2017 Blossom Music Festival July 1, 2, 3, 4, 8, 9 Concerts by Live Publishing

2O17 BLOSSOM MUSIC FESTIVAL

SUMMER HOME OF

THE CLEVELAND ORCHESTRA P R E S E N T E D BY

2O17 BLOSSOM BOOK NO. 1 INSIDE . . .

July 1-2 — Gershwin & Tchaikovsky. . . . page 21 July 3-4 — Salute to America . . . . page 29 July 8 — Berlioz’s Symphonie fantastique . . . page 67 July 9 — A Night at the Opera . . . page 78

CLEVE L ANDORCHESTR A .COM Read this this program program book book on on your your mobile mobile phone phone at at ExpressProgram ExpressProgramBook.com Read Book.com

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Brand-New & Terriﬁc: Alex Katz in the 1950s is organized by the Colby College Museum of Art, Waterville, Maine, and curated by Diana Tuite, Katz Curator at Colby. Bather (detail), 1959. Alex Katz (American, b. 1927). Oil on linen; 121.9 x 182.9 cm. Colby College Museum of Art, Museum purchase made possible by Peter and Paula Lunder through the Lunder Foundation, Michael Gordon ’66, Barbara and Theodore Alfond through the Acorn Foundation, and the Jere Abbott Acquisitions Fund, 2016.189. Art © Alex Katz / Licensed by VAGA, New York, NY.

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THE

CLEVELAND ORCHESTRA

2O17 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

2017 BLOSSOM MUSIC FESTIVAL Book No. 1 7

About Blossom Welcome to Our Summer Home . . . . . . . . . . . . . . . . . . 7 2017 Festival Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . 8-9 About Blossom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-14 Blossom Committee . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Blossom Friends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Blossom by the Numbers . . . . . . . . . . . . . . . . . . . . . . . . 27

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

1 — July 1-2 Gershwin & Tchaikovsky About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20-25 Conductor: Jahja Ling . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

2 — July 3-4 A Salute to America Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 31 Conductor: Loras John Schissel . . . . . . . . . . . . . . . . . . 33 Blossom Festival Band . . . . . . . . . . . . . . . . . . . . . . . . . . 34

3 — July 8 Symphonie fantastique Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 69 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70-75 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . 64-65

4 — July 9 A Night at the Opera About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81-84 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . 64-65

Supporting the Orchestra

instagram: @CleveOrch #CleOrchBlossom

Copyright © 2017 by The Cleveland Orchestra Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Cover Blossom photograph by Roger Mastroianni Program books for Cleveland Orchestra concerts are produced by the Marketing & Communications Department and distributed free of charge to attending audience members. Program book advertising is sold through LIVE PUBLISHING COMPANY phone: 216-721-1800

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

The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio.

CONCERT

Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . 42-43 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46-55

About the Orchestra Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 Get Involved — Volunteering, Making Music, and More . . . . . . . . . . . . . . . . . . . 37-41 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . 57-59 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 62-63

Learn More Gourmet Matinees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Blossom Information and Policies . . . . . . . . . . . . 89-94 Blossom Grounds Map . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Blossom Festival: Table of Contents

Blossom Music Festival

rhy ∙ thm noun /’riTH m/ The aspect of music comprising all the elements that relate to forward movement. e

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Welcome to Our Summer Home! Thank you for joining us to celebrate and enjoy The Cleveland Orchestra’s annual Blossom Music Festival, a beloved summer tradition that brings the Northeast Ohio community together to experience great music in the great outdoors. These magical evenings at Blossom Music Center — here in the heart of Summit County — are made possible by your support, enthusiasm, and attendance. Together, our community created and has sustained an extraordinary Orchestra for the past century. Together, we have also built two of the most beautiful and acoustically acclaimed concert halls in the country — Severance Hall in Cleveland and this remarkable summer home here at Blossom. Making music here, for you, is a great honor and extraordinary pleasure. Each summer season is an incredible treasure for all of us. Blossom’s natural outdoor beauty is perfectly paired with the acoustically and aesthetically stunning Pavilion designed by local architect Peter van Dijk. Idyllically situated in the center of Northeast Ohio between two major metropolitan areas and surrounded by Ohio’s own Cuyahoga Valley National Park, Blossom offers the best of all worlds, proximity and escape, familiarity and adventure, 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. Between our own Festival concerts and those touring acts presented by Live Nation, half a million people attend musical performances at Blossom each summer. Over 20 million have enjoyed musical performances here since Blossom opened in 1968. These numbers underline just how meaningful music is to our community — and also highlight our good fortune of being able to enjoy summertime to the fullest, from hiking and birdwatching to evenings filled with great musical experiences. 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. Six years ago, our vision for having the youngest audience of any orchestra started at Blossom when we launched the “Under 18s Free” program on the Lawn. 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 and other donors. 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 masterpieces and popular musical hits, of Broadway and movie classics — of magical summer twilights teaming with fireworks or fireflies, filled with the stars above and the stars onstage. With special thanks to the Festival’s presenting sponsor, The J.M. Smucker Company. Welcome and enjoy!

André Gremillet

Blossom Festival 2017

Welcome: From the Executive Director

FOU RTH - OF -J

MUSIC FESTIVAL

SUMMER HOME OF

THE CLEVELAND ORCHESTRA

GERSHWIN & TCHAIKOVSKY

DIEHL

JUL

The Cleveland Orchestra Jahja Ling, conductor Aaron Diehl, piano

M O N D AY

JUL

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

SCHISSEL

2O17 BLOSSOM

S AT U R D AY

P R E S E N T E D BY

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

S AT U R D AY

JUL

BERLIOZ’S SYMPHONIE FANTASTIQUE The Cleveland Orchestra Franz Welser-Möst, conductor

JUL

15 8

BEETHOVEN’S SEVENTH SYMPHONY

JUL

227

LING

The Cleveland Orchestra Franz Welser-Möst, conductor

DVOŘÁK’S NEW WORLD The Cleveland Orchestra Jahja Ling, conductor Eli Matthews, violin with Kent/Blossom Chamber Orchestra

JUL

29 8

ROMANTIC RACHMANINOFF

PETRENKO

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 Vasily Petrenko, conductor David Fray, piano

#CleOrchBlossom

TICKETS:

800-686-1141

= features fireworks, weather permitting

U LY - W E E K E N D

AUGUST

GERSHWIN & TCHAIKOVSKY

AUG

The Cleveland Orchestra Jahja Ling, conductor Aaron Diehl, piano

The Cleveland Orchestra Robert Trevino, conductor Behzod Abduraimov, piano

AUG

Blossom Festival Band Loras John Schissel, conductor

AUG

19 8

AUG

The Cleveland Orchestra Fabien Gabel, conductor Juho Pohjonen, piano

S U N D AY

ROMANTIC VIENNA The Cleveland Orchestra Juraj Valčuha, conductor Stefan Jackiw, violin

13 7

HOLLYWOOD HEROES AND SUPERHEROES The Cleveland Orchestra Richard Kaufman, conductor

BOLÉRO!

AUG

The Cleveland Orchestra Gustavo Gimeno, conductor Johannes Moser, cello

LY PM

A NIGHT AT THE OPERA

AUG

16 7

WALL

The Cleveland Orchestra Franz Welser-Möst, conductor Erin Wall, soprano

JUL

12 8

STRAVINSKY’S THE FIREBIRD

SCHISSEL

A SALUTE TO AMERICA

JUL

TCHAIKOVSKY FAVORITES

T U E S D AY

JUL

S U N D AY

ABDURAIMOV

S AT U R D AY

GIMENO

GABEL

DIEHL

JUL

JACKIW

S U N D AY

26 8

AUG

27 7

HOLST’S THE PLANETS

A TRIBUTE TO ELLA FITZGERALD

The Cleveland Orchestra Cristian Măcelaru, conductor Augustin Hadelich, violin

The Cleveland Orchestra Randall Craig Fleischer, conductor with Capathia Jenkins, Harolyn Blackwell, Aisha de Haas

BEST OF BROADWAY The Cleveland Orchestra Jack Everly, conductor with Christina DeCicco, Ted Keegan, Ron Remke, Richard Todd Adams

23 7

FIRE AND RAIN 1970s Folk Anthems The Cleveland Orchestra Rob Fisher, conductor AJ Swearingen, guitar and vocals Jayne Kelli, guitar and vocals

KELLI & SWEARINGEN

JUL

SEPTEMBER F R I D AY

SEP

1 8:30

SEP

2 8:30

SEP

3 8:30

MOVIE NIGHT

E.T. THE EXTRA-TERRESTRIAL

The Cleveland Orchestra Brett Mitchell, conductor

TICKETS:

S U N D AY

S AT U R D AY

clevelandorchestra.com

©/TM/® The J. M. Smucker Company

Waiting for the Peak of Perfection.

With a name like Smucker’s, it has to be good.® smuckers.com

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 over 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 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

HAVE MORE ROOM

RESE ESE E AR A RCH RCH H IIS SH HELP HE ELPING LP PING KEN KEN NT TS STATE TATE TA E U N IVERSITY IV V ERS RS SITY T Y STUD ST U D DE E NTS N TS FIND F IND IN D AN NSW WER W ERS S to the world’s next big questions. As one of the nation’s top public higher-research universities, our faculty and students are leading the way in studies of brain health, water ecology, population trends and materials sciences, including liquid crystals. Through these efforts, Kent State research continues to light the way to a brighter future for everyone.

WWW.KENT.EDU K ent State U Universi si y, Kent Sta sit State and KSU are regist istered trademarks and may not be used with h out o permiss ssion. Ke K ent State Unive U e r s ity, y, an equal opportunity, affir affirmati m ive ve actio a ction n employ employer, er is committed to attainin ini g excellen ence th h ro o ugh the recruitment recru u and d rete r ete nti ntion of a diverse workfor orce. 17-UR-00332-124

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 architect for the Blossom Redevelopleft in foreground are Frank Joseph (then president of ment Project in 2002-03 and continues the Musical Arts Association), Elizabeth Bingham Blossom (Mrs. Dudley Sr.), Benjamin Gale (Blossom grandto help direct Blossom upgrades and son), Betsy Blossom (youngest Blossom grandchild), changes. The seating capacity of the and 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 2017

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 pages 86-87, 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.

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

Live Publishing Company provides compre-2O17 BLOSSOM MUSIC hensive communications and marketing serFESTIVAL vices to a who’s who roster of clients, including g the world-renowned Cleveland Orchestra. We know how to deliver the most meaningful messages in the most effective media, all in the most cost-effective manner. We’re easy to do business with, and our experienced crew has handled every kind of project – from large to small, print to web. SUMMER HOME OF

THE CLEVELAND ORCHESTRA

P R E S E N T E D BY

2O17 BLOSSOM BOOK NO. 1

INSIDE . . .

July 1-2 — Gershwin & Tchaikovsky. . . . page 21 July 3-4 — Salute to America . . . . page 29 July 8 — Berlioz’s Symphonie fantastique . . . page 67 July 9 — A Night at the Opera . . . page 78 CLEVE L ANDORCHESTR Read this program book A .COM on your mobile phone at ExpressProgram Book.com

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2026 Murray Hill Road, Suite 103, Cleveland, Ohio 44106 216.721.1800 email: info@livepub.com web: livepub.com

About Blossom

Blossom Music Festival

Thank You, Northeast Ohio Discover the Difference: The Campaign for University Hospitals has forever transformed the health of our families, friends and neighbors. Your generosity saved and changed countless lives. Lives that will impact Northeast Ohio for generations to come. More than 83,500 community members contributed nearly 185,000 gifts, totaling over $1.5 BILLION. You, our donors and supporters, were the difference every step of the way. THANK YOU. Visit UHGiving.org/Impact to see just a few of the lives transformed forever.

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 20, 2017.)

Iris Harvie, Chair Thomas Waltermire, Vice Chair Ronald H. Bell Carolyn Christian Bialosky William P. Blair III Robin Blossom Joanne Dannemiller Barbara Dieterich Helen Dix* Barbara Feld John Fickes Claire Frattare Linda Gaines Barbara Gravengaard C. Thomas Harvie Faye A. Heston

Laura Hunsicker Cory Isler Mary Ann Jackson Michael J. Kaplan Philip S. Kaufmann Phyllis Knauf Christine Kramer Janice R. Leshner

Mary Ann Makee John McBride Margaret Morgan* Paul A. Rose Sandra R. Smith Paul E. Westlake Jr. Deb Yandala *Honorary Member for Life

EX-OFFICIO

Richard K. Smucker, President, Musical Arts Association Dennis W. LaBarre, Chairman, Musical Arts Association Richard J. Bogomolny, Chairman Emeritus, Musical Arts Association AndrĂŠ Gremillet, Executive Director, The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra Peter van Dijk, Westlake Reed Leskosky

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Blossom Committee

2017 Blossom Festival

Blossom Friends of The Cleveland O Orchestra h t This state-wide volunteer organization is dedicated to promoting and financially 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 more 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

AREA CHAIRS — Danielle Dieterich — Kathleen McGrath CANTON / CANTON STARK COUNTY COUNTY — Elizabeth McCormick, Donna Faye Heston Paola, Faye Heston / STARK HUDSON — Connie Van Gilder HUDSON Gilder, (Acting Acting Chair Chair) KENT — Sylvia Armstrong, Donna DiBiase KENT NORTHEAST — Nancy Cruikshank NORTHEAST MEMBERMEMBER -AT AT- LARGE LARGE — Connie van Gilder AKRON AKRON

AURORA AURORA

Each year, Blossom Friends presents a range of events, including an Opening Night reception and a summer series of Gourmet Matinee Luncheons showcasing the artistry and stories of musicians of The Cleveland Orchestra.

Blossom Festival 2017

Blossom Friends

M U SI CA L AR TS ASSOC IATION

as of June 2017

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 Richard K. Smucker, President Dennis W. LaBarre, Chairman Richard J. Bogomolny, Chairman Emeritus 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 Dr. Ronald H. Bell Richard J. Bogomolny Yuval Brisker Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita 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 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 Meg Fulton Mueller 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 Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton 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)

Laurel Blossom (SC) 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 Patricia Sommer, President, Friends of The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra T R U S TE E S E M E R I TI George N. Aronoff S. Lee Kohrman Charlotte R. Kramer Donald W. Morrison Gary A. Oatey Raymond T. Sawyer 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

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

H O N O RARY T RUS T E E S FOR LIFE Dorothy Humel Hovorka Gay Cull Addicott Robert P. Madison Charles P. Bolton Robert F. Meyerson Allen H. Ford James S. Reid, Jr. Robert W. Gillespie

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

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, James D. Ireland III 2002-08 Dennis W. LaBarre 2009-17

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Blossom Music Festival

André Gremillet, Executive Director

Musical Arts Association

Jahja Ling

Aaron Diehl

With the 2016-17 season, Jahja Ling completed his thirteenth and final year as music director of the San Diego Symphony. He now serves as the ensemble’s first conductor laureate, while continuing to maintain his career as an internationally renowned guest conductor. Recent and upcoming guest conducting engagements feature performances on three continents. Mr. Ling and The Cleveland Orchestra have enjoyed a long and productive relationship — he was a member of the conducting staff here from 1984 to 2005, serving as resident conductor of the Orchestra (19852002) and as Blossom Festival Director for six seasons (2000-05). He has returned each year as a guest conductor. 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 recent 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.

American pianist Aaron Diehl is making his Cleveland Orchestra debut with this evening’s concert. A graduate of the Juilliard School, Mr. Diehl had studied with artists including Kenny Barron, Eric Reed, and Oxana Yablonskaya. In addition to performing as a classical and jazz pianist, he is also a composer. He lives in Harlem and is a licensed pilot who enjoys flying the Beechcraft Bonanza. Aaron Diehl served as music director for the Jazz at Lincoln Center New Orleans Songbook concert series for the 2014-15 season. Recent performances have included the New York premiere of Philip Glass’s complete Etudes at the Brooklyn Academy of Music, as well as a collaborative series with Spanish flamenco guitarist Dani De Morón in Flamenco Meets Jazz, and a tour of the U.S. and Europe with jazz singer Cécile McLorin Salvant. Mr. Diehl’s trio, featuring bassist Paul Sikivie and drummer Lawrence Leathers, has appeared across Europe and the United States. In 2014, Mr. Diehl was one of the youngest artists ever to be named a Monterey Jazz Festival Commission Artist. Committed to nurturing young jazz artists, he was inaugural Artistic Director of the Catskill Jazz Factory. For more information, visit www.aarondiehl.com.

Guest Artists: July 1-2

2017 Blossom Festival

2O17 BLOSSOM MUSIC FESTIVAL

Saturday evening, July 1, 2017, at 8:00 p.m. Sunday evening, July 2, 2017, at 8:00 p.m.

T H E CL E V E L A ND ORC H EST R A JAHJA LIN G , conductor

DMITRI SHOSTAKOVICH (1906-1975)

GEORGE GERSHWIN (1898-1937)

Tahiti Trot, Opus 16

(orchestral transcription of “Tea for Two”)

Concerto in F

(for piano and orchestra) 1. Allegro 2. Adagio — Andante con moto 3. Allegro agitato AARON DIEHL, piano

INTER MISSION GEORGE GERSHWIN

Porgy and Bess: A Symphonic Picture

(arranged by Robert Russell Bennett) Scene in Catfish Row — Act 3 Opening — Act 1 Introduction — Summertime — I Got Plenty of Nothin’ — Storm Music — Bess, You Is My Woman Now — The Picnic Party — There’s a Boat That’s Leavin’ Soon — It Ain’t Necessarily So — Finale PYOTR ILYICH TCHAIKOVSKY (1840-1893)

Festival Overture: The Year 1812

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

The Sunday 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.

T h e 2 O1 7 B l o s s o m M u s i c F e s t i v a l i s p r e s e n t e d b y T h e J . M . S m u c k e r C o m p a n y

The Cleveland Orchestra

Concert Program: July 1-2

Tahiti Trot, Opus 16

by Dmitri Shostakovich (1906-1975) composed 1927

Dmitri

SHOSTAKOVICH

T H I S W O R K is based upon the song “Tea for Two” from American composer Vincent Youmans’s 1925 musical No, No, Nanette. It is, in fact, largely a transcription for symphony orchestra of that song, going several times through the song’s “verse” and “chorus” as a set of variations. Shostakovich’s title comes from the words for a well-known Russian adaptation — it had been “borrowed” from No, No, Nanette and adapted into a Russian operetta titled The Career of Pierpont Blake in 1926. In 1927, Soviet composer Dmitri Shostakovich was visiting with his mentor and colleague Nikolai Malko, when they listened together to a recording of “Tahiti Trot.” Malko wagered that Shostakovich would not be able to re-orchestrate and craft an orchestral set of variations on the song in less than an hour. Shostakovich, scarcely 21 years of age, handily won the bet. And this new orchestral version was premiered at a concert in Moscow, on November 25, 1928. When word got around about how quickly it had been produced, the reputation that Shostakovich had already developed for being a spectacularly gifted prodigy was further reinforced. This is a charming concert opener, and, even for those listeners who happen not to know the original song, some sense of Shostakovich’s musical humor is sure to come across.

Concerto in F

by George Gershwin (1898-1937) composed late 1925

G E R S H W I N ’ S “Piano Concerto” in F major was written in 1925 at the request of Walter Damrosch, the German-born conductor of the New York Symphony Orchestra, who wanted a longer, multi-movement work — something bigger yet more like a regular concerto than the single-movement Rhapsody in Blue of the previous year. Gershwin agreed, and managed to have the work ready (barely) for its premiere at Carnegie Hall the afternoon of Thursday, December 3, 1925. Knowledgeable observers were immediately impressed by the jazz star’s creation, which successfully gives an American accent to a Mozartian art form.

July 1-2: About the Music

Blossom Music Festival

The first movement opens with thunderous timpani and flashes of orchestral brilliance, all before the soloist joins into the musical dialogue. By contrast, the second movement is a lyrically mournful ballad that focuses first upon muted trumpet, only afterwards on piano. In the third movement, contrasting melodies appear in turn, sometimes entrusted to the soloist, at others to the orchestra (with the soloist then providing pointed decorative details). Jazzy rhythms and bluesy harmonies flavor the entire score, and to be sure that no one is inattentive for the finale, Gershwin adds a powerful stroke on the gong. This is jazz on an ambitious orchestral scale — and Gershwin, a giant in the “Jazz Age,” was just the right person to make it work.

George

Porgy and Bess: A Symphonic Picture

GERSHWIN

created by Robert Russell Bennett (1894-1981) from George Gershwin’s score to the opera Porgy and Bess

G E R S H W I N never created his own orchestral suite from the

opera Porgy and Bess — with a brain tumor taking his life less than two years after its premiere on October 10, 1935. But his friends and colleagues worked to bring George’s great music to concert audiences. In 1942, Hungarian-born/American-based conductor Fritz Reiner wanted to feature some orchestral selections from Porgy and Bess on an upcoming concert with the Pittsburgh Symphony and invited American composer Robert Russell Bennett to craft an arrangement. In notes for a later performance by the New York Philharmonic, Bennett observed that Reiner had been quite specific as to which tunes should be used in which order and which instruments as well. Bennett added, “carrying out Dr. Reiner’s approach, I have been careful to do what I knew, after many years of association with Gershwin, that Gershwin would like as a symphonic version of his music.” In Bennett’s single-movement “orchestral picture,” the chosen excerpts are sequenced according to how one might best transition from one to another for the sake of musical effect, rather than in the order in which they appear in the opera itself. The result is a brilliantly vibrant score perfectly suited to communicating the energy of Gershwin’s opera, even without participation of singers. Blossom Music Festival

July 1-2: About the Music

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

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

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

July 1-2: About the Music

The Cleveland Orchestra

our own “War of 1812,” distantly related to the larger conflict in Europe, but Russia vs. France was decidedly unrelated to America’s Revolutionary War won a generation or two earlier. Nevertheless, with or without chorus — but with cannon and fireworks and much noise and heart-thumping excitement — the 1812 Overture has become a traditional staple of Fourth-of-July concerts across the United States and makes for a magnificent conclusion to any program on this most patriotic of holiday weekends. —program notes by Betsy Schwarm © 2017 Betsy Schwarm spent twenty years as a classical radio announcer and producer. She taught for many years at Metropolitan State University of Denver, and served as recording engineer for Colorado’s Central City Opera. She is the author of the Classical Music Insights series of books.

At a Glance The Cleveland Orchestra first played Tchaikovsky’s 1812 Overture at a concert in December 1919, and first played it during a summertime outdoor concert in July 1927 at Cleveland’s Gordon Park. It was regularly programmed throughout the year up into the 1950s. The first performance at Blossom was in 1969.

2O17 BLOSSOM MUSIC FESTIVAL

IN THANKS

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

The J.M. Smucker Company — 2017 Blossom Music Festival Presenting Sponsor Akron Community Foundation BakerHostetler The William Bingham Foundation Blossom Friends of The Cleveland Orchestra The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust Eaton Forest City Realty Trust GAR Foundation The Goodyear Tire & Rubber Company Ann and Gordon Getty Foundation Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc.

KeyBank Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation Medical Mutual The Margaret Clark Morgan Foundation The M. G. O’Neil Foundation PNC Bank Charles E. & Mabel M. Ritchie Memorial Foundation The Sisler McFawn Foundation Lloyd L. and Louise K. Smith Memorial Foundation The Welty Family Foundation

2017 Blossom Media Partner: cleveland.com

Blossom Festival 2017

July 1-2: About the Music

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ǁǁǁ͘ĂƉƉĂůĂĐŚŝĂŶŽƵƞŝƩĞƌƐ͘ĐŽŵ ĂƉƉĂůĂĐŚŝĂŶŽƵƞŝƩĞƌƐ͘ĐŽŵ ŝŶĨŽΛĂƉƉĂůĂĐŚŝĂŶŽƵƞŝŝƚĞƌƐ͘ĐŽŵ

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2017 Blossom Festival

5470

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

20%

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

20 million ADMISSIONS

Blossom Music Center has welcomed more than 20,100,000 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 over 1,000 concerts at Blossom since 1968. The 1,000th 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 continue on from the Orchestra’s 100th Season celebrations of 2017-18, marking the beginning of The Cleveland Orchestra’s second century serving Northeast Ohio.

2018

The arts enrich all our lives.

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

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Blossom Music Festival

2O17 BLOSSOM MUSIC FESTIVAL

Monday evening, July 3, 2017, at 8:00 p.m. Tuesday evening, July 4, 2017, at 8:00 p.m.

BLOSSOM F EST IVA L BA ND LORAS JOHN SC HISS EL , conductor

A SAlUtE TO AMeRicA

F O U R T H - O F - J U LY B A N D C O N C E R T

The Star-Spangled Banner words by francis scott key (1779-1843) to the tune of the “Anacreontic Song” by John Stafford Smith (arranged for band by Loras John Schissel) the audience is invited to join in singing.

Commando March (1943) by samuel barber (1910-1981) (written while Barber was serving as a Corporal in the United States Air Force)

American Overture by joseph

willcox jenkins (1928-2014)

The Minstrel Boy setting by leroy

anderson (1908-1975)

FOR THOSE WHO FLY . . .

Strategic Air Command March by j. clifton williams (1923-1976) The Army Air Corps March by robert crawford (1899-1961) (“Army Air Corps March” was premiered in September 1939 at the Cleveland Air Races)

Victory at Sea: Symphony Scenario by richard rodgers (1902-1979) originally created for orchestra by Robert Russell Bennett

INTER MISSION PROGRAM LISTING CONTINUES

Blossom Music Festival

A Salute to America: July 3-4

PROGRAM LISTING CONTINUED FROM PREVIOUS PAGE

Music by George . . . Lyrics by Ira music by george gershwin (1898-1937) lyrics by ira gershwin (1896-1983)

High Flight music by henry baker (1821-1877) with the poem by john gillespie magee jr. (1922-1941) recited by Robert Conrad

Oh! I have slipped the surly bonds of Earth And danced the skies on laughter-silvered wings; Sunward I’ve climbed, and joined the tumbling mirth Of sun-split clouds, — and done a hundred things You have not dreamed of — wheeled and soared and swung High in the sunlit silence. Hov’ring there, I’ve chased the shouting wind along, and flung My eager craft through footless halls of air . . . Up, up the long, delirious burning blue I’ve topped the wind-swept heights with easy grace, Where never lark, or ever eagle flew — And, while with silent, lifting mind I’ve trod The high untrespassed sanctity of space, — Put out my hand, and touched the face of God.

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

Overture: The Year 1812 by pyotr

ilyich tchaikovsky (1840-1893)

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

The July 4th concert is sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence. The July 4th concert is dedicated to Richard and Nancy Sneed in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

The 2017 Blossom Music Festival is presented by The J. M . Smucker Company

A Salute to America: July 3-4

Blossom Music Festival

A SAlUtE TO AMeRicA F O U R T H - O F - J U LY B A N D C O N C E R T

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

Blossom Music Festival

July 3-4: Introducing the Concert

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Loras John Schissel Conductor Blossom Festival Band

L O R A S J O H N S C H I S S E L has served as conductor of the Blossom Festival Band since 1998. He also regularly conducts the Blossom Festival Orchestra and this summer led The Cleveland Orchestra’s free annual community concert in downtown Cleveland for the fifth time, on June 30. Mr. Schissel has travelled throughout the United States, Europe, and Asia conducting orchestras, bands, and choral ensembles in a broad range of musical styles and varied programs. A native of New Hampton, Iowa, Loras John Schissel studied brass instruments and conducting with Carlton Stewart, Frederick Fennell, and John Paynter. In the years following his studies at the University of Northern Iowa, Mr. Schissel has distinguished himself as a prominent conductor, orchestrator, and musicologist. Loras John Schissel is the founding music director of the Arlington-based Virginia Grand Military Band, an ensemble created in 1993 comprised of current and former members of the four major U.S. service bands. In 2005, he was elected to membership in the prestigious American Bandmasters Association. As a composer and orchestrator, Mr. Schissel has created an extensive catalogue of over 500 works for orchestra,

Blossom Festival 2017

Band Conductor

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

Blossom Festival Band C O N S I D E R E D O N E O F T H E F I N E S T ensembles of its kind in the nation, the Blossom Festival Band performs each summer in Northeast Ohio, continuing a long and wellloved tradition of outdoor band concerts in the United States. The ensemble has its roots in historic American band music and some of its legendary leaders. Band music has been a part of each summer’s musical offerings at Blossom since 1969. That year, a Fourth-of-July band concert was presented as part of the second annual Blossom Music Festival. From 1969 to 1973, these band concerts were conducted by Meredith Willson (composer of Broadway’s The Music Man), who at age 17 had toured with the Sousa Band as a flutist. Based on the success of these concerts, a genuine symphonic band and concert program was organized under the direction of Leonard B. Smith, another of this country’s most respected band directors (he was music director of the nationally known Detroit Concert Band for many years and a widely acclaimed cornet soloist). Mr. Smith made his Blossom debut conducting “The Golden Symphonic Band of Blossom Music Center” in “A Salute to Labor Day” on September 4, 1972. The success of that concert provided the impetus to schedule a series of concerts during the 1973 summer season, with a newly selected band of 65 instrumentalists from the Cleveland area. David Zauder (1928-2013), a former student of Smith and a longtime member of The Cleveland Orchestra’s trumpet and cornet section, served as a guiding spirit for the Band and regularly performed as cornet soloist with the ensemble. Leonard B. Smith served as director from 1972 until his retirement in 1997. Since 1998, the Blossom Festival Band has been conducted by Loras John Schissel.

2017 BLOSSOM FESTIVAL BAND FLUTE / PICCOLO

E-FLAT CLARINET

CORNET

TIMPANI

George Pope

Dennis Nygren

Michael Mergen

Dylan Moffitt

E-FLAT ALTO CLARINET

Mark Maliniak John Brndiar Alexander Pride

PRINCIPAL

John Rautenberg Heidi Ruby Kushious Sally Sherwin

PRINCIPAL

David Adamson BASS CLARINET

OBOE/ ENGLISH HORN

Lisa Antoniou

PRINCIPAL

Thomas Moore

TROMBONE

HARP

James Albrecht

Jody Guinn

PRINCIPAL

Phillip Austin

PRINCIPAL

Loren Toplitz

Michael Miller BASSOON

Bruce Golden Frank Del Piano Jack DiIanni Matthew Larson Thomas Morris

TRUMPET

Michele Tosser Smith

PRINCIPAL

PERCUSSION

PRINCIPAL

B-FLAT CLARINET

Mark DeMio

James Kalyn PRINCIPAL

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

SAXOPHONE

PRINCIPAL

Howie Smith

Paul Ferguson Martin Gelwasser Evan Clifton

PRINCIPAL

Todd Gaffke Kent Engelhardt George Shernit HORN

Tracy Rowell PRINCIPAL

LIBRARIAN

Gail Robertson

Jennifer Snyder

Rebecca Ciabattari

PERSONNEL

TUBA

Rebecca Vineyard David Snyder

PRINCIPAL

David Brockett Meghan Guegold Kent Larmee Thomas Park

STRING BASS

EUPHONIUM PRINCIPAL

Hans Clebsch

PRINCIPAL

Kenneth Heinlein PRINCIPAL

J.c. Sherman William Ciabattari Dan Honaker

Blossom Festival Band

Blossom Music Festival

Robert Conrad

R O B E R T C O N R A D has served as the radio voice of The Cleveland Orchestra for over half a century, hosting and announcing the Orchestra’s radio broadcasts since 1965. Mr. Conrad co-founded radio station WCLV in 1962 and served as program director until 2001. Prior to launching WCLV, he was at WDTM in Detroit, WFMT in Chicago, KAIM and KULA in Hawaii, WEAW in Illinois, and, starting at age 14, WKAN in Kankakee, where he took on the name “Sagebrush Bob” to host the weekly live country and western Hayloft Jamboree. Today, Robert Conrad hosts “Weekend Radio” and The Cleveland Orchestra’s live broadcasts on WCLV/ideastream, and also serves on the Orchestra’s board of trustees. He is an adjunct professor of broadcasting at the Cleveland Institute of Music and has received honorary doctorates from the Cleveland Institute of Music, Baldwin Wallace University, and Oberlin College.

Program Book on your phone . . . Visit www.ExpressProgramBook.com to read bios and notes from this book on your mobile phone. Blossom Festival 2017

July 3-4: Narrator

BELIEVE IN YOUR NEXT NOTE... WE DO. CONSERVATORY MUSIC

Study with the best. From faculty who are artists and scholars committed to your success. BW is proud to have eight members of The Cleveland Orchestra on our faculty.

bw.edu/conservatory Baldwin Wallace University, Berea, Ohio 44017 Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

DANCECLEVELAND PRESENTS

Summer Dance Festival Don’t miss the sounds of summer ůĂƵŐŚƚĞƌ͕ ĐŽŶǀĞƌƐĂƟŽŶ͕ ŵƵƐŝĐ͊ Cleveland Hearing & Speech Center ŽīĞƌƐ ŚĞĂƌŝŶŐ ĞǀĂůƵĂƟŽŶƐ͕ ƐƚĂƚĞͲŽĨ ƚŚĞͲĂƌƚ ĚĞǀŝĐĞ ĮƫŶŐƐ͕ and support services.

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tuesday musical

Main Stage & Fuze subscriptions on sale now! Saturday, Sept. 16, 2017

Tuesday, Jan. 23, 2018

Tuesday Musical’s 130th anniversary concert & party

Thursday, March 8

Prelude!

Chamber Music Society of Lincoln Center

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3LDQLVW $QGUHDV +DHÀLJHU Thursday, Sept. 28

Jazz at Lincoln Center Orchestra with Wynton Marsalis

Fuze series

Thursday, Oct. 19

Academy of St. Martin in the Fields Chamber Ensemble Wednesday, Nov. 29

Vienna Boys Choir’s Christmas in Vienna

Fuze series

Saturday, March 17

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Jeff Lindberg, conductor vocalists Ann Hampton Callaway, Dee Alexander, René Marie

Fuze series

Wednesday, March 28

Orpheus Chamber Orchestra with violinist Augustin Hadelich Wednesday, April 18

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7:30 p.m. Akron’s EJ Thomas Hall

2017 Blossom Festival

THE

CLEVELAND ORCHE STRA

Each year, thousands of Northeast Ohioans experience The Cleveland Orchestra for the first Ɵme. Whether you are a seasoned concertgoer or a first-Ɵmer, these pages give you ways to learn more or get involved with the Orchestra and to explore the joys of music further. Created to serve Northeast Ohio, The Cleveland Orchestra has a long and proud history of promoƟng and sharing the power of music through exploraƟon, educaƟon, and extraordinary experiences.

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

To learn more, visit clevelandorchestra.com

Blossom Festival 2017

PHOTOGRAPHY BY ROGER MASTROIANNI

CONCERTS

Get Involved

THE CLEVELAND ORCHESTRA

EXCELLENCE

Ambassador to the World

A FOCUS ON YOUNG PEOPLE

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

The Cleveland Orchestra is one of the world’s most-acclaimed and sought-a er performing arts ensembles. Whether performing at home or around the world, the musicians carry Northeast Ohio’s commitment to excellence and strong sense of community with them everywhere the Orchestra performs. The ensemble’s es to this region run deep and strong: • Two acous cally-renowned venues — Severance Hall and Blossom — anchor the Orchestra’s performance calendar and con nue to shape the ar s c style of the ensemble. • More than 60,000 local students par cipate in the Orchestra’s educa on programs each year. • Over 350,000 people a end Orchestra concerts in Northeast Ohio annually. • The Cleveland Orchestra serves as Cleveland’s ambassador to the world — through concerts, recordings, and broadcasts — proudly bearing the name of its hometown across the globe.

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

Get Involved

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

YOUR ORCHESTRA

Building Community The Cleveland Orchestra exists for and because of the vision, generosity, and dreams of the Northeast Ohio community. Each year, we seek new ways to meaningfully impact lives. • Convening people at free community concerts each year in celebra on of our country, our city, our culture, and our shared love of music.

EDUCATION

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

• Immersing the Orchestra in local communi es with special performances in local businesses and hotspots through neighborhood residencies and other ini a ves. • Collabora ng with celebrated arts ins tu ons — from the Cleveland Museum of Art and Playhouse Square to Chicago’s Joﬀrey Ballet — to bring inspira onal performances to the people of Northeast Ohio. • Ac vely partnering with local schools, neighborhoods, businesses, and state and local government to engage and serve new corners of the community through residencies, educa on oﬀerings, learning ini a ves, and free public events.

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

Blossom Festival 2017

Get Involved

THE CLEVELAND ORCHESTRA

A GENEROUS COMMUNITY

Suppor ng Excellence

Financial support and contribu ons from thousands of people, corpora ons, and founda ons across Northeast Ohio help sustain the musical excellence and community engagement that sets The Cleveland Orchestra apart from other orchestral ensembles around the world.

VOLUNTEERING

Get Involved The Cleveland Orchestra has been supported by many dedicated volunteers since its founding in 1918. You can make an immediate impact by ge ng involved. • Over 100,000 people learn about and follow The Cleveland Orchestra’s ac vi es online through Facebook, Twi er, and Instagram. • Two ac ve volunteer groups — Friends of The Cleveland Orchestra and the Blossom Friends of The Cleveland Orchestra — support the Orchestra through service and fundraising. To learn more, please call 216-231-7557.

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

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

Get Involved

Blossom Music Festival

THE CLEVELAND ORCHESTRA

GET INVOLVED

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

VISIT

ACTIVE PARTICIPATION

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

Blossom Music Festival

Get Involved

Severance Hall 11001 Euclid Avenue Cleveland, OH 44106

Blossom Music Center 1145 West Steels Corners Road Cuyahoga Falls, OH 44223

CONTACT US Administra ve Oﬃces: 216-231-7300 Ticket Services: 216-231-1111 or 800-686-1141 or clevelandorchestra.com Group Sales: 216-231-7493 groupsales@clevelandorchestra.com Educa on & Community Programs: 216-231-7355 educaƟon@clevelandorchestra.com Orchestra Archives: 216-231-7382 archives@clevelandorchestra.com Choruses: 216-231-7372 chorus@clevelandorchestra.com Volunteers: 216-231-7557 lcohen@clevelandorchestra.com Individual Giving: 216-231-7556 bdeeds@clevelandorchestra.com Legacy Giving: 216-231-8006 dstokley@clevelandorchestra.com Corporate & Founda on Giving: 216-231-7551 hshoopman@clevelandorchestra.com Severance Hall Rental Oﬃce: 216-231-7421 ebookings@clevelandorchestra.com

Sound for the Centennial C A M PA I G N FO R T H E C L E V E L A N D O R C H E ST R A THE

The individuals and organizations listed here have, over the past decade, made generous commitments of annual support, endowment gifts, and legacy declarations to The Cleveland Orchestra’s Sound for the Centennial Campaign. Their leadership role in helping ensure the Orchestra’s financial strength for future generations is fueling ongoing work to build The Cleveland Orchestra’s Endowment through cash donations and legacy commitments, while continuing to secure broad-based and increasing annual support from across Northeast Ohio. We gratefully recognize and celebrate the extraordinary generosity of these donors in supporting The Cleveland Orchestra’s ongoing artistic achievement, community service, and future success.

CLEVELAND ORCHE STRA

Listing as of May 2017 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 The J. M. Smucker Company 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 Elizabeth Ring Mather and William Gwinn Mather Fund Medical Mutual The Andrew W. Mellon Foundation

Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan 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 Joe and Marlene Toot Robert C. Weppler Anonymous (4)

Sound for the Centennial Campaign

The Cleveland Orchestra

GIFTS OF $500,000 TO $1 MILLION

Gay Cull Addicott American Greetings Corporation Jack and Darby Ashelman 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 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 (3)

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 Dollar Bank Foundation 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 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 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 Roy Smith Richard and Nancy Sneed R. Thomas and Meg Harris Stanton Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort Friends of The Cleveland Orchestra (formerly Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra)

Mr. and Mrs. Donald M. Jack, Jr. Elizabeth B. Juliano Bernie and Nancy Karr Mr. and Mrs.* S. Lee Kohrman Mr. James Krohngold 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 Helen Rankin Butler and Clara Rankin Williams The Reinberger Foundation Amy and Ken Rogat Audra* and George Rose RPM International Inc. Mr. and Mrs. David A. Ruckman Mr. Larry J. Santon

Raymond T. and Katherine S. Sawyer SCH Foundation Mrs. David Seidenfeld David Shank The Sherwin-Williams Company Naomi G. and Edwin Z. Singer The Sisler McFawn Foundation 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

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 Kenneth S. and Deborah G. Cohen 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 Gary Hanson and Barbara Klante Iris and Tom Harvie Jeff and Julia Healy The Hershey Foundation T. K. and Faye A. Heston Mr. Daniel R. High

Blossom Music Festival

Sound for the Centennial Campaign

orchestra news

THE CLEVELAND ORCHESTRA

2017-18 Centennial Season announced; Orchestra’s Second Century begins with special season featuring two operas and Beethoven Prometheus Project The Cleveland Orchestra and Franz Welser-Möst have announced details of the Orchestra’s 2017-18 calendar. The season will be the ensemble’s 100th year of concerts and marks the launch of its Second Century. 2017-18 is also the 16th year of the Orchestra’s acclaimed partnership with Franz Welser-Möst. With the 2017-18 season, The Cleveland Orchestra pushes forward with a series of ambitious goals across all areas of the institution: artistic, community, education, service, and financial. These goals include building upon the ensemble’s legendary musical excellence, continuing to grow the youngest audience of any orchestra, deepening relationships in the community through unique collaborations, customized engagement, and music education for all ages. “Looking toward The Cleveland Orchestra’s future, I am filled with enormous pride in the one hundred year collaboration between the Orchestra and community,” said the Orchestra’s music director, Franz Welser-Möst. “The exceptional musicianship and dedication of this Orchestra are acclaimed anew with each passing season, here at home and around the world. Our audiences’ musical curiosity and intellect drives all of us onstage forward, to dream beyond the past, and to continue exploring new boundaries in music.” Going on, he said, “Our 100th season serves as an historic moment, not only to celebrate our rich history, but to look

forward to everything this institution will accomplish in the century to come. Against the ever-increasing and fractious challenges of the world today, I believe that we have an obligation to harness the life-changing power of music to make the world a better place — to push the limits of our art to create thrilling adventures in music. Music is an incredible tool for good — to inspire people, as Beethoven believed, in the ‘fight for good,’ for what is right and true.” André Gremillet, Cleveland Orchestra executive director, added: “The year marks an important milestone, both in celebrating the remarkable first 100 years and in launching a second century that will further build on the great legacy of the Orchestra. I believe that our Second Century can be even more exhilarating than our first as we continue to elevate the extraordinary artistry of the Orchestra, develop new audiences, and deepen our relationship with our exceptional community.” 2017-18 Season Sponsors Underwriting for the season features two Presenting Sponsors in support of The Cleveland Orchestra’s Second Century Season: The J.M. Smucker Company and KeyBank. “The Cleveland Orchestra is a source of civic pride because of its artistic excellence, and the community involvement of its musicians, music director, staff, and volunteers. We are so fortunate to have this great institution in our backyard,” said Richard Smucker, The Cleveland Orchestra’s board president and executive

Cleveland Orchestra News

2017 Blossom Festival

orchestra news

THE CLEVELAND ORCHESTRA

PROMETHEUS PROJECT

At a special event at Severance Hall on March 17, The Cleveland Orchestra’s 100th season was announced. Franz Welser-Möst addressed the audience of over a thousand subscribers, donors, and Orchestra friends, talking about the power of music to change lives and the Orchestra’s special relationship with the Northeast Ohio community.

chairman of The J.M. Smucker Company. “The Orchestra is truly making a difference in our community, and we are excited to celebrate the 100th anniversary of this cultural jewel of Northeast Ohio.” “A world-class institution, The Cleveland Orchestra has long been a cornerstone in the city’s rich history,” stated Beth Mooney, chairman and chief executive officer of KeyBank. “As Cleveland’s hometown bank, we are extremely pleased to support The Cleveland Orchestra’s Second Century season.” In addition to the season’s two Presenting Sponsors, sponsors for 201718 include: voestalpine AG, Hyster-Yale Materials Handling and NACCO Industries, Inc., Ruth McCormick Tankersley Charitable Trust, and Swagelok Company, along with The Sherwin-Williams Company, Westfield Insurance, and KPMG LLP. Blossom Festival 2017

2O17-18 SEASON Complete details of the 2017-18 Centennial Season can be viewed at clevelandorchestra.com. New series packages are now available for purchase. Series subscription renewals were mailed to all current subscribers, with a renewal deadline in April. Individual tickets for the season will go on sale in August.

Cleveland Orchestra News

TICKET SERVICES

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THE

CLEVELAND 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.

Giving Societies

Lifetime Giving JOHN L. SEVERANCE SOCIETY $10 MILLION AND MORE

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) 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 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 2017.

gifts during the past year, as of June 10, 2017

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.

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

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

INDIVIDUAL GIFTS OF $200,000 TO $499,999

Musicians of The Cleveland Orchestra (in-kind support for community programs and opportunities to secure new funding) Irma and Norman Braman (Miami) Mr. and Mrs. James A. Haslam III Mrs. Norma Lerner and The Lerner Foundation Milton and Tamar Maltz Sue Miller* (Miami) INDIVIDUAL GIFTS OF $100,000 TO $199,999

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. Michael J. Horvitz James D. Ireland IV The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre Mrs. Emma S. Lincoln Elizabeth F. McBride John C. Morley Mr. Patrick Park (Miami) James and Donna Reid Mary M. Spencer (Miami) Mr. and Mrs. Franz Welser-MĂśst

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

Mr. William P. Blair III Mr. and Mrs. Alexander M. Cutler David and Francie Horvitz Family Foundation (Miami) Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern Ms. Nancy W. McCann Ms. Beth E. Mooney The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Barbara S. Robinson (Cleveland, Miami) Janet* and Richard Yulman (Miami) Anonymous

Blossom Friends of The Cleveland Orchestra The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown T. K. and Faye A. Heston Mr. and Mrs. Donald M. Jack, Jr. Giuliana C. and John D. Koch Dr.* and Mrs. Jerome Kowal Jan R. Lewis (Miami) Toby Devan Lewis Virginia M. and Jon A. Lindseth Margaret Fulton-Mueller Roseanne and Gary Oatey (Cleveland, Miami) Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner The Ralph and Luci Schey Foundation Sally and Larry Sears Hewitt and Paula Shaw Mrs. Jean H. Taber Barbara and David Wolfort (Cleveland, Miami) Friends of The Cleveland Orchestra (formerly the Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra)

Elisabeth DeWitt Severance Society gifts of $25,000 and more INDIVIDUAL GIFTS OF $30,000 TO $49,999

Dr. and Mrs. Wolfgang Berndt (Europe) Mr. Yuval Brisker Mary Alice Cannon Mr. and Mrs. David J. Carpenter Robert and Jean* Conrad George* and Becky Dunn Mr. and Mrs. Geoffrey Gund Mrs. John A. Hadden, Jr. Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable Foundation Julia and Larry Pollock Larry J. Santon and Lorraine S. Szabo Rachel R. Schneider Richard and Nancy Sneed Jim and Myrna Spira R. Thomas and Meg Harris Stanton Ms. Ginger Warner (Cleveland, Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Paul and Suzanne Westlake listings continue

Blossom Festival 2017

Individual Annual Support

THE

CLEVELAND ORCHESTRA

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

LEADERSHIP COMMITTEE

Mr. and Mrs. William W. Baker Marsha and Brian Bilzin (Miami) Mr. and Mrs. Charles P. Bolton In dedication to Donald Carlin (Miami) Judith and George W. Diehl JoAnn and Robert Glick Mary and Jon Heider (Cleveland, Miami) Mr. Loren W. Hershey Mrs. Marguerite B. Humphrey 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. James A. Saks Marc and Rennie Saltzberg Anonymous (3)

Barbara Robinson, chair Robert N. Gudbranson, vice chair

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 Laurel Blossom Irad and Rebecca Carmi Jill and Paul Clark Mr. and Mrs. Matthew V. Crawford Mary Jo Eaton (Miami) Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami) Jeffrey and Susan Feldman (Miami) Hector D. Fortun (Miami) David and Nancy Hooker Cherie and Michael Joblove (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 William I.* and Marjorie B. Shorrock Rick, Margarita, and Steven Tonkinson (Miami) Tom and Shirley Waltermire Anonymous INDIVIDUAL GIFTS OF $15,000 TO $19,999

William Appert and Christopher Wallace (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia Brouhard Mr. and Mrs. William E. Conway Mrs. Barbara Cook Dr. and Mrs. Robert Ehrlich (Europe) Mr. Allen H. Ford Ms. Dawn M. Full

Ronald H. Bell James T. Dakin Karen E. Dakin Henry C. Doll Judy Ernest Nicki N. Gudbranson Jack Harley

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

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, Director, Leadership Giving, by calling 216-231-7522.

Mr. and Mrs. Robert W. Gillespie Richard and Ann Gridley Robert K. Gudbranson and Joon-Li Kim Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest Richard and Erica Horvitz (Cleveland, Miami) 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 Dr. Anne and Mr. Peter Neff Drs. Michael and Judith Samuels (Miami) Mrs. David Seidenfeld Mr. and Mrs. Oliver E. Seikel Howard Stark M.D. and Rene Rodriguez (Miami) Joe and Marlene Toot Mr. and Mrs. Alfred Umdasch (Europe) Mr. and Mrs. Daniel P. Walsh Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Jeffrey J. Weaver Meredith and Michael Weil 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

Mr. and Mrs. Dean Barry Mrs. Barbara Ann Davis Mr. Brian L. Ewart and Mr. William McHenry Eeva and Harri Kulovaara (Miami) James and Virginia Meil Joseph and Gail Serota (Miami) Seven Five Fund Gary L. Wasserman and Charles A. Kashner (Miami) Margaret and Eric* Wayne Sandy and Ted Wiese Tony and Diane Wynshaw-Boris listings continue

Individual Annual Support

2017 Blossom Festival

THE AUDIENCE IS WAITING â&#x20AC;&#x201D; FOR YOU It's not too late to advertise in the August issue.

2O17 BLOSSOM MUSIC FESTIVAL SUMMER HOME OF

THE CLEVELAND ORCHESTRA

LIVE Publishing Company | 216-721-1800 | info@livepub.com

THE

CLEVELAND ORCHESTRA

listings continued INDIVIDUAL GIFTS OF $10,000 TO $12,499

Sheldon and Florence Anderson (Miami) Mr. and Mrs. George N. Aronoff Jayusia and Alan Bernstein (Miami) Mr. and Mrs. Richard L. Bowen Mr. D. McGregor Brandt, Jr. Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler Ms. Lucy Chamberlain Richard J. and Joanne Clark Karen and Jim Dakin Do Unto Others Trust (Miami) Dr. M. Meredith Dobyns Henry and Mary* Doll Nancy and Richard Dotson Mr. and Mrs. Robert P. Duvin Dr. and Mrs. Lloyd H. Ellis Jr. Carl Falb Isaac K. Fisher (Miami) Kira and Neil Flanzraich (Miami) Bob and Linnet Fritz Albert I. and Norma C. Geller Dr. Edward S. Godleski Linda and Lawrence D. Goodman (Miami)

Patti Gordon (Miami) Mary Jane Hartwell* Thomas H. and Virginia J.* Horner Fund Joan and Leonard Horvitz Ruth and Pedro Jimenez (Miami) Andrew and Katherine Kartalis Alan Kluger and Amy Dean (Miami) Mrs. Elizabeth R. Koch Stewart and Donna Kohl Shirley and William Lehman (Miami) Dr. David and Janice Leshner Elsie and Byron Lutman Mr. and Mrs. Alex Machaskee Mr.* and Mrs. Arch J. McCartney Joy P. and Thomas G. Murdough, Jr. (Miami) Brian and Cindy Murphy Mr. Raymond M. Murphy Mrs. Milly Nyman (Miami) Mr.* and Mrs. William M. Osborne, Jr. Mr. J. William and Dr. Suzanne Palmer Douglas and Noreen Powers AndrĂŠs Rivero (Miami) Audra* and George Rose

Paul A. and Anastacia L. Rose Mr. Peter Rose Steven and Ellen Ross Mr. and Mrs. David A. Ruckman Michael and Chandra Rudd (Miami) Dr. Isobel Rutherford Dr. and Mrs.* Martin I. Saltzman Raymond T. and Katherine S. Sawyer David M. and Betty Schneider Carol* and Albert Schupp David* and Harriet Simon Mrs. Gretchen D. Smith Dr. Marvin and Mimi Sobel* The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Bruce and Virginia Taylor Dr. Russell A. Trusso Pysht Fund Robert C. Weppler Sandy Wile and Susan Namen Anonymous (4)

Mr. and Mrs. Brinton L. Hyde Pamela and Scott Isquick Joela Jones and Richard Weiss James and Gay* Kitson Tim and Linda Koelz Mr. James Krohngold David C. Lamb Kenneth M. Lapine and Rose E. Mills Dr. Edith Lerner Judith and Morton Q. Levin Claudia Metz and Thomas Woodworth Mr. Donald W. Morrison Mr. John Mueller Georgia and Carlos Noble (Miami) Pannonius Foundation Nan and Bob Pfeifer

Dr. and Mrs. Michael Rosenberg (Miami) Dr. and Mrs. Ronald J. Ross Rosskamm Family Trust Mrs. Florence Brewster Rutter+ Patricia J. Sawvel Dr. and Mrs. James L. Sechler Drs. Daniel and Ximena Sessler Dr. Elizabeth Swenson Dr. Gregory Videtic and Rev. Christopher McCann Dr. and Mr. Ann Williams Anonymous (2)

Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Dr.* and Mrs. Jerald S. Brodkey Dr. Thomas Brugger and Dr. Sandra Russ Frank and Leslie Buck Mr. and Mrs. William C. Butler Augustine* and Grace Caliguire Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang+ 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. and Mrs. Ralph Daugstrup Pete and Margaret Dobbins

Carl Dodge Mr. and Mrs. Paul Doman Mary and Oliver* Emerson Dr. D. Roy and Diane A. Ferguson William R. and Karen W. Feth Joseph Z. and Betty Fleming (Miami) Joan Alice Ford Michael Frank and Patricia A. Snyder Barbara and Peter Galvin Joy E. Garapic Dr. and Mrs. Adi Gazdar Joyce and Ab* Glickman Brenda and David Goldberg Mr. David J. Golden* Mr. Albert C. Goldsmith

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

Robert and Alyssa Lenhoff-Briggs Ellen E. and Victor J. Cohn Marjorie Dickard Comella Mrs. Lois Joan Davis Mr. and Mrs. Thomas S. Davis Harry and Joyce Graham Mr. Paul Greig AndrĂŠ and Ginette Gremillet Iris and Tom Harvie Henry R. Hatch Robin Hitchcock Hatch Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Amy and Stephen Hoffman Elisabeth Hugh David and Dianne Hunt INDIVIDUAL GIFTS OF $5,000 TO $7,499

Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App Robert and Dalia Baker Montserrat Balseiro (Miami) Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Daniel and Trish Bell (Miami) Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Mr. William Berger Dr. and Mrs. Erol Beytas Mr. David Bialosky and Ms. Carolyn Christian Jaime A. Bianchi and Paige A. Harper (Miami)

Individual Annual Support

listings continue

2017 Blossom Festival

THE

CLEVELAND ORCHESTRA

listings continued INDIVIDUAL GIFTS OF $5,000 TO $7,499 CONTINUED

Mr. and Mrs. Randall J. Gordon Angela and Jeffrey Gotthardt The Thomas J. and Judith Fay Gruber Charitable Foundation Robert N. and Nicki N. Gudbranson David and Robin Gunning Alfredo and Luz Gutierrez (Miami) Gary Hanson and Barbara Klante Mr. Robert D. Hart Clark Harvey and Holly Selvaggi Janet D. Heil* Anita and William Heller+ Patrick* and Jean Holden Thomas and Mary Holmes Donna L. and Robert H. Jackson Carol S. and William G. E. Jacobs Mr. and Mrs. Richard A. Janus David and Gloria Kahan Milton and Donna* Katz Dr. Richard and Roberta Katzman Dr. and Mrs. Richard S. Kaufman Mr. and Mrs. Michael T. Kestner Dr. and Mrs. William S. Kiser Mrs. Natalie D. Kittredge Rob and Laura Kochis Mr. and Mrs.* S. Lee Kohrman Mr. Clayton R. Koppes Jacqueline and Irwin* Kott (Miami) Mr. and Mrs. Peter A. Kuhn Dr. and Mrs.* Stephen A. Kushnick Mr. and Mrs. Arthur J. Lafave, Jr. 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. Stephen B. and Mrs. Lillian S. Levine Dr. Alan and Mrs. Joni Lichtin

Ms. Grace Lim Mr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl 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 Dr. Susan M. Merzweiler Ms. Betteann Meyerson Lynn and Mike Miller Mr. Robert Miller Drs. Terry E. and Sara S. Miller Mr. and Mrs. William A. Mitchell Curt and Sara Moll Dr. R. Morgan and Dr. S. Weirich (Miami) Richard and Kathleen Nord Mr. Thury Oâ&#x20AC;&#x2122;Connor Mr. and Mrs. Peter R. Osenar Mr. Henry Ott-Hansen Jay Pelham (Miami) Mr. Robert S. Perry Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Dr. and Mrs. John N. Posch Ms. Rosella Puskas Mr.* and Mrs. Thomas A. Quintrell Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Mr. and Mrs. Robert J. Reid Amy and Ken Rogat Carol Rolf and Steven Adler Robert and Margo Roth Dr. and Mrs. Robert C. Ruhl Linda B. Schneider Ms. Adrian L. Scott Lee and Jane Seidman

Mr. Eric Sellen and Mr. Ron Seidman Ms. Marlene Sharak Naomi G. and Edwin Z. Singer Drs. Charles Kent Smith and Patricia Moore Smith David Kane Smith Roy 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 Mr. Joseph Stroud Robert and Carol Taller Kathy* and Sidney Taurel (Miami) Mr. Joseph F. Tetlak Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Miss Kathleen Turner* Robert and Marti Vagi Robert A. Valente and Joan A. Morgensten Teresa Galang-ViĂąas and Joaquin Vinas (Miami) Walt and Karen Walburn Mr. and Mrs. Mark Allen Weigand Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Richard Wiedemer, Jr. Nancy V. and Robert L. Wilcox Bob and Kat Wollyung Katie and Donald Woodcock Mrs. Henrietta de Zabner (Miami) Anonymous (2)

Dr. Fred A. Heupler Mr. Robert T. Hexter David Hollander (Miami) Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. Inkley Mrs. Carol Lee and Mr. James Iott Robert and Linda Jenkins Richard and Michelle Jeschelnig Barbara and Michael J. Kaplan Dr. Gilles* and Mrs. Malvina Klopman Mr. Donald N. Krosin Charles and Josephine Robson Leamy * Ronald and Barbara Leirvik Mrs. Idarose S. Luntz Ms. Linda Macklin David Mann and Bernadette Pudis Herbert L. and Ronda Marcus Martin and Lois Marcus Ms. Nancy L. Meacham Bert and Marjorie Moyar Susan B. Murphy Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Mr. John D. Papp Dr. Lewis E. and Janice B. Patterson Dr. and Mrs. Gosta Pettersson

Maribel A. Piza (Miami) Dr. Marc A. and Mrs. Carol Pohl Henry Peyrebrune and Tracy Rowell Ms. C. A. Reagan Mrs. Charles Ritchie Peter and Aliki Rzepka Fr. Robert J. Sanson Mr. Paul H. Scarbrough Ginger and Larry Shane Harry and Ilene Shapiro Mr. Richard Shirey Mr. Robert Sieck Howard and Beth Simon Mr. Taras G. Szmagala, Jr. Mr. Karl and Mrs. Carol Theil Drs. Anna* and Gilbert True Steve and Christa Turnbull Mr. and Mrs. Les C. Vinney Mr. and Mrs. Norman L. Wernet Richard and Mary Lynn Wills Rad and Patty Yates Max and Beverly Zupon Anonymous (2)

INDIVIDUAL GIFTS OF $3,500 TO $4,999

Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. and Mrs. Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum Agnes Armstrong Howard R. and Barbara Kaye Besser Lisa and Ronald Boyko Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert Mr. and Mrs. Frank H. Carpenter Drs. Mark Cohen and Miriam Vishny Erich Eichhorn and Ursel Dougherty Peter and Kathryn Eloff Mr. William and Dr. Elizabeth Fesler Richard J. Frey Peggy A. Fullmer Loren and Michael Garruto Dr. and Mrs. Edward C. Gelber (Miami) Dr. and Mrs. Ronald L. Gould Mr. and Mrs. Stephen Griebling Nancy and James Grunzweig Mr. Davin and Mrs. Jo Ann Gustafson Lilli and Seth Harris In Memory of Hazel Helgesen Mr. and Mrs. Jerry Herschman

listings continue

The Cleveland Orchestra

Individual Annual Support

THE

CLEVELAND ORCHESTRA

listings continued INDIVIDUAL GIFTS OF $2,500 TO $3,499 Mr. and Mrs.* Norman Adler Mr. and Mrs. James B. Aronoff Art of Beauty Company, Inc. Mark and Maria Bagnall (Miami) Ms. Delphine Barrett Mr. and Mrs. Eugene J. Beer Mr. and Mrs. Belkin Mr. Roger G. Berk Barbara and Sheldon Berns Margo and Tom Bertin John and Laura Bertsch Ms. Deborah A. Blades Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Mr. and Mrs. Richard H. Bole Irving and Joan M. Bolotin (Miami) Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mrs. Frances Buchholzer J. C. Burkhardt Rev. Joan Campbell Mrs. Millie L. Carlson Leigh Carter Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm Michael and Lorena Clark (Miami) Dr. William and Dottie Clark Drs. John and Mary Clough Kenneth S. and Deborah G. Cohen Mr. and Mrs. Stanley Cohen (Miami) Mr.* and Mrs. Gerald A. Conway Mr. and Mrs. Mark Corrado Douglas S. Cramer / Hubert S. Bush III (Miami) John and Lianne Cunningham (Miami) Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller The Dascal Family (Miami) Mr. Kamal-Neil Dass and Mrs. Teresa Larsen Dr. Eleanor Davidson Jeffrey and Eileen Davis Carol Dennison and Jacques Girouard Michael and Amy Diamant 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. Harry and Ann Farmer Scott A. Foerster Mr. Paul C. Forsgren Mr. and Ms. Dale Freygang 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 Ms. Anna Z. Greenfield Drs. Erik and Ellen Gregorie Dr. and Mrs. Franklin W. Griff Mr. and Mrs. John E. Guinness Dr. Lawrence Haims* and Dr. Barbara Brothers Dr. Phillip M. and Mrs. Mary Hall Douglas M. and Amy Halsey (Miami) Mr. and Mrs. David P. Handke, Jr. Christian and Holly Hansen (Miami) Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes Dr. and Mrs. Robert L. Hinnes Dr. Randal N. Huff and Ms. Paulette Beech Ms. Laura Hunsicker

Gretchen Hyland and Edward Stephens Jr. Ruth F. Ihde Mr. Norman E. Jackson Pamela Jacobson Mr. and Mrs. Bruce D. Jarosz Dr. Michael and Mrs. Deborah Joyce Rudolf D. and Joan T. Kamper Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Mr. James Kish Fred* and Judith Klotzman Cynthia Knight (Miami) Marion Konstantynovich Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Vicki Kennedy Alfred and Carol Lambo Dr. Michael E. Lamm Mr. and Mrs. John J. Lane, Jr. Mr. and Mrs. Robert Lasser Michael Lederman Michael and Lois Lemr Robert G. Levy+ Drs. Todd and Susan Locke Ms. Mary Beth Loud Joel and Mary Ann Makee 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 Ms. Charlotte V. McCoy William C. McCoy Mr. and Mrs. Christopher J. McKenna Mr. and Mrs. James E. Menger Stephen and Barbara Messner Loretta J. Mester and George J. Mailath Mr. and Mrs. Trent Meyerhoefer Jim and Laura Moll Mr. and Mrs. Thomas W. Morris Mr. Ronald Morrow III Randy and Christine Myeroff Steven and Kimberly Myers Ms. Megan Nakashima Deborah L. Neale Marshall I. Nurenberg and Joanne Klein Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan Mr. and Mrs. John Olejko Dr. and Mrs. Paul T. Omelsky James P. Ostryniec (Miami) Mr. Robert Paddock Dr. Dean and Mrs. Kathy Pahr George Parras David Pavlich and Cherie Arnold Matt and Shari Peart Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Mr. Carl Podwoski Brad Pohlman and Julie Callsen Mr. Robert and Mrs. Susan Price Ms. Sylvia Profenna Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. James and Lynne Rambasek Dr. Robert W. Reynolds David and Gloria Richards Mr. D. Keith and Mrs. Margaret Robinson James and LaTeshia Robinson (Miami) Mr. Timothy D. Robson Ms. Linda M. Rocchi Dr. Robert and Mrs. Lauryn Ronis

Individual Annual Support

Dick A. and Debbie Rose Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo Dr. Harry S. and Rita K. Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton Ms. Patricia E. Say Don Schmitt and Jim Harmon Mr. James Schutte Mr. and Mrs. Alexander C. Scovil Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Charles Seitz (Miami) Mr. and Mrs. Thomas W. Seitz Mr. Kenneth and Mrs. Jill Shafer Ms. Frances L. Sharp Larry Oscar and Jeanne Shatten Dr. and Mrs. William C. Sheldon Terrence and Judith Sheridan Mr. and Mrs. Reginald Shiverick Michael Dylan Short Laura and Alvin A. Siegal The Shari Bierman Singer Family Robert and Barbara Slanina Sandra and Richey Smith Ms. Barbara Snyder Jorge Solano (Miami) Lucy and Dan Sondles Michalis and Alejandra Stavrinides (Miami) Frederick and Elizabeth Stueber Dr. and Mrs. Thomas A. Timko Erik Trimble Mrs. H. Lansing Vail, Jr. Mrs. Stasia M. Vavruska Brenton Ver Ploeg (Miami) Suzanne and Carlos Viana (Miami) Dr. Michael Vogelbaum and Mrs. Judith Rosman Barbara and George von Mehren Mr. and Mrs. Reid Wagstaff Alice & Leslie T. Webster, Jr. Mr. Peter and Mrs. Laurie Weinberger Michael and Danielle Weiner Mr. and Mrs. John W. Wilhelm Dr. Paul R. and Catherine Williams Elizabeth B. Wright Ken and Paula Zeisler Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (10)

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

* deceased 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

Wayne County

THE COLLEGE OF WOOSTER

JAZZ ENSEMBLE

WOOSTER SYMPHONY ORCHESTRA

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JEFFREY LINDBERG, MUSIC DIRECTOR The College of Wooster • Scheide Music Center 525 E. University St. • Wooster, OH 44691 Phone: 330-263-2419 • www.wooster.edu

( )

* H a n d C ra e d C u is in e * * D e s s e r t s * C o c k t a ils * * D ra s * W in e * b r o k e n r o c k s c a f e c o m / r o x g a s t r o p u b c o m

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September 16th, 2017 • Art vendors • Live jazz all day • Children’s activities, & more!

Blossom Festival 2017

Main Street Wooster, The place to be… woosterjazzfest.org

• Boutique Shopping • 23 Restaurants fb.com/MainstreetWooster.org • Craft Brewery & More mainstreetwooster.org

THE

CLEVELAND 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 Realty Trust The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual Parker Hannifin Foundation PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of June 2017.

gifts of $2,500 or more during the past year, as of June 10, 2017

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 Realty Trust Medical Mutual Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP White & Case (Miami) $50,000 TO $99,999

Dollar Bank Foundation Litigation Management, Inc. Parker Hannifin Foundation Quality Electrodynamics (QED) Anonymous $25,000 TO $49,999 Buyers Products Company Ernst & Young LLP The Lubrizol Corporation Olympic Steel, Inc. RPM International Inc.

Corporate Annual Support

$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co., LLC Calfee, Halter & Griswold LLP The Cedarwood Companies Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Counselling Services Consolidated Solutions Cozen O’Connor (Miami) DLR Group | Westlake Reed Leskosky Dominion Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Ferro Corporation Frantz Ward LLP Arthur J. Gallagher & Co. The Giant Eagle Foundation Great Lakes Brewing Company Adam Foslid/Greenberg Traurig (Miami) Gross Builders Hahn Loeser & Parks LLP Huntington National Bank The Lincoln Electric Foundation 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 PolyOne Corporation RSM US, LLP The Sherwin-Williams Company Southern Wine and Spirits (Miami) Stern Advertising Agency Struktol Company of America Swagelok Company Tucker Ellis United Automobile Insurance Company (Miami) University Hospitals Ver Ploeg & Lumpkin (Miami) Margaret W. Wong & Associates LLC Anonymous (2)

2017 Blossom Festival

THE

CLEVELAND 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

$20,000 TO $49,999

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture

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 Char and Chuck Fowler Family Foundation The Helen Wade Greene Charitable Trust National Endowment for the Arts The Reinberger Foundation Sandor Foundation The Sisler McFawn Foundation George Stevens Fund of Akron Community Foundation The Veale Foundation

$10 MILLION AND MORE

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

The George Gund Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon Foundation John P. Murphy Foundation $1 MILLION TO $5 MILLION

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 Sisler McFawn Foundation The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of June 2017.

Blossom Festival 2017

gifts of $2,500 or more during the past year, as of June 10, 2017

$500,000 TO $999,999

The George Gund Foundation The Andrew W. Mellon Foundation Ohio Arts Council $250,000 TO $499,999

Knight Foundation (Miami) Kulas Foundation John P. Murphy Foundation $100,000 TO $249,999

Paul M. Angell Family Foundation GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation $50,000 TO $99,999

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 Frederick and Julia Nonneman Foundation The Nord Family Foundation The Payne Fund The Sage Cleveland 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 Cleveland State University Foundation The Conway Family Foundation The Cowles Charitable Trust (Miami) Elisha-Bolton Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs The Hankins 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 The Jack, Joseph and Morton Mandel Foundation The Margaret Clark Morgan Foundation The M. G. O’Neil Foundation Paintstone Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Harold C. Schott Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The O’Neill Brothers 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

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2O17-18 SEASON

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THE

CLEVELAND ORCHESTRA

its Centennial Season in 2017-18, The Cleveland Orchestra is hailed as one of the very best orchestras on the planet, noted for its excellence and for its devotion and service to the community it calls home. The new season will mark the ensemble’s sixteenth year under the direction of Franz Welser-Möst, one of the world’s most renowned musical leaders. Looking toward the future, the Orchestra and its board of trustees, 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 and to fully focus on serving its hometown community through outstanding concert experiences, vibrant musical engagement and exploration, and strong music education programs. The institution is also succeeding to developing the youngest audience of any orchestra, building on its tradition of community support and financial strength, and to move forward into the Orchestra’s Second Century with an unshakeable commitment to innovation and a fearless pursuit of success. The Cleveland Orchestra divides its time 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 intensive performance residencies. These include a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, in New York, at Indiana University, and in Miami, Florida. Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestraconductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home and on tour across North America and EuEach year since 1989, The Cleveland Orchestra has presented a free concert in downtown Cleverope, and through recordings, telecasts, and radio land. Nearly 3 million people have experienced and internet broadcasts. Its longstanding chamthe Orchestra through these free performances pionship of new composers and commissioning of — this summer’s took place on June 30 in partnership with Cuyahoga Arts & Culture. new works helps audiences experience music as a living language that grows and evolves with each new generation. Fruitful re-examinations and juxtapositions of traditional repertoire, recording projects and tours of varying repertoire and in different locations, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to PHOTO BY ROGER MASTROIANNI

AS IT APPROACHES

Blossom Festival 2017

The Cleveland Orchestra

none in the world. Serving the Community. Programs for students and engaging musical explorations for the community at large have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities. All are being created to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique series of neighborhood residencies and visits, Franz Welser-Möst designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways. Active performance ensembles and programs provide proof of 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 and to develop the youngest audience of any orchestra. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest — with 20% of attend-

ees now comprised of concertgoers age 25 and under — as the Orchestra now boasts one of the youngest audiences attending regular symphonic concerts anywhere. 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 casual Friday night concerts, 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 performances as some of the best such concert experiences available in the world. Hundreds of thousands have learned to love music through its education programs and have celebrated important events with its music. While strong ticket sales cover just under half of each season’s costs, it is the generosity of thousands each year that drives the Orchestra forward and sustains

The Cleveland Orchestra

2017 Blossom Festival

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 ensemble 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 WelserMöst, from 2002 forward. The opening in 1931 of Severance Hall as the Orchestra’s permanent home brought a special pride to the ensemble and its hometown. With acoustic refinements under Szell’s guidance and a building-wide restoration and expansion in 1998-2000, Severance Hall continues to provide the Orchestra an enviable and intimate acoustic environment in which to perfect the ensemble’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 2017

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The Cleveland Orchestra

1918

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

16th

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The 2017-18 season will mark Franz Welser-Möst’s 16th 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

Follows on Facebook (as of June 2016)

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

129,452

1931

150

concerts each year.

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

The Cleveland Orchestra performs over

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

2 O 1 7

B L O S S O M

M U S I C

F E S T I VA L

THE

CLEVELAND ORCHESTRA 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

Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Peter Otto FIRST ASSOCIATE CONCERTMASTER

Jessica Lee ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford 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

CELLOS Mark Kosower*

SECOND VIOLINS Stephen Rose *

Louis D. Beaumont Chair

Alfred M. and Clara T. Rankin Chair

The GAR Foundation Chair

Charles Bernard 2

Emilio Llinás 2 James and Donna Reid Chair

Eli Matthews 1

Helen Weil Ross Chair

Bryan Dumm

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 Jiah Chung Chapdelaine

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

VIOLAS Wesley Collins* Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey 1 Charles M. and Janet G. Kimball Chair

Stanley Konopka Mark Jackobs

Richard Weiss 1

Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Cleveland Orchestra

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 Steelman 2 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 Daniel McKelway 2 * Robert R. and Vilma L. Kohn Chair

Robert Woolfrey **

Victoire G. and Alfred M. Rankin, Jr. Chair

Yann Ghiro E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Yann Ghiro BASSOONS John Clouser * Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Blossom Music Festival

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

Shachar Israel 2 BASS TROMBONE Thomas Klaber 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 2 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 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

* Acting Principal ** Acting Assistant Principal » on sabbatical leave

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Brett Mitchell ASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

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

P H OTO BY M I C H A E L P O E H N

Franz Welser-Möst is among today’s most distinguished conductors. The 2017-18 season marks his sixteenth year as music director of The Cleveland Orchestra, which is marking its 100th season. The New York Times has declared Cleveland under Welser-Möst’s direction to be the “best American orchestra“ for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. The Cleveland Orchestra has been repeatedly praised for its innovative programming, support for new musical works, and for its renewed success in semi-staged and staged opera productions. Franz Welser-Möst and The Cleveland Orchestra are frequent guests at many prestigious concert halls and festivals around the world, including regular appearances in Vienna, New York, and Miami, and at the festivals of Salzburg and Lucerne. In the past decade, The Cleveland Orchestra has been hugely successful in building up a new and, notably, younger audience through groundbreaking programs involving families, students, and universities. As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. His recent performances with the Philharmonic have included critically-acclaimed opera productions at the Salzburg Festival (Strauss’s Der Rosenkavalier in 2014, Beethoven’s Fidelio in 2015, and Strauss’s Die Liebe der Danae in 2016), as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. He has conducted the Philharmonic’s celebrated annual New Year’s Day concert twice, viewed by millions worldwide. This past season, he led the Vienna Philharmonic in performances in Vienna and on tour in the United States, featuring three concerts at Carnegie Hall in February 2017. Mr. Welser-Möst also maintains relationships with a number of other European orchestras and opera companies. His 2016-17 schedule featured Mozart’s The Marriage of Figaro with La Scala Milan and performances of Mahler’s Ninth Symphony with the Dresden Staatskapelle. Other recent engagements have included performances with Munich’s Bavarian Radio Symphony Orchestra and Zurich’s Tonhalle Orchestra, as well as his acclaimed debut with Amsterdam’s Royal Concertgebouw Orchestra. In December 2015, he led the Royal Stockholm Philharmonic in the Nobel Prize concert in Stockholm. From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle and a series of critically-praised new productions, as well as performances of a wide range of other operas, particularly works by Wagner and

July 8-9: Conductor

Blossom Music Festival

Richard Strauss. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, conducting more than forty new productions and culminating in three seasons as general music director (2005-08). Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. The recent Salzburg Festival production he conducted of Der Rosenkavalier was awarded with the Echo Klassik for “best opera recording.“ With The Cleveland Orchestra, his recordings include DVD recordings of live performances of five of Bruckner’s symphonies and a multi-DVD set of major works by Brahms, featuring Yefim Bronfman and Julia Fischer as soloists. A companion video recording of Brahms’s German Requiem was released in 2017. For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. AT LEFT

Franz Welser-Möst was invited to lead the prestigious Nobel Prize Concert with the Stockholm Philharmonic in December 2015.

“The story of Debussy’s opera Pelléas and Mélisande may be swathed in mists, but The Cleveland Orchestra, conducted by Franz Welser-Möst, played with extraordinary transparency. . . . The conducting particularly captured the aggression and eroticism in the score.” —Wall Street Journal “Franz Welser-Möst has managed something radical with The Cleveland Orchestra — making them play as one seamless unit. . . . The music flickered with a very delicate beauty that makes the Clevelanders sound like no other orchestra.” —London Times “There were times when the sheer splendor of the orchestra’s playing made you sit upright in awestruck appreciation. . . . The music was a miracle of expressive grandeur, which Welser-Möst paced with weight and fluidity.” —San Francisco Chronicle Blossom Music Festival

Conductor: July 8-9

BLOSSOM FRIENDS of The Cleveland Orchestra B Blossom Friends of The Cleveland Orchestra iis a volunteer organization dedicated to promoting and financially supporting The Cleveland Orchestra’s a ssummer home and annual Music Festival at Blossom. Created in 1968 as a women’s volunteer committee, membership today is open to women and men of all ages. Each year, we present a trio of Gourmet Matinee luncheons at Blossom in Knight Grove. We invite you to attend this special series of meet-the-artist afternoon luncheons, featuring performances by Cleveland Orchestra musicians. Please call 330-995-4975 for reservations and more information. Year round, we promote Blossom Music Center through a series of fundraising, learning, and social events to highlight the beauty of Blossom and the magic of great summertime music under the stars. We are proud to support this evening’s concert featuring Franz Welser-Möst and The Cleveland Orchestra, and wish you a special evening filled with the joy of music.

EXECUTIVE COMMITTEE Elisabeth Hugh, President Elizabeth McCormick, Vice President Mary Walker Sprunt, Recording Secretary JoAnn Greiner, Corresponding Secretary Patricia Rice, Treasurer

2O17BLOSSOM MUSIC FESTIVAL

Saturday evening, July 8, 2017, at 8:00 p.m.

T H E CL E V E L A ND ORC H EST R A FRANZ WELSER- MÖS T, conductor

LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 2 in D major, Opus 36 1. 2. 3. 4.

Adagio molto — Allegro con brio Larghetto Scherzo: Allegro Finale: Allegro molto

INTER MISSION HECTOR BERLIOZ (1803-1869)

Symphonie fantastique, Opus 14 Episode in the Life of an Artist 1. Reveries: Largo — Passions: Allegro agitato e appassionato assai 2. A Ball: Waltz: Allegro non troppo 3. Scene in the Country: Adagio 4. March to the Scaffold: Allegretto non troppo 5. Dream of a Witches’ Sabbath: Larghetto — Allegro

This concert is sponsored by Blossom Friends of The Cleveland Orchestra. This concert is dedicated to Mr. and Mrs. David J. Carpenter in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

The 2017 Blossom Music Festival is presented by The J. M . Smucker Company

Blossom Festival 2017

Concert Program: July 8

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INTRODUCING THE CONCERT

Drugs, Sex, Symphony . . . have inspired many a spellbinding tale — of romance and delight, of sleepless nights and endless days, of destruction and mayhem, celebration and heartache. Music, too, has many tales to tell, including, on this concert, the power of creativity against adversity (Beethoven) and a druginfused tale of passionate longing, hallucinations, and despair (Berlioz). Beethoven’s First and Second Symphonies are often seen as transitional works, in which Beethoven simply learned how to write in the style that Mozart and Haydn had created before him. And only later, in the Third, would Beethoven’s revolutionary path begin to show. As Franz Welser-Möst hears things, however, there were already clear signs of experimentation in both of these early symphonic works. Here the composer was limbering up and learning, yes, but also looking far ahead, toward the music he knows he will write in the future. The Second Symphony, completed in 1802, is not merely happy and bright, but filled with energy and intent. Tellingly, it was written just as Beethoven’s hearing loss was making itself known. Beneath this surface of solid musical form . . . trouble was brewing. But from that challenge, Beethoven forged strength from despair, hope and a future vision from obstacle. Berlioz wrote his Symphonie fantastique in 1830. In it, he portrayed his lovesickness for an Irish actress, Harriet Smithson, whom he’d seen onstage in productions of Shakespeare. He was mad for her — as mad as love can make a man (or woman). He was also enthralled with Beethoven’s Third Symphony, the surging and forceful “Heroic.” Combining these inspirations, and daring to tell all, Berlioz wrote a wild symphony about love. Here he put into music his infatuation, his desire, the heartfelt ache of rejection by his beloved — spiced, quite literally it is believed, by opium-induced hallucinations as he tried to ease his emotional pain. Writing music was not therapy enough! After marrying Smithson, Berlioz wrote: “I love her with a deep and tender love which, now that it is shared, no longer has the dreadful bitterness of the first five years.” Yet the story did not end well. The marriage was a disaster. Not understanding each other’s joys or apprehensions, they quarrelled, then separated and divorced. Berlioz helped Harriet financially for many years thereafter. But we . . . remember them for the wild, fantastical music his longing inspired.

B ER L I OZ

SMITHSON

LOVE AN D PASSION

—Eric Sellen Blossom Festival 2017

July 8: Introducing the Concert

Symphony No. 2 in D major, Opus 36 composed 1801-02 B E E T H O V E N ’ S F I R S T S Y M P H O N Y, composed in 1800, was

Ludwig van

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

the young upstart’s answer to Haydn’s “London” Symphonies, even using the exact instrumentation that appeared in five of Haydn’s final six examples. The symphony that Beethoven began the next year and completed in 1802 kept the same scoring, but it also exhibits a new freedom in its stretched-out forms and expansive contrasts. The backdrop for this pivotal symphony was a terrible change that was overtaking Beethoven — the loss of his hearing. Beethoven finished his Symphony No. 2 while staying in Heiligenstadt, outside of Vienna. He had hoped that time in the country might improve his spirits and slow the advance of his deafness, but by the end of his visit he was in a nearly suicidal state of agony. That autumn, he wrote the “Heiligenstadt Testament,” an unsent letter to his brothers found among the composer’s papers after his death. He included this description of his tormented life that year: “If I approach near to people a hot terror seizes upon me, and I fear being exposed to the danger that my condition might be noticed. Thus it has been during the last six months that I have spent in the country. . . . What a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone standing next to me heard a shepherd singing and again I heard nothing. Such incidents drove me almost to despair; a little more of that and I would have ended my life — it was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt was within me.” Beethoven re-entered society in Vienna and soon received a boost in the form of an opera commission. The new partnership with the Theater-an-der-Wien led to a concert on April 5, 1803, at which he conducted the premiere of his Second Symphony, performed the solo part in the Third Piano Concerto, debuted the oratorio Christ on the Mount of Olives, and reprised his Symphony No. 1. Despite the circumstances of its creation, the Second Symphony is a lively and jovial work. It marks a high point in Beethoven’s early Classical style, moving past the Haydn paradigm that guided the First Symphony. The opening movement begins with a meaty introduction, filled with shifting rhythms, July 8: About the Music

The Cleveland Orchestra

moody harmonies and surprising horn blasts. The Allegro con brio body of the movement begins, conversely, with the barest trace of a melody in the lower strings, then it surges to music of an even wilder nature, pounding with off-beat accents and extreme dynamic contrasts. Whereas Haydn loved the elegant dichotomy of degrees of loudness and quiet, the forte and piano intensities, Beethoven’s score asks for the even louder fortissimo and even softer pianissimo dynamics, moving beyond tidy Classical style into the more volatile spectrum to be associated with Romantic music. The Larghetto second movement contrasts the adventurous opening with music that is serene, tuneful, and unabashedly beautiful. The third movement brings the inaugural symphonic Scherzo from Beethoven — his supercharged answer to Haydn’s minuets. With the Allegro molto finale, a movement filled with humor and grace worthy of Haydn and Mozart, Beethoven satisfied his debt to the past and cleared a path for his monumental symphonies to come. —Aaron Grad © 2017 Aaron Grad is a composer, guitarist, and author based in Seattle, Washington. He writes program notes for the Orpheus Chamber Orchestra, New World Symphony, and other ensembles.

THEATER-AN- DER-WIEN — This concert hall in Vienna, built in 1801,

is where Beethoven's opera Fidelio was first presented — and where Beethoven lived for a time. Beethoven's Second, Fifth, and Sixth symphonies all received their premieres here.

Blossom Festival 2017

July 8: About the Music

At a Glance Beethoven completed his Second Symphony in 1802 in the Vienna suburb of Heiligenstadt. The first performance took place on April 5, 1803, at Vienna’s Theater-an-der-Wien. The first performance in the United States was given on May 18, 1821, in Philadelphia, by the orchestra of the Musical Fund Society with Charles Hupfeld conducting (although there is some evidence that the entire symphony may not have been played). The first U.S. performance of the complete symphony was with George Loder leading the New York Philharmonic on April 22, 1843. This symphony runs about 30 minutes in performance. Beethoven scored the symphony for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. The Cleveland Orchestra first performed Beethoven’s Second Symphony in November 1922, under the direction of Nikolai Sokoloff.

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Symphonie fantastique, Opus 14 Episode in the Life of an Artist composed 1830 W H E N A N E W Y O R K N E W S P A P E R in 1868 described the

Hector

BERLIOZ born December 11, 1803 La Côte-Saint-André, Isère, France died March 8, 1869 Paris

Blossom Festival 2017

Symphonie fantastique as “a nightmare set to music,” it was meant to be an insult. Yet this was exactly what Berlioz intended — not that the critic should have a miserable evening, but that he should grasp, even dimly, the nightmarish agonies of the composer’s own experience. Of Berlioz’s real suffering there can be no doubt. One has only to read the letters of 1829 (when Berlioz was twenty-five years old) to glimpse the torment of a composer whose mind was bursting with musical ideas and whose heart was bleeding. The object of his passion was an Anglo-Irish actress, Harriet Smithson, whom Berlioz had seen on the stage two years before in the roles of Juliet and Ophelia. Since then, he had seen her only at a distance, while of his very existence she was still quite unaware. How was this unreal passion to be expressed? His first thought, naturally enough, was a dramatic Shakespearean work, perhaps a Romeo and Juliet, for which he composed, it seems, a few movements. He then set several of Thomas Moore’s Irish Melodies to music, which at least evoked the land of her birth. Once he had encountered Beethoven’s symphonies, especially the “Eroica” (which impressed him just as strongly as Shakespeare), he liked the idea of writing a Beethovenian symphony — except that the customary triumphant ending had no counterpart in his own world. The dilemma was resolved early in 1830 when he was informed, evidently by a new aspirant to the role of lover, that Harriet was a typical actress, free and easy with her favors and in no way worthy of the exalted passion that consumed him day and night. Now, he suddenly realized, he could represent this dramatic episode in his life as a symphony, with a demonic, orgiastic finale in which both he and she are condemned to hell. The symphony was speedily written down in little more than three months and performed for the first time later that year. It became a main item in Berlioz’s many concerts in the 1830s, for each of which he issued a printed program explaining the symphony’s narrative. Although the symphony is explicitly about an “artist” and his “beloved,” it is partially about Romeo and Juliet, and even July 8: About the Music

BERLIOZ’S BELOVED A portrait of the AngloIrish actress Harriet Smithson, and a portrayal of her onstage as Ophelia in Shakespeare’s Hamlet. Berlioz became infatuated with Smithson when he saw her perform in Paris. They eventually married, but were never very happy together.

more obviously about himself and Harriet, as everyone probably knew. Even after Berlioz had, by a strange irony, met and married Harriet Smithson three years later, the symphony’s dramatic program remained. There can be few parallels to this extraordinary tale of love blooming in real life after it had been violently repudiated and exorcized in a work of art. All five movements contain a single recurrent musical theme, the idée fixe (“obsession”), which represents the artist’s love, and is transformed according to the context in which the artist finds his beloved. After a slow introduction (“Reveries”), which depicts “the sickness of the soul, the flux of passion, the unaccountable joys and sorrows . . . before he saw his beloved,” the idée fixe is heard as the main theme of the opening movement’s main Allegro section (“Passions”), with violins and flute lightly accompanied by sputtering lower strings. The surge of passion is aptly described in the volcanic first movement, although the movement ends in an unexpected picture of religious consolation. In the second movement (“A Ball”), the artist glimpses the beloved in a crowd of whirling dancers. In the third movement (“Scene in the Country”), two shepherds call to each other on their pipes, with the music depicting the stillness of a summer evening in the country, the artist’s passionate melancholy, the wind caressing the trees, and the agitation caused by the beloved’s appearance. At the end, the lone shepherd’s pipe is answered only by the rumble of distant thunder. In his despair, the artist has poisoned his beloved and is condemned to death. The fourth movement is the “March to the Scaffold,” as he is led to the guillotine before the raucous jeers of the crowd. In his last moments, he sees the beloved’s image (the idée fixe in the clarinet’s most piercing range) before the blade falls. Finally, in the fifth movement (“Dream of a Witches’ Sabbath”), the artist finds himself a spectator at a sinister gathering of spectres and weird, mocking monsters of every kind. The July 8: About the Music

The Cleveland Orchestra

idée fixe appears, horribly distorted, bells toll, the religious Dies irae motif is coarsely intoned by tubas (originally written for ophicleide, a lower-pitched keyed bugle created in 1817) and bassoons, and the witches’ round-dance gathers momentum. Eventually the dance and the Dies irae join together and the symphony ends in a riot of brilliant orchestral sound. The Symphonie fantastique has remained to this day a classic document of the Romantic imagination and a great virtuoso piece for orchestra. Berlioz’s grasp of the orchestra’s potential charge was uncanny at so early an age. His writing for brass and percussion is particularly novel, and in the second movement he later added a part for solo cornet to evoke the ballroom music of his day. That movement also introduced harps into the symphony orchestra for the first time, while the finale calls for bells and the squeaky high-pitched E-flat clarinet. The ophicleide (usually replaced in modern performances by tuba) was then the normal bass brass instrument in France, relished by Berlioz for its coarse tone in such demonic contexts as this. It is curious to reflect that much of the symphony’s musical material was drawn from earlier compositions. It was recently discovered, for instance, that the main melody of the third movement was originally the main theme of a movement in Berlioz’s early Messe solennelle, and the March to the Scaffold was rescued from an unperformed opera called Les Francs-juges. In addition, it is probable that the ballroom music was originally meant for his aborted Roméo et Juliette. If so, its new function in the symphony is strikingly apt since Romeo’s first glimpse of Juliet at the Capulets’ ball is exactly how Berlioz imagined the artist seeing his unhappy, doomed “beloved” — and not unlike his own experience on first seeing Harriet perform on stage. When Berlioz finally composed a symphony on Romeo and Juliet nearly ten years later, his ballroom music was already taken, so he had to write a new, and even more spectacular ball. The Symphonie fantastique remains the most potent example in music of the Romantic spirit in full flood, melding music, literature, poetry, imagination, and personal experience into a sensational drama — a drama of the senses and of uninhibited emotion, bursting with life. —Hugh Macdonald © 2017

At a Glance Berlioz composed his Symphonie fantastique during the spring of 1830. The work’s premiere was given at the Paris Conservatoire on December 5, 1830, conducted by François-Antoine Habeneck. This symphony runs about 50 minutes in performance. Berlioz scored it for 2 flutes (second doubling piccolo), 2 oboes (second doubling english horn), 2 clarinets (second doubling e-flat clarinet), 4 bassoons, 4 horns, 2 trumpets, 2 cornets, 3 trombones, 2 ophicleides (an older brass instrument now replaced by tuba), timpani, percussion (cymbals, bass drum, snare drum, and bells), 2 harps, and strings. The Cleveland Orchestra first performed Berlioz’s Symphonie fantastique in April 1924 — and has programmed it frequently since that time. The Cleveland Orchestra has recorded the Symphonie fantastique five times: in 1941 with Artur Rodzinski, in 1977 and 1982 with Lorin Maazel, in 1989 with Christoph von Dohnányi, and in 1996 with Pierre Boulez (winning a 1998 Grammy Award for best orchestral performance).

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.

Blossom Music Festival

July 8: About the Music

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.” Share the power of music and your love for The Cleveland Orchestra by sharing your memories with us. Post your photos on Instagram (@cleveorch) or email your Blossom story to Jill at donorservices@clevelandorchestra.com.

Tell us your family’s favorite Blossom story . . .

This long-running series of meet-the-artist luncheons showcases the individual stories and artistry of musicians involved with The Cleveland Orchestra’s annual Blossom Music Festival. Each event features a lively discussion session with a musician or small ensemble, and usually includes a musical performance. Lunch is included, reservations are required. Presented at Knight Grove at Blossom Music Center.

July 11 Tuesday at 12 noon Bryan Dumm — CELLO with pianist Elizabeth DeMio

2O17

Gourmet Matinees

A Series of Casual Gourmet Picnic Meet-the-Musician Luncheons The 2017 series is sponsored d by Faye and Teke Heston

This summer’s luncheon series begins with a program featuring Cleveland Orchestra cellist Bryan Dumm. A member of the Orchestra since 1986, his career has also included solo work and chamber music as well as teaching and educational engagement.

August 1 Tuesday at 12 noon Tanya Ell — CELLO Robert Woolfrey — CLARINET with pianist Carolyn Gadiel Warner The series continues with cellist Tanya Ell and clarinetist Robert Woolfrey, a couple who met as members of The Cleveland Orchestra and married in 2012.

August 24 Thursday at 12 noon Loras John Schissel — CONDUCTOR interviewed by trombonist Thomas Klaber The 2017 Gourmet Matinees end with a program featuring conductor Loras John Schissel, who has directed the Blossom Festival Band since 1998. An inveterate storyteller, Loras’s day job is as senior musicologist at the Library of Congress in Washington D.C. $50 per program.

For more information or to make reservations, please call Pat Volpe at 330-995-4975 or visit clevelandorchestra.com/GourmetMatinee. presented by

Blossom Friends of The Cleveland Orchestra Orc rche hestra t Blossom Music Festival

2017 Gourmet Matinee Luncheons

2OI7BLOSSOM MUSIC FESTIVAL

Sunday evening, July 9, 2017, at 7:00 p.m.

T H E CL E V E L A ND ORC H EST R A FRANZ WELSER- MÖS T, conductor with ERIN WALL , soprano

W. A. MOZART (1756-1791)

W. A. MOZART

ANTONÍN DVORÁK (1841-1904)

ANTONÍN DVORÁK

RICHARD STRAUSS (1864-1949)

Overture to The Magic Flute “Crudele? Ah no, mio bene! — Non mi dir” from Don Giovanni

Act II Polonaise from Rusalka Song to the Moon [“Měsíčku na nebi hlubokém”] from Rusalka

Orchestral Interlude: Travel Fever [Reisefieber] and Waltz Scene from Intermezzo followed without pause by . . .

RICHARD STRAUSS

Act I Finale: “Mein Elemer!” from Arabella INTER MISSION

Concert Program: July 9

The Cleveland Orchestra

GIOACHINO ROSSINI (1792-1868)

GIUSEPPE VERDI (1813-1901)

PIETRO MASCAGNI (1863-1945)

Overture to William Tell “Sempre libera” [“Always Free”] from La Traviata

Intermezzo from Cavalleria rusticana followed without pause by . . .

GIUSEPPE VERDI

Willow Song and “Ave Maria” from Otello

Overture to La Forza del destino [The Force of Destiny]

This concert is sponsored by BakerHostetler, a Cleveland Orchestra Partner in Excellence. This concert is dedicated to Mrs. Marguerite B. Humphrey in recognition of her extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

Th e 2017 B lossom M usic Festival is prese nte d by The J . M . S m ucker Com pa ny

Blossom Festival 2017

Concert Program: July 9

BakerHostetler is proud to sponsor The Cleveland Orchestra Blossom Music Festival Season with Music Director Franz Welser-Möst, featuring Erin Wall and “A Night at the Opera.”

Photo by Tara McMullen

bakerlaw.com

Erin Wall, Soprano

T H E I D E A A N D R E A L I T Y O F O P E R A combines together many things — words and music, dance and acting, singing and instrumental music, costumes and scenery, storyline and reflection, drama and excitement. This evening’s concert has many of these, but with excerpts from a range of operas across more than a century and a half of Italian and German works (including a few “greatest hits”). Among opera’s most compelling aspects is the ability of music and words to explore and exploit the depths of human emotion — love and hate, desire and happiness, serenity and ecstasy, anticipation and celebration. Our concert is divided in two, the first half imbued in Central European tradition, with works by Mozart and Richard Strauss, along with a sidetrip to Bohemia and Antonín Dvořák’s decidedly Czech take on those same German traditions. After intermission, we travel south to Italy, the country of opera’s origins, with excerpts ranging across a great Golden Age of voice and song, from Rossini through Verdi to Puccini.

The evening begins with the Overture to Mozart’s The Magic Flute, from 1791. Written in the last year of the composer’s life, this fantastical work relates a story that tests the boundaries of love, between man and woman, between parent and child, between a group and outsiders. There is also a dragon, secret knocks and handshakes, and trials accompanied by silence or music . . . for honor and truth. Embedded within its fun-filled score are bits of the Fraternal Order of Free Masons (Mozart was a member), along with a plenitude of sublime music. The overture sets the stage perfectly, with three great chords of anticipation and waiting, which give way to an exuberant fugue-like sprint, the strings of the orchestra dashing toward the finish. Full-stop, then repeat. It’s time for the show to begin. Next we welcome our soloist for the evening, soprano Erin Wall, singing an aria from one of Mozart’s most-acclaimed operas, premiered in 1787. This is the timeless tale of a womanizing cad, a man at once alluring and despicable. In “Crudele? Ah no, mio bene! — Non mi dir” from Don Giovanni, Donna Anna addresses her beloved, Don Ottavio. Don Ottavio wants to marry at once, saying that she is cruel in making him wait. But Giovanni killed her father at the opera’s beginning and Donna Anna asks for time to grieve and adjust. She tells Don OttaBlossom Festival 2017

July 9: About the Music

vio that she is not cruel, that he must be patient, that she may love him fully, but only after time has passed. She warns him not to ask too much or too soon.

Next come two excerpts from Dvořák’s Rusalka. The story, based on Hans Christian Andersen’s The Little Mermaid, tells of a fresh-water mermaid who has fallen in love with a human — yet how can the differences between their worlds be bridged? Following the death of Brahms, Dvořák was hailed as the greatest composer in the Central European tradition. In this opera, written in a burst of inspiration in just six months in 1901, Dvořák created a score with distinctive Czech flavor and feel, filled with Romantic lushness and touches of Wagner’s concept for musical motifs (recurring theme melodies for each character). The Polonaise is a rousing dance number for the big ball scene in Act Two, while the famously beautiful Song to the Moon, from Act One, lays out Rusalka’s pining love for a mortal Prince who visits her lake. Here, she asks the moon, shining down silently on all the earth, to reveal her love to the Prince. Her longing against the pale moonlight is palpable, touching, lingering.

Richard Strauss remains as one of only two major classical composers (along with Mozart) whose success was equally built on symphonic works and opera. Unlike Mozart, whose short life was filled with operas, symphonies, chamber music, and choral works throughout his years, Strauss’s creative efforts were divided in two, writing symphonies and tone poems first, and only later in life devoting himself almost entirely to opera. Written in 1924, the story of Strauss’s Intermezzo was taken from incidents in the composer’s own life. It was intended as a modern-day homage to the kind of “intermezzo” that centuries earlier had been presented between acts of serious operas. It is a domestic comedy, of mistaken identity (and a letter delivered to the wrong address), and marital argument and reconciliation. Between scenes, Strauss created a set of brilliant orchestral interludes to transition the emotional feeling of one scene into the next. The Travel Fever and Waltz Scene portrays the husband-composer excitedly setting off on a business trip despite having had an ongoing argument with his wife, who stays at home and sets off to enjoy herself at a local party (tobogganing) and flirtatiously waltzing with a young baron. Strauss’s mastery of orchestration and mood are fully evident, as are his deft, beautiful, and sinuous waltz melodies. In a fitting and touching moment of concert artistry, this evening’s artists have chosen to blend the orchestral episode from Intermezzo directly into the next excerpt, the Final Scene from Act One of Strauss’s Arabella. Here the opera’s title character, Arabella, is contemplating her emotions in anticipation of attending the town’s festive carnival. She has seen a stranger, and become instantly infatuated — but does not know who he is. She is also being courted by three suitors, who are . . . nice, but not material for real love. And her sister loves (and has courted using Arabella’s name) a

July 9: About the Music

The Cleveland Orchestra

handsome young officer. In this aria to close Act One, Arabella contemplates her future amidst life’s insolvable complications — before excitedly remembering that she is to be crowned Queen of the Coachman’s ball tonight! She clears her mind of how to find love, and heads to the carnival for an evening of good fun and simple enjoyment. I N T E R M I S S I O N The second half of our evening begins with the Overture to Rossini’s William Tell. Portions of this overture is, of course, well-known and filled with dramatic urgency (and associations today of horses galloping for a good cause). But the entire overture is well worth a listen, as the start of a great and masterful dramatic stagework. Written in 1829, William Tell was the culmination of Rossini’s operatic art. After William Tell, except for a few occasional small pieces, Rossini stopped writing music in midcareer, taking early retirement and enjoying French food and Parisian society for the next four decades. William Tell the opera dramatizes the Swiss hero of its title, whose honesty and patriotism prove as inspirational onstage as in real life. Next comes a well-known moment from Act One of Verdi’s La Traviata: “Sempre libera.” Premiered in 1853, the storyline of this opera scandalized many. The main character, a courtesan in Paris, is torn between her desire for a carefree life and her passion for one man, Alfredo (whose father later calls upon her to honor family

I build by taking apart.

I see what I’m capable of.

I ﬁnd solutions.

I ask bigger questions.

I make today count.

Big, world-changing moments. Every day, at Old Trail School. Contact us to schedule a personal tour or attend a fall admission event. admission@oldtrail.org oldtrail.org/admission

Blossom Festival 2017

July 9: About the Music

bonds over infatuation). Here, in Act One, after Violetta and Alfredo have met for the first time, Violetta sings of the joys of a “free life” filled with love, chance, and choices. However, the melody of Alfredo’s own toast to love keeps interrupting, echoing in the back of her mind, calling to her.

The concert continues with the beautiful Intermezzo from Mascagni’s Cavalleria rusticana. This miniature masterpiece of calm and serenity serves, in the opera, as a bridge between the opera’s two halves — between setting the scene and bringing the tragedy to its ultimate fulfillment. Premiered in 1890, this stage drama ushered in a new era of searing and brutal realism to Italian opera. No longer was tragedy the playground only for characters of noble birth. Now everyday people’s petty jealousies and dishevelled lives would be played out against musical accompaniment powerfully conceived and rendered. But here, in this Intermezzo, calm and serenity set a scene of contrast for tragedy and murder. Again, we move directly into the next excerpt, in which our soloist showcases a brilliant scene adapted from Shakespeare, in the Willow Song and “Ave Maria” from Verdi’s Otello. In the final act of this opera first performed in 1887, Desdemona tries to calm herself from the foreboding she senses in husband Otello’s jealousy. She evinces a nostalgic longing and then prays to God — establishing incredible tension prior to her husband’s violent entrance to murder his innocent wife. She remembers and sings the Willow Song that her mother used to sing to calm her as a child. Then she prays. The contrast with the fate we know is coming is palpably charged with emotion and terror. Once more, love fills — and destroys — lives.

The evening closes with two divergent musical efforts. In the first, Verdi’s Overture to The Force of Destiny, the composer takes up the Beethovenian call of fate. In this opera from 1862, destiny itself becomes a character, propelling events forward with an inevitability and force that cannot be known or stopped. The overture perfectly captures the powerful waves lapping against fate’s undertow, preparing us for the big events and coincidences that follow — as well as the arching melodies and restless harmonies that Verdi’s musical voice could so magnificently create and capture. Applause, applause, and . . . maybe something more? For what is a night at the opera without at least the possibility of a surprise! The beauty of music and the great outdoors combine together in eager anticipation. —Eric Sellen

Read this PROGRAM BOOK on your PHONE . . . Visit www.ExpressProgramBook.com to read bios and notes from this and future books on your mobile phone prior to the concert.

July 9: About the Music

The Cleveland Orchestra

Erin Wall Canadian soprano Erin Wall is praised for her musicality and versatility, singing an extensive and expansive repertoire of opera and concert works spanning three centuries, from Mozart and Beethoven to Strauss and Britten. She first sang with The Cleveland Orchestra in May 2016. Ms. Wall’s formal education includes studying at Western Washington University, Rice University, Music Academy of the West, and the Aspen Festival. She has received awards from the George London Foundation, Marilyn Horne Foundation, and the Richard Tucker Foundation, as well in contests with Dallas Opera, Florida Opera, and the Metropolitan Opera National Council Auditions. Erin Wall began her professional career in 2001 as a member of the Ryan Opera Center at the Lyric Opera of Chicago. She has since performed in leading roles with major opera companies across North American and Europe, including Lyric Opera of Chicago, Italy’s La Scala Milan, New York’s Metropolitan Opera, Opéra National de Paris, Santa Fe Opera, and the Vienna State Opera, and also including appearances in Germany, France, Norway, and Chile. Her North American engagements have included opera productions in Atlanta, Calgary, Detroit, Kansas City, Los Angeles, Minnesota, Phoenix, San Francisco, Seattle, Vancouver, Victoria, and Washington D.C. In concert, Erin Wall has appeared with Canada’s major orchestras, as well as with many ensembles in the United States, including the orchestras of Boston, Chicago, Colorado, Dallas, Houston, Nash-

Blossom Festival 2017

ville, Philadelphia, Pittsburgh, San Diego, and San Francisco. She has also sung as a guest artist with the BBC Scottish Symphony, City of Birmingham Symphony Orchestra, Deutsches Symphonie-Orchester, London Symphony Orchestra, Melbourne Symphony Orchestra, New Japan Philharmonic, NHK Philharmonic, Orquestra Sinfônica Brasileira, Orchestre de Paris, Staatskapelle Berlin, Sydney Symphony Orchestra, Tokyo Symphony, Tonhalle Orchestra, and the Vienna Philharmonic, among others. She appears regularly at summer music festivals including Chicago’s Grant Park and Ravinia, Montreal’s Lanaudière, New York City’s Mostly Mozart, Brazil’s Campos do Jordao, and Tanglewood, and has also sung at the Aixen-Provence Festival, BBC Proms, and the Edinburgh Festival. Erin Wall’s discography includes the 2010 Grammy-winning recording of Mahler’s Symphony No. 8 with the San Francisco Symphony. Her artistry has also been captured on albums and DVDs for ArtHaus, Deutsche Grammophon, Sony Classical/Analekta, and Virgin Classics. Additional information is available at www.erinwall.com.

July 9: Guest Soloist

National Parks promote 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 sys-

tem of outdoor parks for the people of the nation was celebrated throughout the country and here in Ohio last year, marking 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 a recreational preserve and nextdoor neighbor to Blossom. Though a short distance from the urban areas of Cleveland and Akron, these

Cuyahoga Valley

2017 Blossom Festival

30,000 acres seem worlds 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 Blossom Festival 2017

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

orchestra news Read about the music on your cellphone before coming to the concert by visiting ExpressProgramBook.com The Cleveland Orchestra has launched a new website specifically for reading about the music ahead of the concert, easily and conveniently on your mobile phone. The new service, available online at ExpressProgramBook.com, provides the program notes and commentary about the musical pieces, along with biographies of the soloists and other artists in a simple-to-read format. “This is designed with a clear format and purpose,” comments program book editor Eric Sellen. “Just the basic information, no fancy layout, with the text at a size that makes reading on a phone or other mobile device easy.” The service was tested for several months, and is now fully available, with information posted a few days prior to each concert. The site features only the core information content of each book. The complete program book is available online in a “flipbook” format, for viewing on

THE CLEVELAND ORCHESTRA

TH E CLE VE L AN D O RCH E STR A

a desktop computer or tablet. But because the flipbook format is harder to read on a mobile phone, the Orchestra chose to work with its program book partner, Live Publishing Company, to create the ExpressBook for reading on phones. Flipbooks are available from the Orchestra’s main website at clevelandorchestra.com going back several years. The ExpressBook only has current season programs, beginning the week of any given concert and looking back several concerts. Feedback and suggestions are welcome and encouraged, and can be sent by emailing to esellen@clevelandorchestra.com. ExpressProgramBook.com

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

NEW EDIT ION COM IN SEPT G IN EMB ER!

100+ Reasons We Love Greater Akron Our social media platforms engage target audiences year-round. Available at the Greater Akron Chamber 330.376.5550, Toll Free 800.621.8001, Online at greaterakronchamber.org, at Community Libraries & Your Favorite Hot Spots Advertising contact: Gail Kerzner cell 216.272.1111, ofﬁce 330.882.8500 gkerzner@livepub.com 88

Cleveland Orchestra News

The Cleveland Orchestra

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 from 1 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 2017

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 AND GOLF CARTS 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. (See tram stop locations on grounds map.) A limited number of golf carts provide an alternative option for transportation within the Blossom grounds. These are available on a firstcome, first served basis (from a location near Emily’s Garden) to drive patrons to the Blossom Grille, Knight Grove, and other destinations not on the regular Tram routes. 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 (there is no tram stop in Lot A). 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, coffees, and

Patron Information

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ice cream, along with healthy salads and noodle bowls, and a selection of alcoholic beverages featuring 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 and bar offers a variety of freshly prepared appetizers, salads, entrees, and desserts, plus wines, spirits, and beers, and pre-ordered box dinners. 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. Please note that arrangements must be made in advance. From casual barbecues or receptions to elegant sitdown dinners, you can work from our catering guide or request a unique menu for your event. For a catering guide, 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 premier donors, premier series subscribers, and Box Seat holders at Festival concerts. Kulas Plaza guests have access to dedicated restrooms, concessions, and tables and seating

areas for pre-concert dining as well as 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, Twitter, and Instagram. 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. 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 interest of ensuring a safe audience setting for all, please refrain from games that feature the swinging of bats or tossing/kicking hard objects. 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.

Patron Information

2017 Blossom Festival

2O17

Knight Grove

BLOSSOM GROUNDS

ATM

Picnic Tables

Concessions Family Restroom

Hood Meyerson Suite Backstage Lot

ATM

Blossom Grille

Lawn Seating

Lawn Terrace

Pavilion Kulas Plaza

Concessions

ATM

Wine Store

Frank E. Joseph Garden Herbert E. Strawbridge Garden

Eells Art Gallery Bandwagon Gift Shop

Guest Services and First Aid

ATM

Emilyâ&#x20AC;&#x2122;s Garden Smith Plaza

Lot A Gate

Main Gate

FirstEnergy

Lot (PAY LOT)

Information Center*

Special Events Center

Box Office Pedestrian Bridge

Information Center*

Lawn Ticket Booth Woods Picnic Area Subscriber

Lot

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

Lot

Tram Stops

Blossom Festival 2017

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

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NO SMOKING All Blossom events are presented in a smoke-free environment. Smoking tobacco or e-cigarettes is not allowed anywhere on the grounds or in buildings once you have entered through the ticket gates. With required fire and safety precautions, limited smoking areas are sometimes designated outside the gates, closer to paved parking areas. 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 by the Porthouse Theatre Company, a professional regional repertory company affiliated with Kent State University.

Patron Information

2017 Blossom Festival

Itâ&#x20AC;&#x2122;s time for a new identity. One that tells the story of creativity in Ohio and illustrates it.

Expression is an essential need. By better illustrating our story, we can better help you express yours.

Complete the story at oac.ohio.gov/identity.

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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 Some 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 2017 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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2017 Blossom Festival

ST. EDWARD HIGH SCHOOL

You belong here. ST. EDWARD HIGH SCHOOL IS PROUD TO SUPPORT THE CLEVELAND ORCHESTRA AND ITS COMMITMENT TO EXCELLENCE. LEARN MORE ABOUT OUR COMMITMENT TO EXCELLENCE AT WEARESTEDS.COM.

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