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2O19 BLOSSOM

SEASON SPONSOR

MUSIC FESTIVAL SUMMER HOME OF THE CLEVELAND ORCHESTRA

2O19 B LOSSOM BOOK No. 2 INsIde . . .

July 20 --- Bruch and Sibelius . . . . . . . . . . . . . . . . . . . . . . . . page 21 July 21 --- Romero Plays Rodrigo . . . . . . . . . . . . . . . . . . . page 33 July 27 --- Kent Blossom Side-by-Side . . . . . . . . . . . . page 46 July 28 --- Aretha: Queen of Soul . . . . . . . . . . . . . . . . . . . page 71

Ex

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


Imagined Dragons.

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

Now Open | FREE ClevelandArt.org Medieval Monsters is organized by the Morgan Library & Museum, New York Supporting Sponsor

Media Sponsor

Book of Hours, (detail) 1415–20. Illuminated by the Master of the Morgan Infancy Cycle. Netherlands, perhaps Delft. Ink, tempera, and gold on vellum. The Morgan Library & Museum, Purchased with the assistance of the Fellows, 1953, MS M.866 (fol. 142v–143r)


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

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CLEVELAND ORCHESTRA FRANZ WeLseR-MÖsT

2O19 BLOSSOM

2O19 SEASON SPONSOR

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2O19 BLOSSOM Music Festival Book No. 2 7 share your memories of tonight and join in the conversation online . . . facebook.com/clevelandorchestra twitter: @CleveOrchestra instagram: @CleveOrch #CleOrchBlossom

21.

Copyright © 2019 by The Cleveland Orchestra Eric Sellen, Program Book Editor e-mail: esellen@clevelandorchestra .com Program books for Cleveland Orchestra concerts are produced by the Marketing, Communications, & 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.

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Preferred Airline of The Cleveland Orchestra

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concert — July 20 bruch and Sibelius Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . 23 about the music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24-31 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

— July 21 Romero Plays Rodrigo Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 35 about the music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37-45 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

concert

46

concert — July 27 Kent Blossom Side-by-Side Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . 49 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50-51 about the music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53-67

71

concert — July 28 Aretha: Queen of Soul Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . . . . 73 aretha Franklin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74-75 Artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76-77

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

About Blossom 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 get Involved . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99-103 blossom Information and Policies . . . . . . . . . 105-109 blossom grounds map . . . . . . . . . . . . . . . . . . . . . . . . . 110

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About the Orchestra board of Trustees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 about the orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . 79-81 Roster of musicians . . . . . . . . . . . . . . . . . . . . . . . . . . 82-83

Supporting the Orchestra John L . Severance Society . . . . . . . . . . . . . . . . . . . . . . . 85 annual Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86-93 heritage Society: Legacy giving . . . . . . . . . . . . . 95-97

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.

bakerlaw.com


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 normally reserved for friends and family members. We can all flip through the many 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 fireworks with your children at one of our annual Fourth-of-July celebrations? Or you shared a bottle of wine on a blanket with a special date for Schubert’s “Unfinished” Symphony? Or peered up at the sky’s inky darkness during Star Wars and considered the universe’s infinite possibilities? As we share in Blossom’s fifty-second glorious summer, The Cleveland Orchestra remains grateful for the ongoing support from our Blossom season sponsor, The J.M. Smucker Company, and for the generous people of Summit and Stark 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 park for future generations. Our longtime affiliation with Live Nation, who 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

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2O19 BLOSSOM MUSIC FESTIVAL SUMMER HOME OF THE CLEVELAND ORCHESTRA

JuNe saturday JuN

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).

FouRTh oF JuLY 38

JuL

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blossom Festival band Loras John Schissel, conductor

blossom Festival band Loras John Schissel, conductor

SCHISSEL

SALUTE TO AMERICA

5 JuL 6

Fri 8 PM Sat 8 PM RHAPSOdY IN BLUE

PM

SALUTE TO AMERICA

JuL

Ju

The Cleveland orchestra Roderick Cox, conductor aaron Diehl, piano

DIEHL

JuL

tHursday

SCHISSEL

wedNesday

PM

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.

saturday

13 8

PM

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

LING

JuL

Musical works by Mussorgsky, Prokofiev, and Tchaikovsky.

20 8

PM

BRUCH’S VIOLIN CONCERTO The Cleveland orchestra Klaus mäkelä, conductor Daniel Lozakovich, violin Musical works by Kodály and Bruch, as well as Sibelius’s Fifth Symphony.

JuL

27 7

LOzAkOvICH

JuL

PM

ELGAR’S ENIGMA VARIATIONS The Cleveland orchestra bramwell Tovey, conductor gautier Capuçon, cello with Kent blossom orchestra Vinay Parameswaran, conductor

CAPUÇON

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.

ticKets:

800-686-1141

= features fireworks, weather permitting


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aNd suNday

saturday

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BEETHOVEN’S EMPEROR CONCERTO The Cleveland orchestra andrey boreyko, conductor Francesco Piemontesi, piano

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Musical works by Beethoven and Zemlinsky.

7 Sun 7

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BRAHMS FIRST SYMPHONY

PM

PETER ANd PAUL

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

Musical works by Liszt, Barber, and Brahms.

11 7

PM

BRIAN WILSON CELEBRATES PET SOUNdS blossom Festival orchestra Lucas Richman, conductor with brian Wilson al Jardine blondie Chaplin

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suNday

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

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PM

SYMPHONIC dANCES

jOHNSON CANO

suNday

The Cleveland orchestra Vinay Parameswaran, conductor Jennifer Johnson Cano, mezzo-soprano

Musical works by Ives, Bernstein, and Rachmaninoff.

AuG

24 8

PM

SOUTH PACIFIC

JuL

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The Cleveland orchestra andy Einhorn, conductor with stage direction by Victoria bussert

PM

ROMERO

ROMERO PLAYS ROdRIGO The Cleveland orchestra Pablo heras-Casado, conductor Pepe Romero, guitar Musical works by Rimsky-Korsakov, Rodrigo, and Debussy.

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

LABoR dAY WeeKeNd Friday

JuL

28 7

AuG

PM

saturday

30 AuG 31

ARETHA: QUEEN OF SOUL

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

seP

1 7:30

PM

jENkINS

THE EMPIRE STRIKES BACK

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

ticKets:

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.

clevelandorchestra.com

suNday


Are you a . . . Savvy Marketer? Business Builder? Entrepreneur? The Cleveland Orchestra offers you the smartest, most influential audience in Northeast Ohio. Reach them through advertising in our program books. photo: Roger Mastroianni

The Cleveland Orchestra’s 102nd Season | 2019 / 2020 Program Book Advertising:

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Musical arts assOciatiON

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 Richard J. Bogomolny, Chair Emeritus Alexander M. Cutler Hiroyuki Fujita David J. Hooker Michael J. Horvitz Douglas A. Kern resident trustees Robin Blossom Richard J. Bogomolny 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 David J. Hooker Michael J. Horvitz Marguerite B. Humphrey Betsy Juliano Jean C. Kalberer

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

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

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

Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch Richard Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Milton S. Maltz Nancy W. McCann Stephen McHale Thomas F. McKee Loretta J. Mester Dr. Tomislav Mihaljevic Beth E. Mooney John C. Morley Katherine T. O’Neill Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin

Audrey Gilbert Ratner Charles A. Ratner Zoya Reyzis Barbara S. Robinson Steven M. Ross Luci Schey Spring Hewitt B. Shaw Richard K. Smucker James C. Spira R. Thomas Stanton Richard Stovsky Russell Trusso Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffery J. Weaver Meredith Smith Weil Paul E. Westlake Jr. David A. Wolfort

n at i o n a l a n d i n t er n at i o n a l t r u s t ees Virginia Nord Barbato (New York) Wolfgang C. Berndt (Austria) Mary Jo Eaton (Florida)

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

trustees ex- officio Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Barbara R. Snyder, President, Case Western Reserve University

Patricia M. Smith, President, Friends of The Cleveland Orchestra Beverly J. Warren, 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 The Honorable John D. Ong Jeanette Grasselli Brown James S. Reid, Jr. Allen H. Ford Robert W. Gillespie

pa s t b oa r d p r es i d en t s D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

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

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

tHe clevel aNd OrcHestr a FraNz welser-Möst, Music Director

Blossom Music Festival

aNdré GreMillet, President & CEO

Musical Arts Association

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THE THE MUSIC MUSIC BLOSSOM BLOSSOM

Proud Proud to to support support The The Cleveland Cleveland Orchestra Orchestra Blossom Blossom Music Music Festival Festival

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

LET LET


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

13


5470

blossom music Center opened on July 19, 1968, with a concert that featured beethoven’s ninth Symphony under the direction of george Szell .

20%

over

BLOSSOM MUSIC CENtER

1968

seats

25

and under

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 .

BY THE NUMBERS

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 .

1,000+

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

1250 tons of steel

12,000 cubic yards concrete 4 acres of sodded lawn

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

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 .


the blossom Grounds

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

15

photograph by peter hastings

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 offerings 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

Following the construction and opening of blossom music Center in 1968, additional ideas for redeveloping the Cuyahoga Valley spurred the creation of Cuyahoga Valley national Park to help preserve the natural beauty of the area chosen as The Cleveland orchestra’s permanent summer home . Created as a recreational preserve in 1974, the land was designated as a national Park in 2000 . In the past decade, The Cleveland orchestra worked with the Trust for Public Land to conserve more than 500 acres of blossom music Center land into Cuyahoga Valley national Park through a sale funded by the federal Land and Water Conservation Fund . This transfer helps protect the park experience for concertgoers at blossom, conserves the land for preservation, and provided one-time funding for the orchestra . This sale of blossom music Center land now connects over 5,000 acres of forest ecosystems within the park . Read and learn more about the national Park and nearby attractions by visiting www.nps.gov/cuva .

16

About Blossom

Blossom Music Festival


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

ex-officio

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

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Blossom Committee

17


This fun, long-running series of meet-the-artist luncheons showcases the individual stories and artistry of musicians 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

2O19

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 have gone on to study music at Eastman School of music and mcgill university, respectively . hear about their choices and success in pursuing musical careers .

July 17 Wednesday at 12 noon Richard King — horn The series continues with horn player Richard King, who served as associate principal or principal horn for nearly three decades — and continues as a member of The Cleveland orchestra’s horn section . he is 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 clevelandorchestra .com/gourmetmatinee . presented by

Blossom Friends of The Cleveland Orchestra

2019 Gourmet Matinee Luncheons


Blossom Friends of The Cleveland Orchestra This state-wide volunteer organization is dedicated to promoting and financially supporting The Cleveland Orchestra’s summer home and annual summer Music Festival at Blossom. Established as a womens’ volunteer committee with the opening of Blossom Music Center in 1968, the group was 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 or lcohen@clevelandorchestra .com 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

aurora

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

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 www.DANCECleveland.org Blossom Festival 2019

Blossom Friends

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2O19

BLOSSOM

Music Festival

Saturday evening, July 20, 2019, at 8:00 p.m.

T h e CL e V e L A Nd oRC h esT R A K lau s m ä K elä , conductor

zoltán kodály

(1882-1967)

max bruch

(1838-1920)

dances of Galánta 1. 2. 3. 4. 5.

Lento — Maestoso Allegretto moderato Allegro con moto, grazioso Allegro Allegro vivace

violin concerto no. 1 in G minor, Opus 26 1. Prelude: Allegro moderato 2. Adagio 3. Finale: Allegro energico daniel lozaKovich, violin

inter mission jean sibelius (1865-1957)

symphony no. 5 in E-flat major, Opus 82 II1. Tempo molto moderato — Allegro moderato — Presto 2. Andante mosso, quasi allegretto 3. Allegro molto — Misterioso — Un pochettino largamente

This concert is sponsored by DLR Group | Westlake Reed Leskosky. Daniel Lozakovich’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from The Hershey Foundation. This concert is dedicated to Mrs. Marguerite B. Humphrey in recognition of her 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 Festival 2019

Concert Program: July 20

21


Klaus mäkelä

daniel lozakovich

Finnish conductor and cellist Klaus mäkelä becomes chief conductor and artistic advisor of the oslo Philharmonic beginning with the 2020-21 season . he currently serves as principal guest conductor of the Swedish Radio Symphony orchestra, artist-in-association with Tapiola Sinfonietta, and artistic director of the Turku music Festival . mr . mäkelä is making his Cleveland orchestra debut with this evening’s concert . among the many orchestras he has led are those of antwerp, bergen, bern, Frankfurt, Iceland, Leipzig, malmö, minnesota, oslo, ottawa, Paris, Stockholm, Tokyo, and Toulouse . he has also led productions at the Finnish national opera . at the Sibelius academy, he studied conducting with Jorma Panula and cello with Timo hanhinen, hannu Kiiski, and marko ylönen . as cello soloist, he has performed with many of the orchestras of Finland, and also has appeared at many Finnish festivals, including the Kuhmo Chamber music Festival and naantali music Festival . For additional information, please visit www.klausmakela.com .

born in 2001 in Stockholm, violinist Daniel Lozakovich began playing at age six and made his debut with the moscow Virtuosi Chamber orchestra at age nine . he has subsequently appeared as soloist with a variety of orchestras across Europe . he is making his Cleveland orchestra debut with this evening’s concert . mr . Lozakovich often collaborates with Valery gergiev and the mariinsky Theater orchestra, and has also performed with gergiev in munich and at the Pacific music Festival . as a chamber musician, mr . Lozakovich plays with martin Fröst, Ivry gitlis, Daniel hope, and maxim Vengerov . he has recorded several of bartók’s violin duos with Daniel hope for Deutsche grammophon, where he is an exclusive artist . mr . Lozakovich’s festival appearances include performances at aix-en-Provence, Colmar, gstaad, and Verbier . he studied at Karlsruhe university of music with Josef Rissin and Eduard Wulfson, and now attends the Collège du Léman in geneva . For more information, visit www.lozakovich.com .

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July 20: Guest Artists

The Cleveland Orchestra


introducinG the concert

Dance, Concerto & symphony T H I S E V E N I N G ’ S C O N C E R T features three musical works, written between 1850 and 1940, by composers from hungary, germany, and Finland . Each is a masterpiece, displaying characteristics of musical trends and ideas from those places and times . They are performed with two young guest artists, who are making names for themselves around the world . The evening opens with a set of dances by Zoltán Kodály, created to mark the 80th anniversary of the budapest Philharmonic in 1933 . These Dances of Galánta were both a look back at the composer’s own childhood and a look forward, as Kodály worked to continue shaping hungary’s musical shapes and sounds . In part, they portray an exciting (and enticing) type of military recruiting dance from the early 19th century, used to impress young men into signing up for service — and a chance to wear the dashing uniforms the dancers (rather unfairly) showed off . The program continues with a popular violin concerto by max bruch . This tuneful and deftly-structured work sounds out joyous melodies, with plenty of show for the soloist in partnership with the orchestral ensemble . 18-year-old violinist Daniel Lozakovich is our soloist for this blossom performance . To close the evening, guest conductor Klaus mäkelä has chosen the Fifth Symphony by his countryman Jean Sibelius . This is one of this Finnish composer’s greatest symphonic efforts, in which he continued to transform and reduce his musical thoughts into an ever tighter package . The composer’s characteristic musical language is heard throughout — the murmurings and scratchings of music getting ready for flight, the melodies carried aloft with enigmatic energy, and the soaring brass taking us home to a magnificent, big ending tinged with uncertainty, melancholy or, perhaps, real contentment . —Eric Sellen

Blossom Festival 2019

Introducing the Concert: July 20

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dances of Galánta [Galántai Tánkoc]

composed 1933 for the 80th anniversary of the Budapest Philharmonic Society a s p e c i a l o c c a s i o n was planned for a concert in 1933

by

zoltán

Kodály born December 16, 1882 Kecskemét, Hungary died March 6, 1967 Budapest

E x

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

24

to celebrate the 80th anniversary of the budapest Philharmonic Society . The event brought together the three biggest names in hungarian music — béla bartók, Zoltán Kodály, and Ernö Dohnányi . Each wrote a new score, Dohnányi conducted . (Dohnányi’s grandson Christsoph served as music director of The Cleveland orchestra, 1984-2002) . Individually, these three men represented differing approaches to musical composition, extended over a wide range and reflecting both hungarian and germanic influences . Collectively, they embodied the growing patriotism and self-identity of hungarians everywhere . Dohnányi, the eldest and musically most conservative of the three, typified the international germanic tradition as handed down from beethoven, Schumann, and brahms . bartók’s musical style was more volatile . It continued to evolve across his lifetime, embracing and contributing to many of the major currents of composition in the first half of the 20th century — from impressionism to expressionism and on to barbarism before evolving into a very personal pan-hungarianism . Kodály’s music can be seen, at the risk of some simplification, to represent a middle ground between the conservatism of Dohnányi and the more experimental avant-gardism of bartók . as such, few other composers so personify the musical folk culture of hungary itself . While bartók was profoundly hungarian in spirit, his musical personality grew from his homeland’s folk music . In contrast, Kodály’s personality absorbed native hungarian music so completely that his melodic style became practically indistinguishable from the native materials that inspired them . In fact, Kodály’s personal identification with native hungarian music and culture totally enveloped every side of his artistic outlook — helping to mold all aspects of his multifaceted career as critic, author, composer, teacher, and conductor . It was an outlook nurtured by his family and particularly shaped by childhood experiences in the rural districts of hungary . Kodály’s father was a railway station master . as a result, the family was transferred from city to city, and young Zoltán lived his first eighteen years in three different small towns dotting the About the Music: July 20

2019 Blossom Festival


hungarian countryside . of these, it was galánta — with a population of 2,400 — that provided pivotal experiences shaping Kodály’s learning and self-identity . between Zoltán’s 2nd and 9th years, the family lived in galánta, which was then a small market town on the railroad line between Vienna and budapest (today it is located in Slovakia) . his parents delighted in playing chamber music with their neighbors — Kodály later recalled listening “big-eyed in a corner, completely enthralled” with these sessions, for this music-making was the first “to touch my heart.” he also liked to listen to the town’s “gypsy” band (what today might be referred to as Roma musicians), which was his first experience with the textural sounds of larger ensembles . Later in life, he summed up his time in galánta as “the best seven years of my childhood.” as a youngster, Kodály learned to play the piano, violin, viola, and cello (which he taught himself, based on what he’d mastered of the smaller string instruments) . he did well enough to take part in family chamber music sessions . he also sang in church choirs and began to compose — and then eventually earned degrees in philology (the structure of languages) at budapest university and in music at the academy of music . Vocal music became of particular interest to Kodály, who, with his friend and fellow composer bartók, spent many seasons criss-crossing the hungarian countryside collecting native folksongs — at first with pen and paper, and then with the new-fangled cylinder phonograph . This fascination with folksong was so consuming a passion, according to musical lexicographer Egon Kenton, that Kodály developed a theory that “music is primarily melodic and therefore singable and communal.” With this, he abandoned the traditional procedures of Western art music in favor of developing a personal musical language based on hungarian folk music sources . and he lobbied the schools and government for national music literacy based on native folksongs . he supported his belief by writing vocal works for children’s choruses, singing societies, and factory choirs — no musical need was too humble for Kodály’s attention . he also produced compositions for more sophisticated musical settings . In 1923, his Psalmus Hungaricus, created a sensation at celebrations of the 50th anniversary of the unification of buda and Pest into one capital city for hungary, as did his opera Hary János in 1926 . In 1932, the budapest Philharmonic Society asked Kodály — then The Cleveland Orchestra

July 20: About the Music

A 19th century illustration showing the “verbunkos” style of a military recruiting dance used across central Europe to lure young men into army service. In impressive Hussar uniforms, the Magyars danced to local “gypsy” musicians’ improvatory dance-forms.

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at a Glance Kodály wrote his galántai Tánkoc (“Dances of Galánta”) in 1933 for the 80th anniversary of the Budapest Philharmonic Society, which first presented it on October 23, 1933, under the direction of Ernö Dohnányi. This work runs about 15 minutes in performance. Kodály scored it for 2 flutes (second doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, percussion (tambourine, triangle, chimes), and strings. The Cleveland Orchestra first performed the Dances of galánta in November 1936, at a pair of Severance Hall subscription concerts led by Artur Rodzinski. They have been performed on a number of occasions since.

50 years old and internationally recognized for his music — to be among those to write a new orchestral work for the Society’s 80th anniversary . he obliged with the composition celebrating his own childhood in galánta . Kodály based this new work on several collections of hungarian dances published in Vienna in about 1800 . one of the books attributed some of its music to “gypsies from galánta,” and it was from this association that Kodály derived his title . his response to this source material was, however, more than simply creating a musical postcard . Instead, the serpentine quality of the melodic and harmonic materials, combined with Kodály’s genius, produced a work of freshness rather than stale nostalgia . among its charms, Dances of Galánta is remarkably successful in recreating the atmosphere of an 18th-century military recruiting dance . This is the dance of the magyars and their verbunkos music . “Verbunkos” is a corruption of the german word for recruiting, werbung . In order to entice enlistments — in an era when few could read — companies (in the military and theatrical senses) travelled from town to town . Each was led by a sergeant who brought along musicians and about a dozen hussars (hungarian cavalrymen) . The hussars were decked out in impressive uniforms dripping with gold braid and encrusted with intricate frogging . The most important part of this military sales pitch consisted of the hussar’s dances, which alternated slow and quick numbers . The gypsy/Romani musicians improvised an impressive accompaniment corresponding to the varied virtuosity of the dancers . This recruiting technique — which in truth misled young men into believing that glories and fame (and flashy uniforms) could easily be theirs — was so effective that it continued throughout austria-hungary until 1849, when the government introduced universal conscription . The verbunkos musical legacy was carried on and amplified in a series of brilliant compositions over the next 100 years, including Liszt’s Hungarian Rhapsodies and brahms’s Hungarian Dances . Today, the “verbunkos” style is often synonymous with hungarian gypsy or Romana fiddlers . and this sparking, flavorful spirit of music is exactly what Kodály evokes in his Dances of Galánta. The piece is constructed of five separate dances, played without pauses . —Charles Calmer © 2019 Charles Calmer was born in Cleveland, Ohio, and today serves as vice president of artistic planning for the Oregon Symphony.

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About the Music: July 20

Blossom Festival 2019


violin concerto no. 1 in G minor, Opus 26 composed 1857-67

b r u c h ’ s v i o l i n c o n c e r t o in g minor is the work of a

by

max

bruch born January 6, 1838 Cologne, Germany died October 2, 1920 Friedenau, just outside Berlin

The Cleveland Orchestra

young man of 28, who already had several successful compositions to his credit . These included an opera, Die Lorelei, that had been performed in several german theaters . With his violin concerto, bruch — who had recently been appointed as music director in the city of Coblenz — intended to confirm his position as a prominent composer of the Schumann-mendelssohn school . While he was working on the concerto, he confided to his former teacher Ferdinand hiller in a letter, “My Violin Concerto is progressing slowly — I do not feel sure of my feet in this terrain. Do you not think that it is in fact very audacious to write a Violin Concerto?” Eventually bruch sought the advice of Joseph Joachim, one of the greatest violinists of the day, who had also helped brahms and Dvořák with their concertos . The correspondence between bruch and Joachim contains extensive musical notation and reveals just how many details were changed before the concerto assumed its final form . bruch may have been a traditional composer, but he was not one to follow the conventions slavishly . The form of his first movement, which bears the title Vorspiel (“Prelude”), is much looser and more fantasy-like than the first movements of most concertos . It begins, after just a few rumbling and low chords in the orchestra, with a solo violin cadenza, followed by the main theme, which also has a certain cadenza-like freedom to it, despite its strict rhythm marked by the timpani and the double bass . The lyrical second theme evolves into a section filled with scintillating passagework, followed by a dramatic section for orchestra alone . after this, the initial cadenza returns, and a short orchestral transition leads directly into the second-movement adagio, warmly lyrical and exceptionally rich in melodic invention . The theme of the third-movement Finale begins after an introduction of a few bars . It is a brilliant melody full of virtuosic double-stops (playing two strings simultaneously) and arpeggios, followed by a dramatic second theme . The movement follows the rules of Classical sonata form, although the development section is extremely brief . There is a substantial coda, however, bringing some harmonic surprises and previously unheard variaJuly 20: About the Music

27


Bruch lived for more than 50 years after completing his G-minor concerto. He wrote a hundred

tions on the two themes . The concerto ends in a faster tempo . bruch lived for more than 50 years after completing his gminor concerto . he wrote a hundred other compositions, including the popular Scottish Fantasy (for violin and orchestra), the Kol Nidrei (for cello and orchestra), and two more violin concertos . yet this first concerto for violin and orchestra is what has kept his name firmly in the repertoire since the day of its premiere over 140 years ago . The composer, who sold the rights to this work to the publisher for a one-time lump payment, no doubt came to regret his financial naïveté in later years . —Peter Laki © 2019

other compositions. Yet this first violin

Copyright © Musical Arts Association

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

concerto is what has kept his name firmly in the standard repertoire. The composer, who sold the rights to this work to the publisher for a onetime lump payment, no doubt came to regret his financial naïveté in later years.

at a Glance Bruch made initial sketches for what would become his G-minor Violin Concerto in 1857 at the age of 19, but did not finish the work until nearly a decade later. The first performance took place on April 24, 1866, in Coblenz; Otto von Königslöw was the violinist and the composer conducted. Bruch revised the score considerably after consultations with Joseph Joachim, who was the soloist for the premiere of the final version on January 7, 1868, in Bremen, with Karl Reinthaler

conducting. This concerto runs just over 20 minutes in performance. Bruch scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings, plus the solo violin. The Cleveland Orchestra first performed Bruch’s Violin Concerto No. 1 on October 31, 1920, at a “Popular Concert” in Masonic Hall, with Antonio Ferrara as the soloist and Nikolai Sokoloff conducting.

Tickets starting as low as $24.50 www.lakesideohio.com/symphony • 236 Walnut Ave., Lakeside, OH • Less than 90 minutes from Cleveland

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About the Music: July 20

Blossom Festival 2019


symphony no. 5 in E-flat major, Opus 82 composed 1912-15, revised 1916-19

W e t e n d t o t h i n K o f Sibelius primarily as a symphonist,

by

Jean

sibelius born December 8, 1865 Hämeenlinna, Finland died September 20, 1957 Järvenpää, Finland

E x

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

The Cleveland Orchestra

yet he did not embark on his first symphony until he was well into his thirties . at the time, much like Richard Strauss, who was only a year older, Sibelius had dabbled unsuccessfully in opera, but was best known for his tone poems . While Strauss was soon to move definitively towards opera, Sibelius built a solid achievement in writing his seven symphonies, the last dating from 1924 . The mythical Eighth, so keenly anticipated and so lavishly discussed, never appeared, even though Sibelius lived a full thirty years after apparently retiring from composition . (We could equally ponder a comparison of Sibelius with beethoven, who also waited until he was thirty before producing the first of his immortal nine Symphonies .) Comparing Sibelius to beethoven was, in fact, a recurrent element of early 20th-century music criticism . Indeed, the English critic Cecil gray roundly declared Sibelius to be “the greatest master of the symphony since the death of Beethoven.” Every symphonist in the last two hundred years has had to run that gauntlet, but Sibelius was, in his own mind, at first thinking not so much of beethoven as of borodin, Tchaikovsky, and bruckner, whose works impressed him deeply . Sibelius’s First Symphony appeared in 1899 and with it — as well as from Finlandia and the Lemminkäinen Suite — came international renown . he was invited to conduct his music in Stockholm, Paris, heidelberg, and berlin . In Leipzig, Sibelius acquired a publisher, and he met Dvořák in Prague . his fame and worth thus lauded abroad, he was awarded a Finnish state pension for life and was able to resign his teaching post at helsinki university . There were to be dark times ahead, when poor health, money problems, and anxiety about his standing in contemporary music dogged him, but for the first few years of the new century Sibelius was riding high . The Second Symphony appeared in 1902, the Third in 1907, the Fourth in 1911 . In 1914, he visited the united States, where he received an honorary degree at yale and conducted The Oceanides at the norfolk Festival in Connecticut . he was delighted by everything and would have returned for later concerts if World War I had not intervened . During the american visit, Sibelius’s thoughts turned to his next symphony, the Fifth, and he finished it in time for his July 20: About the Music

29


We tend to think of Sibelius primarily as a symphonist, even though he did not embark on his first symphony until he was well into his thirties (at an age when Mozart had already died). Yet Sibelius built a solid achivement in creating his seven symphonies, the last of which dates from 1924.

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50th birthday, December 8, 1915, the occasion for a celebratory concert at helsinki university, where he conducted its first performance . The symphony gave him more trouble than usual, however, for he revised it the following year (and performed it again exactly a year after the first concert) — and then revised and premiered it a third time in 1919, after the war’s end (when Finland’s independence from Russia had finally been secured, with fighting between the White nationalists and the Red pro-Russian forces) . The Fifth has always been one of the most admired of all Sibelius’s symphonies, revealing his style in strong positive colors, free of at least much of the mystification that clouds certain of his other works . (of course, it is this very mystification that provides the real essence of Sibelius for some listeners .) The most important of the revisions that the symphony underwent illustrates one of the central features of Sibelius’s style . he had always had a knack for relating different tempos to one another and for the smooth handling of the accelerations and decelerations his music naturally seems to generate . (This was to culminate in the one-movement Seventh Symphony, which incorporates music of all different tempos in a seamless exposition .) In the Fifth Symphony, Sibelius originally planned a first movement of moderate tempo, to be followed by a swift scherzo in 3/4 time . In his revisions, these two movements were merged, so that as the opening movement proceeds, we gradually become aware of a quickening of pace . almost unnoticed, after extensive exploration of the opening material, the music takes on the animated character of a scherzo movement, fluttering away like a butterfly emerging from a chrysalis . Thus, the Fifth Symphony that we know today has three movements, not four, although the range and variety of music is wide . There are rootless murmurings in the strings, fragmented calls in the winds, seemingly random entries of the timpani, and a great solidity in the brass transformed in the finale into a glorious hymn to the nordic gods . The central movement is a peaceful interlude, as charming as anything by Felix mendelssohn, perhaps — although even here the music can more than once find itself hastening forward in a break-out of energy before falling back to its previous state of calm . This middle movement is notable for its constant pairing of wind instruments in thirds (playing parallel lines constantly spaced a third apart on the melodic scale), a feature that recurs About the Music: July 20

Blossom Festival 2019


in the finale when the brass intone the great swinging theme that drives it forward . Thus, in the last movement, the horns and trumpets are frequently paired in thirds, yet here their melody is not genteel and stepwise, it strides across wide intervals — inviting comparison with the giants that have inhabited the great Scandinavian forests since time immemorial . —Hugh Macdonald © 2019

at a Glance Sibelius wrote most of his Fifth Symphony in 1915 (he had started mentioning it in his diaries as early as 1912) and conducted its first performance in Helsingfors (Helsinki) on his fiftieth birthday, December 8, 1915. He revised the piece in 1916 and again in 1919. The revised version was premiered on November 24, 1919, again with the composer conducting.

The score was published in 1921. The United States premiere was given by Leopold Stokowski and the Philadelphia Orchestra on October 21, 1921. This symphony runs about 30 minutes in performance. Sibelius scored it for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, and strings.

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2O19

BLOSSOM

MUSIC FESTIVAL

Sunday evening, July 21, 2019, at 7:00 p.m.

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

georges bizet (1838-1875)

joaquín rodrigo (1901-1999)

Orchestral Suite from Carmen Les Toréadors — Prélude — Séguedille — Intermezzo — Nocturne — Aragonaise — Danse Bohème

Concierto de Aranjuez 1. Allegro con spirito 2. Adagio 3. Allegro gentile PEPE ROMERO, guitar

INTER MISSION nikolai rimsky-korsakov

(1844-1908)

claude debussy (1862-1918)

Capriccio espagnol, Opus 34 1. 2. 3. 4. 5.

Alborada — Varizioni — Alborada Scena e canto gitano — Fandango asturiano

La Mer [The Sea] Three Symphonic Sketches for Orchestra 1. From Dawn to Noon on the Sea 2. Play of the Waves 3. Dialogue of the Wind and the Sea

This concert is dedicated to Jeanette Grasselli Brown and Glenn R. Brown in recognition of their extraordinary generosity in support of The Cleveland Orchestra.     201 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 21

33


Thierry Fischer

Pepe Romero

Swiss conductor Thierry Fischer became music director of the Utah Symphony in 2009; he will complete his tenure and take on the title of music director emeritus after the 2021-22 season. In 2020, he becomes music director of the São Paulo Symphony. He is currently also principal guest conductor of the Seoul Philharmonic and each season appears as a guest conductor around the world. He previously served as principal conductor of the BBC National Orchestra of Wales (2006-12) and began his professional musical career as principal flute with the Zurich Opera House and Hamburg Philharmonic. His conducting career began in his 30s, replacing an ailing colleague and then leading his first few concerts with the Chamber Orchestra of Europe under the tutelage of Claudio Abbado. He spent a number of apprentice years in Holland before becoming principal conductor of the Ulster Orchestra (2001-2006). He was chief conductor of the Nagoya Philharmonic (20082011), and now has the title of honorary guest conductor with that ensemble. He is making his Cleveland Orchestra debut with this weekend’s concerts at Severance Hall and at Blossom. For more information, visit www.thierryfischer.com.

One of the most celebrated and versatile musicians of his generation on any instrument, Spanish-born guitarist Pepe Romero has enjoyed a varied and illustrious career. Together with his father, the legendary Celedonio Romero, and his brothers Celin and Angel, Pepe established the Romeros Quartet — the “Royal Family of the Guitar” — as the leading guitar ensemble in the world. He has appeared as featured soloist with the world’s greatest orchestras and ensembles, in collaboration with the most celebrated conductors and composers. He first performed here in June 1966 with the Cleveland Summer Pops Orchestra, playing individually and as part of the Romeros that evening at Severance Hall, and then returned with the Romeros to perform with The Cleveland Orchestra at Blossom in 1971 and 1980. Since his first recording was released when he was only 15 years old, Pepe has made more than 60 albums, including two dozen concertos, individually and with the Romeros. He has taught at the University of Southern California’s Thornton School of Music for more than two decades, as an artist-in-residence or faculty member. For more information, please visit www.peperomero.com.

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July 21: Guest Artists

Blossom Music Festival


INTRODUCING THE CONCERT

Spain, Guitar & Ocean

T H I S C O N C E R T offers four works written in the late 19th and first

half of the 20th century, featuring sounds of Spain and of nature. This music portrays views of Spain by a Frenchman, a Russian, and a native composer born on the Iberian peninsula, as well as as famous take on the ocean’s waves and winds. The concert begins with an orchestral suite from Georges Bizet’s hugely popular opera Carmen. Such well-known music needs little introduction, but is always a delight. The program continues with a concerto for guitar, written by the great Spanish composer and pianist Joaquín Rodrigo, who lost his eyesight at the age of three and then grew up to be one of his country’s best-known and best-loved classical composers. His Concierto de Aranjuez is named after the royal palace at Aranjuez near Madrid — and its extensive gardens, fountains, trees, and birds. The concerto’s United States premiere was given by The Cleveland Orchestra at Severance Hall in 1959. Pepe Romero is the guest soloist, long a member of the famed family quartet the Romeros, but also an accomplished solo artist. The music continues with a brilliantly festive Spanish evocation, created by the Russian composer Nikolai RimskyKorsakov in 1887, remembering his own time stopping in Spain as a Russian sailor. To complete the evening, guest conductor Thierry Fischer leads The Cleveland Orchestra in a performance of Claude Debussy’s masterful depiction of the ocean, La Mer. Premiered in 1905, this is a power-ful evocation of the sea’s captivating, mesmerizing, ever-changing charm. —Eric Sellen

Pablo Heras-Casado, who was originally scheduled to conduct this evening’s concert, regrets that he has had to cancel his engagement here due to illness. Conductor Thierry Fischer has agreed to step in to lead tonight’s program, with the musical repertoire listed on page 33, featuring the originally-announced concerto performance by guitar soloist Pepe Romero.

Blossom Music Festival

Introducing the Concert: July 21

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Orchestral Suite from the opera Carmen selected from Suites Nos. 1 and 2 extracted from the opera written 1873-75

F O R A S M U C H A S everyone adores it now, Bizet’s opera Car-

by

Georges

BIZET

born October 25 1838 Paris died June 3, 1875 Bougival, France

men was close to an utter failure at its premiere in 1875. The fact of that was at least partially due to its composer’s big ambitions. He had been asked to write a brand-new stagework for the Paris Opéra-Comique, which for a century had specialized in presenting somewhat light, moralistic pieces in which virtue is ultimately rewarded. The Comique was largely a family theater where parents might bring their eligible daughters to display them to possible suitors. And, without a doubt, the Comique’s directors expected Bizet’s new work to be in a vein appropriate to such a scene. Bizet, however, chose instead to bring to light the shady world of gypsies, smugglers, deserters, factory girls, and other ne’er-do-wells little suited to pristine Parisian tastes of the day. Reaching beyond his audience and his contemporaries, Bizet rejected the conventions of Giuseppe Verdi (for passionate but noble stories) in favor of the kind of gritty real-life situations that would very soon inspire Giacomo Puccini. And, indeed, although Bizet began with a sufficiently ambitious plan to nudge the opéra comique from its complacency, he achieved far more than he expected, blazing a new operatic trail into realism. At the time of Bizet’s death three months after the opera opened (he was just thirty-six), he remained convinced that Carmen was a failure. Yet, while the opera found little immediate acceptance, the orchestral suites that soon arose from the work (compiled posthumously for Bizet by his friends) earned many performances. This evening’s concert features prominent numbers from the opera (drawn from two different suites). They are not heard in the order of their appearance in the full work, but rather arranged for their effect one after the other: Les Toréadors (Suite No. 1, movement 5) Prélude (Suite No. 1, movement 1) Séguedille (Suite No. 1, movement 3) Intermezzo (Suite No. 1, movement 2) Nocturne (Suite No. 2, movement 3) Aragonaise (Suite No. 1, movement 1a) Danse Bohème (Suite No. 2, movement 6)

The Cleveland Orchestra

July 21: About the Music

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A 19th-century lithograph illustrating the opening scene of Carmen.

At a Glance Bizet wrote his opera Carmen, to a libretto by Ludovic Halévy, for the Paris OpéraComique, beginning sometime in 1872 or 1873 and completing it by 1875. The work was premiered March 3, 1875. Bizet died just three months later, and several of his friends worked on creating two suites of orchestral music from the opera’s score. Conductor Thierry Fischer has chosen a selection of these movements, taken from Suites Nos. 1 and 2, for this evening’s performance. Tonight’s suite from Carmen runs just over 15 minutes in performance. The score calls for piccolo, 2 flutes (both doubling piccolo), 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion, harp, and strings.

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Although himself no Spaniard, Bizet studied the rhythms and colors of that land’s music while preparing to write the opera — and in these orchestral excerpts, he well conveys a Spanish spirit, particularly in the vibrant rhythms of an Aragonaise, the song of the Toréador, or the Seguedille, the last of which in the opera is an aria for Carmen herself. The Toréador, of course, is the charismatic lead bullfighter, who sings of the excitement and rewards of his profession in some of the most familiar music from any opera. Only the most devout bullfighting purist would obsess over the fact that, in the sport, these men are known as toreros, not toréadors. The Prélude gives us a sense of forewarning. The Intermezzo is a nocturnal transitional scene midway through the opera when Carmen and her smuggler friends are off in the mountains — as the sun brightens the sky for a new day. The Nocturne, meanwhile, gives us a renewed sense of rest and relaxation. The Aragonaise brings us back to drama and dancesteps. The concluding Danse Bohème features Carmen and her “gypsy” (nowadays more often referred to as Romani) friends swirling to increasingly frenetic rhythms; here, as so frequently in this colorful score, Bizet succeeds in vividly evoking a culture much different from his own. —Betsy Schwarm © 2019 Betsy Schwarm spent twenty years as a classical radio announcer and producer. She has taught music at Metropolitan State College of Denver and serves as recording engineer for Central City Opera.

About the Music: July 21

The Cleveland Orchestra


concierto de aranjuez (for guitar and orchestra) composed 1939

by

Joaquín

rodriGo born November 22, 1901 Sagunto, Valencia died July 6, 1999 Madrid

Blossom Festival 2019

J o a q u í n r o d r i G o , afflicted with blindness since the age of three, was blessed with a long life and stunning success early in his career . The Concierto de Aranjuez was not his first work, but it was his first concerto . The warmth of its reception in barcelona in 1940 sustained Rodrigo through all the later years in which he wrote great quantities of music but never equaled the impact of this now-famous concerto . Like that of many Spanish composers of the early 20th century, his music was untouched by the different waves of modernism that swept over European music, and he composed to the end of his life in a style that, with rare exceptions, would not have seemed strange to the 19th-century sensibilities of Rimsky-Korsakov or any of the non-Spanish composers who adopted Spanish figurations and dance rhythms in their own music . Like albéniz, Falla, and many other Spanish composers, Rodrigo studied in France, taking lessons from Paul Dukas (messiaen’s teacher) and maurice Emmanuel — and he was still living in France in 1939 when he composed the Concierto de Aranjuez . he soon had to return to madrid, which he made his home for the rest of his life . he later wrote concertos for two guitars and for four guitars, as well as concertos for piano, violin, flute, cello, and harp . his output for orchestra, piano, solo guitar, and voice is very extensive, although he never ventured into opera . The concerto is named after the royal palace at aranjuez (pictured below), near madrid, built by Philip II and expanded in

July 21: About the Music

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at a Glance Rodrigo wrote this concerto for guitar and orchestra in 1939, naming it after the Palace Aranjuez near Madrid. It was first performed on November 9, 1940, with Orquesta Filarmónica de Barcelona conducted by César Mendoza Lasalle, with Sanz de la Maza as the soloist. This concerto runs nearly 25 minutes in performance. Rodrigo scored it for 2 flutes and piccolo, 2 oboes and english horn, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, and strings, plus the solo guitar. The United States premiere of this work was given by The Cleveland Orchestra in November 1959, with Robert Shaw conducting and Rey de la Torre as soloist.

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the 18th century with extensive gardens (above) . Rodrigo wanted his concerto to evoke “memories of earlier times, and of the lovely gardens of Aranjuez with their fountains, trees, and birds.” he also mentioned the fragrance of the magnolias, which would particularly inspire a blind composer . It is not fanciful to hear the birds and fountains in some of the figuration in the concerto, and in the last movement, which is not a helter-skelter finale but a gentle movement, marked with a tempo of Allegro gentile, filled with teasing lopsided rhythms, in which he recalls the courtly dances that the palace would have played host to . The guitar is not a loud instrument, and it can be upstaged by an orchestra, however small . The composer has taken care to let the guitar be heard, with a number of striking passages on its own . The orchestra is only heard at full throttle when the guitar is resting . The success of the concerto, especially its expressive slow movement, is world-wide . Sufficient evidence comes merely by mentioning the innumerable jazz versions, including those by the odern Jazz Quartet and miles Davis . When asked if he could explain the concerto’s astonishing success, Rodrigo simply replied: “To be honest, I don’t know. If I did know, I would have discovered the secret of success itself.” —Hugh Macdonald © 2019

About the Music: July 21

The Cleveland Orchestra


capriccio espagnol, Opus 34 composed 1887

i n h i s e a r ly y e a r s as an officer in the Russian Imperial

by

nikolai

rimsKyKorsaKov born March 18, 1844 Tikhvin, Russia (near Novgorod) died June 21, 1908 St. Petersburg, Russia

Blossom Music Festival

navy, nikolai Rimsky-Korsakov sailed to London, new york, and South america . and on the return voyage, in november 1864, his ship, the almaz, spent a few days in the Spanish port of Cadiz . Whether or not he picked up any snatches of Spanish dances during his stay (his autobiography My Musical Life doesn’t tell us), he had a Russian precedent for adopting Spanish idioms in the form of mikail glinka’s Capriccio brillante on Spanish themes, which had also served Tchaikovsky in fashioning his Capriccio Italien . Rimsky-Korsakov was also familiar with Lalo’s and bizet’s pieces utilizing Spanish flavors . his first plan was for a fantasia on Spanish themes for violin, but in the fallow period he experienced in the early 1880s that work was never written . In February 1887, his friend alexander borodin died, leaving the opera Prince Igor unfinished, so Rimsky-Korsakov and his young student alexander glazunov teamed up to complete it . This admirable goal awoke RimskyKorsakov’s muse, and in the next two years he composed three major orchestral works of his own — the Capriccio espagnol, Scheherazade, and the Russian Easter Overture . The Capriccio was quickly finished that summer and performed for the first time in December of the same year . The first rehearsal was interrupted again and again by the applause of the orchestra, who were thrilled by the brilliance of the writing and the energy of the music . With his customary cool detachment, Rimsky-Korsakov later pointed out that the Capriccio is not a “magnificently orchestrated piece.” It is, rather, a “brilliant composition for the orchestra.” he went on to guide the listener: “The change of timbres, the felicitous choice of melodic shapes and figurations, exactly suiting each kind of instrument, brief virtuoso cadenzas for solo instruments, the rhythm of the percussion instruments, etc., constitute here the very essence of the composition and not its garb or orchestration.” Ravel was later to say something similar about his own Boléro being a technical exercise, not a real composition, and Rimsky-Korsakov similarly prided himself on his technique, especially since he had outgrown the exhortation of his fellow members of Russia’s “mighty Five” composers to despise technique as “too german .” This is also what made Rimsky-Korsakov About the Music: July 21

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at a Glance Rimsky-Korsakov wrote his Capriccio espagnol [“Spanish Capriccio”] in the summer of 1887. It was first performed in St. Petersburg on October 31, 1887, conducted by the composer. The work runs about 15 minutes in performance. Rimsky-Korsakov’s score calls for 2 flutes, piccolo, 2 oboes, english horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (side drum, bass drum, cymbals, triangle, tambourine, castanets), harp, and strings. The Cleveland Orchestra first played Capriccio espagnol in February 1920, during the Orchestra’s second season. It has been presented frequently since that time.

a great teacher . The origins of the Capriccio espagnol as a violin piece are evident in the frequent violin solos and the busy activity of the violins . Section players have plenty of double-stopping (playing two notes at once by bowing across two strings), with the shrill sound of E strings constantly heard in the opening Alborada section . The Variazioni section introduces Rimsky’s gift for elegant melody at a slow tempo, presented by four horns and taken up by the strings . brass and the english horn contribute their characteristic entries . The Alborada returns, slightly altered, still bright and brisk, then the Scena e canto gitano opens with free-tempo cadenzas for four horns, then solo violin, then flute, clarinet, and harp, and then closes with a furious dance with much stamping of Spanish gypsy feet . This leads directly into the Fandango asturiano in which the tune is repeated many times in varying contexts, and the whole piece closes with the Alborada again, now orchestrated with even more panache than before .

—Hugh Macdonald © 2019

Photograph of Rimsky-Korsakov as a naval cadet.

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About the Music: July 21

The Cleveland Orchestra


La Mer [The Sea] composed 1903-05

D E B U S S Y ’ S P O E T I C S Y M P H O N Y portraying the ocean,

by

Claude

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

E X

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titled La Mer, mesmerizes our ears exactly as the sea’s infinite patterns of breaking waves can hypnotize us when watching from ashore or on a boat. It is an unquestioned masterpiece. But where did it come from? How did this composer find his inspiration and creative path to building these impressionistic waves of sound? When it comes to roots, origins, sources, and influences, Debussy is one of the most complex of composers. He was so sensitive to experiences of all kinds — and so absorbent of images and ideas — that we may well envy his capacity to select and marshal artistic impressions of many kinds and then fashion them into new works of art. Both the outer and inner world contributed to this storehouse of expression, which implies, in the case of La Mer, that he was not only affected by his own image of the sea and his own contact with it, but that he was also stirred into creating a musical portrait of the sea by other artists’ earlier attempts to do so in other media, especially painting. His actual contact with the sea was no more filled nor varied than that of other reasonably well-to-do Frenchmen of his generation. He had spent holidays in Cannes and Arcachon and had seized the advantage of a nearby sea-coast during his time at the Villa Medici in Rome. And, it is reported, that in 1889 he suffered an alarming voyage in a small boat off of St-Lunaire, in Brittany — tossed, churned, crested and rolled. Visits to London in 1902 and 1903 not only involved Channel crossings, they also allowed him to see a selection of paintings by J.M.W. Turner, whose work he already knew and admired but had not until then been able to study in such depth. It may be this admiration, and a desire to represent his seascapes in sound, that prompted Debussy to begin the composition of La Mer in the summer of 1903, completing and performing the work two years later. It was not only Turner whose vivid treatment of such subjects touched Debussy. The Impressionist painters had always appealed profoundly to him, and his work is in many ways a musical counterpart to theirs, La Mer especially. The Japanese woodblock maker Hokusai was another artJuly 21: About the Music

43


At a Glance Debussy composed La Mer between the summer of 1903 and early March 1905. The first performance was given in the Concerts Lamoureux series in Paris on October 15, 1905, conducted by Camille Chevillard. La Mer was first played in the United States on March 1, 1907, by Karl Muck and the Boston Symphony Orchestra. The score was published that year, and reissued with some corrections and revisions in 1909. La Mer runs a little more than 20 minutes in performance. Debussy scored it for piccolo, 2 flutes, 2 oboes, english horn, 2 clarinets, 3 bassoons, contrabassoon (in the last movement only), 4 horns, 3 trumpets, 2 cornets (also only in the last movement), 3 trombones, tuba, timpani, glockenspiel (with celeste as an alternative in the second movement), unpitched percussion (cymbals, tam-tam, triangle, and bass drum), 2 harps, and strings. The string numbers are not specified, except that when the cellos are divided fourfold in the first movement Debussy asks first for 8 players and then for 16. The Cleveland Orchestra first performed La Mer in April 1927, under the direction of Nikolai Sokoloff. It has been programmed frequently since that time.

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ist well known to Parisian connoisseurs; a version of his famous print of a wave appeared, at Debussy’s request, on the cover of the full score. “I have loved the ocean and listened to it passionately,” Debussy wrote, as the music instantly confirms. The surge and flow of the sea, the tiniest drops of spray and its whole broad sweep are vividly portrayed. At the same time the three movements, while only claiming to be symphonic “sketches,” add up to a more than passable imitation of a traditional symphony — the outer movements (themselves connected by cyclic recall of earlier themes) enclosing a brisk and (literally) breezy scherzo. The first movement, evoking the sun rising to its full splendor over the ocean, is the furthest from inherited ideas of formal rigor or musical structure, as it expands and progresses without ever going over its earlier material. Some striking ideas are to be heard many times, notably the abrupt little rhythm of two notes with which the cellos begin, and the rising and falling melody given out very early by the trumpet and english horn in octaves. As the movement gathers momentum, the wavelike phrases are more recognizable, and a striking episode for sixteen cellos stands out. In the second movement, portraying the intricate play of the waves, Debussy’s delicate orchestral skill is on display, although there are episodes of disturbing force in among the tracery of lighter textures. The third movement portrays the winds in dialogue with the sea, with some clear evocations of the first movement. A broad new theme, not unlike those written by Debussy’s compatriot César Franck, recurs in various guises; two cornets join the brass section, and the themes tumble over each other as the work reaches its shimmering conclusion. —Hugh Macdonald © 2019 Hugh Macdonald is Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He now lives in England

About the Music: July 21

The Cleveland Orchestra


Debussy was greatly interested in — and inspired by — artistic representations of the ocean, including (above) Katsushika Hokusai’s “The Great Wave Off the Coast of Kanagawa” from “Thirty-Six Views of Mount Fuji” (1830-32) and J. M. W. Turner’s paintings such as “Waves Breaking on a Lee Short at Margate” (below), circa 1840.

Blossom Festival 2019

July 21: About the Music

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2O19

BLOSSOM

Music Festival

Saturday evening, July 27, 2019, at 7:00 p.m.

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

K E N T B LO S SO M C H A M B E R ORC H EST R A beginning at 7:00 p.m.

Kent Blossom Chamber Orchestra

conducted by vinay paramesWaran felix mendelssohn (1809-1847)

overture: the hebrides, Opus 26 maurice ravel (1875-1937)

suite from Mother Goose [Ma Mère l’Oye] 1. 2. 3. 4. 5.

Pavane of the Sleeping Beauty Tom Thumb Laideronnette, Empress of the Pagodes Conversations between Beauty and the Beast The Fairy Garden

inter mission beginning at approximately 8:00 p.m.

The Cleveland Orchestra

conducted by bramWell tovey benjamin britten (1913-1976)

four sea interludes from the opera Peter Grimes 1. 2. 3. 4.

Dawn: Lento e tranquillo Sunday Morning: Allegro spiritoso Moonlight: Andante comodo e rubato Storm: Presto con fuoco

camille saint-saëns (1835-1921)

cello concerto no. 1 in A minor, Opus 33 1. Allegro non troppo — 2. Allegretto con moto — 3. Allegro non troppo with Gautier capuçon, cello

inter mission

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Concert Program: July 27

The Cleveland Orchestra


SUMMER HOME OF THE

CLE VE L AN D ORCHESTR A

beginning at approximately 9:00 p.m.

The Cleveland Orchestra and Kent Blossom Chamber Orchestra performing side-by-side conducted by bramWell tovey edward elgar (1857-1934)

enigma variations, Opus 36 (Variations on an Original Theme) theme: Enigma (Andante) Variation I: “C.A.E.” (L’istesso tempo) Variation II: “H.D.S.-P.” (Allegro) Variation III: “R.B.T.” (Allegretto) Variation IV: “W.M.B.” (Allegro di molto) Variation V: “R.P.A.” (moderato) Variation VI: “Ysobel” (Andantino) Variation VII: “Troyte” (Presto) Variation VIII: “W.N.” (Allegretto) Variation IX: “Nimrod” (Adagio) Variation X: “Dorabella” (Intermezzo: Allegretto) Variation XI: “G.R.S.” (Allegro di molto) Variation XII: “B.G.N.” (Andante) Variation XIII: “***–Romanza” (moderato) Variation XIV: “E.D.U.” (Finale: Allegro Presto)

This concert is dedicated to Tony and Diane Wynshaw-Boris 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 27

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INTRODUCING THE CONCERT

Together Side-by-Side brings together old and new — favorite masterworks and lesser-known pieces, young talent and teachers. All combined in an ongoing collaboration between The Cleveland Orchestra and Kent State University’s annual Kent Blossom Music Festival. The night begins with a chamber orchestra made up of Kent Blossom musicians in the final stages of preparation for professional careers. After the first intermission, The Cleveland Orchetra presents orchestral excerpts from an opera along with a favorite violin concerto. To close the evening, the two orchestras perform side-by-side, presenting a beloved piece by English composer Edward Elgar. It’s a big night, devoted to the art and craft of music-making The evening opens with the Kent Blossom Chamber Orchestra. The professional training program of the annual Kent Blossom Music Festival was created in 1968 and features a select group of young artists on the cusp of their careers. They are mentored, tutored, and taught by a faculty that includes many Cleveland Orchestra musicians. The concert starts out with two works, from the 19th and 20th centuries. Mendelssohn’s Hebrides overture presents an evocative view of the Scottish seacoast, while Ravel’s Mother Goose is a charming suite of pieces ably depicting well-known children’s tales — written by an adult to entertain friends’ offspring, but masterful listening (and playing) for all of us. Following the first intermission, The Cleveland Orchestra continues an oceanic theme with Four Sea Interludes from Benjamin Britten’s 1945 opera Peter Grimes. They are then joined by cellist Gautier Capuçon in Camille Saint-Saëns’s effervescent First Cello Concerto from 1872. The evening ends with a side-by-side performance of Elgar’s great Enigma Variations, premiered in 1899. Here the composer wrote a series of loving musical portraits of his circle of close friends. The clarity of the depictions is still remarkably fresh more than a hundred years later — with the intensity of some of the relationships and personalities utterly discernible. This is music of great range, from the poignant intimacy to the everyday, from boisterous pomp to romping good fun. (The dog “barking” in Variation 11 is one of my favorite moments.) These are variations to enjoy and cherish. —Eric Sellen THIS EVENING’S PROGRAM

With this evening’s concert, The Cleveland Orchestra gratefully honors The Sisler McFawn Foundation for its generous support.

Blossom Music Festival

Introducing the Concert: July 27

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KENT BLOSSOM M U S I C F E S T I VA L 2 O19

CHAMBER ORCHESTRA

VIOLIN I Jason Fung CONCERTMASTER

Yeung Man Yin Jelena Lee Isaac Champa Judith Kim Heather Beckman Youngmi Emily Chung

VIOLIN II Paula Castaneda Daniella Greene Giuseppe Tejeiro Irene Guerra SooHyun Chae Alex O’Boyle-Ince Hansae Kwon VIOLA Jack Kehrli Binbin Fan Deberly Kauffman Kenny Fujii Christopher DeShields Winnie Yiu Cristian Diaz CELLO Hari Parkash Khalsa Viviana Pinzon Niraj Patil Kosuke Uchikawa Madelynn Bolin Ellie Glorioso Maria Florez DOUBLE BASS Elliot Shaull-Thompson

FLUTE Peter Arfsten Max Lin OBOE Alex DiThomas Josiah Dyck Adrian Gonzalez CLARINET Gregory Hamilton Dustin Lin Paige Stafford BASSOON Emmali Ouderkirk Nathan Morris Christian Whitacre HORN Matthew Bond Sean Brennan Rebecca McGown TRUMPET Lawrence Herman* Erik Sundet* PERCUSSION Matthew Holm* Jacob Ottmer* HARP Nancy Patterson* CELESTA Hikari Nakamura * guest artist

Kent Blossom Music Festival is a five-week summer institute for professional music training operated by Kent State University in cooperation with The Cleveland Orchestra and Blossom Music Center. Each summer since 1968, musicians of The Cleveland Orchestra and other faculty members have gathered to mentor a select group of students in chamber music, orchestral repertoire, and private lessons. Currently, 19 members of The Cleveland Orchestra are alumni of Kent Blossom. For more info, visit www.kent.edu/blossom.

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Vinay Parameswaran

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

Vinay Parameswaran joined The Cleveland Orchestra as assistant conductor with the 2017-18 season. He also serves as music director of the Cleveland Orchestra Youth Orchestra. He arrived in Cleveland following three seasons as associate conductor of the Nashville Symphony (2014-2017), where he led over 150 performances. In the summer of 2017, he was a Conducting Fellow at the Tanglewood Music Center. Recent guest conducting engagements have included debuts with the symphony orchestras of Nashville, Washington D.C., Milwaukee, Jacksonville, Eugene, Rochester, Tucson, and Vermont. A native of the San Francisco Bay Area, Mr. Parameswaran played as a student for six years in the San Francisco Symphony Youth Orchestra. He holds a bachelor of arts degree in music and political science from Brown University. At Brown, he began his conducting studies with Paul Phillips. He received a diploma from the Curtis Institute of Music, where he studied with Otto-Werner Mueller as the Albert M. Greenfield Fellow.

Kent Blossom Music Festival: July 27

2019 Blossom Festival


bramwell tovey

Gautier capuçon

british conductor bramwell Tovey is principal conductor of the bbC Concert orchestra and music director emeritus of the Vancouver Symphony . he made his Cleveland orchestra debut in august 2011 and most recently led concerts here during the summer of 2016 . mr . Tovey studied piano and composing at the Royal academy of music and university of London . he subsequently held leadership roles at the Winnipeg Symphony orchestra and Luxembourg Philharmonic, and for the summer series of the Los angeles and new york philharmonics . mr . Tovey has guest conducted major orchestras throughout asia, australia, Europe, and north america . he has performed as both a classical and jazz pianist . In addition, bramwell Tovey is a composer, and was the first artist to win a Juno award in both conducting and composing . his recordings have received a grammy award and been acclaimed with additional honors . In recognition of his service to music, he was appointed an honorary officer of the order of Canada in 2013, and received the 2018 orchestras Canada betty Webster award . For more information, visit www.bramwelltovey.com.

French cellist gautier Capuçon is recognized as an ambassador for his instrument, performing each season with orchestras around the world . In recital and chamber music concerts, he appears throughout Europe, and annually at the martha argerich Project and at the Verbier Festival . his performance partners include Daniel barenboim, yuri bashmet, Katia and marielle Labèque, menahem Pressler, Jean-yves Thibaudet, and yuja Wang, along with his brother Renaud and the artemis and Ebène quartets . he began playing at age five and later studied at the Paris Conservatoire with Philippe muller and annie Cochet-Zakine, and with heinrich Schiff in Vienna . In 2014, mr . Capuçon became the founder and artistic director of the Louis Vuitton Foundation Cello Excellence Class in Paris . he recently served as an artist-in-residence with the orquesta de Valencia . an exclusive Erato (Warner Classics) artist, mr . Capuçon’s discography covers both concerto and chamber music repertoire . he plays a 1701 matteo goffriller cello, and made his Cleveland orchestra debut in april 2015 . For more information, visit www. gautiercapucon.com .

Blossom Festival 2019

July 27: Guest Artists

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Ke NT BLossoM ChAMBe R oRChesTR A

the hebrides, Concert Overture, Opus 26 composed 1829-32

W h e n t h e s c o t t i s h r e b e l l i o n against george II was

by

felix

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

E x

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Blossom Festival 2019

put down at the battle of Culloden in 1746, a number of English soldiers were heard to remark that it was no surprise the highlanders were such barbarians, wearing such strange clothes and having to live in such a hideous mountain landscape, a part of the known world which god had evidently failed to polish at the Creation . yet by the time Felix mendelssohn came of age a century later, these attitudes had been completely reversed . mountains were now beautiful — mysterious still, but full of poetry and music . When he toured Scotland with his friend Karl Klingemann in august 1829, the 20-year-old composer was open to exactly the impressions that Romantic poets and artists were anxious to find . From the port of oban on the west coast, where mendelssohn sketched a view of the distant islands, they took a boat to the island of mull . That night, from his lodgings in the fishing village of Tobermory, he wrote home to his family in berlin: “In order to show you how extraordinarily affected I am by the Hebrides [the name for the islands in those parts], the following came into my head there.” he attached a sketch of twenty-one bars of music, which closely match the opening of the Hebrides overture as we now know it, even though the work had many transformations yet to undergo . The suggestive phrase at the opening, and the rolling arpeggios that follow, are perfect evocations of the inspiration of the moment — crossing the water with a rugged, wild landscape all around . much of the actual work of composing the overture was done in Venice and Rome in 1830, when mendelssohn was taking a southern Italian tour to complement the more northerly Scottish one . The composer revised it many times, however, before he was satisfied enough to consider having it performed . (he was forever nervous about declaring any work to actually be “finished .”) It was premiered with the title The Hebrides in London in 1832, after which mendelssohn continued to rewrite passages before final publication the next year . Speaking of revisions, the first printed score bore the title Fingal’s Cave . This refers to an almost inaccessible grotto on the island of Staffa, which mendelssohn and Klingemann had visited after mull . mendelssohn said nothing about that part of About the Music: July 27

53


K e N T B L oTshseo C MLC BN ed R oRChesTRA eh VA eM LA the trip in his letters — perhaps because he was horribly seasick (as four sea interludes from Peter Grimes many tourists in those waters still are today), and it is likely that the

excerpted 1945, from the opera written 1944-45 choice of printed title was not his . at all events, it is better known today composer’s title,in The Hebrides . W oby r lthe d W a r i i hadoriginal been over Europe for only a month Whether or not a storm blew up while they were at sea, when, in June 1945, the opera Peter Grimes was staged inmenLondelssohn includedWells the suggestion of far rough weather his overture, don’s Sadler’s Theatre . as as the britishinpublic knew, both thecomposer’s return to the theme atwork the end . (That thisbefore was the firstmain attempt at aand stage (few knew said, he actually saved his most graphic representation of a storm of the operetta Paul Bunyan, which britten had put on at Columfor bia theuniversity “Scottish”in Symphony, published as no . inspired by the new york in 1941 during the3,war) . same 1829 tour .Peter ) nevertheless, the strongest impression fromwho the before Grimes, britten’s reputation — for those overture is of supreme calm .onThis is evoked especially even knew his nameplacidity — restedand mostly vocal and instrumental by chamber the beautiful second firstorchestral heard on works . the bassoons and scores, and asubject, few short In musical cellos, and unforgettably moving when it returns towards the end circles, he was widely considered to be a “clever” composer, but by as anot solo theone . clarinet . The country that inspired this could never a for great benjamin again bePeter viewed as the home ofthe barbarians . Grimes changed perception almost overnight, britten with everyone . The opera’s dramatic—Hugh power and brilliant©musi2019 Macdonald cal writing were recognized as reaching far beyond the norms born set by earlier british composers of opera . and it remains one of November 22, 1913 Lowestoft the few 20th-century operas that belong unarguably within the Suffolk, England standard operatic repertory, perfectly at home in the company At left, an 18th-century engraving of mozart, Verdi, Wagner, and Puccini . Furthermore, Peter Grimes died showing the entrance to “Fingal’s Cave.” arrived exactly at a point when great britain needed uplift after December 4, 1976 Aldeburgh six years of war, worry, and deprivation . Suffolk, England While the opera was inarehearsal, britten made extracted four Below, sketch of Edinburgh scenes and arranged them as Mendelssohn, orchestral movements by Felix drawn duringunder the title Four Sea Interludes .the These were performed in a concert by same trip to Scotland in 1829 the London Philharmonic orchestra . The composer that inspired his concert overture John Ireland (who had been ineffective britten’s firstthe teacher the Royal “Theas hebrides” about famousat archiCollege of music in 1930) wrote: “I was very much impressed. He pelago off Scotland’s western coast. really has achieved something remarkable here — it is quite different from anything I have heard before from him. In some respects he could twist every other composer in this country round his little finger. It was . . . rather Satanic, I thought.” britten was born within sight of the sea in the town of Lowestoft on the Suffolk coast, and he lived the greater part of his life in aldeburgh, another Suffolk fishing town, a little further south . This is where The Borough, the poem by george Crabbe from which the opera’s libretto was derived, is set . grimes is a fisherman whose way of life is at odds with the people of the town . In the opera, the sound and sense of the sea is never far away . In “Dawn,” we hear in turn the squeal of gulls (high violins and flute), the splash of the tide (clarinet), and

54 58

July July 27: 27: About About the the Music Music

2019 Blossom Blossom Festival Festival 2019


Ke NT BLossoM ChAMBe R oRChesTR A

Suite from mother Goose

composed for piano duet 1908-10, orchestrated 1911

by

maurice

ravel born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

Blossom Festival 2019

m a u r i c e r av e l’ s “mother goose” is two steps removed from what many of us know of childhood’s English nursery rhymes . This mother goose — or Ma Mère l’Oye — is French, and has been known for her fairytales since the late 17th century . In 1697, Charles Perrault collected some tales into a book that became known popularly as Mother Goose . This collection contained, among others, the stories of “Sleeping beauty” and “Little Red Riding hood,” and it is from these French tales that the English version took its name (and from which some, but not all, of its stories came) . Fortunately for us, Ravel’s musical “translation” masterfully bridges any divide between languages . Ravel was inspired by Perrault’s collection and other fairytales when, in 1908, he wanted to write a short suite for piano duet, intended as a gift for mimi and Jean godebski, the children of his friends Cipa and Ida godebski . he orchestrated the suite in 1911, and also expanded it into a ballet score . The work is more often performed in the original suite form, consisting of the orchestrations of the five movements for piano duet . 1 . Pavane of the Sleeping Beauty [Pavane de la Belle au Bois dormant] . a pavane is a type of slow dance of Spanish origin . Ravel had earlier written his famous Pavane for a Dead Princess . This new Pavane for Mother Goose is rather brief, consisting of a single motif, soft and delicate, repeated by various instruments of the orchestra . 2 . Tom Thumb [Petit Poucet] . The printed score includes a short excerpt from Perrault’s story for this movement: “He thought he would be able to find the path easily by means of the bread he had strewn wherever he had walked. But he was quite surprised when he couldn’t find a single crumb; birds had eaten them all!” Tom Thumb’s wanderings are depicted here by a steady motion in eighth-notes in the strings, over which the woodwinds play a quiet “walking” melody . The birds referred to in the story are represented by a solo violin playing harmonic glissandos (slidings) against a twittering flute and piccolo . 3 . Little Homely, Empress of the Pagodes [Laideronnette, Impératrice des Pagodes] . The story on which this movement is based was written by the Countess d’aulnoy, a contemporary of Perrault . The heroine is a beautiful princess, made ugly by a wicked witch . She travels to a distant country inhabited by tiny, About the Music: July 27

55


K e N T B L oTshseo C MLC BN ed R oRChesTRA eh VA eM LA munchkin-like people called “pagodes .” (Eventually, as one might expect, four seashe interludes from Peter Grimes is restored to her original beauty and finds her Prince Charming .)

excerpted 1945, from the opera written 1944-45 as in the previous movement, Ravel concentrated on a single image from the story, wrote at theover headinofEurope the score: W oand r l dheW a r iiti down had been for “She onlyundressed a month and got intowhen, the bath. Immediately the pagodes and pagodesses beganintoLonsing in June 1945, the opera Peter Grimes was staged and to playdon’s instruments. Some had theorbos [large lutes] made from walnut Sadler’s Wells Theatre . as far as the british public knew, shells; somethis hadwas violsthe made from almond shells; foratthe instruments hadknew to be composer’s first attempt a stage work (few of a size appropriate to theirPaul own.” of the operetta Bunyan, which britten had put on at ColumThis music is a study of what,york a century wasthe called “orientalism .” bia university in new in 1941ago, during war) . It has a lively pentatonic melody (playable on the black keys of the piano), before Peter Grimes, britten’s reputation — for those who colorfully orchestrated . In a more serious middle section, Little homely even knew his name — rested mostly on vocal and instrumental dances withchamber a green Serpent (whoa will out to be Prince Charming, also scores, and fewturn short orchestral works . In musical disguised by an evil spell) . The dance of the “pagodes” then returns . circles, he was widely considered to be a “clever” composer, but 4 . Conversations of Beauty and the Beast [Les entretiens de la Belle by not a great one . et de la Bête] . of course, this is quite known, but few actually rebenjamin Peter Grimesstory changed thewell perception almost overnight, name of its author, marie Leprince beaumont (1711-1780) . britten member thewith everyone . The opera’s dramatic de power and brilliant musiThis movement is in the tempo of a slow waltz . beauty is cal writing were recognized as reaching far beyond representthe norms born ed by the clarinet, beast british by thecomposers contrabassoon . The two take set by earlier of opera . and instruments it remains one of November 22, 1913 Lowestoft Suffolk, England

died December 4, 1976 Aldeburgh Suffolk, England

56 58

the few 20th-century operas that belong unarguably within the standard operatic repertory, perfectly at home in the company of mozart, Verdi, Wagner, and Puccini . Furthermore, Peter Grimes arrived exactly at a point when great britain needed uplift after six years of war, worry, and deprivation . While the opera was in rehearsal, britten extracted four scenes and arranged them as orchestral movements under the title Four Sea Interludes . These were performed in a concert by the London Philharmonic orchestra . The composer John Ireland (who had been ineffective as britten’s first teacher at the Royal College of music in 1930) wrote: “I was very much impressed. He really has achieved something remarkable here — it is quite different from anything I have heard before from him. In some respects he could twist every other composer in this country round his little finger. It was . . . rather Satanic, I thought.” britten was born within sight of the sea in the town of Lowestoft on the Suffolk coast, and he lived the greater part of his life in aldeburgh, another Suffolk fishing town, a little further south . This is where The Borough, the poem by george Crabbe from which the opera’s libretto was derived, is set . grimes is a fisherman whose way of life is at odds with the people of the town . In the opera, the sound and sense of the sea is never far away . In “Dawn,” we hear in turn the squeal of gulls (high violins and flute), the splash of the tide (clarinet), and July July 27: 27: About About the the Music Music

2019 Blossom Blossom Festival Festival 2019


Ke NT BLossoM ChAMBe R oRChesTR A turns at first, and then join in a duet that becomes more and more impassioned . after a fortissimo climax and a measure of silence, an expressive violin solo (played with harmonics) brings the movement back to its original tempo as the beast is transformed into a handsome prince . 5 . The Fairy Garden [Le jardin féerique] . This movement does not seem to be based on any particular fairytale . It is a celebration of the splendor of this miraculous garden, where the sun never goes down and everyone lives a blessed and happy life . The music is a single crescendo, from a soft and low string sonority to a much louder feast of sound, resplendent with harp, celesta, and glockenspiel . —Peter Laki © 2019

Copyright © Musical Arts Association

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

Above, an illustration from Mother Goose’s Nursery Rhymes, published by George Routledge & Sons, London and New York, 1877.

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The Cleveland Orchestra

About the Music: July 27

57


The CLeVeLANd oRChesTRA

four sea interludes from Peter Grimes excerpted 1945, from the opera written 1944-45

by

benjamin

britten born November 22, 1913 Lowestoft Suffolk, England died December 4, 1976 Aldeburgh Suffolk, England

58

W o r l d W a r i i had been over in Europe for only a month when, in June 1945, the opera Peter Grimes was staged in London’s Sadler’s Wells Theatre . as far as the british public knew, this was the composer’s first attempt at a stage work (few knew of the operetta Paul Bunyan, which britten had put on at Columbia university in new york in 1941 during the war) . before Peter Grimes, britten’s reputation — for those who even knew his name — rested mostly on vocal and instrumental chamber scores, and a few short orchestral works . In musical circles, he was widely considered to be a “clever” composer, but not a great one . Peter Grimes changed the perception almost overnight, with everyone . The opera’s dramatic power and brilliant musical writing were recognized as reaching far beyond the norms set by earlier british composers of opera . and it remains one of the few 20th-century operas that belong unarguably within the standard operatic repertory, perfectly at home in the company of mozart, Verdi, Wagner, and Puccini . Furthermore, Peter Grimes arrived exactly at a point when great britain needed uplift after six years of war, worry, and deprivation . While the opera was in rehearsal, britten extracted four scenes and arranged them as orchestral movements under the title Four Sea Interludes . These were performed in a concert by the London Philharmonic orchestra . The composer John Ireland (who had been ineffective as britten’s first teacher at the Royal College of music in 1930) wrote: “I was very much impressed. He really has achieved something remarkable here — it is quite different from anything I have heard before from him. In some respects he could twist every other composer in this country round his little finger. It was . . . rather Satanic, I thought.” britten was born within sight of the sea in the town of Lowestoft on the Suffolk coast, and he lived the greater part of his life in aldeburgh, another Suffolk fishing town, a little further south . This is where The Borough, the poem by george Crabbe from which the opera’s libretto was derived, is set . grimes is a fisherman whose way of life is at odds with the people of the town . In the opera, the sound and sense of the sea is never far away . In “Dawn,” we hear in turn the squeal of gulls (high violins and flute), the splash of the tide (clarinet), and July 27: About the Music

Blossom Festival 2019


The CLeVeLANd oRChesTRA the deep roar of the ocean (brass) . In “Sunday morning,” the horns brilliantly suggest church bells while the winds represent the chatter of the community after church, or perhaps the “glitter of waves and glitter of sunlight,” which the libretto refers to . a broad tune on the lower strings belongs to Ellen, the one person in the community who tries to protect grimes . “moonlight” is a picture of the sea in the calm of night, while distant revelries are heard from the village hall . The full fury of the sea is unleashed in “Storm,” with contrasting moments for rasping trombones and trumpets, and a brief repose when grimes’s vision of a happy life (which he is never to enjoy) is recalled . The skill and ferocity of britten’s orchestration is laid out in this movement for all to see . —Hugh Macdonald © 2019 Hugh Macdonald lives in England and is the Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

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About the Music: July 27

59


The CLeVeLANd oRChesTRA

cello concerto no. 1 in A minor, Opus 33 composed 1871-72

n o c o m p o s e r h a s e v e r been able to match the unbe-

by

camille

saint-saËns born October 9, 1835 Paris died December 16, 1921 Algiers

60

lievable precocity of mozart, who was performing for nobility at age six and wrote his first symphony when he was just eight . Saint-Saëns, however, came close . he first played the piano in public at the age of five, and at ten gave his formal debut at Paris’s Salle Pleyel, performing mozart and beethoven concertos and offering to play any of beethoven’s sonatas — from memory — as an encore . In time, Saint-Saëns grew up to become a national institution in France, one of the country’s most prominent composers, pianists, and organists, who was universally respected, though far from uncontroversial . at the time of his death at age 86, Saint-Saëns’s catalog contained nearly two hundred opus numbers, plus a great many unnumbered works (including about a dozen operas, of which only Samson and Delilah is generally known today) . his output covers just about every type of music that existed in France at the time, from symphonies and concertos to sacred music, chamber music, songs, and works for the keyboard . Though not a string player himself, Saint-Saëns had a strong affinity for string instruments . he wrote three concertos and numerous other solo works for the violin, as well as two concertos and two sonatas for the cello . and let us not forget “The Swan” — that most beloved of cello solos, which is the penultimate movement of Saint-Saëns’s popular Carnival of the Animals . The First Cello Concerto was written in 1871-72 for auguste Tolbecque, principal cellist of the Paris Conservatory orchestra . It stands out among Saint-Saëns’s concertos by its serious tone and its innovations in form . It is played without pause, the usual three movements being condensed into one . The concerto begins without any introduction, as the solo cello launches into a passionate theme with a wide melodic range, strong offbeat accents, and fast runs . Tremolos (two different notes played rapidly in alternation) in the violins and violas add to the excitement . Except for a few moments when a more lyrical idea takes over, this passionate tone is sustained throughout the entire first section . July 27: About the Music

2019 Blossom Festival


The CLeVeLANd oRChesTRA Then, everything changes suddenly, and the music moves to a new key, tempo, and meter . and we hear a dainty minuet, intentionally oldfashioned, played by muted strings . (The effect of this music has been compared to a music box set on a table, with a twirling ballerina figure — quaint and darling, in constrast to the larger music around it .) The solo cello adds a nostalgic countermelody to the minuet — with the solo part evolving, at one point, into a brief cadenza, with the cellist playing alone . The passionate melody from the concerto’s opening returns, and is expanded into a brilliant finale . Just near the end, a tonal key shift from minor to major takes place, helping give the piece a fitting flourish and sense of closing excitement . —Peter Laki © 2019 Copyright © Musical Arts Association

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Blossom Festival 2019

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About the Music: July 27

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s I d e - BY- s I d e P e R F o R M A N C e

enigma variations, Opus 36 (Variations on an Original Theme) composed 1898-99

e lG ar’s Variations on an Original Theme is the work that — al-

by

edward

elGar born June 2, 1857 Broadheath, England died February 23, 1934 Worcester, England

E x

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62

most overnight — made the 42-year-old into a famous composer . at the premiere in 1899, the work was greeted as the greatest composition for large orchestra ever written by an Englishman . and, for more than a century now, audiences have delighted in what Elgar wrote . They have been equally intrigued by what he withheld, namely that the work had a secret that he refused to divulge beyond some carefully worded “enigmatic” clues . The story of the Enigma Variations began one night late in 1898 when Elgar was improvising at the piano at home in Worcestershire . his wife, alice, was struck by a particular melody and asked her husband what it was . Elgar replied: “Nothing — but something could be made of it.” as he continued to develop his short theme, Elgar started to toy with the idea of how it could be made to reflect the personalities of some of his friends . out of this private little game grew what is arguably Elgar’s greatest masterpiece . on october 24, 1898, Elgar announced his new work in a letter to his close friend august Jaeger (who is depicted as “nimrod” in Variation 9): “Since I’ve been back I have sketched a set of Variations (orkestry) on an original theme: the Variations have amused me because I’ve labelled ’em with the nicknames of my particular friends — you are Nimrod. That is to say I’ve written the variations each one to represent the mood of the ‘party’ — I’ve liked to imagine the ‘party’ writing the var; him (or her)self & have written what I think they wd. have written — if they were asses enough to compose — it’s a quaint idee & the result is amusing to those behind the scenes & won’t affect the hearer who ‘nose nuffin’: What think you?” With one exception, each of the fourteen variations that follow the theme is preceded by a heading that specifies the person behind the music . although Elgar only wrote out monograms for each in the score, he quickly enough admitted who was who — and at various times openly commented about each person’s musical portrait . The names of all but one of the movements had been identified publicly soon after the premiere . at the first performance, the “anonymous” exception (Variation 13, or XIII) helped to reinforce the “enigmatic” nature of the overall work . Even more mysterious, however, were the implicaJuly 27: About the Music

Blossom Festival 2019


s I d e - BY- s I d e P e R F o R M A N C e tions of a statement Elgar made at the time of the premiere: “The Enigma itself I will not explain — its ‘dark saying’ must be left unguessed, and I warn you that the apparent connection between the Variations and the Theme is often of the slightest texture; further, through and over the whole set another and larger theme ‘goes,’ but is not played. . . . So the principal Theme never appears.” t h e m u s i c i n d e ta i l

before considering possible answers to the Enigma itself, let’s walk through the theme and variations themselves, and visit Elgar’s “friends pictured within” — outlined in detail (below) and more briefly (at right) . all quoted words below are by Elgar himself (unless indicated otherwise): The Theme (Andante, g minor, 4/4) consists of two ideas: an expressive string melody that is constantly interrupted by rests on the downbeat (and that fits the words “Edward Elgar” surprisingly well), and a second melody that is more continuous, and is built of parallel thirds played by strings and woodwinds . Variation 1. “C.A.E.” (L’istesso tempo [“the same tempo”] g minor, 4/4) is a portrait of Caroline alice Elgar, the composer’s wife . “The variation is really a prolongation of the theme with what I wished to be romantic and delicate additions; those who know C.A.E. will understand this reference to one whose life was a romantic and delicate inspiration.” The little motif played by oboes and bassoons that acts as a counterpoint of sorts to the main theme was the signal Elgar used to whistle to let alice know that he was home . Variation 2. “H.D.S-P.” (Allegro, g minor, 3/8) . hew David Steuart-Powell was a pianist and Elgar’s chamber music partner . “His characteristic diatonic run over the keys . . . is here humorously travestied in the semiquaver [sixteenth-note] passages; these should suggest a Toccata, but chromatic beyond H.D.S-P.’s liking.” The violins and woodwind instruments play the humorous sixThe Cleveland Orchestra

t h e va r i at i o n s

in brief

0. Theme — the theme itself 1. Elgar’s wife Alice — includes the tune Elgar whistled to signal he was arriving at home 2. Mr. Steuart-Powell — a pianist friend, with whom Elgar played chamber music 3. Mr. Townshend — a writer and scholar, who rode his full-size tricycle around town (ring ring ring) 4. Mr. Baker — a country gentleman, used to being in charge 5. Mr. Arnold — a young friend, with characteristic stuttering laugh 6. Miss Fitton — a young viola player 7. Mr. Griffith — an architect, who had trouble keeping time musically 8. Miss Norbury — the secretary of the local philhamonic society, who lived in a carefully manicured house 9. Nimrod — Elgar’s best friend Jaeger; this music evokes their endless discussions about and admiration for beethoven’s slow movements

10. Miss Dora Penny — a young woman friend of the family 11. Mr. Sinclair — a local organist, he liked to walk with his dog along the river (run run run bark bark bark) 12. Mr. Nevinson — a cellist friend who was always generous with his time 13. Lady Lygon (?) — she was away on a sea voyage (the ship’s engines can be heard in the timpani’s rhythm) 14. Elgar himself — in all his glory, basking in the camraderie of friendship, sharing, and music-making

About the Music: July 27

63


s I d e - BY- s I d e P e R F o R M A N C e

VarIatIon I Elgar’s wife, Caroline Alice Elgar

VarIatIon VII Arthur Troyte Griffith, an architect and close friend of Elgar’s

64

teenth notes, while the main theme appears in the cellos and basses . Variation 3. “R.B.T.” (Allegretto, g major, 3/8) . Richard baxter Townshend, a writer and scholar who lived in oxford, used to ride his tricycle around town with the bell constantly ringing . (he had a hearing problem .) he also participated in amateur theatrical performances, and the oboe solo in the variation is supposed to represent him as his voice occasionally cracked . In her book Memories of a Variation, Dora Penny (see variation 10), who later became mrs . Richard Powell, wrote: “Elgar has got him with his funny voice and manner — and the tricycle! It is all there and is just a huge joke to anyone who knew him well .” Variation 4. “W.M.B.” (Allegro di molto, g minor, 3/4) . William meath baker was “a country squire, gentleman and scholar. In the days of horses and carriages it was more difficult than in these days of petrol to arrange the carriages for the day to suit a large number of guests. This Variation was written after the host had, with a slip of paper in his hand, forcibly read out the arrangements for the day and hurriedly left the music-room with an inadvertent bang of the door.” This boisterous variation, lasting less than half a minute, is the shortest in the set . Variation 5. “R.P.A.” (Moderato, C minor, 12/8) . Richard Penrose arnold, son of the poet matthew arnold, was “a great lover of music which he played (on the piano-forte) in a self-taught manner, evading difficulties but suggesting in a mysterious way the real feeling. His serious conversation was continually broken up by whimsical and witty remarks.” according to mrs . Powell, the staccato (short-note) figure in the woodwinds represents his characteristic laugh . Thus far, this is the longest and most elaborate of the variations . Variation 6. “Ysobel” (Andantino, C major, 3/2) . Isabel Fitton was a viola player — hence the special treatment of the viola in this variation, both as a section and as a solo instrument . “The opening bar, a phrase made use of throughout the variation, is an ‘exercise’ for crossing the strings — a difficulty for beginners; on this is built a pensive, and for a moment, romantic movement.” Isabel was quite tall, a circumstance suggested by the wide leaps in the melody . Variation 7. “Troyte” (Presto, C major, 1/1 [i .e . a single beat per bar]) . arthur Troyte griffith was an architect and a close friend of Elgar’s . “The uncouth rhythm of the drums and lower strings was really suggested by some maladroit essays to play the pianoforte; July 27: About the Music

Blossom Festival 2019


s I d e - BY- s I d e P e R F o R M A N C e later the strong rhythm suggests the attempts of the instructor (E.E.) to make something like order out of chaos, and the final despairing ‘slam’ records that the effort proved to be in vain.” The “uncouth rhythm” is, in fact, a combination of triple meter in the bass with duple in the upper voices . Variation 8. “W.N.” (Allegretto, g major, 6/8) . The initials stand for Winifred norbury, but the variation was inspired more by the 18th-century house where this lady (co-secretary of the Worcestershire Philharmonic Society) lived — in the words of musicologist Julian Rushton, the “epitome of an ideal civilisation in a rural environment .” The theme is played by the clarinets . Variation 9. “Nimrod” (Adagio, E-flat major, 3/4) . This is the most famous variation in the set, often performed separately in England as a memorial to deceased celebrities . “nimrod” was august Jaeger, a german-born musician and Elgar’s closest friend . he worked for novello, the publisher of Elgar’s music, and was the recipient of the composer’s above-quoted letter announcing the Variations as a work in progress . (Jäger or Jaeger means “hunter” in german, and nimrod is the “mighty hunter” mentioned in genesis 10:9 .) here, Elgar took the rests out of the original theme and created a hymn-like, soaring melody with a certain beethovenian quality . Elgar and Jaeger shared a special love for beethoven’s slow movements . Variation 10. “Dorabella” (Intermezzo: Allegretto, g major, 3/4) . Dora Penny was a young woman in her early twenties, to whom Elgar gave an affectionate nickname taken from mozart’s opera Così fan tutte . She later recollected the day he played through the entire work for her: “My mind was in such a whirl of pleasure, pride and almost shame that he should have written anything so lovely about me.” This movement is less a “variation” strictly speaking than a lyrical intermezzo; its melody is only very distantly related to the original theme . Variation 11. “G.R.S.” (Allegro di molto, g minor, 2/2) . george Robertson Sinclair was organist of hereford Cathedral . “The first few bars were suggested by his great bulldog Dan (a wellknown character) falling down the steep bank into the River Wye (bar 1); his paddling up stream to find a landing place (bars 2 and 3); and his rejoicing bark on landing (second half of bar 5). G.R.S. said ‘set that to music.’ I did; here it is.” Variation 12. “B.G.N.” (Andante, g minor, 4/4) . basil nevinson was a cellist who, with Steuart-Powell (variation 2), often played trios with Elgar, a violinist . This is why in this variation The Cleveland Orchestra

About the Music: July 27

VarIatIon IX Elgar’s friend August Jaeger

VarIatIon X Dora Penny, who Elgar jokingly called Dorabella

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s I d e - BY- s I d e P e R F o R M A N C e

VarIatIon XIV Elgar wrote a musical self-portrait in the last variation

the melody is entrusted to a solo cello, in “tribute to a very dear friend whose scientific and artistic attainments, and the wholehearted way they were put at the disposal of his friends, particularly endeared him to the writer.” Variation 13. “***” (Romanza: Moderato, g major, 4/4) . The identity of the person behind the asterisks is the first, and smaller, enigma in Elgar’s work . Elgar himself only said that the “asterisks take the place of the name of a lady who was, at the time of the composition, on a sea voyage. The drums suggest the distant throb of the engines of a liner . . .” because some early manuscript sketches include the initials L .m .L ., it is often assumed to refer to Lady mary Lygon, an acquaintance of Elgar’s who was a member of the aristocracy, but several people who knew Elgar intimated that the variation had to do instead with a youthful “romanza” of the composer’s . The music is lyrical and gentle and is only tenuously related to the theme, if at all . It contains a quote from mendelssohn’s Calm Sea and Prosperous Voyage overture, played by the first clarinet . Variation 14. “E.D.U.” (Finale: Allegro Presto, g major, 4/4) . “Edu” was the nickname alice Elgar had given to her husband, who disguised it as a set of initials to camouflage the fact that the last variation was a self-portrait . The theme is turned here into a march with a sharp rhythmic profile . There are two slower, lyrical episodes, and then the work ends in a grandly magnificent climax . —Peter Laki © 2019 Copyright © Musical Arts Association

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July 27: About the Music

Blossom Festival 2019


THE OTHER

eNIGMA . . . ?

Did Elgar really bury a coded message in the music

?

i n t h e c e n t u ry a n d m o r e since its first performance, many attempts have been made to elucidate Elgar’s words about what “large theme” may lie behind (or underneath or within) his Enigma Variations . musical sleuths have tried to match the melodic outlines of different tunes with Elgar’s theme . among those that have been proposed are “auld Lang Syne” (a suggestion Elgar himself rejected), the slow movement of beethoven’s “Pathétique” Sonata, various earlier works by Elgar himself, and, more recently, the slow movement of mozart’s “Prague” Symphony . others, knowing of Elgar’s interest in games and puzzles in general, have searched for answers in ciphers, equating letters with musical notes after the model of bach’s use of his own name spelled in notes . others have thought that the “larger theme” is not a musical one at all, but rather some larger religious or philosophical issue . and, finally (perhaps), there are those who opine that the whole thing is a joke or a “leg-pull,” to quote an expression used by the famous musicologist and critic Ernest newman . William Reed, who was probably as close to Elgar as anyone, wrote: “he was himself the enigma .” Julian Rushton, author of the Cambridge Music Handbook about Elgar’s Enigma Variations, has elaborated on this by saying that “the theme . . . may represent Elgar as he saw himself .” In any case, it is certain that the enigma will never be solved, as no suggested solution is likely to be proven conclusively now, so many years after the composer’s death . and this is probably a good thing, for any definitive answer would mean the end of a great mystery — which can too often be a letdown . one almost wishes Elgar hadn’t said anything about a “larger theme,” especially if he wasn’t ever going to reveal what it was . but this very ambivalence was central to his personality — he was at the same time an extroverted Romantic, eager to express his innermost feelings, and a reserved, very private man who would not allow anyone to know him completely . (The Enigma Variations were not the only time he made personal allusions whose full meaning he kept to himself — a similar mystery lies embedded in the music for his Violin Concerto .) For Elgar, communication and secrecy, confession and reticence were inseparable, and it is in part this unique co-existence of opposites that makes the Enigma Variations unusual and uniquely pleasurable . —Peter Laki

The Cleveland Orchestra

About the Music: July 27

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GUI DE

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Music Festival

tHeatre

Kent blossom arts s i n c e t h e o p e n i n G of blossom music Center as the summer home of The Cleveland orchestra in 1968, Kent State university has participated in helping to develop blossom’s role as a center for professional training in the visual and performing arts . Each summer, the Kent blossom arts festivals bring together some 300 young professionals in art, music, and theater, and a resident faculty of 80 (including Kent State faculty, members of The Cleveland orchestra, and major international artists) . Through the production of more than 100 concerts, performances, exhibitions, and lectures, their creative experiences are shared with an audience of nearly 30,000 each year . over the past five decades, Kent blossom has involved over 10,000 students from all over the world in the visual arts, theater, and music . The three programs combined have attracted more than 900,000 people to over 4,000 public events . Thousands of Kent blossom alumni are associated with some of the world’s most highlyregarded professional arts organizations, including the orchestras of berlin, boston, Cleveland, new york, and Vienna, theaters on broadway and other professional equity houses and touring companies, and art museums and galleries in many cities across the united States and beyond . For information about these programs, please call 330-672-2760 .

The Cleveland Orchestra

Kent Blossom

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Ralph Waldo Emerson

Thanks Cleveland’scultural cultural Thankstotothe therichness richness of of Cleveland’s heritage and the excellence of The Cleveland Orchestra, heritage and the excellence of The Cleveland Orchestra, literally millions of men, women, and children literally millions of men, women and children have experienced such a adawn . . .and andititisisunforgettable. unforgettable. have experienced such dawn… NACCO NACCO Industries, Inc.Industries, Inc.

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2O19

BLOSSOM

Music Festival

Sunday evening, July 28, 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

featuring

capathia JenKins, vocalist ryan shaW, vocalist and the cleveland orchestra with the blossom festival chorus conducted by lucas Waldin (Selections and order changes may be announced from the stage .)

aretha overture — I Say a Little Prayer for you — Chain of Fools — birth of the blues — bridge over Troubled Water — nobody Does It better — What a Friend We have In Jesus / Climbing higher mountains — macarthur Park — america the beautiful — Respect — Salute to Ray Charles — I got you (I Feel good) — ain’t no mountain high Enough — (you make me Feel Like) a natural Woman — Sir Duke — Isn’t She Lovely — I Will Survive — Try a Little Tenderness — amazing grace The concert will run just under two hours, with one intermission.

This concert is sponsored by Hyster-Yale Materials Handling, Inc . This concert is supported by the David E. and Jane J. Griffiths Blossom Music Festival Family Concerts Fund, created through a generous endowment gift to The Cleveland Orchestra. This concert is dedicated to Hewitt and Paula Shaw 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 28

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PART OF A

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INTRODUCING THE CONCERT

Queen Forever, Soul for Always T H E Q U E E N ( O F S O U L ) is dead. Long live the Queen.

Aretha Franklin’s death last year brought an outpouring of tributes from around the globe — bridging together the sadness of her passing into extraordinary moments of remembrance and unbridled joy in celebrating at her long life, her unsurpassed artistry, and her caring When I started out, humanitarianism. we didn’t have music vidLike most of the rest of us, her life had its fill of special moments mixed with difficuleos. You weren’t an overty and heartache, especially where family was night sensation. You had concerned. She was the Queen, but she was to work at it and learn your also human, the fact of which filled her singing with depth and truth. As she once said: craft — how to take care “If a song’s about something I’ve experienced of your voice, how to pace or that could’ve happened to me, it’s good. But your concerts. It was if it’s alien to me, I couldn’t lend anything to it. Because that’s what soul is all about.” all trial and error. Indeed, it is her art (and heart) and voice —Aretha Franklin that we loved and remember tonight. Not in imitation, but with reverence and humility, with joy in our hearts and a legendary voice in our minds. (She was among the many renowned artists who have performed at Blossom during this summer arts park’s first half century, appearing here in June 1986.) She was born Aretha Louise Franklin. She became Aretha, The Queen of Soul. She charted over 100 songs and sold more than 75 million records. She sang for presidents — and for all of us. Tonight we remember her life, and we revel in her art. We cherish everything good she left us — in sound and memory, in daring to do, in caring to do right. above : On the cover of Time, —Eric Sellen

June 1968, at the age of 26

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

Blossom Music Festival

Introducing the Concert: July 28

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aretha franKlin

aretha franKlin born

March 25, 1942 Memphis, Tennessee died August 16, 2018 Detroit, Michigan

74

Singer, songwriter, pianist, and civil rights activist aretha Franklin became a best-selling recording artist acclaimed around the world as the undisputed “Queen of Soul .” her musical interest blossomed as a teenager while singing gospel in Detroit’s new bethel baptist Church, where her father served as minister . her voice spanned more than three octaves, with power and nuance, richness and range . She embarked on her musical career at age 18 and earned her nickname before her thirtieth birthday . across a professional career spanning six decades, she became the most charted female artist in history, with 112 songs ranked on billboard, including 20 number-one R&b singles . In 1987, she was the first female artist inducted into the Rock & Roll hall of Fame and was later named the “greatest singer of all time” by Rolling Stone magazine . as one of the most successful music artists in history, she has sold more than 75 million records worldwide . her many honors include the national medal of arts, Presidential medal of Freedom (presented by george W . bush), and 18 grammy awards, including (beginning in 1968) the first eight ever presented for best female R&b vocal performance . She sang in inauguration events for Jimmy Carter, bill Clinton, and barack obama . The Pulitzer Prize jury awarded her a posthumous special citation “for her indelible contribution to American music and culture for more than five decades.” Displaying unique and unforgettable style, aretha always sang with emotion, passion, and vulnerability, making her an ideal duet-partner for a wide variety of performers — from Ray Charles and James brown to george michael and Whitney houston . Legendary as a performer, she sang the opera aria “nessun Dorma” on short notice in 1998, filling in for Luciano Pavarotti at the grammy awards when the acclaimed tenor canceled his appearance fifteen minutes after the show had already started — despite the fact that aretha was neither an opera singer nor a tenor . aretha Franklin’s activism extended to raising awareness and funds across many important causes, including the Civil Rights movement, women’s equality, and native american rights . her final public performance was in support of Elton John’s aIDS Foundation in 2018 . Learn more at www.rockhall.com. The Queen of Soul

The Cleveland Orchestra


Being the Queen is not all about singing, and being a diva is not all about singing. It has much to do with your service to people. And your social contributions to your community and your civic contributions as well.

—Aretha Franklin

Music does a lot of things for a lot of people. It’s transporting, for sure. It can take you right back, years back, to the very moment certain things happened in your life. It’s uplifting, it’s encouraging, it’s strengthening.

—Aretha Franklin

I think it would be a far greater world if people were kinder and more respectful to each other.

—Aretha Franklin

you cannot define a person on just one thing. you can’t just forget all those wonderful and good things that a person had done because one thing didn’t come off the way you thought it should come off.

—Aretha Franklin


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. soprano

Lou albertson Laurel babcock amanda baker Karla Cummins Sasha Desberg Lisa Fedorovich Rebecca S . hall alyse hancock-Phillips Karen hazlett Kirsten Jaegersen Kiersten Johnson nina Kapusta Lydia Kee heidi Lang Roberta myers Lisa m . Ramsey madeleine Silver-Riskin mary Krason Wiker Juliann Wolfarth alto

Ellen beleiu Kathy Chuparkoff brooke Emmel ann marie hardulak gloria R . homolak Sarah n . hutchins Kristi Krueger Charlotte Linebaugh Cathy Lesser mansfield Donna miller Toni Shreve megan Steel melanie Tabak Kristen Tobey maggie Fairman Williams Caroline Willoughby nancy Wojciak

tenor

Rong Chen Shawn Lopez Rohan mandelia michael Ward Steven Weems allen White bass

Jack blazey Sean Cahill Kerry Davis Josh heese Dennis hollo Jeral hurd Robert L . Jenkins III James Johnston Kevin Kutz Tyler mason Roger mennell Tremaine oatman brandon Randall andrew Schettler Charlie Smrekar

lucas Waldin Lucas Waldin has led performances across north america, collaborating with artists including Carly Rae Jepsen, ben Folds, Canadian brass, and buffy Sainte-marie, as well as conducting presentations of Disney in Concert, blue Planet Live, and Cirque de la Symphony . Recent appearances have included engagements with the orchestras of houston, Dallas, modesto, Louisiana, Calgary, Vancouver, and Toronto, as well as with the grant Park Festival orchestra in Chicago . he served as a member of the conducting staff (2009-12) of the Edmonton Symphony orchestra, first as resident conductor and then as artist-in-residence and community-ambassador . he appeared with the ESo over 150 times and conducted in Carnegie hall during the orchestra’s participation in the 2012 Spring for Music festival . a native of Toronto, Canada, mr . Waldin holds degrees in flute and conducting from the Cleveland Institute of music . he is making his Clevleand orchestra debut with this evening’s concert .

Jacob bernhardt , Accompanist Jill harbaugh, Manager of Choruses

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Artists: July 28

The Cleveland Orchestra


capathia Jenkins

ryan shaw

Capathia Jenkins’s career spans the arts of acting and music . gripped with passion for each, she has refused to choose — because both represent her soul . She approaches a song the same way she approaches a script, like an artist . She looks for nuance in every detail, for the secrets hidden within the notes or text — intent on taking audiences on an unforgettable journey . born and raised in brooklyn, she starred as medda in the Disney production of Newsies on broadway, having made her broadway debut in The Civil War creating the role of harriet Jackson . She returned to broadway in The Look of Love and created the role of The Washing machine in Caroline, Or Change . her stage credits also include nora Ephron’s Love, Loss, and What I Wore . as an active concert artist, ms . Jenkins has appeared with orchestras across north america, from minnesota to Cleveland, from atlanta to Seattle, and from San Diego to Toronto, as well as appearing to acclaim in Europe . her television credits include 30 Rock, The Practice, Law & Order, and The Sopranos. She made her Cleveland orchestra debut in 2008, and returned for shows in 2016, 2017, and 2018 . For more information, please visit www. capathiajenkins.com .

Ryan Shaw is a three-time grammy nominated artist . he most recently appeared as Judas in the Chicago Lyric opera’s presentation of Jesus Christ Superstar in the american premiere of a critically-acclaimed London Regents Park production . he also starred as the original Stevie Wonder in Motown the Musical on broadway . he has also performed in London’s West End as michael Jackson in Thriller Live . In concert, mr . Shaw has toured the world and shared the stage with artists including Van halen, bonnie Rait, Joss Stone, John Legend, b .b . King, bruce hornsby, and Jill Scott . his television appearances have included The Ellen DeGeneres Show, Last Call With Carson Daly, and The Martha Stewart Show . his performances have been has been featured on FoX’s So You Think You Can Dance and on abC’s Dancing With The Stars, Grey’s Anatomy, and Lincoln Heights . his new york apearances have included his Radio City music hall debut in the Dream Concert benefit to build the martin Luther King Jr national monument in Washington D .C . he has also appeared with orchestra’s across the united States and in concert at Carnegie hall . he is making his Cleveland orchestra debut with this evening’s concert .

Blossom Festival 2019

July 28: Artists

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clevelaNd OrcHestra

photo by RogeR MastRoianni

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

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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.

photo by RogeR MastRoianni

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 .

THE AUDIENCE IS WAITING — FOR YOU It's not too late to advertise in the August issue.

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Blossom Festival 2019

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Franz Welser-Möst Music Direc tor

CELLOS Mark Kosower *

Kelvin Smith Family Chair

SECOND VIOLINS Stephen Rose* FIRST VIOLINS Peter Otto

FIRST ASSOCIATE CONCERTMASTER

Virginia M. Lindseth, PhD, Chair

Jung-Min Amy Lee

ASSOCIATE CONCERTMASTER

Gretchen D. and Ward Smith Chair

Jessica Lee

ASSISTANT CONCERTMASTER

Clara G. and George P. Bickford Chair

Stephen Tavani

ASSISTANT CONCERTMASTER

Takako Masame

Paul and Lucille Jones Chair

Wei-Fang Gu

Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez

Elizabeth and Leslie Kondorossy Chair

Chul-In Park

Harriet T. and David L. Simon Chair

Miho Hashizume

Theodore Rautenberg Chair

Jeanne Preucil Rose

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

James and Donna Reid Chair

Bryan Dumm

Patricia M. Kozerefski and Richard J. Bogomolny Chair

Tanya Ell

Emilio Llinás2

Eli Matthews1

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

Trevor and Jennie Jones Chair Gladys B. Goetz Chair

Katherine Bormann Analisé Denise Kukelhan Zhan Shu

Muriel and Noah Butkin Chair 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 M. and Janet G. Kimball Chair

Jean Wall Bennett Chair

HARP Trina Struble*

Stanley Konopka 2 Mark Jackobs

Mark Dumm

Helen Weil Ross Chair

Charles Carleton Scott Dixon Derek Zadinsky

Yu Yuan

Isabel Trautwein

82

Charles Bernard2

Lynne Ramsey1

Patty and John Collinson Chair

The GAR Foundation Chair

Alfred M. and Clara T. Rankin Chair

Alicia Koelz

Oswald and Phyllis Lerner Gilroy Chair

Louis D. Beaumont Chair

Richard Weiss1

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

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

Blossom Music Festival

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

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

TIMPANI Paul Yancich*

Otto G. and Corinne T. Voss Chair

Tom Freer 2

Mr. and Mrs. Richard K. Smucker Chair

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 2

Associate Principal First Assistant Principal Assistant Principal

CONDUCTORS Christoph von Dohnányi MUSIC DIRECTOR LAUREATE

Vinay Parameswaran ASSISTANT CONDUCTOR

Elizabeth Ring and William Gwinn Mather Chair

Lisa Wong

DIRECTOR OF CHORUSES

Frances P. and Chester C. Bolton Chair

The Cleveland Orchestra

83


1918

Seven music directors have led the orchestra, including george Szell, Christoph von Dohnányi, and Franz Welser-möst .

16 18th

1l1l 11l1 l1l1 1 1l

The Theupcoming 2017-18 season 2019-20 willseason mark marks Franz Franz Welser-möst’s Welser-möst’s 16th 18th year yearas asmusic musicdirector . director .

SEVERanCE haLL, “america’s most beautiful concert hall,” opened in 1931 as the orchestra’s permanent home .

40,000

each year

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

52 53%

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

4million

Followers Follows onon Facebook social media (as of(april June 2019) 2016)

The Cleveland orchestra has introduced over 4 .1 million children in northeast ohio to symphonic music through concerts for children since 1918 .

129,452 200,000

1931

150

concerts each each year . year . concerts

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

The Cleveland orchestra performs over

tHe clevel aNd OrcHestra

BY tHE NUMBERS


tHe clevelaNd OrcHestra

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

85


THE CLEVELAND ORCHESTRA

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

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+

With special special thanks thanks to to the the Leadership Leadership Patron Patron With Committee for for their their commitment commitment to to each each Committee year’s annual annual support support initiatives: initiatives: year’s Brinton L. L. Hyde, Hyde, chair chair Brinton Robert N. N. Gudbranson, Gudbranson, vice vice chair chair Robert Barbara Robinson, Robinson, past past chair chair Barbara Ronald H. H. Bell Bell Ronald James T. T. Dakin Dakin James Karen E. E. Dakin Dakin Karen Henry C. C. Doll Doll Henry Judy Ernest Ernest Judy Nicki N. N. Gudbranson Gudbranson Nicki

82 86

George Szell Society

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

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+

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

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 The Cleveland Festival Orchestra 2019

Individual Annual Support

87 83


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

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

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

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

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

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

84 88

Individual Annual Support

listings listings continue continue

The 2019 Cleveland BlossomOrchestra Festival


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 .

clevelandorchestra.com


listings continued

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 Carol Taller+ Sidney Taurel and ‘Maria Castello Branco Mr.* and 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

86 90

Individual Annual Support

The Cleveland 2019 BlossomOrchestra 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 on­ line at clevelandorchestra .com For information about how you can play a supporting role for The Cleveland Orch­ estra’s ongoing artistic excel­ lence, education programs, and community partnerships, please contact our Philan­ thropy & Advancement Office by phone: 216-231-7556 or email: annualgiving @clevelandorchestra.com

+ has signed a multiyear

pledge (see information box earlier in these listings)

* deceased

Individual Annual Support

91 87


THE CLEVELAND ORCHESTRA

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

Annual Support 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 PARTNERS IN IN EXCELLENCE EXCELLENCE AND MORE MORE $300,000 $300,000 AND

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

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

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

78 92

$50,000 $50,000 TO TO $99,999 $99,999

The Lubrizol Corporation Quality Electrodynamics voestalpine AG (Europe) $15,000 $15,000 TO TO $49,999 $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 $2,500 TO TO $14,999 $14,999 Amsdell Amsdell Companies Companies BDI BDI Blue Blue Technologies Technologies Brothers Brothers Printing Printing Company Company Tony Tony and and Lennie Lennie Petarca Petarca Cleveland Cleveland Steel Steel Container Container Corporation Corporation The The Cleveland Cleveland Wire Wire Cloth Cloth && Mfg. Mfg. Co. Co. Cohen Cohen && Company, Company, CPAs CPAs Consolidated Consolidated Solutions Solutions Dominion Dominion Energy Energy Charitable Charitable Foundation Foundation Evarts Evarts Tremaine Tremaine The The Ewart-Ohlson Ewart-Ohlson Machine Machine Company Company Arthur Arthur J.J. Gallagher Gallagher && Co. Co. Gross Gross Builders Builders Jobs Jobs Ohio Ohio The The Lincoln Lincoln Electric Electric Foundation Foundation Littler Littler Mendelson, Mendelson, P.C. P.C. Live Live Publishing Publishing Company Company Materion Materion Corporation Corporation Northern Northern Haserot Haserot Oatey Oatey Oswald Oswald Companies Companies Park-Ohio Park-Ohio Holdings Holdings PwC PwC RSM RSM US US LLP LLP Stern Stern Advertising Advertising Ulmer Ulmer && Berne Berne LLP LLP Anonymous Anonymous (2) (2)

The 2019 Cleveland BlossomOrchestra Festival


THE CLEVELAND ORCHESTRA

Foundation/Government Support The Cleveland Orchestra is grateful for the annual support of the foundations and government agencies listed 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, education programs, and community initiatives.

Annual Support 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 The Cleveland Festival Orchestra 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

93 79


Steve Norris and Emily Gonzales love to find new ways to get involved and support The Cleveland Orchestra. Not only do they belong to the Orchestra’s young professionals group, The Circle, they are also the youngest members of the Heritage Society, a group of over 650 generous individuals who have remembered the Orchestra in their estate plans. Steve and Emily met in college, where they took music classes together. After graduation, Steve introduced Emily to summer concerts at Blossom and the beauty of Severance Hall. “Music is an important part of our love story, and we want it to be part of our legacy,” says Steve.

is an “Music important part of

our love story, and we want it to be part of our legacy.”

“Hopefully, our story encourages others to give so that this Cleveland gem will be around for everyone to enjoy for another century and more.” Steve and Emily are living proof: It’s never too early to plan your legacy. To find out more about investing in the future of The Cleveland Orchestra with a planned gift that costs nothing today, contact:

Steve Norris and Emily Gonzales

Everyone Can Leave a

Rachel Lappen Dave Stokley Senior of Development LegacyDirector Giving Officer The Cleveland Orchestra 216-231-8011 216-231-8006 rlappen@clevelandorchestra.com dstokley@clevelandorchestra.com

Legacy

THE CLEVELAND ORCHESTRA


Legacy Giving THE CLEVELAND ORCHESTRA

H E R I TAGE S O C I ET Y

The Heritage Society honors those individuals who are helping to ensure the future of The Cleveland Orchestra with a Legacy gift. Legacy gifts come in many forms, including bequests, charitable gift annuities, and insurance policies. The following listing of current members is as of June 2019. For more information, please contact the Orchestra’s Legacy Giving Office by contacting Rachel Lappen at rlappen@clevelandorchestra.com or 216-231-8011.

Lois a . aaron Leonard abrams gay Cull addicott Stanley and hope adelstein* Sylvia K . adler* norman* and marjorie allison Dr . Sarah m . anderson george n . aronoff herbert ascherman, Jr . Jack and Darby ashelman mr . and mrs . William W . baker Jack L . barnhart margaret b . and henry T .* barratt Rev . Thomas T . baumgardner and Dr . Joan baumgardner Fred g . and mary W . behm Fran and Jules belkin Dr . Ronald and Diane bell bob bellamy Joseph P . bennett marie-hélène bernard Ila m . berry* howard R . and barbara Kaye besser Dr .* and mrs . murray m . bett Dr . marie bielefeld Raymond J . billy (biello) mr . William P . blair III Doug and barb bletcher madeline & Dennis block Trust Fund mrs . Flora blumenthal mr . Richard J . bogomolny and ms . Patricia m . Kozerefski mr . and mrs . Charles P . bolton Kathryn bondy* Loretta and Jerome borstein* mr . and mrs .* otis h . bowden II Drs . Christopher P . brandt and beth brandt Sersig mr . D . mcgregor brandt, Jr . David and Denise brewster Robert W . briggs Elizabeth a . brinkman Dr . Jeanette grasselli brown and Dr . glenn R . brown Thomas brugger, mD mr . and mrs . harvey buchanan* Joan and gene* buehler gretchen L . burmeister

Stanley and honnie busch* milan and Jeanne* busta ms . Lois L . butler mr . and mrs . William C . butler gregory and Karen Cada Roberta R . Calderwood* harry and marjorie* m . Carlson Janice L . Carlson Dr .* and mrs . Roland D . Carlson barbara a . Chambers, D . Ed . Dr . gary Chottiner & anne Poirson nancybell Coe Kenneth S . and Deborah g . Cohen Ralph m . and mardy R . Cohen* Victor J . and Ellen E . Cohn Robert and Jean* Conrad mr .* and mrs . gerald a . Conway The honorable Colleen Conway Cooney and mr . John Cooney John D . and mary D . Corry* Dr . Dale and Susan Cowan Dr . and mrs . Frederick S . Cross* martha Wood Cubberley In memory of Walter C . and marion J . Curtis William and anna Jean Cushwa alexander m . and Sarah S . Cutler mr .* and mrs . Don C . Dangler mr . and mrs . howard J . Danzinger barbara ann Davis Carol J . Davis Charles and mary ann Davis William E . and gloria P .* Dean, Jr . mary Kay Degrandis and Edward J . Donnelly neeltje-anne DeKoster* Carolyn L . Dessin mrs . armand J . DiLellio James a . Dingus, Jr . Dr . and mrs . Richard C . Distad maureen a . Doerner and geoffrey T . White henry and mary* Doll gerald and Ruth Dombcik barbara Sterk Domski mr .* and mrs . Roland W . Donnem nancy E . and Richard m . Dotson

mrs . John Drollinger Drs . Paul m .* and Renate h . Duchesneau george* and becky Dunn mr . and mrs . Robert Duvin Dr . Robert E . Eckardt Paul and Peggy Edenburn Robert and anne Eiben* mr . and mrs . alfred m . Eich, Jr . Roger b . Ellsworth oliver* and mary Emerson Lois marsh Epp Patricia Esposito C . gordon and Kathleen a .* Ewers Patricia J . Factor Carl Falb Regis and gayle Falinski mrs . mildred Fiening gloria and Irving* Fine Joan alice Ford mr . and mrs . Ralph E . Fountain* gil* and Elle Frey arthur* and Deanna Friedman mr .* and mrs . Edward h . Frost Dawn Full henry S . Fusner* Dr . Stephen and nancy gage barbara and Peter galvin mr . and mrs . Steven b . garfunkel Donald* and Lois gaynor albert I . and norma C . geller Dr . Saul genuth Frank and Louise gerlak Dr . James E . gibbs S . bradley gillaugh mr .* and mrs . Robert m . ginn Fred and holly glock Ronald* and Carol godes William h . goff mr . and mrs . henry J . goodman John and ann gosky In memory of margaret goss harry and Joyce graham Elaine harris green Tom and gretchen green anna Zak greenfield Richard and ann gridley nancy hancock griffith David E .* and Jane J . griffiths listing continues

The Cleveland Orchestra

Legacy Giving

95


Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY l i s t i n g c o n t i n u ed

bev and bob grimm Candy and brent grover Thomas J .* and Judith Fay gruber henry and Komal gulich mr . and mrs . David h . gunning mr . and mrs . William E . gunton mrs . John a hadden Jr . Richard* and mary Louise hahn James J . hamilton Raymond g . hamlin, Jr . Kathleen E . hancock holsey gates handyside* norman C . and Donna L . harbert mary Jane hartwell* William L .* and Lucille L . hassler mrs . henry hatch (Robin hitchcock) nancy hausmann Virginia and george havens barbara L . hawley and David S . goodman gary D . helgesen Clyde J . henry, Jr . ms . m . Diane henry Wayne and Prudence heritage T . K .* and Faye a . heston Fred heupler, m .D . mr . and mrs .* Daniel R . high mr . and mrs . D . Craig hitchcock* bruce F . hodgson mary V . hoffman Feite F . hofman mD* mrs . barthold m . holdstein* Leonard* and Lee ann holstein David and nancy hooker Thomas h . and Virginia J .* horner Fund Patience Cameron hoskins Elizabeth hosmer Dorothy humel hovorka* Dr . Christine a . hudak, mr . marc F . Cymes Dr . Randal n . huff mrs . marguerite b . humphrey adria D . humphreys* ann E . humphreys and Jayne E . Sisson David and Dianne hunt Karen S . hunt mr . and mrs . g . Richard hunter Ruth F . Ihde mr .* and mrs . Jonathan E . Ingersoll Pamela and Scott Isquick mr . and mrs . Clifford J . Isroff* mr . and mrs . Donald m . Jack, Jr . Carol S . Jacobs Pamela Jacobson milton* and Jodith Janes Jerry and martha Jarrett* merritt and Ellen Johnquest* allan V . Johnson E . anne Johnson nancy Kurfess Johnson, m .D .

96

David and gloria Kahan Julian and Etole Kahan David george Kanzeg bernie and nancy Karr Drs . Julian and aileen Kassen* milton and Donna* Katz nancy F . Keithley and Joseph P . Keithley Patricia and Walter Kelley* bruce and Eleanor Kendrick malcolm E . Kenney mr . and mrs . Douglas a . Kern Charles m . and Janet g . Kimball* James and gay* Kitson mr . Clarence E . Klaus, Jr . mary Elizabeth and g . Robert Klein* Fred* and Judith Klotzman Paul and Cynthia Klug martha D . Knight mr . and mrs . Robert Koch Dr . Vilma L . Kohn* mr . Clayton Koppes Susan Korosa mr .* and mrs . James g . Kotapish, Sr . margery a . Kowalski Janet L . Kramer mr . James Krohngold mr . and mrs . gregory g . Kruszka Thomas* and barbara Kuby Eleanor* and Stephen Kushnick mr . and mrs . Dennis W . Labarre James I . Lader mr . and mrs . David a . Lambros mrs . Carolyn Lampl marjorie m . Lamport* Louis Lane* Kenneth m . Lapine and Rose E . mills Lee and Susan Larson Charles K . László and maureen o’neill-László anthony T . and Patricia Lauria Charles and Josephine Robson Leamy Fund* Jordan R . and Jane g . Lefko Teela C . Lelyveld mr . and mrs . Roger J . Lerch Judy D . Levendula Dr . and mrs . howard Levine bracy E . Lewis mr . and mrs .* Thomas a . Liederbach Rollin* and Leda Linderman Virginia m . and Jon a . Lindseth Ruth S . Link* Dr . and mrs . William K . Littman Dr . Jack and mrs . Jeannine Love Jeff and maggie Love Dr . alan and mrs . min Cha Lubin Linda and Saul Ludwig Kate Lunsford Patricia macDonald alex and Carol machaskee Jerry maddox

Legacy Giving

mrs . h . Stephen madsen alice D . malone* mr . and mrs . Donald malpass, Jr . Lucille harris mann* mr . and mrs . Richard a . manuel* Clement P . marion Dr . and mrs . Sanford E . marovitz David C . and Elizabeth F . marsh* Duane and Joan marsh* mr . and mrs . anthony m . martincic Kathryn a . mates Dr . Lee maxwell and michael m . Prunty alexander and marianna* mcafee nancy b . mcCormack mr . William C . mcCoy Dorothy R . mcLean Jim and alice mecredy* James and Virginia meil mr . and mrs . Robert F . meyerson* brenda Clark mikota Christine gitlin miles antoinette S . miller Chuck and Chris miller Edith and Ted* miller Leo minter, Jr . mr . and mrs .* William a . mitchell Robert L . moncrief ms . beth E . mooney beryl and Irv moore ann Jones morgan george and Carole morris mr . and mrs . Thomas W . morris mr . and mrs .* Donald W . morrison Joan R . mortimer, PhD* Susan b . murphy Dr . and mrs . Clyde L . nash, Jr Deborah L . neale mrs . Ruth neides* David and Judith newell Steve norris and Emily gonzales Paul and Connie omelsky Katherine T . o’neill The honorable and mrs . John Doyle ong henry ott-hansen mr . J . William and Dr . Suzanne Palmer R . neil Fisher and Ronald J . Parks nancy* and W . Stuver Parry Dr .* and mrs . Donald Pensiero mary Charlotte Peters mr . and mrs . Peter Pfouts* Janet K . Phillips* Elisabeth C . Plax Florence KZ Pollack Julia and Larry Pollock John L . Power and Edith Dus-garden Richard J . Price Lois S . and Stanley m . Proctor* mr . David C . Prugh* Leonard and heddy Rabe

The Cleveland Orchestra


Legacy Giving THE CLEVELAND ORCHESTR A HERITAGE SOCIETY m . neal Rains mrs . alfred m . Rankin, Sr . James and Donna Reid mrs . Charles Ritchie Dr . Larry J .b .* and barbara S . Robinson margaret b . Robinson Dwight W . Robinson Janice and Roger Robinson amy and Ken Rogat Carol Rolf and Steven adler margaret b . babyak* and Phillip J . Roscoe audra* and george Rose Dr . Eugene and mrs . Jacqueline* Ross Robert and margo Roth marjorie a . Rott* howard and Laurel Rowen Professor alan miles Ruben and Judge betty Willis Ruben marc Ruckel Florence brewster Rutter Dr . Joseph V . Ryckman mr . James L . Ryhal, Jr .* Renee Sabreen* marjorie bell Sachs Dr . Vernon E . Sackman and ms . marguerite Patton Sue Sahli mr . and mrs . James a . Saks John a Salkowski Larry J . Santon Stanford and Jean b . Sarlson James Dalton Saunders Patricia J . Sawvel Ray and Kit Sawyer alice R . Sayre In memory of hyman and becky Schandler Robert Scherrer Sandra J . Schlub ms . marian Schluembach Robert and betty Schmiermund mr .* and mrs . Richard m . Schneider Jeanette L . Schroeder Frank Schultz Carol* and albert Schupp Lawrence m . Sears and Sally Z . Sears Roslyn S . and Ralph m . Seed nancy F . Seeley Edward Seely oliver E .* and meredith m . Seikel Reverend Sandra Selby Eric Sellen holly Selvaggi Thomas and ann Sepúlveda b . Kathleen Shamp Jill Semko Shane David Shank Dr . and mrs . Daniel J . Shapiro* helen and Fred D . Shapiro norine W . Sharp*

Summers@Severance

norma gudin Shaw Elizabeth Carroll Shearer* Dr . and mrs . William C . Sheldon John F . Shelley and Patricia burgess* Frank* and mary ann Sheranko Kim Sherwin mr . and mrs . michael Sherwin Reverend and mrs . malcolm K . Shields Rosalyn and george* Sievila mr .* and mrs . David L . Simon Dr .* and mrs . John a . Sims naomi g . and Edwin Z . Singer Lauretta Sinkosky h . Scott Sippel and Clark T . Kurtz Ellen J . Skinner Ralph* and Phyllis Skufca Janet hickok Slade Drs . Charles Kent Smith and Patricia moore Smith!!! mr .* and mrs . Ward Smith ms . mary C . Smith Sandra and Richey Smith Roy Smith myrna and James Spira barbara J . Stanford and Vincent T . Lombardo george R . and mary b . Stark Sue Starrett and Jerry Smith Lois and Tom Stauffer Elliott K . Stave & Susan L . Kozak Fund Saundra K . Stemen merle and albert Stern* Dr . myron bud and helene* Stern mr . and mrs . John m . Stickney Dr . and mrs . William h . Stigelman, Jr . mr .* and mrs . James P . Storer Ralph E . and barbara n . String* In memory of marjory Swartzbaugh Dr . Elizabeth Swenson Lorraine S . Szabo mrs . Jean h . Taber* norman V . Tagliaferri nancy and Lee Tenenbaum Dr . and mrs . Friedrich Thiel mr . and mrs . William m . Toneff Joe and marlene Toot alleyne C . Toppin Janice and Leonard Tower Dr . and mrs . James E . Triner William & Judith ann Tucholsky Dorothy ann Turick* mr . Jack g . ulman Robert and marti* Vagi Robert a . Valente J . Paxton Van Sweringen mary Louise and Don VanDyke Steven Vivarronda hon . and mrs . William F .b . Vodrey Pat and Walt* Wahlen mrs . Clare R . Walker John and Deborah Warner

Legacy Giving

mr . and mrs . Russell Warren Joseph F . and Dorothy L .* Wasserbauer Reverend Thomas L . Weber Etta Ruth Weigl* Lucile Weingartner max W . Wendel William Wendling and Lynne Woodman Robert C . Weppler Paul and Suzanne Westlake marilyn J . White yoash and Sharon Wiener Linda R . Wilcox alan h .* and marilyn m . Wilde helen Sue* and meredith Williams Carter and genevieve* Wilmot mr . milton Wolfson* and mrs . miriam Shuler-Wolfson nancy L . Wolpe mrs . alfred C . Woodcock Katie and Donald Woodcock Dr .* and mrs . henry F . Woodruff marilyn L . Wozniak nancy R . Wurzel michael and Diane Wyatt Tony and Diane Wynshaw-boris mary yee Carol yellig Libby m . yunger William Zempolich and beth meany Roy J . Zook* anonymous (73)

The lotus blossom is the symbol of the Heritage Society. It represents eternal life and recognizes the permanent benefits of legacy gifts to The Cleveland Orchestra’s endowment. Said to be Elisabeth Severance’s favorite flower, the lotus is found as a decorative motif in nearly every public area of Severance Hall. For more information, please call 216-231-8011.

97


Experience

HUDSON SOCIETY OF ARTISTS Presents the 39th Annual

excellence in education. PRESCHOOL THROUGH EIGHTH GRADE



“Art on The Green”

Art on the Green (corner of Rte 91 and Rte 303)

Hudson, Ohio

Saturday August 24 10 a.m. - 5 p.m.

Sunday August 25 11 a.m. - 5 p.m.

Rain or Shine FREE ADMISSION • REFRESHMENTS

Call today for a tour!

A Fine Arts & Crafts Show & Sale of:

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THE CLEVELAND ORCHESTRA

2O19 BLOSSOM Live Publishing Publishing Live MUSIC FESTIVAL provides comprehensive communications and marketing services to a who’s who roster of clients, including 2O18 2O19 the world-renowned Cleveland Orchestra. We know how to deliver the most meaningful messages in the most effective media, all in the most cost-effective manner. We’re easy to do business with, and our experienced crew has handled every kind of project – from large to small, print to web. SEASON SPONSOR

FRANZ WELSER-MÖST

SUMMER HOME OF THE CLEVELAND ORCHESTRA

2O19 B LOSSOM BOOK No. 2 Welcome . . . . . . . . . . . . . . . . . . . . . . . . page 7 INsIde . . .

— February 21, 22, 23 JulyWeek 20 --- 15 Bruch and Sibelius . . . . . . . . . . . . . . . . . . . . . . . . page 21 Beethoven’s Sixth . . . . . . . . . . . . page 21 July 21 --- Romero Plays Rodrigo . . . . . . . . . . . . . . . . . . . page 33 — February 28, March 2 . . . . . . . . . . . . page 46 JulyWeek 27 ---16 Kent Blossom Side-by-Side Pétrouchka JulyStravinsky’s 28 --- Aretha: Queen of Soul . .. .. . . . .. . . . .page . . . . . 43 . . . . . page 71

SEaSON

Week 16m — March

Ex

WINTER

Inspiring. Innovative. Intelligent.

1 Rebel Without a Cause . . . . . . . page 63

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

SEvERaNcE Hall

1791 S. Jacoby Road • Copley, OH 44321 330.666.0574 admissions@sgws.org blog.sgws.org

www.sgws.org

98 98

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

The Cleveland Orchestra


t HE

CLEVELAND ORCHE STRA

Each year, thousands of Northeast Ohioans experience The Cleveland Orchestra for the first time. Whether you are a seasoned concertgoer or a first-timer, these pages give you ways to learn more or get involved with the Orchestra and to explore the joys of music further. Created to serve Northeast Ohio, The Cleveland Orchestra has a long and proud history of promoting and sharing the power of music through exploration, education, and extraordinary experiences.

Celebrating Life & Music The Cleveland Orchestra performs all varieties of music, gathering family and friends together in celebration of the power of music. The Orchestra’s music marks major milestones and honors special moments, helping to provide the soundtrack to each day and bringing your hopes and joys to life. From free community concerts at Severance Hall and in downtown Cleveland . . . to picnics on warm summer evenings at Blossom Music Center . . . From performances for crowds of students in classrooms and auditoriums . . . to opera and ballet with the world’s best singers and dancers . . . From holiday gatherings with favorite songs . . . to the wonder of new compositions performed by music’s rising stars . . . Music inspires. It fortifies minds and electrifies spirits. It brings people together in mind, body, and soul.

To learn more, visit clevelandorchestra.com

Summers@Severance

PhOTOgraPhy by rOger masTrOiaNNi

CONCERTS

Get Involved

99


The CLeVeLANd oRChesTRA

ExCEllENCE

Ambassador to the World

A FOCuS ON YOuNg PEOPlE

Changing Lives The Cleveland Orchestra is building the youngest orchestra audience in the country. In recent years, the number of young people attending Cleveland Orchestra concerts at Blossom and Sever­ ance Hall has more than doubled, and now makes up 20% of the audience. • Under 18s Free, the flagship program of the Orchestra’s Center for Future Audiences (created with a lead endowment gift from the Maltz Family Foundation), makes attending Orchestra concerts affordable for families.

The Cleveland Orchestra is one of the world’s most-acclaimed and sought-after performing arts ensembles. Whether at home or around the world, the musicians carry Northeast Ohio’s commitment to excellence and strong sense of com -munity with them everywhere the Orchestra performs. The ensemble’s ties to this region run deep and strong: • Two acoustically-renowned venues — Severance Hall and Blossom — anchor the Orchestra’s performance calendar and continue to shape the artistic style of the ensemble. • More than 60,000 local students participate in the Orchestra’s education programs each year. • Over 350,000 people attend Orchestra concerts in Northeast Ohio annually. • The Cleveland Orchestra serves as Northeast Ohio’s ambassador to the world — through concerts, recordings, and broadcasts — proudly bearing the name of its hometown across the globe.

• Student Advantage and Frequent FanCard programs offer great deals for students. • The Circle, our membership program for ages 21 to 40, enables young professionals to enjoy Orchestra concerts and social and networking events. • The Orchestra’s casual Friday evening concert series (Fridays@7 and Summers @Severance) draw new crowds to Severance Hall to experience the Orch­ estra in a context of friends and musical explorations.

100

Get Involved

The Cleveland Orchestra


The CLeVeLANd oRChesTRA

YOuR ORCHESTRA

Building Community The Cleveland Orchestra exists for and because of the vision, generosity, and dreams of the Northeast Ohio community. Each year, we seek new ways to meaningfully impact lives.

EDuCATION

Inspiring Minds Education has been at the heart of The Cleveland Orchestra’s community offerings since the ensemble’s founding in 1918. The arts are a core subject of school learning, vital to realizing each child’s full potential. A child’s education is incomplete unless it includes the arts, and students of all ages can experience the joy of music through the Orchestra’s varied education programs. The Orchestra’s offerings impact . . . . . . the very young, with programs including PNC music explorers and PNC grow Up great. . . . grade school and high school students, with programs including Learning Through music, Family Concerts, Education Concerts, and in-school Performances.

• Convening people at free community concerts each year in celebration of our country, our city, our culture, and our shared love of music. • Immersing the Orchestra in local communities with special performances in local businesses and hotspots through neighborhood residencies and other initiatives. • Collaborating with celebrated arts institutions — including the Cleveland Museum of Art, Cleveland Play House, and Cleveland Institute of Music — to bring inspirational performances to the people of Northeast Ohio. • Actively partnering with local schools, neighborhoods, businesses, and state and local governments to engage and serve new corners of the community through residencies, education offerings, learning initiatives, and free public events.

. . . college students and beyond, with programs including musician-led masterclasses, in-depth explorations of musical repertoire, pre-concert musician interviews, and public discussion groups.

Summers@Severance

Get Involved

101


The CLeVeLANd oRChesTRA

A gENEROuS COMMuNITY

Supporting Excellence

Financial support and contributions from thousands of people, corporations, and foundations across Northeast Ohio help sus­ tain the extraordinary musical experiences and community engagement that sets The Cleveland Orchestra apart from other orch­ estral ensembles around the world.

VOluNTEERINg

Get Involved The Cleveland Orchestra has been supported by many dedicated volunteers since its founding in 1918. You can make an immediate impact by getting involved. • Over 200,000 people learn about and follow The Cleveland Orchestra’s activities online through Facebook, Twitter, and Instagram. • Two active volunteer groups — Friends of The Cleveland Orchestra and the Blossom Friends of The Cleveland Orchestra — support the Orchestra through service and fundraising. To learn more, please call 216-231-7557.

Ticket sales cover less than half the cost of The Cleveland Orchestra’s concerts, education presentations, and community programs. Each year, thousands of generous people make donations large and small to sustain the Orchestra for today and for future generations. Every dollar donated enables The Cleveland Orchestra to play the world’s finest music, bringing extraordinary experiences to people throughout our community — and acclaim and admiration to Northeast Ohio. To learn more, visit clevelandorchestra.com/donate

• Over 400 volunteers assist concertgoers each season, as Ushers for Orchestra concerts at Severance Hall, or as Tour Guides and as Store Volunteers. For more info, please call 216-231-7425. • 300 professional and amateur vocalists volunteer their time and artistry as part of the professionally-trained Cleveland Orchestra Chorus and Blossom Festival Chorus each year. To learn more, please call 216-231-7372.

102

Get Involved

The Cleveland Orchestra


The CLeVeLANd oRChesTRA

gET INVOlVED

Learn More To learn more about how you can play an active role as a member of The Cleveland Orchestra family, visit us at Blossom or Severance Hall, attend a musical performance, or contact a member of our staff.

VISIT

ACTIVE PARTICIPATION

Making Music The Cleveland Orchestra passionately believes in the value of active musicmaking, which teaches life lessons in teamwork, listening, collaboration, and self expression. Music is an activity to participate in directly, with your hands, voice, and spirit. • You can participate in ensembles for musicians of all ages — including the Cleveland Orchestra Chorus, Children’s Chorus, Youth Chorus, and Blossom Festival Chorus, and the Cleveland Orchestra Youth Orchestra. • Each year, the Orchestra brings people together in celebration of music, events, anniversaries, and more — giving voice to music at community singalongs and during holiday performances. • We partner with local schools and businesses to teach and perform, in ensembles and as soloists, encouraging music-making across Northeast Ohio. music has the power to inspire, to transform, to change lives. make music part of your life, and support your school’s music programs.

Summers@Severance

Get Involved

Severance Hall

 11001 Euclid Avenue  Cleveland, OH 44106

Blossom Music Center

 1145 West Steels Corners Road  Cuyahoga Falls, OH 44223

CONTACT US

Administrative Offices: 216-231-7300 Ticket Services: 216-231-1111 or 800-686-1141 or clevelandorchestra.com Group Sales: 216-231-7493  email groupsales@clevelandorchestra.com Education & Community Programs:  phone 216-231-7355  email education@clevelandorchestra.com Orchestra Archives: 216-231-7382  email archives@clevelandorchestra.com Choruses: 216-231-7372  email chorus@clevelandorchestra.com Volunteers: 216-231-7557  email lcohen@clevelandorchestra.com Individual Giving: 216-456-8400  email annualgiving@clevelandorchestra.com Legacy Giving: 216-231-8011  email rlappen@clevelandorchestra.com Corporate Giving: 216-231-7518  email abednarski@clevelandorchestra.com Foundation Giving: 216-231-7549  email nstarner@clevelandorchestra.com Severance Hall Rental Office:  phone 216-231-7421  email ebookings@clevelandorchestra.com

103


mid-January, 1968

construction photography courtesy of peter van dijk

left:

right:

early April, 1968

left:

mid-March, 1968

right:

early April, 1968

Architect Peter van Dijk and music director George Szell

left:

mid-May, 1968

right:

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 expressprogrambook.com .

Patron Information

105


What to Do . . .

in addition to enJoyinG the concert younG person’s Guide a free printed young Person’s guide is available to help your youngest attendees learn about music, with some suggested activities . 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 clevelandorchestra.com/picnic . concessions blossom offers a diverse selection of food and beverage concessions throughout the grounds . Some of the items available include individual pizzas, grilled hot dogs, jumbo soft pretzels, coffees, and ice cream, along with a selection of alcoholic beverages featuring beers and summer cocktails . Wines by the bottle can be purchased at the Wine Store, at the top of the Lawn (see grounds map) .

blossom Grille This 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 .

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 104.9 ideastream 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.

106

Patron Information

2019 Blossom Festival


Pavilion Seating

CONTACT US

food and beveraGes, late seatinG

ORCHESTRA FESTIVAL TICKETS

(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 clevelandorchestra.com 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 parking . Free hang-tags for Lots C-D-E are available with Pavilion tickets purchased at least ten days in advance of a Festival concert . Paved Lots A and B are reserved for subscribers (Lot B) and Box Seat holders (Lot A) . 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

107


Buying Tickets Call the Severance Hall Ticket Office

FRE E N

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

ER 1

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 .

U

by telephone

in person

At the Severance Hall Ticket Office blossom music Festival tickets can be purchased at the Severance hall Ticket office, located at 11001 Euclid avenue (the corner of Euclid avenue and East boulevard) in Cleveland . open weekdays 9 a .m . to 6 p .m . Closed Saturdays, Sundays, and holidays . at blossom music center Tickets for blossom music Festival concerts can be purchased at the blossom box office, open Saturdays and Sundays from 1 p .m . to 5 p .m . and from 1 p .m . through intermission on Festival concert dates .

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

S E AT I N G C H A R T SEATING CHART

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

Area 2

Area 3

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

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 “Parking Pass” lane . To receive a parking pass, C-D-E purchase tickets in person or online at least ten days prior to the concert. blosso

m music

fest

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

Wheelchair access accessible seating locations are available across all seating price levels . If assistance is needed, uniformed staff can help .

Blossom Festival 2019

Buying Tickets

4

Face this

side out

109


6 3

ATM

2 1 3 2 1

Picnic Tables

6

5

2O19

4 5

Knight Grove

4

(Pods)

BLossoM GRouNds

Knight Grove (Pods)

Concessions

ATM

Family Restroom

Backstage Lot

ADA Pavilion Seating ADA Pavilion Seating

ATM

awn ating

Pavilion Blossom Kulas Grille Plaza Blossom Grille

Concessions

ATM

Picnic Tables Hood Meyerson Suite

ATM

Concessions Lawn Terrace

Backstage Lot

Pavilion Kulas Plaza Kulas Plaza

Lawn Pavilion Seating Lawn Seating

Lawn Terrace

Family Restroom

Concessions Hood Family Restroom Meyerson Suite Hood Meyerson Backstage Lot Suite

Concessions

Tram Circle

Concessions

Tram Circle

ADA Pavilion Seating ADA Pavilion Seating

ATM

Concessions

Concessions ATM Concessions

Concessions

Information Center* Herbert E. Frank E. Joseph Garden Strawbridge Garden Frank E. Joseph Garden Eells Gallery ATM Emily’s Garden Smith Special Tasting Room Plaza Eells Gallery Events Center Lot A Gate Tasting Room Main Gate Guest Lot AServices Gate First Aid FirstEnergy Security Box Office Guest Services First Aid Lot Bridge FirstEnergy Security Pedestrian

(RESERVED–PREPAID)

Lawn Ticket LotBooth Information Center* (RESERVED–PREPAID)

ods Picnic Area

Information Center*

ber

Lot

Box Office Box Office

Woods Picnic Area Subscriber

Lot

Lot

Lot Lot

ATM ATM Special Events Center

Main Gate

Main Gate

(Cleveland Orchestra Store & Concessions)

Special Events Center

(Cleveland Orchestra Store & Concessions)

Pedestrian Bridge Lawn Ticket Booth Pedestrian Bridge

Woods Picnic Area

Subscriber

Lot

Herbert E. Strawbridge Garden Herbert E. Strawbridge Smith Emily’s Garden Plaza Garden Smith Emily’s Plaza Garden

Lawn Chair Rental ATM Information Center* Lawn Chair Rental Information Center*

Lawn Ticket Booth

Lot Lot Lot Lot

ADA Route Driving Lanes ADA Route Tram Stops Driving Lanes

110

* Information Centers Tram Stops staffed by Blossom Friends of The Cleveland Orchestra

Grass Lots 1, 2, 3, 4, Porthouse Theatre, 2019 Blossom Festival and Steels Corners Road Entrance


empowered by

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

d e r e w o p em to perform

empowered LEARN HOW YOU’LL BE 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.

13500 DETROIT AVENUE

LAKEWOOD, OHIO 44107


3

Profile for Live Publishing

Blossom Music Festival 2019 Book 2  

July 20 - Bruch and Sibelius July 21 - Romero plays Rodrigo July 27 - Kent Blossom Side-by-Side July 28 - Aretha: Queen of Soul

Blossom Music Festival 2019 Book 2  

July 20 - Bruch and Sibelius July 21 - Romero plays Rodrigo July 27 - Kent Blossom Side-by-Side July 28 - Aretha: Queen of Soul

Profile for lpcpub