2018 Blossom Music Festival book 4 by Live Publishing

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. 4 SEASON SPONSOR

ANNIVERSARY SPONSOR

INSIDE . . .

August 18 -- Sibelius Second Symphony . . . . . . . page 21 August 19 -- Frank & Ella . . . . . . . . . . . . . . . . . . . . page 41 August 25 -- Orffâ&#x20AC;&#x2122;s Carmina Burana . . . . . . . . . . . . . page 49 Labor Day Weekend -- Movie: Star Wars . . . . . page 68 Read this program book online at ExpressProgramBook.com See complete Table of Contents on page 4

On view through September 30 Weekly ticket sales occur every Monday throughout the run of the exhibition via online and phone only. Find ticket and exhibition info at cma.org/kusama. No on-site sales.

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 Installation view of Dots Obsessionâ&#x20AC;&#x201D;Love Transformed into Dots, (2007) at the Hirshhorn Museum and Sculpture Garden, 2017. Yayoi Kusama (Japanese, b. 1929). Mixed-media installation.Courtesy of Ota Fine Arts, Tokyo/Singapore; Victoria Miro, London; David Zwirner, New York. ÂŠ Yayoi Kusama. Photo by Cathy Carver

Thereâ&#x20AC;&#x2122;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. 4 7 Share your memories of tonight and join in the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra

21.

CONCERT — Aug 18 Sibelius Second Symphony Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . 23 About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25-32 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

41.

CONCERT — Aug 19 Frank & Ella Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 43 About Ella and Frank . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46-47

CONCERT — Aug 25 Carmina Burana Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . 51 About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52-57 Synopsis of the Sung Text . . . . . . . . . . . . . . . . . . . 58-59 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60-64

CONCERT — Labor Day Weekend Star Wars Introducing the Movie . . . . . . . . . . . . . . . . . . . . . . . . . . 71 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73-75 Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

About the Orchestra

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.

Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 About the Orchestra. . . . . . . . . . . . . . . . . . . . . . . . . . 35-37 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 38-39

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

About Blossom Welcome to Our Summer Home . . . . . . . . . . . . . . . . . . 7 2018 Festival Calendar. . . . . . . . . . . . . . . . . . . . . . . . . 8-9 About Blossom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13-16 Blossom Committee . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Blossom Friends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Blossom by the Numbers . . . . . . . . . . . . . . . . . . . . . . . . 48

Supporting the Orchestra John L. Severance Society . . . . . . . . . . . . . . . . . . . . . . . 10 Second Century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78-87

More About Blossom Blossom Information and Policies . . . . . . . . . . . . 89-94

Table of Contents

Blossom Music Festival

10 0

R E A S O N S

C E LE B R ATE

No. 48 In 1985, The Magic Flute was the first full-length opera staged at Blossom Music Center.

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

1968- 2O18

TUESDAY JUL

SALUTE TO AMERICA Blossom Festival Band Loras John Schissel, conductor

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

SATURDAY JUL

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

JUL

14 8:30

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

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

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.

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

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

SUNDAY

SALUTE TO AMERICA SCHISSEL

AUG

Blossom Festival Band Loras John Schissel, conductor

4 8:30

AUG

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

ROGER DALTREY PERFORMS THE WHO’S TOMMY

DALTREY

JUL

AUG

11 8

RACHMANINOFF’S RHAPSODY

AUG

12 7

YO-YO MA PLAYS BACH

The Cleveland Orchestra Vasily Petrenko, conductor Simon Trpčeski, piano

YO-YO MA

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

The Cleveland Orchestra James Gaffigan, conductor Stephen Hough, piano

AUG

19 7

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

HOUGH

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.

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

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

SEP

2 8:30

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

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

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) * deceased

The Cleveland Orchestra

MUSICAL ARTS ASSOCIATION

as of May 2018

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival OFFICERS AND EXECUTIVE COMMITTEE Richard K. Smucker, President Dennis W. LaBarre, Chairman Richard J. Bogomolny, Chairman Emeritus

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.

RESIDENT TRUSTEES 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

NON-RESIDENT TRUSTEES Virginia Nord Barbato (New York) Wolfgang C. Berndt (Austria)

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

Herbert Kloiber (Germany) Paul Rose (Mexico)

Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz Douglas A. Kern

T R U S T E E S E X- O F F I C I O Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Patricia Sommer, President, Friends of The Cleveland Orchestra Elizabeth McCormick, President, Blossom Friends of The Cleveland Orchestra TRUSTEES EMERITI 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 ESI DE 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, President, Case Western Reserve University

H O N O R A RY T R U S T E E S 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

Blossom 8

PAG E 2 O 1 5

SEPT. 22, 2018

Smuckers SPONSOR Join us for an evening ﬁlled with art, musical theatreAD and chamber music to H O N O R A RY C H A I R S:

ROE GREEN | LINDA MCDONALD | RICHARD AND MICHELLE WORTHING

commemorate 50 years of the Kent Blossom legacy, which has touched the lives of over 100,000 students and audience members. Our evening will include live entertainment by:

Alice Ripley Tony Award-winning actress, singing your favorite Broadway tunes.

David Shifrin Grammy-nominated clarinetist, performing a program of 20th century music.

Philip Pearlstein Inﬂuential modernist and realism ﬁgure painter, exhibiting his works.

Sponsorships and tickets are available at WWW.KENT.EDU/ARTSCOLLEGE/BLOSSOMING-GALA For information, call 330-672-2760. Silent and live auction Proceeds will go toward scholarships for the 2019 season of

PORTHOUSE THEATRE | KENT BLOSSOM MUSIC FESTIVAL | KENT BLOSSOM ART INTENSIVES

Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University is committed to attaining excellence through the recruitment and retention of a diverse student body and workforce. 18-SUCCESS-00453-237

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

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

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.

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 Margaret Watts Hunter Mary Ann Jackson Michael J. Kaplan Philip S. Kaufmann Christine Kramer Janice R. Leshner

John McBride Margaret Morgan* Paul A. Rose Sandra R. Smith Christopher TT. Teodosio 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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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. The final Gourmet Matinee Luncheon for 2018 takes place on August 20. Call 330-995-4975 for details.

Blossom Festival 2018

Blossom Friends

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American musician James Gaffigan is chief conductor of the Luzerner Sinfonieorchester, principal guest conductor of the Netherlands Radio Philharmonic Orchestra, and first principal guest conductor of Cologne’s Gürzenich Orchestra. As a guest artist, he has led performances across Europe and the United States and in Asia. Recent and upcoming engagements include concerts with the orchestras of Amsterdam, Chicago, Dallas, Munich, the Netherlands, and Philadelphia, as well as his debuts with the Chicago Lyric Opera and Santa Fe Opera. His schedule also includes upcoming engagements with New York’s Metropolitan Opera, Netherlands Opera, and the Vienna State Opera. Mr. Gaffigan was a conducting fellow at the Tanglewood Music Center and a participant in the Aspen Music Festival’s American Academy of Conducting. He served as assistant conductor of The Cleveland Orchestra (2003-06), and then as associate conductor of the San Francisco Symphony (2006-09). He was a first prize winner at the 2004 Georg Solti International Conducting Competition. His most recent Cleveland Orchestra performances were in January 2017. For more information, visit www.jamesgaffigan.com.

British pianist Stephen Hough performs with the foremost European and American orchestras and has an award-winning discography of more than fifty albums. During his long and distinguished performing career, he is also well known for his work as a teacher, writer, and composer. He is a visiting professor at London’s Royal Academy of Music, a faculty member at the Juilliard School in New York, and holder of the International Chair of Piano Studies at his alma mater, the Royal Northern College in Manchester. Mr. Hough has written scholarly album liner notes, articles for Britain’s The Guardian and the London Times, a cultural blog, and a book, The Bible as Prayer. His honors include first prize in the 1983 Walter W. Naumburg Foundation International Piano Competition and a 2001 MacArthur Foundation Fellowship. In addition to teaching and performing, he has composed chamber, choral, symphonic, and instrumental pieces, along with works for solo piano. He was named a Commander of the Order of the British Empire in 2014. Stephen Hough made his Cleveland Orchestra debut in July 1988 and most recently appeared with the ensemble in March 2016. For more information, visit www.stephenhough.com.

Guest Artists: August 18

2018 Blossom Festival

2O18

BLOSSOM MUSIC FESTIVAL

YEARS 1968- 2O18

Saturday evening, August 18, 2018, at 8:00 p.m.

T H E CL E V E L A ND ORC H EST R A JA M E S G A F F I G A N , conductor

SAMUEL BARBER (1910-1981)

FELIX MENDELSSOHN (1809-1847)

Essay No. 2, Opus 17 3LDQR &RQFHUWR 1R in G minor, Opus 25 1. Molto allegro con fuoco — 2. Andante — 3. Presto — Molto allegro e vivace STEPHEN HOUGH, piano

INTER MISSION JEAN SIBELIUS (1865-1957)

6\PSKRQ\ 1R in D major, Opus 43 1. Allegretto 2. Tempo andante, ma rubato 3. Vivacissimo — Lento e suave — Tempo primo — Lento e suave — 4. Finale: Allegro moderato

This concert is co-sponsored by Materion Corporation. This concert is dedicated to Mr. and Mrs. David J. Carpenter and to Mrs. Marguerite B. Humphrey in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

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Blossom Music Festival

Concert Program: August 18

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INTRODUCING THE CONCERT

T Thought, Music, Language M U S I C I S A L A N G U A G E . It speaks (or sings) directly to us, without words (or, in a song, with words to add or confirm or inform the intended meaning). Like any language, phrases, words, sentences — note, chords, phrases — are often open to interpretation, and may very well mean different things to different listeners. Tonight’ss concert offers three works, by three composers stretching Tonight across more than a century of musical evolution. We hear a concerto from 1831, an orchestral essay from a hundred years later, and a symphony written in between, just as the 19th century changed into the 20th. None of these three works has a program. That is, the composers were not trying to tell a story, but instead were simply endeavoring to create a statement in music — to entertain us with patterns of sound which, ultimately, add up to something meaningful. Each piece tests the artistry of the musicians onstage, to bring us method and message that is meaningful without being meaning-filled. The night begins with Samuel Barber’s Second Essayy for orchestra. It is not a symphony, yet it is serious, well-formed, and well-shaped, with modern touches and ideas circulating through its rhythms and whims, beginnings and endings. Next comes Felix Mendelssohn’s Second Piano Concerto. Guest pianist Stephen Hough returns to play this wellcrafted and graceful work, filled with artful detail, melodic charm, and attractive sentiments. To close the concert, guest conductor James Gaffigan lleads The Cleveland Orchestra in Jean Sibelius’s popular Second Symphony, from 1902. This is big music, built from small parts and motifs into one grand and eloquent musical statement. It moves from rhythmic impulses, through quiet urgings and plucked pizzicato thumpings, to big-scale shouts of full-throated joy. Sibelius’s Second Symphony was created at the beginings of modernity. Its melodies are surrounded by scratching sounds and snippets, by music searching for its path forward. It is a bold work, filled with lyrical passages, searing strings, and boastful brass. It is, ultimately, filled with concern for and joy toward understanding life’s significance — with insight beyond words, which only the arts can render. —Eric Sellen

Blossom Festival 2018

Introducing the Concert: August 18

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6HFRQG (VVD\ IRU 2UFKHVWUD, Opus 17 composed 1941-42 A S A B OY Y, Samuel Barber composed Three Essays for piano. Among

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BARBER born March 9, 1910 West Chester, Pennsylvania died January 23, 1981 New York City

At a Glance This work runs about 10 minutes in performance. Barber scored it for 2 flutes, 2 oboes, english horn, 2 clarinets (second doubling bass clarinet), 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (cymbals, side drum, bass drum, tam-tam), and strings.

The Cleveland Orchestra

his early mature works is an Essay for Orchestra, composed in 1937, written at age 27. 7 For this, his friend the poet Robert Horan had suggested composing something on the lines of a literary essay. This idea appealed greatly to Barber, not only because it was a less formidable ambition than composing a full orchestral symphony (which he had in fact already done once), and partly because he was passionately fond of literature, especially English literature. He had already set the words of Shelley and Matthew Arnold to music, and had composed a lively overture on Sheridan’s School for Scandal. The second orchestral Essayy was composed in response to a request from Serge Koussevitzky, long-standing conductor of the Boston Symphony Orchestra. It was composed mostly in 1941 at a time when Barber was under the impending threat of being called up for military service. One critic has said of the Second Essayy that “one perhaps hears that it was written in wartime.” But Barber deliberately left no particular program for his three Essays for orchestra, and each of us may legitimately hear war or peace, pleasure or whatnot in this music. (Barber did join the Army Air Force in April 1943 and served until the end of World War II. His Second Symphony was commissioned by the Air Force.) Being a singer, Barber understood that instrumental music and vocal music offer different opportunities to a composer. Few vocalists would feel comfortable with the kind of angular, wide-spread theme that Barber gives first to the flute, then to the bass clarinet at the start of his Second Essay. y Y Yet the music proceeds to show that such material can generate an expansive musical dialog in purely orchestral terms. A new element is soon introduced by the timpani, with an alternating figure taken up at once by the violins and then by the trumpet, and a third theme belongs to the violas. Overall, this work could be compared to a movement of a symphony, but Barber is free of such constraints, without following a strict form. Soon enough, the clarinet runs off with the timpani’s alternating figure, leading to a display of orchestral virtuosity and a strong climax. The final section is hymn-like and solemn, all earlier angularity being spent out and replaced. —Hugh Macdonald © 2018 August 18: About the Music

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3LDQR &RQFHUWR in G minor, Opus 25 composed 1830-31 M E N D E L S S O H N was a brilliant pianist who took immediate

Felix

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

At a Glance Mendelssohn wrote this piano concerto during the winter of 1830-31, in Rome and Munich. He played the solo part in the work’s premiere on October 17, 1831, in Munich. This concerto runs about 20 minutes in performance. Mendelssohn scored it for an orchestra of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus the solo piano.

Blossom Music Festival

advantage of the technical advances that had been applied to the piano as an instrument just as he was coming of age. Pianos were bigger, heavier, and louder — capable of filling a concert hall with sound and able to partner with the orchestra (which was also growing in terms of number of players and instruments) on equal terms. Above all (literally), the piano had a glittering new upper octave, which invited the player’s right hand to indulge those dazzling runs and arpeggios that fill all the Romantic era concertos of the 19th century. Mendelssohn was thoroughly at home in this new, emotional style — and he had superbly fluent fingers (to test and perfect his writing for the keyboard). He was, it should be noted, one of the most accomplished and acclaimed organists of his time. All of this — mixed with his somewhat conservative bent — is evident in Mendelssohn’s Piano Concerto in G minor, begun in Italy in November 1830 and completed the next year in Munich, when the composer was just twenty-one. His long stay in Italy had included time spent completing his overture The Hebrides and beginning what would become his “Italian” Symphony (published as Symphony No. 4). In Munich, on his journey south from Berlin toward Italy, a young pianist named Delphine von Schauroth had caught Mendelssohn’s admiration. His returning to Munich in 1831 may have been to renew this promising acquaintance, and Mendelssohn composed this piano concerto with Miss von Schauroth in mind. Her family seems to have even had some expectation of marriage, but Mendelssohn, for reasons we can only guess, decided it was not to be. There is evidence that he left Munich full of guilty feelings towards her. The composer gave the concerto’s first performance himself in Munich, with a second performance soon afterwards in London, where the score was then published. He played it many times in the course of his short career, and this music was always received warmly by public and press. Apart from being full of agreeable melodies and brilliant passage-work, Concerto No. 1 exhibits Mendelssohn’s near-obsession with the challenge of making the separate movements August 18: About the Music

of any work (symphony or concerto) sound as if they belong together as a seamless whole. In the case of this concerto (and the well-known Violin Concerto, which followed a dozen years later toward the end of his short life), the movements are marked to run continuously. The vigorous opening Allegro concludes with the trumpets and horns hammering out a rhythm, which compels the piano to “improvise” its way into the new tempo and the new key (E major). The same call on the brass leads the serene middle movement into the cascades of notes that introduce the finale, in the major key. Just to drive the point home, before the finale is quite over, Mendelssohn slows the tempo to recall the second subject of the first movement (unorthodox in Classical realms, but a technique used more and more to directly unify a work by sharing themes between movements). After this melodic encore, the concerto finishes in a flourish of virtuosity. —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.

OBERLIN COLLEGE & CONSERVATORY

James Ehnes

ARTIST RECITAL SERIES 2018-19 A CELEBRATION OF THE ARTS AT OBERLIN SINCE 1878

The Spring Quartet

Joyce DiDonato

SEPTEMBER 21 THE CLEVELAND ORCHESTRA

FEBRUARY 27 JOYCE DIDONATO: SONGPLAY

OCTOBER 14 JAMES EHNES, VIOLIN

APRIL 3 PIOTR ANDERSZEWSKI, PIANO

NOVEMBER 18 THE ROMEROS

APRIL 17 THE SPRING QUARTET

FEBRUARY 22 DORIC STRING QUARTET

JACK DEJOHNETTE, DRUMS LEO GENOVESE, PIANO JOE LOVANO, SAXOPHONE ESPERANZA SPALDING, BASS

Artists and dates are subject to change. Subscriptions and partial-season packages are available. For ticket information, visit oberlin.edu/artsguide.

About the Music: August 18

The Cleveland Orchestra

6\PSKRQ\ 1R in D major, Opus 43 composed 1901-02 , 1 7 + ( $8 7 8 0 1 2 ) , Jean Sibelius and Gustav Mahler

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

Blossom Music Festival

met in Helsinki and famously “talked shop” about the musical world and composing. Mahler was in town to conduct (a program of Beethoven and Wagner), and Sibelius and he met several times over drinks and dinner, as well as out walking and talking together. Sibelius, true to his own music, put forth symphonies built on formal structures as the ideal, with musical phrases and ideas used as material from which to logically and methodically — but creatively — aggregate to a whole. Mahler, with his larger-than-life personality, insisted that “No! the symphony must be like the world. It must be all-embracing.” These two titans were, perhaps, not really disagreeing. They were simply viewing the world — and music — from their own perspectives. At the time, Sibelius’s interest in Mahler was, like nearly everyone’s, about his stardom as a conductor rather than in his music. Mahler, in turn, was largely unfamiliar with any of Sibelius’s musical works (he’d heard only a couple of smaller pieces, and, to his death only four years later, never conducted anything by his Finnish compatriot). Sibelius was a traditional symphonist, working very much in the Germanic European line from Beethoven onward through to Schubert and Schumann, to Brahms and Tchaikovsky (whose Russian-ness was thoroughly Germanic in music-making, if a bit French in his on-the-sleeve emotionalism). Like Beethoven, Sibelius built his music from small motifs, kernels of ideas, from which he crafted broad and sweeping musical vistas. Sibelius’s symphonies are without storylines, even though they certainly carry messages of spirit. Which is to say that his symphonies are music first, without any message about being human — beyond our ability to recognize structure, to enjoy beauty, and to experience and to respond to things “unfolding” across time. Sibelius’s early symphonies, especially, are a marvelous mix of energy, invention, and melody, brought together with a traditional admixture of structure and classical sonata form (with, for effect, rules slightly bent). That he varied his building blocks (and structure), and that he later distilled both form and ideas down to shorter and denser, more direct works should August 18: About the Music

not cloud our views of the early symphonies. Sibelius’s coldhearted Seventh, densely packed into a single movement, did not exist, in his mind or the real world, when he wrote the blaze and glories of the expansive First and Second. BALANCING LIFE AND MUSIC

At a Glance Sibelius composed much of his Second Symphony during the spring of 1901 while in Italy and completed it in Finland during the winter of 1901-02. It was first performed on March 8, 1902, in Helsingfors (Helsinki) with Sibelius conducting. The symphony was published in 1903 with a dedication to Axel Carpelan, who had made Sibelius’s Italian trip possible. This symphony runs about 45 minutes in performance. Sibelius scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings. The Cleveland Orchestra first played Sibelius’s Second Symphony in November 1927, under the direction of Nikolai Sokoloff. It has been programmed frequently since that time and performed under many different conductors.

Sibelius really wanted to be a violinist, a great violinist, playing concertos and in direct connection (musically speaking) with audiences. But he started late, at age 15. He was good enough technically to play quartets (among friends and at the university) and know the instrument well, but not for a solo career. His personality, of contradictory certainty mixed with shyness, also played against him. Music as a language, however, spoke directly to both his heart and mind. So that composing rather than performing took hold — and gave Sibelius the fame and applause that he enjoyed (and, also shied away from). As an adult, he struggled with alcoholism. His marriage, though extraordinarily strong, was battered by it. And after producing a series of great works in the opening decades of the 20th century, his indecision (and, perhaps, too much alcohol) sent him into extended exile from his chosen profession. He lived a long life, but as a man, not as a composer, writing almost nothing the last 30 years. People waited expectantly. He kept promising, but found nothing more to actually say in music. Any unfinished sketches for an Eighth Symphony, which he may have burned before his death . . . well, we won’t be hearing that music, in this lifetime, at least — and who’s to say until we each reach our own ending whether there’s music in any beyond, or a vast and endless . . . Sibelian-like silence? The Second Symphony from 1902 is, for many of us, the closest Sibelius came to a perfectly balanced work — deftly blending form and feeling, and existing beautifully as pure music. The First Symphony is more easily rhythmic and tuneful, the Fifth more profound, the Seventh more compact and terse. But in the Second, he balanced all considerations and created a timeless masterpiece. T H E SY M P H O N Y ’ S M U S I C

The symphony’s first movement opens gently, propelled by fidgety figures in the strings and then woodwinds, each large phrase taken up and resolved by the horns. A more tranquil series of moments gives call to questions, which the remainder of the

About the Music: August 18

Blossom Festival 2018

movement finishes through on, gaining strength and energy, with the opening motif recurring, as itself and altered, as the movement finally retreats to the gentleness with which it began. The second movement features two competing musical subjects, in plucked pizzicato and a more melodic motif, which appear to battle one another, inconclusively. The Scherzo third movement follows, driving forward with great energy and searching, before slowing and breathing deeply on some beautifully introspective music. Then, as Beethoven did in his Fifth Symphony, Sibelius builds up and connects this directly into the finale fourth movement, leading into a flowing D-major melodic line that appears almost magically out of D minor Sibelius’s Second (just as Beethoven did between C minor and C Symphony from 1902 major in the Fifth). The brass bellows in pleais, for many of us, the sured full breaths. The movement continues, closest Sibelius came circling ideas, and merging and shifting phrases around, before Sibelius repeats the transition to a perfectly balanced (just as Beethoven had) and then drives headwork — deftly blending on to a big finish. Here, as the music’s throttle form and feeling, and is opened up full, one can forget what chord existing beautifully as progressions or sequences are (or just smile, if you never really caught on), because Sibelpure music. The First ius lets them ring out clear, again and again, Symphony is more easresolving this music, step by step, making . . . ily rhythmic and tuneful, everything . . . sound as inevitable and as natthe Fifth more profound, ural and triumphant as . . . well, as natural as tonal music was once thought to be, before the Seventh more com“modern” music offered us so many alternate pact and terse. But the possibilities. SIBELIUS AS GOD

Second is . . . balanced and filled with wonder.

On a personal note, Sibelius Two was my mother’s favorite symphony. The intense fidgeting of its opening movements, the stirring, soaring lines of its finale gave her a joy like no other. At this symphony’s close, she was always smiling, uplifted, completely fulfilled, entirely satisfied, all questions answered. What more can any of us ask from a piece of music? In this context, I should note that my mother was born and raised during the first half of the 20th century, when Sibelius was considered not just descendent from Beethoven, but very nearly a god equal to Beethoven. So that her reverence of his music was not unusual. Such regard and immortality did not last, however. The The Cleveland Orchestra

August 18: About the Music

multi-channel devolution of music in the past hundred years, into ever more musical styles and genres (and bins and crannies and nooks and schools and pools), shifted attention away from classic traditions — while we, as a species, began to truly embrace a world of differences. And although Sibelius’s popular stock has risen considerably again in recent decades, there is so much more rightful competition today (and we can safely say there won’t ever be another Beethoven). The idea of “progress” in the world — in technology, in the arts, in society — which propelled forward so many ideas and ideals from the 18th century Enlightenment through the Industrial Revolution and into the Modern Age, which helped propel music from Mozart through Beethoven to Sibelius . . . is no longer in vogue. The limitations of our planet (and species) are today too obvious to make godhead possible . . . in music, religion, or politics. But, if not a god, Sibelius still speaks (even sings) to our hearts. And reminds us that, as an audience, we can still be stronger together, for a moment, for an hour . . . listening . . . and soaring once more, united, side-by-side. —Eric Sellen © 2018 Eric Sellen serves as program book editor for The Cleveland Orchestra. He has written program notes for orchestras and festivals across North America and Europe.

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About the Music: August 18

(330) 923-5933 2018 Blossom Festival

THE

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

Music Study Groups The Cleveland Orchestra extends a special welcome — and grateful thanks with this evening’s concert — to our community partners who are graciously partnering with us to again host Cleveland Orchestra Music Study Groups during the upcoming 2018-2019 Season: Cleveland Heights-University Heights Public Library Cuyahoga County Public Library Beachwood Branch Fairview Park Branch Orange Branch With a special welcome and many thanks to The Robert Cull Family, who have endowed the Alice H. Cull Memorial Fund, which supports concert attendance for persons with vision loss enrolled in Cleveland Orchestra Music Study Groups. Music Study Groups are led by Dr. Rose Breckenridge and explore current concert music performed by The Cleveland Orchestra at Severance Hall through informal lectures and guided listening. Series options include location and length — autumn, winter, and/or spring. Music Study Groups are presented in partnership with community organizations, with support from the Friends of The Cleveland Orchestra and other generous donors to the education programs of The Cleveland Orchestra. For more information, please contact The Cleveland Orchestra’s Education & Community Programs by calling 216-231-7355, or visit clevelandorchestra.com.

2 0 1 8 - 2 0 1 9

S E A S O N

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

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

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

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.

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

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

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

Taking Care of Ohioans Since 1934 For more than 80 years, Medical Mutual has provided high-quality health insurance plans with local customer service to individuals, families, seniors and businesses throughout Ohio. Visit Medmutual.com/Orchestra to learn more.

2O18

BLOSSOM MUSIC FESTIVAL

YEARS 1968- 2O18

Sunday evening, August 19, 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

Frank & Ella

The Music of Ella Fitzgerald and Frank Sinatra featuring CAPATHIA JENKINS, vocalist and TONY DESARE, vocalist and piano with THE CLEVELAND ORCHESTRA conducted by RANDALL CRAIG FLEISCHER

Selections to be announced from the stage. The concert will run approximately two hours, with one intermission.

This concert is sponsored by Medical Mutual, a Cleveland Orchestra Partner in Excellence. This concert is dedicated to Mr. Stephen McHale in recognition of his 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: August 19

Just don’t give up trying to do what you really want to do. Where there is love and inspiration, I don’t think you can go wrong. —Ella Fitzgerald

INTRODUCING THE CONCERT

Voices of the Century T O N I G H T ’ S C O N C E R T is a celebration of the musical artistry of two of the 20th century’s greatest vocal talents, Ella Fitzgerald and Frank Sinatra. Individually and together, these two great singers captured America’s optimistic spirit and down-trodden heartache. They captivated millions with their singular and authentic artistry. They were . . . Frank and Ella. Together, they sold nearly 200 million albums, in a time when LPs were the gold standard of popularity. They sang onstage, on radio, on television, and film. From humble beginnings, they each climbed and soared — proving the American dictum that hard work and talent can take you anywhere. They won 26 Grammy Awards between them (she two more than he). Their appearances together became legendary, blending and mixing two different yet perfectly attuned styles and worlds. (Ella was on Frank’s first-choice list for his record-setting Duets album in 1992, but health prevented her participation.) Tonight, with guest vocalists Capathia Jenkins and Tony DeSare, when we’re “In the Mood,” we’ll be transported back into the last century, of big band sounds and the origins of the Great American Songbook, back when “This Could Be the Start of Something Big.” And we’ll be reminded of how much we can love “Just the Way You Are.” We’ll groove to their “Fascinating Rhythm” as they “Sing, Sing, Sing.” We’ll “Get Happy” and feel “Goody, Goody.” We’ll give our hearts again to a big-hearted American sound because, well, “Something’s Gotta Give.” We’ll “Come Fly” with Frank, we’ll find ourselves a-tisking and a-tasking with Ella, and we’ll “Fall in Love” with everything they gave us over two magnificent and long-lived careers. How glorious to be reminded that giants do walk (and sing) among us here on earth, inspiring and capturing the human experience. Enchantment is renewed tonight, on this summer evening. —Eric Sellen

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

Blossom Music Festival

August 19: Introducing the Concert

ELLA FITZGERALD born April 25, 1917

Newport News, Virginia died June 15, 1996 Beverly Hills, California

FRANK SINATRA born December 12, 1915

Hoboken, New Jersey died May 14, 1998 Los Angeles, California

Dubbed “The First Lady of Song,” Ella Fitzgerald was the most popular female jazz singer in the United States for more than half a century. In her lifetime, she won 14 Grammy awards and sold over forty million albums. Her voice was flexible, wide-ranging, accurate and ageless. She could sing sultry ballads, sweet jazz and imitate every instrument in an orchestra. She worked with all the jazz greats, from Duke Ellington, Count Basie and Nat King Cole, to Dizzy Gillespie, Benny Goodman, and Frank Sinatra. (Or rather, some might say all the jazz greats had the pleasure of working with Ella.) Ella and Frank famously performed together many times — live, in recordings, and on television. She performed at top venues all over the world, and packed them to the hilt. Her audiences were as diverse as her vocal range. They were rich and poor, made up of all races, all religions and all nationalities. In fact, many of them had just one binding factor in common — they all loved her. Read more at www.ellafitzgerald.com. Known early in his career as “The Voice,” and then as “Ol’ Blue Eyes,” Frank Sinatra was one of the most popular and influential musical artists of the 20th century. Later in life, he was known as “Chairman of the Board,” as first among equals of a legendary generation of male American popular singers. His crooning baritone and charismatic smile were as well-known as any commerical brand — and earned Sinatra fortune, publicity, and controversy. He became one of the best-selling music artists of all time, selling more than 150 million records worldwide during his lifetime — and winning 12 Grammy Awards. His career spanned the realms of big band, Broadway, jazz, nightclub, and popular song. During the final decades of his life, Sinatra used his longrunning Las Vegas show as homebase while touring throughout the United States and around the globe. He was an acclaimed movie actor and producer, starring in such films as On the Town (1949), From Here to Eternityy (1953), Guys and Dolls (1955), The Man with the Golden Arm (1955), and The Manchurian Candidate (1962). Read more at www.sinatra.com. Two Legends: August 19

Blossom Festival 2018

People often remark that I’m pretty lucky. Luck is only important insofar as getting the chance to sell yourself at the right moment. After that, you’ve got to have talent and know how to use it. —Frank Sinatra

DANCECleveland’s 63rd Season Continues With...

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2O18

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August 18 -- Sibelius Second Symphony . . . . . . . page 21 August 19 -- Frank & Ella . . . . . . . . . . . . . . . . . . . . page 41 August 25 -- Orff’s Carmina Burana . . . . . . . . . . . . . page 51 Labor Day Weekend -Movie: Star Wars . . . . . page 68

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Randall Craig Fleischer’s career spans conducting, teaching, arranging, and composing. He serves as music director of the Y Youngstown Symphony, Hudson Valley Philharmonic, and the Anchorage Symphony, leading each ensemble through dramatic periods of artistic growth and exploration. His schedule of engagements each year also includes guest conducting with orchestras across North America and beyond. Active as a composer and arranger, Mr. Fleischer is a national leader in the area of symphonic rock and world music fusion. His works and arrangements have been played by America’s top pops orchestras. His ground-breaking Native American fusion work Echoes was premiered in Alaska in 2008, followed by its East Coast premiere at the Smithsonian’s National Museum of the American Indian in Washington D.C. A passionate educator, Fleischer has co-authored several instructional pieces for children in collaboration with his wife, comedian Heidi Joyce. Mr. Fleischer studied with Leonard Bernstein as a conducting fellow at Tanglewood. He holds a master of music degree from Indiana University, and a bachelor’s degree from the Oberlin Conservatory of Music.

Guest Artists: August 19

Blossom Music Festival

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

Singer, pianist, and songwriter Tony DeSare tries to perform with infectious joy, wry playfulness, and robust musicality. Named a “Rising Star Male Vocalist” by Downbeat magazine, he has lived up to that calling throughout his concert performances across North America and abroad. From jazz clubs to Carnegie Hall, from headlining with Don Rickles in Las Vegas to performing with major orchestras, he has earned acclaim for his singing, playing, and writing. Mr. DeSare’s discography features a range of albums, both of original songs and covers for many standards from the Great American Songbook. Tony DeSare was born and raised in Glens Falls, New York, to a musical family and began singing and playing professionally at 17. Shortly after moving to New York City in 1999, he was cast as the star of the long running Off-Broadway musical smash Our Sinatra. Mr. DeSare’s recent and upcoming appearances include performances with the orchestras of Milwaukee, Seattle, Indianapolis, and Baltimore, and in Las Vegas. He releases new recordings, videos of standards and new originals on a regular ongoing basis on YouTube, iTunes, and Spotify. For more information, please visit www.tonydesare.com.

Blossom Music Festival

August 19: Guest Artists

5470

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

% OVER

BLOSSOM MUSIC CENTER

1968

SEATS

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 sodde od dde ded d la lawn wn

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

2O18

BLOSSOM MUSIC FESTIVAL

YEARS 1968- 2O18

Saturday evening, August 25, 2018, at 8:00 p.m.

T H E CL E V E L A ND ORC H EST R A A D R I E N P E R RU C H O N , conductor

AARON COPLAND (1900-1990)

Statements (for orchestra) Militant — Cryptic — Dogmatic — Subjective — Jingo — Prophetic

INT ER MISSION CARL ORFF (1895-1982)

Carmina Burana Cantata for Solo Voices, Choruses, and Orchestra prologue Nos. 1-2: Fortuna imperatrix mundi (“Fortune, Empress of the World”) part one Nos. 3-5: Primo vere (“Springtime”) Nos. 6-10: Uf dem Angerr (“On the Lawn”) part two Nos. 11-14: In taberna (“In the Tavern”) part three Nos. 15-23: Cour d’Amours (“Court of Love”) No. 24: Blanziﬂor et Helena (“Blanziﬂor and Helena”) epilogue No. 25: Fortuna imperatrix mundi AUDREY LUNA, soprano MATTHEW PLENK, tenor ELLIOT MADORE, baritone BLOSSOM FESTIVAL CHORUS Lisa Wong , director CLEVELAND ORCHESTRA CHILDREN’S CHORUS Ann Usher, director

Adrien Perruchon’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from The Hershey Foundation. This concert is dedicated to R. Thomas and Meg Harris Stanton 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

Blosssom Festival 2018

Concert Program: August 25

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INTRODUCING THE CONCERT

Fate &Fortune, Lust &A Roasted Swan C A R L O R F F ’ S C A R M I N A B U R A N A is a big piece of bold power and hard punch. It is also a bawdy and lewd celebration of human emotions and temptations, including lust, drinking, and sex. It has been a popular hit w with audiences around the world since its premiere in 193 37. Its music and rhythms and words range far and wide, from boisterous energy to velvety smoothness, from jjerky spontaneity to harmonious delight. All in a won nderfully modern-ish exploration of a Medieval set of ttexts that prove, again and again, that however much times change, many aspects of life e rremain on the same circular path, ground out aand ground down by Fate’s wheel. On and on we go through the seasons of the year, o discovering love and its heartache — from d birth to death, spiraling through the universe. b I Carmina Burana, we find the big and the In ssmall, from the humdrum to life-changing experiences, from drinking to sexual longing e ((and ecstatic fulfillment), from delectable food to passsio onate embrace, from the meaningful to the meaningless. And FFaate t is never far away, in constant, languorous pursuit and always sure to catch us in the end. To open this evening’s concert, guest conductor Adrien Perruchon leads a short contrasting work written at almost the same time as Carmina. While Aaron Copland is best known today for his tuneful ballet music, his early works were more severe and modernist (Orff’s early music was similarly astringent). In Statements, we hear a set of brief, cutting ideas in music — whose titles are, in fact, related to some of those in Orff’s mighty opus. —Eric Sellen

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

The Cleveland Orchestra

August 25: Introducing the Concert

Statements for Orchestra, in six movements composed 1933-35

Aaron

COPLAND born November 14, 1900 Brooklyn, New York died December 2, 1990 Sleepy Hollow, New York

At a Glance Copland composed his Statements for orchestra in 1933-35. The first two movements were premiered in 1936 by the Minneapolis Symphony Orchestra. The entire six-movement work was premiered on January 7, 1942, by the New York Philharmonic. This work runs not quite 20 minutes in performance. Copland scored it for 3 flutes, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion, and strings.

I N T H E Y E A R 1 9 2 4 , Aaron Copland returned to America from four years’ study in Paris under Nadia Boulanger. His head was filled with the notion that music should be abstract and selfexplanatory. It should not be dependent, in other words, on Nordic sagas or Girls With Flaxen Hair, but just about itself. J.S. Bach and Igor Stravinsky were the models that Boulanger had drilled him to imitate. For the next decade or so, living in New York, he tried making a living as a composer in this model, producing symphonies, chamber music, and piano music that obediently conformed to this neo-classic aesthetic. In 1932, when Copland received a commission from the League of Composers to write a work for the Minneapolis Symphony Orchestra, the idea of six short movements took shape, eventually to be titled Statements or Statements for Orchestra. In the same year, he made a trip to Mexico City and was delighted by the vitality of the music he heard there. The result was that an abstract orchestral work, Statements, and an exhilaratingly pictorial work, El Salón México, took shape at the same time. These were soon followed by the story-telling ballets Billy the Kid and Rodeo, which baptized him with the public at large as, first and foremost, a composer of the prairies. Flexibility was clearly a defining virtue of Copland’s musical character, which also reveals that Statements (and other early works) are, perhaps, not quite so abstract after all. Copland made little secret of his left-wing leanings in those years and hoped that his view of popular politics could be heard in his music. Copland’s own comments about Statements tell us that the overall title “was chosen to indicate a short, terse, orchestral movement of a well-defined character, lasting about three minutes. The separate movements were given suggestive titles as an aid to the public in understanding what the composer had in mind when writing these pieces.” So the first movement, “Militant,” with its solid, angular theme treated in crude fugal fashion, represents the march of the left, while “Cryptic” keeps its secret, allowing the flute to explore a two-note theme with just the brass in support. The third movement, “Dogmatic,” is livelier, and its middle section quotes the theme from Copland’s own Piano Variations, recog-

August 25: About the Music

The Cleveland Orchestra

nizable as three notes on the horn and one note on the trumpet, at least to start with. Why does he quote his own music, we may ask? His own statements about the work do not tell us. The “Subjective” fourth movement is for violins, violas, and cellos only, and it is almost entirely in two parts, derived from an earlier Elegy for violin and viola. Don’t be confused by the differing meanings that “two parts” can imply — the music is in two parts, not in two sections; that is, there are two voices (but no one sings). “Jingo” brings in the full orchestra with a satirical depiction of chauvinism; it even anticipates the noisy war music of Shostakovich’s symphonies. In the middle, Copland introduces the tune “The Sidewalks of New York,” with (in our minds) its lyrics “East side, west side, all around the town.” The song was associated with Tammany Hall and was the official song for Al Smith’s Democratic campaign for the presidency in 1928. Herbert Hoover defeated him in a landslide victory. The final movement is “Prophetic.” Of what precisely? Who knows! It is stern and solemn, also lyrical and warm. The final blow on the tam-tam is nothing if not enigmatic.

History. Music. Community. Silver Hall Concert Series. Case Western Reserve University presents 19 community concerts at one of the city’s most historic landmarks—The Milton and Tamar Maltz Performing Arts Center at the Temple-Tifereth Israel. September 2018 - May 2019 Reserve your free tickets at case.edu/maltzcenter/silverhallseries or email mpacinfo@case.edu

Blossom Festival 2018

About the Music: August 25

Carmina Burana [“Songs of Beuren”]

A Secular Cantata for Soloists, Chorus, and Orchestra composed 1935-36 H O W E X A C T LY D I D a set of obscure texts from the 12th cen-

Carl

ORFF born July 10, 1895 Munich died March 29, 1982 Munich

tury become one of classical music’s greatest and best-known 20th-century works — set to music by a German composer in the midst of one of the gravest political and militaristic threats to humanity the world has yet known? It was early in the 19th century that the Middle Ages began exerting a certain fascination on modern people. Although the centuries between the fall of Rome and the Renaissance suffered no shortage of great scientists, artists, and philosophers, young Romantic poets and painters in the early 1800s saw in those middle times an alternative to the cool, rational spirit of the recent Enlightenment and the surging Industrial Revolution. Many turned to the Gothic churches that stood all around them — many in a state of picturesque ruin — and conjured up an age of lusty monks and bawdy abbesses, a primitive “dark age” perhaps, but one unafraid to reach for both lofty ecstasies of the spirit and animal pleasures of the senses. Later on, after those imaginative poets and painters, cooler heads prevailed in the form of scholarly medievalists, who cataloged, described, and republished works of art from that much earlier period. It is to one of these, Johann Andreas Schmeller, that we owe the publication in 1847 of an important collection of 12th-century Latin and Old German secular poems, preserved in manuscript in an abbey in Benediktbeuren, near Munich. Schmeller gave them the title “Songs of Beuren” — in Latin, Carmina Burana. Today, the Middle Ages still conjure up vivid images. But to the fragrance of incense and wine, the 20th and 21st centuries have added even more dire threats to existence. The stench of warfare and pestilence piles up in our imaginations against the more everyday fates that haunted the short-lived people of the Middle Ages. In the face of certain death, our distant ancestors seem to have hungrily snatched their pleasures from the jaws of sickness and death. The musical expression of this idea crystallized suddenly in Frankfurt on June 8, 1937, at the first performance of Carmina Burana, a stunningly original setting of some of the poems from that manuscript, composed by a virtually unknown 41-year-old August 25: About the Music

The Cleveland Orchestra

musician and teacher named Carl Orff. Subtitled Cantiones profanae, cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (“Worldly songs, performed by singers and chorus accompanied by instruments and magical representations”), this stage spectacle with dancing and music aimed to induce profound emotions in the listener by the simplest, most easily understood musical means. How well it succeeded may be judged by three facts. Unlike many ground-breaking new works, Carmina Burana was cheered at its premiere. Since then, many sophisticated musicians have denounced it as primitive and vulgar. Nevertheless, Hollywood immediately seized Orff’s new idiom as a prototypical kind of music to accompany scenes of barbaric hedonism and splendor. Hollywood’s takeover of this sort of music has been so complete that, when hearing Carmina Burana today, we must remind ourselves that what we are hearing is the original idea and not merely yet another version from MGM. Interestingly, the composer is the same Carl Orff who forever altered the way music is taught to young children by inventing percussion instruments that they could play before they developed skill at the keyboard. He also insisted that music, dance, speech, and other modes of expression be taught together — that their practice reinforces the skills of each. In Carmina Burana, Orff’s medieval people are child-like in their whims and passions, and in their helplessness before powers greater than themselves. Percussion instruments, a prominent feature of both medieval music and the Orff classroom, loom large in this score. Appropriately for a work inspired by the Middle Ages, Orff’s spectacle-cantata forms a triptych — three scenes of medieval life: In Springtime, In the Tavern, and at The Court of Love — framed on each side by an ode to “Fortuna” or Fate, the capricious force that people in the pre-technological age knew and understood very well. The outburst of full orchestra and chorus that opens the work is steeped in terror and resignation. Orff uses repetition and driving rhythms — elements that repelled some of his first listeners, but that sound familiar enough in our age of musical minimalism (and maximalism) — to convey the inexorable grinding of Fortune’s wheel. The people “suffer” in the word’s original sense — they yield to the inevitable, they endure. Their reward arrives “In Springtime,” here celebrated first with the undulating sensuality of Gregorian chant, anchored Blossom Festival 2018

About the Music: August 25

At a Glance Orff composed Carmina Burana in 1935-36. The work was premiered on June 8, 1937, in a staged performance (with sets and costumes) at the Frankfurt Opera, conducted by Bertil Wetzelberger. The first performance in the United States took place on January 10, 1954, in San Francisco. Carmina Burana runs about one hour in performance. Orff scored it for an orchestra of 3 flutes (second and third doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets (third doubling piccolo clarinet in E-flat), bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (3 glockenspiels, xylophone, castanets, ratchet, jingles, 2 antique cymbals, 4 cymbals, tamtam, 3 bells, tubular bells, tambourine, 2 side drums, bass drum), 2 pianos, celesta, and strings, plus soprano, tenor, and baritone soloists, children’s chorus, and mixed chorus. Carmina Burana was performed during Blossom Music Center’s very first season, exactly 50 years ago tonight, on August 25, 1968.

by single pedal notes in the orchestra, punctuated by taps of percussion. But then the chorus returns in a mood to celebrate, ushering in a giddy outdoor festival full of dancers, saucy and suggestive comments, and tunes more like German folksong than liturgical chant. At this party, each musical number is wilder and more abandoned than the previous one. “In the Tavern,” however, the pictures are different — a medieval “angry young man,” alienated, rootless, living for vice; a beautiful bird roasted black for men’s hungry mouths; a smarmy hustler-Abbot, living on others’ misfortunes; and a chorus of desperate men drinking to forget. All singing in accents ranging from stark anguish to gloating and even a sarcastic parody of an operetta chorus. What a relief to leave that bitter place for “The Court of Love”! Even here, though, some longings go unrequited, and dark orchestral colors conjure up the lonely corners where the solitary bemoan their fate. Gradually, however, the music grows in brightness and energy, culminating in the ecstatic musings of the maiden drawn toward love; here Orff seems to forget about the Middle Ages entirely, turning instead to Richard Strauss or even Sergei Rachmaninoff for a suitable, smooth, and sensuous musical idiom. (What is a children’s chorus doing amid such erotic goings-on? Teacher Orff invokes the spontaneity of children, and the childlike delight we so-called “adults” should find in love.) Eventually, the love section’s closing hymn so melds the erotic and the divine that one can hardly tell which is which. And then, amid all this joy, the fearsome memento morii stands once again at the door. The return of the chorus “O Fortuna” reminds us that, whatever our desires or pretensions, implacable Fate always awaits us. —David Wright © 2018

Medieval tarot cards cast fate and fortune by chance, echoing the wheel of fortune in Carmina Burana.

David Wright g lives and writes in New Jersey. He previously served as program annotator for the New York Philharmonic.

About the Music: August 25

The Cleveland Orchestra

A S T H E T E X T T O Carmina Burana

suggests, what goes around comes around. The turning wheel of Fate is a never-ending cycle of starts and stops, success and failure, life and death. Fate, ultimately, crushes each of us to dust. Enjoy what you can today. The composer of Carmina Burana, Carl Orff rose to international acclaim as an artist and teacher living and writing in Nazi Germany. His earlier music was modernist and avant garde — before Carmina Burana’s simpler and basic rhythms catapulted him to fame. Like most artists in Germany in the 1930s, Orff found himself in a jam — between his own ideas and ambitions, and the darker direction that the Nazis were leading his country and the world. Some artists fled, some protested loudly and were silenced. Some protested more quietly while trying to ease the burdens of everyday life for friends and acquaintances. The eminent composer Richard Strauss advocated for stronger copyright protection during his tenure as head of the government’s music commission — and largely kept his political views to himself. Paul Hindemith wrote his protest into an opera, Mathis der Maler, depicting the struggles of a long ago painter against repression and censorship. The opera did not endear HIndemith to the authorities, and the composer finally chose to deport himself to safer territory, first Switzerland and then the United States. Richard Wagner’s music was celebrated for its nationalistic GerTh he Cleveland Orchestra

man qualities — and, for some, forever tainted by that association after World War II. Generations of Jewish musicians were silenced, imprisoned, or fled. Tens of thousands of people made choices about how to live — how to stay alive — under a regime that became more and more repressive every day. Like many others, Carl Orff found himself balancing his own views with his country’s. Trying to take care of his family and help safeguard friends, he developed relationships with government officials. He took a job composing for schools and pioneered new methods to teach music (building on the power of rhythm to engage young minds). Ultimately, the popular appeal of Carmina Burana gained him friends and influence with Nazi officers, who found the piece’s rhythm-pounding music very much to their liking (they either ignored or revelled in the crude bawdiness of its subject matter). After the war, Orff, again like many others, found he had to work to cleanse his past, to show that there had been some space between himself and the Nazi regime that had fallen. The popularity of Carmina Burana helped. Today, Carmina Burana, like many other artworks commandeered into political service at the extremes, can still be enjoyed for what it is. The power of art can overcome circumstances and misuse — and tell its story unencumbered by historical context. Good tunes and powerful rhythms help.

Orff and History’s Context

—Eric Sellen

Carmina Burana — What are they singing about?! Sung in Latin, with some sections in Middle High German, Old Provençal, or Old French CHORUS

PROLOGUE: FORTUNE, EMPRESS OF THE WORLD! CHORUS

No. 1: O, Fortuna! Oh, Fortune and Fate, your mighty turning wheel, which powers and devours life’s on-going seasons. Rejoice and weep, for good fortune and bad luck steer us to the same end — to joy, misery, and death. CHORUS

No. 2: Fortune plango vulnera (“I lament Fortune’s wounds”) Fate reduces all of us to tears — beautiful hair will fall out, prosperity will be wasted, the wheel of fate crushes everyone. PART ONE: SPRINGTIME SMALL CHO RUS

No. 3: Veris leta facies (“Joyous faces of spring”) Spring has defeated the bleak weariness of Winter; we rejoin the game of life, eager for love and laughter, flowers and fragrances, and a thousand joys!

No. 7: Floret silva nobilis . . . (“The noble forest”) Spring brings the forest in the full bloom; my lover rode away, who will love me now in this new season? SO LO WOM E N AN D CH O RUS

No. 8: Chramer, gip die varwe mir . . . (“Shopkeeper, give me paint”) We will paint our faces in crimson red, alive and ready for love. Life and the promise of love bring joy to everyone’s steps! R O U N D DA N C E A N D C H O R U S

No. 9: Swaz hie gat umbe . . . (“Those who dance the round”) We step into spring’s round dance, which offers life and fun to all — why would any girl forgo finding a man to dance with? CHORUS

No. 10: Were diu werlt alle min . . . (“If the world were mine”) If the whole world were mine, from river and sea, I’d gladly give it up if the Queen of England would lie in my deep embrace.

BARITONE SOLO

No. 4: Omnia Sol temperat (“The Sun tempers all”) The Sun’s warming grace bring us the pleasure of finding love; constancy to love brings joy — even when far away. CHORUS

No. 5: Ecce gratum et optatum (“Behold the long-expected”) We welcome the Spring, filled with flowers and renewed warmth. Banish all sadness! Summer’s heat will bring passion and sweet lust, submit to new joys! No. 6: ORCHESTRAL DANCE

PART TWO: IN THE TAVERN BAR ITO N E SO LO

No. 11: Estuans interius . . . (“Something inside”) My life is aimless, tossed by whim and wind; I pursue vice, forgetting virtue; my spirit doesn’t care, my body is alive! TE N O R AN D M ALE CH O RUS

No. 12: Olim lacus colueram . . . (“Once I lived on a lake”) I am a swan, roasting over a fire — I remember the beauty of gliding across water; but now I face the spite of “gnashing teeth” about to eat my tender flesh.

August 25: About the Text

The Cleveland Orchestra

BAR ITO N E SO LO AN D M ALE CH O RUS

SIX SOLO MEN

No. 13: Ego sum abbas Cucaniensis (“I, the Abbot of Cockaigne”) I am an abbot devoted to the companionship of wine; drinking with friends, we share secrets and indiscretions, losing all shame. Damnable drink, cursed Fate!

No. 19: Si puer cum puellula . . . (“If a boy and girl”) How great are the joys of love’s physical union, which fill lips and limbs with irrepressible, inexpressible pleasure! D O U B LE C H O R US

M ALE C H O R US

No. 14: In taberna quando sumus (“When we are in the tavern”) Our life is drinking, losing at games, enjoying indiscretions without care; at the tavern everyone drinks, everyone forgets.

No. 20: Veni, veni, venias . . . (“Come, come, come to me”) Love, come to me! In desire, I long for Love, the glance of beauty; Love, if you find me, I shall revel in your glory! SO PR AN O SO LO

PART THREE: THE COURT OF LOVE BOYS AN D SO PR AN O

No. 15: Amor volat undique . . . (“Love animates everyone”) Love is for everyone, giving us life and joy! Those who do not find love miss all the fun; a woman alone endures a bitter fate. BAR ITO N E SO LO

No. 16: Dies, nox et omnia (“Day, night, and the world”) The world is against me, no maiden wants to love me; yet my misery can be cured by a maiden’s single glance, by a kiss!

BAR ITO N E , SO PR AN O, CH O RUS E S

No. 22: Tempus es iocundum . . . (“Pleasant is the season”) Wondrous is love’s season, daring in desire, yet holding back — wanting but uncertain. Oh, how lust leads me forward! S O P R A N O SO LO

No. 23: Dulcissime (“Sweetest boy”) Sweetest boy, I give my all to you! CHORUS

SO PR AN O SO LO

No. 17: Stetit puella rufa tunica . . . (“A girl stands in a red dress”) A young girl dresses in bright red; when someone touches her, the dress moves. She is fair and radiant as a rose. Heigh-ho!

No. 24: Blanziflor and Helena Hail to you, noble, glorious, and beloved of history’s virgins! Blanziflor, Helena, your untarnished rose inspires the world! EPILOGUE CHORUS

B A R I T O N E A N D CH O RUS

No. 18: Circa mea pectora . . . (“My breast is filled”) Oh, my heart sighs and fidgets over the beauty of one woman — her shining eyes! her loveliness! God, please grant me my wish to conquer her virginity. Blossom Festival 2018

No. 21: In trutina mentis dubia (“In weighing choices”) How to choose between simple chastity and love? between hesitation and full joy?!

No. 25: O, Fortuna! Closing the circle (or beginning anew), the full chorus again salutes Fortune’s mighty wheel turning across life’s seasons — of birth and chaos, chance and change, love and misery, death and renewal.

About the Text: August 25

Adrien Perruchon

Audrey Luna

French musician Adrien Perruchon has, in recent years, expanded his career onto the podium, filling in at short notice in several high-profile situations. He is also increasingly being engaged as a guest conductor in his own right. He concurrently holds the position of principal timpani with both the Orchestre Philharmonique de Radio France and the Seoul Philhamonic Orchestra in Korea. He was a Dudamel Conducting Fellow with the Los Angeles Philharmonic for two seasons (2015-17), and has also worked closely with Myung-Whun Chung, Daniel Barenboim, Claudio Abbado, and Esa-Pekka Salonen. Mr. Perruchon began his musical training as a child, working through piano and bassoon before studying percussion. In addition to performing as a guest musician or conductor, he is a member of the French orchestral ensemble Les Siècles. He is also active in early music, performing with the Gabrieli Players and Les Musiciens du Louvre. In addition to making his Cleveland Orchestra debut with this evening’s concert, recent and upcoming engagements include his conducting debut with Orchestre National de Lyon.

American soprano Audrey Luna sings with major opera companies and orchestras across North America and Europe, including recent engagements in Berlin, Chicago, Houston, London, Montreal, New York City, San Francisco, Venice, and Vienna. Comfortable in both conventional and contemporary opera roles, she sang in the world premiere production of Thomas Adès’s The Exterminating Angel at the Salzburg Festival and repeated her role (and its extraordinary high notes) with New York’s Metropolitan Opera this past season. Ms. Luna earned a bachelor’s degree in music from Portland State University and a master’s degree and artist diploma from the University of Cincinnati CollegeConservatory of Music. She was also a member of the Santa Fe Opera Apprentice Program and the Pittsburgh Opera Young Artist Program. Her discography includes an award-winning DVD of Adès’s The Tempest on Deutsche Grammophon and an album with composer Peter Eötvös and the Calder Quartet of his new work, The Sirens, on BMC Records. Ms. Luna is making her Cleveland Orchestra debut with this evening’s concerto. For additional information, visit www.audrey-luna.com.

Guest Artists: August 25

The Cleveland Orchestra

Matthew Plenk

Elliot Madore

American tenor Matthew Plenk has sung with opera companies across the United States. He holds a bachelor’s degree from the Hartt School of Music and a master’s degree from Yale University, and is a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program. He has appeared with the Metropolitan Opera Chamber Ensemble, Musica Angelica Baroque, and Oratorio Society of New York, as well as with Opera Theatre of Saint Louis, Des Moines Metro Opera, and Lyric Opera of Kansas City. In concert, he has sung in performances with the Boston Symphony Orchestra, Los Angeles Philharmonic, Minnesota Orchestra, and Philadelphia Orchestra, and at a variety of festivals across North America. In 2005, Mr. Plenk was one of sixteen singers invited to work with Naxos Records and Yale University to record the complete songs of Charles Ives. In 2015, he joined the University of Denver’s Lamont School of Music as assistant professor of voice. Mr. Plenk made his Cleveland Orchestra debut in Strauss’s Salome (2012), and has returned to Severance Hall to sing in Strauss’s Daphne (2015) and in Wagner’s Tristan and Isolde (2018).

Canadian baritone Elliot Madore is quickly gaining international acclaim for his voice and artistry. He is made his Cleveland Orchestra debut in the title role of Debussy’s Pelléas and Mélisande in April 2017. Recent and upcoming engagements include performances of Pelléas and Mélisande at Opéra-Théâtre de Limoges and with the Sydney Symphony Orchestra, the role of Mercutio in a new production of Gounod’s Roméo et Juliette with New York’s Metropolitan Opera, as well as concerts with the Baltimore Symphony Orchestra, Houston Symphony, and the Orchestre de la Suisse Romande. He has sung widely in North America and Europe, including appearances with the Bavarian State Opera, Croatian National Opera, Dutch National Opera, Lyric Opera of Kansas City, Opera Philadelphia, San Francisco Opera, and Santa Fe Opera, as well as at the Glyndebourne, Saito Kinen, Salzburg, and Tanglewood festivals. Mr. Madore was a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program and an ensemble member at the Zurich Opera. He is a graduate of the Curtis School of Music and a recipient of a 2010 George London Award. For additional information, please visit www.elliotmadore.com.

Blossom Festival 2018

August 25: Guest Artists

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 bachelorâ&#x20AC;&#x2122;s degree in music education from West Chester University and masterâ&#x20AC;&#x2122;s and doctoral degrees in choral conducting from Indiana University.

Blossom Festival Chorus: August 25

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.

Carl Orff CARMINA BURANA SOPRANO

ALTO

TENOR

Lou Albertson Laurel Babcock + Claudia Barriga Karen Bauer-Blazer Alissa L. Bodner Kimberly Brenstuhl Adriana Changet Mary Grace Corrigan Susan Cucuzza + Karla Cummins + Anna K. Dendy Molly Falasco + Lisa Fedorovich + Annie Gartman + Lou Goodwin Julia Halamek Karen Hazlett Lisa Hrusovsky Rachel Imhoff Kirsten Jaegersen Shannon R. Jakubczak + Nina Kapusta Chelsea Kimmich Heidi Lang Olivia Lawrence + Kathleen Moreland Roberta Myers Lenore M. Pershing + Jylian Purtee Lisa M. Ramsey Molly Schacher Elizabeth Spencer Erin Sullivan Megan Tettau Isabella V. Tuma + Tunde Varga Mary Wilson Juliann Wolfarth +

Alexandria Albainy Debbie Bates + Ellen Beleiu Lia Bendix + Terry Boyarsky Julie A. Cajigas + Kathy Chuparkoff + Brianna Clifford Barbara J. Clugh Nichole M. Criss Diana Weber Gardner Jenna Gasser Rachael Grubb Ann Marie Hardulak Julie Evans Hoffman Betty Huber Karen Hurley Melissa Jolly + Kate Klonowski Kristi Krueger Elise Leitzel Charlotte Linebaugh Cathy Lesser Mansfield + Laura McFee Karla McMullen Donna Miller Rachel Rood Marge Salopek Molly Shearrow Eve Sliwinski Laurie Starner Heather Swift Melanie Tabak Rachel Thibo + Maggie Fairman Williams + Caroline Willoughby Nancy Wojciak

Frederick Allen + Robert Bordon Robert H. Hutson + Gary Kaplan Adam Landry + Tod Lawrence Alex Looney + Shawn Lopez + Rohan Mandelia + Paul March Ryan Pennington + Matt Roesch + Jarod Shamp + Charles Tobias Michael J. Ward Allen White Peter Wright +

Blossom Festival 2018

BASS

Christopher Aldrich + Brian Bailey Jack Blazey Jacob Brent Grant Campbell + Carlos Castells Serhii Chebotar + Peter B. Clausen Nick Connavino Thomas Cucuzza Christopher Dewald +

Philip K. Greer John Gruneich Scott Douglas Halm Ben Heacox Dennis Hollo Ryan D. Honomichl Martin Horning Jason Howie + Bernard Hrusovsky Robert L. Jenkins III James Johnston Kevin Kutz Charles Langmack Roger Mennell Keith Norman Glenn Obergefell Francisco X. Prado + Brandon Randall + Andrew Schettler John Semenik + Thomas Shaw James B. Snell Stephen Stavnicky + Patrick Wickliffe + S. David Worhatch

+ Small Chorus (a.k.a. coro piccolo)

Joela Jones, Accompanist Jill Harbaugh, Manager of Choruses

August 25: Blossom Festival Chorus

Cleveland Orchestra Children’s Chorus Ann Usher, Director

Suzanne Walters, Assistant Director

Created in 1967, the Cleveland Orchestra Children’s Chorus is an ensemble of children in grades 6-9 who perform annually with The Cleveland Orchestra. A Preparatory Chorus, comprised of children in grades 5-8, performs twice each year with the Children’s Chorus. The members of the Children’s Chorus and of the Preparatory Chorus rehearse weekly during the school year and are selected by annual audition with the director. Auditions for the 2018-19 season are scheduled for Saturday, September 21; for more information, write to jweiner@clevelandorchestra.com.

Carl Orff CARMINA BURANA Grace Allen Serin Misi Arikan Moriah Armstrong Savannah Brown Mia Bruner Brendan Burdick Sarah Burdick Gavin Cozzens Ashley Cvetichan Makarije Damljanovic Molly Decker Henry Dyck Michelle E. Elliott Sabrina Fellinger Eleanor Fleming

Claudia Gagliani Jade Gladue Maria Dameworth Hisey Victoria Hubbard Anna Claire Ingram Megan Kim Kelly Kirchner Julia Kubancik Donovan Lang Isabella T. Martin Edith Masuda Aidan Maxwell Lila Nagy Adelyn Nicholson Laura Obergefell

Audrey Ours Maggie Panichi Imaya Perera Julia Peyrebrune Grace Prentice Mary Proctor Emma Ramon Oliver Richard Elena Rodenborn Shira Rosenberg Somiya Schirokauer

Emma Schoeffler Sophia Shepard Emma Smith Lydia Smith Easton Sumlin Genevieve Talentino Sasha Turner Nora von der Heydt Sammy Weidenthal Sydney Wilson James Wilkinson

Mio Arai, Accompanist Julie Weiner, Manager of Youth Choruses

Ann Usher

Director, Cleveland Orchestra Children’s Choruses

Ann Usher has served as director of the Cleveland Orchestra Children’s Choruses since 2000. She prepares the Children’s Chorus for their appearances as part of the annual Christmas concerts, community concerts, and in the Orchestra’s performances of operas and symphonic works that call for children’s voices. Ms. Usher is the associate dean of the Fine Arts division of Buchtel College of Arts & Sciences at the University of Akron, where she teaches graduate and undergraduate choral music education courses. She is also serving as interim director of the School of Music for the 2018-19 school year. She previously taught choral music in the public schools, specializing in the middle school level. Ms. Usher is the president-elect of the Ohio Music Education Association (OMEA) and in 2014 served as director of OMEA’s inaugural All-State Children’s Chorus for fourth and fifth graders. Active as a clinician and adjudicator, Ann Usher holds a bachelor of music education degree from the University of Northern Iowa, and a master of music degree in choral conducting and a doctorate in music education from Kent State University.

August 25: Children’s Chorus

The Cleveland Orchestra

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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 Orchestraâ&#x20AC;&#x2122;s 1OOth birthday celebrations in support of bringing to life a bold vision for an extraordinary Second Century â&#x20AC;&#x201D; to inspire and transform lives through the power of music.

Presenting Sponsors

Leadership Sponsors Ruth McCormick Tankersley Charitable Trust

Sponsors

Westfield Insurance KPMG LLP PwC

National Endowment for the Arts The Sherwin-Williams Company

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 Eaton

Ernst & Young LLP

Great Lakes Brewing Company Jones Day

KeyBank

Hahn Loeser & Parks LLP Medical Mutual

Olympic Steel, Inc.

RPM International Inc.

Dollar Bank Foundation

The Goodyear Tire & Rubber Company

Hyster-Yale Materials Handling, Inc. Litigation Management, Inc.

MTD Products, Inc.

Parker Hannifin Foundation The J. M. Smucker Company

The Sherwin-Williams Company

The Cleveland Orchestra

Buyers Products Company

Frantz Ward LLP

The Lincoln Electric Foundation

Materion Corporation Ohio Savings Bank

BakerHostetler Forest City

North Coast Container Corp.

PNC Bank

Quality Electrodynamics (QED)

Squire Patton Boggs (US) LLP

Thompson Hine LLP

Second Century Sponsors

NACCO Industries, Inc.

The Lubrizol Corporation

Tucker Ellis LLP

2O18

BLOSSOM MUSIC FESTIVAL

Friday evening, August 31, 2018, at 8:30 p.m. Saturday evening, September 1, 2018, at 8:30 p.m. Sunday evening, September 2, 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

STAR WARS FILM CONCERT SERIES

Star Wars A New Hope FE ATURE FILM WITH LIVE ORC HE S TR A 20th Century Fox presents D /XFDVÀOP /WG SURGXFWLRQ starring Mark Hamill Harrison Ford Carrie Fisher Peter Cushing and Alec Guinness written and directed by George Lucas produced by Gary Kurtz music by John Williams

with THE CLEVELAND ORCHESTRA conducted by VINAY PARAMESWARAN

Panavision

Prints by Deluxe

Technicolor

MPAA PG Rating

Original Motion Picture: disneymusicemporium.com

Concert Program: Labor Day Weekend

Blossom Music Festival

YEARS 1968- 2O18

CONCERT LENGTH:

The film is presented with one intermission and will end at approximately 10:55 p.m.

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

STAR WARS FILM CONCERT SERIES PRODUCTION CREDITS President, Disney Music Group Ken Bunt Senior Vice President and General Manager, Disney Concerts Chip McLean

Music Preparation Mark Graham Matthew Voogt Joann Kane Music Service

Business Affairs, Disney Concerts Darryl Franklin Meg Ross Jesenia Gallegos

Supervising Technical Director Alex Levy â&#x20AC;&#x201C; Epilogue Media

Disney Music Library

Non-Theatrical Sales, 20th Century Fox Julian Levin

Film Preparation Ramiro Belgardt Business Affairs, Lucasfilm Rhonda Hjort Chris Holm

Operations, Disney Concerts Mae Crosby Royd Haston

Business Affairs, Warner-Chappell Scott McDowell

The J.M. Smucker Company is a proud sponsor of The Cleveland Orchestraâ&#x20AC;&#x2122;s 2018 Blossom Festival season. These concerts are dedicated to the following individuals in recognition of their extraordinary generosity in support of The Cleveland Orchestra: August 31: Mr. and Mrs. Alex Machaskee September 1: Randall and Virginia Barbato September 2: Hewitt and Paula Shaw 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: Labor Day Weekend

Waiting for the Peak of Perfection.

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

INTRODUCING THE CONCERT

Musical Force, Powerful Stars I W E L L R E M E M B E R experiencing the first Star Wars film — what we now

know as “A New Hope” — when it was first released, in a movie theater in the summer of 1977. (Yes, of course it was in a movie theater, what other choice was there back then?! before videotapes, DVDs, streaming.) I was just home from my first year at college, and my older brother and I were eager to see this new force in the cinematic universe. We hadn’t seen one another in months (I’d chosen a different college, as I was tired of always being his brother at schoo ol), but our shared interest in space travel and scien nce fiction ensured our being there together for this movie phenomenon. (I don’t remember if we e went on opening night — that was less a “thing” back then, in our town — but the theater wass packed.) It was a good show, thoroughly entertaining g and intriguing — with extraordinary visual eff ffects for the era. And the music was integrated d right into it, as much a character (characters) ass everything else. And right to my liking as a cllassical music nerd (I’d saved my pennies and purchased my first recording of Wagner’s fourp opera Ring cycle before I graduated from high o sschool). And so the franchise was launched, tto grow year by year, decade by decade . . . to become a modern, space-age mythical world of good and evil, villains and heroes . . . dreamed up, built, and expanded with galaxy-sized l d imagination, wonder, d and musical aplomb. I’ve watched and rewatched A New Hope many times since that first experience — including one time as a festival, six movies in order, six nights in a row (the seventh hadn’t yet been made). Sometimes I love it, sometimes I am dumbfounded by the not-exactly-great, campy acting. But the storyline always draws me in, reinforced by John Williams’s spectacular score. Tonight at Blossom, we experience it all again, with the music played live by the best orchestra on this planet, our very own Cleveland Orchestra! —Eric Sellen

Blossom Music Festival

Star Wars: Introducing the Concert

I build by taking apart.

I see what Iâ&#x20AC;&#x2122;m capable of.

I ďŹ nd solutions.

I ask bigger questions.

I make today count.

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

The Cleveland Orchestra

The Music of

by T IM GREI V ING

J O H N W I L L I A M S did not compose his Star Wars scores for the concert hall. But he did compose them with a concert hall mentality. George Lucas wrote his original 1977 script while listening to and taking inspiration from great works of the classical repertoire, and when he hired Williams to score the film, that same kind of music — symphonic, grand, aged — felt like it had always belonged inside his new universe. Today, the Star Wars cosmos includes eight full-length scores by Williams, written over the course of more than four decades, amounting to a “space opera” that perhaps rivals Wagner’s famed Ring of the Nibelung cycle in its ambition and motivic wealth. Williams was thoroughly steeped in the classical and operatic traditions, and he applied the former’s symphonic grandeur and the latter’s leitmotif architecture to these films — creating and codifying a uniquely “Star Wars-ian” language that is instantly recognizable, and whose influence not only in film music but in popular culture is impossible to measure. One of Lucas’s goals with Star Wars was taking the normally futuristic trappings of space fiction — techno-gadgets, bizarre aliens, exotic planets — and rooting them in the old and familiar. From the muddy, lived-in look of spaceships to the hero’s journey archetypes, Lucas’s version of the “future” was presented as ancient

Blossom Festival 2018

history. He recognized that symphonic music, particularly in the European style of the 19th and early 20th centuries, would help further cast the spell. The movie was also inspired by the Flash Gordon serials of his childhood, and Errol Flynn swashbucklers like The Adventures of Robin Hood, the latter of which had scores by Erich Wolfgang Korngold. Both used brassy classical ﬂourishes to heighten the escapades, with the orchestra directly mirroring the action and telling its own parallel story. When he went looking for a composer, Lucas told his friend Steven Spielberg: “I want a classical score,” he recounted in a 1995 interview with Leonard Maltin. “I want the Korngold kind of feel about this thing. It’s an old-fashioned kind of movie, and I want that grand sound track that you used to have on movies.” Spielberg’s response: “The guy you’ve got to talk to is John Williams. He did Jaws. I love him.” When Lucas reached out to him in 1976, Williams had already been in the Hollywood game for two decades and had received two Academy Awards and 11 Oscar nominations. A New York native, he began studying the piano at age 7, and was composing and conducting by the time he reached North Hollywood High School (the family moved so that his

About the Music: Labor Day Weekend

father, a jazz drummer, could play with film studio orchestras), where he formed a band and taught himself arranging and orchestration by transposing contemporary pop songs in a classical style. He conducted and arranged for military bands during his three-year service in the Air Force, then resumed his studies at the Juilliard School, moonlighting as a jazz pianist in New York nightclubs. These disparate skills — a deep well of classical knowledge, a chameleonic ability to arrange in different musical languages, and a jazzman’s knack for intoxicating an audience with infectious melodies and complex harmonies — tilled a mind positively fertile for scoring films. Williams first developed his screen-scoring muscles in the 1950s and ’60s as a session pianist for other composers — including Henry Mancini and Bernard Herrmann — then began composing original scores for television series such as Checkmate and Lost in Space. Having adapted himself for nearly every genre on the small screen, Williams quickly built an impressive career in film, working with the likes of Alfred Hitchcock, Robert Altman, and Clint Eastwood. And then, let us remember, he gave frightening musical life to the first modern blockbuster — Jaws — for Spielberg. He was seasoned, versatile, respected. But Star Wars was about to make him more. “George felt that the music should be on a fairly familiar emotional level,” the composer wrote in his liner notes for the original soundtrack album. “At one point, George talked of integrating selections from the classical repertoire with the score. 2001: A Space Odyssey and several other films have utilized this technique very well. But what I think this technique doesn’t do is take a piece

of melodic material, develop it, and relate it to a character all the way through the film. I felt that this film wanted thematic unity. I believed we needed melodic themes of our own, which I could sort of bend around and put through all the permutations.” So Williams crafted melodies and motifs, a dozen or more for every new chapter in the ongoing saga, that were not only infinitely bendable in service of the narrative, but that leapt off the screen and into the ears and hearts of now multiple generations. The themes of Star Wars — from the Roman pageantry of the main title, to the heartache love theme for Han Solo and Princess Leia, to the martial, maleficent Imperial March — have saturated our collective consciousness, reverberating from the sidelines of football games, blasting from car stereos, and baptizing countless people young and old into becoming musicians and composers themselves. They are, in many real senses, modern-day folk tunes that have reached every corner of planet Earth, and if there is one symphonic “work” that everyone in the world knows, Williams’s opus for the Skywalkers gives Beethoven’s Fifth a run for its money. And it was only a matter of time before these scores came back to roost on the branch where they were

Labor Day Weekend: About the Music

The Cleveland Orchestra

hatched: the concert hall. Star Wars wasn’t science-fiction in the cerebral sense of Ray Bradbury or Stanley Kubrick, so a new term was coined — “space opera” — which acknowledged the galactic setting and alien trappings as well as the grand themes of heroes and villains, romance, family secrets, life and death. In the style popularized by Wagner, every melody in Star Wars tells a story. You can actually hear Luke fighting Darth Vader, or calling on the Force, or talking to Princess Leia through the dramatic interplay and development of their themes. “It was not music that might describe terra incognita but the opposite of that,” Williams once explained. This was “music that would put us in touch with very familiar and remembered emotions, which for me as a musician translated into the use of a 19th-century operatic idiom. These sorts of influences would put us in touch with remembered theatrical experiences as well.” Star Wars came out on May 25th, 1977 — and we are still feeling the unleashing of its force. “When we did the first film, I really thought that it was good and that it would play out for the summer for young people,” Williams recalled in 2015. “But I didn’t have any idea that it would go beyond the first film. I just left Star Wars and

went over to Close Encounters and didn’t think I’d ever see or hear it again.” Instead, Williams helped elevate what might have just been “Buck Rogers popcorn” into high art. His music transported audiences into future worlds by way of the past, and he serenaded a summer of moviegoing that would forever change the film industry and a generation of future filmmakers. “Speaking as honestly as I can, I always thought that John Williams, next to George Lucas, is probably the person that’s most singularly responsible for the enormous impact those films had on culture,” says actor Mark Hamill, who played Luke Skywalker. “In many ways, he gives a sort of epic status that we certainly wouldn’t have without his music. He’s just a virtuoso, like any great director, of eliciting emotion from the audience.” Star Wars also helped revive symphonic scoring in films, after a decade of jazz and rock dominating movie soundtracks. Williams’s scores inspired countless imitators and ushered in a classical symphonic renaissance at the movies — let’s call it a neo neo-classical era. If you talk to a film composer or orchestra musician today, there’s a good chance they’ll say it all began with Star Wars. “Imagine my gratification at the success that this thing has had, in terms of worldwide affection with which it’s held,” says Williams. “And it seemed to increase over the years as we did it. Only time is going to tell us the real currency and the real value of anything that we do. If anything has a permanence of any kind, we have to feel that it’s a contribution that must be giving people something they need. That’s what we all need to do — not work, but contribute.” Tim Greiving is a film music journalist living in Los Angeles. For more, visit www.timgreiving.com. © Copyright.

Blossom Festival 2018

About the Music: Labor Day Weekend

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

Vinay Parameswaran joined The Cleveland Orchestra conducting staff as assistant conductor in 2017. In this role, he leads the Orchestra in several dozen concerts each season at Severance Hall, Blossom Music Festival, and on tour. He also serves as music director of the Cleveland Orchestra Youth Orchestra. Mr. Parameswaran came to 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 Tanglewood Music Center. His guest conducting engagements have included appearances with the Rochester Philharmonic, Tucson Symphony, National Symphony Orchestra, Milwaukee Symphony, Jacksonville Symphony, Eugene Sym-

phony, and the Vermont Symphony Orchestra. He has also led performances of Mozart’s The Magic Flute and Donizetti’s The Elixir of Love with Curtis Opera Theater and assisted with Opera Philadelphia’s presentation of Verdi’s Nabucco. 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. Vinay Parameswaran has participated in conducting masterclasses with David Zinman at the National Arts Centre Orchestra in Ottawa, as well as with Marin Alsop and Gustav Meier at the Cabrillo Festival of Contemporary Music. He is the conductor on the album Two x Four featuring the Curtis 20/21 ensemble alongside violinists Jaime Laredo and Jennifer Koh, and featuring works by Bach, David Ludwig, Philip Glass, and Anna Clyne.

Labor Day Weekend: Conductor

The Cleveland Orchestra

feel the love.

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

George Szell Society

Dr. and Mrs. Wolfgang Berndt (Europe) Mr. William P. Blair III+ Blossom Friends of The Cleveland Orchestra The Brown and Kunze Foundation Mr. and Mrs. Alexander M. Cutler+ Mr. and Mrs. John E. Guinness Mrs. John A Hadden Jr. T. K.* and Faye A. Heston Mr. and Mrs. Donald M. Jack, Jr. Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern Giuliana C. and John D. Koch+ Toby Devan Lewis Virginia M. and Jon A. Lindseth Mr. and Mrs. Alex Machaskee+ Ms. Nancy W. McCann+ Ms. Beth E. Mooney+ Rosanne and Gary Oatey (Cleveland, Miami)+ William J. and Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong+ Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner+ Barbara S. Robinson (Cleveland, Miami)+ Sally and Larry Sears+ Mary M. Spencer (Miami)+ Mrs. Jean H. Taber* Dr. Russell A. Trusso Ms. Ginger Warner (Cleveland, Miami) Barbara and David Wolfort (Cleveland, Miami)+ Janet* and Richard Yulman (Miami) Anonymous+

+ Multiyear Pledges Multiyear pledges support the Orchestra’s artistry while helping to ensure a sustained level of funding. We salute those extraordinary donors who have signed pledge commitments to continue their annual giving for three years or more. These donors are recognized with this symbol next to their name: +

Individual Annual Support

The Cleveland Orchestra

Dudley S. S Blossom Society Elisabeth DeWitt Severance Society gifts of $25,000 to $49,999 Gay Cull Addicott+ Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. and Mrs. Charles P. Bolton+ Irma and Norman Braman (Miami)+ Mr. Yuval Brisker Jeanette Grasselli Brown and Glenn R. Brown+ Mr. and Mrs. David J. Carpenter+ Jill and Paul Clark Robert and Jean* Conrad+ Judith and George W. Diehl Friends of The Cleveland Orchestra (formerly WCCO) JoAnn and Robert Glick+ Mr. and Mrs. Geoffrey Gund Mr. and Mrs. Jeffrey Healy+ Mary and Jon Heider (Cleveland, Miami) Mrs. Marguerite B. Humphrey+ Mr. and Mrs. Joseph P. Keithley Milton A. & Charlotte R. Kramer Charitable Foundation Daniel R. Lewis (Miami) Mr. Stephen McHale Margaret Fulton-Mueller+ Mrs. Jane B. Nord Julia and Larry Pollock+ Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman Marc and Rennie Saltzberg Larry J. Santon and Lorraine S. Szabo+ The Ralph and Luci Schey Foundation+ Rachel R. Schneider+ Donna E. Shalala (Miami) Hewitt and Paula Shaw Marjorie B. Shorrock+ Richard and Nancy Sneed+ Jim and Myrna Spira R. Thomas and Meg Harris Stanton+ Paul and Suzanne Westlake Tony and Diane Wynshaw-Boris+ Anonymous (2)

Listings of all donors of $300 and more each year are published annually, and can be viewed online at CLEVELANDORCHESTRA . COM

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

Blossom Festival 2018

Individual Annual Support

Frank H. Ginn Society

symphony no. 4 in E minor, Opus 98 gifts of $10,000 to $14,999 composed 1884-85

Fred G. and Mary W. Behm Linda and Lawrence D. Goodman (Miami) Paul A. and Anastacia L. Rose Mr. and Mrs. Jules Belkin Patti Gordon (Miami) Steven and Ellen Ross Mr. David Bialosky Graham Dr. Isobel I t I sHarry U sand U Joyce a L Ly s a I d of Brahms that heRutherford delayed composing and Ms. Carolyn Christian+ Amy and Stephen Hoffman Mrs. Florence Brewster Rutter+ a symphony until after he was forty out of respect Beethoven’s Laurel Blossom Thomas H. and Virginia J.* Horner Fund+ Dr. and Mrs.* Martinfor I. Saltzman+ Mr. D. McGregor Brandt, Jr. andof Mrs.nine Brinton— L. Hyde M. and Betty Schneider greatMr.set and from a fearDavid of being found wanting in Mr. and Mrs. Marshall Brown Mrs. Elizabeth R. Koch Carol* and Albert Schupp comparison with his mighty predecessor. There is much truth J. C. and Helen Rankin Butler+ Rob and Laura Kochis Mrs. Gretchen D. Smith+ Richard J. and Joanne Clark Stewart and Donna Kohl The Stair Family in this. Indeed, Brahms acknowledged it himself. Dr. and Mrs. Delos M. Cosgrove III Mr. James Krohngold+ Charitable Foundation, Inc. of twenty, into the circle of Mrs. Barbara Ann Davis+ Dr.Brahms’s Edith Lerner rapid rise, at the age Lois and Tom Stauffer Dr. M. Meredith Dobyns Dr. David and Janice Leshner Mr. and Mrs. Jonathan M. Steingass leading composers was set in motion by Robert Schumann, who Henry and Mary* Doll+ Mr. Lawrence B. and Christine H. Levey+ Bruce and Virginia Taylor+ declared that Brahms was destined a great future in Nancy and Richard Dotson+ Don H. publicly McClung Mr. Joseph F.for Tetlak Mr. and Mrs. Robert P. Duvin Dr. and Mrs. Tom McLaughlin Rick, Margarita, and the pedigree of German music. In the company of Schumann and Mary Jo Eaton (Miami) Mr. John Mueller Steven Tonkinson (Miami)+ Dr. and Mrs. Lloyd H. Ellis Jr. Joy P. and Thomas G. Pysht Fundexclusively chamber his wife Clara, Brahms had played almost Mr. Brian L. Ewart and Mr. William McHenry Murdough, Jr. (Miami)+ Robert C. Weppler by music — which for them represented theand real legacy, Carl Falb+ Brian and Cindy Murphy+ Sandy TedBeethoven Wiese Johannes Bob and Linnet Fritz Mr. Raymond Murphy+ Wile and Joanne especially theM.violin sonatas and lateSandy quartets, withAvenmarg the unspoDr. and Mrs. Adi Gazdar Mr. J. William and Dr. Suzanne Palmer Dr. and Mr. Ann Williams+ ken understanding that the Ninth Symphony was not necessarily Albert I. and Norma C. Geller Douglas and Noreen Powers Anonymous (7) Dr. Edward S. Godleski Audra* and George Rose+ the center of the Beethoven universe. Not coincidentally, at the born

BRaHMs

May 7, 1833 Hamburg The 1929 Society died gifts3, of 1897 $5,000 to $9,999 April Vienna Dr. and Mrs. D. P. Agamanolis

Susan S. Angell Mr. William App William Appert and Christopher Wallace (Miami) Robert and Dalia Baker Daniel and Trish Bell (Miami) Mr. William Berger Howard Bernick and Judy Bronfman Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Mr. and Mrs. Richard H. Bole Robert and Alyssa Lenhoff-Briggs Dr.* and Mrs. Jerald S. Brodkey Frank and Leslie Buck+ Mr. and Mrs. Timothy J. Callahan Ms. Maria Cashy+ Drs. Wuu-Shung and Amy Chuang+ Ellen E. & Victor J. Cohn+ Kathleen A. Coleman+ Diane Lynn Collier and Robert J. Gura+ Marjorie Dickard Comella The Sam J. Frankino Foundation Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Ralph Daugstrup Thomas S. and Jane R. Davis Pete and Margaret Dobbins+ Carl Dodge Mr. and Mrs. Paul Doman Mary and Oliver* Emerson Dr. D. Roy and Diane A. Ferguson William R. and Karen W. Feth+

94 80

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 heBetty finally to write a symphony, Brahms Joseph Z. and Flemingresolved (Miami) Jean M. Holden Scott A. Foerster symphonies sounding Mary in andhis Steveears Hosieras strongly as had Schumann’s Joan Alice Ford Elisabeth Hugh+ Beethoven’s — which is why a similarity can be heard Mr. Paul C. Forsgren David and Dianne Huntbetween the Michael Frank and Patricia A. Snyder Scott Isquick+ opening of Schumann’s Fourth and thePamela way and in which Brahms began Barbara and Peter Galvin Donna L. and Robert H. Jackson his First. When we reach the finale of Brahms’s First, though, we do Joy E. Garapic Mr. and Mrs. Richard A. Janus Brenda and David Goldberg an echo of the Robert and Linda Jenkins unmistakably encounter choral finale of Beethoven’s Mr. and Mrs. Randall J. Gordon+ Richard and Michelle Jeschelnig Ninth. “Any can see that,” was Brahms’s dismissive comment. Angela andfool Jeffrey Gotthardt Joela Jones and Richard Weiss Mr. and Mrs. James C. Gowe Barbara and Michael J. Kaplan Once he had given one symphony to the world, it was Mr. Paul Greig Andrew and Katherine Kartalis easier forand Brahms to embark on its successors. TheKatz rest followed André Ginette Gremillet Milton and Donna* and Mrs. Stephen Griebling Dr. Richard and Roberta Katzman moreMr. rapidly, within nine years. The Second followed very soon Nancy Hancock Griffith+ Dr. and Mrs. Richard S. Kaufman Thomas Judith Gruber appeared Mr. andwithin Mrs. Christopher Kelly of the afterThe the First,J. and and theFayFourth two years Charitable Foundation Mrs. Natalie D. Kittredge Third. Robert N. and Nicki N. Gudbranson+ Dr. Gilles* and Mrs. Malvina Klopman+ David and Robin Gunning Linda Koelz+ an unknown Self-critical to the point whereTim heand destroyed Alfredo and Luz Gutierrez (Miami) Mr. and Mrs.* S. Lee Kohrman number of works that did not satisfy his exacting standards, Gary Hanson and Barbara Klante Cindy L. and Timothy J. Konich Mr. Robert D. Hartregarded symphonic Mr.writing Clayton R. as Koppes Brahms always a tough 356 N. propoMarket Street, Wo BED, Clark Harvey and Holly Selvaggi+ Mr. and Mrs. Peter A. Kuhn+ {330} 262.4085 sition, to the point where we should be thankful that he gave Iris and Tom Harvie+ Mr. and Mrs. Arthur J. Lafave, Jr. BREAKFAST, David C. Lamb+ stay@marketstreetinnwo Henry R. Hatch us as many as four — just as we should be always grateful for www.marketstreetinnwo Robin Hitchcock Kenneth M. Lapine and Rose E. Mills+ BRAVO! andHatch the opportunity Dr. Robert T. Heath to hear each of them. Anthony T. and Patricia A. Lauria Dr. Elizabeth L. Buchanan+ Judith and Morton Q. Levin+ Ifand Brahms had written a fifth symphony toward the end of Janet D. Heil* Dr. Stephen B. and Mrs. Lillian S. Levine+ his life, one mightHeller+ imagine something mellow, Anita and William Dr.gloriously Alan and Mrs. Joni Lichtin+ like the Mr. Loren W. Hershey Mr. Rudolf and Mrs. Eva Linnebach+ late clarinet music or the Four Serious Songs. But that is not the Dr. Fred A. Heupler

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listings continue

Individual July 28: About Annual the Support Music

2018 The Cleveland BlossomOrchestra Festival

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A wee bit of Ireland in downtown Wooster 116 S. S Market M k Street, S Wooster, Ohio 44691

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*

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

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

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, please contact 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

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

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 addition, LiveNation presents nonorchestral concerts throughout the season. Please be aware that some audience policies differ depending on the evening’s musical presentation, including what food and beverages can be brought onto the grounds or into the Pavilion. For this summer’s Festival, unique security, parkk ing, and food policies apply for the presentation of Roger Daltrey Sings The Who’s Tommyy on July 8.

Before the Concert . . . GROUNDS OPEN Gates to the Blossom grounds are open to the public 2½ hours before Festival concerts. QUESTIONS? Members of Blossom Friends of The Cleveland Orchestra staff two Information Centers — one located outside the Main Gate across from the Lawn Ticket Booth and the other inside the Main Gate on Smith Plaza next to the Joseph Garden. PARKING Free parking is available with your ticket to any regular Festival concert. Paved parking Lots require a printed and dated hang-tag, which must be displayed in your vehicle. Cars without dated parking hang-tags are directed to non-paved parking. Free hang-tags for Lots C-D-E are available with Pavilion tickets purchased at least ten days in advance of a Festival concert. Paved Lots A and B are reserved for subscribers (Lot B) and Box Seat holders (Lot A). Anyone can upgrade to Lot A parking in advance, subject to availability, for $20 per vehicle per concert. Parking spaces for patrons with disabilities and special needs are in Lots B and E. A valid disability parking permit is required and must be displayed. A limited number of ADA parking spaces are also available in Lot A for $20 per vehicle per concert, with advance purchase. For more information, contact Guest Services at 330-916-6068. FREE TRAM SERVICE AND GOLF CARTS Free transportation throughout the grounds is available to all patrons for Blossom Music Festi-

Blossom Festival 2018

Patron Information

(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.

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.

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

formed 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 Visitors to Blossom are welcome and encouraged to check-in on Facebook and thru other social media sites or apps, and to share about your Blossom experience thru these same channels â&#x20AC;&#x201D; 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 â&#x20AC;&#x201D; video or audio â&#x20AC;&#x201D; 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 PERSONâ&#x20AC;&#x2122;S GUIDE A free printed Young Personâ&#x20AC;&#x2122;s Guide is available to help your youngest attendees learn about music, with some suggested activities.

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Ń&#x2018;Ń&#x161;Ń&#x2013;Ń Ń Ń&#x2013;Ń&#x153;Ń&#x203A;Čą Ç 7ČąŃ&#x17D;Ń&#x2018;Ń˘Ń&#x2122;ŃĄČąČąČŠČąČąÇ 6 Ń&#x2019;Ń&#x203A;Ń&#x2013;Ń&#x153;Ń&#x;ČąČąČŠČąČąÇ 5Čą Ń&#x2022;Ń&#x2013;Ń&#x2122;Ń&#x2018;Čą Includes: z Self-guided tour of the Education and Research Center exhibits z Guided tour of the home of First Lady Ida Saxton McKinley z Free parking

Ń˘Ń Ń&#x2019;Ń˘Ń&#x161;Čą Ń&#x153;Ń˘Ń&#x;Ń Tuesday - Saturday 9AM - 4PM Sunday 12PM - 4PM (June - August) (last guided tour at 3PM) Ń&#x2013;Ń&#x;Ń ŃĄČą Ń&#x17D;Ń&#x2018;Ń&#x2013;Ń&#x2019;Ń Čą Ń&#x17D;ŃĄŃ&#x2013;Ń&#x153;Ń&#x203A;Ń&#x17D;Ń&#x2122;Čą Ń&#x2013;Ń ŃĄŃ&#x153;Ń&#x;Ń&#x2013;Ń?Čą Ń&#x2013;ŃĄŃ&#x2019;ČąČŠČą Ń&#x17D;ŃĄŃ&#x2013;Ń&#x153;Ń&#x203A;Ń&#x17D;Ń&#x2122;Čą Ń&#x17D;Ń&#x;Ń&#x2DC;Čą Ń&#x2019;Ń&#x;ŃŁŃ&#x2013;Ń?Ń&#x2019; Located in downtown Canton | 205 Market Avenue South Canton OH 44702 | firstladies.org | 330.452.0876

Donâ&#x20AC;&#x2122;t miss the sounds of summer! Did you know hearing aids are now covered by some insurance plans? Call us to see if your plan is included: 216-231-8787 Coming to Westlake Fall 2018 EĹ˝Ç Ä?Ä?Ä&#x17E;Ć&#x2030;Ć&#x;ĹśĹ? Appointments University Circle Blossom Festival 2018

Patron Information

South Euclid

Broadview Heights

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 LIES FA M I FOR and younger. Two Under 18s Free Lawn Passes can 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.

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

FESTIVAL

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

Face this

side out

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

Tram Stops ADA Route

* Information Centers staffed by Blossom Friends of The Cleveland Orchestra

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

d e r e w o p em

TO ACHIEVE

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