2016 Blossom Music Festival July 30-31, Aug. 7 Concerts by Live Publishing

2O16 BLOSSOM MUSIC FESTIVAL

SUMMER HOME OF

THE CLEVELAND ORCHESTRA P R E S E N T E D BY

2O16 BLOSSOM BOOK NO. 3 INSIDE . . .

July 30 — Tchaikovsky’s Sixth / Side-by-Side page 22 July 31 — Michael Feinstein’s Broadway . . . . . page 65 August 7 — Mendelssohn’s Scottish . . . . . . . . . . page 75 See complete Table of Contents on page 4

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A SEASON OF INSPIRING CELEBRATIONS 100 YEARS IN THE MAKING Ohio City Stages Global music on a neighborhood stage Wednesday evenings in July Centennial Loans Renowned artworks from around the world, loaned for CMAâ&#x20AC;&#x2122;s 100th birthday Art and Stories from Mughal India Exhibition opens July 31 Portraits of Clevelanders Create and share unique portraits on Instagram @PortraitsofClevelanders #CMAportraits Through October #100YearsofCMA clevelandart.org/centennial

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2O16 BLOSSOM

FRANZ WELSER-MÖST

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MUSIC FESTIVAL T A B L E

O F

C O N T E N T S

2016 BLOSSOM MUSIC FESTIVAL Book No. 3 7

About Blossom Welcome to Our Summer Home . . . . . . . . . . . . . . . . . . 7 2016 Festival Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . 8-9 About Blossom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-14 Cuyahoga Valley National Park . . . . . . . . . . . . . . . 15-16 Blossom Committee . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Blossom Friends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Blossom by the Numbers . . . . . . . . . . . . . . . . . . . . . . . . 73

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Copyright © 2016 by The Cleveland Orchestra Eric Sellen, Program Book Editor E- MAIL: esellen@clevelandorchestra.com Cover Blossom photograph by Roger Mastroianni and Barbara Merritt Program books for Cleveland Orchestra concerts are produced by the Marketing & Communications Department and distributed free of charge to attending audience members.

— July 31 Michael Feinstein’s Broadway About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68-71 — August 7 Mendelssohn’s Scottish About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77-85 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

About the Orchestra Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . 41-43 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 44-45 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

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

— July 30 Tchaikovsky’s Sixth About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25-38 Kent/Blossom Music Festival . . . . . . . . . . . . . . . . . 24, 39 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24, 27, 30

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Supporting the Orchestra Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . 48-49 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52-63

Learn More Gourmet Matinees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Blossom Information and Policies . . . . . . . . . . . . 89-94 Blossom Grounds Map . . . . . . . . . . . . . . . . . . . . . . . . . . 91 Buying Tickets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

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

Festival Book Table of Contents

Blossom Music Festival

con•certo noun \k n-'cher-(.)to\ ˉ a composition for one or more principal instruments, with orchestral accompaniment e

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Welcome to Our Summer Home! I am extraordinarily pleased to welcome you to The Cleveland Orchestra’s annual summer Festival here at Blossom Music Center in the heart of Summit County. In my first year as executive director, I am learning so much — and enjoying getting to know all of you. Part of what intrigued me about accepting this job was, in fact, the people of Northeast Ohio, who created this great Orchestra and have sustained it for the past century. Not only have you supported a remarkable group of musicians, you have also built two of America’s most beautiful and acoustically acclaimed concert halls — Severance Hall in Cleveland, and this extraordinary summer home here at Blossom. Indeed, I am amazed at the incredible treasure that The Cleveland Orchestra and the people of this region have in Blossom Music Center, with its natural beauty perfectly paired with the acoustically and aesthetically stunning Pavilion designed by local architect Peter van Dijk. While the summer homes of many American orchestras are shoehorned into urban locations, or far removed from their home cities, Cleveland’s is idyllically situated in the center of Northeast Ohio between two major metropolitan areas, Cleveland and Akron. Surrounded by Ohio’s own Cuyahoga Valley National Park, Blossom offers the best of all worlds, proximity and escape, ideal acoustics and natural splendor, with superb symphonic performances in a family-friendly setting. Having Cuyahoga Valley National Park as our next-door neighbor has also created a special opportunity and lasting relationship, helping us to safeguard the unique qualities of the Orchestra’s summer home for future generations. The combined experiences offered in this Valley allow Ohioans to enjoy summertime to the fullest — with hiking, birdwatching, and biking during the day complemented with evening picnics set to splendid music at night. Half a million people attend musical performances at Blossom each summer, underlining just how meaningful music is to young and old alike. As we approach the 50th anniversary of Blossom Music Center in 2018, it is remarkable to reflect on how Blossom has become an essential part of what the Orchestra does in and for Northeast Ohio. Our vision of having the youngest audience of any orchestra started at Blossom when we launched the “Under 18s Free” program on the Lawn five years ago. Today, over 40,000 young people each year have the chance to fall in love with The Cleveland Orchestra year-round through this program, which subsidizes the cost of tickets through the vision and generosity of the Maltz Family Foundation through the Orchestra’s endowment fund. Whether this is your first Blossom season or your fortieth, I am looking forward to experiencing with you this summer’s unique offerings — of symphonic hits, Broadway and movie classics, from Sousa and Sibelius, from Thomas Adès to Led Zeppelin — of magical summer twilights punctuated by fireworks and fireflies. With special thanks to the Festival’s presenting sponsor, The J.M. Smucker Company. Welcome and enjoy!

André Gremillet Blossom Festival 2016

Welcome: From the Executive Director

FOU RTH - OF -J

MUSIC FESTIVAL

SUMMER HOME OF

THE CLEVELAND ORCHESTRA TH

1812 OVERTURE

DEBUS

JUL

The Cleveland Orchestra Johannes Debus, conductor

M O N D AY

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A SALUTE TO AMERICA Blossom Festival Band Loras John Schissel, conductor

SCHISSEL

2O16 BLOSSOM

S AT U R D AY

P R E S E N T E D BY

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BEETHOVEN’S HEROIC SYMPHONY

WELSER-MÖST

JUL

The Cleveland Orchestra Franz Welser-Möst, conductor

JUL

16 8

MOZART UNDER THE STARS The Cleveland Orchestra Michael Francis, conductor David Fung, piano

JUL

23 8

THIBAUDET PLAYS GRIEG The Cleveland Orchestra Jahja Ling, conductor Jean-Yves Thibaudet, piano

JUL

30 7

TCHAIKOVSKY’S PATHÉTIQUE

THIBAUDET

Share your memories of tonight and join in the conversation online . . .

S AT U R D AY

ZUKERMAN

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 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 famed Blossom Pavilion. Come early to savor the summer weather. Bring your own picnic, or purchase from a variety of onsite options available, including a wide selection of wines, spirits, and beers.

The Cleveland Orchestra Hans Graf, conductor Pinchas Zukerman, violin with Kent/Blossom Chamber Orchestra

= includes fireworks, weather permitting

U LY - W E E K E N D

AUGUST

JUL

DEBUS

S U N D AY

1812 OVERTURE

S AT U R D AY

The Cleveland Orchestra Johannes Debus, conductor

S U N D AY

AUG

MENDELSSOHN’S SCOTTISH The Cleveland Orchestra Nicholas McGegan, conductor Jeffrey Rathbun, oboe

AUG

13 8

SILK ROAD ENSEMBLE with YO-YO MA Silk Road Ensemble Yo-Yo Ma, cello

AUG

20 8

LED ZEPPELIN: A ROCK SYMPHONY

S U N D AY

Windborne’s Music of Led Zeppelin Blossom Festival Orchestra Brent Havens, conductor Randy Jackson, vocalist

AUG

27 8

BACH’S BRANDENBURG CONCERTOS Orpheus Chamber Orchestra

JUL

177

AN AMERICAN IN PARIS The Cleveland Orchestra Bramwell Tovey, conductor Javier Perianes, piano

JUL

24 7

SEPTEMBER

MAGIC OF THE MOVIES The Cleveland Orchestra Michael Krajewski, conductor Capathia Jenkins, vocalist Blossom Festival Chorus

317

MICHAEL FEINSTEIN’S BROADWAY

FEINSTEIN

JUL

S AT U R D AY

The Cleveland Orchestra Jack Everly, conductor Michael Feinstein, vocalist

TICKETS:

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3 8:30

MOVIE NIGHT

S U N D AY

SEP

4 8:30

MOVIE NIGHT

RAIDERS OF THE LOST ARK

The Cleveland Orchestra Brett Mitchell, conductor

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BLOSSOM Summer Home of The Cleveland Orchestra OPENED IN 1968 as the summer home of

The Cleveland Orchestra, Blossom Music Center is located just north of Akron, Ohio, and about 25 miles south of Cleveland. Blossom is situated on rolling hills surrounded by the Cuyahoga Valley National Park, which protects 33,000 acres along the Cuyahoga River between Akron and Cleveland. Blossom lies within the city limits of Cuyahoga Falls, an Ohio community founded two-hundred years ago. Blossom was planned and built between 1966 and 1968 by the Musical Arts Association (the non-profit parent organization of The Cleveland Orchestra) at a total cost of approximately $8 million. The Centerâ&#x20AC;&#x2122;s name honors the Dudley S. Blossom family, major supporters of The Cleveland Orchestra throughout its history. (Mr. Blossom served as president of the Musical Arts Association 1936-38. His son, Dudley Jr., served as a trustee 1946-61.) In 2002, Blossom Music Center underwent the first major capital improvements project in the history of the facility, which serves 400,000 visitors each summer. The Blossom Redevelopment Project featured a major renovation of the facility and enhancement of patron amenities, and was completed prior to the beginning of the 2003 Blossom Festival. Additional upgrading has continued since that time, including major accessibility work within an ongoing Americans with Disabilities Act project generously funded by the State of Ohio. With initial phases completed in 2013, this has included the construction of new restrooms and walkways, and the introduction of new trams. The first Blossom season in 1968 consisted of six weeks of performances by The Cleveland Orchestra, gaining enthusiastic reviews for the Orchestra and its new summer home from critics throughout the country. The schedule expanded in subsequent seasons to feature the Blossom Music Festival of orchestral and band music from the Fourth of July to Labor Day weekend alongside a summer-long season of concerts devoted to rock, jazz, country, and other Blossom Music Festival

About Blossom

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popular music presentations. Live Nation operates Blossom, and books and promotes each season’s non-orchestral attractions. THE BLOSSOM GROUNDS

PHOTOGRAPH BY PETER HASTINGS

At the heart of Blossom is the Blossom Pavilion, situated at the base of a natural bowl. The design architect for this award-winning structure, widely celebrated for its distinctive architecture and superb acoustical qualities, was Peter van Dijk, who also served as At the Blossom groundbreaking on July 2, 1967, from left architect for the Blossom Redevelopin foreground are Frank Joseph (then president of the ment Project in 2002-03 and continues Musical Arts Association), Elizabeth Bingham Blossom (Mrs. Dudley Sr.), Benjamin Gale (Blossom grandson), to help direct Blossom upgrades and Betsy Blossom (youngest Blossom grandchild),and changes. The seating capacity of the Charles Bingham Blossom (Blossom grandson). Pavilion is now 5,470 — and another 13,500 patrons can be accommodated on the expansive hillside lawn seating area. Surrounding the Pavilion, the Blossom grounds encompass a number of other unique facilities. Near the Main Entrance from Steels Corners Road is Porthouse Theatre. Here summer theatrical productions are presented by the Porthouse Theatre Company, a professional repertory company affiliated with Kent State University under the Kent/Blossom Theatre program. In addition to the Blossom Pavilion, the main grounds include the Bandwagon Gift Shop, the Blossom Grille (open before and after each Festival concert), the Knight Grove (a party center accommodating groups of 25 to 450), and Eells Gallery, which is used by the Kent/Blossom Art program to exhibit works by regional and national artists. Three landscaped gardens also are located on the main grounds. The Frank E. Joseph Garden was named in honor of the president of the Musical Arts Association at the time of Blossom’s construction and opening. Emily’s Garden was opened in 1992 to commemorate Emily (Mrs. Dudley S. Jr.) Blossom’s many contributions to Blossom Music Center. New in 2003 was the addition of the Herbert E. Strawbridge Garden, named in memory of Musical Arts Association trustee and civic leader Herb Strawbridge. The Blossom Redevelopment Project redesign of Emily’s Garden, as well as the design of the Herbert E. Strawbridge Garden, are by Michael Van Valkenburgh. PARTNERING WITH CUYAHOGA VALLEY NATIONAL PARK AND THE TRUST FOR PUBLIC LAND

Following the construction and opening of Blossom Music Center in 1968, additional ideas for redeveloping the Cuyahoga Valley spurred the creation of

Blossom Festival 2016

About Blossom

Cuyahoga V Valley National Park to help preserve the natural beauty of the area chosen as The Cleveland Orchestraâ&#x20AC;&#x2122;s permanent summer home. Created as a recreational preserve in 1974, the land was designated as a National Park in 2000. In the past decade, The Cleveland Orchestra worked with the Trust for Public Land (TPL) to conserve more than 500 acres of Blossom Music Center land into Cuyahoga Valley National Park through a sale funded by the federal Land and Water Conservation Fund. This transfer helps protect the park experience for concertgoers at Blossom, conserves the land for preservation, and provided one-time funding for the Orchestra. This sale of Blossom Music Center land now connects over 5,000 acres of forest ecosystems within the park. Read more about the Park and nearby attractions on the following pages, or visit www.nps.gov/cuva to learn more.

Blossom Contact Numbers Orchestra Schedule & Ticket Information (216) 231-1111 or 800-686-1141 toll-free outside local calling areas or online at clevelandorchestra.com The Cleveland Orchestra Severance Hall Administrative Offices (216) 231-7300 Blossom Music Center is owned by the Musical Arts Association, the nonprofit parent organization of The Cleveland Orchestra. Live Nation has been contracted to operate Blossom and to book and promote the summerâ&#x20AC;&#x2122;s non-orchestral attractions.

Blossom Administrative Offices (330) 920-8040 Blossom Grille (330) 916-6063 Group Sales and Knight Grove Reservations (216) 231-7493 Bandwagon Gift Shop (330) 916-6090 Eells Art Gallery (330) 672-7853 Porthouse Theatre (330) 929-4416

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National Park Service celebrates 100 years of natural beauty, conservation, and public access . . . Theodore Roosevelt and John Muir at Yosemite National Park in 1903.

T H E D R E A M and reality of a system of outdoor parks for the people of the nation is being celebrated across the country this summer with the 100th Anniversary of the creation of the National Park Service in 1916. Although the first National Park — Yellowstone — was created by Congress in 1872, and a few more were designated over the next several decades, the founding of the National Park Service in 1916 brought management of all the National Parks together under one agency, as well as codifying the purpose and aim of the National Park System to conserve parkland for the enjoyment and benefit of the nation’s people and for future generations. Today, NPS embraces over 450 natural, historical, recreational, and cultural areas throughout the United States, with sites designated in every state.

NORTHEAST OHIO’S OWN: CUYAHOGA VALLEY NATIONAL PARK Recreational development and restoration of the Cuyahoga Valley took on new meaning with the opening of Blossom Music Center in 1968 as The Cleveland Orchestra’s summer home. And Cuyahoga Valley National Park soon followed, established in 1974 as recreational preserve and nextdoor neighbor to Blossom. Though a short distance from the urban areas of Cleveland and Akron, these 30,000 acres seem worlds Blossom Festival 2016

Cuyahoga Valley National Park

away. Designated as a National Park in 2000, the land serves as a refuge for native plants and wildlife, and provides routes of discovery, recreation, and enjoyment for all ages. Across its land, the winding Cuyahoga River gives way to deep forests, rolling hills, and open farmlands.

CONSERVANCY FOR C.V.N.P. The Conservancy for Cuyahoga Valley National Park works in partnership with the National Park Service to engage the Northeast Ohio community and visitors in enjoying and supporting the park and its programs — with the Conservancy’s advocacy and passion aimed at helping C.V.N.P. rise to its full potential. For more information about volunteering or donating time or money, contact 330-657-2909 or visit www.conservancyforcvnp.org.

way, you may catch a glimpse of whitetailed deer, wild turkey, bald eagles, blue heron, and much more. The train operates year-round, with seasonal schedules. For more information, visit www.cvsr.com.

OHIO & ERIE CANALWAY The Ohio & Erie Canalway is a National Heritage Area — designated by Congress in 1996 — to help preserve and celebrate the rails, trails, landscapes, towns, and sites that grew up along the first 110 miles of the canal that helped Ohio and our nation grow. The Towpath offers over 80 miles of hiking, biking, birding, and exquisite scenery. For more information and hours, please visit www.ohioanderiecanalway.com. HALE FARM & VILLAGE

Along with attending concerts at Blossom Music Center, explore these attractions to experience Cuyahoga Valley National Park to the fullest:

CUYAHOGA VALLEY SCENIC RAILROAD

All Aboard! for a fascinating and fun way to experience the beauty of Cuyahoga Valley National Park. Enjoy the trip between the Rockside Station in Independence and the Akron Northside Station. Along the

This one-of-a-kind family experience is an outdoor living history museum set in the Cuyahoga Valley. At Hale Farm & Village, everyday life from the era of Abraham Lincoln is depicted through 32 historic structures, farm activities and animals, heritage gardens, cooking, and early American craft and trade demonstrations. Café dining and museum store shopping on location. The Farm is located at 2686 Oak Hill Road, in Bath, Ohio. For more information, visit www.halefarm.org, or call 330-666-3711.

Cuyahoga Valley National Park

2016 Blossom Festival

IT TAKES REGULAR DOCTOR VISITS TO STAY OUT OF THE DOCTOR’S OFFICE.

ItIt’s ’s tim imee to cha hang ngee the ng thhe wa wayy yo youu thhin inkk abou abbou outt yo your ur hea ealtltlth. h. Reg egul ular ul ar che heck ckkup upss an andd sc scre reen re enin en ings in gs when you’re feeling ﬁne are the best way to stay that way. Form your healthiest relationship today with your MetroHealth doctor who will listen as long as it takes to turn your good health into great. metrohealth.org/doctor

CHANGE IS HEALTHY

Blossom Committee of The Cleveland Orchestra h The Blossom Committee of The Cleveland Orchestra is an advisory group created to support the development and prioritization of initiatives to connect The Cleveland Orchestra in new and meaningful ways with the Blossom community. The Committee is comprised of business and community leaders from Cuyahoga, Portage, Stark, and Summit Counties. (Listing as of June 10, 2016.)

Paul A. Rose, Co-Chair Iris Harvie, Co-Chair Thomas Waltermire, Vice Chair Ronald H. Bell Carolyn Bialosky William P. Blair III Laurel Blossom Daniel C. Colantone Joanne Dannemiller Helen Dix* Barbara Dietrich Barbara Feld John Fickes Claire Frattare Linda Gaines Barbara Gravengaard

C. Thomas Harvie Faye A. Heston Laura Hunsicker Mary Ann Jackson Michael J. Kaplan Philip S. Kaufmann Phyllis Knauf

Janice R. Leshner Mary Ann Makee John McBride Margaret Morgan* Sandra R. Smith Paul E. Westlake Jr. *Honorary Member for Life

EX-OFFICIO

Dennis W. LaBarre, President, Musical Arts Association Richard J. Bogomolny, Chairman, Musical Arts Association AndrĂŠ Gremillet, Executive Director, The Cleveland Orchestra Carol Lee Iott, Director, Strategy and Special Initiatives, The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra Peter van Dijk, Westlake Reed Leskosky

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Blossom Committee

2016 Blossom Festival

Blossom Friends of The Cleveland O Orchestra h t This state-wide volunteer organization is dedicated to promoting and financially supporting The Cleveland Orchestra’s summer home and annual summer Music Festival at Blossom. Established as a womens’ volunteer committee with the opening of Blossom Music Center in 1968, the group was recently renamed Blossom Friends of The Cleveland Orchestra and is today open to women and men of all ages. A series of fundraising, learning, and social events are presented each year to promote the Friends’ ongoing work devoted to sustaining the beauty of Blossom and the magic of great summertime music under the stars. For additional information about joining Blossom Friends of The Cleveland Orchestra or attending the group’s year-round fundraising and promotional events, please contact Lori Cohen, Community Leadership Liaison at 216-231-7557 or lcohen@clevelandorchestra.com

EXECUTIVE COMMITTEE Elisabeth Hugh, President Elizabeth McCormick, Vice President Mary Walker Sprunt, Recording Secretary JoAnn Greiner, Corresponding Secretary Patricia Rice, Treasurer Claire Frattare, Ex-officio, Past President

AREA CHAIRS — Jean Mathews — Sue Kenney CANTON / STARK COUNTY — Elizabeth McCormick, Donna Paola, Faye Heston HUDSON — Robert Valente KENT — Sylvia Armstrong, Donna DiBiase NORTHEAST — Nancy Cruikshank Each year, Blossom Friends presents a range MEMBERS-AT- LARGE — Connie van Gilder AKRON

AURORA

of events, including (at far left) an introduction of new Cleveland Orchestra executive director André Gremillet (interviewed by WCLV announcer Robert Conrad) hosted by the Hudson Chapter in April 2016, and a summer series of Gourmet Matinee Luncheons showcasing the artistry and stories of musicians of The Cleveland Orchestra.

Blossom Festival 2016

Blossom Friends

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T H E M U S I C AL ARTS ASSOCIATION

as of June 2016

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival O F F I C E R S A ND E XEC UT I VE C O MMIT T E E Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President Jeanette Grasselli Brown Matthew V. Crawford Alexander M. Cutler David J. Hooker Michael J. Horvitz

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

Douglas A. Kern Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley

Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner Barbara S. Robinson

R E S I D E NT TR U S TE ES George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Yuval Brisker Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Betsy Juliano Jean C. Kalberer

Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer TE Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Milton S. Maltz Nancy W. McCann Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. Oatey TE Katherine T. O’Neill The Honorable John D. Ong Rich Paul Larry Pollock Alfred M. Rankin, Jr.

Clara T. Rankin Audrey Gilbert Ratner Charles A. Ratner Zoya Reyzis Barbara S. Robinson Paul Rose Steven M. Ross Raymond T. Sawyer Luci Schey Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Joseph F. Toot, Jr. Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

N O N- R E S I D E NT TR US T E E S Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

Richard C. Gridley (SC) Loren W. Hershey (DC)

Herbert Kloiber (Germany)

T R U S TE E S E X- O F F IC I O Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Dr. Patricia Moore Smith, President, Women’s Committee of The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Beverly J. Warren, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

HO NO R A RY TR U S TE E S FO R L I FE Dorothy Humel Hovorka Gay Cull Addicott Robert P. Madison Allen H. Ford Robert F. Meyerson Robert W. Gillespie PA S T PR E S I D E NT S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

TE Trustee Emeritus

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

James S. Reid, Jr.

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Blossom Music Festival

André Gremillet, Executive Director

Musical Arts Association

2OI6BLOSSOM MUSIC FESTIVAL

Saturday evening, July 30, 2016, at 7:00 p.m.

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

KENT/B LO S SO M C H A M B E R ORC H EST R A

Beginning at 7:00 p.m.

Kent/Blossom Chamber Orchestra conducted by BRETT MITCHELL ANDREW NORMAN (b. 1979)

The Great Swiftness LUDWIG VAN BEETHOVEN (1770-1827)

Symphony No. 8 in F major, Opus 93 1. 2. 3. 4.

Allegro vivace e con brio Allegretto scherzando Tempo di menuetto Allegro vivace

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

The Cleveland Orchestra conducted by HANS GRAF PAUL HINDEMITH (1895-1963)

Cupid and Psyche: A Ballet Overture WOLFGANG AMADÈ MOZART (1756-1791)

Violin Concerto No. 5 (“Turkish”) in A major, K219 1. Allegro aperto 2. Adagio 3. Rondo: Tempo di menuetto PINCHAS ZUKERMAN, violin

July 30: Concert Program

2016 Blossom Festival

INTER MISSION Beginning at approximately 9:00 p.m.

The Cleveland Orchestra and Kent/Blossom Chamber Orchestra performing side-by-side conducted by HANS GRAF

pyotr ilyich tchaikovsky (1840-1893)

Symphony No. 6 (“Pathétique”) in B minor, Opus 74 1. 2. 3. 4.

Adagio — Allegro non troppo Allegro con grazia Allegro molto vivace Finale: Adagio lamentoso

Pinchas Zukerman’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from The Payne Fund. This concert is dedicated to Robert Conrad and his late wife, Jean, in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. With this concert, The Cleveland Orchestra gratefully honors The Sisler McFawn Foundation for its generous support.

Th e 201 6 B lossom M usic Festival is prese nte d by The J . M . S m ucker Com pa ny

Blossom Music Festival

Concert Program: July 30

An Evening . . . with Kent/Blossom Music Festival and The Cleveland Orchestra Kent/Blossom Music Festival is a five-week summer institute for professional music training operated by Kent State University in cooperation with The Cleveland Orchestra and Blossom Music Center. Each summer since 1968, musicians of The Cleveland Orchestra and other faculty members have gathered to mentor a select group of students in chamber music, orchestral repertoire, and private lessons. Tonight’s concert continues this long and valued partnership of The Cleveland Orchestra and Kent/Blossom Music Festival. To open this evening’s concert, the Kent/Blossom Music Festival Chamber Orchestra performs two works conducted by Cleveland Orchestra associate conductor Brett Mitchell. Following the first intermission, The Cleveland Orchestra and guest conductor Hans Graf present two works, Paul Hindemith's Cupid and Psyche overture and Mozart’s “Turkish” Violin Concerto. Then in the concert finale, Kent/Blossom students join their Cleveland Orchestra counterparts side-byside in performing Tchaikovsky’s forceful Symphony No. 6.

K E N T / B L O S S O M M U S I C F E S T I VA L 2 0 1 6

CHAMBER ORCHESTRA VIOLIN Maria Beltavski Aaron Chan Johnathan Yeung Zoë Merrill Janice Ahn Torun Gärskog VIOLIN II Sabrina Bradford Sara Aldana Melissa Taddie Yi-Miao Huang Ann Chaung Jiuri Yu

VIOLA Chung-Han Hsiao Courtney O’Keefe Audrey Naffe Mei-Chun Chen John Grigsby III Patrick Monnius Binbin Fan

FLUTE Seung Joen Max Lin

CELLO Kyle Anderson Henry Stubbs William Cayanan Carolyn Regula Ryan Donohue Victoria Hamm

CLARINET Tiberiu Baicoianu Hayden Forsythe Jesse McCandless

DOUBLE BASS Christopher Glavac Scott Haigh

OBOE Regina Brady Thomas Friedle Claire Kostic

BASSOON Mackenzie Brauns Amelia del Caño Daniel Nester

Kent/Blossom Music Festival

HORN Carly Charles Joanna Huang Marie Smith TRUMPET Larry Herman Erik Sundet TIMPANI Andrew Pongracz PERCUSSION Andrew Pongracz Courtney Lambert

For further information about the Kent/Blossom Music Festival, visit WWW. KENT. EDU /BLOSSOM

Blossom Music Festival

INTRODUCING THE CONCERT

Violins, Variations, &Virtuosity

T H I S E V E N I N G ’ S M U S I C A L P R O G R A M brings together old and a new — favorite masterworks and new pieces, young youn talent and teachers. The night begins with a chamber orchestra made up of tomorrow’s promise, and forges through orches musical works wo written across a span of nearly 250 years, ending with a grand gran side-by-side performance of a stirring Romantic symphony. symphony The evening opens with the Kent/Blossom Chamber Orchestra. The professional training program of the Orc Kent/Blossom Music Festival, created in 1968, features Ke a select group of young artists on the cusp of their careers — mentored, tutored, and taught by a faculty featuring many Cleveland Orchestra musicians. Tonight they perform under the baton of Cleveland Orchestra t associate conductor Brett Mitchell. They begin with a a work written in 2010 by Andrew Norman, who based w it on a modern sculpture. Here he brings sound to the shapes and curves of modern art. Next comes the bright, formal lines of Beethoven's Eighth Symphony from the year 1812. Following the first intermission, The Cleveland Orchestra takes the stage for a rarely-heard concert overture by Paul Hindemith written in 1943. This is paired with Mozart’s beguiling “Turkish” Violin Concerto featuring internationally-renowned PInchas C Zukerman as the soloist. Written in 1775, this beautiful and Z k fun-filled concerto includes the percussive imitation of a Turkish military band for “exotic” flavoring. To close the evening, guest conductor Hans Graf leads both ensembles sitting together side-by-side to perform Tchaikovsky’s final symphony. This great work, premiered just days before the composer’s accidental death in 1893, is filled with deep emotion and rich sonorities. The composer’s brother gave it the nickname “Pathétique” even before his brother’s death added real pathos to its extremes of Romantic tension and release. —Eric Sellen

Blossom Music Festival

Introducing the Concert: July 30

Kent/Blossom Chamber Orchestra

The Great Swiftness composed 2009-10 L O N G I N T E R E S T E D I N architecture as a visual art, the Ameri-

Andrew

NORMAN born October 31, 1979 Grand Rapids, Michigan lives in Los Angeles

can composer Andrew Norman has written a number of musical works inspired by patterns and textures in the visual world. In a similar vein, he is thoroughly fascinated by the translation of written symbols into physical gesture and sound, and enjoys exploring the history and methods of musical notation. One of these “visualization” works is The Great Swiftness, created on a commission for his hometown orchestra, the Grand Rapids Symphony. For it, Norman took inspiration from a wellknown sculpture in downtown Grand Rapids, created on a grand scale by Alexander Calder. Called La Grande Vitesse [literally “The Great Swiftness” or “The Grand Rapids”], this work of art was designed for the city and installed with great fanfare (not musical) in 1969, and has come to be seen as an iconic symbol of the city. Standing over 40 feet tall and some 55 x 30 feet in length and across, the work is painted in Calder’s iconic orange paint. It embodies what comes to mind for many in the term “modern art” — curving despite (or within, or because of) solid structuring, while also revealing few of its own enigmatic inspirations or meanings. For this musical work, Norman wanted to portray in music the sculpture’s “amazing swoops and curves. I asked myself what would it sound like to go slipping and sliding on those amazing orange curves? What does it sound like to walk around this enormous

Alexander Calder’s sculpture “La Grande Vitesse” in downtown Grand Rapids, Michigan — a site-design sketch (above), under construction (far right), and today.

July 30: About the Music

2016 Blossom Festival

Kent/Blossom Chamber Orchestra sculpture, seeing it from all the different angles, with its amazing component shapes interacting with one another?” The result is a brief work of not quite 5 minutes in length, written for chamber orchestra and premiered in Grand Rapids in 2010. Andrew Norman’s symphonic works have been performed by leading ensembles around the world. His accolades include the 2004 Jacob Druckman Prize, 2005 ASCAP Nissim and Leo Kaplan Prizes, 2006 Rome Prize, 2009 Berlin Prize, and a 2016 Guggenheim Fellowship. He currently serves as composer-in-residence with the Los Angeles Chamber Orchestra. His works have been finalists or nominees for both the Pulitzer Prize in music and Grammy awards. Norman is a committed educator, who regularly works with people of all ages to explore and create music. He has written pieces to be performed by and for the young, and has held educational residencies with a variety of institutions across the country. He joined the faculty of the University of Southern California’s Thornton School of Music in 2013, and also serves as the director of the Los Angeles Philharmonic’s Composer Fellowship Program for high school composers.

Blossom Festival 2016

Brett Mitchell Associate Conductor Elizabeth Ring and William Gwinn Mather Endowed Chair The Cleveland Orchestra

The upcoming 2016-17 season marks Brett Mitchell’s fourth year as a member of The Cleveland Orchestra’s conducting staff and as music director of the Cleveland Orchestra Youth Orchestra. In June 2015, he led the Cleveland Orchestra Youth Orchestra in the ensemble’s second international tour, to China. As a guest conductor, Mr. Mitchell leads performances throughout North America, Europe, and Asia. He has also acted as musical assistant and cover conductor with the Philadelphia Orchestra, New York Philharmonic, London Philharmonic Orchestra, and Leipzig Gewandhaus Orchestra. Recent return engagements include appearances with the orchestras of Detroit, Houston, Rochester, Saint Paul, and Washington D.C. Mr. Mitchell served as assistant conductor of the Houston Symphony (2007-11), where he concurrently held a League of American Orchestras American Conducting Fellowship. A native of Seattle, Brett Mitchell holds a doctor of musical arts degree from the University of Texas at Austin, and a bachelor of music degree in composition from Western Washington University. For more information, please visit www. brettmitchellconductor.com.

July 30: Kent/Blossom Conductor

Kent/Blossom Chamber Orchestra

Symphony No. 8 in F major, Opus 93 composed 1811-12 A L A RG E N U M B E R O F our ideas of what classical music is “sup-

Ludwig van

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

posed to be” are based on the works of Ludwig van Beethoven. There have been other superstar composers, including Mozart and Haydn, Brahms and Rachmaninoff, Mahler perhaps, John Adams more recently, but it was Beethoven who set the bar to which the public ever afterward has tuned its ears. He defined not just what is and can be, but also how one should go about breaking those conventions — how to be a revolutionary in music. From a very early age, there was much in Ludwig van Beethoven to carry him forward, including musical talent and interest, and a mind that loved to wrestle in thought. Family life was difficult (his father retreated deeper and deeper into alcoholism), but Ludwig read avidly, studied briefly with Mozart and then later with Haydn, and then quickly took his place as the hottest and most interesting of Vienna’s promising young performers. His ability as a pianist was unsurpassed at the turn of the 18th into the 19th century. The fact that he performed his own compositions was standard practice in the era — the best composers practiced their art, literally, in front of the public, and performers who didn’t compose were often snubbed as second-rate. Should we perhaps then be happy that fate took Beethoven’s hearing away, forcing him to concentrate on writing instead of performing — to become a beleaguered and grumpy man who nonetheless told his brothers that, as frustrating as his growing deafness was for him as a composer, he couldn’t kill himself until “I have brought forth all that is in me”? As we know, Beethoven overcame his disability (if not his grumpiness) and wrote an almost steady procession of great and trend-setting works, across many genres of music. His output of major works and strides in creativity brought him exceptional international fame even during his own lifetime. While some of his music confounded or confused audiences at first hearings, no other composers’ works rank so consistently high among the world’s musical masterpieces. Still, Beethoven often struggled as a composer. Many of his works were belabored in the creation, with much crossing out, redrafting, and rewriting, as well as long periods of reflection and reconsideration. That so much work went into his art About the Music: July 30

The Cleveland Orchestra

Kent/Blossom Chamber Orchestra is a reflection of his intentions and his vision. Let us be grateful, indeed, for Beethoven the man, the composer, the artist, the perfectionist, the creator. The Eighth Symphony is, along with the Fourth, among the least appreciated and performed of Beethoven’s nine symphonies. Written at the same time as the energetic Seventh, it is often overlooked by conductors in favor of the more overtly crowd-pleasing qualities of his other mature symphonies. Yet, the Eighth reveals great charm and solid character whenever it is performed — in concert, or on radio, streamed via Spotify, or played on already old-fashioned compact disc. And, ultimately, this symphony is much more ambitious and filled with ideas than many of us remember. The Eighth is, in fact, what Beethoven thought a symphony should be, if he were just writing a perfect symphony and not trying out another new idea. Its four movements are well proportioned, full of interest, and artful pleasure. The second movement includes an instrumental version of music that Beethoven had just written, a song to honor Johann Nepomuk Maelzel, the inventor of the first practical metronome. The tick-tock is unmistakable. (The idea of a metronome, to which composers could reliably refer for how fast a piece of music should go, was a much-sought wish in Beethoven’s lifetime — and its achievement is one reason there is so much disagreement regarding “the right” tempo for works prior to his time.) The Eighth as a whole is a finely wrought and none-toolong work. Beethoven invests it with many subtleties of musical humor. The commentator John Burk summed its inventiveness (and playfulness) by writing that Beethoven’s “humor seems to consist of sudden turns in the course of an even and lyrical flow, breaking in upon formal, almost archaic periods. It is a sudden irregularity, showing its head where all had been regular — an altered rhythm, an explosion of fortissimo, a foreign note, or an unrelated tonality . . . like divine play in that pure region of tonal thinking where melody and invention pour forth . . . and fancy is furiously alive.” —Eric Sellen © 2016

At a Glance Beethoven wrote his Eighth Symphony during 1811 and 1812, the largest part of it immediately upon completion of the Seventh Symphony during the summer of 1812. He completed the score in October 1812, while visiting his brother Johann in Linz. Beethoven dedicated the score to Count Moritz Fries. Despite increasing deafness, Beethoven conducted the first performance, at the Vienna Redoutensaal on February 27, 1814. The concert also featured repeat performances of the Seventh Symphony and Wellington’s Victory, both of which had been premiered in December. This symphony runs about 30 minutes in performance. Beethoven scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

Eric Sellen serves as program book editor for The Cleveland Orchestra. He has held administrative posts with the Philadelphia Orchestra, Phoenix Symphony, and Ballet Arizona, and written program notes for orchestras and festivals across North American and Europe.

Blossom Festival 2016

July 30: About the Music

Hans Graf

Pinchas Zukerman

Acclaimed for his range of repertoire and creative programming, Austrian conductor Hans Graf was appointed music director of the Houston Symphony in 2001. He concluded his tenure in 2013, making him the longest-serving music director in the orchetsra’s history. Mr. Graf has also served as music director of the Calgary Philharmonic, Iraqi National Symphony Orchestra, Orchestre National Bordeaux Aquitaine, and the Salzburg Mozarteum Orchestra. He made his Cleveland Orchestra debut in August 1999, and most recent appearance here in July 2014. Born near Linz, Hans Graf studied violin and piano as a child and earned diplomas in piano and conducting from the Musikhochschule in Graz. He later worked with conductors Franco Ferrara, Sergiu Celibidache, and Arvid Jansons. He appears regularly as a guest conductor of major orchestras and at major summer festivals in North America and Europe. He has led productions in the opera houses of Berlin, Munich, Paris, Rome, Strasbourg, Vienna, and Zurich. Mr. Graf’s recordings can be heard on the BMG Arte Nova, Capriccio, CBC, EMI, Erato, JVC, Koch International, Naxos, and Orfeo labels. His honors include commendations from France and Austria.

Israeli violinist, violist, and conductor Pinchas Zukerman has been performing for more than four decades. He made his Cleveland Orchestra debut at Blossom in August 1971. He serves as principal guest conductor of London’s Royal Philharmonic Orchestra and as artist-in-association with Australia’s Adelaide Symphony Orchestra. Mr. Zukerman performs as recitalist, guest artist, chamber musician, and conductor around the world — this past season, his total performances worldwide numbered over 100. His devotion to teaching has resulted in innovative programs in China, Israel, London, New York, and Ottawa, where he founded the National Arts Centre Institute for Orchestral Studies and Summer Music Institute. He chairs the Pinchas Zukerman Performance Program at the Manhattan School of Music, where he introduced distance-learning in the arts. Born in Tel Aviv in 1948, Pinchas Zukerman studied at the Juilliard School with Ivan Galamian. Mr. Zukerman’s artistry can be heard on the CBS Masterworks, Philips, Angel, Deutsche Grammophon, CBC Records, Altara, Biddulph Recordings, Sony, and BMG Classics/RCA Victor Red Seal labels.

Exclusive Representation: Kirshbaum Associates Inc. / www.kirshbaumassociates.com

Guest Artists: July 30

The Cleveland Orchestra

Cupid and Psyche: A Ballet Overture composed 1943 P A U L H I N D E M I T H was one of Germany’s most-acclaimed

Paul

HINDEMITH born November 16, 1895 Hanau, Germany died December 28, 1963 Frankfurt, Germany

The Cleveland Orchestra

young composers in the years immediately after World War I. It was an era of unrest on the streets and of experimentation and attention-seeking in the arts. Some of Hindemith’s earliest fame came from a series of youthful one-act operas, written in a cutting-edge musical style, with challenging and sometimes violent storylines. One centered on the sexual fantasies of a nun, another involved a naked woman bathing alone onstage. His great opera Mathis der Maler (“Matthias the Painter”) got him in further trouble with the authorities. In it, Hindemith used the story of the persecution of the 15th-century painter Matthias Grunewald to draw some none-so-subtle parallels with the Nazi government’s artistic censorship. The opera was banned, but a symphonic version was premiered in 1934. The attempts of young artists to find a voice — or simply to be heard — are often followed by a more thoughtful, creative, and productive career. For Hindemith, this included evolving his musical style, continuing to wrestle with the politics of Nazi Germany, and apportioning his time between considerable talents as composer, teacher, and performer (he was one of the 20th century’s great solo violists and could ably play many other instruments). Over the years, Hindemith’s musical style became more and more classically-derived, often with neo-Baroque touches. Yet it remained fresh and contemporary, as he developed a unique harmonic signature with unusual emphasis on the musical interval of the fourth (while most “normal” tonal harmony is based squarely on thirds). For a time in the middle of the 20th century, Hindemith was considered among the greatest living composers, but his fame and people’s attitudes toward his musical style faded rather quickly after his death. Hindemith lived in exile in Switzerland for much of the latter half of the 1930s, making several concert trips to England and to the United States to conduct and perform. The start of World War II in 1939 imperiled free travel for concertizing across Europe and left the composer with minimal means of making money. At the instigation of friends, Hindemith came to the United States to teach in 1940. After a semester trying it out — lecturing at four different universities and travelling over 400 miles each week July 30: About the Music

The ceiling frescoes by Raphael in the Villa Farnesina in Rome, which inspired Hindemith's Cupid and Psyche overture.

At a Glance Hindemith wrote this concert overture in the summer of 1943, while vacationing in New Hampshire in July and then finishing the orchestration in August in Connecticut. He then decided to offer it to Eugene Ormandy, who was asking for a new piece. It was premiered on October 23, 1943, with Ormandy conducting the Philadelphia Orchestra. The overture Cupid and Psyche runs about 5 minutes in performance. Hindemith scored it for what he called a “full chamber orchestra” of flute, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 2 trombones, timpani, percussion (triangle, cymbal, glockenspiel), and strings.

among them — Hindemith sent for his wife and moved to New Haven, Connecticut, to teach at Yale. There he threw himself into teaching with total commitment for the next decade. During this time, he was busy on several dance-related projects, including an ill-fated ballet score for the choreographer Leonide Fokine, whose work Hindemith came to despise. Hindemith never progressed beyond writing the ballet’s storyline. Shortly after arriving in New Haven, however, he received a commission from George Balanchine, a choreographer he respected and admired. The resulting Four Temperaments, written for solo piano and string orchestra, was a great success both as music and as Balanchine’s embodiment of it in movement. Hindemith wrote the concert overture Cupid and Psyche in the summer of 1943. Both the title and his description of it may have included a healthy dose of “tongue-in-cheek” humor. He gave it the subtitle of “A Ballet Overture,” and in his own program note said that the remainder of the ballet “has much the same character as the overture. . . . I planned the piece some years ago but the music is not yet finished,” noting that he couldn’t give many more details about a piece “in absentia.” There was, in fact, no ballet to follow. There was simply a concert overture about an idea that could be a ballet. Writing an overture for a ballet, of course, kept the project related to dance without actually having to be music that would be danced to. And Hindemith’s thoughts were apparently more about scene painting and atmosphere than anything — with the soundscape of the overture bathed in light from a famous set of fresco paintings on the ceilings of the Villa Farnesina in Rome. There Raphael had created very lifelike renderings related to the story of Psyche, a young woman worshipped as more beautiful than Venus, Cupid's love for her, the trials and obstacles to their passion, and their eventual union and marriage. Critics have complained that any connection to the storyline of Psyche seems non-existent in the music. The score, however, is pure Hindemith in its soundworld and filled with enough interesting musical details to provide unusual contrast and variety to any concert of symphonic works. —Eric Sellen © 2016

About the Music: July 30

2016 Blossom Festival

The Cleveland Orchestra

Violin Concerto No. 5 (“Turkish”) in A major, K219 composed 1775

Wolfgang Amadè

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

Blossom Festival 2016

M O Z A R T L E A R N E D to play the violin as a child from his father. He could hardly have had a better teacher, for Leopold Mozart’s treatise on violin playing is still thought to be among the most important books of its kind from the 18th century. Young Wolfgang became a highly accomplished violinist, serving for a number of years as concertmaster in Archbishop Colloredo’s orchestra in Salzburg. But the violin was not his favorite instrument to perform on, for he much preferred the piano. It was as a keyboard player that he had dazzled the Imperial family during his first visit to Vienna at age 7. Almost two decades later, he moved to the capital and established himself as a piano virtuoso — a circumstance to which we owe his seventeen magnificent piano concertos from this period. By that time, Mozart had long since stopped playing the violin in public, despite the exhortations of his father, who thought Wolfgang could be one of the best violinists in Europe if only he wanted to. Wolfgang didn’t want to, and we may presume that his desire to break away from an all-too-controlling father and a much-hated job had something to do with his also abandoning the violin. It is no surprise, then, that Mozart wrote all his violin concertos while still in Salzburg, in the service of the Archbishop and in his father’s proximity. Four of the five concertos were composed in the same year, 1775 (Wolfgang was just 19 years old); one dates from two years earlier. They were written for Mozart himself to play, although Antonio Brunetti, a Neopolitan violinist who joined the Archbishop’s service in 1776, also played them on a number of occasions. (One sometimes comes across concertos nos. “6” and “7,” which are works once attributed to Mozart, but probably not written by him.) The Violin Concerto No. 5 brings us a surprise almost from the start of the first movement. After an opening section in fast tempo introducing what seems to be the main theme, the soloist’s first entrance is a lyrical “Adagio.” After a few slow measures, the opening “Allegro” returns; the orchestra is playing the same music as before, but the solo violin now adds the real main theme on top of what turns out to have been a mere accompaniment. The movement, in fact, presents a wealth About the Music: July 30

At a Glance Mozart wrote this Violin Concerto in A major in December 1775 in Salzburg for his own use as concertmaster of the Salzburg Orchestra. The work’s premiere date is uncertain, but probably took place after it was completed in December. The nickname “Turkish” was dervied from the percussive section in the third movement, written in a style “alla turca” to evoke an idea of exotic foreignness This work runs about 30 minutes in performance. Mozart’s scoring calls for a small orchestra of 2 oboes, 2 horns, and strings, plus the solo violin.

of musical themes, from drawn-out and dreamy to vigorously brilliant; particularly noteworthy is an angular unison passage, outlining the notes of the A-major triad, that closes each section of the Allegro. The movement’s overall tempo marking of “Allegro aperto” was used by Mozart on only a few occasions; and it is not regularly found in the works of other composers. It means literally “open Allegro” — which can be interpreted as bright, outgoing, and lively. The second movement is a heartfelt Adagio in E major. This is an unusual key that Mozart reserved for ethereal moments. It is not entirely surprising that it was considered a little too intense by some (Brunetti called it “too studied”). Mozart wrote an alternate Adagio in E major (K261) to be used in its place, but most often today the original one is performed, for it is one of the most profound slow movements created by Mozart in his early years. The last movement is a rondo, using a minuet as its main theme. The rondo form means that once the theme is presented, a number of variations then follow as “episodes.” These episodes move farther and farther away from the initial minuet character, however. The first episode grows out of the minuet theme as a mere extension of it; the second represents more of a contrast with its dramatic incursion into the minor mode. In the third episode, however, the elegant party is crashed by some uninvited guests . . . from Turkey or some other similarly “barbarian” place. This “Turkish” music was a fad of the era, representing an “exotic” and foreign culture. It was not authentically Turkish, and consisted of percussive elements associated with Ottoman army garrisons and the marching bands that drummed them into battle. Mozart’s personal “alla turca” style is noisy and intentionally primitive and repetitious, to contrast with the more traditional grace and beauty of the rest of the concerto. Its sounds are simply some foreign spice dropped into a symphonic stew. One of the “Turkish” melodies here was borrowed from a ballet on a Turkish theme that Mozart had sketched in Italy in 1772. It receives new meaning in the concerto, however, as its triadic outline echoes the first movement’s closing idea. In the violin concerto, the appearance of the “Turks” is only a temporary interruption, after which the elegant party resumes. The concerto ends with a particularly delicate touch, an exquisite pianissimo melody slipping away into silence. —Peter Laki © 2016 Copyright © Musical Arts Association

July 30: About the Music

2016 Blossom Festival

Side-by- Side Performance

Symphony No. 6 (“Pathétique”) in B minor, Opus 74 composed 1893 L A S T S Y M P H O N I E S may tell us a great deal about a com-

Pyotr Ilyich

TCHAIKOVSKY born May 7, 1840 near Votkinsk, Russia died November 6, 1893 St. Petersburg

poser’s over-riding view of music — or not much at all. Beethoven’s Ninth was a natural outgrowth of how his understanding of a symphony grew across his creative lifetime; it neatly wraps up the composer’s ideals into one large and glorious statement. Although he made a few half-hearted sketches toward a Tenth Symphony, Beethoven didn’t really have more to say in “a symphony” (although in his final years he certainly worked hard and with new ideas in other areas). Many other composers' last symphonies similarly act as capstones placed at the top of their orchestral output, nicely summing up their symphonic views — Brahms, Dvořák, Shostakovich, Mendelssohn, Schumann (either the Third or Fourth, for differing reasons). Even Mahler’s last efforts (the Ninth or Tenth, or Song of the Earth) can be read as final musical statements — perhaps as much because we don’t really have the imaginations to know how much further and in what direction Mahler would have gone had he not died at age 51. For a few composers, however, death truly interfered. And the last symphony just happens to be the last because the composer quite literally couldn’t write anything more. Mozart and Schubert, both tragically dead in their 30s. And especially Tchaikovsky, who very famously died, at age 53, just days after conducting the premiere of his Sixth Symphony, at the very height of his fame as a composer and whose music was very much in demand around the world. WHO KILLED TCHAIKOVSKY?

There was much discussion in the closing decades of the 20th century about potential intrigue surrounding Tchaikovsky’s sudden death in the autumn of 1893. An idea was put forward, told only as hearsay and at least one generation removed from the original participants, that the composer was forced to kill himself by a secret tribunal of aristocrats who were unhappy with an affair the composer was having with a young nobleman. The facts are difficult to judge at this distance in time, but no solid documentary evidence has been put forward in support of the idea. And norms of the period — homosexuality was generally tolerated among the Russian aristocracy — seem unlikely Blossom Festival 2016

About the Music: July 30

A portrait of Tchaikovsky, painted in 1893 at the height of his fame, by Nikolai Kuznetsov.

Undoubtedly I should have gone mad but for music. Music is indeed the most beautiful of all Heaven’s gifts to humanity wandering in the darkness. Alone it calms, enlightens, and stills our souls. It is not the straw to which the drowning man clings — but a true friend, refuge, and comforter, for whose sake life is worth living. —Pyotr Ilyich Tchaikovsky

to have forced the loss of Russia’s greatest composer at a time he was widely acclaimed across the globe. Russia was, at the time, very much seeking the acceptance of the Western World, and Tchaikovsky’s mastery of Western symphonic music was a powerful force in that direction. Tchaikovsky’s own admission to having absent-mindedly taken a drink of unboiled water in the midst of a potential cholera outbreak does not seem unreasonable. He was not the only victim of the disease in those weeks in St. Petersburg. The story of forced suicide was probably, as much as anything, a reflection of less and less tolerance for homsexual behavior in Russia under the Communist rule of the 20th century — a non-embracing unwillingness to accept or understand that has only grown even worse in Russia in recent years. THE MUSIC

Regardless of what brought about his death, Tchaikovsky certainly died a master composer. And the Sixth Symphony, given the nickname “Pathétique” by his brother Modest prior to Pyotr’s death, shows both what a good composer he was and how daring he was allowing himself to be. The notion of ending with a quiet movement was completely radical — and the rousing conclusion of the third movement still catches many many many (many!) audiences unaware, resulting in much-deserved (but in some quarters frowned upon) bursts of early applause, just before the fourth movement finale. The Sixth Symphony is a big musical statement, lasting nearly three-quarters of an hour. While working on it, Tchaikovsky had written to a friend that the score was “saturated with subjective feeling, and often . . . while composing it in my mind, I shed many tears.” The opening movement builds from a quiet, despairing introduction into a full-out sense of impending tragedy, and then clashes of angst, followed by calmer but unsettled music. The waltzing second movement seems much more at ease — and very reminiscent of Tchaikovsky’s great ballet scores. The third movement harkens back to the best triumphant writing of the Fourth and Fifth symphonies, including the rousing ending (but did I mention? . . . don’t applaud yet!). The final movement returns us to the difficult and angstridden world of the first, with a searing melody in the strings. This develops into a larger tragic mood, and then slowly works through melancholy, resignation, and despair (in all the best Blossom Festival 2016

About the Music: July 30

At a Glance Tchaikovsky began writing his Sixth Symphony in February 1893 and conducted the work’s first performance on October 28 of that year in St. Petersburg. The subtitle “Pathétique” was suggested by Tchaikovsky’s brother Modest a few days after the premiere; the composer liked the suggestion and wrote the subtitle on the score, which was dedicated to Tchaikovsky’s nephew Vladimir “Bob” Davydov. Tchaikovsky died just nine days after the premiere. This symphony runs about 45 minutes in performance. Tchaikovsky scored it for 3 flutes (third doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, tam-tam), and strings.

emotional wallowing inherent in the French word pathétique). Finally, it softens to a quiet, controlled ending, tapering off to . . . nothing. At the premiere, the ending of the Sixth was met with polite bewilderment. The work’s second performance just two weeks later, at a memorial service for the composer, elicited far greater emotional feelings, as its quiet and enigmatic ending deftly echoed the loss that all of Russia felt over its greatest composer. —Eric Sellen © 2016

PYOTR ILYICH TCHAIKOVSKY 1840-1893 2 1

1. Tchaikovsky at the age of twenty in 1860. 2. The three Tchaikovsky brothers in 1875. Family friend Nikolai Dmitrievich Kondratiev (standing at left), Anatoli Tchaikovsky (seated), Modest Tchaikovsky, and Pyotr. 3. Late in life, in the early 1890s.

July 30: About the Music

2016 Blossom Blossom Music Festival

Kent/Blossom Arts Festivals SINCE THE OPENING

of Blossom Music Center as the summer home of The Cleveland Orchestra in 1968, Kent State University has participated in helping to develop Blossom’s role as a center for professional training in the visual and performing arts. Each summer, the Kent/Blossom arts festivals bring together some 300 young professionals in art, music, and theater, and a resident faculty of 80 (including Kent State faculty, members of The Cleveland Orchestra, and major international artists). Through the production of more than 100 concerts, performances, exhibitions, and lectures, their creative experiences are shared with an audience of nearly 30,000 each year. Over the past four decades, Kent/Blossom has involved over 10,000 students from throughout the United States and abroad. An evolving faculty roster of 700 visiting artists has joined with 60 members of The Cleveland Orchestra and 120 members of the Kent State University faculty. More than 850,000 people have attended over 4,000 public events in the disciplines of music, visual arts, and theater. Kent/Blossom alumni are now associated with some 400 professional arts organizations worldwide. These include the orchestras of Berlin, Boston, Cleveland, New York, and Vienna; the Metropolitan, Houston, and La Scala opera companies; art museums in New York, San Francisco, Mexico City, and Paris; and dozens of major theaters and touring dramatic companies.

Kent/Blossom Music June 23 to July 30, 2016 INCLUDING: SATURDAY July 30 AT 7:00 p.m.

Side-by-Side Kent/Blossom Chamber Orchestra Brett Mitchell, conductor alongside The Cleveland Orchestra conducted by Hans Graf

theatre season 2O16

Porthouse Theatre at Blossom Music Center

SISTER ACT June 17 to July 2

RING OF FIRE July 7 to 23

FOOTLOOSE July 28 to August 14 For Tickets . . . Kent State University Box Office Monday thru Friday 11 a.m. to 5 p.m. Porthouse Theatre Box Office open 1½ hours prior to showtime

art exhibitions 2O16

Eells Art Gallery at Blossom Music Center

Open two hours before the start of each Blossom Music Festival concert through the end of intermission. JULY 2 to JULY 30 — Pattern/Pattern featuring works by Stephanie Thelen AUGUST 6 to SEPTEMBER 3 — Color Horizon: Referencing The Landscape Visit www.kent.edu/galleries for more information.

Blossom Festival 2016

Kent/Blossom Music Festival

B R E A K I N G T H E M E A N S

S H A P I N G

T H E At Ken n t Statt e University, w e have one of th h e largest sy y stemss in the natt ion a nd one of the c losest familiess in n the world. Here y ou’re comforr table e being yourse e l f yet empowerr ed d to discoverr whatt more you can become. Here a stt r ong acceptancc e b y our comm m unity y leads to a powerful impact in alll directions. Herr e it’s OK to be undecided but unaccep p table to not ha a ve purpose. Be e ca a use when y ou’re not expectt ed to o fit a certain m old, you develo o p exceptionall abilitt ies to achiev v e ama a zing things.

WWW.KENT.EDU KENT K E S TATE UNIVERS S IT ITY, K ENT T STATE STATE AN D KSU ARE REGISTER R TERED ED TRA RA A DEMARK EMARKS EM MARK S AND AN M MAY NO T BE USED WII TH THOUT O PERM PER ERMIS R SION. KENT STAT TATE UNIVERS S ITY, TY, A AN EQUAL L OPPORTUNIT OPPO NIT TY Y, AFF IRMATI RMATIVE RMAT RMATI VE ACT AC IION EM E PL PLOYER, IS S C OMMI MMIT T TED ED TO ATTAINING ATT ING EXCELLEN EX C NCE C THR OUGH THE RE RECRUITME MENT NT AND RETEN ENTION EN TION T ION N O F A DI D VERSE ER WO WORKFO R RCE. 16-UR 6-U -00 00 0309 309-251 -25

of its founding in 2018, The Cleveland Orchestra is undergoing a new transformation and renaissance. Under the leadership of Franz Welser-Möst, entering his fifteenth year as the ensemble’s music director with the upcoming 2016-17 season, The Cleveland Orchestra is acknowledged among the world’s very best orchestras. With Welser-Möst, the ensemble’s musicians, board of directors, staff, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence, to renew its focus on fully serving the communities where it performs through concerts, engagement, and music education, to develop the youngest audience of any orchestra, to build on its tradition of community support and financial strength, and to move forward into the Orchestra’s next century with an unshakeable commitment to innovation and a fearless pursuit of success. The Cleveland Orchestra divides its time each year across concert seasons at home in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and to a series of innovative and intensive performance residencies. These include an annual set of concerts and education programs and partnerships in Miami, Florida, a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, at New York’s Lincoln Center Festival, and at Indiana University. Each year since 1989, The Cleveland Orchestra Musical Excellence. The Cleveland Orchestra has presented a free concert in downtown Cleveland. The 27th free performance downhas long been committed to the pursuit of musical town takes place this summer on Friday eveexcellence in everything that it does. The Orchesning, July 29, in partnership with Cuyahoga tra’s ongoing collaboration with Welser-Möst is Arts & Culture, and celebrates the reopening of a redesigned and renovated Public Square. widely-acknowledged among the best orchestraconductor partnerships of today. Performances of standard repertoire and new works are unrivalled at home, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and radio and internet broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences experience music as a living language that grows and evolves with each new generation. Performances with Baroque specialists, recording projects of varying repertoire and in different locations, fruitful re-examinations and juxtapositions of the standard repertoire, PHOTO BY ROGER MASTROIANNI

AS IT NEARS THE CENTENNIAL

Blossom Festival 2016

The Cleveland Orchestra

and acclaimed collaborations in 20thand 21st-century masterworks together help finetune and enable The Cleveland Orchestra’s ability to give musical performances second to none in the world. Serving the Community. Programs for students and community engagement activities have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities, and have more recently been extended to its touring and residencies. All are being created to connect people Franz Welser-Möst to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique “At Home” neighborhood residency program, designed to bring the Orchestra and Northeast Ohio together in new ways. Additionally, a new Make Music! initiative is underway, championed by Franz Welser-Möst in advocacy for the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than nine decades of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing

work to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest — with 20% of attendees now comprised of concertgoers age 25 and under. 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 popular Friday night concerts (mixing onstage symphonic works with post-concert entertainment), 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 concerts. Hundreds of thousands have learned to love music through its education programs and celebrated important events with its music. While strong ticket sales cover just under half of each season’s costs, it is the

The Cleveland Orchestra

2016 Blossom Festival

generosity of thousands each year that 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 Orchestra 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, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002. The opening in 1931 of Severance Hall as the Orchestra’s permanent home, with later acoustic refinements and remodeling of the hall under Szell’s guidance, brought a special pride to the ensemble and its hometown, as well as providing an enviable and intimate acoustic environment in which to develop and refine the Orchestra’s artistry. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States. Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world. Blossom Festival 2016

Little steps can move all of us.

Learn how you can help at akronchildrens.org/giving.

The Cleveland Orchestra

2 O 1 6

B L O S S O M

M U S I C

F E S T I V A L

FRANZ WELSER-MÖST M U S I C D I R E C TO R

Kelvin Smith Family Chair

FIRST VIOLINS William Preucil CONCERTMASTER

Blossom-Lee Chair

Jung-Min Amy Lee ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Peter Otto FIRST ASSOCIATE CONCERTMASTER

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

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan

SECOND VIOLINS Stephen Rose * Alfred M. and Clara T. Rankin Chair

Emilio Llinás 2 James and Donna Reid Chair

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

Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut Vladimir Deninzon Sae Shiragami Scott Weber Kathleen Collins Beth Woodside Emma Shook Yun-Ting Lee VIOLAS Robert Vernon * Chaillé H. and Richard B. Tullis Chair

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

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Cleveland Orchestra

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

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

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

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

Blossom Music Festival

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

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

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

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

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

Michael Miller

Robert Walters

CORNETS Michael Sachs *

ENGLISH HORN Robert Walters

Michael Miller

Samuel C. and Bernette K. Jaffe Chair

CLARINETS Robert Woolfrey Daniel McKelway 2 Robert R. and Vilma L. Kohn Chair

Mary Elizabeth and G. Robert Klein Chair

TROMBONES Massimo La Rosa* Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Linnea Nereim

Shachar Israel 2

E-FLAT CLARINET Daniel McKelway

BASS TROMBONE Thomas Klaber

Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Linnea Nereim BASSOONS John Clouser * Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Blossom Music Festival

EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

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

Tom Freer

Mr. and Mrs. Richard K. Smucker Chair

The Cleveland Orchestra

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Clara G. and George P. Bickford Chair Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sunshine Chair Robert Marcellus Chair George Szell Memorial Chair

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal on sabbatical leave

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Brett Mitchell ASSOCIATE CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Robert Porco DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

2016 INAMORI ETHICS PRIZE

PETER EIGEN Founder of Transparency International and pioneer of the global fight against corruption C A S E W E S T E R N R E S E RV E U N I V E R S Join us in celebrating the Inamori Ethics Prize, which honors outstanding international leaders whose actions and influences have greatly improved the conditions of humankind. THURSDAY, SEPTEMBER 8, 2016 Inamori Ethics Prize Ceremony and Recipient Lecture by Peter Eigen 6 p.m., Milton and Tamar Maltz Performing Arts Center at The Temple-Tifereth Israel

FRIDAY, SEPTEMBER 9, 2016 Academic Symposium Featuring recipient Peter Eigen and distinguished panelists Brian Gran and Katherine Marshall 12:30 p.m., Severance Hall These events are FREE and open to the public. Learn more at case.edu/inamori.

Climb Aboard the

Cuyahoga Valley Scenic Railroad

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2016 Blossom Festival

1918

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

15th

1l1l 11l1 l1l1

The 2016-17 season will mark Franz Welser-Möst’s 15th 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%

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

Likes on Facebook (as of June 15, 2016)

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

121,873

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

Sound for the Centennial TH E C A M PAI G N FO R TH E C LE V EL AN D O RC H ESTR A Dennis W. LaBarre, President, Musical Arts Association Richard J. Bogomolny, MAA Chairman and Fundraising Chair Nancy W. McCann, Fundraising Vice Chair Alexander M. Cutler, Special Fundraising Beth E. Mooney, Pension Fundraising John C. Morley, Legacy Giving Hewitt B. Shaw, Annual Fund

In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have embarked on an ambitious fundraising campaign. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash gifts and legacy commitments, THE while also securing broad-based and increasing annual support from across Northeast CLEVELAND ORCHESTRA Ohio. The generous individuals and organizations listed on these pages have made longterm commitments of annual support, endowment funds, and legacy declarations to the Campaign. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial difference in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact the Orchestra’s Philanthropy & Advancement Office at 216-231-7558. Listing as of June 15, 2016. GIFTS OF $5 MILLION AND MORE

The Cleveland Foundation Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Nancy Fisher and Randy Lerner in loving recognition of their mother, Norma Lerner

Maltz Family Foundation Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner Anonymous

GIFTS OF $1 MILLION TO $5 MILLION

Art of Beauty Company, Inc. BakerHostetler Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mrs. M. Roger Clapp* Eaton FirstEnergy Foundation Forest City The George Gund Foundation Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley KeyBank Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Mrs. Norma Lerner The Lubrizol Corporation The Andrew W. Mellon Foundation

Ms. Beth E. Mooney John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund Ohio Arts Council The Honorable and Mrs. John Doyle Ong The Payne Fund PNC Bank Julia and Larry Pollock Mr. and Mrs. Alfred M. Rankin, Jr. James and Donna Reid Barbara S. Robinson The Leighton A. Rosenthal Family Foundation The Sage Cleveland Foundation The Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation Mr. and Mrs. Richard K. Smucker The J. M. Smucker Company Joe and Marlene Toot Anonymous (3)

Sound for the Centennial Campaign

The Cleveland Orchestra

GIFTS OF $500,000 TO $1 MILLION

Gay Cull Addicott American Greetings Corporation Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Dr. and Mrs. Hiroyuki Fujita GAR Foundation Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Mr. and Mrs. Douglas A. Kern James and Gay* Kitson

Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann Medical Mutual of Ohio Nordson Corporation Foundation Parker Hannifin Foundation Charles and Ilana Horowitz Ratner Sally and Larry Sears Squire Patton Boggs (US) LLP Thompson Hine LLP Timken Foundation of Canton Ms. Ginger Warner Anonymous (4)

GIFTS OF $250,000 TO $500,000

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Blossom Friends of The Cleveland Orchestra Mr. and Mrs. Harvey Buchanan* Cliffs Natural Resources The George W. Codrington Charitable Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa Nancy and Richard Dotson George* and Becky Dunn Patricia Esposito

Sidney E. Frank Foundation Albert I. and Norma C. Geller The Gerhard Foundation Mary Jane Hartwell David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III* Trevor and Jennie Jones Elizabeth B. Juliano Mr. Clarence E. Klaus, Jr. Giuliana C. and John D. Koch Dr. Vilma L. Kohn* Mrs. Emma S. Lincoln Mr. and Mrs. Alex Machaskee Robert M. Maloney and Laura Goyanes

Elizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. Morrison Margaret Fulton-Mueller National Endowment for the Arts Roseanne and Gary Oatey William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Quality Electrodynamics (QED) Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation Richard and Nancy Sneed R. Thomas and Meg Harris Stanton Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra

GIFTS OF $100,000 TO $250,000

The Abington Foundation Akron Community Foundation Mr. and Mrs. George N. Aronoff Jack L. Barnhart Fred G. and Mary W. Behm Madeline & Dennis Block Trust Fund Ben and Ingrid Bowman Dr. Christopher P. Brandt and Dr. Beth Sersig Buyers Products Company Mr. and Mrs. David J. Carpenter Mary Kay DeGrandis and Edward J. Donnelly Judith and George W. Diehl Ernst & Young LLP Mr. Allen H. Ford Frantz Ward LLP Dr. Saul Genuth The Giant Eagle Foundation JoAnn and Robert Glick Hahn Loeser & Parks LLP Iris and Tom Harvie Jeff and Julia Healy The Hershey Foundation Mr. Daniel R. High Mr. and Mrs. Donald M. Jack, Jr. Bernie and Nancy Karr

Blossom Music Festival

Mr. and Mrs.* S. Lee Kohrman Kenneth M. Lapine and Rose E. Mills Dr. David and Janice Leshner Litigation Management, Inc. Jeffrey Litwiller Linda and Saul Ludwig Dr. and Mrs. Sanford E. Marovitz Mr. Thomas F. McKee The Miller Family: Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern The Margaret Clark Morgan Foundation The Nord Family Foundation Olympic Steel, Inc. Park-Ohio Holdings Corp. Helen Rankin Butler and Clara Rankin Williams The Reinberger Foundation Amy and Ken Rogat Audra* and George Rose RPM International Inc. Mr. Larry J. Santon Raymond T. and Katherine S. Sawyer

Sound for the Centennial Campaign

Mrs. David Seidenfeld David Shank Naomi G. and Edwin Z. Singer Drs. Charles Kent Smith and Patricia Moore Smith Sandra and Richey Smith George R. and Mary B. Stark Ms. Lorraine S. Szabo Virginia and Bruce Taylor Tucker Ellis Dorothy Ann Turick The Denise G. and Norman E. Wells, Jr. Family Foundation Mr. Max W. Wendel Paul and Suzanne Westlake Marilyn J. White The Edward and Ruth Wilkof Foundation Katie and Donald Woodcock William Wendling and Lynne Woodman Anonymous (3)

* deceased

CULTIVATING A FAMILY TRADITION . . .

“Hearing an extraordinary performance by The Cleveland Orchestra at Blossom is unforgettable — and even more special when you share it with others.” For half a century, The Cleveland Orchestra has given Dr. Arthur Lavin many of his most treasured memories. His parents became subscribers in the 1940s, driving up from Canton to attend Orchestra concerts as part of their social routine — and included their son from an early age — instilling in him a lifelong love of symphonic music and The Cleveland Orchestra. Today, Arthur fondly recalls going to Blossom as a youth with his best friends, lying on the lawn and watching the stars, mesmerized by the extraordinary music. In turn, Arthur and his wife, Diane, introduced their three children to the singular beauty of being entranced by The Cleveland Orchestra on summer evenings at Blossom — where the music sounds almost supernatural, the dark forest flashes with fireflies, and the night air feels like velvet. Arthur vividly remembers one night when a thunderstorm burst over the Lawn during the tempestuous Presto section of the fourth movement of Beethoven’s Ninth Symphony. The Lavins scrambled for cover amid musical dissonance and natural fury. “And then, when the Ode to Joy itself began, I will never forget our kids dancing with all the other children in the sort of joy I think Beethoven hoped would animate all who hear this music.” THE

CLEVELAND ORCHESTRA

Share the power of music and your love for The Cleveland Orchestra by sharing memorable photos from your own unforgettable evenings at Blossom. Instagram: @cleveorch

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#CleOrchBlossom Blossom Music Festival

Gourmet Matinees are a series of summertime meetthe-artist luncheons showcasing the individual stories and artistry of musicians of The Cleveland Orchestra. Each event features a lively discussion session with a small group of musicians, including a musical performance. Lunch is included, reservations are required. Presented at Knight Grove at Blossom Music Center by Blossom Friends of The Cleveland Orchestra.

2O16

Gourmet Matinees

July 12 — Tuesday at 12 noon Cleveland Bluegrass Orchestra The Cleveland Bluegrass Orchestra — starring Trina Struble (fiddle), Mark Dumm (banjo), Jeffrey Zehngut (mandolin), Henry Peyrebrune (guitar), and Derek Zadinsky (bass) — opens the 2016 Gourmet Matinee series with music that is guaranteed to make your toes tap and put a smile on your face.

August 3 — Wednesday at 12 noon Trombone and Cello Duo Enjoy the melodious tones of two favorite instruments, with musical selections performed by Shachar Israel (trombone) and David Alan Harrell (cello). This will be a duo performance that stirs your soul and sparks your imagination.

September 1 — Thursday at 12 noon Cleveland Trumpeter The 2016 Gourmet Matinee series ends on a delightful note with Cleveland native Michael Miller. Revel in the brilliant and bold sound of the trumpet as Michael presents a lively program to close the season. For more information or to make reservations, please call Nancy Cruikshank at 440-354-8603 or visit clevelandorchestra.com/GourmetMatinee. presented by

Blossom Friends of The Cleveland Orchestra Orc rche hestra t

Blossom Music Festival

2016 Gourmet Matinee Luncheons

THE CLEVELAN D ORCHESTRA

Individual Annual Support The Cleveland Orchestra gratefully recognizes the individuals listed here, who have provided generous gifts of cash or pledges of $2,500 or more to the Annual Fund, benefit events, tours and residencies, and special annual donations.

Lifetime Giving

Giving Societies

JOHN L. SEVERANCE SOCIETY

gifts during the past year, as of June 10, 2016

$10 MILLION AND MORE

In celebration of the critical role individuals play in supporting The Cleveland Orchestra each year, donors of $2,500 and more are recognized as members of special Leadership Giving Societies. These societies are named to honor important and inspirational leaders in the Orchestra’s history. The Adella Prentiss Hughes Society honors the Orchestra’s founder and first manager, who from 1918 envisioned an ensemble dedicated to community service, music education, and performing excellence. The George Szell Society is named after the Orchestra’s fourth music director, who served for twenty-four seasons (1946-70) while refining the ensemble’s international reputation for clarity of sound and unsurpassed musical excellence. The Elisabeth DeWitt Severance Society honors not only the woman in whose memory Severance Hall was built, but her selfless sharing, including her insistence on nurturing an orchestra not just for the wealthy but for everyone. The Dudley S. Blossom Society honors one of the Orchestra’s early and most generous benefactors, whose dedication and charm rallied thousands to support and nurture a hometown orchestra toward greatness. The Frank H. Ginn Society honors the man whose judicious management of Severance Hall’s finances and construction created a beautiful and welcoming home for Cleveland’s Orchestra. The 1929 Society honors the vibrant community spirit that propelled 3,000 volunteers and donors to raise over $2 million in a nine-day campaign in April 1929 to meet and match John and Elisabeth Severance’s challenge gift toward the building of the Orchestra’s new concert hall.

Daniel R. Lewis (Miami, Cleveland) Jan R. Lewis (Miami, Cleveland) Mrs. Alfred M. Rankin, Sr. $5 MILLION TO $10 MILLION

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Mrs. Norma Lerner and The Lerner Foundation Mr. and Mrs. Albert B. Ratner $1 MILLION TO $5 MILLION

Irma and Norman Braman (Miami) Mr. Francis J. Callahan* Mrs. M. Roger Clapp* Mr. George Gund III * Francie and David Horvitz (Miami) Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III * The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Sue Miller (Miami) Sally S.* and John C. Morley The Family of D. Z. Norton The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson Peter B. Lewis* and Janet Rosel Lewis (Miami) The Ralph and Luci Schey Foundation Mr.* and Mrs. Ward Smith Mr. and Mrs. Richard K. Smucker Anonymous (2) 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 stands today as an emblem of unrivalled quality and community pride. Lifetime giving listing as of June 2016.

Individual Annual Support

The Cleveland Orchestra

Leadership Council Adella Prentiss Hughes Society gifts of $100,000 and more INDIVIDUAL GIFTS OF $500,000 AND MORE

Mr. and Mrs. Albert B. Ratner Mr. and Mrs. Richard K. Smucker INDIVIDUAL GIFTS OF $200,000 TO $499,999

Irma and Norman Braman (Miami) Mr. and Mrs. James A. Haslam III The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis (Miami) Jan R. Lewis (Miami) Peter B. Lewis* and Janet Rosel Lewis (Miami) Sue Miller (Miami) James and Donna Reid INDIVIDUAL GIFTS OF $100,000 TO $199,999

George* and Becky Dunn Dr. and Mrs. Hiroyuki Fujita David and Francie Horvitz Family Foundation (Miami) James D. Ireland III* Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre Mrs. Emma S. Lincoln Milton and Tamar Maltz Elizabeth F. McBride Mary M. Spencer (Miami) Ms. Ginger Warner (Cleveland, Miami) Mr. and Mrs. Franz Welser-MĂśst Janet* and Richard Yulman (Miami)

The Leadership Council salutes those extraordinary donors who have pledged to sustain their annual giving at the highest level for three years or more. Leadership Council donors are recognized in these Annual Support listings with the Leadership Council symbol next to their name:

INDIVIDUAL GIFTS OF $50,000 TO $74,999

Sheldon and Florence Anderson (Miami) Blossom Friends of The Cleveland Orchestra Jeanette Grasselli Brown and Glenn R. Brown Mr. and Mrs. Alexander M. Cutler Hector D. Fortun (Miami) T. K. and Faye A. Heston Giuliana C. and John D. Koch Dr.* and Mrs. Jerome Kowal Toby Devan Lewis Robert M. Maloney and Laura Goyanes Ms. Nancy W. McCann Sally S.* and John C. Morley Margaret Fulton-Mueller Roseanne and Gary Oatey (Cleveland, Miami) The Claudia and Steven Perles Family Foundation (Miami) Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner Sally and Larry Sears Hewitt and Paula Shaw Barbara and David Wolfort (Cleveland, Miami) Womenâ&#x20AC;&#x2122;s Committee of The Cleveland Orchestra Anonymous (4)

Elisabeth DeWitt Severance Society gifts of $25,000 and more

George Szell Society

INDIVIDUAL GIFTS OF $30,000 TO $49,999

gifts of $50,000 and more INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern Ms. Beth E. Mooney The Honorable and Mrs. John Doyle Ong Mr. Patrick Park (Miami) Mr. and Mrs. Alfred M. Rankin, Jr. Barbara S. Robinson (Cleveland, Miami)

Daniel and Trish Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Mr. and Mrs. David J. Carpenter Robert and Jean* Conrad Mr. and Mrs. Geoffrey Gund Mrs. John A. Hadden, Jr. Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable Foundation Virginia M. and Jon A. Lindseth Julia and Larry Pollock The Ralph and Luci Schey Foundation Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton The Denise G. and Norman E. Wells, Jr. Family Foundation listings continue

Blossom Festival 2016

Individual Annual Support

THE CLEVELAN D ORCHESTRA

LEADERSHIP PATRON PROGRAM Barbara Robinson, chair Robert Gudbranson, vice chair

listings continued INDIVIDUAL GIFTS OF $25,000 TO $29,999

Ronald H. Bell Henry C. Doll Judy Ernest Nicki Gudbranson Jack Harley Iris Harvie

Mr. and Mrs. William W. Baker Marsha and Brian Bilzin (Miami) In dedication to Donald Carlin (Miami) Martha and Bruce Clinton (Miami) Mr.* and Mrs. Gerald A. Conway Judith and George W. Diehl JoAnn and Robert Glick Mr. Loren W. Hershey Mrs. Marguerite B. Humphrey Mr. and Mrs. Donald M. Jack, Jr. Junior Committee of The Cleveland Orchestra Thomas E Lauria (Miami) Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan Mrs. Jane B. Nord William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Mr. Larry J. Santon Jim and Myrna Spira Paul and Suzanne Westlake Anonymous (2)

The Leadership Patron Program recognizes generous donors of $2,500 or more to the Orchestraâ&#x20AC;&#x2122;s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Elizabeth Arnett, Manager, Leadership Giving, by calling 216-231-7522.

Dudley S. Blossom Society gifts of $15,000 and more INDIVIDUAL GIFTS OF $20,000 TO $24,999

Gay Cull Addicott Randall and Virginia Barbato Mr. Yuval Brisker Mr. and Mrs. Matthew V. Crawford Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami) Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Mary and Jon Heider (Cleveland, Miami) Allan V. Johnson Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Mr. and Mrs. Moshe Meidar (Miami) The Miller Family Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Kim Sherwin Mr. and Mrs. Donald Stelling (Europe) Rick, Margarita, and Steven Tonkinson (Miami) Gary L. Wasserman and Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe) INDIVIDUAL GIFTS OF $15,000 TO $19,999

William Appert and Christopher Wallace (Miami) Art of Beauty Company, Inc. Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi

Faye A. Heston Brinton L. Hyde David C. Lamb Larry J. Santon Raymond T. Sawyer

Jill and Paul Clark Mr. and Mrs. William E. Conway Mrs. Barbara Cook Peter D. and Julie F. Cummings (Miami) Do Unto Others Trust (Miami) Dr. and Mrs. Robert Ehrlich (Europe) Mr. Allen H. Ford Ms. Dawn M. Full Richard and Ann Gridley Kathleen E. Hancock Gary Hanson and Barbara Klante Sondra and Steve Hardis Jack Harley and Judy Ernest David and Nancy Hooker Richard and Erica Horvitz (Cleveland, Miami) Trevor and Jennie Jones Tati and Ezra Katz (Miami) Mr. Jeff Litwiller Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Edith and Ted* Miller Lucia S. Nash Mrs. David Seidenfeld Mr. and Mrs. Oliver E. Seikel Howard Stark M.D. and Rene Rodriguez (Miami) Joe and Marlene Toot Mr. and Mrs. Daniel P. Walsh Tom and Shirley Waltermire Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Jeffrey J. Weaver Mr. and Mrs. Jeffrey M. Weiss Florence and Robert Werner (Miami)

Frank H. Ginn Society gifts of $10,000 and more INDIVIDUAL GIFTS OF $12,500 TO $14,999

Mrs. Barbara Ann Davis Robert K. Gudbranson and Joon-Li Kim Eeva and Harri Kulovaara (Miami) Mr. and Mrs. Richard A. Manuel* James and Virginia Meil Mr. and Mrs. Stephen Myers Paul A. and Anastacia L. Rose Joseph and Gail Serota (Miami) Mr. and Mrs. Alfred Umdasch (Europe) Margaret and Eric* Wayne Sandy and Ted Wiese listings continue

Individual Annual Support

2016 Blossom Festival

Your legacy helps create a healthier community. Leave your legacy. Remember University Hospitals in your estate plans.

Gifts to University Hospitals continue the legacy of giving from generation to generation – by enabling us to live our mission every day:

To Heal. Enhancing patient care, experience and access To Teach. Training future generations of physicians and scientists To Discover. Accelerating medical innovations and clinical research And with your support, we’ll continue to provide the same high-quality care that we have for 150 years. Join the many who are making a difference.

To learn more, contact our gift planning team at 216-983-2200 or visit UHGiving.org.

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $10,000 TO $12,499

Mr. and Mrs. George N. Aronoff Mr. and Mrs. Dean Barry Drs. Nathan A. and Sosamma J. Berger Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. and Mrs. Richard L. Bowen Mr. D. McGregor Brandt, Jr. Paul and Marilyn Brentlinger* Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler Scott Chaikin and Mary Beth Cooper Drs. Wuu-Shung and Amy Chuang Richard J. and Joanne Clark Jim and Karen Dakin Henry and Mary* Doll Mr. and Mrs. Paul Doman Nancy and Richard Dotson Mr. and Mrs. Robert P. Duvin Mary Jo Eaton (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Nelly and Mike Farra (Miami) Mr. Isaac Fisher (Miami) Kira and Neil Flanzraich (Miami) Sheree and Monte Friedkin (Miami) Mr. and Mrs. Richard T. Garrett

Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie Mr. David J. Golden Patti Gordon (Miami) Mary Jane Hartwell Mr. and Mrs. James A. Haslam II Thomas H. and Virginia J. Horner Fund Joan and Leonard Horvitz Ruth and Pedro Jimenez (Miami) Cherie and Michael Joblove (Miami) Andrew and Katherine Kartalis Alan Kluger and Amy Dean (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Stewart and Donna Kohl Shirley and William Lehman (Miami) Dr. David and Janice Leshner Elsie and Byron Lutman Mr.* and Mrs. Arch J. McCartney Mr. Donald W. Morrison Joy P. and Thomas G. Murdough, Jr. (Miami) Brian and Cindy Murphy Mr. Raymond M. Murphy Dr. Anne and Mr. Peter Neff Mrs. Milly Nyman (Miami) Mr. and Mrs. William M. Osborne, Jr.

Douglas and Noreen Powers AndrĂŠs Rivero (Miami) Audra* and George Rose Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Michael and Chandra Rudd (Miami) Dr. Isobel Rutherford Dr. and Mrs.* Martin I. Saltzman Drs. Michael and Judith Samuels (Miami) Raymond T. and Katherine S. Sawyer Carol* and Albert Schupp Seven Five Fund David* and Harriet Simon Dr. Marvin* and Mimi Sobel Richard and Penny Stair Lois and Tom Stauffer Bruce and Virginia Taylor Mr. Joseph F. Tetlak Dr. Russell A. Trusso Anonymous (5)

The 1929 Society gifts of $2,500 to $9,999 INDIVIDUAL GIFTS OF $7,500 TO $9,999

Robert and Alyssa Lenhoff-Briggs Mr. and Mrs. Stanley Cohen (Miami) Ellen E. & Victor J. Cohn Supporting Foundation Marjorie Dickard Comella Mrs. Lois Joan Davis Mr. and Mrs. Thomas S. Davis Bob and Linnet Fritz Linda and Lawrence D. Goodman (Miami) Harry and Joyce Graham Mr. Paul Greig AndrĂŠ and Ginette Gremillet Iris and Tom Harvie Mrs. Sandra L. Haslinger Henry R. Hatch Robin Hitchcock Hatch Amy and Stephen Hoffman

Elisabeth Hugh Mr. David and Mrs. Dianne Hunt Mr. and Mrs. Brinton L. Hyde Pamela and Scott Isquick Richard and Michelle Jeschelnig Joela Jones and Richard Weiss James and Gay* Kitson Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Georgia and Carlos Noble (Miami) Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Nan and Bob Pfeifer Dr. and Mrs. Michael Rosenberg (Miami) Rosskamm Family Trust

Mrs. Florence Brewster Rutter Patricia J. Sawvel Dr. and Mrs. James L. Sechler Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer Foundation Drs. Daniel and Ximena Sessler Bill* and Marjorie B. Shorrock Mrs. Gretchen D. Smith Dr. Gregory Videtic Robert C. Weppler Dr. and Mr. Ann Williams Anonymous (2)

Frank and Leslie Buck Mr. and Mrs. William C. Butler Augustine* and Grace Caliguire Ms. Maria Cashy Dr. William and Dottie Clark Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura Maureen and George Collins (Miami) Corinne L. Dodero Foundation for the Arts and Sciences Mr. Kamal-Neil Dass and Mrs. Teresa Larsen Mr. and Mrs. Ralph Daugstrup Pete and Margaret Dobbins Mr. and Mrs. Bernard H. Eckstein Dr. and Mrs. Robert Elston

Mary and Oliver* Emerson William R. and Karen W. Feth Joseph Z. and Betty Fleming (Miami) Scott A. Foerster Joan Alice Ford Barbara and Peter Galvin Joy E. Garapic Dr. and Mrs. Adi Gazdar Joyce and Ab* Glickman Brenda and David Goldberg Mr. Albert C. Goldsmith Mr. and Mrs. Henry J. Goodman Mr. and Mrs. Randall J. Gordon Robert N. and Nicki N. Gudbranson David and Robin Gunning

INDIVIDUAL GIFTS OF $5,000 TO $7,499

Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App Agnes Armstrong Mrs. Elizabeth H. Augustus Mr. and Mrs. Robert H. Baker Montserrat Balseiro (Miami) Jennifer Barlament and Ken Potsic Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Mr. William Berger Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Dr.* and Mrs. Jerald S. Brodkey Dr. Thomas Brugger and Dr. Sandra Russ

listings continue

Individual Annual Support

2016 Blossom Festival

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $5,000 TO $7,499 CONTINUED

Alfredo and Luz Gutierrez (Miami) Douglas M. and Amy Halsey (Miami) Clark Harvey and Holly Selvaggi Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Janet D. Heil* Anita and William Heller Thomas and Mary Holmes Ms. Carole Hughes Ms. Charlotte L. Hughes Mr. and Mrs. Christopher Hyland Donna L. and Robert H. Jackson Carol S. and William G. E. Jacobs Mr. and Mrs. Richard A. Janus David and Gloria Kahan Rudolf D. and Joan T. Kamper Milton and Donna* Katz Dr. Richard and Roberta Katzman Mr. John and Mrs. Linda Kelly Mr. and Mrs. Michael T. Kestner Dr. and Mrs. William S. Kiser Jacqueline and Irwin* Kott (Miami) Mr. and Mrs.* S. Lee Kohrman Mr. Clayton R. Koppes Mr. James Krohngold Mr. and Mrs. Peter A. Kuhn Dr. and Mrs. Stephen A. Kushnick Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb Mrs. Sandra S. Laurenson Anthony T. and Patricia A. Lauria Ivonete Leite (Miami) Irvin and Elin Leonard Mr. Lawrence B. and Christine H. Levey Dr. Alan and Mrs. Joni Lichtin Mr. and Mrs.* Thomas A. Liederbach Ms. Grace Lim Mr. Jon E. Limbacher and Patricia J. Limbacher Mr. Rudolf and Mrs. Eva Linnebach

Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Mr. and Mrs.* Robert P. Madison Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel Dr. and Mrs. Eberhard Meinecke Ms. Betteann Meyerson Mr. Robert Miller Mr. and Mrs. William A. Mitchell Curt and Sara Moll Dr. R. Morgan and Dr. S. Weirich (Miami) David and Gayle Noble Richard and Kathleen Nord Mr. Thury O’Connor Mr. Henry Ott-Hansen Jay Pelham (Miami) Mr. and Mrs. John S. Piety Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Martin R. Pollock and Susan A. Gifford Dr. and Mrs. John N. Posch Ms. Rosella Puskas Mr.* and Mrs. Thomas A. Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. James and Lynne Rambasek Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Ms. Deborah Read Mr. and Mrs. Robert J. Reid Mrs. Charles Ritchie Amy and Ken Rogat Robert and Margo Roth Mr. and Mrs. Robert C. Ruhl David M. and Betty Schneider Linda B. Schneider Ms. Adrian L. Scott Lee and Jane Seidman Mr. Eric Sellen and Mr. Ron Seidman

Ms. Marlene Sharak Mrs. Frances G. Shoolroy* Naomi G. and Edwin Z. Singer Family Fund Bruce Smith Drs. Charles Kent Smith and Patricia Moore Smith David Kane Smith 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 Trust Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Mrs. Jean H. Taber Robert and Carol Taller Kathy* and Sidney Taurel (Miami) Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Miss Kathleen Turner Robert and Marti Vagi Don and Mary Louise VanDyke Teresa Galang-Viñas and Joaquin Viñas (Miami) Mr. and Mrs. Mark Allen Weigand Mr. and Mrs. Michael R. Weil, Jr. Mr. and Mrs. Ronald E. Weinberg Charles and Lucy Weller Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Nancy V. and Robert L. Wilcox Sandy Wile and Susan Namen Bob and Kat Wollyung Katie and Donald Woodcock Tony and Diane Wynshaw-Boris Anonymous (4)

Lilli and Seth Harris Mr. Robert D. Hart Mary S. Hastings In Memory of Hazel Helgesen Mr. and Mrs. Jerry Herschman Dr. Fred A. Heupler Mr. Robert T. Hexter Vernon and Gwen Higaki David Hollander (Miami) Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. Inkley Robert and Linda Jenkins Barbara and Michael J. Kaplan Dr. and Mrs. Richard S. Kaufman Mrs. Natalie D. Kittredge Dr. Gilles* and Mrs. Malvina Klopman Mr. Donald N. Krosin Charles and Josephine Robson Leamy Ronald and Barbara Leirvik Dr. Edith Lerner Mary Lohman Mrs. Idarose S. Luntz Herbert L. and Rhonda Marcus Martin and Lois Marcus Ms. Nancy L. Meacham Dr. Susan M. Merzweiler Bert and Marjorie Moyar Susan B. Murphy Richard B. and Jane E. Nash

David and Judith Newell Mr. and Mrs. Peter R. Osenar Dr. Lewis and Janice B. Patterson Dr. and Mrs. Gosta Pettersson Maribel A. Piza (Miami) Mr. Carl Podwoski Dr. Marc A. and Mrs. Carol Pohl Alfonso Rey and Sheryl Latchu (Miami) Dr. Robert W. Reynolds Carol Rolf and Steven Adler Fred Rzepka and Anne Rzepka Family Foundation Mr. Paul H. Scarbrough Ginger and Larry Shane Harry and Ilene Shapiro Mr. Richard Shirey Mr. Robert Sieck Howard and Beth Simon Ms. Ellen J. Skinner Mr. Taras G. Szmagala, Jr. Mr. Karl and Mrs. Carol Theil Erik Trimble Drs. Anna* and Gilbert True Mr. and Mrs. Les C. Vinney Richard Wiedemer, Jr. Mrs. Henietta Zabner (Miami) Marcia and Fred* Zakrajsek Max and Beverly Zupon

INDIVIDUAL GIFTS OF $3,500 TO $4,999 Ms. Nancy A. Adams Mr. and Mrs. Robert J. Amsdell Dr. Ronald and Diane Bell Margo and Tom Bertin Howard R. and Barbara Kaye Besser Mr. and Mrs. David Bialosky Carmen Bishopric (Miami) Lisa and Ronald Boyko Mr. and Mrs. Robert R. Broadbent Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert John Carleton (Cleveland, Miami) Mr. and Mrs. Frank H. Carpenter Drs. Mark Cohen and Miriam Vishny Mr. Owen Colligan Mr. and Mrs. David G. de Roulet Mrs. April C. Deming Erich Eichhorn and Ursel Dougherty Peter and Kathryn Eloff Mr. William and Dr. Elizabeth Fesler Richard J. Frey Peggy and David* Fullmer Loren and Michael Garruto Dr. and Mrs. Edward C. Gelber (Miami) Dr. and Mrs. Ronald L. Gould The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig

listings continue

The Cleveland Orchestra

Individual Annual Support

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $2,500 TO $3,499 Mr. and Mrs. Charles Abookire, Jr. Dr. Jacqueline Acho and Mr. John LeMay Stanley I. and Hope S. Adelstein* Mr. and Mrs.* Norman Adler Mr. and Mrs. Monte Ahuja Mr. and Mrs. James B. Aronoff Joseph Babin Mr. Mark O. Bagnall (Miami) Ms. Delphine Barrett Mr. and Mrs. Belkin Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns John and Laura Bertsch Jaime A. Bianchi and Paige A. Harper (Miami) Ms. Deborah A. Blades Bill* and Zeda Blau Doug and Barbara Bletcher Dr. Charles Tannenbaum and Ms. Sharon Bodine Mr. and Mrs. Richard H. Bole Mrs. Loretta Borstein Ms. Andrea L. Boyd Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Laurie Burman Rev. Joan Campbell Mrs. Millie L. Carlson Leigh Carter Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Ronald Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm Michael and Lorena Clark (Miami) Mrs. Robert A. Clark Drs. John and Mary Clough Kenneth S. and Deborah G. Cohen Mr. and Mrs. Mark Corrado Dr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller The Dascal Family (Miami) Dr. Eleanor Davidson Mr. and Mrs. Edward B. Davis Jeffrey and Eileen Davis Carol Denninson and Jacques Girouard Dr. and Mrs. Howard Dickey-White Dr. and Mrs. Richard C. Distad William Dorsky and Cornelia Hodgson Mr. George and Mrs. Beth Downes Mr. and Mrs. Robert Dreshfield Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki Esther L. and Alfred M. Eich, Jr. Drs. Heidi Elliot and Yuri Novitsky David* and Margaret Ewart Harry and Ann Farmer Mr. Paul C. Forsgren Michael Frank & Patricia A. Snyder Mr. William Gaskill and Ms. Kathleen Burke Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Dr. and Mrs. Victor M. Goldberg Mr. and Mrs. David A. Goldfinger Mr. Davin and Mrs. Jo Ann Gustafson Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green Mr. and Mrs. Donald F. Hastings Matthew D. Healy and Richard S. Agnes Mr. and Mrs. Robert D. Hertzberg (Miami) Dr. and Mrs. Robert L. Hinnes Mr. Larry Holstein Bob* and Edith Hudson (Miami) Dr. Randal N. Huff and Ms. Paulette Beech Ms. Luan K. Hutchinson Ruth F. Ihde

Pamela Jacobson Mrs. Carol Lee and Mr. James Iott Mr. Norman E. Jackson (Miami) Ms. LaVerne Jacobson Dr. Michael and Mrs. Deborah Joyce Mr. Peter and Mrs. Mary Joyce Mr. Stephen Judson Rev. William C. Keene Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary and Robert Kendis and Susan and James Kendis Bruce and Eleanor Kendrick Mr. James Kish Fred* and Judith Klotzman Marion Konstantynovich Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Vicki Kennedy Dr. Michael E. Lamm Mr. and Mrs. John J. Lane, Jr. Michael Lederman Judy and Donald Lefton (Miami) Mr. Gary Leidich Michael and Lois A. Lemr Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Ms. Mary Beth Loud Janet A. Mann Mr. and Mrs. Raul Marmol (Miami) Dr. and Mrs. Sanford E. Marovitz Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick Martin Ms. Amanda Martinsek Mr. Julien L. McCall William C. McCoy Mr. and Mrs. James E. Menger Stephen and Barbara Messner Loretta J. Mester and George J. Mailath Mr. Michael and Mrs. Lynn Miller Drs. Terry E. and Sara S. Miller Jim and Laura Moll Steven and Kimberly Myers Deborah L. Neale Marshall I. Nurenberg and Joanne Klein Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan Dr. Guilherme Oliveira James P. Ostryniec (Miami) Mr. Robert D. Paddock Dr. Dean and Mrs. Kathy Pahr George Parras Mr. Thomas and Mrs. Tommie Patton Henry Peyrebrune and Tracy Rowell Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Mr. Robert Pinkert* (Miami) Mrs. Elinor G. Polster Mr. Robert and Mrs. Susan Price Kathleen Pudelski Ms. C. A. Reagan David and Gloria Richards Michael Forde Ripich Mr. and Mrs. James N. Robinson II (Miami) Mr. Timothy D. Robson Ms. Linda M. Rocchi Dr. Robert and Mrs. Lauryn Ronis Miss Marjorie A. Rott* Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo Dr. Harry S. and Rita K. Rzepka Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton Fr. Robert J. Sanson Ms. Patricia E. Say Mr. James Schutte

Individual Annual Support

Mr. and Mrs. Alexander C. Scovil Dr. John Sedor and Ms. Geralyn Presti Don Schmitt and Jim Harmon Ms. Kathryn Seider Charles Seitz (Miami) Mr. and Mrs. Thomas W. Seitz Ms. Frances L. Sharp Larry Oscar and Jeanne Shatten Dr. Donald S. Sheldon Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Mr. Grover Short Laura and Alvin A. Siegal Lois H. Siegel (Miami) Dr. and Mrs. Conrad Simpfendorfer The Shari Bierman Singer Family Grace Katherine Sipusic Robert and Barbara Slanina Roy Smith Sandra and Richey Smith Ms. Barbara Snyder Mr. Jorge Solano (Miami) Lucy and Dan Sondles Mr. Louis Stellato Mr. and Mrs. Joseph D. Sullivan Ken and Martha Taylor Dr. and Mrs. Thomas A. Timko Steve and Christa Turnbull Mrs. H. Lansing Vail, Jr. Robert A. Valente Brenton Ver Ploeg (Miami) Dr. Michael Vogelbaum and Mrs. Judith Rosman Barbara and George von Mehren Alice & Leslie T. Webster, Jr. Mr. and Mrs.* Jerome A. Weinberger Mr. Peter and Mrs. Laurie Weinberger Richard and Mary Lynn Wills Mr. Martin Wiseman Michael H. Wolf and Antonia Rivas-Wolf Elizabeth B. Wright Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (5)

member of the Leadership Council (see information box earlier in this section)

* deceased

THE

CLEVELAND ORCHESTRA

The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Leadership Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestraâ&#x20AC;&#x2122;s Annual Report, which can be viewed online at CLEVELANDORCHESTRA .COM

Blossom Music Festival

DISCOVERY STARTS HERE THE CENTENNIAL CAMPAIGN FOR THE CLEVELAND MUSEUM OF NATURAL HISTORY A bold and innovative transformation is coming to the Cleveland Museum of Natural History’s campus, bringing science and nature to life for visitors of all ages. For nearly 100 years, we have been recognized as a global leader in scientiﬁc research, education and conservation. Our vision for our centennial anniversary in 2020 is to fully integrate our world-renowned collections and the research of our curators into the visitor experience. With new discoveries at every turn, our Museum will spark visitors’ curiosity and a passion to learn more about science and the natural world around us. Help us create the transformational museum experience of tomorrow. Your involvement can make a great impact on science education for generations to come. Join the campaign at www.cmnh.org/centennialhome or call Sheryl Hoffman, Leadership Giving, 216-231-3310.

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2016 Blossom Festival

THE CLEVELAN D ORCHESTRA

Corporate Support The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

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.

$5 MILLION AND MORE

KeyBank PNC Bank $1 MILLION TO $5 MILLION

BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual of Ohio Parker Hannifin Foundation The Plain Dealer PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company UBS The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of June 2016.

gifts of $2,500 or more during the past year, as of June 10, 2016

PARTNERS IN EXCELLENCE $300,000 AND MORE

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

BakerHostetler Eaton FirstEnergy Foundation Jones Day PNC Bank PARTNERS IN EXCELLENCE $100,000 TO $199,999

American Greetings Corporation Forest City The Lincoln Electric Foundation Medical Mutual of Ohio Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP White & Case (Miami) $50,000 TO $99,999

Dollar Bank Foundation Parker Hannifin Foundation Quality Electrodynamics (QED) voestalpine AG (Europe) Anonymous $25,000 TO $49,999 Buyers Products Company FirstMerit Bank Adam Foslid / Greenberg Traurig (Miami) Litigation Management, Inc. The Lubrizol Corporation Olympic Steel, Inc. RPM International Inc.

Blossom Festival 2016

Corporate Annual Support

$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. ArtsMarketing Services Inc. Bank of America BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co. LLC Calfee, Halter & Griswold LLP Carlton Fields (Miami) The Cedarwood Companies Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Consolidated Solutions Dominion Foundation Ernst & Young LLP Evarts Tremaine The Ewart-Ohlson Machine Company Feldman Gale, P.A. (Miami) Ferro Corporation Frantz Ward LLP Arthur J. Gallagher & Co. The Giant Eagle Foundation Great Lakes Brewing Company Gross Builders Hahn Loeser & Parks LLP Huntington National Bank KPMG LLP Lakewood Supply Co. Littler Mendelson, P.C. Live Publishing Company Macy’s Materion Corporation Miba AG (Europe) MTD Products, Inc. North Coast Container Corp. Northern Haserot Oatey Ohio CAT Ohio Savings Bank, A Division of New York Community Bank OMNOVA Solutions Oswald Companies Park-Ohio Holdings Corp. The Plain Dealer PolyOne Corporation The Prince & Izant Company The Sherwin-Williams Company Southern Wine and Spirits (Miami) Stern Advertising Agency Struktol Company of America Swagelok Company Tucker Ellis UBS United Automobile Insurance (Miami) University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) WCLV Foundation Westlake Reed Leskosky Margaret W. Wong & Assoc. Co., LLC Anonymous (2)

^ƵŵŵĞƌ ŝƐ ŚĞƌĞ͊ /ƚ͛Ɛ ƟŵĞ ƚŽ ĞŶũŽǇ ĨĂŵŝůǇ͕ ĨƌŝĞŶĚƐ͕ ĂŶĚ ƚŚĞ ƐŽƵŶĚƐ ŽĨ ƚŚĞ ƐĞĂƐŽŶ͊ Cleveland Hearing & Speech Center has been the premier provider of audiology services for over 95 years. We provide comprehensive hearing ĞǀĂůƵĂƟŽŶƐ͕ ƐƚĂƚĞͲŽĨͲƚŚĞͲĂƌƚ ĚĞǀŝĐĞ ĮƫŶŐƐ ĂŶĚ Ă ĮŶĂŶĐŝĂů ĂƐƐŝƐƚĂŶĐĞ program for those who qualify.

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2016 Blossom Festival

THE CLEVELAN D ORCHESTRA

Foundation & Government Support The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

Annual Support

JOHN L. SEVERANCE SOCIETY

$1 MILLION AND MORE

$10 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Kulas Foundation Maltz Family Foundation State of Ohio Ohio Arts Council The Kelvin and Eleanor Smith Foundation

gifts of $2,500 or more during the past year, as of June 10, 2016

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture The Andrew W. Mellon Foundation $500,000 TO $999,999

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

Knight Foundation (Miami) Kulas Foundation John P. Murphy Foundation The Eric & Jane Nord Family Fund

$5 MILLION TO $10 MILLION

$100,000 TO $249,999

The George Gund Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon Foundation John P. Murphy Foundation

GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation

$1 MILLION TO $5 MILLION

$50,000 TO $99,999

The William Bingham Foundation The George W. Codrington Charitable Foundation GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of June 2016.

Blossom Festival 2016

Paul M. Angell Family Foundation The George W. Codrington Charitable Foundation Florida Division of Cultural Affairs (Miami) The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Nord Family Foundation The Payne Fund The Sage Cleveland Foundation

$20,000 TO $49,999 Akron Community Foundation The Batchelor Foundation, Inc. (Miami) Eva L. and Joseph M. Bruening Foundation Mary E. and F. Joseph Callahan Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Helen Wade Greene Charitable Trust National Endowment for the Arts The Char and Chuck Fowler Family Foundation The Frederick and Julia Nonneman Foundation Peacock Foundation, Inc. (Miami) The Reinberger Foundation Sandor Foundation Harold C. Schott Foundation The Sisler McFawn Foundation The Veale Foundation

$2,500 TO $19,999 The Abington Foundation The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of The Cleveland Foundation Elisha-Bolton Foundation The Conway Family Foundation The Cowles Charitable Trust (Miami) The Harry K. Fox and Emma R. Fox Charitable Foundation Funding Arts Network (Miami) The Hankins Foundation The William Randolph Hearst Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family Foundation Bessie Benner Metzenbaum Foundation The Margaret Clark Morgan Foundation The M. G. O’Neil Foundation Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink 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 S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wuliger Foundation Anonymous (2)

Foundation and Government Annual Support

I preserve things that are significant to me. Only time will determine what is important in the long term. But something can be rediscovered only if someone has collected and preserved it. â&#x20AC;&#x201D;Michael Feinstein

Blossom Music Festival

2OI6BLOSSOM MUSIC FESTIVAL

Sunday evening, July 31, 2016, at 7:00 p.m.

THE CLEVEL AND ORCHESTRA

MICHAEL FEINSTEIN’S BROADWAY MICHAEL F EINS T EI N, vocalist with THE CLEVELAND ORCHESTRA conducted by JACK EVERLY with SAM KRIGER, piano MARK McLEAN, drums Selections to be announced from the stage. The concert will run approximately two hours, with one intermission.

This concert is dedicated to The Ralph and Lucy Schey Foundation and to Mr. and Mrs. Donald M. Jack, Jr. in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund. With this concert, The Cleveland Orchestra gratefully honors the Akron Community Foundation for its generous support.

Th e 201 6 B lossom M usic Festival is prese nte d by The J . M . S m ucker Com pa ny

Blossom Music Festival

Concert Program: July 31

INTRODUCING THE CONCERT

The Magic of Broadway many creative endeavors and ideas, from jazz to Southern fried chicken, from moonshine and manhattans to blue jeans, and — sitting here in the great outdoors — let us not forget the idea and reality of national parks for the benefit of all the people. There is also the wonderful, glorious, effervescent, and ever-changing Broadway musical. While it derived itself from vaudeville and Viennese operettas, mixing together with Gilbert & Sullivan and the British musical hall — and adding six sprinkles of American panache, artful slight-of-hand, and showbiz confidence — its poignant mix of storyline, emotion, masterful lyrics, energetic delivery, and melodic invention has no rival. Its history and evolution carried us through the 20th century and created a soundtrack for American lives and living. The illuminated theaters of New York have produced an unending string of hit songs and personal ballads — showcasing love and loss, kitsch and comedy, dance and drama, failing flops and financial bright lights. Through one creative era to the next, voices have sung across the footlights helping us to understand the depths (and widths and whispers and workings) of humanity — in the minutes and hours between overtures, intermissions, and curtain calls. Michael Feinstein inhabits a unique place as a songster for Broadway in today’s world. His connections between generations, from Gershwin to newer hits and performers of today, signals through his voice strength and vulnerability, hope and perplexity, love and spirited living. What his shows include is no mystery in terms of category. The exact selections change from show to show and year to year, but they always are or will become classics. Early on in Feinstein’s career, it became quickly apparent that he would not be Just One of Those Things that come along and fade away. He would, instead, forge for himself a unique and important place as guardian, caretaker, and spirited cheerleader for what has come to be called the “Great American Songbook.” In short, he’s Got a Lot of Livin’ (and Singin’) to Do. His entire life, and each and every show he sings has become a Lullaby to you, Broadway, with no one left wondering If He Loved You. So sit back, prepare your hearts to be broken, for love to be expressed and explained, as we Strike Up the Band once more. From This Moment On, you are in for one great treat after another. For where else but onstage could one sing with such conviction and understanding that life’s “road would never bend, when things go wrong a man ain’t got a friend” . . . Without a Song! —Eric Sellen LIFE IN AMERICA HAS INSPIRED

Blossom Music Festival

Introducing the Concert: July 31

Michael Feinstein Michael Feinstein has built a dazzling career over the last three decades bringing the music of the Great American songbook to the world. From recordings that have earned him five Grammy Award nominations to his Emmy nominated PBS specials, his acclaimed NPR series, and concerts spanning the globe — in addition to his appearances at iconic venues including The White House, Buckingham Palace, Hollywood Bowl, Carnegie Hall, and the Sydney Opera House — his work as an educator and archivist define Feinstein as one of the most important musical forces of our time. In 2007, he founded the Michael Feinstein Great American Songbook Initiative, dedicated to celebrating the art form and preserving it through education programs, masterclasses, and an annual High School Vocal Academy (a summer intensive program open to students from across the country, which has produced graduates now recording acclaimed albums and appearing on such programs as NBC’s America’s Got Talent). Michael serves on the Library of Congress’s National Record-

ing Preservation Board, an organization dedicated to ensuring the survival, conservation, and increased public availability of America’s sound recording heritage. Among his multi-platinum recording career, Concord Records has released his most recent album, A Michael Feinstein Christmas featuring award-winning jazz pianist Alan Broadbent along with Paul McCartney, Diana Krall, and Natalie Cole. Feinstein earned his fifth Grammy Award nomination in 2009 for The Sinatra Project, his Concord Records album celebrating the music of “Ol’ Blue Eyes.” The Sinatra Project, Volume II: The Good Life was released in 2011. His Emmy-nominated television special, Michael Feinstein — The Sinatra Legacy, which was taped live at the Palladium in Indiana, has been aired across the country. His PBS series Michael Feinstein’s American Songbook was the recipient of the ASCAP Deems-Taylor Television Broadcast Award. The series returned in 2013 for a third season, and is now available on DVD. For his nationally syndicated public radio program Song Travels, Michael interviews and performs alongside a selection of music luminaries. His 2012 book, a Los Angeles Times best-seller, The Gershwins and Me, which is combined with an album of Gershwin standards performed with Cyrus Chestnut at the piano. More recently, he released the albums The Power Of Two (collaborating with Glee and 30 Rock star Cheyenne Jackson) and Cheek To Cheek (recorded with Broadway legend Barbara Cook). He also recorded We Dreamed These Days with the Carmel Symphony Orchestra; Feinstein cowrote the title song with Maya Angelou. Feinstein was named principal pops conductor for the Pasadena Pops in 2012

Michael Feinstein: July 31

2016 Blossom Festival

and made his conducting debut in June 2013. Under Feinstein’s leadership, the ensemble has presented a range of performances of rare orchestrations and classic arrangements from the Great American Songbook. In June 2014, the Kravis Center for the Performing Arts announced the launch of a pops presentation headlining Feinstein, which sold out three shows. Feinstein serves as artistic director of the Palladium Center for the Performing Arts in Carmel, Indiana, which opened in January 2011. The theater is home to an annual international Great American Arts festival, diverse live programming, and a museum for his rare memorabilia and manuscripts. Since 1999, he has also served as artistic director in collaboration with ASCAP for the popular series at Carnegie Hall, Standard Time with Michael Feinstein. Starting in 2010, he became the director of the Jazz and Popular Song Series at New York’s Jazz at Lincoln Center. Feinstein’s at the Nikko, Michael’s nightclub at San Francisco’s Nikko Hotel, has presented the top talents of pop and jazz since 2013. He debuted at Feinstein’s/54 Below, his new club in New York, late in 2015. His original venue in New York, Feinstein’s at the Regency, featured major entertainers including Rosemary Clooney, Glen Campbell, Barbara Cook, Diahann Carroll, Jane Krakowski, Lea Michele, Cyndi Lauper, Jason Mraz, and Alan Cumming from 1999 to 2012. In 2013, Michael released a new album, Change Of Heart: The Songs of André Previn in collaboration with composerconductor-pianist André Previn, with an album celebrating some of Previn’s pop songs featured in motion pictures. Earlier albums include Hopeless RomanThe Cleveland Orchestra

tics, a songbook of classics by Michael’s late friend Harry Warren, recorded with legendary jazz pianist George Shearing. His album with songwriting icon Jimmy Webb, Only One Life — The Songs of Jimmy Webb, was named one of “Ten Best CDs of the Year” by USA Today. In 2003, Feinstein received his fourth Grammy nomination for his release Michael Feinstein with the Israel Philharmonic Orchestra, his first recording with a symphony orchestra. The year before, Rhino/ Elektra Music released The Michael Feinstein Anthology, a two-disc compilation spanning the years 1987 to 1996. His many other credits include scoring the original music for the film Get Bruce and performing on the hit television series Better With You, Caroline in the City, Melrose Place, Coach, and 7th Heaven. Michael was born and raised in Columbus, Ohio, where he started playing piano by ear as a 5-year-old. After graduating from high school, he worked in local piano bars for two years, moving to Los Angeles when he was 20. The widow of legendary concert pianist-actor Oscar Levant introduced him to Ira Gershwin in July 1977. Feinstein became Gershwin’s assistant for six years, which earned him access to numerous unpublished Gershwin songs, many of which he has since performed and recorded. Gershwin’s influence provided a solid base upon which Feinstein evolved as an artist. He has become an unparalleled interpreter of music legends including Irving Berlin, Jerome Kern, Johnny Mercer, Duke Ellington, and Harry Warren. For additional information, please visit www.michaelfeinstein.com.

July 31: Michael Feinstein

Jack Everly CONDUCTOR

Sam Kriger PIANO

Jack Everly is one of North America’s leading symphonic pops conductors and serves as principal pops conductor of the Indianapolis Symphony Orchestra. He is also principal pops conductor of the Baltimore Symphony Orchestra, Naples Philharmonic in Florida, and the National Arts Centre Orchestra of Ottawa, Canada. In addition, he serves as music director of the National Memorial Day Concert and A Capitol Fourth on PBS. Mr. Everly made his Cleveland Orchestra debut at Blossom in 2009 and most recently appeared as part of the 2015 Blossom Music Festival. He is conducting over 90 concerts this year in twenty cities. He was conductor and music director for fourteen seasons with the American Ballet Theatre, where he was first appointed by Mikhail Baryshnikov. He conducted on Broadway and served as music director for many Broadway cast recordings. He led performances of Hello, Dolly! with Carol Channing hundreds of times, in two separate productions. Mr. Everly is a graduate of the Jacobs School of Music at Indiana University. When not on the podium or arranging, Jack enjoys home life in Indianapolis with his family, which includes the dog Max.

Sam Kriger is an award-winning musical director, conductor, arranger, orchestrator, composer, producer, accompanist, vocal coach, and pianist. Currently serving as musical director and arranger for Michael Feinstein, Sam’s client list is a “Who’s Who” of Stage and Screen — including such legendary artists as Mickey Rooney (20 years), Shirley Jones (12 years), Anna Maria Alberghetti (25 years), John Raitt (15 years), and Donald O’ Connor (15 years). Sam enjoys a long, successful relationship with Disney, recently coaching Idina Menzel, Kristen Bell, and Josh Gad on the mega-hit Frozen. Other Disney credits include Brandy (Cinderella), Mel Gibson (Pocahontas), Mary Wickes (Hunchback), Danny DeVito (Hercules), Minnie Driver (Tarzan), and Joan Cusack (Chicken Little). He has also worked with DreamWorks on several films. His many theater credits include productions with Theatre Under the Stars, Reprise, Pasadena Playhouse, and Goodspeed Opera House. Sam and his wife, Diane Vincent, are the co-authors of the award-winning Nuttin’ but Hutton: A Musical Tribute to the Songs of Betty Hutton.

Guest Artists: July 31

Blossom Music Festival

Mark McLean DRUMS “I don’t want to be seen as a drummer. I want to be known as a musician whose instrument just happens to be the drums.” Mark McLean started his career in Toronto as a jazz drummer. He moved to New York City in 2000 and since then has earned a far-reaching reputation, both as a versatile, sensitive player and as a visionary bandleader and recording artist. As an in-demand side musician, he has contributed to a remarkably diverse assortment of recording projects and live tours, working with a broad array of artists from the worlds of jazz, pop, and rock — including Billy Joel, Quincy Jones, Oscar Peterson, Andrea Bocelli, Wynton Marsalis, Joe Sample, Glen Campbell, Patti Austin, Dionne Warwick and, most recently, pop icon George Michael. Mark has released two albums of original compositions, his instrumental debut Playground (2010) and Feel Alright (2014), the latter also featuring his talents as a songwriter. For more information, please visit www.markmclean.com.

Blossom Music Festival

July 31: Guest Artists

July 22-23 Firestone Park

August 5-6 Glendale Cemetery

July 29-30 Hardesty Park

August 12-13 Goodyear Metro Park

Performances at 8:45 P.M. www.akrondancefestival.org Interactive t ti children’s hild ’ programs by b The University of Akron Dance Institute at 7:45 P.M. FREE ADMISSION Enjoy The Akron Symphony on Sunday July 24 at Firestone Park, Sunday July 31 at Hardesty Park, Sunday August 7 at Glendale Cemetery and Sunday August 14 at Goodyear Metro Park. Concerts start at 7:30 P.M. FREE ADMISSION

ASPIRE

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5470

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

20%

OV ER

B LO S S O M M U SI C C EN TE R

1968

SEATS

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

19.5 million ADMISSIONS

Blossom Music Center has welcomed more than 19,600,000 people to concerts and events since 1968 — including the Orchestra’s annual Festival concerts, plus special attractions featuring rock, country, jazz, and other popular acts.

1,000+

The Cleveland Orchestra has performed 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

Nicholas McGegan

Jeffrey Rathbun

Now in his fourth decade on the podium, British conductor Nicholas McGegan is music director of San Francisco’s Philharmonia Baroque Orchestra and principal guest conductor of the Pasadena Symphony. He first led The Cleveland Orchestra in February 2007 and most recently, in August 2015. Educated at Cambridge and Oxford universities, Mr. McGegan has received many honorary degrees and awards, which include the Halle Handel Prize and being named an Officer of the Most Excellent Order of the British Empire. From 1991 to 2011, Nicholas McGegan was artistic director of the International Handel Festival. Among the few Baroque specialists to conduct major orchestras, Mr. McGegan has led ensembles in Asia, Australia, Europe, and North America. He also has conducted operas at Royal Opera Covent Garden and the San Francisco, Santa Fe, and Washington National operas. Nicholas McGegan works with students at the Aspen Music Festival and School, Colburn School, Harvard University, the Juilliard School, Music Academy of the West, and Yale University. His discography numbers more than 100. Visit www.nicholasmcgegan.com for more information.

Assistant Principal Oboe Everett D. and Eugenia S. McCurdy Endowed Chair The Cleveland Orchestra

Jeffrey Rathbun joined The Cleveland Orchestra as assistant principal oboe in 1990, and served as principal oboe 2001-03. He won first prize at the 1988 Lucarelli International Competition for Solo Oboe Players, held at Carnegie Hall’s Weill Recital Hall. A Buffet Artist, Jeffrey Rathbun was the only North American oboist invited to perform in the 190th Anniversary Concert for the renowned instrument manufacturing company Buffet Crampon in Paris in 2015. In demand as guest principal oboe, he has performed in that capacity with the Boston Symphony, Los Angeles Philharmonic, San Francisco Symphony, and most recently last autumn with the Chicago Symphony Orchestra. Mr. Rathbun teaches at the Kent/ Blossom Music Festival, and, since fall 2006, has served as lecturer in oboe at Baldwin Wallace Conservatory and with the Cleveland Institute of Music, and led masterclasses at schools across the United States. A composer of chamber and orchestral works, Rathbun’s works have been presented by many ensembles, including performances by The Cleveland Orchestra led by Christoph von Dohnányi and Franz WelserMöst. A new commission will be performed by The Cleveland Orchestra in 2018-19.

August 7: Guest Artists

2016 Blossom Festival

2OI6BLOSSOM MUSIC FESTIVAL

Sunday evening, August 7, 2016, at 7:00 p.m.

THE CLEVEL AND ORCHESTRA N IC HOLAS Mc GEGAN , conductor

F. JOSEPH HAYDN (1732-1809)

Symphony No. 99 in E-flat major 1. 2. 3. 4.

ARTHUR BENJAMIN (1893-1960)

Adagio — Vivace assai Adagio Menuetto: Allegretto — Trio Finale: Vivace

Divertimento on Themes by Gluck (for oboe and string orchestra) 1. 2. 3. 4. 5.

Larghetto, espressivo Presto, giocoso Andante, pastorale Menuetto, vivo Allegro, risoluto

JEFFREY RATHBUN, oboe

INTER MISSION FELIX MENDELSSOHN (1809-1847)

Symphony No. 3 (“Scottish”) in A minor, Opus 56 1. 2. 3. 4.

Introduction and Allegro agitato — Scherzo assai vivace — Adagio cantabile — Allegro guerriero and Finale maestoso

(played without pause)

Nicholas McGegan’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from Mr. and Mrs. William C. Zekan. This concert is dedicated to Mrs. Rebecca F. Dunn in recognition of her extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

Th e 201 6 B lossom M usic Festival is prese nte d by The J . M . S m ucker Com pa ny

Blossom Festival 2016

Concert Program: August 7

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INTRODUCING THE CONCERT

Classically Romantic, Symphonic Wonderful T H I S E V E N I N G ’ S C O N C E R T offers three musical works from three different centuries — with two symphonies, first of classical ideals and then of a more Romantic outlook, placed as bookends around a lovely work by an underrated 20th-century composer, featuring a solo oboe and gently tinged with echoes and ideas from an earlier era. The evening opens with one of Joseph Haydn’s magnificent “London” symphonies. Created in two sets of six, in 1791 and 1793-94, these were the composer’s final musical statements in the form — created at the height of his fame across Europe and with a talented orchestra at his command. No. 99 was premiered in London in February 1794 as part of an ongoing series of concerts presented by Peter Salomon, the impresario who had funded Haydn’s visit and promoted him in the British capital. Although this particular symphony has never gained a nickname — as several of the “London” works did by virtue of specific features — it is nonetheless elegantly crafted and ably showcases the composer’s considerable accomplishments as “father” of the Classical symphony in form and style. Next comes a work from the middle of the 20th century, written by the Australian composer Arthur Benjamin in 1952. The Cleveland Orchestra’s assistant principal oboe, Jeffrey Rathbun, Benjamin, takes on the solo role in this piece for oboe and Mendelssohn and Haydn string orchestra, built on themes by the 18th-century composer Christoph Willibald Gluck. To close the evening, guest conductor Nicholas McGegan has chosen Mendelssohn’s Third Symphony, nicknamed “Scottish.” Begun from musical ideas and scenic impressions from the composer’s journeys through the British Isles at the age of 20, it was completed over a decade later, in 1842. Here, Mendelssohn demonstrates his artful orchestration, great sense of proportion and musical architecture, and good ear for melodic phrase and rhythmic energy.

—Eric Sellen

Blossom Festival 2016

August 7: Introducing the Concert

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Symphony No. 99 in E-flat major composed in 1793

J O S E P H H AY D N honed his craft in service to Austria’s noble

F. Joseph

HAYDN

born March 31, 1732 Rohrau, Austria died May 31, 1809 Vienna

Blossom Festival 2016

Esterházy family, entertaining them with his seminal symphonies and string quartets along with many other adventurous compositions. Prince Nikolaus Esterházy liked to spend up to ten months of each year sequestered at his isolated summer palace, Esterháza, where Haydn was responsible for leading dozens of opera performances in a private theater and countless other musical amusements. As Haydn later acknowledged, “At Esterháza, I was forced to become original.” After Prince Nikolaus died in 1790, his successor cut back on music, giving Haydn new freedom to capitalize on his own fame, which had spread throughout Europe. He soon accepted a lucrative invitation from a German violinist and impresario working in England, Johann Peter Salomon, to spend the 179192 concert season in London. Haydn composed six symphonies for that initial trip, and then added six more for a follow-up visit in 1794-95. Haydn prepared the Symphony No. 99 during the interval between his London visits, when he was attending to some Esterházy business in Vienna and also teaching a few lessons to the young Ludwig van Beethoven. Just days after Haydn’s return to England, a concert featuring the premiere of the Symphony No. 99 confirmed his sterling reputation, as demonstrated by a review published in The Morning Chronicle newspaper: “The incomparable Haydn produced an overture [the terms symphony and overture were somewhat interchangeable and not yet fully defined in the 18th century] of which it is impossible to speak in common terms. It is one of the grandest efforts of art that we ever witnessed. It abounds with ideas, as new in music as they are grand and impressive; it rouses and affects every emotion of the soul. – It was received with rapturous applause.” The Symphony No. 99 features all the hallmarks that made Haydn’s “London” symphonies the gold standard for composers in his wake, most especially Beethoven. In the first movement, a slow introduction sets the stage, and the inclusion of clarinets adds a robust tone to a woodwind section that is granted more independence than in earlier symphonies. The Adagio slow movement is light and graceful, while August 7: About the Music

At a Glance Haydn wrote this symphony in E-flat major (later given the designation “No. 99”) in 1793 in Vienna in preparation for his second trip to London. The work was premiered on February 10, 1794 at Johann Peter Salomon’s concert series in London. This symphony runs about 25 minutes in performance. Haydn scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

the Minuet third movement (an addition to the symphonic form that Haydn helped standardize) has a bit of a rustic character borrowed from the Ländler folk dance. The lively finale fourth movement demonstrates Haydn’s verve and wit, starting with one of his favorite tricks, with the orchestra restraining itself to a quiet dynamic for a long opening stretch, until the first loud arrival lands with maximal impact.

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August 7: About the Music

2016 Blossom Festival

Divertimento on Themes by Gluck composed 1952

Arthur

BENJAMIN born September 18, 1893 Sydney, Australia died April 10, 1960 London, England

At a Glance Benjamin wrote this work for solo oboe and string orchestra in 1951-52. It was first performed in 1952 in London. This work runs about 15 minutes in performance. Benjamin scored it for a string chamber orchestra, plus the solo oboe.

Blossom Festival 2016

T H E A U S T R A L I A N C O M P O S E R and pianist Arthur Benjamin became a fixture of the British musical scene in the first half of the 20th century, studying and later teaching at the Royal College of Music in London (where a young Benjamin Britten was among his pupils). He also have half a career as a pianist. Benjamin kept his ears open to a wide range of sounds that appealed to him, and his works range from an early Piano Concertino modeled after Gershwin’s Rhapsody in Blue to his single most famous work, a piano duet called Jamaican Rumba. In between came orchestral works, a body of chamber music, and scores to a range of British films. A biographer wrote that “his style was eclectic. At heart, he was a romantic. His music was distinguished by wit and skilful technique with a sure touch of parody and satire.” A note on the score to Divertimento on Themes by Gluck explains that this work for oboe and strings was “freely adapted from various movements from Six Sonatas for two violins and figured bass, published in London 1746.” Long before the German composer Christoph Willibald Gluck became famous for presenting operas in Vienna and Paris (works that had a particularly profound impact on Mozart), he was a journeyman composer who picked up Italian style during a stint in Milan, and who benefited greatly from exposure to Handel’s music during a season in London. Gluck had published these Arthur Benjamin in his London flat, circa 1950, with one of particular trio sonatas in London in his favorite dogs. 1746, modelling them after Handel’s similar work in the genre, a style popularized by the Italian composer Arcangelo Corelli a generation earlier in Rome. Benjamin’s Divertimento updates the Corelli-style formula of a “church” sonata, with movements organized slow-fast-slow-fast. Whereas a soloist in Gluck’s time would have been expected to improvise melodic ornaments, this modern transcription fleshes out the many slurs and trills that show off the oboe’s fluid tone. The lively Minuet breaks from the Italian tradition to sample a classic French dance. —Aaron Grad © 2016

August 7: About the Music

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2016 Blossom Festival

Symphony No. 3 (“Scottish”) in A minor, Opus 56 composed 1829-42

Felix

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

Blossom Festival 2016

F E L I X M E N D E L S S O H N was one of music’s most remarkable prodigies, creating immortal compositions while still a teenager. At twenty, he undertook a typical rite of passage for well-heeled young men, embarking on a “grand tour” of Europe and performing along the way. With extended visits to the British Isles and Italy, Mendelssohn expanded his worldview and brought home inspiration for future projects. The first germ of musical material for a “Scottish” Symphony emerged on July 30, 1829, when Mendelssohn and a friend visited Holyrood Castle in Edinburgh. Mendelssohn was struck by the gloomy, crumbling palace, especially a chapel he described in a letter home: “Now roofless, grass and ivy grow there, and at the broken altar Mary was crowned Queen of England. Everything around is broken and moldering and the bright sky shines in. I believe I have found today in that old chapel the beginning of my Scottish symphony.” He soon sketched the elegiac melody that would serve as the theme of the symphony’s introduction — but he struggled to recapture the misty mood of Scotland when he revisited the symphony during a subsequent winter in Rome. Mendelssohn set the “Scottish” Symphony aside for over ten years, meanA sketch by Felix Mendelssohn drawn in his travel notebook during his while writing two other trek across Scotland in 1829. symphonies, No. 4 and No. 5, nicknamed “Italian” and “Reformation” respectively. Upon completing the “Scottish” Symphony in 1842, he conducted it in Leipzig and then in London. The first published edition did not yet include the nickname, but it did play up its dedication to the British monarch, Queen Victoria, with her name printed in a font nearly as big as the composer’s. The “Scottish” Symphony does not depict any fixed scene

August 7: About the Music

At a Glance Mendelssohn conceived the opening theme for this symphony while visiting the Holyrood Palace in Scotland in August 1829. He sketched out a plan for a full-length “Scottish” Symphony in 1830, and then worked on it sporadically over the next decade. He returned to it in 1841 and worked steadily on it throughout much of the year, completing the score in Berlin in early 1842. The first performance took place on March 3, 1842, at the Leipzig Gewandhaus, under the composer’s direction. Although Mendelssohn often referred privately to this work as his “Scottish” Symphony, it was first presented and published without any such title. The score was published in 1842 with a dedication to Queen Victoria of England. This symphony runs about 35 minutes in performance. Mendelssohn scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings.

or story, nor is it explicitly Scottish in its musical material. Instead, Mendelssohn allowed the aura of a romanticized Scotland to inform a taut, cohesive, and independent orchestral essay. He specified that the movements should follow each other without pauses, reinforcing the overall arc of the piece. A slow introduction to the first movement establishes the noble and wistful mood inspired by Queen Mary’s decrepit castle, contrasting with the subsequent fast and edgy tempo in the body of the movement. That agitated quality overflows in a late passage of swelling chromatic rises and falls, surging in sheets like a vicious squall. The material of the introduction makes a brief reprise to close the movement on a somber note. The scherzo second movement enters next without pause, and the clarinet reels out a playful melody, perhaps inspired by a bagpipe contest Mendelssohn heard in Scotland. The slow third movement that follows, marked “Adagio cantabile,” is a gorgeous song without words. One theory speculates that this music is meant to evoke Scotland’s own Sir Walter Scott and his poem The Lady of the Lake, in which a girl sings the Ave Maria hymn accompanied by a harp (rendered here by plucked strings). The finale fourth movement thunders in with a militaristic theme in a tempo Mendelssohn initially labeled as “Allegro guerriero” [fast and warlike]. The ferocious music slinks away, and a majestic conclusion in the major key rises up to bring the symphony to a triumphant finish. —Aaron Grad © 2016

Share your memories of tonight and join in the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch #CleOrchBlossom

About the Music: August 7

The Cleveland Orchestra

Mendelssohn, in a 19th-century lithograph based on a painting by Edward Magnus

The essence of the beautiful is unity in variety. â&#x20AC;&#x201D;Felix Mendelssohn

Blossom Festival 2016

July 23: About the Music

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216-721-1800 email: info@livepub.com

orchestra news

THE CLEVELAND ORCHESTRA

Cleveland Orchestra joins together with Cleveland Museum of Art for this summer’s neighborhood residency “At Home” in Hough Collaborations with community partners provide music and arts opportunities all summer long The Cleveland Orchestra is joining with the Cleveland Museum of Art to celebrate music and art in Hough, an historic neighborhood located between downtown Cleveland and University Circle. This collaborative work between two of Ohio’s premier cultural organizations is designed to create and strengthen partnerships with local communities to develop new and meaningful ways to enliven Northeast Ohio with arts and music. Both arts institutions are joining with Hough residents to celebrate music and art in the neighborhood throughout the summer. One highlight of the activities in Hough is a free public concert by The Cleveland Orchestra, led by Cleveland Orchestra associate conductor Brett Mitchell, on Thursday evening, August 11. The concert will be shared across Northeast Ohio via live broadcast on radio and online by ideatream® (via WCLV Classical 104.9 and ideastream’s website), and with a television rebroadcast later in August on WVIZ PBS. Neighborhood tickets for the free community concert are being distributed throughout Hough beginning on Monday, July 11, 2016. The concert takes place at East Professional Center (formerly East High School). In collaboration with the Hough community, the August 11 performance will also showcase visual and musical talents of neighborhood citizens, with a display of photography from the Cleveland Museum of Art’s year-long centennial self-portrait project. The portraits on August 11 feature Hough residents, displayed with banners created by Hough community groups and Cleveland Museum of Art staff. An additional banner will be produced by community members during “A New Day in Hough,” an annual tradition started by the late councilwoman Fannie Lewis, taking place this year at League Park on August 6. “The Cleveland Orchestra is making music all summer long with our Hough community partners,” says Joan Katz Napoli, the Orchestra’s direcBlossom Festival 2016

This summer, both music and visual arts programs are taking place at Hough community centers to help demonstrate the power of the arts to enrich lives.

tor of education and community programs. “We have programs in four different centers to help teach the playing of musical instruments, for real hands-on experience and understanding. Its exciting and fun to watch the thrill of kids learning by doing.” To learn more, visit clevelandorchestra.com.

Cleveland Orchestra News

THE

CLEVELAND ORCHESTRA

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2016 Blossom Festival

BLOSSOM MUSIC FESTIVAL

About Your Evening If you have questions about your evening at Blossom, feel free to ask an usher or staff member. In addition, Information Centers are staffed by volunteers of Blossom Friends of The Cleveland Orchestra to answer your questions in person. Please visit clevelandorchestra.com for additional information. You can also call The Cleveland Orchestra’s administrative offices during weekday business hours at 216-231-7300 or send email to info@clevelandorchestra.com. BLOSSOM MUSIC CENTER Blossom grounds and facilities are operated for The Cleveland Orchestra by Live Nation. Administrative Offices at Blossom are open during regular weekday business hours, but access to the grounds is not available to the public. For information, please call 330-920-8040. The Blossom Box Office is open on Saturdays and Sundays during the summer, from 1 p.m. to 5 p.m., and from1 p.m. through intermission on days with concerts at Blossom. INFORMATION CENTERS Questions? Members of Blossom Friends of The Cleveland Orchestra staff two Information Centers, located outside the Main Gate across from the Lawn Ticket Booth and inside the Main Gate on Smith Plaza next to the Joseph Garden. GROUNDS OPEN Gates to the Blossom grounds are open to the public 2½ hours before Festival concerts. PARKING Free parking is available with your ticket to any Festival concert. Access to paved parking requires a printed and dated hang-tag, which must be displayed in your vehicle. Cars without dated parking hang-tags are usually directed to non-paved parking. Free hang-tags for Lots C-D-E are available with Pavilion tickets purchased at least ten days in advance of a Festival concert. Paved Lots A and B are reserved for subscribers (Lot B) and Box Seat holders (Lot A). Anyone can upgrade to Lot A parking in advance, subject to availability, for $20 per vehicle per concert. Parking spaces for patrons with disabilities and special needs are in Lots B and E. A

Blossom Festival 2016

valid disability parking permit is required and must be displayed. A limited number of ADA parking spaces are also available in Lot A for $20 per vehicle per concert, with advance purchase. For further information, please contact Guest Services at 330-916-6068 on concert days (or 330-920-8040 on weekdays). FREE TRAM SERVICE Free transportation throughout the grounds is available to all patrons for Blossom Music Festival concerts. Tram service from parking lots to Smith Plaza and to the Pavilion is available on a continuous basis before and after each concert. PICNICS Festival patrons are always welcome to bring your own picnics, packed with everything needed to make your experience a special and relaxing event — or let us cook for you (see the sections on concessions and the Blossom Grille). Blossom has plentiful picnic areas, including the Woods Picnic Area adjacent to Parking Lot B. Picnic areas cannot be reserved in advance and are available on a first-come, first-served basis. The Lawn is a favorite picnic spot. In the interest of safety, open-flame grilling is not permitted anywhere on the Blossom grounds or parking areas. Also, sparklers and fireworks are strictly prohibited. PICNIC DROP-OFF Patrons with parking access to any paved lot can drop off a passenger or picnic near the tram stop in your parking lot. For safety reasons, there is no picnic/passenger drop-off at the Main Gate. CONCESSIONS Blossom offers a variety of food and beverage concessions throughout the grounds. Some of the items available include individual pizzas, grilled hot dogs, jumbo soft pretzels, drinks, coffees, ice cream novelties, and a selection of alcoholic beverages featuring domestic and imported beers as well as summer cocktails. Wines by the bottle can be purchased at the Wine Store, at the top of the Lawn (see grounds map). BLOSSOM GRILLE This open-air restaurant located at the top of the Lawn seating area is the perfect place to start or end your evening. The full-service restaurant

Patron Information

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and bar offers a variety of freshly prepared appetizers, salads, entrees, and desserts, plus wines, spirits, and beers. The Blossom Grille is open for dinner 2½ hours prior to all Blossom Music Festival concerts and is also open for Afterglow — coffee, spirits, and desserts for 1 hour after each concert. For more information or to make reservations, please call 330-916-6063. CATERING AND GROUP EVENTS With a welcoming natural setting, gracious gardens, and a summer full of music, Blossom is a great place to host a party. Our party pavilions at Knight Grove accommodate 25 to 450 people. Bring a few dozen friends, your favorite clients, or your whole company to a concert and let Blossom’s exclusive caterer help you create a memorable pre-concert event. From casual barbecues and informal receptions to elegant sit-down dinners, you can select a menu from our catering guide or request a unique menu for your event. Please note that arrangements must be made in advance. To request a catering menu, please call 330-916-6063. For information regarding group ticket packages for concerts, please call The Cleveland Orchestra’s Group Sales Office at 216-231-7493. SMITH PLAZA Patrons enter Blossom through Smith Plaza. The Plaza offers merchandise sales, ticket services, guest services, First Aid stations, gardens, Eells Art Gallery, ATM, and an Information Center staffed by Blossom Friends volunteers. KULAS PLAZA Kulas Plaza is open to serve Cleveland Orchestra donors, series subscribers, and Box Seat holders at Festival concerts. Kulas Plaza guests have access to dedicated restrooms, concessions, and tables for pre-concert dining and intermission refreshments. FIRST AID First Aid is available at every performance. Contact the nearest usher or go to Smith Plaza. LOST AND FOUND Visitors seeking to retrieve lost articles can inquire at Guest Services at the Smith Plaza.

BANDWAGON GIFT SHOP At Blossom Music Festival concerts, the Bandwagon Gift Shop offers Blossom signature merchandise as well as Cleveland Orchestra clothing, gift items, and music CDs. The shop is open 2½ hours before the concert, through intermission, and for post-concert shopping. For more information, call 330-916-6090. CAMERAS AND VIDEO RECORDERS Cameras can be brought onto the Blossom grounds for Festival performances to take pictures of your family and friends, which you are welcome and encouraged to share through social media such as Facebook and Twitter. However, in accordance with contractual agreements with the performers, the taking of pictures inside the Pavilion during performances is not permitted. NOISE, TEXTING, AND OTHER DISTRACTIONS Please keep in mind that a night at Blossom is a shared experience. Think about the comfort and safety of people around you while you are enjoying your own Blossom evening. Throughout the grounds, please silence or turn off your cell phone or pager. Please do not use your cell phone in a way that disturbs those around you from enjoying the musical performance or quiet darkness of twilight. During the performance, patrons are requested to refrain from talking or participating in activities that might interrupt others’ enjoyment. In the interests of ensuring a safe audience setting for all, the swinging of bats or the tossing hard objects (such as baseballs and footballs) is prohibited, as is playing soccer and kickball. To ensure the safety of all, audience members are prohibited from having and operating drones anywhere on the Blossom grounds. Parents should supervise their children at all times. A free Blossom Young Person’s Guide is available to help our youngest listeners learn about music, with some suggested activities. NO SMOKING All Blossom events are presented in a smoke-free environment. Smoking tobacco or e-cigarettes is not allowed anywhere on the grounds or in buildings once you have entered through the ticket gates. With required fire and safety precautions, limited smoking areas are

Patron Information

2016 Blossom Festival

2O16

Knight Grove

BLOSSOM GROUNDS Picnic Tables

ATM

Concessions Family Restroom

Hood Meyerson Suite Backstage Lot

ATM

Blossom Grille

Lawn Seating

Lawn Terrace

Pavilion Kulas Plaza

Concessions

ATM

Wine Store

Frank E. Joseph Garden Herbert E. Strawbridge Garden

Eells Art Gallery Bandwagon Gift Shop

Guest Services and First Aid

ATM

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

Lot A Gate

Main Gate

FirstEnergy

Lot (PAY LOT)

Information Center*

Special Events Center

Box Office Pedestrian Bridge

Information Center*

Lawn Ticket Booth Woods Picnic Area Subscriber

Lot *Information Centers are staffed by members of Blossom Friends of The Cleveland Orchestra

Lot

Tram Stops

Blossom Festival 2016

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

Patron Information

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sometimes designated outside the gates, closer to paved parking areas. LAWN CHAIRS AND RENTALS Guests on the Lawn enjoy different kinds of seating and sitting — but please keep in mind that how you sit can obstruct others’ views. Many patrons prefer lying back on a blanket and listening to music under the big summer sky, while others prefer to bring chairs to watch the evening’s activities. Short-legged beachstyle chairs make good neighbors. Suitable rental chairs are available at the top of the hill for a rental fee of $5 per evening. Tents or other structures are strictly prohibited. IN CASE OF RAIN Blossom Music Festival concerts are performed rain or shine. In the event of rain, Lawn/ General Admission tickets will allow you access to the general admission sections of the Pavilion, available on a first-come, first-served basis. CURTAIN TIME Every effort is made to begin concerts on time. On occasion, traffic or other conditions may force a delay of five to ten minutes. The dimming of lights in the Blossom Pavilion and the entrance of the Concertmaster onto the stage for the tuning of the Orchestra usually signal the imminent start of each concert. ARRIVING LATE, LEAVING EARLY If you have tickets for Pavilion seating and you arrive after the performance has begun, you will be asked to wait quietly until the first break between musical selections in the performance, when ushers will guide you to your seats.

Lawn patrons can find a spot on the Lawn at any time. However, please be courteous to fellow patrons who are already enjoying the concert, and try not to create unnecessary disturbance. If you need to leave before the concert ends, please do so only between pieces in order not to disturb the performers or other patrons. INTERMISSIONS Intermissions are expected to run 20 minutes. The ringing of a bell and the flashing of lights are used to signal the impending start of the second half of a concert. GARDENS The area surrounding Smith Plaza boasts three beautiful gardens dedicated to the memory of individuals who were influential in the creation of Blossom: Emily Blossom, Frank E. Joseph, and Herbert E. Strawbridge. EELLS ART GALLERY Eells Art Gallery exhibits works by regional and national artists, curated by the Kent/Blossom Art program. PORTHOUSE THEATRE Located just inside Blossom’s main road entrance, Porthouse Theatre offers a summer season of theatrical productions presented by the Porthouse Theatre Company, a professional regional repertory company affiliated with Kent State University. The theater’s Box Office opens 1½ hours prior to showtime. For further information or to make reservations, please call 330-929-4416, or visit porthousetheatre.com.

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Patron Information

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2016 Blossom Festival

Itâ&#x20AC;&#x2122;s time for a new identity. One that tells the story of creativity in Ohio and illustrates it.

Expression is an essential need. By better illustrating our story, we can better help you express yours.

Complete the story at oac.ohio.gov/identity.

30 EAST BROAD STREET, 33RD FLOOR, COLUMBUS, OHIO 43215-3414 | 614-466-2613 OAC.OHIO.GOV | @OHIOARTSCOUNCIL| #ARTSOHIO

Buying Tickets BY TELEPHONE Call the Severance Hall Ticket Office

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

IN PERSON At the Severance Hall Ticket Office Blossom Music Festival tickets can be purchased at the Severance Hall Ticket Office, located at 11001 Euclid Avenue (the corner of Euclid Avenue and East Boulevard) in Cleveland. Open weekdays 9 a.m. to 6 p.m. Closed Saturdays, Sundays, and holidays. At Blossom Music Center Tickets for Blossom Music Festival concerts can be purchased at the Blossom Box Office, open Saturdays and Sundays from 1 p.m. to 5 p.m. and from 1 p.m. through intermission on Festival concert dates.

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

S E AT I N G C H A R T

Free Lawn Tickets are available for young people ages 17 and younger. Two Under 18s Free Lawn Passes can be requested with each paid admission. Under 18s must have a pass for entry and must be accompanied by an adult. Passes can be requested through the Ticket Office or online. The Under 18s Free Lawn Pass also permits seating in the General Admission sections of the Pavilion. Seating in the General Admission sections of the Pavilion is available on a first-come, first-served basis. Pavilion seating may not be appropriate for very young children if they are unable to sit quietly and enjoy the concert without disturbing those around them. Under 18s Free is a program for families, supported by The Cleveland Orchestra’s Center for Future Audiences. The Center, created with a lead endowment gift from the Maltz Family Foundation, was established to fund programs to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.

PAVILION GENERAL ADMISSION AREAS Certain areas of the Pavilion are designated for general admission seating on a first-come, firstserved basis (beginning two hours before each concert). Lawn Tickets and Under 18s Free Lawn Passes grant access to this area. Each person regardless of age must have a ticket to sit in this area. GROUP DISCOUNTS Groups of 10 or more qualify for specially discounted tickets to most Festival concerts. Whether you are planning for your company picnic, a club or social group outing, or this year’s family reunion, Blossom offers a special setting. Call our Group Sales Office at 216-231-7493.

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

GUARANTEED COMPLIMENTARY PAVED LOT PARKING When you purchase Pavilion tickets to Festival concerts in advance, you receive a 2016 parking pass that guarantees you space in J U LY one of Blossom’s paved parking lots and access to these lots via the “Parking Pass” lane. To receive a parking pass, purchase C-D-E tickets in person or online at least ten days prior to the concert. BLOSSO

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WHEELCHAIR ACCESS Accessible seating locations are available across all seating price levels. If assistance is needed, uniformed staff can help.

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2016 Blossom Festival

ST. EDWARD HIGH SCHOOL

You belong here. ST. EDWARD HIGH SCHOOL IS PROUD TO SUPPORT THE CLEVELAND ORCHESTRA AND ITS COMMITMENT TO EXCELLENCE. LEARN MORE ABOUT OUR COMMITMENT TO EXCELLENCE AT WEARESTEDS.COM.

HERMÃ&#x2C6;S BY NATURE

18 East Orange Street - Chagrin Falls, Ohio