÈ MOZART (1756-1791)

Piano Concerto No. 21 in C major, K467 1. [Allegro maestoso] 2. Andante 3. Allegro vivace assai DAVID FUNG, piano

INTER MISSION RALPH VAUGHAN WILLIAMS (1872-1958)

A London Symphony (Symphony No. 2) 1. 2. 3. 4.

Lento — Allegro risoluto Lento Scherzo (Nocturne) Finale: Andante con moto — Maestoso alla marcia — Allegro — Lento — Epilogue

David Fung’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from Dr. and Mrs. Murray M. Bett.

Th e 201 6 B lossom M usic Festival is prese nte d by The J . M . S m ucker Com pa ny

Blossom Music Festival

Concert Program: July 16

B R E A K I N G T H E M E A N S

S H A P I N G

T H E At Ken n t Statt e University, w e have one of th h e largest sy y stemss in the natt ion a nd one of the c losest familiess in n the world. Here y ou’re comforr table e being yourse e l f yet empowerr ed d to discoverr whatt more you can become. Here a stt r ong acceptancc e b y our comm m unity y leads to a powerful impact in alll directions. Herr e it’s OK to be undecided but unaccep p table to not ha a ve purpose. Be e ca a use when y ou’re not expectt ed to o fit a certain m old, you develo o p exceptionall abilitt ies to achiev v e ama a zing things.

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INTRODUCING THE CONCERT

British Temperament, Mozartian Genius T H I S E V E N I N G ’ S C O N C E R T brings together three divergent works, with two very English pieces surrounding one of Mozart’s grandly fun and effervescent piano concertos. During tonight’s musical time-journey, between the end of the 18th century and the beginning of the 20th, we hear pieces from two of Europe’s greatest cities — Vienna and London — as well as a gentle yet vibrant piece based in part on a countryside theme from Wales. If there is such a thing as “Englishness” in music, it is surely to be found in the music of both Edward Elgar and Ralph Vaughan Williams. Together, these two titans most forcibly put England back on the musical map at the turn into the 20th century — after two hundred years in which Englishmen devoted their main energies to building an empire and thought of the arts as something for foreigners to excel at. Both men had complex natures, which their music does not always reveal. But the two works on this concert represent more than their familiar public images of representing that Empire proudly aspiring forward. Elgar’s Introduction and Allegro contains no trace of imperial pride, but instead is a gentler work for string orchestra — delineated further by spotlighting a solo quartet from the ensemble. Stirring and seared with emotion, this is a work of deft character and joyously autumnal beauty. Vaughan Williams’s London Symphony embodies a larger vision, with an obvious blending of imitative sounds into a musical quilt about his favorite hometown. The composer later suggested that a better title might have been “Symphony by a Londoner,” for he insisted that the realities of sound in the music (Big Ben chiming, sellers’ hawking cries, etc.) were incidental to his overall view of the work as a musical love poem to one of the world’s great cities. But however you hear it, this music is evocative and enlightening. In between, guest conductor Michael Francis leads a performance of Mozart’s Piano Concerto No. 21, with guest soloist David Fung. This delightful work from 1785 captures Mozart at the height of his fame in Vienna, as a virtuoso pianist who composed a dozen concertos for himself in the space of just a few years’ time. The music is grand and lively, the solo piano part inventive and touching in turns. Perfect music for . . . Mozart under the stars!

—Eric Sellen

Blossom Music Festival

Introducing the Concert: July 16

William Preucil

Robert Vernon

Concertmaster Blossom-Lee Endowed Chair The Cleveland Orchestra

Principal Viola Chaillé H. and Richard B. Tullis Endowed Chair The Cleveland Orchestra

William Preucil became concertmaster of The Cleveland Orchestra in April 1995 and has appeared frequently as a soloist with the Orchestra in concerto performances at Severance Hall and Blossom. Prior to joining The Cleveland Orchestra, Mr. Preucil served for seven seasons as first violinist of the Grammy-winning Cleveland Quartet, performing more than 100 concerts each year in the world’s major music capitals. He is actively involved as an educator, serving as Distinguished Professor of Violin at the Cleveland Institute of Music.

Robert Vernon has served as principal viola of The Cleveland Orchestra since 1976 and is the longest-tenured string principal in the Orchestra’s history. He has performed more than 4,500 concerts with the Orchestra and made more than 110 concert tours with The Cleveland Orchestra. A teacher as well as a performer, Mr. Vernon is a member of the faculty and co-chair of the viola department at the Cleveland Institute of Music. For the past seven years, he has also served as a member of the viola faculty at New York’s Juilliard School.

Eli Matthews

Richard Weiss

First Assistant Principal Second Violin Patricia M. Kozerefski and Richard J. Bogomolny Endowed Chair The Cleveland Orchestra

First Assistant Principal Cello The GAR Foundation Endowed Chair The Cleveland Orchestra

Eli Matthews joined the first violin section of The Cleveland Orchestra in 1997. He became first assistant principal second violin in 2008. Before coming to Cleveland, he performed in the Cincinnati Symphony Orchestra and the Saint Louis Symphony Orchestra. He frequently participates in a variety of The Cleveland Orchestra’s education and community programs. Mr. Matthews studied with Dorothy DeLay at the University of Cincinnati College-Conservatory of Music.

Richard Weiss joined the cello section of The Cleveland Orchestra in 1974 and became first assistant principal cello in 1977. He served as acting principal for the 2009-10 season. He has appeared as a soloist with the Orchestra on many occasions. Mr. Weiss is a member of the Cleveland Orchestra Piano Trio, which performs both locally and on tour. He teaches at the Cleveland Institute of Music and the annual Kent/Blossom Music Festival, and also serves as coach with the Cleveland Orchestra Youth Orchestra.

July 16: Solo Quartet

2016 Blossom Festival

Introduction and Allegro, Opus 47 composed 1904-05 I N T H E 1 9 6 0 s , the film director Ken Russell made a television

Edward

ELGAR born June 2, 1857 Broadheath, England died February 23, 1934 Worcester, England

Blossom Festival 2016

film about Edward Elgar that left an indelible impression on everyone who saw it, because it perfectly matched the composer with the landscape of western England where he was raised and where he spent most of his life. The image of the boy composer galloping on a white horse along the ridge of the Malvern Hills was accompanied by the Introduction and Allegro for strings, leaving an impression of Englishness — an essence of nationalism that had often been a mysterious abstract idea, and difficult to put into words let alone really understand. For long stretches of time Englishness was especially challenging to relate to the long tradition of English music, which through much of the 18th and 19th centuries seemed to lack modern composers of distinction. With the premiere of Elgar’s Enigma Variations in 1899, this state of affairs seemed to change, for Elgar was a match for any continental composer, not simply because of the richness of his music, but also for the fact that his music seemed strongly rooted in his country and its inhabitants. And Englishness itself came in different flavors, which Elgar’s music clearly covered and understood. It was obvious that the Pomp and Circumstance marches could be identified with Edwardian grandeur and strength, for instance. And Elgar wrote the original four in the first decade of the 20th century. In contrast, however, there is a much more subtle quality in the Introduction and Allegro, which although free of flag-waving still seems profoundly and aptly English. One can, in fact, hear a deep melancholy — of English nostalgia even — in much of Elgar’s music, a quality that became even more pronounced as he aged. He might well have titled Introduction and Allegro as a “Fantasy on a Welsh Theme” or something more currently fashionable than the plain abstraction he chose. The title is, in fact, somewhat ironic, because the tempo changes frequently throughout the piece and there is certainly more than one Allegro section. But Elgar wanted us to observe the abrupt change of mood in the middle, when the fugue begins, led off at a brisk Allegro pace by the second violins. In 1901, Elgar took a holiday on Cardigan Bay in northwest Wales. There he noted down a tune, which came back to his About the Music: July 16

At a Glance Elgar composed this work in 1904-05 at the suggestion of his publisher, creating a work for the new London Symphony Orchestra. It was premiered on March 8, 1905, at Queen’s Hall in London, conducted by the composer. This work runs not quite 15 minutes in performance. Elgar scored it for a string orchestra (violins i and ii, viola, cello, and bass), with four section leaders (2 violins, viola, and cello) playing as a quartet within the string soundscape.

mind three years later “by hearing, far down our own Valley of the Wye, a song similar to those so pleasantly heard on Ynys Lochtyn. The singer of the Wye unknowingly reminded me of my sketch. Although there may be (and I hope there is) a Welsh feeling in the one theme, the work is really a tribute to that sweet borderland where I have made my home.” In June 1904, a group of London musicians, unhappy with the state of the profession, formed the first salaried orchestra, to be managed by themselves. This was the London Symphony Orchestra, still arguably London’s best orchestra and still managed by the players themselves. Elgar’s publisher heard them and suggested to the composer that he should write something for their impressive string players: “You might even write a modern Fugue for strings,” he wrote, handing Elgar an idea for what became his next work. On January 26, 1905, Elgar wrote: “I’m doing that string thing in time for the Sym. Orch. concert. Intro & Allegro — no working-out part but a devil of a fugue instead.” Later he mentioned “the string thing most brilliant with a real tune in it,” which is the lovely Welsh tune that stands out as a calm, simple melody against all the leaping intricacy of the rest. The work was not well received at its first performance, but it has since become recognized as one of Elgar’s finest and most individual works. The resourceful writing for strings is part of the secret, for he has a solo quartet sometimes mingling with the rest, sometimes standing apart. One idea — a constant chuggachugga of sixteenth notes — provides interesting contrast. It was memorably selected in Ken Russell’s film as the music heard while Elgar is seen taking the train from the west country to find fame and fortune in London. —Hugh Macdonald © 2016 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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July 16: About the Music

The Cleveland Orchestra

Piano Concerto No. 21 in C major, K467 composed 1785 B E T WE E N T H E B E G I N N I N G of 1784 and the end of 1786, within

Wolfgang Amadè

MOZART born January 27, 1756 Salzburg died December 5, 1791 Vienna

Blossom Festival 2016

a span of three years, Mozart composed a dozen piano concertos. There could be no clearer indication of his high standing as a concert soloist in those years, nor of his intensely rich creativity in a form that was somewhat narrowly circumscribed in terms of length and design but in which he crafted with an endless variety of detail. He was happy to keep writing new works in the same genre, usually for himself to play, and his invention showed no sign whatever of going stale. Writing and playing piano concertos was his main occupation at the time. Many Viennese thought of him then as a star pianist rather than as a composer. And, when their appetite for piano concertos declined, Mozart’s career faltered. We have to imagine his ever boyish personality delighting in the public attention he received when conducting and playing his concertos, admired by audience and orchestra, and clearly mining depths of feeling in the music that belied the superficial features of his behavior. Of course, he was always ahead of his audience, wishing they understood the music more profoundly, thinking about his next work, and longing for official recognition (such as a court appointment) that might ease the uncertainties of the musician’s life. These concertos connect intimately, too, with his own persona as a musician, since in most cases he composed the concertos for his own use. In such cases, Mozart did not write out a solo cadenza, since he would improvise it — and it would and could be different every time he played it. The two concertos, today known as Nos. 20 and 21, were written in close succession, the first in D minor, K466, being finished on February 10, the second, in C major, finished on March 9. Both concertos were performed by the composer one day after they were completed, an extraordinary state of affairs, which is explained only by supposing that Mozart wrote in the solo part at first only in outline, completing the strings and winds first to allow the parts to be copied. He would then write in the full solo part, sometimes abbreviated, with no cadenza unless another player needed one. There was always a greater demand for concertos during the Catholic Church’s season of Lent each spring, since the theaters were closed. A handbill for the first performance of ConAbout the Music: July 16

At a Glance Mozart completed this concerto on March 9, 1785, entering it into his written catalog of work on that day. He performed it in concert that same week, conducting from the keyboard. The concerto runs about 30 minutes in performance. Mozart scored it for solo piano, flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

certo No. 21 has survived, announcing that “On Thursday, March 10, 1785, Herr Kapellmeister Mozart will have the honor of giving at the I. & R. National Court Theater a Grand Musical Concert for his benefit, at which not only a new, just finished Forte piano Concerto will be played by him, but also an especially large Forte piano pedale will be used by him in improvising. The remaining pieces will be announced by the larger poster on the day itself.” Many years after Mozart’s death a physician with a long memory wrote: “Mozart had augmented his piano with a second keyboard, which served him as pedal,” i.e. played by his feet, as at the organ (a separate pedal-board was listed among his effects at his death in 1791). But since the score of this concerto, like all the piano concertos, shows no requirement for a separate pedal part, Mozart would have used it to reinforce his left hand, or to leave the left hand free to direct the players from the keyboard, or in improvising other works played that evening. The concerto’s most remarkable feature is the middle slow movement, which unfolds over a constant bed of repeated triplets. This kind of texture was almost entirely unknown in Baroque music and only known to Classical composers since Gluck composed his opera Orfeo ed Euridice in 1762, in which Orpheus’s pleas to the angry furies were represented by a harp playing constant triplets. The pathos of this scene was felt everywhere, leading to such unarguably Romantic pieces as Beethoven’s Moonlight Sonata. Here, in Mozart’s concerto, is his own contribution to this pre-Romantic language, a movement of luxurious beauty where the melody unfolds at a leisurely pace and the triplets spell out harmony that is sometimes simple, sometimes piquant. It is little wonder that this music achieved notoriety in 1967 as part of the soundtrack for the sentimental Swedish love story film Elvira Madigan. The key of C major often brought a military feeling to music of this era, well illustrated in the opening four measures of the first movement. Both first and last movements offer the remarkable variety of themes and scoring that we expect of Mozart in this kind of mood — when showing off his own exceptional talents was the prime object of the exercise and the immortality of the music a happy by-product. —Hugh Macdonald © 2016

July 16: About the Music

2016 Blossom Festival

A portrait of Wolfgang Amadè Mozart, painted in 1819 by Barbara Kraft, based on paintings created during the composer’s lifetime

‘‘

I cannot write in verse, for I am no poet. I cannot arrange the parts of speech with such art as to produce effects of light and shade, for I am no painter. Even by signs and gestures I cannot express my thoughts and feelings, for I am no dancer. But I can do so by means of sound, for I am a musician.

‘‘

—W. A. Mozart, November 1777

About the Music

A London Symphony in G major composed 1912-13, revised 1920 and 1933 T H E L O N D O N S Y M P H O N Y is dedicated to Vaughan Williams’s

Ralph

VAUGHAN WILLIAMS born October 12, 1872 Down Ampney, Gloucestershire, England died August 26, 1958 London

friend, the composer George Butterworth, who was killed at the battle of the Somme exactly one hundred years ago this month, in July 1916. The two men were friends who shared a faith in folksong as a fruitful catalyst for modern music and who ventured together into the English countryside in search of folk musicians whose songs they could transcribe. It was Butterworth who said one day to Vaughan Williams: “You ought to write a symphony,” to which Vaughan Williams replied that he had never written a symphony and never intended to. This was untrue on both counts since he had already composed the Sea Symphony, a large choral piece setting Walt Whitman poetry, and would in due course compose eight more symphonies — making a total of nine. Perhaps, despite its name, he didn’t see the Whitman work as a real symphony, but more as a large-scale cantata. And the symphony that he did go on to write, stung by Butterworth’s suggestion, started life as a tone poem on the sights and sounds of London. Yet he became obsessed with the idea of making a symphony out of his sketches, and the process was both monitored and mentored by Butterworth, even though he was much the younger of the two composers. Vaughan Williams later suggested that a better title for the work would be “Symphony by a Londoner” and went on to warn the listener not to regard the music as too dependent on its subject. Mahler, similarly, suppressed the title of his first symphony, concerned to persuade the listener to regard it as music that stands on its merits as music (without requiring a storyline behind or underneath it). The music of Vaughan Williams’s London Symphony, wrote the composer, “is intended to be self-expressive, and must stand or fall as ‘absolute’ music. Therefore if listeners recognize suggestions of such things as the Westminster Chimes or the Lavender Cry, they are asked to consider these as accidents, not essentials of the music.” (Although the work is often known as “Symphony No. 2,” the composer did not refer to it as such.) This is good advice, since the symphony is not a travelogue or an attempt to convey the essence of the city to visitors, but a thoughtful exploration of the Londoner’s relationship with his vast, teeming home. For all Vaughan Williams’s association with July 16: About the Music

The Cleveland Orchestra

country regions and with the folk music movement, he was a Londoner for a great part of his life, and although he was genial and easy-going to all who knew him, there is despondency and despair in nearly everything he wrote, sometimes taken to agonizing extremes. The four movements of the London Symphony portray the composer’s tense relationship with a city that can inspire great loyalty and affection, but can also impose a dark pressure on the soul. There is clear sound-painting, with reminders of Piccadilly or the Covent Garden market, and echoes of boats on the river or trains pulling out of stations. And the Westminster chimes, foreshadowed in the rising theme that opens the symphony, are heard nostalgically in the final movement played in harmonics by the harp. But these are all framed by and within music of severe dissonance at times, creating a sense of conflict that is never far from the surface. Both the first and second movements alternate peaceful music with something much more menacing, supposedly attributable to H. G. Wells’s description of an occupied London in the War of the Worlds. The Scherzo third movement is a vivid portrait of the city by night, teeming with activity until it’s time for all to sleep. In the finale fourth movement, the tension between unease and bland tunefulness is again felt, and extracts from the first movement are heard again. The closing section, marked Lento, comes full circle to the calm mood with which the symphony began. —Hugh Macdonald © 2016

At a Glance Vaughan Williams wrote this symphony in 1912-13, eventually giving it the title “A London Symphony.” It was premiered on March 27, 1914, at Queen’s Hall in London, conducted by Geoffrey Toye. The score was published in 1920 dedicated to the composer’s friend George Buttersworth, who had died in World War I from wounds suffered in the Battle of the Somme during July 1916. Vaughan Williams made some revisions to the score in 1920 and again in 1933. Thomas Beecham led the Royal Philharmonic Orchestra in the premiere of the final version on February 23, 1934. This symphony runs about 45 minutes in performance. Vaughan Williams scored it for 3 flutes (second and third doubling piccolo), 2 oboes and english horn, 2 clarinets and bass clarinet, 2 bassoons and contrabassoon, 4 horns, 2 trumpets and 2 cornets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, tam-tam, jingles, triangle, cymbals, glockenspiel), harp, and strings.

LEFT:

At the start of the 20th century, Claude Monet did a series of impressions of the British Parliament building, at sunset, in fog, sunlight breaking through the fog, etc.

Blossom Festival 2016

About the Music: July 16

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%

OV ER

B LO S S O M M U SI C C EN TE R

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

Medical Mutual is proud to sponsor The Cleveland Orchestra’s performance of “An American in Paris” at Blossom Music Center.

MedMutual.com Blossom Music Festival

2OI6BLOSSOM MUSIC FESTIVAL

Sunday evening, July 17, 2016, at 7:00 p.m.

THE CLEVEL AND ORCHESTRA BRAMWELL T OVEY, conductor

MAURICE RAVEL (1875-1937)

AARON COPLAND (1900-1990)

Rapsodie espagnole Suite from Appalachian Spring INTER MISSION

MAURICE RAVEL

Piano Concerto in G major 1. Allegramente 2. Adagio assai 3. Presto JAVIER PERIANES, piano

GEORGE GERSHWIN (1898-1937)

An American in Paris

In collaboration with Cuyahoga Valley National Park, this evening’s performance salutes and celebrates the 100th Anniversary of the creation of the United States National Park Service by Act of Congress in 1916.

This concert is sponsored by Medical Mutual of Ohio, a Cleveland Orchestra Partner in Excellence. This concert is dedicated to JoAnn and Robert Glick in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

Th e 201 6 B lossom M usic Festival is prese nte d by The J . M . S m ucker Com pa ny

Blossom Music Festival

Concert Program: July 17

Celebrating Celebr brati ting the th Great Outdoors Special Pre-Concert Activities July 17 Learn more about the natural parkland that surrounds Blossom Music Center — and everything that Cuyahoga Valley National Park offers visitors throughout the year, by visiting special stations set up across the Blossom grounds before tonight’s concert.

National Park Service The National Park Service turns 100 this year! Visit our station to learn about America’s National Parks and how you can enjoy the one in your backyard!

Conservancy for Cuyahoga Valley National Park The Conservancy works to connect you to your national park and preserve this land for future generations. Tonight, kids and adults can color mandalas together, learn how donors help the park, or join a scavenger hunt to find your very own Ollie the Otter!

Music & Cultural Arts Live music is performed in Cuyahoga Valley National Park throughout the year at Howe Meadow, Happy Days Lodge, and Hines Hill Conference Center. Tonight you can sample the sounds of local musicians — and put your name in a raffle.

Cuyahoga Valley Environmental Education Center We teach children about nature at our Center — where the woods, ponds, and streams become the classrooms. Learn more about our school-year residential programs, day programs, summer camps, and more.

Volunteers-in-Parks Learn how volunteers help Cuyahoga Valley National Park restore native habitat by removing invasive plants and planting native trees and flowers. Receive a packet of native wildflower seeds to plant in your own home garden.

Cuyahoga Valley Scenic Railroad Meet up with conductors from the Cuyahoga Valley Scenic Railroad as they roam the Blossom grounds. Learn what it’s like to operate a locomotive in the Cuyahoga Valley and take a photo with a real train conductor.

Trust for Public Land The Trust for Public Land wants to know why nature matters to you! Share your story and join us as we explore the parks and special outdoor places that keep us healthy, inspired, and connected with nature and each other. Additional partners participating in this evening’s pre-concert activities and information booths include Countryside Conservancy, Peninsula Chamber of Commerce, and Hale Farm. Read more about Cuyahoga Valley National Park on pages 15-16 of this book.

July 17 Pre-Concert

Blossom Music Festival

INTRODUCING THE CONCERT

Musical Journeys, Wide Open Spaces T H I S E V E N I N G , we join together in celebrating both the concept and reality

of our national park system — especially of Cuyahoga Valley National Park right here in our own backyard. This summer, the National Park Service is celebrating 100 years of caring for this country’s natural wonders, of helping provide access to and protection for scenic landscapes big and small, unique and stunningly beautiful. Dozens of staff and volunteers associated with Cuyahoga Valley are here tonight to share their love and knowledge of what this park offers in pre-concert activities and learning stations. While music at Blossom is a summertime joy, the Valley is here to enjoy all year ’round! The creation of Blossom was at the forefront of revitalizing and restoring the natural wonders of the Cuyahoga Valley, with national designation for the parkland around us coming in the decades after Blossom opened in 1968. Surrounded by Cuyahoga Valley National Park, Blossom Music Center offers an unrivalled setting for summer music. Its architectural beauty and natural acoustics present magnificent listening experiences for all. Just as America’s national parks offer new adventures and fascinating landscapes to explore, The Cleveland Orchestra’s annual summer music festival at Blossom presents music both familiar and new. Just as the parks preserve nature for future generations, The Cleveland Orchestra sparks a passion for music in young and old alike — for current hits, musical masterworks, and pieces yet to be written. This evening’s concert offers musical works of varying national flavorings, from the opening “Spanish Rhapsody” written by the Frenchman Maurice Ravel to Aaron Copland’s very American Appalachian Spring. After intermission, Ravel slants in a different direction, with a jazz-inspired piano concerto and, to complete the exchange, the evening ends with the American George Gershwin’s musical postcard from the capital of France. Just as we celebrate how natural splendor offers refreshment and release from our daily lives, we can enjoy the way these four musical pieces transport us to intriguing places. Together, these musical works take us on a journey, of telling small details, beautiful big vistas, and unbridled joy. —Eric Sellen

Blossom Music Festival

Introducing the Concert: July 17

Bramwell Tovey

Javier Perianes

British conductor Bramwell Tovey has served as music director of the Vancouver Symphony since 2000, and as artistic advisor of its School of Music since 2011. He made his Cleveland Orchestra debut in August 2011 and most recently led concerts here in July 2014. Mr. Tovey studied piano and composing at the Royal Academy of Music and University of London. He subsequently held leadership roles on the conducting staffs of the Winnipeg Symphony Orchestra and Luxembourg Philharmonic, and for summer series with the Los Angeles and New York philharmonics. Mr. Tovey has guest conducted major orchestras throughout Asia, Australia, Europe, and North America. He has performed as both a classical and jazz pianist. In addition, Bramwell Tovey is a composer, and was the first artist to win a Juno Award in both conducting and composing. His recordings have received a 2007 Grammy and other honors. In 2013, he was appointed an honorary Officer of the Order of Canada for his service to music. For more information, please visit www.bramwelltovey.com.

Spanish pianist Javier Perianes’s international career spans five continents. He was awarded the National Music Prize in 2012 by the Ministry of Culture of Spain. Mr. Perianes is making his Cleveland Orchestra debut with this evening’s concert. His recent and upcoming schedule includes performances with the orchestras of Atlanta, Boston, Chicago, San Francisco, and Washington D.C. He has also appeared with the BBC Scottish Symphony, London Philharmonic Orchestra, Netherlands Radio Philharmonic Orchestra, Orchestre de Chambre de Paris, Orchestre de Paris, Radio Orchestra of Hessischer Rundfunk, Tonkünstler-Orchester, Vienna Philharmonic, and the Yomiuri Nippon Symphony Orchestra. He spent a month performing with the orchestras of Australia and New Zealand, and recently made his debut at the Prague Spring International Music Festival. Javier Perianes records exclusively for Harmonia Mundi. He recorded his most recent album with the Quiroga Quartet, featuring works by Granados and Turina. For additional information, visit www.javierperianes.com.

July 17: Guest Artists

Blossom Music Festival

Rapsodie espagnole by Maurice Ravel (1875-1937) composed 1908

F R E N C H C O M P O S E R S have long been fascinated with Spain — the opera Car-

men, so famously flavored with Spanish rhythms, was the work of Frenchman Georges Bizet (1838-1875) and is sung in French. However, of the greatest French composers, only Maurice Ravel (1875-1937) actually had anything like Spanish blood in his veins. In his case, it was Basque connections from his mother’s family His father had been Swiss, and the composer himself was raised in Paris and spent much of his career in that city. Nonetheless, Ravel, too, was intrigued by Spanish sounds and evoked them in several works. Most famous of these is Boléro from 1928. More ambitious — and strongly preferred by Ravel himself — is the Rapsodie espagnole of 1908. A four-movement orchestral suite, this work evokes sharply changing moods, ranging from mournful to celebratory, and draws forth Spanish instrumental effects including the combined efforts of trumpet and tambourine that seem to sing of Spanish dancing. The opening movement is of mysteriously nocturnal moods. The second is inspired by the lively, fandango-like malagueña of Malaga in southern Spain. The dreamy third movement Habanera looks further afield to the capital city of Cuba, then a Spanish colony. For his conclusion, Ravel draws upon the energetic atmosphere of a festival with frenetic dance rhythms that drive the work determinedly into its final bars.

Appalachian Spring Suite

by Aaron Copland (1900-1990) from the ballet composed 1943-44, arranged as a suite for orchestra 1945

T H E B A L L E T Appalachian Spring was commissioned in 1943 by the American pa-

tron of the arts Elizabeth Sprague Coolidge, who requested of Aaron Copland a new work for the great dancer and choreographer Martha Graham. Composer and choreographer worked out a scenario of scenes along with notes concerning the approximate length of each section; the composer completed the ballet while on a tour of Mexico and mailed the music to Graham in New York. The eventual title was chosen by Graham from a line in the Hart Crane poem “The Bridge.” Throughout the actual compositional process, Copland himself only knew the work as “Ballet for Martha.” The tale concerns a pioneer wedding in a Pennsylvania farmhouse. Along the way, Copland recalls folk dance rhythms and also folk Blossom Music Festival

July 17: About the Music:

Aaron Copland, 1974. Photo by Peter Hastings, taken at Severance Hall.

You compose because you want to somehow summarize in some permanent form your most basic feelings about being alive, to set down . . . some sort of permanent statement about the way it feels to live now, today. â&#x20AC;&#x201D;Aaron Copland

hymn melodies, the latter of these ideas by directly quoting the Shaker hymn “Simple Gifts” (and running it through a set of variations). Copland’s score concludes as serenely and prayer-like as it begins, ending the day with the same chords that had evoked dawn at the start. When it premiered in Washington D.C. on October 30, 1944, Appalachian Spring was scored for a chamber group of only thirteen instruments: double string quartet, along with individual players on bass, flute, clarinet, bassoon, and piano. That small scale was not Copland’s own decision; rather, it was dictated by the space available at the Library of Congress where the work premiered. Since that time, the ballet has usually been performed by larger musical forces, and often in the form of a suite that Copland abridged from the full ballet.

Piano Concerto in G major by Maurice Ravel (1875-1937) composed 1929-31

R AV E L A N D T H E P I A N O were good friends. His formal instruction had begun

when he was seven, and it was as a piano student that he first entered the Paris Conservatoire. Once he took up composing at the age of twelve, piano works were immediately prominent in his output, a characteristic that persisted throughout his career. Nonetheless, despite this strong interest in the keyboard, Ravel composed only two piano concertos, both in the last years of his productive life — when ill health was encroaching upon his playing skills. By the time the G-major Concerto premiered on January 14, 1932, Ravel was no longer strong enough (nor able to practice sufficiently) to serve as soloist. He conducted the premiere, leaving the soloist’s duties to Marguerite Long. This work is structured along the general outlines of a concerto that Mozart had favored and perfected a century and a half earlier — though Ravel’s also jazzy rhythms and bluesy harmonies were well beyond what Mozart’s audiences would have understood and possibly (just) beyond Mozart’s own imagination. Ravel, however, was working in the 1930s, and for him, jazz was the spirit of the day. The first movement opens quite literally with the crack of a whip, and for the first several lines of the movement, the soloist — rather than launching into grand passages of virtuoso display — devotes time to ornamenting orchestral statements. Throughout the concerto, there is much colorful writing for the ensemble, and the pianist does not in any way monopolize the scene. Ravel makes a point of giving important solo passages to the winds of the orchestra, especially english horn and trumpet. The middle movement is quiet and meditative, with the piano alone for part of the time. The last movement returns to a joyous and exuberant spirit, just as the

Blossom Music Festival

July 17: About the Music:

entire concerto brims with joie de vivre, making it exactly the sort of piece Mozart might have written had he lived in the Jazz Age.

An American in Paris by George Gershwin (1898-1937) composed 1928

E L AT E D W I T H the twin triumphs of orchestral works Rhapsody in Blue (1924)

and his Concerto in F (1925), George Gershwin set out for Paris in 1928. It wasn’t merely that he wished to see the sights. He also knew that Paris was the brightest of lights on the current musical scene, and he hoped to take lessons from one of the resident masters so as to better prepare himself for ambitious designs he dreamed of for more concert hall music. He asked Maurice Ravel for lessons, but was turned down. Igor Stravinsky did the same. Both men, in fact, suggested that Gershwin, a major star in the world of jazz, had nothing much to gain from classical studies. The trip was not wasted, however. Gershwin absorbed the atmosphere of this most vibrant city and even before he boarded ship for the journey home he was at work on the score that would become An American in Paris. Of this, Gershwin himself observed, “This new piece, really a rhapsodic ballet, is written very freely and is the most modern music I’ve yet attempted. . . . My purpose here is to portray the impression of an American visitor in Paris, as he strolls about the city and listens to various street noises and absorbs the French atmosphere.” Busy street scenes, bluesy jazz clubs, and melancholy reflections all appear in turn. Gershwin may have been turned down for advanced studies with the big names in the field, but he had kept his ears engaged and learned what he needed to know to make the most of orchestral colors. An American in Paris premiered at Carnegie Hall on December 13, 1928. Also on that program were César Franck’s Symphony in D minor and Wagner’s “Magic Fire Music” from The Valkyrie. All of this was well before the 1951 Gene Kelly film that bears the same title as Gershwin’s composition, a film in which Gershwin himself had no direct hand. However, the original score painted sufficiently vivid scenes and moods as to give Kelly everything he needed to work with. In concert performance, listeners will likely find their imaginations similarly well guided — and dreaming of French foods and French fun. —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.

About the Music: July 17

Blossom Music Festival

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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

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Building Audiences for the Future . . . Today! The Cleveland Orchestra is committed to developing interest in classical music among young people. To demonstrate our success, we are working to have the youngest audience of any orchestra. With the help of generous contributors, the Orchestra has expanded its discounted ticket offerings through several new programs. Since inaugurating these programs in 2011, student attendance has nearly doubled, now representing over 20% of those at Cleveland Orchestra concerts — with 40,000 young people attending each year through a variety of donor-subsidized ticket programs. U N D E R 1 8 s F R E E FO R FA M IL IE S

Introduced for Blossom Music Festival concerts in 2011, our Under 18s Free program for families now includes select Cleveland Orchestra concerts at Severance Hall each season. This program offers free tickets (one per regular-priced adult paid admission) to young people ages 7-17 on the Lawn at Blossom and to the Orchestra’s Fridays@7, Friday Morning at 11, and Sunday Afternoon at 3 concerts at Severance. STUDENT TICKET PROGRAMS

In the past four seasons, The Cleveland Orchestra’s Student Advantage Mem-

Blossom Music Festival

bers, Frequent Fan Card holders, Student Ambassadors, and special offers for student groups attending together have been responsible for bringing more high school and college age students to Severance Hall and Blossom than ever before. The Orchestra’s ongoing Student Advantage Program provides opportunities for students to attend concerts at Severance Hall and Blossom through discounted ticket offers. Membership is free to join and rewards members with discounted ticket purchases. A record 7,500 students joined in the past year. A new Student Frequent Fan Card is available in conjunction with Student Advantage membership, offering unlimited single tickets (one per Fan Card holder) all season long. All of these programs are supported by The Cleveland Orchestra’s Center for Future Audiences and the Alexander and Sarah Cutler Fund for Student Audiences. The Center for Future Audiences was created with a $20 million lead endowment gift from the Maltz Family Foundation to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.

Building Future Audiences

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 History’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 visitors’ 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 Orchestra 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 downhas 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

AS IT NEARS THE CENTENNIAL

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

Little steps can move all of us.

Learn how you can help at akronchildrens.org/giving.

The Cleveland Orchestra

2 O 1 6

B L O S S O M

M U S I C

F E S T I V A L

FRANZ WELSER-MÖST M U S I C D I R E C TO 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

Emilio Llinás 2 James and Donna Reid Chair

Eli Matthews 1 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

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

David Alan Harrell Martha Baldwin Dane Johansen 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

Corbin Stair Jeffrey Rathbun 2 Everett D. and Eugenia S. McCurdy 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

Michael Miller

Robert Walters

CORNETS Michael Sachs *

ENGLISH HORN Robert Walters

Michael Miller

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

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 Joe and Marlene Toot Chair

Donald Miller ENDOWED CHAIRS CURRENTLY UNOCCUPIED 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

* Principal § 1 2

Associate Principal 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

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2016 Blossom Festival

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

Sound for the Centennial TH E C A M PAI G N FO R TH E C LE V EL AN D O RC H ESTR 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. Oâ&#x20AC;&#x2122;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 Womenâ&#x20AC;&#x2122;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

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#CleOrchBlossom Blossom Music Festival

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.

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 Orc rche hestra t

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

JOHN L. SEVERANCE SOCIETY

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

$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.

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.

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

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

Individual Annual Support

2016 Blossom Festival

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MedMutual.com/Arts

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

Individual Annual Support

2016 Blossom 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 Cleveland Orchestra

Individual Annual Support

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

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 Music Festival

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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

Annual Support

JOHN L. SEVERANCE SOCIETY

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.

$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.

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

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)

Look around. Tonight you might be sitting near a contributor, a donor, underwriter or philanthropist — someone passionate about your cause or organization. If your non-proﬁt organization is wondering how to reach a like-minded and responsive audience — they’re here tonight, reading this program.

Advertising your organization in a Cleveland Orchestra program book finds educated, active and influential readers — a focused audience for your non-profit. And tonight, they’re all around you.

Call us, and let’s start planning, before the leaves start falling.

216-721-1800 email: info@livepub.com

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

Annual Support

JOHN L. SEVERANCE SOCIETY

$1 MILLION AND MORE

$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

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

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

$5 MILLION TO $10 MILLION

$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

Jahja Ling

Jean-Yves Thibaudet

The upcoming 2016-17 season marks Jahja Ling’s thirteenth and final year as music director of the San Diego Symphony. In addition, he maintains a career as an internationally renowned guest conductor and holds a long collaborative relationship with The Cleveland Orchestra, where he was a member of the conducting staff from 1984 to 2005. Mr. Ling was resident conductor of the Orchestra (1985-2002) and served as Blossom Festival Director for six seasons (2000-05). He has returned each year as a guest conductor; concerts in 2014 marked the 30th anniversary of his first conducting The Cleveland Orchestra. Recent and upcoming guest conducting engagements feature performances on three continents. Jahja Ling’s commitment to working with and developing young musicians is evidenced by his involvement as founding music director of the Cleveland Orchestra Youth Orchestra (1986-93) and the San Francisco Symphony Youth Orchestra (1981-84), as well as work with the student orchestras of Curtis, Juilliard, SchleswigHolstein, Colburn, and Yale. As a pianist, he won a bronze medal at the 1977 Arthur Rubinstein International Piano Master Competition in Israel. For more information, visit www.jahjaling.com.

French pianist Jean-Yves Thibaudet is acclaimed for his ability to combine a sense of poetic artistry with technical prowess. He has performed internationally for more than 30 years. He made his Cleveland Orchestra debut in 1991, and most recently performed with the Orchestra in March 2016. This past season, Mr. Thibaudet served as artist-in-residence with Amsterdam’s Royal Concertgebouw Orchestra, with the Seattle Symphony, and at the Colburn School of Los Angeles. He also performed recitals in Asia, Europe, and the United States, collaborating with the Alma and Emerson string quartets and with cellist Gautier Capuçon. He has recorded more than 50 albums, earning many awards and nominations. He was soloist on the Oscar and Golden Globeaward winning soundtrack of Atonement and the soundtracks of Pride & Prejudice (2005) and Extremely Loud & Incredibly Close (2011). He also is featured on two jazz albums, performing the music of Duke Ellington and Bill Evans. Recent accolades include the Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoire de la Musique. For more information, visit www.jeanyvesthibaudet.com.

July 23: Guest Artists

2016 Blossom Festival

2OI6BLOSSOM MUSIC FESTIVAL

Saturday evening, July 23, 2016, at 8:00 p.m.

THE CLEVEL AND ORCHESTRA JAHJA LIN G , conductor

IGOR STRAVINSKY (1882-1971)

Four Norwegian Moods 1. 2. 3. 4.

EDVARD GRIEG (1843-1907)

Intrada Song Wedding Dance Cortège

Piano Concerto in A minor, Opus 16 1. Allegro molto moderato 2. Adagio 3. Allegro moderato molto e marcato — Quasi presto — Andante maestoso JEAN-YVES THIBAUDET, piano

INTER MISSION JEAN SIBELIUS (1865-1957)

Symphony No. 1 in E minor, Opus 39 1. 2. 3. 4.

Andante, ma non troppo — Allegro energico Andante (ma non troppo lento) Scherzo: Allegro — Lento (ma non troppo) — Tempo 1 Finale (Quasi una Fantasia): Andante — Allegro molto

Jean-Yves Thibaudet’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from The Hershey Foundation. This concert is dedicated to Jeanette Grasselli Brown and Glenn R. Brown in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

Th e 201 6 B lossom M usic Festival is prese nte d by The J . M . S m ucker Com pa ny

Blossom Festival 2016

Concert Program: July 23

# in the nation #2 “Top 10 Colleges for Musical Theatr Theatre Majors” C Conservatory Co Conse 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 w

INTRODUCING THE CONCERT

Northern Lights & Moods

M U S I C A N D T H E G R E A T O U T D O O R S can make a perfect pairing, and the pleasures of outdoor summer festivals are many. Fair weather, great music, friends and family gathered for a mellow sunset . . . mix well for good memories of enchanted evenings. Scandinavia provides the background for tonight’s concert, featuring works by two of the leading composers to emerge from Northern Europe in the late 19th century, plus a fun little set of pieces filled with related ideas. The major works are a concerto by Edvard Grieg and a symphony by Jean Sibelius, representing Norway and Finland respectively. The Grieg, here performed by pianist Jean-Yves Thibaudet, has been an audience favorite worldwide since its premiere in 1869. It is, however, a thoroughly Germanic work, in form and content — for Grieg studied in Germany and sought to emulate the middle European traditions of Mozart, Beethoven, and especially Robert Schumann. This concerto deftly balances the roles of orchestra and soloist, giving plenty of good material to each — and many pleasures to the audience. Guest conductor Jahja Ling closes the evening with the first of Sibelius’s seven symphonies. Here, this composer’s grand symphonic vision begins, built upon ideas of thematic generation and with a large arching structure and spirit. The rhythms are exciting, the melodies glowing with energy and drive. While his Second may be more unified, his Fifth more daring and emotional, his Seventh more concise, Sibelius’s First — premiered in 1899 — lays out ideas of gripping warmth and clear value, builds itself through climax and contrast, and delivers strongly on the symphonic promise of making a universal musical statement. The evening begins with a set of “Four Norwegian Moods” by Igor Stravinsky. Originally created for a movie project in 1942, and based on ideas from a collection of Norwegian tunes from the 19th century, this music provides a lovely opening to any concert — piquant and picturesque, sophisticated and yet plain-spokenly delightful. —Eric Sellen

Blossom Festival 2016

July 23: Introducing the Concert

Four Norwegian Moods composed in 1942

D U R I N G T H E Y E A R S that Stravinsky and Schoenberg lived in

Igor

STRAVINSKY born June 17, 1882 Oranienbaum, near St. Petersburg died April 6, 1971 New York

At a Glance Stravinsky wrote his Four Norwegian Moods in 1942 for a film about the Nazi invasion of Norway. The composer and the movie’s artistic team did not come to agreement on potential edits for finalizing the score — and the composer withdrew the music to use as a concert suite instead. This set of pieces runs not quite 10 minutes in performance. Stravinsky scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 2 trombones, tuba, timpani, and strings.

Hollywood, they were of course asked to compose film scores, but in neither case was there any kind of fruitful outcome. Stravinsky’s Rite of Spring was used in Fantasia on terms that gave Stravinsky very little choice in the matter. His Scherzo à la Russe (1944) was intended for a war film set in Russia, but the movie was never made; part of the Ode (1943) was intended for a hunting scene in the film of Jane Eyre but was never used. The Four Norwegian Moods were composed in 1942 for a film about the Nazi invasion of Norway; another film that was never made. Stravinsky took his themes from a collection of Norwegian folk music that his wife had bought in a used bookshop in Los Angeles. He arranged them in a style that he had often applied before to borrowed tunes. The film moguls refused to accept the music in the form he submitted, and, because he refused to make any changes, the material was withdrawn and turned into a short concert suite instead. Stravinsky conducted the first performance in Cambridge, Massachusetts, in 1944, and wrote in a program note: “Although based on Norwegian folk tunes, the title ‘Moods’ must not be interpreted as ‘impression’ or ‘frame of mind.’ It is purely a mode, a form or manner of style without any assumption of ethnological authenticity.” Stravinsky’s clever but idiosyncratic command of English gave him license to liken a mood to a mode in a way that only leaves us confused. The mischievous title “Moods” remains, however. He went on to compare this treatment with the way in which Haydn used folk themes in his symphonies. Melodies, in Stravinsky’s neo-classical style, are rarely given to the strings. Horns and woodwinds have the lion’s share in these pieces, so that the strings mostly provide rhythmic support. Cross-rhythms abound, especially in the livelier tempos. “Song,” the second movement, features the english horn and a long dialogue for two flutes, and the “Wedding Dance” is a full-blooded release of energy. The final “Cortège” employs a touching little tune in the violins that continues to the end undisturbed by all the busy music going on around it.

About the Music: July 23

The Cleveland Orchestra

Piano Concerto in A minor, Opus 16 composed in 1868

O F T H E G R E A T P I A N O C O N C E R T O S that make up the so-

Edvard

GRIEG born June 15, 1843 Bergen, Norway died September 4, 1907 Bergen

Blossom Festival 2016

loist’s usual repertoire, Grieg’s is the earliest to come from outside the Austro-German tradition that gave us the concertos of Mozart, Beethoven, Mendelssohn, Liszt, Schumann, and Brahms. Because for many people this piano concerto stands for Grieg, and Grieg stands for Norwegian music, we hear a Norwegian flavor in the main theme of the first movement (where there really is none) and in the spirited dance of the last movement (where there is plenty). But Grieg was a product of German training, and his clearest model for a piano concerto was the concerto, also in A minor, by Robert Schumann. Between the ages of fifteen and nineteen, Grieg studied at the Leipzig Conservatory, a school where the Beethoven tradition was firmly inculcated in its students. He also attended the famous Gewandhaus concerts where he heard Clara Schumann performing her husband’s classic concerto. None of his Leipzig teachers suggested to Grieg that his music ought to sound distinctively Scandinavian. The Danish composer Niels Gade had earlier spent many years in Leipzig and had been a friend of both Mendelssohn and Schumann; it is hard to identify any Danish qualities in his music, polished and agreeable though his works are. Grieg’s generation was the first to feel the need to craft a new musical language out of the folk music of their own country, as Smetana did in Bohemia and the Russians did in their own land. In Grieg’s case, it did not happen overnight. His early works, which cling closely to classical models, include a symphony, a piano sonata, and two violin sonatas, interspersed with smaller piano pieces and songs. On his return from Leipzig, he lived for considerable periods in Denmark, whose musical culture was several degrees richer than that of Norway at the time. The Piano Concerto was in fact composed in Denmark in the summer of 1868, where Grieg spent the summer with his young wife. And it was first performed in Denmark, too. The soloist and dedicatee was the young Norwegian virtuoso Edmund Neupert. Grieg was a good pianist, but although he played the solo part himself in London and Manchester in later years, he preferred to leave it in the hands of specialists on his concert tours. By the time the Piano Concerto was composed, Grieg had July 23: About the Music

At a Glance Grieg composed this piano concerto during the summer of 1868 near the village of Sölleröd in Denmark. It was first performed April 3, 1869, in Copenhagen, with Edmund Neupert as soloist and Grieg conducting. Grieg revised the score several times, most noticeably in 1906-07 when he expanded the scoring from two to four horns. The concerto is dedicated to Neupert. This concerto runs about 30 minutes in performance. Grieg scored it for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings, plus the solo piano.

come under the influence of a number of Scandinavian musicians who were fired by enthusiasm for anything that belonged uniquely to their own countries. They were exploring folksong and dance music, and compiling collections for publication. Then, in the summer of 1869, Grieg came upon a volume entitled Mountain Melodies Old and New compiled by a Norwegian organist, Ludvig Mathias Lindeman. He immediately made arrangements of twenty-five of Lindeman’s tunes, and he came back to the collection many times in the course of his life. The effect of these revelations was to turn the composer away from large-scale symphonic works. There never was another symphony or another piano concerto. Instead he devoted himself to songs and smaller piano pieces, many of which were compiled in sets of Lyric Pieces and played by pianists all over the world. He wrote stage music, including the famous Peer Gynt music of 1874, and a varied corpus of choral music. If the songs and choral music were not mostly settings of Norwegian and Danish texts, they would be much better known today. The three movements of the Piano Concerto enjoy the satisfying balance of classical form, with a richness of melody that makes the work so attractive. In the slow movement, muted strings present the main melody with sumptuous harmony, while the soloist responds first with elegant tracery and then with a full-blooded statement of the melody. The horn is prominently featured throughout this movement, which leads directly into the spirited finale, with its unmistakable echo of peasant boots and its taxing demands on the soloist’s technique. The flute introduces a melody of a quite different sort, which turns out at the end, after the return of the dance has been transformed into a lively three-four pattern, to be called upon to provide the closing bars in shamelessly grandiose style.

July 23: About the Music

2016 Blossom Festival

Artists like Bach and Beethoven erected churches and temples on the heights. I only wanted . . . to build dwellings for people, in which they might feel happy and at home. â&#x20AC;&#x201D;Edvard Grieg

16 17 2016-17

S E A S O N

Music Study Groups Welcome and special thanks to our community partners who have graciously agreed to host a Cleveland Orchestra Music Study Group during the upcoming 2016-17 Season at Severance Hall: Cleveland Heights-University Heights Public Library Cuyahoga County Public Library Beachwood Branch Fairview Park Branch Orange Branch St. Paul’s Episcopal Church of Cleveland Heights Welcome also and many thanks to our partners who generously support special services for persons with vision loss in Cleveland Orchestra Music Study Groups: Cleveland Sight Center The Robert Cull Family, who have endowed the Orchestra’s Alice H. Cull Memorial Fund Music Study Groups are led by Dr. Rose Breckenridge and explore current concert music performed by The Cleveland Orchestra at Severance Hall through informal lectures and guided listening. Series options include location and length — autumn, winter, and/or spring.

For more information, please contact The Cleveland Orchestra’s Education & Community Programs Office by calling 216-231-7355, or visit clevelandorchestra.com.

Symphony No. 1 in E minor, Opus 39 composed 1898-1899

Jean

SIBELIUS born December 8, 1865 Hämeenlinna, Finland died September 20, 1957 Järvenpää, Finland

Blossom Festival 2016

M A N Y O F U S think of Sibelius primarily as a symphonist, yet he did not embark on his first symphony until he was well into his thirties. Like Richard Strauss, who was only a year older, he had dabbled unsuccessfully in opera but was best known for a series of tone poems — in Sibelius’s case, tone poems with Finnish subjects. Strauss soon renewed his efforts in opera, to great success. Sibelius, instead, built a solid and lasting achievement in his seven symphonies, the last dating from 1924. We could equally compare Sibelius to Beethoven, who also waited until he was thirty before producing the first of his immortal nine symphonies. (Sibelius’s own much-talked-about Eighth Symphony, so keenly anticipated and so lavishly discussed by music-lovers and journalists, never appeared — or was perhaps purposefully destroyed by the composer — even though he lived a full thirty years after apparently retiring from composition.) Sibelius first studied law at Helsinki before shifting to what he had always liked, music, and taking courses in Berlin and Vienna. His home country, Finland, was aflame with patriotic sentiment in those years in reaction to Russia’s repressive control, so that his early orchestral works were based on the Finnish national epic, the Kalevala. His stirring overture Finlandia brought him wide support and celebrity. Sibelius knew, however, that a reputation beyond the borders of his country would depend on music with a broader international appeal, which in essence called for the composition of symphonies. He had always shown a capacity for thinking on a large scale, across four or more movements, and this suggested that the symphony might be the sphere in which he would excel. But Sibelius was at first thinking not so much in terms of Beethoven as of Borodin, Tchaikovsky, and Bruckner, whose works impressed him deeply. During a stay in Berlin in 1898, he also heard Berlioz’s Symphonie fantastique and noted in his sketchbook: “O santa inspirazione! O santa dea!” He began work on his First Symphony soon after. On April 27, 1898, Sibelius wrote to his wife: “I have now worked hard for three days. It has been wonderful. I’m working on the new thing, alla sinfonia.” (In another letter to his wife from this time he wrote: “I’ll tell you just how much I drink and smoke, absolutely truthfully. Whether it be little or much. Yesterday I only drank on two occasions July 23: About the Music

For the first half of the 20th century, Sibelius’s reputation in Britain and the United States was at the level where Mahler’s is now — he was at the apex and his creations were the pinnacle of what a meaningful and modern symphony could be.

a glass of red wine and smoked one (!) cigar.” Sibelius was given to bouts of heavy drinking throughout his life, and was fond of cigars, yet he lived to be ninety-one.) The First Symphony appeared in 1899 and with it — alongside Finlandia and the Lemminkäinen suite — came international renown. He was invited to conduct his music in Stockholm, Paris, Heidelberg, and Berlin. He acquired a publisher in Leipzig (German publishers were then considered the most prestigious) and met Dvořák in Prague. All of this pushed his acclaim at home to such a level that he was awarded a Finnish state pension for life and was able to resign his teaching post at Helsinki University. There were to be dark times ahead when poor health, money problems, too much drinking, and anxiety about his standing in contemporary music dogged him, but for the first few years of the 20th century Sibelius was riding high. For a period of years, he produced important works regularly, breaking down European prejudices about composers from remote parts. For the first half of the 20th century, Sibelius’s reputation in Britain and the United States was at the level where Mahler’s is now — he was at the apex and his creations were the pinnacle of the modern symphony. The English critic Cecil Gray roundly declared Sibelius to be “the greatest master of the symphony since the death of Beethoven.” His more measured colleague Ernest Newman said of the First Symphony: “The impression it makes is that here we have a man really saying things that have never been said in music before. Every page of it breathes of another manner of thought, another way of living, even another landscape and seascape than ours.” THE MUSIC

For many today, the First Symphony will most readily be compared to the last two from Tchaikovsky. Like Tchaikovsky’s Fifth, it is in the key of E minor and the opening movement begins with an important theme laid out by the clarinet. It also concludes with a grandioso reprise of the finale’s second theme (which also links it to the Grieg Piano Concerto on tonight’s concert). Some of Bruckner’s breadth will be observed too, as Sibelius presents long unhurried “paragraphs of music,” scored without fussiness. The clarinet’s theme is not heard again until the last movement, but it supplies hints of some of the themes to come. It is immediately followed by the opening movement’s Allegro section, in which a succession of distinct themes are heard, one of About the Music: July 23

The Cleveland Orchestra

them using the stirring scoring of violins and cellos in octaves. The first climax is reached by Tchaikovsky’s method of pushing the top notes ever higher and the bottom notes ever lower. One telling characteristic of Sibelius’s writing is his habit of allowing the music to change tempo, sometimes almost unnoticed, speeding up over a long repetitive passage and then either arriving at a new faster tempo or reverting to the earlier slower tempo. Over and above these mild disturbances the first movement leaves an impression of powerful organic growth all the way to the final thunder on the timpani. The second movement has the flavor of a lament, which eventually begins to grow in strength and speed. The pace at length reaches double the original tempo, allowing the original theme to return underneath the scurrying texture and to bring back the sense of calm and serenity with which it started. This is an example of Sibelius’s craft at its unique best. The timpani suggest the theme of the speedy scherzo third movement, which involves some clever dialogue between wind and strings. The movement’s Trio section is a little slower, echoing material from the previous two movements. It is a full-blooded reprise of the clarinet’s original theme that opens the finale fourth movement, now on full strings, giving way almost at once to a section marked in Allegro tempo, with a restless first theme and a broad theme laid out by all the violins in their lowest register, destined to become a grand statement that will bring this symphony to a grand conclusion.

At a Glance Sibelius composed the first of his seven symphonies in 1898. It was first performed on April 26, 1899, in Helsinki (Helsingfors) by the Helsinki Philharmonic under the composer’s direction. Karl Muck introduced it to the United States on January 5, 1907, with the Boston Symphony. This symphony runs about 40 minutes in performance. Sibelius scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, triangle), harp, and strings.

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

Blossom Festival 2016

July 23: About the Music

2OI6BLOSSOM MUSIC FESTIVAL

Sunday evening, July 24, 2016, at 7:00 p.m.

THE CLEVEL AND ORCHESTRA MIC HAEL KRAJEWSKI , conductor

MAGIC OF THE MOVIES featuring

Capathia Jenkins, vocalist and the

Blossom Festival Chorus prepared by Lisa Wong

Hooray for Hollywood! music by richard whiting (1891-1938) with lyrics by johnny mercer (1909-1976) arranged by John Williams

Suite from The Wizard of Oz music by harold arlen (1905-1986) with lyrics by yip harburg (1896-1981) arranged by Jeff Tyzik

“Home” from The Wiz music and lyrics by charlie smalls (1943-1987) with MS. JENKINS

“My Heart Will Go On” from Titanic lyrics by will jennings (b. 1944) music by james horner (1953-2015) with MS. JENKINS

Suite from The Mission music by ennio morricone (b. 1928) with the BLOSSOM FESTIVAL CHORUS

Suite from Avatar music by james horner (1953-2015) with the BLOSSOM FESTIVAL CHORUS

INTER MISSION Blossom Festival 2016

Magic of the Movies: July 24

PROGRAM LISTING CONTINUES

PROGRAM LISTING CONTINUED FROM PREVIOUS PAGE

Theme from Chariots of Fire by vangelis (b. 1943)

James Bond Theme by monty

norman (b. 1928)

“Nobody Does It Better” from The Spy Who Loved Me lyrics by carole bayer sager (b. 1947) music by marvin hamlisch (1944-2012) with MS. JENKINS

Theme from Star Wars and “Duel of the Fates” from Star Wars: Phantom Menace by john williams (b. 1932) with the BLOSSOM FESTIVAL CHORUS

Suite from Disney’s Pirates of the Caribbean music by klaus

badelt (b. 1967) arranged by Ted Ricketts

Theme from Star Trek Into Darkness by michael giacchino (b. 1967) with the BLOSSOM FESTIVAL CHORUS

“I Will Always Love You” from The Bodyguard music and lyrics by dolly parton (b. 1946) with MS. JENKINS

“Climb Ev’ry Mountain” from The Sound of Music lyrics by oscar hammerstein 2 d (1895-1960) music by richard rodgers (1902-1979) with MS. JENKINS and the BLOSSOM FESTIVAL CHORUS

This concert is sponsored by The Goodyear Tire & Rubber Company. This concert is supported by the David E. and Jane J. Griffiths Blossom Festival Family Concerts Fund, established through a generous gift to The Cleveland Orchestra’s endowment. This concert is dedicated to Mr. and Mrs. Richard K. Smucker in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

The 201 6 Blossom Music Festival is presented by The J. M . Smucker Company

Magic of the Movies: July 24

The Cleveland Orchestra

INTRODUCING THE CONCERT

Lights, Action, Music! M U S I C I S inherently dramatic — in its contrasts and varying colors and moods. It is natural, therefore that music and theater have long been paired together — from Ancient Greek drama to church plays, from the invention of opera to symphonic storytelling, from movies to . . . video games. Even silent movies featured music (after a few entirely too quiet early and experimental screenings). The music played has always been an augmentation to the action on-screen, enhancing the drama and deepening the emotional moments, or playfully changing the scene or mood, or setting us up for a surprise. This evening’s concert draws from a rich variety of musical styles and movie genres, with quite literally something for everyone. Included are Academy Award winners as well as films (and songs) that coulda-shoulda won. This music enhanced the action of these movies, but even more, these tunes and orchestral settings stand on their own — to remind us of the film, yes, but also as great music that requires no more action than the imagination of our minds to stir our hearts and tug at our emotions. In today’s world, most of us have come to think of music as the natural soundtrack to our own daily lives — sometimes chosen by us as a playlist or choice of radio station or concert ticket, and sometimes quite accidental and serendipitous . . . as someone else’s music crosses into our hearing. Tonight at Blossom, these divergent soundtracks come together in one big outdoor adventure showcasing the magic of movie music. Revel and enjoy! —Eric Sellen ABOVE:

Diana Ross in The Wiz (1978), Leonardo DiCaprio and Kate Winslet in Titanic (1997), Sean Connery in James Bond: Goldfinger (1964), and Judy Garland in The Wizard of Oz (1939).

Blossom Festival 2016

July 24: Introducing the Concert

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2016 Blossom Festival

Michael Krajewski

Capathia Jenkins

Michael Krajewski is the music director of the Philly Pops and principal pops conductor of the Houston Symphony, Jacksonville Symphony Orchestra, and the Atlanta Symphony Orchestra. He first conducted The Cleveland Orchestra in April 2012, and has returned each season since that time. As a guest conductor, Mr. Krajewski has performed with the Boston Pops, Cincinnati Pops Orchestra, and the Hollywood Bowl Orchestra. Other guest conducting engagements have included appearances with the orchestras of Baltimore, Dallas, Detroit, Indianapolis, Phoenix, San Francisco, Seattle, St. Louis, and Washington D.C., as well as many other orchestras throughout the United States. He has also led performances in Canada, across Europe, and in Asia. Mr. Krajewski has worked on presentations with such classical artists as flutist James Galway, mezzo-soprano Marilyn Horne, pianist Alicia de Larrocha, and guitarist Angel Romero, and pop artists including Roberta Flack, Judy Collins, Art Garfunkel, Ben Folds, Patti Austin, the Preservation Hall Jazz Band, Pink Martini, Ann Hampton Callaway, Cirque de la Symphonie, Classical Mystery Tour, and Big Bad Voodoo Daddy. For more information, visit www.michaelkrajewski.com.

Capathia Jenkins’s career spans the arts of acting and music. Gripped with passion for each, she has refused to choose — because both represent her soul. She approaches a song the same way she approaches a script, like an artist. She looks for nuance in every detail, for the secrets hidden within the notes or text — intent on taking audiences on an unforgettable journey. Born and raised in Brooklyn, she most recently starred as Medda in the Disney production of Newsies on Broadway. She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson, and subsequently starred in the Off-Broadway 2000 revival of Godspell. She returned to Broadway in The Look of Love and created the role of The Washing Machine in Caroline, Or Change. Her stage credits also include Nora Ephron’s Love, Loss, and What I Wore. As an active concert artist, Ms. Jenkins has appeared with orchestras across North America, from Minnesota to Cleveland, from Atlanta to Seattle, and from San Diego to Toronto, as well as appearing to acclaim in Europe. Her television credits include 30 Rock, The Practice, Law & Order, and The Sopranos. For more information, please visit www.capathiajenkins.com.

Blossom Festival 2016

July 24: Guest Artists

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

Robert Porco became director of choruses for The Cleveland Orchestra in 1998. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco conducts the Orchestra’s annual series of Christmas concerts at Severance Hall and regularly conducts subscription concert programs both at Severance Hall and Blossom. He has also served as director of choruses for the Cincinnati May Festival since 1989. In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of significant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana University 1980-98, and in recent years has taught doctoral-level conducting at the school. As teacher and mentor, Mr. Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, he has taught at Harvard University, Westminster Choir College, and the University of Miami Frost School of Music.

Lisa Wong

Assistant Director of Choruses

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

Blossom Festival Chorus

The Cleveland Orchestra

Blossom Festival Chorus Robert Porco, Director

Lisa Wong, Assistant Director Alicja Basinska, Accompanist The Blossom Festival Chorus was created in 1968 for the inaugural set of concerts opening Blossom with Beethoven’s Symphony No. 9 (“Choral”). Members of this volunteer chorus are selected each spring from the Cleveland Orchestra Chorus and through open auditions of singers from throughout Northeast Ohio. The Blossom Festival Chorus has been featured in a hundred fifty concerts at Blossom, in addition to select other summertime performances with The Cleveland Orchestra. M A G I C O F T H E M O V I E S — prepared by Lisa Wong SOPRANOS

ALTOS

TENORS

BASSES

Lou Albertson Amanda Baker Claudia Barriga Karen Bauer-Blazer Susan Cucuzza Karla Cummins Sasha Desberg Rosalyn M. Gaier Sarah Gaither Anne Gartman Lisa Georges Sarah Grube Sandhya Gupta Lisa Hrusovsky Shannon Jakubczak Chelsea Kimmich Dawn Liston Kate Macy Sara Stone Miller Kathleen Moreland Roberta Myers Christine Piatak Roberta Privette Monica Schie Laura R. Seipert Samantha Smith Erin Sullivan Shelby Wanen Mary Krason Wiker Kathryn Zorman

Beth Bailey Ellen Beleiu Terry Boyarsky Julie A. Cajigas Kathy Chuparkoff Brianna Clifford Brooke Emmel Madison Fallon Haley Gabriel Diana Weber Gardner Laura Skelly Higgins Julie Evans Hoffman Karen Hunt Sarah N. Hutchins Anney Jeandrevin Kate Klonowski Kristi Krueger Charlotte Linebaugh Karla McMullen Marge Salopek Kathy Sands Alanna M. Shadrake Molly Shearrow Shelley B. Sobey Kellie Sonntag Melanie Tabak Dana Way Maggie Fairman Williams Caroline Willoughby Nancy Wojciak Alex Wuertz

Thomas Glynn Gary Kaplan Adam Landry Alex Looney Shawn Lopez Paul March Stephen Mason Tremaine B. Oatman Ryan Pennington Bronson Peshlakai Justin Prindle Matthew Rizer Ted Robinson Adam M. Vlainic Steven Weems Allen White

Christopher Aldrich Craig Astler Jack Blazey Sean Cahill Carlos Castells-Hogan Nick Connavino Thomas Cucuzza Christopher Dewald Philip K. Greer Ben Gwinnell Scott Douglas Halm Benjamin Heacox Ryan D. Honomichl Bernard Hrusovsky Jeral Hurd Robert L. Jenkins III Kevin Kutz CJ Langmack Tim Manning Tyler Mason Roger Mennell Tom Moormann Steven Ross Xan Seymour Robert Peter Shaw Stephen Stavnicky S. David Worhatch

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Jill Harbaugh, Manager of Choruses

Blossom Festival 2016

Blossom Festival Chorus

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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.

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2016 Blossom Festival

orchestra news

THE CLEVELAND ORCHESTRA

Cleveland Orchestra joins together with Cleveland Museum of Art for this summer’s neighborhood residency “At Home” in Hough Collaborations with community partners provide music and arts opportunities all summer long The Cleveland Orchestra is joining with the Cleveland Museum of Art to celebrate music and art in Hough, an historic neighborhood located between downtown Cleveland and University Circle. This collaborative work between two of Ohio’s premier cultural organizations is designed to create and strengthen partnerships with local communities to develop new and meaningful ways to enliven Northeast Ohio with arts and music. Both arts institutions are joining with Hough residents to celebrate music and art in the neighborhood throughout the summer. One highlight of the activities in Hough is a free public concert by The Cleveland Orchestra, led by Cleveland Orchestra associate conductor Brett Mitchell, on Thursday evening, August 11. The concert will be shared across Northeast Ohio via live broadcast on radio and online by ideatream® (via WCLV Classical 104.9 and ideastream’s website), and with a television rebroadcast later in August on WVIZ PBS. Neighborhood tickets for the free community concert are being distributed throughout Hough beginning on Monday, July 11, 2016. The concert takes place at East Professional Center (formerly East High School). In collaboration with the Hough community, the August 11 performance will also showcase visual and musical talents of neighborhood citizens, with a display of photography from the Cleveland Museum of Art’s year-long centennial self-portrait project. The portraits on August 11 feature Hough residents, displayed with banners created by Hough community groups and Cleveland Museum of Art staff. An additional banner will be produced by community members during “A New Day in Hough,” an annual tradition started by the late councilwoman Fannie Lewis, taking place this year at League Park on August 6. “The Cleveland Orchestra is making music all summer long with our Hough community partners,” says Joan Katz Napoli, the Orchestra’s direcBlossom Festival 2016

This summer, both music and visual arts programs are taking place at Hough community centers to help demonstrate the power of the arts to enrich lives.

tor of education and community programs. “We have programs in four different centers to help teach the playing of musical instruments, for real hands-on experience and understanding. Its exciting and fun to watch the thrill of kids learning by doing.” To learn more, visit clevelandorchestra.com.

Cleveland Orchestra News

THE

CLEVELAND ORCHESTRA

July 22-23 Firestone Park

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July 29-30 Hardesty Park

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2016 Blossom Festival

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

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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 Orchestra 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. To ensure the safety of all, audience members are prohibited from having and operating drones anywhere on the Blossom grounds. 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

Patron Information

2016 Blossom Festival

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Knight Grove

BLOSSOM GROUNDS Picnic Tables

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Hood Meyerson Suite Backstage Lot

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Lawn Seating

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Blossom Festival 2016

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

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sometimes designated outside the gates, closer to paved parking areas. 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 E AT I N G C H A R T

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 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.

RESERVED SEATING AREAS (Pavilion) Box Seats Area 1 Area 2 Area 3 OPEN SEATING AREAS Lawn /General Admission Area

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

ST. EDWARD HIGH SCHOOL

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