Page 1





June 29-30 --- At the Movies: Harry Potter . . . . . . page 20 July 3-4 --- Salute to America . . . . . . . . . . . . . . . . . . . page 31 July 5-6 --- Rhapsody in Blue . . . . . . . . . . . . . . . . . . . page 39 July 7 --- Peter and Paul . . . . . . . . . . . . . . . . . . . . . . . . page 51 July 13 --- Tchaikovsky 4th Symphony . . . . . . page 63 EX

Read this program book online at See complete Table of Contents on page 4

Imagined Dragons.

This summer, discover how monsters inspired the imaginations of artists in the Middle Ages.

July 7–October 6 | FREE

Medieval Monsters is organized by the Morgan Library & Museum, New York Supporting Sponsor

Media Sponsor

The Taming the Tarasque (detail), from Hours of Henry VIII, c. 1500. Jean Poyer (France, Tours, active 1483–1503). Bound vellum; 25.6 x 18 cm (10 1/16 x 7 1/16 in.). The Morgan Library & Museum, Gift of the Heineman Foundation, 1977, MS H.8, fol. 191v

The Orchestra at Blossom. What’s not to love?










2O19 BLOSSOM MUSIC FESTIVAL Book No. 1 7 Share your memories of tonight and join in the conversation online . . . twitter: @CleveOrchestra instagram: @CleveOrch


CONCERT — June 29-30 At the Movies Introducing the Movie . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Composer: John Williams . . . . . . . . . . . . . . . . . . . . . . . . 25 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26-29


CONCERT — July 3-4 Salute to America Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 35 Blossom Festival Band . . . . . . . . . . . . . . . . . . . . . . . . . 34 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36-37


CONCERT — July 5-6 Rhapsody in Blue Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . 41 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42-47 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48-49


CONCERT — July 7 Peter & Paul Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 53 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52-55


CONCERT — July 13 Tchaikovsky 4th Symphony Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 65 About the Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66-77 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64


About the Orchestra

#CleOrchBlossom Copyrightt © 2019 by The Cleveland Orchestra Eric Sellen, Program Book Editor E-MAIL: Program books for Cleveland Orchestra concerts are produced by the Marketing, Communications, & Audience Engagement 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.

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. Preferred Airline of The Cleveland Orchestra


About Blossom Welcome to Our Summer Home . . . . . . . . . . . . . . . . . . 7 2019 Festival Calendar . . . . . . . . . . . . . . . . . . . . . . . . . 8-9 About Blossom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13-16 Blossom by the Numbers . . . . . . . . . . . . . . . . . . . . . . . . 14 Blossom Committee . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Blossom Friends . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18-19 Blossom Information and Policies . . . . . . . . . . . . 89-94

Board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . 57-59 Roster of Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 60-61


Supporting the Orchestra John L. Severance Society . . . . . . . . . . . . . . . . . . . . . . . 79 Annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80-87

Table of Contents

Blossom Music Festival

It’s more than music. We are proud to support The Cleveland Orchestra and the transformative power of accomplished professionals working together to achieve excellence.

Welcome to Our Summer Home! Few settings offer a more spectacular selection of ingredients for a magical and memorable evening than Blossom Music Center during a summer concert. And if you’re reading this, chances are you already have an abiding appreciation for both The Cleveland Orchestra and this breathtaking amphitheater under the stars. Every year, people of all ages are introduced to the beauty and power of symphonic music through visits to Blossom. This world-class ensemble and its summertime home also play an extraordinary role in impacting the lives and creative spirit of countless students. Last season, 20% of our audience was under the age of 25. With the creation of our Center for Future Audiences in 2011, Cleveland Orchestra concerts now attract and inspire more than 40,000 young people each year. Look no further than the excitement and enthusiasm surrounding each night’s performance at Blossom for a glimpse into what this marvelous orchestra and its summer home mean to the people of Northeast Ohio. They both have a deepseated connection to the community they represent — the type of connection norK?JJWPCQCPTCBDMPDPGCLBQ?LBD?KGJWKCK@CPQ 5CA?L?JJkGNRFPMSEFRFCK?LW snapshots in our mind’s eye for memorable moments spent with loved ones on the soft grass at Blossom. Maybe you heard Tchaikovsky’s 1812 Overture and watched jPCUMPIQUGRFWMSPAFGJBPCL?RMLCMDMSP?LLS?J$MSPRF MD (SJWACJC@P?RGMLQ-P WMSQF?PCB?@MRRJCMDUGLCML?@J?LICRUGRF?QNCAG?JB?RCDMP1AFS@CPRQf3LjLGQFCBt1WKNFMLW-PNCCPCBSN?RRFCQIWQGLIWB?PILCQQBSPGLEStar Wars and AMLQGBCPCBRFCSLGTCPQCQGLjLGRCNMQQG@GJGRGCQ QUCQF?PCGL JMQQMKQjDRW QCAMLBEJMPGMSQQSKKCP 2FC!JCTCJ?LB-PAFCQRP? remains grateful for the ongoing support from our Blossom season sponsor, 2FC( + 1KSAICP!MKN?LW ?LBDMPRFCECLCPMSQNCMNJCMD1SKKGR?LB1R?PI Counties and the entire region. Blossom is as much our home as Severance Hall, and we appreciate the good fortune of having a pair of remarkable concert halls in which these talented musicians can present enduring performances. Perhaps some of you aren’t aware that The Cleveland Orchestra owns Blossom and, as a result, continues to oversee and shape the longterm vision of this summer arts N?PIDMPDSRSPCECLCP?RGMLQ -SPJMLERGKC?DjJG?RGMLUGRF*GTC,?RGML UFM books and promotes the various non-orchestral events at Blossom, and who operates the facility for us, has been a rewarding partnership for both organizations. This season Live Nation is welcoming a diverse roster of musical acts, including Santana, Wiz Khalifa, Smashing Pumpkins, Luke Bryan, and Peter Frampton. Meanwhile, in the weeks ahead, your brilliant orchestra will continue playing joyful and inspiring music for the people of Northeast Ohio. And there’s no more wonderful place to experience these unforgettable performances than here at Blossom, in our own backyard.

André Gremillet

Blossom Festival 2019

Welcome: From the President & CEO




29 JUN 30 7:30

THE SORCERER’S STONE The Cleveland Orchestra Justin Freer, conductor The classic first film in the series shown in HD on the big screen — with the score performed live by The Cleveland Orchestra. Harry Potter characters, names, and related indicia are © & TM Warner Bros Entertainment Inc. Harry Potter Publishing Rights © JKR (s19).









Blossom Festival Band Loras John Schissel, conductor



Blossom Festival Band Loras John Schissel, conductor



5 JUL 6

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




A T T H E M O V I E S: H A R R Y P O T T E R

Musical works by Bernstein, Gershwin, Stravinsky, and Tchaikovsky.


13 8


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



Musical works by Mussorgsky, Prokofiev, and Tchaikovsky.

20 8


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



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


27 7


ELGAR’S ENIGMA VARIATIONS The Cleveland Orchestra Bramwell Tovey, conductor Gautier Capuçon, cello with Kent Blossom Orchestra Vinay Parameswaran, conductor


Blossom Music Center has provided an inviting and gracious summer home for The Cleveland Orchestra since it opened in 1968. Located just north of Akron, Ohio, and about 25 miles south of Cleveland, Blossom is situated on 200 acres of rolling hills surrounded by the Cuyahoga Valley SEASON SPONSOR National Park. Its beautiful outdoor setting is an integral part of the Blossom experience — and unrivaled among America’s summer music festival parks for the clear sightlines from across Blossom’s expansive Lawn and the superb acoustics and architectural beauty of the Blossom Pavilion. Come early to savor the summer weather. Bring your own picnic, or purchase from a variety of onsite options available, including a wide selection of wines, spirits, and beers. For an eighth summer, The Cleveland Orchestra is offering free Lawn tickets to young people ages 17 and under for all Blossom Festival concerts. Two “under 18s” will be admitted with each paid adult admission — an initiative of The Cleveland Orchestra’s Center for Future Audiences, endowed by the Maltz Family Foundation to expand new audiences for symphonic music.

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



= features fireworks, weather permitting






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




Musical works by Beethoven and Zemlinsky.

LY 7 Sun 7

10 8






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

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

11 7


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




Musical works by Liszt, Barber, and Brahms.

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


17 8



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

Musical works by Ives, Bernstein, and Rachmaninoff.


24 8




21 7

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



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

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


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


28 7




30 AUG 31


A T T H E M O V I E S: S T A R W A R S

The Cleveland Orchestra Lucas Waldin, conductor Capathia Jenkins, vocalist Ryan Shaw, vocalist

The Cleveland Orchestra Sarah Hicks, conductor


1 7:30




An evening devoted to the artistry and greatest hits of Aretha Franklin.


The classic sequel film shown in HD on the big screen — with the score performed live by The Cleveland Orchestra. Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm Ltd, and Warner/Chappell Music.



BALANCED MORNING. Wake up with WKSU. Start your morning with WKSU as your wake-up alarm. Listen to our balanced news and NPR programming as part of your morning routine.

DOWNLOAD THE APP TODAY 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. 19-P-IMPACT-604


as of June 2 019

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival OFFICERS AND EXECUTIVE COMMITTEE Richard K. Smucker, Chair André Gremillet, President & CEO Dennis W. LaBarre, Immediate Past Chair 0GAF?PB(  MEMKMJLW, Chair Emeritus

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

Alexander M. Cutler Hiroyuki Fujita  "?TGB( &MMICP  +GAF?CJ( &MPTGRX Douglas A. Kern

Virginia M. Lindseth Nancy W. McCann Larry Pollock  JDPCB+ 0?LIGL (P

Audrey Gilbert Ratner

Barbara S. Robinson (CDDCPW( 5C?TCP Meredith Smith Weil .?SJ# 5CQRJ?IC(P

RESIDENT TRUSTEES Robin Blossom  0GAF?PB(  MEMKMJLW Yuval Brisker Helen Rankin Butler Irad Carmi Paul G. Clark Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Robert A. Glick Robert K. Gudbranson Iris Harvie Dee Haslam Stephen H. Hoffman  "?TGB( &MMICP  +GAF?CJ( &MPTGRX Marguerite B. Humphrey  CRQW(SJG?LM  (C?L! )?J@CPCP

Nancy F. Keithley Christopher M. Kelly Douglas A. Kern  (MFL" )MAF Richard Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Milton S. Maltz Nancy W. McCann Stephen McHale Thomas F. McKee  *MPCRR?( +CQRCP Dr. Tomislav Mihaljevic Beth E. Mooney  (MFL! +MPJCW Katherine T. O’Neill Larry Pollock  JDPCB+ 0?LIGL (P  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 (?KCQ! 1NGP? R. Thomas Stanton Richard Stovsky Russell Trusso Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner (CDDCPW( 5C?TCP Meredith Smith Weil .?SJ# 5CQRJ?IC(P

David A. Wolfort

N AT I O N A L A N D I N T E R N ATI O N A L T R U S T E E S Virginia Nord Barbato (New York) Wolfgang C. Berndt (Austria)  +?PW(M#?RML$JMPGB? TRUSTEES EX- OFFICIO Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Barbara R. Snyder, President, Case Western Reserve University

Richard C. Gridley (South Carolina) Herbert Kloiber (Germany) Paul Rose (Mexico)

Patricia M. Smith, President, Friends of The Cleveland Orchestra  CTCPJW( 5?PPCL, President, Kent State University

TRUSTEES EMERITI George N. Aronoff Dr. Ronald H. Bell David P. Hunt S. Lee Kohrman Raymond T. Sawyer

HONORARY TRUSTEE S FOR LIFE Alex Machaskee Gay Cull Addicott Robert P. Madison Charles P. Bolton  2FC&MLMP?@JC(MFL" -LE  (C?LCRRC%P?QQCJJG PMUL  (?KCQ1 0CGB (P

Allen H. Ford Robert W. Gillespie

PA S T B OA R D P R E S I D E N T S D. Z. Norton 1915-21  (MFL* 1CTCP?LAC1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55  $P?LI# 2?NJGL (P 1955-57  $P?LI# (MQCNF1957-68 Alfred M. Rankin 1968-83

Ward Smith 1983-95 0GAF?PB(  MEMKMJLW 1995-2002, 2008-09 (?KCQ" 'PCJ?LB''' 2002-08 Dennis W. LaBarre 2009-17


Blossom Music Festival


Musical Arts Association




A BRIGHTER FUTURE THROUGH INNOVATIVE DESIGN Rising to each moment, faculty and students at Kent State work together to expand the world’s knowledge. They study, research and create solutions the world needs through collaboration and innovative design. Their success is driven by purpose and the goal of creating a bright future.



BLOSSOM with The Cleveland Orchestra B L O S S O M M U S I C C E N T E R was opened

in 1968 as the summer home of The Cleveland Orchestra — and has welcomed more than 21 million fans to concerts of all kinds in its first half-century serving Northeast Ohio. Located just north of Akron, Ohio, and about 25 miles south of Cleveland, Blossom is situated on rolling hills surrounded by the Cuyahoga Valley National Park, which protects 33,000 acres along the Cuyahoga River between Akron and Cleveland. Blossom lies within the city limits of Cuyahoga Falls, an Ohio community founded over two-hundred years ago. Blossom was planned and built by The Cleveland Orchestra at a 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. Blossom granddaughter Laurel Blossom continued the tradition as a trustee, 1999-2018, and Robin Blossom was elected to the board in 2018. George Szell, music director (1946 to 1970) of The Cleveland Orchestra, 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. The schedule expanded in subsequent seasons to feature the Blossom Music Festival of orchestral and related music from the Fourth of July to Labor Day Weekend alongside a Blossom Music Festival

About Blossom



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







and under

The portion of young people 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.


21million ADMISSIONS

Blossom Music Center has welcomed more than 21,100,000 people to concerts and events since 1968 — including the Orchestra’s annual Festival concerts, plus special attractions featuring rock, country, jazz, and other popular acts.


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 soddded de ed la law awn wn

Th he cr crea eati ea t on of Bllo ti oss ssom om in 119966 66 -668 w 66-6 waas a ma m jo j r co onstruction on pro roje j ct je c inv nvol olvin ng g many hands and muc uch h mate mateerriial ma a, made possibl b e byy man ny generous uss don onor orss. or s.

Cuyahoga Valley National Park was created in 2000, upgrading the national recreational preserve, whch had been established in 1974. Today, CVNP includes 33,000 acres of preserved prairieland and forest adjoining Blossom Music Center.


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 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), and Knight Grove (a party center accommodating groups of 25 to 450). Blossom Festival 2019

About Blossom



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 21 million people have attended live musical performances at Blossom in its first half century — with 400,000 enjoying symphonic and rock concerts each summer. In 2002, the facility underwent the first major capital improvements project in At the Blossom groundbreaking on July 2, 1967, from left the park’s history. The Blossom Redevelin foreground are Frank Joseph (then board president opment Project featured a major renovaof The Cleveland Orchestra), Elizabeth Bingham Blossom (Mrs. Dudley Sr.), Benjamin Gale (Blossom grandson), tion of the facility and enhancement of Betsy Blossom (youngest Blossom grandchild), and patron amenities, and was completed Charles Bingham Blossom (Blossom grandson). 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.

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

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 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


About Blossom

Blossom Music Festival

Blossom Committee h t 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, 2019.)

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

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 T. Teodosio Paul E. Westlake Jr. Deb Yandala Y *Honorary Member for Life


Richard K. Smucker, Board Chair, The Cleveland Orchestra Dennis W. LaBarre, Immediate Past Chair, The Cleveland Orchestra Richard J. Bogomolny, Chair Emeritus, The Cleveland Orchestra André Gremillet, President & CEO, The Cleveland Orchestra Peter van Dijk, Westlake Reed Leskosky

TRUSTED. RESPECTED. RELIABLE. Northeast Ohio’s leading provider of life-changing services for people with intellectual and developmental disabilities. • NEIGHBORHOOD HOMES • EMPLOYMENT & DAY SERVICES • TRANSPORTATION

Blossom Festival 2019

Blossom Committee

Thiss fun, long-running series of meet-the-artist luncheons showcases the individual stories and artistry r of musicians cians from The Cleveland Orchestra or from the Cleveland Orchestra Youth Orchestra. Each event features a lively discussion session with a musician or small ensemble, and includes a musical performance. Lunch is included, reservations are required. Presented in Knight Grove at Blossom Music Center.

June 17 Monday at 12 noon Maya Fields — VIOLA Matthew Fields — CELLO


Gourmet Matinees A Series of Casual Gourmet Picnic Meet-the-Musician Luncheons at Blossom’s Knight Grove

Sister and brother Maya Fields and Matthew Fields begin this summer’s luncheon series. Both are alums of the Cleveland Orchestra Youth Orchestra, and d have gone on to study music at Eastman School of Music and McGill University, respectively. Hear about theirr choices and success in pursuing musical careers.

July 17 Wednesday at 12 noon Richard King — HORN The series continues with horn player Richard K King, who served as associate principal or principal ho orn for nearly three decades — and continues as a mem mber of The Cleveland Orchestra’s horn section. He iss also an active teacher, chamber musician, and recitalist.

August 28 Wednesday at 12 noon Mark Jackobs — VIOLA Violist Mark Jackobs joined the Orchestra in 1993. He regularly plays in chamber music performances, teaches as a faculty member of the Cleveland Institute of Music, and has led masterclasses at schools and conservatories across the United States. $50 per program.

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

Blossom Friends of The Cleveland Orchestra O h


2019 Gourmet Matinee Luncheons

2019 Blos

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 renamed Blossom Friends of The Cleveland Orchestra in 2016 and is 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 orr EXECUTIVE COMMITTEE Susan Kenney, Peggy Krinsky, Kaye Lowe, Co-Presidents Mary Walker Sprunt, Recording Secretary Lorry Szabo, Corresponding Secretary Peggy Krinsky, Treasurer

AREA CHAIRS — Danielle Dieterich — Kaye Lowe KENT — Roseanne Henderson, Janet Sessions NORTHEAST — Lorry Szabo MEMBERS-AT- LARGE — Connie Van Gilder AKRON


Gourmet Matinee Luncheon dates for 2019 include July 17 and August 28 at Blossom. Call 330-995-4975 for details or visit

DANCECleveland Presents ADF in CLE Summer Dance Festival Two Remarkable Performances at Playhouse Square

BalletX by Gabriel Bienczycki,

BalletX- July 27 Malpaso- August 10 Info & Tickets: 216-241-6000 Blossom Festival 2019

Blossom Friends




Saturday evening, June 29, 2019, at 7:30 p.m. Sunday evening, June 30, 2019, at 7:30 p.m.


HARRY POTTER and the Sorcerer’s Stone



a live feature film presentation with THE CLEVELAND ORCHESTRA and the BLOSSOM FESTIVAL CHORUS conducted by JUSTIN FREER


At the Movies: June 29 and 30

2019 Blossom Festival




The film is presented with one intermission and will end at approximately 10:25 p.m.

HARRY POTTER characters, names and related indicia are © & ™ Warner Bros. Entertainment Inc. Harry Potter Publishing Rights © JKR. (s19)


CineConcerts Justin Freer, r President, Founder, and Producer Brady Beaubien, Co-Founder and Producer Managing Director: Jeffery Sells Head of Publicity and Communications: Andrew Alderete General Manager: Nicolas Rehm Brand/Marketing/IP Acquisition: Ma’ayan Kaplan Brand/Marketing Manager: Brittany Fonseca Brand/Marketing and PR Manager: Molly Kossoff Brand/Marketing and Social Media Manager: Si Peng Office Manager: Gabe Cheng Worldwide Representation: WME Entertainment Music Preparation: JoAnn Kane Music Service Music Editing: Ed Kalnins Playback Operation and Synthesizer Production: iMusicImage Sound Remixing: Justin Moshkevich, Igloo Music Studios Merchandise by FireBrand

Blossom Festival 2019

At the Movies: June 29 and 30




Proud to support The Cleveland Orchestra Blossom Music Festival

©/TM/® ©/TM/® TheThe J.M.J.M. Smucker Smucker Company Company



Imagination& Storytelling E V E R Y C O U N T R Y H A S I T S M Y T H S . Every generation has its stories. Every storyteller has a hero (or two or three). I very well remember waiting to board an airplane on the day the final Harry Potter book was released to the public in 2007. I was at London’s Heathrow Airport that July morning and EVERYBODY had the book and was sitting reading it. I remember one family — mother, dad, son and two daughters — each with their own copy, eagerly turning the pages, competing for unfolding knowledge of the book’s storyline, plot twists, and surprises. Harry Potter was (and still is) a real phenomenon. A tidalwave of inspiration and creativity (and commercialization) that swept much of the globe, first as a series of imaginative books filled with great characters. And then as a series of well-built and adeptly cast big-screen movies, with plenty of special-effect wizardry. And with a Broadway play and theme park neighborhood now also part of this continuing storyline, all delivering the kind of genuinely yearned-for fight between good and evil that only myths can offer us. (If only everyday reality and the geopolitical conflicts within our complex modern world were anywhere near as straight-forward and clear-cut.) This weekend’s concerts present the first Harry Potter movie in concert, projected from start to finish, in full-screen, with its acclaimed musical score played live by The Cleveland Orchestra. And, yes, the music is yet another win and reason for the success of the series, written by legendary film composer John Williams. Enjoy every magical, musical, and imaginative moment!

—Eric Sellen The J.M. Smucker Company is proud to serve as the season sponsor for The Cleveland Orchestra’s 2019 Blossom Music Festival. The Goodyear Tire & Rubber Company is a proud Blossom Music Festival supporter.

Blossom Festival 2019

Introducing the Concert: At the Movies


Volunteerism is the foundation of Goodyear’s commitment to creating a better future in our communities and we are proud to support The Cleveland Orchestra. WWW.GOODYEAR.COM/COMMUNITY ©2019 The Goodyear Tire & Rubber Company. All rights reserved.




In a career spanning more than five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music and served as music director for more than one hundred films, including all eight Star Wars films, the first three Harry Potter films, Superman, and Home Alone. His 45-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Saving Private Ryan, War Horse, and Lincoln. His contributions to television include scores for more than 200 presentations, as well as themes for NBC Nightly News, NBC’s Meet the Press, and the PBS arts showcase Great Performances. He also composed themes for Olympic Games in 1984, 1988, 1996, and 2002. Mr. Williams has received five Academy Awards and fifty-one Oscar nominations, making him the Academy’s most-nominated living person and the second-most nominated person in history. He has received seven British Academy Awards (BAFTA), twenty-four Grammys, four Golden Globes, and five Emmys. In 2014, he was a recipient of the prestigious Kennedy Center Honors. In 2009, Mr. Williams was inducted into the American Academy of Arts & Sciences, and he received the National Medal of Arts, the

Blossom Festival 2019

highest award given to artists by the U.S. Government. In 2016, he received the 44th Life Achievement Award from the American Film Institute — the first time in their history that this honor was bestowed upon a composer. In January 1980, Mr. Williams was named music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He has held the title of Laureate Conductor since stepping down from leading the ensemble in 1993. In addition to his film work, Mr. Williams has composed extensively for the concert stage, including two symphonies, and concertos commissioned by several of the world’s leading orchestras, including a cello concerto for the Boston Symphony Orchestra, a bassoon concerto for the New York Philharmonic, a trumpet concerto for The Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. In 2009, Mr. Williams composed and arranged “Air and Simple Gifts” especially for the first inaugural ceremony of President Barack Obama, and in September 2009, the Boston Symphony premiered a new concerto for harp and orchestra titled “On Willows and Birches.”

At the Movies: Composer


Brady Beaubien


Brady Beaubien is a Stanford graduate and AllAmerican Athlete. He studied cognitive neuroscience before founding Interlace Media, an award-winning motion graphics company. The firm is a premier CG animation and advertising agency for feature films, having created global campaigns for over a hundred major Hollywood movies, including Avatar, X-Men, Rio, Ice Age, and Die Hard franchises. Mr. Beaubien is also co-founder of CineConcerts, a company dedicated to reinventing the experience of theatrical presentation and orchestral music. He is currently the producer for Gladiator Live, The Godfather Live, DreamWorks Animation in Concert, It’s a Wonderful Life, Breakfast at Tiffany’s, Star Trek: The Ultimate Voyage, and The Harry Potter Film Concert Series. Mr. Beaubien has spearheaded CineConcerts invention of new genres and its creative presentations of cherished film and television content, including writing Star Trek: The Ultimate Voyage, a project that celebrates fifty years of iconic material. He works to ensure that CineConcerts helps inspire a return to communal entertainment and continues to offer modern audiences and the world’s youth a chance to reconnect with local halls and orchestras. Mr. Beaubien co-designed Matsuhisa Paris at the Le Royal Monceau-Raffles. He also designed the Citrus building on Melrose Avenue; this new architectural addition to the Hollywood cityscape represents a commitment to the metropolitan and interconnected providence of Los Angeles. At the Citrus, advanced materials and technology merge with wood, concrete, and glass in an organic and modernist design. Mr. Beaubien has partnered with award-winning sushi chef, Nobu Matsuhisa, to bring his new restaurant concept, Umeda, into the building.

CineConcerts launched in 2013 with its signature concert experience, Gladiator Live, a concert hall screening of the Academy Award-winning film with live orchestra performing the classic Hans Zimmer soundtrack in full, synchronized to the motion picture. CineConcerts has since become one of the world’s leading producers of live music experiences performed with visual media. Founded by composerconductor Justin Freer and producer-writer Brady Beaubien, CineConcerts has engaged millions of people worldwide in concert presentations. These have ranged from full-length movie screenings with live orchestra to music-interactive sporting event experiences to original 3D-environment holiday programming. Since its debut, CineConcerts has quickly expanded its role as one of the leaders in this genre, with such concert-movie titles and experiences as The Godfather Live, DreamWorks Animation in Concert, It’s a Wonderful Life, Breakfast at Tiffany’s, Star Trek: The Ultimate Voyage, and The Harry Potter Film Concert Series.


About CineConcerts

2019 Blossom Festival

Justin Freer American composer-conductor Justin Freer was born and raised in Huntington Beach, California. He has established himself among the West Coast’s most exciting musical voices and has become a sought-after conductor and producer of film-music concerts around the world. He made his Cleveland Orchestra debut in 2017 leading a live movie score performance of Breakfast at Tiffany’s at Severance Hall. Justin Freer began his formal studies on trumpet, but soon turned to piano and composition, writing his first work (for wind ensemble) at age eleven. He made his professional conducting debut at age sixteen. Continually composing for a variety of different mediums, Mr. Free has written music for world-renowned trumpeters Doc Severinson and for Jens Lindemann and continues to be in demand as a composer and conductor across many genres, from orchestral literature to chamber music around the world. Major League Soccer called upon him to compose and conduct music for the 2011 and 2012 Major League Soccer Championship Cups in Los Angeles. He has served as composer for several independent films and has written Blossom Festival 2019

motion picture advertising music for some of the biggest campaigns of 20th Century Fox Studios, including Avatar, The Day the Earth Stood Still, and Aliens in the Attic. As a conductor, Mr. Freer has appeared with some of the most well-known orchestras in the world, including the Chicago Symphony Orchestra, The Cleveland Orchestra, London Philharmonic, Los Angeles Philharmonic, New York Philharmonic, and the Philadelphia Orchestra. He is one of the few conductors to have ever led presentations in both the ancient Colosseum and Circus Maximus in Rome. Renowned wind conductor and Oxford Round Table Scholar Rikard Hansen has noted that, “In totality, Freer’s exploration in musical sound evoke moments of highly charged drama, alarming strife and serene reflection.” Mr. Freer has been recognized with many grants and awards, including honors from ASCAP, BMI, the Society of Composers and Lyricists, and the Henry Mancini Estate. He is the Founder and President of CineConcerts, a company dedicated to the preservation and concert presentation of film, curating and conducting hundreds of full-length music score performances live with film. He spent several years as one of the principal conductors for The Lord of the Rings Trilogy In Concert and conducted the European concert run of Titanic. Justin Freer earned both his bachelor’s and master’s degrees in music composition from UCLA, where his principal composition teachers included Paul Chihara and Ian Krouse. In addition, he was mentored by legendary composer-conductor Jerry Goldsmith.

At the Movies: Guest Conductor


Conservation Burial Ground

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2019 Blossom Festival

Blossom Festival Chorus Lisa Wong , Director

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

Harry Potter and the Sorcerer’s Stone Lou Albertson Christopher Aldrich Laurel Babcock Debbie Bates Ellen Beleiu Leah Benko YC Andrea Bliscik Adam Bonnet CC Patty Console Karla Cummins Makarije Damljanovic CC Sasha Desberg Taniya Dsouza YC Brooke Emmel Emily Engle Sabrina Fellinger CC

Eleanor Fleming CC Annie Gartman Jade Gladue CC Hannah Goldberg Rachael Grubb Emily Guthe Karen Hazlett Maria Dameworth Hisey YC Kirsten Jaegersen Kiersten Johnson Lydia Kee Aaron Kim Kristi Krueger Matthew Kucmanic Heidi Lang Charlotte Linebaugh

Jacob Bernhardt , Accompanist Jill Harbaugh, Manager of Choruses

Dawn Liston Sarah Malarney YC Krish Malte YC Karla McMullen Amelia Morra YC Lila Nagy CC Maria Janine Pape CC Julia Peyrebrune CC Francisco X. Prado Mary Proctor CC Jylian Purtee Victoria Rasnick YC Matthew Rizer Elena Rodenborn CC Ted Rodenborn Emma Violet Rosberil YC

Emma Schoeffler CC Cicely Schonberg Jarod Shamp Amy Shen Madeleine Silver-Riskin Michael Stupecki YC Erin Sullivan Jane Timmons-Mitchell Sasha Turner CC Mary Wilson Nancy Wojciak Ishani L. Zimmerman CC

Joining members of the Blossom Festival Chorus for these performances: CC = member of Cleveland Orchestra Children’s Chorus YC = member of Cleveland Orchestra Youth Chorus

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

Lisa Wong was appointed director of choruses for The Cleveland Orchestra in May 2018, after serving as acting director throughout the 2017-18 season. She joined the choral staff of The Cleveland Orchestra as assistant director of choruses at the start of the 2010-11 season. In 2012, she took on added responsibilities as director of the Cleveland Orchestra Youth Chorus, leading that ensemble for five seasons. In addition to her duties at Severance Hall, Ms. Wong is an associate professor of music at The College of Wooster, where she conducts the Wooster Chorus and teaches courses in conducting, choral literature, and music education. Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

Blossom Festival 2019

June 29-30: Blossom Festival Chorus


Hitting all the right notes.

The arts enrich all our lives and are an integral part of our culture and heritage. It’s why we support arts organizations within our community. They inspire, entertain, move, and inform us in so many ways. Without the arts our community would not be the vibrant and diverse place we enjoy today. KeyBank thanks The Cleveland Orchestra for making a difference. is a federally registered service mark of KeyCorp. Š2019 KeyCorp. KeyBank is Member FDIC. 190521-588145



Wednesday evening, July 3, 2019, at 8:00 p.m. Thursday evening, July 4, 2019, at 8:00 p.m.


SAlUtE to AMeRicA

4 T H - O F - J U LY B A N D C O N C E R T

Commemorating 50 Years of the B LO S S O M F E S T I VA L BAN D The Star-Spangled Banner words by francis scott key (1779-1843) to the tune of the “Anacreontic Song” by John Stafford Smith (arranged for band by Loras John Schissel) the audience is invited to join in singing.

An Outdoor Overture by aaron

copland (1900-1990)

Cornet Solo: The Harp of Tara by walter bowman rogers (1865-1939) featuring LYLE STEELMAN of The Cleveland Orchestra performed in memory of DAVID ZAUDER (1928-2013) Trumpet of The Cleveland Orchestra, 1958 to 1997 Principal Cornet of The Cleveland Orchestra, 1968 to 1997

The Children’s Ball by john philip sousa (1854-1932) from Camera Studies: Music for an Imaginary Film

Adventures on Earth, from E.T. The Extra-Terrestrial by john

williams (b. 1932)


Blossom Music Festival

Salute to America: July 3-4




Seventy-Six Trombones, from The Music Man MEREDITH WILLSON (1902-1984)

led band concerts at Blossom, 1969 to 1973

Pavanne, from American Symphonette No. 2 MORTON GOULD (1913-1996)

led band concerts at Blossom, 1974

The March King commissioned to celebrate Sousa’s Centennial in 1954



led band concerts at Blossom, 1972 to 1997

Hymn to the Fallen, from Saving Private Ryan music by john williams (b. 1932) performed to honor the heroes of D-Day, June 6, 1944

March-Past of the U.S. Armed Forces traditional, arranged for band by Thomas Knox — performed in tribute to the men and women, past and present, of the United States Army, Navy, N Marine Corps, Coast Guard, and Air Force

Festival Overture: The Y Year 1812 by pyotr

ilyich tchaikovsky (1840-1893)

A fireworks display by American Fireworks Company will take place immediately following the concert, weather permitting.

The July 3rd concert is sponsored by KeyBank. The July 4th concert is sponsored by Medical Mutual.



201 9 B lossom Season S ponsor: T h e J . M . S m u c k e r C o m p a n y

Salute to America: July 3-4

Blossom Music Festival

Everything You Love


Insuring lifelong dance partners

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Blossom Festival Band C O N S I D E R E D O N E O F T H E F I N E S T ensembles of its kind in the nation, the Blossom Festival Band performs each summer in Northeast Ohio, continuing a long and well-loved tradition of outdoor band concerts in the United States. The ensemble has its roots in historic American band music and legendary musicians of those years. Band music has been a part of each summer’s musical offerings at Blossom since 1969. That year, a Fourth-of-July band concert was presented as part of the second annual Blossom Music Festival. From 1969 to 1973, these band concerts were conducted by Meredith Willson (composer of Broadway’s The Music Man), who at age 17 had toured with the Sousa Band as a flutist. Based on the success of these concerts, a genuine symphonic band and concert program was organized under the direction of Leonard B. Smith, another of this country’s most respected band directors (he was music director of the nationally known Detroit Concert Band for many years and a widely acclaimed cornet soloist). Mr. Smith made his Blossom debut conducting “The Golden Symphonic Band of Blossom Music Center” in “A Salute to Labor Day” on September 4, 1972. The success of that concert provided the impetus to schedule a series of concerts during the 1973 summer season, with a newly selected band of 65 instrumentalists from the Cleveland area. David Zauder (1928-2013), a former student of Smith and a longtime member of The Cleveland Orchestra’s trumpet and cornet section, served as a guiding spirit for the Band and regularly performed as cornet soloist with the ensemble. Leonard B. Smith served as director from 1972 until his retirement in 1997. Since 1998, the Blossom Festival Band has been conducted by Loras John Schissel.


Blossom Festival Band

Blossom Music Festival

A SAlUtE TO AMeRicA F O U R T H - O F - J U LY B A N D C O N C E R T

has a different view and understanding of home and country, of the pull and push of patriotism and belonging. With commemoration of the 75th anniversary of the D-Day invasion this summer, the generation that came of age amidst World War II has nearly left us — having waged a fight all could believe in, of a struggle jointly fought and won. Y Yet the freedom secured, not just for America but for so many around the world, remains a precious and perilous truth. It is a concept that each generation, each nation, each family, each individual must define for themselves. We celebrate it together each summer, every Independence Day. Since 1969, each Blossom Music Festival has featured a concert band performance to help celebrate the creation of the United States. Whether filled with Sousa marches, folksong Americana, or newer wind serenades, such concerts echo earlier hometown performances that sounded across the nation, bringing together neighbors and friends in towns small and large to reflect on the blessing of freedom that this country bestows, and the sacrifice of those gone before us who have secured and defended that freedom. Both the celebration and the defense of liberty — and the sacrifice for it — continue to the present day. The Founding Fathers (and mothers and daughters and sons) could not have foreseen the big “parties for a nation” that we have turned the Fourthof-July into, although John Adams (the second President, not today’s living composer of the same name) did imagine fireworks to mark this annual occasion. Not unlike the personal taking-stock that occurs each New Y Year with resolutions for change and betterment, the Fourth-of-July has become a regular reassessment of our own democracy, of its costs and hard-won benefits, of the meaning of the common good and what society owes or obligates each of us to do. Ultimately, living together as a nation demands each of us to participate and work together, to commemorate our accomplishments, to improve the old, and to embrace the new. EACH OF US

—Eric Sellen General Eisenhower addressing troops before the D-Day invasion in 1944.

Blossom Music Festival

July 3-4: Introducing the Concert






George Pope

Dennis Nygren

Lyle Steelman

Charles Renneker



John Rautenberg Heidi Ruby Kushious Sally Sherwin



Lisa Antoniou


Elizabeth Carney BASS CLARINET

Todd Jelen


Thomas Reed Alix Reinhardt Joseph Minocchi Lindsay Wile Denise Soulsby Heidi Aufdenkamp Peck Zoe Fagerhaug Natalie Young Patrick Hickey




Christopher Graham

Jody Guinn



Bruce Golden

Alexander Pride

Mark Maliniak

Mark DeMio



Frank Del Piano Jack DiIanni Matthew Larson Thomas Morris



Thomas Moore James Kalyn

Michael Miller Michael Mergen John Brndiar





Todd Gaffke Kent Engelhardt George Shernit

Paul Ferguson Whitney Clair Evan Clifton EUPHONIUM

Gail Robertson



Hans Clebsch

Tracy Rowell PRINCIPAL


Alicja Basinska PRINCIPAL

Travis Scott


David Brockett Meghan Guegold Kent Larmee Thomas Park




Kenneth Heinlein PRINCIPAL

J.c. Sherman William Ciabattari John Caughman


Nishana Dobbeck PERSONNEL

Carrie Marcantonio David Snyder

Lyle Steelman Assistant Principal Trumpet James and Dolores Storer Endowed Chair The Cleveland Orchestra

Cleveland native Lyle Steelman joined The Cleveland Orchestra as assistant principal trumpet in 2009. He previously served as principal trumpet (2006-09) for the Charlotte Symphony Orchestra, and as second trumpet (2004-06) of the Richmond Symphony Orchestra. He is a 2001 graduate of the Baldwin-Wallace University Conservatory of Music, earned a master of music degree from Southern Methodist University, and was principal trumpet of the National Repertory Orchestra. His teachers included James Darling (member of The Cleveland Orchestra, 1973-2005) and Tom Booth of the Dallas Symphony Orchestra. Mr. Steelman is a former member of the Cleveland Orchestra Youth Orchestra.


Blossom Festival Band

Blossom Music Festival

Loras John Schissel Conductor Blossom Festival Band

L O R A S J O H N S C H I S S E L has served as conductor of the Blossom Festival Band since 1998. He has led The Cleveland Orchestra’s free annual community concert in downtown Cleveland five times, and will conduct that concert again this summer on August 7. Mr. Schissel has travelled throughout the United States, Europe, and Asia conducting orchestras, bands, and choral ensembles in a broad range of musical styles and varied programs. A native of Iowa, Loras John Schissel studied brass instruments and conducting with Carlton Stewart, Frederick Fennell, and John Paynter. In the years following his studies at the University of Northern Iowa, Mr. Schissel has distinguished himself as a prominent conductor, orchestrator, and musicologist. Mr. Schissel is the founding music director of the Arlington-based Virginia Grand Military Band, an ensemble created in 1993 comprised of current and former members of the four major U.S. service bands. In 2005, he was elected to membership in the prestigious American Bandmasters Association. As a composer and orchestrator, Mr. Schissel has created an extensive catalogue of over 500 works for orchestra, symphonic wind band, and jazz ensem-

Blossom Music Festival

Band Conductor

ble, published exclusively by Ludwig/Masters Music. His musical score for America’s First River: Bill Moyers on the Hudson received much acclaim. He has also created musical scores for two films for the Franklin D. Roosevelt Home in Hyde Park, New York. As a recording artist, he has amassed a large discography with a wide variety of ensembles and musical genres. Loras John Schissel is a senior musicologist at the Library of Congress and a leading authority on the music of Percy Aldridge Grainger, Aaron Copland, Leonard Bernstein, and Boston Symphony Orchestra conductor Serge Koussevitzky. Schissel and John Philip Sousa IV (greatgrandson of the composer) have co-authored a book titled John Philip Sousa’s America: A Patriot’s Life in Images and Words. 20th Century Fox reissued the Clifton Webb classic The Stars and Stripes Forever in conjunction with the SousaSchissel book. Mr. Schissel is currently working on a study of the famed impresario Sergei Diaghilev. Deeply committed to young musicians, Mr. Schissel has appeared as conductor of All-State music festivals and of festival bands and orchestras in more than thirty states. He has led many local and community bands here in Northeast Ohio, and has appeared regularly as conductor of the Summer Band Camp at Baldwin Wallace University. In July 2008, Mr. Schissel made his debut with “Pershing’s Own,” the United States Army Band, on the steps of the U.S. Capitol. An online masterclass with the Army Band was viewed in more than thirty countries.


Image Courtesy of The Cleveland Orchestra

Roderick Cox, conductor (left) and Aaron Diehl, piano (inset), perform with The Cleveland Orchestra at Blossom on July 5 & 6.

dynamic It’s more than music.

We are proud to sponsor this holiday weekend performance of The Cleveland Orchestra, celebrating our country and our community.



Friday evening, July 5, 2019, at 8:00 p.m. Saturday evening, July 6, 2019, at 8:00 p.m.




Symphonic Suite from On the Waterfront Rhapsody in Blue

(orchestrated by Ferde Grofé, version for symphony orchestra)




Suite from The Firebird (1919 revision) 1. 2. 3. 4. 5.

Introduction and Dance of the Firebird — Round Dance of the Princesses — Infernal Dance of King Kascheï — Berceuse (Lullaby) — Finale

Festival Overture: The Year 1812

A fireworks display by American Fireworks Company will take place immediately following the concert, weather permitting.

The July 5th concert is sponsored by United Airlines, Preferred Airline of The Cleveland Orchestra. The July 6th concert is sponsored by BakerHostetler. In recognition of their extraordinary generosity in support of The Cleveland Orchestra, these performances are dedicated to: Giuliana C. and John D. Koch (Friday, July 5) Gay Cull Addicott (Saturday, July 6)   201 9 B lossom Season S ponsor: T h e J . M . S m u c k e r C o m p a n y

Blossom Music Festival

Concert Program: July 5-6



Music, Jazz & Fireworks

first performed Tchaikovsky’s 1812 Overture for a holiday concert — in December 1919. The evening’s music included a Sinfonia from Bach’s Christmas Oratorio and a heart-warming arrangement of “O Come, All Ye Faithful.” And, in fact, the 1812 Overture was once suitable (and performed) at concerts throughout the year.* How it came to be a Fourth-of-July staple — as “American” as cookouts, hamburgers, apple pie, and watermelon — is a story of, well, noise and fireworks. And who among us doesn’t like the annual smoke and glare, the bombsbursting-in-midair of our national holiday? 1812 is a reliable crowd-pleaser, replete with cannon, bells, and fireworks (before, during, or after). Our “holiday” concert this weekend begins with a Symphonic Suite derived from Leonard Bernstein’s score to the Academy-Award winning On the Waterfront. The film’s all-American story — of corruption, love, and doing the right thing — gave the composer a large canvas to write on. Next comes George Gershwin’s classic jazz concerto Rhapsody in Blue. Written in the midst of the Roaring 1920s, this dynamic work took New York — and the nation — by storm from the moment of its premiere in February 1924. In its melodic and jazzy contours, Broadway songwriter Gershwin captured a vitality and flexibility that still sounds new, inventive, and allAmerican. This weekend’s soloist, Aaron Diehl, brings a decidedly creative approach to it, from his career ably and masterfully straddling both the jazz and symphonic worlds. After intermission, guest conductor Roderick Cox leads The Cleveland Orchestra in one of the early 20th century’s great orchestral showpieces, a suite from Stravinsky’s The Firebird ballet. If the tale is originally Russian, its musical power and myth of rebirth and triumph is suitably festive and inspiring. As for Tchaikovsky’s 1812 Overture, Independence Day in the U.S. is not about a Russian victory over the French in 1812 — although the United States did fight against Britain in a related political side-skirmish known as the “War of 1812” (in which the British burned the White House). Tchaikovsky’s overture is a musical story of conflict, victory, and celebration. Let this big-spirited and tuneful work remind us of the blessings and obligations we share as a democratic country dedicated to truth, justice, and freedom. THE CLEVELAND ORCHESTRA

—Eric Sellen * The Cleveland Orchestra has presented Tchaikosky’s 1812 Overture over 100 times in the past six decades — but just once in that time was it played not during the summer.

Blossom Festival 2019

Introducing the Concert: July 5-6


Symphonic Suite from On the Waterfront

by Leonard Bernstein (1918-1990) composed 1955, from the film score written 1953-54



T H E M OV I E On the Waterfront, starring Marlon Brando and Eva Marie Saint, was premiered in July 1954. It was the first and only film score that Leonard Bernstein wrote. Lest one suppose that his failure to reappear in Hollywood represented rejection, we can note that Bernstein was a very busy man — soon after the film he was hard at work creating West Side Story for Broadway, and immediately thereafter he took the helm as music director (1958-1969) of the New York Philharmonic. He was, so to speak, fully occupied as one of the most famous names in American music. And this is exactly why the director of On the Waterfront, Elia Kazan, wanted him. Bernstein’s unsurpassed reputation gave prestige to the film project, a gritty tale of prize fighters and dockworkers in New York City. After the movie’s success — it garnered eight Academy Awards, but not for best musical score — Bernstein decided to create a symphonic suite. Rather than simply selecting sections of the film’s score and pasting them together as a multi-movement suite, Bernstein carefully crafted a broad single-movement tone poem spanning about twenty minutes. The suite opens with a haunting horn solo, echoed by flute — a theme that represents Brando’s character and appears again and again throughout the film, in varied guises. From there, the music expands to capture the dark intensity of the film’s urban setting, including tension among the dockworkers, the violence of gangs, and a love scene for Brando and Saint. The closing moments are not exactly triumphant — the storyline features too much anxiety for that. Nonetheless, Bernstein makes for a firmly decisive finale, clearly reveling in the opportunity to make of his music what he thought it deserved to be without actors and editors in his way.

Rhapsody in Blue

by George Gershwin (1898-1937) composed 1924



G E R S H W I N C R E AT E D Piano Rhapsody in Blue at the request of New York band leader Paul Whiteman, who was planning a concert of classical/jazz hybrid works during the winter of 1923About the Music: July 5-6

The Cleveland Orchestra

24. When Whiteman first asked Gershwin to write a jazz-style concerto, the composer turned him down. But the band leader was so sure of Gershwin’s creativity (and ticket draw) that he “announced” the composer’s participation in a newspaper article to help prod things along. The paper said the premiere would take place on Tuesday, February 12, 1924, in New York’s Aeolian Hall. That was only five weeks off, but Gershwin decided he liked the challenge E X and made the deadline, creating a work for piano solo and jazz band (plus strings). Because he would be the soloist himself, he Program Book planned to improvise his way through certain moments — and on your Phone left blank a couple of sections for the solo piano in the second To read bios and commentary half of the piece. (He wrote down those parts of the score after from Cleveland Orchestra program books on your the premiere, perhaps not exactly as he had played them.) mobile phone, visit In a letter to a friend, Gershwin decribed how he conceived the work itself: “I had . . . no set plan in my mind — no structure to which my mind could conform. The ‘Rhapsody,’ as you see, began as a purpose, not a plan. At this stage of the piece I was summoned to Boston for the premiere of ‘Sweet Little Devil.’ I had already done some work on the rhapsody. It was on the train, with its steely rhythms, its rattlety-band that is so often stimulating to a composer — I frequently hear music in the heart of noise — I suddenly heard — and even saw on paper — the complete construction of the rhapsody from beginning to end. WORD ORIGINS No new themes came to me, but I worked on the


thematic material already in my mind, and tried to conceive the composition as a whole. I heard it Many conflicting and erroneous accounts and as a musical kaleidoscope of America, and of our ideas can be found surrounding the origins vast melting pot, of our national pep, of our blues, of the word jazz. Its first documented use in our metropolitan madness. By the time I reached print comes from California in 1912, where it Boston, I had a definite plot of the piece, as distindescribes a certain pitcher’s throw in a baseguished from its actual substance.” ball game. It was a relatively new word, with Gershwin handed his score — page by page, newspapers explaining that it meant “eneracross two weeks or so — to Whiteman’s arranger, getic and peppy.” It most likely evolved from Ferde Grofé. Grofé, who is perhaps best known the 19th-century word jasm, meaning “vitaltoday for writing Grand Canyon Suite a half-dozen ity, spirited.” By 1915, it was applied to a new years later, was a gifted colorist of sound and did type of music — and the rest is history! all of the arrangements for Whiteman’s band. The story that came to be told, that Gershwin didn’t know how to orchestrate, was never really true. In fact, Gershwin had roughed out the ensemble parts in short score, with Grofé filling in details on the individual parts and completThe Cleveland Orchestra

July 5-6: About the Music


ing choices that Gershwin, in his rush, hadn’t had time to think about. From his work song-writing for Broadway, Gershwin was entirely used to such a collaborative style of writing. And, truth be told, the famous rising clarinet glissando at the start was also someone else’s idea, first played as a joke in rehearsal — yet Gershwin immediately recognized it as the perfect, creative, “jazzy” choice to launch his new Rhapsody. The result was a triumph, the biggest hit of the lengthy program, which started at 2:45 p.m. in the afternoon and ran on into the evening, with more than one intermission. Whiteman called the concert “An Experiment in Modern Music.” Though it included works by some of the most prominent musical names of the day, it came to be Gershwin’s triumph — many other pieces from the concert have been forgotten, while Gershwin’s was an immediate hit and soon a best-selling recording. From its opening glissando through the lush and languid passages that for decades have served as theme music for United Airlines (for years the company tried to deny that their theme even resembled Gershwin’s score so as not to pay royalties, before agreeing to a multi-million dollar settlement) to the vibrant swooping finish of its closing lines, Rhapsody in Blue is handily the most famous piano concerto ever written by an American composer. Its author had worked special jazz magic that winter — prodded, pushed, rattled, rushed, and on deadline.

Suite from The Firebird

by Igor Stravinsky (1882-1971) suite created in 1919, from the ballet score composed 1909-10




T H E S C O R E for the ballet The Firebird was written by Igor Stravinsky because someone else didn’t make the deadline. Fellow Russian composer Anatol Liadov (1855-1914) had been asked, and accepted the commission, but appears to have done very little beyond obtaining some musical manuscript paper. Based on a Russian folk tale, the ballet had been commissioned for the Ballets Russes by its impresario, Sergei Diaghilev (1872-1929). It was the spring of 1910 and rehearsals were due to begin for the fast-approaching premiere in Paris, but Liadov had scarcely begun. So little-known Diaghilev turned to Stravinsky instead. The premiere on June 25 at the Paris Opéra was a triumphant success, launching Stravinsky’s name into musical

About the Music: July 5-6

The Cleveland Orchestra

headlines — where he stayed, bringing out new scores, new ideas, and new controversies for the next half century. In the years after the premiere of The Firebird, Stravinsky prepared several orchestral suites from the ballet, so that orchestras could perform the music without dancers. It was a practical plan to widen the audience for his music, and also increase his income from the score. In the suite, we hear many of the highlights from the complete ballet: the light and delicate music of the Firebird herself, the graceful music of the enchanted Princesses, and the fearsomely infernal music of the evil sorcerer Kascheï. There is also a happy ending with music of grand celebration. Throughout, Stravinsky shifts focus from one section of the orchestra to another, ensuring that the results will be vibrantly varied in coloring, and a thoroughly satisfactory experience for performers and listeners alike.

Blossom Festival 2019

July 5-6: About the Music

Costume drawing by LĂŠon Bakst for the Ballets Russes premiere of The Firebird in 1910.


Festival Overture: The Year 1812, Opus 49 by Pyotr Ilyich Tchaikovsky (1840-1893) composed 1880

“ I T W I L L B E L O U D .” With these words, Tchaikovsky summed up what he was intending to write in his 1812 Overture. His musical commemoration of the victory of Russian forces over Napoleon at the gates of Moscow — defeated as much by the Russian winter as by the Russian artillery — was written in the autumn of 1880, although its premiere was delayed until August 20, 1882, on the 70th anniversary of the battle. The first performance was part of an outdoor festival held in one of Moscow’s great squares. Because the square was ringed by historic churches that had largely survived the victory battle, Tchaikovsky decided to incorporate church bells at dramatic moments in the composiPyotr Ilyich tion, just as in wartime church bells might ring out to announce TCHAIKOVSKY an important victory. Tchaikovsky’s score quotes a number of pre-existing melodies, at least several of which would have been familiar to his listeners at the time. These include the sacred hymn “Spasi, Gospodi, lyudi Tvoya” [God, Preserve Thy People] intoned at the opening by low strings, the folk dance “U vorot” [By the Gates] often performed around army campfires, and the Tsar’s anthem “Bozhe, tsarya khrani” [God, Save the Tsar] declaimed by brass at the closing. The last-mentioned tune was not composed until after Napoleon’s defeat, but Tchaikovsky was writing for his audience, not for historical authenticity. Later performers began to add chorus, singing several of the Russian hymns notes above, adding even more sound and interest to Tchaikovsky’s original “Festival Overture.” Similarly, to depict the French forces, Tchaikovsky used phrases from La Marseillaise, which did not, in fact, gain official status as the French national anthem until after Napoleon’s time. In the closing pages, this tune ABOVE Napoleon retreating from Moscow after is quite thoroughly blasted away by the Battle of Borodino in 1812, in a painting thunderous cannon fire. (As the origiby Adolf Northen from the mid-19th century. nal performance was to be outdoors,


About the Music: July 5-6

The Cleveland Orchestra

Tchaikovsky requested actual cannons, not just pounding percussion.) So what does this have to do with American Independence? Nothing at all, really. We had our own “War of 1812,� distantly related to the larger conflict in Europe, but Russia vs. France was decidedly unrelated to America’s Revolutionary War won a generation earlier. Nevertheless, with or without chorus — but with cannon and fireworks and much noise and heart-thumping excitement — the 1812 Overture has become a traditional staple of Fourth-of-July concerts across the United States and makes for a magnificent conclusion to any program on this most patriotic of holidays.

At a Glance The Cleveland Orchestra first played Tchaikovsky’s 1812 Overture at a concert in December 1919, and first played it during a summertime outdoor concert in July 1927 at Cleveland’s Gordon Park. It was regularly programmed throughout the year up into the 1950s. The first performance at Blossom was in 1969.

—program notes by Betsy Schwarm Š 2019 Betsy Schwarm spent twenty years as a classical radio announcer and producer. She taught for many years at Metropolitan State University of Denver, and served as recording engineer for Colorado’s Central City Opera. She is the author of the Classical Music Insights series of books.


19/20 Expanded CONCERT SEASON




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Blossom Music Festival

July 5-6: About the Music


Roderick Cox American conductor Roderick Cox is making his Blossom debut this evening, having first led The Cleveland Orchestra in January 2017. Based in Berlin, Germany, Mr. Cox was the recipient of the 2018 Georg Solti Conducting Award. He served as a member of the conducting staff of the Minnesota Orchestra (2015-18) and had previously been assistant conductor of the Alabama Symphony Orchestra, where he also led that ensemble’s youth orchestra. Recent and upcoming guest conducting engagements include debuts with the Seattle Symphony, Los Angeles Philharmonic, and the BBC Symphony Orchestra, as well as at Chicago’s Grant Park Festival and with the Manhattan School of Music. Mr. Cox earned a master’s degree in conducting from Northwestern University. In addition to the Solti prize, awards and education honors have included a masterclass with Amsterdam’s Royal Concertgebouw Orchestra, the Robert J. Harth Conducting Prize at the Aspen Music Festival, and fellowships with the Chicago Sinfonietta and Chautauqua Music Festival. He recently conducting Bizet’s The Pearl Fishers at Houston Grand Opera. For more information, visit


Guest Artist: July 5-6:

The Cleveland Orchestra

Aaron Diehl American pianist and composer Aaron Diehl is equally attuned to classical and jazz music, approaching both with energy, education, thought, and fresh perspectives. He has been a staple of the jazz scene in New York since 2007. Mr. Diehl made his Cleveland Orchestra debut in 2017. Born in Columbus, Ohio, he is a graduate of the Juilliard School, where his studies included work with Kenny Barron, Eric Reed, and Oxana Yablonskaya. Mr. Diehl won the American Pianists Association’s Cole Porter Fellowship in 2011, which included a career development grant and a recording contract. Today, his award-winning discography includes live performances at Caramoor and Players. He has toured the United States and Europe with singer Cécile McLorin Salvant; their trio, featuring bassist Paul Sikivie and the late drummer Lawrence Leathers, has also appeared internationally. Mr. Diehl served as a guest music director for the Jazz at Lincoln Center New Orleans Songbook concert series and has performed a range of piano works by Philip Glass across the U.S. and abroad. As a licensed pilot, he enjoys flying the Beechcraft Bonanza. For more information, please visit

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Blossom Festival 2019

July 5-6: Guest Artist




Sunday evening, July 7, 2019, 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


(Selections to be announced from the stage.) The concert will run approximately two hours, with one intermission.

This concert is sponsored by Great Lakes Brewing Company. This concert is dedicated to David Logsdon and his late wife, Janice, e and to Richard and Nancy Sneed in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

201 9 B lossom Season S ponsor: T h e J . M . S m u c k e r C o m p a n y

Blossom Music Festival

Concert Program: July 7




Lucas Richman American conductor Lucas Richman has served as music director for the Bangor Symphony Orchestra since 2010. He previously was music director of the Knoxville Symphony Orchestra, 2003-2015, and held conducting staff positions with both the Pittsburgh Symphony Orchestra and Pacific Symphony Orchestra. He has appeared as guest conductor with many orchestras across North America and in Europe, including those of Baltimore, Indianapolis, Los Angeles, New Jersey, New Y York, Philadelphia, and Toronto. He has conducted the scores for many films, including As Good As It Gets, Face/Off, ff Se7en, Breakdown, and The Manchurian Candidate. Mr. Richman led the Grammy Award-winning crossover album, Christopher Tinâ&#x20AC;&#x2122;s classical world fusion Calling All Dawns. He has also led concert presentations for a panoply of commercial artists, including James Taylor, Michael Jackk son, Pat Boone, Michael Feinstein, Gloria Estefan, Megan Hay, Matthew Morrison, George Benson, Anne Murray, the Smothers Brothers, Martin Short, and Tony Randall. He is also a composer and wellknown for his work in educational concerts. For more information, visit www.


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July 7: Guest Conductor

Blossom Music Festival


Songs for Peace& Justice

M U S I C H O L D S T H E P O W E R to inspire and celebrate, to relax and rejuvenate — and to uplift, explain, and rally people to a cause. The opening of Blossom Music Center in 1968 coincided with a tumultuous time in our nation’s history. Both the fight for Civil Rights and the Anti-Vietnam War movement were in full swing, with a newly empowering clash of politics and values searching for a unifying way forward. In those causes, music was a rallying cry and an offering of hope. Many great artists have performed here at Blossom, singing messages of freedom, revolt, right and wrong, justice and peace. The first nonorchestral concert at Blossom, on July 23, 1968, brought Judy Collins and Arlo Guthrie to this stage. Other important names followed — in cause or example — including Pete Seeger, Ella Fitzgerald, Louis Armstrong. Tonight, we welcome back guest artists Peter Yarrow and Noel Paul Stookey, who return to Blossom for an evening looking both forward and back. The themes of their songs continue to resonate in today’s ever-changing and complex world. Progress in some areas of life are still too often matched with backtracking and selfish political power struggles. Yarrow and Stookey have sung here before, as part of the legendary trio Peter, Paul & Mary, who first graced the Blossom stage for a two-night gig in July 1969. They returned for six more concerts, between 1970 and 1989 — calling out injustice along with reasons for hope. (A brand-new book this summer, titled Songs of America: Patriotism, Protest, and the Music that Made a Nation, by historian Jon Meacham and singer Tim McGraw, offers a handsome and insightful overview of how everyday music in America — including songs and marches, nursery rhymes and anthems — has both led and followed the history of our nation.) Music makes a positive difference in this world and in each of our lives. It calms our nerves and inspires our sympathic hearts. And, with aptly focused lyrics, it reminds us of our responsibilities as human beings. The nostalgic pull of tonight’s music is just as much about making life better for tomorrow as remembering rallies long ago. —Eric Sellen

Above: Peter, Paul & Mary perform at the March on Washington for Jobs and Freedom, August 28, 1963.

Blossom Music Festival

Introducing the Concert: July 7


Peter Yarrow “We’re part of a long train ride,” is the way Peter Yarrow visualizes the many events that have highlighted a career spanning more than four decades. With characteristic care, Yarrow places the success he’s had within a greater context, seeing his accomplishments as part of a tradition, to be credited and carried on. “When I was in high school,” he recalls, “I heard The Weavers’ concert at Carnegie Hall where they sang songs such as ‘If I Had a Hammer,’ and ‘Wasn’t That a Time.’ It was inspiring, and it showed me the extraordinary effect that music of conscience can have.” That lesson launched Peter on a lifelong path that is now, perhaps, in its most vital phase. Over the years, many issues have moved Peter to commit his time and talent — equal rights, peace, the environment, gender equality, homelessness, hospice care, and education. All have utilized his skills as both a performer and an organizer. Along with his singing partners, Paul and Mary, Peter participated in the Civil Rights Movement, which brought them to Washington in 1963 to sing for the historic march led by Dr. Martin Luther King Jr. He went on to produce and coordinate numerous events for the Peace/Anti-Vietnam War movement, including festivals at Madison Square Garden and Shea Stadium. These


efforts culminated in his co-organizing the 1969 Celebration of Life, a now-famous march on Washington, in which some halfmillion people participated. Though much of Mr. Yarrow’s activism has been directed toward the socialpolitical arena, he has been equally active on behalf of more personal projects, including his whole-hearted advocacy on behalf of the Hospice Movement. He is a board member of Connecticut Hospice, the first hospice established in the United States, where he frequently sings and for whom he has been a voice of media advocacy for over a decade. Peter’s talents as a creative artist — both with Peter, Paul & Mary and as a solo performer — are frequently directed at using music to convey a message of humanity and caring. His gift for songwriting has produced some of the most moving songs Peter, Paul & Mary recorded, including “Puff, the Magic Dragon,” “Day is Done,” “Light One Candle,” and “The Great Mandala.” As a member of the renowned musical trio, he has earned many gold and platinum albums, along with Grammy nominations and awards. In Peter’s newest project, the song, “Don’t Laugh at Me,” is used to help create a climate of respect in the schools of America. It struck Peter that the song’s lyrics, when properly positioned in the appropriate learning context, could serve as an anthem for the growing movement to build safer and more respectful school environments for children. For more information:

July 7: Guest Artist

2019 Blossom Festival

Noel Paul Stookey Singer-songwriter Noel Paul Stookey has been altering both the musical and ethical landscape of this country and the world for decades — as the “Paul” of the legendary Peter, Paul & Mary and as an independent musician who passionately believes in bringing the spiritual into the practice of daily life. Funny, irreverently reverent, thoughtful, compassionately passionate, Stookey’s voice is known all across this land, from the “Wedding Song” to “In These Times.” Most recently, his musical political commentary titled Impeachable (based on the familiar melody of Unforgettable) has reached viral status, yielding over a million facebook/youtube views. Noel Paul Stookey has recorded over fifty albums, both as part of the legendary trio and as a soloist. While acknowledging his history and his meaningful association with Peter and Mary — the trio perhaps best known for its blend of modern folk music and social activism, rallying support for safe energy, peace and civil rights at some of the most iconic events in our history, including the 1963 March on Washington with Martin Luther King Jr. — Mr. Stookey has stepped beyond the nostalgia of the folk era. Nearly $2 million in royalties earned from Noel’s now-classic “Wedding Song” was used to fund the

Blossom Festival 2019

work of other socially responsible artists; this inspired Noel, along with his daughter Liz Stookey Sunde, to launch MusicToLife in 2001. This nonprofit has introduced groundbreaking ways to bring music to life for social change through technology, entertainment, artist collaboration, and education. Whether judged by the subject matter of his current concert and recorded repertoire or by virtue of his active involvement with the MusicToLife initiative linking music fans to the expression of contemporary concerns via many different artists and musical genres, Stookey’s current musical outlook continues to be fresh, optimistic, and encouraging. Elizabeth Bannard Stookey, Noel’s high school friend and wife since 1963, has incorporated the “family music” as part of her One Light, Many Candles multifaith programs — featuring readings from world spiritual leaders counter-pointed with the songs of her husband. Betty says “The spiritual and relevant nature of Noel’s music lends itself beautifully to the message of our program. His songs reflect the diversity and integrity of individual faith while seeking a global spiritual community.” If Stookey has his way, he hopes to make the world a better place by supporting a dialogue of acceptance and inclusion. Perhaps his song “Love Rules!” says it best: “. . . tryin’ to be a student of transparency; more of Love and less of me.” For more information:

Guest Artist: July 7


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H A V I N G C E L E B R A T E D its Centennial Season in 2017-18 and across 2018, The Cleveland Orchestra has officially launched its second century. Today, it is 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 upcoming 2019-20 season will mark the ensemble’s eighteenth 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, and volunteers 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 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. The Orchestra’s longstanding championing of new composers and the commissioning of new works helps audiences experience music as a living language that grows with each new generation. Fruitful re-examinations and juxtapositions of traditional musical works, 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 explorations for the community are core to the Orchestra’s mission, fueled by a 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.

Blossom Festival 2019

The Cleveland Orchestra



Each year since 1989, The Cleveland Orchestra has presented a free concert in downtown Cleveland, with last summer’s for the ensemble’s official 100th Birthday bash. Nearly 3 million people have experienced the Orchestra through these free performances. This summer’s concert takes place on August 7.


Recent seasons have seen the launch of a unique series of neighborhood initiatives and performances, designed to bring the Orchestra and the citizens of Northeast Ohio together in new ways. Active performance ensembles and teaching programs provide proof of the benefits of direct participation in making music for people of all ages. Future Audiences. Standing on the shoulders of more than a century of quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance — with 20% of attendees now comprised of concertgoers age 25 and under — as the Orchestra now boasts one of the youngest audiences for symphonic concerts anywhere. Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences — including casual Friday night concerts, film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed

in meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding. An Enduring Tradition of Community Support. The Cleveland Orchestra was born in Cleveland, created by a group of visionary citizens who believed in the power of music and aspired to having the best performances of great orchestral music possible anywhere. Generations of Clevelanders have supported this vision and enjoyed the Orchestra’s performances as some of the best such concert experiences available in the world. Hundreds of thousands have learned to love music through its education programs and have celebrated important events with its music. While strong ticket sales cover less than half of each season’s costs, it is the generosity of thousands each year that

The Cleveland Orchestra

2019 Blossom Festival

drives the Orchestra forward and sustains its extraordinary tradition of excellence onstage, in the classroom, and for the community. Evolving Greatness. The Cleveland Orchestra was founded in 1918. Over the ensuing decades, the ensemble quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Sokoloff, 1918-33; Artur Rodzinski, 1933-43; Erich Leinsdorf, 194346; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 19842002; and Franz Welser-Möst, since 2002. The opening in 1931 of Severance Hall as the Orchestra’s permanent home brought a special pride to the ensemble

and its hometown. With acoustic refinements under Szell’s guidance and a building-wide restoration and expansion in 1998-2000, Severance Hall continues to provide the Orchestra an enviable and intimate acoustic environment in which to perfect the ensemble’s artistry. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center. Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency at home throughout Northeast Ohio and around the world.

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 an initiative launched in 2018 at the Orchestra’s summer home, Blossom Music Center, to offer live video of performers on large screens at Blossom. 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 are being chosen to enhance musical performances and learning experiences through engaged storytelling, quality education programs, and state-of-the-art technology.

Blossom Festival 2019

The Cleveland Orchestra


2 O 1 9 B LO S S O M M U S I C F E S T I VA L


Franz Welser-Möst MUSIC DIREC TOR

CELLOS Mark Kosower *

Kelvin Smith Family Chair


Virginia M. Lindseth, PhD, Chair


Gretchen D. and Ward Smith Chair


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 Zhan Shu


Alfred M. and Clara T. Rankin Chair

Emilio Llinás2 James and Donna Reid Chair

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

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

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

Lynne Ramsey1 Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Richard and Nancy Sneed Chair

Lembi Veskimets The Morgan Sisters Chair

Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Cleveland Orchestra

Louis D. Beaumont Chair

Richard Weiss1 The GAR Foundation Chair

Charles Bernard2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton William P. Blair III Chair

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

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

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

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

Blossom Music Festival

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

Saeran St. Christopher Jessica Sindell2 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 Rathbun2 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 McKelway2 Robert R. and Vilma L. Kohn Chair

E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair

BASSOONS John Clouser* Louise Harkness Ingalls Chair

Gareth Thomas Barrick Stees2 Sandra L. Haslinger Chair

Jonathan Sherwin CONTRABASSOON Jonathan Sherwin

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HORNS Michael Mayhew § Knight Foundation Chair

Jesse McCormick Robert B. Benyo Chair

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

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

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

Michael Miller TROMBONES Shachar Israel2 Richard Stout Alexander and Marianna C. McAfee Chair


PERCUSSION Marc Damoulakis* Margaret Allen Ireland Chair

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

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair

LIBRARIANS Robert O’Brien Joe and Marlene Toot Chair

Donald Miller ENDOWED CHAIRS CURRENTLY UNOCCUPIED Sidney and Doris Dworkin Chair Blossom-Lee Chair Sunshine Chair Myrna and James Spira Chair Gilbert W. and Louise I. Humphrey Chair George Szell Memorial Chair

* Principal § 1

TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

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

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


Associate Principal First Assistant Principal Assistant Principal



Elizabeth Ring and William Gwinn Mather Chair


Frances P. and Chester C. Bolton Chair

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Jones Day proudly leads a standing ovation for The Cleveland Orchestra, one of the worldâ&#x20AC;&#x2122;s most acclaimed performing ensembles. We applaud the Orchestra for its artistic excellence, creative programming, and active community engagement worldwide. Why Jones Day? Formidable legal talent across specialties and jurisdictions available upon client command.




Saturday evening, July 13, 2019, at 8:00 p.m.

T H E CL E V E L A ND ORC H EST R A JA HJA LI N G , conductor


Dawn on the Moscow River (Prelude to the opera Khovanshchina) orchestrated by Nikolai Rimsky-Korsakov


Piano Concerto No. 3 in C major, Opus 26 1. Andante — Allegro 2. Andantino 3. Allegro ma non troppo CONRAD TAO, piano


Symphony No. 4 in F minor, Opus 36 1. 2. 3. 4.

Andante sostenuto — Moderato con anima Andantino in modo di canzona Scherzo: Pizzicato ostinato Finale: Allegro con fuoco

This concert is sponsored by Jones Day and presented with special thanks to Blossom Friends of The Cleveland Orchestra. Conrad Tao’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from The Payne Fund. This concert is dedicated to Mr. and Mrs. David A. Ruckman in recognition of their extraordinary generosity in support of The Cleveland Orchestra.

  201 9 B lossom Season S ponsor: T h e J . M . S m u c k e r C o m p a n y

The Cleveland Orchestra

Concert Program: July 13


Jahja Ling

Conrad Tao

Jahja Ling’s distinguished career as an internationally renowned conductor has earned him an exceptional reputation for musical integrity, intensity, and expressivity. Born in Indonesia and now a citizen of the United States, he recently completed a thirteen-year tenure as music director of the San Diego Symphony (2004-17) and now holds the title of conductor laureate. He regularly leads orchestral performances with major ensembles around the world, in North America, Europe, Australia, and Asia. Mr. Ling and The Cleveland Orchestra have enjoyed a long and productive relationship — he was a member of the conducting staff here from 1984 to 2005, serving as resident conductor of the Orchestra (19852002) and as Blossom Festival Director for six seasons (2000-05). He has returned each year as a guest conductor. Mr. Ling’s commitment to working with and developing young musicians is evidenced by his involvement as founding music director of the Cleveland Orchestra Youth Orchestra (1986-93) and the San Francisco Symphony Youth Orchestra (1981-84), as well as recent work with the student orchestras of Curtis, Juilliard, Schleswig-Holstein, Colburn, and Yale. For more information, please visit

American musician Conrad Tao has appeared worldwide as a pianist and composer. He is making his Cleveland Orchestra debut with this evening’s concert. He recently made his LA Opera debut in the West Coast premiere of David Lang’s new work, the loser, in which he played the onstage role of the apparition and memory of pianist Glenn Gould. In concert, he has appeared with ensembles across the United States, Europe, and Asia, including engagements with the orchestras of Atlanta, Baltimore, Colorado, New Jersey, San Diego, and Seattle. He also appears regularly in recital and chamber music performances. The premiere of his piece Everything Must Go inaugurated the New York Philharmonic’s new Nightcap series this past season. Other recent and upcoming commissions include a new work for Paul Huang and Orion Weiss, a piece for piano, orchestra, and electronics titled An Adjustment, and a multimedia work, Ceremony, with vocalist Charmaine Lee. His discography can be heard on Warner Classics. Mr. Tao’s honors include being named a Presidential Scholar in the Arts, as a Gilmore Young Artist, and receiving an Avery Fisher Career Grant. For more information, visit


July 13: Guest Artists

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Russian Flair& Flavorings T H I S C O N C E R T presents a trio of Russian works, beginning with a

meditative prelude, moving on to some virtuosic fireworks for piano, and concluding with a fateful symphony that ends in triumph. Longtime Cleveland Orchestra favorite Jahja Ling conducts. The concert opens with a lovely short work by Modest Mussorgsky, one of Russia’s most creative and original 19thcentury composers. Created for an opera he never finished, the music portrays a quiet dawn brightening up the Russian sky, portent of a new day and hope for things yet to come. Written in 1872, it was orchestrated by the composer’s friend and colleague, Nikolai Rimsky-Korsakov. Next comes Sergei Prokofiev’s Third Piano Concerto, written in 1921, when the composer was just thirty years old. Still, in his short life Prokofiev had seen and experienced much — from his days as a dazzlingly creative student, living thru the disruption of two revolutions in 1917, and then trying his luck as a pianist-composer first in America and then Europe. If his first two piano concertos had been cheeky and daring, his Third found a groove for brilliance and normality, mixed with melodic verve and virtuosity. Our soloist tonight is iconoclastic pianist-composer Conrad Tao. To end the evening, Jahja Ling leads The Cleveland Orchestra in Tchaikovsky’s dramatic Fourth Symphony, premiered in 1877. Written amidst the composer’s ill-fated marriage and his subsequent reconciliation with the person within himself, this emotion-filled music bristles with passion and drama, poignant melody and powerful statement. This big work is one of two Tchaikovsky symphonies (along with No. 5) written around the idea of “Fate” and its hand in shaping one’s life. Here, in the Fourth, after repeated moments of uncertainty, the composer wrestled and won, bringing the music to a fast-paced and triumphant ending. —Eric Sellen

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Introducing the Concert: July 13


Dawn on the Moscow River

sketched 1872-79, as the Prelude to the opera Khovanshchina orchestral completion, 1881-83, by Nikolai Rimsky-Korsakov S O O N A F T E R completing his first opera, Boris Godunov, Mus-



MUSSORGSKY born March 21, 1839 Karevo, Russia died March 28, 1881 St. Petersburg


Program Book on your Phone To read bios and commentary from Cleveland Orchestra program books on your mobile phone, visit


sorgsky began work on a second one, which he called Khovanshchina. At the time of his death nine years later, the opera remained unfinished. The title Khovanshchina is challenging for non-Russian speakers to pronounce, and even harder to translate. The word is derived from the name Khovansky, borne by two of the opera’s protagonists (father and son), and can be rendered approximately as “The World of the Khovanskys” or “The Ways of the Khovanskys.” In the opera’s storyline, the older Prince Khovansky, named Ivan, is the leader of the Old Believers, who are opposed by Prince Vasily Golitsyn, head of a more progressive (but hardly more democratic) faction. Their conflict is part of the complex political situation in Russia at the end of the 17th century, preceding the reign of Czar Peter the Great. The younger Khovansky, Andrei, almost becomes a traitor to his father’s cause through his infatuation with a German girl, but is ultimately brought back into the fold and dies a martyr’s death along with the Old Believers. Mussorgsky conducted extensive historical research on the period of the story before writing his own libretto of the opera. In Boris Godunov, he had used Pushkin’s drama as a starting point. In Khovanshchina, however, there was no literary source for him to work from, so he created the story directly from history books and his own imagination. “Dawn on the Moscow River” is Mussorgsky’s own title for the prelude. He played it separately as a piano piece on several occasions, using that title. It is based on a single melody of strong Russian flavor, which gradually grows in intensity and then fades back into silence. Throughout the 20th century, there was much controversy — and criticism — over the relationship of this prelude to the opera. The stage action of the opera is a rather downcast story about the struggle of various political parties for control over Russia, while the prelude is a gentle, lyrical piece with no hints at dramatic conflicts of any kind. In addition, the theme of the prelude returns only once in the opera, in the portions completed by Mussorgsky before his death — and the symbolic meaning July 13: About the Music

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of that quote is not entirely clear. Traditional Russian and Soviet historiography held that the peaceful prelude symbolized the reign of Peter, supposedly a golden age that put an end to decades of political turmoil and suppression of dissent. That, however, does not seem to have been Mussorgsky’s view. He was keenly aware that underneath the public face, Peter’s Russia was a repressive police state that dealt with the warring factions by suppressing all of them. It is telling that Mussorgsky chose not to include Peter among the opera’s characters (although the future Czar’s guard troops do appear). In fact, Mussorgsky portrayed each of the opera’s characters with great empathy, not WORD ORIGINS siding with any but understanding them all, never losing sight of the complex human emotions that almost always lurk beneath political divisions. The river flowing through Russia’s capital city is Mussorgsky had no illusions about progmost often known, outside of Russia and “transress in politics, as we know from a much-quotliterated” from the Cyrillic alphabet, as the ed letter he wrote to Vladimir Stasov (a music Moskva River. Yet, the city was named after the critic who had initially suggested the topic of river. At home, both are rendered as Москва. Khovanshchina to the composer). Mussorgsky Over the past century and a half, Russian transexplained to Stasov that as far as he was conliteration has evolved from many variations cerned, there could be no talk of progress “as to more universal and accepted standards — long as the people themselves could not see with their own eyes what was being done to them and though the British do spell Rakmaninov while as long as they did not formulate their own will most Americans spell that composer’s name as to what should happen to them.” Which is to just as he signed it (after becoming a U.S. citisay that Mussorgsky did not believe in reforms, zen) as Rachmaninoff. As for Mussorgsky’s opeven in positive ones, if they came from above, eratic prelude, either Dawn on the Moscow (or against the will of the people. Moskva) River mean the same thing. The meaning of the prelude, then, if it can be put into words at all, is an abstract expression of hope for a better world, a dream of happiness that never comes true in the opera or — according to Mussorgsky’s pessimistic philosophy — in life. —Peter Laki


Copyright © Musical Arts Association

At a Glance Mussorgsky started work on the opera Khovanshchina in July 1872, writing both the music and the lyrics. After nine years of work, the opera was unfinished at the composer’s

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death. During a tour of Southern Russia in 1879, Mussorgsky performed the opera’s prelude as a separate piece, under the title “Rassvet no Moskve-reke” [“Dawn on the Moscow River”],

About the Music: July 13

on the piano. The opera was revised, completed, and orchestrated by Nikolai Rimsky-Korsakov in 1881-83, and premiered in St. Petersburg in 1886.


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Piano Concerto No. 3 in C major, Opus 26 composed 1921 M O N T H S A F T E R the October Revolution of 1917, which brought



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

Blossom Festival 2019

the Bolshevik-Communists to power in Russia, twenty-sevenyear-old Sergei Prokofiev left his homeland for the United States. Already famous in Russia as the controversial enfant terrible composer of modern music and a pianist of dazzling virtuosity, he was eager to make a name for himself in the West. His efforts to succeed in America, however, were only half successful. His first New Y York recital, on November 20, 1918, had positive reviews. And the Chicago Opera agreed to produce his opera The Love for Three Oranges. But the majority of reviews were unfavorable, treating Prokofiev as a Bolshevik barbarian let loose on peaceful American shores. As a result, Prokofiev soon decided to make Europe his base instead of the United States, although his concert tours to America continued until 1938 (he performed as a soloist with The Cleveland Orchestra on two occasions, in 1925 and again in 1930). In the summer of 1921, Prokofiev retreated to a small village on the coast of Brittany in Northern France to work on what in his autobiography he called “a large virtuoso concerto.” His first two piano concertos, written in Russia, had been highly iconoclastic works giving rise to heated debates. This time, Prokofiev created a piece closer to expected norms, one that he hoped would help establish him in the West. Most of the concerto’s thematic material derives from earlier works or from sketches that had accumulated over the previous decade. Evenso, in its final form, the concerto is remarkk ably unified in style and mood. It includes many examples of the supreme musical humor that was always one of Prokofiev’s hallmarks. At the same time, it combines melodic richness with a spectacular virtuosity and interesting harmonic innovations in a most attractive way. The first movement opens with a short Andante introduction whose melody is stated by an unaccompanied clarinet. The Allegro section is based on a motif of quick sixteenth-notes, played by the violins, and a quirky piano motif (actually derived from the Andante theme) that is elaborated upon at some length. A new theme is soon introduced by the oboe; all this melodic material is then treated in a free sonata form. The concerto’s second movement is built on a themeAbout the Music: July 13


and-variations structure. While this is supposed to be the workâ&#x20AC;&#x2122;s traditional slow movement, three of the five variations are rather fast in tempo. These three (variations 2, 3, and 5) exploit the beautiful lyrical theme more for its rhythmic pulse than for its melodic potential. The other two, slower variations, in which the piano plays the leading role, are more delicate and filled with exciting chromatic harmonies. The last variation turns the theme into a march of sorts, but the coda suddenly reverts to the lyrical ambiance of the slow variations. The third-movement finale is brisk and vigorous. It has an extended middle section in a slower tempo that abounds in special orchestration effects (oboes doubling below the clarinets, rather than above them, as would be more usual; the cello section playing the melody in an extremely high register, etc.). The middle section has its own middle section where the piano, suddenly switching from 3/4 to 4/4 time, plays a simple melody based on a single note. The dynamic material that opened the movement returns for a vivacious ending. â&#x20AC;&#x201D;Peter Laki Copyright Š Musical Arts Association

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

At a Glance Prokofiev wrote the third of his five piano concertos during the summer of 1921 in France, although much of the workâ&#x20AC;&#x2122;s thematic material dates from as far back as 1911. The premiere took place on December 16, 1921, in Chicago, with Frederick Stock conducting the Chicago Symphony Orchestra, with the composer at the keyboard. This concerto runs about 30 minutes in performance. The composer scored it for 2

flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (bass drum, castanets, tambourine, cymbals), strings, and solo piano. The Cleveland Orchestra first played Prokofievâ&#x20AC;&#x2122;s Third Piano Concerto in April 1953 (shortly after the composerâ&#x20AC;&#x2122;s death), with Gary Graffman as soloist and George Szell conducting.

ŃĽŃ?Ń&#x2122;Ń&#x153;Ń&#x;Ń&#x2019;ȹѥŃ&#x2022;Ń&#x2019;ČąŃ&#x2013;Ń&#x161;Ń?Ń&#x17D;Ń?ŃĄČąŃ&#x201C;Ń&#x2013;Ń&#x;Ń ŃĄČąŃ&#x2122;Ń&#x17D;Ń&#x2018;Ń&#x2013;Ń&#x2019;Ń ČąŃ&#x2022;Ń&#x17D;ŃŁŃ&#x2019;ČąŃ&#x161;Ń&#x17D;Ń&#x2018;Ń&#x2019;ČąŃ&#x153;Ń&#x203A;ȹѥŃ&#x2022;Ń&#x2019;ČąŃ?Ń&#x153;Ń&#x2122;Ń&#x2013;ŃĄŃ&#x2013;Ń?Ń&#x17D;Ń&#x2122;ČąŃ&#x17D;Ń&#x203A;Ń&#x2018;ČąŃ?ѢŃ&#x2122;ѥѢŃ&#x;Ń&#x17D;Ń&#x2122;ČąŃ&#x2122;Ń&#x2013;ŃŁŃ&#x2019;Ń ČąŃ&#x153;Ń&#x201C;ČąŃ&#x153;ѢŃ&#x;ČąŃ&#x203A;Ń&#x17D;ŃĄŃ&#x2013;Ń&#x153;Ń&#x203A;ÇŻČą

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Concerto Finals at Severance Hall with The Cleveland Orchestra 7:30 PM, FRIDAY, JULY 26 Tickets: More information and live streaming:


Symphony No. 4 in F minor, Opus 36 composed 1877-78


Pyotr Ilyich

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

At a Glance Tchaikovsky began composing his Fourth Symphony in February 1877 in Russia, completing the first three movements by summer. He wrote the final movement in Italy later in the year and finished the orchestration in Venice in January 1878. The work was first performed on February 22, 1878, in Moscow. This symphony runs about 40 minutes in performance. Tchaikovsky scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (bass drum, cymbals, triangle), and strings.

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F E W W O R K S in the orchestral repertoire carry such a strong emotional charge as Tchaikovsky’s last three symphonies — Nos. 4, 5, and 6. Audiences respond in an almost personal way to the capacity of this music to move us to the depths. As for reading their deeper meaning, the task is made easier for us by the composer’s frank acknowledgement that such works are bound to provoke the listener’s imagination in realistic and dramatic ways. Of course Beethoven’s Fifth has a program, he asserted, when asked if his own Fourth was similarly programmatic: “My symphony rests upon a foundation that is nearly the same, and if you haven’t understood me, it follows only that I am not a Beethoven, a fact which I have never doubted.” The main point Tchaikovsky wanted to make follows at once: “There is not a note in this symphony . . . which I did not feel deeply, and which did not serve as an echo of sincere impulses within my soul.” To his patroness Nadezhda von Meck, with whom he kept up a close correspondence for over fourteen years without ever meeting (except twice, briefly, and by accident), he explained the program of the Fourth Symphony in great detail. According to this first-hand analysis (see pages 76-77), the gloomier parts of the work are concerned with fate (represented in the opening passage for brass) and depression, and the eternal struggle to rise above it. There are some brighter moments, and the finale supposedly presents the joy of others as something that might be shared, a cure for the self-hatred and despair that otherwise invades the soul. It can be argued (and many have) as to whether Tchaikovsky intended for Madame von Meck (or us) to take this program literally. Certainly we should not assume that the symphony is merely a record of the emotional and psychological crisis that he suffered at the time of its composition. The year 1877 brought him to a point where suicide was at least a possibility, and he was filled with agitated emotions throughout the year, which doubtless are reflected in the symphony’s music. But the process of creating art is not a simple translation of life into another medium — a transformation occurs in the creative mind. How specifically the music mirrors actual events is not easy to determine. Nor do we need to know in order to enjoy this musical masterpiece. In the summer of 1876, at the time he attended the open-

About the Music: July 13


ing of the inaugural Bayreuth Festival with the first performance of Wagner’s Ring of the Nibelung, Tchaikovsky declared his determination to get married, without anyone in particular in mind as his partner. That winter, he started work on the Fourth Symphony, completing the draft of the first three movements before he met the young lady who was to become his wife. The bizarre circumstances of their meeting, their almost immediate marriage, and the composer’s appalling realization that instead of curing him of his homosexuality as he perhaps hoped, marriage turned out to be a hell even worse than Dante’s version, which he had so recently depicted with great vividness in his musical tone poem Francesca da Rimini. Tchaikovsky fled, first to his relatives in the country, then to Switzerland and Italy, where he The year 1877 was filled completed the symphony and finished the orwith agitated emotions, chestration. In such circumstances many creative which doubtless are reartists would have abandoned their art in a haze flected in the symphony’s of self-pity. But Tchaikovsky’s muse never let up. Not only did he complete the Fourth Symphony music. But the process at this time, he also composed his finest opera, of creating art is not a Eugene Onegin, with the exquisite Violin Concerto simple translation of life to follow soon after. There were occasional fallow into another medium — a periods in his career, but the year 1877, however dramatic in domestic affairs, was not one of them. transformation occurs in To the end of his life, he sustained the habit of the creative mind. How composing for several hours every day, producing specifically the music one of the most varied and appealing bodies of mirrors actual events is work of any composer of his generation.

not easy to determine. Nor do we need to know in order to enjoy this musical masterpiece.


At the very start of the Fourth Symphony’s first movement, the forthright statement on horns and bassoons grabs the listener’s attention. We are not likely to overlook its recurrence at critical points in this and later movements — and we are not supposed to. But the music settles into a plaintive flow in a halting triple rhythm, overwhelmingly committed to the minor key. The first movement offers some striking contrasts of mood and key, such as the clarinet’s gentle waltz-tune with playful responses from the other winds, and a swaying figure in the violins accompanied by a pair of drums. But the motto theme returns, and the symphonic argument leads to the first of many stupendous climaxes in this work. The second movement is not a profound moment of soul-


July 13: About the Music

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searching, but a tender intermezzo featuring the solo oboe (later other winds), very lightly accompanied. There is a strong Russian flavor in this movement and no smiles. A lighter mood is provided by the third-movement scherzo, one of Tchaikovsky’s neatest inventions. The conventional division of orchestras into the three families of strings, woodwinds, and brass gave him the idea of featuring each in turn, each with its own melody, its own tempo, and its own character. The strings, furthermore, are plucked throughout, pizzicato. The divisions are not watertight, for snatches of one kind of music keep intruding on the others. The impression is of a teasing game, full of humor and free from dark thoughts of any kind. The noisy finale features in its midst a Russian folksong based on a descending minor scale answered (sometimes) by two solid thumps. In due course, the solemn motto theme makes its dramatic appearance, but it cannot stem the tide of high spirits that close the symphony, leaving Tchaikovsky’s depression (real or imagined) far behind. —Hugh Macdonald © 2019 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in Saint Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

BLOSSOM FRIENDS of The Cleveland Orchestra Blossom Friends of The Cleveland Orchestra is a volunteer organization dedicated to promoting and financially supporting The Cleveland Orchestra’s summer home and annual Music Festival at Blossom. Created in 1968 as a women’s volunteer committee, membership today is open to women and men of all ages. Year round, we promote Blossom Music Center through a series of fundraising, learning, and social events to highlight the beauty of Blossom and the magic of great summertime music under the stars. These include each summer’s Gourmet Matinee luncheons at Blossom. We wish you a special evening filled with the joy of music.

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About the Music: July 13


Tchaikovsky’s own words about the Fourth Symphony Tchaikovsky wrote a letter on March 1, 1878, to his patroness and benefactor Nadezhda von Meck, to whom he dedicated the published score of the Fourth Symphony. In the letter, he tried to describe what he referred to as “our symphony,” movement by movement, with musical examples of the work’s major themes. The underlying emotional landscape that he felt the music expressed provides an interesting view of his creative frame of reference for this symphony:

My Dearest Friend . . . In our symphony there is a programme (that is, the possibility of explaining in words what it seeks to express), and to you and you alone I can and wish to indicate the meaning both of the work as a whole, and of its individual parts. Of course, I can do this here only in general terms. The introduction is the kernel of the whole symphony, without question its main idea:

This is Fate, the force of destiny, which ever prevents our pursuit of happiness from reaching its goal, which jealously stands watch lest our peace and well-being be full and cloudless . . . and constantly, ceaselessly poisons our souls. It is invincible, inescapable. One can only resign oneself and lament fruitlessly:

The disconsolate and despairing feeling grows ever stronger and more intense. Would it not be better to turn away from reality and immerse oneself in dreams?

O joy! A sweet, tender dream has appeared. A bright, beneficent human form flits by and beckons us on:

How wonderful! How distant now is the sound of the implacable first theme! Dreams little by little have taken over the soul. All that is dark and bleak is forgotten. There it is, there it is — happiness!


July 13: About the Music

The Cleveland Orchestra

But no! These were only dreams, and Fate awakens us.

And thus, all life is the ceaseless alternation of bitter reality with evanescent visions and dreamed-of happiness. . . . There is no refuge. We are buffeted about by this sea until it seizes us and pulls us down to the bottom. There you have roughly the program of the first movement. The second movement of the symphony expresses a different aspect of sorrow, that melancholy feeling that arises in the evening as you sit alone, worn out from your labors. You’ve picked up a book, but it has fallen from your hands. A whole procession of memories goes by. And we are sad that so much already is over and gone, and at the same time we remember our youth with pleasure. We are weary of life. How pleasant to relax and look back. Much comes to mind! There were blissful moments, when our young blood seethed and life was good. And there were bitter moments of irretrievable loss. It is at once sad and somehow sweet to lose ourselves in the past . . . The third movement does not express definite feelings. These are, rather, capricious arabesques, fugitive images that pass through one’s mind when one has had a little wine to drink and is feeling the first effects of intoxication. At heart one is neither merry nor sad. One’s mind is a blank. The imagination has free rein and it has come up with these strange and inexplicable designs. . . . Among them all at once you recognize a tipsy peasant and a street song. . . . Then somewhere in the distance a military parade goes by. These are . . . images that pass through one’s head as one is about to fall asleep. They have nothing in common with reality; they are strange, wild and incoherent . . . The fourth movement. If you can find no impulse for joy within yourself, look at others. Go out among the people. See how well they know how to rejoice and give themselves up utterly to glad feelings. But hardly have you succeeded in forgetting yourself and enjoying the spectacle of others’ joys, when tireless Fate reappears and insinuates itself. But the others pay no heed. They do not even look around to see you standing there, lonely and depressed. Oh, how merry they are! And how fortunate, that all their feelings are direct and simple. Never say that all the world is sad. You have only yourself to blame. There are joys, strong though simple. Why not rejoice through the joys of others? One can live that way, after all. . . . Just as I was putting my letter into the envelope I began to read it again, and to feel misgivings as to the confused and incomplete programme that I am sending you. For the first time in my life I have attempted to put my musical thoughts and forms into words and phrases. I have not been very successful. I was horribly out of spirits all the time I was composing this symphony last winter, and this was a true echo of my feelings at the time. But only an echo. How is it possible to reproduce it in clear and definite language? I do not know. I have already forgotten a good deal. Only the general impression of my passionate and sorrowful experiences has remained. Yours, with devotion and respect,

Blossom Festival 2019

About the Music: July 13



JOHN L. SEVERANCE SOCIETY Cumulative Giving The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which today symbolizes unrivalled quality and enduring community pride. The individuals, corporations, foundations, and government agencies listed here represent today’s visionary leaders, who have each surpassed $1 million in cumulative gifts to The Cleveland Orchestra. Their generosity and support joins a long tradition of community-wide support, helping to ensure The Cleveland Orchestra’s ongoing mission to provide extraordinary musical experiences — today and for future generations.

Current donors with lifetime giving surpassing $1 million, as of January 2019

Gay Cull Addicott American Greetings Corporation Art of Beauty 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 & 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 Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation The Walter and Jean Kalberer Foundation

Blossom Festival 2019

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

Parker Hannifin Foundation The Payne Fund PNC Julia and Larry Pollock PolyOne Corporation Raiffeisenlandesbank Oberösterreich Mr. and Mrs. Alfred M. Rankin, Jr. Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner James and Donna Reid The Reinberger Foundation Barbara S. Robinson The Sage Cleveland Foundation The Ralph and Luci Schey Foundation Seven Five Fund Carol and Mike Sherwin Mrs. Gretchen D. Smith The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Mr. and Mrs. Richard K. Smucker Jenny and Tim Smucker Richard and Nancy Sneed Jim and Myrna Spira Lois and Tom Stauffer Mrs. Jean H. Taber* Joe and Marlene Toot Ms. Ginger Warner Robert C. Weppler Janet* and Richard Yulman Anonymous (7)

Severance Society / Lifetime Giving

* deceased



Individual Annual Support The Cleveland Orchestra is sustained through the annual support of thousands of generous patrons. The leadership of those listed on these pages (with gifts of $2,000 and more) shows an extraordinary depth of support for the Orchestra’s music-making, education programs, and community initiatives.

Giving Societies gifts in the past year, as of June 15, 2019 Adella Prentiss Hughes Society gifts of $100,000 and more

George Szell Society gifts of $50,000 to $99,999

Musicians of The Cleveland Orchestra+ (in-kind support for community programs and opportunities to secure new funding) Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski+ Mr. and Mrs. Alexander M. Cutler+ Dr. and Mrs. Hiroyuki Fujita Mr. and Mrs. James A. Haslam III Mr. and Mrs. Michael J. Horvitz+ James D. Ireland IV The Walter and Jean Kalberer Foundation+ Dr. and Mrs. Herbert Kloiber (Europe) Mr. and Mrs. Dennis W. LaBarre+ Mrs. Norma Lerner and The Lerner Foundation+ Elizabeth F. McBride Rosanne and Gary Oatey (Cleveland, Miami)+ Mr. and Mrs. Albert B. Ratner James and Donna Reid Mr. and Mrs. Richard K. Smucker+ Jenny and Tim Smucker+ Richard and Nancy Sneed+ Ms. Ginger Warner Mr. and Mrs. Franz Welser-Möst+

Mr. William P. Blair III+ Mr. Yuval Brisker The Brown and Kunze Foundation Mr. and Mrs. Marshall Brown Rebecca Dunn JoAnn and Robert Glick Mrs. John A Hadden Jr. Mr. and Mrs. Donald M. Jack, Jr. Mr. and Mrs. Douglas A. Kern Toby Devan Lewis Virginia M. and Jon A. Lindseth Milton and Tamar Maltz Ms. Nancy W. McCann+ Ms. Beth E. Mooney+ John C. Morley+ William J. and Katherine T. O’Neill The Honorable and Mrs. John Doyle Ong Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. Charles and Ilana Horowitz Ratner+ Barbara S. Robinson (Cleveland, Miami)+ Sally and Larry Sears+ Marjorie B. Shorrock+ Dr. Russell A. Trusso Barbara and David Wolfort (Cleveland, Miami)+ Anonymous+

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

+ Multiyear Pledges

Brinton L. Hyde, chair Robert N. Gudbranson, vice chair Barbara Robinson, past chair Ronald H. Bell James T. Dakin Karen E. Dakin Henry C. Doll Judy Ernest Nicki N. Gudbranson


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

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

Individual Annual Support

The Cleveland Orchestra

Dudley S. Blossom Society gifts of $15,000 to $24,999

Elisabeth DeWitt Severance Society gifts of $25,000 to $49,999 Gay Cull Addicott+ Mr. and Mrs. William W. Baker Randall and Virginia Barbato Dr. and Mrs. Wolfgang Berndt (Europe) Irma and Norman Braman (Miami) Dr. Ben H. and Julia Brouhard Jeanette Grasselli Brown and Glenn R. Brown+ Irad and Rebecca Carmi Mr. and Mrs. David J. Carpenter+ Mary Jo Eaton (Miami) Dr. and Mrs. Robert Ehrlich (Europe) The Sam J. Frankino Foundation Mary and Jon Heider (Cleveland, Miami) Mrs. Marguerite B. Humphrey+ Allan V. Johnson Mr. and Mrs. Joseph P. Keithley Giuliana C. and John D. Koch Milton A. & Charlotte R. Kramer Charitable Foundation Daniel R. Lewis (Miami) Jan R. Lewis David and Janice* Logsdon Mr. and Mrs. Alex Machaskee+ Mr. Stephen McHale Mrs. Jane B. Nord Julia and Larry Pollock Mr. and Mrs. James A. Ratner Mr. and Mrs. David A. Ruckman Mr. and Mrs. James A. Saks Sandor Foundation+ Rachel R. Schneider Hewitt and Paula Shaw+ Jim and Myrna Spira+ R. Thomas and Meg Harris Stanton+ Mr. and Mrs. Alfred Umdasch (Europe) Paul and Suzanne Westlake Tony and Diane Wynshaw-Boris+ Anonymous

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

Art of Beauty Company, Inc. Mr. and Mrs. Dean Barry Dr. Christopher P. Brandt and Dr. Beth Sersig+ Dr. Gwen Choi Jill and Paul Clark Robert and Jean* Conrad+ Mr. and Mrs. William E. Conway Judith and George W. Diehl+ Nancy and Richard Dotson+ Mr. Brian L. Ewart and Mr. William McHenry+ Mr. Allen H. Ford Joan Alice Ford Friends of The Cleveland Orchestra Mr. and Mrs. Robert W. Gillespie Richard and Ann Gridley+ Kathleen E. Hancock Sondra and Steve Hardis Jack Harley and Judy Ernest Amy and Stephen Hoffman David and Nancy Hooker+ Joan and Leonard Horvitz Richard and Erica Horvitz (Cleveland, Miami) Mr. Jeff Litwiller+ Mr. and Mrs. Thomas B. McGowan Stanley* and Barbara Meisel The Miller Family+ Sydell Miller Lauren and Steve Spilman Stacie and Jeff Halpern Edith and Ted* Miller+ Mr. Donald W. Morrison+* Margaret Fulton-Mueller+ Dr. Anne and Mr. Peter Neff Dr. Isobel Rutherford The Ralph and Luci Schey Foundation+ Astri Seidenfeld Meredith and Oliver* Seikel The Seven Five Fund Kim Sherwin Mr. and Mrs. Leonard K. Tower Mr. and Mrs. Daniel P. Walsh Tom and Shirley Waltermire+ Mr. and Mrs. Fred A. Watkins+ Meredith and Michael Weil Sandy and Ted Wiese Max and Beverly Zupon Anonymous listings continue

Blossom Festival 2019

Individual Annual Support


Frank H. Ginn Society gifts ift off $10 $10,000 000 tto $14 $14,999 999 Mr. and Mrs. Jules Belkin Mr. David Bialosky and Ms. Carolyn Christian+ Blossom Friends of The Cleveland Orchestra Mr. D. McGregor Brandt, Jr. Robert and Alyssa Lenhoff-Briggs J. C. and Helen Rankin Butler+ Ms. Bernadette Chin Richard J. and Joanne Clark Martha and Bruce Clinton (Miami) Mrs. Barbara Ann Davis+ Mr. and Mrs. Edward B. Davis Henry and Mary* Doll+ Dr. and Mrs. Lloyd H. Ellis Jr. Albert I.* and Norma C. Geller Patti Gordon (Miami) Mr. and Mrs. Stephen Griebling Mr. Michael Gröller (Europe) Iris and Tom Harvie+ Mr. Alfred Heinzel (Europe) Mr. and Mrs. Jerry Herschman Dr. Fred A. Heupler+ Mr. and Mrs. Brinton L. Hyde

Mrs. Elizabeth R. Koch Rob and Laura Kochis Mr. and Mrs.* S. Lee Kohrman Mr. James Krohngold+ David C. Lamb+ John N.* and Edith K. Lauer Dr. Edith Lerner Dr. David and Janice Leshner Mr. David and Dr. Carolyn Lincoln Alan Markowitz M.D. and Cathy Pollard Scott and Julie Mawaka Mr.* and Mrs. Arch J. McCartney Mr. Hisao Miyake Mr. John Mueller Brian and Cindy Murphy+ Mr. J. William and Dr. Suzanne Palmer+ Mr. Thomas Piraino and Mrs. Barbara McWilliams Douglas and Noreen Powers Mr. and Mrs. Ben Pyne Audra* and George Rose+ Paul A. and Anastacia L. Rose Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross

Mrs. Florence Brewster Rutter+ Dr. and Mrs.* Martin I. Saltzman+ Mr. Lee Schiemann David M. and Betty Schneider Carol* and Albert Schupp Dr. and Mrs. James L. Sechler Veit Sorger (Europe) Mr. Heinrich Spängler (Europe) The Stair Family Charitable Foundation, Inc. Lois and Tom Stauffer Dr. Elizabeth Swenson Bruce and Virginia Taylor+ Mr. Joseph F. Tetlak Dr. Gregory Videtic and Rev. Christopher McCann+ Denise G. and Norman E. Wells, Jr. Robert C. Weppler Sandy Wile and Sue Berlin Anonymous (9)

Mr. and Mrs. Robert P. Duvin Elliot and Judith Dworkin Mr. S. Stuart Eilers+ Mary and Oliver* Emerson Carl Falb+ William R. and Karen W. Feth+ Joseph Z. and Betty Fleming (Miami) Mr. Paul C. Forsgren Michael Frank and Patricia A. Snyder Bob and Linnet Fritz Barbara and Peter Galvin Joy E. Garapic Brenda and David Goldberg Mr. and Mrs. Randall J. Gordon+ Mr. Robert Goss Harry and Joyce Graham Drs. Erik and Ellen Gregorie André and Ginette Gremillet Nancy Hancock Griffith+ The Thomas J. and Judith Fay Gruber Charitable Foundation Robert N. and Nicki N. Gudbranson Robert K. Gudbranson and Joon-Li Kim+ David and Robin Gunning Mr. Davin and Mrs. Jo Ann Gustafson Alfredo and Luz Gutierrez (Miami) Gary Hanson and Barbara Klante+ Clark Harvey and Holly Selvaggi+ Henry R. Hatch Robin Hitchcock Hatch Barbara L. Hawley and David S. Goodman Mr. Jeffrey Healy+

Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan+ Janet D. Heil* Anita and William Heller+ Dr.* and Mrs. George H. Hoke Dr. Keith A. and Mrs. Kathleen M. Hoover+ Elisabeth Hugh+ David and Dianne Hunt Pamela and Scott Isquick+ Richard and Michelle Jeschelnig Joela Jones and Richard Weiss Barbara and Michael J. Kaplan Andrew and Katherine Kartalis Milton and Donna* Katz Dr. Richard and Roberta Katzman Mr. and Mrs. Christopher Kelly Cynthia Knight (Miami) Mr. and Mrs. Peter A. Kuhn+ Mr. and Mrs. Arthur J. Lafave, Jr. Dr. and Mrs. John R. Lane Kenneth M. Lapine and Rose E. Mills+ Anthony T. and Patricia A. Lauria Mr. Lawrence B. and Christine H. Levey+ Judith and Morton Q. Levin Dr. Stephen B. and Mrs. Lillian S. Levine+ Dr. Alan and Mrs. Joni Lichtin+ Mr. Rudolf and Mrs. Eva Linnebach+ Frank and Jocelyne Linsalata Mr. Henry Lipian Drs. Todd and Susan Locke Anne R. and Kenneth E. Love

The 1929 Society gifts of $5,000 to $9,999 Ms. Nancy A. Adams Dr. and Mrs. D. P. Agamanolis Susan S. Angell Robert and Dalia Baker Mr. Thomas and Mrs. Laura Barnard Fred G. and Mary W. Behm Mr. Allen Benjamin Mel Berger and Jane Haylor Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser Dr. Robert Brown and Mrs. Janet Gans Brown Dr. Thomas Brugger and Dr. Sandra Russ Frank and Leslie Buck+ Mr. and Mrs. Timothy J. Callahan Dr. and Mrs. William E. Cappaert Ms. Maria Cashy+ Ellen E. and Victor J. Cohn+ Mr. and Mrs. Arnold L. Coldiron Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura Marjorie Dickard Comella Mr.* and Mrs. Gerald A. Conway Mrs. Barbara Cook Mr. John Couriel and Mrs. Rebecca Toonkel (Miami) Mr. and Mrs. Matthew V. Crawford Mr. and Mrs. Manohar Daga+ Thomas S. and Jane R. Davis Pete and Margaret Dobbins+ Dr. M. Meredith Dobyns Mr. and Mrs. Paul Doman


Individual Annual Support

listings g continue

2019 Blossom Festival



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• Headliner Bands — Music All Day! • Art Vendors • Kids’ Creation Station • Food Trucks, Wine & Beer

Wooster Arts & Music Fest

Saturday, September 14 | Noon to 8 pm Downtown Wooster!


Downtown Wooster, the place to be… • Boutique Shopping • 26 Restaurants • Craft Brewery & Distillery • Coffeeshops & More! #uniquelywooster

listings continued

D David Mann and Bernadette Pudis Ms. Amanda Martinsek James and Virginia Meil+ Dr. Susan M. Merzweiler+ Loretta J. Mester and George J. Mailath Lynn and Mike Miller Drs. Terry E. and Sara S. Miller Mr. and Mrs.* William A. Mitchell+ Curt and Sara Moll Mr. and Mrs. Thomas W. Morris Bert and Marjorie Moyar Susan B. Murphy Deborah L. Neale Richard and Kathleen Nord Thury O’Connor Dr. and Mrs. Paul T. Omelsky Mr. and Mrs. Peter R. Osenar Mr. Henry Ott-Hansen Dr. Roland S. Philip and Dr. Linda M. Sandhaus+ Maribel A. Piza, P.A. (Miami)+ Mr. and Mrs. Richard W. Pogue Dr. and Mrs. John N. Posch+ Ms. Linda Pritzker Ms. Rosella Puskas

Mr. Lute and Mrs. Lynn Quintrell Mr. and Mrs. Roger F. Rankin Brian and Patricia Ratner Amy and Ken Rogat Dr. and Mrs. Michael Rosenberg (Miami) Robert and Margo Roth+ Fred Rzepka and Anne Rzepka Family Foundation Michael and Deborah Salzberg Drs. Michael and Judith Samuels (Miami) John and Barbara Schubert Lee and Jane Seidman Mr. Eric Sellen and Mr. Ron Seidman Drs. Daniel and Ximena Sessler+ Kenneth Shafer Donna E. Shalala (Miami) Naomi G. and Edwin Z. Singer+ The Shari Bierman Singer Family Drs. Charles Kent Smith ‘and Patricia Moore Smith+ Mrs. Gretchen D. Smith+ Roy Smith Dr. Marvin and Mimi Sobel*+ Mr. and Mrs. William E. Spatz George and Mary Stark+ Dr.* and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Jr.

Stroud Family Exempt Trust Mr. and Mrs. Joseph D. Sullivan Mr. Taras G. Szmagala, Jr. Robert and Caroll Tall Taller+ Sidney Taurel and ‘Maria Castello Branco Mr.* aand Mrs. Robert N. Trombly Robert and Marti* Vagi Dr. and Mrs. H. Reid Wagstaff Walt and Karen Walburn Mrs. Lynn Weekley Mr. and Mrs. Mark Allen Weigand+ Pysht Fund Dr. Edward L. and Mrs. Suzanne Westbrook+ Tom and Betsy Wheeler Richard Wiedemer, Jr.+ Dr. Paul R. and Catherine Williams Richard and Mary Lynn Wills Bob and Kat Wollyung+ Ms. Carol A. Yellig Anonymous (2)

Drs. Mark Cohen and Miriam Vishny Douglas S. Cramer / Hubert S. Bush III (Miami) Ms. Patricia Cuthbertson Karen and Jim Dakin Mrs. Frederick F. Dannemiller Mr. Kamal-Neil Dass and Mrs. Teresa Larsen+ Bruce and Jackie Davey Mrs. Lois Joan Davis Carol Dennison and Jacques Girouard Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White Dr. and Mrs. Richard C. Distad Carl Dodge Maureen Doerner & Geoffrey White William and Cornelia Dorsky Mr. George and Mrs. Beth Downes+ Jack and Elaine Drage Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki+ Mr. Tim Eippert Peter and Kathryn Eloff+ Harry and Ann Farmer Mr. William and Dr. Elizabeth Fesler Mr. Scott Foerster Richard J. Frey Mr. and Ms. Dale Freygang Judge Stuart Friedman and Arthur Kane Peggy A. Fulmer Dr. Marilee Gallagher Mr. James S. Gascoigne Mr. William Gaskill and Ms. Kathleen Burke

Mr. Wilbert C. Geiss, Sr. Anne and Walter Ginn Dr.* and Mrs. Victor M. Goldberg Dr. and Mrs. Ronald L. Gould Dr. Robert T. Graf Mr. James Graham and Mr. David Dusek Nancy and James Grunzweig+ Mr. Steven and Mrs. Martha Hale Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Jane Hargraft and Elly Winer Lilli and Seth Harris Mr. Adam Hart Matthew D. Healy and Richard S. Agnes In Memory of Hazel Helgesen The Morton and Mathile Stone Philanthropic Fund Mr. Robert T. Hexter Ms. Elizabeth Hinchliff Mr. and Mrs. Stephen J. Holler Thomas and Mary Holmes Ms. Sharon J. Hoppens Xavier-Nichols Foundation / Robert and Karen Hostoffer Dr. Randal N. Huff and Ms. Paulette Beech+ Ms. Laura Hunsicker Ruth F. Ihde Donna L. and Robert H. Jackson Mr. and Mrs. Richard A. Janus Robert and Linda Jenkins Mr. Robert and Mrs. Mary V. Kahelin Rudolf D.* and Joan T. Kamper Mr. Jack E. Kapalka

Composer’s Circle gifts of $2,500 to $4,999 Mr. and Mrs. Paul R. Abbey Mr. and Mrs. Charles Abookire, Jr. Dr. Sarah M. Anderson Mr. William App Mr. and Mrs. Jeffrey R. Appelbaum+ Mr. and Mrs. Eugene J. Beer Jamie Belkin Mr. and Mrs. Belkin Dr. Ronald and Diane* Bell Barbara and Sheldon Berns Margo and Tom Bertin John and Laura Bertsch Howard R. and Barbara Kaye Besser Mitch and Liz Blair Bill* and Zeda Blau Doug and Barbara Bletcher Georgette and Dick Bohr Mr. and Mrs. Richard H. Bole Lisa and Ronald Boyko+ Mr. and Mrs. David Briggs Mr. and Mrs. Henry G. Brownell Mrs. Frances Buchholzer Mr. Gregory and Mrs. Susan Bulone J.C. and H.F. Burkhardt Mr. and Mrs. Frank H. Carpenter Dr. Victor A. Ceicys Mr. and Mrs. James B. Chaney Dr. Ronald* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm The Circle — Young Professionals of The Cleveland Orchestra Drs. John and Mary Clough


Individual Annual Support

2019 Blossom Festival

Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Dr. and Mrs. William S. Kiser James and Gay* Kitson+ Fred* and Judith Klotzman Mrs. Ursula Korneitchouk Jacqueline and Irwin* Kott (Miami) Richard and Christine Kramer Dr. Ronald H. Krasney and Vicki Kennedy+ Dr. and Mrs. John P. Kristofco Alfred and Carol Lambo Richard and Elizabeth Larrabee Mrs. Sandra S. Laurenson Charles and Josephine Robson Leamy * Michael Lederman and Sharmon Sollitto Ronald and Barbara Leirvik Mr. Ernest and Dr. Cynthia Lemmerman+ Michael and Lois Lemr Irvin and Elin Leonard Robert G. Levy+ Mary Lohman Ms. Mary Beth Loud Elsie and Byron Lutman Herbert L. and Ronda Marcus Martin and Lois Marcus Dr. and Mrs. Sanford E. Marovitz+ Ms. Dorene Marsh Dr. Ernest and Mrs. Marian Marsolais Mr. Fredrick W. Martin+ Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Ms. Nancy L. Meacham Mr. and Mrs. James E. Menger Beth M. Mikes Mr. Ronald Morrow III Eudice M. Morse Mr. Raymond M. Murphy+ Randy and Christine Myeroff Ms. Megan Nakashima Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Richard and Jolene O’Callaghan+ Mr. and Mrs. John Olejko Harvey* and Robin Oppmann Mr. Robert Paddock Mr. John D. Papp George Parras Dr. Lewis E. and Janice B. Patterson+ David Pavlich and Cherie Arnold Robert S. Perry Dale and Susan Phillip Dr. Marc A. and Mrs. Carol Pohl In memory of Henry Pollak Mr. Robert and Mrs. Susan Price Sylvia Profenna Drs. Raymond R. Rackley and Carmen M. Fonseca Dr. Robert W. Reynolds Drs. Jason and Angela Ridgel Mrs. Charles Ritchie Mr. D. Keith and Mrs. Margaret Robinson Mr. Timothy D. Robson+ Mr. Kevin Russell (Miami) Mr. and Mrs. Peter J. Ryerson

The Cleveland Orchestra

Peter and Aliki Rzepka Ms. Patricia E. Say Mr. Paul H. Scarbrough+ Don Schmitt and Jim Harmon Ms. Beverly J. Schneider Ms. Karen Schneider Mr. James Schutte+ Mrs. Cheryl Schweickart Mr. and Mrs. Alexander C. Scovil Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Rafick-Pierre Sekaly Steve and Marybeth Shamrock Ginger and Larry Shane Harry and Ilene Shapiro Larry Oscar & Jeanne Shatten Charitable Fund of the Jewish Federation Dr. and Mrs. William C. Sheldon+ Terrence and Judith Sheridan Mr. Richard Shirey+ Mr. and Mrs. Reginald Shiverick+ Michael Dylan Short Laura and Alvin* A. Siegal Mr.* and Mrs. Bob Sill Jim Simler and Doctor Amy Zhang+ Howard and Beth Simon Ms. Ellen J. Skinner Robert and Barbara Slanina Ms. Janice A. Smith Sandra and Richey Smith+ Mr. Eugene Smolik Ms. Barbara R. Snyder Drs. Nancy Ronald Sobecks Drs. Thomas and Terry Sosnowski Jeffrey Stanley Edward R. & Jean Geis Stell Foundation Frederick and Elizabeth Stueber Michael and Wendy Summers Mr. David Szamborski Mr. and Mrs. John Taylor Ken and Martha Taylor Mr. and Mrs. Philip L. Taylor Mr. Karl and Mrs. Carol Theil+ Mr. John R. Thorne and Family Bill and Jacky Thornton Dr. and Mrs. Thomas A. Timko Drs. Anna* and Gilbert True Steve and Christa Turnbull+ Bobbi and Peter van Dijk Brenton Ver Ploeg (Miami) Teresa Galang-Viñas and Joaquin Vinas (Miami) George and Barbara von Mehren John and Deborah Warner Margaret and Eric* Wayne+ Mr. Peter and Mrs. Laurie Weinberger Katie and Donald Woodcock Elizabeth B. Wright+ Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (3)+ Anonymous (7)

Thank You The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including the Leadership donors listed on these pages. Listings of all annual donors of $300 and more each year are published annually, and can be viewed online at CLEVELANDORCHESTRA .COM For information about how you can play a supporting role for The Cleveland Orchestra’s ongoing artistic excellence, education programs, and community partnerships, please contact our Philanthropy & Advancement Office by phone: 216-231-7556 or email: annualgiving

+ has signed a multiyear pledge (see information box earlier in these listings)

* deceased

Individual Annual Support



Corporate Support The Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations listed on this page, whose annual support (through gifts of $2,500 and more) demonstrates their belief in the Orchestraâ&#x20AC;&#x2122;s music-making, education programs, and community initiatives.

Annual Supportt gifts in the past year, as of June 15, 2019 The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to musical excellence at the highest level. PARTNERS IN EXCELLENCE $300,000 AND MORE

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

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

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


$50,000 TO $99,999

The Lubrizol Corporation Quality Electrodynamics voestalpine AG (Europe) $15,000 TO $49,999

Buyers Products Company Calfee, Halter & Griswold LLP Cleveland Clinic The Cliffs Foundation DLR Group | Westlake Reed Leskosky Dollar Bank Foundation Eaton Ernst & Young LLP Forest City Frantz Ward LLP The Giant Eagle Foundation Great Lakes Brewing Company Hahn Loeser & Parks LLP Huntington National Bank Mezu Miba AG (Europe) MTD Products, Inc. Northern Trust (Miami) Olympic Steel, Inc. RPM International Inc. The Sherwin-Williams Company Thompson Hine LLP United Airlines University Hospitals

Corporate Annual Support

$2,500 TO $14,999 Amsdell Companies BDI Blue Technologies Brothers Printing Company Tony and Lennie Petarca Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Consolidated Solutions Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Gross Builders Jobs Ohio The Lincoln Electric Foundation Littler Mendelson, P.C. Live Publishing Company Materion Corporation Northern Haserot Oatey Oswald Companies Park-Ohio Holdings PwC RSM US LLP Stern Advertising Ulmer & Berne LLP Anonymous (2)

2019 Blossom Festival


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

Annual Supportt gifts in the past year, as of June 15, 2019 $1 MILLION AND MORE

Cuyahoga County residents through Cuyahoga Arts & Culture Elizabeth Ring Mather and William Gwinn Mather Fund $500,000 TO $999,999

Ohio Arts Council $250,000 TO $499,999

John P. Murphy Foundation The Eric & Jane Nord Family Fund $100,000 TO $249,999

Paul M. Angell Family Foundation William Randolph Hearst Foundation The Louise H. and David S. Ingalls Foundation Kulas Foundation David and Inez Myers Foundation Dr. M. Lee Pearce Foundation, Inc. (Miami) The Kelvin and Eleanor Smith Foundation Weiss Family Foundation $50,000 TO $99,999

The Burton Charitable Trust The George W. Codrington Charitable Foundation The Jean, Harry and Brenda Fuchs Family Foundation, in memory of Harry Fuchs GAR Foundation ideastream League of American Orchestras: American Orchestras’ Futures Fund supported by the Ann and Gordon Getty Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation The Nord Family Foundation The Payne Fund

Blossom Festival 2019

$15,000 TO $49,999

The Abington Foundation Akron Community Foundation The Batchelor Foundation, Inc. (Miami) The Bruening Foundation Mary E. & F. Joseph Callahan Foundation Case Western Reserve University Cleveland State University Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Char and Chuck Fowler Family Foundation The Gerhard Foundation, Inc. The Helen Wade Greene Charitable Trust The Kirk Foundation (Miami) Miami-Dade County Department of Cultural Affairs (Miami) National Endowment for the Arts The Frederick and Julia Nonneman Foundation The Reinberger Foundation Albert G. & Olive H. Schlink Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation The Veale Foundation Wesley Family Foundation

$2,500 TO $14,999 The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation The Cowles Charitable Trust (Miami) Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Ann and Gordon Getty Foundation The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation George M. and Pamela S. Humphrey Fund The Laub Foundation The Lehner Family Foundation The G. R. Lincoln Family Foundation The Jack, Joseph, and Morton Mandel Foundation New World Somewhere Fund The M. G. O’Neil Foundation The O’Neill Brothers Foundation Paintstone Foundation Peg’s Foundation Performing Arts Readiness Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The George Garretson Wade Charitable Trust The Welty Family Foundation The Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wright Foundation The Wuliger Foundation Anonymous

Foundation/Government Annual Support


mid-January, 1968




early April, 1968


mid-March, 1968


early April, 1968

Architect Peter van Dijk and music director George Szell


mid-May, 1968


Blossom today

Welcome to Blossom! Welcome to the 2019 Blossom Music Festival — a summer-long season of weekend and holiday musical programs presented by The Cleveland Orchestra. In addition, Live Nation presents nonorchestral concerts throughout the season. Please be aware that some audience guidelines differ depending on the evening’s musical presentation, including what food and beverages can be brought onto the grounds or into the Pavilion. QUESTIONS? Members of Blossom Friends of The Cleveland Orchestra host two Information Centers — one located outside the Main Gate across from the Lawn Ticket Booth and the other inside the Main Gate on Smith Plaza next to the Joseph Garden. GROUNDS OPEN Gates to the Blossom grounds are open to the public 2½ hours before Festival concerts.

What Not to Bring . . . NO SMOKING All Blossom events are presented in a smoke-free environment. Smoking tobacco or ecigarettes is not allowed anywhere on the grounds or in buildings once you have entered through the ticket gates. FIREWORKS OR SPARKLERS Open-flame grilling is not permitted anywhere on the Blossom grounds or parking areas. Sparklers and fireworks are also prohibited. WEAPONS AND DRUG-FREE ZONE Blossom is a drug-free and weapon-free facility — everywhere and anywhere on the grounds, including parking lots, restrooms, and the Lawn. AERIAL DRONES To ensure the safety of all, audience members are prohibited from having and operating drones anywhere on the Blossom grounds.

Blossom Festival 2019

What to Bring . . . 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. 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. 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. Shortlegged beach-style chairs make good neighbors. Suitable rental chairs are available at the top of the hill for a fee of $5 per evening. Tents or other structures are strictly prohibited. Guests who obstruct others’ views may be asked to relocate to the rear of the Lawn. 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

Patron Information


What to Do . . .

IN ADDITION TO ENJOYING THE CONCERT YOUNG PERSON’S GUIDE Young Person’s Guide is availY able to help your youngest attendees learn about music, with some suggested activities. 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, snack items, and beverages. Information about picking up your picnic comes with your order. Visit 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 full-service restaurant located at the top of the Lawn is the perfect place to start your evening. The open-air restaurant and bar offers a variety of freshly prepared appetizers, salads, entrees, and desserts, plus wines, spirits, and beers, as well as pre-ordered box dinners. The Blossom Grille is open for dinner 2½ hours prior to all Blossom Music Festival concerts. To pre-order boxed dinners or to make reservations, please call 330-916-6063. TASTING ROOM Located across from Emily’s Garden, the Tasting Room offers wine, spirits, and beer, as well as coffee and desserts. It is open 2½ hours prior to all Blossom Festival concerts and for a post-concert Afterglow. CLEVELAND ORCHESTRA STORE During Festival concerts, the Cleveland Orchestra Store offers sales next to 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 2½ hours before the concert, at intermission, and for post-concert shopping.

Small Moments. Big Experiences. Old Trail School is a co-ed, independent day school, Toddler through Grade 8, dedicated to creating a distinctive culture where each child feels known and cared for. Our 62 acre campus provides the perfect setting for purposeful, intentional curriculum and a meaningful student experience. Schedule your personalized visit to learn more. Contact or call 330.666.1118 x 314. 90

Patron Information

2019 Blossom Festival

Pavilion Seating




(216) 231-1111

For the comfort of 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:

or 800-686-1141 or online at Blossom Guest Services and Lost & Found (330) 916-6068

CLASSICAL CONCERTS — BLUE Late seating is permitted only at designated seating breaks in the music. Bottled water only is allowed in the Pavilion.

Blossom Grille (330) 916-6063

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.

Accessibility Services (330) 916-6068

MOVIE CONCERTS — ORANGE Late seating is permitted throughout the performance. Food and beverages are allowed in the Pavilion (without picnic baskets/coolers).

Blossom Administrative Offices (330) 920-8040 weekday business hours

Getting Around . . . AND WHEN YOU ARE HERE PARKING Free parking is available with your ticket to any regular Festival concert. Paved parking Lots require a printed and dated hang-tag, which must be displayed in your vehicle. Cars without dated parking hang-tags are directed to non-paved parkk ing. Free hang-tags for Lots C-D-E are available with Pavilion tickets purchased at least ten days in advance of a Festival concert. Paved Lots A and B are reserved for subscribers (Lot B) and Box Seat holders (Lot A). Parking spaces for patrons with disabilities and special needs are in Lots B and E. A valid disability parking permit is required and must be displayed. A limited number of ADA parking spaces are also available in Lot A for $25 per vehicle per concert, with advance purchase. For more information, contact Guest Services at 330-916-6068. FREE TRAM SERVICE AND GOLF CARTS Free transportation throughout the grounds is available to all patrons for Blossom Music Festival concerts. Tram service from parking lots to Smith

Blossom Festival 2019

Group Sales and Knight Grove Reservations (216) 231-7493 weekday business hours

Cleveland Orchestra Offices (216) 231-7300 weekday business hours

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 pratons who have difficulty accessing the Pavilion — available on a first-come, first-served basis from Smith Plaza. 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. 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. 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.

Patron Information


Your Role . . . in The Cleveland Orchestra’s Future Generations of Ohioans have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with the power of its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, in downtown Cleveland, on the radio, and with family and friends. As Ohio’s most visible international ambassador, The Cleveland Orchestra proudly carries the name of our great city everywhere we go. Here at home, we are committed to serving all of Northeast Ohio with vital education and community programs, presented alongside wide-ranging musical performances. Ticket sales cover less than half the cost of presenting the Orchestra’s season each year. By making a donation, you can make a crucial difference in helping to ensure our work going forward. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-456-8400.

Buying Tickets ER 1

Call the Severance Hall Ticket Office


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.



IN PERSON $WWKH6HYHUDQFH+DOO7LFNHW2IÀFH 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 Individual concert tickets are available online at — featuring select-your-own seats and print-at-home tickets.


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 2019 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



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

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

Blossom Festival 2019

Buying Tickets


Face this

side out







2 1


Knight Grove (Pods)


Picnic Tables

Concessions Family Restroom

ADA Pavilion Seating


Blossom Grille

Hood Meyerson Suite Backstage Lot


Lawn Terrace

Kulas Plaza

Lawn Seating


Tram Circle

ADA Pavilion Seating




Lawn Chair Rental Information Center*

Frank E. Joseph Garden Herbert E. Strawbridge Garden

Eells Gallery Tasting Room

Smith Plaza

Emily’s Garden

Lot A Gate Guest Services First Aid Security




Special Events Center

Box Office

Main Gate

(Cleveland Orchestra Store & Concessions)


Pedestrian Bridge

Information Center*

Lawn Ticket Booth Woods Picnic Area Subscriber





ADA Route Driving Lanes ADA Route Tram Stops Driving Lanes


* Information Centeers Tram Stops staffed by Blossom m Friends of The Cleveland O Orchestra

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

empowered by


d e r e w o p em to perform


empowered AT SEHS.NET

S T. E D W A R D H I G H S C H O O L


Richie Pokrywka ’21 is empowered by St. Edward High School to perform as an actor in The Edwardian Players, a musician in the St. Edward Marching Eagles and as an athlete as part of the St. Edward Basketball team. Richie’s versatility as a performer inspires fellow Edsmen to explore their interests and pursue opportunities that will strengthen their talents at St. Edward.




Profile for Live Publishing

2019 Blossom Music Festival Book No. 1  

June 29-30 Harry Potter July 3-4 Salute to America July 5-6 Rhapsody in Blue July 7 Peter and Paul July 13 Tchaikovsky 4th Symphony

2019 Blossom Music Festival Book No. 1  

June 29-30 Harry Potter July 3-4 Salute to America July 5-6 Rhapsody in Blue July 7 Peter and Paul July 13 Tchaikovsky 4th Symphony

Profile for lpcpub