2017 Blossom Music Festival July 15,16, 22, 23, 29 Concerts

2O17 BLOSSOM MUSIC FESTIVAL

summer home of

THE CLEVELAND ORCHESTRA

p r e s e n t e d by

2o17 BLOSSOM book no. 2 INsIde . . .

July 15 — Beethoven’s Seventh . . . . page 31 July 16 — Best of Broadway . . . . page 45 July 22 — Dvořák’s Ninth / Side-by-Side . . . . page 56 July 23 — Fire and Rain: ’70s Folk Anthems . . . . page 83 July 29 — Mozart and Rachmaninoff . . . . page 91

cleve l aNdorchestr a .com

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Through Through August August 6 6 ClevelandArt.org ClevelandArt.org

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Presenting Sponsor Presenting Sponsor

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.

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, 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. 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.

What great music does for our world.

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2O17 BLOSSOM

THE

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

MUSIC FESTIVAL T A B L E

O F

P R E S E N T E D BY

C O N T E N T S

2017 BLOSSOM MUSIC FESTIVAL Book No. 2 7 Share your memories of tonight and join in the conversation online . . . facebook.com/clevelandorchestra

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twitter: @CleveOrchestra instagram: @CleveOrch

45.

#CleOrchBlossom

About Blossom Welcome to Our Summer Home . . . . . . . . . . . . . . . . . . 7 2017 Festival Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . 8-9 About Blossom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-17 Blossom by the Numbers . . . . . . . . . . . . . . . . . . . . . . . . 43 concert — July 15 Beethoven’s Seventh Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 32 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33-40 Conductor: Franz Welser-Möst . . . . . . . . . . . . . . . . . . 28

— July 16 Best of Broadway Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 44 Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Soloists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48-49

concert

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concert — July 22 Dvorak’s New World Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 59 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62-70 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60, 61, 67

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

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concert — July 23 Fire and Rain Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 85 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86-87

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

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concert — July 29 Mozart and Rachmaninoff Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 93 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95-101 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

Copyright © 2017 by The Cleveland Orchestra Eric Sellen, Program Book Editor e-mail: esellen@clevelandorchestra .com Cover Blossom photograph by Roger Mastroianni

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.

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52 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.

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About the Orchestra Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 26-27

Supporting the Orchestra Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . 52-53 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72-81

Learn More Gourmet Matinees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89 Blossom Information and Policies . . . . . . . . . . 105-110 Blossom Grounds Map . . . . . . . . . . . . . . . . . . . . . . . . . 107

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

Moving ahead together is the surest way to achieve success.

BakerHostetler is proud to support The 2017 Cleveland Orchestra Blossom Music Festival Season.

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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

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MUSIC FESTIVAL

SUMMER HOME OF

THE CLEVELAND ORCHESTRA

JUL

18

PM

GERSHWIN & TCHAIKOVSKY

DIEHL

S AT U R D AY

The Cleveland Orchestra Jahja Ling, conductor Aaron Diehl, piano

M O N D AY

JUL

38

PM

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

SCHISSEL

2O17 BLOSSOM

FOU RTH - OF -J

P R E S E N T E D BY

JU

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

TICKETS:

800-686-1141

S AT U R D AY

JUL

88

PM

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

JUL

15 8

PM

BEETHOVEN’S SEVENTH SYMPHONY

JUL

227

PM

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

PM

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

= features fireworks, weather permitting

AUGUST

SSU UN ND DAY AY

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The TheCleveland ClevelandOrchestra Orchestra Robert RobertTrevino, Trevino,conductor conductor Behzod BehzodAbduraimov, Abduraimov,piano piano

PM PM

AUG

Blossom BlossomFestival FestivalBand Band Loras LorasJohn JohnSchissel, Schissel,conductor conductor

PM PM

AUG

19 8

AUG

The TheCleveland ClevelandOrchestra Orchestra Fabien FabienGabel, Gabel,conductor conductor Juho JuhoPohjonen, Pohjonen,piano piano

SSU UN ND DAY AY

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ROMANTIC VIENNA

The TheCleveland ClevelandOrchestra Orchestra Juraj JurajValčuha, Valčuha,conductor conductor Stefan StefanJackiw, Jackiw,violin violin

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PM PM

HOLLYWOOD HEROES AND SUPERHEROES The TheCleveland ClevelandOrchestra Orchestra Richard RichardKaufman, Kaufman,conductor conductor

PM PM

BOLÉRO!

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AUG

The TheCleveland ClevelandOrchestra Orchestra Gustavo GustavoGimeno, Gimeno,conductor conductor Johannes JohannesMoser, Moser,cello cello

ULY LY PM PM

A NIGHT AT THE OPERA

AUG

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WALL

The TheCleveland ClevelandOrchestra Orchestra Franz FranzWelser-Möst, Welser-Möst, conductor conductor Erin ErinWall, Wall, soprano soprano

JUL

12 8

STRAVINSKY’S THE FIREBIRD

SCHISSEL

A SALUTE TO AMERICA

JUL

PM PM

TCHAIKOVSKY FAVORITES

T TU UE ESSD DAY AY

JUL

58

ABDURAIMOV

AUG

The TheCleveland ClevelandOrchestra Orchestra Jahja JahjaLing, Ling, conductor conductor Aaron AaronDiehl, Diehl, piano piano

S U N D AY

GABEL

PM PM

GERSHWIN & TCHAIKOVSKY

GIMENO

S AT U R D AY

DIEHL

28

JUL

JACKIW

U U LY LY-- W WE EE EK KE EN ND D

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AUG

PM PM

27 7

PM PM

HOLST’S THE PLANETS

A TRIBUTE TO ELLA FITZGERALD

The TheCleveland ClevelandOrchestra Orchestra Cristian CristianMăcelaru, Măcelaru,conductor conductor Augustin AugustinHadelich, Hadelich,violin violin

The TheCleveland ClevelandOrchestra Orchestra Randall RandallCraig CraigFleischer, Fleischer,conductor conductor with with Capathia CapathiaJenkins, Jenkins, Harolyn HarolynBlackwell, Blackwell,Aisha Aishade deHaas Haas

PM PM

BEST OF BROADWAY

The TheCleveland ClevelandOrchestra Orchestra Jack JackEverly, Everly,conductor conductor with withChristina ChristinaDeCicco, DeCicco,Ted TedKeegan, Keegan, Ron RonRemke, Remke,Richard RichardTodd ToddAdams Adams

23 7

PM PM

FIRE AND RAIN 1970s Folk Anthems The TheCleveland ClevelandOrchestra Orchestra Rob RobFisher, Fisher,conductor conductor AJ AJSwearingen, Swearingen,guitar guitarand andvocals vocals Jayne JayneKelli, Kelli,guitar guitarand andvocals vocals

KELLI & SWEARINGEN

JUL

SEPTEMBER F R I D AY

SEP

1 8:30

PM PM

MOVIE MOVIE NIGHT NIGHT

SEP

2 8:30

PM PM

SEP

3 8:30

E.T. THE EXTRA-TERRESTRIAL

The TheCleveland ClevelandOrchestra Orchestra Brett BrettMitchell, Mitchell,conductor conductor

TICKETS:

S U N D AY

S AT U R D AY

clevelandorchestra.com

PM PM

Waiting for the Peak of Perfection.

PAG E 2 O 1 5

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TM ©/TM/® The J. M. Smucker Company

Smuckers SPONSOR AD

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 Center’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

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OPEN MINDS HAVE MORE ROOM FOR BIG IDEAS RESEARCH IS HELPING KENT STATE UNIVERSITY STUDENTS FIND ANSWERS 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 Kent State University, Kent State and KSU are registered trademarks and may not be used without permission.

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

photograph by peter hastings

At the heart of Blossom is the Blossom Pavilion, situated at the base of a natural bowl. The design architect for this award-winning structure, widely celebrated for its distinctive architecture and superb acoustical qualities, was Peter van Dijk, who also served as At the Blossom groundbreaking on July 2, 1967, from 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

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Cuyahoga Valley National Park to help preserve the natural beauty of the area chosen as The Cleveland Orchestra’s permanent summer home. Created as a recreational preserve in 1974, the land was designated as a National Park in 2000.

In the past decade, The Cleveland Orchestra worked with the Trust for Public Land (TPL) to conserve more than 500 acres of Blossom Music Center land into Cuyahoga Valley National Park through a sale funded by the federal Land and Water Conservation Fund. This transfer helps protect the park experience for concertgoers at Blossom, conserves the land for preservation, and provided one-time funding for the Orchestra. This sale of Blossom Music Center land now connects over 5,000 acres of forest ecosystems within the park.

Read and learn more about the Park and nearby attractions on pages 102-103, 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

Grammy Winning Folk & Baroque Music

Fire & Grace Saturday August 26, 2017 | 7:30 - 9:30 PM The Barlow Center | 41 S. Oviatt St., Hudson, OH Tickets: $22+ | For Tickets: 440-554-2394 www.brianbigleymusic.com

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

WC LV.ORG

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 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 André 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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        

Visit Cleveland Pops Orchestra online at clevelandpops.com

16

Blossom Committee

2017 Blossom Festival

Blossom Friends of The Cleveland Orchestra This state-wide volunteer organization is dedicated to promoting and financially supporting The Cleveland Orchestra’s summer home and annual summer Music Festival at Blossom. Established as a womens’ volunteer committee with the opening of Blossom Music Center in 1968, the group was 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 / stark county — Elizabeth McCormick, Faye Heston hudson — Connie Van Gilder (Acting Chair) kent — Sylvia Armstrong, Donna DiBiase northeast — Nancy Cruikshank member-at- large — Connie van Gilder akron

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

17

M U S I C A L A R TS A S SO C I AT I O N

as of June 2017

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

O F F I C ER S A N D EXEC U T I V E C O M M I T T EE 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 EN T T R U S T EES 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 ES I D EN T T R U S T EE S Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

Laurel Blossom (CA) Richard C. Gridley (SC)

Loren W. Hershey (DC) Herbert Kloiber (Germany)

T R U S T EES EX- O F F I C 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 T EES EM E R I T I George N. Aronoff S. Lee Kohrman Charlotte R. Kramer Donald W. Morrison Gary A. Oatey Raymond T. Sawyer PA S T P R ES I D EN T 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 R A RY T R U S T EES FO R L I F E 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

19

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2017 Blossom Festival

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 Each year since 1989, The Cleveland Orchestra at home and on tour across North America and Euhas 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 was scheduled for 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

21

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-

22

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

5,500+

employees

1,600+

volunteers

750+

doctors and nurses

80+

locations

70+

therapy dogs

1

and just 1 focus: kids.

As northern Ohio’s largest pediatric healthcare provider, everything we do revolves around our patients.

Learn more at akronchildrens.org.

The Cleveland Orchestra ach13710-01_OneFocus_Half-Pg_Blossom_v01AR_20170623.indd6/23/17 1 23 3:24 PM

Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends.

As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-7562.

clevelandorchestra.com

1918

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

16th

1l1l 11l1 l1l1 1

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

26

CELLOS Mark Kosower*

SECOND VIOLINS Stephen Rose *

Louis D. Beaumont Chair

Alfred M. and Clara T. Rankin Chair

Richard Weiss 1

The GAR Foundation Chair

Emilio llinás 2

Charles Bernard 2

Eli Matthews 1

Bryan Dumm

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

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

Helen Weil Ross Chair

2

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

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

Robert Walters

CORNETS Michael Sachs *

Donald Miller

ENgLISH HORN Robert Walters

Michael Miller

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

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

ENDOWED CHAIRS CURRENTLy UNOCCUPIED

* 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

27

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

28

July 15: 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 15

29

Ralph Waldo Emerson

Thanks Cleveland’scultural cultural Thankstotothe therichness richness of of Cleveland’s heritage and the excellence of The Cleveland Orchestra, heritage and the excellence of The Cleveland Orchestra, literally millions and children literally millionsofofmen, men, women, women and children have experienced such a adawn . . .and andititisisunforgettable. unforgettable. have experienced such dawn…

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BLOSSOM MUSIC FESTIVAL

Saturday evening, July 15, 2017, at 8:00 p.m.

t h e cl e v e l a Nd orc h est r a f r a N z W El s E r - m Ö s t, conductor

darius milhaud

(1892-1974)

albert roussel (1869-1937)

le Boeuf sur le toit [The Ox on the Roof] suite No. 2 from Bacchus and Ariadne Introduction — Ariadne’s Awakening — Bacchus’s Dance — The Kiss — The Dionysian Spell — Procession — Ariadne’s Dance — Ariadne and Bacchus — Bacchanale and the Coronation of Ariadne

inter mission ludwig van beethoven

(1770-1827)

symphony No. 7 in A major, Opus 92 1.

2.

3.

4.

Poco sostenuto — Vivace Allegretto Presto Allegro con brio

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

This concert is dedicated to Mr. and Mrs. Joseph P. Keithley in recognition of their 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

The Cleveland Orchestra

Concert Program: July 15

31

INTRODUCING THE CONCERT

Rhythm,Wine & Dance

C O M P O S E R S A R E I N S P I R E D — and driven — by many things. From

vistas and stories to melodies, sounds, complex ideas, and simple rhythms.

The challenge for each composer is to build a structure around or within his or her inspiration, and to present a whole that resonates, inspires, defies, and/or satisfies listeners. This evening’s concert brings together three examples, two from the 20th century and one extraordinary classic from the early 19th, tied together through their exploration of dance and rhythm.

To begin, we hear a fun-filled and mischievous work for danceband by the Frenchman Darius Milhaud. It is built on Brazilian song and dance rhythms, mixed into a chamber orchestra-ish jazz-ish ensemble — and blessed with a memorably odd and far-fetched title. Premiered in 1919 as a ballet, The Ox on the Roof went on to inspire a nightclub in Paris, and to stand for a movement of protest . . . against the past and in favor of wiping away direction for the future of music and the arts. This music’s irresistible contours and swinging repetitions are captivatingly alluring and spicy.

Music from another French ballet comes next, with Albert Roussel’s Suite from Bacchus and Ariadne. Premiered in 1930, this is a classically modern score about ancient gods and goddesses, their love for one another, and the celebration of wine.

The evening ends with one of Beethoven’s most thrilling symphonies.

Built on a series of rhythmic motifs, the Seventh Symphony has been admired as a celebration of “dance.” It is much more than this, however. In fact, Franz Welser-Möst believes that it is a celebration of life itself through different forms of movement, including dance, procession (the funeral march of the second movement), agility, speed, and repetition. Its infecting rhythms, masterful transformations, and just-right modulations show Beethoven aptly pushing and bending (but never quite breaking) every edge of his day’s expectations. Art, at its best, both dares and satisfies, pulling us forward to harmonic resolution through irresistibly restless sounds.

—Eric Sellen Above: “Bacchus and Ariadne” by the Italian artist Luca Giordano (1634-1705), oil on canvas.

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Introducting the Concert: July 15

Blossom Music Festival

the Ox on the roof [Le Boeuf sur le toit] composed in 1918-19

B y a l l a c c O u N t s — and there are plenty of musicians in

by

Darius

mIlhauD born September 4, 1892 Marseille, France died June 22, 1974 Geneva, Switzerland

Blossom Music Festival

both Paris and California who remember him well — Darius Milhaud was a most congenial man. His autobiography was titled My Happy Life. He died aged 82, contented with his 441 opus numbers and delighted by the honors and acclamation of old age.

Milhaud’s glory belongs to the 1920s and “Les Six” [The Six], a group of composers one of whose number he was, with Cocteau and Satie influential figures in the background. And although in his later days he expressed some impatience with reminiscence-hunters, he was proud of the role he played in those heady days — and happy to look back on a life that offered him few agonies.

He was an effective teacher (Dave Brubeck was one of his students) and an entertaining writer as well as an amazingly fertile composer. His health prevented him from enlisting in the French army in 1914. He was fortunate in 1915 to meet Paul Claudel, a writer who drew Milhaud towards a deeply serious vein of work, the very opposite of the music for which he is best known. Milhaud always held Claudel in the most profound respect, which serves to remind us that although the prevailing aesthetic of Les Six was a dedication to puncturing pomposity, most of them, if not all six, felt that their music had a fundamental seriousness of purpose beneath the frivolity and fun.

At all events, it was Claudel who opened up a new window in Milhaud’s life by inviting him to Brazil as his assistant when he was appointed French ambassador in Rio de Janeiro.

Milhaud remained there for two years and was enchanted with everything he saw and heard. The two principal musical impressions he absorbed were the sound of the Brazilian forest, with its very-different-from-France birdcalls and insect sounds, and the music of the streets.

The characteristic lilt of Brazilian music was unknown in Europe, and for Milhaud it provided instant inspiration. “I was intrigued and fascinated by the rhythms of this popular music, so I bought a lot of maxixes and tangos and tried to play them with the syncopated rhythms that go from one hand to the other. At last my efforts were rewarded and I could both play and analyse this typically Brazilian subtlety.”

Back in France, still haunted by the memories of Brazil, July 15: About the Music

33

At a Glance

Milhaud composed his Le Boeuf sur le Toit [The Ox on the Roof] in 1918-19, bringing together several pieces he had started sketching in Brazil. The piece derives from a number of Brazilian songs and rhythms, including the song “O Boi no Telhado,” from which the overall work’s title is derived.

The work was premiered as a ballet, on February 21, 1920 at the Théâtre des Champs Élysées in Paris, with Vladimir Golschmann conducting. The ballet’s storyline was created by Jean Cocteau, and set in a fictious bar called “The Ox on the Roof” in New York City.

This piece runs about 15 minutes in performance.

Milhaud scored it for a dance-band orchestra of 2 flutes, oboe, 2 clarinets, bassoon, 2 horns, 2 trumpets, trombone, one percussionist (bass drum, cymbals, guiro, tambourine), and strings.

The Cleveland Orchestra first played this work in August 1972, at a Pops Promenade concert led by Michael Charry.

34

Milhaud assembled a few popular Brazilian melodies and even a Portuguese fado, and transcribed them together as a set for small orchestra with a rondo theme recurring between each pair of tunes. As many as twenty-four tunes by fourteen different composers have been identified as Milhaud’s sources, all from printed sheet music bought in Rio. The main rondo tune, heard at the beginning and many times later, is actually Milhaud’s own creation, tying the rest together.

One of the tunes he heard was called O Boi no Telhado, or “The Ox on the Roof,” which gave him a title for the compilation, which he put together on his return to Paris after the Armistice.

Le Bœuf sur le Toit was simply conceived as a celebration of Brazilian popular music, which Milhaud imagined would be suitable background for a silent film (he had Charlie Chaplin in mind). But in the heady months that followed the outbreak of peace, Les Six sprang to celebrity — and writer-filmmakerplaywright Cocteau assumed the mantle of priest and prophet, guiding their efforts.

Cocteau decided that Milhaud’s score Le Bœuf sur le Toit would be a ballet, which he presented at the Théâtre des ChampsElysées (where Diaghilev’s famous ballets had been staged) in February 1920, under the title “Le Bœuf sur le Toit, ou ‘The Nothing Doing Bar’.” The surrealist scenario, incredibly, had nothing to do with Brazil, but was set in a New York bar in the new era of Prohibition. The characters were a boxer, a negro dwarf, an elegant woman, a redhead in boy’s clothes, a bookmaker, and a gentleman in a suit. The barman offers drinks all round, and, after a series of dances, a policeman arrives and the bar is instantly transformed into a dairy and milk-bar, where they dance rustic dances while drinking milk. The policeman is decapitated by a ceiling fan. The redhead dances with the policeman’s head.

Everyone leaves, and the barman presents the bill to the policeman who has miraculously resurrected.

Cocteau engaged the clowns the Fratellini brothers and a small person (a.k.a. a dwarf) from the Medrano Circus (one of Cocteau’s favorite haunts). Raoul Dufy painted the set and made the huge head-masks that Cocteau imagined. The action was all done in slow motion, as if in a film with the projector slowed down. Odd though such a spectacle may seem, it was a great success, especially coupled with works by Satie, Poulenc, and Auric on the same bill. Milhaud acquired an immediate reputation as a droll composer, which he did not entirely resent. “ForgetJuly 15: About the Music

The Cleveland Orchestra

A famous lithograph from 1920, showing Raoul Dufy’s design sketch for “The Ox on the Roof” ballet, set in a bar by the same name in New York City. After the ballet’s success, a real nightclub bar by this name was opened in Paris in 1921 — and still flourishes today.

ting that I had written the opera Les Choéphores, the public and the press decided that I was a joker, I, who had always regarded all things comic with horror and had aspired, when writing Le Bœuf sur le Toit, only to put together an amusing unpretentious entertainment, with the memory of the Brazilian rhythms that had so enchanted me and never — God forbid — never made me laugh!”

A bewitching two-beat pulse is sustained throughout the work, with the tempo relaxed a little from time to time. The syncopation, which thrilled Milhaud during the Rio carnival, is present throughout, supported by a one-person percussion section (which Stravinsky had featured in The Soldier’s Tale and which was soon to become standard in dance bands everywhere). The orchestration is witty and deft. Milhaud made a number of arrangements, including one for two pianos and another, titled Cinéma-Fantaisie, for violin and piano.

Cocteau and Milhaud allowed the name Le Bœuf sur le Toit to be used as the name of a Parisian bar, which everyone assumed was owned and run by them. It was even said that the ballet had been named after the bar. In the spirit of Cocteau’s war on Wagnerism, Impressionism, and all other isms, Milhaud went on to learn about (“discover”) American jazz, which provided the impulse for his other popular stage work, La Création du Monde of 1923. But his dedication to serious composition never waned, and his pile of accumulated works included sonatas, quartets, symphonies, and operas — many of them unplayed and unheard — alongside the more entertaining works which the public has always preferred. yet not even this dichotomy of neglected popularity could, apparently, make him unhappy.

—Hugh Macdonald © 2017 Blossom Festival 2017

July 15: About the Music

35

suite from Bacchus and Ariadne composed in 1930

by

albert

rOussEl born April 5, 1869 Tourcoing, France died August 23, 1937 Royan, France

36

a l B E r t r O u s s E l represents many phases of French music, while his career spanned across decades of the 20th century. unlike most French composers of the era, he never attended the Paris Conservatoire.

Roussel served in the French navy until the age of 25, when he resigned his commission and returned to Paris to study music. He enrolled at the Schola Cantorum, whose founder, Vincent d’Indy, naturally exercised a considerable influence on him. Within a few years, Roussel himself became a teacher at the school, where two of his students were Edgard Varèse and Erik Satie (Satie was older than Roussel by three years), and he continued to teach there until 1914.

Although d’Indy stressed formal control and rigorous technique, Roussel soon displayed his independence from such ways of thinking and moved in the direction of Debussy — to d’Indy’s alarm — with a series of works that can easily be described as impressionist, as the very title Evocations, an orchestral work, implies. These works are at pains to disguise the discipline that Roussel had learned from d’Indy and suggest pictorial images in the impressionist manner.

Both during naval service and later, in 1909, he traveled widely in the east, and out of his travels came an opera, Padmâvati, completed in 1919 and based on a Hindu legend with many suggestions of Indian dance and music in the score.

In fact, this was another new direction in his music — the opera combined singing and ballet in an original way, and his writing for dancing always brought out a strong consciousness of rhythmic propulsion in music (just as it did, with rather different effects, in Stravinsky). Roussel’s two great ballet scores, The Spider’s Banquet and Bacchus et Ariane [Bacchus and Ariadne], are highly suggestive of staging and movement. They make excellent concert music, too.

During World War I, service in the ambulance corps led Roussel to a compulsive rethinking of artistic values, experienced by many composers and writers of his generation, and he moved into the 1920s with a wiry, spare style that discarded the vaporous effusions of impressionism. Roussel’s later music is neo-classical in its paucity of romantic expression, with hints of the machine-like music widely cultivated in the 1920s, although July 15: About the Music

The Cleveland Orchestra

he never adopted the austere detachment of Stravinsky.

Roussel’s music moved, in effect, in a more abstract direction, taking on a certain acidity and a more highly articulated rhythmic sense. It is often highly dissonant, but without offending the ear.

Bacchus and Ariadne was composed for the Paris Opéra in 1930 and staged there by Serge Lifar, the choreographer, who also danced the role of Bacchus. According to René Dumesnil, one of Paris’s leading music critics at the time, the work was a “victim” of décor by Georges de Chirico and of Lifar’s choreography, which kept it from ever being revived.

The Suite No. 2 from Bacchus et Ariane is made up of the whole second act of the ballet, and, thus, not really a suite at all.

The music is continuous, in fact, and supports the action of the scenario, drawn from Greek mythology, in the clearest manner.

The story of Ariadne’s abandonment by Theseus and her rescue by the god Bacchus had been treated as an opera by both Massenet and Richard Strauss, not to mention countless operas from the baroque period — and dozens if not hundreds of paintings and sculptures.

Theseus’s departure is the subject of Act I of Roussel’s ballet, while in Act II the rest of the story is very simply told: Ariadne, abandoned on the island of Naxos by Theseus, is asleep as the curtain rises (solo viola and violin), but wakes to some brief flutters in the clarinet and goes in desperate search of Theseus and her companions, realizing all too soon that she is alone. She falls into the arms of Bacchus, who has suddenly appeared, and they resume a scherzo-like “dream dance” from Act I. Bacchus’s solo dance is a brisk, jumpy 6/8 concluding with a series of brilliant runs in the woodwinds. Their lips meet, whereupon a scene of Dionysiac enchantment envelops the island.

A series of rough chords bring on a faun and a maenad, who offer Ariadne a gold cup into which they squeeze the juice of a grape (creating wine). In her intoxication, she dances alone (solo violin), then oboe, then flute, then clarinet take turns, and a climax builds. Bacchus and Ariadne dance together with mounting frenzy to a heavy ten-beat pulse, and the whole stage joins in a wild Bacchanale. Ariadne is led to the highest rock and crowned with a diadem of stars.

—Hugh Macdonald © 2017

At a Glance

Roussel wrote his ballet Bacchus et Ariane [“Bacchus and Ariadne”] (Ariadne is the usual English spelling of this Greek mythological character; Ariane is the French spelling) from June to December 1930. The music was first performed on February 2, 1931, by the Paris Symphony Orchestra conducted by Pierre Monteux. The ballet was premiered on May 22, 1931 at the Paris Opera, with choreography by Serge Lifar and sets by Georges de Chirico, conducted by Philippe Gaubert. Roussel created two suites from the ballet; the second is largely the entire second act of the ballet.

This suite runs almost 20 minutes in performance.

Roussel scored it for 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets and bass clarinet, 2 bassoons and contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion (triangle, cymbals, bass drum, snare drum), celesta, 2 harps, and strings.

The Cleveland Orchestra first played this music in December 1947 under the direction of Charles Munch.

It was most recently heard on a weekend of concerts led by Vladimir Ashkenazy in February 2001.

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 Festival 2017

July 15: About the Music

37

symphony No. 7 in A major, Opus 92 composed in 1811-12

t h E y E a r 1 8 1 2 was a momentous time for Beethoven, just

by

ludwig van

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

at right: “Napoleon Crossing the Alps” — a painting from 1805

by Jacques-Louis David, portraying Napoleon as a fearless and heroic leader.

38

as it was for Napoleon Bonaparte. And it can easily be said that things went badly for both of them.

Napoleon’s foolhardy invasion of Russia, begun in 1812, led inevitably to his defeat at Waterloo three years later, and to exile away from the excitement and commanding commotion of human (and French national) society.

Beethoven’s own inner exile was also coming to a new finality, as 1812 marked a new turning-point, when he had to face the social difficulties arising from his deafness. It was clear now that his future would be quite isolated from the everyday world of others, and especially from female companionship.

1812 is the year of Beethoven’s famous letter to the “Immortal Beloved,” now firmly identified as Antonie Brentano, an aristocratic Viennese lady (with a ten-year-old daughter) married to a Frankfurt businessman. The letter is ambiguous in many ways, but it suggests a mutual passion and a profound sense of resignation to the impossibility of a future together.

Beethoven was bitterly critical of adultery in others, a further psychological obstacle, whose force we can only guess at.

At all events, the great stream of music that had been flowing abundantly since the “Heiligenstadt” crisis ten years before — the “middle-period” masterpieces that stemmed from his first coming to an understanding about his growing deafness — now began to dry up. The rest of the decade is marked by recurrent bouts of depression and the production of very little music.

Out of these troubles were ultimately born the transcendent works of the last years — the last piano sonatas, the late string quartets, and the Ninth Symphony. Although Beethoven completed his Seventh and Eighth Symphonies before the curJuly 15: About the Music

The Cleveland Orchestra

tain of silence fell completely, he made little progress with the Ninth, conceived at that time as part of a three-symphony group.

The Seventh was, in fact, mostly in place before the drama of 1812 unfolded.

The Seventh has always been regarded as one of the mightiest of the nine, less forceful perhaps than the Fifth, less ambitious than the Ninth, less big than the Third, but broader in range and spirit than any other. The key-color of A major is unusual in Beethoven’s orchestral music, depending partly on the exultant sound of horns in A major, one of that instrument’s highest registers. The sense of a “divine dance,” as Wagner called the Seventh, is very strong in both first and last movements as well as in the scherzo, driven by powerful rhythmic energy and heavy instrumentation. While the Allegretto, though full of charm, has a sense of inexorable fatality.

The slow introduction to the first movement is a huge free-standing structure of its own, only slowly giving way to the persistent E’s that herald the start of the main Allegro section and its relentless dancing rhythm. Two striking moments in this great movement should have our attention. First, in the recapitulation (or return) the texture suddenly lightens to allow the oboe to take the melody in a thinner, fresher texture, like a brief clearing of persistent clouds. And, at the end, the lower strings set up a bizarre grumbling ostinato (repetition) that seems to be stuck in a groove until the final cadences come to the rescue. This is the passage that elicited Carl Maria von Weber’s famous remark that Beethoven had shown himself “fit for the madhouse.”

So popular was the Allegretto second movement in the 19th century that it was often played as a concert piece on its own (and why not?!) and often, furthermore, substituted for the slow movements of other symphonies! (That is, perhaps, going too far, bending the simple act of pleasing to replace authorial intention and design.) yet, of the entire symphony, this is the movement that most strongly looks forward to the Romantic sensibilities of Berlioz, Schumann, Mendelssohn, and others — all of whom seem to have derived creative benefit directly from it. Schubert must have been bewitched by its hypnotic rhythm, which he often adopted. The opening A-minor passage, gradually growing in sound like an approaching procession, leads, somewhat surprisingly, to a glowing section in major tonality, scored for winds over a still-throbbing string accompaniment.

Blossom Festival 2017

July 15: About the Music

At a Glance

Beethoven wrote his Seventh Symphony in 1811-12. He conducted the first performance on December 8, 1813, at a special concert at the University of Vienna. The score was published in 1816 with a dedication to Count Moritz von Fries, a Viennese nobleman and longtime patron.

This symphony runs about 35 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

Beethoven’s Seventh Symphony crept into The Cleveland Orchestra’s repertoire. The second movement was played by itself in November 1919, at the “First Popular Concert” of the Orchestra’s second season.

The first performance of the entire symphony at a Cleveland Orchestra subscription concert was by the La Scala Orchestra of Milan, conducted by Arturo Toscanini, on February 2, 1921. The Cleveland Orchestra played the complete Symphony for the first time in April 1922 with music director Nikolai Sokoloff conducting. It has been played frequently on Orchestra concerts since that time.

39

Each section is heard once more before the close, a characteristic parting passage with melodic fragments thrown from one instrument to another.

Almost no other movement in all Beethoven leaves such haunting memories as this.

The scherzo third movement is a persistent alternation of a loud and vivacious triple dance, with the calmer, static Trio section of the movement winding its way over low horns and basses. Thus, one part of the movement takes wing, the other is rooted to the ground.

The old tradition that symphonic finales should be light and breezy is firmly buried by the Seventh’s fourth movement, one of the heaviest blockbusters in the symphonic repertory. Constant hammer-blows on off-beats and a shortage of quiet music puts Beethoven in the role of ringmaster while we, poor audience, yield to the crack of his whip. Beethoven’s superiority over mere mortals sometimes takes the form of subtle, cruel jokes at the expense of our gullibility. Sometimes he charms us into submission. But here the trick is not subtle at all. We watch (hear) him do what he must, directly in front of us. We are mesmerized, amazed, and dumbfounded, even as we see exactly how it’s done.

—Hugh Macdonald © 2017

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

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July 15: About the Music

The Cleveland Orchestra

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

20%

OvEr

B lO S S O M M U SiC CENTER

1968

seats

25

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

INtrODucINg thE cONcErt

the Heart of Broadway l I F E I n A M E R I C A H A S I n S p I R E d many creative endeavors and ideas, from jazz to Southern fried chicken, from telephones to iPhones, from moonshine and manhattans to blue jeans, and — sitting here in the great outdoors at Blossom — let us not forget the idea and reality of national parks for the benefit of all the people. There is also the wonderful, glorious, effervescent, and ever-changing Broadway musical. It derived itself from Viennese operettas and American vaudeville, mixing in aspects of the British musical hall and Gilbert & Sullivan. Into all of that, as it found its own groove, along with jive and jazz and tinpan alley, it added six sprinkles of New World panache, artful sleight-of-hand, and American show-biz confidence. Its poignant mix of storyline, emotion, masterful lyrics, energetic delivery, and melodic invention has no rival. Its history and evolution carried us through the 20th century and created a soundtrack of songs for American lives and living. At the same time, it also reinvented London’s West End, creating a second home for itself and for new British musicals, too.

The illuminated theaters of New york have produced an unending string of hit songs and personal ballads. Their storylines have showcased love and loss, kitsch and comedy, dance and drama — creating failed flops and financial juggernauts. From one creative era to the next, voices have sung across the footlights helping us to understand the depths (and widths and whispers and workings) of humanity — in the minutes and hours between overtures, intermissions, and curtain calls.

This evening’s concert presents a mere sampling of great hits — love songs and torch songs for heroes and heroines. From the Golden Age after World War II, through the British Invasion of Andrew Lloyd Webber, and onward with more recent concoctions, here are hits by the mouthful, ready to pull our heartstrings and lift our spirits. Sung by four of today’s strongest star talents, without set or storyline, but with one of the greatest symphony orchestras on earth, our very own Cleveland Orchestra.

So sit back, prepare your hearts to be uplifted and broken, delivered and denied, shattered and saturated. For where else but Broadway can we learn about ourselves through the power of words and music to engage the night with emotion and ennui, comedy and confidence, rhymes and rhythm, love and luck — all of it supercalifragilisticexpialidocious-ly wonderful!

—Eric Sellen

44

July 16: Introducing the Music

Blossom Music Festival

2O17

BLOSSOM MUSIC FESTIVAL

Sunday evening, July 16, 2017, at 7:00 p.m.

t h e cl e v e l a Nd orc h est r a jac k Ev E r ly , conductor

BEST Of BROADWAY featuring chrIstINa DecIccO, vocalist tED kEEgaN, vocalist rON rEmkE, vocalist rIcharD tODD aDams, vocalist and the BlOssOm fEstIval chOrus

act One Overture to Annie Get Your Gun music by irving Berlin orchestra

“man of la mancha” from Man of La Mancha music by mitch Leigh, lyrics by Joe Darion mr. remke

“maria” from West Side Story

music by Leonard Bernstein, lyrics by stephen sondheim mr. keegan

“this Is the moment” from Jekyll & Hyde music and lyrics by Frank Wildhorn and Leslie Bircusse mr. adams

“sunrise, sunset” from Fiddler on the Roof music by Jerry Bock, lyrics by sheldon Harnick chorus

“Oklahoma!” from Oklahoma!

music by richard rodgers, lyrics by oscar Hammerstein 2d mr. adams and chorus

“Don’t cry for me, argentina” from Evita music by Andrew Lloyd Webber, lyrics by tim rice ms. decicco and chorus

PROGRAM LISTING CONTINuES

Blossom Music Festival

Concert Program: July 16

45

PROGRAM LISTING CONTINuED FROM PREVIOuS PAGE

selections from Miss Saigon music by Claude-michel schönberg orchestra

“the Impossible Dream” from Man of La Mancha music by mitch Leigh, lyrics by Joe Darion mr. keegan, mr. adams, mr. remke, and chorus

act twO “seventy-six trombones” from The Music Man music by meredith Willson orchestra

“trouble” from The Music Man music and lyrics by meredith Willson mr. adams and chorus

“supercalifragilisticexpialidocious” from Mary Poppins song by richard m. sherman and robert B. sherman ms. decicco and mr. remke, and chorus

“gethsemane (I Only Want to say)” from Jesus Christ, Superstar music by Andrew Lloyd Webber, lyrics by tim rice mr. remke and chorus

selections from The Phantom of the Opera music by Andrew Lloyd Webber orchestra

“music of the Night” from The Phantom of the Opera music by Andrew Lloyd Webber, lyrics by Charles Hart mr. keegan

from Les Misérables

music by Claude-michel schönberg, original French lyrics by Alain Boublil and Jean-marc natel, english lyrics by Herbert Kretzmer and James Fenton

“I Dreamed a Dream” ms. decicco

“Bring him home” mr. keegan

“stars”

mr. adams

“make Our garden grow” from Candide music by Leonard Bernstein, lyrics by richard Wilbur the company

This concert is dedicated to Mr. and Mrs. Richard K. Smucker in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

Th e 2O17 B lossom M usic Festival is prese nte d by The J . M . S m ucker Com pa ny

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Concert Program: July 16

Blossom Music Festival

jack Everly Jack Everly is one of North America’s leading symphonic pops conductors and serves as principal pops conductor of the Indianapolis Symphony Orchestra. He is also principal pops conductor of the Baltimore Symphony Orchestra, Naples Philharmonic in Florida, and the National Arts Centre Orchestra of Ottawa, Canada.

In addition, he serves as music director of the National Memorial Day Concert and A Capitol Fourth on PBS. Mr. Everly made his Cleveland Orchestra debut at Blossom in 2009 and most recently appeared as part of the 2016 Blossom Music Festival. He is conducting over 90 concerts this year in twenty cities.

In addition to the ensembles he directs each season, Mr. Everly’s engagements have included appearances as a guest conductor with the orchestras of Atlanta, Los Angeles, Nashville, New york Pops, Oklahoma City, Philadelphia, Pittsburgh, Toronto, and Washington D.C. He was conductor and music director for fourteen seasons with the American Ballet Theatre, where he was first appointed

by Mikhail Baryshnikov. In addition, he teamed with Marvin Hamlisch for a number of Broadway shows, including The Goodbye Girl, They’re Playing Our Song, and A Chorus Line. He conducted Carol Channing hundreds of times, in two separate Broadway productions of Hello, Dolly!

In addition to leading the Indianapolis Symphony Orchestra’s holiday celebra \

Blossom Music Festival

tion concerts each December, Mr. Everly conducted the ISO’s first pops recording, Yuletide Celebration, which featured some of his own orchestrations. His other recordings include In the Presence with the Czech Philharmonic and tenor Daniel Rodriguez, Sandi Patty’s Broadway Stories, and Everything’s Coming Up Roses: The Complete Overtures of Broadway’s Jule Styne. He has also been music director on many Broadway cast recordings.

In television and film, Jack Everly has appeared on In Performance at the White House and conducted the songs for Disney’s animated classic The Hunchback of Notre Dame. In 1998, Jack Everly created the Symphonic Pops Consortium, serving as its music director. The Consortium, based in Indianapolis, creates new theatrical pops programs through collaboration, innovation, celebration, and perspiration.

Mr. Everly is a graduate of the Jacobs School of Music at Indiana university.

When not on the podium or arranging, Jack enjoys home life with his family, which includes the dog Max.

July 16: Conductor

47

christina Decicco

ted keegan

Christina DeCicco has sung with the Indianapolis Symphony Orchestra, Long Island Philharmonic, Edmonton Symphony Orchestra, and the Fort Wayne Philharmonic.

On Broadway, she sang in the revival of Evita appearing as Eva Peron opposite Ricky Martin, as Arachne in u2’s Spiderman: Turn Off the Dark, and as the understudy for Sister Mary Robert in the original cast of Sister Act, The Musical. She has toured the country portraying the role of Glinda in the musical Wicked. Off Broadway, audiences have seen her as Cindy Lou Huffington in the juke box musical The Marvelous Wonderettes. Regionally, Ms. DeCicco’s roles have included Maggie in Cat on a Hot Tin Roof (Triad Stage), Billie Dawn in Born Yesterday (Asolo Repertory Theatre), Gabriella in Boeing Boeing (Gulfshore Playhouse), Barbara Rose in War of the Roses (Delaware Theatre Company), Mary Poppins in Mary Poppins (Theatre under the Stars), Betty Schafer in Sunset Boulevard (Ogunquit Playhouse), Eponine in Les Misérables (Walnut Street Theatre; Barrymore Award winner). She received a bachelor’s degree from Wagner College. For additional information, visit www.christinadecicco.com.

Ted Keegan is a native of Watertown, New york, with an undergraduate degree from Ithaca College and a graduate degree from uNC-Greensboro. He has appeared as the Phantom in The Phantom of the Opera on Broadway, in the show’s National Tour, and in Las Vegas. He has the distinction of singing the role in front of the largest audience ever, when he made a spectacular flying entrance from the dome of Madison Square Garden during the half-time show of the NBA All-Star Game. He was deeply involved in the George Gershwin Centennial Celebration, performing unpublished songs at the opening of the George and Ira Gershwin Room at the National Archives in Washington D.C. Orchestras he has performed with include the ensembles of Baltimore, Syracuse, Charleston, Cleveland, Dayton, Detroit, Edmonton, Fort Worth, Indianapolis, Las Vegas, Pittsburgh, Omaha, Ottawa, and Washington D.C. He made his Broadway debut as Anthony in the acclaimed revival of Sweeney Todd. His first solo album, Ted Keegan Sings, is available in stores and at iTunes. For more information, visit www.tedkeegan.com.

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July 16: guest Artists

2017 Blossom Festival

ron remke

richard todd adams

Ron Remke can currently be seen in “Baz: Star Crossed Love” in Las Vegas at the Palazzo Theater. He was also in the closing cast of one of the longest-running shows in Las Vegas, “Donn Arden’s Jubilee!” and was a featured soloist with the “12 Irish Tenors.” He is a frequent guest artist with symphonies across the united States and Canada and is a sought-after performer on the high seas and has visited over 70 countries while performing on board the Silver Spirit and the Regent Voyager. Select credits include Lead Tenor in The Producers with Westchester Broadway Theater and Pioneer Theater, Hugo in Aspects of Love and Captain Tarnitz in The Student Prince with Media Theater, and Dance Captain of Kiss Me, Kate with the uS National Tour. He has also appeared with a variety of regional theater companies. He has worked with Sesame Street and Nickelodeon as a voice-over character artist and is the voice of Juan in Sonia Monzano’s No Dog Allowed! His full symphonic album Broadway Classics is available on iTunes and through his website, www.ronremke.com.

Richard Todd Adams can currently be seen on Broadway in Cats, where he stands by for the roles of Old Deuteronomy and Gus/Bustopher Jones. He is one of a handful of American actors to have portrayed the Phantom, Jean Valjean, and Javert. A graduate of New york’s Juilliard School, he began his career starring as Raoul with both the Los Angeles and national touring companies of The Phantom of the Opera. upon returning to New york, he appeared Off Broadway in Berlin to Broadway with Kurt Weill and in Michael John LaChiusa’s Little Fish at Second Stage.

He made his Broadway debut in 2005 in Andrew Lloyd Webber’s The Woman in White, and then appeared in Boublil & Schönberg’s The Pirate Queen. He subsequently returned to sing the title role in the national tour of The Phantom of the Opera. He spent 2011-2013 playing both Jean Valjean and Javert in the 25th anniversary tour of Les Misérables. Regional credits include The Scarlet Pimpernel, Jekyll & Hyde, 1776, Two Pianos Four Hands, Ragtime, and Showboat. For more information, visit www.richardtoddadams.com.

Blossom Festival 2017

July 16: guest Artists

49

Blossom festival chorus robert Porco, Director lisa Wong, Assistant Director

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

Best of Broadway prepared by Robert Porco sopranos

Lou Albertson Sema Albulut Amanda Baker Karen Bauer-Blazer Adriana Changet Mary Grace Corrigan Susan Cucuzza Karla Cummins Anna K. Dendy Sasha Desberg Taniya Dsouza Emily Engle Lisa Fedorovich Lisa Georges Lou Goodwin Sandhya Gupta Rebecca S. Hall Alyse Hancock-Phillips Lisa Hrusovsky Eleni Karnavas Chelsea Kimmich Kate Macy Sarah Malarney Sara Stone Miller Taylor Mills Kathleen Moreland Roberta Myers Christine Piatak

Anna Ressler Sarah Ressler Nadia Robinson Cassandra E. Rondinella Monica Schie Kara Schifano Valerie Sibila Elizabeth Spencer Megan Tettau Tunde Varga Shelby Wanen Mary Krason Wiker Kathryn Zorman altos

Katherine Brown Nichole Criss Brooke Emmel Diana Weber Gardner Mariana Gomez Rachael Grubb Ann Marie Hardulak Julie Evans Hoffman Gloria R. Homolak Karen Hunt Karen Hurley Melissa Jolly Kristi Krueger Elise Leitzel

Charlotte Linebaugh Karla McMullen Victoria Rasnick Beverly Riehl Rachel Rood Emma Violet Rosberil Emmalene Rupp Kathy Sands Molly Shearrow Eva Shepard Emily Shields Laurie Starner Heather Swift Alex Wuertz Caroline Willoughby Nancy Wojciak tenors

Robert Bordon David Erlandson Gary Kaplan Adam Landry Alexander Looney Matthew Rizer Jarod Shamp Michael Stupecki Allen White Garrett Wineberg

basses

Jacob Brent Sean Cahill Peter B. Clausen Max Clifford Thomas Cucuzza Christopher Dewald Thomas Glynn Scott Douglas Halm Ryan D. Honomichl Bernard Hrusovsky William Hrusovsky Robert L. Jenkins III David Keller Kevin Kutz CJ Langmack Tyler Mason Roger Mennell Tremaine Oatman John Riehl John Semenik Jackson Slater Stephen Stavnicky Matt Turell Patrick Wickliffe S. David Worhatch

alicja Basinska, Accompanist jill harbaugh, Manager of Choruses

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July 16: Chorus

Blossom Music Festival

robert Porco

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

Robert Porco became director of choruses for The Cleveland Orchestra in 1998. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco has led many Cleveland Orchestra concerts at both Severance Hall and as part of the summertime Blossom Music Festival. He has also served as director of choruses for the Cincinnati May Festival since 1989.

In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of significant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana university 1980-98, and in recent years has taught doctoral-level conducting there.

As teacher and mentor, Mr. Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, he has taught at Harvard university, Westminster Choir College, and the university of Miami Frost School of Music.

lisa Wong

Assistant Director of Choruses

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season, helping to prepare the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. With the 2012-13 season, she took on the added position of director of the Cleveland Orchestra youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is an associate professor of music at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting, choral literature, and music education. She previously taught in public and private schools in New york, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Recent accolades have included work at Kenyatta university in Nairobi, Kenya, as a part of Tunaweza Kimuziki, and as a conductor for “Conducting 21C: Musical Leadership for a New Century” in Stockholm, Sweden. Ms. Wong holds a bachelor’s degree in music education from West Chester university and master’s and doctoral degrees in choral conducting from Indiana university.

Blossom Festival 2017

July 16: Chorus

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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 t he

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

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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. O’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 Women’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

53

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

54

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

21 6 -2 3 1 -1111

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2O17

BLOSSOM MUSIC FESTIVAL

Saturday evening, July 22, 2017, at 7:00 p.m.

T H E C L E V E L A N D ORC H EST R A AND

K E N T / B LO S SO M C H A M B E R ORC H EST R A

Beginning at 7:00 p.m.

kent/Blossom Chamber Orchestra conducted by charlEs latshaW

ralph vaughan williams (1872-1958)

running set

felix mendelssohn (1809-1847)

symphony No. 4 (“Italian”) in A major, Opus 90 1.

2.

3.

4.

Allegro vivace Andante con moto Con moto moderato saltarello: Presto

inter mission Beginning at approximately 8:00 p.m.

The Cleveland Orchestra conducted by jahja lINg

gioachino rossini (1792-1868)

Overture to The Barber of Seville niccolò paganini (1782-1840)

violin concerto No. 1 in D major, Opus 6 1. Allegro maestoso 2. Adagio 3. rondo: Allegro spiritoso ElI matthEWs, violin

56

July 22: Concert Program

The Cleveland Orchestra

inter mission Beginning at approximately 9:00 p.m.

The Cleveland Orchestra and kent/Blossom Chamber Orchestra performing side-by-side conducted by jahja lINg v

antonín dvor ák (1841-1904)

symphony No. 9: from the New World in E minor, Opus 95 1.

2.

3.

4.

Adagio — Allegro molto Largo scherzo: Molto vivace Finale: Allegro con fuoco

The Cleveland Orchestra welcomes the trustees of The William Bingham Foundation to this evening’s performance and thanks them for their longtime support.

Th e 2O17 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 22

57

INtrODucINg thE cONcErt

Today and Tomorrow — Vim, Verve &Virtuosity

brings together old and new — favorite masterworks and lesser-known pieces, young talent and teachers. The night begins with a chamber orchestra made up of tomorrow’s promise, and forges through musical works written across a span of a century and a half, featuring sounds of Italy and England as well as deft solo virtuosity. The night ends with a grand side-by-side performance of a popular “American” symphony written by a visiting Czech composer.

The evening opens with the Kent/Blossom Chamber Orchestra. The professional training program of the Kent/ Blossom Music Festival, created in 1968, features a select group of young artists on the cusp of their careers — mentored, tutored, and taught by a faculty featuring many Cleveland Orchestra musicians. Tonight they perform under the baton of Charles Latshaw. Together, they perform a “running” dance from 1933, by a thoroughly English composer, followed by an Italian Symphony written a hundred years earlier by a gifted German. Both utilize authentic melodies and rhythms from those lands, and create infectious soundscapes of universal appeal.

Following the first intermission, The Cleveland Orchestra takes the stage for a pair of early 19th century works created by famous Italian composers.

Rossini’s overture to his opera The Barber of Seville is a miniature masterpiece of anticipation, showcasing the extended crescendo, with soft passages working themselves into roaring frenzy. This is paired with Paganini’s fiendish First Violin Concerto featuring Cleveland Orchestra’s Eli Matthews as soloist. The composer’s infamous virtuosic capabilities lend themselves to summer musical fireworks of the sonic variety.

To close the evening, guest conductor Jahja Ling leads both ensembles sitting together side-by-side to perform Dvořák’s grandiloquent Ninth Symphony, subtitled “From the New World.” This great work, premiered at Carnegie Hall in 1893, was written as a kind of musical postcard to the Old World from the New. It is filled with rich reserves of restless energy, melodic invention, and soulful pleasure against limitless promise.

—Eric Sellen THIS EVEnIng’S MUSICAl pROgRAM

Blossom Festival 2017

July 22: Introducing the Concert

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An Evening . . . with Kent/Blossom Music Festival and The Cleveland Orchestra Kent/Blossom Music Festival is a five-week summer institute for professional music training operated

by Kent State University in cooperation with The Cleveland Orchestra and Blossom Music Center.

Each summer since 1968, musicians of The Cleveland Orchestra and other faculty members have gathered to mentor a select group of students in chamber music, orchestral repertoire, and private lessons. Tonight’s concert continues this long and valued partnership of The Cleveland Orchestra and Kent/Blossom Music Festival.

To open this evening’s concert, the Kent/Blossom Music Festival Chamber Orchestra performs two works conducted by guest conductor Charles Latshaw. Following the first intermission, The Cleveland Orchestra and guest conductor Jahja Ling present two works, Rossini’s effervescent Barber of Seville overture and Paganini’s thrilling First Violin Concerto (with soloist Eli Matthews). Then in the concert finale, Kent/Blossom students join their Cleveland Orchestra counterparts side-by-side in performing Dvořák’s stirringly beautiful final symphony, inspired by America and nicknamed “From the New World.”

K E N T / B L O S S O M M U S I C F E S T I VA L 2 0 1 7

CHAMBER ORCHESTRA

VIOLIN Heewon Woo Laura Hoyos Sara Aldana Aiko Richter Pin-Hsuan Chen Alejandro Luengas

VIOLA Jacquelyn O’Brien John Grigsby III En-Ting Hsu Binbin Fan Patrick Monnius Erlene Koh

VIOLIN II Gabriel Napoli Donna Bacon Qian Yang Nathaniel Humphrey Lok Yee Feng Shupei Wang

CELLO Wei-An Hung Lindsay Cheng David Dietz Marilyn Liu Grace Sommer Zheng Zhang DOUBLE BASS Martin Lazo

FLUTE Timothy Fernando Megan Pan OBOE Regina Brady Thomas Friedle Claire Kostic CLARINET Meghan Colbert Zoe Fagerhaug Clayton Luckadoo BASSOON Edin Agamenoni Troy Baban Ian Morin

HORN Sarah Palmer Kyndra Sisayaket Marie Smith TRUMPET Larry Herman Erik Sundet TIMPANI Andrew Pongracz PERCUSSION Andrew Pongracz PIANO Mio Arai For further information about the Kent/Blossom Music Festival, visit www. kent. edu /blossom

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Kent/Blossom Music Festival

The Cleveland Orchestra

charles latshaw

jahja ling

Charles Latshaw is music director of the Grand Junction Symphony Orchestra in Colorado and the Flagstaff Symphony Orchestra in Arizona. until 2016, he was the director of the Kent/Blossom Music Festival and the Kent State university Orchestra. He previously served as artistic director and conductor of the Bloomington Symphony Orchestra in Indiana. Mr. Latshaw has also held conducting positions with the Indianapolis Symphony, Columbus Indiana Philharmonic, Washington Sinfonietta, and Ars Nova Chamber Orchestra. He was selected by members of the Vienna Philharmonic as their Herbert von Karajan conducting fellow in 2007. He holds a master’s degree and a doctorate in instrumental conducting from the Indiana university Jacobs School of Music. Beyond conducting, he has held the position of principal trumpet in orchestras in Ohio, New Hampshire, and Massachusetts, and has performed with jazz bands as a trumpet player, vocalist, and band leader.

Charles Latshaw is firmly dedicated to bringing orchestral music to new audiences, especially young people. For additional information, visit www.charleslatshaw. com.

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.

Blossom Festival 2017

July 22: guest Conductors

61

ke Nt/ Blossom chamBe r orchestr a

running set — A Fantasia on Jig-Rhythms composed 1933

r a l P h v a u g h a N W I l l I a m s is very rightfully called an

by

ralPh

vaughaN WIllIams born October 12, 1872 Down Ampney, England died August 26, 1958 London

62

English composer, and is, in fact, better known — and his music better loved — in Great Britain than elsewhere in the world. yet he had a long and storied career, creating a catalog of symphonies, chamber music, and other pieces. He also was among the first generations of serious ethnomusicologists, and spent considerable time in his younger years travelling across more remote parts of the British Isles collecting and recording — and thus preserving — folksongs that had survived from earlier times by being handed down in an oral-aural tradition, generation to generation across the centuries. And, rather than merely using these “found“ tunes as inspiration, Vaughan Williams used many of them directly, by quoting tunes into many of his compositions — giving an authentic British sound and feel. For his audience across England, this created an immediate nostalgic feeling within his music, along with a clear sense of patriotic flavoring. Even when a tune was not well-known, its authentic British origins (and modal scaling) sounded familiar and felt “like home.”

Vaughan Williams wrote his Running Set in 1933 for a dance festival. (The piece is sometimes listed as a “ballet,” but that designation causes some confusion against the everyday meaning of the term.) It was intended to accompany an older English dance, of the kind that villagers might have taken up together at a social gathering. Of course some would be on the sidelines as onlookers, but the dance was for the participants themselves (and not specifically for an audience). Several tunes were traditionally used with the particular dance steps that the composer had in his mind, but Vaughan Williams instead chose “new” ones from his research and tabulation of folksongs across the British Isles, adapting each to the required rhythm and jig-step.

It is a lively dance, with a strong pulse “running” throughout the piece. The composer convincingly pieces his different tunes together, and passes the main melodies among the sections of the orchestra (making a good ensemble showpiece). For the record, though few today may know them well, the tunes Vaughan Williams chose include, in order, “Barrack Hill,” “The Blackthorn Stick,” a specific (but generically-named) “Irish Reel,” and “Cock o’ the North.”

—Eric Sellen © 2017

July 22: About the Music

The Cleveland Orchestra

ke Nt/ Blossom chamBe r orchestr a

symphony No. 4 (“Italian”) in A major, Opus 90 composed 1832-32

a t t h E a g E O f t W E N t y - O N E , Felix Mendelssohn toured

by

felix

mENDElssOhN born February 3, 1809 Hamburg died November 4, 1847 Leipzig

Italy in 1830-31. He had come south (from Germany and England) to enjoy the climate and the art, both of which he apparently found to be quite satisfactory. The region’s music, though, was a different story. In letters to friends and relatives, Mendelssohn gave his view of the situation. “I have not heard a single note worth remembering,” he wrote. “In Naples, the music is most inferior.” Later, he described the orchestras in Rome as “unbelievably bad.”

Despite these negative reactions, or perhaps in hopes of erasing them, Mendelssohn began composing his Italian Symphony while still on tour. The piece was completed in the autumn of 1832, on a commission from the London Philharmonic Society, and the composer conducted the premiere in London on May 13, 1833.

The symphony was a tremendous success. One enthusiastic critic lauded it as “a composition that will endure for ages,” and Mendelssohn himself called it “the jolliest piece I have so far written . . . and the most mature thing I have ever done.” It has remained as one of his most endearing and enduring compositions.

The extroverted opening movement seems suffused with radiant conviviality. The reverent second movement almost certainly recalls Rome during Holy Week, for Mendelssohn’s letters reveal that he was impressed by the religious processions he witnessed there. The third movement offers a graceful minuet distantly reminiscent of Mozart. With the final movement, Mendelssohn blends two frantic folk dance styles, the saltarello and the tarantella. Different in rhythmic structure, the dances are alike in general character. Both are wild and swirling, abundantly energetic, almost frenetic, and utterly, irrepressibly Italian. In this uninhibited finale, Mendelssohn, so deeply displeased with Italian concert music, showed his lasting delight in the nation’s folk music. He also proved to Italians that their native music could be used to great effect in an orchestral composition (even though it might take a German to prove the point).

—Betsy Schwarm © 2017

Blossom Music Festival

July 22: About the Music

63

the clevelaNd orchestra

Overture to The Barber of Seville

composed circa 1813 for a different opera; re-assigned to The Barber of Seville in 1816

by

gIOachINO

rOssINI

born February 29, 1792 Pesaro, Italy died November 13, 1868 Paris

W h a t W E k N O W a s the Overture to Rossini’s The Barber of Seville was actually written for a different opera. What’s more, the opera we know as Rossini’s The Barber of Seville was premiered with a different title and preceeded by a third, altogether different overture. Apparently, as many of us know in matters of love, it takes some trial and error to find a good long-term pairing.

Although opera itself had been invented in Italy around the year 1600, a renewed flowering of the form blossomed at the start of the 19th century. One of the new stars was Gioachino Rossini, a young man whose gift for melody, theatricality, and musical variety was unsurpassed. He could write an opera on just about any subject, comedic or tragic — and very quickly, too. As he once wrote to a newspaper critic, “All types of music are good. Except that which is boring.” Beautiful singing (bel canto) became one of the major criteria for success. Between them, three composers — Rossini, Donizetti, and Bellini — wrote over a hundred operas between 1805 and 1845.

In 1815, Rossini signed a contract to write a new opera for the Teatro Argentina in Rome. It would be his sixteenth opera.

The contract stipulated that he write to any libertto the theater sent him, shape the work to the star voices currently with the company, and deliver the completed score in five weeks! The opera season in each city was the highlight of the social calendar, and new operas were regularly produced at this speed — though not as capably well-done as Rossini’s in this case.

Working with his assigned librettist (Cesare Sterbini), Rossini began work at once, and finished on time, with the overture (not the one we’re hearing tonight) completed just hours before the curtain went up. Because another composer had already written a popular operatic adaptation of the same play by Beaumarchais, Rossini’s work opened with the title Almaviva, or the Useless Precaution. Even on opening night, however, everyone recognized the storyline and began calling it by its rightful title.

Later the same year, as the popularity of Rossini’s new version increased, the composer switched overtures to one he’d written several years earlier — and the music stuck, with just the right blend of musical whimsy and anticipation for this particular opera. It has been preparing audiences for more ever since.

—Eric Sellen © 2017

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July 22: About the Music

The Cleveland Orchestra

the clevelaNd orchestra

violin concerto No. 1 in D major, Opus 6 composed circa 1811-17

by

Niccolò

PagaNINI born October 27, 1782 Genoa, Italy died May 27, 1840 Nice, France

Blossom Festival 2017

h a D P a g a N I N I s O l D h I s s O u l to the devil? Or was he actually the son of the devil? unbelievable as it may seem in our modern science-based world, these questions were actually being debated in the Viennese press in 1828, when Paganini came to visit the Austrian imperial capital. (Franz Schubert, though never a rich man, bought not one but two expensive seats for the concert, which he attended in the company of his friend Eduard von Bauernfeld.)

Around the event, the rumors about Paganini’s diabolical origins were so persistent that Paganini’s mother had to write an open letter to the Viennese newspapers to deny them. Or rather, her son had to write the letter for her, because she was by all accounts illiterate. The debate continued, even with the letter as evidence.

Why did Paganini have to defend himself against such unlikely charges? Simply because he was an unbelievably-skilled performer and showman. By the late 1820s, his reputation as the world’s greatest violin virtuoso had spread beyond his native Italy.

Audiences watched with utter disbelief as he performed feats on the instrument that no one had previously thought possible.

His facility in performing rapid scale passages in double-stops (two strings at a time in perfectly parallel thirds, sixths, octaves, tenths) and the brilliance of his harmonics (played with fingers barely touching the strings) mystified even the best professional violinists.

Paganini’s technique, however, was not all that was “diabolical” about him. Many scandalous stories circulated — some true, some not — about his charismatic looks and the private life it enabled him to live. His very appearance — a tall, thin man with long hair, curly side-whiskers, a pale countenance and an aquiline nose — struck many contemporaries as rather eerie. yet Paganini’s critics invariably stressed the fact that the artist transcended mere showmanship and created great emotional depth in his playing. The German poet Rellstab, listening to the D-major concerto in Berlin, said of the Adagio movement: “I have never heard anyone weep like that in my life.” Those who knew that Paganini was plagued by serious health problems often felt they could hear the voice of suffering from within his violin.

It is certainly no exaggeration to say that Paganini electri-

July 22: About the Music

65

A print drawing commemorating a performance by Paganini in London in 1831.

Tall and thin, Paganini cast an otherworldly figure when he performed — leading some to believe he’d traded his soul to the devil for his unworldly virtuousity.

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fied the musical life of Europe. Schumann, Chopin, Berlioz, and Liszt all received vital inspiration from him. There had been virtuosos before him, but, as an artistic phenomenon, Paganini was absolutely unique.

As a composer, he endeavored to write works that could serve as vehicles for his phenomenal abilities — as though other people’s concertos couldn’t possibly satisfy his fingers (or soul). His Twenty-Four Caprices and his fantasy on the famous prayer aria from Rossini’s Moses in Egypt show a rare combination of dazzling virtuosity and true art.

The connection with Rossini was an important one. In addition to the Moses fantasy, Paganini wrote several other works based on Rossini’s melodies — and the two composers were friends. On one occasion, Paganini saved the premiere of one of Rossini’s operas by stepping in on the day of the dress rehearsal (the regular conductor was ill) to read the score for the first time and lead the rehearsal (and three performances) with enormous success. Afterward, in the midst of carnival season, the two composers hit the streets of Rome, dressed up as blind beggars. They made the rounds of some of the city’s most elegant residences strumming their guitars, with two singers in tow who were warbling a little song Rossini had written.

Paganini’s melodic writing in his First Violin Concerto is in many ways reminiscent of Rossini’s. (Perhaps, because the violinist was ten years older than the opera composer, it is really the other way around.) The minute the solo violin enters, however, Paganini’s writing is in a class by itself. The first movement is an almost uninterrupted display of fireworks, stopping only occasionally to give the soloist a rest. In contrast, the “weeping” second movement does not have a single showy double-stop or harmonic in it — it is instead a lyrical aria for violin that is supposed to depict a famous actor of the day delivering one of July 22: About the Music

The Cleveland Orchestra

his most heart-rending speeches. The last movement, a rondo with an unforgettable main theme, brings back the fireworks as it visits and revisits and extends variations on this good tune.

—Peter Laki © 2017

Copyright © Musical Arts Association

Eli ramsey matthews

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

Eli Matthews joined The Cleveland Orchestra in 1997 and was promoted to be First Assistant Principal Second Violin in 2008. He was raised in Memphis, Tennessee, where he was enrolled in the local Suzuki violin program. At age twelve, he was accepted into the newly formed Starling Preparatory String Project at the university of Cincinnati by violin professor Kurt Sassmannshaus. He first appeared as soloist at age fourteen, with his youth orchestra, performing the Bruch Violin Concerto — and then playing Paganini’s First Violin Concerto with the same ensemble two years later. As a student, Eli Matthews attended the Sewanee and Aspen summer music festivals and then enrolled in the university of Cincinnati CollegeConservatory of Music, where he studied with Dorothy DeLay. His concerto performances there included those by Berg, Ernst, and Sibelius.

Prior to coming to Cleveland, Mr. Matthews had performed as a member of the orchestras of Cincinnati and St. Louis. He has served as a faculty member and guest soloist at the Sewanee Summer Music Festival and frequently participates in The Cleveland Orchestra’s education and community engagement programs. Recently, he appeared as a featured soloist at the 2017 Mainly Mozart Festival in Miami and locally with the Cleveland Philharmonic in a performance of the Beethoven Triple Concerto. He resides in university Circle with his wife, Renee, also a violinist and active local teacher, and their five sons.

Blossom Festival 2017

July 22: Soloist

67

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s I d e - By- s I d e p e r F o r m a N c e

symphony No. 9: from the New World in E minor, Opus 95 composed 1892-93

B y t h E t I m E he was fifty years old, Antonín Dvořák was al-

by

antonín

DvOŘÁk born September 8, 1841 Nelahozeves, Bohemia died May 1, 1904 Prague

Blossom Festival 2017

ready a very famous composer. With the help of his mentor, Johannes Brahms, his works had been published and widely performed. And his own mastery of composition had evolved to the point where, with the exception of Brahms himself, Dvořák was widely considered the greatest symphonic composer alive.

Beyond his work writing music, Dvořák also had an active career as a teacher, and was making a comfortable living as a professor at the Conservatory in Prague.

Fame has its price, however, and for Dvořák this came in the form of an irresistible offer from an American woman, Jeanette M. Thurber. Mrs. Thurber wanted him to leave his home and come to New york City. The National Conservatory of Music, which she had founded in 1885, needed a new director. And Thurber hoped that Dvořák’s worldwide reputation would help increase the school’s struggling enrollment (and budget).

At first Dvořák was reluctant to go. He was comfortable living in his native land, among friends and many professional acquaintances, and had little interest in undertaking a long ocean voyage for an uncertain future in a strange new country.

Mrs. Thurber’s money, however, eventually won, and in the fall of 1892 Dvořák set sail for New york accompanied by his wife, two of six children, and a musician friend. His new salary would be more than twenty-five times (!) what he had been making in Prague — and he wouldn’t have to teach in the summer, giving him even more time to write music.

Dvořák took his new teaching responsibilities very seriously. Among other things, he was soon advocating Mrs. Thurber’s dream of creating a “new American music,” which would somehow be distinguished from Dvořák’s own European tradition, with its unmistakable traces back to Beethoven and Mozart.

He studied native Indian music (transcribed second-hand into European musical notation) and listened to African-American spirituals.

All of these factors — new surroundings, new acquaintances and colleagues, learning new musical idioms — soon stimulated Dvořák’s own musical creativity, and he began sketching in his notebook. At first he thought he might write an opera about July 22: About the Music

69

an American subject, and thought a long while about Longfellow’s poem Song of Hiawatha. Soon enough, however, he found himself writing a new symphony instead.

Completed within eight months of his arrival in New york, the Ninth Symphony reflects Dvořák’s early impressions of America. As such, he added the subtitle “From the New World” to the score. Dvořák hoped that this nickname would help listeners understand that his new work was something like a postcard — written largely in his own musical language and style, but conveying to the European musical establishment some of the newness (and big-ness) that America had to offer.

Dvořák succeeded so well in capturing the spirit of the New World that many people mistakenly assumed that his “New World” Symphony actually quotes — rather than merely suggests — American melodies. (One of his tunes has, in fact, become an “American” song; see below.) The Ninth Symphony was a popular hit at its first performance in 1893 (at Carnegie Hall in New york) and remains one of Dvořák’s most often played works.

Movement 1. Adagio — Allegro molto After a slow introduction hints at the main theme, the melody itself soon appears softly in the horns. This syncopated fanfare will recur throughout the remainder of the symphony, bringing a sense of unity and grandeur to the work. Later in the movement, another melody (strikingly similar to the song “Swing Low, Sweet Chariot”) is introduced by solo flute.

Movement 2. Largo This famous movement includes the melody that many of us recognize as the spiritual “Goin’ Home.” The song, however, came after the symphony — one of Dvořák’s students set words to the tune several years after the symphony was written.

Movement 3. Scherzo: Molto vivace Dvořák’s image for this movement was the American Indian dance scene in Longfellow’s Song of Hiawatha. The rhythm of the whirling opening section, however, feels clearly Czech in origin. The remaining melodic ideas are waltzes, alternatingly graceful and energetic.

Movement 4. Allegro con fuoco The final movement is set in motion almost as if it were a car engine, catching slowly and then whirring to life. Melodies from the first three movements reappear along with new material, including a tune reminiscent of “Three Blind Mice” (or, more likely, the Czech folksong often translated as “Weeding Flaxfield Blue”). Then, the symphony is brought to a fitting and stirring conclusion.

—Eric Sellen © 2017

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July 22: About the Music

The Cleveland Orchestra

kent/Blossom arts festivals s I N c E t h E O P E N I N g of Blossom Music Center as the summer home of The Cleveland Orchestra in 1968, Kent State university has participated in helping to develop Blossom’s role as a center for professional training in the visual and performing arts. Each summer, the Kent/ Blossom arts festivals bring together some 300 young professionals in art, music, and theater, and a resident faculty of 80 (including Kent State faculty, members of The Cleveland Orchestra, and major international artists). Through the production of more than 100 concerts, performances, exhibitions, and lectures, their creative experiences are shared with an audience of nearly 30,000 each year.

Over the past four decades, Kent/Blossom has involved over 10,000 students from throughout the united States and abroad.

An evolving faculty roster of 700 visiting artists has joined with 60 members of The Cleveland Orchestra and 120 members of the Kent State university faculty.

More than 875,000 people have attended over 4,000 public events in the disciplines of music, visual arts, and theater.

Kent/Blossom alumni are now associated with some 400 professional arts organizations worldwide. These include the orchestras of Berlin, Boston, Cleveland, New york, and Vienna; the Metropolitan, Houston, and La Scala opera companies; art museums in New york, San Francisco, Mexico City, and Paris; and dozens of major theaters and touring dramatic companies.

Blossom Festival 2017

music festival

June 26 to July 29, 2017 INCLUDING: satUrDay July 22 at 7:00 p.m.

Side-by-Side Kent/Blossom Chamber Orchestra Charles Latshaw, conductor alongside The Cleveland Orchestra conducted by Jahja Ling

theatre season 2O17

Porthouse theatre at Blossom Music Center

9 tO 5 thE musIcal June 15 to July 1

aIN’t mIsBEhavIN’ July 6 to 22

NEWsIEs

July 27 to august 13

For Tickets . . .

Kent State University Box Office Monday thru Friday 11 a.m. to 5 p.m.

Porthouse Theatre Box Office open 1½ hours prior to showtime

art exhibitions 2O17

kent/Blossom Music Festival

Eells art gallery at Blossom Music Center

Open two hours before the start of each Blossom Music Festival concert through the end of intermission.

JULY 1 to JULY 29 — On Water featuring works by Hilary D. Gent AUgUST 5 to SEpTEMBER 3 — Bubble, Pop, Electric featuring works by Kade Marsili Visit www.kent.edu/galleries for more information.

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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.

Lifetime Giving

Giving Societies

$10 MILLION and more

In celebration of the critical role individuals play in supporting The Cleveland Orchestra each year, donors of $2,500 and more are recognized as members of special Leadership Giving Societies.

These societies are named to honor important and inspirational leaders in the Orchestra’s history.

The Adella Prentiss Hughes Society honors the Orchestra’s founder and first manager, who from 1918 envisioned an ensemble dedicated to community service, music education, and performing excellence.

The George Szell Society is named after the Orchestra’s fourth music director, who served for twenty-four seasons (1946-70) while refining the ensemble’s international reputation for clarity of sound and unsurpassed musical excellence.

The Elisabeth DeWitt Severance Society honors not only the woman in whose memory Severance Hall was built, but her selfless sharing, including her insistence on nurturing an orchestra not just for the wealthy but for everyone.

The Dudley S. Blossom Society honors one of the Orchestra’s early and most generous benefactors, whose dedication and charm rallied thousands to support and nurture a hometown orchestra toward greatness.

The Frank H. Ginn Society honors the man whose judicious management of Severance Hall’s finances and construction created a beautiful and welcoming home for Cleveland’s Orchestra.

The 1929 Society honors the vibrant community spirit that propelled 3,000 volunteers and donors to raise over $2 million in a nine-day campaign in April 1929 to meet and match John and Elisabeth Severance’s challenge gift toward the building of the Orchestra’s new concert hall.

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

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

Irma and Norman Braman (Miami) Mr. Francis J. Callahan* Mrs. M. Roger Clapp* Mr. George Gund III * Francie and David Horvitz (Miami) Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III * The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Sue Miller (Miami) 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.

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

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 Women’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

The Cleveland Orchestra Blossom Festival 2017

Individual Annual Support

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THE

CLEVELAND ORCHESTRA

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

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. O’Neill Mr. and Mrs. James A. Ratner Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Anonymous (3)

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

LEADERSHIP COMMITTEE Barbara Robinson, chair Robert N. Gudbranson, vice chair 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 Orchestra’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

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Individual Annual Support

The Cleveland 2017 BlossomOrchestra Festival

2017-2018 DANCECLEVELAND PRESENTS CHAMPIONS OF CHANGE IN GREATER AKRON

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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!

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

Blossom Festival 2017

Chamber Music Society of Lincoln Center

tuesdaymusical.org 330-761-3460

Pianist Andreas Haefliger Saturday, March 17

Chicago Jazz Orchestra’s Tribute to Sarah Vaughn

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

Brentano String Quartet

with flutist Marina Piccinini

7:30 p.m.

Akron’s EJ Thomas Hall

75

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)

88 76

Individual Annual Support

listings continue

The Cleveland 2017 BlossomOrchestra 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 O’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-Viñas and Joaquin Viñas (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

The 90 Cleveland Orchestra

Individual Support Individual AnnualAnnual Support

listings continue

The Cleveland Orchestra 77

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

92 78

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 O’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 Orchestra’s Annual Report, which can be viewed online at clevelandorchestra .com

The Cleveland Blossom MusicOrchestra Festival

THE AUDIENCE IS WAITING — 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

Corporate Support

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

Cumulative Giving

JOHN L. SEVERANCE SOCIETY $5 MILLION and more

KeyBank PNC Bank $1 MILLION to $5 MILLION

BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City 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.

Annual Support

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

The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to musical excellence at the highest level.

PARTNERS IN EXCELLENCE $300,000 and more

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

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

American Greetings Corporation Forest City 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.

The 80 Cleveland Orchestra

Corporate AnnualAnnual Support Corporate 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 81

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

JOHN L. SEVERANCE SOCIETY $10 MILLION and more

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

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.

The Cleveland Orchestra Blossom Festival 2017

Annual Support

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

$1 MILLION and more

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture $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

$20,000 to $49,999 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

$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 government Annual Support

83 81

expres ion.

the the arts are the the highest highest form of of expression. expression.

The Thearts artsserve serveasasa asource source ofof That’s That’s why why inspiration inspirationfor forus usall. all.

PNC PNCisisproud proudtotosponsor sponsor The The Cleveland Cleveland Orchestra.

Orchestra.

©2017 ©2017 The The PNC PNCFinancial FinancialServices ServicesGroup, Group, Inc. Inc. All All rights reserved. reserved.PNC PNCBank, Bank,National NationalAssociation.

Association.

Member Member FDIC FDIC

2O17

BLOSSOM MUSIC FESTIVAL

Sunday evening, July 23, 2017, at 7:00 p.m.

T H E CL E V E L A ND ORC H EST R A

g o

Fire andRain FOLK ANTHEMS OF THE 1970S featuring

SWEARINGEN & KELLI

AJ Swearingen, guitar and vocals Jayne Kelli, guitar and vocals

with

THE CLEVELAND ORCHESTRA conducted by ROB FISHER

Selections to be announced from the stage.

The concert will run approximately one hour and forty-five minutes, with one intermission.

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

This concert is dedicated to The Ralph and Luci Schey Foundation in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

With this concert, The Cleveland Orchestra gratefully honors The Mary S. and David C. Corbin Foundation for its generous support.

Th e 2O17 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 23

83

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INTRODUCING THE CONCERT

Coming of Age In Song

E V E R Y D E C A D E is unique. Presidents and politics, colors and cars, new inventions and new causes, hairstyles and clothing trends, food discoveries and memorable sayings, movie stars and sports sensations, TV shows and crazy new ideas. Things to remember — and things worth forgetting.

The 1970s are no different . . . except in the particulars.

And, of course, perhaps most poignant for memories, there’s the music.

The hits, the tunes, the words. Radio countdowns, new LPs, and 8-track tapes.

After the turbulent years of the Sixties across America — assassinations, anti-war rallies, civil rights marches, and changing of generations, letting our hair down and letting our hair grow out — those coming of age in the 1970s turned to making the everyday into a reality worth living. We looked for what mattered: honesty and integrity, sex and/or love, family and goodness, saving the environment, celebrating the Bicentennial, believing in equality for all. Finding our groove, we tried to find the purpose of life, and strived to care about one another.

And the musical hits were there every step, every day, every hour, on radio and LP. As men’s ties grew wider and women’s hemlines shimmied up and down — and gas lines lengthened, and the Cold War continued.

Tonight we remember the good and celebrate the memories through the power of music — and association with a different time in our lives when these songs resonated so powerfully. New voices and ongoing favorites surging onward in new ways. Including Fleetwood Mac, Cat Stevens, Gordon Lightfoot, The Eagles, Simon & Garfunkel. Neil Young, Joni Mitchell, James Taylor, John Denver, Jim Croce, Carole King.

With guest artists Swearingen & Kelli as our guides, tonight is a celebration of love and caring, of learning to face life squarely head on, ready for tomorrow.

They will be a tear or two, and a heartache filled with nostalgia. And so . . . many . . . good memories. Hear the hits again . . . for the first time! Revel and remember. And sing along.

—Eric Sellen

Blossom Festival 2017

July 23: Introducing the Concert

85

rob fisher Rob Fisher is an internationally recognized music director, conductor, and pianist, and a leading figure in American music and musical theater. He has been a guest of virtually every major orchestra in the country as conductor or pianist.

Mr. Fisher’s current and recent Broadway credits include as the score supervisor and arranger for An American in Paris and as the music supervisor and arranger for Chicago: The Musical, which recently celebrated twenty years on Broadway.

He was founding music director and conductor of Encores! at New york City Center until 2005. Mr. Fisher was awarded the Lucille Lortel Award for Outstanding Special Achievement in 1997 for his work on Encores!; he conducted the series’ Grammy Award-winning Chicago cast album.

Mr. Fisher has been producer/music director of Lincoln Center’s American Songbook Series tributes to Gershwin, Porter, and Bernstein. Recent collaborations have included performances with artists including Kristin Chenoweth, Kelli O’Hara, Idina Menzel, and David Hyde Pierce. He was music director and conductor for Ira at 100, a gala concert at Carnegie Hall broadcast on PBS’s Great Performances. For four seasons, Mr. Fisher was music director for Garrison Keillor’s American Radio Company.

swearingen & kelli aj swearingen, guitar and vocals jayne kelli, guitar and vocals

This Florida-based, husband-and-wife singer-songwriter duo is steeped in the sounds of Americana and country-folk, with rich harmonies and character voices heard as a modern echo of the great songwriters and singers of the 1960s and ’70s.

Their self-titled debut album, released in 2013, features a track recorded by folk icon Tom Rush on his studio album What I Know. unafraid of being fully vulnerable and open in their music, the twosome is releasing a twelve-song, not your run-ofthe-mill set of love songs as their “sophomore” album, to be titled The Marrying Kind, this summer.

AJ Swearingen, born in Bethlehem, Pennsylvania, grew up in a house where the classic country records of Kris Kristofferson, Merle Haggard, Johnny Cash, and Willie Nelson were always spinning. “I love that music, but the folk records of the early ’70s — like Gordon Lightfoot and Simon & Garfunkel — are what really fueled my desire to pursue a life in music.” He began playing at 13 and started performing professionally in his late teens. His acoustic guitar finger style echoes his influences — James Taylor, Paul Simon, and Lindsey Buckingham — while his silky, soulful baritone voice is clearly his own. He is currently also performing in the highly successful Pops Symphony show The Sounds of Simon and Garfunkel.

Jayne Kelli’s voice is a mix of husky with sweet, tender, and bluesy. Onstage, she wants to be more down-home than diva. She was born in the small country town of Lapeer, Michigan, and grew up listening to her parents perform songs by Blossom Festival 2017

John Denver, Jim Croce, and Glen Campbell around the campfire. She began writing and recording her own songs at the age of 15. Her first release garnered praise from critics, calling her “a formidable talent with elegantly poetic and emotionally charged songs.” In 2015, her song “Sweetness” was chosen as an anthem song for domestic violence foundations Victim Services International and Angel Wings International.

Heavily influenced by the iconic songwriters of the 1970s, Swearingen & Kelli have developed an emotive and nostalgic symphonic pops show of essential songs from the era — a time period of creative songbird-songwriters that Swearingen believes “has never been duplicated.”

Together and separately, these two have shared the stage supporting such artists as Kenny Rogers, Crystal Gayle, Livingston Taylor, John McCutcheon, and Dave Mason. A heavy touring schedule is on the horizon to share their new album, with hope that the music can help other people cope with their own tough situations. “I think the best way to sum up The Marrying Kind is to say that finding your soulmate isn’t always easy or pretty,” says Swearingen. “In all the dark places life can take you, fighting for love is worth it,” agrees Kelli. And, yes, for the record, these two partners in life and in music believe they are soulmates.

July 23: guest Artists

87

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 . . .

Intro copy on this inside pane mentioning the musician and d

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

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

Blossom Music Festival

2017 gourmet Matinee Luncheons

89

vasily Petrenko

David fray

Russian conductor Vasily Petrenko is chief conductor of the Royal Liverpool Philharmonic Orchestra, Oslo Philharmonic Orchestra, and the European union youth Orchestra. He is making his Cleveland Orchestra debut with this evening’s concert.

Vasily Petrenko began his education at the St. Petersburg Capella Boys Music School. He subsequently studied at the St. Petersburg Conservatory and participated in masterclasses with Mariss Jansons, Ilya Musin, and yuri Temirkanov. As a guest conductor, he has appeared with a variety of orchestras across Europe and North America, and been featured in engagements with the Aspen, BBC Proms, Edinburgh, Grafenegg, and Ravinia festivals. He has led performances with many well-known European opera companies, including the Bavarian State Opera, Glyndebourne Festival Opera, Hamburg State Opera, Mikhailovsky Theatre, Opéra de Paris, and Zurich Opera. Mr. Petrenko’s discography is available through the Lawo, Naxos, Ondine, Onyx, and Orfeo labels. In 2007 Mr. Petrenko was named young Artist of the year at the annual Gramophone Awards, and in 2010, he won the Male Artist of the year at the Classical Brit Awards.

French pianist David Fray regularly performs with orchestras and in chamber music presentations across North America and Europe. He made his united States debut with The Cleveland Orchestra in August 2009 and most recently appeared here in November 2013. Born in 1981 in Tarbes, France, David Fray began piano lessons at age four. He later studied with Jacques Rouvier at the National Superior Conservatory of Paris for Music and Dance, from which he graduated with highest honors. His mentors include Paul Badura-Skoda, Dimitri Bashkirov, Pierre Boulez, Christoph Eschenbach, and Menahem Pressler. Mr. Fray’s festival appearances have included engagements with New york’s Mostly Mozart Festival, Roque d’Antheron Piano Festival, Toulouse’s Piano aux Jacobins, and Warsaw’s Beethoven Easter Festival. His prizes and awards include the Banque Populaire, Diploma for Outstanding Merit at Japan’s Fifth International Hamamatsu Competition, Feydeau de Brou Saint Paul grant, and Germany’s Echo Klassik Prize. David Fray records exclusively for Erato/Warner Classics. His discography includes works by Chopin, Bach, Boulez, Mozart, and Schubert. For more information, visit www.davidfraymusic.com.

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July 29: guest Artists

The Cleveland Orchestra

2O17

BLOSSOM MUSIC FESTIVAL

Saturday evening, July 29, 2017, at 8:00 p.m.

T H E CL E V E L A ND ORC H EST R A Va s i ly P et r en ko , conductor

wolfgang amadè mozart

(1756-1791)

Piano Concerto no. 24 in C minor, K491 1. Allegro 2. Larghetto 3. Allegretto DaViD Fray, piano

inter mission sergei rachmaninoff (1873-1943)

symphony no. 2 in E minor, Opus 27 1.

2.

3.

4.

Largo —Allegro moderato Allegro molto Adagio Allegro vivace

David Fray’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from The Hershey Foundation.

This concert is dedicated to Mrs. Rebecca F. Dunn 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 29

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Tonight’s concert brings together two works written a century (and a little more) apart, created in the two biggest styles of concert hall music: concerto and symphony. One showcases a soloist alongside the orchestra ensemble, WalnutStreetAntiques@gmail.com the other showcases the symphony orchestra itself as a dynamic medium li amg@ seuWalnutStreetAntiques@gmail.com qitnAt eert Stuwhile nl aW for musical expression. Our two works are from different eras — Classical and Romantic — by two of the great practitioners from each period. Together they show extraordinary contrast and range, speaking to us through music’s great power to inspire, relax, energize, and amplify. rth Walnut Street teertS tunlaW htroN 231 Walnut Street The evening begins with a Piano Concerto by Mozart, er2 North OH 44691 19644 HO retsooW ooster OH 44691 www.Walnutstreetantiques.com 64-3030 tstunlaW.www 0303-462-033 from late in the twenty-some that he created during his www.Walnutstreetantiques.com 30-264-3030 short lifespan. (Don’t let the numbering fool you, several of l i amg@ seuqitnAt eert Stunl aW WalnutStreetAntiques@gmail.com his early ones, Nos. 1, 2, etc. are really just arrangement of WalnutStreetAntiques@gmail.com earlier works by other composers — training exercises, as it were.) Mozart, as a great pianist and supreme improviser, took the concerto form and made it his own, setting standards of elegance and eloquence that has long stood the test t e e r t S t u n l a W h t r o N 2 3 1 rth Walnut Street 19644 HO retsooW of time. His set of piano concertos is among the great artistic outWalnut Street er2 North OH 44691 tstunlaW.www 0303-462-033 ooster OH 44691 www.Walnutstreetantiques.com 64-3030 puts of any composer, filled with variety and consistency, www.Walnutstreetantiques.com 30-264-3030 humor and emotion. Our soloist tonight is the French piali amg@ seuqitnAt eert Stunl aW WalnutStreetAntiques@gmail.com nist David Fray, playing Concerto No. 24 from 1786 — writWalnutStreetAntiques@gmail.com ten when Mozart was just 30 years old, five years before his early death.

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July 29: Introducing the Music

93

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2017 Blossom Festival

Piano concerto No. 24 in C minor, K491 composed in 1786

m O z a r t W r O t E two piano concertos in early 1786, at around

by

Wolfgang amadè

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

Blossom Festival 2017

the same time he was completing the opera The Marriage of Figaro.

The two concertos couldn’t be more different from one another.

The A-major work is warm, tender, and cheerful, while its companion in C minor is darker and feels tragically impassioned.

The two keys in themselves tell the difference. A major, with three sharps (raised notes), is a bright, sunny, and “up” key.

C minor, on the other hand, with three flats (lowered notes), is associated with turbulent, dramatic feelings.

The original manuscript for Mozart’s Piano Concerto in C minor, which is owned by the Royal College of Music in London, is a highly unusual document. It is usually said that Mozart composed with extreme facility, completing many of his pieces in his head before writing the first note down on paper. But this case is different. The manuscript features many erasures and changes, suggesting that the C-minor concerto gave Mozart some difficulty. Certain measures of music went through as many as four different versions on paper.

Despite these signs of struggle, Mozart must have worked at his usual fast pace, if not faster. The manuscript bears evidence of his being in a hurry, for some of the virtuoso passages are only notated in a kind of shorthand.

If the concerto’s genesis was stormy, the work itself is one of the most dramatic in Mozart’s entire output. It is filled with a number of what would have been considered “harsh” sounds, including chromaticism, unison, and diminished seventh chords.

Each of these undermines the harmonic stability of the music in its own way. Chromaticism, or motion in half-steps, introduces notes foreign to the principal tonality. unison dispenses with harmony altogether, and creates a texture reduced to unknowing and fraught with special tension. And a diminished seventh chord, with its characteristic “bite,” is the most dramatic melodic and harmonic interval in the classical idiom (at least up to that time).

All three devices are present right at the beginning of the concerto’s first movement. yet the continuation is no less exciting. As in several other of his mature piano concertos, Mozart includes many lyrical solos for the woodwind instruments.

Interestingly, this C-minor work is the only one of his concertos July 29: About the Music

95

at a Glance Mozart entered his C-minor Piano Concerto (today known as No. 24 or by its Köchel number as K491) into the catalog he kept of his own works on March 24, 1786. The work’s premiere most likely took place on April 7 of the same year at the Burgtheater in Vienna, with Mozart playing the solo part.

K491 runs about 30 minutes in performance. Mozart scored it for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings, and solo piano.

The Cleveland Orchestra first performed Mozart’s Piano Concerto No. 24 in November 1931, under music director Nikolai Sokoloff, with Severin Eisenberger as the soloist. Mitsuko Uchida played the solo part and conducted during the most recent performances, in November 2008 and 2010.

to use both oboes and clarinets. The orchestral introduction is rounded out with a return to the dramatic mood of the opening. As in many Mozart concertos, the solo piano enters with a new lyrical idea, and it is only later that the soloist takes up the principal theme. From this point on, the movement is a scene of constant alternation, with high-tension moments followed by passages bringing lyrical relief.

One of the most unusual aspects about this opening movement is the way that it ends. Over a long-held pedal note in the cellos and double basses, the remainder of the orchestra quietly plays music reminiscenct of the first theme, while the piano adds mysterious-sounding arpeggios. (Customarily in the Classical era, a concerto’s first movement would be expected to end in a loud orchestral flourish, often without the soloist.)

In the slow second movement, the utmost simplicity of the music is combined with an unmatched depth of feeling. Formally, this is structured as a Rondo with a main musical theme followed by two varied episodes. The two episodes are dialogs between the solo piano and the woodwind section, whose members emerge as co-soloists, with parts every bit as attractive and as virtuosic as the piano part itself. For the movement’s ending, two horns also join in for a passage that is one of Mozart’s most magical and inspiring sound worlds.

The third-movement finale, in the form of theme and variations, returns to the tragic C minor of the opening movement, with more chromaticism and diminished sevenths (today we might think of them as almost “jazzy”). Mozart also introduces another of his favorite “tragic” devices, an especially poignant chord known as the “Neapolitan” second degree of the scale, that is, D-flat in the key of C-minor). Seemingly in contrast, these tragic touches are superimposed on a spirited rhythm of an almost dance-like quality. The prominence of the woodwinds continues in the concerto’s finale, where playfulness and tragedy exist side by side. Some of the variations incline more towards one or the other, but most of the time, the music mixes both characters equally.

Mozart often concluded such minor-key works in the major mode, as he did in his only other “minor” concerto (No. 20 in D minor). This time, however, there is no escape from the tragic mood. The chromaticism intensifies and the music ends with what almost sounds like a cry of despair.

—Peter Laki © 2017 Copyright © Musical Arts Association

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July 29: About the Music

The Cleveland Orchestra

T HE

CLEVELAND ORCHE STRA

2O1 7-2O18

CENTENNIAL SEASON

Music Study Groups Welcome and special thanks to our community partners who have graciously agreed to host a Cleveland Orchestra Music Study Group during the upcoming 2017-2018 Centennial Season at Severance Hall: Cleveland Heights-University Heights Public Library Cuyahoga County Public Library Beachwood Branch Fairview Park Branch Orange Branch Welcome also and many thanks to The Robert Cull Family who have endowed the Alice H. Cull Memorial Fund of The Cleveland Orchestra, which supports concert attendance for persons with vision loss in Cleveland Orchestra Music Study Groups.

Music Study Groups are led by Dr. Rose Breckenridge and explore current concert music performed by The Cleveland Orchestra at Severance Hall through informal lectures and guided listening. Series options include location and length — autumn, winter, and/or spring at four public libraries.

Music Study Groups are presented in partnership with community organizations, with support from the Friends of The Cleveland Orchestra (formerly known as the Women’s Committee of The Cleveland Orchestra) and other generous donors to the education programs of The Cleveland Orchestra.

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

Music is enough for a lifetime, but a lifetime is not enough for music. —Sergei Rachmaninoff

98

The Cleveland Orchestra

symphony No. 2 in E minor, Opus 27 composed in 1906-07

by

sergei

rachmaNINOff born April 1, 1873 Semyonovo, Russia died March 28, 1943 Beverly Hills, California

Blossom Festival 2017

l I k E a N u m B E r O f O t h E r composers blessed with a range of musical gifts, Sergei Rachmaninoff spent his life switching focus from one talent to another. years of compositional output often alternated with years of silence, during which he devoted himself almost entirely to playing the piano and conducting.

He was equally successful in all three activities and, as a result, was often hesitant as to which of the three he should put first.

Rachmaninoff’s younger contemporaries (and fellow composers) Béla Bartók and Sergei Prokofiev, both of whom were also great pianists, always saw themselves first and foremost as composers. Not so for Rachmaninoff, who would concentrate on composition for a while, only to give it up temporarily for the sake of performing (and earning ready money). Even during his most active years of composition, he often wondered whether he “should, after a while, make up my mind to abandon composition altogether and become, instead, a professional pianist, or a conductor.” Famously on another occasion, he described himself as a man chasing three rabbits and not sure of having captured even one of them.

When Rachmaninoff wrote his Symphony No. 1 in D minor at the age of 22, he had already established himself in Russia as one of the most talented musicians of his generation. He graduated from the Moscow Conservatory with the rarely-awarded Gold Medal, and was widely known as a gifted pianist. He was also considered a promising composer because his examination piece, the one-act opera Aleko, had been performed at the Bolshoi Theater and he had found supporters in composers Sergei Taneyev (Rachmaninoff’s composition teacher) and Piotr Ilyich Tchaikovsky (who was also one of his teachers). yet the premiere of Rachmaninoff’s First Symphony, given in St. Petersburg on March 15, 1897, turned out to be an unexpected disaster. The conductor, Alexander Glazunov, a famous composer and professor at the St. Petersburg Conservatory, was apparently unsympathetic to the music of a Muscovite (there was an open rivalry between the music schools of the two Russian capital cities) and led a lackluster performance. Another composer, César Cui, found the symphony seriously flawed, and wrote a scathing newspaper review. The resulting fiasco thrust the young composer into such a state of depression that for three

July 29: About the Music

99

The premiere of Rachmaninoff’s First Symphony in 1897, turned out to be an unexpected disaster. The ensuing fiasco thrust young Rachmaninoff into such a state of depression that for three years he was largely unable to write any music whatsoever. And it would be ten years before he attempted — and succeeded — with his next symphony.

100

years he was unable to write any additional music. Rachmaninoff only recovered his desire to attempt composing again through the intervention of a psychiatrist who used the relatively new method of hypnosis to restore his self-confidence.

Evenso, and despite the resounding success of his Second Piano Concerto in 1901, it took six more years before Rachmaninoff attempted another symphony. In the meantime, he was busy as an opera conductor at the Imperial Theater and as a concert pianist. thE sEcOND symPhONy

Finally, Rachmaninoff made a radical decision, cancelled all his performing engagements, and left Russia in order to be able to work on his composition projects undisturbed. Some part of him very much wanted to write music.

In October 1906, the composer, together with his young wife and baby daughter, took up residence in the German town of Dresden. There — and during the warmer months, while residing at his summer estate near Moscow — he spent the better part of 1907 working on his Second Symphony (a second daughter was born at just about the time he finished the new work). The new symphony, premiered in St. Petersburg on February 8, 1908, under the composer’s baton, was well received, and reconfirmed Rachmaninoff’s position in the Russian musical scene.

The triumph had not come easily, however, and Rachmaninoff’s continuing insecurity about his composing throughout the rest of his life was probably greatly influenced by his feelings of being out of touch with many contemporary trends in music. Rather than deliberately seeking to write new things, he was committed to the Romantic traditions of tonality, melody, and the formal structures that had preceded him. He also felt that music should reflect a composer’s personality and experiences — and, despite a childhood marked by family tragedies and financial hardships, as an adult he lived in relative comfort and prosperity as a member of Russia’s landed gentry (until he left Russia on the heels of the competing Revolutions of 1917).

Thus, the Second Symphony is built on a traditional symphony outline of four contrasting movements. It begins with the expected sonata-form opening movement (featuring a stately introduction, which ends very quietly, followed by a more animated and extensive main section). The composer followed this, in the Russian tradition, with a playful second movement July 29: About the Music

The Cleveland Orchestra

and a slow third movement (reversing the more Germanic tendency to put the slow movement second followed by a dance-like third movement). The expansive and triumphant finale brings the symphony to a pleasantly rousing end.

Rachmaninoff’s gift for melody is revealed throughout the piece — with exceedingly pleasing tunes and in the way he varies and transforms a melody to fulfill expected symphonic structures; the third movement’s grand melody is especially memorable — and hummable. In addition, he masterfully manipulates and mixes the various instruments of the symphony orchestra, creating lushly thick forests of sounds and more austere, quieter landscapes.

Rachmaninoff’s Second Symphony is long by many standards, running as much as an hour in performance. The composer authorized shortening it in 1928, when The Cleveland Orchestra was preparing to make the work’s first recording. He and Cleveland music director Nikolai Sokoloff worked together to mark a significant number of internal cuts, reducing the total length by about a third. At the time, of course, recording technology — and the necessity of dividing a work in “sides” of many discs, almost demanded shortening of many longer pieces. In recent decades, most works, including this symphony, have been restored to their intended architectural length and form, allowing us to fully engage with composers’ musical vision and ideas.

—Peter Laki © 2017 Copyright © Musical Arts Association

Peter Laki is a musicologist and frequent lecturer on classical music.

He is a visiting associate professor at Bard College.

at a Glance Rachmaninoff composed his Second Symphony in 1906-07.

The first performance took place on February 8, 1908, in St. Petersburg, with the composer conducting. The United States premiere was given by Modeste Altschuler and the Russian Musical Society in New York on January 14, 1909.

This symphony runs about an hour in performance.

Rachmaninoff scored it for 3 flutes (third doubling piccolo),

Blossom Festival 2017

3 oboes (third doubling english horn), 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (side drum, bass drum, cymbals, glockenspiel), and strings.

Rachmaninoff’s Second Symphony was introduced to Cleveland by the visiting Boston Symphony Orchestra, which played it at Grays Armory in January 1911, under Max Fiedler.

The Cleveland Orchestra first

July 29: About the Music

performed it in March 1920, conducted by Nikolai Sokoloff.

The Cleveland Orchestra and Nikolai Sokoloff recorded Rachmaninoff’s Second Symphony in May 1928, using a score especially prepared and shortened by the composer; this “complete” recording was released as a set of twelve 78 rpm discs.

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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 system 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

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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

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orchestra news Read about the music on your cellphone before coming to the concert by visiting ExpressProgramBook.com

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

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

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104

Cleveland Orchestra News

The Cleveland Orchestra

BLOSSOM MUSIC FESTIVAL

Welcome . . .

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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Patron Information

continued

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

106

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

Concessions Family Restroom

ATM

Picnic Tables Hood Meyerson Suite

Concessions Family Restroom

Backstage Lot

awn ating

Pavilion

Hood Meyerson Suite Backstage Lot

ATM

Kulas Plaza Blossom Grille

Concessions

Lawn Seating

Lawn Terrace

Pavilion Kulas Plaza

Concessions

ATM

Herbert E. Strawbridge Garden

ATM

Wine Store Information Center* Frank E. Joseph Garden ATM

Emily’s Garden Smith Plaza

Herbert E. Strawbridge Garden

Special Events Eells Art Gallery Center Bandwagon Shop Main Gift Gate

Box Office

ods Picnic Area

ber

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

ATM

Emily’s Garden Smith Plaza

Lot A Gate

Main Gate

Pedestrian Bridge Lawn Ticket Booth

Lot

Woods Picnic Area Subscriber

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

Special Events Center

Box Office

Information Center*

Lot

Information Center*

Lot

Lot

Lot

Lot

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

Patron Information

continued

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.

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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

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Expression Expression is is an an essential essential need. need.

By By better better illustrating illustrating our our story, story, we we can can better better help help you you express express yours. yours.

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

RESERVED SEATING AREAS

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

Area 2

Area 3

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

Free Lawn Tickets are available for young people ages 17 and younger. Two under 18s Free Lawn Passes can be requested with each paid admission. under 18s must have a pass for entry and must be accompanied by an adult. Passes can be requested through the Ticket Office or online.

The under 18s Free Lawn Pass also permits FOR FAMILIES seating in the General Admission sections of the Pavilion. Seating in the General Admission sections of the Pavilion is available on a first-come, first-served basis. Pavilion seating may not be appropriate for very young children if they are unable to sit quietly and enjoy the concert without disturbing those around them.

Under 18s Free is a program for families, supported by The Cleveland Orchestra’s Center for Future Audiences.

The Center, created with a lead endowment gift from the Maltz Family Foundation, was established to fund programs to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.

PavIlION gENEral aDmIssION arEas 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. 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

m musIc

fEst

This Pavilio Ival Parking Passn Ticket Buyer’ is good only s on

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

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4

Face this

Buying Tickets

side out

2017 Blossom Festival

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