Spotlight Magazine - 1.3 Summer 2021 - The Cleveland Orchestra

Page 1


Concerts Again! including Orchestra Summers Before Blossom plus Summer In Focus Broadcast Guide and Picnic Recipes from Orchestra Musicians 1





June/July 2 O 2 1

Volume 1, Issue 3

TA B L E O F CO N T E N T S Welcome: André Gremillet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


Blossom Memories with Richard K. Smucker . . . . . . . . . . . . . . . .


Summers Before Blossom: A Look Back . . . . . . . . . . . . . . . . . . .


2021 Blossom Music Festival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


Food: Summer Picnic Recipes from the Orchestra . . . . . . . . .


Music Education Today: Learning More . . . . . . . . . . . . . . . . . . .


Summer Reading (and Listening) . . . . . . . . . . . . . . . . . . . . . . . . . .


Cleveland Orchestra Donors and Sponsors . . . . . . . . . . . . . . . . Individual, Corporate, Foundations, and Government


News: Briefs & Updates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


Book Excerpt: Franz Welser-Möst’s From Silence . . . . . . . . . . .


Broadcasts: Adella and In Focus. . . . . . . . . . . . . . . . . . . . . . . . . . . .


In Focus Episodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SEASON ONE : FINAL FOUR EPISODES


Growing Younger: Reflections on “Under 18s Free” . . . . . . . .


Puzzles & Laughs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


Back Page: A Musical Journey . . . . . . . . . . . . . . . . . . . . . . . . . . . .


Perfecting Severance Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .


S Spotlight Magazine is a quarterly publication for subscribers and donors of The Cleveland Orchestra. Copyright © 2021. All rights reserved. Eric Sellen, Managing Editor Amanda Angel, Managing Editor of Content Justin Holden, Senior Director, Communications Ross Binnie, Chief Brand Officer

The Cleveland Orchestra is grateful to these government agencies for ongoing and special project support:

Cover photograph © The Cleveland Orchestra


IN REMEMBRANCE The Cleveland Orchestra remembers and honors those lost during the Covid-19 pandemic — within our Northeast Ohio community as well as friends around the globe. This past year has tested all of us in ways that were once unimaginable. At the same time, we have been buoyed by the generosity and resilience of first responders, the medical community, and so many others who have helped maintain and restore our relationships and our spirits. As we come together again to share and celebrate the joy of making music together, we commemorate the lives of those who are no longer with us and dedicate this summer’s Blossom performances to the vitality of the human spirit.



to the return of great music, performed live and in-person Dear Friends, Welcome back! It is such a joy to write those words. After a year that has tested our patience and understanding in so many unexpected ways, we cannot wait to greet audiences again at live performances, beginning with this summer’s Blossom Music Festival and then in the fall to Severance Hall concerts in Cleveland. Through it all, we have been reminded that the extraordinary power of music we share — with you and between the musicians onstage — is something we can never take for granted. Across this past year, The Cleveland Orchestra has worked tirelessly


to create original and inventive ways to reach audiences at home and around the globe. We launched In Focus, our digital concert series of new performances recorded live at Severance Hall, along with our podcast On a Personal Note and the release of two acclaimed recordings on our own label. Yet, despite making music for you throughout this crisis, what we have missed most is the ability to engage and share music directly with audiences in-person.

It is quite fitting that The Cleveland Orchestra is coming back together with you,

our Northeast Ohio community, at Blossom, a place envisioned by George Szell “to give the greatest possible number of people the opportunity to hear the orchestra.” Personally, I know that I can’t wait to take my family back to Blossom so that we can all enjoy a summer evening filled with great music, ambiance, and company together. As we look forward to a renewal of relationships and traditions, this summer and throughout the coming year, we continue our mission for sharing the best that music has to offer — new and old friends, with brand-new works alongside extraordinary favorites and lesser-known gems. Beginning with concerts (and fireworks) July 3-4, the 2021 Blossom Music Festival season features a diverse range of American voices — from Florence Price to Duke Ellington, Aaron Copland to Stewart Copeland, Capathia Jenkins to Caroline Shaw. I’m excited for this truly remarkable summer of music to start. Our journey of discovery continues with the return to Severance Hall in the fall — and the start of Franz Welser-Möst’s 20th season at the helm of The Cleveland Orchestra. As we find comfort in once again sharing cherished surroundings with familiar faces, we are preparing to present an ambitious season featuring more than twenty works performed by The Cleveland Orchestra for the first time. Of course, none of this would be possible without all the amazing people involved. First, the exceptional group of musicians onstage, whose artistry and ability to adapt throughout the past sixteen months has inspired us to find new ways of reaching out to our local and global communities. Equally important — and inspiring — are all of you, the many people who support and attend the Orchestra’s concerts throughout the year. Your generosity — financially and spiritually — creates and supports everything we do. To this, let me also acknowledge the guidance and generosity of an exceptional board of trustees, the creativity and hard work of a talented and dedicated staff and corps of volunteers, and with special thanks once more to The J.M. Smucker Company, the presenting sponsor of this summer’s Blossom Music Festival. Let the music begin!




Music, Memories, & Brownies

E V E N B E F O R E he was elected to chair The Cleve-

land Orchestra’s board of trustees, Richard Smucker was a regular at Blossom Music Center — and not just for orchestral concerts. We asked him about some of his favorite musical memories, and what makes Blossom special. We also remembered to ask for his wife’s Fudgy Brownie recipe. Do you remember your first performance at Blossom? The first concert I saw at Blossom was in 1969, a year after it opened. It was the summer between my junior and senior years of college — and also the summer my wife and I got married. At that time, we were more interested in attending rock music concerts than orchestral ones. I’m not sure what the very first show we attended was, but one of my earliest memories is a Helen Reddy concert. I remember everybody holding up their lighters — back then we didn’t have iPhones with picture screens, so the crowd held up actual lighters when she was singing “I Am Woman,” which really served as an anthem for the women’s movement during that period. Everyone became part of that song. It was a great communal experience. Had you already been introduced to Cleveland Orchestra concerts at Severance Hall? Yes, my family would drive up from Orrville to Cleveland for the Christmas concerts at Severance Hall — and to do some holiday shopping. Going to Cleveland was a special event, and it took an hour and 15 minutes to drive each way back then. As soon as Blossom opened in 1968, all of a sudden The Cleveland Orchestra was a lot closer and accessible to a lot more people. People from Summit County, Stark County, Holmes County, Wayne County. All of us from that area could easily attend an evening concert. I think a lot of people were introduced to the Orchestra 6

through Blossom, which was part of the whole idea for building Blossom Music Center in the first place. And I think the idea really worked. When did you first start attending Cleveland Orchestra concerts at Blossom? Around the time that we started going to Blossom, we made it a point to go to the July 4th concerts. We always went to hear the 1812 Overture, performed by the Orchestra or the Pops. It was so much fun getting ready for the cannon blasts. Every time it went off, you’d jump out of your chair. But starting in the early 1970s or so, my wife and I, we’d go to four or five Cleveland Orchestra concerts each summer with friends. We were all newlyweds, including Emily and me. We would pack a picnic and everyone would be assigned a course — you bring a salad, you bring the main course, you bring a dessert. Emily’s fudgy brownies were always a big hit. We almost always sat on the Lawn back then, maybe with a couple of blankets or folding chairs, and made it a wonderful long evening of food, entertainment, and conversation. Today, we tend to prefer sitting in the Pavilion, to be closer to the music, but the experience, inside and out, is really remarkable — and memorable. Were you also still seeing rock and folk music at Blossom? That continued, too, for awhile. And we saw many — James Taylor, Jethro Tull, Simon & Garfunkel. And, probably more than once: Peter, Paul and Mary. Looking back, I’m astounded to see that Blossom had nearly every single major rock and roll band, and all the big-name folk singers, all the big music acts. And for us, it was always about more than just music. Back then, and even now, it’s about the message. When performances mean something, make a statement, they can really grip your soul. The folk singers of that era took a

A fullhouse on the Blossom Lawn in 1968.

Is there a recent concert that made a special impression on you? Absolutely. Just a few years ago, Yo-Yo Ma played Bach’s complete Solo Cello Suites. It was a great evening. There was a full audience and, even before he performed, you could hear a pin drop. Everyone was there to listen to his playing. Having him sit on stage with just his cello and perform for two hours with the incredible acoustics at Blossom . . . that was truly remarkable! And that’s just one example for me of many truly emotionally satisfying evenings at Blossom, when the music and the stars — the ones in the sky as well as those onstage — just seem to align and lift your spirits, and make you incredibly glad to be alive. Music does that for me, and that’s why I love The Cleveland Orchestra. What are you looking forward to seeing this summer? One thing that is so special about Blossom is its variety — from rock to country, classical, patriotic, opera, Broadway, and jazz. We have the opportunity to enjoy so many different kinds of music at Blossom. Just looking at this summer — there’s a tribute to the Beatles, which will be great. There’s Gershwin and the Great American Songbook, there’s Mozart in the Meadows, and that doesn’t even include the presentations from Live Nation. I always do go when former festival director Jahja Ling is there, he’s Mr. Blossom to a lot of people in Northeast Ohio, and I can’t wait to see him conduct “Romantic Brahms.”


stand with their music. And, frankly, classical music does that, too. Look at Beethoven’s Ninth and its message of brotherhood and harmony. Music stirs your emotions, to believe in something — I think that’s part of the attraction, why so many people attend.


INGREDIENTS 2 squares unsweetened chocolate 1⁄3 cup butter 2⁄3 cup flour ¼ tsp. salt ½ tsp. baking powder 2 eggs 1 cup sugar 1 tsp. vanilla extract ½ cup nuts, chopped (optional) DIRECTIONS Preheat the oven to 350 degrees. Melt chocolate with butter in sauce pan over low heat, stirring constantly until smooth. Remove from heat. Mix flour, salt, and baking powder, set aside. Beat eggs thoroughly. Gradually beat sugar into eggs. Blend in chocolate mixture, and vanilla. Add flour mixture, stir well. Stir in the nuts (optional). Spread in greased 8-inch square pan.

What has brought you back year after year? I’ve been to Tanglewood, Ravinia, the Hollywood Bowl — they’re all wonderful in their own ways. But from my experience, no festival is as family friendly, as satisfying in terms of acoustics and level of music, or located in as beautiful a landscape as Blossom. It is always a thrill for me to look out over the audience and see thousands of families of all ages enjoying time together and the evening’s entertainment. It’s truly special. It’s truly unique. There is so much for so many and in a setting that is unmatched. Blossom is a true gem.

Bake for 25 minutes (moist and chewy) or about 30 minutes (cake-like). Cool in pan, cut into squares. Note: The recipe can be doubled; bake in a greased 9 x 13 inch pan 25-30 minutes.


s r e m m o m s s u o S re Bl o f e B by Aman da Ange l

Cleveland Orchestra trustee Dudley S. Blossom Sr. returned early from his vacation in Wyoming, so that he could attend the ensemble’s final summer concert at Gordon Park. It was the first season that the Orchestra programmed a series of “Open Air Concerts” in partnership with the City of Cleveland. Performances were held on both the east side in Gordon Park and on the west side in Edgewater Park.

IN J U LY 1927,

In the decades before opening Blossom Music Center in 1968, The Cleveland Orchestra provided a live summertime soundtrack for generations across Northeast Ohio — performing concerts in parks, on piers, in auditoriums, and even baseball stadiums.

“That crowd, that throng of people, sitting all over the benches, all over the place, on automobiles, in automobiles, anywhere they could to hear the music!” Blossom later recalled. “Those summer concerts, it seemed to me, meant more to the appreciation of the Orchestra in this town and more for the love of the Orchestra throughout the community than anything that has happened.” Little did Blossom realize that those al fresco performances would set in motion plans for a summer festival that would bear his family name forty years later. In the intervening decades, The Cleveland Orchestra provided countless summertime memories for the city and its neighboring communities — in parks, on piers, at auditoriums, and even in baseball stadiums. The summer concerts in 1927 were not only embraced by music lovers in Northeast Ohio, they were equally popular among the Orchestra’s musicians, who did not yet have year-round contracts and received extra income for performances held outside of the regular season. Following up on the initial success, the Orchestra continued its partnership with the City in 1928, presenting thirty-one “Cleveland Civic Summer Concerts” — including seven Nationality Nights to celebrate the diverse ethnic communities and neighborhoods. The financial burdens surrounding the construction of Severance Hall, which opened in February 1931, Summer 1927: Handbill for Edgewater Park concerts. Summer 1932: Audiences for a summertime Promenade Concert at Severance Hall are called to come inside with a fanfare from three trumpet players on the balcony above the front entrance.


As the country’s economic woes continued, the next few seasons saw no organized summer concert series until the 1936 Great Lakes Exposition, a regional fair celebrating the centennial of the incorporation of Cleveland, took place. Chaired by the same Dudley Blossom, who had by that time become president of the Orchestra’s board of trustees, the fair took place along the Erie lakefront, from West 3rd Street to East 20th Street. More than four million visitors came to see displays trumpeting Midwest inventions and international exhibitions. As part of the festivities, many Cleveland Orchestra musicians were hired to be members of the “Great Lakes Symphony Orchestra,” which performed in a wooden shed on the East Ninth Street Pier. The following year, that shed was rebranded as the Aquastage — not to be confused with the next year’s popular Aquacade, which held water ballets during the 1937 edition of the Great Lakes Exposition — and presented light opera and operetta, with many Cleveland Orchestra members accompanying performances from the pit. In 1939, the Orchestra was again searching for a summer venue where it could present its own concerts. The World Poultry Congress announced plans for its summer convention near the Ninth Street Pier, promising to snarl traffic and exhaust parking all around the Aquastage. With travel to the piers all but unfeasible, the musicians looked south into downtown to Cleveland’s cavernous Public Auditorium. The Orchestra was already familiar with the space, having performed at the building’s April 15, 1922, opening to a capacity crowd of 13,000. Since then, Public Auditorium had hosted the Metropolitan Opera’s spring tour dates in the city, as well as periodic Cleveland Orchestra performances. Three conductors — Rudolf Ringwald, Burle Marx, and Victor Kolar — led the “Cleveland Summer Orchestra” in classical standards and pops during the 1939 season, starting a summer tradition that would continue at Public Auditorium for the next three decades. Soloists included such opera singers as Risë Stevens (1943), Regina Resnik (1945), and Lawrence Tibbett (1949); local pianists Eunice Podis and Dorothy Humel (who would


coupled with the Great Depression, suspended summer performances until 1932 and 1933, when “Promenade Concerts” helped inaugurate the new concert hall. One large attraction of these presentations was the hall’s newfangled “conditioned air, whereby a constant temperature and a proper humidity are maintained through varying weather conditions.”

Summer 1953: Between twelve Major League Baseball doubleheaders, conductor Louis Lane led “Indipops” concerts at Cleveland Municipal Stadium. The annual Summer Pops Concerts stepped outside while new air conditioning was installed at Public Auditorium.

later be Cleveland Orchestra trustees); and the virtuoso harmonica players John Sebastian and Larry Adler were popular annual attractions. Frank Sinatra made his Cleveland debut singing in an orchestral program of George Gershwin, Cole Porter, and Jerome Kern in 1943, and in 1952 a 22-year-old Lorin Maazel led two Summer Pops Concerts, twenty years before he was named music director of The Cleveland Orchestra. Work to install air conditioning in Public Auditorium in 1953 unintentionally led to one of The Cleveland Orchestra’s most memorable series of presentations. Facing a summer devoid of music, Cleveland News reporter Ernest Wittenberg floated the idea that the Orchestra perform prior to Cleveland Indians baseball games. Both sports and music fans embraced the idea. The City purchased new sound equipment for Municipal Stadium, for a dozen concerts presented between doubleheaders. The “Indipops,” as they were cleverly named, won raves in the local press, though assistant conductor Louis Lane, who led all twelve performances, later recalled that filling out the programs with “music



Szell, the Orchestra’s legendary music director from 1946-1970, saw the project as not only an opportunity to bring music to larger crowds than ever before, but finally ensuring that the musicians would have the stability of year-round employment (which also meant a better, more consistent ensemble for him to conduct). A committee of Orchestra trustees examined more than eighty possible sites across Northeast Ohio. Many of the plots were too small, others were eliminated due to noisy overhead air traffic. Eventually, the engineering firm of William Gould & Associates recommended a property of more than 500 acres with a natural bowl-like shape in the Cuyahoga Valley, 25 miles from Cleveland and 10 from Akron. The property was purchased in 1966, and the same year the board approved plans to name the summer facility as Blossom Music Center to honor this important local family, who had supported the Orchestra since its founding.

TOP Summers 1937-38: For two summers, Cleveland Orchestra members performed at the Aquastage on the East Ninth Street pier, accompanying light opera and operetta from the lakeside pit. BOTTOM Summers 1939-69: Cleveland’s Public Auditorium

hosted Summer Pops Concerts for thirty years, featuring guest artists from pop and jazz to opera and classical pops.

that was loud most of the time and sufficiently popular” proved a challenge. The Orchestra returned to Public Auditorium the next year and continued to present summer concerts in the now air-conditioned space. In the ensuing decades, in addition to the yeoman efforts of staff conductor Louis Lane, the Summer Pops Concerts attracted many famous guest conductors, including Arthur Fiedler, Carmen Dragon, Duke Ellington, Skitch Henderson, André Kostelanetz, Leroy Anderson, Ferde Grofé, and Henry Mancini, as well as guest artists such as pianist Van Cliburn, Dave Brubeck and his Quartet, comedian Anna Russell, tenor Richard Tucker, Ahmad Jamal and his Trio, and Benny Goodman and his Jazz Ensemble. In the meantime, the search for a permanent summer home was getting more and more serious. George 10

Though Dudley Blossom Sr. had died in 1938 and his son, Dudley Blossom Jr. passed away in 1961, both of their widows were at the groundbreaking on July 2, 1967. Elizabeth Bingham Blossom (Mrs. Dudley Blossom Sr.) and her youngest granddaughter, Betsy, broke the ground on the site. Emily Blossom (Mrs. Dudley Blossom Jr.) stated, “There is music in our hearts today; there’ll be music in the air a year from now.” Blossom Music Center opened on July 19, 1968, marking the culmination of the Orchestra’s fiftieth anniversary season, and the first in which Orchestra musicians received year-round pay. To begin the opening night program, Szell led the Orchestra in “The Star-Spangled Banner” followed by Beethoven’s The Consecration of the House overture. After a brief intermission came Beethoven’s mighty Ninth Symphony, gloriously filling the new Pavilion and Lawn with stirring music and bonds of human togetherness. The Cleveland Orchestra had indeed found its permanent summer home. Since that inaugural evening, more than 21 million music lovers have visited Blossom’s bucolic grounds to hear symphonic music at its finest — as well as rock, pop, jazz, country, folk, rap, and more — creating one of Northeast Ohio’s best-loved summer traditions. Amanda Angel moved this summer from New York City to join The Cleveland Orchestra staff as managing editor.

It’s time to Blossom —

and it’s all thanks to you. The Cleveland Orchestra makes its momentous return to the Blossom stage because of the thousands of supporters who sustained us through the pandemic. Thank you for preserving this beloved summertime tradition.



Architect Peter van Dijk and music director George Szell


It’s Time to Blo ssom! Buying Tickets . . . IN PERSON AND ONLINE For more information about upcoming Cleveland Orchestra performances and to purchase tickets, visit us online. (Our website also features a trove of resources, including information about the Orchestra and its musicians, educational lesson plans and videos for parents and teachers, community partnerships and events, streaming and broadcasts, and archival photographs and documents.) ONLINE CLEVELANDORCHESTRA.COM 24 / 7, from your phone, tablet, or desktop.

BY PHONE 216-231-1111 or 800-686-1141 Monday thru Friday 9 a.m. to 6 p.m.

IN PERSON BLOSSOM BOX OFFICE at Blossom Open only on Festival concert dates from 1 p.m. through intermission.

Entering the Park . . . DIGITAL TICKET WALLET = Tickets On Your Phone! This summer marks the launch of The Cleveland Orchestra’s brand-new Ticket Wallet app. Available free for Apple, Google, and Android devices, the Ticket Wallet is the easiest, safest, and most convenient way to access paperless tickets to performances of The Cleveland Orchestra at Blossom Music Center and Severance Hall. Plus, your tickets will always be with you, avoiding the need to replace or reprint lost tickets. When you purchase tickets on our website, simply click the option “Send to my Ticket Wallet,” and your tickets will automatically download to the app to be scanned as you arrive for each the concert. You can find links to the Ticket Wallet at our website: To log into the app for your tickets, use the same email and password associated with your clevelandorchestra. com account.

About the Music . . . DIGITAL PROGRAM BOOK = On Your Phone!!

This past year, The Cleveland Orchestra launched a new digital program book called Stageview to accompany our online In Focus programs and augment our printed books. Designed and optimized to be read on your smartphone, the Stageview digital book features program notes, bios of the artists, and more — and can be accessed anytime, anywhere. For the 2021 Blossom Music Festival, Stageview will be your place to find information about concerts — ahead of time and while visiting Blossom. To access Stageview, text “TCO” to 216-038-0883 anytime or visit Or scan this QR Code with your phone to go directly to Stageview.

(By texting 216-038-0883, you may receive messages about The Cleveland Orchestra and its performances; message and data rates may apply. Reply “HELP” for help, “STOP” to cancel.)

Health & Safety . . . The safety of all guests, musicians, staff, and volunteers is our primary concern in re-opening Blossom for concerts this summer. We ask for your flexibility and understanding in following changing guidelines that may affect our capacity and seating at Blossom throughout the summer. Covid-19 health and safety protocols will be in place in consultation with the Cleveland Clinic and following guidelines from the Center for Disease Control (CDC), State of Ohio, and the Summit County health department. Please visit our website for current policies __________________________________________________ The Cleveland Orchestra extends special thanks to the Cleveland Clinic for their ongoing expertise and guidance throughout the past year in helping to ensure the health and safety of the musicians onstage, our staff and volunteers, and all audience members and guests.


2021 Blossom Festival


A Sum mer of Musical Magic!

An American Celebration

JULY 3 Saturday at 8 p.m. JULY 4 Sunday at 8 p.m. The Cleveland Orchestra Brett Mitchell, conductor Michelle Cann, piano BERNSTEIN Overture to Candide WATKINS Soul of Remembrance PRICE Concerto in One Movement HAILSTORK An American Fanfare COPLAND Appalachian Spring Suite TCHAIKOVSKY 1812 Overture SOUSA The Stars and Stripes Forever A blockbuster opening weekend! Celebrate the start of the Blossom season with a night under the stars filled with music of America — and including Tchaikovsky’s 1812 Overture.

The Great American Songbook: Gershwin & Ellington


Sunday at 7 p.m. Capathia Jenkins, vocalist and The Cleveland Orchestra conducted by Lucas Waldin Program includes: GERSHWIN Fascinating Rhythm ELLINGTON Satin Doll KERN All the Things You Are GERSHWIN The Man I Love GERSHWIN Summertime

Beethoven’s Seventh Symphony


Sunday at 7 p.m. The Cleveland Orchestra Herbert Blomstedt, conductor Garrick Ohlsson, piano BEETHOVEN Piano Concerto No. 4 BEETHOVEN Symphony No. 7 An evening devoted to Beethoven as master of symphony and concerto, led by ninety-four-year-old guest conductor Herbert Blomstedt.

Audience favorite Capathia Jenkins returns to sing classic American songs by the Gershwins, Berlin, and more.

Classical Mystery Tour: Tribute to The Beatles


From The New World

JULY 25 Sunday at 7 p.m. Mozart In The Meadows

JULY 11 Sunday at 7 p.m. The Cleveland Orchestra Jane Glover, conductor Conrad Tao, piano MOZART String Divertimento, K .136 MOZART Piano Concerto No. 23 MOZART Symphony No. 40 Enjoy the natural beauty of Blossom together with a splendid night of musical genius by one of classical music’s most-loved composers!

All programs and artists subject to change.

14 2021 Blossom Festival

The Cleveland Orchestra Rafael Payare, conductor Stefan Jackiw, violin PROKOFIEV Violin Concerto No. 2 DVOŘÁK Symphony No. 9 (“From the New World”) Dvořák’s “New World” Symphony mixes European, African American, and Native American musical inspiration in this postcard home to his European homeland.

DID YOU KNOW? ❶ The creation of Blossom Music Center as The Cleveland Orchestra’s summer home in 1966-68 involved 1,245 tons of steel, 12,000 cubic yards of concrete, and the installation of 4 acres of sodded lawn.

Sunday at 7 p.m. Classical Mystery Tour and The Cleveland Orchestra conducted by Martin Herman The Best of the Beatles, live with symphony orchestra. Tribute band Classical Mystery Tour sings Beatles’ greatest hits in original orchestrations.

DID YOU KNOW? ❷ The Beatles appeared in concert twice in the Cleveland area, first on September 15, 1964, at Public Auditorium — when police stopped them in mid-performance and ordered the group to leave the stage due to the audience’s unruly actions and screaming. The Fab Four returned to Northeast Ohio on August 8, 1966, at Cleveland Municipal Stadium, with fans overrunning police barricades and nearly stopping the show — helping force the group to curtail future touring.


Tchaikovsky’s Fourth

AUGUST 15 Sunday at 7 p.m.

Enigma Variations


The Cleveland Orchestra Karina Canellakis, conductor Behzod Abduraimov, piano Michael Sachs, trumpet

Saturday at 7 p.m. The Cleveland Orchestra Elim Chan, conductor Jonathan Biss, piano

DVOŘÁK The Wood Dove SHOSTAKOVICH Piano Concerto No. 1 TCHAIKOVSKY Symphony No. 4

BEETHOVEN Coriolan Overture SHAW Watermark ELGAR Enigma Variations

An evening of classic music, devoted to works exploring nature, modernism, and full-throated symphonic joy.

In his Enigma Variations, Elgar painted a musical portrait of his friends — and a captivating work of musical variety and charm. It is paired here with a new concerto inspired by Beethoven.

Romantic Brahms

AUGUST 22 Sunday at 7 p.m. The Cleveland Orchestra Jahja Ling, conductor Sayaka Shoji, violin BRAHMS Violin Concerto BRAHMS Symphony No. 3 A rhapsodic evening filled with the Romantic, lilting, and bittersweet sounds of Johannes Brahms, with audience favorite Jahja Ling on the podium.

Salute to John Williams

SEP 4 Saturday at 7 p.m. SEP 5 Sunday at 7 p.m. The Cleveland Orchestra Richard Kaufman, conductor Led by Hollywood conductor Richard Kaufman, this night of music under the stars and from the movies includes a salute to and celebration of the music of superstar composer John Williams.


Stewart Copeland’s Police Deranged for Orchestra

SEP 11

Sat 7:30 p.m. Stewart Copeland and The Cleveland Orchestra conducted by Edwin Outwater Stewart Copeland’s Police Deranged for Orchestra is a high-energy orchestral celebration of legendary rockstar and composer Stewart Copeland and his career as founder of one rock’s most acclaimed bands, The Police. With more than 60 million records sold worldwide, six Grammy awards, and induction to the Rock and Roll Hall of Fame, The Police — founded when Copeland recruited Andy Summers and Sting in 1977 — have been a defining force in rock for over forty years.

DID YOU KNOW? ❸ Tchaikovsky’s 1812 Overture was first performed by The Cleveland Orchestra at a New Year’s concert in 1921. It did not become an inescapable part of Fourth-of-July celebrations in the United States until the 1970s, when Arthur Fiedler programmed it relentlessly with the Boston Pops. Prior to this summer, it has been presented 112 times at Blossom, including 41 performances by The Cleveland Orchestra.

DID YOU KNOW? ❹ Composer and conductor John Williams made his Cleveland Orchestra debut leading a concert at Blossom on August 28, 1983. He’s led eleven more performances at Blossom and made his debut at Severance Hall in April 2018. Williams wrote his Trumpet Concerto, which was premiered at Severance in September 1996, especially for Orchestra principal trumpet Michael Sachs. 2021 Blossom Festival


Blanket, Food, Lawn, Picnic! Summertime — and Blossomtime! — offers perfect moments for enjoying a picnic outdoors with friends and famiiy, at home or on the green expanse of the Blossom Lawn.

And send us photos of your picnics along with your own favorite recipes! Send your email to:


We talked to several Cleveland Orchestra musicians, asking them to share favorite picnic recipes with you. Mix and match with your own tried and true picnic winners!

PICNICS A P P E T I Z E R — Jeanne Preucil Rose violin

Peppy Pretzels INGREDIENTS ½ cup vegetable oil 1 Tbsp. lemon pepper seasoning 1 Tbsp. dried dill 1 tsp. garlic powder ¼ tsp. cayenne pepper (use more or less, to your taste) 15 oz. pretzels (I like the small pretzel-shaped ones, but nuggets work, too)

RECIPES — Summer 2021



My mom kept mentioning some yummy pretzels she started making and then sent me the recipe. I thought, ‘how good can it be?’ But eventually I decided to try it, and it was a big hit!

Preheat the oven to 250 degrees. Combine oil and spices in a large bowl. Add pretzels and toss to coat. Marinate for 30 minutes, stirring occasionally. Spread on a parchment-lined and rimmed baking sheet. Bake for 45 minutes in the 250º F oven, stirring a few times. Cool completely and enjoy! These can be addicting!

S A L A D / M A I N — Y u n - T i n g L e e violin

Stetson Chopped Salad with optional salmon (or chicken) ADAPTED FROM COWBOY CIAO RESTAUR ANT

INGREDIENTS Salad: 1 cup cooked Israeli (“pearl”) couscous ½ cup diced Roma tomatoes ½ cup sweet corn (available as freeze-dried) (or freshly cut off cooked ears, or thawed from frozen) 1 cup chopped arugula ½ cup grated Asiago cheese ¼ cup dried currants ¼ cup toasted pepitas (pumpkin seeds) Optional: 2 oz. smoked salmon or chicken, diced Dressing: ¼ cup basil pesto ½ cup mayo 1 shallot, roughly cut up ½ cup buttermilk juice of half a lemon garlic to taste salt & pepper to taste (use more or less of the dressing, to fit your taste)

I’ve loved this salad ever since having it at the now-closed restaurant Cowboy Ciao in Scottsdale, Arizona. I was so happy to find the recipe online and have been making it for friends ever since!

DIRECTIONS Part of the fun of this salad is the dramatic way it comes together. Cook the Israeli couscous according to the directions on the box, then cool. Once the couscous is cooled, arrange the salad ingredients in separate rows on a large platter. Put all the dressing ingredients in a blender and blend until smooth. Show off your plated rows. Then, just before serving, pour dressing over the chopped salad and mix together.


Delicious and colorful!



M A I N — J e s s i c a S i n d e l l flute

Pan-Seared Salmon with citrus mango arugula salad INGREDIENTS

RECIPES — Summer 2021

2 limes, plus more for serving 2 salmon fillets, skinless (6-8 oz. each) 2 tsp. olive oil 1 mango (or 2, if you really like mangoes) 3-4 oz, arugula (approx.) salt and pepper to taste


We aren’t bigtime chefs at home, but this super simple recipe has been a quick and healthy go-to for us — especially on busier days when putting dinner on the table feels impossible. It works great to prepare and carry to a picnic, too!

DIRECTIONS Cut both limes in quarters. Squeeze the juice from two lime wedges over each salmon fillet. You will use one full lime for the two fillets. Season the salmon fillets with salt and pepper on both sides, and then allow them to rest for approximately 5 to 10 minutes. In the meantime, peel and slice one mango. Toss the mango slices with freshly washed arugula in a bowl. Drizzle the tossed salad with at least two more lime wedges and season the salad with salt and pepper before tossing again. Once the salmon has rested for at least 5 minutes, heat 2 teaspoons of olive oil in a medium-sized pan over mediumhigh heat until the pan is hot. Place the salmon in the heated pan. Cook for 3-4 minutes per side, or until desired done-ness. You may need to leave the salmon on the heat longer, depending on its thickness. Serve the cooked salmon with your simple mango-andarugula salad immediately. Or to enjoy later at a picnic, allow the salmon to rest at room temperature in a separate container before transporting it and the chilled salad to your destination.

D E S S E R T — Martha Baldwin cello

Victoria Sponge Cake INGREDIENTS A traditional Victoria Sponge calls for equal weights of four ingredients: eggs, butter, sugar, and self-rising flour. If you have a kitchen scale, weigh the eggs first and then use equal weights of the other three ingredients. Approximate measurements:

plus jam for filling between layers *** powdered sugar to ice the caketop

* Caster sugar is great here, but granulated sugar is fine to use, too. Just add an extra tablespoon in addition to the ¾ cup. ** If you can find a European-style butter, with its higher butterfat content, you won’t regret it. *** Raspberry or strawberry jam are traditionally used as filling, but other jams, particularly tart ones such as apricot or sour cherry, can be substituted.

DIRECTIONS Pre-heat oven to 350 º F. While the oven is warming, prepare two round 8-inch cake tins or springform pans (8”), first with butter, making sure to grease the bottom and sides, and then line the bottoms with parchment paper. In a mixer, cream butter for 5 minutes, then add sugar and cream together until soft and light. Lightly beat eggs in a separate bowl and then gradually add to butter/sugar mixture. Mix the flour and sugar together, then fold in one-third at a time. Next, add enough milk to the batter (approximately 2 tablespoons) so that it easily drops from a spoon. Spread equal amounts of batter into each pan and bake at 350º F for 30-35 minutes until a tester comes out clean. Cool on a baking rack until room temp. PHOTO BY AMANDA ANGEL

3 large eggs (approx. 6 oz) approx. 1 ½ sticks unsalted butter * approx. ¾ cup caster sugar ** approx. 11⁄3 cups self-rising flour a pinch of salt approx. 2 Tbsp. milk

Victoria Sponge Cake is a traditional British tea cake that can be enjoyed as easily at breakfast or mid-afternoon with a cup of coffee — or as dessert at a Blossom picnic. It is simple enough that even my daughter has been baking it on her own from a young age. You can’t go wrong with a cake that requires no measuring tools beyond a kitchen scale, can be mixed in one bowl, and can be eaten morning, noon, and night!

Stack cakes with a layer of jam in between and dust top with icing (powdered) sugar.

RECIPES — Summer 2021


What role can music play in A conversation with Joan Katz Napoli, The Cleveland Orchestra’s senior director of education and community programs, about learning through music and music-making. Q: Please talk a little about yourself. What brought you into music education? Joan: Cleveland is my hometown. Singing in chorus was my first love. Then I heard The Cleveland Orchestra at Severance Hall on a school fieldtrip I’ll never forget — the beauty of the building, the intensity of the music, the whole experience left a huge impression on me. After college, I spent 16 years in children’s television in Washington D.C., first at the Corporation for Public Broadcasting, then at PBS, where my work received a Peabody Award and two Emmy nominations. That work ignited a lifelong commitment to kids and learning, which I brought with me when I returned to my hometown — and to my beloved Cleveland Orchestra! — to raise a family. Here I am 26 wonderful years later with an Orchestra more committed to learning and serving the community than ever before.

Q: Why is a symphony orchestra involved in music education? Isn’t that something that usually happens in private lessons or school classes? Joan: In many schools, both public and private, when budgets are squeezed, arts programs — including music — are too often among the first cuts. This is a situation that may worsen as schools prioritize other needs coming out of the pandemic. We want to help ensure that music is part of every child’s life, regardless of a school’s financial situation. Decades of research has documented the positive impacts of music on learning. Kids engaged in music have better grades, higher school attendance and graduation rates, better workforce opportunities, and more positive outcomes overall. The rigor, self-discipline, teamwork, and perseverance that music study requires are skills that transfer directly into other areas of learning and living, and which last a lifetime. Q: How long has The Cleveland Orchestra been involved in music education?


Joan: Education and community service have been part of The Cleveland Orchestra’s mission from day one in 1918. Frankly, even before day one. The Orchestra’s founder, Adella Prentiss Hughes, recognized from the start the inherent value of music education for children, as well as the need to grow an audience for her new orchestra. Our first music director, Nikolai Sokoloff, was hired to create a music education program in the Cleveland Public Schools at the same time he was working to hire the first musicians to form the Orchestra itself. Teaching about music and learning to play a musical instrument was considered an essential part of a wellrounded education back then. Many of us still think it should be! Q: What kinds of programs did the Orchestra offer to students a hundred years ago?

Since its founding in 1918, The Cleveland Orchestra has been involved in teaching and inspiring young people through musical concerts, lessons, and presentations.


Joan: In the earliest years, The Cleveland Orchestra’s involvement was to offer a grounding in classical symphonic music. In cooperation with the Cleveland Board of Education, beginning in 1920, Orchestra members gave instrumental music lessons on Saturday morn-

education? ings to children in Cleveland schools. The Music Memory Contests that followed, in which students competed to identify popular classical pieces, became legendary. Early on, too, the community’s school children were brought in buses each year to experience the music in person, played by The Cleveland Orchestra. In fact, across the past century, The Cleveland Orchestra has introduced over 4 million young people to live orchestral musical performances. By the 1950s and ’60s, annual field trips to Severance Hall ensured that almost every student growing up in Northeast Ohio experienced The Cleveland Orchestra in person — and so many adults today remember coming to Severance Hall on these school fieldtrips to hear the Orchestra for the very first time. Times and priorities have changed in schools and in society, of course, but more than a century later, the Orchestra’s commitment to education and community service is still core to our mission, and has never been more important. Q: What role can The Cleveland Orchestra play in advocating for and promoting the study of music? Joan: Many of the kids who could benefit the most are the ones with the least access to music. So one of The Cleveland Orchestra’s goals is to serve as an advocate for the importance of music education as part of educating the whole child, and to partner with school districts across Northeast Ohio to demonstrate music’s positive outcomes. Given the many challenges that Cleveland faces as a city and as part of the larger Northeast Ohio community, The Cleveland Orchestra has a responsibility to be part of the solution — to use the Orchestra’s voice, visibility, and expertise to make music part of a wellrounded education for all students. For us, this is an equity issue — because all children deserve the joy and lifelong benefits of music. We are determined to help bridge the gap between today’s school budgets and the documented

The Orchestra’s Crescendo program in the Slavic Village neighborhood continued even through the pandemic, when lessons and teaching moved outdoors.

lifelong benefits music brings. Our programs — and our generous supporters — are helping us pursue these goals. Q: Can you talk about some specific examples of programs that are making a difference? Joan: We’ve had a particularly strong partnership with the Cleveland Metropolitan School District (CMSD) from the start, where we’ve introduced a number of pioneering programs over the years. For example, Musical Neighborhoods, in eighteen CMSD preschool classrooms, uses music to develop and reinforce school readiness skills. In addition, the Crescendo Strings Program in Slavic Village’s Mound School, the Brass Program in Hough’s Wade Park School, and Music Mentors at Cleveland School of the Arts all focus on music-making and music mastery. Beyond CMSD, we serve hundreds of schools and school districts throughout the region. Just prior to the pandemic, we received a transformational endowment gift from Mrs. Jane Nord, which guarantees free tickets to Cleveland Orchestra Education Concerts for all students, forever. This is visionary thinking and planning, to ensure that music and The Cleveland Orchestra are part of future generations. Q: How did the Covid-19 pandemic affect the Orchestra’s education offerings? Joan: The past year has been a challenge for everyone. Covid affected everything — school, work, families, and more — everything except our determination to make a difference in our community. Of course, in-person performances were cancelled. But we took the opportunity to rethink how The Cleveland Orchestra can best make a difference in education. The pandemic accelerated our development LEARNING and MUSIC


Support magical evenings under the stars at Blossom! The Cleveland Orchestra’s Blossom Music Festival relies on support from music-lovers like you. We invite you to make your gift for summer music today: • • • •

Use the envelope enclosed to mail your gift Visit Call 216-456-8400 Scan QR code at right with your smartphone camera


Ohio hio City ity Inc. nc.


O H I O C I T Y S T R E E T F E S T I VA L connects you to the region’s vibrant arts and culture scene. With just a few clicks, discover hundreds of events made possible in part with public funding from Cuyahoga Arts & Culture.






of new digital resources. These greatly expanded the reach of education programs this past year, not only for children, but for adults as well. Our Mindful Music Moments series, begun four years ago, is one example. This web-based program combines Cleveland Orchestra music recordings with mindfulness prompts in bite-size daily offerings — and was a ready resource when the pandemic started, bringing calm and comfort to tens of thousands via our social media platforms. Music combined with mindfulness is a powerful tool for social and emotional learning for people of every age! Q: Do you have other examples from the past year? Joan: My staff and I, together with the Orchestra’s musicians, have been very busy developing new offerings and retooling existing programs. Our brand-new What is an Orchestra? and Choose Your Instrument digital series provide music educators — and families — with videos, interactive quizzes, and more to keep kids engaged and excited about music virtually. Digital offerings won’t replace live concerts or live instruction, but they are 21st-century learning tools that convey the fundmentals of orchestral music to young generations. And although Cleveland Orchestra Youth Orchestra musicians had to remain virtual all year, online sessions provided them a unique opportunity to directly interact with composers, guest artists, and guest conductors from around the world. This past year also made us even more aware of disparities among school districts. Most noticeable in Cleveland was the “digital divide.” But also a lack of stable housing and food insecurity. These are all prerequisites for learning. Of course, an orchestra can’t solve all problems, but our staff and musicians worked tirelessly throughout the past year to address the challenges we could, and to keep music present in students’ and residents’ lives across these very uncertain months. Q: What are your hopes and challenges going forward? Joan: Different communities across Northeast Ohio have different needs, and we want to help bridge gaps in music education in all districts, including those with least access. My greatest hope is that every child across this region, city, or suburb, has the opportunity to play an instrument or sing in a choir, to experience the sheer joy of music, and to hear The Cleveland Orchestra — at Severance Hall, at Blossom Music Center, or right in their own neighborhood.

Mindful Music Moments help students prepare for the schoolday through focus on four-minute classical music pieces each morning.

I’ve been with the Orchestra for more than 25 years and it is exciting to see how well we’ve been able to adapt, to keep moving forward and to harness the power of music to change lives, one student at a time. In a normal year, without the pandemic, we serve over 100,000 with our education and community programs and through our young audience initiatives. We want The Cleveland Orchestra to be defined not only by the excellence of our music onstage, but by the value we bring to our hometown communities across Northeast Ohio. With the variety and reach of our education programs, we invest in the future of this region, in generations of students who will become tomorrow’s leaders. We want to be Cleveland’s Orchestra in the truest sense of the words. Joan Katz Napoli has directed The Cleveland Orchestra’s education and community engagement programs since 1995. To learn more about Cleveland Orchestra education initiatives, please visit -------------------------------------------------------------------------------------------------------------To read more about the connections between music and learning, and the value of music for life and living: Your Musical Child: Inspiring Kids to Play and Sing for Keeps by Jessica Baron Turner. 239 pages. 2004, String Letter Media. $14.95 list. (Hal Leonard Corporation, 7777 West Bluemound Road, P.O. Box 13819 Milwaukee, WI 53213). A hands-on book for parents and teachers on how to engage young people in music-making . The Musical Human: A History of Life on Earth by Michael Spitzer. 480 pages. 2021, Bloomsbury Publishing. $34.95 list. An insightful and in-depth look at how music has shaped humans as individuals and as societies and communities, across history and today.


A necessarily short list of summer reading titles related to music of varying kinds, and, in several instances, with connections to upcoming Cleveland Orchestra concerts. The Noise of Time by Julian Barnes. Procure for yourself or borrow from a library or friend. 224 pages. 2017, Vintage.

F ICT IO N First Person Singular by Haruki Murakami. 256 pages. 2021, Knopf. “You could imagine Murakami’s process as an extension of catching stories via musical thinking, whether it’s jazz in ‘Charlie Parker Plays Bossa Nova,’ pop in ‘With the Beatles,’ or classical in ‘Carnaval,’ all included in this collection.” —New York Times The Ensemble by Aja Gabel. 352 pages. 2019, Riverhead Books. This debut novel follows sixteen years of the fictitious Van Ness Quartet and its members — Brit, Henry, Daniel, and Jana — from the launch of their careers to romantic entanglements and family tragedies, and their ability to make beautiful music through it all. The Song of Achilles by Madeline Miller. 415 pages. 2012, Ecco. “You don’t need to be familiar with Homer’s The Iliad (or Brad Pitt’s Troy, for that matter) to find Madeline Miller’s The Song of Achilles spellbinding. . . . Her explorations of ego, grief, and love’s many permutations are both familiar and new. . . . A timeless love story.” —O magazine

Summer 2021

The Queen of the Night by Alexander Chee. 576 pages. 2016, Mariner Books.


A historical novel depicting the dreams and inside struggles of a 19th-century American woman who travels to Europe as a circus performer, and then becomes a star at the Paris Opera. Chee weaves together a sure ability for evocatively telling details into a captivating story about life and love, adventure and music.

“This is an imagining of Shostakovich’s inner life and struggles, resulting in a condensed masterpiece that traces the lifelong battle of his conscience and art with the insupportable exigencies of totalitarianism.” —The Guardian Nocturnes: Five Stories of Music by Kazuo Ishiguro. 240 pages. 2009, Knopf. “In this volume of short stories, Kazuo Ishiguro, author of Remains of the Day, blends musical concepts with their literary counterparts, taking on the . . . quality of a song cycle with recurring themes and motifs developed in different prose keys.” —Bookmarks magazine

PO ET RY Beethoven Variations: Poems on a Life by Ruth Padel. 144 pages. 2021, Knopf. “Balancing a historian’s fidelity to archives and a musician’s passion for composition, Padel offers a lavish poetic biography of Beethoven. . . . Aficionados of classical music may draw inspiration from this ambitiously conceived reconsideration of Beethoven’s genius.” —Publishers Weekly

N o n - F I CT I O N Songs of America: Patriotism, Protest, and the Music That Made a Nation by Jon Meacham and Tim McGraw. 320 pages. 2019, Random House. A fascinating exploration of songs that have helped shape America’s history, from “The Star-Spangled Banner” to “We Shall Overcome” and “Age of Aquarius.” Historian Jon Meacham teams up with country singersongwriter Tim McGraw for a blending of art and power, words and storytelling.

Wagnerism: Art and Politics in the Shadow of Music by Alex Ross. 784 pages. 2020, Farrar, Straus and Giroux. From Bayreuth to Bugs Bunny, New Yorker music critic Alex Ross looks at the unprecedented, multifaceted influence — and controversy — that Richard Wagner’s music and ideas have sparked across the arts, culture, philosophy, and politics in this impressively researched, deftly constructed (and deconstructed), and well-argued 700-page tome. The Heart of a Woman: The Life and Music of Florence B. Price by Rae Linda Brown. 332 pages. 2020, University of Illinois Press. The first-ever biography of classical composer Florence Price — whose piano concerto is being performed at Blossom on July 3-4. The book outlines her private and professional career, from New York to Chicago, as she became the first African American woman to gain national recognition for her symphonic and chamber works. Mozart’s Women: His Family, His Friends, His Music by Jane Glover. 432 pages. 2006, Harper Perennial. A magnificently written book all about Mozart and his music, viewed through the lens of the important women in his life — including the often neglected story of his wife’s long life after his death — by conductor Jane Glover, who appears on July 11 at Blossom and in March during the upcoming Severance Hall season. Music in 1853: The Biography of a Year by Hugh Macdonald. 224 pages. 2012, Boydell Press. Coincidence or history? This fascinating book takes a look at classical music’s doing across Europe in the singular year of 1853, weaving together the many threads and personalities at work. Their interactions, meetings, and near-meetings are advanced by the continent’s newly expanding and newfangled railroad system. Author Hugh Macdonald, who has written extensively for The Cleveland Orchestra, brings to life an era of tantalizing possiblities and relationships.

In addition to The Cleveland Orchestra’s own podcast, On a Personal Note, or such mainstay radio programs as “Performance Today,” many series offer insight and exploration into musical creativity and the personalities behind the art. These include: Aria Code, from WQXR, Metropolitan Opera, and WNYC Studios Now in its third season, this podcast brings together singers, musicologists, and a wealth of experts from an unexpectedly wide range of fields to break down some of the most poignant and famous moments in opera. Switched On Pop, from Vulture Don’t let its name deter you. Hosts Nate Sloan, a musicologist, and Charlie Harding, a music journalist and songwriter, are equally at home talking Top 40 hits, chamber music, Beethoven, and jazz. Sound Board, from Steinway & Sons Hosted by Ben Finane, Steinway’s editor-in-chief, this series shares insight from pianists as well as figures across the cultural spectrum, exploring connections between music, art, fashion, theater, and life. Presto Music Podcast from Presto Music Launched during the pandemic, and produced by the UK’s leading online seller of jazz and classical recordings, this podcast is now in its second season. Presto’s product manager, Paul Thomas, conducts wide-ranging interviews with mostly UK-based writers and musicians. Twenty Thousand Hertz from Dallas Taylor A “lovingly crafted” podcast uncovering the history behind some of the most famous audible icons, including the 20th Century Fox fanfare, John Cage’s 4'33" and Netflix’s “Ta-Dum.”

Summer 2021 25



The Cleveland Orchestra is a precious pr ious

gem in Northeast Ohio. Your beautiful music transcends nscends the soul, speaks to all humanity, and unites people. Whether hether bringing community into the gorgeous foyer of Severance ce Hall, uniting friends and family on picnic blankets at Blossom, m, streaming online, or educating students, you are touching lives and uplifting spirits! Thank you” —Rebecca Ellsworth Proud Orchestra Supporter

Thank you, music-lovers! Over the past year, thousands of passionate supporters like Rebecca have stepped up to sustain The Cleveland Orchestra through the pandemic. The Cleveland Orchestra returns to live performances this summer, and we want to say thank you for keeping the music playing! We are so grateful.

Be part of the Orchestra’s return to the stage. We are thrilled to welcome audiences back to our summer home thanks to music-lovers like you. With your donation today, you help The Cleveland Orchestra share the joy of music at Blossom with family and friends across our community. Every dollar makes a difference for the music you love. We hope you will consider making your tax-deductible donation today. • Visit • Call 216-456-8400 • Scan QR code at right with your smartphone camera

You are the reason we can return to the Blossom stage this summer — and will soon reunite for performances at Severance Hall, in Miami, and around the world. Thank you to our entire Cleveland Orchestra family for standing up for music. For questions about your gift, please contact our Donor Services team: 216-456-8400 or



Individual Support Annual Support

The Th Cleveland Cl l dO Orchestra extends heartfelt gratitude to all music-lovers who support our endeavors each year. Donations of all sizes sustain the Orchestra, enabling us to share the power of music with friends and neighbors both near and far. As we emerge from the most challenging period in our storied history and return to the stage, we are deeply thankful for the generosity of every member of The Cleveland Orchestra family. To learn more, visit

gifts listing current as of May 10, 2021

Adella Prentiss Hughes Society GIFTS OF $100,000 AND MORE GIFTS OF $500,000 AND MORE

Mrs. Jane B. Nord Mr. and Mrs. Alfred M. Rankin, Jr. Estate of Carol and Michael Sherwin Mr. and Mrs. Richard K. Smucker Estate of Richard M. Stofer GIFTS OF $200,000 TO $499,999

Musicians of The Cleveland Orchestra (in-kind support for community programs and opportunities to secure new funding) Randall and Virginia Barbato Estate of Dean and Beryl Bardy Estate of Dolores B. Comey Mrs. John A Hadden Jr.* Haslam 3 Foundation Milton A. & Charlotte R. Kramer Charitable Foundation Mrs. Norma Lerner and The Lerner Foundation Estate of Laura Ingrid Messing Mr. and Mrs. Abert B. Ratner James* and Donna Reid The Ralph and Luci Schey Foundation Jenny and Tim Smucker Estate of Mr. Nicholas M. Trivisonno* GIFTS OF $100,000 TO $199,999

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. Yuval Brisker Irad and Rebecca Carmi Mr. and Mrs. Alexander M. Cutler Rebecca Dunn Estate of Dr. Saul M. Genuth JoAnn and Robert Glick 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 Virginia M. and Jon A. Lindseth The Milton and Tamar Maltz Family Foundation Elizabeth F. McBride Ms. Nancy W. McCann Estate of Robert Messing Ms. Beth E. Mooney Estate of George and Barbara Morisky The Oatey Foundation (Cleveland, Miami) William J. and Katherine T. O’Neill The Honorable John Doyle Ong


Ms. Ginger Warner Mr. and Mrs. Franz Welser-Möst

Lillian Baldwin Society GIFTS OF $75,000 TO $99,999

Dr. and Mrs. Hiroyuki Fujita Toby Devan Lewis Mr. Stephen McHale Sally S.* and John C. Morley Charles and Ilana Horowitz Ratner Barbara S. Robinson (Cleveland, Miami) Dr. Russell A. Trusso Barbara and David Wolfort

George Szell Society GIFTS OF $50,000 TO $74,999

Mr. William P. Blair III The Brown and Kunze Foundation Brenda and Marshall B. Brown Dr. and Mrs. Robert Ehrlich (Europe) Mr. and Mrs. Donald M. Jack, Jr. Richard and Michelle Jeschelnig Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Douglas A. Kern Jan R. Lewis Julia and Larry Pollock Mr. and Mrs. Benjamin N. Pyne Mrs. Alfred M. Rankin, Sr. Sandor Foundation Sally and Larry Sears The Seven Five Fund Marjorie B. Shorrock Jim and Myrna Spira Mrs. Jean H. Taber* Meredith and Michael Weil Paul and Suzanne Westlake Tony and Diane Wynshaw-Boris Anonymous (2)

Elisabeth DeWitt Severance Society GIFTS OF $25,000 TO $49,999

Gay Cull Addicott Mr. and Mrs. William W. Baker Dr. and Mrs. Wolfgang Berndt (Europe) Dr. Ben H. and Julia Brouhard Jeanette Grasselli Brown and Glenn R.* Brown Dr. Robert Brown and Mrs. Janet Gans Brown Cleveland Orchestra Chorus Estate of Helen C. Cole

Judith and George W. Diehl Friends of The Cleveland Orchestra Dr.* and Mrs. Adi Gazdar Mr. and Mrs. Robert W. Gillespie Richard and Ann Gridley Mr. and Mrs. Geoffrey Gund Iris and Tom Harvie Mary and Jon Heider (Cleveland, Miami) Mrs. Lynn Heisler David and Nancy Hooker Mrs. Marguerite B. Humphrey Allan V. Johnson Estate of Clara M. Kaiser Dr. Malcolm E. Kenney, Ph.D. Cynthia Knight (Miami) Richard and Christine Kramer Dr. David and Janice Leshner Mr. Tim Murphy and Mrs. Barbara Lincoln Mr. and Mrs. Alex Machaskee Randy and Christine Myeroff Mr. and Mrs. James A. Ratner Michael and Chandra Rudd (Miami) Mr. and Mrs. James A. Saks Mark and Shelly Saltzman Astri Seidenfeld Hewitt and Paula Shaw Kim Sherwin Ms. Eileen Sotak and Mr. William Kessler The Stair Family Charitable Foundation, Inc. R. Thomas and Meg Harris Stanton Bill and Jacky Thornton Tom and Shirley Waltermire Mr. and Mrs. John Warner Sandy and Ted Wiese Anonymous (3)

Dudley S. Blossom Society GIFTS OF $15,000 TO $24,999

Mr. Dean Barry Blossom Friends of The Cleveland Orchestra Mr. and Mrs. Charles P. Bolton Dr. Christopher P. Brandt and Dr. Beth Sersig J. C. and Helen Rankin Butler Dr. Gwen Choi Mary and Bill Conway Mr. and Mrs. Matthew V. Crawford Nancy and Richard Dotson Mary Jo Eaton (Miami) Dr.* and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry William R. and Karen W. Feth Mr. Michael Gröller (Europe) Kathleen E. Hancock

Sondra and Steve Hardis Jack Harley and Judy Ernest Amy and Stephen Hoffman Joan and Leonard* Horvitz Richard Horvitz and Erica Hartman-Horvitz (Cleveland, Miami) Mr. and Mrs. Brinton L. Hyde Pamela Jacobson John D. and Giuliana C. Koch Rob and Laura Kochis Mr. and Mrs.* S. Lee Kohrman Mr. Jeff Litwiller Alan Markowitz M.D. and Cathy Pollard Mr. Thomas F. McKee Edith and Ted* Miller Dr. Anne and Mr. Peter Neff Mr. Thomas Piraino and Mrs. Barbara McWilliams Douglas and Noreen Powers Steven and Ellen Ross Meredith M. Seikel Estate of Mr. and Mrs. Jeffrey H. Smythe Lois and Tom Stauffer Mr. John R. Stock Mr. and Mrs. Richard P. Stovsky Dr. Elizabeth Swenson Bruce and Virginia Taylor Mr. and Mrs. Alfred Umdasch (Europe) Mr. Daniel & Mrs. Molly Walsh Mr. and Mrs. Fred A. Watkins Mr. and Mrs. Jeffery J. Weaver Denise G. and Norman E. Wells, Jr. Robert C. Weppler Max and Beverly Zupon Anonymous (4)

Claudia Metz and Thomas Woodworth Dr. Tomislav Mihaljevic MD Ann Jones Morgan Brian and Cindy Murphy Mr. Raymond M. Murphy Northeast Blossom Friends of The Cleveland Orchestra Mr. J. William and Dr. Suzanne Palmer Ms. Sally Peyrebrune Dr. Roland S. Philip and Dr. Linda M. Sandhaus Dr. and Mrs. John N. Posch Mr. and Mrs. Roger F. Rankin Paul A. and Anastacia L. Rose Dr. Isobel Rutherford Dr. and Mrs.* Martin I. Saltzman David M. and Betty Schneider Rachel R. Schneider Carol* and Albert Schupp Dr. and Mrs. James L. Sechler Donna E. Shalala (Miami) Howard and Beth Simon Sandra and Richey Smith Roy Smith Richard and Nancy Sneed Dr. Veit Sorger (Europe) Mr. Emil F. Sos Jr. Mr. Heinrich Spängler (Europe) Sidney Taurel and Maria Castello Branco Philip and Sarah Taylor Mr. Joseph F. Tetlak Michael and Edith Teufelberger (Europe) Mr. and Mrs. Joshua Ungier Dr. Gregory Videtic and Rev. Christopher McCann Dr. Horst Weitzman Mr. Yoash and Mrs. Sharon Wiener Sandy Wile and Sue Berlin Anonymous (10)

Frank H. Ginn Society GIFTS OF $10,000 TO $14,999

Mrs. Reita H. Bayman Mr. and Mrs. Jules Belkin Mr. and Mrs.* John M. Bourne Mr. D. McGregor Brandt, Jr. Mr. and Mrs. Hugh Calkins* Martha and Bruce Clinton (Miami) Robert and Jean* Conrad Mrs. Barbara Cook Mrs. Barbara Ann Davis Dr. M. Meredith Dobyns Henry and Mary* Doll Mr.* and Mrs. Bernard H. Eckstein Carl Falb Estate of Mr. Joseph Falconi Mr. and Mrs. Richard C. Fedorovich Michael Frank and Patricia A. Snyder Ms. Marina French The Fung Family Barbara and Peter* Galvin Albert I.* and Norma C. Geller Dr. Edward S. Godleski Patti Gordon (Miami) Harry and Joyce Graham Dr. Fred A. Heupler David and Dianne Hunt Barbara and Michael J. Kaplan Mr. and Mrs. Christopher Kelly Mrs. Elizabeth R. Koch Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. S. Ernest Kulp David C. Lamb John N.* and Edith K. Lauer Dr. Edith Lerner Ms. Cathy Lincoln Mr. David and Dr. Carolyn Lincoln Estate of Emma S. Lincoln Drs. Todd and Susan Locke Mr.* and Mrs. Arch J. McCartney Drs. Amy and James Merlino

The 1929 Society GIFTS OF $5,000 TO $9,999

Ms. Nancy A. Adams Dr. and Mrs. D. P. Agamanolis Mr. and Mrs. A. Chace Anderson Robert and Dalia Baker Michael and Karen Baldridge Mr. and Mrs. Thomas Barnard Fred G. and Mary W. Behm Dr. Jodi Berg Mel Berger and Jane Haylor Margo and Tom Bertin Mr. David Bialosky and Ms. Carolyn Christian Dr. and Mrs. Eugene H. Blackstone Suzanne and Jim Blaser David and Julie Borsani Stacey and Jonathan Braun Ms. Elizabeth Brinkman Dr. Thomas Brugger and Dr. Sandra Russ Frank and Leslie Buck Mr. and Mrs. Robert G. Busha Dr. and Mrs. William E. Cappaert Ms. Maria Cashy Dr. Victor A. Ceicys Chip and Karen Chaikin Mr. and Mrs. James B. Chaney Drs. Wuu-Shung and Amy Chuang Jill and Paul Clark Richard J. and Joanne Clark Drs. John and Mary Clough Drs. Mark Cohen and Miriam Vishny Ellen E. and Victor J. Cohn Mr. and Mrs. Arnold L. Coldiron Kathleen A. Coleman Diane Lynn Collier and Robert J. Gura Marjorie Dickard Comella Mr.* and Mrs. Gerald A. Conway Jim and Mary Conway Ms. Margot James Copeland

Mr. John Couriel and Dr. Rebecca Toonkel (Miami) Mr. and Mrs. Manohar Daga Mr. and Mrs. Ralph Daugstrup Bruce and Jackie Davey Dr. Todd Diacon Pete and Margaret Dobbins Maureen Doerner and Geoffrey White Dr. Doris Donnelly Mr. Barry Dunaway and Mr. Peter McDermott Mr. and Mrs. Robert P. Duvin Elliot and Judith Dworkin Mary and Oliver* Emerson Mr. William and Dr. Elizabeth Fesler Joseph Z. and Betty Fleming (Miami) Joan Alice Ford Bob and Linnet Fritz Joy E. Garapic Brenda and David Goldberg Barbara H. Gordon Mr. Robert Goss Drs. Erik and Ellen Gregorie André and Ginette Gremillet Mr.* and Mrs. Stephen Griebling Mr. Calvin Griffith Nancy Hancock Griffith Candy and Brent Grover The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Robert N. and Nicki N. Gudbranson David and Robin Gunning Mr. Davin and Mrs. Jo Ann Gustafson

“The first thing my wife and I did after retiring from 30-plus years of high school teaching was subscribe to The Cleveland Orchestra. It has become an important part of our life.” —Paul and Alea Dahnke

Alfredo and Luz Gutierrez (Miami) Martha and Steven Hale Dr. Phillip M. and Mrs. Mary Hall Mr. Newman T. Halvorson Gary Hanson and Barbara Klante Clark Harvey and Holly Selvaggi Henry R. Hatch* Robin Hitchcock Hatch Mrs. Julia M. Healy Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Dr. Toby Helfand Anita and William Heller Mr. and Mrs. Jerry Herschman Dr. Keith A. and Mrs. Kathleen M. Hoover listings continue


James and Claudia Hower Elisabeth Hugh Donna L. and Robert H. Jackson Elizabeth B. Juliano Andrew and Katherine Kartalis Mr. Clifford Kassouf Milton and Donna* Katz Dr. Richard* and Roberta Katzman Dr. and Mrs. Herbert Kern Dr. and Mrs. William S. Kiser The Estate of Giles and Malvina Klopman Mr. and Mrs. Jon A. Knight Mr. Donald N. Krosin Mr. and Mrs. Arthur J. Lafave, Jr. Dr. and Mrs. John R. Lane Kenneth M. Lapine and Rose E. Mills Mrs. Sandra S. Laurenson Anthony T. and Patricia A. Lauria Jeffrey and Janet Leitch Judith and Morton Q. Levin Dr. Stephen B. and Mrs. Lillian S. Levine Eva and Rudolf Linnebach David and Janice* Logsdon Anne R. and Kenneth E. Love Elsie and Byron Lutman David Mann and Bernadette Pudis Ms. Amanda Martinsek Mr. and Mrs. Thomas B. McGowan James and Virginia Meil Glenn and Ida Mercer Dr. Susan M. Merzweiler Loretta J. Mester and George J. Mailath Mr. and Mrs. Michael J. Snyder Lynn and Mike Miller Drs. Terry E. and Sara S. Miller Dr. Shana Miskovsky Curt and Sara Moll Bert and Marjorie Moyar Mr. John Mueller Mr. and Mrs. William C. Mulligan Mr. and Mrs. Stephen Myers 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 Mr. and Mrs. Richard W. Pogue Dr. Marc A. and Mrs. Carol Pohl Ms. Rosella Puskas Mr. Winthrop Quigley and Ms. Bonnie Crusalis Lute and Lynn Quintrell Brian and Patricia Ratner Ms. C. A. Reagan Mr. and Mrs. Robert J. Reid Amy and Ken Rogat Dr. and Mrs. Ronald J. Ross Robert and Margo Roth Muriel Salovon Drs. Michael and Judith Samuels (Miami) Bob and Ellie Scheuer Don Schmitt and Jim Harmon The Estate of Audrey Schregardus Lee and Jane Seidman Drs. Daniel and Ximena Sessler Kenneth Shafer Jim Simler and Doctor Amy Zhang The Shari Bierman Singer Family Drs. Charles Kent Smith and Patricia Moore Smith Mrs. Gretchen D. Smith Mr. and Mrs. William E. Spatz George and Mary Stark Sue Starrett and Jerry Smith Dr.* and Mrs. Frank J. Staub Edward R. & Jean Geis Stell Foundation Stroud Family Trust Ms. Lorraine S. Szabo Taras Szmagala and Helen Jarem

Robert and Carol Taller Michael Tinter Mr.* and Mrs. Robert N. Trombly Robert and Marti* Vagi Bobbi and Peter* van Dijk Mr. and Mrs. Les C. Vinney Mr. Randall Wagner Dr. and Mrs. H. Reid Wagstaff Walt and Karen Walburn Mr. John Walton Greg and Lynn Weekley Mr. and Mrs. Mark Allen Weigand Pysht Fund Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Mr. Peter White Dr. Paul R. and Catherine Williams Richard and Mary Lynn Wills Bob and Kat Wollyung Estate of Shirley Zook Anonymous

Composer’s Circle GIFTS OF $2,500 TO $4,999

Mr. and Mrs. Paul R. Abbey Mr. and Mrs. Victor Alexander Mr. Francis Amato Sarah May Anderson Susan S. Angell Art of Beauty Company, Inc. Ms. Sharon Aunchman Aurora Blossom Friends of The Cleveland Orchestra Mr. James Babcock Don and Karen Beal Mr. and Mrs.* Eugene J. Beer Drs. Nathan A. and Sosamma J. Berger Mr. Jeffrey and Dr. Sheila Berlin John and Laura Bertsch Mitch and Liz Blair Zeda W. Blau Mr. Lawrence A. Blaustein Doug and Barbara Bletcher Madeline & Dennis Block Trust Fund Mr. and Mrs. Richard H. Bole Jeff and Elaine Bomberger Larry and Gayle Boron Lisa and Ronald Boyko William and AnnaMarie Brancovsky Mr. and Mrs. Adam A. Briggs Mr. and Mrs. David* Briggs Mr. and Mrs. Dale R. Brogan Dale and Wendy Brott Mr. and Mrs. Henry G. Brownell Mr. Gregory and Mrs. Susan Bulone Brian and Cyndee Burke Mr. and Mrs. Timothy J. Callahan Rev. Dr. Joan Brown Campbell and Rev. Dr. Albert Pennybacker John N. Cannon John and Christine Carleton Mr. and Mrs. John J. Carney William and Barbara Carson Darrell Cass Mr. and Mrs. Brian Cassidy Dr. Ronald Chapnick* and Mrs. Sonia Chapnick Mr. Gregory R. Chemnitz Mr. and Mrs. Homer D. W. Chisholm Dr. William and Dottie Clark James Collins and Patricia Brownwell Mr. and Mrs. Christopher M. Connor Craig Cook Dr. Dale and Susan Cowan Mr. and Mrs. David B. Crawford William* and Anna Jean Cushwa

Dr. Lucy Ann Dahlberg Karen and Jim Dakin Mrs. Lois Joan Davis Prof. George and Mrs. Rebecca Dent Michael and Amy Diamant Dr. and Mrs. Howard Dickey-White Dr. and Mrs. Richard C. Distad Carl Dodge Mr. George and Mrs. Beth Downes Jack and Elaine Drage Ms. Mary Lynn Durham Mr. and Mrs. Ronald E. Dziedzicki Mr. S. Stuart Eilers Mr. Tim Eippert Peter and Kathryn Eloff Andy and Leigh Fabens

”The development of Adella and the In Focus broadcast presentations have kept us engaged and enhanced our appreciation of The Cleveland Orchestra and staff. You have given us hope through all of this hard time. Thank you!” —Ed Eiskamp

Harry and Ann Farmer Mr. and Mrs. Frederick A. Fellowes Nancy M. Fischer Mr. Dean Fisher Tim and Diane Fitzpatrick Scott A. Foerster Mr. Paul C. Forsgren Mr. and Mrs. Christopher W. Foster Richard J. Frey Mr. and Ms. Dale Freygang Dr. Marilee Gallagher Mr. James S. Gascoigne and Ms. Cynthia Prior Mr. William Gaskill and Ms. Kathleen Burke Mr. Wilbert C. Geiss, Sr. Mr. and Mrs. M. Lee Gibson Anne and Walter Ginn Holly and Fred Glock Dr.* and Mrs. Victor M. Goldberg Pamela G. Goodell Dr. and Mrs. Ronald L. Gould Dr. Robert T. Graf Michelle Grass Robert K. Gudbranson and Joon-Li Kim Jane Haag Mr. and Mrs. David P. Handke, Jr. Jane Hargraft and Elly Winer Lilli and Seth Harris listings continue


Mr. and Mrs. Jonathan Hatch Barbara L. Hawley and David S. Goodman Matthew D. Healy and Richard S. Agnes In Memory of Hazel Helgesen The Morton and Mathile Stone Philanthropic Fund T. K.* and Faye A. Heston Mr. Douglas and Mrs. Suzanne Hicks Mr. and Mrs. Arnold Hirshon Mr. Joel R. Hlavaty Dr.* and Mrs. George H. Hoke Thomas and Mary Holmes Gail Hoover and Bob Safarz Lois Krejci-Hornbostel and Roland Hornbostel Dr. Randal N. Huff and Ms. Paulette Beech Ms. Laura Hunsicker Ruth F. Ihde Ms. Melanie Ingalls Ms. Kimberly R. Irish Bruce and Nancy Jackson Dr. and Mrs. Paul C. Janicki Mr. and Mrs. Richard A. Janus Mr. and Mrs. Bruce D. Jarosz Robert and Linda Jenkins Mr. David and Mrs. Cheryl Jerome Joela Jones and Richard Weiss Dr. and Mrs. Sheldon Kaffen Mr. David G. Kanzeg Mr. Jack E. Kapalka Mr. Donald J. Katt and Mrs. Maribeth Filipic-Katt Kim and Nora Katzenberger Mr. Alfred Kelley The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Kent Blossom Friends of The Cleveland Orchestra Dr. and Mrs. Thomas F. Keys Mr. and Mrs. Raymond M. Kinat James and Gay* Kitson Fred* and Judith Klotzman Mr. Ronald and Mrs. Kimberly Kolz Mr. Clayton R. Koppes Drs. Jill Korbin and Lawrence Greksa Ursula Korneitchouk Jacqueline and Irwin* Kott (Miami) Dr. Ronald H. Krasney and Vicki Kennedy Stephen A. Kushnick, Ph.D. Dr. Jeanne Lackamp Alfred and Carol Lambo Mr. and Mrs. John J. Lane, Jr. Mr. and Mrs. Richard L. Larrabee Charles and Josephine Robson Leamy* Michael Lederman and Sharmon Sollitto Mr. Ernest and Dr. Cynthia Lemmerman Michael and Lois Lemr Irvin and Elin Leonard Robert G. Levy Leda Linderman Frank and Jocelyne Linsalata Mr. Henry Lipian Mary Lohman Herbert L. and Ronda Marcus Dr. and Mrs. Sanford E. Marovitz Ms. Dorene Marsh Marshall Commercial Machine Service Dr. Ernest and Mrs. Marian Marsolais Edward Martin Dr. and Mrs. William A. Mast Mr. Julien L. McCall Ms. Charlotte V. McCoy William C. McCoy Ms. Nancy L. Meacham Mr. James E. Menger Mr. Glenn A. Metzdorf Mr. and Mrs. Trent Meyerhoefer Beth M. Mikes Janet L. Miller Mr. Robert Miller

Amy and Marc Morgenstern Patti and Hadley Morgenstern-Clarren Mr. and Mrs. Thomas W. Morris Mr. Ronald Morrow III Eudice M. Morse Susan B. Murphy Ms. Megan Nakashima Joan Katz Napoli and August Napoli Richard B. and Jane E. Nash Andrea Nobil (Miami) Mr. and Mrs. Forrest A. Norman III Steve Norris and Emily Gonzales Dorothy Noyes and Michael Krippendorf Richard and Jolene O’Callaghan Mr. and Mrs. Irving Oleinick Richard and Elizabeth Osborne Mr. Robert Paddock Mr. John D. Papp* George Parras Drs. James and Marian Patterson Dr. Lewis E. and Janice B. Patterson David Pavlich and Cherie Arnold Matt and Shari Peart Henry Peyrebrune and Tracy Rowell Nan and Bob Pfeifer Dale and Susan Phillip Peter Politzer and Jane S. Murray Mr. Robert and Mrs. Susan Price Sylvia Profenna Kathleen Pudelski Dr. James and Lynne Rambasek Nancy Raybin Mrs. Vicki Ann Resnick Dr. Robert W. Reynolds David and Gloria Richards Joan and Rick Rivitz Mr. D. Keith* and Mrs. Margaret Robinson Mr. Timothy D. Robson Mr. and Mrs. Jay F. Rockman Drs. Edward and Teresa Ruch Mr. and Mrs. Joseph Rushton Dr. Harry S. and Rita K. Rzepka Peter and Aliki Rzepka Dr. Vernon E. Sackman and Ms. Marguerite Patton Anne Sagsveen Michael Salkind and Carol Gill Richard and Mary Lou Sanders Kathy Sands Fr. Robert J. Sanson Ms. Patricia E. Say Mr. and Mrs. Bryan Scafidi Mr. Paul H. Scarbrough Ms. Beverly J. Schneider Mitchell and Kyla Schneider John and Barbara Schubert Mr. James Schutte Mr. and Mrs. Thomas W. Seabright Ms. Kathryn Seider Rafick-Pierre Sekaly Mr. Eric Sellen and Mr. Ron Seidman Ginger and Larry Shane Harry and Ilene Shapiro Ms. Frances L. Sharp Mr. Philip and Mrs. Michelle Sharp Larry Oscar & Jeanne Shatten Charitable Fund of the Jewish Federation Dr. and Mrs. William C. Sheldon Terrence and Judith Sheridan Philip A. Shultz Mr. Duane and Mrs. Irene Shuster Mr. Robert Sieck Ms. Ellen J. Skinner Robert and Barbara Slanina Bruce L. Smith David Kane Smith Ms. Janice A. Smith Mr. Eugene Smolik

“I am so grateful for such an outstanding artistic institution. The Cleveland Orchestrta is truly an Ohio treasure!“ —Timothy Michael Kucij

Mrs. Virginia Snapp Drs. Nancy and Ronald Sobecks Diane M. Stack Mr. and Mrs. Jeffrey C. Stanley Mr.* and Mrs. Donald W. Strang, Jr. Frederick and Elizabeth Stueber Ms. Nancy Sullivan Mr. and Mrs. John Taylor Mr. Karl and Mrs. Carol Theil Mr. John R. Thorne and Family Dr. and Mrs. Thomas A. Timko Drs. Anna* and Gilbert True Dr. Margaret Tsai Steve and Christa Turnbull Gina Vernaci and William Hilyard George and Barbara von Mehren Mr. and Mrs. Clark G. Waite Sam and Mary Walker Sprunt Dr. Mark Warren and Dr. Lisa Lystad Margaret and Eric* Wayne Mr. Peter and Mrs. Laurie Weinberger Dr. Julia Whiteside de Vos Jean Wingate Katie and Donald Woodcock Ms. Jennifer Wynn Rad and Patty Yates Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr rr Anonymous (8) * deceased

The Cleveland Orchestra is grateful to every member of our donor family, who help bring our music to life. To learn more, visit

Donor Services Phone: 216-456-84OO Email:



Cleveland Orchestra extends heartfelt gratitude and partnership with the corporations, foundations, and government agencies listed on these pages, whose annual support demonstrates their belief in the Orchestra’s music-making, education initiatives, and community presentations.

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

Hyster-Yale Materials Handling, Inc. NACCO Industries, Inc. McKinsey & Company, Inc. ◊ The J. M. Smucker Company


Corporate Support Annual Support gifts listing current as of May 10, 2021


Cleveland Clinic ◊ Jones Day KeyBank Ohio CAT PARTNERS IN EXCELLENCE $100,000 TO $199,999

The Boston Consulting Group ◊ CIBC The Goodyear Tire & Rubber Co. Medical Mutual ◊ in-kind support + financial and in-kind support



Foundation and Government Support Annual Support gifts listing current as of May 10, 2021


The William Bingham Foundation Cuyahoga County residents through Cuyahoga Arts & Culture The Jack, Joseph and Morton Mandel Foundation Ohio Arts Council Richard & Emily Smucker Family Foundation Anonymous GIFTS OF $250,000 TO $499,999

The Cleveland Foundation The Eric & Jane Nord Family Fund The Seedlings Foundation The Kelvin and Eleanor Smith Foundation GIFTS OF $100,000 TO $249,999

A G P R Foundation Paul M. Angell Family Foundation Mary E. & F. Joseph Callahan Foundation Goodyear Foundation Haslam 3 Foundation The Louise H. and David S. Ingalls Foundation Kulas Foundation Elizabeth Ring Mather and William Gwinn Mather Fund The MJH Foundation John P. Murphy Foundation David and Inez Myers Foundation, Cleveland, Ohio The Oatey Foundation

Bill and Kathy O’Neill Foundation The Payne Fund Dr. M. Lee Pearce Foundation, Inc. (Miami) The Ralph and Lucille Schey Foundation Weiss Family Foundation GIFTS OF $50,000 TO $99,999

The Brown Kunze Foundation The George W. Codrington Charitable Foundation The Jean, Harry, and Brenda Fuchs Family Foundation, in memory of Harry Fuchs GAR Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of the Cleveland Foundation League of American Orchestras: American Orchestras’ Futures Fund supported by the Ann and Gordon Getty Foundation National Endowment for the Arts The Nord Family Foundation Wolfort Family Foundation GIFTS OF $15,000 TO $49,999

The Abington Foundation The Batchelor Foundation, Inc. (Miami) The Bruening Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation

GIFTS OF $50,000 TO $99,999

GIFTS OF $2,500 TO $14,999

BakerHostetler PNC Quality Electrodynamics

Applied Industrial Technologies BDI Blue Technologies Brothers Printing Company Cleveland Steel Container Corporation The Cleveland Wire Cloth & Mfg. Co. The Cleveland-Cliffs Foundation Cohen & Company, CPAs Component Repair Technologies, Inc. Cuda Booster Club Dominion Energy Charitable Foundation Evarts Tremaine The Ewart-Ohlson Machine Company Arthur J. Gallagher & Co. Glenmede Trust Company Gross Builders Haak Law LLC Hamilton Beach/Proctor-Silex, Incorporated Lake Effect Health The Lincoln Electric Foundation Littler Mendelson, P.C. Nordson Corporation Foundation The North American Coal Corporation Northern Haserot Oswald Companies Parker Hannifin Foundation Ratner, Miller and Shafran Families RSM US LLP Stern Advertising, Inc. Struktol Company of America Ver Ploeg & Marino (Miami) Vincent Lighting Systems Anonymous

GIFTS OF $15,000 TO $49,999

Buyers Products Company Calfee, Halter & Griswold LLP Case Western Reserve University DLR Group | Westlake Reed Leskosky Dollar Bank Foundation Eaton Ernst & Young LLP Flourish, Inc. Frantz Ward LLP The Giant Eagle Foundation Ideastream Public Media ◊ The Lubrizol Corporation Miba AG (Europe) Northern Trust Olympic Steel, Inc. Park-Ohio Holdings RPM International Inc. The Sherwin-Williams Company Thompson Hine LLP United Airlines ◊ Anonymous (3)

To learn more about how your corporation or foundation can make a difference or raise your profile by supporting The Cleveland Orchestra’s musical work each year, please contact Jane Hargraft, Chief Development Officer. Corporate Giving, Foundations, and Government Support Phone: 216-231-7500 Email:

GIFTS OF $2,500 TO $14,999

Robert R. and Gay C. Cull Family Foundation Mary and Dr. George L. Demetros Charitable Trust Corinne L. Dodero Foundation for the Arts and Sciences The Sam J. Frankino Foundation The Gerhard Foundation, Inc. The Robert and Ann Gillespie Foundation The Helen Wade Greene Charitable Trust Geoffrey Gund Foundation Hastings Community Foundation, Inc. Richard Horvitz and Erica Hartman-Horvitz Foundation Joan Yellen Horovitz Foundation Joseph P. & Nancy F. Keithley Foundation Kent State University Miami-Dade County Department of Cultural Affairs (Miami) The Esther and Hyman Rapport Philanthropic Trust The Reinberger Foundation Sandor Foundation Albert G. & Olive H. Schlink Foundation The Sisler McFawn Foundation Dr. Kenneth F. Swanson Fund for the Arts of Akron Community Foundation Third Federal Foundation The Veale Foundation The George Garretson Wade Charitable Trust Wesley Family Foundation

Selma Ankist Family Trust The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation Cleveland State University Foundation The Clinton Family Fund The Coldiron Family Foundation The Conway Family Foundation The Cowles Charitable Trust (Miami) D’Addario Foundation Davey Family Foundation James Deering Danielson Foundation Dorn Family Foundation The Frederick W. and Janet P. Dorn Foundation Everence Foundation Feth Family Foundation Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Walter Henry Freygang Foundation Ann and Gordon Getty Foundation The Harold and Marion Gordon Foundation The Hankins Foundation The Muna & Basem Hishmeh Foundation George M. and Pamela S. Humphrey Fund Anna-Maria and Stephen Kellen Foundation Ethel and Allyn Kendis Charitable Trust John D. & Giuliana C. Koch Family Fnd The Charles J. and Elizabeth R. Koch Foundation The Laub Foundation The Lehner Family Foundation The G. R. Lincoln Family Foundation

The Logsdon Family Foundation The Norweb Foundation The Sylvia and Heath Oliver Foundation The M. G. O’Neil Foundation The O’Neill Brothers Foundation Paintstone Foundation Peg’s Foundation Performing Arts Readiness The Perkins Charitable Foundation Playhouse Square Foundation Pysht Fund The Brian Ratner Foundation Renaissance Charitable Foundation I Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation The Betty T. and David M. Schneider Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation Edward R. & Jean Geis Stell Foundation Stroud Family Trust Tetlak Foundation The Welty Family Foundation The Thomas H. White Foundation, a KeyBank Trust The Allayne & Douglas Wick Foundation The Edward and Ruth Wilkof Foundation The Wright Foundation The Wuliger Foundation Anonymous





The Cleveland Orchestra announced its 2021-22 season in May, with regular concerts beginning on October 14. The season will be Franz Welser-Möst’s twentieth as music director — and marks the return of in-person audiences to Severance Hall since March 2020, when the Covid-19 pandemic forced concerts to shut down.

NEWS Briefs & Updates

As part of the announcement, a special online zoom forum was held at noon on May 26 for subscribers and donors, hosted by Franz Welser-Möst (from his home in Austria) and President & CEO André Gremillet live from Severance Hall. Welcoming remarks and discussion led into a question-andanswer session focusing foward to the new season, as well as a look back at achievements and lessons from the past year.


“Thanks to the extraordinary generosity of this community,” said Gremillet, “The Cleveland Orchestra has been able not only to withstand the pandemic and continue despite its effects, but also to become

“I expect that this new season will be very emotional,” said WelserMöst. “The last performance the Orchestra played together was on March 13, 2020. The most difficult thing for us over the past fourteen months is that we haven’t been able to perform as a full orchestra. When we did perform, it had to be in smaller groups — without winds, without the full string section — and, most notably, we couldn’t connect directly with our audience, in person at Severance Hall. I will be overjoyed to see you all


more flexible and innovative while doing so. The ingenuity of the musicians and staff has allowed us to perform in new ways and platforms — including our digital concert series In Focus, our On a Personal Note podcast, and the launch of our own recording label. Yet nothing can replace the live music experience that remains the core of what The Cleveland Orchestra is all about. From inside this storied institution, we simply cannot wait to welcome all of you, our audience, back to Severance Hall this coming fall.”









beginning in October.” The Severance Hall season features 20 weekends of regular concerts, culminating with the annual opera performances in May. This presentation, of Giuseppe Verdi’s operatic masterpiece Otello, will be surrounded by a festival involving collaborations with other cultural institutions from across Northeast Ohio. The festival’s performances and presentations will examine universal themes within the storyline of Verdi’s classic stagework — including issues of racism and discrimination, power and privilege, in everyday life and in the arts. Information about the season can be found on the Orchestra’s website, with more details being announced across the summer. Subscription renewal invoices were set to be mailed out in June, with a renewal deadline of July 9. New series packages can be purchased via the Orchestra’s website.

PARAMESWARAN RECEIVES SOLTI FOUNDATION AWARD Cleveland Orchestra associate conductor Vinay Parameswaran received a prestigious Career Assistance Award from the Solti Foundation U.S. earlier this year in May. Parameswaran was one of fifteen conductors to receive the honor, created VINAY PARAMESWARAN to assist talented young American musicians as they embark on their careers.

Parameswaran joined the Orchestra’s conducting staff in 2017 as assistant conductor and music director of the Cleveland Orchestra Youth Orchestra. He was promoted in January 2021 to the role of associate conductor. CLEVELAND ORCHESTRA WEBSITE NOMINATED FOR WEBBY AWARD

When the newest version of The Cleveland Orchestra’s website was launched this past November, the refreshed site had a somewhat different philosophy from past iterations. While earlier editions had been designed largely for computer browsing, the new site was rebuilt from scratch with a new priority in how it looks and works. “A majority of our traffic now comes through mobile devices, so we first and foremost designed and prototyped our new website as a mobile experience,” said Ryan Buckley, director of digital experience. The new design was noticed by more than the intended Orch-

estra family l off users. users The 25th annual Webby Awards, presented by the International Academy of Digital Arts & Sciences to recognize excellence on the internet, nominated the revamped in the category of “best mobile user interface” for how users navigate a site. This was the first Webby nomination for the Orchestra. “Although we weren’t chosen to win the award this year,” says Buckley, “the nomination itself was recognition of our achievement. Afterall, awards like this are not the endgame for The Cleveland Orchestra. Nevertheless, it’s heartwarming to be noticed for what we are doing for our guests — as we continue work on new enhancements and additions going forward.” ORCHESTRA MUSICIAN HONORED FOR COMMUNITY EFFORTS DURING PANDEMIC

Cleveland Orchestra musician Miho Hashizume (violin) was named one of five recipients of the annual Ford Musician Award for Excellence in Community Service. Presented in conjunction with the League of American Orchestras in an online ceremony on June 7, the Ford Awards recognize work that musicians do outside the music hall, with this year’s awardees singled out for ways they were able to touch lives in their communities

this past year in spite of restrictions due to the pandemic. As Cleveland schools closed to in-person teaching in spring 2020, Hashizume, who is a longtime participant in The Cleveland Orchestra education and community programs and also serves as concertmaster for CityMusic Cleveland, realized that virtual music lessons might not reach the students MIHO HASHIZUME she was working with at Mound Elementary School in Slavic Village. “When the Covid-19 pandemic hit, the Mound School shifted online, but Cleveland’s digital divide is a huge issue,” Hashizume said. “So I went to the students instead, organizing outdoor private and group lessons. Working closely with the students and their families in the summer of 2020 gave me a deeper understanding of the enormous stress parents face every day.” Hashizume and the four other awardees — from the orchestras of Detroit, Knoxville, Pittsburgh, and Seattle — each receive $2,500, while a $2,500 grant is also given to each ensemble for professional development. NEWS Briefs & Updates 35

SAVE THE DATE FOR CELEBRATION 2021 GALA A save-the-date card has been sent out for this coming fall’s Celebration 2021 Gala at Severance Hall on October 16, 2021. Invitations and reservation forms will follow in the coming weeks. Those wishing to be added to the mailing list can write to Donor Services at: THREE OHIO SYMPHONIES COLLABORATE TO CREATE NEW MUSIC FOR MINDFUL STUDENT FOCUS

Four years ago, The Cleveland Orchestra began creating Mindful Music Moments for area schools. The program presents four-minute recorded performances by the Orchestra with short introductions to help students start each school day with a more centered, peaceful, and meditative frame of mind.

NEWS Briefs & Updates

During the pandemic, the daily programs were reconfigured for students at home as well as the general public, making them available as a web-based set of musical moments to help bring focus to each day through music.


This spring, the program came full circle with a new composition created for schools and performed by musicians from three of Ohio’s major symphonies: Cleveland, Columbus, and Cincinnati. The 12-minute piece, “Ohio Sketches” by Brian Raphael Nabors, was commissioned by the three orchestras in partnership with Cincinnati-based organization The Well, which administers Mindful Music Moments. The new work was premiered online on June 10, featuring video performances by string quartets from the three orchestras. The piece was created based on direct


feedback from students about the selections featured in the Mindful Music program. A movement was played by each orchestra’s quartet, before coming together to perform the finale. The piece was shared with the students in the month prior to the premiere. “I can already feel the sense of pride the students in these cities can radiate when hearing their orchestra represent the community they love,” composer Nabors said about the premiere. A documentary video titled Home, which follows the project, is available to watch on The Cleveland Orchestra’s YouTube channel. an choosing

l inst orchestra




Among new programs launched this past season by the Orchestra’s Education and Community Engagement department is an online video series to help guide young students in choosing an orchestral instrument to learn to play. Developed in response to requests from local school music teachers and parents, the videos showcase Cleveland Orchestra musicians onstage at Severance

Hall sharing musical journeys, brief performances, practical tips, and encouragement for students to join their school orchestra or band program. The series can be viewed from the Orchestra’s website at ORCHESTRA MUSICIANS JOIN IN CELEBRATION OF CLEVELAND CLINIC’S CENTENNIAL

2021 marks the 100th anniversary of another of Northeast Ohio’s world-famous institutions — the Cleveland Clinic. And Cleveland Orchestra musicians will be part of the celebrations. Over the past sixteen months, the Clinic has partnered closely with the Orchestra to establish appropriate protocols for ensuring the health and safety of musicians, staff, and guests coming to Severance Hall for rehearsals and the filming of In Focus episodes — and in planning for the return of audiences this summer at Blossom Music Center and in the fall at Severance. For this year’s Clinic Centennial, Cleveland Orchestra musicians will salute this renowned medical institution and its staff with a series of chamber music concerts across several months beginning in July. The performances, presented at both the Clinic’s Hillcrest and Main campuses, are being organized by Lynne Ramsey (viola) and Chul-In Park (violin), who were among Orchestra musicians who shared their musical talents a year ago with hospitals across Northeast Ohio in a series of “healthcare hero” concerts to buoy the spirits of workers during the pandemic.

Acclaim for A New Century Released June 2020 “This orchestra has never sounded finer on disc.”

—Gramophone Magazine “These recordings . . . capture the true sound of Severance better than any previous recordings ever have. . . . .This lovingly crafted box set is a treasure, and a welcome return to what is promised to be a regular schedule of releases. As Franz Welser-Möst says, music tells us who we are, and because of that, we need to hear the discoveries and breakthroughs being made in Cleveland. They don’t just entertain there. They find new worlds.”

—MusicWeb International


three discs, deluxe box and 150-page book

Schubert / Křenek Released October 2020 The Cleveland Orchestra’s second recording on its own new label has received worldwide acclaim. The new album, available on CD (Hybrid SACD) or digitally via online streaming or download purchase, features Schubert’s greatest symphonic masterpiece, the “Great” C-major Symphony (D.944) paired with a uniquely modern work by 20th-century composer Ernst Křenek, Static and Ecstatic. Both pieces were recorded live at Severance Hall with Music Director Franz Welser-Möst in March 2020, and mark The Cleveland Orchestra’s final performances prior to arts and entertainment being shuttered around the world due to the coronavirus — offering uniquely heartfelt and dynamic performances.


one disc, deluxe album

“This recording stands as testament: The Cleveland Orchestra is America’s finest, still.” —The New York Times


In this excerpt from the opening chapter of his new book, Franz Welser-Möst talks about how music can fill and fulfill the silences in our lives — and the surprising mystery of how a musical performance can bring a room full of people, audience and musicians alike, into a shared sense of a limitless universe.


From Silence . . .

There are some performances which lead us beyond the limits of our existence and in which all participants become as one. The first time this happened to me was during the performance of Franz Schmidt’s Book with Seven Seals at the abbey church at Wilhering, which I conducted at the age of 22. The Revelation of St. John, which deals with precisely the ‘Four Last Things’ of human life, became a resounding image of the world. When I met my parents after the performance, neither they nor I could utter a word, and tears were running down my face.

And then there was the performance of Schubert’s Great C Major Symphony, together with The Cleveland Orchestra in Cleveland on Friday 13 March 2020. It was at this point in time that the Covid-19 crisis was just beginning to grip the whole world. We all sensed that we were in an unprecedented, exceptional situation. We thus took the decision not to undertake any further public appearances of our orchestra. However, in order to be able to complete our recording project, we performed the symphony in front of some twenty staff members from our office. Like a sword of Damocles, the question hovered over us as to whether and when we would again be able to make music together. This gave the performance a depth and at the same time a sense of weightlessness that I had never before experienced with this orchestra. There are moments one yearns for as a musician, those little moments of eternity, in which the silence is filled with perfect music. Moments that are so precious because they occur so incredibly rarely. If my life has a leitmotif, it is probably the fulfilment of silence, which, today in particular, forms an antithesis to the fast pace of our existence. Pausing in silence as a form of contemplation, as an alternative to the restless speed of our time. Silence as compensation for the decibelization of our world. . . .”



Franz Welser-Möst’s new book, From Silence: Finding Calm in a Dissonant World, was published in its debut German-language edition — Al ich die Stille fand — earlier this year. The English edition is being released this summer. The 180-page book explores the conductor’s views on music, his own career, and where art and music fit into today’s world.

The English edition can be purchased through the Cleveland Orchestra Store online: PHOTO BY JULIE WESELY

It is above all the music of Schubert which has repeatedly led me, both as a listener and a performer, into these realms of crossed borders. A special memory for me is of a performance of the Schubert Quintet, which I played with friends during my time as principal conductor at Norrköping in Sweden (I had taken over the viola part despite my two damaged fingers). In the recapitulation of the second movement I suddenly heard and felt this music of eternity. Sounds in which all time is dissolved, music in which five musicians lose themselves in the moment of playing. Schubert composed this otherworldly music two months before his death, and perhaps this second movement comes closest to that silence which I heard before the car overturned [in the accident that changed my life at age 18]. . . .



T H I S S U M M E R marks the culmination of the debut season of The Cleveland Orchestra’s new streaming concert series, In Focus. Launched in October 2020 during the Covid-19 pandemic, this powerful and inspiring series of concert programs has shared newly recorded Cleveland Orchestra performances with audiences in Ohio and around the world.

able for viewing throughout the summer and into the fall, exclusively for current subscribers and donors at no additional charge. Individual premium memberships are also available through the Orchestra’s new online digital streaming service, or via the Adella app. Details of Season One’s final four programs can be found on pages 42-45 of this magazine.

The first season — captured live at Severance Hall — has featured a total of thirteen episodes plus two bonus episodes, each with behind-the-scenes interviews and features about the music and music-making.

Praised by local, national, and international critics, In Focus has reached music-lovers throughout Northeast Ohio and around the world with extraordinary new music performances. To date, more than 150,000 people have visited the Orchestra’s online digital streaming services, and broadcast episodes have been been viewed more than 70,000 times from across all 50 states and more than 40 countries.

The final episodes of Season One are premiering through the end of June, but with many episodes avail-

The Cleveland Orchestra’s In Focus series will continue with Season Two during the upcoming 2021-22 concert season, offering newly-recorded musical performances — with the return of audiences to Severance Hall — alongside behind-the-scenes stories about the music and musicmakers. Stay tuned!

Questions? WE’RE READY TO HELP! Our front-of-house representatives are ready to help you! We’ve developed a comprehensive set of “how to” steps


call us: Helpline Hours: 9 AM to 5 PM Mon thru Fri (you can leave a voicemail for us)

logging in, pulling up a comfortable chair (or sofa), and

or visit: for our complete FAQs about watching In Focus and using the Adella app.

experiencing The Cleveland Orchestra online and onscreen.

or email us:

and FAQs (frequently asked questions) to assist you with


Adella Helpline: 216-456-8401 PHOTOGRAPHY © BY ROGER MASTROIANNI

Music Director Franz Welser-Möst shaped the programming for the series, leading ten performances of the inaugural season’s fifteen programs. In addition to guest collaborators (including pianists Emanuel Ax and Yefim Bronfman, organist Paul Jacobs, and nine Cleveland Orchestra principal players), the debut season also included two solo recital bonus episodes, with pianist Mitsuko Uchida and cellist Alisa Weilerstein.



with special thanks . . . Presenting Sponsor

Digital & Season Sponsors

In Focus Digital Partner

Cleveland Clinic The Dr. M. Lee Pearce Foundation, Inc.

Episode Sponsors CIBC Dr. and Mrs. Hiroyuki Fujita Tony and Diane Wynshaw-Boris




Style & Craft 1.1O IN FOCUS SEASON 1 EPISODE 10

broadcast May 6 to August 6 via Adella * filmed March 9-10 and April 8-9, Severance Hall CO N C E RT OV E RV I E W

MAURICE RAVEL (1875-1937) Sonatine (arranged by David Walter for oboe and piano) with

Frank Rosenwein, oboe Carolyn Gadiel Warner, piano 1. Modéré 2. Mouvement de menuet 3. Animé

__________________________________________ The Cleveland Orchestra Vinay Parameswaran, conductor BENJAMIN BRITTEN (1913-1976) Variations on a Theme of Frank Bridge, Opus 10 (for string orchestra) Introduction and Theme — Adagio — March — Romance — Aria Italiano — Boureé classique — Viennese Waltz — Moto perpetuo — Funeral March — Chant — Fugue and Finale

This broadcast features two works by two talented young composers — one French, one English — and both with great gift for melody and form, style and craft. Frenchman Maurice Ravel wrote a short sonata movement to enter into a magazine contest in 1903. The piece was disqualified on a technicality, but soon enough expanded into a three-movement work that gained admirers everywhere — onstage and off. Three decades later, an acquaintance asked the young Benjamin Britten if he could complete a brand-new commission on very short deadline. The resulting homage to Britten’s teacher Frank Bridge was given its premiere at the world-famous Salzburg Festival just three months later, adding to Britten’s newly surging reputation. This set of variations aptly mirrors Bridge’s wide-ranging musical taste and dynamic personality, from Viennese waltz to a march, from funeral march to beguiling opera aria.

Need Help Tuning In?


Digital Program Book


Learn more about the music by texting ”TCO” to 216-238-0883 By texting to this number, you may receive messages about The Cleveland Orchestra and its performances; message and data rates may apply. Reply “HELP” for help, “STOP” to cancel.



* Each In Focus episode will be available to watch for three months from its premiere date.


11 Order & Disorder




broadcast May 20 to August 20 via Adella * filmed April 14-15 and March 18-19, Severance Hall WOLFGANG AMADÈ MOZART (1756-1791) Clarinet Quintet in A major, K .581 with

Afendi Yusuf, clarinet Stephen Rose, violin Jeanne Preucil Rose, violin Lynne Ramsey, viola Mark Kosower, cello 1. 2. 3. 4.

Larghetto — Allegro Adagio Menuetto: Allegretto Allegro

__________________________________________ The Cleveland Orchestra Franz Welser-Möst, conductor ALBAN BERG (1885-1935) Three Pieces from Lyric Suite 1. Andante amoros 2. Allegro misterioso — Trio estatico 3. Adagio appassionato


On offer: a program of juxtaposition from two of music’s most creative composers, writing in two styles more than a century apart. First comes a poignant quintet, written by Mozart in 1789 — a difficult and unhappy year for him — yet filled with sweet and warm music that brings comfort, fresh perspective, and hope. Here is Mozart bringing order to and, despite his disordered life, through music. For this In Focus performance, principal clarinet Afendi Yusuf joins Cleveland Orchestra colleagues in this extraordinary work. For Alban Berg, writing more than a century after Mozart, the process of musical creation was an intensely-driven search for innovative answers using old materials in new ways — to shake up the old order into newly disordered beauty. In his Lyric Suite, he creates solace and splendor in contrasting string voices, buzzing and interacting with hard-edged vitality and poetic grace.

Need Help Tuning In?

Digital Program Book Learn more about the music by texting ”TCO” to 216-238-0883 or scan QR code with your phone:


* Each In Focus episode will be available to watch for three months from its premiere date. Summer 2021 43


12 Celestial Serenades




broadcast June 3 to September 3 via Adella * filmed April 11 and April 8-9, Severance Hall AARON JAY KERNIS (b. 1960) Elegy . . . for those we lost (world premiere arrangement for trumpet and harp) with

Michael Sachs, trumpet Yolanda Kondonassis, harp __________________________________________

The Cleveland Orchestra Vinay Parameswaran, conductor AARON JAY KERNIS (b. 1960) Musica Celestis JOSEF SUK (1874-1935) Serenade for Strings, Opus 6 1. 2. 3. 4.

Andante con moto Allegro ma non troppo e grazioso Adagio Allegro giocoso, ma non troppo


This program embraces the journey of finding meaning in life’s twists and turns. The broadcast opens with two works by American composer Aaron Jay Kernis, with the first — the world premiere of an arrangement created especially for Cleveland Orchestra principal trumpet Michael Sachs and renowned harpist Yolanda Kondonassis of a work written just one year ago — offering music to reflect, mourn, and remember those lost to the Covid-19 pandemic. Musica Celestis then envisions a celestial choir of heavenly angels singing God’s praises without end. Closing the performance, we are firmly rooted on earth with a gentle and cheerful serenade by Josef Suk, Dvořák’s favorite student (and future son-in-law). This work was written the summer after Suk finished his studies and began rooming with the Dvořák household. The older composer, noting that so much of his student’s work was intense and emotional, suggested Suk write “something fun and light-hearted.”

Need Help Tuning In?


Digital Program Book


Learn more about the music by texting ”TCO” to 216-238-0883 or scan QR code with your phone:



* Each In Focus episode will be available to watch for three months from its premiere date.


13 Dance & Drama




broadcast June 17 to September 17 via Adella * filmed March 30 and April 2, Severance Hall The Cleveland Orchestra Franz Welser-Möst, conductor EDVARD GRIEG (1843-1907) From Holberg’s Time: Suite in Olden Style 1. 2. 3. 4. 5.

Praeludium: Allegro vivace Sarabande: Andante Gavote: Allegretto Air: Andante religioso Rigaudon: Allegro con brio

ERICH WOLFGANG KORNGOLD (1897-1957) Symphonic Serenade in B-flat major, Opus 39 1. 2. 3. 4.

Allegro con fuoco Intermezzo: Allegro molto Lento religioso Finale: Allegro con fuoco


Music for theater and film has strong historical roots, inspiring music of extraordinary character — vividly turning action into sound and creating moods of tenderness, romance, confrontation, and celebration. This episode of In Focus begins with music by Edvard Grieg, an ardent champion of Norwegian music, art, and theater. Perhaps best known for his poignant score for the play Peer Gynt, here he pays homage to the humanist playwright Ludvig Holberg with a sparkling and lively suite based on 18th-century dance forms. The program concludes with a rarely heard score by the Viennese-born Erich Korngold. Forced to flee Nazi occupation, Korngold found a new life in California, writing scores brimming with Romantic opulence and helping shape the musical sound of Hollywood’s Golden Age.

Need Help Tuning In?

Digital Program Book Learn more about the music by texting ”TCO” to 216-238-0883 By texting to this number, you may receive messages about The Cleveland Orchestra and its performances; message and data rates may apply. Reply “HELP” for help, “STOP” to cancel.


* Each In Focus episode will be available to watch for three months from its premiere date. Summer 2021 45



Growing Younger Reflections on the Tenth Anniversary of Under 18s Free ticketing and The Cleveland Orchestra’s Center for Future Audiences . . . W H E N I J O I N E D The Cleveland

Orchestra in 2010, we had one very significant challenge to tackle immediately. Simply put, we needed to attract the next generation of fans. For more than three decades, my career has centered around arts marketing and ticket sales. On both sides of the Atlantic Ocean. And on both sides of the U.S.-Canadian border. Over that time, one thing I’ve learned clearly is good products make a world of difference. And tickets to The Cleveland Orchestra are, without question, the best, most quality-filled and satisfying experience I’ve ever been tasked to sell.

SPOTLIGHT — Summer 2021

But selling concert tickets isn’t like selling cars or clothing. Buying a seat to a concert marks an investment in an artform that requires constant nurturing and cultivation.


This responsibility brings me not only enormous joy, but also feelings of intense anxiety. How do we share this extraordinary experience of 100 distinctly talented musicians coming together as one singular and magnificent entity, particularly among younger audiences? And thus, ten years ago, we launched our Under 18s Free ticketing program for our annual Blossom Music Festival,

to make concerts more affordable for families.

budget and getting too many used to attending for free?

At this point I should rightly mention (or admit) that my wife Liz is actually the brains who came up with the basic concept for Under 18s Free, on our very first trip to Blossom. I vividly remember picnicking on the Lawn with our young family of six, when she turned to me and said, “Ross, this ought to be free for the kids! Think about it… for $50 a family should enjoy some real memories together for less than the price of a movie . . . you need to get it done!”

Soon enough, however, strategy came into focus — and funding for the tickets became the scenario. Each free ticket is offset through proceeds from an extraordinary endowment fund, given by Milton and Tamar Maltz to create the Center for Future Audiences. Words cannot adequately express how grateful we all are for the Maltzes’ generosity, support, and trust in making these kinds of ideas and programs come to life. Their $20 million gift, alongside a $5 million gift from Alexander and Sarah Cutler for student initiatives, ensures generations of young concertgoers for The Cleveland Orchestra in the years to come.

It sounded intriguing, as well as a little foolhardy — and yet possibly spot on. Give away thousands of tickets for free??? The more I thought about it, the more sense it made, especially given that The Cleveland Orchestra had one the oldest audiences in the country when I joined in 2010. Could this idea help point toward a true audience renewal for the long term? Might this rightly be an important key in unlocking future audiences? Could the audience actually . . . grow younger? The appeal for families was obvious, but the risk for the Orchestra? That took a bit more time to calculate. How to make it work without bankrupting the marketing

And thus, one young person at a time, we are building a new reality — secured with many evenings of families together on the Blossom Lawn, together with additional programs and off-shoots we have year-round and at Severance Hall. WAITING IN LINE I first knew we were really onto something during a countryside traffic jam on Saturday, August 31, 2013. The weather was exactly right. By early afternoon, the temperature reached its peak of 84° that day and

“ Sometimes you just have to go for it,

believing in things that you feel really matter in life —— in my case: family, music, hope, and the young people who will follow us tomorrow.” planet, in the most idyllic outdoor venue I can imagine.

there was hardly a cloud in the sky. All was right for a perfect night at Blossom on that Labor Day weekend. The stage was set for a special evening with my family to enjoy The Cleveland Orchestra performing the music of Pixar. On the way, as we rolled to a halt behind a long line of cars about a mile from the Steels Corners exit off State Highway 8, my 13-year-old daughter said, “These cars can’t be going to your concert, can they?! You are just not this popular!” I laughed. Then I began to think to myself that the line was as long as going to something really popular, like The Who! And suddenly I realized that our programs to develop future audiences, begun just two years earlier, might actually be a hit. Popularity is as popularity becomes. Building new audiences begins with welcoming new families. And that particular weekend, it appeared, we’d hit the jackpot. MAKING A DIFFERENCE With Under 18s Free, I am hopeful that we have made a real difference in the lives of the many families who love Blossom, who want to experience special moments together surrounded by the very best music ever written, played by the greatest musicians on the

Of the million overall tickets we have sold across the past decade to Blossom, 175,000 of them were issued free to those under 18. That’s a big number, representing a lot of young people at a lot of concerts. On that 2013 Labor Day weekend, despite traffic jams two nights in a row, we entertained almost 30,000 people, of which over 10,000 were under 18 — and, we hope, beginning a lifelong journey of fandom with our orchestra. Sometimes you just have to go for it, believing in things that you feel really matter in life — in my case: family, music, hope, and the young people who will follow us tomorrow. From those beginnings, where are we now? “Under 18s” was just the beginning. And is but one part of a multifaceted effort to ensure that The Cleveland Orchestra and music remain a vibrant part of our community for all ages. I firmly believe we are changing lives. We are heartened that, as our “Under 18s” grow older, many continue to interact with the Orchestra through newer ticketing programs for high school and college students. And some have even joined our group for young professionals. But there is no silver bullet in guaranteeing future generations of audiences. We have work to do and more ideas to roll out. Yet there can be no question that we have made Cleveland

Orchestra concerts more affordable for families and — in a related program — for schools. Twenty percent of our audiences each year are now under the age of 25. Within that fact, I’m particularly proud that more people hear this Orchestra in live performance than ever before — with the largest number of different households tracked as ticketbuyers than at anytime in our storied history. By a wide margin. We are not just growing younger, we are growing overall. Most importantly, we’ve done this without affecting the Orchestra’s bottomline, which has also grown thanks to the generosity of some visionary donors willing to sign on and support experimenting with new ideas for the long-term operations of our wonderful institution. Yes, there is much more we can do — and will do — to make the concert experience at both Blossom and Severance Hall as fulfilling and welcoming as possible. But above all, my dream is for The Cleveland Orchestra to have the youngest audience in the country by selling more tickets to more people each and every year. Thinking back to the evening in 2013, waiting in line in our car to get to a concert, I see that if ever sitting in a traffic jam felt good, it was that night for me. And, by experiencing that feeling, we were well on our way to realizing the dream! Ross Binnie serves as Chief Brand Officer for The Cleveland Orchestra.


MUSICAL SUDOKU Level of Difficulty: EASY

1 4

6 3


5 9 7 6 9 2 1 9 6 7 8 1 4 2 7 5 4 3



5 3 1

Fill in the empty squares so that each row, each column, and each outlined 3x3 square inside the larger 9x9 puzzle each contain all the numbers from 1 through 9.


The solution to this issue’s puzzles will be available online.

4 8 9 6 7

1 3 5

SPOTLIGHT — Summer 2021



4 5

2 3 4 5

9 1 8 4 7 2 7 5 9 8 4 6 9 2 3 6 4 9 8 3 7 1 5 3 4 6 9

6 8 3


8 6


Level: EASY

5 3 2 1 4 8 7 6 1

8 2 5

7 9 4



3 7

8 1 9 5 6 2

9 1

3 2

3 4

4 5

8 9 5 4



Just as music is built from the notes of a scale, creating millions of possible patterns, Sudoku puzzles are devised from the simple building blocks of the numbers 1- 9. With origins that include a French newspaper puzzle from before World War One, and popularized from Japan, Sudoku puzzles require no arithmetic skills — only the logic of inventory and elimination. For this issue’s puzzles, just for fun (it does not affect the solutions), we’ve highlighted a number in each Sudoku that is part of Blossom Music Center’s opening year: 1968.

by Flora Elisabeth MacArthur




A MUSICAL JOURNE Y WITH THE CLE VE L AND ORCHESTR A thoughts on three decades as a small part of one extraordinary team . . . by ERIC SELLEN I FIRST HEARD Cleveland’s orchestra, live and in

person, in August 1987 at Blossom Music Center. It was an ear-opening evening for a kid from Iowa, whose interest in classical music had been nurtured by a pair of remarkably discerning and caring parents. I was, of course, well versed in The Cleveland Orchestra’s strengths and reputation, and many of its recordings were lined up amidst the rows of LPs on my shelves. I had listened from afar via the weekly syndicated radio broadcasts, in junior high school and on up into graduate school. But a living, breathing performance is something different. I was mesmerized. Although, in truth, what held my attention most was the remarkable acoustics at Blossom. How was I to know that an outdoor facility could so ably carry sound to so many at once? Severance Hall came later that year, where I was shocked once more, this time with the clarity and immediate depth of detail. And while I am remembering and attributing the sound to these two remarkable buildings, it took some years to more fully understand the symbiosis between ensemble and architecture — that the Cleveland Sound and Severance Sound were one and the same, built and grown together as one. My thirty-some years knowing and working for The Cleveland Orchestra has not been a simple straight path. I went away for a few years in the middle, following my husband’s work assignment to other places (including two years living in England). In 2005, I started back in what I often call my “second tour of duty” — but a duty of respect for this ensemble. Based more than a thousand miles away, I started working remotely when that was less common than the past year’s forced shift.


than once — how best to talk and write about music in our modern age. Not how to talk with a musicologist or specialist or a musician, but how to engage everyday audience members, whether experts or novices. And to offer something insightful and meaningful for every reader, first-timer and fifty-year subscriber. The Cleveland Orchestra doesn’t play Mozart or Beethoven the way they did sixty years ago, or even twenty years back. Times change. Our understanding of music history, how music is performed, and how it reflects our lives today, also evolves. So does language. And in recent years I have been more and more willing, nay intent, on pushing language forward in how we talk about and discuss and present music. To put on the page how we talk. To not sound stuff y and elitist about a mysterious artform, but to be enthusiastic and energetic and daring in talking about how music works. Music is as much about how it makes you feel, how the composer felt in writing it, as it is about the details and history. It is as much about feelings as about structure. It is about form and function, two sides of a coin (or concerto). So it is with the language we use to describe it. If music is architecture in sound, we talk more today about unity and design, and less about the engineering details. We talk most about how it flows and feels, how the piece “works” for an audience. Today, it’s more about the emotional journey, as much as the actual nuts and bolts of how the journey takes place.

Both times The Cleveland Orchestra hired me, it was for the program book. Taking on editing and design and production. Across three decades I’ve steered the book forward, into the modern age of computer design and more. But this isn’t and has never been about me. It’s about the Orchestra and the audience and the music.

Part of this is how we employ the language, or more specifically what language we use. Less of the stiff formal language of yesteryear, and more of the the approachable, day-to-day language that we live in and with all the time. The idea these days is less to “explain” the music, but to help attendees listen, or get ready to listen — pointers and perspectives on how the musical journey of any one piece, or tonight’s concert, might go. What to listen for, yes, but more in recent years about what you may feel when listening, and encouraging you to listen for yourself, through your own feelings.

Over the years, I’ve thought a great deal about — and Franz Welser-Möst and I have discussed more

Understanding of the past (and the present) changes our approach . . . to performing, talking, writing,


caring, sharing, eating, exercising, experiencing, communicating, listening. Growing older does, too. We listen differently today than we used to. In part, because we know more. Also, because we hear more — and constantly. We can hear Shostakovich’s Seventh Symphony, or Bach’s Cello Suites, or Wagner’s four-opera Ring cycle anytime we want to. And it’s easier — too easy — not to pay attention, when you know you can listen again, anytime. What has grown and developed and evolved onstage in Cleveland is a remarkable story. An ensemble of almost infinite power and grace. And today, while filled with tradition, it is very much Franz Welser-Möst’s orchestra, nurtured by him to play not just precisely but with understanding and meaning. Do I always like how he leads a piece? Not entirely, but his convictions make me question my own views — and I know he’s made careful choices for the composer’s sake. The Cleveland Orchestra is in good hands. I feel privileged to have known Klaus George Roy, who served as program editor/annotator for thirty years, 1958-88. Between us, we’ve witnessed (and heard) nearly two-thirds of this Orchestra’s history. I wish I’d been there from the beginning. I wish I could go on forever knowing and hearing and helping. But life has other plans, necessarily. Fortunately so, for there is much to cherish and behold on this earth. It has been a great honor to know and work for The Cleveland Orchestra. As I tether off into retirement, I will no longer make the day-to-day decisions regarding what you read in the program book. That will be handled by Amanda Angel, our new managing editor. Yes, you may still encounter my writing, or even catch my face at Severance Hall. But my fulltime work is over. I have been fortunate over the years to hear many great orchestras in person, from Los Angeles to Amsterdam, from London to Vienna. I’ve even worked and written for other orchestras (and may occasionally do so again in retirement). Perhaps I am prejudiced in favor of Cleveland, but . . . no matter. As friends and colleagues know, I am rarely shy in saying what I actually think of a performance or experience. The Cleveland Orchestra has been my “experience of a lifetime.” And it will always — always — be my hometeam. The 2020-21 season was Eric Sellen’s twenty-eighth (and final) year as program book editor for The Cleveland Orchestra.

One of my interests across the years has been studying the history of punctuation and grammar — of the evolution of style and usage, rules and guidebooks. I often think of this as the equivalent of historically-informed performance practice in music, but with words. We use language differently, and have different expectations in how we write and speak than our ancestors did. Much has changed and evolved in my tenure with Cleveland. And for most of us, some of those grammar “rules” we think we learned in school have changed, or are about to change, or weren’t even wholly accepted as rules when we learned them. (In truth, some were as much about giving teachers reasons to mark something wrong, as about making the language “better.”) Guidelines are regularly rethought and rewritten by new generations, and many “rules” are thrown out as unnatural and unnecessary. It’s okay today, in a way it wasn’t previously, to write the way you speak. There’s less need or purpose in different levels of . . . formality. Afterall, the purpose of language is to communicate, not to follow the rules. And sometimes the most meaningful or memorable communication comes from the unexpected, from breaking or changing the rules Yes, if you go too far, communication fails. But if the envelope isn’t pushed, communication can become lifeless. One particular interest for me is the evolution of compound words, from two (light bulb) to hyphenated (light-bulb) to one (lightbulb!). Who decides? How does this happen? English doesn’t have an Académie, like French. Nor are we Germanic, where combining words is something every child learns early on. Dictionaries only really capture what has been true, not what is evolving before our eyes (and ears). In truth, we’re each on our own in this regard, and I’m heartened to see some recent stylebooks even discuss the issue directly — and as much as say “choose for yourself.” Nudge the language a bit, if you want to. Combinewordstogether! I understand that not everyone agrees with my choices. Evenso, I think it is important to make choices and not merely follow in line with everyone else. The Cleveland Orchestra didn’t become the ensemble it is by simply doing what every other symphony orchestra was doing. Choices make life interesting. Some Newer Style Guides Worth Reading . . . Semicolon — The Past, Present, and Future of a Misunderstood Mark by Cecelia Watson (2019) A World Without ‘Whom’ — The Essential Guide to Language in the BuzzFeed Age by Emmy J. Favilla (2017) Dreyer’s English — An Utterly Correct Guide to Clarity and Style by Benjamin Dreyer (2019) Because Internet: Understanding the New Rules of Language by Gretchen McCulloch (2019)


The Musical Arts Association operating THE CLEVELAND ORCHESTRA Severance Hall 11001 Euclid Avenue Cleveland, OH 44106-1796

Non-Profit Organization U.S. Postage PAID Cleveland, Ohio Permit No. 714

PREPARING FOR THE NEW SEASON MAINTAINING A LANDMARK Passersby on Euclid Avenue this summer have been witness to a flurry of activity around Severance Hall. As part of ongoing efforts to maintain and upgrade the 1931 landmark building, The Cleveland Orchestra has taken advantage of the pandemic’s interrupted concert schedule to do some additional housekeeping. The projects will help ensure that the building looks, sounds, and conserves energy better when we reopen doors to audiences for the 2021-22 season this fall.


The most obvious updates are to the building’s façade. Weathered windows are being replaced with new ones that also provide better insulation against the climate as well as noisy sirens and church bells from outside. Entrance doors and doorways from Euclid Avenue and East Boulevard are being restored or replaced. Cracks and chips in the sandstone façade and around walkways are also being repaired and cleaned. Less noticeable are preemptive repairs to the building’s roof, which is undergoing a complete renovation to prevent leaks. The new season will also open with a brand-new heating, ventilation, and air conditioning system in place for both the Concert Hall and Reinberger Chamber Hall, with improved air filtration and quieter operation.

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.