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S E A S O N
CLEVELAND ORCHESTRA
Youth Orchestra . BRETT MITCHELL
MUSIC DIRECTOR
November 18, 2O16 Severance Hall
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Prelude Concert Cleveland Orchestra Youth Orchestra
Friday evening, November 18, 2016 Reinberger Chamber Hall at Severance Hall
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Prior to each Cleveland Orchestra Youth Orchestra concert at Severance Hall, a special Prelude Concert features members of the Youth Orchestra in chamber music performances.
This evening’s instrumental ensembles represent our pioneering Advanced Performance Seminar program, in which Cleveland Orchestra coaches also perform in the chamber ensembles with Youth Orchestra students. Coaches are denoted with (*) next to their name.
LUDWIG VAN BEETHOVEN (1770-1827)
from String Quartet No. 2 in G major, Opus 18.2
1. Allegro
Sonja Braaten Molloy, violin* Constant Clermont, violin Claire Peyrebrune, viola Matthew Fields, cello
coached by Sonja Braaten Molloy, violin, The Cleveland Orchestra
from String Quartet No. 1 in F major, Opus 18.1
1. Allegro con brio
Yun-Ting Lee, violin* Daniel Fields, violin Ayano Nakamura, viola Zachary Keum, cello
coached by Yun-Ting Lee, violin, The Cleveland Orchestra
from String Quartet No. 6 in B-flat major, Opus 18.6
1. Allegro con brio 4. Allegretto quasi allegro
Masayoshi Arakawa, violin Formosa Deppman, violin Natalie Brennecke, viola Paul Kushious, cello*
coached by Paul Kushious, cello, The Cleveland Orchestra
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Prelude Concert
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1986
Seven music directors have led COYO since 1986: Jahja Ling, Gareth Morrell, Steven Smith, James Gaffigan, Jayce Ogren, James Feddeck, and Brett Mitchell.
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Just over 100 past and present Cleveland Orchestra members have coached the musicians of COYO, providing an extraordinary mentoring relationship — from today’s best to the talents of tomorrow.
overseas tours
COYO has undertaken two international concert tours, to Europe in 2012 and to China in 2015. In the U.S., they have performed as far east as Massachusetts and as far west as Michigan.
1500 YOUNG MUSICIANS
Four members of COYO, after college training, have gone on to win auditions to become members of The Cleveland Orchestra.
1500 aspiring young musicians have been members of the Cleveland Orchestra Youth Orch estra in its first three decades, learning together as an ensemble the ways and workings of a professional orchestra.
COYO has performed over 200 concerts, including a series of three concerts each year at Severance Hall, plus performances in communities throughout Northeast Ohio, and on concert tour.
With today’s concert . . . COYO has performed the world premieres of
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1OO
200
newly-written pieces.
Founded in 1986, the Youth Orchestra’s first public concert was held on February 1, 1987.
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Cleveland Orchestra Youth Orchestra
BY THE NUMBERS
CLEVELAND ORCHESTRA
Youth Orchestra . BRETT MITCHELL
MUSIC DIRECTOR
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S E A S O N
Friday evening, November 18, 2016, at 8:00 p.m. Severance Hall — Cleveland, Ohio Brett Mitchell, conductor
roger briggs
Fountain of Youth
(b. 1952)
WORLD PREMIERE PERFORMANCE Commissioned by the Cleveland Orchestra Youth Orchestra
INTERMISSION
anton bruckner
Symphony No. 4 (“Romantic”) in E-flat major
(1824-1896) (1874 VERSION, EDITED BY NOWAK)
1. Bewegt, nicht zu schnell [With motion, not too fast] 2. Andante — Andante quasi allegretto 3. Scherzo: Sehr schnell — Trio: Im gleichen Tempo [Very fast] [At the same tempo] 4. Finale: Allegro moderato
live radio broadcast
This evening’s concert is being broadcast live on WCLV (104.9 FM). The program will be rebroadcast as part of regular weekly programming on WCLV, on Sunday, July 9, 2017, at 4:00 p.m. and on Saturday, September 2, 2017, at 8:00 p.m.
SEVERANCE HALL
Concert Program
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CLEVELAND ORCHESTRA
Youth Orchestra . BRETT MITCHELL
FIRST VIOLIN Taejun Kim
CONCERTMASTER Hudson High School
Julia Schilz
ASSISTANT CONCERTMASTER Hathaway Brown School
MUSIC DIRECTOR
Erika Lee
Strongsville High School
Kevin Tan
Strongsville High School
Samantha Ma
Revere High School
CELLO James Hettinga PRINCIPAL Home schooled
Brandon Wang
Constant Clermont
Tae-Hee Kim
Katsuaki Arakawa
Maria Zou
Sofia Ayres-Aronson
Faith Geho
Alice Wu
Hyowon Harrison Ahn
Uzo Ahn
Jakob Faber
Brice Bai
Kevin Du
Saint Ignatius High School Hudson High School Solon High School University School Hathaway Brown School
Hathaway Brown School Shaker Heights High School
Solon High School Beachwood High School
Edie Duncan
Shaker Heights High School
Alexander Xuan Lake High School
Richard Jiang
Solon Middle School
Claudia Hamilton Hawken School
Andrew Tian
Cleveland Heights High School
Anna Burr
VIOLA Sam Rosenthal
PRINCIPAL Shaker Heights High School
Claire Peyrebrune ASSISTANT PRINCIPAL The Lyceum
Sarah Hong
Solon High School
Luke Wardell
Twinsburg High School
Natalie Brennecke
Home schooled
Hudson High School Hudson High School
OBOE Olivia Brady Bg
Hudson High School
Amelia Johnson
Hudson High School
Eleanor Plaster
Shaker Heights High School
Kate Young Br
Theodora Bowne Matthew Fields
Cleveland Heights High School
BASS Redd Ingram
PRINCIPAL New Albany High School
Jacob Kaminski
ASSISTANT PRINCIPAL Mentor High School
Hudson High School
Gautam Apte
Highland High School
Blake Himes
Home schooled
Jamie Park
Cleveland School of the Arts
Jacqueline Marshall
Medina High School
Grace Cumberlidge
Lauren Swartz
Adam Warner
Home schooled
Kathryn Semus
Perkins High School
Ginger Deppman
Yihoon Shin
ALTO FLUTE Krysta-Marie Aulak Bg
Revere High School
Christine Shih
Célina Béthoux
Twinsburg High School/ Kent State University
Hyunwoong (David) Cho
Ayano Nakamura
ASSISTANT PRINCIPAL Dublin Jerome High School
PICCOLO Jessica Pan Bg Jason Suh Br
Solon High School
Hudson High School
SECOND VIOLIN Masayoshi Arakawa PRINCIPAL Solon High School
Shaker Heights High School
Rachelle Larivee
Daniel Fields
Jaeho Kim
University School
Oberlin High School
Nicholas Schmeller Medina High School
Solon High School
Jason Suh
Katarina Davies
Grace Brown
Lea Kim
Jessica Pan Bg
Western Reserve Academy
Andrew Smeader Padua High School
Shaker Heights High School
ASSISTANT PRINCIPAL University School
Moonhee Kim
Beachwood Middle School
Shaker Heights High School
Karissa Huang Br
Zachary Keum
Formosa Deppman Oberlin High School
FLUTE Krysta-Marie Aulak
Shaker Heights High School Shaker Heights High School Beachwood Middle School
Shaker Heights High School
Sandy Shen
Solon High School
Bay High School
Hoover High School Strongsville High School
ENGLISH HORN Amelia Johnson Bg CLARINET Katherine Smith Bg Kenston High School
Jennifer Vandenberg Chardon High School
Peter Varga Bg
Solon High School
BASS CLARINET Jennifer Vandenberg Bg
Gesu Middle School
BASSOON Natalie Corrin
Hudson High School
David Coy Bg
Oberlin High School
Charlotte Lo
Crestwood High School
HARP Cecilia Hiros
Berea-Midpark High School
Brunswick High School Mentor High School
Jack Formica Br
Kenston High School
Zoe Perrier
Mentor High School
CONTRABASSOON Jack Formica Bg
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The Musicians
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HORN Haley Brady
TROMBONE Brendon Loeb Br
Sophia Calabrese Bg
Sydney Reik Bg
Miranda Deppisch
Tyler Smith
Crestwood High School Shaker Heights High School Copley High School
Nicolas Haynes
Lexington High School
Angeline Monticello Gilmour Academy
Michael Rising Br
Revere High School Strongsville High School Shaker Heights High School
PERCUSSION Catharine Baek Erin Detchon
S E A S O N
Medina High School/ Medina County Career Center
MANAGER Lauren Generette
West Geauga High School
LIBRARIAN /ASSISTANT Austin Land
Sydney Gembka
Michael McIntyre
Howland High School
TUBA Nicholas Withey
Samantha Rosselot
TIMPANI Catharine Baek Br
PIANO Nathan Hensley
Performers are listed alphabetically within each woodwind, brass, and percussion section.
Lily Sadataki Bg
CELESTA Wending Wu
PRINCIPAL PLAYERS Bg = Briggs Br = Bruckner
Southeast High School
Brecksville-Broadview Heights High School
Bay High School
TRUMPET Steven Cozzuli
Northwestern High School
Charlie Jones Br
Cuyahoga Valley Christian Academy
Willoughby South High School
Revere High School
Elyria High School
Hudson High School
Allen Morinec
Saint Ignatius High School
Kyle Perisutti Bg
Strongsville High School
The Cleveland Orchestra Youth Orchestra is supported by a grant from the Martha Holden Jennings Foundation.
Endowed Funds The future of classical music shines brightly through the talented young musicians of the Cleveland Orchestra Youth Orchestra. A gift to The Cleveland Orchestra’s endowment in support of the Youth Orchestra is a wonderful way to show your commitment to the future of this important program while providing vital funding for The Cleveland Orchestra. In addition to the endowed musicians’ chairs listed at right, created by supportive donors, The George Gund Foundation has made a generous gift to the Orchestra’s endowment in support of the Youth Orchestra, the estate of Jules and Ruth Vinney has generously endowed a Touring Fund to support the Youth Orchestra’s performances beyond Northeast Ohio, and Christine Gitlin Miles has made a generous planned gift to honor Jahja Ling, founding music director of the Youth Orchestra.
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The Musicians
The following seven endowed Youth Orchestra chairs have been created in recognition of generous gifts to The Cleveland Orchestra’s endowment: Concertmaster, Daniel Majeske Memorial Chair Principal Cello, Barbara P. and Alan S. Geismer Chair Principal Bass, Anthony F. Knight Memorial Chair Principal Flute, Virginia S. Jones Memorial Chair Piccolo, Patience Cameron Hoskins Chair Principal Harp, Norma Battes Chair Principal Keyboard, Victor C. Laughlin M.D. Memorial Chair
For more information about how you can support the Youth Orchestra through an endowed chair or fund, please contact The Cleveland Orchestra’s Development Office by calling 216-231-7522.
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CLEVELAND ORCHESTRA
Youth Orchestra . BRETT MITCHELL
P H OTO BY R O G E R MA S T R O I A N N I
MUSIC DIRECTOR
T H E 2 01 6 -17 S E A S O N marks the
Cleveland Orchestra Youth Orchestra’s 31st season and the fourth year under the direction of Brett Mitchell. The Cleveland Orchestra Youth Orchestra is one of the Cleveland area’s premier musical destinations for aspiring student musicians — and one of the most acclaimed youth orchestras in the United States. Since its inaugural concert in 1987, the Youth Orchestra has performed more than 130 concerts and provided a musical home to 1,500 talented young instrumentalists. Founded for The Cleveland Orchestra by Jahja Ling, then the ensemble’s resident conductor, the Cleveland Orchestra Youth Orchestra provides serious young music students of middle school and high school age with a pre-professional orchestral training experience in a full symphony orchestra. The unique musical experiences that the Youth Orchestra offers include weekly coachings with members of The Cleveland Orchestra, rehearsals and performances in historic Severance Hall, and opportunities to work with internationally renowned guest artists and conductors. Those guests
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have included Marin Alsop, Pierre Boulez, Stéphane Denève, Christoph von Dohnányi, Giancarlo Guererro, Witold Lutosławski, YoYo Ma, Gil Shaham, Michael Tilson Thomas, Antoni Wit, and Cleveland Orchestra Music Director Franz Welser-Möst. The creation of the Cleveland Orchestra Youth Chorus in 1991, to provide a similar experience for young vocalists from across Northeast Ohio, also widened the repertoire for the Youth Orchestra and expanded the Youth Orchestra’s preparation for potential professional roles. The two ensembles perform together at Severance Hall once each season. As one of the best youth orchestras in North America, and one of just a few affiliated with a top-tier orchestra, the Cleveland Orchestra Youth Orchestra has garnered a number of prestigious accolades. In 1998, the Youth Orchestra was selected to participate in the second National Youth Orchestra Festival sponsored by the League of American Orchestras. In 2001, the Youth Orchestra appeared on the Family Concert Series at New York’s Carnegie Hall, and, in June 2009, they traveled
Cleveland Orchestra Youth Orchestra
Prague, 2012
2 0 1 6 - 17 S E A S O N
China, 2015
Music Directors of the
Cleveland Orchestra YOUTH ORCHESTRA Jahja Ling 1986-1993 to Boston for a series of four performances. The ensemble’s recent schedule has included performances at the Ohio Music Education Association Conference in February 2015, and for the League of American Orchestras national conference held in Cleveland in May 2015. Regular international touring is now a planned part of the Youth Orchestra’s schedule. Their first overseas tour, to Europe in June 2012, featured concerts in Prague, Vienna, and Salzburg, as well as educational programs and historic tours. A second overseas tour, to four cities in China, took place in June 2015. In recent years, several Cleveland Orchestra Youth Orchestra students have been featured on the nationally syndicated radio series From the Top, and several former members have won full-time positions in major orchestras, including four in The Cleveland Orchestra. Members of the Youth Orchestra range in age from 12 to 18 and are chosen through competitive auditions held each spring. They come from forty communities in a dozen counties throughout Northeast Ohio to rehearse together each week SEVERANCE HALL
Gareth Morrell 1993-1998
Steven Smith 1998-2003
James Gaffigan 2003-2006
Jayce Ogren 2006-2009
James Feddeck 2009-2013
Brett Mitchell 2013-2017
in Severance Hall. The Youth Orchestra season runs from August through May and includes a three-concert subscription series at Severance Hall, radio broadcasts of Youth Orchestra concerts on Cleveland’s classical music station WCLV (www.wclv. org), and a variety of community concerts by both the full orchestra and chamber groups of Youth Orchestra members.
Cleveland Orchestra Youth Orchestra
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WHERE ARTISTRY + INNOVATION SHARE CENTER STAGE music.cmu.edu | Application Deadline: December 1
Brett Mitchell
P H OTO BY R O G E R MA S T R O I A N N I
Music Director Cleveland Orchestra Youth Orchestra Associate Conductor Elizabeth Ring and William Gwinn Mather Endowed Chair The Cleveland Orchestra
T H E 2 0 1 6 - 1 7 S E A S O N marks
Brett Mitchell’s fourth and final year as a member of The Cleveland Orchestra’s conducting staff. In this role, he leads the Orchestra in several dozen concerts each season at Severance Hall, Blossom Music Festival, and on tour. He also serves as music director of the Cleveland Orchestra Youth Orchestra. In June 2015, he led the Youth Orchestra in a four-city tour to China, marking the ensemble’s second international tour and its first to Asia. With the 2017-18 season, Mr. Mitchell assumes office as the newly-appointed music director of the Colorado Symphony in Denver. In the current season, he holds the title music director designate. He also continues an active career as a guest conductor, leading performances throughout North America, Europe, and Asia. Recent and upcoming guest engagements include performances with the orchestras of Columbus, Dallas, Detroit, Houston, Indianapolis, Oregon, Saint Paul, and Washington D.C., and the Frankfurt Radio Symphony, among others. Mr. Mitchell served as music director of the Saginaw Bay Symphony Orchestra, 2010-15, where an increased focus on locally relevant programming and community collaborations resulted in record attendance throughout his tenure. He had earlier been assistant conductor of the Houston
SEVERANCE HALL
Music Director
Symphony (2007-11), where he led over 100 performances with the ensemble and concurrently held a League of American Orchestras American Conducting Fellowship. He was also an assistant conductor to Kurt Masur at the Orchestre National de France (2006-09) and served as director of orchestras at Northern Illinois University (200507). He was associate conductor of the Pittsburgh New Music Ensemble (2002-06), where he led many subscription programs, six world premieres, and several recording projects. Mr. Mitchell has also served as music director of nearly a dozen opera productions, principally as music director at the Moores Opera Center in Houston (201013), leading eight productions. A native of Seattle, Brett Mitchell holds a doctor of musical arts degree from the University of Texas at Austin, where he was also music director of the University Orchestra. He earned a bachelor of music degree in composition from Western Washington University, which selected him as its Young Alumnus of the Year in 2014. Mr. Mitchell also participated in the National Conducting Institute in Washington D.C., studied with Kurt Masur as a recipient of the inaugural American Friends of the Mendelssohn Foundation Scholarship, and with Lorin Maazel. For more information, please visit www.brettmitchellconductor.com.
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FACULTY VIOLIN
OBOE
Federico Agostini Juliana Athayde* Bin Huang RenĂŠe Jolles Mikhail Kopelman Oleh Krysa Robin Scott*
Richard Killmer
VIOLA
BASSOON
Carol Rodland George Taylor Phillip Ying*
George Sakakeeny HORN
CELLO
TRUMPET
Steven Doane Alan Harris David Ying* BASS
CLARINET
Kenneth Grant Jon Manasse SAXOPHONE
Chien-Kwan Lin
W. Peter Kurau James Thompson Douglas Prosser* TROMBONE
James Van Demark
Mark Kellogg Larry Zalkind
HARP
TUBA
Kathleen Bride
Don Harry
FLUTE
PERCUSSION
Bonita Boyd
Michael Burritt
*part-time
For application information visit
esm.rochester.edu/admissions
Fountain of Youth by Roger Briggs
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composed 2016
O N I G H T ’ S world premiere work, Fountain of Youth,
is a composition created by a seasoned composer . . . inspired by the idea and ideals of youth. It was written not just for youth (in the form of the Cleveland Orchestra Youth Orchestra), but about youth. Conceptually for composer Roger Briggs, this Roger new work is about youth’s role in society, in young people’s ability to keep all of us young, to renew our curiosBRIGGS ity, to question longheld wisdoms, and, sure enough, born May 28, 1952 in each person’s path toward growing old themselves in Florence, Alabama amidst emerging new generations of . . . youth. Metalives in Asheville, phorically, there are also undercurrents, not just of a litNorth Carolina eral fountain, but of musical renewal — the way a piece comes back to life each time it is performed. Briggs decided at an early age that he wanted to be a composer. Having started piano lessons at age 8, he found himself three years later trying to write a love song to impress a girl. He could never dare himself to show it to her, but in working on that first song he began to realize that not only was composing something he could do, it was something that spoke to him and through him — he was happy when creating music. He continued writing songs, in the pop and folksong or jazzy veins of the 1960s, while his schooling (and piano lessons) continued. Only slowly did his attention and mindset turn toward classical music. “I was introduced through opera, through Verdi’s La Traviata,” he recalls. “I was just amazed at all that raw and vibrant emotion in the music. Next, it was my piano teacher who turned me to Beethoven’s Fifth Symphony.” And . . . he was hooked, studying all the Beethoven symphonies in high school — and then momentarily forlorn when there was no Tenth. And so he branched out, step by step, year by year. “Eventually I came to understand my own feelings, to see and hear the way that classical music has so much more depth, more courage really, and offers such a mixing of different feelings. It offered so much more than could be done in a three-and-a-half minute pop song.” Briggs did all the usual musician-ish things. He was a sometime percussionist in school band, and played guitar (not very well, according to him) in several bands. All the while, he kept looking and writing and creating. In time, music became a professional choice, and he earned a music degree from the University of Memphis and eventually a doctorate from the Eastman School of Music in Rochester, New York. His efforts included studying with composers Peter Maxwell Davies, Samuel Adler, Joseph Schwantner, Eugene Kurtz, and Don Freund. Across the decades, Briggs’s compositions have evolved, not in order to follow musical tastes, but by allowing changing tastes to widen his palette and give him
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About the Music
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more options. From early tonal and melodic works, he dallied with atonality, and was then impressed by both the energy in Minimalism and the easy appeal of the neoRomantic movement. Still, he searched for writing music his way, as an individual. Today, Briggs describes his music as “formally classical, infused with rhythm, and built on a strong flow of sonority. The sound of music as it is played, as you hear it, as one moment transforms to the next — this throughline is always important to me.” In writing this commission for the Cleveland Orchestra Youth Orchestra, ideas of youth were important in the inspiration, but Briggs also understood that there were no technical limitations on what he would write. He was creating for a nationally renowned youth orchestra. He could The composer prepared the following ask them to do anything. “I didn’t comments about this new work: have to not do anything. These F O U N T A I N O F Y O U T H draws its imagery young musicians could handle from both the idea of a mythical fountain that anything I might write, and would insured permanent youth for those fortunate learn from being challenged.” enough to bathe in it, and from the striking and Fountain of Youth is the fifliteral power of a physical fountain as its water teenth world premiere performed rises and falls in a most beautiful seemingly eterby the Cleveland Orchestra Youth nal arch. Orchestra since its founding in The work searches for the power that 1986. springs from youth as an energy that constantly Composer Roger Briggs retired replenishes all of us individually, socially, and earlier this year from his post as culturally. professor of composition at West Those who sought the mythical fountain ern Washington University, where sought immortality and were hoping for prohis students included tonight’s longed youth and energy. conductor, Brett Mitchell. His Those who watch a literal fountain ofworks have been commissioned, ten sense the power within it as a wellspring of performed, and recorded by oryouthful energy rises from the lower waters, bechestras, ensembles, and soloists gins a beautiful journey to the top, arches and from across the United States and seems momentarily suspended at the heights around the world. before the inevitable descent to the source In addition to Fountain of waters again and again. Youth, recent works include ICONS —Roger Briggs, 2016 (commissioned by Sapphire Winds and premiered last month), Concerto for String Quartet and Orchestra (premiered in April 2016), and Boogie & Blues for Wind Symphony (premiered in 2014 and already performed or scheduled for performance by dozens of ensembles).
In the Composer’s Own Words . . .
Performance Time: 20 minutes
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About the Music
2 0 1 6 - 17 S E A S O N
Youth Orchestra Coaching Staff These members of The Cleveland Orchestra are serving as coaches for the Cleveland Orchestra Youth Orchestra. VIOLIN William Preucil
WOODWIND Marisela Sager
Peter Otto
Saeran St. Christopher
Concertmaster
First Assistant Concertmaster
Emilio Llinas
Assistant Principal Second Violin
Kathleen Collins
Assistant Principal Flute Flute
Jeffrey Rathbun
Assistant Principal Oboe
Corbin Stair Oboe
VIOLA Lynne Ramsey
Robert Woolfrey
Stanley Konopka
Bassoon / Contrabassoon
Clarinet
First Assistant Principal
Jonathan Sherwin
Assistant Principal
Barrick Stees
CELLO Richard Weiss
First Assistant Principal
David Alan Harrell BASS Mark Atherton
Bassoon
BRASS Hans Clebsch Horn
Lyle Steelman
Assistant Principal Trumpet
Michael Miller Trumpet
Shachar Israel
PERCUSSION Thomas Sherwood Percussion
HARP Trina Struble Principal
KEYBOARD Joela Jones Principal
EMERITUS COACHES John Rautenberg flute emeritus Richard Solis horn emeritus Richard Weiner percussion emeritus With Special Thanks To Robert O’Brien librarian
Assitant Principal Trombone
Yasuhito Sugiyama Principal Tuba
The Musical Arts Association is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra and its programs: National Endowment for the Arts, State of Ohio and the Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.
The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio. The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.
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Appreciation
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Youth Orchestra Teachers The members of the Cleveland Orchestra Youth Orchestra express gratitude About the Music to their private teachers for their patience, insight, and expertise. VIOLIN TEACHERS Amy Barlowe Alan Bodman Vladimir Deninzon* Wei-Fang Gu* Rachel Huch Minju Kim Kimberly Meier-Sims Iona Missits Yoko Moore** Peter Otto* Eugenia Poustyrena Alexandra Preucil* Mary Price Julian Ross Samuel Rotber Carol Ruzicka Stephen Sims Cory Smith Isabel Trautwein* Cara Tweed Wei-Shu Wang Co VIOLA TEACHERS Andrea Belding Lisa Boyko* Jeffrey Irvine Stanley Konopka* Christine Sherlock Laura Shuster Peter Slowik Lembi Veskimets* Louise Zeitlin CELLO TEACHERS Chauncy Acerat Martha Baldwin* Rachel Bernstein Amir Eldan David Alan Harrell* Pamela Kelly Mark Kosower* Melissa Kraut Keith Robinson Richard Weiss*
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BASS TEACHERS Scott Dixon* Paul Robinson Tracy Rowell Bryan Thomas Matthew Yoke FLUTE TEACHERS Heidi Kushious Angie Ro Marisela Sager* Martha Somach Saeran St. Christopher* OBOE TEACHERS Judith Guegold Patti Hoover Jeffrey Rathbun* Danna Sundet CLARINET TEACHERS Jenny Magistrelli Tracy Peroubek Thomas Tweedle BASSOON TEACHERS Mark DeMio Andrew Machamer Kathy Stockmaster HORN TEACHERS Hans Clebsch* Lisa Fink Meghan Guegold Jesse McCormick* Van Parker
TRUMPET TEACHERS Ken Holzworth Mark Maliniak Lorin Toplitz TROMBONE TEACHERS Bob Adamson Tom Dylanski TUBA TEACHER Noel Chiprean PERCUSSION TEACHERS Matt Dudack Tony Ferderber Ryun Louie Brian Sweigart Scott Velardo HARP TEACHER Xiao Lei Salovara PIANO TEACHERS Nancy Bachus Rose Pham
* Member of The Cleveland Orchestra
** Retired member of The Cleveland Orchestra
Teacher Appreciation
2 0 1 6 - 17 S E A S O N
Symphony No. 4 (“Romantic”) by Anton Bruckner
performed in its first version, composed 1874
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U S T A V M A H L E R famously said “My time will
come.” Thus, as a composer, Mahler had confidence in his own vision. And, in retrospect, his ego was not misplaced. Today, 105 years after Mahler’s death, his symphonies are played often and applauded worldwide, with his scores hailed as early artistic depictions of the complex emotional world that humanity inhabits in an increasingly chaotic modern world. In contrast, Anton Bruckner spent much of his life wondering if his music would ever be recognized and embraced. Like Mahler, several of Bruckner’s symphonies were not even performed during his lifetime. And today, 120 years after his death, Bruckner’s place
Anton BRUCKNER born September 4, 1824 in Ansfelden, near Linz, Austria died October 11, 1896 in Vienna, Austria
in popular and critical appraisal remains a moving target. While Mahler’s anguished music went mainstream, Bruckner’s slowly arching symphonies became something of an acquired taste. Many conductors embraced him as a supreme symphonist. Others too easily pigeonholed his symphonies as “gothic cathedrals in sound,” the work of a devoutly religious man who understood nothing but his own faith. In recent decades, the real Bruckner — or a more nuanced view of his music — has been gaining ground. The veneers of slick editing that early on rendered a number of his scores more “understandable,” as assistants and other conductors rewrote whole movements to be more “listenable” and more “normal,” have slowly been wiped clean. Bruckner’s legacy as a serious organist and thoughtful musician has been re-examined. The bolder ideas of his later symphonies are now often viewed as looking forward to the 20th century rather than awkward missteps at the end of the 19th. From this re-examination, one thing has become abundantly clear: Bruckner was more than a simple man devoutly writing musical love letters to God. Yes, the composer was, at times, socially awkward. Yes, he too often accepted others’ advice about his own music. And, very much, his Catholic faith anchored him through life. But Bruckner’s musical breadth was exceptional. He was a magnificent organist, who mesmerized audiences in performances across Europe with his abilities to improvise and interweave two or more well-known melodies at the same time. Bruckner studied all his life. He knew musical history, trends, ideas, influences. And he almost certainly saw real and potent meaning behind his compositional decisions in the relationships between musical notes and the messages to be conveyed. For example, his choice of what key a piece or passage of music was written in was intended to have specific meaning — just as earlier composers in the Baroque era used specific keys for specific situations (joy, devotion, sorrow, etc). Also like Bach, Bruckner was fascinated by numbers, again with specific “extra-musical” meanings thus embedded within SEVERANCE HALL
About the Music
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his music. His symphonies, therefore, can be viewed, not just as big works with expansive phrases, but with each being “about something” in particular. Cleveland Orchestra music director Franz Welser-Möst, acclaimed as a Bruckner expert, believes that “life and love, God and mercy, the approach of death” are all are in Bruckner’s music, when we know how to listen. SYMPHONY NO. 4 — THE MUSIC
What then, is Bruckner’s Fourth Symphony “about”? Unlike common nicknames for a lot of classical works, designated by a publisher or because of a parallel connection in popular culture, Bruckner himself gave the title “Romantic” to the Fourth Symphony. At the time, in the 19th century, Romanticism was a movement seeking truth in nature, passion in emotions, authenticity in an increasingly urban and industrialized world that seemed more and more disconnected with human spirituality and everyday common goodness. At one point, Bruckner wrote an explanation for the Fourth Symphony, of medieval knights, hunting parties in the woods, and spurned love. But this was more an attempt (years after writing the symphony itself) to create a popular narrative than tell what the music actually represented for him. Because the music, surely, can and does speak for itself — of glowing energy, spacious sound horizons, and a return to wholeness. This week’s performance of the Fourth Symphony is being presented in Bruckner’s original version, as he first completed it in 1874. Most performances today use a later score edition, following years of rewriting by the composer (influenced at times by suggestions from his students or assistants), closer to what was first performed, in 1880. The original 1874 score is more authentically raw, and perhaps more “Romantic” in the 19th-century sense. The score is also quite different from later versions. For comparison, there are recordings available of all the major versions of the Fourth. (Almost all of Bruckner’s symphonies exist in varying editions, as he was continually revising and rethinking most of his musical works. The challenge has become finding Bruckner’s authentic revisions and separating them from what others told him to do to “make it better.”) The Fourth includes many of Bruckner’s often-used musical devices — the shimmering of tremolo strings (rapid bowing by a whole section of instruments), a large brass section (but very little percussion), long melodic phrases, tunes that turn in or around on themselves, and the juxtaposition of full orchestral phrases with smaller grouping or sections of instruments. Each movement is built on rather standard structures, but with elongated parts. The long opening movement gives way to the equally lengthy slow second movement. The third movement is built on the dance rhythm of the Austrian Ländler, before the last movement brings the work to a rousing and magnificent close. Performance Time: 65 minutes PROGR AM NOTES BY ERIC SELLEN © COPYRIGHT 2016
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About the Music
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Anton Bruckner, 1885, oil painting by Hermann Kaulbach
“Anton Bruckner: There is arguably no other composer who spent so many years studying his art before establishing his unique voice. He remained a devout Catholic for the whole of his life, and his faith pervades all his music, even though it was with the traditionally secular symphony — Gothic cathedrals in sounds, as they have often been described — that his originality was established.” —The Rough Guide to Classical Music
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About the Music
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Dreams can come true
Cleveland Public Theatre’s STEP Education Program Photo by Steve Wagner
... WITH INVESTMENT BY CUYAHOGA ARTS & CULTURE Cuyahoga Arts & Culture (CAC) uses public dollars approved by you to bring arts and culture to every corner of our County. From grade schools to senior centers to large public events and investments to small neighborhood art projects and educational outreach, we are leveraging your investment for everyone to experience.
Your Investment: Strengthening Community Visit cacgrants.org/impact to learn more.
School Music Teachers The members of the Cleveland Orchestra Youth Orchestra and Cleveland Orchestra Youth Chorus express gratitude to their school music directors for the role they play on a daily basis in developing musical skills. Darren Allen, Bay High School Lisa Goldman, Beachwood Middle and High Schools Jeff Fudale, Berea-Midpark High School Jason Wyse, Brecksville-Broadview Heights High School Jay Wardeska, Brunswick High School Melissa Lichtler, Chardon High School Daniel Heim, Cleveland Heights High School Dianna Richardson, Cleveland School of the Arts Mike Foster, Copley High School Jacob Page, Crestwood High School Scott Isaacs, Ben Weber, and Denita King, Cuyahoga Valley Christian Academy Michelle Adair, Dublin Jerome High School Kalee Bondzio, Elyria High School David Kilkenney, Gilmour Academy Linda Simon-Mietus, Hathaway Brown School Sergio Castellanos, Hawken School Damon Conn, Heritage Academy Rachel Gamin and Greg Rezabek, Highland High School Ronald Varn, Hoover High School Roberto Iriarte, Hudson Middle and High Schools Jeffery Link, Kenston High School Arleen Scott, Lake High School Shelly Jansen and Jason Locher, Medina High School Stephen Poremba and Matthew Yoke, Mentor High School Aaron Wilburn, New Albany High School Audrey Melzer, Oberlin High School Julie Budd, Olmsted Falls High School Randy Gernovich, Perkins High School Darren LeBeau and Katie Rizzo, Revere Middle and High Schools Jason Falkofsky and Dan Hamlin, Saint Ignatius High School William Hughes, Donna Jelen, and Adrian Pocaro, Shaker Heights High School Gerald MacDougall and Ed Kline, Solon High School Andrew Hire and Brian King, Strongsville High School James Flood, The Lyceum Damon Conn, Twinsburg High School Daniel Singer, University School Jason Branch and Teresa Cosneza, West Geauga High School William Talaba, Western Reserve Academy Fred Pimavera, Willoughby South High School
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Appreciation
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LATE SEATING As a courtesy to the audience members and musicians in the hall, late-arriving patrons are asked to wait quietly until the first convenient break in the program, when ushers will help you to your seats. These seating breaks are at the discretion of the House Manager in consultation with the performing artists. PAGERS, CELL PHONES, AND WRISTWATCH ALARMS Please silence any alarms or ringers on pagers, cellular telephones, or wristwatches prior to the start of the concert.
of the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 1921-1936) and his wife, Elisabeth, donated the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000. HAILED AS ONE
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Severance Hall
PHOTOGRAPHY, VIDEOGRAPHY, AND RECORDING Audio recording, photography, and videography are prohibited during performances at Severance Hall. Photographs of the hall and selfies can be taken when the performance is not in progress. As courtesy to others, please turn off any phone/ device that makes noise or emits light. IN THE EVENT OF AN EMERGENCY Contact an usher or a member of house staff if you require medical assistance. Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency. HEARING AIDS AND OTHER HEALTH-ASSISTIVE DEVICES For the comfort of those around you, please reduce the volume on hearing aids and other devices that may produce a noise that would detract from the program. Infrared AssistiveListening Devices are available. Please see the House Manager or Head Usher for more details. AGE RESTRICTIONS Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Classical season subscription concerts are not recommended for children under the age of 8. However, there are several ageappropriate series designed specifically for children and youth, including: Musical Rainbows (recommended for children 3 to 6 years old) and Family Concerts (for ages 7 and older).
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INSPIRED EXCELLENCE EXCEPTIONAL OPPORTUNITY #2 in the Nation “Top 10 Colleges for Musical Theatre Majors” — College Magazine
#4 in the Nation
“Top 10 Liberal Arts Colleges for Music in the U.S.” — Music School Central
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Baldwin Wallace University Conservatory of Music 2 0 1 6 - 17 S E A S O N Berea, Ohio 44017 bw.edu/conservatory