2026
THE MUSIC OF JOHN WILLIAMS September 4–6, 2026
THE MUSIC OF JOHN WILLIAMS 2026
Friday, September 4, 2026, at 7 PM Saturday, September 5, 2026, at 7 PM Sunday, September 6, 2026, at 7 PM The Cleveland Orchestra Sarah Hicks, conductor
All selections by
JOHN WILLIAMS (b. 1932) PRESENTED BY
Superman March from Superman Main Theme from Jurassic Park Marion’s Theme from Raiders of the Lost Ark Hedwig’s Theme from Harry Potter and the Sorcerer’s Stone
SEASON PARTNER
Scherzo for Motorcycle and Orchestra from Indiana Jones and the Last Crusade Flight to Neverland from Hook
MOVIE NIGHT PRESENTER
Suite from Far and Away I N T E R M I S S I O N | 20 minutes March of the Resistance from Star Wars: The Force Awakens
FAMILY ENGAGEMENT PARTNER
Adventures on Earth from E.T.: The Extra-Terrestrial Fawkes the Phoenix from Harry Potter and the Chamber of Secrets Shark Theme from Jaws Across the Stars from Star Wars: Attack of the Clones Throne Room and End Title from Star Wars: A New Hope Total approximate running time: 1 hour 30 minutes
COVER PHOTO BY ROGER MASTROIANNI
Summer Movie Sponsor Saturday’s concert is dedicated to The Seven Five Fund in recognition of their generous support of music.
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THE MANY MUSICAL WORLDS OF JOHN WILLIAMS JOHN WILLIAMS IS THE MOST INFLUENTIAL COMPOSER ALIVE. A substantial claim, no doubt — but consider the facts: Williams has written the musical themes for some of the most iconic and memorable creations ever. If he had only written the music for the Star Wars universe, it would have been enough to enshrine him in the soundtrack heavens. But he has written scores in almost every genre of film imaginable, not to mention music for concert halls, television series, news programs, sports broadcasts, and the Olympics. His music emanates from amusement parks and children’s toys, appears in pop culture parodies (from Spaceballs to Family Guy), and has been incorporated into ceremonies and memorials around the world. John Towner Williams — born in 1932 — had significant exposure to both music and film from an early age, both in his native Queens, New York, and eventually in Los Angeles, where he, his parents, and his three siblings moved in 1948. His father, Johnny Williams, was a drummer for the radio- and record-famous Raymond Scott, whose songs featured in dozens of Bugs Bunny and other Warner Bros. cartoons in the 1940s. John apprenticed with, among other illustrious teachers, Mario Castelnuovo-Tedesco, the Italian émigré composer who, besides working in film music himself, was the teacher and mentor for a generation of film composers including Scott Bradley, Henry Mancini, and André Previn (one of Williams’s close friends). Williams has been writing for film and television since 1954 — yes, since he was 22 years old. The major turning point in Williams’s career, however, occurred in the 1970s: within four years he scored Jaws (1975), Star Wars and Close Encounters of Third Kind (both 1977), and Superman (1978), four scores that still shape the way we hear and understand film music today.
PHOTO COURTESY OF JOHN WILLIAMS
Let’s start with Jaws: Can you think of another score where two notes tell us what’s going to happen? Besides launching the great shark panic of 1975, Jaws became Steven Spielberg’s first hit film, Spielberg and Williams’s first hit collaboration JOHN WILLIAMS
(they’d already worked on The Sugarland clevelandorchestra.com
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Express together), and is considered the first modern summer blockbuster. Williams’s ability to boil down the suspense, the impending danger, the mystery of the great unseen to just two notes remains one of the greatest compositional feats of modern times. Even people who have never seen the film, let alone seen a shark, know that those two notes — deep, uneven, and menacing — signify terror and potential peril. Before the 1970s, the idea of a story stretching out over multiple films — let alone multiple generations — largely existed in lower-budget “B” movies or in serials (shorter films that told an endlessly unfolding story) like Buck Rogers, The Lone Ranger, or Flash Gordon; James Bond may be the biggest exception. As of this writing, however, the ongoing story of the many inhabitants of “a galaxy far, far away” has continued into its sixth decade, with no end in sight. But we’re not only talking about Star Wars, of course: Williams would also write enduring themes for Superman, Indiana Jones, the dinosaurs of Jurassic Park, and Harry Potter. The key word here is “enduring”: all of the main themes, as well as many of the character themes, that Williams devised for these films live on in their sequels, even when other composers scored them. One example: Williams wrote the music for the first three Harry Potter films, but his melodies — particularly “Hedwig’s Theme” — continue to appear, even in the prequel Fantastic Beasts films. While Williams has defined the musicscapes for many of our favorite film franchises, he has spent far more time writing scores for one-off stories which shape the emotional tenor of the film, help us get to know the characters, and remind us when to cheer and when to cry. He has scored tales of heroes and adventures, comedies and tragedies, epics and biographies. These include films like Hook (1991), an imaginative take on J.M. Barrie’s Peter Pan universe, and Far and Away (1992), an expansive tale about Irish immigrants and the Oklahoma Land Run of 1893. Perhaps it’s the occasion of his 90th birthday in 2022, or the upcoming 50th anniversary of his score for the first Star Wars film next year — which The Cleveland Orchestra will present at Blossom on September 3–5, 2027 — but there has been a recent outpouring of interest in Williams’s work. These include musicologist Frank Lehman’s online database documenting all the musical themes in Williams’s Star Wars scores, the 2024 documentary Music by John Williams, and the first major, authorized biography of the composer, written by journalist Tim Greiving and published in 2025. Anniversaries aside, Williams’s legacy both inside and outside Hollywood speaks for itself. In addition to his now 30 collaborations with Spielberg, he has worked with dozens of directors including George Lucas, Ron Howard, Clint Eastwood, John Singleton, Chris Columbus, Brian de Palma, Alfred Hitchcock, and even scored Frank Sinatra’s sole directorial credit (None but the Brave, 1965). In the process, Willams has been recognized by practically every music, arts, and humanistic society on the 6
BLOSSOM MUSIC FESTIVAL 2026
planet, with honorary degrees, governmental orders and titles (including an honorary Knighthood from Queen Elizabeth II and a Chevalier of Arts and Letters from France). He has also been a mentor — official or otherwise — to the countless composers and musicians inhabiting the soundtrack world he has crafted for the past seven decades. But his influence extends far beyond the industry. John Williams’s music has gone beyond being simply popular: his pervasive and perennial melodies have traversed the globe for generations and will continue to shape our musical world far into the future. — Daniel Goldmark Daniel Goldmark is professor of music and director of the Center for Popular Music Studies at Case Western Reserve University. He is an author and editor of books on animation, film,
PHOTO BY YEVHEN GULENKO
and music, including The Grove Music Guide to American Film Music.
John Williams has fostered a 40+ year relationship with The Cleveland Orchestra. He first conducted the Orchestra in 1983 — at Blossom — and most recently appeared with the ensemble at Severance in 2022 (above).
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THE ARTI S T
SARAH HICKS conductor
Sarah Hicks’s versatile and vibrant musicianship has secured her place as an in-demand conductor across an array of genres, and as an educator, Emmy-winning producer, writer, and speaker. Her career has seen collaborations with diverse artists, from Olga Kern and Dmitri Hvorostovsky to Jennifer Hudson and Sting. Her cross-genre PHOTO COURTESY OF SARAH HICKS
partnerships include a 2019 album with Dessa and the Minnesota Orchestra — with whom she holds a titled position — the 2023 premiere of Rufus Wainwright’s Want Symphonic at the BBC Proms, and her 2024 performance with Laufey as the first-ever conductor at Lollapalooza. A highly sought-after guest conductor, Hicks has worked extensively with orchestras in the US and abroad, including The Cleveland Orchestra, Los Angeles Philharmonic, Chicago Symphony Orchestra, Boston Pops, Royal Liverpool Philharmonic, Toronto Symphony Orchestra, WDR Funkhausorchester Köln, and Tokyo Philharmonic, among others. Her opera appearances include the East Slovak State Opera Theater and the Curtis Opera Theater, as well as operas in concert with the Minnesota Orchestra and the RTÉ Concert Orchestra. A specialist in film music and the film-in-concert genre, Hicks’s live concert recordings can be seen on Disney+ and ABC, and she acts as an advisor for Disney Music Group. In 2026, she conducted the red-carpet premiere of the live-action Moana, and her first major feature film credit, Renfield, was released in 2023. Her live album with the Danish National Symphony Orchestra, The Morricone Duel, has garnered over 250 million views on YouTube. Hicks is a frequent lecturer and was on faculty at the Curtis Institute of Music from 2000 to 2005 and staff conductor until 2012. Her interest in mental wellness and mindfulness has led to numerous projects, including Music & Healing with the Minnesota Orchestra, available digitally. Hicks was born in Tokyo and raised in Honolulu. Trained on both the piano and the viola, she received degrees from Harvard University and the Curtis Institute of Music. In her spare time, Hicks enjoys running, hiking, her Papillons, and cooking (and eating) with her husband. She is currently writing her first book, a collection of essays. clevelandorchestra.com
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THE CLEVELAND ORCHESTRA Franz Welser-Möst Music Director KELVIN SMITH FAMILY CHAIR FIRST VIOLINS
VIOLAS
PICCOLO
TROMBONES
Joel Link
Wesley Collins*
Mary Kay Fink
Brian Wendel*
Blossom-Lee Chair
Gareth Zehngut1^
OBOES
Richard Stout
Stanley Konopka Lisa Boyko
Frank Rosenwein* Edith S. Taplin Chair
Shachar Israel2
Corbin Stair
BASS TROMBONE
CONCERTMASTER
Elizabeth Fayette FIRST ASSOCIATE CONCERTMASTER Virginia M. Lindseth, PhD, Chair
Philip Marten ASSOCIATE CONCERTMASTER Gretchen D. and Ward Smith Chair
Zhan Shu ASSISTANT CONCERTMASTER Clara G. and George P. Bickford Chair
Stephen Tavani ASSISTANT CONCERTMASTER Dr. Ronald H. Krasney Chair
Wei-Fang Gu
Drs. Paul M. and Renate H. Duchesneau Chair
Kim Gomez
Elizabeth and Leslie Kondorossy Chair
Chaillé H. and Richard B. Tullis Chair Charles M. and Janet G.Kimball Chair 2
Richard and Nancy Sneed Chair
Lembi Veskimets The Morgan Sisters Chair
Anne M. and M. Roger Clapp Chair
Sharon and Yoash Wiener Chair
Jeffrey Rathbun2
Everett D. and Eugenia S. McCurdy Chair
Eliesha Nelson^
Robert Walters
William Bender
ENGLISH HORN
Anthony and Diane Wynshaw-Boris Chair Thomas Lauria and Christopher Lauria Chair
Robert Walters
Sean Juhl Gabriel Napoli^
CLARINETS
Gilbert W. and Louise I. Humphrey Chair Alexander and Marianna C. McAfee Chair
Luke Sieve EUPHONIUM & BASS TRUMPET
Richard Stout TUBA
Samuel C. and Bernette K. Jaffe Chair
Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair
Afendi Yusuf*
Robert Marcellus Chair
TIMPANI
Mark Kosower*
Robert Woolfrey
Peter Nichols2
CELLOS
Chul-In Park
Louis D. Beaumont Chair
Victoire G. and Alfred M. Rankin, Jr. Chair
Mr. and Mrs. Richard K. Smucker Chair
Richard Weiss1
Daniel McKelway2
The GAR Foundation Chair
Robert R. and Vilma L. Kohn Chair
PERCUSSION
Miho Hashizume
Charles Bernard2
Amy Zoloto
Jeanne Preucil Rose
Helen Weil Ross Chair
Alicia Koelz
Muriel and Noah Butkin Chair
Yu Yuan
Thomas J. and Judith Fay Gruber Chair
Harriet T. and David L. Simon Chair Theodore Rautenberg Chair Larry J.B. and Barbara S. Robinson Chair Oswald and Phyllis Lerner Gilroy Chair Patty and John Collinson Chair
Bryan Dumm Tanya Ell
Marc Damoulakis* Margaret Allen Ireland Chair
E-FLAT CLARINET
Daniel McKelway
Stanley L. and Eloise M. Morgan Chair
BASS CLARINET
Thomas Sherwood Tanner Tanyeri Peter Nichols KEYBOARD INSTRUMENTS
Isabel Trautwein
Brian Thornton
Amy Zoloto
Myrna and James Spira Chair
Carolyn Gadiel Warner
Katherine Bormann
David Alan Harrell Martha Baldwin Dane Johansen
BASSOONS
Marjory and Marc L. Swartzbaugh Chair
John Clouser*
LIBRARIAN
Trevor and Jennie Jones Chair Paul and Lucille Jones Chair
Analise Handke Gladys B. Goetz Chair
William P. Blair III Chair
Marguerite and James Rigby Chair
Genevieve Smelser
Paul Kushious
SECOND VIOLINS
BASSES
Stephen Rose*
Alfred M. and Clara T. Rankin Chair
Eli Matthews
1
Patricia M. Kozerefski and Richard J. Bogomolny Chair
Jason Yu
2
James and Donna Reid Chair
Sonja Braaten Molloy Carolyn Gadiel Warner Elayna Duitman Ioana Missits Jeffrey Zehngut^ Kathleen Collins Beth Woodside Emma Shook Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair
Yun-Ting Lee
Deborah L. Neale Chair
Jiah Chung Chapdelaine Liyuan Xie Gawon Kim Dustin Wilkes-Kim
Maximilian Dimoff*
Louise Harkness Ingalls Chair
Gareth Thomas Catherine Van Handel2 Sandra L. Haslinger Chair
CONTRABASSOON
Clarence T. Reinberger Chair
vacant
Charles Paul1
HORNS
Mary E. and F. Joseph Callahan Chair
Derek Zadinsky 2 Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair
Charles Carleton Scott Dixon Brandon Mason HARP
Trina Struble* Alice Chalifoux Chair
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
Nathaniel Silberschlag* George Szell Memorial Chair
Michael Mayhew
§
Knight Foundation Chair
Jesse McCormick-Stepp Robert B. Benyo Chair
Hans Clebsch Richard King Meghan Guegold Hege^ Gay Cull Addicott and Robert R. Cull Chair
TRUMPETS
Michael Sachs*
ENDOWED CHAIRS CURRENTLY UNOCCUPIED Jean Wall Bennett Chair Sunshine Chair Otto G. and Corinne T. Voss Chair Rudolf Serkin Chair
CONDUCTORS
Christoph von Dohnányi † MUSIC DIRECTOR LAUREATE
Taichi Fukumura ASSISTANT CONDUCTOR Elizabeth Ring and William Gwinn Mather Chair
James Feddeck PRINCIPAL CONDUCTOR & MUSICAL ADVISOR OF THE CLEVELAND ORCHESTRA YOUTH ORCHESTRA Sidney and Doris Dworkin Chair
Lisa Wong DIRECTOR OF CHORUSES
Jack Sutte Lyle Steelman2^
* Principal
James P. and Dolores D. Storer Chair
Michael Miller CORNETS
Michael Sachs*
Mary Elizabeth and G. Robert Klein Chair
With sincere gratitude to the musicians of The Cleveland Orchestra for their in-kind contributions supporting community programs and securing funding opportunities.
BLOSSOM MUSIC FESTIVAL 2026
Joe and Marlene Toot Chair
Robert and Eunice Podis Weiskopf Chair
Michael Miller
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Michael Ferraguto*
Frances P. and Chester C. Bolton Chair §
Associate Principal
1
First Assistant Principal
2
Assistant Principal
^ Alum of The Cleveland Orchestra Youth Orchestra †
In Memoriam
This roster lists full-time members of The Cleveland Orchestra. The number and seating of musicians on stage varies depending on the piece being performed. Seating within the string sections rotates on a periodic basis.
T
he Cleveland Orchestra, under the leadership of Music Director Franz Welser-Möst since 2002, is widely recognized as one of
the world’s leading ensembles. Praised by The New York Times as “America’s Finest,” the Orchestra is renowned for its virtuosity, elegance of sound, and chamber-like musical flexibility. In his 25th
and final season as Music Director, Welser-Möst concludes a transformative partnership that has been marked by exceptional artistic ambition, growing international recognition, and deep community connection. During his tenure, the Orchestra has achieved major institutional milestones, including groundbreaking residencies at the Musikverein in Vienna — the first by an American orchestra — and at the Adrienne Arsht Center in Miami. In 2023, The Cleveland Orchestra launched the annual Jack, Joseph and Morton Mandel Opera & Humanities Festival, presenting acclaimed opera productions alongside art exhibits, community events, and civic conversations. Through concerts, broadcasts, recordings, tours, and digital initiatives, The Cleveland Orchestra reaches an ever-growing audience around the world. Its in-house recording label and streaming platform, Adella.live, capture and share performances from the Welser-Möst era while introducing new generations of fans to the Orchestra’s artistry. Founded by Adella Prentiss Hughes, The Cleveland Orchestra gave its inaugural concert in December 1918. Over more than a century, it has grown into a treasured community institution, enriching lives through music, education, and a deep commitment to Northeast Ohio. Today, more than 400,000 people attend Cleveland Orchestra concerts each year. From its year-round home at Severance Music Center to its summer season at Blossom Music Center in Cuyahoga Valley National Park, the Orchestra continues to serve audiences across the region. Seven Music Directors — Nikolai Sokoloff, Artur Rodziński, Erich Leinsdorf, George Szell, Lorin Maazel, Christoph von Dohnányi, and Franz Welser-Möst — have shaped the
PHOTO BY YE VHEN GULENKO
ensemble’s distinctive musical identity and celebrated “Cleveland sound.” Welser-Möst’s tenure as the longest-serving Music Director in Cleveland Orchestra history stands as a defining chapter in that evolution.
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YOUR VISIT LATE SEATING
SMOKING
Guests with Pavilion seats who arrive after the start of the concert may be asked to wait outside the Pavilion until the first convenient pause in the music, after which our ushers will help you to your seats.
All Blossom Music Festival events are presented in a smoke-free environment. Smoking or vaping are not allowed anywhere on the grounds or in buildings once you have entered through the ticket gates. A smoking area is available outside the gates in a designated area of Parking Lot A.
LAWN SEATING Guests on the Lawn may bring their own chairs, but guests with high-backed chairs that obstruct others’ views may be asked to relocate to the rear of the Lawn. Rental chairs are available for a fee of $10 per evening. Tents, flags, balloons, or other structures that might obstruct views or present a hazard are not allowed. Open flames are also prohibited.
PHOTOGRAPHY, VIDEOGRAPHY & RECORDING Audio recording, photography, and videography are not allowed during performances at Blossom. Photographs and videos can only be taken when the performance is not in progress. As a courtesy to others, please silence all electronic devices prior to the start of the concert.
WEATHER INFORMATION In the event of severe weather, a coordinated campus-wide alert will be issued. Guests and staff will be directed to safety by venue staff and the public address system. Download The Cleveland Orchestra app or visit clevelandorchestra.com/weather for weather updates and more information.
FREE TRAM & ADA VAN SERVICE Free tram service between the parking lots and Smith Plaza and the Pavilion is available on a continuous basis before and after each concert. The ADA Van Service can pick up at the Main Gate with service to the Tram Circle.
QUESTIONS? Visit our Information Center, hosted by the Blossom Friends of The Cleveland Orchestra, inside the Main Gate on Smith Plaza.
THE CLEVELAND ORCHESTRA APP
The Cleveland Orchestra is grateful to these organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.
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© 2026 The Cleveland Orchestra and the Musical Arts Association Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. EDITORIAL Kevin McBrien, Editorial & Publications Manager, The Cleveland Orchestra kmcbrien@clevelandorchestra.com Ellen Sauer Tanyeri, Archives & Editorial Assistant, The Cleveland Orchestra DESIGN Judy Barabas, Red Swing Creative ADVERTISING Live Publishing Company, 216-721-1800 PLEASE RECYCLE
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