2018 Blossom Music Festival book 3

2O18

TH E CLE VE L AN D ORCH E STR A

BLOSSOM M USIC FESTIVAL

1 9 6 8 - 2 O 1 8

2O1 8 B LOSSOM BOOK No. 3 SEASON SPONSOR

ANNIVERSARY SPONSOR

INSIDE . . .

August 4 -- Movie: The Little Mermaid . . . . . . . . . page 20 August 5 -- Dvořák’s Seventh Symphony . . . . . . . page 33 August 11 -- Rachmaninoff’s Rhapsody . . . . . . . . page 47 August 12 -- Yo-Yo Ma Plays Bach . . . . . . . . . . . . . . . . page 62 Read this program book online at ExpressProgramBook.com See complete Table of Contents on page 4

On view through September 30 Weekly ticket sales occur every Monday throughout the run of the exhibition via online and phone only. Find ticket and exhibition info at cma.org/kusama.

No on-site sales.

2017 Global Fine Art Awards Winner: Best Contemporary / Postwar Solo Artist Exhibition CMA gratefully acknowledges: Presenting Sponsors

Michelle Shan & Richard Jeschelnig Supporting Sponsors

ClevelandArt.org

Donna and Stewart Kohl

216-421-7350

Organized by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC The Obliteration Room (detail), 2002 to present. Yayoi Kusama (Japanese, b. 1929). Furniture, white paint, and dot stickers; dimensions variable. Collaboration between Yayoi Kusama and Queensland Art Gallery. Commissioned Queensland Art Gallery, Australia.

Gift of the artist through the Queensland Art Gallery Foundation 2012.Collection: Queensland Art Gallery, Brisbane, Australia.

Photograph: QAGOMA. Š Yayoi Kusama

There’s nothing quite like an outdoor symphony.

AUTO GROUP

THE

CLEVELAND ORCHESTRA FRANZ WELSER-MÖST

2O18 BLOSSOM

2O18 SEASON SPONSOR

50th ANNIVERSARY SPONSOR

MUSIC FESTIVAL T A B L E

O F

C O N T E N T S

2O18 BLOSSOM MUSIC FESTIVAL Book No. 3 7

Welcome to Our Summer Home . . . . . . . . . . . . . . . . . . 7 2018 Festival Calendar. . . . . . . . . . . . . . . . . . . . . . . . . 8-9 About Blossom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13-16 Blossom Committee . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Blossom Friends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Blossom by the Numbers . . . . . . . . . . . . . . . . . . . . . . . . 61

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

20.

CONCERT

33.

CONCERT

47

CONCERT — Aug 11 Rachmaninoff Rhapsody Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . 49 About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51-58 Conductor: Vasily Petrenko . . . . . . . . . . . . . . . . . . . . . 48 Pianist: Simon Trpčeski . . . . . . . . . . . . . . . . . . . . . . . . . . 48

62

CONCERT — Aug 12 Yo-Yo Ma Plays Bach Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . 65 Reflections on Bach’s Cello Suites . . . . . . . . . . . . 67-69 About Yo-Yo Ma and Bach . . . . . . . . . . . . . . . . . . . 70-71 Solo Artist: Yo-Yo Ma . . . . . . . . . . . . . . . . . . . . . . . . . 73-75

instagram: @CleveOrch #CleOrchBlossom Copyrightt © 2018 by The Cleveland Orchestra Eric Sellen, Program Book Editor E-MAIL: esellen@clevelandorchestra.com Program books for Cleveland Orchestra concerts are produced by the Marketing & Communications Department and distributed free of charge to attending audience members.

Program book advertising is sold through LIVE PUBLISHING COMPANY phone: 216-721-1800

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.

27

— Aug 4 Movie: The Little Mermaid Introducing the Movie . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Conductor: Sarah Hicks . . . . . . . . . . . . . . . . . . . . . . . . . 24 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

— Aug 5 Dvořák Seventh Symphony Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 35 About the Music. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37-43 Conductor: Michael Francis . . . . . . . . . . . . . . . . . . . . . . 32

About the Orchestra Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 About the Orchestra. . . . . . . . . . . . . . . . . . . . . . . . . . 27-29 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 30-31

45 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.

About Blossom

Supporting the Orchestra Second Century . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 John L. Severance Society . . . . . . . . . . . . . . . . . . . . . . . 60 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76-85

89

More About Blossom Blossom Information and Policies . . . . . . . . . . . . 89-94

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Table of Contents

Blossom Music Festival

10 0

R E A S O N S

TO

C E LE B R ATE

No. 8 The opening of the spectacular Blossom Music Center in 1968 made year-round performances of The Cleveland Orchestra possible.

BakerHostetler is honored to share with The Cleveland Orchestra a 100-year tradition of excellence in service to our community.

We are proud of our decades-long support of this world-class orchestra, and to celebrate its legacy, we have gathered 100 facts about its illustrious history.

Visit bakerlaw.com/100reasons to read them all.

bakerlaw.com

Welcome to Our Summer Home!

Happy Anniversary! 2018 is a big, celebratory summer here at Blossom — with the past season already a milestone year for The Cleveland Orchestra. We’ve celebrated our 100th season.

And now we celebrate the 50th Anniversary of our stunningly beautiful and much-loved summer home, Blossom Music Center.

The Cleveland Orchestra opened the first Blossom season in July 1968. Today, a half-century later, we are pleased that a few of you attending this summer — and a few musicians onstage in the Orchestra, too! — were here for that momentous inaugural performance, featuring Beethoven’s magnificent Ninth Symphony. Your love of Blossom, and that of succeeding generations, has sustained our summer festival across a half century, and, in doing so, helped create a perfect summer park for music here in Northeast Ohio. With our pioneering offerings for young people, Blossom has never been more successful than it is today.

The Orchestra’s Home in Summit County. Blossom was created by visionary leaders of The Cleveland Orchestra’s board of trustees to showcase the Orchestra’s unsurpassed artistry each summer. Ideally situated in the center of Northeast Ohio between two major metropolitan areas and surrounded by Ohio’s own Cuyahoga Valley National Park, Blossom offers an idyllic setting for evenings of extraordinary music. From the beginning, Blossom was attracting visitors from near and far — even before the National Park’s creation. Today, Blossom is one of the Park’s greatest attractions.

Classical Music and More. Blossom has long been a cherished summer destination for classical music — and much more, including classic rock, country, Broadway, pop, hiphop, Motown, folk, and rap. Indeed, Blossom has hosted virtually every type of music under the stars. For each and every genre, Blossom can take credit for developing new and passionate audiences here in Northeast Ohio, with over 20 million music fans having attended concerts here during its first half century. The Cleveland Orchestra has performed more than a thousand concerts here, making Blossom a place filled with great memories and the promise of many extraordinary musical experiences yet to come. Let me also extend special thanks to our partner Live Nation, who so ably operates Blossom each summer and presents the season’s non-orchestral concerts.

Celebrating the Wonder of Music. On a beautiful summer night, there is nothing better than enjoying a wonderful concert here at Blossom Music Center. Whether you prefer symphonies or jazz, Broadway or folk music, Mahler or Star Wars, whether you experience the concert “straight up” in the Pavilion or lying down on the lawn looking up at the stars, Blossom offers great performances for each of us. With special thanks to this summer’s presenting and anniversary sponsors: The J. M Smucker Company and The Goodyear Tire & Rubber Company. Enjoy tonight — and many more to come!

A d é Gremillet André ill t Blossom Festival 2018

Welcome: From the Executive Director

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1968- 2O18

B LO S S O M M U S I C F E S TI VA L

U

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 SEASON SPONSOR Valley National Park. Its beautiful outdoor setting is an integral part of the Blossom experience — and unrivaled among America’s sumANNIVERSARY SPONSOR mer 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.

For an eighth summer, The Cleveland Orchestra is offering free Lawn tickets to young people ages 17 and under for all Blossom Festival concerts. Two “under 18s” will be admitted with each paid adult admission.

This offer is part of The Cleveland Orchestra’s Center for Future Audiences, an initiative endowed by the Maltz Family Foundation to engage and expand the audience for symphonic music.

TUESDAY JUL

38

PM

SALUTE TO AMERICA Blossom Festival Band Loras John Schissel, conductor

SCHI SCH S SC CHI CH C HIISSEL H S SS

YEARS

FOURTH

JU

SATURDAY JUL

78

PM

PICTURES AT AN EXHIBITION The Cleveland Orchestra Franz Welser-Möst, conductor Joela Jones, piano Stephen Rose, violin Mark Kosower, cello

JUL

14 8:30

WELS WEL W WE ELS EL E LS L SER-MÖST

2 18 SUMMER HOME OF THE CLEVELAND ORCHESTRA

PM

AT TH E M OV I E S

SINGIN’ IN THE RAIN — LIVE The Cleveland Orchestra Richard Kaufman, conductor On the big screen with the score performed live by The Cleveland Orchestra.

ER 18s ND

ONT LAWN HE

JUL

21 7

PM

The Cleveland Orchestra Jahja Ling, conductor with the Kent Blossom Chamber Orchestra Vinay Parameswaran, conductor and the Blossom Festival Chorus

LING LI NG

MAHLER’S FIRST SYMPHONY

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

twitter: @CleveOrchestra instagram: @CleveOrch #CleOrchBlossom

TICKETS:

800-686-1141

JUL

28 8

PM

BRAHMS FOURTH SYMPHONY The Cleveland Orchestra Herbert Blomstedt, conductor

BLO LOMS LOM L OM OMS O MSTE TEDT TED EDT ED E DT D T

facebook.com /clevelandorchestra

= features fireworks, weather permitting

OF JULY

AUGUST

WEDNESDAY

SATURDAY

48

SUNDAY

PM

SALUTE TO AMERICA SCHISSEL

AUG

Blossom Festival Band Loras John Schissel, conductor

4 8:30

AUG

PM

57

PM

THE LITTLE MERMAID — LIVE

DVOŘÁK’S SEVENTH SYMPHONY

The Cleveland Orchestra Sarah Hicks, conductor

The Cleveland Orchestra Michael Francis, conductor

AT T H E M OV I E S

FRANCIS

JUL

On the big screen with the score performed live by The Cleveland Orchestra.

SUNDAY

88

PM

ROGER DALTREY PERFORMS THE WHO’S TOMMY

DALTREY

JUL

AUG

11 8

PM

RACHMANINOFF’S RHAPSODY

AUG

12 7

PM

YO-YO MA PLAYS BACH

The Cleveland Orchestra Vasily Petrenko, conductor Simon Trpčeski, piano

YO-YO MA

LY

TRPČESKI

Presentation licensed by Disney Concerts

SOLO PERFORMANCE: Yo-Yo Ma, cello Complete performance of Bach’s Six Suites for Solo Cello.

with members of The Who Band and The Cleveland Orchestra conducted by Keith Levenson

The Cleveland Orchestra John Storgårds, conductor Vilde Frang, violin

AUG

PM

The Cleveland Orchestra James Gaffigan, conductor Stephen Hough, piano

AUG

19 7

PM

FRANK & ELLA The Cleveland Orchestra Randall Craig Fleischer, conductor Capathia Jenkins, vocalist Tony DeSare, vocalist/piano

HOUGH

15

7 PM

SCHUMANN’S SPRING SYMPHONY

18 8

SIBELIUS SECOND SYMPHONY

An evening of great hits and tunes in a musical tribute to two of the greatest — Frank Sinatra and Ella Fitzgerald.

FRANG

JUL

AUG

25 8

JENKINS

The original album performed live in concert.

PM

CARMINA BURANA LUNA

The Cleveland Orchestra Adrien Perruchon, conductor Audrey Luna, soprano Matthew Plenk, tenor Elliot Madore, baritone Blossom Festival Chorus Cleveland Orchestra Children’s Chorus

LABOR DAY WEEKEND FRIDAY

29 7

AUG

PM

AUDRA M C DONALD SINGS BROADWAY The Cleveland Orchestra Andy Einhorn, conductor Audra McDonald, soprano

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SEP

1

SEP

2 8:30

PM

AT T H E M OV I E S McDONALD

JUL

SATURDAY

Broadway favorites sung by one of today’s most-acclaimed singers.

STAR WARS: A NEW HOPE — LIVE The Cleveland Orchestra Vinay Parameswaran, conductor The classic original film shown in HD on the big screen — with the score performed live by The Cleveland Orchestra.

Presentation licensed by Disney Concerts

TICKETS:

clevelandorchestra.com

SUNDAY

More than a copier company.

Visit ACEcleveland.com

MUSICAL ARTS ASSOCIATION

as of May 2018

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival OFFICERS AND EXECUTIVE COMMITTEE Richard K. Smucker, President Dennis W. LaBarre, Chairman Richard J. Bogomolny, Chairman Emeritus

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

Virginia M. Lindseth Nancy W. McCann Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner

Barbara S. Robinson Jeffery J. Weaver Meredith Smith Weil Paul E. Westlake Jr.

RESIDENT TRUSTEES 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 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 Milton S. Maltz Nancy W. McCann Stephen McHale Thomas F. McKee Loretta J. Mester Beth E. Mooney John C. Morley Meg Fulton Mueller Katherine T. O’Neill Rich Paul Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner

Charles A. Ratner Zoya Reyzis Barbara S. Robinson Steven M. Ross Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Russell Trusso 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

NON-RESIDENT TRUSTEES Virginia Nord Barbato (New York) Wolfgang C. Berndt (Austria)

Laurel Blossom (California) Richard C. Gridley (South Carolina)

Herbert Kloiber (Germany) Paul Rose (Mexico)

Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz Douglas A. Kern

T R U S T E E 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 Elizabeth McCormick, President, Blossom Friends of The Cleveland Orchestra TRUSTEES EMERITI George N. Aronoff Dr. Ronald H. Bell David P. Hunt S. Lee Kohrman Charlotte R. Kramer Donald W. Morrison Gary A. Oatey Raymond T. Sawyer PA S T P R ESI DE N 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 E E S FO R L I F E Robert P. Madison Gay Cull Addicott Robert F. Meyerson* Charles P. Bolton The Honorable John D. Ong Allen H. Ford James S. Reid, Jr. Robert W. Gillespie Dorothy Humel Hovorka* * deceased Alex Machaskee

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

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

THE CLEVEL AND ORCHESTR A Franz Welser-Möst, Music Director

Blossom Music Festival

André Gremillet, Executive Director

Musical Arts Association

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Waiting for the Peak of Perfection.

PAG E 2 O 1 5

8

©/TM/® The J. M. Smucker Company

Smuckers SPONSOR AD

With a name like Smucker’s, it has to be good.® smuckers.com

BLOSSOM Celebrating Half a Century as Northeast Ohio’s Summer Arts Park T H I S S U M M E R marks the 50th anniversary of Blossom Music Center as the summer home of The Cleveland Orchestra. 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 BLOSSOM M U S I C F E S T I VA L acres along the Cuyahoga River between Akron and Cleveland. Blossom lies within the city limits of Cuyahoga Y E A R S Falls, an Ohio community 1968- 2O18 founded over two-hundred years ago.

Blossom was planned and built by 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 was elected to The Cleveland Orchestra’s board of trustees in 1919 and later served as board president 1936-38. Family members have continued their involvement with the Orchestra up to the present day — Dudley Sr.’s wife, Elizabeth, was a trustee 1928-70, their son Dudley Jr. was a trustee 1946-61 and his wife, Emily, also served as a trustee 1968-91, while Blossom granddaughter Laurel Blossom has continued the tradition as a trustee since 1999.

George Szell, music director of The Cleveland Orchestra (1946 to 1970), conducted the opening concert at Blossom on July 19, 1968. The all-Beethoven program consisted of the Consecration of the House Overture and the Ninth Symphony, concluding with the grand “Ode to Joy” call for brotherhood and unity among peoples — drawing enthusiastic reviews for the Orchestra and its new summer home from critics across the country and beyond. The Orchestra’s first season at Blossom consisted of six weeks of performances, 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 Blossom Music Festival

About Blossom

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mid-January, 1968

CONSTRUCTION PHOTOGRAPHY COURTESY OF PETER VAN DIJK

LEFT:

RIGHT:

early April, 1968

YEARS

LEFT:

1968- 2O18 mid-March, 1968

RIGHT:

early April, 1968

Architect Peter van Dijk and music director George Szell

LEFT:

mid-May, 1968

RIGHT:

Blossom today

THE BLOSSOM GROUNDS

At the heart of Blossom is the Blossom Pavilion, situated at the base of a natural bowl. The design architect for this award-winning structure, widely celebrated for its distinctive architecture and superb acoustical qualities, was Peter van Dijk, who also served as architect for the Blossom Redevelopment Project in 2002-03 and continues to help direct Blossom upgrades and changes. The seating capacity of the Pavilion is now 5,470 — and another 13,500 patrons can be accommodated on the expansive hillside Lawn seating area. (Claimed records of up to 32,000 people attending a single concert are, perhaps, exaggerated, while modern safety and security codes would preclude admission for such large numbers today.)

Surrounding the Pavilion and expansive Lawn seating area, the Blossom grounds encompass a number of other unique facilities. Near the Main Entrance from Steels Corners Road is Porthouse Theatre. Here, a season of outdoor summer musical theater is presented with a cast of professional actors and a college-age student ensemble. The Porthouse Theatre Company is affiliated with Kent State University’s School of Theatre and Dance.

In addition to the Blossom Pavilion, the main grounds include the Blossom Grille (open before and after each Festival concert), Knight Grove (a party center Blossom Festival 2018

About Blossom

15

PHOTOGRAPH BY PETER HASTINGS

Music Festival of orchestral and related music from the Fourth of July to Labor Day Weekend alongside a summer-long season of concerts devoted to rock, jazz, country, and other popular music presentations. (Live Nation now operates Blossom, and books and promotes each season’s non-orchestral attractions.)

All together, more than 20 million people have attended live musical performances at Blossom in its first half century — with 400,000 enjoying symphonic and rock concerts each summer.

At the Blossom groundbreaking on July 2, 1967, from left In 2002, the facility underwent the first in foreground are Frank Joseph (then board president major capital improvements project in of The Cleveland Orchestra), Elizabeth Bingham Blossom (Mrs. Dudley Sr.), Benjamin Gale (Blossom grandson), the park’s history. The Blossom RedevelBetsy Blossom (youngest Blossom grandchild), and opment Project featured a major renovaCharles Bingham Blossom (Blossom grandson). tion 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, new enhancement projects have continued almost every year, including the construction of new restrooms and walkways, and the introduction of new trams.

accommod accommodating groups of 25 to 450), and Eells Gallery, y which features exhibits presented by Kent Blossom Art, often featuring regional and national artists.

Three landscaped gardens are also located on the main grounds: The Frank E. Joseph Garden was named in honor of the board president of The Cleveland Orchestra at the time of Blossom’s construction and opening.

Emily’s Garden was opened in 1992 to commemorate Emily (Mrs. Dudley S. Jr.) Blossom’s many contributions to Blossom Music Center.

The Herbert E. Strawbridge Garden was added in 2003, named in memory of Cleveland Orchestra trustee and civic leader Herb Strawbridge.

The Blossom Redevelopment Project redesign of Emily’s Garden, as well as the design of the Herbert E. Strawbridge Garden, are by Michael Van Valkenburgh.

PARTNERING WITH KENT STATE UNIVERSITY

Since the inception of Blossom, The Cleveland Orchestra has partnered with Kent State University to extend Blossom’s role as a center for S AR Y E6 8 - 2 O 1 8 professional training in the visual and performing arts. Each summer, the 19 Kent Blossom arts festivals bring some 300 young professionals in art, music, and theater together with working professionals to teach, explore, and produce great art. This important relationship between a premier performing ensemble and a public university has also served as a model for other collaborations. Each summer’s off ferings emphasize intensive, individualized study with prominent visiting master artists and resident Kent State faculty, including principal members of The Cleveland Orchestra.

Public exhibitions and performances are an integral part of each summer’s offerings.

A season of Broadway musicals is presented at Porthouse Theatre annually, while the musicians of Kent Blossom Music Festival perform free public concerts and recitals and appear in a special side-by-side concert with The Cleveland Orchestra (this year on July 21).

PARTNERING WITH CUYAHOGA VALLEY NATIONAL PARK AND THE TRUST FOR PUBLIC LAND

Following the construction and opening of Blossom Music Center in 1968, additional ideas for redeveloping the Cuyahoga Valley spurred the creation of Cuyahoga Valley National Park to help preserve the natural beauty of the area chosen as The Cleveland Orchestra’s permanent summer home. Created as a recreational preserve in 1974, the land was designated as a National Park in 2000.

In the past decade, The Cleveland Orchestra worked with the Trust for Public Land (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.

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About Blossom

Blossom Music Festival

Your legacy helps create a healthier community.

At University Hospitals, science and compassion converge to create new ways to cure and better ways to care.

With your support, we’ll continue to make amazing strides toward improving the health and well-being of our community. Join the many who are leaving their legacy – advancing the science of health and the art of compassion for generations to come.

To learn more, contact our Gift Planning Team: UHGiving.org | 216-983-2200

© 2018 University Hospitals

Blossom Committee h of The Cleveland Orchestra The Blossom Committee of The Cleveland Orchestra is an advisory group created to support the development and prioritiza i tion of initiatives to connect The Cleveland Orchestra in new and meaningful ways with the Blossom community. The Committee is comprised of business and community leaders from Cuyahoga, Portage, Stark, and Summit Counties. (Listing as of June 15, 2018.)

Iris Harvie, Chair Thomas Waltermire, Vice Chair Ronald H. Bell Carolyn Christian Bialosky William P. P Blair III Robin Blossom Joanne Dannemiller Barbara Dieterich Helen Dix* Barbara Feld John Fickes Linda Gaines Barbara Gravengaard C. Thomas Harvie Faye A. Heston Elisabeth Hugh

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Laura Hunsicker Margaret Watts Hunter Mary Ann Jackson Michael J. Kaplan Philip S. Kaufmann Christine Kramer Janice R. Leshner

John McBride Margaret Morgan* Paul A. Rose Sandra R. Smith Christopher TT. Teodosio Paul E. Westlake Jr. Deb Yandala *Honorary Member for Life

EX-OFFICIO

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

Blossom Committee

2018 Blossom Festival

Blossom Friends h t of The Cleveland O 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 Elizabeth McCormick, President Kaye Lowe, Vice President Mary Walker Sprunt, Recording Secretary JoAnn Greiner, Corresponding Secretary Wanda Gulley, Treasurer Elisabeth Hugh, Ex-Officio, Immediate Past President

AREA CHAIRS — Danielle Dieterich — Kathleen McGrath CANTON / STARK COUNTY — Elizabeth McCormick, Faye Heston HUDSON — Connie Van Gilder ((Acting Chair r) KENT — Roseanne Henderson, Janet Sessions NORTHEAST — Larry Szabo Each year, Blossom Friends presents a range MEMBER-AT- LARGE — Connie van Gilder AKRON

AURORA

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.

The final Gourmet Matinee Luncheon for 2018 takes place on August 20.

Call 330-995-4975 for details.

Blossom Festival 2018

Blossom Friends

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2O18

BLOSSOM MUSIC FESTIVAL

Saturday evening, August 4, 2018, 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

original score by ALAN MENKEN lyrics by HOWARD W A ASHMA N written and directed by John Musker and Ron Clements produced by Howard Ashman and John Musker featuring the voice talents of IN ALPHABETICAL ORDER

LOUIS . . . René Auberjonois ERIC C . . . Christopher Daniel Barnes ARIEL . . . Jodi Benson URSULA . . . Pat Carroll SCUTTLEE . . . Buddy Hackett FLOTSAM & JETSAM . . . Paddi Edwards FLOUNDER . . . Jason Marin TRITON N . . . Kenneth Mars CARLOTTA . . . Edie McClurg SEAHORSEE . . . Will Ryan GRIMSBY Y . . . Ben Wright SEBASTIAN N . . . Samuel E. Wright

a live feature film presentation with THE CLEVELAND ORCHESTRA conducted by SARAH HICKS K

Presentation licensed by Disney Concerts. © All rights reserved.

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Concert Program: August 4

2018 Blossom Festival

YEARS 1968- 2O18

CONCERT LENGTH:

The film is presented with one intermission and will end at approximately 10:15 p.m.

THE LITTLE MERMAID FILM WITH ORCHESTRA CONCERT

PRODUCTION CREDITS President, Disney Music Group: Ken Bunt Senior Vice President/General Manager, Disney Concerts: Chip McLean Film Preparation: Ed Kalnins Music Preparation: Booker T. White, Marshall Bowen Operations, Disney Concerts: Royd Haston, Mae Crosby Business Affairs, Disney Concerts: Meg Ross, Gina Lorscheider

The Goodyear Tire & Rubber Company is a proud sponsor of The Cleveland Orchestra’s 2018 Blossom Festival season.

This concert is dedicated to Jeanette Grasselli Brown and Glenn R. Brown in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

201 8 B lossom Season S ponsor: T h e J . M . S m u c k e r C o m p a n y

50 th Anniversar y Sponsor: T h e G o o d y e a r T i r e & R u b b e r C o m p a n y

Blossom Music Festival

Concert Program: August 4

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Volu Vo lunt lu ntee nt eeri ee rism ri sm is th the e fo foun unda un dati da tion ti on of Go Good o y ye ear ar’’s ’s commitment to creating a better future for our communiities. We are proud to help The Cleveland Orchestra celebrate Blossom’s 50th anniversary season.

WWW.GOODYEAR.COM/COMMUNITY © 2018 The Goodyear Tire & Rubber Company. All rights reserved.

WELCOME TO . . .

Movie Night at Blossom than a night at the movies, with a favorite animated family feature? Especially when we add a supremely talented orchestra playing the score live just for you. This is, for sure, a night devoted to families and fun — whether you grew up with The Little Mermaid d as a long-ago story by Hans Christian Andersen or as a Disney feature-length film (or homeplaying video). Whether you loved it as a child, a parent, or grandparent. And, indeed, there will even be a person or two at Blossom tonight who have never seen it!

Cartoons and animated films have long fascinated and fueled human imaginations. From the earliest prototypes of celluloid magic, including Gertie the Dinosaurr from 1914 or Steamboat Willie in 1928 (Mickey Mouse’s onscreen debut), each generation has embraced new technologies, new storylines, and old favorites — from Snow White and the Seven Dwarfs (1937), Fantasia (1940), and Bambi ((1942) to A Hundred and One Dalmatians (1961, the first tiime around) on up to The Little Mermaid d (1989), Beauty and th he Beast (1991), The Lion King (1994), and Toy Story (1995).

An nd forward into new generations with Shrek (2001), Ice Age (200 02), The Incredibles (2004), Frozen (2013), The Lego Movie (2017), Coco (2017), and more.

(201 In recent decades, a variety of animated classics have found new life — and new audiences — in live adaptations for the Broadway stage. These productions bring added dimension (literally) and technologies, as well as the magic and wonder of live theater, singing, and effects.

Tonight, we revisit Disney’s original The Little Mermaid, d filled with fun and fantasy, music and mayhem, adventure and artistry. What better excuse to stay outdoors passt bedtime (for those modern families who may still believe in childhood d curfews), surrounded by family and friends — and entertained by storyy and song . . . with The Cleveland Orchestra!

—Eric Sellen W H AT C O U L D B E B E T T E R

With this conccert, The Cleveland Orchestra gratefully honors The Wiilliam Bingham Foundation for its generous support.

Blossom Festival 2018

Introducing the Movie: August 4

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Sarah Hicks Sarah Hicks serves as a staff conductor at the Curtis Institute of Music in Philadelphia and serves as principal conductor of the Minnesota Orchestra’s Live at Orchestra Hall, a broad-spectrum series of popular music, jazz, world music, Broadway classics, movie scores, comedy, and other genres. She is making her Cleveland Orchestra debut with this evening’s concert.

As a guest conductor, Ms. Hicks has led concerts across the United States and internationally, including engagements with the symphony orchestras of Atlanta, Chicago, Detroit, Indianapolis, Los Angeles, Philadelphia, St. Louis, San Diego, San Francisco, and Washington D.C., as well as with the Boston Pops and Cincinnati Pops. Internationally, she has led performances with the Tokyo Philharmonic, Malaysian Philharmonic, RTE Symphony, Danish Radio Symphony, Montreal Symphony, Toronto Symphony, Korea’s Prime Philharmonic (Seoul, Korea), and the Orchestra of la Teatro Fenice.

Past staff positions include serving as associate conductor of the North Carolina Symphony, associate conductor of the Richmond Symphony Orchestra, resident conductor of the Florida Philharmonic, and assistant conductor of the Philadelphia Singers. She also served as founding music director of the Hawaii Summer Symphony, which she helped create in 1991 in her hometown of Honolulu.

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Ms. Hicks’s extensive work with the Curtis Opera Studio includes performances of Poulenc’s Dialogue of the Carmelites and Handel’s Alcina. She has led the Curtis Symphony Orchestra in readings, recordings, and performances of a variety of contemporary works. Her recent recording project with the Vermont Symphony, titled Triple Doubles, features music by Richard Danielpour and David Ludwig with Jaime Laredo and Sharon Robinson on the Bridge Label. She has also conducted performances with Composers in the Shape of a Pear and the Aspen Contemporary Ensemble.

Sarah Hicks was born in Tokyo, Japan, and raised in Honolulu.

Trained on both the piano and viola, she was a prizewinning pianist by her early teens. She earned a bachelor’s degree in composition from Harvard University; her AIDS Oratorio was premiered in May of 1993. She holds an artists’ degree in conducting from the Curtis Institute of Music, where she studied with Otto-Werner Mueller. She received the Thomas Hoopes Prize for composition and the Doris Cohen Levy Prize for conducting from Harvard University, and she was the recipient of the Helen F. Whitaker Fund Scholarship and a Presser Award during her time at Curtis.

In her spare time, Ms. Hicks enjoys running, yoga, her Papillon, cooking (and eating) with her husband, traveling, and sketching.

August 4: Conductor

Blossom Music Festival

M OV I E SYN O P S I S Based on the Danish children’s tale

by Hans Christian Andersen, published April 1837

Ariel, a 16-year-old mermaid princess, is dissatisfied with life under the sea and curious about the human world above. With her best fish friend Flounder, Ariel fills a secret grotto with relics from the human world. She asks Scuttle the seagull about the world of people, but receives misleading information. Even though contact between merpeople and humans is forbidden, Ariel remains curious (“Part of Your World”). Sebastian the crab tries to convince her that life in the ocean is the best (“Under the Sea”).

One night, Ariel, Flounder and an unwilling Sebastian go topside and observe a birthday party for Prince Eric. Ariel is smitten. During a storm, the partiers escape, but Eric, in trying to rescue his dog Max, almost drowns. Ariel drags him to the beach. She sings to him, then returns to the ocean. Upon waking, Eric has vague memories of being rescued by a girl with a beautiful voice. Ariel and Eric each vow to find one another again.

Ariel is lovesick. Sebastian accidentally reveals to King Triton about Ariel’s meeting with Eric. Triton confronts Ariel in her grotto, destroying her collection of human treasures.

A pair of eels, Flotsam and Jetsam, suggest that Ariel ask Ursula the sea witch for help.

Ursula makes a deal with Ariel — to transform her into a human for three days (“Poor, Unfortunate Souls”). Within these three days, Ariel must receive the kiss of true love from Eric. If there is no kiss, Ariel will become a mermaid again and belong to Ursula. As payment, Ariel must give up her voice, which Ursula stores in a nautilus shell.

Eric and Max find Ariel on the beach. At first he believes that she is the girl who saved his life, but she cannot speak or sing, so she can’t be the one. At the palace, Ariel and Eric spend time together, and almost kiss (“Kiss the Girl”). Ursula appears onshore, calling herr self Vanessa and singing with Ariel’s voice. Eric recognizes the song and forgets about Ariel.

Eric and Ursula are to be married. Ariel learns that Vanessa is Ursula in disguise. Urr sula’s subterfuge angers Triton and he orders the ocean creatures to help. The nautilus shell around Ursula’s neck is broken, restoring Ariel’s voice — and Eric’s love for her. He rushes to kiss Ariel, but it is the end of the third day and Ariel is a mermaid again. Ursula kidnaps her.

Triton appears and confronts Ursula, but cannot destroy Ursula’s contract with Ariel.

Triton chooses to sacrifice himself for his daughter, and is transformed into an undersea polyp. Ursula takes Triton’s crown and trident, but Eric commandeers a shipwreck and mortally wounds Ursula, breaking her spells and restoring Triton’s powers. Triton, understanding the nature of their true love, transforms Ariel into a human, so that she and Eric can marry — bringing peace and happiness between the merpeople and humanity.

Blossom Music Festival

Synopsis: The Little Mermaid

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THE

CLEVELAND ORCHESTRA

its Centennial Season in 2017-18 and across 2018, The Cleveland Orchestra begins its Second Century hailed as one of the very best orchestras on the planet, noted for its musical excellence and for its devotion and service to the community it calls home. The coming season will mark the ensemble’s seventeenth year under the direction of Franz Welser-Möst, one of today’s most acclaimed musical leaders. Working together, the Orchestra and its board of trustees, staff, volunteers, and hometown have affirmed a set of community-inspired goals for the 21st century — to continue the Orchestra’s legendary command of musical excellence while focusing new efforts and resources toward fully serving its hometown community throughout Northeast Ohio. The promise of continuing extraordinary concert experiences, engaging music education programs, and innovative technologies offers future generations dynamic access to the best symphonic entertainment possible anywhere.

The Cleveland Orchestra divides its time across concert seasons at home — in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and intensive performance residencies.

These include a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Lucerne Festival, in New York, at Indiana University, and in Miami, Florida.

Musical Excellence. The Cleveland Orchestra has long been committed to the pursuit of 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 at home and on tour across the globe, and through recordings and broadcasts. Its longstanding chamEach year since 1989, The Cleveland Orchestra has presented a free concert in downtown pionship of new composers and commissioning of Cleveland, with this summer’s on July 6 as new works helps audiences experience music as a the ensemble’s official 100th Birthday bash. living language that grows with each new generaNearly 3 million people have experienced the Orchestra through these free performances. tion. 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 none in the world.

Serving the Community. Programs for students and engaging musical exPHOTO BY ROGER MASTROIANNI

WITH CE LE BRATION S THROUGHOUT

Blossom Festival 2018

The Cleveland Orchestra

27

plorations 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, designed to bring the OrchesFranz Welser-Möst tra 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 attendees now comprised of concertgoers age 25 and under — as the Orchestra now boasts one of

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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 its extraordinary tradition of excellence onstage, in the classroom, and for the

The Cleveland Orchestra

2018 Blossom Festival

community.

Evolving Greatness. The Cleveland Orchestra was founded in 1918.

Over the ensuing decades, the ensemble quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world.

Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 1933-43; Erich Leinsdorf, 194346; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 19842002; and Franz Welser-Möst, 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 2018

5,500+

employees

1,600+

volunteers

750+ 80+

locations

70+

therapy dogs

1

The Cleveland Orchestra

doctors and nurses

and just 1 focus: kids.

As northern Ohio’s largest pediatric healthcare provider, everything we do revolves around our patients.

Learn more at akronchildrens.org.

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2 O 1 8 B LO S S O M M U S I C F E S T I VA L

S AR Y E6 8 - 2 O 1 8 19

THE CLEVELAND ORCHESTRA

Franz Welser-Möst M U S I C D I R E C TO R

CELLOS Mark Kosower*

Kelvin Smith Family Chair

SECOND VIOLINS Stephen Rose * 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

Katherine Bormann Analisé Denise Kukelhan

Alfred M. and Clara T. Rankin Chair

Emilio Llinás 2 James and Donna Reid Chair

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

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

Yun-Ting Lee Jiah Chung Chapdelaine VIOLAS Wesley Collins* Chaillé H. and Richard B. Tullis Chair

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

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Richard and Nancy Sneed Chair

Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

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The Cleveland Orchestra

Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

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

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair This roster lists the fulltime members of The Cleveland Orchestra.

The number and seating of musicians onstage varies depending on the piece being performed.

Blossom Music Festival

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

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

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

OBOES Frank Rosenwein * Edith S. Taplin Chair

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

Robert Walters ENGLISH HORN Robert Walters Samuel C. and Bernette K. Jaffe Chair

CLARINETS Afendi Yusuf * Robert Marcellus Chair

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

Daniel McKelway 2 Robert R. and Vilma L. Kohn 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

HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

Hans Clebsch Richard King Alan DeMattia

PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman 2 James P. and Dolores D. Storer Chair

Michael Miller CORNETS Michael Sachs * Mary Elizabeth and G. Robert Klein Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller

Michael Miller

ENDOWED CHAIRS CURRENTLY UNOCCUPIED

TROMBONES Massimo La Rosa *

Sidney and Doris Dworkin Chair Sunshine Chair George Szell Memorial Chair

Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel

2

BASS TROMBONE Thomas Klaber

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal

EUPHONIUM AND BASS TRUMPET Richard Stout

CONDUCTORS Christoph von Dohnányi

TUBA Yasuhito Sugiyama*

Vinay Parameswaran

Nathalie C. Spence and Nathalie S. Boswell Chair

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

MUSIC DIRECTOR LAUREATE ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

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

The Cleveland Orchestra

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Michael Francis British conductor Michael Francis is music director of the Florida Orchestra and of San Diego’s Mainly Mozart Festival. In addition, he regularly appears as guest conductor throughout Europe, Asia, and North America. He made his Cleveland Orchestra debut in July 2015.

Mr. Francis was trained on the string bass, and played as a member of the bass section in the European Union Youth Orchestra before graduating from the Cardiff University School of Music.

After several years as a tenured bass player in the London Symphony Orchestra, he launched a new career in January 2007, stepping in to conduct concerts for Valery Gergiev. One month later, and again on short notice, he stood in for John Adams in a program of Adams’s works. In January 2009, Michael Francis substituted for André Previn to lead the Stuttgart Radio Symphony with AnneSophie Mutter as soloist. He subsequently served as chief conductor and artistic advisor of the Norrköping Symphony Orchestra (2012-16) before being named music director of the Florida Orch-

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estra beginning in 2015.

Recent and upcoming engagements include leading performances with the orchestras of New York, Cincinnati, Houston, Atlanta, and Pittsburgh, as well as the symphonies of Montreal, Toronto and Ottawa. His European engagements have included the Dresden Philharmonic, MDR Leipzig, Deutsche Staatsphilharmonie Rheinland-Pfalz, Helsinki Philharmonic, Orquesta Sinfónica de RTVE Madrid, and Mariinsky Orchestra. In Great Britain, he has worked with London’s Royal Philharmonic and the London Symphony Orchestra, and also with the BBC Philharmonic, BBC National Orchestra of Wales, and BBC Scottish Symphony.

In Asia, he has conducted Tokyo’s NHK Symphony and the National Symphony Orchestra of Taiwan as well as the Japan Philharmonic and ensembles in Hong Kong, Malaysia, and Korea.

Michael Francis’s discography includes the Rachmaninoff piano concertos with pianist Valentina Lisitsa and the London Symphony Orchestra, Wolfgang Rihm’s Lichtes Spiel with Anne-Sophie Mutter and the New York Philharmonic, and the Ravel and Gershwin piano concertos with Ian Parker.

Mr. Francis lives near Tampa, Florida, with his wife Cindy and their daughter, Annabella.

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

August 5: Guest Conductor

Blossom Music Festival

2O18

BLOSSOM MUSIC FESTIVAL

YEARS 1968- 2O18

Sunday evening, August 5, 2018, at 7:00 p.m.

T H E CL E V E L A ND ORC H EST R A M I C H A E L F R A N C I S , conductor

BEDRICH SMETANA (1824-1884)

V

V

LEOS JANÁC EK (1854-1928)

Šárka, the Woman Warrior from Má Vlast [My Homeland] Taras Bulba, Rhapsody for Orchestra 1. Death of Andrij 2. Death of Ostap 3. Prophesy and Death of Taras Bulba

INTER MISSION V

ANTONÍN DVOR ÁK (1841-1904)

Symphony No. 7 in D minor, Opus 70 1.

2.

3.

4.

Allegro maestoso Poco adagio Scherzo: Vivace — Poco meno mosso — Trio Finale: Allegro

This concert is sponsored by Great Lakes Brewing Company.

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

201 8 B lossom Season S ponsor: T h e J . M . S m u c k e r C o m p a n y

50 th Anniversar y Sponsor: T h e G o o d y e a r T i r e & R u b b e r C o m p a n y

Blossom Music Festival

Concert Program: August 5

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Blossom SEPT. 22, 2018 H O N O R A RY C H A I R S:

ROE GREEN | LINDA MCDONALD | RICHARD AND MICHELLE WORTHING

Join us for an evening filled with art, musical theatre and chamber music to commemorate 50 years of the Kent Blossom legacy, which has touched the lives of over 100,000 students and audience members.

Our evening will include live entertainment by: Alice Ripley Tony Award-winning actress, singing your favorite Broadway tunes.

David Shifrin Grammy-nominated clarinetist, performing a program of 20th century music.

Philip Pearlstein Influential modernist and realism figure painter, exhibiting his works.

Sponsorships and tickets are available at WWW.KENT.EDU/ARTSCOLLEGE/BLOSSOMING-GALA For information, call 330-672-2760.

Silent and live auction Proceeds will go toward scholarships for the 2019 season of

PORTHOUSE THEATRE | KENT BLOSSOM MUSIC FESTIVAL | KENT BLOSSOM ART INTENSIVES

Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University is committed to attaining excellence through the recruitment and retention of a diverse student body and workforce. 18-SUCCESS-00453-237

INTRODUCING THE CONCERT

Symphonyy, Story&Home T H I S E V E N I N G ’ S C O N C E R T brings us music from the eastern side

of Central Europe — from what was once known as Bohemia and is today nestled across the cities, meadows, rivers, forests, and mountains of the Czech Republic. Three composers’ works carry our ears between the late 19th and early 20th centuries in Bohemian melody, rhythm, and styling.

The night begins with a less-often-played movement from Bedřich Smetana’s big orchestral tribute to his homeland, Má Vlast. Here we experience Šárka, the Woman Warrior.r This is the third of Smetana’s six tone poems in Má Vlast, t portraying one of Bohemia’s greatest historical heroes — who took revenge on her enemies through knowhow, trickery, and strength.

The music is both beautiful and brutal in turn.

Guest conductor Michael Francis continues the evening with a “rhapsody for orchestra” by Leoš Janáček. Written in 1915-18, Taras Bulba portrays three big moments in the life of a Russian-Cossack warrior (in Janáček’s mind a heroic figure in a larger pan-Slavic movement for national identity). This is music of power, poignancy, and passionate intensity.

Antonín Dvořák’s Seventh Symphony from 1885 is a much-acclaimed masterpiece too often overshadowed by its more popular (at least in America) “New World” sibling (No. 9). The Seventh is an emotional work, filled with craft and artistry, and beguiling rhythms and melodic lines. It clearly demonstrates Dvořák’s mastery of classical form and Germanic musical ideals, while at the same time being heightened by ideas from his Bohemian background and understanding. In this music, there is no story — merely a masterful rendition of form built for pleasure and effect.

—Eric Sellen ABOVE : Something about the number 4. Stamps issued in 1954 by Czechoslovakia to mark the 50th anniversary of Dvořák’s death, the 100th anniversary of Janáček’s birth, and for Smetana’s 130th birthday and 80 years since his death.

Blossom Music Festival

August 5: Introducing the Concert

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Šárka: The Woman Warrior No. 3 from Má Vlast [“My Homeland”] composed 1874-75 S M E T A N A W R O T E the six parts of his symphonic cycle Má

by

%HGŐLFK

SMETANA born March 2, 1824 Litomyšl, Bohemia died May 12, 1884 Prague

The Cleveland Orchestra

Vlast (“My Country” or “My Homeland”) just as he reached the age of fifty, when fame and fortune were knocking regularly on his door. And just when sudden deafness created a nearly irreconcilable gulf between himself and the everyday world around him. These tone poems were, perhaps in part, a way for the composer to recapture and hold onto the sounds of the life bustling about him — encapsulating in music the joy and emotion in life and living.

Smetana originally conceived the cycle as a four-part symphony that would extol the glories of his native Bohemia and its Czech people. Only after the initial success of its opening movements, each premiered separately, did he decide to “complete” the work by adding two final sections. The entire series was first performed together as a cycle on November 5, 1882.

Since 1952, it has been the traditional opening concert for the “Prague Spring Festival,” performed annually on the anniversary of Smetana’s death each May 12th.

As with Beethoven, Smetana’s deafness did not end his creative efforts — most of Má Vlast was penned in newfound silence. But whereas Beethoven’s hearing faded gradually over a number of years, and left him with small amounts of aural sensation, Smetana’s came on later in life, very suddenly, and quite completely. Deafness, in fact, removed him so quickly and entirely from the world he knew that only music kept him sane — and only for a while. His deafness was caused by untreated syphilis.

Later compounded by stroke, Smetana’s mind shredded more than almost any other composer’s — ending his life like Robert Schumann, who also died in an asylum three decades earlier.

Smetana never really knew what to call Má Vlast — the overall title was probably suggested by his publisher. Nor was he quite certain what he was writing — a symphony? a series of tone poems? memories in music, of what his world sounded like outside his head? In a matter of weeks, from mid-summer into September 1874, Smetana’s hearing gave way suddenly and completely. Of necessity, he was forced to resign his administrative and conducting duties at the opera house in Prague.

In his newfound silence, Smetana began heated work August 5: About the Music

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At a Glance Smetana first talked about writing a musical work depicting the river Moldau in 1867. Five years later, he made some sketches related to two “symphonic poems,” one about the river and one about the fortress Vyšehrad.

He completed these two in 1874, after suffering profound hearing loss that summer. He wrote Šárka in early 1875, and the fourth poem, From Bohemia’s Forests and Fields, later that year.

Each piece was premiered separately in Prague, with Šárka making its debut in March 1877. Smetana wrote the final two movements of the cycle in 1878-79; they were then premiered in 1880. The entire cycle was first performed together on November 5, 1882.

The third movement, Šárka, runs about 10 minutes in performance. Smetana scored it for an orchestra of 3 flutes (third doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (triangle, cymbals), 2 harps, and strings.

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on the symphonic poems he had already been contemplating, completing sketches for the first two movements, about his homeland’s greatest fortress (Vyšehrad) and Bohemia’s beloved national river (The Moldau) in the autumn of 1874.

In January 1875, he continued with Šárka, a story about a great woman warrior in Czech history, which he finished by the end of February. He was intending, at that point, to create a four-part cycle of poems not unlike a traditional four-movement symphony, with the fourth depicting “Czech life in song and dance.” Eventually, he decided to add two more, for a total of six symphonic poems about his homeland.

Separately, or in varied groupings, or as an entire cycle of connected and intertwined symphonic poems, Smetana’s music is inspired and inspiring.

Part Three: ŠÁRKA, THE WOMAN WARRIOR

For this tone poem, Smetana took a story from Czech history. The composer wrote: “This tone poem does not depict a landscape, but a story — the saga of the maid Šárka. Deceived in love, she swears revenge against all men. From the distance comes the sounds of arms. It is Ctirad with his knights, marching to overcome and chastise the warlike maiden. From afar, he hears the wails of a maid and sees Šárka bound to a tree. He is enflamed with passion and frees her. With a prepared drink, Šárka intoxicates Ctirad and his knights, who then fall into a deep slumber. At a horn signal, repeated from afar, Šárka’s female companions swarm from the forest and a blood bath ensues. The piece is closed by a gruesome slaughter and the blind rage of Šárka slaking her lust for revenge.”

The programmatic writing and larger-than-life nature of Šárka’s story make this tone poem feel like ancient Greek drama (or modern-day suspense film). It opens big with overwrought outbursts, then lulls us unsuspectingly with sentimental feelings and lilting dance steps. We are then jolted awake by Šárka’s trickery and the resulting blood-mad slaughter, bringing these three movements to a forceful ending.

—Eric Sellen © 2018

August 5: About the Music

The Cleveland Orchestra

Taras Bulba, Rhapsody for Orchestra composed 1915-18

by

Leoš

JANÁþEK born July 3, 1854 Hukvaldy, Moravia died August 12, 1928 Ostrava, Czechoslovakia

Blossom Music Festival

L E O Š J A N Á þ E K was thirteen years Dvořák’s junior, and the two were united by an interest in folk idioms and musical naturalism, not to mention their rural backgrounds. Yet political reality and instability made it difficult for Janáček to cling to his identity as a Moravian. The “National Revival,” which hoped to create a distinctive place for Czechs within the Germanic Hapsburg Empire, grew gradually into a pan-Slavic movement favoring independence.

Already by the 1870s, Janáček was looking eastward for Slavic validation. He became a fervent Russophile, changing his name to Lev and giving Russian names to both his children. Russian literature, too, became a focus. His late operas Káta Kabanová and The House of the Dead, as well as the string quartet Kreutzer Sonata and the “Slavonic Rhapsody” Taras Bulba, all found inspiration in 19th-century Russian literature — a Russia that also had little to do with reality. The First World War, in which Czech soldiers fought against Russia on behalf of the Hapsburgs, intensified Janáček’s belief in a pan-Slavic movement that could liberate his homelands from the “Germans” he so detested.

Janáček began his work on Taras Bulba, to a novella by Nikolai Gogol, in 1915, revising it three years later when the end of war and an independent Czech state were finally in sight. The setbacks of the Russian army aside, Janáček understood the protagonist — a 16th-century Cossack captain on a crusade against Poland — as a prophet for the Slavic cause. “There is no fire nor suffering in the whole world which could break the strength of the Russian people,” he wrote.

Just as in Gogol’s story, Janáček’s music manages to elicit sympathy for the warrior’s cause despite his ruthless actions.

The opening tableau portrays the fate of Taras’s younger son, Andrij, killed on the battlefield by his own father after trying to rescue a woman with whom he once fell in love in Kiev. Taras’s second son, Ostap, is captured, tortured, and publicly executed in Warsaw. When Taras avenges himself, he is also seized and condemned to death at the stake. Just before he dies, he calls out to the fleeing Cossacks about how they can save themselves.

Janáček’s symphonic work is driven by short motivic elements that coalesce into a mosaic-like but dramatically transparent structure. In “The Death of Andrij,” a longing english

About the Music: August 5

39

At a Glance Janáček composed his orr chestral rhapsody Taras Bulba between 1915 and 1918, although he had sketched some themes as early as 1905. The completed work was first performed on October 9, 1921, in the Czech city of Brno, with František Neumann conducting the Orchestra of the National Theater. The score was first published in 1927 in Prague.

A new score was published in 1980 as part of the critical edition of Janáček’s complete works.

This work runs just under 25 minutes in performance.

Janáček scored it for 3 flutes and piccolo, 3 oboes and english horn, 2 clarinets and e-flat clarinet, 3 bassoons and contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (chimes, triangle, snare drum, suspended cymbal), harp, organ, and strings.

The Cleveland Orchestra first performed music from Janáček’s Taras Bulba when Robert Shaw led perforr mances of the final movement in November 1958. The Orchestra’s first complete performance was presented in 1968. The most recent perr formances were in October 2013.

horn melody represents his vision of the beautiful woman, while tolling bells and the redemptive chords of an organ depict — according to the composer — the prayers and anguish of the besieged. Ominous woodwind triplets suggest Andrij’s emotions as he wanders among the town’s starving inhabitants, while an impassioned oboe solo, echoed in the low strings, describes his love scene. A sense of urgency carries through the orchestra until militant trumpets and trombones announce Taras’s assault.

The second movement, “The Death of Ostap,” enters with an ethereal timbre of flute, clarinet, and arpeggiated harp. A menacing, galloping motif emerges in the cellos and is tossed throughout the orchestra before becoming the bass line for a folk-like tune in the clarinets. The dance that ensues, ushered in by the oboe, is a Polish mazur,r representing the jubilant victory of Ostrap’s enemy. It is recurrently interrupted by brooding attacks in the horns, which send the violins scampering away.

“The Prophesy and Death of Taras Bulba” builds ominously into another Polish dance, the krakowiak, k with melodic foreshadowing in minor mode by the winds and the strings. In a sudden Presto section, the dance breaks out into major, celebrating the capture of the protagonist. Taras’s dying vision for Russia emerges as the organ opens the way into eternity, with majestic octaves in the brass and a return of the tolling bells from the first movement that give way to a rapturous string melody.

—Rebecca Schmid © 2018

A poster for a romanticized 1962 epic movie, loosely based on Gogol’s novel Taras Bulba, starring Yul Brynner as Taras and Tony Curtis as his son.

40

August 5: About the Music

The Cleveland Orchestra

Symphony No. 7 in D minor, Opus 70 composed 1884-85 W H E N D V O ŏ Á K embarked on his Seventh Symphony, in 1884,

by

Antonín

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

Blossom Music Festival

only three of the previous six symphonies had been performed and only one had been published. Yet, even if his early works were to remain in obscurity for many years yet, he had reached a point of celebrity where each new piece was performed and published at once — not just in his home city of Prague, but also in Germany and England.

Dvořák’s career breakthrough occurred in 1877, when Johannes Brahms and Eduard Hanslick (Vienna’s leading music critic) told Dvořák that his talent deserved to be spread abroad, not just in the Czech lands. Hanslick, who himself came from Prague, regarded Bohemia as a backwater, while Germany (and Vienna) was the true platform for modern music. Brahms introduced Dvořák to his Berlin publisher, Simrock, who accepted this new composer’s works — but in print translated the Czech firstname Antonín to a plainer Germanic Anton.

For Dvořák, the celebrity of success in Germany was a powerful stimulus, and his style became accordingly more personal and original. From Germany, his fame spread to England, and eventually to the New World (while other Czech composers, notably Smetana, remained little known outside their own borders). At the same time, Dvořák felt ever more strongly that he belonged to his homeland, producing a tension that distressed him for years, most notably during his time in New York (189295), when the nostalgia in his music is most marked. Urged to write operas in German, he insisted on setting Czech librettos.

His Slavonic Dances, imbued with the essence of musical Czechness, flowed from his pen and found their way onto every German and English piano.

The Sixth Symphony, of 1880, in D major, revealed the benefits of Dvořák’s new cosmopolitan status, for the influence of Brahms’s Second Symphony, also in D major, is clear in a work otherwise full of Czech character and an independent approach to structure. When this work was performed in London in 1884, the Philharmonic Society were so impressed that they asked Dvořák for a new symphony. He responded at once by creating the Seventh. He chose a key, D minor, fraught with potential danger (or at least nerves) because of the iconic shadow of Beethoven’s Ninth Symphony, written in that key.

About the Music: August 5

41

At a Glance Dvořák composed this symphony between December 13, 1884, and March 17, 1885, on a commission from the Philharmonic Society of London (later the Royal Philharmonic Society). It was first performed on April 22, 1885, at St. James Hall in London at one of the Society’s concerts, with Dvořák conducting.

This symphony was originally known as “Symphony No. 2,” designated with that number as the second of Dvořák’s symphonies to be published.

The symphonies were renumbered in chronological order in the 1950s as part of the publication of the critical edition of the composer’s works.

This symphony runs about 40 minutes in performance. Dvořák scored it for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, and strings.

The Cleveland Orchestra first performed this symphony in October 1940 under the direction of Artur Rodzinski. The Orchestra’s most recent performances were in February 2016 at Severance Hall, conducted

by Herbert Blomstedt.

42

Dvořák disregarded the imagined threat of “writing too much like Beethoven,” however, and looked instead to Brahms’s Third Symphony in F, which he knew from a meeting in October 1883 when Brahms played him the first and last movements on the piano, and from an orchestral performance in Berlin in January 1884, which impressed him greatly.

In February 1885, Dvořák wrote to his publisher: “I have been engaged on the new symphony for a long, long time; after all it must be something really worthwhile, for I don’t want Brahms to say to me ‘I imagine your symphony to be quite different from your last one’ and be proved wrong.”

Dvořák’s visit to London in 1885 was an enormous success, leading to more commissions — although the press considered the new symphony inferior to the previous one. Posterity has taken the opposite view, with many awarding the Seventh top prize among his nine symphonies, a view with which Dvořák himself seems to have agreed when he accepted a much lower fee from his publisher for the “New World” Symphony (No. 9) than for the Seventh.

THE MUSIC

The “New World” may be the more popular, but the Seventh has an unequaled potency and drive. All four movements are permeated with Dvořák’s personality, rich in melody, bold in harmony, and satisfying both in parts and as a whole.

The first movement’s opening theme, whispered by violas and cellos, is decidedly melancholy, with its emphasis on the flatness of the minor key. It was supposedly suggested to the composer when he witnessed the arrival of a trainload of Hungarian nationalists visiting Prague for a National Theater Festival. Later themes are much more likely to induce a smile, for example a beautiful entry for a solo horn near the beginning, and the main second subject presented by flute and clarinet, perhaps a lilting version of a theme from Brahms’s Second Piano Concerto. The movement eventually reaches a tremendous climax, but the ending is subdued and desolate.

A hymn-like melody for winds opens the slow second movement, a declaration of innocence that is quickly elaborated into something more searching, even sinister, as low trombones support some mysterious chords. This is a clear nod towards a similar passage in Brahms’s Third. The opening melody reappears at the end, but its simple tone is the very opposite of the

August 5: About the Music

Blossom Festival 2018

intensity that drives the rest of the movement.

Relaxation after intensity is the goal of the Scherzo third movement, alive with an irresistible Czech lilt and the subtle cross-rhythms of the Slavonic Dances. The key of D minor is hammered home, while the movement’s Trio section offers a change of key and a soft, delicate texture throughout. Eventually the dance returns, and its final notes seem to proclaim the first notes of the finale fourth movement: these are rising octave A’s landing on a tense G-sharp, a gesture that colors the whole movement despite the profusion of other themes and ideas. One of the greatest is a tune for the cellos, perhaps another homage to Brahms, this time a lovely cello melody in the finale of his Second Symphony.

Dvořák’s finale is long and complex, and although its ending chords are unequivocally major, the minor key dominates much of the action, leaving the listener drained as if some mighty force has passed through. The great British critic Donald Tovey had no hesitation in setting this symphony, along with Schubert’s “Great” C-major Symphony and the four symphonies of Brahms as “among the greatest and purest examples in this art-form since Beethoven.”

—Hugh Macdonald © 2018

The Cleveland Orchestra

About the Music: August 5

43

BLOSSOM

by Senator LaRose Honoring The Cleveland Orchestra on the Fiftieth Anniversary of Blossom Music Center.

WHEREAS, The members of the Senate of the 132nd General Assembly of Ohio are pleased to congratulate The Cleveland Orchestra on the auspicious occasion of the Fiftieth Anniversary of its summer home, Blossom Music Center; and

:+(5($6 5HFRJQLWLRQ RI WKLV SUHVWLJLRXV PLOHVWRQH LV D ¿WWLQJ WULEXWH WR %ORVVRP 0XVLF &HQWHU IRU WKLV ¿QH IDFLOLW\ KDV DFKLHYHG D SUDLVHZRUWK\ UHFRUG RI VHUYLFH WR &X\DKRJD )DOOV the surrounding area, and all of Ohio. Opened in 1968 and named for the Dudley S. Blossom IDPLO\ WKH KLVWRULF ODQGPDUN KDV EHFRPH D MHZHO RI WKH FRPPXQLW\ VHUYLQJ DV KRVW WR D ZLGH YDULHW\ RI PXVLFDO FRQFHUWV ² RUFKHVWUDO URFN MD]] PRWRZQ UDS FRXQWU\ FRPHG\ DQG PRUH ² DQG VHUYHV RYHU YLVLWRUV HDFK \HDU 7KH FHQWHU LV WUXO\ ZRUWK\ RI DFNQRZOHGJHPHQW for it has enhanced the quality of life in our society by celebrating the beauty of live musical performances; and WHEREAS, The arts are invaluable for the development of the human spirit and provide D FRPPRQ JURXQG IRU DOO SHRSOH QHYHU FHDVLQJ WR UHQHZ HGXFDWH HQULFK DQG LOOXPLQDWH :H DUH FHUWDLQ WKDW DV %ORVVRP 0XVLF &HQWHU FRQWLQXHV WR EH GHGLFDWHG WR WKH DUWV LW ZLOO FRQWLQXH LQ WKH tradition of excellence that has long been its hallmark; and

:+(5($6 $OO WKRVH DVVRFLDWHG ZLWK WKLV H[HPSODU\ IDFLOLW\ RYHU WKH \HDUV DUH WR EH DSSODXGHG IRU WKHLU IRUHVLJKW GHGLFDWLRQ DQG VHOÀHVV GRQDWLRQV RI WLPH HQHUJ\ DQG DELOLW\ IDU EH\RQG ZKDW ZDV UHTXLUHG RU H[SHFWHG ,QGHHG WKH\ KDYH JDLQHG WKH HVWHHP DQG DGPLUDWLRQ RI many and have set an example of concerned and responsible citizenship in upholding the traditions that have shaped a half century of entertainment in the region; therefore be it

5(62/9(' 7KDW ZH WKH PHPEHUV RI WKH 6HQDWH RI WKH QG *HQHUDO $VVHPEO\ RI 2KLR in adopting this Resolution, commend The Cleveland Orchestra and Blossom Music Center on WKH )LIWLHWK $QQLYHUVDU\ RI WKLV JUHDW VXPPHU DUWV SDUN DQG ORRN ZLWK RSWLPLVP WR WKH IXWXUH DQG be it further RESOLVED, That the Clerk of the Senate transmit a duly authenticated copy of this Resolution to The Cleveland Orchestra.

, 9LQFHQW / .HHUDQ KHUHE\ FHUWLI\ WKDW WKH DERYH LV D WUXH DQG FRUUHFW FRS\ RI 6HQDWH Resolution Number 643, adopted by the Ohio Senate, July 5, 2018.

9LQFHQW / .HHUDQ Clerk of the Senate

Senator Larry Obhof President of the Senate

Senator Frank LaRose Senatorial District No. 27

1 9 18 -2 O1 8

Y E A R S

THE CLEVELAND ORCHESTRA

Second Century Celebration We are deeply grateful to the visionary philanthropy of those listed here who have given generously toward The Cleveland Orchestra’s 1OOth birthday celebrations in support of bringing to life a bold vision for an extraordinary Second Century — to inspire and transform lives through the power of music.

Presenting Sponsors

Leadership Sponsors Ruth McCormick Tankersley Charitable Trust

Sponsors

Calfee, Halter & Griswold LLP National Endowment for the Arts The Sherwin-Williams Company

Westfield Insurance KPMG LLP PwC

Global Media Sponsor

Individuals

Mr. Allen Benjamin Laurel Blossom Mr. Allen H. Ford

Robin Hitchcock Hatch Elizabeth F. McBride John C. Morley

Series and Concert Sponsors We also extend thanks to our ongoing concert and series sponsors, who make each season of concerts possible: American Greetings Corporation BakerHostetler Buyers Products Company Dollar Bank Foundation Eaton Ernst & Young LLP Forest City Frantz Ward LLP The Goodyear Tire & Rubber Company Great Lakes Brewing Company Jones Day

Hahn Loeser & Parks LLP

Hyster-Yale Materials Handling, Inc.

NACCO Industries, Inc.

KeyBank The Lincoln Electric Foundation Litigation Management, Inc. The Lubrizol Corporation Materion Corporation Medical Mutual MTD Products, Inc. North Coast Container Corp.

Ohio Savings Bank

Olympic Steel, Inc. Parker Hannifin Foundation PNC Bank Quality Electrodynamics (QED) RPM International Inc. The J. M. Smucker Company Squire Patton Boggs (US) LLP The Sherwin-Williams Company Thompson Hine LLP Tucker Ellis LLP

The Cleveland Orchestra

Second Century Sponsors

45

your performance will stick with us forever.

The arts serve as a source of inspiration for us all. That’s why PNC is proud to sponsor The Cleveland Orchestra.

Š2018 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC

2O18

BLOSSOM MUSIC FESTIVAL

YEARS 1968- 2O18

Saturday evening, August 11, 2018, at 8:00 p.m.

T H E CL E V E L A ND ORC H EST R A VA S I LY P E T R E N KO , conductor

ANATOL LIADOV (1855-1914)

SERGEI RACHMANINOFF (1873-1943)

Baba-Yaga, Opus 56 Rhapsody on a Theme of Paganini, Opus 43

(theme and twenty-four variations for piano and orchestra) SIMON TRPĂžESKI, piano

INTER MISSION SERGEI PROKOFIEV (1891-1953)

Symphony No. 5 LQ % Ă DW PDMRU 2SXV 1.

2.

3.

4.

Andante Allegro marcato Adagio Allegro giocoso

This concert is sponsored by PNC, a Cleveland Orchestra Parnter in Excellence.

This concert is dedicated in memory of Mrs. Jean H. Taber (1922-2017) in recognition of her longtime love of and generous support for The Cleveland Orchestra.

This concert is dedicated to Paul and Suzanne Westlake in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

201 8 B lossom Season S ponsor: T h e J . M . S m u c k e r C o m p a n y

50 th Anniversar y Sponsor: T h e G o o d y e a r T i r e & R u b b e r C o m p a n y

Blossom Festival 2018

Concert Program: August 11

47

Vasily Petrenko

6LPRQ 7USÿHVNL

Russian conductor Vasily Petrenko is chief conductor of the Royal Liverpool Philharmonic Orchestra, Oslo Philharmonic Orchestra, and the European Union Youth Orchestra, and principal guest conductor of the State Academic Symphony Orchestra of Russia. He made his Cleveland Orchestra debut in July 2017 at Blossom.

Mr. Petrenko began his education at the St. Petersburg Capella Boys Music School. He subsequently studied at the St. Petersburg Conservatory. Following recognition in several international conducting competitions, in 2004 he was appointed chief conductor of the St. Petersburg State Academic Symphony Orchestra. He has also served as principal conductor of the National Youth Orchestra of Great Britain, and as a principal guest conductor with the Mikhailovsky Theater, where he began his career as resident conductor.

As a guest conductor, Vasily Petrenko has appeared with a variety of orchestras and opera companies across Europe and North America. Mr. Petrenko was named Young Artist of the Year at the 2007 Gramophone Awards, and Male Artist of the Year at the 2010 Classical Brit Awards. For more information, please visit vasilypetrenkomusic.com.

Macedonian pianist Simon Trpčeski is a frequent guest soloist with major orchestras across Europe, Russia, Scandinavia, the United Kingdom, and North America.

He also regularly performs as a recitalist in music capitals around the world. He made his Cleveland Orchestra debut in July 2009.

Simon Trpčeski began studying piano at age nine. He is a 2002 graduate of the University of St. Cyril and St. Methodius in Skopje, where he worked with Boris Romanov. Mr. Trpčeski has won prizes in international piano competitions in the Czech Republic, Italy, and United Kingdom.

He was a member of the BBC New Generation, 2001-03. In 2009, he received the Presidential Order of Merit of Macedonia and, two years later, was named the first National Artist of the Republic of Macedonia. Mr. Trpčeski’s discography includes recordings of all four of Rachmaninoff’s piano concertos and Rhapsody on a Theme of Paganini with Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra, on the Avie label. His solo recital albums have also received praise on EMI Avie.

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

48

August 11: Guest Artists

2018 Blossom Festival

INTRODUCING THE CONCERT

Russian Manners & Methods T H I S E V E N I N G ’ S M U S I C A L P R O G R A M features three Russian works written in the first half of the 20th century. Together, they build on and showcase the distinctive nationalist school of Russian classical music that was, quite literally, invented in the 1800s, as Russia yearned to be accepted as a major European power — not just militarily but in the arts, culture, and economically. (Some themes in world politics have a habit of being repeated at regular intervals.)

The night begins with a short but compelling work by Anatol Liadov, completed in 1904 (after more than a decade of gestation). This portrait of a fantastical Russian witch-like figure (of mischief and merriment) demonstrates how Baba-Yaga bedevils children and adults alike. Liadov’s tone poem clearly inspired the music for many a Hollywood witch, including the woodwind shrieks and trombone glissandos for the Wicked Witch of the West in The Wizard of Oz. Next comes the mesmerizing melodies and inventive variations of Rachmaninoff’s Rhapsody on a Theme of Paganini, given its world premiere in 1934 in Baltimore, Maryland (by the Philadelphia Orchestra). This magnificent piano concerto was a reawakening of sorts for Rachmaninoff, after many years of fallowness in writing and busyness as a performer. Its twenty-four variations offer pleasing variety — and sheer beauty and bliss. Our soloist is Macedonian pianist Simon Trpčeski.

To round out the concert, guest conductor Vasily Petrenko leads The Cleveland Orchestra in Prokofiev’s towering Fifth Symphony. Completed in 1944 in the midst of World War II, this work was fully embraced

by Soviet government officials — and the public — for its approachable lyricism and big-themed triumphant ending. With it, Prokofiev was at the height of his fame as a Soviet composer, sharing an uplifting message of humanity and happiness. (Shortly after its premiere, he suffered a stroke, which limited his activities and composing for the remaining eight years of his life.)

—Eric Sellen

The Cleveland Orchestra

August 11: Introducing the Concert

49

Baba-Yaga, tone poem on a Russian tale, Opus 56 composed 1891-1904 W I T H H I S T H R E E T O N E P O E M S — Baba-Yaga, Kikimora, and

by

Anatol

LIADOV born May 11, 1855 St. Petersburg died August 28, 1914 Polynovka, Novgorod Russia

At a Glance Liadov completed his tone poem Baba-Yaga in 1904, after more than ten years of slow work and contemplation. It was premiered on January 17, 1905, in St. Petersburg.

This tone poem runs not even 5 minutes in performance. Liadov scored it for 2 flutes, 2 oboes, english horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, xylophone), and strings.

Blossom Festival 2018

The Enchanted Lake — Liadov holds a small but special place in the concert repertoire, with his unmistakably Russian style linking him to the nationalist composers from the previous generation.

As the son of the conductor of St. Petersburg’s Mariinsky Theater, and with an obvious natural talent, his career as a composer was assured. He married a lady of wealth, too, so he had little incentive to overcome an ingrained indolence which was as much a typical feature of real and fictional characters in 19th-century Russia as its opposite: the tireless hyperproduction exhibited by such men as Tolstoy and Tchaikovsky.

Another unstoppable producer was Liadov’s teacher, Rimsky-Korsakov, who followed his fellow-nationalists in developing a distinctly Russian style, but departed from them in cultivating a highly-sophisticated technique that he passed on to his pupils.

Liadov’s music therefore displays the brilliant orchestration and colorful harmony that carried over into the 20th century through Stravinsky, another pupil of Rimsky-Korsakov. (Liadov’s name is forever linked to Stravinsky’s as an anecdotal footnote, having dithered away his opportunity to write the ballet score to The Firebird; when asked how he was progressing, Liadov is said to have replied: “It’s nearly ready. I’ve bought the music paper.”

Stravinsky was soon asked to take over the project.)

Apocryphal or not, this tale fits with the image of a genial, comfortable, lazy composer of great skill, who preferred to write short pieces — songs and piano pieces — over longer ones. In Baba-Yaga, he evoked the frightening witch-figure of Russian folklore (also represented in Mussorgsky’s Pictures at an Exhibition). Liadov’s note on the score fills in some details: “Baba-Yaga went out into the courtyard and whistled. In front of her there appeared a pestle and mortar, and a broom. Baba-Yaga sat down in the mortar and propelled herself away with the pestle, erasing her tracks with the broom. A sound was soon heard in the forest: the trees were creaking and the dry leaves cracking . . .”

He took the story from Afanasyev’s eight volumes of Popular Russian Tales, and applied whole-note scales and an array of glittering timbres to make his audience shiver. The last thing we hear is the rustling of dry leaves.

—Hugh Macdonald © 2018 About the Music: August 11

51

Rhapsody on a Theme of Paganini, Opus 43 composed 1934

by

Sergei

RACHMANINOFF born April 1, 1873 Semyonovo, Russia died March 28, 1943 Beverly Hills, California

52

S E R G E I R A C H M A N I N O F F spent much of his life wondering what he should do. Although his musical gifts were recognized and encouraged from an early age, he had many doubts and misgivings about what specialty to pursue. Even after achieving international fame, he was often quoted saying: “I have never been quite able to make up my mind as to which was my true calling — that of a composer, pianist, or conductor. I am constantly troubled by the misgiving that, in venturing into too many fields, I may have failed to make the best use of my life. In the old Russian phrase, I have ‘hunted three hares.’ Can I be sure that I have killed any one of them?”

For the world at large, Rachmaninoff had in fact pursued and bagged trophies of all three rabbits — and became one of the most famous musicians the world has ever known.

From the 1920s on, he was, first and foremost, a well-known and revered pianist, as renowned a performer as his friends Fritz Kreisler and Vladimir Horowitz.

Rachmaninoff’s annual concert tours across Europe and the United States — as many as 100 performances each year, as piano soloist and/or conductor — brought him fortune as well as fame. (He performed on six concert weekends with The Cleveland Orchestra, between 1923 and 1942.) Most of his programs included one of his own works, and often a solo encore (or two or three).

Like many artists similarly blessed with an abundance of talents, Rachmaninoff had difficulty keeping all three of his careers — pianist, conductor, composer — moving forward simultaneously. Time spent practicing or concertizing left little time to compose. And composing required a kind of peace and quiet almost impossible to find while performing on the road.

Rachmaninoff struggled with these conflicting demands all his life. After heady student days, when he had finished both of his degrees (in piano and in composition) a year early, everything seemed possible. Until his First Symphony was given a disastrous reception in 1897, causing the 23-year-old composer “wannabe’’ to give up writing new music for three years. He devoted himself instead to keyboard concert appearances, in Russia and in parts of Europe.

Such single-minded pursuit of popular approval, however,

August 11: About the Music

The Cleveland Orchestra

did not help resolve the despair Rachmaninoff felt from the First Symphony’s failure. He renewed attempts to find a cure for his depression and eventually found a doctor who, with a series of “new-fangled” treatments via hypnosis, gave him the courage to start composing again.

In 1901, he scored renewed success with the premiere of his Second Piano Concerto. And over the following decade and a half, while also busily conducting and appearing as a soloist, he found time to write some of his most enduring works — including the Second Symphony (1908), Isle of the Dead (1909), The Bells (1913), and Vespers (1915).

The Russian Revolutions of 1917, in February and October, however, diverted Rachmaninoff the composer completely off course. With his wife, Natalia, and their two daughters, he slipped out of Russia just before Christmas that year “to perform several concerts in Stockholm.” In reality, they were leaving home forever. The necessity of departing quickly — and the limitations imposed by the temporary visas they could secure — meant that they could take almost nothing beyond the clothes they were wearing (and scores he was going to perform).

By redoubling his concert commitments, Rachmaninoff quickly found that he could support his family with his own hands, quite literally.

Over the next decade, his international fame multiplied and his performances became eagerly anticipated throughout Europe and North America. And so he played and conducted, and earned quite a lot of money — and composed almost nothing.

In 1927, he finished his Fourth Piano Concerto, but it was so badly received at the premiere that he withdrew it immediately for revisions. In 1931, he completed Variations on a Theme

by Corelli for piano, which he began playing frequently in recital — but doubts about the quality of that piece lingered in his mind, and he routinely shortened it in performance anytime an audience fidgeted or coughed.

Rachmaninoff and his two daughters, Tatiana and Irina, ready for a journey out on a small power boat. The composer was fascinated by cars and boats — the faster the better! He owned a larger speedboat on Lake Lucerne in the 1930s.

COMPOSING ANEW

And yet . . . Rachmaninoff still wanted to write new music.

He wanted something new for his concerts and recitals, not just old works, mostly written in his youth, long ago, in Russia. MuBlossom Festival 2018

About the Music: August 11

53

sical ideas danced through his mind, wanting release.

For three summers in the early 1930s, Rachmaninoff tried to compose anew. He even announced his intentions publicly.

But the summers of 1932 and 1933 were largely given over to superintending his new villa on Lake Lucerne: planting trees, gardens, and vineyards; overseeing the construction of a new house; and, in 1933, racing his new speedboat (something he’d always wanted) back and forth across the lake.

The year 1934, however, proved to be fruitful for Rachmaninoff the composer. On April 12, the Steinway Company presented him with a piano. And Rachmaninoff, who did much of his composing at the keyboard, found the new instrument — constructed especially for him — to be particularly inspiring.

The summer’s work at last yielded a new composition, Rhapsody on a Theme of Paganini. The Rhapsody is, in fact, what Rachmaninoff had intended his Fourth Piano Concerto to be — summit and summation of his musical writing for piano and orchestra. The Rhapsody’s theme-and-variations structure provided him the kind of framework and structural logic that critics said was lacking in the Fourth Concerto.

THE MUSIC

NICCOLÒ

Paganini born 1782 Genoa, Italy died 1840 Nice, France

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Most obvious and most commented upon, though not necessarily most interesting, is how the piece begins — not with the usual statement of theme followed by 24 variations, but instead with the first variation coming before the theme itself (which is then fully stated by the violins). Rachmaninoff probably took his cue for this from the last movement of Beethoven’s Third Symphony, the “Eroica.” There, the movement opens with the bass line of its eventual main theme, whereas in the Rhapsody, VARIATION 1 is more of a melodic outline than a harmonic bass line.

The theme itself was published by Paganini in 1820 as the last of his Twenty-Four Caprices for Solo Violin, Opus 1. Before Rachmaninoff worked with it, Paganini, Liszt, Schumann, and, most famously, Brahms had all composed music around this theme. Indeed, Brahms’s Piano Variations, from 1863, was particularly well known and highly regarded, and might have seemed to preclude further exploitation. But Rachmaninoff thought differently — and proved himself right. (Subsequently, in the 1940s, both Boris Blacher and Witold Lutosławski also based new compositions on this same theme. In the 1990s, a number of American composers were commissioned to write August 11: About the Music

The Cleveland Orchestra

new variations to commemorate Leonard Slatkin’s years as music director of the Saint Louis Symphony Orchestra.)

Once Paganini’s original theme is stated, the rest of the Rhapsody’s variations are divided by pauses into “idea” groups of five or six: 2-6, 7-11, 12-18, and 19-24. Within these groupings, much of the music runs continuously. So subtle are some of the changes in scoring and harmony, and some variations so short, that the boundaries between them can be difficult to detect.

In VARIATION 5, the Dies Irae (“Day of Wrath”) theme is introduced. This tune fragment, taken from the Catholic church’s medieval setting for the mass for the dead, was a particular favorite of Rachmaninoff’s and one that he included in several of his major compositions. Perhaps coincidentally, it also turns out to be a near relative of the basic harmonic progression of Paganini’s original theme, and it subsequently reappears throughout much of the rest of the Rhapsody. (The appearance of the Dies Irae was used to particularly good effect in 1939, when choreographer Mikhail Fokine created a ballet to the music of Rachmaninoff’s “Paganini Rhapsody.” In the ballet, at the composer’s suggestion, the Dies Irae tune represented the devil, to whom Paganini was supposed to have traded his soul in order to gain “perfection in art.”)

Beginning with renewed momentum in VARIATION 13, the Rhapsody pushes toward the lush, romantic — and well-known — tune of VARIATION 18. This released-tension climax is adeptly prepared during VARIATION 17, which former San Francisco program annotator Michael Steinberg described as “making your way, hands along the wall, through a dark cave,” from which we suddenly emerge “into soft moonlight.” And what a magnificent moonlit night VARIATION 18 is, accompanied by Paganini’s original theme turned upside down (almost exactly). Rachmaninoff once likened music itself to “a calm moonlit night.” When he said it, he was speaking sarcastically. With the Rhapsody, however, Rachmaninoff makes it briefly possible to believe that this music is moonlight in sound — and we are momentarily bewitched.

Following a drawn-out farewell to VARIATION 18, the music accelerates and runs through increasingly animated variations.

Finally, almost suddenly, Rachmaninoff maneuvers the orchestra and piano to a deft and fitting close.

—Eric Sellen © 2018

Blossom Festival 2018

About the Music: August 11

At a Glance Rachmaninoff composed this Rhapsody between July 3 and August 24, 1934, at his house on Lake Lucerne in Switzerland. It was first performed on November 7, 1934, in Baltimore, Maryland, by the Philadelphia Orchestra, with the composer as soloist and Leopold Stokowski conducting.

This work runs about 25 minutes in performance.

Rachmaninoff scored it for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (snare drum, triangle, cymbals, bass drum, and bells), harp, and strings, in addition to the solo piano.

The Cleveland Orchestra first performed this work at a pair of subscription concerts in November 1937, with Artur Rodzinski conducting and Rachmaninoff as the soloist.

Rachmaninoff played it in Cleveland again in 1941, and the Orchestra has presented it quite frequently since that time. It was most recently performed at Severance Hall in March 2014, and most recently at Blossom in 2001.

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Symphony No. 5 LQ % Ă DW PDMRU 2SXV composed 1944

by

Sergei

PROKOFIEV born April 23, 1891 Sontsovka, Russia (now Krasnoye in Ukraine) died March 5, 1953 Moscow

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I N T H E 1 9 T H C E N T U R Y , the symphony as an artform changed, adding meaning and depth to the “occasion� of its musical statement. From being merely a musical statement (built within rules and offering variety and interest), it grew and added layers.

Physically, by adding new instruments (and more musicians) and by growing longer. But also within its music, where it expanded its emotional range. The music itself was more passionate, more heartfelt, and the symphony often came to represent a struggle between opposing forces. To an increasing extent, new symphonies were both conceived and perceived as a form of instrumental drama, with forces of “darkness,�“light,�“fate,�“longing,� etc. either explicitly or implicitly present in the music.

Beethoven led the way, taking the artfulness of Mozart and Haydn, to which he added dramatic purpose and meaning. In a word, the symphony forged forward as part of the “Romantic� movement, in which emotions were as important as the intellect. Instrumental music was not just a pleasant and moving exercise. It had to have meaning!

By the time the 20th century came around, Romanticism almost felt like a clichÊ — and many composers’ works started to sound like imitations. To offer a contrast, some turned the clock back and worked in an older style (but with modern touches).

One of the first composers to go down this path was the young Prokofiev, who in his “Classical� Symphony of 1917 adopted an 18th-century formal framework, while poking gentle fun at the entire classical tradition with modernisms.

Twenty years later, much had happened to Prokofiev (and the world) since that youthful tour de force. After years of revolution, emigration, and homecoming, the 50-year-old Prokofiev found himself in a Soviet Union that was very different from what he had bargained for when he returned to his homeland — a Soviet Union. Moreover, it was a country being ravaged

by World War II, forcing the composer to be evacuated from his home in Moscow. Prokofiev’s marriage had also recently broken up and the composer was now living with a woman many years his junior. It was under these circumstances that Prokofiev returned to symphonic form for the first time in fourteen years.

(His Symphonies Nos. 2-4, more radically “modernist� works, had been written while abroad, between 1924 and 1930.)

August 11: About the Music

The Cleveland Orchestra

It may have been, at least in part, the war experience that enabled Prokofiev to connect with the symphonic tradition of the 19th century and to embrace its more dramatic qualities. Indeed, Prokofiev’s Fifth Symphony claims especially Pyotr Tchaikovsky and Jean Sibelius as its spiritual ancestors, and even the influence of Shostakovich — Prokofiev’s younger Russian contemporary and rival — is at times felt in the music. In this Fifth Symphony, the traditional symphonic struggle ends with a complete victory, matching with the Soviet government’s artistic expectations (which for once coincided with Prokofiev’s own personal feelings).

Prokofiev himself felt that he had produced his finest work with the Fifth Symphony. He called it, in characteristic Soviet-style language, “a symphony about the human spirit,� and declared: “I wanted to sing the praises of the free and happy human being — of such a person’s strength, generosity, and purity of soul. I cannot say I chose this theme; it was born in me and had to express itself.�

Prokofiev spent the historic summer of 1944 in Ivanovo, outside Moscow, at a vacation estate run by the Soviet Composers’ Association. All the prominent Soviet composers were there, including Shostakovich, Khachaturian, and Kabalevsky. It was in that nurturing

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Blossom Festival 2018

About the Music: August 11

57

At a Glance Prokofiev completed the fifth of his seven symphonies in 1944, and conducted the Moscow State Philharmonic Orchestra in the work’s premiere on January 13, 1945.

The United States premiere took place later the same year, with Serge Koussevitzky conducting the Boston Symphony Orchestra.

This symphony runs about 45 minutes in performance. Prokofiev scored it for 2 flutes and piccolo, 2 oboes and english horn, 3 clarinets and bass clarinet, 2 bassoons and contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (triangle, cymbals, snare drum, tambourine, woodblock, bass drum, tam-tam), piano, harp, and strings.

The Cleveland Orchestra first presented Prokofiev’s Fifth Symphony in January 1947 under George Szell’s direction. It has been performed occasionally since that time, most recently at Severance Hall in February 2011 conducted by Andrey Boreyko, and in Miami in March 2012 conducted by Nicola Luisotti. It was last heard at Blossom in 2013, led

by Kirill Karabits.

58

environment — under day-to-day conditions significantly better than those prevailing in the city — that Prokofiev crafted his symphony, at the exact time when the Red Army was liberating Russia from the Nazi invaders.

THE MUSIC

Prokofiev’s Fifth is an eminently melodic piece. Each of its four movements is full of singing themes and expansive lyrical phrases. Traditional layout plans for the movements (such as sonata form or scherzo) are respected, but these formal outlines are filled out with material that is not always consistent with tradition. The first movement, for example, is an almost academically rigorous sonata form, but its tempo is a leisurely Andante instead of the usual faster Allegro. The slower tempo confers a greater dramatic weight on the movement. In a recent study of Prokofiev’s Soviet years, musicologist Simon Morrison notes that Prokofiev “avoids traditional means of development,” and “disruptions and dislocations . . . substitute for transitions.”

The second movement is a scherzo in all but name. Its main melody, in the droll vein that is so typical of Prokofiev, is first played by the solo clarinet to a violin accompaniment that keeps repeating a single two-note pattern. The orchestration of this theme becomes richer and more varied as the movement progresses. The middle section is a fast dance in 3/4 time, framed by a haunting woodwind melody in a slower tempo.

The Adagio third movement is the emotional centerpiece of the symphony. Its main theme was taken from an ill-fated project from earlier years, in this case a score Prokofiev had composed for a film version of Pushkin’s Queen of Spades. The expressive melody, played by the clarinets, develops toward a climax of great intensity. In the middle section, there appears a figure in dotted rhythm (with longer and shorter notes alternating) that gives the section a firm and resolute character. The slightly modified recapitulation ends abruptly after a powerful crescendo.

The finale fourth movement opens with a short introduction based on reminiscences of the first movement. The main theme is, once more, presented by the clarinet to a march-like ostinato (rhythmically unchanging) accompaniment. The entire movement exudes the “free and happy” spirit Prokofiev spoke about. Its initially relaxed and easygoing mood becomes more exuberant towards the end, with more percussion instruments adding to the growing excitement.

—Peter Laki © 2018 August 11: About the Music

The Cleveland Orchestra

PART OF A

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THE CLEVELAND ORCHESTRA

JOHN L. SEVERANCE SOCIETY Cumulative Giving The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which today symbolizes unrivalled quality and enduring community pride.

The individuals, corporations, foundations, and government agencies listed here represent today’s visionary leaders, who have each surpassed $1 million in cumulative gifts to The Cleveland Orchestra. Their generosity and support joins a long tradition of community-wide support, helping to ensure The Cleveland Orchestra’s ongoing mission to provide extraordinary musical experiences — today and for future generations.

Current donors with lifetime giving surpassing $1 million, as of June 2018

Gay Cull Addicott American Greetings Corporation Art of Beauty Company, Inc. BakerHostetler Bank of America The William Bingham Foundation Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Irma and Norman Braman Jeanette Grasselli Brown and Glenn R. Brown The Cleveland Foundation The George W. Codrington Charitable Foundation Robert and Jean* Conrad Mr. and Mrs. Alexander M. Cutler Cuyahoga County residents through Cuyahoga Arts and Culture Eaton FirstEnergy Foundation Forest City GAR Foundation Mr. and Mrs. Richard T. Garrett The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation The Goodyear Tire & Rubber Company The George Gund Foundation Francie and David Horvitz Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Jones Day The Walter and Jean Kalberer Foundation

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Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern KeyBank Knight Foundation Milton A. & Charlotte R. Kramer Charitable Foundation Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Nancy Lerner and Randy Lerner Mrs. Norma Lerner and The Lerner Foundation Daniel R. Lewis Jan R. Lewis Peter B. Lewis* and Janet Rosel Lewis Virginia M. and Jon A. Lindseth The Lubrizol Corporation Maltz Family Foundation Elizabeth Ring Mather and William Gwinn Mather Fund Elizabeth F. McBride William C. McCoy The Sisler McFawn Foundation Medical Mutual The Andrew W. Mellon Foundation Mr. and Mrs. Robert F. Meyerson* Ms. Beth E. Mooney The Morgan Sisters: Susan Morgan Martin, Patricia Morgan Kulp, Ann Jones Morgan John C. Morley John P. Murphy Foundation David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Family of D. Z. Norton State of Ohio Ohio Arts Council

Severance Society / Lifetime Giving

The Honorable and Mrs. John Doyle Ong Parker Hannifin Foundation The Payne Fund PNC Bank Julia and Larry Pollock PolyOne Corporation Raiffeisenlandesbank Oberösterreich Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner James and Donna Reid The Reinberger Foundation Barbara S. Robinson The Sage Cleveland Foundation The Ralph and Luci Schey Foundation Carol and Mike Sherwin Mrs. Gretchen D. Smith The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Mr. and Mrs. Richard K. Smucker Richard and Nancy Sneed Lois and Tom Stauffer Mrs. Jean H. Taber* Joe and Marlene Toot Ms. Ginger Warner Robert C. Weppler Janet* and Richard Yulman Anonymous (6) * deceased

2018 Blossom Festival

5470

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

20%

OVER

BLOSSOM MUSIC CENTER

1968

SEATS

25

and under

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

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

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

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

BY THE NUMBERS

20 million ADMISSIONS

Blossom Music Center has welcomed more than 20,600,000 people to concerts and events since 1968 — including the Orchestra’s annual Festival concerts, plus special attractions featuring rock, country, jazz, and other popular acts.

1,000+

The Cleveland Orchestra has performed 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 soddde ded d la lawn wn

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

2O18

2O18

BLOSSOM MUSIC FESTIVAL

Sunday evening, August 12, 2018, at 7:00 p.m.

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

YO-YO MA JOHANN SEBASTIAN BACH (1685-1750)

Six Suites for Solo Cello Suite No. 1 LQ * PDMRU BWV1007 1.

2.

3.

4.

5.

6.

PrĂŠlude Allemande Courante Sarabande Galanteries: Menuet I and II Gigue

Suite No. 2 in D minor, BWV1008 1.

2.

3.

4.

5.

6.

PrĂŠlude Allemande Courante Sarabande Galanteries: Menuet I and II Gigue

Suite No. 3 LQ & PDMRU BWV1009 1.

2.

3.

4.

5.

6.

PrĂŠlude Allemande Courante Sarabande Galanteries: BourrĂŠe I and II Gigue

Suite No. 4 LQ ( Ă DW PDMRU BWV1010 1.

2.

3.

4.

5.

6.

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PrĂŠlude Allemande Courante Sarabande Galanteries: BourrĂŠe I and II Gigue

Concert Program: August 12

Blossom Music Festival

YEARS 1968- 2O18

Suite No. 5 in C minor, BWV1011 1.

2.

3.

4.

5.

6.

PrĂŠlude Allemande Courante Sarabande Galanteries: Gavotte I and II Gigue

Suite No. 6 LQ ' PDMRU BWV1012 1.

2.

3.

4.

5.

6.

PrĂŠlude Allemande Courante Sarabande Galanteries: Gavotte I and II Gigue

The performance is presented without intermission and will end at approximately 9:20 p.m.

This concert is being presented with Image Magnification (IMAG) â&#x20AC;&#x201D; featuring live video of the performers displayed on screens in the Blossom Pavilion.

More about this partnership with ideastreamÂŽ can be found on page 66.

This concert is sponsored by BakerHostetler, a Cleveland Orchestra Partner in Excellence.

This concert is dedicated to Mr. William P. Blair III in recognition of his extraordinary generosity in support of The Cleveland Orchestra.

201 8 B lossom Season S ponsor: T h e J . M . S m u c k e r C o m p a n y

50 th Anniversar y Sponsor: T h e G o o d y e a r T i r e & R u b b e r C o m p a n y

Blossom Music Festival

Concert Program: August 12

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We are proud to sponsor “Yo-Yo Ma Plays Bach,” a highlight of the 2018 Blossom Music Festival.

Photo by Jason Bell

bakerlaw.com

Yo-Yo Ma

INTRODUCING THE CONCERT

Music, Community, y Culture Y O - Y O M A has accomplished what few other classical musicians have.

His name is known around the world, by young and old, and across many divergent cultures and people. His fame rivals the recognition that few people, let alone musicians, have achieved in today’s world.

Most importantly, his reputation has been achieved not merely via his incomparable artistry, but through the application of thought and humanity to his art. As he writes on the following pages, reflecting on his own lifelong journey with Bach’s Solo Cello Suites, Mr. Ma well understands that music off fers connection and understanding among earth’s diverse cultures.

This evening’s concert is a perfectly fitting moment of congruence, between a great artist and superbly artful outdoor music park. Tonight, during Blossom’s 50th Anniversary season, a titan performer shares some of his favorite music, alone onstage, in an incredible space, with all of us — one musical star under Nature’s own canopy of celestial meaning and measure.

We don’t know why, or even exactly when, Bach composed his Six Suites for Unaccompanied Cello, although they were most likely created during his years (1717-23) as kapellmeister in the small town of Köthen, halfway between Hanover and Dresden. Stylistic comparison with his solo violin sonatas from the same period suggests that he wrote the cello works before 1720.

Bach’s original manuscripts of the works do not exist. The closest we have to an original source is a copy made by Bach’s second wife, Anna Magdalena. Bach also transcribed the Fifth Suite for lute — and we have his original score for that in his own handwriting.

The Suites were not published during Bach’s lifetime, and for many decades they were usually thought of as studies — either ideas that Bach was working out on paper, or as studies for cellists to use in practicing their instruments.

The Cello Suites became well known through the efforts of Pablo Casals, one of the 20th century’s most gifted cellists — and, like Yo-Yo Ma, a man steeped in human culture and understanding, hope and community.

Let us enjoy and reflect in the experience of tonight.

—Eric Sellen

With this concert, The Cleveland Orchestra gratefully honors the Mary and Dr. George L. Demetros Charitable Trust for its generous support.

Blossom Music Festival

August 12: Introducing the Concert

65

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and TH E CLE VE L AN D O RCH E STR A The Cleveland Orchestra and ideastream enjoy a long and growing partnership, dedicated to collaborating on projects that can transform lives through the power of music. Cleveland classical radio station WCLV has worked for more than half a century in producing and recording the Orchestra’s weekly radio broadcasts. More recent projects have included ideastream’s involvement in recording production for the Orchestra’s video recordings of Bruckner and Brahms symphonies (available on DVD through Clasart), online video and audiostreaming of live community concerts, and a new initiative at the Orchestra’s summer home, Blossom Music Center, to offer live video of performers on-screen at select classical concerts in 2018.

The Cleveland Orchestra and ideastream are committed to expanding and extending their collaborative partnership to reach new audiences through affordable and accessible avenues. Collaborative projects will be chosen to enhance musical performances and learning experiences through engaged storytelling, quality education programs, and state-of-the-art technology.

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The Cleveland Orchestra

Yo-Yo Ma

BACH

Six Suites for Unaccompanied Cello

writes about . . .

B A C H â&#x20AC;&#x2122; S C E L L O S U I T E S hav ave e be b en my co cons nssta tant nt mus usiccal

com an comp anio ions ns. For alm lmost six de deca c de des, theyy have given en me sust su sten enan ance e, co c mfort, and joy during times of o stress, celeb e ra r tiion on,, an and d lo oss ss. Wha h t po p we w r do does this music posses ess that a even ev e tod oday ay, aff te terr three hu hund ndre red ye ears, it continues to hel ep us navig gat a e throug ugh trou ubl bled tim imes es?? What did Pa P bl b o Ca C sals fi d in fin n thi hiss mu musi s c th that a mad ade hi him m de devo vote his i lif ife e to bringin ng it to o the e wor orld ld? And d why h am m I sh har a ing it wit ith you, u, tod oday?

T re Th r e me memo m ri ries es from m earlly life f ret eturn wh when e evver e I plaay o hea or e r th the e su suittes: Myy fat athe er ta taug ghtt me the e fir first st sui uite te, me meas asur u e byy mea eas re su e, wh w en n I wass four ye yearrs ol old, d, and I rem emem mbe ber as a chi hild ld Blossom Festival 2018

About the Music: August 12

67 7

the aesthetic pleasure of finding just the right space and timing between the gentle landing of the last note of the Sarabande and the slight increase of energy in the Menuet’s initial lilt.

The second memory is from my father, a violinist who spent World War II in both China and France. He used to tell me about the utter loneliness he felt in occupied Paris during the blackout, and how he would spend his days memorizing Bach sonatas and partitas, then play them to himself at night.

The final memory is of discovering the words of my musical hero. I was a teenager when I first read the memoirs of Pablo Casals and found a philosophy for music and life that resonated then as it does now, even more strongly: I am a human being first, a musician second, and a cellist third.

Over the years, I came to believe that, in creating these works, Bach played the part of a musician-scientist, expressing precise observations about nature and human nature.

He did so, in the first three suites, by experimenting with all that the cello can do as a solo instrument.

In the final three, he demanded even more of the cello, and of himself, asking a single-line instrument to speak in multiple voices. His compositional invention is at once explicit and implicit, requiring the listener’s unconscious ear to fill in what the cello can only suggest, achieving a sonic and architectural richness that ultimately transcends the instrument itself.

Recently, I’ve finished my third recording of these works.

The first time I recorded the suites I was in my late twenties; it was a time of new purpose in my life — thanks to the extraordinary support and devotion of my wife, Jill, I had successfully undergone major spinal surgery, and we were looking forward to starting a family. Sheldon Gold, the visionary founder of ICM Artists and my manager at the time, challenged me to perform and record the suites.

I felt it was a somewhat brazen idea. Who was I to do what many older artists waited decades to accomplish? But I believed then, as I still do, that a recording is a snapshot of a moment, and it was music that I had been living with since I was a child. The recording captured my deep gratitude for a new lease on life.

I was entering my forties when I recorded the suites a second time. For years, I had been receiving letters from children

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August 12: About the Music

The Cleveland Orchestra

and adults writing to say how this music inspired them. I wanted to share the suites’ creative force with more people, so I decided to perform an experiment. What if I asked a number of deeply imaginative artists — choreographers, filmmakers, and a garden designer — to each immerse themselves in a different suite? What would emerge from their art forms? The result was Inspired by Bach, six films documenting this process of immersion and creation.

So, why a third time?

Now that I’m in my sixties, I realize that my sense of time has changed, both in life and in music, at once expanded and compressed. I am conscious of the fact that my grandson Teddy — my daughter Emily’s firstborn — will be 83 in the year 2100, and that, as I write this, we are just months away from the 100th anniversary of the end of World War I, the Great War that was meant to end all wars.

My son Nicholas recently reminded me that when Fred Rogers, of Mister Rogers’ Neighborhood, was asked where he turned in times of crisis, he repeated his mother’s advice to “look for the helpers.” Casals, my father and I, and countless others have found a helper in Bach. Music, like all the arts, like all of culture, helps us to understand our environment, each other, and ourselves.

Culture helps us to imagine a better future.

Culture helps turn “them” into “us.”

And these things have never been more important.

This concert is just one stop on a journey to share this music with people seeking equilibrium and solace at a moment of unprecedented change.

I share this music, which has helped shape the evolution of my life, with the hope that it might spark a conversation about how culture can be a source of the solutions we need. It is one more experiment, this time in search for answers to the question: What can we do together, that we cannot do alone?

I invite you to join me on this adventure, to listen and be inspired by the helpers in your own life.

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Michael Stern reflects on Bach’s Suites and Yo-Yo Ma W H Y D O B A C H ’ S I C O N I C C E L L O S U I T E S , writ-

ten three centuries ago, remain so enduring today?

That Bach’s brilliance is “timeless,” while true, seems to me a bit facile, and not specific enough. These pieces present enigmatic contradictions, posing special challenges for a performer and requiring unusual attention and immersion for a listener.

The core of Bach’s musical world, as would be expected in the cultural and social climate of his time and place, was his deep religious devotion and service to the church. And yet, these works, among other equally secular masterpieces that he composed during an especially fruitful period in Köthen between 1717 and 1723, achieve a profound intimacy exceptional even for his genius. There is no dramatic ecclesiastical narrative in these stylized dances. This is Bach at his most abstract, which might account for why the music seems to demand such focus from the listener.

Bach’s mastery of complex counterpoint, on virtuosic display in so much of his music, from large-scale choruses to his solo organ works, does not seem at first hearing to be at the heart of these suites. And there is no question that there is the appearance of less polyphony in the cello suites than in his solo sonatas and partitas for violin, which date from the same period. In the cello suites, there is less that is explicit, more that is internalized. Nevertheless, the counterpoint in this music, the backbone of everything that Bach wrote, is in no way less sophisticated or developed.

Therein lies, perhaps, one of the secrets of these works’ power, and why they strike me as essential music for us in the 21st century. Much of the counterpoint is implied, left for the performer to make those suggested connections clear and for the listener to fill in the longer line.

There is a very practical reason for this, a challenge that Bach must have embraced intentionally when he chose to write such soloistic and difficult music for the cello, which had been until then used only as an accompanying instrument to support a melody or reinforce a realized figured bass. It is difficult enough to produce three or four tones simultaneously on a violin. On a cello’s longer strings, the distance between the notes requires a greater stretch of the hand to move between them, and the gaps between the

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strings require more time to make those connections.

Furthermore, Bach left little by way of direction for interpreting the phrasing and dynamics, or even the speed or pulse of the music. Outside of the dance titles, there are no indications even of tempo. The contrapuntal direction, the harmonic motion, and the form in the purely melodic movements like the Gigue in the E-flat major Suite, or the Sarabande in the C-minor Suite, are all clear, but not fully spelled out. Such implied connections, hidden polyphony, and artless expression require exceptional creativity from the performer and engagement from the listener, establishing an unusual relationship between cellist and audience.

Transcending even Bach’s profound devoutness, these works are statements of faith pared down to their purest essence. When Yo-Yo Ma asked me to write these few sentences, it gave me the opportunity to reconsider both the music and his approach to it.

It is sometimes difficult to be objective about a friend with whom one has been close since earliest childhood, as is the case with Yo-Yo and me.

It has always been clear to me that his generosity of spirit as a musician has been fueled by the two impulses essential to understanding these works: boundless curiosity, and a fervent need to communicate.

Yo-Yo could play every note of the suites from memory even before he and I met, 55 years ago. Since then, he has continually searched for the music that happens between the notes, and the mysterious and private nature of these works now fuels his fertile creativity with even deeper breath, with even more disciplined freedom and unhurried insight. The stylized dances that animate the pulse of these movements were not meant to accompany actual dancing — and similarly, and to a large degree, they seem not really meant for public performance. Even at their most joyous, the music seems ill-suited to extroverted or public display; and at their most meditative, the suspension of breath and time is so intimate that listening to them can feel akin to eavesdropping.

And yet — their communicative power and touching humanity can bring thousands of silent and rapt listeners together into a mesmerized communion with Bach. This is private music. But, amidst the noise of our time, I am convinced that the private conversation has never been more urgent and vital.

—Michael Stern Michael Stern is music director of the Kansas City Symphony and Yo-Yo Ma’s life-long friend and colleague. He served as an assistant conductor of The Cleveland Orchestra 1987-91.

These reflections, by Yo-Yo Ma and Michael Stern, are adapted from the liner notes to Six Evolutions, Mr. Ma’s new recording of the suites, being released this month on August 17.

For additional information about the Bach suites project, visit yo-yoma.com.

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Yo-Yo Ma Yo-Yo Maâ&#x20AC;&#x2122;s multi-faceted career is testament to his enduring belief in cultureâ&#x20AC;&#x2122;s power to generate trust and understanding. Whether performing new or familiar works from the cello repertoire, collaborating with communities and institutions to explore cultureâ&#x20AC;&#x2122;s social impact, or engaging unexpected musical forms, Mr. Ma strives to foster connections that stimulate the imagination and reinforce our humanity.

Yo-Yo Ma first performed with The Cleveland Orchestra in January 1982 at the age of 27. He has returned regularly since that time, to perform with the Orchestra, in solo recital or in chamber music performances, or with his Silkroad Project. His most recent appearance at Blossom was in 2016 in a program with the Silkroad Ensemble.

Mr. Ma maintains a balance between engagements as a soloist with orchestras, recital and chamber music activities, and collaborations with a wide circle of artists and institutions. With partners from around the world and across disciplines, he creates programs that stretch the boundaries of genre and tradition to explore music-making as a means not only to share and express meaning, but also as a model for the cultural collaboration he considers essential to a strong society.

Expanding upon this belief, in 1998 Mr. Ma established Silkroad, a collective of artists from around the world who create music that engages their many traditions. In addition to presenting performances in venues from Suntory Hall

Blossom Festival 2018

to the Hollywood Bowl, Silkroad collaborates with museums and universities to develop training programs for teachers, musicians, and learners of all ages.

Silkroad has commissioned more than 100 new works from composers and arrangers around the globe, and released seven albums, most recently a collection of music recorded for The Vietnam War, a documentary film from Ken Burns and Lynn Novick.

Through his work with Silkroad, as well as throughout his career, Yo-Yo Ma seeks to expand the classical cello repertoire, frequently performing lesserknown music of the 20th century and

August 12: Guest Artist

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commissions of new concertos and recital pieces. He has premiered works by a diverse group of composers, among them Osvaldo Golijov, Leon Kirchner, Zhao Lin, Christopher Rouse, Esa-Pekka Salonen, Giovanni Sollima, Bright Sheng, Tan Dun, and John Williams.

In addition to his work as a performing artist, Mr. Ma partners with communities and institutions from Chicago to Guangzhou to develop programs that champion cultureâ&#x20AC;&#x2122;s power to transform lives and forge a more connected world. Among his many roles, he is the Chicago Symphony Orchestraâ&#x20AC;&#x2122;s Judson and Joyce Green Creative Consultant, artistic advisor at large to the Kennedy Center for the Performing Arts in Washington D.C., artistic director of the annual Youth Music Culture Guang-

dong festival, and a United Nations Messenger of Peace. He is the first artist ever appointed to the World Economic Forumâ&#x20AC;&#x2122;s board of trustees.

Mr. Maâ&#x20AC;&#x2122;s discography of over 100 albums (including 19 Grammy Award winners) reflects his wide-ranging interests. His newest album, of Bachâ&#x20AC;&#x2122;s six cello suites, titled Six Evolutions, is being released this month on August 17. In addition to his many iconic renditions of the Western classical canon, he has made several recordings beyond easy categorization, including Appalachia Waltzz and Appalachian Journeyy with Mark Oâ&#x20AC;&#x2122;Connor and Edgar Meyer, and two Grammy-winning tributes to the music of Brazil, Obrigado Brazill and Obrigado Brazil â&#x20AC;&#x201D; Live in Concert. Mr. Maâ&#x20AC;&#x2122;s recent recordings include: The Goat Rodeo Sessions with Ed-

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gar Meyer, Chris Thile, and Stuart Duncan (which received the 2013 Grammy for Best Folk Album), Songs from the Arc of Life with pianist Kathryn Stott, Sing Me Home with the Silkroad Ensemble (winner of the 2016 Grammy for Best World Music Album), Bach Trios with Edgar Meyer and Chris Thile, and Brahms: The Piano Trios with pianist Emanuel Ax and violinist Leonidas Kavakos.

Yo-Yo Ma was born in 1955 to Chinese parents living in Paris. He began to study the cello with his father at age four and three years later moved with his family to New York City, where he continued his cello studies with Leonard Rose at the Juilliard School. After his conservatory training, he sought out a liberal arts education, graduating from Harvard University with a degree in anthropology in 1976.

Mr. Ma has received many awards, including the Avery Fisher Prize (1978), the Glenn Gould Prize (1999), National Medal of the Arts (2001), Dan David Prize (2006), Leonie Sonning Music Prize (2006), World Economic Forumâ&#x20AC;&#x2122;s Crystal Award (2008), Presidential Medal of Freedom (2010), Kennedy Center Honors (2011), Polar Music Prize (2012), Vilcek Prize in Contemporary Music (2013), and the J. Paul Getty Medal Award (2016). He has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony.

Mr. Ma and his wife have two children. He plays two instruments, a 1733 Montagnana cello from Venice and the 1712 Davidoff Stradivarius.

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THE CLEVELAND ORCHESTRA

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

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

Giving Societies gifts in the past year, as of June 1, 2018 Adella Prentiss Hughes Society

gifts of $50,000 to $99,999

gifts of $100,000 and more Musicians of The Cleveland Orchestra+ (in-kind support for community programs and opportunities to secure new funding) Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski+ Mary Alice Cannon Rebecca Dunn Mr. Allen H. Ford Dr. and Mrs. Hiroyuki Fujita+ Mr. and Mrs. James A. Haslam III Mr. and Mrs. Michael J. Horvitz+ James D. Ireland IV The Walter and Jean Kalberer Foundation+ Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre+ Mrs. Norma Lerner and The Lerner Foundation+ Mrs. Emma S. Lincoln+ Milton and Tamar Maltz John C. Morley+ Mr. and Mrs. Albert B. Ratner James and Donna Reid Mr. and Mrs. Richard K. Smucker+ Mr. and Mrs. Franz Welser-Möst+

With special thanks to the Leadership Patron Committee for their commitment to each year’s annual support initiatives: Barbara Robinson, chair Robert N. Gudbranson, vice chair Ronald H. Bell Iris Harvie James T. Dakin Faye A. Heston Karen E. Dakin Brinton L. Hyde Henry C. Doll David C. Lamb Judy Ernest Larry J. Santon Nicki N. Gudbranson Raymond T. Sawyer Jack Harley

76

George Szell Society

Dr. and Mrs. Wolfgang Berndt (Europe) Mr. William P. Blair III+ Blossom Friends of The Cleveland Orchestra The Brown and Kunze Foundation Mr. and Mrs. Alexander M. Cutler+ Mr. and Mrs. John E. Guinness Mrs. John A Hadden Jr. T. K.* and Faye A. Heston Mr. and Mrs. Donald M. Jack, Jr. Elizabeth B. Juliano Mr. and Mrs. Douglas A. Kern Giuliana C. and John D. Koch+ Toby Devan Lewis Virginia M. and Jon A. Lindseth Mr. and Mrs. Alex Machaskee+ Ms. Nancy W. McCann+ Ms. Beth E. Mooney+ Rosanne and Gary Oatey (Cleveland, Miami)+ William J. and Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong+ Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner+ Barbara S. Robinson (Cleveland, Miami)+ Sally and Larry Sears+ Mary M. Spencer (Miami)+ Mrs. Jean H. Taber* Dr. Russell A. Trusso Ms. Ginger Warner (Cleveland, Miami) Barbara and David Wolfort (Cleveland, Miami)+ Janet* and Richard Yulman (Miami) Anonymous+

+ Multiyear Pledges Multiyear pledges support the Orchestra’s artistry while helping to ensure a sustained level of funding. We salute those extraordinary donors who have signed pledge commitments to continue their annual giving for three years or more. These donors are recognized with this symbol next to their name: +

Individual Annual Support

The Cleveland Orchestra

Dudley S. S Blossom Society Elisabeth DeWitt Severance Society gifts of $25,000 to $49,999 Gay Cull Addicott+ Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. and Mrs. Charles P. Bolton+ Irma and Norman Braman (Miami)+ Mr. Yuval Brisker Jeanette Grasselli Brown and Glenn R. Brown+ Mr. and Mrs. David J. Carpenter+ Jill and Paul Clark Robert and Jean* Conrad+ Judith and George W. Diehl Friends of The Cleveland Orchestra (formerly WCCO) JoAnn and Robert Glick+ Mr. and Mrs. Geoffrey Gund Mr. and Mrs. Jeffrey Healy+ Mary and Jon Heider (Cleveland, Miami) Mrs. Marguerite B. Humphrey+ Mr. and Mrs. Joseph P. Keithley Milton A. & Charlotte R. Kramer Charitable Foundation Daniel R. Lewis (Miami) Mr. Stephen McHale Margaret Fulton-Mueller+ Mrs. Jane B. Nord Julia and Larry Pollock+ Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman Marc and Rennie Saltzberg Larry J. Santon and Lorraine S. Szabo+ The Ralph and Luci Schey Foundation+ Rachel R. Schneider+ Donna E. Shalala (Miami) Hewitt and Paula Shaw Marjorie B. Shorrock+ Richard and Nancy Sneed+ Jim and Myrna Spira R. Thomas and Meg Harris Stanton+ Paul and Suzanne Westlake Tony and Diane Wynshaw-Boris+ Anonymous (2)

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

gifts of $15,000 to $24,999 Mr. and Mrs. Dean Barry Dr. Christopher P. Brandt and Dr. Beth Sersig+ Dr. Ben H. and Julia Brouhard Irad and Rebecca Carmi Mr. and Mrs. William E. Conway Mrs. Barbara Cook Dr. and Mrs. Robert Ehrlich (Europe) Ms. Dawn M. Full Mr. and Mrs. Robert W. Gillespie Drs. Erik and Ellen Gregorie Richard and Ann Gridley+ Robert K. Gudbranson and Joon-Li Kim+ Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest David and Nancy Hooker+ Joan and Leonard Horvitz Richard and Erica Horvitz (Cleveland, Miami) Allan V. Johnson Junior Committee of The Cleveland Orchestra Jonathan and Tina Kislak (Miami) Mr. Jeff Litwiller+ Mr. and Mrs. Thomas B. McGowan Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel The Miller Family+ Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Edith and Ted* Miller+ Mr. Donald W. Morrison+ Dr. Anne and Mr. Peter Neff Mr. and Mrs. James A. Saks Patricia J. Sawvel Mrs. David Seidenfeld+ Meredith and Oliver Seikel Seven Five Fund Kim Sherwin+ Mr. and Mrs. Alfred Umdasch (Europe) Tom and Shirley Waltermire+ Dr. Beverly J. Warren Mr. and Mrs. Fred A. Watkins+ Mr. and Mrs. Jeffery J. Weaver Meredith and Michael Weil Mr. and Mrs. Jeffrey M. Weiss Denise G. and Norman E. Wells, Jr. Max and Beverly Zupon Anonymous listings continue

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Individual Annual Support

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Frank H. Ginn Society gifts ift off $10 $10,000 000 tto $14 $14,999 999 Fred G. and Mary W. Behm Mr. and Mrs. Jules Belkin Mr. David Bialosky and Ms. Carolyn Christian+ Laurel Blossom Mr. D. McGregor Brandt, Jr. Mr. and Mrs. Marshall Brown J. C. and Helen Rankin Butler+ Richard J. and Joanne Clark Dr. and Mrs. Delos M. Cosgrove III Mrs. Barbara Ann Davis+ Dr. M. Meredith Dobyns Henry and Mary* Doll+ Nancy and Richard Dotson+ Mr. and Mrs. Robert P. Duvin Mary Jo Eaton (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Carl Falb+ Bob and Linnet Fritz Dr. and Mrs. Adi Gazdar Albert I. and Norma C. Geller Dr. Edward S. Godleski

Linda and Lawrence D. Goodman (Miami) Patti Gordon (Miami) Harry and Joyce Graham Amy and Stephen Hoffman Thomas H. and Virginia J.* Horner Fund+ Mr. and Mrs. Brinton L. Hyde Mrs. Elizabeth R. Koch Rob and Laura Kochis Stewart and Donna Kohl Mr. James Krohngold+ Dr. Edith Lerner Dr. David and Janice Leshner Mr. Lawrence B. and Christine H. Levey+ Don H. McClung Dr. and Mrs. Tom McLaughlin Mr. John Mueller Joy P. and Thomas G. Murdough, Jr. (Miami)+ Brian and Cindy Murphy+ Mr. Raymond M. Murphy+ Mr. J. William and Dr. Suzanne Palmer Douglas and Noreen Powers Audra* and George Rose+

Paul A. and Anastacia L. Rose Steven and Ellen Ross Dr. Isobel Rutherford Mrs. Florence Brewster Rutter+ Dr. and Mrs.* Martin I. Saltzman+ David M. and Betty Schneider Carol* and Albert Schupp Mrs. Gretchen D. Smith+ The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Mr. and Mrs. Jonathan M. Steingass Bruce and Virginia Taylor+ Mr. Joseph F. Tetlak Rick, Margarita, and Steven Tonkinson (Miami)+ Pysht Fund Robert C. Weppler Sandy and Ted Wiese Sandy Wile and Joanne Avenmarg Dr. and Mr. Ann Williams+ Anonymous (7)

Joseph Z. and Betty Fleming (Miami) Scott A. Foerster Joan Alice Ford Mr. Paul C. Forsgren Michael Frank and Patricia A. Snyder Barbara and Peter Galvin Joy E. Garapic Brenda and David Goldberg Mr. and Mrs. Randall J. Gordon+ Angela and Jeffrey Gotthardt Mr. and Mrs. James C. Gowe Mr. Paul Greig AndrĂŠ and Ginette Gremillet Mr. and Mrs. Stephen Griebling Nancy Hancock Griffith+ 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+ Iris and Tom Harvie+ Henry R. Hatch Robin Hitchcock Hatch Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan+ Janet D. Heil* Anita and William Heller+ Mr. Loren W. Hershey Dr. Fred A. Heupler

Jean M. Holden Mary and Steve Hosier Elisabeth Hugh+ David and Dianne Hunt Pamela and Scott Isquick+ Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus Robert and Linda Jenkins Richard and Michelle Jeschelnig Joela Jones and Richard Weiss Barbara and Michael J. Kaplan Andrew and Katherine Kartalis Milton and Donna* Katz Dr. Richard and Roberta Katzman Dr. and Mrs. Richard S. Kaufman Mr. and Mrs. Christopher Kelly Mrs. Natalie D. Kittredge Dr. Gilles* and Mrs. Malvina Klopman+ Tim and Linda Koelz+ Mr. and Mrs.* S. Lee Kohrman Cindy L. and Timothy J. Konich Mr. Clayton R. Koppes Mr. and Mrs. Peter A. Kuhn+ Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb+ Kenneth M. Lapine and Rose E. Mills+ Anthony T. and Patricia A. Lauria Judith and Morton Q. Levin+ Dr. Stephen B. and Mrs. Lillian S. Levine+ Dr. Alan and Mrs. Joni Lichtin+ Mr. Rudolf and Mrs. Eva Linnebach+

The 1929 Society gifts of $5,000 to $9,999 Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. William App William Appert and Christopher Wallace (Miami) Robert and Dalia Baker Daniel and Trish Bell (Miami) Mr. William Berger Howard Bernick and Judy Bronfman Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Mr. and Mrs. Richard H. Bole Robert and Alyssa Lenhoff-Briggs Dr.* and Mrs. Jerald S. Brodkey Frank and Leslie Buck+ Mr. and Mrs. Timothy J. Callahan Ms. Maria Cashy+ Drs. Wuu-Shung and Amy Chuang+ Ellen E. & Victor J. Cohn+ Kathleen A. Coleman+ Diane Lynn Collier and Robert J. Gura+ Marjorie Dickard Comella The Sam J. Frankino Foundation Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Ralph Daugstrup Thomas S. and Jane R. Davis 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+

listings continue

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Individual Annual Support

2018 Blossom Festival

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An nne R. and Kenneth E. Love Robert Lugibihl Ro Mrs. Idarose S. Luntz M Elsie and Byron Lutman Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Mr. and Mrs. E. Timothy McDonel James and Virginia Meil Dr. Susan M. Merzweiler Loretta J. Mester and George J. Mailath Cluadia Metz and Thomas Woodworth+ Lynn and Mike Miller+ Drs. Terry E. and Sara S. Miller Curt and Sara Moll Ann Jones Morgan+ Randy and Christine Myeroff Lucia S. Nash* Georgia and Carlos Noble (Miami)+ Richard and Kathleen Nord Thury Oâ&#x20AC;&#x2122;Connor Dr. and Mrs. Paul T. Omelsky Mr. and Mrs. Peter R. Osenar Mr. Henry Ott-Hansen Pannonius Foundation+ Robert S. Perry Dr. and Mrs. Gosta Pettersson Nan and Bob Pfeifer+ Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak

Dr. and Mrs. John N. Posch+ Ms. Rosella Puskas Mr. and Mrs. Ben Pyne Mr. and Mrs. Thomas A. Quintrell* Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Ms. C. A. Reagan Amy and Ken Rogat Carol Rolf and Steven Adler Dick A. Rose Dr. and Mrs. Michael Rosenberg (Miami) Dr. and Mrs. Ronald J. Ross Rosskamm Family Trust Robert and Margo Roth+ Dr. and Mrs. Robert C. Ruhl Fred Rzepka and Anne Rzepka Family Foundation Drs. Michael and Judith Samuels (Miami) Raymond T. and Katherine S. Sawyer Linda B. Schneider Dr. and Mrs. James L. Sechler Mr. Eric Sellen and Mr. Ron Seidman Drs. Daniel and Ximena Sessler+ Vivian L. Sharp Mr. James E. Simler and Ms. Amy Zhang Naomi G. and Edwin Z. Singer+ The Shari Bierman Singer Family Drs. Charles Kent Smith and Patricia Moore Smith+ Roy Smith

Mr. Eugene Smolik Dr. Marvin and Mimi Sobel*+ Mr. and Mrs. William E. Spatz Spatz+ George and Mary ry St Stark+ Mr. and Mrs. D Donald W. Strang, Jr. Stroud Family Trust Frederick and Elizabeth Stueber Holly and Peter Sullivan Dr. Elizabeth Swenson+ Mr. Taras G. Szmagala, Jr. Robert and Carol Taller+ Kathy* and Sidney Taurel (Miami)+ Ms. Emily Taylor Bill and Jacky Thornton Mr.* and Mrs. Robert N. Trombly Robert and Marti Vagi+ Robert A. Valente and Joan A. Morgensten+ Dr. Gregory Videtic and Rev. Christopher McCann Walt and Karen Walburn Mr. and Mrs. Daniel P. Walsh Gary L. Wasserman and Charles A. Kashner (Miami) Mr. and Mars. Mark Allen Weigand+ Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Richard Wiedemer, Jr.+ Bob and Kat Wollyung Anonymous (6)

Lisa and Ronald Boyko+ Ms. Barbara E. Boyle Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mrs. Frances Buchholzer Mr. Gregory and Mrs. Susan Bulone J. C. Burkhardt Mr. and Mrs. Robert G. Busha Ms. Mary R. Bynum and Mr. J. Philip Calabrese Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker Dr. and Mrs. William E. Cappaert John and Christine Carleton (Miami) Mrs. Millie L. Carlson+ Mr. and Mrs. John J. Carney Mr. and Mrs. Frank H. Carpenter James Carpenter 2 seats (In memory of Christina) (Miami) Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. John C. Chipka and Dr. Kathleen S. Grieser Mr. and Mrs. Homer D. W. Chisholm Dr. William and Dottie Clark Drs. John and Mary Clough Drs. Mark Cohen and Miriam Vishny Mr. and Mrs. Stanley Cohen (Miami)

Mr. and Mrs. Mark Corrado Douglas S. Cramer / Hubert S. Bush III (Miami) Mr. and Mrs. Manohar Daga+ Karen and Jim Dakin Dr. and Mrs. Thomas M. Daniel Mrs. Frederick F. Dannemiller Mr. Kamal-Neil Dass and Mrs. Teresa Larsen+ Dr. Eleanor Davidson Mrs. Lois Joan Davis Carol Dennison and Jacques Girouard Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White+ Dr. and Mrs. Richard C. Distad Maureen Doerner & Geoffrey White Carolyn J. Buller and William M. Doll Mr. George and Mrs. Beth Downes+ Jack and Elaine Drage Mr. Barry Dunaway and Mr. Peter McDermott Mr. Patrick Dunster Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki Mr.* and Mrs. Bernard H. Eckstein Esther L. and Alfred M. Eich, Jr.+ Erich Eichhorn and Ursel Dougherty Mr. S. Stuart Eilers Peter and Kathryn Eloff+ Harry and Ann Farmer

Composerâ&#x20AC;&#x2122;s Circle gifts of $2,000 to $4,999 Mr. and Mrs. Charles Abookire, Jr. Ms. Nancy A. Adams Mr. Francis Amato Mr. and Mrs.* Robert J. Amsdell Mr. and Mrs. Jeffrey R. Appelbaum+ Applied Industrial Technologies Mr. and Mrs. James B. Aronoff+ Art of Beauty Company, Inc. Ms. Patricia Ashton Steven Michael Auvil and Elise Hara Auvil Mr. and Mrs. Eugene J. Beer Mr. and Mrs. Belkin Ms. Pamela D. Belknap Mr. and Mrs. James R. Bell III Dr. Ronald and Diane Bell Drs. Nathan A. and Sosamma J. Berger Mr. Roger G. Berk Barbara and Sheldon Berns Jayusia and Alan Bernstein (Miami) Margo and Tom Bertin John and Laura Bertsch Howard R. and Barbara Kaye Besser Ms. Deborah A. Blades Mitch and Liz Blair Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Irving and Joan M. Bolotin (Miami) Jeff and Elaine Bomberger Mrs. Loretta Borstein*

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Individual Annual Support

2018 Blossom Festival

Dr. and Mrs. J. Peter Fegen Mr. William and Dr. Elizabeth Fesler Carol A. Frankel Richard J. Frey Mr. and Ms. Dale Freygang Peggy A. Fullmer Jeanne Gallagher Dr. Marilee Gallagher Mr. William Gaskill and Ms. Kathleen Burke Mr. Wilbert C. Geiss, Sr. Ms. Suzanne Gilliland Anne and Walter Ginn Holly and Fred Glock Dr.* and Mrs. Victor M. Goldberg Mr. and Mrs. David A. Goldfinger Dr. and Mrs. Ronald L. Gould Dr. Robert T. Graf Nancy F. Green (Miami) Donna Lane Greene Ms. Anna Z. Greenfield+ Dr. and Mrs. Franklin W. Griff Candy and Brent Grover Nancy and James Grunzweig+ Mr. Scott R. Gunselman Mr. Davin and Mrs. Jo Ann Gustafson Scott and Margi Haigh Mark E. and Paula N. Halford Dr. James O. Hall Dr. Phillip M. and Mrs. Mary Hall Douglas M. and Amy Halsey (Miami) Mr. and Mrs. David P. Handke, Jr. Elaine Harris Green + Lilli and Seth Harris Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes In Memory of Hazel Helgesen Jay L. and Cynthia P. Henderson Charitable Fund Mr. and Mrs. Jerry Herschman The Morton and Mathile Stone Philanthropic Fund Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Mr. and Mrs. Stephen J. Holler Thomas and Mary Holmes Gail Hoover and Bob Safarz+ Dr. Keith A. and Mrs. Kathleen M. Hoover+ Ms. Sharon J. Hoppens Xavier-Nichols Foundation / Robert and Karen Hostoffer Dr. Randal N. Huff and Ms. Paulette Beech+ Ms. Laura Hunsicker Gretchen Hyland and Edward Stephens Jr. Ruth F. Ihde Dr. and Mrs. Scott R. Inkley Bruce and Nancy Jackson William W. Jacobs Mr. and Mrs. Bruce D. Jarosz Jaime and Joseph Jozic Dr. and Mrs. Donald W. Junglas David and Gloria Kahan Mr. Jack E. Kapalka Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt Ms. Deborah Kaye The Kendis Family Trust: Hilary & Robert Kendis and Susan and James Kendis Bruce and Eleanor Kendrick

The Cleveland Orchestra

Howard and Mara Kinstlinger Dr. and Mrs. William S. Kiser James and Gay* Kitson+ Fred* and Judith Klotzman Cynthia Knight (Miami) Drs. Raymond and Katharine Kolcaba+ Marion Konstantynovich Mrs. Ursula Korneitchouk Jacqueline and Irwin* Kott (Miami) Dr. Ronald H. Krasney and Vicki Kennedy+ Mr. Donald N. Krosin Stephen A. Kushnick, Ph.D. Lakewood Supply Co. Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr.+ Mrs. Sandra S. Laurenson Mr. and Mrs. Michael Lavelle Dr. and Mrs. Arthur Lavin Charles and Josephine Robson Leamy * Michael Lederman and Sharmon Sollitto Ronald and Barbara Leirvik Ivonete Leite (Miami) Mr. and Dr. Ernest C. Lemmerman+ Michael and Lois Lemr Irvin and Elin Leonard+ Mr. Alan R. Lepene Robert G. Levy+ Matthew and Stacey Litzler Drs. Todd and Susan Locke Mary Lohman Ms. Mary Beth Loud Damond and Lori Mace Ms. Linda Macklin Mr. and Mrs.* Robert P. Madison Robert M. Maloney and Laura Goyanes David Mann and Bernadette Pudis Janet A. Mann Herbert L. and Ronda Marcus Martin and Lois Marcus Mr. and Mrs. Raul Marmol (Miami) Dr. and Mrs. Sanford E. Marovitz+ Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick W. Martin+ Ms. Amanda Martinsek Dr. and Mrs. William A. Mast Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Mr. and Mrs. Christopher J. McKenna Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Ruth and John Mercer Mr. Glenn A. Metzdorf Mr. and Mrs. Trent Meyerhoefer Ms. Betteann Meyerson+ Beth M. Mikes Osborne Mills, Jr. and Loren E. Bendall David and Leslee Miraldi Ioana Missits Abby and Jake Mitchell Mr. and Mrs.* William A. Mitchell+ Mr. and Mrs. Thomas W. Morris Mr. Ronald Morrow III Eudice M. Morse Bert and Marjorie Moyar+ Susan B. Murphy Steven and Kimberly Myers+

Individual Annual Support

Ms. Megan g Nakashima Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Deborah L. Neale Robert D. and Janet E. Neary Steve Norris and Emily Gonzales Marshall I. Nurenberg and Joanne Klein Robert and Gail Oâ&#x20AC;&#x2122;Brien Richard and Jolene Oâ&#x20AC;&#x2122;Callaghan+ Mr. and Mrs. John Olejko Harvey and Robin Oppmann Mr. Robert Paddock Ms. Ann Page Mr. John D. Papp George Parras+ Dr. Lewis E. and Janice B. Patterson David Pavlich and Cherie Arnold Matt and Shari Peart Henry Peyrebrune and Tracy Rowell Mr. Charles and Mrs. Mary Pfeiffer Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ Dale and Susan Phillip Ms. Irene Pietrantozzi Maribel A. Piza (Miami)+ Dr. Marc A. and Mrs. Carol Pohl Brad Pohlman and Julie Callsen Peter Politzer Mr. Robert and Mrs. Susan Price Sylvia Profenna Mr. Lute and Mrs. Lynn Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca+ Mr. Cal Ratcliff Dr. Robert W. Reynolds Ms. Janet Rice David and Gloria Richards Ms. Carole Ann Rieck Mrs. Charles Ritchie Joan and Rick Rivitz Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Ms. Linda M. Rocchi Mr. Kevin Russell (Miami) Mrs. Elisa J. Russo+ Lawrence H. Rustin and Barbara C. Levin (Miami) Dr. Harry S. and Rita K. Rzepka+ Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton+ Michael Salkind and Carol Gill Fr. Robert J. Sanson Ms. Patricia E. Say+ Mr. Paul H. Scarbrough+ Robert Scarr and Margaret Widmar Mr. Matthew Schenz Bob Scheuer Don Schmitt and Jim Harmon Ms. Beverly J. Schneider Karen Schneider Mr. James Schutte+ Mrs. Cheryl Schweickart Mr. and Mrs. Alexander C. Scovil Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Lee and Jane Seidman listings continue

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Charles Seitz (Mia Miami) Rafick-Pierre Se Sekaly Kenneth Sha hafer Ginger and nd Larry Shane Harry an and Ilene Shapiro Ms. Fr Frances L. Sharp Larry Oscar and Jeanne Shatten+ Larr Dr. and Mrs. William C. Sheldon+ Terrence and Judith Sheridan Mr. Richard Shirey+ Mr. and Mrs. Reginald Shiverick+ Michael Dylan Short Mrs. Dorothy Shrier Mr. Robert Sieck Laura and Alvin A. Siegal Mr. and Mrs. Bob Sill Howard and Beth Simon Ms. Ellen J. Skinner Robert and Barbara Slanina Ms. Anna D. Smith Bruce L. Smith David Kane Smith Ms. Janice A. Smith Sandra and Richey Smith+ Mr. and Mrs.* Jeffrey H. Smythe Ms. Barbara Snyder Dr. Nancy Sobecks Lucy and Dan Sondles John D. Specht Mr. Michael Sprinker Diane Stack and James Reeves* Mr. Marc Stadiem Ms. Sharon Stahler Dr.* and Mrs. Frank J. Staub Mr. Alan L. Steffen Edward R. & Jean Geiss Stell Foundation Mr. Eduardo Stern (Miami) Michael and Wendy Summers Ken and Martha Taylor Mr. and Mrs. Philip L. Taylor Mr. Karl and Mrs. Carol Theil+ Mr. Robert Thompson Mrs. Jean M. Thorrat Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Jonathan Tisch (Miami) Erik Trimble Drs. Anna* and Gilbert True Dr. Margaret Tsai Steve and Christa Turnbull+ Dr. and Mrs. Wulf H. Utian Mrs. H. Lansing Vail, Jr. Bobbi and Peter van Dijk Mrs. Stasia M. Vavruska Brenton Ver Ploeg (Miami) Teresa Galang-Viñas and Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney George and Barbara von Mehren Mr. and Mrs. Reid Wagstaff Mr. Norman Wain Mrs. Carolyn Warner Ms. Laure A. Wasserbauer+ Margaret and Eric* Wayne+ Alice & Leslie T. Webster, Jr. Mr. Peter and Mrs. Laurie Weinberger Michael and Danielle Weiner

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Judge Lesley Wells Dr. Paul R. and Catherine Williams Ms. Claire Wills Richard and Mary Lynn Wills Katie and Donald Woodcock Tanya and Robert Woolfrey Elizabeth B. Wright+ William Ronald and Lois YaDeau Rad and Patty Yates Jeffrey A. Zehngut Ken and Paula Zeisler Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (3)+ Anonymous (12)

+ has signed a multiyear pledge (see information box earlier in this section)

* deceased

Thank You T HE

CLEVELAND ORC HE STR A FRANZ WELSER-MÖST

The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including the Leadership donors listed on these pages. Listings of all annual donors of $300 and more each year are published annually, and can be viewed online at CLEVELANDORCHESTRA .COM For information about how you can play a supporting role for The Cleveland Orchestra’s ongoing artistic excellence, education programs, and community partnerships, please contact our Philanthropy & Advancement Office by email: miqbal@clevelandorchestra.com or phone: 216-231-7545

Individual Annual Support

Bll oss so som m Music Festiva al

T HE

CLEVELAND ORC HE STR A

“We can’t think of a better way to use our resources than to suppoort 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 forr many years, and it has become such a major part of their lives that theey 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 o be a part of The Cleveland Orchestra,” Pat says.

In addition to regularly attending concerts and giving to the ann nual fund, Tony and Pat have established several Charitable Gift Annuities through the Orchestra, which now pay them a fixed stream of income in retu urn for their gifts. To anyone who is considering establishing a Charitable Gifft Annuity, Tony says, “It’s a great investment — for yourself and the Orchesstra!”

To receive a confidential, personalized gift annuity illustration an nd 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.

THE CLEVELAND ORCHESTRA

Corporate Support The Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations listed on this page, whose annual support (through gifts of $2,500 and more) demonstrates their belief in the Orchestra’s music-making, education initiatives, and community presentations.

Annual Supportt gifts in the past year, as of June 1, 2018 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 The J. M. Smucker Company

$50,000 TO $99,999

DLR Group | Westlake Reed Leskosky Dollar Bank Foundation Forest City Litigation Management, Inc. Parker Hannifin Foundation Quality Electrodynamics (QED) Anonymous $15,000 TO $49,999

PARTNERS IN EXCELLENCE $200,000 TO $299,999

BakerHostetler Jones Day Medical Mutual PNC Bank Raiffeisenlandesbank Oberösterreich (Europe) PARTNERS IN EXCELLENCE $100,000 TO $199,999

American Greetings Corporation Eaton Nordson Corporation Foundation Squire Patton Boggs (US) LLP Thompson Hine LLP

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Buyers Products Company Calfee, Halter & Griswold LLP Case Western Reserve University Cuyahoga Community College Foundation Ernst & Young LLP Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP The Lubrizol Corporation Materion Corporation MTD Products, Inc. North Coast Container Corp.

Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. RPM International Inc. The Sherwin-Williams Company Tucker Ellis LLP United Airlines

Corporate Annual Support

$2,500 TO $14,999 Akron Tool & Die Company American Fireworks, Inc. BDI BestLight LED Brothers Printing Co., Inc. The Cedarwood Companies Cleveland Clinic Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Community Counselling Services Consolidated Solutions Deloitte & Touche LLP Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Glenmede Trust Company Gross Builders Huntington National Bank Johnson Investment Counsel The Lincoln Electric Foundation Littler Mendelson, P.C. Live Publishing Company Macy’s Miba AG (Europe) Northern Haserot Northern Ohio Italian American Foundation Oatey Ohio CAT Oswald Companies PolyOne Corporation Price Waterhouse Coopers LLP RSM US, LLP Southern Wine and Spirits (Miami) Stern Advertising Struktol Company of America University Hospitals Ver Ploeg & Lumpkin (Miami) Anonymous (2)

2018 Blossom Festival

THE CLEVELAND ORCHESTRA

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

Annual Supportt gifts in the past year, as of June 1, 2018 $1 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture $500,000 TO $999,999

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

The Louise H. and David S. Ingalls Foundation Kulas Foundation John P. Murphy Foundation $100,000 TO $249,999

Paul M. Angell Family 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 GAR Foundation 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

Blossom Festival 2018

$15,000 TO $49,999

The Abington Foundation The Batchelor Foundation, Inc. (Miami) Mary E. & 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 Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation The Veale Foundation The Edward and Ruth Wilkof Foundation

$2,500 TO $14,999 The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation The Bruening Foundation Cleveland State University 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 M. G. O’Neil Foundation Paintstone Foundation Peg’s Foundation Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation Miami-Dade County Public Schools (Miami) SCH Foundation Harold C. Schott 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 Wuliger Foundation Anonymous (2)

Foundation/Government Annual Support

85

orchestra news Read about the music on your cellphone before the concert begins by visiting ExpressProgramBook.com

TH E CLE VE L AN D O RCH E STR A

ExpressProgramBook.com

The Cleveland Orchestra’s program book is also available for your mobile phone, via a dedicated website specifically for reading about the music ahead of the concert. This 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, r ” comments program bookk 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 beginning in 2016, and is fully launched during the summer of 2017, with information posted a few days prior to each concert. The site features only the core information content of each book. The complete

I build by taking apart.

I see what I’m capable of.

THE CLEVELAND ORCHESTRA

program book is available online in a “flipbook” format, for viewing 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.

I find solutions.

I ask bigger questions.

I make today count.

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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Cleveland Orchestra News

The Cleveland Orchestra

orchestra news

THE CLEVELAND ORCHESTRA

Szell’s Columbia albums released in special edition boxed set

Four movies offered at Severance Hall during 2018-19 season

A special boxed set recording edition is being released this summer featuring, for the first time, all the recordings that George Szell made with Columbia.

The Cleveland Orchestra is featured on a majority of these acclaimed recordings, along with some by the New York Philharmonic and with the Columbia Symphony Orchestra (a recording entity made up of members of varying ensembles, including The Cleveland Orchestra).

Released by Sony Classical, the 106-CD set will be available beginning on August 10, with pre-orders being taken prior to that date. The set comprises a survey of Szell’s time as music director of The Cleveland Orchestra, and includes some works recorded twice, once earlier and then again later in his tenure. A hardcover, illustrated coffee table book is included, with full discographical notes and work index, along with a disc of interviews.

The set includes over 85 hours of music.

Lights! Camera! Music! The Cleveland Orchestra presents four classic movies during the upcoming season at Severance Hall, with music performed live as each film is projected above the stage. Three of the season’s movies feature the Orchestra performing the musical soundtrack, while the first instead utilizes the concert hall’s 6,000-pipe organ to sound out an improvised accompaniment. Three of the movies (in October, March, and April) can be purchased together as a cost-saving series. The fourth and final movie, in May 2019, is part of the Orchestra’s regular weekend concert series, with the 1951 movie An American in Paris featuring a score of hits by George Gershwin.

The three-concert “At the Movies” series is sponsored by PNC, and opens in October with Alfred Hitchcock’s early film The Lodger: A Story of the London Fog on October 26. Acclaimed organist Todd Wilson returns for this performance, showcasing his own improvisatory artistry through the capabilities of Severance Hall’s Norton Memorial Organ. This neverbefore-heard performance brings Hitchcock’s movie masterpiece to life for a unique evening of haunting music and spellbinding storytelling.

The series continues with the groundbreakk ing 1955 film Rebel Without a Cause on Friday, March 1. Featuring a score by Leonard Rosenman often considered to have revolutionized film music, Nicholas Ray’s cult-classic about rebellious American youth culture — starring James Dean, Sal Mineo, and Natalie Wood — is a timeless landmark drama. The Cleveland Orchestra accompanies this evening of silver screen magic.

The “At the Movies” series concludes on Sunday, April 28, with Steven Spielberg’s Close Encounters of the Third Kind, d featuring John Williams’s remarkable musical score and Spielberg’s uncanny eye for direction.

“At the Movies” series subscriptions are available through the Severance Hall Ticket Office, online at clevelandorchestra.com, or by calling Cleveland Orchestra Ticket Services at 216-231-1111 or 1-800-686-1141.

Summers@Severance offers three Friday musical evenings The Cleveland Orchestra’s fifth year of Summers@Severance in 2018 offers three Friday night concerts. This popular summer series offers a unique, enjoyable atmosphere to hear the Orchestra and socialize with friends and family in the beauty of University Circle surrounding Severance Hall.

The series is sponsored by Thompson Hine LLP and for 2018 takes place on July 27, August 10, and August 24, featuring a range of music from Brahms and Bartók, to Haydn and Mozart.

Series tickets (all three concerts as a package) are on sale via the Severance Hall Ticket Office or online. Individual concert tickets can be purchased, in person or online at clevelandorchestra.com.

Blossom Festival 2018

Cleveland Orchestra News

87

1918

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

16 17th

1l1l 11l1 l1l1 1 1

The 2018-19 season will mark Franz Welser-Möst’s 17th year as music director.

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

40,000

each year

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

52 53%

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

4million

Followers on social media (June 2018)

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

129,452 200,000

1931

150

concerts each year.

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

The Cleveland Orchestra performs over

THE CLEVEL AND ORCHESTRA

BY THE NUMBERS

Welcome to Blossom!

Welcome to the 2018 Blossom Music Festival — a summer-long season of weekend and holiday musical programs presented by The Cleveland Orchestra. In add dition, LiveNation presents nonorchestral concerrts throughout the season.

Please be awaare that some audience policies differ depending on the evening’s musical presentation, including what food and beverages can be brought onto the e grounds or into the Pavilion.

For this summ mer’s Festival, unique security, parkking, and food policies apply for the presentation of Roger Daltrey Sing gs The Who’s Tommyy on July 8.

Before the Concert . . .

GROUNDS OPEN Gates to the B Blossom grounds are open to the public 2½ hours b before Festival concerts.

QUESTIONS? Members of B Blossom Friends of The Cleveland Orchestra staff tw wo Information Centers — one located outside th he Main Gate across from the Lawn Ticket Booth and the other inside the Main Gate on Smith Plaza next tto the Joseph Garden.

PARKING Free parking g is available with your ticket to any regular Festival concert. Paved parking Lots require a printed aand dated hang-tag, which must be displayed in your vehicle. Cars without dated parking hang-tags are direected to non-paved parking.

Free hang-ta ags for Lots C-D-E are available with Pavilion tickkets purchased at least ten days in advance of a Festtival concert. Paved Lots A and B are reserved forr subscribers (Lot B) and Box Seat holders (Lot A).

Anyone can u upgrade to Lot A parking in advance, subject to availability, for $20 per vehicle per concert.

Parking spacces for patrons with disabilities and special need ds are in Lots B and E. A valid disability parking g permit is required and must be displayed. A limitted number of ADA parking spaces are also available e in Lot A for $20 per vehicle per concert, with advvance purchase. For more information, contact Gue est Services at 330-916-6068.

FREE TRAM SERVICE AND GOLF CARTS Free transporrtation throughout the grounds is available to all paatrons for Blossom Music Festi-

Blossom Festiva al 2018

Patron Information

CONTACT US ORCHESTRA FESTIVAL TICKETS

(216) 231-1111

or 800-686-1141 or online at clevelandorchestra.com Blossom Guest Services and Lost & Found (330) 916-6068 Blossom Grille (330) 916-6063 Accessibility Services (330) 916-6068

S AR Y E6 8 - 2 O 1 8 19

Group Sales and Knight Grove Reservations (216) 231-7493 weekday business hours Blossom Administrative Offices (330) 920-8040 weekday business hours Cleveland Orchestra Offices (216) 231-7300 weekday business hours val concerts. Tram service from parking lots to Smith Plaza and to the Pavilion is available on a continuous basis before and after each concert.

A limited number of golf carts provide an alternative option for transportation within the Blossom grounds. These are available on a firstcome, first served basis (from a location near Emily’s Garden on Smith Plaza) to drive patrons to the Blossom Grille, Knight Grove, and other destinations not on the regular Tram routes.

PICNICS Festival patrons are welcome to bring your own picnics, packed with everything needed to make your experience a special and relaxing event — or let us cook for you (see the sections on concessions and the Blossom Grille).

Blossom has plentiful picnic areas, including the Woods Picnic Area adjacent to Parking Lot B. Picnic areas cannot be reserved in advance and are available on a first-come, first-served basis.

Open-flame grilling is not permitted anywhere on the Blossom grounds or parking areas. Sparklers and fireworks are also prohibited.

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Patron Information

continued

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.

NEW! PRE-ORDER PICNICS ONLINE A variety of prepared picnic baskets are available to pre-order thru the Orchestra’s website, featuring three tiers of food offerings — including sandwiches, wraps, dips, mini-cakes, pies, snack items, and beverages. Information about picking up your picnic comes with your order.

Visit clevelandorchestra.com/picnic.

CONCESSIONS Blossom offers a diverse selection of food and beverage concessions throughout the grounds.

Some of the items available include individual pizzas, grilled hot dogs, jumbo soft pretzels, coffees, and ice cream, along with a selection of alcoholic beverages featuring beers and summer cocktails.

Wines by the bottle can be purchased at the Wine Store, at the top of the Lawn (see grounds map).

BLOSSOM GRILLE This open-air restaurant located at the top of the Lawn 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 following each concert.

For more information or to make reservations, please call 330-916-6063.

LAWN CHAIRS AND RENTALS Guests are welcome to bring chairs to the Lawn, but we ask you to please keep in mind that how you sit can obstruct others’ views.

Short-legged beach-style chairs make good neighbors. Suitable rental chairs are available at the top of the hill for a rental fee of $5 per evening. Tents or other structures are strictly prohibited.

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Pavilion Seating FOOD AND BEVERAGES, LATE SEATING

For the comfort all guests, new guidelines have been instituted for late seating and food/beverages in the Blossom Pavilion.

Please follow posted signage for the following Pavilion seating options: CLASSICAL CONCERTS — BLUE Late seating is permitted only at designated seating breaks in the music.

Bottled water only is allowed in the Pavilion.

POPS-STYLE CONCERTS — PINK Late seating is permitted between pieces and during speaking from the stage.

Beverages and small snacks are allowed in the Pavilion.

MOVIE CONCERTS — ORANGE Late seating is permitted throughout the performance.

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

During the Evening . . .

IN CASE OF RAIN Blossom Music Festival concerts are performed rain or shine. In the event of rain, Lawn/ General Admission tickets will allow you access to the general admission sections of the Pavilion, available on a first-come, first-served basis.

ARRIVING LATE TO THE LAWN Lawn patrons can find a spot on the Lawn at any time throughout the evening. However, if you are arriving after the concert has started, please be courteous to fellow patrons who are already enjoying the music.

NO SMOKING All Blossom events are presented in a smoke-free environment. Smoking tobacco or e-cigarettes is not allowed anywhere on the grounds or in buildings once you have entered through the ticket gates.

AERIAL DRONES To ensure the safety of all, audience members are prohibited from having and operating drones anywhere on the Blossom grounds.

Patron Information

2018 Blossom Festival

Patron Information

continued

MOBILE PHONES AND CAMERAS Visitors to Blossom are welcome and encouraged to check-in on Facebook and thru other social media sites or apps, and to share about your Blossom experience thru these same channels — including pictures of your family and friends enjoying all that Blossom has to offer.

Please note that, in accordance with contractual agreements with the performers, the taking of pictures inside the Pavilion during performances is not permitted.

The recording of performances — video or audio — is also restricted.

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

DURING THE PERFORMANCE Please keep in mind that a night at Blossom is a shared experience. Please be mindful about the comfort and safety of people around you while you are enjoying your own evening.

Please silence or mute your mobile phone.

Please refrain from using your mobile device in a way that disturbs those around you from enjoying the performance or quietude of twilight.

CLEVELAND ORCHESTRA STORE During Festival concerts, the Cleveland Orchestra Store offers sales in the Special Events Center located on Smith Plaza. Offerings include Blossom and Cleveland Orchestra signature merchandise, recordings, and other gift items.

The shop is open 2 hours before the concert, at intermission, and for post-concert shopping.

FIRST AID First Aid is available at every performance.

Contact the nearest usher or go to Smith Plaza.

LOST AND FOUND Visitors seeking to retrieve lost articles can inquire at Guest Services at Smith Plaza.

YOUNG PERSON’S GUIDE A free printed Young Person’s Guide is available to help your youngest attendees learn about music, with some suggested activities.

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Patron Information

91

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Buying Tickets ER 1

Call the Severance Hall Ticket Office

FRE E N

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

8s Free Lawn Tickets are available ND for young people ages 17 LIES FA M I FOR and younger. Two Under 18s Free Lawn Passes can be requested with each ON paid admission. Under 18s THE LAW must have a pass for entry and must be accompanied by an adult. Passes can be requested through the Ticket Office or online.

The Under 18s Free Lawn Pass also permits seating in the General Admission sections of the Pavilion. Seating in the General Admission sections of the Pavilion is available on a first-come, first-served basis. Pavilion seating may not be appropriate for very young children if they are unable to sit quietly and enjoy the concert without disturbing those around them.

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BY TELEPHONE

IN PERSON $W WKH 6HYHUDQFH +DOO 7LFNHW 2IÀFH 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 Off fice, 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

Under 18s Free is a program for families, supported by The Cleveland Orchestra’s Center for Future Audiences.

The Center, created with a lead endowment gift from the Maltz Family Foundation, was established to fund programs to develop new generations of audiences for Cleveland Orchestra concerts in Northeast Ohio.

PAVILION GENERAL ADMISSION AREAS Some areas of the Pavilion are designated for general admission seating on a first-come, firstserved basis (beginning two hours before each concert). Lawn Tickets and Under 18s Free Lawn Passes grant access to this area. Each person regardless of age must have a ticket to sit in this area.

GROUP DISCOUNTS Groups of 10 or more qualify for specially discounted tickets to most Festival concerts.

Whether you are planning for your company picnic, a club or social group outing, or this year’s family reunion, Blossom offers a special setting.

Call our Group Sales Office at 216-231-7493.

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

GUARANTEED COMPLIMENTARY PAVED LOT PARKING When you purchase Pavilion tickets to regular Festival concerts in advance, you 2018 receive a parking pass that guarantees you J U LY space in one of Blossom’s paved parking lots and access to these lots via the “Parkk ing Pass” lane. To receive a parking pass, C-D-E purchase tickets in person or online at least ten days prior to the concert.

BLOSSO M MUSIC

FESTIVAL

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

Blossom Festival 2018

Buying Tickets

4

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Knight Grove

BLOSSOM GROUNDS

ATM

Picnic Tables

Concessions Family Restroom

Hood Meyerson Suite Backstage Lot

ATM

Blossom Grille

Pavilion

Lawn Seating

Lawn Terrace

Kulas Plaza

Concessions

ADA Lawn Seating

Concessions Guys Burger Joint

Concessions

ATM

Frank E. Joseph Garden Herbert E. Strawbridge Garden

Eells Art Gallery Concessions

ATM

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

Lot A Gate Guest Services and First Aid Security

Lawn Chair Rental Information Center*

Special Events Center (Merchandise Sales)

Concessions

Main Gate

FirstEnergy

Box Office

Lot (PAY LOT)

Pedestrian Bridge

Information Center*

Lawn Ticket Booth Woods Picnic Area Subscriber

Lot

Lot

Lot

Lot

Tram Stops ADA Route

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* Information Centers staffed by Blossom Friends of The Cleveland Orchestra

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

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