Blossom Music Festival 2015

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BLOSSOM MUSIC FESTIVAL P R E S E N T E D

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saturday August 29

JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS Jazz at Lincoln Center Orchestra Wynton Marsalis, music director with The Cleveland Orchestra conducted by William Eddins

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BLOSSOM MUSIC FESTIVAL

Saturday evening, August 29, 2015, at 8:00 p.m.

JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS Selections to be announced from the stage.

INT ER MISSION

JAZZ AT LINCOLN CENTER ORCHESTRA WITH WYNTON MARSALIS A N D

THE CLEVELAND ORCHESTRA conducted by William Eddins

Swing Symphony (Symphony No. 3) by wynton

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marsalis

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St. Louis to New Orleans All-American Pep Midwestern Moods Manhattan to L.A. Modern Modes and the Midnight Moan Think Space: Theory The Low Down Up On High

The concert will end at approximately 10:00 p.m.

This concert is sponsored by The Goodyear Tire & Rubber Company.

With this concert, The Cleveland Orchestra gratefully honors GAR Foundation for its generous support.

Media Partner: Northeast Ohio Media Group and 90.3 WCPN ideastream速

The 2015 Blossom Music Festival is presented by The J.M. Smucker Company.

The Cleveland Orchestra

Concert Program: August 29

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Jazz at Lincoln Center Orchestra with Wynton Marsalis Wynton Marsalis, Music Director, trumpet Ryan Kisor, trumpet Kenny Rampton, trumpet Marcus Printup, trumpet Vincent Gardner, trombone Chris Crenshaw, trombone Elliot Mason, trombone Sherman Irby, alto and soprano saxophones, flute, clarinet Ted Nash, alto and soprano saxophones, flute, clarinet Victor Goines, tenor and soprano saxophones, clarinet, bass clarinet Walter Blanding, tenor and soprano saxophones, clarinet Joe Temperley,* baritone and soprano saxophones, bass clarinet Paul Nedzela,* baritone and soprano saxophones, bass clarinet Dan Nimmer, piano Carlos Henriquez, bass Ali Jackson, drums Artists subject to change. *Joe Temperley does not appear on this tour; Paul Nedzela is performing on baritone and soprano saxophones, and bass clarinet.

Brooks Brothers is the official clothier of the Jazz at Lincoln Center Orchestra with Wynton Marsalis.

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About the Artists

2015 Blossom Festival

Jazz at Lincoln Center The mission of Jazz at Lincoln Center is to entertain, enrich, and expand a global community for jazz through performance, education, and advocacy. With the world‐ renowned Jazz at Lincoln Center Orchestra and guest artists spanning genres and generations, Jazz at Lincoln Center produces thousands of performance, education, and broadcast events each season in its home in New York City and around the world, for people of all ages. Jazz at Lincoln Center is led by Robert J. Appel (Chairman), Wynton Marsalis (Managing and Artistic Director), and Greg Scholl (Executive Director). For more information, please visit us at www.jazz.org.

The Jazz at Lincoln Center Orchestra (JLCO) is comprised of 15 of the finest jazz soloists and ensemble players today and has been the Jazz at Lincoln Center resident orchestra since 1988. Featured in all aspects of Jazz at Lincoln Center’s programming, this remarkably versatile orchestra performs and leads education events in New York, across the United States, and around the globe — in concert halls, dance venues, jazz clubs, and public parks, and with symphony orchestras, ballet troupes, local students, and an ever‐ expanding roster of guest artists. With Wynton Marsalis as music director, the Jazz at Lincoln Center Orchestra spends over a third of the year on tour. The big band performs a vast repertoire, from rare historic compositions to Jazz at Lincoln Center‐commissioned works, including compositions and arrangements by Duke Ellington, Count Basie, Fletcher Henderson, Thelonious Monk, Mary Lou Williams, Dizzy Gillespie, Benny Goodman, Charles The Cleveland Orchestra

About the Artists

Mingus, Chick Corea,and many others.

Education is a major part of Jazz at Lincoln Center’s mission. Its educational activities are coordinated with concert and Jazz at Lincoln Center Orchestra tour programming. These programs, many of which feature Jazz at Lincoln Center Orchestra members, include the celebrated Jazz for Young People™ family concert series, the Essentially Ellington High School Jazz Band Competition & Festival, the Jazz for Young People™ Curriculum, and education residencies, workshops, and concerts for students and adults worldwide. Jazz at Lincoln Center education programs directly reach over 110,000 students, teachers, and general audience members each year.

Jazz at Lincoln Center, NPR Music, and WBGO have partnered to help create the next generation of jazz programming in public radio under the title Jazz Night in America. The series showcases today’s vital jazz scene while also underscoring the genre’s storied history. Hosted by bassist Christian McBride, the program features hand‐picked performances from across the country, woven with the colorful stories of the artists behind them. Jazz Night in America and Jazz at Lincoln Center’s radio archive can be found at jazz.org/radio.

In recent years, the Jazz at Lincoln Center Orchestra has performed collaborations with many leading symphony orchestras around the world, including those of Boston, Chicago, Los Angeles, and New York, as well as with the Berlin Philharmonic, London Symphony Orchestra, and Brazil’s Orquesta Esperimentale in São Paolo. In 2006, JLCO collaborated

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Wynton Marsalis with Ghanaian drum collective Odadaa! led by Yacub Addy, to perform “Congo Square,” a composition cowritten by Marsalis and Addy. JLCO has also been featured in several education and performance partnerships, including residencies in France, Italy, England, Switzerland, Germany, Japan, and the Czech Republic.

Television broadcasts of Jazz at Lincoln Center programs have helped broaden the awareness of its unique efforts, with telecasts aired from North and South America to Europe and Asia. Jazz at Lincoln Center has appeared on several XM Satellite Radio live broadcasts and eight Live From Lincoln Center broadcasts carried by PBS stations in the United States, including a program on October 18, 2004, during the grand opening of Jazz at Lincoln Center’s new home, Frederick P. Rose Hall in New York. A 2005 broadcast was designated as Jazz at Lincoln Center’s Higher Ground Benefit Concert, raising funds to benefit musicians, music industry‐related enterprises, and other individuals and entities in Greater New Orleans who were impacted by Hurricane Katrina. JLCO was also featured in a Thirteen/WNET production of Great Performances titled Swingin’ with Duke: Lincoln Center Jazz Orchestra with Wynton Marsalis, and in a BET network series called Journey with Jazz at Lincoln Center, featuring performances by the Jazz at Lincoln Center Orchestra from around the world.

To date, fourteen albums featuring the Jazz at Lincoln Center Orchestra with Wynton Marsalis have been released and distributed internationally.

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Wynton Marsalis serves as managing and artistic director of Jazz at Lincoln Center.

Born in New Orleans, Louisiana in 1961, Mr. Marsalis began his classical training on trumpet at age 12 and soon began playing in local bands of diverse genres.

He entered the Juilliard School at age 17 and joined Art Blakey and the Jazz Messengers. Mr. Marsalis made his recording debut as a leader in 1982, and has since recorded more than seventy jazz and classical albums, garnering him a total of nine Grammy Awards to date. In 1983, he became the first and only artist to win both classical and jazz Grammy Awards in the same year; he repeated this feat in 1984.

As a composer, Mr. Marsalis’s rich body of works includes Sweet Release, Jazz: Six Syncopated Movements, Jump Start and Jazz, Citi Movement/Griot New York, At the Octoroon Balls, In This House On This Morning, and Big Train. In 1997, Mr. Marsalis became the first jazz artist to be awarded a Pulitzer Prize in music for his oratorio Blood on the Fields, commissioned

by Jazz at Lincoln Center. In 1999, he released eight new recordings in his unprecedented Swinging into the 21st series, and premiered several new compositions, including the ballet Them Twos, for a col-

About the Artists

2015 Blossom Festival

laboration with the New York City Ballet.

That same year, he premiered the monumental work All Rise, commissioned and performed by the New York Philharmonic along with the Jazz at Lincoln Center Orchestra and the Morgan State University Choir. Sony Classical released All Rise in 2002, as recorded on September 14 and 15, 2001, in Los Angeles in the tense days following 9/11, and featuring the Jazz at Lincoln Center Orchestra along with the Los Angeles Philharmonic and the Morgan State University Choir, Paul Smith Singers, and the Northridge Singers. In 2004, he released The Magic Hour, his first of six albums on Blue Note records. He followed this with Unforgivable Blackness: The Rise and Fall of Jack Johnson, the companion soundtrack recording to Ken Burns’s PBS documentary of the great African‐American boxer. Additional albums have followed, including Wynton Marsalis: Live at The House Of Tribes (2005), From the Plantation to the Penitentiary (2007), Two Men with the Blues, featuring Willie Nelson (2008), He and She (2009), Here We Go Again (2011), and Wynton Marsalis & Eric Clapton Play the Blues (2011).

To mark the 200th Anniversary of Harlem’s historical Abyssinian Baptist Church in 2008, Mr. Marsalis composed a full mass for choir and jazz orchestra. The piece premiered at Jazz at Lincoln Center and followed with performances at the celebrated church. Mr. Marsalis’s second symphony, Blues Symphony, was premiered in 2009 by the Atlanta Symphony Orchestra. In 2010, his third symphony, Swing Symphony, was premiered

Blossom Music Festival

About the Artists

in Berlin.

Mr. Marsalis is an internationally respected teacher and spokesman for music education, and has received honorary doctorates from dozens of universities and colleges throughout the United States. He conducts education programs for students of all ages and hosts the popular Jazz for Young People™ concerts produced by Jazz at Lincoln Center.

Mr. Marsalis has also written and is the host of the video series Marsalis on Music and the radio series Making the Music. He has also written six books. In 2001, Mr. Marsalis was appointed Messenger of Peace by Kofi Annan, secretary‐general of the United Nations. He has also been designated a cultural ambassador for the United States of America by the U.S. State Department through their CultureConnect program. In 2009, Mr. Marsalis was awarded France’s Legion of Honor, the highest honor bestowed by the French government. Mr. Marsalis has been named to the Bring New Orleans Back Commission, former New Orleans Mayor C. Ray Nagin’s initiative to help rebuild New Orleans culturally, socially, economically, and uniquely for every citizen. Mr. Marsalis was instrumental in the Higher Ground Hurricane Relief concert, produced

by Jazz at Lincoln Center, which raised over $3 million for those impacted by Hurricane Katrina. Earlier, he led the effort to construct Jazz at Lincoln Center’s new home — Frederick P. Rose Hall — the first education, performance, and broadcast facility devoted to jazz, which opened in October 2004.

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William Eddins American conductor and pianist William Eddins is the music director of the Edmonton Symphony Orchestra and a frequent guest conductor of major orchestras throughout the world. He made his Cleveland Orchestra debut in March 2012 and most recently led the ensemble in February 2014.

Born in Buffalo, William Eddins started playing piano at age five and later studied with David Effron at the Eastman School of Music. In 1983, he completed his degree in piano performance at age 18, one of the youngest graduates in the institution’s history. He later studied conducting with Daniel Lewis at the University of South Carolina’s Thornton School of Music. In 1987, William Eddins was a founding member of the New World Symphony Orchestra in Miami, Florida. In 2000, he received the Seaver Conducting Award (funded by the Seaver Institute and the National Endowment for the Arts), a triennial grant awarded to exceptionally gifted young American conductors.

William Eddins served as principal guest conductor of Ireland’s RTÉ National Symphony Orchestra, 2001-06, and was

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also an assistant to Daniel Barenboim at the Berlin State Opera. He has held additional conducting positions with the Chicago Symphony Orchestra and Minnesota Orchestra. Among orchestras he has guest conducted are those of Atlanta, Baltimore, Boston, Buffalo, Cincinnati, Dallas, Detroit, Houston, Indianapolis, Los Angeles, Milwaukee, New York, Philadelphia, Saint Louis, and San Francisco. In Europe, he has led the Barcelona Symphony Orchestra, Bergen Philharmonic, Berlin Staatskapelle, Lisbon Metropolitan Orchestra, Natal Philharmonic, RAI Orchestra Sinfonica Nazionale, and the Royal Scottish National Orchestra. He has also conducted the Australian orchestras of Perth and Adelaide.

Recently, he led Gershwin’s Porgy and Bess at Opera de Lyon and the Spoleto Festival.

As a pianist, Mr. Eddins has recorded solo piano works by William Albright, Beethoven, and Debussy on his own label.

For Naxos Records, he has conducted cello concertos by William Perry, William Shuman, and Virgil Thomson. An avid chamber musician, Mr. Eddins conducts works

by Beethoven, Fauré, Franck, Gershwin, Mozart, and Poulenc from the piano. He produces and hosts podcasts under the title Classical Connections, which are dedicated to exploring classical music history.

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

Guest Conductor

Blossom Music Festival

Swing Symphony (Symphony No. 3) composed 2009-13

At a Glance

by

Wynton

MARSALIS born October 18, 1961 New Orleans, Louisiana currently resides in New York City

Marsalis wrote Swing Symphony in 2009-10 as a co‐commission from the New York Philharmonic, Berlin Philharmonic, Los Angeles Philharmonic, and London’s Barbican Centre. Marsalis has said that “My piece follows the evolution of swing to the modern, to the current time.

And the attitude of the piece is that all the eras of swing are always present. Every moment of it is a modern moment. It is perpetually new; it revives itself; it’s a timeless rhythm.

A swing rhythm doesn’t age.”

The work was premiered as a six-movement piece in a series of concerts June 9-13, 2010, jointly by the Jazz at Lincoln Center Orchestra and Berlin Philharmonic conducted by Simon Rattle. An additional movement (now listed as No. 5: “Modern

Modes and the Midnight Moan”) was added several years later.

This symphony runs about one hour in performance. Marsalis scored it for a symphonic ensemble of 3 flutes (third doubling piccolo), 2 oboes and english horn, 3 clarinets (third doubling bass clarinet), 3 bassoons (third doubling contrabassoon), 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (tam-tams, cymbals, tomtoms, bass drums, snare drum, xylophone, marimba, vibraphone, bongo bell, timbale bell, congas, claves, guiro, tambourine), and strings, along with a jazz ensemble com-prised of 5 saxophones of various sizes (doubling clarinets, bass clarinet, flute, and piccolo), 4 trumpets, 3 trombones, piano, jazz bass, and drum set.

About the Music The following comments about Wynton Marsalis’s Swing Symphony were written by composer James Oliverio from an interview with the composer: T H R O U G H O U T S W I N G S Y M P H O N Y , Wynton Marsalis refer-

ences the spirit, technique, and harmonic framework of iconic jazz compositions — proceeding chronologically decade by decade to encapsulate the evolution of the swing rhythm. Each of the seven movements features three sections, often marked by a change in tempo, orchestration, and/or rhythmic intention.

The first movement begins with a primal backbeat of percussion and low brass, balanced by a single, swinging cymbal.

A joint proclamation from the jazz and orchestral forces proffers the thematic material from which much of the rest of the symphony springs. A syncopated march ensues, referencing the development of ragtime, which emerged in New Orleans at the beginning of the 20th century and expanded outward in a diaspora that fertilized modern American musical idioms.

The second movement references the Charleston and the The Cleveland Orchestra

About the Music

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“My piece follows the evolution of swing to the modern, to the current time.

And the attitude of the piece is that all the eras of swing are always present. Every moment of it is a modern moment.

It is perpetually new; it revives itself; it’s a timeless rhythm.

A swing rhythm doesn’t age.”

—Wynton Marsalis

1920s, when jazz musicians bridged the gulf between high art and popular art so powerfully that the period became known as the “Jazz Era.” An unabashedly romantic baritone saxophone solo follows, transitioning to a slow habanera tango in the strings.

The final section calls for a “joyous and muscular” performance from the trombones.

In movement three, the symphony’s opening theme returns in the context of “Kansas City Swing,” followed by an easygoing ballad based on the harmonic progression of “Body and Soul.” An expressive cello passage is offered to honor tenor saxophonist Coleman Hawkins, a virtuosic cellist who was unable to perform in symphony orchestras due to segregation. A festive rhythm based on “Sing, Sing, Sing” then reintroduces the swing feel, culminating in a forceful shout chorus before fading away al niente.

The fourth movement calls for the joint forces to collaborate in bebop, the hyper-velocity jazz style often associated with Dizzy Gillespie. An infectious mambo groove ensues, with percussion providing the underpinning for both improvised and through-composed passages. In a respectful nod to Benny Carter, a sensual alto saxophone solo motivates the closing lyrical passage.

Movement five takes us into the Third Stream, a hybrid jazz and classical music from the 1950s. Voices enter in the classical fugal form, but quickly become intertwined in the manner of jazz. The second section is based on Charles Mingus’s “Goodbye Pork Pie Hat,” while the third section’s open modal sound references Miles Davis’s “So What.”

Alluding to introspective pieces pioneered by musicians including Herbie Hancock and Wayne Shorter, movement six begins with the winds and leads into an Afro-Hispanic rhythm.

The orchestra’s horns and woodwinds are featured in Coltranestyle melodic lines. The movement ends by referencing the theoretical freedom that led to a suspension in the evolution of Swing — fun to play, but challenging to listen to.

The finale of Swing Symphony is based on the orchestration and feeling of Duke Ellington’s “Symphonette,” from his jazz symphony Black, Brown, and Beige. And, as Mr. Marsalis’s tour through decades of swing reaches its final cadence, it concludes with a simple expression of joyful affirmation.

—James Oliverio

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About the Music

2015 Blossom Festival

BANDWAGON GIFT SHOP Music is in the air! Take advantage of the moment and browse our large selection of musical gifts and Cleveland Orchestra signature items. Open before each Blossom Music Festival concert, at intermissions, and for post-concert purchases, too! We have a selection of new summertime merchandise — and a special bargain table every night.

Plus CDs and DVDs of artists and music being presented this summer. Stop in, and take the music home!

MAKE YOUR STORY Begin your journey at University School and define the leadership role you will play in shaping the future.

FAMILY OPEN HOUSE â– VISIT WWW.US.EDU Grades 9-12 Sunday, October 11

Blossom Music Festival

Grades K-8 Sunday, October 18

125 Years in the Making

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

20%

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B LO S S O M M U SIC CENTER

1968

SEATS

25

and under

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

Blossom’s Pavilion, designed by Cleveland architect Peter van Dijk, can seat 5,470 people, including positions for wheelchair seating.

(Another 13,500 can sit on the Lawn.)

The Pavilion is famed for the clarity of its acoustics and for its distinctive design.

BY THE NUMBERS

19 million ADMISSIONS

Blossom Music Center has welcomed more than 19,000,000 people to concerts and events since 1968 — including the Orchestra’s annual Festival concerts, plus special attractions featuring rock, country, jazz, and other popular acts.

1,000+

The Cleveland Orchestra has performed just over 1,000 concerts at Blossom since 1968. The 1000th performance took place during the summer of 2014.

1250 tons of steel

12,000 cubic yards concrete 4 acres of sodded lawn

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

Blossom’s 50th Anniversary Season in 2018 will bring to a close the Orchestra’s 100th Season celebrations during 2017-18, and mark the beginning of The Cleveland Orchestra’s second century serving Northeast Ohio.

2018