S U M M E R H O M E O FTHE CLEVELAND ORCHESTRA

2O15BLOSSOM MUSIC FESTIVAL

P R E S E N T E D B Y

saturday August 8BEETHOVEN’S

EMPEROR CONCERTOThe Cleveland Orchestra

Gustavo Gimeno, conductorGarrick Ohlsson, piano

2 Blossom Music FestivalIntroducing the Concert

Music is enough fora lifetime, but a lifetime is not enough for music.

—Sergei Rachmaninoff

‘‘ ‘‘

Beethoven in 1804, painted by W.J. Mahler

Music is a higher revela-tion than all wisdom and phil-o sophy. It is the wine of new creation and I am Bacchus who presses out this glorious wine for all and makes them drunk with the spirits.

—Ludwig van Beethoven

2 Blossom Music FestivalIntroducing the Concert

Music is enough fora lifetime, but a lifetime is not enough for music.

—Sergei Rachmaninoff

‘‘ ‘‘

Beethoven in 1804, painted by W.J. Mahler

Music is a higher revela-tion than all wisdom and phil-o sophy. It is the wine of new creation and I am Bacchus who presses out this glorious wine for all and makes them drunk with the spirits.

—Ludwig van Beethoven

3The Cleveland Orchestra

The 2015 Blossom Music Festival is presented by The J.M. Smucker Company.

Saturday evening, August 8, 2015, at 8:00 p.m.

T H E C L E V E L A N D O R C H E S T R A GUSTAVO GIMENO , conductor

LUDWIG VAN BEETHOVEN Leonore Overture No. 2, Opus 72a(1770-1827)

BEETHOVEN Piano Concerto No. 5 (“Emperor”)in E- at major, Opus 73

1. Allegro 2. Adagio un poco mosso — 3. Rondo: Allegro

GARRICK OHLSSON, piano

I N T E R M I S S I O N

ANTONÍN DVORÁK Symphony No. 8(1841-1904) in G major, Opus 88 1. Allegro con brio 2. Adagio 3. Allegretto grazioso 4. Allegro ma non troppo

2 O 1 5BLOSSOMMUSIC FESTIVAL

Concert Program: August 8

Garrick Ohlsson’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from Dr. and Mrs. Murray M. Bett.

This concert is dedicated to Jeanette Grasselli Brown and Glenn R. Brown,in recognition of their extraordinary generosity in supportof The Cleveland Orchestra’s 2014-15 Annual Fund.

With this concert, The Cleveland Orchestra gratefully honors The Mary S. and David C. Corbin Foundation for its generous support.

Media Partner: Northeast Ohio Media Group

4 2015 Blossom Festival

B E E T H O V E N W R O T E O N LY O N E O P E R A , spending sev-eral diffi cult and challenging years creating it, revising it, and lovingly trying to perfect it. Fidelio is about a man wrongfully imprisoned, who is saved through the clever and daring eff orts of his faithful wife, Leonore. The subject matter was close to Beethoven’s heart in the way that it clearly mirrored his belief in freedom from political oppression and the boundless power of human love. In the opera, Leonore disguises herself as a man to be-come assistant to the jailer of the prison where she believes her husband, Florestan, is held as a political prisoner. She hopes that working inside will allow her to fi nd her husband among the prisoners held in the dungeon. She is successful, and, just as the jailer has ordered her husband to be executed, a general reprieve of the prisoners comes from an uncorrupted governor — and all’s well that ends happily. In the course of writing, producing, and revising the op-era, Beethoven wrote three versions of an overture for it, all now known as the “Leonore” overtures. (Beethoven had, in fact, originally wanted to call the opera Leonore, but was dissuaded from doing so in order to avoid confusion with an already ex-isting opera by that title.) Chemical testing and dating of the manuscript papers of the three “Leonore” overtures in the 20th century solved the long riddle as to what order they were actu-ally written. “No. 2,” as it turns out, was the fi rst — and was most likely what was performed at the opera’s premiere in 1805. It is a shorter and more condensed version of the popular No. 3. In all three versions, Beethoven begins with a repeated grand gesture of chords and ominous music, which gives way to a sec-ond set of dramatic chords and is then cleared away by a great sweeping melody. At a crucial moment, an off -stage trumpet silences the orchestra — previewing the way a trumpet call an-nounces the governor’s arrival to grant pardons in the opera itself — leading on to closing music of great fanfare and joy. Ultimately, Beethoven came to understand that his “Le-onore” Overtures were too big for the opera itself — that they had so fully encapsulated the action of the opera in music that they made watching the opera superfl uous. He then wrote a brief and expectant Overture to Fidelio that sets just the right

Leonore Overture No. 2, Opus 72acomposed 1804-05

About the Music

by Ludwig vanBEETHOVENborn December 16, 1770Bonn

diedMarch 26, 1827Vienna

At a Glance

Beethoven composed his Leonore Overture “No. 2” in 1804-05. This overture was most likely performed at the premiere of his opera Fidelio on November 20, 1805. (Beethoven wrote three ad-ditional overtures or versions as he worked to improve or perfect the opera.) This overture runs not quite 15 minutes in perfor-mance. Beethoven scored it for 2 fl utes, 2 oboes, 2 clari-nets, 2 bassoons, 4 horns, 2 trumpets (and an additional one off -stage), 3 trombones, timpani, and strings.

5The Cleveland Orchestra

mood, leaving the three “Leonore” Overtures as perfect and big-heart-ed material for symphonic concerts. (The once common practice of performing “Leonore” No. 3 in opera productions between scenes in Act Two, popularized but not begun by Gustav Mahler, has died out in recent years, because there, too, the music overwhelms — and brings to an extended pause — the dramatic acting out of the opera onstage.)

—Eric Sellen © 2015

L I K E M O Z A R T before him, Beethoven wrote his concertos for piano and orchestra as vehicles for displaying his own dazzle as a performer. In those times — before radio and recordings and copyright, and when public concerts were less frequent than today — new music was all the rage. Composing your own ensured that you had fresh, unique material to perform. Your biggest hits, from last year or last week, were meanwhile quickly appropriated by others through copied scores — and with the best tunes arranged for street organ grinders and local wind ensembles. It is little wonder, then, that Mozart kept some scores under lock and key, and left the cadenzas for many of his concertos blank, so that only he could fi ll them in authentically with his own brand of extemporaneous perfection. Beethoven moved to Vienna at the age of 22 in 1792. He’d hoped to get to Europe’s musical capital sooner and to study with Mozart, but family circumstances had kept him at home in Bonn helping raise his two younger brothers (around a fa-ther who . . . simply drank too much). It was as a performer that Beethoven forged his reputation in Vienna, and within a year he was widely known as a red-hot piano virtuoso. This set the stage for writing his own concertos. For the fi rst three, written between 1795 and 1802, he followed very much in Mozart’s footsteps with the form. In the 1780s, Mozart had turned the concerto into a fully-realized and independent genre, sometimes churning out three or four each season. But whereas Mozart, over the course of thirty or more works for solo piano or violin, had developed the concerto into sublime products, Beethoven (with just fi ve works for piano and

Piano Concerto No. 5 (“Emperor”)in E- at major, Opus 73composed 1809

About the Music

by Ludwig vanBEETHOVENborn December 16, 1770Bonn

diedMarch 26, 1827Vienna

6 2015 Blossom FestivalAbout the Music

At a Glance

Beethoven composed his Piano Concerto No. 5 in 1809. The fi rst known performance was given in Leipzig on November 28, 1811, with Friedrich Schneider as soloist and Johann Philipp Christian Schulz leading the Gewand-haus Orchestra. This concerto runs about 40 minutes in performance. Beethoven scored it for 2 fl utes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trum-pets, timpani, and strings, plus the solo piano. The “Emperor” Concerto was the fi rst of Beethoven’s fi ve piano concertos to be performed by The Cleveland Orchestra, in January 1922, with pianist Josef Hofmann under the direction of Nikolai Sokoloff . Since that time, it has been a frequent work on the Orchestra’s programs, at home and on tour, with many of the world’s greatest pianists, including Arthur Rubinstein, Artur Schnabel, Claudio Arrau, Rudolf Serkin, Rudolf Firkusny, Robert Casa-desus, Leon Fleisher, Daniel Barenboim, Emil Gilels, Alicia de Larrocha, Murray Perahia, Vladimir Ashkenazy, Horacio Gutiérrez, and Radu Lupu.

one for violin) strived to make the form individual and handmade again. Mozart created the molds and set the standards, and only occasionally over-fi lled or over-fl owed them. Beethoven at fi rst worked within and around those earlier defi nitions, but the thrust of his musical creativity eventually shattered tradition in order to off er up the fi rst magnifi cently supercharged concertos of the Romantic 19th century. Beethoven’s last piano concerto (No. 5) marked a change in the composer’s life onstage. The Fourth was the last concerto that Beethoven premiered publicly. By the time of the Fifth’s debut, his hearing was so far gone that, even if able to play the solo part, he could no longer hear and coordinate the orchestra playing around him. For the premiere in November 1811, the solo part was handled by Friedrich Schneider in Leipzig, and for the fi rst Viennese performance Beethoven’s student Carl Czerny played it, in February 1812. But between the Fourth and Fifth concertos, something even more important happened than the further closing off of Beethoven’s hearing. In 1809, he was given a brand-new piano (the manufacturer saw it as a promotional opportunity), which, despite his increasing deafness, helped paved the way for the overwhelming grandness of his last concerto. The fortepiano as an instrument had been invented at the start of the 18th century, transforming the earlier harpsichord and clavichord, which could play each note at one set volume, into a sensitive and dynamic instrument that could play any note softly or loudly or anywhere in between. While the new instru-ment took some time to catch on, it also underwent some evo-lutionary changes in design at the end of the century (including the introduction of an iron sounding board and steel strings), which gave it an expanded range of notes and dynamics. Mo-zart had written his concertos very carefully, so that the piano would not be drowned out by too many instruments playing at the same time. But Beethoven, concerto by concerto, was able to write more and more for an instrument that could play directly against a full orchestra. And in the Fifth Piano Concerto, the fi rst movement opens big — with orchestral chords and piano fl ourishes. This is not, however, just ornamentation, for the thematic material of the en-tire movement derives out of these opening calls and response. Ingeniously, Beethoven builds the movement (the longest he wrote in any concerto) on a sense of increasing tension and cli-

7Blossom Music Festival

max, and with notable use of rhythms of two beats set against three. After this big opening comes one of the most heavenly of slow middle movements ever written, with the orchestra integrally interwo-ven into the piano’s lovely, lovingly, longing, lingering phrases. This is directly connected to the third-movement fi nale, which features one of classical music’s most irresistible and memorable tunes — although this characterization is not to suggest that it would be easy to sing a song to the jaunty stepping phrases of this movement’s main theme. Orchestra and piano share a discourse over this compelling material and its derivations, bringing the work to a close with requisite bluster and bang, and showing off soloist, orchestra, and Beethoven in equal proportions.

N A M E S A N D I N N O VAT I O N S The origins of the nickname “Emperor” for this concerto are uncertain. Until the latter half of the 20th century, the name was not well-known or often-used outside of English-speaking countries. Handed-down explanations for the nickname include a story that at the fi rst Viennese performance (February 12, 1812) a French offi cer was: 1.) so overwhelmed by the concerto that he proclaimed it “an emperor among concertos” (or words to that eff ect), or 2.) that the same mythical (or intoxicated) French soldier was so moved by some of the march-like music in the concerto or recognized a short phrase in the concerto so similar to La Marseillaise that he stood up and/or proclaimed that Emperor Napoleon’s presence was in the music. An early publisher or performer is a more likely, if less poetic, source for the name, which, whatever its origins, seems well justifi ed by the con-certo’s size and grandeur. In the context of listening to any of Beethoven’s fi ve piano con-certos, and while contemplating the composer’s innovations and evolution in the artform, it is worthwhile noting that there is a sixth piano concerto by Beethoven. This is an arrangement that he made (or helped supervise) of his own Violin Concerto, Opus 61, for a generous Italian publisher. Known as Opus 61a, it is infrequently programmed. Few soloists have bothered to learn the part, and, admittedly, some portions of it don’t really work. It is, nonetheless, a strangely interest-ing work to hear in performance or recording — and a sure way for many modern listeners who feel too well-acquainted with Beethoven’s concertos to be startled again, as his audiences were, on hearing some-thing unexpectedly familiar but diff erent.

—Eric Sellen © 2015

About the Music

8 The Cleveland Orchestra

Symphony No. 8 in G major, Opus 88composed 1889

S O M E T H I N G R E M A R K A B L E happened in the history of music during the 19th century. Composers of symphonic mu-sic increasingly turned away from happy or cheerful feelings in favor of dramatic or even tragic ones. Instead of the light and unclouded tone found in many major works by Haydn or Mozart, Romantic composers used darker and darker colors. Lightness was gradually pushed to the periphery of classical music — and taken up by new popular genres such as operetta — while large-scale symphonic works increasingly emphasized high passion and brooding melancholy. There were two great exceptions to this general trend: Felix Mendelssohn in the fi rst half of the century, and Antonín Dvořák in the second half. Both had the unusual gift of writing radiantly happy music in an era where such an approach was often taken for conservatism or naïveté. But it was neither — here it was merely a sign of a diff erent artistic personality and temperament. If we compare Dvořák’s Eighth Symphony from 1889 to some of the great symphonic works written around the same time, the diff erence becomes readily apparent. In the previous year, 1888, Tchaikovsky completed his Fifth Symphony (in E minor), in which he was grappling with grave questions about Fate and human life (certainly his own fate and life). The same year, César Franck introduced his Symphony in D minor, whose complex emotional journey leads from self-doubt to eventual triumph. Johannes Brahms had fi nished his fourth and last sym-phony (in E minor) just a few years earlier, in 1885. In a sense, Dvořák continued the work of Brahms, his friend and mentor. After his previous eff ort, the intensely dramatic, “Brahmsian” Seventh Symphony in D minor, Dvořák turned to the more cheerful major mode for his Eighth. Not that there aren’t serious moments in this work. But if Dvořák’s stated pur-pose was to write a work “diff erent from other symphonies, with individual thoughts worked out in a new way,” his unstated inten-tion may have been to write a symphony with mostly sunny and happy feelings, while still being “serious” music. The Eighth Symphony’s fi rst movement opens with an expressive melody in G minor that prepares the entrance of another theme, a playful idea in G major fi rst given to the solo

About the Music

by AntonínDVOŘÁKborn September 8, 1841Nelahozeves, Bohemia

diedMay 1, 1904Prague

9Blossom Music Festival

fl ute. A dynamic sonata exposition soon gets underway; it is characteristic that Dvořák “overshoots the mark” as he bypasses the expected secondary key, D major, in favor of a more remote, but even brighter-sounding B major. The development section works up quite a storm, but it subsides when the playful main theme returns, now played by the english horn instead of the fl ute (two octaves lower than before). The recapitulation ends with a short but very energetic coda. The second movement (Adagio) begins with a simple string melody in darker tonal regions (E-fl at major/C minor) that soon reaches bright C major, where it remains. The main theme spawns various episodes, in turn lyrical and passionate. After a powerful climax, the movement ends quietly. The third movement (Allegretto grazioso) is neither a minuet nor a scherzo but an “intermezzo” like the third move-ments of Brahms’s First and Second Symphonies. Its fi rst tune is a sweet and languid waltz; its second, functioning as a Trio (or middle section of three) sounds more like a Bohemian folk dance. After the return of the waltz, Dvořák surprises us by a very fast (Molto vivace) coda section, in which commentators have recognized a theme from one of Dvořák’s earlier operas. But this section actually consists of exactly the same notes as the lilting Trio melody, only in a faster tempo, with stronger ac-cents, and in duple instead of triple meter. It is interesting that, in the third movement of his Second Symphony, Brahms had transformed his Trio theme in exactly the same way. A resounding trumpet fanfare announces the fourth movement (Allegro ma non troppo), a complex theme-and-vari-ations with a central episode that sounds at fi rst like contrasting material but is in fact derived from the main theme. Dvořák’s form-building procedures have their antecedents in the last movements of Beethoven’s Third and Brahms’s Fourth, but he fi lled out the form with melodies of an unmistakably Czech fl avor and a joviality few composers at the time possessed. The varia-tions diff er in character. Many are in the major mode, though the central one, reminiscent of a village band, is in the minor. The music is always cheerful and optimistic, yet it doesn’t lack grandeur. The ending seems to be a long time coming, with an almost interminable series of closing fi gures. When the last chord fi nally arrives, it still sounds delightfully abrupt due to its unusual metric placement.

—Peter Laki © 2015Copyright © Musical Arts Association

About the Music

Dvořák composed his Eighth Symphony between August and November 1889. It was fi rst performed on February 2, 1890, in Prague, under the composer’s direction. Dvořák was not satisfi ed with the low fee off ered for the symphony by his German publisher, Simrock, and instead sold the work to Novello in London, who published the symphony in 1892 with a dedication to the Czech Academy of Science, Literature, and the Arts, to which Dvořák had been elected in 1890. The symphony runs about 35 minutes in perfor-mance. Dvořák scored it for 2 fl utes (second doubling piccolo), 2 oboes (second doubling english horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trom-bones, tuba, timpani, and strings. Dvořák’s Eighth Sym-phony was introduced to The Cleveland Orchestra’s repertoire in October 1938 by Artur Rodzinski. The most recent performances by the Orchestra at Severance Hall were given in February 2007 under the direction of Iván Fischer. It was most recently heard at Blossom in August 2012, led by Jakub Hrůša.

At a Glance

10 2015 Blossom FestivalConductor

Gustavo GimenoSpanish conductor Gustavo Gimeno be-comes principal conductor of the Orch-estre Philharmonique du Luxembourg with the 2015-16 season. He is making his Cleveland Orchestra debut with this eve-ning’s concert. Gustavo Gimeno was born in Valen-cia, Spain, and currently lives in Amster-dam. From 2002 to 2013, he was principal

percussionist of the Royal Con-certgebouw Or-chestra. He was also a member of the Amster-dam Percussion Group, Europe-an Community Youth Orchestra, and the National Youth Orchestra of Spain. As a chamber musi-

cian, he performed with the Katia and Marielle Labèque piano duo and formed a percussion duo with Lorenzo Ferran-diz. He also taught at the Conservatory of Amsterdam and the Musikene School of Music in the Basque Country. Mr. Gimeno’s international conduct-ing career began in 2012 as assistant to Mariss Jansons with the Royal Concert-gebouw Orchestra; his conducting debut with that orchestra was in 2014. He also spent several years assisting Claudio Ab-bado with Bologna’s Orchestra Mozart, the Lucerne Festival Orchestra, and the Mahler Chamber Orchestra. In 2013, he also worked with Bernard Haitink at the Orchestra Mozart. Gustavo Gimeno stud-

ied conducting at the Conservatorium van Amsterdam, participated in masterclasses with Iván Fischer, Ed Spanjaard, and Hans Vonk, and was chief conductor of the Amsterdam-based Con Brio Symphony Or-chestra and Het Orkest Amsterdam. During the past two seasons, Gus-tavo Gimeno has made debuts conduct-ing the City of Birmingham Symphony Orchestra, Danish National Symphony, Deutsche Symphonie-Orchester Berlin, Hague Philharmonic, Hannover Radio Symphony Orchestra, Munich Philharmon-ic, Nordwestdeutsche Philharmonie Her-ford, Orchestre de Chambre de Lausanne, Orchestre Giuseppe Verdi Milan, Orquesta Sinfónica de Castilla y León, Orquesta Sin-fónica de Galicia, Orquesta de Valencia, Australia’s Queensland Symphony, Rotter-dam Philharmonic, Japan’s Sendai Phil-harmonic, Spanish Radio and Television Symphony Orchestra, Stavanger Sympho-ny, Stuttgart Radio Symphony Orchestra, Swedish Radio Symphony Orchestra, and the Tonhalle Orchestra. This past spring, he led Bellini’s Norma at the Palau de les Arts Reina Sofi a in Valencia. Gustavo Gimeno has worked closely with a number of composers, including George Benjamin, Pierre Boulez, Peter Eötvös, Theo Loevendie, and Jacob ter Veldhuis. He conducted the European premiere of Magnus Lindberg’s Second Piano Concerto with the Royal Concertge-bouw Orchestra and Yefi m Bronfman, and works by Britta Byström with the Swedish Symphony Orch estra.

11The Cleveland Orchestra Soloist

Garrick OhlssonSince winning the 1970 Chopin Inter-national Piano Competition, American pianist Garrick Ohlsson has been hailed worldwide for his technical prowess and artistic mastery. He made his Cleveland Orch estra debut in March 1975 and most recently performed here in May 2014. A native of White Plains, New York, Garrick Ohlsson began piano studies at age 8, attended the Westchester Conser-vatory of Music, and at 13 entered the

Juilliard School. His teachers include Clau-dio Arrau, Olga Barabini, Sascha Gorodnitzki, Ro-sina Lhévinne, Tom Lishman, and Irma Wol-pe. Among Mr. Ohlssen’s honors are fi rst prizes at the 1966 Busoni Competition and

1968 Montreal Piano Competition, and the 1994 Avery Fisher Prize. Regarded as a leading exponent of Frédéric Chopin, Mr. Ohlsson performed in celebrations of the 2010 bicentenary of Chopin’s birthday, including a gala at Cho-pin’s birth house in Warsaw and recitals in Berkeley, La Jolla, New York, and Seattle. For the bicentenary of Franz Liszt’s birth during the 2011-12 season, Garrick Ohlsson presented recitals in Chicago, Hong Kong, London, and New York. 2015 marks the centenary of the death of Alexander Scriabin, whose music he is performing

in Chicago, London, New York, and San Francisco. From his repertoire of some eighty diff erent concertos, Mr. Ohlsson performs with symphonies all around the world, in-cluding the Budapest Festival Orchestra, Czech Philharmonic, Deutsches Sym-phonie-Orchester Berlin, Halle Orchestra, Russian National Orchestra, Salzburg Mo-zarteum, Sydney Symphony, and Warsaw Philharmonic. His recent North American engagements included concerts with the orchestras of Atlanta, Baltimore, Boston, Chicago, Dallas, Detroit, Houston, Los An-geles, Minnesota, New York, Philadelphia, Pittsburgh, St. Louis, and San Francisco. In recital, Mr. Ohlsson has performed the complete Beethoven piano sonatas at the Ravinia, Tanglewood, and Verbier fes-tivals. He has also appeared with vocalists Jessye Norman, Magda Olivero, and Ewa Podles, among others. As a chamber musician, Garrick Ohls-son collaborates with the Emerson, Takács, and Tokyo string quartets. Along with violinist Jorja Fleezanis and cellist Michael Grebanier, Mr. Ohlsson is a founding mem-ber of the San Francisco-based FOG Trio. A prolifi c recording artist, Garrick Ohlsson can be heard on the Angel, Ara-besque, BMG, Delos, Hänssler, Hyperion, Nonesuch, RCA Victor Red Seal, Telarc, and Virgin Classics labels. Volume 3 of his 10-disc Bridge Records set of the complete Beethoven sonatas was given a Grammy Award.

1968

2018

1,000+

B Y T H E N U M B E R S

Blossom Music Center opened on July 19, 1968, with a con-

cert that featured Beethoven’s Ninth Symphony under the

direction of George Szell.

The Cleveland Orchestra has performed just over1,000 concerts at Blossom since 1968. The 1000th

performance took place during the summer of 2014.

Blossom’s 50th Anniversary Season in 2018 will bring to a close the

Orchestra’s 100th Season celebrations during 2017-18, and

mark the beginning of The Cleve-land Orchestra’s second century

serving Northeast Ohio.

Blossom Music Center has welcomed more than19,000,000 people to concerts and events since

1968 — including the Orchestra’s annual Festivalconcerts, plus special attractions featuringrock, country, jazz, and other popular acts.

Blos

som

’s Pa

vilio

n, d

esig

ned

by C

leve

land

arch

itect

Pet

er v

an D

ijk, c

an se

at 5

,470

peo

ple,

incl

udin

g po

sitio

ns fo

r whe

elch

air s

eatin

g.

(Ano

ther

13,

500

can

sit o

n th

e La

wn.

)Th

e Pa

vilio

n is

fam

ed fo

r the

cla

rity

of it

s ac

oust

ics a

nd fo

r its

dis

tinct

ive

desi

gn.

5470

SEATS

19millionADMISSIONS

20% 25 and

under

OV

ER

The portion of young peopleat Cleveland Orchestra concertsat Blossom has increased to 20%

over the past five years,via an array of programs

funded through the Orchestra’s Center for Future Audiences

for students and families.

1250 tons of steel12,000 cubic yards concrete4 acres of sodded lawn

The creation of Blossom in 1966-68 was a major construction project involving

many hands and much material,made possible by many

generous donors.

BL

OS

SO

M M

US

IC

C

EN

TE

R