2018 Blossom Music Festival book 2

2O18

TH E CLE VE L AN D ORCH E STR A

BLOSSOM M USIC FESTIVAL

1 9 6 8 - 2 O 1 8

2O1 8 B LOSSOM BOOK No. 2 SEASON SPONSOR

ANNIVERSARY SPONSOR

INSIDE . . .

July 14 -- Movie Night: Singin’ in the Rain . . . . . page 20 July 15 -- Schumann’s First Symphony . . . . . . . . . . page 33 July 21 -- Kent Blossom Music Side-by-Side . . . . page 46 July 28 -- Mozart and Brahms . . . . . . . . . . . . . . . . . . . . . . page 73 July 29 -- Audra McDonald Sings Broadway . . . page 95 Read this program book online at ExpressProgramBook.com See complete Table of Contents on page 4

Yayoi

Kusama

Infinity Mirrors

Public tickets on sale starting Monday, July 16 Tickets will be available for purchase Mondays at 9 a.m. by phone and online through the run of the exhibition.

No on-site sales. Limit of 4 tickets per transaction.

2017 Global Fine Art Awards Winner: Best Contemporary / Postwar Solo Artist Exhibition CMA gratefully acknowledges: Presenting Sponsors

Michelle Shan & Richard Jeschelnig Supporting Sponsors

ClevelandArt.org

Donna and Stewart Kohl

216-421-7350

Organized by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC All the Eternal Love I Have for the Pumpkins (detail), 2016. Yayoi Kusama (Japanese, b. 1929). Wood, mirror, plastic, black glass, LED. Collection of the artist. Courtesy of Ota Fine Arts, Tokyo / Singapore and Victoria Miro, London. © Yayoi Kusama

There’s nothing quite like an outdoor symphony.

AUTO GROUP

THE

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

2O18 BLOSSOM

2O18 SEASON SPONSOR

50th ANNIVERSARY SPONSOR

MUSIC FESTIVAL T A B L E

O F

C O N T E N T S

2O18 BLOSSOM MUSIC FESTIVAL Book No. 2 7 Share your memories of tonight and join in the conversation online . . . facebook.com/clevelandorchestra

20.

CONCERT — July 14 Movie: Singin’ in the Rain Introducing the Movie . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Conductor: Richard Kaufman . . . . . . . . . . . . . . . . . . . 24 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

33.

CONCERT — July 15 Schumann Symphony No. 1 Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 35 About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36-42 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

46

CONCERT — July 21 Mahler First Symphony Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . 49 About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52-63 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50-51, 64-65

73

CONCERT — July 28 Mozart and Brahms Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . 75 About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77-82 Conductor: Herbert Blomstedt . . . . . . . . . . . . . . . . . . 72

95

CONCERT — July 29 Audra McDonald Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . 97 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98-99

27

About the Orchestra

twitter: @CleveOrchestra instagram: @CleveOrch #CleOrchBlossom Copyrightt © 2018 by The Cleveland Orchestra Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com 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.

About Blossom Welcome to Our Summer Home . . . . . . . . . . . . . . . . . . 7 2018 Festival Calendar. . . . . . . . . . . . . . . . . . . . . . . . . 8-9 About Blossom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13-19 Blossom by the Numbers . . . . . . . . . . . . . . . . . . . . . . . . 67

About the Orchestra. . . . . . . . . . . . . . . . . . . . . . . . . . 27-29 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 30-31

45

Supporting the Orchestra Second Century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 John L. Severance Society . . . . . . . . . . . . . . . . . . . . . . . 66 Heritage Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69-71 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84-93

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.

105

More About Blossom Blossom Information and Policies . . . . . . . . . . 105-110

4

Table of Contents

Blossom Music Festival

10 0

R E A S O N S

TO

C E LE B R ATE

No. 88 The seating capacity of Blossom Music Center Pavilion is 5,700, and another 13,500 patrons can be accommodated on the lawn.

BakerHostetler is honored to share with The Cleveland Orchestra a 100-year tradition of excellence in service to our community.

We are proud of our decades-long support of this world-class orchestra, and to celebrate its legacy, we have gathered 100 facts about its illustrious history.

Visit bakerlaw.com/100reasons to read them all.

bakerlaw.com

Welcome to Our Summer Home!

Happy Anniversary! 2018 is a big, celebratory summer here at Blossom — with the past season already a milestone year for The Cleveland Orchestra. We’ve celebrated our 100th season.

And now we celebrate the 50th Anniversary of our stunningly beautiful and much-loved summer home, Blossom Music Center.

The Cleveland Orchestra opened the first Blossom season in July 1968. Today, a half-century later, we are pleased that a few of you attending this summer — and a few musicians onstage in the Orchestra, too! — were here for that momentous inaugural performance, featuring Beethoven’s magnificent Ninth Symphony. Y Your love of Blossom, and that of succeeding generations, has sustained our summer festival across a half century, and, in doing so, helped create a perfect summer park for music here in Northeast Ohio. With our pioneering offerings for young people, Blossom has never been more successful than it is today.

The Orchestra’s Home in Summit County. Blossom was created by visionary leaders of The Cleveland Orchestra’s board of trustees to showcase the Orchestra’s unsurpassed artistry each summer. Ideally situated in the center of Northeast Ohio between two major metropolitan areas and surrounded by Ohio’s own Cuyahoga Valley National Park, Blossom offers an idyllic setting for evenings of extraordinary music. From the beginning, Blossom was attracting visitors from near and far — even before the National Park’s creation. Today, Blossom is one of the Park’s greatest attractions.

Classical Music and More. Blossom has long been a cherished summer destination for classical music — and much more, including classic rock, country, Broadway, pop, hiphop, Motown, folk, and rap. Indeed, Blossom has hosted virtually every type of music under the stars. For each and every genre, Blossom can take credit for developing new and passionate audiences here in Northeast Ohio, with over 20 million music fans having attended concerts here during its first half century. The Cleveland Orchestra has performed more than a thousand concerts here, making Blossom a place filled with great memories and the promise of many extraordinary musical experiences yet to come. Let me also extend special thanks to our partner Live Nation, who so ably operates Blossom each summer and presents the season’s non-orchestral concerts.

Celebrating the Wonder of Music. On a beautiful summer night, there is nothing better than enjoying a wonderful concert here at Blossom Music Center. Whether you prefer symphonies or jazz, Broadway or folk music, Mahler or Star Wars, whether you experience the concert “straight up” in the Pavilion or lying down on the lawn looking up at the stars, Blossom offers great performances for each of us. With special thanks to this summer’s presenting and anniversary sponsors: The J. M Smucker Company and The Goodyear Tire & Rubber Company. Enjoy tonight — and many more to come!

A d é Gremillet André ill t Blossom Festival 2018

Welcome: From the Executive Director

7

1968- 2O18

B LO S S O M M U S I C F E S TI VA L

JUL

38

PM

SALUTE TO AMERICA Blossom Festival Band Loras John Schissel, conductor

JU

SATURDAY JUL

78

PM

PICTURES AT AN EXHIBITION The Cleveland Orchestra Franz Welser-Möst, conductor Joela Jones, piano Stephen Rose, violin Mark Kosower, cello

JUL

14 8:30

PM

AT TH E M OV I E S

SINGIN’ IN THE RAIN — LIVE The Cleveland Orchestra Richard Kaufman, conductor On the big screen with the score performed live by The Cleveland Orchestra.

ER 18s ND

ONT LAWN HE

JUL

21 7

PM

MAHLER’S FIRST SYMPHONY The Cleveland Orchestra Jahja Ling, conductor with the Kent Blossom Chamber Orchestra Vinay Parameswaran, conductor and the Blossom Festival Chorus

LING LI NG

U

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 SEASON SPONSOR Valley National Park. Its beautiful outdoor setting is an integral part of the Blossom experience — and unrivaled among America’s sumANNIVERSARY SPONSOR mer 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.

For an eighth summer, The Cleveland Orchestra is offering free Lawn tickets to young people ages 17 and under for all Blossom Festival concerts. Two “under 18s” will be admitted with each paid adult admission.

This offer is part of The Cleveland Orchestra’s Center for Future Audiences, an initiative endowed by the Maltz Family Foundation to engage and expand the audience for symphonic music.

TUESDAY

SCHI SCH S SC CHI CH C HIISSEL H S SS

YEARS

FOURTH

WELS WEL W WE ELS EL E LS L SER-MÖST

2 18 SUMMER HOME OF THE CLEVELAND ORCHESTRA

Share your memories of Blossom and join in the conversation online . . . twitter: @CleveOrchestra instagram: @CleveOrch #CleOrchBlossom

TICKETS:

800-686-1141

JUL

28 8

PM

BRAHMS FOURTH SYMPHONY The Cleveland Orchestra Herbert Blomstedt, conductor

BLO LOMS LOM L OM OMS O MSTE TEDT TED EDT ED E DT D T

facebook.com /clevelandorchestra

= features fireworks, weather permitting

OF JULY

AUGUST

WEDNESDAY

SATURDAY

48

SUNDAY

PM

SALUTE TO AMERICA SCHISSEL

AUG

Blossom Festival Band Loras John Schissel, conductor

4 8:30

AUG

PM

57

PM

THE LITTLE MERMAID — LIVE

DVOŘÁK’S SEVENTH SYMPHONY

The Cleveland Orchestra Sarah Hicks, conductor

The Cleveland Orchestra Michael Francis, conductor

AT T H E M OV I E S

FRANCIS

JUL

On the big screen with the score performed live by The Cleveland Orchestra.

SUNDAY

88

PM

ROGER DALTREY PERFORMS THE WHO’S TOMMY

DALTREY

JUL

AUG

11 8

PM

RACHMANINOFF’S RHAPSODY

AUG

12 7

PM

YO-YO MA PLAYS BACH

The Cleveland Orchestra Vasily Petrenko, conductor Simon Trpčeski, piano

YO-YO MA

LY

TRPČESKI

Presentation licensed by Disney Concerts

SOLO PERFORMANCE: Yo-Yo Ma, cello Complete performance of Bach’s Six Suites for Solo Cello.

with members of The Who Band and The Cleveland Orchestra conducted by Keith Levenson

The Cleveland Orchestra John Storgårds, conductor Vilde Frang, violin

AUG

PM

The Cleveland Orchestra James Gaffigan, conductor Stephen Hough, piano

AUG

19 7

PM

FRANK & ELLA The Cleveland Orchestra Randall Craig Fleischer, conductor Capathia Jenkins, vocalist Tony DeSare, vocalist/piano

HOUGH

15

7 PM

SCHUMANN’S SPRING SYMPHONY

18 8

SIBELIUS SECOND SYMPHONY

An evening of great hits and tunes in a musical tribute to two of the greatest — Frank Sinatra and Ella Fitzgerald.

FRANG

JUL

AUG

25 8

JENKINS

The original album performed live in concert.

PM

CARMINA BURANA LUNA

The Cleveland Orchestra Adrien Perruchon, conductor Audrey Luna, soprano Matthew Plenk, tenor Elliot Madore, baritone Blossom Festival Chorus Cleveland Orchestra Children’s Chorus

LABOR DAY WEEKEND FRIDAY

29 7

AUG

PM

AUDRA M C DONALD SINGS BROADWAY The Cleveland Orchestra Andy Einhorn, conductor Audra McDonald, soprano

31

SEP

1

SEP

2 8:30

PM

AT T H E M OV I E S McDONALD

JUL

SATURDAY

Broadway favorites sung by one of today’s most-acclaimed singers.

STAR WARS: A NEW HOPE — LIVE The Cleveland Orchestra Vinay Parameswaran, conductor The classic original film shown in HD on the big screen — with the score performed live by The Cleveland Orchestra.

Presentation licensed by Disney Concerts

TICKETS:

clevelandorchestra.com

SUNDAY

Live Well & Let Your Health Blossom.

The One-In-Six Foundation Congratulates Blossom on its 50th Anniversary.

Protect Your Prostate. Get Tested!

P H Helping save men’s lives since 2005. o oneinsix.org

MUSICAL ARTS ASSOCIATION

as of May 2018

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival O F F IC ERS A N D EXECU T I V E CO M M I T T E E Richard K. Smucker, President Dennis W. LaBarre, Chairman Richard J. Bogomolny, Chairman Emeritus Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz Douglas A. Kern

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

Virginia M. Lindseth Nancy W. McCann Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner

Barbara S. Robinson Jeffery J. Weaver Meredith Smith Weil Paul E. Westlake Jr.

R E S I D EN T TR U S TEES 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 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 Milton S. Maltz Nancy W. McCann Stephen McHale Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Meg Fulton Mueller Katherine T. O’Neill Rich Paul Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner

Charles A. Ratner Zoya Reyzis Barbara S. Robinson Steven M. Ross Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Russell Trusso 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 E N T TR U S TEES Virginia Nord Barbato (New York) Wolfgang C. Berndt (Austria)

Laurel Blossom (California) Richard C. Gridley (South Carolina)

Herbert Kloiber (Germany) Paul Rose (Mexico)

TR U S TEES EX-O F F IC I O Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Patricia Sommer, r President, Friends of The Cleveland Orchestra Elizabeth McCormick, k President, Blossom Friends of The Cleveland Orchestra TR U S TEES E M E R I T I George N. Aronoff Dr. Ronald H. Bell David P. Hunt S. Lee Kohrman Charlotte R. Kramer Donald W. Morrison Gary A. Oatey Raymond T. Sawyer PA S T P R ES I D E N 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, r President, Case Western Reserve University

N O R A RY T R U S TEES FO R L I F E Robert P. Madison Gay Cull Addicott Robert F. Meyerson* Charles P. Bolton The Honorable John D. Ong Allen H. Ford James S. Reid, Jr. Robert W. Gillespie Dorothy Humel Hovorka* * deceased Alex Machaskee

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, 2008-09 James D. Ireland III 2002-08 Dennis W. LaBarre 2009-17

THE CLEVEL AND ORCHESTR A Franz Welser-Möst, Music Director

Blossom Music Festival

André Gremillet, Executive Director

Musical Arts Association

11

Waiting for the Peak of Perfection.

PAG E 2 O 1 5

8

©/TM/® The J. M. Smucker Company

Smuckers SPONSOR AD

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

BLOSSOM

Celebrating Half a Century as Northeast Ohio’s Summer Arts Park T H I S S U M M E R marks the 50th anniversary of Blossom Music Center as the summer home of The Cleveland Orchestra. 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 BLOSSOM M U S I C F E S T I VA L acres along the Cuyahoga River between Akron and Cleveland. Blossom lies within the city limits of Cuyahoga Y E A R S Falls, an Ohio community 1968- 2O18 founded over two-hundred years ago.

Blossom was planned and built by The Cleveland Orchestra at a total cost of approximately $8 million. The Center’s name honors the Dudley S. Blossom family, major supporters of The Cleveland Orchestra throughout its history. Mr. Blossom was elected to The Cleveland Orchestra’s board of trustees in 1919 and later served as board president 1936-38. Family members have continued their involvement with the Orchestra up to the present day — Dudley Sr.’s wife, Elizabeth, was a trustee 1928-70, their son Dudley Jr. was a trustee 1946-61 and his wife, Emily, also served as a trustee 1968-91, while Blossom granddaughter Laurel Blossom has continued the tradition as a trustee since 1999.

George Szell, music director of The Cleveland Orchestra (1946 to 1970), conducted the opening concert at Blossom on July 19, 1968. The all-Beethoven program consisted of the Consecration of the House Overture and the Ninth Symphony, concluding with the grand “Ode to Joy” call for brotherhood and unity among peoples — drawing enthusiastic reviews for the Orchestra and its new summer home from critics across the country and beyond. The Orchestra’s first season at Blossom consisted of six weeks of performances, 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 Blossom Music Festival

About Blossom

13

mid-January, 1968

CONSTRUCTION PHOTOGRAPHY COURTESY OF PETER VAN DIJK

LEFT:

RIGHT:

early April, 1968

YEARS

LEFT:

1968- 2O18 mid-March, 1968

RIGHT:

early April, 1968

Architect Peter van Dijk and music director George Szell

LEFT:

mid-May, 1968

RIGHT:

Blossom today

THE BLOSSOM GROUNDS

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 architect for the Blossom Redevelopment Project in 2002-03 and continues to help direct Blossom upgrades and changes. The seating capacity of the Pavilion is now 5,470 — and another 13,500 patrons can be accommodated on the expansive hillside Lawn seating area. (Claimed records of up to 32,000 people attending a single concert are, perhaps, exaggerated, while modern safety and security codes would preclude admission for such large numbers today.)

Surrounding the Pavilion and expansive Lawn seating area, the Blossom grounds encompass a number of other unique facilities. Near the Main Entrance from Steels Corners Road is Porthouse Theatre. Here, a season of outdoor summer musical theater is presented with a cast of professional actors and a college-age student ensemble. The Porthouse Theatre Company is affiliated with Kent State University’s School of Theatre and Dance.

In addition to the Blossom Pavilion, the main grounds include the Blossom Grille (open before and after each Festival concert), Knight Grove (a party center Blossom Festival 2018

About Blossom

15

PHOTOGRAPH BY PETER HASTINGS

Music Festival of orchestral and related music from the Fourth of July to Labor Day Weekend alongside a summer-long season of concerts devoted to rock, jazz, country, and other popular music presentations. (Live Nation now operates Blossom, and books and promotes each season’s non-orchestral attractions.)

All together, more than 20 million people have attended live musical performances at Blossom in its first half century — with 400,000 enjoying symphonic and rock concerts each summer.

At the Blossom groundbreaking on July 2, 1967, from left In 2002, the facility underwent the first in foreground are Frank Joseph (then board president major capital improvements project in of The Cleveland Orchestra), Elizabeth Bingham Blossom (Mrs. Dudley Sr.), Benjamin Gale (Blossom grandson), the park’s history. The Blossom RedevelBetsy Blossom (youngest Blossom grandchild), and opment Project featured a major renovaCharles Bingham Blossom (Blossom grandson). tion 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, new enhancement projects have continued almost every year, including the construction of new restrooms and walkways, and the introduction of new trams.

accommod accommodating groups of 25 to 450), and Eells Gallery, y which features exhibits presented by Kent Blossom Art, often featuring regional and national artists.

Three landscaped gardens are also located on the main grounds: The Frank E. Joseph Garden was named in honor of the board president of The Cleveland Orchestra 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.

The Herbert E. Strawbridge Garden was added in 2003, named in memory of Cleveland Orchestra 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 KENT STATE UNIVERSITY

Since the inception of Blossom, The Cleveland Orchestra has partnered with Kent State University to extend Blossom’s role as a center for S AR Y E6 8 - 2 O 1 8 professional training in the visual and performing arts. Each summer, the 19 Kent Blossom arts festivals bring some 300 young professionals in art, music, and theater together with working professionals to teach, explore, and produce great art. This important relationship between a premier performing ensemble and a public university has also served as a model for other collaborations. Each summer’s off ferings emphasize intensive, individualized study with prominent visiting master artists and resident Kent State faculty, including principal members of The Cleveland Orchestra.

Public exhibitions and performances are an integral part of each summer’s offerings.

A season of Broadway musicals is presented at Porthouse Theatre annually, while the musicians of Kent Blossom Music Festival perform free public concerts and recitals and appear in a special side-by-side concert with The Cleveland Orchestra (this year on July 21).

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 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 National Park and nearby attractions by visiting www.nps.gov/cuva.

16

About Blossom

Blossom Music Festival

Volu Vo lunt lu ntee nt eeri ee rism ri sm is th the e fo foun unda un dati da tion ti on of Good Go ood o y ye ear’ arr ’s ’s commitment to creating a better future for our commun uniiitties. We are proud to help The Cleveland Orchestra celebrate Blossom’s 50th anniversary season.

WWW.GOODYEAR.COM/COMMUNITY © 2018 The Goodyear Tire & Rubber Company. All rights reserved.

Blossom Committee h of The Cleveland Orchestra The Blossom Committee of The Cleveland Orchestra is an advisory group created to support the development and prioritiza i tion 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 15, 2018.)

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

Elisabeth Hugh Laura Hunsicker Mary Ann Jackson Michael J. Kaplan Philip S. Kaufmann Christine Kramer Janice R. Leshner

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

EX-OFFICIO

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

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18

Blossom Committee

2018 Blossom Festival

Blossom Friends h t of The Cleveland O 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 Elizabeth McCormick, President Kaye Lowe, Vice President Mary Walker Sprunt, Recording Secretary JoAnn Greiner, Corresponding Secretary Wanda Gulley, Treasurer Elisabeth Hugh, Ex-Officio, Immediate Past President

AREA CHAIRS — Danielle Dieterich — Kathleen McGrath CANTON / STARK COUNTY — Elizabeth McCormick, Faye Heston HUDSON — Connie Van Gilder ((Acting Chair r) KENT — Roseanne Henderson, Janet Sessions NORTHEAST — Larry Szabo Each year, Blossom Friends presents a range MEMBER-AT- LARGE — Connie van Gilder AKRON

AURORA

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.

Read more about the Gourmet Matinee Luncheons on page 68

Blossom Festival 2018

Blossom Friends

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2O18

BLOSSOM MUSIC FESTIVAL

Saturday evening, July 14, 2018, at 8:30 p.m.

T H E C L E V E L A N D O R C H E S T R A presents A SY M P H O N I C N I G H T AT T H E M OV I E S

S I NG I N ’ I N TH E RA I N THE CAST GENE KELLY . . . . Don Lockwood DONALD O’CONNOR . . . . Cosmo Brown DEBBIE REYNOLDS . . . . Kathy Selden JEAN HAGEN . . . . Lina Lamont MILLARD MITCHELL . . . . R. F. Simpson CYD CHARISSE . . . . Dancer DOUGLAS FOWLEY . . . . Roscoe Dexter RITA MORENO . . . . Zelda Zanders Story and Screenplay by ADOLPH GREEN BETTY COMDEN Songs Lyrics by ARTHUR FREED Music by NACIO HERB BROWN Musical Numbers Staged and Directed by GENE KELLY STANLEY DONEN Produced by ARTHUR FREED Directed by GENE KELLY STANLEY DONEN Film courtesy of WARNER BROS. ENTERTAINMENT, INC. with the score performed live by THE CLEVELAND ORCHESTRA conducted by RICHARD KAUFMAN

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Concert Program: July 14

2018 Blossom Festival

YEARS 1968- 2O18

CONCERT LENGTH:

The film is presented with one intermission and will end at approximately 10:35 p.m.

PR O D U C T I O N CR E D I T S Producer: John Goberman Live orchestra adaptation: Patrick Russ Technical Supervisor: Pat McGillen Music Preparation: Larry Spivack Original orchestrations reconstructed by: John Wilson, Paul Campbell, and Andrew Cottee The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations).

A Symphonic Night at the Movies is a production of PGM Productions, Inc. and appears by arrangement with IMG Artists.

PGM Productions, Inc. 140 Riverside Blvd, Suite 1220 New Y York, NY 10069

This concert is sponsored by Dollar Bank.

This concert is supported by the David E. and Jane J. Griffiths Blossom Music Festival Family Concerts Fund, created through a generous endowment gift to The Cleveland Orchestra.

This concert is dedicated to JoAnn and Robert Glick in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

201 8 B lossom Season S ponsor: T h e J . M . S m u c k e r C o m p a n y

50 th Anniversar y Sponsor: T h e G o o d y e a r T i r e & R u b b e r C o m p a n y

Blossom Music Festival

Concert Program: July 14

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We are proud to partner with The Cleveland Orchestra.

Equal Housing Lender. Member FDIC. Copyright Š 2018, Dollar Bank, Federal Savings Bank.

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July 14

PAF503_18

Blossom Music Festival

WELCOME TO . . .

Movie Night at Blossom of moviemaking continue to evolve, the emotional bond between audience and characters remains a steady source of love (or hate) — often enhanced and enlarged through musical scores ripe with a catchy tune, a perfectly-phrased love melody, or punch-emup fight music. The latest special effects may dazzle us into disbelief with their realism, but it’s the acting and the storyline that create a classic. And, yes, great music helps buoy things along, too.

With the strength of that musical underpinning in mind, the idea of hearing classic scores played live by symphony orchestras has gained a groundswell of support and interest in recent years. And a growing list of wellpitched, ageless film classics has been brought to new life for audiences around the world through this tantalizing experience.

This evening’s presentation of Singin’ in the Rain offers up a family favorite musical —originally released in 1952, with cast that includes Gene Kelly, Debbie Reynolds, Donald O’Connor, and Rita Moreno. The movie was a “catalog” show, put together to utilize, cannibalize, and make a new success of songs that composer Nacio Herb Brown and lyricist Arthur Freed had already written (and in some cases already used) in other movies. Yet the storyline — built around the transition from silent movies to talkies — brings the songs together and creates an incredibly fun-filled and sunny story, even when it rains. The dancing is in high style, the antics are good family fun (for the most part), and the energy level infectious. Whether you are seeing this film for the first time or the twentieth, you’ll find yourself smiling, come rain or shine!

—Eric Sellen WHILE THE MEANS AND METHODS

Blossom Festival 2018

Introducing the Movie: July 14

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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 appearances here were for the film North by Northwest in November 2017 at Severance Hall and during the 2017 Blossom Music Festival for “Hollywood Heroes and Superheroes.”

Mr. Kaufman celebrates his 27th year as principal pops conductor with Orange County’s Pacific Symphony with the 2017-18 season. He also holds the title of pops conductor laureate with the Dallas Symphony Orchestra, and continues in 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. In July 2016, two days before its official theatrical release, Richard conducted the San Diego Symphony in a live performance of Michael Giacchino’s new score for Star Trek Beyond, accompanying the film in its gala world premiere in IMAX. He made his Boston Pops debut in May 2015, substituting for John Williams for the Annual Boston Pops Film Night.

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Richard Kaufman received the 1993 Grammy Award for Best Pop Instrumental Performance. His most recent recording, with the London Symphony Orchestra, received 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.

July 14: Conductor

Blossom Music Festival

M OV I E SYN O P S I S Hollywood, 1927. Two of the biggest stars for Monumental Pictures, the glamorous on-screen couple Lina Lamont and Don Lockwood, are also an off-screen couple (if the trade papers and gossip columns can be believed). Both go along with the public’s perception — to please their adoring fans and sell more movie tickets. In reality, Don barely tolerates Lina, while she, despite thinking Don beneath her, actually believes the stories onscreen to bolster her own stardom and boost her sense of self-importance.

R.F. Simpson, Monumental’s head, dismisses what he thinks is a flash in the pan: talking pictures. It isn’t until The Jazz Singer becomes a bona fide hit, resulting in all movie theaters installing sound equipment, that R.F. knows Monumental — especially Don and Lina — have to jump on the talking picture bandwagon, even though no one at the studio knows anything about sound technology. Musician Cosmo Brown, Don’s best friend, gets hired as Monumental’s ideas man and musical director. At the same time, Don has secretly begun dating Kathy Selden, a chorus girl who is trying to make it big in pictures herself.

Cosmo and Kathy help coach Don in his preparations to make the leap to talking picture stardom — despite technological issues. The bigger problem, however, is Lina, whose voice is not what fans may expect. Lina is prepared to do anything to continue her stardom. Kathy, Lina, and Don’s desires — onscreen and off — collide. Is there a workable solution?

Blossom Music Festival

Synopsis: Singin’ in the Rain

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FRANZ WELSER-MÖST

July 2018 Dear Friends, Blossom Music Center is a special place amidst the woodlands of the Cuyahoga Valley National Park. Far from everyday cares, a summer night at Blossom offers new perspectives in a landscape of visual poetry and the beauty of Nature.

Many composers have drawn great inspiration from Nature, writing their impressions directly into music — or in finding quietude and piece of mind in which to write. Beethoven loved to walk by the brook, Mahler and Richard Strauss hiked vigorously through the mountains (and both loved the peaceful tranquility of the mountains when they were composing), Debussy was fascinated by the churning interplay of waves and light on the ocean. The magic of sunsets or sunrise, of changing light of day, the rush of the winds, each represents Nature’s own music — in colorful sound and in visual colors.

The fact that we are celebrating the 50th anniversary of such a finely-designed music facility as Blossom is a grand testamant to the community that saw a need and decided, a half a century ago, to build a park devoted to music and the arts here in this American countryside. Just as we celebrate the community that created and has supported The Cleveland Orchestra for 100 years, Blossom represents the foresight, creativity, and hopes of the people of Ohio.

Thank you for joining us in celebrating this beautiful place in the woods — as we embark on a Second Century of wonderous music-making together.

Best wishes,

THE CLEVELAND ORCHESTRA

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From the Music Director

BLOSSOM

2018 Blossom Festival

THE

CLEVELAND ORCHESTRA

its Centennial Season in 2017-18 and across 2018, The Cleveland Orchestra begins its Second Century hailed as one of the very best orchestras on the planet, noted for its musical excellence and for its devotion and service to the community it calls home. The coming season will mark the ensemble’s seventeenth year under the direction of Franz Welser-Möst, one of today’s most acclaimed musical leaders. Working together, the Orchestra and its board of trustees, staff, volunteers, and hometown have affirmed a set of community-inspired goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence while focusing new efforts and resources toward fully serving its hometown community throughout Northeast Ohio. The promise of continuing extraordinary concert experiences, engaging music education programs, and innovative technologies offers future generations dynamic access to the best symphonic entertainment possible anywhere.

The Cleveland Orchestra divides its time across concert seasons at home — in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and intensive performance residencies.

These include a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, in New York, at Indiana University, and in Miami, Florida.

Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does. The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestraconductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home and on tour across the globe, and through recordings and broadcasts. Its longstanding chamEach year since 1989, The Cleveland Orchestra has presented a free concert in downtown pionship of new composers and commissioning of Cleveland, with this summer’s on July 6 as new works helps audiences experience music as a the ensemble’s official 100th Birthday bash. living language that grows with each new generaNearly 3 million people have experienced the Orchestra through these free performances. tion. 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 none in the world.

Serving the Community. Programs for students and engaging musical exPHOTO BY ROGER MASTROIANNI

WITH CE LE BRATION S THROUGHOUT

Blossom Festival 2018

The Cleveland Orchestra

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plorations 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, designed to bring the OrchesFranz Welser-Möst tra 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 attendees now comprised of concertgoers age 25 and under — as the Orchestra now boasts one of

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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 its extraordinary tradition of excellence onstage, in the classroom, and for the

The Cleveland Orchestra

2018 Blossom Festival

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, 194346; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 19842002; and Franz Welser-Möst, 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 2018

5,500+

employees

1,600+

volunteers

750+ 80+

locations

70+

therapy dogs

1

The Cleveland Orchestra

doctors and nurses

and just 1 focus: kids.

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

Learn more at akronchildrens.org.

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2 O 1 8 B LO S S O M M U S I C F E S T I VA L

S AR Y E6 8 - 2 O 1 8 19

THE CLEVELAND ORCHESTRA

Franz Welser-Möst M U S I C D I R E C TO R

CELLOS Mark Kosower*

Kelvin Smith Family Chair

SECOND VIOLINS Stephen Rose * 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

Katherine Bormann Analisé Denise Kukelhan

Alfred M. and Clara T. Rankin Chair

Emilio Llinás 2 James and Donna Reid Chair

Eli Matthews 1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

Yun-Ting Lee Jiah Chung Chapdelaine VIOLAS Wesley Collins* Chaillé H. and Richard B. Tullis Chair

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

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Richard and Nancy Sneed Chair

Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

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The Cleveland Orchestra

Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

David Alan Harrell Martha Baldwin Dane Johansen Paul Kushious BASSES Maximilian Dimoff * Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1 Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra.

The number and seating of musicians onstage varies depending on the piece being performed.

Blossom Music Festival

FLUTES Joshua Smith * Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2 Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

Robert Walters ENGLISH HORN Robert Walters Samuel C. and Bernette K. Jaffe Chair

CLARINETS Afendi Yusuf * Robert Marcellus Chair

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

Daniel McKelway 2 Robert R. and Vilma L. Kohn 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

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman 2 James P. and Dolores D. Storer Chair

Michael Miller CORNETS Michael Sachs * Mary Elizabeth and G. Robert Klein Chair

Donald Miller Tom Freer Thomas Sherwood KEYBOARD INSTRUMENTS Joela Jones * Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller

Michael Miller

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

TROMBONES Massimo La Rosa *

Sidney and Doris Dworkin Chair Sunshine Chair George Szell Memorial Chair

Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel

2

BASS TROMBONE Thomas Klaber

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

EUPHONIUM AND BASS TRUMPET Richard Stout

CONDUCTORS Christoph von Dohnányi

TUBA Yasuhito Sugiyama*

Vinay Parameswaran

Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANI Paul Yancich * Otto G. and Corinne T. Voss Chair

MUSIC DIRECTOR LAUREATE ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

Tom Freer 2 Mr. and Mrs. Richard K. Smucker Chair

The Cleveland Orchestra

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John Storgårds

Vilde Frang

Finnish musician John Storgårds has a dual career as a conductor and violin virtuoso. He is chief guest conductor of the BBC Philharmonic Orchestra, principal guest conductor of the National Arts Centre Orchestra Ottawa, artistic director of the Chamber Orchestra of Lapland, and an artistic partner with the Münchener Kammerorchester. He made his Cleveland Orchestra debut in July 2014. Mr. Storgårds regularly conducts the major orchestras around the world, including those of Berlin, Boston, Chicago, Leipzig, London, New York, Tokyo, and Vienna, as well as across the Nordic countries. As an opera conductor, he leads performances with the Finnish National Opera and Savonlinna Opera Festival. Mr. Storgårds’s discography includes albums of core repertoire by such composers as Beethoven and Sibelius, alongside new composers including George Antheil and Kalevi Aho. Early in his career, John Storgårds served as concertmaster of the Swedish Radio Symphony Orchestra, before studying conducting with Jorma Panula and Eri Klas. He received the Finnish State Prize for Music in 2002 and the Pro Finlandia Prize in 2012. For more details, please visit www.johnstorgards.com.

Norwegian violinist Vilde Frang was asked

by Mariss Jansons to perform with the Oslo Philharmonic Orchestra at age 12.

She studied at Oslo’s Barratt Due Institute of Music, Musikhochschule Hamburg, and the Kronberg Academy. As a BorlettiBuitoni Trust Fellowship winner, she also worked with Mitsuko Uchida. In 2012, Ms. Frang received the Credit Suisse Young Artist Award and made her debut with the Vienna Philharmonic. Ms. Frang’s current and future engagements include performances with the orchestras of Amsterdam, Berlin, Leipzig, Los Angeles, Paris, St. Petersburg, Sydney, Tokyo, and Zurich, as well as concerts at festivals across Europe.

In recital, her appearances have included engagements at New York’s Carnegie Hall, Amsterdam’s Concertgebouw, Vienna’s Musikverein, London’s Wigmore Hall, and the Zurich Tonhalle. Ms. Frang is an exclusive Warner Classics artist, whose albums have won awards including the Diapason d’Or, Edison Klassik Award, and Deutsche Schallplattenpreis. She performs on an 1864 Jean-Baptiste Vuillaume violin. She is making her Cleveland Orchestra debut with this evening’s concert.

For more information, please visit www. vildefrang.com.

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July 15: Guest Artists

Blossom Music Festival

2O18

BLOSSOM MUSIC FESTIVAL

YEARS 1968- 2O18

Sunday evening, July 15, 2018, at 7:00 p.m.

T H E CL E V E L A ND ORC H EST R A J O H N S TO RG Ă&#x2026; R D S , conductor

GEORGE ANTHEIL (1900-1959)

BENJAMIN BRITTEN (1913-1976)

Over the Plains Violin Concerto, Opus 15 1. Moderato con moto â&#x20AC;&#x201D; Agitato â&#x20AC;&#x201D; Tempo primo â&#x20AC;&#x201D; 2. Vivace â&#x20AC;&#x201D; Animando â&#x20AC;&#x201D; Largamente â&#x20AC;&#x201D; Cadenza â&#x20AC;&#x201D; 3. Passacaglia: Andante lento (Un poco meno mosso) VILDE FRANG, violin

INTER MISSION ROBERT SCHUMANN (1810-1856)

Symphony No. 1 (â&#x20AC;&#x153;Springâ&#x20AC;?)

LQ % Ă DW PDMRU 2SXV 1. Andante un poco maestoso â&#x20AC;&#x201D; Allegro molto vivace 2. Larghetto 3. Scherzo: Molto vivace â&#x20AC;&#x201D; Molto piĂš vivace â&#x20AC;&#x201D; Tempo I 4. Allegro animato e grazioso

Vilde Frangâ&#x20AC;&#x2122;s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestraâ&#x20AC;&#x2122;s Guest Artist Fund from The Payne Fund.

This concert is dedicated to Larry J. Santon and Lorraine S. Szabo in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

201 8 B lossom Season S ponsor: T h e J . M . S m u c k e r C o m p a n y

50 th Anniversar y Sponsor: T h e G o o d y e a r T i r e & R u b b e r C o m p a n y

Blossom Music Festival

Concert Program: July 15

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INTRODUCING THE CONCERT

I Inspiration , Land & Spring T H I S E V E N I N G ’ S C O N C E R T brings together two works from the first

half of the 20th century, followed by a symphonic masterpiece from a hundred years earlier. The composers are from the United States, Great Britain (although the concerto was actually written in Canada), and Germany.

In these three pieces, we hear different courses and currents running through music’s ongoing journey, from the 19th-century Romanticism of Robert Schumann to the uniquely distilled ideas of Benjamin Britten, to o aan instrumental work by the e rarely-heard American George Antheil.

The evening begins with a short piece by Antheil, written in 1945. The composer iss best known for a series of works that can be challenging to perfform, with many extra players or unusual machine-like in instruments. Here, however, he paints a pictture of a Texxaas landscape: big, warm, ever-changing, welccoming, an and filled with Nature’s expansive ideas.

Next comes Benjamin Britten’s Violin ConN certo o, written while the composer was in Canada iin 19 1939, just as the start of World War II engulfed Eurrope. It is at once beautiful and powerful, Eu bu b ut in ways unlike many better-known conc certos . The fireworks here are cooler and more precise, perhaps, but no less intense.

Violinist Vilde Frang makes her debut with V tonight’s performance.

To close the concert, guest conducutor John Storgårds leads Robert Schumann’s First Symphony, nicknamed “Spring,” from 1841. This exuberant work burst upon the composer as if in a spell — written from start to finish in four sleepless and cold winter nights. It is an exhilarating journey of musical energy gy.

—Eric — Sellen

Blossom Music Festival

July 15: Introducing the Concert

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Over the Plains composed 1945

by

George

ANTHEIL born July 8, 1900 Trenton, New Jersey died February 12, 1959 New York City

At a Glance Antheil wrote this short orchestral work in 1945. It was premiered by the Dallas Symphony Orchestra on March 31, 1946, led by Antal Dorati.

This piece runs just over 5 minutes in performance.

Antheil scored it for 2 flutes, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, and strings.

The Cleveland Orchestra is performing Over the Plains for the first time with this concert.

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I N H I S O R I G I N A L printed comments for this work, George Antheil spoke of a trip through Texas in 1936, when he formed the plan of a piece celebrating the optimistic spirit inspired by the landscape — and also the cheerfulness of the local inhabitants. The viewpoint, he said, is that of “a young man walking alongside his covered wagon with his little family inside; moreover the young man would be audacious, as a young man making his home in the new west of a century ago properly would be.”

The reason for his visit to Texas was a slow journey across America gathering impressions for the “American” symphony he wanted to write, while heading to Hollywood, where he had an offer from Paramount to compose for the movies. His first film was The Plainsman directed by Cecil B. DeMille, followed by many more. He became a fluent and skillful film composer, although he never quite threw off his reputation as a crank, a reputation acquired in 1927 after a performance at Carnegie Hall of his Ballet Mécanique, an avant-garde work that requires eight pianos, one piano-player, four xylophones, two electric bells, two propellers, tam-tam, four bass drums, and a siren. Antheil was, in fact, a leading composer of “machine music,” a modernism that caught hold in the 1920s and attracted some well-known composers, including Honegger, Prokofiev, and Ravel (as well as a number of Soviet composers). He spent his early years in Berlin and Paris, where he was closely linked with avant-garde circles including Ezra Pound, James Joyce, Pablo Picasso, Ernest Hemingway, Erik Satie, and Darius Milhaud.

Some have thought that Over the Plains was derived from the score for The Plainsman or even for a later film, The Plainsman and the Lady, but this appears untrue. Both films are Westerns, and although the self-standing orchestral piece suggests a similar background, it is clearly of different material. It is a tuneful evocation of an authentic American landscape, unburdened by any need to synchronize itself with a film’s visual sequencing. It has been championed by this evening’s guest conductor, John Storgårds, who has recorded it with the BBC Philharmonic Orchestra along with other forgotten gems from yesteryear. For those anxious to learn more about this remarkable American composer, Antheil’s autobiography is among the best by any composer of the 20th century.

—Hugh Macdonald © 2018 July 15: About the Music

Blossom Festival 2018

Violin Concerto, Opus 15 composed 1938-39

by

Benjamin

BRITTEN born November 22, 1913 Lowestoft Suffolk, England died December 4, 1976 Aldeburgh Suffolk, England

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B E N J A M I N B R I T T E N ’ S concertos have never fared as well as his vocal music. Nor have the two orchestral works that serve a particular purpose — the Sinfonia da Requiem (written to commemorate the 2600th anniversary of the Japanese Empire) and The Young Person’s Guide to the Orchestra (which really should be liberated from confinement to children’s concerts and, in addition, be played much more often for grown-ups, who can more fully appreciate its high craft and artistic brilliance).

Britten wrote a Double Concerto for violin and viola in 1932, a Piano Concerto in 1938, a Violin Concerto in 1939, and the Cello Symphony in 1963, but none of these have a secure foothold with soloists. Any chance to hear them in live performance should be prized.

His own instincts may lie behind this, for during the period in which the Violin Concerto was being written — the early part of 1939 — Britten was also much taken with some poems by Rimbaud and was frequently diverted from the concerto to set “just one more” French poem. The vocal work became Les Illuminations, and the Violin Concerto was duly completed, and while the Illuminations is a secure favorite with singers, the concerto is nonetheless a work of high imagination and superlative craft.

The Violin Concerto was first heard in New York in 1940.

Britten and his partner, Peter Pears, had left England in May 1939 thinking they might go only to Canada for a short visit. Their journey turned out to be a stay of over three years spent almost entirely in the United States — before Britten felt the inexorable pull of his homeland.

The Violin Concerto was completed in September 1939 at Saint-Jovite in the mountains of Quebec. Soon thereafter, Britten and Pears were living in Amityville, Long Island, as the guests of Dr. and Mrs. William Mayer, German refugees who actively supported the arts. The concerto was first played by the Spanish violinist Antonio Brosa, who was normally resident in London and with whom Britten had toured a few years earlier. The conductor was John Barbirolli, then, though only briefly, music director of the New York Philharmonic. This was his introduction to Britten’s music, and he followed this successful first performance with another a year later, that of the Sinfonia da Requiem.

As in other violin concertos from the same era — by Walton,

About the Music: July 15

37

At a Glance Britten began work on his Violin Concerto in November 1938 in England. He completed the score in September 1939 in Saint-Jovite, Quebec, Canada, having crossed the Atlantic in May. The concerto was first performed on March 27, 1940, at Carnegie Hall, with the New York Philharmonic under the direction of John Barbirolli and with Antonio Brosa as soloist. Britten made some minor revisions to the score in 1950.

This concerto runs about 30 minutes in performance.

Britten scored it for 3 flutes (second and third doubling piccolo), 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, tenor drum, bass drum, cymbals, triangle, bells, whip, glockenspiel), harp, and strings, plus the solo violin.

The Cleveland Orchestra has performed this concerto on only one previous occasion, on a weekend of concerts led by Vladimir Jurowski, with Simone Lamsma as the soloist.

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Korngold, Barber, Shostakovich, and others — Britten’s soloist is not let off lightly. Technically-difficult features — including multiple stopping, harmonics, playing at the extreme top end of the instrument’s range, and complex bowing patterns — all are required by Britten in abundance. At the same time, the music has a lovely lyrical quality, best illustrated by the soloist’s opening melody, heard throughout the first movement, along with a striking figure heard first on the timpani alone, perhaps a tacit tribute to the opening of Beethoven’s Violin Concerto. A contrasting theme is more spiky, but the overall mood is relaxed, especially when, towards the end of the movement, the strings play the opening lyrical theme in the manner of a swooning serenade.

The scherzo middle movement has a swift, grotesque character not unlike that of many similar movements by Shostakovich. The contrasting middle section is a nonchalant phrase heard over and over again until the soloist’s wiggling in the stratosphere is taken over by two piccolos while the tuba rises cautiously from the depths — an extraordinary passage. The scherzo material returns and abruptly gives way to a solo cadenza, which introduces material from both scherzo and first movement amid the usual violinistic muscle exercises.

At the end of the cadenza the soloist steps deliberately up a high scale, and at the point where the finale last movement begins, recalls the lyrical theme from the first movement.

This should not distract us from the entry of three trombones in unison, who pick up the rising scale and answer it with a scale leading downwards. This simple up-and-down contour is the mortar that binds the last movement together. Britten called it a Passacaglia, although it is not a strict example of this form (which would present an unending and repeated bassline, over which other materials are developed). The scales up and down are easily followed, while the music moves through a variety of keys and textures. At one point, the music has a martial character, but soon afterward the mood becomes very solemn and slow, led by the trombones.

There is no brilliant and noisy ending to this work. Alone among violin concertos, Britten’s concerto concludes in a quiet, very moving hymn, and the question of whether it is to end in the major or the minor is left unresolved until the very last moment.

—Hugh Macdonald © 2018

July 15: About the Music

Blossom Festival 2018

Symphony No. 1 (â&#x20AC;&#x153;Springâ&#x20AC;?)

LQ % Ă DW PDMRU 2SXV composed 1841 R O B E R T S C H U M A N N was an awkward and paradoxical man.

by

Robert

SCHUMANN born June 8, 1810 Zwickau, Saxony died July 29, 1856 Endenich, near Bonn

Blossom Music Festival

Introverted, yet passionate. Particular, yet at times unconcerned.

Prone to too much drinking, lazy in his studies, and yet utterly consumed and focused on his music writing when an idea hit him. Willing to buck convention, but tempering of those around him. Critical of others, but understanding. Tantalized by many women, yet loving just one as a soul-mate who he only partially understood. A dreamer looking for his own dream, but sometimes acting as if in a nightmare.

From the evidence of his life, it now seems clear that Schumann had a manic-depressive personality. His contradictory mood swings, his periods of great productivity followed by weeks of not caring. His over-working to exhaustion, his deep depressions. That he wasnâ&#x20AC;&#x2122;t born in a later generation where understanding and treatment might have helped, we may regret. If the journey between up and down helped give him his creative perspective, we can be thankful. Certainly his art (composing and writing) gave him an outlet into which he poured his thoughts, his demons, his passion.

Schumann came to a musical career choice late. Although music had always been part of his familyâ&#x20AC;&#x2122;s life, and he was encouraged to enjoy it, he did not begin playing piano until age 10 â&#x20AC;&#x201D; and only later got really serious about it. At university and with his private teachers, he studied music theory and harmony for the first time in his later teens. His upbringing was, therefore, far from that of a young prodigy like Mozart or Mendelssohn, who both bathed in a musical glow from the beginning.

Schumannâ&#x20AC;&#x2122;s father and brothers were in the publishing business, and his family wanted Robert to study law in order to guarantee a good income. Robert studied only half-heartedly, however, and dreamed more of being a great writer, perhaps a novelist â&#x20AC;&#x201D; though he never really committed himself to the idea.

(Later, his skills as a writer and editor, talking about and explaining music, contributed greatly to his small income as a fledgling composer. Writing, however, also kept him from spending more time composing.)

Schumann showed some early promise in his ability to play the piano, and regularly participated in chamber music perforAbout the Music: July 15

39

At a Glance Schumann composed this symphony in B-flat major in the course of four sleepless days and nights in January 1841. He orchestrated it over the following month. The first performance took place on March 31, 1841, with Felix Mendelssohn conducting the Leipzig Gewandhaus Orchestra. The score was dedicated to Friedrich August, King of Saxony, who sent the composer a golden snuffbox as a token of his appreciation.

This symphony runs about 30 minutes in performance. Schumann scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (triangle) and strings.

The Cleveland Orchestra has recorded this symphony three times: in 1946 with Erich Leinsdorf, in 1958 with George Szell, and in 1986 with Christoph von Dohnányi.

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LEFT : Two portraits of Schumann, at age sixteen in 1826 and in a pensive mood in 1847.

ABOVE : In Hamburg in 1850, with Clara his wife (one of the great pianists of the 19th century).

mances as a student. But he had started learning later than most virtuosos, and although he harbored a desire to become a concert soloist, his lackadaisical practicing didn’t progress him fast enough. (His overly-intense work with a finger stretching machine, in order to hurry things along, caused enough damage for him to give up a career playing the piano entirely.)

Thus was Schumann the composer born . . . of necessity.

He wasn’t interested enough in law. He wasn’t willing to commit himself as an author. And his hands weren’t good enough as a concert pianist.

A N I M PA S S I O N E D SY M PH O N Y

The “Spring” Symphony, premiered in 1841 and soon published as No. 1, was not Schumann’s first attempt at large symphonic scale. He’d begun writing a symphony at least three times earlier, some ideas in G minor in 1833, a couple of movements in D minor in 1835 or 1836, and sketches for a work in C minor in 1840. He abandoned each, however, distracted by life’s dayto-day challenges and unsure of his own worth as a composer.

One great spur to Schumann the composer was his discovJuly 15: About the Music

Blossom Festival 2018

ery in 1839 of Franz Schubert’s C-major Symphony (later given the nickname “The Great”) among posthumous manuscripts left with friends. Schumann arranged for its public premiere, under Felix Mendelssohn’s direction in Leipzig, and was greatly impressed with Schubert’s unknown “Great” opus. (In relation to the symphony, the German word Grosse meant great in the sense of “grand” rather than good, although the music is certainly that, too.)

The cogs in Schumann’s mind once again turned toward larger symphonic forms, by which he hoped to claim his own rightful place among the pantheon of composers, to earn respect and to make some real money. Which is to say that ambition, as much as anything, led Schumann forward, spurring him to greater challenges and evolving his own musical vocabulary and voice.

The “Spring” Symphony’s nickname is Schumann’s own, although he did not directly call it that. It was, however, very much part of how he talked about the symphony to others. He told Louis Spohr, a well-known but conservative and older composer colleague, that the symphony was created “with a vernal passion . . . that always sways men even into old age and surprises them anew each year. Description and painting were not part of my intention, but I do believe that the season in which the symphony was born influenced its structure and helped make it what it is.”

Schumann may have felt the cyclic reinvigoration of Springtime even more intensely than many people, given his own manic-depressive cycles and their reflection in the annual progress of seasons. In a burst of creativity, Schumann penned the entire symphony in four very intense (and largely sleepless) days and nights in January 1841. Thus, if spring was the inspiration, it was the longing for spring rather than the season itself that inspired him. After years of half-hearted attempts, the symphony sprang forth realized in full, just as Spring can replace Winter with sudden abandon and purpose.

Schumann’s own feelings of connection between the season and the symphony intensified as he orchestrated it over the next four weeks, and he even considered naming each of the work’s four movements: 1. Beginning of Spring, 2. Evening, 3. Merry Playmate, and 4. Spring at Its Height. In the end, he left the storyline “behind the work” to inform audiences through the music alone — although he frequently mentioned the season connections to potential conductors.

The “Spring” Symphony was premiered in March 1841, just two months after it was conceived, conducted in Leipzig by Felix

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About the Music: July 15

41

Mendelssohn, who had been appointed to lead the city’s orchestra (and had become Schumann’s friend). Mendelssohn’s best symphonies (Nos. 3, 4, and 5) were still in the future, so let us not ever judge Schumann for at times sounding like Mendelssohn.

A horn call opens the symphony, followed almost immediately with a burst of energy that carries through all four movements. The music repeatedly gathers new drive, reinforcing the appropriateness of the symphony’s nickname. The second movement is lyric rather than languorous, as Schumann pushes us through, movement by movement, headlong toward an earnest and happy close. Few first symphonies have been created in such quick and white-hot conception. Its few potential flaws are those of youth and inexperience, rather than in lacking daring or confidence.

—Eric Sellen © 2018 Eric Sellen serves as program editor for The Cleveland Orchestra.

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July 15: About the Music

Blossom Festival 2018

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With your support, we’ll continue to make amazing strides toward improving the health and well-being of our community. Join the many who are leaving their legacy – advancing the science of health and the art of compassion for generations to come.

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Schumann, in a sketch by Eduard Kaisser, 1847.

If we were all determined to play the first violin we should never have an ensemble. Therefore, respect every musician, each in the proper place to create a whole. â&#x20AC;&#x201D;Robert Schumann

1 9 18 -2 O1 8

Y E A R S

THE CLEVELAND ORCHESTRA

Second Century Celebration We are deeply grateful to the visionary philanthropy of those listed here who have given generously toward The Cleveland Orchestra’s 1OOth birthday celebrations in support of bringing to life a bold vision for an extraordinary Second Century — to inspire and transform lives through the power of music.

Presenting Sponsors

Leadership Sponsors Ruth McCormick Tankersley Charitable Trust

Sponsors

Calfee, Halter & Griswold LLP National Endowment for the Arts The Sherwin-Williams Company

Westfield Insurance KPMG LLP PwC

Global Media Sponsor

Individuals

Mr. Allen Benjamin Laurel Blossom Mr. Allen H. Ford

Robin Hitchcock Hatch Elizabeth F. McBride John C. Morley

Series and Concert Sponsors We also extend thanks to our ongoing concert and series sponsors, who make each season of concerts possible: American Greetings Corporation BakerHostetler Buyers Products Company Dollar Bank Foundation Eaton Ernst & Young LLP Forest City Frantz Ward LLP The Goodyear Tire & Rubber Company Great Lakes Brewing Company Jones Day

Hahn Loeser & Parks LLP

Hyster-Yale Materials Handling, Inc.

NACCO Industries, Inc.

KeyBank The Lincoln Electric Foundation Litigation Management, Inc. The Lubrizol Corporation Materion Corporation Medical Mutual MTD Products, Inc. North Coast Container Corp.

Ohio Savings Bank

Olympic Steel, Inc. Parker Hannifin Foundation PNC Bank Quality Electrodynamics (QED) RPM International Inc. The J. M. Smucker Company Squire Patton Boggs (US) LLP The Sherwin-Williams Company Thompson Hine LLP Tucker Ellis LLP

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Second Century Sponsors

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2O18

BLOSSOM M U S I C F E S T I VA L

Saturday evening, July 21, 2018, at 7:00 p.m.

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

K E N T B LO S SO M C H A M B E R ORC H EST R A beginning at 7:00 p.m.

Kent Blossom Chamber Orchestra

conducted by VINAY PARAMESWARAN SERGEI PROKOFIEV (1891-1953)

Classical Symphony, Opus 25 1.

2.

3.

4.

Allegro Larghetto Gavotta: Non troppo allegro Finale: Molto vivace

MANUEL DE FALLA (1876-1946)

Suite No. 1 IURP The Three-Cornered Hat 1.

2.

3.

4.

Introduction: Afternoon Dance of the Millerâ&#x20AC;&#x2122;s Wife (Fandango) The Corregidor The Grapes

INTER MISSION beginning at approximately 8:00 p.m.

The Cleveland Orchestra and Kent Blossom Chamber Orchestra SHUIRUPLQJ VLGH E\ VLGH conducted by JAHJA LING HECTOR BERLIOZ (1803-1869)

Overture to Benvenuto Cellini RALPH VAUGHAN WILLIAMS (1872-1958)

Serenade to Music

with the BLOSSOM FESTIVAL CHORUS Lisa Wong, chorus director

INTER MISSION

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July 21: Concert Program

2018 Blossom Festival

YEARS 1968- 2O18

beginning at approximately 9:00 p.m.

The Cleveland Orchestra conducted by JAHJA LING

GUSTAV MAHLER (1860-1911)

Symphony No. 1 LQ ' PDMRU 1. Langsam, schleppend: wie ein Naturlaut [Slow, dragging: as if spoken by nature] 2. Kräftig bewegt, doch nicht zu schnell [With powerful movement, but not too fast] 3. Feierlich und gemessen, ohne zu schleppen — [Solemn and measured, without dragging —] Sehr einfach und schlicht wie eine Volksweise [Very simple, like a folk-tune] 4. Stürmisch bewegt — Energisch [Agitated in storm — Energetic]

This concert is being presented with Image Magnification (IMAG) — featuring live video of the performers displayed on screens in the Blossom Pavilion.

More about this partnership with ideastream® can be found on page 48.

This concert is sponsored by Hahn Loeser & Parks LLP. Jahja Ling’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 Robert Conrad and his late wife, Jean, in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

201 8 B lossom Season S ponsor: T h e J . M . S m u c k e r C o m p a n y

50 th Anniversar y Sponsor: T h e G o o d y e a r T i r e & R u b b e r C o m p a n y

Blossom Festival 2018

Concert Program: July 21

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DEDICATION. HARD WORK. COMMITTED TO EXCELLENCE. Our passion for world-class performance underscores our proud support of The Cleveland Orchestra.

HAHN LOESER & PARKS LLP | HAHNL AW.COM 200 PUBLIC SQUARE | SUITE 2800 CLEVEL AND, OHIO 44114 | 216.621.0150 C L E V EL A N D | C O LU M B U S | N A P LE S | F O RT M Y ER S | S A N D I EG O | C H I C AG O

and TH E CLE VE L AN D O RCH E STR A The Cleveland Orchestra and ideastream enjoy a long and growing partnership, dedicated to collaborating on projects that can transform lives through the power of music. Cleveland classical radio station WCLV has worked for more than half a century in producing and recording the Orchestra’s weekly radio broadcasts. More recent projects have included ideastream’s involvement in recording production for the Orchestra’s video recordings of Bruckner and Brahms symphonies (available on DVD through Clasart), online video and audiostreaming of live community concerts, and a new initiative at the Orchestra’s summer home, Blossom Music Center, to offer live video of performers on-screen at select classical concerts in 2018.

The Cleveland Orchestra and ideastream are committed to expanding and extending their collaborative partnership to reach new audiences through affordable and accessible avenues. Collaborative projects will be chosen to enhance musical performances and learning experiences through engaged storytelling, quality education programs, and state-of-the-art technology.

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2018 Blossom Festival

INTRODUCING THE CONCERT

Playing & Learningg Together T H I S E V E N I N G ’ S M U S I C A L P R O G R A M brings together old and new — favorite masterworks and lesser-known pieces, young talent and teachers.

The night begins with a chamber orchestra made up of tomorrow’s promise, and forges through musical works written across a span of a century, featuring stories inspired by Spanish and Italian legends. Here we have musical works by composers from Russia, Spain, France, and Great Britain, ending with a large-scale symphony by a famous Austrian. In the middle of this travelogue across European musical sounds, two orchestras perform side-by-side and are joined as well by full chorus. It’s a big night, devoted to the art of music.

The evening opens with the Kent Blossom Chamber Orchestra. The professional training program of the annual Kent Blossom Music Festival was created in 1968 and features a select group of young artists on the cusp of their careers. They are mentored, tutored, and taught by a faculty that has included many Cleveland Orchestra musicians. Tonight they perform under the baton of Cleveland Orchestra assistant conductor Vinay Parameswaran.

They perform two works from a century ago — a “classical” symphony by Sergei Prokofiev, in which he revisits the world of Mozart but with touches of modern sensibility, and then a lively set of dances from Manuel de Falla’s well-loved ballet score, The Three-Cornered Hat. Following the first intermission, The Cleveland Orchestra joins the Kent Blossom musicians onstage for a side-by-side performance. First, an invigorating overture by Hector Berlioz, about a larger-than-life Italian named Benvenuto Cellini. Next, the voices of the Blossom Festival Chorus join in for Ralph Vaughan Williams’s great Serenade to Musicc — a setting of famous lines from Shakespeare about music’s great and powerful magic.

To end the concert, conductor Jahja Ling leads The Cleveland Orchestra through Gustav Mahler’s First Symphony, written in 1884-1889. This work’s huge canvas, wide range of musical textures, and mixing in of everyday musical sounds confused early audiences — but stands today as a clear sign of the approaching explosion of experimental musical styles and combining of ideas brought forth in the 20th century. After an opening movement of birdcalls and a sense of clashing nature comes a grotesque funeral march in the third movement, ending as the symphony’s finale rings out in triumphant and uplifting proclamation.

—Eric Sellen

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July 21: Introducing the Concert

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KENT BLOSSOM M U S I C F E S T I VA L 2 0 1 8

CHAMBER ORCHESTRA

VIOLIN Paula Castañeda Nathaniel Humphrey Wei-Ni Hung Yi Jing Tzu-Ming Kuo Wing Yan Kwok Abigail McLaughlin Yuzhe Qiu Mitchell Reilly Lik Hang Wu Yu-Ru Wu Jie Zhang VIOLA Olivia Espericueta En-Ting Hsu Hui-Yi Kao Jack Kehrli Yee Ling Elaine Ng Jacquelyn O’Brien CELLO Katarina Davies Wei-An Hung Hari Parkash Khalsa Jessica Lee Cherry Leung Viviana Pinzón DOUBLE BASS Martin Lazo

FLUTE Eric Leise Vincenzo Volpe Claire Kostic OBOE Paul Chinen Virginia Kao William Stevens CLARINET Meghan Colbert Gregory Hamilton Dustin Lin BASSOON Keegan Hockett Jamael Smith Ryan Yamashiro HORN Ava Conway Rebecca McGown Nathan Peebles TRUMPET Larry Herman Erik Sundet TIMPANI and PERCUSSION Andrew Pongracz

PIANO Evan Hines

Kent Blossom Music Festival is a 5-week summer institute for professional music training operated by Kent State University in cooperation with The Cleveland Orchestra and Blossom Music Center. Each summer since 1968, musicians of The Cleveland Orchestra and other faculty members have gathered to mentor a select group of students in chamber music, orchestral repertoire, and private lessons. Currently, 19 members of The Cleveland Orchestra are alumni of Kent Blossom. For more information, see pages 16 and 55, or visit www.kent.edu/blossom.

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Vinay Parameswaran Assistant Conductor Elizabeth Ring and William Gwinn Mather Endowed Chair The Cleveland Orchestra

Vinay Parameswaran joined The Cleveland Orchestra as assistant conductor with the 2017-18 season. He also serves as music director of the Cleveland Orchestra Youth Orchestra. He arrived in Cleveland following three seasons as associate conductor of the Nashville Symphony (2014-2017), where he led over 150 performances. In the summer of 2017, he was a Conducting Fellow at the Tanglewood Music Center. Recent guest conducting engagements have included debuts with the symphony orchestras of Washington D.C., Milwaukee, Jacksonville, Eugene, Rochester, Tucson, and Vermont. A native of the San Francisco Bay Area, Mr. Parameswaran played as a student for six years in the San Francisco Symphony Youth Orchestra. He holds a bachelor of arts degree in music and political science from Brown University. At Brown, he began his conducting studies with Paul Phillips. He received a diploma from the Curtis Institute of Music, where he studied with Otto-Werner Mueller as the Albert M. Greenfield Fellow.

Kent Blossom Music Festival: July 21

2018 Blossom Festival

Jahja Ling Jahja Ling’s distinguished career as an internationally renowned conductor has earned him an exceptional reputation for musical integrity, intensity, and expressivity. Born in Indonesia and now a citizen of the United States, he recently completed a thirteen-year tenure as music director of the San Diego Symphony (2004-17) and now holds the title of conductor laureate. He regularly leads orchestral performances with major ensembles around the world, in North America, Europe, Australia, and Asia.

Mr. Ling and The Cleveland Orchestra have enjoyed a long and productive relationship. He was a member of the conducting staff here from 1984 to 2005, serving as resident conductor of the Orchestra (1985-2002) and as Blossom Festival Director for six seasons (2000-05). He has returned each year as a guest conductor, and can now boast of having led performances with The Cleveland Orchestra across a continuous span more years than any other conductor. He has also led the Orchestra in more concerts at Blossom Music Center than anyone else, clocking in at over 100 performances.

Mr. Ling has conducted all of the major symphony orchestras of North America Blossom Music Festival

and many prominent ensembles across Europe and Asia. Acclaimed for his interpretation of works in the standard repertoire, he is also recognized for the breadth of contemporary music included in his programs. Recent and upcoming guest conducting engagements feature performances on three continents.

Jahja Ling’s commitment to working with and developing young musicians is evidenced by his involvement as founding music director of the Cleveland Orchestra Youth Orchestra (1986-93) and the San Francisco Symphony Youth Orchestra (1981-84), as well as work with the student orchestras of Curtis, Juilliard, SchleswigHolstein, Colburn, and Yale.

Mr. Ling’s recordings include a range of works on labels including Telarc, Azica Records, and Continuum, featuring performances with the San Diego Symphony, Florida Orchestra, Royal Philharmonic Orchestra, Cleveland Orchestra, Taiwan Philharmonic, and the Scottish Chamber Orchestra.

Born in Jakarta, Indonesia, of Chinese descent, Jahja Ling began to play the piano at age 4 and studied at the Jakarta School of Music. At age 17, he won the Jakarta Piano Competition and was awarded a Rockefeller grant to attend the Juilliard School. He continued his education at Yale and Tanglewood. In addition to his years in Cleveland, and as a member of the conducting staff of the San Francisco Symphony, Mr. Ling served as music director of the Florida Orchestra (1988-2003) and was artistic director of the Taiwan Philharmonic (1998-2001). As a pianist, he won a bronze medal at the 1977 Arthur Rubinstein International Piano Master Competition in Israel.

July 21: Guest Conductor

51

KE NT BLOSSOM CHAMBE R ORCHESTR A

Classical Symphony LQ ' PDMRU 2SXV composed 1916-17 WI T H H I S F I R S T PIAN O C O N C E R T O , the young Sergei Proko-

by

Sergei

PROKOFIEV born April 23, 1891 Sontsovka, Ukraine died March 5, 1953 Moscow

At a Glance Prokofiev wrote most of his Classical Symphony during the summer of 1917. He conducted the first performance on April 21, 1918, in St. Petersburg (renamed Petrograd at the time).

This work runs about 15 minutes in performance.

Prokofiev scored it for a classical orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

fiev established a reputation, in the 1910s, as the enfant terrible of Russian music, shocking critics and audiences with his highly unconventional harmonies and wild rhythms. His early works seemed to be all about defying authority. He rebelled against his teachers at the St. Petersburg Conservatory, while also reflecting the churn and intellectual unrest of the war years that led to the 1917 revolutions (the overthrow of the Czar in February and the Bolshevik coup in October).

Nonetheless, in one of his first works written after the revolution broke out, Prokofiev went out of his way to appear nonrevolutionary. He spent much of the summer of 1917 working on a â&#x20AC;&#x153;Classical Symphony,â&#x20AC;? supposedly conceived within the harmonic and structural world of the symphonies that Joseph Haydn had created more than a century earlier. In his autobiography, Prokofiev wrote: â&#x20AC;&#x153;It seemed to me that had Haydn lived to our day he would have retained his own style while accepting something of the new at the same time. That was the kind of symphony I wanted to write: a symphony in the classical style. And when I saw that my idea was beginning to work, I called it the Classical Symphony: in the first place because that was simpler, and secondly, for the fun of it, to â&#x20AC;&#x2DC;tease the geese,â&#x20AC;&#x2122; and in the secret hope that I would prove to be right if the symphony really did turn out to be a piece of classical music.â&#x20AC;?

The first ideas for the symphony date from 1916 â&#x20AC;&#x201D; the third-movement â&#x20AC;&#x153;Gavottaâ&#x20AC;? was written that year, and the first and second movements were sketched. The bulk of the work was completed during the summer of 1917, in a country house where Prokofiev was sheltered from the revolutionary political turmoil of that difficult summer. The composer had left his piano in the city, having decided for the first time to write without one. â&#x20AC;&#x153;I believed that the orchestra would sound more natural,â&#x20AC;? he wrote later, and in fact, he achieved a bright and delicate orchestral sound that his earlier works didnâ&#x20AC;&#x2122;t have.

At 15 minutesâ&#x20AC;&#x2122; duration, the â&#x20AC;&#x153;Classicalâ&#x20AC;? is the shortest of Prokofievâ&#x20AC;&#x2122;s seven symphonies. The themes are all kept brief and developments are sparse, with the emphasis on shorter, well-rounded and separated units. It is a beautiful synthesis of refreshing an old style for new generations. â&#x20AC;&#x201D;Peter Laki Copyright Š Musical Arts Association

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July 21: About the Music

Blossom Festival 2018

KE NT BLOSSOM CHAMBE R ORCHESTR A

Suite No. 1 IURP The Three-Cornered Hat from the ballet composed 1916-19 T H E S T O R Y O F The Three-Cornered Hat was already well-known

by

Manuel de

FALLA

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

Blossom Festival 2018

in parts of Spain during Manuel de Falla’s childhood. The poet and novelist Pedro Antonio de Alarcón (1833-1891) wrote it out in his novel El Corregidor y la molinera (“The Magistrate and the Miller’s Wife”), basing it on an older ballad.

The tale’s main characters are the Miller, his pretty wife, and the corregidor, or town magistrate (who wears a three-cornered hat as his badge of office). An incorrigible but clumsy womanizer, the Magistrate has the Miller arrested and taken to jail so that he can seduce the Miller’s wife. On the way to her house, he falls into the millstream. The Magistrate ends up in the Miller’s clothes in the Miller’s bed (but without the Miller’s wife) while his own clothes are drying on a chair. Coming home from jail and seeing the Magistrate’s uniform, the Miller misunderstands the situation, dons the uniform (and the hat!) and decides to take his revenge by visiting the Magistrate’s wife. At the end, everyone’s clothes and all the problems are ironed out (literally and figuratively), the Magistrate is appropriately humiliated, and the Miller reunited with his wife.

Falla first considered setting The Magistrate and the Miller’s Wife to music in 1904, as part of a competition at the Academia de Bellas Artes. According to Falla’s friend and biographer Jaime Pahissa, the composer had to choose from three possible subjects for the competition. He wrote down each title on a piece of paper and drew one from a hat (number of corners unknown).

Fate decided in favor of a libretto by Carlos Fernández Shaw, which became La Vida breve (“Life is Short”). Yet Falla never forgot about his ideas for Alarcón’s novel — and in 1916-17 he finally realized them in collaboration with G. Martinez Sierra. The resulting theatrical work opened at the Teatro Eslava in Madrid on April 7, 1917.

Falla was soon approached by Sergei Diaghilev, the director of the famous Ballets Russes, who was always looking for new ballet scores. Diaghilev was at first interested in a dance adaptation of Falla’s Nights in the Gardens of Spain, but the composer convinced him to choose The Magistrate and the Miller’s Wife instead. Diaghilev’s version opened in London in 1919, with Leonide Massine dancing the role of the Miller, and with sets and costumes by Pablo Picasso. The ballet was called Le Tricorne in About the Music: July 21

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At a Glance Falla first wrote this work as a pantomime in two tableaux under the title El Corregidor y la molinera [“The Magistrate and the Miller’s Wife”] in 1916-17. It was first performed on April 7, 1917, in Madrid. Falla subsequently expanded the score for Diaghilev’s Ballets Russes, who gave the first performance (under the French title Le Tricorne or “The ThreeCornered Hat”) on July 22, 1919, in London, under Ernest Ansermet’s musical direcc tion. Pierre Monteux and the Boston Symphony Orchestra gave the American concert premiere on December 30, 1921.

The entire ballet music runs about 30 minutes. The selections in Suite No. 1 run about 10 minutes in perforr mance. Falla’s score calls for 2 flutes (second doubling piccolo), 2 oboes (second doubling english horn), 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, harp, piano, timpani, percussion (suspended cymbal, glockk enspiel, xylophone), and strings.

French and The Three-Cornered Hatt in English. For the occasion, Falla revised and expanded the work, re-scoring the original chamber-ensemble accompaniment to a full-size symphony orchestra. He also drew two suites of music for the concert hall.

A lively trumpet call is accompanied by some heavy timpani rolls to get the action going. It is The Afternoon, and we are introduced to the characters of the story. During the first, lyrical part of the music, we hear a hint of the most famous tune in the ballet, to be developed later in the final dance. A humorous bassoon solo signals the entrance of the Magistrate.

The Dance of the Miller’s Wife is a fandango, a lively Spanish dance in triple meter. Falla makes the 3/4 time subtly alternate with 6/8 and sometimes specifically asks for a lengthening of the last beat. At this point in the story, all three characters are onstage and the Miller’s wife expresses what one commentator has called her “playful yet innocent” character, teasing the Magistrate but really wanting to please only her husband. The Magistrate, or Corregidor, r responds, represented once again by the bassoon. But the powerful official is out of luck. In the next movement, The Grapes, the Miller’s wife teases him mercilessly with a bunch of grapes, which she keeps just out of reach. The Magistrate is furious, as we can tell from an expressive transformation of the bassoon theme, now played by the whole orchestra. He leaves in a huff; the Miller’s Wife resumes her fandango, now for the sole benefit of her husband.

—Peter Laki

Copyright © Musical Arts Association

Stage design by Picasso for the premiere of Falla’s The Three-Cornered Hat in 1919.

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July 21: About the Music

7KH &OHYHODQG 2UFKHVWUD

Kent Blossom Arts S I N C E T H E O P E N I N G of Blossom Music Center as the

summer home of The Cleveland Orchestra in 1968, Kent State University has participated in helping to develop Blossomâ&#x20AC;&#x2122;s role as a center for professional training in the visual and performing arts. Each summer, the Kent Blossom arts festivals bring together some 300 young professionals in art, music, and theater, and a resident faculty of 80 (including Kent State faculty, members of The Cleveland Orchestra, and major international artists).

Through the production of more than 100 concerts, performances, exhibitions, and lectures, their creative experiences are shared with an audience of nearly 30,000 each year.

Over the past five decades, Kent Blossom has involved over 10,000 students from all over the world in the visual arts, theater, and music. The three programs combined have attracted more than 900,000 people to over 4,000 public events.

Thousands of Kent Blossom alumni are associated with some of the worldâ&#x20AC;&#x2122;s most highlyregarded professional arts organizations, including the orchestras of Berlin, Boston, Cleveland, New York, and Vienna, theaters on Broadway and other professional equity houses and touring companies, and art museums and galleries in many cities across the United States and beyond.

Kent Blossom holds a special gala celebrating its own 50th anniversary on September 22. For information, please call 330-672-2760.

Blossom Festival 2018

Kent Blossom

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SATURDAY, SEPT. 22

KENT BLOSSOM PROGRAMS WEâ&#x20AC;&#x2122;RE TURNING 50 TOO! Porthouse Theatre Kent Blossom Music Festival Kent Blossom Art Intensives

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www.kent.edu/artscollege KENT STATE UNIVERSITY, KENT STATE AND KSU ARE REGISTERED TRADEMARKS AND MAY NOT BE USED WITHOUT PERMISSION. KENT STATE UNIVERSITY IS COMMITTED TO ATTAINING IN NG N G EXCELLENCE EX THROUGH THE RECRUITMENT AND RETENTION OF A DIVERSE STUDENT BODY AND WORKFORCE. 18-BRAND-00456-087

S I D E - BY- S I D E P E R F O R M A N C E

Overture to Benvenuto Cellini composed 1837-38 B E R L I O Z ’ S first opera, Les Francs-juges, was probably never

by

Hector

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

At a Glance Berlioz wrote his opera Benvenuto Cellini in between 1834 and 1838, with the overture completed in February 1838. The overture was premiered with the opera on September 10, 1838, in Paris.

The overture runs not quite 10 minutes in perforr mance. Berlioz scored it for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets (second doubling bass clarinet), 4 bassoons, 4 horns, 4 trumpets, 2 cornets, 3 trombones, ophicleide (tuba), timpani, percussion (bass drum, triangle, cymbals), and strings.

Blossom Festival 2018

finished simply because the composer was too young and inexperienced to persuade any opera house to stage it. His youthful enthusiasm for creating the work exhausted itself before the whole work was finished, and he went on to other ideas. Most of what he wrote in that opera is lost, except for a vigorous overture still often heard in concerts today.

His second opera was Benvenuto Cellini,i performed at the Paris Opéra in 1838, but received with general hostility and soon withdrawn. Part of the problem was the unflinching rhythmic energy of the music, which astonished the audience and confounded the players.

The title character was a 16th-century Florentine goldsmith, whose adventures in love and art filled a remarkable autobiography published in a French translation in 1834. Berlioz wrote a majority of the opera in 1836, and it was accepted for performance by the Paris Opéra on the strength of his sensational Grande Messe des Morts (performed in the church of the Invalides in late 1837).

The opera was premiered in September 1838.

The music captures the brilliant color of Renaissance Florence and Rome as well as the intrigue and idealism of the story.

Like most of Berlioz’s overtures, it has a brief taste of speed and energy, followed by a slow section in which a theme representing Pope Clement VII (Cellini’s patron) is first presented, initially on cellos and basses pizzicato, then by the trombones, then the bassoons supported by bass clarinet (one of the first orchestral uses of that instrument). The overture’s main Allegro section resumes, working through various themes from the opera, including a touching solo in minor for oboe. All this furious energy culminates in the return of the Pope’s theme in the brass, played against the wild exuberance of the rest of the orchestra.

One interesting note (or many notes, if one wants to pun): a few years later, Berlioz extracted a second overture from this same opera, titled The Roman Carnival. This is mostly based on the exhilarating finale to Act I, which depicts the carnival in Rome, a scene that Berlioz had himself witnessed in 1831.

—Hugh Macdonald © 2018

About the Music: July 21

57

S I D E - BY- S I D E P E R F O R M A N C E

Serenade to Music composed 1938 I N T H E Y E A R 1 8 8 8 , a nineteen-year-old student at London’s

by

RALPH

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

58

Royal Academy of Music, Henry Wood, made his debut as conductor with the Clapton Music Society on the eastern edge of the city. Before long, he was conducting Promenade Concerts in the Queen’s Hall, which opened in 1893, and from this podium he established a reputation as one of the most adventurous conductors in Europe, ready to take on the most advanced works from Vienna or Moscow or even England. In 1904, he became the first British conductor to direct the New York Philharmonic.

Along with Thomas Beecham, he was one of the leading — and busiest — British conductors through the 1940s.

Wood’s fifty-year jubilee fell in 1938, and for that occasion he asked Ralph Vaughan Williams to write a piece for him, not to sing his praises, but in the hope, he wrote, “of a choral work that can be used at any time and for any occasion. I would not think of asking you to write a work that might only be used the once, which would naturally be the case were it written round myself.” Wood later suggested a work for sixteen solo singers, friends of his, who had sung many times for him in Promenande Concerts and elsewhere.

Vaughan Williams had long wanted to set Act V Scene 1 of Shakespeare’s The Merchant of Venice, where the lovers Lorenzo and Jessica contemplate the moonlit night while soft music is heard from offstage. He composed the Serenade to Music with the parts for the sixteen singers individually indicated by their initials, singling out all sixteen individuals for solos and sometimes grouping them in rich, dense harmony.

The effect, along with superbly tempered orchestration, is a work of deep serenity and sensuousness. In many ways, it embodies Vaughan Williams’s most typical style, relying on common chords shifting smoothly up and down, the polar opposite in style to his harsh, uncompromising Fourth Symphony of 1935.

“It would be hard,” wrote Robin Hull in 1954, “to find any choral setting which excels this music in sheer loveliness of sound,” a faithful setting of “touches of sweet harmony” indeed.

The concert in October 1938 was a national occasion and a great success, with audiences from far and wide packing the 8,000 seats of Royal Albert Hall. Vaughan Williams, always a practical musician, later said that the Serenade could be performed with four solo singers and chorus, or with chorus alone, and there is July 21: About the Music

The Cleveland Orchestra

also a version for orchestra alone, made at Wood’s suggestion in 1939. Indeed, many variations have been performed, including varying groups of several voices for different solos, as is being employed for tonight’s Blossom performance. As Wood hoped, the Serenade has outlived the occasion of its origin and can indeed “be used at any time and for any occasion.”

—Hugh Macdonald © 2018

How sweet the moonlight sleeps upon this bank!

Here will we sit and let the sounds of music Creep in our ears. Soft stillness and the night Become the touches of sweet harmony. . . . Look how the floor of heaven Is thick inlaid with patines of bright gold: There’s not the smallest orb that thou behold’st But in his motion like an angel sings, Still quiring to the young-eyed cherubins; Such harmony is in immortal souls; But whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it.

At a Glance Vaughan Williams wrote his Serenade to Music in 1938, at the request of Henry Wood, the longtime conductor of London’s annual Prom concerts. It was premiered under Wood’s direction on October 5, 1938, at London’s Royal Albert Hall.

This work runs almost 15 minutes in performance.

Vaughan Williams scored it for 2 flutes (second doubling piccolo), oboe and english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (triangle, bass drum), harp, and strings, plus 16-part chorus.

Come, ho! and wake Diana with a hymn!

With sweetest touches pierce your mistress’ ear, And draw her home with music.

I am never merry when I hear sweet music.

The reason is, your spirits are attentive — The man that hath no music in himself, Nor is not mov’d with concord of sweet sounds, Is fit for treasons, stratagems and spoils; The motions of his spirit are dull as night And his affections dark as Erebus: Let no such man be trusted. . . . Music! hark! It is your music of the house.

Methinks it sounds much sweeter than by day.

Silence bestows that virtue on it How many things by season season’d are To their right praise and true perfection!

Peace, ho! the moon sleeps with Endymion And would not be awak’d.

Soft stillness and the night become the touches of sweet harmony.

Blossom Festival 2018

About the Music: July 21

59

THE CLEVELAND ORCHESTRA

Symphony No. 1 in D major composed 1884-1889 D U R I N G H I S L I F E T I M E , a majority of Mahler’s fame and

by

Gustav

MAHLER born July 7, 1860 Kalischt, Bohemia (now Kalištì in the Czech Republic) died May 18, 1911 Vienna

60

fortune came from his great skill as a conductor. Following a few short years of apprenticeship among the provincial opera houses of Europe, he quickly emerged as one of the foremost conductors of his time — and eventually became music director of the Vienna State Opera and conductor of the Vienna Philharmonic, and then chief conductor in New York at the Metropolitan Opera and the New York Philharmonic.

It took the world far longer to accept Mahler’s genius as a composer. Indeed, a number of his late works were not premiered until after his death — and it was well into the second half of the 20th century before his symphonies became standard fare at concerts throughout the world.

The First Symphony is a product of Mahler’s “wandering years” as a young composer. Like the hero of his first great song cycle, Songs of a Wayfarer, he was himself a “wayfarer” in the 1880s, moving from city to city and from conducting job to conducting job until finally, in 1888, he landed his first important post as director of the Royal Opera in Budapest at the age of 28.

Mahler’s outward success as a conductor, however, did not translate into understanding for his First Symphony, which was especially poorly received at its early performances. Audiences in Budapest (1889), Hamburg and Weimar (1893), and Vienna (1900) were equally bewildered by what they heard as total musical chaos and an unacceptable mixture of conflicting emotions and ideas. This may be surprising to us today, given the great popularity of Mahler’s music in our time, but 100 years ago Mahler’s departures from classical form were too great — or too unexpected — for his contemporaries to grasp hold of immediately.

Other composers had written masterpieces in their twenties, but few had been so independent from their models as Mahler. As the composer himself once remarked, Beethoven had started out as a Mozartian composer and Wagner as a follower of Weber and Meyerbeer; but he, Mahler, “had been condemned by a cruel fate to being himself from the start.” To Mahler — as to Beethoven before him — symphony was a form of drama. In later years, he was to speak about the universality of the symphony and the necessity for it “to embrace everything.” This heaven-storming attitude is July 21: About the Music

The Cleveland Orchestra

already evident in the First Symphony. It accounts in no small part for the difficulties encountered by Mahler during the work’s genesis, both before and after the Budapest premiere in 1889.

The first performance of this work was given under the title “Symphonic Poem in Two Parts” (with five movements grouped together into two halves). This title alluded to the existence of a literary or dramatic inspiration, but Mahler did not reveal the source.

When the symphony was performed again in 1893, Mahler gave it a new title, “Titan,” after a novel by a German Romantic writer named Jean Paul (1763-1825). After 1896, however, he removed the title and arranged the movements as we know them today (eliminating one).

Mahler also withdrew the story-like explanations of the symphony’s program that he had written — and subsequently disavowed all such programmatic discussions of his later symphonies. Mahler was all too aware of the dangers inherent in such commentaries, for they rarely do justice to the music and, in addition, they often create a false impression that they actually explain what is “happening” during the symphony’s music.

The so-called “programs” that he did write can perhaps best be

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Blossom Festival 2018

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About the Music: July 21

Coming to Westlake Fall 2018!

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At a Glance Mahler’s first sketches of what eventually became the First Symphony probably date from 1884 or 1885. The actual composition took place largely in February and March 1888.

The first performance, under the title “Symphonic Poem in Two Parts,” was given on November 20, 1889, in Budapest, with Mahler conducting. At the second performance (Hamburg, October 27, 1893), the work was renamed “Titan, Tone-Poem in the Form of a Symphony.” In 1896, Mahler discarded the second of the work’s five movements (“Blumine”), and the four-movement “Symphony in D major” was performed in Berlin on March 16, 1896. Mahler revised the work further in 1906-07.

This symphony runs about 50 minutes in performance. Mahler scored it for 4 flutes (third and fourth doubling piccolo), 4 oboes (third doubling english horn), 4 clarinets (third doubling bass clarinet and E-flat clarinet, fourth doubling E-flat clarinet), 3 bassoons (third doubling contrabassoon), 7 horns, 4 trumpets, 3 trombones, tuba, 2 sets of timpani, harp, percussion (triangle, cymbals, bass drum, tamtam), and strings.

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understood as attempts on Mahler’s part to verbalize — often after the fact — the kind of emotional sensibilities that the music evoked in his mind while composing.

In fact, the real “story” in this symphony is how far Mahler went in expanding conventional symphonic forms to produce a complex and monumental work.

The symphony’s first movement utilizes the basic melody of one of Mahler’s early songs, from his Songs of a Wayfarer group. This song, “Ging heut’ morgens übers Feld” (“I Walked This Morning Through the Field”), depicts a happy summer morning with flowers blooming and birds singing. From this, and other writings by Mahler about the symphony, we understand that the entire movement can be seen to describe the gradual awakening of spring. We hear the musical interval of a perfect fourth (Mahler called it “a sound of nature” in the score) — and everything grows out of this one interval, like a tree from a small seed. Even the call of the cuckoo bird, evoked by the clarinet, is a perfect fourth (although real cuckoos sing an interval closer to a third).

The second movement is based on the Austrian country dance called the Ländler, and is one of many Mahlerian movements inspired by this type of dance. A simple tune, rather unassuming in itself, is played with great rhythmic energy, and is soon taken up by the full orchestra, with a large brass section comprising seven horns and four trumpets, and with the tempo marking “Wild.”

Mahler called the third movement by several different titles, including “À la pompes funèbres” (“In the Manner of a Funeral March”) and “Funeral March in Callot’s Manner” (Jacques Callot was a 17th-century French engraver whose satirical etchings anticipate those of Goya by a century). The immediate inspiration came from a then-popular woodcut (shown on opposite page)

by Moritz von Schwind called The Huntsman’s Funeral, in which the hunter is buried by the animals of the forest. The first audiences had much trouble with this movement’s somewhat odd structure and form, but they certainly recognized the popular “Frère Jacques” melody. The “alienation” of this familiar tune played here in the minor mode yields a spicy mixture of humor, tragedy, mystery, and irony.

This grotesque funeral march evolves into an openly parodistic section whose unabashedly schmaltzy themes, played by oboes and trumpets, are reminiscent of Eastern European JewJuly 21: About the Music

The Cleveland Orchestra

ish klezmer folk music. The melodies of two more of Mahler’s Wayfarer songs (“By the Road Stands a Linden Tree” and “My Sweetheart’s Two Blue Eyes”) are juxtaposed against this material, creating an interesting atmosphere of contrast that is at times painfully nostalgic. A more subdued recapitulation of the “Frère Jacques” tune and the klezmer material ends this unusual movement.

The fourth-movement Finale, which follows the funeral march without a pause, is the longest and most complex movement in the symphony. Like the last movements of many earlier symphonies, it represents a progression from tragedy to triumph, but here the contrasts between the various emotions are exceptionally polarized. The fabric of this movement includes a lyrical second theme that — as in several of Mahler’s later symphonies — seems to introduce us to a completely different world. There are also exuberant climaxes followed by relapses into despair, plus numerous recurrences of materials from the first movement. Finally, the work ends in a radiant Dmajor coda proclaiming a final victory.

—Peter Laki

The Huntsman’s Funeral, a19thcentury woodcut by Moritz von Schwind, which helped inspire the third movement of Mahler’s First Symphony.

Copyright © Musical Arts Association

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

He is a visiting associate professor at Bard College.

Blossom Festival 2018

About the Music: July 21

63

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

Lisa Wong was appointed director of choruses for The Cleveland Orchestra in May 2018, after serving as acting director throughout the 2017-18 season. She joined the choral staff of The Cleveland Orchestra as assistant director of choruses at the start of the 2010-11 season, assisting in preparing the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. In 2012, she took on added responsibilities as director of the Cleveland Orchestra Youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is an associate professor of music at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting, choral literature, and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts. Recent accolades have included work in Nairobi, Kenya, and Stockholm, Sweden. Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

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Blossom Festival Chorus: July 21

The Cleveland Orchestra

Blossom Festival Chorus Lisa Wong, Director

Daniel Singer, Assistant Director The Blossom Festival Chorus was created in 1968 during the first Blossom Music Festival season, debuting with a performance of Berliozâ&#x20AC;&#x2122;s Requiem in August 1968 under Robert Shawâ&#x20AC;&#x2122;s direction. Members of this volunteer chorus are selected each spring from the Cleveland Orchestra Chorus and through open auditions for singers from throughout Northeast Ohio. The Blossom Festival Chorus has been featured in over 150 concerts at Blossom in addition to select other summertime performances with The Cleveland Orchestra.

Vaughan Williams SERENADE TO MUSIC SOPRANO

Lou Albertson Laurel Babcock Amanda Baker Leah Benko * Alissa Bodner Adriana Changet Mary Grace Corrigan Mary Coyle Karla Cummins Anna K. Dendy Taniya Dsouza * Molly Falasco Lisa Rubin Falkenberg Lisa Fedorovich Annie Gartman Lisa Georges Lou Goodwin Sandhya Gupta Rebecca S. Hall Alyse Hancock-Phillips * Lisa Hrusovsky Kirsten Jaegersen Nina Kapusta Lydia Kee * Mary Krason Wiker Heidi Lang Olivia Lawrence Amy Mellinger Sara Stone Miller Kathleen Moreland Amelia Morra * Roberta Myers Julie Myers-Pruchenski Desha Perera * Lenore M. Pershing Christine Piatak Jylian Purtee Lisa M. Ramsey Cassandra E. Rondinella

Molly Schacher Monica Schie Kara Schifano Cicely Schonberg Erin Sullivan Megan Tettau Jane Timmons-Mitchell Isabella V. Tuma Julia Urankar * Tunde Varga Juliann Wolfarth ALTO

Debbie Bates Ellen Beleiu Lia Bendix Terry Boyarsky Kathy Chuparkoff Brooke Emmel Amanda Evans Nancy Gage Mariana Gomez * Gloria Homolak Karen Hunt Karen Hurley Melissa Jolly Kate Klonowski Rachel Kovatich * Kristi Krueger Donna Miller Grace Mino * Victoria Rasnick * Beverly Riehl Emma Violet Rosberil * Emmalene Rupp Marge Salopek Kathy Sands Eva Shepard * Emily Shields *

Eve Sliwinski Laurie Starner Heather Swift Martha Cochran Truby Nancy Wojciak TENOR

Frederick Allen Robert Bordon David Erlandson Gary Kaplan Adam Landry Tod Lawrence Alex Looney Shawn Lopez James Newby James Storry Michael Stupecki * Charles Tobias Allen White

Krish Malte * Roger Mennell Robert Mitchell Keith Norman Francisco Prado Brandon Randall John Riehl Andrew Schettler John Semenik Jarod Shamp Thomas Shaw Jackson Slater * Stephen Stavnicky Patrick Wickliffe S. David Worhatch * denotes member of the Cleveland Orchestra Youth Chorus

BASS

Christopher Aldrich Jacob Brent Serhii Chebotar Christopher Dewald Richard Falkenberg Scott Douglas Halm Ben Heacox Seth Hobi * Dennis Hollo Ryan Honomichl Martin Horning Jason Howie Bernard Hrusovsky Robert L. Jenkins III James Johnston Aaron Kim * Kevin Kutz

Alicja Basinska, Accompanist Jill Harbaugh, Manager of Choruses

Blossom Festival 2018

July 21: Blossom Festival Chorus

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THE CLEVELAND ORCHESTRA

JOHN L. SEVERANCE SOCIETY Cumulative Giving 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 today symbolizes unrivalled quality and enduring community pride.

The individuals, corporations, foundations, and government agencies listed here represent today’s visionary leaders, who have each surpassed $1 million in cumulative gifts to The Cleveland Orchestra. Their generosity and support joins a long tradition of community-wide support, helping to ensure The Cleveland Orchestra’s ongoing mission to provide extraordinary musical experiences — today and for future generations.

Current donors with lifetime giving surpassing $1 million, as of June 2018

Gay Cull Addicott American Greetings Corporation Art of Beauty Company, Inc. BakerHostetler Bank of America The William Bingham Foundation Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Irma and Norman Braman Jeanette Grasselli Brown and Glenn R. Brown The Cleveland Foundation The George W. Codrington Charitable Foundation Robert and Jean* Conrad Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Eaton FirstEnergy Foundation Forest City GAR Foundation Mr. and Mrs. Richard T. Garrett The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation The Goodyear Tire & Rubber Company The George Gund Foundation Francie and David Horvitz Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Jones Day The Walter and Jean Kalberer Foundation

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Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern KeyBank Knight Foundation Milton A. & Charlotte R. Kramer Charitable Foundation Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Nancy Lerner and Randy Lerner Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis Jan R. Lewis Peter B. Lewis* and Janet Rosel Lewis Virginia M. and Jon A. Lindseth The Lubrizol Corporation Maltz Family Foundation Elizabeth Ring Mather and William Gwinn Mather Fund Elizabeth F. McBride William C. McCoy The Sisler McFawn Foundation Medical Mutual The Andrew W. Mellon Foundation Mr. and Mrs. Robert F. Meyerson* Ms. Beth E. Mooney The Morgan Sisters: Susan Morgan Martin, Patricia Morgan Kulp, Ann Jones Morgan John C. Morley John P. Murphy Foundation David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Family of D. Z. Norton State of Ohio Ohio Arts Council

Severance Society / Lifetime Giving

The Honorable and Mrs. John Doyle Ong Parker Hannifin Foundation The Payne Fund PNC Bank Julia and Larry Pollock PolyOne Corporation Raiffeisenlandesbank Oberösterreich Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner James and Donna Reid The Reinberger Foundation Barbara S. Robinson The Sage Cleveland Foundation The Ralph and Luci Schey Foundation Carol and Mike Sherwin Mrs. Gretchen D. Smith The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Mr. and Mrs. Richard K. Smucker Richard and Nancy Sneed Lois and Tom Stauffer Mrs. Jean H. Taber* Joe and Marlene Toot Ms. Ginger Warner Robert C. Weppler Janet* and Richard Yulman Anonymous (6)

2018 Blossom Festival

5470

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

20%

OVER

BLOSSOM MUSIC CENTER

1968

SEATS

25

and under

at Cleveland Orchestra concerts at Blossom has increased to 20% over the past half-dozen 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 20,600,000 people to concerts and events since 1968 — including the Orchestra’s annual Festival concerts, plus special attractions featuring rock, country, jazz, and other popular acts.

1,000+

The Cleveland Orchestra has performed 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 soddde ded d la lawn wn

Thee cr Th crea eati ea tion on of Bllos osso som so m in 196 966 666 - 68 68 was as a majo j r co onstruction on pro oje j ct c in nvvol olving ng many hands and muc uch h ma mate teerriial al, made possibl b e by man ny generous uss don nor ors. s.

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

2O18

This fun, long-running series of meet-the-artist luncheons showcases the individual stories and artistry of musicians of The Cleveland Orchestra or, for 2018, the Cleveland Orchestra Youth Orchestra. Each event features a lively discussion session with a musician or small ensemble, and usually includes a musical perforr mance. Lunch is included, reservations are required.

Presented at Knight Grove at Blossom Music Center.

2O18

June 25 Monday at 12 noon Célina Béthoux — VIOLIN Mikel Rollet — VIOLA

Gourmet Matinees

A Series of Casual Gourmet Picnic Meet-the-Musician Luncheons at Blossom’s Knight g Grove

with pianist Carolyn Gadiel Warner

Th The h 20 2018 18 ser seriies ies is is sp spons onsore ored d

by Faye Heston in loving memoryy of Teke Heston.

This summer’s luncheon series begins with a program featuring two members of the Cleveland Orchestra Youth Orchestra, Célina Béthoux (violin) and Mikel Rollet (viola). Each competed in the Youth Orchestra’s annual concerto competition, earning co-winner and runner-up status, respectively.

July 30 Monday at 12 noon Jeffrey Rathbun — OBOE The series continues with oboist Jeffrey Rathbun, who has served as assistant principal or principal oboe with The Cleveland Orchestra. He also composes music, witth his newest commission opening the Orchestra’s 2018-19 Severance Hall season in September.

August 20 Monday at 12 nooon Beth Woodside — VIOLIN The summer’s luncheons end with a program featuring Cleveland Orchestra violinist Beth Woodside, who o joined the Orchestra in 1994. She will discuss her experiences as an orchestral player and chamber musician, and her work in the Orchestra’s education programs. $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 O h t

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2018 Gourmet Matinee Luncheons

2018 Blossom Festival

Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of members is current as of April 2018.

For more information, please contact the Orchestra’s Legacy Givingg Office by calling Dave Stokley at 216-231-8006.

Leonard Abrams Shuree Abrams* Gay Cull Addicott Stanley and Hope Adelstein* Sylvia K. Adler* Gerald O. Allen* Norman and Marjorie Allison* Dr. Sarah M. Anderson George N. Aronoff Herbert Ascherman, Jr. Jack and Darby Ashelman Mr. and Mrs. William W. Baker Ruth Balombin* Mrs. Louis W. Barany* D. Robert and Kathleen L. Barber* Jack L. Barnhart Margaret B. and Henry T.* Barratt Norma E. Battes* Rev. Thomas T. Baumgardner and Dr. Joan Baumgardner Fred G. and Mary W. Behm Bertram H. Behrens* Dr. Ronald and Diane Bell Bob Bellamy Joseph P. Bennett Marie-Hélène Bernard Ila M. Berry* Howard R. and Barbara Kaye Besser Dr.* and Mrs. Murray M. Bett Dr. Marie Bielefeld Raymond J. Billy (Biello) Dr. and Mrs. Harold B. Bilsky* Robert E. and Jean Bingham* Mr. William P. Blair III Doug and Barb Bletcher Madeline & Dennis Block Trust Fund Mrs. Flora Blumenthal Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Charles P. Bolton Kathryn Bondy* Loretta and Jerome Borstein* Mr. and Mrs.* Otis H. Bowden II Ruth Turvy Bowman* Drs. Christopher P. Brandt and Beth Brandt Sersig Mr. D. McGregor Brandt, Jr. David and Denise Brewster Richard F. Brezic* Robert W. Briggs Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Ronald and Isabelle Brown* Mr. and Mrs. Clark E. Bruner* Mr. and Mrs. Harvey Buchanan*

Rita W. Buchanan* Joan and Gene* Buehler Gretchen L. Burmeister Stanley and Honnie Busch* Milan and Jeanne* Busta Mrs. Noah L. Butkin* Mr. and Mrs. William C. Butler Minna S. Buxbaum* Gregory and Karen Cada Roberta R. Calderwood* Jean S. Calhoun* Harry and Marjorie* M. Carlson Janice L. Carlson Dr.* and Mrs. Roland D. Carlson Mr. and Mrs. George P. Carmer* Barbara A. Chambers, D. Ed. Arthur L. Charni* Ellen Wade Chinn* Dr. Gary Chottiner & Anne Poirson NancyBell Coe Kenneth S. and Deborah G. Cohen Ralph M. and Mardy R. Cohen* Victor J. and Ellen E. Cohn Robert and Jean* Conrad Mr.* and Mrs. Gerald A. Conway James P. and Catherine E. Conway* Rudolph R. Cook* The Honorable Colleen Conway Cooney and Mr. John Cooney John D. and Mary D. Corry* Dr. Dale and Susan Cowan Dr. and Mrs. Frederick S. Cross* Martha Wood Cubberley Dr. William S. Cumming* In Memory of Walter C. and Marion J. Curtis William and Anna Jean Cushwa Alexander M. and Sarah S. Cutler Howard Cutson Mr.* and Mrs. Don C. Dangler Mr. and Mrs. Howard J. Danzinger Barbara Ann Davis Carol J. Davis Charles and Mary Ann Davis William E. and Gloria P. Dean, Jr. Mary Kay DeGrandis and Edward J. Donnelly Neeltje-Anne DeKoster Carolyn L. Dessin William R. Dew* Mrs. Armand J. DiLellio James A. Dingus, Jr. Dr. and Mrs. Richard C. Distad Maureen A. Doerner and Geoffrey T. White Henry and Mary* Doll Gerald and Ruth Dombcik Barbara Sterk Domski Mr.* and Mrs. Roland W. Donnem

Nancy E. and Richard M. Dotson Mrs. John Drollinger Drs. Paul M.* and Renate H. Duchesneau George* and Becky Dunn Warren and Zoann Dusenbury* Mr. and Mrs. Robert Duvin Paul and Peggy Edenburn Robert and Anne Eiben* Mr. and Mrs. Alfred M. Eich, Jr. Mr. and Mrs. Ramon Elias* Roger B. Ellsworth Oliver* and Mary Emerson Lois Marsh Epp Patricia Esposito Margaret S. Estill* Dr. Wilma McVey Evans* C. Gordon and Kathleen A.* Ewers Patricia J. Factor Carl Falb Regis and Gayle Falinski Susan L. Faulder* Dr. and Mrs. Frederick Fennell* Mrs. Mildred Fiening Gloria and Irving* Fine Jules and Lena Flock* Joan Alice Ford Dr. and Mrs. William E. Forsythe* Mr. and Mrs. Ralph E. Fountain* Gil* and Elle Frey Arthur and Deanna Friedman Mr.* and Mrs. Edward H. Frost Dawn Full Henry S. Fusner* Dr. Stephen and Nancy Gage Charles and Marguerite C. Galanie* Barbara and Peter Galvin Mr. and Mrs. Steven B. Garfunkel Donald* and Lois Gaynor Barbara P. Geismer* Albert I. and Norma C. Geller Carl E. Gennett* Dr. Saul Genuth John H.* and Ellen P. Gerber Frank and Louise Gerlak Dr. James E. Gibbs In Memory of Roger N. Gifford* Dr. Anita P. Gilger* S. Bradley Gillaugh Mr.* and Mrs. Robert M. Ginn Fred and Holly Glock Ronald* and Carol Godes William H. Goff Mr. and Mrs. Henry J. Goodman John and Ann Gosky Mrs. Joseph B. Govan* Harry and Joyce Graham LISTING CONTINUES

Blossom Festival 2018

Legacy Giving

69

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY Elaine Harris Green Tom and Gretchen Green Anna Zak Greenfield Richard and Ann Gridley Nancy Hancock Griffith David E.* and Jane J. Griffiths David G. Griffiths* Ms. Hetty Griffiths Margaret R. Griffiths* Bev and Bob Grimm Judd and Zetta Gross* Candy and Brent Grover Mrs. Jerome E. Grover* Thomas J.* and Judith Fay Gruber Henry and Komal Gulich Mr. and Mrs. David H. Gunning Mr. and Mrs. William E. Gunton Joseph E. Guttman* Mrs. John A Hadden Jr. Richard* and Mary Louise Hahn James J. Hamilton Kathleen E. Hancock Douglas Peace Handyside* Holsey Gates Handyside* Norman C. and Donna L. Harbert Mary Jane Hartwell* William L.* and Lucille L. Hassler Peter and Gloria Hastings* Mrs. Henry Hatch (Robin Hitchcock) Nancy Hausmann Virginia and George Havens Barbara L. Hawley and David S. Goodman Gary D. Helgesen Clyde J. Henry, Jr. Ms. M. Diane Henry Wayne and Prudence Heritage Rice Hershey* T. K.* and Faye A. Heston Fred Heupler, M.D. Gretchen L. Hickok* Mr. and Mrs.* Daniel R. High Edwin R. and Mary C. Hill* Ruth Hirshman-von Baeyer* Mr. and Mrs. D. Craig Hitchcock* Bruce F. Hodgson Goldie Grace Hoffman* Mary V. Hoffman Feite F. Hofman MD* Ms. Barthold M. Holdstein* Leonard* and Lee Ann Holstein David and Nancy Hooker Thomas H. and Virginia J.* Horner Gertrude S. Hornung* Patience Cameron Hoskins Elizabeth Hosmer Dorothy Humel Hovorka* Dr. Christine A. Hudak, Mr. Marc F. Cymes Dr. Randal N. Huff Mrs. Marguerite B. Humphrey Adria D. Humphreys* Ann E. Humphreys and Jayne E. Sisson David and Dianne Hunt Karen S. Hunt Mr. and Mrs. G. Richard Hunter Ruth F. Ihde Mr. and Mrs. Jonathan E. Ingersoll Pamela and Scott Isquick Mr. and Mrs. Clifford J. Isroff* Mr. and Mrs. Donald M. Jack, Jr. Carol S. Jacobs

70

Pamela Jacobson Milton* and Jodith Janes Alyce M. Jarr* Jerry and Martha Jarrett* Merritt Johnquest* Allan V. Johnson E. Anne Johnson Nancy Kurfess Johnson, M.D. Paul and Lucille Jones* Mrs. R. Stanley Jones* William R. Joseph* David and Gloria Kahan Julian and Etole Kahan David George Kanzeg Bernie and Nancy Karr Drs. Julian* and Aileen Kassen Milton and Donna* Katz Nancy F. Keithley and Joseph P. Keithley Patricia and Walter Kelley* Bruce and Eleanor Kendrick Malcolm E. Kenney Mr. and Mrs. Douglas A. Kern Nancy H. Kiefer* Charles M. and Janet G. Kimball* James and Gay* Kitson Mr. Clarence E. Klaus, Jr. Mary Elizabeth and G. Robert Klein* Julian H. and Emily W. Klein* Thea Klestadt* Fred* and Judith Klotzman Paul and Cynthia Klug Martha D. Knight Mr. and Mrs. Robert Koch Dr. Vilma L. Kohn* Elizabeth Davis Kondorossy* Mr. Clayton Koppes Susan Korosa Mr.* and Mrs. James G. Kotapish, Sr. LaVeda Kovar* Margery A. Kowalski Janet L. Kramer Bruce G. Kriete* Mr. James Krohngold Mr. and Mrs. Gregory G. Kruszka Thomas* and Barbara Kuby Eleanor* and Stephen Kushnick Mr. and Mrs. Dennis W. LaBarre James I. Lader Mr. and Mrs. David A. Lambros Dr. Joan P. Lambros* Mrs. Carolyn Lampl Samuel and Marjorie Lamport* Louis Lane* Kenneth M. Lapine and Rose E. Mills Charles K. László and Maureen O’Neill-László Anthony T. and Patricia Lauria Charles and Josephine Robson Leamy Fund* Jordan R. and Jane G. Lefko Teela C. Lelyveld Mr. and Mrs. Roger J. Lerch Judy D. Levendula Gerda Levine* Dr. and Mrs. Howard Levine Bracy E. Lewis Mr. and Mrs.* Thomas A. Liederbach Rollin* and Leda Linderman Ruth S. Link* Dr. and Mrs. William K. Littman Jeff and Maggie Love

Legacy Giving

Dr. Alan and Mrs. Min Cha Lubin Ann B. and Robert R. Lucas* Linda and Saul Ludwig Kate Lunsford Mr. and Mrs. Thomas E. Lynch* Patricia MacDonald Alex and Carol Machaskee Jerry Maddox Mrs. H. Stephen Madsen Alice D. Malone* Mr. and Mrs. Donald Malpass, Jr. Lucille Harris Mann* Mr. and Mrs. Richard A. Manuel* Clement P. Marion Mr. Wilbur J. Markstrom* Dr. and Mrs. Sanford E. Marovitz David C. and Elizabeth F. Marsh* Duane and Joan Marsh* Florence Marsh, Ph.D.* Mr. and Mrs. Anthony M. Martincic Kathryn A. Mates Dr. Lee Maxwell and Michael M. Prunty Alexander and Marianna* McAfee Nancy B. McCormack Mr. William C. McCoy Marguerite H. McGrath* Dorothy R. McLean Jim and Alice Mecredy* James and Virginia Meil Mr. and Mrs. Robert F. Meyerson* Brenda Clark Mikota Christine Gitlin Miles Antoinette S. Miller Chuck and Chris Miller Edith and Ted* Miller Leo Minter, Jr. Mr. and Mrs.* William A. Mitchell Robert L. Moncrief Ms. Beth E. Mooney Beryl and Irv Moore Ann Jones Morgan Mr. and Mrs. Stanley L. Morgan* George and Carole Morris Mr. and Mrs. Thomas W. Morris Mr. and Mrs.* Donald W. Morrison Joan and Edward Mortimer* Florence B. Moss* Susan B. Murphy Dr. and Mrs. Clyde L. Nash, Jr Deborah L. Neale Mrs. Ruth Neides* David and Judith Newell Dr. and Mrs. S. Thomas Niccolls* Steve Norris and Emily Gonzales Russell H. Nyland* Paul and Connie Omelsky Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong Aurel Fowler-Ostendorf* Henry Ott-Hansen Mr. J. William and Dr. Suzanne Palmer R. Neil Fisher and Ronald J. Parks Nancy* and W. Stuver Parry Mrs. John G. Pegg* Dr.* and Mrs. Donald Pensiero Mary Charlotte Peters Mr. and Mrs. Peter Pfouts* Janet K. Phillips* Elisabeth C. Plax Florence KZ Pollack Julia and Larry Pollock

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY Victor and Louise Preslan* Richard J. Price Mrs. Robert E. Price* Lois S. and Stanley M. Proctor* Mr. David C. Prugh* Leonard and Heddy Rabe M. Neal Rains Mr. George B. Ramsayer Joe L. and Alice Randles* Mrs. Alfred M. Rankin, Sr. Mrs. Theodore H. Rautenberg* James and Donna Reid Mrs. Hyatt Reitman* Mrs. Charles Ritchie Mrs. Louise Nash Robbins* Dr. Larry J.B.* and Barbara S. Robinson Margaret B. Robinson Dwight W. Robinson Janice and Roger Robinson Amy and Ken Rogat Carol Rolf and Steven Adler Margaret B. Babyak* and Phillip J. Roscoe Audra* and George Rose Dr. Eugene and Mrs. Jacqueline* Ross Helen Weil Ross* Robert and Margo Roth Marjorie A. Rott* Howard and Laurel Rowen Professor Alan Miles Ruben and Judge Betty Willis Ruben Marc Ruckel Florence Brewster Rutter Dr. Joseph V. Ryckman Mr. James L. Ryhal, Jr.* Renee Sabreen* Marjorie Bell Sachs Dr. Vernon E. Sackman and Ms. Marguerite Patton Sue Sahli Mr. and Mrs. James A. Saks John A Salkowski Mr. and Mrs. Sam J. SanFilipo* Larry J. Santon Stanford and Jean B. Sarlson Sanford Saul Family* James Dalton Saunders Patricia J. Sawvel Ray and Kit Sawyer Richard Saxton* Alice R. Sayre In Memory of Hyman and Becky Schandler Robert Scherrer Sandra J. Schlub Ms. Marian Schluembach Robert and Betty Schmiermund Mr.* and Mrs. Richard M. Schneider Lynn A. Schreiber* Jeanette L. Schroeder Frank Schultz Carol* and Albert Schupp Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Oliver E. and Meredith M. Seikel Russell Seitz* Reverend Sandra Selby Eric Sellen Holly Selvaggi Thomas and Ann Sepúlveda Elsa Shackleton* B. Kathleen Shamp

Blossom Festival 2018

Jill Semko Shane David Shank Dr. and Mrs. Daniel J. Shapiro* Helen and Fred D. Shapiro Norine W. Sharp* Norma Gudin Shaw Elizabeth Carroll Shearer* Dr. and Mrs. William C. Sheldon John F. Shelley and Patricia Burgess* Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin Reverend and Mrs. Malcolm K. Shields Rosalyn and George* Sievila Mr.* and Mrs. David L. Simon Dr.* and Mrs. John A. Sims Naomi G. and Edwin Z. Singer Lauretta Sinkosky H. Scott Sippel and Clark T. Kurtz* Ellen J. Skinner Ralph* and Phyllis Skufca Janet Hickok Slade Alden D. and Ellen D. Smith* Drs. Charles Kent Smith and Patricia Moore Smith Mr.* and Mrs. Ward Smith M. Isabel Smith* Sandra and Richey Smith Roy Smith Nathan Snader* Sterling A. and Verdabelle Spaulding* Barbara J. Stanford and Vincent T. Lombardo George R. and Mary B. Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Willard D. Steck* Saundra K. Stemen Merle and Albert Stern* Dr. Myron Bud and Helene* Stern Mr. and Mrs. John M. Stickney Nora and Harrison Stine* Mr.* and Mrs. James P. Storer Ralph E. and Barbara N. String* The Irving Sunshine Family Vernette M. Super* Mr. and Mrs. Herbert J. Swanson* In Memory of Marjory Swartzbaugh Dr. Elizabeth Swenson Lewis Swingley* Lorraine S. Szabo Norman V. Tagliaferri Susan and Andrew Talton* Frank E. Taplin, Jr.* Charles H. Teare* and Clifford K. Kern* Mr. Ronald E. Teare Nancy and Lee Tenenbaum Pauline Thesmacher* Dr. and Mrs. Friedrich Thiel Mrs. William D. Tibbetts* Mr. and Mrs. William M. Toneff Joe and Marlene Toot Alleyne C. Toppin Janice and Leonard Tower Dr. and Mrs. James E. Triner Dorothy Ann Turick* Mr. Jack G. Ulman Mr. and Mrs. Robert A. Urban* Robert and Marti Vagi Robert A. Valente J. Paxton Van Sweringen

Legacy Giving

Mary Louise and Don VanDyke Elliot Veinerman* Nicholas J. Velloney* Steven Vivarronda Hon. and Mrs. William F.B. Vodrey Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner Mr. and Mrs. Russell Warren Joseph F. and Dorothy L.* Wasserbauer Charles D. Waters* Reverend Thomas L. Weber Etta Ruth Weigl* Lucile Weingartner Eunice Podis Weiskopf* Max W. Wendel William Wendling and Lynne Woodman Robert C. Weppler Paul and Suzanne Westlake Marilyn J. White Robert and Marjorie Widmer* Yoash and Sharon Wiener Alan H. and Marilyn M. Wilde Elizabeth L. Wilkinson* Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Miriam L. and Tyrus W. Wilson* Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Tony and Diane Wynshaw-Boris Mary Yee Carol Yellig Emma Jane Yoho, M.D.* Libby M. Yunger Dr. Norman Zaworski* William Zempolich and Beth Meany William L. and Joan H. Ziegler* Carmela Catalano Zoltoski* Roy J. Zook* Anonymous (85)

The lotus blossom is the symbol of the Heritage Society.

It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall.

71

Herbert Blomstedt Swedish-American conductor Herbert Blomstedt has been leading orchestras for more than half a century. His leadership and artistry are especially associated with the San Francisco Symphony, Leipzig Gewandhaus Orchestra, and Dresden Staatskapelle. Mr. Blomstedt first conducted The Cleveland Orchestra in April 2006. His most recent concerts with the Orchestra were in 2016.

Born in Springfield, Massachusetts in 1927 to Swedish parents, Herbert Blomstedt began his musical education at the Royal Academy of Music in Stockholm and at the University of Uppsala. He later studied conducting at the Juilliard School, contemporary music in Darmstadt, and renaissance and baroque music at the Schola Cantorum Basiliensis. He also worked with Igor Markevich in Salzburg and Leonard Bernstein at Tanglewood.

In 1954, Mr. Blomstedt made his conducting debut with the Stockholm Philharmonic Orchestra. He subsequently served as music director of the Danish Radio Symphony Orchestra, Oslo Philharmonic, Staatskapelle Dresden, and the Swedish Radio Symphony Orchestra. He is conductor laureate of the San Francisco Symphony, which he served as music director from 1985 to 1995. Subse-

72

quently, he was music director of Hamburg’s NDR Symphony Orchestra, and in 1998, became music director of Leipzig’s Gewandhaus Orchestra, serving through the 2004-2005 season.

In recent years, Herbert Blomstedt has been named honorary conductor of the Bamberg Symphony Orchestra, Leipzig Gewandhaus Orchestra, NHK Symphony, and the Danish and Swedish radio symphony orchestras. In addition to these, he has guest conducted many of the world’s greatest orchestras, including the Berlin Philharmonic, London Philharmonic, Royal Concertgebouw Orchestra, and Vienna Philharmonic, as well as those of Boston, Chicago, Los Angeles, Montreal, New York, and Philadelphia.

Herbert Blomstedt’s extensive discography includes over 130 works with the Dresden Staatskapelle, and the complete works of Carl Nielsen with the Danish Radio Symphony. His award-winning recordings with the San Francisco Symphony are on Decca/London. His collaborations with other ensembles, including the Leipzig Gewandhaus Orchestra, can be heard on Decca, Deutsche Grammophon, and RCA Red Seal. He has recorded the complete Bruckner symphonies with the Gewandhaus Orchestra for the German label Querstand.

Among Mr. Blomstedt’s honors are several doctorate degrees and membership in the Royal Swedish Music Academy. In 2003 he received the German Federal Cross of Merit.

July 28: Guest Conductor

Blossom Music Festival

2O18

BLOSSOM MUSIC FESTIVAL

YEARS 1968- 2O18

Saturday evening, July 28, 2018, at 8:00 p.m.

T H E CL E V E L A ND ORC H EST R A HERBER T BLOMS TEDT , conductor

WOLFGANG AMADÈ MOZART (1756-1791)

Symphony No. 41 (“Jupiter”) in C major, K551 1.

2.

3.

4.

Allegro vivace Andante cantabile Menuetto: Allegro — Trio Molto allegro

INTER MISSION JOHANNES BRAHMS (1833-1897)

Symphony No. 4 in E minor, Opus 98 1.

2.

3.

4.

Allegro non troppo Andante moderato Allegro giocoso Allegro energico e passionato

201 8 B lossom Season S ponsor: T h e J . M . S m u c k e r C o m p a n y

50 th Anniversar y Sponsor: T h e G o o d y e a r T i r e & R u b b e r C o m p a n y

Blossom Music Festival

Concert Program: July 28

73

PART OF A

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INTRODUCING THE CONCERT

Classical&Romantic

T H E T W O G R E A T W O R K S on this program are final symphonies by two

big names in the classical music world. The two symphonies were written in different eras, at different ages, and within the context of a considerable difference in how many symphonies each composer wrote in a lifetime.

These pieces also each show us where things were headed. If Mozart’s “Jupiter” Symphony from 1789 is a supreme example of music from the Classical era, its emotional sway and energy also signal the Romantic era just around the turn-of-century ahead.

Brahms’s Fourth Symphony from 1884, likewise, is filled with Romantic pulse and vigor, but touches on dissonances of music that would unleash itself in the coming century.

In each of these symphonies, Mozart and Brahms reached new heights, metaphorically and musically. Mozart’s work was among a trio of symphonies he created just two years before his death at age 35. Brahm created his Fourth Symphony just past the age of 50, with more than a decade of life left to him.

Mozart wrote more than forty symphonies, Brahms just four. Without knowing their own fates, each composer was wrestling with where he wanted music to go — how to evolve their own musical language in a major form. Each touched on new ideas while also incorporating and innovating within older, more traditional ones.

Mozart’s Symphony No. 41, known in Englishspeaking countries by the nickname “Jupiter,” was his last-completed symphony. Here, in four magnificent movements, this composer shows what his idea of an ideal symphonic piece — without a storyline — could be, filled with power, variation, and contrast, and ending in a mighty fugal movement of unsurpassed force and beauty.

Following intermission, guest conductor Herbert Blomstedt concludes the concert with Brahms’s late great Symphony No. 4. Here Brahms, ever the magician of melody and harmony, crosses some lines toward modern dissonance, but with ease and aplomb. We are comfortable in this tanginess of sound, comfortably cozy, warm, yet alert.

—Eric Sellen

Blossom Music Festival

July 28: Introducing the Music

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Symphony No. 41 (“Jupiter”) in C major, K551 composed 1788 T H E R E H A S B E E N A L O T of speculation over the years as to

by

Wolfgang Amadè

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

Blossom Festival 2018

precisely what went wrong in Mozart’s life between 1785, the apex of his “golden years,” and the summer of 1788, when the last three symphonies were written.

By 1788, the concert series where Mozart had presented his great piano concertos had been discontinued for a variety of reasons. Mozart had lost the audience support he had previously enjoyed. In 1786-87, he had an immense success in Prague with his operas The Marriage of Figaro and Don Giovanni (the latter was written specifically for that city), but back home in Vienna, things were going downhill financially. Mozart’s appointment to the relatively minor position of “Kammer-Kompositeur” at the imperial court did little to improve matters.

Mozart’s family life was also extremely challenging. Four of his children died in infancy, three of them between 1786 and 1788. Other factors contributing to the deterioration of Mozart’s situation, researchers have suggested, include the composer’s gambling habit, household mismanagement by Constanze, and a general tendency of the Mozarts to live beyond their means.

What is certain is that during the summer of 1788 Mozart started writing heart-rending letters to his friend and fellow Freemason, Michael Puchberg, imploring him for rather large sums of money. In one of these, he was asking Puchberg for “a hundred gulden until next week, when my concerts in the Casino are to begin.”” Since the letter was written at the time Mozart was working on what would prove to be his last three symphonies, there is every reason to believe that he intended them for concerts “in the Casino.” We don’t actually know what or where “the Casino” was, but Mozart had previously played some of his piano concertos there.

Performances of Symphonies Nos. 39-41 may — or may not — have taken place in the fall of 1788. Because there are no known records of performances, it used to be believed that these symphonies were never heard in concert during the composer’s lifetime. More recently, however, experts have become more careful about characterizing “what we know about what we don’t know” and contemporary performances are no longer ruled out. There were, in fact, several opportunities for Mozart to present these symphonies, both in Vienna and in Germany, About the Music: July 28

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At a Glance Mozart finished the score of this work, his last completed symphony, on August 10, 1788. The location and date of its first performance are not known. The nickname “Jupiter” (used mostly only in English-speaking countries) was probably suggested

by Johann Peter Salomon (1745-1815), the Germanborn violinist and impresario who brought Haydn to London (and hoped to invite Mozart as well).

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

The Cleveland Orchestra first performed Mozart’s “Jupiter” Symphony during the 1922-23 season under founding music director Nikolai Sokoloff. It has been performed quite frequently since then, most recently in 2015, when Franz Welser-Möst led performances at home and on tour in Europe.

The Cleveland Orchestra recorded this symphony in 1955 (mono) and again in 1963 (stereo) with George Szell, and in 1990 with Christoph von Dohnányi.

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where he journeyed in 1789 and again in 1790.

We may not know when or where the first performance took place, but one thing is certain: by the early 1800s the C-major symphony, the last of the three, was universally recognized as one of the greatest ever composed. It came to be known as the “Jupiter,” a nickname probably invented by Johann Peter Salomon, the famous London impresario. As musicologist Elaine Sisman writes in a book devoted to this work, most responses ranged “from admiring to adulatory, a gamut from A to A.” But for Mozart, who died in 1791, the praise came too late.

THE MUSIC

The most widely admired aspect of the work, besides its magnificent proportions and general mood of majestic serenity, was, and still is, the fugal finale — in Germany, the symphony is known under the nickname mit der Schlussfuge (“with the final fugue”). The fact that the finale should be the crown of the entire work is in itself unusual because most earlier symphonies placed the greatest emphasis on the opening movement. But Mozart’s “Jupiter” is revolutionary in more ways than we often realize — all four movements significantly transcend the traditional movement types from which they originated.

In his seminal book on Mozart’s symphonies, Neal Zaslaw invokes the world of opera for an explanation of the “Jupiter” Symphony’s first movement. In Zaslaw’s interpretation, the relationship between the opening fanfares and the closing theme is like that between a serious operatic character and a figure from comic opera. Throughout the movement, Mozart moves between “high-brow” and popular musical styles with astonishing ease and without the slightest incongruity. Shortly after a great dramatic outburst, we hear a beguilingly simple folk-like closing theme.

Mozart borrowed this theme from an aria for bass that he had written just a few months earlier, in May 1788. The words were possibly by Lorenzo Da Ponte, with whom Mozart collaborated on three of his greatest operas. The aria “Un bacio di mano” (“A Hand-Kiss”), K541, was intended as an extra number for a comic opera by Pasquale Anfossi (1727-1797). The text of the aria passage Mozart used in the “Jupiter” Symphony is: “Voi siete un po’ tondo, mio caro Pompeo, le usanze del mondo andate a studiar” (“You are a bit naïve, my dear Pompeo, go study the ways of the world”).

In the movement’s development section, this theme becomes the starting point for a whole series of transformations, as if the July 28: About the Music

The Cleveland Orchestra

simple melody were indeed “studying the ways of the world.”

The second-movement Andante cantabile opens with muted strings playing a simple musical question-and-answer phrase. We will hear the first of these phrases (the question part) again, but not the second part, which will become completely submerged under a cascade of thirty-second notes. In fact, after the simple opening, Mozart soon piles up harmonic and rhythmic complexities in what is one of his most personal and profound musical statements. Then the complexities disappear, and the Andante ends as simply and reassuringly as it began.

The third-movement minuet starts with another question-andanswer; however, this time the structure remains simple throughout.

Mozart plays a fascinating game in the trio, which begins with a closing gesture, in a move that has been described as “putting the cart before the horse.” Within only a few measures, this closing gesture undergoes an astonishing number of changes as it is inverted, transposed, and harmonized in different ways. For a moment, it is even made to anticipate the four-note motif of the finale to follow. It then returns in its original form, leading into the recapitulation of the minuet.

The celebrated four-note motif of the fourth-movement finale was commonplace in 18th-century contrapuntal studies, probably derived from the Gregorian hymn Lucis creator (“The Creator of Light”). It may be found in several of Mozart’s earlier works, from as early as his Symphony No. 1 written at the age of eight, or the “Credo” movement of his Missa brevis in F major (K192) written ten years later.

The four-note motif is first presented in a simple form by the first violins, accompanied only by the seconds. A fugal elaboration soon begins, and the motif is joined by several counter-subjects. At one point, no fewer than five different motifs are heard simultaneously. To make matters even more complicated, Mozart embedded his fugue within a sonata structure. This means that there are several fugal sections, arranged in a specific order. In other words, two worlds meet in this magnificent finale: the strict contrapuntal technique inherited from the Baroque and the freer, “galant” idiom of the Classical era. Music has, perhaps, never been closer to what 18th-century philosophers called the “sublime,” a term defining an experience at once powerful, uplifting, and transcendent. It is this sublime quality that makes the association with Jupiter, the chief of the gods in Roman mythology, perfectly apt.

—Peter Laki Copyright © Musical Arts Association

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

He is a visiting associate professor at Bard College.

Blossom Festival 2018

About the Music: July 28

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Symphony No. 4 in E minor, Opus 98 composed 1884-85

by

Johannes

BRAHMS born May 7, 1833 Hamburg died April 3, 1897 Vienna

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I T I S U S U A L LY S A I D of Brahms that he delayed composing a symphony until after he was forty out of respect for Beethoven’s great set of nine — and from a fear of being found wanting in comparison with his mighty predecessor. There is much truth in this. Indeed, Brahms acknowledged it himself.

Brahms’s rapid rise, at the age of twenty, into the circle of leading composers was set in motion by Robert Schumann, who declared publicly that Brahms was destined for a great future in the pedigree of German music. In the company of Schumann and his wife Clara, Brahms had played almost exclusively chamber music — which for them represented the real Beethoven legacy, especially the violin sonatas and late quartets, with the unspoken understanding that the Ninth Symphony was not necessarily the center of the Beethoven universe. Not coincidentally, at the same time, the Ninth (and its “Ode to Joy”) was being elevated

by Liszt and Wagner and their followers as a pointer to a future in symphonic poem and music drama, two territories in which Brahms never set foot.

When he finally resolved to write a symphony, Brahms had Schumann’s symphonies sounding in his ears as strongly as Beethoven’s — which is why a similarity can be heard between the opening of Schumann’s Fourth and the way in which Brahms began his First. When we reach the finale of Brahms’s First, though, we do unmistakably encounter an echo of the choral finale of Beethoven’s Ninth. “Any fool can see that,” was Brahms’s dismissive comment.

Once he had given one symphony to the world, it was easier for Brahms to embark on its successors. The rest followed more rapidly, within nine years. The Second followed very soon after the First, and the Fourth appeared within two years of the Third.

Self-critical to the point where he destroyed an unknown number of works that did not satisfy his exacting standards, Brahms always regarded symphonic writing as a tough proposition, to the point where we should be thankful that he gave us as many as four — just as we should be always grateful for the opportunity to hear each of them.

If Brahms had written a fifth symphony toward the end of his life, one might imagine something gloriously mellow, like the late clarinet music or the Four Serious Songs. But that is not the July 28: About the Music

The Cleveland Orchestra

direction in which the Fourth Symphony pointed. This work is, in fact, the least comfortable of his four symphonies in terms of musical language and sonority. Brahms was aiming a little bit more modern than we sometimes give him credit. (We find it hard to imagine, similarly, that such a beautiful work as the Violin Concerto struck some of its original hearers as uncouth, but . . . history tells us otherwise.)

There is a higher level of dissonance and tension in the Fourth Symphony than in most of Brahms’s music — but as always with this composer, it is perfectly judged, and balanced by faultless craft and an abundant melodic gift.

The symphony was first performed in Meiningen, a small town in central Germany that was briefly of great importance in the musical world thanks to the leadership of younger musicians like Hans von Bülow and Richard Strauss, who strongly encouraged Brahms and persuaded him in 1885 to grant them the first performance of his latest symphony, which would be a safer haven from the fickle audiences of hometown Vienna, especially as Wagner-mania was sweeping across Europe.

THE MUSIC

In general outline, Brahms does not deviate from his classical inheritance — a broad, substantial first movement, a lyrical slow movement, a jocular scherzo, and a strong, assertive finale.

As usual, Brahms shows little interest in the more colorful instruments that most composers were delighting in at that time — no english horn, no bass clarinet, no tuba, no harp. He does, however, ask for a contrabassoon in the last two movements to enrich the bass, and a piccolo for the third movement, where he also ventures into the percussion section with a very un-Brahmsian triangle.

And, although he clung to the old-fashioned hand-horns, not the valved variety then in universal use, he writes for the horns with infinite mastery.

After the First Symphony, whose opening Allegro is preceded by a slow introduction like a number of Beethoven’s symphonies (and Schumann’s Fourth), Brahms’s remaining symphonies adopt the maxim he always preferred — state your first theme clearly and firmly at the very outset. In this case, the first movement’s graceful opening theme, with its drooping thirds, is woven into the texture of the whole movement. And his writing for strings had never been so rich as here. The main contrast in this movement is rhythmic, for triplet figures keep intruding. At the end Blossom Festival 2018

About the Music: July 28

At a Glance Brahms wrote his Fourth Symphony in Mürzzuschlag (Styria, Austria) during the summers of 1884 and 1885. He conducted the first performance on October 25, 1885, in Meiningen, Germany, where Hans von Bülow was the music director. The United States premiere took place on December 11, 1886, with Walter Damrosch conducting the New York Symphony.

This symphony runs about 40 minutes in performance. Brahms scored it for 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, and strings. (Piccolo and triangle appear in the third movement only, contrabassoon in the third and fourth movements only, and trombones only in the finale.)

The Cleveland Orchestra first performed the Brahms Fourth in April 1925, led by music director Nikolai Sokoloff. It has been presented by the Orchestra frequently since then, most recently at Severance Hall in 2016 under the baton of Jakub Hrůša and at Blossom in 2014 conducted by Franz WelserMöst.

81

of the movement, however, the powerful drive of the original four-four pulse is unstoppable.

A pair of horns declare the slow second movement opening with a misleadingly forceful gesture. For this is the tenderest of slow movements, rich in complex harmony and smooth melody. The clarinet is especially favored, and the second subject (first heard in the cellos) is one of Brahms’s greatest inspirations, intensified each time it comes back.

The scherzo third movement brings out the hearty hillwalker in Brahms, and the triangle signals a breeziness that we rarely find in his music. The slower middle section is all too brief, as if Brahms was in a hurry to get back to his vigorous exercise, energetic enough to wonder what kind of finale could be sufficiently different to follow it.

For the last movement, Brahms did break with convention and composed a passacaglia (although he did not call it that), a baroque form grandly exhibited by Bach in which a short harmonic sequence is many times repeated in elaborate variation.

This is the moment the trombones have been waiting for (a discipline mirrored from Beethoven’s Fifth), and they lay down the eight firm chords that define the sequence. The challenge for Brahms — as it was for Bach, too — is not to have the music seem to be stuck in the home key. His eight-bar outline is heard thirty times in wonderfully inventive variation, but it escapes from E minor only to taste, briefly, the nectar of EBED, major following a desolate flute solo. The return to E minor sounds BREAKFA like a formal recapitulation of the beginning, with strongand windBRAV chords, but it simply heralds a stirring continuation of the variations, until, following one tremendous sequence after another, the symphony, in Sir Donald Tovey’s memorable words, “storms to its tragic close.”

—Hugh Macdonald © 2018 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in Saint Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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July 28: About the Music

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THE CLEVELAND ORCHESTRA

Individual Annual Support The Cleveland Orchestra is sustained through the annual support of thousands of generous patrons.

The leadership of those listed on these pages (with gifts of $2,000 and more) shows an extraordinary depth of support for the Orchestra’s music-making, education presentations, and community initiatives.

Giving Societies gifts in the past year, as of June 1, 2018 Adella Prentiss Hughes Society

gifts of $50,000 to $99,999

gifts of $100,000 and more Musicians of The Cleveland Orchestra+ (in-kind support for community programs and opportunities to secure new funding) Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski+ Mary Alice Cannon Rebecca Dunn Mr. Allen H. Ford Dr. and Mrs. Hiroyuki Fujita+ Mr. and Mrs. James A. Haslam III Mr. and Mrs. Michael J. Horvitz+ James D. Ireland IV The Walter and Jean Kalberer Foundation+ Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre+ Mrs. Norma Lerner and The Lerner Foundation+ Mrs. Emma S. Lincoln+ Milton and Tamar Maltz John C. Morley+ Mr. and Mrs. Albert B. Ratner James and Donna Reid Mr. and Mrs. Richard K. Smucker+ Mr. and Mrs. Franz Welser-Möst+

With special thanks to the Leadership Patron Committee for their commitment to each year’s annual support initiatives: Barbara Robinson, chair Robert N. Gudbranson, vice chair Ronald H. Bell Iris Harvie James T. Dakin Faye A. Heston Karen E. Dakin Brinton L. Hyde Henry C. Doll David C. Lamb Judy Ernest Larry J. Santon Nicki N. Gudbranson Raymond T. Sawyer Jack Harley

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George Szell Society

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gifts of $15,000 to $24,999 Mr. and Mrs. Dean Barry Dr. Christopher P. Brandt and Dr. Beth Sersig+ Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Mr. and Mrs. William E. Conway Mrs. Barbara Cook Dr. and Mrs. Robert Ehrlich (Europe) Ms. Dawn M. Full Mr. and Mrs. Robert W. Gillespie Drs. Erik and Ellen Gregorie Richard and Ann Gridley+ Robert K. Gudbranson and Joon-Li Kim+ Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest David and Nancy Hooker+ Joan and Leonard Horvitz Richard and Erica Horvitz (Cleveland, Miami) Allan V. Johnson Junior Committee of The Cleveland Orchestra Jonathan and Tina Kislak (Miami) Mr. Jeff Litwiller+ Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel The Miller Family+ Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Edith and Ted* Miller+ Mr. Donald W. Morrison+ Dr. Anne and Mr. Peter Neff Mr. and Mrs. James A. Saks Patricia J. Sawvel Mrs. David Seidenfeld+ Meredith and Oliver Seikel Seven Five Fund Kim Sherwin+ Mr. and Mrs. Alfred Umdasch (Europe) Tom and Shirley Waltermire+ Dr. Beverly J. Warren Mr. and Mrs. Fred A. Watkins+ Mr. and Mrs. Jeffery J. Weaver Meredith and Michael Weil Mr. and Mrs. Jeffrey M. Weiss Denise G. and Norman E. Wells, Jr. Max and Beverly Zupon Anonymous listings continue

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Frank H. Ginn Society gifts ift off $10 $10,000 000 tto $14 $14,999 999 Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Mr. David Bialosky and Ms. Carolyn Christian+ Laurel Blossom Mr. D. McGregor Brandt, Jr. Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler+ Richard J. and Joanne Clark Dr. and Mrs. Delos M. Cosgrove III Mrs. Barbara Ann Davis+ Dr. M. Meredith Dobyns Henry and Mary* Doll+ Nancy and Richard Dotson+ Mr. and Mrs. Robert P. Duvin Mary Jo Eaton (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Carl Falb+ Bob and Linnet Fritz Dr. and Mrs. Adi Gazdar Albert I. and Norma C. Geller Dr. Edward S. Godleski

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An nne R. and Kenneth E. Love Robert Lugibihl Ro Mrs. Idarose S. Luntz M Elsie and Byron Lutman Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel James and Virginia Meil Dr. Susan M. Merzweiler Loretta J. Mester and George J. Mailath Cluadia Metz and Thomas Woodworth+ Lynn and Mike Miller+ Drs. Terry E. and Sara S. Miller Curt and Sara Moll Ann Jones Morgan+ Randy and Christine Myeroff Lucia S. Nash* Georgia and Carlos Noble (Miami)+ Richard and Kathleen Nord Thury Oâ&#x20AC;&#x2122;Connor Dr. and Mrs. Paul T. Omelsky Mr. and Mrs. Peter R. Osenar Mr. Henry Ott-Hansen Pannonius Foundation+ Robert S. Perry Dr. and Mrs. Gosta Pettersson Nan and Bob Pfeifer+ Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak

Dr. and Mrs. John N. Posch+ Ms. Rosella Puskas Mr. and Mrs. Ben Pyne Mr. and Mrs. Thomas A. Quintrell* Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Ms. C. A. Reagan Amy and Ken Rogat Carol Rolf and Steven Adler Dick A. Rose Dr. and Mrs. Michael Rosenberg (Miami) Dr. and Mrs. Ronald J. Ross Rosskamm Family Trust Robert and Margo Roth+ Dr. and Mrs. Robert C. Ruhl Fred Rzepka and Anne Rzepka Family Foundation Drs. Michael and Judith Samuels (Miami) Raymond T. and Katherine S. Sawyer Linda B. Schneider Dr. and Mrs. James L. Sechler Mr. Eric Sellen and Mr. Ron Seidman Drs. Daniel and Ximena Sessler+ Vivian L. Sharp Mr. James E. Simler and Ms. Amy Zhang Naomi G. and Edwin Z. Singer+ The Shari Bierman Singer Family Drs. Charles Kent Smith and Patricia Moore Smith+ Roy Smith

Mr. Eugene Smolik Dr. Marvin and Mimi Sobel*+ Mr. and Mrs. William E. Spatz Spatz+ George and Mary ry St Stark+ Mr. and Mrs. D Donald W. Strang, Jr. Stroud Family Trust Frederick and Elizabeth Stueber Holly and Peter Sullivan Dr. Elizabeth Swenson+ Mr. Taras G. Szmagala, Jr. Robert and Carol Taller+ Kathy* and Sidney Taurel (Miami)+ Ms. Emily Taylor Bill and Jacky Thornton Mr.* and Mrs. Robert N. Trombly Robert and Marti Vagi+ Robert A. Valente and Joan A. Morgensten+ Dr. Gregory Videtic and Rev. Christopher McCann Walt and Karen Walburn Mr. and Mrs. Daniel P. Walsh Gary L. Wasserman and Charles A. Kashner (Miami) Mr. and Mars. Mark Allen Weigand+ Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Richard Wiedemer, Jr.+ Bob and Kat Wollyung Anonymous (6)

Lisa and Ronald Boyko+ Ms. Barbara E. Boyle Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mrs. Frances Buchholzer Mr. Gregory and Mrs. Susan Bulone J. C. Burkhardt Mr. and Mrs. Robert G. Busha Ms. Mary R. Bynum and Mr. J. Philip Calabrese Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker Dr. and Mrs. William E. Cappaert John and Christine Carleton (Miami) Mrs. Millie L. Carlson+ Mr. and Mrs. John J. Carney Mr. and Mrs. Frank H. Carpenter James Carpenter 2 seats (In memory of Christina) (Miami) Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. John C. Chipka and Dr. Kathleen S. Grieser Mr. and Mrs. Homer D. W. Chisholm Dr. William and Dottie Clark Drs. John and Mary Clough Drs. Mark Cohen and Miriam Vishny Mr. and Mrs. Stanley Cohen (Miami)

Mr. and Mrs. Mark Corrado Douglas S. Cramer / Hubert S. Bush III (Miami) Mr. and Mrs. Manohar Daga+ Karen and Jim Dakin Dr. and Mrs. Thomas M. Daniel Mrs. Frederick F. Dannemiller Mr. Kamal-Neil Dass and Mrs. Teresa Larsen+ Dr. Eleanor Davidson Mrs. Lois Joan Davis Carol Dennison and Jacques Girouard Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White+ Dr. and Mrs. Richard C. Distad Maureen Doerner & Geoffrey White Carolyn J. Buller and William M. Doll Mr. George and Mrs. Beth Downes+ Jack and Elaine Drage Mr. Barry Dunaway and Mr. Peter McDermott Mr. Patrick Dunster Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki Mr.* and Mrs. Bernard H. Eckstein Esther L. and Alfred M. Eich, Jr.+ Erich Eichhorn and Ursel Dougherty Mr. S. Stuart Eilers Peter and Kathryn Eloff+ Harry and Ann Farmer

Composerâ&#x20AC;&#x2122;s Circle gifts of $2,000 to $4,999 Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. Francis Amato Mr. and Mrs.* Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum+ Applied Industrial Technologies Mr. and Mrs. James B. Aronoff+ Art of Beauty Company, Inc. Ms. Patricia Ashton Steven Michael Auvil and Elise Hara Auvil Mr. and Mrs. Eugene J. Beer Mr. and Mrs. Belkin Ms. Pamela D. Belknap Mr. and Mrs. James R. Bell III Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Mr. Roger G. Berk Barbara and Sheldon Berns Jayusia and Alan Bernstein (Miami) Margo and Tom Bertin John and Laura Bertsch Howard R. and Barbara Kaye Besser Ms. Deborah A. Blades Mitch and Liz Blair Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Irving and Joan M. Bolotin (Miami) Jeff and Elaine Bomberger Mrs. Loretta Borstein*

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Individual Annual Support

2018 Blossom Festival

Dr. and Mrs. J. Peter Fegen Mr. William and Dr. Elizabeth Fesler Carol A. Frankel Richard J. Frey Mr. and Ms. Dale Freygang Peggy A. Fullmer Jeanne Gallagher Dr. Marilee Gallagher Mr. William Gaskill and Ms. Kathleen Burke Mr. Wilbert C. Geiss, Sr. Ms. Suzanne Gilliland Anne and Walter Ginn Holly and Fred Glock Dr.* and Mrs. Victor M. Goldberg Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Dr. Robert T. Graf Nancy F. Green (Miami) Donna Lane Greene Ms. Anna Z. Greenfield+ Dr. and Mrs. Franklin W. Griff Candy and Brent Grover Nancy and James Grunzweig+ Mr. Scott R. Gunselman Mr. Davin and Mrs. Jo Ann Gustafson Scott and Margi Haigh Mark E. and Paula N. Halford Dr. James O. Hall Dr. Phillip M. and Mrs. Mary Hall Douglas M. and Amy Halsey (Miami) Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green + Lilli and Seth Harris Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes In Memory of Hazel Helgesen Jay L. and Cynthia P. Henderson Charitable Fund Mr. and Mrs. Jerry Herschman The Morton and Mathile Stone Philanthropic Fund Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Mr. and Mrs. Stephen J. Holler Thomas and Mary Holmes Gail Hoover and Bob Safarz+ Dr. Keith A. and Mrs. Kathleen M. Hoover+ Ms. Sharon J. Hoppens Xavier-Nichols Foundation / Robert and Karen Hostoffer Dr. Randal N. Huff and Ms. Paulette Beech+ Ms. Laura Hunsicker Gretchen Hyland and Edward Stephens Jr. Ruth F. Ihde Dr. and Mrs. Scott R. Inkley Bruce and Nancy Jackson William W. Jacobs Mr. and Mrs. Bruce D. Jarosz Jaime and Joseph Jozic Dr. and Mrs. Donald W. Junglas David and Gloria Kahan Mr. Jack E. Kapalka Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt Ms. Deborah Kaye The Kendis Family Trust: Hilary & Robert Kendis and Susan and James Kendis Bruce and Eleanor Kendrick

The Cleveland Orchestra

Howard and Mara Kinstlinger Dr. and Mrs. William S. Kiser James and Gay* Kitson+ Fred* and Judith Klotzman Cynthia Knight (Miami) Drs. Raymond and Katharine Kolcaba+ Marion Konstantynovich Mrs. Ursula Korneitchouk Jacqueline and Irwin* Kott (Miami) Dr. Ronald H. Krasney and Vicki Kennedy+ Mr. Donald N. Krosin Stephen A. Kushnick, Ph.D. Lakewood Supply Co. Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr.+ Mrs. Sandra S. Laurenson Mr. and Mrs. Michael Lavelle Dr. and Mrs. Arthur Lavin Charles and Josephine Robson Leamy * Michael Lederman and Sharmon Sollitto Ronald and Barbara Leirvik Ivonete Leite (Miami) Mr. and Dr. Ernest C. Lemmerman+ Michael and Lois Lemr Irvin and Elin Leonard+ Mr. Alan R. Lepene Robert G. Levy+ Matthew and Stacey Litzler Drs. Todd and Susan Locke Mary Lohman Ms. Mary Beth Loud Damond and Lori Mace Ms. Linda Macklin Mr. and Mrs.* Robert P. Madison Robert M. Maloney and Laura Goyanes David Mann and Bernadette Pudis Janet A. Mann Herbert L. and Ronda Marcus Martin and Lois Marcus Mr. and Mrs. Raul Marmol (Miami) Dr. and Mrs. Sanford E. Marovitz+ Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick W. Martin+ Ms. Amanda Martinsek Dr. and Mrs. William A. Mast Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Mr. and Mrs. Christopher J. McKenna Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Ruth and John Mercer Mr. Glenn A. Metzdorf Mr. and Mrs. Trent Meyerhoefer Ms. Betteann Meyerson+ Beth M. Mikes Osborne Mills, Jr. and Loren E. Bendall David and Leslee Miraldi Ioana Missits Abby and Jake Mitchell Mr. and Mrs.* William A. Mitchell+ Mr. and Mrs. Thomas W. Morris Mr. Ronald Morrow III Eudice M. Morse Bert and Marjorie Moyar+ Susan B. Murphy Steven and Kimberly Myers+

Individual Annual Support

Ms. Megan g Nakashima Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Deborah L. Neale Robert D. and Janet E. Neary Steve Norris and Emily Gonzales Marshall I. Nurenberg and Joanne Klein Robert and Gail Oâ&#x20AC;&#x2122;Brien Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan+ Mr. and Mrs. John Olejko Harvey and Robin Oppmann Mr. Robert Paddock Ms. Ann Page Mr. John D. Papp George Parras+ Dr. Lewis E. and Janice B. Patterson David Pavlich and Cherie Arnold Matt and Shari Peart Henry Peyrebrune and Tracy Rowell Mr. Charles and Mrs. Mary Pfeiffer Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ Dale and Susan Phillip Ms. Irene Pietrantozzi Maribel A. Piza (Miami)+ Dr. Marc A. and Mrs. Carol Pohl Brad Pohlman and Julie Callsen Peter Politzer Mr. Robert and Mrs. Susan Price Sylvia Profenna Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca+ Mr. Cal Ratcliff Dr. Robert W. Reynolds Ms. Janet Rice David and Gloria Richards Ms. Carole Ann Rieck Mrs. Charles Ritchie Joan and Rick Rivitz Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Ms. Linda M. Rocchi Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo+ Lawrence H. Rustin and Barbara C. Levin (Miami) Dr. Harry S. and Rita K. Rzepka+ Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton+ Michael Salkind and Carol Gill Fr. Robert J. Sanson Ms. Patricia E. Say+ Mr. Paul H. Scarbrough+ Robert Scarr and Margaret Widmar Mr. Matthew Schenz Bob Scheuer Don Schmitt and Jim Harmon Ms. Beverly J. Schneider Karen Schneider Mr. James Schutte+ Mrs. Cheryl Schweickart Mr. and Mrs. Alexander C. Scovil Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Lee and Jane Seidman listings continue

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Charles Seitz (Mia Miami) Rafick-Pierre Se Sekaly Kenneth Sha hafer Ginger and nd Larry Shane Harry an and Ilene Shapiro Ms. Fr Frances L. Sharp Larry Oscar and Jeanne Shatten+ Larr Dr. and Mrs. William C. Sheldon+ Terrence and Judith Sheridan Mr. Richard Shirey+ Mr. and Mrs. Reginald Shiverick+ Michael Dylan Short Mrs. Dorothy Shrier Mr. Robert Sieck Laura and Alvin A. Siegal Mr. and Mrs. Bob Sill Howard and Beth Simon Ms. Ellen J. Skinner Robert and Barbara Slanina Ms. Anna D. Smith Bruce L. Smith David Kane Smith Ms. Janice A. Smith Sandra and Richey Smith+ Mr. and Mrs.* Jeffrey H. Smythe Ms. Barbara Snyder Dr. Nancy Sobecks Lucy and Dan Sondles John D. Specht Mr. Michael Sprinker Diane Stack and James Reeves* Mr. Marc Stadiem Ms. Sharon Stahler Dr.* and Mrs. Frank J. Staub Mr. Alan L. Steffen Edward R. & Jean Geiss Stell Foundation Mr. Eduardo Stern (Miami) Michael and Wendy Summers Ken and Martha Taylor Mr. and Mrs. Philip L. Taylor Mr. Karl and Mrs. Carol Theil+ Mr. Robert Thompson Mrs. Jean M. Thorrat Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Jonathan Tisch (Miami) Erik Trimble Drs. Anna* and Gilbert True Dr. Margaret Tsai Steve and Christa Turnbull+ Dr. and Mrs. Wulf H. Utian Mrs. H. Lansing Vail, Jr. Bobbi and Peter van Dijk Mrs. Stasia M. Vavruska Brenton Ver Ploeg (Miami) Teresa Galang-Viñas and Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney George and Barbara von Mehren Mr. and Mrs. Reid Wagstaff Mr. Norman Wain Mrs. Carolyn Warner Ms. Laure A. Wasserbauer+ Margaret and Eric* Wayne+ Alice & Leslie T. Webster, Jr. Mr. Peter and Mrs. Laurie Weinberger Michael and Danielle Weiner

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Judge Lesley Wells Dr. Paul R. and Catherine Williams Ms. Claire Wills Richard and Mary Lynn Wills Katie and Donald Woodcock Tanya and Robert Woolfrey Elizabeth B. Wright+ William Ronald and Lois YaDeau Rad and Patty Yates Jeffrey A. Zehngut Ken and Paula Zeisler Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (3)+ Anonymous (12)

+ has signed a multiyear pledge (see information box earlier in this section)

* deceased

Thank You T HE

CLEVELAND ORC HE STR A FRANZ WELSER-MÖST

The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including the Leadership donors listed on these pages. Listings of all annual donors of $300 and more each year are published annually, and can be viewed online at CLEVELANDORCHESTRA .COM For information about how you can play a supporting role for The Cleveland Orchestra’s ongoing artistic excellence, education programs, and community partnerships, pleasecontact our Philanthropy & Advancement Office by email: miqbal@clevelandorchestra.com or phone: 216-231-7545

Individual Annual Support

Bll oss so som m Music Festiva al

T HE

CLEVELAND ORC HE STR A

“We can’t think of a better way to use our resources than to suppoort 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 forr many years, and it has become such a major part of their lives that theey 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 o be a part of The Cleveland Orchestra,” Pat says.

In addition to regularly attending concerts and giving to the ann nual fund, Tony and Pat have established several Charitable Gift Annuities through the Orchestra, which now pay them a fixed stream of income in retu urn for their gifts. To anyone who is considering establishing a Charitable Gifft Annuity, Tony says, “It’s a great investment — for yourself and the Orchesstra!”

To receive a confidential, personalized gift annuity illustration an nd 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.

THE CLEVELAND ORCHESTRA

Corporate Support The Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations listed on this page, whose annual support (through gifts of $2,500 and more) demonstrates their belief in the Orchestra’s music-making, education initiatives, and community presentations.

Annual Supportt gifts in the past year, as of June 1, 2018 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 The J. M. Smucker Company

$50,000 TO $99,999

DLR Group | Westlake Reed Leskosky Dollar Bank Foundation Forest City Litigation Management, Inc. Parker Hannifin Foundation Quality Electrodynamics (QED) Anonymous $15,000 TO $49,999

PARTNERS IN EXCELLENCE $200,000 TO $299,999

BakerHostetler Jones Day Medical Mutual PNC Bank Raiffeisenlandesbank Oberösterreich (Europe) PARTNERS IN EXCELLENCE $100,000 TO $199,999

American Greetings Corporation Eaton Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP

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Buyers Products Company Calfee, Halter & Griswold LLP Case Western Reserve University Cuyahoga Community College Foundation Ernst & Young LLP Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP The Lubrizol Corporation Materion Corporation MTD Products, Inc. North Coast Container Corp.

Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. RPM International Inc. The Sherwin-Williams Company Tucker Ellis LLP United Airlines

Corporate Annual Support

$2,500 TO $14,999 Akron Tool & Die Company American Fireworks, Inc. BDI BestLight LED Brothers Printing Co., Inc. The Cedarwood Companies Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Counselling Services Consolidated Solutions Deloitte & Touche LLP Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Glenmede Trust Company Gross Builders Huntington National Bank Johnson Investment Counsel The Lincoln Electric Foundation Littler Mendelson, P.C. Live Publishing Company Macy’s Miba AG (Europe) Northern Haserot Northern Ohio Italian American Foundation Oatey Ohio CAT Oswald Companies PolyOne Corporation Price Waterhouse Coopers LLP RSM US, LLP Southern Wine and Spirits (Miami) Stern Advertising Struktol Company of America University Hospitals Ver Ploeg & Lumpkin (Miami) Anonymous (2)

2018 Blossom Festival

THE CLEVELAND ORCHESTRA

Foundation/Government Support The Cleveland Orchestra is grateful for the annual support of the foundations and government agencies listed d on this page. The generous funding from these institutions (through gifts of $2,500 and more) is a testament of support for the Orchestra’s music-making, n education initiatives, and community presentations.

Annual Supportt gifts in the past year, as of June 1, 2018 $1 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture $500,000 TO $999,999

The George Gund Foundation Ohio Arts Council $250,000 TO $499,999

The Louise H. and David S. Ingalls Foundation Kulas Foundation John P. Murphy Foundation $100,000 TO $249,999

Paul M. Angell Family 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 GAR Foundation 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

Blossom Festival 2018

$15,000 TO $49,999

The Abington Foundation The Batchelor Foundation, Inc. (Miami) Mary E. & 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 Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation The Veale Foundation The Edward and Ruth Wilkof Foundation

$2,500 TO $14,999 The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation The Bruening Foundation Cleveland State University 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 M. G. O’Neil Foundation Paintstone Foundation Peg’s Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation Miami-Dade County Public Schools (Miami) SCH Foundation Harold C. Schott 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 Wuliger Foundation Anonymous (2)

Foundation/Government Annual Support

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# % # % "!

Thanks to the richness off Clevelandâ&#x20AC;&#x2122;s cultural heritage and the excellence of The Cleveland Orchestra, literally millions of men, women, and children have experienced p such a dawn . . . and it is unforgettable. g Hyster-Yale Materials Handling, Inc. Hyster, Yale, and UTILEV Lift Trucks Nuvera Hydrogen Power Solutions Bolzoni Attachments

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NACCO Industries, Inc. The North American Coal Corporation North American Mining

2018 Blossom Festival

2O18

BLOSSOM MUSIC FESTIVAL

YEARS 1968- 2O18

Sunday evening, July 29, 2018, at 7:00 p.m.

T H E C L E V E L A N D O R C H E S T R A presents

AUDRA McDONALD SINGS BROADWAY featuring AUDRA McDONALD, soprano with THE CLEVELAND ORCHESTRA conducted by ANDY EINHORN

Selections to be announced from the stage.

The concert will run approximately two hours, with one intermission.

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

This concert is dedicated to Richard and Nancy Sneed and to Mr. and Mrs. David C. Ruckman in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

201 8 B lossom Season S ponsor: T h e J . M . S m u c k e r C o m p a n y 50 th Anniversar y Sponsor: T h e G o o d y e a r T i r e & R u b b e r C o m p a n y

Blossom Festival 2018

Concert Program: July 29

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INTRODUCING THE CONCERT

Lights, Stars & Broadway

L I F E I N A M E R I C A H A S I N S P I R E D many creative endeavors and ideas, from jazz to Southern fried chicken, from moonshine and manhattans to blue jeans. And, let us not forget — sitting here in the great outdoors — that the idea for national parks for the benefit of all the people is also a genuine American concept. Near the top of the list, too, is the wonderful, glorious, effervescent, and ever-changing Broadway musical.

While Broadway derived from vaudeville and Viennese operettas, and everyday bar-hall entertainment — it transformed into its own artform by adding six sprinkles of artistic panache, the power of artful slight-of-hand, and daring American show-biz confidence. Its dramatic mix of storyline, emotion, telling lyrics, energetic delivery, and melodic invention has no rival. Its songs became standards, its stories became our own. Its history and evolution carried us through the 20th century and carries us forward today into a brightly lit future world.

Audra McDonald’s artistry shines brightly, not just on Broadway, but on film and television, and in concert. Her voice and poise and presence, her abliity to sell a story with a song (or a song through the story), place her among the pantheon of the best in showbiz.

With awards aplenty — Tony, Emmy, Grammy — her work has been recognized for its warmth and genuine authenticity.

Across decades of modern life, the theaters of New York have produced an unending string of hit songs and personal ballads. They have showcased love and loss, kitsch and comedy, dance and drama, failing flops and financial bright lights. From one memorable score to the next, voices ring out across the footlights, helping us understand the depths (and widths and whispers and workings) of humanity. And magically so, in the minutes and hours between overtures, intermissions, and curtain calls.

So sit back, prepare your hearts to be broken, for so much to be expressed and supposed, as together we fall in love with . . . Audra McDonald tonight.

—Eric Sellen

With this concert, The Cleveland Orchestra gratefully honors the Akron Community Foundation for its generous support.

Blossom Festival 2018

Introducing the Concert: July 29

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Andy Einhorn American conductor Andy Einhorn each year leads performances with North American pops and symphony orchestras — with recent engagements including Boston, Cincinnati, Calgary, and New York. He has many Broadway and touring credits, and served as music director and supervisor for the Broadway productions of Carousel and Hello, Dolly! Since 2011, he has served as music director and pianist for Audra McDonald, performing with her and the orchestras of Los Angeles, Philadelphia, San Francisco, and Washington D.C., among others. They recently recorded performances for a telecast with the Sydney Symphony. Andy Einhorn has also worked with Goodspeed Opera House, Oregon Shakespeare Festival, Paper Mill Playhouse, and Signature Theatre. His discography includes Bullets Over Broadway, Cinderella, Evita, Sondheim on Sondheim, Stage Door Canteen, and McDonald’s newest release, Go Back Home.

He was music director for HBO’s awardwinning documentary Six by Sondheim and music supervisor for Great Performances presentation Broadway Musicals: A Jewish Legacy. Mr. Einhorn is an honors graduate of Rice University and is making his Cleveland Orchestra debut tonight.

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July 29: Guest Conductor

2018 Blossom Festival

Audra McDonald American soprano Audra McDonald is unparalleled in the breadth of her artistry — and is as much at home on Broadway and opera stages as she is in roles on film and television. In addition to her theatrical work, she maintains a major career as a concert and recording artist, regularly appearing on the great stages of the world.

Winner of a record-breaking six Tony Awards, two Grammy Awards, and an Emmy Award, she was named one of Time magazine’s 100 most influential people of 2015 and received a 2015 National Medal of Arts from President Barack Obama. She made her Cleveland Orchestra debut in July 1999, singing a selection of American art songs, including Aaron Copland’s settings of poems by Emily Dickinson.

Born into a musical family, Audra McDonald grew up in California, and received her classical vocal training at the Juilliard School. A year after graduating, she won her first Tony Award for Carousel, and later received awards for Master Class (1996), Ragtime (1998), and A Raisin in the Sun (2004). In 2012, she won her first Tony in the leading actress category, for The Gershwins’ Porgy and Bess. In 2014 she made Broadway history and became the Tony Awards’ most decorated performer when she won her sixth award portraying Billie Holiday in Lady Day at Emerson’s Bar & Grill — the role which also served for her 2017 debut on London’s West End. Audra McDonald made her opera debut in 2006 at Houston Grand Opera, in Poulenc’s La voix humaine and the world premiere of Michael John LaChiusa’s Send.

Her Los Angeles Opera debut was in 2007 in Kurt Weill’s The Rise and Fall of the City of Blossom Festival 2018

Mahagonny; the resulting recording won two Grammy Awards. In concert, Ms. McDonald has sung with nearly every major American orchestra, as well as with major ensembles across Europe, including the Berlin Philharmonic, London Symphony Orchestra, and at the BBC Proms.

Acting frequently on television series and productions, Audra McDonald was named host of Live From Lincoln Center in 2012, and won her first Emmy Award in 2015. Most recently, she joined the cast in the second season of CBS’s The Good Fight, a spin-off of the award-winning The Good Wife. As a Nonesuch recording artist, she has released five solo albums, including Happy Songs, Build a Bridge, and Go Back Home. Other recordings include Bernstein’s Wonderful Town, Sondheim’s Sweeney Todd, and a variety of song albums and DVDs. Audra McDonald was inducted into the inaugural class of Lincoln Center’s Hall of Fame and, in 2014, named Musical America’s Musician of the Year.

Of her many roles, some of Ms. McDonald’s favorites are offstage: as advocate for equal rights and homeless youth, wife to Will Swenson, and mother.

More information can be found by visiting www.audramcdonald.net.

Guest Artist: Audra McDonald

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orchestra news

THE CLEVELAND ORCHESTRA

“An Orchestra’s Ecstatic, Once-in-a-Lifetime Birthday Party” CLEVELAND — When I told people in the classical music world why I was traveling here for a few days this month, mouths tended to drop open. There were bursts of awe-struck laughter. There was jealousy. . . .

Someone replied . . . ‘that’s my idea of heaven.’

This heaven, ascended toward by Franz WelserMöst and The Cleveland Orchestra as an exclamation point on its 100th anniversary celebrations, is simple enough to name: a performance of Olivier Messiaen’s Turangalîla-Symphonie on Wednesday evening, followed on Thursday by Wagner’s Tristan und Isolde.

What might seem straightforward was actually extraordinary — even, perhaps, unprecedented. There are a lot of great, ambitious orchestras in the world; I don’t know another that would have gone for what the Clevelanders did this week. Tristan and Isolde is a nearly four-hour score of immense complexity that is not, to say the least, what a symphony orchestra pulls out every season. (The Cleveland Orchestra hadn’t done it whole since 1933.)

Yet in the midst of a run of concert performances of the opera, this ensemble plopped a single go at Turangalîla, all 80 steroidally scored minutes of it. Inspired by the Tristan legend, Messiaen’s riotous celebration of love is a loopy, visionary kind-of concerto for piano and the whistling ondes martenot: think of a Chagall painting in sound. It usually requires nearly a week of dedicated preparation and a series of performances to justify the effort. Throwing together just one night of it — and bringing in soloists on the level of the star pianist Jean-Yves Thibaudet and the ondes master Cynthia Millar — is a little like building a five-star French restaurant for a single dinner service. It’s one way to define orchestral luxury.

To program it alongside Wagner’s opera, though, as part of a festival dubbed “The T Ecstasy of Tristan and Isolde,” is not luxurious as much as slightly insane. The reason this plan made it . . . into viable — indeed, beautiful — life? This is The Cleveland Orchestra, the culture of which may be understated but which knows precisely what it’s capable of. . . . Many ensembles would have done the Prelude and Liebestod from Wagner’s opera — or maybe, like the Boston Symphony Orchestra recently, an excerpted act. A few would have done a complete Tristan and Isolde alone. Maybe one or two would have added a bonus performance of a suite from Prokofiev’s Romeo and Juliet. . . . But even before a season-ending Beethoven cycle that will tour to Vienna and Tokyo, Cleveland proved its mettle, yet again, by going above and beyond. Oh, and did I mention that Saturday [April 28] brings a dive into sacred love, with 16th-century brass pieces, contemporary choral works, a Bach cantata and solo-organ fantasias? That’s the evening before the final Tristan and Isolde matinee.

Just another weekend in the life of America’s most understatedly amazing orchestra.”

—Zachary Woolfe excerpted from: New York Times, April 27, 2018

Blossom Festival 2018

Cleveland Orchestra News

orchestra news Read about the music on your cellphone before the concert begins by visiting ExpressProgramBook.com The Cleveland Orchestra’s program book is also available for your mobile phone, via a dedicated website specifically for reading about the music ahead of the concert. This 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, r ” comments program bookk 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 beginning in 2016, and is fully launched during the summer of 2017, with information posted a few days prior to each concert. The site features only the core information content of each book. The complete

THE CLEVELAND ORCHESTRA

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

ExpressProgramBook.com

program book is available online in a “flipbook” format, for viewing on 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.

2O18

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July 14 -- Movie Night: Singin’ in the Rain . . . . . page 20 July 15 -- Schumann’s First Symphony . . . . . . . . . . page 33 July 21 -- Kent Blossom Music Side-by-Side . . . . page 46 July 28 -- Mozart and Brahms . . . . . . . . . . . . . . . . . . . . . . page 73 July 21 -- Audra McDonald Sings Broadway . . . page 95

Read this program book

online at ExpressProgramBook.com

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Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

Blossom Picnic Contest open to all attending concert on July 15

Four movies offered at Severance Hall during 2018-19 season

For the second year in a row, The Cleveland Orchestra is holding a Blossom Picnic Contest, open to all attendees on Sunday, July 15. Do you have a flair for cooking, design, or hosting ng a fun party? You can compete for prizes before the concert by showcasing your best picnic food and presentation! Judges will include local celebrities and members of The Cleveland Orchestra. Registration is open to everyone, by completing the form available through the Orchestra’s website.

Participants will set up their “Perfect Blossom Picnic” on the Lawn prior to the evening’s concert — starting as early as 4:30 p.m. for the 7:00 p.m. concert. Judging will take place between 5:30 and 6:30, with judges evaluating picnics on presentation, taste, and creativity (participants should be prepared to share a plate for the judges to enjoy). Two winners will be chosen — best presentation and best food — and will receive a pair of tickets to an upcoming Cleveland Orchestra concert at Severance Hall during the 2018-19 season.

Lights! Camera! Music! The Cleveland Orchestra presents four classic movies during the upcoming season at Severance Hall, with music performed live as each film is projected above the stage. Three of the season’s movies feature the Orchestra performing the musical soundtrack, while the first instead utilizes the concert hall’s 6,000-pipe organ to sound out an improvised accompaniment. Three of the movies (in October, March, and April) can be purchased together as a cost-saving series. The fourth and final movie, in May 2019, is part of the Orchestra’s regular weekend concert series, with the 1951 movie An American in Paris featuring a score of hits by George Gershwin.

The three-concert “At the Movies” series is sponsored by PNC, and opens in October with Alfred Hitchcock’s early film The Lodger: A Story of the London Fog on October 26. Acclaimed organist Todd Wilson returns for this performance, showcasing his own improvisatory artistry through the capabilities of Severance Hall’s Norton Memorial Organ. This neverbefore-heard performance brings Hitchcock’s movie masterpiece to life for a unique evening of haunting music and spellbinding storytelling.

The series continues with the groundbreakk ing 1955 film Rebel Without a Cause on Friday, March 1. Featuring a score by Leonard Rosenman often considered to have revolutionized film music, Nicholas Ray’s cult-classic about rebellious American youth culture — starring James Dean, Sal Mineo, and Natalie Wood — is a timeless landmark drama. The Cleveland Orchestra accompanies this evening of silver screen magic.

The “At the Movies” series concludes on Sunday, April 28, with Steven Spielberg’s Close Encounters of the Third Kind, d featuring John Williams’s remarkable musical score and Spielberg’s uncanny eye for direction.

“At the Movies” series subscriptions are available through the Severance Hall Ticket Office, online at clevelandorchestra.com, or by calling Cleveland Orchestra Ticket Services at 216-231-1111 or 1-800-686-1141.

Summers@Severance offers three Friday musical evenings The Cleveland Orchestra’s fifth year of Summers@Severance in 2018 offers three Friday night concerts. This popular summer series offers a unique, enjoyable atmosphere to hear the Orchestra and socialize with friends and family in the beauty of University Circle surrounding Severance Hall.

The series is sponsored by Thompson Hine LLP and for 2018 takes place on July 27, August 10, and August 24, featuring a range of music from Brahms and Bartók, to Haydn and Mozart.

Series tickets (all three concerts as a package) are on sale via the Severance Hall Ticket Office or online. Individual concert tickets can be purchased, in person or online at clevelandorchestra.com.

Blossom Festival 2018

Cleveland Orchestra News

103

1918

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

16 17th

1l1l 11l1 l1l1 1 1

The 2018-19 season will mark Franz Welser-Möst’s 17th 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 53%

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 2018)

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

134 129,452 ,267

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

Welcome to Blossom!

Welcome to the 2018 Blossom Music Festival — a summer-long season of weekend and holiday musical programs presented by The Cleveland Orchestra. In add dition, LiveNation presents nonorchestral concerrts throughout the season.

Please be awaare that some audience policies differ depending on the evening’s musical presentation, including what food and beverages can be brought onto the e grounds or into the Pavilion.

For this summ mer’s Festival, unique security, parkking, and food policies apply for the presentation of Roger Daltrey Sing gs The Who’s Tommyy on July 8.

Before the Concert . . .

GROUNDS OPEN Gates to the B Blossom grounds are open to the public 2½ hours b before Festival concerts.

QUESTIONS? Members of B Blossom Friends of The Cleveland Orchestra staff tw wo Information Centers — one located outside th he Main Gate across from the Lawn Ticket Booth and the other inside the Main Gate on Smith Plaza next tto the Joseph Garden.

PARKING Free parking g is available with your ticket to any regular Festival concert. Paved parking Lots require a printed aand dated hang-tag, which must be displayed in your vehicle. Cars without dated parking hang-tags are direected to non-paved parking.

Free hang-ta ags for Lots C-D-E are available with Pavilion tickkets purchased at least ten days in advance of a Festtival concert. Paved Lots A and B are reserved forr subscribers (Lot B) and Box Seat holders (Lot A).

Anyone can u upgrade to Lot A parking in advance, subject to availability, for $20 per vehicle per concert.

Parking spacces for patrons with disabilities and special need ds are in Lots B and E. A valid disability parking g permit is required and must be displayed. A limitted number of ADA parking spaces are also available e in Lot A for $20 per vehicle per concert, with advvance purchase. For more information, contact Gue est Services at 330-916-6068.

FREE TRAM SERVICE AND GOLF CARTS Free transporrtation throughout the grounds is available to all paatrons for Blossom Music Festi-

Blossom Festiva al 2018

Patron Information

CONTACT US ORCHESTRA FESTIVAL TICKETS

(216) 231-1111

or 800-686-1141 or online at clevelandorchestra.com Blossom Guest Services and Lost & Found (330) 916-6068 Blossom Grille (330) 916-6063 Accessibility Services (330) 916-6068

S AR Y E6 8 - 2 O 1 8 19

Group Sales and Knight Grove Reservations (216) 231-7493 weekday business hours Blossom Administrative Offices (330) 920-8040 weekday business hours Cleveland Orchestra Offices (216) 231-7300 weekday business hours val concerts. Tram service from parking lots to Smith Plaza and to the Pavilion is available on a continuous basis before and after each concert.

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 on Smith Plaza) to drive patrons to the Blossom Grille, Knight Grove, and other destinations not on the regular Tram routes.

PICNICS Festival patrons are 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.

Open-flame grilling is not permitted anywhere on the Blossom grounds or parking areas. Sparklers and fireworks are also prohibited.

105

Patron Information

continued

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.

NEW! PRE-ORDER PICNICS ONLINE A variety of prepared picnic baskets are available to pre-order thru the Orchestra’s website, featuring three tiers of food offerings — including sandwiches, wraps, dips, mini-cakes, pies, snack items, and beverages. Information about picking up your picnic comes with your order.

Visit clevelandorchestra.com/picnic.

CONCESSIONS Blossom offers a diverse selection of food and beverage concessions throughout the grounds.

Some of the items available include individual pizzas, grilled hot dogs, jumbo soft pretzels, coffees, and ice cream, along with a selection of alcoholic beverages featuring beers and 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 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 following each concert.

For more information or to make reservations, please call 330-916-6063.

LAWN CHAIRS AND RENTALS Guests are welcome to bring chairs to the Lawn, but we ask you to please keep in mind that how you sit can obstruct others’ views.

Short-legged beach-style chairs make good neighbors. Suitable rental chairs are available at the top of the hill for a rental fee of $5 per evening. Tents or other structures are strictly prohibited.

106

Pavilion Seating FOOD AND BEVERAGES, LATE SEATING

For the comfort all guests, new guidelines have been instituted for late seating and food/beverages in the Blossom Pavilion.

Please follow posted signage for the following Pavilion seating options: CLASSICAL CONCERTS — BLUE Late seating is permitted only at designated seating breaks in the music.

Bottled water only is allowed in the Pavilion.

POPS-STYLE CONCERTS — PINK Late seating is permitted between pieces and during speaking from the stage.

Beverages and small snacks are allowed in the Pavilion.

MOVIE CONCERTS — ORANGE Late seating is permitted throughout the performance.

Food and beverages are allowed in the Pavilion (without picnic baskets/coolers).

During the Evening . . .

IN CASE OF RAIN Blossom Music Festival concerts are performed rain or shine. In the event of rain, Lawn/ General Admission tickets will allow you access to the general admission sections of the Pavilion, available on a first-come, first-served basis.

ARRIVING LATE TO THE LAWN Lawn patrons can find a spot on the Lawn at any time throughout the evening. However, if you are arriving after the concert has started, please be courteous to fellow patrons who are already enjoying the music.

NO SMOKING All Blossom events are presented in a smoke-free environment. Smoking tobacco or e-cigarettes is not allowed anywhere on the grounds or in buildings once you have entered through the ticket gates.

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

Patron Information

2018 Blossom Festival

Patron Information

continued

MOBILE PHONES AND CAMERAS

aged to check-in on Facebook and thru other social media sites or apps, and to share about your Blossom experience thru these same channels — including pictures of your family and friends enjoying all that Blossom has to offer.

Please note that, in accordance with contractual agreements with the performers, the taking of pictures inside the Pavilion during performances is not permitted.

The recording of performances — video or audio — is also restricted.

Those sitting on the Lawn are welcome to view an online version of our program book via your phone by visiting ExpressProgramBook.com.

DURING THE PERFORMANCE Please keep in mind that a night at Blossom is a shared experience. Please be mindful about the comfort and safety of people around you while you are enjoying your own evening.

Please silence or mute your mobile phone.

Please refrain from using your mobile device in a way that disturbs those around you from enjoying the performance or quietude of twilight.

CLEVELAND ORCHESTRA STORE During Festival concerts, the Cleveland Orchestra Store offers sales in the Special Events Center located on Smith Plaza. Offerings include Blossom and Cleveland Orchestra signature merchandise, recordings, and other gift items.

The shop is open 2 hours before the concert, at intermission, and for post-concert shopping.

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 Smith Plaza.

YOUNG PERSON’S GUIDE A free printed Young Person’s Guide is available to help your youngest attendees learn about music, with some suggested activities.

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Patron Information

107

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Buying Tickets ER 1

Call the Severance Hall Ticket Office

FRE E N

at 216-231-1111 or 800-686-1141, open weekdays 9 a.m. to 5 p.m.

8s Free Lawn Tickets are available ND for young people ages 17 and younger. Two Under LIES 18s Free Lawn Passes can FA M I FOR be requested with each ON paid admission. Under 18s THE LAW must have a pass for entry and must be accompanied by an adult. Passes can be requested through the Ticket Office or online.

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

U

BY TELEPHONE

IN PERSON $W WKH 6HYHUDQFH +DOO 7LFNHW 2IÀFH 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 Off fice, 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

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

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

PAVILION GENERAL ADMISSION AREAS Some areas of the Pavilion are designated for general admission seating on a first-come, firstserved basis (beginning two hours before each concert). Lawn Tickets and Under 18s Free Lawn Passes grant access to this area. Each person regardless of age must have a ticket to sit in this area.

GROUP DISCOUNTS Groups of 10 or more qualify for specially discounted tickets to most Festival concerts.

Whether you are planning for your company picnic, a club or social group outing, or this year’s family reunion, Blossom offers a special setting.

Call our Group Sales Office at 216-231-7493.

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

GUARANTEED COMPLIMENTARY PAVED LOT PARKING When you purchase Pavilion tickets to regular Festival concerts in advance, you 2018 receive a parking pass that guarantees you J U LY space in one of Blossom’s paved parking lots and access to these lots via the “Parkk ing Pass” lane. To receive a parking pass, C-D-E purchase tickets in person or online at least ten days prior to the concert.

BLOSSO

M MUSIC

FESTIVA V L

This Pavilio 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.

Blossom Festival 2018

Buying Tickets

4

Face this

side out

109

2O18

Knight Grove

BLOSSOM GROUNDS

ATM

Picnic Tables

Concessions Family Restroom

Hood Meyerson Suite Backstage Lot

ATM

Blossom Grille

Pavilion

Lawn Seating

Lawn Terrace

Kulas Plaza

Concessions

ADA Lawn Seating

Concessions Guys Burger Joint

Concessions

ATM

Frank E. Joseph Garden Herbert E. Strawbridge Garden

Eells Art Gallery Concessions

ATM

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

Lot A Gate Guest Services and First Aid Security

Lawn Chair Rental Information Center*

Special Events Center (Merchandise Sales)

Concessions

Main Gate

FirstEnergy

Box Office

Lot (PAY LOT)

Pedestrian Bridge

Information Center*

Lawn Ticket Booth Woods Picnic Area Subscriber

Lot

Lot

Lot

Lot

Tram Stops ADA Route

110

* Information Centers staffed by Blossom Friends of The Cleveland Orchestra

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

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