The Cleveland Orchestra Summers@Severance 2019 by Live Publishing

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CLEVELAND ORCHESTRA

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Summers@Severance

What It’s All About

At the Movies BATMAN

MORE MUSIC Before and After by iHeartRadio post-concert = DJ Mike D of KISS FM

AUGUST 16

THE AFTER Terrace at Sunset T beginning immediately after the concert — music, drinks, and chatting with friends (new and old)

AUGUST 2

THE CONCERT The Cleveland Orchestra 7 p.m.

a sublime night of music hand-selected just for you . . . great drinks and conversation on the beautiful Front Terrace of Severance Hall. Join The Cleveland Orchestra for a special summertime experience hand-crafted for the enjoyment of all the senses. A casual comeas-you-are atmosphere surrounded by the stunning visual charm of “America’s most beautiful concert hall.” The evening starts early (if you wish) with a special Happy Hour — meet your friends or family before the concert to relax and start to unwind. Then feel the inspiration of great music performed by the incomparable Cleveland Orchestra in the perfect intimacy of Severance Hall. Afterwards, the Front Terrace beckons with a oneof-a-kind sunset, along with drink and dessert options, plus cooler evening breezes and DJ’d musical offerings. The perfect ending for a great evening. Set amidst the growing excitement of University Circle, the best “new” neighborhood in Northeast Ohio!

JULY 19

THE BEFORE Happy Hour 5:30 p.m. to 6:45 p.m. Socializing with drink specials and special drinks

JULY 12

Abou t Th e E vening

1918

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

16 18th

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The upcoming 2019-20 season marks Franz Welser-Möst’s 18th year as music director.

SEVERANCE HALL, “America’s most beautiful concert hall,” opened in 1931 as the Orchestra’s permanent home.

40,000

each year

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

52 53%

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

4million

Followers on social media (April 2019)

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 year.

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

The Cleveland Orchestra performs over

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

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, Thee Cleveland Orchestra has officially launched its second century. Today, it is haiiled as one of the very best orchestras on the planet, noted for its musical excellen nce and for its devotion and service to the community it calls home. The upcoming g 2019-20 season will mark the ensemble’s eighteenth year under the direction of Fraanz Welser-Möst, one of today’s most acclaimed musical leaders. Working together, thee Orchestra and its board of trustees, staff, and volunteers have affirmed a set of com mmunity-inspired goals for the 21st century — to continue the Orchestra’s legendaryy command of musical excellence while focusing new efforts and resources toward fully serving its hometown community throughout Northeast Ohio. The promise of con ntinuing extraordinary concert experiences, eng gaging music education programs, and innovvative technologies offers future generations dynamic access to the best symphonic enttertainment possible anywhere. The Cleveland Orchestra divides its tim me across concert seasons at home — in Cleeveland’s Severance Hall and each summer at B Blossom Music Center. Additional portions of tthe year are devoted to touring and intensive performance residencies. These include a reecurring residency at Vienna’s Musikverein, and d regular appearances at Switzerland’s Lucerrne Festival, in New Y York, at Indiana University, and in Miami, Florida. Musical Excellence. The Cleveland Orchestra has long been committed to thee pursuit of excellence in everything that it does. The Orchestra’s ongoing collab boration with Welser-Möst is widely-acknowledged among the best orchestracon nductor partnerships of today. Performances of standard repertoire and new wo orks are unrivalled at home and on tour across the globe, and through recordings and d broadcasts. The Orchestra’s longstanding championing of new composers and d the commissioning of new works helps audiences experience music as a living g language that grows with each new generation. Fruitful re-examinations and juxxtapositions of traditional musical works, recording projects and tours of varying g repertoire and in different locations, and acclaimed collaborations in 20th- and 21sst-century masterworks together enable The Cleveland Orchestra the ability to givve musical performances second to none in the world. Serving the Community. Programs for students and engaging musical explo orations for the community are core to the Orchestra’s mission, fueled by a committment 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.

Summ ers@Severance

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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

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The Cleveland Orchestra

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, 1933-43; Erich Leinsdorf, 194346; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 19842002; 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.

Franz Welser-Möst leads a concert at John Adams High School in 2010. Through such In-School Performances and Education Concerts at Severance Hall, The Cleveland Orchestra has introduced more than 4 million young people to symphonic music over the past century. Summers@Severance

About the Orchestra

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P H O T O B Y J U L I A W E S E LY

Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra

Franz Welser-Möst is among today’s most distinguished conductors in the world. The upcoming 2019-20 season marks his eighteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership extending into the next decade. The New York Times has declared Cleveland under Welser-Möst’s direction to be the “best American orchestra“ for its virtuosity, elegance of sound, variety of color, and chamber-like musical cohesion. During The Cleveland Orchestra’s centennial season — dedicated to the community that created it — Franz Welser-Möst led two ambitious festivals, The Ecstasy of Tristan and Isolde, examining the power of music to portray and create transcendence, followed by a concentrated look at the philosophical and political messages within Beethoven’s music in The Prometheus Project (presented on three continents, in Cleveland, Vienna, and Tokyo). In spring 2019, they undertook a three-week tour to Asia. The Cleveland Orchestra

Music Director

As a guest conductor, Mr. WelserMöst enjoys a close and productive relationship with the Vienna Philharmonic. His recent performances with the Philharmonic have included a series of critically-acclaimed opera productions at the Salzburg Festival, as well as appearances on tour at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. Performances with the Philharmonic this past season included appearances at the Salzburg and Glyndebourne festivals, and at Tokyo’s Suntory Hall. He has also built impressive relationships with other great symphonic ensembles and opera houses, including recent and upcoming performances with Milan’s Teatro alla Scala, Amsterdam’s Concertgebouw Orchestra, and the Leipzig Gewandhaus Orchestra. From 2010 to 2014, Franz WelserMöst served as general music director of the Vienna State Opera, and, prior to that, led the Zurich Opera for a decade, culminating in three seasons as general music director (2005-08). This summer, Mr. Welser-Möst was awarded the Gold Medal in the Arts by the Kennedy Center International Committee on the Arts in recognition of his long-lasting impact on the international arts community. Other honors include the Pro Arte Europapreis in 2017 for his advocacy and achievements as a musical ambassador, recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, and the Kilenyi Medal from the Bruckner Society of America.

T H E

C L E V E L A N D

Franz Welser-Möst MUSIC DIREC TOR

&(//26 Mark Kosower *

Kelvin Smith Family Chair

6(&21' 9,2/,16 Stephen Rose* ),567 9,2/,16 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

Alfred M. and Clara T. Rankin Chair

Emilio Llinás2 James and Donna Reid Chair

Eli Matthews1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

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

Yun-Ting Lee Jiah Chung Chapdelaine 9,2/$6 Wesley Collins* Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey1 Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Richard and Nancy Sneed Chair

Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

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Louis D. Beaumont Chair

Richard Weiss1 The GAR Foundation Chair

Charles Bernard2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

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

Kevin Switalski2 Scott Haigh1 Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble* Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra. The number and seating of musicians onstage varies depending on the piece being performed.

The Cleveland Orchestra

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SEVE R ANCE

O R C H E S T R A )/87(6 Joshua Smith* Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Jessica Sindell2 Austin B. and Ellen W. Chinn Chair

Mary Kay Fink 3,&&2/2 Mary Kay Fink Anne M. and M. Roger Clapp Chair

2%2(6 Frank Rosenwein* Edith S. Taplin Chair

Corbin Stair Jeffrey Rathbun2 Everett D. and Eugenia S. McCurdy Chair

Robert Walters (1*/,6+ +251 Robert Walters Samuel C. and Bernette K. Jaffe Chair

&/$5,1(76 Afendi Yusuf*

+2516 Nathaniel Silberschlag* (beginning August 5)

George Szell Memorial Chair

Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia

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

Daniel McKelway2 Robert R. and Vilma L. Kohn Chair

( )/$7 &/$5,1(7 Daniel McKelway Stanley L. and Eloise M. Morgan Chair

%$662216 John Clouser* Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees2 Sandra L. Haslinger Chair

Jonathan Sherwin &2175$%$66221 Jonathan Sherwin

Summers@Severance

Margaret Allen Ireland Chair

Donald Miller Tom Freer Thomas Sherwood .(<%2$5' ,167580(176 Joela Jones* Rudolf Serkin Chair

Carolyn Gadiel Warner 75803(76 Michael Sachs* Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2 James P. and Dolores D. Storer Chair

Michael Miller &251(76 Michael Sachs* Mary Elizabeth and G. Robert Klein Chair

Michael Miller

Robert Marcellus Chair

Robert Woolfrey

3(5&866,21 Marc Damoulakis*

Marjory and Marc L. Swartzbaugh Chair

/,%5$5,$16 Robert O’Brien Joe and Marlene Toot Chair

Donald Miller (1'2:(' &+$,56 &855(17/< 812&&83,(' Sidney and Doris Dworkin Chair Blossom-Lee Chair Sunshine Chair Myrna and James Spira Chair

7520%21(6 Shachar Israel2 Richard Stout Alexander and Marianna C. McAfee Chair

(83+21,80 $1' %$66 75803(7 Richard Stout 78%$ Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

7,03$1, Paul Yancich* Otto G. and Corinne T. Voss Chair

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

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Gilbert W. and Louise I. Humphrey Chair

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

&21'8&7256 Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Vinay Parameswaran ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

PHOTOGRAPH BY ROGER MASTROIANNI

@ Severance Hall — Cleveland Cleveland, Ohio Friday evening, July 12, 2019, at 7:00 p.m.

T H E CL E V E L A ND ORC H EST R A F R A N Z W E LS E R - MÖ S T , conductor

GUSTAV MAHLER (1860-1911)

Songs of a Wayfarer JULY 12

1. When My Darling Is Married [Wenn mein Schatz Hochzeit macht] 2. I Went This Morning Across the Fields [Ging heut’ Morgen übers Feld] 3. I Have a Gleaming Knife [Ich hab’ ein glühend Messer] 4. The Two Blue Eyes of My Beloved [Die zwei blauen Augen von meinem Schatz] LUDWIG MITTELHAMMER, baritone

LUDWIG VAN BEETHOVEN (1770-1827)

String Quartet No. 15 in A minor, Opus 132 (performed by string orchestra) 1. 2. 3. 4. 5.

Assai sostenuto — Allegro Allegro ma non tanto — Trio Holy Song of Thanksgiving: Molto adagio — Andante Alla marcia, assai vivace — Finale: Allegro appassionato — Presto

The concert is performed without intermission and will end at approximately 8:05 p.m.

Summers@Severance

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â&#x20AC;&#x201D;Gustav Mahler

Mahler, in a photograph taken in 1907 in Vienna.

It is a funny thing g, but when I am making music, all the answers I seek for in life seem to be there, in the music. Or rather, I should say, when I am making music, there are no questions and no need for answers.

July 12

INTRODUCING THE CONCERT

Young Mahler & Old Beethoven T H I S O P E N I N G C O N C E R T for our 2019 Summers@Severance series features

—Eric Sellen

Summers@Severance

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JULY 12

a Cleveland Orchestra program led by the ensemble’s music director, Franz Welser-Möst — with works written by two of classical music’s biggest names. One is the work of a youthful composer, filled with promise and ideas. The other is the writing of a mature artist, giving thanks in his golden years. Gustav Mahler and Ludwig van Beethoven lived at opposite ends of the 19th century. Beethoven’s first acclaim at the end of the 18th century came as a pianist in Vienna, and only gradually as a composer of global renown. Similarly, Mahler’s biggest fame came first as a conductor, leading intensely detailed (and emotionally-charged) renditions of symphonies and operas written by other men. His fame as a composer was only partially realized during his lifetime — and then leapt into full-blown admiration and understanding decades after his death. Mahler wrote his Songs of a Wayfarerr in 1884-85. He was just 24 years old, and struggling as a journeyman conductor to make his way in Europe’s hierarchical world. Y Yet the shape and sound of his mature compositions can already be clearly discerned and heard — many passages are sparsely orchestrated, using just a few of many instruments at any given moment. His penchant for Romantic texts and storytelling is also evident (he would soon utilize the melodies of two of these songs in his first symphony). The story behind these songs is Mahler’s own youthful — and ultimately unsuccessful — love affair. Here he uses art to talk of love’s journey through jealousy and misery to peace and acceptance. These songs showcase Mahler’s great capacity for encapsulating emotions into, and articulating texts within, music. TTo conclude this evening’s concert, Franz Welser-Möst leads a performance of one of Beethoven’s late string quartets, from 1825 — played by an entire string orchestra instead of just four musicians. “In the late quartets,” he notes, “Beethoven pushes beyond what four players can achieve, or perhaps off fers so much meaning that hearing this music, with more players listening intently together, can give new perspective on the depth of Beethoven’s message. In this work, he created something ethereal, yet filled with wisdom, a musical experience somewhere between chamber music and symphony.” In his detailed program note about this quartet, Franz Welser-Möst discusses how toward the end of Beethoven’s life, the composer managed to write philosophy into sound. There is beauty here, and intensely quiet revolution.

July 12

Ludwig Mittelhammer German baritone Ludwig Mittelhammer made his Cleveland Orchestra debut in January 2019 in Strauss’s Ariadne auf Naxos. He began his musical training as a boy soprano at the Tölzer Boys’ Choir. He studied at the Musikhochschule in Munich with Frieder Lang and Michelle Breedt, and also participated in masterclasses with Brigitte Fassbaender, Dietrich Fischer-Dieskau, Ann Murray, and Edith Wiens. After receiving first prize at the 2014 International Hugo Wolf Song Competition, Mr. Mittelhammer became a member of Frankfurt Opera. Since

2017, he has been an ensemble member at Staatstheater Nürnberg. Recent concert engagements include performances with the Akademie für Alte Musik Berlin, Bamberger Symphoniker, Concerto Köln, Munich Radio Orchestra, Orchestre de Paris, Orquesta Nacional de España, Swedish Radio Symphony Orchestra, and Zurich Sing-Akademie. He joined with Collegium Vocale Gent and Akademie für Alte Musik Berlin for a European tour. As a singer of Lieder artsongs, he has appeared at the Cologne Philharmonie and London’s Wigmore Hall. Recent and upcoming recitals with pianist Jonathan Ware include programs at Essen Philharmonic, Bad Kissingen, Barcelona, Essen, and Munich. Earlier this year, the Berlin Classics label released Mr. Mittlehammer’s first solo album featuring songs by Schubert, Medtner, and Wolf.

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The Cleveland Orchestra

July 12

Songs of a Wayfarer composed 1884-85 M A H L E R S P E N T the greater part of his working life as a con-

Gustav

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

Summers@Severance

ductor of opera, yet he never composed an opera himself. He concentrated instead on songs and symphonies, virtually to the exclusion of everything else. Furthermore, his songs and symphonies overlap — many of the songs being orchestrated and symphonic in construction, and many of his symphonic movements including settings of words. In 1884, when he began the four Lieder eines fahrenden Gesellen [“Songs of a Wayfarer”], Mahler was just 24 years old. His only substantial work to date was the cantata Das klagende Lied [“Song of Lamentation”], in which we now recognize the first signs of a mature individual style. He had not yet embarked on any symphonies, although the First, which borrowed some substantial material from these songs, was evidently taking shape in his mind. These four songs commemorate the joy and pain of a love affair with Johanna Richter, a singer at the Kassel court opera where Mahler was then assistant conductor. He wrote the poems himself, utilizing a number of ideas borrowed from Des Knaben Wunderhorn [“The Youth’s Magic Horn”], a famous anthology of real and faked German folk poetry published in 1805, to which Mahler turned many times for inspiration. The romantic imagery of flowers, fields, birdsong, linden trees, and lost love — familiar from Franz Schubert, Robert Schumann, and the whole tradition of German artsongs (or Lieder), is here sharpened by the compulsive, neurotic edge in Mahler’s personality. The songs’ sparse musical scoring and bare lines are already characteristic of the mature Mahler, and a far cry from the rich and thickly sonorous orchestral sounds that were everywhere fashionable at the time — mirroring the popularity and inherent newness of Richard Wagner’s operatic music. The freedom of form and tonality in Mahler’s four songs is also very bold; none of them ends in the key in which it begins, something once unthinkable. Wenn mein Schatz Hochzeit macht [“When My Darling Is Married”]. The first song finds the wayfarer despondent at the impending marriage of his (or her) beloved to someone else. Birds are heard welcoming the spring, but despondency returns in a morbid fascination of self-consumed misery. $ERXW WKH 0XVLF -XO\

Ging heut’ Morgen übers Feld [“I Went This Morning Across the Fields”]. The second song introduces the transparently innocent theme of the First Symphony’s opening movement. The world is bright, happiness is all around. Only at the very end, in a phrase of haunting beauty, does the wayfarer admit that the poem’s author cannot share it. Ich hab’ ein glühend Messer [“I Have a Gleaming Knife”]. The third song is a nightmare. The brass instruments batter on the wayfarer’s skull as the poet dreams of a knife plunged deep as a mortal wound. Sometimes the dream brightens to a vision of the beloved’s blue eyes and blonde hair, only to be startled awake by the beloved’s mocking laughter; the poem ends longing for death. Die zwei blauen Augen von meinem Schatz [“The Two Blue Eyes of My Beloved”]. Finally, against the solemn tread of a funeral march constantly distorted by an extra beat, the wayfarer realizes that the blue eyes are lost and gone, and that only grief remains. Then over the harp’s gentle accompaniment, the words sing of the linden tree, under which the poet last found repose. But the final bars turn to the minor, a touch of irony more telling than any words. —Hugh Macdonald © 2019 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in Saint Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

Mahler at age 31, in 1891.

At a Glance Mahler composed his Lieder eines fahrenden gesellen [“Songs of a Wayfarer“] mostly in 1884, with a few revisions in 1885. He wrote his own texts, though one of the songs was based on a poem from Des Knaben Wunderhorn [“The Youth’s Magic Horn”], a collection of German folk poems. The songs were originally for voice and piano; it is not clear when Mahler orchestrated them. The first public performance was given in Berlin in March 1896, with baritone Anton Sistermans as the soloist; Mahler conducted the Berlin Philharmonic Orchestra. These four songs together run about 15 minutes in performance.

Mahler scored them for an orchestra of 3 flutes (third doubling piccolo), 2 oboes (second doubling english horn), 2 clarinets and bass clarinet, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (triangle, cymbals, glockenspiel, tam-tam, bass drum), harp, and strings, plus vocal soloist. The Cleveland Orchestra first presented the four songs of Mahler’s Songs of a Wayfarer as a complete cycle in 1958, at concerts conducted by George Szell and with Dietrich Fischer-Dieskau as the soloist. More recently, mezzosoprano Sasha Cooke sang this song cycle on a weekend of concerts led by Marc Albrecht.

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The Cleveland Orchestra

Songs of a Wayfarer

[Lieder eines fahrenden Gesellen] texts and music by Gustav Mahler

mein Schatz Hochzeit macht 1. Wenn [When My Sweetheart is Married] Wenn mein Schatz Hochzeit macht, Fröhliche Hochzeit macht, Hab’ ich meinen traurigen Tag! Geh’ ich in mein Kämmerlein, Dunkles Kämmerlein, Weine, wein’ um meinen Schatz, Um meinen lieben Schatz!

When my darling is married, making a joyous wedding day, I will have my day of sadness! I will withdraw to my room, my dark little room, weeping, weeping for my darling, for my dear darling!

Blümlein blau! V Verdorre nicht! Vöglein süss! Du singst auf grüner Heide. Ach, wie ist die Welt so schön! Ziküth! Ziküth!

Little blue flowers! Do not wither! Sweet little bird! You sing on the green heath. Alas, how beautiful is the world! Chirp! Chirp!

Singet nicht! Blühet nicht! Lenz ist ja vorbei! Alles Singen ist nun aus! Des Abends, wenn ich schlafen geh’, Denk’ ich an mein Leide! An mein Leide!

Do not sing! Do not bloom! Spring is over! All singing is now ended! At night when I go to sleep, I think only of my sorrow — Of my sorrow!

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Summers@Severance

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heut’ Morgen übers Feld 2. Ging [I Went This Morning Across the Fields] Ging heut’ Morgen übers Feld, Tau noch auf den Gräsern hing; Sprach zu mir der lust’ge Fink: “Ei du! Gelt? Guten Morgen! Ei gelt Du! Wird’s nicht eine schöne Welt? Zink! Zink! Schön und flink! Wie mir doch die Welt gefällt!”

I went this morning across the fields, dew still hung on the grass; the happy finch sang out to me: “Oh you! Isn’t it a great morning?! It is! Hey, you! Isn’t it a beautiful world? Chirp! chirp! Nice and sharp! How I love the world!”

Auch die Glockenblum’ am Feld Hat mir lustig, guter Ding’, Mit den Glöckchen, klinge, kling, Ihren Morgengruss geschellt: “Wird’s nicht eine schöne Welt? Kling, kling! Schönes Ding! Wie mir doch die Welt gefällt! Heia!”

Also the bluebells in the field merrily blowing, good sounds, their bells, clanging, sounding, singing out their morning greeting: “Is it not a beautiful world?! Dong, ding! Beautiful ringing! How I love the world! Hey-ha!”

Und da fing im Sonnenschein Gleich die Welt zu funkeln an; Alles Ton und Farbe gewann Im Sonnenschein! Blum’ und V Vogel, gross und Klein! “Guten Tag, ist’s nicht eine schöne Welt? Ei du, gelt? Schöne Welt!”

And then, with the sunshine the world began to glitter; all around flashed sound and color in the sunshine! Flower and bird, big and small! “Good day, is it not a beautiful world?! Hey, you, isn’t it?! A beautiful World!”

Nun fängt auch mein Glück wohl an? Nein, nein, das ich mein’, Mir nimmer blühen kann!

Now will my happiness also begin? No, no, for what I want, can never bloom for me!

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The Cleveland Orchestra

hab’ ein glühend Messer 3. Ich[I Have a Gleaming Knife] Ich hab’ ein glühend Messer, Ein Messer in meiner Brust, O weh! Das schneid’t so tief in jede Freud’ und jede Lust. Ach, was ist das für ein böser Gast! Nimmer hält er Ruh’, nimmer hält er Rast, Nicht bei Tag, noch bei Nacht, wenn ich schlief! O weh!

I have a gleaming knife, a knife in my chest, alas! It cuts so deep into every joy and every pleasure. Oh, what an evil guest it is! Never does it rest; never does it hold back, not by day, nor by night, whenever I try to sleep! Alas!

Wenn ich den Himmel seh’, Seh’ ich zwei blaue Augen stehn! O weh! Wenn ich im gelben Felde geh’, Seh’ ich von fern das blonde Haar Im Winde weh’n! O weh!

When I look up at the sky, I see two eyes of blue! Alas! When I walk in the yellow field, I see from afar that hair so blond waving in the wind! Alas!

Wenn ich aus dem Traum auffahr’ Und höre klingen ihr silbern Lachen, O weh!

Whenever I am startled from a dream and hear that sound of silvery laughter, Alas!

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blauen Augen von meinem Schatz 4. Die[Thezwei Two Blue Eyes of My Beloved] Die zwei blauen Augen von meinem Schatz, Die haben mich in die weite Welt geschickt. Da musst ich Abschied nehmen vom allerliebsten Platz! O Augen blau, warum habt ihr mich angeblickt? Nun hab’ ich ewig Leid und Grämen!

The two blue eyes of my beloved, they have sent me out into the wide world. I had to say goodbye to that well-loved place! O blue eyes, why did you gaze into mine? Now I will have sorrow and grief always!

Ich bin ausgegangen in stiller Nacht wohl über die dunkle Heide. Hat mir niemand Ade gesagt, Ade! Ade! Ade! Mein Gesell’ war Lieb und Leide!

I went out into the silent night stealing across the dark heath. No one bid me farewell, Goodbye! Adieu! Farewell! My companions are love and sorrow!

Auf der Strasse steht ein Lindenbaum, Da hab’ ich zum ersten Mal im Schlaf geruht! Unter dem Lindenbaum, Der hat seine Blüten über mich geschneit, Da wusst’ ich nicht, wie das Leben tut, War alles, alles wieder gut! Alles! Alles, Lieb und Leid Und Welt und Traum!

By the road stands a linden tree, where I finally once more found peaceful slumber! Under the linden tree, whose white flowers snowed down all around me, There I could not know, how life continued, for everything, everything was good again! Everything! Everything, love and sorrow and the world and dreams! (English translations by Eric Sellen)

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The Cleveland Orchestra

July 12

String Quartet No. 15 in A minor, Opus 132 (performed by string orchestra) composed 1825 Franz Welser-Möst has prepared the following comments about this Beethoven quartet: B E E T H O V E N ’ S L AT E S T R I N G Q U A R T E T S are an extraordi-

Ludwig van

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

Program Book on your Phone Read about the music before the concert. To read bios and commentary from this book on your mobile phone, you can visit ExpressProgramBook.com before or after the concert.

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nary set of masterpieces, in part because they are so enigmatic. Listening to each, we sense that there are layers of meaning behind the notes — that the music was intended to say more, to tell us and help us understand not just what Beethoven wanted to say musically, but how he viewed life itself. Beethoven was a man who wanted to fully embrace the world around him. He read widely, and his growing understanding of ideas and philosophy and literature changed his outlook on the world and even how he thought about music. Ultimately, I believe that his life and his music came together to create its own cosmos, to represent a world view that is available to us, in part, by listening to his music. On his desk, Beethoven had a motto under glass, which he looked at each day as he sat down to work. The statement had come from the Greeks more than two thousand years before, as they studied Egyptian religion and spirituality. It was a saying that was supposedly inscribed on the temple of the goddess Isis: “I am everything that is, and what shall be, and no mortal has lifted the veil from my face.” [Ich bin alles was ist, und was sein wird, und kein Sterblicher hat den Schleier von meinem Gesicht gehoben]. Across the centuries, this saying — and the goddess Isis herself — had come to symbolize the mysteries of Nature, to reflect the idea that some things in the natural world are unknowable. But in Beethoven’s time, as the Age of Enlightenment continued to blossom, scientists and philosophers and other great thinkers were coming to believe that this veil of mystery might in fact be lifted. They believed that humanity, by asking the right questions and searching in the right and logical way, could find answers. Civilization was headed toward betterment, toward good, toward real understanding of the world. Over the course of his life, Beethoven studied much. He read Ancient Greek philosophy as well as very new works — Rousseau, Voltaire, German literature, the French Revolution, Pantheism, religion, politics. He was interested in everything. About the Music: July 12

From this, his own cosmos or worldview emerged and evolved. It was filled with much beyond music. Yet music was his language, and as an artist, music was how he translated his worldview for others, through his heart and mind and creativity. And, like so many composers lucky enough to reach the later stages of life, Beethoven continued to expand his view, in part, by reducing it to the essentials, by working to eliminate anything extra in order to find the true essence of being. Beethoven looked at the ancient Egyptian motto on his desk every day. In his own music, in his own way, he was trying to lift the veil, to understand and explain the world around him. In his later piano sonatas, and the Late Quartets, in the Missa Solemnis and the Ninth Symphony, he reached to expand the palette of what he had written before — in form and harmony, in the forces used to perform, and also in trying to complete the philosophical journey that he had started early on in his oeuvre. Beethoven read widely In preparation for these late works, Beetthroughout his life. hoven had devoted some time looking to the He was interested in past, to music from earlier times, from the Middle everything. From this, Ages and the Renaissance and the Baroque. This ongoing quest for knowledge and ideas prepared his own cosmos or him to continue stretching his own approach and worldview emerged musical vocabulary. It did not matter if an idea and evolved. It was was old or new. What mattered is that it was the filled with much beyond right idea to convey what Beethoven needed to say at a given moment. The older he became, the music. Yet music was bigger his tool set could be. But also, the more his personal language, carefully he used it, focusing on the essence and and, as an artist, music the message within the music. was how he translated I believe that we must take all of this into account when approaching Beethoven’s enighis worldview for others, matic Late Quartets. There is something quite through his heart and abstract about these masterpieces. Yet they also mind and creativity. feel so very physical and substantial, so that having them played by just four musicians at times doesn’t seem to be enough. Or, perhaps, it is better to say that performing them with a larger ensemble can, on occasion, help lift the veil on Beethoven’s worldview, giving us added insight. THE MUSIC: MOVEMENT BY MOVEMENT

In many ways, these Late Quartets are pure philosophical ideas. In a physical sense, they are not real. They are just ideas.

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The Cleveland Orchestra

And how do you do justice to a philosophical idea with instruments? Beethoven shows us. He starts the opening movement of his Opus 132 Quartet with a short, slow, mysterious theme (built from a motif that he also uses in the other two quartets from this period, Opus 130 and Opus 131). And right away you have the feeling that fate is involved. There is uncertainty. In a word, the music is an enigma. As the movement takes hold, Beethoven works within the key of A minor, a key that is half-dark, half-light. It is a strong key, full of desire, yet also melancholic. The music here is more lyrical than dramatic. The tempo moves forward at the main section marked “Allegro” — and now we have begun a journey of intimate drama, told in a poetic, lyrical way. The second theme seems to suggest a feeling of companionship, of brotherhood and togetherness. We are taking this enigmatic journey together. The second movement is a Scherzo, but not the kind of wild dance that Beethoven so often built for his symphonies and earlier works. This is a gentle Scherzo, a movement filled with subtle humor. The Trio section features a kind of pastoral music that reminds us of the Sixth Symphony; the music is related to nature, but played in the lighter, lofty sound of A major, thus contrasting in basic color with the previous movement. In some parts, as a point of humor, the listener is fooled as to where the main beat in this dance is. We smile as we listen. Humor and nature here work together. Life feels comfortable, something to be enjoyed. But the mood is about to change. At age 55, Beethoven was taken ill in the midst of completing the quartet’s second movement. He spent several weeks in bed, unable to write and feeling his mortality in very real and everyday ways. A HYMN OF THANKSGIVING

With his increasing

At the center of this five-movement quartet stands the slow third movement, over which Beethoven wrote “Heiliger Dankgesang eines Genesenen an die Gottheit” [Holy Song of Thanksgiving of a Convalescent to the Deity]. After his long time bedridden — indeed, because of his illness — Beethoven returned to the quartet with a new outlook and decided to express in the music gratefulness for his recovery. Yet the result is so much more than a simple hymn of thanksgiving. It is also a continuation of his commentary about life, and of expanding his musical horizons to say ever more. Here, unexpectedly, he chose to write in the Lydian mode, beginning on the note of F. He was consciously deciding to use

hearing loss, Beethoven

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tried several different “ear trumpets.” They helped in the early stage, but eventually he came to rely on written conversations with guests.

a kind of mode or scale from the Middle Ages, to expand this quartet’s sound world and to elevate the meaning of this music beyond his own time. Giving thanks is a universal feeling; every generation since the beginning of humanity has found reason to be grateful. The movement’s music — twice as long in performance as any of this quartet’s other movements — is full of devotion and humility. It is created with chorale-like melodies, long and slow. One section, almost as if telling a story, is headed “Neue Kraft fühlend“ [“Feeling New There is something Strength”]. A musician once said to me that quite abstract about the way this section starts, it could have been Beethoven’s last string written by Handel. There is something to this, quartets. Yet they also because Beethoven admired Handel and also studied much of his choral writing while comfeel very physical and pleting the Missa Solemnis the year before this substantial, so that Quartet. Also within this “Handel-like” section, playing them with there are moments reminiscent of passages in four players at times the slow movement of Beethoven’s own Ninth Symphony. Next there is a variation of the first doesn’t seem to be part, followed by a variation of the second part, enough. Or, perhaps, followed again by another variation of the first performing them with part over which Beethoven wrote “mit grosser a larger ensemble, on Innigkeit” [with great intimacy]. Each repetition intensifies what has been said before. As this occasion, helps lift the meditative music continues, there comes a brief veil on Beethoven’s pause in D minor, the key so often associated worldview, giving with and used to signal death. Here, Beethoven us added insight. contemplates exactly that. And then, after a big outcry, and with feelings of longing and nostalgia, he brings the movement to an ethereal ending, full of beauty. CONTINUING ON AND PUSHING FORWARD

How do you move on from there? How can music bring us back to reality? How do we put our feet on the ground again, after such beauty and meditation, from the heights of clouds filled with deepest feelings? Here, again, Beethoven finds a way. And he manages this with a fourth movement that comes, in part, from his great sense of humor. He follows the great and divine slow movement with a huge contrast, with a small, witty, light march. Written in A major, the tempo marking says “alla Marcia” [like a march], but it is the kind you can’t actually march

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The Cleveland Orchestra

to. Yet we are happy to go along with it, to go forward once more, and to begin walking. We — and Beethoven — are past the illness, and we are happy to be alive and moving again. And he takes this march right on into a kind of recitativo for the first violin, in music that is a clear reminder of the recitative in the final movement of the Ninth Symphony. Thus, Beethoven uses the very brief fourth movement (just two minutes in length) to prepare us for the finale. And, of course, in opera a recitative is followed by an aria. And in the fifth movement, he begins that aria with a melody he originally had planned for the last movement of the Ninth. The tempo marking is “Appassionato,” with the passion relating directly back to what was expressed in the first movement. We have come full circle. But not entirely. Much of this music is completely Romantic, yet this movement’s sound-world (as it joins Beethoven’s cosmos) also includes music that could have been written a hundred years later — at the start of the 20th century, when Mahler and Stravinsky and Schoenberg and others were wrestling music clearly, fitfully, at times awkwardly, luminously into the Modern Age. Ultimately, in this Quartet, Beethoven created not just a musical masterpiece, but one that reflects his personal situation — including a grave illness. Yet the music extends well beyond that specific incident. He has shown us how to do it, he has created philosophy put into sound! —Franz Welser-Möst © 2019 The 2019-20 season marks Franz Welser-Möst’s eighteenth year as music director of The Cleveland Orchestra.

At a Glance Beethoven wrote this quartet in A minor in 1825. He suffered an unknown digestive malady when writing the second movement and, once feeling better, inscribed the third movement as a “Holy Song of Thanksgiving of a Convalescent to the Deity” [Heiliger Dankgesang eines Genesenen an die Gottheit]. The premiere performances were given in September 1825, first presented to a small group of friends on September 9 followed by the first official public performance on September 11 — at the tavern “Zum

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wilden Mann” in Vienna, with Ignaz Schuppanzigh and Karl Holz (violins), Franz Weiss (viola), and Joseph Lincke (cello). This work runs just over 40 minutes in performance. Beethoven scored it for a traditional string quartet of two violins, one viola, and one cello. For this week’s performance by the strings of The Cleveland Orchestra, Franz Welser-Möst has included string basses, doubling the cello line an octave lower in many sections of the music.

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A sketch from 1815, of Beethoven, dressed up and out walking, by Johann Peter Lyser.

PHOTOGRAPH: HEDRICH BLESSING

@ Severance Hall — Cleveland Cleveland, Ohio Friday evening, July 19, 2019, at 7:00 p.m.

T H E CL E V E L A ND ORC H EST R A PA BLO H E R AS - CA SA DO , conductor

JOAQUÍN RODRIGO (1901-1999)

Concierto de Aranjuez 1. Allegro con spirito 2. Adagio 3. Allegro gentile PEPE ROMERO, guitar

CLAUDE DEBUSSY (1862-1918)

Ibéria, from Images JULY 19

1. In the Streets and Byways 2. The Fragrances of the Night — 3. The Morning of a Festival Day

The concert is performed without intermission and will end at approximately 7:50 p.m.

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July 19: España

July 19

Pablo Heras-Casado Spanish conductor Pablo Heras-Casado enjoys a varied and broad-ranging career, encompassing symphonic and operatic repertoire, historically informed performances, and contemporary scores. He serves as principal guest conductor at Teatro Real in Madrid and director of the Granada Festival. He also enjoys a longterm collaboration with Freiburg Baroque Orchestra, featuring an extensive series of touring and recording projects. He made his Cleveland Orchestra debut in July 2010. This past season, Mr. Heras-Casado served as a spotlight artist of the NTR Matinee series at Amsterdam’s Concertgebouw, leading concerts of the Radio Philharmonic Orchestra, and also conducting tour performances with the Freiburg Baroque Orchestra and Mahler Chamber Orchestra. He has guest conducted orchestras across Europe, North America, and in Israel. He made his United States conducting debut in 2008 at Carnegie Hall and his Metropolitan Opera debut in 2013, leading Verdi’s Rigoletto. Mr. Heras-Casado’s discography includes albums on the Harmonia Mundi Decca Classics, and Deutsche Grammo-

phon — including works by Debussy, Bartók, Monteverdi, and a series titled Die Neue Romantik with Freiburg Baroque Orchestra. Pablo Heras-Casado studied music at the conservatory in Granada and later attended the university there, concentrating on art history and acting. His conducting studies continued at the University of Alcalá, and later with Harry Christophers and Christopher Hogwood. In the mid-1990s, Mr. Heras-Casado helped establish the early music ensemble Capella Exaudi and also Sonóora, which performs modernist and avant-garde music. In 2002, he founded the Barroca de Granada Orchestra, and in 2007, co-founded La Compañía Teatro del Principe, a period instrument ensemble that performs neglected operas of the Spanish baroque. He has also served on the conducting staffs of the Joven Orquesta Nacional de España and Opéra de Paris. He was principal guest conductor (2011-17) of the Orchestra of St. Luke’s in New Y York and is now their conductor laureate. Mr. Heras-Casado’s honors include winning the 2007 Lucerne Festival Conductors’ Competition, being named Musical America’s 2014 Conductor of the Year, Y and receiving the Medalla de Honor of the Rodriguez Acosta Foundation. He is a global ambassador for the charity Ayuda en Acción. For more details, please visit www. pabloherascasado.com.

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The Cleveland Orchestra

July 19

INTRODUCING THE CONCERT

The Sounds of Spain T H I S C O N C E R T offers two works from the first half of the

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JULY 19

20th century, centered around Spanish sounds and sensibilities. One was written by a native composer, born on the Iberian peninsula. The other by a Frenchman, who admired his southern neighbors, mostly from afar. The program begins with a concerto for guitar, written by the great Spanish composer and pianist Joaquín Rodrigo, who lost his eyesight at the age of three and then grew up to be one of his country’s best-known and best-loved classical composers. His Concierto de Aranjuez is named after the royal palace at Aranjuez near Madrid — and its extensive gardens. This music is intended to evoke “memories of earlier times, and of the lovely gardens of Aranjuez with their fountains, trees, and birds.” The concerto’s United States premiere was given by The Cleveland Orchestra here at Severance Hall in 1959. Pepe Romero is the guest soloist, long a member of the famed family quartet the Romeros, but also an accomplished solo artist. To complete the evening, guest conductor Pablo Heras-Casado leads the Orchestra in a performance of one of three movements from Claude Debussy’s Images. This movement, Ibéria, is itself divided into three parts and paints a sound picture of scenes from everyday Iberian life and culture. In portraiture across different times of day, Spanish rhythms help outline bustling excitement and ethereal calm. —Eric Sellen

July 19

Pepe Romero One of the most celebrated and versatile musicians of his generation on any instrument, Spanish-born guitarist Pepe Romero has enjoyed a varied and illustrious career. Together with his father, the legendary Celedonio Romero, and his brothers Celin and Angel, Pepe established the Romeros Quartet — the “Royal Family of the Guitar” — as the leading guitar ensemble in the world. Known for dazzling virtuosity and compelling performances, Pepe is also a passionate advocate of the traditional flamenco of his native Andalusia. He has appeared as featured soloist with the world’s greatest orchestras and ensembles, in collaboration with the most celebrated conductors and composers. He first performed here in June 1966 with the Cleveland Summer Pops Orchestra, playing individually and as part of the Romeros that evening at Severance Hall, and then returned with the Romeros to

perform with The Cleveland Orchestra at Blossom in 1971 and 1980. Since his first recording was released when he was only 15 years old, Pepe has made more than 60 albums, including two dozen concertos, individually and with the Romeros. Recent releases include the Concierto festivo written for him by Ernesto Cordero and the song cycle Mi jardín solitario by Lorenzo Palomo and a Spanish solo collection titled Spanish Nights, which includes the premiere recording of Suite Madrileña No. 1 by Celedonio Romero. Pepe Romero played many concerts worldwide to honor the 100th anniversary of his father’s birth in 2013, and the next year to celebrate his own 70th year. He has taught at the University of Southern California’s Thornton School of Music for more than two decades, as an artist-in-residence or faculty member. He has led masterclasses around the world, including at the Salzburg Summer Academy, SchleswigHolstein Festival, and the Córdoba Guitar Festival. Pepe Romero’s honors include being knighted along with his brothers Celin and Angel into the Order of Isabel la Católica in 2000 by King Juan Carlos I of Spain. For more information, please visit www.peperomero.com.

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The Cleveland Orchestra

July 19

Concierto de Aranjuez (for guitar and orchestra) composed 1939

Joaquín

RODRIGO born November 22, 1901 Sagunto, Valencia died July 6, 1999 Madrid

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J O A Q U Í N R O D R I G O , afflicted with blindness since the age of three, was blessed with a long life and a stunning success early in his career. The Concierto de Aranjuez was not his first work, but it was his first concerto. The warmth of its reception in Barcelona in 1940 sustained Rodrigo through all the later years in which he wrote great quantities of music but never equaled the impact of this now-famous concerto. Like that of many Spanish composers of the early 20th century, his music was untouched by the different waves of modernism that swept over European music, and he composed to the end of his life in a style that, with rare exceptions, would not have seemed strange to the 19th-century sensibilities of Rimsky-Korsakov or any of the non-Spanish composers who adopted Spanish figurations and dance rhythms in their own music. Like Albéniz, Falla, and many other Spanish composers, Rodrigo studied in France, taking lessons from Paul Dukas (Messiaen’s teacher) and Maurice Emmanuel — and he was still living in France in 1939 when he composed the Concierto de Aranjuez. He soon had to return to Madrid, which he made his home for the rest of his life. He later wrote concertos for two guitars and for four guitars, as well as concertos for piano, violin, flute, cello, and harp. His output for orchestra, piano, solo guitar, and voice is very extensive, although he never ventured into opera. The concerto is named after the royal palace at Aranjuez (pictured below), w near Madrid, built by Philip II and expanded in

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At a Glance Rodrigo wrote this concerto for guitar and orchestra in 1939, naming it after the Palace Aranjuez near Madrid. It was first performed on November 9, 1940, with Orquesta Filarmónica de Barcelona conducted by César Mendoza Lasalle, with Sanz de la Maza as the soloist. This concerto runs nearly 25 minutes in performance. Rodrigo scored it for 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, and strings, plus the solo guitar. The United States premiere of this work was given by The Cleveland Orchestra in November 1959, with Robert Shaw conducting and Rey de la Torre as soloist.

the 18th century with extensive gardens (above). e Rodrigo wanted his concerto to evoke “memories of earlier times, and of the lovely gardens of Aranjuez with their fountains, trees, and birds.”” He also mentioned the fragrance of the magnolias, which would particularly inspire a blind composer. It is not fanciful to hear the birds and fountains in some of the figuration in the concerto, and in the last movement, which is not a helter-skelter finale but a gentle movement, marked with a tempo of Allegro gentile, filled with teasing lopsided rhythms, in which he recalls the courtly dances that the palace would have played host to. The guitar is not a loud instrument, and it can be upstaged by an orchestra, however small. The composer has taken care to let the guitar be heard, with a number of striking passages on its own. The orchestra is only heard at full throttle when the guitar is resting. The success of the concerto, especially its expressive slow movement, is world-wide. Sufficient evidence comes merely by mentioning the innumerable jazz versions, including those by the Modern Jazz Quartet and Miles Davis. When asked if he could explain the concerto’s astonishing success, Rodrigo simply replied: “To be honest, I don’t know. If I did know, I would have discovered the secret of success itself.” —Hugh Macdonald © 2019

About the Music: July 19

The Cleveland Orchestra

July 19

Ibéria, from Images composed 1908 T H E A S S O C I A T I O N O F M U S I C and images is one of the

Claude

DEBUSSY born August 22, 1862 St. Germain-en-Laye, France died March 25, 1918 Paris

most fundamental characteristics of Claude Debussy’s music. In addition to the many specific images on which he based compositions — from the ocean in La Mer to all kinds of landscapes and portraits in his two books of piano preludes — the word Images as a title appeared in an early set of piano pieces (1894) and in two better-known sets for piano (1905-08), even before the set of orchestral Images (completed in 1912) being presented at this weekend’s concerts. It is significant that each of these sets (including La Mer) r features three movements — and the orchestral image Ibéria itself has a three-part structure. Three was a natural and important number for the composer in structuring material. It was natural for Debussy to think in musical “images.” He was a great lover of art and counted many painters among his friends. But the artistic inspiration never meant a mere musical representation of a subject treated in a painting. For Debussy, the relationship was less direct — these are “images,” seen or dreamed by the mind’s eye, and then realized in sound rather than in color. In the case of the orchestral Images, the visions are primarily about motion, and combine the senses of sight, hearing, and even smell (as in the middle section of Ibéria). As Charles Baudelaire, one of Debussy’s favorite poets, put it: “Les parfums, les couleurs et les sons se répondent . . .” [“The fragrances, the colors, and the sounds answer one another . . .”] Debussy’s orchestral tryiptych Images is a pieced-together work. He wrote each of its three parts separately, then published them together — insisting that they could be performed individually or as a set, paired or as a trio, and in any order. The piece Ibéria is Debussy’s salute and tribute to the Spanish peninsula and its vibrant people. A F R E N C H V I E W O F S PA I N

French musicians have often been inspired by the rhythms of Spanish music, from even before the time of Bizet’s Carmen in 1875. Two composers from the generation preceding Debussy in particular owed their fame to their “Spanish” compositions — so that Édouard Lalo’s Symphonie espagnole (1875) and EmSummers@Severance

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At a Glance Debussy composed his three Images for orchestra between 1905 and 1912. Ibéria was completed late in 1908 and Rondes de printemps in the following year. Gigues was not completed until 1912. Ibéria was premiered on February 20, 1910, with Gabriel Pierné conducting. The first American performance of Ibéria was given by Gustav Mahler and the New York Philharmonic on January 3, 1911. Ibéria runs about 20 minutes in performance. Debussy scored it for piccolo, 3 flutes (third doubling second piccolo), 2 oboes, english horn, 3 clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (tambourine, side drum, castanets, xylophone, 3 bells), celesta, 2 harps, and strings. Ibéria was introduced to The Cleveland Orchestra’s repertoire by Nikolai Sokoloff in January 1921. The Orchestra played it most recently in 2017 at Blossom. The Cleveland Orchestra and Pierre Boulez have recorded Debussy’s complete Images twice, in 1967 and in 1991.

manuel Chabrier’s España (1883) would have been familiar to the young Debussy, who wrote his piano piece La soirée dans Grenade (“Evening in Grenada”) in 1903. Evenso, it is interesting to note that, aside from one short trip across the border, Debussy never visited Spain. Y Yet he knew the music of a number of contemporary Spanish composers, including Manuel de Falla and Isaac Albéniz. (The latter had used the title “Iberia” in a magnificent suite for piano published in four volumes between 1906 and 1908.) Falla had warm words of praise for Debussy’s Ibéria, which he claimed had “a considerr able and decisive influence on young Spanish composers.” THE MOVE ME NT S

The first section of Ibéria, titled Par les rues et par les chemins (“In the Streets and Byways”), creates an immediate Spanish atmosphere with the sound of the castanets. The whole town is out in the streets on a warm summer evening. People are walking, talking, singing, and dancing. The clarinets play a dance tune marked by the composer as “elegant and rhythmic” and harmonized with parallel chords, one of Debussy’s recurrent techniques. Later, an equally cheerful second theme is heard in the horns and clarinets, soon combined with a third melody which, in contrast, is more lyrical and expressive in character. The first theme with the castanet accompaniment finally returns (now played by the oboes instead of the clarinets). At last, the noisy parade is over; the people go home and the movement ends pianissimo. The second section is called Les parfums de la nuitt (“The Fragrances of the Night”). Falla perceived in Debussy’s music “the intoxicating spell of Andalusian nights”” — and Falla would have known, as he was born in that province of Spain. Several factors contribute to the magic of this movement. First, Debussy’s virtuosic orchestration makes a sophisticated use of divided strings (at one point, the first violins are split into seven different groups, all playing with special techniques such as glissandos and harmonics). The celesta part is every bit as “celestial” as the instrument’s name. The chords are again “parallel,” with every part moving by the same interval regardless of keys. As a result, we get what is often called the “whole-tone scale” (C, D, E, F-sharp, G-sharp, A-sharp), in which each of the six steps is a whole step higher than the preceding one (with no half-steps). This scale is incompatible with the traditional Western major-minor system, $ERXW WKH 0XVLF -XO\

The Cleveland Orchestra

which is dependent on the half-step as a critical difference in scalar sequences. Because its degrees are equidistant, they are all equally important, and any note can serve as a temporary or permanent resting point. This gives the music a sense of hovering in the air, or of never touching the ground or reaching a clear closure. The third section of Ibéria, called Le matin d’un jour de fête (“The Morning of a Festival Day”) follows upon the night without interruption. As the day begins to break, we hear the distant sound of a drum along with some soft string pizzicatos [“plucked”]. The night music returns for a moment in the form of a three-measure flute solo. The violins and violas imitate the sound of guitars — Debussy’s score even instructs half the players to hold their instruments like guitars. The clarinets play their solo “very cheerfully, exaggerating the accents.” The violin solo, full of double stops, must be “free and whimsical” (libre et fantasque); the oboe and english horn parts are marked “merry and whimsical” (gai et fantasque). According to correspondence with his publisher, Debussy had some difficulty choosing from three different ways of ending the piece. “Shall I toss up between them,” Debussy wrote, “or try to find a fourth solution?”” He finally opted for a big crescendo, “brisk and vigorous” (vif et nerveux); x the last word belongs to the trombones, which cap the piece with a stupendous, sliding three-part glissando.

Debussy died in 1918, seven months before the First World War ended.

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The Cleveland Orchestra PHOTOGRAPH: HEDRICH BLESSING

@ Severance Hall — Cleveland Cleveland, Ohio Friday evening, August 2, 2019, at 7:00 p.m.

T H E CL E V E L A ND ORC H EST R A M AT THE W H A L LS , conductor WOLFGANG AMADÈ MOZART (1756-1791)

Mass in C minor (“The Great”), K427 1. Kyrie 2. Gloria Laudamus te Gratias Domine Deus Qui tollis Quoniam Cum sancto spiritu 3. Credo Et incarnatus est 4. Sanctus — Osanna in excelsis 5. Benedictus — Osanna in excelsis AUGUST 2

JOÉLLE HARVEY, soprano KRISZTINA SZABÓ, mezzo-soprano PAUL APPLEBY B , tenor MICHAEL SUMUEL, bass-baritone BLOSSOM FESTIVAL CHORUS Lisa Wong, director

The concert is performed without intermission and will end at approximately 8:05 p.m.

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August 2: Mozart

August 2

Matthew Halls British conductor Matthew Halls first came to prominence as a harpsichordist, organist, and early music conductor. More recently, he has become well-known for his intelligent and probing work as a guest conductor with orchestras and opera companies in North America and Europe. He made his Cleveland Orchestra debut in April 2014 and most recent appearance in November 2016. Matthew Halls’s recent seasons have featured engagements with the orchestras of Chicago, Cincinnati, Dallas, Houston, Indianapolis, Milwaukee, Ottawa, Philadelphia, St. Louis, Seattle, Toronto, and Washington D.C., as well as with the Los Angeles Chamber Orchestra. In Europe, his schedule has included concerts with the BBC Scottish Symphony, Bournemouth Symphony Orchestra, Bremen Philharmonic, Frankfurt Radio Symphony Orchestra, Iceland Symphony Orchestra, Musica Viva Moscow, Royal Northern Sinfonia, Royal Philharmonic Orchestra, Vienna Symphony, Concentus Musicus Wien, and the Warsaw Philharmonic. Mr. Halls makes regular ap-

pearances with the Salzburg Mozarteum Orchestra, both in Austria and on tour. In addition, he has led concerts in Australia and Asia. Matthew Halls served as artistic director of the Oregon Bach Festival, 2013-17. Noted for his commitment to education, he led the launch of the Festival’s Berwick Academy for Historically Informed Performance and regularly teaches courses and at summer schools. In operatic repertoire, Mr. Halls’s work ranges from the Renaissance and Baroque forward — including such modern classics as Benjamin Britten’s Peter Grimes or the bel canto of Bellini’s Norma and works by Handel. He has led operas at the Aalto-Musiktheater Essen, Bavarian State Opera, Central City Opera Colorado, Handelfestspiele Halle, Netherlands Opera, and the Salzburg Landestheater. Mr. Halls’s discography includes Bach harpsichord concertos conducted from the keyboard, and Bach’s Easter and Ascension oratorios, as well as award-winning albums of Purcell’s Sonatas in Three and Four Parts, all on Linn Records. His recording of Handel’s Parnasso in Festa on Hyperion received the Stanley Sadie Handel Recording Prize. Educated at Oxford University, Mr. Halls subsequently taught there for five years. Since that time, he has served as artistic director of the King’s Consort and the Retrospect Ensemble.

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The Cleveland Orchestra

August 2

INTRODUCING THE CONCERT

Celebrating God & Music

ABOVE: A portrait of Mozart’s wife, Constanze, painted in 1802 by Hans Hansen. Constanze sang as soprano soloist in the original 1783 performance of his Mass in C minor at St. Peter’s Church in Salzburg.

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AUGUST 2

T H I S C O N C E R T offers a half-finished work by Wolfgang Amadè Mozart — filled with sparkling creativity and reverent thanksgiving. It is a church mass often referred to in German-speaking countries as “Der Grosse” (meaning large or “great” in the sense of size, feeling, heft). Calling it the “Great” Mass in English is, in some ways, misleading — for, yes, it is filled with great music, but that is a rather different meaning from the German word’s sense of size, weight, and importance. Mozart’s life had changed considerably in the years prior to writing this Mass. He had finally made Vienna his permanent home, having resigned his position as musician for the Prince-Archbishop of Salzburg. In 1782, he married a talented singer — and wanted to introduce his bride back home in Salzburg as an artist. How better to do so than to compose a setting of the Mass, utilizing new ideas he’d recently gleaned from studying works by Johann Sebastian Bach and George Frideric Handel, and featuring soprano solos for his beloved Constanze? He had composed Masses before, but this one would be better — and bigger. In reality, Mozart completed only a few movements of his planned big mass — yet the work was performed with great success in Salzburg in 1783 (with movements from other works tossed in to complete the Mass as a whole). Mozart had made some progress on sketches and partial scores for the missing movements — and later scholars have turned these into performable music. In concert, however, it is most often performed as an incomplete Mass, focusing on the treasury of beautiful music in 18th-century German and Italian styles that Mozart had created. True to its nickname, this music has a big presence, filled with joyous spirit and praise. —Eric Sellen

August 2

Mass in C minor (“The Great”), K427 composed 1782-83, performed from the score edition by Helmut Eder T H E Y E A R 1 7 8 2 was full of life-changing events for young

Wolfgang Amadè

MOZART

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

Program Book on your Phone Read about the music before the concert. To read bios and commentary from this book on your mobile phone, you can visit ExpressProgramBook.com before or after the concert.

Wolfgang Mozart. Just the year before, he had finally made the commitment (over his father Leopold’s objections) to leaving his hometown of Salzburg to seek fortune in the imperial capital, Vienna. He was 25 then — pretty old for a musician trying to start a career. He had already spent 20 years, either touring European cities in search of connections and recognition, or parked in Salzburg, performing odd musical jobs for the local ruler, the Prince-Archbishop. And he had little to show for those two decades, beyond a list of ever-more-superb compositions. But 1782 saw the highly-successful premiere of Mozart’s opera The Abduction from the Seraglio, which put him on the musical map in Vienna. And on August 4, Mozart married Constanze Weber, an affectionate young woman and a passable singer, who would be his loyal companion during the remainder of his short life, and a tireless champion of his music thereafter. Also that year, Joseph Haydn’s six string quartets, Opus 33, were published, inspiring Mozart to begin composing six quartets himself, in which he explored Haydn’s stylistic advances over Mozart’s previous model, Johann Christian Bach. And last, but not least, Mozart had eye-opening experiences with the works of Johann Sebastian Bach and George Frideric Handel during Sunday concerts in the home of Baron Gottfried van Swieten, a former ambassador to Prussia and connoisseur of Baroque music. The young composer, who had done plenty of dry exercises in counterpoint under his father’s tutelage, now was having, as his biographer Alfred Einstein writes, “his first encounter with a living polyphonic style.” Authorities disagree about how lasting the effects of this encounter were on Mozart’s development. Surely the splendid fugue-style finale of his Symphony No. 41 of 1788 (“Jupiter”) would not have taken that form without a thorough understanding of J. S. Bach. And we know that Mozart composed, or at least began, many fugues during 1782, trying to master this different musical language. Always anxious to polish his bride’s image with his family, Wolfgang wrote to his father that Constanze loved to hear him play fugues, and had even tried her hand at composing them. Late in 1782, as his father and sister, Nannerl, grew impa$ERXW WKH 0XVLF $XJXVW

The Cleveland Orchestra

tient for him to bring Constanze to Salzburg, Mozart wrote to them often, saying that teaching and performing obligations were keeping him in Vienna. On January 4, 1783, he reiterated, “I truly promised this to myself in my heart, and hope to fulfill it. . . . As you know, however, circumstances have frustrated our planned journey [to Salzburg]; but the score of half a mass, which is lying here with the highest hopes, is proof that I really made the promise.” The long-awaited visit finally began the following July 29, and ended with a performance of that “half a mass” — the still-fragmentary work we now know as the Mass in C minor, K427 — with Constanze as soprano soloist, in St. Peter’s Church on October 26. In a church liturgy (unlike this evening’s secular In this fragmentary concert performance at Severance Hall), the Mass Mass, we hear a gifted could not be celebrated incomplete, so presumably Mozart dealing with other music was found to fill in the sections that Moan antique form and zart hadn’t composed. There is no evidence that anyone commissioned style which, it’s fair a mass from Mozart in 1782. Perhaps it’s true, as he to say, he hadn’t yet implied in his letter, that he wished to commemofully made his own. rate his marriage by presenting a major new work We hear him brilliantin his hometown. More likely, the unfinished mass originated the same way as the unfinished fugues, ly “doing” Bach and as an exercise, an attempt by Mozart to get his arms Handel. But also, around a past musical form that was valuable and especially in the vocal meaningful to him. That form is the “cantata mass,” best known solos, Mozart the Italto audiences of today (but probably not to van Swiian-trained young geeten or Mozart) from Bach’s Mass in B minor, that nius steps forward as great compendium of all the ways then available to his mature self. set sacred words for solo singers and chorus. The most obvious feature of a cantata mass is the way it splits the Mass’s longer texts (especially the Credo) into many short phrases, each set as a separate movement. Haydn and Beethoven later composed masses in a more symphonic style, setting whole texts into longer movements. Two sections of the Mass in C minor come down to us complete, in Mozart’s own handwriting. These are the opening Kyrie and the seven brief movements of the Gloria. After that, questions about Mozart’s intentions multiply. He composed only two movements of the Credo, “Credo” and “Et incarnatus est,” and for these we have complete vocal parts but only some indications of instrumentation. There is also a score for wind band of the Sanctus in his hand. Other Summers@Severance

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At a Glance Mozart composed his Mass in C minor in 1782-83, apparently without completing all of its movements. This music is almost certainly what Mozart conducted at St. Peter’s Church in Salzburg on October 26, 1783, although he probably augmented these movements with other pieces in order to render the complete mass text for that occasion. Some of the vocal and instrumental parts were not fully written out by Mozart, and have had to be reconstructed by later editors. In its incomplete form, which is how it is most often presented in modern performance, the C-minor Mass runs almost 60 minutes. The score edited by Helmut Eder, used for these performances, calls for an orchestra of flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, organ, and strings, plus a quartet of vocal soloists and double chorus. The Cleveland Orchestra first performed music from Mozart’s C-minor Mass in March 1956. The entire work was given at Severance Hall in November 1966, with Robert Shaw conducting the Cleveland Orchestra, Chorus, and soloists. The most recent Severance Hall performances were conducted by Franz Welser-Möst in 2011.

materials in Mozart’s hand are now lost, and to guess at them we have only a mistake-riddled copy score by Mozart’s contemporary P. M. Fischer, choirmaster at a monastery in Augsburg. This was apparently done in haste from a set of performers’ parts. This poor copy is how we know anything about the Benedictus at all. Mozart did not set the concluding section of the Mass, Agnus Dei for this Mass; Constanze later suggested to a publisher that, following a custom of the time, the Kyrie be reprised, but with the words of the Agnus Dei. Most modern performances— and score editions — conclude with the Benedictus. Needless to say, the debate goes on over how to restore the movements Mozart composed or sketched (as well as the idea of composing more movements to complete the work, as Mozart’s pupil Süssmayr did for the unfinished Requiem of 1791). The first systematic attempt was made by Alois Schmitt in 1901, followed by Haydn and Mozart scholar H.C. Robbins Landon, who worked on the problem during the 1950s. Later editions include one by Helmut Eder in 1986, used as the basis for this weekend’s performance at Severance Hall. Regardless of score edition, many conductors make a few careful choices of their own. Thus, in this fragmentary yet painstakingly restored work, we hear a brilliant, mature Mozart dealing with an antique form and style which, it’s fair to say, he hadn’t yet made fully his own. But hear how brilliantly he “does” J.S. Bach in the chorus “Jesu Christe” and the great fugue that follows, “Cum Sancto Spiritu.” And also his Handelian mode in the sweeping style of choral writing, including echoes of the Hallelujah Chorus in the Gloria. Elsewhere, however, and especially in the vocal solos, Mozart the Italian-trained young genius steps forward as . . . himself. He is also present in the many felicities of scoring, for example the nativity scene of “Et incarnatus est,” so delicately scored for winds and double bass, and wisely left alone by later restorerorchestrators. Mozart thought enough of this music to re-use portions of it in his oratorio Davidde penitente, K469, in 1785, but never returned to completing the Mass itself. But thanks to his efforts, and to those of his wife (and a hasty friar in Augsburg) and several conscientious latter-day scholars, we have much music of disparate beauty to listen to and admire. —David Wright © 2019 David Wright lives in New Jersey and writes about music. He previously served as program annotator for the New York Philharmonic.

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The Cleveland Orchestra

Mass in C minor (“The Great”), K427 by Wolfgang Amadè Mozart

I. KYRIE — chorus and soprano Lord, have mercy upon us. Christ, have mercy upon us. Lord, have mercy upon us.

Kyrie eleison. Christe eleison. Kyrie eleison.

II. GLORIA 1. Gloria in excelsis — chorus Gloria in excelsis Deo. Et in terra pax hominibus bonae voluntatis.

Glory to God in the highest. And on earth peace to people of good will.

2. Laudamus te — soprano Laudamus te, benedicimus te, adoramus te, glorificamus te.

We praise you, we bless you, we worship you, we glorify you.

3. Gratias agimus tibi — chorus Gratias agimus tibi propter magnam gloriam tuam.

We give you thanks for your great glory.

4. Domine Deus — soprano, soprano Domine Deus, Rex coelestis, Deus pater omnipotens. Domine Fili unigenite, Jesu Christe. Domine Deus, Agnus Dei, Filius Patris.

Lord God, heavenly King, God, Father omnipotent. Lord, the only-begotten Son, Jesus Christ. Lord God, Lamb of God, Son of the Father.

5. Qui tollis — chorus Qui tollis peccata mundi, miserere nobis. Qui tollis peccata mundi, suscipe deprecationem nostram. Qui sedes ad dexteram Patris, miserere nobis.

You who take away the sins of the world, have mercy upon us. You who take away the sins of the world, receive our prayer. You who sit at the right hand of the Father, have mercy upon us. PLE A SE TURN PAGE QUIE TLY

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6. Quoniam — soprano, soprano, tenor Quoniam tu solus sanctus, tu solus Dominus, tu solus altissimus.

For you alone are holy, you alone are the Lord, you alone most high.

7. Cum Sancto Spiritu — chorus Jesu Christe. Cum Sancto Spiritu in gloria Dei Patris, amen.

Jesus Christ. With the Holy Spirit, in the glory of God the Father. Amen.

III. CREDO 1. Credo in unum Deum — chorus Credo in unum Deum, patrem omnipotentem, factorem coeli et terrae, visibilium omnium et invisibilium. Et in unum Dominum Jesum Christum, Filium Dei unigenitum, et ex Patre natum ante omnia saecula, Deum de Deo, lumen de lumine, Deum verum de Deo vero, genitum, non factum, consubstantialem Patri, per quem omnia facta sunt, qui propter nos homines et propter nostram salutem descendit de coelis.

I believe in one God, Father Almighty, Maker of heaven and earth, of all things visible and invisible. And in one Lord Jesus Christ, the only-begotten Son of God, born of the Father before all ages, God of God, light of light, true God of true God, begotten, not made, being of one substance with the Father, by whom all things were made, who for all humanity, and for our salvation, came down from heaven.

2. Et incarnatus est — soprano Et incarnatus est de Spiritu Sancto ex Maria Virgine, et homo factus est.

And became incarnate by the Holy Spirit of the Virgin Mary and was made a man.

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The Cleveland Orchestra

A 17th-century illustration of the interior of St. Peter’s Church in Salzburg, where Mozart’s Mass in C minor premiered in 1783.

IV. SANCTUS — chorus Sanctus, sanctus, sanctus, Dominus Deus Sabaoth! Pleni sunt coeli et terra gloria tua. Hosanna in excelsis!

Holy, holy, holy, Lord God of hosts! Heaven and earth are full of your glory. Hosanna in the highest!

V. BENEDICTUS — solo quartet and chorus Benedictus qui venit in nomine Domini. Hosanna in excelsis!

Blessed is He that comes in the name of the Lord. Hosanna in the highest!

F I N I

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August 2

Joélle Harvey

Krisztina Szabó

American soprano Joélle Harvey has quickly established herself as a noted interpreter of a broad range of repertoire, specializing in Handel, Mozart, and new music. Recent and upcoming engagements include appearances with the orchestras of Kansas City, Los Angeles, New York, San Francisco, and Washington D.C., as well as performances with the English Concert, Glyndebourne Festival Opera, Handel and Haydn Society, and Pittsburgh Opera. She has also sung with the London Symphony Orchestra, Amsterdam’s Royal Concertgebouw, and Les Violons du Roy, and at the BBC Proms and with London’s Royal Opera house. Ms. Harvey is the recipient of a 2011 first prize from the Gerda Lissner Foundation, along with honors from the George London Foundation and the Richard Tucker Foundation. She earned bachelor’s and master’s degrees in vocal performance from the University of Cincinnati College-Conservatory of Music, and was a member of Glimmerglass Opera’s 2007 Young American Artists Program and San Francisco Opera’s Merola Program. She made her Cleveland Orchestra debut in 2014, and most recently sang with the ensemble in January 2019. For more information, visit www.joelleharvey.com.

Canadian mezzo-soprano Krisztina Szabó sings across North America and Europe, and is particularly known for her promotion and performance of contemporary Canadian works. Ms. Szabó’s recent and upcoming schedule includes performances with the Calgary Opera, Canadian Opera Company, Chicago Opera Theater, Edmonton Opera, Netherlands Opera, Opera Philadelphia, and London’s Royal Opera House. In addition to her operatic work, she regularly performs in concert with orchestras and in chamber music presentations and recitals, including performances with Early Music Seattle, Ensemble Contemporain de Montréal, Les Violons du Roy, Royal Scottish National Orchestra, and Tafelmusik. Ms. Szabó currently teaches as a voice faculty member of the University of Toronto. She completed postgraduate studies at the Guildhall School of Music and Drama in London, after earning her undergraduate degree at the University of Western Ontario. She is the recipient of the Emerging Artist grant from Canada Council. Krisztina Szabó is making her Cleveland Orchestra debut with this evening’s concert. For more information, please visit www. krisztinaszabo.com.

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The Cleveland Orchestra

Paul Appleby

Michael Sumuel

Praised as a versatile artist in concert and opera performances across North America and Europe, American tenor Paul Appleby has also appeared with major orchestras and in recital on both sides of the Atlantic. Recent calendar highlights have included his first Pelléas in Debussy’s Pelléas and Mélisande at New York’s Metropolitan Opera, singing Joe Cannon in the world premiere of John Adams’s Girls of the Golden West with San Francisco Opera, and singing a new song cycle by Matt Aucoin. He is a graduate of the Met Opera’s Lindemann Young Artist Development Program and has returned regularly to perform at the Met, including in starring roles for Mozart’s The Magic Flute and Don Giovanni, as Brian in Nico Muhly’s Two Boys, as Hylas in Berlioz’s Les Troyens, and as David in Wagner’s Die Meistersinger. His discography includes projects for Bridge Records, Delos, Virgin Classics, Opus Arte, EMI’s Juilliard Sessions, and Nonesuch. Mr. Appleby earned bachelor’s degrees in both English literature and music from the University of Notre Dame, and an artist diploma and master’s degree from the Juilliard School. He made his Cleveland Orchestra debut in December 2018. For more information, visit www. paulapplebytenor.com.

American bass-baritone Michael Sumuel sings in opera and orchestral concerts throughout North America. Recent and upcoming engagements include performing the role of Marcello in Puccini’s La Bohème at Houston Grand Opera and Alidoro in Rossini’s La Cenerentola with Norwegian National Opera, as well as being soloist in Beethoven’s Ninth Symphony as part of Chicago’s Grant Park Festival and singing in a Schubertiade evening at Wolf Trap. He has appeared with many leading opera companies, including Lyric Opera of Chicago, England’s Glyndbourne Festival, San Francisco Opera, and Seattle Opera, as well as many roles with Houston Grand Opera. He has made multiple appearances with the baroque ensemble Mercury Houston, featuring a project titled “Napoleon and the Battle of Nations.” Mr. Sumuel is an alumnus of San Francisco’s Merola Opera Program and the Filene Young Artist program at Wolf Trap Opera, and was also a studio artist with Houston Grand Opera. A Texas native, Mr. Sumuel holds degrees from Columbus State University and Rice University. He made his Cleveland Orchestra debut in March 2017 singing as soloist in Bach’s Saint John Passion.

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August 2

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

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

What’s his name?! Mozart was baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart. His first two baptismal names, Johannes Chrysostomus, represent his saints’ names, following the custom of the Roman Catholic Church at the time. In practice, his family called him Wolfgang. Theophilus comes from Greek and can be rendered as “lover of God” or “loved by God.” Amadeus is a Latin version of this same name. Mozart most often signed his name as “Wolfgang Amadè Mozart,” saving Amadeus only as an occasional joke. At the time of his death, scholars in all fields of learning were quite enamored of Latin naming and conventions — this is the period of the classification and cataloging of life on earth into kingdom, phylum, class, order, family, genus, species, etc. — and successfully “changed” his name to Amadeus. Only in recent years have we started remembering the Amadè middle name he preferred.

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The Cleveland Orchestra

August 2

Blossom Festival Chorus Lisa Wong, Director

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

Mozart Mass in C minor SOPRANO

ALTO

TENOR

BASS

Lou Albertson Amy Foster Babinski Amanda Baker Claudia Barriga Ruby Chen Patty Console Karla Cummins Anna K. Dendy Sasha Desberg Molly Falasco Lisa Fedorovich Hannah Goldberg Julia Halamek Rebecca S. Hall Alyse Hancock-Phillips Karen Hazlett Kirsten Jaegersen Kiersten Johnson Nina Kapusta Lydia Kee Chelsea Kimmich Heidi Lang Dawn Liston Kate Macy Clare Mitchell Roberta Myers Lenore M. Pershing Jylian Purtee Lisa M. Ramsey Monica Schie Kara Schifano Madeleine Silver-Riskin Megan Tettau Lauren Vanden Broeck Kiko Weinroth Mary Krason Wiker Juliann Wolfarth

Debbie Bates Karen Bauer-Blazer Ellen Beleiu Joanna Bernhardt Terry Boyarsky Katherine Brown Kathy Chuparkoff Barbara J. Clugh Mary Coyle Brooke Emmel Marilyn Eppich Emily Guthe Ann Marie Hardulak Julie Evans Hoffman Gloria R. Homolak Karen S. Hunt Kristi Krueger Elise Leitzel Lucia Leszczuk Charlotte Linebaugh Cathy Lesser Mansfield Donna Miller Marta Pérez-Stable Eve Sliwinski Jane Timmons-Mitchell Kristen Tobey Martha Cochran Truby Gina L. Ventre Maggie Fairman Williams Caroline Willoughby Leah Wilson Nancy Wojciak Alex Wuertz Lynne Leutenberg Yulish

Rong Chen David Erlandson Gary Kaplan Adam Landry Shawn Lopez Rohan Mandelia James Newby Michael Ward Steven Weems Allen White Peter Wright

Brian Bailey Jacob Bernhardt Jack Blazey Samuel Blocker Carlos Castells Serhii Chebotar Nick Connavino Kerry Davis David Ellis Thomas E. Evans Richard Falkenberg Josh Heese Seth Hobi Dennis Hollo Jason Howie Jeral Hurd Robert L. Jenkins III James Johnston Joel Kincannon Kevin Kutz Tyler Mason Roger Mennell Robert Mitchell Tom Moormann Francisco X. Prado Brandon Randall John Riehl Andrew Schettler Thomas Shaw Charlie Smrekar Charles Tobias

Jill Harbaugh, Manager of Choruses

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@ Severance Hall — Cleveland Cleveland, Ohio Friday evening, August 16, 2019, at 7:00 p.m.

T H E CL E V E L A ND ORC H EST R A O S M O V ÄN SK Ä, conductor

SAMUEL BARBER (1910-1981)

Symphony in One Movement, Opus 9 1. Allegro ma non troppo — 2. Allegro molto — 3. Andante tranquillo — 4. Con moto (Passacaille) (performed as one continuous movement)

FELIX MENDELSSOHN (1809-1847)

Symphony No. 4 (“Italian”) in A major, Opus 90 1. 2. 3. 4.

Allegro vivace Andante con moto Con moto moderato Saltarello: Presto

The concert is performed without intermission and will end at approximately 7:55 p.m.

AUGUST 16

This evening’s concert is sponsored by Thompson Hine LLP.

Summers@Severance

August 16: Italy

August 16

Osmo Vänskä Finnish conductor Osmo Vänskä is recognized for his interpretations of standard, contemporary, and Nordic repertoires. As music director of the Minnesota Orchestra since 2003, he has led that ensemble on five international tours, including to Cuba and South Africa. He will serve as music director through the 2021-22 season. In 2020, he takes on the same role with the Seoul Philharmonic Orchestra. He made his Cleveland Orchestra debut in August 2000 and last appeared here in May 2014. As a much sought-after guest conductor, Mr. Vänskä has led many international orchestras, including Berlin, Boston, Chicago, Cleveland, Helsinki, Hong Kong, Leipzig, London, New York, Philadelphia, San Francisco, Taiwan, Shanghai, and Toronto. He regularly leads concerts at annual summer festivals, including New York’s Mostly Mozart Festival and the BBC Proms in London. Recent and upcoming engagements include performances with the Deutsches Symphonie-Orchester Berlin, Helsinki Philharmonic Orchestra, Netherlands Radio Philharmonic Orchestra, and the New World Symphony.

Osmo Vänskä studied at Finland’s Sibelius Academy and was awarded first prize in the 1982 Besançon International Young Conductor’s Competition. He began his professional career as a coprincipal clarinet of the Helsinki Philharmonic Orchestra and principal clarinet of the Turku Philharmonic. (Recently, he has returned to the instrument, recording Kalevi Aho’s chamber works.) He is a former principal conductor of the Lahti Symphony Orchestra and now its conductor laureate, former music director of the Iceland Symphony Orchestra and now its principal guest conductor, and former chief conductor of the BBC Scottish Symphony Orchestra. Mr. Vänskä gained distinction as a BIS recording artist through his Sibelius cycle with the Lahti Symphony Orchestra. His album with the Minnesota Orchestra of Sibelius’s Symphonies Nos. 1 and 4 won a 2014 Grammy Award, and is part of the label’s complete cycle. He and Minnesota have also recorded a complete Beethoven symphony cycle and a forthcoming cycle of Mahler’s symphonies. Mr. Vänskä’s honors include the Royal Philharmonic Society Award, selection as Musical America’s 2005 Conductor of the Year, and the Arts and Letters award from the Finlandia Foundation. In 2013, he received an award from the German Record Critics’ Award Association for his role in BIS’s project to record the complete works of Sibelius.

August 16: Guest Conductor

The Cleveland Orchestra

August 16

INTRODUCING THE CONCERT

Viva! Inspiration Italien T H I S C O N C E R T offers two works inspired by and created during visits to

Summers@Severance

Introducing the Concert: August 16

AUGUST 16

Italy — one by a German in the 19th century, the other by an American a hundred years later. Yet only one of them attempted to capture feelings and music that are specifically (or authentically) Italian. Felix Mendelssohn was born into a comfortably well-to-do German family, who encouraged the pursuit of learning across many subjects and methods. Felix was gifted not just as a musician (he was a first-rate pianist and an exceptionally fine organist), but also in drawing and painting, the sciences, conversation, and languages. Part of his education as a young man included trips abroad, to England and Scotland in 1829, and to Italy a year later, during the winter of 1830-31. In both locations, he was inspired toward music — and began sketches for what became his “Italian” and “Scottish” symphonies. Both draw on specific local musical styles, but are built within traditional Germanic symphonic structures. Premiered in 1833, the “Italian” Symphony is filled with energetic pulses and rhythms, recalling the warmth and flavors of southern European sunshine. A century later, the young American composer Samuel Barber was awarded the Rome Prize, affording him a year’s stay for work and writing in the Italian capital. Arriving in the autumn of 1936, he completed his first symphony, having already made some sketches toward it at home in America. Titled “Symphony in One Movement,” this short work relies as much on structural design as inspiration, clearly demonstrating Barber’s full understanding of form, infused with creative harmonies and ideas that help showcase music as a modern, vibrant language. Premiered in Rome in late 1936, the United States premiere was given by The Cleveland Orchestra here at Severance Hall in January 1937. —Eric Sellen

August 16

Symphony in One Movement, Opus 9 (a.k.a. Symphony No. 1) composed 1935-36

Samuel

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

Program Book on your Phone Read about the music before the concert. To read bios and commentary from this book on your mobile phone, you can visit ExpressProgramBook.com before or after the concert.

B Y T H E T I M E he graduated from the Curtis Institute of Music in Philadelphia, Samuel Barber’s reputation had spread far beyond the school walls. Some of his earliest works were broadcast on radio all over the United States, and he received prestigious awards including a Pulitzer Scholarship and the Rome Prize, which allowed him to spend an extended period of time in Europe. When he started writing his first symphony, the 25-yearold composer was confident that the new work would not be neglected. After all, his first orchestral work, the Overture to The School for Scandal, had received a prize in 1933 and his second, Music for a Scene from Shelley, was heard at Carnegie Hall in March 1935. Barber left for Europe in the fall of 1935 for a year’s stay at the American Academy of Rome. He had begun work on the symphony before his departure but did most of the writing in Europe. Within a year of its completion, the symphony had been performed both in Italy and in the United States. (The American premiere took place in Cleveland, performed by The Cleveland Orchestra in 1937.) The mood of Barber’s Symphony in One Movement is in turn lyrical, humorous, excited, and meditative. The many memorable episodes include two virtuoso passages, for three flutes and three trumpets respectively, in the scherzo, and a great oboe solo in the slow section. Yet the most startling moment occurs at the very end, where some passionate E-minor chords are placed side by side with harsh dissonances, concluding the work in a grandly tragic, yet modern manner. As Barber wrote in his own commentary about this work: “The form of my ‘Symphony in One Movement’ is a synthetic treatment of the four-movement classical symphony.” Thus, the work’s plan mirrors a traditional symphony’s movements, but brings them all together as one continuous piece. The idea of telescoping the four movements of a longer work into one was not in itself new. Jean Sibelius’s Seventh Symphony (1921), which served as Barber’s immediate model, was only the most recent of several examples, going back all the way to pieces from the 19th century such as Schubert’s Wanderer Fantasy (1822). Yet Barber’s very personal melodic writing sets him apart from evAugust 16: About the Music

The Cleveland Orchestra

Barber served in the U.S. Army Air Corps in World War II.

At a Glance

eryone else. He uses traditional harmonies in a non-traditional way, freely moving from key to key as he pleases. In his orchestration, solos or small instrumental groups alternate with massive tutti [meaning “all together” or “as a group”] passages to wonderful effect, enhancing the contrasts between the various sections of the work. Throughout the symphony, as Barber transforms and recombines his musical themes to adapt them to the requirements of a traditional symphony’s movements — slow, scherzo, and finale — he also changes their emotional feeling in significant ways. The same theme that sounds full of dramatic pathos at the beginning of the symphony becomes playful in the scherzo and solemnly festive when it turns later on, when he uses it as a passacaglia bass (an unchanging bass line over which elaborate variations are introduced). Such use and re-use of the same theme for different purposes or feelings give the symphony both variety and consistency. After the Symphony in One Movement, his first effort in the genre, Barber wrote only one more symphony. That new work has an interesting history. Having joined the Army during World War II, the composer was commissioned to write a symphony in honor of the Air Force. The new work was written, performed by the Boston Symphony Orchestra in 1944, and then extensively revised a few years later. Yet Barber remained dissatisfied with his wartime effort. He eventually separated the slow movement, which he published as its own piece, titled Night Flight — and then destroyed the remainder of the symphony. One set of score parts, however, was later rediscovered (after the composer’s death), allowing the entire work to be performed again, recorded, and re-evaluated. —Peter Laki

Barber wrote his Symphony in One Movement during the winter of 1935-36 while in Italy. The work received its first performance on December 13, 1936, in Rome, with Bernardino Molinari conducting the Augusteo Orchestra. The Cleveland Orchestra gave the United States premiere, in January 1937, conducted by music director Artur Rodzinski. Barber revised the score in 1944, and dedicated the symphony to his friend and life partner, composer Gian Carlo Menotti. (After writing another symphony, in 194344, Barber agreed that his earlier work could be called “Symphony No. 1” by his publisher, but he continued to think of it as his “Symphony in One Movement.”) This symphony runs about 20 minutes in performance. Barber scored it for piccolo and 2 flutes, 2 oboes and english horn, 2 clarinets and bass clarinet, 2 bassoons and contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (cymbals, bass drum), harp, and strings.

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

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August 16

Symphony No. 4 (“Italian”) in A major, Opus 90 composed 1831-33

Felix

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

D U R I N G H I S S TAY I N I TA LY in 1830-31, Felix Mendelssohn was working on two symphonies at the same time. One was intended to capture his impressions of Italy. The other he hoped would reflect on his journey to Scotland back in 1829. With the sunny Roman climate hardly being conducive to work on a Northern subject, it is little wonder that Mendelssohn finished the sunny “Italian” Symphony first (he referred to it by that name in his own letters). His “Scottish” Symphony — a grand mixture of energetic and peaceful musical repose — was not completed until a decade later, in 1842. The two symphonies seem to complement one another in several ways. Not only were they inspired by two completely different landscapes, but some of their musical characteristics are direct contrasts between the two pieces. The “Scottish” Symphony is in A minor with a last movement in A major, while the “Italian” Symphony is in A major with the finale in A minor (taking a symphony from minor to major was pretty common; doing it the other way ’round much more unusual — but Mendelssohn had his reasons and the musical progression makes perfect sense in both works, to musicians and to audiences merely enjoying the music). Without an introduction, the first movement of the “Italian” Symphony begins with an exuberant melody bursting with youthful energy. A 19th-century commentator spoke about the “bright, sunny, laughing freshness” of the symphony, a quality established right from the very beginning. Other themes in the movement sing in parallel thirds, like a pair of lovers on an opera stage, or move about in light dance steps like the elves in A Midsummer Night’s Dream. The second movement, marked Andante con moto, was probably inspired by a processional song Mendelssohn heard in Rome. It is occasionally dubbed “Pilgrim’s March,” because of a certain resemblance to the “Pilgrim’s March” from Berlioz’s Harold in Italy (another famous “Italian Symphony” from the 1830s). An alternate explanation was proposed by musicologist Eric Werner, who traced the theme of the Andante movement to a song by Mendelssohn’s teacher, Carl Friedrich Zelter. The text of the song (“There Was a King in Thule”) is from Goethe’s Faust, in which Gretchen sings it as a ballad about a king in a August 16: About the Music

The Cleveland Orchestra

A 19th-century illustration of Mendelssohn as a child conducting family members in a musical evening. Mendelssohn’s childhood was comfortable financially, and his family encouraged him to discover interests across all the arts, including drawing, painting, and writing.

distant land who has lost his beloved. Goethe was an important mentor to the young Mendelssohn and, because both Goethe and Zelter died within a few months of each other in 1832, it is possible that Mendelssohn intended this movement as a quiet, personal memorial to two men who had played important roles in his life. The third movement, marked Con moto moderato, is a dance movement, with the expected Trio (a contrasting section, tracing its origins to a work written specifically for three instruments, but in a symphonic setting the number of instruments could be expanded). The main theme is a minuet, looking back with a touch of nostalgia to the days of Haydn and Mozart, when the third movement of most symphonies was most often based on a dance form. The Trio, with its Romantic horn calls and puckish violin-and-flute theme, is more distinctly Mendelssohnian. After the recapitulation of the minuet, the Trio theme is hinted at once more, before the movement ends suddenly in a hushed pianissimo. The Presto fourth-movement finale is titled “Saltarello,” after a quick folk dance of Southern Italy. Of its two main melodies, the first one is indeed a bouncing saltarello; the other is a ceaselessly running tarantella (a different kind of Italian folk dance). Whether saltarello or tarantella, however, the dance character dominates the entire finale. It is only near the end that a more lyrical, slower-moving motif appears, but that too is soon swept up in the returning dance rhythms. —Peter Laki

At a Glance Mendelssohn began work on his “Italian” Symphony in Rome early in 1831 and completed it in Berlin in March 1833. It was premiered on May 13, 1833, in London at a concert of the Philharmonic Society. Mendelssohn, however, was dissatisfied with the work and withdrew the score after three performances. He revised movements 2-4 in 1834-35. He planned to revise the first movement as well, but apparently never did so. The score was published after Mendelssohn’s death without the revisions of 1834-35. It is best known and most often performed in the 1833 version. This symphony runs about 25 minutes in performance. Mendelssohn scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

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Our greatest glory is not in never falling, but in rising everytime we fall. â&#x20AC;&#x201D;Batman

Severance Hall ll — Clevelland, d Oh Ohiio Friday evening, August 23, 2019, at 8:00 p.m. Sunday d affternoon, Augustt 25, 2019, at 3:00 p.m.

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

BATMAN (198 89) LIV LIVE IN CONCERT a Warner Bros. os. Pic Pictures Presentation directed by Tim Burton d produced odu od by Jon Peters and Peter Guber screenplay by Sam Hamm and Warren Skaaren story by Sam Hamm based on characters originated by Bob Kane, e Bill Finger, r and DC Comics starring Jack Nicholson as Jack Napier / The Joker Michael Keaton as Bruce Wayne / Batman Kim Basinger as Vicki Vale Robert Wuhl as Alexander Knox Pat Hingle as Commissioner Gordon Billy Dee Williams as Harvey Dent Michael Gough as Alfred Jack Palance as Carl Grissom music by Danny Elfman

The movie = 125 minutes. This weekend’s performances include one intermission and will run approximately 2 hours and 30 minutes.

with the musical score performed live by BATMAN

THE CLEVELAND ORCHESTRA and the BLOSSOM FESTIVAL CHORUS conducted by LUDWIG WICKI Presentation licensed by Warner Bros. Pictures © & TM . All rights reserved. Presented in association with Columbia Artists.

The Cleveland Orchestra

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August 23, 25

Tim Burton DIRECTOR

Danny Elfman COMPOSER

Two-time Academy Award nominee Tim Burton is regarded among the most imaginative filmmakers working today. As a director, producer, screenwriter, and artist, he has enjoyed great success in both the live-action and animation arenas. His films include Beetlejuice (1988), Batman (1989), Edward Scissorhands (1990), Batman Returns (1992), The Nightmare Before Christmas (1993), Planet of the Apes (2001), Charlie and the Chocolate Factory (2005), Big Fish (2005), Sweeney Todd: The Demon Barber of Fleet Street (2007), Alice in Wonderland (2010), Frankenweenie (2012), Dark Shadows (2012), and Dumbo (2019). He made his feature film directorial debut in 1985 with the hit comedy PeeWee’s Big Adventure, and since that time has explored a range of styles and genres, including animation, fantasy, horror, and science fiction, often with a dark view and underlying sensitivity to life’s whimsy, opportunities, and juxtapositions. A musical stage adaptation of Beetlejuice opened earlier this year and is currently playing on Broadway.

Four-time Academy Award nominee Danny Elfman has established himself as one of the most versatile and accomplished film composers in the industry. A native of Los Angeles, Elfman grew up loving film music. He travelled the world as a young man, absorbing its musical diversity. He helped found the band Oingo Boingo, and came to the attention of a young Tim Burton, who asked him to write the score for Pee-Wee’s Big Adventure (1985). The two went on to forge one of the most fruitful composer-director collaborations in film history — including Batman (1989), Edward Scissorhands (1990), The Nightmare Before Christmas (1993), Big Fish (2005), Alice in Wonderland (2010), and Dumbo (2019). Mr. Elfman’s many other scores include Good Will Hunting (1997), Men in Black 1-3 (19972012), Spider-Man (2002), Milk (2008), Fifty Shades 1-3 (2015-2018), and The Grinch (2018). In addition to his film work, he wrote the iconic theme music for the television series The Simpsons and Desperate Housewives. He has also written for modern dance and for classical musicians.

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The Cleveland Orchestra

August 23, 25

B AT M A N M OV I E SYN O P S I S As Gotham City prepares for its bicentennial, district attorney Harvey Dent (Billy Dee Williams) and police commissioner Jim Gordon (Pat Hingle) are instructed by the mayor to clean up the crime-ridden streets. Meanwhile, newspaper photographer Vicki Vale (Kim Basinger) is investigating rumors about a “batman” who’s chasing down felons. Batman is, in fact, the alter-ego of billionaire industrialist Bruce Wayne (Michael Keaton), who was motivated to fight criminals and wrong-doing after witnessing his parents killed by a mugger as a young boy. During a charity event at Wayne Manor, sparks of mutual interest ignite between Batman’s everyday persona, Bruce, and cub reporter Vicki. The evening is suddenly cut short when Commissioner Gordon is called away on business — with Wayne leaving, too, in order to investigate as Batman. In the midst of infiltrating a chemical plant in search of incriminating documents, mobster Jack Napier (Jack Nicholson) is caught in a standoff with the police. Batman arrives and battles Napier, who fatefully falls into a vat of chemicals. Napier is presumed dead, but later emerges alive but severely disfigured — with ashen white skin, green hair, and a mouth that’s been distorted into a permanent grin. The incident amplifies Napier’s sociopathic tendencies into full-on insanity. He quickly moves to become a kingpin of the underworld, calling himself the Joker and scheming to replace his former chief, mob boss Carl Grissom (Jack Palance). Seeking revenge against Batman and the city, the Joker terrorizes Gotham by lacing health and beauty products with a chemical called “Smylex,” which causes victims to die laughing with Joker-like grins frozen across their faces. Attempting to lure as many citizens of Gotham as possible, the Joker hosts a parade, promising to hand out $20 million in cash. Batman foils the Joker’s plan and, after saving Vicki, uses a Bat-Hook to lasso the Joker’s getaway helicopter, causing it to crash. In the days that follow, Vicki is set to arrive at Wayne Manor for a date with Bruce. The butler Alfred (Michael Gough) informs Vicki that Bruce is running “a little late.” Batman, in fact, is perched on a rooftop high above Gotham, watching over the city with the Bat-signal illuminating the night sky.

The Cleveland Orchestra

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August 23, 25

Ludwig Wicki Swiss conductor Ludwig Wicki is making his Cleveland Orchestra debut with this weekend’s performances. As music director of the Lucerne Hofkirche, he has cultivated sacred repertoire ranging from Gregorian chant to contemporary compositions, with a special emphasis on works by Haydn and Bach, alongside masters of the Renaissance including Palestrina, Monteverdi, and Schütz. In addition, he has led concerts of late Romantic and Impressionist works, Viennese classics, and chamber ensemble performances featuring works by Stravinsky, Schoenberg, and living composers. In 1999, Wicki founded the 21st Century Symphony Orchestra, which is dedicated primarily to the performance of film music. Serving as the group’s artistic director, Mr. Wicki has developed a range of projects, including presentations of classic silent films (Charlie Chaplin, Buster Keaton) with live music. Based in Lucerne, the ensemble’s annual seasons feature

more than ten film music projects, and has included collaborations with renowned film composers including Howard Shore, Randy Newman, Martin Böttcher, George Fenton, and Michael Giacchino. Mr. Wicki conducted the world premiere of The Fellowship of the Ring in 2008 with the 21st Century Symphony Orchestra and Chorus, marking the first live performance of the original soundtrack to the first film of the trilogy The Lord of the Rings. He has subsequently led performances around the world, from Chicago and New York, to London, Munich, and Sydney. Born in Lucerne, Switzerland, Ludwig Wicki grew up in a musical environment influenced by folk and church music. He studied trombone and at a young age joined the Lucerne Symphony Orchestra. In addition, he pursued studies in conducting and choir direction in Bern. Further conducting studies led him to Dresden to study with Martin Flämig and to Pescara to study with Donato Renzetti. Mr. Wicki serves as professor of chamber music and conducting at universities in Lucerne and Bern. In 2007, he was awarded the Recognition Award of the City of Lucerne. In 2013, he was given an Award for Excellence in cultural creativity from the Global Thinkers Forum.

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The Cleveland Orchestra

August 23, 25

Blossom Festival Chorus Lisa Wong, Director

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

BATMAN (1989) chorus prepared by Daniel Singer with Jacob Bernhardt, accompanist SOPRANO

ALTO

TENOR

Lou Albertson Amanda Baker Leah Benko* Patty Console Katelyn Crouch* Susan Cucuzza Karla Cummins Sasha Desberg Taniya Dsouza* Lisa Georges Karen Hazlett Ashlyn Herd Kirsten Jaegersen Shannon R. Jakubczak Nina Kapusta Heidi Lang Dawn Liston Amelia Morra* Madeleine Silver-Riskin Mary Krason Wiker

Debbie Bates Ellen Beleiu Joanna Bernhardt Terry Boyarsky Brooke Emmel Rachael Grubb Gloria R. Homolak Sarah N. Hutchins Melissa Jolly Kristi Krueger Karla McMullen Grace Mino* Emma Rosberil* Amy Shen Melanie Tabak

David Erlandson Gary Kaplan Peter Kvidera James Newby Michael Stupecki* Steven Weems Garrett Wineberg*

Jill Harbaugh, Manager of Choruses

BASS

Jack Blazey Carlos Castells Serhii Chebotar Peter B. Clausen Thomas Cucuzza Kerry Davis Christopher Dewald David Ellis Josh Heese Dennis Hollo Jeral Hurd

Robert L. Jenkins III James Johnston Aaron Kim Krish Malte* Tyler Mason Roger Mennell Keith Norman Brandon Randall Andrew Schettler Jackson Slater* Charlie Smrekar

* member of the Cleveland Orchestra Youth Chorus joining the chorus for this weekend’s performances

Daniel Singer Assistant Director of Choruses, The Cleveland Orchestra

Daniel Singer joined the choral conducting staff of the Cleveland Orchestra in 2012 as assistant director of The Cleveland Orchestra Youth Chorus. He was promoted to director of the Youth Chorus with the 2017-18 season, and now also serves as assistant director of choruses for the institution. Since 2011, Mr. Singer has served as director of music at University School in Hunting Valley, Ohio, where he conducts orchestra and chorus. He holds a master of music degree in choral conducting from Michigan State University. The Cleveland Orchestra

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A portrait of Wolfgang Amadè Mozart, painted circa 1783 by Joseph Hickel.

We live in thiss world in order always to learn industriou uslyy and to enlighten each other by means of discussion and to strive vigorously to promote the progress of sciences and the fifin ne arts. —Wolfgang Amadè Mozart

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 Compaany, Inc. BakerHostetler Bank of America The William Bingham m Foundation Mr. William P. Blair III Mr. Richard J. Bogom molny and Ms. Patricia M M. Kozerefski Irma and Norman Braman Jeanette Grasselli Bro own and Glenn R. Brow wn The Cleveland Found dation The George W. Codriington Charitable Foundaation Robert and Jean* Co onrad Mr. and Mrs. Alexand der M. Cutler Cuyahoga County re esidents through Cuyahoga Arts & Culture Eaton FirstEnergy Foundation Forest City GAR Foundation Mr. and Mrs. Richard T. Garrett The Gerhard Foundaation, Inc. Ann and Gordon Gettty Foundation The Goodyear Tire & Rubber Company The George Gund Fo oundation Francie and David Ho orvitz Mr. and Mrs. Michaell J. Horvitz Hyster-Y -Yale Materialss Handling, Inc. NACCO Industries, In nc. The Louise H. and Daavid S. Ingalls Foundation n Martha Holden Jenn nings Foundation Jones Day Myra Tuteur Kahn Me emorial Fund of the Cleveland Fo oundation The Walter and Jean Kalberer Foundation

Summers@Seve erance

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)

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* deceased

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

George Szell Society 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+

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+

With special thanks to the Leadership Patron Committee for their commitment to each year’s annual support initiatives:

+ Multiyear Pledges

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

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

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

Summers@Severance

Individual Annual Support

Frank H. Ginn Society gifts ift off $10 $10,000 000 tto $14 $14,999 999 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

Individual Annual Support

listings g continue

The Cleveland Orchestra

May 8, 1930

June 5, 1930

listings continued

D 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 Caroll Tall Taller+ Sidney Taurel and ‘Maria Castello Branco Mr.* aand 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

Individual Annual Support

The Cleveland Orchestra

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

Summers@Severance

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 online at CLEVELANDORCHESTRA .COM For information about how you can play a supporting role for The Cleveland Orchestra’s ongoing artistic excellence, education programs, and community partnerships, please contact our Philanthropy & Advancement Office by 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

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 Orchestraâ&#x20AC;&#x2122;s music-making, education programs, and community initiatives.

Annual Supportt 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 IN EXCELLENCE $300,000 AND MORE

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

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

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

$50,000 TO $99,999

The Lubrizol Corporation Quality Electrodynamics voestalpine AG (Europe) $15,000 TO $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 TO $14,999 Amsdell Companies BDI Blue Technologies Brothers Printing Company Tony and Lennie Petarca Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Consolidated Solutions Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Gross Builders Jobs Ohio The Lincoln Electric Foundation Littler Mendelson, P.C. Live Publishing Company Materion Corporation Northern Haserot Oatey Oswald Companies Park-Ohio Holdings PwC RSM US LLP Stern Advertising Ulmer & Berne LLP Anonymous (2)

The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

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

Annual Supportt 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

Summers@Severance

$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

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 aboutt investing in the future of The Cleveland Orchestra with a planned gift that costs nothing today, y contact: Rachel Lappen Senior Director of Development The Cleveland Orchestra 216-231-8011 rlappen@clevelandorchestra.com

Steve Norris and Emily Gonzales

Everyone Can Leave a

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 Givingg Office by contacting Rachel Lappen at rlappen@clevelandorchestra.com or 216-231-8011.

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

/HJDF\ *LYLQJ

Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY L I S T I N G C O N T I N U ED

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 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 V. Johnson E. Anne Johnson Nancy Kurfess Johnson, M.D.

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

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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 Rains Mrs. Alfred M. Rankin, Sr. James and Donna Reid Mrs. Charles Ritchie Dr. Larry J.B.* and Barbara S. Robinson Margaret B. Robinson Dwight W. Robinson Janice and Roger Robinson Amy and Ken Rogat Carol Rolf and Steven Adler Margaret B. Babyak* and Phillip J. Roscoe Audra* and George Rose Dr. Eugene and Mrs. Jacqueline* Ross Robert and Margo Roth Marjorie A. Rott* Howard and Laurel Rowen Professor Alan Miles Ruben and Judge Betty Willis Ruben Marc Ruckel Florence Brewster Rutter Dr. Joseph V V. Ryckman Mr. James L. Ryhal, Jr.* Renee Sabreen* Marjorie Bell Sachs Dr. V Vernon E. Sackman and Ms. Marguerite Patton Sue Sahli Mr. and Mrs. James A. Saks John A Salkowski Larry J. Santon Stanford and Jean B. Sarlson James Dalton Saunders Patricia J. Sawvel Ray and Kit Sawyer Alice R. Sayre In Memory of Hyman and Becky Schandler Robert Scherrer Sandra J. Schlub Ms. Marian Schluembach Robert and Betty Schmiermund Mr.* and Mrs. Richard M. Schneider Jeanette L. Schroeder Frank Schultz Carol* and Albert Schupp Lawrence M. Sears and Sally Z. Sears Roslyn S. and Ralph M. Seed Nancy F. Seeley Edward Seely Oliver E.* and Meredith M. Seikel Reverend Sandra Selby Eric Sellen Holly Selvaggi Thomas and Ann Sepúlveda B. Kathleen Shamp Jill Semko Shane David Shank Dr. and Mrs. Daniel J. Shapiro* Helen and Fred D. Shapiro Norine W. Sharp*

Summers@Severance

Norma Gudin Shaw Elizabeth Carroll Shearer* Dr. and Mrs. William C. Sheldon John F. Shelley and Patricia Burgess* Frank* and Mary Ann Sheranko Kim Sherwin Mr. and Mrs. Michael Sherwin Reverend and Mrs. Malcolm K. Shields Rosalyn and George* Sievila Mr.* and Mrs. David L. Simon Dr.* and Mrs. John A. Sims Naomi G. and Edwin Z. Singer Lauretta Sinkosky H. Scott Sippel and Clark T. Kurtz Ellen J. Skinner Ralph* and Phyllis Skufca Janet Hickok Slade Drs. Charles Kent Smith and Patricia Moore Smith!!! Mr.* and Mrs. Ward Smith Ms. Mary C. Smith Sandra and Richey Smith Roy Smith Myrna and James Spira Barbara J. Stanford and Vincent T. Lombardo George R. and Mary B. Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Elliott K. Stave & Susan L. Kozak Fund Saundra K. Stemen Merle and Albert Stern* Dr. Myron Bud and Helene* Stern Mr. and Mrs. John M. Stickney Dr. and Mrs. William H. Stigelman, Jr. Mr.* and Mrs. James P. Storer Ralph E. and Barbara N. String* In Memory of Marjory Swartzbaugh Dr. Elizabeth Swenson Lorraine S. Szabo Mrs. Jean H. Taber* Norman V V. Tagliaferri Nancy and Lee Tenenbaum Dr. and Mrs. Friedrich Thiel Mr. and Mrs. William M. Toneff Joe and Marlene Toot Alleyne C. Toppin Janice and Leonard Tower Dr. and Mrs. James E. Triner William & Judith Ann Tucholsky Dorothy Ann Turick* Mr. Jack G. Ulman Robert and Marti* Vagi V Robert A. Valente V J. Paxton V Van Sweringen Mary Louise and Don VanDyke V Steven Vivarronda Hon. and Mrs. William F.B. Vodrey V Pat and Walt* Wahlen Mrs. Clare R. Walker John and Deborah Warner

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Mr. and Mrs. Russell Warren Joseph F. and Dorothy L.* Wasserbauer Reverend Thomas L. Weber Etta Ruth Weigl* Lucile Weingartner Max W. Wendel William Wendling and Lynne Woodman Robert C. Weppler Paul and Suzanne Westlake Marilyn J. White Yoash and Sharon Wiener Y Linda R. Wilcox Alan H.* and Marilyn M. Wilde Helen Sue* and Meredith Williams Carter and Genevieve* Wilmot Mr. Milton Wolfson* and Mrs. Miriam Shuler-Wolfson Nancy L. Wolpe Mrs. Alfred C. Woodcock Katie and Donald Woodcock Dr.* and Mrs. Henry F. Woodruff Marilyn L. Wozniak Nancy R. Wurzel Michael and Diane Wyatt Tony and Diane Wynshaw-Boris Mary Yee Y Carol Yellig Y Libby M. Yunger William Zempolich and Beth Meany Roy J. Zook* Anonymous (73)

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.

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 E R N ATI O N A L T R U S T E E S 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 E S I D E N T S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08 Dennis W. LaBarre 2009-17

THE CLEVEL AND ORCHESTR A FRANZ WELSER-MÖST, Music Director

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ANDRÉ GREMILLET, President & CEO

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11001 Euclid Avenue, Cleveland, Ohio 44106 SEVERANCEHALL.COM

LATE SEATING As a courtesy to the audience members and musicians in the hall, late-arriving patrons are asked to wait quietly until the first convenient break in the program, when ushers will help you to your seats. These seating breaks are at the discretion of the House Manager in consultation with the performing artists. PAGERS, CELL PHONES, AND WRISTWATCH ALARMS Please silence any alarms or ringers on pagers, mobile phones, or wristwatches prior to the start of the concert.

of the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 1921-1936) and his wife, Elisabeth, donated the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000.

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PHOTOGRAPHY, VIDEOGRAPHY, AND RECORDING Audio recording, photography, and videography are prohibited during performances at Severance Hall. Photographs of the hall and selfies to share with others can be taken when the performance is not in progress. As courtesy to others, please turn off any phone of device that makes noise or emits light. IN THE EVENT OF AN EMERGENCY Contact an usher or a member of house staff if you require medical assistance. Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency. AGE RESTRICTIONS Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Cleveland Orchestra subscription concerts are not recommended for children under the age of 8. However, there are several age-appropriate series designed specifically for children and youth, including: Musical Explorers, (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older). THE CLEVELAND ORCHESTRA STORE A variety of items relating to The Cleveland Orchestra — including logo apparel, compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermission, located on the groundfloor in the Smith Lobby near the Ticket Office.

I think one of the great things about being a musician is that you never stop learning. —Yo-Yo Ma, cellist

Music does a lot of things for a lot of people. It’s transporting, for sure. It can take you right back, years back, to the very moment certain things happened in your life. It’s uplifting, it’s encouraging, it’s strengthening. —Aretha Franklin, singer

OKAY Words make you think a thought. Music makes you feel a feeling. Thus, a song makes you feel a thought. —Yip Harburg, lyricist

Music is one of the most powerful things the world has to offer. No matter what race or religion or nationality or sexual orientation or gender that you are, it has the power to unite us. —Lady Gaga, singer 88

The Cleveland Orchestra

T HE

CLEVELAND ORCHE STRA

Each year, thousands of Northeast Ohioans experience The Cleveland KƌĐŚĞƐƚƌĂ ĨŽƌ ƚŚĞ ĮƌƐƚ ƟŵĞ͘ Whether you are a seasoned ĐŽŶĐĞƌƚŐŽĞƌ Žƌ Ă ĮƌƐƚͲƟŵĞƌ͕ these pages give you ways to ůĞĂƌŶ ŵŽƌĞ or get involved with the Orchestra and to explore the joys ŽĨ ŵƵƐŝĐ ĨƵƌƚŚĞƌ͘ Created to serve Northeast Ohio, The Cleveland Orchestra has a ůŽŶŐ ĂŶĚ ƉƌŽƵĚ ŚŝƐƚŽƌǇ ŽĨ ƉƌŽŵŽƟŶŐ and sharing the power of music ƚŚƌŽƵŐŚ ĞǆƉůŽƌĂƟŽŶ͕ ĞĚƵĐĂƟŽŶ͕ and extraordinary experiences.

ĞůĞďƌĂƟŶŐ Life & Music The Cleveland Orchestra performs all ǀĂƌŝĞƟĞƐ ŽĨ ŵƵƐŝĐ͕ ŐĂƚŚĞƌŝŶŐ ĨĂŵŝůǇ ĂŶĚ ĨƌŝĞŶĚƐ ƚŽŐĞƚŚĞƌ ŝŶ ĐĞůĞďƌĂƟŽŶ ŽĨ ƚŚĞ ƉŽǁĞƌ ŽĨ ŵƵƐŝĐ͘ dŚĞ KƌĐŚĞƐƚƌĂ͛Ɛ ŵƵƐŝĐ marks major milestones and honors ƐƉĞĐŝĂů ŵŽŵĞŶƚƐ͕ ŚĞůƉŝŶŐ ƚŽ ƉƌŽǀŝĚĞ ƚŚĞ ƐŽƵŶĚƚƌĂĐŬ ƚŽ ĞĂĐŚ ĚĂǇ ĂŶĚ ďƌŝŶŐŝŶŐ ǇŽƵƌ ŚŽƉĞƐ ĂŶĚ ũŽǇƐ ƚŽ ůŝĨĞ͘ From ĨƌĞĞ ĐŽŵŵƵŶŝƚǇ ĐŽŶĐĞƌƚƐ at ^ĞǀĞƌĂŶĐĞ ,Ăůů and in downtown ůĞǀĞůĂŶĚ ͘ ͘ ͘ ƚŽ ƉŝĐŶŝĐƐ ŽŶ ǁĂƌŵ ƐƵŵŵĞƌ ĞǀĞŶŝŶŐƐ Ăƚ ůŽƐƐŽŵ DƵƐŝĐ ĞŶƚĞƌ . . . &ƌŽŵ ƉĞƌĨŽƌŵĂŶĐĞƐ ĨŽƌ ĐƌŽǁĚƐ ŽĨ ƐƚƵĚĞŶƚƐ in ĐůĂƐƐƌŽŽŵƐ ĂŶĚ ĂƵĚŝƚŽƌŝƵŵƐ . . . to ŽƉĞƌĂ ĂŶĚ ďĂůůĞƚ ǁŝƚŚ ƚŚĞ ǁŽƌůĚ͛Ɛ ďĞƐƚ ƐŝŶŐĞƌƐ ĂŶĚ dancers . . . From ŚŽůŝĚĂǇ ŐĂƚŚĞƌŝŶŐƐ ǁŝƚŚ ĨĂǀŽƌŝƚĞ ƐŽŶŐƐ . . . to the wonder of ŶĞǁ ĐŽŵƉŽƐŝƟŽŶƐ ƉĞƌĨŽƌŵĞĚ ďǇ ŵƵƐŝĐ͛Ɛ ƌŝƐŝŶŐ ƐƚĂƌƐ ͘ ͘ ͘ DƵƐŝĐ ŝŶƐƉŝƌĞƐ͘ /ƚ ĨŽƌƟĮĞƐ ŵŝŶĚƐ ĂŶĚ ĞůĞĐƚƌŝĮĞƐ ƐƉŝƌŝƚƐ͘ /ƚ ďƌŝŶŐƐ ƉĞŽƉůĞ ƚŽŐĞƚŚĞƌ ŝŶ ŵŝŶĚ͕ ďŽĚǇ͕ ĂŶĚ ƐŽƵů͘

To learn more, visit ĐůĞǀĞůĂŶĚŽƌĐŚĞƐƚƌĂ͘ĐŽŵ

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PHOTOGRAPHY BY ROGER MASTROIANNI

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THE CLEVELAND ORCHESTRA

EXCELLENCE

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A FOCUS ON YOUNG PEOPLE

ŚĂŶŐŝŶŐ >ŝǀĞƐ dŚĞ ůĞǀĞůĂŶĚ KƌĐŚĞƐƚƌĂ ŝƐ ďƵŝůĚŝŶŐ ƚŚĞ ǇŽƵŶŐĞƐƚ ŽƌĐŚĞƐƚƌĂ ĂƵĚŝĞŶĐĞ ŝŶ ƚŚĞ ĐŽƵŶƚƌǇ͘ /Ŷ ƌĞĐĞŶƚ ǇĞĂƌƐ͕ ƚŚĞ ŶƵŵďĞƌ ŽĨ ǇŽƵŶŐ ƉĞŽƉůĞ ĂƩĞŶĚŝŶŐ ůĞǀĞůĂŶĚ Orchestra concerts at Blossom and SeverĂŶĐĞ ,Ăůů ŚĂƐ ŵŽƌĞ ƚŚĂŶ ĚŽƵďůĞĚ͕ ĂŶĚ ŶŽǁ ŵĂŬĞƐ ƵƉ ϮϬй ŽĨ ƚŚĞ ĂƵĚŝĞŶĐĞ͘ x hŶĚĞƌ ϭϴƐ &ƌĞĞ͕ ƚŚĞ ŇĂŐƐŚŝƉ ƉƌŽŐƌĂŵ ŽĨ ƚŚĞ KƌĐŚĞƐƚƌĂ͛Ɛ ĞŶƚĞƌ ĨŽƌ &ƵƚƵƌĞ ƵĚŝĞŶĐĞƐ ;ĐƌĞĂƚĞĚ ǁŝƚŚ Ă ůĞĂĚ ĞŶĚŽǁŵĞŶƚ ŐŝŌ ĨƌŽŵ ƚŚĞ DĂůƚǌ &ĂŵŝůǇ &ŽƵŶĚĂƟŽŶͿ͕ ŵĂŬĞƐ ĂƩĞŶĚŝŶŐ KƌĐŚĞƐƚƌĂ ĐŽŶĐĞƌƚƐ ĂīŽƌĚĂďůĞ ĨŽƌ ĨĂŵŝůŝĞƐ.

The Cleveland Orchestra is one of the world’s ŵŽƐƚͲĂĐĐůĂŝŵĞĚ ĂŶĚ ƐŽƵŐŚƚͲĂŌĞƌ ƉĞƌĨŽƌŵŝŶŐ ĂƌƚƐ ĞŶƐĞŵďůĞƐ͘ tŚĞƚŚĞƌ Ăƚ ŚŽŵĞ Žƌ ĂƌŽƵŶĚ ƚŚĞ ǁŽƌůĚ͕ ƚŚĞ ŵƵƐŝĐŝĂŶƐ ĐĂƌƌǇ EŽƌƚŚĞĂƐƚ KŚŝŽ͛Ɛ ĐŽŵŵŝƚŵĞŶƚ ƚŽ ĞǆĐĞůůĞŶĐĞ ĂŶĚ ƐƚƌŽŶŐ ƐĞŶƐĞ ŽĨ ĐŽŵ ͲŵƵŶŝƚǇ ǁŝƚŚ ƚŚĞŵ ĞǀĞƌǇǁŚĞƌĞ ƚŚĞ KƌĐŚĞƐƚƌĂ ƉĞƌĨŽƌŵƐ͘ dŚĞ ĞŶƐĞŵďůĞ͛Ɛ ƟĞƐ ƚŽ ƚŚŝƐ ƌĞŐŝŽŶ ƌƵŶ ĚĞĞƉ ĂŶĚ ƐƚƌŽŶŐ͗ x Two ĂĐŽƵƐƟĐĂůůǇͲƌĞŶŽǁŶĞĚ ǀĞŶƵĞƐ — Severance Hall and Blossom — anchor the Orchestra’s performance calendar ĂŶĚ ĐŽŶƟŶƵĞ ƚŽ ƐŚĂƉĞ ƚŚĞ ĂƌƟƐƟĐ ƐƚǇůĞ ŽĨ ƚŚĞ ĞŶƐĞŵďůĞ͘ x More than ϲϬ͕ϬϬϬ ůŽĐĂů ƐƚƵĚĞŶƚƐ ƉĂƌƟĐŝƉĂƚĞ ŝŶ ƚŚĞ KƌĐŚĞƐƚƌĂ͛Ɛ ĞĚƵĐĂƟŽŶ ƉƌŽŐƌĂŵƐ ĞĂĐŚ ǇĞĂƌ͘ x Over ϯϱϬ͕ϬϬϬ ƉĞŽƉůĞ ĂƩĞŶĚ KƌĐŚĞƐƚƌĂ ĐŽŶĐĞƌƚƐ ŝŶ EŽƌƚŚĞĂƐƚ KŚŝŽ ĂŶŶƵĂůůǇ͘ x The Cleveland Orchestra serves as Northeast Ohio’s ĂŵďĂƐƐĂĚŽƌ ƚŽ ƚŚĞ ǁŽƌůĚ Ͷ ƚŚƌŽƵŐŚ ĐŽŶĐĞƌƚƐ͕ ƌĞĐŽƌĚŝŶŐƐ͕ ĂŶĚ ďƌŽĂĚĐĂƐƚƐ Ͷ ƉƌŽƵĚůǇ ďĞĂƌŝŶŐ ƚŚĞ ŶĂŵĞ ŽĨ ŝƚƐ ŚŽŵĞƚŽǁŶ ĂĐƌŽƐƐ ƚŚĞ ŐůŽďĞ͘

x ^ƚƵĚĞŶƚ ĚǀĂŶƚĂŐĞ and &ƌĞƋƵĞŶƚ &ĂŶ ĂƌĚ ƉƌŽŐƌĂŵƐ ŽīĞƌ ŐƌĞĂƚ ĚĞĂůƐ ĨŽƌ ƐƚƵĚĞŶƚƐ͘ x dŚĞ ŝƌĐůĞ͕ ŽƵƌ ŵĞŵďĞƌƐŚŝƉ ƉƌŽŐƌĂŵ ĨŽƌ ĂŐĞƐ Ϯϭ ƚŽ ϰϬ͕ ĞŶĂďůĞƐ ǇŽƵŶŐ ƉƌŽĨĞƐƐŝŽŶĂůƐ ƚŽ ĞŶũŽǇ KƌĐŚĞƐƚƌĂ ĐŽŶĐĞƌƚƐ ĂŶĚ ƐŽĐŝĂů ĂŶĚ ŶĞƚǁŽƌŬŝŶŐ ĞǀĞŶƚƐ͘ x The Orchestra’s ĐĂƐƵĂů &ƌŝĚĂǇ ĞǀĞŶŝŶŐ ĐŽŶĐĞƌƚ ƐĞƌŝĞƐ ;&ƌŝĚĂǇƐΛϳ ĂŶĚ ^ƵŵŵĞƌƐ Λ^ĞǀĞƌĂŶĐĞͿ ĚƌĂǁ ŶĞǁ ĐƌŽǁĚƐ ƚŽ Severance Hall to experience the OrchĞƐƚƌĂ ŝŶ Ă ĐŽŶƚĞǆƚ ŽĨ ĨƌŝĞŶĚƐ ĂŶĚ ŵƵƐŝĐĂů ĞǆƉůŽƌĂƟŽŶƐ͘

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The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

YOUR ORCHESTRA

ƵŝůĚŝŶŐ ŽŵŵƵŶŝƚǇ The Cleveland Orchestra exists for and ďĞĐĂƵƐĞ ŽĨ ƚŚĞ ǀŝƐŝŽŶ͕ ŐĞŶĞƌŽƐŝƚǇ͕ ĂŶĚ ĚƌĞĂŵƐ ŽĨ ƚŚĞ EŽƌƚŚĞĂƐƚ KŚŝŽ ĐŽŵŵƵŶͲ ŝƚǇ͘ ĂĐŚ ǇĞĂƌ͕ ǁĞ ƐĞĞŬ ŶĞǁ ǁĂǇƐ ƚŽ ŵĞĂŶŝŶŐĨƵůůǇ ŝŵƉĂĐƚ ůŝǀĞƐ͘ x ŽŶǀĞŶŝŶŐ ƉĞŽƉůĞ Ăƚ ĨƌĞĞ ĐŽŵŵƵŶŝƚǇ ĐŽŶĐĞƌƚƐ ĞĂĐŚ ǇĞĂƌ ŝŶ ĐĞůĞďƌĂƟŽŶ ŽĨ ŽƵƌ ĐŽƵŶƚƌǇ͕ ŽƵƌ ĐŝƚǇ͕ ŽƵƌ ĐƵůƚƵƌĞ͕ ĂŶĚ ŽƵƌ ƐŚĂƌĞĚ ůŽǀĞ ŽĨ ŵƵƐŝĐ͘

EDUCATION

/ŶƐƉŝƌŝŶŐ DŝŶĚƐ ĚƵĐĂƟŽŶ ŚĂƐ ďĞĞŶ Ăƚ ƚŚĞ ŚĞĂƌƚ ŽĨ dŚĞ ůĞǀĞ ůĂŶĚ KƌĐŚĞƐƚƌĂ͛Ɛ ĐŽŵŵƵŶŝƚǇ ŽīĞƌŝŶŐƐ ƐŝŶĐĞ ƚŚĞ ĞŶƐĞŵďůĞ͛Ɛ ĨŽƵŶĚŝŶŐ ŝŶ ϭϵϭϴ͘ dŚĞ ĂƌƚƐ ĂƌĞ Ă ĐŽƌĞ ƐƵďũĞĐƚ of ƐĐŚŽŽů ůĞĂƌŶŝŶŐ͕ ǀŝƚĂů ƚŽ ƌĞĂůŝǌŝŶŐ ĞĂĐŚ ĐŚŝůĚ͛Ɛ ĨƵůů ƉŽƚĞŶƟĂů͘ ĐŚŝůĚ͛Ɛ ĞĚƵĐĂƟŽŶ ŝƐ ŝŶĐŽŵƉůĞƚĞ ƵŶůĞƐƐ ŝƚ ŝŶĐůƵĚĞƐ ƚŚĞ ĂƌƚƐ͕ ĂŶĚ ƐƚƵĚĞŶƚƐ ŽĨ Ăůů ĂŐĞƐ ĐĂŶ ĞǆƉĞƌŝĞŶĐĞ ƚŚĞ ũŽǇ ŽĨ ŵƵƐŝĐ ƚŚƌŽƵŐŚ ƚŚĞ KƌĐŚĞƐƚƌĂ͛Ɛ ǀĂƌŝĞĚ ĞĚƵĐĂƟŽŶ ƉƌŽŐƌĂŵƐ͘ dŚĞ KƌĐŚĞƐƚƌĂ͛Ɛ ŽīĞƌŝŶŐƐ ŝŵƉĂĐƚ ͘ ͘ ͘ . . . the ǀĞƌǇ ǇŽƵŶŐ͕ ǁŝƚŚ ƉƌŽŐƌĂŵƐ ŝŶĐůƵĚŝŶŐ PNC Music Explorers and PNC Grow Up Great. . . . ŐƌĂĚĞ ƐĐŚŽŽů ĂŶĚ ŚŝŐŚ ƐĐŚŽŽů ƐƚƵĚĞŶƚƐ͕ ǁŝƚŚ ƉƌŽŐƌĂŵƐ ŝŶĐůƵĚŝŶŐ Learning Through Music͕ Family Concerts͕ ĚƵĐĂƟŽŶ ŽŶĐĞƌƚƐ͕ ĂŶĚ In-School Performances.

x /ŵŵĞƌƐŝŶŐ ƚŚĞ KƌĐŚĞƐƚƌĂ ŝŶ ůŽĐĂů ĐŽŵŵƵŶ ŝƟĞƐ ǁŝƚŚ ƐƉĞĐŝĂů ƉĞƌĨŽƌŵĂŶĐĞƐ ŝŶ ůŽĐĂů ďƵƐŝŶĞƐƐĞƐ ĂŶĚ ŚŽƚƐƉŽƚƐ ƚŚƌŽƵŐŚ ŶĞŝŐŚďŽƌŚŽŽĚ ƌĞƐŝĚĞŶĐŝĞƐ ĂŶĚ ŽƚŚĞƌ ŝŶŝƟĂƟǀĞƐ͘ x ŽůůĂďŽƌĂƟŶŐ ǁŝƚŚ ĐĞůĞďƌĂƚĞĚ ĂƌƚƐ ŝŶƐƟƚƵƟŽŶƐ Ͷ ŝŶĐůƵĚŝŶŐ ƚŚĞ ůĞǀĞůĂŶĚ DƵƐĞƵŵ ŽĨ ƌƚ͕ ůĞǀĞůĂŶĚ WůĂǇ ,ŽƵƐĞ͕ ĂŶĚ ůĞǀĞůĂŶĚ /ŶƐƟƚƵƚĞ ŽĨ DƵƐŝĐ Ͷ ƚŽ ďƌŝŶŐ ŝŶƐƉŝƌĂƟŽŶĂů ƉĞƌĨŽƌŵĂŶĐĞƐ to the people of Northeast Ohio. x ĐƟǀĞůǇ ƉĂƌƚŶĞƌŝŶŐ ǁŝƚŚ ůŽĐĂů ƐĐŚŽŽůƐ͕ ŶĞŝŐŚďŽƌŚŽŽĚƐ͕ ďƵƐŝŶĞƐƐĞƐ͕ ĂŶĚ ƐƚĂƚĞ ĂŶĚ ůŽĐĂů ŐŽǀĞƌŶŵĞŶƚƐ ƚŽ ĞŶŐĂŐĞ ĂŶĚ ƐĞƌǀĞ new corners of ƚŚĞ ĐŽŵŵƵŶŝƚǇ ƚŚƌŽƵŐŚ ƌĞƐŝĚĞŶĐŝĞƐ͕ ĞĚƵĐĂƟŽŶ ŽīĞƌŝŶŐƐ͕ ůĞĂƌŶŝŶŐ ŝŶŝƟĂƟǀĞƐ͕ ĂŶĚ ĨƌĞĞ ƉƵďůŝĐ ĞǀĞŶƚƐ͘

. . . ĐŽůůĞŐĞ ƐƚƵĚĞŶƚƐ ĂŶĚ ďĞǇŽŶĚ͕ ǁŝƚŚ ƉƌŽŐƌĂŵƐ ŝŶĐůƵĚŝŶŐ ŵƵƐŝĐŝĂŶͲůĞĚ ŵĂƐƚĞƌ ĐůĂƐƐĞƐ͕ ŝŶͲĚĞƉƚŚ ĞǆƉůŽƌĂƟŽŶƐ ŽĨ ŵƵƐŝĐĂů ƌĞƉĞƌƚŽŝƌĞ͕ ƉƌĞͲĐŽŶĐĞƌƚ ŵƵƐŝĐŝĂŶ ŝŶƚĞƌǀŝĞǁƐ͕ ĂŶĚ ƉƵďůŝĐ ĚŝƐĐƵƐƐŝŽŶ ŐƌŽƵƉƐ͘

Summers@Severance

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THE CLEVELAND ORCHESTRA

A GENEROUS COMMUNITY

^ƵƉƉŽƌƟŶŐ ǆĐĞůůĞŶĐĞ

FinĂŶĐŝĂů ƐƵƉƉŽƌƚ ĂŶĚ ĐŽŶƚƌŝďƵƟŽŶƐ ĨƌŽŵ ƚŚŽƵƐĂŶĚƐ ŽĨ ƉĞŽƉůĞ͕ ĐŽƌƉŽƌĂƟŽŶƐ͕ ĂŶĚ ĨŽƵŶĚĂƟŽŶƐ ĂĐƌŽƐƐ EŽƌƚŚĞĂƐƚ KŚŝŽ ŚĞůƉ ƐƵƐƚĂŝŶ ƚŚĞ ĞǆƚƌĂŽƌĚŝŶĂƌǇ ŵƵƐŝĐĂů ĞǆƉĞƌŝĞŶĐĞƐ ĂŶĚ ĐŽŵŵƵŶŝƚǇ ĞŶŐĂŐĞŵĞŶƚ ƚŚĂƚ ƐĞƚƐ dŚĞ Cleveland Orchestra apart from other orchĞƐƚƌĂů ĞŶƐĞŵďůĞƐ ĂƌŽƵŶĚ ƚŚĞ ǁŽƌůĚ͘

VOLUNTEERING

'Ğƚ /ŶǀŽůǀĞĚ dŚĞ ůĞǀĞůĂŶĚ KƌĐŚĞƐƚƌĂ ŚĂƐ ďĞĞŶ ƐƵƉƉŽƌƚĞĚ ďǇ ŵĂŶǇ ĚĞĚŝĐĂƚĞĚ ǀŽůƵŶƚĞĞƌƐ ƐŝŶĐĞ ŝƚƐ ĨŽƵŶĚŝŶŐ ŝŶ ϭϵϭϴ͘ zŽƵ ĐĂŶ ŵĂŬĞ ĂŶ ŝŵŵĞĚŝĂƚĞ ŝŵƉĂĐƚ ďǇ ŐĞƫŶŐ ŝŶǀŽůǀĞĚ͘ x KǀĞƌ ϮϬϬ͕ϬϬϬ ƉĞŽƉůĞ ůĞĂƌŶ ĂďŽƵƚ and follow The Cleveland Orchestra’s ĂĐƟǀŝƟĞƐ ŽŶůŝŶĞ ƚŚƌŽƵŐŚ &ĂĐĞďŽŽŬ͕ dǁŝƩĞƌ͕ ĂŶĚ /ŶƐƚĂŐƌĂŵ. x dǁŽ ĂĐƟǀĞ ǀŽůƵŶƚĞĞƌ ŐƌŽƵƉƐ Ͷ &ƌŝĞŶĚƐ ŽĨ dŚĞ ůĞǀĞůĂŶĚ KƌĐŚĞƐƚƌĂ and the ůŽƐƐŽŵ &ƌŝĞŶĚƐ ŽĨ dŚĞ ůĞǀĞůĂŶĚ KƌĐŚĞƐƚƌĂ — ƐƵƉƉŽƌƚ ƚŚĞ KƌĐŚĞƐƚƌĂ ƚŚƌŽƵŐŚ ƐĞƌǀŝĐĞ ĂŶĚ ĨƵŶĚƌĂŝƐŝŶŐ͘ dŽ ůĞĂƌŶ ŵŽƌĞ͕ ƉůĞĂƐĞ ĐĂůů ϮϭϲͲϮϯϭͲϳϱϱϳ͘

Ticket sales cover less than half the cost ŽĨ dŚĞ ůĞǀĞůĂŶĚ KƌĐŚĞƐƚƌĂ͛Ɛ ĐŽŶĐĞƌƚƐ͕ ĞĚƵĐĂƟŽŶ ƉƌĞƐĞŶƚĂƟŽŶƐ͕ ĂŶĚ ĐŽŵŵƵŶŝƚǇ ƉƌŽŐƌĂŵƐ͘ ĂĐŚ ǇĞĂƌ͕ ƚŚŽƵƐĂŶĚƐ ŽĨ ŐĞŶĞƌŽƵƐ ƉĞŽƉůĞ ŵĂŬĞ ĚŽŶĂƟŽŶƐ ůĂƌŐĞ ĂŶĚ ƐŵĂůů ƚŽ ƐƵƐƚĂŝŶ ƚŚĞ KƌĐŚĞƐƚƌĂ ĨŽƌ ƚŽĚĂǇ ĂŶĚ ĨŽƌ ĨƵƚƵƌĞ ŐĞŶĞƌĂƟŽŶƐ͘ ǀĞƌǇ ĚŽůůĂƌ ĚŽŶĂƚĞĚ ĞŶĂďůĞƐ dŚĞ ůĞǀĞůĂŶĚ KƌĐŚĞƐƚƌĂ ƚŽ ƉůĂǇ ƚŚĞ ǁŽƌůĚ͛Ɛ ĮŶĞƐƚ ŵƵƐŝĐ͕ ďƌŝŶŐŝŶŐ ĞǆƚƌĂŽƌĚŝŶĂƌǇ ĞǆƉĞƌŝĞŶĐĞƐ ƚŽ ƉĞŽƉůĞ ƚŚƌŽƵŐŚŽƵƚ ŽƵƌ ĐŽŵŵƵŶŝƚǇ Ͷ ĂŶĚ ĂĐĐůĂŝŵ ĂŶĚ ĂĚŵŝƌĂƟŽŶ ƚŽ EŽƌƚŚĞĂƐƚ KŚŝŽ͘ To learn more, visit ĐůĞǀĞůĂŶĚŽƌĐŚĞƐƚƌĂ͘ĐŽŵͬĚŽŶĂƚĞ

x KǀĞƌ ϰϬϬ ǀŽůƵŶƚĞĞƌƐ ĂƐƐŝƐƚ ĐŽŶĐĞƌƚŐŽĞƌƐ ĞĂĐŚ ƐĞĂƐŽŶ͕ ĂƐ hƐŚĞƌƐ for Orchestra ĐŽŶĐĞƌƚƐ Ăƚ ^ĞǀĞƌĂŶĐĞ ,Ăůů͕ Žƌ ĂƐ dŽƵƌ 'ƵŝĚĞƐ and as ^ƚŽƌĞ sŽůƵŶƚĞĞƌƐ. For ŵŽƌĞ ŝŶĨŽ͕ ƉůĞĂƐĞ ĐĂůů ϮϭϲͲϮϯϭͲϳϰϮϱ. x ϯϬϬ ƉƌŽĨĞƐƐŝŽŶĂů ĂŶĚ ĂŵĂƚĞƵƌ ǀŽĐĂůŝƐƚƐ ǀŽůƵŶƚĞĞƌ ƚŚĞŝƌ ƟŵĞ ĂŶĚ ĂƌƟƐƚƌǇ ĂƐ ƉĂƌƚ ŽĨ ƚŚĞ ƉƌŽĨĞƐƐŝŽŶĂůůǇͲƚƌĂŝŶĞĚ ůĞǀĞůĂŶĚ KƌĐŚĞƐƚƌĂ ŚŽƌƵƐ and ůŽƐƐŽŵ &ĞƐƟǀĂů ŚŽƌƵƐ ĞĂĐŚ ǇĞĂƌ͘ dŽ ůĞĂƌŶ ŵŽƌĞ͕ ƉůĞĂƐĞ ĐĂůů ϮϭϲͲϮϯϭͲϳϯϳϮ͘

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The Cleveland Orchestra

THE CLEVELAND ORCHESTRA

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DĂŬŝŶŐ DƵƐŝĐ dŚĞ ůĞǀĞůĂŶĚ KƌĐŚĞƐƚƌĂ ƉĂƐƐŝŽŶĂƚĞůǇ ďĞůŝĞǀĞƐ ŝŶ ƚŚĞ ǀĂůƵĞ ŽĨ ĂĐƟǀĞ ŵƵƐŝĐͲ ŵĂŬŝŶŐ͕ ǁŚŝĐŚ ƚĞĂĐŚĞƐ ůŝĨĞ ůĞƐƐŽŶƐ ŝŶ ƚĞĂŵǁŽƌŬ͕ ůŝƐƚĞŶŝŶŐ͕ ĐŽůůĂďŽƌĂƟŽŶ͕ ĂŶĚ ƐĞůĨ ĞǆƉƌĞƐƐŝŽŶ͘ DƵƐŝĐ ŝƐ ĂŶ ĂĐƟǀŝƚǇ ƚŽ ƉĂƌƟĐŝƉĂƚĞ ŝŶ ĚŝƌĞĐƚůǇ͕ ǁŝƚŚ ǇŽƵƌ ŚĂŶĚƐ͕ ǀŽŝĐĞ͕ ĂŶĚ ƐƉŝƌŝƚ͘ x zŽƵ ĐĂŶ ƉĂƌƟĐŝƉĂƚĞ ŝŶ ĞŶƐĞŵďůĞƐ for ŵƵƐŝĐŝĂŶƐ ŽĨ Ăůů ĂŐĞƐ Ͷ ŝŶĐůƵĚŝŶŐ ƚŚĞ ůĞǀĞůĂŶĚ KƌĐŚĞƐƚƌĂ ŚŽƌƵƐ͕ ŚŝůĚƌĞŶ͛Ɛ ŚŽƌƵƐ͕ zŽƵƚŚ ŚŽƌƵƐ͕ ĂŶĚ ůŽƐƐŽŵ &ĞƐƟǀĂů ŚŽƌƵƐ͕ ĂŶĚ ƚŚĞ ůĞǀĞůĂŶĚ KƌĐŚĞƐƚƌĂ zŽƵƚŚ KƌĐŚĞƐƚƌĂ͘ x ĂĐŚ ǇĞĂƌ͕ ƚŚĞ KƌĐŚĞƐƚƌĂ ďƌŝŶŐƐ ƉĞŽƉůĞ ƚŽŐĞƚŚĞƌ ŝŶ ĐĞůĞďƌĂƟŽŶ ŽĨ ŵƵƐŝĐ͕ ĞǀĞŶƚƐ͕ ĂŶŶŝǀĞƌƐĂƌŝĞƐ͕ ĂŶĚ ŵŽƌĞ Ͷ ŐŝǀŝŶŐ ǀŽŝĐĞ ƚŽ ŵƵƐŝĐ Ăƚ ĐŽŵŵƵŶŝƚǇ ƐŝŶŐĂůŽŶŐƐ ĂŶĚ ĚƵƌŝŶŐ ŚŽůŝĚĂǇ performances. x tĞ ƉĂƌƚŶĞƌ ǁŝƚŚ ůŽĐĂů ƐĐŚŽŽůƐ ĂŶĚ ďƵƐŝŶĞƐƐĞƐ ƚŽ ƚĞĂĐŚ ĂŶĚ ƉĞƌĨŽƌŵ͕ ŝŶ ĞŶƐĞŵďůĞƐ ĂŶĚ ĂƐ ƐŽůŽŝƐƚƐ͕ ĞŶĐŽƵƌĂŐŝŶŐ ŵƵƐŝĐͲŵĂŬŝŶŐ ĂĐƌŽƐƐ Northeast Ohio. Music has the power to inspire, to transform, to change lives. Make music part of ǇŽƵƌ life, and support your school’s music programs.

Summers@Severance

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2O19 BLOSSOM MUSIC FESTIVAL SUMMER HOME OF THE CLEVELAND ORCHESTRA

JUNE SATURDAY JUN

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).

FOURTH OF JULY THURSDAY JUL

JUL

SALUTE TO AMERICA

Blossom Festival Band Loras John Schissel, conductor

SCHISSEL S SS

SALUTE TO AMERICA

Blossom Festival Band Loras John Schissel, conductor

SCHISSEL S SS

JUL

5 JUL 6

Fri 8 PM Sat 8 PM RHAPSODY IN BLUE The Cleveland Orchestra Roderick Cox, conductor Aaron Diehl, piano

DIEHL

WEDNESDAY

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

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

LING N

JUL

Musical works by Mussorgsky, Prokofiev, and Tchaikovsky.

20 8

BRUCH’S VIOLIN CONCERTO The Cleveland Orchestra Klaus Mäkelä, conductor Daniel Lozakovich, violin

LOZAKOVICH

JUL

Musical works by Kodály andd Bruch, as well as Sibelius’s Fifth Symphony.

JUL

27 7

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 experience — and unrivaled among America’s summer music festival parks for the clear sightlines from across Blossom’s expansive Lawn and the superb acoustics and architectural beauty of the Blossom Pavilion. Come early to savor the summer weather. Bring your own picnic, or purchase from a variety of onsite options available, including a wide selection of wines, spirits, and beers. For an eighth summer, The Cleveland Orchestra is offering free Lawn tickets to young people ages 17 and under for all Blossom Festival concerts. Two “under 18s” will be admitted with each paid adult admission — an initiative of The Cleveland Orchestra’s Center for Future Audiences, endowed by the Maltz Family Foundation to expand new audiences for symphonic music.

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

TICKETS:

800-686-1141

= features fireworks, weather permitting

AUGUST

AND SUNDAY

SATURDAY

BEETHOVEN’S EMPEROR CONCERTO The Cleveland Orchestra Andrey Boreyko, conductor Francesco Piemontesi, piano

PIEMONTESI

AUG

SUNDAY

Musical works by Beethoven and Zemlinsky.

LY 7 Sun 7

10 8

AUG

BRAHMS FIRST SYMPHONY

PETER AND PAUL

The Cleveland Orchestra Asher Fisch, conductor Jung-Min Amy Lee, violin

The Cleveland Orchestra Lucas Richman, conductor with Peter Yarrow, Y vocalist Noel Paul Stookey, vocalist

11 7

BRIAN WILSON CELEBRATES PET SOUNDS Blossom Festival Orchestra Lucas Richman, conductor with Brian Wilson Al Jardine Blondie Chaplin

LEE

JUL

AUG

Musical works by Liszt, Barber, and Brahms.

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

AUG

17 8

PM JOHNSON CANO

SUNDAY

SYMPHONIC DANCES The Cleveland Orchestra Vinay Parameswaran, conductor Jennifer Johnson Cano, mezzo-soprano

Musical works by Ives, Bernstein, and Rachmaninoff.

AUG

24 8

SOUTH PACIFIC

JUL

21 7

The Cleveland Orchestra Andy Einhorn, conductor with stage direction by Victoria Bussert

ROME ROM RO R OME OM O MERO M

ROMERO PLAYS RODRIGO The Cleveland Orchestra Pablo Heras-Casado, conductor Pepe Romero, guitar

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

LABOR DAY WEEKEND

Musical works by Rimsky-Korsakov, Rodrigo, and Debussy.

FRIDAY JUL

28 7

AUG

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

SEP

1 7:30

JENKINS

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

SUNDAY

Dreams can come true

Cleveland Public Theatreâ&#x20AC;&#x2122;s STEP Education Program Photo by Steve Wagner

... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.

Your Investment: Strengthening Community Visit cacgrants.org/impact to learn more.