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2O17 BLOSSOM MUSIC FESTIVAL

summer home of

THE CLEVELAND ORCHESTRA

p r e s e n t e d by

2o17 BLOSSOM book no. 4 INsIde . . .

August 19 -- Ravel’s Bolero . . . . . . . . . . . . . . . . . . . . . . . . . . page 29 August 26 -- Holst’s The Planets . . . . . . . . . . . . . . . . . . page 45 August 27 -- Tribute to Ella Fitzgerald . . . . . . . . . . . page 71 September 1-3 -- E .T . The Extra-Terrestrial . . . . . page 82 See complete Table of Contents on page 4

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September 30, 2017–January 14, 2018 #1 Attraction in Cleveland

ClevelandArt.org Jane and Doug Kern Joyce and Bill Litzler

Muse with Violin Screen (detail), 1930. Rose Iron Works (American, Cleveland, est. 1904). Paul Fehér (Hungarian, 1898–1990), designer. Wrought iron, brass; silver and gold plating; 156.2 x 156.2 cm. The Cleveland Museum of Art, On Loan from Rose Iron Works Collections, LLC. © Rose Iron Works Collections, LLC. The exhibition in Cleveland is sponsored by Dealer Tire, Jane and Doug Kern, and Joyce and Bill Litzler.


What great music does for our world. Drive

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2O17 BLOSSOM

THE

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

MUSIC FESTIVAL T a t A b B l L e E

O f o F

PR p rE eS sE eNT tE eD d BY By

C o c O n N t T e E n N t T s S

2O17 BLOSSOM Music MUSIC Festival FESTIVAL Book No. 4 Share your memories of tonight and join in the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra

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29.

concert — August 19 Boléro Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 31 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32-39 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

45.

concert — August 26 The Planets Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 47 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48-59 48-9 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

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concert — August 27 Ella Fitzgerald Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 73 About Ella Fitzgerald . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Guest Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74-75

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concert — September 1,2, 1, 2, 3 E .T . Introducing the Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

instagram: @CleveOrch #CleOrchBlossom

Copyright © 2017 by The Cleveland Orchestra Eric Sellen, Program Book Editor e-mail: esellen@clevelandorchestra .com Cover Blossom photography by Roger Mastroianni Program books for Cleveland Orchestra concerts are produced by the Marketing & Communications Department and distributed free of charge to attending audience members. Program book advertising is sold through LIVE PUBLISHING PuBLISHING COMPANY COMPANy phone: 216-721-1800

21 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.

60 91

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.

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About Blossom Welcome to Our Summer Home . . . . . . . . . . . . . . . . . . 7 2017 Festival Calendar . . . . . . . . . . . . . . . . . . . . . . . . . 8-9 About Blossom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11-17 Blossom by the Numbers . . . . . . . . . . . . . . . . . . . . . . . . 43

85 87 89

About the Orchestra

Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 By the Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 26-27

Supporting the Orchestra

Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60-69 Sound for the Centennial . . . . . . . . . . . . . . . . . . . . . 78-79

Learn More

Gourmet Matinees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Blossom Information and Policies . . . . . . . . . . . . 91-94 Blossom Grounds Map . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Blossom Festival: Table of Contents

Blossom Music Festival


rhy ∙ thm noun /’riTH m/ The aspect of music comprising all the elements that relate to forward movement. e

Moving ahead together is the surest way to achieve success. BakerHostetler is proud to support The 2017 Cleveland Orchestra Blossom Music Festival Season.

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WKSU, an equal opportunity, affirmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 17-UR-00331-042


Welcome to Our Summer Home! Thank you for joining us to celebrate and enjoy The Cleveland Orchestra’s annual Blossom Music Festival, a beloved summer tradition that brings the Northeast Ohio community together to experience great music in the great outdoors. These magical evenings at Blossom Music Center — here in the heart of Summit County — are made possible by your support, enthusiasm, and attendance. Together, our community created and has sustained an extraordinary Orchestra for the past century. Together, we have also built two of the most beautiful and acoustically acclaimed concert halls in the country — Severance Hall in Cleveland and this remarkable summer home here at Blossom. Making music here, for you, is a great honor and extraordinary pleasure. Each summer season is an incredible treasure for all of us. Blossom’s natural outdoor beauty is perfectly paired with the acoustically and aesthetically stunning Pavilion designed by local architect Peter van Dijk. Idyllically situated in the center of Northeast Ohio between two major metropolitan areas and surrounded by Ohio’s own Cuyahoga Valley National Park, Blossom offers the best of all worlds, proximity and escape, familiarity and adventure, 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. Between our own Festival concerts and those touring acts presented by Live Nation, half a million people attend musical performances at Blossom each summer. Over 20 million have enjoyed musical performances here since Blossom opened in 1968. These numbers underline just how meaningful music is to our community — and also highlight our good fortune of being able to enjoy summertime to the fullest, from hiking and birdwatching to evenings filled with great musical experiences. 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. Six years ago, our vision for having the youngest audience of any orchestra started at Blossom when we launched the “Under 18s Free” program on the Lawn. 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 and other donors. 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 masterpieces and popular musical hits, of Broadway and movie classics — of magical summer twilights teaming with fireworks or fireflies, filled with the stars above and the stars onstage. With special thanks to the Festival’s presenting sponsor, The J.M. Smucker Company. Welcome and enjoy!

André Gremillet Blossom Festival 2017

Welcome: From the Executive Director

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MUSIC FESTIVAL

SUMMER HOME OF

THE CLEVELAND ORCHESTRA

JUL

18

PM

GERSHWIN & TCHAIKOVSKY

DIEHL

S AT U R D AY

The Cleveland Orchestra Jahja Ling, conductor Aaron Diehl, piano

M O N D AY

JUL

38

PM

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

SCHISSEL

2O17 BLOSSOM

FOU RTH - OF -J

P R E S E N T E D BY

JU

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

TICKETS:

800-686-1141

S AT U R D AY

JUL

88

PM

BERLIOZ’S SYMPHONIE FANTASTIQUE The Cleveland Orchestra Franz Welser-Möst, conductor

JUL

15 8

PM

BEETHOVEN’S SEVENTH SYMPHONY

JUL

227

PM

LING

The Cleveland Orchestra Franz Welser-Möst, conductor

DVOŘÁK’S NEW WORLD

The Cleveland Orchestra Jahja Ling, conductor Eli Matthews, violin

with Kent/Blossom Chamber Orchestra

JUL

29 8

PM

ROMANTIC RACHMANINOFF

PETRENKO

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 Vasily Petrenko, conductor David Fray, piano

= features fireworks, weather permitting


AUGUST

SSU UN ND DAY AY

48

The TheCleveland ClevelandOrchestra Orchestra Robert RobertTrevino, Trevino,conductor conductor Behzod BehzodAbduraimov, Abduraimov,piano piano

PM PM

AUG

Blossom BlossomFestival FestivalBand Band Loras LorasJohn JohnSchissel, Schissel,conductor conductor

PM PM

AUG

19 8

AUG

The TheCleveland ClevelandOrchestra Orchestra Fabien FabienGabel, Gabel,conductor conductor Juho JuhoPohjonen, Pohjonen,piano piano

SSU UN ND DAY AY

67

PM PM

ROMANTIC VIENNA

The TheCleveland ClevelandOrchestra Orchestra Juraj JurajValčuha, Valčuha,conductor conductor Stefan StefanJackiw, Jackiw,violin violin

13 7

PM PM

HOLLYWOOD HEROES AND SUPERHEROES The TheCleveland ClevelandOrchestra Orchestra Richard RichardKaufman, Kaufman,conductor conductor

PM PM

BOLÉRO!

97

AUG

The TheCleveland ClevelandOrchestra Orchestra Gustavo GustavoGimeno, Gimeno,conductor conductor Johannes JohannesMoser, Moser,cello cello

ULY LY PM PM

A NIGHT AT THE OPERA

AUG

16 7

WALL

The TheCleveland ClevelandOrchestra Orchestra Franz FranzWelser-Möst, Welser-Möst, conductor conductor Erin ErinWall, Wall, soprano soprano

JUL

12 8

STRAVINSKY’S THE FIREBIRD

SCHISSEL

A SALUTE TO AMERICA

JUL

PM PM

TCHAIKOVSKY FAVORITES

T TU UE ESSD DAY AY

JUL

58

ABDURAIMOV

AUG

The TheCleveland ClevelandOrchestra Orchestra Jahja JahjaLing, Ling, conductor conductor Aaron AaronDiehl, Diehl, piano piano

S U N D AY

GABEL

PM PM

GERSHWIN & TCHAIKOVSKY

GIMENO

S AT U R D AY

DIEHL

28

JUL

JACKIW

U U LY LY-- W WE EE EK KE EN ND D

26 8

AUG

PM PM

27 7

PM PM

HOLST’S THE PLANETS

A TRIBUTE TO ELLA FITZGERALD

The TheCleveland ClevelandOrchestra Orchestra Cristian CristianMăcelaru, Măcelaru,conductor conductor Augustin AugustinHadelich, Hadelich,violin violin

The TheCleveland ClevelandOrchestra Orchestra Randall RandallCraig CraigFleischer, Fleischer,conductor conductor with with Capathia CapathiaJenkins, Jenkins, Harolyn HarolynBlackwell, Blackwell,Aisha Aishade deHaas Haas

PM PM

BEST OF BROADWAY

The TheCleveland ClevelandOrchestra Orchestra Jack JackEverly, Everly,conductor conductor with withChristina ChristinaDeCicco, DeCicco,Ted TedKeegan, Keegan, Ron RonRemke, Remke,Richard RichardTodd ToddAdams Adams

23 7

PM PM

FIRE AND RAIN 1970s Folk Anthems The TheCleveland ClevelandOrchestra Orchestra Rob RobFisher, Fisher,conductor conductor AJ AJSwearingen, Swearingen,guitar guitarand andvocals vocals Jayne JayneKelli, Kelli,guitar guitarand andvocals vocals

KELLI & SWEARINGEN

JUL

SEPTEMBER F R I D AY

SEP

1 8:30

PM PM

MOVIE MOVIE NIGHT NIGHT

SEP

2 8:30

PM PM

SEP

3 8:30

E.T. THE EXTRA-TERRESTRIAL

The TheCleveland ClevelandOrchestra Orchestra Brett BrettMitchell, Mitchell,conductor conductor

TICKETS:

S U N D AY

S AT U R D AY

clevelandorchestra.com

PM PM


Waiting for the Peak of Perfection.

PAG E 2 O 1 5

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Smuckers SPONSOR AD

With With aa name name like like Smucker’s, Smucker’s, itit has has to to be be good. good.®® smuckers.com smuckers.com


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 over 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 Center’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 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

11


OPEN MINDS HAVE MORE ROOM FOR BIG IDEAS RESEARCH IS HELPING KENT STATE UNIVERSITY STUDENTS FIND ANSWERS to the world’s next big questions. As one of the nation’s top public higher-research universities, our faculty and students are leading the way in studies of brain health, water ecology, population trends and materials sciences, including liquid crystals. Through these efforts, Kent State research continues to light the way to a brighter future for everyone.

WWW.KENT.EDU Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University, an equal opportunity, affirmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 17-UR-00332-124


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 architect for the Blossom Redevelopleft in foreground are Frank Joseph (then president of ment Project in 2002-03 and continues the Musical Arts Association), Elizabeth Bingham Blossom (Mrs. Dudley Sr.), Benjamin Gale (Blossom grandto help direct Blossom upgrades and son), Betsy Blossom (youngest Blossom grandchild), changes. The seating capacity of the and 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 2017

About Blossom

13


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

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 summer’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

Live Publishing Company provides compre2O17 BLOSSOM MUSIC hensive communications and marketing serFESTIVAL vices to a who’s who roster of clients, including the world-renowned Cleveland Orchestra. We know how to deliver the most meaningful messages in the most effective media, all in the most cost-effective manner. We’re easy to do business with, and our experienced crew has handled every kind of project – from large to small, print to web. summer home of

THE CLEVELAND ORCHESTRA

p r e s e n t e d by

2o17 BLOSSOM book no. 4

INsIde . . .

August 19 -- Ravel’s Bolero . . . . . . . . . . . . . . . . . . . . . . . . . . page 29 August 26 -- Holst’s The Planets . . . . . . . . . . . . . . . . . . page 45 August 27 -- Tribute to Ella Fitzgerald . . . . . . . . . . . page 71 September 1-3 -- E .T . The Extra-Terrestrial . . . . . page 82 See complete Table of Contents

on page 4

cleve l aNdorchestr

Read this program book

on demand YOU R C ONSTA N T C OM PA N ION

WC LV.ORG

14

on your mobile phone

a .com

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

About Blossom

Blossom Music Festival


Thank You, Northeast Ohio

Discover the Difference: The Campaign for University Hospitals has forever transformed the health of our families, friends and neighbors. Your generosity saved and changed countless lives. Lives that will impact Northeast Ohio for generations to come. More than 83,500 community members contributed nearly 185,000 gifts, totaling over $1.5 BILLION. You, our donors and supporters, were the difference every step of the way. THANK YOU. Visit UHGiving.org/Impact to see just a few of the lives transformed forever.


Blossom Committee of The Cleveland Orchestra The Blossom Committee of The Cleveland Orchestra is an advisory group created to support the development and prioritization of initiatives to connect The Cleveland Orchestra in new and meaningful ways with the Blossom community. The Committee is comprised of business and community leaders from Cuyahoga, Portage, Stark, and Summit Counties. (Listing as of June 20, 2017.) Iris Harvie, Chair Thomas Waltermire, Vice Chair Ronald H . Bell Carolyn Christian Bialosky William P . Blair III Robin Blossom Joanne Dannemiller Barbara Dieterich Helen Dix* Barbara Feld John Fickes Claire Frattare Linda Gaines Barbara Gravengaard C . Thomas Harvie Faye A . Heston

Laura Hunsicker Cory Isler Mary Ann Jackson Michael J . Kaplan Philip S . Kaufmann Phyllis Knauf Christine Kramer Janice R . Leshner

Mary Ann Makee John McBride Margaret Morgan* Paul A . Rose Sandra R . Smith Paul E . Westlake Jr . Deb yandala *Honorary Member for Life

Ex-OffIcIO

Richard K . Smucker, President, Musical Arts Association Dennis W . LaBarre, Chairman, Musical Arts Association Richard J . Bogomolny, Chairman Emeritus, Musical Arts Association André Gremillet, Executive Director, The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra Peter van Dijk, Westlake Reed Leskosky

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        

Visit Cleveland Pops Orchestra online at clevelandpops.com

16

Blossom Committee

2017 Blossom Festival


Blossom Friends of The Cleveland Orchestra This state-wide volunteer organization is dedicated to promoting and financially supporting The Cleveland Orchestra’s summer home and annual summer Music Festival at Blossom. Established as a womens’ volunteer committee with the opening of Blossom Music Center in 1968, the group was more recently renamed Blossom Friends of The Cleveland Orchestra and is today open to women and men of all ages. A series of fundraising, learning, and social events are presented each year to promote the Friends’ ongoing work devoted to sustaining the beauty of Blossom and the magic of great summertime music under the stars. For additional information about joining Blossom Friends of The Cleveland Orchestra or attending the group’s year-round fundraising and promotional events, please contact Lori Cohen, Community Leadership Liaison at 216-231-7557 or lcohen@clevelandorchestra.com

EXECUTIVE COMMITTEE Elisabeth Hugh, President Elizabeth McCormick, Vice President Mary Walker Sprunt, Recording Secretary JoAnn Greiner, Corresponding Secretary Patricia Rice, Treasurer

AREA CHAIRS — Danielle Dieterich — Kathleen McGrath canton / stark county — Elizabeth McCormick, Faye Heston hudson — Connie Van Gilder (Acting Chair) kent — Sylvia Armstrong, Donna DiBiase northeast — Nancy Cruikshank member-at- large — Connie van Gilder akron

aurora

Each year, Blossom Friends presents a range of events, including an Opening Night reception and a summer series of Gourmet Matinee Luncheons showcasing the artistry and stories of musicians of The Cleveland Orchestra.

Blossom Festival 2017

Blossom Friends

17


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M u S I C A l A R TS A s so c i At i o n

as of June 2017

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

O f f I c Er s a N D E xE c u t I v E c O m m I t t E E Richard K. Smucker, President Dennis W. LaBarre, Chairman Richard J. Bogomolny, Chairman Emeritus 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 EN t t r u s t EE s Dr. Ronald H. Bell Richard J. Bogomolny Yuval Brisker Jeanette Grasselli Brown Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Betsy Juliano Jean C. Kalberer

Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Milton S. Maltz Nancy W. McCann Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Meg Fulton Mueller 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 Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton 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 Es I D EN t t r u s t EE s Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria)

Laurel Blossom (CA) Richard C. Gridley (SC)

Loren W. Hershey (DC) Herbert Kloiber (Germany)

t r u s t EE s E x- O f f I c I O Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Patricia Sommer, President, Friends of The Cleveland Orchestra Elisabeth Hugh, President, Blossom Friends of The Cleveland Orchestra t r u s t EE s E m Er I t I George N. Aronoff S. Lee Kohrman Charlotte R. Kramer Donald W. Morrison Gary A. Oatey Raymond T. Sawyer Pa s t P r E s I D EN t s D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

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

h O N O r a ry t r u s t EE s fO r l I f E Dorothy Humel Hovorka Gay Cull Addicott Robert P. Madison Charles P. Bolton Robert F. Meyerson Allen H. Ford James S. Reid, Jr. Robert W. Gillespie

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

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

tHE ClEVElAND oRcHEstRA Franz Welser-Möst, Music Director

Blossom Music Festival

André Gremillet, Executive Director

Musical Arts Association

19


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2017 Blossom Festival


the

CLEVELAND ORCHESTRA

its Centennial Season in 2017-18, The Cleveland Orchestra is hailed as one of the very best orchestras on the planet, noted for its excellence and for its devotion and service to the community it calls home . The new season will mark the ensemble’s sixteenth year under the direction of Franz Welser-Möst, one of the world’s most renowned musical leaders . Looking toward the future, the Orchestra and its board of trustees, 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 and to fully focus on serving its hometown community through outstanding concert experiences, vibrant musical engagement and exploration, and strong music education programs . The institution is also succeeding to developing the youngest audience of any orchestra, building on its tradition of community support and financial strength, and to move forward into the Orchestra’s Second Century with an unshakeable commitment to innovation and a fearless pursuit of success . The Cleveland Orchestra divides its time across concert seasons at home — in Cleveland’s Severance Hall and each summer at Blossom Music Center . Additional portions of the year are devoted to touring and intensive performance residencies . These include a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, in New york, at Indiana university, and in Miami, Florida . Musical Excellence . The Cleveland Orchestra has long been committed to the pursuit of musical excellence in everything that it does . The Orchestra’s ongoing collaboration with Welser-Möst is widely-acknowledged among the best orchestraconductor partnerships of today . Performances of standard repertoire and new works are unrivalled Each year since 1989, The Cleveland Orchestra at home and on tour across North America and Euhas presented a free concert in downtown Cleverope, and through recordings, telecasts, and radio land. Nearly 3 million people have experienced and internet broadcasts . Its longstanding chamthe Orchestra through these free performances pionship of new composers and commissioning of — this summer’s was scheduled for June 30 in partnership with Cuyahoga Arts & Culture. new works helps audiences experience music as a living language that grows and evolves with each new generation . Fruitful re-examinations and juxtapositions of traditional repertoire, recording projects and tours of varying repertoire and in different locations, and acclaimed collaborations in 20th- and 21st-century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to photo by RogeR MastRoianni

as It aPPrOachEs

Blossom Festival 2017

The Cleveland Orchestra

21


none in the world . Serving the Community . Programs for students and engaging musical explorations for the community at large have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities . All are being created to connect people to music in the concert hall, in classrooms, and in everyday lives . Recent seasons have seen the launch of a unique series of neighborhood residencies and visits, Franz Welser-Möst designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways . Active performance ensembles and programs provide proof of the benefits of direct participation in making music for people of all ages . Future Audiences . Standing on the shoulders of more than nine decades of presenting quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010 . Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people and to develop the youngest audience of any orchestra . The flagship “under 18s Free” program has seen unparalleled success in increasing attendance and interest — with 20% of attend-

22

ees now comprised of concertgoers age 25 and under — as the Orchestra now boasts one of the youngest audiences attending regular symphonic concerts anywhere . Innovative Programming . The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities . Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences — including casual Friday night concerts, film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works . Franz Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding . An Enduring Tradition of Community Support . The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere . Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s performances as some of the best such concert experiences available in the world . Hundreds of thousands have learned to love music through its education programs and have celebrated important events with its music . While strong ticket sales cover just under half of each season’s costs, it is the generosity of thousands each year that drives the Orchestra forward and sustains

The Cleveland Orchestra

2017 Blossom Festival


its extraordinary tradition of excellence onstage, in the classroom, and for the community . Evolving Greatness . The Cleveland Orchestra was founded in 1918 . Over the ensuing decades, the ensemble quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world . Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 1933-43; Erich Leinsdorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz WelserMöst, from 2002 forward . The opening in 1931 of Severance Hall as the Orchestra’s permanent home brought a special pride to the ensemble and its hometown . With acoustic refinements under Szell’s guidance and a building-wide restoration and expansion in 1998-2000, Severance Hall continues to provide the Orchestra an enviable and intimate acoustic environment in which to perfect the ensemble’s artistry . Touring performances throughout the united States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras . year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the united States . Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world . Blossom Festival 2017

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1918

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

16th

1l1l 11l1 l1l1 1

The 2017-18 season will mark Franz Welser-Möst’s 16th 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

Follows on Facebook (as of June 2016)

The Cleveland Orchestra has introduced over 4 .1 million children in Northeast Ohio to symphonic music through concerts for children since 1918 .

129,452

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


2 o 1 7

B L O S S O M

m u s i c

f e s t i va l

THE

CLEVELAND ORCHESTRA 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

Jessica lee

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Takako Masame

Paul and Lucille Jones Chair

Wei-Fang Gu

Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez

Elizabeth and Leslie Kondorossy Chair

Chul-In Park

Harriet T. and David L. Simon Chair

Miho Hashizume

Theodore Rautenberg Chair

Jeanne Preucil Rose

Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz

Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan

Patty and John Collinson Chair

Isabel Trautwein

Trevor and Jennie Jones Chair

Mark Dumm

Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Analisé Denise Kukelhan

26

CELLOS Mark Kosower*

SECOND VIOLINS Stephen Rose *

Louis D. Beaumont Chair

Alfred M. and Clara T. Rankin Chair

Richard Weiss 1

The GAR Foundation Chair

Emilio llinás 2

Charles Bernard 2

Eli Matthews 1

Bryan Dumm

James and Donna Reid Chair 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 Jiah Chung Chapdelaine

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

VIOLAS Wesley Collins*

Chaillé H. and Richard B. Tullis Chair

lynne Ramsey 1

Charles M. and Janet G. Kimball Chair

Stanley Konopka Mark Jackobs

Helen Weil Ross Chair

2

Jean Wall Bennett Chair

Arthur Klima Richard Waugh lisa Boyko lembi Veskimets

The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Cleveland Orchestra

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 Steelman 2

James P. and Dolores D. Storer Chair

Michael Miller

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

Robert Walters

CORNETS Michael Sachs *

Donald Miller

ENgLISH HORN Robert Walters

Michael Miller

Sidney and Doris Dworkin Chair Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sunshine Chair Robert Marcellus Chair George Szell Memorial Chair

Samuel C. and Bernette K. Jaffe Chair

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

Robert Woolfrey **

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

Yann Ghiro E-FLAT CLARINET Daniel McKelway

Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Yann Ghiro BASSOONS John Clouser *

Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees 2

Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

Blossom Music Festival

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

Shachar Israel 2

BASS TROMBONE Thomas Klaber 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 2

Mr. and Mrs. Richard K. Smucker Chair

The Cleveland Orchestra

ENDOWED CHAIRS CURRENTLy UNOCCUPIED

* Principal §

1 2

Associate Principal First Assistant Principal Assistant Principal

* Acting Principal ** Acting 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

27


fabien Gabel

Juho Pohjonen

French conductor Fabien Gable has gained recognition among the rising stars of his generation . He has served as music director of the Quebec Symphony Orchestra since 2013 . He is making his Cleveland Orchestra debut with tonight’s concert . Born in Paris to a family of accomplished musicians, Fabien Gabel began studying trumpet at the age of six . He continued his education at the Conservatoire National Supérieur de Musique de Paris and at the Musik Hochschule of Karlsruhe . Mr . Gabel played in several orchestras prior to pursuing his interest in conducting in 2002 with David Zinman at the Aspen Music Festival; he subsequently studied with Colin Davis, Bernard Haitink, and Paavo Järvi . Fabien Gabel made his professional conducting debut in 2003 with the Orchestre National de France . In 2004, he won the Donatella Flick Conducting Competition in London, which led to his appointment as the London Symphony Orchestra’s assistant conductor, serving 2004-06 . Since that time, he has appeared as a guest conductor with major orchestras and opera companies across the Americas and throughout Europe . For additional information, visit www. fabien-gabel.com .

Finnish pianist Juho Pohjonen has attracted great attention as one of the Nordic countries’ most talented pianists of his generation . His repertoire ranges widely — from Bach and Mozart to Messiaen and Salonen . He is making his Cleveland Orchestra debut with this evening’s concert . Mr . Pohjonen has performed with orchestras across Europe and North America . In recital, his engagements have included appearances in Aspen, Dallas, London, New york, Paris, St . Petersburg, and Washington D .C . He also frequently performs chamber music, including regular appearances with the Chamber Music Society of Lincoln Center . Juho Pohjonen began piano studies at the Junior Academy of the Sibelius Academy, before moving on to the Sibelius Academy itself . He completed his master’s degree there in 2008, having studied with Meri Louhos and Hui-ying Liu . Mr . Pohjonen has won many Scandinavian piano competitions, including the 2004 Nordic Piano Competition . In 2009, he was selected by András Schiff as the winner of the Klavier Festival Ruhr Scholarship . Mr . Pohjonen’s discography can be heard on the Dacapo and Music@ Menlo Live labels . For more information, visit www.juhopohjonen.com .

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August 19: guest Artists

2017 Blossom Festival


2O17

BLOSSOM MUSIC FESTIVAL

Saturday evening, August 19, 2017, at 8:00 p.m.

t h e cl e v e l a Nd orc h est r a fa B I EN G a B El , conductor

florent schmitt

(1870-1958)

sergei prokofiev (1891-1953)

the haunted Palace, Opus 49

Symphonic Étude on the poem by Edgar Allan Poe

Piano concerto No. 1 in D-flat major, Opus 10 1. Allegro brioso — 2. Andante assai — 3. Allegro scherzando JuhO POhJONEN, piano

inter mission claude debussy

(1862-1918)

maurice ravel (1875-1937)

Ibéria, from Images 1. In the Streets and Byways 2. The Fragrances of the Night 3. The Morning of a Festival Day

Boléro ♥

Juho Pohjonen’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 JoAnn and Robert Glick in recognition of their extraordinary generosity in support of The Cleveland Orchestra’s Annual Fund.

Th e 2017 B lossom M usic Festival is prese nte d by The J . M . S m ucker Com pa ny

The Cleveland Orchestra

Concert Program: August 19

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INtrODucING thE cONcErt

Dazzle, Daring & Drums t h I s E v E N I N G ’ s c O N c E r t presents four works of dazzling execution

and artistry . We hear orchestral pieces by three French composers, whose daring work a century years ago juxtaposed modern frisson against more introspective ideas and ideals — yielding some extraordinarily vivid music and illuminating musical picture painting . The fourth piece is a brilliantly fiery piano concerto by a Russian early in his rise to the pantheon of great composers . The evening begins with a rarely-heard piece from a hundred years ago by a French composer relatively unknown today . At the time, Florent Schmitt was at the top of his game, celebrated in Paris and beyond . His Haunted Palace from 1904 is a musical study (or étude) on a spectral poem by Edgar Allan Poe . It is filled with beautiful, well-calibrated — and, at times, dark and dramatically hauntEdgar Allan Poe ed — music . Next comes Sergei Prokofiev’s First Piano Concerto, written in 1911 when the composer was just 20 years old . He wrote it for himself, and this score clearly demonstrates Prokofiev’s prodigious abilities as a pianist . For our concert, Finnish pianist Juho Pohjonen takes up the demanding solo role . After intermission, guest conductor Fabien Gabel examines one of Claude Debussy’s amazingly evocative works, Ibéria, from his three Images for orchestra . This is painting in music of incredible depth, rich and impressionistic in its portrayal of scenes from life on the Iberian peninsula . The program ends with Ravel’s Boléro from 1928, a work that began as a simple exercise in variation and repetition — and has ridden a wave of popularity to be one of the most-recognized pieces ever written . It is mesmerizing and tensely-coiled, and offers a brilliant ending to a night of musical gems . —Eric Sellen

Blossom Music Festival

Introducing the Concert: August 19

31


the haunted Palace, Opus 49

Symphonic Étude on the poem by Edgar Allan Poe composed 1900-04

by

florent

schmItt born September 28, 1870 Blâmont, France died August 17, 1958 Neuilly-sur-Seine, Nanterre, France

at a Glance Schmitt created his The Haunted Palace between 1900 and 1904. It was first performed in Paris. The Haunted Palace runs just over 10 minutes in performance. Florent scored it for 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets and bass clarinet, 2 bassoons and contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (tam-tam, bass drum, triangle, cymbals, glockenspiel), harp, and strings.

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f O r m a N y O f u s , French composer Florent Schmitt’s name is nearly unknown today . But a hundred years ago, he was at the top of his game and in the center of all things musical in Paris . Twenty years earlier, he had studied at the Paris Conservatoire under Gabriel Fauré and Jules Massenet, with Ravel as a classmate . Following military service (playing flute in a garrison band), he won the Grand Prix de Rome in 1900 and spent the next four years — at the Villa Medici in Rome and travelling across Europe — finding his own compositional voice, including musical exoticisms from around the Mediterranean, especially from Islamic Turkey and Morocco . His style was still forming, however, mixing together calculated declamatory outbursts interspersed with varying dynamics and rhythm, and very much embracing the new — and essentially French — Impressionism of Debussy . Schmitt is best known today for a number of orchestral works, several of which were originally created as ballets . His Tragedy of Salome, for example, was written in 1907 and made quite a splash in its first season as a ballet with chamber orchestra accompaniment . In 1910, he arranged a suite from it for the concert hall, expanding the musical canvas to full symphonic orchestra — and vying, in France at least, against Richard Strauss’s rougher and more bombastic operatic score for Salome . A few years earlier, Schmitt had chosen to join in Europe’s Romantic fixation with the writings of the American spectral author Edgar Allan Poe . utilizing a French prose translation by Stéphane Mallarmé, he wrote The Haunted Palace [“Le Palais Hanté”] as a symphonic tone poem . The work is a lushly-wrought score, with episodes that sound highly dramatic interspersed with quieter sections more evocative of mists and uncertainty . While not telling a specific story, it recreates in sound some of the poem’s ideas and tales of woe, convincingly creating an atmosphere that can be heard as troubled by the past and dangerous to the present . A few direct references to music in the poem’s words are (perhaps) quietly mirrored in Schmitt’s deft and shimmering musical score, while louder outbursts track against the poem’s overall tragedy .

—Eric Sellen © 2017 August 19: About the Music

Blossom Music Festival


Illustration by W. Heath Robinson (1872-1944)

by Edgar Allan Poe

(first published in 1839; later included in The Fall of the House of Usher)

In the greenest of our valleys By good angels tenanted, Once a fair and stately palace — Radiant palace — reared its head. In the monarch Thought’s dominion, It stood there! Never seraph spread a pinion Over fabric half so fair! Banners yellow, glorious, golden, On its roof did float and flow (This — all this — was in the olden Time long ago) And every gentle air that dallied, In that sweet day, Along the ramparts plumed and pallid, A wingèd odor went away. Wanderers in that happy valley, Through two luminous windows, saw Spirits moving musically To a lute’s well-tunèd law, Round about a throne where, sitting, Porphyrogene! In state his glory well befitting, The ruler of the realm was seen.

Blossom Festival 2017

And all with pearl and ruby glowing Was the fair palace door, Through which came flowing, flowing, flowing And sparkling evermore, A troop of Echoes, whose sweet duty Was but to sing, In voices of surpassing beauty, The wit and wisdom of their king. But evil things, in robes of sorrow, Assailed the monarch’s high estate; (Ah, let us mourn! — for never morrow Shall dawn upon him, desolate!) And round about his home the glory That blushed and bloomed Is but a dim-remembered story Of the old time entombed. And travellers, now, within that valley, Through the red-litten windows see Vast forms that move fantastically To a discordant melody; While, like a ghastly rapid river, Through the pale door A hideous throng rush out forever, And laugh — but smile no more.

August 19: About the Music

33


Piano concerto No. 1 in D-flat major, Opus 10 composed 1911

s E r G E I P r O k O f I E v enrolled as a student at the St . Peters-

by

sergei

PrOkOfIEv born April 23, 1891 Sontsovka, Ukraine died March 5, 1953 Moscow

34

burg Conservatory in 1905 at the age of fourteen . It was one of the major conservatories of the world, and he received a solid musical education in his ten years there, alongside many other young Russian musicians of that generation . But Prokofiev quickly acquired a reputation for being an unruly and audacious student, willing to shock his teachers with wildly adventurous pieces that deliberately contravened conventional rules of musical decorum . Music poured from his pen, especially piano pieces, since he was as much studying to be a pianist as a composer, and his technique was already formidable . By 1911, Prokofiev was getting to be better known, and in 1912, he broke through as a front-line Russian composer with a number of public premieres, including the First Piano Concerto, first performed in Moscow in that year, and widely reported by the press . Although it was far from being his most advanced work, it appalled many critics and even some of his teachers . His supporters rose noisily in his support . The cultural atmosphere in most European capitals in the years before the outbreak of war was heated and intense, with a raucous avant-garde challenging the gloriously decadent furnace of late Romanticism . In Russia, the division could be represented by Scriabin and Rachmaninoff on the conservative side, with Stravinsky and Prokofiev on the other . Although insults and condemnation were generously delivered on both sides, we are today in the fortunate position of being able to admire and enjoy the genius that streamed through the veins of all of these four composers and many of their less celebrated contemporaries . “Such primitive cacophony hardly deserves to be called music,” wrote one review of Prokofiev’s new concerto; another called it “musical mud.” He was not deterred by this kind of response; indeed he was already used to it . He had a band of friends who believed in him — and audiences proved anxious to hear the work many times again during the following years . In any case, his productivity was abundant, and he continued to produce music of widely varied character . It was not long before Prokofiev was to write the graceful “Classical” Symphony . The First Piano Concerto is a dazzling showcase for the August 19: About the Music

The Cleveland Orchestra


soloist. It is cast as a single continuous movement with distinct sections representing slow movement and scherzo. The forthright tune that breaks out nobly at the start is heard again in the middle and at the end of the work. Prokofiev displays the prodigality of a young composer not short of ideas sharply contrasted one with another. After the return of the big tune, there is a slow episode giving prominence to solo instruments from the orchestra, and this is followed by the scherzando section. A solo cadenza recalls earlier themes, and the hectic pace is maintained to the point where the third and final hearing of the main theme heralds the concerto’s close. Prokofiev went on to write five more concertos, the sixth and last being unfinished at his death in 1953. Only the Third Concerto has proved to be as popular as the First.

—Hugh Macdonald © 2017 At a Glance Prokofiev composed his First Piano Concerto in 1911 while a student in St. Petersburg. The first performance was given in Moscow on August 7, 1912, with Konstantin Saradzhev conducting and the composer as the soloist. The first performance in the United States took place in Chicago on December 6, 1918, with the composer as soloist and Frederick Stock conducting. This concerto runs about 15 minutes in performance. Prokofiev scored it for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 2 trumpets, 4 horns, 3 trom-

bones, tuba, timpani, glockenspiel, and strings, plus the solo piano. The Cleveland Orchestra first presented Prokofiev’s Piano Concerto No. 1 at concerts during the 1929-30 concert season, conducted by Rudolph Ringwall and with the composer as soloist. The Orchestra last performed this work in 2010 with Vladimir Ashkenazy conducting and Jean-Efflam Bavouzet as soloist. The Cleveland Orchestra recorded Prokofiev’s First Piano Concerto in 1966, under George Szell’s direction and with Gary Graffman as soloist.

A sketch of Prokofiev, drawn in 1928 by Henri Matisse.

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

Blossom Festival 2017

August 19: About the Music

35


Ibéria, from Images composed 1908

f r E N c h m u s I c I a N s have often been inspired by the rhythms

by

claude

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

36

of Spanish music, at least since the time of Bizet’s Carmen in 1875 . Two composers from the generation preceding Debussy in particular owed their fame to their “Spanish” compositions . Edouard Lalo’s Symphonie espagnole (1875) and Emmanuel Chabrier’s España (1883) must have been familiar to the young Debussy, who himself wrote the piano piece La soirée dans Grenade (“Evening in Grenada”) in 1903 (No . 2 of Estampes) . It is interesting that, aside from one short trip across the border, Debussy never visited Spain . Evenso, he knew the music of a number of contemporary Spanish composers, including Manuel de Falla and Isaac Albéniz. (The latter had used the title “Iberia” in a magnificent suite for piano published in four volumes between 1906 and 1908 .) Falla had warm words of praise for Debussy’s Ibéria, which he claimed had “a considerable and decisive influence on young Spanish composers.” The first section of Ibéria, titled Par les rues et par les chemins (“In the Streets and Byways”), creates an immediate Spanish atmosphere with the sound of the castanets . The whole town is out in the streets on a warm summer evening . People are walking, talking, singing, and dancing . The clarinets play a dance tune marked by the composer as “elegant and rhythmic” and harmonized with parallel chords, one of Debussy’s recurrent techniques . Later, an equally cheerful second theme is heard in the horns and clarinets, soon combined with a third melody which, in contrast, is more lyrical and expressive in character . The first theme with the castanet accompaniment finally returns (now played by the oboes instead of the clarinets) . At last, the noisy parade is over; the people go home and the movement ends pianissimo . The second section is called Les parfums de la nuit (“The Fragrances of the Night”) . Falla perceived in Debussy’s music “the intoxicating spell of Andalusian nights” — and Falla would have known, as he was born in that province of Spain . Several factors contribute to the magic of this movement . First, Debussy’s virtuosic orchestration makes a sophisticated use of divided strings (at one point, the first violins are split into seven different groups, all playing with special techniques such as glissandos and harmonics) . The celesta part is every bit as “celestial” August 19: About the Music

The Cleveland Orchestra


as the instrument’s name . The chords are again “parallel,” with every part moving by the same interval regardless of keys . As a result, we get what is often called the “whole-tone scale” (C, D, E, F-sharp, G-sharp, A-sharp), in which each of the six steps is a whole step higher than the preceding one (with no half-steps) . This scale is incompatible with the traditional Western majorminor system, which is dependent on the half-step as a critical difference in scalar sequences . Because its degrees are equidistant, they are all equally important, and any note can serve as a temporary or permanent resting-point . This gives the music a sense of hovering in the air, or of never touching the ground or reaching a clear closure . The third section of Ibéria, called Le matin d’un jour de fête (“The Morning of a Festival Day”) follows upon the night without interruption . As the day begins to break, we hear the distant sound of a drum along with some soft string pizzicatos [“plucked”] . The night music returns for a moment in the form of a three-measure flute solo . The violins and violas imitate the sound of guitars — Debussy’s score even instructs half the players to hold their instruments like guitars . The clarinets play their solo “very cheerfully, exaggerating the accents .” The violin solo, full of double stops, must be “free and whimsical” (libre et fantasque); the oboe and english horn parts are marked “merry and whimsical” (gai et fantasque) . According to correspondence with his publisher, Debussy had some difficulty choosing from three different ways of ending the piece . “Shall I toss up between them,” Debussy wrote, “or try to find a fourth solution?” He finally opted for a big crescendo, “brisk and vigorous” (vif et nerveux); the last word belongs to the trombones, which cap the piece with a stupendous three-part glissando . —Peter Laki © 2017 Copyright © Musical Arts Association

Program Book on your phone . . . Visit www .ExpressProgramBook.com to read bios and commentary from this book on your mobile phone.

Blossom Festival 2017

August 19: About the Music

at a Glance Debussy composed his three Images for orchestra between 1905 and 1912. Ibéria was completed late in 1908 and Rondes de printemps in the following year. Gigues was not completed until 1912. Ibéria was premiered on February 20, 1910, with Gabriel Pierné conducting. The first American performance of Ibéria was given by Gustav Mahler and the New York Philharmonic on January 3, 1911. Ibéria runs about 20 minutes in performance. Debussy scored it for piccolo, 3 flutes (third doubling second piccolo), 2 oboes, english horn, 3 clarinets, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (tambourine, side drum, castanets, xylophone, 3 bells), celesta, 2 harps, and strings. Ibéria was introduced to The Cleveland Orchestra’s repertoire by Nikolai Sokoloff in January 1921. The Orchestra played it most recently in 2010 under the direction of Pierre Boulez. The Cleveland Orchestra and Pierre Boulez have recorded Debussy’s complete Images twice, in 1967 and in 1991.

37


Boléro

composed 1928

by

maurice

ravEl born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

r a v E l D I D N O t E x P E c t Boléro to be a hit . He was simply fulfilling an obligation to write a piece of music . He’d been asked by the Russian ballerina Ida Rubinstein to write a new ballet with a Spanish theme . Her original request involved orchestrating some piano works by Isaac Albéniz, a relatively easier task than writing new music . But it turned out that the Albéniz pieces had already been arranged for orchestra — and that copyright restrictions wouldn’t allow another version . So Ravel struck out on his own, looking for something interesting but not too timeconsuming . Eventually, he settled on the idea of an orchestration exercise, applied to a strangely meandering melody of his own devising, set against a steady and unchanging Spanish rhythm . The mastery of Ravel is not in having thought of composing this exercise, but in the extraordinary consummate skill with which he infused a unique musical message into a simple formula and idea . A less sure hand would have built the variations across a gradually intensifying orchestral crescendo with either more frequent or fewer changes in instrumentation . Somehow, Ravel managed just the right combination of stasis and change, keeping the piece in a very narrow region between monotony and wildfire . New instruments are added just when they are needed to keep the energy building, but never in an entirely predictable way or pace . In a good performance, the ending comes just as it should, at the peak of tension, releasing the audience to extended applause . In a great performance, the result can be mesmerizing, tantalizing, and palpably bone-tingling . With the snare drum starting out from the very beginning, the melody is carried along according to a plan that looks something like the following list (while other instruments mirror and enhance the snare drum and its insistent rhythmic pattern):

solo flute (in the instrument’s low range) solo clarinet (also low in its range) solo bassoon (high in its range) solo E-flat clarinet (smaller and higher in pitch than the standard B-flat clarinet) 5 . solo oboe d’amore (an instrument ranged, in pitch and tone, between the oboe and english horn)

1 . 2 . 3 . 4 .

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August 19: About the Music

The Cleveland Orchestra


6 . muted trumpet and flute (the flute floats above, parallel to the trumpet’s line) 7 . solo tenor saxophone (saxophones were unusual in an orchestra, and still are, but Ravel liked jazz and wanted an unusual sound here) 8 . solo soprano saxophone (a small, straight, high-pitched saxophone) 9 . horn and celesta (the bell-like sound of the celesta moves parallel to the horn’s line) 10 . quartet of clarinet and three double reeds (this combination sounds somewhat like an organ) 11 . solo trombone (including sliding passages) 12 . high woodwinds (sounding a bit strident) 13 . strings (the strings emerge to take the lead . . .) From here to the end, everything continues building, eventually adding trumpets, more strings, and the entire orchestra including trombones and cymbals . Then, sometimes feeling unexpected, the ending comes quite suddenly . Boléro was a sensational success at its premiere in Paris in 1928, for the music more than the choreography, and the piece quickly took on a life of its own in the concert hall (and radio and recordings and movies and more) . Ravel was astonished — and even perturbed — by its quick rise to popularity . In 1931, he stated that Boléro “constitutes an experiment in a very special and limited direction, and should not be suspected of aiming at achieving anything different from, or anything more than, it actually does achieve. Before its first performance, I issued a warning to the effect that what I had written was a piece lasting seventeen minutes and consisting wholly of ‘orchestration without music’ — of one very long, gradual crescendo. There are no contrasts, and practically no invention except the plan and the manner of execution.” Just so, and it works magnificently .

—Eric Sellen © 2017

Blossom Festival 2017

August 19: About the Music

at a Glance Ravel composed Boléro in 1928. It was first performed on November 22, 1928, by Ida Rubinstein’s company at the Paris Opéra. Rubinstein herself danced the main role; the choreography was by Bronislava Nijinska, with sets and costumes by Alexandre Benois; Walther Straram conducted. The North American premiere (without dancers) took place at an orchestral concert conducted by Arturo Toscanini with the New York Philharmonic, on November 14, 1929. Boléro runs about 15 minutes in performance. Ravel scored it for 2 flutes and piccolo, 2 oboes (second doubling oboe d’amore) and english horn, 2 clarinets plus small clarinet in E flat and bass clarinet, 2 bassoons and contrabassoon, 4 horns, 4 trumpets, 3 trombones and tuba, 3 saxophones (sopranino, soprano, tenor), timpani, percussion (2 snare drums, cymbals, tam-tam), celesta, harp, and strings. The Cleveland Orchestra first performed Boléro in October 1930, conducted by music director Nikolai Sokoloff. It has performed this work on many occasions since.

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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 .” Share the power of music and your love for The Cleveland Orchestra by sharing your memories with us. Post your photos on Instagram (@cleveorch) or email your Blossom story to Jill at donorservices@clevelandorchestra .com.

tell us your family’s favorite Blossom story . . .


T HE

CLEVELAND ORC HE STR A

“We can’t think of a better way to use our resources than to support an organization that brings us such great pleasure.” Tony and Pat Lauria believe in doing their part to cultivate and celebrate the extraordinary things in life — including wine, food, and music . For today and for future generations .

Great music has always been important to Tony and Pat Lauria. They’ve been avid subscribers and donors to The Cleveland Orchestra for many years, and it has become such a major part of their lives that they plan international travel around the Orchestra’s schedule in order to enjoy more concerts at home and on tour. “It gives us great pleasure to be a part of The Cleveland Orchestra,” Pat says. In addition to regularly attending concerts and giving to the annual fund, Tony and Pat have established several Charitable Gift Annuities through the Orchestra, which now pay them a fixed stream of income in return for their gifts. To anyone who is considering establishing a Charitable Gift Annuity, Tony says, “It’s a great investment — for yourself and the Orchestra!” To receive a confidential, personalized gift annuity illustration and to join the Laurias in their support of The Cleveland Orchestra’s future, contact Dave Stokley, Legacy Giving Officer, at 216-231-8006 or email dstokley@clevelandorchestra.com.


Your role . . . in the cleveland orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends. As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-7562.

clevelandorchestra.com


5470

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

20%

OvEr

B lO S S O M M U SiC CENTER

1968

seats

25

and under

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

Blossom’s Pavilion, designed by Cleveland architect Peter van Dijk, can seat 5,470 people, including positions for wheelchair seating . (Another 13,500 can sit on the Lawn .) The Pavilion is famed for the clarity of its acoustics and for its distinctive design .

BY THE NUMBERS

20 million aDMIssIONs

Blossom Music Center has welcomed more than 20,100,000 people to concerts and events since 1968 — including the Orchestra’s annual Festival concerts, plus special attractions featuring rock, country, jazz, and other popular acts .

1,000+

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

1250 tons of steel

12,000 cubic yards concrete 4 acres of sodded lawn

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

Blossom’s 50th Anniversary Season in 2018 will continue on from the Orchestra’s 100th Season celebrations of 2017-18, marking the beginning of The Cleveland Orchestra’s second century serving Northeast Ohio .

2018


cristian macelaru

augustin hadelich

Newly appointed as the music director of the Cabrillo Festival of Contemporary Music, Romanian-born Cristian Măcelaru is among a new generation of conductors gaining widespread acclaim . He is making his Cleveland Orchestra debut with tonight’s concert . Cristian Măcelaru completed undergraduate studies in violin performance at the university of Miami . He became the youngest concertmaster of the Miami Symphony Orchestra and also served as a violinist with the Houston Symphony Orchestra for two seasons . Mr . Măcelaru studied conducting with Larry Rachleff at Rice university, where he received master’s degrees in conducting and violin performance . He went on to receive the Solti Emerging Conductor Award in 2012, followed by the 2014 Solti Conducting Award . Mr . Măcelaru subsequently served as conductor-in-residence with the Philadelphia Orchestra . In recent seasons, Cristian Măcelaru has guest conducted many North American orchestras, as well as leading performances in Bavaria, England, Denmark, Netherlands, Germany, and Japan . He has also led opera performances in Cincinnati, Houston, and Tanglewood . For more information, visit www.macelaru.com .

Italian violinist Augustin Hadelich has established himself among the most-acclaimed musicians of his generation . He made his Cleveland Orchestra debut in August 2009 . Born in Italy to German parents, Augustin Hadelich earned a diploma, summa cum laude, from the Istituto Mascagni in Livorno, Italy, and subsequently earned graduate and artist’s diplomas from New york’s Juilliard School, where he studied with Joel Smirnoff . He was gold medallist of the 2006 International Violin Competition in Indianapolis and recipient of a 2009 Avery Fisher Career Grant . He has also received Lincoln Center’s Martin E . Segal Award and the Warner Music Prize . Mr . Hadelich has performed with every major orchestra in the united States, as well as an increasing number of orchestras in Europe and Asia . In recital, he has performed in major venues in Amsterdam, Antwerp, New york, Paris, Tokyo, and Washington D .C . Augustin Hadelich received a 2016 Grammy Award as Best Classical Instrumental Solo for Dutilleux’s Violin Concerto . His discography also includes albums on Avie and Naxos . He plays the 1723 “ExKiesewetter” Stradivari violin, on loan from Clement and Karen Arrison through the Stradivari Society of Chicago .

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August 26: guest Artists

Blossom Music Festival


2O17

BLOSSOM MUSIC FESTIVAL

Saturday evening, August 26, 2017, at 8:00 p.m.

t h e cl e v e l a Nd orc h est r a c r I s t I a N m ac E l a r u , conductor

antonín dvorák (1841-1904)

violin concerto in A minor, Opus 53 1. Allegro ma non troppo — Quasi moderato — 2. Adagio ma non troppo 3. Finale: Allegro giocoso, ma non troppo auGustIN haDElIch, violin

inter mission gustav holst

(1874-1934)

the Planets, Opus 32 1. 2. 3. 4. 5. 6. 7.

Mars, the Bringer of War Venus, the Bringer of Peace Mercury, the Winged messenger Jupiter, the Bringer of Jollity Saturn, the Bringer of old Age Uranus, the magician Neptune, the mystic

Women of the BlOssOm fEstIval chOrus robert Porco, director

Th e 2017 B lossom M usic Festival is prese nte d by The J . M . S m ucker Com pa ny

Blossom Music Festival

Concert Program: August 26

45


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Blossom Music Festival


INtrODucING thE cONcErt

Czech style & Astrology

O u r c O N c E r t t O N I G h t features Gustav Holst’s epic musical depiction of The Planets, led by guest conductor Cristian Măcelaru . Written a century ago in the years just before World War I, this cycle of seven masterful tone poems for large orchestra and women’s voices was an immediate smash hit in a world much intrigued by a group of heavenly bodies that have fascinated humanity for thousands of years . Planetary fascination — and the popularity of Holst’s musical portraits — has continued undiminished into the space age, with the discovery of additional interplanetary objects within our solar system and of planets far beyond . Technology and human ingenuity have also afforded us an extraordinary amount of new information about outer space . Holst’s astrological suite features only seven planets — he chose not to include our homebase of Earth . And Pluto was not discovered until 1930, nearly two decades after he wrote The Planets . A 2006 decision by the International Astronomical union to define a new sub-category of dwarf planet for Pluto has, in fact, kept Holst’s original work “current .and up-to-date .” (For those interested, recordings of The Planets are available featuring a movement titled Pluto, written by a later 20th-century composer .) Our program opens with an inspiring work by the Czech master Antonín Dvořák . Written at the height of his powers and fame as a composer, the Violin Concerto is from 1880 . While less well-known than the “Big Four” concertos — by Beethoven, Brahms, Mendelssohn, and Tchaikovsky — this concerto offers a unique musical landscape, something akin to Brahmsian classicism melded together with localized and evocative details chosen from Dvořák’s own Czech background . It is performed here with guest soloist Augustin Hadelich . —Eric Sellen

Blossom Music Festival

August 26: Introducing the Music

47


violin concerto in A minor, Opus 53 composed 1879-83

a n t o n í n d v o ř á k became one of the 19th century’s most

by

antonín

DvOřák born September 8, 1841 Nelahozeves, Bohemia died May 1, 1904 Prague

48

cosmopolitan composers, and yet his early ascent to international fame coincided with a surge in Czech artistic nationalism . This “Cultural Revival” was in full swing by the 1860s, yielding Prague’s first Czech-language theater and the beginnings of a national operatic tradition . The growth of a Czech-speaking middle class reinforced the role of music as an expression of localized identity . Still, the movement toward palpable and popular feelings of Czech-ness arose in a world dominated by German convention . Bedřich Smetana, “father of Czech music,” had fallen under the spell of Richard Wagner and Franz Liszt, appropriating a Romantic notion of nationalism as he built the country’s own modern school . Dvořák lived in a world dominated by Johannes Brahms, whose music — built in traditional forms and largely without storytelling within the music — was seen in opposition to the more passionate musical tales of Wagner and Liszt . To Brahms’s formalism, Dvořák added native folklore (storytelling), along with folk rhythms and scales, as a way of fostering a Czech tradition both independent and forward-looking . The two — Brahms and Dvořák — became aware of each other’s music sometime in the 1870s . In fact, it was upon the recommendation of Brahms that Dvořák began his relationship with the German publisher Simrock, who accepted Dvořák’s Moravian Duets and commissioned the first set of Slavonic Dances . Dvořák’s strong Czech identity continued to express itself in subsequent works, including the Slavonic Rhapsody, Czech Suite, and — as we will see — the Violin Concerto . He also had no qualms about expressing his allegiances in personal exchanges . When Simrock insisted on printing his first name as the Germanicized “Anton,” the composer was moved to reply: “May the nations never perish that possess art and represent it, however small they may be. . . . I simply wished to tell you that an artist also has a fatherland in which he must have a firm faith and for which he must have a warm heart.” Shortly thereafter, in 1879, Dvořák began writing his Violin Concerto for Joseph Joachim, who had premiered Brahms’s Violin Concerto that same year . The violinist had also championed August 26: About the Music

The Cleveland Orchestra


Dvořák’s String Sextet and E-flat String Quartet . yet Joachim outright rejected the original score for the new concerto (the sketches for which were likely later destroyed) . “According to Mr. Joachim’s wish, I revised the whole concerto and did not leave a single bar untouched,” Dvořák wrote to his publisher in 1880 . His efforts did little to convince Joachim, who responded to the composer two years later: “I still do not think the Violin Concerto in its present shape to be ripe for the public, especially because of its orchestral accompaniment, which is still rather heavy.” Although Joachim would later perform the work at the conservatory in Berlin where he served as director, it was Dvořák’s friend František Ondříček who gave the world premiere at the Prague National Theater in 1883 . While the concerto’s heroic nature speaks to the influence of Brahms, Dvořák openly flouts formal conventions, favoring rich, inventive lyricism and folk rhythms . The violin enters in the first movement’s opening Allegro without any orchestral exposition . The nearly improvisatory nature of its melody contrasts with the thunderous introduction by the full orchestra . Despite a hint of sonata form as the orchestra’s material returns as a kind of counter-theme, a free sense of melodic development dominates the musical structure, with the violin playing more or less non-stop . A second dance-like theme is introduced in major mode to counterpoint with the oboe — a moment of unusually light orchestration — but it isn’t long before the violin has launched into a variation of the orchestra’s furious opening theme . After a brief cadenza-like passage scored against a distant horn, the soloist dips below the woodwinds in a bridge that leads directly to the slow second movement — one of the structural features Joachim criticized . The violin, having surreptitiously modulated into F-major, plays an elegiac line against atmospheric winds . A second, darker theme in D minor makes a brief appearance but dissolves into soothing arpeggios soon thereafter . The mood wavers in and out of profound melancholy as the violin carries out its plaintive song . The lively finale third movement takes the form of a furiant dance in sonata-rondo form (a structure of variations) while incorporating folk melodies foreign to the triple meter . The main theme is accompanied by different orchestrations with each episode, from parallel high strings in its first appearance to violins and cellos imitating the Czech dudy, or bagpipes, with drone-like open fifths . A duple-time dumka in D minor, opened Blossom Festival 2017

About the Music: August 26

Dvorák lived in a world domi­ nated by Johan­ nes Brahms, whose music — built in tra­ ditional forms — was seen in opposition to the more pas­ sionate musical tales of Wag­ ner and Liszt. To Brahms’s formalism, Dvorák added native folklore (storytelling), along with folk rhythms and scales. v

v

49


with the oboe playing in parallel thirds, creates a bridge into the recapitulation, only to return briefly after the flute’s eerie echo of the main theme to usher the orchestra toward a triumphant close of four resounding A-major chords .

—Rebecca Schmid © 2017 at a Glance Dvořák composed his Violin Concerto between July and September 1879, subsequently revising it over the next three years. The first performance was presented on October 14, 1883, in Prague, with violinist František Ondříček; Moric Anger conducted the Czech National Theater Orchestra. The score was published with a dedication to Joseph Joachim, who had suggested revisions to the work. The United States premiere was given by violinist Max Bendix and the newly-founded Chicago Orchestra under Theodore Thomas’s

direction on October 30, 1891. This concerto runs about 30 minutes in performance. Dvořák scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings, plus the solo violin. The Cleveland Orchestra first performed Dvořák’s Violin Concerto in January 1937, with soloist Ernö Valasek and music director Artur Rodzinski. It has been presented occasionally since then, most recently in January 2015, when concertmaster William Preucil played the solo part.


the Planets, Opus 32 Orchestral Suite in Seven Movements composed 1914 -16

at s O m E P O I N t someone had to come along and write a piece

by

Gustav

hOlst born September 21, 1874

Cheltenham, England died May 25, 1934 London

Blossom Festival 2017

of music about the planets . Relationships between musical composition and astrology have existed for many generations — at least since the writings of the 15th-century Italian neo-Platonic philosopher Marsilio Ficino, who devised music appropriate for each of the planets to attract their salutary influences . Ficino himself performed such music, singing to his own accompaniment on the lira da braccio (a bowed string instrument) . unfortunately, the music hasn’t survived . The belief that the proportions (and other features) of the celestial bodies correspond meaningfully and audibly to musical proportions is older still, for this is what medieval music theorists called “musica mundana” or “the music of the spheres .” Curiously, little of this ever materialized into actual musical compositions directly inspired from the heavens and stars . Eventually, someone was going to come along and make the connection explicit by writing a great piece of music about the planets . yet, at first sight, Gustav Holst, a music teacher at St . Paul’s Girls’ School in Hammersmith near London, would have seemed a somewhat unlikely candidate for the honor . At forty, Holst — “a reticent schoolteacher,” in the words of his biographer Michael Short — had a large number of works in his catalog, but he had yet to achieve a breakthrough success . Aside from his lifelong friendship with fellow composer Ralph Vaughan Williams, whom he had met at school, Holst was a rather withdrawn man; he also suffered from poor health for most of his life . His hands suffered from neuritis, forcing him to give up piano playing while still a young man; for a few years, he was able to make his living playing the trombone . Because of his hands, he dictated some of his music to two dedicated colleagues, Nora Day and Vally Lasker . He spent a great deal of time directing student performing groups and composing music for them . More serious work had to wait for the weekends and summer vacation . Holst had a longstanding interest in astrology . It is possible that he had received the first inspiration from his studies of Sanskrit language and literature — studies that resulted in several musical works, most notably the chamber opera Savitri . About the Music: August 26

51


at a Glance Holst composed The Planets between 1914 and 1916. The first performances were private and incomplete; the official premiere took place on November 15, 1920, with Albert Coates conducting. (The success of the work was so great that two American orchestras, the New York Philharmonic and the Chicago Symphony, vied for the privilege of giving the United States premiere. The situation was resolved by arranging for both to play the work on the same day.) The Planets runs about 50 minutes in performance. Holst scored it for 4 flutes (third and fourth doubling piccolos, fourth also doubling bass flute), 3 oboes (third doubling bass oboe), English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 2 tenor trombones, bass trombone, tenor tuba, bass tuba, timpani, percussion, celesta, 2 harps, organ, and strings, plus (in the last movement) an offstage chorus of women’s voices. The Cleveland Orchestra first performed The Planets in December 1971.

The writer Clifford Bax reported that Holst was “a skilled reader of horoscopes.” Holst himself wrote in 1913, “As a rule I only study things which suggest music to me. Recently the character of each planet suggested lots to me, and I have been studying astrology fairly closely.” The characters of the planets, and their influences on us, are well circumscribed in astrological traditions . Each planet bears a distinct similarity to the Greco-Roman god whose name it shares, although Holst insisted that his music was inspired by the planets, not the deities . The completed suite of music runs the whole gamut of characters, from warlike to lyrical, whimsical to mysterious . The seven movements cover all the planets in our solar system, except the Earth . (Pluto, which was not discovered until 1930, obviously wasn’t included either . That may be just as well, since Pluto was “demoted” from planet to a mere dwarf planet in 2006 by the International Astronomical union . Therefore, the choice of British composer Colin Matthews, who in 2000 composed a Pluto movement to go with Holst’s The Planets, may have been somewhat premature, although the world gained a beautiful new orchestral work in the process . Recordings of the HolstMatthews combination are available and worth hearing .) The sequence of Holst’s movements does not follow the order of increasing distance from the sun; instead, Holst started with Mars, moved closer to the sun, and then, jumping ahead to Jupiter, farther and farther away from it . This sequence is actually the same as the order in which the music was written, except for Mercury, which was the last movement to be completed . The order of the movements suggests a progression from the more clear-cut emotions in “Mars” and “Venus” to the more ambiguous and mysterious ones of “Saturn,” “uranus,” and “Neptune .” In The Planets, Holst preserved his independence from the musical revolutionaries of his time, without sounding conservative . As his daughter Imogen Holst, a noted composer, conductor, and writer, stated in the book she wrote about her father: “For the first time in his life, Holst had said what he wanted to say in a way in which only he could have said it.” thE musIc

I . Mars, the Bringer of War (Allegro) . The opening movement is a march in the asymmetrical meter of 5/4 . As conductor Sir Adrian Boult later recalled, Holst had insisted that, of all the

52

August 26: About the Music

The Cleveland Orchestra


characteristics of war, in this music he most wanted to capture its “stupidity.” (The movement was completed shortly before the outbreak of World War I, in the midst of much public debate regarding the value of that impending crisis.) The strings, harps, and the timpani start with a brutal ostinato rhythm in 5/4, against which the winds play their menacing themes. II. Venus, the Bringer of Peace (Adagio). This is a lyrical movement with many prominent instrumental solos (horn, violin, oboe, celesta). In trying to describe the music, it is challenging to find more evocative words for this movement than what Imogen Holst wrote: “The calm notes of the solo horn rise through empty space, and the cool flutes sail down to meet them, blending with the glitter of the oboes and bringing the solace of contrary motion after so much parallel surging up and down. As they draw inwards the listener sighs with relief to hear them come to rest for a while in the safe anchorage of their minor triad. When the air stirs it is with the movement of quietly undulating crotchets [quarter notes] that change to and fro over repeated chords on flutes and horns and harps, while a low sustained pedal note stretches out to hold their vibrations.” III. Mercury, the Winged Messenger (Vivace). This is the quick “scherzo” movement of the suite. The constantly changing orchestral colors, the brief motifs, and the many unexpected melodic and harmonic turns make this music a perfect illustration of the ever-changing “mercurial” character. 16th-century engraving depicting a classical Roman statue of Mercury, IV. Jupiter, the Bringer of Jollity (Allegro giothe Winged Messenger, coso). According to Boult, here Holst saw “one of those by Hendrick Goltzius. jolly fat people who enjoy life.” This would appear to contradict Holst’s statement that the movements represent planets, not gods (much less people); however, Jupiter is definitely a bright and benevolent planet according to the astrological tradition, and what Boult said about one of the themes is true of the movement as a whole: “It reflects the good humour of Jupiter, no more, no less.” “Jupiter” is replete with memorable melodies; many of them are given to the brass instruments, in keeping with the majestic character of Jupiter (the largest of the planets, or the Blossom Festival 2017

About the Music: August 26

53


Au = astronomical unit

NEPtuNE

uraNus equatorial diameter: 31,763 miles average distance from sun: 19 .19 Au length of year (once around the sun): 84 .3 earth years

saturN equatorial diameter: 74,898 miles average distance from sun: 9 .54 Au length of year (once around the sun): 29 .5 earth years

JuPItEr equatorial diameter: 88,846 miles average distance from sun: 5 .2 Au length of year (once around the sun): 11 .9 earth years

mars equatorial diameter: 4,217 miles average distance from sun: 1 .52 Au length of year (once around the sun): 687 earth days

Earth equatorial diameter: 7,926 miles average distance from sun: 1 .0 Au astronomical unit length of year (once around the sun): 365 .25 days one earth year

vENus equatorial diameter: 7,520 miles average distance from sun: 0 .72 Au length of year (once around the sun): 225 earth days

mErcury equatorial diameter: 3,031 miles average distance from sun: 0 .39 Au length of year (once around the sun): 88 earth days illustrations are not shown to scale

thE sOlar systEm

(the average distance

equatorial diameter: 30,775 miles of the earth from the sun) average distance from sun: 30 .06 Au length of year (once around the sun): 164 .9 earth years


most powerful of the gods) . In the middle of the movement, we suddenly hear a solemn hymn tune played by the strings (later published, with Holst’s acquiescence if not his wholehearted approval, as a song for chorus in unison with the words “I Vow to Thee, My Country”) . Then the “jollier” Jupiter music returns . V . Saturn, the Bringer of Old Age (Adagio) . This is the darkest movement of the cycle — and Holst’s own favorite . The planet Saturn was thought to be a negative influence . It was frequently associated with demons, and with the sadness and decline of old age . Like “Venus” after “Mars,” “Saturn” after “Jupiter” forms a complete contrast in mood . The immutable parallel chords at the beginning of the movement, played by flutes, bass flute, and harps, seem to express the inevitability of aging; the melody that gradually unfolds in the trombones is nothing if not gloomy and foreboding in character . The melody rises to a full fortissimo [“very loud”] with bells tolling, and then fades away as two solo double basses play it to the accompaniment of muted violins and the harmonics of the harps . The theme last appears in a pentatonic variation (a form playable by using just a piano’s black keys), bathed in the lush sonorities of the harps, flutes, horns and a distant echo of the bells heard earlier . One hears in the score the proximity in style to Maurice Ravel’s Daphnis and Chloé (1912) . VI . Uranus, the Magician (Allegro) brings another drastic mood change . It is another scherzo movement, but unlike the volatile “Mercury,” “uranus” evokes an evolution from the grotesque to the supernatural . The trumpets and trombones intone a stentorian four-note motif (based on a segment of the whole-tone scale); this is developed by the bassoons into a lively movement whose rhythm and instrumentation recall Dukas’s Sorcerer’s Apprentice (1897) . Adrian Boult asserted, however, that Holst “had never heard Dukas’s work, or even seen the score, when he wrote ‘Uranus’.” The music reaches a tremendous climax followed by sudden silence, and then, in Boult’s words: “Harps suggest the four-note figure, another scream from everybody follows, and this chord, reduced to nothing, changes colour several times as a magician might, and the four notes ppp [“triple piano” or “very very softly”] bring us back to silence after six minutes of magical fun.” VII . Neptune, the Mystic (Andante) . As Boult explained, “every instrument is directed to play very softly throughout, and the tone is to be ‘dead,’ except for one moment near the end, when the Blossom Festival 2017

About the Music: August 26

The characters of the planets — and their influences on us — are well circumscribed in astrologi­ cal traditions. Each planet bears a distinct similar­ ity to the Gre­ co­Roman deity whose name it shares, al­ though Holst insisted that his music was inspired by the planets, not the gods.

55


clarinet plays a succession of notes which might almost be called a tune in this otherwise tuneless, expressionless, shapeless succession of cloudy harmonies, suggesting as it does an infinite vision of timeless eternity. We spoke of the end but this is inaccurate, for if it is possible for a piece of music never to finish, this is what happens here. A slow, irregular swing between two distant chords fills nearly every bar of the 3+2 metre, and imperceptibly we become conscious that female voices have joined the orchestra. Soon the instruments gradually melt away, and the voices carry on with the two swaying chords, whose diminuendo is prolonged until we wonder whether we still hear them or only hold them in our memory, swinging backward and forward for all time.”

—Peter Laki © 2017 Copyright © Musical Arts Association

Program Book on your phone . . . Visit www .ExpressProgramBook.com to read bios and commentary from this book on your mobile phone.

56

August 26: About the Music

The Cleveland Orchestra


Blossom festival chorus robert Porco, Director lisa Wong, Assistant Director

The Blossom Festival Chorus was created in 1968 for the inaugural set of concerts opening Blossom with Beethoven’s Symphony No. 9 (“Choral”). Members of this volunteer chorus are selected each spring from the Cleveland Orchestra Chorus and through open auditions of singers from throughout Northeast Ohio. The Blossom Festival Chorus has been featured in over 150 concerts at Blossom in addition to select other summertime performances with The Cleveland Orchestra.

Gustav holst: thE PlaNEts prepared by Robert Porco Claudia Barriga Debbie Bates Florence Brodowski Hannah Cogar* Sasha Desberg* Emily Engle Haley Gabriel Mariana Gomez* Rebecca S . Hall Sarah Henley Sarah Hutchins

Melissa Jolly Lydia Kee* Sarah Malarney* Annamarie Martin* Grace Mino* Julie Myers-Pruchenski Jennifer Heinert O’Leary Melissa B . Patton Lenore M . Pershing Cassandra E . Rondinella Alanna M . Shadrake

Samantha Smith Rachel Thibo Martha Cochran Truby Sharilee Walker Anna E . White Sydney Williams* Leah Wilson Lynne Leutenberg yulish * denotes member of the

Cleveland Orchestra Youth Chorus

alicja Basinska, Accompanist Jill harbaugh, Manager of Choruses

DANCECleveland continues their 20172018 season of worldclass dance from all angles! Koresh Dance Company Oct. 1 Paul Taylor Dance Company Nov. 11 Grupo Corpo (Brazil) Jan. 20 & 21 Che Malambo (Argentina) Mar. 17 PRESENTED BY

Tickets & more info at DANCECleveland.org.

IMAGE: KORESH DANCE COMPANY

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COMING IN OCTOBER Featuring the 2017 Game Changers •Print and Interactive Version •Results-driven Social Media platforms

Live Publishing Company Call Gail Kerzner 216-272-1111 or email gkerzner@livepub.com spiritofphilanthropy.com Chorus: August 27

2017 Blossom Festival


robert Porco

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

Robert Porco became director of choruses for The Cleveland Orchestra in 1998 . In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr . Porco has led many Cleveland Orchestra concerts at both Severance Hall and as part of the summertime Blossom Music Festival . He has also served as director of choruses for the Cincinnati May Festival since 1989 . In 2011, Mr . Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of significant contributions to the professional choral art . The Ohio native served as chairman of the choral department at Indiana university 1980-98, and in recent years has taught doctoral-level conducting there . As teacher and mentor, Mr . Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers . As a sought-after guest instructor and coach, he has taught at Harvard university, Westminster Choir College, and the university of Miami Frost School of Music .

lisa Wong

Assistant Director of Choruses

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season, helping to prepare the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year . With the 2012-13 season, she took on the added position of director of the Cleveland Orchestra youth Chorus . In addition to her duties at Severance Hall, Ms . Wong is an associate professor of music at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting, choral literature, and music education . She previously taught in public and private schools in New york, Pennsylvania, and Indiana . Active as a clinician, guest conductor, and adjudicator, she serves as a music panelist for the National Endowment for the Arts . Recent accolades have included work at Kenyatta university in Nairobi, Kenya, as a part of Tunaweza Kimuziki, and as a conductor for “Conducting 21C: Musical Leadership for a New Century” in Stockholm, Sweden . Ms . Wong holds a bachelor’s degree in music education from West Chester university and master’s and doctoral degrees in choral conducting from Indiana university .

Blossom Festival 2017

August 27: Chorus

59


THE

CLEVELAND 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

$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.

JOHN L. SEVERANCE SOCIETY Daniel R. Lewis (Miami, Cleveland) Jan R. Lewis (Miami, Cleveland) Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Richard K. Smucker $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) 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 The Ralph and Luci Schey Foundation Mr.* and Mrs. Ward Smith 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 2017.

84 60

gifts during the past year, as of June 10, 2017

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

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

INDIVIDUAL GIFTS OF $200,000 TO $499,999

Musicians of The Cleveland Orchestra (in-kind support for community programs and opportunities to secure new funding) Irma and Norman Braman (Miami) Mr. and Mrs. James A. Haslam III Mrs. Norma Lerner and The Lerner Foundation Milton and Tamar Maltz Sue Miller* (Miami) INDIVIDUAL GIFTS OF $100,000 TO $199,999

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. Michael J. Horvitz James D. Ireland IV The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre Mrs. Emma S. Lincoln Elizabeth F. McBride John C. Morley Mr. Patrick Park (Miami) James and Donna Reid Mary M. Spencer (Miami) Mr. and Mrs. Franz Welser-MĂśst

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

Mr. William P. Blair III Mr. and Mrs. Alexander M. Cutler David and Francie Horvitz Family Foundation (Miami) Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern Ms. Nancy W. McCann Ms. Beth E. Mooney The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Barbara S. Robinson (Cleveland, Miami) Janet* and Richard Yulman (Miami) Anonymous

Blossom Friends of The Cleveland Orchestra The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown T. K. and Faye A. Heston Mr. and Mrs. Donald M. Jack, Jr. Giuliana C. and John D. Koch Dr.* and Mrs. Jerome Kowal Jan R. Lewis (Miami) Toby Devan Lewis Virginia M. and Jon A. Lindseth Margaret Fulton-Mueller Roseanne and Gary Oatey (Cleveland, Miami) Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner The Ralph and Luci Schey Foundation Sally and Larry Sears Hewitt and Paula Shaw Mrs. Jean H. Taber Barbara and David Wolfort (Cleveland, Miami) Friends of The Cleveland Orchestra (formerly the Women’s Committee of The Cleveland Orchestra)

Elisabeth DeWitt Severance Society gifts of $25,000 and more INDIVIDUAL GIFTS OF $30,000 TO $49,999

Dr. and Mrs. Wolfgang Berndt (Europe) Mr. Yuval Brisker Mary Alice Cannon Mr. and Mrs. David J. Carpenter Robert and Jean* Conrad George* and Becky Dunn Mr. and Mrs. Geoffrey Gund Mrs. John A. Hadden, Jr. Mr. and Mrs. Jeffrey Healy Milton A. and Charlotte R. Kramer Charitable Foundation Julia and Larry Pollock Larry J. Santon and Lorraine S. Szabo Rachel R. Schneider Richard and Nancy Sneed Jim and Myrna Spira R. Thomas and Meg Harris Stanton Ms. Ginger Warner (Cleveland, Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Paul and Suzanne Westlake listings continue

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Individual Annual Support

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

Mr. and Mrs. William W. Baker Marsha and Brian Bilzin (Miami) Mr. and Mrs. Charles P. Bolton In dedication to Donald Carlin (Miami) Judith and George W. Diehl JoAnn and Robert Glick Mary and Jon Heider (Cleveland, Miami) Mr. Loren W. Hershey Mrs. Marguerite B. Humphrey 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. O’Neill Mr. and Mrs. James A. Ratner Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Anonymous (3)

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 Laurel Blossom Irad and Rebecca Carmi Jill and Paul Clark Mr. and Mrs. Matthew V. Crawford Mary Jo Eaton (Miami) Mr. Mike S. Eidson, Esq. and Dr. Margaret Eidson (Miami) Jeffrey and Susan Feldman (Miami) Hector D. Fortun (Miami) David and Nancy Hooker Cherie and Michael Joblove (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 William I.* and Marjorie B. Shorrock Rick, Margarita, and Steven Tonkinson (Miami) Tom and Shirley Waltermire Anonymous INDIVIDUAL GIFTS OF $15,000 TO $19,999

William Appert and Christopher Wallace (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Dr. Ben H. and Julia Brouhard Mr. and Mrs. William E. Conway Mrs. Barbara Cook Dr. and Mrs. Robert Ehrlich (Europe) Mr. Allen H. Ford Ms. Dawn M. Full

LEADERSHIP COMMITTEE Barbara Robinson, chair Robert N. Gudbranson, vice chair Ronald H. Bell James T. Dakin Karen E. Dakin Henry C. Doll Judy Ernest Nicki N. Gudbranson Jack Harley

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

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

Mr. and Mrs. Robert W. Gillespie Richard and Ann Gridley Robert K. Gudbranson and Joon-Li Kim Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest Richard and Erica Horvitz (Cleveland, Miami) 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 Dr. Anne and Mr. Peter Neff Drs. Michael and Judith Samuels (Miami) Mrs. David Seidenfeld Mr. and Mrs. Oliver E. Seikel Howard Stark M.D. and Rene Rodriguez (Miami) Joe and Marlene Toot Mr. and Mrs. Alfred Umdasch (Europe) Mr. and Mrs. Daniel P. Walsh Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Jeffrey J. Weaver Meredith and Michael Weil 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

Mr. and Mrs. Dean Barry Mrs. Barbara Ann Davis Mr. Brian L. Ewart and Mr. William McHenry Eeva and Harri Kulovaara (Miami) James and Virginia Meil Joseph and Gail Serota (Miami) Seven Five Fund Gary L. Wasserman and Charles A. Kashner (Miami) Margaret and Eric* Wayne Sandy and Ted Wiese Tony and Diane Wynshaw-Boris listings continue

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Individual Annual Support

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listings continued INDIVIDUAL GIFTS OF $10,000 TO $12,499

Sheldon and Florence Anderson (Miami) Mr. and Mrs. George N. Aronoff Jayusia and Alan Bernstein (Miami) Mr. and Mrs. Richard L. Bowen Mr. D. McGregor Brandt, Jr. Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler Ms. Lucy Chamberlain Richard J. and Joanne Clark Karen and Jim Dakin Do Unto Others Trust (Miami) Dr. M. Meredith Dobyns Henry and Mary* Doll Nancy and Richard Dotson Mr. and Mrs. Robert P. Duvin Dr. and Mrs. Lloyd H. Ellis Jr. Carl Falb Isaac K. Fisher (Miami) Kira and Neil Flanzraich (Miami) Bob and Linnet Fritz Albert I. and Norma C. Geller Dr. Edward S. Godleski Linda and Lawrence D. Goodman (Miami)

Patti Gordon (Miami) Mary Jane Hartwell* Thomas H. and Virginia J.* Horner Fund Joan and Leonard Horvitz Ruth and Pedro Jimenez (Miami) Andrew and Katherine Kartalis Alan Kluger and Amy Dean (Miami) Mrs. Elizabeth R. Koch Stewart and Donna Kohl Shirley and William Lehman (Miami) Dr. David and Janice Leshner Elsie and Byron Lutman Mr. and Mrs. Alex Machaskee Mr.* and Mrs. Arch J. McCartney Joy P. and Thomas G. Murdough, Jr. (Miami) Brian and Cindy Murphy Mr. Raymond M. Murphy Mrs. Milly Nyman (Miami) Mr.* and Mrs. William M. Osborne, Jr. Mr. J. William and Dr. Suzanne Palmer Douglas and Noreen Powers AndrĂŠs Rivero (Miami) Audra* and George Rose

Paul A. and Anastacia L. Rose Mr. Peter Rose Steven and Ellen Ross Mr. and Mrs. David A. Ruckman Michael and Chandra Rudd (Miami) Dr. Isobel Rutherford Dr. and Mrs.* Martin I. Saltzman Raymond T. and Katherine S. Sawyer David M. and Betty Schneider Carol* and Albert Schupp David* and Harriet Simon Mrs. Gretchen D. Smith Dr. Marvin and Mimi Sobel* The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Bruce and Virginia Taylor Dr. Russell A. Trusso Pysht Fund Robert C. Weppler Sandy Wile and Susan Namen Anonymous (4)

Mr. and Mrs. Brinton L. Hyde Pamela and Scott Isquick Joela Jones and Richard Weiss James and Gay* Kitson Tim and Linda Koelz Mr. James Krohngold David C. Lamb Kenneth M. Lapine and Rose E. Mills Dr. Edith Lerner Judith and Morton Q. Levin Claudia Metz and Thomas Woodworth Mr. Donald W. Morrison Mr. John Mueller Georgia and Carlos Noble (Miami) Pannonius Foundation Nan and Bob Pfeifer

Dr. and Mrs. Michael Rosenberg (Miami) Dr. and Mrs. Ronald J. Ross Rosskamm Family Trust Mrs. Florence Brewster Rutter Patricia J. Sawvel Dr. and Mrs. James L. Sechler Drs. Daniel and Ximena Sessler Dr. Elizabeth Swenson Dr. Gregory Videtic and Rev. Christopher McCann Dr. and Mr. Ann Williams Anonymous (2)

Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Dr.* and Mrs. Jerald S. Brodkey Dr. Thomas Brugger and Dr. Sandra Russ Frank and Leslie Buck Mr. and Mrs. William C. Butler Augustine* and Grace Caliguire Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang 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. and Mrs. Ralph Daugstrup Pete and Margaret Dobbins

Carl Dodge Mr. and Mrs. Paul Doman Mary and Oliver* Emerson Dr. D. Roy and Diane A. Ferguson William R. and Karen W. Feth Joseph Z. and Betty Fleming (Miami) Joan Alice Ford Michael Frank and Patricia A. Snyder Barbara and Peter Galvin Joy E. Garapic Dr. and Mrs. Adi Gazdar Joyce and Ab* Glickman Brenda and David Goldberg Mr. David J. Golden* Mr. Albert C. Goldsmith

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

Robert and Alyssa Lenhoff-Briggs Ellen E. and Victor J. Cohn Marjorie Dickard Comella Mrs. Lois Joan Davis Mr. and Mrs. Thomas S. Davis Harry and Joyce Graham Mr. Paul Greig AndrĂŠ and Ginette Gremillet Iris and Tom Harvie Henry R. Hatch Robin Hitchcock Hatch Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Amy and Stephen Hoffman Elisabeth Hugh David and Dianne Hunt INDIVIDUAL GIFTS OF $5,000 TO $7,499

Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App Robert and Dalia Baker Montserrat Balseiro (Miami) Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Daniel and Trish Bell (Miami) Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Mr. William Berger Dr. and Mrs. Erol Beytas Mr. David Bialosky and Ms. Carolyn Christian Jaime A. Bianchi and Paige A. Harper (Miami)

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Individual Annual Support

listings continue

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listings continued INDIVIDUAL GIFTS OF $5,000 TO $7,499 CONTINUED

Mr. and Mrs. Randall J. Gordon Angela and Jeffrey Gotthardt The Thomas J. and Judith Fay Gruber Charitable Foundation Robert N. and Nicki N. Gudbranson David and Robin Gunning Alfredo and Luz Gutierrez (Miami) Gary Hanson and Barbara Klante Mr. Robert D. Hart Clark Harvey and Holly Selvaggi Janet D. Heil* Anita and William Heller+ Patrick* and Jean Holden Thomas and Mary Holmes Donna L. and Robert H. Jackson Carol S. and William G. E. Jacobs Mr. and Mrs. Richard A. Janus David and Gloria Kahan Milton and Donna* Katz Dr. Richard and Roberta Katzman Dr. and Mrs. Richard S. Kaufman Mr. and Mrs. Michael T. Kestner Dr. and Mrs. William S. Kiser Mrs. Natalie D. Kittredge Rob and Laura Kochis Mr. and Mrs.* S. Lee Kohrman Mr. Clayton R. Koppes Jacqueline and Irwin* Kott (Miami) Mr. and Mrs. Peter A. Kuhn Dr. and Mrs.* Stephen A. Kushnick Mr. and Mrs. Arthur J. Lafave, Jr. 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. Stephen B. and Mrs. Lillian S. Levine Dr. Alan and Mrs. Joni Lichtin

Ms. Grace Lim Mr. Rudolf and Mrs. Eva Linnebach Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl 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 Dr. Susan M. Merzweiler Ms. Betteann Meyerson Lynn and Mike Miller Mr. Robert Miller Drs. Terry E. and Sara S. Miller Mr. and Mrs. William A. Mitchell Curt and Sara Moll Dr. R. Morgan and Dr. S. Weirich (Miami) Richard and Kathleen Nord Mr. Thury O’Connor Mr. and Mrs. Peter R. Osenar Mr. Henry Ott-Hansen Jay Pelham (Miami) Mr. Robert S. Perry Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Dr. and Mrs. John N. Posch Ms. Rosella Puskas Mr.* and Mrs. Thomas A. Quintrell Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Mr. and Mrs. Robert J. Reid Amy and Ken Rogat Carol Rolf and Steven Adler Robert and Margo Roth Dr. and Mrs. Robert C. Ruhl Linda B. Schneider Ms. Adrian L. Scott Lee and Jane Seidman

Mr. Eric Sellen and Mr. Ron Seidman Ms. Marlene Sharak Naomi G. and Edwin Z. Singer Drs. Charles Kent Smith and Patricia Moore Smith David Kane Smith Roy 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 Mr. Joseph Stroud Robert and Carol Taller Kathy* and Sidney Taurel (Miami) Mr. Joseph F. Tetlak Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Miss Kathleen Turner* Robert and Marti Vagi Robert A. Valente and Joan A. Morgensten Teresa Galang-Viñas and Joaquin Viñas (Miami) Walt and Karen Walburn Mr. and Mrs. Mark Allen Weigand Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Richard Wiedemer, Jr. Nancy V. and Robert L. Wilcox Bob and Kat Wollyung Katie and Donald Woodcock Mrs. Henrietta de Zabner (Miami) Anonymous (2)

Dr. Fred A. Heupler Mr. Robert T. Hexter David Hollander (Miami) Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. and Mrs. Scott R. Inkley Mrs. Carol Lee and Mr. James Iott Robert and Linda Jenkins Richard and Michelle Jeschelnig Barbara and Michael J. Kaplan Dr. Gilles* and Mrs. Malvina Klopman Mr. Donald N. Krosin Charles and Josephine Robson Leamy * Ronald and Barbara Leirvik Mrs. Idarose S. Luntz Ms. Linda Macklin David Mann and Bernadette Pudis Herbert L. and Ronda Marcus Martin and Lois Marcus Ms. Nancy L. Meacham Bert and Marjorie Moyar Susan B. Murphy Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Mr. John D. Papp Dr. Lewis E. and Janice B. Patterson Dr. and Mrs. Gosta Pettersson

Maribel A. Piza (Miami) Dr. Marc A. and Mrs. Carol Pohl Henry Peyrebrune and Tracy Rowell Ms. C. A. Reagan Mrs. Charles Ritchie Peter and Aliki Rzepka Fr. Robert J. Sanson Mr. Paul H. Scarbrough Ginger and Larry Shane Harry and Ilene Shapiro Mr. Richard Shirey Mr. Robert Sieck Howard and Beth Simon Mr. Taras G. Szmagala, Jr. Mr. Karl and Mrs. Carol Theil Drs. Anna* and Gilbert True Steve and Christa Turnbull Mr. and Mrs. Les C. Vinney Mr. and Mrs. Norman L. Wernet Richard and Mary Lynn Wills Rad and Patty Yates Max and Beverly Zupon Anonymous (2)

INDIVIDUAL GIFTS OF $3,500 TO $4,999

Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. and Mrs. Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum Agnes Armstrong Howard R. and Barbara Kaye Besser Lisa and Ronald Boyko Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert Mr. and Mrs. Frank H. Carpenter Drs. Mark Cohen and Miriam Vishny Erich Eichhorn and Ursel Dougherty Peter and Kathryn Eloff Mr. William and Dr. Elizabeth Fesler Richard J. Frey Peggy A. Fullmer Loren and Michael Garruto Dr. and Mrs. Edward C. Gelber (Miami) Dr. and Mrs. Ronald L. Gould Mr. and Mrs. Stephen Griebling Nancy and James Grunzweig Mr. Davin and Mrs. Jo Ann Gustafson Lilli and Seth Harris In Memory of Hazel Helgesen Mr. and Mrs. Jerry Herschman

The 90 Cleveland Orchestra

Individual Support Individual AnnualAnnual Support

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listings continued INDIVIDUAL GIFTS OF $2,500 TO $3,499 Mr. and Mrs.* Norman Adler Mr. and Mrs. James B. Aronoff Art of Beauty Company, Inc. Mark and Maria Bagnall (Miami) Ms. Delphine Barrett Mr. and Mrs. Eugene J. Beer Mr. and Mrs. Belkin Mr. Roger G. Berk Barbara and Sheldon Berns Margo and Tom Bertin John and Laura Bertsch Ms. Deborah A. Blades Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Mr. and Mrs. Richard H. Bole Irving and Joan M. Bolotin (Miami) Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mrs. Frances Buchholzer J. C. Burkhardt Rev. Joan Campbell Mrs. Millie L. Carlson Leigh Carter Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm Michael and Lorena Clark (Miami) Dr. William and Dottie Clark Drs. John and Mary Clough Kenneth S. and Deborah G. Cohen Mr. and Mrs. Stanley Cohen (Miami) Mr.* and Mrs. Gerald A. Conway Mr. and Mrs. Mark Corrado Douglas S. Cramer / Hubert S. Bush III (Miami) John and Lianne Cunningham (Miami) Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller The Dascal Family (Miami) Mr. Kamal-Neil Dass and Mrs. Teresa Larsen Dr. Eleanor Davidson Jeffrey and Eileen Davis Carol Dennison and Jacques Girouard Michael and Amy Diamant 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. Harry and Ann Farmer Scott A. Foerster Mr. Paul C. Forsgren Mr. and Ms. Dale Freygang 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 Ms. Anna Z. Greenfield Drs. Erik and Ellen Gregorie Dr. and Mrs. Franklin W. Griff Mr. and Mrs. John E. Guinness Dr. Lawrence Haims* and Dr. Barbara Brothers Dr. Phillip M. and Mrs. Mary Hall Douglas M. and Amy Halsey (Miami) Mr. and Mrs. David P. Handke, Jr. Christian and Holly Hansen (Miami) Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes Dr. and Mrs. Robert L. Hinnes Dr. Randal N. Huff and Ms. Paulette Beech Ms. Laura Hunsicker

92 66

Gretchen Hyland and Edward Stephens Jr. Ruth F. Ihde Mr. Norman E. Jackson Pamela Jacobson Mr. and Mrs. Bruce D. Jarosz Dr. Michael and Mrs. Deborah Joyce Rudolf D. and Joan T. Kamper Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt Angela Kelsey and Michael Zealy (Miami) The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Mr. James Kish Fred* and Judith Klotzman Cynthia Knight (Miami) Marion Konstantynovich Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Vicki Kennedy Alfred and Carol Lambo Dr. Michael E. Lamm Mr. and Mrs. John J. Lane, Jr. Mr. and Mrs. Robert Lasser Michael Lederman Michael and Lois Lemr Robert G. Levy Drs. Todd and Susan Locke Ms. Mary Beth Loud Joel and Mary Ann Makee 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 Ms. Charlotte V. McCoy William C. McCoy Mr. and Mrs. Christopher J. McKenna Mr. and Mrs. James E. Menger Stephen and Barbara Messner Loretta J. Mester and George J. Mailath Mr. and Mrs. Trent Meyerhoefer Jim and Laura Moll Mr. and Mrs. Thomas W. Morris Mr. Ronald Morrow III Randy and Christine Myeroff Steven and Kimberly Myers Ms. Megan Nakashima Deborah L. Neale Marshall I. Nurenberg and Joanne Klein Richard and Jolene O’Callaghan Mr. and Mrs. John Olejko Dr. and Mrs. Paul T. Omelsky James P. Ostryniec (Miami) Mr. Robert Paddock Dr. Dean and Mrs. Kathy Pahr George Parras David Pavlich and Cherie Arnold Matt and Shari Peart Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dale and Susan Phillip Mr. Carl Podwoski Brad Pohlman and Julie Callsen Mr. Robert and Mrs. Susan Price Ms. Sylvia Profenna Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. James and Lynne Rambasek Dr. Robert W. Reynolds David and Gloria Richards Mr. D. Keith and Mrs. Margaret Robinson James and LaTeshia Robinson (Miami) Mr. Timothy D. Robson Ms. Linda M. Rocchi Dr. Robert and Mrs. Lauryn Ronis

Individual Annual Support

Dick A. and Debbie Rose Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo Dr. Harry S. and Rita K. Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton Ms. Patricia E. Say Don Schmitt and Jim Harmon Mr. James Schutte Mr. and Mrs. Alexander C. Scovil Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Charles Seitz (Miami) Mr. and Mrs. Thomas W. Seitz Mr. Kenneth and Mrs. Jill Shafer Ms. Frances L. Sharp Larry Oscar and Jeanne Shatten Dr. and Mrs. William C. Sheldon Terrence and Judith Sheridan Mr. and Mrs. Reginald Shiverick Michael Dylan Short Laura and Alvin A. Siegal The Shari Bierman Singer Family Robert and Barbara Slanina Sandra and Richey Smith Ms. Barbara Snyder Jorge Solano (Miami) Lucy and Dan Sondles Michalis and Alejandra Stavrinides (Miami) Frederick and Elizabeth Stueber Dr. and Mrs. Thomas A. Timko Erik Trimble Mrs. H. Lansing Vail, Jr. Mrs. Stasia M. Vavruska Brenton Ver Ploeg (Miami) Suzanne and Carlos Viana (Miami) Dr. Michael Vogelbaum and Mrs. Judith Rosman Barbara and George von Mehren Mr. and Mrs. Reid Wagstaff Alice & Leslie T. Webster, Jr. Mr. Peter and Mrs. Laurie Weinberger Michael and Danielle Weiner Mr. and Mrs. John W. Wilhelm Dr. Paul R. and Catherine Williams Elizabeth B. Wright Ken and Paula Zeisler Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (10)

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

* deceased 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 Orchestra’s Annual Report, which can be viewed online at clevelandorchestra .com

The Cleveland Blossom MusicOrchestra Festival


Intro copy on this inside pane mentioning the musician and d

This long-running series of meet-the-artist luncheons showcases the individual stories and artistry of musicians involved with The Cleveland Orchestra’s annual Blossom Music Festival. Each event features a lively discussion session with a musician or small ensemble, and usually includes a musical performance. Lunch is included, reservations are required. Presented at Knight Grove at Blossom Music Center.

July 11 Tuesday at 12 noon Bryan Dumm — cello with pianist Elizabeth DeMio

2O17

Gourmet Matinees

A Series of Casual Gourmet Picnic Meet-the-Musician Luncheons The 2017 series is sponsored by Faye and Teke Heston

This summer’s luncheon series begins with a program featuring Cleveland Orchestra cellist Bryan Dumm . A member of the Orchestra since 1986, his career has also included solo work and chamber music as well as teaching and educational engagement .

August 1 Tuesday at 12 noon Tanya Ell — cello Robert Woolfrey — clarinet with pianist Carolyn Gadiel Warner

The series continues with cellist Tanya Ell and clarinetist Robert Woolfrey, a couple who met as members of The Cleveland Orchestra and married in 2012 .

August 24 Thursday at 12 noon Loras John Schissel — conductor interviewed by trombonist Thomas Klaber

The 2017 Gourmet Matinees end with a program featuring conductor Loras John Schissel, who has directed the Blossom Festival Band since 1998 . An inveterate storyteller, Loras’s day job is as senior musicologist at the Library of Congress in Washington D .C . $50 per program.

For more information or to make reservations, please call Pat Volpe at 330-995-4975 or visit clevelandorchestra .com/GourmetMatinee . presented by

Blossom Friends of The Cleveland Orchestra

Blossom Festival 2017

2017 gourmet Matinee Luncheons

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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

JOHN L. SEVERANCE SOCIETY $5 MILLION and more

KeyBank PNC Bank The J. M. Smucker Company $1 MILLION to $5 MILLION

BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City Realty Trust The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual Parker Hannifin Foundation PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of July 2017.

Annual Support

gifts of $2,500 or more during the past year, as of June 10, 2017

The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to musical excellence at the highest level. PARTNERS IN EXCELLENCE $300,000 and more

Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank 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 Realty Trust Medical Mutual Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP White & Case (Miami) $50,000 to $99,999

Dollar Bank Foundation Litigation Management, Inc. Parker Hannifin Foundation Quality Electrodynamics (QED) Anonymous $25,000 to $49,999 Buyers Products Company Ernst & Young LLP The Lubrizol Corporation Olympic Steel, Inc. RPM International Inc.

The 68 Cleveland Orchestra

Corporate AnnualAnnual Support Corporate Support

$2,500 to $24,999 Akron Tool & Die Company American Fireworks, Inc. BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co., LLC Calfee, Halter & Griswold LLP The Cedarwood Companies Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Counselling Services Consolidated Solutions Cozen O’Connor (Miami) DLR Group | Westlake Reed Leskosky Dominion Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Ferro Corporation Frantz Ward LLP Arthur J. Gallagher & Co. The Giant Eagle Foundation Great Lakes Brewing Company Adam Foslid/Greenberg Traurig (Miami) Gross Builders Hahn Loeser & Parks LLP Huntington National Bank The Lincoln Electric Foundation 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 PolyOne Corporation RSM US, LLP The Sherwin-Williams Company Southern Wine and Spirits (Miami) Stern Advertising Agency Struktol Company of America Swagelok Company Tucker Ellis United Automobile Insurance Company (Miami) University Hospitals Ver Ploeg & Lumpkin (Miami) Margaret W. Wong & Associates LLC Anonymous (2)

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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

JOHN L. SEVERANCE SOCIETY $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 $5 MILLION to $10 MILLION

The George Gund Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon Foundation John P. Murphy Foundation $1 MILLION to $5 MILLION

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 Sisler McFawn Foundation The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative support. Listing as of June 2017.

The Cleveland Orchestra Blossom Festival 2017

Annual Support

gifts of $2,500 or more during the past year, as of June 10, 2017

$1 MILLION and more

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture $500,000 to $999,999

The George Gund Foundation The Andrew W. Mellon Foundation Ohio Arts Council $250,000 to $499,999

Knight Foundation (Miami) Kulas Foundation John P. Murphy Foundation $100,000 to $249,999

Paul M. Angell Family Foundation GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation $50,000 to $99,999

The George W. Codrington Charitable Foundation 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 Frederick and Julia Nonneman Foundation The Nord Family Foundation The Payne Fund The Sage Cleveland Foundation

$20,000 to $49,999 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 Char and Chuck Fowler Family Foundation The Helen Wade Greene Charitable Trust National Endowment for the Arts The Reinberger Foundation Sandor Foundation The Sisler McFawn Foundation George Stevens Fund of Akron Community 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 Cleveland State University Foundation The Conway Family Foundation The Cowles Charitable Trust (Miami) Elisha-Bolton Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation The G. R. Lincoln Family Foundation The Jack, Joseph and Morton Mandel Foundation The Margaret Clark Morgan Foundation The M. G. O’Neil Foundation Paintstone Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Harold C. Schott Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The O’Neill Brothers Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wuliger Foundation Anonymous (2)

Foundation and Government government Annual Support

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A L L E

C I S MU G N I T A R CELEB

D L A R E G Z T I F en of Jazz

e u Q e Th

.8 27.2017 7:00 PM

estra h c r O d evelan gerald. l C e h T onsor la Fitz l p E s f o o t y d is jazze 100th birthda l a u t u he lM Medica elebration of t ir c and the

USI


A

2O17

BLOSSOM MUSIC FESTIVAL

Sunday evening, August 27, 2017, at 7:00 p.m.

t h e cl e v e l a Nd orc h est r a r a N Da l l c r a I G f l EI s c h E r , conductor

Te A Tribute To A Tri b u

To

d l a r e g z t i F a l l e featuring caPathIa JENkINs, vocalist harOlyN BlackWEll, vocalist aIsha DE haas, vocalist

D

act One “strike up the Band” from Strike Up the Band lyrics by ira Gershwin, music by George Gershwin ms. jenkins, ms. blackwell, and ms. de haas

“By strauss” lyrics by ira Gershwin, music by George Gershwin ms. blackwell

“Bewitched, Bothered, and Bewildered” from Pal Joey lyrics by Lorenz Hart, music by richard rodgers ms. jenkins

“Blue skies” music and lyrics by irving Berlin ms. de haas

“the lady Is a tramp” from Babes in Arms lyrics by Lorenz Hart, music by richard rodgers ms. jenkins and ms. de haas

“take the ‘a’ train” by Billy strayhorn orchestra

“the man I love” from Lady, Be Good lyrics by ira Gershwin, music by George Gershwin ms. jenkins

IC

Blossom Festival 2017

“’s Wonderful” from Funny Face lyrics by ira Gershwin, music by George Gershwin ms. blackwell

PROGRAM LISTING CONTINuES

Concert Program: August 27

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CONTINuED FROM PREVIOuS PAGE

“But Not for me” from Girl Crazy lyrics by ira Gershwin, music by George Gershwin ms. de haas

“It Don’t mean a thing” music by Duke ellington, lyrics by irving mills ms. jenkins, ms. blackwell, and ms. de haas

inter mission

act tWO “Don’t Get around much anymore” music by Duke ellington, lyrics by Bob russell ms. de haas

“a-tisket, a-tasket” by ella Fitzgerald and Van Alexander ms. jenkins

“a foggy Day (in london town)” lyrics by ira Gershwin, music by George Gershwin ms. de haas

“Over the rainbow” from The Wizard of Oz lyrics by Yip Harburg, music by Harold Arlen ms. blackwell

“something’s Gotta Give” music and lyrics by Johnny mercer ms. jenkins

“(If you can’t sing It) you’ll have to swing It, mr. Paganini” by ella Fitzgerald ms. de haas

“sing, sing, sing (With a swing)” by Louis Prima orchestra

“summertime” from Porgy and Bess lyrics by ira Gershwin, music by George Gershwin ms. blackwell

“Blues in the Night” music by Harold Arlen, lyrics by Johnny mercer ms. jenkins

“how high the moon” lyrics by nancy Hamilton, music by morgan Lewis ms. de haas

“fascinating rhythm” — “I Got rhythm” lyrics by ira Gershwin, music by George Gershwin ms. jenkins, ms. blackwell, and ms. de haas

This concert is sponsored by Medical Mutual, a Cleveland Orchestra Partner in Excellence. This concert is supported by the David E. and Jane J. Griffiths Blossom Music Festival Family Concerts Fund, created through a generous endowment gift to The Cleveland Orchestra. Th e 2017 B lossom M usic Festival is prese nte d by The J . M . S m ucker Com pa ny

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Concert Program: August 27

The Cleveland Orchestra


INtrODucING thE cONcErt

music, Song, ella!

T H I S E V E n I n G ’ S C O n C E R T is presented in celebration of Ella Fitzgerald’s 100th birthday, noted worldwide this past April . Hers was a unique life, showcasing a stupendous talent for musical style . From a difficult childhood, she strode across history’s stage with incomparable class, winning admiration from millions and millions of fans through her uncompromising craft, her honesty in song, her caring and sharing of musical gifts that continued to blossom and bloom throughout her life . She sang widely, from early jazz standards through an unprecedented sequence of albums devoted to some of America’s best songwriters and writing teams of the 20th century — Cole Porter, Rodgers & Hart, Duke Ellington, George and Ira Gershwin, Harold Arlen, Irving Berlin, Jerome Kern, Johnny Mercer . Her voice was unique, her renditions became legendary . Her artistry encompassed a thousand emotions, from turmoil and sadness to joy and ennui . Her abilities knew few limits . She sang in bands, with orchestras, for royalty and politicians, for real people and their friends . Tonight, we welcome Ella’s memory to our ears, not in imitation but with reverence and humility, with joy in our hearts and a legend’s voice in our minds . And, while she sang many songs of many others, she also penned a few herself — which became among her most memorable hits . Ella sold her first million records by the age of 21 . Her recordings soared on charts dozens of times, winning A Ce n tennia l Ce 14 Grammy Awards . She sang with many of the 20th cen1 9 1 7 ‑lebration 2o17 tury’s greatest musicians . She performed at Carnegie Hall 26 times . She was awarded the united States National Medal of Arts in 1987, and the Presidential Medal of Freedom in 1992 . She was named Ella Jane Fitzgerald . She became Ella, the First Lady of Song, the Queen of Jazz . Tonight we celebrate her life, her art, and the many gifts she left us — in sound and memory, in hard reality and legendary optimism . —Eric Sellen

With this evening’s concert, The Cleveland Orchestra welcomes trustees of the Akron Community Foundation and thanks them for their longtime support.

Blossom Festival 2017

Introducing the Concert: August 27

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capathia Jenkins

harolyn Blackwell

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

American soprano Harolyn Blackwell has enjoyed a wide and varied career on opera, concert, and recital stages across the world . Following study at Catholic university of America in her native Washington D .C ., Ms . Blackwell’s performing career began on the Broadway stage in Leonard Bernstein’s West Side Story . The transition from musical theater to opera occurred shortly afterwards, when she was selected as a finalist for the Metropolitan Opera National Council Auditions . Since that time, she has performed with many of the major national and international opera companies and at festivals around the world, including New york’s Metropolitan Opera, Lyric Opera of Chicago, Glyndebourne Festival, San Francisco Opera, Netherlands Opera, Seattle Opera, Opéra de Nice, and the Opera Orchestra of New york, as well as appearing in concert with major symphony orchestras across North America and in Europe . She continues to sing a range of music, including jazz and pop standards . She made her Cleveland Orchestra debut at Blossom in 1985, singing in a new production Mozart’s The Magic Flute staged by Christoph von Dohnányi .

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guest Artists: August 27

The Cleveland Orchestra


aisha de haas

randall craig fleischer

Aisha de Haas is a versatile Broadway and jazz artist . Most recently, she is appearing on Off-Broadway in Curvy Widow. She toured North America as Medda Larkin in the National Tour of Newsies and is featured in the “live-capture” movie released this year . Graduating from Columbia College Chicago, where she was mentored by Sheldon Patinkin, Ms . de Haas’s professional career began with Little Shop of Horrors at the Royal George Theater and Four Saints in Three Acts with Chicago Opera Theater, as well as at Goodman Theater . Back in New york, she was cast in her first Broadway show, Bring in Da Noise, Bring in Da Funk with Savion Glover . This was immediately followed by the Tony Awardwinning productions of Rent and Caroline, Or Change . Off-Broadway, Ms . de Haas was seen in Nora Ephron’s Love, Loss and What I Wore and Stephen Sondheim’s Road Show . Her television appearances have included Blue Bloods and Law & Order . Her movie roles include Across the Universe, Rent, and The Secret Lives of Dentists . Ms . de Haas’s voice has been heard in commercial jingles for Chef Boyardee, McDonald’s, and Cover Girl . For more information, visit www.aishadehaas.com .

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

Blossom Festival 2017

August 27: guest Artists

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


Ella fItzGEralD born April 25, 1917

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

Dubbed “The First Lady of Song,” Ella Fitzgerald was the most popular female jazz singer in the united States for more than half a century . In her lifetime, she won 14 Grammy awards and sold over forty million albums . Her voice was flexible, wide-ranging, accurate and ageless . She could sing sultry ballads, sweet jazz and imitate every instrument in an orchestra . She worked with all the jazz greats, from Duke Ellington, Count Basie and Nat King Cole, to Frank Sinatra, Dizzy Gillespie and Benny Goodman . (Or rather, some might say all the jazz greats had the pleasure of working with Ella .) She performed at top venues all over the world, and packed them to the hilt . Her audiences were as diverse as her vocal range . They were rich and poor, made up of all races, all religions and all nationalities . In fact, many of them had just one binding factor in common — they all loved her . Read more at www.ellafitzgerald.com .

2o17 BLOSSOM music festival

IN THANkS

The Cleveland Orchestra gratefully acknowledges the generous organizations listed here whose support is recognized in connection with this summer’s Blossom Music Festival:

The J.M. Smucker Company — 2017 Blossom Music Festival Presenting Sponsor Akron Community Foundation BakerHostetler The William Bingham Foundation Blossom Friends of The Cleveland Orchestra The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust Eaton Forest City Realty Trust GAR Foundation The Goodyear Tire & Rubber Company Ann and Gordon Getty Foundation Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc.

KeyBank Victor C. Laughlin, M.D. Memorial Foundation Trust The Lehner Family Foundation Medical Mutual The Margaret Clark Morgan Foundation The M. G. O’Neil Foundation PNC Bank Charles E. & Mabel M. Ritchie Memorial Foundation The Sisler McFawn Foundation Lloyd L. and Louise K. Smith Memorial Foundation The Welty Family Foundation

2017 Blossom Media Partner: cleveland.com

Blossom Festival 2017

August 27: Ella Fitzgerald

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sound for the centennial C A M PA I G N FO r T h E C L E V E L A N d O r C h E ST r A t he

The individuals and organizations listed here have, over the past decade, made generous commitments of annual support, endowment gifts, and legacy declarations to The Cleveland Orchestra’s Sound for the Centennial Campaign. Their leadership role in helping ensure the Orchestra’s financial strength for future generations is fueling ongoing work to build The Cleveland Orchestra’s Endowment through cash donations and legacy commitments, while continuing to secure broad-based and increasing annual support from across Northeast Ohio. We gratefully recognize and celebrate the extraordinary generosity of these donors in supporting The Cleveland Orchestra’s ongoing artistic achievement, community service, and future success.

CLEVELAND ORCHE STRA

Listing as of May 2017 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 The J . M . Smucker Company 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 Elizabeth Ring Mather and William Gwinn Mather Fund Medical Mutual The Andrew W . Mellon Foundation

78

Susan Morgan Martin, Patricia Morgan Kulp, and Ann Jones Morgan 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 Joe and Marlene Toot Robert C . Weppler Anonymous (4)

Sound for the Centennial Campaign

The Cleveland Orchestra


gifts of $500,000 to $1 million

Gay Cull Addicott American Greetings Corporation Jack and Darby Ashelman 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 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 (3)

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 Dollar Bank Foundation 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 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 Mr . Donald W . Morrison Margaret Fulton-Mueller

National Endowment for the Arts Roseanne and Gary Oatey William J . and Katherine T . O’Neill Quality Electrodynamics (QED) Mr . and Mrs . James A . Saks Hewitt and Paula Shaw The Skirball Foundation Roy Smith Richard and Nancy Sneed R . Thomas and Meg Harris Stanton Mr . and Mrs . Jules Vinney* David A . and Barbara Wolfort Friends of The Cleveland Orchestra (formerly Women’s Committee of The Cleveland Orchestra)

Mr . and Mrs . Donald M . Jack, Jr . Elizabeth B . Juliano Bernie and Nancy Karr Mr . and Mrs .* S . Lee Kohrman Mr . James Krohngold 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 Helen Rankin Butler and Clara Rankin Williams The Reinberger Foundation Amy and Ken Rogat Audra* and George Rose RPM International Inc . Mr . and Mrs . David A . Ruckman Mr . Larry J . Santon

Raymond T . and Katherine S . Sawyer SCH Foundation Mrs . David Seidenfeld David Shank The Sherwin-Williams Company Naomi G . and Edwin Z . Singer The Sisler McFawn Foundation 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

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 Kenneth S . and Deborah G . Cohen 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 Gary Hanson and Barbara Klante Iris and Tom Harvie Jeff and Julia Healy The Hershey Foundation T . K . and Faye A . Heston Mr . Daniel R . High

Blossom Music Festival

Sound for the Centennial Campaign

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orchestra news

the cleveland orchestra

2017-18 centennial season announced; Orchestra’s second century begins with special season featuring two operas and Beethoven Prometheus Project The Cleveland Orchestra and Franz Welser-Möst have announced details of the Orchestra’s 2017-18 calendar . The season will be the ensemble’s 100th year of concerts and marks the launch of its Second Century . 2017-18 is also the 16th year of the Orchestra’s acclaimed partnership with Franz Welser-Möst . With the 2017-18 season, The Cleveland Orchestra pushes forward with a series of ambitious goals across all areas of the institution: artistic, community, education, service, and financial . These goals include building upon the ensemble’s legendary musical excellence, continuing to grow the youngest audience of any orchestra, deepening relationships in the community through unique collaborations, customized engagement, and music education for all ages . “Looking toward The Cleveland Orchestra’s future, I am filled with enormous pride in the one hundred year collaboration between the Orchestra and community,” said the Orchestra’s music director, Franz Welser-Möst . “The exceptional musicianship and dedication of this Orchestra are acclaimed anew with each passing season, here at home and around the world. Our audiences’ musical curiosity and intellect drives all of us onstage forward, to dream beyond the past, and to continue exploring new boundaries in music.” Going on, he said, “Our 100th season serves as an historic moment, not only to celebrate our rich history, but to look

80

forward to everything this institution will accomplish in the century to come. Against the ever-increasing and fractious challenges of the world today, I believe that we have an obligation to harness the life-changing power of music to make the world a better place — to push the limits of our art to create thrilling adventures in music. Music is an incredible tool for good — to inspire people, as Beethoven believed, in the ‘fight for good,’ for what is right and true.” André Gremillet, Cleveland Orchestra executive director, added: “The year marks an important milestone, both in celebrating the remarkable first 100 years and in launching a second century that will further build on the great legacy of the Orchestra. I believe that our Second Century can be even more exhilarating than our first as we continue to elevate the extraordinary artistry of the Orchestra, develop new audiences, and deepen our relationship with our exceptional community.” 2017-18 Season Sponsors underwriting for the season features two Presenting Sponsors in support of The Cleveland Orchestra’s Second Century Season: The J .M . Smucker Company and KeyBank . “The Cleveland Orchestra is a source of civic pride because of its artistic excellence, and the community involvement of its musicians, music director, staff, and volunteers. We are so fortunate to have this great institution in our backyard,” said Richard Smucker, The Cleveland Orchestra’s board president and executive

Cleveland Orchestra News

2017 Blossom Festival


orchestra news

the cleveland orchestra

PROMETHEuS PROJECT

At a special event at Severance Hall on March 17, The Cleveland Orchestra’s 100th season was announced. Franz Welser-Möst addressed the audience of over a thousand subscribers, donors, and Orchestra friends, talking about the power of music to change lives and the Orchestra’s special relationship with the Northeast Ohio community.

chairman of The J .M . Smucker Company . “The Orchestra is truly making a difference in our community, and we are excited to celebrate the 100th anniversary of this cultural jewel of Northeast Ohio.” “A world-class institution, The Cleveland Orchestra has long been a cornerstone in the city’s rich history,” stated Beth Mooney, chairman and chief executive officer of KeyBank . “As Cleveland’s hometown bank, we are extremely pleased to support The Cleveland Orchestra’s Second Century season.” In addition to the season’s two Presenting Sponsors, sponsors for 201718 include: voestalpine AG, Hyster-yale Materials Handling and NACCO Industries, Inc ., Ruth McCormick Tankersley Charitable Trust, and Swagelok Company, along with The Sherwin-Williams Company, Westfield Insurance, and KPMG LLP . Blossom Festival 2017

2O17-18 SEASON Complete details of the 2017-18 Centennial Season can be viewed at clevelandorchestra.com. New series packages are now available for purchase. Series subscription renewals were mailed to all current subscribers, with a renewal deadline in April. Individual tickets for the season will go on sale in August.

Cleveland Orchestra News

tIcket servIces

21 6 -2 3 1 -1111

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2O17

BLOSSOM MUSIC FESTIVAL

Friday evening, September 1, 2017, at 8:30 p.m. Saturday evening, September 2, 2017, at 8:30 p.m. Sunday evening, September 3, 2017, at 8:30 p.m. T H E C L E V E L A N D O R C H E S T R A presents

A STEVEN SPIELBERg Film

DEE WALLACE PETER COyOTE HENRy THOMAS as elliot music by JOHN WILLIAMS Written by MELISSA MATHISON Produced by STEVEN SPIELBERg and kATHLEEN kENNEDy Directed by STEVEN SPIELBERg A UNIVERSAL PICTURE with the score performed live by THE CLEVELAND ORCHESTRA conducted by BRETT MITCHELL

E .T . The Extra-Terrestrial is a trademark and copyright of universal Studios . Licensed by universal Studio Licensing LLC . All rights reserved . Available on Blu-ray and DVD from universal Pictures Home Entertainment .

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Concert Program: September 1, 2, 3

2017 Blossom Festival


Director Steven Spielberg’s heartwarming masterpiece is one of the brightest stars in motion picture history . Filled with unparalleled magic and imagination, E.T. The Extra-Terrestrial follows the moving story of a lost little alien who befriends a ten-year-old boy named Elliott . Tonight, you will experience all the mystery and fun of their unforgettable adventure in the beloved movie that captivated audiences around the world .

COnCERT LEnGTH:

The film is presented with one intermission and will end each night at approximately 10:50 p.m. Please note that these concerts feature a presentation of the complete film E .T . The Extra-Terrestrial with a live performance of the film’s entire score, including music played during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits.

This weekend’s concerts are sponsored by The J.M. Smucker Company, a Cleveland Orchestra Partner in Excellence.

E . T. T H E E x T R A - T E R R E S T R I A L I N C O N C E R T PRODuCTION CREDITS E.T. The Extra-Terrestrial in Concert is produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and the Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Production Manager: Rob Stogsdill Production Coordinator: Sophie Greaves Worldwide Representation: IMG Artists, LLC Supervising Technical Director: Mike Runice Technical Director: Chris Szuberla Music Composed by John Williams Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Ramiro Belgardt Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for E.T. The Extra-Terrestrial has been adapted for live concert performance. With special thanks to: Universal Studios, Steven Spielberg, Kathleen Kennedy, John Williams, David Newman, Chris Herzberger, Tamara Woolfork, Adrienne Crew, Darice Murphy, Mark Graham, and to the musicians and staff of The Cleveland Orchestra.

the 2o17 b lossom m usic festival is presented by th e J . m . s m ucker com pa ny

Blossom Festival 2017

Concert Program: September 1, 2, 3

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Building a Better Future Together At Medical Mutual we’re dedicated to helping people live better, healthier lives. If you need health insurance for you, your family or your business, count on Medical Mutual. Visit MedMutual.com/Ohio or call (800) 355-1092.


INtrODucING thE cONcErt

Aliens, Allies &Friendship

— and outer space — have long held mystery for humans looking up . The myriad stars and limitless blackness suggest . . . danger? comfort? wisdom? greatness? godliness? unknown? unknowing? adventure? freedom? The world around us — and the adults going about their everyday business — can seem just as mysterious and unknown to children trying to learn about life here on this world . As guide and comfort, everyone needs a friend (or two) along life’s pathway . yet sometimes friendship is hard to find . The genius of Steven Spielberg’s E.T. The Extra-Terrestrial is the way it puts all of this together into one story — of alien-ness, abandonment, being alone, family, friends, distance, reaching out, understanding, danger, threat, humor, difference, commonality . yet, the story’s so much fun and so endearing that we don’t even realize what it’s doing to us, how it’s pulled our heartstrings . . . to such good and heartwarming effect . The story itself is said to be crafted from Spielberg’s own childhood, when he says he had an imaginary alien friend of his own . In the movie, the fiction of everyday life becomes reality before our eyes . And friendship bridges the gap between differences . Clearly more such comforting reality in today’s challenging world would be a good thing, more friendship rather than more division . Fittingly, Spielberg’s story is amplified and magnified by John Williams’s magnificent musical score, mirroring surprise and delight, mystery and joy . This evening’s presentation features the incredible artistry of our own Cleveland Orchestra joined to the original movie, making this magical story even more about our own lives and our homes and our families . A night to remember, and lessons never to forget! —Eric Sellen THE nIGHT Sky

Program Book on your phone . . . Visit www .ExpressProgramBook.com to read bios and commentary from this book on your mobile phone. Blossom Festival 2017

September 1, 2, 3: Introducing the Concert

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m Ov I E sy N O P s I s While visiting the Earth at night, a group of alien botanists is discovered and disturbed by an approaching human task force . When the aliens make a hasty take-off, one of the visitors is left behind . The small alien finds himself all alone on a very strange planet . However, the extra-terrestrial soon finds a friend and emotional companion in ten-year-old Elliott, a boy whose parents have separated . E .T . gets acquainted with Elliott and the customs of Earth along with Elliott’s older brother Michael and younger sister Gertie, while members of the government task force work day and night to track down the whereabouts of Earth’s first visitor from outer space . The children decide to keep E .T .’s existence to themselves . For E .T ., the wish to go home is strong and, after learning to communicate with Elliott and the others, he starts building an improvised device to send a message home for his people to come and pick him up . In the meantime, E .T . becomes seriously ill — and, because of his special connection to Elliott, the young boy suffers, too . The situation gets critical when the task force finally closes in on E .T .’s location and tries to intervene . By then, help may be too late: there’s no alien spaceship in sight .

Blossom Festival 2017

E.T. The Extra-Terrestrial

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UNLEASH YOUR POTENTIAL... WE DO.

REHEARSE MADLY... DO. C Nikita Mndoyants,WE October 27-28 of

ONSERVATORY MUSIC

CONSERVATORY

of MUSIC October 27, 7:00 p.m. bw.edu/events

October 28, 7:00 p.m. 440-826-8070 bw.edu/conservatory

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“Top 10 Liberal Arts Colleges for Music in the U.S.” Music School Central

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“Top 10 Colleges for Musical Theatre Majors”

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Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

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

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2017 Blossom Festival


Brett mitchell

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

This weekend’s concerts mark Brett Mitchell’s final appearances as a member of The Cleveland Orchestra’s conducting staff . He has served as an assisting conductor for four seasons, leading the Orchestra in several dozen concerts each season at Severance Hall, Blossom Music Festival, and on tour . He also served as music director of the Cleveland Orchestra youth Orchestra through the 2016-17 season . In June 2015, he led the youth Orchestra in a four-city tour to China, marking the ensemble’s second international tour and its first to Asia . With the 2017-18 season, Mr . Mitchell becomes music director of the Colorado Symphony in Denver . He was appointed as music director designate in 2016 . He will also continue an active career as a guest conductor, leading performances throughout North America, Europe, and Asia . Recent and upcoming guest engagements include performances with the orchestras of Columbus, Dallas, Detroit, Houston, Indianapolis, Oregon, St . Paul, and Washington D .C ., and the Frankfurt Radio Symphony, among others . Mr . Mitchell served as music director of the Saginaw Bay Symphony Orchestra, 2010-15, where an increased focus on locally relevant programming and community collaborations resulted in record attendance throughout his tenure . He had earlier been assistant conductor of the Houston Symphony (2007-11), where he led over 100 performances with the ensemble and concurrently held a League of American Orchestras American Conduct-

Blossom Festival 2017

ing Fellowship . He was also an assistant conductor to Kurt Masur at the Orchestre National de France (2006-09) and served as director of orchestras at Northern Illinois university (2005-07) . He was associate conductor of the Pittsburgh New Music Ensemble (200206), where he led many subscription programs, six world premieres, and several recording projects . Mr . Mitchell has also served as music director of nearly a dozen opera productions, principally as music director at the Moores Opera Center in Houston (2010-13), leading eight productions . A native of Seattle, Brett Mitchell holds a doctor of musical arts degree from the university of Texas at Austin, where he was also music director of the university Orchestra . He earned a bachelor of music degree in composition from Western Washington university, which selected him as its young Alumnus of the year in 2014 . Mr . Mitchell also participated in the National Conducting Institute in Washington D .C ., and studied with Kurt Masur as a recipient of the inaugural American Friends of the Mendelssohn Foundation Scholarship, and with Lorin Maazel . For more information, please visit www.brettmitchellconductor.com .

Conductor: September 1, 2, 3

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orchestra news Read about the music on your cellphone before coming to the concert by visiting ExpressProgramBook.com The Cleveland Orchestra has launched a new website specifically for reading about the music ahead of the concert, easily and conveniently on your mobile phone . The new service, available online at ExpressProgramBook.com, provides the program notes and commentary about the musical pieces, along with biographies of the soloists and other artists in a simple-to-read format . “This is designed with a clear format and purpose,” comments program book editor Eric Sellen . “Just the basic information, no fancy layout, with the text at a size that makes reading on a phone or other mobile device easy.” The service was tested for several months, and is now fully available, with information posted a few days prior to each concert . The site features only the core information content of each book . The complete program book is available online in a “flipbook” format, for viewing

the cleveland orchestra

on a desktop computer or tablet . But because the flipbook format is harder to read on a mobile phone, the Orchestra chose to work with its program book partner, Live Publishing Company, to create the ExpressBook for reading on phones . Flipbooks are available from the Orchestra’s main website at clevelandorchestra .com going back several years . The ExpressBook only has current season programs, beginning the week of any given concert and looking back several concerts . Feedback and suggestions are welcome and encouraged, and can be sent by emailing to esellen@clevelandorchestra.com .

tuesday musical Single tickets for Main Stage & Fuze concerts on sale now! Saturday, Sept. 16, 2017

Tuesday, Jan. 23, 2018

Tuesday Musical’s 130th anniversary concert & party

Thursday, March 8

Prelude!

Thursday, Sept. 28

Jazz at Lincoln Center Orchestra with Wynton Marsalis

• Fuze

Thursday, Oct. 19

Academy of St. Martin in the Fields Chamber Ensemble Wednesday, Nov. 29

Vienna Boys Choir’s Christmas in Vienna

• Fuze: on sale Oct. 26

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Chamber Music Society of Lincoln Center

tuesdaymusical.org 330-761-3460

Pianist Andreas Haefliger Saturday, March 17

Chicago Jazz Orchestra’s Tribute to Sarah Vaughn

Jeff Lindberg, conductor vocalists Ann Hampton Callaway, Dee Alexander, René Marie

• Fuze: on sale Feb. 8

Wednesday, March 28

Orpheus Chamber Orchestra with violinist Augustin Hadelich Wednesday, April 18

Brentano String Quartet

with flutist Marina Piccinini

Cleveland Orchestra News

7:30 p.m. Akron’s EJ Thomas Hall

The Cleveland Orchestra


BLOSSOM music festival

Welcome . . . 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 from 1 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 2017

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 aND GOlf carts Free transportation throughout the grounds is available to all patrons for Blossom Music Festival concerts . Tram service from parking lots to Smith Plaza and to the Pavilion is available on a continuous basis before and after each concert . (See tram stop locations on grounds map .) A limited number of golf carts provide an alternative option for transportation within the Blossom grounds . These are available on a firstcome, first served basis (from a location near Emily’s Garden) to drive patrons to the Blossom Grille, Knight Grove, and other destinations not on the regular Tram routes . 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 (there is no tram stop in Lot A) . 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, coffees, and

Patron Information

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Patron Information

continued

ice cream, along with healthy salads and noodle bowls, and a selection of alcoholic beverages featuring 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 and bar offers a variety of freshly prepared appetizers, salads, entrees, and desserts, plus wines, spirits, and beers, and pre-ordered box dinners . The Blossom Grille is open for dinner 2½ hours prior to all Blossom Music Festival concerts and is also open for Afterglow — coffee, spirits, and desserts 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 . Please note that arrangements must be made in advance . From casual barbecues or receptions to elegant sitdown dinners, you can work from our catering guide or request a unique menu for your event . For a catering guide, 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 premier donors, premier series subscribers, and Box Seat holders at Festival concerts . Kulas Plaza guests have access to dedicated restrooms, concessions, and tables and seating

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areas for pre-concert dining as well as 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, Twitter, and Instagram . 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 . 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 interest of ensuring a safe audience setting for all, please refrain from games that feature the swinging of bats or tossing/kicking hard objects . 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 .

Patron Information

2017 Blossom Festival


2O17

Knight Grove

Blossom grouNds

ATM

Concessions Family Restroom

ATM

Picnic Tables Hood Meyerson Suite

Concessions Family Restroom

Backstage Lot

awn ating

Pavilion

Hood Meyerson Suite Backstage Lot

ATM

Kulas Plaza Blossom Grille

Concessions

Lawn Seating

Lawn Terrace

Pavilion Kulas Plaza

Concessions

ATM

Herbert E. Strawbridge Garden

ATM

Wine Store Information Center* Frank E. Joseph Garden ATM

Emily’s Garden Smith Plaza

Herbert E. Strawbridge Garden

Special Events Eells Art Gallery Center Bandwagon Shop Main Gift Gate

Box Office

ods Picnic Area

ber

Guest Services and First Aid Pedestrian Bridge FirstEnergy Lawn Ticket LotBooth (PAY LOT)

ATM

Emily’s Garden Smith Plaza

Lot A Gate

Main Gate

Pedestrian Bridge Lawn Ticket Booth

Lot

Woods Picnic Area Subscriber

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

Special Events Center

Box Office

Information Center*

Lot

Information Center*

Lot

Lot

Lot

Lot

Tram Stops

Blossom Festival 2017

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

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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 SEATING CHART

RESERVED SEATING AREAS

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

Area 2

Area 3

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

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 FOR FAMILIES 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 Some areas of the Pavilion are designated for general admission seating on a first-come, firstserved basis (beginning two hours before each concert) . Lawn Tickets and under 18s Free Lawn Passes grant access to this area . Each person regardless of age must have a ticket to sit in this area . GrOuP DIscOuNts Groups of 10 or more qualify for specially discounted tickets to most Festival concerts . Whether you are planning for your company picnic, a club or social group outing, or this year’s family reunion, Blossom offers a special setting . Call our Group Sales Office at 216-231-7493 . GuaraNtEED cOmPlImENtary PavED lOt ParkING When you purchase Pavilion tickets to Festival concerts in advance, you receive a 2017 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

m musIc

fEst

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

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

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4

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Buying Tickets

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2017 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.


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18 East Orange Street Chagrin Falls, Ohio (440) 247-2828

2017 Blossom Music Festival August 19, 26, 27 September 1-3 Concerts  
2017 Blossom Music Festival August 19, 26, 27 September 1-3 Concerts  

August 19 Ravel's Bolero August 26 Holst's The Planets August 27 Tribute to Ella Fitzgerald September 1-3 E.T. The Extra-Terrestrial