2019 Blossom Music Festival book 3

2O19 BLOSSOM

SEASON SPONSOR

MUSIC FESTIVAL SUMMER HOME OF THE CLEVELAND ORCHESTRA

2O19 B LOSSOM BOOK No. 3 INsIde . . .

August 3 --- Emperor and Mermaid . . . . . . . . . . . . . . . page 21 August 10 --- Brahms First Symphony . . . . . . . . . . . . page 35 August 11 --- Beach Boys:

om B l o ss n g li c y c Re on. m a ti Infor ge 8 8 a Se e P

Brian Wilson Celebrates Pet Sounds Ex

. . . . . . . . . . page 53

Read this program book online at ExpressProgramBook.com See complete Table of Contents on page 4

Imagined Dragons.

This summer, discover how monsters inspired the imaginations of artists in the Middle Ages.

Now Open | FREE ClevelandArt.org Medieval Monsters is organized by the Morgan Library & Museum, New York Supporting Sponsor

Media Sponsor

Book of Hours, (detail) 1415–20. Illuminated by the Master of the Morgan Infancy Cycle. Netherlands, perhaps Delft. Ink, tempera, and gold on vellum.

The Morgan Library & Museum, Purchased with the assistance of the Fellows, 1953, MS M.866 (fol. 142v–143r)

The Orchestra at Blossom. What’s not to love?

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CLEVELAND ORCHESTRA FRANZ WeLseR-MÖsT

2O19 BLOSSOM

2O19 SEASON SPONSOR

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2O19 BLOSSOM Music Festival Book No. 3 7 share your memories of tonight and join in the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch #CleOrchBlossom

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concert

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concert

Copyright © 2019 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, & Audience Engagement Department and distributed free of charge to attending audience members.

Program book advertising is sold through LIVE PubLIShIng ComPany phone: 216-721-1800

53

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

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69 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.

Preferred Airline of The Cleveland Orchestra

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About Blossom Welcome to our Summer home . . . . . . . . . . . . . . . . . . 7 2019 Festival Calendar . . . . . . . . . . . . . . . . . . . . . . . . . 8-9 about blossom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13-16 blossom by the numbers . . . . . . . . . . . . . . . . . . . . . . . . 14 blossom Committee . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 blossom Friends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18-19 get Involved . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83-87 Zero Waste Initiative . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 blossom Information and Policies . . . . . . . . . . . 89-93 blossom grounds map . . . . . . . . . . . . . . . . . . . . . . . . . . 94

— August 3 Emperor and mermaid Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . 23 about the music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25-32 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

— August 10 Brahms First Symphony Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 37 about the music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39-51 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

concert — August 11 Pet Sounds Celebration Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . 55 about the music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56-57 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58-61

About the Orchestra board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 about the orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . 63-65 Roster of musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 66-67

Supporting the Orchestra John L . Severance Society . . . . . . . . . . . . . . . . . . . . . . . 69 annual Support: Individual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70-75 Corporate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Foundation and government . . . . . . . . . . . . . . . . . 77 heritage Society: Legacy giving . . . . . . . . . . . . . 79-81

Table of Contents

Blossom Music Festival

It’s more than music.

We are proud to support The Cleveland Orchestra and the transformative power of accomplished professionals working together to achieve excellence.

bakerlaw.com

Welcome to Our Summer Home!

Few settings offer a more spectacular selection of ingredients for a magical and memorable evening than Blossom Music Center during a summer concert. And if you’re reading this, chances are you already have an abiding appreciation for both The Cleveland Orchestra and this breathtaking amphitheater under the stars. Every year, people of all ages are introduced to the beauty and power of symphonic music through visits to Blossom. This world-class ensemble and its summertime home also play an extraordinary role in impacting the lives and creative spirit of countless students. Last season, 20% of our audience was under the age of 25. With the creation of our Center for Future Audiences in 2011, Cleveland Orchestra concerts now attract and inspire more than 40,000 young people each year.

Look no further than the excitement and enthusiasm surrounding each night’s performance at Blossom for a glimpse into what this marvelous orchestra and its summer home mean to the people of Northeast Ohio. They both have a deepseated connection to the community they represent — the type of connection normally reserved for friends and family members. We can all flip through the many snapshots in our mind’s eye for memorable moments spent with loved ones on the soft grass at Blossom. Maybe you heard Tchaikovsky’s 1812 Overture and watched fireworks with your children at one of our annual Fourth-of-July celebrations? Or you shared a bottle of wine on a blanket with a special date for Schubert’s “Unfinished” Symphony? Or peered up at the sky’s inky darkness during Star Wars and considered the universe’s infinite possibilities?

As we share in Blossom’s fifty-second glorious summer, The Cleveland Orchestra remains grateful for the ongoing support from our Blossom season sponsor, The J.M. Smucker Company, and for the generous people of Summit and Stark Counties and the entire region. Blossom is as much our home as Severance Hall, and we appreciate the good fortune of having a pair of remarkable concert halls in which these talented musicians can present enduring performances. Perhaps some of you aren’t aware that The Cleveland Orchestra owns Blossom and, as a result, continues to oversee and shape the longterm vision of this summer arts park for future generations. Our longtime affiliation with Live Nation, who books and promotes the various non-orchestral events at Blossom, and who operates the facility for us, has been a rewarding partnership for both organizations.

This season Live Nation is welcoming a diverse roster of musical acts, including Santana, Wiz Khalifa, Smashing Pumpkins, Luke Bryan, and Peter Frampton.

Meanwhile, in the weeks ahead, your brilliant orchestra will continue playing joyful and inspiring music for the people of Northeast Ohio. And there’s no more wonderful place to experience these unforgettable performances than here at Blossom, in our own backyard.

André Gremillet

Blossom Festival 2019

Welcome: From the President & CEO

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2O19 BLOSSOM MUSIC FESTIVAL SUMMER HOME OF THE CLEVELAND ORCHESTRA

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29 JuN 30 7:30

THE SORCERER’S STONE

The Cleveland orchestra Justin Freer, conductor The classic first film in the series shown in HD on the big screen — with the score performed live by The Cleveland Orchestra.

Harry Potter characters, names, and related indicia are © & TM Warner Bros Entertainment Inc. Harry Potter Publishing Rights © JKR (s19).

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blossom Festival band Loras John Schissel, conductor

blossom Festival band Loras John Schissel, conductor

SCHISSEL

SALUTE TO AMERICA

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Fri 8 PM Sat 8 PM RHAPSOdY IN BLUE

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SALUTE TO AMERICA

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The Cleveland orchestra Roderick Cox, conductor aaron Diehl, piano

DIEHL

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SCHISSEL

wedNesday

PM

A T T H E M O V I E S: H A r r y P O T T E r

Musical works by Bernstein, Gershwin, Stravinsky, and Tchaikovsky.

saturday

13 8

PM

TCHAIKOVSKY’S FOURTH SYMPHONY The Cleveland orchestra Jahja Ling, conductor Conrad Tao, piano

LING

JuL

Musical works by Mussorgsky, Prokofiev, and Tchaikovsky.

20 8

PM

BRUCH’S VIOLIN CONCERTO The Cleveland orchestra Klaus mäkelä, conductor Daniel Lozakovich, violin Musical works by Kodály and Bruch, as well as Sibelius’s Fifth Symphony.

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ELGAR’S ENIGMA VARIATIONS The Cleveland orchestra bramwell Tovey, conductor gautier Capuçon, cello with Kent blossom orchestra Vinay Parameswaran, conductor

CAPUÇON

Blossom Music Center has provided an inviting and gracious summer home for The Cleveland Orchestra since it opened in 1968. Located just north of Akron, Ohio, and about 25 miles south of Cleveland, Blossom is situated on 200 acres of rolling hills surrounded by the Cuyahoga Valley SEASON SPONSOR National Park. Its beautiful outdoor setting is an integral part of the Blossom experi­ ence — and unrivaled among America’s summer music festival parks for the clear sightlines from across Blossom’s expansive Lawn and the superb acoustics and architectural beauty of the 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 Blos­ som Festival concerts. Two “under 18s” will be admitted with each paid adult admission — an initiative of The Cleveland Orch­ estra’s Center for Future Audiences, endowed by the Maltz Fam­ ily Foundation to expand new audiences for symphonic music.

Including music by Mendelssohn, Ravel, and Saint-Saëns.

ticKets:

800-686-1141

= features fireworks, weather permitting

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BEETHOVEN’S EMPEROR CONCERTO The Cleveland orchestra andrey boreyko, conductor Francesco Piemontesi, piano

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Musical works by Beethoven and Zemlinsky.

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BRAHMS FIRST SYMPHONY

PM

PETER ANd PAUL

The Cleveland orchestra asher Fisch, conductor Jung-min amy Lee, violin

The Cleveland orchestra Lucas Richman, conductor with Peter yarrow, vocalist noel Paul Stookey, vocalist

Musical works by Liszt, Barber, and Brahms.

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PM

BRIAN WILSON CELEBRATES PET SOUNdS blossom Festival orchestra Lucas Richman, conductor with brian Wilson al Jardine blondie Chaplin

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Greatest hits from Peter, Paul, and Mary’s songbook.

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SYMPHONIC dANCES

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The Cleveland orchestra Vinay Parameswaran, conductor Jennifer Johnson Cano, mezzo-soprano

Musical works by Ives, Bernstein, and Rachmaninoff.

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SOUTH PACIFIC

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The Cleveland orchestra andy Einhorn, conductor with stage direction

by Victoria bussert

PM

ROMERO

ROMERO PLAYS ROdRIGO The Cleveland orchestra Pablo heras-Casado, conductor Pepe Romero, guitar Musical works by Rimsky-Korsakov, Rodrigo, and Debussy.

Rodgers & Hammerstein’s classic Broadway show presented in concert, in collaboration with Baldwin Wallace University’s Music Theatre Program.

LABoR dAY WeeKeNd Friday

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PM

saturday

30 AuG 31

ARETHA: QUEEN OF SOUL

A T T H E M O V I E S: S T A r W A r S

The Cleveland orchestra Lucas Waldin, conductor Capathia Jenkins, vocalist Ryan Shaw, vocalist

The Cleveland orchestra Sarah hicks, conductor

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THE EMPIRE STRIKES BACK

An evening devoted to the artistry and greatest hits of Aretha Franklin.

ticKets:

The classic sequel film shown in HD on the big screen — with the score performed live by The Cleveland Orchestra.

Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm Ltd, and Warner/Chappell Music.

clevelandorchestra.com

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Musical arts assOciatiON

as of June 2 019

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

officers and executive committee Richard K. Smucker, Chair André Gremillet, President & CEO Dennis W. LaBarre, Immediate Past Chair Richard J. Bogomolny, Chair Emeritus Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz Douglas A. Kern resident trustees Robin Blossom Richard J. Bogomolny Yuval Brisker Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Robert A. Glick Robert K. Gudbranson Iris Harvie Dee Haslam Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey Betsy Juliano Jean C. Kalberer

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.

Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch Richard Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Milton S. Maltz Nancy W. McCann Stephen McHale Thomas F. McKee Loretta J. Mester Dr. Tomislav Mihaljevic Beth E. Mooney John C. Morley Katherine T. O’Neill 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 Richard Stovsky Russell Trusso Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Paul E. Westlake Jr. David A. Wolfort

n at i o n a l a n d i n t er n at i o n a l t r u s t ees Virginia Nord Barbato (New York) Wolfgang C. Berndt (Austria) Mary Jo Eaton (Florida)

Richard C. Gridley (South Carolina) Herbert Kloiber (Germany) Paul Rose (Mexico)

trustees ex- officio Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Barbara R. Snyder, President, Case Western Reserve University

Patricia M. Smith, President, Friends of The Cleveland Orchestra Beverly J. Warren, President, Kent State University

trustees emeriti George N. Aronoff Dr. Ronald H. Bell David P. Hunt S. Lee Kohrman Raymond T. Sawyer

honorary trustee s for life Alex Machaskee Gay Cull Addicott Robert P. Madison Charles P. Bolton The Honorable John D. Ong Jeanette Grasselli Brown James S. Reid, Jr. Allen H. Ford Robert W. Gillespie

pa s t b oa r d p r es i d en t s D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

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 Or cHestr a Fr aNz welser-Möst, Music Director

Blossom Music Festival

aNdré GreMillet, President & CEO

Musical Arts Association

11

THE THE MUSIC MUSIC BLOSSOM BLOSSOM

Proud Proud to to support support The The Cleveland Cleveland Orchestra Orchestra Blossom Blossom Music Music Festival Festival

©/TM/® ©/TM/® TheThe J.M.J.M. Smucker Smucker Company Company

LET LET

BLOSSOM with The Cleveland orchestra b l o s s o m m u s i c c e n t e r was opened

in 1968 as the summer home of The Cleveland orchestra — and has welcomed more than 21 million fans to concerts of all kinds in its first half-century serving northeast ohio . Located just north of akron, ohio, and about 25 miles south of Cleveland, blossom is situated on rolling hills surrounded by the Cuyahoga Valley national Park, which protects 33,000 acres along the Cuyahoga River between akron and Cleveland . blossom lies within the city limits of Cuyahoga Falls, an ohio community founded over two-hundred years ago . blossom was planned and built by The Cleveland orchestra at a 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 . blossom granddaughter Laurel blossom continued the tradition as a trustee, 1999-2018, and Robin blossom was elected to the board in 2018 . george Szell, music director (1946 to 1970) of The Cleveland orchestra, 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 . The schedule expanded in subsequent seasons to feature the blossom music Festival of orchestral and related music from the Fourth of July to Labor Day Weekend alongside a Blossom Music Festival

About Blossom

13

5470

blossom music Center opened on July 19, 1968, with a concert that featured beethoven’s ninth Symphony under the direction of george Szell .

20%

over

BLOSSOM MUSIC CENtER

1968

seats

25

and under

The portion of young people 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

21million aDMIssIONs

blossom music Center has welcomed more than 21,100,000 people to concerts and events since 1968 — including the orchestra’s annual Festival concerts, plus special attractions featuring rock, country, jazz, and other popular acts .

1,000+

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

1250 tons of steel

12,000 cubic yards concrete 4 acres of sodded lawn

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

Cuyahoga Valley National Park was created in 2000, upgrading the national recreational preserve, whch had been established in 1974 .

Today, CVnP includes 33,000 acres of preserved prairieland and forest adjoining blossom music Center .

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 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), and Knight Grove (a party center accommodating groups of 25 to 450) .

Blossom Festival 2019

About Blossom

15

photograph by peter hastings

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 21 million people have attended live musical performances at blossom in its first half century — with 400,000 enjoying symphonic and rock concerts each summer .

In 2002, the facility underwent the first major capital improvements project in At the Blossom groundbreaking on July 2, 1967, from left the park’s history . The blossom Redevelin foreground are Frank Joseph (then board president opment Project featured a major renovaof The Cleveland Orchestra), Elizabeth Bingham Blossom (Mrs. Dudley Sr.), Benjamin Gale (Blossom grandson), tion of the facility and enhancement of Betsy Blossom (youngest Blossom grandchild), and patron amenities, and was completed Charles Bingham Blossom (Blossom grandson). 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 .

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 offerings 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 27) . 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 to conserve more than 500 acres of blossom music Center land into Cuyahoga Valley national Park through a sale funded by the federal Land and Water Conservation Fund . This transfer helps protect the park experience for concertgoers at blossom, conserves the land for preservation, and provided one-time funding for the orchestra . This sale of blossom music Center land now connects over 5,000 acres of forest ecosystems within the park .

Read and learn more about the national Park and nearby attractions by visiting www.nps.gov/cuva .

16

About Blossom

Blossom Music Festival

Blossom Committee of The Cleveland Orchestra The Blossom Committee of The Cleveland Orchestra is an advisory group created to support the development and prioritization of initiatives to connect The Cleveland Orchestra in new and meaningful ways with the Blossom community. The Committee is comprised of business and community leaders from Cuyahoga, Portage, Stark, and Summit Counties. (Listing as of June 15, 2019.)

Iris Harvie, Chair Thomas Waltermire, Vice Chair Ronald H. Bell Carolyn Christian Bialosky William P. Blair III Robin Blossom Joanne Dannemiller Barbara Dieterich Helen Dix* Barbara Feld John Fickes 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 T. Teodosio Paul E. Westlake Jr. Deb Yandala *Honorary Member for Life

Ex-OfficiO

Richard K. Smucker, Board Chair, The Cleveland Orchestra Dennis W. LaBarre, Immediate Past Chair, The Cleveland Orchestra Richard J. Bogomolny, Chair Emeritus, The Cleveland Orchestra André Gremillet, President & CEO, The Cleveland Orchestra Peter van Dijk, Westlake Reed Leskosky

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Blossom Festival 2019

Fresh Simple Pure

Blossom Committee

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

Presented in Knight Grove at Blossom Music Center.

June 17 monday at 12 noon Maya Fields — viola Matthew Fields — cello

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Gourmet Matinees

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

Sister and brother Maya Fields and Matthew Fields began this summer’s luncheon series . both are alums of the Cleveland orchestra youth orchestra .

July 17 Wednesday at 12 noon Richard King — horn The series continued with horn player Richard King, who served as associate principal or principal horn for nearly three decades — and continues as a member of The Cleveland orchestra’s horn section .

August 28 Wednesday at 12 noon Mark Jackobs — viola Violist Mark Jackobs joined the orchestra in 1993 . he regularly plays in chamber music performances, teaches as a faculty member of the Cleveland Institute of music, and has led masterclasses at schools and conservatories across the united States .

$50 per program. For more information or to make reservations, please call Pat Volpe at 330-995-4975 or visit www .clevelandorchestra .com /gourmetmatinee . presented by

Blossom Friends of The Cleveland Orchestra

DANCECleveland Presents ADF in CLE Summer Dance Festival Two Remarkable Performances at Playhouse Square

BalletX by Gabriel Bienczycki,

BalletX- July 27 Malpaso- August 10 Info & Tickets: 216-241-6000 www.DANCECleveland.org 18

2019 Gourmet Matinee Luncheons

The Cleveland Orchestra

Blossom Friends of The Cleveland Orchestra This state-wide volunteer organization is dedicated to promoting and financially supporting The Cleveland Orchestra’s summer home and annual summer Music Festival at Blossom. Established as a womens’ volunteer committee with the opening of Blossom Music Center in 1968, the group was renamed Blossom Friends of The Cleveland Orchestra in 2016 and is 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 Susan Kenney, Peggy Krinsky, Kaye Lowe, Co-Presidents mary Walker Sprunt, Recording Secretary Lorry Szabo, Corresponding Secretary Peggy Krinsky, Treasurer

AREA CHAIRS — Danielle Dieterich — Kaye Lowe kent — Roseanne henderson, Janet Sessions northeast — Lorry Szabo members-at- large — Connie Van gilder akron

aurora

The final Gourmet Matinee Luncheon in on August 28 at Blossom.

Call 330-995-4975 for details or visit clevelandorchestra .com/gourmetmatinee.

Blossom Festival 2019

Blossom Friends

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andrey boreyko

francesco piemontesi

The upcoming 2019-20 season marks Russian conductor andrey boreyko’s sixth year as music director of the naples Philharmonic in Florida and his first as music director of Poland’s Warsaw Philharmonic orchestra . his inaugural year with Warsaw features performances at the Chopin Festival, beethoven Easter Festival, and on tour across Japan . he has widely appeared as a guest conductor throughout Europe and in north america . he made his Cleveland orchestra debut in February 2011 . mr . boreyko’s discography features albums on EmC, hänssler Classics, nonesuch, and yarling, and includes symphonies by Shostakovich, as well as works by Tchaikovsky, górecki, Silvestrov, Lutosławski, and arvo Pärt . a strong advocate for lesser-known works, he championed compositions by Victoria borisova-ollas in an extensive concert and recording project with the Royal Stockholm Philharmonic this past season . born in St . Petersburg, Russia, andrey boreyko studied conducting and composition at the Rimsky-Korsakov Conservatory with Elisabeta Kudriavtseva and alexander Dmitriev . his honors include prizes from the International grzegorz Fitelberg and Kirill Kondrashin competitions . For more information, visit www.andreyboreyko.com .

Swiss-Italian pianist Francesco Piemontesi performs each season around the world, appearing in concert and recital . he came to international attention winning the Queen Elisabeth Competition in brussels in 2007, and made his Cleveland orchestra debut in July 2014 at blossom . Recent and upcoming performances include engagements with the orchestras of boston, oslo, Stockholm, and Washington D .C ., as well as playing recitals at London’s Queen Elizbeth hall and at Lincoln Center in new york . In august 2018, mr . Piemontesi launched a Schubert cycle at the Schubertiade and returned to the Salzburg Festival and the Schleswig-holstein musik Festival . he also recently completed a presentation of all of mozart’s piano sonatas at London’s Wigmore hall . his chamber music partners include Leif ove andsnes, yuri bashment, and Renaud and gautier Capuçon . his recordings include a series of works by Liszt, featured in a documentary

by French filmmaker bruno monsaingeon . born in Locarno, Switzerland, Francesco Piemontesi studied with alfred brendel, Cécile ousset, and alexis Weissenberg . he was a bbC new generation artist (2009-11) .

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

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August 3: Guest Artists

2019 Blossom Festival

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BLOSSOM

Music Festival

Saturday evening, August 3, 2019, at 8:00 p.m.

T h e CL e V e L A Nd oRC h esT R A a n d r ey b o r e y Ko, conductor

ludwig van beethoven (1770-1827)

piano concerto no. 5 (“emperor”) in E-flat major, Opus 73 1. Allegro 2. Adagio un poco mosso — 3. Rondo: Allegro francesco piemontesi, piano

int eR mission alexander zemlinsky

(1871-1942)

the mermaid [Die Seejungfrau] Fantasy for Orchestra 1. sehr mässig bewegt [Very moderate pace]: The Mermaid in the Ocean — She saves the Prince and chooses life on Land 2. sehr bewegt, rauschend [Very moving, noisily]: The Mermaid pursues her love for the Prince — But discovers that he is betrothed to another 3. sehr gedehnt, mit schmerzvollem Ausdruck [Very prolonged, with anguished expression]: The Mermaid returns to the Ocean, where she is transformed into the Elements

This concert is sponsored by Park-Ohio Holdings Corporation .

This evening’s concert is dedicated to Northern Haserot and to Mr. and Mrs. Joseph P. Keithley in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

201 9 B lossom Season S ponsor: T h e J . M . s m u c k e r C o m p a n y

Blossom Festival 2019

Concert Program: August 3

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introducinG the concert

Big Heart & Poetic Fantasy

T H I S E V E N I N G ’ S C O N C E R T features two big works written a century apart . In style and poise, they can be seen as bookends of the Romantic movement that held sway throughout the 19th century . The first is a bighearted (and big-sounding) piano concerto . The second is an orchestral dramatization of a highly-romanticized fairytale — in which the churn of emotions is more the idea than the storyline itself .

The concert begins with beethoven’s gloriously impassioned Fifth Piano Concerto from 1809 . nicknamed the “Emperor” (we don’t really know why) in English-speaking countries, this last completed concerto from the master’s pen shines with inventiveness, from its grand opening through the gentle quietude of its slow movement, to the fusillade of joy that bursts forth in the finale . along with beethoven’s own Fourth Concerto, this is the prototype for the many Romantic concertos of the 19th century . Francesco Piemontesi is soloist in this remarkable masterpiece .

To complete the evening, guest conductor andrey boreyko has chosen The Mermaid, an orchestral fancy written by austrian composer alexander Zemlinsky in Vienna at the very start of the 20th century . This dramatic and Romantic work is built around hans Christian andersen’s well-known tale (animatedly retold by Disney in our own time) . a mermaid yearns for life on land, and the love of a mortal man . In the original story, things don’t work out happily ever after — the water spirit must return to the ocean . Zemlinsky’s big score was premiered in 1905, then soon withdrawn, and thought lost . but score parts found decades later have restored this musical tale to our hearing .

—Eric Sellen

ABOVE :

Piano given to Beethoven by the

British manufacturer Broadbent in late 1817.

With this evening’s concert, The Cleveland Orchestra gratefully honors the William Bingham Foundation for its generous support.

Blossom Festival 2019

Introducing the Concert: August 3

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piano concerto no. 5 (“emperor”) in E-flat major, Opus 73 composed 1809

l i K e m o z a r t before him, beethoven wrote his concertos for

by

ludwig van

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

E x

Program Book on your Phone To read bios and commentary from Cleveland Orchestra program books on your mobile phone, visit ExpressProgramBook.com.

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piano and orchestra as vehicles for displaying his own dazzle as a performer . In those times — before radio and recordings and copyright, and when public concerts were less frequent than today — new music was all the rage . Composing your own ensured that you had fresh, unique material to perform . your biggest hits, from last year or last week, were meanwhile quickly appropriated by others through copied scores . The best tunes were arranged for street organ grinders and local wind ensembles and in other ways that made your melodies popular, but gave you the composer no income . It is little wonder, then, that mozart kept some scores under lock and key, and left the cadenzas for many of his concertos blank, so that only he could fill them in authentically with his own brand of extemporaneous perfection . beethoven moved to Vienna at the age of 22 in 1792, the year after mozart died . he’d hoped to get to Europe’s musical capital sooner and to study with mozart, but family circumstances had kept him at home in bonn helping raise his two younger brothers (around a father who drank too much and was frequently unpleasant) . It was as a performer that beethoven forged his reputation in Vienna, and within a year he was widely known as a red-hot piano virtuoso .

This set the stage for writing his own concertos . For the first three, written between 1795 and 1802, he followed more or less in mozart’s footsteps with the form . In the 1780s, mozart had turned the concerto into a fully-realized and independent genre, sometimes churning out three or four charmingly new ones each season . but whereas mozart, over the course of thirty or more works for solo piano or violin with orchestra, had developed the concerto into sublime products, beethoven (who completed just five works for piano and one for violin) strived to make the form individual and handmade again . mozart created the molds and set the standards, and only occasionally over-filled or over-flowed them . beethoven at first worked within those earlier definitions, but the thrust of his musical creativity soon enough shattered tradition in order to offer up the first magnificently supercharged concertos of the Romantic 19th century .

About the Music: August 3

2019 Blossom Festival

BIGGER PIANOS AND CONCERTOS

Beethoven’s last piano concerto (No. 5) marked a change in the composer’s life onstage. The Fourth — which daringly begins with the piano playing alone, against all tradition — was the last concerto that Beethoven premiered publicly.

By the time of the Fifth’s debut, his hearing was so THIS CONCERTO far gone that, even if able to play the solo part, he could no longer hear and coordinate the orchestra playing around him. For the premiere in NovemPiano Concerto No. 5 was the last ber 1811, the solo part was handled by Friedrich concerto Beethoven wrote, created Schneider in Leipzig, and for the first Viennese perin 1809 when he was 39 years old. formance Beethoven’s student Carl Czerny played it, in February 1812.

The concerto took advantage of Between the Fourth and Fifth concertos, howrecent technological advances in ever, something even more important happened the piano itself — a steel sounding than the further closing off of Beethoven’s hearboard made the instrument louder. ing. He got a new, improved piano, helping pave Beethoven’s hearing loss prevented the way for the overwhelming grandness of his last him from premiering the work himconcerto. He owned or used several pianos across self (he had written his first four piahis lifetime, and the strength and manner of his own no concertos for himself as soloist). playing often pushed each individual instrument to its maximum possibilities — whole keys sometimes The opening movement is the lonflew off as he played! gest movement Beethoven wrote in The fortepiano — the two Italian words together any of his concertos. mean “loud-soft” — as an instrument had been invented at the start of the 18th century, transforming The quiet and gentle second movethe earlier harpsichord and clavichord, which could ment transitions directly into the exuplay each note at one set volume, into a sensitive berant finale, without a pause. and dynamic instrument that could play any note The nickname “Emperor” was given softly or loudly or anywhere in between. While the to the work later, and is only used in new instrument took some time to catch on, it also English-speaking countries; it was underwent some evolutionary changes in design at probably a publisher’s idea to make the end of the century (including the introduction the work more memorable. (Fanciof an iron sounding board and steel strings), which ful stories were later invented to tie gave it an expanded range of notes and dynamics. the name to the work’s premiere, Mozart had written his concertos very carefully, but they are pure fiction.) so that the piano would not be drowned out by too many instruments playing at the same time. But as the piano itself got bigger and louder, Beethoven, concerto by concerto, was able to write more and more for an instrument that could play directly against a full orchestra.

And in the Fifth Piano Concerto, the first movement

In a Nutshell

The Cleveland Orchestra

August 3: About the Music

25

at a Glance Beethoven composed his Piano Concerto No. 5 in 1808-09. The first known performance was given in Leipzig on November 28, 1811, with Friedrich Schneider as soloist and Johann Philipp Christian Schulz leading the Gewandhaus Orchestra.

This concerto runs about 40 minutes in performance.

Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings, plus the solo piano.

The “Emperor” Concerto was the first of Beethoven’s five piano concertos to be performed by The Cleveland Orchestra, in January 1922, with pianist Josef Hofmann under the direction of Nikolai Sokoloff. Since that time, it has been a frequent work on the Orchestra’s programs, at home and on tour, with many of the world’s greatest pianists, including Arthur Rubinstein, Artur Schnabel, Claudio Arrau, Rudolf Serkin, Rudolf Firkusny, Robert Casadesus, Leon Fleisher, Daniel Barenboim, Emil Gilels, Alicia de Larrocha, Murray Perahia, Vladimir Ashkenazy, Horacio Gutiérrez, and Radu Lupu.

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opens big — with orchestral chords and piano flourishes . This is not, however, just ornamentation, for the thematic material of the entire movement derives out of these opening calls and response . Ingeniously, beethoven builds the movement (the longest he wrote in any concerto) on a sense of increasing tension and climax, and with notable use of rhythms of two beats set against three . after this big opening comes one of the most heavenly of slow middle movements ever written, with the orchestra integrally interwoven into the piano’s lovely, lovingly, longing, lingering phrases . This is directly connected to the third-movement finale, which features one of classical music’s most irresistible and memorable tunes — although this characterization is not to suggest that it would be easy to sing a song to the jaunty stepping phrases of this movement’s main theme . orchestra and piano share a discourse over this compelling material and its derivations, bringing the work to a close with requisite bluster and bang, and showing off soloist, orchestra, and beethoven in equal proportions . n a m e s a n d i n n ovat i o n s

The origins of the nickname “Emperor” for this concerto are uncertain . until the latter half of the 20th century, the name was not well-known or often-used outside of English speaking countries . handed-down (or fabricated) explanations for the nickname include a story that at the first Viennese performance (February 12, 1812) a French officer was: 1 .) so overwhelmed by the concerto that he proclaimed it “an emperor among concertos” (or words to that effect), or 2 .) that the same mythical (or intoxicated) French soldier was so moved by some of the marchlike music in the concerto or recognized a short phrase in the concerto so similar to La Marseillaise that he stood up and/or proclaimed that Emperor napoleon’s presence was in the music . an early publisher or performer is a more likely, if less poetic, source for the name, which, whatever its origins, seems well justified by the concerto’s size and grandeur .

In the context of listening to any of beethoven’s five piano concertos, and while contemplating the composer’s innovations and evolution in the artform, it is occasionally worthwhile noting that there is another completed piano concerto by beethoven .

This is an arrangement that he made (or helped supervise) of his own Violin Concerto, opus 61, for a generous Italian publisher .

About the Music: August 3

Blossom Festival 2019

Known as opus 61a, it is infrequently programmed .

Few soloists have bothered to learn the part, and, admittedly, some portions of it don’t really work — the changes required to rework the solo violin line and “translate” it into something suitable for the piano, with enough for the pianist to do, does not always seem convincing . It is, nonetheless, a strangely interesting piece of music to hear in performance or recording — and a sure way for many modern listeners who feel too well-acquainted with beethoven’s concertos to be startled again, as his audiences were, on hearing something unexpectedly familiar but different .

—Eric Sellen © 2019

19th-century lithograph of Beethoven.

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August 3: About the Music

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The Mermaid [Die Seejungfrau], Fantasy for Orchestra composed 1902-03

T H E S T O R Y of Alexander Zemlinsky’s life intersected with a

by

Alexander

ZEMLINSKY born October 14, 1871 Vienna died March 15, 1942 Larchmont, New York

E X

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The Cleveland Orchestra

number of famous names and personalities. He was born and raised in Vienna in the late 19th century, at a time when the city was teeming with musicians and bursting with artistic creativity.

He studied at the Vienna Conservatory, won the admiration of Johannes Brahms, and joined a group of musicians that circled around Gustav Mahler — and courted Alma Schindler, who decided to marry Mahler instead of Zemlinsky.

His circle of friends and colleagues included Arnold Schoenberg (three years younger than Zemlinsky), who had not attended the Conservatory and who made up for it by convincing Zemlinsky to teach him counterpoint as a private pupil. Their lifelong friendship was strengthened when Schoenberg married Zemlinsky’s sister in 1901 — though the relationship was sometimes put under strain by Schoenberg’s dogmatic views on just where the future of music should go and his “craving for unpopularity,” as it has sometimes been characterized.

Zemlinsky composed across the many decades of his life, although he never followed his friend and disciple Schoenberg down the path toward atonality. His musical style was firmly planted in the advanced tonal language of turn-of-the-century Vienna — familiar to us from the music of Richard Strauss and Gustav Mahler.

Zemlinksy’s operas and symphonies were performed with some regularity during his lifetime, before his star began to fade.

In recent years, a good number of his works have been successfully revived and recorded.

Like Strauss and Mahler, Zemlinsky earned his living as a conductor, first in Vienna, then for many years in Prague and later Berlin. In 1933, being half-Jewish, he fled Germany to Vienna, and then in 1938 moved on, this time to New York where, like Hungarian composer Béla Bartók, he lived in near obscurity until his death in 1942.

After hearing Strauss conduct two tone poems, Till Eulenspiegel and Ein Heldenleben [A Hero’s Life]. in Vienna in 1901, Zemlinsky decided to write a symphonic poem on Strauss’s model in Ein Heldenleben. He conceived his own work in two movements, later enlarged to three.

Zemlinsky worked on the idea for it in a state of psychologiAugust 3: About the Music

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at a Glance Zemlinsky wrote his symphonic fantasy titled The Mermaid (in German: Die Seejungfrau) in 1902-03 after he was rejected in a love affair. The work was premiered on January 25, 1905, in Vienna, with the composer leading the Vereinigung schaffendder Tonkunstler (a private ensemble created by musicians and composers in Vienna to play modern works). Zemlinsky revised the work after the premiere, but soon withdrew it from publication. Some parts created for performances, discovered in the 1980s, made it possible to reconstruct the work.

This pieces runs just over 40 minutes in performance.

Zemlinsky scored it for 4 flutes (two doubling piccolo), 2 oboes, english horn, 3 clarinets, bass clarinet, 3 bassoons, 6 horns, 3 trumpets, 4 trombones, tuba, timpani, percussion (glockenspiel, deep bells, triangle, cymbals), 2 harps, and strings.

The Cleveland Orchestra first performed The mermaid in February 1987 (at Severance Hall and on tour) and presented it again on a weekend of concerts in 2004.

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cal torment — for he had fallen in love with the beautiful alma Schindler who turned him down and very quickly decided to marry mahler, a musician ten years older, who Zemlinsky greatly admired .

Thus, the tragic story of the Little mermaid, told by hans Christian andersen in a collection of tales from 1837, provided themes of suffering, sacrifice, and unattainable love, which Zemlinsky longed to represent in a musical work . he began composing in February 1902, a few days before mahler’s wedding to alma . The first movement was finished by august 1902, and the whole work by march 20, 1903 . before the first performance, he made several cuts, including a sailors’ bacchanal in the first movement and much of the scene involving the mermaid’s ordeal with the Sea-Witch in the second movement .

(In friendly rivalry, Schoenberg began a similar Straussian tonepoem in July 1902, with his choice of subject being maeterlinck’s play Pelléas et Mélisande .) pre m i e re an d With dr aWal

Knowing that the established Viennese orchestras would not play their “modern” music, Zemlinsky and Schoenberg formed a “Society of Creative musicians” for this purpose . It gave its first concert in november 1904, with a relatively appealing program, conducted by Zemlinsky and mahler . They saved the two big About the Music: August 3

Blossom Festival 2019

tone poems Pelleas und Melisande and Die Seejungfrau [The Mermaid] for their second concert, which took place on January 25, 1905, with each work conducted by its composer . mahler, who had come to regret supplying a storyline and title — “The Titan” — for his own First Symphony, persuaded Zemlinsky and Schoenberg to present their works as absolute music, without commentary or suggestion of what the mermaid they were “about .”

Knowing little of the connection to either the maeterlinck or andersen works, the audience This Symphonic Fantasy was conconwas perplexed without the guidance of a program . ceived around the Hans Christian AnThe music sounded busy and passionate, but why? dersen tale of The mermaid — made on the whole, those in attendance preferred the famous in other music settings, Zemlinsky work, and the press liked it too . including Dvořák’s opera Rusulke a second performance took place in berlin and Disney’s The Little mermaid . in 1906 and a third in Prague in 1907 . Zemlinsky nonetheless decided not to publish the score . The The three movements loosely follow manuscript ended up in two locations, and it was the storyline of the sea-girl who pines not possible to bring it back together and publish for a land-based Prince, but eventuit until 1984, four decades after the composer’s ally loses and returns to the sea from death . whence she came.

In a Nutshell

Zemlinsky’s conception was to create a tone poem similar to Richard Strauss’s big and expansive Ein heldenleben, or “A Hero’s Life.”

the music

Zemlinksy was probably unaware that alma mahler later commented: “Now I understood Zemlinsky’s curious appearance: small, toothless, and without the slightest hint of a chin. Mahler and I always It was written in 1902-03 and preused to say ‘Zemlinsky’s music has no chin!’ The music miered in 1905 in Vienna, with the is filled with sequences, enharmonic alterations . . . composer leading a private orchesmere chromaticism . . . it makes no impression. What tral ensemble formed specifically to a shame! His talent outweighs his imagination.” play new musical works . alma was quite wrong . This music makes a After several more performances, strong and immediate impression with a flow of Zemlinsky withdrew the work and gorgeous melodies and bewitching orchestration . never published it. The score was The style is not so much that of Strauss or mahler, reconstructed in the 1980s from existrather it resembles the music that Schoenberg was ing performance parts and re-introwriting before atonality drew him away from the duced to the world. richness of late romantic opulence . In particular, it may remind some of Schoenberg’s early masterpiece Gurrelieder . being closely linked to Schoenberg has not helped Zemlinsky’s reputation, for his music has an appealing warmth and endless varieties of color, which Schoenberg outgrew while The Cleveland Orchestra

August 3: About the Music

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pursuing his own ideas for musical sound and history . mahler was perhaps wise to dismiss the unexplained program of the Seejungfrau, because Zemlinsky himself never provided a clear guide to the action . The three movements move swiftly from serenity to turbulence and from joy to melancholy seemingly at will . In andersen’s story, the mermaid is the youngest of six sisters who live at the bottom of the ocean and are allowed to go to the surface from time to time . When her turn comes, the young mermaid rescues a Prince whose ship is lost in a storm . She takes a potion that makes him notice her, but he marries a mortal princess instead . her heart is broken, but in consolation for her good works she eventually wins a human soul and is received by the Kingdom of god . at least the action of the first movement is clear, since the music begins in the depths, and the mermaid is introduced by a solo violin . The main climax of the movement is the storm that destroys the Prince’s ship . but thereafter we must let Zemlinsky’s ravishing score lead us where it will .

—Hugh Macdonald © 2019

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About the Music: August 3

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Blossom Festival 2019

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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 2019-20 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 www.clevelandorchestra.com

2O19-2O SEASON

asher fisch

Jung-min amy lee

Israeli-born conductor asher Fisch is principal conductor and artistic advisor of the West australian Symphony orchestra . he made his Cleveland orchestra debut at blossom in July 2014 . Experienced in both the operatic and symphonic worlds, he regularly leads performances with major orchestras and opera companies on both sides of the atlantic . Recent and upcoming engagements include concert performances with the boston Symphony orchestra at Tanglewood and opera presentations of Strauss’s Arabella and humperdinck’s Hansel and Gretel in Dresden, Wagner’s Tannhäuser in Tokyo, and Strauss’s Capriccio in madrid . mr . Fisch began his career as Daniel barenboim’s assistant and kappellmeister with the berlin State opera . he has subsequently served as principal guest conductor with Seattle opera (2007-13), and was music director of both the new Israeli opera (1998-08) and the Vienna Volksoper (1995-00) . he made his united States debut in 1995 with Los angeles opera . his discography features two recordings of Wagner’s Ring of the Nibelung cycle . as an accomplished pianist, mr . Fisch often performs in recital and leads concertos from the piano . For more information, visit www.asherfisch.com .

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associate Concertmaster gretchen D . and Ward Smith Endowed Chair The Cleveland orchestra

Violinist amy Lee joined The Cleveland orchestra as associate concertmaster in march 2008 and enjoys a varied performing and teaching career . She has appeared as soloist with The Cleveland orchestra in Stravinsky’s Violin Concerto, Luigi Dallapiccola’s Tartiniana no . 1, and Franz Waxman’s Carmen Fantasie . She has also performed as a guest soloist, appearing with the Santa Fe Pro musica Chamber orchestra, national gallery orchestra, and germany’s baden-baden Philharmonic, among other ensembles . an active chamber musician, ms . Lee is a member of Ensemble hD, Verve Chamber Players, and omni String Quartet (founded with fellow Cleveland orchestra musicians alicia Koelz, Joanna Patterson Zakany, and Tanya Ell) . She performs at a variety of music festivals, including marlboro music in Vermont . ms . Lee serves as an artist-in-residence with Kent State university’s School of music and as a faculty member with the Kent State blossom music Festival . a soloist with the Philadelphia orchestra at age fifteen, she holds a bachelor’s degree from the Curtis Institute of music and a master’s degree from the Juilliard School .

August 10: Guest Artists

2019 Blossom Festival

2O19

BLOSSOM

Music Festival

Saturday evening, August 10, 2018, at 8:00 p.m.

T h e CL e V e L A Nd oRC h esT R A a s h er f i s c h , conductor

franz liszt (1811-1886)

samuel barber

(1910-1981)

mazeppa, Symphonic Poem No. 6

(after the poem by Victor Hugo)

violin concerto, Opus 14 1. Allegro 2. Andante 3. Presto in moto perpetua JunG-min amy lee, violin

int eR mission johannes brahms

(1833-1897)

symphony no. 1 in C minor, Opus 68 1.

2.

3.

4.

Un poco sostenuto — Allegro Andante sostenuto Un poco allegretto e grazioso Finale: Adagio — Più andante — Allegro non troppo ma con brio

This concert is sponsored by Eaton .

This evening’s concert is dedicated to Mr. and Mrs. David J. Carpenter in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

201 9 B lossom Season S ponsor: T h e J . M . s m u c k e r C o m p a n y

Blossom Music Festival

Concert Program: August 10

35

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introducinG the concert

Horse, Barber & Brahms

t h i s c o n c e r t offers three works, two from the Romantic 19th century

and one created in the midst of modernity’s rise in the first half of the 20th . one is “programmatic” — that is, the music tells a story . The other two are “absolute music” in which no tale is implied or told . For each, the stories of how they came to be written bear out telling details of the composer’s life and artistic ambitions .

The evening starts with a story of passion and learning, of an adulterous affair discovered and dispensed — with a man tied naked to a horse . his ensuing ride brings an exhausted death to the horse, but new life and opportunities (and new clothes) to the man . This work from 1851 is one of twelve symphonic poems penned by Franz Liszt .

The concert continues with Samuel barber’s tunefully exciting Violin Concerto, written in 1939 when the composer was twenty-nine years old . This was his first commissioned work, and barber’s gift for melody is evident from the opening measures of what has been called the “most beautiful american concerto .” Splendor gives way to a hard-driven third movement, which caused strong disagreement between composer and the concerto’s intended original artist . yet the difficulty of this finale was conquered by others — and serves as a virtuosic showpiece for any violinist playing it . The Clevleand orchestra’s own Jung-min amy Lee serves as our gifted soloist this week .

The concert concludes with brahms’s magnificent First Symphony . Premiered in 1876, this symphony was long anticipated — and caused brahms much anxiety in its slow, nearly fifteen-year gestation . It is filled with majesty and massive orchestral outbursts, interspersed with quietly intense and intimate chamber music sections . The great tune of the finale was the composer’s own homage to history — and to beethoven’s “ode to Joy” ninth Symphony .

—Eric Sellen

Blossom Music Festival

Introducing the Concert: August 10

37

mazeppa, Symphonic Poem No. 6 composed 1847-51

l i s z t ’ s symphonic poem Mazeppa is about a man, stripped

by

franz

liszt born October 22, 1811 Doborján, Hungary (now Raiding, Austria) died July 31, 1886 Bayreuth, Germany

The Cleveland Orchestra

naked and tied to a horse by a jealous husband . The two (horse and man) journey together, belabored, for days . until the horse dies — and the man discovers a new life for himself . a happy ending (for the man), but not exactly fun-filled (for the horse) .

Franz Liszt was a complex Romantic, whose bigger than life persona captivated audiences, journalists, intellectuals, and dozens of women across the 19th century . he pushed often against convention . he was searching for the new . With Mazeppa, he was intent on writing powerful, exciting music — filled with meaning, and packaged in a new form . but . . . who was mazeppa? he was well-known in the past, his story a parable not unlike greek myths . he was a nobleman of the 17th century, sent to the Polish court for his education .

There he learned several lessons, by falling in love with a Polish princess . The husband was not happy and sent mazeppa home by a most unusual method — tied naked to a horse, who galloped for days across fields, rivers, and mountains before falling dead from exhaustion . mazeppa was then found by and became the leader of some local tribesmen (who later united with Sweden in attacking, quite unsuccessfully, Russia under Peter the great) . one thing mazeppa did learn in all of this was horsemanship, for his riding skill became legendary . yet what he actually learned while tightly bound to the maddened horse was not how to ride, but how to think like the horse, to be the horse — which any horse whisperer will tell you is the key to success.

Soon enough, mazeppa became a symbolic story, of two beings whose fates are inextricably bound to one another . Survival of one — and the other — depends on the efforts of both .

The horse may die, but he gave mazeppa new understanding, and carried him to his new people and future triumphs . no wonder then, that Liszt and so many other Romantic artists in the early 19th century were drawn to mazeppa’s story and struggles . Lord byron and Victor hugo wrote poems . Paintings by Vernet and Delacroix were greeted with wild enthusiasm . Tchaikovsky wrote an opera . and satirists used the idea of mazeppa for political commentary (see cartoon on page 41) .

Liszt was among the biggest names of the 19th century’s Romantic movement . Like all of them, he was focused on human August 10: About the Music

39

“Mazeppa on the Dying Horse,” painting by Eugène Delacroix, 1824.

(Finnish National Gallery)

at a Glance Liszt wrote his symphonic poem mazeppa over the course of several years, starting in 1847, creating first an unnamed work for solo piano, which later became the first part of mazeppa .

He orchestrated it in 1851 and published it using Victor Hugo’s poem mazeppa as the preface (or program).

A solo piano version was published in 1852. The symphonic edition was first performed on April 16, 1854, under the composer’s direction in Weimar.

This work runs just over 15 minutes in performance.

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

40

emotions and love, about ideas and ideals of being human . In pursuit of which he had voracious appetites — musically, physically, sexually, and intellectually . he fathered a daughter out of wedlock, and carried on a long affair in full view . he accepted his daughter having children by a man not her husband . his hands were large and agile, ideally so for a pianist . many women (and any number of men) wept over his dashingly romantic looks and the intensity of his feelings in musical performance . he also thought big philosophically — and proceeded to carry out and demonstrate his ideas in words, deeds, and music .

In keeping with his active mind and philosophical bent, Liszt viewed his own life as mazeppa-like, and called the piano his “steed .” Closely tied to it for the first part of his career, he gave up performing in public by middle age in order to find more time for writing, composing, conducting, teaching, and thinking . Like mazeppa’s horse, Liszt’s piano had carried him to fame and to a new future . among Liszt’s musical ideas was the “symphonic poem .” he wrote twelve over the course of a decade . Each depicts a story, which he called the “program” — giving name to what later generations came to call programmatic music (in contrast to “absolute music,” which has no storyline) . In truth, Liszt coined a term, but instrumental music had been depicting stories for centuries, from Vivaldi’s Four Seasons up through beethoven’s “Pastoral” Symphony populated with babbling brooks and thunderstorms, and onward to berlioz’s hallucination-filled Symphonine fantastique . What Liszt did was give the idea a name, and About the Music: August 10

The Cleveland Orchestra

then write a bunch of evocative and well-built examples . (Richard Strauss took up the idea and perfected it to high art as the “tone poem .”)

Mazeppa is no . 6 in Liszt’s sequence of symphonic poems . he wrote it over the course of several years, from 1847 to 1852. at first, it was an unnamed piano piece . as he revised and shaped the music, he named it and reshaped it to resemble the action he had in mind . he then orchestrated it in 1851 and gave it a program — citing Victor hugo’s well-known poem about mazeppa from 1829 . (hugo’s poem was based, perhaps via a second-hand French translation, on byron’s poem from 1819) . Liszt also reworked the solo piano version and included it as one of his Twelve Transcendental Études, published in 1852 .

The symphonic poem’s structure, mirroring hugo’s poem, is in two parts . The first is the journey of horse and man . The second is the triumphal march of mazeppa’s renewed life . The start is clear . a cry (or crack of a whip) — and the horse (and rider) are off on their journey . a prominent theme is repeated again and again as the horse harrumphs and gallops hard across plains, through valleys, and up over mountain passes . In time, the animal falters and eventually falls dead with a thud . The march ensues, taking the exciting first part and remolding the chaotic emotions of that journey into a more structured, purposeful, happy conclusion .

—Eric Sellen © 2019

A political cartoon from the 1864 U.S. presidental election, showing Abraham Lincoln as Mazeppa — with the fate of the nation and Lincoln bound inescapably to one another, with the intended inference that the journey will prove fatal for one of them.

Tickets starting as low as $24.50 www.lakesideohio.com/symphony • 236 Walnut Ave., Lakeside, OH • Less than 90 minutes from Cleveland

Blossom Festival 2019

August 10: About the Music

41

violin concerto, Opus 14 composed 1939

b a r b e r Wa s t W e n t y- n i n e years old when he completed

by

samuel

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

Blossom Festival 2019

his Violin Concerto, a year after Toscanini’s performances of the First Essay and Adagio for Strings had catapulted the young composer to fame . The concerto was his first major commission, coming from Samuel Fels, a soap manufacturer and trustee at the Curtis Institute in Philadelphia, barber’s alma mater . (barber’s biographer barbara heyman writes that the composer later referred to the work in private correspondence as his “concerto del sapone,” or “soap concerto .”)

Fels intended the concerto for his adopted son, Iso briselli, a former child prodigy and a student of the celebrated violinist Carl Flesch . Fels offered barber $1000, half to be paid in advance and the other half upon completion of the concerto . but things didn’t quite work out between composer and violinist . briselli raised objections to the last movement of the concerto and asked barber to make some major changes — which barber declined to do . as a result, briselli never played the work that was written for him .

In order to defend against charges that the concerto was unplayable, a young student at Curtis, herbert baumel, was asked to help . based on a 1984 interview with baumel, biographer heyman gives the following account of what happened: “One afternoon during the autumn of 1939, while Baumel was sitting in the commons room of the Curtis Institute of Music, [pianist] Ralph Berkowitz walked into the room and handed him a pencil manuscript of a violin part without telling him the name of the composer.

He was told only that he had two hours in which to learn the music, that the ‘piece should be played very fast,’ and to return ‘dressed up’ and ready to play before a few people. The private performance took place in the studio of Josef Hofmann, where the tension and solemnity of the occasion, as recalled by Baumel, suggested that much was at stake for Barber besides the financial aspects of the commission. . . . Ralph Berkowitz accompanied Baumel, who produced dazzling evidence that the concerto was indeed playable at any tempo. There were ‘bravos’ and the ritualistic tea and cookies. The verdict was that Barber was to be paid the full commission and Briselli had to relinquish his right to the first performance of the work. The trial was based on a performance of the incomplete third movement through rehearsal no. 6, ending abruptly at measure 94.”

August 10: About the Music

43

at a Glance Barber composed his Violin Concerto in 1939. It was premiered on February 7, 1941, in Philadelphia, with Albert Spalding as soloist and Eugene Ormandy conducting the Philadelphia Orchestra. (Although this was the official premiere, Herbert Baumel had earlier played it with the Curtis Orchestra under Fritz Reiner, and he had also stood in for Spalding at rehearsals with Eugene Ormandy and the Philadelphia Orchestra.)

Barber revised the concerto in 1949.

This concerto runs about 25 minutes in performance.

Barber scored it for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, snare drum, piano, strings, and solo violin.

The Cleveland Orchestra first performed Barber’s Violin Concerto in April 1942.

44

If the finale was presented incomplete during baumel’s demonstration, then no one present could truly get an idea of the concerto’s difficulties, for part of the challenge lies in keeping the momentum going for the entire length of the movement .

The need for technical virtuosity so dominates the last movement that some critics have seen little else in it . In fact, many musicians and commentators have repeatedly stated that the finale is the weakest of the concerto’s three movements . on closer look, however, that Presto turns out to be the most harmonically adventurous of the concerto’s movements . the music

Without so much as a single measure of introduction, the solo violin begins the first movement with a tender melody, played over a gentle orchestral accompaniment . The atmosphere is idyllic, like a sunny summer afternoon in a beautiful garden .

The first melody has repeatedly been called “mozartian” in its purity and perfect equilibrium, but even mozart didn’t eschew conflict and contrast as much as did barber . Then the clarinet introduces a second melody (somewhat faster-moving than the first, but equally lyrical) . a playful and animated but brief violin passage completes the collection of themes: the three form a happy family whose bliss nothing and no one can perturb . It is interesting that the characteristic clarinet theme is taken over by the soloist only at the very end; this effect is saved for the movement’s ethereal coda .

The idyll continues in the Andante second movement .

The solo oboe presents a long (and longing) melody, repeated by the cellos . The solo violin enters with more agitated material, leading to a cadenza, after which the violin takes over the opening melody . a brief fortissimo section flares up, before the movement ends on a calm and peaceful chord .

The first two movements were written in the summer of 1939, in Sils maria in the beautiful Engadin Valley of Switzerland . barber expected to finish the third movement in Europe as well, but, as heyman writes, “his plans were interrupted . . . when at the end of August all Americans were warned to leave Europe because of the impending invasion of Poland by the Nazis.” barber sailed home on September 2, the day after the german invasion, and finished the concerto in the Poconos . It would certainly be wrong to infer any direct links between these circumstances and the concerto’s third movement; in any event, About the Music: August 10

The Cleveland Orchestra

barber had from the outset planned a finale with “ample opportunity to display the artist’s technical powers.” but the finale movement definitely disrupts the idyll of the first two movements . Despite the steady motion in triplets that represents no small part of the violinist’s challenge, there are more surprises here than ever before . For one thing, after two largely diatonic movements (concentrating on the seven notes of the major or minor scale), the language in the third is chromatic (making use of all 12 pitches in the tonal system) . For another, there are some unexpected changes in the meter that throw off the seemingly simple patterns established at the beginning . Furthermore, barber made the orchestration spicier by adding the snare drum, by ingeniously combining pizzicato (plucked) and arco (bowed) string techniques, and through a more pointillistic use of the woodwind instruments . There is a powerful climax near the end, after which barber cranks up the tempo even more, replacing triplets with sixteenth-notes for the frantic last 17 measures of the concerto .

—Peter Laki © 2019 Copyright © Musical Arts Association

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

He is a visiting associate professor at Bard College in New York.

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* H a n d C ra ft e d C u is in e * * D e s s e r t s * C o c k t a ils * * 1 2 D ra ft s * W in e * b r o k e n r o c k s c a f e .c o m / r o x g a s t r o p u b .c o m

symphony no. 1 in C minor, Opus 68 composed 1862-76

by

Johannes

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

E x

Program Book on your Phone To read bios and commentary from Cleveland Orchestra program books on your mobile phone, visit ExpressProgramBook.com.

Blossom Music Festival

t h e o p u s n u m b e r of brahms’s First Symphony tells us a whole story . number 68, out of his lifetime catalog .

Like beethoven, brahms came late to writing symphonies . beethoven was thirty years old before his First Symphony appeared — and yet his “opus 68” was already his Sixth Symphony (nicknamed the “Pastoral” for its portrayal of nature) . brahms was forty-three when his First Symphony appeared, with 67 substantial works to precede it — and that’s not including a vareity of pieces he wrote or started to write and then destroyed believing them not good enough . beethoven had perhaps been nervous of the great haydn, living nearby in Vienna . brahms, in similar fashion, was unquestionably nervous about the great beethoven, whose shadow was even more powerful historically than haydn’s had been . beethoven’s nine symphonies, the last premiered in 1824, were held up to be the ultimate standard against which all modern music should be compared, especially in germany, thoughout the 19th century . brahms, always conscious of his german heritage, took the competition seriously; he made sure that when he finally launched on such a voyage his ship would not founder . brahms played no orchestral instruments himself . he picked up his knowledge of the orchestra from his father (who played double bass and horn among other things) and from miscellaneous conducting experiences in hamburg, Detmold, and Vienna . These latter he did without any formal training as a conductor and without any official position in charge of an orchestra . brahms began work on his first concerto for piano (an instrument he played well) when he was twenty-one, and started to sketch a symphony the following year, probably the beginning of what would eventually emerge as his First Symphony .

Two orchestral Serenades belonging to those early years reveal not the slightest incompetence in his handling of the orchestra .

Indeed, brahms seems to have begun his career as it ended, with a complete command of the language of music and a level of self-criticism and craft that ensured the quality of every work .

It was not the problem of writing for orchestra that held brahms back . his German Requiem (1868) and his Variations on a Theme by Haydn (1873) are completely accomplished works in

August 10: About the Music

47

that regard . In the First Symphony, brahms accepted the constitution of the orchestra as beethoven left it . he showed little interest in the more colorful instruments that most composers were delighting in at that time — no piccolo, no english horn, no bass clarinet, no tuba, no harp, and no percussion beyond the pair of timpani — although he does ask for a contrabassoon to enrich the bass, and he holds the trombones back until the last movement (as beethoven had done to spectacular effect in his Fifth Symphony) . and even though brahms clung to the oldfashioned hand-horns, not the valved variety then in universal use, he wrote for them with assured mastery . nor could the problems of handling symphonic form be said to be any handicap . brahms’s first 67 opus numbers include at least a dozen chamber works in the conventional four movements . These appear in sonata form, rondo form, or variations, which, whether a listener understands those structures or not, were the standard models of the artform in the 19th century, and they served brahms well . Their form and outlines gave

48

About the Music: August 10

The Cleveland Orchestra

him a structure and format in which to build his music, invariably enriched by his own artistry — giving us seamless transitions, inventive surprises, a supply of finely crafted themes to build on, and a superb display of how to utilize different keys and modulations . all that said, brahms felt that his first symphonic effort should be weighty and substantial, without any frivolities such as the programs and suggestive titles that other living composers were attaching to their new symphonies . For brahms, a symphony should be a strong and pure musical statement, without storyline or tale to tell . one way to achieve this weightiness was to delay the main substance of the first and last movements with slow introductions . These are not themselves part of the musical “argument” itself, but instead prepare the ground (and the listener’s ears) for the stirring quicker music that is to come . In both cases, we hear outlines of themes, even themes themselves, that will play a part in the Allegro body of the movement (the “argument”

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August 10: About the Music

49

made up of the formal sections of music) . The seriousness with which these introductions signal the music to come is not to be underestimated .

at a Glance Brahms began sketches for his First Symphony as early as 1862. He completed the work in 1876. It was first performed on November 4, 1876, at Karlsruhe, with Otto Dessoff conducting. The symphony was first performed in the United States on December 15, 1877, in New York’s Steinway Hall, conducted by Leopold Damrosch.

This symphony runs about 45 minutes in performance. Brahms scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, timpani, and strings.

The Cleveland Orchestra has performed Brahms’s First Symphony regularly throughout the ensemble’s history. It was first presented during the Orchestra’s third season, at a pair of concerts in December 1920.

The Cleveland Orchestra has recorded the Brahms First Symphony six times: as an audio recording with George Szell in 1957 for Epic (monaural) and in 1966 for Columbia (stereo), with Lorin Maazel in 1975 for London/ Decca, with Christoph von Dohnányi in 1986 for Teldec, in 1991 with Vladimir Ashkenazy for London/Decca, and in 2014 as a video recording with Franz Welser-Möst, released on the Clasart Classic label.

50

movement by movement

The heavy tread of the timpani at the opening of the first movement is one of brahms’s simplest yet most impressive ideas, supporting the winds’ descending phrase and the strings’ complementary ascent . melodies of the conventional kind are actually rare in the first movement, even after the Allegro begins .

Instead, the material is mostly made up of motivic fragments that lend themselves well to energetic argument .

The second movement, in contrast, is rich in gorgeous melody . The writing for strings is particularly powerful . oboe and clarinet come forward with solo material and, at the end of the movement, a solo violin sings high above the orchestra, bathed in nostalgia .

Where beethoven would usually write a scherzo, brahms preferred a less hectic, medium-paced movement . This third movement takes us back to the relaxed serenades of brahms’s early years, and although a middle section introduces some tension, the lovely clarinet melody returns, and the movement ends in tranquility .

Perhaps a slow, portentous introduction was then needed to draw the mind back to the important matter of a fourthmovement finale . no light haydnesque solution was possible for brahms, so he prefaced the main part of the movement with a series of dramatic tableaux, including some solemn entries for horns and trombones, before launching into the famous main tune . This has inevitably been likened to the “Joy” theme in beethoven’s ninth Symphony, but it has its own identity and it carves out its own course in a powerful movement that maintains its potency and drive to the very end .

Those who heard this work in 1876 were left in little doubt that no symphony of comparable range and impact had been heard since beethoven’s famous ninth . brahms, characteristically taking no chances, had made sure that his First Symphony was the mightiest thing he had yet done . and, indeed, it remains one of the mightiest things he ever composed .

—Hugh Macdonald © 2019

About the Music: August 10

Blossom Festival 2019

Brahms in 1889, from a series of photographs by C. Brasch

It is not in fact so hard to compose. But what is fabulously difficult is to leave the superfluous notes under the table. —Johannes Brahms

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2O19

BLOSSOM

Music Festival

Sunday evening, August 11, 2019, 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

Brian Wilson celebrates

Pet Sounds featuring brian Wilson , vocalist al Jardine , vocalist blondie chaplin, vocalist

and the blossom festival orchestra conducted by lucas richman The concert’s first half is a live presentation of the original Pet Sounds album.

LP Side 1: Wouldn’t It be nice — you Still believe in me — That’s not me — Don’t Talk (Put your head on my Shoulder) — I’m Waiting for the Day — Let’s go away for awhile— Sloop John b LP Side 2: god only Knows — I Know There’s an answer — here Today I Just Wasn’t made for These Times — Pet Sounds — Caroline, no int eR mission Second half: Selections to be announced from the stage.

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

This concert is sponsored by Dworken & Bernstein Company, LPA .

This evening’s concert is dedicated to Jim and Myrna Spira in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

201 9 B lossom Season S ponsor: T h e J . M . s m u c k e r C o m p a n y

The Cleveland Orchestra

Concert Program: August 11

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introducinG the concert

Classic sound, Beach& Album

m u s i c i s a u n i v e r s a l l a n G u a G e , bringing together all of life’s dreams and emotions, heartaches and desires . This evening presents a special kind of music, created in the 1960s during an era of hope and contradiction .

The beach boys’ Pet Sounds is often cited as one of the first concept albums, in which the sound and feel of all the tracks together (and in sequence) was I have to tell you that created as a whole idea, with each J .S . bach was easily the greatsong written and orchestrated to fit . It inspired later albums by other groups, est musical innovator in the not in musical style but in its wholehistory of the world . he was ness as a statement, beginning to end (including the side change) . so advanced for his time . yet the idea of a concept album There’s a spiritual depth to was as much a technological step his music . you can listen to it forward as anything — of seeing and seizing an opportunity . musical “sets” and it’s like meditation . and collections had been around for —Brian Wilson centuries . afterall, what is a classical symphony but a group and sequence of movements (or songs) that belong together? beethoven’s “album” simply had a different name — as a symphony, concerto, or sonata .

Evenso, wrapping it all together and bringing the idea to pop music was a revelation and a revolution . and sparked many later albums, from the beatles’ Sgt. Pepper’s Lonely Hearts Club Band to a flowering of rock “operas” that began as concept albums (including Jesus Christ Superstar, Tommy, and Evita) . a vast majority of us enjoy many different kinds of music . We may have our favorites, but we can be equally wowwwwed by a concert of songs sung by adele, audra mcDonald, brad Paisley, Elton John, or Rufus Wainwright as we can by a symphony of beethoven, brahms, or Tchaikovsky . Indeed, the divisions between are fewer than the musical art we have in common . Every day, let us celebrate style, taste, individuality, and the togetherness of shared albums .

“

”

—Eric Sellen

With this evening’s concert, The Cleveland Orchestra gratefully honors the Akron Community Foundation and The Mary S. and David C. Corbin Foundation for their generous support.

Blossom Music Festival

Introducing the Concert: August 11

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Pet Sounds — 1. Pet Sounds was The beach boys’s eleventh album, released on may 16, 1966 .

2. To create Pet Sounds, brian Wilson

stayed home while the rest of The beach boys toured Japan and hawaii, teaming with writing partner Tony asher to craft a framework for the new album’s themes and songs .

3.

To record the album’s instrumentals, Wilson hired a group of classically-trained session musicians (later known as the Wrecking Crew), with The beach boys then layering in vocals and harmonies .

4.

Influenced by the “Wall of Sound” production style developed by producer and songwriter Phil Spector — which utilized studio track recording capabilities to build up and create a dense musical fabric — Wilson deployed a wide variety of instrumentation and orchestration ideas on Pet Sounds, a number of which were then-unique to rock music, including French horns, flutes, string sections, water bottles, bicycle bells, and coca-cola cans .

5.

Within a six-month period in 1966, all the following albums were released: Pet Sounds by The beach boys, Blonde on Blonde by bob Dylan, Revolver by The beatles, Sunshine Superman by Donovan, and Parsley, Sage, Rosemary & Thyme

by Simon & garfunkel .

6.

Paul mcCartney, who listened to Pet Sounds almost immediately upon its release, later claimed that “god only Knows” was his all-time favorite song — and that Pet Sounds was a primary inspiration behind the beatles’ 1967 album Sgt. Pepper’s Lonely Hearts Club Band .

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Pet Sounds: August 11

The Cleveland Orchestra

— 13 Things to Know

7. brian Wilson was among the very first pop artists credited for writing, arranging, producing, and performing his own material .

8. asher and Wilson claim to have written “god only Knows” in a single 45-minute session .

9. Some people have suggested that the Pet

Sounds album title is a tribute to Phil Spector — both share the same initials, PS — while others think it comes from the recorded inclusion of barking dogs . It is also said that at one point, Wilson asked engineer Chuck britz if he could bring a horse into the studio, perhaps in jest .

10. In 2003, Rolling Stone magazine announced its list of the 500 greatest albums of all-Time — and Pet Sounds ranked second (behind only Sgt. Pepper’s Lonely Hearts Club Band) .

11. one of The beach boys’ biggest hits, “good Vibra-

tions,” didn’t make the cut for Pet Sounds — and was released as a stand-alone single in october 1966 .

12.

The beach boys were inducted into the Rock & Roll hall of Fame as a group in 1988 .

13.

because of lost paperwork, it was 34 years before Pet Sounds was certified platinum (marking one million sales) .

The Cleveland Orchestra

August 11: Pet Sounds

(Compiled by Michael Jaffe)

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Brian Wilson celebrates

Pet Sounds blossom festival orchestra FIRST VIOLIN Eli matthews concertmaster

mari Sato Kimia ghaderi amber Dimoff Saki Kurose abigail mcLaughlin aniela Eddy Erin Reidhead Liesl hook Rachel Englander

FLUTE george Pope * Jessica Chancey OBOE michele Tosser Smith * Thomas moore CLARINET georg Klaas * David Snyder Kevin Schempf

SECONd VIOLIN Jennifer Snyder * margaret matuska Renee matthews Victor beyens Erin gilliland Sarah becker Ryan Kearns nancy Patterson

BASSOON mark Demio * Todd Jelen

VIOLA Jessica Pasternak * Laura Shuster Eric Wong Colette grossman abel Lara Dudack alexandra Vago

TRUMPET michael Sachs * michael Zonshine mark maliniak

CELLO alan harrell * Julie myers King Linda atherton David huckaby BASS maximilian Dimof * Tracy Rowell nicole Castleberry Clouser HARP Jody guinn * Section Principal

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HORN meghan guegold * benjamin Reidhead Kent Larmee Daivd brockett

TROMBONE Shachar Israel * Richard Stout Randall hawes TUBA Jason Tanksley * TIMPANI Charles Renneker * PERCUSSION Feza Zweifel * bruce golden matthew moore LIBRARIAN Robert o’brien

lucas richman american conductor Lucas Richman has served as music director for the bangor Symphony orchestra since 2010 . he previously was music director of the Knoxville Symphony orchestra, 2003-2015, and held conducting staff positions with both the Pittsburgh Symphony orchestra and Pacific Symphony orchestra . he has appeared as guest conductor with many orchestras across north america and in Europe, including those of baltimore, Indianapolis, Los angeles, new Jersey, new york, Philadelphia, and Toronto . he has conducted the scores for many films, including As Good As It Gets, Face/Off, Se7en, Breakdown, and The Manchurian Candidate. mr . Richman led the grammy award-winning crossover album, Christopher Tin’s classical world fusion Calling All Dawns . he has also led concert presentations for a panoply of commercial artists, including James Taylor, michael Jackson, Pat boone, michael Feinstein, gloria Estefan, megan hay, matthew morrison, george benson, anne murray, the Smothers brothers, martin Short, and Tony Randall . In addition, he is a composer and well-known for his work in educational concerts . For more information, visit www.lucasrichman.com .

Guest Artists: August 11

The Cleveland Orchestra

brian Wilson Composer, producer, and performer brian Wilson began his career as a founding member of The beach boys, who signed with Capitol Records in July 1962 and released their first album, Surfin’ Safari, that same year . Today, Wilson is counted among the most influential rock-n-roll musicians in history . Credited with helping to create the “California sound” while recording hits that include “Surfer girl,” “I get around,” and “California girls,” he and the beach boys released ten consecutive albums that reached “gold” ranking (each selling more than 500,000) from 1963 to 1966 . In addition to his career with the beach boys, mr . Wilson has recorded eleven solo albums, including Brian Wilson Presents Smile in 2004, which received a grammy award, and Brian Wilson Reimagines Gershwin in 2010 . among many honors, brian Wilson is a member of the Rock & Roll hall of Fame, the Songwriters hall of Fame, a Kennedy Center honoree, and a recipient of the Recording academy’s Lifetime achievement award . To celebrate the 50th anniversary of The beach boys, the band released their 29th studio album, titled That’s Why God Made The Radio, while Wilson led a series of concerts and Blossom Festival 2019

a world tour featuring former bandmates al Jardine and blondie Chaplin . They encored a similar set of global concerts for the 50th anniversary of Pet Sounds a few years later . In 2015, brian Wilson was the subject of a biopic called Love & Mercy, starring John Cusack and Paul Dano, who each portrayed brian at different stages in his career .

Raised in hawthorne, California, by parents who played piano, brian and his younger brothers — and future beach boys members — Dennis and Carl were inspired by ’50s bands like the Four Freshmen to sing harmonies in their bedroom . Two of his own children, Carnie and Wendy Wilson, joined Chyna Phillips to form the chart-topping band Wilson Phillips in 1989 .

For more information, please visit wwwbeachboys.com .

August 11: Guest Artists

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al Jardine alan (a .k .a . “al”) Jardine is a guitarist, vocalist and songwriter best known for being one of the founding members of the California-based group The beach boys . he was born in Lima, ohio and met the boys after his family moved to hawthorne, California . They soon formed The beach boys and with their perfect harmonies and original tunes about surfing, beaches, hot rods, and California girls, became the rock ‘n’ roll voice from america’s West Coast . he is an accomplished musician on a variety of

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stringed instruments and played rhythm guitar (and bass on early recordings) and sang the lead on the no . 1 hit “help me Rhonda .” he also wrote or co-wrote a good number of songs, most notably on the albums Holland, Carl and the Passions — So Tough, Surf’s Up, and Sunflower . al continued to tour with The beach boys up into the 1990s, leaving after Carl Wilson’s death in 1998 . he released his own first album, Live in Las Vegas, in 2001, featuring several beach boy next generation (sons or daughter) musicians . a solo album followed in 2010, titled A Postcard from California . he joined in with brian Wilson for 50th anniversary world tour of The beach boys .

For more, visit www.aljardine.com .

Guest Artists: August 11

The Cleveland Orchestra

Blondie Chaplin Blondie Chaplin’s long and storied musical career began as a member of the South African rock group The Flame in the late 1960s and early ’70s. That group would go on to become the first and only music act signed to Brother Records — besides the Beach Boys themselves.

Chaplin eventually became a fullfledged member of The Beach Boys and recorded and performed with the band during the recording sessions for Carl and the Passions — So Tough and the ’73 album Holland.

Blossom Festival 2019

Chaplin’s tenure with the band came to an end with his live performances documented during that period for the double album The Beach Boys In Concert. He went on to perform with The Band, with The Birds, and more recently with The Rolling Stones, as well as recording several solo albums. Blondie has also participated in 50th annivesary tours for The Beach Boys and for their album Pet Sounds. For more information, please follow or visit facebook/Blondie Chaplin.

August 11: Guest Artists

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orchestra news

THE CLEVELAND ORCHESTRA

Franz Welser-MÖst receives Kennedy Center Gold Medal

New principal horn joins Orchestra starting in August

Cleveland Orchestra music director Franz Welser-Möst was awarded a gold medal in the Arts by the Kennedy Center International Committee on the Arts at a ceremony held in Vienna’s Albertina Museum in June. The award was given in recognition of Welser-Möst’s long-lasting impact on the international arts community.

“I am deeply humbled and honored to receive this award,” said Franz Welser-Möst at the time of the award.

“I have long had an abiding respect and appreciation for the Kennedy Center’s dedication and commitment to the international arts community.

Because I was born and raised in Austria, I am especially proud to participate in this presentation in Vienna, where many of my formative and enduring music moments occurred — and where I value the significant collaborations I’ve had over many years at the Musikverein with the Vienna Philharmonic and The Cleveland Orchestra.”

“Over the course of his career,” said Cleveland Orchestra president & CEO André Gremillet, “Franz Welser-Möst has served as a transformative music director, inspirational leader, progressive educator, and visionary creative spirit. His innovative perspective and tireless dedication to the arts community, both in Cleveland and abroad, have shown us what’s possible through the extraordinary power and passion of music. The Cleveland Orchestra is proud to witness this remarkable and deserving achievement.”

Recipients of this year’s awards were honored at two Kennedy Center Arts Gold Medal ceremonies. The first took place on June 18 in Budapest, and the second on June 21 in Vienna.

In addition to Welser-Möst, the 2019 award recipients include conductors Ádám Fischer and Iván Fischer, composer-pianist György Kurtág, and Hungarian soprano Éva Marton, as well as composer Iván Eröd, Salzburg Festival president Helga Rabl-Stadler, and Austrian actor Christoph Waltz.

The newest member of The Cleveland Orchestra begins playing with the ensemble the week of August 5. Nathaniel Silberschlag was appointed principal horn of The Cleveland Orchestra in May 2019. He holds the George Szell Memorial Endowed Chair.

Silberschlag previously served as assistant principal horn of the Washington National Opera/Kennedy Center Opera House orchestra, where he was the youngest member ever to win a position with the ensemble, at the age of 19.

He completed his bachelor of music degree from New York’s Juilliard School in May 2019, where he was a student of Julie Landsman and recipient of the Kovner Fellowship.

Born in Leonardtown, Maryland, in the Chesapeake region, Nathaniel Silberschlag comes from of a family of sixteen professional musicians across several generations. He is the third generation of his family to attend the Juilliard School.

As soloist, Silberschlag has performed with the Juilliard Orchestra, Bulgarian Philharmonic, Romania State Symphony, New York’s Little Orchestra Society, and the Chesapeake Orchestra. He has also played concerts with a variety of ensembles, including the New York Philharmonic and Orpheus Chamber Orchestra.

At the John F. Kennedy Center for the Performing Arts, Silberschlag became a graduate of the National Symphony Orchestra Youth Fellowship program under the tutelage of Sylvia Alimena. He also spent two summers in the Kennedy Center’s Summer Music Institute. He was a fellow at the Music Academy of the West in the summers of 2017 and 2018, and in 2018 was named one of ten Zarin Mehta Fellows to perform with the New York Philharmonic as part of their 2018 Global Academy. Since 2007, he has been a participant fellow at Italy’s Alba Music Festival, and also attended the Eastern Music Festival in 2016. He is a member of the New York Festival Brass Quintet.

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Orchestra News

2019 Blossom Festival

tHE

clevelaNd OrcHestra

photo by RogeR MastRoianni

h a v i n G c e l e b r a t e d its Centennial Season in 2017-18 and across 2018, The Cleveland orchestra has officially launched its second century . Today, it is 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 upcoming 2019-20 season will mark the ensemble’s eighteenth 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, and volunteers 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 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 . The orchestra’s longstanding championing of new composers and the commissioning of new works helps audiences experience music as a living language that grows with each new generation . Fruitful re-examinations and juxtapositions of traditional musical works, 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 explorations for the community are core to the orchestra’s mission, fueled by a 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 .

Blossom Festival 2019

The Cleveland Orchestra

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Each year since 1989, The Cleveland Orchestra has presented a free concert in downtown Cleveland, with last summer’s for the ensemble’s official 100th Birthday bash. Nearly 3 million people have experienced the Orchestra through these free performances. This summer’s concert takes place on August 7.

photo by RogeR MastRoianni

Recent seasons have seen the launch of a unique series of neighborhood initiatives and performances, designed to bring the orchestra and the citizens of northeast ohio together in new ways . active performance ensembles and teaching 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 a century of 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 . The flagship “under 18s Free” program has seen unparalleled success in increasing attendance — with 20% of attendees now comprised of concertgoers age 25 and under — as the orchestra now boasts one of the youngest audiences for 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 less than half of each season’s costs, it is the generosity of thousands each year that

The Cleveland Orchestra

2019 Blossom Festival

drives the orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community .

Evolving Greatness . The Cleveland orchestra was founded in 1918 . over the ensuing decades, the ensemble quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world . Seven music directors have guided and shaped the ensemble’s growth and sound: nikolai Sokoloff, 1918-33; artur Rodzinski, 193343; Erich Leinsdorf, 1943-46; george Szell, 1946-70; Lorin maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-möst, since 2002 .

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 .

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 at home throughout northeast ohio and around the world .

Blossom Festival 2019

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2 O 1 9 B LO S S O M M U S I C F E S t I vA L

The CLeVeLANd oRChesTRA at B L O S S O M

Franz Welser-Möst Music Direc tor

CELLOS Mark Kosower *

Kelvin Smith Family Chair

SECOND VIOLINS Stephen Rose* FIRST VIOLINS Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Virginia M. Lindseth, PhD, Chair

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Jessica Lee

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Stephen Tavani

ASSISTANT CONCERTMASTER

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 Zhan Shu

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Louis D. Beaumont Chair

Richard Weiss1

The GAR Foundation Chair

Alfred M. and Clara T. Rankin Chair

Charles Bernard2

James and Donna Reid Chair

Bryan Dumm

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Tanya Ell

Emilio Llinás2

Eli Matthews1

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

Helen Weil Ross Chair Muriel and Noah Butkin Chair 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 Switalski2 Scott Haigh1

Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune

Charles Barr Memorial Chair

Charles M. and Janet G. Kimball Chair

Charles Carleton Scott Dixon Derek Zadinsky

Jean Wall Bennett Chair

HARP Trina Struble*

Lynne Ramsey1

Stanley Konopka 2 Mark Jackobs 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

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

HORNS hOrnS nathaniel Nathaniel silberschlag* Silberschlag* (beginning August 5)

Saeran St. Christopher Jessica Sindell2

MichaelMayhew Mayhew§ § Michael

Mary Kay Fink

Jesse McCormick

Austin B. and Ellen W. Chinn Chair

PICCOLO Mary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein* Edith S. Taplin Chair

Corbin Stair Jeffrey Rathbun2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters EngLISh HORN hOrn ENGLISH Robert Walters

Samuel C. and Bernette K. Jaffe Chair

CLarInETS CLARINETS Afendi Yusuf*

Robert Marcellus Chair

Robert Woolfrey

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

Daniel McKelway2

Robert R. and Vilma L. Kohn Chair

George Szell Memorial Chair Knight Foundation Chair Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia TRUMPETS TrUMPETS Michael Sachs*

Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2

James P. and Dolores D. Storer Chair

Michael Miller COrnETS CORNETS Michael Sachs*

Mary Elizabeth and G. Robert Klein Chair

Michael Miller TrOMBOnES TROMBONES Shachar Israel2 Richard Stout

Alexander and Marianna C. McAfee Chair

E-FLaT CLARINET CLarInET E-FLAT Daniel McKelway

EUPhOnIUM AND and EUPHONIUM BaSS TRUMPET TrUMPET BASS Richard Stout

BaSSOOnS BASSOONS John Clouser*

TUBa TUBA Yasuhito Sugiyama*

Stanley L. and Eloise M. Morgan Chair

Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees2

Sandra L. Haslinger Chair

Nathalie C. Spence and Nathalie S. Boswell Chair

Jonathan Sherwin

TIMPanI TIMPANI Paul Yancich*

COnTraBaSSOOn CONTRABASSOON Jonathan Sherwin

Tom Freer 2

Blossom Music Festival

Otto G. and Corinne T. Voss Chair Mr. and Mrs. Richard K. Smucker Chair

The Cleveland Orchestra

PERCUSSION PErCUSSIOn Marc Damoulakis*

Margaret Allen Ireland Chair

Donald Miller Tom Freer Thomas Sherwood

kEyBOARD InSTrUMEnTS INSTRUMENTS kEyBOard Joela Jones* Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS LIBrarIanS Robert O’Brien

Joe and Marlene Toot Chair

Donald Miller EndOwEd ENDOWED ChaIrS CHAIRS CUrrEnTLy CURRENTLy UnOCCUPIEd UNOCCUPIED Sidney and Doris Dworkin Chair Blossom-Lee Chair Sunshine Chair Myrna and James Spira Chair Gilbert W. and Louise I. Humphrey Chair

* Principal §

1 2

Associate Principal First Assistant Principal Assistant Principal

COndUCTOrS CONDUCTORS Christoph von Dohnányi music MuSIC director DIRECTOR laureate LAuREATE

Vinay Parameswaran assistant ASSISTANT conductor CONDuCTOR

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong

director DIRECTOR of OF choruses CHORuSES

Frances P. and Chester C. Bolton Chair

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1918

Seven music directors have led the orchestra, including george Szell, Christoph von Dohnányi, and Franz Welser-möst .

16 18th

1l1l 11l1 l1l1 1 1l

The Theupcoming 2017-18 season 2019-20 willseason mark marks Franz Franz Welser-möst’s Welser-möst’s 16th 18th year yearas asmusic musicdirector . director .

SEVERanCE haLL, “america’s most beautiful concert hall,” opened in 1931 as the orchestra’s permanent home .

40,000

each year

over 40,000 young people attend Cleveland orchestra concerts each year via programs funded by the Center for Future audiences, through student programs and under 18s Free ticketing — making up 20% of audiences .

52 53%

over half of The Cleveland orchestra’s funding each year comes from thousands of generous donors and sponsors, who together make possible our concert presentations, community programs, and education initiatives .

4million

Followers Follows onon Facebook social media (as of(June June 2019) 2016)

The Cleveland orchestra has introduced over 4 .1 million children in northeast ohio to symphonic music through concerts for children since 1918 .

129,452 200,000

1931

150

concerts each each year . year . concerts

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

The Cleveland orchestra performs over

tHe clevel aNd OrcHestra

BY tHE NUMBERS

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 January 2019

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 & 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 myra Tuteur Kahn memorial Fund of the Cleveland Foundation The Walter and Jean Kalberer Foundation

Blossom Festival 2019

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 ms . nancy W . mcCann 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 The honorable and mrs . John Doyle ong

Parker hannifin Foundation The Payne Fund PnC 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 Seven Five Fund 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 Jenny and Tim Smucker Richard and nancy Sneed Jim and myrna Spira Lois and Tom Stauffer mrs . Jean h . Taber* Joe and marlene Toot ms . ginger Warner Robert C . Weppler Janet* and Richard yulman anonymous (7)

Severance Society / Lifetime Giving

* deceased

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THE CLEVELAND ORCHESTRA

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

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

Giving Societies gifts in the past year, as of June 15, 2019 Adella Prentiss Hughes Society gifts of $100,000 and more

gifts of $50,000 to $99,999

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+ Mr. and Mrs. Alexander M. Cutler+ 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+ Elizabeth F. McBride Rosanne and Gary Oatey (Cleveland, Miami)+ Mr. and Mrs. Albert B. Ratner James and Donna Reid Mr. and Mrs. Richard K. Smucker+ Jenny and Tim Smucker+ Richard and Nancy Sneed+ Ms. Ginger Warner Mr. and Mrs. Franz Welser-Möst+

With special thanks to the Leadership Patron Committee for their commitment to each year’s annual support initiatives: Brinton L. Hyde, chair Robert N. Gudbranson, vice chair Barbara Robinson, past chair Ronald H. Bell James T. Dakin Karen E. Dakin Henry C. Doll Judy Ernest Nicki N. Gudbranson

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George Szell Society

Jack Harley Iris Harvie Faye A. Heston David C. Lamb Larry J. Santon Raymond T. Sawyer

Mr. William P. Blair III+ Mr. Yuval Brisker The Brown and Kunze Foundation Mr. and Mrs. Marshall Brown Rebecca Dunn JoAnn and Robert Glick Mrs. John A Hadden Jr. Mr. and Mrs. Donald M. Jack, Jr. Mr. and Mrs. Douglas A. Kern Toby Devan Lewis Virginia M. and Jon A. Lindseth Milton and Tamar Maltz Ms. Nancy W. McCann+ Ms. Beth E. Mooney+ John C. Morley+ William J. and Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. Charles and Ilana Horowitz Ratner+ Barbara S. Robinson (Cleveland, Miami)+ Sally and Larry Sears+ Marjorie B. Shorrock+ Dr. Russell A. Trusso Barbara and David Wolfort (Cleveland, 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. Blossom Society gifts of $15,000 to $24,999

Elisabeth DeWitt Severance Society gifts of $25,000 to $49,999 Gay Cull Addicott+ Mr. and Mrs. William W. Baker Randall and Virginia Barbato Dr. and Mrs. Wolfgang Berndt (Europe) Irma and Norman Braman (Miami) Dr. Ben H. and Julia Brouhard Jeanette Grasselli Brown and Glenn R. Brown+ Irad and Rebecca Carmi Mr. and Mrs. David J. Carpenter+ Mary Jo Eaton (Miami) Dr. and Mrs. Robert Ehrlich (Europe) The Sam J. Frankino Foundation Mary and Jon Heider (Cleveland, Miami) Mrs. Marguerite B. Humphrey+ Allan V. Johnson Mr. and Mrs. Joseph P. Keithley Giuliana C. and John D. Koch Milton A. & Charlotte R. Kramer Charitable Foundation Daniel R. Lewis (Miami) Jan R. Lewis David and Janice* Logsdon Mr. and Mrs. Alex Machaskee+ Mr. Stephen McHale Mrs. Jane B. Nord Julia and Larry Pollock Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman Mr. and Mrs. James A. Saks Sandor Foundation+ Rachel R. Schneider Hewitt and Paula Shaw+ Jim and Myrna Spira+ R. Thomas and Meg Harris Stanton+ Mr. and Mrs. Alfred Umdasch (Europe) Paul and Suzanne Westlake Tony and Diane Wynshaw-Boris+ Anonymous

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

Art of Beauty Company, Inc. Mr. and Mrs. Dean Barry Dr. Christopher P. Brandt and Dr. Beth Sersig+ Dr. Gwen Choi Jill and Paul Clark Robert and Jean* Conrad+ Mr. and Mrs. William E. Conway Judith and George W. Diehl+ Nancy and Richard Dotson+ Mr. Brian L. Ewart and Mr. William McHenry+ Mr. Allen H. Ford Joan Alice Ford Friends of The Cleveland Orchestra Mr. and Mrs. Robert W. Gillespie Richard and Ann Gridley+ Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest Amy and Stephen Hoffman David and Nancy Hooker+ Joan and Leonard Horvitz Richard and Erica Horvitz (Cleveland, Miami) Mr. Jeff Litwiller+ Mr. and Mrs. Thomas B. McGowan Stanley* and Barbara Meisel The Miller Family+ Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Edith and Ted* Miller+ Mr. Donald W. Morrison+* Margaret Fulton-Mueller+ Dr. Anne and Mr. Peter Neff Dr. Isobel Rutherford The Ralph and Luci Schey Foundation+ Astri Seidenfeld Meredith and Oliver* Seikel The Seven Five Fund Kim Sherwin Mr. and Mrs. Leonard K. Tower Mr. and Mrs. Daniel P. Walsh Tom and Shirley Waltermire+ Mr. and Mrs. Fred A. Watkins+ Meredith and Michael Weil Sandy and Ted Wiese Max and Beverly Zupon Anonymous

listings continue

Blossom The Cleveland Festival Orchestra 2019

Individual Annual Support

71 83

Frank H. Ginn Society gifts of $10,000 to $14,999 Mr. and Mrs. Jules Belkin Mr. David Bialosky and Ms. Carolyn Christian+ Blossom Friends of The Cleveland Orchestra Mr. D. McGregor Brandt, Jr. Robert and Alyssa Lenhoff-Briggs J. C. and Helen Rankin Butler+ Ms. Bernadette Chin Richard J. and Joanne Clark Martha and Bruce Clinton (Miami) Mrs. Barbara Ann Davis+ Mr. and Mrs. Edward B. Davis Henry and Mary* Doll+ Dr. and Mrs. Lloyd H. Ellis Jr. Albert I.* and Norma C. Geller Patti Gordon (Miami) Mr. and Mrs. Stephen Griebling Mr. Michael Gröller (Europe) Iris and Tom Harvie+ Mr. Alfred Heinzel (Europe) Mr. and Mrs. Jerry Herschman Dr. Fred A. Heupler+ Mr. and Mrs. Brinton L. Hyde

Mrs. Elizabeth R. Koch Rob and Laura Kochis Mr. and Mrs.* S. Lee Kohrman Mr. James Krohngold+ David C. Lamb+ John N.* and Edith K. Lauer Dr. Edith Lerner Dr. David and Janice Leshner Mr. David and Dr. Carolyn Lincoln Alan Markowitz M.D. and Cathy Pollard Scott and Julie Mawaka Mr.* and Mrs. Arch J. McCartney Mr. Hisao Miyake Mr. John Mueller Brian and Cindy Murphy+ Mr. J. William and Dr. Suzanne Palmer+ Mr. Thomas Piraino and Mrs. Barbara McWilliams Douglas and Noreen Powers Mr. and Mrs. Ben Pyne Audra* and George Rose+ Paul A. and Anastacia L. Rose Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross

Mrs. Florence Brewster Rutter+ Dr. and Mrs.* Martin I. Saltzman+ Mr. Lee Schiemann David M. and Betty Schneider Carol* and Albert Schupp Dr. and Mrs. James L. Sechler Veit Sorger (Europe) Mr. Heinrich Spängler (Europe) The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Dr. Elizabeth Swenson Bruce and Virginia Taylor+ Mr. Joseph F. Tetlak Dr. Gregory Videtic and Rev. Christopher McCann+ Denise G. and Norman E. Wells, Jr. Robert C. Weppler Sandy Wile and Sue Berlin Anonymous (9)

Mr. and Mrs. Robert P. Duvin Elliot and Judith Dworkin Mr. S. Stuart Eilers+ Mary and Oliver* Emerson Carl Falb+ William R. and Karen W. Feth+ Joseph Z. and Betty Fleming (Miami) Mr. Paul C. Forsgren Michael Frank and Patricia A. Snyder Bob and Linnet Fritz Barbara and Peter Galvin Joy E. Garapic Brenda and David Goldberg Mr. and Mrs. Randall J. Gordon+ Mr. Robert Goss Harry and Joyce Graham Drs. Erik and Ellen Gregorie André and Ginette Gremillet Nancy Hancock Griffith+ The Thomas J. and Judith Fay Gruber Charitable Foundation Robert N. and Nicki N. Gudbranson Robert K. Gudbranson and Joon-Li Kim+ David and Robin Gunning Mr. Davin and Mrs. Jo Ann Gustafson Alfredo and Luz Gutierrez (Miami) Gary Hanson and Barbara Klante+ Clark Harvey and Holly Selvaggi+ Henry R. Hatch Robin Hitchcock Hatch Barbara L. Hawley and David S. Goodman Mr. Jeffrey Healy+

Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan+ Janet D. Heil* Anita and William Heller+ Dr.* and Mrs. George H. Hoke Dr. Keith A. and Mrs. Kathleen M. Hoover+ Elisabeth Hugh+ David and Dianne Hunt Pamela and Scott Isquick+ Richard and Michelle Jeschelnig Joela Jones and Richard Weiss Barbara and Michael J. Kaplan Andrew and Katherine Kartalis Milton and Donna* Katz Dr. Richard and Roberta Katzman Mr. and Mrs. Christopher Kelly Cynthia Knight (Miami) Mr. and Mrs. Peter A. Kuhn+ Mr. and Mrs. Arthur J. Lafave, Jr. Dr. and Mrs. John R. Lane Kenneth M. Lapine and Rose E. Mills+ Anthony T. and Patricia A. Lauria Mr. Lawrence B. and Christine H. Levey+ Judith and Morton Q. Levin Dr. Stephen B. and Mrs. Lillian S. Levine+ Dr. Alan and Mrs. Joni Lichtin+ Mr. Rudolf and Mrs. Eva Linnebach+ Frank and Jocelyne Linsalata Mr. Henry Lipian Drs. Todd and Susan Locke Anne R. and Kenneth E. Love

The 1929 Society gifts of $5,000 to $9,999 Ms. Nancy A. Adams Dr. and Mrs. D. P. Agamanolis Susan S. Angell Robert and Dalia Baker Mr. Thomas and Mrs. Laura Barnard Fred G. and Mary W. Behm Mr. Allen Benjamin Mel Berger and Jane Haylor Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Dr. Robert Brown and Mrs. Janet Gans Brown Dr. Thomas Brugger and Dr. Sandra Russ Frank and Leslie Buck+ Mr. and Mrs. Timothy J. Callahan Dr. and Mrs. William E. Cappaert Ms. Maria Cashy+ Ellen E. and Victor J. Cohn+ Mr. and Mrs. Arnold L. Coldiron Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura Marjorie Dickard Comella Mr.* and Mrs. Gerald A. Conway Mrs. Barbara Cook Mr. John Couriel and Mrs. Rebecca Toonkel (Miami) Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Manohar Daga+ Thomas S. and Jane R. Davis Pete and Margaret Dobbins+ Dr. M. Meredith Dobyns Mr. and Mrs. Paul Doman

72 84

Individual Annual Support

listings continue

2019 The Cleveland Blossom Orchestra Festival

your role . . . in the cleveland Orchestra’s Future generations of ohioans have supported the orchestra and enjoyed its concerts . Tens of thousands have learned to love music through its education programs, celebrated important events with the power of its music, and shared in its musicmaking — at school, at Severance hall, at blossom, in downtown Cleveland, on the radio, and with family and friends . as ohio’s most visible international ambassador, The Cleveland orchestra proudly carries the name of our great city everywhere we go . here at home, we are committed to serving all of northeast ohio with vital education and community programs, presented alongside wide-ranging musical performances . Ticket sales cover less than half the cost of presenting the orchestra’s season each year . by making a donation, you can make a crucial difference in helping to ensure our work going forward . To make a gift to The Cleveland orchestra, please visit us online, or call 216-456-8400 .

www.clevelandorchestra.com/donate

listings continued

David Mann and Bernadette Pudis Ms. Amanda Martinsek James and Virginia Meil+ Dr. Susan M. Merzweiler+ Loretta J. Mester and George J. Mailath Lynn and Mike Miller Drs. Terry E. and Sara S. Miller Mr. and Mrs.* William A. Mitchell+ Curt and Sara Moll Mr. and Mrs. Thomas W. Morris Bert and Marjorie Moyar Susan B. Murphy Deborah L. Neale Richard and Kathleen Nord Thury O’Connor Dr. and Mrs. Paul T. Omelsky Mr. and Mrs. Peter R. Osenar Mr. Henry Ott-Hansen Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ Maribel A. Piza, P.A. (Miami)+ Mr. and Mrs. Richard W. Pogue Dr. and Mrs. John N. Posch+ Ms. Linda Pritzker Ms. Rosella Puskas

Mr. Lute and Mrs. Lynn Quintrell Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Amy and Ken Rogat Dr. and Mrs. Michael Rosenberg (Miami) Robert and Margo Roth+ Fred Rzepka and Anne Rzepka Family Foundation Michael and Deborah Salzberg Drs. Michael and Judith Samuels (Miami) John and Barbara Schubert Lee and Jane Seidman Mr. Eric Sellen and Mr. Ron Seidman Drs. Daniel and Ximena Sessler+ Kenneth Shafer Donna E. Shalala (Miami) Naomi G. and Edwin Z. Singer+ The Shari Bierman Singer Family Drs. Charles Kent Smith ‘and Patricia Moore Smith+ Mrs. Gretchen D. Smith+ Roy Smith Dr. Marvin and Mimi Sobel*+ Mr. and Mrs. William E. Spatz George and Mary Stark+ Dr.* and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Jr.

Stroud Family Exempt Trust Mr. and Mrs. Joseph D. Sullivan Mr. Taras G. Szmagala, Jr. Robert and Carol Taller+ Sidney Taurel and ‘Maria Castello Branco Mr.* and Mrs. Robert N. Trombly Robert and Marti* Vagi Dr. and Mrs. H. Reid Wagstaff Walt and Karen Walburn Mrs. Lynn Weekley Mr. and Mrs. Mark Allen Weigand+ Pysht Fund Dr. Edward L. and Mrs. Suzanne Westbrook+ Tom and Betsy Wheeler Richard Wiedemer, Jr.+ Dr. Paul R. and Catherine Williams Richard and Mary Lynn Wills Bob and Kat Wollyung+ Ms. Carol A. Yellig Anonymous (2)

Drs. Mark Cohen and Miriam Vishny Douglas S. Cramer / Hubert S. Bush III (Miami) Ms. Patricia Cuthbertson Karen and Jim Dakin Mrs. Frederick F. Dannemiller Mr. Kamal-Neil Dass and Mrs. Teresa Larsen+ Bruce and Jackie Davey 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 Carl Dodge Maureen Doerner & Geoffrey White William and Cornelia Dorsky Mr. George and Mrs. Beth Downes+ Jack and Elaine Drage Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki+ Mr. Tim Eippert Peter and Kathryn Eloff+ Harry and Ann Farmer Mr. William and Dr. Elizabeth Fesler Mr. Scott Foerster Richard J. Frey Mr. and Ms. Dale Freygang Judge Stuart Friedman and Arthur Kane Peggy A. Fulmer Dr. Marilee Gallagher Mr. James S. Gascoigne Mr. William Gaskill and Ms. Kathleen Burke

Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Dr.* and Mrs. Victor M. Goldberg Dr. and Mrs. Ronald L. Gould Dr. Robert T. Graf Mr. James Graham and Mr. David Dusek Nancy and James Grunzweig+ Mr. Steven and Mrs. Martha Hale Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Jane Hargraft and Elly Winer Lilli and Seth Harris Mr. Adam Hart Matthew D. Healy and Richard S. Agnes In Memory of Hazel Helgesen The Morton and Mathile Stone Philanthropic Fund Mr. Robert T. Hexter Ms. Elizabeth Hinchliff Mr. and Mrs. Stephen J. Holler Thomas and Mary Holmes Ms. Sharon J. Hoppens Xavier-Nichols Foundation / Robert and Karen Hostoffer Dr. Randal N. Huff and Ms. Paulette Beech+ Ms. Laura Hunsicker Ruth F. Ihde Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus Robert and Linda Jenkins Mr. Robert and Mrs. Mary V. Kahelin Rudolf D.* and Joan T. Kamper Mr. Jack E. Kapalka

Composer’s Circle gifts of $2,500 to $4,999 Mr. and Mrs. Paul R. Abbey Mr. and Mrs. Charles Abookire, Jr. Dr. Sarah M. Anderson Mr. William App Mr. and Mrs. Jeffrey R. Appelbaum+ Mr. and Mrs. Eugene J. Beer Jamie Belkin Mr. and Mrs. Belkin Dr. Ronald and Diane* Bell Barbara and Sheldon Berns Margo and Tom Bertin John and Laura Bertsch Howard R. and Barbara Kaye Besser Mitch and Liz Blair Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Mr. and Mrs. Richard H. Bole Lisa and Ronald Boyko+ Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mrs. Frances Buchholzer Mr. Gregory and Mrs. Susan Bulone J.C. and H.F. Burkhardt Mr. and Mrs. Frank H. Carpenter Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm The Circle — Young Professionals of The Cleveland Orchestra Drs. John and Mary Clough

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Individual Annual Support

The Cleveland 2019 BlossomOrchestra Festival

Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Dr. and Mrs. William S. Kiser James and Gay* Kitson+ Fred* and Judith Klotzman Mrs. Ursula Korneitchouk Jacqueline and Irwin* Kott (Miami) Richard and Christine Kramer Dr. Ronald H. Krasney and Vicki Kennedy+ Dr. and Mrs. John P. Kristofco Alfred and Carol Lambo Richard and Elizabeth Larrabee Mrs. Sandra S. Laurenson Charles and Josephine Robson Leamy * Michael Lederman and Sharmon Sollitto Ronald and Barbara Leirvik Mr. Ernest and Dr. Cynthia Lemmerman+ Michael and Lois Lemr Irvin and Elin Leonard Robert G. Levy+ Mary Lohman Ms. Mary Beth Loud Elsie and Byron Lutman Herbert L. and Ronda Marcus Martin and Lois Marcus Dr. and Mrs. Sanford E. Marovitz+ Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick W. Martin+ Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Beth M. Mikes Mr. Ronald Morrow III Eudice M. Morse Mr. Raymond M. Murphy+ Randy and Christine Myeroff Ms. Megan Nakashima Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Richard and Jolene O’Callaghan+ Mr. and Mrs. John Olejko Harvey* and Robin Oppmann Mr. Robert Paddock Mr. John D. Papp George Parras Dr. Lewis E. and Janice B. Patterson+ David Pavlich and Cherie Arnold Robert S. Perry Dale and Susan Phillip Dr. Marc A. and Mrs. Carol Pohl In memory of Henry Pollak Mr. Robert and Mrs. Susan Price Sylvia Profenna Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. Robert W. Reynolds Drs. Jason and Angela Ridgel Mrs. Charles Ritchie Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Mr. Kevin Russell (Miami) Mr. and Mrs. Peter J. Ryerson

The Cleveland Orchestra

Peter and Aliki Rzepka Ms. Patricia E. Say Mr. Paul H. Scarbrough+ Don Schmitt and Jim Harmon Ms. Beverly J. Schneider Ms. Karen Schneider Mr. James Schutte+ Mrs. Cheryl Schweickart Mr. and Mrs. Alexander C. Scovil Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Rafick-Pierre Sekaly Steve and Marybeth Shamrock Ginger and Larry Shane Harry and Ilene Shapiro Larry Oscar & Jeanne Shatten Charitable Fund of the Jewish Federation Dr. and Mrs. William C. Sheldon+ Terrence and Judith Sheridan Mr. Richard Shirey+ Mr. and Mrs. Reginald Shiverick+ Michael Dylan Short Laura and Alvin* A. Siegal Mr.* and Mrs. Bob Sill Jim Simler and Doctor Amy Zhang+ Howard and Beth Simon Ms. Ellen J. Skinner Robert and Barbara Slanina Ms. Janice A. Smith Sandra and Richey Smith+ Mr. Eugene Smolik Ms. Barbara R. Snyder Drs. Nancy Ronald Sobecks Drs. Thomas and Terry Sosnowski Jeffrey Stanley Edward R. & Jean Geis Stell Foundation Frederick and Elizabeth Stueber Michael and Wendy Summers Mr. David Szamborski Mr. and Mrs. John Taylor Ken and Martha Taylor Mr. and Mrs. Philip L. Taylor Mr. Karl and Mrs. Carol Theil+ Mr. John R. Thorne and Family Bill and Jacky Thornton Dr. and Mrs. Thomas A. Timko Drs. Anna* and Gilbert True Steve and Christa Turnbull+ Bobbi and Peter van Dijk Brenton Ver Ploeg (Miami) Teresa Galang-Viñas and Joaquin Vinas (Miami) George and Barbara von Mehren John and Deborah Warner Margaret and Eric* Wayne+ Mr. Peter and Mrs. Laurie Weinberger Katie and Donald Woodcock Elizabeth B. Wright+ Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (3)+ Anonymous (7)

Thank You 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 on­ line at clevelandorchestra .com For information about how you can play a supporting role for The Cleveland Orch­ estra’s ongoing artistic excel­ lence, education programs, and community partnerships, please contact our Philan­ thropy & Advancement Office by phone: 216-231-7556 or email: annualgiving @clevelandorchestra.com

+ has signed a multiyear

pledge (see information box earlier in these listings)

* deceased

Individual Annual Support

75 87

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 programs, and community initiatives.

Annual Support gifts in the past year, as of June 15, 2019 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 PARTNERS IN IN EXCELLENCE EXCELLENCE AND MORE MORE $300,000 $300,000 AND

Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. KeyBank The J. M. Smucker Company PARTNERS PARTNERS IN IN EXCELLENCE EXCELLENCE TO $299,999 $299,999 $200,000 $200,000 TO

BakerHostetler Jones Day PNC PARTNERS PARTNERS IN IN EXCELLENCE EXCELLENCE TO $199,999 $199,999 $100,000 $100,000 TO

The Goodyear Tire & Rubber Co. Medical Mutual Parker Hannifin Foundation

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$50,000 $50,000 TO TO $99,999 $99,999

The Lubrizol Corporation Quality Electrodynamics voestalpine AG (Europe) $15,000 $15,000 TO TO $49,999 $49,999

Buyers Products Company Calfee, Halter & Griswold LLP Cleveland Clinic The Cliffs Foundation DLR Group | Westlake Reed Leskosky Dollar Bank Foundation Eaton Ernst & Young LLP Forest City Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP Huntington National Bank Mezu Miba AG (Europe) MTD Products, Inc. Northern Trust (Miami) Olympic Steel, Inc. RPM International Inc. The Sherwin-Williams Company Thompson Hine LLP United Airlines University Hospitals

Corporate Annual Support

$2,500 $2,500 TO TO $14,999 $14,999 Amsdell Amsdell Companies Companies BDI BDI Blue Blue Technologies Technologies Brothers Brothers Printing Printing Company Company Tony Tony and and Lennie Lennie Petarca Petarca Cleveland Cleveland Steel Steel Container Container Corporation Corporation The The Cleveland Cleveland Wire Wire Cloth Cloth && Mfg. Mfg. Co. Co. Cohen Cohen && Company, Company, CPAs CPAs Consolidated Consolidated Solutions Solutions Dominion Dominion Energy Energy Charitable Charitable Foundation Foundation Evarts Evarts Tremaine Tremaine The The Ewart-Ohlson Ewart-Ohlson Machine Machine Company Company Arthur Arthur J.J. Gallagher Gallagher && Co. Co. Gross Gross Builders Builders Jobs Jobs Ohio Ohio The The Lincoln Lincoln Electric Electric Foundation Foundation Littler Littler Mendelson, Mendelson, P.C. P.C. Live Live Publishing Publishing Company Company Materion Materion Corporation Corporation Northern Northern Haserot Haserot Oatey Oatey Oswald Oswald Companies Companies Park-Ohio Park-Ohio Holdings Holdings PwC PwC RSM RSM US US LLP LLP Stern Stern Advertising Advertising Ulmer Ulmer && Berne Berne LLP LLP Anonymous Anonymous (2) (2)

The 2019 Cleveland BlossomOrchestra Festival

THE CLEVELAND ORCHESTRA

Foundation/Government Support The Cleveland Orchestra is grateful for the annual support of the foundations and government agencies listed 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, education programs, and community initiatives.

Annual Support gifts in the past year, as of June 15, 2019 $1 MILLION AND MORE

Cuyahoga County residents through Cuyahoga Arts & Culture Elizabeth Ring Mather and William Gwinn Mather Fund $500,000 TO $999,999

Ohio Arts Council $250,000 TO $499,999

John P. Murphy Foundation The Eric & Jane Nord Family Fund $100,000 TO $249,999

Paul M. Angell Family Foundation William Randolph Hearst Foundation The Louise H. and David S. Ingalls Foundation Kulas Foundation David and Inez Myers Foundation Dr. M. Lee Pearce Foundation, Inc. (Miami) The Kelvin and Eleanor Smith Foundation Weiss Family Foundation $50,000 TO $99,999

The Burton Charitable Trust The George W. Codrington Charitable Foundation The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs GAR Foundation ideastream League of American Orchestras: American Orchestras’ Futures Fund supported by the Ann and Gordon Getty Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation The Nord Family Foundation The Payne Fund

Blossom The Cleveland Festival Orchestra 2019

$15,000 TO $49,999

The Abington Foundation Akron Community Foundation The Batchelor Foundation, Inc. (Miami) The Bruening Foundation Mary E. & F. Joseph Callahan Foundation Case Western Reserve University Cleveland State University 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 Gerhard Foundation, Inc. The Helen Wade Greene Charitable Trust The Kirk Foundation (Miami) Miami-Dade County Department of Cultural Affairs (Miami) National Endowment for the Arts The Frederick and Julia Nonneman Foundation The Reinberger Foundation Albert G. & Olive H. Schlink Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation The Veale Foundation Wesley Family 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 Cowles Charitable Trust (Miami) Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Ann and Gordon Getty Foundation The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation George M. and Pamela S. Humphrey Fund The Laub Foundation The Lehner Family Foundation The G. R. Lincoln Family Foundation The Jack, Joseph, and Morton Mandel Foundation New World Somewhere Fund The M. G. O’Neil Foundation The O’Neill Brothers Foundation Paintstone Foundation Peg’s Foundation Performing Arts Readiness Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The George Garretson Wade Charitable Trust The Welty Family Foundation The Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wright Foundation The Wuliger Foundation Anonymous

Foundation/Government Annual Support

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Steve Norris and Emily Gonzales love to find new ways to get involved and support The Cleveland Orchestra. Not only do they belong to the Orchestra’s young professionals group, The Circle, they are also the youngest members of the Heritage Society, a group of over 650 generous individuals who have remembered the Orchestra in their estate plans.

Steve and Emily met in college, where they took music classes together. After graduation, Steve introduced Emily to summer concerts at Blossom and the beauty of Severance Hall. “Music is an important part of our love story, and we want it to be part of our legacy,” says Steve.

is an “Music important part of

our love story, and we want it to be part of our legacy.”

“Hopefully, our story encourages others to give so that this Cleveland gem will be around for everyone to enjoy for another century and more.”

Steve and Emily are living proof: It’s never too early to plan your legacy.

To find out more about investing in the future of The Cleveland Orchestra with a planned gift that costs nothing today, contact:

Steve Norris and Emily Gonzales

Everyone Can Leave a

Rachel Lappen Dave Stokley Senior of Development LegacyDirector Giving Officer The Cleveland Orchestra 216-231-8011 216-231-8006 rlappen@clevelandorchestra.com dstokley@clevelandorchestra.com

Legacy

THE CLEVELAND ORCHESTRA

Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y

The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of current members is as of June 2019.

For more information, please contact the Orchestra’s Legacy Giving Office by contacting Rachel Lappen at rlappen@clevelandorchestra.com or 216-231-8011.

Lois a . aaron Leonard abrams gay Cull addicott Stanley and hope adelstein* Sylvia K . adler* norman* and marjorie allison Dr . Sarah m . anderson george n . aronoff herbert ascherman, Jr .

Jack and Darby ashelman mr . and mrs . William W . baker Jack L . barnhart margaret b . and henry T .* barratt Rev . Thomas T . baumgardner and Dr . Joan baumgardner Fred g . and mary W . behm Fran and Jules belkin Dr . Ronald and Diane bell bob bellamy Joseph P . bennett marie-hélène bernard Ila m . berry* howard R . and barbara Kaye besser Dr .* and mrs . murray m . bett Dr . marie bielefeld Raymond J . billy (biello) mr . William P . blair III Doug and barb bletcher madeline & Dennis block Trust Fund mrs . Flora blumenthal mr . Richard J . bogomolny and ms . Patricia m . Kozerefski mr . and mrs . Charles P . bolton Kathryn bondy* Loretta and Jerome borstein* mr . and mrs .* otis h . bowden II Drs . Christopher P . brandt and beth brandt Sersig mr . D . mcgregor brandt, Jr .

David and Denise brewster Robert W . briggs Elizabeth a . brinkman Dr . Jeanette grasselli brown and Dr . glenn R . brown Thomas brugger, mD mr . and mrs . harvey buchanan* Joan and gene* buehler gretchen L . burmeister

Stanley and honnie busch* milan and Jeanne* busta ms . Lois L . butler mr . and mrs . William C . butler gregory and Karen Cada Roberta R . Calderwood* harry and marjorie* m . Carlson Janice L . Carlson Dr .* and mrs . Roland D . Carlson barbara a . Chambers, D . Ed .

Dr . gary Chottiner & anne Poirson nancybell Coe Kenneth S . and Deborah g . Cohen Ralph m . and mardy R . Cohen* Victor J . and Ellen E . Cohn Robert and Jean* Conrad mr .* and mrs . gerald a . Conway The honorable Colleen Conway Cooney and mr . John Cooney John D . and mary D . Corry* Dr . Dale and Susan Cowan Dr . and mrs . Frederick S . Cross* martha Wood Cubberley In memory of Walter C . and marion J . Curtis William and anna Jean Cushwa alexander m . and Sarah S . Cutler mr .* and mrs . Don C . Dangler mr . and mrs . howard J . Danzinger barbara ann Davis Carol J . Davis Charles and mary ann Davis William E . and gloria P .* Dean, Jr . mary Kay Degrandis and Edward J . Donnelly neeltje-anne DeKoster* Carolyn L . Dessin mrs . armand J . DiLellio James a . Dingus, Jr .

Dr . and mrs . Richard C . Distad maureen a . Doerner and geoffrey T . White henry and mary* Doll gerald and Ruth Dombcik barbara Sterk Domski mr .* and mrs . Roland W . Donnem nancy E . and Richard m . Dotson

mrs . John Drollinger Drs . Paul m .* and Renate h . Duchesneau george* and becky Dunn mr . and mrs . Robert Duvin Dr . Robert E . Eckardt Paul and Peggy Edenburn Robert and anne Eiben* mr . and mrs . alfred m . Eich, Jr .

Roger b . Ellsworth oliver* and mary Emerson Lois marsh Epp Patricia Esposito C . gordon and Kathleen a .* Ewers Patricia J . Factor Carl Falb Regis and gayle Falinski mrs . mildred Fiening gloria and Irving* Fine Joan alice Ford mr . and mrs . Ralph E . Fountain* gil* and Elle Frey arthur* and Deanna Friedman mr .* and mrs . Edward h . Frost Dawn Full henry S . Fusner* Dr . Stephen and nancy gage barbara and Peter galvin mr . and mrs . Steven b . garfunkel Donald* and Lois gaynor albert I . and norma C . geller Dr . Saul genuth Frank and Louise gerlak Dr . James E . gibbs S . bradley gillaugh mr .* and mrs . Robert m . ginn Fred and holly glock Ronald* and Carol godes William h . goff mr . and mrs . henry J . goodman John and ann gosky In memory of margaret goss harry and Joyce graham Elaine harris green Tom and gretchen green anna Zak greenfield Richard and ann gridley nancy hancock griffith David E .* and Jane J . griffiths listing continues

The Cleveland Orchestra

Legacy Giving

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Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY l i s t i n g c o n t i n u ed

bev and bob grimm Candy and brent grover Thomas J .* and Judith Fay gruber henry and Komal gulich mr . and mrs . David h . gunning mr . and mrs . William E . gunton mrs . John a hadden Jr .

Richard* and mary Louise hahn James J . hamilton Raymond g . hamlin, Jr .

Kathleen E . hancock holsey gates handyside* norman C . and Donna L . harbert mary Jane hartwell* William L .* and Lucille L . hassler mrs . henry hatch (Robin hitchcock) nancy hausmann Virginia and george havens barbara L . hawley and David S . goodman gary D . helgesen Clyde J . henry, Jr . ms . m . Diane henry Wayne and Prudence heritage T . K .* and Faye a . heston Fred heupler, m .D . mr . and mrs .* Daniel R . high mr . and mrs . D . Craig hitchcock* bruce F . hodgson mary V . hoffman Feite F . hofman mD* mrs . barthold m . holdstein* Leonard* and Lee ann holstein David and nancy hooker Thomas h . and Virginia J .* horner Fund Patience Cameron hoskins Elizabeth hosmer Dorothy humel hovorka* Dr . Christine a . hudak, mr . marc F . Cymes Dr . Randal n . huff mrs . marguerite b . humphrey adria D . humphreys* ann E . humphreys and Jayne E . Sisson David and Dianne hunt Karen S . hunt mr . and mrs . g . Richard hunter Ruth F . Ihde mr .* and mrs . Jonathan E . Ingersoll Pamela and Scott Isquick mr . and mrs . Clifford J . Isroff* mr . and mrs . Donald m . Jack, Jr .

Carol S . Jacobs Pamela Jacobson milton* and Jodith Janes Jerry and martha Jarrett* merritt and Ellen Johnquest* allan V . Johnson E . anne Johnson nancy Kurfess Johnson, m .D .

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David and gloria Kahan Julian and Etole Kahan David george Kanzeg bernie and nancy Karr Drs . Julian and aileen Kassen* milton and Donna* Katz nancy F . Keithley and Joseph P . Keithley Patricia and Walter Kelley* bruce and Eleanor Kendrick malcolm E . Kenney mr . and mrs . Douglas a . Kern Charles m . and Janet g . Kimball* James and gay* Kitson mr . Clarence E . Klaus, Jr . mary Elizabeth and g . Robert Klein* Fred* and Judith Klotzman Paul and Cynthia Klug martha D . Knight mr . and mrs . Robert Koch Dr . Vilma L . Kohn* mr . Clayton Koppes Susan Korosa mr .* and mrs . James g . Kotapish, Sr . margery a . Kowalski Janet L . Kramer mr . James Krohngold mr . and mrs . gregory g . Kruszka Thomas* and barbara Kuby Eleanor* and Stephen Kushnick mr . and mrs . Dennis W . Labarre James I . Lader mr . and mrs . David a . Lambros mrs . Carolyn Lampl marjorie m . Lamport* Louis Lane* Kenneth m . Lapine and Rose E . mills Lee and Susan Larson Charles K . László and maureen o’neill-László anthony T . and Patricia Lauria Charles and Josephine Robson Leamy Fund* Jordan R . and Jane g . Lefko Teela C . Lelyveld mr . and mrs . Roger J . Lerch Judy D . Levendula Dr . and mrs . howard Levine bracy E . Lewis mr . and mrs .* Thomas a . Liederbach Rollin* and Leda Linderman Virginia m . and Jon a . Lindseth Ruth S . Link* Dr . and mrs . William K . Littman Dr . Jack and mrs . Jeannine Love Jeff and maggie Love Dr . alan and mrs . min Cha Lubin Linda and Saul Ludwig Kate Lunsford Patricia macDonald alex and Carol machaskee Jerry maddox

Legacy Giving

mrs . h . Stephen madsen alice D . malone* mr . and mrs . Donald malpass, Jr .

Lucille harris mann* mr . and mrs . Richard a . manuel* Clement P . marion Dr . and mrs . Sanford E . marovitz David C . and Elizabeth F . marsh* Duane and Joan marsh* mr . and mrs . anthony m . martincic Kathryn a . mates Dr . Lee maxwell and michael m . Prunty alexander and marianna* mcafee nancy b . mcCormack mr . William C . mcCoy Dorothy R . mcLean Jim and alice mecredy* James and Virginia meil mr . and mrs . Robert F . meyerson* brenda Clark mikota Christine gitlin miles antoinette S . miller Chuck and Chris miller Edith and Ted* miller Leo minter, Jr . mr . and mrs .* William a . mitchell Robert L . moncrief ms . beth E . mooney beryl and Irv moore ann Jones morgan george and Carole morris mr . and mrs . Thomas W . morris mr . and mrs .* Donald W . morrison Joan R . mortimer, PhD* Susan b . murphy Dr . and mrs . Clyde L . nash, Jr Deborah L . neale mrs . Ruth neides* David and Judith newell Steve norris and Emily gonzales Paul and Connie omelsky Katherine T . o’neill The honorable and mrs . John Doyle ong henry ott-hansen mr . J . William and Dr . Suzanne Palmer R . neil Fisher and Ronald J . Parks nancy* and W . Stuver Parry Dr .* and mrs . Donald Pensiero mary Charlotte Peters mr . and mrs . Peter Pfouts* Janet K . Phillips* Elisabeth C . Plax Florence KZ Pollack Julia and Larry Pollock John L . Power and Edith Dus-garden Richard J . Price Lois S . and Stanley m . Proctor* mr . David C . Prugh* Leonard and heddy Rabe

The Cleveland Orchestra

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY m . neal M. Neal Rains Mrs. alfred mrs .

Alfred m .

M. Rankin, Sr. Sr .

James and Donna Reid Mrs. mrs . Charles Ritchie Dr. Dr . Larry J.B.* J .b .* and Barbara barbara S. S . Robinson margaret Margaret b .

B. Robinson Dwight W .

W. Robinson Janice and Roger Robinson amy Amy and Ken Rogat Carol Rolf and Steven Adler adler margaret Margaret b .

B. Babyak* babyak* and Phillip J. J . Roscoe audra* Audra* and George george Rose Dr .

Dr. Eugene and mrs .

Mrs. Jacqueline* Ross Robert and Margo margo Roth marjorie Marjorie a .

A. Rott* howard Howard and Laurel Rowen Professor alan Alan Miles miles Ruben and Judge Betty betty Willis Ruben Marc marc Ruckel Florence Brewster brewster Rutter Dr. Dr . Joseph V .

V. Ryckman Mr. mr . James L. L . Ryhal, Jr.* Jr .* Renee Sabreen* Marjorie marjorie Bell bell Sachs Dr. Dr . Vernon E. E . Sackman and Ms. ms . Marguerite marguerite Patton Sue Sahli Mr. mr . and Mrs. mrs . James A. a . Saks John A a Salkowski Larry J. J . Santon Stanford and Jean B. b . Sarlson James Dalton Saunders Patricia J. J . Sawvel Ray and Kit Sawyer Alice alice R. R . Sayre In Memory memory of Hyman hyman and Becky becky Schandler Robert Scherrer Sandra J. J . Schlub Ms. ms . Marian marian Schluembach Robert and Betty betty Schmiermund Mr.* mr .* and Mrs. mrs . Richard M. m . Schneider Jeanette L. L . Schroeder Frank Schultz Carol* and Albert albert Schupp Lawrence M. m . Sears and Sally Z. Z . Sears Roslyn S. S . and Ralph M. m . Seed Nancy nancy F. F . Seeley Edward Seely Oliver oliver E.* E .* and Meredith meredith M. m . Seikel Reverend Sandra Selby Eric Sellen Holly holly Selvaggi Thomas and Ann ann Sepúlveda B. b . Kathleen Shamp Jill Semko Shane David Shank Dr. Dr . and Mrs. mrs . Daniel J. J . Shapiro* Helen helen and Fred D. D . Shapiro Norine norine W. W . Sharp*

Blossom Music Festival Summers@Severance

Norma norma Gudin gudin Shaw Elizabeth Carroll Shearer* Dr. Dr . and Mrs. mrs . William C. C . Sheldon John F. F . Shelley and Patricia Burgess* burgess* Frank* and Mary mary Ann ann Sheranko Kim Sherwin Mr. mr . and mrs .

Mrs. michael Michael Sherwin Reverend and Mrs. mrs . Malcolm malcolm K. K . Shields Rosalyn and george* George* Sievila mr .

Mr.** and mrs .

Mrs. David L .

L. Simon Dr.* Dr .* and Mrs. mrs . John A. a . Sims Naomi naomi G. g . and Edwin Z. Z . Singer Lauretta Sinkosky H. h . Scott Sippel and Clark T. T . Kurtz Ellen J. J . Skinner Ralph* and Phyllis Skufca Janet Hickok hickok Slade Drs. Drs . Charles Kent Smith and Patricia Moore moore Smith!!!

Mr.* mr .* and Mrs. mrs . Ward Smith Ms. ms . Mary mary C. C . Smith Sandra and Richey Smith Roy Smith Myrna myrna and James Spira Barbara barbara J. J . Stanford and Vincent T. T . Lombardo George george R. R . and Mary mary B. b . Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Elliott K. K . Stave & Susan L. L . Kozak Fund Saundra K. K . Stemen Merle merle and Albert albert Stern* Dr. Dr . Myron myron Bud bud and Helene* helene* Stern Mr. mr . and Mrs. mrs . John M. m . Stickney Jr .

Dr. Dr . and Mrs. mrs . William H. h . Stigelman, Jr. mr .* and Mrs. mrs . James P. P . Storer Mr.* E . and Barbara barbara N. n . String* Ralph E. memory of Marjory marjory Swartzbaugh In Memory Dr . Elizabeth Swenson Dr. S . Szabo Lorraine S. mrs . Jean H. h . Taber* Mrs. norman V. V . Tagliaferri Norman nancy and Lee Tenenbaum Nancy Dr . and Mrs. mrs . Friedrich Thiel Dr. mr . and Mrs. mrs . William M. m . Toneff Mr. marlene Toot Joe and Marlene alleyne C. C . Toppin Alleyne Janice and Leonard Tower Dr . and Mrs. mrs . James E. E . Triner Dr. ann Tucholsky William & Judith Ann ann Turick* Dorothy Ann mr . Jack G. g . Ulman ulman Mr. marti* Vagi Robert and Marti* a . Valente Robert A. J . Paxton Van Sweringen J. mary Louise and Don VanDyke Mary Steven Vivarronda hon . and Mrs. mrs . William F.B. F .b . Vodrey Hon. Pat and Walt* Wahlen mrs . Clare R. R . Walker Mrs. John and Deborah Warner

Legacy Giving

mr . and Mrs. mrs . Russell Warren Mr. F . and Dorothy L.* L .* Wasserbauer Joseph F. L . Weber Reverend Thomas L. Etta Ruth Weigl* Lucile Weingartner max W. W . Wendel Max William Wendling and Lynne Woodman C . Weppler Robert C. Paul and Suzanne Westlake marilyn J. J . White Marilyn yoash and Sharon Wiener Yoash R . Wilcox Linda R. alan H.* h .* and Marilyn marilyn M. m . Wilde Alan helen Sue* and Meredith meredith Williams Helen genevieve* Wilmot Carter and Genevieve* mr . Milton milton Wolfson* Mr. mrs . Miriam miriam Shuler-Wolfson and Mrs. nancy L. L . Wolpe Nancy mrs . Alfred alfred C. C . Woodcock Mrs. Katie and Donald Woodcock Dr .* and Mrs. mrs . Henry henry F. F . Woodruff Dr.* marilyn L. L . Wozniak Marilyn nancy R. R . Wurzel Nancy michael and Diane Wyatt Michael Wynshaw-boris Tony and Diane Wynshaw-Boris mary Yee yee Mary yellig Carol Yellig m . Yunger yunger Libby M. beth Meany meany William Zempolich and Beth J . Zook* Roy J. anonymous (73) Anonymous

The lotus blossom is the symbol of the Heritage Society.

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

For more information, please call 216-231-8011.

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T HE

CLEVELAND ORCHE STRA

Each year, thousands of Northeast Ohioans experience The Cleveland Orchestra for the first time.

Whether you are a seasoned concertgoer or a first-timer, these pages give you ways to learn more or get involved with the Orchestra and to explore the joys of music further.

Created to serve Northeast Ohio, The Cleveland Orchestra has a long and proud history of promoting and sharing the power of music through exploration, education, and extraordinary experiences.

Celebrating Life & Music The Cleveland Orchestra performs all varieties of music, gathering family and friends together in celebration of the power of music. The Orchestra’s music marks major milestones and honors special moments, helping to provide the soundtrack to each day and bringing your hopes and joys to life.

From free community concerts at Severance Hall and in downtown Cleveland . . . to picnics on warm summer evenings at Blossom Music Center . . .

From performances for crowds of students in classrooms and auditoriums . . . to opera and ballet with the world’s best singers and dancers . . .

From holiday gatherings with favorite songs . . . to the wonder of new compositions performed by music’s rising stars . . .

Music inspires. It fortifies minds and electrifies spirits. It brings people together in mind, body, and soul.

To learn more, visit clevelandorchestra.com

Blossom Music Festival

PHOTOGRAPHY BY ROGER MASTROIANNI

CONCERTS

Get Involved

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The CLeVeLANd oRChesTRA

ExCEllENCE

Ambassador to the World

A FOCuS ON YOuNg PEOPlE

Changing Lives The Cleveland Orchestra is building the youngest orchestra audience in the country. In recent years, the number of young people attending Cleveland Orchestra concerts at Blossom and Sever­ ance Hall has more than doubled, and now makes up 20% of the audience.

• Under 18s Free, the flagship program of the Orchestra’s Center for Future Audiences (created with a lead endowment gift from the Maltz Family Foundation), makes attending Orchestra concerts affordable for families.

The Cleveland Orchestra is one of the world’s most-acclaimed and sought-after performing arts ensembles. Whether at home or around the world, the musicians carry Northeast Ohio’s commitment to excellence and strong sense of com -munity with them everywhere the Orchestra performs. The ensemble’s ties to this region run deep and strong: • Two acoustically-renowned venues — Severance Hall and Blossom — anchor the Orchestra’s performance calendar and continue to shape the artistic style of the ensemble.

• More than 60,000 local students participate in the Orchestra’s education programs each year.

• Over 350,000 people attend Orchestra concerts in Northeast Ohio annually.

• The Cleveland Orchestra serves as Northeast Ohio’s ambassador to the world — through concerts, recordings, and broadcasts — proudly bearing the name of its hometown across the globe.

• Student Advantage and Frequent FanCard programs offer great deals for students.

• The Circle, our membership program for ages 21 to 40, enables young professionals to enjoy Orchestra concerts and social and networking events.

• The Orchestra’s casual Friday evening concert series (Fridays@7 and Summers @Severance) draw new crowds to Severance Hall to experience the Orch­ estra in a context of friends and musical explorations.

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Get Involved

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

YOUR ORCHESTRA

Building Community The Cleveland Orchestra exists for and because of the vision, generosity, and dreams of the Northeast Ohio community. Each year, we seek new ways to meaningfully impact lives.

EDUCATION

Inspiring Minds Education has been at the heart of The Cleveland Orchestra’s community offerings since the ensemble’s founding in 1918. The arts are a core subject of school learning, vital to realizing each child’s full potential. A child’s education is incomplete unless it includes the arts, and students of all ages can experience the joy of music through the Orchestra’s varied education programs.

The Orchestra’s offerings impact . . . . . . the very young, with programs including PNC Music Explorers and PNC Grow Up Great. . . . grade school and high school students, with programs including Learning Through Music, Family Concerts, Education Concerts, and In-School Performances.

• Convening people at free community concerts each year in celebration of our country, our city, our culture, and our shared love of music.

• Immersing the Orchestra in local communities with special performances in local businesses and hotspots through neighborhood residencies and other initiatives.

• Collaborating with celebrated arts institutions — including the Cleveland Museum of Art, Cleveland Play House, and Cleveland Institute of Music — to bring inspirational performances to the people of Northeast Ohio.

• Actively partnering with local schools, neighborhoods, businesses, and state and local governments to engage and serve new corners of the community through residencies, education offerings, learning initiatives, and free public events.

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

The Cleveland Orchestra

Get Involved

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TH hE e CLE eV E eL A N D d O oR C H hE eS sT R A

A GENEROUS gENEROuS COMMUNITY COMMuNITY

Supporting Excellence

Financial support and contributions from thousands of people, corporations, and foundations across Northeast Ohio help sus­ tain the extraordinary musical experiences and community engagement that sets The Cleveland Orchestra apart from other orch­ estral ensembles around the world.

VOluNTEERINg

Get Involved

The Cleveland Orchestra has been supported by many dedicated volunteers since its founding in 1918. You can make an immediate impact by getting involved.

• Over 200,000 people learn about and follow The Cleveland Orchestra’s activities online through Facebook, Twitter, and Instagram.

• Two active volunteer groups — Friends of The Cleveland Orchestra and the Blossom Friends of The Cleveland Orchestra — support the Orchestra through service and fundraising. To learn more, please call 216-231-7557.

Ticket sales cover less than half the cost of The Cleveland Orchestra’s concerts, education presentations, and community programs. Each year, thousands of generous people make donations large and small to sustain the Orchestra for today and for future generations.

Every dollar donated enables The Cleveland Orchestra to play the world’s finest music, bringing extraordinary experiences to people throughout our community — and acclaim and admiration to Northeast Ohio.

To learn more, visit clevelandorchestra.com/donate

• Over 400 volunteers assist concertgoers each season, as Ushers for Orchestra concerts at Severance Hall, or as Tour Guides and as Store Volunteers. For more info, please call 216-231-7425.

• 300 professional and amateur vocalists volunteer their time and artistry as part of the professionally-trained Cleveland Orchestra Chorus and Blossom Festival Chorus each year. To learn more, please call 216-231-7372.

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Get Involved

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

GET INVOLVED

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

VISIT

ACTIVE PARTICIPATION

Making Music The Cleveland Orchestra passionately believes in the value of active musicmaking, which teaches life lessons in teamwork, listening, collaboration, and self expression. Music is an activity to participate in directly, with your hands, voice, and spirit.

• You can participate in ensembles for musicians of all ages — including the Cleveland Orchestra Chorus, Children’s Chorus, Youth Chorus, and Blossom Festival Chorus, and the Cleveland Orchestra Youth Orchestra.

• Each year, the Orchestra brings people together in celebration of music, events, anniversaries, and more — giving voice to music at community singalongs and during holiday performances.

• We partner with local schools and businesses to teach and perform, in ensembles and as soloists, encouraging music-making across Northeast Ohio.

Music has the power to inspire, to transform, to change lives. Make music part of your life, and support your school’s music programs.

Blossom Music Festival

Get Involved

Severance Hall

11001 Euclid Avenue Cleveland, OH 44106

Blossom Music Center

1145 West Steels Corners Road Cuyahoga Falls, OH 44223

CONTACT US

Administrative Offices: 216-231-7300 Ticket Services: 216-231-1111 or 800-686-1141 or clevelandorchestra.com Group Sales: 216-231-7493 email groupsales@clevelandorchestra.com Education & Community Programs: phone 216-231-7355 email education@clevelandorchestra.com Orchestra Archives: 216-231-7382 email archives@clevelandorchestra.com Choruses: 216-231-7372 email chorus@clevelandorchestra.com Volunteers: 216-231-7557 email lcohen@clevelandorchestra.com Individual Giving: 216-456-8400 email annualgiving@clevelandorchestra.com Legacy Giving: 216-231-8011 email rlappen@clevelandorchestra.com Corporate Giving: 216-231-7518 email abednarski@clevelandorchestra.com Foundation Giving: 216-231-7549 email nstarner@clevelandorchestra.com Severance Hall Rental Office: phone 216-231-7421 email ebookings@clevelandorchestra.com

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Let’s Sort it Out! In the past year, Blossom Music Center composted, recycled, and donated more than 145,000 pounds of material — nearly half of everything discarded inside the gates.

Aiming to divert even more from the landfill this year, we are ramping up our Zero Waste efforts. All cups, plates, and cutlery provided at the venue is certified compostable, with ocean-friendly paper straws provided by request only. After each performance, a team of Zero Waste Captains looks in all bags to see if the compost, recycle, and landfill are sorted correctly and goes through them by hand to move items to the correct category.

Thanks to our finished compost from Full Cycle Organics, Blossom’s flower beds are growing stronger than ever.

Up for the Zero Waste challenge?

1. Pack with a Purpose — bring only reusable or compostable plates, cups, and utensils.

2. Bring a reusable water bottle — to fill at our free refill station located at the house right tram station!

3. Use the proper receptacles — for compost and recycling. If you’re not sure which bin to use, feel free to ask a staff member for help.

Make Zero Waste a part of the Blossom experience for generations to come!

You can help during your visit by separating your waste into the marked receptacles . . .

COMPOST all food scraps, including bones & cheese soiled paper, including napkins, paper towels, uncoated paper plates (such as Chinet), food boats certified compostable dishware, including all cups and utensils provided on-site

RECYCLE

LANDFILL

plastic containers glass bottles plastic bottles aluminum cans

plastic-coated paper plates & cups non-compostable utensils styrofoam aluminum foil ziploc bags chip bags

Program books are collected for separate paper recycling at the exits as you leave.

Don’t tie it up!

To make sorting easy.

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Blossom’s Zero Waste Initiative

The Cleveland Orchestra

Welcome to Blossom!

Welcome to the 2019 Blossom Music Festival — a summer-long season of weekend and holiday musical programs presented by The Cleveland orchestra . In addition, Live nation presents nonorchestral concerts throughout the season .

Please be aware that some audience guidelines differ depending on the evening’s musical presentation, including what food and beverages can be brought onto the grounds or into the Pavilion . questions? members of blossom Friends of The Cleveland orchestra host 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 .

Grounds open gates to the blossom grounds are open to the public 2½ hours before Festival concerts .

What Not to Bring . . . no smoKinG all blossom events are presented in a smoke-free environment . Smoking tobacco or ecigarettes is not allowed anywhere on the grounds or in buildings once you have entered through the ticket gates . fireWorKs or sparKlers open-flame grilling is not permitted anywhere on the blossom grounds or parking areas . Sparklers and fireworks are also prohibited .

Weapons and druG-free zone blossom is a drug-free and weapon-free facility — everywhere and anywhere on the grounds, including parking lots, restrooms, and the Lawn . aerial drones To ensure the safety of all, audience members are prohibited from having and operating drones anywhere on the blossom grounds .

Blossom Festival 2019

What to Bring . . . 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 . 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 . 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 . Shortlegged beach-style chairs make good neighbors .

Suitable rental chairs are available at the top of the hill for a fee of $5 per evening . Tents or other structures are strictly prohibited . guests who obstruct others’ views may be asked to relocate to the rear of the Lawn . 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 — including pictures of your family and friends enjoying all that blossom has to offer .

Please note that, in accordance with contractual agreements with the performers, the taking of pictures inside the Pavilion during performances is not permitted . The recording of performances — video or audio — is also restricted .

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

Patron Information

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What to Do . . .

BlOssOm GRIllE This full-service restaurant located at the top of the Lawn is the perfect place to start your evening. The open-air restaurant and bar offers a variety of freshly prepared appetizers, salads, entrees, and desserts, plus wines, spirits, and beers, as well as pre-ordered box dinners. The Blossom Grille is open for dinner 2½ hours prior to all Blossom Music Festival concerts. To pre-order boxed dinners or to make reservations, please call 330-916-6063.

IN ADDITION TO ENJOYING THE CONCERT YOuNG pERsON’s GuIDE A free printed Young Person’s Guide is available to help your youngest attendees learn about music, with some suggested activities. 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, snack items, and beverages. Information about picking up your picnic comes with your order.

Visit clevelandorchestra.com/picnic.

TAsTING ROOm Located across from Emily’s Garden, the Tasting Room offers wine, spirits, and beer, as well as coffee and desserts. It is open 2½ hours prior to all Blossom Festival concerts and for a post-concert Afterglow.

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).

ClEvElAND ORCHEsTRA sTORE During Festival concerts, the Cleveland Orchestra Store offers sales next to 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 2½ hours before the concert, at intermission, and for post-concert shopping.

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2O19 B LOSSOM BOOK No. 3 INsIde . . .

“Art on The Green”

Art on the Green (corner of Rte 91 and Rte 303)

Hudson, Ohio

Saturday August 24 10 a.m. - 5 p.m.

Sunday August 25 11 a.m. - 5 p.m.

August 3 --- Emperor and Mermaid . . . . . . . . . . . . . . . page 21 August 10 --- Brahms First Symphony . . . . . . . . . . . . page 35 August 11 --- Beach Boys:

m Blosso ng Recycli tion.

Informa e 88 See Pag

Brian Wilson Celebrates Pet Sounds

Ex

. . . . . . . . . . page 53

Read this program book online at ExpressProgramBook.com See complete Table of Contents on page 4

Rain or Shine FREE ADMISSION • REFRESHMENTS A Fine Arts & Crafts Show & Sale of:

paintings • jewelry • pottery • wearable art glass • collage • sculpture • photography leather • wood carvings

90

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

Patron Information

2019 Blossom Festival

Pavilion Seating

CONTACT US

food and beveraGes, late seatinG

ORCHESTRA FESTIVAL TICKETS

(216) 231-1111

For the comfort of 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:

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

classical concerts — blue Late seating is permitted only at designated seating breaks in the music . bottled water only is allowed in the Pavilion .

Blossom Grille (330) 916-6063

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 .

Accessibility Services (330) 916-6068

movie concerts — oranGe Late seating is permitted throughout the performance .

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

Blossom Administrative Offices (330) 920-8040 weekday business hours

Getting Around . . . and When you are here

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) .

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 $25 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 Festival concerts . Tram service from parking lots to Smith

Blossom Festival 2019

Group Sales and Knight Grove Reservations (216) 231-7493 weekday business hours

Cleveland Orchestra Offices (216) 231-7300 weekday business hours

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 pratons who have difficulty accessing the Pavilion — available on a first-come, first-served basis from Smith Plaza . 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 . 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 . in case of rain blossom music Festival concerts are performed rain or shine . In the event of rain, Lawn/ general admission tickets will allow you access to the general admission sections of the Pavilion, available on a first-come, first-served basis .

Patron Information

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mid­January, 1968

construction photography photography courtesy courtesy of of peter peter van van dijk dijk construction

left:

right:

early April, 1968

left:

mid­March, 1968

right:

early April, 1968

Architect Peter van Dijk and music director George Szell

left:

mid­May, 1968

right:

Blossom today

Buying Tickets 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 .

ER 1

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 .

U

by telephone

in person

At the Severance Hall Ticket Office blossom music Festival tickets can be purchased at the Severance hall Ticket office, located at 11001 Euclid avenue (the corner of Euclid avenue and East boulevard) in Cleveland . open weekdays 9 a .m . to 6 p .m . Closed Saturdays, Sundays, and holidays . at blossom music center Tickets for blossom music Festival concerts can be purchased at the blossom box office, open Saturdays and Sundays from 1 p .m . to 5 p .m . and from 1 p .m . through intermission on Festival concert dates .

online clevelandorchestra.com Individual concert tickets are available online at clevelandorchestra.com — featuring select-your-own seats and print-at-home tickets .

S E AT I N G C H A R T SEATING CHART

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

Area 2

Area 3

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

Guaranteed complimentary paved lot parKinG When you purchase Pavilion tickets to regular Festival concerts in advance, you 2019 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 “Parking 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

fest

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

Wheelchair access accessible seating locations are available across all seating price levels . If assistance is needed, uniformed staff can help .

Blossom Festival 2019

Buying Tickets

4

Face this

side out

93

6 3

ATM

2 1 3 2 1

Picnic Tables

6

5

2O19

4 5

Knight Grove

4

(Pods)

BLossoM GRouNds

Knight Grove (Pods)

Concessions

ATM

Family Restroom

Backstage Lot

ADA Pavilion Seating ADA Pavilion Seating

ATM

awn ating

Pavilion Blossom Kulas Grille Plaza Blossom Grille

Concessions

ATM

Picnic Tables Hood Meyerson Suite

ATM

Concessions Lawn Terrace

Backstage Lot

Pavilion Kulas Plaza Kulas Plaza

Lawn Pavilion Seating Lawn Seating

Lawn Terrace

Family Restroom

Concessions Hood Family Restroom Meyerson Suite Hood Meyerson Backstage Lot Suite

Concessions

Tram Circle

Concessions

Tram Circle

ADA Pavilion Seating ADA Pavilion Seating

ATM

Concessions

Concessions ATM Concessions

Concessions

Information Center* Herbert E. Frank E. Joseph Garden Strawbridge Garden Frank E. Joseph Garden Eells Gallery ATM Emily’s Garden Smith Special Tasting Room Plaza Eells Gallery Events Center Lot A Gate Tasting Room Main Gate Guest Lot AServices Gate First Aid FirstEnergy Security Box Office Guest Services First Aid Lot Bridge FirstEnergy Security Pedestrian

(RESERVED–PREPAID)

Lawn Ticket LotBooth Information Center* (RESERVED–PREPAID)

ods Picnic Area

Information Center*

ber

Lot

Box Office Box Office

Woods Picnic Area Subscriber

Lot

Lot

Lot Lot

ATM ATM Special Events Center

Main Gate

Main Gate

(Cleveland Orchestra Store & Concessions)

Special Events Center

(Cleveland Orchestra Store & Concessions)

Pedestrian Bridge Lawn Ticket Booth Pedestrian Bridge

Woods Picnic Area

Subscriber

Lot

Herbert E. Strawbridge Garden Herbert E. Strawbridge Smith Emily’s Garden Plaza Garden Smith Emily’s Plaza Garden

Lawn Chair Rental ATM Information Center* Lawn Chair Rental Information Center*

Lawn Ticket Booth

Lot Lot Lot Lot

ADA Route Driving Lanes ADA Route Tram Stops Driving Lanes

94

* Information Centers Tram Stops staffed

by Blossom Friends of The Cleveland Orchestra

Grass Lots 1, 2, 3, 4, Porthouse Theatre, 2019 Blossom Festival and Steels Corners Road Entrance

empowered by

S T. E D WA R D H I G H S C H O O L

d e r e w o p em to perform

empowered LEARN HOW YOU’LL BE AT SEHS.NET

S T. E D W A R D H I G H S C H O O L

•

Richie Pokrywka ’21 is empowered by St. Edward High School to perform as an actor in The Edwardian Players, a musician in the St. Edward Marching Eagles and as an athlete as part of the St. Edward Basketball team. Richie’s versatility as a performer inspires fellow Edsmen to explore their interests and pursue opportunities that will strengthen their talents at St. Edward.

13500 DETROIT AVENUE

•

LAKEWOOD, OHIO 44107