2017 Blossom Music Festival August 5, 6, 12, 13 Concerts by Live Publishing

2O17 BLOSSOM MUSIC FESTIVAL

summer home of

THE CLEVELAND ORCHESTRA

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2o17 BLOSSOM book no. 3 INsIde . . .

August 5 — Tchaikovsky Favorites . . . . . . . . . . . . . . . . page 29 August 6 — Romantic Vienna . . . . . . . . . . . . . . . . . . . . . page 43 August 12 — Stravinsky’s Firebird . . . . . . . . . . . . . . . page 61 August 13 — Hollywood Heroes . . . . . . . . . . . . . . . . . page 85 See complete Table of Contents on page 4

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Rodin —100 Years Opens September 1, 2017

ClevelandArt.org The Thinker, 1880–81. Auguste Rodin (French, 1840–1917). Bronze; 182.9 x 98.4 x 142.2 cm. The Cleveland Museum of Art, Gift of Ralph King, 1917.42.

What great music does for our world. Drive

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2O17 BLOSSOM

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2017 BLOSSOM music festival book no. 3 share your memories of tonight and join in the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra

29.

concert — August 5 Tchaikovsky Favorites Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 30 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31-36 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

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concert — August 6 Romantic Vienna Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 45 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46-54 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

concert — August 12 Stravinsky’s Firebird Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 63 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65-73 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

concert — August 13 Hollywood Heroes Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 87 Guest Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

instagram: @CleveOrch #CleOrchBlossom

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

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

56 91

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

About Blossom Welcome to Our Summer Home . . . . . . . . . . . . . . . . . . 7 2017 Festival Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . 8-9 About Blossom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-17 Blossom by the Numbers . . . . . . . . . . . . . . . . . . . . . . . . 41

About the Orchestra Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 26-27

Supporting the Orchestra Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . 56-57 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74-83

Learn More Gourmet Matinees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Blossom Information and Policies . . . . . . . . . . . . 91-94 Blossom Grounds Map . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Blossom Festival: Table of Contents

Blossom Music Festival

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

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Welcome to Our Summer Home! Thank you for joining us to celebrate and enjoy The Cleveland Orchestra’s annual Blossom Music Festival, a beloved summer tradition that brings the Northeast Ohio community together to experience great music in the great outdoors. These magical evenings at Blossom Music Center — here in the heart of Summit County — are made possible by your support, enthusiasm, and attendance. Together, our community created and has sustained an extraordinary Orchestra for the past century. Together, we have also built two of the most beautiful and acoustically acclaimed concert halls in the country — Severance Hall in Cleveland and this remarkable summer home here at Blossom. Making music here, for you, is a great honor and extraordinary pleasure. Each summer season is an incredible treasure for all of us. Blossom’s natural outdoor beauty is perfectly paired with the acoustically and aesthetically stunning Pavilion designed by local architect Peter van Dijk. Idyllically situated in the center of Northeast Ohio between two major metropolitan areas and surrounded by Ohio’s own Cuyahoga Valley National Park, Blossom offers the best of all worlds, proximity and escape, familiarity and adventure, ideal acoustics and natural splendor — with superb symphonic performances in a family-friendly setting. Having Cuyahoga Valley National Park as our next-door neighbor has also created a special opportunity and lasting relationship, helping us to safeguard the unique qualities of the Orchestra’s summer home for future generations. Between our own Festival concerts and those touring acts presented by Live Nation, half a million people attend musical performances at Blossom each summer. Over 20 million have enjoyed musical performances here since Blossom opened in 1968. These numbers underline just how meaningful music is to our community — and also highlight our good fortune of being able to enjoy summertime to the fullest, from hiking and birdwatching to evenings filled with great musical experiences. As we approach the 50th anniversary of Blossom Music Center in 2018, it is remarkable to reflect on how Blossom has become an essential part of what the Orchestra does in and for Northeast Ohio. Six years ago, our vision for having the youngest audience of any orchestra started at Blossom when we launched the “Under 18s Free” program on the Lawn. Today, over 40,000 young people each year have the chance to fall in love with The Cleveland Orchestra year-round through this program, which subsidizes the cost of tickets through the vision and generosity of the Maltz Family Foundation and other donors. Whether this is your first Blossom season or your fortieth, I am looking forward to experiencing with you this summer’s unique offerings — of symphonic masterpieces and popular musical hits, of Broadway and movie classics — of magical summer twilights teaming with fireworks or fireflies, filled with the stars above and the stars onstage. With special thanks to the Festival’s presenting sponsor, The J.M. Smucker Company. Welcome and enjoy!

André Gremillet Blossom Festival 2017

Welcome: From the Executive Director

MUSIC FESTIVAL

SUMMER HOME OF

THE CLEVELAND ORCHESTRA

JUL

GERSHWIN & TCHAIKOVSKY

DIEHL

S AT U R D AY

The Cleveland Orchestra Jahja Ling, conductor Aaron Diehl, piano

M O N D AY

JUL

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

SCHISSEL

2O17 BLOSSOM

FOU RTH - OF -J

P R E S E N T E D BY

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

TICKETS:

800-686-1141

S AT U R D AY

JUL

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

JUL

15 8

BEETHOVEN’S SEVENTH SYMPHONY

JUL

227

LING

The Cleveland Orchestra Franz Welser-Möst, conductor

DVOŘÁK’S NEW WORLD

The Cleveland Orchestra Jahja Ling, conductor Eli Matthews, violin

with Kent/Blossom Chamber Orchestra

JUL

29 8

ROMANTIC RACHMANINOFF

PETRENKO

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

The Cleveland Orchestra Vasily Petrenko, conductor David Fray, piano

= features fireworks, weather permitting

AUGUST

SSU UN ND DAY AY

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

PM PM

ROMANTIC VIENNA

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

13 7

PM PM

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

PM PM

BOLÉRO!

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

16 7

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

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

JUL

JACKIW

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

26 8

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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2017 Blossom Festival

Blossom summer home of

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

Blossom Music Festival

About Blossom

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.

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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

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 38-39, or visit www.nps.gov/cuva to learn more .

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

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

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

Live Publishing Company provides compre2O17 BLOSSOM MUSIC hensive communications and marketing serFESTIVAL vices to a who’s who roster of clients, including the world-renowned Cleveland Orchestra. We know how to deliver the most meaningful messages in the most effective media, all in the most cost-effective manner. We’re easy to do business with, and our experienced crew has handled every kind of project – from large to small, print to web. SUMMER HOME OF

THE CLEVELAND ORCHESTRA

P R E S E N T E D BY

2O17 BLOSSOM BOOK NO. 3

INSIDE . . .

August 5 — Tchaikovsky Favorites . . . . . . . . . . . . . . . . page xx August 6 — Romantic Vienna . . . . . . . . . . . . . . . . . . . . . page xx August 12 — Stravinsky’s Firebird . . . . . . . . . . . . . . . page xx August 13 — Hollywood Heroes . . . . . . . . . . . . . . . . . page xx See complete Table of Contents

on page 4

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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

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

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 E xE c u t I v E c O m m I t t E E Richard K. Smucker, President Dennis W. LaBarre, Chairman Richard J. Bogomolny, Chairman Emeritus The Honorable John D. Ong, Vice President Jeanette Grasselli Brown Matthew V. Crawford Alexander M. Cutler David J. Hooker Michael J. Horvitz

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

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

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

r E s I D EN t t r u s t EE s 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 EE s E x- 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 EE s E m Er 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 E s 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 EE s 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

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2O17-18 SEASON

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the

CLEVELAND ORCHESTRA

its Centennial Season in 2017-18, The Cleveland Orchestra is hailed as one of the very best orchestras on the planet, noted for its excellence and for its devotion and service to the community it calls home . The new season will mark the ensemble’s sixteenth year under the direction of Franz Welser-Möst, one of the world’s most renowned musical leaders . Looking toward the future, the Orchestra and its board of trustees, staff, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence and to fully focus on serving its hometown community through outstanding concert experiences, vibrant musical engagement and exploration, and strong music education programs . The institution is also succeeding to developing the youngest audience of any orchestra, building on its tradition of community support and financial strength, and to move forward into the Orchestra’s Second Century with an unshakeable commitment to innovation and a fearless pursuit of success . The Cleveland Orchestra divides its time across concert seasons at home — in Cleveland’s Severance Hall and each summer at Blossom Music Center . Additional portions of the year are devoted to touring and intensive performance residencies . These include a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, in New york, at Indiana university, and in Miami, Florida . Musical Excellence . The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does . The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestraconductor partnerships of today . Performances of standard repertoire and new works are unrivalled 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

none in the world . Serving the Community . Programs for students and engaging musical explorations for the community at large have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities . All are being created to connect people to music in the concert hall, in classrooms, and in everyday lives . Recent seasons have seen the launch of a unique series of neighborhood residencies and visits, Franz Welser-Möst designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways . Active performance ensembles and programs provide proof of the benefits of direct participation in making music for people of all ages . Future Audiences . Standing on the shoulders of more than nine decades of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010 . Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people and to develop the youngest audience of any orchestra . The flagship “under 18s Free” program has seen unparalleled success in increasing attendance and interest — with 20% of attend-

ees now comprised of concertgoers age 25 and under — as the Orchestra now boasts one of the youngest audiences attending regular symphonic concerts anywhere . Innovative Programming . The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities . Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences — including casual Friday night concerts, film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works . Franz Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding . An Enduring Tradition of Community Support . The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere . Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s performances as some of the best such concert experiences available in the world . Hundreds of thousands have learned to love music through its education programs and have celebrated important events with its music . While strong ticket sales cover just under half of each season’s costs, it is the generosity of thousands each year that drives the Orchestra forward and sustains

The Cleveland Orchestra

2017 Blossom Festival

its extraordinary tradition of excellence onstage, in the classroom, and for the community . Evolving Greatness . The Cleveland Orchestra was founded in 1918 . Over the ensuing decades, the ensemble quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world . Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 1933-43; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz WelserMöst, from 2002 forward . The opening in 1931 of Severance Hall as the Orchestra’s permanent home brought a special pride to the ensemble and its hometown . With acoustic refinements under Szell’s guidance and a building-wide restoration and expansion in 1998-2000, Severance Hall continues to provide the Orchestra an enviable and intimate acoustic environment in which to perfect the ensemble’s artistry . Touring performances throughout the united States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras . year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the united States . Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world . Blossom Festival 2017

Caring for our community, one child at a time. We treat every child who comes through our doors. That’s why we’re so grateful for community support. Thanks to our friends, donors and volunteers, we can continue to run the clinical, educational and research programs that help improve our children’s lives. To learn more or to make a donation, visit akronchildrens.org/giving.

The Cleveland Orchestra ach13701-01_NEW_Care4Comm_Blossom_v02AR_20170726.indd 7/26/17 1 23 3:12 PM

T HE

CLEVELAND ORC HE STR A

“We can’t think of a better way to use our resources than to support an organization that brings us such great pleasure.” Tony and Pat Lauria believe in doing their part to cultivate and celebrate the extraordinary things in life — including wine, food, and music . For today and for future generations .

Great music has always been important to Tony and Pat Lauria. They’ve been avid subscribers and donors to The Cleveland Orchestra for many years, and it has become such a major part of their lives that they plan international travel around the Orchestra’s schedule in order to enjoy more concerts at home and on tour. “It gives us great pleasure to be a part of The Cleveland Orchestra,” Pat says. In addition to regularly attending concerts and giving to the annual fund, Tony and Pat have established several Charitable Gift Annuities through the Orchestra, which now pay them a fixed stream of income in return for their gifts. To anyone who is considering establishing a Charitable Gift Annuity, Tony says, “It’s a great investment — for yourself and the Orchestra!” To receive a confidential, personalized gift annuity illustration and to join the Laurias in their support of The Cleveland Orchestra’s future, contact Dave Stokley, Legacy Giving Officer, at 216-231-8006 or email dstokley@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

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

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

robert trevino

Behzod abduraimov

American conductor Robert Trevino is music director of the Basque National Orchestra . He is making his Cleveland Orchestra conducting debut with tonight’s concert . Even before his professional debut, Robert Trevino had opted away from the traditional school system in favor of teaching himself every score he could find . He subsequently studied with David Zinman as a conducting fellow at the Aspen Music Festival and School, where he received the James Conlon Prize for Excellence in Conducting . In 2011, James Levine invited him to be the Seiji Ozawa Conducting Fellow at the Tanglewood Music Festival . Mr . Trevino also worked with Michael Tilson Thomas at the New World Symphony and assisted Leif Segerstam at the Helsinki Philharmonic Orchestra . He is also a laureate of the Evgeny Svetlanov International Conducting Competition in France . Mr . Trevino served as associate conductor of the Cincinnati Symphony Orchestra (2011-15) and associate conductor for New york City Opera (2009-11) . As a guest conductor, he has led performances across North America and Europe . He is a strong advocate for commissioning new works . For more information, visit www.roberttrevino.org .

Pianist Behzod Abduraimov is making his Cleveland Orchestra debut with this evening’s concert . He was the grand prize winner of the 2009 London International Piano Competition and, the following year, won the Kissinger KlavierOlymp . He appears regularly as both a concerto soloist and in solo recital . Recent and upcoming engagements include performances in Europe, the united States, and Japan alongside a concert tour to China and Korea with Japan’s yomiuri Nippon Symphony Orchestra . Mr . Abduraimov records with Decca Classics . His debut recital album won both the Choc de Classica and the Diapason Découverte awards . His first concerto album was released in 2014, and features Prokofiev’s Piano Concerto No . 3 and Tchaikovsky’s Piano Concerto No . 1 . Born in 1990 in Tashkent, uzbekistan, Behzod Abduraimov began to play piano at the age of five as a pupil of Tamara Popovich at the uspensky State Central Lyceum in his hometown . He is a graduate of Park university’s International Center for Music, where he studied with Stanislav Ioudenitch, and now serves as the institution’s artist-in-residence . For additional information, visit www.behzodabdurarimov. com .

August 5: guest Artists

2017 Blossom Festival

2O17

BLOSSOM MUSIC FESTIVAL

Saturday evening, August 5, 2017, at 8:00 p.m.

t h e cl e v e l a Nd orc h est r a rO B Er t t r E v I N O, conductor

pyotr ilyich tchaikovsky (1840-1893)

Piano concerto No. 1 in B-flat minor, Opus 23 1. Allegro non troppo e molto maestoso — Allegro con spirito 2. Andantino semplice — Prestissimo — Tempo I 3. Allegro con fuoco BEhzOD aBDuraImOv, piano

inter mission

symphony No. 5 in E minor, Opus 64 1. 2. 3. 4.

Andante — Allegro con anima Andante cantabile con alcuna licenza Waltz: Allegro moderato Finale: Andante maestoso — Allegro vivace

Behzod Abduraimov’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from Dr. and Mrs. Murray M. Bett. This concert is dedicated to R. Thomas and Meg Harris Stanton 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: August 5

INTRODUCING THE CONCERT

Russia: Character& Music T H I S E V E N I N G ’ S C O N C E R T presents two great works by the best-

known Russian composer. Others may have written music that sounds more Russian (Mussorgsky, Prokofiev, Shostakovich). Several — before and after — were certainly more daring and progressive and modern. And one composer (Rachmaninoff) surely bested Tchaikovsky in the sheer tuneful beauty of his symphonies. But, for many of us, Tchaikovsky represents the quintessential melding together of Germanic symphony with a loud and convincing Russian accent. Russian-ness was, in fact, relatively elusive in music for many centuries. The ruling Tsars pined for French elegance and fashion, for German clarity and richness. Not just in culture, but in politics and acceptance as being united with and every bit as great and worthy as the rest of Europe. (Wars — both hot and cold — since Tchaikovsky’s death have continued to play this out on the world stage, and even today cross-currents push Russian culture and politics in directions both toward and away from Europe, for and against the West.) Especially for symphonic music and opera, few clear Russian precedents existed before the middle of the 19th century. And, in fact, Tchaikovsky moved along the edges of efforts to define a national Russian sound; his taste and style were very much in the French-Germanic tradition, albeit soaked in his own Russian upbringing. His passions (and demons) show more strongly, his insecurities iced like a good Russian vodka. Tchaikovsky’s First Piano Concerto (from 1874) ranks among the most well-known and loved works in the repertoire. Its opening phrases signal both style and statement — with the concerto continuing to give pleasure and musical insight with every hearing. Guest soloist Behzod Abduraimov brings a new generation’s perspective to this powerful evergreen. Guest conductor Robert Trevino concludes the concert with Tchaikovsky’s big and brash Fifth Symphony, from 1888. Here the composer wrestled with the weight that Fate had pressed against his shoulders — and argued himself (or at least his music) to a strong and optimistic ending. His own life was filled with as much trouble as triumph, and often overcome with insecurities. This symphony is a fully satisfying experience, drenched in melody and grandeur. —Eric Sellen

Introducing the Concert: August 5

Blossom Music Festival

Piano concerto No. 1 in B-flat minor, Opus 23 composed 1874

s t r a N g E ly E N O u g h , Tchaikovsky’s First Piano Concerto was

Pyotr Ilyich

tchaIkOvsky born May 7, 1840 near Votkinsk, Russia died November 6, 1893 St. Petersburg

Blossom Music Festival

given its world premiere in 1875 in Boston, Massachusetts, half a world removed from the composer and his earlier hopes for a splashy premiere in Moscow by one of Russia’s leading pianists . So what happened? Tchaikovsky wrote the concerto in late 1874 . It had been nearly a decade since the composer had graduated from the St . Petersburg Conservatory, where he was strongly swayed in his musical approach by the Conservatory’s director, Anton Rubinstein . After graduating, he was hired to teach at the Moscow Conservatory, where Anton’s brother, Nikolai, also taught . And, in fact, Nikolai became a strong champion of the young composer’s music and over the next dozen years conducted the premieres of a number of Tchaikovsky’s new works . unlike many of their contemporaries, both Rubinsteins favored a more Western approach to music, following in the grand Germanic traditions of Beethoven, Schubert, and Schumann . This, against a strong movement within Russia to create and nurture a new Russian style of classical music . In the late afternoon on Christmas Eve, Tchaikovsky took his just-completed First Piano Concerto and played it through (on piano alone) for Nikolai Rubinstein in an empty classroom . The usually supportive Rubinstein surprised Tchaikovsky, however, first with his silence and then with a long tirade against the piano concerto, saying that it was unplayable and then detailing a hundred things that needed to be fixed . The composer stormed off, saying words to the effect of “I don’t care what you think, I won’t change a note.” The two later reconciled, and Rubinstein continued to conduct new works by Tchaikovsky and eventually even played the “unplayable” concerto — and Tchaikovsky did, in fact, make a few changes to the score over the next half-dozen years . That spring of 1875, the great German conductor and pianist Hans von Bülow was touring through Russia . Tchaikovsky seized the moment and showed the German celebrity his new concerto . Bülow happened to be looking for “something new” for his next tour, to the united States that autumn, and agreed to perform the work . Thus the premiere came to Boston, where the concerto was enthusiastically received — the first-night auAugust 5: About the Music

At a Glance

Tchaikovsky composed his Piano Concerto No. 1 during 1874-75. The work was first performed on October 25, 1875, in Boston’s Music Hall, with Hans von Bülow as soloist and Benjamin Lang conducting. Tchaikovsky revised the concerto in 1879, and again in 1889. This concerto runs about 30 minutes in performance. Tchaikovsky scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, strings, and solo piano. The Cleveland Orchestra first presented this concerto in December 1920 at Masonic Auditorium, with Benno Moiseiwitsch as soloist and Nikolai Sokoloff conducting. Since that time, it has been presented quite frequently, with many leading pianists (and in summer piano competitions) at Severance Hall.

dience demanded that the entire third movement be repeated as an encore . The success was soon repeated across Europe and back in Russia . The concerto begins with what has become one of the most-recognized openings of any musical work . Strong brass statements are answered with a series of big chords in the piano, accompanying a splendid melody in the strings . The piano next grabs the tune and almost immediately (quite atypical for any concerto) presents a solo cadenza in the midst of what is, in fact, merely a lengthy introduction to the first movement itself . The great melody disappears after these introductory measures, but is succeeded in all three movements with equally distinguished and hummable tunes . After the brash opening and dashing first movement, the quieter, lyrical mood of the second movement offers a particularly graceful main melody, announced tenderly by solo flute and then taken up by the piano . The third movement takes off promptly with a strong beat and sense of rhythm that carries across more lyrical ideas to a grand, exciting ending . The concerto has been criticized over the years for its proportions — the first movement is as long as the second and third combined — as well as for what some see as the composer’s greatest strength and others his strongest weakness, of building whole swaths of music from smallish musical ideas through extended incremental evolution via continually crafted, developed and devised, extended and elongated, recurring, reiterated, and repeated variation . In this concerto, however, as in all his greatest works, it becomes clear early on that Tchaikovsky has created a logical architecture throughout . And his mastery of evolving ideas gives both the piano and the orchestra a pleasing variety of roles, textures, and exchanges — deftly explored in traditional classical forms, with enough innovation to be creative without being radical, and presenting musical ideas as a masterful solution to the form rather than merely an exercise . Additionally, for this concerto Tchaikovsky worked the outlines of several folksongs into the music, one in each movement (two ukrainian, one French) . These tunes or rhythms would have drawn a sense of extra emotional response from audience members during the concerto’s early Russian performances, and may still work an undertow of connection for many listeners worldwide . —Eric Sellen © 2017

August 5: About the Music

The Cleveland Orchestra

We Weare areproud proudto tosupport support The TheCleveland ClevelandOrchestra Orchestra and andtheir theircontributions contributionsto to the theArts Artsand andour ourCommunity. Community. The Thereach reachof ofThe TheCleveland Cleveland Orchestra Orchestrahas hasnot notonly onlyenriched enriched the thelives livesof ofthose thosehere hereinin Cleveland, Cleveland,itithas hasalso alsotouched touched millions millionsworldwide. worldwide. We Weare arefortunate fortunateto tohave havesuch suchaa resource resourcehere hereininNortheast NortheastOhio. Ohio.

symphony No. 5 in E minor, Opus 64 composed 1888

a t t h E a g E O f f O r t y - E I g h t , despite his growing interna-

Pyotr Ilyich

tchaIkOvsky born May 7, 1840 near Votkinsk, Russia died November 6, 1893 St. Petersburg

tional fame, Tchaikovsky was constantly plagued by self-doubt . Early in 1888, he went on a three-month European tour, conducting his own works with some of the world’s finest orchestras . He was feted in Leipzig, Paris, London, and Prague, and made the acquaintance of Dvořák, Grieg, and Mahler . Tchaikovsky’s private life, however, was not free from turmoil . His sister Alexandra and his niece Vera were both seriously ill, and one of his closest friends, Nikolai Kondratyev, had recently died . It must have been hard to escape the thought that life was a constant struggle against Fate, which appears as a hostile force attempting to thwart all human endeavors . After his return from abroad, Tchaikovsky decided to write a new symphony, his first in ten years . Characteristically, the first sketches of the new work, made on April 15, 1888, include a verbal program portraying an individual’s reactions in the face of immutable destiny, involving stages of resignation, challenge, and triumph: “Introduction. Complete resignation before Fate, or, which is the same, before the inscrutable predestination of Providence. Allegro. (1) Murmurs of doubt, complaints, reproaches against XXX. (2) Shall I throw myself in the embraces of faith??? A wonderful program, if only it can be carried out.” Tchaikovsky never made this program public, however, and in one of his letters even went out of his way to stress that the symphony had no program . Clearly, the program was an intensely personal matter to him, in part because he was reluctant to openly acknowledge his homosexuality, which seemed to him one of the hardest manifestations of the Fate he was grappling with . Many people believe that the un-named, mysterious “XXX” in the sketch stands for homosexuality . In his diaries, Tchaikovsky often referred to his homosexuality as “Z” or “That .” What, if anything, are we to make of all this? Should we listen to Tchaikovsky’s Fifth as a program symphony, about Fate and Destiny? How concerned should we be about thoughts the composer never wanted to divulge, especially those regarding his sexual impulses? It seems clear that the “program” that Tchaikovsky had sketched had a deep influence on his thinking during the time he was writing the Fifth Symphony — without it, the symphony August 5: About the Music

The Cleveland Orchestra

would not be what it is . Perhaps most particularly, the opening theme — the “Fate theme” — would probably not return so ominously in all four movements . At the same time, the “program” in itself is insufficient to explain the finished work, in part because the “meaning” of many other themes throughout the symphony is unclear . Moreover, Tchaikovsky had already written a “Fate” symphony — the Fourth — for which a more detailed program survives . And the similarities of the two programs do little to explain the great differences between the two works . (The program of the Fourth is problematic in itself, for no sooner had Tchaikovsky written it down in a letter to his patroness than he declared it to be hopelessly “confused and incomplete . . .” .) As for the question of the privacy of a composer’s feelings and desires, while we shouldn’t be too preoccupied with a composer’s most private thoughts, we probably can’t ignore them completely either — especially because there is ample evidence to suggest that Tchaikovsky in particular was both unable and unwilling to separate his extramusical preoccupations from his composing . (The blending of work and life comprises an infinite variety of mixtures among human beings — and some other composers have kept their music and their lives quite separate .) The four movements of Tchaikovsky’s Fifth Symphony are linked by a common theme, often played by the brass instruments and apparently symbolizing the threatening power of Fate . English musicologist Gerald Abraham noted that this theme was taken almost literally from an aria in Mikhail Glinka’s opera A Life for the Tsar, in which it was sung to the words “Ne svodi na gore” (“Do not turn to sorrow”) . The Fate theme is first heard in the Andante introduction of the first movement, soon to be followed by a more lyrical, lilting idea as we move into the faster Allegro con anima tempo . Even with the change of melody, the accompaniment of the Fate motif remains present as a stern reminder . The entire first movement swings back and forth between lyrical and dramatic moments . We would expect it to end with the final fortissimo climax . Instead, the volume gradually decreases to a whisper, and the mysterious last measures are scored for the lowest-pitched instruments in the orchestra — bassoons, cellos, double basses, and timpani . The second movement is lyrical and dream-like, suggesting a brief respite from the struggle . The first horn plays a beautiful Blossom Festival 2017

August 5: About the Music

The four movements of Tchaikovsky’s Fifth Symphony are linked by a common melodic thread that seems to symbolize the threatening power of Fate. Even with growing international fame, the composer was never free of self-doubt and uncertainty.

At a Glance

Tchaikovsky wrote his Fifth Symphony in 1888, completing it on August 26. He conducted its premiere on November 17, 1888, in St. Petersburg. The first performance in the United States was given on March 5, 1889, by conductor Theodore Thomas in New York City. This symphony runs about 45 minutes in performance. Tchaikovsky scored it for 3 flutes (third doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings. The Cleveland Orchestra first performed Tchaikovsky’s Fifth during its second season in 1919-20, and has performed it frequently since that time.

singing melody, eventually joined by the full orchestra . A second idea, in a slightly faster tempo, is introduced by the clarinet . Soon, however, an intense crescendo begins, culminating in the fortissimo entrance of the Fate theme . The movement’s opening theme returns, again interrupted by Fate; only after this second dramatic outburst does the music finally find its long-desired rest . The third movement is a graceful waltz, with a slightly more agitated middle section . Again we expect a respite from the Fate theme and the emotional drama it represents . yet before the movement is over, there is a short reminder, subdued yet impossible to ignore, in the clarinets and bassoons . In the finale fourth movement, Tchaikovsky seems to have taken the bull by the horns . The Fate theme dominates the entire movement, despite the presence of a number of contrasting themes . At the end of a grandiose development section, the music comes to a halt on the key signature’s dominant (the fifth degree of the scale, which often serves as the opposite pole to the tonic or home keynote) . At some performances over the years, audience members have mistakenly thought that moc .li athe mg@ seuqitnAt eert symphony was over at this point and started applauding . The final resolution, however, is yet to come, in the form of a majestic reappearance of the Fate theme and a short Presto section in which all “doubts, complaints, and reproaches” are cast aside . Against all odds — or is it simply humanity’s optimistic moc.seuqitnatewe’ve ertstunlaW.www desires? — the symphony receives the triumphant ending all been listening for . 2017 —Peter Lakim© oc .li amg@ seuqitnAt eert Copyright © Musical Arts Association

Peter Laki is a musicologist and frequent lecturer on classical music. He is a visiting associate professor at Bard College.

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August 5: About the Music

The Cleveland Orchestra

THE COLLEGE OF WOOSTER

JAZZ ENSEMBLE

WOOSTER SYMPHONY ORCHESTRA

( 3 3 0 ) 2 6 3 -2 9 4 9

JEFFREY LINDBERG, MUSIC DIRECTOR

Wayne County

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

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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

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

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

5470

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

20%

OvEr

B lO S S O M M U SiC CENTER

1968

seats

and under

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

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

BY THE NUMBERS

20 million aDMIssIONs

Blossom Music Center has welcomed more than 20,100,000 people to concerts and events since 1968 — including the Orchestra’s annual Festival concerts, plus special attractions featuring rock, country, jazz, and other popular acts .

1,000+

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

1250 tons of steel

12,000 cubic yards concrete 4 acres of sodded lawn

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

Blossom’s 50th Anniversary Season in 2018 will continue on from the Orchestra’s 100th Season celebrations of 2017-18, marking the beginning of The Cleveland Orchestra’s second century serving Northeast Ohio .

2018

Juraj Valčuha

stefan Jackiw

Slovak conductor Juraj Valčuha is music director of the Teatro di San Carlo in Naples, Italy . He is making his Cleveland Orchestra debut with tonight’s concert . He took composition and conducting classes at the conservatory in his hometown of Bratislava, later studying conducting with Ilya Musin in St . Petersburg, Russia before moving to Paris in 1998 to work at the Conservatoire National Supérieur with Janos Fürst and Jorma Panula . Mr . Valčuha served as assistant conductor of the Orchestre National de Montpellier and Opéra National de Montpellier (2003-05) in France and as principal conductor of the RAI National Symphony Orchestra (2009-16) in Turin, Italy . With the 2017-18 season, he becomes principal guest conductor of the Konzerthausorchester Berlin . As a guest conductor, he appears regularly across North America, Europe, and in Asia . His operatic work ranges from Bartók’s Bluebeard’s Castle and Britten’s Peter Grimes to Donizetti’s The Elixir of Love and Mozart’s The Marriage of Figaro, Poulenc’s La Voix humaine, and Richard Strauss’s Elektra, performed with opera companies in Italy, France, and Germany . For additional information, visit www.jurajvalcuha.com .

American violinist Stefan Jackiw is recognized among the brighest rising stars of his generation . He made his Cleveland Orchestra debut in 2008 . In concert, Stefan Jackiw has appeared with many orchestras across North America, including those of Boston, Chicago, Indianapolis, Kansas City, New york, Oregon, Philadelphia, Pittsburgh, Saint Louis, San Francisco, and Vancouver, among others . He has also performed with ensembles across Europe, and in Asia and Australia . He played the world premiere of David Fulmer’s Violin Concerto No. 2: Jubilant Arcs, which was written for him and commissioned by the Heidelberg Festival . Mr . Jackiw is also an active recitalist and chamber musician . A recital tour with Jeremy Denk takes him across North America during the 2017-18 season . Born in 1985 to physicist parents of Korean and German descent, Stefan Jackiw began playing the violin at age four . His teachers include Michèle Auclair, Zinaida Gilels, and Donald Weilerstein . Mr . Jackiw earned a bachelor’s degree from Harvard university and an artist diploma from the New England Conservatory, and he is the recipient of an Avery Fisher Career Grant . He lives in New york City . For more information, visit www.stefanjackiw.com .

August 6: guest Artists

Blossom Music Festival

2O17

BLOSSOM MUSIC FESTIVAL

Sunday evening, August 6, 2017, at 7:00 p.m.

t h e cl e v e l a Nd orc h est r a J u r a J va l Č u h a , conductor

richard strauss

(1864-1949)

nino rota

(1911-1979)

till Eulenspiegel’s merry Pranks suite for fellini’s La Strada inter mission

erich wolfgang korngold (1897-1957)

violin concerto in D major, Opus 35 1. Moderato nobile 2. romanze: Andante 3. Finale: Allegro assai vivace stEfaN JackIW, violin

richard strauss (1864-1949)

suite from Der Rosenkavalier

Stefan Jackiw’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from Mr. and Mrs. William C. Zekan. This concert is dedicated to William J. and Katherine T. O’Neill 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

Blossom Music Festival

Concert Program: August 6

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INTRODUCING THE CONCERT

Existence, Humor & Grace

presents something like a Viennese musical sandwich, with a side of Italian prosciutto and a bit of Hollywood flavoring and sauce. The surrounding bread is two perfect slices from Richard Strauss’s masterful pen. The night’s protein is a flavorful concerto by the Vienna-born Erich Wolfgang Korngold, who spent the second half of his life writing Hollywood film scores. Into this is mixed some Italian seasoning from enigmatic film music reincarnated as a ballet score. Things familiar, new, and different. The evening begins with Strauss’s youthful orchestral tone poem Till Eulenspiegel from 1895. As a master of the orchestra, no work represents Strauss’s claims more vividly than this tone poem. In it, a mythical German hooligan comes grinningly to life — part bad-boy, part entertainer, thumbing his nose at traditional ways and conventions. Cut down at the end, his fame lives on . . . in fable and in Strauss’s dramatic music. Next comes Nino Rota’s Music for “La Strada,” a score from 1966. Best known for his Godfather scores, Rota concocted this ballet music from several of his writings to accompany movies by the great Italian director Federico Fellini. In it, he recreates the sadly existential storyline from the movie La Strada (meaning “The Road”). It is an oddly compelling look at romance and everyday cruelty in a circus traveling from town-to-town, living moment-to-moment. Following intermission, guest soloist Stefan Jackiw takes up Korngold’s too-often-neglected Violin Concerto. This big, Romantic and melodic score soars with passion and action. It, too, is derived in part from film music, including themes left on the cutting-room floor. To end the evening, guest conductor Juraj Valčuha leads a gem of a suite from Strauss’s “waltz opera” Der Rosenkavalier. Here, the old style of Viennese waltz music is mixed with edges of modernism, evoking nostalgia against the page-turning of time into a changing world. All of these musical works — and the stories they tell — gently touch on the larger questions of human existence, but with clear humor and elegant refinement. Till Eulenspiegel’s bad-boyness is nonetheless charming in his carefree ways. Fellini’s La Strada is as entertaining as a circus, with danger lurking along every tightrope — the reality of life. Korngold brandishes beauty and dashing power, while Strauss’s opera evokes longing and love, gracefully infused with understanding and insight. Enjoy . . . the variety! —Eric Sellen THIS EVENING’S CONCERT

Blossom Music Festival

August 6: Introducing the Music

till Eulenspiegel’s merry Pranks, Opus 28 composed 1894-95

richard

strauss born June 11, 1864 Munich died September 8, 1949 Garmisch-Partenkirchen, Bavaria

I N t h E s E r I E s of symphonic tone poems that followed Strauss’s “conversion” to the path laid out by Liszt, Till Eulenspiegel’s Merry Pranks is fourth, following Macbeth, Don Juan, and Death and Transfiguration . Each one was, in general, longer and more complex than the previous one and called for a larger orchestra . The last of the series, the Alpine Symphony, finished in 1915, is nearly an hour long and requires massive forces including an army of offstage horns . Till Eulenspiegel was completed in 1895, when Strauss was assistant conductor at the Munich opera, having already established a reputation as one of Germany’s leading conductors alongside his position as the most advanced composer of his time . He was busy and productive in both roles, and the energy that propelled him is clearly to be heard in this work . He once boasted he could portray almost anything in music, and the symphonic poems’ subjects range from the contemplation of death and eastern philosophy to the humorous episodes of Till Eulenspiegel’s adventurous, short life . Till “Owlglass,” in ancient German lore, is a charming villain who gets away with a series of pranks until the law finally catches up with him . The real Till seems to have lived in Brunswick in the mid14th century and to have died a victim of the Black Death . He is supposed to have been apprenticed to many trades and to have played tricks on the wise men and leaders of the city . The victims of his practical jokes forced him to move from city to city . Strauss picked a number of episodes from the many recorded in ancient accounts and presented them “in Rondeauform,” which contributes a joke of Strauss’s own — because the piece is not by any means in traditional rondo form, even though, like rondos, it has a series of non-recurring episodes . Before the action begins, we learn that Till is an endearing character from the sweet phrase delicately presented by the violins:

But the solo horn’s tricky rhythms tell us that he’s also a slippery individual as he sets off to have some fun . The real Till is

August 6: About the Music

The Cleveland Orchestra

revealed by a squeaky clarinet, landing on a teasing chord for four oboes . The endearing smile we heard at the beginning was only a mask:

For a while, Till just saunters along, looking for something to amuse himself with (the orchestra enjoys playing ball, passing his theme back and forth and around the stage), then he strides into the market place and, with a heavy cymbal clash and a noisy rattle, he overturns the tradesmen’s stalls and runs off, leaving havoc behind . Cautiously peeping out from his hiding place, Till decides to play the preacher, dressed as a priest . The music is solemn (rather than holy) . A series of slithering chords in the brass represents his alarm at contemplating the fearful punishments meted out to those who mock religion, and so, with a solo violin glissando from the top of its range, Till escapes and prepares himself for his next adventure . This time he is to play the cavalier, ready to trap any pretty girl that passes . Swooning phrases fall from his lips, and he falls genuinely in love only to be rejected by a girl who sees through the imposture . For a short while he fumes with rage, and then forgets the whole episode by taking up with a group of argumentative professors (played by the bassoons) . The discussion gets more and more intense, with Till’s teasing contributions causing them to turn on him in fury . A demonic trill on the “fouroboe” chord nails his predicament, from which he escapes with the jauntiest little tune, like a cheeky grimace . At this point, Strauss recounts no more particular adventures, but instead works the music round to a recapitulation that will bring back the opening horn solo . All the themes are heard again in increasingly dense combinations . Till is surely finding himself in increasingly hot water, and the law is bound to catch up with him sooner or later . When the solemn preacher’s melody is heard on the full brass (with extra horns and trumpets as an option), the game is up . A snare drum supports the solemn deliberations of his judges . The slithering brass chords tell us that punishment is due, and two brutal notes on trombones, horns, and bassoons repBlossom Festival 2017

About the Music: August 6

The real Till seems to have lived in Brunswick in the 14th century and to have died a victim of the Black Death. He is supposed to have tried his hand at many trades and to have played tricks on the wise men and leaders of the city. The victims of his practical jokes forced him to move from city to city.

resent Till’s fate on the gallows . But his spirit is not dead, and in the people’s memory Till Eulenspiegel wins a new smile, even a guffaw . . . and the story is set for retellings of evermore boastful and amusing tales . —Hugh Macdonald © 2017

at a Glance Strauss began writing Till Eulenspiegel’s Merry Pranks in late 1894, and completed the score in May 1895. Franz Wüllner conducted the world premiere on November 5, 1895, in Cologne. Till Eulenspiegel received its United States premiere just ten days later, with the Chicago Symphony Orchestra. Strauss dedicated the published score to Anton Seidl. This work runs about 15 minutes in performance. Strauss scored it for piccolo, 3 flutes, 3 oboes, english horn, 3 clarinets, bass clarinet, 3

bassoons, contrabassoon, 4 horns (4 more ad libitum, ”if desired”), 3 trumpets (plus 3 more ad libitum), 3 trombones, tuba, percussion (snare drum, bass drum, cymbals, triangle, ratchet), timpani, and strings. The Cleveland Orchestra first performed Till Eulenspiegel in December 1923, conducted by Nikolai Sokoloff. It has been performed frequently since then, in performances by all the Orchestra’s music directors, and on tour domestically and internationally.

Drawings of Till Eulenspiegel on horseback, from the 16th century (left) and 20th century (above) — with his Owl [Eulen] and mirror [Spiegel] or shiny plate.

August 6: About the Music

Blossom Music Festival

suite for La Strada [The Road] composed 1954

I f f E l l I N I I s t h E g I a N t of the Italian cinema, Nino Rota is

Nino

rOta born December 3, 1911 Milan, Italy died April 10, 1979 Rome

the giant of Italian film composers . Between 1933 and his death in 1979, Rota composed or contributed music to over 150 films, including seventeen Fellini films made between 1953 and 1978 . His Hollywood scores include War and Peace, The Godfather, and Zeffirelli’s Romeo and Juliet . He could compose at incredible speed and he could ably write in a huge variety of musical styles for the vast range of films that came his way . To hear his music in the concert hall gives us a better chance to appreciate it properly, since the best film music, it’s often said, is the music you don’t notice . In the case of La Strada, meaning “The Road,” the strong emotional impact of Fellini’s story of rough circus life is reinforced by Rota’s main melodies, one for Zampano, the burly, hot-headed strongman who can break chains with his chest, and one for Gelsomina, the bewildered, boyish girl whom he buys for 10,000 lire to be his assistant on the road . Within the circus, she meets a carefree tightrope-walker and trapeze artist (known as Il Matto or “The Crazy Man”) whose easy-going ways offer her an escape from the brutal Zampano . The jealous tragedy of Il Matto’s death is inevitable, after which both of the others go their separate desolate ways . Very little of the music of the “Suite for La Strada” was actually drawn from the film . In 1966, Rota created a ballet on the film’s story, but using music from as many as eight other film scores he had composed for Fellini . The suite’s movements are: 1 . 2 . 3 . 4 . 5 . 6 . 7 .

The country at night; Zampano has arrived The three musicians, and Il Matto on the high wire The circus Zampano’s fury Zampano kills Il Matto The final scene in the snow; farewell Gelsomina Zampano’s solitude and mourning

The circus music in the third movement, for example, is not heard in La Strada, nor are the Latin-inflected tunes in the second movement . The “three musicians,” heard at the start of the second movement on flute, clarinet, and tuba, do make a brief appearance in the film . Zampano’s melody appears in the Blossom Festival 2017

About the Music: August 6

Zampano (Anthony Quinn) teaches Gelsomina (Giuletta Masina) how to play the trumpet to assist him as part of his act in the circus in Fellini’s film La Strada.

second movement as a broad melody that quickly gives way to jaunty circus music . Gelsomina’s melody, which is also associated with Il Matto, because he plays it on his little violin, is heard as a violin solo at the end of the third movement . After Zampano’s burst of rage (with strong echoes from Stravinsky’s Rite of Spring), his melody is heard in its full richness . In the film, there is no music to accompany Il Matto’s death, but in the ballet Rota anticipates Jaws when scoring this tragic moment . Zampano’s heartless abandonment of Gelsomina is represented in this music by an expressive oboe solo and violin solo, followed by a grand climax that runs directly into the last movement . This is shot through with bittersweet dissonance with a solo from the trumpet to recall the instrument that Zampano had given her to play, now playing her tune . But the violin is Il Matto’s instrument and, at the close, we hear it again, a memory of the poor waif whose journey through the world of impoverishment and humiliation has been so touchingly narrated in the film . The ballet suite is sometimes interpreted as a musical recreation of the film using additional music to replace the silences and atmospheric outdoor scenes, often in semi-darkness, with which Fellini tells his bleak story on film . In the context of this concert, it can also be viewed as a modern-day tale of tricks and tragedy, akin to Strauss’s Till Eulenspiegel of an earlier era .

—Hugh Macdonald © 2017 at a Glance Rota composed his score for Fellini’s La Strada [“The Road”] in 1954. A dozen years later, he revisited the storyline to create a ballet score, utilizing some material from the original film score while also borrowing from his scores for other Fellini films. The ballet was first performed in September 1966 at La Scala in Milan, Italy. This work runs not quite 20 minutes in performance. Rota scored it for 2 flutes

and piccolo, 2 oboes, 2 clarinets and bass clarinet, 2 bassoons and contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, bass drum, cymbals, woodblock, drum set, xylophone), harp, celesta, piano, and strings. The Cleveland Orchestra is performing this ballet score for the first time with this evening’s concert.

August 6: About the Music

The Cleveland Orchestra

violin concerto in D major, Opus 35 composed 1937-39, revised 1945

l I k E m E N D E l s s O h N ’s ever-popular Violin Concerto, Korn-

Erich Wolfgang

kOrNgOlD born May 29, 1897 Brno (now in the Czech Republic)

died November 29, 1957 Hollywood, California

Blossom Festival 2017

gold’s Violin Concerto is the late work of a prodigy that defies any suggestion that its composer lost his flair once that brilliant childhood was past . Part of the very rich Viennese tradition in which Korngold was brought up took it for granted that great artists were endowed with a complete command of their technical resources; another part assumed that great art was richly expressive . So in the wake of Richard Wagner’s musical works and in the shadow of Strauss and Mahler, the young Korngold displayed prodigious gifts of musical invention, a masterly handling of voices and instruments, and an unquestioning devotion to full-blooded romantic expression . Perfect for Hollywood, we may say with hindsight, although we should remember that the extraordinary sophistication and romantic energy that characterizes film scores of the 1930s and ’40s was, in fact, largely the creation of Korngold and other refugees from European opera houses . His twenty-three film scores, mostly for Warner Brothers, were not a betrayal of his Viennese upbringing — as many waspish critics suggested — but an extension of the very aesthetic he had always lived by and within . Conversely, his studio work enriched his symphonic output . No piece illustrates this more clearly than the Violin Concerto, all three of whose movements draw on themes from films produced between 1937 and 1939 . Or did the film scores draw on themes from the concerto? The origins of the concerto are not clear, although the great violinist Huberman had been urging Korngold to write a concerto for years . By 1945, when Korngold decided to give the work its final form, Huberman’s best years were over, and so it was Jascha Heifetz who was entrusted with the first performance . This took place in St . Louis on February 15, 1947, with performances shortly thereafter in Chicago and New york . In 1953, Heifetz made a magnificent recording, still unsurpassed despite the many fine recordings that have emerged in recent years . Korngold chose to create in D major, the favorite key of so many great violin concertos (Beethoven, Brahms, and more), and the customary three-movement scheme . In classic style, the first movement is lyrical and energetic in turn, the second is a sublimely beautiful Romance in the key of G, and the finale About the Music: August 6

Violinist Bronisław Huberman, who had urged Korngold to write a violin concerto.

at a Glance Korngold wrote his Violin Concerto between 1937 and 1939, revising and completing the score in 1945. In it, he utilized several musical ideas borrowed from his own movie scores (some of which may have originally been intended for a concerto), including Another Dawn, Juarez, and The Prince and the Pauper. The concerto’s first perfomance was given by Jascha Heifetz and the St. Louis Symphony Orchestra, conducted by Vladimir Golschmann, on February 15, 1947. The published score is dedicated to Alma MahlerWerfel. This concerto runs about 25 minutes in performance. Korngold scored it for 2 flutes (second doubling piccolo), 2 oboes (second doubling english horn), 2 clarinets, bass clarinet, 2 bassoons (second doubling contrabassoon), 4 horns, 2 trumpets, trombone, timpani, percussion (bass drum, cymbal, vibraphone, xylophone, bells, chimes), harp, celesta, and strings, plus the violin soloist.

is rousing and spirited, with more than a hint of a folk dance . The soloist is called on to display an extreme virtuosity throughout, with much of the solo line set in the highest range, where the violin, alone of all instruments, can sing with its pure, angelic voice . The orchestra rarely occupies the foreground, but the richness of its accompanying colors, especially from the vibraphone, xylophone, harp, and celesta, gives magical support . The concerto was dedicated to Alma Mahler-Werfel, widow of Gustav Mahler and, after 1945, of Franz Werfel . During the war, she and Werfel were, like Korngold, members of the Viennese expatriate community living in Hollywood .

August 6: About the Music

2017 Blossom Festival

suite from the opera Der Rosenkavalier arranged 1944, from the opera composed 1909-10

richard

strauss born June 11, 1864 Munich died September 8, 1949 Garmisch-Partenkirchen, Bavaria

Blossom Festival 2017

r I c h a r D s t r a u s s , after making his name as a young man with a series of storytelling orchestral tone poems (including Till Eulenspiegel with which this evening’s concert began), devoted much of the remainder of his long life writing a series of extraordinarily varied operas . Throughout all of this, Strauss continued as one of the great conductors of his era, conducting his own works and ably advocating for his favorite composer, Mozart, as well as for new works, including several of Mahler’s symphonies . Some of Strauss’s operas were daring — musically and in subject matter — including the tragedies Salome and Elektra . Others were filled with nostalgia and commentary on human foibles . These included Der Rosenkavalier [“The Rose Cavalier”], written in Berlin and premiered in Dresden in 1911 . The action of the opera takes place in Vienna . And appropriately so, filled as it is with waltz music in Strauss’s sophisticated 20th-century writing . And yet, the opera is set in the 1740s, long before the waltz itself had been invented . Thus, Strauss’s use of the waltz as “the musical language” of this opera was a carefully planned manipulation of time and space, creating a sense of nostalgia that is both unpredictable and inviting in its mixture of old and new styles . The waltz had swept across Europe in the closing decades of the 18th century . The word itself came from the German verb walzen, which was originally not much more specific than the English word “dance .” Eventually, faster waltzing overtook the slower minuet in popularity, and the verb became a noun, first in English and then in German . Although he wrote dance music, Mozart never called any of his pieces a waltz . Beethoven wrote a few, but still called them dances (tanzen) . Leaving it to Franz Schubert to become the first major composer to write musical works that he called waltzes . The waltz carried forward on successive waves of renewed popularity throughout the 19th century, propelled by the artistry and showmanship of one particular family of composers, beginning with Johann Strauss Sr . (1804-1849) . His touring orchestra, along with that of his even more famous son, Johann Jr ., spread the waltz craze throughout Europe and even to American shores . The orchestral Suite from Der Rosenkavalier was first presented in 1944 by the New york Philharmonic under the direction of Artur Rodzinski (music director of The Cleveland About the Music: August 6

at a Glance Strauss wrote his opera Der Rosenkavalier in 1909-10. It was first performed in January 1911 at the Dresden Court Opera. A variety of suites from the opera were created over the years, including one for a silent film version of the opera (poster above) in 1926; Strauss conducted the film’s premiere. The standard orchestral suite was created in 1944 under the supervision of Artur Rodzinski, who led the premiere on October 5, 1944. This suite runs about 25 minutes in performance. It is scored for 3 flutes (third doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets, bass clarinet, 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, snare drum, ratchet, cymbals, glockenspiel, tambourine, and triangle), 2 harps, celesta, and strings.

Orchestra 1933-43) . Exactly who put the suite together has long been unclear . Some scraps or rumors of evidence suggest that Strauss, even while isolated in Germany during World War II and with limited means of communicating to the united States, may have made some suggestions, but Rodzinski (and perhaps his young assistant named Leonard Bernstein) did most of the work . The suite includes music from all three acts and focuses especially on the waltz music throughout the opera . It begins with the opera’s opening music, meant to portray climactic moments of lovemaking between the Marschallin and her young admirer, Count Octavian . Freed from the opera, the music’s differing characteristics — intoxicating waltzes juxtaposed with more modern orchestral material — are perhaps more obvious than in the opera house . But the beauty of the beguiling three-quarter-time waltzes wins out in the end . The Rose Cavalier of the title, by the way, was entirely of Strauss’s own invention . He imagined a tradition in courtly life, of a man of means and position sending a younger man of station (a cavalier) to deliver a rose to the older man’s intended . Accepting the rose meant that the woman (and/or her family) had agreed to the marriage . In the opera, of course, things do not go entirely smoothly, and the young bride-tobe in fact ends up marrying the young cavalier rather than the older baron who sent him . Central to the plot and message of the opera, the middle-aged Marschallin, who was having an affair with the cavalier (teaching him the art of love from her experienced position), comes to accept that time stops for no one, and that there is a season and reasons and a way to age gracefully . Indeed, she comes to understand that there can be great joy in witnessing youthful love take its course . Thus the opera is brought to a happy yet bittersweet ending — mirroring life’s own mixture of sweet and sour, joy and sadness, action and inaction, birth and death .

August 6: About the Music

2017 Blossom Festival

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Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

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

Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan Ms . Beth E . Mooney John C . Morley John P . Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund Ohio Arts Council The Honorable and Mrs . John Doyle Ong The Payne Fund PNC Bank Julia and Larry Pollock Mr . and Mrs . Alfred M . Rankin, Jr . James and Donna Reid Barbara S . Robinson The Leighton A . Rosenthal Family Foundation The Sage Cleveland Foundation The Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation Mr . and Mrs . Richard K . Smucker Joe and Marlene Toot Robert C . Weppler Anonymous (4)

Sound for the Centennial Campaign

The Cleveland Orchestra

gifts of $500,000 to $1 million

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

James and Gay* Kitson Virginia M . and Jon A . Lindseth Ms . Nancy W . McCann Nordson Corporation Foundation Parker Hannifin Foundation Charles and Ilana Horowitz Ratner Sally and Larry Sears Squire Patton Boggs (uS) LLP Thompson Hine LLP Timken Foundation of Canton Ms . Ginger Warner Anonymous (3)

gifts of $250,000 to $500,000

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

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

National Endowment for the Arts Roseanne and Gary Oatey William J . and Katherine T . Oâ&#x20AC;&#x2122;Neill Quality Electrodynamics (QED) Mr . and Mrs . James A . Saks Hewitt and Paula Shaw The Skirball Foundation Roy Smith Richard and Nancy Sneed R . Thomas and Meg Harris Stanton Mr . and Mrs . Jules Vinney* David A . and Barbara Wolfort Friends of The Cleveland Orchestra (formerly Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra)

Mr . and Mrs . Donald M . Jack, Jr . Elizabeth B . Juliano Bernie and Nancy Karr Mr . and Mrs .* S . Lee Kohrman Mr . James Krohngold Kenneth M . Lapine and Rose E . Mills Dr . David and Janice Leshner Litigation Management, Inc . Jeffrey Litwiller Linda and Saul Ludwig Dr . and Mrs . Sanford E . Marovitz Mr . Thomas F . McKee The Miller Family: Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern The Margaret Clark Morgan Foundation The Nord Family Foundation Olympic Steel, Inc . Park-Ohio Holdings Helen Rankin Butler and Clara Rankin Williams The Reinberger Foundation Amy and Ken Rogat Audra* and George Rose RPM International Inc . Mr . and Mrs . David A . Ruckman Mr . Larry J . Santon

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

gifts of $100,000 to $250,000

The Abington Foundation Akron Community Foundation Mr . and Mrs . George N . Aronoff Jack L . Barnhart Fred G . and Mary W . Behm Madeline & Dennis Block Trust Fund Ben and Ingrid Bowman Dr . Christopher P . Brandt and Dr . Beth Sersig Buyers Products Company Mr . and Mrs . David J . Carpenter Kenneth S . and Deborah G . Cohen Mary Kay DeGrandis and Edward J . Donnelly Judith and George W . Diehl Ernst & young LLP Mr . Allen H . Ford Frantz Ward LLP Dr . Saul Genuth The Giant Eagle Foundation JoAnn and Robert Glick Hahn Loeser & Parks LLP Gary Hanson and Barbara Klante Iris and Tom Harvie Jeff and Julia Healy The Hershey Foundation T . K . and Faye A . Heston Mr . Daniel R . High

Blossom Music Festival

Sound for the Centennial Campaign

orchestra news

the cleveland orchestra

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

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

Cleveland Orchestra News

2017 Blossom Festival

orchestra news

the cleveland orchestra

PROMETHEuS PROJECT

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

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

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

Cleveland Orchestra News

tIcket servIces

21 6 -2 3 1 -1111

gustavo gimeno

Johannes moser

Spanish conductor Gustavo Gimeno became principal conductor of the Orchestre Philharmonique du Luxembourg at the start of the 2015-16 season . He made his Cleveland Orchestra debut in August 2015 . Gustavo Gimeno was born in Valencia, Spain . From 2002 to 2013, he was principal percussionist of Amsterdam’s Royal Concertgebouw Orchestra . He was also a member of the Amsterdam Percussion Group, European Community youth Orchestra, and the National youth Orchestra of Spain . He has taught at the Conservatory of Amsterdam and the Basque Musikene School of Music . Mr . Gimeno’s international conducting career began as assistant to Mariss Jansons with the Royal Concertgebouw Orchestra; his debut with that orchestra was in 2014 . He also spent several years assisting Claudio Abbado with Bologna’s Orchestra Mozart, the Lucerne Festival Orchestra, and the Mahler Chamber Orchestra; and Bernard Haitink with Orchestra Mozart . The 2016-17 season included his conducting debuts with the Boston Symphony Orchestra and Chicago Symphony Orchestra . He has a recording partnership with Pentatone . For more information, visit www.gustavo gimeno.com .

German-Canadian cellist Johannes Moser made his Cleveland Orchestra debut in July 2007 and most recently performed with the Orchestra in 2015 . He was top prize-winner at the 2002 Tchaikovsky Competition and later won the 2014 Brahms Prize . He has performed with leading orchestras around the world . Recent engagements include debuts with the Luxembourg Philharmonic, New Zealand Symphony, Orchestre de la Suisse Romande, and Orquesta y Coro Nacionales de España . As a chamber musician, he performs regularly at festivals in Europe and the united States . An advocate of new music, Mr . Moser commissioned a cello concerto from German composer Christian Jost, and also premiered Enrico Chapela’s Magnetar concerto for electric cello . He is collaborating on new works with Andrew Norman and Julia Wolfe . He also is energized by promoting and performing seldom-played existing cello works . Mr . Moser recently became an exclusive Pentatone artist and released an album of Dvořák’s and Lalo’s cello concertos . Other recordings include works by Bax, Bridge, Britten, Hindemith, Honegger, Martinů, Saint-Saëns, and Shostakovich . For more information, visit www.johannes-moser.com .

August 12: guest Artists

The Cleveland Orchestra

2O17

BLOSSOM MUSIC FESTIVAL

Saturday evening, August 12, 2017, at 8:00 p.m.

t h e cl e v e l a Nd orc h est r a g u s tavO g I m EN O , conductor

maurice ravel

(1875-1937)

édouard lalo (1823-1892)

alborada del gracioso

[Morning Song of the Jester]

cello concerto in D minor 1. Prelude: Lento — Allegro maestoso 2. intermezzo: Andantino con moto — Allegro presto 3. Finale: Andante (Introduction) — Allegro vivace (Rondo) JOhaNNEs mOsEr, cello

inter mission manuel de falla

(1876-1946)

igor stravinsky

(1882-1971)

suite from El amor brujo [Love, the Magician] suite from The Firebird (1919 revision) 1. 2. 3. 4. 5.

Introduction and Dance of the Firebird — Round Dance of the Princesses — Infernal Dance of King Kascheï — Berceuse (Lullaby) — Finale

This concert is dedicated to Robert Conrad and his late wife, Jean, and to Judith and George W. Diehl 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

Blossom Festival 2017

Concert Program: August 12

tuesday musical Single tickets for Main Stage & Fuze concerts on sale Aug. 17! 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: on sale now

Thursday, Oct. 19

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

Vienna Boys Choir’s Christmas in Vienna

• Fuze: on sale Oct. 26

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: on sale Feb. 8

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

INTRODUCING THE CONCERT

Love & Comedy, Magic & Passion

offers up four musical pieces written across a half a century surrounding the turn of the 19th to the 20th centuries. Here we have variety of styles, flavors, and national characteristics, albeit with a solid nod toward Spain and Iberian colorings. The evening begins with one of Maurice Ravel’s elegantly delightful pieces created on Spanish themes and rhythms, Alborada del gracioso. Created as a piano piece in 1905, his consummate orchestration of it from a dozen years later brims with fun and humor. The title is nearly untranslatable, but this song in a comic style gives great musical satisfaction. Next comes a stirringly good cello concerto written by Édouard Lalo in 1877. This music is grand, big, virtuosic, with moments of intimacy and great beauty. Guest soloist Johannes Moser takes on the solo role. After intermission, we turn to two different ballet scores. The first is a very Spanish tale by Manuel de Falla — of ghosts and passions, leading to a fantastical ritual of fire and cleansing. El amor brujo, or “Love, the Magician,” was premiered in 1918 by the famous flamenco dancer Pastora Imperio. Tonight’s suite from the score gives us tantalizing flavors from this spirited musical story. To close the concert, guest conductor Gustavo Gimeno leads Igor Stravinsky’s The Firebird, heard here in the popular suite he drew up in 1919 from the complete ballet score. This tantalizing and dazzling music catapulted Stravinsky onto the world stage in 1910. Built on Russian musical traditions and a very Russian fable, Stravinsky nonetheless startled with his incisive musical storytelling. This is music rendered large and fantastical, alternating rhythmical strength with beguiling orchestration and melodies. And thrillingly paced to catch and match your attention — and entice your applause. THIS EVENING’S CONCERT

—Eric Sellen

Blossom Festival 2017

August 12: Introducing the Concert

2017 Blossom Festival

alborada del gracioso

[Morning Song in a comic style]

composed for piano 1905, orchestrated 1918

maurice

ravEl born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

m a u r I c E r a v E l’ s fondness for Spanish music is reflected in a number of his pieces, including Habanera, Alborada del gracioso, Rapsodie espagnole, and Boléro, and culminating in the comic opera The Spanish Hour, which is almost entirely devoted to exploiting the entrancing rhythms and sonorities of Spanish music . He loved to build his pieces on a particular musical challenge or on the evocation of places, things, animals, or characters . Alborada del gracioso comes from Ravel’s set of five piano pieces, Miroirs, completed in 1905 . It includes portrayals of moths, birds, boats, and bells in daringly new-style musical language . The fourth of the set, Alborada del gracioso, treats the piano like a giant guitar . Strummed chords, rapidly repeated notes, and a prancing rhythm are offset by biting dissonances, and it all brings to mind the intoxicating atmosphere of the Feria (an annual local Spanish festival or town fair) . He orchestrated this music with his usual wizardry in 1918, and it has become one his most frequently-played orchestral pieces . The middle section is a languorous recitative for the bassoon, in alternation with gorgeously spaced string chords . The lively music returns and leads into a thrilling close with whooping trombones . It is easy to imagine the whirl of dancers on a crowded Spanish street at night . It is more difficult to grasp the literal translation of Ravel’s title, meaning “morning song” or “song at dawn” (Alborada) sung in the style of a comic character, or jester, from the theater (del gracioso) .

At a Glance Ravel composed Alborada del gracioso in 1905, as one of five pieces for solo piano in a suite titled Miroirs . He orchestrated two of these movements, including Alborada del gracioso, in 1918. The first orchestral performance was given on May 17, 1919, in Paris, with the Pasdeloup

Blossom Festival 2017

Orchestra conducted by RhenéBaton. This work runs about 10 minutes in performance. Ravel scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (cro-

About the Music: August 12

tales, triangle, tambourine, cymbals, bass drum, and xylophone), 2 harps, and strings. The Cleveland Orchestra first performed Alborada del gracioso in 1936, conducted by Artur Rodzinski. It was most recently heard in October 2014 led by Franz Welser-Möst.

cello concerto in D minor composed 1877

éDOuarD

lalO

born January 27, 1823 Lille, France died April 22, 1892 Paris

é D O u a r D l a l O has long retained a favored place in the symphonic repertory with his tuneful Symphonie espagnole, which is more like a five-movement violin concerto (and not really what we all today think of as a symphony) . Equally popular is his Cello Concerto, which students everywhere keep on their workdesks . In the opera house, he was long represented by Le Roi d’Ys [“The King of ys”], a strong drama of triangular passion, although performances of that work are much fewer today than just a few decades ago . This slender representation in today’s consciousness is, in truth, a poor indication of Lalo’s importance and strength as a composer . He played a major part in the revitalization of French music after the chaos of the Franco-Prussian war and the Commune of 1870-71 . He wrote a series of elegant songs; he contributed some important chamber music; his ballet Namouna made a powerful impression on his contemporaries, and the opera Le Roi d’Ys was one of the greatest successes of the French belle époque . Frustrated in the field of opera, where his successes were few, Lalo turned his attention to the composition of symphonic works . He was encouraged in this by the formation of new orchestras and the Société Nationale de Musique, whose purpose was to demonstrate that France, defeated in arms, could offer a real challenge to Germany in cultural riches and refinement . Ironically, the composers who contributed most importantly to this new repertoire — Lalo, Saint-Saëns, Franck — were none of them ashamed to build on the symphonic tradition stemming from Beethoven, Schumann, and Mendelssohn . But, no matter; the differing ways of politics sometimes create conflict where none exists . Lalo began with a Violin Concerto (in F major), composed for the great Spanish virtuoso Sarasate in 1874 . The Symphonie espagnole, also for Sarasate and an immediate hit, followed the next year . The Cello Concerto falls in the middle of this productive period for Lalo, composed in 1877 and soon heard across Europe (and beyond) . Cello concertos of top quality have always been scarce (none by Mozart, Beethoven, Schubert, or Mendelssohn) . yet Lalo’s is certainly the equal of Haydn’s and Schumann’s, if not August 12: About the Music

The Cleveland Orchestra

quite on the exalted plane of Dvořák’s or Elgar’s . Superbly written for the instrument, it is a melodious and well-balanced work that shows his fine craftsmanship in the best light . Each movement starts slowly . In the first movement, a firm declaration of the orchestra’s main theme, punctuated by Lalo’s signature fortissimo [“very loud”] thumps, prefaces the soloist’s entry . Some expressive recitative leads into the stirring main-section Allegro, led forcefully by the soloist, who is given little respite in the whole of this energetic movement . The second subject, in the cello’s most expressive tenor range, is a gorgeous melody heard against some delicate flute entries and rich harmony . There are some extraordinarily compelling pages to the close movement, as the torrent of notes from the cello seems to drive onward and upward to the final recall of the opening theme, in unison, on the full orchestra . The middle movement starts slowly too . In fact, it functions as the expected concerto slow movement, but Lalo ingeniously works it to also function as a dance-like scherzo movement by sliding into a swift 6/8 tempo . Against a constant pattern of pizzicato [“plucked”] strings and low flutes, the cello has teasing rhythms and repetitive phrases, almost as if improvising rather than following notes on a printed page . A return of the slow music and, in turn, an encore of the swift music provide perfect balance . The finale third movement draws fully on Lalo’s unstoppable sense of rhythm and his effortless melodic gift . Here, the vigor and energy of Lalo’s music places it in striking contrast with the willowy, watery style that is too often assumed to be an essential characteristic of French music .

At a Glance

Lalo composed his Cello Concerto in 1877. It was first performed on December 9, 1877, at the Concerts Populaires presented at the Cirque Napoléon in Paris, with JuleÉtienne Pasdeloup conducting and Adolphe Fischer as the soloist. This concerto runs approximately 25 minutes in performance. Lalo scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2

Blossom Festival 2017

trumpets, 3 trombones, timpani, and strings, plus the solo cello. The Cleveland Orchestra first presented Lalo’s Cello Concerto during the 1922-23 season, when it was performed several times by principal cello Victor de Gomez conducted by music director Nikolai Sokoloff. It has been performed just a few times since, most recently in 1981.

About the Music: August 12

suite from El amor brujo [Love, the Magician] from the ballet composed 1914-15

a s W I t h m O s t c u lt u r E s across the world, Spain has a long

maNuEl DE

falla

born November 23, 1876 Cádiz, Spain died November 14, 1946 Alta Gracia, Argentina

At a Glance

Falla composed his dance score for El amor brujo [“Love, the Magician”] in 1914-15. It was premiered on April 2, 1915, in Madrid. Tonight’s suite runs approximately 15 minutes in performance. Falla’s score calls for 2 flutes (second doubling piccolo), oboe, 2 clarinets, bassoon, 2 horns, 2 trumpets, timpani, glockenspiel, piano, and strings. The Cleveland Orchestra first played music from El amor brujo in 1931

tradition of ghost stories — of specters beyond the grave who lurk amongst us for a variety of reasons . Some of these visitors are benign, others quite friendly, and a few are up to no good . The reality behind such stories, we must each judge for ourselves . These tales have, however, inspired many artistic imaginations and created a plethora of thrilling evenings of theater, whether comedy or drama, ballet or opera, onstage or on film . Manuel de Falla wrote his “ballet of gypsy life” (a gitaneria) in 1914 for the famous flamenco dancer Pastora Imperio, who wanted a new work for her troupe . Since Imperio was an accomplished vocalist and dancer, the resulting score was to include both singing and dancing . Gregorio Martinez Sierra provided the story synopsis and lyrics for the song numbers, based, in part, on tales that Imperio’s mother (who was also a famous dancer) told him . The storyline involves several intertwined love couplings — a woman’s youthful passion interrupted by marriage (to someone else), the resulting happy marriage despite an affair (the husband cheating on his wife), and the intervention of death (the husband murdered) . The widow takes up again with her youthful paramour, but is haunted by her husband’s spirit . She dances every night attempting to rid herself of lingering ghosts . The townspeople, well-informed of all the details, think she’s crazy even though many have witnessed the husband’s ghost . A plan is put in place to trick the husband’s lover (the wife of another man) to join in the nightly ritual dance . That takes the dead husband’s attention off of his widow — and, like magic, dawn breaks and the husband’s ghost is gone (as is the other woman he loved) . A little confusing? yes, but filled with plenty of opportunities to sing and dance and entertain . (Variations on the story have been worked into such films as Truly, Madly, Deeply from 1990 and, with a little more dangerous mischief, Ghosts, also from 1990 .) The premiere of this flamenco ballet in 1915 did not go well . Audiences and critics weren’t entirely sure how to react — not to the story, but to Falla’s mixing of traditional elements and singing together with a certain modernity of musical ideas . Soon enough, the composer created a ballet suite for symphonic August 12: About the Music

The Cleveland Orchestra

orchestra (the original scoring was for 8 instruments only), which became quite popular in the concert hall . For this evening’s performance, guest conductor Gustavo Gimeno has chosen movements from the ballet suite to create his own orchestral suite of Andalusian musical rhythms and temperament — ending, of course, with the well-known “Ritual Fire Dance .” 1 . 1b . 3 . 4 . 5 . 10 . 7 .

Introducción y Escena / Introduction and Scene En la cueva / In the cave El Aparecido / The Apparition Danza del terror / Dance of Terror El circulo mágico / The Magic Circle Pantomima / Pantomime Danza ritual del fuego / Ritual Fire Dance

2o17 BLOSSOM music festival

iN THANkS

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

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

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

2017 Blossom Media Partner: cleveland.com

Blossom Festival 2017

About the Music: August 12

suite from The Firebird [L’Oiseau de feu] suite created in 1919, from the ballet score composed 1909-10

IgOr

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

s E r g E I D I a g h I l E v ’ s Paris-based Ballets Russes was one of the greatest dance companies in history . Diaghilev, the director, combined the soul of a brilliant artist with the mind and skills of a shrewd businessman . He was committed to creating exciting and innovative productions, and sought out the best dancers, artists, and composers available . For two decades from the company’s formation in 1909, he discovered or worked with many of the most creative artists in the city — dancers, choreographers, painters, and composers . The scores created for him included works by Debussy, Ravel, Prokofiev, and Falla . Musically, however, Diaghilev never made a more sensational nor more fruitful discovery than when he engaged the 27-year-old Igor Stravinsky in 1909 to write music for Michel Fokine’s new ballet for the next season, The Firebird . It was the start of a long collaboration that was to give the world a series of ground-breaking scores — Pétrouchka, The Rite of Spring, Les Noces, Mavra, and Apollon Musagète — which ended only with Diaghilev’s death in 1929 . For many years, there had already been a great affinity between Russia and France . A political alliance between the two countries had brought Russia closer to France, while France had always been a strong presence in Russia (where French had long been the language of the educated classes) . At the same time, the geographical distance and the difference in cultures meant that Russian things seemed to have an exotic flavor in the eyes (and ears) of the French . Both Debussy and Ravel admired and were influenced by the music of the 19th-century Russian masters Mussorgsky and Rimsky-Korsakov . thE stOry aND BallEt

To create a story of an appropriately exotic flavor, Fokine used several Russian fairytales within the scenario of The Firebird . The stories of the beneficent Firebird and the evil ogre Kashcheïthe-Immortal were combined together in an ingenious plot, which Eric Walter White summarized in his standard book on Stravinsky as follows: “A young Prince, Ivan Tsarevich, wanders into Kashcheï’s magic garden at night in pursuit of the Firebird, whom he finds fluttering round a tree bearing golden apples. He captures it and extracts

August 12: About the Music

The Cleveland Orchestra

a feather as forfeit before agreeing to let it go. He then meets a group of 13 maidens and falls in love with one of them, only to find that she and the other 12 maidens are princesses under the spell of Kashcheï. When dawn comes and the princesses have to return to Kashcheï’s palace, Ivan breaks open the gates to follow them inside; but he is captured by Kashcheï’s guardian monsters and is about to suffer the usual penalty of To create a story of an petrifaction, when he remembers the magic appropriately exotic flavor, feather. He waves it; and at his summons the Fokine used several Firebird appears and reveals to him the secret of Kashcheï’s immortality (his soul, in the form Russian fairytales within of an egg, is preserved in a casket). Opening the scenario for the firethe casket, Ivan smashes the vital egg, and the bird. Although the storyogre immediately expires. His enchantments line and the musical styling dissolve, all the captives are freed, and Ivan and his Tsarevna are betrothed with due solemnity.” of the ballet score grew out Originally, the music for The Firebird of strong Russian tradiwas to be written by the Russian composer tions, both seemed highly Nikolai Tcherepnin . But Tcherepnin withdrew original in the West. from the project, and Anatol Liadov and Alexander Glazunov were both approached . For whatever reasons, Diaghilev could not come to terms with any of these more experienced composers, so he approached Stravinsky, who had already worked for him as an orchestrator, and whose short orchestral piece Fireworks had greatly impressed him . The young composer, honored by the commission, put aside his own project, the opera The Nightingale, and began work on the ballet instead . To describe the magic world of fairybirds and evil sorcerers, Stravinsky had a whole tradition to build on, a tradition he had inherited from his teacher Rimsky-Korsakov . In the last years before his death in 1908, Rimsky had written three operas on fantastical subjects, one of which was titled Kashcheï the Immortal . In these operas — and in a number of other works also — Rimsky-Korsakov made ample use of a special scale that Russian musicians came to know as the “Rimsky scale,” which Stravinsky chose to use . (This scale, also known as the “octatonic” scale, consists of the regular alternation of half-steps and whole steps: A Russian lacquer box C – C-sharp – D-sharp – E – F-sharp – G – A – B-flat .) This particuportraying the fable lar grouping of tones, lying outside the major-minor system, is of The Firebird. always associated with the evil Kashcheï in The Firebird . The music of the magical Firebird itself is also chromatic in Blossom Festival 2017

About the Music: August 12

nature, related in part to the Kashcheï music . The motifs of the Tsarevich, on the other hand, are purely diatonic (that is, built upon a traditional seven-note Western scale) and derived from a particular type of Russian folksong known as the “long-drawnout song” [protyazhnaya pesnya] . Thus, although both the storyline and the musical styling of the ballet score grew out of strong Russian traditions, both seemed quite original and different to ears in the West . For all the Russian influence (including Rimsky-Korsakov’s teaching), Stravinsky’s first ballet also shows a remarkable degree of individuality . In fact, the orchestration reveals the hand of a true young master — for Stravinsky knew how to draw the most spectacular effects from his enormous orchestra . Especially important are the multifarious new combinations of instrumental colors appearing on virtually every page of the score . c r E at I N g P O Pu l a r c O N c E r t s u I t E s

Pencil sketch of Igor Stravinsky, by Pablo Picasso, 1920.

It is little wonder, then, that The Firebird remained Stravinsky’s most popular work throughout his long life . He himself conducted more than a hundred performances — mostly in the form of suites drawn from the complete score . Stravinsky created three of these, one in 1911 and another in 1919, which soon became the most popular version . In 1945, he made a new suite — in part, to renew the copyright on the musical material, but also to reduce the orchestration in order to make the work accessible to smaller orchestras . The suite from 1919 that The Cleveland Orchestra is performing this weekend is in five movements . The mysterious Introduction leads into the glittering Dance of the Firebird, followed by the slow and solemn Khorovod (round dance) of the captive princesses, based on a melancholy Russian folksong first played by the oboe . The Infernal Dance of King Kashcheï is next, started by a fast timpani roll and dominated by a syncopated motif that arises from the lower registers (bassoons, horn, tuba) and is gradually taken over by the entire orchestra . This is the longest movement in the suite, including a lyrical countersubject symbolizing the plight of Kashcheï’s prisoners . The “infernal dance” music returns, concluding with a wild climax . As a total contrast, the Firebird’s Berceuse (“Lullaby”) is a delicate song for solo bassoon . The lullaby leads directly into the Finale (the wedding of Ivan Tsarevich and the Princess), where the first horn introduces August 12: About the Music

The Cleveland Orchestra

what is probably the most famous Russian folksong in the ballet . As this beautiful melody grows in volume and orchestration, it undergoes a significant metric change — the symmetrical triple meter (3/2) is transformed into an asymmetrical 7/4, bringing the music to its final culmination point . The Firebird, a resounding success at the Paris premiere in 1910, remained Stravinsky’s most popular work for half a century . Stravinsky conducted The Firebird himself many times himself, mainly in the form of the orchestral suites, of which the 1919 version became the best known . (He led performances of the 1919 suite with The Cleveland Orchestra in 1925 .) Although his style and artistic outlook had changed considerably (and repeatedly) during the intervening decades, even the 80-year-old Stravinsky had every reason to like the work that had catapulted him to fame at the age of 28 . —Peter Laki © 2017

At a Glance

Stravinsky composed the ballet L’Oiseau de feu [“The Firebird”] between November 1909 and May 1910, on commission from Sergei Diaghilev and his dance company, the Ballets Russes. The first performance took place on June 25, 1910, at the Paris Opera, with the Ballets Russes. The major roles were danced by Michel Fokine (as Prince Ivan), Tamara Karsavina (the Firebird), and Alexis Bulgakov (Kashcheï); Gabriel Pierné conducted. Stravinsky drew three suites from the ballet; in 1911, 1919, and

a third in 1945. The 1919 suite runs approximately 20 minutes in performance and is scored for 2 flutes (second doubling piccolo), 2 oboes (second doubling english horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, tambourine, triangle, xylophone), piano, harp, and strings. Music from The Firebird has frequently appeared on Cleveland Orchestra programs, including performances conducted by the composer.

Costume drawing by León Bakst for the Ballets Russes premiere of The Firebird in 1910; below, Tamara Karsavina in the role.

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

About the Music: August 12

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.

84 74

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 Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra)

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

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

The Cleveland Orchestra Blossom Festival 2017

Individual Annual Support

85 75

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. Oâ&#x20AC;&#x2122;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 Orchestraâ&#x20AC;&#x2122;s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Elizabeth Arnett, Director, Leadership Giving, by calling 216-231-7522.

Mr. and Mrs. Robert W. Gillespie Richard and Ann Gridley Robert K. Gudbranson and Joon-Li Kim Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest Richard and Erica Horvitz (Cleveland, Miami) Tati and Ezra Katz (Miami) Mr. Jeff Litwiller Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Edith and Ted* Miller Lucia S. Nash Dr. Anne and Mr. Peter Neff Drs. Michael and Judith Samuels (Miami) Mrs. David Seidenfeld Mr. and Mrs. Oliver E. Seikel Howard Stark M.D. and Rene Rodriguez (Miami) Joe and Marlene Toot Mr. and Mrs. Alfred Umdasch (Europe) Mr. and Mrs. Daniel P. Walsh Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Jeffrey J. Weaver Meredith and Michael Weil Mr. and Mrs. Jeffrey M. Weiss Florence and Robert Werner (Miami)

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

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

86 76

Individual Annual Support

The Cleveland 2017 BlossomOrchestra Festival

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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 78

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 79

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 80

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

Individual Annual Support

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

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

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

The Cleveland Blossom MusicOrchestra Festival

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 Festival 2017

2017 gourmet Matinee Luncheons

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 82 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

2O17

BLOSSOM MUSIC FESTIVAL

Sunday evening, August 13, 2017, at 7:00 p.m.

t h e cl e v e l a Nd orc h est r a r I c h a r D k au f m a N , conductor

hollYWood heroes aNd superheroes The Untouchables — Main Title music by ennio morricone (b. 1928) arranged by Henry mancini

Dances with Wolves — John Dunbar Theme music by john

barry (1933-2011)

Young Sherlock Holmes — The Riddle’s Solved music by bruce

broughton (b. 1945)

Harry Potter and the Sorcerer’s Stone — Harry’s Wonderous World music by john

williams (b. 1932)

Superman — Love Theme and March music by john

williams (b. 1932)

Batman — Suite: Theme / Waltz to Death / Finales music by danny

elfman (b. 1953)

James Bond 007 — Theme music by monty

norman (b. 1928)

inter mission PROGRAM LISTING CONTINuES

Blossom Festival 2017

Hollywood Heroes: August 13

PROGRAM LISTING CONTINuED FROM PREVIOuS PAGE

The Music of Austin Powers — Shagadelic Suite music by george

s. clinton (b. 1947)

Forrest Gump — Feather Theme music by alan

silvestri (b. 1950)

Disney’s Beauty and the Beast — Overture music by alan

menken (b. 1949)

The Tuskegee Airmen — Suite muisc by lee

holdridge (b. 1944)

Spider-Man — Suite

music by danny

elfman (b. 1953)

Star Trek — Television Theme

music by alexander

courage (1919-2008)

The Right Stuff — Finale muisc by bill

conti (b. 1942)

This concert is sponsored by The Goodyear Tire & Rubber Company. This concert is dedicated to the Sandor Foundation in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

the 2017 b lossom m usic festival is presented by th e J . m . s m ucker com pa ny

Hollywood Heroes: August 13

The Cleveland Orchestra

INTRODUCING THE CONCERT

Stripes,Types,& Tights

H E R O E S C A N B E F O U N D in many styles, stories, and cultures — fighting for good, searching for discoveries, and daring to be different. Tonight’s concert of movie-sized heroes (and superheroes) takes us on a sonic ride from planet earth to outer space. It features musical themes by some of Hollywood’s bestknown composers — and helps us to relive the soaring melodies, jubiliant harmonies, and great moments of triumph and heroic courage that the movies, accompanied by music, can deliver in abundance. Of course, music itself is inherently filled with drama — in its contrasts and varying colors and moods. Music and dramatic action have long been paired together — from Ancient Greek plays to church pageants, from the invention of opera to symphonic storytelling, from movies to . . . video games. Even silent movies featured music (after a few entirely too quiet early and experimental screenings). For films, the music played has always been an augmentation to the action onscreen, enhancing the drama and deepening the emotional moments, or playfully changing the scene or mood, or setting us up for a surprise. This evening’s heroes and superheroes derive some of their onscreen power from the music that carries their stories forward. Sit back, and cheer your favorites onward — into the wild blue yonder, the blackness of space, the curiosity of dreams, the reality of history, the alternate facts of fiction, magic, and sorcery. But, most of all, enjoy a great orchestra playing the soundtracks from great stories. It is a night for winning, and remembering the triumph of good, the boldly going, the willingness to proceed. —Eric Sellen above: Tom Hanks in Forrest Gump (1994), Superman (timeless), The Tuskegee Airmen (1995), Rupert Grint and Daniel Radcliffe in Harry Potter and the Sorcerer’s Stone (2001).

Blossom Festival 2017

August 13: Introducing the Concert

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2017 Blossom Festival

richard kaufman Richard Kaufman has devoted much of his musical life to conducting and supervising music for film and television productions, as well as performing film and classical music in concert halls and on recordings . He made his Cleveland Orchestra debut in May 2009, and his most recent appearance here was for the film Frankenstein in April 2016 at Severance Hall . Mr . Kaufman celebrates his 27th year as principal pops conductor with Orange County’s Pacific Symphony with the 201718 season . He also holds the title of pops conductor laureate with the Dallas Symphony Orchestra, and begins a twelfth season with the Chicago Symphony Orchestra’s “Friday Night at the Movies” series . In addition, he regularly appears as a guest conductor with symphony orchestras throughout the united States and around the world . He made his Boston Pops debut in May 2015, substituting for John Williams for the Annual Boston Pops Film Night . Richard Kaufman received the 1993 Grammy Award for Best Pop Instrumental Performance . His most recent recording, with the London Symphony Orchestra, re-

ceived a 2013 Grammy nomination for Best Instrumental Accompaniment for a Vocal (“Wild is the Wind”) . Other recordings include film music with the orchestras of Brandenburg and Nuremberg, and the New Zealand Symphony . Mr . Kaufman has conducted for many performers and entertainers, including John Denver and Andy Williams . As a violinist, he has performed on the soundtracks of numerous film and television scores, including Jaws, Close Encounters of the Third Kind, and Animal House . Mr . Kaufman joined the MGM Music Department in 1984 as music coordinator, and for the next eighteen years supervised music for MGM film and television projects . He received two Emmy Award nominations . Born in Los Angeles, Richard Kaufman began violin studies at age 7 . He attended the Berkshire Music Festival at Tanglewood in the Fellowship program, and earned a bachelor’s degree in music from California State university Northridge . For more information, visit www.kaufmanconductor.com .

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

guest Conductor: August 13

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

the cleveland orchestra

th e cle ve l aN d o rch e str a

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

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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

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

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

Tram Stops

Blossom Festival 2017

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

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 .

Face this

Buying Tickets

side out

2017 Blossom Festival

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